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Psychoanalytic reading of hamlet
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Psychoanalytic reading of hamlet
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This essay will discuss several literary criticisms of Shakespeare’s Hamlet. After skimming through several articles, I ended up with four peer-reviewed journal articles, each a different critical perspectives of the play: feminist, psychoanalytical/freudian, moral, and new historicism. My previous studies of Hamlet, as well as my rereading of the play this semester, has collectively given me a general knowledge of the text. My familiarity of the play made it easier for me to decipher the academic journals and see the connections each critic made with the play. I found it interesting, that after reading Hamlet so many times, that there were connections I never made on my own. For instance, the character Francisco only speaks nineteen lines in the beginning of the play, but Steven Doloff shows just how meaningful they are. Firstly, he “detects in Francisco's unexplained remark, 'For this relief much thanks, 'Tis bitter cold, / And I am sick at heart' (I.i.8-9),(1) a foreshadowing of Prince Hamlet's melancholy” (Doloff). Shakespeare created this character to indicate Hamlet’s prevalent sadness throughout the play. However, Shakespeare may have intended to give Francisco much more meaning. “The sentry's foreshadowing of the prince may, indeed, be seen to extend even further, by way of Francisco's embodiment of a figurative injunction against suicide, variously found in well-known works of Shakespeare's day” (Doloff). By looking back historically, Doloff finds a comparison of the guardians of ancient forts as dutiful protectors of man’s spirituality against suicide in a school book used during Elizabethan times. Unaware of this connection when I read the play, I wondered if people of Shakespeare’s time would be abl... ... middle of paper ... ...tions within the play. Others, point out the flaws within the play, offering solutions and revisions. Together, they create an interesting portrayal of Hamlet, combining to change a classic tale into one more modern. Works Cited Cox, John D. "Hamlet in Purgatory." Christianity and Literature 51.2 (2002): 279+. Literature Resource Center. Web. 12 Dec. 2013. Doloff, Steven. "Francisco, Hamlet, and God's faithful sentries." Notes and Queries 44.4 (1997): 498. Literature Resource Center. Web. 12 Dec. 2013. Safaei, Mohammad, and Ruzy Suliza Hashim. "Gertrude's Transformations: Against Patriarchal Authority." English Language & Literature Studies 2.4 (2012): 83-90. Communication & Mass Media Complete. Web. 10 Dec. 2013. Zimmerman, Susan. "Psychoanalysis and the corpse." Shakespeare Studies 33 (2005): 101+. Literature Resource Center. Web. 11 Dec. 2013.
After demolishing the theories of other critics, Bradley concluded that the essence of Hamlet’s character is contained in a three-fold analysis of it. First, that rather than being melancholy by temperament, in the usual sense of “profoundly sad,” he is a person of unusual nervous instability, one liable to extreme and profound alterations of mood, a potential manic-depressive type. Romantic, we might say. Second, this Hamlet is also a person of “exquisite moral sensibility, “ hypersensitive to goodness, a m...
In every play or book that a person reads the characters are never perfect. They always have a flaw that causes a problem or conflict within the storyline. This is true for Hamlet's character in William Shakespeare's Hamlet. In several of Hamlet's speeches he discloses many flaws in his character to the readers throughout the play. These are aspects that have thus far only been able to be seen as fragments in other speeches.
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.
The play Hamlet has captivated audiences and readers for decades. Much like many of Shakespeare’s other plays; the first thing recognized is the inexplicable storyline. Shakespeare always generates relatable characters that are complex at heart and have a sense of mystery about them. In most cases even the most clever audience members or readers still come away not completely understanding everything about a character. This would be due to the deceptive underlying nature to the play.
By recognizing the fear of the unknown and the power of doubt to derail his enterprises Hamlet resolves his indecisiveness and is able to move forward in the play. When viewed through the deconstructionist lens, Hamlet’s own personal demons and his oppositions to the king, queen, and his own inner self, are put into sharper focus and give the reader an understanding of the inner workings of the meandering path Hamlet takes to find his eventual solution.
