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Analysis of William Shakespeare’s Hamlet

By NASRULLAH MAMBROL on July 25, 2020 • ( 2 )

With Shakespeare the dramatic resolution conveys us, beyond the man-made sphere of poetic justice, toward the ever-receding horizons of cosmic irony. This is peculiarly the case with Hamlet , for the same reasons that it excites such intensive empathy from actors and readers, critics and writers alike. There may be other Shakespearean characters who are just as memorable, and other plots which are no less impressive; but nowhere else has the outlook of the individual in a dilemma been so profoundly realized; and a dilemma, by definition, is an all but unresolvable choice between evils. Rather than with calculation or casuistry, it should be met with virtue or readiness; sooner or later it will have to be grasped by one or the other of its horns. These, in their broadest terms, have been—for Hamlet, as we interpret him—the problem of what to believe and the problem of how to act.

—Harry Levin, The Question of Hamlet

Hamlet is almost certainly the world’s most famous play, featuring drama’s and literature’s most fascinating and complex character. The many-sided Hamlet—son, lover, intellectual, prince, warrior, and avenger—is the consummate test for each generation’s leading actors, and to be an era’s defining Hamlet is perhaps the greatest accolade one can earn in the theater. The play is no less a proving ground for the critic and scholar, as successive generations have refashioned Hamlet in their own image, while finding in it new resonances and entry points to plumb its depths, perplexities, and possibilities. No other play has been analyzed so extensively, nor has any play had a comparable impact on our culture. The brooding young man in black, skull in hand, has moved out of the theater and into our collective consciousness and cultural myths, joining only a handful of comparable literary archetypes—Oedipus, Faust, and Don Quixote—who embody core aspects of human nature and experience. “It is we ,” the romantic critic William Hazlitt observed, “who are Hamlet.”

Hamlet also commands a crucial, central place in William Shakespeare’s dramatic career. First performed around 1600, the play stands near the midpoint of the playwright’s two-decade career as a culmination and new departure. As the first of his great tragedies, Hamlet signals a decisive shift from the comedies and history plays that launched Shakespeare’s career to the tragedies of his maturity. Although unquestionably linked both to the plays that came before and followed, Hamlet is also markedly exceptional. At nearly 4,000 lines, almost twice the length of Macbeth , Hamlet is Shakespeare’s longest and, arguably, his most ambitious play with an enormous range of characters—from royals to gravediggers—and incidents, including court, bedroom, and graveyard scenes and a play within a play. Hamlet also bristles with a seemingly inexhaustible array of ideas and themes, as well as a radically new strategy for presenting them, most notably, in transforming soliloquies from expositional and motivational asides to the audience into the verbalization of consciousness itself. As Shakespearean scholar Stephen Greenblatt has asserted, “In its moral complexity, psychological depth, and philosophical power, Hamlet seems to mark an epochal shift not only in Shakespeare’s own career but in Western drama; it is as if the play were giving birth to a whole new kind of literary subjectivity.” Hamlet, more than any other play that preceded it, turns its action inward to dramatize an isolated, conflicted psyche struggling to cope with a world that has lost all certainty and consolation. Struggling to reconcile two contradictory identities—the heroic man of action and duty and the Christian man of conscience—Prince Hamlet becomes the modern archetype of the self-divided, alienated individual, desperately searching for self-understanding and meaning. Hamlet must contend with crushing doubt without the support of traditional beliefs that dictate and justify his actions. In describing the arrival of the fragmentation and chaos of the modern world, Victorian poet and critic Matthew Arnold declared that “the calm, cheerfulness, the disinterested objectivity have disappeared, the dialogue of the mind with itself has commenced.” Hamlet anticipates that dialogue by more than two centuries.

Like all of Shakespeare’s plays, Hamlet makes strikingly original uses of borrowed material. The Scandinavian folk tale of Amleth, a prince called upon to avenge his father’s murder by his uncle, was first given literary form by the Danish writer Saxo the Grammarian in his late 12th century Danish History and later adapted in French in François de Belleforest’s Histoires tragiques (1570). This early version of the Hamlet story provided Shakespeare with the basic characters and relationships but without the ghost or the revenger’s uncertainty. In the story of Amleth there is neither doubt about the usurper’s guilt nor any moral qualms in the fulfillment of the avenger’s mission. In preChristian Denmark blood vengeance was a sanctioned filial obligation, not a potentially damnable moral or religious violation, and Amleth successfully accomplishes his duty by setting fire to the royal hall, killing his uncle, and proclaiming himself king of Denmark. Shakespeare’s more immediate source may have been a nowlost English play (c. 1589) that scholars call the Ur – Hamlet. All that has survived concerning this play are a printed reference to a ghost who cried “Hamlet, revenge!” and criticism of the play’s stale bombast. Scholars have attributed the Ur-Hamle t to playwright Thomas Kyd, whose greatest success was The Spanish Tragedy (1592), one of the earliest extant English tragedies. The Spanish Tragedy popularized the genre of the revenge tragedy, derived from Aeschylus’s Oresteia and the Latin plays of Seneca, to which Hamlet belongs. Kyd’s play also features elements that Shakespeare echoes in Hamlet, including a secret crime, an impatient ghost demanding revenge, a protagonist tormented by uncertainty who feigns madness, a woman who actually goes mad, a play within a play, and a final bloodbath that includes the death of the avenger himself. An even more immediate possible source for Hamlet is John Marston’s Antonio’s Revenge (1599), another story of vengeance on a usurper by a sensitive protagonist.

Whether comparing Hamlet to its earliest source or the handling of the revenge plot by Kyd, Marston, or other Elizabethan or Jacobean playwrights, what stands out is the originality and complexity of Shakespeare’s treatment, in his making radically new and profound uses of established stage conventions. Hamlet converts its sensational material—a vengeful ghost, a murder mystery, madness, a heartbroken maiden, a fistfight at her burial, and a climactic duel that results in four deaths—into a daring exploration of mortality, morality, perception, and core existential truths. Shakespeare put mystery, intrigue, and sensation to the service of a complex, profound epistemological drama. The critic Maynard Mack in an influential essay, “The World of Hamlet ,” has usefully identified the play’s “interrogative mode.” From the play’s opening words—“Who’s there?”—to “What is this quintessence of dust?” through drama’s most famous soliloquy—“To be, or not to be, that is the question.”— Hamlet “reverberates with questions, anguished, meditative, alarmed.” The problematic nature of reality and the gap between truth and appearance stand behind the play’s conflicts, complicating Hamlet’s search for answers and his fulfillment of his role as avenger.

Hamlet opens with startling evidence that “something is rotten in the state of Denmark.” The ghost of Hamlet’s father, King Hamlet, has been seen in Elsinore, now ruled by his brother, Claudius, who has quickly married his widowed queen, Gertrude. When first seen, Hamlet is aloof and skeptical of Claudius’s justifications for his actions on behalf of restoring order in the state. Hamlet is morbidly and suicidally disillusioned by the realization of mortality and the baseness of human nature prompted by the sudden death of his father and his mother’s hasty, and in Hamlet’s view, incestuous remarriage to her brother-in-law:

O that this too too solid flesh would melt, Thaw, and resolve itself into a dew! Or that the Everlasting had not fix’d His canon ’gainst self-slaughter! O God! God! How weary, stale, flat, and unprofitable Seem to me all the uses of this world! Fie on’t! ah, fie! ’Tis an unweeded garden That grows to seed; things rank and gross in nature Possess it merely. That it should come to this!

A recent student at the University of Wittenberg, whose alumni included Martin Luther and the fictional Doctor Faustus, Hamlet is an intellectual of the Protestant Reformation, who, like Luther and Faustus, tests orthodoxy while struggling to formulate a core philosophy. Brought to encounter the apparent ghost of his father, Hamlet alone hears the ghost’s words that he was murdered by Claudius and is compelled out of his suicidal despair by his pledge of revenge. However, despite the riveting presence of the ghost, Hamlet is tormented by doubts. Is the ghost truly his father’s spirit or a devilish apparition tempting Hamlet to his damnation? Is Claudius truly his father’s murderer? By taking revenge does Hamlet do right or wrong? Despite swearing vengeance, Hamlet delays for two months before taking any action, feigning madness better to learn for himself the truth about Claudius’s guilt. Hamlet’s strange behavior causes Claudius’s counter-investigation to assess Hamlet’s mental state. School friends—Rosencrantz and Guildenstern—are summoned to learn what they can; Polonius, convinced that Hamlet’s is a madness of love for his daughter Ophelia, stages an encounter between the lovers that can be observed by Claudius. The court world at Elsinore, is, therefore, ruled by trickery, deception, role playing, and disguise, and the so-called problem of Hamlet, of his delay in acting, is directly related to his uncertainty in knowing the truth. Moreover, the suspicion of his father’s murder and his mother’s sexual betrayal shatter Hamlet’s conception of the world and his responsibility in it. Pushed back to the suicidal despair of the play’s opening, Hamlet is paralyzed by indecision and ambiguity in which even death is problematic, as he explains in the famous “To be or not to be” soliloquy in the third act:

For who would bear the whips and scorns of time, Th’ oppressor’s wrong, the proud man’s contumely, The pangs of despis’d love, the law’s delay, The insolence of office, and the spurns That patient merit of th’ unworthy takes, When he himself might his quietus make With a bare bodkin? Who would these fardels bear, To grunt and sweat under a weary life, But that the dread of something after death— The undiscover’d country, from whose bourn No traveller returns—puzzles the will, And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o’er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry And lose the name of action.

The arrival of a traveling theatrical group provides Hamlet with the empirical means to resolve his doubts about the authenticity of the ghost and Claudius’s guilt. By having the troupe perform the Mousetrap play that duplicates Claudius’s crime, Hamlet hopes “to catch the conscience of the King” by observing Claudius’s reaction. The king’s breakdown during the performance seems to confirm the ghost’s accusation, but again Hamlet delays taking action when he accidentally comes upon the guilt-ridden Claudius alone at his prayers. Rationalizing that killing the apparently penitent Claudius will send him to heaven and not to hell, Hamlet decides to await an opportunity “That has no relish of salvation in’t.” He goes instead to his mother’s room where Polonius is hidden in another attempt to learn Hamlet’s mind and intentions. This scene between mother and son, one of the most powerful and intense in all of Shakespeare, has supported the Freudian interpretation of Hamlet’s dilemma in which he is stricken not by moral qualms but by Oedipal guilt. Gertrude’s cries of protest over her son’s accusations cause Polonius to stir, and Hamlet finally, instinctively strikes the figure he assumes is Claudius. In killing the wrong man Hamlet sets in motion the play’s catastrophes, including the madness and suicide of Ophelia, overwhelmed by the realization that her lover has killed her father, and the fatal encounter with Laertes who is now similarly driven to avenge a murdered father. Convinced of her son’s madness, Gertrude informs Claudius of Polonius’s murder, prompting Claudius to alter his order for Hamlet’s exile to England to his execution there.

Hamlet’s mental shift from reluctant to willing avenger takes place offstage during his voyage to England in which he accidentally discovers the execution order and then after a pirate attack on his ship makes his way back to Denmark. He returns to confront the inescapable human condition of mortality in the graveyard scene of act 5 in which he realizes that even Alexander the Great must return to earth that might be used to “stop a beer-barrel” and Julius Caesar’s clay to “stop a hole to keep the wind away.” This sobering realization that levels all earthly distinctions of nobility and acclaim is compounded by the shock of Ophelia’s funeral procession. Hamlet sustains his balance and purpose by confessing to Horatio his acceptance of a providential will revealed to him in the series of accidents on his voyage to England: “There’s a divinity that shapes our ends, / Roughhew them how we will.” Finally accepting his inability to control his life, Hamlet resigns himself to accept whatever comes. Agreeing to a duel with Laertes that Claudius has devised to eliminate his nephew, Hamlet asserts that “There’s a special providence in the fall of a sparrow. If it be now, ’tis not to come. If it be not to come, it will be now. If it be not now, yet it will come. The readiness is all.”

In the carnage of the play’s final scene, Hamlet ironically manages to achieve his revenge while still preserving his nobility and moral stature. It is the murderer Claudius who is directly or indirectly responsible for all the deaths. Armed with a poisonedtip sword, Laertes strikes Hamlet who in turn manages to slay Laertes with the lethal weapon. Meanwhile, Gertrude drinks from the poisoned cup Claudius intended to insure Hamlet’s death, and, after the remorseful Laertes blames Claudius for the plot, Hamlet, hesitating no longer, fatally stabs the king. Dying in the arms of Horatio, Hamlet orders his friend to “report me and my cause aright / To the unsatisfied” and transfers the reign of Denmark to the last royal left standing, the Norwegian prince Fortinbras. King Hamlet’s death has been avenged but at a cost of eight lives: Polonius, Ophelia, Rosencranz, Guildenstern, Laertes, Gertrude, Claudius, and Prince Hamlet. Order is reestablished but only by Denmark’s sworn enemy. Shakespeare’s point seems unmistakable: Honor and duty that command revenge consume the guilty and the innocent alike. Heroism must face the reality of the graveyard.

Fortinbras closes the play by ordering that Hamlet be carried off “like a soldier” to be given a military funeral underscoring the point that Hamlet has fallen as a warrior on a battlefield of both the duplicitous court at Elsinore and his own mind. The greatness of Hamlet rests in the extraordinary perplexities Shakespeare has discovered both in his title character and in the events of the play. Few other dramas have posed so many or such knotty problems of human existence. Is there a special providence in the fall of a sparrow? What is this quintessence of dust? To be or not to be?

