"Weighing the Dog"

One of the most important characteristics of a poem is the tone. Although it can be interpreted in various ways, the tone is what sets the overall mood of the poem in order to convey a certain message. The author may use selection of detail, sound, diction and other literary devices to achieve a specific tone in the poem. In "Weighing the Dog", the speaker is very factual and logical in his diction. The structure of the poem is also repetitive which suggests a sense of routine behind the speaker's thinking. The author uses the structure of the poem, diction and the repetition of the words "awkward" and "bewildering" to portray the simple tone as well as show that the speaker is trying to piece something together by making an analogy.

The speaker is reminiscing on a past relationship while weighing his dog. The act of weighing his dog ends up being analogy for his assumption about the failed relationship. The author's interesting selection of detail is thoughtful and significant because it shows the kind of character that the speaker is, which lends to the tone of the poem. The speaker is taking a routine and factual action to reflect on a subject which is much more profound: "and I start to wonder if there is an analogy here. It could not have to do with my leaving you though I never figured out what you amounted to until I subtracted myself from our combination" (9-12). The speaker's reference to the relationship as a combination suggests a lack of emotion. The speaker's weight subtracted from his weight combined with the dog's weight is a simple task. Comparing it to being separated from the person whom he was interacting with shows that it was insignificant. 

The poem itself has a repetitive structure where each stanza is made up of three lines. The structure goes hand in hand with the speaker's mindset. The speaker's logic and routine thinking is reflected in the logical order of the stanzas. The repetition also shows that the speaker remains static: "You held me in your arms more than I held you" (13). Although he has somewhat of an epiphany when realizing that it is an analogy, his emotions do not change when he thinks about the failed relationship. 

The speaker ultimately compares himself to a dog throughout the poem. The action taking place is the speaker weighing his dog by holding him in his arms. When the analogy is made, the speaker is the one being picked up. The speaker begins the poem saying, "It is awkward for me and bewildering for him as I hold him in my arms" (1-2), and begins the last stanza saying, "You held me in your arms more than I held you through all those awkward and bewildering months" (13-14). The speaker is the one carrying the dog's weight in order to weigh him. In the past combination, the speaker was the heavy weight being carried by someone else. When the speaker subtracted himself from the combination, he was able to see what the other person amounted to.

The overarching tone in the poem is the logical and factual mindset of the speaker. He is completely unmoved by emotions. His use of a simple situation to reflect on a past relationship shows that he does not care for it. 

Sound and Sense 11-13

Chapter 11: Musical Devices

• arrangement of sounds and accents
• pronunciation of the words can lend to the musical aspect of the poem depending on the way the reader articulates.
• "The Turtle"
• The first line of the poem uses an accent on the word "'twixt" which is a play on the word "between." The accent is used in order to maintain a rhythm and pattern in the poem as it is read. 
• Rhyme scheme: makes the poem sound like it is being sung, rather than read. The rhymes are simple and flow well just like music. 
• alliteration, assonance, consonance
• The end rhyme in the poem is what makes it musical.

Chapter 12: Rhythm and Meter

• Rhythm refers to the recurrence of motion or sound. 
• "natural rise and fall of language" 
• Syllable which are stressed and unstressed are important when articulated because it can change the rhythm of the poem.
• Meter is the identifying characteristic of rhythmic language. "tapping feet to" 
• Not all poems are metrical
• Poems that are metrical usually have an even spacing of stressed and unstressed syllables in order to achieve a rhythm throughout the poem.
• Poems with no meter do not have rhythm because there is no rule as to how the words should be read. 
• The foot: basic unit of meter; one accented syllable and two or more unaccented syllables.
• Iamb, Trochee, Anapest, Dactyl, Spondee

Chapter 13: Sound and Meaning

• Enforce meaning and intensify communication, and is enjoyable when read.
• emphatic rhythm- emphatic rhymes: uses words with strong contrast between the short vowel and short vowel consonant- hot-pot
• phonetic intensives: words whose sound connects with their meaning
• "Eight O' Clock"
• steeple-people emphatic rhyme?
• town-down
• ABAB rhyme scheme
• "Sound and Sense" - title of book 
• chance-dance musical words with musical meaning
• AABB rhyme scheme

