Soliloquy Analysis
The initial setting of the tone and focus of the soliloquy occurs in lines 55-59 during which Hamlet argues with himself on whether or not he is worthy of life and existence and the choice between a painful and calm death. The metaphors "To take arms against a sea of troubles" (3.1.58) and "suffer the slings and arrows of outrageous fortune" (3.1.56-57) are contrasting each other in the way man approaches his struggles, either patiently or with force and determination. The next shift occurs during lines 59-63 when Hamlet perceives death as a peaceful retreat from the struggles of life as it may "end the heart-ache and the thousand natural shocks" (3.1.60-61). Additionally, he utilizes pathos when paralleling death to sleep, "to die: to sleep" (3.1.59) and directly correlating one another to appeal to his conscious emotion. This same technique is used with the same statement at the beginning of the next shift from line 63-67. Hamlet is now hesitating over his perception of death as a peaceful escape by wondering about the mysteries of the afterlife, "what dreams may come when have shuffled off this mortal coil" (3.1.65-66). Through his diction, Hamlet introduces the next shift, lines 67-74, by addressing life as a "calamity" (3.1.68) that we only respect because of fear of the unknown. He uses logos to make this comparison of life and its struggles to a calamity. "Who would bear the whips and scorns of time" (3.1.69) is presented as ethos to provide credibility to the superhuman character that would be capable of having the knowledge. The next shift, lines 74-80, present another ethos, "the dread of something after death" (3.1.81), through the assumption that Hamlet's personal fear applies to others as well. The closing lines of the soliloquy, lines 81-86, allows Hamlet to expose his emotions regarding the revenge scheme, in which his conscience prevents him from taking action until the truth is confirmed. He again uses imagery and pathos to convey the cowardice of man in which the "native hue of resolution" (3.1.82) no longer exists and is replaced by a "pale cast of thought" (3.1.83). The final line of the speech reinforces the purpose as a whole- Hamlet's inability to act in the name of justice by "los[ing] the name of action" (3.1.86).
Acting Analysis
The scene begins with a wide-angle shot showing Hamlet's full body. It is initially over-the-shoulder and in a tight frame, symbolizing Hamlet's emotional entrapment as he stands at the edge of the frame. This component allows the audience to have both a personal and a distant connection with the character, as we can sense ourselves behind him and thus sympathizing with him but not being able to understand his emotions, as symbolized by the full-body shot. He begins to move closer to the mirror but the scene maintains the initial setting. As he pulls out a knife and moves it towards his face, the camera shifts solely to a close-up through the mirror, ignoring the over-the-shoulder aspect. Branagh's choice to film the character's close-up as a virtual image represents the audience's inability to truly comprehend his internal conflicts, viewing them only on the surface. There is a slight hint of background music in the scene since Hamlet delivers the speech in an increasingly personal whisper as it concludes. However, the bright lighting of the hall serves as a reminder for the audience of the presence of others in the scene and only a seemingly solitary environment.
Kenneth Branagh, as an actor and a director, portrayed the soliloquy in the most authentic manner out of the three. Laurence Olivier's portrayal did not show any indication of potential eavesdroppers and utilized dramatic music and computer-generated imagery to an unnecessary extent. However, because of Hamlet's harmony with nature (turbulent sea reflecting his emotions) and pauses at appropriate moments, I rank this depiction second. I tremendously disliked the Ethan Hawke portrayal because of its complete lack of authenticity in relation to the actual play. I disapprove of the director's choice to place Hamlet in the 21st century setting of a Blockbuster store as it removes the essence and purity of Shakespeare's work.
The initial setting of the tone and focus of the soliloquy occurs in lines 55-59 during which Hamlet argues with himself on whether or not he is worthy of life and existence and the choice between a painful and calm death. The metaphors "To take arms against a sea of troubles" (3.1.58) and "suffer the slings and arrows of outrageous fortune" (3.1.56-57) are contrasting each other in the way man approaches his struggles, either patiently or with force and determination. The next shift occurs during lines 59-63 when Hamlet perceives death as a peaceful retreat from the struggles of life as it may "end the heart-ache and the thousand natural shocks" (3.1.60-61). Additionally, he utilizes pathos when paralleling death to sleep, "to die: to sleep" (3.1.59) and directly correlating one another to appeal to his conscious emotion. This same technique is used with the same statement at the beginning of the next shift from line 63-67. Hamlet is now hesitating over his perception of death as a peaceful escape by wondering about the mysteries of the afterlife, "what dreams may come when have shuffled off this mortal coil" (3.1.65-66). Through his diction, Hamlet introduces the next shift, lines 67-74, by addressing life as a "calamity" (3.1.68) that we only respect because of fear of the unknown. He uses logos to make this comparison of life and its struggles to a calamity. "Who would bear the whips and scorns of time" (3.1.69) is presented as ethos to provide credibility to the superhuman character that would be capable of having the knowledge. The next shift, lines 74-80, present another ethos, "the dread of something after death" (3.1.81), through the assumption that Hamlet's personal fear applies to others as well. The closing lines of the soliloquy, lines 81-86, allows Hamlet to expose his emotions regarding the revenge scheme, in which his conscience prevents him from taking action until the truth is confirmed. He again uses imagery and pathos to convey the cowardice of man in which the "native hue of resolution" (3.1.82) no longer exists and is replaced by a "pale cast of thought" (3.1.83). The final line of the speech reinforces the purpose as a whole- Hamlet's inability to act in the name of justice by "los[ing] the name of action" (3.1.86).
Acting Analysis
The scene begins with a wide-angle shot showing Hamlet's full body. It is initially over-the-shoulder and in a tight frame, symbolizing Hamlet's emotional entrapment as he stands at the edge of the frame. This component allows the audience to have both a personal and a distant connection with the character, as we can sense ourselves behind him and thus sympathizing with him but not being able to understand his emotions, as symbolized by the full-body shot. He begins to move closer to the mirror but the scene maintains the initial setting. As he pulls out a knife and moves it towards his face, the camera shifts solely to a close-up through the mirror, ignoring the over-the-shoulder aspect. Branagh's choice to film the character's close-up as a virtual image represents the audience's inability to truly comprehend his internal conflicts, viewing them only on the surface. There is a slight hint of background music in the scene since Hamlet delivers the speech in an increasingly personal whisper as it concludes. However, the bright lighting of the hall serves as a reminder for the audience of the presence of others in the scene and only a seemingly solitary environment.
Kenneth Branagh, as an actor and a director, portrayed the soliloquy in the most authentic manner out of the three. Laurence Olivier's portrayal did not show any indication of potential eavesdroppers and utilized dramatic music and computer-generated imagery to an unnecessary extent. However, because of Hamlet's harmony with nature (turbulent sea reflecting his emotions) and pauses at appropriate moments, I rank this depiction second. I tremendously disliked the Ethan Hawke portrayal because of its complete lack of authenticity in relation to the actual play. I disapprove of the director's choice to place Hamlet in the 21st century setting of a Blockbuster store as it removes the essence and purity of Shakespeare's work.
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