Inner Motives And Inner Beliefs In Shakespeare's Hamlet

Throughout the play, Hamlet’s character is characterized both by periods of extreme caution and moments of impulsivity. One of the best examples of Hamlet’s heed can be found in Act 2, Scene 2 where he decides to have his theatre troupe perform his play, The Mousetrap. With this, Hamlet hopes that he will be able to “catch the conscience of the King,” by monitoring Claudius during the performance, that heavily mimics his murder of his brother, for signs of stress and guilt. While Hamlet was fully capable of bypassing this step by simply adhering to what he believes is the ghost of his father, Hamlet’s decision to unearth some sort of evidence that supports his father’s accusations is just one example of his cautious ways and need for certainty before action. However, such displays of caution find themselves juxtaposed with Hamlet’s bouts of impulsivity. One of the most telling illustrations of Hamlet’s rashness can be found in Act One, Scene Five, where he first conversing with the ghost of his father. Here, when the Ghost asks Hamlet to “revenge his foul and most unnatural murder,” Hamlet immediately agrees. In fact, within the next few lines Hamlet pledges he will “sweep to my revenge” with “wings as swift as meditation or the thoughts of love”. The fact that Hamlet coins this commitment to avenge his father’s murder without making much of any consideration of the possible repercussions of such an undertaking is one of the best representations of Hamlet’s impulsivity. This rash action, marked by a lack of extended over-analysis and internal debate, contrasts with the excessive caution Hamlet exhibits at many other points throughout the play. Ultimately, the interplay between Hamlet’s caution and impulsivity is one of the most notable juxtapositions of the play and serves to strongly steer the development, not only of

In William Shakespeare’s play, Hamlet, the playwright introduces the compelling, complex, and complicated character of the Prince of Denmark, Hamlet. In the events of the play, Hamlet swears revenge against his uncle for the foul murder of his father, the king. However, despite his intense catalyst, Hamlet reveals to be continuously torn between his motive of revenge and conflicted conscience, generating an inability to carry out his desired actions. While Hamlet possesses the passion and intellect to murder his uncle, Claudius, his actual inclination to act upon the murder directly opposes that of his powerfully emotional contemplations (S.T. Coleridge). Hamlet’s overzealous thoughts become unrealistic compared to his actual endeavors throughout the play.

“To be, or not to be, that is the question,” (3.1.64). This famous line in William Shakespeare's Hamlet perfectly encapsulates Hamlet’s internal struggle throughout the play. Hamlet tells the story of the young prince of Denmark and his desire for revenge on the uncle, Claudius, who murdered his father. As is the case in many works of literature, Hamlet changes greatly throughout the play. However, because of his attempts to act insane, it can be difficult to precisely map the changes in Hamlet’s character. By carefully investigating his seven soliloquies, where he is alone and has no need to “put on an antic disposition,” one can understand and interpret how Hamlet’s character develops throughout the play.

King Claudius expresses, “Welcome, dear Rosencrantz and Guildenstern. Moreover that we much did long to see you, the need we have to use you did provoke our hasty sending.” (2.2.1-4) He addresses them in what is seemingly a sincere manner, proclaiming the supposed yearning he has had. However, these so-called sincere actions towards Hamlet’s childhood friends are just to convince them to take on the role of spying on Hamlet’s actions and reporting them back to Gertrude and Claudius. He continues to mask his true motives by saying, “To draw him on to pleasures and to gather...you may glean..to us unknown, afflicts him thus that, opened, lies within our remedy.” (2.2.15-19) King Claudius’ choice of words convey an inkling to the audience that he cares for Hamlet because of how he expresses his need to find out Hamlet’s condition, and fix it. This also presents Gertrude with the idea that Claudius has Hamlet’s best interests at heart. This, in King Claudius’ favor, solidifies his honorable, yet selfless stature with his contriving

Hamlet is as much a story of emotional conflict, paranoia, and self-doubt as it is one of revenge and tragedy. The protagonist, Prince Hamlet of Denmark, is instructed by his slain father’s ghost to enact vengeance upon his uncle Claudius, whose treacherous murder of Hamlet’s father gave way to his rise to power. Overcome by anguish and obligation to avenge his father’s death, Hamlet ultimately commits a number of killings throughout the story. However, we are not to view the character Hamlet as a sick individual, but rather one who has been victimized by his own circumstances.

