Abstract
This paper examines the way in which Shakespeare was viewed by the poetic exponents of Romanticism, and how some of the characters of Shakespeare's plays may exemplify the Romantic ideal. This author explains that two hundred years separates the time of William Shakespeare in the Elizabethan era and the Romantic poets and their vision of a society, which put the concerns of the individual to the forefront of political issues. The paper points out that, while direct reference to Shakespeare's works by the romantic poets is less than abundant, John Keats, Samuel Taylor and Percy Bysse Shelley suggest a clear aesthetic link between Romanticism and Shakespeare's texts. The paper examines characters of Shakespeare's plays and how they exemplify the Romantic vision of individual liberty, the freedom of expression and mans' relationship with nature, which feature prominently in "King Lear", "Hamlet", "Romeo and Juliet"."

From the Paper
"If then, life is to be lived according to one's ideals, as opposed to the rules of society, then the examination of cerebral conflict is a relevant concern. It would be a simple matter to make one's point by filling an essay such as this with quotations from "Hamlet", whose central character, it appears, is in a state of permanent confusion, or from Corialanus, who, it could be argued is the most egocentric character ever created by Shakespeare, and whose vanity, ultimately, proves to be his undoing. The Romantic hero referred to in my question however, is, for this critic, personified in the character of the eponymous protagonist of "Romeo and Juliet"."

Tags:keats, taylor, shelley, pre-raphaelite, character

Abstract
This paper compares the moral dilemmas experienced by the protagonists of "Hamlet" by William Shakespeare and "Heart of Darkness" by Joseph Conrad, and illustrates how they contribute to the meaning of the work as a whole. The paper explains that an internal conflict in a play or a novel often helps the evolution of its protagonist, but also adds to the plot itself, allowing it to reach a conclusion. In both "Heart Of Darkness" and "Hamlet," the paper asserts, the hero is faced with a dilemma between his accustomed values and those brought on by a change of circumstances. The paper discusses how the character of Marlow is compelled by Kurtz, a "civilised" man who had turned to savagery while in the Congo, but who is also aware of the immorality of his actions, and also focuses on the eponymous hero of Hamlet, who is torn between the Christian values he has learned and the revenge that the ghost of his father urges him to take on Claudius, who usurped the throne.

From the Paper
"The conflict that Hamlet has to endure is perhaps more specific than that of Marlow. He is portrayed as a moral, rational character who has learnt to "turn the other cheek", yet his father, a supernatural apparition, ordered him to take revenge. Throughout the whole play, Hamlet will question himself and his surroundings to delay the actual act of revenge: First, the question is whether the ghost is good and is genuinely the apparition of his father. This is a perfectly reasonable question, and we witness Hamlet continue to discern illusion from reality. From his bitter remark, "seems, madam? I know not 'seems'" to his mother, we know that he is profoundly wounded by the hypocrisy he sees around him: His mother was supposed to have loved Old Hamlet dearly, yet she marries his brother only 2 months after the King's death. Ophelia, whom he trusted and had declared his own love for, betrayed him by allowing herself to be manipulated by her own father. Even those he thought were his friends, namely Rosencrantz and Guildenstern, revealed themselves to be at the service of the king. It seems that every relationship he had, whether it was family, love or friendship, had been corrupted."

Tags:Marlow, Congo, Denmark

Abstract
This paper analyzes the character of Hamlet in Shakespeare's play of the same name and relates that Hamlet's character is complex and is multi-faceted and that he has many good and bad characteristics. In a case of the latter, he can be seen as a spiteful and vindictive person by the way he treats Polonius, who, despite at times being portrayed as a fool, is an important member of the Court. The paper contends that this treatment of Polonius is entirely justifiable as Polonius has wronged Hamlet by not allowing Ophelia to see Hamlet; this is Hamlet's 'revenge' on Polonius. The paper also looks at how Hamlet is shown to be a rational character and that his actions are planned out - his 'antic disposition' for example. In conclusion the author of the paper is sympathetic towards Hamlet at this junction in the play since he has been wronged and treated appallingly by those closest to him such as Gertrude and Ophelia.

