The Thought Process of Shakespeare's Hamlet
"If Hamlet from himself be ta'en away,
And when he's not himself does wrong Laertes,
Then Hamlet does it not, Hamlet denies it.
Who does it then? His madness. If't be so,
Hamlet is of the faction that is wrong'd;
His madness is poor Hamlet's enemy."
(V.ii.230-235)
Hamlet's self-description in his apology to Laertes, delivered in the appropriately distanced and divided third-person, explicitly fingers the greatest antagonist of the play‹consciousness. The obligatory cultural baggage that comes along with Hamlet heeds little attention to the incestuous Claudius while focusing entirely on the gloomy Dane's legendary melancholia and his resulting revenge delays. As Laurence
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The chief definition of "thought" revolves around the basic concept of the mental process: "The action or process of thinking; mental action or activity in general, esp. that of the intellect; exercise of the mental faculty; formation and arrangement of ideas in the mind" (OED, 1a). A further subset of definitions can be catalogued into a Manichean vision of positives and negatives and which equally apply to Hamlet's central consideration of consciousness as a blessing or a curse. There is a stress on thought's potentiality which fits with Hamlet's obsession with the infinitude of man: "Conception, imagination, fancy" (OED, 4c). But following this comes the negative view of thought as quasi-action, a direct link to Hamlet's stall tactics: "The entertaining of some project in the mind; the idea or notion of doing something, as contemplated or entertained in the mind; hence, intention, purpose, design; esp. an imperfect or half-formed intention; with negative expressed or implied = not the least intention or notion of doing something" (OED, 4d). Similarly, the past neutral sense of "Remembrance, Œmind'" (OED, 5e) is countered by the negative anticipatory connotation of: "Anxiety or distress of mind; solicitude; grief, sorrow, trouble, care, vexation" (OED, 5a). This current of duality is important to keep in mind as we explore its
Hamlet is arguably the greatest dramatic character ever created. From the moment we meet the crestfallen Prince we are enraptured by his elegant intensity. Shrouded in his inky cloak, Hamlet is a man of radical contradictions -- he is reckless yet cautious, courteous yet uncivil, tender yet ferocious. He meets his father's death with consuming outrage and righteous indignation, yet shows no compunction when he himself is responsible for the deaths of the meddling Rosencrantz and Guildenstern, and the pontificating lord chamberlain, Polonius. He uses the fragile and innocent Ophelia as an outlet for his disgust towards the Queen, and cannot comprehend that his own vicious words have caused her insanity. Hamlet is full of faults. But
How does the use of comic relief best contrast the tragedy of Hamlet? In great works of literature a comic relief is used as contrast to a serious scene to intensify the overall tragic nature of the play or to relieve tension. As illustrated in Shakespeare’s tragedy Hamlet, intense scenes are joined with character’s banter and vacuous actions as to add a comic relief. In Hamlet, Polonius acts as a comic relief by his dull and windy personality, Hamlet uses his intelligence and his negativity toward the king and queen to create humor, while on the other hand Rosencrantz and Guildenstern are a comic relief by their senseless actions and naïve natures. Polonius, Hamlet, Rosencrantz and Guildenstern are all used as a comic relief to
In Shakespeare’s Hamlet, Laertes and Hamlet both lose a father by unnatural and sudden death. The unnatural death of the father is brought on by someone close to the son. When Laertes discovers that his father is dead, he is outraged. When Hamlet learns from the ghost of his father’s murder, he weeps, and promises action, though he delivers none. Both Laertes and Hamlet grieve deeply for their fathers, but Laertes acts upon this grief while Hamlet carefully plots his revenge and waits for the perfect moment to avenge King Hamlet. Laertes’ unplanned action causes his death by his own sword, while Hamlet’s apparent inaction finally gets him the revenge that Laertes has attempted. Though Laertes’ grief at his father’s death causes his
William Shakespeare wrote the play Hamlet around the 1600, telling the story of a young prince dealing with the tragic death of his father and the subtle remarriage of his mother to his Claudius. The play uses mental health, both real and faked, as a way to show human behavior and emotions. The Prince of Denmark, the title character, and the protagonist, Hamlet is the son of Queen Gertrude and the late King Hamlet, and the nephew of the present king, Claudius. Hamlet is melancholy, bitter, and cynical, full of hatred for his uncle’s scheming and disgust for his mother’s sexuality. A reflective and thoughtful young man, Hamlet is often indecisive and hesitant, but at other times prone to rash and impulsive acts. Hamlet’s mental state was originally fake to create concern in King Claudius, but ended up truly taking root as people died and his false state of mind had the wrong consequence of what he expected.
