Gilgamesh, Persepolis and Hamlet: Exam Paper

Upon arrival, Enkidu wimps out and says “Do not go down into the forest; when i opened the gate my hand lost its strength.” (76), to which Gilgamesh replies, “ Dear friend, do not speak like a coward. Have we got the better of so many dangers and travelled so far, to turn back at last?” (76-77). This dialogue between the two friends shows the huge difference in their personalities and highlights Enkidu’s cowardice and tentativeness and Gilgamesh’s bravery and strong will.

Some explain Hamlet 's mysterious hesitancy as a result of the Oedipus complex. One might think that Hamlet continually postpones the act of vengeance against Claudius because of the overly confused psychodynamic situation in which he finds himself. Although he hates his uncle, at the same time he unconsciously identifies with him, for having killed his father and having married his mother. Claudius has fulfilled the frustrated desires of Hamlet. However, from the beginning of the play there is an essential element that marks an important difference between Hamlet and Oedipus, which brings with it certain effects in the clinical analysis.

The archetype of the Hero’s Journey holds a prevalent pattern in the works of “Initiation” by Sylvia Plath, “A & P” by John Updike, and “Everyday Use” by Alice Walker. These works all follow the 17 stages of Joseph Campbell’s Monomyth which are separated in three stages; separation, initiation, and return. The main characters have different characterizations; however, they all follow the basic structure of the Hero’s journey archetype. There are many similarities and differences between the stages that are shown through many context clues and literary devices in each work. The Hero’s Journey archetype expressed in these literary works follow a similar and direct narrative pattern.

Thesis Statement: The origin of Ophelia’s madness is rendered through examination of her relationships with her father Polonius, her brother, Laertes, and her lover Hamlet.

Ophelia was such an innocent character. She was young and naïve. Ophelia was faced with many dilemmas. She was in a relationship with Prince Hamlet, who was very distracted and eventually went mad himself. Ophelia’s madness started with an overbearing, over protective father. He controlled Ophelia and used her with out thinking of her feelings, “I must tell you, you do not understand yourself so clearly…What is

   Poor Ophelia, she lost her lover, her father, her mind, and, posthumously, her brother. Ophelia is the only truly innocent victim in Hamlet. This essay will examine Ophelia's downward spiral from a chaste maiden to nervous wreck.

Ophelia started acted insane when Hamlet frantically ran up to her, grabbed her arms and shook her because he had seen the ghost of King Hamlet. “He took me by the wrist and held me hard. Then goes he to the length of all his arm, And, with his other hand thus o’er his brow, He falls to such perusal of my face As he would draw it. Long stayed he so. At last, a little shaking of mine arm, And thrice his head thus waving up and down,  He raised a sigh so piteous and profound As it did seem to

Rothman expresses that “Freud thought that prudery and denial had for centuries prevented critics from acknowledging the play’s propulsive undercurrent, which, he believed, the new psychoanalytic vocabulary made it possible to acknowledge. “The conflict in ‘Hamlet’ is so effectively concealed,” he wrote, “that it was left to me to unearth it” (Rothman 5). However, it is important to note that although this literary analysis and theology is a valid breakthrough in how one views and acknowledges Hamlet, it is by no means an all-explanatory guide to the soul existence that is Hamlet. Rothman mistakes the Oedipus Complex (Freud theology regarding Hamlet) as the root of the play, arguing “the Oedipus complex provides the definitive interpretation of ‘Hamlet”. It is naive and arrogant to assume one definitive analysis technique (in this case psychoanalysis) as the majority of the play; in reality, it is the infinite number of analyzations spoken about by an infinite number of critics that make up the true meaning of Hamlet. In simpler terms, the true meaning is the decades of diversely collective thoughts, analysis, and ideas presented as the play’s

Ophelia’s role in Hamlet is a very tragic one, because in all honesty, she was one of the most innocent characters of them all. She loved her father dearly, but he was taken away from her by complete accident. As Ophelia’s story progressed, her composure slowly started slipping away from her when she sang to Gertrude and Claudius about her father’s death and starts taking off her clothes (Act 4, scene v). When

The first principle of human nature is self preservation: the natural instinct to protect oneself physically and stay away from danger. In the tragedy, Hamlet, Prince of Denmark, Shakespeare brings new light to the idea of desire to maintain a sense of self,in a deeper more complex aspect of the term. As the play Hamlet delves into severe moral issues such as death and betrayal, Shakespeare demonstrates the importance of establishing a sense of self. The character of Ophelia is often dismissed as a flat, static character. However, through in-depth analysis of her struggles and fate, Ophelia’s as despair and tragedy can ultimately be traced back to one source: her lack of understanding and stability in selfhood. Throughout the play, it is clear that self-preservation plays a critical role in protecting one's identity and values when individuals respond to competing demands; because when the ability to chose is taken away, an individual loses the clarity and sense of purpose from selfhood.

In The Tragedy of Hamlet, Shakespeare developed the story of prince Hamlet, and the murder of his father by the king's brother, Claudius. Hamlet reacted to this event with an internal battle that harmed everyone around him. Ophelia was the character most greatly impacted by Hamlet's feigned and real madness - she first lost her father, her sanity, and then her life. Ophelia, obedient, weak-willed, and no feminist role model, deserves the most pity of any character in the play.

Throughout William Shakespeare's Hamlet, Shakespeare portrays Hamlet with the same types of behaviors and frustrations in humans that Sigmund Freud saw at a much later date. When the relationship between Hamlet and his mother is analyzed Freud's oedipal complex theory comes to mind. The oedipal complex is a theory created by Freud that states that "The child takes both of its parents, and more particularly one of them, as the object of its erotic wishes."(51) Because of this desire to be with the parent of the opposite sex, a rivalry is formed with the parent of the same sex. In the play, Hamlet shows great hostility toward his uncle Claudius because his mother's remarriage to him. Hamlet sees his mother's remarriage as disgusting

Many literary critics have presented theories on the meaning of William Shakespeare's Hamlet, ranging from claims of Oedipal Complexes to insinuations of homosexuality. Though most such interpretations can be considered true at some level, there seems to be some basic theme - some driving force - that underlies all other interpretations.

1) Ophelia thought that she was seeing Hamlet come back from Hell since he was dressed so inappropriately and is now questioning his love for her. Her father thinks that he is deeply in love with her, but the audience knows that Hamlet has just visited the ghost of his father and is now pretending to be insane since he is plotting for revenge.

The Epic of Gilgamesh, a Mesopotamian epic poem with no known author, is the story of the brute King of Uruk, Gilgamesh, who was two-thirds divine and one-third human, which teaches readers the unstoppable force of death, the wrath of the gods, and also the power of friendship, which are illustrated to readers through the characters journeys, and those encountered along the way. The poem, which is divided into twelve tablets, starts off with Gilgamesh being a vicious tyrant, one who “would leave no son to his father… no girl to her mother”(Gilgamesh 101), and as for newly married couples “was to join with the girl that night”(Gilgamesh 109) transitions to by the end of the story an entirely new man.