Hamlet (3.4), Week 2: "The Price of Truth" - Confronting Gertrude | The Rehearsal Room - The Working Actor's Journey

Episode Transcript
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>> Paul Nicholas (00:00):
Hello, friends.

>> Max (00:04):
Greetings.

warning. I am grumpy today.
Yay. I am going to do my best.
You, all lift my spirits and this work
always lifts my spirits. So I'll be
fine. where do we
leave off? Do you remember

(00:29):
anybody?

>> Charlotte Northeast (00:30):
We were somewhere. be. We just killed
Polonius.

So we. We had already said the wretched ration
shooting fool. Had we gotten to Lee
bringing of your hands. We got all that.

Yes.

Yes.

We were. Yes. We were doing the look upon these two blah
blah blahs.

Right. We already did solidity and compound mass.

Yes. Conversation about it.

And you agreed that you're okay cutting that line, right? Yeah.

Ah, it's a pile of. Who cares?
I'm not precious with this. You know this.

Yeah.
so we'll pick up with. Look here upon this picture. All right.
how is everybody else doing? So Cassie's had a
day and she has a headache. I'm grumpy.
How are you guys?

Max.

>> Max (01:24):
Feeling kind of raw. I saw you look at me and it's like
you.

You're. You're raw.

What does raw mean? You don't have to talk about it if you don't want
to.

>> Max (01:37):
Just been very
closely examining the self today.

Ah, that's always a scary
and it's a thing.
Yeah.

Yeah.

Charlotte,
I want a union today.

Yay.

So, yeah, we, we had
an election for, Jefferson SP
unions. And we won.

>> Max (02:14):
Congratulations. That's amazing.

Thank you. It's. It. I. I thought we would be the first on
the east coast, but we might be the first in the nation.

>> Cassie (02:21):
Charlotte, that's incredible. Congratulations.

yeah, it was very tense. It was very weird. I
was at the National Labor Relations Board today watching them
count the votes. It was very weird.
And we had four defectors, which was surprising.

What does that mean? People who were on your side and didn't
vote?

We thought they were. Yeah, we thought they were yes votes and they
didn't. But we still won with 66%.
And now management has to, deal with us.
So it's. It. It's only the beginning of the next part of the
journey. and this part will be very ugly, I'm assuming.
and I'm gonna probably be right in the middle of it because I want

(02:59):
to be on the bargaining table.
So I'm probably putting myself in a really strange position.
But,

And when you say 66%, you mean
66 of the employees who voted.
Yeah.

Voted yes. Yeah.

Gotcha.

So management can't argue with that, like, we
didn't win by one vote. We won by
several votes. and it was, it was just really. It was just really
a crazy experience. I've never been anything like through that. So we had
a little celebration afterwards. So we're all like.
So that's where I'm at.

>> Max (03:32):
It's definitely something to celebrate.

Yeah, it's. It's weird. I've never done anything like this.
So I'm an agitator. I'm like,
how long have you been.

>> Max (03:42):
Working towards this goal?

We started agitating. I, think the
first initial group was like a year ago. It's been a year.

Oh, wow.

I joined in like April. So
it's been a huge journey to get to this part. And now there's the
negotiating part, so.
And management did everything they could to bust us. They
really did. And they'll continue to do crap to bust us, but
they can't bust us. We're too strong.

(04:13):
So that's where I'm coming from. It is very nasty out there
and slippy and gross. So it
wasn't, that wasn't fun. But it was worth it to be out there.
So anyway,
let's do some Hambone.

Well, yeah, Hambone will pick us all up and
bring us up to your level of joy.
Thank you.

>> Max (04:36):
Hamlet's such an uplifting story.

It really. I usually come out
of there very helpful.

>> Max (04:45):
Get to channel all our angst and
leave it elsewhere.

Yes.

Situations.

How do you all feel? Do we need to go back to the top or are we okay
picking up here?

>> Max (04:57):
We can keep going.

Yeah, wherever you want to go.

All right, so
let us go from. If you don't mind. Cassie.
Cassie, if your head's hurting, I can read the lines. Just let me
know.

>> Cassie (05:13):
Yeah, I'm doing okay. It just helps. I.
I find that I tend to overcompensate
when I'm on camera. So having the
camera off means that I can just do my job and not
do the, the acting part, you
know.

Gotcha, gotcha. Well then if you don't mind, let's pick
up with what the queen says. I mean,
absolutely. before we
get there. I mean, it's right there. So let's talk about it now. Who
the is Hyperion?
Max, Charlotte.

>> Max (05:47):
King of gods.

Right?

>> Max (05:49):
Yeah, the sun God.

Sun God, as far as I remember, sounds m Right.

So like the God of gods.

Okay.

>> Cassie (06:00):
Sun God, golden hair.

So. So he's saying that
his hair looked like Hyperion's
hair or his Hair looked like the
rays of the sun. What do you think he's saying there? And
by he, I mean, you.

>> Max (06:18):
See what a grace was seated on his brow.
Hyperion's curls,
I think his crown. But
that, wouldn't make as much sense as his hair because his hair is more
unique to him as opposed to
like a crown that can change heads.
So yeah, I think his hair.

So, so the grace that is seated on his brow,
you're thinking might be
his crown and not
his visage, not the,
The. The regality of
his forehead.

>> Max (06:57):
I mean, my initial thought was the crown, but I,
I see the flaw in that logic
because I don't know.

There is flaw in that logic. I like that logic. That's not what I thought.
But I like.

>> Max (07:09):
Well, crown can change heads. So I like the idea of,
like, if it's his hair or his own look, then
it's something that's unique to him that cannot be
transferred.
Because I bet his uncle is now wearing that same crown.
So it's not necessarily like. Look at him
wearing the same crown as my uncle.

(07:33):
No, two brothers.

So then, so
then if we're going in that direction, what
does grace mean? What a grace was
seated on this brow.

>> Max (07:46):
I think it's another word for.
See, what a grace was seated on his brow.

Yeah.

>> Max (07:55):
Like a gift from the heavens. It's like being graced
with something which.

They believe the crown to be.
Are we going with that? Mm.

>> Max (08:11):
Well, that last part, the. The front of Job himself, it's
like the front is kind of circling back to what you said about his visage and his
face, or just like the look, the appearance
of God.

See, that's what I thought. And I still think front
means face. But everywhere I've read
front, they say means forehead, which
is weird to me. Like, why would you say your father
was so. Looked so amazing that his
forehead looked like God's, like, looked like
God or looked like God's

(08:44):
forehead instead of saying his face.

I mean, especially in. In Shakespeare's time, and even in
Regency time, foreheads were
very highly prized. The shape of one's
forehead, the. The presentment of one's
forehead. Like Jane Austen talks about it all
the time about fine forehead.
So that tracks for me, as in that is. That
is a sight of a king. If you had a fine

(09:08):
forehead, if you had a front that
was godlike, that's very much in
their culture of. Of being prized.
So just to throw that out there.

Okay,
okay, so we're gonna Play that grace seated
on his brow is the crown and the front is his forehead.
And his forehead looked like God's forehead.
M. but I think,
in our script

(09:43):
it is a comma after brow.
That's what I've got. Which would suggest what
you were saying earlier, that the grace he is speaking
of is the curls. But
in the. Let me see what the oxford has.
I think the Oxford has a semicolon.

(10:03):
No, the oxford has two dashes, which is weird.
Huh? So then it would be. So in the
Oxford it sounds like the grace is the curls,
which is the hair. See what a grace was seated
on this brow. Dash dash.
Hyperion's curls.

Well, to me it's like it, you could also almost
serve as a parenthetical on this brow.
Add to that information. Hyperion's curls. Keep
going.

That's what I would like. I would love for it to be a list. Look at the
grace on his brow item. Grace on brow
item. Curls item. A forehead like
Jove item. And I like Mars that, That's what I would
like. But. Right.

Yeah, so.

And I think if we all agree to that, then Max. Well, you both
share this bit. Just, just make it sound like that.
Make. It so. Make it so.

Yes. Use a Star Trek analogy.

I love it.

I can get into that.

I think I prefer that. So the grace
seated on the brow. Max, you're going to play that as if. Wait, but wait
a minute, wait a minute, wait a minute. Let's just move on
down. Look you now what follows here is
your husband like a mildewed ear blasting his wholesome brother.
Nothing about the crown on his head. Okay.
All right, cool. So

(11:31):
the photo that you are showing her, the
photos we're going to assume if we're playing it this way,
the one with Hamlet Senior has a
crown in it and the one with Claudius does. Not
fair to say. Or does it not matter.

>> Max (11:48):
I'd agree with that.

Or if it, if it is one with the crown on
Claudius to Hamlet, it's an
abomination.

Okay, but he doesn't say anything about it. Or does
he?

No, but it's an abomination. I, I, to me it
takes. It's more traction to have the crowns on both
heads because one looks right and one looks like
dog. Yeah, it absolutely
looks wrong. It's like the worst
job in the world. And it's offensive. Right. Like
I don't know.

>> Max (12:20):
I can get behind that too.

To me, that's more that would fuel me More if I saw
that thing, you know?

Okay.

>> Max (12:27):
I feel like if the
portraits were of the king and the uncle
before he ascended to the
crown, it's like this is what you're choosing.
Because in Hamlet's mind, like, there is only
one king and the, the uncle is not the king. So it's
like you went from a king to this
mildewed ear.

Question.

Yes.

Where are the photo, where are they coming from? Are they from Hamlet's
pockets? Are they from hers?

Well, one part of Hamlet has bosoms. And
Hamlet's gonna reach into his bosoms and pull out. No. I don't
know.

but that makes a difference to what the photos are, right?
Or the picture.

>> Max (13:07):
Like if they're in, if they're in Gertrude's a like
room just adorning and like look at
these portraits on your walls.
Because then it would, it would be.

The king, kingly portraits, she would have the
official one. So it is a question.

I always, I mean, it doesn't matter. You guys can choose where they come from.
But I always thought, Hamlet
pulls a picture of his father out of his pocket or
whatever he's carrying, or his necklace,
it's on a locket, and the other one is at the
bedside table or somewhere in the room. I always thought
that. But it doesn't really matter. I mean, it matters.

That tracks. But then it would be a more official photo. Or maybe
it would be, I don't know that, that to me, if, if
Gertrude had something of
Claudius that was more official, then it would have a crown on it.
I mean, we might be splitting hairs here, but I. Yeah, no, but.

It'S important for you all. It's important for you all to have that image in your head
of where you're grabbing the photo from.

>> Max (14:03):
Like time, time period wise. How common
was it to have like miniature portraits that you
could carry around?

Oh, I mean, depending where you said it, but usually
especially women would wear the portraits close to their heart.
Cameos. Or it would be whatever. Or you know, in Victorian
era, it would be a lock of hair. Like, you know,
depended on what it was. But that would
depend on where this was set.

