Act I, scene ii; lines 87-117This scene is an excellent example of Shakespeare's ability to create a sense of duality throughout Hamlet. Many characters in the work have two (or even three!) faces, and the King belongs to this category. There is a wide range of tones displayed in the King's rhetoric in Hamlet, whose style includes blank verse and iambic pentameter. While he is initially compassionate and understanding, readers who know the story will not be fooled, and those who have been paying attention to the Ghost (even if he hasn't said anything yet) will certainly be suspicious. It is more likely that the king is trying to gain a favorable public opinion of himself by “tending” to his stepson. The king's tone quickly changes to admonition, letting Hamlet know in no uncertain terms that he needs to get over his father's death, the sooner the better, especially since he is next in line to the throne (the king's metonym for govern). Again, he doesn't do this in an overly harsh manner, instead trying to imitate a father's instructions to his son. This paints a very accurate picture of the king's character and is indicative of what his behavior will be like for the rest of the play: outwardly "benevolent", inwardly malevolent. Again, Shakespeare maintains a constant use of assonance and consonance. . He gives the use of iambic pentameter, which is more formal, to the nobles in his stories. He also gives the traitor king the use of the serpentine consonance: “(…in filial obligation for some term)/ to make obsequious pain. But to persevere / in obstinate mourning is a conduct / of impious stubbornness” (I.ii.91-94). Act I, scene I; lines 165-173These lines show Shakespeare's ability to bu...... center of the card......s King Claudius hides behind the tapestry and runs his sword through it and Polonius. If he had been the King, he would have died. Instead, it is Polonius who falls, and in his anger, Hamlet becomes callous with contempt for the man. The queen complains about this action, and Hamlet openly accuses her of plotting with the king to kill his father. Since she is incredulous at this statement, he promises that he will "break her heart" (III.iv.35) in hopes of making her understand the gravity of his crime, and hopefully also make her feel a sense of guilt. To keep up with In this scene, Shakespeare rid us of consonances and assonances to provide a faster pace (instead of waiting until the end of each line to rhyme). In particular, he gives the Queen softer rhymes with more assonance, and Hamlet makes use of sharp consonances and a harsher rhythm, to demonstrate their respective emotional states..