The Staging of Play

At the staging of play, the author employs a clever use of the stage as the play shows that midnight is setting in at Elsinore Castle in Denmark inside the palace of King Claudius by the Danish seaport (p1:1-2) when opening the scene. The first scene of the play opens and instantaneously leads to the issue of love that is a key theme in the play. According to evidence, Shakespeare, cleverly applies the use of poetic devices like shadow, color blush and light to build up his story in the play. In the staging, the author also employs the use of poetic content when he presents the dukes’ opening speech that is full of similes, metaphor, synthesia and puns to depict the unusual temperament of love.

Sound / music silence, winds, drum roll

Throughout the play the devices of sound like music, winds and drum roll are evident in the opening remarks of the monarch as they hold suspense to audience who are seen waiting for the king. Besides, the suspense continues, when he observes that if music is food of love then let it be served through playing. Bernardo an officer of guard ‘Have you heard a quiet guard? To which Francisco who is a guard replies with respect ‘Not even a mouse stirring’ (p2.10).  This is a clear directive that the person acting should provide music to the Duke as assign of respect and honor. He continues to explore that uniqueness by asking for more of that music in order to manage the thirst of love. Another use of metaphor during staging can be noted when the monarch demands that he be served with music that is similar to food and vital to him. Later in the scene one can note the remarks of the Duke of Edinburgh, as directly addressing the “spirit of love,” in his metaphoric use of falconry to indicate and express the degree of true love. In his observation it is true to opine that one does not need to be a huntsman in order to acknowledge the thought that the author is conveying in the play. In using the wind, the play write consider that the sky is like a broad and spacious place and that falcons can go to great levels while flying.

The aroma of the late king’s perfume

In the play Marcellus queries the aroma ‘is it not like the king?’ (p3:58). In scene one of act one, Shakespeare aroma includes various profusion or in a geometric layout. This can be noted in amenities like walkways and weather resistant portrait of Shakespeare and benches in the palace. “Suddenly, dismissing Horatio's doubts, the terror ghost enters in total armor. The warlike ghost wears its beaver raised and bears a truncheon in its fist. Fear struck, Horatio, Marcellus and Barnardo recognize that the armored ghost closely bear a resemblance to the recently late King Hamlet. Horatio speaks to the spirit, but the phantom tracks away quiet. Due to the raised spirit of King Hamlet, Horatio warns the guards that "‘this bodes some strange eruption to our state.'(1.1.85)

Air temperature

In the play temperature has well been used to indicate suspense and fear because when the ghost comes in the with spread hands the air becomes cold from the air condition makes the room exceptionally cold and the audience chills. As indicated in Act 1, Scene 1, line 68 during this different temperature spell Horatio pleads with the ghost as the sentinels attempt to stop it with useless blows. And finally, when the crowing rooster signals that daybreak is approaching, the armored spirit quickly withdraws. And the temperature goes back to normal

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Tone of voice of Horatio

The tone of voice of actors in the play like that of Bernardo is immersed in fear. There are also incidences of confidence like that of Horatio (p3:45). This fluctuation can be found as Bernardo asks Horatio to come to his aid. For instance, in Act One of Scene One the tone of voice of Horatio invokes knowledge in the audience that the set up is that of parliament when he authoritatively asks ‘who is there? To which answers ‘me’ in fear because Francisco is the sentry and friend to the monarchy. Besides, the arguments engaged in also evidently indicate that the people involved are of high regard since Bernardo speaks when the ghost appears ‘in the same figure, like the king that is dead (p2:40). In the use of tone of voice Warwick starts the imagery by saying “before I see the seated in that throne, which now the houses of Lancaster usurps, I vow by heaven these eyes shall never close”.

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