Elena Ehrlich
Mrs. Stensaas
Hour 1
Hamlet Final Paper
Motif Paper - Seems vs. Is
The play, Hamlet, takes place in the Renaissance era, and readers are exposed to the golden age of English writing as well as its featured complexities. Shakespeare’s work features young Hamlet’s life after his father’s passing. Hamlet shows that death is a hard occurrence to heal from. Hamlet reveals both the negative and positive events that arise because of it. Prince Hamlet does not alleviate from his father’s death like others do in the play. He even attempts to get revenge because his father’s ghost requests him to do so.
Shakespeare’s writing is embedded with a strong sense of comparing the fantasy world of people, things, and ideas that “seem”
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how it “is”.
During Hamlet, the Ghost of King Hamlet is a dominant character. Prince Hamlet, the King’s son, claims that he sees the Ghost and talks to it. On one occasion, the Ghost converses with Hamlet while he is in a room with Gertrude, the Queen. Hamlet responds to the Ghost, so the Queen wonders “To whom do you speak this” (3.4.149) concerning Hamlet’s actions. Although the ghost “seemed” to be real to Hamlet as a perceived fantasy, the Queen saw nothing in reality. This makes it questionable to readers whether or not there actually “is” a ghost. Furthermore, it is questionable whether or not Shakespeare intended to portray a true ghost, or if it might have truly just been a figment of Hamlet’s imagination to add to the motif of “seems vs. is.”
Another instance in the play involves Gertrude when she is concerned for Hamlet’s coping to his father’s death. The Queen confronts Hamlet and asks him what “seems” to be so important about his father’s death. Hamlet brusquely snaps back and replies, “Seems,” madam? Nay, it is. I know not “seems.” (1.2.78-79). Hamlet completely rejects how his appearance of himself “seems” to be by revealing how he actually “is” feeling to his mother with the harsh reality of the truth to his feelings that he blatantly says it to her.
Lastly, Shakespeare accounted for this “seems vs. is” motif
Quintessentially speaking, revenge is a thing that many have sought in response to a tragic event unfolding. Typically, as a result, vengeance is contemplated upon by the victim as a means of retribution, a way of making things right and seeking justice on the behest of the victim, if the law will not grant justice through due process due to corrupt forces stemmed deep within it- corrupt seeds of a corrupt plant. Therefore, revenge become an apparent option for those willing to walk that path [of no return]. However, instances of revenge not being attained in the “clear cut” way it is ordinarily acquired have occurred from time to time throughout history. One of the most prominent examples of unconventional revenge attainment can be found within the play Hamlet by William Shakespeare, entailing the revenge path walked by its eponymously named main character, Prince Hamlet. Specifically, his intentful delay in attaining his revenge against his uncle Claudius for his direct role in the death of his father, King Hamlet. This literary conundrum has dumbfounded literary critics for over 400 years and counting- due to the fact that a universally accepted consensus amongst them as well as the general public as to why Hamlet delayed his revenge has not yet been reached.
