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Prince hamlet as a victim of the fate
Prince hamlet as a victim of the fate
Prince hamlet as a victim of the fate
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Many times in life, people go through near death experiences in which they do something extremely dangerous, and almost end their lives on accident. I have such a personal experience in which I had almost died myself. This last summer I was driving a four wheeler with my friend on the back of it. We had been doing so all day, but we drove through a creek and for some reason everything went terribly wrong. I must have been going too fast, but I hit a rock that was hidden by mud, thus causing a chain reaction of turning my wheels and hitting the water at just the right time to cause the four wheeler to roll. This was probably one of the scariest times of my life because I thought I was going to die! In relation, Hamlet in Shakespeare’s famous plays “Hamlet,” was also in near death experiences in reaction from choices he made including, not killing Claudius when he had the chance, killing Polonius, and fighting in the duel.
In Shakespeare’s “Hamlet,” Hamlet himself is faced with a challenge of having to avenge his passed father by killing Claudius, but he makes the mistake of not killing him when he has the chance. Hamlet was about to kill his uncle, King Claudius while he was praying but then at the last second he decided not to. Hamlet decided that because Claudius killed his father while he was sleeping, sending his soul to purgatory, this wouldn’t be good enough revenge to kill his uncle while praying, sending his soul to heaven. “Now might I do it pat, now he is a-praying. And now ill do’t. And so he does to heaven; And so am I revenged” (Hamlet Act 3 Scene, Pg. 186 Lines 76-79). In this quote Hamlet talks about how he is going to kill him, and he even draws his sword, but then decides not to. This a great mistake that he would soon regret.
After the mistake of not killing Claudius, Hamlet went and talked with his mother, where unknowingly, Polonius hid, and he would make the mistake of killing him. In Act 3, Scene 4 of Hamlet, Hamlet kills Polonius, who was hiding in the curtains. “Oh, I am slain” (Hamlet Act 3 Scene 4, Pg. 190 Line 27). Polonius cries out as Hamlet ran a sword through him. Hamlet doesn’t think much of killing Polonius although.
Death, Decay and Disease in Hamlet Within ‘Hamlet’, Shakespeare makes a number of references to Denmark's degraded state due to the deceit that lies within. These references are made by Hamlet, Horatio as well as the apparition, thus enforcing the strong theme of death, decay and disease. As aforementioned, Hamlets makes a number of references to Denmark. Preceding the death of his father and the marriage of his mother, his mental state begins to fall into demise. Although he appears to not have much courage at first, his focus remains on avenging his father, whose murder is described as being "most foul." As noted in one of Hamlet's first soliloquies, his downward spiral has already begun and already he is contemplating suicide; "O that this too too sullied flesh would melt, thaw, and resolve itself into a dew (I, II, 130)" and "seems to me all the uses of this world.
It is primal instinct for humans to say they understand what something means, even if they have never heard of it before. Take the word mortality, for example, news reporters and journalists are constantly saying it, but ask a viewer what it means and they will stumble. William Shakespeare however, understood mortality very well and was quite fond of using the word as a motif in many of his plays, especially so in Hamlet. By using direct references to disease and illness, an unweeded garden, and rotting and decay, Shakespeare’s Hamlet illustrates how death and corruption run rampant in the helpless state of Denmark while under the rule of Claudius.
Elizabeth Kubler-Ross developed a theory based on what she perceived to be the stages of acceptance of death. Her theory has been taken further by psychologists and therapists to explain the stages of grief in general. Kubler-Ross identified five stages: denial and isolation, anger, bargaining, depression, and acceptance, as happening in that order. In William Shakespeare’s Hamlet, Hamlet exhibits all five stages of grief, we can assume in relation to the recent death of his father, but not necessarily in this order, and in fact the five seem to overlap in many parts of the play.
In the play Hamlet by William Shakespeare, Hamlet struggles with the abrupt death of his father at the hands of his uncle. It is in the very beginning of the play that Hamlet voices his opinion that death would be a peaceful release. But as the play progresses his attitude begins to slowly doubt the serenity in death. Hamlet had been surrounded by death but had yet to come face to face with it, escaping the lessons the world was trying to teach him. It is within Act 5 scene 1 that Hamlet has a direct confrontation with death, manifested primarily through the discovery of Yorick’s skull, a dear friend from his green world childhood. It is through this experience that Hamlet realizes that death is the true equalizer, that all men are the same in death, stripped of all power and position, and that he too will crumble into dust.
When Hamlet murders Polonius, it is evident that Hamlet has gone thoroughly insane and he cannot return from the point he is at. No one is safe from Hamlet and the way he is deporting now. Hamlet has upset his mother by incriminating Claudius and insisting that her marriage is incest. Gertrude even says, Come, come, you answer with an idle tongue (Act 3 Scene 4. 10). This is in replication to Hamlet telling his mother that she is disrespecting King Hamlet (Act 3 Scene 3.9). All this that has occurred verbalizes volumes to Hamlet losing his sanity due to his recollection of the loss of his
“The very conveyances of his lands will scarcely lie in this box, and must th’ inheritor himself have no more, ha?” Hamlet’s realization in 5.1.88 is one of great weight and resulted in more deep thought on the concept of death. Throughout Shakespeare’s “Hamlet” the subject is deeply considered and consistent breakthroughs and new realizations are revealed through Hamlet’s character. The primary evolution of Hamlet’s understanding stands with the coping, dealing with the finality of death, conflicts with morality and revenge in its intimate relationship with death as it applies to Hamlet.
Death is an eternal mystery and the most controversial subject stemming from human inexperience. Its inescapability and uncertainty can give insights on the core principles and vulnerability of human nature. In Shakespeare’s tragedy Hamlet he skilfully makes use of death as a lashing force to explore the depths of his characters along the way illustrating man’s continual dilemma “To be or not to be”?