Pride and Prejudice 1

The title of a novel carries much significance as it is reflected in its events. In Jane Austen's Pride and Prejudice, the title is clearly portrayed in the interactions of the characters. Pride is a quality which many of the characters of the novel posses. Mr. Bingley's sisters evidently show off their prideful nature with their condescending conversations about the Bennett household. The interaction between Elizabeth and Colonel Fitzwilliam proves that social class and status were of much importance in that era: "Our habits of expense make us too dependent, and there are not many in my rank of life who can afford to marry without some attention to money" (157). He admits that when people are thinking of marriage, they think more about the money involved because they want to either maintain their high social status or elevate themselves to a higher level. This is where the element of prejudice comes in. Fitzwilliam, being the younger son of an Earl, needs to marry a rich woman to be dependent of. This automatically takes Elizabeth off the market in his eyes.
While Elizabeth and her sisters yearn to marry for love, the men who appear to them are vain and prideful only looking for financial gains. 

TTL 6

TTL 6

TTL: Character Analysis

In To the Lighthouse by Virginia Woolf, the narrators change constantly. The kaleidoscopic narration allows each character to input their thoughts and feelings regarding each event and each character they interact with. Every perspective that is suggested gives insight into the character's qualities and others' opinions about them. Mr. Ramsay is an important character who is much talked about throughout the various narrations of the text. James, Lily and Mrs. Ramsay express their feelings toward Mr. Ramsay in their narrations. As each of these characters have diverse relationships with Mr. Ramsay, their perspectives change; however, their overall conclusion of him as a person have similarities.

James Ramsay is the first to portray his feelings toward his father. Although the narration is given in third person omniscient, the basic relationship between the father and son can be interpreted. It irritates James that his father is always right:  "What he said was true. It was always true. He was incapable of untruth; never tampered with a fact" (4). His father dismisses his hopes of going to the lighthouse the next day which makes James want to "[gash] a hole in his father's breast and [kill] him, there and then" (4). Although this is an extreme thought for a six year old boy, it is only an exaggerated representation of what James feels when his father forces reality onto him. James's anger, however, does not last very long because he is aware of his father's intellectual superiority. His acceptance that his father is always right shows that there is a degree of respect and acknowledgement of Mr. Ramsay's statement.

Lily's feelings toward Mr. Ramsay are conflicting. She expresses admiration and awe because of his superiority; however, she also pities him to a certain extent because he disregards anything that does not make logical sense to him: "Naturally, if one's days were passed in this seeing of angular essences, this reducing of lovely evenings, [...] naturally one could not be judged like an ordinary person" (23). Lily does not understand how he can be so focused only on things relating to his studies and dismiss everything else. While feeling sorry for his ineptitude in the emotional areas of life, she refers to him as one of "the finest minds" (23). She is intrigued with his way of life because she can relate to his noble effort of progressing the alphabet, just as she is trying to progress in society.

Mrs. Ramsay's relationship with Mr. Ramsay is the most complex due to their intense differences in character. Mrs. Ramsay is aware of his superiority just as James and Lily are: "she believed it to be true; that with all his gloom and desperation he was happier, more hopeful on the whole, than she was. Less exposed to human worries [...] He had always his work to fall back on" (59). Mrs. Ramsay is constantly preoccupied with the needs of others and tending to everyone. She notices that Mr. Ramsay appears to be happier with his life due to his careless attitude towards anything that does not effect him. She pities him but understand him.

