Hamlet's Soliloquy (Laurence Olivier) Explication

In Act 3 Scene 1, Hamlet ponders “to be, or not to be” (3.1.55). This question is curt, but proves to be enigmatic for Hamlet. Laurence Olivier’s acting depicts the true essence of Hamlet’s character as he recites Hamlet’s soliloquy. Hamlet’s state of mind is roused up by a turbulence of confusion as he contemplates on the question. Through the clashing forces within the scenery, movie effects and delivery of lines, Laurence Olivier performs Hamlet’s self struggle magnificently.

The setting of Hamlet’s soliloquy is portrayed within a black and white world. The colors black and white directly reflect Hamlet's conflict between life and death because white is symbolic of life and black is symbolic of death. While Hamlet delivers his soliloquy, his mind is absent of all colors because he focuses on his entire concentration on revenge.

The scene begins with a visual of waves crashing against the rocks of the cliff which Hamlet stands atop of. Hamlet gazes down the cliff at the view of these crashing waves. Hamlet does not merely stare at waves; he gazes upon a symbolic interpretation of his state of mind. Like crashing waves, Hamlet’s mind is in a state of turbulence. In the following scene, there is a think haze rustling about the sky as Hamlet broods over “to be, or not to be” (3.1.55). The dense clouds accompanied by the sounds of crashing waves as Hamlet asks the question suggests that Hamlet is in a state of deep perplexity about the matter at hand. Hamlet wonders whether it is “nobler… to suffer” (3.1.56) or nobler “to take arms against a sea of troubles” (3.1.58) by ending ones life. Hamlet then draws a knife and points it to his heart to signify his thoughts about ending life. According to Hamlet, death is no more than a “sleep to… end… heartache” (3.1.60-61). Hamlet closes his eyes and speaks to himself within his mind. He considers entering eternal slumber, but suddenly opens his eyes, draws back, and comes to a sudden realization that there is no telling “what dreams may come true, when [he has] shuffled off [his] mortal coil” (3.1.65-66). This quality of eternal slumber causes people to make “calamity of so long life” (3.1.68). Again Hamlet wonders “who would bear the whips and scorns of time” (3.1.69) when one “might his quietus make with a bare bodkin” (3.1.74-75). Hamlet seems to find suffering through countless times is pointless when one can easily suffer once painfully and end all suffering through death. According to Hamlet, the factor which prevents one from committing suicide is the “dread of something after death” (3.1.77). The knife falls from Hamlet’s hand and into the sea. Thinking so deeply of this matter has made a coward of Hamlet. He loses the chance to end his suffering because the knife is no longer there. Hamlet ends his soliloquy advising the viewer that moments “of great pitch… lose the name of action” (3.1.84-86) when one does not take the given chance at hand.

Laurence Olivier performs Hamlet’s soliloquy best because he captures Hamlet’s state of confusion most accurately and symbolically. The combined elements of speech and setting create a perfect portrayal Hamlet’s self struggle.

Brueghel

QT
10/8/07

Landscape with the Fall of Icarus, by Pieter Brueghel depicts the moment when the wax on Icarus’ wings melt, causing Icarus to plunge to his death as he falls into the ocean. Brueghel portrays the scene with minimal amounts of bright, warm colors completely enclosed by darker colors, creating a gloomy atmosphere. All the colors flow creating the idea that everything in the painting is part of the scenery.

