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After reading Hamlet, the assigned article, and viewing the video provided for us through the BlogSpot, I was able to make more sense of Bruce Johnson’s claim that sound is almost more important than sight in Shakespearean plays. It is obvious that Shakespeare wrote for sound more so than for the actual written word, as he incorporates voice, sound, and music to carry the production.
ReplyDeleteShakespeare cleverly uses sound to evoke emotions from the audience from start to finish. He employs flourishes from trumpets and blasts from ordnance as acoustic shock to jolt the audience awake in order to prepare them for what is about to come. In the beginning of the play, when Bernardo, Marcellus, and Horatio encounter the ghost of Hamlet’s dead father, there is a moment when the ghost is prepared to speak but is interrupted by the crowing of a cock and is forced to retreat. I don’t think there’s anyone in the world that doesn’t know what a rooster sounds like at first light and Shakespeare forces the audience to use their imaginations, drawing them further into the play with that prior knowledge of a sound.
Music serves many purposes in Hamlet. It serves to set a tone, carry the plot, and set a rhythm to the play, evoking a myriad of emotions from the viewing and hearing audience. Drums act as a heartbeat in the final scene as Hamlet lays dying after being pierced by Laertes’ poisoned sword.
Lastly, voice is used by Shakespeare to further ensnare the audience into seeing themselves as part of the play with Ophelia’s song. Ophelia, the tortured songstress, after hearing of her father’s murder, becomes “distracted” and it is obvious her mind is quickly unraveling when she breaks out into “inappropriate song” while grieving her dead father. Shakespeare used folk songs popular at the time in which the play was written to draw the audience in, almost to sing along with the actors.
There were many examples of sound, voice, and music in this play, far too many to mention in this reading response, but I know for certain that because of this assignment, I will now be far more attuned to playwright’s use of sound and not just their printed word.
Julietta Rivera
Ambiguity and liminality are central to the narrative of Hamlet; it is something that is heavily portrayed not only in the action/inaction of Hamlet himself, but likewise, as expressed by Johnson in the article, through the dissonant music of the piece. In fact, ears, or the act of having someone’s ear, are mentioned around 27 times in the copy that we are looking at. Which intersects with Johnson’s argument to the importance of the sounds portrayed throughout Hamlet. While the Renaissance ear is privy to the consequence of the music/sound in the play (i.e. the presence of popular song to portray Ophelia’s descent into madness), it is also subject to be manipulated by these same means (i.e. the presence of the specter’s voice from below stage and in the same vein the possibility that only Hamlet has ever heard it being brought into question).
ReplyDeleteTo a similar effect, the importance of “ear” to the characters of Hamlet is that it expresses their status or susceptibility to folly. The most immediate example is the death of King Hamlet by means of poison in his ear, stretching that metaphor further Claudius feeds poison into the ears of others through his lies/manipulation (Laertes is a prime example, upon his return to Denmark). The next most prevalent use of this image is by Hamlet in conversation with his mother in an attempt to prop a mirror against her recent marriage, in his own words he is acting not with material daggers but daggers to her ears (Line 680; pg. 117).
Bridging my reading of Hamlet with the article I would probably relate the two specifically in the final scene as Johnson does in The Sounds of Hamlet (259). The entire ordeal is a cacophonous event, which although pertaining to sound applies just as well to the visuals we are experiencing; the audience is now witness to a mass of deaths back-dropped by the imposing marching, ordinance, and trumpets now calling attention to a material conflict opposite the otherworldly start of Hamlet’s journey.
Joaquin Castillo Jr
Johnson’s analysis of sound in Hamlet made a lot of sense once I started looking for instances of sound in the text. Certain moments, like the ghost beneath the stage, seem particularly creative. It makes me wonder how it would have been perceived by the audience, would it be seen as spooky or a moment of comic relief? I myself found the exchange humorous, but I could see an argument for it being intended as a much more solemn event. While reading the play certain aspects of the play were lost to me. For instance, I could tell that Ophelia had gone mad with grief since she seemed to jump from one train of thought to another, breaking into song. I obviously didn’t know what the songs were meant to convey, nor that they were common songs. I can see how being from that era and hearing those songs could have a profound effect. Hamlet himself had a few monologues I recognized as iconic, and this may be why I found him most interesting (this could also be the result of Hamlet being the protagonist). We get to hear Hamlet work through his confusion and uncertainty throughout the play. The final payoff of Hamlet’s rage becomes so much more vivid and impactful with the cacophony of trumpet blasts, and it wouldn’t have registered with me if I hadn’t read that in the paper. I reread that final scene, noting the chaos that I missed upon my first reading. Hamlet states that he is slain, yet continues to speak, unlike every other character that expires, he continues to speak despite this. Johnson’s analysis mentions the final lines of “O, O, O, O,” and it seems wrong to omit these as they show how Hamlet’s resolve had driven him beyond what he would’ve bared.
