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Hamlet and His Mother, Eugène Delacroix (French, 1798–1863). Courtesy of the Metropolitan Museum of Art, an EDSITEment-reviewed website.
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Subject Areas |
Literature and Language Arts
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British |
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Drama |
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Time Required |
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7-8 Class Periods |
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Skills |
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reading literary texts
critical analysis
literary interpretation
drawing inferences and comparisons research skills internet skills |
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Additional Data |
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Date Created: 06/21/2002 |
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Hamlet and the Elizabethan Revenge Ethic in Text and Film
IntroductionThis lesson seeks to sensitize students
to the complex nature of revenge as it is portrayed in Shakespeare's The Tragedy
of Hamlet, Prince of Denmark. Students learn how Shakespeare's play interprets
Elizabethan attitudes toward revenge, as reflected in the structure of the Elizabethan
revenge tragedy, one of the most popular forms of drama of that era. Note:
This lesson may be taught either as a stand-alone lesson or as preparation for
the complementary EDSITEment lesson, Hamlet
Meets Chushingura: Traditions of the Revenge Tragedy. The second lesson builds
on this lesson, paralleling this study with comparisons of Hamlet and the Elizabethan
revenge ethic to the Japanese Bunraku/Kabuki play Kanadehon Chushingura and the
Tokugawa revenge ethic Guiding Question:What
are the implications of honor, loyalty, and revenge in the Elizabethan culture
as presented in Shakespeare's play Hamlet? How do these implications resonate
in modern times and in modern film? Learning ObjectivesAfter
completing this lesson, students will be able to: - Describe Elizabethan
attitudes toward revenge from documents of the period
- Recognize Elizabethan
theatrical conventions and their impact on the play
- Analyze the playwright's
use of characters' language and actions to motivate the avengers in the play
- Compare
the text with modern film interpretation
- Recognize the acts of revenge
in the play as attempts to satisfy the characters' longing for justice but as
destructive forces on the avengers and those whose lives are affected by them
- Analyze Hamlet's desire to reduce his situation to a matter of right
versus wrong and action versus inaction and evaluate the dangers of such a reduction.
Preparing
to Teach this Lesson- This lesson may be taught either as a stand-alone
lesson or as preparation for the complementary EDSITEment lesson, Hamlet
Meets Chushingura: Traditions of the Revenge Tragedy. The second lesson builds
on this lesson, paralleling this study with comparisons of Hamlet and the Elizabethan
revenge ethic to the Japanese Bunraku/Kabuki play Kanadehon Chushingura and the
Tokugawa revenge ethic.
- This lesson and the complementary EDSITEment
lesson require only the student texts of Hamlet available in the school.
However, a useful text, especially for teachers is Hamlet: The Cambridge School
Shakespeare (New York: Cambridge UP, 1994), for its resources on Elizabethan
revenge tragedy and Elizabethan views of tragedy. It contains excellent information
on Hamlet as a character and on the stage history of the play as well. A VCR and
monitor are needed in the classroom on days when students will view and work with
scenes from one or more film versions of the play. Discussing at least one film
interpretation of this play affords students the opportunity to observe the kinds
of choices modern directors must make as they seek to move their vision from text
to film. Legal permission to use the film or films in class must be obtained.
If only one film version can be shown, Kenneth Branagh's version (Castle Rock,
1996) is of particular value because it is the only version to include the entire
text, and students can follow the film easily after studying the corresponding
scenes in their texts. Another current version that offers many opportunities
for comparison is Franco Zeffirelli's, starring Mel Gibson (Warner Brothers, 1990),
which offers a medieval setting, a different opening scene in the film, and many
abridgements and movements of text and scenes. Finally students may find Michael
Almereyda's version (2000), starring Ethan Hawke, especially exciting and relevant,
although much of the text has been cut, and the setting changes to the fast-track
world of modern New York City. Comparing the final scenes of all three versions
would allow students to experience different time periods, settings, and effects
and would also help them to realize that Shakespeare is '"not of an age, but for
all time."
- Launching onto the study of Hamlet does not require an introductory
lesson on historical context until questions about the play emerge from class
discussion, especially as the revenge plot starts to take shape. However, students
need to become familiar with Elizabethan attitudes toward revenge and the popularity
of revenge tragedies, which are included online in "Francis
Bacon's thoughts on revenge" and the first and second pages of Ian Johnston's
"Introductory
Lecture on Shakespeare's Hamlet". (Also helpful on Elizabethan attitudes toward
revenge is the Cambridge version of the play.)
