...death is a constant presence in Hamlet or not – one thing is for certain – death, or whatever it is supposed to represent permeates the play right from the opening scene, where the ghost of Hamlet’s father introduces the idea of death and its consequences. The ghost represents a disruption to the accepted social order – a theme also reflected in the volatile socio-political state of Denmark and Hamlet’s own indecision. This disorder has of course been triggered by the "unnatural death" of Denmark's figurehead, the King, and is soon followed by a whole range of murder, suicide, revenge and accidental deaths. Hamlet is above all a story of individuality – and the search for it. This is why Yorick’s skull is so pivotal to the whole story. Previously, Hamlet has been appalled and revolted by the moral corruption of the living. Seeing Yorick's skull (someone Hamlet clearly loved and respected ‘I knew him, Horatio’ ‘fellow of infinite jest’ ‘how abhorred in my imagination it is! my gorge rises’) propels Hamlet's realisation that death eliminates the differences between people. His questioning of ‘Where be your gibes now? Your gambols? your songs? your flashes of merriment’ are a manifestation of his realisation. This, once hilarious, loving person is a conglomeration of bones. It is also difficult to not notice the sudden shift in age as important. When the play begins, Hamlet is a university student, and therefore presumable 18 to 25. By the time Hamlet makes it to the graveyard in...
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...Humes English IV April 4th, 2013 Hamlets Sanity Is Hamlet mad, is he sane, what is he going to do with his madness or sanity? In this mind twisting play, Hamlet by: William Shakespeare, there are many situations throughout the play that are enough to bring Hamlet to insanity. Take, for example, Act IV, scene II, after Polonius's death. Hamlet's day has been crazy, he finally decides that Claudius has killed his father. The chance to kill Claudius confronts him, and he comes very close to convincing Gertrude that Claudius killed his father. Hamlet accidentally kills Polonius and finally, the ghost of his father visits him. Though at this point these situations create plenty of reasons for Hamlet to be insane, he remains sharp and witty. Hamlet remains in this state of madness, .his intelligence remains clear, but his way of thinking takes a turn for the worse. Hamlet reveals to his friends and his mother of his plans to pretend act insane. He tells Horatio that he is going to “feign madness”, and that if Horatio” notices any strange behavior from Hamlet, it is because he is putting on an act”. (I.v.166-180). Hamlet also tells his mother that he is not mad, "but mad in craft." (III.iv.188-199). In addition to his confessions, Hamlet's madness only shows itself when he is in the presence of certain characters. When Hamlet is around Polonius, Claudius, Gertrude, Ophelia, Rosencrantz and Guildenstern, he behaves in a bad manor. When Hamlet is around Horatio, Bernardo, Francisco...
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...Hamlet Worldviews Essay There are many versions of the famous play ‘Hamlet’, which all follow the same tragedy, but the target audiences for each version of the artwork naturally interpret the play/ films differently than the original target audience. Shakespeare’s “Hamlet” targets the audience of the Globe theatre in the late 16th to 17th century, while the very popular Kenneth Branaugh’s “Hamlet” targets a completely different audience, targeting the 19th century audience. Both versions are quite similar, however; Branaugh modified his version appropriately so that his audience could have a better understanding of the madness and religion and views on suicide displayed in “Hamlet”. Shakespeare’s audience would interpret Hamlet’s madness differently than Branaugh’s audience in the sense that Shakespeare wanted to portray the idea that Hamlet was mad because his evil conscience was demanding that he took revenge, and this ultimately took control over him—causing him to go mad. Today’s audience would be more likely to assume that Hamlet has gone mad as a result of post-traumatic stress disorder caused by his uncle murdering his beloved father. This is a significant impact on the target audience because Shakespeare wouldn’t have been familiar with the disorder, and Branaugh does well in creating the effect that Hamlet wasn’t just mad because of his conscience demanding revenge, but the trauma of losing his father through an atypical death. Hamlet: “Not where he eats but where...
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...Kosheva Mr. Stevens, 1B English 212: Hamlet April 20, 2011 Judging the Book by Everything, but Its Cover “To be, or not to be, that is the question…” This is, perhaps, one of the most known quotes in world literature, translated into various languages from all across the world. It is an opening line to Hamlet’s soliloquy from William Shakespeare’s play “Hamlet.” This tragedy brilliantly portrays metal corruption of a person who is overpowered by grief due to his father’s death. Meanwhile, grieving Hamlet learns that his father did not die of natural cause and that in fact, he was murdered by Hamlet’s uncle – Claudius – in order to receive the power, kingdom, and the King’s wife (Hamlet’s mother.) That leads to incest between the in-laws, which, surprisingly, is not looked down upon in the Denmark Kingdom. The theme vividly explores demoralization of all the characters, which results in their death, therefore, labeling Hamlet as a Shakespearean tragedy. The main character – Hamlet – is a protagonist. He is the Prince of Denmark and the nephew of the present King. When the reader starts reading the play, Hamlet is a grieving character, which creates powerful sympathy towards him. The reader feels for Hamlet, as he learns the Hamlet's father, the previous King of Denmark, has been killed by Claudius – Hamlet's uncle. However, when Hamlet does become aware of the true reason of his father's death, he goes mad. The ease, with which Hamlet steps into the madness is not helping...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...The Interpretation of Dreams Sigmund Freud (1900) PREFACE TO THE THIRD EDITION Wheras there was a space of nine years between the first and second editions of this book, the need of a third edition was apparent when little more than a year had elapsed. I ought to be gratified by this change; but if I was unwilling previously to attribute the neglect of my work to its small value, I cannot take the interest which is now making its appearance as proof of its quality. The advance of scientific knowledge has not left The Interpretation of Dreams untouched. When I wrote this book in 1899 there was as yet no "sexual theory," and the analysis of the more complicated forms of the psychoneuroses was still in its infancy. The interpretation of dreams was intended as an expedient to facilitate the psychological analysis of the neuroses; but since then a profounder understanding of the neuroses has contributed towards the comprehension of the dream. The doctrine of dream-interpretation itself has evolved in a direction which was insufficiently emphasized in the first edition of this book. From my own experience, and the works of Stekel and other writers, [1] I have since learned to appreciate more accurately the significance of symbolism in dreams (or rather, in unconscious thought). In the course of years, a mass of data has accumulated which demands consideration. I have endeavored to deal with these innovations by interpolations in the text and footnotes. If these additions do...
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... DRACULA DRACULA A Mystery Story Bram Stoker REIDER BOOKS Los Angeles Copyright © 1897 by Bram Stoker Electronic edition copyright © 2012 by Andrea Reider/Reider Books How these papers have been placed in sequence will be made manifest in the reading of them. All needless matters have been eliminated, so that a history almost at variance with the possibilities of latter-day belief may stand forth as simple fact. There is throughout no statement of past things wherein memory may err, for all the records chosen are exactly contemporary, given from the standpoints and within the range of knowledge of those who made them. Table of Contents 1 Jonathan Harker’s Journal .................................................... 1 2 Jonathan Harker’s Journal .................................................. 17 3 Jonathan Harker’s Journal .................................................. 33 4 Jonathan Harker’s Journal .................................................. 49 5 Letter From Miss Mina Murray To Miss Lucy Westenra ... 65 6 Mina Murray’s Journal ............................................
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