Blog Response #10: Close Reading of Paradise Lost

I feel as though the passage is used to defend the sort of "choice to be evil". Milton begins by having Eve lament about how grateful she is to have been made from the flesh of Adam, to have been born, and to later be taken care of by God. Yet despite all of her good intentions, there is no way she can avoid her fate, she will betray God, and both she and Adam will be kicked out of the Garden of Eden.

I do agree that Milton establishes a difference between fate and predestination in the play. It is clear, however, that Eve is not akin to either Oedipus or Odysseus in relation to fate and free will in their own plays. Although an arbitrary warning is given to her by God, she in no way seeks out disobedience, instead it seeks her out. She is afraid at first, shying away, but then (naturally curious) she is intrigued.

The rest of the passage continues as Eve helplessly accounts her transition and disobedience of God's rules. Although she does not specifically place the blame, the diction Eve uses makes it seem as if her descent is not of her own bringing about. Although God gave humans free will, was it his decision to ensure that they would be susceptible enough in the Garden to outsiders who might attempt to trick or take advantage of them? Ultimately, Eve is played as a mere pawn in one of the most important stories of the Bible, rather than a raging heretic, something she is far from.

This lends itself, since Milton writes that man views things from his own fallen perspective, to the idea that such a denigration is not completely our fault. It perhaps also relates to this idea of a sympathy for Satan and evil itself, never actually saying God is wrong, but questioning whether we are the ones who are actually inherently evil or if evil comes to us and takes advantage of our weakness.

Blog #10: Close Reading

 Eve exhibits a heightened awareness of love in her prelapsarian state that parallels her to the Son of God. Thus, Milton’s depiction of Eve can actually serve to empower women instead of demean them. In Book 3, Milton refers to the Son of God, “in whom the fullness dwells of love divine”, as someone who serves man positively. In this passage, Eve exhibits an inherent “sympathy and love” for her own reflection, which is also really a reflection of mankind. The comparison of Eve to Narcissus can be read as a testament to vanity and a self-enamored personality, but a higher voice allows her access to someone besides herself. Her acceptance of this knowledge separates her from the vapid Narcissus. 

The rhetorical question Eve subsequently asks (“What could I do/ But follow straight, invisibly thus led?”) may not reflect a lack of control or internal weakness, but rather an intrinsic desire to act selflessly. Though Eve recognizes Adam’s image as “less fair,/Less winning soft, less amiably mild,” she returns to him after he tells her what he has given to her—an act that could be interpreted as compassionate. In fact, Eve’s recognition of Adam’s image as less fair than hers serves as a representation of superiority. Why would God facilitate such recognition in Eve during her creation?  The fact that Eve was created in order to help Adam could actually make him subjective to her instead of vice versa. Perhaps Milton must paint Eve in an ambiguous way that allows for readings that find both superiority and inferiority in her character in order to heighten the same ambiguities in her creator.

Blog #10

Although the religious basis of Paradise Lost (Christianity) is much different than that of The Odyssey (belief in the dodekatheon), the role religion plays in these two epics is very similar. Eve’s struggle between fate and free will, as well as her tendency towards dependence and submission, are very much present in Paradise Lost as a response to God’s prophecy and divine intervention.  Everything she is and everything she lacks is a direct reflection of her relationship with the divine.

            Any sense of inferiority we see from Eve, and any glorification she bestows onto Adam is a result of her first encounter with God, as he seems to intervene in mortal life just as often as the Greek gods.  When Eve comes into existence, she is an innocent, meek creature with no sense of direction.  While falling in love with her reflection (like Narcissus, yet another Greek mythology parallel), Eve is ordered around by the voice of God: “ follow me,/and I will bring thee where no shadow stays …. he/whose image thou art, him thou shalt enjoy/inseparably thine, to him shalt bear/multitudes like thyself and thence be called/”Mother of human race” (4.). God is, in a sense, prophesizing to Eve, leading her to a fate that she has no choice but to “follow straight, invisibly thus led” (4.).  He gives her no free will to do as she pleases, essentially mandating that she “shalt enjoy” Adam and that they will be “inseparable”.  And sure being “mother of human race” is quite an honor, but poor Eve wasn’t even giving the option of turning down the wonderful experience of repeated childbirth.  God orders her around from the get-go, and establishes her as submissive from the start.  So it is no wonder that she lives her life with Adam in the same manner.  Even her rebellious fruit-eating stage is yet another example of her obedience, but this time to Satan’s commands.  Her life is shaped and ruled by the “other-worldly”, and acts as a pawn in helping them accomplish their goals.  She would get along swimmingly with the characters in The Odyssey. 

