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 .
Anand, Manpreet Kaur. An Overview of Hamlet Studies . Newcastle upon Tyne: Cambridge Scholars, 2019.
Anglin, Emily. ââSomething in me dangerousâ: Hamlet, Melancholy, and the Early Modern Scholar.â Shakespeare 13.1 (2017): 15-29.
Baker, Christopher. âHamlet and the Kairos.â Ben Jonson Journal 26.1 (2019): 62-77.
Baker, Naomi. ââSore Distractionâ: Hamlet, Augustine and Time.â Literature and Theology 32.4 (2018): 381-96.
Belsey, Catherine. âThe Question of Hamlet.â The Oxford Handbook of Shakespearean Tragedy, ed. Michael Neill and David Schalkwyk (Oxford: Oxford University Press, 2016:
Bevington, David, ed. Twentieth Century Interpretations of Hamlet: A Collection of Critical Essays . Englewood Cliffs, NJ: Prentice-Hall, 1968.
Bevington, David. Murder Most Foul: Hamlet through the Ages . Oxford: Oxford University Press, 2011.
Bloom, Harold, ed. Modern Critical Interpretations: Hamlet . New York: Chelsea House Publishers, 1986.
Booth, Stephen. âOn the Value of Hamlet.â Reinterpretations of Elizabethan Drama. Ed. By Norman Rabkin. New York: Columbia University Press, 1969. 137-76.
Bowers, Fredson. Hamlet as Minister and Scourge and Other Studies in Shakespeare and Milton. Charlottesville, VA: University Press of Virginia, 1989.
Brancher, Dominique. âUniversals in the Bush: The Case of Hamlet.â Shakespeare and Space: Theatrical Explorations of the Spatial Paradigm , ed. Ina Habermann and Michelle Witen (New York: Palgrave Macmillan, 2016): 143-62.
Bourus, Terri. Young Shakespeareâs Young Hamlet: Print, Piracy, and Performance . New York: Palgrave Macmillan, 2014.
Bourus, Terri. Canonizing Q1 Hamlet . Special issue of Critical Survey 31.1-2 (2019).
Burnett, Mark Thornton. âHamlet' and World Cinema . Cambridge: Cambridge University Press, 2019.
Calderwood, James L. To Be and Not to Be: Negation and Metadrama in Hamlet . New York: Columbia, 1983.
Carlson, Marvin. Shattering Hamlet's Mirror: Theatre and Reality . Ann Arbor: University of Michigan Press, 2016.
Cavell, Stanley. âHamletâs Burden of Proof.â Disowning Knowledge in Seven Plays of Shakespeare . Cambridge: Cambridge University Press, 2003. 179â91.
Chamberlain, Richard. âWhat's Happiness in Hamlet?â The Renaissance of Emotion: Understanding Affect in Shakespeare and his Contemporaries , ed. Richard Meek and Erin Sullivan (Manchester: Manchester University Press, 2017): 153-74.
Cormack, Bradin. âPaper Justice, Parchment Justice: Shakespeare, Hamlet, and the Life of Legal Documents.â Taking Exception to the Law: Materializing Injustice in Early Modern English Literature , ed. Donald Beecher, Travis Decook, and Andrew Wallace (Toronto: University of Toronto Press, 2015): 44-70.
Craig, Leon Harold. Philosophy and the Puzzles of Hamlet: A Study of Shakespeare's Method . London: Bloomsbury, 2014.
Critchley, Simon; Webster, Jamieson. Stay, Illusion!: The Hamlet Doctrine . New York: Pantheon Books, 2013.
Curran, John E., Jr. Hamlet, Protestantism, and the Mourning of Contingency: Not to Be . Aldershot and Burlington, VT: Ashgate, 2006.
Cutrofello, Andrew. All for Nothing: Hamlet's Negativity . Cambridge, MA: The MIT Press, 2014.
Dawson, Anthony B. Hamlet: Shakespeare in Performance . Manchester and New York: Manchester UP, 1995.
Desmet, Christy. âText, Style, and Author in Hamlet Q1.â Journal of Early Modern Studies 5 (2016): 135-156
Dodsworth, Martin. Hamlet Closely Observed . London: Athlone, 1985.
De Grazia, Margreta. Hamlet without Hamlet . Cambridge: Cambridge University Press, 2007.
Dromgoole, Dominic. Hamlet: Globe to Globe : 193,000 Miles, 197 Countries, One Play . Edinburgh: Canongate, 2018.
Dunne, Derek. âDecentring the Law in Hamlet .â Law and Humanities 9.1 (2015): 55-77.
Eliot, T. S. âHamlet and His Problems.â The Sacred Wood: Essays on Poetry and Criticism . London: Methuen, 1920. 87â94.
Evans, Robert C., ed. Critical Insights: Hamlet . Amenia: Grey House Publishing, 2019.
Farley-Hills, David, ed. Critical Responses to Hamlet, 1600-1900 . 5 vols. New York: AMS Press, 1996.
Foakes, R.A. Hamlet Versus Lear: Cultural Politics and Shakespeare's Art . Cambridge: Cambridge University Press, 1993.