Hamlet Oxford Lecture by Emma Smith

Analysis of William Shakespeare’s Plays

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A Modern Perspective: Hamlet

By Michael Neill

The great Russian director Vsevolod Meyerhold used to maintain that “if all the plays ever written suddenly disappeared and only Hamlet miraculously survived, all the theaters in the world would be saved. They could all put on Hamlet and be successful.” 1 Perhaps Meyerhold exaggerated because of his frustration—he was prevented from ever staging the tragedy by Soviet dictator Joseph Stalin, who apparently thought it too dangerous to be performed—but Meyerhold’s sense of Hamlet ’s extraordinary breadth of appeal is amply confirmed by its stage history. Praised by Shakespeare’s contemporaries for its power to “please all” as well as “to please the wiser sort,” 2 it provided his company with an immediate and continuing success. It was equally admired by popular audiences at the Globe on the Bankside, by academic playgoers “in the two Universities of Cambridge and Oxford,” and at court—where it was still in request in 1637, nearly forty years after its first performance.

In the four centuries since it was first staged, Hamlet has never lost its theatrical appeal, remaining today the most frequently performed of Shakespeare’s tragedies. At the same time, it has developed a reputation as the most intellectually puzzling of his plays, and it has already attracted more commentary than any other work in English except the Bible. Even today, when criticism stresses the importance of the reader’s role in “constructing” the texts of the past, there is something astonishing about Hamlet ’s capacity to accommodate the most bafflingly different readings. 3

In the early nineteenth century, for instance, Romantic critics read it as the psychological study of a prince too delicate and sensitive for his public mission; to later nineteenth-century European intellectuals, the hero’s anguish and self-reproach spoke so eloquently of the disillusionment of revolutionary failure that in czarist Russia “Hamletism” became the acknowledged term for political vacillation and disengagement. The twentieth century, not surprisingly, discovered a more violent and disturbing play: to the French poet Paul Valéry, the tragedy seemed to embody the European death wish revealed in the carnage and devastation of the First World War; in the mid-1960s the English director Peter Hall staged it as a work expressing the political despair of the nuclear age; for the Polish critic Jan Kott, as for the Russian filmmaker Gregori Kozintsev, the play became “a drama of a political crime” in a state not unlike Stalin’s Soviet empire; 4 while the contemporary Irish poet Seamus Heaney found in it a metaphor for the murderous politics of revenge at that moment devouring his native Ulster:

I am Hamlet the Dane,

skull handler, parablist,

smeller of rot

in the state, infused

with its poisons,

pinioned by ghosts

and affections

murders and pieties 5

Even the major “facts” of the play—the status of the Ghost, or the real nature of Hamlet’s “madness”—are seen very differently at different times. Samuel Johnson, for example, writing in the 1760s, had no doubt that the hero’s “madness,” a source of “much mirth” to eighteenth-century audiences, was merely “pretended,” but twentieth-century Hamlets onstage, even if they were not the full-fledged neurotics invented by Freud and his disciple Ernest Jones, were likely to show some signs of actual madness. Modern readings, too, while still fascinated by the hero’s intellectual and emotional complexities, are likely to emphasize those characteristics that are least compatible with the idealized “sweet prince” of the Victorians—the diseased suspicion of women, revealed in his obsession with his mother’s sexuality and his needless cruelty to Ophelia, his capacity for murderous violence (he dies with the blood of five people on his hands), and his callous indifference to the killing of such relative innocents as Polonius, Rosencrantz, and Guildenstern.

Hamlet ’s ability to adapt itself to the preconceptions of almost any audience, allowing the viewers, in the play’s own sardonic phrase, to “botch the words up fit to their own thoughts” ( 4.5.12 ), results partly from the boldness of its design. Over the sensationalism and rough energy of a conventional revenge plot is placed a sophisticated psychological drama whose most intense action belongs to the interior world of soliloquy: Hamlet agrees to revenge his father’s death at the urging of the Ghost, and thus steps into an old-fashioned revenge tragedy; but it is Hamlet’s inner world, revealed to us in his soliloquies (speeches addressed not to other characters but to the audience, as if the character were thinking aloud), that equally excites our attention. It is as if two plays are occurring simultaneously.

Although Hamlet is often thought of as the most personal of Shakespeare’s tragedies, Shakespeare did not invent the story of revenge that the play tells. The story was an ancient one, belonging originally to Norse saga. The barbaric narrative of murder and revenge—of a king killed by his brother, who then marries the dead king’s widow, of the young prince who must pretend to be mad in order to save his own life, who eludes a series of traps laid for him by his wicked uncle, and who finally revenges his father’s death by killing the uncle—had been elaborated in the twelfth-century Historiae Danicae of Saxo Grammaticus, and then polished up for sixteenth-century French readers in François de Belleforest’s Histoires Tragiques. It was first adapted for the English theater in the late 1580s in the form of the so-called Ur- Hamlet , a play attributed to Thomas Kyd (unfortunately now lost) that continued to hold the stage until at least 1596; and it may well be that when Shakespeare began work on Hamlet about 1599, he had no more lofty intention than to polish up this slightly tarnished popular favorite. But Shakespeare’s wholesale rewriting produced a Hamlet so utterly unlike Kyd’s work that its originality was unmistakable even to playgoers familiar with Kyd’s play.

The new tragedy preserved the outline of the old story, and took over Kyd’s most celebrated contributions—a ghost crying for revenge, and a play-within-the-play that sinisterly mirrors the main plot; but by focusing upon the perplexed interior life of the hero, Shakespeare gave a striking twist to what had been a brutally straightforward narrative. On the levels of both revenge play and psychological drama, the play develops a preoccupation with the hidden, the secret, and the mysterious that does much to account for its air of mystery. In Maynard Mack’s words, it is “a play in the interrogative mood” whose action deepens and complicates, rather than answers, the apparently casual question with which it begins, “Who’s there?” 6

“The Cheer and Comfort of Our Eye”: Hamlet and Surveillance

The great subject of revenge drama, before Hamlet , was the moral problem raised by private, personal revenge: i.e., should the individual take revenge into his own hands or leave it to God? Kyd’s The Spanish Tragedy (and, one assumes, his lost play about Hamlet as well) captured on the stage the violent contradictions of the Elizabethan attitudes toward this form of “wild justice.” The surprising thing about Shakespeare’s Hamlet is that it barely glances at the ethical argument raised by a hero’s taking justice into his own hands—an argument central to The Spanish Tragedy. Of course, the controversy about the morality of private revenge must have provided an important context for the original performances of the play, giving an ominous force to Hamlet’s fear that the spirit he has seen “may be a devil” luring him to damnation ( 2.2.628 ). But Shakespeare simply takes this context for granted, and goes on to discover a quite different kind of political interest in his plot—one that may help to explain the paranoiac anxieties it was apparently capable of arousing in a dictator like Stalin.

Turning away from the framework of ethical debate, Shakespeare used Saxo’s story of Hamlet’s pretended madness and delayed revenge to explore the brutal facts about survival in an authoritarian state. Here too the play could speak to Elizabethan experience, for we should not forget that the glorified monarchy of Queen Elizabeth I was sustained by a vigorous network of spies and informers. Indeed, one portrait of Elizabeth shows her dressed in a costume allegorically embroidered with eyes and ears, partly to advertise that her watchers and listeners were everywhere. Shakespeare’s Elsinore, too—the castle governed by Claudius and home to Hamlet—is full of eyes and ears; and behind the public charade of warmth, magnanimity, and open government that King Claudius so carefully constructs, the lives of the King’s subjects are exposed to merciless inquisition.

It is symbolically appropriate that the play should begin with a group of anxious watchers on the battlemented walls of the castle, for nothing and no one in Claudius’s Denmark is allowed to go “unwatched”: every appearance must be “sifted” or “sounded,” and every secret “opened.” The King himself does not hesitate to eavesdrop on the heir apparent; and his chief minister, Polonius, will meet his death lurking behind a curtain in the same squalid occupation. But they are not alone in this: the wholesale corruption of social relationships, even the most intimate, is an essential part of Shakespeare’s chilling exposure of authoritarian politics. Denmark, Hamlet informs Rosencrantz and Guildenstern accurately enough, is “a prison” ( 2.2.262 ); and the treachery of these former school friends of Hamlet illustrates how much, behind the mask of uncle Claudius’s concern, his court is ruled by the prison-house customs of the stool pigeon and the informer. How readily first Ophelia and then Gertrude allow themselves to become passive instruments of Polonius’s and Claudius’s spying upon the Prince; how easily Rosencrantz and Guildenstern are persuaded to put their friendship with Hamlet at the disposal of the state. Even Laertes’s affectionate relationship with his sister is tainted by a desire to install himself as a kind of censor, a “watchman” to the fortress of her heart ( 1.3.50 ). In this he is all too like his father, Polonius, who makes himself an interiorized Big Brother, engraving his cautious precepts on Laertes’s memory ( 1.3.65 ff.) and telling Ophelia precisely what she is permitted to think and feel:

I do not know, my lord, what I should think.

Marry, I will teach you. Think yourself a baby. . . .

( 1.3.113 –14)

Polonius is the perfect inhabitant of this court: busily policing his children’s sexuality, he has no scruple about prostituting his daughter in the interests of state security, for beneath his air of senile wordiness and fatherly anxiousness lies an ingrained cynicism that allows him both to spy on his son’s imagined “drabbing” in Paris and to “loose” his daughter as a sexual decoy to entrap the Prince.

Hamlet’s role as hero at once sets him apart from this prison-house world and yet leads him to become increasingly entangled in its web of surveillance. To the admiring Ophelia, Hamlet remains “Th’ observed of all observers” ( 3.1.168 ), but his obvious alienation has resulted in his being “observed” in a much more sinister sense. He is introduced in Act 1, scene 2, as a mysteriously taciturn watcher and listener whose glowering silence calls into question the pomp and bustle of the King’s wordy show, just as his mourning blacks cast suspicion on the showy costumes of the court. Yet he himself, we are quickly made to realize, is the object of a dangerously inquisitive stare—what the King smoothly calls “the cheer and comfort of our eye” ( 1.2.120 ).

The full meaning of that silky phrase will be disclosed on Claudius’s next appearance, when, after Hamlet has met the Ghost and has begun to appear mad, Claudius engages Rosencrantz and Guildenstern to probe his nephew’s threatening transformation ( 2.2.1 –18). “Madness in great ones,” the King insists, “must not unwatched go” ( 3.1.203 ):

There’s something in his soul

O’er which his melancholy sits on brood,

And I do doubt the hatch and the disclose

Will be some danger. ( 3.1.178 –81)

But of course Hamlet’s madness is as much disguise as it is revelation; and while the Prince is the most ruthlessly observed character in the play, he is also its most unremitting observer. Forced to master his opponent’s craft of smiling villainy, he becomes not merely an actor but also a dramatist, ingeniously using a troupe of traveling players, with their “murder in jest,” to unmask the King’s own hypocritical “show.”

The scene in which the Players present The Murder of Gonzago , the play that Hamlet calls “The Mousetrap,” brings the drama of surveillance to its climax. We in the audience become participants in the drama’s claustrophobic economy of watching and listening, as our attention moves to and fro among the various groups on the stage, gauging the significance of every word, action, and reaction, sharing the obsessional gaze that Hamlet describes to Horatio:

Observe my uncle. . . . Give him heedful note,

For I mine eyes will rivet to his face,

And, after, we will both our judgments join

In censure of his seeming. ( 3.2.85 –92)

“The Mousetrap” twice reenacts Claudius’s murder of his brother—first in the dumb show and then in the play proper—drawing out the effect so exquisitely that the King’s enraged interruption produces an extraordinary discharge of tension. An audience caught up in Hamlet’s wild excitement is easily blinded to the fact that this seeming climax is, in terms of the revenge plot, at least, a violent anticlimax. Kyd’s Spanish Tragedy had developed the play-within-the-play as a perfect vehicle for the ironies of revenge, allowing the hero to take his actual revenge in the very act of staging the villain’s original crime. Hamlet’s play, however, does not even make public Claudius’s forbidden story. Indeed, while it serves to confirm the truth of what the Ghost has said, the only practical effect of the Prince’s theatrical triumph is to hand the initiative decisively to Claudius. In the scenes that follow, Hamlet shows himself capable of both instinctive violence and of cold-blooded calculation, but his behavior is purely reactive. Otherwise he seems oddly paralyzed by his success—a condition displayed in the prayer scene ( 3.3.77 –101) where he stands behind the kneeling Claudius with drawn sword, “neutral to his will and matter,” uncannily resembling the frozen revenger described in the First Player’s speech about Pyrrhus standing over old Priam ( 2.2.493 ff.). All Hamlet can do is attempt to duplicate the triumph of “The Mousetrap” in his confrontation with Gertrude by holding up to her yet another verbal mirror, in which she is forced to gaze in horror on her “inmost part” ( 3.4.25 ).

Hamlet’s sudden loss of direction after the “Mousetrap” scene lasts through the fourth act of the play until he returns from his sea voyage in that mysteriously altered mood on which most commentators remark—a kind of fatalism that makes him the largely passive servant of a plot that he now does little to advance or impede. It is as if the springing of the “Mousetrap” leaves Hamlet with nowhere to go—primarily because it leaves him with nothing to say. But from the very beginning, his struggle with Claudius has been conceived as a struggle for the control of language—a battle to determine what can and cannot be uttered.

