Monday, July 18, 2016
A six-year-old boy named Pip lives on the English marshes with his sister, Mrs. Joe Gargery and his sister's husband, Mr. Joe Gargery. His sister is about as bossy and mean as older sisters are—but his brother-in-law Joe is pretty much the best thing that's happened to Pip.
One Christmas Eve, Pip meets a scary, escaped convict in a churchyard. Pip steals food from Mrs. Joe so that the convict won't starve (and also so that the convict won't rip his guts out). Soon after, in apparently unrelated events, Pip gets asked to play at Miss Havisham's, the creepy lady who lives down the street. And we mean creepy: her mansion is covered in moss; she still wears the wedding dress she was wearing when she was jilted at the altar decades ago; and the whole place is crawling with bugs. It's like Beauty and the Beast, only without the singing tableware.
The only good thing about the mansion is Estella, Miss Havisham's adopted daughter. Estella is cold and snobby, but man is she pretty. Pip keeps getting invited back to play with her, and he develops quite the little crush on her. This crush turns into a big crush, and that big crush turns into full-blown, all-consuming L-O-V-E, even though there's no way that orphan Pip can ever have a chance with Estella, the adopted child of the richest lady in town.
When Pip is old enough to be put to work—you know, early teens or so—he starts an apprenticeship at his brother-in-law's smithy, thanks to Miss Havisham's financial support. You'd think he'd be thrilled (fire, swinging heavy things around), but he hates it: all he wants is to become a gentleman and marry Estella.
Then, surprise! He comes into fortune by means of a mysterious and undisclosed benefactor, says goodbye to his family, and heads to London to become a gentleman. And it's pretty sweet at first. Mr. Jaggers, Pip's caretaker, is one of the biggest and baddest lawyers in town. Pip also gets a new BFF named Herbert Pocket, the son of Miss Havisham's cousin.
Herbert shows Pip around town, and they have a busy city life: dinner parties in castles with moats, encounters with strange housekeepers, trips to the theater, etc. Two teeny problems: he spends way too much money, and whenever he goes home he's ashamed of Joe. Meanwhile, Estella, who's been off touring the world, comes back to London and is even more gorgeous than ever.
On his 21st birthday, Jaggers gives Pip a huge 500-pound annual allowance, which he uses to help Herbert get a job. Aw, good friend! This goes on for a couple of years—Pip is a man about town; Estella keeps rejecting him—until, on his 23rd birthday, a stranger shows up. The stranger is Pip's benefactor. The stranger is… the convict that Pip helped when he was only six years old!
Here are the deets: the con's name is Abel Magwitch/Provis. The courts exiled him to New South Wales under strict orders never, ever to return to England, so not only is Pip super bummed to find out that his benefactor isn't Miss Havisham after all, as he's assumed, but a criminal—he's also harboring a convict. Obviously, Pip decides that he's got to get Magwitch out of the country, but not before Pip rescues Miss Havisham from a fire that burns down her house and eventually kills her.
Pip devises a plan to get Magwitch out of the country, but he's uneasy—and with good reason: just as they get ready to make their great escape, Estella goes and marries Pip's nemesis and Pip is almost thrown into alimekiln by a hometown bully who claims to know about Magwitch. And then the two are ratted out by Magwitch's nemesis Compeyson, who is, coincidentally, Miss Havisham's ex-lover. Magwitch is thrown in jail and dies, but not before Pip tells him the shocking truth: Estella is his daughter.
After these traumatic events, Pip gets really sick, and Joe comes to the rescue. As soon as Pip recovers, however, Joe leaves him in the middle of the night, having paid off all of Pip's debts. Obviously, Pip follows him home, intending to ask for Joe's forgiveness and to propose marriage to his childhood friend, Biddy. Upon arriving home, however, he finds that Joe and Biddy have just married, which is… a little weird, if you ask us. He says he's sorry he's been such a butthead, and then he moves to Cairo.
For eleven years, Pip works at Herbert's shipping company in Cairo, sending money back to Joe and Biddy. He finally returns to England, and then has one of two different fates, depending on whether you read the original ending or the revised ending:
Original ending: Pip is hanging out in London a few years later with Joe and Biddy's son, baby Pip, when he runs into Estella. She's had a hard life: her husband was abusive, and when he died she married a poor doctor.
Rewritten ending: Pip visits Miss Havisham's house once more. Estella is walking the grounds, being all single, beautiful, and sad about having thrown Pip's love away. Aw. They're going to be together forever, you guys!