Frank, Arthur W. ââWhoâs There?â: A Vulnerable Reading of Hamlet,â Literaature and Medicine 37.2 (2019): 396-419.
Frye, Roland Mushat. The Renaissance Hamlet: Issues and Responses in 1600 . Princeton: Princeton UP, 1984.
Josipovici, Gabriel. Hamlet: Fold on Fold . New Haven: Yale University Press, 2016.
Kastan, David Scott, ed. Critical Essays on Shakespeareâs Hamlet . New York: G. K. Hall, 1995.
Khan, Amir. âMy Kingdom for a Ghost: Counterfactual Thinking and Hamlet.â Shakespeare Quarerly 66.1 (2015): 29-46.
Keener, Joe. âEvolving Hamlet: Brains, Behavior, and the Bard.â Interdisciplinary Literary Studies 14.2 (2012): 150-163
Kott, Jan. âHamlet of the Mid-Century.â Shakespeare, Our Contemporary . Trans. Boleslaw Taborski. Garden City: Doubleday, 1964.
Lake, Peter. Hamletâs Choice: Religion and Resistance in Shakespeare's Revenge Tragedies . New Haven: Yale University Press, 2020.
Lerer, Seth. âHamletâs Boyhood.â Childhood, Education and the Stage in Early Modern England , ed. Richard Preiss and Deanne Williams (Cambridge: Cambridge University Press, 2017):17-36.
Levy, Eric P. Hamlet and the Rethinking of Man . Madison: Fairleigh Dickinson University Press, 2008.
Lewis, C.S. âHamlet: The Prince or the Poem?â (1942). Studies in Shakespeare , ed. Peter Alexander (1964): 201-18.
Loftis, Sonya Freeman; Allison Kellar; and Lisa Ulevich, ed. Shakespeare's Hamlet in an Era of Textual Exhaustion . New York, NY: Routledge, 2018.
Luke, Jillian. âWhat If the Play Were Called Ophelia ? Gender and Genre in Hamlet .â Cambridge Quarterly 49.1 (2020): 1-18.
Gates, Sarah. âAssembling the Ophelia Fragments: Gender, Genre, and Revenge in Hamlet.â Explorations in Renaissance Culture 34.2 (2008): 229-47.
Gottschalk, Paul. The Meanings of Hamlet: Modes of Literary Interpretation Since Bradley . Albequerque: University of New Mexico Press, 1972.
Greenblatt, Stephen. Hamlet in Purgatory . Princeton and Oxford: Princeton University Press, 2001.
Hunt, Marvin W. Looking for Hamlet . New York and Basingstoke: Palgrave MacMillan, 2007.
Iyengar, Sujata. "Gertrude/Ophelia: Feminist Intermediality, Ekphrasis, and Tenderness in Hamlet," in Loomba, Rethinking Feminism In Early Modern Studies: Race, Gender, and Sexuality (2016), 165-84.
Iyengar, Sujata; Feracho, Lesley. âHamlet (RSC, 2016) and Representations of Diasporic Blackness,â Cahiers ĂlisabĂ©thains 99, no. 1 (2019): 147-60.
Johnson, Laurie. The Tain of Hamlet . Newcastle upon Tyne: Cambridge Scholars, 2013.
Jolly, Margrethe. The First Two Quartos of Hamlet: A New View of the Origins and Relationship of the Texts . Jefferson: McFarland, 2014.
Jones, Ernest. Hamlet and Oedipus . Garden City: Doubleday, 1949.
Keegan, Daniel L. âIndigested in the Scenes: Hamlet's Dramatic Theory and Ours.â PMLA 133.1 (2018): 71-87.
Kinney, Arthur F., ed. Hamlet: Critical Essays . New York: Routledge, 2002.
Kiséry, Andrås. Hamlet's Moment: Drama and Political Knowledge in Early Modern England . Oxford: Oxford University Press, 2016.
Kottman, Paul A. âWhy Think About Shakespearean Tragedy Today?â The Cambridge Companion to Shakespearean Tragedy , ed. Claire McEachern (Cambridge: Cambridge University Press, 2013): 240-61.
Langis, Unhae. âVirtue, Justice and Moral Action in Shakespeareâs Hamlet .â Literature and Ethics: From the Green Knight to the Dark Knight , ed. Steve Brie and William T. Rossiter (Newcastle upon Tyne: Cambridge Scholars, 2010): 53-74.
Lawrence, Sean. "'As a stranger, bid it welcome': Alterity and Ethics in Hamlet and the New Historicism," European Journal of English Studies 4 (2000): 155-69.
Lesser, Zachary. Hamlet after Q1: An Uncanny History of the Shakespearean Text . Philadelphia: University of Pennsylvania Press, 2015.
Levin, Harry. The Question of Hamlet . New York: Oxford UP, 1959.
Lewis, Rhodri. Hamlet and the Vision of Darkness . Princeton: Princeton University Press, 2017.
Litvin, Margaret. Hamlet's Arab Journey: Shakespeare's Prince and Nasser's Ghost . Princeton: Princeton University Press, 2011.
