Hamlet Art

Blogs like this make me resent writing blogs. Ugh. If you’ve been reading our blogs lately and wondering where the passion is, that’s the reason. I think a lot of us have given up on trying to make boring prompts not sound too poopy, unfortunately. Alas, here is some stuff about Hamlet.


PWI83505 Hamlet before the body of Polonius, 1855 (oil on canvas) by Delacroix, (Ferdinand Victor) Eugene (1798-1863) oil on canvas Musee des Beaux-Arts, Reims, France Peter Willi French, out of copyright

As you can see, this is a painting of Hamlet finding Polonius behind the curtain. This was painted by Ferdinand Victor Eugene Delacroix in 1855 and is an oil on canvas painting. It is held in Musee des Breaux-Arts in Reims, France.

The part of the play that inspired this is in Act III Scene 4. In lines 1-25 or so, Hamlet is arguing with the queen about his behavior (and her behavior with Claudius). Polonius, who is hiding behind a curtain like a little bitc..snitch thinks that Hamlet is going to murder the queen so he screams for help. Hamlet, thinking Polonius was Claudius, stabs Polonius in line 27. It’s not until line 34 that he realizes his mistake and that is what this painting depicts.

I like that the artist used dark, rich colors to depict such a dark scene. I know this is proper for the time, but Hamlet looks like such a man-child in his tights as portrayed by this painting, which accurately represents how I feel about him. I didn’t think about this when I read the play, but I really enjoy that the artist has the queen running away in the background. That would be the logical move to make, but I guess I just imagined her sitting in there while Polonius died as her insane son murdered him.

The artist depicts the castle pretty much how I would interpret it to look–dark, royal, expensive–so that’s nice. I don’t know if this was intentional on the artist’s part, but if you look closely, the dead Polonius looks as if he has red hooves, which would signify that Polonius is the devil. I agree with the artist’s interpretation, if that was his notion. Polonius sucks tbh. So does Hamlet. Everybody sucks in this play, pretty much.

Overall, this artist accurately represented how I pictured this scene from the play in my head and he did a good job making Polonius look like he deserved it and making Hamlet look like a man-child. Good job, Fernando Victor Eugene Delacroix.





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Hamlet (Ham+Omelet)

First of all, I read through most of Act I and II of this first quarto and aside from a few spelling differences and a few lines that were taken out, I really don’t think it’s that bad. Am I missing something? It honestly aligns pretty well with the plot and I don’t think it throws anything that crazy into the mix. Maybe I’m missing something.

The first thing that I noticed that was different was that Francisco was just referred to as Fist Sentinel, but that doesn’t really effect the meaning of the play at all.

Polonius is referred to as Corambis, but that also really doesn’t change the meaning of the play as a whole.

In Act I Scene 4 (~line 20)of the real Hamlet, Hamlet is in the middle of a long speech about the nature of the evil in men; however, in the first quarto, the ghost enters about a quarter of the way through Hamlet’s speech and the rest of the speech is never spoken, which changes readers’ perceptions of Hamlet’s mindset at this point.

In Act 1 Scene 5 in the real Hamlet (~line 85), Hamlet says “O, Horrible! O, Horrible! most Horrible!”. In the quarto, however, Old Hamlet says this, which changes readers perceptions slightly about how Old Hamlet feels about his own death, and young Hamlet’s response.

Another weird name thing happens at the beginning of Act II. While changing Polonius to Corambis doesn’t really change the meaning of the play, having Reynaldo’s name changed to Montano can be very confusing for anybody that has previously read Othello.

In the real play, the whole nunnery scene between Hamlet and Ophelia doesn’t happen until Act III; however, in the quarto, it happens in the middle of Act II, which is slightly confusing.

Overall, if you gave me this quarto at first and presented it to me as the real Hamlet, I wouldn’t be able to tell you that it wasn’t because I’m not a very experienced reader of Shakespeare. Honestly, it’s not that bad to us lay people. The plot is mostly the same and the spelling differences and name differences don’t make much of a difference.


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First of all, sorry this is a little late. My birthday was yesterday and I vowed that I wouldn’t do homework. Anyways, this week we were told to read the “Havamal” which is a collection of Norse poems that act as tidbits of advice. I found verse 12 quite interesting:

A worse provision
no man can take from table
than too much beer-bibbing:
for the more he drinks
the less control he has
of his own mind.