Characters may possess both the ability to intrigue whilst maintaining a commonplace and dry persona, essentially, Hamlet attains the ability to break from his compulsion to abject based on the inept character(s) of Rosencrantz and Guildenstern. In retrospect, Rosencrantz and Guildenstern are the same person as they are sparsely differentiated and never are they seen apart from one another—thus the question remains as to why Shakespeare created such characters based on the same superficial mould. Rosencrantz and Guildenstern prove to be a clever satire of the capacity for human conformity, and of course the entirety of their characters is summed upon their agreement to spy on Hamlet for King Claudius. Therein is revealed the essential flaw of Rosencrantz and Guildenstern, their otherwise ‘pack’-mentality.

A lot of people would see insanity and corruption to play the most important role in Hamlet. However, other people may argue that the main theme in Hamlet is Shakespeare’s use of actors and acting and the way it is used as framework on which insanity and corruption are built. Shakespeare demonstrates the theme of actors and acting in his characters, the illusion that the individuals assume and the introduction of the ‘play within a play’. This connection allows certain characters to wield the actions and thoughts of others.

Hamlet seems obsessed with the concept of death. Along with his slipping sanity Hamlet is not able to find any hard evidence making him act rash where he stages a play to make his own evidence. Claudius seems to suspect Hamlet because of Hamlet’s plan to be mad with love and sends two former friends of Hamlet to spy on him. Hamlet believes he is in control though when he tells them, “I do not well understand that. Will you play upon this pipe” (III.ii.313). Hamlet realizes what Guildenstern and Rosencrantz are up to and tells them nothing. Feeling that his uncle s up to him, Hamlet uses the play to judge Claudius’s reaction and proceed from there. This scene could be considered the climax of the play where Hamlet knows for sure Claudius killed the late king and Claudius knows Hamlet knows. This scene might seem like Hamlet’s actions caused the mistake, but Hamlet’s inability to confront his uncle makes Hamlet to act with hesitation. The cause of Hamlet’s losing sanity is the king. Claudius seems to be the origin point for almost all of Hamlet’s problems: his dead father, his faithless mother, and the target for a revenge plan he do seems hesitant on. Even when Hamlet confirms the fact that Claudius killed his father, Hamlet does not act fast with a murder plan. It seems that Hamlet wants to avenge his father, but he does not want to murder for there

Hamlet’s antic disposition made other characters oblivious to Hamlet’s true intentions. The cruelty that came out of Hamlet sprouted from a melancholy from separation of him and his loved ones because of his madness. Hamlet’s also reveals his true self to others so they can aid them in his journey and to himself to contemplate what his life really means. Hamlet tried to use his personas to rectify his father’s death but because of his constant inability to act he unintendedly causes that deaths of others who are

The two of them share a common flaw. They both care only about their own advancement, and are willing to spy on and betray Hamlet in order to stay in the king’s favor. Despite the fact that they both claim to be Hamlet’s friends, they barely hesitate to accept the tasks the king sets before them. Hamlet knows that they possess this trait. He recognizes that they have been spying on him and trying to trick him. In a conversation prior to his confrontation of his mother, he tells Guildenstern, “’Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me” (Act III, scene ii). This statement shows his recognition of their actions and points out their disloyalty to him. Later, when, in conversation with Hamlet, Rosencrantz asks, “Take me for a sponge, my lord?” Hamlet replies, “Ay, sir, that soaks up the King’s countenance, his rewards, his authorities” (Act IV, scene ii). With this response, the two men’s willingness to disregard morals in favor of material gain is presented to the audience. Rosencrantz and Guildenstern’s eventual deaths are caused by their greed and their desire to be in the king’s good favor. They are taking Hamlet to be executed, and they don’t question the order. When they go to their deaths, Hamlet remarks to Horatio, “Why, Man, they did make love to this employment” (Act V, scene ii). They are no longer