Speaking the Unspeakable: Hamlet and Memory

If surveillance is one prop of the authoritarian state, the other is its militant regulation of speech. As Claudius flatters the court into mute complicity with his theft of both the throne and his dead brother’s wife, he genially insists “You cannot speak of reason to the Dane / And lose your voice” ( 1.2.44 –45); but an iron wall of silence encloses the inhabitants of his courtly prison. While the flow of royal eloquence muffles inconvenient truths, ears here are “fortified” against dangerous stories ( 1.1.38 ) and lips sealed against careless confession: “Give thy thoughts no tongue,” Polonius advises Laertes, “. . . Give every man thy ear, but few thy voice . . . reserve thy judgment” ( 1.3.65 –75). Hamlet’s insistent warnings to his fellow watchers on the battlements “Never to speak of this that you have seen” ( 1.5.174 ) urge the same caution: “Let it be tenable in your silence still . . . Give it an understanding but no tongue” ( 1.2.269 –71). What for them is merely common prudence, however, is for the hero an absolute prohibition and an intolerable burden: “. . . break, my heart, for I must hold my tongue” ( 1.2.164 ).

Hamlet has only two ways of rupturing this enforced silence. The “pregnant” wordplay of his “mad” satire, as Polonius uneasily recognizes ( 2.2.226 –27), is one way, but it amounts to no more than inconclusive verbal fencing. Soliloquy is a more powerful resource because, since it is heard by no one (except the audience), its impenetrable privacy defines Hamlet’s independence from the corrupt public world. From his first big speech in the play, he has made such hiddenness the badge of his resistance to the King and Queen: “I have that within which passes show” ( 1.2.88 ), he announces. What is at issue here is not simply a contrast between hypocrisy and true grief over the loss of his king and father: rather, Hamlet grounds his very claim to integrity upon a notion that true feeling can never be expressed: it is only “that . . . which passes show ” that can escape the taint of hypocrisy, of “acting.” It is as if, in this world of remorseless observation, the self can survive only as a ferociously defended secret, something treasured for the very fact of its hiddenness and impenetrability. Unlike Gertrude, unlike Ophelia, unlike those absorbent “sponges” Rosencrantz and Guildenstern, Hamlet must insist he is not made of “penetrable stuff.”

If Hamlet’s “antic disposition” is the guardian of his rebellious inwardness, soliloquy is where this inwardness lives, a domain which (if we except Claudius’s occasional flickers of conscience) no other character is allowed to inhabit. Hamlet’s soliloquies bulk so large in our response to the play because they not only guarantee the existence of the hero’s secret inner life; they also, by their relentless self-questioning, imply the presence of still more profoundly secret truths “hid . . . within the center” ( 2.2.170 –71): “I do not know / Why yet I live to say ‘This thing’s to do,’ / Sith I have cause, and will, and strength, and means / To do ’t” ( 4.4.46 –49). The soliloquies are the focus of the play’s preoccupation with speaking and silence. Hamlet is set apart from those around him by his access to this region of private utterance: in it he can, as it were, “be bounded in a nutshell and count [himself] a king of infinite space” ( 2.2.273 –74).

Yet there is a paradox here: the isolation of soliloquy is at once his special strength and the source of peculiar anguish. It saves him from the fate of Ophelia, who becomes “Divided from herself and her fair judgment” ( 4.5.92 ) by her grief at Polonius’s death and hasty burial; accustomed to speak only in the voice that others allow her, dutifully resolved to “think nothing, my lord” ( 3.2.124 ), she is left with no language other than the disconnected fragments of her madness to express outrage at a murder which authority seems determined to conceal. Hamlet, by contrast, finds in soliloquy an arena where the unspeakable can be uttered. But the very fact that these are words that others do not hear also makes soliloquy a realm of noncommunication, of frustrating silence—a prison as well as a fortress in which the speaker beats his head unavailingly against the walls of his own cell. Thus the soliloquy that ends Act 2 reproaches itself for a kind of speechlessness—the mute ineffectuality of a “John-a-dreams,” who, unlike the Player, “can say nothing”—and at the same time mocks itself as a torrent of empty language, a mere unpacking of the heart with words ( 2.2.593 –616). For all their eloquence, the soliloquies serve in the end only to increase the tension generated by the pressure of forbidden utterance.

It is from this pressure that the first three acts of the play derive most of their extraordinary energy; and the energy is given a concrete dramatic presence in the form of the Ghost. The appearance of a ghost demanding vengeance was a stock device borrowed from the Roman playwright Seneca; and the Ur- Hamlet had been notorious for its ghost, shrieking like an oysterwife, “Hamlet, revenge!” But the strikingly unconventional thing about Shakespeare’s Ghost is its melancholy preoccupation with the silenced past and its plangent cry of “Remember me” ( 1.5.98 ), which makes remembrance seem more important than revenge. “The struggle of humanity against power,” the Czech novelist Milan Kundera has written, “is the struggle of memory against forgetfulness”; and this Ghost, which stands for all that has been erased by the bland narratives of King Claudius, is consumed by the longing to speak that which power has rendered unspeakable. The effect of the Ghost’s narrative upon Hamlet is to infuse him with the same desire; indeed, once he has formally inscribed its watchword—“Remember me”—on the tables of his memory, he is as if possessed by the Ghost, seeming to mime its speechless torment when he appears to Ophelia, looking “As if he had been loosèd out of hell / To speak of horrors” ( 2.1.93 –94).

For all its pathos of silenced longing, the Ghost remains profoundly ambivalent, and not just because Elizabethans held such contradictory beliefs about ghosts. 7 The ambivalence is dramatized in a particularly disturbing detail: as the Ghost pours his story into Hamlet’s ear (the gesture highlighted by the Ghost’s incantatory repetition of “hear” and “ear”), we become aware of an uncanny parallel between the Ghost’s act of narration and the murder the Ghost tells about:

’Tis given out that, sleeping in my orchard,

A serpent stung me. So the whole ear of Denmark

Is by a forgèd process of my death

Rankly abused. . . .

Upon my secure hour thy uncle stole

With juice of cursèd hebona in a vial

And in the porches of my ears did pour

The leprous distilment. . . . ( 1.5.42 –71)

If Claudius’s propaganda has abused “the whole ear of Denmark” like a second poisoning, the Ghost’s own story enters Hamlet’s “ears of flesh and blood” (line 28) like yet another corrosive. The fact that it is a story that demands telling, and that its narrator is “an honest ghost,” cannot alter the fact that it will work away in Hamlet’s being like secret venom until he in turn can vent it in revenge.

The “Mousetrap” play is at once a fulfillment and an escape from that compulsion. It gives, in a sense, a public voice to the Ghost’s silenced story. But it is only a metaphoric revenge. Speaking daggers and poison but using none, Hamlet turns out only to have written his own inability to bring matters to an end. It is no coincidence, then, that he should foresee the conclusion of his own tragedy as being the product of someone else’s script: “There’s a divinity that shapes our ends, / Rough-hew them how we will” ( 5.2.11 –12).

“To Tell My Story”: Unfinished Hamlet

In the last scene of the play, the sense that Hamlet’s story has been shaped by Providence—or by a playwright other than Hamlet—is very strong: the swordplay with Laertes is a theatrical imitation of dueling that becomes the real thing, sweetly knitting up the paralyzing disjunction between action and acting; at the same time, revenge is symmetrically perfected in the spectacle of Claudius choking on “a poison tempered by himself,” Laertes “justly killed with his own treachery,” and the Queen destroyed in the vicious pun that has her poisoned by Claudius’s “union.” Yet Hamlet’s consoling fatalism does not survive the final slaughter. Instead, he faces his end tormented by a sense of incompleteness, of a story still remaining to be told:

You that look pale and tremble at this chance,

That are but mutes or audience to this act,

Had I but time (as this fell sergeant, Death,

Is strict in his arrest), O, I could tell you—

But let it be. ( 5.2.366 –70)

Within a few lines Hamlet’s distinctive voice, which has dominated his own tragedy like that of no other Shakespearean hero, will be cut off in midsentence by the arrest of death—and “the rest is silence” ( 5.2.395 ).

The play is full of such unfinished, untold, or perhaps even untellable tales, from Barnardo’s interrupted story of the Ghost’s first appearance to the Player’s unfinished rendition of “Aeneas’ tale to Dido” and the violently curtailed performance of The Murder of Gonzago. In the opening scene the Ghost itself is cut off, before it can speak, by the crowing of a cock; and when it returns and speaks to Hamlet, it speaks first about a story it cannot tell:

But that I am forbid

To tell the secrets of my prison house,

I could a tale unfold whose lightest word

Would harrow up thy soul, freeze thy

young blood . . . ( 1.5.18 –21)

Even the tale it is permitted to unfold is, ironically, one of murderous interruption and terrible incompleteness:

Cut off , even in the blossoms of my sin,

Unhouseled, disappointed, unaneled,

No reck’ning made, but sent to my account

With all my imperfections on my head.

( 1.5.83 –86)

Act 5 at last produces the formal reckoning of this imperfect account, yet it leaves Hamlet once again echoing the Ghost’s agony of frustrated utterance.

But what, we might ask, can there be left to tell, beyond what we have already seen and heard? It seems to be part of the point, a last reminder of Hamlet’s elusive “mystery,” that we shall never know. The Prince has, of course, insisted that Horatio remain behind “to tell my story”; but the inadequacy of Horatio’s response only intensifies the sense of incompleteness. All that his stolid imagination can offer is that bald plot summary of “accidental judgments [and] casual slaughters,” which, as Anne Barton protests, leaves out “everything that seems important” about the play and its protagonist. 8 Nor is Fortinbras’s attempt to make “The soldier’s music and the rite of war / Speak loudly for [Hamlet]” ( 5.2.445 –46) any more satisfactory, for the military strongman’s cannon are no better tuned to speak for Hamlet than the player’s pipe.

It would be a mistake, of course, to underestimate the dramatic significance of Horatio’s story or of the “music and the rite of war”—these last gestures of ritual consolation—especially in a play where, beginning with the obscene confusion of Claudius’s “mirth in funeral” and including Polonius’s “hugger-mugger” interment and Ophelia’s “maimed rites,” we have seen the dead repeatedly degraded by the slighting of their funeral pomps. In this context it matters profoundly that Hamlet alone is accorded the full dignity of obsequies suited to his rank, for it signals his triumph over the oblivion to which Claudius is fittingly consigned, and, in its gesture back toward Hamlet’s story as Shakespeare has told it (so much better than Horatio does), it brings Hamlet’s story to a heroic end.

“The Undiscovered Country”: Hamlet and the Secrets of Death

How we respond to the ending of Hamlet —both as revenge drama and as psychological study—depends in part on how we respond to yet a third level of the play—that is, to Hamlet as a prolonged meditation on death. The play is virtually framed by two encounters with the dead: at one end is the Ghost, at the other a pile of freshly excavated skulls. The skulls (all but one) are nameless and silent; the Ghost has an identity (though a “questionable” one) and a voice; yet they are more alike than might at first seem. For this ghost, though invulnerable “as the air,” is described as a “dead corse,” a “ghost . . . come from the grave,” its appearance suggesting a grotesque disinterment of the buried king ( 1.4.52 –57; 1.5.139 ). The skulls for their part may be silent, but Hamlet plays upon each to draw out its own “excellent voice” (“That skull had a tongue in it and could sing once”; 5.1.77 –78), just as he engineered that “miraculous organ” of the Ghost’s utterance, the “Mousetrap.”

There is a difference, however: Hamlet’s dressing up the skulls with shreds of narrative (“as if ’twere Cain’s jawbone . . . This might be the pate of a politician . . . or of a courtier . . . Why may not that be the skull of a lawyer”; 5.1.78 –101) only serves to emphasize their mocking anonymity, until the Gravedigger offers to endow one with a precise historical identity: “This same skull . . . was . . . Yorick’s skull, the King’s jester” ( 5.1.186 –87). Hamlet is delighted: now memory can begin its work of loving resurrection. But how does the Gravedigger know? The answer is that of course he cannot; and try as Hamlet may to cover this bare bone with the flesh of nostalgic recollection, he cannot escape the wickedly punning reminder of “this same skull” that all skulls indeed look frightfully the same. Ironically, even Yorick’s distinctive trademark, his grin, has become indistinguishable from the mocking leer of that grand jester of the Danse Macabre , Death the Antic: “Where be your gibes now? . . . Not one now to mock your own grinning?”; so that even as he holds it, the skull’s identity appears to drain away into the anonymous memento mori sent to adorn “my lady’s” dressing table. It might as well be Alexander the Great’s; or Caesar’s; or anyone’s. It might as well be what it will one day become—a handful of clay, fit to stop a beer barrel.

It is significant that (with the trivial exception of 4.4) the graveyard scene is the only one to take place outside the confines of Claudius’s castle-prison. As the “common” place to which all stories lead, the graveyard both invites narrative and silences it. Each blank skull at once poses and confounds the question with which the tragedy itself began, “Who’s there?,” subsuming all human differences in awful likeness: “As you are now,” goes the tombstone verse, “so once was I / As I am now, so shall you be.” In the graveyard all stories collapse into one reductive history (“Alexander died, Alexander was buried, Alexander returneth to dust”; 5.1.216 –17). In this sense the Gravedigger is the mocking counterpart of the Player: and the houses of oblivion that gravediggers make challenge the players’ memorial art by lasting “till doomsday” ( 5.1.61 ). Hamlet shares with the Gravedigger the same easy good-fellowship he extends to the play’s other great outsider, the First Player; but the Gravedigger asserts a more sinister kind of intimacy with his claim to have begun his work “that very day that young Hamlet was born” ( 5.1.152 –53). In this moment he identifies himself as the Prince’s mortal double, the Sexton Death from the Danse Macabre who has been preparing him a grave from the moment of birth.

