The department of foreign language and literature course work theme : the motive of pretense and play in the tragedy "hamlet"

This course paper is devoted to the description of The Enlightenment period of English Literature (Historical Background), its impact to the English speaking countries.
The aim of the work is to present an overview of The Enlightenment period of English Literature (Historical Background), and the impacts and positive results.

The tasks of the investigation include:

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  to review the role of Enlightenment period in English literature;
  
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  to review the role of historical background of Enlightenment literature in English literature;
  
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  to analyze Enlightenment period in English language literature;
  
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  to explain the roles and functions Enlightenment period of English literature;
  

-to suggest practical exercise in mastering the knowledge related to Enlightenment period in English literature;
The main language material of the work has been gathered from the Internet sources, literary works and the textbooks in English literature of various authors. Thus, writers, their works, the evidence of modernity in words, their definitions and examples in which the words are used, are taken from the authentic English sources, so that the evidence of the research results could be doubtless.
The theoretical and practical value of the paper lies in its applicability to the English literature, and practical English classes.
The structure of the work consists of the Introduction, four plans, conclusion and the bibliography.
An allied science to Enlightenment period is related to English literature which also studies their art, the evidences of their impacts to readers and the inner structure of the works.

1 The motive of pretense and play

The theme of acting and pretense is evident when Reynaldo is asked to spy on Laertes by Polonius. Polonius asks Reynaldo to spy on his son Laertes in Paris to find out what type of behavior Laertes is engaging in. In this conversation he is told.
“Seems madam, I no not seems”. Acting and pretense are recurring themes in William Shakespeare’s most renowned play Hamlet. The play asks what is real and what is a mere image. It consistently questions truth and how it can be tested, blending the lines between lies and fiction. The similarities between truth and lies are demonstrated in the play, essentially proving that they can be intertwined. Acting and pretense are shown through Reynaldo’s spying, Ophelia and Hamlet’s love, and Hamlet’s sanity.

To start, the theme of acting and pretense is shown through Hamlet and Ophelia’s love. To explain, initially Hamlet seemed to love Ophelia and expressed this love through writing, “Doubt thou the stars are fire, Doubt that the sun doth move, Doubt truth to be a liar, But never doubt I love” (Act II, scene II, lines 107-110) .In this letter that Hamlet writes to Ophelia he is essentially saying that she can doubt everything but that he loves her. It expresses deep love for Ophelia; however, other passages later in the play make one question if this love is true. In contrast, later in the play Ophelia is told by Polonius that she must break up with Hamlet and when she attempts to do so, Hamlet is condescending to her. When Ophelia attempts to give their love letters back to Hamlet he responds by explicitly stating that he never loved her and that she should have never believed he did. ( Act III, Scene I, lines 119-121). This passage clearly contrasts what is written in the love letter and again, makes one question if Hamlet loves Ophelia or if he is just acting. The last expression of love we see from Hamlet in the duration of the play is at Ophelia’s funeral. During this time we see Laertes and Hamlet fight in Ophelia’s grave concerning who loves her more, he professes deep love for her and even says he loves her so intensely he would eat a crocodile for her (Act 5, scene I, lines 255-256).

Near the beginning of the play it is only made apparent to Hamlet’s friends and the audience that Hamlet intents to put on an “antic disposition” to conceal his plan to murder Claudius. After visiting Old Hamlet’s ghost and learning about the way in which is father was murdered, he warns Marcellus and Bernardo that he will now be acting crazy (Act 1, scene 5, lines 173-175). This demonstrates the theme of acting versus pretense because in this specific instance we see Hamlet as a mentally stable person who simply intents to act a certain way to execute his plan. In addition, in later scenes, one starts to question Hamlet’s mental state through his behaviour towards

others. To explain, Hamlet’s mental state is put into question when the ghost appears in Act III during his discussion with Gertrude. While Hamlet is arguing with Gertrude over her choice in men, essentially saying that Claudius is inferior to Old Hamlet the ghost appears. This moment demonstrates Hamlet’s insanity because in prior scenes others such as Horatio and the watchmen were able to see the ghost. Now, in contrast, Gertrude was not able to see the ghost and states that he is going mad. (guilty?) Therefore, Hamlet’s mad brings forth the question of whether Hamlet is acting or if he is truly insane.

