The destructive suction of a black hole not only perilous, but inescapable once matter becomes close enough. Similarly, in William Shakespeare’s Hamlet and George Orwell’s 1984, the protagonists are seduced by their ids, the source of a person’s desires and impulses, to indulge themselves in attaining their deepest aspirations. Although the superegos, the contraction to the id, of Hamlet and Winston warn them not to succumb to their instincts they overlook the precautions and view their superegos as hindrances to their ids. Hamlet and Winston, while breaking societal rules to satisfy their ids, attempt to hide behind their egos, the reality principle, in order to avoid the consequences of their misdeeds. Eventually the ids of the protagonists overcome their superegos, thus influencing them to commit crimes previously thought to be absurd. When Hamlet and Winston allow their ids to dominate their superegos they are treated as criminals, ultimately instigating their downfall. Through the protagonists’ misfortune in satisfying their temptations, both Hamlet and 1984 illustrate the dangers of straying from societal standards by indulging the id.
Both stories commence with the protagonists possessing very perceptive superegos, which hinder them from making rash, instinct-driven decisions. In Shakespeare’s Hamlet, Hamlet is introduced as an insightful, philosophical man who believes his discerning superego is an obstacle rather than a virtue, stating that by having “one part wisdom”, he is “three parts coward” (IV iv 41; IV iv 42). Winston, on the other hand, believes that “in moments of crisis one is never fighting against an external enemy but always against one’s own body” when his superego precludes him from committing treasonous c...
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...ecome alienated by society and punished severely for diverging from the status quo.
Shakespeare’s Hamlet and Orwell’s 1984 are excellent examples of cautious tales warning about acting against society under the influence of the id alone. In both novels, the protagonists stray from societal standards by following the impulses of their ids without inhibition from their superego. Although Hamlet and Winston attempt to stay within societal rules, their ids eventually overpower any sense of reality they have, causing them to act on their deepest desires without care for the potential consequences. To illuminate the dangers of diverging from the societal status quo, Hamlet and Winston are dehumanized by the societies they rebelled against. Perhaps it is better to remain miserable doing something unenjoyable, but accepted by society, than to act on controversial actions.
Those who choose to reject the pressures society employs to keep people docile and impressionable are punished. Kesey’s novel One Flew Over the Cuckoo’s Nest is a prime example of those perspectives. Nurse Ratched used rules and psychological abuse to chip away at the individualism of her patients and gain power over them. McMurphy showed these oppressed people how to combat their oppressor and think for themselves. He was punished by Ratched, but served as a martyr for freedom and inspired Bromden to reject his imprisonment and escape the institution. However, we are forced to question whether Bromden actually escaped and on top of that, whether or not escape is even possible. The open-endedness of the story leaves the reader to question their individual essence, how they are being affected by their society, and if human beings are able to completely reject society while maintaining their
A captivating novelette in which a man’s priority is to serve only for his brothers, Ayn Rand’s Anthem illustrates a society that has suffered the ghastly consequences of collectivism. She depicts an oppressive culture in which the word “I” is unheard of and men belong to the collective “We.” Men’s lives are determined through the Council of Vocations, a group that maintains a powerful dictatorship by subjugating the public from the beginning of their lives. The idea that “If you are not needed by your brother men, there is no reason for you to burden the earth with your bodies” (Chapter 1) has been forced into average mindset of the vehemently maintained society. In contrast, Rand mocks the totalitarian civilization through the main character Equality. Since he was born, Equality possessed a quick mind and constantly strayed apart from his peers. Through his life, he shows an unwilling behavior to conform not only to his name, but also to the rules of society. After he is found guilty of independent thought, he is sadistically beaten and dragged into the Palace of Corrective Detention, an unguarded jail that castigates the public of their wrongdoings. Shackles are unnecessary as a result of the brainwashed society and their compliance to obey orders, which consequently allows Equality to escape. In a collective society, citizens are denied their inalienable right of individualism, which ultimately eliminates all thoughts of opposition. Through their submission, the presence of their souls vanishes and society deems the collectivist tenet true. The lack of guards and old locks in the Palace of corrective Detention symbolize the evils that result from a collectivist society.
