THE DRAMATIC PURPOSE OF ACT 2, SCENE II

1. THE DRAMATIC PURPOSE OF ACT 2, SCENE II AdityaPrabhune Affan Wali Ahmad Qaderi

2. ADVANCE IN PLOT • A band of actors are travelling in the Kingdom of Denmark and encounter Hamlet • Hamlet is fairly impressed with their acting abilities and creates a play of his own which aims to re-enact his father’s death. (Murder of Gonzago) • “We’ll have to-morrow night. You could, for a need, study a speech of some dozen or sixteen lines, which I would set down and insert in’t, could you not? (2.2. 536-538) • He uses this as an opportunity to see if his uncle is guilty of his father’s death by observing his facial expressions as he watches the play.

3. Analysis • This shows that Hamlet is not making unjust decisions based solely from his emotions, but takes his time to gather enough evidence to prove his uncle guilty. • This is also advances the plot because Hamlet is finally taking action against his uncle and shows initiative in terms of obtaining revenge for his father’s death. Also, readers are now observing character development in Hamlet which proves him to be more assertive and confident than before.

4. REVEALS OPPOSITION OR LOYALTY IN CHARACTERS • In Act 2, Scene II readers are introduced to the characters of Rosencrantz and Guildenstern who are two of Hamlet’s closest friends • The King and Queen have given them the duty of spying on Hamlet to see if he is truly insane • Hamlet becomes aware of this and states, “I will tell you why; so shall my anticipation prevent your discovery, and your secrecy to the king and queen moult no feather.” (2.2.293-295)

5. ANALYSIS • This depicts both aspects of opposition and loyalty since his uncle and mother are becoming suspicious of his behaviour and begin taking action against him. There is a sense of mistrust between Hamlet and his mother ever since she had married his uncle and it becomes more evident since she is supporting the King’s decisions. On the other hand, Rosencrantz and Guildenstern are not aware of the true purpose of their arrival and do not protest when Hamlet realizes that they have been sent to spy on him.

6. DEVELOPS PATHOS • Pathos is a Greek term meaning a quality in a work of art that evokes pity in its viewers. Towards the end of the scene when Rosencrantz and Guildenstern leave the stage Hamlet has his guilt soliloquy where we as the audience realize how troubled Hamlet really is. • Yet I, A dull and muddy-mettled rascal, peak, Like John-a-dreams, unpregnant of my cause, And can say nothing; no, not for a king, Upon whose property and most dear life A damn’d defeat was made. Am I a coward? (2.2.563-567)

7. ANALYSIS • In this part of the soliloquy Hamlet starts to judge himself and his ability to take action. We already know that Hamlet is grieving his father’s death by wearing black all the time but now he tells the audience that he is overwhelmed with problems. His mother has betrayed him and his dead father has just told him that Hamlet must take revenge for his murder. He explains how he is trying his best to follow his father’s orders but he is still unsure how to take his revenge. When he says, “Like John-a-dreams”, he means that he mopes around like a dreamer and doesn’t actually commit to anything. This develops pathos because the audience feels Hamlet’s grief and understands that he is having a hard time deciding a plan of action

8. Demonstrates Conflict • During this soliloquy a conflict is also evident. This conflict takes place between Hamlet and himself. • Why, what an ass am I! This is most brave, That I, the son of the dear murder’d, Prompted to my revenge by heaven and hell, Must, like a whore, unpack my heart with words, And fall a cursing, like a very drab, A scullion! Fie upon’t! foh! About, my brain! (2.2.580-586)

9. ANALYSIS • This quote is towards the end of the soliloquy where Hamlet has moved past explaining his problems and on to accusing his own actions. He begins to swear showing his anger and says that even though he has been urged by his dead father, he still cannot act. He also gets mad at the fact that he is using words to let out his anger instead of performing actions. When he says, “Fie upon’t! foh! About, my brain!”, he is trying to boost his mentality and develop some confidence, so that he will be able to think clearly. Hamlet’s internal struggle proves that his main obstacle is not Claudius, but instead it is himself. Therefore, if Hamlet overcomes this obstacle, he will be able to perform his duty.

10. Develops Irony It is ironic how Hamlet, Guildenstern and Rosencrantz have been long time friends, but both Rosencrantz and Guildenstern have agreed to spy on Hamlet as requested by the King. “But let me conjure you, by the rights of our fellowship, by the consonancy of our youth, by the obligation of our ever-preserved love, and by what more dear a better proposer could charge you withal, be even and direct with, whether you were sent for, or no” (2.2. 283-285)

11. ANALYSIS • The three of these characters were long time friends, but Rosencrantz and Guildenstern had deceived by Hamlet by agreeing to spy on behalf of the King and Queen.

12. Links Characters • In Act 2, Scene 2 Hamlet links all characters from the play in his conversation with Rosencrantz. • “He that plays the king shall be welcome; his majesty shall have tribute of me: the adventurous knight shall use his foil and target: the lover shall not sigh gratis; the humorous man shall end his part in peace: the clown shall make those laugh whose lungs are tickled o’ the sere; and the lady shall say her mind freely, or the blank verse shall halt for’t. (2.2. 321-325)

13. ANALYSIS • In this statement, Hamlet is reinforcing his thoughts on other characters in the play and this gives the reader a sense of his true personality. The way Hamlet views these characters, is essentially how the reader will view them.