Wuthering Heights opens with Lockwood, a tenant of Heathcliff's, visiting the home of his landlord. A subsequent visit to Wuthering Heights yields an accident and a curious supernatural encounter, which pique Lockwood's curiosity. Back at Thrushcross Grange and recuperating from his illness, Lockwood begs Nelly Dean, a servant who grew up in Wuthering Heights and now cares for Thrushcross Grange, to tell him of the history of Heathcliff. Nelly narrates the main plot line of Wuthering Heights.Mr. Earnshaw, a Yorkshire Farmer and owner of Wuthering Heights, brings home an orphan from Liverpool. The boy is named Heathcliff and is raised with the Earnshaw children, Hindley and Catherine. Catherine loves Heathcliff, but Hindley hates him because Heathcliff has replaced Hindley in Mr. Earnshaw's affection. After Mr. Earnshaw's death, Hindley does what he can to destroy Heathcliff, but Catherine and Heathcliff grow up playing wildly on the moors, oblivious of anything or anyone else — until they encounter the Lintons.Edgar and Isabella Linton live at Thrushcross Grange and are the complete opposites of Heathcliff and Catherine. The Lintons welcome Catherine into their home, but shun Heathcliff. Treated as an outsider once again, Heathcliff begins to think about revenge. Catherine, at first, splits her time between Heathcliff and Edgar, but soon she spends more time with Edgar, which makes Heathcliff jealous. When Heathcliff overhears Catherine tell Nelly that she can never marry him (Heathcliff), he leaves Wuthering Heights and is gone for three years.While he is gone, Catherine continues to court and ends up marrying Edgar. Their happiness is short-lived because they are from two different worlds, and their relationship is strained further when Heathcliff returns. Relationships are complicated even more as Heathcliff winds up living with his enemy, Hindley (and Hindley's son, Hareton), at Wuthering Heights and marries Isabella, Edgar's sister. Soon after Heathcliff's marriage, Catherine gives birth to Edgar's daughter, Cathy, and dies.Heathcliff vows revenge and does not care who he hurts while executing it. He desires to gain control of Wuthering Heights and Thrushcross Grange and to destroy everything Edgar Linton holds dear. In order to exact his revenge, Heathcliff must wait 17 years. Finally, he forces Cathy to marry his son, Linton. By this time he has control of the Heights and with Edgar's death, he has control of the Grange.Through all of this, though, the ghost of Catherine haunts Heathcliff. What he truly desires more than anything else is to be reunited with his soul mate. At the end of the novel, Heathcliff and Catherine are united in death, and Hareton and Cathy are going to be united in marriage.
Friday, July 8, 2016
Business Communication is used to promote a product, service, or organization; relay information within the business; or deal with legal and similar issues. It is also a means of relaying between a supply chain, for example the consumer and manufacturer.
Business Communication is known simply as "Communications". It encompasses a variety of topics, including Marketing, Branding, Customer relations, Consumer behavior, Advertising, Public relations, Corporate communication, Community engagement, Research & Measurement, Reputation management, Interpersonal communication, Employee engagement, Online communication, and Event management. It is closely related to the fields of professional communication and technical communication.
In business, the term communications encompasses various channels of communication, including the Internet, Print (Publications), Radio, Television, Ambient media, Outdoor, and Word of mouth.
Business Communication can also refer to internal communication. A communications director will typically manage internal communication and craft messages sent to employees. It is vital that internal communications are managed properly because a poorly crafted or managed message could foster distrust or hostility from employees.
Business Communication is a common topic included in the curricula of Masters of Business Administration (MBA) programs of many universities. AS well, many community colleges and universities offer degrees in Communications.
There are several methods of business communication, including:
· Web-based communication - for better and improved communication, anytime anywhere ...
· video conferencing which allow people in different locations to hold interactive meetings;
· e-mails, which provide an instantaneous medium of written communication worldwide;
· Reports - important in documenting the activities of any department;
· Presentations - very popular method of communication in all types of organizations, usually involving audiovisual material, like copies of reports, or material prepared in Microsoft PowerPoint or Adobe Flash;
· forum boards, which allow people to instantly post information at a centralized location; and
· Face-to-face meetings, which are personal and should be succeeded by a written follow up. Business communication is somewhat different and unique from other types of communication since the purpose of business is to make money. Thus, to develop profitability, the communicator should develop good communication skills.
