Hamlet speaks in this soliloquy of death. While it is not
the main topic, he is referring to the decision between being the man who
commits the act of suicide, being a sin in his ever-so-present religion, or
being the true-to-life man who has to deal and face the situation at hand. Within
the speech, lines such as “to sleep—to sleep, perchance to dream” (72-73) and “For
in that sleep of death what dreams may come” (74). These lines create for the
reader a scene of destruction and hate and disposition in which all is done yet
with a sense of uncertainty of what may actually happen. Hamlet speaks of the “dread
of something after death” (86), which also shows a feeling of jittery nerves
and an anxious body—the alliteration of the letter “d” is not mistaken either.
Hamlet keeps an entire section of lines, all placed near and around each other,
to describe the brutality of life itself. Stating that “For who would bear the
whips and scorns of time” (78) if they were actually to live. Also including
snippets of actions such as “The oppressor’s wrong, the proud man’s contumely,
the pangs of despised love, the law’s delay, The insolence of office and the
spurns That patient merit of the unworthy takes” (79-82). Hamlet uses mainly the appeal of Pathos within this speech as he targets the deep, under-the-surface emotions that life can create and the uncertain emotions that may not even exist in the after life. "Thus conscience does make cowards of us all"(91) creates a negative feeling and even still an emotion of puzzlement and inner-thought that drives this entire soliloquy. When Hamlet speaks during this scene he chooses to parallel a journey referencing a traveler that may not know the route once "death" is spawned upon; as he states "The undiscovered country from whose bourn no traveler returns, puzzles the will..."(87-88). One of the major metaphors is that question he first asks "To be, or not to be: that is the question: Whether it is nobler in the mind to suffer" (64-65) refers directly to death, without uncertainty. Secondly, Hamlet refers to the afterlife as an "undiscover'd country" (87) in which he speaks his doubts of. Yet when Hamlet speaks of the "respect that makes calamity of so long life" (76-77) and how it "makes us rather bear those ills we have" (89), he creates the opposition within his speech, the more logical side that any random nobody would create in this argument eventually left unanswered. Hamlet also refers to the coward we make of ourselves in not being able to actually commit suicide which adds to the opposition; "enterprises of great pitch and moment with this regard the currents turn awry, And lose the name of action." (94-96). Hamlet ponders several questions within his speech not only ones concerning the matter of "life vs. death" but also questions such as "What will the after-life hold?" and "Why do we as a species fear from the idea of not knowing what is to come?". These questions prevail throughout the piece leading way to the ever-so prominent conclusion that is drawn. Which I made out to mean that all is lost, all "action" is lost when a person is "sicklied o'er with the pale cast of thought" (93) and left to bear only the moment, deciding that death is not the direct route, and that there must be another way. They are left a coward of the moment.
Kenneth Branagh version:
Branagh used a hushed tone within the entirety of his speech, speaking directly to himself in a reflection of a mirror. The placement of the mirrors around the hall where this speech was made was in my opinion one of the greatest moves made by the director as he created the paradox that the speech parallels, the mirrors literally created the two sides of the story, "life" or "death". Also, Branagh remained in black costume, which he does for most of the movie, but the darkness of his clothes, and straight-cut jacket and pants draw me to the sharp emotion that is on his face--nothing is left flimsy or out of order in his entire persona, which I think was another move made purposely by the acting team. The camera angle remained more or less directly on Branagh's face for the entirety of the speech. This helped the audience not only to focus on his facial emotions but also the fact that his reflection was directly in front of him. The camera stood behind him but painted Branagh's reflection that faced front, where the viewer saw both the back of Branagh's actual body and the direct front of his reflection--that could not have been done without purpose.
Laurence Olivier version:
As the scene began there were several changing camera angles that led into the actual soliloquy which created a queasy and distraught and anxious feeling right out of the bat. The high pitched music during the dramatic pause when he shifts positions on the rock he is leaning on creates a shift in the readers mind which lends itself to the several "shifts" within the soliloquy itself, in tone and meaning. Also, Olivier consistently picks up and drops his sword an action that is intensified when death arises and lowered when death is undermined. This roller-coaster of action helps to depict the argument left unanswered that is so vibrantly played out within the mind of only one soul. The black and white persona of the color scheme added a bare layout to the soliloquy that the dramatic and deep music played often throughout it helped to cover and replace, though not to its full entirety. Also, Olivier remains standing on a platform resembling again the major metaphor made within this speech. Being on the higher sustained ground surrounded by a free, unknown space filled with smoke and the uncertainty of it all greatly resembles the argument being played out in front of him.
