Hamlet Reuleaux Tetrahedron Analysis

Franco Zefferelli’s film, Hamlet, adapted from Shakespeare’s text, Mel Gibson’s Hamlet, struts and frets his life in Denmark, convincing almost everyone that he is “mad.” The film bases the question of whether or not Hamlet is actually insane almost solely on Gibson’s acting interpretations, but Zefferelli’s editing choices assist in making the point that Hamlet is not insane, but either in a fog of confusion and anger from his grief, or pretending to be mad to manipulate others.

His reason, however, is to end the threat of his own life. Once the king and queen realize this remedy they quickly act to use it by persuading Ophelia to talk to Hamlet. In this Scene, true madness comes into play. Once Ophelia meets Hamlet and speaks with him Hamlet realizes that his mother and stepfather are aware of this love and might use this to end his threat. Hamlet must end their thoughts of using Ophelia to rid him of his condition. To do this he must destroy all the current feelings Ophelia has for him and he does so very well, perhaps too well.

In William Shakespeare’s Hamlet there are many unanswered questions such as if Hamlet is really mad or if it is just an act. There are many film adaptations which use their movie elements in order to hint towards the answer of these questions. In Gregory Doran’s film interpretation Hamlet starring David Tennant, David Tennant truly shows the raw emotions of Hamlet. He shows how Hamlet feels through his movements and facial expressions. These little things allow the viewer to see the true meaning and intention behind Hamlet’s words.

Ophelia is also put forth as a foil to Lord Hamlet. Before the events of the play unravel Ophelia, whom is the daughter of Polonius and sister of Laertes, gives us traits of Hamlet She reveals that he was a model courtier and scholar, “The glass of fashion and the mould of form, Th’ observed of all observers.” Ophelia also offers another dimension to the story, the love interest. They both love each other, even though it may seem that this love is not a legitimate one too many seeing as how Hamlet was going crazy. Or so it seemed, yet again she brings out information to us, that Hamlet was not nuts but just enraged.

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

       Hamlet is organized around various pairs of opposing forces. One of these forces is the difference between that what seems and that which actually is, in other words, appearance versus reality. What is, and what merely appears to be? We can discern two principal angles from which this question is approached in Hamlet. First, we have the angle of inward and outward emotions, and the profound distinction that is drawn between them. In other words, the tranquil face that we all show to the world is never the same as the turmoil of our souls. In Hamlet, Shakespeare explores this both explicitly, through the device of the play within the play, and implicitly, through the ways in which he uses

In Shakespeare’s Hamlet, Prince Hamlet serves as one of the most multi-faceted characters in the entire play with critics often deeming his personality “paradoxical”. Ultimately, Hamlet provides the audience with the epitomy of internal contrast and instability by rapidly transitioning through periods of caution and rash action, introversion and extroversion and calculation and spontaneity.

Shakespeare’s play, Hamlet, begins with the appearance of a ghost, an apparition, possibly a hallucination. Thus, from the beginning, Shakespeare presents the air of uncertainty, of the unnatural, which drives the action of the play and develops in the protagonist as a struggle to clarify what only seems to be absolute and what is actually reality. Hamlet's mind, therefore, becomes the central force of the play, choosing the direction of the conflict by his decisions regarding his revenge and defining the outcome.

Hamlet’s insanity can be thought of as a tragedy or misconception of reality. The death of his father had shaped the first few impressions of his own persona as well as a new experience with his new aunt. As  a result of his genius insanity prince Hamlet has devised a plan to make things more clear to the audience. “Hamlet’s behavior strikes the audience as abnormal on  several occasions. For example, Hamlet seems to be really mad when he is in front of Ophelia in disordered clothes. He behaves as if he had been loosed out of hell to speak of the horror”.  As the progress of the play foreshadows a significant end to his insanity that he acts upon.  As the play progresses throughout, Hamlet finds ways in order to give others the impression that he has lost his sanity from his “love” of Polonius’s daughter Ophelia. “(Ophelia)He grabbed me by the wrist and held me hard, then backed away an arm’s length and just looked at me, staring at me like an artist about to paint my

