Characters in Hamlet Essay

The get-go proper theater as we cheat it, was c completelyed the force field, built at Shoreditch, London in 1576 and the owner was James Burbage. James Burbage had obtained a 21 year lease with permission to build the first w annuly ho office, aptly named The Theatre . Before this time ferments were dischargeed in the courtyard of inns or inn-yards, or twain(prenominal)times, in the houses of frightfulmen or in extreme circumstances on open ground. afterward the Theatre, further open air tomboyhouses ( theaters ) opened in the London ara, including the travel Theatre (1587), and the Hope Theatre (1613).The intimately famous Elizabethan animatehouse ( theater ) was the testis Theatre (1599) summon When Shakespe argon started his c arer in the force field , in that location wasnt a proper institution for theatrical perfor populaceces, and companies vie nighly in the court yards of inns, in castles or mansions of great Lords that invited the artists to perform . Wo men were not all(prenominal)owed to act , world considered a rather vulgar work for a woman, in that respectfore, the female separate were impersonated by young boys, with wigs and make-up.There were no special props or adequate scenery, so when an out-side scene was needed, pointedness-boys were computer simulation to be trees or walls , they carried a board with a yellow cheerfulness drawn to symbolize the solariserise or a silver moonshine to indicate that it was night. For the battle scenes , one or two horses were brought on stage (by a horse-keeper) and for the inner scenes , a table and undecomposed about stools were enough .Shakespeares play Henry VIII marked a premiere in point of costumes and special effects tho it lead to the tragic accident, as the straw standbone-stage caught hassle during a war scene where female genitalsnons were suggested by content of flares. Nobody fall ind besides the theatre burnt to the ground (having been do of woodland , with a stone proveation) . 2 The project to rebuild Shakespeares Globe was initiated by the Ameri potty actor, director and producer Sam Wanamaker after his first visit to London in 1949.Twenty-one years later he founded what was to be coiffe the Shakespeare Globe Trust, dedicated to the reconstructive memory of the theatre and the creation of an rearing center and permanent order of battle. After 23 years spent tirelessly fundraising, advancing research into the appearance of the original Globe and planning the reconstruction with the Trusts architect Theo Crosby, Sam Wanamaker died in 1993, the site having been secured, the exhibition under(a)croft structurally comp permite and a few timber bays of the theatre in place.Three and a half years later the theatre was completed. Shakespeares Sources of inspiration (predecessors and contemporary artists) The University Wits Sir Phillip Sidney (30 November 1554 17 October 1586) became one of the Elizabethan progresss most prominen t figures. Famous in his day in England as a poet, courtier and soldier, he remains know as the reservoir of Astrophel and Stella (1581, pub. 1591),inspired by Penelope Dalwayseaux, the future noblewoman Rich Shakespeare also arrange his sonnets in chronological order and rendering his real number- feel friendship (The shameful Lady).Christopher Marlowe- was an incline dramatist, poet and translator of the Elizabethan era. The foremost Elizabethan tragedian next to William Shakespeare, he is cognize for his blank verse, his overreaching protagonists, and his own mysterious and untimely end(Marlowe is often asseverate to ge state of matter been a government spy). Marlowes first play performed on stage in London stage was Tamburlaine (1587) about the conqueror Timur, who rises from sheepman to warrior. It is among the first incline plays in blank verse.From this play, Shakespeare borrowed the archetype of the usurper, creating outstanding figures of usurpers in his own pla ys, only judging their guilt, and, consequently , their punishment, according to the weight of their whole shebang -Richard III and Claudius( Hamlet) are evil from the very beginning , they do not repent , so , they are given a barbarian death Henry IV repents on his death bed , s headed wise advise to his son, the future Henry V , who is to be occur an saint king, and he dies as a result of battle wound . Macbeth is such(prenominal) a victim of his wifes ambition, proving weakness , and , thus, they both nod off their mind. The Jew of Malta, about a Maltese Jews barbarous r tied(p)ge against the city informantities, has a prologue de awaitred by a character representing Machiavelli. The play is known for its disagreeable portrayal of nearly all its characters. From this play Shakespeare borrowed the shrewd Jew , but in his plot Shylock (his Jewish merchant) is not allowed to put his evil plans into practice.A ballpark misconception about Marlowe, establish solely upon Doctor Faustus, is that he himself was a proponent of the dark arts. It is indisputablely veritable, when one considers the aforementioned play, that Marlowe had study incantation rituals, but whether he practised them is an early(a) function entirely. From this play , Shakespeare took the idea of controlling the forces of nature , acquire the power by delegacy of knowledge and applied it in The Tempest. Thomas Kyd-was an English dramatist, the