(14:30):
You know how it was set.

>> Max (14:33):
Right.

Gotcha. Okay,
shall we take a
swing at, this.
Let's take a swing at this.
Whenever. Three. Oh. Oh. It's up
to Cassie. Sorry. Go ahead, guys.

Ay, me?

>> Cassie (14:54):
What act that roars so loud and
thunders in the index.

>> Max (15:00):
Look here upon this picture and on this,
the counterfeit Presentment of two brothers.
See what a grace was seated on this brow.
Hyperion's curls, the front of Jove
himself.

I like Mars to threaten or
command a station like the herald
Mercury new lighted on a heaven kissing
hill.

>> Max (15:22):
A combination and a form indeed, where every
God did seem to set his seal, to give the
world assurance of a man. This was your
husband.

Look here at what follows. Here
is your husband, like a
mildewed ear blasting his wholesome
brother. Have you eyes?
Could you on this fair mountain leave to feed and
batten on this moor? Huh?
Have you eyes?

>> Max (15:53):
You cannot call it love, for at.

Your age the heyday in the blood is tame,
it's humble and waits upon the
judgment. And what judgment would
step you from this to this?

>> Max (16:06):
Ah, sense. Sure you have. Else
could you not have motion? But, but sure, that
sense is a pluxed for
madness with no air nor sense to
ecstasy was ne' er so thralled, but it
reserved some quantity of choice
to serve in such a difference.

Okay, hold.
very nice, very nice.
it's apoplexed, Max. Apoplexed,
which I believe means,
Paralyzed. Yeah,
apoplexia. Does that not mean when you have like a seizure and
you're paralyzed? Cassie, am I right? Am I.

>> Cassie (16:46):
Well, sorry, I forgot. You can't see me
nodding.

I can't see. Even if you were on camera,
we would not see you.

>> Cassie (16:53):
I know.

this is the, this is one of those
times in the play in my crazy idea of
splitting this character where, where they are the
closest, where they are
almost running on the same track.

>> Max (17:09):
Almost like we have a common enemy in this
moment.

Yeah, the, the, the more passive,
thoughtful Hamlet. that
part of Hamlet's That part of Hamlet has
their Their blood has, has been
brought up to a certain level where they're more agitated
and not quite as aggressive as the other
one, but. But he did enough

(17:33):
because he just killed Polonius
and. And now he's just letting it all loose.
And the other side of Hamlet, the more direct,
the more passionate side of Hamlet,
has dialed it down slightly so, so he
can get in his mother's face, who he loves to say.
I'm really pissed off, but I want you to hear what I'm saying.

(17:53):
Look at this. So they're almost
together and which I thought was just happening
beautifully. What do you all think about that? What am
I nuts? I mean, I know I'm m. Nuts, but.

No, that makes sense.

>> Max (18:06):
Attracts.

what does batten mean? Does that mean
eat a Lot.

>> Max (18:15):
Batten down the hatches.

Or does it mean batting down the hatches?

M.
Glut yourself. That's
what I'm getting to.

Glut yourself. To gorge.

Yep.

Oh, station. I
always thought station meant body like his.
Like his. His build. But it
means, like posture or stance.

>> Cassie (18:53):
The Arden notes in a,
footnote following the line and
batten on this more that,
The argument that Hamlet's
point is that his mother's choice is irrational.
Which is just like an interesting. I think
it's an interesting nugget to throw in.

(19:16):
He's doing that thing of

Yeah.

>> Cassie (19:20):
Trying to. Trying to out
argue her.
Prove that she's not thinking.

Which is why he comes back and says
sense. Sure. You have. Like you have sense, but you're not using
your sense.

>> Cassie (19:36):
Exactly.

This makes no sense. Yeah. This
was lovely.
Charlotte. Mhm? The
heyday in the blood is tame. Makes
it's very clear. It's humble
and waits upon the judgment. Does that mean

(19:58):
judgment day? Or does that mean it. It.
It responds to reason
instead of to passion?

My first instinct was the. Was the heavenly
one. But it doesn't. It doesn't quite jive with the second
part of. And what judgment would step from this to this?

Yeah.

Your. Your. Your. Your tame
drive should
humble your sense of judgment. And
therefore why would. Why
would you choose this wretched choice over
what you had?

Right. Because you're not a young little
vixen anymore. You have more
discernment.

Right.

Right.

And it shouldn't be clouding your vision.

what does thralled mean? Does that mean enthralled?
Yeah.

>> Max (21:08):
Like ensnared or
captivated.

Captivated. I like that.
I wish I had a better memory because I've looked up all these words before
years ago, and just don't remember
wrong.

>> Max (21:22):
When your sense is.

Huh?

>> Max (21:25):
When someone like takes a hold of your sense.

Okay.

>> Max (21:31):
Ensnared.

Let us,
Charlotte, it doesn't matter. I don't think you'll
do it again. You said something when we read it last week. But
I don't think he'll do it again. So I'm not going to say it.
Yeah, let's just. Let's just drive to.

(21:57):
Let's just drive to the ghost
entering.
Can we go again from I Me. What act is that?
Okay.

Yeah, Yeah.

I. Me.

>> Cassie (22:14):
What act that roars so loud and
thunders in the index
here upon this.

>> Max (22:21):
Picture and on this the counterfeit
presentment of two Brothers, see what a grace
was seated on this brow. Hyperion's
curls, the front of Jove himself.

An eye like Mars to threaten or command.
A station like the herald Mercury new
lighted on a heaven king kissing hill.

>> Max (22:40):
A combination and a form indeed, where
every God did seem to set his seal, to give
the world assurance of a man. This was your husband.

Look you now what follows.
Here is your husband,
like a mildewed ear blasting his
wholesome brother. Have
you eyes? Could you on this
fair mountain leave to feed and back fatten on
this more? Huh? Have you
eyes?

>> Max (23:11):

Your age the heyday and the blood is tame. It's humble
and waits upon the judgment. And what
judgment would step you from.

>> Max (23:22):
This to this
sense sure you have else, could you not
have motion? But sure, that sense is
apoplexed. For madness would not err
nor sense to ecstasy was ne' er so
thralled. But it reserved some quality of
choice to serve in such a difference.

What devil was it that thus? That thus hath
cozened you at hoodman? Blind
eyes without feeling, feeling
without sight, ears without
hands or eyes, smelling
sans all, or but a
sickly part of one true sense could not so

(24:03):
mope.

>> Max (24:05):
Oh, shame, where is thy blush?

Rebellious hell, if
thou canst mutiny in a matron's
bones to flaming youth, let virtue be
as a wax and melt
in her own fire.

>> Max (24:21):
Proclaim no shame when the
compulsive ardor gives the charge. Since
frost itself is actively doth
burn and reason panders will.

>> Cassie (24:36):
I'm, muted. O Hamlet, speak no more.
Thou turn' st my eyes into my very soul, and
there I see such black and graind spots
as will not leave their tinct.

Nay, but to live in the
rank sweat of an ensemble bed,
stewed in corruption, honeying and
making love with a nasty sty.

>> Cassie (25:03):
Oh, speak to me no more. These words,
like daggers, enter in my ears. No
more, sweet Hamlet.

Murderer and a villain, a slave
that is not 20th part the tithe of your
precedent lord. A vice of kings, a
cut purse of the empire, and the rule that from a
shelf the precious diadem stole a
put it in his pocket.

>> Cassie (25:26):
No more.

A king of shreds and patches
and,

And the ghost enters. Okay, okay,
okay, okay, okay, okay, okay, okay.
You did say it again, Charlotte. It's mutine,
not mutiny.

Yeah, that sounds dumb. So that's why I didn't say.
Because nobody knows what moutine means.

well, but.

Yeah, I mean, I. Yes, but I think you'd make a
choice on that.

I mean, every time I look it up, it says
it's a noun. It's like a rebel or a
mutineer, but.

>> Cassie (26:01):
Right.

I think it's the verb form of
mutiny. To do mutiny is to mutine.

yeah, I'm just. Yeah.
Not a fan of words that nobody knows, so.

Yeah, you're right.

Yeah, sorry. I'm all for
accessibility, man.

Well. Well then, if we. Let's have a conversation.
If we change it to mutiny, how does it scan?
or is there a better. I mean, we. You know,
it's hard to replace a word that Shakespeare wrote, but is there a better
word?
If thou can rebel, thou canst

(26:41):
mutiny in a. matron's bones.

>> Cassie (26:45):
You could take out the a. If thou canst
mutiny in matron's bones.

If thou. If thou canst mute to knee in
matron's bones.
You make that work, Charlotte? Yep.

Anything to make something. Not make people go, what?
Because that just takes out. I'm not a fan of that.

I got you. While we're there, how do you all
want to play this moment? Because the.
Oh shame, where is thy blush? Because here's. And just. Because
if we want to keep the scansion. If we want to keep it regular
verse, one option is,
By the way. Okay, I'm gonna. I'm gonna go back up a bit
further. I think the. After Hoodman Blind

(27:31):
Charlotte, I think that is all one thought.
An example is eyes without feeling. Another example is
feeling without sight. Another example is this. Another example is
that even. Only this,
Even the sickest part of any true
sense would not make this
mistake. So I think you're giving her a

(27:52):
list of examples. Right.
so I think it's all one thought anyway. So now here's one
option. Charlotte says, could not so
mope. And we take a beat.
And Hamlet is waiting for her to react, and she's
not. And Hamlet says, oh shame, where is thy
blush? Rebellious hell. And that's all one line. That's one

(28:12):
option. Another option
is, Charlotte says,
could not so Mo. And Max jumps right in with,
oh, shame, where is that blush? Which
doesn't mean that you're waiting for her to react to what you're saying.
It means, why does this not embarrass
you? How could you do this without
blushing? And then we take a beat

(28:34):
waiting for I don't know what. We'll
find something. And then Charlotte says, rebellious hell,
so that we preserve this gentian
or neither of those Options. What do you like?
Both of you?

Well, in the Folio it's one line. Oh, shame. Whereas
I know. Yeah. And I think the.

Is that blush. Rebellious hell. That's one line.

Y.

Which I like. I like that.

Yeah.

But not so mope ends. One end
is the end of a line. Right.

Where'd it go?

Where did you go?

To flaming youth, let virtue be as wax.

Hold on.
Trying. To find it in the Oxford. Oh, it's not even
in the Oxford.

It's not in the Folio at all.

Nope. Yep. It's a. It's
a second quarto line.

Yeah.

And according to Gideon, the second cordo is much more.

Dependable.

true to it.

Me debatable.
Also. Also I. Look, we can have this argument all day,
but like, it's for our purposes, not some
scholars purposes, so like whatever it fits for you is
the better choice, Right?

I know.

>> Cassie (30:14):
Yes.

