Food Memoir

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The Rainbow Timed Essay (Blog Post #19)

1. What is your initial essay score? Using the language of the rubric, why did your peer (name the individual) score your essay in this way? Do you agree or disagree? Why? (1 chunky paragraph).

                 The score my initial essay received (from Sunny Chen) was a 7/8. This was because, while it did address complexities to some extent and offer "a reasonable analysis" of Lawrence's employment of literary devices, it was not quite as "persuasive" as a nine essay. Though the essay was higher than a 6 but not quite as developed nor complex as a nine, it received a middle score of a 7/8. In addition, the essay included some unnecessary summary or excessive "quote-bombing" and lacked depth in analysis or original interpretation, falling short of a nine essay. Grammatically it was nearly error free but could have "demonstrated more effective control of language" in general, placing it in the 8 range. For the most part, I agree with this scoring. In my opinion, certain aspects of the essay or single paragraphs were deserving of an eight and others of a seven; there were also individual lines that may have shown the complexities achieved by 9 essays but most definitely also lines representative of a much lower scored essay. I agree that the essay could have been more effective in contributing a clear and solidified point and perceptive analysis even though it had successfully addressed all parts of the prompt and included a variety of literary devices used by Lawrence. I also agree with the idea that this essay lacked consistent in-depth interpretation of embedded quotes. Though many quotes were used and generally with purpose, they could have been better explained or accompanied by more analysis. Overall, with its components in each score range, I believe that a 7/8 is fair for this essay.

2. After researching D.H. Lawrence, discussing his concept of "blood knowledge", reading through the "Prose Passage" chapter in 5 Steps to a 5, participating in class discussion, and norming the essays from 1-9, discuss what you would do to improve this essay. (3 chunky paragraphs)
                 First and foremost, to improve this essay, I would spend more time on the thorough explication of quotes rather than only including them for the sake of including a reference. Certain quotes found in The Rainbow are very powerful and the analysis provided by this essay simply fails to do them justice. For example, further interpretation of "his soul was master of the other man's" (64-65) could have strengthened the final paragraph surrounding the woman's fascination with knowledge and the power it provides. Additionally, this could have delved deeper into the meaning of "soul" versus the physical state of being that is so emphasized by the Brangwen men's lifestyle. Had these two paragraphs been flipped, this single quote could also have provided for a smooth transition between the two that also connected the ideas within each individual paragraph. The transitions themselves would also require some additional work. Though I am mostly satisfied with the paragraphs themselves (aside from the issue regarding the explication of quotes), the essay as a whole does not flow as well as it could. Transitions are blocky and somewhat awkward-sounding as they semi-introduce new ideas but fade out before any real connection is drawn. Furthermore, as with the previously referenced quote, I would pay more attention to the significance of Lawrence's idea of "blood knowledge" as it relates to the earthy lifestyle of the woman's family, specifically the Brangwen men. Blood is a reoccurring theme throughout the passage and is undeniably significant. However, my current essay scarce addresses the topic of "blood" nor the primal lifestyle and mentality it represents.

                 Secondly, I would further develop the thesis and the complexities within it. This would include elaborating on what the woman is characterized as and/or what her situation is as opposed to simply listing the literary devices that made such characterization or description possible. The listing is somewhat loose and fails to establish the specific effects of individual devices. Though it answers the prompt, the thesis is overly concise and lacks in persuasiveness. The thesis is the core of the essay and should establish the main points of the argument. Essays given a 9 ranking all included a solid thesis that was convincing and original, often going above and beyond the requirements directed by the prompt. They were creative and incorporated elevated diction throughout which only served to intensify the points it established. However, the current thesis fails to provide a foundation for either of the three points it introduces. Without a solid foundation, these ideas are ungrounded. Thus, as the reader progresses through the essay, the thesis may be easily forgotten and only recalled when a certain point readdresses it. Furthermore, the diction and syntax of the thesis is not very captivating not particularly persuasive. Though it offers an argument, it is not declarative. This lacking conviction contributes to a weak thesis that drifts rather than roots itself in the reader's mind.