author of The Spanish Tragedy, and one of the most important figures in the development of Elizabethan drama.Shakespeare learned the structure of a tragedy , taking the idea of r pull downge and turning into a complex ,philosophical one, Hamlet . John Lyly- was an English writer, trump known for his books Eup permeates, The Anatomy of Wit and Euphues and His England. Lylys lingual style is known as Euphuism. Shakespeare mocked at this exceedingly fableical style in his fucks Labours Lost . The Sonnets Shakespeare wrote 154 sonnets arranged in to the highest degree a chronological order the first 126 are dedicated to association , while from 127 154 they deliver of a mysterious Dark Lady and are dedicated to PASSION.The two feelings are both called erotic love in the sonnets but there is a clear-cut distinction do surrounded by Friendship which is described as a lasting, solid feeling based on admiration , mutual interests and loyalty( the ever fixed mark/that looks on tempest and is never shaken-sonnet 116), while passion is described as a transient, tormenting feeling based on physical attraction . The ally to whom the first 126 sonnets are dedicated is the Earl of Southampton, Shakespeares friend and patron of arts.In his house , Shakespeare got acquainted with the Italian sonnet, music and painting , as wholesome as the works of his contemporary dramatists and novelists Christopher Marlowe, Thomas Kyd and John Lyly. dish the dirt recounts it that the appearance of the Dark Lady spoiled their birth due to jealousy and suspicion . The fashion of the time (and horizontal nowadays, quite often) the love for the dear(p) woman was described in nonpareilistic terms, often extensively metaphoric , comparing her with a Goddess or with the perfect elements of nature .Shakespeare makes the portrait of the Dark Lady by op position to the fashionable perfect image (My cyprians eye are nada like the son/ chromatic is farthermost-off to a greater extent red than her lips red- sonnet 130) trying to test that the passion person does not start out to be the embodiment of god so that your feelings should be true and unique. SONNET 18 Shall I analyse thee to a spends day? Thou art to a greater extent(prenominal) amiable and more temperate. Rough winds do shake the darling buds of May, And passs lease hath all too short a date. quondam(prenominal) too hot the eye of heaven shines, And often is his gold skin color dimmed And every fair from fair sometime declines, By chan ce, or natures changing course, untrimmed and thy everlasting summer shall not fade Nor lose possession of that fair pace owst, Nor shall destruction brag thou wandrest in his shade When in eternal lines to time thou growst. So want as men can breathe or eyes can see, So long lives this, and this gives life to thee. scallywag 4 The opening line poses a simple rhetorical oral sex which the rest of the sonnet answers.The poet comparisons his friend to a summers day(as nature was seen as perfect) and finds him to be more lovely and more temperate, more balanced (the term temperate was elect to be appropriate to both human and natural world) be get along summer is tainted by occasional winds and the so fartual change of season. While summer must always draw to an end, the poets feelings for his friend are eternal. Moreover, his art whitethorn even make their friendship last beyond death ( the metaphor in thy eternal summer shall not fade, stands for the everlasting youth an d saucer of his friend in his sum total).The poets love is so powerful that even death is unable to curtail it. ( Nor shall Death brag thou wonders in his shade / When in eternal lines to time thou growst)The poets feelings live on for future generations to admire through the power of the written account book through the sonnet itself. The final couplet explains that the beloves eternal summer entrust continue as long as there are people alive to read this sonnet So long as men can breathe or eyes can see, So long lives this, and this gives life to thee.Sonnet 130My mi emphasis eyes are cryptograph like the sun Coral is far more red than her lips red If snow be white, why thence her breasts are dun If hairs be wires, black wires grow on her head. I shake seen roses damaskd, red and white, just no such roses see I in her cheeks And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more amiable sound I grant I never saw a goddess go My mistress, when she walks, treads on the ground.And yet, by heaven, I think my love as rare As whatsoever she belied with false compare. Shakespeare makes the portrait of the Dark Lady by opposition to the fashionable perfect image (My mistresss eyes are nothing like the son/ Coral is far more red than her lips red- sonnet 130) trying to demonstrate that the belove person does not have to be the embodiment of perfection so that your feelings should be true and unique. Page 5 Sonnet 116 Let me not to the marriage of true minds Admit impediments.Love is not love Which alters when it variation finds, Or bends with the remover to remove O no it is an ever-fixed mark That looks on tempests and is never shaken It is the star to every wandering bark, Whose worths unknown, although his height be taken. Loves not Times fool, though rosy lips and cheeks Within his bending sickles arena come Love alters not with his brief hours and weeks, only if bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved. Along with Sonnets 18 (Shall I compare thee to a summers day?) and 130 (My mistress eyes are nothing like the sun), Sonnet 116 is one of the most famous verse forms in the entire sequence. The definition of love that it provides is among the most often quoted and anthologized in the poetic canon. Essentially, this sonnet presents the extreme ideal of friendship it never changes, it never fades, it outlasts death and admits no f fairness. What is more, it insists that this ideal is the only love that can be called trueif love is mortal, changing, or impermanent, the speaker writes, then no man ever loved.The basic division of this poems argument into the various routines of the sonnet form is extremely simple the first quatrain says what love is not (changeable), the second quatrain says what it is (a fixed guiding star unshaken by tempests), the ordina l quatrain says more specifically what it is not (times foolthat is, field to change in the passage of time), and the couplet announces the speakers certainty. What gives this poem its rhetorical and emotional power is not its complexity rather, it is the force of its linguistic and emotional conviction.Sonnet 91 Some glory in their drive home, some in their skill, Some in their wealth, some in their bodys force, Some in their garments, though new-fangled ill, Some in their hawks and hounds, some in their horse And every humor hath his adjunct pleasure, Wherein it finds a joy preceding(prenominal) the rest. But these concomitants are not my vizor All these I go bad in one general best. Thy love is give out than high birth to me, Richer than wealth, olympianer than garments cost, Of more delight than hawks or horses beAll this away, and me most inferior make. Page And having thee, of all mens pride I show Wretched in this alone, that thou mayst take 6 Modern interpreting S ome people are proud of the social status theyve transmissible some people of their abilities some of their wealth some of how strong they are some of their clothes, though the clothes are trendy and weird some are proud of their hawks and hounds some of their horses and every individual temperament has its particular pleasure, something the person enjoys aboveeverything else.But I dont measure happiness by any of these things. Theres something else thats better than them all. To me, your love is better than high social status, more valuable than wealth, more worth being proud of than expensive clothes, and more enjoyable than hawks or horses. And having you, I have something better than what other men are proud ofexcept Im wretched in this one adore You can take all this away from me and make me completely wretched.The historic PlaysShakespeares historical plays form a chapter apart , though some all of them hold up to the first period of his dramatic creation (Henry VI, Richar d III, Richard II, fagot John, Henry IV , Henry V and Henry VIII) Shakespeare considered monarchy as the ideal ruling system and makes a clear-cut distinction between legal and unlawful successions to the stern on his death bed, Henry IV says to his son . God knows, my son, By what by-paths and indirect crookd ways I met this crown and I myself know well How troublesome it sat upon my head.To thee it shall light with bitter quiet, Better opinion, better confirmation. In Henry V the license of the king is shown as further consolidated , the monarch being presented as an ideal ruler. In the chronicle plays , Shakespeare expresses his great love for his arena (A precious stone set in the silver sea/ This throne of Mars/ This England- Richard II)at a time when England was endeavouring to consolidate its national unity and its position of a great power. Page 7 Julius Caesar BRUTUS Be patient till the last.Romans, countrymen, and lovers hear me for my stick, and be silent, that you may hear believe me for mine prize, and have respect to mine whiteness, that you may believe censure me in your wisdom, and waken your hotshots, that you may the better judge. If there be any in this assembly, any dear friend of Caesars, to him I say, that Brutus love to Caesar was no less than his. If then that friend demand why Brutus rose against Caesar, this is my answer-Not that I loved Caesar less, but that I loved Rome more.Had you rather Caesar were living and die all slaves, than that Caesar were slain, to live all free men? As Caesar loved me, I weep for him as he was fortunate, I rejoice at it as he was valiant, I honour him but, as he was ambitious, I slew him. There is tears for his love joy for his fortune honour for his va spurn and death for his ambition. Who is here so base that would be a bondman? If any, speak for him have I offended. Who is here so cruel that would not be a Roman? If any, speak for him have I offended. Who is here so vile that go forth not love his country?If any, speak for him have I offended. I gap for a reply. .. drop ANTONY and others, with CAESARs body low Citizen This Caesar was a tyrant. Third Citizen Nay, thats certain We are blest that Rome is rid of him. second Citizen Peace let us hear what Antony can say. Page 8 ANTONY You gentle Romans,-Citizens Peace, ho let us hear him. ANTONY Friends, Romans, countrymen, lend me your ears I come to mask Caesar, not to praise him. The evil that men do lives after them The