OCR A-Level English Literature Paper 1 - Hamlet, Ibsen & Rossetti

Covers AO1 quotes, AO3 context, some AO4, and AO5 literary lens

AO1 (Question 2 a - 25%, Question 2 b - 50%, Question 7 to 12 - 12.5%)

Excellent and consistently detailed understanding of text and question with consistently well-structured, coherent and detailed argument consistently developed. Consistently fluent and accurate writing in appropriate register with critical concepts and terminology used accurately.

AO2 (Question 2 a - 75%, Question 2 b - 0%, Questions 7 to 12 - 0%)

Well-developed and consistently detailed discussion of effects (including dramatic effects) of language, form and structure. Excellent and consistently effective use of analytical methods. Consistently effective use of quotations and references to text, critically addressed, blended into discussion.

AO3 (Question 2 a - 0%, Question 2 b - 0%, Question 7 to 12 - 50%)

Consistently developed and consistently detailed understanding of the significance and influence of the contexts in which literary texts are written, as appropriate to the question. Consistently developed and consistently detailed understanding of the significance and influence of the contexts in which literary texts are received, as appropriate to the question.

AO4 (Question 2a - 0%, Question 2b - 0%, Question 7 to 12 - 25%)

Excellent and consistently detailed comparative analysis of relationships between texts.

AO5 (Question 2 a - 0%, Question 2 b - 50%, Question 7 to 12 - 12.5%)

Judgement consistently informed by exploration of different interpretations of the text. Judgement consistently informed by changing critical views of the text over time.

Act 1, Scene 2 : “O that this too too sullied flesh would melt, thaw, and resolve itself into a dew”

This is the first the audience hears from Hamlet properly — and at this point, he is not influenced by his ‘antic disposition’. He is represented as genuinely suicidal after Old Hamlet’s death — but does not wish to be active in his death, he would rather die passively. He is also seen to be witty, making a pun on death (“a dew” - > “adieu”). This genuine admission serves as a striking contrast to Claudius’ controlled and artificial monologue.

Act 1, Scene 4 : “Something is rotten in the state of Denmark”

This line highlights the sense of unease felt by the ordinary Danes outside of the court of Elsinore (Marcellus, Horatio, and the Gravedigger are the only non-court men we see in the play, really). The guards are aware of preparations for an imminent war, but have little knowledge about it. This extended metaphor of corruption is picked up throughout the play.

Act 1, Scene 5 : “The serpent that did sting thy father’s life now wears his crown”

Claudius is referred to with the metaphor of a ‘serpent’, perhaps referring to the garden of Eden, where Adam and Eve’s hope for Heaven were revoked by the temptation of the snake. Not only is Claudius serpentine (and so sly, deceitful), but he is also devilish (as the serpent from Eden is representative of the Devil). This is the revelation of Claudius’ crimes to the audience, who so far have only seen him as a charismatic ruler and struggling step-father.

Act 2, Scene 1 : “Oh my lord, my lord, I have been so affrighted”

Ophelia is initially presented as a damsel in distress — she has no agency as a women to protect herself from Hamlet’s advantages. She may be more concerned about Hamlet’s ‘antic disposition’ at his point, and perhaps does not see this as a direct attack at her (unlike Act 3, Scene 1).

Act 2, Scene 1 : “I am sorry that with better heed and judgment I had not quoted him.”

Polonius originally believed that Hamlet’s interest in Ophelia was superficial, but Hamlet’s grief (which Polonius incorrectly attributed to Ophelia’s rejection) results in Polonius believing Hamlet’s love was genuine. This is one of the few points in the play where a character is open and honest about their mistakes, the other notable point being Act 5, Scene 2, where Laertes reveals Claudius’ plot to kill Hamlet.

Act 2, Scene 2 : “Though this be madness, yet there is method in’t”

Polonius begins to suspect that Hamlet’s madness may be deliberately antagonistic — yet still continues to be patient with Hamlet’s erratic behaviour. Hamlet is constantly being surveyed in Elsinore — further linking to the notion that “Denmark is a prison”.

Act 2, Scene 2 : “‘Denmark’s a prison.’ ‘Then the world is one.’”

Rosencrantz suggests that the entire world is a prison, not just Denmark. Whilst Rosencrantz and Guildenstern are not confined to Elsinore in the same way as Hamlet is, it could be argued that they are imprisoned by their duty to the King — suggesting that they may not be happy with spying on Hamlet. This further links to Laertes being spied on in France by Reynaldo (“make inquiry of his behaviour”).

