Blog Post #17 Hamlet Post #5- Never Gonna Give You Up

             While this selection of song may seem odd, based on the lyrics, it relates quite well to King Claudius’ main goals in life. His most prized ‘possessions’ are, as he states, “my crown, mine own ambition, and my queen. (3.3.55)” This refers to his status as king, his overall ego, and Gertrude. He refers to her specifically as meaning a lot to him, saying “she is so conjunctive to my life and soul. (4.7.14)” And why would you, as per the song, ever want to give that up? He also says both “With mirth in funeral and dirge in marriage (1.2.12)” and “The queen, his mother, lives… for myself. (4.7.11-12)” Again, emphasizing Gertrude’s importance to him. At the end of the play, King Claudius also says to her, “Gertrude, do not drink! (5.2.254)” in reference to the cup he had poisoned in order to kill Hamlet. Of course, there’s still the matter of the king’s obsession with the throne. His words, “what’s in prater but this two-fold force? (3.3.48)” refers to both of the two, Gertrude and the kingdom. Although, he knows he’s done wrong—he knows the rules, and so does everyone else in Elsinore, like the song—so he knows that “The primal eldest curse—a brother’s murder, Pray, I cannot (3.3.37-39),” saying he cannot fully confess his sins to the people of the kingdom. For if he does, he will lose “the wicked prize itself, (3.3.59)” again, in reference to his status as king, his ego, and his wife.

                Going back to the original song choice, I do have to explain myself a bit. It seems ironic, given that the song has been given a reputation in more recent years as being a total joke. But, the writer originally intended for the song to be serious. “We've know each other for so long”—like Claudius and Gertrude. Of course, it cannot be overlooked that the word “her” is often used to refer to land, or certain objects, or even a country. Or, to be more accurate, just about any feminine pronouns, she her, etc., can be used for that purpose. So, if you said, Claudius never wants to five “her” up, it could easily be referring to Elsinore as well as Gertrude. So, essentially, the tone of the lyrics is serious, sincere, and genuine. The mood, though, is comedic almost, not really to be taken seriously, as the music is contradictory to the lyrics. It is very ironic, as is the choice of this particular song to be used at King Claudius’ funeral. But, this is cleared up when you think about how the king just thinks everything will work, explaining the cheerful music. However, though he doesn't ever give up, he does lose. Not only his wife and the kingdom, but also his life.

Blog Post #15; Hamlet Post #3 To Be or Not To Be Soliloquy analysis

     The main metaphors are sleeping, which is a reference to death. this is proven when Hamlet says, "For in that sleep of death what dreams may come" (3.1.75). The other prominent metaphor in this soliloquy is the image of a dream, referring to heaven, or the afterlife. "To sleep, perchance, to dream..." (3.1.74). The whole passage is about how Hamlet doesn't know if he should go through with any of his plans, if they're worth it, if completing them will get him where he wants to be. This is reinforeced by camera angles being very close up in the film, as well as that he's talking to himself in a mirror, as a very literal inward reflection. Especially when he pulls out his knife and puints it at his mirror-self's throat: a symbol of his violence toward himself and in general. He also begins to question his own sanity, and has the validity of concience, "Thus concience does not make cowards of us all" (3.1.93).  But even more so, if He and his life are worth it. Considering "to be" is to exist, and to exist is to live, this soliloquy would be better titled "To Live or Not to Live." This offers a far better explanation for the frequency of his references to sleeping, and hopefully, dreaming, or dying, and hopefully going to somewhere better than his life is on earth.

     For the Ethan Hawke adaptation of the scene, the camera basically followed the Hamlet actor around a blockbuster movie-rental store. They only get about medium-far away, or medium-close, there isn't much angle variation. "Hamlet" was wearing darkeveryday clothes, black pants and a black hoodie-- which not only reflect his inner darkness of thoughts, but also may even suggest laziness, in terms of not dressing up. There was no outside noise, and every so often, the screen cut to show a tv with fire on it.  I believe that this was the best adaptation of the scene. After that, I would rank the version we've been watching in class as number  two, due to it's high attention to detail and how that translated into imagery and symbolism. Third, I'd rank the Mel Gibson version, I didn't feel as affected by the catacombs as a setting. While it really emphasized the looming grimness of the words, I thought it was too boring, too minimal. The last, and worst, adaptation, was the Lawrence Oliver scene. Not only did it not convey the message very well due to very little change in speech patterns and the feeling of someone just reading words as opposed to truly acting, the uncomfortable and even awkward positioning of the Hamlet character was highly distracting.