If there is a final secret to be revealed, then, about that “undiscovered country” on which Hamlet’s imagination broods, it is perhaps only the Gravedigger’s spade that can uncover it. For his digging lays bare the one thing we can say for certain lies hidden “within” the mortal show of the flesh—the emblems of Death himself, that Doppelgänger who shadows each of us as the mysterious Lamord ( La Mort ) shadows Laertes. If there is a better story, one that would confer on the rough matter of life the consolations of form and significance, it is, the play tells us, one that cannot finally be told; for it exists on the other side of language, to be tantalizingly glimpsed only at the point when Hamlet is about to enter the domain of the inexpressible. The great and frustrating achievement of this play, its most ingenious and tormenting trick, the source of its endlessly belabored mystery, is to persuade us that such a story might exist, while demonstrating its irreducible hiddenness. The only story Hamlet is given is that of a hoary old revenge tragedy, which he persuades himself (and us) can never denote him truly; but it is a narrative frame that nothing (not even inaction) will allow him to escape. The story of our lives, the play wryly acknowledges, is always the wrong story; but the rest, after all, is silence.

Dmitri Shostakovich, Testimony: The Memoirs of Dmitri Shostakovich , as related to and edited by Solomon Volkow, trans. Antonina W. Bouis (London: Faber, 1981), p. 84.
See F. E. Halliday, A Shakespeare Companion, 1564–1964 (Harmondsworth: Penguin, 1964), pp. 435, 209; see also pp. 262 and 403.
The most lucid guide to this critical labyrinth, though he deals with no work later than 1960, is probably still Morris Weitz, Hamlet and the Philosophy of Literary Criticism (London: Faber, 1964).
Jan Kott, Shakespeare Our Contemporary (London: Methuen, 1964).
Excerpt from “Viking Dublin: Trial Pieces” from Poems, 1965–1975 by Seamus Heaney. Copyright © 1975, 1980 by Seamus Heaney. Reprinted by permission of Farrar, Straus and Giroux, Inc. Permission for use of these lines from North by Seamus Heaney, published by Faber and Faber Limited, is also acknowledged.
See Mack’s classic essay, “The World of Hamlet,” Yale Review 41 (1952): 502–23; Mack’s approach is significantly extended in Harry Levin’s The Question of Hamlet (New York: Oxford University Press, 1959).
The most balanced treatment of this and other contentious historical issues in the play is in Roland M. Frye, The Renaissance Hamlet (Princeton: Princeton University Press, 1984).
Introduction to T. J. B. Spencer, ed., Hamlet (Harmondsworth: Penguin, 1980), p. 52. See also James L. Calderwood’s To Be and Not To Be: Negation and Meta-drama in “Hamlet” (New York: Columbia University Press, 1983).

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Exploring the evidence that the works of Shakespeare were written by Edward de Vere, 17th Earl of Oxford

The Shakespeare Plays / Hamlet

Considered the best work by the best writer, ever!

Whether you like brilliant ruminations on life and death or are more a fan of murder and ghosts and screaming at your mother and insanity and poisonings and stabbings and poisoned stabbings, Hamlet has got it all. And it’s got much much more when seen as the work (and practically the life) of the Earl of Oxford.

What exactly is the Ghost, and from where?

Why does Hamlet wait so long to act?

What drives Ophelia insane?

The main themes of Hamlet include

Rashness vs. Thinking

Plot Summary

Shakespeare’s Hamlet is a tragedy that delves into themes of treachery, revenge, moral corruption, and the nature of existence and of death. The play is set in Denmark and follows the story of Prince Hamlet.

The play opens with the ghost of King Hamlet appearing to guards at Elsinore Castle. The ghost reveals to his son, Prince Hamlet, that he was murdered by his brother, Claudius, who has now taken the throne and married Queen Gertrude, Hamlet’s mother. The ghost urges Hamlet to avenge his death.

Hamlet feigns madness to investigate and plots to kill Claudius. His erratic behavior confuses and alarms those around him, including his girlfriend Ophelia, daughter of Polonius, the lord chamberlain. Polonius believes Hamlet’s madness is due to his love for Ophelia. Hamlet often reveals his torment in eloquent soliloquies.

Hamlet stages a play, “The Mousetrap,” enacting his father’s murder to provoke an expression of guilt from Claudius. Claudius’s reaction confirms his guilt to Hamlet, who decides to kill him. However, Hamlet hesitates and misses his chance, killing Polonius instead by mistake when he hides behind a curtain.

Ophelia, stricken by her father’s death and Hamlet’s behavior, descends into madness and drowns. Her brother Laertes returns to Denmark to avenge Polonius’s death. Hamlet returns from exile in England and confronts actual death in a graveyard and Ophelia’s funeral. Laertes conspires with Claudius to kill Hamlet in a rigged duel. They plan to poison the tip of Laertes’s sword and prepare a poisoned drink for Hamlet.

During the duel, both Hamlet and Laertes are wounded by the poisoned sword. Queen Gertrude accidentally drinks the poisoned wine and dies. In his dying moments, Laertes reveals Claudius’s plot. Enraged, Hamlet finally kills Claudius.

Hamlet, dying from the poison, names Fortinbras of Norway as his successor. The play ends with Fortinbras arriving to take control of Denmark and ordering a military funeral for Hamlet.

Hamlet can be dated between 1586 when all the major sources were available and 1602 when it was entered in the Stationers’ Register.

What works inspired the author of Hamlet ?

The “Ur-Hamlet” (c. 1589). A mythical early Hamlet play for which there is no direct evidence. Its existence was created by orthodox scholars to explain away “too-early” references to the Shakespeare play.
The Precepts of William Cecil, Lord Burghley . A private collection of aphorisms from a father (William Cecil, Lord Treasurer of England) to his son which provided inspiration for “To thine own self be true” and other famous lines from the play.
The life of Edward de Vere. Events such as the death of his father and “hasty” remarriage of his mother, the relationship with William Cecil who was the model for Polonius, the pirate attack and numerous other references closely follow instances in de Vere’s life.

Act by Act Analysis and more evidence for Oxford's authorship

Michael Delahoyde, Hamlet , Overview and Act by Act. Visit the website of Professor Michael Delahoyde, host of our series, for an act by act analysis and full treatment of Oxfordian themes in the play, plus a filmography and more.

Learn more!

Eddi Jolly – “Dating Shakespeare’s Hamlet .” The Oxfordian 2 (1999): 11-23.

Eddi Jolly – “The Tragedy of Hamlet.” In Dating Shakespeare’s Play’s . Ed. Kevin Gilvary. Tunbridge Wells, UK: Parapress, 2010. 379-395.

Earl Showerman – “Orestes and Hamlet: From Myth to Masterpiece, Part I.” The Oxfordian 7 (2004): 89-114. [“Part II” unpublished.]

Richard Whalen – Hamlet’s Sources and Influences, and Its “Forerunners” by Oxford. Shakespeare Oxford Newsletter: Vol. 54/1 (Winter 2018), 1, 19-31.

Christopher Paul – Oxford, Hamlet, and the Pirates: the naked truth. Shakespeare Oxford Newsletter: Vol. 40/1: 01-5 (2004, Winter).

Tom Regnier – The Law in Hamlet: Death, Property, and the Pursuit of Justice. Brief Chronicles, v. 3 (2011).

Ren Draya – The Three Queens of Hamlet. Shakespeare Oxford Newsletter: Vol. 54/1 (Winter 2018), 32-36.

Yambert, Karl – “Oxford’s Bible and Hamlet’s Biblical Allusions.” The Shakespeare Oxford Newsletter 60.2 (Spring 2024): 15-24.

Farina, William. De Vere as Shakespeare: An Oxfordian Reading of the Canon . Jefferson, NC: McFarland and Co., 2006. 195-200.

Gontar, David P. “Hamlet Made Simple.” In Hamlet Made Simple and Other Essays . Nashville: New English Review Press, 2013. 377-415. Gontar focuses on Hamlet’s possible doubt about his own paternity: Claudius? Might explain much.

Beauclerk, Charles. Shakespeare’s Lost Kingdom . NY: Grove Press, 2010.

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‘To be or not to be’: Hamlet’s Humanistic Quaestio

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Vanessa Lim, ‘To be or not to be’: Hamlet’s Humanistic Quaestio , The Review of English Studies , Volume 70, Issue 296, September 2019, Pages 640–658, https://doi.org/10.1093/res/hgz005

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Hamlet’s ‘To be or not to be’ speech has long been the subject of intense scholarly attention. By situating the speech against the backdrop of classical and Renaissance rhetorical theory, this essay demonstrates that there is still much more to be said about it. The speech ostensibly examines a quaestio infinita or a thesis , and follows the rhetorical rule that the right way to do so is by the invocation of commonplaces. This reading of Hamlet’s speech is not only consistent with Shakespeare’s characterization of the university-educated prince, who frequently invokes commonplaces, but also has significant implications for our understanding of the play and Shakespeare’s own practice as a writer. The book that Hamlet is reading could well be his own commonplace collection, and it is perhaps in looking up his entries under the heading of ‘Death’ that Hamlet finds what he needs in order to examine his quaestio .

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Home — Essay Samples — Literature — Plays — Hamlet

Essays on Hamlet

Hamlet essay topics and outline examples, essay title 1: the tragic hero in "hamlet": analyzing the complex character of prince hamlet.

Thesis Statement: This essay delves into the character of Prince Hamlet in Shakespeare's "Hamlet," examining his tragic flaws, internal conflicts, and the intricate web of relationships that contribute to his downfall, ultimately highlighting his status as a classic tragic hero.

Introduction
Defining Tragic Heroes: Characteristics and Literary Tradition
The Complex Psychology of Prince Hamlet: Ambiguity, Doubt, and Melancholy
The Ghost's Revelation: Hamlet's Quest for Justice and Revenge
The Theme of Madness: Feigned or Real?
Hamlet's Relationships: Ophelia, Gertrude, Claudius, and Horatio
The Tragic Climax: The Duel, Poisoned Foils, and Fatal Consequences

Essay Title 2: "Hamlet" as a Reflection of Political Intrigue: Power, Corruption, and the Tragedy of Denmark

Thesis Statement: This essay explores the political dimensions of Shakespeare's "Hamlet," analyzing the themes of power, corruption, and political manipulation as portrayed in the play, and their impact on the fate of the characters and the kingdom of Denmark.

The Political Landscape of Denmark: Claudius's Ascension to the Throne
The Machiavellian Villainy of Claudius: Murder, Deception, and Ambition
Hamlet's Struggle for Justice: The Role of Political Morality
The Foils of Polonius and Laertes: Pawns in Political Games
The Fate of Denmark: Chaos, Rebellion, and the Climactic Tragedy
Shakespeare's Political Commentary: Lessons for Society

Essay Title 3: "Hamlet" in a Contemporary Context: Adaptations, Interpretations, and the Play's Enduring Relevance

Thesis Statement: This essay examines modern adaptations and interpretations of "Hamlet," exploring how the themes, characters, and dilemmas presented in the play continue to resonate with audiences today, making "Hamlet" a timeless and relevant work of literature.

From Stage to Screen: Iconic Film and Theater Productions of "Hamlet"
Contemporary Readings: Gender, Race, and Identity in "Hamlet" Interpretations
Psychological and Existential Interpretations: Hamlet's Inner Turmoil in the Modern World
Relevance in the 21st Century: Themes of Revenge, Justice, and Moral Dilemma
Adapting "Hamlet" for New Audiences: Outreach, Education, and Cultural Engagement
Conclusion: The Timelessness of "Hamlet" and Its Place in Literature

Hamlet: a Eulogy for The Tragic Hero

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How Does Hamlet Change Over Time

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The Tragic Story of Hamlet

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"Act": The Theme of "Acting" in Hamlet

The question of hamlet's madness, analysis of ophelia's story through the context of gender and madness, death and revenge in hamlet, a play by william shakespeare, existentialism as a part of hamlet, revenge and its consequences in hamlet, claudius as the master of manipulation in hamlet, the important theme of madness in hamlet by william shakespeare, trickery and deception in hamlet by william shakespeare, the role of grief in shakespeare’s hamlet, reflection on the act 2 of shakespeare’s hamlet, hamlet by william shakespeare: the impact of parents on their children, the relationship between hamlet and horatio, revenge and justice in william shakespeare’s hamlet, justice and revenge in shakespeare's hamlet, hamlet's intelligence is the factor of his procrastination nature, the dishonesty of the ghost in hamlet, king lear and hamlet: freudian interpretation of the two plays, hamlet's procrastination: a study on his unwillingness to act, shakespeare's use of machiavellian politics in hamlet.

1603, William Shakespeare

Play; Shakespearean tragedy

Hamlet, Claudius, Gertrude, Polonius

The play Hamlet is the most cited work in the English language and is often included in the lists of the world's greatest literature.

"Frailty, thy name is woman!" "Brevity' is the soul of wit" "To be, or not to be, that is the question" "I must be cruel to be kind" "Why, then, ’tis none to you, for there is nothing either good or bad but thinking makes it so. To me, it is a prison."

