In Act 3, Scene 3 of Romeo and Juliet, Shakespeare depicts the theme of both fear and shock that Romeo feels when exiled. Immediately into the scene, Shakespeare uses personification when Romeo asks, “What sorrow craves acquaintance at my hand / That I yet know not?” (Shakespeare III.iii.5-6). Romeo discusses how sorrow is craving acquaintance at his hand, meaning that he will soon be sad, or suffering. This hidden meaning is presented, however, it is presented as personification because sorrow, an emotion, cannot actually crave anything. Shakespeare sets the tone of fear using this literary device to show how there are harsh consequences for killing Tybalt.
The second soliloquy of the play depicts Hamlet as a frustrated and paranoid character. Reader may recognise Hamlet’s duplicitous conscience as he expresses his awareness and questions the ghost’s statement. In order to solve the bewilderment, Hamlet concludes that he will pretend to be mad as readers may find it cunning when he vows, “the play’s the thing wherein I’ll catch the conscience of the king”. Hamlet’s commitment to observe the king serves as a suggestion that Hamlet is indeed a deceitful character that ought to justify his father’s death through the use of deceptive scrutiny that underlines an important theme of the
When you say your going to do something, you better do it. Words may indeed lie, but actions always tell the truth. In Shakespeare’s play Hamlet the protagonist Hamlet goes through numerous tragedies that cause him depression. His father dies, and his mother marries his uncle. This stress put on him is what essentially created his tragic flaw.
Sit you down/And let me wring your heart. For so I shall/If it be made of penetrable stuff,/If damnèd custom have not brassed it so/That it is proof and bulwark against sense. (3.4.30-40) This show the hidden meaning of Hamlets violence with being love hurt, in his head he feels as no one loves him and is all alone to suffer with his grief. Letting Hamlet be so hurt by love lets the reader and audience see how the love really can affect a person view into driving the play in madness and despair. Hamlet is madness is started by love but is infused with jealousy.
“Thus conscience does make cowards of us all” (3.1.87) Hamlet is angry with himself that he has let his conscience come in the way. Hamlet was not only obsessed with his own conscience but the conscience of others as well. "The play's the thing, wherein I'll catch the conscience of the king." (2.2.617) Hamlet wants to know what king Claudius is thinking in terms of his conscience before Hamlet acts. Here, Hamlet is thinking with his conscience, instead of just killing Claudius like he wanted to do from the beginning, he needs to confirm the conscience of Claudius to convince his own conscience it is the right thing to do.
Hamlet is William Shakespeare 's renowned tale of mystery, intrigue, and murder, centered on a young misguided prince who can only trust himself. Some may say that the actions of Prince Hamlet throughout the play are weak and fearful, displaying a tendency to procrastinate and showing an apathetic nature towards his family and peers. Others spin a tale of a noble young scholar, driven mad by the cold-blooded murder of his father by his uncle. In truth, I believe Hamlet is neither of these things. Hamlet is a sort of amalgamation of the two, a bundle of contradictions thrown together into one conflicting but very human mess of a character.
Hamlet's Heightening Insanity In Hamlet by William Shakespeare, it is clear that Hamlet was once sane, but the tragic events of his life led him to be insane. Grieving over the loss of a loved one, yet a parent, is extremely difficult. These hardships can cause a lot of problems in one’s life. In Hamlet, Shakespeare incorporates a theme of madness to serve a motive. In fact, Hamlet is not initially crazy, but plans to use the insanity as a trick to achieve what he wanted-- revenge.
Hamlet’s “antic disposition” is merely an act, and serves to mask his intentions of revenge from his peers; Hamlet does become somewhat unstable, though, and lapses into brief moments of true insanity. Following the first encounter with his father, Hamlet vows to put on an act of madness to hide his actions and thoughts from the King. Hamlet’s feigned madness begins with a half-naked appearance in Ophelia’s chambers, and escalates from that point onward. The effect of the “antic disposition” seems to wear off by Act IV though, as Hamlet’s actions cause Claudius to become suspicious of Hamlet. Hamlet seems to experience moments of true insanity at times, though, as seen when he rashly kills Polonius.
The “To be or not to be” soliloquy is very pessimistic in nature, heightening Hamlet’s distressed mental state. Just as in every soliloquy, life is heavily examined by Hamlet, but in this particular speech, it is as if Hamlet has reached his final straw, mentally. At this point, Hamlet is questioning which option is nobler to “suffer the slings of and arrows of outrageous fortune, / Or to take arms against a sea of troubles / and, by opposing, end them” (3.1.66-67). Shortly after, the analytical Hamlet considers the pros and cons of suicide. On one hand, suicide is essentially an eternal session of sleep that would end all of life’s troubles making it “a consummation / Devoutly to be wished”.
But we can see after he finds out about the truth, he is forced to act because of his morality beliefs. The battle in Hamlet’s tragedy occurs in a dynamic society that is created by opposing forces that contradict with each other and Hamlet is a philosophical prince who blames the court for impunity, injustice, and murder; and all of these problems prevents him from being a part of court’s social life and he becomes depressed. Hamlet’s deep depression effects on his behaviors until he even doesn’t act like prince and becomes mad. His madness effect on his judgment and makes him to become obsessed with the death; even he sees death as the only way to take revenge. We can see that Hamlet explores death in every facet of the play from many different angles and how he develops his definition of death from the materially to morality perspective.