Studied by 1 personslayyyyyyyyyyyy - Kastan, Paglia, Belsey, Ryan, Adelman, Kerrigan, Knight, Mack, Flint, Neely, Lyons
Kastan - Fate
“For Shakespeare, anyhow, the uncertainty is the point”
Kastan - Influences
“If any pressures influened Shakespeare’s work, they were medieval rather than classical”
Kastan - Catharsis
“Shakespeare’s tragedies provoke the questions about […] pain and loss”
Paglia - Old Hamlet
“paternal authority”
Paglia - Images
“The well-managed garden, a major metaphor in Hamlet, is a paradigm of the wisely governed state”
Paglia - Presentation
“His armor warns of Norway’s looming threat but also signifies […] those lifetime conflicts of Freudian family romance”
Belsey - Ghosts
“spectres are unnerving in so far as they shake the norms that allow us to understand what exists”
Belsey - Morals
“[The Ghost’s] moral status remains as unresolved as its identity”
Belsey - Understanding
“classification would bring the being of a ghost within a framework that would begin to make the apparition intelligible”
Ryan - Hatred
“the torrent of bitter misogyny and misogamy [Hamlet] subjects [Ophelia] to springs from the same utter disenchantment as his previous […] misanthropy”
Ryan - Ophelia
“Ophelia is inescapably complicit with Polonius and Claudius and everything they stand for, which Hamlet rightly reviles”
Ryan - Masculinity
“The only thing that could save him from being an arrant knave like other men would be never having been born”
Adelman - Parents
“the loss of the father turns out in fact to mean the psychic domination of the mother”
Adelman - Goals
“to remake [Gertrude] in the image of the Virgin mOther who could guarantee his father’s purity”
Adelman - Focus
“the confrontation of Hamlet with Gertrude in the closet scene seems much more central […] than any confrontation between Hamlet and Claudius”
Kerrigan - Pacing
“memories divert and slow the play, giving it an eddying, onward, inclusiveness which contrasts with the movement of Shakespeare’s other tragedies”
Kerrigan - Mystery
“We can show that remembrance haunts him, even to the point of madness, and call this the heart of his mystery. […] In memory, Hamlet eludes us”
Kerrigan - Mourning
“His inky cloak is ambiguous: a mark of respect for his father, it also indicates his desire eventually to detach himself from him”
Knight - Hamlet
“Hamlet is a living death in the midst of life”
Knight - Ghost
“That sepulchral cataclysm at the beginning is the key to the whole play”
Knight - Consequences
“Hamlet begins with an explosion in the first act; the rest of the play is the reverberation thereof”
Mack - Functions
“It is equally obvious […] that madness has a further dimension, as insight, and this is true also of Ophelia”
Mack - Liberty
“Hamlet can be privileged in madness to say things - Hamlet about the corruption of human nature […] which Shakespeare could have hardly risked apart from this licence”
Mack - Cassandra
“Cassandra’s madness, like Lear’s and Hamlet’s […] contains both punishment and insight”
Flint - Audience
“Shakespeare’s audience […] would have little trouble identifying the attributes of melancholy”
Flint - Character
“[Analysing Hamlet as a character, not a person] allows us to focus on the impossibility of ever defining who or what a ‘real’ person is”
Flint - Challenge
“Hamlet uses his homily [religious speech] to drive home […] the importance of stretching one’s mental faculties in life”
Neely - Contrast
“Hamlet is presented as fashionably introspective and melancholy while Ophelia becomes alienated
Neely - Expressions
“Whereas [Ophelia’s] madness is somatised and its content eroticised, Hamlet’s melancholy is politicised in form and content”
Neely - Infection
“the representation of Ophelia absorbs pathological excesses open to Hamlet and enables his reappearance as a sane autonomous individual”
EXTRA - Lyons - Symbols
“Ophelia is most persistently presented in terms of symbolic meaning; her presence is more iconographical than physical”
Nuttall - Pleasure
“[tragedies allow for] a further mode of pleasure”
Nuttall - Discomfort
“enjoyed discomfort”
Bradley - Victim
“suffering and calamity […] befall a conspicuous person”
Bradley - Impact
“his fall produces a sense of contrast, of the powerlessness of man”
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