Shakespeare’s play Hamlet is considered one of his four great tragedies. This play not only uses unearthly characters to instill fear, but it also uses foil characters to show the possible outcomes for the protagonist, Hamlet, himself. The crucial contrast Shakespeare creates between “what is” and “what seems to be” causes Hamlet, along with many other characters, to act in order to create the outcome they 9-want. However, no matter their attempts the play still ends with an inescapable tragedy for all of the characters. After his father’s ghost visits Hamlet, he learns he must avenge his father’s death. The difficulty in this task not only comes from the ironic reality that the murderer is his uncle, but also the internal struggle because

Hamlet is seeking revenge for the death of his father and believes he has found the perfect time to stab Claudius. However as Hamlet is spying on his stepfather and about to pull out his sword, he sees him “praying”. Hamlet then decides that if he kills Claudius in this moment the new king may be forgiven for his horrible actions and go to heaven. However, this is only “what seems” to be going on, and rather than asking for forgiveness Claudius is giving a fake prayer. Claudius even says, “A brother’s murder. Pray can I not,/ Though inclination be as sharp as will,/ My stronger guilt defeats my strong intent” (3.3.38). This simple contrast between reality and appearance keep Hamlet from successfully carrying out his mission. However, William Empson wonders if there is another reason for Hamlets delay of action or is he simply acting. Empson says, “wonder why he delays, just as he himself wonders. No other device could raise so sharply the question of ‘what is theatrical behavior?’” Although Hamlet does not know the truth, as an audience we pity him because we can see both sides of this event. We are able to hear this distinct contrast between reality, or in this case a prayer, and fantasy when Claudius says, “O, what form of prayer/ Can serve my turn?” (3.3.51) Surprisingly, Claudius does not want forgiveness because he.

Hamlet puts on an antic disposition in the beginning act in order to prove Claudius’ guilt and avenge his father’s death, but as an audience we finally see how this “madness” affects other characters in later scenes. Most importantly one can see

how this contrast not only affects, but also ends Ophelia’s life. Ophelia’s heart, that she believed was filled with love, is soon ripped into pieces when Hamlet acts mad and says, “I loved you not” (3.1.118). Later in the play, Ophelia finds out that not only has her father been murdered, but he was also killed by her own love, Hamlet. After this scene, Ophelia is lost and confused in emotions causing her to take action in the way she believes will benefit her best. This action includes taking her own life because she can no longer bear the pain of all the tragedies. As the queen describes this death she says, “Till that her garments, heavy with their drink,/ Pull’d the poor wretch from her melodious lay/ To muddy death” (2.7.181). These ironic moments again prove that the contrast in actuality and make-believe are crucial to the tragic ending of the play. In these moments, we feel pity and sorrow for Ophelia because we wonder if she had known the truth, would this have happened? Her desire to satisfy her own needs in this moment allow this tragedy to occur though; therefore, at the same time we wonder if the truth would have made a


