In the final scene of Hamlet, Hamlet says “Being thus be-netted round with villainies, -- Ere I could make a prologue to my brains, they had begun the play” (Shakespeare 131). Hamlet ironically thinks to himself as a character in a play because he is so melodramatically self-conscious. By adding this sense of paradoxical exposure, Shakespeare shows his effort to foreground the fact that the audience is watching a play within the play. Since Hamlet is such a rich character, Shakespeare’s work shows how he has something within him goes beyond what a play is capable of representing. This leads to a tension between the superficial reality of Hamlet’s awareness and the endless cues that he is a walking shadow.
This not only demonstrates the overconfidence Macbeth shows by telling the thanes he doesn’t want or need them anyways, but also shows the complete change in character from Macbeth from the beginning to the end of the play. He now feels almost entitled to his throne, due to the prophecies, and therefore believes he can berate what used to be him. A second way he does this is the repetition of I. He says “The mind I sway and the heart I bear” (V, 3, 9). Macbeth repeats I in order to place greater emphasis on himself, underlying his belief that others don’t matter, as long as he is there with his prophecies.
In this scene, the extensive use of short sentences in the protagonist speech such as “Oh God!” “Murder?” refers implicitly to his deep anxiety. He believes the ghost’s claims and takes his words for granted. As a matter of fact, this scene entails many consequences on the rest of the play as it is considered Hamlet’s eye-opener. In contrast, the ghost’s speech seems to be longer, thus eloquent and more expressive; he is conveyed throughout the scene as the only truth holder. Besides, the use of the imperative such as “Revenge his foul” , “ Hamlet, hear” draws a hierarchical relationship between the protagonist and the ghost as the latter has control over Hamlet’s future acts.
The incognizance displayed by Hamlet surrounding the subject of his father`s ghost is evidence of Shakespeare`s idea. Speaking to the ghost, he presents situations in regards to multiple possibilities, “Be thou a spirit of health, or goblin damned,/ Bring with thee airs from heaven, or blasts from hell,/ Be thy intents wicked, or charitable”(2-4). In his speech Hamlet presents his unawareness on the subject of the ghost’s presence. The manifestation of Hamlet Sr. occurs for reasons that Hamlet does not know. He cannot say if the apparition grants itself
Hamlet acts so crazy that he couldn’t remember that he just wanted to kill Hamlet. He acted so crazy that he started blaming everyone else, and almost forgot about his anger towards Claudius. He acted so crazy towards the Queen, Ophelia and Rosencrantz and Guildenstern that he ended up hurting those people’s emotions, which led to Ophelia’s suicide as well. Hamlet showed us how not to live by not being himself. He may have wanted to kill Claudius and had all of the evidence to do so but acting like he was crazy was not who he was.
By showing up to Ophelia in an unorderly fashion, Hamlet is able to enforce the space between the two and frighten her enough to keep her from checking in on him. Next, with his fiddle on words, Hamlet is able to inform Polonius that he knows what is being planned and succumb to it. Thus making Hamlet’s madness and irrational behaviors practical and important to the play and all of its entirety. Hamlet’s daunting appearance and dark twist on words, causes him to be thought of as demented. Believing the perfect way to continue with his search was to fake being insane and draw attention away from his investigation of his father’s death.
Key Words: Friends, imagination, growth and development,strength Introduction Freud’s Virgilian epigraph to ‘Interpretation of Dreams in 1900’ - “Flectere si nequeo superos, Acheronta movebe”, which was translated by John N Swift as : ‘If I can’t move heaven, then I’ll raise hell’ This is very appropriate to Willa Cather. The song of the Lark brings in front of us that how child hood helps in learning. Willa Cather echoes her strong voice in presenting Thea and her childhood. When any one read The Song of the Lark, the character of Ray Kennedy immensely attracts the readers in general. This paper tries to focus on Thea’s growth both mentally and physically through her friends.
They go from sane to insane. Hamlet says “How strange or odd some’er I bear myself…” (I.V.175). He is saying that he is altering his composition in order to execute a plan. He is going to become a mad man. The queen notices this of her son, “Alas, he’s mad” (III.IV.109).
Throughout the play, Hamlet claims to be feigning madness, but his portrayal of a madman is so intense and so convincing that many readers believe that Hamlet actually slips into insanity at certain moments in the play. Do you think this is true, or is Hamlet merely playacting insanity? What evidence can you cite for either claim? In William Shakespeare’s classic, Hamlet, the question concerning Hamlet’s underlying sanity is a major element in the interpretation of the text. In the play, Shakespeare portrays Hamlet as a dynamic character to cause a mental state conundrum among the audience and explore themes of suicide, spying, friendship, madness, love, hate and humour.
Madness was crucial theme in Hamlet, but not all of it was necessarily true. Throughout the story, Shakespeare depicts the idea of “madness” in various ways in his characters. Some characters reacted to the “madness” differently, and this all drove the plot and led up to the final scene. The significance that is put on “madness” allows Shakespeare to truly massive difference between true insanity and the “madness” that Hamlet was going through at times. Two characters, Hamlet and Ophelia, both went “mad” at one point in the story, but they acted very differently.
Throughout the play Macbeth, William Shakespeare uses diction to convey a change in not only his characters, but their environments and other character’s points of view. The varying uses of honor allow Shakespeare to introduce motifs about Macbeth’s changing character throughout the play. At the start of the play, Macbeth is an innocent thane, yet by the end, he is a merciless king who becomes obsessed with his possible power. The honor represents his valiancy at first even though by the end, honor becomes worthless because Macbeth has abused it and has lost any trust from his people. At the onset of the play, Macbeth enjoys the honor of being a thane and understands that it is a unique position because there are a limited amount of them.
In the play Hamlet by Shakespeare, In the story, a character by the name of Hamlet, has a tough decision. Should Hamlet kill his uncle or should he let him live. This thought drives Hamlet crazy or into complete madness, or is he? This question has been asked by readers for hundreds of years. My personal opinion on if Hamlet slips into madness is yes, that he does actually go insane in the play.
This can be seen throughout the play where he is determined at one point and starts to doubts himself later. His determination on taking revenge on Claudius after the appearance of the ghost changes as he starts to think what if “The spirit that I [he] have seen / May be a devil, and the devil hath power / T ' assume a pleasing shape, yea, and perhaps, out of my weakness and my melancholy, as he is very potent with such spirits"(2.2.585-590). Having the ability to contemplate in one thing but not being able to come to a decision or being influenced to make a certain decision lies within hamlet’s unconscious mind. In his unconscious mind he is afraid of the outcome of his decision because according to Carl Jung’s personal unconsciousness theory states that the unconscious mind “is really nothing but the gathering place of forgotten and repressed contents, and has a functional significance”(Jung). Repressed memories turn into either fear or confidence depending on the memory in their unconscious mind.