...es of individuals can be used to explore a broader social wrong, in this case the injustice of a totalitarian government. Both authors use their protagonists to depict how a dictatorial state can destroy all sense of individuality, Orwell by presenting Winston in his fight against “The Party” and Niccol by depicting Vincent in his battle against society. Both authors also use individuals, who must isolate themselves in order to survive to expose how an unjust authoritative government can manufacture isolation. Orwell and Niccol also present conflicting views on the possibility of individual rebellion in an oppressive society, reflected by the success of Vincent and failure of Winston. In their prophetic dystopian texts both George Orwell and Andrew Niccol use the experiences of their protagonists to explore the broad social wrong of a totalitarian government.
The struggle for independence is part of the human experience; from childhood, we attempt to disengage ourselves from oppressive systems to cultivate our identities. Peter Weir and Ken Kesey tackle this theme through the lens of institutions in Dead Poets Society and One Flew Over The Cuckoo’s Nest. Each author navigates the concept of independence in relation to each character and their institution, questioning if independence and growth of one person are worth the sacrifice of others and the collapse of the institution. Ideas about conformity and freedom are conveyed to the reader through the use of symbolism, characterisation, and juxtaposition.
Throughout the world, failures seem to occur all around. Whether it be in the form of losing oneself or losing the people around the individual, many failures commonly occurs with the accumulation of power. In George Orwell’s dystopian novel, 1984, Winston Smith is a low-ranking government official under the oppressive reign of his leaders, Big Brother. He is just one example of the many characters in written works that will eventually be defeated in one way or another. In British literature, it has become evident that characters affected by tyrannies have ultimately experienced loneliness, paranoia, and defeat.
Heroes in literature and history, more often than not, meet tragic ends, unless they were created by Walt Disney. These particular people are often seen as someone who is apart from the masses in morals and attempt to accomplish a higher calling for the common good. The problem with this type of hero is that they are destined for suffering.Two such characters exist in classic literature, Winston Smith of George Orwell’s 1984 and Hamlet of William Shakespeare’s “Hamlet, Prince of Denmark.” Hamlet is the true classic tragic hero, though, because he is of noble birth, possesses high moral standards, completes the task he is given to better the world, and causes tragedy in both his life and the lives of others.
Much can happen in a matter of minutes; a man can go from thinking he is happy to thinking his life is falling apart, or can change from hating someone to loving them. These experiences sound outlandish, but they happened to Guy Montag, the main character in Ray Bradbury’s Fahrenheit 451, and Winston Smith, the main character in George Orwell’s 1984. These two dystopian novels are about the characters discovering major problems in their societies, and then trying to fix them. Montag lives in a society where television controls people’s lives and books have become illegal. On the other hand Smith lives in Oceania, a territory led by a totalitarian regime. This regime is headed by Big Brother and is referred to as the Party. By examining Fahrenheit 451 and 1984, it is seen, not only through the dehumanized nature of society, but also through the theme of lies and manipulation that both Orwell and Bradbury wish to warn of a horrifying future society.
Riddled with ambiguity by its very nature, the text of William Shakespeare's Hamlet has been a commonly debated subject in literary circles since its first performance. The character Hamlet undergoes intense physical and emotional hardship in his quest for revenge against his despicable uncle. This hardship, some argue, leads to an emotional breakdown and, ultimately, Hamlet's insanity. While this assessment may be suitable in some cases, it falls short in others. Since Hamlet is a play, the ultimate motivation of each of the characters borrows not only from the text, but also from the motivations of the actors playing the parts. In most respects, these motivations are more apt at discerning the emotional condition of a character than their dialogue ever could. Thus, the question is derived: In Kenneth Branagh's film adaptation of Hamlet, does the character Hamlet suffer from insanity? Giving halt to the response, this paper will first endeavor to establish what insanity is and will then provide sufficient examples both from the text, film, and Branagh's own musings on his motivations as proof that Hamlet's character, at least in Branagh's version of the play, is not insane.