Loftis, Sonya Freeman, and Lisa Ulevich. âObsession/Rationality/Agency: Autistic Shakespeare.â Disability, Health, and Happiness in the Shakespearean Body , edited by Sujata Iyengar. Routledge, 2015, pp. 58-75.
Marino, James J. âOpheliaâs Desire.â ELH 84.4 (2017): 817-39.
Massai, Sonia, and Lucy Munro. Hamlet: The State of Play . London: Bloomsbury, 2021.
McGee, Arthur. The Elizabethan Hamlet . New Haven: Yale UP, 1987.
Megna, Paul, BrĂd Phillips, and R.S. White, ed. Hamlet and Emotion . New York: Palgrave Macmillan, 2019.
Menzer, Paul. The Hamlets: Cues, Qs, and Remembered Texts . Newark: University of Delaware Press, 2008.
Mercer, Peter. Hamlet and the Acting of Revenge . Iowa City: University of Iowa Press, 1987.
Oldham, Thomas A. âUnhouseled, Disappointed, Unaneledâ: Catholicism, Transubstantiation, and Hamlet .â Ecumenica 8.1 (Spring 2015): 39-51.
Owen, Ruth J. The Hamlet Zone: Reworking Hamlet for European Cultures . Newcastle-Upon-Tyne: Cambridge Scholars, 2012.
Price, Joeseph G., ed. Hamlet: Critical Essays . New York: Routledge, 1986.
Prosser, Eleanor. Hamlet and Revenge . 2nd ed. Stanford: Stanford UP, 1971.
Rosenberg, Marvin. The Masks of Hamlet . Newark: University of Delaware Press, 1992.
Row-Heyveld, Lindsey. âAntic Dispositions: Mental and Intellectual Disabilities in Early Modern Revenge Tragedy.â Recovering Disability in Early Modern England , ed. Allison P. Hobgood and David Houston Wood. Ohio State University Press, 2013, pp. 73-87.
Shakespeare, William. Hamlet . Ed. Neil Taylor and Ann Thompson. Revised Ed. London: Arden Third Series, 2006.
Shakespeare, William. Hamlet . Ed. Robert S. Miola. New York: Norton, 2010.
Stritmatter, Roger. "Two More Censored Passages from Q2 Hamlet." Cahiers ĂlisabĂ©thains 91.1 (2016): 88-95.
Thompson, Ann. âHamlet 3.1: 'To be or not to beâ.â The Cambridge Guide to the Worlds of Shakespeare: The World's Shakespeare, 1660-Present, ed. Bruce R. Smith (Cambridge: Cambridge University Press, 2016): 1144-50.
Seibers, Tobin. âShakespeare Differently Disabled.â The Oxford Handbook of Shakespeare and Embodiement: Gender, Sexuality, and Race , ed. Valerie Traub (Oxford: Oxford University Press, 2016): 435-54.
Skinner, Quentin. âConfirmation: The Conjectural Issue.â Forensic Shakespeare (Oxford: Oxford University Press, 2014): 226-68.
Slater, Michael. âThe Ghost in the Machine: Emotion and MindâBody Union in Hamlet and Descartes," Criticism 58 (2016).
Thompson, Ann, and Neil Taylor, eds. Hamlet: A Critical Reader . London: Bloomsbury, 2016.
Weiss, Larry. âThe Branches of an Act: Shakespeare's Hamlet Explains his Inaction.â Shakespeare 16.2 (2020): 117-27.
Wells, Stanley, ed. Hamlet and Its Afterlife . Special edition of Shakespeare Survey 45 (1992).
Williams, Deanne. âEnter Ofelia playing on a Lute.â Shakespeare and the Performance of Girlhood (New York: Palgrave Macmillan, 2014): 73-91
Williamson, Claude C.H., ed. Readings on the Character of Hamlet: Compiled from Over Three Hundred Sources .
White, R.S. Avant-Garde Hamlet: Text, Stage, Screen . Lanham: Fairleigh Dickinson University Press, 2015.
Wiles, David. âHamletâs Advice to the Players.â The Playersâ Advice to Hamlet: The Rhetorical Acting Method from the Renaissance to the Enlightenment (Cambridge: Cambridge University Press, 2020): 10-38
Wilson, J. Dover. What Happens in Hamlet . 3rd ed. Cambridge: Cambridge UP, 1951.
Zamir, Tzachi, ed. Shakespeare's Hamlet: Philosophical Perspectives . Oxford: Oxford University Press, 2018.
To write or not to write? To discover interesting topic ideas for your next essay, see below our round-up of helpful essays about Hamlet and writing topic prompts.
The tragedy of Hamlet , Prince of Denmark, is arguably the most famous work of William Shakespeare – or perhaps in the world of literature. A play revolving around love, betrayal, madness, and revenge, Hamlet is a masterpiece that opens with the murder of the King of Denmark. The ghost of the king will go on to appear before his son Hamlet throughout the play, seeking his help for vengeance by killing the new king, Hamlet’s uncle.
Written from 1600 to 1601 with five acts and published in a quarto edition, Hamlet has since been a beloved on the theatrical stages and modern film adaptations, becoming Shakespeareâs longest play and one of the most quoted in many art forms with its âTo be or not to beâ soliloquy.
Read on to see our essays and prompts about Hamlet.