                 Finally, I would further enhance the introductory and closing paragraphs of this essay. The current introduction is lackluster at best and non-existent at worst. Rather, the paragraph consists only of the thesis statement, which in and of itself is not exactly shocking. The introduction should, ideally, be intriguing and draw the reader's attention to the rest of the essay while guiding the main ideas and arguments presented throughout. However, it should not be over-embellished but be instead organized and give a sense of definite structure to the remainder of the essay. In order to achieve this, the introduction would require a depth of thought and perception that is not currently displayed. Furthermore, the ideas it presents should be both original and captivating, so as to provoke thought and encourage the reader to read actively rather than skim the body paragraphs of the essay. A similar concept can be applied to the conclusion paragraph. While the introduction is the essay's first impression, the conclusion is the lasting thoughts that should follow a reader throughout the day. Whether it be fully satisfying or leave some degree of fascinating ambiguity, the conclusion should readdress complexities and end with a noteworthy finale. While the current conclusion does offer some level of insight, it is not memorable nor does it connect well with the preceding paragraphs. Instead of gradually leading into a smooth transition, the essay jumps rather abruptly from body paragraph and argument number three to a crude restatement of the thesis. This leaves the reader with not only little time to think but also little to think about, as the obvious has been stated and restated without any remarkable impression.

On my own in life and in death (Hamlet Extra Credit Post #5)

On My Own
Les Miserables

And now I'm all alone again nowhere to turn, no one to go to
without a home without a friend without a face to say hello to
And now the night is near
Now I can make believe he's here

Sometimes I walk alone at night
When everybody else is sleeping
I think of him and then I'm happy
With the company I'm keeping
The city goes to bed
And I can live inside my head

On my own
Pretending he's beside me
All alone
I walk with him till morning
Without him
I feel his arms around me
And when I lose my way I close my eyes
And he has found me

In the rain the pavement shines like silver
All the lights are misty in the river
In the darkness, the trees are full of starlight
And all I see is him and me forever and forever
And I know it's only in my mind
That I'm talking to myself and not to him
And although I know that he is blind
Still I say, there's a way for us

I love him
But when the night is over
He is gone
The river's just a river
Without him
The world around me changes
The trees are bare and everywhere
The streets are full of strangers

I love him
But every day I'm learning
All my life
I've only been pretending
Without me
His world would go on turning
A world that's full of happiness
That I have never known

I love him
I love him
I love him
But only on my own

           How tender is this melody, how it speaks to my soul! In the days preceding my death I have learned that "all my life I've only been pretending" ("On My Own") that the world was pure. Indeed it is not, the innocence I had come to know "is only in my mind" ("On My Own") and now I walk alone. My dear father "dead and gone" (4.5.31), my brother abroad, my very lover "blasted with ecstasy: O, woe is me!" (3.1.151) I hear Hamlet's echo, "I did love you once" (3.1.113) and wonder about the "tenders of his affection to me" (1.3.99) and the "holy vows of heaven" he had proclaimed (1.3.112). "Love! his affections do not that way tend" (3.1.153). Am I bitter? Very much so. But my sorrow drowns this bitterness, for one's heart does not have space for both. Could he not know I love him still? My love for him never died, though stamp it out I tried. Instead it rots my soul to know that "without me, his world would go on turning" ("On My Own") while I am driven into outright madness. Though this melody holds cynical joy, this "world that's full of happiness" ("On My Own") surely does not exist. Exist it had in my own mind for such a brief but bright period but now that liberty has too been stripped from me.
           "Denmark has become a prison" for my lonesome soul (Seng 218) and "I'm all alone... nowhere to turn, no one to go to" ("On My Own"). "O heat, dry up my brains!" (4.5.149) the passion of grief has overwhelmed my very mind continues to devour me in "a world that's full of happiness that I have never known" ("On My Own"). "Without him, the world around me changes" ("On My Own") and this change I can no longer stand. I feel as if I were a blind man violently exposed to light. Grown old, by now this harsh light is none but blinding! To flee, I took cover in my mind, "I [lived] inside my head" ("On My Own"). My very thoughts were my sanctuary. However, as of late I have lost this small comfort; it has been wrenched away by "the poison of deep grief" (4.5.71). To know that "I, of ladies most deject and wretched" (3.1.146) have lost my place in my very consciousness is a knife stuck in my heart which Hamlet's rejection twists. "How should I [know] true love?" (4.5.23) is the question I ask, day after miserable day. Ha! I never should know his true love again, if ever I did.
         This melody could relate no more than it already does, it is the song of a broken soul, the death of unrequited love. I can only pray that God may one day look upon Denmark with peace. As I am lied to rest I have at last accepted that "I love him...But only on my own" ("On My Own").