TTLH #2

In To the Lighthouse by Virginia Woolf, there is a stark comparison that is set up between Mr. and Mrs. Ramsay throughout the events of "The Window". In various instances, Mrs. Ramsay's compassionate and gentle nature greatly contrasts Mr. Ramsay's realistic and factual stance about anything and everything. Mrs. Ramsay thinks about things that are not plausible, and this angers Mr. Ramsay: "Why, she asked, pressing her chin on James's head, should they grow up so fast? [...] And, touching his hair with her lips, she thought, he will never be so happy again, but stopped herself, remembering how it angered her husband that she should say that. Still, it was true. They were happier now than they would ever be again" (58-59). Her idea of never wanting the kids to grow up angers Mr. Ramsay because he knows that it is not a realistic thought. She is constantly having mental battles with a figurative Mr. Ramsay in her mind, before verbally communicating. Mrs. Ramsay's idea of contentment and happiness is the equivalent of being a carefree child. She sees the joy and freedom that they have by being young and innocent. Although Mrs. Ramsay is persistent with her thoughts which anger Mr. Ramsey, she is convinced and consumed by his superior knowledge. As she tells him that growing up means you lose everything, he responds saying, "Why take such a gloomy view of life? [...] It is not sensible" (59). Mr. Ramsay's answer is curt and simple, but it is enough to make her change her mind about what she originally thought: "And she believed it to be true; that with all his gloom and desperation he was happier, more hopeful on the whole, than she was. Less exposed to human worries [...] He had always his work to fall back on" (59). Mr. Ramsay has a set ideal of what life is and what is realistic; therefore, he always has a firm mindset. Mrs. Ramsay is in awe with his dismissive response and straightforwardness. Mrs. Ramsay's epiphany shows that she may not be as collected and content as she presents herself to be. She questions her happiness and ability to hope.

PODG Outline: Prompt 2

Mariana Goncalves

Mr. George

AP Lit

12 March 2014

Nature vs. Nurture

Thesis: Dorian Gray is introduced with his simple and pure nature, but is molded and manipulated into a vain and evil person. A continuation of foul deeds can corrupt a person's character; however, Dorian is transformed into a truly bad person by external influences rather than his own impulses and desires.

I. Dorian, representing a clean slate, becomes a truly bad person due to his lack of understanding of the world around him, making him an empty vessel for those around him to fill.

A. "He has a simple and a beautiful nature. Your aunt was quite right in what she said of him. Don't spoil him. Don't try to influence him" (10).

1. Basil is aware of Dorian's untouched soul, and wants to preserve it. He is also aware that if Dorian is influenced by Lord Henry, he will become a product of Lord Henry's hedonistic ideals.

II. Human nature consists of innate feelings, desires and actions which one cannot fully control.

A. "To be good is to be in harmony with one's self, [...] discord is to be forced to be in harmony with others. One's own life – that is the important thing. [...] Modern morality consists in accepting the standard of one's age. I consider that for any man of culture to accept the standard of his age is a form of the grossest immorality" (57).

1. The main idea of hedonism is to maximize pleasure and minimize pain. This tactic is a natural human instinct regardless of the hedonistic principle. Lord Henry teaches Dorian that the only thing that matters is his pleasure and happiness with himself.

2. Lord Henry's advice about inner peace and harmony teaches Dorian to be unsympathetic towards the people he interacts with. Dorian's innocent character absorbs this advice like a sponge and suffers greatly from it.  

III. Dorian's continuous evil actions caused him to lose his innocence completely. Although his foul deeds were elicited by someone else, he feels remorse once he realizes there is no return.

A. “Every moment of his lonely childhood came back to him as he looked round. He recalled the stainless purity of his boyish life, and it seemed horrible to him that it was here the fatal portrait was to be hidden away” (89).

1. Dorian is aware that his once known innocence and purity have been completely spoiled and lost.

The Flea and The Apparition

The themes of fault and unity in "The Flea", are contrasted to the themes of repentance and innocence in "The Apparition" by the author's use of tone. The contrasting ideas are used for a similar purpose which is to determine the fate of the deadly flea.

The aggressive and admiring tone in "The Flea" The speaker describes the situation in a warning-like manner as he says, "It suck'd me first, and now sucks thee, And in this flea our two bloods mingled be" (3-4). While warning the other person of the flea, the speaker uses their blood taken by the flea to unite them. The speaker's tone is aggressive towards the flea, but is loving towards the person he is speaking to: "This flea is you and I, and this Our marriage bed" (13-14). The blood of the two people being together inside the flea is the same as their physical bodies being married and laying in a bed together. The flea is metaphorically a child: a result of marriage. Although the flea is looked upon as a killer who sucks blood, the flea becomes the holder of multiple lives after taking blood. If the flea dies, it will be killing multiple people: "... this flea's death took life from thee" (29-30). The speaker condemns the flea for sucking their blood but also admires it for uniting their blood.