IMAGE | PRODUCT | Â |
---|---|---|
Grammarly | ||
ProWritingAid |
1. âreview: in a powerful âhamlet,â a fragile prince faces his foesâ by maya phillips, 2. âthe concept of madness in hamlet by shakespeareâ by cansu yaÄsız, 3. âanalyzing the theme of religion in william shakespeare’s âhamletââ by journey holm, 4. âophelia, gender and madnessâ by ellaine showalter, 5. âthe hamlet effectâ by holly crocker, 1. the beginnings of hamlet, 2. was hamlet mad or not, 3. physiciansâ diagnosis of hamlet, 4. feminism in the eyes of ophelia, 5. religion in hamlet, 6. oedipal complex in hamlet, 7. imageries in hamlet, 8. shakespeareâs language in hamlet, 9. an analysis of âto be or not to be” , 10. hamlet as a philosophical work.
âHamletâ is one of the Shakespeare plays that most suffers from diminishing returns â adaptations that try too hard to innovate, to render a classic modern and hip.”
With the many theatrical adaptations of Hamlet, it may be a tall order for production companies to add new flairs to the play while being faithful to Shakespeareâs masterpiece. But Robert Icke, a theater director, stuns an audience with his production’s creative and technical genius, while Alex Lawther, his actor, offers a refreshing, charismatic portrayal of Hamlet.
âThe cause of these three charactersâ madness are trauma and unrequited love. They also have a spot in common: a devastating loss of someone significant in their lives⊠In my view, Shakespeare wrote about these charactersâ madness almost like a professional about psychology, making the causes and consequences of their madness reasonable.â
Madness is the most apparent theme in Hamlet, affecting the main character, Hamlet, his love interest, Ophelia, and her brother, Laertes. The novel is most reflective of Shakespeareâs attraction to the concept of madness, as he was said to have personally studied its causes, including unrequited love, trauma from losses, and burnout.
â…I will argue that Hamletâs hesitance to avenge his fatherâs death comes from something deeper than a meditation on another manâs life, a sort of faith. I will use three scenes in Shakespeareâs Hamlet to establish that the reason for Hamletâs hesitance is religion and the fear of his own eternal damnation in hellfire.â
The essay builds on a pool of evidence to prove the religiousness of Hamlet. But, mainly, the author underscores that it is Hamletâs religious reflections, not his alleged mental incapacity, that stifle him from performing his duty to his father and killing his murderer.
âShakespeare gives us very little information from which to imagine a past for Ophelia⊠Yet Ophelia is the most represented of Shakespeareâs heroines in painting, literature and popular culture.â
The essay walks readers through the depictions of Ophelia in various stages and periods, particularly her sexuality. But the fascination for this heroine goes beyond the stage. Opheliaâs madness in the play has paved the way for constructive concepts on insanity among young women. She has also inspired many artists of the Pre-Rapahelite period and feminists to reimagine Hamlet through the lens of feminism.
â… [A]s the shame-and-troll cycle of Internet culture spins out of control, lives are ruined. Some of these lives are lesser, we might think, because they are racist, sexist, or just unbelievably stupid. Shakespeareâs Hamlet cautions us against espousing this attitude: it is not that we shouldnât call out inane or wrong ideas… He errs, however, when he acts as if Poloniusâs very life doesnât matter.â
An English professor rethinks our present moral compass through the so-called âHamlet Effect,â which pertains to how one loses moral standards when doing something righteous. Indeed, Hamletâs desire for retribution for his father is justifiable. However, given his focus on his bigger, more heroic goal of revenge, he treats the lives of other characters as having no significance.
It is said that Shakespeare’s primary inspiration for Hamlet lies in the pages of François de Belleforestâs Histories Tragique, published in 1570 when Shakespeare was six years old. For your historical essay, determine the similarities between Belleforestâs book and Hamlet. Research other stories that have helped Shakespeare create this masterpiece.
Hamlet is the most fascinating of Shakespeareâs heroes for the complexity of his character, desire, and existential struggle. But is Hamlet sane or insane? That question has been at the center of debates in the literary world. To answer this, pore over Hamlet’s seven soliloquies and find lines that most reveal Hamletâs conflicting thoughts and feelings.
Physicians have long mused over Hamletâs characters like real people. They have even turned the cast into subjects of their psychiatric work but have come up with different diagnoses. For this prompt, dig deep into the ever-growing pool of psychoanalysis commentaries on Hamlet. Then, find out how these works affect future adaptations in theaters.
Throughout the play, Ophelia is depicted as submissive, bending to the whims of male characters in the play. In your essay, explain how Opheliaâs character reflects the perception and autonomy of women in the Elizabethan era when the play was created. You can go further by analyzing whether Shakespeare was a misogynist trapping his heroine into such a helpless character or a feminist exposing these realities.
Hamlet was written at a time London was actively practicing Protestantism, so it would be interesting to explore the religious theme in Hamlet to know how Shakespeare perceives the dominant religion in England in his time and Catholicism before the Reformation. First, identify the religions of the characters. Then, describe how their religious beliefs affected their decisions in the scenes.