Act 2, Scene 2 : “The spirit that I have seen may be the devil”

Hamlet is wary to revenge his father, as he cannot be certain that the ghost’s motives are good — the ghost could be a devilish spirit sent to create chaos across Denmark. As Hamlet has already proposed ‘The Mousetrap’ to the First Player, he has likely already doubted the ghost and come up with a solution, and so Hamlet may just be a tad dramatic at this point, and making excuses for his inaction.

Act 3, Scene 1 : “To be, or not to be, that is the question”

This could be performed as a soliloquy or as a monologue — it is not clear whether Hamlet is aware of Polonius, Claudius, or Ophelia until the end of the speech. As a result, this could be seen as genuinely philosophical, or as his ‘antic disposition’ working to present himself as mad. While this line is questioning suicide, it is unclear whether he means at his own hand, or at the hand of the Elsinore guards, should his revenge plot fail.

Act 3, Scene 1 : “Thus conscience does make cowards of us all”

The abstract noun ‘conscience’ could mean reflection (Hamlet’s excessive philosophy does make him cowardly at times — could Act 3, Scene 3 be cowardly?) or it could mean moral mistakes (which Hamlet is famously afraid of making). Either way, this further highlights Hamlet’s procrastination, but contrasts other characters in the play (“us all”), such as Claudius, who is cowardly but still decisive.

Act 3, Scene 1 : “Nymph, in thy orisons by all my sins remembered”

Hamlet asks Ophelia to keep him and his sins in her prayers — perhaps suggesting that he understands that what he is about to do (the ‘get thee to a nunnery’ spiel) will be hurtful to her. However, the reference to ‘orisons’ could suggest that he was aware of her presence during his soliloquy (reading upon her prayer books), and thus more likely to be aware of the presence of Claudius and Polonius. The noun ‘nymph’ does not add much clarity here, as they were seen as both nurturing and vengeful.

Act 3, Scene 1 : “I did love you once” […] “I loved you not”

Hamlet’s feelings for Ophelia are uncertain — here the verb “love” could have two interpretations of either being romantic or sexual. This could suggest that they had a sexual relationship, but Hamlet never truly loved Ophelia. His deception here is both childish and unreasonable, perhaps less of an antic disposition and more true madness.

Act 3, Scene 1 : “O, what a noble mind is here o’erthrown”

Ophelia is genuinely upset at Hamlet’s descent into madness, she truly believes that Hamlet once loved her, and she cannot understand what has caused this rapid transformation. Despite this, she internalises his criticisms (“most deject and wretched”).

Act 3, Scene 2 : “I will speak daggers to her, but use none”

Hamlet’s pre-meditation suggests that he is certainly angry enough to act out violently against Gertrude, but in accordance to the Ghost’s words, he should not hurt her. His killing of Polonius could be interpreted to be displaced rage towards his mother.

Act 3, Scene 3 : “O my offence is rank, it smells to heaven”

Claudius’ soliloquy is the closest the audience gets to ‘sympathising’ with him (hence why it so swiftly followed by Hamlet’s soliloquy). As he is not performing, the audience has to assume his admissions are genuine.

Act 3, Scene 3 : “When he is fit and season’d for his passage? No!”

Hamlet wants to ensure his revenge is complete — if Hamlet murders Claudius whilst praying, Claudius gets an immediate free pass to Heaven. This isn’t good enough for Hamlet — especially seeing as Old Hamlet was not given his rightful spot in Heaven.

Act 3, Scene 3 : “My words fly up, my thoughts remain below: words without thought never to Heaven go”

The dramatic irony of Hamlet postponing murder to prevent Claudius’ salvation just for Claudius to be unable to pray highlights Hamlet’s hamartia of procrastination. This irony also emphasises the theme of appearance versus reality, as it is the appearance of praying that ultimately prolongs Claudius’ life — but also reaffirms the importance of sincerity, as Claudius cannot save himself without sincere prayer.

Act 3, Scene 4 : “Hamlet, thou hast thy father much offended” “Mother, you have my father much offended”

Hamlet responds to Gertrude much more formally, using the formal 2nd person pronoun ‘you’ in place of Gertrude’s informal ‘thou’. Hamlet’s choice also could imply that he is talking as a plural — that both Gertrude and Claudius have offended Old Hamlet. His mirroring of Gertrude’s utterances and stress pattern is inherently mocking and much more vicious in comparison to Gertrude’s gentle urging.

