“Who’s there?” the sentinels in Hamlet demanded. They have seen a ghost wandering around in the shape of the late king of Denmark, but they can’t be sure if it really is the ghost of the late Hamlet, since devils are known to assume different shapes in order to stir up troubles. This reflects one of the identity dilemmas in Hamlet: the discrepancy between the inward and the outward dimensions of identity, or according to Claudius, the “exterior” and the “inward” that comprise a man (Ham. 2.2.6). Hamlet thus explores the problematic relationship between these two dimensions of identity. I Henry IV, likewise, explores the problematic dynamic between them, for example, with the eponymous king vowing to meet the outward demand of being “mighty
The outward itself is not exempt from this chaotic dynamic: it is subjected to manipulation by the inward. In the sixteenth century “there appears to be an increased self-consciousness about the fashioning of human identity as a manipulable, artful process” (Greenblatt 2). Shakespeare himself appeared to be aware of this and consciously dramatized the manipulation of the outward by the inward. In Hamlet, the outward is portrayed as a mask that conceals the undesirable inward: “smile and smile and be a villain” (Ham. 1.5.114); “with devotion’s visage and pious action we do sugar o’er the devil himself” (Ham. 3.1.52-4). Similarly, in I Henry IV the same precept is dramatized with the example of Henry IV tactfully “dressed” himself “in such humility” in order to win public support (3.2.51), as well as the incident where Hotspur accuses Henry IV of tricking his way up to the throne with his “seeming brow of justice” (4.3.89) that conceals underneath a traitor and usurper. However, a concept neglected in Hamlet, I Henry IV stresses how the outward can be misinterpreted—one of the reasons Worcester ignores the peace offer of Henry IV is that while his nephew will be excused on the ground of being young and hot-headed, he himself will forever be suspected, “interpretation will misquote [his] looks” (I Henry IV 5.2.14) as treacherous. To sum up, while both of the plays dramatize that
This is exemplified by Hal, the future Henry V. At the beginning of the play, Hal is not a very promising young prince—everyone in the kingdom does “forethink [his] fall” (3.2.38) because of the company of degenerates he keeps, his frequent patronization of the tavern, and his leisure activities of robbing pilgrims. Critics excuse these earlier behaviours as a disguise because of Hal’s first soliloquy at the end of the second scene of act one. In that soliloquy, Hal explains that this disguise will serve as “foil” that will make his “reformation” “show[s] more goodly and attract[s] more eyes” (1.2.150-52). However, judging from the fact that he easily concedes the glory of killing Hotspur to Falstaff, saying that “ if a lie may do thee grace,/ I’ll gild it with the happiest terms I have” (5.3.147-48)—a glory that he promises to Henry IV as a token of his reformation (3.2), a glory that will surely redeem his past behaviours in the eyes of the multitude—it is clear that what is said is just an excuse for him to enjoy himself just a little longer, before he has to “pay the debt [he] never promised” (1.3.146-47). This also corroborates with the theory that there has been “less autonomy in self-fashioning” and that “family, state” imposed a “more rigid” control over self-fashioning (Greenblatt 1)—in Hal case, his father (family) and his future subjects (state) and the
Prince Hal is initially portrayed as being incapable of princely responsibilities in light of his drinking, robbery and trickery. Yet, Shakespeare reveals that Hal is in fact only constructing this false impression for the purpose of deceit. Prince Hal’s manipulative nature is evident in his first soliloquy, when he professes his intention to “imitate the sun” and “break through the foul and ugly mists”. The ‘sun’ Prince Hal seeks to ‘imitate’ can in this case be understood as his true capacity, as opposed to the false impression of his incapacity, which is symbolised by the ‘foul and ugly mists’. The differentiation of Hal’s capacity into two categories of that which is false and that which is true reveals the duplicity of his character. Moreover, Hal is further shown to be manipulative in the same soliloquy by explaining his tactic of using the “foil” of a lowly reputation against his true capacity to “attract more eyes” and “show more goodly”. The diction of “eyes” symbolically represents public deception, concluding political actions are based on strategy. It is through representation and textual form that we obtain insight into this
Othello, Hamlet, and Henry IV, Part 1 explore these concepts in various ways. Shakespeare’s plays show that people are not black and white. They react and act differently to situations. Their motives can either be transparent or ambiguous. Their masks may hide the truth for a time, but reality has a way of coming back around. The complexity of humans seemed to greatly intrigue Shakespeare, yet with characters like Iago, Hamlet, and Hal, Shakespeare realized that he could never fully figure out the human puzzle; so he created his own puzzles of the will, motive, and
In life, one goes through different experiences which makes and shapes us into the person who we become. Whether something as little as a "hello" by a crush or a death in a family, they contribute to the difference, as they are all equal in importance. In the play Hamlet by William Shakespeare, the protagonist Hamlet struggles throughout his life as he is in search of his true identity. The Webster's dictionary, under the second definition, defines identity as "The set of behavioral or personal characteristics by which an individual is recognizable as a member of a group." As life only moves forward for Hamlet, he struggles to find his place in life, nonetheless to revenge the murder of his father.
