Hamlet Blog Post #3

Soliloquy Analysis

Imagery for the uncertainty of death:

• Death is called, "the undiscovered country from whose bourn no traveller returns" (3.1.79-80).

Imagery for life's negative experiences:

• A "sea of troubles" (3.1.59).
• "The whips and scorns of time, Th' oppressor's wrong, the proud man's contumely, The pangs of despis'd love, the law's delay, The insolence of office and the spurns That patient merit of th' unworthy takes" (3.1.70-74). 
• "To grunt and sweat under a weary life," (3.1.77).

The speech focuses mainly on the appeal to pathos.  The imagery quoted above that he uses as well as several other lines within the speech are examples of life that all men may go through at some point. By detailing these very human troubles of his, he strikes a chord with his audience who has no doubt suffered at some point, "the heartache, and the thousand natural shocks that flesh is heir to" (3.1.62-63). He gains sympathy from the audience in the process and they understand his wish, given his situation, "to die, to sleep"(3.1.60).

The paradox in his speech is that, although he would end his earthly troubles by killing himself, he may face worse, unknown troubles in the afterlife. He draws parallels between death and sleep as well as "an undiscovered country" (3.1.79). He uses synecdoche in referring to life as a "mortal coil" (3.1.67) as well as when he calls the world time as in "the whips and scorns of time" (3.1.70). These examples serve to show you his perspective of life and the world respectively. His tone is contemplative, if not a little confused which is understandable for the complex topic he is addressing. The two main metaphors Hamlet uses throughout his speech is death as sleeping and life as a "sea of troubles" (3.1.59) for which he gives many examples later in the speech.

Evidence for comparisons:

• "And by a sleep to say we end the heartache" (3.1.61-62). Sleep as an end to the suffering in life.
• "Whether 'tis nobler in the mind to suffer the slings and arrows of outrageous fortune or to take arms against a sea of troubles" (3.1.57-59). Is it better to bear your troubles or fight against them.

Oppositions made by Hamlet in his speech:

• "For who would bear the whips and scorns or time,...when he himself might his quietus make with a bare bodkin?" (3.1.70, 75-76)
• "That the dread of something after death... makes us rather bear those ills we have than fly to others that we know not of?" (3.1.78, 81-82). 
• "The native hue of resolution is sicklied o'er with the pale cast of thought" (3.1.84-85).

In the speech, Hamlet questions what come after death and if it is better in the afterlife than it is to remain on earth, suffering.

Hamlet concludes that life after death is much to uncertain and "thus conscience does make cowards of us all" (3.1.83). He realizes that it is too much of a risk especially since he, being catholic, could face hell or purgatory for his actions.

Acting Analysis

Kenneth Branagh
The beginning of Branagh's speech was accompanied by nothing, just the sound of his voice. This works well to pull the audience into his words and thoughts. When the music starts halfway the through the speech, although it does add to his rise in emotions the further along he gets, it is a little distracting to the audience. The setting is a bit awkward knowing that his uncle and mother and Polonius are all spying on him from the next room. Ignoring that fact, though, the idea that he is so confused and uncomfortable in the castle in which he grew up, his own home, provides a nice contrast to the scene. The dagger or bodkin, he pulls out reveals to the audience that he is seriously considering suicide and adds emphasis to Hamlet's struggle with death. Lastly, the camera angles are mostly mid-range to close-up views of Hamlet's face which pulls you into his emotion and thought. It is interesting that they are shown by the reflection in the mirror instead of being directly on Hamlet's face as the camera seems to be showing the audience how Hamlet sees himself.


Laurence Olivier
The music is the first thing I noticed in this scene of the "To be or not to be" speech. It is very erratic and extremely distracting, especially as it continues, in waves throughout his speech, taking away from the more serious subject of his words. The fade between his face and the sea that follows is interesting as it sets up Hamlet's restless and confused mindset. Because the scene is set by the sea, it shows just how small and insignificant Hamlet is feeling when faced with this "sea of troubles" (3.1.59). There are some rather awkward close-ups during the scene that, although they do succeed in pulling you into his mindset, are too distracting and almost comical with respect to the tone of his words. The dagger he is constantly holding emphasizes the severity of his intentions and emotions during the scene.

Mel Gibson
 The sound in this version is completely diegetic. I loved that there was no distracting music in the background, a very refreshing change from the last video. Because he is underground in the catacombs, his voice echos off the walls which I feel adds a very natural sounding emphasis to his words and there importance therein. And the setting is quite perfect, debating life and death while Hamlet is still a part of the living, but hangs currently among the dead. The dark, depressing atmosphere set by this lighting helps add to Hamlet's mood, pulling the audience into his melancholy. The mid-range shots of his face allow the audience to take in the setting and his words all at once, enhancing the meaning of both.

Ethan Hawke
The setting of this particular version made it very hard to grasp what he was saying. The scene may have been easier to understand with more background to that version of Hamlet. It was also delivered quickest but that was somehow fitting for the modern setting. His outfit was also confusing in that he was wearing a nice jacket with a cheap hat but helped to show his own confusion and discombobulation with his life during the scene. There are several close ups that help pull the audience into his emotions. The scene is accompanied by a soft, sad music which, unlike the others, doesn't take away from the mood of the scene. It doesn't quite fit with the video store setting, though. There are some shots of the TV screens in the video store that show, all too appropriately, men dying and being blown up. They are a representation of the death he is facing himself with but can also be representative of "the thousand natural shocks that flesh is heir to" (3.1.62-63).

Mel Gibson's delivery of this famous soliloquy of my dear friend, Hamlet's, was the most engaging version. His very emotions, so strong and clear, ranging from anger to sorrow, mixed well with the setting. There wasn't any distracting music or outfits or props and the serene echo provided by his location added extra emphasis on the importance of his words over anything else that was going on. The lighting was a nice plus to this scene, only adding to Hamlet's dark mood. I believe this Mel Gibson did Hamlet's emotions throughout this scene justice, delivering them in a way that was most befitting, and focused the most on what he was trying to say.

I think I would have tried to get a little more expression out of Kenneth Branagh's Hamlet. For the Laurence Olivier performance, I would definitely take out that distracting music and replaced it with something more serene and more melancholic. I also would have avoided some of the shots in the scene such as the crazy shot up the stairs at the beginning as well as the too close close-ups on his forehead and scalp. I have nothing to change about Mel Gibson's performance. As for the Ethan Hawking version, I do not think the delivery or overall effect was bad, it would simply have been less confusing had I seen the whole film.