Blog Post #14; Hamlet Post #2

Hello internet, it's me again, King Claudius. So, I stumbled upon this movie last night when I was flipping throught the channels. I believe it was called Enchanted Ella, Ella Enchanted, something like that. There was this girl who did everything she was told, and she fell in love with this prince who had an uncle that took over the throne after his brother's death. Now, personally, I think there was too much focus on this weird obedient girl. The one who really intrigued me was the King. I couldn't stop thinking about how lucky he was that his blasted nephew didn't constantly get in the way of everything--Or at least not until many many years after he'd taken control of the throne. But the girl, oh, that girl, she gets in the way of literally everything. Such a troublemaker. They did not have to deal with the whole situation of 'uncle-father aunt-mother (2.2.325).' Aside from that, I was told that Fortinbras had given money 'so levied as before, against the Polack (2.2.74).' I feel like I should be slightly worried about his usage of my funds, but Polonius had much more important information to give me about Hamlet. After all, my well being is much greater than that of the kingdom's, right? He said to me, 'your noble son is mad: Mad I call it; for, to define true madness, whatt is't but to be nothing else but mad? (2.2.92-94)' Something had to be done about him. Or at least I needed to find some reason to take him down, send him out of the country maybe? England, perhaps? I don't know. All I can do now is hope he continues to dig himself into a hole 'of his own distemper (2.2.55).' I just keep hearing him talking about these players and some play, it seems to be his most recent source of raving. Just him in his room, repeating over and over again, "The play's the thing Wherein I'll catch the conscience of the king, (2.2.532-533)" whatever that is supposed to mean. One can only imagine, with Hamlet. Until next time.
#EllaEnchanted #NotJustAChickFlick #Personal

Blog Post #13; Hamlet Post #1 Hamlet Act I blog post

Okay, I was holding off on saying all of this, but now that I'm on the internet, the most safest place in the world where no one will ever find any of my deepest rantings, I guess it's safe to talk about it. Well, I've done it. I've finally done it. I, Claudius, am the king. The other day I married, she is a beautiful woman, that Gertrude, 'Our sometimes sister, now our queen (1.2.8).' Of course in marrying her I also now have Hamlet, 'my cousin, and my son (1.2.117).' Though, he doesn't seem to like me much. Here I am, trying to help him out and make him more manly by telling him that mourning his father is 'unmanly grief, a fault to nature and to heaven (1.2.101-102),' so that he can look better, and quite honestly so that he can make me look better. But no, of course that can't happen. Ugh. That's just one more reason I cannot wait until the mourning period of 'our late dear brother's death (1.2.19)' has ended. Then, maybe I'll be able to make some changes. Do what should  have been done ages ago. So long as Hamlet doesn't get in the way of all of it. Then people may ask questions, and I could risk my Throne. Obviously, that is not an option. Everyone just needs to move on so that we can make some progress.  #KingClaudius4evr #NothingsRottenInTheStateOfDenmark

Blog Post #12 Character choice: King Claudius

     I chose to look deeper into the behavior of King Claudius for a few reasons. The first and most obvious, my name is Claudia, his is Claudius, they're essentially the same. But also, there's a lot of complexity to his character. His actions are slightly fishy in general; marrying his deceased brother's wife/his "sister," becoming king when logically, the throne should've gone to Hamlet. He also creates a lot of conflict for Hamlet internally, because of Hamlet's rage toward him, which the king further fuels by challenging Hamlet's manhood and morality. He's social media relevant because if this were twitter, he'd have one of those little blue badges by his name--people would follow him just because of his title, making him influential and important in an online setting.