...Hamlet Essay Why does hamlet take so long to avenge his father's murder? “ To be or not to be that is the question.” (III,i,63). Hamlet has a very indecisive personality which is most likely why he's taking so long to avenge his father's death. Some individuals argue that he is delaying his revenge because he is uncertain on whether he should trust a ghost or not. Others believe he is waiting for the perfect moment to strike so that Claudius suffers eternity in hell for killing his brother, King Hamlet. None of these theories are incorrect but they are weak argument if separated and debated by themselves. “Haste me to know it, that I, with wings as swift as meditation or the thought of love may sweep to my revenge” (I,v, 33-35). In this quote...
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...Tragical History of Hamlet, Prince of Denmark In the Tragical History of Hamlet, Prince of Denmark, by William Shakespeare, the sane Hamlet occasionally switches between the realms of sanity and insanity. When madness suits Hamlet's purpose, he puts on an "antic disposition" (I.V.173). On the other hand, when sanity proves worthy, Hamlet reverts back to being logical. Hamlet claims he is "mad north-north-west" (II.ii.376), meaning he is mad sometimes and sane other times. Therefore, to achieve his short-term goals, Hamlet shifts between sanity and insanity, which ironically, slows his overarching goal of revenge. To begin, Hamlet shifts into the realm of insanity to achieve his short-term goals. Hamlet uses his insanity as a weapon, changing insanity into the form of words or action. Furthermore, Hamlet is only insane towards his enemies or his enemy's allies. For example, Hamlet attacks Ophelia, who has allied herself with Claudius, with words: "are you honest" (III.i.104), "are you fair" (III.i.106). Hamlet "speak[s] daggers" (III.ii.387) to Gertrude, because she is an obstacle to Hamlet. Also, Hamlet slays Polonius so violently that Hamlet guarantees that Polonius is "dead, for a ducat, dead" (III.iv.25). Hamlet gravely harms both Ophelia and Gertrude with his words of insanity, while sending Polonius to the grave with his actions of insanity. All three people, Ophelia, Gertrude, and Polonius, are Claudius' allies, and by wounding Claudius' allies, Hamlet is indirectly wounding...
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...common motivation for characters in a story. In Hamlet by William Shakespeare it is a motivation for the characters Hamlet, Laertes, and Fortinbras. In the play all three characters lose their fathers in by acts of murder, which causes the characters to want get vengence on those responsible. Having different personalities the audience gets to see different approaches and outcomes to the same situation by the three characteres. By the end of the story they are characters who ultimately reach their goals in similar but different ways as avengers. First looking at the character Hamlet, the audience can see a change of the character throughout the play, because of this it allows the audience to think about the character state of mind, based on the actions he takes throughout the play. At the beginning of the play we see that Hamlet is very saddened by the sudden loss of his father, only to find out after meeting the ghost of his father that his death was not a cause of age but murder, which was committed by the new king who has taken power, his uncle Claudius “ The serpent that did sting thy father's life Now wears his crown.” ( Shakespeare I.v, 7). Gaining this information from the ghost of his father we see where Hamlet wants to avenge his father which is proven by his soliloquy, “ that one may smile and smile and be a villain” (Shakespeare I.v, 63), “ now to my word...” ( Shakespeare I.v, 63). It is from this point we see that Hamlet starts to plan out his revenge by putting on...
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...Hamlet, In spite of a prejudice current in certain circles that if now produced for the first time it would fail, is the most popular play in our language. ~ G.H.Lewes. The distinctive concerns of a time and place construct the foundation and shape meaning in a text. The Shakespearean play of Hamlet is an enduring play as the themes introduced in the play by Shakespeare are closely parallel and touch on with the intricacies of human conditions. Shakespeare’s Hamlet is complex play where numeral themes are intertwined. These themes reinforce the development of a revenge tragedy. Without any doubt, the most essential theme present in Hamlet is revenge. Revenge is a frightening bloodthirsty emotion which forces individuals to act blindly. This aspect of revenge is explored through the play by Shakespeare creating the idea in which Hamlet seeks to avenge the murder of his father, King Hamlet, by Claudius. In a typical revenge tragedy, a revenger craves and takes his revenge, leaving himself in a vicious cycle of ongoing revenge. However Hamlet is quite different, “prompted to my revenge by heaven and hell, / must like a whore unpack my heart with words” As instead of taking revenge he talks about it. William Shakespeare very effectively uses soliloquies to accentuate character traits and to reinforce specific themes in his play. A soliloquy spoken by hamlet in act 3 clearly portrays his character flaws and reinforces...
