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Hamlet's madness in Hamlet
Important choices Hamlet makes in Hamlet
Hamlet's state of mind in act 3 scene 1
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The Ultimate Peripeteia in Hamlet
If one were to push a boulder up a hill with a gentle incline, it would be rather difficult to discern that pivotal moment when it is poised for a split-second at the summit. In tragedy, this moment is known as the ultimate peripeteia or the point of no return for the protagonist. From this point on, the protagonist moves downhill with increasing momentum and decreasing control over where they're headed. Act 3 of Hamlet is filled with dramatic and powerful moments that are each in their own way, minor peripeteia. However, there is only one critical action that lies precisely at the peak or the turning point. This action involves Hamlet's decision not to slay Claudius while he prays. Although the remaining actions may be within centimeters away, they all posses certain vital flaws that prevent them from occupying the spot reserved for the actual ultimate peripeteia.
The first major action of the third act is the arranged meeting between Hamlet and Ophelia. During this meeting, Hamlet seems to turn on Ophelia, denying that he ever loved her. This apparent reversal of feelings towards Ophelia may appear as a peripeteia at first, but under closer examination will prove to be a continuation of Hamlet's pretense of madness. Hamlet is aware that Ophelia is being used to draw out information from him about the source of his insanity. This becomes evident when Hamlet inquires where Ophelia's father is. At the end of his soliloquy, Hamlet comments on Ophelia's beauty as he sees her approach. This illustrates that he still has affection for her, but in his current state o...
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...mmitted murder, and does not appear to repent. Although it does demonstrate a tendency of rash behavior that Hamlet had previously not expressed, this is not a true turning point since Hamlet's intent was to kill Claudius. Only in a moment of extreme passion, which came too late, is Hamlet finally ready to take action against Claudius.
The highly dramatic and tense moments of Act 3 make it difficult to determine which exactly embodies the ultimate peripeteia. However by inspecting the defects of each choice and eliminating the choices where it only appears as if a reversal of the situation has occurred, or where the protagonist still has a good chance of accomplishing what they set out to do, it can be concluded that the ultimate peripeteia of Hamlet occurs when Hamlet does not kill Claudius as he prays.
“Pretty Ophelia,” as Claudius calls her, is the most innocent victim of Hamlet’s revenge in Shakespeare’s play Hamlet. Hamlet has fallen in love with Ophelia after the death of his father. Ophelia “sucked the honey of his music vows” and returned Hamlet’s affection. But when her father had challenged Hamlet’s true intentions, Ophelia could only say: “I do not know, my lord, what I should think.” Ophelia was used to relying on her father’s directions and she was also brought up to be obedient. This allowed her to only accept her father’s views that Hamlet’s attention towards her was only to take advantage of her and to obey her father’s orders not to permit Hamlet to see her again.
One single moment or event during the course of an individual’s life can effectively alter their priorities and transform their identity drastically. In The play Hamlet, by William Shakespeare, Shakespeare introduces the readers to the protagonist Hamlet who is draped in anger and emotions and has a new-found mission in life. Initially, Hamlet is portrayed as an individual in mourning over his father's death and his mother's haste in remarrying to her brother-in-law and Hamlet's uncle, Claudius. However, Hamlet’s character and personality were drastically altered after meeting the Ghost and discovering the true nature of his Father’s death. Hamlet is now a man with a lust for revenge and a willingness to do anything that will enable him to accomplish this goal. When burdened with the task of killing Claudius, Hamlet chooses to sacrifice all he holds dear by transforming his identity in a noble effort to avenge his father’s death.
The vengeance of his father 's death is the prime cause of Hamlet 's obsession with perfection, his tendencies of over thinking philosophically, and idealistically, are what cause Hamlet 's delay. Hamlet is exposed to multiple opportunities to take the murderer of his father, Claudius ' life, the most notable being when Hamlet stumbles upon Claudius alone, praying; when about to act Hamlet says "When he is drunk asleep, or in his rage, or in the incestuous pleasure of his bed, at gaming, swearing or about some act that has no relish of salvation in 't: then trip him, that his heels may kick at heaven and that his soul may be as damn 'd and black as hell, whereto it goes"(3.3.90-96) This inability to act when the chance is given exclaims how Hamlet is not willing to send Claudius to heaven and he will only act if he is to arrive in hell, which will in turn fulfill his need for the perfect
The reader is left guessing on Hamlet’s true feelings for Ophelia through his various insults, sexual innuendos, and admitted desire. Hamlet’s claim, “God hath given you one face, and you / Make yourselves another.” (3.1.155-156) is laced with irony and hypocrisy given Hamlet’s own deception regarding true feelings. This proclamation comes at the end of a lengthy tirade against Ophelia and womankind in general for their conniving deceit leading men astray. The fact that Hamlet cannot see this duplicity in his very own actions shows the double standard he holds for females. Ophelia’s immediate reaction is one of shock and defense due to the aggressive nature of Hamlet’s attack. She calls out “O, woe is me!” (3.1.174) in distress to the ferocity of Hamlet and is unable to form a particularly coherent response akin to the ones seen against Laertes and Polonius. She does show her intelligence and rebellion from this assumption of power by Hamlet in her songs while Hamlet is gone. While many attribute her madness to the death of her father, a large portion of her instability should be attributed to Hamlet and his earlier actions. In her first introduction as insane she sings, “And I a maid at your window, / To be your Valentine. / Then up he rose and donned his clothes / And dropped the chamber door, / Let in the maid, that out a maid / Never departed more.” (4.5.55-60). Due to her references to sexuality and deceit the
I believe that the most logical turning point in the play can be regarded as the murder of Polonius in scene four. Earlier in the play Hamlet’s innocence made him unable to kill even someone he despised such as King Claudius. When Hamlet stabs Polonius from behind the curtain, he is not even aware of who he is killing. This scene displays a major turning point for Hamlet because it represents Hamlet’s loss of innocence. When Hamlet commits this blind act, it is evident that he has become so affected by the strain and guilt of his father’s murder that he is no longer bothered by any consequences that might accompany his actions. Hamlet is now losing his sanity more rapidly than ever, and is becoming obsessed and solely focused on revenge. This could be the beginning of a downfall for Hamlet.
