Explore the presentation of revenge in 'Hamlet'.
Jose Cree Explore the presentation of revenge in 'Hamlet' Revenge is a key theme in Hamlet. It is not only essential to understanding Hamlet's character, it forms the structure for the whole play, supporting and overlapping other important themes that arise. Though it is Hamlets revenge that forms the basis for the story, tied into this is the vengeance of Laertes and Fortinbras, whose situations in many ways mirror Hamlets' own. By juxtaposing these avengers, Shakespeare draws attention to their different approaches to the problem of revenge and how they resolve these. The idea of revenge is first introduced by the appearance of the ghost in act 1 Scene 5, and linked to this is the theme of hell and the afterlife. At the end of this scene, Hamlet is irreversibly bound to revenge for the duration of the play, 'speak, I am bound to hear' 'So art thou to revenge'. The ghost appears with the sole aim of using his son to obtain revenge on his brother, and so every word he speaks is designed to enrage Hamlet and stir in him a desire for vengeance. He uses very emotive language to exaggerate the enormity of the crime, and he concentrates Hamlet's attention on the treachery of Claudius. His description of the murder itself demonises Claudius and contains many references to original sin, 'the serpent that did sting thy fathers life now wears his crown.' Hamlet, who has been
Is Hamlet acting or is he really insane?
Hamlets confrontation with Gertrude leaves her questioning her son's sanity. This is because she attests to him talking to thin air, which he claims was his father's ghost (3,4). It seems like Gertrude has every right to think Hamlet is mad. Her judgement is also fuelled by Polonius' murder. Hamlet did not know that Polonius was the spy behind the curtains 'how now, a rat?' (3,4,24). Hamlets response to his mother is not full of love either. He is disgusted with his mother's actions and is not ashamed of letting her know. '...Live in the rank sweat of an enseamed bed...' he does not hid his hatred for Claudius and Gertrude's marriage. But Gertrude does not seem to understand why her son holds such strong feelings. She is clueless throughout most of the play. 'As kill a king?' Gertrude does not realise the real situation and how much hatred the two men bare. She is one of the reasons that stopped Claudius getting hamlet killed throughout the play. And when he finally decides to, she dies before both of them. Gertrude is not the only woman in Hamlets life. He also confronted his lover Ophelia, where he came across as-yet again- misogynist. However, we cannot condemn Hamlet to hating women because we only see him two in the play. Ophelia rejected him and his mother married his uncle. But this is not surprising because Hamlet distrusts everyone and tries to push everyone away,
How does Zeffirelli portray the characters of Gertrude and Ophelia?
How does Zeffirelli portray the characters of Gertrude and Ophelia? Franco Zeffirelli's 1990 production of Hamlet has Glenn Close and Helena Bonham Carter cast as Queen Gertrude and Ophelia respectively. He has the luxury over a stage production of being able to add scenery, mood and vibrant close up of character to his film. These added advantages allow us to examine the players in a closer, more intimate way and so we can look at the figures of Queen Gertrude and Ophelia with different perspective. Right from the start the audience most definitely depicts Gertrude as the queen and the primary female of the cast, however there is no malice or grim intention portrayed. We open the film feeling sorry for her at her husband's funeral yet the speed of her re-marriage makes us question her morality and quality. The audience is made to question her character by her physical nature both with Claudius and Hamlet, particularly with Hamlet. Their relationship is portrayed as intensely Freudian, from the very beginning with Gertrude constantly touching Hamlet. Zeffirelli dresses Gertrude in a gown with a simple pale design yet trimmed with gold and subtle jewellery and her hair is worn like a regal crown, always perfect and obviously made by attendants. Herein we see her position but unlike other plays her queenly status is not overbearing. Zeffirelli quite obviously dressing
Polonius has sometimes been presented as an essentially comic character and sometimes as a more sinister figure. What critical and dramatic issues are raised by the character of Polonius?
