Hamlet Review 2014

Hamlet Review 2014
[Copy these active listener notes into a Google Doc and fill in the blanks.]

What have we learned about how language works in literature, about Elizabethan theatre, about Shakespeare’s writing, and about Hamlet itself? What's so great about Shakespeare? What's so great about Hamlet?

How does the play illustrate the complexity and variety of human responses to corrupt acts, traumatic loss, and the realization of human mortality (including one’s own)? What does the play suggest about these responses? 

I.                     Hamlet’s sound

   A.      _______________ _______________ provide memorable closure and summation

      1.     “The time is out of joint: O cursed spite / That ever I was born to set it right.” (1.5)

2.   “The play’s the thing  / Wherein I’ll catch the conscience of the king.” (2.2)

   B.       _______________ _______________ / _______________ _________________________

      1.        provides structure, unity

      2.        provides potential for emphasis by way of variation: “to be or not to be; that is the question.”

II.                   Hamlet’s language

   A.      Pun

      1.        5.1 “lie”: lie down & tell lies (Gravedigger and Hamlet)

      2.        4.7 “too much of water”:  tears & drowning (Laertes)
      3.    4.3 "At supper...Not where he eats but where he is eaten" (Hamlet to Claudius about Polonius)

   B.       Double entendre
      1. "her privates we" (Guildenstern 2.2)
      2. Hamlet talking to Ophelia during the Murder of Gonzago. (3.2)
   C.    Paradox
        “more than kin and less than kind” (1.2) [This is also an aside.]
   D.    Oxymoron
        "defeated joy" "mirth in funeral...dirge in marriage" (Claudius 1.2)

   E.       Metaphors:
       "slings and arrows of outrageous fortune" (Hamlet 3.1)
   F.    Hyperbole
        "I loved Ophelia. Forty thousand brothers/Could not with all their quality of love/Make up my sum." (Hamlet 5.1)
   G.    Analogy
       "The harlot's cheek beautied with plast'ring art/Is not more ugly to the thing that helps it/Than is my deed to my most painted word." (Claudius 3.1) [This is also an aside.]
   H. Other figurative language
      king > worm > fish > beggar can be seen as a figurative way inverting the Elizabethan social structure (Hamlet 4.3)

   I.     Syntax

       1. inverted sentence: “O, what a rogue and peasant slave am I.” (Hamlet 2.2)

       2. periodic (delayed) sentence: “Within a month, / Ere yet the salt of most unrighteous tears / Had left the flushing in her galled eyes, / She married.” (Hamlet 1.2)

       3. interrupted sentence: "But two months dead--nay, not so much not two." "Any yet, within a month/(Let me not think on't; frailty, thy name is woman!) (Hamlet 1.2)

III.                 Hamlet as theatre

   A.      Acting Choices (interpretations)

      1.        Laurence Olivier (director and Hamlet)

      2.    Franco Zeffirelli (director), Mel Gibson (Hamlet)

      3.    Kenneth Branagh (director and Hamlet)

      4.    Michael Almereyda (director), Ethan Hawke (Hamlet)

      5.    Gregory Doran (director), David Tennant (Hamlet)

   
   B.       Visual Choices (interpretations)

   Ex. “to be or not to be”

      1.       Olivier's spiral stairs, cliff, crashing waves, bodkin = confusion, conflict, drama

      2.        Zefferelli’s catacombs= death “the undiscovered country”

      3.        Branagh’s mirror, bodkin= deceit, also outward action v. self-directed action
      4.    Almereyda’s Blockbuster= “Action” / “Go Home Happy” (irony)
      5.    Tennant's eyes=looked at, looking at; relationship with audience

IV.           Hamlet’s patterns

   A.      Characters

      1.        Hamlet’s foils (contrasting characters):
          a. sons responding to the deaths of fathers

 ____________________      ____________________

           b.  Another similarity and contrast: Hamlet (acts mad, wishes to die), Ophelia (is mad, allows herself to do die)

      2.      Hamlet's age 
       a. Is Hamlet's age (revealed in 5.1) symbolic of his growing maturity?
       b. Is it a reflection of Richard Burbage's age? (Burbage was the star actor in Lord Chamberlain's Men, Shakespeare's acting company. He would have been thirty around the time Hamlet was first performed.)