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...Othello the Shakespearean Tragic Hero The Tragedy of Othello is considered to be William Shakespeare’s most popular tragic plays but there are distinct differences in Shakespeare’s tragic heroes, and other tragic heroes. A Tragic hero is usually a character that makes a mistake that leads to his failure, but a Shakespearean tragic hero is initially one, who is born noble, but not necessarily virtuous; there are some great aspects of personality that he has in excess which would often also be his weakness which creates a conflict for the character. His own destruction brings out the principle or moral of the play. Scholars argues that Othello is not a hero but a murder that commits a crime of passion, but just as every Shakespearean tragic characters, Othello is a person that has made an error of judgment, had a fatal flaw and was destined for defeat; which when combined with external forces, will bring on a tragedies like Julius Caesar, Hamlet, and Macbeth. Like many other characters in Shakespearean tragic plays, Othello is not a weak character nor is he a person of failure, but he is the captain of the Venice army, he is married to one of the most beautiful woman of Venice named Desdemona, and he is very well known even though he was of a different ethnicity. When Brabantio accuses him of putting a spell on his daughter Desdemona; in front of the Venetian senate, no one believes the charges because of his outstanding reputation "Here comes Brabantio and the valiant Moor...
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...popular plays is Hamlet. Because this play was one of his more complex works it is also became of the most analyzed plays as well. The main character, Hamlet, has fascinated readers and audiences for centuries, and one of the first thing to point out about him is that he is indecisive (22 Newell). But even though he is thoughtful to the point of obsession, Hamlet also behaves rashly and instinctively. When he does act, it is quickly with little or no premeditation, like when he stabbed Polonius through the curtain without even checking to see who he was. He seems to step very easily into the role acting crazy, behaving erratically and upsetting the other characters with his careless speech (22 Newell). It is also important to note that Hamlet is extremely laid back and unconcerned with it comes to the state of affairs in Denmark and in his own family. He is extremely disappointed with his mother for marrying his uncle so quickly. He rejects, Ophelia, a woman he claimed to have loved once. At a number of points in the play, he contemplates his own death and even the option of suicide. But, despite all of the things with which Hamlet expresses dissatisfaction, it is remarkable that he thinks about these problems only in personal and philosophical terms. He spends little time concerning himself about the threats to Denmark’s national security from outside forces or the threats to its stability from within (1 Hamlet's). Also, there is always a little more to Hamlet than the other characters...
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...when their mind or body reacts to a subconscious sense of danger. When fearful times come, courage or bravery to act in a situation are abilities most people lack. The way people decide whether to act or not in situations determine their character or personality. Those who hide behind their inaction and lack courage are considered cowards. In the same way as others who do not have the ability to take action in a state of fear, Hamlet is a character in Hamlet who can relate. Hamlet continually shows signs of fear and inaction. He lacks courage to act on opportunities where he can resolve his problems that scare and confuse him. His emotions and indecisive attitude take over his...
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...1712-8056 Canadian Academy of Oriental and Occidental Culture Http://www.cscanada.org Http://www.cscanada.net E-mail: css@cscanada.org; caooc@hotmail.com Vol.5 No.5 2009 10/31/2009 Hamlet’s Femininity L A F É MINIT É D E HAMLET GUO De-yan1 Abstract: The charm of Hamlet over the centuries largely lies in Shakespeare’s subtle treatment of Hamlet, and many critics have interpreted Hamlet’s tragedy as a result of his indecisive character, his obsession with philosophical thinking or his Oedipus Complex. This essay holds that Hamlet’s struggle with his femininity also contributes to his tragedy. Hamlet does exhibit some masculine traits such as courage, rationality and aggressiveness, but at the same time he is agonized to find that he is as weak, emotional, passive and dependent as a woman. In whatever cases he is placed either as a prince, a son or a lover, he is more identified with women than with men. Such a discovery tortures him and produces in him some sense of self-negation and self-hatred. Because of his deep-rooted patriarchal concept of gender identity, Hamlet cannot make a compromise with the feminine traits in him, and it somewhat prevents him from taking a masculine action to avenge his father. Key words: Hamlet; Femininity; Masculinity; Tragedy; Self-Hatred Résumé: Depuis des sicècles, le charme d’Hamlet se trouve largement dans un traitement subtil de Shakespeare de ce personnage et de nombreuses critiques ont interprété la tragédie d'Hamlet...