Act 3, Scene 4 : “My two schoolfellows, whom I will trust as I will adders fang’d”

Referring to Rosencrantz and Guildenstern as “schoolfellows” is slightly ironic, as their childhood innocence and loyalty has been lost to the bribery of Claudius. The adder metaphor relates to the snake in the garden of Eden — but the adder specifically is small and venomous, perhaps a nod towards their morals in their duty to kill Hamlet.

Act 4, Scene 1 : “Mad as the sea and wind, when both contend which is the mightier”

This metaphor emphasises the extent of Hamlet’s madness, which is both extremely powerful yet futile in accomplishing anything. Hamlet’s madness is emblematic of the larger conflict within Elsinore, which is just as uncontrollable and destructive. This metaphor could be Gertrude’s way of protecting Hamlet — the metaphor represents his madness as natural and uncontrollable — hiding his confessed antic disposition.

Act 4, Scene 2 : “The body is with the King, but the King is not with the body. The King is a thing — […] of nothing”

Hamlet suggests that Polonius is with Old Hamlet in death, but not with Claudius, as Claudius is still alive. This could be seen as admission of guilt — Hamlet has committed a similar crime to Claudius in killing Polonius before letting him have his last rites. He also uses puns to understate Claudius’ humanity and his rule over Denmark.

Act 4, Scene 2 : “Hide fox, and all after”

Hamlet here refers to a children’s game similar to hide-and-seek, where the ‘fox’ hides and the other children chase them in pursuit. Hamlet uses this to imply that Polonius is not dead, rather hiding, or that he did not kill Polonius on purpose. His use of an imperative ‘hide’ could also suggest that he is telling Rosencrantz and Guildenstern to hide, before he kills them too (though this is not taken as seriously). This is fitting, as Rosencrantz and Guildenstern are sly and crafty, like foxes.

Act 4, Scene 3 : “Now Hamlet, where’s Polonius?”

Claudius has been characterized as a villain who's always smiling disarmingly. Here he wouldn't be stern, hostile, and threatening towards his presumably mad stepson, but rather smiling, friendly, and understanding. Note that he asks, "Where's Polonius?" rather than, "Where's the body?". This could, however, be viewed as very patronising rather than caring — but this depends on how mad the audience believes Hamlet is.

Act 4, Scene 3 : “For like the hectic in my blood he rages, and thou must cure me”

Claudius uses the extended metaphor of sickness and corruption do describe Hamlet’s affect on his mental state, which has turned Claudius into a nervous wreck. However, in doing so, Claudius a likens himself to Hamlet, with both of them being, to some extent, mad. Furthermore, the preposition ‘like’ could suggest that Hamlet is not what rages in his blood, rather his guilt which is emphasised by Hamlet.

Act 4, Scene 4 : “O, from this time forth: my thoughts be bloody or be nothing worth!”

This could present two things: the beginning of Hamlet’s maturity in the falling action (leading to a successful, revengeful denouement), or a dramatically ironic reference to Act 1, Scene 5, where he practically says the same thing… (“And you, my sinews, grow not instant old, but bear me stiffly up”)

Act 4, Scene 5 : “He is dead and gone. At his head a grass-green turf, at his heels a stone.”

Polonius’ death has turned Ophelia’s life upside down, which is accentuated by the metaphor of Polonius’ body being laid to rest upside down, with his feet at the headstone. Ophelia is placed into the same situation as Hamlet (with the unrighteous murder of a father), but as a woman, she cannot take revenge without being considered as mad.

Act 4, Scene 6 : “I do not know from what part of the world I should be greeted, if not from Lord Hamlet.”

Horatio’s phrasing suggests that Hamlet is not in a part of the world, but is a part of the world. This enhances Horatio’s isolation, both from Hamlet and within Elsinore, as he is in all aspects an outsider — not a part of Hamlet and not a part of Elsinore. However, it also emphasises Horatio’s friendship, as Hamlet is as integral to Horatio’s life as the world itself.

Act 4, Scene 7 : “To cut his throat i’ the church”

Laertes will risk eternal damnation to accomplish his revenge on Hamlet. This further presents Laertes as a literary foil of Hamlet — emphasising both Hamlet’s procrastination in Act 3, Scene 3 and his moralistic reflections. Yes — Laertes may be a better tragic hero, but Hamlet’s philosophy allows him to maintain his moral ‘high ground’ over Claudius.

