5.4.2

Questions & Classical Allusions

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Questions & Classic References in Hamlet

Hamlet is a play full of questions. Shakespeare makes effective use of classical allusions (references to characters or events in ancient Greek and Roman texts) in the play.

First line: **"Who's there?"**

First line: "Who's there?"

  • The first line of the play is a question (Barnardo’s “Who’s there?”) which immediately helps to establish an atmosphere of tension and distrust.
The most quoted line in *Hamlet*

The most quoted line in Hamlet

  • The most quoted line in the play (and perhaps in all of Shakespeare) is also framed as a question – “To be, or not to be, that is the question”.
Questions in soliloquies

Questions in soliloquies

  • Questions often lie at the heart of the play’s great soliloquies.
    • The “To be, or not to be” soliloquy asks a succession of related questions (Should one consider suicide as a means of ending one’s pain? What awaits us in the afterlife?) before concluding that “the dread of something after death” makes “cowards of us all”.
    • Other soliloquies revolve around questions such as “Am I a coward?” with Hamlet reproaching himself for his delay in taking action.
References to Hyperion and satyr

References to Hyperion and satyr

  • Hamlet uses classical references in Act One to express his disgust at his mother marrying his uncle, idealising his father as a “Hyperion” (a Titan god, famed for his wisdom) and comparing him to the “satyr” (mythical half man, half beast), Claudius.
References to Jove and Mars

References to Jove and Mars

  • Hamlet returns to this idea in the scene where he confronts his mother (Act 3 Scene 4) with the portrait of his dead father and compares his features to those of the ancient Gods (“the front of Jove… An eye like Mars“).
  • Hamlet sees his father as a heroic figure and is unable to forgive his mother for not honouring his memory.
Reference to Hercules

Reference to Hercules

  • Hamlet also acknowledges that he is no “Hercules” (an ancient Greek hero renowned for his strength), perhaps recognising that, in failing to take revenge against Clausius, he has proven himself to be weak.
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1

Introduction

1.1

Introduction & Background to Hamlet

1.1.1Introduction to Hamlet1.1.2The Literary Tradition of the Hamlet Story1.1.3Introduction to the Settings in Hamlet1.1.4Introduction to Social Issues Raised
2

Plot Summary

2.1

Act 1: Key Events & Ideas

2.1.1Act 1, Scene 12.1.2Act 1, Scene 22.1.3Act 1, Scene 32.1.4Act 1, Scenes 4-5
2.2

Act 2: Key Events & Ideas

2.2.1Act 2, Scene 12.2.2Act 2, Scene 2
2.3

Act 3: Key Events & Ideas

2.3.1Act 3, Scene 1: Key Events2.3.2Act 3, Scene 1: Key Ideas2.3.3Act 3, Scene 22.3.4Act 3, Scene 32.3.5Act 3, Scene 4
2.4

Act 4: Key Events & Ideas

2.4.1Act 4, Scene 12.4.2Act 4, Scenes 2-32.4.3Act 4, Scene 42.4.4Act 4, Scene 5: Key Events2.4.5Act 4, Scene 5: Key Ideas2.4.6Act 4, Scene 62.4.7Act 4, Scene 7
2.5

Act 5: Key Events & Ideas

2.5.1Act 5, Scene 1: Key Events2.5.2Act 5, Scene 2: Key Events2.5.3Act 5, Scene 2: Key Ideas
3

Character Profiles

3.1

Hamlet

3.1.1Hamlet's Speech & Mind3.1.2Hamlet's Heroic Status3.1.3Hamlet's State of Mind3.1.4Hamlet's Indecision/Action Taking
3.2

Claudius

3.2.1Claudius' Crime3.2.2Changing Impressions of Claudius
3.3

Gertrude

3.3.1Mystery & Hamlet's View of Gertrude3.3.2Gertrude's Character3.3.3Gertrude's Relationship with Hamlet
3.4

Ophelia

3.4.1Ophelia
3.5

Polonius

3.5.1Portrayal of Polonius & Treatment of Ophelia3.5.2Polonius' Spying & Death
3.6

Laertes

3.6.1Laertes' Popularity & Relationship with Ophelia3.6.2Laertes' Character Traits
4

Key Themes

4.1

Regicide in Hamlet

4.1.1Regicide in Hamlet
4.2

Madness in Hamlet

4.2.1Madness in Hamlet
4.3

Guilt & Punishment in Hamlet

4.3.1Guilt in Hamlet4.3.2Punishment in Hamlet
4.4

Settings in Hamlet

4.4.1Physical Settings & Historical Setting of Hamlet
5

Writing Techniques

5.1

Structure

5.1.1Structure of Hamlet5.1.2'Play Within a Play' Structure5.1.3Play-Acting Motif
5.2

Form

5.2.1Soliloquy5.2.2Comedy
5.3

Imagery

5.3.1Imagery of Corruption & Decay5.3.2Imagery: Healing, Performance & Costume
5.4

Language

5.4.1Word Usage & Hendiadys5.4.2Questions & Classical Allusions
6

Context

6.1

Social & Historical Context

6.1.1Elizabeth I & Succession6.1.2Cosmic & Social Hierarchy6.1.3Renaissance & Emergence of Humanism6.1.4Regicide6.1.5The Reformation
6.2

Literary Context

6.2.1Seneca Tragedy6.2.2The Revenge Tragedy
6.3

Performance & Textual History

6.3.1Performance History of Hamlet6.3.2Textual History of Hamlet
7

Critical Debates

7.1

18-19th Century Responses to Hamlet

7.1.1Introduction to Critical Debates7.1.218th Century Commentary on Hamlet7.1.3Romantic Commentary on Hamlet
7.2

20th Century Responses to Hamlet

7.2.1Freudian Response to Hamlet7.2.2Other Early 20th Century Responses to Hamlet
7.3

Feminist Readings of Hamlet

7.3.1Introduction to Feminist Criticism7.3.2Feminist Readings of Hamlet7.3.3Presentation of Ophelia
7.4

Marxist/Political Readings of Hamlet

7.4.1Introduction to Marxist Criticisms7.4.2Marxist Readings of Hamlet

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  1. 1
    What's the most quoted line from *Hamlet*?Multiple choice
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Word Usage & Hendiadys

Elizabeth I & Succession