      3.        Who “spies”? How?

      4.   Who follows and obeys? Who flatters authority (kisses up to those in power)?

   B.       Plot*

      1.        Dramatic Irony (3.3)

         a.        Hamlet believes ____________________ is confessing for his sins and so does not kill him.

         b.       The reader/audience knows that ____________________ has failed to confess.

         c.        Mel Gibson claims that Hamlet’s failure to kill ____________________ here triggers all the other deaths in the play (triggers the tragedy as such).

      2.        Fitting deaths

         a.        ____________________ dies spying (3.4)

         b.       ____________________ dies passively (& in water) (4.7)

         c.        ____________________ dies drinking to Hamlet (Perhaps her death triggers Hamlet to action vs. Claudius.) (5.2)

         d.       ____________________ (“I am justly killed by my own treachery.”) (5.2)

         e.        ____________________ (by sword and drink) (5.2)

         f.         ____________________ (“the rest is silence”: Does Shakespeare intend this as a tragic and ironic contrast with Hamlet’s constant speaking) (5.2)

         g.       ____________________ ____________________ die as servants (4.6, 5.1, 5.2) ("They did make love to this employment.")

      3.        What is the significance of Fortinbras becoming king?

         a.        Elizabethan convention

         b.       Is Shakespeare suggesting something about fate and fortune?
         c.   Or about decisive action?
         d.   Or about deception? (See: Branagh's 5.2)
         e.   What do you think of Branagh's interpretation? 

   C.       Imagery (Who and/or what theme(s) is (are) associated with these images?)

      1.        water / liquid

      2.        weeds / flowers

      3.        Serpents, adders, rats and other animals:

      4.        painting  [make-up]

   D. Historical and Mythological Allusion
      1.        Hyperion (Sun God) to Satyr (Goat Man) (1.2 soliloquy)): 

             Hyperion: King Hamlet and Satyr: Claudius

      2.        Priam and Hecuba (2.2 Player’s speech and Hamlet’s second soliloquy):
                          Priam: King Hamlet (but also like Claudius in that he is killed by a son (Pyrrhus) as revenge for the deah of his father (Achilles) and Hecuba: Gertrude [Pyrrhus slaughtering Priam & Hecuba weeping inconsolably for her husband's death continue the theme of responses to tragedy/wrongdoing/death.]
      3.        Julius Caesar (3.2 Murder of Gonzago/Mouse Trap scene, 5.2 graveyard scene) Inside joke? Shakespeare likely wrote JC shortly before Hamlet. Thematic connection: murder, betrayal, revenge
      4.        Alexander the Great (5.1 graveyard scene): Alexander the Great

   E.       Themes

      1.        Fallen world

         a.        Hamlet sees the world as corrupt.

            aa.     “How weary, flat, stale, and unprofitable seem to me all the uses of this world.”

            bb.    “tis an unweeded garden”

            cc.     “Man delights not me nor woman neither”

         b.       This view is triggered – it seems – by his mother’s overhasty marriage (and later by Ophelia’s lying).

            aa.     “Frailty thy name is woman”

            bb.    “Get thee to a nunnery.”     

      2. Deception: Appearance and Reality, Seems and Is
          a. Examples of the gap between appearance and reality in the play
          b. The effect of the gap between appearance and reality in the play
                   Seems to be x but actually is y which causes z.]
      3. Responses to corruption & trauma: Thought and Action 
         a.        Hamlet's Soliloquies 1.2, 2.2, 3.1, 4.4 
         b.       Ophelia's singing, flowers, and drowning / Laertes' attack & deceptive plan 4.5, 4.7  
         c.        Fortinbras plans to attack Denmark, attacks Poland, becomes King of Denmark (Did he attack? Did he just benefit from fortunate fate?) 1.2, 4.4, 5.2

* In order to draw out the thematic significance of characters and events. You must have a mastery of the character's names and the role each character plays in the logical sequence of events (plot).

Hamlet Act Four

* Take notes on your motif/thread.
* Take notes on characters and characterization; situation, events, and plot; essential question and other themes; interesting literary and rhetorical language; repetitions, contrasts, and other patterns. 
* 4.1-4.3 quote and explain the best joke/witty remark/mocking remark by Hamlet in these scenes.
* 4.4 By class time on Monday 12/8 in your "Hamlet's Soliloquies" document/paper follow the directions for writing responses to Hamlet's 4.4 soliloquy.
 * 4.5 & 4.7: Ophelia Speaks! In a Google doc/paper called "Ophelia Speaks," write an soliloquy for Ophelia by Thursday 12/11. We'll work on this in class on Tuesday too. Directions below:

Ophelia Speaks

Role: You are a playwright commissioned by a theatrical troupe to create a soliloquy (or monologue or letter written by Ophelia) that will be inserted into Hamlet.