Blog #10 Close Reading

This passage serves to show that Eve is not to blame for man's fall into sin and temptation. She and Adam are one; God made her with Adam's flesh, and therefore, Eve is designed to be connected to a man. Although she is the one who eats the forbidden fruit and commits the first sin of mankind, because she is essentially made from Adam, we must conclude that Adam was the first sinner.

God made Eve (woman) to support Adam (man). She recalls the first day she awoke, "when from sleep I first awaked, and found myself reposed Under a shade on flowers, much wondering where and what I was, whence thither brought, and how" (449-452). Her acute memory of her first moments in the world show her purity as well as her vulnerability. Because she was not of her own flesh in the first place, she has no thought of her own. In this verse, Milton uses "wh" sounds repeatedly, giving the readers a sense of confusion and ignorance. Milton depicts Eve as a woman who didn't know better; through this we conclude that she was only Satan's weapon and nothing more. She is not the temptress who brought down all of mankind, as she is often portrayed.

Eve also admits to her lack of free will and knowledge, saying "I thither went with unexperienced thought" (456-457). While God made Adam with a clear purpose in mind, Eve was someone He made on second thought. Milton chooses to use the particular word "unexperienced" to highlight Eve's separation from experience, which can be interpreted as sin (experience --> sin). Though Milton clearly sees Eve as "inferior," he uses this concept to clear Eve's blame. The blame is on God and on Adam, who asserts authority by demanding "Return, fair Eve; Whom fliest thou?" The authoritative tone in Adam's dialogue goes to show that Eve had no choice in anything, and is susceptible to the sins the devil exposes to her. This proves that Eve did not commit the first sin, because it was in God's will.

Blog 10

Milton shows Eve to be dutiful to God, yet pulled by Satan from her earliest memories.  In the recounting of how Eve comes into existence, we receive in essence the genesis of Eve.  Eve speaks about “that day I oft remember, when from sleep I first awaked” (449-450).  Just like the muddled feeling one has when they wake up, so is Eve’s recounting of her beginning.  Since then, Eve has apparently tried to “follow straight” the path set for her by God, and when looking into her reflection sees a beautiful image, one created out of God.  But there are some darker undertones for the innocent Eve.  

The image of herself that Eve sees in the water causes Eve to “pin[e] with vain desire” (466).  Her lust in her image is indicative of the sin that she will eventually commit, and reveals the parallel of how close Heaven is to Hell.  Eve does not exist as completely pure and innocent as Milton inserts doubt in references to Satan and death.  In Eve’s first description, she remembers being under a “shade of flowers” (451), an unmistakable reference to the spirits of the underworld.  While it seems Eve is born into the bright sunny land, a shadow of sin is cast over her as well. A reference to Satan is in the repetition of “fly’st” (482), as it recalls images of Satan flying from Hell.  Eve, while set up to be the “Mother of human race” (475), from her beginning reveals a connection with the sin for which she will ultimately be remembered.  

Blog 10

Eve's identity allows Milton to indirectly criticize God.

Milton establishes Eve's role as a stand-in for God in his description of her initial observation of her reflection. Eve's appreciation of her own form over Adam's does not stem from vanity (as it first seems), instead, the river acts as a lens through her own image stands in for that of God.  The river that she looks in is "pure as the expanse of heaven," and "[seems] another sky," (456, 459). She first sees her own form through the lens of this heaven-like water, which separates Eve's reflected image from her actual identity. Because she was created in God's image, in seeing her own reflection through this heaven-like lens, she sees and appreciates the image of God. Additionally, when she refers back to the reflection that she saw in the river, she calls it "that smooth watery image," suggesting that she does not see it as an actual representation of herself but as a separate entity (480). 