ReplyDeleteEnrique Perez
There were two thins that kind of confused me about "Hamlet: Voice, Music,Sound." When talking about the voice under the stage, Johnson states that it is possible that only Hamlet can hear the ghost speaking. He further argues that this may be a sign that he is delusional and hearing voices. First off, I assumed that Hamlet's "unstable" mental state was meant to be an act. I had thought that he was simply pretending to be insane, using this as a method to get the revenge that his father asks him. Secondly, why would only Hamlet be able to hear the ghost? The ghost is clearly not entirely in his head. Marcellus and Horatio were able to see the ghost, but it never spoke directly to them. So is Johnson implying that the ghost may not only be in Hamlet's head, but the voice of the ghost is? This honestly just creates a ton of confusion for me. It's actually a bit hard for me to believe that Hamlet is truly insane or has schizophrenia. At least in the very beginning. It may be possible to actually become insane after pretending to be insane for so long, but this was RIGHT when Hamlet told Horatio and Marcellus his plan! It was RIGHT here that Hamlet said he was going to put on an act of insanity! Why would he have already gone insane at this point? In a cursory view, it may make sense to believe that Hamlet is "hearing voices", but it just becomes confusing when looking at it closer.
ReplyDeleteMichael McCormick
Hamlet presented as musical, based on Johnson’s article, does make of why Hamlet hesitates to kill his uncle and further explains characters’ behavior. Shakespeare’s’ usage of iambic pentameter further proves that whether it was done consciously, the play is meant to be musical.
ReplyDeleteOne part of the article which greatly proved it was mean to be musical was when it pointed out how frequently onomatopoeia is frequently used. Johnson pointed out that the use of the word “O” was used, “most frequently by Ophelia and Laertes in their grief (about six times each), the Queen in her divided loyalty (about nine times), and the King in his moments of guilt (about eighteen times) (266).” I do not believe the musical element of the story is accidental. It certainly adds to how “Hamlet is a very noisy play.” At the same time, the lyricalness most notably strengthens the play’s language. The use of the recurrent musical words almost in a way trademarks the character’s language and helps identify them.
Although it is not mentioned by Johnson, the play as musical makes more sense after considering its use of iambic pentameter. If it were not meant to be read as musical, the author would not have bothered with troubling himself to incorporate it. Furthermore, some of Hamlet’s lines sound more like poetry. Hamlet, for example, shows this through a letter to Ophelia which states, “Doubt thou the stars are fire,/ Doubt that the sun doth move,/ Doubt truth to be a liar,/ But never doubt I love” (2.2.124-127). He also does this in countless other instances, such as when he says, “That one may smile and smile and be a villain (1.5.115).” If the play is meant to be read as musical, it would make sense that the dialogue would be mean to be more like lyrics from a song. Additionally, it would explain Ophelia’s dialogue when she goes mad.
Zugay Trevino
While watching the theatrical play of Hamlet and keeping in mind Johnson’s article hamlet: voice, music, sound, I was brought back to the last time I read Hamlet, which was my junior year in high school. There were only a handful of students in the class, myself included, and the teacher would assign us whose lines we would read. That was the first time I read hamlet, this week was the first time I watched the actual theatrical play. The contrast of reading the play and actually seeing it is black and white.
ReplyDeleteI discovered quickly that Johnson was right when he said that “Hamlet is a noisy play” (259). I hear Shakespeare for many, myself included, is an acquired taste. But I will admit that his plays are much more interesting when they’re actually being played out, At least in my opinion. And I believe that mostly the fault of not only the visuals, but the sound that stems from both the music that was played, as well as the actor’s ability to play their role, both with visuals and the sounds that they themselves produced and acted out. Johnson did touch up on this in his paper, but briefly. He mentions when actors would moan out and ‘O’ sound, particularly during laments of distress from certain characters. But other sounds that very much enhanced and engaged was present as well. Little details such as when Hamlet confronting the spirit of his murdered father, and fell into despaired gasping and whimpering in the background as the spirit spoke of Claudius deceit and betrayal even going as far as to repeat certain words the spirit would say in agreement. Little things like this that I felt Johnson could’ve talked about.