Act 4, Scene 7 : “If I gall him slightly, it may be death”

The seemingly good-faithed duel between Hamlet and Laertes is designed so that Laertes is able to murder Hamlet inconspicuously — as neither Laertes nor Claudius want to have a murder charge. However, Laertes already has possession of this deadly poison, suggesting that he may either keep it constantly, or he had it specifically on him to kill Claudius (when he entered this scene, he did not know the details of Polonius’ death).

Act 4, Scene 7 : “When down her weedy trophies and herself fell in the weeping brook”

Ophelia’s ‘coronet weeds’ may have symbolised a crown she may have worn if she had become Hamlet’s bride — despite her being mad, this — accompanied with the speculation she may have committed suicide — could suggest that Hamlet is responsible for her death. The use of pathetic fallacy in the ‘weeping brook’ demonstrates a final turning point for the play — there is no hope for a comedic ending for these characters, they are damned to a tragedy.

Act 5, Scene 1 : “I hoped thou shouldst have been Hamlet’s wife”

Ophelia, even in death, is only referred to through her relation to others. Gertrude is not upset that her death is a waste of a hopeful life, but a waste of Hamlet’s time, as Hamlet would now have to re-court another woman before marrying. However, Gertrude does use the informal pronoun ‘thou’ rather than ‘you’ — usually used only within families — perhaps suggesting that Ophelia was like a daughter to her.

Act 5, Scene 2 : “Since no man knows aught of what he leaves, what is’t to leave betimes? Let be.”

There are two interpretations of what here — leaving legacy, or leaving life — both of which he was originally very concerned about (upholding Old Hamlet’s legacy, and the time of which he would die). Hamlet changes from wishing for death, to simply accepting death. He now possesses a Stoic indifference to fortune and death, similar to what he praised Horatio for earlier in the play. This could also be seen as a late answer to his ‘To Be or Not to Be’ soliloquy.

Act 5, Scene 2 : “I will, my lord; I pray you, pardon me.”

Gertrude’s defiance could be interpreted in two ways: either she is addressing Claudius, or she is addressing God. If she is addressing Claudius, she could be seen as standing in subtle unity with Hamlet in defying Claudius, or simply already drunk and unaware of the seriousness of the situation. If she is addressing God, she may be aware that the cup is poisoned, and is asking for a more eternal forgiveness from suicide. She may know of Claudius’ motives to kill Hamlet in this duel, and does not want to watch her only child die.

Act 5, Scene 2 : “Here thou incestuous, murderous, damned Dane, drink off this potion”

Hamlet decides that Claudius dying is not enough — he must suffer. Despite already being hit with the poisoned sabre, Hamlet forces him to drink the poison that killed Gertrude. Hamlet is aware he will be damned to Hell for his revenge and murders, so at this point, he has nothing to loose by extracting satisfaction from Claudius’ murder. Similarly, Claudius has already been outed as committing treason and will die regardless, so he has no reason to fight Hamlet here.

Hamlet Themes : Procrastination

Hamlet is initially represented as inactive, suggesting that “conscience does make cowards of us all” to justify his inaction against Claudius in Act 3, Scene 1.

However, Hamlet also makes incredibly rash decisions, such as killing Polonius in Act 3, Scene 4. His irrationality means that he does not even know “is it the king?” that he has killed.

By Act 5, Scene 2, Hamlet decides to stop being inactive due to the fear of morals, suggesting that he should now “let be”. This stoic attitude to life is what finally allows him to extract his revenge.

Hamlet Themes : Corruption

From very quickly in Act 1, it is revealed to the audience that “something rotten in the state of Denmark”. Whilst there are signs pointing toward Claudius (his very artificial speech in Act 1, Scene 2, and his drunken partying in Act 1, Scene 4), it is not until the revelation of the Ghost that this is confirmed.

In Act 3, Scene 1, Ophelia believes that Hamlet’s “noble mind is here o’erthrown”. Whilst she does not know what has caused Hamlet’s corruption, she still internalises his criticisms, and could be one factor that lead to her own insanity (Link to corruption like a disease).

In Act 3, Scene 4, Hamlet’s description of his “two schoolfellows, whom I will trust as I will adders fang’d” depicts the corruption of innocence in the eye of temptation.

In Act 4, Scene 7, Laertes depicts his revenge as corrupted, but he does not mind. Whilst “to cut his throat i’ the church” would end in eternal damnation, he asserts that corruption is a small price to play for proper revenge.