appears a second time during Hamlet’s argument with his mother (Act III Scene IV). Hamlet is particularly tense in this scene, and the coalesced emotions of sadness and anger cause him to be pushed over the edge emotionally. While the Ghost of his father appears blatantly in his vision, Queen Gertrude does not see the phantom. Up until this moment in the play, Hamlet’s insanity was a mask he wore to distract his opponents. As Queen Gertrude bluntly remarks in this scene, “Alas, he’s mad” (Shakespeare 3.4. 121), it does seem that Hamlet has truly succumbed to weight of grief. This apparition (or hallucination as the more skeptical approach) is caused by Hamlet’s grief-ridden mind not being able to empty its oversaturated walls. This is not only a literary plot device, Shakespeare must have been prematurely aware of the real-life “grief hallucinations” as Vaughan Bell calls them. “Grief hallucinations are a normal reaction to bereavement but are rarely discussed, because people fear they might be considered insane or mentally destabilised by their loss” (Bell). This brings to question Hamlet’s sanity even before he “snaps”. Is the first appearance of the Ghost even real? Or is it some kind of folie à deux with other watchmen present? There is some uncertainty about this concept, but the second appearance of the Ghost holds much more veracity to this claim. Psychologically, Hamlet cannot contain the misery he is
There have been, and will be, many interpretations of the relationship between Hamlet and the ghost. While we do have a lot of context via research to base our opinions on, unfortunately (or fortunately depending on how you look at it) there will probably never be a definitive answer to this question. Pleasing
Supporting characters are often looked at as impractical and unnecessary, however they are just as important as major characters. Supporting characters help influence the way the main characters act and what they do. Minor characters not only make the main characters more meaningful, but they also help to develop and drive the plot. Ophelia, falling victim to the neglect and abuse of the other characters and depending solely on the men in her life, becomes the only character who truly becomes mad. Polonius’ concern with how others perceive him, along with his selfishness ultimately leads to him driving his children further away from him thus leaving Claudius with more power. Claudius uses manipulation, corruption and destruction of the lives of the innocent to stay in power, and in doing so; he is the epitome of all evil events that occur. In the tragedy Hamlet, by William Shakespeare, the plot of the play obtains added mystery and dramatic appeal due to the complexity of the supporting characters, which propel the play to move forward.
In William Shakespeare’s tragedy, Hamlet, it is clearly evident Prince Hamlet is overcome with “madness” due to his father’s murder and other malicious actions taken against him. Throughout the play, there are many examples of how Hamlet displays his insanity due to certain situations he experiences and how he handles them. Hamlet shows his madness through the killing of Polonius, his treatment of Ophelia, his thoughts of suicide, and the treatment of his mother Gertrude.
“There is nothing either good or bad, but thinking makes it so.”(Act 2, Scene 2, 239-251) Hamlet by William Shakespeare is one of the most famous plays written that conveys a multitude theme. But most predominant is the presence of Hamlet 's obsession with philosophy of life, throughout the play Hamlet philosophy reviles his point of view love, loyalty, the importance of family and friends and last the pain that comes with losing a loved one. That said his action throughout the play reflects his philosophical virtues which helped with the understanding of the character.
Throughout the play, Shakespeare begins to show the basics of Hamlet’s mind, striving to show, as to why he remains inactive and unsure throughout majority of the play. Firstly, “…but know, thou know noble youth/ The serpent that did sting thy father’s life/ Now wears his crown” (Act I. v. 39-40). As the Ghost tells Hamlet his father’s real murder, Shakespeare begins to show the reader, that the protagonist is encountering the Shadow archetype, which represents unknown characteristics of the main character. The reader is shown with the presence of the Shadow archetype, that Hamlet’s concealed suspicion regarding the death of his father, which was considered as an accident, turns into an urge to seek revenge. This archetype reveals to us Hamlet’s inner desires to kill his Uncle Claudius. Furthermore, “…your noble son is mad:/ Mad call I it, for, to define true madness,/ What is’t but to be nothing else but mad?” (Act II. ii. 92-94). Polonius tells the Queen and King that Hamlet is insane for Ophelia, as a result, the Anima archetype is represented by a member of the opposite sex. As for Hamlet, it is a sign of feminine desires he once had for Ophelia, who were once lovers. However, he ignores the affection he has towards Ophelia, in order to focus on his pursuit for vengeance. Moreover, “I have some rights of memory in this kingdom,/ Which now to claim my vantage doth invite me” (Act V.ii.379-380). Fortinbras and Hamlet’s motive is to avenge their
The play Hamlet, written by William Shakespeare, is set in an anti-feminist era. Women traditionally have been seen inferior to men. This was an intellectual as well as a physical issue. Women were to raise a family, cook, clean, be pretty and not be smarter than any man. The main characters Ophelia and Gertrude are both depicted with these characteristics as powerless and frail people. This illustration of helpless women affects one's understanding of what their true selves could be.
Hamlet’s personal growth is easy to see when you read his famous soliloquies; however, it is also evident in his conversations with his confidant, Horatio. Analyze the growth of Hamlet’s character using two interactions with Horatio as evidence. Paraphrase, insert, and examine at least two exchanges of dialogue between Horatio and Hamlet that demonstrate how he changes from the beginning to the end of the play.
