In Shakespeare's Hamlet there is a constant battle between action and reaction within the protagonist, Hamlet. After learning the truth about the circumstances surrounding his father’s death, Hamlet (who has been mourning and depressed since the passing of King Hamlet) finally felt a sense of self worth and purpose. Although Hamlet may appear as noble or devoted for working so diligently to avenge his father, his blind hypocrisy in blaming others for his lack of initiative make these actions merely a facade masking Hamlet’s own struggle with his identity.
Shakespeare’s employment of dramatic struggle and disillusionment through his character Hamlet, contributes to the continued engagement of modern audiences. The employment of the soliloquy demonstrates Shakespeare’s approach to the dramatic treatment of these emotions. The soliloquy brings a compensating intimacy, and becomes the means by which Shakespeare brings the audience not only to a knowledge of secret thoughts of characters, but into the closest emotional touch with them too. Through this, the audiences therefore gain a closer relationship with Hamlet, and are absorbed by him because they are able to resonate with his circumstances, as he is faced with enduring truths of the human condition. Through these, the struggle and
Shakespeare’s Hamlet depicts the struggle of a graduate student after the sudden death of his father and marriage of his mother, Gertrude, to his uncle, Claudius. In his soliloquy, Hamlet discusses his inner turmoil over the knowledge that his uncle, who has assumed the throne of Denmark, is responsible for the death of his father. Shakespeare utilizes conventional literary techniques such as metaphor, allusion, and repetition alongside his traditional iambic pentameter in order to enhance the meaning of the passage and offer further characterization of his protagonist. Through the aforementioned various literary techniques, Shakespeare develops a tone of despair, which furthers Hamlet’s internal conflicts within the passage.
William Shakespeare is one of the best known authors of all time, and of his many pieces, Hamlet is one that stands out. Written around the year 1600, it is a classic amongst Shakespeare’s tragedies due to its length and in depth character development, themes, and plot. One such example is seen in Act 2, Scene 2, from lines 593-617, where Hamlet is lamenting in his second soliloquy about many things. Through the use of imagery and comparisons, Shakespeare suggests that Hamlet is being self-deprecatory and self-critical in addition to a expressing violent regretful temperament about not being able to avenge his father’s death during his second soliloquy from lines 593-617.
In the play, Hamlet (1603), William Shakespeare creates a character, Hamlet, that feels overwhelmed by the weight he puts on himself while seeking vengeance for his father’s murder. Shakespeare is able to illustrate Hamlet’s fragileness through the use of vivid imagery, negative attitude, and aggressive diction. Shakespeare’s purpose in this piece is to show Hamlet during his lowest time in order to reveal a significant portion of his character.
Hamlet is undeniably an epic among all plays. Shakespeare’s command of storytelling and the meticulously sculpted layers of the play add to the sheer grandeur of the life of Hamlet and the multitude of forces acting against him. The complex dialogue, the magnificent story arches, and the archetypal themes are all essential to the understanding and enjoyment of Hamlet, but there is one particular subject matter that The Bard placed at the center of all the conflict and emotion of the play: grief. The Prince of Denmark’s burdened life after his father’s death is completely coerced by the tearing force of grief throughout his mental and emotional state of being. His purpose, his insanity, and ultimately his downfall stemmed from this encumbrance.
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
William Shakespeare’s Hamlet is laden with tragedy from the start, and this adversity is reflected in the title character. Being informed of his father’s murder and the appalling circumstances surrounding the crime, Hamlet is given the emotionally taxing task of avenging his death. It is clear that having to complete this grim undertaking takes its toll on Hamlet emotionally. Beginning as a seemingly contemplative and sensitive character, we observe Hamlet grow increasingly depressed and deranged as the play wears on. Hamlet is so determined to make his father proud that he allows the job on hand to completely consume him. We realize that Hamlet has a tendency to mull and ponder excessively, which causes the notorious delays of action
As the play goes on, Hamlet encounters his father's ghost. Upon discovering that his father's death wasn't natural, he says with much feeling that "Haste me to know't, that I with wings as swift/ As meditation, or the thoughts of love,/ May sweep to my revenge" (1.5.29-31). The ghost tells him that he was murdered by Claudius. His motives were his love for Gertrude, without her knowledge or consent. Hamlet is furious and seething with rage with the news of his father's murder. Knowing the truth makes Hamlet's subconscious realize that killing Claudius would be similar to killing himself. This is so because Hamlet recognizes that Claudius' actions of murdering his brother and marrying Hamlet's mother, mimicked Hamlet's inner unconscious desires. Hamlet's unconscious fantasies have always been closely related to Claudius' conduct. All of Hamlet's once hidden feelings seem to surface in spite of all of the "repressing forces," when he cries out, "Oh my prophetic soul!/ My uncle!" (1.5.40-41). From here, Hamlet's consciousness must deal with the frightful truth (Jones).