Father of psychoanalysis Sigmund Freud proposes that Hamlet is hesitant to kill Claudius due to his Oedipus Complex, which grows with him in his adult years. An Oedipus Complex pertains to a male infantâs repressed desire to take possession of his mother from his father, who is viewed as a rival. First, write your analysis on whether you agree with Freudâs view. Then, gather evidence from passages of the play to agree or argue otherwise.
Hamlet in an âinky cloakâ to signify his grief, a Denmark under Claudius linked to corruption and disease â these are just some imageries used in Hamlet. Find other imageries and explain how they achieved their dramatic effect on highlighting the moods of characters and scenes.
During Shakespeareâs time, playwrights are expected to follow the so-called Doctrine of Decorum which recognizes the hierarchy in society. So the gravediggers in Hamlet spoke in prose, as Hamlet does in his mad soliloquies. However, Shakespeare breaks this rule in Hamlet. Find dialogues where Shakespeare allowed Hamletâs characters to be more distinct and flexible in language.
In the âTo be or not to beâ soliloquy, Hamlet contemplates suicide. Why do you think these lines continue to be relevant to this day even after centuries since Shakespeare? Answer this in your essay by elaborating on how Hamlet, through these lines, shares the suffering of the âwhips and scorns of timeâ and our innate nature to endure.
In your essay, evaluate the famous philosophies that resound in Hamlet. For example, with the theme of suicide, Hamlet may echo the teachings of Seneca and the movement of Stoicism , who view suicide as freedom from lifeâs chains. One may also find traces of Albert Camusâs lessons from the Myth of Sisyphus, which tells of a humanâs ability to endure.
Interested in learning more? Check out our essay writing tips . If you’re still stuck, check out our general resource of essay writing topics .
âHamletâ 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 â these adages may be united under two maxims:â Look before you leapâ and âHe who hesitates is lostâ. This paper is an attempt to analyze Hamletâs actions and inactions to prove the authenticity of the application of these maxims to the protagonist.
Although the scene of the play is laid in the Danish Kingdom, the problems involve the whole of mankind to think over this play. In the first act, we get acquainted with Hamlet and it gives us some intellectual challenge. The protagonist is a noble hero, he has a philosophical set of minds, he judges everything from the height of moral virtues, but he has found himself in a complicated and even tragic predicament after having known about his mother and uncles betray. The old world is destructed, and the Ghost asks Hamlet to take responsibility and revenge for his fatherâs death and restore universal justice. Hamlet obeys the Ghost and is careless of consequences. Here we see the first âleapâ of Hamlet because he takes too much upon himself. But this proves the Prince to be an ideal person of the Renaissance.
Hamlet disguises himself as a madman. He should convince everybody that he has gone insane. Being a jester gives an opportunity to tell everything he thinks about. The Prince gives praise to Human beings, calls him perfect, but here we hear the disappointment in life values. All Universal lacks any sense. Hamlet became animated when remembering an old play about the murder of Priam by Pyrrhus. This scene has a very emotional moment when the Prince remembers Priamâs wife Hecuba. For Hamlet it is very important: Hecuba is a faithful wife and Queen Gertrude â not. Anguish comes to the surface again, but reproaches about inaction mingle with this anguish. Why does he linger? Why not avenge his fatherâs death? He is angry with himself and calls himself pejorative names: âwhat a rogue and peasant slave am Iâ (Hamlet, Act II). This is an example of his hesitations.
The famous soliloquy âTo be or not to beâ is the culmination of Hamletâs doubts. âTo suffer The slings and arrows of outrageous fortuneâ (Hamlet, Act III) directly refers to the situation Hamlet is in: to fight against evil or avoid struggle. Desires controvert virtues. Hesitation is grounded on fear. The Prince is afraid to suffer a defeat. His views on life are destructed, and his goddess Justice is blind. Does he have enough powers to resist the temptation of inactivity and sleep peacefully? Once again, the Prince is prevented from action by his hesitancy. Hamlet does not moralize. He is lost in the world, lost in his hesitations. He cannot draw a demarcation line between reality and his feigned insanity. Hamlet chooses âto beâ, but âto beâ means to die. He claims that death is inevitable, but hesitates because it is unknown as well. The soliloquy expresses Hamletâs torment of mind. He is determined to kill the King, but he is unsure if it will bring good or harm.
Now nothing can stop Hamlet and there is a right moment. Hamlet finds Claudius praying, but he cannot kill him. The prayer defends the King and Hamlet does not want him to die sinless. It leads to Heaven, but Claudius does not deserve it. And here Hamlet should think before he leaps. The Prince just excuses his hesitation by waiting for some other appropriate fatal occasion. He wants his revenge to be perfect and edifying. If not â he refuses it completely. He has no time to consider the circumstances and kills Polonius, once more âleapingâ before thinking.
Laertes wants to compete in fencing with Hamlet and kill him during this duel. Laertesâ sword will be poisoned and the Prince will die from the wound. Hamlet is tortured by forebodings of evil. Horatio suggests declining the duel. But Hamletâs response astonishes by its wisdom. Come what may, what must be will be, there exists some Divine power that rules the world â such thoughts occur in Hamlet’s mind for the first time.