William Shakespeare’s famously philosophical play Hamlet epitomizes the revenge tragedy; the play’s characters are forced to act vengefully only to result in a bloody, dismal
Far too often we see men and women with noble causes lose their motive because of their emotional behavior. Their emotions cause them to lose track. We see no finer example of a man with a noble cause whose emotions cause him to lose sight of his noble cause: the character of Laertes in the play Hamlet. Laertes has a vendetta against Hamlet for killing his father. Although Laertes meant well in avenging his father’s death, his emotional behavior overtook him in the process. If we look at other characters in the play, we find a similar struggle between a noble goal and one’s emotions. Hamlet fights the same battle as Laertes does; however, Hamlet is better able to control his emotions. To maintain a noble goal without faltering,
“From the death of his father, the overhasty marriage of his mother, to the concern about the rivalry between children’s performing company and the adult actors, from the virtue of woman to the art of performance, from Claudius revelry to the grave digging of the two clowns.” (2009) In short, Hamlet’s mind never stops working. His dialogues are majorly infested with unraveled philosophies and understandings of the essence of human life: “the whips and scorns of time / Th’ oppressor’s wrong, the proud man’s contumely / The pangs of disprized love, the law’s delay / The insolence of office, and the spurns / That patient merit of th’unworthy takes.” (Hoy 1992) However abundant, these reasoning do not dissolve into a solution, but rather, they project shadows upon Hamlet’s determination to avenge by glazing his lenses with a pessimistic perception of life. As a result, Hamlet questions the necessity of killing Claudius and fails to settle the revenge accordingly to his father’s will.
Ophelia and Gertrude, two different women who seem to be trapped in the same situation when it comes to Hamlet. Gertrude, Hamlet's mother and the Queen of Denmark is married to Claudius, who is suspected by Hamlet to have killed his father, King Hamlet, who is Claudius's brother. Gertrude ended up in the plot of King Hamlet's death and in the eyes of her son, is a monster and helped with the murder. Ophelia, the daughter of Polonius who is the King's counselor and is later killed in the play and has forbidden his daughter to see Hamlet. She truly loves Hamlet and is devastated when he disowns her and pretends to be mad. Hamlet's treatment towards these two women brings their characters to life and
Since the mental state of the characters in Hamlet is constantly changing, each character's view on themselves and others also change. Sometimes, when a person’s mental state changes, such as in Hamlet’s case, “Whether ‘tis nobler in the mind to suffer… And, by opposing, end them”
How does an individual react when he develops an obsession with destroying the powerful force ruling his country, yet risks experiencing psychological estrangement, occurring at multiple levels within himself, if he attempts to destroy that force? This is the central question that Shakespeare explores in his play Hamlet, which is a character study of an individual harboring just such an obsession, entailing just such a risk.
Hamlet by Shakespeare is a very wonderfully written book that contains so many literary elements and motifs throughout it that it is still one of the most debated and talked about pieces of literature ever written. It begins with a very mysterious opening that sets the pace for the rest of the book. The old king of Denmark has died and he has returned as a ghost to inform his son, who is also named Hamlet, of the terrible misfortune that has befallen him and left Denmark in a political and emotional turmoil. He has come to inform the young Hamlet that his uncle Claudius murdered the old king in order to gain access to the throne by remarrying the widowed queen a mere two months after he has passed. The timing is very important because it
as these lines relate back to the development of Ophelia’s character, as well as play an important role in the plot of the play, and a major conflict that is portrayed.
will.” ( III I, 179-181) The fear of what will happen after death deters him.
Shakespeare’s Hamlet is one of the most popular dramas in world literature, as it examines the passionate, but toxic ambitions of King Claudius. He murders his own brother, King Hamlet, to overtake the throne, power, and wife. As a result of King Claudius’ fratricide, he inherits the “primal eldest curse” of Cain and Abel, and the dispersion of his venom ends the lives of several major characters. Including, of course, Prince Hamlet, who gets drawn into a deep depression over his father’s death, who later visits him as an apparition. This essay will analyze Shakespeare’s symbolic use of poison, embodied by King Claudius and the unintended consequences of his wicked acts.
In the first act Hamlet seems to be in a perfectly sane state of mind