Audience: Readers and viewers of Hamlet who want to understand Ophelia more deeply.

Format:       1. a soliloquy, monologue, or letter

                   2. 14+ lines*

3. The lines conclude with a rhyming couple in iambic pentameter. (*The other 12 or more lines may be in prose or in iambic pentameter# [blank verse).)

4. Try to use Elizabethan language (diction and syntax), or use language that does not stand out as obviously modern. (If you're looking to have some fun with Elizabethan language, here are a couple non-scholarly links to information for moderns about Elizabethan English: Faire Speak: Learn the Language and Speak Like a Pro: A Field Guide to Elizabethan English.) 

5. State where in the play you would insert the soliloquy (or monologue). (Would you create a 4.8? Would you place it somewhere in 4.5? Where? Be precise: act, scene, line. You could even, I suppose, create a 4.8 in which she returns as a ghost; or perhaps someone finds a letter she has written or a diary.)

6. Incorporate song lyrics and flower imagery. You do this a few different ways: you can make direct references to the songs and flowers referred to in 4.5); you can refer to other Elizabethan flower symbolism and other songs (more here).

7. Show Ophelia’s mind puzzling out and wrestling with her dramatic situation and inner consciousness (just as Hamlet does in his soliloquies). (Here is a link to a few Ophelia performances, some of which have been taken down by YouTube but others of which are still there. These might help you think about her shifting emotional state in relation to her situation after 3.4.)

Topic: What Ophelia is thinking and feeling at the moment in the play into which you decide to insert her soliloquy?

# Much of Hamlet is written in blank verse meaning most lines do not rhyme but they do follow a particular meter (a pattern of unstressed and stressed syllables). The meter is called iambic pentameter. “Iambic” means unstressed syllables are followed by stressed syllables: “And makes us rather bear those ills we have”. Pentameter means there are five iambs.

“…And makes us rather bear those ills we have,

than fly to others that we know not of…”

 
* 4.5 & 4.7: Compare how all the various characters react to trauma, tragedy, mystery, wrongdoing. We'll do this through conversation.
* 4.6 PIRATES!!!!!!!
*  In your "Hamlet Motif" document/paper do the following by class time on Wednesday 12/10:
1. Write down your motif.
2. Write down the act, scene, line of every place you noticed your motif in act four. (If you're thin on notes: Here you'll find searchable text.)
3. Write a paragraph in which you explore the role and significance of the motif in play so far.
4. Write down a quotation from act one that involves your motif. (Include act, scene, and line.)
Write a thorough explanation of what the quotation means (in context) and how the quotation develops the significance of the motif. 

 Coming next...
Act Five
* Take notes on your motif/thread.
* Take notes on characters and characterization; situation, events, and plot; essential question and other themes; interesting literary and rhetorical language; repetitions, contrasts, and other patterns. 
* 5.1 By Friday 12/12 in your "Odds & Ends" document explain how 5.1 explores various ways of reacting to death: Using at least one quotation explore how characters speak humorously about death in the first part of scene. Using at least one quotation explore how Hamlet speaks philosophically about death is the second part of the scene. Using at least one quotation explore how characters respond  personally  and emotionally to death in the final part of the scene.
* 5.1 Wait a minute...How did old it say Hamlet is? Nuh-uh. (Mr. Cook--surprise, surprise--has something to say about this.)
* 5.2 Who dies? (Or, perhaps, it would be easier to say who does not die?) How might the way people die be significant? How who doesn't die be significant? How does the way characters talk about death be significant?  

*  In your "Hamlet Motif" document/paper do the following by class time on Friday 12/12:
1. Write down your motif.
2. Write down the act, scene, line of every place you noticed your motif in act five. (If you're thin on notes: Here you'll find searchable text.)
3. Write a paragraph in which you explore the role and significance of the motif in play so far.
4. Write down a quotation from act one that involves your motif. (Include act, scene, and line.)
Write a thorough explanation of what the quotation means (in context) and how the quotation develops the significance of the motif. 

