Why is Hamlet the most famous English artwork of the past millennium? Is it a sexist text? Why does Hamlet speak in prose? Why must he die? Does Hamlet depict revenge, or justice? How did the death of Shakespeareâs son, Hamnet, transform into a story about a son dealing with the death of a father? Did Shakespeare know Aristotleâs theory of tragedy? How did our literary icon, Shakespeare, see his literary icons, Homer and Virgil? Why is there so much comedy in Shakespeareâs greatest tragedy? Why is love a force of evil in the play? Did Shakespeare believe thereâs a divinity that shapes our ends? How did he define virtue? What did he think about psychology? politics? philosophy? What was Shakespeareâs image of himself as an author? What can he, arguably the greatest writer of all time, teach us about our own writing? What was his theory of literature? Why do people like Hamlet ? How do the Hamlet haters of today compare to those of yesteryears? Is it dangerous for our children to read a play thatâs all about suicide?Â
These are some of the questions asked in this book, a collection of essays on Shakespeareâs Hamlet stemming from my time teaching the play every semester in my Why Shakespeare? course at Harvard University. During this time, I saw a series of bright young minds from wildly diverse backgrounds find their footing in Hamlet, and it taught me a lot about how Shakespeareâs tragedy works, and why it remains with us in the modern world. Beyond ghosts, revenge, and tragedy, Hamlet is a play about being in college, being in love, gender, misogyny, friendship, theater, philosophy, theology, injustice, loss, comedy, depression, death, self-doubt, mental illness, white privilege, overbearing parents, existential angst, international politics, the classics, the afterlife, and the meaning of it all.Â
These essays grow from the central paradox of the play: it helps us understand the world we live in, yet we don't really understand the text itself very well. For all the attention given to Hamlet , thereâs no consensus on the big questionsâhow it works, why it grips people so fiercely, what itâs about. These essays pose first-order questions about what happens in Hamlet and why, mobilizing answers for reflections on life, making the essays both highly textual and highly theoretical.Â
Each semester that I taught the play, I would write a new essay about Hamlet . They were meant to be models for students, the sort of essay that undergrads read and write â more rigorous than the puff pieces in the popular press, but riskier than the scholarship in most academic journals. While I later added scholarly outerwear, these pieces all began just like the essays I was assigning to students â as short close readings with a reader and a text and a desire to determine meaning when faced with a puzzling question or problem.Â
The turn from text to context in recent scholarly books about Hamlet is quizzical since we still donât have a strong sense of, to quote the title of John Dover Wilsonâs 1935 book, What Happens in Hamlet. Is the ghost real? Is Hamlet mad, or just faking? Why does he delay? These are the kinds of questions students love to ask, but they havenât been â canât be â answered by reading the play in the context of its sources (recently addressed in Laurie Johnsonâs The Tain of Hamlet [2013]), its multiple texts (analyzed by Paul Menzer in The Hamlets [2008] and Zachary Lesser in Hamlet after Q1 [2015]), the Protestant reformation (the focus of Stephen Greenblattâs Hamlet in Purgatory [2001] and John E. Curran, Jr.âs Hamlet, Protestantism, and the Mourning of Contingency [2006]), Renaissance humanism (see Rhodri Lewis, Hamlet and the Vision of Darkness [2017]), Elizabethan political theory (see Margreta de Grazia, Hamlet without Hamlet [2007]), the playâs reception history (see David Bevington, Murder Most Foul: Hamlet through the Ages [2011]), its appropriation by modern philosophers (covered in Simon Critchley and Jamieson Websterâs The Hamlet Doctrine [2013] and Andrew Cutrofelloâs All for Nothing: Hamletâs Negativity [2014]), or its recent global travels (addressed, for example, in Margaret Latvianâs Hamletâs Arab Journey [2011] and Dominic Dromgooleâs Hamlet Globe to Globe [2017]).Â
Considering the context and afterlives of Hamlet is a worthy pursuit. I certainly consulted the above books for my essays, yet the confidence that comes from introducing context obscures the sharp panic we feel when confronting Shakespeareâs text itself. Even as the excellent recent book from Sonya Freeman Loftis, Allison Kellar, and Lisa Ulevich announces Hamlet has entered âan age of textual exhaustion,â thereâs an odd tendency to avoid the text of Hamlet âto grasp for something more firmâwhen writing about it. There is a need to return to the text in a more immediate way to understand how Hamlet operates as a literary work, and how it can help us understand the world in which we live.Â
That latter goal, yes, clings nostalgically to the notion that literature can help us understand life. Questions about life send us to literature in search of answers. Those of us who love literature learn to ask and answer questions about it as we become professional literary scholars. But often our answers to the questions scholars ask of literature do not connect back up with the questions about life that sent us to literature in the first placeâwhich are often philosophical, ethical, social, and political. Those first-order questions are diluted and avoided in the minutia of much scholarship, left unanswered. Thus, my goal was to pose questions about Hamlet with the urgency of a Shakespeare lover and to answer them with the rigor of a Shakespeare scholar.Â
In doing so, these essays challenge the conventional relationship between literature and theory. They pursue a kind of criticism where literature is not merely the recipient of philosophical ideas in the service of exegesis. Instead, the creative risks of literature provide exemplars to be theorized outward to help us understand on-going issues in life today. Beyond an occasion for the demonstration of existing theory, literature is a source for the creation of new theory.