Polonius has sometimes been presented as an essentially comic character and sometimes as a more sinister figure. What critical and dramatic issues are raised by the character of Polonius? There has been much debate amongst critics and directors alike on the depth of Polonius's character, and his purpose in the play. There are those, such as critic Myron Taylor, who view him as a more sinister persona, arguing 'his ineffectuality does not excuse his moral deviousness. Appearance has become his reality', thus implying he is used for menacing dramatic effect. However others take a more sympathetic view, for example Elkin Calhoun Wilson; 'that dotage repeatedly amuses us in his fondness for lecturing and giving advice, however sound, to his meandering young;', therefore interpreting him as a more bumbling and comical element to an otherwise serious play. Despite understanding both these views I still, like Hamlet, see Polonius as a 'rash, intruding fool' [Act.3Scene.4 line33]and believe anything done that may appear enigmatic or ominous can only have occurred unintentionally (in the script) or through exaggeration in directing. Similarly to Wilson, I can see how Polonius would add light-hearted, comic relief to the play, especially when paired with quick-witted Hamlet, highlighting the cracks in Polonius's delusional 'wise' role he has adopted. Polonius has traditionally been
Hamlet, Laertes and Fortinbras are all reflections on each other. Discuss.
Hamlet, Laertes and Fortinbras are reflections of each other. Discuss. "The world is a looking glass." This synecdochic statement of 19th century English novelist, William Makepeace Thackeray, encapsulates the idea of reflections of ourselves being evident all around us in different aspects of the world. Whether in the words, actions or attitudes of others, we tend to see something of ourselves. Shakespeare employs this theme of reflection in his works such as in Antony and Cleopatra where Caesar recognises that Antony is, as stated by Maecenas, "a spacious mirror set before him" and this reflects to Caesar both the dimensions of he and his fellow triumvir, leading Caesar to the realisation that the world is not big enough for the two of them as can be interpreted from "...we could not stall together/ In the whole world." Reflection is thus a recurrent motif in Shakespeare's works, and is a key issue which arises in the course of the play Hamlet. Hamlet is a play which involves a lot of reflection and mirroring in various ways. One of the most notable is the 'play within a play' or 'The Mousetrap' which mirrors the relationship King Hamlet had with Gertrude as well as the manner in which King Hamlet was murdered. Hamlet himself sees performance as a way of reflecting inner corruption; holding "the mirror up to nature." The idea of mirroring or doubling can further be seen
Explore the way Shakespeare presents the relationships between Hamlet and his Mother, Gertrude, making particular reference to Act III Scene. IV
Explore the way Shakespeare presents the relationships between Hamlet and his Mother, Gertrude, making particular reference to Act III Scene. IV In the Play, the relationship between Hamlet and his mother is presented in various different ways. One critical point in the play where their presentation can be fully analysed is Scene IV, of Act III. The 'closet scene' as it is known, is one of the dramatic climaxes of the play. It is the only time we see Hamlet alone with his mother. Apart from a brief exchange during 'the Mousetrap' this is the first conversation since Act 1 Scene II. The scene begins as a repeat of the 'nunnery' episode (Act III Scene I) with Polonius eavesdropping and Gertrude refusing to communicate with her son. Again, as before, with the exception of Ophelia, Hamlet is now talking to somebody with whom he was once very close, but has now been deliberately separated from. Hamlet enters the scene with great antagonism, as he has just returned from Claudius praying, Gertrude's Husband and Hamlet's stepfather, and of course his Uncle. Hamlet's intentions were to kill Claudius as he prayed, so his intentions when entering this scene are not much different than before. His wrath towards Claudius is still at its worst, so Hamlet is prepared to kill him at any chance, thus he kills Polonius instead. The place in which this scene is situated is very important to
The Downward Spiral of Hamlet.