1. Wright, G. T. (1981). Hendiadys and Hamlet. PMLA, 96(2), 168-193. (https://www.cambridge.org/core/journals/pmla/article/abs/hendiadys-and-hamlet/B61A80FAB6569984AB68096FE483D4FB) 2. Leverenz, D. (1978). The woman in Hamlet: An interpersonal view. Signs: Journal of Women in Culture and Society, 4(2), 291-308. (https://www.journals.uchicago.edu/doi/abs/10.1086/493608?journalCode=signs) 3. Lesser, Z., & Stallybrass, P. (2008). The first literary Hamlet and the commonplacing of professional plays. Shakespeare Quarterly, 59(4), 371-420. (https://academic.oup.com/sq/article-abstract/59/4/371/5064575) 4. De Grazia, M. (2001). Hamlet before its Time. MLQ: Modern Language Quarterly, 62(4), 355-375. (https://muse.jhu.edu/article/22909) 5. Calderwood, J. L. (1983). To be and not to be. Negation and Metadrama in Hamlet. In To Be and Not to Be. Negation and Metadrama in Hamlet. Columbia University Press. (https://www.degruyter.com/document/doi/10.7312/cald94400/html) 6. Kastan, D. S. (1987). " His semblable is his mirror":" Hamlet" and the Imitation of Revenge. Shakespeare Studies, 19, 111. (https://www.proquest.com/openview/394df477873b27246b71f83d3939c672/1?pq-origsite=gscholar&cbl=1819311) 7. Neill, M. (1983). Remembrance and Revenge: Hamlet, Macbeth and The Tempest. Jonson and Shakespeare, 35-56. (https://link.springer.com/chapter/10.1007/978-1-349-06183-9_3) 8. Gates, S. (2008). Assembling the Ophelia fragments: gender, genre, and revenge in Hamlet. Explorations in Renaissance Culture, 34(2), 229-248. (https://go.gale.com/ps/i.do?id=GALE%7CA208534875&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=00982474&p=AONE&sw=w&userGroupName=anon%7Eebb234db)

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186 Hamlet Essay Topics & Thesis Ideas

We know how long students search for interesting Hamlet essay topics. In this post, you will find a list of the most debating Hamlet essay titles and thesis ideas. We’ve also developed a guide on how to write a Hamlet paper and included some helpful Hamlet essay examples.

👍 Hamlet Essay Writing – Tips & Ideas

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Here, at IvyPanda, we know how daunting can be the task of writing a Hamlet Essay. In this post, you will find out how to write a paper that would get top marks.

Tip #1. Read critically before starting hamlet essay outline

Critical reading will help you to prepare for writing your paper. There are a lot of techniques that can increase your reading speed. You may try some of them, described below:

Highlighting

Grab a few highlighters and use them to underline things that might suit for various topics. For example, use green when you see something pertaining to a tragic hero character analysis; pink for a particular symbol, etc. Don’t forget to make a key, so you know what each color means.

This method helps you to organize your evidence and allows you to see if you have enough support to write your essay.

Note-taking

Take notes and record your ideas and critical aspects while reading the plot. This approach will help you to avoid multiple re-readings. However, be sure to remark what part of the essay your notes pertain to.

Making annotations in the margins of the book, you will ensure that you understand what is happening in a text after you’ve read it. Note the author’s key points, central areas of focus, and your thoughts.

Annotating will help you to summarize, highlight crucial pieces of information, and prepare yourself for writing Hamlet essay prompts that your professor may give you

You can use the methods mentioned above or try any other, or even come up with your own technique. This simple exercise will help you to recall which points to write about in your paper.

Tip #2. Write a detailed outline

Now, when you’ve done the prewriting work, it’s time to focus on what you’re going to write in and create your Hamlet essay outline.

Here’s the trick: the more detailed your outline will be, the less time you will spend on the writing process. If you put a lot of detail in the outline, all you will have to do is connect arguments and make it readable.

If you have to turn in a formal outline, as part of your essay, check that each level has at least two parts.

Tip #3. Write your Hamlet essay thesis statement

A thesis statement is among the crucial parts of your entire essay. It tells your readers what you will write in the rest of the paper. It should correspond with the essay title and act as a short preview of the assignment.

You will bring up may points in the paper, although the thesis should tie all of them together.

Write your Hamlet essay thesis statement during outlining and refine it when you start writing. It is possible to revise it when the essay is already finished, and you see ways to improve the thesis.

Tip #4. Start writing your Hamlet essay

When you begin to write an essay, you can check available samples and titles to get inspiration. However, make it personal. Ask yourself questions.

Here are some question examples: What interests me about the play? Is it Hamlet’s monologues? Is it the figure of the Ghost of Hamlet’s father? Or is it something even more obscure?

If you are still struggling to find your Hamlet essay topics or ideas to add to the paper, check these free samples of high-quality papers!

