Ophelia was once flawless, but since her encounter with Hamlet she has fallen into the same madness and wants to kill herself. Ophelia opens up her feelings towards Hamlet, even though her father and brother both warn her not to. Hamlet’s madness causes him to push Ophelia to the point of a mental break down. He drags her into the same hell he is
Goneril and Regan pledge their love for their father, while Cordelia refuses to speak and when probed finally states that she cannot “heave her heart into her mouth,” (Act I p.7 96-97) that she loves him exactly as much as a daughter should love her father, and that her sisters wouldn’t have husbands if they loved their father as much as they claim. An enraged Lear disowns Cordelia and splits her share of the kingdom between the remaining two sisters. This is a prime example of the beginning of destruction across familial, personal and social aspects. Lear pits his daughters against one another in a selfish endeavour to boost his own pride, but in doing this he also destroys a very crucial aspect within the monarchy by removing the one daughter who has not saught out to destroy him and the foundation he had built for his kingdom. In disowning Cordelia this breaks the natural order of things because in doing so he has severed the natural bond that a father and daughter share, as well he has personally destructed himself with this decision because he has given up on his favoured daughter.
In this particular instance however, this soliloquy also lends to the idea that Hamlet is insane due to the passing of his father. Insanity plays as both an internal and external conflict
This betrayal hurt Juliet in many ways, and it hurt her parents a little too, as this would soon lead to her death. The first way that this betrayal hurt Juliet is that she was forced to marry someone she did not love, and completely forget about Romeo, her husband. Lord Capulet does not care about Juliet's feelings when he hears that Juliet does not want to get married. All he wants is money and a good connection to the Prince. He did not always think like this though.
In The Tragedy of Macbeth, William Shakespeare demonstrates the build of guilt and remorse that Macbeth and his Queen begin to develop, consequently aids and foreshadows their demise. Shakespeare uses a wide variety of imagery to emphasize how guilt affects Macbeth’s life. Also, throughout the play, multiple pieces of evidence are displayed to prove how Macbeth and Lady Macbeth both change drastically from the beginning to the end of this piece. Finally, towards the end of the play, Macbeth finally comes to terms with himself and his devious actions, thus restoring his old mentality. Guilt is a factor of human nature and touches just about everyone at some point.
Corruption in Hamlet is represented as a chain of events starting with greed; spreading by manipulation through unquestioning loyalty thus corruption manifests itself as tragic revenge. For example, right at the beginning of the play, the idea of corruption arises through the quotation of, “Something is rotten in the state of Denmark.” In this declarative, the word “something” is ambiguous and makes the audience question what Marcellus could be referring to. Although, there can be a few interpretations of how the state is “rotten”. An example of the rottenness in Denmark could be the death of King Hamlet. We find out that it was Claudius who killed King Hamlet and stole his crown and his wife.
She finds him a coward because he fails to follow the murder plan and does not leave two daggers with Duncan’s sleeping guards so as to blame them for the murder. By boldly doing the act herself and going back to the murder scene to smear blood on the guards, Lady Macbeth proves ambitious and ruthless while Macbeth appears yet still contemplative and somewhat humane. After Macbeth says “I am afraid to think what I have done./ Look on it again I dare not..” [2.1.63] Macbeth scrutinizes him and tells him “‘tis the eyes of childhood/ That fears a painted devil,” [2.1.66] which ultimately shows Macbeth’s moral compass falling into the hands of his wife who proves the stronger
The two texts ultimately depict the difficulties that are linked in the treatment of insanity, presenting sobering measures in which to cure the mind of madness. In the plays Equus and Hamlet [->0] of the main characters portrayed (Alan and Hamlet) are insane, "Being unable to appreciate the nature and quality or the wrongfulness of their acts." (The Legal definition) which is established through their actions and in Hamlet's case via an insight into his "madman" like thoughts. The paired texts project two different types of insanity, an event induced mental state and a "nurtured" madness. In Equus, Alan experiences the latter of the two, with it being raised in him through out his life, largely on account of his mother.
There is a duality to the character of Hamlet, as his madness changes from a performance to true insanity throughout the play. Initially, in Act 1 Scene 5, Hamlet is coerced by the ghost and decides that he will “put an antic disposition on”. This is the main use of dramatic irony in the play, as the audience knows Hamlet’s madness is performed. However as the play develops and changes, so too does Hamlet’s madness. Act 3 Scene 4 is the main turning point for Hamlet’s madness.
As the plot progresses Ophelia begins to lose her mind, resulting in her eventually suicide, but at no point his Hamlet called out for his harsh words against her in a significant way. Shakespeare makes Ophelia appear helpless; she