This light-hearted scene, depicting a rather normal family, is placed directly before Hamlet's confrontation with his father's ghost, which is highly dramatic and very intense.  By preceding this confrontation with a scene as light and fluffy as the one between Ophelia and her father, Shakespeare heightens the intensity of Hamlet's later scene. One is struck immediately by the contrast between the two fathers, as well as the two relationships. Ophelia loves her father dearly, apparently oblivious to the fact that he is a total fool; he gives her advice which unknowingly will lead to her death. Hamlet also loves his father with all his being; his father is not a fool, but the knowledge he imparts to Hamlet begins a long chain of events that will result in Hamlet's death as well. In this case the silly scene with Polonius, in addition to giving audience a well-deserved spell of

Branaugh interpreted Hamlet as a man placed in difficult circumstances, trying to outwit perpetual scheming and sort out what his plan of action should be. He believed that Hamlet’s fatal flaw was his over thinking. The message of his father’s ghost “to avenge his most foul and unnatural murder” (Shakespeare 1.5.25) presses Hamlet’s intellect to its limits. Hamlet wants to do the right thing. The suspense is in trying to decide right from wrong. Hamlet despite wishing to avoid the “morally repulsive action” (Aichinger, par 4) of revenge, he feels the duty to avenge his father’s death. As Foster says, “Hamlet has, after all, been a student of theology at Wittenberg, and his knowledge complicates the situation (Foster, par. 14). Hamlet’s environment is one filled with secrecy and subterfuge and Branaugh uses imagery to convey this sense. The imagery he uses includes black and white tiled floors that create the illusion of a chess board. Chess is a game of strategy and cunning that reflects the deceit and strategy that are so prevalent around Hamlet. There are many two way mirrors and hidden passages, and some doors are even disguised as bookshelves. In the film we see the King

Throughout the entirety of Hamlet, Shakespeare is able to showcase his prowess as a writer by creating a truly three dimensional character. Hamlet’s series of self-directed philosophical debates, consisting almost entirely of abstractions, reveal his thought process. Relative to the play as a whole, the final soliloquy of Act 4, Scene 4 holds immense significance as it is a climax of Hamlet’s subconscious realizations evolving into a level of self awareness. The passage is also relevant within itself as it contains acute diction and seamless transitioning from contemplative philosophical reflection to ardent will for action, maintaining its importance on both a macro and micro level.

Hamlet is a young man who has become crazy from his trials and tribulations in life. He lost his father due to his uncle murdering them and then had to watch his mother marry the killer. Hamlets insanity can be demonstrated by his crude language and disregard for the well being of his mother. It can also be shown by his depression, which causes him to second guess everything including his life and finally his love, Ophelia helps to justify his absurdness by acting as a mirror. His foolish behavior worries many in the kingdom and creates a hostile and paranoid environment for those around. While some in the castle may believe that Hamlet is putting on an act, he proves that he is mad through his violet actions, his mental health and Ophelia.

William Shakespeare’s Hamlet, is a timeless play which continues to remain relevant across all generations due to its presentation of ideas that are fundamental to humanity. The play highlights aspects that relate to the society of not only Elizabethan England but also that of our modern society. Hamlet, as a character, considers ideas from outside his time and is somewhat relatable to modern day man. By drawing from ideas of archetypes and the human psyche, it reveals that Hamlet relates deeply to the elements of humanity.

Believed to have been written between 1599 and 1601, Shakespeare’s Hamlet is still globally studied and analyzed today. Along with personal reflections and countless interpretations of the piece, thousands of pieces of artwork have been created based on the play. To me, the three pieces that most accurately depict the ideas and events within the play are Nicolai Abraham Abildgaard’s Hamlet and His Mother Seeing His Father 's Ghost, Paul Albert Steck’s Ophelia, and Benjamin West’s Ophelia and Laertes. In the following essay, I will be describing the media and creation of the artwork itself as well as the accuracy each piece entails.