 

Hamlet Act Three

Hamlet Act Three

* Take notes on your motif/thread.
* Take notes on characters and characterization; situation, events, and plot; essential question and other themes; interesting literary and rhetorical language; repetitions, contrasts, and other patterns. 
* 3.1: In class on Tuesday...Think like an actor or director. Choose one character to portray or direct in this scene: Ophelia, Hamlet, Claudius or Polonius. 

What is the character's objective (purpose, intention, motivation) in the scene? (In other words, what does the character want out of the scene?) What is the subtext? In other words, what are the character's unspoken, unconscious, or concealed thoughts and motivations in the scene? How do you know? (<<Support your interpretation of the objective by explaining how specific detail and/or specific language from the text support your interpretation.)

What obstacle is standing in the way of the character achieving the objective? (Is another character's behavior the obstacle? Is the obstacle in the character's own mind? Is the obstacle something physical or something intangible (beliefs and norms) in the social environment? How do you know? (<<Support your interpretation of the obstacle by explaining how specific detail and/or specific language from the text support your interetation.) 

When faced with the obstacle how does the character make adjustments in his or her speech or actions to try to attain the objective?

* Tuesday night in your "Hamlet's Soliloquies" document/paper follow the directions for writing two responses to Hamlet's 3.1 soliloquy.

* 3.2 Start in class and finish Wednesday night.

 Option #1 Write a shuttle comparison of two performances of "The Murder of Gonzago" ("the Mousetrap").  Remember to begin with a bold insight about meaningful similarities and/or differences. When comparing consider Hamlet's behavior, the play-within-the-play itself, and the reactions of Ophelia, Gertrude, and Claudius. Then, develop that insight by explaining very specific acting and directing choices.

Option #2. Write a mini-essay explaining in detail how director Michael Almereyda's "Mouse Trap" uses clips of film to express Hamlet's feelings about his mother and to attempt to "catch the conscience of the king." Then, evaluate how effectively the collaged film conveys the ideas expressed in Shakespeare's text.

Option #3. Write a mini-essay explaining how you would improve one of the versions (your choice) with very specific directorial and acting choices. Defend your choices. Explain exactly how your changes would improve the scene. 

First Clip: 3.2 "Murder of Gonzago," directed by Kenneth Branagh, Hamlet played by Kenneth Branagh, Ophelia played by Kate Winslet, Gertrude played by Julie Christie, Claudius played by Derek Jacobi (1996) [The full text is performed but in a Victorian rather than Elizabethan setting. Click here for more on the style of Branagh's Hamlet, here for more on Victorian theatre, here for more on the Victorian era.]

Second Clip: 3.2 "Murder of Gonzago," directed by Franco Zeffirelli, Hamlet played by Mel Gibson, Ophelia played by Helena Bonham Carter, Gertrude played by Glenn Close, Claudius played by Alan Bates (1990)
[This clip begins with Hamlet's line "You shall see anon how the murderer gets the love of Gonzago's wife" (3.2.289), but instead of this line causing the King to rise, Zeffirelli has the players enact a partial version of the dumb show here. Prior to the beginning of this clip the Player King and the Player Queen--both played by men in the Elizabethan tradition--have exchanged a heavily cut version of the lines written for the occasion by Hamlet. Hamlet has also already spoken to Ophelia ("May I lie my head upon your lap") and Gertrude ("Madam, how like you this play?"). His manner, prior to the clip, is strangely playful (or playfully strange) and visibly anxious, perhaps an adult indulging in adolescent childishness.]

Third Clip: 3.2 "Mouse Trap," abridged, is directed by Michael Almereyda. Ethan Hawke plays Hamlet, Julia Stiles plays Ophelia, Diana Venora plays Gertrude, Kyle MacLachlan plays Claudius. (2000)
[Almereyda sets his Hamlet in mid-1990s Manhattan. Prior to this scene we have watched Hamlet visiting Blockbuster Video and editing film into a collage. Prior to the clip when Hamlet says "May I lie my head upon your lap" Ophelia pushes him away.] 

