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Hamlet's Identity, 2004.
An analysis of Hamlet's unstable identity in a disjointed society in William Shakespeare's plat "Hamlet".
751 words (approx. 3.0 pages), 0 sources, £ 18.95
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Abstract
This paper examines Hamlets identity as exposed through the soliloquies from William Shakespeare's play of the same name. It explores how Hamlet?s identity is defined by his existence and how from his very birth on, his identity was built to fit for his future as a king. It looks at how Claudius takes old Hamlets life and bestows himself upon the throne causing Hamlets identity to be severely endangered, which emphasizes the disjointedness of the society they live in. It also shows how, as Hamlet searches for his true identity, he is seeking to revenge his father?s death and how only by taking action, can Hamlet define his true identity of being of royal descent, with the right to be King of Denmark.
From the Paper
"Hamlet would have been king of England, were it not for the jealous uncle who so to speak stole the throne from him. There is truly only one way, in which Hamlet can get back his identity, and that is to take his place on the throne. Essentially, the fact that his father was murdered becomes only a secondary reason in the development of his identity. As it becomes visible towards the end of the play, it is ultimately not the fact that his father was killed, but rather that his rightful position was stolen from him, which caused him to find himself in this identity crisis. Alone the fact that Hamlet, from the very beginning on, disproves of his uncles actions; at a point where Hamlet was not yet aware of his fathers murder, underlines and provides evidence for the fact that Hamlet?s revenge is only a cover for other motives, so to say to justify his murder of Claudius."
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Hamlet's Identity Crisis, 2003.
An examination of the concept of identity in Shakespeare's "Hamlet".
857 words (approx. 3.4 pages), 0 sources, £ 21.95
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Abstract
This paper deals with Hamlet's identity crisis and shows how this crisis, in part, drives the plot. It explains that this is what ultimately makes Hamlet a tragedy because Hamlet starts off with the noble goal of avenging his father?s murder, but he ends up losing everything he has, including his identity.
From the Paper
"The concept of ?success? is everywhere in this scene. Shakespeare plays around with the contrast between Hamlet and Fortinbras throughout the play. Immediately after the scene with Laertes, Fortinbras makes his first entrance. His actions contrast sharply with those of Hamlet in that Fortinbras is immediately successful in accomplishing that which he desires whereas Hamlet takes a long time to essentially fail in his initial goal. Shakespeare introduces Fortinbras in this scene to add to the ?tragedy? of it all. Shakespeare also uses Fortinbras strength and successfulness to highlight Hamlet?s failure. Had Hamlet refused to fight Laertes, Shakespeare would have no avenue to play out the tragedy of Hamlet. This is not to say, however, that Shakespeare arbitrarily chose for Hamlet to fight Laertes. Rather, Shakespeare uses Laertes offer for a fight to bring to light all of Hamlet?s problems."
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"Hamlet", 2004.
An analysis of William Shakespeare's "Hamlet," with a focus on Hamlet's oedipal complex.
2,200 words (approx. 8.8 pages), 5 sources, MLA, £ 48.95
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Abstract
This paper reviews the play, "Hamlet," by William Shakespeare. The paper contends that "Hamlet" is a complex play and can support a wide variety of interpretations. The paper describes one aspect of the psychology of the main character that harks back to the ancient world and the story of Oedipus, who was ordained to kill his father and marry his mother, which he unwittingly did. This story would later serve as a source for Sigmund Freud as he developed his oedipal theory, and the paper explores a similar idea that is played out by Hamlet in terms of his mother and father. The paper explains that Hamlet does not kill his own father, but he does have to kill his step-father at the behest of the ghost of his father and plays out the idea of sexual jealousy because his mother has remarried.
From the Paper
"In Hamlet as in other Elizabethan drama, the fate of kings is tied to the order of the universe, and dissension and tension in one is reflected in the other. Yet, the issue is complex, and while the usurper has no right to rule, it is not always clear who has the right to prevent him from ruling. The hesitation of Hamlet, much commented on by critics, may derive from the fact that while he knows Claudio to be a regicide, to kill Claudio would make him a regicide as well. The usurpation of the throne leads to a more dangerous and uncertain environment in the land, and nature concurs by expressing through storms and other travails visited upon the people that a great political wrong is also a great moral and religious wrong. The effects of a regicide are seen in storms and the like because such actions offend the gods, or God."
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"Hamlet": Act III Scene II, 2002.
This paper is an analysis of William Shakespeare's "Hamlet,", and goes into detail about Hamlet's elaborate plan to expose the king as the murderer of his father.
1,185 words (approx. 4.7 pages), 0 sources, £ 28.95
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Abstract
This is an analysis of the play "Hamlet" by William Shakespeare. Special attention is paid to the scene where the real murderer of the king is divulged. The author explains how this is a pivotal scene as it solves the mystery that has been building up until that point.
