By placing Macbeth against Hamlet’s incredibly high standards, it becomes clear that the character of Macbeth is not a Machiavellian prince for one simple reason: he is not smart enough and lacks the foresight that Machiavelli preached. The character of Hamlet is far removed from a Machiavellian prince. He is unconcerned with his own public image and instead focuses on deep knowledge of a person and himself. The opening line of Hamlet, “who’s there?” (Shakespeare 1.1.1), sets up the play for the theme of self-discovery that Hamlet and Shakespeare himself are obsessed with. The thesis of Hamlet quickly exposes itself in (1.1.2) as, “stand and unfold yourself,” which starkly disagrees with The Prince’s thesis of taking on the traits of both a lion and a fox (Machiavelli 69).
No Tragic Flaw in Hamlet It was my observation after reading Hamlet, that the play and its main character are not typical examples of tragedy and contain a questionable "tragic flaw" in the tragic hero. I chose this topic because Hamlet is a tragedy, but one that is very different from classical tragedies such as Medea. I also found quite a lot of controversial debate over the play and its leading character. While reading through my notes, I found that, according to Aristotle, "the tragic hero will most effectively evoke both our pity and terror if he is neither thoroughly good nor evil but a mixture of both; and also that the tragic effect will be stronger if the hero is better than we are in the sense that he is of higher than ordinary moral worth. Such a man is exhibited as suffering a change in fortune from happiness to misery because of a mistaken act, to which he is led by his hamartia ("error of judgment") or his tragic flaw."
Shakespeare may have been an excellent play writer to most, but arguably was not the best. After reading W.H. Auden’s critical response about Shakespeare’s A Midsummer Night’s Dream, Auden suggests that Shakespeare sees art as a waste of time, “a bore.” Auden picks up on Shakespeare’s passion towards his work, but doesn’t see the passion towards art. This led Auden to believe that Shakespeare never takes himself too seriously. Auden doesn’t agree with Shakespeare’s beliefs on art, therefore Auden doesn’t see Shakespeare as the best.
It is clear, certainly, how concern... ... middle of paper ... ...n behind the words and appearances. Yet much as they do Hamlet, words begin to rebel against Paterson, ambushing him in his quest for their concealed truths. A more nuanced reading of Hamlet is perhaps less satisfying, as it fails to provide the reader with a neat answer. Yet, like Hamlet, the audience is ultimately unwilling to forgo truth for artifice. When the audience brushes away Paterson’s artifice, they come to find a more complicated relationship between word and deed, even in the play’s final moments--yet, ultimately a more fruitful relationship as well.
Basically, this type of play consists of a murder that has to be avenged by a relative of the victim (DiYanni 1394). Ultimately, the play is about a son that is called upon by the ghost of his father to avenge his death. On the surface, the play about Hamlet may appear to be a typical revenge tragedy. However, crime, madness, ghostly anguish, poison, overheard conversations, conspiracies, and a final scene littered with corpses: Hamlet subscribes to the basic ingredients of the formula, but it also transcends the conventions of revenge tragedy because Hamlet contemplates not merely revenge but suicide and the meaning of life itself (DiYanni 1394). There are three crucial points in the plot in which Hamlet expresses his particular thoughts and positions.
Hamlet swore revenge. And he has more than enough motivation to exact revenge. Does it not, think thee, stand me now upon- He that hath killed my king, and whored my mother; Popped in between th' election and my hopes, Thrown out his angle for my proper life, And with such cozenage-is't not perfect cons... ... middle of paper ... ...play that is flawed, not our understanding of it. The central question of the play is, then, a question without an answer if one is seeking the answer within the play. Shakespeare was supposed to supply us with an answer, or at least with a reason why there is no answer.
Audience members also lack the knowledge to fully discern Hamlet’s psychological help, as is implied within the first few acts of the play. Lastly, though Hamlet could be seen as a heroic member of society, it is clear that his character lacks a drive that is needed to be fully persuaded that Hamlet is in fact the heroic character of the play. These reasons are what push audience/readers from identifying clearly with Hamlet’s character. Shakespeare’s use of foils is the first of many reasons that identification with Hamlet is hard to swallow. A foil character is defined as a character “that shows the qualities that are in contrast to the qualities of another character with the objective to highlight the traits of the other character” (Dictionary.com).
While this may be true, one cannot necessarily assume that unlocking Hamlet’s motives and frame of mind will bring us closer to William Shakespeare, as a person and personality. Rather, it is safe to say that in exploring Hamlet’s intentions, one can find insight into the mentality of Shakespeare; the ideas which he molded into the character of Hamlet, in order to build the persona which he used to explore the subject of revenge. Like with many great works, a reader cannot always assume that the main character is modeled after the author who penned it. This is a biased way to look at literature, and often detracts from the piece as a whole. One should only take that the ideas portrayed in the work are those that stemmed from the writer’s mind, and therefore links the dramatist with the piece, as in Shakespeare’s Hamlet.
An Analysis of Saint Joan by George Bernard Shaw *No Works Cited Saint Joan is considered to be one of George Bernard Shaw's greatest works. The play deals with subject matter pertaining to events after the Death of Joan of Arc. In the play, Shaw avoids many problems identified by critics as prevalent in some of his other writing. Some have criticized Shaw, claiming that he tends to portray unrealistic archetypal characters, rather than well-rounded believable individuals. His plays have also been described as lacking action and being too didactic.
In William Shakespeare’s epic revenge tragedy, Hamlet, Prince of Denmark, the titular character Hamlet is plagued by indecision and delay, which ultimately causes his own downfall. After the opening Act, in which Hamlet is charged with the revenging the murder of his father, the late King Hamlet, Hamlet delays in carrying out the deed against his uncle, Claudius, who assumed the throne after committing regicide. Critics over the years have developed six distinct theories that seek to explain the reason behind Hamlet’s delay: He is believed to have been the victim of circumstances beyond his control; Hamlet’s philosophical nature creates a passive negative personality complex. Hamlet’s depressive nature may have clouded his judgment, thus delaying his actions while he grieved, or Hamlet’s desire for revenge was tempered by his ambition. The cabalistic identity of the apparition of may have caused Hamlet to delay while he sought to justify his charge, or the existence of an Oedipus Complex may have caused Hamlet to delay while he sought to address his mother’s situation, and his feelings for her.