Madness, Madness And Philosophy, By Herman Melville

The relationship between madness and prophecy have been, for so long, a source of contention in literary circles. These two concepts are somewhat difficult to tackle as both are connected to a mystical world that can give meaning to human existence and truth about life. After the Holocaust, people seriously began questioning the existence of a supreme Deity and the lack of divine intervention to such destructive, inhumane war. As a result, the concepts of prophecy and madness are intertwined in several Holocaust stories. Such complexities make one wonder how to differentiate the two concepts; a question that is still perplexing even to specialists.

There is a fine line between sane and madness that everyone can teeter on in some point in their lives. Sometimes this is the result of a broken relationship, a loss of a job, confusion about the future, anger, or can be a result of countless other events or reasons. This theme of insanity is present in countless pieces of literature due to its relatability to everyone, not just people with a diagnosed mental illness. People tend to do crazy things and act crazily without being completely insane. Along the same lines, when people linger in their crazy actions and start to do it purposefully, it can lead to something that is real and more permanent. Hamlet’s madness, in Hamlet by Shakespeare, is a complex idea that is constantly developing throughout

The play Hamlet, by William Shakespeare, looks at the issue of madness and how it effects the characters of the play. Madness can be looked at from very different perspectives, such as strong and uncontrollable emotions, a person’s desires, and also a persons mental stability. Throughout the play, the audience is questioning the sanity of the main character, Hamlet, as he goes on his quest for revenge. The people around him also show signs of madness, such as Ophelia and Claudius, but in different forms. Existentialist philosopher Friedrich Nietzche says, “There is always some madness in love. But there is also some reason in madness.” What Nietzche is saying is that when you are in love with someone or something, there is always a little

2001. One definition of madness is “mental delusion or the eccentric behavior arising from it.” But Emily Dickinson wrote “Much madness is divinest sense to a discerning eye.” Novelists and playwrights have often seen madness with a “discerning eye”. Select a novel or play in which as character’s apparent madness or irrational behavior plays an important role. Then write a well-organized essay in which you explain what this delusion or eccentric behavior consists of and how it might be judged reasonable. Explain the significance of the “madness” to the work as a whole. Do not merely summarize the plot.

Madness is defined as the state of being mentally ill or having extremely foolish behavior. It is a condition in which is difficult to identify whether it is true or not. In William Shakespeare's masterpiece, Hamlet, there is confusion as to whether or not his madness is real. The ghost of his father asks Hamlet to avenge his death. While he tries to accomplish this, he puts on an antic disposition. The antic disposition reoccurs throughout the play, but is merely an act. Hamlet is mad in craft because he admits that he is not mad several times, he behaves irrational only in front of certain individuals, and he has many feigned actions.

Everyone goes mad in their own particular way. Nowra thinks madness is too generalised, and it is based on each individuals past and experiences etc.

This example personifies “madness” because it's being described to have living traits considering its ability to infect people, like a virus. ~ Irony Examples/evidence: "We were to leave the train here. There was a labor camp

In William Shakespeare’s Hamlet, one of the most evident and important themes is the theme of madness. The theme is apparent throughout the play, mainly through the actions and thoughts of Hamlet, Ophelia, and Laertes. Madness is defined as the quality or condition of mental illness or derangement (being insane). Madness is at the center of the conflicts and problems of the play and is conveyed through Shakespeare’s elaborate use of manipulation and parallels between Hamlet, Ophelia, and Laertes to contribute to Hamlet’s tragic character.

The use of the phrase “madness had infected all of us” emphasizes on the mental and physical obstacles the Jews had to overcome. His comparison of madness spreading like a disease also reveals the Jews loss of who they are and what they have allowed to overcome them. (negative)

A deeper level is achieved in the mind of the narrator when she acknowledges her own mental state and that she is eager to leave her sad mood. While the man is described as animal-like and savage, she stands “In moody sadness, on the giddy brink” (9) full of contemplation and reflection on her own worldview. The poet is quite self-aware while the lunatic is not, and through her intelligent banter, the reader can see the extreme difference in personality. The poet’s own self-conception, however, is ironic in that she is wishing for ignorance that can only be achieved by lack of a self-concept. The catch-22 she experiences is perplexing, both to her and the reader.

It is my intention with this quote to show the crucial relationship between madness and the evolution of higher thought. I argue very plainly for this correlation linking the “truly wise” and madness because it demonstrates Socrates attempt to “dangle” an idea in front of Phaedrus, who after Socrates 1st speech was expecting a philosophical, structured way of defining the soul and now left to wonder what madness has to do with anything. The quote defends the claim that madness is an essential part of Socrates attempt to persuade Phaedus (the reader) that madness is not something bad; the way Lysias outlined it in his speech, but an obligatory element in developing a passion for something.

“These symptoms, especially his disposition to dispute, are manifested not only when he “arose and argued about trifles” but also throughout the narration… Obviously, the prisoner’s captors have named his crime for what it is, the act of an anxiety-ridden madman; this is the argument that the narrator- illustrating another symptom of schizophrenia, lack of insight- rejects as erroneous, impertinent, absurdly false; this is the thesis to which he attempts to provide the antithesis ” (Zimmerman).

Men have called me mad, but the question is not yet settled, whether madness is or is not the loftiest intelligence--whether much that is glorious--whether all that is profound--does not spring from disease of thought--from moods of mind exalted at the expense of the general intellect. Those who dream by day are cognizant of many things which escape those who dream only by night - Edgar Allen Poe

Many factors hinder a truly effective study of and conclusion to the relationship between genius and insanity. For instance, who determines a genius? One can measure neither creativity nor madness, for these two factors are purely objective and up to the discretion of the individual carrying out the test (Simonton; Weisberg 362). In addition, the measures of genius and madness may simply depend on the culture and time period; Galileo, the famed astronomer who proved the Copernican theory that the planets revolved around the sun, a presently obvious but at the time completely heretical idea, was deemed a madman by the Roman Catholic Church (Ludwig 12; “Genius or Madness?”). The issue remains and probably will remain dubious; nevertheless, through much investigation and research, many credible speculations have surfaced that may explain the phenomenon.

In Nathaniel Hawthorne’s book The Scarlet Letter there is a man who makes a pact with the devil and descends into the pits of evil. His name is Roger Chillingworth and he was once a good and kind man. He cared for his wife and was good to his community. Then he was corrupted and turned into a monster one could hardly recognise. His is a tale of madness and what hate can do to one 's soul.