Act One 1. Scene One: Who are these men? What are they doing? Where are they? What is their primary concern (aside from the cold)? 2. Some scholars have argued that the very first line of the play Who s there? introduces the main theme for the entire play. Think on that. 3. Shakespeare often juxtaposes parallel plot points in order to make a thematic point. How does the situation in Norway parallel the situation in Denmark? 4. How is Horatio s reference to Julius Caesar (I.i.123-136) imbued with meaning (especially now that we know more about Old Hamlet s death)? 5. Scene Two: Who? Where? Purpose? 6. Pay attention to all the contrasts in Claudius s speech (I.ii.1-14). How does Hamlet reinforce these contrasts at (I.ii.184-185)? 7. Look for references to things that are disordered, diseased, or otherwise distressed in Hamlet s first soliloquy (I.ii.131-161). 8. Scene Three: Ditto Who? Where? Purpose? 9. Pay attention to the way in which Polonius treats Laertes (his son) and contrast that with the way in which he treats Ophelia (his daughter). Continue to notice these contrasts throughout the play. 10. Both Laertes and Polonius are opposed to any sort of relationship between Ophelia and Hamlet. Why? 11. Polonius s farewell speech to Laertes (I.iii.59-85) is one of Shakespeare s most famous. Can you enumerate the advice that Polonius gives to his son? 12. Scene Four: Wow! Big events! What are they? 13. Scene Five: Big events continue! What are they? 14. Can you find any recurring imagery in the speeches given by the Ghost in Act One, Scene Five? 15. Elizabeth stage conventions tell us that in productions of the time, ghosts could be made to appear from either above or below. Shakespeare s stage directions in Act One, Scene Five, tell us that the Ghost speaks from beneath. Why?
Act Two 1. Why is Polonius sending Reynaldo to France? 2. Act Two, Scene One gives us another opportunity to evaluate Polonius s approach to parenting. How are his expectations for Laertes different from his expectations for Ophelia? 3. What does Ophelia reveal about Hamlet s behavior in her bedroom? Suggest an explanation for said behavior. 4. Who are Rosencrantz and Guildenstern and why are they in Denmark? 5. Scholars have written entire essays about II.ii.35-36. What might the thesis of these essays have been? 6. Shakespeare has given us a rather ambiguous characterization of Hamlet, making him one of the most challenging characters for an actor to play. When he speaks directly to us as in his asides and soliloquies he seems lucid and even brave. Yet, when we hear about him from others Ophelia, Laertes, Polonius he is portrayed as unstable. Think on this. 7. Polonius s meeting with Claudius is interrupted by the arrival of Voltemand. Who is he and why is he in Denmark? 8. When Polonius finally gets to talk to Claudius and Gertrude, he utters the famous line, Brevity is the soul of wit (II.ii.96). Why is this ironic and how does Gertrude s line at II.ii.102 support this irony? 9. How might we stage II.ii.184-233 (Polonius s encounter with Hamlet)? Offer some explanation for Hamlet s behavior in this scene. Also, pay attention to the diction here Hamlet s lines are full of puns, especially when he tells Polonius not to let his daughter walk in the sun. 10. Why does Hamlet get annoyed when he encounters his buddies, Rosencrantz and Guildenstern? (Notice: Hamlet and his friends speak in prose as opposed to poetry.) What important plot point (it will be, trust me) does Rosencrantz reveal in II.ii.331-334? 11. After a lengthy scene in which Hamlet essentially gives the traveling actors an audition, Hamlet is motivated to deliver his second soliloquy, O, what a rogue and peasant slave am I! (II.ii.564-621). Of what quality that the actor possesses is Hamlet envious? How does Hamlet plan to use the actors in order to gain revenge on Claudius?
Act Three 1. Do we like and/or trust Rosencrantz and Guildenstern? Why or why not? Analyze Gertrude a bit. What are her motivations in dealing with Rosencrantz and Guildenstern in III.i? 2. It be: III.i.62-96. Read it. Think about it perhaps the most famous speech in literary history. 3. In III.i.97-157, we have another famous scene Hamlet advising Ophelia to get thee to a nunnery and his declaration that we will have no more marriage. Explain the motivations behind his actions in this scene and discuss their thematic implications. 4. What solution to the Hamlet problem does Claudius offer in III.i.177? 5. In III.ii, what does Hamlet asks Horatio to do? What two bits of information does Hamlet reveal to Horatio in this scene? 6. How does Hamlet behave toward Ophelia during the play? 7. What about Act Three, Scene Two makes it tricky to stage? 8. Famous line alert: Gertrude at III.ii.246. Significance? 9. What is a dumb show? What happens in The Murder of Gonzago and how does the King react? 10. Um consider the diction in Hamlet s speech (III.ii.403-413) before he goes to his mother s chamber. 11. What would seem to be the purpose of Claudius s speech at III.iii.39-75? Cite and explain one literary device utilized by Claudius in his speech. 12. Whom does Hamlet NOT kill in this act? Why? Whom DOES Hamlet kill in this act? Why? 13. During his conversation with his mother, what occurs that further convinces Gertrude of Hamlet s madness? 14. Explain Hamlet s final two speeches to his mother (III.iv.201-216 and III.iv.223-238).
Acts Four 1. What quirk in Shakespeare s script writing allows for multiple interpretations of characters and events? How is this quirk reflected in the dual scene in the two film versions of Hamlet? 2. Review the scenes in both the final acts and suggest and explain one moment that might be considered a scene of comic relief. Why is comic relief necessary in a play like Hamlet? 3. Why do we not feel remorse upon learning that Rosencrantz and Guildenstern are dead? 4. How is the idea of something rotten in the state of Denmark reinforced by Hamlet s lines about Polonius s body? 5. Contrast Laertes s response to the news of his father s murder with Hamlet s response to his own father s death. 6. What are the two identifiable subjects of Ophelia s pre- suicide ramblings? Is there any method to her madness? Act Five 7. How is that Yorick makes an appearance in Act V? How well does Hamlet know him? 8. Her death was doubtful,/and but that great command o ersways the order,/she should in ground unsanctified have lodged/till the last trumpet (V.i.193-197). Speaker? What theological issue is in question here? When has this issue been previously raised in the play? 9. V.ii.233-237: Was t Hamlet wronged Laertes? Never Hamlet./If Hamlet from himself be ta en away,/and when he s not himself does wrong Laertes,/Then Hamlet does it not; Hamlet denies it./who does it, then? His madness Speaker? Listener? Context? Reaction? 10. How many deaths occur onstage in the final scene of the play? List (in order) the names of the dead and specify each person s cause of death. 11. Why is there no need for Hamlet to deliver soliloquies in Act 5?
Hamlet s Soliloquies I.ii.131-161 Hamlet recalls the events of the previous months O, that this too, too sullied flesh would melt I.v.97-114 Hamlet reacts to having seen his father s ghost O all you host of heaven! O earth! What else? II.ii.564-621 Hamlet reacts to having met the players O, what a rogue and peasant slave am I! III.i.62-96 Hamlet contemplates life and death To be or not to be that is the question III.ii.402-413 Hamlet expresses a sudden surge of confidence Tis now the very witching time of night III.iii.76-100 Hamlet reacts to having overheard the King s prayer Now might I do it pat, now he is a-praying IV.iv.34-69 Hamlet reacts to his encounter with Fortinbras How all occasions do inform against me