The Undertaker Scene In Hamlet By William Shakespeare

Hamlet exhibits his insecurity toward death when he lingers on the phrase ' no traveler returns' from death. He is afraid of leaving his earthly life, showing his indecision towards what lies in the afterlife. This indecision carries over into his actions when trying to go through with Claudius' murder.  Hesitant to kill Claudius, Hamlets settles on making sure the ghost was correct in his accusation. By employing the players to dramatize the murder of King Hamlet Sr., Hamlet hides behind the façade of the play in order to accuse Claudius. By using the players as his medium for accusation, Hamlet again shows how timid he is to approach the subject of death and confront it face to face. It is seen by Claudius that Hamlet's 'madness' is a direct threat to his security, and Hamlet is shipped off to England. While traveling to his execution, Hamlet again slips out of deaths way before having to directly challenge it. Prior to Hamlet's 'kidnapping', he changes the letter to have it be his escorts execution. This is only appropriate, since Hamlet never is present to see their reaction to facing death, or is there is witness the ending of their lives. Again, Hamlet is able to allude death, by escaping the ship set sail for his execution.

Hamlet is however racked with indecision, and spends most of this scene subtly ridiculing Claudius anyway, though Hamlet is not yet sure of his guilt. For example, after the play has served its purpose and Claudius rises, calling for light, Hamlet makes a joke that the King is “frightened by false fire” (272), implying that the King is scared this may happen to him. The reader can envision the mocking tone from Hamlet’s verbal irony as he rejoices in finally proving the King’s guilt, at least to himself. Hamlet actually employs the same stylistic irony earlier, during a short exchange with Polonius, relating it back to his father’s murder. Polonius says, “I did enact Julius Caesar: I was killed i' the / Capitol; Brutus killed me” (105-6). To which Hamlet replies, “It was a brute part of him to kill so capital a calf / there” (107-8). This is symbolic of what Hamlet knows about his father’s death in that he relates Caesar’s innocent “calf-like” death to his father’s murder. This, along with pieces of his conversation with Ophelia, seem to be pieces in which he is talking to himself, so zealous about his plan with the play, that he is merely speaking aloud in riddles about what has been bothering him. He mentions to Ophelia, “how cheerfully my / mother looks, and my father

As the play progresses and the characters develop, the question of ‘who’s there’ in the sense of who is this person really, are they kind or cruel, innocent of guilty? The most obvious choice for the question of character is in Claudius. Is he the kind king he makes himself out to be or a murderous manipulator. The initial question of his character is during the wedding of Gertrude and he, where he states, “With mirth in funeral and with dirge in marriage,” (I. II. 12). He essentially is pronouncing King Hamlet’s funeral as joyous and his own wedding as mournful. The question that now presents itself to the audience is whether this is a simple mix-up on Claudius’s part or a verbal projection of his inner thoughts and feelings towards both occasions. The uncertainty of Claudius’s stance on the matters is later enlightened upon and pursued by Hamlet after his conversation between him and the ghost of King Hamlet. The old king recalls the true story of his death – demise by poison at the hand of Claudius in an effort to claim the throne. “The serpent that did sting thy father’s life/Now wears his crown.” (I. V. 38-39). The validity of this statement is put into inquiry by Hamlet, leading to his use of a court play by a traveling actor’s troop as a platform to perform a reenactment of the King Hamlet’s death in order to see the reaction of Claudius. “The play’s

Polonius seemly hear all these vulgar and misogynistic rants and becomes ever more convinced that Hamlet is mad. He never rests easily until he ends up behind yet another arras, scheming, yet this time in Gertrude’s room and gets himself killed. The act of betrayal, by both Polonius and Gertrude has far-reaching consequences; Polonius is killed by Hamlet, Ophelia becomes mad and Laertes demands vengeance. Polonius’s betrayal disgusts Hamlet and he can only but refer to him as ‘a foolish prating knave’ and his mistreatment of his body when he says he will ‘lug his guts in the neighbour room’ can equally be taken as his disgust towards him.