The contemplative and threatening tone in "The Apparition" represents the mixed feelings the speaker has towards the flea in comparison to "The Flea". Rather than killing the flea as revenge for killing him, the speaker says, "What I will say, I will not tell thee now, Lest that preserve thee; and since my love is spent, I'd rather thou shouldst painfully repent, than by my threatenings rest still innocent" (17-21). If the speaker threatens the flea, he will be doing something just as wrong as the flea sucking the blood of others. The speaker wants the flea to repent and feel the guilt for taking a life. The speaker wants to cause harm to the flea but is hesitant: "WHEN by thy scorn, O murd'ress, I am dead, And that thou thinkst thee free From all solicitation from me, Then shall my ghost come to thy bed" (1-5). The flea thinks that after killing the speaker, nothing harmful will happen. The speaker wants to simply show the flea that he cannot feel content after doing such a terrible thing.

"Dover Beach"

Mariana Goncalves

Mr. George

AP Lit

12 February 2014

                                                  “Dover Beach” Response

The complex tone is conveyed by the speaker’s abstract metaphors to describe a concrete idea relating to life; the tone begins as melancholic and pensive, then shifts to realistic and pleading.

        Each stanza of the poem contains a phrase or metaphor alluding to the impernanence of life. The speaker is reflective and melancholic as the setting is described: “With tremulous cadence slow, and bring The eternal note of sadness in” (13-14). The phrase “tremulous cadence” presents a depressing and morbid setting. Sadness is a cadence, a sequence that cannot be changed. The speaker appears to view sadness and suffering as inevitable. The melancholic feelings of the speaker are exaggerated as he says. “Sophocles long ago Heard it on the Aegean, and it brought into his mind the turbid ebb and flow of human misery” (15-18). Misery and sadness are like currents in the ocean; the currents cannot be stopped or diverged. Similarly, the speaker refers to human misery as a cloudy ebb which flows whether it is wanted or not.

        The speaker initiates the last stanza by begging for peace; this shift in tone clarifies what the message of the poem is. The speaker describes the impermanence of life as he says, “for the world, which seems to lie before us like a land of dreams, So various, so beautiful, so new, Hath really neither joy, nor love, nor light…” (30-34). The pleading tone shows that the speaker is aching and disappointed at the reality of the world. Although the examples given in the previous stanzas are unclear, the speaker calls attention to the issue in the last stanza: “Where ignorant armies clash by night” (37). The speaker is disappointed that the world has come to the point where fighting is the only solution.  

The Stranger #4

The opening lines of any novel is an essential element which initiates the text. The mood, tone, style of diction and first impression of the antagonist can all be represented in the opening. Unlike typical novels, The Stranger by Albert Camus begins with a dry, emotionless and simple sentence: "Maman died today" (3). The first paragraph of the novel functions as a synecdoche for the text as whole. The diction is very robotic and emotionless. Although it is very simply worded, the simplicity and indifference noted in the tone carries a significant meaning in regards to the events of the novel. Meursault, the protagonist, has a disinterested attitude towards everything, even his mother's death. Rather than contemplating why and how she passed away, he is curious about when: "Or yesterday maybe, I don't know. [...] That doesn't mean anything. Maybe it was yesterday" (3). His disinterest towards his mother's death reflects his attitude toward death in general. Death is inevitable, and in Meursault's perspective, his actions will not affect anything after his death.