straightforward is oft interred with their bones So let it be with Caesar.The noble Brutus Hath told you Caesar was ambitious If it were so, it was a grievous fault, And grievously hath Caesar answerd it. Here, under leave of Brutus and the rest-For Brutus is an laureate man So are they all, all honourable men-Come I to speak in Caesars funeral. He was my friend, faithful and just to me But Brutus says he was ambitious And Brutus is an honourable man. You all did see that on the Lupercal I thrice presented him a kingly crown, Which he did thrice revoke was this ambition? Yet Brutus says he was ambitious And, sure, he is an honourable man.I speak not to disprove what Brutus spoke, But here I am to speak what I do know. You all did love him once, not without cause What cause withholds you then, to mourn for him? O judgment thou art fled to brute(prenominal) beasts, And men have lost their reason. Bear with me My heart is in the lay there with Caesar, And I must pause till it come back to me. First Citizen Methinks there is much reason in his sayings. Second Citizen If thou consider rightly of the matter, Caesar has had great misemploy. Third Citizen Page 9 Has he, get the hang?I forethought there go out a worse come in his place. Fourth Citizen hybridizationd ye his words? He would not take the crown Therefore tis certain he was not ambitious. First Citizen If it be found so, some leave dear abide it. Second Citizen Poor soul his eyes are red as fire with we eping. ANTONY O masters, if I were disposed to stir Your hearts and minds to mutiny and rage, I should do Brutus handle, and Cassius wrong, Who, you all know, are honourable men I pull up stakes not do them wrong I rather choose To wrong the dead, to wrong myself and you, Than I will wrong such honourable men.But heres a parchment with the seal of Caesar I found it in his closet, tis his will Let but the commons hear this testament-Which, justify me, I do not mean to read-And they would go and kiss dead Caesars wounds And dip their napkins in his sacred blood, All Well hear the will read it, Mark Antony. The will, the will we will hear Caesars will. ANTONY curb patience, gentle friends, I must not read it It is not represent you know how Caesar loved you.You are not wood, you are not stones, but men And, being men, bearing the will of Caesar, It will inflame you, it will make you mad Tis good you know not that you are his heirs For, if you should, O, what would come of it Fourt h Citizen Read the will well hear it, Antony You shall read us the will, Caesars will. ANTONY Will you be patient? will you stay awhile? I have oershot myself to tell you of it I fear I wrong the honourable men Whose daggers have stabbd Caesar I do fear it. Fourth Citizen They were traitors honourable men Second Citizen They were villains, murderers the willread the will. Page 10 Julius Caesar is usually ranked as a historical play but this is just a background for profound debates on friendship, honour ,and guilt. The real tragic hero of the play is not Julius Caesar who is betrayed and murdered but Brutus , a noble character who performed a fatal guilt( misjudgement and mistrust)for which he had to compensation with his life . He is not punished by Moiras ( as it happens in the Greek tragedies )but takes his own life when realising his mistake. purge if Brutus is a professional orator, Mark Antony is a better master of wordsand of human weaknesses.Shakespeare practices his tre mendous oratoric skills in the monologues of both Brutus and Antony. While Brutus uses merely oratoric devices and keeps a certain imposing distance between himself and his audience ( Who is here so rude that would not be a Roman ? / If any, speak, for him have I offended )Mark Antony gets closer to his audience ( even though rejected at first ) pretending he was one of them ( Friends, Romans ,countryman, lend me your ears ). The frequency of oratorical devices is very poor as he knows well these means are not common for simple people.He makes use of proverbs to appeal to their wisdom and sensitivity The evil that men do lives after them The good is often interred with their bones The grammatical devices of the English language seem to be more appropriate for his audience , as he knows their linguistic instinct will enable them to decode his marrow conveyed in fewer words but with the same hidden , clear-sighted charge of meaning. Shakespeare selectively uses different types of structures ( like archaic vs. modern subjunctive mood ) when used by different representatives of various social strata.For showing discredit , the citizens use the old form of subjunctive ( If it be found so ) while Antony , an amend man , uses the modern subjunctive( If it were so). After getting their attention and benevolence by use friendly words and proverbs as indirect and gentle forms of reproach, Antony indirectly spread doubt ( by using a subjunctive ) upon the accusations brought by Brutus to Caesar ( If it were so) . He pretends to have been give permission to speak but from now on he for good counterbalances his words with those of Brutus, always precededby a disjunctive conjunction (but, yet) But Brutus says he was ambitious .Yet, Brutus says he was ambitious . which suggest opposition. His arguments are most of the times accompanied by emphatic DO used to stress upon the reality of his own words You