Act 3 Scene 1 Hamlet's Soliloquy (Kenneth Branagh) Critique

Hamlet’s act 3 scene 1 soliloquy is best portrayed by Kenneth Branagh in the third video. Each of the videos brought out the emotion and feelings inside Hamlet with scenery, camera angle, and an orchestrated background. Branagh however, makes the audience feel Hamlet’s very emotions with his tone of voice and hand gestures. The scene reveals that Hamlet examines his sanity, ambition, and slight desire to commit suicide.

Hamlet begins his soliloquy with the famous “To be, or not to be? That is the question—” (55). Hamlet here questions whether he wants to live or commit suicide. The scene starts with Branagh standing and staring at the mirror, standing up with legs together and hands at his sides. There is no music or any other sound to concentrate on Hamlet’s speech. In a monotonous, calm, and passionate voice, he speaks to himself in a mirror—his reflection. This is to ascertain what others view him as. Hamlet may wish to know “whether ‘tis nobler in the mind to suffer/the slings and arrows of outrageous fortune” (56-57). He wishes to test his composure with his current confused state of mind. Hamlet is also referring to Claudius at this point—to hide his feelings on the “mirror” side or to “take arms against” (58) and “by opposing, end” (59) him. When he says this defensive line, a fist is raised as if it is clenched exert anger or threaten. This gesture helps portray Hamlet’s feelings of anger and turbulence against Claudius.

Soon after Hamlet starts speaking about sleep and death, how death is merely a sleep that frees the “flesh” of “heart-ache” and “natural shocks” (61). Then he says that there may lie a problem with dreaming in this eternal sleep. The camera does something very interesting during most of his speech. Near the beginning of the speech, Branagh walks slowly step by step towards the large mirror. The camera follows him, focusing mainly on the mirror. The image reflected is the “mirror” image of a person, bounded with all hidden emotions not shown in the real world. Thus the reflection will be considered a dream. As Branagh and the camera get closer to the mirror, so does the reflection. This scene helps foreshadow that someone is going to be killed “in that sleep of death” as no one knows what “dreams may come” (65). Eerie music begins to play as he begins describing the scorns of the world. At last “with a bare bodkin” (75) Hamlet draws his dagger and points to his reflection. He asks himself “who would fardels bear,/to grunt and sweat under a weary life” (75-76). Claudius jolts up on the sight of the dagger, almost scared. Perhaps he knows Hamlet keeps it waiting to impale him one day. Staring at his reflection, he tests his ambition for revenge and his will to live on to carry it out. Inside, Hamlet is scared and confused. He may want to end it all with a quiet death. This is all reflected in the mirror. However, it is shown that Hamlet has the “resolution” (83) when Branagh taps his dagger against the mirror, to establish that the “dream-state” is not yet real. His resolution is clear however, as the camera is fixed on the ambitions of his “mirror” self. Hamlet will not kill himself and he keeps his composure intact. Finishing the soliloquy, Branagh talks sincerely to Ophelia as violins play in the background. His composure is strong and he can hide his deep confusion. It is clear from the way he talks to Ophelia that he cares for her.

The video does well in presenting the true feelings inside Hamlet. He makes a clear decision to follow his ambitions thoroughly. His “will” (79) is no longer paralyzed by any hesitation. Branagh speaks clearly and the suspense is high because the audience is (at least for the beginning) solely listening to his words. The video does an excellent job capturing the emotions and themes of the scene.

Portrait of the Artist as a Young Man Critical Analysis

In A Portrait of The Artist as a Young Man, James Joyce conceals Stephen’s growth as a man through the disbandment of paternal and maternal forces. Psychoanalysis states that a character develops through different stages of childhood such as oral, anal, and oedipal. Stephen goes through all of these stages to reach his goal of becoming an artist. Joyce integrates Stephen’s desires of a mother’s warmth and sexual desires through imagery and diction. Stephen casts away paternal threats as they instill fear and casts away maternal threats as they divert attention. Recognizing these two forces as inhibitors, Stephen chooses to discard them to pursue his career of writing.

In chapter one Stephen experiences the results of honesty. During class, Father Dolan walks in and “pandies” Stephen for not having his glasses. Stephen honestly says, “I broke my glasses, sir” (62), yet Dolan still punishes him. Here, Stephen tells the truth and is punished for it because Dolan thinks that it is a lie. This may cause dishonesty to grow within him further in the book. Stephen may constantly be punished for honesty, and turn to lies due to frustration. Father Dolan also shatters Stephen’s masculinity here by acting as a paternal figure. By punishing Stephen, fear and hate are implanted.