When placed in a situation out of one’s control, the individual freedom of choice is apprehended, often leading to cognitive dissonance followed by a resolution in which an ultimate decision is made based on a consolidation of personal ethics. However, such resolutions are not achieved easily. In both William Shakespeare’s tragedy Hamlet and Aeschylus’ classical trilogy The Oresteia, the progression of human morality is examined through the protagonists, who are subjected to psychological conflict as they struggle to consolidate their own sense of morality in their pursuits of vengeance. In Hamlet, the motif of a young prince forsaken of his father, family, and rationality, as well as the resulting psychological conflicts develop. Although Hamlet’s inner conflicts derive from the lack of mourning and pain in his family, as manifested in his mother’s incestuous remarrying to his uncle Claudius, his agon¬1 is truly experienced when the ghost of his father reveals the murderer is actually Claudius himself. Thus the weight of filial obligation to obtain revenge is placed upon his shoulders. However, whereas it is common for the tragic hero to be consistent and committed to fulfilling his moira,2 Hamlet is not; his tragic flaw lies in his inability to take action. Having watched an actor’s dramatic catharsis through a speech, Hamlet criticizes himself, venting “what an ass am I! This is most brave, that I, the son of a dear father murdered, prompted to my revenge by heaven and hell… [can only] unpack my heart with words” (Hamlet 2.2.611-614). Seeing how the actor can conjure such emotion over simple speech, Hamlet is irate at his lack of volition and is stricken with a cognitive dissonance in which he cannot balance. The reality and ... ... middle of paper ... ...xternal factors that influence society. In Shakespeare’s Hamlet and Aeschylus’ The Oresteia, such factors and their drastic influences on Hamlet and Orestes were examined, as they struggled to develop their own sense of morality in
situations with tragic consequences. Although the higher morality triumphed over the lower morality in the end, such conclusions cannot be completely objectified. Mankind is perpetually seeking moral approbation from themselves and from others, and therefore the morality of today is constantly changing as time progresses. Therefore, what may have been morally apropos in the past, cannot be generalized to fit society’s morals of today, and society’s morals of the future. Thus, as society advances towards the future, the moral questions and struggles Orestes and Hamlet faced might very well be a conflict society must inevitably contend to.
Throughout William Shakespeare’s play, Hamlet, Hamlet’s behavior and actions cause readers to question his sanity. Hamlet’s character can be interpreted in many different ways. It could be said that he is indeed insane, or it can be disputed that he, as he made known, is simply putting on a good act. The complexity of knowing Hamlet’s true character derives from the fact that we, as readers, are unable to read Shakespeare’s or Hamlet’s minds. Therefore, judgments could be made solely by reading and interpreting his behavior and coming up with a satisfactory conclusion. Taking into consideration incidents such as Polonius’ murder and Hamlet’s contemplating suicide, it is natural for individuals who perform such acts to be categorized as crazy. Ignoring Hamlet’s actual actions, and paying keen attention to what altered his character, one can debate that Hamlet is not at all insane. It is important to consider the situations which triggered Hamlet’s different actions. By giving discreet thought to Hamlet’s position and what he endures, one will realize that he is not demented, but he is actually an angry, betrayed and emotionally devastated fatherless son. From the beginning of the play, Hamlet is emotionally broken for more than one reason. He is a young man who is stricken not only by the death of his father, but by his mother’s instantaneous marriage to his uncle, his father’s brother. Anyone getting such news would be seriously affected by this unpleasant and undesirable condition. Hamlet’s father did not die of a natural cause, neither was his death expected. Therefore, the entire situation caught Hamlet by surprise; for this reason, his pain is worsened, causing him to behave the way in which does. Hamlet’s current situation ...
... middle of paper ... ...t his father and Ophelia are dead and he cannot accept the thought of his mother’s hasty marriage to his conniving and deceitful uncle. Hamlet regrets his previous actions which caused tremendous pain to Ophelia and her family. Just as his own family was destroyed by his uncle’s evil plans, Hamlet realizes that he caused the same pain and negativity on the family of the woman he loved. Hamlet is still a young man of great intellectual abilities, but whose mind and heart are both clouded by anger and sorrow, resulting in actions that might be viewed as madness. Hamlet’s affliction began even before the contact with his father’s ghost, and was worsened when the truth about Claudius was revealed to him by the apparition of his
late father. Hamlet’s actions are not results of insanity but outcomes of the pain he suffers because of the loss and betrayal of loved ones.
Shakespeare’s play Hamlet is considered one of his four great tragedies. This play not only uses unearthly characters to instill fear, but it also uses foil characters to show the possible outcomes for the protagonist, Hamlet, himself. The crucial contrast Shakespeare creates between “what is” and “what seems to be” causes Hamlet, along with many other characters, to act in order to create the outcome they 9-want. However, no matter their attempts the play still ends with an inescapable tragedy for all of the characters. After his father’s ghost visits Hamlet, he learns he must avenge his father’s death. The difficulty in this task not only comes from the ironic reality that the murderer is his uncle, but also the internal struggle because

Act I

Late at night, guards on the battlements of Denmark's Elsinore castle are met by Horatio, Prince Hamlet's friend from school. The guards describe a ghost they have seen that resembles Hamlet's father, the recently-deceased king. At that moment, the Ghost reappears, and the guards and Horatio decide to tell Hamlet.

