“Hamlet is of the faction that is wronged;/ His madness is poor Hamlet’s enemy.” In the William Shakespeare’s play Hamlet, Hamlet struggles internally throughout. After his father, Hamlet, is killed by his uncle, Claudius, Hamlet looks to seek revenge. Claudius is now king, and married to young Hamlet’s mother, Queen Gertrude and now holds power over the kingdom. In his plot to kill Claudius to avenge his father, Hamlet takes on insanity as part of the act. While pretending his insanity, he mistakenly kills Polonius, councillor to the king, and also drives his lover, Ophelia, to suicide. In addition, Hamlet abandons all those he once called friends except for his one confidant, Horatio. Eventually, the insanity, once feigned by Hamlet, morphed into reality and became his enemy.
In order to capture the recurring theme of falsehood, William Shakespeare uses the death of King Hamlet to force a trickery of security and responsibility on the major characters in his play, Hamlet. The audience rapidly discovers that masks don’t just hide physical appearances and actors aren’t just simply for theatre, they exist all around us. Everyone has the ability to create multiple identities in order to achieve a darker goal but whether or they access this ability is based on the integrity of that person. Shakespeare wanted to make a bold statement of fake personalities through his play Hamlet. False personalities will eventually fall under the force of the truth. They will eventually have to demonstrate their true character. Just like a crumpling building, they dishonesty will lead to their demise.
The complexity and effect of father-son relationships seems to be a theme that Shakespeare loved to explore in his writings. In Hamlet, the subject is used as a mechanism to identify the similarities between three very different characters: Fortinbras, Laertes, and Hamlet. They have each lost their fathers to violent deaths, which leads them to seek vengeance. As different as they may seem, they all share the common desire to avenge their father’s deaths. The method they each approach this is what differentiates each of their characters, and allows the audience to discern their individual characteristics. Fortinbras, Laertes, and Hamlet’s intense loyalty to their fathers drives them to individual extreme measures of revenge, exemplifying Shakespeare’s masterful use of describing the human psyche during Elizabethan times.
Much Ado About Nothing by William Shakespeare Shakespeare derived much of his plot, in the play Much Ado About Nothing, from alternate sources, but his individual language and use of wording is what draws people to his works. His plot in Much Ado About Nothing is fairly simple but elegant. Two sets of lovers fall in love. They are Claudio and Hero and Benedict and Beatrice. The miscreant, Don John, schemes to break up the marriage of Claudio and Hero, but he eventually fails.
Father Figures in 1 Henry IV In William Shakespeare’s 1 Henry IV, Falstaff and King Henry IV share father-figure relationships with Henry “Hal,” Prince of Wales. The former, a drunk and cavalier knight, acts as a surrogate father to the prince, while the latter, a determined and distanced monarch, is his blood. Yet, who is the better father-figure to Hal? Although Falstaff and Prince Henry share a strong, quasi father-son relationship, the former’s manifestation of the tavern atmosphere, venality and dishonor are obstacles to the Prince’s goals; King Henry IV, on the other hand, is the better father-figure because he motivates his son to realize his ambitions, and embodies the setting of the court and the monarchy in which the Prince belongs and will one day inherit.
The world contains thousands of stories and when a person experiences these stories something is taken from them and kept locked in the mind. It becomes easier to review and to understand a text after it has been read the first few times, these stories leave their impact by connecting with the reader or viewer through the characters the tale portrays. The audience will become more familiar and begin using the imagination to help the plot grow and expand in their own way. These stories are often carried by their protagonists, the characters the stories will revolve around. It is the protagonist’s experiences and life events that each reader has the opportunity to share with them and this fact is what will develop a bond between the reader and that character. “The protagonists in many stories are not shown to be flawless. They generally undergo some change that causes the turn of events, which makes a story interesting and helps deliver a message.”(Bavota) It is in William Shakespeare’s writing that Bavota’s observation is clearly shown. In Shakespeare’s Macbeth, the protagonist is the play’s namesake. He will struggle with his mental and moral self and fall from a respected man and subject, to a king living in fear. Quite opposite from the tragedy of Macbeth, Shakespeare’s Tempest will be a comedy set on a magical island with spirits and creatures which cannot, in the real world, exist. The protagonist of this play will rise from the betrayed magician to the position he held in his earlier life. Each protagonist will be faced with challenges, whether apparent and addressed in the plays or previous to the story’s beginning, it is the reaction to events that will bring about the endings that occur.
Much Ado About Nothing by William Shakespeare We learn in Act I Scene I that Beatrice and Benedick were once lovers "... I know you of old ...", however they are involved in a "... merry war ..." as Signor Leonato puts it. Beatrice's first line in the play "... is Signor Mountanto returned from the wars or no? ..." has many connotations.
Hamlet by William Shakespeare A Shakespearean scene, with all of its intricacies and details, has the capacity to uncover the fundamental aspects of characters while acting as a space for precise language to lead the reader through multilayered themes, tensions, and ideas. Particularly in Shakespeare’s tragedy, Hamlet, the dense, rippling text packs provocative and meaningful language within nearly every line to compose an intricate, seamless tragic play. Specifically in the first scene of Act 3, the actions, dialogue, and movements of each character involved creates a momentum of revelation for the reader regarding central character, Hamlet, and the breadth of his character. Every major, influential character of the play—King Claudius, Queen Gertrude, Polonius, Ophelia, Rosencrantz, Guildenstern and, of course, Hamlet—appears in 3.1 and every line of dialogue directly concerns Hamlet in one way or another.
Shakespeare writes with purpose in this play, he is showing that our ideals are not always what they seem. That in the end the truth wins. As in the case of his main characters in the play they needed to think about their ideals and see what the truth would be before they moved forward with their plans. These characters needed guidance and should have allowed life to happen instead of forcing situations; maybe then they would have survived.
Shakespeare's comedies A Midsummers Night's Dream and Much Ado About Nothing have many parallels while Measure for Measure is a problem play with a completely different tone. Comparing and contrasting these three plays provides insights into the views of Shakespeare concerning comedy.