Poson Poya Day
Poson is a religious festival in our country. Every year, it comes in June. It is celebrated by Buddhists all over the island. Ven. Mihindu Thero brought Buddhism to Sri Lanka on Poson Poya Day. The king Devanam Piyatissa became the first Buddhist in the country.
On Poson Poya Day, we go to the temple and offer flowers. It is a colourful festival. People go on pilgrimages and engage in religious activities. Many people observe ‘sil’ in temples. People go to see the Poson perahera as well. They also decorate and illuminate their houses. We also can see beautiful pandols during the poson festival.
There are many Dansalas all over the country. During the Poson festival, both Anuradhapura and Mihintale are full of pilgrims.
- · What kind of a festival is Poson?
- · It is a religious festival in our country.
- · When does it come?
- · Every year, it comes in June.
- · Who celebrates it?
- · It is celebrated by Buddhists all over the island.
- · Who brought Buddhism to Sri Lanka?
- · Ven. Mihindu Thero brought Buddhism to Sri Lanka on Poson Poya Day.
- · Who became the first Buddhist in the country?
- · The king Devanam Piyatissa became the first Buddhist in the country.
- · Where do you go on Poson Poya Day?
- · On Poson Poya Day, we go to the temple.
- · What do you do there?
- · We offer flowers to the Buddha.
- · People go on pilgrimages and engage in religious activities.
- · Many people observe ‘sil’ in temples.
- · People go to see the Poson perahera as well.
- · They also decorate and illuminate their houses.
- · We also can see beautiful pandols during the poson festival.
- · There are many Dansalas all over the country.
- · During the Poson festival, both Anuradhapura and Mihintale are full of pilgrims.
Wednesday, July 6, 2016
Wuthering Heights opens with Lockwood, a tenant of Heathcliff's, visiting the home of his landlord. A subsequent visit to Wuthering Heights yields an accident and a curious supernatural encounter, which pique Lockwood's curiosity. Back at Thrushcross Grange and recuperating from his illness, Lockwood begs Nelly Dean, a servant who grew up in Wuthering Heights and now cares for Thrushcross Grange, to tell him of the history of Heathcliff. Nelly narrates the main plot line of Wuthering Heights.
Mr. Earnshaw, a Yorkshire Farmer and owner of Wuthering Heights, brings home an orphan from Liverpool. The boy is named Heathcliff and is raised with the Earnshaw children, Hindley and Catherine. Catherine loves Heathcliff but Hindley hates him because Heathcliff has replaced Hindley in Mr. Earnshaw's affection. After Mr. Earnshaw's death, Hindley does what he can to destroy Heathcliff, but Catherine and Heathcliff grow up playing wildly on the moors, oblivious of anything or anyone else — until they encounter the Lintons.
Edgar and Isabella Linton live at Thrushcross Grange and are the complete opposites of Heathcliff and Catherine. The Lintons welcome Catherine into their home but shun Heathcliff. Treated as an outsider once again, Heathcliff begins to think about revenge. Catherine, at first, splits her time between Heathcliff and Edgar, but soon she spends more time with Edgar, which makes Heathcliff jealous. When Heathcliff overhears Catherine tell Nelly that she can never marry him (Heathcliff), he leaves Wuthering Heights and is gone for three years.
While he is gone, Catherine continues to court and ends up marrying Edgar. Their happiness is short-lived because they are from two different worlds, and their relationship is strained further when Heathcliff returns. Relationships are complicated even more as Heathcliff winds up living with his enemy, Hindley (and Hindley's son, Hareton), at Wuthering Heights and marries Isabella, Edgar's sister. Soon after Heathcliff's marriage, Catherine gives birth to Edgar's daughter, Cathy, and dies.
Heathcliff vows revenge and does not care who he hurts while executing it. He desires to gain control of Wuthering Heights and Thrushcross Grange and to destroy everything Edgar Linton holds dear. In order to exact his revenge, Heathcliff must wait 17 years. Finally, he forces Cathy to marry his son, Linton. By this time he has control of the Heights and with Edgar's death, he has control of the Grange.
Through all of this, though, the ghost of Catherine haunts Heathcliff. What he truly desires more than anything else is to be reunited with his soul mate. At the end of the novel, Heathcliff and Catherine are united in death, and Hareton and Cathy are going to be united in marriage.