Claudius, Hamlet's uncle, married Hamlet's recently-widowed mother, becoming the new King of Denmark. Hamlet continues to mourn for his father's death and laments his mother's lack of loyalty. When Hamlet hears of the Ghost from Horatio, he wants to see it for himself.

Elsewhere, the royal attendant Polonius says farewell to his son Laertes, who is departing for France. Laertes warns his sister, Ophelia, away from Hamlet and thinking too much of his attentions towards her.

This above all: to thine own self be true.

— Hamlet, Act 1 Scene 3

The Ghost appears to Hamlet, claiming indeed to be the ghost of his father. He tells Hamlet about how Claudius, the current King and Hamlet's uncle, murdered him, and Hamlet swears vengeance for his father. Hamlet decides to feign madness while he tests the truth of the Ghost's allegations (always a good idea in such situations).

Act II

According to his plan, Hamlet begins to act strangely. He rejects Ophelia, while Claudius and Polonius, the royal attendant, spy on him. They had hoped to find the reason for Hamlet's sudden change in behaviour but could not. Claudius summons Guildenstern and Rosencrantz, old friends of Hamlet to find out what's got into him. Their arrival coincides with a group of travelling actors that Hamlet happens to know well. Hamlet writes a play which includes scenes that mimic the murder of Hamlet's father. During rehearsal, Hamlet and the actors plot to present Hamlet's play before the King and Queen.

Act III

At the performance, Hamlet watches Claudius closely to see how he reacts. The play provokes Claudius, and he interrupts the action by storming out. He immediately resolves to send Hamlet away. Hamlet is summoned by his distressed mother, Gertrude, and on the way, he happens upon Claudius kneeling and attempting to pray. Hamlet reasons that to kill the King now would only send his soul to heaven rather than hell. Hamlet decides to spare his life for the time being.

Polonius hides in Gertrude's room to protect her from her unpredicatable son. When Hamlet arrives to scold his mother, he hears Polonius moving behind the arras (a kind of tapestry). He stabs the tapestry and, in so doing, kills Polonius. The ghost of Hamlet's father reappears and warns his son not to delay revenge or upset his mother.

What a piece of work is man!

— Hamlet, Act 2 Scene 2

Act IV

Hamlet is sent to England, supposedly as an ambassador, just as King Fortinbras of Norway crosses Denmark with an army to attack Poland. During his journey, Hamlet discovers Claudius has a plan to have him killed once he arrives. He returns to Denmark alone, sending his companions Rosencrantz and Guildenstern to their deaths in his place.

Rejected by Hamlet, Ophelia is now desolate at the loss of her father. She goes mad and drowns.

Act V

On the way back to Denmark, Hamlet meets Horatio in the graveyard (along with a gravedigger), where they talk of the chances of life and death. Ophelia's funeral procession arrives at the very same graveyard (what luck!). Hamlet confronts Laertes, Ophelia's brother, who has taken his father's place at the court.

A duel is arranged between Hamlet and Laertes. During the match, Claudius conspires with Laertes to kill Hamlet. They plan that Hamlet will die either on a poisoned rapier or with poisoned wine. The plans go awry when Gertrude unwittingly drinks from the poisoned cup and dies. Then both Laertes and Hamlet are wounded by the poisoned blade, and Laertes dies.

Hamlet, in his death throes, kills Claudius. Hamlet dies, leaving only his friend Horatio to explain the truth to the new king, Fortinbras, as he returns in victory from the Polish wars.