The Stranger #3

The conclusion of The Stranger by Albert Camus, is an ultimate representation of existentialism. Meursault lives his entire life believing that humanity must live in a world that will always he hostile and indifferent towards it. The atheist view towards religion is that people create stories, gods and idols which in their mind transcend reality. Meursault is an amoral character. He has no fear of consequences and does not base his actions on what others will think or on what the consequences will be. He believes that those who dedicate their lives to limitations because of religion and personal beliefs are already dead: "'Have you no hope at all? And do you really live with the thought that when you die, you die, and nothing remains?' 'Yes,' I said" (117). Meursault's indifference toward religion frustrates the chaplain. The main theme displayed through these final scenes are significant to understand Meursault as a character. Every action has a consequence, and everyone acts as an individual to decide on their actions and take responsibility for them. Each person determines their own meaning to life, regardless of whether others project meaning onto your behavior. As the chaplain tells Meursault to turn to God before his execution he says, "Every man I have known in your position has turned to Him" (116-117). The chaplain is accustomed to the same routine of repentance before death. Meursault's ignorance toward the chaplain's claims are absurd to him. The juxtaposition of a religious extremist and an atheist represents the mindset of people on both sides of the spectrum.  

The Stranger #2

The motives of the protagonist in a novel are a fundamental part to fully understand the character. Meursault, in Albert Camus' The Stranger, does not have obvious motives for his actions. He shoots and man without any understandable reason. When he is being questioned, he takes it as game because of the books he has read about police interrogations. Meursault's detachment from morality is shown as he says, "On my way out I was even going to shake his hand, but just in time, I remembered that I had killed a man" (Camus 64). It is incredible and miraculous how Meursault is able to separate his emotions from his actions. Although Meursault's attitude towards everyone he interacts with may seem cold and detached, he uncovers some profound truths about human nature. He is an honest narrator: "At one time or another all normal people have wished their loved ones were dead" (Camus 65). A possible interpretation of this statement is that there is no use in pretending to feel a certain way. Society has established certain norms and rules for everyone to follow. If someone dies, one must mourn. If someone is proposed to, they must reciprocate the love and be joyful. Meursault challenges all of these norms and expectations not because he wants to make a difference, but because he does not care.

The Stranger #1

The narrative presented in The Stranger by Albert Camus is distinct through the syntax, tone and style. The opening of the novel automatically sets the tone as morbid and disinterested: "Maman died today. Or yesterday maybe, I don't know" (Camus 3). There is no emotion or reaction from Meursault in respect to his mother's death, this is unnatural and surprising. Meursault's tone is detached throughout the entire first part of the novel. He has a lack of empathy towards others. His passionless actions and thoughts make him a mysterious character. The reader is constantly trying to piece together what Meursault's motives are because he does not justify them through his narration.

Sound and Sense 7

Question: Analyze the speaker's tone towards his recounting of being discriminated against by focusing on the use of literary devices such as point of view, and diction.

While riding in old Baltimore, the young speaker initially feels joyful and optimistic, but his feelings are quickly consumed by confusion and rejection after a scarring incident as an innocent child.

The rhyme scheme utilized in the poem demonstrates the innocence of the speaker during the incident.
"Now I was eight and very small, And he was no whit bigger, And so I smiled, but he poked out His tongue, and called me, 'Nigger.'"(5-8). The diction throughout the poem is very child-like and similar to a nursery rhyme. The speaker is only eight years old and does not see anything wrong with smiling at the Baltimorean. He was innocent and unaware of racism which was predominant even among small children during that era. The description given by the speaker shows that both the speaker and the Baltimorean are innocent children. The Baltimorean shows his tongue, which is a childish insult. This action represents the unawareness of the children who were being influenced by the adults discriminating around them.

The tone of the speaker changes dramatically from the beginning of the poem to the end, as he realizes that his initial thoughts about the Baltimorean were incorrect. The tone initializes as "heart-filled, [and] head-filled with glee" (2), and later becomes reflective as he thinks back to the incident: "Of all the things that happened there That's all that I remember" (11-12). The shift in the tone causes the last stanza to be more effective because there is an obvious change in the speaker's point of view. His contemplative outlook towards the situation insinuates disappointment and discomfort. Although the speaker was young during the incident, it was a traumatizing occurrence in the speaker's life.

Extra Credit Movie Response

Mariana Goncalves

Mr. George

AP World Literature

22 January 2014

Her Response

Prompt 2 & 5:  According to the dictionary, personhood is the state or fact of being an individual or having human characteristics and feelings. Personhood is an essential aspect of life. In the movie Her, directed by Spike Jonze, Theodore Twombly is a desensitized individual due to his lack of empathy and emotional maturity. His flaws are evident through his memories of his failed marriage. Due to the technological advancements, society has gradually become more reliant on technology, and less social. Theodore is greatly affected by the phenomenon of technology and loses his grasp of human interactions. After purchasing an operating system designed to fulfill his every need, Theodore loses himself in a false sense of reality, thus, challenging the definition of personhood.