And the rest was silence. . . (Blog Post #18)

          The Exam Reflection forced me to confront the challenges I would face throughout the trimester. Up until this year English has been a relatively relaxed class and I knew AP English and Literature would take this subject to the next level, forcing me to be more analytical and to develop better close reading skills. Though this Exam was slightly demoralizing, it revealed a truth about my current understanding (or lack thereof) of complex literature. This came as a sort of reality check but the blog post preserved my sense of initial shock following the exam so that throughout the trimester I could continue to revisit this post to keep track of my progress and the goals I had set. Though this post had originally pried me to find my weaknesses in each area of study, it became an immensely helpful resource that kept me focused throughout this course. The strengths in this post are the tone I maintain throughout the multiple paragraphs and its organization. The tone made both writing and future reading of the post come more naturally as it is somewhat comedic and conversational though still stylistically elevated while formatting with paragraphs and numbered goals helped to organize a lengthy post. The most prominent weakness would be its lack of focus. Throughout the post, I often found myself rambling, either about the amount of work I had yet to do or the amount I had already done. This habit adds unnecessary length to what could have been a rather concise blog entry. This may also have been the result of unfamiliarity with the blog format. Since then I have learned that though blogs address an audience and should be entertaining, posts should still be professional and purposeful.

          The American Drama video, featuring our rendition of Six Degrees of Separation by John Guare was by far the most involved task we tackled this trimester. The cast and crew of Cathy, Shivank, Emily, Jessica, and myself spent thirteen hours over a weekend on filming alone and countless more on editing and effects, not to mention the class time spent on script-cutting and the write up. This required a massive group effort as well as individual contributions from everyone. This level of involvement and time commitment revealed both strengths and weaknesses in our collaborative skills, time management, and work ethic. From the start we made a fairly solid group but finding the time to film was the most difficult as each member had personal commitments and miscellaneous conflicts stemming from participation in clubs and/or other events. Schedule shifts revealed our individual levels of dedication and determination. Often we filmed and refilmed a specific scene, varying from a few lines long to a few minutes long, until we achieved a satisfactory effect. This pursuit showed each member of our group would settle for nothing less than our best, a strength it turns out we all shared. The weaknesses of this project would be the flow of the video itself. While filming, we struggled to keep track of time while technology introduced a new obstacle. We often assumed the audience would infer a certain plot detail from our acting or the summary sheet and, as a result, the video itself is slightly jumbled. However overall this was a wonderfully challenging project as it heightened collaborative skills and, simply put, was very fun to create.

          AP English and Literature, being one of my more involved if not the most involved class, has dared me to expand my participation both in and out of the classroom. Entering the class I was well-aware that the classwork would be more vigorous than any other previous English course and that individual papers would be meticulously picked apart. The class itself was enjoyable and participation came naturally for the most part as we analyzed and discussed various pieces of literature with other classmates, a small group, or the class as a whole. The multitude of presentations throughout the trimester also served a double purpose. While they introduced new pieces of information and literary backgrounds, they also served to increased our participation habits and revealed a little about our classmates presenting. Though I have always done the required classwork in class and for written essays, this trimester challenged me to bring the same work ethic home as I sat down each night to begin the assigned homework that often involved collaborative projects or simple creativity. Here I often found myself spending far too much time on nightly assignments and it struck me to hear that we should only be spending one to two hours each night on homework. It was here that I realized it was not a matter of the workload but rather my efficiency. I realized that no matter how many hours of sleep one sacrificed, time was the commodity that always ran out.  Thus, throughout the trimester I have pursued the highest quality of work done in the lowest quantity of time, increasing my involvement in the course as I went. AP Lit raised the bar for success and forced me to climb both faster and higher to achieve it.

