...loyal servant to the kingdom, serving the previous and current king as a personal adviser. To the average citizen in the kingdom Polonius seems to be just as loyal of an adviser to King Claudius, but Hamlet exposes Polonius to be a deceitful man, who by supporting the new king has betrayed his previous ruler and the honor of the kingdom. Hamlet's mother Gertrude can also be used as an example of appearance vs. reality. To the people of the kingdom Gertrude appears to be an honest woman who remarried because of her love for Claudius, but in reality she remarried solely to stay in power and continue her luxurious life as a queen. Hamlet himself is also an ideal example of appearance vs reality, because of his constant act of insanity which causes him to appear mad when in reality he is perfectly sane and simply acting to benefit himself. Polonius a textbook example of appearance vs. reality. Almost immediately after the death of Hamlet’s father, Polonius readily accepts Claudius as his new ruler which is seen as a betrayal to the previous king. Polonius puts on this act to “save his own skin” and continue to stay high up in the ranks of the kingdom, even after the old king died. Although the majority of the kingdom does not seem to notice that Polonius has so readily become loyal to king Claudius, Hamlet begins to view Polonius as a traitor to the king who only has kept his position of power through flattery and lies. When...
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...FEBRUARY 3, 2014 COMMENTS OFF ON COMPARE AND CONTRAST ESSAY ON HAMLET AND DEATH OF A SALESMAN Compare and Contrast Essay on Hamlet and Death of a Salesman Different characters in fictional work serve to develop the plot in different ways. this happens often, be it strengthening the protagonist, or working towards weakening and destroying the protagonist. This is no exception in William Shakespeare’s “Hamlet”, and in “Death of a Salesman” by Arthur Miller. The female characters in the two works choose to hide or deny the truth, and this does not work out well for them, or for the protagonists in the end. Linda chooses not to confront her husband, although she knows that he has plans to commit suicide. Gertrude chooses not to accept her wrongdoing by marrying Claudius, and she does not accept the consequences of her action. The female characters treat the protagonists in different ways, and this contributes to the development of the protagonists. The different personalities of the female characters in the stories enhance the characters of the protagonists in different ways. By denying reality, the female characters contribute to the downfall of the protagonists. Linda is the main character in Miller’s work. She is a loving and loyal wife to her husband. She chooses to reprimand and rebuke her sons for not caring more about their father, although she knows that her husband is not well. Linda knows of her husband’s intention to commit suicide. She reveals this to her sons when...
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...present King, Claudius, who not only assumed his dead brother's crown but also married his widow, Gertrude. Claudius seems an able King, easily handling the threat of the Norwegian Prince Fortinbras. But Hamlet is furious about Gertrude's marriage to Claudius. Hamlet meets the ghost, which claims to be the spirit of his father, murdered by Claudius. Hamlet quickly accepts the ghost's command to seek revenge. Yet Hamlet is uncertain if what the ghost said is true. He delays his revenge and begins to act half-mad, contemplate suicide, and becomes furious at all women. The Lord Chamberlain, Polonius, concludes that Hamlet's behavior comes from lovesickness for Ophelia, Polonius's daughter. Claudius and Gertrude summon two of Hamlet's old friends, Rosencrantz and Guildenstern, to find out what's wrong with him. As Polonius develops a plot to spy on a meeting between Hamlet and Ophelia, Hamlet develops a plot of his own: to have a recently arrived troupe of actors put on a play that resembles Claudius's alleged murder of Old Hamlet, and watch Claudius's reaction. Polonius and Claudius spy on the meeting between Ophelia and Hamlet, during which Hamlet flies into a rage against women and marriage. Claudius concludes Hamlet neither loves Ophelia nor is mad. Seeing Hamlet as a threat, he decides to send him away. At the play that night, Claudius runs from the room during the scene of the murder, proving his guilt. Hamlet gets his chance for revenge when, on the way to see Gertrude, he comes...
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...avenging their fathers’ deaths. Hamlet goes crazy and creates a whole plan of revenge but Simba simply runs from the problem altogether only to come face to face with it later. Nala, representing Ophelia, is a beautiful young lion as Ophelia is a beautiful young girl. Both have a developing relationship with the prince of the kingdom. Although they play practically the same part, Nala is more forceful and stubborn than Ophelia who is obedient and passive more times than not. Another difference between the two is that Nala doesn’t die at the end of the movie as Ophelia dies in Hamlet by suicide. Scar and Claudius is another pair that is quite obviously nearly reversible. Scar, through means of a stampede, causes the death of Mufassa and properly manipulates the situation so as to make Simba think it was his own fault. Simba carries this guilt for years and years to come. Claudius more directly kills Hamlet but hides it completely. Seeing as they are both murderers, it is necessary both of them “receive what is coming to them,” as the saying goes. Hamlet Sr., the father of Hamlet, is killed before the play begins. He is a respected man that is generally liked not different from Mufassa. Mufassa is the Lion King but dies, technically, at the hands of Scar. Zazu...