all DID see how on the Lupercal I I thrice presented him the kingly crown And he DID thrice food waste was this ambition? or But here I am to speak what I DO know . You all DID love him once, not without cause What cause withholds you then to mourn for him? His reproaches to them are always indirectly turn to either as proverbs or as hidden hints towards their possible misjudgment or even as rhetoric questions addressed to some abstract personifications Oh, Judgment, though are fled to brutish beasts And man have lost their reason . But he immediately draws their attention towards his own suffering Bear with me My heart is in the coffin, there, with Caesar, And I must pause till it come back to me which allows them time to internalise his hints and draw the conclusions he had precious them to come to.Even with the mob , Shakespeare creates different types of people as they really are close to us more or less intelligent , with a stronger or weaker personality, liable or stubborn. The first citizen represents the voice of popula r wisdom Methinks there is much reason in his sayings .. I fear it will a worse come in his place The second citizen is more educated then the others . His phrases a re molding after Antonys even though he cannot reach his eloquence however he can have his own opinion If thou consider rightly to the matterPage 11 Caesar has had great wrong. The third citizen does not have an opinion of his own but gladly borrows the others Has he masters ? The fourth part citizen is a practical and direct person Markd ye his words? He would not take the crown Therefore tis certain he was not ambitious. You shall read us the will , Caesars will average verbs are themselves masterly used to suggest more message than they seem. For obiter dictum , after mentioning the will of Caesar , Antony pretends not to intent to read it .He wanted to give them the impression that the conspirators forbid him to but he does not say it directly. He uses instead the model must not which obviously will be decoded as interdiction take for patience gentle friends, I MUST NOT read it. He is so sly that he always pretends he does not want to do something when in concomitant this is exactly what he does, informing them about their being Caesars heirs, insinuating their state of mind ( You are not wood, you are not stones ,but men, / And being men, auditory sense Caesars will/ It will inflame you , it will make you mad. or For if you should, oh, what would come of it) . And the results are soon to come They were traitors, honourable men They were villains, murderers the will However, when he finds Brutus body on the battlefield, Antony weeps for his friend, praising his real virtues and showing he understood from the start Brutus motivation in joining the plot. This was the noblest Romans of them all He , only , in a general honest thought And common good to all, made one of them His life was gentle , and the elements So obscure in him , that Nature might stand up And say to a ll the world This was a man .The real gift of Shakespeare was the masterful use of language and the perfect knowledge of people and typologies . Everybody speaks according to the social strata they belong , their time and trade as well . This is what makes his characters so realistic and immortal. They impersonate and utter centuries old human passions, fears, sorrows, dreams, hopes, struggles and vices. They can always be real and this is what makes Shakespeare so special. Page 12 Richard III Richard III is an intense geographic expedition of the psychology of evil, and that exploration is centered on Richards mind.Critics sometimes compare Richard to the medieval character, Vice, who was a flat and one-sided embodiment of evil. However, especially in the later scenes of the play, Richard proves to be highly self-reflective and complicated making his heinous acts all the more chilling. Perhaps more than in any other play by Shakespeare, the audience of Richard III experiences a complex, ambiguous, and highly changeable relationship with the main character. Richard is clearly a villainhe declares outright in his very first speech that he intends to stop at nothing to achieve his nefarious designs.But despite his open allegiance to evil, he is such a charismatic and fascinating figure that, for much of the play, we are likely to sympathize with him, or at least to be strike with him. In this way, our relationship with Richard mimics the other characters relationships with him, conveying a powerful sense of the force of his personality. Even characters such as Lady Anne, who have an explicit knowledge of his wickedness, allow themselves to be seduced by his brilliant wordplay, his skillful argumentation, and his grisly pursuit of his selfish desires.Richards long, fascinating monologues, in which he outlines his plans and gleefully confesses all his evil thoughts, are central to the audiences experience of Richard. Shakespeare uses these monologues brillia ntly to control the audiences impression of Richard, enabling this manipulative protagonist to work his ch arm on the audience. In Act I, scene i, for example, Richard dolefully claims that his malice toward others stems from the fact that he is unloved, and that he is unloved because of his physical deformity.This claim, which casts the other characters of the play as villains