The Shakespeare Conference: SHK 19.0550 Saturday, 13 September 2008
[1] From: Aaron Azlant <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Wednesday, 10 Sep 2008 11:23:53 -0400
Subj: Re: SHK 19.0541 I.i.1 - An Emphasis on Character
[2] From: Mike Shapiro <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Wednesday, 10 Sep 2008 10:39:49 -0700
Subj: RE: SHK 19.0541 I.i.1 - An Emphasis on Character
[1]-----------------------------------------------------------------
From: Aaron Azlant <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Wednesday, 10 Sep 2008 11:23:53 -0400
Subject: 19.0541 I.i.1 - An Emphasis on Character
Comment: Re: SHK 19.0541 I.i.1 - An Emphasis on Character
Apologies if this is somewhat non-sequitoral...
I think that I've recommended it a number of times before, but Stephen Booth's
essay "On The Value of Hamlet" does a remarkable job investigating the way in
which this scene both fulfills and frustrates expectations simultaneously -- for
an example, consider how speeches about the horror that the sentries had seen
two nights previously are interrupted by the appearance of the ghost. Booth's
concluding line, after investigating a number of similar phenomena in I.i.1, is
something to the effect that the scene opens in the dark and concludes in the
dark. He argues that Hamlet I.i.1 conditions its audience to value the kingship,
be concerned for its safety and to place a premium on orderliness. Then, in the
second scene, Claudius provides overly orderly rhetoric that papers over a
morally reprehensible formulation ("our...sister...have we...taken to wife")
that pushes an audience towards sympathy with Hamlet (who is already somewhat
magnetic since he is dressed all in black, played by the most famous person in
the company, and ironic) -- an immediate threat both to kingship and to order. A
similar balancing act obtains in the "Friends, Romans, countrymen" scene in
Julius Caesar, and in a number of other plays, though that's perhaps a separate
thread.
I also think that the idea of violations of context is one idea that operates
throughout the play, so it is probably fitting that it opens on the wrong sentry
challenging (and concludes on Fortinbras' commentary on -- and then
demonstration of -- the importance of context). When Horatio says "in what
particular thought to work I know not" later in the scene, he may as well be
speaking for the audience.
Finally, on a recent rereading I noticed that the incidental conversation in
I.i.1 mostly focuses around the sun and on morning time; I think this may be a
way of priming the audience for conversations in I.ii that focus on being a son
in mourning.
[2]-----------------------------------------------------------------
From: Mike Shapiro <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Wednesday, 10 Sep 2008 10:39:49 -0700
Subject: 19.0541 I.i.1 - An Emphasis on Character
Comment: RE: SHK 19.0541 I.i.1 - An Emphasis on Character
Night duty for a sentry presents multifaceted challenges. During the night in a
combat zone it is common to hear the phrase, "Friendy-s in the area." This is in
response to an inquiry made to a command post by a night sentry that movement
has been spotted in his geographic area of responsibility. In such a case, the
sentry is requesting permission to open fire if he feels an attack is looming.
Alternatively, when a friendly individual approaches a sentry it makes sense to
alert the sentry of his presence in the area. The approaching individual knows
he has entered a danger zone secured by armed guard and that the sentry may not
have knowledge of the intrusion. So it is natural for the intruder to give
notice to the sentry in order to orchestrate the confrontation. This notice
provides the sentry with an opportunity to clarify the situation as opposed to
having a startle response resulting in a shoot 1st and ask questions later
reaction. That Bernardo does not call to Francisco by name might be an issue,
however, by having Francisco call out "Who's there?" WS enhances the scene with
an atmosphere of disorientation thus providing the audience with a sense of
foreboding. It's a better choice than the stereotypical sentry challenge, "Who
goes there?"
Mike Shapiro
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