Hamlet is one of Shakespeare’s most well-known tragedies. At first glance, it holds all of the common occurrences in a revenge tragedy which include plotting, ghosts, and madness, but its complexity as a story far transcends its functionality as a revenge tragedy. Revenge tragedies are often closely tied to the real or feigned madness in the play. Hamlet is such a complex revenge tragedy because there truly is a question about the sanity of the main character Prince Hamlet. Interestingly enough, this deepens the psychology of his character and affects the way that the revenge tragedy takes place. An evaluation of Hamlet’s actions and words over the course of the play can be determined to see that his ‘outsider’ outlook on society,
It also demonstrates Hamlet’s consideration on the matter of what he should do when he discovers his uncle’s sin. He becomes cunning, saying, “For murder, though it have no tongue, I’ll speak with most miraculous organ." (Shakespeare) At this point in time, he acknowledges that he must be clever and imaginative in order to overcome his adversary, and that the proof of his crimes will be difficult to unveil. As said by Silva, “The idea crystallized. He would get the players to perform something like the murder of his father in front of his uncle. He would watch his uncle’s reactions. He would probe his very thoughts. If his uncle so much as flinched he would know what to do. The ghost may have been the devil for all he knew, and the devil had the power to take on a pleasing shape.” (Silva) It is also at this point that many characters, including Polonius, Ophelia, and Hamlet’s own parents, begin to question whether Hamlet is sane at all. However, this will not be fully explored until shortly after Hamlet’s soliloquy of Act Three. However, many have made their different claims about Hamlet’s “madness”. For example, Deighton says, “Hamlet's declared intention of assuming ‘an antic disposition,’ his assurance to his mother that he is only "mad in craft," the test he proposes in proof of his assertion, may all
In act III scene I Shakespeare’s exemplifies the stimulation of emotions and feelings through Hamlet’s words. The speech or soliloquy Hamlet gives in this scene is very much philosophical in a sense while maintaining an emotional side of the speech. Hamlet contemplates on suicide; it’s the thought that Hamlet gets that creates a sense of emotion in philosophy. The soliloquy that Hamlet states goes into the depth of philosophy “to be or not to be” (3.1, 57), these thoughts of Hamlet give a feeling of catharsis which few people know about. Whatever Hamlet contemplates is somehow subconsciously linked to each and every person, but people do not contemplate on it too much because of fear. The extent to which there is a sense of emotional appeal is quite effective and in depth to a person’s thoughts.
Hamlet’s first soliloquy in Act 1 Scene 2 reveals important key thoughts Hamlet holds for related characters. The purpose for this soliloquy is to inform the audience of Hamlet’s true feelings about his family and life, which provides the audience with a deeper understanding and meaning of the future choices chosen throughout the play. One of the more intriguing truths revealed by Hamlet is the disgust he holds for his mother’s new relationship and her little acknowledgment of her husband's death.
Coming immediately after the meeting with the Ghost of Hamlet’s father, Shakespeare uses his second soliloquy to present Hamlet’s initial responses to his new role of revenger. Shakespeare is not hesitant in foreboding the religious and metaphysical implications of this role, something widely explored in Elizabethan revenge tragedy, doing so in the first lines as Hamlet makes an invocation to ‘all you host of heaven’ and ‘earth’. Hamlet is shown to impulsively rationalize the ethical issues behind his task as he views it as a divine ordinance of justice, his fatalistic view reiterated at the end of scene 5 with the rhyming couplet ‘O cursed spite,/That ever I was born to set it right’. These ideas are
Hamlet was shocked to hear of his fathers death and even more shocked when the ghost of King Hamlet told the truth of his murder at the hands of Claudius. Hamlet was enraged and swore to his father he would avenge his death, “Haste me to know’t, that I, with wings as swift as meditation or the thoughts of love, may sweep to my revenge.” The play could have been over and done soon after this but, through overthinking Hamlet manages to draw the revenge out for quite some time. A portion of Hamlets idleness is before he is actually certain of Claudius’ guilt. Even though the ghost has told him of the murder Hamlet is wary and wants to make sure the ghost isn’t the devil in