Because of this establishment of Eve's connection to God, every subsequent misstep she makes ultimately applies to him rather than her. 

Blog Response 10

I believe that this passage actually depicts Eve as a matriarch, and Adam her follower, rather than the meek subjugate of the traditional patriarchal reading. As the "Mother of human race" (475), all other humans come from her. Adam is not referred to as "Father of human race" because the power to create now lies with Eve. Without her, the entire human race would not exist. It is also critical that nowhere in this passage does Eve receive a single command from Adam, or guidance: she is "invisibly thus led" (476), or led by God. The fact that she is led by God, not Adam, perhaps insinuates that she is closer to God than Adam.

Adam creates Eve, and creates her power. He is the "guide" (442) - this word implies that even if Adam has more knowledge, or is leading, he is not the one who is important. Later, Eve says that it is, "I chiefly who enjoy the happier lot...enjoying thee pre-eminent" (445-7). First, "chiefly" already connotes Eve as a leader. Then, the traditional reading would have "thee" and "pre" as a spondee, emphasizing Adam's pre-eminence. But, I think that the dactyl in "enjoying" indicates that Eve is pre-eminent through her enjoyment of Adam, a feeling that Adam cannot have - he is his own "consort" (448).

Blogpost #10

            This passage serves to illustrate the paradox surrounding choice and pre-determined fate. Obviously, free will plays a major role in the Fall of Man story, what with Adam and Eve disobeying God and eating from the Tree of Knowledge. According to most understandings of the creation and fall of man, God endows humans with free will in order to give value to faith. After all, if human faith and loyalty to God were not by choice, what would be their significance? By most interpretations, the presence of the Tree of Knowledge in the Garden of Eden is a physical manifestation of the free will granted by God.

            However, this excerpt would largely suggest that the extent to which free will is truly allowed within Paradise (especially in those initial moments of life) is pretty limited. Eve awakens to life “wondering where/And what I was, whence thither brought, and how.” She sees her reflection in the pool of water, and is so intrigued that she considers never leaving. Free will, had it truly existed in Eden, would have permitted Eve to do as she pleased, in this case gaze upon her reflection interminably. Pangs of hunger or burgeoning curiosity (both on her own part) might have also led her to go elsewhere and learn more of the world. Instead though, it is the voice of God that must direct her elsewhere. Essentially, he sets the parameters of her existence when he declares, “and I will bring thee where no shadow stays/ The coming, and they soft embraces, he/Whose image thou art; him thou shalt enjoy/Inseparably thine, to him shalt bear/Multitudes like thyself, and thence be called/Mother of human race.” God plays God (literally) in assigning Eve her role in the world, essentially undermining the notion that humans are freethinking, free-acting entities.

            It could even be said that a truly free Garden of Eden might have allowed Eve to pursue other things in life than bearing children to Adam. Perhaps that reading ventures too far in to the realm of third-wave feminism, but it is nonetheless an appropriate reflection on the fact that Eve is not truly free to decide her fate in Paradise. 

Decisions to Make, Roads to Take

                Eve is often victimized as leading man into sin, but through this passage we see that her mind worked in such a way that led her to rather form her own opinions and make her own decisions. While addressing Adam, Eve has no fear in admitting that she did not want to go with him at first. She boldly exclaims that when she first met him she thought he was “less fair, less winning soft, less amiably mild” (487-488) that the image she saw of herself. Not only that, but even the adjectives she uses are bland. Rather, when she describes her own image she says that she “pined with vain desire” (475) at the image that “returned as soon with answering looks of sympathy and love,” (473-474) all strong emotions that humans tend to share between one another rather than at images. She also realizes how daring she is to declare this, because she understands that the voice that leads her away from her reflection and to Adam “warned her” not to keep staring and rather find another human, as vanity is a trait that was for many years looked down upon in Milton’s lifetime.

