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the dramatic purpose of a scene jake templeton james collacutt and kyle paterson n.
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Hamlet: Act 3, Scene 1 PowerPoint Presentation
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Hamlet: Act 3, Scene 1

Hamlet: Act 3, Scene 1

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Hamlet: Act 3, Scene 1

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  1. The Dramatic Purpose of a Scene Jake Templeton, James Collacutt, and Kyle Paterson Hamlet: Act 3, Scene 1

  2. Reveals the Nature of Characters Reveals Opposition to Characters Advances the Plot Demonstrates Conflict Develops Irony Develops Pathos (Pity) Dramatic Purposes of Act 3, Scene 1:

  3. King (Claudius) and Queen (Gertrude) debate with Rosencrantz and Guildenstern over the true origin of Hamlet’s madness and depression Claudius intends to “spy” on Hamlet’s conversation with Ophelia with Polonius (her father) in order to learn more of Hamlet’s “madness” Hamlet has his “to be or not to be” soliloquy, which is overheard by Claudius and Polonius, yet not wholly understood or interpreted Ophelia enters, and under instructions from Polonius, attempts to return the tokens of Hamlet’s love that she had previously received. This enrages Hamlet, and causes him to slip into his apparent “madness” once again, criticizing and denouncing: women in general, the concept of marriage, and, humankind as a whole… he then storms off leaving a tearful Ophelia mourning the loss of “a noble mind” Claudius and Polonius emerge from their hiding, and disagree on the cause of Hamlet’s madness. Claudius believes Hamlet not to be lovesick or mad at all, while Polonius is sure that Hamlet’s agony is all directly related to his love for Ophelia. Claudius then declares that he must send Hamlet to England after his play, as he has become a danger to both himself and others, and Polonius agrees Scene Summary:

  4. WOW mom! Not cool...

  5. In this scene, and specifically in his “to be or not to be” soliloquy on life vs. death, the reader is given much more insight to the true inner-workings of Hamlet’s mind, to an extent that the audience can understand things about him that he himself may be oblivious of. Hamlet questions the authority that his mind has over his decisions, as he talks about how “the native hue of resolution” (logical problem solving) can be “sicklied o’er” (overlooked or un-noticed) by “the pale cast of thought”. • “Thus conscience does make cowards of us all / And thus the native hue of resolution / Is sicklied o’er with the pale cast of thought” (Hamlet: 3,1,84-86) • After Ophelia refuses Hamlet’s “tokens of love,” Hamlet once again demonstrates his apparent madness, as he impulsively begins to reveal irrational thoughts such as the complete denouncing of Ophelia, and women in general as being useful in any way, and also, his pessimistic view of humanity as a whole. Eventually, Hamlet orders Ophelia to go to a nunnery, and calls her a “breeder of sinners”. This is one of the most extreme examples we can see of both Hamlet’s madness and hopelessness throughout the play… • “Get thee to a nunnery, go; farewell / Or, if thou wilt needs marry, marry a fool / For wise men know what monsters you make of them / To a nunnery, go; and quickly too / Farewell. (Hamlet to Ophelia: 3,1,137-141) #1) Reveals nature of characters (Hamlet)

  6. ...not the happiest guy

  7. From this scene, we now learn that Claudius has begun to see through Hamlet’s false “madness” as he begins to suspect Hamlet is neither mad nor lovesick • “Love! His affections do not that way tend / Nor what he spake, though it lack’d form a little / Was not like madness...” (Claudius: 3,1,164-166) • Claudius’ newfound suspicion is a determining factor in his decision to send his nephew Hamlet away to England (after his play is performed). He suspects that there is “something in his soul” on which his melancholy feelings sit and “brood”. This discovery leads to Claudius’ conclusion that whatever is bothering Hamlet cannot be cured, and ultimately allows him to make the decision to send Hamlet to Europe. • “There’s something in his soul / O’er which his melancholy sits on brood / And I do doubt the hatch and the disclose / Will be some danger: which for to prevent / I have in quick determination / Thus set it down: he shall with speed to England (Claudius about Hamlet: 3,1,166-171) Claudius’ comments to Polonius following Hamlet’s conversation with Ophelia reveal he is slowly becoming more aware of the surrounding events he has been oblivious to in his kingdom. This feeling of unease has driven him to a sense of near paranoia, and decides to deport his own nephew to England, based on the fact that he has become a “danger” to himself and other members of the kingdom. #2) Reveals opposition to characters (Claudius)

  8. So... How does England sound...?

  9. In Act 3, Scene 1, the plot is directly advanced by a number of events including: #3) Advances the plot • Hamlet and Ophelia’s argument, and subsequent break up or withdrawal from one another • Claudius’ newfound knowledge after overhearing Hamlet’s “to be or not to be” soliloquy, then, his conversation with Ophelia • The confirmation that both King Claudius and Queen Gertrude will both be attending Hamlet’s production • Hamlet’s much-revealing thoughts on topics including: life, death, women, Ophelia, and humankind • Claudius’ decision (and Polonius’ agreement) to send Hamlet away to England following his play • Claudius’ final quote of the scene: “Madness in great ones must not unwatch’d go” (3,1,190). Reveals Caludius’ intention to keep close watch over his nephew

  10. The plot thickens....

  11. There are two major conflicts in Act 3, Scene 1 but, since they both directly involve Hamlet, they are inter-related: #4) Demonstrates conflict Hamlet Vs. Ophelia Hamlet Vs. Claudius/Polonius • The ensuing argument between Hamlet and Ophelia provides the basis of Claudius and Polonius’ fear of Hamlet as a “dangerous” person, and influences them to send him away to England • This conflict is significant because it represents Hamlet having another source of love leave his life • This conflict represents the power of the changing kingdom against an un-adaptable Hamlet • Claudius has become suspicious of Hamlet’s “madness” and following Hamlet’s argument with Ophelia, justifies Hamlet’s deportation to England by convincing Polonius that the move is for his daughter’s safety

  12. You’re mad... No... You’re mad!

  13. It is ironic that Claudius decides to send Hamlet to England after the play, because the play is Hamlet’s grand gesture of revenge, and his way of truly confirming Claudius’ guilt When Hamlet says his whole “to be or not to be” soliloquy, he reveals much personal insight and detail, as he does so believing to be alone... The irony is that both Claudius and Polonius both overheard him, and this becomes part of the evidence that leads to Claudius’ decision to remove Hamlet from Denmark. Hamlet “digs his own grave” here sort of speak. Hamlet decides to portray himself as being “mad” with grief in order to cover up the fact he is planning to exact revenge on Claudius for killing his father, Hamlet Sr. However, it is the same madness that raises enough suspicion in Claudius to ensure that Hamlet be removed from his kingdom, and sent to England. Most cases of irony displayed in the scene are dramatic, because they involve characters knowing valuable information others do not #5) Develops irony

  14. Because Hamlet loses another person he had once loved (Ophelia), the audience is able to relate to/sympathize with him. The reader is also able to pity Hamlet after his revealing and emotional “to be or not to be” soliloquy, as it becomes apparent that Hamlet’s life has become so difficult that he believes bearing the suffrages of every passing day to be more painful than death itself. The reader can also pity Hamlet here knowing he believes he is alone, but his revealing thoughts are overheard and then used against him by Claudius and Polonius This scene continues the trend of seemingly having things not go Hamlet’s way, no matter the context or the circumstances. This continued feeling of defeat makes the reader sympathize with Hamlet as being the “underdog,” an archetype familiar to most people, identified easily throughout both literature and sports #6) Develops Pathos (Pity)