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...Hamlet is an enigma. No matter how many ways critics examine him, no absolute truth emerges. Hamlet breathes with the multiple dimensions of a living human being, and everyone understands him in a personal way. Hamlet's challenge to Guildenstern rings true for everyone who seeks to know him: "You would pluck out the heart of my mystery." None of us ever really does. The conundrum that is Hamlet stems from the fact that every time we look at him, he is different. In understanding literary characters, just as in understanding real people, our perceptions depend on what we bring to the investigation. Hamlet is so complete a character that, like an old friend or relative, our relationship to him changes each time we visit him, and he never ceases to surprise us. Therein lies the secret to the enduring love affair audiences have with him. They never tire of the intrigue. The paradox of Hamlet's nature draws people to the character. He is at once the consummate iconoclast, in self-imposed exile from Elsinore Society, while, at the same time, he is the adulated champion of Denmark — the people's hero. He has no friends left, but Horatio loves him unconditionally. He is angry, dejected, depressed, and brooding; he is manic, elated, enthusiastic, and energetic. He is dark and suicidal, a man who loathes himself and his fate. Yet, at the same time, he is an existential thinker who accepts that he must deal with life on its own terms, that he must choose to meet it head on. "We defy augury...
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...Character Analysis Hamlet Hamlet is an enigma. No matter how many ways critics examine him, no absolute truth emerges. Hamlet breathes with the multiple dimensions of a living human being, and everyone understands him in a personal way. Hamlet's challenge to Guildenstern rings true for everyone who seeks to know him: "You would pluck out the heart of my mystery." None of us ever really does. The conundrum that is Hamlet stems from the fact that every time we look at him, he is different. In understanding literary characters, just as in understanding real people, our perceptions depend on what we bring to the investigation. Hamlet is so complete a character that, like an old friend or relative, our relationship to him changes each time we visit him, and he never ceases to surprise us. Therein lies the secret to the enduring love affair audiences have with him. They never tire of the intrigue. The paradox of Hamlet's nature draws people to the character. He is at once the consummate iconoclast, in self-imposed exile from Elsinore Society, while, at the same time, he is the adulated champion of Denmark — the people's hero. He has no friends left, but Horatio loves him unconditionally. He is angry, dejected, depressed, and brooding; he is manic, elated, enthusiastic, and energetic. He is dark and suicidal, a man who loathes himself and his fate. Yet, at the same time, he is an existential thinker who accepts that he must deal with life on its own terms, that he must choose to meet...
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...Shakespeare’s Characters: Self-Gratification Over Human Kindness William Shakespeare wrote in his tragedy, Julius Caesar, “The evil, that men do lives after them; The good is oft interred with their bones.” It is shown that Shakespeare’s lead characters are concerned with their need for self-satisfaction, gratitude, and dignity. They lack the solicitude for human kindness and the thought of others. The more the audience analyzes the characters, the more they see the true ambition and reasoning for their evil deeds. During Shakespeare’s time, it wasn’t unusual for men to seek such power. For instance, Taming of the Shrew is a play that focuses on the desire for marriage; but the emotions of young couples were not the main consideration in courtship (McDonald 267). Katherina actions portray her as the shrew, but the audience knows her ultimate desire was to receive genuine love from a man. Richard III makes it abundantly clear that he desires to take over the English thrown and do whatever it takes to grasp it. Additionally, Hamlet seeks revenge and is motivated to do so by his supernatural spirit of his father (Sobran 45). The need for wealth, power, ambition, and greed lead many of Shakespeare’s characters to satisfy their own self gratitude over the basic ideas of human kindness. London, during the sixteenth century, was a time of extreme corruption. Gender roles were unequal, marriage was spurious, and seeking wealth or power of some sort became every man’s objective. The...
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...How Much Do Lady Macbeth and Ophelia Have in Common? Although obvious polar opposites, Lady Macbeth and Ophelia are connected, their descent into insanity and eventual demise are their one liking variable. Lady Macbeth is one of Shakespeare’s most famously frightening and powerful female characters. At the start of the play, she is a loving wife to her husband but at the same time very ambitious, as shown by her immediate determination for Macbeth to be king. This outcome will benefit her and her husband equally. She immediately concludes that "the fastest way" for Macbeth to become king is by murdering King Duncan. Furthermore, Lady Macbeth knows her husband well. She thinks he may be too kind in order to murder King Duncan. At first Macbeth agrees but later wavers in his decision, but Lady Macbeth assures him that being king is what he really wants and that this is the best for both of them. So, in response to Macbeth's uncertainty, Lady Macbeth manipulates him by questioning his manhood and his love for her. She is successful because regardless of his own conscience, Macbeth carries out their plan of murder, by himself. The almost superhuman strength Lady Macbeth gains for the occasion and her cunning ability are shown through her meticulous attention to detail regarding the murder. However, though Lady Macbeth seems strong in her initial pursuits, she proves her weakness when she is unable to commit the act herself or deal with the consequences of her actions. Lady Macbeth's...