Hamlet is uncertain whether he can believe the Ghost. He scruples to trust everybody: Ophelia, Horatio, Gertrude. He is even unsure of himself. When a troupe of actors comes, he gets inspired with his new intention. To re-act, the murder of his father means to punish the culprits. Hamlet mocks the evils of life, thus trying to delete them from reality. He is just satisfied when everybody sees that it is his uncle who has killed Hamletâs father. His suspicions are confirmed, but he never tries to return for evil. And it happens but by an accident. Hamlet makes no attempt to punish the King. So Hamlet âleapsâ into the struggle, but with much hesitation. On one hand, he is a loser, because he died, on the other â a winner, because culprits endured the punishment. He reflects upon his infirmity but does not try to put his intentions into practice. He is obsessed with thinking, not acting. This is his essence and escapes from reality. Only death can bring deliverance and oblivion from uncertainty.
Hamlet is not remarkable for willpower or determination, foresight and deep consideration. But we enjoy refined thoughts and genuine sentiments of his. The Prince lacks deliberateness in actions; he rushes to the whirl of life on the spur of the occasion. If Hamlet were a man of action, he might have killed Claudius at once together with the Queen. And everybody would think him to be a cruel murderer. If he were more prudent, he could have avoided his death and become a King himself. But could he be a good King for his people? A hesitating and indiscreet king can ruin his kingdom. He could save Ophelia, innocent victim of his indifference, Laertes, noble and loving brother. But Hamlet breaks the equilibrium of imaginative and authentic worlds, and reality turns out to be crueler than his fictional insanity. Skepticism, accompanying Hamlet, makes him vulnerable, as only strong beliefs can bring to actions. What if Hamlet has not believed the Ghost at all? Maybe it is conscience that came to him, and if he had not listened to it, his life would be full of scruples of remorse facing his fatherâs memory. Hamlet, the flesh and blood of his mother, wanted to sentence her to death, and if he had not been stopped by the Ghost, a fatal mistake could have been made.
It is controversial if Hamlet is a hero or a pure madman with judicious observations; his motives are mixed and vague. But we can find Hamlet in ourselves. Like him, we hesitate before an important decision and overestimate our powers. It is in human nature and when Hamlet speaks, he speaks on behalf of all people.
Shakespeare William. Hamlet. NY: Dover Publications, 2004.
IvyPanda. (2021, November 28). William Shakespeare: Hamlet's Actions and Inactions. https://ivypanda.com/essays/hamlet-critical-analysis/
"William Shakespeare: Hamlet's Actions and Inactions." IvyPanda , 28 Nov. 2021, ivypanda.com/essays/hamlet-critical-analysis/.
IvyPanda . (2021) 'William Shakespeare: Hamlet's Actions and Inactions'. 28 November.
IvyPanda . 2021. "William Shakespeare: Hamlet's Actions and Inactions." November 28, 2021. https://ivypanda.com/essays/hamlet-critical-analysis/.
1. IvyPanda . "William Shakespeare: Hamlet's Actions and Inactions." November 28, 2021. https://ivypanda.com/essays/hamlet-critical-analysis/.
Bibliography
IvyPanda . "William Shakespeare: Hamlet's Actions and Inactions." November 28, 2021. https://ivypanda.com/essays/hamlet-critical-analysis/.
Home Essay Samples Literature
To be or not to be: an exploration of existential dilemma.
The phrase "To be or not to be" is one of the most iconic lines from William Shakespeare's play Hamlet. Uttered by the protagonist, Prince Hamlet, this soliloquy encapsulates the profound existential questions that humans have grappled with for centuries. In this essay, we will...
William Shakespeare is regarded as the most outstanding dramatist in the history of English literature, and he is hailed as ânot of an age, but for all timeâ by Ben Jonson. One of his plays, Hamlet, is widely considered to be his greatest play. There...
Hamlet, the protagonist in William Shakespeare's Hamlet, experiences significant character development throughout the play and expresses his numerous feelings and ideas through soliloquies. Hamlet has a total of seven soliloquies, each of which reveals a new development in both the play and Hamlet's thoughts. Through...
Alongside Hamlet being considered a tragedy, by William Shakespeare, the growing lunacy of the characters brought a contrast between the evil and the innocent. Limits are breached and destroyed with the twists and turns close family and friends take unexpectedly take. Through the scenes of...
Dreams are shaped by oneâs moral values and idea of happiness. However, being obsessed with another personâs goals rather than focus on their personal goals, one loses their identity in creating false appearances. In both Hamlet by Shakespeare and Death of a Salesman by Arthur...
Stressed out with your paper?
Consider using writing assistance:
Going in to this project, I decided that I wanted to do a project Lion King because of its near perfect adaptation from Hamlet, except for the happy ending. Shakespeareâs plays so often end poorly for his characters and I enjoy happy endings. I was...
The Lion King and The Tragedy of Hamlet, Prince of Denmark have a very similar storyline and characters. It was confirmed that The Lion King actually was inspired by Hamlet. Although, there are also many differences between the two. Everything cannot be the same. One...