Essentially, this verse is stating that there’s not much worse a thing someone can do than drink too much, because it diminishes control of their mind and can cause them to act foolish.

I know it’s probably implied, but I’ll go ahead and say it: most of us are going to party at least a little bit when we go to college next year. It’s a pretty normal developmental thing to try alcohol while in college, and this verse is pretty applicable in that sense. While some people might be able to drink a large quantity of alcohol without negative effects, there are plenty of people who cannot and it’s beneficial for all of us seniors to understand that we need to know out limits in that respect. Not only can you end up making a fool of yourself, or end up making a lot of enemies, you can also end up vulnerable to sexual assault or worse. Be careful.

The Great Gatsby is the first book that comes to mind when I think of alcohol in literature. Throughout the novel, we can see that alcohol plays a big part in Jay, Daisy, and Tom’s illustrious lives. However, everything falls apart one summer say after drinking some whisky, and in a way, everybody in the novel either loses their life or their mind because of this alcohol filled lifestyle. If alcohol wasn’t such a big part of their lives, this would have been a very different book with a very different ending. Even the Vikings new better than they did.

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More Othello…

The first thing I noticed when I opened Quarto 1 was all the f’s. I wondered why there were f’s where there shouldn’t be f’s and no s’s where there should have been s’s. After a few minutes I finally connected the dots. Oops. I guess this was all printed/written before the lowercase s became what it is now, and before the letter u looked like a u instead of a v. Ahh. Yes, it makes sense now.

The other big thing I noticed is that there are a few spellings of words different from modern times, such as the word poison being spelled “poyson” in Quarto 1. The word Cyprus is the one that really kept bugging me, given my heritage. Obviously I know that Cyprus isn’t even the real way to spell Cyprus but somehow it sounds and looks better than “Cipres” (for the record, the real way is Κύπρος, which phonetically would be more along the lines of Kee-prose or Kypros). Alas, the folio was more accurate in that sense so I can’t complain too much.

One thing that caught my eyes was that in both Quarto 1 and the First Folio, the titles of scenes and acts were in what I’m assuming was probably Italian/latin. I guess that gives us a hint at how old school this stuff really is. I can thing of a few reasons why the first word of the next page is written at the bottom of the previous page. Theory #1: this was a play to be read aloud, not to just be sold as a book so when reading this actors needed to be able to know what was coming next or awkward silence would ensue. Theory #2: maybe the iambic pentameter would be screwed up if the actors didn’t know what was about to happen. Theory #3: both.

Shakespeare has become a lot less intimidating to me since we’ve started reading his works, and seeing them in their (mostly) original form reinforces that notion even more. He was just a guy who wrote a lot of plays during his time, and while writing really isn’t exactly considered a lucrative career anymore, there’s still a lot of Shakespeares all around us trying to make it in that difficult field. So here’s to writing, and here’s to the next Shakespeare.

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Tower of Power

You’re Still a Young Man-Tower of Power

You’re still a young man
Baby Oo oo don’t waste your time.
You’re still a young man
Baby Oo oo don’t waste your time.
Down on my knees
Whole heart in hand
I was accused of being too young
But I’m not so young
Can’t you understand
That I think like a man
You’re still a young man
Baby Oo oo don’t waste your time.
(Oh No Baby)
You’re still a young man
Baby (I’m not wastin my time)Oo oo don’t waste your time.
Back, once again
Oo Oo Just beggin you please
Darlin, think twice,
About me
Cause I’m not so bad
I could make you happy
I’m not a bad man
You’re too young to love (If you and I could be together)
You’re too young to love (I’d get to you through any weather)
You’re too young to love (I love you yes I love you Oo Lady)
You’re too young to love (I’ll never never leave you alone yeah)

You’re too young Ooo Ooo (You’re mine Oh sweet lady)
Don’t waste your time
The damage is done
You see that you were wrong

You wake up wonderin just
How well I’ve done

Well I’ve done alright
Yes there are some girls but you know
I dropped them on site
Just for you

Becuase I love you.
You’re still a young man
Baby Oo oo don’t waste your time.