But also men like men.

So this is. This is my plan. I would
love to approach it scholarly and
then on the last week we just forget all that stuff and we just
go at it. But I'd love for us to like.

Dig in, but then to try it both ways.

Yeah. Okay.

Because that, that will tell us what we want to hear,
right?

I think so. do you like that, Max? So that she says could
not so mope. And you wait for her to react and she doesn't. And
that generates you to say, oh, shame, where is that blush?
And then Charlotte just keeps going. Yeah.
Charlotte, I also think this is the point.
Rebellious Hell is where
your half of Hamlet starts to

(30:57):
take, the top off the pressure cooker.

Yes.

And the control starts to dissipate
and she's like, what the fuck, lady? You're not even paying
attention. Because I think we need you to be at
the. At the top of your,
energy when the ghost walks in.

>> Cassie (31:15):
Right.

Because now you're just flying. Murderer, villain, cut
purse, vice. You're just going off.
speaking of words that no one
will know what they mean, but we play them so well
that they will get the sense of it and seemed.

Yeah, but that's. See, that's because it sounds like
another word that everybody knows.

Right?

So that's why.
That's. That's why you can get away with that one.

so let us go from. Since sure
you have. Is that okay, Max?

>> Max (31:58):
Sure.

Yeah.
I don't want to call it rage. The passion Charlotte is
starting to build. And then with Rebellious Hell, you're just
like, fuck it, I'M going back to myself.
Yeah.

>> Max (32:22):
Sense. Sure you have, else could you not have
motion? But sure that sense is apoplexed.
For madness would not err, nor sense to
ecstasy would ne' er so thralled. But it
reserved some quantity of choice to
serve in such a difference.

What devil was it that thus, hath cozened
you at hoodman? Blind eyes without
feeling, feeling without sight, ears without
hands or eyes, smelling sans, all or
but a sickly part of one true sense could not so
mope.

>> Max (32:56):
Shame. Where does thy blush?

Rebellious hell, if thou canst mutiny in
matron's bones to blaming youth, let virtue be
as wax and melt in her own
fire.

>> Max (33:08):
Proclaim no shame when the compulsive ardor gives the
charge, since frost itself is actively doth burn,
and reason panders will.

>> Cassie (33:15):
O Hamlet, speak no more. Thou turn' st
my eyes into my very soul, and there I
see such black and grained spots as will not leave their
tinct.

Nay, but to live in the rank
sweat of an insemd bed,
stewed in corruption, honeying and making love
over the nasty sty.

>> Cassie (33:35):
Oh, and speak to me no more. These words
like daggers enter into my ears. No
more, sweet Hamlet.

Murderer and a villain. A slave
that is not 20th part the tithe of your president
lord, a vice of kings, a cut purse of the
empire, and the rule that from a shelf about
the precious diadem stole and put it in
his pocket. No more. A cave
of shreds and patches.

Ghost enters.

>> Max (34:06):
Save me, and hover over me with your
wings, you heavenly guards.
What would your gracious figure?

>> Cassie (34:14):
Alas, he's mad.

Do you not come your tardy son to try that
lapsed in time and passion? Let's go by the important
acting of your tread command.

>> Max (34:26):
Oh, say.

Do not forget. This
visitation is but to wet thy almost
blunted purpose.
But look. Amazement on thy mother
sits. O, step between her and
her fighting soul. Conceit in weakest
bodies strongest works.

(34:48):
Speak to her, Hamlet.

>> Max (34:52):
How is with you, lady?

>> Cassie (34:53):
Alas, how is with you, that
you do bend your eye on vacancy, and with the
incorporeal air do hold discourse.
Forth at your eyes your spirit
wildly peep. And as, the sleeping
soldiers in the alarm, your bedded hair, like
life in excrements, start
up and stand to end.

(35:16):
O gentle son, upon the
heat and flame of thy distemper sprinkle
cool patience. Whereon do you look?

>> Max (35:26):
On him.
Ah, look
you, how pale he glares. His form and
cause conjoined preaching to stones would make
Them capable.

Do not look upon me, lest with this
piteous action you convert my stern effects.
Then what I, have to do will want true
color. Tears perchance for blood.

>> Cassie (35:52):
To whom do you speak this?

>> Max (35:55):
Do you see nothing there?

>> Cassie (35:57):
Nothing at all. Yet all that
is I see.

>> Max (36:02):
Nor did you nothing here.

>> Cassie (36:04):
No, nothing but ourselves.

There. Look how it steals away.
My father in his habit as he lived.

>> Max (36:15):
Look where he goes even now at the portal.

And, he's gone. Lovely, lovely, lovely. And he's gone. Oh
my gosh. Lovely. Fantastic, fantastic,
fantastic. Thank you, Cassie.
I will ask. I will try to
remember to ask
Kathleen about these lines and what
they mean. Like life

(36:39):
in excrements. Stand up and stand
on, start up and stand on end.
Interesting.

>> Max (36:50):
Grass growing out of poop.

Yes, right. That's what I thought all about.
Which is a weird metaphor.
Max and Charlotte,
in that run, did you come across any sections that felt weird?

>> Max (37:09):
I liked Pause.

I like that too.

>> Max (37:14):
Actually, you can try the other way
just for to see.
Just reporting in.

You want it?

>> Max (37:24):
Maybe fun.

Let's try it the other way. So let's go from what
devil was that that thus half cousin. That's
hard to say that thus.

It's terrible. I can barely say it.

Does have cousins. That's hard to say.

>> Max (37:44):
That thus half.

What devil was that thus hath cozened you
at hoodman blind?

>> Max (37:52):
I wonder if he's like putting on a double voice when he says that.

Yeah. By the way, I love the reading of that
list. I really, really loved it.

Cool.

So this way is could not so mope.
Max jumps right in with, oh, shame. Where is that, ah, blush.
And then Charlotte, you can take a beat before you go into rebellious
hell.

Right.

When you decide, fuck the this.
Yeah. Oh, by
the way, if you ever come across lines where you
say to yourself, you know, I think that line should be mine and this
line should be the other person's. Feel free to say so.
Or vice versa, like I'm saying this line, but I think the other half

(38:35):
of Hamlet should say this line, you
know,
so let's go from what devil wast.

What devil wast that thus hath
cozened you at hoodman? Blind
Eyes without feeling, feeling without
sight, ears without hands or eyes,
smelling sans all or but
a sickly part of one true sense could
not so mope Shame.

>> Max (39:05):
Where is thy blush?

Rebellious hell, if thou canst mutiny m
in matron's bones to flaming youth, let virtue be
as wax and melt in her
own fire.

>> Max (39:20):
Proclaim no shame when the compulsive ardor gives the
charge, since frost itself as actively doth burn
and reason panders will.

>> Cassie (39:31):
Do you want to keep going?

thank you for not going. Which
way do you prefer, Maximilian?

>> Max (39:38):
Well, I already spoke. What do you think, Charlotte?

It's, The on ramp's easier if there's a little bit of space.

The on ramp to rebellious Help.

Yes. Just because it's like.
Also, there's no such thing as rhetorical questions, right? So wait for
the answer. Don't get one. Fuck you.
Rebellious L. Right, M.
Yeah, that's you.

Are you saying that Mr. Shakespeare never wrote
a rhetorical question?

I am absolutely saying that. It's 100. Correct.

>> Cassie (40:10):
Seconded.

Yep. Absolutely no rhetorical questions in
Shakespeare. I will die on that hill.

All right.

Way more interesting to play them all as questions as real.
What?

I'll be at your funeral when you die on that hill.

Not gonna be many people at that funeral then, baby.
So I'll be like, she died a hero.
No such thing as a rhetorical question in Shakespeare.

okay. Well, then let's keep it this way.

>> Max (40:46):
It works.

Max.
His form and cause conjoined.
I think what you're saying there is
if.
When you put together him as a package

(41:33):
and presented him to a
rock, the rock would get up and walk.
I think there's a presumed or implied if
in the front of that sentence. Right.
If his form and cause were conjoined and
he went and talked to stones, they would get up.

>> Max (41:55):
Right?

That's. That's how. That's how amazing he is. I think that's
what you're saying. Anybody disagree with me?

>> Max (42:01):
Nope. That sounds that. Yeah.
Preaching to stones. If. If
stones were faced with his form and
cause, then the stones would move.

Yes. And, Charlotte, what's.
I think you know what the stuff after that means, but let's just,
unveil it. Do not look upon me less with this
piteous action. You convert my stern effects.
It's. Is it as simple as I think it is?

Wait, I'm lost. Where the Are we?

Right after making stones capable.

>> Max (42:46):
Line 145.

Thank you.

Ah.

okay.
unless this P section you can effect.

I think it's pretty simple. But what do you think it is?

Yeah, yeah. No, it's. It's. It's.
He's finally. He's finally committed to an action, or
at least a feeling, you know?
and I need. I need to stay there. Don't, don't, don't. Sway me
now, Right? Like, don't. Don't throw me off now.

And looking at you in the way that he's.
You just said it wasn't your half of Hamlet, but
Hamlet just said, look how pale he
glares.

Right.

So are you saying he's looking at you pitifully
and it's going to make you cry and lose your drive to go kill
Claudius?

Yes.

Because I think that's what that means. Yes.
But I, Sometimes I'm too simple.
and this is one place where I really like the split, because you are
the one that's said, didn't you come here to tell
me that I'm taking too long to go avenge your death?

(44:14):
Right. And so that lines up well
with. Don't look at me like that because you'll soften
my resolve.
Cassie, is any of this sounding way off or is it.

>> Cassie (44:29):
No, I'm agreeing with it. But I'm also wondering if.
Is there a possibility that the, the piteous
action is directed not
towards softening Hamlet's purpose towards
avenging, but rather Hamlet's
anger towards Gertrude?

>> Max (44:47):
That's what I was hearing as well.

Oh.

Yeah, yeah. Don't let me
put off the gas towards her.

>> Cassie (44:57):
Yeah, yeah, yeah.

>> Max (44:58):
Like, the ghost is coming to the. To Gertrude's defense and
saying, like, stand between her and her fighting
spirit. Like, comfort her.

>> Cassie (45:06):
Precisely.

The pass. She always gets a pass.
Yeah.

So then tears per chance for blood
means what then? If we're talking. If it's. If the stern
effects are directed. If the pity. If the
stern effects are directed to Gertrude, what does tears per chance for
blood mean?

But she can just wah, wah, wah her way out of it.

Yeah, but what's the blood. If she, wawa.
Was her way out of it. If we don't let her do that, then what's. Where's
the blood that we're going to draw?

Well, if. If we're saying that
Hamlet's convinced himself that she knows
that she's complicit.

Yeah.

That's the blood. That, to me, could be the blood. I don't
know.

So if you soften me, dad,
I'm gonna end up drawing her tears as a.
As a, As a compensation for your death
instead of his blood. Is that what you mean?

