Grotesque Nature Of Man In Shakespeare's Hamlet

Hamlet’s determination and addiction for revenge is confirmed when he is willing to sacrifice his entrance to heaven by separating from his values and beliefs. Initially, Hamlet wishes “that this too too sullied flesh would melt, thaw, and resolve itself into a dew!” He is contemplating suicide as a result of his father’s death and his mother’s haste in remarrying to his father’s brother, Claudius. However, Hamlet brushes off this idea as an option by saying, “Or that the Everlasting had not fixed his canon ‘gainst self-slaughter! Oh, God, God” This portrays the religious beliefs of Hamlet at the time. He wishes suicide was not a sin. However, since it is, he cannot commit it. Similarly, Hamlet also shows his beliefs and values when the Ghost shares his story and then commands Hamlet to avenge his death.

In act one scene two, the audience sees Hamlet for the first time as a distraught man who has just lost his father and is in a state of confusion and anger over his mother’s new marriage. In this scene he gave his first soliloquy which gave the audience a clearer view of Hamlet’s mind. He began the soliloquy by wishing that his flesh could melt away or that God had not made suicide a mortal sin. In lines 136 to 137 Hamlet said, “ O God, God, / How weary, stale, flat, and

In Hamlet deceiving illusions are frequently used to protect truth from being a destructive force. Situations within acts one and two that appear to be true and honest are really contaminated with evil. Various characters within the first two acts hide behind masks of corruption. In the first two acts most characters presented seem to be good and honest making it a complex task for Hamlet to discover all the lies that have hidden objectives within them.

Hamlets contemplation of ending his life shows an inward conflict within himself. In his first soliloquy, he debates whether he should commit suicide. "To be, or not to be- / that is the question: / whether 'tis nobler in the mind to suffer/ the slings and arrows of outrageous fortune, / or to take arms against a sea of troubles and by opposing, end them" (3.1. lines 64-68 Shakespeare). He questions why he should live with all of this chaos but overcomes this internal conflict because he acknowledges that in his religion suicide is a sin. “O, that this too, too sullied flesh would melt, / Thaw, and resolve itself into a dew, / or that the everlasting had not fixed His canon 'gainst (self-slaughter). O God! God!” (1.2. lines 133-136 Shakespeare). This soliloquy signifies the reality of Hamlet s internal conflict and also shows the reality of his external conflict with the society he is surrounded by. This declamation establishes

Hamlet’s first soliloquy comes in act one scene two, as Hamlet reflects on the current state of events. The chief focus of this soliloquy is essentially the rottenness of the king, queen and the world in general. In this passage the reader is introduced to Hamlet pseudo-obsession with death and suicide, which later will become a chief point of indecision. In this particular speech, however, Hamlet is fairly confident. He wishes that his “too too sullied flesh would melt”

When we’re first introduced to Hamlet in Act 1 Scene 2 we learn two things about his current temperament, he’s disgusted with everything in the earth and he wants to “resolve into a dew,” (1.2.130) or rather, evaporate out of the earth. Hamlet comments on the grotesque nature of man by using biblical language when he says, “O, that this too too sullied flesh would melt and resolve itself into a dew” (1.2.129-130). Recognizing the sinful body and nature of man, Hamlet wishes that his own body would just disappear into oblivion. The word flesh conjures a biblical context that he extends in the rest of the speech. This theme is continued when Hamlet wishes he could kill himself, but alas, God has made it a sin (1.2.131-132). This confirms that Hamlet desires death. However, we also learn that at the moment he

“O, that this too too solid flesh would melt, / Thaw, and resolve itself into a dew, / Or that the Everlasting had not fixed / His canon 'gainst self-slaughter. O God, God, / How weary, stale, flat, and unprofitable / Seem to me all the uses of this world! (Hamlet. 1.2.129-34)

A father murdered by a madman: this fate is suffered by two characters in Shakespeare Hamlet, though their actions and decisions subsequent to the malefaction set them apart. Hamlet, prince of Denmark, and Laertes, son of the king’s courtier, are both burden by the need to avenge the death of their fathers. They share an ambition for justice, a desire to draw blood of those who have greatly wronged them. Hamlet creates an elaborate plan to reveal the true nature of Claudius, his father’s slayer, and take his execution into his own hands. Laertes seeks to snuff Hamlet after learning that his father has been stabbed and killed by the very man. Such belike situations faced by two men whose character could not be more different from one another.