Overall emotion of an actors performance I felt wasn’t really touch upon with Johnson’s article, and I feel that has as much to do with the topic as music and sound. He doesn’t exclude voice as he does touch up on it briefly, as mentioned earlier, but I felt he could’ve gone more in depth with it.
Also, this is off topic, but I never did understand why he was seemingly pretending to be insane (or was he insane after all?), especially when it seemed to work more against him and just made things harder than they had to be.
Mirella Martinez
Wow what a read. I haven't read Hamlet since high school. And I haven't seen “The Lion King” in a couple of years. After reading “Antigone” and “Hamlet”, I noticed a lot of similarities. Well first all there’s alot of tragedy. Creon/Claudius both lose their wives, and two heirs lose their spot in ruling.(Hamlet vs Claudius a battle of wits) In one part of the play, Claudius is saying a prayer to himself. He says, “help angles! Make assay. Bow, stubborn knees and heart with strings of steel. Be soft as sinews of the newborn babe. All may be well.” (70-73 pg120) This reminded me of Creon from Antigone. Claudius somewhat realizes what he has done is wrong. But it's too late to make amends since he already has the crown. His character seems to proud to step down as king. Same as Creon as he was too proud to “yield to a woman”.
ReplyDeleteThe article, “Hamlet: Voice, Music, Sound”, points out the significance of sound in a play. Johnson wants the reader to know that experiencing a play is not only a print/novel, but as an acoustic. “Hamlet is a noisy play. It begins with disembodied voices in the darkness. It ends
with the noise of ordnance off-stage. Between these two sonic events, non-vocalised
sound is pervasive.” While reading Hamlet I noticed there were scenes where the characters acted overly dramatic to the audience or to other characters. There is a scene with Ophelia where she starts acting crazy after Hamlet leaves and her father is presumed dead. Ophelia starts singing to the King and Queen,“Indeed, without an oath, I’ll make an end on’t...young men will do’t if they come to’t; by Cock, they are to blame...you promised me t owed.” He answers” “So would I’a done, by yonder sun, An thou hadst not come to my bed.” (56-64 pg 137-38) She’s speaking cryptic to the king and queen like Hamlet to others with his madness stunt. I haven't heard how this song would sound, but I somewhat imagine it sounding depressing. It reminded me of Sally from “Nightmare Before Christmas”, when she sings “Sally’s Song”. This also reminded me of that scene from Romeo and Juliet where they apparently have sex.
The article also mentions the use of instruments in the play, “there are around a dozen heraldic flourishes involving trumpets, drums and ord-nance. This also happens when the play troupe acts out the play “the murder of gonzago”, trumpets are played at the beginning. There was a play within a play. I was having an inception moment while reading this scene.
There's one part of the play that confused me and it was somewhat mentioned in the article. It involves Hamlet’s father, the ghost. There’s a scene where Hamlet is trying to get his comrades to swore an oath. There’s a stage direction or subtext written under Hamlet’s line. It says “GHOST cries under the stage”. Was this supposed to be funny? I imagined the ghost crying because Hamlet is opening his big mouth and the ghost thought his bloodline was doomed.
Danny Olivarez
After reading Bruce Johnson’s article his argument for Shakespeare’s play having different meanings when heard rather than read can be said about almost any written text. I believe the readers’ voice is just as much important as the actor’s and although there may be different inflections the text imposes similar inferences from its reader that the audience would gather. Johnson focuses on “O” and how it is interpreted differently when heard, I have to disagree. The reader does not mindlessly glide over the letters on the page there is meaning behind what is said and I am sure the “O” I hear while I read is different than others making the reader’s interpretation just as valuable as the director who takes on Hamlet and choreographs the sounds within the play. Johnson then goes back to the question “Why does Hamlet procrastinate in taking revenge?” I have trouble understanding this for more than what it is, build up. Hamlet’s inability to take action is just as much of a tool as is the music in the play.
ReplyDeleteSamyra Perez
Bruce Johnson’s claim that, “Shakespeare wrote for sound rather than for print” is prevalent within “Hamlet” (Johnson, 258). Within the same page, he writes that Elizabethan theatre placed emphasis on dialogue and music to communicated details such as lighting, setting, place and occasion, as well as thematic resonance.