Hamlet Themes : Appearance versus Reality

In Act 1, Scene 2, Claudius and Gertrude ask Hamlet to “go not to Wittenberg” and to stay “in the cheer and comfort of our eye”. This seems innocent, but retrospectively can seem very domineering to the audience, who may suspect that Claudius is attempting to control Hamlet early on. This is reflected again in Act 1, Scene 3, Polonius appears to be trusting of Laertes, telling him “to thine own self be true”, but contradicts this by then sending Reynaldo to “make inquiry of his behaviour”.

At the end of Act 1, Scene 5, Hamlet vows to undertake an ‘antic disposition’ in order to kill Claudius. Whilst this is a simple appearance versus reality trope initially, Hamlet’s madness evolves, and appears to become genuine, with actions such as the ‘get thee to a nunnery’ speech and Polonius’ murder making it hard for the audience to have clarity of Hamlet’s sanity.

In Act 4, Scene 7, Laertes admits to owning a poison so strong that “if I gall him slightly, it may be death”. Whilst this works in their plan to kill Hamlet (which is inherently appearance versus reality, they don’t tell Hamlet that they’re going to kill him), it leads the audience to question why he already had possession of this poison, and if he was planning to murder Claudius.

Hamlet Theme : Surveillance

In Act 1, Scene 2, Claudius and Gertrude ask Hamlet to “go not to Wittenberg” and to stay “in the cheer and comfort of our eye”. This allows for Claudius to continue surveying Hamlet, to quell any sort of revolution he might attempt to lead against him. This is reflected again in Act 1, Scene 3, where Polonius appears to be trusting of Laertes, telling him “to thine own self be true”, but contradicts this by then sending Reynaldo to “make inquiry of his behaviour”.

In Act 2, Scene 1, Rosencrantz suggests that “the world is one [prison]”. Whilst Rosencrantz and Guildenstern are not confined to Elsinore in the same way as Hamlet is, it could be argued that they are imprisoned by their duty to the King — suggesting that they may not be happy with spying on Hamlet.

During Hamlet’s “To be or not to be” speech in Act 3, Scene 1, it is unclear if Hamlet is aware of his surveillance by Claudius, Polonius, and Ophelia, which could affect the meaning of his message. Link to Kenneth Branagh’s 1996 version, which sees Hamlet makes eye contact with Claudius through the mirror.

Polonius is punished for his surveillance in Act 3, Scene 4, as he is ‘a rat! a rat!”.

Hamlet Themes : Gender

In Act 1, Scene 2, Hamlet condemns that “frailty thy name is woman”, stripping Gertrude and all women of their individuality, and depicting all women as weak (both physically and morally) due to their gender alone.

In Act 2, Scene 1, Ophelia is presented as a damsel in distress — unable to cope with Hamlet’s antic disposition : “oh my lord, my lord, I have been so affrighted”. Even if she were not so affrighted, she has no agency to protect herself, as any defence against Hamlet could be seen as hysteria, which could institutionalise her. Inversely, Polonius is presented as much stronger because of this, and is placed into the role of the protector due to his gender, even if he is not the most suited.

In Act 4, Scene 7, Ophelia’s death is not displayed as tragic, rather almost poetic “when down her weedy trophies and herself fell in the weeping brook”

In Act 5, Scene 2, Gertrude takes her own agency in death — “I will, my lord; I pray you, pardon me.”

Hamlet Interpretation : 17th Century Revenge Tragedies

Typically featuring a protagonist seeking vengeance for a wrongful act, Hamlet was widely viewed as a revenge tragedy.

Hamlet Interpretation : 17th Century Political

During the Elizabethan and Jacobean eras, themes of usurpation, regicide, and the moral responsibilities of the nobility resonated with audience members of this time.

Hamlet Interpretation : 17th Century Stoicism

Until Act 5, Scene 2, Hamlet is explicitly non-stoic — he is very emotional when enduring hardship. However, he changes to ‘Let be’, overcoming his indecisiveness and fear of the unknown. This could be interpreted as Shakespeare encouraging his audiences to be stoic in order to complete their duties — as it is only in stoicism that Hamlet is able to accomplish revenge.

Hamlet Interpretation : 18th Century Romanticism and Psychology

This interpretation often highlighted the existential and moral dilemmas of Hamlet. His alienation and existentiality were seen as reflections of the fascination with individualism and psyche, and his struggles were seen to influence his behaviour.