The mere essence of human existence is interacting with other humans for one's development and growth. By interacting with others, one learns how to respond to feelings and emotions in every circumstance. Being able to empathize with others as well as being able to convey your own emotions is a key to communication. Samantha, the operating system, becomes a convenient solution to Theodore’s inner turmoil. He is able to distract himself by interacting with Samantha and projecting the feelings he yearns to have, onto her. Although she is not the appropriate recipient of his feelings, she portrays herself as such and gives him a sense of confidence. Theodore is ultimately communicating with a responsive robot; distorting his idea of a relationship because he is able to create his perfect companion.

Theodore is able to receive all of the benefits of having someone who cares and lives for him without having to reciprocate. Samantha is a computer with no flaws or real needs, whose purpose is to solely serve Theodore. Their relationship is an artificial representation of what a real relationship between two humans should consist of.  MTV runs a television show called CatFish, where they document the story of multiple people who fall in love with complete strangers online. Today, more and more people are finding it more satisfactory to interact with strangers online rather than dealing with people around them; it is easy to portray yourself as the perfect person to someone who knows nothing of your background. One’s flaws can be easily hidden online whereas they cannot be hidden from those physically present. The inability to deal with other’s emotions makes the idea of online dating more appealing.

Similar to the stories on CatFish, Theodore has found an escape through Samantha. He cannot find any flaws in her character because her very existence is to cater to his needs and present herself as a perfect companion. Theodore is confronted with his tragic flaw when his ex-wife, Katherine, exposes it. It is one of the most meaningful scenes of the film because it brings an important theme to light. As Theodore tells Katherine about his new companion, Samantha, he accentuates the fact that she has a positive outlook in life. This comment irritates Katherine because it proves Theodore’s inability to cope with the demands of a real relationship. The major theme that is presented is the reality of society today. People are less willing to interact with those around them because they do not want to put in the effort of understanding others. People are more willing to take the easy route and depend on the convenience of technology to recreate themselves into a perfect “profile”. The relationships created through this are fictitious because both people are falsely portraying themselves as exactly what the other person wants. Perfection is unattainable and unrealistic.  

   
  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

             



Hamlet Outline

Mariana Goncalves

Mr. George

AP World Literature

15 January 2014

Hamlet Outline: Prompt 7

Thesis:

The "To be or not to be" speech is one of the most famous in literature, yet it is deeply incongruous with the character Hamlet as it is a result of him performing for the other characters around him. This speech is not appropriate for Hamlet the character but is an excellent representation of Hamlet the text because the content can be applied to various situations rather than being a description of Hamlet’s personal experiences.

 

A. Unlike Hamlet’s previous soliloquies, this one is impersonal and generalized to a degree where it could ultimately be applied to many aspects of life.

    1. “To be or not to be: that is the question” (III.i.64).

a. The soliloquy already opens with an ambiguous phrase. The vague pronoun, “that”, is not specified and the action which the phrase is referring to is not specified either. It can be interpreted in various ways.

 

B. Hamlet’s awareness that there are people spying on him causes him to hesitate and predetermine what he is saying; therefore, the speech is not a real representation of what is happening in Hamlet’s mind.

1. “The undiscover’d country from whose bourn No traveler returns” (III.i.86-87).

a. This is a contradictory line because Hamlet is saying that there is no return after death. It is obvious that he is lying because he has talked to a ghost. His entire motive has been predicated by the claims of a ghost. Since he knows that he is being spied on, Hamlet hides this aspect in order to eliminate the risk of anyone finding out.

b. Hamlet is putting on a sane façade to hide his constant inner turmoil.

 

C. The soliloquy consists of universal ideas which can relate to everyone. It is philosophical contemplation on life and morals. In retrospect, the “To Be or Not To Be” speech stands a representation of the play as a whole.