Yes, could be.

Yeah.

>> Cassie (46:06):
Or that, Hamlet's always conflicted about,
like, what his duty is. And
I wonder if the conflict here is, like, I
can't be true to both of you at the same time.
And if you are saying, dad, that I have to Kill the
man that mom has now married. But you also don't want me to be mean
to her. But you also like. It's just kind of too many

(46:26):
things. Whereas I think
Hamlet. Hamlet would like everything to be simpler
and doesn't see the simplicity in
being in between things.

I'm, I'm sorry. So tempted to argue with
Hamlet would like everything to be simpler. But I'm not going to
because that would take us another hour.
so then. All right, if, if we go in this
direction, then does this, Is this
line still related in some way to.

(47:02):
Do not. Do you not come your tardy son to
child that lapsed in time and passion. Let's go
by the important acting of your dread command, which has
to mean avenge my death by killing Claudius. Does.
Is that not what that means?

>> Cassie (47:15):
No, absolutely. But then, but then the ghost has all
of this about like.
Yeah, don't forget what I said to you before. But look, your
mom's amazed. Stand between her and her
fighting soul. She didn't mean to.
You have to stop. You have to stop getting distracted by
her and go do the thing.

Okay, what is. Yes, I don't want to drop
this ball, but in this. What does amazement mean in this
context?
I think it means she is surprised by what you're
telling her. Like she didn't know.

>> Cassie (47:49):
Yes, precisely.

Okay, so her fighting soul
is her going, oh my God,
I'm married to this man, but maybe he's responsible
for killing my previous husband. That. Am I right?

>> Cassie (48:02):
Yeah.

And what does conceit mean in this context?
Conceit in the, in a weaker body does
more harm.

>> Cassie (48:10):
Yeah, flaws and weaker bodies are harmful
flaws.

Oxford has nothing on conceit.
Oh yes it does.
Imagination of a morbid concept kind,
huh? Yeah. So.

>> Cassie (48:26):
So in her weak body she's going to be
imagining the worst things. And it's not that
bad.
The ghost. The ghost has pity for Gertrude that
Hamlet does not in this moment. And I think,
and I think that. I think Hamlet
almost needs the ghost to just be purely

(48:46):
bloodthirsty and then becomes confused
by the ghost urging mercy towards mama
and is worried that by not only hearing,
like vengeful stuff from the ghost that
like somehow his own fire will be tempered
by that.

His. Right. Okay, so now we've come around. Thank.
Thank you all. We've, we've turned the, we've turned the
car all the way around the roundabout and now we're back
at our exit. So his father, fire.
He's. We. And we all agree is he doesn't want
his fire to be tempered. But m. Fire
to what? And you all think. I don't want to say you

(49:26):
all, but I think a couple of you are saying that the
fire toward Gertrude and I think it's the
fire to go kill Claudius. But you
all disagree with me.

>> Max (49:36):
Well, I think it's the same fire. It's just. Where are
you directing that fire? Like, take the fire away from
Gertrude towards Claudius.

Like, it's a lot easier to stay on
your purpose if the person in front of you
is being a shithead.

>> Cassie (49:51):
Yes.

And he's got sympathy or he has to feel sympathy for
her. That blunts his purpose.

Huh? Uh-huh.

>> Cassie (49:58):
But I think. I think it would be easier for Hamlet
if he could just be vengeful to everybody.
And so this kind of, oh, but spare
her, but kill him. And Hamlet's like, what am I
doing? I have too many thoughts. You know, he says
conceit as in, like conceit as
in Gertrude's imagination. But let's talk about the way that

(50:19):
Hamlet fantasizes about all of these things. I
think, I think this, this visitation
is. Is emotionally confusing for him
in a way that is not helpful to him achieving his purpose.

Aha. okay, so when
Hamlet says to his dad,
lest with this piteous action which is
his glaring at him. Yes.
You. You turn down my.
My fire. You convert my stern
effects, then what I have to do

(50:53):
will want true color. The. The. The
what I have to do part is killing Claudius. Yes.
Okay, so we're on the same page then. Yeah.

He'll just end up crying about it rather than shedding Claudius's
blood.

Right, so we've come back to what? Okay, good. So we're talking
about.

Yeah.

Not Gertrude's tears.

No, it's Hamlet's tears. But okay,
but Gertrude's tears aren't helping. They're. They're
fueling on this fire that's unhelpful.
Like, you're going, Gertrude going, I need to talk to your
manager is not helpful. You know, be like
that. Yeah. He doesn't. She can't
have. He can't pity her.

(51:33):
He can't feel sorry for her in.

This moment because the man he wants to kill is her husband.

>> Cassie (51:38):
Yes. And because I think killing someone
is hard for him. And so the way that he
rationalizes that it should just be very furious at all
of them and to receive instructions that
he can't run around screaming at people. But
he has to be. He has to treat
her with some softness. It's like
his heart is more. It's that gray area that's

(52:00):
challenging. It would be easier for him to just be
full of rage, but the ghost won't let
him.

He needs to dehumanize her in order to stay on track.

>> Cassie (52:10):
Exactly.

Becomes a human. He can't.
And the ghost is trying to find both
sides of the coin.

I'm liking all of this. I'm adding
to the list of things that
Cassie says that I really want to argue, but I
won't. Is that
Hamlet? It's not easy for Hamlet to kill someone, because about five
minutes ago, he just killed someone behind a curtain that.

He thought, yeah, but he did it in abject rage.

But it was not hard.
He got the opportunity he wanted, and he did it.

I mean, what's. What's hard? The act of killing isn't
hard. It's the on ramp to it. And that's why he
struggles right now. He's on before.

>> Cassie (52:56):
He had built himself up to it too. It. So you can't. You can't
say. You can't take that out of context.

Paul.

>> Cassie (53:01):
We had just heard him give that speech about how he's not going
to kill him while he's praying, and then suddenly he thinks,
oh, this is my opportunity.

So.

>> Cassie (53:09):
But he's had all of this on ramping and that, and
it's taken him a lot of time. He didn't just immediately go
and avenge his father as soon as he heard
that summons. It's been many acts of
existential crisis about this
till the point where he thought he had done what he needed to do. And
now, not only has he not done that, but the ghost of his

(53:30):
father appears and says, hey, hey, hey, hey, hey. You gotta be nice to
your mom, though. And Hamlet says, what the fuck do you want from
me?

Right? Okay. I thought you were saying the act of doing it
was not easy for him. And I was talking about once he had decided
to do it, and you realize, oh, it's Claudius. And he's
not praying and he's sneaking around. Perfect. I'll do it now. Bam,
bam, bam. And it's not Claudius. yes. Okay. We all.
We all agree. Okay, great. Cool. Cool. No, no, no,
no, no. This. I love this. All my

(53:58):
grumpiness is gone. I love talking about this.
Ah. I wanted to tie this back into something we earlier.
Damn it. It's gone out of my head.

(54:22):
Oh. Oh. It's a Kathleen question.
It's a Kathleen question, but I'll ask it in this company.
When do you think Gertrude
starts to get what Hamlet is
saying? That the man that you married, the brother
of your former husband, is the man
who killed him?

(54:43):
Or. Or has she gotten it yet?
I think she certainly has gotten it by the time she says,
I will not breed. Breathe a word of this. I think she's gotten
it by then. But when do you think she starts to get it? It's
really a Kathleen question. But if you all want to take a shot at
it, we can. Or if you want to move on, we can on.

I mean, I. I think the seed of it is by look amazement
on thy mother sits.

So that's the ghost telling Hamlet she
is really surprised by what you're telling her.

Yeah, I mean, like, whether or not she's processed it is a different
question. But I think suddenly the prism
is shifted and she's at least seen a
corner of the picture, maybe.
Okay, so to elicit that kind of
response isn't just, he's talking to
nothing.

I don't think I agree.

Yeah. I think that's the seed of it. It
grows. But I think it starts there
when.

She says, as, ah, kill a king. We can hold that
as a marker of her not getting it yet. She doesn't understand yet
what he said.

>> Cassie (55:53):
well, she also has that line. Line. 100 thou turns
my eyes into my very soul.

Yes.

>> Cassie (56:00):
That feels to me to be like.
I think that is the moment of. Of inward
turning. And then the line that Charlotte amplified when
the ghost is talking about externally,
how she is appearing. I think that's when we start to see.
See what she's thinking.

Yes.
Okay. We will have that conversation again
next week when. When Kathleen, is back.
Fabulous. fabulous.
Where should we go from? Let's just do that whole thing again. Is that
okay? Is everybody okay with that? Yeah.

(56:37):
I. Me. What? Act that roar so loud. Cassie, what do you think?

>> Cassie (56:41):
What line is that, Paul?

The 60ish. 61.
Oh.

All the way back there.

Okay. We don't have to if you don't want to.

No, no, no. I just. I just m. I just want to be
right where we're supposed to be.

let me see how much. Let's. We can get to the end tonight,
can't we? Or should we
keep going? What do you think? Should we keep going or should we go back?

>> Max (57:02):
We can keep going.

Take a vote.
Where are we?

I think we should keep going. Because if we go back, we're gonna get stuck in there
again. We've only covered
half the pages, and we didn't even start at page one.

Okay, then,
the ghost has just exited.
And, Cassie, would you say. No,
nothing but ourselves.
No. Let's go from. Do you see
nothing there? Let's go from. To
whom do you speak this? 149.

>> Cassie (57:41):
To whom do you speak this?

>> Max (57:44):

>> Cassie (57:46):
Nothing at all, yet all that is I see.

>> Max (57:50):
Nor did you nothing here.

>> Cassie (57:52):
No, nothing but ourselves.

Look who there. Look how it steals
away. my father in his habit
as he lived.

>> Max (58:03):
Look where he goes even now out the portal.

>> Cassie (58:06):
This is the very coinage of your brain. This
bodiless creation ecstasy is very cunning
in.

>> Max (58:13):
Ecstasy?

That's not you.

My pulse, as yours doth temperately keep
time and makes as healthful music.

>> Max (58:28):
It is not madness that I have uttered.
Bring me to the test, and I the matter will reward
which madness would gamble from.
Mother, for love of grace, lay not that flattering.
Unction of your soul that not your trespass, but my
madness speaks.

It will what skin and film the
ulcerous place. Whilst rank
corruption, mining all within,
infects unseen.

>> Max (58:56):
Confess yourself to heaven.

Repent what's past. avoid what
is to come. And do not spread this
compost on the weeds to make them ranker.

>> Max (59:07):
Forgive me this my virtue, for in
the fatness of these percy times,
virtue itself of vice must pardon beg,
yea, curb and woo for leave to
do him good.

>> Cassie (59:21):
O Hamlet, thou hast cleft my heart in twain.