Suggested
Activities 1: The Revenge
Plots Emerge: Act I 2: Revenge
Turns Deadly: Act III scene iv 3:
Violence Begets Violence: Act IV, scene v 4:
The Revenge Plots Merge: Act V, scene ii 5:
The Film's the Thing: The Revenge Plots On Celluloid 1.
The Revenge Plots Emerge: Act I - Begin study of the opening
scene of Hamlet by assigning roles to volunteers and reading small sections of
the scene aloud, then discussing them. Your taking the role of Horatio or assigning
it to a proven reader allows the most difficult portions of text to flow conversationally
and be clearer in meaning to the class. Stopping every few lines to ask what students
have learned allows them to become familiar with the situation, setting, and language,
especially in terms of the unusual challenge by Bernardo, the inability of the
characters to see one another, the time of night and weather conditions, the relationships
among the characters, and the lack of information the guards have about why they
are on such a "strict and most observant watch" as the nation prepares for war.
- Once the class has discussed King Hamlet's duel to the death with King
Fortinbras and his winning of Fortinbras's lands, students can begin to understand
the loss that Prince Fortinbras had to face with the death of his father and the
loss of his birthright, as well as the fact that he did not inherit the throne.
Although Horatio says that the rules of the combat were carefully drawn and legally
binding, Prince Fortinbras is apparently determined to take back his father's
lands by military means, even though the man who killed his father and won his
lands is now dead. The class can then understand why Prince Fortinbras would choose
this time to march on Denmark. This discussion anticipates Claudius' comments
in Act I, scene ii and sets the stage for the students to learn more about Elizabethan
attitudes toward revenge.
- After you have discussed the opening of the
play, you may wish to share with students "Francis
Bacon's thoughts on revenge", which may help them to understand the prevailing
attitudes toward revenge during Shakespeare's time. (At this time, students may
also find the discussion of Elizabethan revenge tragedy in the Cambridge Hamlet
of great benefit.) Once they have reviewed and listed the characteristics, have
them refer to their Hamlet texts to find examples of these characteristics. They
will also find that the first and second pages of Ian Johnston's "Introductory
Lecture on Shakespeare's Hamlet" include a helpful discussion of the
context for revenge in Hamlet. (Ask students to go online and click on Francis
Bacon's remarks, then save in a text file, and highlight the important points
he makes. They can then make a copy of their work to keep so that they can refer
to it as they continue the play. They could use a different technique by creating
their own file, then copying and pasting only those points they feel are important
enough to save. Ian Johnston's essay material also lends itself to this kind of
exercise and can link with the online Bacon activity or with the activities at
the close of study of Act I.)
- As discussion of Act I, scene ii develops,
ask students to identify specific examples of Hamlet's language of anger and anguish
concerning the marriage of his mother to Claudius (Act I scene ii) and its resonance
in the Ghost's depiction of his murder and the subsequent marriage (Act I scene
v). Ask them about the effects of the Ghost's images and repetition on Hamlet
as shown in Hamlet's remarks to the Ghost and subsequent soliloquy and behavior.
The Ghost's repetition of Hamlet's key words and imagery suggests the closeness
of father and son but even more vividly the Ghost's ability to sway Hamlet to
do his bidding of avenging his murder. Examples include the following:
Hamlet's
words | Ghost's echo | "Seems,
madam?…"
"Foul deeds will rise..." "…incestuous
sheets…" "…unweeded garden…"
"Things rank and gross…" | "…seeming
virtuous queen."
"Murder most foul..."
"…that
incestuous, adulterate beast."
"…the fat
weed that roots itself on Lethe wharf…"
"…rankly
abused." |
Individual students or small
groups can search out key words and phrases the Ghost echoes from Hamlet's earlier
comments from Act I with the help of a Hamlet
and the Ghost Chart, provided here as a downloadable PDF file, in conjunction
with the online resource Concordance.com,
a link from the EDSITEment-reviewed Internet Public
Library, or the online MIT
text of Hamlet Ask students to locate Act I of Hamlet in the MIT text and
in their own texts. Students should use the "find on page" function on their Internet
browser. (In Microsoft Internet Explorer, click "edit," followed by "find on this
page.") When the "find" button takes them to a particular spot, they should determine
where they are by finding the corresponding line in their texts, then determine
how the word is used and echoed and whether the use and echo are appropriate.
If they deem the example appropriate, they should record the example, scene, and
line. If they have access to a word processing program (such as MS Word), they
can cut and paste relevant passages and record them on the blank chart provided.