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...Home > Why Hamlet Delays His Revenge Why Hamlet Delays His Revenge (Excerpt from Quintessence of Dust: The Mystical Meaning of Hamlet) Kenneth Chan ... Hamlet is finally alone, and the stage is set for the soliloquy that gave rise to one of the most persistent mysteries in literature: Why does Hamlet delay his revenge? Hamlet Ay, so, God buy you. Now I am alone. Oh, what a rogue and peasant slave am I! Is it not monstrous that this player here, But in a fiction, in a dream of passion, Could force his soul so to his whole conceit1 That from her working all his visage wanned, Tears in his eyes, distraction in his aspect, A broken voice, and his whole function suiting With forms to his conceit? And all for nothing! For Hecuba! What's Hecuba to him, or he to Hecuba, That he should weep for her? What would he do Had he the motive and the cue for passion That I have? He would drown the stage with tears, And cleave the general ear with horrid speech, Make mad the guilty and appal the free,2 Confound the ignorant, and amaze indeed The very faculties of eyes and ears. Yet I, A dull and muddy-mettled3 rascal, peak Like John-a-dreams,4 unpregnant5 of my cause, And can say nothing--no, not for a king, Upon whose property and most dear life A damned defeat was made. Am I a coward? Who calls me a villain, breaks my pate across, Plucks off my beard and blows it in my face, Tweaks me by the nose, gives me the lie i'th'throat As deep as to the lungs? Who does me this? Ha, 'swounds, I should take...
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...+ + The Temperament God Gave You The Classic Key to Knowing Yourself, Getting Along with Others, and Growing Closer to the Lord by Art Bennett, LMFT and Laraine Bennett SOPHIA INSTITUTE PRESS ® Manchester, New Hampshire + + Copyright © 2005 Art Bennett and Laraine Bennett Printed in the United States of America All rights reserved Cover design by Theodore Schluenderfritz No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, or otherwise, without the prior written permission of the publisher, except by a reviewer, who may quote brief passages in a review. ® Sophia Institute Press Box 5284, Manchester, NH 03108 1-800-888-9344 www.sophiainstitute.com Library of Congress Cataloging-in-Publication Data Bennett, Art. The temperament God gave you : the classic key to knowing yourself, getting along with others, and growing closer to the Lord / by Art Bennett and Laraine Bennett. p. cm. Includes bibliographical references. ISBN 1-933184-02-7 (pbk. : alk. paper) 1. Temperament — Religious aspects — Christianity. I. Bennett, Laraine. II. Title. BV4509.5.B447 2005 233’.5 — dc22 2005006577 05 06 07 08 09 10 9 8 7 6 5 4 3 2 1 + + To Pope John Paul II + + vi + + Contents Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . xi Introduction . . . . . . . . . . . . . . . . . . . . . . . . . xv 11. What Is Temperament? . . . . . . . . . . . . . . . . . . . 3 12....
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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 Tudors: A Very Short Introduction VERY SHORT INTRODUCTIONS are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in more than 25 languages worldwide. The series began in 1995, and now represents a wide variety of topics in history, philosophy, religion, science, and the humanities. Over the next few years it will grow to a library of around 200 volumes- a Very Short Introduction to everything from ancient Egypt and Indian philosophy to conceptual art and cosmology. Very Short Introductions available now: ANCIENT P H I L O S O P H Y Julia Annas THE ANGLO-SAXON AGE John Blair ANIMAL RIGHTS David DeGrazia ARCHAEOLOGY Paul Bahn ARCHITECTURE Andrew Ballantyne ARISTOTLE Jonathan Barnes ART HISTORY Dana Arnold ARTTHEORY Cynthia Freeland THE HISTORYOF ASTRONOMY Michael Hoskin ATHEISM Julian Baggini AUGUSTINE HenryChadwick BARTHES Jonathan Culler THE B I B L E John Riches BRITISH POLITICS Anthony Wright BUDDHA Michael Carrithers BUDDHISM DamienKeown CAPITALISM James Fulcher THE CELTS Barry Cunliffe CHOICETHEORY Michael Allingham CHRISTIAN ART Beth Williamson CLASSICS Mary Beard and John Henderson CLAUSEWITZ Michael Howard THE COLD WAR Robert McMahon CONTINENTAL PHILOSOPHY Simon Critchley COSMOLOGY Peter Coles CRYPTOGRAPHY Fred Piper and Sean Murphy DADAAND SURREALISM David Hopkins DARWIN Jonathan Howard DEMOCRACY Bernard Crick DESCARTES TomSorell DRUGS Leslie Iversen TH E EARTH Martin Redfern EGYPTIAN...