          The extensive group work throughout the trimester also demanded a higher level of in-class participation and interaction with my peers. It is easy to sit off to the side and to mind my own business but much more difficult to introduce and explain ideas to a group. Working in a group forced me to ask questions, stay on task, and overall increase my level of participation. Furthermore, working in a group and acknowledging the various perspectives has encouraged me to become more open-minded towards different perspectives and more inclined to accept suggestion. Though it made me accepting of other views, it also helped me in establishing my own. In a group, while it is important to hear the voices of others, it is equally important to make your own voice heard. Thus I pursued roles of both leader and follower within the group, adapting appropriately to maintain productivity and group participation. Most of the classmates I worked on various projects were similarly motivated to achieve a higher level of excellence through the work we created. Consequentially, group work was an enjoyable approach towards many challenging projects that continuously introduced new perspectives and increased my participation throughout the course.

          The measurable time-stamped goals I had set for myself at the beginning of the trimester have, for the most part, been met! These goals included developing “good habits as an attentive reader while cutting my skimming habits”, “making more markings while close-reading”, and “reading fourteen unfamiliar pieces of literature”. These I planned to achieve by reading every piece of material that requires analysis at least twice to avoid careless errors, annotating each sentence with a quality marking, and actively seeking out new pieces of literature. As I tried to improve my reading skills throughout the past twelve weeks I have found that, indeed, they have improved. In hindsight, my reading skills had been very poorly developed as they were inefficient and ineffective—involving a slow skimming of the piece without extensive thought or annotation. Since then I have developed greater skills for active reading and an increased attentiveness to detail.

          The third and final goal I had set for myself, to seek out and analyze unfamiliar pieces of literature, has been the most challenging. This was simply a matter of motivation and time management. A challenging academic schedule, club participation, and college apps made reading and analyzing an extra poem each week sound outrageous.  Oftentimes by the time I had finished schoolwork and was ready to look for a poem/essay/article, all I wanted to do was sleep. In all honesty, I have skipped a few weeks in October and then scrabbled to make up for lost time in later weeks. If reading one poem at a time was a challenge, reading three as the result of procrastination was torturous. I realized that procrastinating would only catch up with me later and frankly was not worth the panicked scramble it brought. The quality of my analysis had deteriorated in these “last-minute” pieces and the complexities lost. As a result, this third goal had done more than expanding my literary awareness. It had also expanded my thoughtfulness and analytical skills while discouraging the procrastination habits I maintained at the beginning of the school year.

Hamlet AP Prompt Essay (Hamlet Post #6) (Blog Post #17)

A most proper grave for sanity (Hamlet Post #4) (Blog Post #16)

I have just read the strangest thing! Queen Gertrude had retreated to her chambers following my visit and picked apart every ballad I had hummed, scribbled notes upon an embroidered pad in ink laced with gold.

It had appeared most clearly she had been fearful of me during my visit. O how silly of her. What, surely, could a mad maid do? For I only sing to express my thoughts, my inklings, pay me no mind. What is there to fear rather than the truth? Perhaps it is this indeed that causes the Majesties of Denmark to pale. Ah, I see here Queen Gertrude has also made note of my first ballad, "How should I, your true love know, from another one?" (4.5.22-23)), and by it placed a photo of Hamlet Sr. Does this indicate some hidden guilt for her hasty remarriage? It very well should, if I say so myself. Such a wedding where "the funeral bak'd meats did coldly furnish forth the marriage tables" (1.2.179-180), have they no shame? Their motions have driven dear Hamlet to mindlessness.

But this madness of my own, what is its source? I have joined my love beyond the realm of sanity. At least we are united if nothing else.

