In Shakespeare’s play Hamlet Prince of Denmark, the audience arrives in the story shortly after the death of the king and the crowning of the king’s brother as king (1.1.80-104). The story continues with Hamlet the prince encountering the ghost of his father. Hamlet is then told by the ghost of his uncle’s deceit and Hamlet is asked to take revenge for him (1.5.42-91). The audience watches as Hamlet deceives everyone in the castle and eventually obtaining revenge for the ghost at the cost of his
Claudius. Hamlet often fears the consequences of taking responsibility for killing his uncle, which define a profound sense of morbidity and procrastination. These factors define the overtly philosophical mindset of Hamlet’s character that dictate a lack of real time action in his overtly gloomy analysis of Claudius and his misinformed attempts to kill his enemy. In essence, Hamlet’s philosophical and religious behavioral cause him to act decisively against Claudius, which, in turn,
Throughout the entirety of Hamlet the ghost of King Hamlet is an entity which seems to elude both the reader and Hamlet himself. Many readers ponder the question of whether or not the ghost is a figment of Hamlet’s imagination or if Shakespeare intended the ghost to be an actual entity in the play that does not merely dwell in the mind of Hamlet. Various sources of evidence within the play itself appear at a first glance to support the idea that because the ghost only speaks to Hamlet that he has been driven
Shakespeare's Hamlet has often been considered one of the most intriguing and problematic plays of the English language. Among the many questions that Hamlet raises, lies the subject of whether or not Hamlet actually becomes insane. Using extensive evidence from the text and scholarly criticism, it can be efficiently argued that Hamlet does indeed maintain his sanity throughout the entirety of the play. By analyzing the character of Hamlet, the major theme of appearance versus reality in the play
In order to grasp an understanding of how she could be deemed a mid-Victorian femme fatale, it is crucial to attempt to define it. The femme fatale exists through centuries of art, poetry and literature, for instance Shakespeare’s Cleopatra, but is most prominent in the mid to late nineteenth century literature. The mid- Victorian femme fatale is difficult to define or stereotype, she is a lot more complex and has many different sides to her than the vampires or she-devils
Woman: God’s second mistake? Friedrich Nietzsche, a German philosopher, who regarded ‘thirst for power’ as the sole driving force of all human actions, has many a one-liners to his credit. ‘Woman was God’s second mistake’, he declared. Unmindful of the reactionary scathing criticism and shrill abuses he invited for himself, especially from the ever-irritable feminist brigade. The fact and belief that God never ever commits a mistake, brings Nietzsche’s proclamation dashingly down into the dust bin