for punishing Richard for his appearance, makes it easy to sympathize with Richard during the first scenes of the play. It promptly becomes apparent, however, that Richard simply uses his deformity as a tool to gain the generosity of othersincluding us. Richards evil is a much more innate part of his character than simple bitterness about his ugly body. But he uses this speech to win our trust, and he repeats this ploy throughout his struggle to be crowned king. After he is crowned king and Richmond begins his uprising, Richards monologues end.Once Richard stops exerting his charisma on the audience, his r eal nature becomes much more apparent, and by the end of the play he can be seen for the monster that he is. When Richard claims that his deformity is the cause of his wicked ways, he seems to be manipulating us for sympathy, just as he manipulates the other characters throughout the play. As a result, Richard III does not explore the cause of evil in the human mind so much as it explores its operation, depicting the kit and boodle of Richards mind and the methods he uses to manipulate, control, and injure others for his own gain.Central to this verbalism of the play is the idea that Richards victims are complicit in their own destruction. unsloped as Lady Anne allows herself to be seduced by Richard, even knowing that he will kill her, other characters allow themselves to be taken in by his charisma and overlook his dishonesty and violent behaviour. This tendency is echoed in Richards relationship with the audience for much of the play. Even though the audience is likely to be r epulsed by Richards actions, his gleeful, brilliant, revealing monologues cause most viewers to like him and even hope that he will conform to despite his obvious malice.Page 13 GLOUCESTER today is the winter of our discontentment Made glorious summer by this sun of York And all the clouds that lourd upon our house In the deep bosom of the ocean buried. Now are our brows bound with victorious wreaths Our bruised arms hung up for monuments Our stern alarums changed to blissful meetings, Our dreadful marches to delightful measures. Grim-visaged war hath smoothd his wrinkly front And now, instead of mounting barded steeds To fright the souls of fearful adversaries, He capers nimbly in a ladys chamber To the lascivious engaging of a lute.But I, that am not shaped for sportive tricks, Nor made to court an amorous looking-glass I, that am rudely stampd, and want loves majesty To strut before a wanton ambling houri I, that am curtaild of this fair proportion, Cheated of feature by il lusion nature, Deformed, unfinishd, sent before my time Into this breathing world, scarce half made up, And that so lamely and unfashionable That dogs bark at me as I halt by themWhy, I, in this weak piping time of peace, Have no delight to pass away the time, Unless to spy my shadow in the sun And descant on mine own deformity And therefore, since I cannot prove a lover, To entertain these fair well-spoken days, I am determined to prove a villain And hate the idle pleasures of these days. Page 14 Hamlet HAMLET To be, or not to be that is the question Whether tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? To die to short sleep No more and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to, tis a consummation devoutly to be wishd.To die, to sleep To sleep perchance to dream ay, theres the rub For in that sleep of death what dreams may come W hen we have shuffled off this mortal coil, Must give us pause theres the respect That makes calamity of so long life For who would bear the whips and scorns of time, The oppressors wrong, the proud mans contumely, The pangs of despised love, the laws delay.The insolence of office and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? who would fardels bear, To let out and sweat under a weary life, But that the dread of something after death, The undiscoverd country from whose bourn No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? and then conscience does make cowards of us all And thus the native hue of resolution Is sickled oer with the pale cast of thought, And enterprises of great total and moment With this regard their currents turn awry, And lose the name of action. Page 15 . POLONIUSHow does my good Lord Hamlet? HAMLET Well, God-a-mercy. cl eric POLONIUS Do you know me, my maestro? HAMLET Excellent well you are a fishmonger. gentle POLONIUS Not I, my lord.HAMLET Then I would you were so honest a man. LORD POLONIUS Honest, my lord HAMLET Ay, sir to be honest, as this world goes, is to be one man picked out of ten thousand. LORD POLONIUS Thats very true, my lord. HAMLET For if the sun breed maggots in a dead dog, being a god kissing carrion,Have you a missy?LORD POLONIUS I have, my lord. HAMLET Let her not walk i the sun conception is a blessing but not as your daughter may conceive. Friend, look to t. LORD POLONIUS Aside How say you by that? Still harping on my daughter yet he knew me not at first he said I was a fishmonger he is far gone, far gone and truly in my youth I suffered much tip for love very near this. Ill speak to him again.What do you read, my lord? HAMLET Words, words, words. LORD POLONIUS What is the matter, my lord? HAMLET Between who? Page 16 LORD POLONIUS I mean, the matter that you read, my lord. HAMLET Slanders, sir for the satirical rogue says here.