The temporal order of the passage is equally important, as it reverses from the present moment in which she is happy and declares to Adam, “without whom am to no end, my guide and head” (442-443) and that for his presence she should thank God for “we to him indeed all praises owe, and daily thanks” (444-445) By beginning through establishing her current state of “the happier lot, enjoying thee” (446), the readers will have the image of their happiness before they discover that Eve was originally wary of being with Adam. However, two things are still slightly off in this beginning passage. First, she does not use the same evocative language to describe her situation with Adam as she did when she first saw her own reflection. Secondly, she later goes on to say that she is with Adam “while thou like consort to thyself canst no where find” (447-448). This leads the reader to wonder whether she is truly happy or just putting on a face until Adam can find another women like Eve. The situation also goes both ways, meaning Eve can’t find another companion like Adam, so if she does, would she leave him? The juxtaposition between the message of the temporal pattern versus Eve’s own language reaffirms to the reader that she does, in fact, have free will: while Eve may be happy now, she could readily leave if another opinion comes along. 

Free Will?

Milton’s portrayal of Eve illustrates how humans have no free will.  Despite that Raphael claims that God gave humans (like angels) the gift of free will (and not fate), God intervenes to assure that they do not deviate from his plan.  Upon first looking at herself in the pool, Eve says that she “pined with vain desire” (4.466).  But her assertion that her desire was vain comes only through God’s explanation, and not as a result of experience.  Similarly, God explains to Eve what her job is: to “bear / Multitudes like thyself and thence be called / ‘Mother of human race’” (4.473-475).  God does not give her a choice but instead assigns her fate.  She recognizes the lack of choice as she says, “What could I do / But follow straight[?]” (4.475-476).  Eve expresses her discontent one final time and is again restrained by God, but this time through Adam.  As she realizes that Adam is, “less fair, / Less winning soft, less amiably mild, / Than that smooth watery image” (478-479), Adam prompts her to return.  She remarks that he even “[s]eized” (4.489) her hand, which is a remarkably violent verb choice that demonstrates her lack of control, especially as it likely evoked fear into her inexperienced mind. 

            Adam similarly does not act with free will.  We do not get a proper description of Adam’s initial discourse with himself or God.  But we do find out in Book 5 that Adam was not even aware of free will or fate: “Nor knew I not / To be both will and deed created free; / Yet that we never shall forget to love / Our maker and obey him whose command / Single is yet so just” (5.548-552).  Knowing this, we can assume that God must haven given commandments unto Adam so that he knew the proper way to act.  This, with the fact that Adam did not know that to act freely was even an option, implies that Adam did not have the choice to deviate.  Not to mention that the option to follow God or get cast into hell is hardly a “free” choice…

How can this be reconciled with mankind’s great fall? Perhaps it was all part of God’s plan, i.e. allowing Satan to escape hell, planting the Tree of Knowledge so conspicuously, etc… It all seems a little too peculiar, especially because Raphael claims that, “God made thee perfect” (5.524).

Blog #10

In this passage, Milton compares the birth of Eve (and Adam by default) with the birth of every subsequent human being in order to distinguish the circumstances that led to mankind's demise. What we really see is that God is a really awful parent.

 In Eve's first moments of life she "[wonders] where and what [she] [is]." By contrast, we as humans are not capable of conscious thought and questioning until much later in our development. Yet, when she spots her own reflection in the water, she needs God to tell her, "What there thou seest, fair creature, is thyself." Even though she is already mature enough to question her circumstances, she still has some characteristics relatable to the average human baby. Because she is a women physically, but about half baby and half woman mentally, through intense mathematical calculation, I can assume that Eve is about 1/4 baby and 3/4 woman. As she follows God's voice in complete submission, she later reflects "What could I do, but follow straight, invisibly thus led." What Eve conveys is that, because 25% of her is helpless and looking for guidance, she is susceptible to anyone that beckons to her in the role of an authoritative figure. There is a very clear parallel between this blind submission to God and then when Eve later falls victim to Satan's temptation to eat fruit from the tree of knowledge.