Grieved I am over my father's grave. Lord Polonius was my father after all, surely this grief is firmly rooted, and "buried without loving rites" (Seng 217) but is this the sole cause of this craze? Not long before his death had he spoken to me with such harshness, o such sting that I shall never forget! Cautioned me he did against Hamlet's love, asking if I "believed his tenders of affection" (1.3.104). Indeed I had, as he had mportun'd me with love In honourable fashion" (1.3.110-111), "With almost all the holy vows of heaven" (1.3.114). However, Lord Polonius would believe me not. Could it be he himself who tore me from my youthful innocence? No not my father alone. My dear brother Laertes, with good intent, hath stained my childlike trust, having claimed Hamlet's love was fleeting and nothing beyond the trifles of a man with good fortune. My love for Hamlet and his for me was nothing but pure, nothing but holy, yet my father and brother slandered it to no end. Now I see my wrong. I had "known [myself to be in love with Hamlet and had thought [he] had loved [me]" (Seng 218) and I had been right. "For indeed, [I] had believed in Hamlet...and as it turns out...[my] trust was not misplaced" (Seng 220-221). The efforts made had sullied my mind, prompting me to reject my dearest love, beginning this chain of grief. O father, thou art a fool! Could thou have seen this purity, thou may still have breath.

This sudden death has tipped me over the edge of some unseen cliff but the climb has been quite a journey. "I cannot choose but weep, to think they would lay him i' the cold ground" (4.5.66) but this affliction runs deeper than the rivers carved by these tears. Indeed I am alone now, for "Denmark has become a prison" for my soul around which my father's death has fastened the barbed gates of grief (Seng 218-219). In a state as rotten as Denmark, the sane exist no more. 

Alas, in madness I have found my sanity.

To Be or Not To Be. . . (Hamlet Post #3) (Blog Post #15)

1. SOLILOQUY ANALYSIS: 

Imagery that refers to the uncertainty of death: 

"To sleep, perchance to dream-- ay, there's the rub. For in that sleep of death what dreams may come when we have shuffled off this mortal coil, must give us pause...there's the respect that makes calamity of so long life" (3.1.66-73)
This quote by Hamlet is his ponderance of death. Since death is better than living by far, he wonders why people do not commit suicide to quickly end their suffering and concludes that "the rub" (aka "the catch") is our uncertainty in death. This leads to our hesitation and fear of the afterlife which, for all that is know, may be worse than life itself. Hamlet concludes that it is this uncertainty that prolongs our suffering in life.

Imagery that refers to the negative experiences of life: 

"The slings and arrows of outrageous fortune" (3.1.60) 

"To die, to sleep...to end the heartache and the thousand natural shocks that flesh is heir to" (3.1.62-64)
"Th' oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office, and the spurns
That patient merit of th' unworthy takes" (3.1.70-76)

Hamlet considers a range of worldly sufferings and questions why we should live through this when a simple solution is readily available at hand. In his list, he includes wrongs others have inflicted upon us, luckless events, and the continual heartache the living is subject to. He tries to reason that, with these negative experiences, death should be much easier than life.

Appeals: 

o Ethos: Appeal to the character of the speaker
"Thus conscience does make cowards of us all,
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought."
Here hamlet questions his own character; he weighs his bravery and realizes that thought has condemned his previous resolution to kill himself to cowardice. In this, he decides that man is inherently courageous enough to carry out any action but hesitation and prolonged thought stunts action.

o Pathos: Appeal to the emotions or interest of the audience 

"For who would bear the whips and scorns of time,

Th' oppressor’s wrong, the proud man’s contumely,

The pangs of despised love, the law’s delay,

The insolence of office, and the spurns

That patient merit of th' unworthy takes,

When he himself might his quietus make

With a bare bodkin?" (3.1.70-79)

This is Hamlet's questioning of the audience, asking who would rather bear the burdens of life than seek the peace found only in death. He appeals to the audience by creating a list of relatable sufferings through which the audience may draw connections between Hamlet and themselves, sympathizing with his character and his predicament.

o Logos: Appeal to logic  

"Who would fardels bear,

To grunt and sweat under a weary life,

But that the dread of something after death,

The undiscovered country from whose bourn

No traveler returns" (3.1.79-83)

Confused as to why men do not simply kill themselves, Hamlet reasons that, logically, the only reason for our perseverance in life is our "dread of something after death" (3.1.81). Rather than our dread of death itself, Hamlet has concluded that men are turned weak instead by their fear of an afterlife and the possibility that this afterlife may be worse than their current condition.

