Question #7 and 14

7. I believe that Hamlet delibrately puts on an "antic" disposition in order to see if he is being spyed on. His bipolar actions give incite into a possible jokester attitude.
14. I feel like this statement highlights Hamlet's state of confusion, especially considering all the events and tradegies he has had to experience, i.e. his father's death and mother's remarrying Claudius. However, I also feel like Hamlet could be putting on a show and acting, so that he displays an artifical public self. I feel like Hamlet feels insecure and that he needs to act in order to see if people are being truthful to him. At the same time, he seems to be traumatized by all that is occuring.

Question #4 page 830

Both Laertes and Polonius warn Ophelia that Hamlet could be unfaithful to Ophelia and even though at one moment he may profess his love, in another instant he could be running away with someone else. Laertes warns Ophelia to be afraid in her relationships and basically tells her not to trust Hamlet. Polonius says that Ophelia could be lowering her status by being with Hamelt and that she should make herself more expensive. Evidently, both Laertes and Polonius do not favor Hamlet. Some of Laertes's argument presents an element of hypocrisy and is therefore, less fair. Polonius' argument is very long and pretentious but being her father, Ophelia is put in a position where she must be obedient. Both men readily expect Ophelia to take their warning and advice to heart and to be compliant. In a way, Laertes and Polonius demean her and make her inferior to their instructions.  Class fits into this situation because of Hamlet's superior class subjugating Ophelia's chances with him because of her lower status.

“It is impossible to say just what I mean! But as if a magic lantern threw the nerves in patterns on a screen”

Eliot’s The Love Song of J. Alfred Prufrock, is a dramatic monologue in which the speaker’s perpetual indecisiveness gives incite to his highly insecure nature. The speaker constantly makes decisions and then doubts himself in the decision he made. He presents himself as a very fragmented character and never offers up a fully thought out point, but rather he proposes ideas and then dismisses them quickly after his proposal. The speaker, Prufrock is continually unable to express himself: “It is impossible to say just what I mean! But as if a magic lantern threw the nerves in patterns on a screen” (104-105). Prufrock’s uncertainty about his life and his position in it is demonstrated by this quote. The description of the “magical lantern” suggests a public display of confusion of all the thoughts circulating in his head. This quote seems to give light to the fact that Prufrock is not following any real direct path, and therefore, he has definite trouble in finding meaning and purpose in all aspects of his life. 

Manipulation in "To His Coy Mistress

In Marvell’s “To His Coy Mistress” the speaker makes exaggerated claims and describes the ephermeral nature of time in order to manipulate his “coy mistress” into seizing the day. The speaker begins his argument with a conditional statement that “had” he “ but world enough and time” he would spend eternity adoring and loving his mistress.  Despite the soothing and reassuring tone that permetates through the first stanza, the speaker uses hyperbole and makes impractical claims such that he would spend one hundred years to “praise her eyes and forehead,”in order to lure his mistress in and persuade her of the speaker’s endless love.  The speaker’s calming tone suddenly takes a turn in the second stanza when he discusses  the unfortunate but harsh reality of death. It is now, that the speaker really begins using terror to frighten his “mistress” into taking advantage of the present moment, given that now contrastly time is scarce. He graphically claims that “worms shall try that long perserved virginity.” Here the speaker could not be more dramatic in his mission to tempt his “coy mistress”. Finally in the last stanza “Now, therefore”  demonstrates the speaker’s attempt to attain ulimtate authority over his innocent and “youthful” mistress. Unlike the slow and calming pace of the first stanza, the third stanza is rushed, almost as if the speaker foresees that time is of the essence. In his final claim and act of mainupultion, the speaker asserts that the mistress is active and able to make the most of the present moment with him because of her appropriately youthful “hue.” All of the claims that the speaker makes, from the everlasting nature of time, to death eating up her virginity, serve to lure his “coy mistress” into believing that there is not time like the present, and, therefore, the message of carpe diem is espoused.

Marvell’s “Coy Mistress”

“Now, therefore, while the youthful hue..”

Throughout “To His Coy Mistress,” the speaker presents a logical argument and finally concludes it with “therefore,” to make a final and reasoned out claim. The chronological order of which the speaker follows aims to convince and persuade his “coy mistress” that now is the time to seize all opportunities, “while the youthful hue” is still fresh and ready. The pace of this line seems to be rushed, almost as if the speaker foresees that time is of the essence. The speaker’s use of “youthful” suggests innocence, fertility, and ability; all are characteristics of which he believes is very much existent in the mistress’ present and vigorous state. He suggests that the mistress is active and able to make the most of the present moment with him because of her appropriately youthful “hue.” All of this being said, the speaker appears to offer forth the chorological order of events and mention of her “youthful hue” with the intention of first startling her by describing death and the scarcity of time, then persuading her to believe that there is no time like the present, (or carpe diem). One could say that the speaker is either deceitful or brilliant in the methods he uses to court his mistress by praising her ephemeral youth.