Essentially, because of the way that God proportioned Eve between baby and woman, she is capable of making conscious decisions and taking action, yet looks for guiding figures of any kind. In essence, he made her absolutely perfect for eating the forbidden fruit.

Knowing this, he should have kept a slightly closer watch before Satan came and offered the same role that he did.

Blog 10

Close reading this passage gives me the strong impression that authority and responsibility is a burden, not a gift.  When Eve claims that she has "the happier lot," she does so on the grounds that she can find a leader and a "head" in Adam, yet he can not find an equal "consort."  Authority, then, or supremacy, is the less desirable position.  If we reflect on the other leadership roles in the epic, we see a similar trend.  In Book 2, Satan must undertake a very difficult, undesirable task (finding Earth and manipulating humans) on his own.  He must volunteer--and he is compelled to do so by nothing more than his sense of authority and leadership.  Jesus, too, makes a similar decision.  In Book 3, he volunteers to take on the sins of the world (an act for which I could not find a sufficiently powerful hyperbole) because he feels compelled by his authority as the only Son of God.  The consequences of this responsibility are total helplessness.  Eve demonstrates this for us later in the passage when she is first identified as the "Mother of the human race."  As soon as this distinction is made, she speaks lines of helplessness and inferiority.  "What could I do?" and "invisibly thus led" do not communicate positions of strength.

The obvious synthesis that I need to make here is one to God himself.  Being in a position of total authority and responsibility, it would stand to reason that he would be totally helpless and inferior.  Obviously, that doesn't seem to be the case.  Politically, though, it could be far more telling if applied to the King of England.  I have yet to encounter any examples of God having his hands tied or otherwise limited, but given the complexity of reducing the God of the universe to a character in literature, I suppose some allowances must be made.  And I'll be waiting for more examples of inferiority or powerlessness.  If God were to exhibit those traits later, it would certainly be a powerful statement on the politics that Milton discusses with his writing.

Blog #10: Close Reading of Paradise Lost

In this passage, Eve discusses what she remembers about the start of her existence in Paradise and how she came to be made from Adam. From the close reading, Eve is of a “lower” form than Adam and therefore is more easily controlled. Milton writes in iambic pentameter. When Eve begins talking about waking up, she removes herself from the story if we follow iambic pentameter: “I first awaked and found myself reposed” (450). Eve does not stress “I” but rather “first.” This story is not about her, but rather how she was created. The emphasis is placed on God, not humanity. Milton does break iambic pentameter: “Under a shade of flowers, much wondering where” (451). Breaking on this line places emphasis on it. Eve was born in the shade and not in the light. This again removes Eve further from God since she was not born in light. In the next line, if following iambic pentameter, “And what I was…”(452), “I” once again is not emphasized. 

Milton uses Ovid’s story of Narcissus to parallel Eve’s story. After Eve wakes up, she looks at her reflection with a lake. She, of course, does not recognize herself. He uses repetition to stress her curiosity of her own reflection. “I started back; / It started back. But pleased I soon returned; pleased it returned…”(461-463). Eve’s vanity is shown when she cannot look away: “There I had fixed / Mine eyes till now and pined with vain desire” (464-465). She now places stress on “I” - herself and beauty. Also according to the footnotes, vain can mean futile, which means that her desire is pointless. Again, Eve is shown as a lower being than Adam. Only women can be entranced by their beauty and ruined by their vanity. A voice, God, directs her away from the lake. She easily listens to the voice and is “invisibly thus led” (476). She does not question the voice and only from God’s guidance does she leave the lake. When she spots Adam, she describes how “beauty is excelled by manly grace, / And wisdom, which alone is truly fair” (490-491). Using the word “manly” to describe both grace and wisdom places men on a pedestal. After all, Eve did come from Adam’s bones and flesh: “His flesh, his bone; to give thee being I lent” (483). When read it breaks iambic. The emphasis is put on “his”. Eve is made from Adam and thus women are inferior to men.  

