Hamlet is a play that incorporates betrayal, vengeance, misguided love, and death into its plot to showcase the downfall of Hamlet. There are many questions that arise within the plot that are left una nswered such as the significance of the Ghost and why Hamlet hesitates to take revenge on Claudius. But, a critical question to ask is how revenge influences the interactions between people. Answers to this question are evident throughout the play and they give context to Hamlet’s affairs with Ophelia and her father Polonius, as well as his interactions with Claudius. The structure of this question and its answers are divided based on how the plot itself progresses; as Hamlet becomes exceedingly disconnected from his surroundings, his flaws
The character flaws of the Capulet’s, Friar Laurence, and Tybalt caused devastating drama of Romeo and Juliet. The Capulet character flaws brought on the demise of Romeo and Juliet. The flaw was that of apathy, which obscures their judgment towards
Mothers-in-law have always had the reputation of being a hassle. This very true for the character Ophelia in William Shakespeare’s Hamlet. Hamlet portrays the story of young Prince Hamlet and the events that unfold in his life after his father’s death. With his mother, Gertrude, hastily remarrying his uncle, Claudius, and his love interest, Ophelia, slipping away, it’s no wonder that Hamlet seems to be going mad. But what if these events aren’t just factors to Hamlet’s madness?
Language is a complex system of communication developed to convey thoughts, feelings, and meaning. Although, a must for comprehension, in William Shakespeare 's Hamlet, language is used as a device for manipulation by shifting one’s perception of the truth. The play forms recurring motifs relating to the dichotomy of appearance versus reality. This technique manifests through Claudius, a politician that takes the throne by pouring poison into the King’s ear, then marries the Queen. During Act 1 his ability is shown through his speech filled with oxymorons such as “defeated joy” (I.II.10) to appear as the grieving brother to the people of Denmark.
In Hamlet a play composed by William Shakespeare, Shakespeare uses multiple soliloquies throughout his play to delineate the thoughts and feelings of a character (Hamlet) at a key point during a characters climax. Within the second soliloquy in Act two scene two Hamlet seems to question his existence and states himself as “alone” as well as a “peasant slave” which indicates how his intellectual self is grieving towards the death of his father (the king). Hamlet had once seen his father as his hero, his role model and luminary. However, due to his father’s death his mother decided to incestually marry Hamlet’s uncle in which had aflittered him and had made many believe that he was “mad”. In the soliloquy it states “A broken voice, and his whole function suiting” this also indicates how distraught he is towards his father death and the events in which had led after this incident.
Gradually, he will come to question if the ghost he saw was truly his father, or some other malicious apparition. “Hamlet’s mood shifts from self-loathing to a determination to subdue passion and follow reason, applying this to the testing of the Ghost and his uncle with the play,” (Allan). Ultimately, this question leads Hamlet to find the proper motivation to use the performers and play within a play to “catch the conscience of the king”. This will be his self pep talk to carry out a plan in order to determine the true guilt of his step
Claudius represents Hamlet’s Id and desire of Hamlet’s to sleep with his mother Gertrude. King Hamlet resepresents superego to control his Id or his desire to sleep with Gertrude. In act 3, scene 4 , Hamlet putdown his mother Gertrude for her sexual behavior “ Rank sweat of an enseamed bed”. At this moment, king Hamlet’s sprit (the super ego) appears to prevent the desire from being realized. King Hamlet remarks to the Hamlet, this revealing his guilt conscience of both his desire and delay: “Do not forget!
He acted strange when he was around the king and his attendants and this is evident when he tells his friend Guildenstem that "his uncle-father and aunt-mother are deceived" (Shakespeare). In addition, when they enter the court party, Hamlet tells Horatio that "I must be idle," meaning he is trying to feign his madness. He also confesses to his mother that "I essentially am not in madness, but mad in craft" (Shakespeare). For Hamlet, he had to pretend to be mad in order to plan and execute his revenge against Claudia. Hamlet’s madness played an important role in the play because he later on became insane after he had feigned his insanity.
The play within a play in Shakespeare’s “Hamlet” Act III, Scene II is a literary device used to give a twist to the plot, and create suspense. However, in a closer examination it is also an early example of a metaplay employed by Shakespeare in order to engage the audience with more complex notions, such as the idea of reality and deception. Hamlet is determined to avenge for the death of his father and fulfill the request of his father’s Ghost. But uncertainty and indecision prevent Hamlet from acting spontaneously. In order to proceed to his mission, to take revenge, he has to find solid proof of Claudius’s guilt.
In my opinion Hamlet is a peculiar subject from a psychoanalytical standpoint, especially in the event of attempting to pinpoint his oedipal tendencies, mainly from the fact that throughout the play it becomes evident that Hamlet has a number of three paternal figures, King Hamlet, Claudius and Yorick, the first two of which compete with him in two different oedipal triangles. • King Hamlet Starting from the hypothesis that Hamlet feels strong sexual attraction towards his mother, Gertrude, it becomes easy to deduce that his father constitutes one of the obstacles that prevents him from consummating his urges, the other being the awareness of the immoral aspect of having intercourse with his mother, especially considering his family’s regal position. Hamlet acknowledges his father’s superiority and the fact that he is the one that is in possession of Hamlet’s cathexis, and gradually develops feelings of hate towards him and wishes he would be removed. The immoral feelings towards his mother and his hateful feelings towards his father are repressed, and take a latent aspect. His outward behavior is manifested through admiration of his father.
In his first essay of On the Genealogy of Morals, “‘Good and Evil,’ ‘Good and Bad,” Nietzsche makes accusations against priests that could easily be interpreted in a pro-Nazi light if misinterpreted. At first glance, this charge seems to be an attack against Judaism; however careful reading of text reveals that Nietzsche is actually criticizing Christianity. Nietzsche asserts that “priests are, as is notorious, the worst enemies—why? Because they are the weakest, their weakness causes their hate to expand into a monstrous and sinister shape, a shape which is most crafty and most poisonous” (1.7). Because the Jewish priests that Nietzsche describes are powerless and weak, they turn to hate.