Fourth Clip / Fourth Clip part 2: 3.2 "Murder of Gonzago, abridged, is directed by Gregory Doran. David Tennant plays Hamlet, Mariah Gale plays Ophelia, Penny Downie plays Gertrude, and Patrick Steward plays Claudius. (2009)
[If you want to skip Hamlet's lecture on acting and his bromantic speech to Horatio, start 3:30 or so into the first clip. The "Murder of Gonzago" ends about 3:30 into the second clip. Doran seems to set the film in a chimerical present day monarchy, mixing modern clothing with pre-modern decor. The Player King and Player Queen's speeches are cut to the essential lines but the scene is otherwise more or less intact.]     

* 3.3 Discuss in class on Wednesday/Thursday: How does Shakespeare use dramatic irony in this scene to dramatize Hamlet's claim that "conscience does make cowards of us all/And thus the native hue of resolution/is sicklied o'er with the pale cast of thought"? (In other words, how does the dramatic irony in this scene show how the impulse to act can be weakened by thought?)

* Discuss in class on Wednesday/Thursday: 3.4 How does William Shakespeare use dramatic irony early in the scene? (Hint: What happens to Polonius.) How does this event add another layer (or two or three) to Shakespeare's exploration of the ways people respond to trauma, uncertainty, and wrongdoing?
How does Hamlet's interaction with his mother in this scene deepen Shakespeare's exploration of themes and motifs introduced earlier in the play?

* By class time on Monday 12/8 in your "Hamlet Motif" document/paper do the following:
1. Write down your motif.
2. Write down the act, scene, line of every place you noticed your motif in act three. (If you're thin on notes: Here you'll find searchable text.)
3. Write a paragraph in which you explore the role and significance of the motif in play so far.
4. Write down a quotation from act one that involves your motif. (Include act, scene, and line.)
Write a thorough explanation of what the quotation means (in context) and how the quotation develops the significance of the motif.

Hamlet Act Two

Color coding: Notes, Hamlet Odds & Ends (doc/paper), Hamlet's Soliloquies (doc/paper), Hamlet Motif (doc/paper).

All act two work will be due by class time on Monday, December 1.

Read 2.1 in class. (Finish at home if necessary.) 
* Take notes on your motif/thread.
* Take notes on characters and characterization; situation, events, and plot; essential question and other themes; interesting literary and rhetorical language; repetitions, contrasts, and other patterns. 
* This scene happens in two phases. Polonius talks to a man named Reynaldo about going to France to check on Laertes. Ophelia then comes to Polonius to tell her father about an encounter with Hamlet.  In your "Hamlet Odds & Ends" (doc/paper) explore character development in relation to themes: 

In the first part of the scene: 
1) How is the characterization of Polonius (through what he says and does) related to the theme of appearances and truth? How is the characterization of Polonius (through what he says and does) related to the theme of gender roles? 

In the second part of the scene:  
2) In this scene how is the characterization of Ophelia (through what she says) and Hamlet (through what he did) related to the appearances and truth of Hamlet's mental state? (If I haven't talked about it already, remind me that we need to discuss Hamlet's statement in 1.5 that he will "put an antic disposition on.") How is what Ophelia says happened between her and Hamlet related to the theme of gender roles? 

* Small group / whole group discussion: Based on your answers above [^^^], if you were a director or actor involved with a production of Hamlet, would you depict Polonius as proper and well-meaning, as crafty and conniving, as foolish and out of touch, or some other way? Would you depict Ophelia as motivated in this scene by loyalty to her father, obligation to her father, concern for Hamlet, concern for herself, confusion about Hamlet's behavior, a combination of these factors, or as motivated by something else entirely? If, in a film adaptation, you were to recreate the encounter that Ophelia describes would you depict Hamlet as disturbed, as pretending to be disturbed, as attempting to communicate something to Ophelia but unable, as wanting to disturb Ophelia, or would you depict Hamlet some other way?