The most eye-catching part of this painting is the sun. At first glance of the entire painting the brightness of the sun draws the viewer to stare directly into the sun. In reality, the sun is cosmic and its light extends far across the lands. In this picture, the sun is small, which shows that it is a great distance away from where the artist is standing. The sun’s light is limited and does not extend very far because it entirely surrounded by the darker colors of the ocean, mountains, and skies. Just below the sun, the island of Crete can be seen. Like the sun, the island of Crete is bounded by the ocean. The ocean excludes the sun and island from reaching civilization, where life seems to be apparent. The ocean is vast and endless. It covers about one third of the painting, however, it stretches far beyond and out of the painting, and creating a mystery of its exact magnitude. It also allows the viewer to imagine its size to any extent they wish. The ocean is also powerful. It is main source of isolation in this painting. It separates the sun and island of Crete from the rest of civilization. The only objects which seem to be able stay afloat on the ocean appear to be another island which is towards the left area of the ocean and many small boats. Although small these fragile boats appear to be the only means of transcending over the isolating obstacle of the ocean. The most interesting concept of the ocean in this painting is its color. The ocean is a cool blue color in the area where it hides the sun. This promotes the idea that the atmosphere may be a bit on the cold side. It has a warmer yellow tone in the center of the painting where it does not touch any other object. The viewer might see a relaxing calmness in this particular area, thus he will spend more time concentrating on this particular portion of the painting. The warmness of that segment of the ocean plays a sinister role in diverting the viewer’s attention from the hideous truth within this painting. As the ocean draws closer to the viewer’s perspective the color becomes dim and shadowy. The faint colors aid in creating a dull and listless mood within the painting. It also plays an important role in masking struggle within the picture. Once the viewer thoroughly explores the painting, he will notice that there is a pair of legs sticking out the ocean. The viewer would assume that these legs belong to Icarus because the entire picture depicts the moment Icarus falls into the ocean. Since there is no other form of human life in the ocean, it is most logical to assume that the pair of legs can only belong to Icarus. The color tones of his legs blend evenly with the murky colors of the ocean, causing Icarus’ existence to be hidden by the ocean. Right below the struggling Icarus is a fisherman. He sits on the minute land available to him. It is interesting to note that he is completely unaware of Icarus’ existence because he portrays no element surprise by the traumatic experience right above his head. To the left of Icarus is a herder tending to his many livestock. Interestingly enough is that the herders and his animals also do not notice Icarus’ as he struggles in the ocean. The herder’s blue shirt blends in with the ocean blue background he touches. His pants are dark brown. They match the light brown color of the earth he stands upon, but they do not blend because the color of the pants is distinct. To the left of the herder is the farmer. He is the most exemplified life form within this painting. He is physically larger than the sun. Also, his colors stand out more than the sun. The farmer is wearing a weak fainted colored tunic which matches the color of the grass he is currently plowing. The most distinct aspect of his clothes is his burning red shirt which he wears under his dull colored tunic. The farmer is plowing the land available by directing the horse which carries the plow across the untilled land. The horse is a dark brown color which matches the color of the tilled soil in its background, but is distinct so the viewer can differentiate between the horse and soil. Above and below the horse, plants and trees can be seen. Further above the horse, civilization can be seen. It is distant and seems hazy from the viewer’s standpoint. Lastly, above civilization is a dark and gloomy sky which watches over the melancholy world below it.

The title, Landscape with the Fall of Icarus, is directly related to the entire painting. The painting depicts the exact moment when Icarus falls to his demise. The landscape is vast, and Icarus is small. It shows that Icarus’ death is miniscule and completely insignificant to the painting entirely. If he was not present, the painting would not have been affected by any significance.
The title and the blending aspect of colors suggest that every aspect of this painting connects to nature because all forms of civilization blend in with nature. The painting consists solely of a landscape. It seems that the living organisms present in this painting become one with nature. The farmer’s tunic blends in with the color of the untilled soil below him. The farmer’s horse matches the color of tilled soil. The herder’s clothes flow with the background of the ocean and shore. The town merges with the grey sky above it. Every aspect of human life matches with its background of nature.

Brueghel creates a masterpiece through his brilliant use colors and blending techniques. He is able to use color to blend the living forms of life with the enervated colors of nature. Brueghel does an outstanding job at masking the most important aspect of his painting: Icarus. He is remarkable because he makes Icarus, a vital piece of this work of art, seem insignificant. Overall Brueghel accomplishes to depict the dismal scene of Icarus’ demise in a unique manner. He does not concentrate on the doom of Icarus by using exuberant colors to attract the viewer’s attention, but by masterfully integrating Icarus into the depressing atmosphere of the entire landscape.

Tom Phillips A Humument Explication

QT
2/22/08

Page 170 of Tom Phillips’ A Humument features “a feeling of [the] future” behind the background of a clear blue sky. The sky is vast and limitless, indicating that the destination of the future, like the sky, is also limitless. The “future” lies on clear neutral sky in between two different clouds: a cloud of pristine white and a cloud of dim gray. Phillip’s strategic placement of colors creates a masterpiece reflecting the two contrasting futures which can result in the world: a bright and hopeful future under the clarity of heavenly white clouds or a dim and gloomy future under clouds of pale gray.

This piece contains no title. The absence of a title allows the viewer to interpret the piece to their own life and understanding. Freedom from ownership marks a beautiful quality of the sky. Unlike land, the sky cannot be divided, named, nor conquered. It remains connected as one sky. The ethereal state of the sky prevents mankind from claiming ownership of the sky. The sky is free to float above the land because it is forever beyond the grasp of humans regardless of how high they reach. People can only gaze at the wonders of the sky. They can never control the sky and alter it to their will.

