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Human emotions expressed in hamlet
Hamlet characterisation
Hamlet characterisation
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Foils are minor characters, that through similarities and differences, set off or accent the main characters of a play. There is a strong connection between the foils in a play and one's final perception of the main characters. In William Shakespeare's Hamlet, Prince of Denmark, there is a continuous shifting of the main character's emotions. These emotions range anywhere from madness and rage to grief and sorrow. In Hamlet there is a foil that represents each emotion and behavior that is displayed by the main character- Hamlet. Laertes holds the most important role as a foil to Hamlet. He represents the rage that boils within Hamlet and the revenge which he seeks. In many ways Laertes mirrors Hamlet's character. Their anger is precipitated through the same source, the untimely death of their fathers. Other similarities between the two men include the love that they both felt for Ophelia, and the heartfelt sorrow which they displayed upon her tragic death. The differences between Hamlet and Laertes become obvious as the two characters are played off of each other. Both men are the dutiful sons of their father's. However Leartes is portrayed as the well-breed son, while Hamlet's character is played down to that of a more peculiar type commoner who possesses few royal qualities. Although both men are students, Leartes prefers to indulges in a Parisian type lifestyle, whereas Hamlet chooses to study in the more subdued atmosphere of Whittenburg. There is also a difference in the way that both men react to the death of their fathers. Upon learning of his father's death, Laertes immediately allows his grievances to be known and chooses to go strait to the arena for his revenge. Hamlet chooses a more peculiar approach... ... middle of paper ... ...ay that bring Hamlet's character to life while adding mystique, emotion, action and intensity to the story. Works Cited and Consulted: Bradley, A.C. "Shakespeare's Tragic Period--Hamlet." Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, and Macbeth. Toronto: MacMillan, 1967. Danson, Lawrence. "Tragic Alphabet." Modern Critical Interpretations: Hamlet. Ed. Harold Bloom. New York City: Chelsea House Publishers, 1986. 65-86 Manning, John. "Symbola and Emblemata in Hamlet." New Essays on Hamlet. Ed. Mark Thornton Burnett and John Manning. New York: AMS Press, 1994. 11-18. Rose, Mark. "Reforming the Role." Modern Critical Interpretations: Hamlet. Ed. Harold Bloom. New York City: Chelsea House Publishers, 1986. 117-128 Wagner, Valeria. "Losing the Name of Action." New Essays on Hamlet. New York: AMS Press, 1994. 135-152.
Jorgensen, Paul A. “Hamlet.” William Shakespeare: the Tragedies. Boston: Twayne Publ., 1985. N. pag. http://www.freehomepages.com/hamlet/other/jorg-hamlet.html
Hamlet (The New Folger Library Shakespeare). Simon & Schuster; New Folger Edition, 2003.
The preliminary to fruitful discussion of social matters is that certain obstacles shall be overcome, obstacles residing in our present conceptions of the method of social inquiry. One of the obstructions in the path is the seemingl...
Corum, Richard. Understanding Hamlet: A Student Casebook to Issues, Sources, and Historical Documents. Westport: Greenwood, 1998. Print. Literature in Context.
My thesis, in brief, is that the painful "God is dead" period of history we are presently going through can best be understood as a necessary "transitional period"— the immediate consequence of mankind’s intellectual advance, in the preceding period, viz., the Modern or Age of Reason, beyond the Middle Ages, the Age of Belief. With the apotheosis of the development of the principle of subjectivity in Modern philosophy, i.e., with the attainmeUnprioritized— SDO meetingnt of "absolute knowing," or Reason’s "knowing of the absolute," humanity had outgrown its former manner of relating to substance, the divine: — its eyes opened, it could not go backwards but only forward. From the highest standpoint, it can be said that the movement of history is from the God "outside" to the God "inside"— an inversion process involving three distinct and necessary phases: Premodernity, Modernity, and Postmodernity, to be correlated with Thomas Aquinas, Hegel, and Nietzsche, respectively.
Goldman, Michael. "Hamlet and Our Problems." Critical Essays on Shakespeare's Hamlet. Ed. David Scott Kaston. New York City: Prentice Hall International. 1995. 43-55
Berger, Peter L. The Sacred Canopy: Elements of a Sociological Theory of Religion. New York: Anchor, 1967. Print.
Clark, Jonas. "Smith Wigglesworth: The Apostle Faith." Jonas Clark's Holy Spirit Ministry Training.Jonas Clark's Holy Spirit Ministry Training, 2014.Web. 08 Apr. 2014. .
Wagner, Valeria. "Losing the Name of Action." New Essays on Hamlet. New York: AMS Press, 1994. 135-152.
Kaufmann, C. (1996). Possible and impossible solutions to ethnic civil wars. International security, 20(4), 136-175.
Boklund, Gunnar. “Hamlet.” Essays on Shakespeare. Ed. Gerald Chapman. Princeton, NJ: Princeton University Press, 1965.
Mack, Maynard. "The World of Hamlet." Yale Review. vol. 41 (1952) p. 502-23. Rpt. in Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996.
Bradley, A.C.. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth. New York: Penguin Books, 1991.
Shakespeare, William. "Hamlet." The Norton Introduction to Literature. Eds. Alison Booth, and Kelly J. Mays. Tenth. New York, NY: W.W. Norton & Company, 2011. 1024-1129. Print.
Soule, George. “John Masefield’s ‘Cargoes.’” George Soule Homepage. Carleton College. Carolyn Soule, 26 Apr. 2006. Web. 6 Apr. 2014.