There are three possible turning points in Hamlet: the players’ scene when Claudius’ guilt concerning the murder of King Hamlet is confirmed; the prayer scene when Hamlet forgoes the opportunity to kill Claudius; and the closet scene where Hamlet first takes action, but kills Polonius inadvertently. In the players’ scene, the ghost’s story is proved to be true, allowing Hamlet to avenge his father’s murder. In the prayer scene, Hamlet misses a perfect opportunity to kill Claudius, giving Claudius time to act against Hamlet. In the closet scene, Hamlet’s actions give Claudius the impression that he poses as a major threat to his continued succession on the throne. The death of Polonius also triggers a series of repercussions by altering the characters’ mindsets.
This scene is in fact a visual representation of Hamlet’s problem throughout the play, this focal problem is open to two different interpretations: either Hamlet has the ability and passion to kill Claudius but he doesn’t have the right time to do it, or Hamlet doesn’t have the self-assurance and courage to do ...
With countless opportunities neglected, Hamlet’s ability to take any action against his father’s death is questioned. “Now might I do it pat, now ‘a is a-praying, and now I’ll do’t. And so ‘a goes to heaven, And so am I revenged. That would be scanned. A villain kills my father, and for that I, his sole son, do this same villain send To heaven.” [Act III, iii l. 173-180] Hamlet contemplates killing Cladius while he prayed for forgiveness, but then backed out as he learned he’ll send him to heaven for the loyalty Cladius showed towards the Lord. Hamlet once again debates the possibilities put before him by the ghost he swore to avenge.
With his thinking mind Hamlet does not become a typical vengeful character. Unlike most erratic behavior of individuals seeking revenge out of rage, Hamlet considers the consequences of his actions. What would the people think of their prince if he were to murder the king? What kind of effect would it have on his beloved mother? Hamlet considers questions of this type which in effect hasten his descision. After all, once his mother is dead and her feelings out of the picture , Hamlet is quick and aggressive in forcing poison into Claudius' mouth. Once Hamlet is certain that Claudius is the killer it is only after he himself is and and his empire falling that he can finally act.
Hamlet is a scholar, speaker, actor, and prince. For some reason, Hamlet is not able to avenge his father's death without considerable delay. There is one major flaw in Hamlet's character which causes him to postpone the murder of Claudius. I believe that this flaw is Hamlet's idealism. While his idealism is a good trait, in this case, Hamlet's environment and his...
interest of Hamlet, but is driven crazy by Hamlet’s sudden disregard of Ophelia and her feelings.
Ophelia is manipulated by Hamlet to display to the King and the rest of the court that he is in fact mad. When Hamlet enters her room wearing disheveled clothing and acting quite strange towards her, he knows that Ophelia will tell her father and the King. Ophelia then reports this strange occurrence to her father, telling him about his strange composure of taking her “by the wrist and” holding her hard and then “shaking” when he was about to let go. (Act 2, Scene 1 Lines 86-91) The team of Polonius and the King also exploits Ophelia in order to dig deeper into Hamlet’s madness.
You have a choice of paying by cash, debit card, online account or credit card. If you do not have money in your bank or online accounts, then either you go without, or you use your credit card. But, what about the people who have money in their bank account and still use their credit card.
Hamlet’s tragic flaw was shown to him in a dream by the ghost of his father. His father tells him that he was murdered by his uncle, Claudius. In this scene, the tragic flaw was transferred and manifested itself in Hamlet’s actions. His obsession with revenge and death is all he can think about. He needs to act quickly and decisively but finds himself procrastinating about what to do. In Act III, Hamlet holds the knife over the head of his uncle, Claudius, but cannot strike the fatal blow. Instead, he writes a play about the same scenario to study the reaction of Claudius as to a clue of his guilt. After he decides Claudius is guilty of murdering his father, he still relents from taking his revenge. He says, “Haste me to know ‘t, that I, with wings as swift As meditation or the thought of love May sweep to my revenge.
The place I decided to do my paper on is located in the living room of