Polonius and his children

Last semester my Grade 12 class raised many good points and questions regarding the quality of character in Hamlet. The students were great at getting me to re-think many aspects of the play which I’ve wanted to blog about for quite some time. When it came to Polonius, their questions really confirmed my preconceptions of this foolish character.

I think that Polonius repeatedly proves that he is more concerned with his own reputation than he is with the well-being of either Laertes or Ophelia. He first demonstrates this in his ordering of Ophelia to break off her relationship with Hamlet when he seems to be looking for an opportunity to emphasize his loyalty to Claudius. He first boasts to his daughter that he remembers what it’s like to be young and that he knows what Hamlet is after (“springes to catch woodcocks”), and perhaps he does… after all, just what are the circumstances of his parenthood? Where is the mother of Ophelia and Laertes? Then, Polonius implies that perhaps Hamlet has already achieved what he sought, telling Ophelia, “and you yourself / Have of your audience been most free and bounteous.” Finally, Polonius seems to relish in the ability to confide in the King and Queen:

What might you think [of me]? No, I went round to work,

And my young mistress thus I did bespeak:

‘Lord Hamlet is a prince out of thy star.

This must not be.’ (II,ii,147)

Oh really? Is it so hard to believe that Hamlet and Ophelia could marry when the Queen herself tells Ophelia:

And for your part, Ophelia, I do wish

That your good beauties be the happy cause

Of Hamlet’s wildness. So shall I hope your virtues

Will bring him to his wonted way again,

To both your honours. (III,i,42)

And later, Gertrude adds:

I hoped thou shouldst have been my Hamlet’s wife

I thought thy bride-bed to have decked… (V,i,250)

Perhaps Polonius is simply worried too that should Ophelia and Hamlet marry, his position as adviser to Claudius would be jeopardized, that he would be relegated to some ceremonial role as father-in-law of the Prince. He does not care for Ophelia’s happiness.

So, when it comes to his hiring of Reynaldo, I am skeptical as to whether or not it can have anything to do with Laertes’ benefit. Yes, I believe that this ‘tedious old fool’, this ‘wretched, rash, intruding fool’ is spying on his son, and is testing his son, but that these motives pale in comparison to a desire to protect his own reputation and his own position of power as adviser to the King. The important thing is to tone down any blemish that may arise in his family.

More importantly, perhaps, is the juxtaposition of his hiring of Reynaldo to spy on Laertes in II,i with Claudius’ hiring of Rosencrantz and Guildenstern in II,ii to spy on Hamlet. I think that Shakespeare is perhaps showing the audience that Polonius and Claudius are birds-of-a-feather.

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"Was Ophelia pregnant?" and other questions after the second act

There are a number of students in my Grade 12 class that attended last year’s school trip to the Stratford Shakespeare Festival to see Ben Carlson’s performance of Hamlet, and therefore already have a pretty good grasp of the play. After Act I, we had some good class discussion about some possible collaborative essay topics and as we work through the text I am appreciating the depth of the students’ questions. Now, at the end of the second act, students are asking:

  • “Is Polonius’ hiring of Reynaldo (II,i) a way of spying on Laertes, testing Laertes, or a way for Polonius to protect his own reputation?” and
  • “What’s with all of the references to conception, pregnancy, and children in II,ii? Is this a way of hinting at the possibility that Ophelia was pregnant? And, could that then have contributed to her madness?”

Wow. I’ve had classes in the past that have spent the bulk of the unit simply trying to follow the plot and keep the characters straight, but this particular group really wants to analyse Shakespeare’s words. Their understanding of this play strikes me as being far beyond what my own was when I was in the twelfth grade, and I like to think that I’ve got the Stratford performance to thank for that.

While my initial response to their questions is always, “What do you think?”, these questions are far too irresistible not to try unraveling here … eventually.