Throw away the worst part of it and live the pure
with the other half.

>> Max (59:31):
Good night.

But go not to my uncle's bed.
assume a virtue if you have it not.

Okay, hold, hold, hold. and this,
I think, in this section is where. Max, you are trying to
deal with the other issue. You're trying to say. Okay, Mom, I
gotta go. I gotta take this body and hide
it. And I gotta go deal with this other thing that I'm not gonna tell you
about that dad wants me to do. And
Charlotte's Hamlet is like, you know, I got

(01:00:00):
something else I wanna say. You, know, I want to say this again. And
Charlotte keeps coming back, and you keep going. Okay. Good
night. I'm leaving. but we're not there yet.
gamble. I know what it means, but what does
it actually mean?

>> Max (01:00:21):
Which madness would gamble from?

>> Paul Nicholas (01:00:24):
Which it means. Which means hide from or
get away from. So if I were mad,
I would not be able to reword the matter. Like I told
you, I'm going To do. Right.

>> Max (01:00:35):
I'm going to prove to you that I'm not mad.

Right.

>> Max (01:00:37):
Because I'm going to reword it in a way that madness wouldn't be
able to do.

Just wonder what the word gamble actually means.
I like to know what they actually mean and how they're using leap or
skip.

>> Charlotte Northeast (01:00:46):
It's like a dancing kind of dance.

Oh, gamble. Yes. Like. Like, like, Egger
cheek says in 12 golf night. Gamble.

Yeah.

>> Max (01:00:54):
Dancing, run or jump about playfully.

There we go.

>> Cassie (01:00:58):
My Arden also reminds, that there's another
meaning that is shy away from. As in false
staff saying to Poins such other gamble
faculties.

the Oxford says the same thing. Shy away from. It doesn't give that
example, but it says shy away from. Yep.
but I like the image of dancing away from. Because
a mad person would dance away from it. I like that. Okay, so now we know what
it means. Okay, cool. Max, lay not that
flattering unction to your soul.
Not on. On your soul.

>> Max (01:01:30):
For the love of grace. Lay not that flattering unction to your
soul that not your trespass, but my madness
speaks.

And, And you get what that means? Yeah, that
line.

>> Max (01:01:42):
Not entirely unction.

Unction is like an ointment. It's like a salve.

>> Cassie (01:01:49):
And my O reminds me that, particularly in this time
period, the word unction and
thinking about oils was also, meant
to conjure images of religious
rituals like, anointing the
sacrament.

Oh, okay. Oh, that
has a nice layer to it.
So in other words, don't soothe
your guilt about
what happened by telling you. By telling yourself that
it's my madness. M That's making you think
it and not the fact that you did it.
Yeah, right.

>> Max (01:02:27):
100.

And I like that it has a religious layer underneath. I
love that.
Yeah. and we get what, skinning and filming and
ulcerous places. All of that makes so much sense. Oh my gosh,
that's such beautiful language. Skin and film
the ulcerous place. While ranks rank, corruption,
mining all within, infects unseen. That is

(01:02:48):
beautiful. God damn it, that's good.
I. I think, Max, with Confess Yourself
to Heaven, you can be starting to wrap
up. You can be starting to say,
okay, I gotta go next.
Here's what I want you to do. I think you can be

(01:03:10):
sort of in that mode.

>> Max (01:03:12):
Yeah.

Now let's talk about the forgive you this my virtue
line. What are you saying?
What does that mean?

>> Max (01:03:24):
Well, what it was feeling like to me was like,
he's not saying he's doing anything wrong, but he's still asking for
forgiveness. Like forgive me for
doing the right thing, even though it's tough love.

I. I like that. I don't like the.
The Oxford's explanation. Explanation? I don't know, Cassie, what
the Ardent says, but I like what Max just said.
but in the fatness of these percy times. What
the are you talking about?

>> Max (01:03:55):
Virtue itself.

Of.

>> Max (01:03:56):
Ah, vice must pardon, beg.

It sounds like times of, of
opulence. And, and,
and what's that other word that we use all the time? Time?
Decadence.
Is that what it means in the fatness of these percy times?

>> Max (01:04:13):
I mean, I was imagining like a purse that was full, so
that that's resonating with me.

Fat purse. Okay.

>> Cassie (01:04:22):
my Ardent does point out that this is the
closest that Hamlet gets to apologizing for
his behavior to Gertrude and that it,
Interesting to consider that
it's not actually an apology, but in fact
a description of his own virtue.

Right.

>> Max (01:04:42):
It's like forgive me for saying
the truth.

>> Cassie (01:04:46):
Exactly, exactly. It's a little
passive aggressive.

It's like tough love, baby. This is what I gotta do.

Yeah, I like that take on it. I do like
that take on it. It. sorry.

>> Max (01:04:58):
Not sorry.

Huh? yes, sorry, not sorry.
I'm sorry that I'm so good.

>> Max (01:05:06):
Bur the pen.

I'm sorry.

>> Cassie (01:05:08):
Caring. I'll stop
caring. I'm sorry for caring.

>> Max (01:05:15):
You curve and woo for leave to do him good.

So virtue, itself
of vice must pardon beg.
Must like get down on the knee and beg
pardon for.
For leave
to have some good done to virtue. So what is
the vice in this situation? The virtue is

(01:05:43):
Hamlet's virtue.

Virtue.

Myself a vice must pardon beg. What's the vice?

>> Max (01:05:49):
Anybody? Mother and her transgressions.

Is it that simple, really?

>> Max (01:05:56):
It might be like, I am
virtue, you are vice. I'm asking for, for you to
forgive me, even though I know you're wrong.

Yeah, he says it twice there. Forgive me,
this my virtue. For in the fatness of these percy times, virtue
itself. So is that, Is he placing.
Is he, is he, is he antithesis in
them or is he staying on the
virtue?

Hm, I think he's staying on the virtue, Charlotte. But
it's an interesting question. Is he still talking about his
virtue or virtue in general?

Right.

>> Max (01:06:30):
Yeah, definitely, like zooming out.

And maybe the vice is not specifically
referring to something that we've been talking about
already in this room tonight. Mom. Maybe he's just Saying
even virtue, the concept of virtue has
to ask, ah, permission to be virtuous
in the presence of all the vice that's going on around us. Maybe
that's what he means.

>> Cassie (01:06:51):
Hm.

Or it's like, I've got to
do, I've got to do shitty things too. I'm
about to go kill this guy.

I like that take.

That's my virtue. And virtue, vice comes out of virtue. Sometimes
they're side by side and this is what I gotta do. You gotta look in the same
mirror. I don't know.

>> Max (01:07:11):
Or if the fatness of these Percy times is kind of like
these topsy turvy times when everything, when anything is
possible, like virtue itself, vice must pardon,
beg. Like kind of zooming out, just like
everything's upside down.

And there is an implication and at least
or an overtone that he's saying.
In these times there is a lot of vice.

But also, you know, yeah, he, there is an
oxymoron of fatness and Percy times
Beg. Right. you've got gluttony and
you've got scarcity in your.

Yep. Right.

>> Max (01:07:55):
Like when the times are so abundant with
gluttony and greed, like virtue might
be the minority.

Right?
Yeah, yeah.

>> Max (01:08:06):
You have to beg of the majority.

okay, here's, here's where you get
your certificate, all of you, for your
Shakespeare nerdiness. Let's get real nerdy.
Why does Shakespeare not stop
the Hamlet making his point at the
word beg? Why does he add
yay, curb and woo for leave

(01:08:29):
to do him good? I, was. It's not an accident. And he's
not, he doesn't just love to hear himself. Right. Why did he do
that?

>> Max (01:08:36):
What's it called? Action. Requesting something
of, his mother. It's like I'm right,
like, so do what I tell you to do.

But it's, but it's re. Emphasizing what he just
said, that virtue has to get down and
beg vice to give him a chance to do
what he needs to do. So he's using that
to say to his mother that he has to do it.
Yeah. Why did he add that part?
Why didn't he just make the apology? Forgive me, but

(01:09:07):
you know, even us virtuous people
has to, we have to ask, ah, permission of you
because he's.

Not done with his verbs.
He's not done.

Hm.

With his verbs. He says beg, curb and
woo. It's not one thing, it's three things.
It's three actions.

Okay, so
it's not just begging. It's really begging.

Yeah.

>> Max (01:09:29):
Yeah.

Woo is very specific.

Very specific. It has a, an air of romance to
it, right? Yeah.

So it's three verbs. He didn't end it because he didn't have
enough verbs on there.
Not enough action for Shakespeare.

>> Max (01:09:42):
It was a continuation.

Yeah, but it's not. Shakespeare's not. Didn't write it because
he's in love with his own writing. Although he was. but, but
I'm saying.

Yeah, but beg wasn't enough. It
wasn't that. It wasn't. It wasn't all the colors he wanted to
paint. Curb and woo
add complexity of what he has to do or what anybody
has to do in this society.

>> Cassie (01:10:05):
It's true. Hamlet likes to kill the lily a little
bit.

>> Max (01:10:09):
Well, so it's. The point isn't to beg. The point is
to do good in the end.
So it's like they might beg curb and woo in
order to do good. And that's what brings it full circle to
virtue, right?

It's like a recipe. If you don't have the flour, then you're not going to
get bread, right? You might have baking soda and the yeast, but if you don't have the
flour, you got no bread, right?

>> Cassie (01:10:29):
Well, and you're, you're begging for leave to do him
good. You're not just begging to exist, right? So
it hasn't quite finished the thought. It's all the
colors that Charlotte shared. And the the final destination
is not just that virtue is begging, but that virtue
is begging to have permission to do
good.

Okay, so is he still
saying to her,
please forgive me all the things that I have said to
you tonight and come at you like this? Or has he
now gone into his own head and is he thinking about
the act that he needs to go do to Claudius

(01:11:10):
or both or neither?

>> Max (01:11:12):
You mean like, is he asking for forgiveness? Like
for the murder he's about to do? Like, give me this.

Is he self reflecting on that additional line, yay,
Kirby. Or is he still talking to Gertrude
and saying, look, forgive me for coming at you like this,
but I had to
because he's not telling her what he's going to do, right? He's not
saying.

I think, I think he wants her to see.
He wants her to see her sin,
see it as flawed as I am.
And so she. And she does. She gives him something there. Oh Hamlet, thou
cle my heart and twain great. Seize on it. Throw
the way the worst part of it, like I think mom see

(01:11:59):
it the Ghost came
in, reminded me. Maybe, she doesn't know.
Maybe I was wrong. See it.
See what you've done. Even if. Even if you didn't murder
your husband, See what you've done since.
See the sin. that, to me, is the more active
choice. Get her to do something. Get her to see.

I think so too. And, maybe suggesting to her
that you need your virtue, needs to try to
exist within this vice, right?