From the paper:
"Act III, Scene II is important for a number of reasons. Essentially, it is the start of the second half of the play. It could be argued that the first half of the play is when Hamlet sets up his strategy to avenge his father?s death. Naturally, the second half would then be Hamlet taking the vengeance he so baldy wants. Unfortunately for nearly all parties involved, it does not happen how he planned. In Act III Scene II, Claudius? guilt as well as his moral values had been exposed for all to see. Hamlet?s underhanded slyness was also revealed by his non-confrontational means of proving the king?s role in the murder of his father. Lastly, the reader also discovers the queen?s apparent innocence."
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"Hamlet", 2005.
An analysis of William Shakespeare's play, "Hamlet," with a focus on Hamlet's fear of culpability.
1,198 words (approx. 4.8 pages), 1 source, MLA, £ 29.95
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Abstract
This paper discusses the play, "Hamlet," by William Shakespeare, claiming that the fear of culpability and having to answer to the community is much greater for Hamlet than fear of the law and even fear of God. The paper contends that, by virtue of answering only to an abstract other, Hamlet answers only to himself. The paper explains that his fear of being held responsible is a fear mediated by an unspecified community that is never seen, yet never disregarded. The absence of a specific general community shows that the culpability Hamlet so fears is as unfixed and intangible to him as his own personality.
From the Paper
"Shakespeare's play Hamlet presents the audience with a protagonist who defines himself by what he does not want to be. When pressed towards action, Hamlet will often think less about what to do and more often about how what he will do is to be perceived by others. This persistent reliance upon definition of character through the negation of action seems to be tied to Hamlet's fear of culpability that, like the ghost of his father, haunts him throughout the course of the play. This is quite an immature posture for a thirtysomething Prince, and indeed can easily be read as childishness. The nature of his childishness is not the simply the result of immaturity, however, but the result of a growing concern about light being cast on the horrible revenge he thinks about and acts towards achieving but never fully does. Hamlet's fear of being seen as a culpable entity, particularly in the case of his desire to murder Claudius, causes problems because it makes him impotent to action and this impotence makes him a wildly unfocused character who is, in the final estimation, deeply shallow."
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"Hamlet", 2007.
An analysis of William Shakespeare's "Hamlet", focusing on Hamlet's delay in killing Claudius.
2,319 words (approx. 9.3 pages), 4 sources, MLA, £ 50.95
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Abstract
This paper explores why Hamlet delayed the revenge of his father's death by killing Claudius, in William Shakespeare's play, "Hamlet". The author examines several possible explanations about why Hamlet did not take immediate revenge including fear of becoming king, suffering from an Oedipus complex, fear of the ghost and other factors that may have played a part in Hamlet's reluctance to exact revenge on the man who killed his father.
From the Paper
"Along those same lines have been arguments that Hamlet was mentally stable but to weak minded to make a decision as strong as deciding to commit murder. This theory is not one that is easily supported however because he shows in many instances during the play that he can make a decision when he needs to. He also does not display weakness when he first begins killing characters. Whatever caused him to delay in the killing of his stepfather probably had more to do with the task of killing Claudius than the act of killing in itself."
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Theme of Insanity in Hamlet, 2006.
This paper discusses the theme of insanity in the character Hamlet in the tragedy of Hamlet, Prince of Denmark by William Shakespeare.
675 words (approx. 2.7 pages), 3 sources, £ 18.95
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Abstract
In this paper, the writer demonstrates that Hamlet has ultimately realized true insanity, as he has acted out his madness in a disguise that has failed on a large scale. The writer discusses that in this manner, the critical views of Grady offer greater insight into a psychological case for insanity for Hamlet in the play. The writer also shows that critic Harold Bloom does show a variety of behaviors that might present Hamlet's insanity as a disguise.
From the Paper
"This study reveals critical theory and interpretation that often revolves the character Hamlet in William Shakespeare's play The Tragedy of Hamlet, Prince of Denmark. By assessing modern critical theory on Hamlet's character, one can understand that many critics agree on Hamlet's insanity within the play, and how this links to his own tragic fate in the play. By offering different theoretical analysis of this aspect of Hamlet's character, we can understand why psychology--via madness and insanity--are how twentieth century critics view Shakespeare's portrayal of Hamlet in critical perspectives. In the first appearance of the Ghost (Hamlet's dead father) in the beginning of the play, reveal the first delusional image that Hamlet receives."
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Hamlet and Laertes, 2005.
A study of the relationship of Hamlet and Laertes in 'Hamlet' by William Shakespeare.