Blog 10 Close Read

              Based on the text of this passage, Milton portrays Eve, and subsequently women in general, as irrelevant without a male figure, weak, and susceptible to manipulation. Eve’s statement that she “was formed flesh of [Adam’s] flesh, and without whom am to no end” (441-442) suggests that without Adam, not only would she not exist, but she would also have no purpose to exist. Her referral to Adam as her “guide / and head” (442-443) asserts that her head or her thoughts are not her own notions, but instead she adopts Adam’s viewpoints. Eve's dependence on Adam’s thoughts suggests that she will unwisely make decisions without Adam's help. Milton creates ambiguity in lines 445-447 when Eve says, “I chiefly, who enjoy / So far the happier lot, enjoying thee / preeminent by so much odds.”  But, it appears as though she is calling Adam’s superiority the cause of her enjoyment. Their inequality is further indicated by Adam’s strength and intellect while Eve is his ideal wife due to her beauty. Yet when they become inseparable, Adam sees “how beauty is excelled by manly grace / and wisdom” (490-491). These lines assert that Eve is deemed inferior in comparison to Adam, and she knows this and respects her place. Milton presents Eve as weak when she reflects on her first day and how she “had fixed [her] eyes…and pined with vain desire” (465-466) due to her reflection’s beauty. This suggests that she is susceptible to her own narcissism. The voice that forces her away from the lake indicates that she is easily manipulated. While the reader sees that the voice is saving her from self-affection, Eve does not even question the voice’s command, but instead follows it. This and Eve’s other weaknesses foreshadow her vulnerability to Satan’s manipulation.  

Blog #10

Close read the following lines (440--491) from Book IV of Paradise Lost. Then make an arguable, provable claim.

O thou for whom
And from whom I was formed, flesh of thy flesh,
And without whom am to no end, my guide
And head! what thou hast said is just and right.
For we to him indeed all praises owe,
And daily thanks; I chiefly, who enjoy
So far the happier lot, enjoying thee
Pre-eminent by so much odds, while thou
Like consort to thyself canst no where find.
That day I oft remember, when from sleep
I first awaked, and found myself reposed
Under a shade on flowers, much wondering where
And what I was, whence thither brought, and how.
Not distant far from thence a murmuring sound
Of waters issued from a cave, and spread
Into a liquid plain, then stood unmoved
Pure as the expanse of Heaven; I thither went
With unexperienced thought, and laid me down
On the green bank, to look into the clear
Smooth lake, that to me seemed another sky.
As I bent down to look, just opposite
A shape within the watery gleam appeared,
Bending to look on me: I started back,
It started back; but pleased I soon returned,
Pleased it returned as soon with answering looks
Of sympathy and love: There I had fixed
Mine eyes till now, and pined with vain desire,
Had not a voice thus warned me; 'What thou seest,
'What there thou seest, fair Creature, is thyself;
'With thee it came and goes: but follow me,
'And I will bring thee where no shadow stays
'Thy coming, and thy soft embraces, he
'Whose image thou art; him thou shalt enjoy
'Inseparably thine, to him shalt bear
'Multitudes like thyself, and thence be called
'Mother of human race.' What could I do,
But follow straight, invisibly thus led?
Till I espied thee, fair indeed and tall,
Under a platane; yet methought less fair,
Less winning soft, less amiably mild,
Than that smooth watery image: Back I turned;
Thou following cryedst aloud, 'Return, fair Eve;
'Whom flyest thou? whom thou flyest, of him thou art,
'His flesh, his bone; to give thee being I lent
'Out of my side to thee, nearest my heart,
'Substantial life, to have thee by my side
'Henceforth an individual solace dear;
'Part of my soul I seek thee, and thee claim
'My other half:' With that thy gentle hand
Seized mine: I yielded;and from that time see
How beauty is excelled by manly grace,
And wisdom, which alone is truly fair.