She's become completely part of this
decadent, you know,
court that Claudius has built.
And he needs her to. He needs her
to pull back. He needs her to.
He needs her to. To. To find herself again.

So it is what you said earlier, Charlotte, it's just a
continuation of his passive aggressiveness with this. This
last, passage.
He's trying to say to her that you need to be.
Hold on to your virtue in the middle of this,
right? That was a question.

But there's always his
per. His purpose is never far from his
mind. So when he extols it to somebody else,
it's always at himself as well. I don't think
he ever forgets what he's supposed to be doing.
It's like when you work out a problem about somebody else
and you suddenly have a revelation about yourself. And like I should have done.

so this is going to affect how you play it, Max. It's either
what Charlotte just said and did that
he's. He's saying it to her and then realizing
that he's. He can apply that to what he has to do,
or he's saying it to her, he's asking
for. For forgiveness. And then he realizes,
oh, I can also motivate,

(01:13:51):
you to,
lift up your own virtue, even though
you are entangled in this
very ugly, situation.

>> Max (01:14:09):
Sorry. While you were talking, I have.

I have a preference, but I think either one can
work because, depending if you play
it, with conviction, either one can work.

>> Max (01:14:21):
Well, I definitely think he's trying to
convince, Gertrude
to live more
virtuously and turn her back on this
corrupt court.

Okay,
so then forgive me this, my virtue.
Could be. I'm just throwing, it out as a suggestion. Could be
the end of the. The apology, the
fake apology. Forgive me this, my virtue. And then
the rest of it is, suggestive.

(01:14:56):
It. He. He is still
including it as part of his apology, but it's very
suggestive. That was a question.

>> Max (01:15:08):
Well, I think it's also possible that Forgive me this, my
virtue is a direct,
flowering from telling her to repent
like you need to repent and then forgive me for
this and kind of we can
join forces on the path to
changing things.

Okay, cool. And that might
tie into when he says later. when.
When you are what? When you're needing to be blessed,
I'll blessing beg of thee. We'll get to that later.
Cool.
Oh, now
I'm worried about time.

(01:15:53):
Let us move on. Let us move on. Charlotte?
Mhm? Do you want to say all those
cut lines? I left them in there in case you want to say them. So
let's go from. You want to go from. Oh, Hamlet, thou
hast cleft my heart in twain.

And can I say them and just see what how they sit?

Yeah.

>> Cassie (01:16:13):
Oh Hamlet, thou hath cleft my heart in
twain.

Throw away the worser part of it and live the
pure with the other half.

>> Max (01:16:21):
Good night.

Go not to my uncle's bed.
Assume a virtue if you have it not.
That monster custom, who all sense
doth eat of habits vile is
angel yet in this, that to the use of
actions fair and good, he likewise gives a
frock or livery that aptly is put on.

>> Max (01:16:43):
refrain to night and that shall lend a kind of easiness to
the next abstinence. Abstinence the
next more easy for use almost can change the stamp of
nature.

And either hold the devil or throw him out
with wondrous potency.

>> Max (01:16:58):
Once more, good night. And when you are desirous
of the blessed, I'll blessed beg of you
for this same lord.

Okay, okay. What do you think, Charlotte?

Ah, I need to unpack it a second.

Hold on.

>> Max (01:17:18):
Am I telling her, like,
stop sleeping with him because he's about to be
killed and he won't be in your bed anymore,
so you better get used to it now.

Oh, wow. It could be that. I always just thought it was
Hamlet going, let's start to turn this
ship around. You.
I understand why you're here. You married him.
But let's start to make a change. So
don't sleep with him tonight. And
you will get used to not sleeping with him. And it'll be

(01:17:49):
easy to tell him no from now on.
but yes, you could include a layer of I know something
you don't know. Mom, he's not going to be around for a while, but
I think it's. Please don't do this anymore.

Yeah, it's, it's, it's, it's. It's a lot of antithesis.
Right? Devil, angel.

Yeah.

And it's putting on the. It's, it's all the mockery of, you
know, you put the livery on, you put the face on that
you think it's legitimate because you're married to him, because
he's the king, because he's all these things
and. Yeah. And that. That you're. You're telling
yourself it's okay, but if you don't do
it, it'll get easier.

Yes. So that's why the
lines are cuttable. Because he's basically saying the same thing. He said,
if you practice something, it becomes habit and it becomes easier.

I mean, I always just. I mean, for me, like,
the simplest way to say that line is assume a virtue if you have
it not.

Yeah.

So I'm always a fan of cutting the flowery. If we
already got it. Such a beautiful line in that. So I'm a fan
of cutting it.

Okay.

Then again, I'm usually a fan of cutting
because less is more.

All right.

Also controversial in the world of Shakespeare, but there you go.

I'm going to treat it like it's gone. So we're going.
Max. So, you know, Charlotte's gonna say, assume a
virtue if you have it not. And you can
take a beat and say refrain tonight, because we're
up this scansion. But it's okay.
Okay.

(01:19:28):
And, Max, I think your Hamlet
can start to retreat
to his normal,
level of intensity.
He's. He's being softer now because your dad just
said, be nicer to her. And he is the one
that responds to that, instruction

(01:19:49):
far more quickly than the other handler.
Got it.
The other Hamlet says things like, you're
spreading compost on the weeds.
And you say things like, you know,
forgive, forgive my virtue. And virtue has
to beg virtue pardon.

(01:20:13):
The other Hamlet talks about ulcers and. And
scabs and infections. You know,
it's very different.
Oh, my gosh, we're almost at the end.
let us go again from.

(01:20:34):
Oh, Hamlet, thou hast cleft my heart into twain. And this
time, Charlotte, those lines are cut.

>> Cassie (01:20:41):
Oh, Hamlet, thou has cleft my heart in twain.

Oh, throw away the worser part of
it and live the pure with the other half.

>> Max (01:20:50):
Good night.

Assume a virtue if you have it not.

>> Max (01:20:58):
Refrain tonight, and that shall lend a kind of
easiness to the next abstinence, the
next more easy for use almost can
change the stamp of nature and.

Either hold the devil or throw him out with
wondrous potency.

>> Max (01:21:14):
Once more, good night. And when
you desires to be blessed, I'll blessing beg of you.

Yeah, that sounds fine. Charlotte. That cut. I like it.
should we have a conversation about that word hold
or should we just keep going?
Does everybody know what that situation is
in the second quarto, there's a word missing.

(01:21:44):
let's not have a conversation about it. It's 9:30.
let's not. Let's just keep going.

So.

So some, This is one of those lines which
perplex me. When you are
desirous to be blessed, I'll, blessing beg of
you. Somebody talk to me. Straighten me out
here. What the does that mean?

>> Max (01:22:07):
Like, I'll be so glad when you realize
and confess your wrongdoing
when.

But when you are desirous to be blessed, when
you need blessing.

>> Max (01:22:19):
Because that's when they've like, confronted their own
wrongdoing. It's like, then I'll.
Then I'll hold you in so much more high esteem that I could even
beg a blessing of you because you'll have already
seen the corruption for what it
is.

Okay, but I'm not going to
wait until you have received your blessing to come to you for a
blessing. I'm going to come to you for a blessing when you need
a blessing.

>> Max (01:22:49):
But when you desire. It's not about. Well, it's not
about needing a blessing. It's about desiring the blessing. Because
like, when you want to be blessed is when you have.
You have to admit that there's a problem before you can change anything.
So it's about once you admit that this is wrong,
then, I'll be. I'm right here for you
and we can be together in this.

Well, according to this particular editor,
what Max said, is exactly what this person said.
And when you show some sign of wishing for the
blessing of heaven by repenting, I will
one, I will be once more your
dutiful son and ask your blessing at
parting, as I used to do.

(01:23:44):
okay. I think I kind of get it.
So when you are ready. What? It's what you said, Max. When you
are ready to repent, when you are
ready to face this, I will think so highly of you
that I will come to you for bless.
Yeah, sort of. Something like that.

>> Max (01:24:04):
Something like that.

Yeah, something like that.
We're going to make it to the end tonight. We're
gonna make it to the end tonight. So,
Max, let's go from Charlotte. You're good. You
looking up something?

Yeah, no, I was just. I was just looking at the notes on that.

But yeah, on the blessing bit.

Yeah. Act as A dutiful son. Catholic popular
traditions included the blessing of children by parents, which
entailed the consecration of the child to God and
the invocation of God's protection and favor.

>> Cassie (01:24:42):
Yeah, well, that feels like it
links back to what we were just talking about in terms of the oils.
And like we're. We're now drawing on a lot of
religious iconography here
and.

And the sacredness of the mother son.

>> Cassie (01:24:59):
yeah, big time.

I love that. So, Max, keep that in mind on that line.
It's almost as if you're laying in your
mother's lap with your head on her belly
saying, goodbye, Mom. I love
you, and I hope you work this out.

Believe me, whenever there's a conflict in this house,
Julian sides with me always.
Sons always side with their mamas.

That's because Damon taught him, whenever there's a
conflict, pretend to side with your.

No, it never works in Damon's favor.
It's just edible.
It's just DNA
as old as time itself.

Let us, go from. Let's go from refrain tonight. How about
there?

Ah, yes, that's me.
No, that's not where.

>> Max (01:26:00):
Oh, yes.
186ish.

Yeah.

>> Max (01:26:07):
Refrain tonight, and that shall lend a kind of easiness to
the next abstinence, the next more easy
for use almost can change the stamp of nature,
and.

Ah, either hold the devil or throw him out with
wondrous potency.

>> Max (01:26:22):
Once more, good night. And when you are
desirous to be blessed, I'll blessing beg
of you.

Yes, for this same
lord I do repent.
But heaven hath pleased it so to punish me with this
and this with me, that I must be their
scourge and minister.

>> Max (01:26:43):
I will bestow him and will answer well the death I gave
him. So again, good night. I must be
cruel only to be kind. This bad
begins and worse remains behind.

And, they're leaving.

One word more, good lady.

>> Cassie (01:26:59):
What shall I do?

Not this, by no means that I bid you
do. Let the bloat
king tempt you again to bed. A, ah,
pinch wanton on your cheek, call you his
mouse, and let him for a pair of
reach kisses, or paddling in your neck
with his damned fingers, make you to ravel

(01:27:21):
all this matter out,
that I essentially am not in madness,
but, mad in craft. Twere good you let
him know.

>> Max (01:27:35):
Or who? That's but a queen fair,
sober, wise, would from a
paddock, from a bat a gib
such dear concernings hide
who would do.

>> Cassie (01:27:49):
Be thou assured, if words be made of breath
and Breath of life. I have no life to
breathe what thou hast said to me.

>> Max (01:27:59):
I must to England, you know that.

>> Cassie (01:28:01):
I had forgot.

Alack, I had forgot.

>> Cassie (01:28:05):
Tis so concluded on.