675 words (approx. 2.7 pages), 3 sources, £ 18.95
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Abstract
This paper studies the character of Laertes as a foil or mirror image of the character Hamlet. Throughout the play, Laertes actions and responses seem to be a mirror of the character, Hamlet, both physically and verbally.
From the Paper
"In William Shakespeare's tragedy of 'Hamlet', the character of Laertes can be seen as a foil or a mirror of the protagonist Hamlet. This comparison extends throughout the play, as Laertes' responses to the murder of his father Polonius, the death of his sister Ophelia, and even his general philosophy of life can be interpreted not simply a mirroring of Hamlet but as a sort of running commentary on Hamlet's words and actions. In this context, this essay will argue that Shakespeare employs Laertes as a dramatic foil to Hamlet, allowing audiences more illuminating insights into the character and actions of the protagonist."
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"Hamlet" and "Oedipus the King", 2005.
Character analysis of Prince Hamlet in "Hamlet" by William Shakespeare and Oedipus in ?Oedipus King? by Sophocles.
807 words (approx. 3.2 pages), 1 source, APA, £ 20.95
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Abstract
In this paper, a character analysis of both Prince Hamlet and Oedipus is conducted, arguing that both characters have exhibited tragic flaws that ultimately determined their downfall in life.
From the Paper
"In Aristotle?s literary discourse, ?Poetics,? he discusses his theory of tragedy, wherein he introduces the concepts of tragic flaw or ?hamartia,? which serves as the catalyst for the protagonist?s downfall or the tragedy of the story to happen. He determines a tragedy as a ?drama? that brings about a ?sorrowful conclusion, arousing fear and pity in the audience? (Roberts and Jacobs, 1998:1189). Tragic stories are identified through three (3) characteristics or elements: first, the protagonist, usually a male, must be of noble stature; second, the protagonist or tragic hero must possess a tragic flaw or ?hamartia? that shall become his downfall at the end of the story; and third, the hero?s downfall must come with a self-realization on his part, making him a ?reformed? individual even if a tragic outcome happens to him."
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Hamlet and Easy Rawlins, 2004.
Comparison of two famous literary characters, Hamlet from Shakespeare's "Hamlet" and Easy Rawlins from Walter Mosley's "Devil in a Blue Dress".
1,295 words (approx. 5.2 pages), 2 sources, MLA, £ 30.95
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Abstract
This paper compares the literary devices used by William Shakespeare in developing the character of Hamlet with those used by Walter Mosley in developing the character of Easy Rawlins.
From the Paper
"The protagonist in Walter Mosley's Devil in a Blue Dress, Easy Rawlins, is a good man; however; he is motivated by his desires for money and sex. Shakespeare wrote Hamlet as a parody of the classical drama, heightening, and thereby questioning, the code of honor. Mosley was parodying the detective genre to encompass the Black viewpoint. Easy stumbles through the world of the detective, falling for the wrong women, backing down from confrontations and, generally, allowing the circumstance to define his movements."
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Shakespeare's "Hamlet", 2005.
This paper discusses that in Shakespeare's "Hamlet", the character Ophelia is the most innocent victim of Hamlet's revenge.
935 words (approx. 3.7 pages), 0 sources, £ 23.95
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Abstract
This paper explains that, in Shakespeare's "Hamlet", Hamlet and Ophelia's relationship is a complex one, forming and developing as results of death, love, obedience and an Oedipus complex. The author points out that there are many similarities between Ophelia and Gertrude; Hamlet's love and sudden dependence on Ophelia may be an attempt to get closer to his mother as a result of the Oedipus complex. The paper concludes that, even in death, Ophelia has a large part in Hamlet's life because Hamlet's death was ultimately caused by Ophelia's death when the graveyard scene, in which Hamlet proclamation, "I loved Ophelia", leads to his fatal duel with Laertes.
From the Paper
""One fair daughter and no more,/The which he loved passing well," Hamlet sings at Polonius, mocking his supposed love for his daughter. Hamlet also calls him "Jephthah, judge of Israel." As told in Judges 11, Jephthah promises God that if he wins in battle he will sacrifice whatever comes out of the doors of his house when he returns. After he wins the battle, his only daughter hears of his victory and comes out to meet him. He keeps his promise to God. Hamlet's implication is that Polonius, like Jephthah, will sacrifice Ophelia for his own advantage."
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Hamlet and Orestes, 2007.
Compares the situation and characteristics of the character, Hamlet, from Shakespeare's play "Hamlet" with those of the character, Orestes, from Aeschylus' play "The Oresteia".