Then at the bottom of the chart, they can add any other techniques they notice
that Shakespeare uses to strengthen the Ghost's impact on Hamlet. If for some
reason students are unable to search this online text, an alternative/backup online
option for searching Act I of Hamlet is available from the online resource Concordance.com,
a link from the EDSITEment-reviewed Internet Public
Library If time and classroom setting allow, ask students if anything specific
comes to mind with the Ghost's serpent image of Claudius. This question can lead
to a discussion of the biblical images present that Elizabethan audiences would
immediately grasp and their view of the enormity of the villainy allegedly committed.
Follow up this discussion by asking them about the effects of the Ghost's images
and repetition on Hamlet as shown in Hamlet's remarks to the Ghost and subsequent
soliloquy and behavior. Then have them refer to their information on Elizabethan
revenge plays to compare the Ghost's commands and imagery with those of the typical
revenge play of that period. - The Ghost's first mention of his murder
sparks Hamlet's immediate remark concerning the swiftness he will use to "sweep"
to his revenge, certainly an ironic response in light of his later chastisement
of self for his slowness of action. Such examples, as well as the Ghost's gruesome
description of the effects of the "leprous distilment" of poison and Claudius'
serpent like behavior, aligning him with Eden's serpent, all motivate Hamlet to
swear his determination to avenge his father's murder. The Ghost's ironic final
words of "Remember me" as a call to revenge echo the Eucharistic words of Christ,
stressing the impact and significance of Hamlet's commitment, which he immediately
echoes upon the Ghost's exit. These literary techniques help to establish the
call to action of the loyal son that will "taint" the mind of Hamlet as he seeks
to fulfill his promise honorably.
2.
Revenge Turns Deadly: Act III scene iv This
scene, the "closet scene," clearly reveals what havoc is caused by Hamlet's striking
the arras upon hearing the voice calling for help. As students recall Hamlet's
telling Claudius that the name of the play is "The Mousetrap" and Hamlet's decision
to "trip" Claudius during some "act /That hath no relish of salvation isn't"(III.iii),
they will understand Hamlet's mistake but realize that there are consequences
to such an irreparable act. If they then refer to their information on revenge
tragedy, they can see how Hamlet's action fits the description of the typical
avenger. Students may also explore what Gertrude thinks of his behavior and what
Hamlet believes to be his role as avenger when he tells his mother that he must
be "scourge and minister." If students compare these findings to the structure
of the typical revenge tragedy, they can then understand how Hamlet's action compares
to Claudius' killing of King Hamlet. Students can discern Hamlet's plan to dispense
with Rosencrantz and Guildenstern by closely examining his last remarks to his
mother: Hamlet aligns them with Claudius, the serpent king, by his referral to
them as "adders fang'd." If students then remember Hamlet's description of them,
they will notice how the metaphor foreshadows Hamlet's actions toward them and
his attitude about those actions (V.ii.). 3.
Violence Begets Violence: Act IV, scene v Have
students read this scene aloud, in which Claudius coerces Laertes to murder Hamlet.
Compare Claudius's coercion of Laertes with the Ghost's commands to Hamlet. While
both father figures play on the son's love of and loyalty to his father, the Ghost
motivates Hamlet with the description of King Hamlet's death and Gertrude's seduction
yet provides no guidance to Hamlet's revenge other than to avoid tainting his
mind and hurting his mother. Claudius, however, does not dwell on the father's
death but instead on what Laertes can do to show his love for his father by punishing
Hamlet; he generates a dishonorable plan of revenge for which Laertes can "be
the instrument" of Hamlet's destruction. Once
students read aloud this coercion scene, they can identify the steps that Claudius
uses to goad Laertes into revenge. If they refer to Act I, scene v or to their
charts from Act I, they can then compare Claudius' techniques with Laertes to
those of the Ghost with Hamlet. Of particular interest is a comparison of Laertes'
versus Hamlet's attitudes toward revenge, including the basic similarities and
differences in their evaluations of self and personal commitment. Ask students
to refer to the worksheet, The
Language of Revenge, provided here as a downloadable PDF document. Students
can use the blank chart in this worksheet to compare Laertes' comments in Act
IV, scenes v and vii, with Hamlet's earlier comments in his talk with the Ghost
and his soliloquies throughout the play. Using the MIT
online Hamlet and their own texts for line numbers, students can search out
and paste into the chart parallel quotations from the two avengers that exemplify
their similarities and differences. This activity is also possible for comparing
the Ghost's techniques with those of Claudius. 4.
