Write your version of the nunnery scene, how you prefer it and why. 1 page, single-spaced or 2 double spaced. Turn in to Hamlet Nunnery Page -Hamlet knows from the beginning of the scene that P and C are watching him -H does not know until later in the scene that he is being watched. You decide when, based on the script. -H never knows he is being watched. Did Hamlet know the presence of Claudius and Polonius, or did he not—that is the question; and the answer to this question is open to interpretation. However, if I were to direct a play or a film depicting this particular scene, I have a rather specific vision and preference: Hamlet does not know until later in the scene that he is being watched, and after the realization Hamlet explicitly expresses his disappointment and anger toward Ophelia for trying to deceive him. “Go thy ways to a nunnery,” insists Hamlet to Ophelia, and right after that sentence Hamlet asks “where’s your father?” (3.1. 130-131). Timing of the question seems too abrupt and out of the blue, and the shift of subject—from a nunnery to Ophelia’s father—appears illogical as well. If allowed, I would like to open a parenthesis and add a specific stage direction. “Go thy ways to a nunnery. (Hamlet stops talking for a few seconds. A quick glance at where Claudius and Polonius hide. A frown which lasts only for a second. With a slightly higher tone) Where’s your father?” By giving a little more time in between the two lines and providing actions and face expressions with notable hints and suggestions, the question (asking where Ophelia’s father is) will appear less abrupt and illogical. Furthermore, to make the scene even more natural and interesting, Ophelia should answer that her father is “at home” immediately without hesitation or any change in her face expression (3.1. 132). Then, Ophelia’s brazen lie will make Hamlet even more upset and disappointed in her and in the overall female gender. One more stage direction added in line 133 will invite greater tension to the scene: (With loud, sharp voice, angrily shouts) “Let the doors be shut upon him,” (raise the voice higher and louder) “that he may play the fool nowhere but in’s own house. (Hamlet turns his back against Ophelia. Without looking at her, with lower, quieter voice say) Farwell.” These directions create dramatic effects which the original version fails to deliver. There are a few lines that can be used cleverly to support my claim that Hamlet realizes the presence of the two men during the conversation. “God has given you one face, and you make yourselves another” says Hamlet, criticizing Ophelia for telling him a lie (3.1. 145-146). Making oneself another means disguising the truth and fabricating a lie; therefore Hamlet’s words are directed against Ophelia’s participation in a scheme which is intended to deceive Hamlet. After realizing that Polonius and Claudius are observing his conversation with Ophelia, Hamlet attempts to reassure and show the observers the fact that he has gone mad. “I’ll no more on’t, it hath made me mad,” says Hamlet (3.1. 147). The prince—who, for some reason, wants to appear insane—directly admits that he is mad, hoping that such self acknowledgment will fool others.
-Hamlet knows from the beginning of the scene that P and C are watching him
-H does not know until later in the scene that he is being watched. You decide when, based on the script.
-H never knows he is being watched.
Did Hamlet know the presence of Claudius and Polonius, or did he not—that is the question; and the answer to this question is open to interpretation. However, if I were to direct a play or a film depicting this particular scene, I have a rather specific vision and preference: Hamlet does not know until later in the scene that he is being watched, and after the realization Hamlet explicitly expresses his disappointment and anger toward Ophelia for trying to deceive him.
“Go thy ways to a nunnery,” insists Hamlet to Ophelia, and right after that sentence Hamlet asks “where’s your father?” (3.1. 130-131). Timing of the question seems too abrupt and out of the blue, and the shift of subject—from a nunnery to Ophelia’s father—appears illogical as well. If allowed, I would like to open a parenthesis and add a specific stage direction. “Go thy ways to a nunnery. (Hamlet stops talking for a few seconds. A quick glance at where Claudius and Polonius hide. A frown which lasts only for a second. With a slightly higher tone) Where’s your father?” By giving a little more time in between the two lines and providing actions and face expressions with notable hints and suggestions, the question (asking where Ophelia’s father is) will appear less abrupt and illogical. Furthermore, to make the scene even more natural and interesting, Ophelia should answer that her father is “at home” immediately without hesitation or any change in her face expression (3.1. 132).
Then, Ophelia’s brazen lie will make Hamlet even more upset and disappointed in her and in the overall female gender. One more stage direction added in line 133 will invite greater tension to the scene: (With loud, sharp voice, angrily shouts) “Let the doors be shut upon him,” (raise the voice higher and louder) “that he may play the fool nowhere but in’s own house. (Hamlet turns his back against Ophelia. Without looking at her, with lower, quieter voice say) Farwell.” These directions create dramatic effects which the original version fails to deliver.
There are a few lines that can be used cleverly to support my claim that Hamlet realizes the presence of the two men during the conversation. “God has given you one face, and you make yourselves another” says Hamlet, criticizing Ophelia for telling him a lie (3.1. 145-146). Making oneself another means disguising the truth and fabricating a lie; therefore Hamlet’s words are directed against Ophelia’s participation in a scheme which is intended to deceive Hamlet.
After realizing that Polonius and Claudius are observing his conversation with Ophelia, Hamlet attempts to reassure and show the observers the fact that he has gone mad. “I’ll no more on’t, it hath made me mad,” says Hamlet (3.1. 147). The prince—who, for some reason, wants to appear insane—directly admits that he is mad, hoping that such self acknowledgment will fool others.