Figurative Language in Shakespeare

Act I, scene ii; lines 87-117
This scene is an excellent example of Shakespeare’s skill at creating a sense of dualities throughout Hamlet. Several characters throughout the play are two (or even three!) faced, and the King belongs to this category.
There is a wide range of tone displayed in the King’s rhetoric to Hamlet, the style of which encompasses blank verse and iambic pentameter. Although it begins as compassionate and understanding, readers who know the story will not be fooled, and those who have paid attention to the Ghost (although it hasn’t yet said anything) will certainly be suspicious. It is more likely the King is trying to garner a favorable public opinion of himself in “reaching out” to his stepson. The King’s tone quickly changes to admonishment, letting Hamlet know in no uncertain terms that he needs to get over his father’s death, the sooner the better, especially since he is next in line for the throne (the King’s metonymy for rule). Again, he does not do this in any overly harsh way, instead trying to imitate a father’s instruction to his son. This paints a very accurate picture of the King’s character and is indicative of what his behavior will be like for the rest of the play: Outwardly “benevolent,” inwardly malevolent.
Again, throughout this speech, Shakespeare maintains a steady use of assonance and consonance. He gives the use of iambic pentameter, which is more formal, to the nobles of his stories. He also gives the treacherous king the use of snakelike consonance: “(…in filial obligation for some term)/ to do obsequious sorrow. But to persevere/ in obstinate condolement is a course/ of impious stubbornness” (I.ii.91-94).
Act I, scene i; lines 165-173
These lines showcase Shakespeare’s ability to bu...

... middle of paper ...

...s King Claudius is hiding behind the tapestry, and runs his sword through it and Polonius. If it had been the King, he would be dead. Instead, it’s Polonius who falls, and in his anger, Hamlet becomes callous with disregard for the man.
The Queen bemoans this action, and Hamlet outright accuses her of plotting with the King to kill his father. Since she is incredulous at this claim, he promises he will “wring her heart” (III.iv.35) in hopes of making her see the gravity of her crime, and hopefully feel the guilt as well.
To keep up the pace of this scene, Shakespeare made liberal us of consonance and assonance to provide a faster rhythm (rather than wait for the end of each line to rhyme). In particular, he gives the Queen softer rhymes with more assonance, and Hamlet use of cutting consonance and a harsher rhythm, to demonstrate their respective emotional states.