Introduction to Claudius in Hamlet As with all the supporting characters in Hamlet, Claudius is not developed to his full potential. His primary role in the play is to spawn Hamlet's confusion and anger, and his subsequent search for truth and life's meaning. But Claudius is not a static character. While his qualities are not as thoroughly explored as Hamlet's, Shakespeare crafts a whole human being out of the treacherous, usurping King of Denmark.
We say "syllable" not "syllable," "emphasis" not "emphasis. Is she content with the contents of the yellow package? Act A major division in the action of a play. The ends of acts are typically indicated by lowering the curtain or turning up the houselights.
Playwrights frequently employ acts to accommodate changes in time, setting, characters onstage, or mood.
In many full-length plays, acts are further divided into scenes, which often mark a point in the action when the location changes or when a new character enters. Allegory A narration or description usually restricted to a single meaning because its events, actions, characters, settings, and objects represent specific abstractions or ideas.
Although the elements in an allegory may be interesting in themselves, the emphasis tends to be on what they ultimately mean. Characters may be given names such as Hope, Pride, Youth, and Charity; they have few if any personal qualities beyond their abstract meanings.
These personifications are not symbols because, for instance, the meaning of a character named Charity is precisely that virtue. Alliteration The repetition of the same consonant sounds in a sequence of words, usually at the beginning of a word or stressed syllable: Used sparingly, alliteration can intensify ideas by emphasizing key words, but when used too self-consciously, it can be distracting, even ridiculous, rather than effective.
See also assonance, consonance. Allusion A brief reference to a person, place, thing, event, or idea in history or literature.
Allusions imply reading and cultural experiences shared by the writer and reader, functioning as a kind of shorthand whereby the recalling of something outside the work supplies an emotional or intellectual context, such as a poem about current racial struggles calling up the memory of Abraham Lincoln.
Ambiguity Allows for two or more simultaneous interpretations of a word, phrase, action, or situation, all of which can be supported by the context of a work.
Anagram A word or phrase made from the letters of another word or phrase, as "heart" is an anagram of "earth. See also character, conflict. Antihero A protagonist who has the opposite of most of the traditional attributes of a hero.
He or she may be bewildered, ineffectual, deluded, or merely pathetic. Often what antiheroes learn, if they learn anything at all, is that the world isolates them in an existence devoid of God and absolute values.
Apostrophe An address, either to someone who is absent and therefore cannot hear the speaker or to something nonhuman that cannot comprehend.
Apostrophe often provides a speaker the opportunity to think aloud. Approximate rhyme See rhyme. Archetype A term used to describe universal symbols that evoke deep and sometimes unconscious responses in a reader. In literature, characters, images, and themes that symbolically embody universal meanings and basic human experiences, regardless of when or where they live, are considered archetypes.
Common literary archetypes include stories of quests, initiations, scapegoats, descents to the underworld, and ascents to heaven. See also mythological criticism. Aside In drama, a speech directed to the audience that supposedly is not audible to the other characters onstage at the time.
When Hamlet first appears onstage, for example, his aside "A little more than kin, and less than kind! Assonance The repetition of internal vowel sounds in nearby words that do not end the same, for example, "asleep under a tree," or "each evening.
See also alliteration, consonance. Ballad Traditionally, a ballad is a song, transmitted orally from generation to generation, that tells a story and that eventually is written down. As such, ballads usually cannot be traced to a particular author or group of authors.
Typically, ballads are dramatic, condensed, and impersonal narratives, such as "Bonny Barbara Allan. Ballad stanza A four-line stanza, known as a quatrain, consisting of alternating eight- and six-syllable lines. Usually only the second and fourth lines rhyme an abcb pattern.
Coleridge adopted the ballad stanza in "The Rime of the Ancient Mariner. See also ballad, quatrain. See also cultural criticism, formalist criticism, new criticism. Blank verse Unrhymed iambic pentameter.Hamlet Act-I, Scene-II Study Guide. Characters Hamlet. The central figure of the play, Hamlet is introduced as a downcast person, busy in mourning the death of his father, and fond of talking to his friend, Horatio.
Consonance is another literary device used recurrently in this scene. In this device, consonant sounds are used in a quick. Literary Techniques Used in Hamlet, by William Shakespeare Essay - In what way do the techniques used in a prescribed text develop ideas and influence your response as a reader.
The revenge tragedy, Hamlet, by William Shakespeare is a tale of murder, secrets and lies where a son is called upon by the ghost of his father to avenge his death. Literary Devices in Hamlet Irony: Dramatic irony occurs when the audience knows something that the characters do not.
In Hamlet, one of the major examples of dramatic irony is the fact that Hamlet, the Ghost, and the audience all know the truth about his father’s death, but the other characters do not.
Shakespeare used a number of devices to create a sense of otherness and malevolence for the Macbeth witches (also referred to as the “weird sisters”).
For example: For example: The Macbeth witches speak in rhyming couplets which distinguishes them from all other characters in the play.
- The Changing Character Hamlet in Act II and Act IV of Shakespeare's Hamlet In Shakespeare's Hamlet, although the character Hamlet makes similar points about himself in the soliloquies of Act II and Act IV, he seems to be less self-blaming and more in control of his emotions in the Act IV soliloquy.
Hamlet’s internal conflict is the main driver in William Shakespeare’s play Hamlet.” It decides his tragic downfall.
It decides his tragic downfall. He reveals his state of mind in the following lines from Act 3, Scene 1 of the play.