1,637 words (approx. 6.5 pages), 4 sources, MLA, £ 38.95
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Abstract
This paper relates that two of the most prominent characters in revenge tragedy plays are Hamlet, from William Shakespeare's play, "Hamlet" and Orestes, from Aeschylus' play "The Oresteia". The paper notes that, even though there is a vast time period separating the two plays, the main characters, Hamlet and Orestes respectively, are placed in several similar family situations and have identical characteristics that are displayed throughout the texts. The paper further notest that, while there are many situations and characteristics that the characters have in common, there are also differences. The paper attempts to show that Shakespeare and Aeschylus use these familial situations and characteristics so that the audience of the plays can both relate and respond to their dramas.
From the Paper
"Although Hamlet and The Oresteia were both written many years apart, the familial situations surrounding both plays are strikingly similar. In Hamlet, Hamlet is plagued by the death of his father who is murdered by his uncle, Claudius. After his father's death, Hamlet's mother, Gertrude, does not waste any time marrying Claudius. Even though Gertrude does not know until later in the play that Claudius killed her late husband, Hamlet still resents her for abandoning his father so quickly. Shakespeare uses this tragedy-ridden family's situation to elicit a response of shock within the audience when they learn about the state of affairs of Hamlet's family. A family that has a character who is murdered, a widow who marries the murderer, and a son looking for revenge brings shock to the audience and gets their attention. In The Oresteia, Orestes's father, Agamemnon, is murdered by his wife Clytaemnestra after coming home from battle. "
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Hamlet and Claudius, 2004.
An analysis of Hamlet?s delay in seeking revenge against Claudius in William Shakespeare's "Hamlet".
2,845 words (approx. 11.4 pages), 6 sources, MLA, £ 60.95
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Abstract
This paper examines how William Shakespeare?s "Hamlet" is a play about revenge and indecision and how, because Hamlet?s father is wronged, Hamlet himself spends most of the play deliberating on the subject of his revenge against his uncle, Claudius, who has killed his father, married his mother, and assumed the throne. It looks at how his father?s ghost pushes him to seek revenge, although he does not want to, and how there are many possible reasons for his delay in vengeance, among them Hamlet?s own mercurial nature and his desire to protect his mother. It examines Hamlet?s quest for vengeance by looking at the text directly and taking cues from secondary sources and concludes that Hamlet?s delay in taking vengeance is primarily based on his indecision, his self-interest, and his desire to protect Gertrude.
From the Paper
"Throughout the play, Hamlet makes his own choices regarding his plan for avenging his father, and these choices are affected by his own personal ideas about fate and what he sees himself as being chosen for (vengeance). Hamlet represents reluctance to carry out what he sees as his destined goal of getting rid of his father?s murderer and his mother?s seducer: ?O cursed spite/ That ever I was born to set it right!? (Shakespeare, I,v, 188-9), he cries upon making Horatio and Marcellus swear to help him in his plans to oust Claudius. Hamlet is not just following the orders of his father?s ghost; he is struggling with his own goals and ideas about what is right and wrong; his conscience is
at war with his need for vengeance. He passes up many opportunities to either escape his fate of having to avenge his father and quiet his ghost or assure it. He chooses to make his vendetta intensely personal. This personal vendetta makes Hamlet a dangerous character because he is working on the whims of his own emotions."
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Hamlet Character Analysis, 2005.
A character analysis of Hamlet from Shakespeare's play "Hamlet".
1,258 words (approx. 5.0 pages), 2 sources, MLA, £ 30.95
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Abstract
The character of Hamlet in Shakespeare's play, "Hamlet", is probably the most analyzed characters in literary history because, even though he is difficult to comprehend, he is real. It explains that Hamlet is a complex man because his problems are internal initially. In short, his psychological disorders are a direct result of what is happening in his mind. It shows how Hamlet moves through a series of drastic emotions in the play, beginning with depression and anxiety, moving to madness and more stress. Each of these emotions paves the way for a deeper, more compounded emotional state, which ultimately causes Hamlet to lose his grip on reality.
From the Paper
"Hamlet's melancholy, or depression, is given no reprieve during the play and the ghost is the primary reason for this. In fact, the ghost is the dominant force behind Hamlet's internal conflict. Hamlet comes from a background of teaching that suggests that murder is wrong and from this perspective, the ghost is literally asking him to commit a grievous sin. Bloom notes that Hamlet has "no desire to cut down Claudius" (Bloom 70). Because of this, Hamlet at first tries to deny who or what the ghost is, referring to it as a "goblin damned" (Shakespeare i.iv.44). After some speculation, Hamlet then decides that maybe the ghost is not as evil as he once suspected. Here we see Hamlet's big problem with inconsistency, which will come back to haunt him sooner than later. Hamlet calls the ghost, "King, father, Royal Dane" (I.iv.50), which indicates Hamlet's inability to trust his instincts. The ghost, what it means, and what it is asking Hamlet to do leads to an increased level of anxiety for Hamlet because he does not have a clue about what he should do."
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