Mel Gibson version:
Gibson first walks down the stairs into a deep underground, stone-walled cave which seems to literally encompass him. The masses of stone and his bleak brown and black color pallet lead into no vibrancy in terms of color at all, leaving the viewer what is left within the camera angles, which in this version were rather strategically placed. They gave focus on Gibson speaking while giving much lee-way to the stone surrounding including shelves on a wall, a large table in the center, artifacts lining the halls, and even a tomb--all made from the same stone it seemed. The camera would flash in terms of showing Gibson's whole body then just his face, then the entire room, then a wall of shelves, this done in a rhythmic manner and not super fast creating a anxious feeling; simply a sad mood reflecting the speakers darkest thoughts he is currently pondering. Gibson did a lot of moving during the entire speech, from the first walk down the stairs to around the room, to eventually back up the stairs resembling the thought process he goes through: first entering the mindset of death, examining its benefits and oppositions, then resolving on the fact that "we" are made cowards, and walks right back up into the life and situation he is dealing with.
Ethan Hawke version:
The first thing that caught my eye with this speech was the color pallet the director had chosen. It was so vibrant as the walls contained a large splash of yellow, while the T.V.'s on the wall had different colors moving around, and each aisle had its own pallet of red, blue, green, and orange. These mixture of colors paralleled the mixture of opinions that Hawke runs through in his mind. His selection to be in the "action" isle of the movie store led very closely to the speech which spoke of the "actions" of death itself. The camera angle also focuses directly on Hawke, following his face and upper torso through the aisles allowing the audience with a very up-front perspective. With this version though, I felt as if I was left disconnected with the shift in culture, from the use of old english with the very contemporary modern hat that Hawke displayed. Yet I think that could lead into the fact that Hawke and his director were looking to portray the openness and timeless theme of suicide.
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Kenneth Branagh's version led me to tears. My poor Hamlet, how could he ever think that I will never know. Branagh was so effective in relaying key parts of facial movements without over doing it. The placement of him being inside the large hall led me to think of the major balls that I have been to and how small it can make me feel sometimes. Especially at these large parties where people may not know your name--I felt as if I could relate in that perspective. Even though I may not have much to live for now that Hamlet doesn't care for me and my father and brother are pulling at me with two very different sides, I would never consider the idea of suicide! How Branagh portrayed Hamlet in the straight posture led me to believe that this is something that only Hamlet would be capable of pondering with such might. Branagh's version created this feeling inside of me that death was present right then and there, and it might very well happen, Branagh made death feel so real and in the moment--I was lost in time.
I would consider changing a few parts though, if I had the option. For example I would create Hamlet sitting at first for the beginning portion of his speech in an attempt to make the viewer feel more engaged when he stands up and gets really going into the "meat" of his soliloquy and debate. Then I would not allow myself to intrude at the end of his conversation--I think that takes away from the prominence of this soliloquy itself and what Hamlet is trying to portray is somewhat lose as I enter the room. Yet I would also create a darker color scheme, there were too many whites, blues, and lighter color pallets that might have created the wrong tone out front for many viewers. Yet I do believe that I would choose a subtle green or blue hue that would allow the readers to feel welcome and then harshly stab them with the argument of death being discusses to allow for the soliloquy to remain more prominently remembered by the viewers. These are simply a few of only a few things I would change about this soliloquy because I actually did really like it very much.
Kenneth Branagh version:
Branagh used a hushed tone within the entirety of his speech, speaking directly to himself in a reflection of a mirror. The placement of the mirrors around the hall where this speech was made was in my opinion one of the greatest moves made by the director as he created the paradox that the speech parallels, the mirrors literally created the two sides of the story, "life" or "death". Also, Branagh remained in black costume, which he does for most of the movie, but the darkness of his clothes, and straight-cut jacket and pants draw me to the sharp emotion that is on his face--nothing is left flimsy or out of order in his entire persona, which I think was another move made purposely by the acting team. The camera angle remained more or less directly on Branagh's face for the entirety of the speech. This helped the audience not only to focus on his facial emotions but also the fact that his reflection was directly in front of him. The camera stood behind him but painted Branagh's reflection that faced front, where the viewer saw both the back of Branagh's actual body and the direct front of his reflection--that could not have been done without purpose.
