A History of English Literature

story (which was known beforehand to most theater-goers) to be omitted.
Shakspere suggests as explanations (motivation) for it, first that it
serves as a safety-valve for Hamlet's emotions (is this an adequate
reason?); and second that he resolves on it in the first heat of his
excitement at the Ghost's revelation (I, iv). The student should consider
whether this second explanation is sound, whether at that moment Hamlet
could weigh the whole situation and the future probabilities, could realize
that he would delay in obeying the Ghost and so would need the shield of
pretended madness. Whether or not Shakspere's treatment seems rational on
analysis the student should consider whether it is satisfactory as the play
is presented on the stage, which is what a dramatist primarily aims at. It
should be remembered also that Shakspere's personal interest is in the
struggle in Hamlet's inner nature.
Another interesting question regards Hamlet's love for Ophelia. When did it
begin? Is it very deep, so that, as some critics hold, when Ophelia fails
him he suffers another incurable wound, or is it a very secondary thing as
compared with his other interests? Is the evidence in the play sufficiently
clear to decide these questions conclusively? Is it always consistent?
_For the second day,_ study to the end of Act II. Suggestions on
details (the line numbers are those adopted in the 'Globe' edition and
followed in most others): I, ii: Notice particularly the difference in the
attitude of Hamlet toward Claudius and Gertrude respectively and the
attitude of Claudius toward him. At the end of the scene notice the
qualities of Hamlet's temperament and intellect. Scenes iv and v: Again
notice Hamlet's temperament, v, 107: The 'tables' are the waxen tablet
which Hamlet as a student carries. It is of course absurd for him to write
on them now; he merely does instinctively, in his excitement and
uncertainty, what he is used to doing. 115-116: The falconer's cry to his
bird; here used because of its penetrating quality. 149 ff.: The speaking
of the Ghost under the floor is a sensational element which Shakspere keeps
for effect from the older play, where it is better motivated--there Hamlet
started to tell everything to his companions, and the Ghost's cries are
meant to indicate displeasure. II, ii, 342; 'The city' is Wittenberg. What
follows is a topical allusion to the rivalry at the time of writing between
the regular men's theatrical companies and those of the boys.
_Third day,_ Acts III and IV. III, i, 100-101: Professor Lewis points
out that these lines, properly placed in the first quarto, are out of order
here, since up to this point in the scene Ophelia has reason to tax herself
with unkindness, but none to blame Hamlet. This is an oversight of
Shakspere in revising. Scene ii, 1 ff.: A famous piece of professional
histrionic criticism, springing from Shakspere's irritation at bad acting;
of course it is irrelevant to the play. 95: Note 'I must be idle.' Scene
iii: Does the device of the play of scene ii prove wise and successful, on
the whole? 73 ff.: Is Hamlet sincere with himself here?
_Fourth day:_ Finish the play and write your discussion. V, i: Why are
the clowns brought into the play? ii, 283: A 'union' was a large pearl,
here dissolved in the wine to make it more precious. In the old play
instead of the pearl there was a diamond pounded fine, which constituted
the poison. Why is Fortinbras included in the play?
Your discussion should include a much condensed outline of the play, a
statement of its theme and main meanings as you see them, and a careful
treatment of whatever question or questions most interest you. In addition
to those above suggested, the character of Hamlet is an attractive topic.