Hamlet 3.1

February 13, 2020

RL.11-12.4 Determine the meaning of words and phrases as they are used in the text; analyze the impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly engaging.

RL.11-12.7 Analyze multiple interpretations of a story, drama, or poem, evaluating how each version interprets the source text. 

Obj: I can determine the meaning of words and phrases as they are used in Hamlet and analyze the impact of specific word choices and how they depict the human condition.

Starter

Gallery Walk

For at least three people provide a plus and delta. 

Vocabulary: 

Word; Idiom

Part of Speech: Noun

Dictionary Definition: group of words established by usage as having a meaning not deducible from those of the individual words (e.g., rain cats and dogs, see the light ).

Your Definition: Activity:Add an example to your vocabulary. 
Activity

1.   Hamlet Act Three, Scene One

Characters

Narrator

Claudius

Rosencrantz

Guildenstern

Gertrude

Polonius

Ophelia

Hamlet

Discussion Questions

Evaluate the use of manipulation in Hamlet.

Summarize Hamlet's famous to be or not to be speech.

How does this connect to modern society?

Interpret what Hamlet is saying to Ophelia.

What does it mean, "get thee to a nunnery"?

What is the purpose of this?

How does this scene connect to the idea of the human condition?

2.  Hamlet's Soliloquy Analysis

Hamlet 3.1 Activity

With a partner,annotate the soliloquy.  I should see strategies 2-7.
Critical Reading Strategies 

Then, identify at least THREE examples of figurative language.

When complete, think about the big idea

Answer: What does this soliloquy reveal about the human condition?

To be, or not to be: that is the question: 

Whether 'tis nobler in the mind to suffer 

The slings and arrows of outrageous fortune, 

Or to take arms against a sea of troubles,

 And by opposing end them? 

To die: to sleep; No more; 

and by a sleep to say we end 

The heart-ache and the thousand natural shocks 

That flesh is heir to, 'tis a consummation 

Devoutly to be wish'd. 

To die, to sleep; To sleep: perchance to dream: 

ay, there's the rub;

 For in that sleep of death what dreams may come 

When we have shuffled off this mortal coil, 

Must give us pause: there's the respect 

That makes calamity of so long life;

 For who would bear the whips and scorns of time, 

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? who would fardels bear,

 To grunt and sweat under a weary life, 

But that the dread of something after death, 

The undiscover'd country from whose bourn 

No traveller returns, puzzles the will 

And makes us rather bear those ills we have 

Than fly to others that we know not of? 

Thus conscience does make cowards of us all; 

And thus the native hue of resolutions 

sicklied o'er with the pale cast of thought, 

And enterprises of great pith and moment

 With this regard their currents turn awry, 

And lose the name of action.-

Soft you now! The fair Ophelia! 

Nymph, in thy orisons Be all my sins remember'd

Closure

Complete your first entry for act three.