The Revenge Plots Merge: Act V, scene ii - The two revenge
plots merge just as the language of these characters starts to merge as well.
Examples include:
Hamlet's "conscience does make cowards of us all"(Act
III) with Laertes' "almost against my conscience" The Ghost's "The serpent that
did sting thy father's life" (Act I) with Hamlet's description of Rosencrantz
and Guildenstern as "adders fang'd"(Act III), Claudius' "venomed stuck"(Act IV),
Laertes' "unbated and envenomed," and Hamlet's "…envenomed too? Then venom, to
thy work…" - A class discussion of Laertes' corrupt revenge
as compared to Hamlet's revenge provides students an opportunity to evaluate and
compare Hamlet's destruction of others' lives with Laertes's illegal and lethal
use of his rapier. Referring to their online comparisons from Act IV can help
students to evaluate the revenge of each avenger. Students may then also wish
to discuss Claudius' behavior and death, what constitutes villainous behavior
in the play, and what the differences are in justice versus revenge. The deaths
associated with Hamlet's revenge and the attitudes toward death, especially suicide,
provide students with different views of life and its value in relation to honor
and loyalty. From Hamlet's first soliloquy to the announcement of Rosencrantz's
and Guildenstern's deaths, the loss of life in this play, whether pitiful or valiant,
cowardly or ironic, reflects a world in which good as well as evil must suffer
but concepts such as honor and loyalty provide the context for life's meaning.
- Finally, discuss the strategic entrance of Prince Fortinbras, who does
not know he has been left the kingdom, but views the "havoc," recalls his "rights
of memory," embraces his fortune, and orders for Hamlet a military funeral since
"…he was likely, had be been put on,/To have prov'd most royal." Remind the class
of the description of Prince Fortinbras given in the opening scene of the play
and of the "warlike volley" mentioned in this last scene. Ask them to characterize
Fortinbras' handling of his own desires for revenge as discussed in Act II scene
ii.
5. The Film's the
Thing: The Revenge Plots On Celluloid - Depending upon the
time available in class, you may want to show the opening scene of Kenneth Branagh's
film of Hamlet to explore how Branagh deals on film with Prince Fortinbras' determination
to regain his father's lands. You may also want to ask how this treatment of Prince
Fortinbras affects the audience's perception of him and how this visualization
affects the tone of the first scene. You may also want to show Claudius' description
of young Fortinbras as he speaks to this issue (I.ii) and explore how Claudius'
description of a prince who "pesters" Claudius for his lands compares to what
the audience has seen of Fortinbras so far in the film.
- Before showing
Act I, scene v of Branagh's film, ask students to write down several film techniques
they notice that Branagh uses to vivify Hamlet's meeting with the Ghost. When
they share their findings, make a list on the board, then discuss what each of
the techniques accomplishes in the film and how successful it is. Pay particular
attention to the flashback technique that helps the audience visualize the death
described by the Ghost and fills a long interval of description in the text during
which the Ghost talks and Hamlet listens. The upheaval in the earth helps to vivify
the "unnatural" nature of the death and the "foul deeds" rising to Hamlet's eyes.
Hamlet's soliloquy of commitment incorporates physical signs of shock to match
the language of revenge. The staging of this scene contrasts greatly with other
film versions, especially Zeffirelli's version starring Mel Gibson.
- Act
IV, scene v of the film allows students to visualize Claudius' coercion of Laertes.
Ask them how much of Claudius' story of Hamlet's envy of Laertes' prowess with
rapier and dagger they believe, based on their knowledge of the text and observations
of Claudius in the film. Have them justify their answers with examples of Claudius'
behavior toward Laertes as the scene progresses. Compare this scene to the Ghost's
recounting of his death to Prince Hamlet.
- In Branagh's Hamlet, Act V,
scene ii, he surprises us with juxtaposition of Hamlet's bout with Laertes and
Fortinbras' stealthy attack, heightening tension and paralleling Hamlet's eventual
revenge. Though lacking firm basis in the text, this interpretation has some possible
foundation in Act IV scene iv. Ask students how Fortinbras' attack and takeover
affect the Elizabethan attitudes toward revenge and the revenge tragedy. In this
final scene, chandelier swinging and swashbuckling sword techniques, especially
camera effects on the soaring sword, are reminiscent of Kevin Costner's Robin
Hood. Ask students how these techniques affect the play and their views toward
Hamlet's final revenge. Fortinbras' secret attack and takeover help to create
the tone for the final moments and impact. How does the divided focus affect the
impact of what Hamlet is trying to accomplish and how the audience views the ending?
