The Importance Of Characters In Shakespeare's Hamlet

Through Shakespeare’s use of minor characters in his play, Hamlet, the playwright was able to subtly develop Hamlet’s character. In using minor characters, Shakespeare emphasized certain traits which the main character held. These minor character also personify the motifs of contrast between a sickly interior versus healthy exterior and contrasting life and death; the minor characters’ embodiment of these motifs further establish for the audience the importance of these motifs within the play.

murder in a rash mood. It is not seen by Gertrude. It tries to urge

From the beginning of his and his mother’s conversation Hamlet was very angry and on edge with her for being with his father’s murderer. Hamlet somehow knew someone was eavesdropping on their conversation as he had been spied on previously. He suddenly decides to act out of fury thinking how angry he was at Claudius and kills who’s behind the curtain, thinking it was Claudius. Hamlet realizes after that he killed the wrong man, it had been Polonius that he killed but he didn’t care much saying that Polonius was a fool. Hamlet sees the ghost again after and the ghost tells Hamlet he still must carry out his revenge for his father because he had failed .

Spying, the act of observing someone secretly, is a theme that is commonly found in William Shakespeare's Hamlet, and is the source of many internal and external struggles between characters throughout the play. Multiple characters in Hamlet, such as Polonius, King Claudius, Hamlet, Rosencrantz, and Guildenstern, are guilty of this deceitful act. Their scandalous ways often result in anger, destruction, and death.

   Most characters in Hamlet present themselves as something other than themselves or how as we, the audience, or another character thinks they should appear.  Two of the main characters in this play, Hamlet and King Claudius, are constantly acting as something other than their true nature.    Ironically, the characters that invoke changes in Hamlet and King Claudius to reveal their real personalities are the players, merely actors themselves, not showing true emotion: (in this short analysis, I will attempt to display the truth revealed by the players) they agitate King Claudius and allow Hamlet to see their appearance as more accurate to the truth than the appearance of "real life

The final way that Laertes acts as a foil to Hamlet occurs once again when Claudius and Laertes are discussing Laertes’ actions to achieve his vengeance. Claudius gives Laertes advice saying, “That we would do/ we should do when we would; for this ‘would’/ changes” (4.7.134-136). Claudius is warning Laertes that if he waits long enough, he will probably end up not doing anything at all and will not achieve his goal of vengeance. This quote spoken by Claudius is quite similar to when King Hamlet’s ghost meets with Hamlet earlier in the play to warn him about how he was killed by Claudius and that he must get revenge. King Hamlet’s ghost also warns Hamlet saying, “Taint not thy mind” (1.5.92), telling him to not over think his plan because otherwise he will not pursue his vengeance. After Claudius warns Laertes to not get side tracked, the audience is reminded of King Hamlet’s ghost telling Hamlet to not over think because then their plans will not be pursued. This scene acts as a foil towards Hamlet because soon after the conversation, Laertes does pursue his plan of seeking vengeance, whereas Hamlet has been working on his plan the whole play, and has still not started to execute it.

“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.

Hamlet proves himself a temperamental, twisted character in William Shakespeare’s play, Hamlet. The Prince of Denmark conveys his facetious demeanor with his behavior and sharp tongue, especially in scenes with Ophelia and Gertrude. Although Hamlet’s situation is difficult and easily sympathized by viewers, his aggression should ultimately be focused on his murderous uncle.

Hamlet is a Shakespearian tragedy that takes place in the kingdom of Denmark. The plot

Hamlet’s character drastically develops over the first four acts of Hamlet, and his character development is most evident through the soliloquys he delivers throughout the play. The most character development can be seen from the first soliloquy, to the second, the third, the sixth, and the seventh and final soliloquy. Hamlet’s inner conflict with his thoughts and his actions are well analyzed in his soliloquys, as well as his struggles with life and death, and his very own existence. He begins the play wondering what purpose he has in life now that his father is dead and his mother has remarried to his uncle. After finding out foul play was involved in his father’s death, he is motivated by revenge. Finally, he wonders how he can enact his revenge while continuously overthinking and overanalyzing his actions.

In the tragedy play Hamlet written by Shakespeare, Hamlet’s character and emotions changed various times. In Act 1 Hamlet was portrayed as weak and in a deep grief about his father’s death. In lines 78-86 as a response to his mother unsympathetic comment, Hamlets states, “Seems madam? Nay it is. I know not ‘seems.’ Tis not alone my inky cloak, good-mother, Nor customary suits of solemn black, Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the dejected haviour of the visage, Together with all the forms, moods, shows of grief  That can denote me truly. These indeed ‘seem’, For they are actions that a man might play; But I have that within which passeth slowly-these but the trappings and the suits of woe.” In these lines, Hamlet explains that his visible signs of grief are nothing compared to how he feels inside. Hamlet not only offers the first illustration of the anguish and emotions of his character, but encompasses much of the universal experience of grieving. He doesn’t show it externally, but he was struggling with painful emotions internally. Act 2 Hamlet was seen as a very vengeful person due to the fact that his uncle murder his father just to be king. In line 611-616 Hamlet states,” Why, what an ass am I! This is most brave, That I, the son of a dear father murdered, Prompted to my revenge by heaven and hell,

What would a play be if the main character were to talk on and on without giving other characters time to speak or what would a play be if the main character had no enemies or friends? The obvious answer is boring, so Shakespeare as a playwright, writing to make money, added secondary characters to develop Hamlet as a character, give the audience a break, entertain the audience, and provide external conflict. The secondary characters allow us to know the context of the character's actions and to better connect with the character.

Claudius’ manipulation takes advantage of surrounding characters’ affection for Hamlet. Paired with Hamlet’s apparent madness, he easily sways them into doing his bidding by feeding them incorrect information, thus influencing their decisions and actions. While innocent characters like Rosencrantz and Guildenstern believe their duty is to simply diagnose the reason for Hamlet’s madness, Claudius uses their care for Hamlet and blind loyalty to plot Hamlet’s death. This along with several other attempts of spying on and murdering Hamlet eventually lead to the deaths of multiple characters including Rosencrantz and Guildenstern. Not only that, but all the while he is attempting to take Hamlet’s life, he is fearing for his own and desperately

The word ‘tragedy’ is a common in the modern world, and it is often associated with a “sad or unhappy ending”. Accordingly, every time there is misfortune in a work, it is classified as a ‘tragedy’. Arthur Miller offers the observation that a tragedy is something that is more than just sad. Miller argues that tragedy is not a ‘pessimistic’ view on an event, but it allows for “the reinforcement of the onlookers brightest opinions of the human animal”. Since humans are not in control of his/her own fate, unfortunate things are bound to happen. However, the human spirit that is able to withstand catastrophe allows for hope. In the play Hamlet, Shakespeare presents his tragic hero, Hamlet, as a noble figure who is to be admired because he

One loses many opportunities every time they hesitate to act. Whether it be unintentional or not, it all depends on the subject in question. In William Shakespeare’s The Tragedy of Hamlet Prince of Denmark, the character Hamlet shows qualities that are evident in his soliloquies. Since the beginning, Hamlet is unable to control his emotions towards Gertrude and Ophelia. He tends to overthink, generating doubt around life and death. Though impossible and inconvenient at times, Hamlet strives for an idealistic approach, such as justification for killing Claudius. Hamlet’s complex personality and unpredictable nature delay the commitment he makes to avenge his father.