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Memorizing Hamlet

Every time that I teach the Hamlet unit, I assign a different passage for memorization. In past semesters I’ve assigned either:

  • Hamlet’s first soliloquy, ‘O that this too too sullied flesh would melt…’ (I,ii)
  • Hamlet’s explanation to Rosencrantz and Guildenstern, ‘I have of late, but wherefore I know not, lost all my mirth…’ (II,ii), or
  • the ‘To be or not to be’ soliloquy (III,i)

This time, I’m assigning the soliloquy that closes the second act, ‘O, what a rogue and peasant slave am I!’ It is a long soliloquy and from it students may choose the 25 lines of their choice. I actually allow them a 3-strikes-you’re-out rule: on their third attempt, they are given one mark for each line they recite perfectly. I like to allow a second and third attempt for this assignment, because it really is something that I’d like them to ace.

At huffenglish.com, Dana Huff said,

I have noticed memorization doesn’t seem to be much practiced nowadays, and I think it’s a shame.

Our students have the ability to commit great literature to memory; it would be a shame not to encourage them to do so, for it will give them pleasure for the remainder of their days. My grandmother, in her 80s, still recites her elementary school memorization assignment, Lowell’s What Is So Rare As A Day In June, and my wife’s grandfather can recite Browning’s The Pied Piper of Hamelin. It is the assignment that keeps on giving.

Though I like to use the memorization and recitation assignment to help students exercise their oral communication skills, I am always careful to save this assignment for my favourite, the Hamlet unit because I cannot resist the challenge of this assignment myself and there is little that I’d enjoy more than to have the great passages of this play stored ‘about my brain.’

Hamlet: Collaborative Essay Topics

It is Spring time again, when my thoughts bend toward crocuses, robins, sunshine, detox diets, and the beginning of another Hamlet unit. I know that I’ve blogged many times about Hamlet, but I love to explore this play and I doubt that I’ll ever get to the bottom of it.

Though my current class will see some of my earlier focus — having students play the role of film director by making such decisions as how they would stage the ghost and who they would cast in each role, etc. — the focus this time is on the text. Because the culminating activity will be a collaborative essay (through the use of their individual blogs and comments) we’re spending a little more time than usual debating some questions, including:

  • Is it important to the story whether or not Hamlet believes in heaven?
  • Is Gertrude a sinister accomplice of Claudius? (Consider the deaths of King Hamlet and of Ophelia.)
  • Could the ghost be a figment of Hamlet’s imagination?
  • Is Hamlet mad?
  • Is Hamlet really a tragic hero, or is he a villain?
  • Does Hamlet really love Ophelia?
  • Do Rosencrantz and Guildenstern get what they deserve?
  • Does Hamlet have an Oedipus complex?
  • Does Hamlet’s behaviour suggest that he’s closer to 16 than to 30 years of age?

I especially like the collaborative essay for this class, because I’ve got a group that is particularly fond of debate. Their first blog posts are up and their first comments are due by the end of the week, responding to at least two others that have approached an issue from an opposing angle. By the end of next week, partners should have surfaced for a virtual debate via their blogs, and by the end of the following week their collaborative essays, in a “They say, I say” format, will be typed.

I think that the current group that I’ve got will be able to pull this off and have fun with it. Time will tell.

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Lesson Debrief: To Stage or Not to Stage

With my Grade 12 (College) English class, Hamlet is usually my most successful unit. The students know that I am passionate about it and that I have looked forward to this unit the entire semester. I think that they then feed off of my passion, and can’t help but enjoy themselves as well.

For this unit, I ask all of my students to keep a Director’s Folio to be handed in at the end. Early in the unit, students are asked to decide whether they would choose to produce a stage version of Shakespeare’s play, or a film version. All of their future activities hinge on this choice. Graffiti ShakespeareSo we begin this lesson with a casual discussion about live theater the students have attended or participated in, as well as movie experiences that have succeeded or failed. Then, the discussion is graphed in their notes.

What worked well

  • I’m not the only one in the room that enjoys story-telling, the students love sharing about plays and movies they’ve experienced
  • light, casual discussion, with a lot of laughter, before the heavy language and tone of Hamlet
  • on the heels of a casual class discussion, stage and film advantages and disadvantages are easily compared with a T-chart in student binders

What needs work

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