Read 2.2 (in class and at home)
* Take notes on your motif/thread.
* Take notes on characters and characterization (particularly Rosencrantz, Guildenstern, Polonius, Hamlet, and the players all of whom figure prominently in this scene); situation, events, and plot (especially regarding Rosencrantz and Guildenstern's role, Claudius's attempt to get the King of Norway to stop Fortinbras's planned attack on Denmark, Claudius and Polonius' plan to figure out why Hamlet is acting strange, Hamlet's plan to use the players); essential question and other themes; interesting literary and rhetorical language; repetitions, contrasts, and other patterns. 
In your "Hamlet Odds & Ends" (doc/paper)  1) choose something substantial or revealing Hamlet says in this scene and explain not only what it means but how the way he says it is significant (I suggest selecting something witty he says to Polonius or to Rosencrantz and Guildenstern, or you might explain his most famous non-soliloquy speech (2.2.316-334); 2) answer this question: How does the speech Hamlet asks the First Player to recite relate to the situation in Denmark? Think about Priam, Hecuba, Pyrrhus, Achilles, on the one hand, and King Hamlet, Gertrude, Claudius, Prince Hamlet, on the other hand. The two stories are not exactly parallel but relate in interesting ways particularly with regard to the question, how do different people respond differently to traumatic loss?
* In your "Hamlet's Soliloquies" document/paper follow the directions for writing two responses to Hamlet's 2.2 soliloquy.

* In your "Hamlet Motif" document/paper do the following:
1. Write down your motif.
2. Write down the act, scene, line of every place you noticed your motif in act two. (If you're thin on notes: Here you'll find searchable text.)
3. Write a paragraph in which you explore the role and significance of the motif in play so far.
4. Write down a quotation from act one that involves your motif. (Include act, scene, and line.)
Write a thorough explanation of what the quotation means (in context) and how the quotation develops the significance of the motif.

Hamlet Act One

Color coding: Notes, Hamlet Odds & Ends (doc/paper), Hamlet's Soliloquies (doc/paper), Hamlet Motif (doc/paper).

Read 1.1 at home (due Friday, November 14)
* Take notes on your motif/thread.
* Take notes on characters and characterization; situation, events, and plot; essential question and other themes; interesting literary and rhetorical language.
* Take notes on the three family trees. [In Denmark's Elsinore castle: King Hamlet-Gertrude-Claudius-Prince Hamlet; Polonius-Laertes-Ophelia. In Norway: King Fortinbras-Uncle/Old Norway-Prince Fortinbras]
* In your "Hamlet Odds & Ends" Google Doc, answer this question: How does Shakespeare throw the audience into mystery, uncertainty, and doubt in the first scene (before we even meet Hamlet the protagonist)?

Read 1.2 in class Monday, November 17.
* Take notes on your motif/thread.
* Take notes on characters and characterization; situation, events, and plot; essential question and other themes; interesting literary and rhetorical language.
* Understand what Hamlet's responses to Gertrude and Claudius and his soliloquy reveal about him and his response to tragic loss; understand what Claudius' speech and words to Hamlet reveal about him and his response to tragic loss; understand how Claudius responds to Norway; understand how Claudius responds to Laertes; understand  how Claudius responds to Hamlet.
* In a document called "Hamlet's Soliloquies" follow the directions for writing five responses to Hamlet's 1.2 soliloquy. Due Monday, November 24 (before class time).

Read 1.3 at home (due Wednesday, November 19)
* Take notes on your motif/thread.
* Take notes on what Polonius says to Laertes, what Laertes says to Ophelia, and what Polonius says to Ophelia. 
* Understand how what is said contributes to characterization, plot, and theme.
* In your "Hamlet Odds & Ends" document, show an understanding of what Polonius says to Laertes, what Laertes says to Ophelia, and what Polonius says to Ophelia. After class discussion, add an brief explanation of how each conversation is significant in terms of characterization, motifs, and/or theme.

Read 1.4 and 1.5 at home (due Thursday, November 20)
* Take notes on your motif/thread.
* Take notes on characters and characterization; situation, events, and plot; essential question and other themes; interesting literary and rhetorical language.
* Understand how these two scenes contribute to plot (particularly what happened in the past and what Hamlet pledges to do next) and theme (responding to traumatic loss, mystery, and wrongdoing).    
* In your "Hamlet Odds & Ends" document convey your understanding of the above [^^^]. Also, explain and analyze a stylistically and thematically interesting sentence from 1.4 and 1.5. (You choose the sentence.)

In a document called "Hamlet Motif" do the following by class time on Monday, November 24:
1. Write down your motif.
2. Write down the act, scene, line of every place you noticed your motif in the play so far. (If you're thin on notes: Here you'll find searchable text.)
3. Write a paragraph in which you explore the role and significance of the motif in play so far.
4. Write down a quotation from act one that involves your motif. (Include act, scene, and line.)
Write a thorough explanation of what the quotation means (in context) and how the quotation develops the significance of the motif.