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...Frédéric Bastiat The Law The Foundation for Economic Education, Inc. Irvington-on-Hudson, New York 10533 The Translation This translation of The Law was done by Dean Russell of The Foundation staff. His objective was an accurate rendering of Mr. Bastiat's words and ideas into twentieth century, idiomatic English. A nineteenth century translation of The Law, made in 1853 in England by an unidentified contemporary of Mr. Bastiat, was of much value as a check against this translation. In addition, Dean Russell had his work reviewed by Bertrand de Jouvenel, the noted French economist, historian, and author who is also thoroughly familiar with the English language. While Mr. de Jouvenel offered many valuable corrections and suggestions, it should be clearly understood that Dr. Russell bears full responsibility for the translation. The Law The law perverted! And the police powers of the state perverted along with it! The law, I say, not only turned from its proper purpose but made to follow an entirely contrary purpose! The law become the weapon of every kind of greed! Instead of checking crime, the law itself guilty of the evils it is supposed to punish! If this is true, it is a serious fact, and moral duty requires me to call the attention of my fellowcitizens to it. Life Is a Gift from God We hold from God the gift which includes all others. This gift is life — physical, intellectual, and moral life. But life cannot maintain itself alone. The Creator of life has entrusted...
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...The New Astrology by SUZANNE WHITE Copyright © 1986 Suzanne White. All rights reserved. 2 Dedication book is dedicated to my mother, Elva Louise McMullen Hoskins, who is gone from this world, but who would have been happy to share this page with my courageous kids, April Daisy White and Autumn Lee White; my brothers, George, Peter and John Hoskins; my niece Pamela Potenza; and my loyal friends Kitti Weissberger, Val Paul Pierotti, Stan Albro, Nathaniel Webster, Jean Valère Pignal, Roselyne Viéllard, Michael Armani, Joseph Stoddart, Couquite Hoffenberg, Jean Louis Besson, Mary Lee Castellani, Paula Alba, Marguerite and Paulette Ratier, Ted and Joan Zimmermann, Scott Weiss, Miekle Blossom, Ina Dellera, Gloria Jones, Marina Vann, Richard and Shiela Lukins, Tony Lees-Johnson, Jane Russell, Jerry and Barbara Littlefield, Michele and Mark Princi, Molly Friedrich, Consuelo and Dick Baehr, Linda Grey, Clarissa and Ed Watson, Francine and John Pascal, Johnny Romero, Lawrence Grant, Irma Kurtz, Gene Dye, Phyllis and Dan Elstein, Richard Klein, Irma Pride Home, Sally Helgesen, Sylvie de la Rochefoucauld, Ann Kennerly, David Barclay, John Laupheimer, Yvon Lebihan, Bernard Aubin, Dédé Laqua, Wolfgang Paul, Maria José Desa, Juliette Boisriveaud, Anne Lavaur, and all the others who so dauntlessly stuck by me when I was at my baldest and most afraid. Thanks, of course, to my loving doctors: James Gaston, Richard Cooper, Yves Decroix, Jean-Claude Durand, Michel Soussaline and...
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...Listen to This 2 听力文本 Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson 目 录 1 .............................................................................2 2 .............................................................................9 3 ...........................................................................14 4 ...........................................................................20 5 ...........................................................................26 6 ...........................................................................30 7 ...........................................................................35 8 ...........................................................................41 9 ...........................................................................46 10 .........................................................................52 11 .........................................................................55 12 .........................................................................59 13 .........................................................................65 15 .........................................................................73 16 .........................................................................77 17 ................................................
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