In the play, Hamlet by William Shakespeare, Hamlet is the son of the late King Hamlet and Queen Gertrude. After the death of Hamletâs father, Hamlet's uncle, Claudius was made the new King of Denmark, since he married Hamletâs mother, Gertrude. Even though Hamlet was...
As a child, it broke my heart to see characters in stories die. I always wondered why characters had to endure so much suffering. It was easy to develop a humanistic connection with characters, and think of them as having a real life story. In...
A small fact: you are going to die....does this worry you (Markus Zusak, The Book Thief)? The inevitability of mortality, frightens many people. You cannot escape death nor can you prevent it. Similarly, in the tragic play Hamlet, by William Shakespeare, the prevalence of death...
The Elizabethan era dates back to years 1558-1603, during the Reign of Queen Elizabeth I. This period was called the golden age of English literature, thanks to various prominent writers, developments and innovations in literature and theatre. The image of women in the works of...
Depression is a severe mental disorder which is common in adolescents. It causes a chemical imbalance in the brain which affects the daily lives of teens in many ways and has many noticeable signs and symptoms, such as sadness, loss of interest, low self-worth, etc....
A poet conveys diverse information, often tackling sensitive topics affecting the public. To communicate, Poets utilize different strategies, for example, through the application of literary elements such as grotesqueness or morbidity, to influence rhyming and structure. However, in trying to integrate these literary elements, a...
Cleopatra and Gertrudeâs sexuality is displayed throughout Shakespeareâs plays, involving nearly every character and therefore is central to the plot. Gertrudeâs sexuality is the first reason that is driving Hamlet crazy and therefore distracting him from his plot for revenge. She is looked down upon...
The theme of betrayal is a prevalent and complex element that runs throughout William Shakespeare's Hamlet. The play presents the tragic fall of the protagonist, Hamlet, through a story of deception, revenge, and betrayal. Betrayal in Hamlet involves not only the betrayal of the protagonist...
Shakespeare's tragedy, Hamlet, is renowned for its compelling exploration of the theme of revenge. Through the character of Hamlet himself, Shakespeare delves into the complex and multifaceted nature of revenge, showcasing its psychological and moral implications. This essay examines how Shakespeare skillfully portrays revenge in...
An anti-hero is the protagonist of a story that lacks heroic characteristics, they have some good qualities as well as some bad qualities. On the other hand, a tragic hero is, as described by Aristotle, âa person who must evoke a sense of pity and...
In plays, many outside forces such as geography, other characters, religion, culture, and society play an important role in the development of characters. In William Shakespeareâs Hamlet, Hamletâs strong beliefs in Christianity influence his behavior and lead to his internal struggle of action versus inaction...
Death becomes a frequent and almost normal event throughout Hamlet, by William Shakespeare. The story follows Hamlet, a young man mourning his fatherâs demise, who comes to know the culprit behind his fatherâs death and must seek vengeance for his father. So, Hamlet seeks revenge...
Hamlet is a dramatic tragedy written by William Shakespeare around 1600, but the play was first performed in 1609. Hamlet is the son of the King of Denmark, who has passed away. The âghostâ of the King of Denmark visits Hamlet and tells him to...
In life, no matter how similar people are raised, people will never be the same. Each individual evolves with his or her own personalities, motivations, and relationships. We see this to be true in William Shakespeareâs Hamlet. Lord Hamlet and Laertes had many similarities: the...
Introduction Hamlet life was affected by the series of events especially his personality. Hamlet went in the course of hard time through the passing away of his member of the clergy (Erikson, pg, 5). In a month afterward, he goes in the course of another...
Scholars and ordinary people alike are searching for an answer to the questions regarding the afterlife and the places of the souls of those people who have departed from this life and are entering into the next. The fascination with this question is fundamental to...
Hamlet is an enduring play, in that Shakespeareâs plays touch on the intricacies of the human condition. While contextual values can change, our basic human nature to seek answers to the fundamental questions of life remains constant, and allows Hamlet to respond to us in...
The human mind is an interesting element, it gives us the ability to feel, think, and imagine. While the complexity of the intellect gives people the competence to replay events in their memories, the human desire to seek comfort through their illusion blinds the reality....
Best topics on Hamlet
1. To Be or Not to Be: An Exploration of Existential Dilemma
2. An Analysis of the Ophelia’s Saying in Shakespeareâs ‘Hamlet’
3. Hamlet’s Soliloquies: Unveiling the Sanity Behind Antic Disposition
4. Hamlet: Faking Madness and Establishing It as a Tragedy
5. Death Of A Salesman And Hamlet: Faking Madness And Defining Reality
6. Hamlet Vs Lion King: The Themes Of Revenge In Shakespeare’s And Disney’s Classics
7. Comparison of Storylines in “The Lion King” and “Hamlet”
8. Hamlet’s Reflection About The Purpose Of Life In Shakespearean Drama
9. Literature Analysis of How to Read Literature Like a Professor: Definition of Characters in Fiction
10. The Perception of Death and Existence in Hamlet
11. Representation of Women in the Works of William Shakespeare
12. Depression of Holden Caulfield in “The Catcher in the Rye”
13. The Literary Elements of Grotesqueness and Morbidity Used in Hamlet and Barbie Doll
14. Sexualized Queens in Hamlet and Antony and Cleopatra
15. The Prevalent and Complex Theme of Betrayal in Shakespeare’s Hamlet
Need writing help?