Hamlet Interpretation : 18th Century Romanticism and Nature

Interpretations often drew connections between Hamlet’s mind and the (super)natural elements of the play. His soliloquies were seen as moments of unity with nature.

Hamlet Interpretation : 20th Century Freudian

Hamlet’s conflict arises from his unresolved Oedipal feelings, leading to his indecision and psychological turmoil. His repressed desires create a sense of guilt and conflict, causing him to struggle with the moral implications of revenge.

Hamlet Interpretation : 21st Century New Historicist and Contextual Understanding

Critics following this lens often explore how themes relate to the political climate of Shakespeare’s time. Often focuses on how the play reflects concerns on the succession of the monarchy.

Hamlet Interpretation : 21st Century New Historicist and Dominant Ideologies

The play can be seen as subverting expectations by challenging the status quo, subverting authority, and questioning established norms.

Hamlet Interpretation : 21st Century Feminist

The dominance of male characters and the lack of female agency in the play are seen as reflections of gender inequality. Gertrude is often used as a pawn as she tries to maintain political power, and Ophelia is seen as a vulnerable woman dictated by the patriarchy.

Hamlet Interpretation : 21st Century Postcolonial

Examines how Hamlet reflect the cultural and political dynamics of Shakespeare’s time and the impact of colonialism on literature. Often explores themes of resistance and subversion: Hamlet’s quest for justice against a corrupt court can be seen as a form of resistance.

Hamlet Literary Techniques : Prose

Typically used comically, by those who are lower-class (the grave-digger) or mad (Hamlet and Ophelia).

Hamlet Literary Techniques : Verse

Typically used seriously, by those who are upper-class (Claudius).

Hamlet Literary Techniques : Soliloquy

A genuine vocal admission — can be treated as the character’s view of the truth. Used to isolate the speaking character and allow the audience to sympathise with them (Hamlet and Claudius in Act 3 Scene 3)

Hamlet Literary Techniques : Monologue

A performance — can sometimes be truthful, but it depends on the on-stage audience. If it is a monologue to a loyal friend (Hamlet to Horatio), it can typically be considered to be truthful. If it is to a group of ‘lower’ people (Claudius to the Court), it may not be truthful.

Hamlet Literary Techniques : Dramatic Irony

Creates a sense of unease and foreboding — the revelation of information is an anticipated catharsis for the audience. Also links to the continuous theme of surveillance — the audience feels out of place with this information.

Hamlet Literary Techniques : Foreshadowing

Reinforces the atmosphere of uncertainty and deception.

Hamlet Literary Techniques : Structure of the Extract

Does the extract build anticipation or create dramatic irony? How does this affect the audience’s understanding of the plot and characters?

Hamlet Form Techniques : Form

Hamlet is a tragedy play — tragedy conventions are prevalent throughout the play.

Hamlet Form Techniques : ‘A Tragic Hero’ Convention

Hamlet is a noble character with a hamartia (his indecision and overthinking) that leads to his downfall.

Hamlet Form Techniques : Supernatural Convention

The ghost of Old Hamlet adds complexity to the play, as it is another layer of consideration that influences Hamlet’s hamartia.

Hamlet Form Techniques : External and Internal Conflicts Convention

Hamlet experiences many external conflicts (killing Polonius, the duel), but his internal conflicts expressed through his soliloquys are often reflective of contemporaneous doubts and anxieties.

Hamlet Form Techniques : Fatal Resolution Convention

The play ends with all the nobility and some of the court of Elsinore dead, creating a tragic end.

Hamlet Structure Techniques : Exposition

The characters, setting and basic conflict of the play are introduced.

Hamlet Structure Techniques : Rising Action

Encounters a series of challenges and complications that build tension. Hamlet’s complication is the truthfulness of the Ghost, which causes him to present the microcosmic play.

Hamlet Structure Techniques : Climax

The turning point of the play, the moment оf greatest tension and the point at which the protagonist makes a crucial decision. Hamlet’s decision to not kill Claudius in Act 3 Scene 3 is the main turning point.

Hamlet Structure Techniques : Falling Action

The consequences of thе protagonist's decision at the climax unfold — including Polonius’ and Ophelia’s deaths.

Hamlet Structure Techniques : Denouement

The resolution of the play, where the central conflict is resolved and the characters' fates are revealed. Unfortunately for Hamlet, the fate is death.

Hamlet Structure Techniques : Dialogue

Does one character speak more or over another? How does this present their relationship and characteristics?