The ultimate return to the exterior of the palace creates a sense of closure.
Though the soldiers' carrying Hamlet's body differs little from other versions,
destruction of the statue/Ghost figure uniquely completes the destruction of royal
family with fulfillment of the Ghost's mission and his commands in Act I to Hamlet.
Ask students how the dismantling of the statue might be symbolic and how this
ending meshes with Elizabethan attitudes toward revenge. Dismantling of King Hamlet's
statue, from which the Ghost originally came, parallels the dismantling of the
kingdom of Denmark, now in foreign hands. Contrasting this final scene with Zeffirelli's
version with Mel Gibson, which excludes any entrance of Fortinbras at all, offers
possibilities for discussion of international versus individual tragedies and
the potential power of each.
Extending the Lesson- Additional
questions for students may include:
- What have we learned about the nature
of revenge in Elizabethan culture and our modern American culture?
- What
has made this play and story live on?
- What are some ways modern film
has changed this play?
- What do these film changes imply about directors'
expectations of their audiences?
- Suitable assessments for this
unit include tests for content specific to the lesson, an essay comparing elements
of Hamlet’s character with the attributes of the typical Elizabethan revenge
tragedy or to the other avengers in the play, or an essay worksheet placing students
as directors of the "consummate" film version of Hamlet and the choices and justification
they would make for actors, setting, costuming, and focus of the film.
- Guide
students in a comparison of key scenes of Franco Zeffirelli's film version of
Hamlet, starring Mel Gibson and Glen Close, to Kenneth Branagh's version discussed
in this lesson.
- Have students use sites from the EDSITEment Resources
section in this lesson to conduct further research on Hamlet, the sources of Hamlet,
projects, and other related topics.
- Parallel or follow this lesson with
the next lesson in this series: Hamlet
Meets Chushingura: Traditions of the Revenge Tragedy.
Selected
EDSITEment Websites- Mr.
Shakespeare and the Internet [http://shakespeare.palomar.edu/]:
- Hamlet Criticism
[http://shakespeare.palomar.edu/playcriticism.htm]
Features numerous critical essays on Hamlet, including T.S. Eliot's famous "Hamlet
and His Problems" and Ian Johnston's "An Introduction to Hamlet."
- Hamlet
"Teacher's
Guide and Student Activities," by Joel Sommer Littauer [http://www.sdcoe.k12.ca.us/score/Hamlet/hamletwebguide.html]
Includes web sources, essay types and topics, as well as guide and student activities.
- "Francis Bacon's
thoughts on revenge"
- Shakespeare
Magazine [http://www.shakespearemag.com/]
Includes issues focused on the teaching of Hamlet, including the magazine's first
issue, Spring 2002. Excellent articles to help with understanding Hamlet, teaching
Hamlet, and using the Internet to provide activities for students.
- "Teacher
CyberGuide: The Tragedy of Hamlet, Prince of Denmark," [http://www.sdcoe.k12.ca.us/score/ham/hamtg.html]
by Kathryn Bayne. Includes links to text, plot, characters, study questions, activities,
and Internet discussions of Hamlet.
- Concordance.com
to be used with the “Hamlet and the Ghost” PDF chart supplied with this
lesson.
- MIT
text of Hamlet to be used with the “Language of Revenge” PDF chart
supplied with this lesson.
Other Information
Standards Alignment
- NAES-Theatre- 9-12-5
Researching by evaluating and synthesizing cultural and historical information to support artistic choices
- NAES-Theatre- 9-12-7
Analyzing, critiquing, and constructing meanings from informal and formal theatre, film, television, and electronic media productions
- NAES-Theatre- 9-12-8
Understanding context by analyzing the role of theatre, film, television, and electronic media in the past and the present
- NCTE/IRA-1
Students read a wide range of print and nonprint texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world; to acquire new information; to respond to the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction, classic and contemporary works. more
- NCTE/IRA-2
Students read a wide range of literature from many periods in many genres to build an understanding of the many dimensions (e.g., philosophical, ethical, aesthetic) of human experience. more
- NCTE/IRA-7
Students conduct research on issues and interests by generating ideas and questions, and by posing problems. They gather, evaluate, and synthesize data from a variety of sources (e.g., print and nonprint texts, artifacts, people) to communicate their discoveries in ways that suit their purpose and audience. more
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