Saturday, June 25, 2016
Impossibility of Certainty
What separates Hamlet from other revenge plays (and maybe from every play written before it) is that the action we expect to see, particularly from Hamlet himself, is continually postponed while Hamlet tries to obtain more certain knowledge about what he is doing. This play poses many questions that other plays would simply take for granted. Can we have certain knowledge about ghosts? Is the ghost what it appears to be, or is it really a misleading fiend? Does the ghost have reliable knowledge about its own death, or is the ghost itself deluded? Moving to more earthly matters: How can we know for certain the facts about a crime that has no witnesses? Can Hamlet know the state of Claudius’s soul by watching his behavior? If so, can he know the facts of what Claudius did by observing the state of his soul? Can Claudius (or the audience) know the state of Hamlet’s mind by observing his behavior and listening to his speech? Can we know whether our actions will have the consequences we want them to have? Can we know anything about the afterlife?
Many people have seen Hamlet as a play about indecisiveness, and thus about Hamlet’s failure to act appropriately. It might be more interesting to consider that the play shows us how many uncertainties our lives are built upon, how many unknown quantities are taken for granted when people act or when they evaluate one another’s actions.
Complexity of Action
Directly related to the theme of certainty is the theme of action. How is it possible to take reasonable, effective, purposeful action? In Hamlet, the question of how to act is affected not only by rational considerations, such as the need for certainty, but also by emotional, ethical, and psychological factors. Hamlet himself appears to distrust the idea that it’s even possible to act in a controlled, purposeful way. When he does act, he prefers to do it blindly, recklessly, and violently. The other characters obviously think much less about “action” in the abstract than Hamlet does, and are therefore less troubled about the possibility of acting effectively. They simply act as they feel is appropriate. But in some sense they prove that Hamlet is right, because all of their actions miscarry. Claudius possesses himself of queen and crown through bold action, but his conscience torments him, and he is beset by threats to his authority (and, of course, he dies). Laertes resolves that nothing will distract him from acting out his revenge, but he is easily influenced and manipulated into serving Claudius’s ends, and his poisoned rapier is turned back upon himself.
Mystery of Death
In the aftermath of his father’s murder, Hamlet is obsessed with the idea of death, and over the course of the play he considers death from a great many perspectives. He ponders both the spiritual aftermath of death, embodied in the ghost, and the physical remainders of the dead, such as by Yorick’s skull and the decaying corpses in the cemetery. Throughout, the idea of death is closely tied to the themes of spirituality, truth, and uncertainty in that death may bring the answers to Hamlet’s deepest questions, ending once and for all the problem of trying to determine truth in an ambiguous world. And, since death is both the cause and the consequence of revenge, it is intimately tied to the theme of revenge and justice—Claudius’s murder of King Hamlet initiates Hamlet’s quest for revenge, and Claudius’s death is the end of that quest.
The question of his own death plagues Hamlet as well, as he repeatedly contemplates whether or not suicide is a morally legitimate action in an unbearably painful world. Hamlet’s grief and misery is such that he frequently longs for death to end his suffering, but he fears that if he commits suicide, he will be consigned to eternal suffering in hell because of the Christian religion’s prohibition of suicide. In his famous “To be or not to be” soliloquy (III.i), Hamlet philosophically concludes that no one would choose to endure the pain of life if he or she were not afraid of what will come after death, and that it is this fear which causes complex moral considerations to interfere with the capacity for action.
Nation as a Diseased Body
Everything is connected in Hamlet, including the welfare of the royal family and the health of the state as a whole. The play’s early scenes explore the sense of anxiety and dread that surrounds the transfer of power from one ruler to the next. Throughout the play, characters draw explicit connections between the moral legitimacy of a ruler and the health of the nation. Denmark is frequently described as a physical body made ill by the moral corruption of Claudius and Gertrude, and many observers interpret the presence of the ghost as a supernatural omen indicating that “[s]omething is rotten in the state of Denmark” (I.iv.67). The dead King Hamlet is portrayed as a strong, forthright ruler under whose guard the state was in good health, while Claudius, a wicked politician, has corrupted and compromised Denmark to satisfy his own appetites. At the end of the play, the rise to power of the upright Fortinbras suggests that Denmark will be strengthened once again.
Incest and Incestuous Desire
The motif of incest runs throughout the play and is frequently alluded to by Hamlet and the ghost, most obviously in conversations about Gertrude and Claudius, the former brother-in-law and sister-in-law who are now married. A subtle motif of incestuous desire can be found in the relationship of Laertes and Ophelia, as Laertes sometimes speaks to his sister in suggestively sexual terms and, at her funeral, leaps into her grave to hold her in his arms. However, the strongest overtones of incestuous desire arise in the relationship of Hamlet and Gertrude, in Hamlet’s fixation on Gertrude’s sex life with Claudius and his preoccupation with her in general.