In doing so, one will come to the conclusion that Hamlet is driven by forces other than what is obvious to the reader, as well as Hamlet himself. Given this example, one must denounce the assumption that Hamlet is aware of the forces that motivate him, and understand that Hamlet’s true motivation is unconscious This unconscious force is the true reason behind Hamlet’s mysterious behavior. In naming this force, one must look beneath the surface of Hamlet’s own level of consciousness, and into what Hamlet himself is consciously unaware. The key to understanding Hamlet lies in the realization of the unconscious energy that provokes him to action and inaction. By channeling into Hamlet’s unconscious, providing Freudian psychoanalytical perspectives, Hamlet’s true unconscious motivation will be uncovered, and the mystery of Hamlet will be silenced.

Hamlet is obscure and surprising, and, therefore, confounding because he subverts others’ expectations and never reacts with a predictable response to his own emotions or the expectations of other characters. In addition, it is worth noting that it is not only Hamlet’s curious speech that alienates others. Hamlet’s obsessive pessimism also begins to affect all of his relationships and becomes a large part of who he is as a character. In an otherwise superficial conversation with Rosencrantz and Guildenstern, Hamlet insists that the world has become a prison with “Denmark being one o’ th’ worst” (2.2.265), and he presses the men to explain why they would want to visit him in the place that torments him. Hamlet’s relationship with his mother is also troubling. While he is justified in questioning her decision to marry Claudius before her husband’s corpse has even cooled, Hamlet is sarcastic and demeaning towards her, provoking her to ask “What have I done, that thou darest wag thy tongue/In noise so rude against me?” (3.4.47-48) These brief and often sarcastic interactions with other characters help define Hamlet as a pessimistic character and cause the reader to anticipate that his perceptions of events will be, almost always, clouded with this characteristic darkness of

Secondly, due to his corruptive nature, Claudius manipulates everyone in the play as noted by Mabillard (n.p). It is evident from the start that Claudius symbolizes what is rotten in Denmark. For instance, when the ghost talks to his son prince Hamlet, he refers Claudius as “that incestuous, that adulterate beast” (1.5). Claudius commits fratricide and marries the Queen who is his brother’s wife in an arrangement that is incestuous. Due to his corrupt nature, Claudius manipulates everyone in the play. He manipulates Polonius so that he can have Ophelia converse with Hamlet as his old friends Guildenstern and Rosencrantz spy on Hamlet. In Act five, Claudius fails to alert Gertrude that the cup she is drinking from contains poison which he had planned to use to kill Hamlet. As a result of his corrupt nature, King Claudius turns a victim of his own evil by swallowing his own poison.

William Shakespeare’s Hamlet is one of the world’s most renowned plays, one which has stood the test of time over the course of 400 years, finding relevance even today. A complex and sophisticated work, Hamlet is a masterful weaving of the myriad of components that make up the human experience; it delicately touches upon such topics as death, romance, vengeance, and mania, among several others. Being so intricate and involuted, Hamlet has been interpreted in countless fashions since its conception, with each reader construing it through their own subjectivity. Some of the most popular and accredited methods of analyzing the work are the Traditional Revenge Tragedy, Existentialist, Psychoanalytic, Romantic, and Act of Mourning approaches.

Hamlet is one of Shakespeare’s most well-known tragedies. At first glance, it holds all of the common occurrences in a revenge tragedy which include plotting, ghosts, and madness, but its complexity as a story far transcends its functionality as a revenge tragedy. Revenge tragedies are often closely tied to the real or feigned madness in the play. Hamlet is such a complex revenge tragedy because there truly is a question about the sanity of the main character Prince Hamlet. Interestingly enough, this deepens the psychology of his character and affects the way that the revenge tragedy takes place. An evaluation of Hamlet’s actions and words over the course of the play can be determined to see that his ‘outsider’ outlook on society,