An understanding of William Shakespeare’s philosophies reinforces the meaning of the human condition found in the play Hamlet. The revenge tragedy is an example in the exploration of good versus evil, deceit, madness, inter-turmoil, and utter existence. Shakespeare, fascinated by the human mind and human nature, clearly and completely illustrates the meaning of “self.” Hamlet is a drama that examines one’s personal identity. From the beginning of the story atop the castle when the guards enter the platform to the conclusion of the performance as Hamlet lies, dying in Horatio’s arms every characters’ psychological type is
One of the most famous scenes in Henry IV: Part I is the scene in which Prince Hal and Falstaff put on a play extempore. This is often cited as the most famous scene because it is Hal’s turning point in the play. However, the scene is much more than that. The play extempore is a moment of prophecy, not epiphany because is cues the reader in to the play’s major themes, and allows readers to explore the possibilities of the play’s continuance.
In the play, Hamlet, written by William Shakespeare, Hamlet the main character struggles to avenge the death of his father. Fear paralyzes him as he holds off on getting revenge on the new King Claudius, who stole the royal throne by murdering Hamlet’s father. However, it isn’t just fear that makes him hesitant as he reasons the situation. Hamlet hesitates to take action because he struggles with making his own choices, just like his weak-minded mother, Gertrude.
Shakespeare’s ‘King Henry IV Part I’ centres on a core theme of the conflict between order and disorder. Such conflict is brought to light by the use of many vehicles, including Hal’s inner conflict, the country’s political and social conflict, the conflict between the court world and the tavern world, and the conflicting moral values of characters from each of these worlds. This juxtaposition of certain values exists on many levels, and so is both a strikingly present and an underlying theme throughout the play. Through characterization Shakespeare explores moral conflict, and passage three is a prime example of Falstaff’s enduring moral disorder. By this stage in the play Hal has ‘reformed’, moved away from his former mentor Falstaff and become a good and honourable prince.
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.
William Shakespeare’s historical play Henry IV is a story about performing the role of a king. It asks us, how are we to know and remain true to ourselves when we are constantly expected to remain in character and adhere to the roles that other people have given us? Prince Hal is one character that has to pay the debt of a performance that he “never promised” (1.2.187). However, Prince Hal is not the only one who has a role to play. King Henry, the usurper to Richard II’s throne, is continually seeking ways in which he can prove to his people that he is worthy of his crown, while Hotspur, the rival to Plantagenet rule, seeks ways to rally forces to overthrow it.
In William Shakespeare’s tragic drama Hamlet, the hero, Hamlet, appears to be guilty of hubris, an overstepping of the bounds of both his and humanity’s destinies, which ultimately leads to his downfall. Reading the play with a consideration as to how Hamlet’s hubris manifests itself sheds light on why he performs certain actions, and simultaneously enlightens the reader to the dangers of attempting to overstep the confines of humanity. In this essay, I will prove that Hamlet has extreme pride, and is therefore guilty of hubris; in accordance with Harold Skulsky’s assertion in his article, ““I Know My Course”: Hamlet’s Confidence,” Hamlet is hubristic because while he believes that his own soul is impenetrable based on his external facade, he feels that he possesses the supernatural ability of knowing the internal truths of others based on their external appearances. I will illustrate how Hamlet’s pride grows throughout the play as he progressively draws more drastic conclusions about others’ inner natures based on their external actions, and how his pride ultimately leads him to make crucial mistakes that contribute to, but do not cause, his downfall.
William Shakespeare attained literary immortality through his exposition of the many qualities of human nature in his works. One such work, The Merchant of Venice, revolves around the very human trait of deception. Fakes and frauds have been persistent throughout history, even to this day. Evidence of deception is all around us, whether it is in the products we purchase or the sales clerks' false smile as one debates the purchase of the illusory merchandise. We are engulfed by phonies, pretenders, and cheaters. Although most often associated with a heart of malice, imposture varies in its motives as much as it's practitioners, demonstrated in The Merchant of Venice by the obdurate characters of Shylock and Portia.
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.
At the start of the play, the reader sees that Prince Hal has been acting in a manner which has disappointed his father. The King compares Hotspur to Hal, saying that Hotspur is ìA son who is the theme of honour's tongue,î and that ìriot and dishonour stain the brow of [Hal] (I.i.3).î He even wishes that the two were switched: ìThen would I have his Harry, and he mine (I.i.3).î The King obviously does not approve of Hal's actions, and believes that, if Hal does not change his ways, he will be a poor successor to the throne.
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.
One of the most famous quotes from William Shakespeare's works is "to be or not to be, that is the question." This quote was taken from Hamlet and was spoken by Hamlet. The quote can be interpreted in many ways, but Hamlet was speaking of his own philosophy. Hamlet makes frequent remarks regarding his philosophy of life, whether it be love, loyalty, family, etc. Further, Hamlet's philosophy can help explain the demise of the characters in the play.