Reality and Illusion in Shakespeare's Hamlet - Appearance versus Reality

The Ghost in Hamlet is a widely controversial topic with arguments determining whether the Ghost is a “goblin damn’d” or a “spirit of health.” (1.4.40) “‘A spirit of health’ is one, which comes from heaven with charitable intentions, and ‘a goblin damn’d’ is one, which comes from Hell with wicked intentions.” The Ghost only has two appearances in the play and is a symbol for uncertainty, yet it is important as it catalyses the play into action and also Hamlet into madness. The Ghost in Hamlet is an evil spirit returning to revenge his killer Claudius; which is a questionable action for a Catholic person leading the audience to believe that the Ghost is evil. He pressures Hamlet into revenging Claudius while destroying Hamlet’s

The relationship between Hamlet and Gertrude is strained at first. From the beginning of the play to act III, Hamlet is bitter with his mother. He feels this way because it has been less than

Claudius has also wed Gertrude, Hamlet's mother and queen of Denmark. The ghost accordingly accuses her of incest and adultery; she has been seduced by the serpent (cf. 1 Corinthians11:1-3). Thus King Hamlet, "by a brother's hand, of life,

There is a general understanding that appearances can be deceiving. This is one of the most fundamental questions in philosophy, appearance vs. reality. When we meet people and get to know them throughout our lives, we soon discover that there is a genuine side to everyone behind the appearance they show. In the play Hamlet, by William Shakespeare, the characters Polonius, Rosencrantz, Guildenstern, and Claudius use appearance vs. reality to manipulate and deceive, which ultimately leads to their downfall.

In the play by William Shakespeare, the ghost of King Hamlet approaches his mourning and depressed son, Hamlet, who is still affected by his death. The ghost explains to Hamlet how he died and demands that Hamlet avenge his death. Note how the ghost approaches Hamlet when he’s the weakest and still mourning to persuade and manipulate him into taking revenge for him. In Act one Scene 5 the ghost states, “If thou didst ever thy dear father love-/ Revenge his foul and most unnatural murder.” The way King Hamlet words his request is more as a challenge; in which Hamlet’s love for his dead father can only be proven by carrying out whatever his father wishes. The ghost influences most Hamlet’s behavior, which not only affects the plot, but also the relationships with other characters. The ghost influences the relationship between Hamlet and his mother, Gertrude. He becomes angry at Gertrude because of her fast marriage with his uncle Claudius. Through the use of innuendos, antic disposition, and metamorphic plays, Hamlet makes it his duty to get King Claudius back for killing his father. Hamlet agreed to avenge his father without second thought. As the play advances, Hamlet begins to doubt the apparition. In act 3 Hamlet begins to have second thoughts and states, “The spirit that I have seen/ May be a devil…” This shows Hamlet’s inner conflict between listening to his father and avenging his death or following his ethics. To be sure that Claudius

One must always be weary of the truth because it is quite often manipulated to serve the needs of any person who requires that the truth be on their side. Quite often, the only way to discern the truth from the fiction is by way of a deceptive act, because an act of deception always exposes both its self and the truth to be two quite different things. Nowhere is this more true than in William Shakespeare's, Hamlet. One of the major themes in the play is in fact, deception. This central theme is expressed throughout the play in three major forms: the fear of being deceived, the act of deception, and the ultimate result of the deceptive act. The first facet of the deceptive

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 Hamlet deceiving illusions are frequently used to protect truth from being a destructive force. Situations within acts one and two that appear to be true and honest are really contaminated with evil. Various characters within the first two acts hide behind masks of corruption. In the first two acts most characters presented seem to be good and honest making it a complex task for Hamlet to discover all the lies that have hidden objectives within them.

His actions were not justified in the treatment of his mother Gertrude. When the ghost of Hamlet’s father appeared he told Hamlet not to blame Gertrude and to tell her not to sleep with the king. When he enters his mother’s room, he thinks that someone is hiding behind the curtains. Hamlet stabs and kills Polonius thinking he is the king. He makes many accusations against Gertrude which was against the ghost intentions. He tells her that she loves Claudius merely after the king dies. He tells her that she has married Claudius not even two months after the king’s death. Because Hamlet had made these accusations against Gertrude, she had felt guilty because she had stated that HAmlet’s words felt like daggers in her ears and repeatedly told him to stop. The ghost of king Hamlet appears and tells Hamlet not to blame Gertrude. Because of this Hamlet’s actions are not justified because he has gone against the ghost’s instructions of blaming Gertrude and the delay of the killing of

       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

The ghost says that King Hamlet was murdered by Claudius, who had a relationship with Gertrude prior to the murder; the ghost requests revenge by Hamlet: “Revenge his foul and most unnatural murder.” Hamlet swears to do it even though he is uncertain of the ghost’s origin. Philip Edwards’ “The Ghost: Messenger from a Higher Court of Values?” presents the ambiguity present in the agency of the ghost when he relegates punishment to the king but reserves it from his wife (67). Gunnar Boklund, in “Judgment in Hamlet,”  explains that “the nature of the Ghost

forgiven. He wants to repent for his sin, but he knows that he can’t because he is not truly sorry.

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.

When the ghost talks privately to Hamlet, he learns not only about the murder of his father, but also about the unfaithfulness and adultery of his mother. Gertrude was seduced by “that incestuous, that adulterate beast,/With witchcraft of his wit, with traitorous gifts” – Claudius himself – prior to his brother’s passing. “So lust, though to a radiant angel link'd,/Will sate itself in a celestial bed,/And prey on garbage.” In the mind of Hamlet, this drastically reduces the goodness of womankind generally. Hamlet chooses to use an “antic disposition” to disguise his actions as he maneuvers to kill the one who poisoned his father in the garden. Wilkie and Hurt say that Shakespeare “is particularly fond of double-plotting.” (2156)

In his attempt to "catch the conscience of the king" with The Mousetrap (2.2.558), Hamlet tells Horatio that if Claudius' "occulted guilt/ Do not itself unkennel in one speech,/It is a damned ghost that we have seen" (3.2.70-72). The significance of Hamlet's dilemma is that it shows Hamlet to be very vulnerable and he seems only subconsciously aware of it. It is this vulnerability that makes the character of Hamlet problematic to the reader/audience because it leads to the blurring of the boundaries of right action and wrong judgment.  On hearing of the appearance of his father's ghost, Hamlet exclaims: "My father's spirit, in arms! All is not well./ I doubt some foul play."(1.2.254-255). His expectations that something is wrong is confirmed when the ghost tells him of Claudius' treachery. In this sense, Hamlet is willing to believe in the ghost even before he hears the ghost speaks as he "waxes desperate with imagination" (1.4.87). Then, as the ghost starts to speak, he tells Hamlet to "List, list, oh list!"(1.5.22), pouring into the latter's ears the verbal poison that juxtaposes words like "foul", "unnatural" and "lust" with words like "virtuous queen" and "marriage", "royal bed"(1.5.25-83). It seems that the ghost is trying to place a constant and elevated value on the royal marriage only if it includes having him as the rightful king. Yet life, marriage and death are cycles and not fixed points and death of one spouse