Hello readers!
Here on my blog. This thinking Activity given by Dr. Dilip Barad sir. This thinking Activity related William Shakespeare ' s "Hamlet" and Andrew Marvell's poem" To his coy Mistress." This tast related cultural studies paper.
Question:1: If these two characters were marginalized in Hamlet, they are even more so in stoppard's handing . If Shakespeare marginalized the the powerless in his own version of Rosencrantz and guildenstern, stoppard has marginalized us all in an era when- in the eyes of some - all of us are caught up in forces behold oyr control.
Here on my blog. This thinking Activity given by Dr. Dilip Barad sir. This thinking Activity related William Shakespeare ' s "Hamlet" and Andrew Marvell's poem" To his coy Mistress." This tast related cultural studies paper.
Question:1: If these two characters were marginalized in Hamlet, they are even more so in stoppard's handing . If Shakespeare marginalized the the powerless in his own version of Rosencrantz and guildenstern, stoppard has marginalized us all in an era when- in the eyes of some - all of us are caught up in forces behold oyr control.
☆ Two characters in Hamlet: Marginalization with a vengeance:
👉 Hamlet: Click here. Let us approach Shakespeare's Hamlet with a view to seeing power in its cultural context. Shortly after the play with in play, Claudius is talking privately with Rosencrantz and guildenstern, Hemlet 's fellow s3 from Wittenberg. In response to Claudius 's plan to send Hamlet to England, Rosenberg deliveres a speech that if read out of context is both an excellent set of of metaphors ( almost in the shape of a sonnet) and a summation of the Elizabethan concept of the role and power of kingship:
" The singular and peculiar life is bound
With all the strength and armor of the mind
To keep itself from noyance, but much more
That spirit upon whose weal depends and rests
The lives of many. The cease of majestry
Dies not alone, but like a gulf doth draw
What's near it with it. It is a massywheel
Fixes on the summit of the highest mount,
To whose huge spokes ten thousand lesser things
Arw mortised and adjoined ; which, when it falls,
Each small annexment, petty consequence,
Attends the boisterous ruin. Never alone
Did the king sigh but with a general groan."
👉 Hamlet: Click here. Let us approach Shakespeare's Hamlet with a view to seeing power in its cultural context. Shortly after the play with in play, Claudius is talking privately with Rosencrantz and guildenstern, Hemlet 's fellow s3 from Wittenberg. In response to Claudius 's plan to send Hamlet to England, Rosenberg deliveres a speech that if read out of context is both an excellent set of of metaphors ( almost in the shape of a sonnet) and a summation of the Elizabethan concept of the role and power of kingship:
" The singular and peculiar life is bound
With all the strength and armor of the mind
To keep itself from noyance, but much more
That spirit upon whose weal depends and rests
The lives of many. The cease of majestry
Dies not alone, but like a gulf doth draw
What's near it with it. It is a massywheel
Fixes on the summit of the highest mount,
To whose huge spokes ten thousand lesser things
Arw mortised and adjoined ; which, when it falls,
Each small annexment, petty consequence,
Attends the boisterous ruin. Never alone
Did the king sigh but with a general groan."
Attention to the context and the speaker gives the answer. Guidenstern had just agreed that he and Rosencrantz would do the king's bidding. The agreement is only a reaffirmation of what they had told the kind when he first received them at court. Both speeches are wholly in character. Easy it is to forget which of the two speaks which lines. Indeed easy it is to forget most of their lines altogether. The two are distinctly plot - driven : empty of personality, sycophantic in a sniveling way, eager to curry favor with power even if it means spying on their erstwhile friends. Weakly they for". Even less successfully they try to play on Hamlet' s metaphorical " pipe" , know his " stops," , when they are forced to admit that they could not even handle the literal musical instrument that Hamlet shows them.