Why Is Hamlet a Complex Character: Critical Analysis When Hamlet’s father requests him to avenge his death against King Claudius, he is unable to carry out his revenge. In addition, Shakespeare mission to delay Hamlet’s plan to avenge his father’s death highlights the […]
A Critical Analysis of Hamlet’s Constant Procrastination in Shakespeare’s Hamlet Claudius is successful in his ambition and Hamlet is left with the decision on whether or not to kill his uncle so as to avenge his father’s death.
Hamlet’s Relationship with His Mother (Gertrude) – Attitude Towards Her The conversation between Hamlet and his mother brings back Gertrude to her senses where she feels guilty and ashamed of her actions.
Hamlet, Laertes, Fortinbras: Revenge for the Deaths of Their Fathers He thinks about the fact that revenge is not a good action to make his soul get to heavens. His is a prince of Norway, but likewise Hamlet did not receive the crown, he was […]
Hamlet vs. Oedipus Compare and Contrast Essay In his speech to his brother-in-law Creon, the proud king voices the desire to find the murderer to secure not only the wellbeing of his state but his safety as a ruler as well.
Resilience of Hamlet and Oedipus The plot of the tragedy of Sophocles is built on a chain of accidents, which are in fact the fatal will of the powerful gods.
Shakespeare: Hamlet The scene that is the subject of this report refers to a scene in the play that takes place at the graveyard following the death of Ophelia.
Hamlet’s Attitude Toward Women in Shakespear’s “Hamlet” The event that gives birth to his hatred is Gertrude’s marriage to her brother-in-law Claudius very soon after the untimely death of her husband, King Hamlet.
Shakespeare’s “Hamlet”: The Use of Allusion and Metaphors Shakespeare’s use of allusion and metaphors in Hamlet is vital to creating the dramatic imagery surrounding the play and foreshadowing the extent of the growing conflict.
Gertrude’s Character in “Hamlet” by William Shakespeare However, in the second part of the play, when Gertrude faces the truth of her first husband’s dead, she immediately stands a reformed character, sympathetic to Hamlet’s cause.
William Shakespeare: Hamlet and Macbeth It is important to examine the role that the setting plays in Hamlet and Macbeth in relation to the tragic flaw and developments of the plot.
Literary Analysis of “Hamlet” by William Shakespeare They are the symbolic image of Hamlet’s father the ghost of the King, the flowers and Ophelia, the skull, and the grave of Yorick.
Blindness in Oedipus Rex & Hamlet Therefore, in this play, the sighted like Oedipus and Jocasta are ‘blind’ to the truth whilst the blind like Teiresias can see the truth.
Comparison of “Hamlet”, “King Lear” and “Othello” by Shakespeare Iago’s reports and the loss of the handkerchief appear to Othello reliable proofs of Desdemona’s unfaithfulness, and under the effect of anger the protagonist is both unable and unwilling to do further investigation.
Psychoanalytic Study of Hamlet by Ernest Jones (Critical Writing) I agree with the author regarding the dialogues, the flow of the play, and the sequence of the events in it.
Father-Son Relationships in Hamlet – Hamlet’s Opinion In the case of Hamlet, he surrenders his own life and future to the will of his father, albeit following significant hesitation, not to mention the passage of an entire play.
Hamlet Analysis Essay: Shakespeare’s Play Analysis Example The writer used the name of the play as the name of the main actor while other characters in the play helped in development of the predominant theme in the main character.
“Hamlet and His Problems” by Thomas Stearns Eliot Hamlet assumes the role of both the father and the son and the need to detect his identity about his idea of the father becomes problematic in the presence of his mother.
Hamlet & Laertes: Fathers’ Death Reactions King Hamlet’s ghost then informs prince Hamlet of the person who killed him; consequently, Hamlet accepts the ghost’s demands, swears his accomplices to secrecy and reveals to them his intention of killing the king to […]
“Hamlet” and “Rosencrantz and Guildenstern are Dead” The link of “Hamlet” and “Rosencrantz and Guildenstern are Dead” to the present days can be seen in the lost characters.
Shakespeare versus Olivier: A Depiction of ‘Hamlet’ The presentation of the Ghost in the film builds the main theme of revenge and tragedy. Olivier shows that the Oedipus complex is a crucial aspect in understanding the play especially the character of Hamlet […]
Creative Process in William Shakespeare Works Creativity in his works, Merchant of Venice and Hamlet, is portrayed by the manner he makes choice of characters, the way themes are tied up with stylistic language to reflect hidden meanings reflective of the […]
Lying, Acting, Hypocrisy in Shakespeare’s “Hamlet” This paper will argue that, although the concepts of hypocrisy, lying, and acting are brought up directly only a few times in Hamlet, the manifestations thereof can be found throughout the poem, the Dutch prince […]
Hamlet and King Oedipus Literature Comparison This essay compares the characters and roles of both Hamlet and King Oedipus as the sons who have to deliver justice to their fathers’ killers.
The Theme of Revenge in Shakespeare’s Hamlet The latter, after seeing his father’s ghost and learning the truth, feels that he is taken over by revenge and sets up a performance that copies Claudius’s, the murderer’s, plan and results in a tragic […]
Characterization of Hamlet When Hamlet learns in a dream that he is supposed to revenge the death of his father, he promises to do so “with wings as swift as meditation or the thoughts of love, may sweep […]
Minor Characters in Shakespeare’s “Hamlet” Some of the stories that the reader comes to know, about some people or events in the play, come inform of narrations from the minor characters. The minor characters give most of the information known […]
Hamlet’s Choice of Fortinbras as His Successor Choice of Fortinbras is an act to usurp his place as the rightful king and avenge for the injustice done to Fortinbras, as well as him. Another reason could be an act to reconcile with […]
Hamlet in the Film and the Play: Comparing and Contrasting There is a certain discrepancy in the way Shakespeare’s Hamlet and Gibson’s hero unveil the tragic style of the play. This assumption is justified by the scenes from the movie because many of the dialogues […]
Role of Women in Twelfth Night and Hamlet by Shakespeare Purpose of the research The purpose of this study is to compare specific women characters in Shakespeare’s Twelfth Night and Hamlet and to explore their similarities in terms of their passivity, relationships with other characters […]
Education and Knowledge in “Hamlet” by Shakespeare Shakespeare portrays that in a world of complexity, instability, and unpredictability, people are struggling to make sense of the changes and to situate themselves within the new milieu.
Horatio (Hamlet): Character Analysis Hamlet does not follow his friend’s caution and goes with the ghost, where he learns of his father’s murder and swears to avenge him.
The Idea of Insanity in “Hamlet” He is maybe a bit spoiled and used to getting his own way, but he knows he has a duty to the state and to his family and he knows he is destined to someday […]
Elements of Literature Used in Shakespeare’s “Hamlet” The audience may be able to show a degree of empathy with Hamlet as the play was written in a slightly satirical manner and shows that he is very much human in his qualities and […]
“Hamlet” by William Shakespeare: To Be or Not to Be It begins with supernatural such as the presence of the ghost and Hamlet attempting to glance into Claudius’ soul, to the mystery of the crime and the need for revenge. The masterful use of style, […]
Hamlet’s Parental Relationships The death of his father, the actions of his mother and his existing relationship with his uncle all have Hamlet confused regarding the true nature of the world.
Canonical Status of Hamlet by William Shakespeare However, the technique has been defended by some of the scholars who argue that Shakespeare’s skill is to develop and emphasize the purpose of duality and dislocation in the play.
“The Lion King” Movie as Adaptation of Shakespeare’s “Hamlet” The film parallels Hamlet as the main characters in the play and the film are both princes, and the antagonists are uncles who murder their brothers to gain power.
Hamlet’s Renaissance Culture Conflict The death of Hamlet as the play ends indicates that though he was the definite answer to all the questions before him as he faced death, he was not in any position to give any […]
Themes in “Hamlet” by William Shakespeare With consideration of critical responses, use of language and structure, and through a close analysis of Hamlet’s soliloquies, the role of Shakespeare’s characterization of Hamlet in shaping the enduring power of the text is appreciated […]
Key Themes in “Hamlet” by William Shakespeare Among the characters in this play include Claudius, hamlet, Gertrude, Polonius, Ophelia, Horatio, Laertes, Voltimand, Rosencrantz, Osric, ghost of Hamlet’s father, Barnardo to mention but a few Mystery of death is one theme that clearly […]
The Play “Hamlet Prince of Denmark” by W.Shakespeare Hamlet, a Denmark Prince, is the main character in the play. In the climax of the play, Claudius appears to be responsible for the death of King Hamlet.
“The Prince” by Machiavelli and “Hamlet” by Shakespeare The author tries to bring to light the concepts of life when he uses the different aspects of death in the piece of work.
Hamlet And Laertes: A Comparison Hamlet, shocked by the revelation and shaken to the core by the knowledge of his mother’s role in the act, immediately makes his intention clear in the presence of the ghost.
The Function of the Soliloquies in Hamlet This happens when it influences the plot, the characterization in the play, and the play’s mood, on top of expressing themes that could be termed to be the main themes.
Hamlet’s Hesitation in Revenge: Four Separate Theories The play within a play is one of many tactics Hamlet employs over the course of the play to delay the revenge and therefore avoid his own death.
William Shakespeare: Hamlet’s Actions and Inactions This paper is an attempt to analyze Hamlet’s actions and inactions to prove the authenticity of the application of these maxims to the protagonist.
Appearance vs. Reality in Shakespeare’s “Hamlet” and Sophocles’ “Oedipus Rex” In preparing for the performance, Hamlet provides the players with specific lines and actions to include within the overall play they are about to perform and gives them lengthy instructions as to the acting of […]
William Shakespeare’s “Hamlet” Drama Play These soliloquies are dramatic and ironical, Harold Wilson submits, with an irony that is implicit and eloquent in the extravagances of Hamlet’s rhetoric.
The Importance of Paintings in Hamlet The play revolves around the two opposing forces: truth and deceit, and we see a contrast between the importance of being true to one’s self and the importance of being truthful with others.
The Hamlet’s Emotional Feelings in the Shakespearean Tragedy The grief that Hamlet feels at the death of his father is tempered by a Claudius’s statement to him that grief is ‘unmanly.’ He also associates women with deception beginning with his mother with whom […]
“Hamlet the Prince of Denmark” by William Shakespeare The first one is the plot of the play that lasts from the beginning till the scene when Hamlet meets the ghost of his father.
Human Nature in Shakespearean Tragedy “Hamlet” Soliloquies maintain significant place in the play Hamlet, which start with the beginning of the play, and chase the protagonist almost near the close of the end of the play.
Depression and Melancholia Expressed by Hamlet The paper will not attempt and sketch the way the signs or symptoms of depression/melancholia play a part in the way Shakespeare’s period or culture concerning depression/melancholia, but in its place portrays the way particular […]
Hamlet and Forgiveness: A Personal Reflection Some of the most prominent themes in the story are the ideas of mutual forgiveness, people’s motivation to be proactive and take risks, and their willingness to forgive and ask for forgiveness.
“Hamlet” by William Shakespeare: Overview In the play Hamlet is a noble soldier with admirable qualities but he avenges the death of his father using his free will.
The Reflection of Time in “Hamlet” by Shakespeare Thesis Human existence and purpose of life were considered unimportant because the human soul had a divine nature, thus, they were afraid of death as an unknown state of human existence.
Rosencrantz and Guildenstern in the “Hamlet” Hamlet is a son to the former King and a nephew to the current King Claudius These two characters seem indispensable throughout and serve as informants of Claudius. In the play, they fit in as […]
Anti-Heroism in Shakespeare’s Hamlet and Cervantes’ Don Quixote This ghost will only talk to Hamlet, and when the time is right, he will share his side of the account with the prince.
Shakespeare’s “Hamlet” as the Central Tragedy for Revenge Understanding The core concept of revenge in Hamlet, Shakespeare’s play, is the hesitation of the main character and his doubt moral and philosophical maxims in the whole world; the main idea of the play may be […]
Protagonist in Shakespeare’s “Hamlet” The Protagonist plays a major part to achieve the goals of the story while the antagonist is an adversary who struggles against the efforts of the protagonist.
Ophelia from Shakespeare’s ”Hamlet” Shakespeare employs the traditional view of the woman as a means of illustrating its more dangerous elements through his portrayal of Ophelia in her innocence, the ease with which others use her, and the suspicion […]
The Issue of Human Manipulation in ‘Hamlet’ by W. Shakespeare It seems the love he contains in his heart is not enough for him to forgive and forget what has happened.
Macbeth and Hamlet Characters Comparison The queens in Hamlet and Macbeth play a pivotal role in the life of the heroes of the play. She is portrayed as a mother who, in her awareness of Hamlet’s crisis, feels guilty and […]
Shakespeare’s “Hamlet” and the Modern World The tragedy of Hamlet addresses eternal problems: the incompatibility of lofty ideals and dreams with reality, the mismatch between the goals and the means of achieving them, and the role of the individual in history.
Shakespearean Hamlet’s Character Interpretation For example, Hamlet believed that his mother was loyal to his father and to the kingdom, but he felt unhappy with how events unfolded when grieving.
The Character of Gertrude in ‘Hamlet’ The character of Ophelia is responsible for projecting an aura of guilt and deception to the role of women in ‘Hamlet.’ She is not treacherous or complicated, but instead weak and insensibly dependent on the […]
Aeschylus’ Oresteia and Shakespeare’s Hamlet One such device in Hamlet is Shakespeare’s placing of the Danish prince in the context of Fortinbras and Laertes as the characters that, like Hamlet, find themselves in the role of having to avenge their […]
Act 1 Scene 2 of the “Hamlet” Play by Shakespeare The use of honorifics, stichomythia, and imagery is discussed, as well as the aside, the motif of spying, and the overall mood of the scene will be discussed and evaluated. The overall mood of the […]
Resiliency in Sophocles’ Oedipus and Shakespeare’s Hamlet According to the information provided the reader rises with the question dealing with the resiliency of both Hamlet and Oedipus and what does it mean to them.
Hamlet: A New Type of Independent Thinker Hamlet considers the plan to disturb Claudius and convince the audience of his guilt distracting attention from prayer and confession. Such innovations permeate the entire text, which allows the reader to assert that Hamlet did […]
Hamlet’s Descent Into Darkness: A Tale of Revenge, Death, and Uncertainty Hamlet was thinking about the afterlife and suicide to achieve peace, and during this speech, a reader might feel the pain and despair of the main character.
Hamlet vs. Oedipus Rex: Who Is More Resilient? In Sophocles’ Oedipus the King, Oedipus is a protagonist; he is seeking the truth and is unconcerned about the harm it may pose.
Reality and Illusion in Shakespeare’s Hamlet The last and the greatest deceiving character is Claudius, who is far from being the brave brother of the monarch who ascended to the throne in order to protect the kingdom. It is evident that […]
Shakespeare’s “Hamlet”: Hamlet as a Masculine Character Initially, the themes and scenes of the play were designed for staging at the Shakespeare theatre, and the costumes and the actors’ play were supposed to evoke awe for the rich life of medieval nobles.
Hamlet’s Mental State and Issues That Affected Him To begin with, it is evident to the reader that the main character is overwhelmed by the grief and mourning of his father.
Coping With Changes in Shakespeare’s “Hamlet” and O’Connor’s “A Good Man…” Tragedies in “Hamlet” and “A Good Man Is Hard to Find” lead characters to rely on the change as a coping mechanism.”Hamlet” narrates the story of an individual dealing with a loss which leads him […]
“The Tragedy of Hamlet, Prince of Denmark” and “A Raisin in the Sun” In this regard, the decisions of Hamlet, Claudius, Walter, and Lena illustrate the character’s commitment to family despite differences of opinion and disagreements.
Shakespeare’s “Hamlet” Play: Then and Now Hamlet’s cynicism, as well as his sense of meaning, distinguish him as a uniquely contemporary figure and a watershed moment in the theatrical past.
Does Shakespearean Hamlet Love Ophelia? The love that Hamlet has for Ophelia is demonstrated in letters that he wrote to her. Hamlet reminds Ophelia that he is in love with her in the later stages of Act 3 of the […]
Hamlet and Gertrude Relationships in Shakespeare’s Play However, even though Hamlet threatens to murder Gertrude to “wring” her heart, the audience can understand that he loves his mother and wants her to repent of her sins and end the relationship with Hamlet’s […]
Power and Importance of Hamlet’s Role in Shakespeare’s Play The first striking problem of Hamlet is the one of choice, which may be considered a reflection of the main conflict of the tragedy.
Deceiving Appearances in “Hamlet” and “The Lion King” In particular, Claudius and Scar represent villains under the guise of well-wishers, while Rosencrantz and Guildenstern from Hamlet and hyenas from The Lion King appear worse than they seem.
Gender Roles and Representation of Women in “Hamlet” Specifically, the author refers to the problem of being confined in the prison of gender stereotypes that can be experienced when reading Shakespeare’s works.
Consideration of the Ghost in “Hamlet” by Shakespeare The Ghost in the play is charitable because it helps Hamlet to know the truth about the way his father died and to begin finding clues for the murder.
Is Shakespeare’s Hamlet Really Crazy? According to the first one, Hamlet pretends to be mad, so that he is not taken seriously and is not considered as dangerous, under the guise of a madman, he can say anything.
Oedipus and Hamlet Characters’ Contrast and Comparison The purpose of this essay is to compare and contrast one of the main characters of literature – Oedipus and Hamlet, as well as to determine the qualities and skills of people which make them […]
“Oedipus King” by Sophocles and “Hamlet” by Shakespeare The protagonist is on the verge of madness: an intelligent and unexcelled humanist in the world, which is an enemy to his ideas. However, Oedipus later comes to terms with his fate and takes responsibility […]
Hamlet: Analyzing Various Scenes On top of this, Hamlet hopes that seeing a replay of the murder of his father would move the king’s conscience to a point where he would be forced to admit his crime.
Hamlet’s Relationship With His Mother and Uncle Hamlet’s assessment of his issues is accurate in the sense that he already associates Claudius with problems, but the prince is too quick to judge his mother.
Supporting Characters in “The Tragedy of Hamlet, Prince of Denmark” Shakespeare utilizes secondary characters to depict the theme of friendship and loyalty, as these aspects are influential on the main character.
Genji, Hamlet, Oedipus and Jesus Christ Character Analysis This paper will attempt to asses the characters in the following set of books and plays: The New Testament, Oedipus the King, Shakespeare Hamlet and Shikibu the tale of the Genji.
The Use of Revenge in William Shakespeare`s “Hamlet” The only character in the play to claim to have first-hand knowledge of the murder of Hamlet’s father and who speaks aloud about them to another character is the ghost of Hamlet’s father.
The Vision of the Main Character in Shakespeare’s “Hamlet” The main character of the tragedy is Hamlet, a young man who comes to know about the real reasons of his father’s death from the ghost that claims to be the spirit of his father. […]
“Hamlet” Scene Comparison: Hawke’s and Gibson’s Films In both Hawke’s and Gibson’s versions of Hamlet, the original text is used for dialogue between Hamlet and Ophelia as she is sent to trap the reasons for Hamlet’s insanity out of him.
Hamlet: Gertrude’s Complicit Character However, Queen Gertrude seems to be more on the inside of the plotting and scheming occurring within the castle than an innocent woman should have.
Hamlet: The Circumstances That Lead Hamlet to Soliloquy Out of his anger, he worries about the death of his father and the hasty marriage of his mother to his uncle.
Comparing Dr. Faustus and Hamlet Hamlet kills numerous characters in the play and this goes to show his excessive pride or in other words his sin of pride.
Hesitation and Indeterminacy of Hamlet There is no denying the importance of the fact that the whole fabric of Shakespeare’s tragedy unfolds in Hamlet subjective perception and interpretation of his uncle and mother’ treason.
Hamlet, Ophelia and Insanity in Shakespear’s “Hamlet” The knowledge the Queen has as to the specific nature of Ophelia’s death calls into question her sincerity in her lament.
Gender Equality Question: “Hamlet” by William Shakespeare For the past few centuries, the rise of various movements have marked a certain change in the ideas and philosophies of man regarding the true nature of his existence, the pronounced inequalities of not only […]
Hamlet by William Shakespeare: A Filmic Event In bringing Shakespeare’s classic story of Hamlet to the big screen and reset into a modern context, director Michael Almereyda is forced to reinterpret the role of Ophelia due to significant changes in modern women’s […]
Human Nature and Morality in “Hamlet” and “Dr. Faustus” These are the problems we are going to discuss in the current essay, and we are going to address for help with it such masterpieces of literature as the play “Hamlet, the Prince of Denmark” […]
A Play Within a Play: Hamlet and Second Shepherd’s Play In contrast to Hamlet, the role of ‘a play within a play’ is to underline onstage and offstage characters and their qualities.
Roles of Poison in Shakespeari’s “Hamlet” It is obvious that Hamlet is the representative of the new world. I think that the answer to this riddle is that his ways of revenge are not good.
Characters in “The Scarlet Letter” and “Hamlet” Film Hester returns to Boston just before her death, in order to be buried in the same grave as Dimmesdale, with ‘A’ inscribed on their tombstone. Much to her son’s anger and disgust, she marries Claudius […]
Comparison of Shakespeare’s “Hamlet” and Perrault’s “Cinderella” The paper also includes the analysis of the narratives in accordance with the epic laws introduced by Axel Olrik. In Cinderella’s story, the presence of royalty is only limited to the prince.
Freud and Hamlet’s Relationship with His Mother When analyzing the relationship between Hamlet and his mother, one can note that even at a young age, the Oedipus complex manifests in the boy, which reflects a number of his conflicting experiences about his […]
Ghost in Shakespeare’s “Hamlet” Play In Shakespeare’s play Hamlet, the titular character begins plotting his revenge after he encounters the ghost of his father, who informs him of the murder as well as the culprits.
Ophelia and Hamlet’s Dialogue in Shakespeare’s Play In some ways, this scene represents the conflict between Hamlet and the society he lives in, as no one is capable of understanding his concerns.
Shakespeare’s Hamlet’s Behavior in Act III In the end, he comes to the conclusion that this obscurity is the reason people do not want to die and prefer to lead the lives full of suffering.
The Masks of William Shakespeare’s Play “Hamlet” The first thing that has to be determined is the truth behind the claim that Hamlet saw the ghost of his departed father.
Ghosts and Revenge in Shakespeare’s Hamlet Despite the common beliefs concerning the existence of ghosts, it seems that the ghost’s presence is still supported by the testimonies of all characters in the story, including Horatio, Francisco, and the protagonist himself.
Act II of Hamlet by William Shakespeare The King is worried about Hamlet’s madness and starts to suspect that he might have found out the real reasons for his father’s death.
Meditative and Passionate Responses in the Play “Hamlet” This is seen in his soliloquy “to be, or not to be: that is the question; /Whether ’tis nobler in the mind to suffer?
Portrayal of Hamlet in Shakespeare’s Play and Zaffirelli’s Film In fact, Mel Gisbon’s power as an act does not provide a sufficient understanding of his ability to penetrate to Shakespeare’s world and reach the ideas in the play.
Psychiatric Analysis of Hamlet Literature Analysis However, he tells the doctor that he is not actually aware of the reasons that are taking him to his death.
The Value of Source Study of Hamlet by Shakespeare In regards to the intended significance, Stopes, Belleforest, and Shakespeare report that Shakespeare designed the role of the ghost to appear to Hamlet relentlessly to enhance the melancholy motif of the play.
William Shakespeare’s Hamlet, Prince of Denmark Generally, the main idea of the play is considered to be the impact of people’s actions on their future.”The ghost of Hamlet’s father does urge him to action”.
Relationships Among Individuals in Shakespeare’s Plays The events that take place in Athens are symbolic in the sense that they represent the sequence of events during the day whereas the events in the forest represent the dream like circumstances.
Shakespeare Authorship Question: Thorough Analysis of Style, Context, and Violence in the Plays Hamlet, Julius Caesar, Twelfth Night It should be stated that even though most of the scholars point to the fact that Shakespeare was not the author of the plays, I would like to contradict this opinion and prove that Shakespeare’s […]
The Role of Queen Gertrude in Play “Hamlet” Whether or not Queen Gertrude, Prince Hamlet’s mother, was guilty of being part of the conspiracy that led to the murder of her husband, King Hamlet is debatable.
Oedipus the King and Hamlet However, the fact is both Oedipus and Claudius managed to get the post of kingship after killing the former kings leaving the seats vacant. In conclusion, both Oedipus and King Claudius attained their crown after […]
How a Film Interprets Hamlet Laurence Olivier’s need to focus on less traditional approaches, his need to shorten the production, and the need to perform a psychological analysis of the characters determine his interpretation of the play ‘Hamlet’.
A Play “Hamlet” by William Shakespear Hamlet decides to prove whether Claudius really killed his father and in act three, he uses the play “The Murder of Gonzago” to get the truth.
Recurring Theme of Revenge in Hamlet On top of this, Laertes wants to revenge the insanity and subsequent death of his sister, which he blames on Hamlet.
In Hamlet, act 1, scene 2, which dramatic convention does Shakespeare employ most?
Which statement best describes why Shakespeare’s Hamlet is a complex character?
Which line would most likely be written by a reader analyzing Hamlet through the formalist lens?
Do you think Hamlet is a problem play or a tragedy? Why?
How perennial issues of the human condition are imaged in Hamlet?
Which best describes a change an adaptation would make if Hamlet was set in modern times?
If Shakespeare kills the character of Hamlet, what dramatic convention would he be using?
Which theme in Hamlet is reinforced by the scene with the Gravediggers?
How do the actors’ physical appearances affect their adaptations of Hamlet?
Why did Shakespeare choose loyalty and betrayal as lead themes in Hamlet?
Which statement best explains why Hamlet alludes to Pyrrhus throughout act 2, scene 2 of Hamlet?
When Polonius says, “brevity is the soul of wit,” why is it ironic?
What does Hamlet mean when he refers to the “pangs of dispriz’d love”?
What is corruption and how its rampant impact is depicted in Hamlet?
Which statement best describes why King Claudius is a complex character in act 3 of Hamlet?
What is Hamlet’s concluding thought after he has mused over the skulls and the idea of death?
What does Marcellus’s and Horatio’s characterization of the ghost imply?
How does Shakespeare use conflict in Hamlet as a way of exploring ideas?
What excerpt from act 3 of Hamlet supports the conclusion that Hamlet is critical of women?
Where does Claudius send Cornelius and Voltimand? Why?
How does the play-within-a-play in act 3 of Hamlet represent Elizabethan drama?
Which statement best describes Gertrude’s development between act 1 and act 4?
Which statement best describes Laertes’s development between act 1 and act 4?
How does Shakespeare present women and sex in Hamlet?
Which passage from Hamlet, act 2, scene 1 is an example of setting?
What line from act 3 of Hamlet supports the conclusion that Claudius fears his own fate?
What’s the meaning behind “…for there is nothing either good or bad but thinking makes it so” in act 2, scene 2?
Which detail in Hamlet best reflects the time the play was written in?
In what sense is Hamlet wrong in his plotting against and killing of Claudius and in what sense he is not?
Which excerpt from Hamlet, act 1, scene 1 is a stage direction?
What are the inward and outward conflicts in Hamlet?
Why does Polonius think Hamlet is mad?
What is “get thee to a nunnery” meaning?
Why is the ending of Hamlet ironic?
What is Hamlet’s opinion about theater?
Why does Hamlet act crazy?
What best describes Hamlet’s view of death?
Which words best describe Gertrude in act 4 of Hamlet?
What conflict(s) does Hamlet experience inside himself?
What does Hamlet teach us about humanity?
Why is Reynaldo obligated to follow Polonius’s instructions?
What does Hamlet mean by “shuffled off this mortal coil”?
Why does Hamlet kill Polonius?
What best describes how Laertes feels about his father’s death?
Which word best describes Laertes in act IV of Hamlet?
What advice does Polonius give Laertes?
Which Word does Hamlet use to describe those who choose to live?
What was the “moment of final suspense” in Hamlet?
Is Shakespeare’s Hamlet based on a true story?
Why did Hamlet choose not to kill Claudius when he was praying?
What plot event prompts Hamlet to become suspicious and resentful?
What are examples of dramatic irony in Hamlet?
What incident serves to initiate the conflict in Hamlet?
Which details in Hamlet reflect Elizabethan society?
How is Laertes a foil for Hamlet?
What is the the meaning of soliloquy in Hamlet?
What words suggest that Claudius plans to control Hamlet?
What does the first soliloquy reveal about Hamlet?
What does the Ghost tell Hamlet?
Why does Polonius send Reynaldo to Paris?
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Jeffrey R. Wilson