Chapter One How Hamlet Works
Whether you love or hate Hamlet , you can acknowledge its massive popularity. So how does Hamlet work? How does it create audience enjoyment? Why is it so appealing, and to whom? Of all the available options, why Hamlet ? This chapter entertains three possible explanations for why the play is so popular in the modern world: the literary answer (as the English languageâs best artwork about deathâone of the very few universal human experiences in a modern world increasingly marked by cultural differencesâ 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 playâs 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).
Chapter Two âIt Started Like a Guilty Thingâ: The Beginning of Hamlet and the Beginning of Modern Politics
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 Claudiusâs political failings than King Hamletâs. If so, then Shakespeareâs 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
This chapter addresses Horatioâs emotionlessness in light of his role as a narrator, using this discussion to think about Shakespeareâs motives for writing tragedy in the wake of his sonâs death. By rationalizing pain and suffering as tragedy, both Horatio and Shakespeare were able to avoid the self-destruction entailed in Hamletâs emotional response to lifeâs hardships and injustices. Thus, the stoic Horatio, rather than the passionate Hamlet who repeatedly interrupts âThe Mousetrapâ, 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 âauthorial catharsisâ and the suggestion that we can conceive of Shakespeare as a âpoet of reasonâ in contrast to a âpoet of emotionâ.
Chapter Four âTo thine own self be trueâ: What Shakespeare Says about Sending Our Children Off to College
What does âTo thine own self be trueâ actually mean? Be yourself? Donât change who you are? Follow your own convictions? Donât lie to yourself? This chapter argues that, if we understand meaning as intent, then âTo thine own self be trueâ means, paradoxically, that âthe selfâ does not exist. Or, more accurately, Shakespeareâs Hamlet implies that âthe selfâ 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 In Defense of Polonius
Your wife dies. You raise two children by yourself. You build a great career to provide for your family. You send your son off to college in another country, though you know heâs not ready. Now the prince wants to marry your daughterâthatâs not easy to navigate. Thenâget thisâwhile youâre trying to save the queenâs life, the prince murders you. Your death destroys your kids. They die tragically. And what do you get for your efforts? Centuries of Shakespeare scholars dumping on you. If we see Polonius not through the eyes of his enemy, Prince Hamletâthe point of view Shakespeareâs play asks audiences to adoptâbut in analogy to the common challenges of twenty-first-century parenting, Polonius is a single father struggling with work-life balance who sadly choses his career over his daughterâs well-being.
Chapter Six Sigma Alpha Elsinore: The Culture of Drunkenness in Shakespeareâs Hamlet
Claudius likes to partyâa bit too much. He frequently binge drinks, is arguably an alcoholic, but not an aberration. Hamlet says Denmark is internationally known for heavy drinking. Thatâs 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 Shakespeareâs 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 personâone cultureâteaches another its habits. For Claudiusâs 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 âcursed hebona,â Opheliaâs liquid death, and the poisoned cup in the final sceneâmoments that stand out in recent performances and adaptations with alcoholic Claudiuses and Gertrudes.