Logic is man 's most valuable asset; it is what pushed humanity past other species and helped develop humankind into what it is today. Without such logic and reasoning, humanity would not have evolved into the strongest and most powerful beings alive. It is what has enabled us to dominate the world, create civilization, unlock the secrets of the universe through math and science and reveal the true nature of man through art. One of art’s most beloved benefactors, William Shakespeare, crafted his most famous character, Hamlet, to be the living embodiment of this God-given reason. However, we learn throughout Hamlet’s eponymous play the irony in the

The speech opens with Hamlet’s suicidal desires. “O that this too too sullied flesh would melt” (p.15, 1.2.129) indicates Hamlet’s typical lack of action-he wants to become dead, rather than to kill himself. The distinction between wanting to commit suicide versus committing suicide is a common line of thinking with clinically depressed people. It also doesn’t invalidate or dismiss the existence of his troublesome emotions. This is the first time suicide is discussed in Hamlet, and certainly not the last. “Too sullied flesh”, also in line 129, emphasizes Hamlet’s self-hatred, but it is also possible he is talking about the existence of man as a whole.

William Shakespeare pessimistically argues in his tragic play, Hamlet, that humans’ evil predisposition towards disingenuity leads to the degeneration of the individual due to the severance of relationships and the demise of self-respect. According to Shakespeare, human nature is such that humans misdirect, scheme against, or outright lie to others to further self-serving ends that ultimately do more harm than good. Throughout the play, Shakespeare employs contrasts and metaphors to demonstrate how dishonesty destroys trust and results in the demise of vital human connections with both family and friends. When individuals use deception to satisfy selfish desires, Shakespeare argues that this results in the death of an individual’s peace of mind. He uses personification of the soul and condemning diction to depict how duplicitous practices result in oppressive guilt.

William Shakespeare has written numerous plays, and of those, Hamlet encompasses characters that stretch complexity to the utmost, such as the protagonist, Hamlet, himself. Many Shakespeare critics would say Hamlet does not fit the definition of a tragic hero; however, Hamlet did not deserve the death of his beloved father, whose ghost ordered for Hamlet to avenge him with the stipulation that he could rest peacefully. Hamlet’s father is murdered by Hamlet’s uncle, Claudius, who also marries Queen Gertrude, now a widow. After his father dies, Gertrude, Hamlet’s mother, and Claudius, now take the throne as Queen and King of Denmark (1.5.23-28). In an analysis titled Tragic Flaw in Shakespeare’s Hamlet written by

Most significantly though, is some absolute contrasts displayed here with Hamlet earlier on and with his first soliloquy. He declares all the ‘books’, ‘forms’ and ‘pressures’ of his childhood and education as ‘baser matter’ despite having desired to go back to study at Wittenberg beforehand. Hamlet makes it clear that ‘[the Ghosts] commandment all alone shall live within the book and volume of [his] brain’ (the alliteration of ‘book’ and ‘brain’ adding a pronounced determination to his tone), the religious allusions presenting a complete displacement from the humanistic Christian values expressed in his comments on ‘the Everlasting’ fixing his ‘canon ‘gainst self-slaughter’ in his first soliloquy, where he also condemns his flesh as ‘too too solid’, the same ‘sinews’ that he now calls upon to ‘bear [him] stiffly up’.

Throughout ‘Hamlet’ we have the images of death, decay, rottenness, and corruption embedded in the story. The imagery that Shakespeare uses in hamlet relates directly with the plots of the play perfectly. The corruptions images are illuminated in the beginning with Claudius own actions. The characters use metaphors of disease in the connection to sickness and rottenness. Within “Hamlet”, Shakespeare makes a number of references to Denmark 's tainted state due to the deceitfulness that lies within. Shakespeare uses death and decay to exemplify the death of the characters, and the decay of these characters that comes with those deaths, as well as the decay and death of morals and the death and decay that comes of political corruption of the government of Denmark. Denmark is repeatedly defined as a physical body made ill by the moral corruption of Claudius. They don 't know that Claudius isn 't legitimate throughout the play; characters draw clear links between the moral lawfulness of a ruler and the health of the nation. Rosencrantz and Guildenstern state their beliefs that health of a country is tied to the legitimacy of the King. Because death and decay are so prevalent throughout Hamlet, it could be said that Shakespeare intended for them to be a major theme.

If one wants to truly understand the psychological implications of William Shakespeare's Hamlet, the primary focus should be on the character Hamlet, and how he develops and modifies throughout the play. Using the fundamentals of the psychoanalytic perspective of critical evaluation, one would be able to truly identify and explore the true nature of Hamlet, and the effects that his character has on the situation surrounding him. In order to gain a true understanding of most of the detail that is implied through Hamlet's way of portraying himself to others, it is vital to look deep into the actions that are carried out, and analyze them psychoanalytically.