Chapter One How Hamlet Works

[To be written]

Chapter Two “It Started Like a Guilty Thing”: The Beginning of Hamlet and the Beginning of Modern Politics available in CounterPunch (July 24, 2015).

King Hamlet is a tyrant and King Claudius a traitor but, because Shakespeare asked us to experience the events in Hamlet from the perspective of the young Prince Hamlet, we are much more inclined to detect and detest King Claudius’s political failings than King Hamlet’s. If so, then Shakespeare’s play Hamlet , so often seen as the birth of modern psychology, might also tell us a little bit about the beginnings of modern politics as well.

Chapter Three Horatio as Author: Storytelling and Stoic Tragedy available in Hamlet and Emotions, ed. Bob White, Paul Megna, and Bríd Phillips (New York: Palgrave Macmillan, 2019): 201-11.

This chapter addresses Horatio’s emotionlessness in light of his role as a narrator, using this discussion to think about Shakespeare’s motives for writing tragedy in the wake of his son’s death. By rationalizing pain and suffering as tragedy, both Horatio and Shakespeare were able to avoid the self-destruction entailed in Hamlet’s emotional response to life’s hardships and injustices. Thus, the stoic Horatio, rather than the passionate Hamlet who repeatedly interrupts ‘The Mousetrap’, is the best authorial avatar for a Shakespeare who strategically wrote himself and his own voice out of his works. This argument then expands into a theory of ‘authorial catharsis’ and the suggestion that we can conceive of Shakespeare as a ‘poet of reason’ in contrast to a ‘poet of emotion’.

Chapter Four “To thine own self be true”: What Shakespeare Says about Sending Our Children Off to College available in Academe 102.3 (May/June 2016).

What does “To thine own self be true” actually mean? Be yourself? Don’t change who you are? Follow your own convictions? Don’t lie to yourself? This chapter argues that, if we understand meaning as intent, then “To thine own self be true” means, paradoxically, that “the self” does not exist. Or, more accurately, Shakespeare’s Hamlet implies that “the self” exists only as a rhetorical, philosophical, and psychological construct that we use to make sense of our experiences and actions in the world, not as anything real. If this is so, then this passage may offer us a way of thinking about Shakespeare as not just a playwright but also a moral philosopher, one who did his ethics in drama.

Chapter Five Sigma Alpha Elsinore: The Culture of Drunkenness in Shakespeare’s Hamlet

Claudius likes to party—a bit too much. He frequently binge drinks, is arguably an alcoholic, but not an aberration. Hamlet says Denmark is internationally known for heavy drinking. That’s what Shakespeare would have heard in the sixteenth century. By the seventeenth, English writers feared Denmark had taught their nation its drinking habits. Synthesizing criticism on alcoholism as an individual problem in Shakespeare’s texts and times with scholarship on national drinking habits in the early-modern age, this essay asks what the tragedy of alcoholism looks like when located not on the level of the individual, but on the level of a culture, as Shakespeare depicted in Hamlet. One window into these early-modern cultures of drunkenness is sociological studies of American college fraternities, especially the social-learning theories that explain how one person—one culture—teaches another its habits. For Claudius’s alcoholism is both culturally learned and culturally significant. And, as in fraternities, alcoholism in Hamlet is bound up with wealth, privilege, toxic masculinity, and tragedy. Thus, alcohol imagistically reappears in the vial of “cursed hebona,” Ophelia’s liquid death, and the poisoned cup in the final scene—moments that stand out in recent performances and adaptations with alcoholic Claudiuses and Gertrudes.

Chapter Six Tragic Flaws

Hamlet’s “stamp of one defect” speech is not Shakespeare’s indication that he knew about and subscribed to the notion of the “tragic flaw.” But what is truly impressive about the passage is that Hamlet’s speech actually describes how and why later critics misread the Greek philosopher Aristotle’s term hamartia , “error,” as “tragic flaw.” Reconceptualizing a mistake someone has made as a flaw someone has – confusing an action for an attribute – essentializes another's identity on the basis of a relatively insignificant aspect of one’s experience with that person, which is precisely what Hamlet critiques in his “stamp of one defect” speech. Hamlet critiques the faulty thinking that confuses mistake for flaw because it globs onto the compromised concept of human essences.

Chapter Seven Tragic Foundationalism available in Mosaic 52.4 (2019): 91-108.

This chapter puts the modern philosopher Alain Badiou’s theory of foundationalism into dialogue with the early-modern playwright William Shakespeare’s play Hamlet . Doing so allows us to identify a new candidate for Hamlet’s traditionally hard-to-define hamartia – i.e., his “tragic mistake” – but it also allows us to consider the possibility of foundationalism as hamartia. Tragic foundationalism is the notion that fidelity to a single and substantive truth at the expense of an openness to evidence, reason, and change is an acute mistake which can lead to miscalculations of fact and virtue that create conflict and can end up in catastrophic destruction and the downfall of otherwise strong and noble people.

Chapter Eight “As a stranger give it welcome”: Shakespeare’s Advice for First-Year College Students available in Change: The Magazine of Higher Learning 50.5 (2018): 60-62.

Encountering a new idea can be like meeting a strange person for the first time. Similarly, We dismiss new ideas before we get to know them. There is an answer to the problem of the human antipathy to strangeness in a somewhat strange place: a single line usually overlooked in William Shakespeare’s play Hamlet . If the ghost is “wondrous strange,” Hamlet says, invoking the ancient ethics of hospitality, “Therefore as a stranger give it welcome.” In this word, strange, and the social conventions attached to it, is both the instinctual, animalistic fear and aggression toward what is new and different (the problem) and a cultivated, humane response in hospitality and curiosity (the solution). Intellectual xenia is the answer to intellectual xenophobia.

Chapter Nine Parallels in Hamlet

Chapter Ten Shakespeare on the Classics, Shakespeare as a Classic: A Reading of Aeneas’s Tale to Dido

Of all the stories Shakespeare might have chosen, why have Hamlet ask the players to recite Aeneas’ tale to Dido of Pyrrhus’s slaughter of Priam? In this story, which comes not from Homer’s Iliad but from Virgil’s Aeneid and had already been adapted for the Elizabethan stage in Christopher Marlowe’s The Tragedy of Dido, Pyrrhus – more commonly known as Neoptolemus, the son of the famous Greek warrior Achilles – savagely slays Priam, the king of the Trojans and the father of Paris, who killed Pyrrhus’s father, Achilles, who killed Paris’s brother, Hector, who killed Achilles’s comrade, Patroclus. Clearly, the theme of revenge at work in this story would have appealed to Shakespeare as he was writing what would become the greatest revenge tragedy of all time. Moreover, Aeneas’s tale to Dido supplied Shakespeare with all of the connections he sought to make at this crucial point in his play and his career – connections between himself and Marlowe, between the start of Hamlet and the end, between Prince Hamlet and King Claudius, between epic poetry and tragic drama, and between the classical literature Shakespeare was still reading hundreds of years later and his own potential as a classic who might (and would) be read hundreds of years into the future.

Chapter Eleven How Theater Works, according to Hamlet

Chapter Twelve “To be, or not to be”: Shakespeare Against Philosophy available in Shakespeare 14.4 (2017): 341-59.

This chapter hazards a new reading of the most famous passage in Western literature: “To be, or not to be” from William Shakespeare’s Hamlet . With this line, Hamlet poses his personal struggle, a question of life and death, as a metaphysical problem, as a question of existence and nothingness. However, “To be, or not to be” is not what it seems to be. It seems to be a representation of tragic angst, yet a consideration of the context of the speech reveals that “To be, or not to be” is actually a satire of philosophy and Shakespeare’s representation of the theatricality of everyday life. In this chapter, a close reading of the context and meaning of this passage leads into an attempt to formulate a Shakespearean image of philosophy.