Chapter Seven Tragic Foundationalism
This chapter puts the modern philosopher Alain Badiouâs theory of foundationalism into dialogue with the early-modern playwright William Shakespeareâs play Hamlet . Doing so allows us to identify a new candidate for Hamletâs traditionally hard-to-define hamartia â i.e., his âtragic mistakeâ â 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 âAs a stranger give it welcomeâ: Shakespeareâs Advice for First-Year College Students
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 Shakespeareâs play Hamlet . If the ghost is âwondrous strange,â Hamlet says, invoking the ancient ethics of hospitality, âTherefore as a stranger give it welcome.â 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
Hamlet is more parallely than other texts. Fortinbras, Hamlet, and Laertes have their fathers murdered, then seek revenge. Brothers King Hamlet and King Claudius mirror brothers Old Norway and Old Fortinbras. Hamlet and Ophelia both lose their fathers, go mad, but thereâs a method in their madness, and become suicidal. King Hamlet and Polonius are both domineering fathers. Hamlet and Polonius are both scholars, actors, verbose, pedantic, detectives using indirection, spying upon others, âby indirections find directions out." King Hamlet and King Claudius are both kings who are killed. Claudius using Rosencrantz and Guildenstern to spy on Hamlet mirrors Polonius using Reynaldo to spy on Laertes. Reynaldo and Hamlet both pretend to be something other than what they are in order to spy on and detect foes. Young Fortinbras and Prince Hamlet both have their forward momentum âarrest[ed].â Pyrrhus and Hamlet are son seeking revenge but paused a âneutral to his will.â The main plot of Hamlet reappears in the play-within-the-play. The Act I duel between King Hamlet and Old Fortinbras echoes in the Act V duel between Hamlet and Laertes. Claudius and Hamlet are both king killers. Sheeshâwhy are there so many dang parallels in Hamlet ? Is there some detectable reason why the story of Hamlet would call for the literary device of parallelism?
Chapter Ten Rosencrantz and Guildenstern: Why Hamlet Has Two Childhood Friends, Not Just One
Why have two of Hamletâs childhood friends rather than just one? Do Rosencrantz and Guildenstern have individuated personalities? First of all, by increasing the number of friends who visit Hamlet, Shakespeare creates an atmosphere of being outnumbered, of multiple enemies encroaching upon Hamlet, of Hamlet feeling that the world is against him. Second, Rosencrantz and Guildenstern are not interchangeable, as commonly thought. Shakespeare gave each an individuated personality. Guildenstern is friendlier with Hamlet, and their friendship collapses, while Rosencrantz is more distant and deviousâa frenemy.
Chapter Eleven Shakespeare on the Classics, Shakespeare as a Classic: A Reading of Aeneasâs Tale to Dido
Of all the stories Shakespeare might have chosen, why have Hamlet ask the players to recite Aeneasâ tale to Dido of Pyrrhusâs slaughter of Priam? In this story, which comes not from Homerâs Iliad but from Virgilâs Aeneid and had already been adapted for the Elizabethan stage in Christopher Marloweâs The Tragedy of Dido, Pyrrhus â more commonly known as Neoptolemus, the son of the famous Greek warrior Achilles â savagely slays Priam, the king of the Trojans and the father of Paris, who killed Pyrrhusâs father, Achilles, who killed Parisâs brother, Hector, who killed Achillesâs 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, Aeneasâs tale to Dido supplied Shakespeare with all of the connections he sought to make at this crucial point in his play and his career â 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 Twelve How Theater Works, according to Hamlet
According to Hamlet, people who are guilty of a crime will, when seeing that crime represented on stage, âproclaim [their] malefactionsââbut that simply isnât how theater works. Guilty people sit though shows that depict their crimes all the time without being prompted to public confession. Why did Shakespeareâa remarkably observant student of theaterâwrite this demonstrably false theory of drama into his protagonist? And why did Shakespeare then write the plot of the play to affirm that obviously inaccurate vision of theater? For Claudius is indeed stirred to confession by the play-within-the-play. Perhaps Hamletâs theory of people proclaiming malefactions upon seeing their crimes represented onstage is not as outlandish as it first appears. Perhaps four centuries of obsession with Hamlet is the English-speaking world proclaiming its malefactions upon seeing them represented dramatically.