The breaking of glasses also symbolizes the loss of light. Eyes work by refracting light into the retina. Having bad vision—without glasses—diminishes the ability to catch light. Without vision there is no light. Light represents truth and purity. Without light, there is bound to be darkness, and darkness may imply evil. Stephen does not like the darkness and its consequences. Darkness may also describe a mother’s womb. In fear of punishment by paternal forces, Stephen turns to the warmth of a maternal figure. Joyce conceals Stephen’s desire for a mother at this point in the novel.

However, the rewards of truth come into play when Stephen consults the rector. When glasses are broken, students “must write home for a new pair” (63). A new pair implies the reestablishment of light and truth. This means that mother must come and deliver a new pair of glasses. Joyce implies that Stephen “must” want to be embraced by his mother’s comfortable arms. “Stephen swallowed down the thing again and tried to keep his legs and voice from shaking” (63). He is afraid of humiliation by telling the truth again. However, this time the rector understands and Stephen is “quite right” (63). The punishment earlier in class was because “Father Dolan did not understand” (63). The rector is given the mother-like quality of understanding a child. Stephen also seeks protection from the paternal threat, Dolan. At this moment the rector is able to have a pleasant conversation with one of the children. When he comes out, a party of supporters “made a cradle of their locked and hoisted him up among them and carried him and till he struggled to get free” (64). Stephen learns that telling the truth is good and brings overwhelming joy. He also struggles to get free, depicting the image of birth. Stephen can be seen as being reborn at this point, wriggling out of the womb and into the world.

Stephen indulges himself his true feelings within literature and poetry. When he starts to write a poem, “all those elements which he deemed common and insignificant fell out of the scene” (74). As an artist, one should invent his own original style. A skilled artist is able to pinpoint the smallest, unnoticed aspect of a given scene. Writing poetry entrances him, and his true feelings fall and transform into words on the notebook. Stephen tried to write a poem about Parnell’s death, but “his brain had then refused to grapple with the theme” (74). His hidden artist nature makes him lose focus by lovely image of a girl. His thoughts flow freely out of him: “There remained no trace of the tram itself nor the trammen nor of the horses; nor did he and she appear vividly” (74). It is this mother that vaguely appears in Stephen’s mind. Love begins to fill his adolescent mind with thoughts of girls and kisses. A mother is able to supply both. When Stephen goes to sleep, he is kissed by his mother goodnight. Not able to express feelings in reality, “some undefined sorrow was hidden in the hearts of the protagonists” (74). He knows that he cannot have such thoughts about his own mother. A mother is loved and cannot be touched in a defiling way. However, Stephen is allowed to freely express himself in his poetry.
When Stephen begins to write his poem, he begins by writing “the initial letters of the Jesuit motto: A.M.D.G” (73). It is “from force of habit” (73). He also writes the letters L.D.S. at the foot of the page. Joyce cleverly conceals Stephen’s desire for a mother bordered by Jesuit mottos. Stephen blindly believes in his religion as a given. Earlier in the novel, because Stephen believes what he is told, he condemns his relationship with Eileen. He is scared by the poem Dante reads to him, and shuts himself. Dante’s action also signifies that Stephen is too young to take up the father role. Soon after, he huddles to his mother for comfort. It is because of her that Stephen writes the Jesuit mottos. He is constantly reminded of the fear of fatherhood.

Throughout the novel, Joyce implements the need of a maternal figure. The need for a mother or womb is a stage that Stephen goes through to become a man. The character E— C— is a spiritualized form in which Stephen can dote upon, almost as a scapegoat for his desires. Joyce uses diction to show that Stephen at the moment is in search of a mother’s warmth.

Early in the novel, Stephen meets a girl at a party and seems to be exited by her. Stephen’s “heart danced upon her movements like a cork upon a tide” (73). Stephen clearly wants this object in front of him. A person’s heart will almost always speed up when something he desires is within reach. Soon after, “he heard what her eyes said to him…and knew that in some dim past, whether in life or in revery, he had heard their tale before” (73). This “tale” from the eyes signifies the warmth of a mother’s look. Stephen feels the resemblance in the eyes that takes him back to his mother. It is mother that he truly desires.

