Liminal Space In Shakespeare's Hamlet

The Ghost’s appearance troubles Hamlet again in a different way at the end of Act Two, when Hamlet questions whether or not the apparition he has seen is really the ghost of his father. He believes that it is likely that what he saw was really an evil spirit trying to trick him into sinning, for, as he says, “the devil hath power / T’assume a pleasing shape; yea, and perhaps…abuses me to damn me” (2.2.628-32). His concern is legitimate; however, it causes him to delay further due to his worries about sin and what could happen to him should he decide to take action if the Ghost is in fact evil. When Hamlet attempts to work himself into a frenzy by insulting himself and climactically cursing Claudius with caustic epithets, he is incapable of maintaining his emotion and he orders his brains to turn about, bringing himself back down to logic and reason. He feels that he cannot act without some sort of proof of the truth of what the Ghost has said, and therefore he arranges to “catch the conscience

The Ghost of Hamlet's father is a foil for Hamlet. The ghost is introduced so to reveal information that is not blatantly revealed to us yet. The king gives us some explanation of why Hamlet wants revenge. The king tells us of his death and introduces the fact that it was a murder and tells that the murder was committed by his brother. Through the conversation with the ghost he gains more fuel for the anger he has about his mother’s marriage. In the discussion with Hamlet and the

Hamlet questions the true intentions of the ghost and whether it be “a spirit of health or goblin damn’d,” (1.4.669). The Ghost enlightens the Prince of the treason committed by his uncle Claudius, which Hamlet doubts the legitimacy for an instance. According to “Hamlet’s Precarious Emotional Balance,” “Hamlet conceives a way out of his uncertainty, a way to make certain that he has not, because of his melancholy, simply hallucinated the ghost's revelations or been tricked by an evil spirit,” (Lidz). Hamlet develops a scheme to “catch the conscience of the king” by staging a play that depicts the murder of King Hamlet precisely (2.2.581).

In this revenge tragedy, which is a play in which the plot typically centers on a spectacular attempt to avenge the murder of a family member, Hamlet’s call to adventure is when the ghost, whom he believes to be the ghost of his recently deceased father, beseeches Hamlet that he avenge his death (Charters and Charters 1251). At first looking at the ghost, he questions the authority of him and contemplates that the apparition is just the devil tempting him:

Hamlet is insure of whether the ghost is good or evil. This is evident when the ghost appears and Hamlet questions him repeatedly while contrasting ideas of good and evil. Hamlet asks the ghost if it is "a spirit of health, or goblin damned," whether it "bring with thee airs from heaven or blasts from hell" and if its "intents [are] wicked or charitable." This repetition of questions emphasises Hamlet's uncertainty about the ghost and highlights his fear that it may be a dishonest and evil spirit trying to damn Hamlet to hell by getting him to commit murder, and so Hamlet struggles to undertake his duty to avenge his father's death.

Shakespeare’s tragedy, Hamlet, explores the nature of morality and the human conscience, portrayed through a Christian lens. Set in Denmark during the Elizabethan era, the play revolves around Prince Hamlet, following an encounter with the murdered King Hamlet’s ghost, and his subsequent course of action. Shakespeare utilises the juxtaposition of opposing forces in a variety of ways; the external conflict unfolding between Hamlet and his father’s murderer, King Claudius, denotes that of good versus evil, driving the bloody events of the play. Perhaps more importantly, however, is the internal conflict which Shakespeare demonstrates within Hamlet, as he navigates the intricacies of moral decision making in the face of grief, and the uncertainty surrounding what lays beyond us and our earthly choices in the afterlife. Shakespeare utilises foils to reflect on the various ways in which we can therefore respond to these existential questions, demonstrated through the juxtaposition of Hamlet’s

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.

To start with, the ghost heavily influences the development of a few characters in the play which includes Hamlet and his friends. In the opening act, Hamlet’s friends encounter the ghost of the former king while standing guard on the wall of the castle. They are the first and only characters besides Hamlet that the ghost influences. They are also the only ones besides Hamlet that can see the ghost. This furthers the story by sending Hamlet’s friends on a mission to tell him of his father’s return. From the beginning of the play Hamlet is already depressed and down after being called home from school to return to Denmark to witness the funeral of his father. Following the funeral Hamlet meets up with his friends where they tell him of his father’s ghost. Immediately, this sparks Hamlet’s interest and he wishes to hear more of his father. ‘The king my father!/For God’s love, let me hear.” (1.2.192-95 Hamlet) Here Shakespeare shows Hamlet’s interest in the matter

/ As thou art to thyself. / Such was the very armor he had on." (1.169-71). This portrays the younger Elizabethan's belief that the line between the dead and the living was extremely blurred. A ghost could appear to anyone it chose to at any time. This particular ghost appears to only a few people in the entire play, the guards and Horatio, and young Hamlet. The ghost is mentioned several other times in the play including when young Hamlet himself sees the ghost of his father in Act 3, scene 4. "Whereon do you look? / On him, on him! Look how pale he glares. / His form and cause conjoined" (3.4. 141-3) and again "Why look you there, look how it steals away! / My father, in his habit as he lived!" (3.4. 154-5).

It was as his friends had said; it did appear to be his fathers ghost. The one thing that changed Hamlet then happened. The ghost looked at him and divulged his secret. He told a story that a serpent crept into his garden while he was asleep, and that "the serpent that did sting thy father's life, now wears his crown." (I, v, 39) Hamlet did not take this news lightly. He could not believe his uncle could and would kill his father. The ghost then forced Hamlet to swear to get revenge.

    Does the ghost in Shakespeare’s Hamlet conform to the standards for ghosts in the days of the dramatist? This essay will answer this and other questions about the ghost in the drama.

The ghost in Hamlet is the subject of many literary critiques; in my research I came across two articles in particular about this topic that caught my interest. In particular, Zimmerman’s article explores Kristeva theory of abjection. The reaction from a threatening breakdown in meaning caused by the loss of the ability to distinguish between subject/self and object/other. The human corpse is one of the most common causes of this reaction because it reminds the living of their own materiality. Upon reading this I was able to relate it to Hamlet as Zimmerman did, “When the ghost first appears, he comes encased in armor, a "portentous figure," a "fair and warlike form" (1.1.112, 50). What lies behind the armor is of course a corpse: if what makes Hamlet Sr. seem alive is his battle-ready fierceness, then what makes him an "illusion" is the mystery within. "no/thing," an apprehensible outside enclosing and

    Within the Shakespearean tragic drama Hamlet there are a number of themes. Literary critics find it difficult to agree on the ranking of the themes. This essay will present the themes as they are illustrated in the play – and let the reader prioritize them.

Hamlet is a critical thinker for the world around him, seeking opportunities to learn. When Hamlet is confronted with the ghost, he isn’t sure if his eyes deceive him. With further inspection, he learns it is his father who appears in front of him.

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.