From the Paper
"When Hamlet addresses his mother we can see that he is kind and loyal towards her as when Claudius asks Hamlet to remain in Elsinore, Gertrude reiterates this and Hamlet replies "I shall in all my best obey you madam." (I. ii. 120). It is interesting to note Shakespeare's use of the modal verb "shall" in this line as this implies necessity and is said to express future time; so, on the face of it, the audience can infer that Hamlet is a loyal and loving character. Despite this statement Hamlet then proceeds to criticise his mother only a few moments later when he says "frailty, thy name is woman" (I. ii. 146) which shows the audience that Hamlet is a complex character who displays many contrasting emotions. This also shows how loyal Hamlet still is to his recently deceased father."

Tags:Gertrude, Ophelia, Polonius

Abstract
This paper discusses how Shakespeare's presentation of women must be commended as he managed to portray various aspects of what makes a woman, solely in two female characters Gertrude and Ophelia. It looks at how a socially advanced view of women is found in Gertrude's intelligence, sexuality and cunning, and a diversion from traditional Elizabethan values in Ophelia's passionate insanity. This is contrasted with "The Revenger's Tragedy" in which the 'Black Camp' style portrays women as either completely pure or tragically immoral and appears incapable of presenting women as a combination of the two polarised characteristics.

From the Paper
"On the other hand, though Hamlet may appear to respect and love his mother, his soliloquy presents Gertrude in a completely different light. His soliloquy shows his true opinion of his mother, and, in this, parallels can be drawn to Vendice's negative views of his own mother. The line "Hyperion to a satyr; so loving to my mother," refers to Hamlet's indignant opinion that Gertrude has transferred her love from the late King Hamlet, a God-like man, to Claudius, a beast. Also, the implications for Greek mythology would suggest that, just as a satyr is obsessed with sex so is Claudius. Therefore, he is simply using Gertrude to satisfy his lust, implying she is just a sexual object, an unusual opinion for her son to have, however. Both Hamlet and Vendice reveal a strong sense of disgust at their mothers' actions which could be viewed as hypocritical as neither of the protagonists' characters are free from moral blemishes.
"

Tags:Ophelia, Gertrude, Feminism

Abstract
This paper examines how one character that can rival the complexity and depth of the character of Hamlet, is that of Claudius. It looks at how we soon discover through Hamlet's eyes that Claudius murdered his brother to get to the throne which prompts the opinion of Claudius as a bad man. It analyses whether this opinion is justified and whether Claudius can be considered a good king as has been proposed by critics in the past.

From the Paper
"However, much evidence points towards the fact that Claudius may in fact have been a 'bad man'. He can display a malicious nature and manipulate people into doing what he wants them to do. Throughout the course of the play he uses many characters for his own personal gain: Gertrude (to hold power over Denmark); Rosencrantz and Guildenstern (to see if Hamlet's madness was real or just an act); Laertes (to kill Hamlet) and through the exposition, King Hamlet (who is killed so Claudius can get to the throne). Through Claudius' use of Laertes, we see the true immorality of his character with there being no other reason for his twisting of the truth than for personal gain."

Tags:laertes, gertrude

Abstract
This paper discusses how William Shakespeare?s version of "Hamlet" is one of the most well known revenge tragedies ever written and how it is still widely admired today. It considers how Shakespeare represents the pyschomacia an avenger must undertake when contemplating murder. It also examines how he manages to represent the god fearing opinion of the Elizabethan audience with Hamlet?s vacillation and his fright of God?s condemnation as well as the modern audience of today with Claudius?s eventual murder.

From the Paper
"The main exploration of Hamlet's revenge is in the soliloquies in the play. Here the audience gets to see past Hamlet's "antic disposition" and into the bewildered mind of a confused avenger. Hamlet's cerebration causes him to turn his raging emotional turmoil into unequivocal action "Yet I like a John a dreams". Hamlet asks an actor to deliver a Pyrrhus speech to summon up his courage but all he can do is "like a whore unpack my heart with words." Hamlet's vacillation between the classical and Christian attitudes to revenge display how complex the action is. He wishes to live vicariously through a hero like Pyrrhus but fears God's condemnation if he commits the act. The Elizabethan audience would frown upon the act of revenge and the modern audience would have a more mixed reaction."