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...decorum of revenge. Shakespeare manages to induce Hamlet's sensibilities in many ways, not the least of which is the "poison in the ear" motif that courses the length of the drama. Indeed, in Act 1 Scene 5 Shakespeare introduces the literal act of Claudius pouring poison into the "porches" of old King Hamlet's ear, as related to the prince by old Hamlet's ghost. But the extent to which earpoisoning plays a role in the play is, at the juncture of Act 1.5, only beginning to take root. Even in Act 1.4, before the truth of King Hamlet's death is ever known or even suggested by the play's action, Shakespeare alludes to the overwhelming power of envenomed sound and poisonous aural suggestion. Likewise in the following 2.1, Shakespeare subtly elaborates on the motif, which, once given its literal form in Act 1.5, is only in its infancy, though by the drama's conclusion it's structurally crucial has been made increasingly apparent. In Act 1.4 the Ghost makes its second appearance in the play, though it is the first time Hamlet has witnessed him. Besides furthering the plot, Act 1.4 also serves as a prelude to the pivotal 1.5 wherein the Ghost reveals to Hamlet the secret that rules the action of the remainder of the playthe murderous deed of Claudius. It is of no surprise, then, that hints and suggestions of the upcoming revelation are worked into the drama. Certainly the audience is aware of some building moment, some approaching revelation that will stagger Hamlet to the core, for when...
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...that are key to furthering the plot of the story, while keeping the reader engaged and interested in the book. These dramatic forces add suspense, irony, and mood which together makes for a good read. The characters who further these dramatic forces are Hamlet, Claudius, and Laertes. The character that furthers the dramatic forces the most is Hamlet. By examining the theme of love, their views on life and death, plus the act of scheming between Claudius, Hamlet, and Laertes, it will be evident that Hamlet furthers the dramatic force the most. Hamlet is a better character to reveal the theme of love when compared to Claudius. Hamlet encounters his father’s ghost and is told that his father’s brother Claudius had murdered him in his sleep. “O villain, villain, smiling, damned villain, My tables,- meet it is I set it down That one may smile, and smile, and be a villain, …So, uncle, there you are; now to my word; It is ‘adieu, adieu! Remember me.’ I have sworn’t” (Act 1, Scene 5, Lines 106-111). As a dutiful and loving son, Hamlet decides to avenge his father’s death. By doing so, he is accepting the task of going against all of Denmark and is planning to prove that his father was killed by the present king, King Claudius. He shall “wipe away all trivial fond records, all saws of books, all forms, all pressures past…And thy commandment all alone shall live Within the book and volume of my brain”(Act1, Scene 5, Lines 109-104) because he loves his father so much. Upon Hamlets return...
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...(Renaissance) Character List Hamlet - The Prince of Denmark, the title character, and the protagonist. About thirty years old at the start of the play, Hamlet is the son of Queen Gertrude and the late King Hamlet, and the nephew of the present king, Claudius. Hamlet is melancholy, bitter, and cynical, full of hatred for his uncle’s scheming and disgust for his mother’s sexuality. A reflective and thoughtful young man who has studied at the University of Wittenberg, Hamlet is often indecisive and hesitant, but at other times prone to rash and impulsive acts. Hamlet is extremely philosophical and contemplative. He is particularly drawn to difficult questions or questions that cannot be answered with any certainty. Faced with evidence that his uncle murdered his father, evidence that any other character in a play would believe, Hamlet becomes obsessed with proving his uncle’s guilt before trying to act. Claudius - The King of Denmark, Hamlet’s uncle, and the play’s antagonist. The villain of the play, Claudius is a calculating, ambitious politician, driven by his sexual appetites and his lust for power, but he occasionally shows signs of guilt and human feeling—his love for Gertrude, for instance, seems sincere. Gertrude - The Queen of Denmark, Hamlet’s mother, recently married to Claudius. Gertrude loves Hamlet deeply, but she is a shallow, weak woman who seeks affection and status more urgently than moral rectitude or truth. Polonius - The Lord Chamberlain of Claudius’s...
