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
HOW DOES JULIET'S CHARACTER DEVELOP FROM DUTIFUL DAUGHTER TO INDEPENDENT YOUNG WOMAN IN 'ROMEO AND JULIET'?
HOW DOES JULIET'S CHARACTER DEVELOP FROM DUTIFUL DAUGHTER TO INDEPENDENT YOUNG WOMAN IN 'ROMEO AND JULIET'? "O happy dagger, / This is they sheath; / there rust, and let me die." Juliet Capulet (5:3:168-170) First published in 1595, Romeo and Juliet has consistently been one of William Shakespeare's most renowned plays. It is primarily a tragedy, but it tells of one of the most iconic and famed love stories ever written. It tells of the death-marked love between a pair of star-crossed lovers, who must die to bury their parents' strife and end the ancient grudge between the feuding Capulet and Montague families. It tells the tragic lives of two young lovers, in a heart-gripping story containing light and dark, love and hate, life and death. Essentially, it tells of two young people taking their own lives to forever be joined with love. During this essay, I will follow the heroine, Juliet Capulet, in her story of how she burst into adulthood, and how she made the final decision to end her life forever. The first instance in which Juliet demonstrates independent thinking, is during Act 1 Scene 3, when she is asked by her mother about the possibility of an engagement between herself and the Prince of Verona. "It is an honour that I dream not of." (1:3:66) is Juliet's reply. For the Elizabethan era, this is an odd response, and the audience are unsure of whether or not she
Villain or victim? Is Macbeth a victim of external circumstances or a man solely driven by evil?
Villain or victim? Is Macbeth a victim of external circumstances or a man solely driven by evil? Macbeth is the most widely translated Shakespeare play for good reason. The legend of Macbeth is a timeless tragedy, the hero succumbing to his fatal flaw. All Shakespeare's tragedies focus on this same idea; a single flaw in the person that leads to their destruction, desperation and death. Macbeth's fatal flaw is ambition, once the flame of his desires is lighted, it grows and engulfs all that it comes into contact with. But what is it that drags our 'noble', 'brave' Macbeth into the pool of devastation and evil? Is our tragic hero simply a victim of external circumstances, or a man solely driven by evil? It is clear that throughout the play, Macbeth's evil actions do not come unprovoked. Macbeth's ambition was unleashed the second he met the witches. The witches do not stumble upon Macbeth, they plan their meeting upon the heath, and they see the destruction he will cause. Though Macbeth does not immediately appear to believe the prophecies, '...to be king Stands not within the prospect of belief No more than to be Cawdor.', He soon warms to the idea. The witches speak in riddles, and in a different rhythm to Shakespeare's usual iambic pentameter, emphasising their abnormality and evil. Angus awakens Macbeth to the idea by telling him of the Thane of Cawdor's downfall and
To what extent does language reflect the disintegration of Othellos character?