Hamlet is a very enigmatic fellow. In Hamlet by William Shakespeare, the theme of revenge is presented as a controversial one. Before the play was set, Prince Hamlet’s uncle and new stepfather, King Claudius, had taken part in the assassination of his brother, old King Hamlet. Old King Hamlet died without a chance to receive forgiveness for his sins. As a result, his spirit is condemned to walk the earth at night and spend the day in purgatory until his sins are finally purged. Perhaps the single most interesting and debatable question about Prince Hamlet is “why does it take so long for him to get his revenge?” Among all of the opinions,
Revenge is a twisted concept, and has the ability to push people to their absolute limit. This is true when discussing William Shakespeare 's play, The Tragedy of Hamlet, where the main character, Hamlet, begins going insane after the death of his father. His insanity is caused by a recent death in his family, his mother’s remarriage, the growing effects of trying to be something you are not, and the burning desire for revenge. His withering state of mind progressively worsens over time and is seen throughout the story line by everyone, that is everyone but Hamlet himself. Hamlet does not believe the things he is doing or events that are occurring are anywhere out of the ordinary, but perhaps that is because his imitation of insanity is
Throughout the play, Hamlet encountered unthinkable stress and decisions to make but is able to think reasonably and follow his moral conscience. He argues how he can do the right thing, yet avenge the death of his father. However, when Hamlet acts impulsively his choices and actions seem irresponsible and neglectful. Emotions portrayed by Hamlet throughout the play are repeatedly challenging to determine. In Hamlet’s soliloquies, the audience is fairly informed of his inner fights and complications yet some of his actions seem rather analogized to what he has been saying in his soliloquies. Hamlet is predominantly seen as being depressed after learning about his father’s death, seriously disturbed by the incestuous actions of his mother and enraged his
William Shakespeare had the uncanny ability to read people then put into words how individuals reacted with one another. His most known playwright is “Hamlet”. Hamlet leads the opening of the play with grandeur; but, when his father’s ghost of comes to visit him telling of Hamlet’s uncle Claudius killed him. Hamlet schemes a plan pursuing revenge. Hamlet demonstrates depression exceptionally, in the presence of his mother and Uncle Claudius. Shakespeare’s character likely labeled a “mad man” when the playwright first drew in crowds. Today, the bipolar diagnosis would fit Hamlet’s characteristics. On page one hundred sixty-seven of Susan Krauss Whitbourne and Richard P. Halgin’s book “Abnormal Psychology: Clinical Perspectives on Psychological Disorders” bipolar is termed as, “A mood disorder involving manic episodes-intense and very disruptive experience of heightened mood, possibly alternating with major depressive episodes (Witbourn & Halgin, 2014)”. Through the lens of humanity, the last fifty years, mental health clients find respect. Although, there is not much information on Bipolar, we are able not understand more on its prevalence. Bipolar Disorder is manageable by medication and/or lifestyle changes.
William Shakespeare’s The Tragedy of Hamlet (1603), was written in a time period in which society was dramatically different than it is today. For the most part, women had subservient roles and were treated as the weaker, lesser gender. Given the contrast in behavior that was considered acceptable, modern day readers struggle to understand the natural feelings of the characters and may have difficulty relating to them. The Tragedy of Hamlet dives into the base of human philosophy, submerged in the emotions and sensitivity of the main character, Hamlet, while he struggles with a devastating point in his life. Due to her subconscious foolishness and innocence paired with unjust social expectations, Gertrude cannot individually be labeled
William Shakespeare is known as the greatest writer in the English language. We don’t know much about this guy, but we know he had to be smart to write some poems and plays. With a deep understanding of human nature, he knows how to get all types of audiences to come to his plays more than once and also with other little things that we know helps us understand them more. To this day we still have people that read his plays and learn more and more things about them and his writings still have a big impact on us today. In the play “Hamlet” by William Shakespeare there are 3 messages from hamlet says a silique to be or not to be.