Stephen also learns to distinguish between pairs of different objects. “As a man, he separates women into two types, one of which is idealized and loved but cannot be defiled by sex, while the other is sexually approachable but can never be respected” (Brivic 287). Nothing is described of E— C— but her eyes and clothing. By subtracting the name and body, Stephen turns her into an untouchable being. E— C— is also a spiritual medium that fulfills a bit of both types. She represents a woman who is idealized and loved—the mother—but also at the same time she is a source of sexual release. In this scene “he had only to stretch out his hand” to touch her, but “he stood listlessly in his place” (73). He “knew that he had yielded to them a thousand times” (73). Stephen cannot touch the object of desire in front of him, as it symbolizes his mother, something familiar to him. Here, Stephen innately shows his artist side. An artist is “a tranquil watcher of the scene before him” (73). As an artist, finding an eccentric image to work on is essential. To Stephen, watching serene objects would be enough to stimulate his artist spirit.

The unconscious mind of Stephen dictates his actions that imply a need for a mother. Stephen later sits at his desk to write a poem to E— C—. Joyce hides implements Stephen’s love for writing within this “love spurt”. His affection towards this woman activates his artist nature. By his conscious desire for girls, Stephen unconsciously walks toward being an artist. The poem ends with that “was given by both” (74). Earlier in the novel, Stephen was asked whether he kisses his mother or not. The achievement of this kiss supports his love for his mother. In this fictional piece, created by a writer, an artist, Stephen is able to map out his fantasies. After he ends his poem, Joyce has him enter “his mother’s bedroom” (74) and stares into the mirror on her dressing table. Jacques Lacan’s mirror stage applies here. It states that during this mirror stage the person will want to compete with another for the same object. In this case, Stephen is in competition with his father over his mother’s affection. On another note, the image of a mother’s womb emerges here. Stephen enters his mother’s bedroom, which can be viewed as a womb. Stephen’s wanting to go back into the womb means that he needs this warmth and touch of a mother.

In a mother’s presence, a child is safe and protected. Stephen wants to be embraced and kissed as well as back into the womb of the mother. The womb is shielded by a mother’s skin and tissue, protecting the child. He is not ready to be a man as of yet, and thus he seeks the protection of a mother figure. Children need mothers to clean, bathe, and feed them because they are not able to themselves. Stephen is infatuated with E— C— because he can see his mother in her. A mother’s supporting role is to guide the child into adulthood. Stephen is inspired by this maternal figure to write—what he will decide to do when he grows up.

James Joyce points out that when in a woman’s arms, one feels warm and safe like a child. Because of their touch, Stephen’s masculinity is diminished. Throughout the course of the novel, Stephen tries to break free of his maternal desire. He is able to sustain his sexual desires by limiting himself to watching them. An artist should neither touch nor speak to his object of focus. Stephen is able to keep his masculinity by avoiding contact with women.

Joyce describes a standing midstream on the beach as Stephen walks around. “She seemed like one whom magic had changed into the likeness of a strange and beautiful bird” (155). By transforming into an animal, the girl is less feminine and will have less impact on Stephen. Joyce describes her bare legs, almost as if it were tempting Stephen. Even though the girl is said to be birdlike, “her long fair hair was girlish; and girlish and touched with the wonder of mortal beauty, her face” (155). Joyce reestablishes the fact that she is a person—a woman. This “girlish” quality is what attracts Stephen. According to Sigmund Freud’s phallic stage, a child tries to find a phallic characteristic on women. When a child learns that his mother is different than himself, he will try to take that difference away. By focusing on “her long slender bare legs” (155) as this phallic characteristic, Stephen transforms the girl into a person who he is familiar with. It is the beauty of a girl. Stephen’s admiration is so immense that “she felt his presence and the worship of his eyes” (155). This demonstrates his concentration on studying the beauty of his subject, an artist’s subject.

