Liminal Space In Shakespeare's Hamlet

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From the very first line of Shakespeare’s Hamlet the work instils a feeling of unknowing in the audience. This feeling sets such a strong tone that it continues to permeate throughout the play, from the figure of the ghost and its stage directions to the transformation of the royal palace into a harrowing prison. By setting up a tone of “unknowing” – the unknowing of the afterlife and the unknowing of the true character of others – the space of the stage becomes a liminal space where all characters actions are questionable and each are deserving of judgement. I aim to argue that the royal palace becomes I NEED A PROPER THESIS STATEMENT. WHAT AM I ACTUALLY SAYING?
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Think of it.
The very place puts toys of desperation,
Without more motive, into every brain
That looks so many fathoms to the sea
And hears it roar beneath. (P. 30)
Here the guard attempts to lure Hamlet away from the ghost – a sentiment that is sure to insinuate moving on in his life, past the death of his father – but it does not work. In doing so the guard seems to prophesise to resulting events of the play.
IN this verse the speaker questions the form of the ghost. He states that the ghost might change its form to one that will tempt Hamlet to his death or “the dreadful summit of the cliff” or “towards the flood”. Here it is obvious that the ghost holds a differing materiality from the other characters. This is furthered by his lack of name. The stage directions refer to him simply as “ghost”. Although, when the guard insists that the ghost may “assume some other, horrible form,/Which might deprive” Hamlet’s senses of reason, it is too late at this point. The ghost has already taken the form which most affects his sense of reason. We hear this from Hamlet’s own mouth when he says “Thou comest in such a questionable shape/That I will speak to thee. I’ll call thee Hamlet,/King, father, royal Dane. O, answer me!” The form of his father has already affected Hamlet’s actions by playing on his

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