In today's world, women of all ages are given equal rights and freedom. In Shakespeare's time . In Shakespeare 's time, woman's obligations were to fellow the rules of the men and obey the men in their lives: " Frailty, they name is women" , Hamlet implies the powerlessness of the two women characters in the play. In Hamlet, the roles of Gertrude and ophelia are very important in that they are the two female characters in the Hamlet. In several instances earlier in this chapter we noted the cultural and new historical emphasis on power relationships. For example, we noted that cultural critics assume " oppositionnal " roles in terms of power structures, wherever they might be found. Veeser, we pointed out, credited the new historicists with dealing with " questions of politics, power , indeed on all matters that deeply affect people's practical lives". And of course there are the large emphases on power in the matter of Jonathan Swift's Laputa as previously noted.
Claudius was aware of power, clearly, when he observed of Hamlet's apparent madness that " Madness in great ones must not unwatched go". With equal truth Rosencrantz and guildenstern might have observed that power in great ones alsi must not unwatched go. To say , then that the mighty struggle between powerful antagonists is the stuff of this play is hardly original. But oyr emphasis in the present reading is that one can gain a further insight into the play, and ineed in to Shakespeare's culture, by thinking not about kings and princes but about the lesser persons caught up in the massive opposition. It is instructive to note that the reality of power reflective of Shakespeare's time might in anothe time and in another culture reflect a radically different worldview.
Question:2 The poem " To his coy Mistress " tell us a lot about the speaker, the listener and also the audience for whom it is written. But what does he show? As he selects these rich and multifarious allusions, what does he ignore from his culture ?
Andrew Marvell's " To His Coy Mistress " tells the reader a good deal about the poem, much of which is already clear from earlier comments in this volume, using traditional approaches. We know that the speaker is knowledgeable about and conventions of clssic Greek and Roman literature, abot other conventions of love poetry, such as the courtly love conventions of medieval Europe, and about Biblical passages. Brody posits the " implied reader" as distinc from the fictive lady who would " be able to summon uo a certain number of earlier or contemptuous example of this kindof love poem and who be counted on, inshort , to supply the models which Marvel may variously have been evoking , imitating, distorting, subverting or transcending ". The concept of the "implied reader"we may note, bulks large in reader response criticism, see , for example the work of Wolfgang Iser. The speaker knows all of these things well enough to parody or at least to echo them , for in making his proposition to the coy lady, he hardly expects to be taken seriously in his detailing. He knows that he is echoing the conventions only in order to satirize them and to make light of the real proposal at hand. He knows that she knows, fir she comes from the same cultural milieu that he dies.
Andrew Marvell said that the speaker is highly educated person , and one whi is wekk read, one whose natural flow of associated images moves lightly over details and allusions that reflect who he , is and he expects his hearer or reader to respond in a kind if harmonic vibration. He thinks in terms of precious stones , of exitic and distant places of a milieu where eating, drinking, and making merry seem to be an achievable way of life .
Beyond what we know of the speaker from his own wirds, we are justified in speculating that his coy lady is like the implied reader, equally well educated, and the therefore knowledgeable of the conventions he uses in paridy. He seems to assume that she understands the parodic nature of his comments , for by taking her in on the jests he appeals to her intellect, thus trying to know her two of them can beon the same plane in their thoughts and allusions, their smiles and jests, then perhaps they can shortly be together on a different and literal plane: literally bedded. Thus might appear to be the culture and the era of the speaker, his lady and his implied reader.
Now consider historical reality, a dimension that the poem ignores. Consider disense.andreal and also present disease. Chronic morbidity of the population. Although the speaker thrusts disease and death into the future. We know that syphilis and other sexually transmitted diseases were just as reak a phenomenon in Marvell's day as un our era. What was the realuty that the speaker chooses not to think about, as he pushes off death and rhe " vault" to sime distant time? Similarly, one might turn to a different that was ib some ways even more ominous, more wrenching , in its grasp of the mind and body of the general population. So disease was real in the middle of the seventeenth century . There neeeded no ghost to come from the world of the dead to tell Marvell's speaker about the real world. Perhaps the speaker and his lady knew it after all
Thank you...
