Shakespeare mocked the inadequacy of court system by introducing Oliver and Duke Fredrick who are lawfully approved but morally disdained by the audiences. The injustice empowered by the misprizing law originates various conflicts in As You Like It. It is resolved at the end when Oliver and Duke Fredrick restore their true natures and justify the civilization in the court. Although the injustice is eventually resolved in As You Like It, the problem of sexual inequality remains unresolved throughout the play. Shakespeare enjoyed picturing his female characters of virtue, wisdom and gentleness.
The critic from library.thinkquest.org is correct in saying that "...the witches did not actually do anything to make Macbeth kill the king. They tempted him, but it was his own ambition that leads him to commit the crime." Although Macbeth's temptation started with the words of witches'; the true cause of his downfall was from his inner struggle, as well as greed and ambition. Macbeth chose to believe he was cursed by fate. In terms of the fate and magical aspect of the play, solid evidence is missing that says that the witches play a part in any kind of magic or fate altering aspects.
Claudius is the main antagonist in Shakespeare’s Hamlet. His manipulating trait confirms Hamlet’s view of his as a “smiling, damnéd villain”. His felonies are unforgivable sins done so to feed his ambition. He further proves his villainous nature with his lack of compassion and empathy. Claudius’ soul is “liméd” because he is evil.
“Pay no attention to the man behind the curtain,” advice that would have served Polonius well. Both L. Frank Baum's Wonderful Wizard of Oz and Shakespeare’s Hamlet had had a common theme, lying and deception. Lies and deceit affect each central character of Shakespeare’s Hamlet as they develop on social, psychological and moral levels. Prince Hamlet, the protagonist, is morally opposed to deception and constantly craves truth. Hamlet's apparent psychological state as the play progresses changes from that of a scholar, to that of a madman, though contradictorily this change is in itself a deceptive act.
Upon Malvolio’s entrance in Act II Scene V, Sir Toby states “here’s an overweening rogue!” (Act 2, scene 5, line 27) after plotting with Fabian and Maria to punish Malvolio, referring to him as a “little villain” (Act 2, scene 5, line 12). Upon his entrance in the scene, Malvolio states his ambitions for nobility, “To be Count Malvolio!’ (Act 2, scene 5, line 32) to the group. The disdain the other characters have for Malvolio throughout the play is only met with vanity, hubris and patronizing comments on Malvolio’s part, doing very little to conjure any remorse for the character following his downfall later in the play. Malvolio opposes the fun and festivities of the “Twelfth Night” and chastises the characters in the play several times for their celebrations. Malvolio questions their actions in the form of patronizing dialogue by asking “My masters,
Whenever student surveys are carried out negative results are neither shown on video screens nor published in prospectuses, only the good is shown. Staff is always advised not to leave computers unattended and to always shred printouts of student details. Personal information
All tragic heroes suffer and usually die at the end. But there are other things which are necessary to consider a play a tragedy, and sometimes (in rare cases) a hero doesn’t even need to die. One of those things is amount of free will. Exactly this apparition is very noticeable in Hamlet. Hamlet’s death could have been avoided many times.
Claudius and Gertrude’s love relationship is seen as incest by Hamlet, while Horatio and Hamlet’s friendship is a good friendship because Horatio is someone that Hamlet trust and can depend on for anything. Hamlet and Ophelia’s relationship is one that is not accepted by her family because Hamlet is from royalty and Ophelia is not and because of this Polonius warns Ophelia about Hamlet. To everyone it seems as if Hamlet is just using Ophelia for sexual pleasure and nothing more. “Tis told me he hath very oft late/ Given private time to you, and you yourself/ Have of your audience been most free and/ Bounteous. If it be so (as so’tis put on me, / And that in way of caution), I must tell you/ You do not understand yourself so clearly/ As it behooves my daughter and your honor.”(I, iii, 99-106) Even Ophelia’s brother and father warn her about Hamlet, and how he may be using her but she does not listen because she is in love with Hamlet and does not believe he would use her.
In order to understand Hamlet, we must understand his frustration. This frustration is most clear in his famous monologue, famously beginning with the line "Oh what a rogue and peasant slave am I." This self-condemnation is contrasted by his admiration for the actor of the previous scene, who "in a fiction" is able to "force his soul to his own conceit." The word "soul" is an example of metonymy, as the soul represents the actor's "visage," "tears," "distraction," and "voice." Thus Hamlet equates "soul" with one's actions, so by his own comparison his soul is weak, as he does not take action against the king.
“In his representations of human nature, Shakespeare’s play Hamlet reinforces the ongoing importance of relationships” The intricate tragedy plot of Shakespeare’s Hamlet is only achieved through the relationships between key characters. Hamlet’s relationship with his father caused the entire revenge plot, so without the relationships between parents and their offspring the events of the play would not have occurred. Shakespeare conveys this importance through the effects of character interactions. The relationship between Hamlet and his father, Hamlet Senior, is never clearly shown throughout the play as their interaction is minimal. It is clear however that Hamlet does have a deep respect for his father and this is evident in Act 3 Scene 4.