In Hamlet, Prince Hamlet’s flaw is very evident when he states, “To take him in the purging of his soul/ When he is fit and seasoned for his passage?/ No./ Up, sword, and know thou a more horrid hent” (III. iii. 86-89). The whole entire play after Hamlet finds out that his Uncle Claudius murdered his father, he plots the execution of his selfish uncle. However, Prince Hamlet had the opportune time to avenge his father’s murderer but his recurring indecisiveness continues to get the best of him.
By describing becoming king as putting a “fruitless crown” oh his head and handing him a “barren sceptre” , Macbeth exhibits a yearning to expand his power beyond his own generation (35). Macbeth only wanted to become king but he selfishly concludes that his own command isn't enough and he wants to engender a legacy of heirs. Macbeth adheres to the growing ambitions of individuals once they gain power. Therefore, Macbeth does not think his efforts to reach power were sufficient. Thinking of the deeds he has done, he reasons that “For them the gracious duncan have I murder'd” (35).
William Shakespeare’s play, Hamlet, is a tragic story about the struggles of a prince named Hamlet who seeks to avenge his father’s death. Hamlet is so determined to sabotage his uncle, who has taken his father’s crown and is responsible for the crime, that Hamlet himself increasingly becomes insane. Family bonds and friendships are broken as death begins to claim their loved ones and vengeance becomes the primary mindset of the characters. As the play progresses, three prominent themes of death, revenge, and madness drive the plot to its wretched end. Death is the most obvious and reoccurring theme displayed in Hamlet beginning with the death of King Hamlet.
It is true that throughout William Shakespeare's play, Hamlet is insane. Hamlet's insanity goes onward well with the drama story to bring thrill and insecurity. Even though Hamlet says to the audience that he is not insane, it is just part of his evil scheme for the king of Denmark:Claudius. Claudius murdered his brother, takes over the throne and marrying his brother's wife. Hamlet finds out the truth and aims to discover more information about his father's murder and he does this by being insane.
While Hamlet is hesitant Laertes is brash and impulsive. He even states that in his confrontation with King Claudius “Let come what comes, only I 'll be revenged Most thoroughly for my father.” (4.5.148-154) Laertes does not do much thinking when it comes to avenging his father. The opposite is said about Hamlet who spends too much time contemplating whether he should avenge his father. They both were in the same situation but went about it very differently. In the final confrontation between Claudius, Laertes and Hamlet their colliding motives leads to the death of each person.
Othello’s emotions are uncontrollable and they destroy every aspect of his life (“Othello” Shakespeare for Students: Book One 448). Jealousy shapes the play, ruins lives, and destroys love. Jealous mistrust in Othello is terribly destructive and results in several main characters meeting their bitter end, including Othello and his beloved wife. Jealousy is a monster throughout Othello, it destroys lives and leads to nothing except rage and violence. Desdemona claimed DESDEMONA.
If up until now our discussion portrayed Hamlet´s intellect and his brilliant manipulation of the other characters, now it is time to focus on his maniacal behavior and its justification. The Motif of Madness is simple as well as complicated: Hamlet knows his father was killed by Claudius, and he has to obtain retribution, “revenge his foul and most unnatural murder” (1.5.25). Yet, the King´s crime must at all cost be kept a secret in order for his plan to function, so Hamlet believes that he has no other choice but to keep his resettlement to himself as a mean to an end: to vindicate his father´s killing (”but break, my heart, for I must hold my tongue” (1.2.158)). Thus, Hamlet is assuming his “antic disposition” consciously and of set purpose, and by doing so he becomes a hero, the avenger of his father´s murder,
‘Oh, please let’s get out.’” and Jay is left feeling hurt and betrayed, when in fact all that should have mattered to Jay is that Daisy loves him now (142). Obsession is present in Ophelia and Hamlet’s in a different way than in Jay and Daisy’s. Hamlet’s obsession with revenge ultimately leads to the death of Ophelia. By allowing Ophelia to believe that Hamlet is insane and killing Ophelia’s father, Polonius, without thinking, Hamlet’s obsession with revenge causes not only the downfall of Ophelia and Hamlet’s relationship, but also causes the emotional downfall of Ophelia, which leads to her untimely death. The romantic relationships of Daisy and Tom in the novel and Claudius and Gertrude in the play exhibit the destructive effects of adultery.
Hamlet’s claim is “the play’s the thing wherein I’ll catch the conscience of the king”(II.ii.632-634). He has written out how Claudius actually killed the king in hopes to stir discomfort within the Claudius’ conscience to show everyone that Claudius is a cold blooded killer. A play of such sophistication takes thought and intelligence to be put together in such a way to draw attention. It takes sanity to have a goal and be determined to achieve it. Hamlet later gets into an argument with Rosencrantz and Guildenstern due to suspicion.
“Conscience does make cowards of us all” (3.1.83) - a phrase that describes perfectly Hamlet’s elusiveness to take on, and eventually complete the dreadful task of vengeance. William Shakespeare’s eponymous tragedy Hamlet brings forward an essentially puzzling character that orbits perpetually in uncertainty and ambivalence regarding his actions. Always on the edge of self-destruction and madness, his procrastination has become an essential facet of the play’s outcome, and as Andrew Cutrofello points out: “the only thing Hamlet is incapable of doing resolutely is killing the man who murdered his father and married his mother” (2014: 19). Although it is simply a matter of passing from reflection to reaction, it seems that Hamlet’s