At this point, Stephen realizes that he should not touch women, or sin. Stephen commits his sin by going to prostitutes. It is a way for him to satisfy his sexual desires. However, later in the novel, after Father Arnall’s sermons, Stephen becomes extremely frightened. He becomes deeply religious and stays away from all forms of sexual activity. In this state, he is locked up in his room, desperately praying for salvation. The girl on the beach teaches Stephen that neither of these paths are good—he must take on the middle path. The path of sin and prostitutes is a way for Stephen to be masculine, but it is too much and he is scared of hell. The path of religion is seen to be feminine, castrating his masculinity. The skirts that priests wear are taken as a female characteristic which Stephen does not want. This links to the myth of Daedalus and Icarus. Stephen represents Icarus and must stick to the middleway—not to fall too deep into sin or too high into religion. In the scene on the beach, Stephen turns “away from her” (156), away from sin. Having already rejected the offer of a priestly role by the church director, he will not stray far into religious matters. By turning away from a girl, Stephen establishes his manhood. Even though “his cheeks were aflame; his body was aglow; his limbs were trembling” (156), he resisted the temptation in order to walk toward his career.

Joyce states that “her image had passed into his soul for ever and no word had broken the holy silence of his ecstasy” (156). This striking image of beauty is able to be imprinted on an artist’s mind. According to Suzette Henke, “the aspiring poet knows that he may look but not touch, admire but not speak” (329). Joyce writes:

Her long slender bare legs were delicate as a crane’s and pure save where an emerald trail of seaweed had fashioned itself as a sign upon the flesh. Her thighs, fuller and soft-hued as ivory, were bared almost to the hips where the white fringes of her drawers were like featherings of a soft white down. (155)

By describing her attributes with great detail, an image is painted in the reader’s mind. Joyce implies that with a stunning image of a girl on the beach, Stephen is able to synthesize such meticulous details down to “the white fringes of her drawers” (155). Stephen learns that it is appropriate as an artist to simply look upon an object, admiring it without compromising anything.

Writing allows Stephen to feel free and express his true feelings—it is his art. Stephen learns of the power that a paternal force holds. He is also able to exert any anger from them in writing. An artist is able to change any part he wants of his creation. Writing allows him to alter stories to his liking—he may alter endings to one that appeals to him the most. Women only distracted Stephen from pursuing his dream. To an artist, women are objects of admiration and focus, not lovers or strumpets. By discarding women in such a way, Stephen becomes a man. Without females acting as inhibitors, he is able to defend himself and freely pursue his goals. A mother is no longer required to protect a man who has an ambition. By eliminating maternal and feminine threat, Stephen is permitted to concentrate on art.

Plum Plum Pickers Explication

In the Plum Plum Pickers, Raymond Barrio demonstrates the importance of pride and what it means to be a man. Barrio sets up the protagonist Manuel as a beastlike work machine through repetition and diction. The tone sways between calm dreamlike scenery to harsh work conditions up to the climax. By establishing an animal state, it is possible to show how Manuel overcomes his cage and turn into a man.

The passage begins with a descriptive paragraph about Manuel and his labor. Manuel thinks, “There had to be an end. There had to be. There—trapped. There had to be a way out. Locked. There had to be respite. Animal” (40). Barrio uses repetition here to demonstrate the seriousness of the situation. The workers are trapped animals that could not find a way out. They were kept in a cage only to work forever. Barrio uses short and descriptive one word sentences. Each of these one word sentences contribute to the animal picture of the workers. The establishment of animals is used for comparison later to the more manlike Manuel. He worked in “the hot dry air. The hot dry air sucking every drop of living moisture from his brute body” (40). Barrio again emphasizes the lack of human treatment here. The use of the word brute degrades the workers even further.

Barrio’s then follows with a one word paragraph, “Lunch” (40). The use of a one word paragraph demonstrates how brief a period of time is to Manuel. Right after that, the tone switches to a relaxed state, touching upon lunchtime and the tranquility of it. Barrio writes “that short rest in the hot shade replenished some of his humor and resolve. He felt his spirit swell out again like a thirsty sponge in water. Then up again. The trees. The branches again” (40). Here, it is almost as if Manuel feels a bit human. The fifth paragraph also states, “Sandy dreams. Cool nights. Cold drinks. Soft guitar music with Lupe sitting behind him” (40). These dreamlike scenes build up, almost setting up for the climax of the story. Barrio reveals a glimpse of humanity and later in the climax lets it explode out of Manuel. Even then, the tone switches back to the harsh conditions of the labor, demonstrating the power of control work has on the workers. “Manuel was too tired to even curse” (40). This line is the first time that the protagonist is given a name. Slowly, the protagonist is coming to a state of manhood, a state of empowerment.