Shattered by his mother’s decision to marry Claudius so soon after her husband’s death, Hamlet becomes cynical about women in general, showing a particular obsession with what he perceives to be a connection between female sexuality and moral corruption. This motif of misogyny, or hatred of women, occurs sporadically throughout the play, but it is an important inhibiting factor in Hamlet’s relationships with Ophelia and Gertrude. He urges Ophelia to go to a nunnery rather than experience the corruptions of sexuality and exclaims of Gertrude, “Frailty, thy name is woman” (I.ii.146).
Ears and Hearing
One facet of Hamlet’s exploration of the difficulty of attaining true knowledge is slipperiness of language. Words are used to communicate ideas, but they can also be used to distort the truth, manipulate other people, and serve as tools in corrupt quests for power. Claudius, the shrewd politician, is the most obvious example of a man who manipulates words to enhance his own power. The sinister uses of words are represented by images of ears and hearing, from Claudius’s murder of the king by pouring poison into his ear to Hamlet’s claim to Horatio that “I have words to speak in thine ear will make thee dumb” (IV.vi.21). The poison poured in the king’s ear by Claudius is used by the ghost to symbolize the corrosive effect of Claudius’s dishonesty on the health of Denmark. Declaring that the story that he was killed by a snake is a lie, he says that “the whole ear of Denmark” is “Rankly abused. . . .” (I.v.36–38).
In Hamlet, physical objects are rarely used to represent thematic ideas. One important exception is Yorick’s skull, which Hamlet discovers in the graveyard in the first scene of Act V. As Hamlet speaks to the skull and about the skull of the king’s former jester, he fixates on death’s inevitability and the disintegration of the body. He urges the skull to “get you to my lady’s chamber, and tell her, let her paint an inch thick, to this favor she must come”—no one can avoid death (V.i.178–179). He traces the skull’s mouth and says, “Here hung those lips that I have kissed I know not how oft,” indicating his fascination with the physical consequences of death (V.i.174–175). This latter idea is an important motif throughout the play, as Hamlet frequently makes comments referring to every human body’s eventual decay, noting that Polonius will be eaten by worms, that even kings are eaten by worms, and that dust from the decayed body of Alexander the Great might be used to stop a hole in a beer barrel.
The son of Old Hamlet and Gertrude, thus Prince of Denmark. The ghost of Old Hamlet charges him with the task of killing his uncle, Claudius, for killing him and usurping the throne of Denmark. Hamlet is a moody, theatrical, witty, brilliant young man, perpetually fascinated and tormented by doubts and introspection. It is famously difficult to pin down his true thoughts and feelings -- does he love Ophelia, and does he really intend to kill Claudius? In fact, it often seems as though Hamlet pursues lines of thought and emotion merely for their experimental value, testing this or that idea without any interest in applying his resolutions in the practical world. The variety of his moods, from manic to somber, seems to cover much of the range of human possibility.
The former King of Denmark. Old Hamlet appears as a ghost and exhorts his son to kill Claudius, whom he claims has killed him in order to secure the throne and the queen of Denmark. Hamlet fears (or at least says he fears) that the ghost is an imposter, an evil spirit sent to lure him to hell. Old Hamlet's ghost reappears in Act Three of the play when Hamlet goes too far in berating his mother. After this second appearance, we hear and see no more of him.
Old Hamlet's brother, Hamlet's uncle, and Gertrude's newlywed husband. He murdered his brother in order to seize the throne and subsequently married Gertrude, his erstwhile sister-in-law. Claudius appears to be a rather dull man who is fond of the pleasures of the flesh, sex and drinking. Only as the play goes on do we become certain that he is indeed guilty of murder and usurpation. Claudius is the only character aside from Hamlet to have a soliloquy in the play. When he is convinced that Hamlet has found him out, Claudius eventually schemes to have his nephew-cum-son murdered.
Old Hamlet's widow and Claudius' wife. She seems unaware that Claudius killed her former husband. Gertrude loves Hamlet tremendously, while Hamlet has very mixed feelings about her for marrying the (in his eyes) inferior Claudius after her first husband's death. Hamlet attributes this need for a husband to her lustiness. Gertrude figures prominently in many of the major scenes in the play, including the killing of Polonius and the death of Ophelia.