Throughout the play, Hamlet’s character is characterized both by periods of extreme caution and moments of impulsivity. One of the best examples of Hamlet’s heed can be found in Act 2, Scene 2 where he decides to have his theatre troupe perform his play, The Mousetrap. With this, Hamlet hopes that he will be able to “catch the conscience of the King,” by monitoring Claudius during the performance, that heavily mimics his murder of his brother, for signs of stress and guilt. While Hamlet was fully capable of bypassing this step by simply adhering to what he believes is the ghost of his father, Hamlet’s decision to unearth some sort of evidence that supports his father’s accusations is just one example of his cautious ways and need for certainty before action. However, such displays of caution find themselves juxtaposed with Hamlet’s bouts of impulsivity. One of the most telling illustrations of Hamlet’s rashness can be found in Act One, Scene Five, where he first conversing with the ghost of his father. Here, when the Ghost asks Hamlet to “revenge his foul and most unnatural murder,” Hamlet immediately agrees. In fact, within the next few lines Hamlet pledges he will “sweep to my revenge” with “wings as swift as meditation or the thoughts of love”. The fact that Hamlet coins this commitment to avenge his father’s murder without making much of any consideration of the possible repercussions of such an undertaking is one of the best representations of Hamlet’s impulsivity. This rash action, marked by a lack of extended over-analysis and internal debate, contrasts with the excessive caution Hamlet exhibits at many other points throughout the play. Ultimately, the interplay between Hamlet’s caution and impulsivity is one of the most notable juxtapositions of the play and serves to strongly steer the development, not only of

The present King, Claudius, is questioning Hamlet’s odd behaviour because he feels Hamlet’s new and strange behaviour could be harmful to him and his position. So he asks Polonius, the Lord Chamberlain, to spy on Hamlet to resolve the matter. While hiding behind an arras in Gertrude’s room to listen to the dialogue between Ophelia and Hamlet, he reveals his location by calling out for help, Hamlet realizing there is someone behind the tapestry and suspecting it to be Claudius withdraws his sword and stabs the hidden Polonius resulting in polonius’s death, which assisted in ophelia going mad, and also Laertes, Polonius’s son seeking revenge on hamlet, which makes Hamlet’s quest for honour and certainty even harder to complete.

Cleverly, Hamlet decides to feign madness before the King and the court as a way for others to ignore him, so he may construct his plan of revenge for his father’s death. What is interesting is that he initially does not set out to kill Claudius the current king, which suggests that he is troubled on whether or not the apparition he spoke with is truly his father telling the truth. He deceptively uses Ophelia as a messenger to the King to describe his initial count of being mad. This causes the King, Polonius, and Ophelia to spy on Hamlet. When putting on a production to see whether Claudius is truly guilty of being the murder Lord Hamlet states, “that he must be idle” which suggest that his madness is feigned. With Claudius being deemed guilty, Hamlet knows what he must do. Interestingly, Hamlet is unable to kill Claudius the first time when he gets a chance since he did not want to send Claudius to heaven. The level of distress of Hamlet is apparent when he sees his mother after passing Claudius praying to God. Getrude calls for help and a noise is heard behind a curtain. Without thinking Hamlet slays Polonius; the person behind the curtain. This is a very controversial moment for this

Rosencrantz and Guildenstern interrogate Hamlet about Polonius. Hamlet dosent answer their questions and says that they cant be trusted because they are working for the king and tells them that the body is somewhere where t isn’t just to mess with them. This scene shows how Hamlet dosent trust any of his former friends anymore due to paranoia and is now starting to get his revenge.

This, in turn, exploits Hamlet’s similar flaw of ego and furthers the conflict, but what’s more, it illustrates Claudius’ sheer audacity and lack of repentance. He continues to try to cover up the sin and appease Hamlet into complacency rather than confess and ask for forgiveness. In a mark of pure arrogance, Claudius tells Hamlet to “throw to earth / This unprevailing woe and think of us / As of a father”, conceitedly requesting that Hamlet merely forget the murder and replace his father with the murderer himself (I, ii, 110-112). Similarly, instead of directly confronting Hamlet about his mental condition, the king more or less hires Rosencrantz and Guildenstern to spy on the prince, again cementing his smug mindset. The king does not believe he can be caught or, rather, that Hamlet is competent enough to figure out his plan and foil him. Claudius, too, thinks only of himself after Hamlet’s inadvertent killing of Polonius, pondering “how shall this bloody deed be answered? / It will be laid to us” instead of considering the ramifications of the murder with respect to Hamlet (4.1.17-18). The other two paper-thin traps the king hatches only reinforce his failure to see beyond the apparent; his attempt to deport Hamlet to England and have him killed reeks of treachery and, luckily, Hamlet realizes the king’s subterfuge, crushing the plot and flipping it back on him. Claudius remains steadfast in his efforts to remove Hamlet, going so far as to set up a