1. “The oppressor’s wrong, the proud man’s contumely, The pangs of despised love, the law’s delay, The insolence of office and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin?” (III.i. 79-84).

    a. The complaints suggested in the speech are not specific to one character. It contains not personal pronouns or personal experiences. The topics being discussed are universal, applying to each and every character in a different way.

    b. There are no references to religion throughout the entire speech.

  

Hamlet 7

In Shakespeare's tragedy, Hamlet, Ophelia and Hamlet are foil characters based on their experiences throughout the play. Both have only one parent figure. In Hamlet's case, although Gertrude is his real mother, Claudius is the one acting as the parent. Gertrude simply goes along with everything Claudius says. In Ophelia's family, Polonius is her father; however, Laertes, her brother, takes the initiative as the father figure. Gertrude and Polonius are equal because they are both manipulated and rather clueless throughout the play. As the play opens, Hamlet is seen as insane simply because he is grieving his father's death. King Claudius constantly condemns Hamlet's actions. Similarly, King Claudius characterizes Ophelia as mad when she starts grieving for her father's death: "It springs All from her father's death, and now behold!" (IV.v.80-81). It is ironic that Ophelia becomes insane because due to Hamlet's insanity, Claudius and Polonius ask her to act in front of Hamlet in order to help them with their plan.

Hamlet 6

Although Hamlet has lost touch of his sanity, he is still able to think through his actions. Hamlet's decision to spare King Claudius' life during prayer directly parallels Hamlet's decision of sparing his own life in the first act of the play: "Or that the Everlasting had not fixed His canon 'gainst (self-slaughter!)" (I.ii.135-136). Hamlet contemplates suicide due to the extensive grief he feels for his father's death; however, his devotion to his religion overpowers his will to die. He is aware that one who commits suicide goes to hell. Similarly, Hamlet spies on Claudius praying and draws his sword to kill him right then and there. For a quick moment, Hamlet demonstrates bravery and initiative. Shortly thereafter, Hamlet decides not to: "And so he goes to heaven, And so am I (revenged.) That would be scanned: A villain kills my father, and for that, I his sole son, do this same villain send To heaven" (III.iii.79-83). The value that Hamlet gives to religious ideals contributes to the idea that he is a Christian. Even though he has the opportunity to kill Claudius, his sense of religion overpowers his anger because he does not want Claudius to go to heaven. 

Hamlet 5

Hamlet, the protagonist of the Shakespearean tragedy, Hamlet, undergoes a dramatic change in character in the third act. Now that he has decided to act insane and crazy, Hamlet has become more outspoken and demanding. In previous scenes, he is the hopeless romantic in pursuit of Ophelia's love. During his encounter with Ophelia in act three, Hamlet says, "You should not have believed me, for virtue cannot so (inoculate) our old stock but we shall relish of it. I loved you not" (127-129). Ophelia confesses that she has been deceived by Hamlet because she believed that he loved her. Hamlet's character in act three greatly contrasts his character in the beginning of the play. When Hamlet is first introduced, he claims to be honest at all times and to never pretend. Now that he is acting insane, it is unknown as to whether his claims in the beginning of the play are lies, or whether his insanity is an act as well.

Free Response Practice

      Clarence Harvey's complex character is developed with the use of tone, point of view, and language to reveal that his uncertainty and speculative instinct towards others stems from his own doubts about his character.
      The narrator's factual tone while describing Clarence shows that there are more layers to his character which are left unseen. It can be understood that there is a sense of animosity from the narrator: "Clarence Harvey might have been more than a pleasant young man, if he had not been smitten with the desire of being thought superior" (1-3). The tone is bitter with a hint of admiration. The narrator expresses that there is potential in Clarence; however, his negative traits overshadow the potential. The narrator's paradoxical tone parallels Clarence Harvey's paradoxical feelings about himself: "when he felt himself most charmed by her powers of pleasing, he was most inclined to despise her" (51-53). Clarence develops contrasting feelings towards Belinda and projects his uncertainty onto her. His ignorance towards her charm shows that he is afraid of being manipulated by someone else because of his arrogance.