Chapter Thirteen âTo be, or not to beâ: Shakespeare Against Philosophy
This chapter hazards a new reading of the most famous passage in Western literature: âTo be, or not to beâ from William Shakespeareâs 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, âTo be, or not to beâ 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 âTo be, or not to beâ is actually a satire of philosophy and Shakespeareâs 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 Fourteen 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 âTo be, or not to be.â 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 Fifteen Is Hamlet a Sexist Text? Overt Misogyny vs. Unconscious Bias
Students and fans of Shakespeareâs 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 â one which speaks to, say, the modern corporation â 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 Sixteen 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 thatâs more than 400 years old: the famous passage on âthe purpose of playingâ in William Shakespeareâs 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 Seventeen 13 Ways of Looking at a Ghost
Why doesnât Gertrude see the Ghost of King Hamlet in Act III, even though Horatio, Bernardo, Francisco, Marcellus, and Prince Hamlet all saw it in Act I? Itâs a bit embarrassing that Shakespeare scholars donât have a widely agreed-upon consensus that explains this really basic question that puzzles a lot of people who read or see Hamlet .
Chapter Eighteen The Tragedy of Love in Hamlet
The word âloveâ appears 84 times in Shakespeareâs Hamlet . âFatherâ only appears 73 times, âplayâ 60, âthinkâ 55, âmotherâ 46, âmadâ 44, âsoulâ 40, âGod" 39, âdeathâ 38, âlifeâ 34, ânothingâ 28, âsonâ 26, âhonorâ 21, âspiritâ 19, âkillâ 18, ârevengeâ 14, and âactionâ 12. Love isnât 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 Nineteen Opheliaâs Songs: Moral Agency, Manipulation, and the Metaphor of Music in Hamlet
This chapter reads Opheliaâs songs in Act IV of Shakespeareâs Hamlet in the context of the meaning of music established elsewhere in the play. While the songs are usually seen as a marker of Opheliaâs madness (as a result of the death of her father) or freedom (from the constraints of patriarchy), they come â when read in light of the metaphor of music as manipulation â to symbolize her role as a pawn in Hamletâs efforts to deceive his family. Thus, music was Shakespeareâs platform for connecting Opheliaâs 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 Twenty A Quantitative Study of Prose and Verse in Hamlet
Why does Hamlet have so much prose? Did Shakespeare deliberately shift from verse to prose to signal something to his audiences? How would actors have handled the shifts from verse to prose? Would audiences have detected shifts from verse to prose? Is there an overarching principle that governs Shakespeareâs decision to use proseâa coherent principle that says, âIf X, then use prose?â
Chapter Twenty-One The Fortunes of Fate in Hamlet : Divine Providence and Social Determinism
In Hamlet , fate is attacked from both sides: âfortuneâ presents a world of random happenstance, âwillâ a theory of efficacious human action. On this backdrop, this essay considersâirrespective of what the characters say and believeâwhat 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 âprovidence.â Yet there is a modern, secular, disenchanted form of fate at work in Hamletâwhat is sometimes called âsocial determinismââwhich calls into question the freedom of the individual will. As such, Shakespeareâs 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-Two The Working Class in Hamlet
Thereâs a lot for working-class folks to hate about Hamlet ânot just because itâs old, dusty, difficult to understand, crammed down our throats in school, and filled with frills, tights, and those weird lace neck thingies that are just socially awkward to think about. Peak Renaissance weirdness. Claustrophobicly cloistered inside the castle of Elsinore, quaintly angsty over royal family problems, Hamlet feels like the literary epitome of elitism. âLawless resolutesâ is how the Wittenberg scholar Horatio describes the soldiers who join Fortinbrasâs army in exchange âfor food.â The Prince Hamlet who has never worked a day in his life denigrates Polonius as a âfishmongerâ: quite the insult for a royal advisor to be called a working man. And King Claudius complains of the simplicity of "the distracted multitude.â But, in Hamlet , Shakespeare juxtaposed the noblesâ denigrations of the working class as readily available metaphors for all-things-awful with the rather valuable behavior of working-class characters themselves. When allowed to represent themselves, the working class in Hamlet are characterized as makers of thingsâof material goods and services like ships, graves, and plays, but also of ethical and political virtues like security, education, justice, and democracy. Meanwhile, Elsinore has a bad case of affluenza, the make-believe disease invented by an American lawyer who argued that his client's social privilege was so great that it created an obliviousness to law. While social elites rot society through the twin corrosives of political corruption and scholarly detachment, the working class keeps the machine running. They build the ships, plays, and graves society needs to function, and monitor the nuts-and-bolts of the idealsâlike education and justiceâthat we aspire to uphold.
