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Hamlet a psychological approach
Hamlet a psychological approach
Deception and manipulation in hamlet
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Henry Ward Beecher once stated Selfishness at the expense of others' happiness is demonism. This theory addresses that a part of the human condition is becoming
corrupted by self-absorption. Authors such as William Shakespeare and Tracy Letts chose to explore this theory through literary characters that exploit others in order to benefit themselves, because of self-absorption. The characters in Hamlet and August: Osage County contribute to their own mental, physical, and social deterioration.
One of the most prevalent instigators of a psychological break is a character’s desire for relief of emotional pain. In Hamlet, Ophelia experiences the great loss of her beloved father. After speaking with Ophelia, Claudius concludes, O, this is the poison of deep grief. It springs All from her father’s death. 4.5.80-81 Later on, she becomes
submerged in a brook and, she chanted snatches of old lauds, As one incapable of her own distress (IV.vii.202-203) Ophelia is so overwhelmed with the sadness generated by her father’s death, that she becomes mad. This insanity is an inner creation built in order to live in a world revolving around her. Ophelia then enables herself to decide to commit suicide without considering the consequences. In contrast with the conditions under which Ophelia takes her own life, Beverly in August: Osage County, experiences different circumstances, yet comes to the same dismal conclusion. Beverly makes mistakes, both consequential and inconsequential throughout his life. He expresses that he has a significant affinity with Berryman’s quote The world is gradually becoming a place where I do not care to be anymore Prologue 11. Beverly had once participated in incestuous acts and he, “tore himself up over it, for t...
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...te to continue the relationship. In essence, love can cause an individual to abandon previously held social values.
The characters in Hamlet and August: Osage County reveal that self-absorption contributes to one’s mental, physical, and social deterioration. Instigators of self-deterioration can be the desire for emotional relief, yearning for possessions, the need for revenge, the pursuit of power, or the desire to be loved. Selfishness is like a disease; it does not differ within individuals and it leads to their own demise. Similar conclusions to self-absorbed acts occur in two extremely different plays.
Works Cited
1. August: Osage County. Letts, Tracy. Theatre Communications Group, New York: 2008.
2. Ed. Barbara A. Mowat and Paul Werstine. New York: Shakespeare, William. Hamlet. Washington Square Press, 1992.
In many works of Literature, a character comes forth as a hero, only to die because of a character trait known as a tragic flaw; Hamlet from Shakespeare’s Hamlet, Okonkwo from Achebe’s Things Fall Apart, and Winston Smith from Orwell’s 1984 all exhibit that single trait, which leads, in one way or another, to their deaths. These three tragic heroes are both similar and different in many ways: the way they die, their tragic flaws, and what they learn. All three characters strongly exhibit the traits needed to be classified as a tragic hero.
In The Tragedy of Hamlet, Shakespeare developed the story of prince Hamlet, and the murder of his father by the king's brother, Claudius. Hamlet reacted to this event with an internal battle that harmed everyone around him. Ophelia was the character most greatly impacted by Hamlet's feigned and real madness - she first lost her father, her sanity, and then her life. Ophelia, obedient, weak-willed, and no feminist role model, deserves the most pity of any character in the play.
Hamlet, Ophelia’s lover, accidentally kills her father and “confesses” he never loved her, Hamlet toys with Ophelia's emotions intentionally and unintentionally to solidify his madness. Even though she was the who initiated the “breakup”, her sorrows of the relationship are much more public than Hamlets. Hamlet’s madness scares Ophelia away which he used as a defense mechanism to not be hurt anymore. His madness looks as though he had been "loosed out of hell to speak of horrors" (2.1.83-84) and she "truly [did] fear it"(2.1. 86). His insanity and rudeness suffocated any love she had for him. She admits that their "their perfume [has been] lost" (3.1. 99). This helped Hamlet solidify his insanity by cutting ties with the ones he loves, and having them tell others he is mad. This comes with the cost of discontinuing his relationships: especially with Ophelia. Both have hinted around in the text of an intimate affair. This makes the emotions and breakup even more difficult for both of them. Their relationship was a love, not an innocent crush or courtship. Poor Ophelia initially thought she caused Hamlet's madness due to the abrupt ending of their affair. But because of her naivety, she lacks to see his other internal struggles. Ophelia’s trust in Hamlet left her heartbroken. Hamlet’s agenda of or getting justice for his father occupied his mind more than Ophelia did. Which left her feeling
William Shakespeare is widely known for his ability to take a sad story, illustrate it with words, and make it a tragedy. Usually human beings include certain discrepancies in their personalities that can at times find them in undesirable or difficult situations. However, those that are exemplified in Shakespeare’s tragedies include “character flaws” which are so destructive that they eventually cause their downfall. For example, Prince Hamlet, of Shakespeare’s tragedy play “Hamlet,” is seemingly horrified by what the ghost of his father clarifies concerning his death. Yet the actions executed by Hamlet following this revelation do not appear to coincide with the disgust he expresses immediately after the ghost alerts him of the true cause of his death. Thus, it is apparent that the instilled self doubt of Prince Hamlet is as the wand that Shakespeare uses to transform an otherwise sad story to an unfortunate tragedy.
