It serves as the overall catalyst for the exile of Hamlet, the fencing match between him and Laertes, and the sudden string of deaths. It foreshadows what is to come later on in the play. The themes and allusions expressed in the exchange completely reflect the anger and intensity of Hamlet towards his mother. The critiques by Gregory Harrison support my case. Much to the surprise of his mother, Hamlet began to berate her for her actions involving Claudius following King Hamlet’s death.
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
Poor Hamlet loses his father who he deeply loved. To make things worse, the matter in which he died was disturbing. Not only was he murdered, but he was murdered by his own brother. Secondly, his beloved mother remarries only months after her husband’s death. Even more scandalous is that she married her husband’s brother.
Gertrude is a hard to read character, but the guilt of her actions with Claudius and her deceased husband comes out when she cry’s, “O Hamlet, speak no more./ thou turn’st my eyes into my very soul,/ and there I see such black and grained spots/as will not leave their tinct.”(III, IV, 89-91). Hamlet berated her to the point where she shows all the bottled shames she’s been concealing, showing her true superego. Hamlet main personality is his superego, which he doesn’t acknowledge, yet let’s out often. In this situation he feels he’s a disappointment to his father and guilty for not reprimanding his sinful uncle in comparison to Fortinbras, saying, “How stand I then,/ that have a father kill’d, a mother stain’d,/excitements of my reason and blood,/ and let all sleep, while to my shame I see/twenty thousand men that, for a fantasy and trick of fame,/ go to their graves like beds…”(IV, IIV, 53-65). In a similar event, Hamlet, months after his father murder, acknowledges his lack of action, his overbearing guilt, and his masked fear of confrontation when he self criticizes, “Swounds, I should take it: for it cannot be/ but I am pigeon-liver’d and lack gall/to make oppression bitter, or ere this/ I should ha’ fatted all the region kites/ with this slave’s offal.”(II, II, 563-566).
Both Mr Hardcastle and Sir Charles Marlow are concerned that their offspring marry someone they can be happy with and make it clear that they do not wish to force anyone into an unwanted marriage. Contrariwise, Mrs Hardcastle is intent on marrying her son Tony to Constance Neville because she wishes Constance's jewels to remain within the family. The fact that the only thing which Constance and Tony have in common is a mutual dislike is not a consideration for her, in fact she does not even notice. In many works of literature contrast between the different social classes is employed. In this play it is not so much the difference between classes which is explored, but rather the extremely different ways in which certain characters treat people according to which class they belong to.
Hamlet’s Madness In the play Hamlet, by Shakespeare, the main character Hamlet, battles with struggles during the play. He goes through changes of his father’s death, his mother’s re-marriage to her dead husband’s brother, seeing a ghost of his father, the girl he loves having a father who makes her believe that she can’t love him, and living through is step-father trying to have him killed. In the play, it is thought that he goes mad due to all the lost love of Ophelia and the pressures that he is presented with throughout. Moreover, during all of this, he is also claimed mad because of the way he acts and talks around the king and general public. However, this is not the only type of type of play or drama in which the main character acts crazy or mad in order to enact revenge upon someone to avenge someone or just to purely gain revenge for some personal purpose.
God! How weary, stale, flat, and unprofitable, Seem to me all the uses of this world! This is the first time that the reader sees Hamlet’s inner turmoil as he considers committing suicide over the death of his father but decides he cannot, for the consequence would be hell. It is important to note that purgatory and hell are referenced numerous times throughout the play as a consequence for giving into selfish thoughts or actions. In this particular instance however, this soliloquy also lends to the idea that Hamlet is insane due to the passing of his father.
Iago from Shakespeare’s play Othello is also a power hungry villain who enjoys having people under his control, he is driven by extreme jealousy and the motivation, revenge. In order to accomplish these goals he manipulates his subjects in deceiving ways by utilizing their weaknesses against them. This differs from the Duke in “My last Duchess” by Robert Browning as the duke does not manipulate people in any way. Both Iago and the duke are driven by extreme jealousy to the villainous actions that they take. All three villains may differ in many ways, yet it seems they share a common urge for power, control and a use of sadistic measures.
Hamlet’s grief over his father sudden death is intensified by his mother’s hasty marriage to his uncle whom he considers inferior and venomous naturally. He denounces her disloyalty in the words, “frailty thy name is woman”, and juxtaposes Claudius’ inferiority to his father’s greatness in the image of “Hyperion to a satyr”. Furthermore his allusion to Niobe and the contrast between her mother’s “galled eyes” and her “dexterity to incestuous sheets”, serve only to accentuate his
From the very beginning, iago controls the play. He not only has a hand in the following course of events but he also controls the fate of various characters in the play. Iago has enormous hatred for Othello not ony because othello over-looked his (iago) merits but also because he is a thick-lipped Negro, a sub-human whom iago cannot stand. Now, I shall state the relation between the problem of race and domestic tagedy putting a special emphasis on iago, who is the triggering agent in the play. It is ironical that though