The Delay in Hamlet’s Revenge
Hamlet's first thoughts after learning of his father's murder are of an immediate, violent revenge upon Claudius. However, his subsequent actions do not live up to these resolutions. Over four acts he takes little deliberate action against his uncle, although the ghost explicitly demands a swift revenge. In S. T. Coleridge's words, Hamlet's central weakness is that he is "continually resolving to do, yet doing nothing but resolve".
Hamlet's first soliloquy, following a hostile conversation with Claudius and Gertrude, shows him grief-stricken, bitter and despairing. The source of Hamlet's melancholy is "his father's death" and the "o'er-hasty marriage" of his mother and uncle. He feels he has to do something, but he does not know precisely what. He expresses his disgust at his mother's inconstancy and incestuous remarriage, but is bound to suffer in silence: he must "hold [his] tongue" for reasons of diplomacy. The world seems empty, and he uses imagery of corruption, darkness, disease and imprisonment to reveal his state of mind. At the beginning of the play, all Hamlet sees is a terrible situation which he has no power to change.
The ghost's command therefore gives Hamlet purpose; a reason to live. Its instruction is unmistakable: "if thou didst ever thy dear father love...revenge his foul and most unnatural murder." The apparition, armed "from head to foot", then relates the story of Claudius' treachery in graphic and horrible detail. It is now apparent to Hamlet what is "rotten in the state of Denmark". Shakespeare makes it very clear what Hamlet's duty is and who his enemy is. Hamlet is charged to avenge his father's murder and free Denmark from the shadow of the king's fr...
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Rosenberg, Marvin. “Laertes: An Impulsive but Earnest Young Aristocrat.” Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. from The Masks of Hamlet. Newark, NJ: Univ. of Delaware P., 1992.
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Hip-Hop became characterized by an aggressive tone marked by graphic descriptions of the harshness and diversity of inner-city life. Primarily a medium of popular entertainment, hip-hop also conveys the more serious voices of youth in the black community. Though the approaches of rappers became more varied in the latter half of the 1980s, message hip-hop remained a viable form for addressing the problems faced by the black community and means to solve those problems. The voices of "message" hip...
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As the hip-hop battle rages on in the background somewhere between the black literati, consumers and observers, I stand objectively nodding religiously to Lupe Fiasco as he creates a narrative surrounding personified life of a housing complex each component, the legs, the chest, a different facet of living in the hood. Some would pose Lupe as a Hip-Hop alternative, glorifying his intellectualism and political consciousness, at the expense of demonizing other less academically articulate rap artists. Maybe they deserve it. Maybe they are ill educated and uncultured. But does that delegitimize their message? Understanding the messages of many gangsta rap artists is a complex task for those whose lived experiences don’t relate. We need to find an alternative way to comprehend and critique the music that we dismiss as garbage. What are rappers really saying? Michal P. Jefferies’ work Thug Life, provides us with alternative tools to answer this question. I seek to further explore Jefferies “complex cool” and how it allows for a thug masculinity to include love and other emotional sentiments.
Many people do not like rap music because they say that it is too violent or the people that are involved are just very violent. Many people say this because most people who rap or listen to rap music, grew up in the “Ghetto”. The “Ghetto” is a place no one wants to be because it is very violent, hearing gunshots and people screaming and fighting because of the situation they are in. The people in the ghetto are in a bad situation because...
...ofound impact on the African American community in the United States. Rappers want to make people aware of the obstacles faced in urban society. Although the media reports the crime and violence, the rapper gives an overall view of the negative, as well as trying to produce the positive. The violence, sex, and drugs come with the rap music because that was apart of the lifestyle that the artist lives. Rap music educates people on what really goes on in some urban communities. Before people judges rap music, they should take the time to listen and try to understand what they are saying. It will be educating.
However, just this year a song by Miley Cyrus sparked a “twerking” outbreak, and there simply is no denying the impact it had on teenagers throughout the entire country. The problem, though, is that hip-hop music promotes things far worse than the provocative dancing that was advocated in Cyrus’s song. Others argue that culture is not actually being affected by the music, and it is actually the opposite. They claim that the lyrics in hip-hop music are poetry of the streets, and it embodies black victimhood in the ghetto. However, if we accept this, we are accepting the fact that the “ghetto life” is so hopeless that an explosion of violence is justified. By encouraging rappers that promote this type of behavior we are deeming the behavior acceptable just because the “ghetto life” is tough. However, rape and murder should never be seen as acceptable, and nor should the advocacy of it
Rap Music Since the late 1980's rap music has been called the Anti Christ in our culture, because of it's so-called influence in people's life. People swear up and down that the music is why people, specially the youth resort to violent crimes. I think by saying this they are trying to cover up the real truth by giving simple answers. Rap is defined as a style of popular music consisting of improvised rhymes performed to a rhythmic accompaniment. The first rap song was made in the late 70's, the songs were seven to eight minutes long and was mostly used in small clubs to dance to. It didn't really become popular until the early 80's. Over the years it has become mainstream music, everyone is listening to it. In the last four years rap made up 60% of music bought in stores in the United States. In 1989 a local group called N.W.A.(Niggaz Wit Attitudes) came from out of L.A. and changed rap, which was the start of Gangsta Rap. In their lyrics they talked about crime, street violence and killing. Once they were a huge hit, it caught on, and really that's when all this madness started. Everyone started rapping Gangsta style. More and more people started rapping about police brutality and killing people and with that crime rose to high levels. In my opinion it's not the artists or the record company's fault that crime rose. It's not their responsibility to look after every person who listens to their music. In all these years of rap though there are three people who took the most criticism from the public. Dr. Dre was one, after N.W.A. broke up he went on to do his own thing, and after he released "The Chronic" he became a star.
Rosenberg, Marvin. "Laertes: An Impulsive but Earnest Young Aristocrat." Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. from The Masks of Hamlet. Newark, NJ: Univ. of Delaware P., 1992.
Bristol, Michael D. “The Customary and the Ethical: Understanding Hamlet’s Bad Habits.” Shakespeare Studies 40 (2012): 70–76. Web. 24 Apr. 2014.
Corum, Richard. Understanding Hamlet: A Student Casebook to Issues, Sources, and Historical Documents. Westport, CT: Greenwood, 1998. Print.
In Act I scene V, Hamlet is told by his father’s ghost to “revenge his foul and most unnatural murder.” The ghost then goes on to tell Hamlet that as he was “sleeping in my orchard, A serpent stung me” and that “The serpent that did sting thy father’s life Now wears his crown.” Hamlet is told by the ghost to seek revenge, telling him that Claudius has corrupted Denmark and corrupted Gertrude, having seduced her in the foul lust of their incestuous marriage. The ghost urges Hamlet not to act against his mother in any way, telling him to “Leave her to heaven, And to those thorns that in her bosom lodge, To prick and sting her.”
Rosenberg, Marvin. “Laertes: An Impulsive but Earnest Young Aristocrat.” Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. from The Masks of Hamlet. Newark, NJ: Univ. of Delaware P., 1992.
Rap began in New York City around the 1970s when disc jockeys at parties had emcees to keep crowds entertained and excited. The MCs soon started