In Hamlet, by William Shakespeare, he analyzes the challenges royalty could face and emphasizes the complexity of family relationships, suicidal thoughts and doubt, and explores the ideas of revenge and identity. The main themes present are corruption, expectation versus reality, and the complexity of actions. The context of this play is set in Elsinore, Denmark in the 14th century, where a prince seeks revenge for his father, and discovers his father was murdered by his uncle while his mother was courted and now married to the usurper. If Shakespeare had written Hamlet today, most of the themes would still be relevant, however the setting and characters’ experiences would differ due to technological advancements and modern belief systems. The setting of Hamlet differs greatly from present day Denmark.
In Emily Dickinson’s “Because I could not Stop for Death”, the narrator regrets her actions and wishes she could have changed her fate. On the other hand, Edith Wharton’s Ethan Frome, fate is said to be predetermined. By exercising free will, in trying to avoid their inevitable downfall, these three unconnected works of literature encompass the two types of fate, that which can change and that which is predetermined. In Shakespeare’s Macbeth, the fate of several people are changed through the actions of individuals that exercise their free-will. In the beginning of this play Macbeh states, “If chance will have me king, why, chance may crown me, without my stir” (Shakespeare).
Already, the idea arrives in his head despite the fact that it is a horrid image to him. Even though he decides to leave it up to fate, Macbeth considers the thought of murdering to get what he wants. Further, since just prior to this Ross and Angus, two kingsmen, reveal that he is now the Thane of Cawdor, causing the first part of the prophecy to come true, Macbeth’s conflict of how to get the kingship will start to impend. Moreover, when Duncan proclaims Malcolm, his son, as the prince of Cumberland and his successor, it begins the start of
In the third episode Shakespeare 's play “Antigone”, an argument brews between a king, Creon, and his son Haemon about the rebellions of one named Antigone. After discovering Antigone had committed treason by burying her brother, Polynices who was considered a traitor to the realm. Both Haemon and Creon used strong emotions to portray their arguments where Hameon also used logic in reasoning in his interaction with his father.
In Hamlet, Shakespeare demonstrates that all actions have an equal and opposite reaction that can snowball out of control especially between what appears to be both internal and external conflicts between the old generation and the new generation. Hamlet’s initial conflict starts with Claudius killing King Hamlet which prompts young Hamlet to seek revenge on the advice of the ghost of his father. Young Hamlet spends most of the play lingering between action and inaction which adds to the tension and building conflict between the old generation and the young generation. Claudius, in turn, indirectly fights back by reassigning the original conflict to the young generation by which he expects to remain blameless and safe on the throne of Denmark. It is interesting to note that though the majority of Hamlet’s conflict takes place within a single family’s domestic problems, it begins to affect their closest confidants and an entire country.
Everything Claudius has done has been to the disliking of Hamlet, and for his plan of summenting himself into the monarchy of Denmark to succeed, he needs everything the way he wants it, incestious, curodded and corrupeted. Claudius’ soliloquy to Hamlet reveals the hidden traits of his superficial charm, manipulation and corruption. The new king’s covert, underhanded attributes paint the picture of an inglorious sultan who aims to appeal only his own goals. This portrayal is perfectly in character when it is revealed that Claudius had murdered his own brother for the purpose of the throne and the queen; although he acts as a benevolent king, he is simply a murdering
This could lead these characters to an undesirable ending. In Hamlet, Claudius and Polonius deceive in order to maintain power; Gertrude, Rosencrantz, and Guilderstein deceive in order to maintain their superficial items that Claudius has given them; Laertes deceives to get revenge for the death of his father and to protect Ophelia. All of these characters try to use deception for their own benefit, but in the end you reap what you sow. These characters all have the same thing in common, they deceive Hamlet to be able to carry out their plans. As these characters begin to deceive Hamlet, he counteracts their efforts in order to carry out his master plan of
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.
He decides his final decision by the push of Lady Macbeth. He tells her, “I am settled, and bend up/ Each corporal agent to this terrible feat” (I.7.79-80). Macbeth end ups murdering the king due to Lady Macbeth pushing his flaw even more. Banquo’s fate, on the other hand, was that his descendants were to become kings. Macbeth's flaw makes him become paranoid about Banquo’s children being king because he wants the throne for his own descendants and not his.
In disturbing Ophelia, Hamlet’s madness reaches the ears of her highly influential father, who says to her, “Come, we go to the King” (2.1. 130) . Their subsequent report provokes the interest of the royal couple, who send Rosencrantz and Guildenstern to learn more. Hamlet then ups the ante, persisting in his act around Polonius himself. This only serves to heighten the concerns of the king, so much so that he devises a plot to discern the cause of the prince’s madness for himself.
A mentor, or a person who attempts to suggest and or change someone’s thoughts and possible actions. In the novel, Othello by William Shakespeare, the known mentor of Othello is Iago, the primary villain of the book. Due to his intense persuasion and influence, the whole novel seems to be changed by his cutting personality. In the book, Othello, William Shakespeare successfully creates Iago, a rude, manipulative, harsh mentor of Othello, seemingly changing the plot line and outcomes of certain situations, in turn, relating to the novel as a whole by reaching a sense of a negative, and unfriendly tone.
When heros that are tied to destiny feature in literature, they often show signs of arrogance. In Oedipus the King, Sophocles shows how Oedipus’s quest for avoiding his destiny drives him to fulfill without being fully aware of it. When running away he finds himself married to his mother and becoming the king of thebes. In contrast, in Shakespeare’s Hamlet the main character is visited by the former king and informs him of the new kings doings. As a result the main character is convinced and must seek vengeance for the former king.
Macbeth seems, by all accounts, to be staggered to hush. At the point when Banquo asks of his own fortunes the witches react incomprehensibly saying that he will be not as much as Macbeth, yet more joyful, less fruitful, yet more. He will father a line of lords, however he himself won 't be one. While the two men wonder at these declarations the witches vanish and another thane, Ross arrives and educates Macbeth of his recently gave title, Thane of Cawdor, as the past Thane of Cawdor should be killed for injustice. The principal prediction is in this manner satisfied and Macbeth already incredulous instantly starts to harbor desire of getting to be above all