Literary Devices:

Paradox: The prevalent paradox throughout his soliloquy is the weighing of life and death. It is paradoxical that Hamlet, while living, should so ardently pursue death. Driving to death by life itself, he is also driven from death by the fear of what may follow. 

Parallelism:  Hamlet compares life and death, repeating the phrase "To..." as in "to live....to sleep....to die....to dream...." to emphasize the active doing each action requires.

Synecdoche: Hamlet uses synecdoche is used to generalize Hamlet's pessimistic view on life as he uses recent events as an umbrella over a spectrum of unfortunate events.

Tone: Hamlet's tone throughout his soliloquy is predominantly contemplative as he riddles out the paradox of life. However, at certain moments, he becomes more emotional (especially when considering all the sufferings of life) and the tone shifts to frustrated or melancholy. Still, by the end of his soliloquy, Hamlet has shifted back to a pensive and contemplative tone as he ponders the meaning of life versus the gains of death. 

Diction: The diction used is very specific and carefully selected. An example of this diction in use is when Hamlet interchanges "sleep" with "death". This develops a peaceful outlook as well as Hamlet's yearning for death, establishing death not as a morbid tragedy but a reprieve from life.

Metaphor: The two primary metaphors Hamlet uses are comparing death to sleep and the afterlife to an unknown world from which "no traveler returns". This establishes a peaceful view of death but also a mysterious and terribly shrouded vision of the afterlife.

Evidence of the following comparisons: life on earth, afterlife, death, humans, thinking. 

When Hamlet lists all the worldly ailments that befall the human race, he compares them to the safe haven that would be found in death. Drawing from this, he continues to state that this sanctuary is not permanent but rather uncertain as we do not know what will follow (aka the afterlife). He questions the purpose of humans in living and wonders why suffers do not simply end their suffering but concludes that it is our thought that restrains us from doing this very deed. The more we think upon an issue, the more "cowardly" our resolution becomes. 

Identify at least three oppositions present in the arguments Hamlet makes. 

1. Hamlet wants to escape the suffering of life but hesitates, considering if it is nobler to suffer than it is to simply die.

2. Many people suffer yet do not simply end their suffering: This is because, though they do not fear death itself, they fear the afterlife and it is this uncertainty that stumps them.

3. Though Hamlet thinks of death as sleep, this sleep comes with its own dreams, some of which may be worse than those offered by reality.

What eternal philosophical questions does Hamlet ponder? 

Hamlet ponders whether is is nobler to suffer through life as others do or to take it upon himself to end his suffering early. He also wonders why more people do not take this course of action as it is, to him, the easy solution.

What conclusions does Hamlet draw? 

During his soliloquy, Hamlet concludes that it is our fear of the unknown- the suffering beyond life on Earth- that restrains our will to end our worldly suffering.

2. ACTING ANALYSIS 

In LAWRENCE OLIVER's delivery of Hamlet’s famous “To be or not to be” soliloquy, music is the leading mis en scene component. In the beginning of the scene, the music is very suspenseful as the camera winds up a spiral staircase, speeding up as it ascends until it pans to the sky. From there it zooms down and we see a view of a toiling sea with Hamlet standing at the edge of a cliff or outcrop overlooking the waves. The costume is very specific to the time-period and includes the full ensemble worn by the men of Shakespeare’s time. The music here is slower paced as the camera zooms into his mind, showing his brain to emphasize the mental rather than physical struggle taking place. To make his speech itself stand out amidst the rest of the scene, the music abruptly stops when he begins speaking. However, though we hear his voice, throughout much of his soliloquy, Hamlet is not verbally speaking; instead we are hearing his thoughts speak. His eyes are closed and he speaks at a slow and measured pace, with a contemplative tone that is not deeply emotional. At the end of the scene, after he has dropped the sword into the ocean, Hamlet stands, turns, and walks into a fog at the edge of the screen and descends into the fog as the music restarts. The use of music and visual effects establishes the mood of the piece as it begins sharp and suspenseful but fades into contemplative mystery.