This song, “You’re Still a Young Man” by Tower of Power, is part of their 1972 album, Bump City. As a trumpet player I couldn’t help but write about Mic Gillette, and I couldn’t help but find the song that showcased his abilities the most as a trumpet player. Gillette soars into the intro of this song with not only incredible tone, but incredibly perfect tuning as well, even into the higher register of the instrument. When the other trumpet player comes in to harmonize with Gillette, you know things are getting real in terms of musical quality, as both trumpets are almost perfectly in tune in most videos of the performance.

Aside from Mic’s playing, the song itself is also very interesting as one of Tower of Power’s more calming and smooth songs as opposed to their normal upbeat R&B. Looking at the song lyrics alone can be kind of confusing but listening to the song makes clear the two conversations that are happening. There’s one between the singer and the girl he wants, and one between the singer and a boy that’s trying to be with the girl the singer wants. Obviously, the singer must have done something to push the girl away from him, but you can hear in his voice his yearning for her and dismay at the boy he thinks is incapable of loving her as well as the singer could.

This song, although kind of depressing based on the lyrics, is extremely calming and I could probably fall asleep while listening to this any day of the week. The leader singer’s voice is soothing and not harsh at all. The instruments, including Mic of course, act as the icing on the cake. While they make the song what it is, they don’t overpower the singer in any way. The backup singers are something that I wish more popular songs had nowadays and in this song, they definitely add another tier to the cake.

While Mic Gillette is no longer here to make beautiful music like this anymore, his legacy as an incredible trumpet player will live on.




Sometimes these blog assignments want to make me pull my hair out. Good thing I don’t have a whole lot to pull out. This literally took me two hours.  Also, I picked this scene because it seems like something that would happen on a reality TV show nowadays (ex: Jersey Shore, Keeping Up With the Kardashians, etc) and all I could think about while reading this scene was this :


The passage (my translation=bolded part under each segment as needed; similes, metaphors, etc are underlined)

  • Roderigo.Most grave Brabantio,                                                       117
  • In simple and pure soul I come to you.                                            118

Brabantio, I’m coming for your own good, not for myself.

  • Iago.’Zounds, sir, you are one of those that will not                  119
    serve God, if the devil bid you. Because we come to                   120
    do you service and you think we are ruffians, you’ll                   121
    have your daughter covered with a Barbary horse;                      122
    you’ll have your nephews neigh to you; you’ll have                   123
    coursers for cousins and gennets for germans.                            124

Beacause you’re not willing to listen to us, daughter will have sex with the black man and give you horses and small animals for relatives.

  • Brabantio.What profane wretch art thou?                                      125

That’s ridiculous. What do you know?

  • Iago. I am one, sir, that comes to tell you your daughter            126
    and the Moor are now making the beast with two backs.            127

I’m just trying to tell you that your daughter and Othello are being intimate right now. 

  • Brabantio. Thou art a villain.                                                               128

You’re just trying to mess with me because you didn’t get what you wanted.

  • Iago. You are—a senator.                                                                       129

                 You’re just as bad!

  • Brabantio. This thou shalt answer; I know thee, Roderigo.       130

                  Is it true, Roderigo?

  • Roderigo. Sir, I will answer any thing. But, I beseech you,         131
    If’t be your pleasure and most wise consent,                                   132
    As partly I find it is, that your fair daughter,                                    133
    At this odd-even and dull watch o’ the night,                                  134
    Transported, with no worse nor better guard                                    135
    But with a knave of common hire, a gondolier,                                136
    To the gross clasps of a lascivious Moor—                                         137
  • I understand your doubts, Brabantio, but I think she’s with Othello.  
    If this be known to you and your allowance,                                      138
    We then have done you bold and saucy wrongs;                               139
    But if you know not this, my manners tell me                                  140
    We have your wrong rebuke. Do not believe                                      141
    That, from the sense of all civility,                                                        142
    I thus would play and trifle with your reverence:                             143
  • I’m sorry if you knew this already, I’m not trying to rub it in.
    Your daughter, if you have not given her leave,                                144
    I say again, hath made a gross revolt;                                                   145
    Tying her duty, beauty, wit and fortunes                                             146
    In an extravagant and wheeling stranger                                            147
    Of here and every where. Straight satisfy yourself:                          148
    If she be in her chamber or your house,                                               149
    Let loose on me the justice of the state                                                150
    For thus deluding you.                                                                                151
  • But if you didn’t know this, then you better check your house for your beautiful daughter because I’m pretty sure she’s gone. If she is there, you can punish me justly, but I’m trying to help you.