A Doll’s House : Et Dukkehjem

Suggests that all characters entering the Helmer House are dolls (though ‘A Doll’s House’ reflects Torvald’s possessive nature over Nora). The generic determiner ‘a’ could also reflect how this oppression is reality across Norway

A Doll’s House : “Hide the Christmas Tree carefully, Helen”

The play begins with an imperative, showcasing Nora’s capabilities. It also immediately highlights the theme of secrecy and the woman’s role in curating a ‘perfect’ domestic environment (link to Nora’s debt)

A Doll’s House : “Pops the bag of macaroons in her pocket and wipes her mouth”

Nora feels the need to hide her indulgence from Torvald, and the verbs “pops” and “wipes” may suggest that this is a common occurrence — to the point where her secrecy is second-nature.

A Doll’s House : “My little lark”, “My spendthrift”, “Little featherhead”

Torvald’s nicknames are inherently patronising and ignorant of Nora’s intelligence. This could reflect how Norwegian women were legally minors all their lives (unless widowed), and only gained an education in the fine arts if they were upper-class. (Link possessives to Torvald owning the Doll’s House)

A Doll’s House : “No one said it was I who borrowed the money. I could have gotten it in some other way.”

Nora’s fraudulence and deception highlight the secrecy needed if women were to have agency. This is emphasised further as it was illegal for women to obtain a loan without their husband’s permission (Link to Ibsen’s own experiences with Laura Kieler)

A Doll’s House : “But it was great fun, though, sitting there and earning money. It was almost like being a man”

Nora presents herself to be the ideal 19th Century Norwegian wife — motherly, submissive, and childish. However, her true identity as a woman with financial agency subverts gender roles — reaffirmed by her scandalous escape.

A Doll’s House : “How he [a guilty man] must wear a mask even in the presence of those who are dearest to him”

The dramatic irony of Nora wearing a ‘Angel of the House’ mask around Torvald as he berates her about masking intentions reflects the excessive distance Nora must go to maintain her secret. (Link to the Tarantella dance and Neapolitan outfit)

A Doll’s House : “Corrupt my little children - ! Poison my home!”

Torvald insists that one corrupted individual can corrupt an entire society, and in doing so, makes Nora fear the influence she has on her children. Ironically, it could be argued that it is society’s strict expectations and gender roles that ‘corrupt’ Nora, rather than the other way around.

A Doll’s House : “Oh well, I suppose you can look a bit higher if you want to”

Nora’s tolerance of Dr Rank’s advances could portray both parties as disloyal and deceitful. (Link to fallen women — Nora would be shunned for infidelity, but Dr Rank would keep his prestige)

A Doll’s House : “I won’t let this happiness slip through my fingers”

Krogstad and Ms Linde’s relationship serves as a literary foil to the Helmer marriage, emphasising the lack of communication and true connection that Nora has with Torvald. Emphasised by the fact that both are almost exclusively referred to by their surnames — they are very distant from the Helmers. (Link to arranged marriages, which were common in upper-class Norway)

A Doll’s House : “She who was my joy and pride - a hypocrite, a liar - worse, worse - a criminal!”

Despite her continued selflessness (e.g., her well-intentioned fraudulence, distancing herself from her children), Torvald still only sees Nora as selfish, for stealing money and leaving her family. (Link to Laura Kieler)

A Doll’s House : “I believe that I am first and foremost a human being”

Nora’s desire for independence and agency surpasses her desire to be a ‘wife’ and ‘mother’. Up until this point, she is only seen through to who she cares for, not who she is. (Link to Ibsen as a humanist)

A Doll’s House : “I must stand quite alone, if I am to understand myself and everything about me.”

Nora realises here that she must isolate herself to fully understand herself, and strip herself of her relations, as she is only ever seen through her relation to the children of Torvald as a result of being a woman in the domestic sphere. Whilst escaping the domestic sphere may not have contemporaneously been seen as ‘natural’, Nora seems to know that this is what is best for her.

A Doll’s House : “Have you thought what people will say?”

For a contemporaneous audience, Nora’s escape would be seen as a betrayal of motherhood and marriage. An action like this would ruin both her and Torvald’s reputation.

Remember : “Better by far you should forget and smile than that you should remember and be sad”

The narrator sacrifices her personal desire in an expression of consideration for her lover. The emphasis on ‘better by far’ twists the usual word order to achieve a sense of what is important. The poem ends, in peace and acceptance, with the narrator suggesting that the happiness of life should prevail over the sadness of death. However, the poem ends on a note of sadness, suggesting that perhaps the speaker truly wishes she was not forgotten, but placing her lover’s emotions above hers.