     In the closet scene, Hamlet kills Polonius, thinking it is Claudius behind the curtain. When Hamlet goes to his mother to talk, Polonius is hiding behind the curtain and eavesdropping on their conversation. Polonius wants to prove that Hamlet’s behavior is based on Ophelia’s rejection of Hamlet’s love. Hamlet hears him behind the curtain and stabs him, thinking he is Claudius. This is an important turning point in the play, because this is the first time that Hamlet has taken action towards avenging his father’s death. Even though he has killed the wrong person, he has finally done something other than philosophize about retribution and murder. This scene also shows how Hamlet has changed as a character. Logically, it isn’t possible that it is Claudius behind the curtain, because Hamlet has just seen Claudius repenting for his sins and praying in

The play, Hamlet, is filled with great acts of corruption that result from the many diseased mentalities existing in the Kingdom of Denmark. In the early scenes of the play, after seeing the ghost of King Hamlet, Marcellus reflects on the condition of the country. The guard says, "Something is rotten in the state of Denmark," (Act I, iv, Line 100). Marcellus infers to the reader that the appearance or apparition of the ghost of King Hamlet means that there must be extreme corruption mounting in the country. If it were not for the diseased mental state of Claudius, King Hamlet would not have been murdered nor would he come to speak to the guards of the kingdom. After the death of his sister, Laeretes, the son of the king's late advisor, speaks to King Claudius about seeking justice for the deaths of Ophelia and his father, Polonius. After discussion, King Claudius and Laeretes decided to plot the murder of Prince Hamlet together.  "And we shall jointly labor with your soul to give it due content," (Act IV, vi, Lines 225-226). King

Towards the end of the play, there are two scenes in the graveyard. One is when Hamlet picks up a skull, and the gravedigger tells him that the skull belonged to Yorick, the old king's jester. Hamlet tells Horatio that he knew Yorick, and then realizes what we all become after we die, dust. He then plays with the idea of life and death, and describes the finality of it. The gravedigger scene is the tragic conclusion of the play. The second scene of comedy in this scene is when the gravediggers argue whether Ophelia should be allowed to be

This light-hearted scene, depicting a rather normal family, is placed directly before Hamlet's confrontation with his father's ghost, which is highly dramatic and very intense.  By preceding this confrontation with a scene as light and fluffy as the one between Ophelia and her father, Shakespeare heightens the intensity of Hamlet's later scene. One is struck immediately by the contrast between the two fathers, as well as the two relationships. Ophelia loves her father dearly, apparently oblivious to the fact that he is a total fool; he gives her advice which unknowingly will lead to her death. Hamlet also loves his father with all his being; his father is not a fool, but the knowledge he imparts to Hamlet begins a long chain of events that will result in Hamlet's death as well. In this case the silly scene with Polonius, in addition to giving audience a well-deserved spell of

Hamlet has the opportunity to kill Claudius when he is praying, but does not because he is fearful that Claudius will go to heaven despite his crimes. Hamlet is admirable in not killing Claudius while praying because Hamlet wants a revenge worthy of his father and himself. While keeping up his act, Hamlet kills Polonius, Ophelia dies and Claudius and Laertes construct a death plot against Hamlet. Claudius and Laertes plan ironically spins out of control and them both himself killed and the queen killed. Although Hamlet also dies in the process, Hamlet justly kills Claudius with the poisoned dagger and the poisoned drink. The final image of most of the characters on the stage being dead provides a superficial pessimistic ending. However, the ability for Hamlet to maintain his honor when all odds were against him provides a great sense of hope in the audience. Also, the exchange of forgiveness from Laertes to “noble Hamlet” also provides an optimistic ending. Upon the arrival of prince Fortinbras, Hamlet is given a soldier’s funeral of the highest honors which allows for a promising ending.

Shakespearean plays are often known for their outstanding entertainment and classic comic conflict. In his masterwork, Hamlet, Shakespeare uses these aspects to serve his thematic purpose. He has used comedy throughout many of his historic plays, but in this play, comedy is the drawing point that makes it fun and entertaining, yet clear and intuitive. Generally, his tragedies are not seen as comical, but in reality, they are full of humor. However, these comic elements don’t simply serve to relieve tension; they have much significance to the play itself. The characters of Hamlet, Polonius, Osric, and the Gravediggers, prove to be very influential characters, and throughout the play, they are the individuals that