There's letters sealed,
and my two schoolfellows whom I will trust as I will
adders fanged. They bear the
mandate. They must sweep my way
and marshal me to knavery.
Let it work. For tis the sport to have the
engineer hoist with his own petard and

(01:28:27):
shall go hard. But I will
delve one yard below their minds and
blow them at the moon.
Tis most sweet when in one line
two crafts directly meet.

>> Max (01:28:44):
this man shall set me packing. I'll lug the guts
into the neighbor room. Mother. Good night.
Indeed. This counselor is now most
still, most secret and
most grave.

Who was in life a foolish prating knave.
Come, sir, to draw toward an end with
you.

>> Max (01:29:07):
Good night, mother.

Wonderful, Wonderful,
wonderful, wonderful.
I like the way you broke that up, Max. this man
shall set me packing. Meaning
I'm definitely going to England now because of this.
and then you separated that from.
I love the guts. And the neighbor room is not

(01:29:32):
in response to that. It's a completely separate
idea. So I really liked how you broke
that up. How does that scan? This
man shall set me packing. Oh, it's four feet.
This man shall set me packing.
Four feet with a weak ending.
I'll lug the guts into the neighbor room.

(01:29:52):
That's regular verse. Okay.
Huh? All right, so you have some wiggle room in that
line above.
I love how Charlotte turns into a pirate when
she says petard.
You don't get to sit, Cassie. Is the word

(01:30:15):
gib or jib?

>> Cassie (01:30:16):
Let me check.

I'm.

>> Max (01:30:23):
M having fun there.

Huh?

>> Max (01:30:25):
like hoist with his own petard and shall
go hard. And I will delve one yard.

Yep.

>> Max (01:30:32):
Like, he's
flexing, this poet.

I mean, if Hanley weren't. It's like
Romeo. They're really fun when they don't have all this dumb
to do.

Yeah.

You know, Romeo gets played like such a tool half the time, but
he's really quite fun.

And a tool.

well, but he's. He's
played like one, but he's not really. I mean,
he acts a fool when he. But you know what I mean. Like, he's got to be
on par with Mercutio to spar. Right? And so
does Hamlet. Like he. He's. They're really fun little. You
can never keep that down. It always bubbles
to the surface, even when they're in these situations.

Agree?
yeah. Mar.
They must sweep my way. In other
words, clear a path for me and
marshal me to navery. Lead me down to some
dastardly deed that they have planned for me.

(01:31:42):
I'm going to let it work.
Fun. It will be a fun game to have them caught in
their own trap.
And it shall go hard. Does that mean it will be
difficult, but I'm going to get. Be beneath
their level and blow up their game?
It shall go hard. Does that mean it'll be difficult

(01:32:04):
or does that mean it will be taken wrong?

Or if we're using. If it's a nautical
reference or something like, get
in front of them, get below them. Like I've got
a speed before. I've got to get ahead of them or under them
or whatever. And then I will delve one yard below their minds and
blow them at like, I don't know, I feel like it's a, it's a
movement metaphor.

>> Max (01:32:28):
Like go fast.

Yeah. It's not hard as in difficult as in, as it's
in. Yeah. that's the way I read it.

Oh, get the let out. If it's nautical,
it's a hard tact. It's a hard,
directional change.

Yeah.

Okay.

Yeah, like I've gotta get, I've got to get around them. I've
got to outmaneuver them so I can them up.

I love it.

Yeah. Because he knows he's going on a ship. He knows
he's, he's already three steps ahead
of them. he's gonna, you know, take the letters and the seal and the
blah, blah, blah, blah, blah.

I love it.

Something I liked this time, Max. That I noticed was
Otis Sweet went in one line, two crafts directly
meet. That to me feels like it plays into this concept really well. Like the
two of us came together there.

Oh. Ah, nice. I didn't even think of that. That's very nice.
I believe, I'm not looking it up, but I believe the,
the minds, ships, since we're sticking
with this metaphor, ships would
bomb each other, would drop
mines underneath ships and blow them
up. So what Hamlet is saying is that my

(01:33:37):
minds are going to be even deeper than theirs and it's
going to blow the whole thing up.

Right.

And they're going to be surprised. I think that's what.

>> Max (01:33:44):
Throw them at the moon.

Yeah. They're saying it's a
diplomatic mission, take him, blah, blah, blah. And he knows that's,
that's all. So he's gonna have to go one level lower
and blow them up from underneath.

Yeah. there's something I have never noticed
before until. Max, just read it.
I must to England. You know that I had
always thought that was a question. But there's no question mark
there. Can we just pretend that it's a question or is that
intentional? There's no question mark there.

>> Max (01:34:13):
Well, I think he's reminding her.

Okay, I like that, I
like that.

>> Cassie (01:34:20):
Could we talk really quickly about line 212? I
just fell down a bit of a Google rabbit hole
looking for the pronunciation there.
And I am realizing that
this list of creatures, Paddock,
bat and Gib are all
witches familiars. Paddock is a toad,
a bat, and a tomcat. So

(01:34:43):
that list feels, pointed, particularly when
we're talking about Gertrude. and just
like another tool in your arsenal there, Max.

Except that he's referring to Claudius with those
adjectives. Oh, you're right.
Yeah. He's saying, a wise and
virtuous queen would keep this information from such a
person. Right, sure.

>> Cassie (01:35:05):
I think, I think what I'm trying. I think what I'm
offering Max is that the three things that he's
listing there are connected to witches. And that becomes
very pointed when he's saying that to a woman.
Not. Not what he's referring to in the list rather.
But that, I don't mean this, but
are we like, man. It's mansplaining a little

(01:35:26):
bit. in that like I'm giving you all the witches creatures.
But that just. That just feels interesting. It feels like another layer.
I don't think that he's, We're not like making any kind
of accusations of witchcraft. That's not what's happening. But I
always think it's very pointed if men are
using language connected to witches in
conversation with women.

I love that. I love that. Yes, Max,
Keep that in mind.

>> Max (01:35:49):
Yes.

so I actually have a. I.

>> Max (01:35:52):
Have a question as well.

Yeah.

>> Max (01:35:54):
The part of that section confuses me because it sounds like
by no means let him tempt you into
bed. And

That's right where I was going with this. That's right where I was going. This
is one of the. My least favorite passages in the whole play.
Because it, it throws me, it's
distasteful to me that he's playing it as, ah, sarcasm. But that
is what it is. It's pure
sarcasm, even down to
toward good. You let him know.
And that's difficult to play,

(01:36:25):
I think, especially
for Charlotte's side of Hamlet, who doesn't
really do a lot of sarcasm. Charlotte. Hamlet
speaks directly. Right.
Sarcasm. but that whole

(01:36:47):
thing is sarcasm. Well,
do this thing that I'm about to tell you. Don't do this.
and you're going to let him kiss you and this. And then you're going to tell him all
this stuff. Oh yeah. It'd be really good if you told him
and then you come in and go, yeah,
because who of
obviously a queen would never do that. Right.

(01:37:10):
It's a very difficult passage and I don't like it. But it's
here and we're going to play the. Out of it. Your thoughts on
it. What I was actually.

>> Max (01:37:17):
What is. What I was actually trying to say was in the second part of that,
when he's like, Make you ravel up this matter out that I
essentially am not in madness. That's like, don't tell him
that I'm not actually crazy.

Correct.

>> Max (01:37:28):
But then that's. That ends with twere good. You let him know.

No. Correct. Which was what confuses me.
That that sentence right there is what throws me off.
But it's all sarcasm. So
what Hamlet is saying is don't do this thing.
All. right. Now let me describe the thing. Tell him that I'm
not really mad and I'm only pretending to be mad. It was really
good. It would be good if you told him that.

(01:37:51):
So, so after the don't do this. Everything else is one
idea.

>> Max (01:37:56):
Okay.

And then it gets even more confusing when you come in and you
say, who but a really wise and virtuous
queen would keep such information
from an. Like that. Which seems
like double sarcasm to me.

I, I don't see it as sarcasm. I think it's. It's
paint the sin even deeper. Make it
disgusting, make it obscene,
make her see how
awful and wrong it is. And
bonus, let him know I'm not mad.
I think taking it, thinking it a sarcasm weakens

(01:38:33):
the argument. Make her see
it's wrong yet again. And like
it's so the, the. The. The. The
imagery is so foul.
Richie kisses, you
know it call you his mouse.
I mean I. That. That it's like bile.

(01:38:55):
And, And I think there's a sick enjoyment
Hamlet gets out of screwing it to her one more
time. But it's under the guise of, This is a
tactic. Let him know I'm not mad.

Okay. I.

My m. World to me.
It makes it.

I'll tell you what I'm worried about and I trust. Trust that you will Solve it.
I'm worried that we lose.
That the audience loses the sense of that.
That we. I don't want us to let go of that top
line that says don't do this thing that I'm about
to tell you. I don't want us to forget that,
that cover over what we're about to say.

(01:39:34):
Because if it sounds like you're saying, yeah, you should
do that, you should tell him this. Then it gets confused. Confusing.

Yeah. But it make. But like, you know, get him, get him to do this
stuff but you know you're not going to do it.

>> Cassie (01:39:46):
Right.

Because it's that disgusting.
You know, I, I think.

Well, you, you have to play that and make sure that we
don't. We get that sense. Okay.
So that when we get to the end of it, which when, when,
when Hamlet says for good, you let him know that
we. The listener knows that what
Hamlet is saying is. It would be horrible if you let him
know.

Right. Okay.

And by the way, I got a note here from Cassie. If you pronounced
it correctly, Max, it is Gib.
Oh. And obviously because Cassidy just gave us that
whole thing about the witches
and she said good. one,
five final thought about this speech.
there's a part that I cut. It's after

(01:40:37):
who would do so.
And it is. I'm trying to
share my screen. I'm sorry, here I come.
It is.

No in despite of sense and secrecy unpegged. The basket on the house
top that the birds.

You see that
there was a story at the time about a
gorilla who,
They were put some birds in a basket and
it was on top of the roof. And when he opened the basket, the birds

(01:41:17):
flew out. And the gorilla thought that
if I climb. Climb in the basket, the basket has powers that
will make me fly. And the gorilla climbed in the basket
and when he jumped out of the basket, obviously he didn't
fly and he crashed down and broke his neck.
And what Hamlet is saying is
now it's no longer. Now he's really saying this

(01:41:39):
directly and not, Well, I
don't use the word sarcasm again. he's saying, let
the king try to figure this out on his own. Don't
tell him that I'm pretending. And
in him trying to figure it out, he may
fuck himself over.
Cassie, am I saying all of that right? Am. I. Are you familiar with

(01:41:59):
this story?

>> Cassie (01:42:00):
I'm not.

And I think I. I've cut it because
even though we can make sense of it, no one will know what we're talking about. Because it
was a story of those times.

