Appearance versus Reality in Hamlet
Hamlet is organized around various pairs of opposing forces. One of these forces is the difference between that what seems and that which actually is, in other words, appearance versus reality. What is, and what merely appears to be? We can discern two principal angles from which this question is approached in Hamlet. First, we have the angle of inward and outward emotions, and the profound distinction that is drawn between them. In other words, the tranquil face that we all show to the world is never the same as the turmoil of our souls. In Hamlet, Shakespeare explores this both explicitly, through the device of the play within the play, and implicitly, through the ways in which he uses the forms and conventions of theater to explore the aforementioned emotional dichotomy. There is also the dichotomy of knowledge that is essential to the Judeo-Christian religious tradition. God, in this tradition, is considered to be omniscient, and thus knows how all things actually are. Mere human beings, on the other hand, can only, as in Plato's allegory of the cave, know how things seem. They have only flawed knowledge. Over the course of Hamlet, we repeatedly perceive characters who focus on things that seem, as well as those who focus on what actually is. This dichotomy is fundamental to our understanding of the play.
Before launching into the body of this exposition, it is necessary that we define a few important terms. By "being", or that which "actually is", I mean those things that exist in the objective reality that might be perceived by some so-called omnipotent being. The flawed knowledge of non-omniscient humans - that which we see every day - is represented by the word "...
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...for example, the death of Ophelia occurs offstage. Why? To shroud it in mystery. To keep that which seems - and that which the characters see - apart from the world of reality.
All the world's a stage,
And all the men and women merely players.
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages.
Shakespeare, As You Like It, 2.7.139-143
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Berkeley, George. A Treatise Concerning the Principles of Human Knowledge. 1710. Ed. Kenneth Winkler. Indianapolis: Hackett, 1982.
Berman, Allison. "We Only Find Ourselves." Hamlet reaction papers. Wynnewood: FCS, 2000.
Lugo, Michael. "Thus Conscience Does Make Cowards of Us All." Hamlet reaction papers. Wynnewood: FCS, 2000.
Shakespeare, William. Hamlet. 1600? Ed. Sylvan Barnet. New York: Signet Classic, 1998.
Visualize this: A man is trapped inside a world he never made. This world begins with the conventions of tragedy through fiction. By the end this masterpiece, the flashing, delving presence of his mind and sprit has been transformed. It becomes the real world. In the real world, appearance and reality is a hard thing to differentiate. Appearance "is" reality in William Shakespeare's Hamlet. Appearance (insanity) is used as a disguise, an excuse for his free will and a costume for Hamlet. This is proven by the nature of Hamlet's true thought process, why he feigns insanity, and, proof that Hamlet was not crazy.
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It has always been in human nature to hide feelings from others, but there is a point where the idea of having a healthy exterior becomes more important that what is actually happening internally. In William Shakespeare’s Hamlet, the motif of a seemingly healthy exterior concealing inward sickness establishes the idea of characters and of the nation of Denmark as being corrupt through foreshadowing and irony.
Throughout Shakespeare’s Hamlet the characters prove that almost nothing is as they perceive it, and t is, perhaps, their own faults for why they do not know the truth. They believe what they want to believe.
Much of the dramatic action of Shakespeare’s tragedy, Hamlet is within the head of the main character, Hamlet. His wordplay represents the amazing, contradictory, unsettled, mocking, nature of his mind, as it is torn by disappointment and positive love, as Hamlet seeks both acceptance and punishment, action and stillness, and wishes for consummation and annihilation. He can be abruptly silent or vicious; he is capable of wild laughter and tears, and also polite badinage.
When one reflects on the questions they are asked in life, one of the most thought provoking questions is “what is your favorite movie?” Though a trivial question, one constantly finds oneself baffled trying to think of a movie in which they can truly say is their favorite. Once one comes up with an answer to this question, the preceding question is “why?” What is it that truly makes a movie great? One can argue the characters, or the story line that makes the movie great. But ultimately it is the memorable scenes in which make the movie ones favorite. It is the scenes that truly stand out above the other components of a movie or play. For this reason, numerous writers emphasize one or two scenes in which stand out from all the rest. This technique was mastered by no other than the playwright William Shakespeare. Shakespeare throughout his tragedies focuses on two scenes that stand out to the audiences. Shakespeare’s emphasis on scenes is evident in act 1 scene 1, act three scene 1 of his play Hamlet, and Act 2kj… of his play King Lear.
Deceit, misleading information, and spying on others can lead to their demise, intentionally or accidentally. The misleading and deceitful instances in the play are indirectly responsible for Hamlets’ death. Claudius misleads Hamlet when he shipped him off to England under the guise of a restful retreat and when he realizes that the new king has lied to not only him, but the people of Denmark about the death of the former king. Hamlets’ deceit comes from his mother, believing that she has betrayed his father’s love by not mourning for long enough after his death, and by marrying Claudius. Spying also causes problems for Hamlet down the line since it leads to the killing of Polonius, and the deaths of Rosencrantz and Guildenstern.
The impression made by a character in a play is one of its most complex and debatable components, for each individual, from the director to the audience, forms an idea based on their own interpretation of the work. Each character can be read differently, with each perception having its own implications beyond the text. The analysis of alternate perspectives of Hamlet can provide insight into possible hidden motivations and underlying plot elements invisible in the original text.
Hamlet is a play by William Shakespeare about a prince named Hamlet who was spoken to by the ghost of his dead father telling Hamlet to kill his uncle Claudius (the new king) because Claudius killed him. The story revolves around Hamlet's dillema of how to kill his uncle while being deceptive enough so that no one finds out about the ghost. This essay will prove how deception is often used in Hamlet for many reasons. Claudius uses deception to protect himself from being prosecuted for his crime of killing the King. No one knows what the deal is with Gertrude because she deceives everybody by keeping to herself all the time keeping everyone from knowing anything. By using quotes from the book I will prove how these two (Claudius and Gertrude) and among a few others , use deception for different reasons and in different ways. A lot of the times it is to protect someone, or themselvs because they believe that the truth will hurt more than their lies.
The. Hamlet continually masks his true emotions in the play to an extent where the philosophical question of appearance versus reality. comes to mind. Which of his actions are truly real and which are merely an illusion of what is? Hamlet is a play dominated by lies, corruption and deception.
Self-image plays a big role in how people act. Hamlet’s inability to know himself or to understand his own motives leads to the restless battles between right and wrong in his conscience, which is the reason for his unpredictable tragic actions, and behaviors. Hamlets’ confusion is clearly shown in his soliloquies. His confused mind can be broken into five categories. Hamlet suffers from his own moral standards, the desperate need to seek the truth, lack of confidence and trust in his own impulses, self-hatred, and melancholy. Each of these categories contribute to Hamlet’s troubled mind.
The way we see ourselves is often reflected in the way we act. Hamlet views himself as different to those young nobles around him such as Fortinbras and Laertes. This reality leads us to believe that over time he has become even more motivated to revenge his father's death, and find out who his true friends are. How can you be honest in a world full of deceit and hate? His seven soliloquies tell us that while the days go by he grows more cunning as he falls deeper into his madness. This fact might have lead Hamlet to believe that suicide is what he really wants for his life's course.
Tiffany, Grace. "Hamlet, reconciliation, and the just state." Renascence: Essays on Values in Literature 58.2 (2005): 111+. General OneFile. Web. 20 Mar. 2011. http://find.galegroup.com/gps/infomark.do?&contentSet=IAC-Documents&type=retrieve&tabID=T002&prodId=IPS&docId=A143160470&source=gale&userGroupName=lom_kentdl&version=1.0