Chapter Twenty-Three 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 schoolâs honor code. But instead of âthe foundation of our communityâ that it is at Harvard, honor is tragic in Hamlet âa 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-Four The Meaning of Death in Shakespeareâs Hamlet
By connecting the ways characters live their lives in Hamlet to the ways they die â on-stage or off, poisoned or stabbed, etc. â 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 â a causal relationship between a characterâs hamartia (fault or error) and the catastrophe at the end of the play â 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 characterâs hamartia (error or flaw) and the âspectacularityâ of his or her death â that is, the extent to which it is presented as a visible and visceral spectacle on-stage.
Chapter Twenty-Five Tragic Excess in Hamlet
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 â and they both die at the end of the play â 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 .
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Looking for an outstanding Hamlet essay topic? đ„ Check our list! â Discover the best ideas for your writing. With Hamlet essay prompts & research topics!
Suggested Essay Topics. 1. Contrast the attitudes towards the death of the old King as expressed by Claudius and Hamlet. 2. Compare the advice given to Ophelia by Laertes and that given by ...
Looking for an essay or research paper on Hamlet? đ Analyzing such themes as revenge or corruption? đ Find free Hamlet research paper and essay examples here.
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.
A small point perhaps but it once again reveals that Horatio is the one person that Hamlet can trust and the need for Hamlet to unburden himself of the inner workings of his mind seems great ...
Sample Essay Outlines. PDF Cite. The following paper topics are based on the entire play. Following each topic is a thesis and sample outline. Use these as a starting point for your paper. Topic ...
Thanks for exploring this SuperSummary Study Guide of "Hamlet" by William Shakespeare. A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The best study guide to Hamlet on the planet, from the creators of SparkNotes. Get the summaries, analysis, and quotes you need.
Master Shakespeare's Hamlet using Absolute Shakespeare's Hamlet essay, plot summary, quotes and characters study guides. Plot Summary: A quick review of the plot of Hamlet including every important action in the play. An ideal introduction before reading the original text.
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 ...
It is important to note that at this point in the play, Hamlet has committed no act that would necessitate his being sent from court to another country. As Polonius goes off to spy on Gertrude and ...
Hamlet Essay. Hamlet Essay features Samuel Taylor Coleridge's famous critique based on his legendary and influential Shakespeare notes and lectures. HAMLET was the play, or rather Hamlet himself was the character, in the intuition and exposition of which I first made my turn for philosophical criticism, and especially for insight into the ...
William Shakespeare: Hamlet's Actions and Inactions Essay (Critical Writing) "Hamlet" is a play for all times. Its protagonist is a contradictory and mysterious person. If he is guided by blind revenge or righteous feel of justice, why he hesitates and lingers to punish culprits if he is prudent or light-minded - these adages may be ...
Make your work count for points with our free to read Leaving Cert "Hamlet" essays and full notes covering themes, style and essays on recent questions.
Study with Quizlet and memorize flashcards containing terms like OPHELIA, HAMLET, CLAUDIUS and more.
The following Key Plot Points are meant to guide you and your students to the most relevant parts of the text so you can plan your lessons most efficiently. Hamlet Converses With the Ghost (Act 1 ...
P1 Hamlet faking madness. P2 Hamlet's true madness. P3 Ophelia's true madness. CONC. Madness INTRO. It is certainly true that 'Hamlet' is an exploration of feigned and genuine madness, with Hamlet's crafted insanity acting as a mask enabling him to pursue his plans for revenge on Claudius. However, there remains an argument whether this crafted ...