Also, it's way more fun and active to who would do so?
Be thou assured, if words be made of breath.

Thank you. Thank you.

I'm a big fan of, like, ask the question. And. And then most
of the time you don't get an answer. But this time we do, and that's very
satisfying.

I know. By the way, in this case, who would do so? Would that be
considered a rhetorical question?

There's no such thing.

But no. Would it be a sarcastic question?

It can be played in many different ways, just never rhetorical.

question of the gift.

Shakespeare gives us the gift of questions. We must honor
those gifts.

You mean a gif. Sorry.

Yes. Gif.

so are we okay with cutting this?

Yes.
Cutting the thing that was never there? Yes.

Yeah. Well, I just wanted to discuss it. It's.
I wanted us to geek out over it.
I'm done. You want to stop or you want to run? You want to
run from all the way
back or you want to stop? What do you all want to do?

>> Max (01:43:22):
I kind of want to, like, apply all the things
we talked about.

You want to go all the way back to,
I. Me. What act that roars so loud?
61.

>> Max (01:43:35):
I think that would be fun. What do you think, Charlotte?

I'm not going to look at the script. I'm just going to listen.

Let's do it, Charlotte.

You okay with that, Cassie? Okay with that?

Yep.

>> Cassie (01:43:44):
Trying to find the line. Give it to me one more time.

One, one. I Me. What?

>> Cassie (01:43:53):
Got it.

Then we can ring the bell and summon the Lord.
Nathan.

>> Cassie (01:44:01):
I mean, what act that roars
so loud and thunders in the index?

>> Max (01:44:08):
Look here upon this picture, and on this, the
counterfeit presentment of two brothers.
See what grace was seated on this brow?
Hyperion's curls, the front of
Jove himself.

An eye like Mars to threaten or
command a station like the herald
Mercury new lighted on a heaven kissing
hill.

>> Max (01:44:30):
A combination and a form indeed, where
every God did seem to set his seal
to give the world assurance of a man. This
was your husband.

Will you now what follows? Here
is your husband, like a
mildewed ear blasting his
wholesome brother. Have
you eyes? Could you on
this fair mountain leave to feed and batten
on this moor?
Have you eyes?

>> Max (01:45:03):

Your age the heyday in the blood is tame, it's
humble, and waits upon the judgment.
And what judgment would step
from this to this?

>> Max (01:45:18):
Sure you have sense, else could you
not have motion? But sure, that sense Is
apoplexed. For madness would not err
nor sense to ecstasy was ne' er so
thrall'd, but it reserved some quantity of
choice to serve in such a difference.

What devil was it that thus hath, cozened you at
hoodman blind dies without
feeling, feeling without sight, ears without hands or
eyes, smelling sons all, or
but a sickly part of one true
sense could not so mope.

>> Max (01:45:53):
Oh, shame, where is thy blush?

Please help.

O, if thou canst
mutiny in matron's bones, to to flaming youth,
let let virtue be a wax be as wax,
and melt in her own fire.

>> Max (01:46:12):
Proclaim no shame when the compulsive ardor gives
the charge, since frost itself as
actively doth burn, and reason panders
will.

>> Cassie (01:46:22):
O Hamlet, speak no more. Thou turn' st my
eyes into my very soul, and there
I see such black and graind spots as will not
leave their tanked.

Hey. But to live in the rank
sweat of an insemin bed,
Stewed in corruption, honeying and making
love over the nasty sty.

>> Cassie (01:46:42):
Oh, speak to me no more. These words
are like these words, like daggers enter in my
ears. No more, sweet Hamlet.

A murderer and a villain, A slave that
is not 20th place, heart the tithe of your
pessident lord, A vice of kings, a
cut purse of the empire and the rule that
from a shelf of the precious diadem
stole and put it in his pocket.

>> Cassie (01:47:07):
No more.

A king of shreds and patches.

>> Max (01:47:14):
Save me and hurl me with your
wings. O heavenly guards.
What would your gracious figure?

>> Cassie (01:47:22):
Alas, he's mad.

Do you not come? Do you not come your
tardy son to chide that, lapsed in time and passion, let's go
by the important acting of your dread command.

Oh, say. Do not forget,
this visitation is but to whet thy
almost blunted purpose.
But look, Amazement on thy mother
sits. O, step between her
and her fighting soul. Conceit in
weakest bodies strongest works.

(01:47:57):
Speak to her, Hamlet.

>> Max (01:48:02):
How is it with you, lady?

>> Cassie (01:48:04):
Alas, how is't with you, that you
do bend your eye on vacancy, and with the
corporation corporal air do hold discourse?
Forth at your eyes your spirits wildly
peep, and as the sleeping soldiers in the alarm,
your bedded hair, like life in excrements,
start up and stand and end.

(01:48:24):
O gentle son, upon the heat and
flame of thy distemper sprinkle cool
patience. Whereon do you look?

>> Max (01:48:33):
On him?
Look you, how pale he glares. His
form and cause conjoined preaching to stones
would make them Capable.

Do not look upon me, lest with this piteous action.
You convert my stern effects.
Then what I have to do will want
true color. Tears perchance
for blood.

>> Cassie (01:48:59):
Whom do you speak this?

>> Max (01:49:03):

>> Cassie (01:49:04):
Nothing at all, yet all that is, I
see no one.

>> Max (01:49:09):
Did you Nothing here?

>> Cassie (01:49:10):
Nothing but ourselves.

Look how he steals away. My father in his
habit as he lived.

>> Max (01:49:19):
Look where he goes even now out of the portal.

>> Cassie (01:49:21):
Oh, this is the very coinage of your brain. This
bodiless creation ecstasy is very
cunning.

And.

Ecstasy
my pulse, as yours doth temperately
keep time. And makes as healthful music.

>> Max (01:49:39):
It is not madness that I have uttered.
Bring me to the test, and I the matter will
reward with madness. Would gamble
from mother, for love of grace.
Lay not that flattering unction of your soul.
That not your trespass but my madness
speaks.

It will but skin and film the
ulcerous place. Whilst rank corruption, mining
all within, infects unseen.

>> Max (01:50:07):
Confess yourself to heaven.

Repent what's past, avoid what is to come.
And. And do not spread the compost on the weeds to
make them ranker.

>> Max (01:50:16):
forgive me this, my virtue, for in I the
fatness, in these pursy times virtue
itself of vice must pardon, beg.
Yea, curb and woo for leave to do him
good.

>> Cassie (01:50:28):
O Hamlet, thou hast cleft my heart in twain.

Oh, throw away
the worser part of it. And live the purer with the
other half.

>> Max (01:50:39):
Good night.

assume a virtue if you have it not.

>> Max (01:50:46):
Refrain tonight, and that shall lend a kind of
easiness to the next abstinence, the next
more easy. For use almost can change the
stamp of nature.

And either hold the devil or throw him out with wondrous potency.

>> Max (01:51:00):
Once more, good night. And when you are
desirous to be blessed, I'll blessing beg
of you.

For this same lord, I, I do
repent. But heaven hath pleased
it so to punish me with this and
this with me, that I must be their scourge and
minister.

>> Max (01:51:22):
I will bestow him and will answer well the death I
gave him. So again, good night.
I must be cruel only to be kind.
This bad begins and worse remains behind.

One word more, good lady.

>> Cassie (01:51:39):
What shall I do?

Not this, by no means, that I bid you do.
Let the bloat king tempt you again
to bed. pinch wanton on your cheek,
call you his mouse. And let him, for a pair of
reachy kisses. Or paddling in your neck with his
damn fingers. Make you to ravel all this
matter out that I essentially am

(01:52:04):
not in madness, but mad in craft.
Twere good you let him know
for.

>> Max (01:52:12):
Who that's but a queen, fair,
sober, wise, would from a
paddock, from a bat a gib
such dear concernings hide.
Who would do so?

>> Cassie (01:52:24):
Be thou assured, if words be made of
breath and breath of life. I have
no breath. I have no life to breathe what thou hast
said to me.

>> Max (01:52:35):
Unless to England you know that
I.

>> Cassie (01:52:39):
Had forgot to so concluded on
his letters sealed.

And my two school fellows, whom I will trust as I
will adders fanged, they bear a mandate.
They must sweep my way and marshal me to
knavery. Let it work.
For tis the sport to have the engineer hoist with his own
petard and show it shall go hard.
But I will delve one yard below their minds and blow them at the

(01:53:07):
moon.
Tis most sweet when in one line two
crafts directly meet.

>> Max (01:53:17):
This man shall set me packing.
I'll, lug the guts into the neighbor room,
Mother. Good night. Indeed,
this counselor is now most still,
most secret and most grave.

Who was in life a foolish prating
knave. Come, sir,
to draw toward an end with you.

>> Max (01:53:42):
Good night, mother.

Okay, I'm gonna stop talking because it's after
10.
Hey, guys. Great session. M. Yeah,
this. Nathan, I gotta tell you, man, I don't know where you found
this Shakespeare dude, but he's pretty good.

(01:54:11):
Well, and it's very, you know, it's very cool to listen
from a very different, you know, as you guys are
taking a very different approach with the text. It's. It. It
just. It's just another fascinating
conversation to be kind, of
witness to. so it. It just,
makes the play kind of come alive in a very different way
than. Than it would under normal circumstances. And

(01:54:34):
it's still a very interesting play to dive into, but just to hear
the back and forth, forth and all the discussion of what each
Hamlet is thinking or doing or, you know, how they're
interrelating. Yeah, it's great. Good stuff.
What?
Cool. Well, Cassie,
hope you're feeling better. No need to come on camera, but,

(01:54:55):
you know, hope you feel better.

>> Cassie (01:54:56):
Glad to speak some verse with all of you beautiful people.

>> Max (01:55:00):
Thank you for your help in your research.

And Max, I hope your tomorrow is much better than your
today.

>> Max (01:55:08):
Thank you.

and, let's see. Your. Your Gertrude will be back next
week. it is very possible I, I'm not going
to be able to be on the call next week. But you
guys know what you're doing. you don't really need me to
be here to do, the work you're doing, so it works out
perfectly. And you, get host,
capabilities. Right? I will. Yeah.
I'll look into, like, how I can kind of set that up before

(01:55:33):
the meeting, so that you can
possibly. Possibly. I won't be able to be on the call,
but there's also, like, a host key. I'll figure out
technically how to. How to make that happen. but, yeah, I
think that's, That's it. So I hope you guys all have a great
week. Okay.

>> Max (01:55:51):
Thank you.

See you next Tuesday. And not in an offensive way.
All right. Good night. All right.

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Hamlet (3.4), Week 2: "The Price of Truth" - Confronting Gertrude | The Rehearsal Room

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Hamlet (3.4), Week 2: "The Price of Truth" - Confronting Gertrude | The Rehearsal Room