Tags:tragedy, claudius, god, elizabethan

Abstract
This paper analyzes William Shakespeare's most famous play, Hamlet in terms of detective fiction narrative. Hamlet is examined against 19th and 20th century works such as the Sherlock Holmes and Philip Marlowe stories, while the text of the play is presented and backed up as evidence of an inherent detective narrative. Some of the evidence concerns the Queen's guilt, and Hamlet's confrontation of the Queen in Act III Scene IV - as well as Hamlet's madness and his relationship with Ophelia.

From the Paper
"Hamlet," says William Hazlitt, "is the one of Shakespeare's plays that we think of the oftenest." (Hazlitt, 197) The story, the plot of Hamlet is almost irrelevant: it is his character, and the way we interpret that character, that gives vital, universal meaning to Shakespeare's work over three hundred years later. As Hazlitt comments, "[Hamlet's] reality is in the reader's mind. It is we who are Hamlet." (196) Hazlitt's is a point of view I would like to discuss further. I would argue that Hamlet lends itself almost flawlessly to multiple interpretations, thus remaining a vital, active text that has become a cultural icon since it was first staged in 1600-1601."

Tags:raymond chandler, detective, fiction, sherlock holmes, shakespeare, theater

Abstract
The paper examines the similarities between the three characters Malcolm, Cordelia and Hamlet. It looks at how all are the children of kings and all have been usurped and attempts to determine what moral responsibility each holds towards their kingdoms and how this is manifested in the plays. It discusses the idea of legitimacy and how only the rightful heir can truly rule a kingdom and how any subversion of this "rule" leads to chaos and discord. It also goes on to examine the ways in which the responsibilities of the three characters in question differ from each other, asking whether it is possible to arrive at a definitive conclusion of how Shakespeare presents the theme of moral responsibility in his work.

From the Paper
"The whole tragedy of MacBeth seems designed to illustrate that this is the only possible outcome if the natural heir is usurped: we could conclude from this that Malcolm's moral responsibility, and indeed the responsibility of any such "natural" heir, is to reassert his own right to the throne in such circumstances. But can this view of moral responsibility be extended to the other two characters in question: Hamlet and Cordelia?"

Tags:revenge, tragedy, heir, kingdom

Abstract
This paper analyzes an extract from the famous play "Hamlet," written by William Shakespeare and first performed around 1602, focusing on a soliloquy spoken by its eponymous hero. The paper describes the speech in terms of Hamlet's thoughts behind his words, explaining that Hamlet's mood swings help him decide to prove Claudius' guilt, but they also reveal a certain fragility in his character that increases as the play progresses. The paper discusses how Hamlet's speech causes a brisk change in the plot as the audience discovers what Hamlet plans to do, and creates a feeling of suspense. The paper concludes that Hamlet's soliloquy shows how he uses his feelings of inadequacy to come to a decision regarding his revenge.

From the Paper
"However, the phrase "O, vengeance!" also reveals a certain level of desperation as hamlet remembers he has been called to act. At this point, he seems to become more rational as once again he criticises himself, stating sarcastically that he has been ordered to take revenge and yet all he can do is talk. His frustration at his tendency to hesitate is exposed by the way he calls himself a prostitute in three different ways: "must like a whore unpack my heart with words and fall a-cursing like a very drab, a stallion!" (l.583-585). This gives him a feminine, womanly aspect, which suggests that Hamlet feels he is not manly enough, or filling his duty as a man."

Tags:tragedy, claudius

Abstract
This paper examines how Gertrude and Ophelia are the only female characters in "Hamlet" and how, although the male characters take lead in this Shakespearean play, the roles of Gertrude and Ophelia are both memorable. It demonstrates how although neither have an extreme amount of lines, both characters roles are set up a system of cause effect within the play.

From the Paper
"Gertrude does seem morally frail. She never exhibits the ability to think critically about her situation, but seems merely to move instinctively toward seemingly safe choices, as she immediately runs to Claudius after her confrontation with Hamlet. When Hamlet says "... kill a king and marry with his brother", she seems to respond with surprise as she replies, "As kill a king!" Later in that scene, when Hamlet has tried to win her round, she says, "O Hamlet thou hast cleft my heart in twain", therefore we see that she's divided between the two (Claudius and Hamlet) rather than siding firmly either way, showing she lacks in moral fibre and strength. Gertrude follows Claudius and is seen to not think for herself as she mixes up the names of Guildenstern and Rosencrantz trying to follow in what the King had said when greeting them."

Tags:gertrude, ophelia