To what extent does language reflect the disintegration of Othello's character? Throughout the play, the protagonist's language seems to be an honest portrayal of his state of mind. His language is inconsistent through the play and this reflects the characters downfall and change in nature. In the beginning of the play Othello appears to be a noble man with a calm nature. This is apparent during Othello's disagreement with Brabantio over his marriage to Desdemona. Othello exclaims, 'Keep up your bright swords, for the dew will rust / them.' (Act1,2,58). His use of language demonstrates he is wise as he is being rational rather than responding to physical violence. It is through this calm and rational manner that Othello persuades the Duke to dismiss Brabantio's claims that he has used 'magic' and 'drugs' to woo his daughter. Othello even says, 'Rude am I in my speech', to apologise for any offence he may cause even though he is fully aware that he is speaking in a polite and calm manner. His language here shows control unlike Brabantio who uses abrupt and accusing language: 'O foul thief! Where has thou stow'd my daughter?' (Act1,2,62). Othello's love for his wife is portrayed through his speech: 'I therefore beg it not / To please the palate of my appetite, / Nor to comply with heat the young affects / In my distinct and proper satisfaction, / But to be free and
Explore the ways Shakespeare presents the concept of authority in Antony and Cleopatra
Explore the ways Shakespeare presents the concept of authority in Antony and Cleopatra The play's main characters are two of the most powerful people in the world, Antony being a member of the triumvirate, a coalition controlling the majority of the globe, and Cleopatra the Queen of Egypt, a feisty lady with a strong will who in the past has been linked with many other world leaders, a point which is often referred to throughout the play; "Cleopatra: Did I, Charmian, / Ever love Caesar so?". Due to their status, the authority they hold and the power they have over people is clearly going to be a main theme as it affects many of their actions, decisions and feelings as the play progresses, to great consequence. There are a number of strong characters all trying to gain the upper hand at every opportunity. This is shown even in petty matters such as who gives in and sits down first in the falsely courteous power exchange between Antony and Caesar on Antony's visit to Rome in Act 2, Scene 2. Caesar: Welcome to Rome. Antony: Thank you. Caesar: Sit. Antony: Sit, sir. Caesar: Nay then. [Caesar sits, then Antony] This is comic moment from Shakespeare, but it does also outline the ongoing power struggle within the triumvirate. The scene can be looked at from two angles: it could be argued that, as it is Antony who wins this small exchange, the event aims to highlight the
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
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
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
Equivocation in Macbeth
Equivocation in Macbeth In Macbeth, Shakespeare uses the theme of equivocation to effectively illustrate the evil nature of the witches. Equivocation is the use of ambiguous expressions in order to mislead. The prophecies of the witches play a mischief in this play, as they are a form of deception that at times use vague language to dodge an issue. The three influential prophecies, which the witches make in this play, are that the protagonist Macbeth will become the king of Scotland, Banquo will be the father of the king of Scotland, and Macbeth will not be killed until the Birnam wood moves to Dunsinane hill. The sources of these prophecies are the witches who put together the devious words into Macbeth's mind, which demonstrates the evil nature of the witches. In Macbeth, one of the earliest prophecies that the witches make is that Macbeth will become the king of Scotland. "All hail, Macbeth! that shalt be king hereafter!"(I.iii.50) is the prophecy in which no indication of the doom of Macbeth is present. The literal meaning of this apocalypse is that Macbeth will become the king of Scotland. Thus, his ambition to take the pursuit of breaking the natural order to become the king becomes ungovernable. This is evident when Macbeth is shown hallucinating of a dagger before he kills Duncan, the real king of Scotland. Macbeth says, "Is this a dagger, which I see before me, /
It is not only the heros character that feeds into the construction of a tragedy; external events also play a part. Does either one of these components have, in your opinion, an overriding influence on Macbeth, or do they make an equal contr
It is not only the hero's character that feeds into the construction of a tragedy; external events also play a part. Does either one of these components have, in your opinion, an overriding influence on Macbeth, or do they make an equal contribution to his downfall? Tragic plays, according to the rules laid down by Aristotle, should involve several key components; amongst them the idea of 'the catastrophe', a calamitous outcome, which evokes an emotional response in the audience; 'the three unities', i.e. that the action of the play, the location of the play, and the time period during which the play takes place, should all be synchronised; and the idea that the play should be centred on the protagonist of the play, and that an error in the judgement of the protagonist should result in the previously mentioned 'catastrophe'. Aristotle called this fatal error 'Hamartia', which was often brought about due to the 'hubris' of the protagonist, or his excessive pride. Shakespeare, however, having never read Aristotle nor heard of his 'rules', carves his own form of tragedy, wherein the lines between the 'divine punishment' given to people, and the punishment they bring upon themselves, are blurred. Also blurred are the lines between what is truly 'good' or 'evil', and if we can truly take any comfort in either of these terms. From the outset of Macbeth, we are told of the power of