From The Antique : “I should be nothing, while all the rest would wake and weary and fall asleep”

The speaker has a lot of existential despair — she wishes not to be a woman, and whilst being a man would be better, she thinks that not existing at all would be best. Her identity and an individual is drowned out by society around her. The regular ABCB rhyme scheme shows the dullness of female life.

Echo : “Yet come to me in dreams, that I may live my very life again though cold in death”

The speaker uses binary opposition to contrast her life with the death of her lover (Narcissus), emphasising her isolation. Through dreams, the speaker escapes her grief by imagining her lover alive, only to wake and grieve their loss again. The speaker suggests that in the death of her lover, she too has lost her life — in choosing to dream, she too attempts to succumb to death — as true death is the only way to truly reunite with her lover.

In the Round Tower at Jhansi : “Close his arm about her now, close her cheek to his, close the pistol to her brow”

The repetition of ‘close’ emphasises the nature of the couple’s relationship — it is this closeness and their reunition in death that allows them to cope with suicide. However, Skene’s wife loses her agency as Skene takes control of her life (literally).

Shut Out : “The door was shut. I looked between its iron bars”

The speaker is isolated from her homeland of the garden, and is taunted by imagery of it. This could also represent the speaker being ‘locked out’ of Heaven, and not understanding her sins that caused it. However, the door is tangible, which provides hope for her being able to reopen it.

Shut Out : “My garden, mine, beneath the sky, pied with all flowers bedewed and green”

The speaker omits a lot of important details, such as their own identity and whether the garden is a physical garden or a metaphor. Their secrets create the same sense of uncertainty in the reader as the speaker feels.

Maude Clare : “We waded ankle-deep for lilies in the beck […] the lilies are budding now.”

Not only did Maude Clare and Thomas break convention by wading in the beck (as this would have been seen as sexual), the lilies could represent death or motherhood. This could be seen as referencing the death of their relationship, or Maude Clare being pregnant (‘budding’). Either way, Maude Clare is now a fallen women — if she is pregnant, she has been socially ruined, and Thomas would have been torn with guilt.

Maude Clare : “‘Maude Clare,’ he said, — ‘Maude Clare’: — and hid his face.”

The caesurae used here emphasises Thomas’ inferiority to the powerful women who dominate the conversational floor. This could be affirming or subverting of expectations, as while men would usually dominate the floor, women dominate the domestic sphere.

No, Thank You, John : “I never said I loved you, John”

The female speaker holds influential power over John (a generic name — any/all men?) as she holds the conversational floor and denies contributions. She prioritises herself over John, as there are many other ‘John’s for her to choose, if this John does not meet her requirements. (Link to Rossetti’s rejection of three men for not sharing her beliefs)

Goblin Market : “Their offers should not charm us, their evil gifts would harm us”

Despite knowing that the goblin’s fruits are oxymoronic ‘evil gifts’, Laura is easily tempted to eat them. Desire and ignorance could be seen as inherently linked — and could also present desire as sinful and unholy. (Link to Victorian religion, and the Garden of Eden)

Goblin Market : “While to this day no grass will grow where she lies low”

Laura’s betrayal of God leaves her physically ill — and the cautionary anecdote of Jeanie suggests that apostasy can lead to death. Salvation can only be found through reforming a relationship with God. (Link to Rossetti’s work with fallen women)

Goblin Market : “White and golden Lizzie stood”

The imagery evoked her presents Lizzie as angelic — perhaps suggesting that the resistance of temptation is the righteous thing to do. This could be used as a metaphor for Jesus, who stood angelic as he was wrongly crucified. As a result, Rossetti may be suggesting that fallen women are wrongly discriminated against — as it was not always them who could not resist temptation.

Winter, My Secret : “Perhaps there’s none: Suppose there is no secret after all”

The speaker uses their secret to gain influential power over the listener, as they have something the listener wants : knowledge. If the speaker is female, it could represent the lack of power held by women, but how women worked for power. (Link to the suffrage movement — but how Rossetti dismissed this, reflected in the lack of power given to the listener).

Souer Louise de la Misericorde : “I have desired, and I have been desired”

By revealing her secret of her desire — to either the listener or God (or accepting it herself), she is allowed freedom from her past to continue her life without the secret burdening her.