The beginning of this version of Hamlet’s soliloquy begins with MEL GIBSON (Hamlet) walking down a flight of stairs. Here lighting is very important as it visually shows Hamlet descending from light and into darkness as he sinks into the depths of his darkest thoughts. There is no music and the only sound is that of Hamlet’s footsteps occasionally breaking the silence. His soliloquy begins gradually as he whispers, “to be or not to be…that is the question”. He speaks slightly faster than Olivier had but this does not seem rushed, it simply matches up with his body movement throughout his speech. He is also more emotional and ranges from morose towards the situation to frustrated at himself as he wanders through the morgue. The setting itself is another important aspect of mis en scene. It is only fitting that Hamlet be contemplating death in a place of the dead; this juxtaposes Hamlet’s own life with the stillness of those around him.

In ETHAN HAWKE’s portrayal, Hamlet is seen wandering through the aisles of a local Blockbuster with a knitted cap upon his head. It had been the director’s choice to modernize the setting while maintaining the traditional plot. However, this effect is not as efficient as the others had been in exposing the serious nature of this soliloquy. Though his verbal delivery is thoughtful, the setting detracts from the severity of the scene—for after all, he is contemplating suicide. The music present throughout the scene is grave and very low which fuels a mood somewhat contradictory to that established by the setting. Throughout the scene, the camera occasionally pans to a movie screen on which a war movie is playing. Explosions blast the air and the scene is of chaos and destruction; this may go to show Hamlet’s mental state as it contrasts with his outer physical control.

The dominant mis en scene component in KENNETH BRANAGH's “To be or not to be” soliloquy is the setting. Hamlet stands in front of a mirror in a stately room within the castle rather than outside or in another depressing setting as had been portrayed in Olivier and Gibson’s scenes. The room is clean and very bright, with white as the most prevalent color; the effect of this is in highlighting Hamlet’s dark mourning attire as well as the figuratively darkened state of his mind as he delivers his soliloquy. He speaks towards his reflection which lends a somewhat literal effect of self-reflection to the scene as well as establishing the internal struggle rather than the external as the camera focuses on Hamlet confronting himself rather than another character. Throughout the scene, he interacts with no one aside from his reflection, drawing a sword at it at one point. After he begins to speak, music gradually begins-- one note at a time-- and adds to the intensity of this pivotal scene. Hamlet’s voice fades towards the end of his soliloquy though he stands still, observing his reflection, when Ophelia enters the room and ends the scene.

OPHELIA:

O Hamlet, to whom I had been so close, he now stands speaking as if to air, swearing to himself, and contemplating eternal rest. He looks into a mirrored wall and brandishes a sword, I do hope he means no harm. However his tone suggests quite the alternative. How bright and clean this castle seems, struck quite against his grieving robes and darkened mind. May his plague pass by him soon, the grief tearing at his soul strikes daggers at my own. I cannot stand this sickly spirit, this madness that has possessed his bright mind. He quiets, near the end of his speech. Aware is he that I stand beyond these doors? Silent shall I stay? Nay, I will join him.

The one element of mis en scene this portrayal of Hamlet lacked is music. Though the few notes played encourage a grave mood, sound could have more effectively been utilized to set Hamlet’s mental state. He is conflicted, frustrated, and depressed- such emotions cannot be conveyed through only a few notes. Were the music varied, the mood of the scene would have shifted with his tone as Hamlet progressed through these various emotions through the duration of his speech. His speech itself was very emotional as well as contemplative and this could have only been further enhance by the presence of slightly more music. The lighting could also have been varied for effect. Throughout the scene, the setting and lighting remain static and unchanging though it is obvious to the audience that Hamlet has morphed through numerous emotional phases just in the course of his speech. Were the setting varied to mirror these progressions, his growth would have been more highlighted as the audience could visually observe his mental development throughout the soliloquy.