Shakespeare, William, Marilyn Eisenstat, and Ken Roy. Hamlet. 2nd ed. Toronto: Harcourt Canada, 2003. Print.
Shakespeare, William. The Three-Text Hamlet. Eds. Paul Bertram and Bernice Kliman. New York: AMS Press, 1991.
Shakespeare, William. Hamlet. Ed. Barbara A. Mowat and Paul Werstine. New York: Simon and Schuster Paperbacks, 2002. Print.
...xternal factors that influence society. In Shakespeare’s Hamlet and Aeschylus’ The Oresteia, such factors and their drastic influences on Hamlet and Orestes were examined, as they struggled to develop their own sense of morality in situations with tragic consequences. Although the higher morality triumphed over the lower morality in the end, such conclusions cannot be completely objectified. Mankind is perpetually seeking moral approbation from themselves and from others, and therefore the morality of today is constantly changing as time progresses. Therefore, what may have been morally apropos in the past, cannot be generalized to fit society’s morals of today, and society’s morals of the future. Thus, as society advances towards the future, the moral questions and struggles Orestes and Hamlet faced might very well be a conflict society must inevitably contend to.
Hamlets feign of madness and talk about suicide, becomes Ophelias reality as she falls into depression and madness and when Hamlet kills her father, she eventually commits suicide. Ophelias psychological presence and breakdown is necessary to allow Hamlet to overthrow his current characterization. As to the audience, it is ...
One of the central theme’s throughout Shakespeare’s Hamlet is the question of madness versus sanity. From the first few scenes of the play, one cannot help but question the way that various character’s throughout the play think and behave. In line with Sigmund Freud’s ideas concerning the Id, Ego, and Superego, we see that various characters’ behaviors are clearly defined by these distinct personality structures although not always in the way they are traditionally expected to. Gertrude and Hamlet both find themselves eventually losing control of their lives as they all give way to the Id portion of their personality. It is this downfall that will continually come across as the madness so central and destructive throughout the course of the play.
William Shakespeare's character of Ophelia in Hamlet, suffers greatly, from the time she learns of her father Polonius' death, until her own mysterious death. In Hamlet, Gertrude, Horatio and Claudius refer to her state, and conclude that she is crazy1[1]. Though there is some truth to their claim, Shakespeare created Ophelia as an overly- dramatic character, who is somewhat exaggerating her emotions to give an impression of madness. Although their impression of Ophelia can be supported, evidence is not shown as much in her words, as it is shown in her actions. Ophelia's songs seem like riddles and nonsense2[2], yet they are similar to the patterns of speech by Hamlet, revealing truths and true emotions, and at times sarcasm. However, Ophelia's whimsical, and child-like behavior is quite different than the prim, reserved Ophelia at the beginning of the play. Still, this behavior is not consistent with the sad words in her grief-laden songs, nor is it consistent with a woman in grief rather Ophelia's physical behavior is the strongest evidence that Ophelia may exhibit signs of madness. Hamlet's act to convince his insanity to all that knew him influenced Ophelia to perform following Hamlet's lead with his feigned madness, eventually leading to the girl's suicide, thus implicating Hamlet in her death.
... middle of paper ... ... Freud clears the thick confusion surrounding Hamlet’s inconsistent mentality by attributing it to the Oedipus complex. Theater audiences and literary enthusiasts are not spared of Shakespeare’s astonishing ability to capture the human spirit in his play Hamlet.
Ophelia loves Hamlet; her emotions drive her to perform her actions. Some would say that Ophelia’s emotions could have actually been what ended her young
Hamlet puts on an antic disposition in the beginning act in order to prove Claudius’ guilt and avenge his father’s death, but as an audience we finally see how this “madness” affects other characters in later scenes. Most importantly one can see how this contrast not only affects, but also ends Ophelia’s life. Ophelia’s heart, that she believed was filled with love, is soon ripped into pieces when Hamlet acts mad and says, “I loved you not” (3.1.118). Later in the play, Ophelia finds out that not only has her father been murdered, but he was also killed by her own love, Hamlet. After this scene, Ophelia is lost and confused in emotions causing her to take action in the way she believes will benefit her best. This action includes taking her own life because she can no longer bear the pain of all the tragedies. As the queen describes this death she says, “Till that her garments, heavy with their drink,/ Pull’d the poor wretch from her melodious lay/ To muddy death” (2.7.181). These ironic moments again prove that the contrast in actuality and make-believe are crucial to the tragic ending of the play. In these moments, we feel pity and sorrow for Ophelia because we wonder if she had known the truth, would this have happened? Her desire to satisfy her own needs in this moment allow this tragedy to occur though; therefore, at the same time we wonder if the truth would have made a
In writing Hamlet, William Shakespeare plumbed the depths of the mind of the protagonist, Prince Hamlet, to such an extent that this play can rightfully be considered a psychological drama.