This is also shown with Polonius’s un-trust worthiness for Hamlet. As to with Laertes who feels the exact same way as his father. Paolo Feliciano Mr. McCarthy A.P. Lit Examination Act 2 Open Ended Questions 1. After the slow transition from Hamlet’s mournful state, to his ever growing state of madness, does his madness itself become his primary mode of communication with the other characters?
“To be or not to be, that is the question; whether’ tis nobler in the mind to suffer...” (Shakespeare Act 3, Scene 1). This quotation proves Hamlet becomes inferior to others and the environment through his madness, causing him to express himself explicitly towards others. Hamlet’s madness not only causes his loved ones lives but it allows his “end” to come because he accepts every challenge from his opponent. Hamlet’s madness not only affects him but Ophelia, who is mentally torn apart by Hamlet. Ophelia was once flawless, but since her encounter with Hamlet she has fallen into the same madness and wants to kill herself.
It is interesting that a story may contain two foiled characters existing in such a bleak contrast to each other and yet sharing similar events. In William Shakespeare’s tragic masterpiece of Hamlet, the foils are played by Hamlet and Laertes. Hamlet is the contemplative one, and would often think rather than act; Laertes is quite the contrary, having his inhibitions guide him to acting rather than thinking, the impulse buyer of Shakespearean literature. While these characters may differ significantly, their actions and reactions to the death of their fathers, their ultimate downfall, and their alternative methods of action and contemplation prove that while different, much of their character is parallel. The simplest comparison to make is
While both Mel Gibson's and David Tennant's versions of Hamlet were both depressed and lamenting in their scene there were some major differences. In Gibson's he walked around, and moves during the soliloquy and he tries to "act out" the scene. By doing this he tries to show his emotions through the way he acts, by the way he kneels by the tombstone (which was a difference in the two variations), and he paces around the room. Gibson also Speaks with a “European” accent which is what you would expect Hamlet to speak in. Tennant on the other hand tried to show this through by being so depressed he won't even move.
“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.
In the play ‘Educating Rita’ cruelty and cynicism feature a great deal. One of the main characters, Frank, is cynical. Frank’s personality portrays him as a miserable old man who cannot see the good in anybody, including Rita. For example, Frank thinks that Rita is only trying to change herself because it will look good to others when they meet her rather than seeing that she is really trying to change her life for the better, not for selfish reasons. When Frank is on the phone to Julia he refers to Rita as “some silly woman” and this portrays him to be cynical because even though he has never met Rita he is already making assumptions about her in a negative manner.
Andrew Wolff IB English Mrs. Singer Act 3 Commentary Hamlet’s soliloquy in Act 3, the “To Be or Not To Be,” portrays Hamlet as a very confused man. He is very unsure of himself and his thoughts often shift between two extremes. In the monologue, he contemplates whether or not he should continue to live, or if he should end his own life. Also, he considers seeking revenge for his father’s death. However, unlike Hamlet’s first two major soliloquies, this one seems to be governed by reason and not frenzied emotion.
His disinterest in the world he knows is beautiful confirms the depressed state he is in. Hyperbole: Intentional exaggeration to create an effect. Example: “He would drown the stage with tears..” (William Shakespeare, Hamlet, 49) Function: The first player’s performance of the speech leaves Hamlet in an awed state. He then uses a hyperbole to say that if the player were to act out with the feelings that Hamlet himself had, “he would drown the stage with tears”. He uses this hyperbole to both show his admiration for the actor’s skill, and to reflect the passions that he is feeling toward his father’s death and his quest for
Madness in Hamlet and King Lear The subject of madness is a major theme in two of Shakespeare’s most well-known tragedies, “Hamlet” and “King Lear”. In both of these plays, a character feigns insanity to carry out a motive - Hamlet and Edgar respectively. However, while it is made quite clear to the audience that Edgar is only pretending to be a mad beggar (“Whiles I may escape I will preserve myself, and am bethought to take the basest and most poorest shape that ever penury, in contempt of man brought near to beast”), it is somewhat less clear whether Hamlet has crossed the line and lost control of his “antic disposition”. Shakespeare gives evidence which suggests that Hamlet is sane by having three other men also witness the manifestation of the ghost of Hamlet’s father. If Hamlet were to have seen his father’s ghost by himself, there would be a greater argument for him being insane from the outset of the play.
Iago manipulates Othello by making him suspicious through inference, “Ha I like not that”. Iago mutters this in act 3 scene 3 when he sees Desdemona and Cassio talking. Iago hints that he knows something making sure Othello can hear yet making it subtle enough to pretend that he didn’t want him to know. Iago then pretends to be reluctant to tell Othello about Desdemona, “Utter my thoughts! Why, say they are vile and false?” He tells Othello just enough to intrigue him; he does this by asking leading questions, “Did Micheal Cassio when you wooed my lady, know of your love?” Iago exasperates Othello by revealing so little, “I did not think he had been acquainted with her”.