let be”(5.2.200-202). By casting away his worries about the afterlife, which he has no control over, Hamlet allows himself to complete his mission of killing Claudius. Hamlet understands that the reputation he leaves on earth will be just as important as his afterlife. By killing a corrupt leader like Claudius, Hamlet is leaving a great legacy behind. Furthermore, Hamlet even begs Horatio to abstain from killing himself “And in this harsh world draw thy breath in pain, To tell (his) story”(5.2.331-332).Hamlet’s imploring of Horatio portrays the new importance Hamlet places on his legacy.
The first murder of King Duncan only sealed Macbeth’s paranoia and served as a foundation for the murders of Banquo and Macduff’s family. After the first murder, Macbeth feels a colossal amount of guilt and shame. After the murder of Banquo, he feels that it is not enough since Fleance escaped, developing his guilt and shame of harming others into a fear for his own safety; a devastating degradation. However, during the assassination of Macduff’s family, Macbeth gives the command immediately without thought and without a trace of remorse after doing so. This thereby concludes his psychological downfall as he no longer feels guilty, ashamed, or fears
This shows an advancement of his mental illness, where he is struggling to care whether he lives or dies. As Hamlet reaches the climax of the play, his entrapment comes in the form of malevolence towards Claudius in Act III, scene iv. This is when Hamlet stabs Polonius through the curtain, and then voices how he will fully commit to violent actions against the king, after the Ghost tells Hamlet again to do what he has been told. “I do repent; but heaven hath pleased it so, to punish me with this, and this with me, that I must be their
He practically confesses his insanity is all for show because he says so and because he tells his best friend, Horatio, not to worry about him whatsoever. Towards the end of act 5, Hamlet again admits his insanity caused his previous actions. Rather this time, it may have been more for saving his life rather than planning to end someone else’s. Before the deadly duel against Laertes, Hamlet decides he should apologize for his actions at Ophelia’s grave and for killing Polonius. “What I have done, That might your nature, honor, and exception Roughly awake, I here proclaim was madness,” he pleads.
In the Branagh adaptation, more emphasis is placed on feelings of betrayal due to Hamlet and Ophelia’s secret relationship. Most of the scene is focused on Ophelia’s father conversing with King Claudius, rather than focusing on Hamlet’s plotting. This takes the attention away from Hamlet focusing on avenging his father, instead making the conflict between Laertes and Hamlet for significant. In opposition, the Zeffirelli version fails to even include the important conversation between Claudius, Gertrude and Ophelia’s father. Instead, the emphasis was placed on Hamlet discussing with Rosencrantz and Guildenstern about how he could go about killing Claudius.
Despair is another emotion of which he lacks control of; Romeo states, "[i]n what vile part of this anatomy / [d]oth my name lodge? Tell me, that I may sack / [t]he hateful mansion" (3.3.115-117) at Friar Lawrence’s cell after the Prince declares banishment. Instead of taking an emotional break to relieve himself of tension, he turns to his dagger to commit suicide. Luckily, Friar Lawrence is there to discuss the consequences of suicide and guide Romeo through his negative emotional state. This is not the only instance where Romeo faces despair; in Act Five he also feels despair when Balthasar brings him the unfortunate news.
Deception is the norm in Hamlet. For example Polonius, the King’s counselor, hires Reynaldo to spy on Laertes in an attempt to teach his son the importance of reputation and encourages him to use any means possible, including lying to achieve his goal, “Your bait of falsehood takes this carp of truth and thus do we of wisdom and of reach” (2.1.63-64). Claudius and Gertrude hire Rosencrantz and Guildenstern to spy on Hamlet in an attempt to discover what is ailing him, “So much as from occasion you may glean, whether aught, to us unknown, afflicts him thus. That, opened, lies within our remedy” (2.2.16-18). Shakespeare describes a world where lies masquerade as truth just as
Shakespeare explores the timeless and valid notion of revenge engaging responder to evaluate it’s inherent moral and spiritual consequences. In Act one Shakespeare utilities emotive high modal language and the symbolic appearance of the “ghost” to coerces Hamlet in seeking revenge “If thou dids’t ever their dear father love” symbolic foreshadowing. Allowing responders to question the approval of committing a sin. Shakespeare’s characterisation of Hamlet causes him to be torn between the desire to act and disgust towards humanities baser urges. Hamlet’s metaphysical speculations and problematic is proven in the statement “too too solid flesh would melt” the use of dark imagery gives an insight of Hamlet’s detrimental conflict to act or “hold
To be or not to be morally ambiguous is to have the lack of coherence in making moral life decisions. In Shakespeare's play Hamlet, the main character Hamlet goes through a great transformation. Hamlet seeks revenge toward Claudius who he believes killed his father for the throne. In many of Shakespeare’s play there is always a hero and a villain, but in Hamlet, Hamlet plays a pivotal role because he can be viewed as both the hero and the villain. Hamlet is seen as a morally ambiguous character due to the decisions he makes throughout the plot of the novel that ends up leading him to his demise.
One internal conflict that Hamlet faces within himself is the fact that even though he agrees to the apparition of his deceased father to kill Claudius, however, he is still uneasy at the fact he could’ve encountered a demon to tempt him. He wants further proof which would help him to take action later on. In Hamlet’s third soliloquy he sates “The spirit that I 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, abuses to damn me (Shakespeare 529-534).” This further confirms his doubts about his father’s ghost of being either a true apparition or an apparition of the devil. He uses the play The Killing of Gonzago to help