Our own intuition of the creative or re-creative act that issued in the play also assumes a struggle with the literary past, but one of a more complex nature. It would seem to be Hamlet who is unable to impose successfully the model of an old play upon the intractable material of his present life, and Shakespeare who dramatizes with unfailing control the tragic conflict between his heroic effort to do so and his ironic consciousness that it cannot be done, with the inevitable by-products of hesitation and delay. (107-108)
For being considered one of the greatest English plays ever written, very little action actually occurs in Shakespeare’s Hamlet. The play is, instead, more focused on the progressive psychological state of its protagonist, after whom the play is named, and his consequent inaction. It is because of this masterpiece of a character that this play is so widely discussed and debated. Hamlet’s generality, his vagueness, his supposed madness, his passion, his hesitation, and his contradictions have puzzled readers, scholars, and actors for centuries. In this paper I will attempt to dissect this beautiful enigma of a character to show that Hamlet is much more self-aware than many people give him credit for and that he recognizes that he is an actor in the theatre of life.
The Elizabethan play The Tragedy of Hamlet Prince of Denmark is one of William Shakespeare's most popular works. One of the possible reasons for this play's popularity is the way Shakespeare uses the character Hamlet to exemplify the complex workings of the human mind. The approach taken by Shakespeare in Hamlet has generated countless different interpretations of meaning, but it is through Hamlet's struggle to confront his internal dilemma, deciding when to revenge his fathers death, that the reader becomes aware of one of the more common interpretations in Hamlet; the idea that Shakespeare is attempting to comment on the influence that one's state of mind can have on the decisions they make in life.
At the crux of Shakespeare’s Hamlet lies the timeless, dynamic exploration of human nature and experience, supplemented by masterful manipulations of dramatic and literary elements that embed within the play ambiguity in both meaning and purpose. As a responder, the final scenes of Hamlet has significantly affected my judgement of the play, as Shakespeare’s masterly ability to control the use and flow of language serves to rectify through these scenes the universal confrontation of thematic concerns such as morality, mortality, and uncertainty. The combination of characterisation, symbolism and Hamlet’s struggles as an existentialist hero acts as a vessel for Shakespeare’s insightful perception on the intricacies of the human condition, sparking
...ble that someday the legendary cultural baggage that accompanies Hamlet will be lost, and future generations may wish to judge the play on its dramatic merits and not on its required-reading position. If that is the case, they may very well "make" the play "bad" through their different perspective, one which we cannot yet appreciate, and Hamlet, already four centuries old, may disappear from our cultural consciousness. As the prince himself might say, perish the thought.
6-7). The syllables are. Laertes feels the virtue of Hamlet will run through higher standards. A will describes a position or items left to a person from someone of death. Hamlet’s father died as the King of Denmark, leaving his estate to Hamlet.
William Shakespeare 's Hamlet is considered one of the defining works of Shakespearean literature. It encompasses major existential themes such as love, vengeance, mortality, and the transition for an adolescent into adulthood. Like all great Shakespearean works, these themes are presented with eloquent prose, comedic tones, dramatic turning points, and a theatrical flair unmatched by any other writer in history. However, Hamlet sets itself apart from Shakespeare 's other plays with the enigmatic mystery that is the character Hamlet, the Prince of Denmark. Hamlet’s character is topic that has been pondered by generations of literary analysts, students, and every person who has ever
Analysis of Hamlet by William Shakespeare “Who’s there?” Immediately the play has an impact on the audience.
William Shakespeare's Hamlet is, at heart, a play about suicide. Though it is surrounded by a fairly standard revenge plot, the play's core is an intense psychodrama about a prince gone mad from the pressures of his station and his unrequited love for Ophelia. He longs for the ultimate release of killing himself - but why? In this respect, Hamlet is equivocal - he gives several different motives depending on the situation. But we learn to trust his soliloquies - his thoughts - more than his actions. In Hamlet's own speeches lie the indications for the methods we should use for its interpretation.
Much of the negative criticism Hamlet has received is in regard to vague characterization. This only helps the play. It allows the reader to make his or her own inferences about the character. Prince Hamlet is the best example of this. There is no quintessential Hamlet to be discovered by poring over the text, and there is no need for such a discovery; yet one can hardly shrug their shoulders in resignation, for the pleasure of this play comes largely from the quest to solve its mysteries, to interrogate its ghost; and if one fails to seek what it never surrenders, they fail to enjoy what it renders (Bloom 31). Many shortcomings of other works come in overdeveloping characters.