Hamlet's closest friend. They know each other from the University of Wittenberg, where they are both students. Horatio is presented as a studious, skeptical young man, perhaps more serious and less ingenious than Hamlet but more than capable of trading witticisms with his good friend. In a moving tribute just before the play-within-the-play begins, in Act Two scene two, Hamlet praises Horatio as his soul's choice and declares that he loves Horatio because he is "not passion's slave" but is rather good-humored and philosophical through all of life's buffets. At the end of the play, Hamlet charges Horatio with the task of explaining the pile of bodies to the confused onlookers in court.
The father of Ophelia and Laertes and the chief adviser to the throne of Denmark. Polonius is a windy, pedantic, interfering, suspicious, silly old man, a "rash, intruding fool," in Hamlet's phrase. Polonius is forever fomenting intrigue and hiding behind tapestries to spy. He hatches the theory that Ophelia caused Hamlet to go mad by rejecting him. Polonius' demise is fitting to his flaws. Hamlet accidentally kills the old man while he eavesdrops behind an arras in Gertrude's bedroom. Polonius' death causes his daughter to go mad.
The daughter of Polonius and sister of Laertes. Ophelia has received several tributes of love from Hamlet but rejects him after her father orders her to do so. In general, Ophelia is controlled by the men in her life, moved around like a pawn in their scheme to discover Hamlet's distemper. Moreover, Ophelia is regularly mocked by Hamlet and lectured by her father and brother about her sexuality. She goes mad after Hamlet murders Polonius. She later drowns.
Polonius' son and Ophelia's brother. Laertes is an impetuous young man who lives primarily in Paris, France. We see him at the beginning of the play at the celebration of Claudius and Gertrude's wedding. He then returns to Paris, only to return in Act Four with an angry entourage after his father's death at Hamlet's hands. He and Claudius conspire to kill Hamlet in the course of a duel between Laertes and the prince.
Rosencrantz and Guildenstern
Friends of Hamlet's from the University of Wittenberg. Claudius invites them to court in order to spy on Hamlet. Rosencrantz and Guildenstern are often treated as comic relief; they are sycophantic, vaguely absurd fellows. After Hamlet kills Polonius, Rosencrantz and Guildenstern are assigned to accompany Hamlet to England. They carry a letter from Claudius asking the English king to kill Hamlet upon his arrival. Hamlet discovers this plot and alters the letter so that Rosencrantz and Guildenstern are put to death instead. We learn that they have indeed been executed at the very close of the play.
The Prince of Norway. In many ways his story is parallel to Hamlet's: he too has lost his father by violence (Old Hamlet killed Old Fortinbras in single combat); he too is impeded from ascending the throne by an interfering uncle. But despite their biographical similarities, Fortinbras and Hamlet are constitutional opposites. Where Hamlet is pensive and mercurial, Fortinbras is all action. He leads an army through Denmark in order to attack disputed territory in Poland. At the end of the play, and with Hamlet's dying assent, Fortinbras assumes the crown of Denmark.
The ludicrous, flowery, stupid courtier who invites Hamlet to fence with Laertes, then serves as referee during the contest.
Two "clowns" (roles played by comic actors), a principal gravedigger and his assistant. They figure only in one scene -- Act Five scene one -- yet never fail to make a big impression on readers and audience members. The primary gravedigger is a very witty man, macabre and intelligent, who is the only character in the play capable of trading barbs with Hamlet. They are the only speaking representatives of the lower classes in the play and their perspective is a remarkable contrast to that of the nobles.
A group of (presumably English) actors who arrive in Denmark. Hamlet knows this company well and listens, enraptured, while the chief player recites a long speech about the death of Priam and the wrath of Hecuba. Hamlet uses the players to stage an adaptation of "The Death of Gonzago" which he calls "The Mousetrap" -- a play that reprises almost perfectly the account of Old Hamlet's death as told by the ghost -- in order to be sure of Claudius' guilt.
Charged with performing the rites at Ophelia's funeral. Because of the doubtful circumstances of Ophelia's death, the priest refuses to do more than the bare minimum as she is interred.
Polonius' servant, sent to check on Laertes in Paris. He receives absurdly detailed instructions in espionage from his master.
A soldier who is among the first to see the ghost of Old Hamlet.
A soldier who is among the first to see the ghost of Old Hamlet.
A captain in Fortinbras' army who speaks briefly with Hamlet.
Ambassadors from England who arrive at the play's close to announce that Rosencrantz and Guildenstern are dead.