Unknown Words:

  • ‘zounds: expressing surprise or indignation
  • ruffians: violent people
  • Barbary: A region of northern Africa on the Mediterranean coast between Egypt and the Atlantic Ocean.
  • courser: a swift horse
  • Gennet: Any of several carnivorous mammals of the genus Genetta of Africa, Europe, and the Middle East, having grayish or yellowish fur with dark spots and a long ringed tail.
  • beseech: To address an earnest or urgent request to; implore
  • knave:   An unprincipled, crafty fellow
  • lascivious: Given to or expressing lust; lecherous.
  • saucy:Impertinent or disrespectful, especially in a playful or lively way
  • rebuke: To criticize (someone) sharply; reprimand.

Figurative Language Description:

 –you are one of those that will not serve God, if the devil bid you:  allusion to bible, Iago is trying to say that Brabantio is so hard headed that he wouldn’t do something even if the Devil himself made him do it. This adds meaning to the passage because it characterizes Brabantio as being rather stubborn

you’ll have your daughter covered with a Barbary horse; you’ll have your nephews neigh to you; you’ll have  coursers for cousins and gennets for germans: Figurative language animalizing Othello and referring to him as a horse that would cause Brabantio’s kin to be animal-like too. This adds meaning to the passage because it shows how much Iago dislikes Othello and would dare compare him to an animal. This shows disrespect, but also is used to convince Brabantio to hate Othello too.

now making the beast with two backs: euphemism for having sex. This adds meaning because it frames the act as being vicious in nature.

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Before I start the actual assigned portion of this blog, I just want to say this because it’s kind of poetic in a way and I don’t know where else to put it, but I just feel like I need to say it: Senior year is kind of like a box of chocolates; there’s some really good moments in there and there’s some really bad ones, but it’s mostly just a lot of bittersweet ones that you try to enjoy because you know that it’s your only chance before they’re all gone.

While sulking in the depths of boredom and emptiness during the recent winter break, I ventured to the movie theatre in Tiffin, Ohio, willing to see any movie to distract me from my boredom, but hoping for something to inspire me to get over this slump. I had already seen two other recently released movies, and given that this movie theatre in the middle of nowhere didn’t have a whole lot of options, I chose to see Joy. Joy, although a drama, kept me on the edge of my seat through the entirety of the film hoping that the underdog would succeed.

Joy, directed and written by David O. Russell, is loosely based on the story of Joy Mangano, a self-made millionaire. The part of Joy is played by Jennifer Lawrence flawlessly, although it could be argued that Lawrence is too young for the part of a worn down, divorced, single mother. After enduring the pain of divorce, supporting her entire family including her two young children, ex-husband and divorced parents under one roof, and finding a dog collar she invented at one time, Joy decides to begin inventing again. Although her detached mother Terri (Virginia Madsden), robust father Rudy (Robert de Niro), and jealous sister Peggy (Elizabeth Rohm) detest the idea given that the family can barely afford to pay their bills, Joy’s grandmother Mimi (Diane Ladd) encourages her. At this point in the movie, there is a sense of dissonance in viewers as they can sense the tension rising between the family. However, the entire family soon follows suit and Joy begins production of her Miracle Mop in her father’s car garage using nuns and people from a Hispanic church for labor. David O. Russell, following his normal trend of pairing Jennifer Lawrence with Bradley Cooper as he did in Silver Linings Playbook and American Hustle, casts Bradley Cooper as Neil Walker, an executive at QVC that helps launch Joy’s success.

Although I initially despised certain characters and aspects of the movie, the character development that occurs throughout the movie as Joy asserts herself as a business mogul changed my mind about any initially negative thoughts. Not only does the movie Joy keep audiences on their toes as Joy hits obstacle after obstacle, it also acts as a way to showcase the power of women in business. If you’re looking for a movie to keep your mind busy and to motivate you at the same time, look no further than Joy.