Hamlet’s Minor Characters
Hamlet It is reasonable to wonder what Shakespeare had in mind while writing Hamlet. After all, Shakespeare wasn't a philosopher or historian, or even a literary critic. He was a playwright. He didn't leave us critical essays examining his work. It is left to us to examine his work and decide for ourselves, if we care to, what Shakespeare was thinking. Did he know that he was writing a drama of deep psychological significance, a play which would eventually be viewed and read the world over, produced many times over hundreds of years, taught in schools, and thought of as one of the world's greatest plays? I, for one, imagine him crossing the "t" in the last word of the play, putting down his pen, and saying "I hope it runs a year."
Yet Hamlet is an extremely complex play. To appreciate the imagination which went into the creation of this tragedy, let's first delve into what is putatively Shakespeare's most complex tragedy, King Lear. Lear has three daughters: Cordelia, who is faithful and unappreciated by Lear, and Regan and Goneril who receive everything at his hands and betray him. These themes of misplaced love and filial betrayal are mirrored in the subplot of the play, the relationship between the Earl of Gloster and his two sons, Edmund, who is supported and approved by Gloster and betrays him, and Edgar, who unjustly becomes a fugitive from his father's wrath. The mirror is whole. In it we view Cordelia's reflection and see Edgar, while Regan's and Goneril's reflections, which are of one face, show us Edmund.
In the main plot of Hamlet, Hamlet's father has been murdered. Hamlet swears revenge, but feign's madness and delays. In the subplot, the chamberlain, Polonius, is murdered by Hamlet. One of Polonius's children, Laertes, swears revenge, while the other, his daughter Ophelia, goes mad. Here, the mirror is cracked. Hamlet's reflection is splintered. We see one part of him, his revenge motive, in Laertes' action, and we see his pretended madness in Ophelia's piteous condition. More than this, Hamlet's image is dimmed compared to those of his counterparts. Hamlet speaks of revenge, but procrastinates; Laertes instantly raises and army and attacks the kingdom, but he must be satisfied over his father's murder. Hamlet only acts mad; Ophelia's madness is too real.
Besides production, full-house ticket sales, and royalties-the playwright's typical goals, what was Shakespeare reaching for?
“It must be understood that we cannot feed the people” (Kinealy Calamity 75). The mid 1800s in Ireland were characterized by extreme poverty, death, and emigration. The Great Potato Famine, also known as “The Great Hunger,” first hit in 1845; however, its effects lasted into the 1850s and can still be seen today. Prior to the famine, Irish manufacture and trade was controlled and suppressed by British government, which made Ireland an extremely poor country. Farmers in Ireland were forced to export crops such as corn, wheat, and oats to Britain, which left the potato as the main dietary staple for the people, especially the poor. Therefore, when the fungus Phytophthora infestans caused some, and eventually all, of the crop to rot over the next couple of years, the reliance on the one crop made the people of Ireland extremely susceptible to the famine. The effects were devastating, and poverty spread across the nation causing a huge increase in homelessness, the death-rate, emigration, and a change in the Irish people and country overall.
- Edwards, R. Dudley and T. Desmond William. The Great Irish Famine: Studies in Irish
William Shakespeare’s play, Hamlet, is a tragic piece of modern literature consisting of numerous deaths. Hamlet, Prince of Denmark, Fortinbras, Prince of Norway, and Laertes, son of Polonius all consist of a vengeance that make up a key role of their development. All three men seek revenge for the murder of their fathers. In the beginning of the play, revenge is sought throughout the first act as Fortinbras seeks vengeance after King Hamlet defeated his father in the battle to conquer more land. As the play progresses more deaths take place. King Hamlet later dies of a supposedly snake bite while sitting in his orchard. Hamlet loses his sanity after he learns about his father’s death, and acts out with rage and kills Polonius while talking to his mother, the Queen of Denmark, in her bed chamber. The revenge of the three sons shows just how much sanity of theirs was lost in the deaths of the ones they held dearest to them, their fathers.
The Role of Minor Characters in Shakespeare's Hamlet Minor characters play a very crucial role in Shakespeare's Hamlet. They serve as narrators for events that occurred outside the immediate play: the Dane's ghost. Distinct contrasts are created through the usage of the play's minor characters. The reader gains a new perspective on Hamlet's character when he is compared to Laertes. The presence of these minor characters can also have a direct effect on the action of the play.
Many people have seen Hamlet as a play about uncertainty and about Hamlet's failure to act appropriately. It is very interesting to consider that the play shows many uncertainties that lives are built upon, or how many unknown quantities are taken for granted when people act or when they evaluate one another's actions. Hamlet is an especially intriguing production, both on the set and on the screen because of its uniqueness to be different from what most people expect to be in a revenge themed play. Hamlet's cynicism and insane like behavior cause him to seem indecisive, but in reality he is always judging and contemplating his actions in the back of his mind in order to seek revenge for the murder of his father.
The significance of the players exceeds the sole purpose of entertainment, as each possesses the power to unveil the "occulted guilt" (3.2.75) and conscience of the King. Hamlet assumes the responsibility to advise these players with precise and adequate direction so that a "whirlwind of passion" (6) may not effectively separate Claudius from personally identifying with the play. Hamlet's enthusiastic approach toward direction may be so that he encourages the players to "suit the action to the word, the word to the/ action, with this special observance, that you o'erstep not/ the modesty of nature" (16-18). However, this exercise of caution may justify Hamlet's too often delayed attempt toward the action of avenging his father's murder. His direction confines him to the overflow of words as he experiences imprisonment within the truth of his own identity.