A man can stand up for himself. Regardless of attributes, according to Barrio, “men are built to experience a certain sense of honor and pride. Or else they are dead before they die” (41). Near the climax, the antagonist Roberto Morales is introduced. From his name, he is a robber and a man without morals. Again, Barrio continues with his repetition of shaming the workers. “Their only crime; their only soul grime indeed was that they just didn’t give a shit how that migratory scum lived. It was no concern of theirs. Their wives said it was no concern of theirs…” (41). The laborers are referred to as scum now, not “animal”, not “brute”, and not “savage” (40). Scum is typically referred to a person—a human. The climax of this story is when Manuel has his moment of empowerment. He has pride in his long labor and decides to stand up for himself. Placed next to his superior, he could not help himself but rebel, a normal human characteristic. Seeing Manuel rebel, his fellow workers are inspired and “moved toward their own buckets still standing beside them…and took an ominous position over them, straddling their feet over them” (41). Following someone charismatic is also a trait of humans. The power of unity and pride repelled Morales, “All right. All right, men. I shall take nothing this time” (41). It was through this conflict that Manuel learns “that a man counted for something” (41).

Manuel and his fellow workers are not the same as the animals as describe in the first paragraph anymore. They have a sense of pride now, a sense of humanity and power. Barrio transitions the transformation from animal to man throughout the passage. With pride and friends, a man will always feel “a thrill of power course through his nerves” (41).

Independent Reading Book: The Dead Fathers' Club Filler Chapter

I walked down the stairs and opened the door and Nan came in.

She said Ee thank you my pet.

Nan walked slow with her two metal sticks like an ant carrying a rock. After walking in and taking a seat on the wooden chair in front of the TV I went into the kitchen.

Mum was preparing the food. There was corn apples pineapples onion and turkey on the table and Uncle Alan was watching TV. Football was on and a player just got jumped on by 10 other players faster than dropping four quarters on the floor.

I said Is it time to eat yet?

Mum said No darling I have to finish baking the pie first.

Mums apple pie was sweet and delicious. It tasted good and it was better than any cake or candy. I thought about how dad used to say that her cooking was the best and how he always finished two whole pies himself during thanksgiving.

Uncle Alan came into the kitchen and said Everyones here so lets get rolling.

Mum said OK give me a minute to finish baking.

Then the timer went BEEPBEEPBEEPBEEP like the microwave does when I made popcorn. Then we went to the dining room with the big table and everyone sat down. I sat next to mum and she sat across from Uncle Alan so I could keep an eye on him while I eat look eat look. I looked at everyone and they were waiting for mum to start a prayer.

Mum said We are thankful for the food and life graced to us.

The food was colorful and the turkey was as big as Uncle Alans fat stomach.

We were eating when I went to the bathroom to pee because I drank too much coke. I was washing my hands with cold water when I looked at the mirror and saw dads ghost fly in back of me and I remembered I only had two weeks to kill Uncle Alan.

Dads ghost said Philip you must do kill Uncle Alan tonight.

I said I cant theres too much people around and I dont know how to kill Uncle Alan yet.

Dads Ghost said Theres a sharp knife in the kitchen Philip theres not much time left I cant take the Terrers anymore. Do it tonight.

I went back to the dining room and everyone was laughing and drinking and eating. The food on the table was almost all gone and a dog ran on the table trying to take food off of every plate but was pushed off because it made a big mess.

And then Uncle Alan ate a big piece of orange carrot and his face turned bright red and he screamed only the scream was like dads ghost scream with the volume muted and he was hitting himself in the chest like it was a giant drum and dads ghost was behind him.

He didnt say anything for a while and then he said HELP.

Mum jumped and said Oh my god oh my god.

Dads ghost was at Uncle Alans side smiling and laughing and he couldnt control himself like Joker in Batman when he takes in too much laughing gas. I said in my head that I didnt have to kill him anymore since he was going to die like he was drowning in the sea because he could not breathe.

Dads Ghost said Philip look at him. Dont help him stay in your seat.

I said She will push me off.

Mum was behind Uncle Alan squeezing him as hard as she could like she was giving the worlds hardest hug.

Dads ghost said Philip stop her now. She must not save him.

Take her off.

He must die.

Do it.

Do it Philip.

Then Mum screamed harder than she barked that night she did it with Uncle Alan and he spit out a carrot the size of a golf ball. He was not choking anymore and he was alive with his face not red anymore and he stopped drumming his chest.

Nan said Ee that must hurt.

I turned towards dad but he already disappeared into the Terrors.