Laurence Olivier version:
As the scene began there were several changing camera angles that led into the actual soliloquy which created a queasy and distraught and anxious feeling right out of the bat. The high pitched music during the dramatic pause when he shifts positions on the rock he is leaning on creates a shift in the readers mind which lends itself to the several "shifts" within the soliloquy itself, in tone and meaning. Also, Olivier consistently picks up and drops his sword an action that is intensified when death arises and lowered when death is undermined. This roller-coaster of action helps to depict the argument left unanswered that is so vibrantly played out within the mind of only one soul. The black and white persona of the color scheme added a bare layout to the soliloquy that the dramatic and deep music played often throughout it helped to cover and replace, though not to its full entirety. Also, Olivier remains standing on a platform resembling again the major metaphor made within this speech. Being on the higher sustained ground surrounded by a free, unknown space filled with smoke and the uncertainty of it all greatly resembles the argument being played out in front of him.
Mel Gibson version:
Gibson first walks down the stairs into a deep underground, stone-walled cave which seems to literally encompass him. The masses of stone and his bleak brown and black color pallet lead into no vibrancy in terms of color at all, leaving the viewer what is left within the camera angles, which in this version were rather strategically placed. They gave focus on Gibson speaking while giving much lee-way to the stone surrounding including shelves on a wall, a large table in the center, artifacts lining the halls, and even a tomb--all made from the same stone it seemed. The camera would flash in terms of showing Gibson's whole body then just his face, then the entire room, then a wall of shelves, this done in a rhythmic manner and not super fast creating a anxious feeling; simply a sad mood reflecting the speakers darkest thoughts he is currently pondering. Gibson did a lot of moving during the entire speech, from the first walk down the stairs to around the room, to eventually back up the stairs resembling the thought process he goes through: first entering the mindset of death, examining its benefits and oppositions, then resolving on the fact that "we" are made cowards, and walks right back up into the life and situation he is dealing with.
Ethan Hawke version:
The first thing that caught my eye with this speech was the color pallet the director had chosen. It was so vibrant as the walls contained a large splash of yellow, while the T.V.'s on the wall had different colors moving around, and each aisle had its own pallet of red, blue, green, and orange. These mixture of colors paralleled the mixture of opinions that Hawke runs through in his mind. His selection to be in the "action" isle of the movie store led very closely to the speech which spoke of the "actions" of death itself. The camera angle also focuses directly on Hawke, following his face and upper torso through the aisles allowing the audience with a very up-front perspective. With this version though, I felt as if I was left disconnected with the shift in culture, from the use of old english with the very contemporary modern hat that Hawke displayed. Yet I think that could lead into the fact that Hawke and his director were looking to portray the openness and timeless theme of suicide.
_________________________________________________________________________________
Kenneth Branagh's version led me to tears. My poor Hamlet, how could he ever think that I will never know. Branagh was so effective in relaying key parts of facial movements without over doing it. The placement of him being inside the large hall led me to think of the major balls that I have been to and how small it can make me feel sometimes. Especially at these large parties where people may not know your name--I felt as if I could relate in that perspective. Even though I may not have much to live for now that Hamlet doesn't care for me and my father and brother are pulling at me with two very different sides, I would never consider the idea of suicide! How Branagh portrayed Hamlet in the straight posture led me to believe that this is something that only Hamlet would be capable of pondering with such might. Branagh's version created this feeling inside of me that death was present right then and there, and it might very well happen, Branagh made death feel so real and in the moment--I was lost in time.
I would consider changing a few parts though, if I had the option. For example I would create Hamlet sitting at first for the beginning portion of his speech in an attempt to make the viewer feel more engaged when he stands up and gets really going into the "meat" of his soliloquy and debate. Then I would not allow myself to intrude at the end of his conversation--I think that takes away from the prominence of this soliloquy itself and what Hamlet is trying to portray is somewhat lose as I enter the room. Yet I would also create a darker color scheme, there were too many whites, blues, and lighter color pallets that might have created the wrong tone out front for many viewers. Yet I do believe that I would choose a subtle green or blue hue that would allow the readers to feel welcome and then harshly stab them with the argument of death being discusses to allow for the soliloquy to remain more prominently remembered by the viewers. These are simply a few of only a few things I would change about this soliloquy because I actually did really like it very much.
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