Hamlet and Lear are the only two of Shakespeare’s tragedies with double plots. [. . .] The story of Polonius’s family works analogously in Hamlet. Each member of the family is a fairly ordinary person who serves as a foil to some aspect of Hamlet’s extraordinary cunning and discipline. Polonius imagines himself a regular Machiavel, an expert at using indirections to find directions out, but compared to Hamlet he is what the prince calls him, a great baby. Ophelia, unable to control her grief, lapses into madness and a muddy death, reminding us that it is one of Hamlet’s achievements that he does not go mad but only plays at insanity to disguise his true strength. And Laertes, of course, goes mad in a different fashion and becomes the model of the kind of revenger that Hamlet so disdains. (125)
Hamlet is Shakespeare’s most famous work of tragedy. Throughout the play the title character, Hamlet, tends to seek revenge for his father’s death. Shakespeare achieved his work in Hamlet through his brilliant depiction of the hero’s struggle with two opposing forces that hunt Hamlet throughout the play: moral integrity and the need to avenge his father’s murder. When Hamlet sets his mind to revenge his fathers’ death, he is faced with many challenges that delay him from committing murder to his uncle Claudius, who killed Hamlets’ father, the former king. During this delay, he harms others with his actions by acting irrationally, threatening Gertrude, his mother, and by killing Polonius which led into the madness and death of Ophelia. Hamlet ends up deceiving everyone around him, and also himself, by putting on a mask of insanity. In spite of the fact that Hamlet attempts to act morally in order to kill his uncle, he delays his revenge of his fathers’ death, harming others by his irritating actions. Despite Hamlets’ decisive character, he comes to a point where he realizes his tragic limits.
As often associated with a tragedy, a conflict usually ensues between a protagonist and another force in the play. A tragedy is ‘a serious drama typically describing a conflict between the protagonist and a superior force and having a sorrowful or disastrous conclusion that elicits pity or terror’ (Webster's dictionary). Given its structure and depth in characterization, this play will or can be analyzed and interpreted from various perspectives and beliefs. However, my analysis of the play is conducted on the basis of various components which are: Hamlet as a tragic hero, the ironic message conveyed in the play, the roles of its characters, the role and personification of madness, the role of paranormality, the role of friends and family, the role of inaction, the role of sex and violence, and the role of death as portrayed in the play. Based on literary definitions and portrayal of his character, there is popular belief that Hamlet as the protagonist acted to satisfy his own conscience but could his actions be attributed purely to his desire or was he being influenced by other factors?
Hamlet’s madness, or feign madness, begins with the death of Old Hamlet and seeing his ghost, and Ophelia’s madness begins with the death of her father Polonius. Laertes is another example of a character within the play who demonstrates the theme of madness. Laertes’ madness is also triggered by death. His madness becomes sudden and extreme with the thought of revenge at the death of his father, Polonius, and sister, Ophelia. Laertes goes mad with revenge because of all the lies and exaggerations that Claudius feeds him.
Hamlet's problem is not exact; it cannot be pinpointed. In fact, Hamlet has numerous problems that contribute to his dilemma. The first of these problems is the appearance of King Hamlet's ghost to his son, Hamlet. Hamlet's morality adds a great deal to his delay in murdering the current king, Claudius. One of Hamlet's biggest drawbacks is that he tends to think things out too much. Hamlet does not act on instinct; however, he makes certain that every action is premeditated. Hamlet suffers a great deal from melancholy; this in turn causes him to constantly second guess himself. The Ghost is the main cause of Hamlet's melancholy. Also, Hamlet's melancholy helps to clear up certain aspects of the play. These are just a few of the problems that Hamlet encounters throughout his ordeal.
Hamlet is one of Shakespeare’s most well-known tragedies. At first glance, it holds all of the common occurrences in a revenge tragedy which include plotting, ghosts, and madness, but its complexity as a story far transcends its functionality as a revenge tragedy. Revenge tragedies are often closely tied to the real or feigned madness in the play. Hamlet is such a complex revenge tragedy because there truly is a question about the sanity of the main character Prince Hamlet. Interestingly enough, this deepens the psychology of his character and affects the way that the revenge tragedy takes place. An evaluation of Hamlet’s actions and words over the course of the play can be determined to see that his ‘outsider’ outlook on society, coupled with his innate tendency to over-think his actions, leads to an unfocused mission of vengeance that brings about not only his own death, but also the unnecessary deaths of nearly all of the other main characters in the revenge tragedy.
The perfection of Hamlet’s character has been called in question - perhaps by those who do not understand it. The character of Hamlet stands by itself. It is not a character marked by strength of will or even of passion, but by refinement of thought and sentiment. Hamlet is as little of the hero as a man can be. He is a young and princely novice, full of high enthusiasm and quick sensibility - the sport of circumstances, questioning with fortune and refining on his own feelings, and forced from his natural disposition by the strangeness of his situation.
The tragedy of Hamlet, Shakespeare’s most popular and greatest tragedy, presents his genius as a playwright and includes many numbers of themes and literary techniques. In all tragedies, the main character, called a tragic hero, suffers and usually dies at the end. Prince Hamlet is a model example of a Shakespearean tragic hero. Every tragedy must have a tragic hero. A tragic hero must own many good traits, but has a flaw that ultimately leads to his downfall. If not for this tragic flaw, the hero would be able to survive at the end of the play. A tragic hero must have free will and also have the characteristics of being brave and noble. In addition, the audience must feel some sympathy for the tragic hero.
Hamlet is the best known tragedy in literature today. Here, Shakespeare exposes Hamlet’s flaws as a heroic character. The tragedy in this play is the result of the main character’s unrealistic ideals and his inability to overcome his weakness of indecisiveness. This fatal attribute led to the death of several people which included his mother and the King of Denmark. Although he is described as being a brave and intelligent person, his tendency to procrastinate prevented him from acting on his father’s murder, his mother’s marriage, and his uncle’s ascension to the throne.