Like sky, the “future” is also incapable of being controlled by humans. It can only be influenced in one of two directions: a positive or negative future. The “future” lies on a sky blue background in between influences of a light and dark cloud. This cool blue color depicts a calm and tranquil setting, allowing each cloud to influence the “future”.

The grey cloud resides to the left of the clear blue sky. These murky clouds represent negative influence. The pale grayness represents grief and sorrow. It depicts a feeling of detachment and isolation. These faint gray clouds cover about half of the piece suggesting that there is more negative influence compared to positive influence. At the moment of this piece, there is higher concentration of gloom. Tones of yellow-green exist towards the bottom half of the gray clouds. The yellow-green tone produces feelings of sickness. This suggests that it is sickening how dominating the negative gray clouds are upon the clear blue sky. Although the gray clouds are ruling the sky, there is still hope for positive influence to flourish.

On the opposite end of the shady gray clouds dwell the serene white clouds. These white clouds signify positive influence. The pallid clouds denote feelings of safety and purity. They do not cover an area of the piece as large as the gray clouds. The positive influence is not dominating over negative influence. It seems that the white clouds are struggling against the force of the darker gray clouds. At the top left of the piece, the viewer should notice “a kind attack of spring” between the light and dark clouds. In that area of blue sky, the viewer should see shades of white moving towards each cloud. This blending of colors indicates a struggle between opposite forces wishing to conquer the blue sky.

At the moment of this piece, the speaker is experiencing a “real downpour” in his life. The speaker is “broken” because he is split in between two opposing forces: positive and negative influence. The situation is similar to a “photograph” because remains consistent and does not change. Like the “photograph”, the speaker is deadlocked in a situation which does not change. He constantly struggles against positive and negative influences while being encaged in between these two forces. At the bottom of the piece, the speaker seeks assistance from the reader. “If [the speaker] had [the reader’s] voice”, he can gain a second opinion to help him break free from his encasement as a “photograph”.

The “future” will forever remain in constant combat between influence of the dark and light clouds. Without choosing one side over another, one will remain deadlocked like a “photograph” without progression. One will not grow and change without surmounting the dilemma of these two forces. It is important for one to proceed in life, even if it means seeking assistance. Progress can only be achieved if one takes action; not by standing still.

Red Shift Explication

QT

9/11/07

Reminiscence is Immortality

Throughout the history of mankind, humans aspire to live forever. Even today, scientists constantly research new methods to extend the human lifespan. In the poem “Red Shift”, Ted Berrigan suggests that immortality is achievable not physically, but spiritually. Through reminiscence alone, immortality is born. The speaker is relentlessly recollecting memories of the past. In this recollection, the speaker gives life to the memories of his deceased past.

Berrigan begins the poem precisely at “8:08 p.m.” (1) of a winter night in February to give the reader a sense of time. Berrigan continues describing the setting of this particular winter night in order to create the perfect mood for the speaker to reminisce. “The air is biting” (2), and the speaker is drinking and smoking. His actions suggest that he is alone because people often drink and smoke to avoid problems such as feelings of loneliness. This setting is ideal because winter has an association to death. This winter night also generates a melancholy atmosphere. The speaker brings life to this lifeless world when he remembers sipping Calvados on Long Island almost twenty years ago. The speaker’s statement, “who would have thought that I’d be here” (13) proposes the idea that the speaker is in deep thought. He is reliving those memories, thus giving life to the deceased memories.

Berrigan’s word choice assists in granting energy and life to the empty memories. The speaker recalls memories concerning love, children, money, marriage ethics, and a politics of grace. These memories are alive, “swirling” (17) and “burning” (17) within his mind. The speaker can clearly remember the boy’s “eyes penetrating the winter twilight at 6^th and Bowery in 1961” (20). This image is so clear that one would believe that the speaker is witnessing that event once again. Later, the speaker boldly claims that he “will never die” (31). He will live on as a “Spirit, who lives only to nag” (33). This statement suggests that the speaker will continue to live on even after his death. The speaker will not live physically, but will live spiritually in the memories of those who recognize him.

How can the speaker possibly achieve immortality? The speaker’s determination to become immortal is genuine. With utmost confidence, the speaker states that he is “all pronouns” (35). Pronouns are ambiguous and are frequently used in everyday language. This gives the impression that speaker will live on forever because it is nearly impossible to avoid using pronouns in everyday language. The speaker will “never go away” (32) because he gains life at any instance where he is remembered.

One achieves immortality at any instance where one is remembered. When a person is remembered, the person gains life and is alive once again. When the speaker reminisces about the past, his vivid details of the memory resurrect the event from the dead past. Like the speaker in this poem, people are able to escape death and gain immortality spiritually within the memories of those who reminisce about them.