You can always rely on us no matter what type of paper you need
*No hidden charges
100% Unique Essays
Absolutely Confidential
Money Back Guarantee
By clicking âSend Essayâ, you agree to our Terms of service and Privacy statement. We will occasionally send you account related emails
You can also get a UNIQUE essay on this or any other topic
Thank you! Weâll contact you as soon as possible.
COMMENTS
When you have to write an essay on Hamlet by Shakespeare, you may need an example to follow.In this article, our team collected numerous samples for this exact purpose. Here you'll see Hamlet essay and research paper examples that can inspire you and show how to structure your writing.
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 ...
151 Hamlet Essay Topics & Thesis Ideas. Updated: May 31st, 2024. 21 min. 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.
Find two essay topics and outlines for analyzing Shakespeare's Hamlet, a play about revenge, deceit, and madness. Learn how to trace the motif of acting and foils in the play, and how to write a thesis statement and an outline.
In conclusion, the theme of madness in "Hamlet" is a rich and multifaceted exploration of the human psyche, revealing the complexities of emotions, motivations, and societal decay. Through the feigned insanity of Hamlet, the genuine madness of Ophelia, and the broader implications of moral corruption within the court of Denmark, Shakespeare ...
Explore the question of why Hamlet does not immediately avenge his father's death in this essay by a certified educator. Analyze the psychological and external factors that contribute to Hamlet's procrastination and its impact on the tragedy.
Hamlet is a character driven by conflicting motivations, which adds depth and complexity to his portrayal. From the very beginning of the play, we see Hamlet's ambivalence towards his role as the avenger of his father's murder. While he is initially driven by a sense of duty to his father, he also expresses doubt and uncertainty about his ...
The story of the play is about the prince Hamlet whose father was the king of Denmark. The king was murdered by Hamlet's uncle Claudius who also married Hamlet's mother Gertrude. The play is centered on Hamlet's anxiety and indecision on how to avenge his father's death. Get a custom essay on Shakespeare: Hamlet. 182 writers online.
Conclusion. In conclusion, Hamlet is a masterpiece of English literature that has been studied and analyzed extensively by scholars. The play's historical context, themes, and literary devices make it a complex and multi-layered work of art.The play's characters, particularly Hamlet, are complex and nuanced, and their struggles with revenge, madness, and power continue to resonate with ...
67 essay samples found. Hamlet, one of William Shakespeare's most celebrated tragedies, delves into themes of madness, revenge, mortality, and existential despair. Essays could delve into the complex character of Hamlet, his internal struggles, and the philosophical dialogues that pervade the play. They might also explore the political ...
Hamlet, Claudius, Gertrude, Polonius, Ophelia, Laertes, Horatio. Symbols: Hamlet's Dark Clothes. The Mousetrap. Ophelia's Flowers. The Skull of Yorick. To Read, or Not to Read. Write your best essay on Hamlet - just find, explore and download any essay for free! Examples đ Topics đ Titles by Samplius.com.
Essays and criticism on William Shakespeare's Hamlet - Critical Essays. ... For example, in Act 1, scene 2, Hamlet has a soliloquy that begins, 'Oh that this too, too ----- flesh would melt'. The ...
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 ...
Top 5 Essay Examples. 1. "Review: In A Powerful 'Hamlet,' A Fragile Prince Faces His Foes" by Maya Phillips. "Hamlet" is one of the Shakespeare plays that most suffers from diminishing returns â adaptations that try too hard to innovate, to render a classic modern and hip.".
Analysis of Characters in Hamlet. In Hamlet, Shakespeare has used women characters in the development of the plot. In the play, women are seen to play minor roles but very essential in development of the plot. In the play, Gertrude and Ophelia are the two women in direct relationship with the main protagonist.
He is angry with himself and calls himself pejorative names: "what a rogue and peasant slave am I" (Hamlet, Act II). This is an example of his hesitations. The famous soliloquy "To be or not to be" is the culmination of Hamlet's doubts. "To suffer The slings and arrows of outrageous fortune" (Hamlet, Act III) directly refers to ...
Essay Samples on Hamlet. Essay Examples. Essay Topics. To Be or Not to Be: An Exploration of Existential Dilemma. The phrase "To be or not to be" is one of the most iconic lines from William Shakespeare's play Hamlet. Uttered by the protagonist, Prince Hamlet, this soliloquy encapsulates the profound existential questions that humans have ...
William Shakespeare's play Hamlet is a timeless classic that has captured the hearts of audiences around the world for centuries. The play's protagonist, Hamlet, is a complex and multi-dimensional character, whose significance in the play cannot be overstated.In this essay, we will analyze Hamlet's character and explore the various themes that are associated with him.
Hamlet uncertainty is a pervasive theme that permeates William Shakespeare's renowned tragedy "Hamlet." The play's central character, Prince Hamlet, grapples with profound uncertainty regarding his father's death, the motives of those around him, and the very nature of truth and reality. This essay delves into the theme of uncertainty in ...