William Shakespeare takes us through the life of Hamlet, the Prince of Denmark battling through the death of his father, and seeking revenge on the man who murdered him, in his tragedy that is, Hamlet. Shakespeare creates a world fixated on life versus death that is constantly questioning the possibilities of the afterlife and comparing it to their present circumstances. As death surrounds Denmark, the idea of suicide rises and becomes a significant theme that encourages characterization and plot development throughout the play. Hamlet, distraught by the death of his father and the recent marriage of his mother, Gertrude to his uncle, Claudius, begins contemplating whether suicide is the right choice for him in his situation. Death also takes over the mind of Ophelia, a beautiful young lady who Hamlet is in love with, when her father Polonius is murdered, leading to her madness and eventual suicide. The final suicide is the death of the entire royal circle caused by their own corrupt conflicts and actions. Shakespeare explores the idea of suicide as an important theme through the imagination and actions of his characters.
Being that death is a universally explored topic, William Shakespeare, a master of English literature, opted to thoroughly investigate this complex notion in his play Hamlet. Shakespeare cleverly and sometimes subtly brings the reader/viewer through a physical and spiritual journey of death via the several controversial characters of Hamlet. The chief element of this expedition is undoubtedly the funerals. Every funeral depicts, and marks, the conclusion of different perceptions of death. Shakespeare uses the funerals of the several controversial characters to gradually transform the simple, spiritual, naïve, and somewhat light view of death into a much more factual, physical, serious, and down to earth outlook.
"To be or not to be? That is the question." (Shakespeare 57) Hamlet opens his famous soliloquy with the question whether it is harder to live and endure the many vicissitudes of life or to die and face the unknown territory of death. He wondered what happens after one dies, and what awaits each of us. The uncertainty in knowing what is to come of us after death, led Hamlet to believe that fear is generated by the unknown, for it makes people fear the things they cannot see and control. He reasoned that if our certitude of what happens after death is absolute, then people would willingly bear the grief that life so kindly offers. Hamlet raises the following philosophical question, is it harder
"’Tis not alone my inky cloak, good mother, / nor customary suits of solemn black / [ . . . ] but I have that within which passeth show; / these but the trappings and the suits of woe” (Shakespeare 1.2.76-73, 85-86) says Hamlet when confronted about his way of grieving over his father’s recent death. Shakespeare’s play Hamlet is a remarkable tale that is centered on the idea of death and grief. While death is a universal occurrence, meaning every person will deal with it, how we grieve after a loss is completely individual. To look at a formula of grief, most turn to the five stages of grief developed by Elizabeth Kubler-Ross, a psychiatrist, who studied the topic in her book On Death and Dying. This model consists of denial, anger, sadness, bargaining, and acceptance, although the duration and order of the stages are different for every person. In Shakespeare’s play Hamlet the stages of grief are evident in his sadness, anger, and finally acceptance.
Ancient Greek and Christianity both have different vision of death. Therefore, the idea of death and the afterlife was contrarily shown in the two texts. Death permeates Hamlet from the beginning of the tragedy through the ghost of king Hamlet. Suicide was desirable way to replace suffering the life but it is forbidden by the Christian religion. Also Hamlet explains how the body return to dust at the end and what happen in the afterlife. However, death in apology by Plato was unknown idea thus Socrates does not fear it. In addition death is an honourable thing for men. For Socrates death is the nonexistence or the transmigration of the soul.
Hamlet’s actions leave him no choice but to take revenge against King Claudius. In Act 1 Scene 5 Lines 117-119, Hamlet says “I have sworn ‘t”, vowing to the ghost of his father that revenge will be sought against his father’s killer, Claudius. Throughout most of the play, Hamlet is reluctant to kill Claudius, but this vow forces him to continue to take some sort of action to further his vengeance. This is shown in Act 3 Scene 3, when the King is praying. While praying, the King is defenceless and could have been easily slain, but Hamlet stalls and finds an excuse to not kill the King. However, must continue continue down the path of vengeance. He tries to find excuses out of killing Claudius, but when Hamlet confirms that Claudius is the murderer in Act 3 Scene 2 Lines 12-13, stating that he’ll “bet [Horatio] a thousand bucks the ghost was right” about the identity of the murderer, he can no longer leave Claudius alive. Even though Hamlet continues to hesitate until Act 4 Scene 4 when he sees ...
Following the performance of “The Mousetrap”, Hamlet is summoned to his mother's chamber. Upon arguing with Gertrude over the intentions of his play, and his reasons for wanting to distress the king so openly, Hamlet kills Polonius. “How now? A rat? Dead for a ducat, dead (III.iv.27-28)! Perhaps Hamlet did not know whom he was killing. “Thou wretched, rash, intruding fool, farewell! / I took thee for thy better”(III.iv.38-39)! Perhaps Hamlet thought he was killing the king.
Hamlet procrastinated only because of his fear of intimacy with his mother, knowing that Claudius was the only person separating he and Gertrude. Although Hamlet has a pious duty to avenge his father’s murder, his desire for his mother is too strong for him to leave an open pathway to her. He tries to find excuses to postpone his killing Claudius. First, he tries to discover whether or not Claudius really did kill King Hamlet, which gives him some time. After he has convinced himself that Claudius is to blame, he attempts to murder him just twice. The first time, he finds Claudius praying, and uses that as a scapegoat so he can again put off his pious duty. Later when he is alone with Gertrude, he thinks that Claudius is behind the curtains, and kills the man there. Unfortunately, Polonius becomes the victim of Hamlet’s dagger.