Blog 9: CLAUDIUS

YO. CHECK IT.

I am really excited to do my character analysis of Claudius. I find him fascinating. He's the antagonist, but he's not a static character. He's not devoid of emotions, and he knows that what he's done is bad. He even attempts to atone for his sins but obviously that fails. What I want to focus on, though, is his interaction with people in public, in private, and then his soliloquy.

In Act I Scene 2, Claudius's speech is the first time he speaks in the play. The word "though" connotes that something that could have happened, didn't end up happening. What do you guys think that was? Why does the speech end with the word "duty?" I think it reminds us that Claudius isn't an all-evil character; he is multi-faceted. He's dutiful and responsible as a king. There's also some irony in the fact that he assumes this responsibility, considering that he obtained that through very sketchy methods.

What about the use of the royal "we?" Do you think that it argues anything? I am not sure how I can use that as evidence. It does suggest the prideful side of him, and maybe that he isn't really sorry for what he did. This is contradicted in his soliloquy, though.

What do you guys think of Claudius as actually a good character in this play?

Blog Response #9: Gertrude

(Disclaimer: I’m posting this at the last minute partially because I’m desperately hoping no one will read it, please don’t judge!) 

Women are worthless...aren’t they? In Shakespeare’s Hamlet there are only two female characters: Queen Gertrude and Ophelia. The latter dies a tragic death before becoming mad, and it could be argued does that she does is not significant in the play. Gertrude, with her limited dialogue and constant “one-liners” is ostensibly in the same position. A limited reader might consider her to be the quintessential model of an insignificant female character. I, however, contend that she is one of the most important characters in the play. Furthermore, the only reason she appears insignificant is because of the domineering, cruel, and scheming male characters.

Although Gertrude has limited dialogue, the important thing to note about this is when she doesn’t speak, and why. Like Ophelia, Gertrude is often caught up into the schemes of the men around her, and when they are plotting around her is exactly when she does not speak. Her longer portions of dialogue are never deceitful, they only offer positive thoughts for the future of those she cares about deeply: in I.ii she attempts to comfort Hamlet, in III.i she expresses her hopes that Ophelia and Hamlet can love and mend one another, and in III.iiii when Hamlet sees the ghost in her chamber she thoughtfully approaches the issue.

Ultimately Gertrude’s seemingly passive nature is merely a diplomatic reaction the chaos around her. She is a kind and loving mother who sacrifices herself numerous times for Hamlet. The only times she takes action in the play are to help him. From bringing Rosencrantz and Guildenstern to defending him from Claudius’ wrath. Surrounded by the malevolence of others, however, she falls victim to these negative influences, and that is why she is exclaims she is poisoned just before her death in the play, she has literally been poisoned by the cruel men around her. 

I'm looking at Hamlet in his soliloquies.  Here are some thought's I've come across:

I.2.129 (Page 15)
-Hamlet uses feminine lines to show the weakness of his mother (Lines 138,140,146,148,149,151)

II.2.487 (Page 60)
-When Hamlet talks about the player, he is out of meter and uses feminine endings (490-95, 533).
    -Also uses feminine lines when talking about his passion (499)
    -Is Hamlet's passion fake, like the player? Does he have to fake it (till he makes it)?
-13 syllables in line 528 when talking about what he has heard
    -This source could be questionable, why does Hamlet suddenly trust it more than the ghost of his       father?
    -Questions the credibility of the actor's passion, Hamlet's passion, and the ghost's

III.1.56 (Page 65)
-The "question" is uncertain
-Death is not a "resolution"(84) - feminine ending;uncertain
-Hamlet seeks resolution like his father; Hamlet knows he may not get resolution from death, like his father, especially if he doesn't avenge him
-Is revenge resolution?

