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Summary of âHow all occasions do inform against meâ
His thoughts be âBloody, or be nothing worthâ. This can be taken either way since his words are idle, e.g. the blood-drinking oath and our foreknowledge (knowing the play already) of Rosencratz and Guildensternâs fate. The sight of war gives him inspiration. He calls his revenge âdullâ which is a sign he is aware of his reality. Philophising again on Man (first instance is II.ii) he now reasons on reasoning itself. Cowardice he probes again and so is with âBeastâ. There are all examples of aforesaid pleonasm and tautology which have been used skillfully to provide for Hamletâs going-nowhere march for his fatherâs revenge. Now, however, he thinks of the Prince and his army in front of him which is much better an inspiration than actors and Theatre and all that the man has thought up to now. âRightly to be GreatâŚâ is his new proposition, and here comes a very curious word, one wonders where it had been all this time: âHonorâ, as in âmasculineâ honor, that which a Prince should think of first above all things. Nevertheless, he has indeed achieved a Herculian feat even by this, compared to what he has been doing as yet. Of note again is Shakespeareâs reminder to the audience of the brawl at the diplomatic level, subdued somewhere at the middle of the play, risen again. And thereâs this parallel drawn between the fight for lands and the fight for woman (Gertrude), which I am sure is easy to expound. âGravesâ anticipates the grave-digger scene. However, he is too late for his star that he has not courted when it was at its zenith. âRashnessâ he praises when his death-hour has arrived and ârashlyâ he dies.
Summary of âNow might I do itâŚâ
This soliloquy after Claudiusââhis words in prayer confessing his crimesâand is followed by III.iv in Gertrudeâs closet (private chamber). Of not is the antithetical nature of Claudiusâ words following Hamletâs exit which makes it almost humorous even when the situation is so tensed and on tenterhooks. This is the scene where the protagonist is closest to action and where again he shirks it. The situation and the words have biblical references, for example, âAnd how his Audit stands who knows save Heaven?â Audit refers to the Last Judgement allusions to which occur multiple times in the play (cf. The Tempest I.i) along with allusions to Doomsday (I.i, II.ii, V.i).
This speech is in sync with the ideas of âTo be or not to beâ soliloquy: this life, death, afterlife, Hamlet will...
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