In today's world, women of all ages are given equal rights and freedom. In Shakespeare's time . In Shakespeare 's time, woman's obligations were to fellow the rules of the men and obey the men in their lives: " Frailty, they name is women" , Hamlet implies the powerlessness of the two women characters in the play. In Hamlet, the roles of Gertrude and ophelia are very important in that they are the two female characters in the Hamlet. In several instances earlier in this chapter we noted the cultural and new historical emphasis on power relationships. For example, we noted that cultural critics assume " oppositionnal " roles in terms of power structures, wherever they might be found. Veeser, we pointed out, credited the new historicists with dealing with " questions of politics, power , indeed on all matters that deeply affect people's practical lives". And of course there are the large emphases on power in the matter of Jonathan Swift's Laputa as previously noted.
Claudius was aware of power, clearly, when he observed of Hamlet's apparent madness that " Madness in great ones must not unwatched go". With equal truth Rosencrantz and guildenstern might have observed that power in great ones alsi must not unwatched go. To say , then that the mighty struggle between powerful antagonists is the stuff of this play is hardly original. But oyr emphasis in the present reading is that one can gain a further insight into the play, and ineed in to Shakespeare's culture, by thinking not about kings and princes but about the lesser persons caught up in the massive opposition. It is instructive to note that the reality of power reflective of Shakespeare's time might in anothe time and in another culture reflect a radically different worldview.
Question:2 The poem " To his coy Mistress " tell us a lot about the speaker, the listener and also the audience for whom it is written. But what does he show? As he selects these rich and multifarious allusions, what does he ignore from his culture ?
Andrew Marvell's " To His Coy Mistress " tells the reader a good deal about the poem, much of which is already clear from earlier comments in this volume, using traditional approaches. We know that the speaker is knowledgeable about and conventions of clssic Greek and Roman literature, abot other conventions of love poetry, such as the courtly love conventions of medieval Europe, and about Biblical passages. Brody posits the " implied reader" as distinc from the fictive lady who would " be able to summon uo a certain number of earlier or contemptuous example of this kindof love poem and who be counted on, inshort , to supply the models which Marvel may variously have been evoking , imitating, distorting, subverting or transcending ". The concept of the "implied reader"we may note, bulks large in reader response criticism, see , for example the work of Wolfgang Iser. The speaker knows all of these things well enough to parody or at least to echo them , for in making his proposition to the coy lady, he hardly expects to be taken seriously in his detailing. He knows that he is echoing the conventions only in order to satirize them and to make light of the real proposal at hand. He knows that she knows, fir she comes from the same cultural milieu that he dies.
Andrew Marvell said that the speaker is highly educated person , and one whi is wekk read, one whose natural flow of associated images moves lightly over details and allusions that reflect who he , is and he expects his hearer or reader to respond in a kind if harmonic vibration. He thinks in terms of precious stones , of exitic and distant places of a milieu where eating, drinking, and making merry seem to be an achievable way of life .
Beyond what we know of the speaker from his own wirds, we are justified in speculating that his coy lady is like the implied reader, equally well educated, and the therefore knowledgeable of the conventions he uses in paridy. He seems to assume that she understands the parodic nature of his comments , for by taking her in on the jests he appeals to her intellect, thus trying to know her two of them can beon the same plane in their thoughts and allusions, their smiles and jests, then perhaps they can shortly be together on a different and literal plane: literally bedded. Thus might appear to be the culture and the era of the speaker, his lady and his implied reader.
Now consider historical reality, a dimension that the poem ignores. Consider disense.andreal and also present disease. Chronic morbidity of the population. Although the speaker thrusts disease and death into the future. We know that syphilis and other sexually transmitted diseases were just as reak a phenomenon in Marvell's day as un our era. What was the realuty that the speaker chooses not to think about, as he pushes off death and rhe " vault" to sime distant time? Similarly, one might turn to a different that was ib some ways even more ominous, more wrenching , in its grasp of the mind and body of the general population. So disease was real in the middle of the seventeenth century . There neeeded no ghost to come from the world of the dead to tell Marvell's speaker about the real world. Perhaps the speaker and his lady knew it after all
Thank you...
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