III.3.381 (Page 83)
-iamb + spondee on  "I drink hot blood" - Hamlet is ready to act; he is heated
-feminine ending on "mother (385)
     -His mother is weak by contrast
     -Is Hamlet weaker or stronger than his mother? That could be an interesting comparision
-Feminine endings on lines 385-389.
     -Is Hamlet weak against his own will? Does he struggle to hold himself back against his mother?
     -Could this be used for the Oedipal argument?

III.3.73 (Page 86)
-Why does Hamlet say "I am revenged" with a stress on "I"? (75)
-Again on line 84
     -Why is this suddenly about Hamlet being revenged and not his father?
     -This is definitely good evidence for the Oedipal argument
-Fem. ending on Claudius' "passage" (86)
     -maybe his passage will be incomplete like Hamlet Sr.'s
     -Maybe Hamlet's passage would be incomplete if he killed Claudius at this time
     -Does Hamlet fear death because he fears being a ghost? This could support an argument that Hamlet is the only one who sees the ghost, because it comes from his fear/paranoia of death
-WHY doesn't Hamlet kill Claudius?

IV.4.32 (Page 103)
-Hamlet wants to be active - iamb + spondee on "A beast, no more"
-Also support with his envy of the actor on pg. 60

So I'm wondering whether I should go with the Oedipal claim and see if I could support that.  But let me know if you guys see any connections that I may be missing.

Blog #9: Gertrude

Okay, so to be completely honest, I’m not sure what road I want to take with my analysis of Gertrude.  On one hand, I want to prove that she is a sneaky snake, but on the other hand I also want to argue that she is a good, self-sacrificial mother.

To my sick soul (as sin’s true nature is)

Each toy seems prologue to some great amiss.

So full of artless is guilt

It spills itself in fearing to be spilt. (IV.v.17-20)

This private “aside” moment occurs after Gertrude finally concedes to letting Ophelia in the room.  For some reason she is strongly opposed to speaking to the crazed Ophelia, but for reasons unknown to us.  She claims her soul is “sick” or corrupted, as this “sickness” is sin’s true nature.  This correlation implies that she has committed some grave sin, so severe that it foreshadows some “great amiss”.  Obviously she is not as innocent as she lets on.  The couplet at the end confirms the suspicion that Gertrude committed a great sin.  “Guilt” and “spilt” offer the only rhyme scheme in these lines, suggesting some sort of resolution that her guilt will overflow to the point that it will reveal her crime.  This couplet is also the only time the entirety of the play that Gertrude rhymes at all.  I am assuming that her fear of having this guilt reveal the truth has something to do with her refusal to see Ophelia.  Once Ophelia enters she sings several songs that are targeted at Gertrude’s response to King Hamlet’s death, much to Gertrude’s dislike.  And, oddly enough, after this tense encounter, Gertrude delivers a very detailed description of Ophelia’s death.  How could she have known the way Ophelia died if she didn’t see it herself?  Maybe I will try to prove that Gertrude had a hand in Ophelia’s death, as well as in King Hamlet’s.

Now, on the other hand, Gertrude can be seen as a good, sacrificial mother.  She never intentionally betrays her son’s trust, and actually seems to love Hamlet.    After he openly berates and belittles her after the show, he tells her Claudius is a murderer and that Hamlet himself is not actually mad, two very grave secrets.  And surprisingly Gertrude keeps his secrets to herself and doesn’t spill the beans to Claudius.  That’s a big deal, considering how submissive she usually is.  She does what she is told and is a compliant housewife/queen.  Which also leads me to believe that Gertrude knew the drink was poisoned before she drank it.  We never see her go against Claudius’ word, so it is odd that she would randomly retort by saying, “I will, my lord; I pray you pardon me” (V.ii. 274).  I also find it interesting that when she does drink it, she makes a toast to Hamlet and wishes him good fortune: “The queen carouses to thy fortune, Hamlet” (V.ii.272).  I see toast as a final goodbye to her son, killing herself so her son can continue living.  And to me, the fact that her final words are, “I am poisoned” (IV.ii.293) is her way of telling Hamlet that he was right when he attacked her decisions, and in the end she would rather kill her “poisoned” soul than watch her beloved son die.