The Downward Spiral Hamlet is one of the great tragedies written by Shakespeare. It is the story of a young man and his struggle to deal with the recent death of his father. This death he soon learns was no accident, and that his mother is now married to the man who killed his father. This man being the late kings own brother, Hamlets Uncle. While reading this play it becomes apparent that nothing really is what it seems. The court of this castle is two faced. Several characters hide who they are and their actions, lies, and deceptions add to the plot and make the ending so tragic. Many characters in the play hide behind masks to hide their true selves and true motivations. Some of the characters being Polonius, Rosencrantz and Guildenstern, and the king Claudius as well. They hid behind these masks to protect themselves from the lies they have told, the tricks they have done, and the evil that manifests in them. For starters Polonius is the kings royal assistant, and he appears to be like a loving and caring person. Not only does he appear to be a loving and caring person but also a loving and caring father. Polonius shows us he is not who he would like us to think he is with his son Laertes. When Laertes requests to go to France Polonius gives him his blessing, and best wishes. He gives his son advice to help him while in France, but this is only so he can look like a
'Something is rotten in the state of Denmark' - At the end of the play, how might an audience have decided what this 'something' is and why it is 'rotten'.
Rebecca 'Something is rotten in the state of Denmark.' At the end of the play, how might an audience have decided what this 'something' is and why it is 'rotten'. Marcellus comments that something is rotten in Act One scene four, after Hamlet has seen the ghost for the first time and has departed to talk to it. In a short space of time, Marcellus has seen the ghost of the old King in arms and Hamlet, the heir apparent to the Danish throne airing his suicidal tendencies. Horatio his fellow officer of the watch has similar foreboding and morbid thoughts 'This bodes some strange eruption to our state.' Primarily this would appear to be the situation of Denmark as it prepares for war with the Norwegians, but could be a prophecy similar to Marcellus's that this would bode badly for their nation state. Wilson Knight wrote that if we were to see the world through Hamlet's eyes, we would find: 'Claudius as the blackest of criminals, Gertrude as an adulteress, Polonius as a fool and Ophelia as a deceit and decoy'1 Certainly at the climax and conclusion of the play this would appear satisfactory to an audience as an answer as to 'what is rotten?' but there are other issues which change the situation. Claudius is corrupt; he has committed fratricide, and reaped the rewards of doing so. We never learn why Claudius murdered his brother, but the reasons could be numerous. It
How does Shakespeare present ideas of disorder, corruption and decay in Act 1 of Hamlet?
How does Shakespeare present ideas of disorder, corruption and decay in Act 1 of Hamlet? Hamlet was believed to have been written between 1599 and 1601 by William Shakespeare, and is considered one of Shakespeare's most prestigious and renowned plays. It is a tragedy and therefore traditionally ends with a death. The numerous accounts of disorder, corruption and decay throughout the play link with the theme of a tragedy and this may be why Shakespeare made many suggestions of this throughout. The play's opening scene is at night in Denmark, where it is very cold. This immediately gives a sense of anxiousness. There are two sentinels (guards) to stop intruders. This means that the people they are protecting are possibly at war and have enemies. Immediately, Shakespeare is suggesting an unpleasant start to the play, it being at night, very cold, and guards protecting people from enemies. The first line of the scene, 'who's there?' immediately gives a sense of urgency and panic. Barnardo is challenging everyone who approaches. Francisco's words, 'tis bitter cold, and I am sick at heart' gives a sense of death and illness. Then he Barnardo repeats himself when Horatio and Marcellus enter, saying 'Stand! Who's there?' This makes the reader or viewers of the play question why he is so anxious and alert. Not too long after, you find out that Barnardo is on alert because he is
Through its portrayal of human experience, Shakespeares Hamlet reinforces the significance of loyalty. To what extent does your interpretation of Hamlet support this view?
Through its portrayal of human experience, Shakespeare's Hamlet reinforces the significance of loyalty. To what extent does your interpretation of Hamlet support this view? In your response, make detailed reference to the play. Why is Shakespeare considered to be one of the greatest playwrights of his time? Shakespeare lived in the Elizabethan era and had to write for an Elizabethan audience and theater. By today's standards, this was no picnic in the park. Under those circumstances, he wrote some of the greatest works in history. These works, still popular today, prove him to be a consummate dramatist. Shakespeare knew how to craft dramatic scenes full of external and internal conflict and emotion, something the Elizabethan audience delighted in; he also intertwined superstitions of this era and pageantry, which the Elizabethans also loved. 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,