ReplyDeleteI’m sure we can come to a general consensus that plays are meant to be seen rather than read. However, there are nuances or moments within Hamlet that can help readers get a grasp of a certain theme that is occurring within a certain time or moment in the play. For example, death is a prevalent theme in the work for several reasons. One, we are introduced in Act I to King Hamlet’s ghost, also, Hamlet then enters a state of contemplation with a skull and says one of the most infamous lines of dialogue ever spoken with, “to be or not to be.” Further down the line death and madness start to intertwine and this is signified by singing.
An example of this would be Ophelia who is in a state of grief for her father who enters the stage singing, “Larded all with sweet flowers; which bewept to the grave did not go, with true-love showers” (Kelly, 137). Here, a song is to signify that the character is going through a death in the family which spirals into grief and ultimately, madness. Shakespeare using not only song but as well as rhymes to further “pack a punch” for the reader. Other instances that I found of this sonical usage was at the end of Act II when Hamlet states, “More relative than this. The play’s the thing, wherein I’ll catch the conscience of the king” (Kelly, 99). So, from this we can see that Shakespeare uses the usage of songs and rhymes to exemplify that a character is undergoing some sort of tension or “madness.” Even Johnson makes note of Ophelia’s songs on page 260 of his article. One more instance is the play within the play where the players or actors are reenacting the death and murder of King Hamlet. Every line of dialogue ends in either a rhyme or an eye rhyme. Take for example when the Player Queen exclaims, “ The instances that second marriage move, are base respects of thrift, but none of love. Here, “love” and “move” are spelled similarly and look like they rhyme but do not.
Anyways, another parallel of this Shakespearean device of sound that is used in other works is “A Streetcar Named Desire.” From what I recall, Blanche hears polka music whenever she mourns about her husband’s death. This too, similar to Hamlet, is a device used to signify that a character is undergoing a sense of mental unstableness because none of the characters are able to hear the music that she is hearing. In addition, for a more contemporary outlook on this, I remember rewatching the film Moonlight and near the end, there’s a song that is played in a drowned-out-and-spacey-way that signifies that the main character, Chiron, has undergone a negative change. In addition, in Kendrick Lamar’s Good Kid, M.A.A.D. City, there’s this eerie voice that is used in the album’s first track. This is to introduce one of the narrative’s main events where a young Kendrick gets “jumped” due to Sherane, who is the love interest in the project. In addition, on track six “Poetic Justice” which is the love song of the album, at the end, we hear that eerie voice once again to signify Sherane’s presence.
Even in Sylvan LaCue’s 2014 underground hit Searching Sylvan, there is a saxophone sample throughout the skits to signify that reality is creeping up on a dreaming Sylvan.
What I’m trying to convey here is that even though these sounds can be appealing to the ear, us as readers, listeners or artists should not just dismiss them as simple audio/sonic cues, they hold much more significance than just that. No matter the medium, sounds really do speak for themselves in a sense.
P.J. Hernandez
After reading "Hamlet" and the assigned article, my mind circled back to last week’s in-class discussion, namely how stage plays in academia are often studied as literary works as opposed to how the text functions in theatrical settings, and what implications arise from that. Given the scarcity of stage direction in "Hamlet," my mind instinctively pondered the significance of its aural elements, since from early on sound plays a vital role in understanding Hamlet’s (seemingly) fractured psyche. The emergence of Hamlet’s father in specter form suggests not only Hamlet grappling with his own sense of the rational and irrational, but of a deeper schism between the material and the spiritual world, often symbolized through the political and moral turpitude caused by Denmark’s newly-minted King, Hamlet’s murderous uncle. To illustrate this, Johnson notes that "Hamlet" utilizes sound and music for “thematically pivotal” moments, such as the case when the “intensely dramatic effect” of blaring trumpets dramatize, through jarring sound design, the chaotic inner-working of his “stepfather’s tasteless usurpation, a King’s debauchery, and a state’s decline” (260-261). The moribund circumstances plaguing Hamlet further complicates things thematically precisely because of the use of sound, and how it functions in a multi-sensorial medium like theater. Through the text alone, it’s unclear as to whether Horatio and Marcellus acknowledge the Ghost’s commands after Hamlet speaks to it, but because the voice of the Ghost reverberates on stage, the performative nature of the play adds both a visual and aural dimension necessary to extrapolate whether Hamlet’s wits are in fact, as he puts it, “deceased,” similar to the spiritual, mental, moral, and most notably, corporeal decay occurring all around him.
ReplyDeleteChristian Martinez