Chapter Thirteen Contagious Suicide in and Around Hamlet

As in society today, suicide is contagious in Hamlet , at least in the example of Ophelia, the only death by suicide in the play, because she only becomes suicidal after hearing Hamlet talk about his own suicidal thoughts in “To be, or not to be.” Just as there are media guidelines for reporting on suicide, there are better and worse ways of handling Hamlet . Careful suicide coverage can change public misperceptions and reduce suicide contagion. Is the same true for careful literary criticism and classroom discussion of suicide texts? How can teachers and literary critics reduce suicide contagion and increase help-seeking behavior?

Chapter Fourteen Is Hamlet a Sexist Text? Overt Misogyny vs. Unconscious Bias

Students and fans of Shakespeare’s Hamlet persistently ask a question scholars and critics of the play have not yet definitively answered: is it a sexist text? The author of this text has been described as everything from a male chauvinist pig to a trailblazing proto-feminist, but recent work on the science behind discrimination and prejudice offers a new, better vocabulary in the notion of unconscious bias. More pervasive and slippery than explicit bigotry, unconscious bias involves the subtle, often unintentional words and actions which indicate the presence of biases we may not be aware of, ones we may even fight against. The Shakespeare who wrote Hamlet exhibited an unconscious bias against women, I argue, even as he sought to critique the mistreatment of women in a patriarchal society. The evidence for this unconscious bias is not to be found in the misogynistic statements made by the characters in the play. It exists, instead, in the demonstrable preference Shakespeare showed for men over women when deciding where to deploy his literary talents. Thus, Shakespeare's Hamlet is a powerful literary example – one which speaks to, say, the modern corporation – showing that deliberate efforts for egalitarianism do not insulate one from the effects of structural inequalities that both stem from and create unconscious bias.

Chapter Fifteen Style and Purpose in Acting and Writing

Purpose and style are connected in academic writing. To answer the question of style ( How should we write academic papers? ) we must first answer the question of purpose ( Why do we write academic papers? ). We can answer these questions, I suggest, by turning to an unexpected style guide that’s more than 400 years old: the famous passage on “the purpose of playing” in William Shakespeare’s Hamlet . In both acting and writing, a high style often accompanies an expressive purpose attempting to impress an elite audience yet actually alienating intellectual people, while a low style and mimetic purpose effectively engage an intellectual audience.

Chapter Sixteen The Tragedy of Love in Hamlet

The word “love” appears 84 times in Shakespeare’s Hamlet. “Father” only appears 73 times, “play” 60, “think” 55, “mother” 46, “mad” 44, “soul” 40, “God" 39, “death” 38, “life” 34, “nothing” 28, “son” 26, “honor” 21, “spirit” 19, “kill” 18, “revenge” 14, and “action” 12. Love isn’t the first theme that comes to mind when we think of Hamlet , but is surprisingly prominent. But love is tragic in Hamlet . The bloody catastrophe at the end of that play is principally driven not by hatred or a longing for revenge, but by love.

Chapter Seventeen Ophelia’s Songs: Moral Agency, Manipulation, and the Metaphor of Music in Hamlet

This chapter reads Ophelia’s songs in Act IV of Shakespeare’s Hamlet in the context of the meaning of music established elsewhere in the play. While the songs are usually seen as a marker of Ophelia’s madness (as a result of the death of her father) or freedom (from the constraints of patriarchy), they come – when read in light of the metaphor of music as manipulation – to symbolize her role as a pawn in Hamlet’s efforts to deceive his family. Thus, music was Shakespeare’s platform for connecting Ophelia’s story to one of the central questions in Hamlet : Do we have control over our own actions (like the musician), or are we controlled by others (like the instrument)?

Chapter Eighteen A Quantitative Study of Prose and Verse in Hamlet

Chapter Nineteen The Fortunes of Fate in Hamlet : Divine Providence and Social Determinism

In Hamlet , fate is attacked from both sides: “fortune” presents a world of random happenstance, “will” a theory of efficacious human action. On this backdrop, this essay considers—irrespective of what the characters say and believe—what the structure and imagery Shakespeare wrote into Hamlet say about the possibility that some version of fate is at work in the play. I contend the world of Hamlet is governed by neither fate nor fortune, nor even the Christianized version of fate called “providence.” Yet there is a modern, secular, disenchanted form of fate at work in Hamlet—what is sometimes called “social determinism”—which calls into question the freedom of the individual will. As such, Shakespeare’s Hamlet both commented on the transformation of pagan fate into Christian providence that happened in the centuries leading up to the play, and anticipated the further transformation of fate from a theological to a sociological idea, which occurred in the centuries following Hamlet.

Chapter Twenty The Lower Class in Hamlet

Chapter Twenty One The Honor Code at Harvard and in Hamlet

Students at Harvard College are asked, when they first join the school and several times during their years there, to affirm their awareness of and commitment to the school’s honor code. But instead of “the foundation of our community” that it is at Harvard, honor is tragic in Hamlet —a source of anxiety, blunder, and catastrophe. As this chapter shows, looking at Hamlet from our place at Harvard can bring us to see what a tangled knot honor can be, and we can start to theorize the difference between heroic and tragic honor.

Chapter Twenty Two The Meaning of Death in Shakespeare’s Hamlet available in ANQ: A Quarterly Journal of Short Articles, Notes and Reviews (2019).

By connecting the ways characters live their lives in Hamlet to the ways they die – on-stage or off, poisoned or stabbed, etc. – Shakespeare symbolized hamartia in catastrophe. In advancing this argument, this chapter develops two supporting ideas. First, the dissemination of tragic necessity: Shakespeare distributed the Aristotelian notion of tragic necessity – a causal relationship between a character’s hamartia (fault or error) and the catastrophe at the end of the play – from the protagonist to the other characters, such that, in Hamlet , those who are guilty must die, and those who die are guilty. Second, the spectacularity of death: there exists in Hamlet a positive correlation between the severity of a character’s hamartia (error or flaw) and the “spectacularity” of his or her death – that is, the extent to which it is presented as a visible and visceral spectacle on-stage.

Chapter Twenty Three Tragic Excess in Hamlet available in Literary Imagination 21.2 (2019): 107-19.

In Hamlet , Shakespeare paralleled the situations of Hamlet, Laertes, and Fortinbras (the father of each is killed, and each then seeks revenge) to promote the virtue of moderation: Hamlet moves too slowly, Laertes too swiftly – and they both die at the end of the play – but Fortinbras represents a golden mean which marries the slowness of Hamlet with the swiftness of Laertes. As argued in this essay, Shakespeare endorsed the virtue of balance by allowing Fortinbras to be one of the very few survivors of the play. In other words, excess is tragic in Hamlet .

Chapter Twenty Four Four Centuries of Hamlet Hate

Chapter Twenty Five Why Hamlet ?

This final chapter asks why the play is so popular in the modern world, entertaining three possible explanations: the literary answer (as our best play about death, one of the very few universal human experiences in a modern world increasingly marked by cultural differences, Hamlet is timeless); the theatrical answer (with its mixture of tragedy and comedy, the role of Hamlet requires the best actor of each age, and the play’s popularity derives from the celebrity of its stars); and the philosophical answer (the play invites, encourages, facilitates, and sustains philosophical introspection and conversation from people who do not usually do such things, who find themselves doing those things with Hamlet , who sometimes feel embarrassed about doing those things, but who ultimately find the experience of having done them rewarding).

Bibliography

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Shakespeare's Hamlet: Research Paper & Essay Samples [Free ...
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Essays on Hamlet
Essays on Hamlet. Written as the author taught Hamlet every semester for a decade, these lightning essays ask big conceptual questions about the play with the urgency of a Shakespeare lover, and answer them with the rigor of a Shakespeare scholar. In doing so, Hamlet becomes a lens for life today, generating insights on everything from ...
Analysis of William Shakespeare's Hamlet
Whether comparing Hamlet to its earliest source or the handling of the revenge plot by Kyd, Marston, or other Elizabethan or Jacobean playwrights, what stands out is the originality and complexity of Shakespeare's treatment, in his making radically new and profound uses of established stage conventions.Hamlet converts its sensational material—a vengeful ghost, a murder mystery, madness, a ...
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I. Thesis Statement: For many readers, Hamlet's seeming inability to avenge his father's death is the central issue of the play. His indecision is often cited as the "tragic flaw" which ...
Hamlet Essays
Essays and criticism on William Shakespeare's Hamlet - Essays. Perhaps one of the most perplexing problems a modern audience may have with Shakespeare's Hamlet is the obvious question: what takes ...
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In full: Hamlet, Prince of Denmark. Hamlet (1996) Kenneth Branagh (left) as Hamlet, with Julie Christie as his mother, Gertrude, in Branagh's 1996 film version of Shakespeare's Hamlet. (more) Hamlet, tragedy in five acts by William Shakespeare, written about 1599-1601 and published in a quarto edition in 1603 from an unauthorized text, with ...
Thesis ideas for an essay on Hamlet as a tragic hero
Summary: Thesis ideas for an essay on Hamlet as a tragic hero could include exploring Hamlet's fatal flaw of indecision, his complex relationships with other characters, the impact of his quest ...
PDF The Meaning of Death in Shakespeare's Hamlet
ing, seems likely), but King Hamlet is poisoned. Looking at class, Claudius, Queen Gertrude, King Claudius, and Prince Hamlet—all royals—die on-stage, but King Hamlet—also a royal—dies off-stage. Ophelia, Rosencrantz, and Guildenstern—all nobles—die off-stage, but Laertes—also a noble— dies on-stage.
A Modern Perspective: Hamlet
The great Russian director Vsevolod Meyerhold used to maintain that "if all the plays ever written suddenly disappeared and only Hamlet miraculously survived, all the theaters in the world would be saved. They could all put on Hamlet and be successful." 1 Perhaps Meyerhold exaggerated because of his frustration—he was prevented from ever staging the tragedy by Soviet dictator Joseph ...
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Hamlet can be dated between 1586 when all the major sources were available and 1602 when it was entered in the Stationers' Register.. What works inspired the author of Hamlet?. The "Ur-Hamlet" (c. 1589). A mythical early Hamlet play for which there is no direct evidence. Its existence was created by orthodox scholars to explain away "too-early" references to the Shakespeare play.
'To be or not to be': Hamlet's Humanistic
Abstract. Hamlet's 'To be or not to be' speech has long been the subject of intense scholarly attention. By situating the speech against the backdrop of classical and Renaissance rhetorical theory, this essay demonstrates that there is still much more to be said about it. The speech ostensibly examines a quaestio infinita or a thesis, and ...
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Hamlet Essay Topics and Outline Examples Essay Title 1: The Tragic Hero in "Hamlet": Analyzing the Complex Character of Prince Hamlet. Thesis Statement: This essay delves into the character of Prince Hamlet in Shakespeare's "Hamlet," examining his tragic flaws, internal conflicts, and the intricate web of relationships that contribute to his downfall, ultimately highlighting his status as a ...
186 Hamlet Essay Titles, Examples, & Thesis Ideas
186 Hamlet Essay Topics & Thesis Ideas. We know how long students search for interesting Hamlet essay topics. In this post, you will find a list of the most debating Hamlet essay titles and thesis ideas. We've also developed a guide on how to write a Hamlet paper and included some helpful Hamlet essay examples.
Hamlet and His Problems
Hamlet and His Problems is an essay written by T. S. Eliot in 1919 that offers a critical reading of Hamlet.The essay first appeared in Eliot's The Sacred Wood: Essays on Poetry and Criticism in 1920. It was later reprinted by Faber & Faber in 1932 in Selected Essays, 1917-1932. [1] Eliot's critique gained attention partly due to his claim that Hamlet is "most certainly an artistic failure."
Chapters
Chapter One How Hamlet Works [To be written] Chapter Two "It Started Like a Guilty Thing": The Beginning of Hamlet and the Beginning of Modern Politics available in CounterPunch (July 24, 2015). King Hamlet is a tyrant and King Claudius a traitor but, because Shakespeare asked us to experience the events in Hamlet from the perspective of the young Prince Hamlet, we are much more inclined ...
Hamlet Themes
In act 1, a ghost claiming to be Hamlet's father accuses Claudius, Hamlet's uncle, of having stolen the crown, the queen, and the late king's life. Claudius's punishment, the apparition says ...
Hamlet on JSTOR
Hamlet I see a cherub that sees them. But, come, for England! Farewell, dear mother. Claudius Thy loving father, Hamlet. Hamlet My mother. Father and mother is man and wife, man and wife is one flesh-and so: my mother. Come, for England! It is a critical commonplace to assert that the Hamlet of act 5 is a changed man: mature rather than ...
(PDF) A Critical Study of Shakespeare's Hamlet
In expounding Shakespeare's Hamlet, a trio of important plots comes to the top with great significance; the revenge plot, the Hamlet-Ophelia romance story, and Norway's looming war.
The Role of Women in Shakespeare's Hamlet
The role of Ophelia is presented as a gentle, loyal, obedient, and young woman who is meant to be the love of Hamlet's life, even though he rarely thinks of her or considers her in his plans. Most of the time Hamlet just appears to be cruel to her, as if he is just using her as a pawn, as is so when Ophelia tells her father that Hamlet ...
Thesis ideas for an essay on the theme of appearance vs. reality in
What is a good thesis for an essay discussing the theme of appearance vs. reality in Hamlet? One of the reasons Hamletis such a profound and interesting play is that a significant theme is acting.
Analyzing Literary Devices in Shakespearean Essays
Another device prevalent in Shakespearean essays is symbolism. Shakespeare employs symbols to convey deeper meanings and add layers of complexity to his narratives. From the infamous skull in "Hamlet" to the recurring motif of the crown in "Macbeth," symbolism is a powerful tool that enhances the thematic elements of his plays.