The novel 1984, written by George Orwell, asks whether people should hide their true identity to remain safe, or if people should live the way they wish regardless of the consequences. It may seem that if Winston had not rebelled against the party he would have been better off, but this is not true. Keeping your true feelings to yourself and living how other people want you, is torture in-of-itself. Ralph Waldo Emerson once said “imitation is suicide” and this quote is true. Every day lived like someone else and spent hiding your true self is soul-crushing death. Although The Party beat and tortured Winston, keeping his thoughts of rebellion to himself would not have made him better off. #
Shakespeare’s play Hamlet is a complex and ambiguous public exploration of key human experiences surrounding the aspects of revenge, betrayal and corruption. The Elizabethan play is focused centrally on the ghost’s reoccurring appearance as a symbol of death and disruption to the chain of being in the state of Denmark. The imagery of death and uncertainty has a direct impact on Hamlet’s state of mind as he struggles to search for the truth on his quest for revenge as he switches between his two incompatible values of his Christian codes of honour and humanist beliefs which come into direct conflict. The deterioration of the diseased state is aligned with his detached relationship with all women as a result of Gertrude’s betrayal to King Hamlet which makes Hamlet question his very existence and the need to restore the natural order of kings. Hamlet has endured the test of time as it still identifies with a modern audience through the dramatized issues concerning every human’s critical self and is a representation of their own experience of the bewildering human condition, as Hamlet struggles to pursuit justice as a result of an unwise desire for revenge.
In 1984, George Orwell presents an overly controlled society that is run by Big Brother. The protagonist, Winston, attempts to “stay human” in the face of a dehumanizing, totalitarian regime. Big Brother possesses so much control over these people that even the most natural thoughts such as love and sex are considered taboo and are punishable. Big Brother has taken this society and turned each individual against one another. Parents distrust their own offspring, husband and wife turn on one another, and some people turn on their own selves entirely. The people of Oceania become brainwashed by Big Brother. Punishment for any uprising rebellions is punishable harshly.
Shakespeare’s Hamlet is arguably one of the best plays known to English literature. It presents the protagonist, Hamlet, and his increasingly complex path through self discovery. His character is of an abnormally complex nature, the likes of which not often found in plays, and many different theses have been put forward about Hamlet's dynamic disposition. One such thesis is that Hamlet is a young man with an identity crisis living in a world of conflicting values.
An individual’s response to conditions of internal and external conflict is explored throughout literature. In his play, Hamlet, Shakespeare delves into the themes of appearance versus reality, lies versus deceit, rejection versus self doubt and tragedy, and in doing so attacks the frivolous state of humanity in contemporary society. In order to explore these themes, however, he uses several forms of conflict to project his opinions and expand his ideas relating to the themes of the play. Internal conflict, as well as external conflict are dominant features of his works, and in Hamlet are made evident through a succession of dire events which can attack and destroy someone. However perhaps the most captivating form of conflict Shakespeare uses to expand and explore the ideas presented within the text is the conflict between the self and the universe.
Hamlet is one of the most often-performed and studied plays in the English language. The story might have been merely a melodramatic play about murder and revenge, butWilliam Shakespeare imbued his drama with a sensitivity and reflectivity that still fascinates audiences four hundred years after it was first performed. Hamlet is no ordinary young man, raging at the death of his father and the hasty marriage of his mother and his uncle. Hamlet is cursed with an introspective nature; he cannot decide whether to turn his anger outward or in on himself. The audience sees a young man who would be happiest back at his university, contemplating remote philosophical matters of life and death. Instead, Hamlet is forced to engage death on a visceral level, as an unwelcome and unfathomable figure in his life. He cannot ignore thoughts of death, nor can he grieve and get on with his life, as most people do. He is a melancholy man, and he can see only darkness in his future—if, indeed, he is to have a future at all. Throughout the play, and particularly in his two most famous soliloquies, Hamlet struggles with the competing compulsions to avenge his father’s death or to embrace his own. Hamlet is a man caught in a moral dilemma, and his inability to reach a resolution condemns himself and nearly everyone close to him.
In writing Hamlet, William Shakespeare plumbed the depths of the mind of the protagonist, Prince Hamlet, to such an extent that this play can rightfully be considered a psychological drama.