Let’s explore the moments within the text where Hamlet actually used his smarts to trick the other conniving characters into thinking that he didn’t love Ophelia and was going insane instead. Throughout Act 3 and 4, the play leads readers to believe the Hamlet does not love Ophelia. He is constantly saying contradicting statements and in a way mistreating her. Hamlet says “I loved you once,” and then four lines later he says “I loved you not.” What’s going on with the mixed messages? Well Polonius, Ophelia’s father does not approve of their courtship and Hamlet know this.
The application and reflection of Sigmund Freud’s psychoanalytic theories in Hamlet’s character can be found in his works easily. It would be fair to mention that the character of Hamlet in Shakespeare’s play is a literary reflection of the Oedipus complex. Due to the reason that he lacks of ability to overcome Oedipus complex in himself, hence Hamlet fails to fulfill his mission and faces the tragic downfall in the end. Not only that, Freud’s psychoanalytic theories on Id, Ego and Super-Ego also can be applied on Hamlet’s character. According to it, the Id is the set of uncoordinated instinctual trends; the Ego is the organized, realistic part; and the Super-ego plays the critical and moralizing role.
The soliloquy can be broken down into three sections: Hamlet’s consideration of the player’s acting ability, his self-berating for being cowardly and doing nothing, and his resolve to stage a play to ‘catch the conscience of the King’. The notion of the revenge tragedy is a very complex issue in Hamlet, as it both adheres to and breaks away from the conventions of this genre. Some notable conventions of dramatic delay, the degeneration of the hero, and the play-within-a-play are utilized by Shakespeare. In this excerpt alone, the concept of the Mousetrap is included in the final rhyming couplet – “The play’s the thing / Wherein I’ll catch the conscience of the King.”, the hero, Hamlet, breaks down his own self and sees himself as cowardice and feminine, which he ultimately blames for his inability to act – his delay. The use of characterization in this excerpt is crucial to the demonstation to the inaction of Hamlet, as well as the theme of illusions and reality.
Trying not to analyze Hamlets character figuratively would be challenging. Hamlet has multiple soliloquys in the play which create many different interpretations on his character. Since Shakespeare gave Hamlet these detailed and emotion filled speeches which are meant to display his inner thoughts (but it was only made for theatrical purposes) it makes it difficult to not analyze Hamlet as a real person, it is because his speeches invoke feelings within
Symbolizing Sight: Knowledge vs Ignorance in Oedipus the King Oedipus, the character of focus within Sophocles’ play Oedipus the King, is subject to the greatest of ironies due to the play’s motif of sight: through metaphorical sightlessness, which is a case of ignorance, he condemns himself and uses literal blindness as his own punishment. Having been characterized within the literary work as possessing both knowledge and ignorance of his upbringing, metaphorical and literal elements of sight are constantly used to shed light on Oedipus’s experiences throughout the duration of the play. Mostly metaphorical in its usage within the literary work, the characters regularly utilize the terms of “sight” and “blindness” in order to address levels of knowledge or lack thereof as they gradually unravel the story’s underlying truth. The character of Oedipus is a man considered to have great insight and intelligence due to his success in protecting the city of Thebes from the threat of the sphinx by solving its riddle. This makes the situation even more ironic when the audience learns that Oedipus has been ignorant of the true reasons for his placement as king.
For the first half of the play, the fool acts as Lear's window to knowledge. He displays blatant honesty, rightfully criticising Lear for his ill-advised deeds of giving away his land without proper consideration. “To give away thy land, come place him here by me. Do thou for him and stand, the sweet a bitter fool will presently appear. (1.4.125) He further criticises Lear by saying “all thy other title hath given away; that thou wast born with.” Despite being Lear’s servant, Lear listens to him; he recognises that he is one of the very few sources the king gains wisdom from.
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. The second sentence is furthermore a rhetorical question, beginning with, "Is it notŠ" So clearly Hamlet's lack of emotion is "monstrous" in his own mind at the very start of the monologue. The equation of "Hecuba" to "nothing" is then contrasted by Hamlet's "cue" being the murder of his father. Hamlet then states that the actor would "drown the stage with tears" if he were in Hamlet's position. The visual hyperbole which is compounded by the repetit... ... middle of paper ... ...tions: Hamlet.
Phrases such as “Were I the Moor I would not be Iago” and “I am not what I am” hide as much as they reveal. Iago is continually playing a game of deception, even with Roderigo and the audience. The paradox that the speech creates is emblematic of Iago’s power throughout the play: his smallest sentences or gestures open up whole worlds of interpretation. Iago’s manipulation is shown throughout the play through motifs such as the handkerchief Othello gave
He is introducing himself to the audience right in the very first action in order to let it know that everything he is going to say or to do during the play can not be trust. Roderigo is the character to hear Iago’s words; however, he was not able to understand what the villain was saying about himself. Instead, he let to be fool and follow Iago’s evil instructions in order to obtain Desdemona’s love. Thus, the play shows that at least once Iago was saying the truth about his personality. He is not what people think he is and he will show that through his actions in the play.
This is simple to see at times, however the audience is often found questioning to themselves if aspects of the play are in fact truth in Hamlet’s universe or if they just appear that way. This presents the theme of appearance versus reality, the struggle between the truth, and what falsely appears as such. In order for the main forces in the play to achieve goals or preserve order, they must all hide behind masks of false reality. Main characters who display this often include Polonius, Claudius, Rosencrantz & Guildenstern, and of course Hamlet. What we see throughout the play and primarily at the final scene is the unveiling of everyone’s true motives, removing these masks and ultimately resulting in each four character’s demise, which makes this a true tragedy.