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...KING LEAR Act One The play opens at Lear’s court, where we meet the main characters. The opening scene is in itself shocking, as Lear forces his daughters to declare their love for him. The one who loves him the most will receive the largest part of his kingdom, which he intends to divide between the three. Lear himself wishes to hand over the ruling of the kingdom to his daughters, while retaining the ‘Pre-eminence, and all the large effects / That troop with majesty’ (Scene 1, Lines 131-2). Goneril and Regan acquit themselves well at this love test. Cordelia, however, dismayed by her sisters’ ponderous words, refuses to take part in the ‘contest’ and tells Lear that she loves him as her duty instructs her. When Cordelia refuses to speak again, Lear casts her off without a moment’s hesitation. Ken attempts to argue with the King, accusing him of ‘hideous rashness’ (Scene 1, Line 151). When Kent further warns Lear that his elder daughters are false flatterers, Kent too is banished. Lear invests Albany and Cornwall with power, and, after Burgundy refuses to take Cordelia as his wife, now that she is without dowry, France takes her for her virtues alone. Goneril and Regan complain, in private, about Lear’s harsh judgement and unpredictable behaviour and worry that they too may be treated unfairly. Edmund, Gloucester’s bastard son, soliloquises about his own situation, revealing his devious intentions towards his brother. When his father enters, Edmund’s...
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...novel struck me at first, but I could not remember where I had read or come across this phrase before. Upon searching online, I remembered that it has its origin in one of the poems of a Latin Poet Horace, the word being “Carpe diem” in Latin. I remembered that I had read this back in high school, the stanza of the poem was: While we speak, envious time will have {already} fled Seize the day, trusting as little as possible in the future. It’s interesting how just a small phrase can carry so much meaning. Saul Bellow has very effectively depicted the philosophy of carpe diem by narrating a real life scenario of war stricken America where maximizing the utility of time is the very important. Although the theme of alienation and isolation is prevalent throughout the book through Tommy’s life events, Saul could not make me feel sympathetic towards Tommy. Tommy’s inability to judge himself, and be self-aware of his strengths and weaknesses causes his downfall. He is always reluctant to confront his failures, and does not have the courage to make the final step. He is not just isolated from his family, but isolated from himself in essence, by not letting himself know his true self. His life would have been less of a burden, if he was true to himself, and brave enough to confront and accept his failures and do something to set things right instead of relying on...
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...6 Build Your Vocabulary ■ ■ ■ ■ The SAT High-Frequency Word List The SAT Hot Prospects Word List The 3,500 Basic Word List Basic Word Parts be facing on the test. First, look over the words on our SAT High-Frequency Word List, which you’ll find on the following pages. Each of these words has appeared (as answer choices or as question words) from eight to forty times on SATs published in the past two decades. Next, look over the words on our Hot Prospects List, which appears immediately after the High-Frequency List. Though these words don’t appear as often as the high-frequency words do, when they do appear, the odds are that they’re key words in questions. As such, they deserve your special attention. Now you’re ready to master the words on the High-Frequency and Hot Prospects Word Lists. First, check off those words you think you know. Then, look up all the words and their definitions in our 3,500 Basic Word List. Pay particular attention to the words you thought you knew. See whether any of them are defined in an unexpected way. If they are, make a special note of them. As you know from the preceding chapters, SAT often stumps students with questions based on unfamiliar meanings of familiar-looking words. Use the flash cards in the back of this book and create others for the words you want to master. Work up memory tricks to help yourself remember them. Try using them on your parents and friends. Not only will going over these high-frequency words reassure you that you...
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...cover next page > title author publisher isbn10 | asin print isbn13 ebook isbn13 language subject publication date lcc ddc subject : : : : : : : : : : : cover next page > < previous page page_i next page > Page i 1100 Words You Need to Know Fourth Edition Murray Bromberg Principal Emeritus Andrew Jackson High School, Queens, New York Melvin Gordon Reading Specialist New York City Schools . . . Invest fifteen minutes a day for forty-six weeks in order to master 920 new words and almost 200 useful idioms < previous page page_i next page > < previous page page_ii next page > Page ii © Copyright 2000 by Barron's Educational Series, Inc. Prior edition © Copyright 1993, 1987, 1971 by Barron's Educational Series, Inc. All rights reserved. No part of this book may be reproduced in any form, by photostat, microfilm, xerography, or any other means, or incorporated into any information retrieval system, electronic or mechanical, without the written permission of the copyright owner. All inquiries should be addressed to: Barron's Educational Series, Inc. 250 Wireless Boulevard Hauppauge, NY 11788 http://www.barronseduc.com Library of Congress Catalog Card No. 00-030344 International Standard Book Number 0-7641-1365-8 Library of Congress Cataloging-in-Publication Data Bromberg, Murray. 1100 words you need to know / Murray Bromberg, Melvin Gordon. p. cm. Includes index. ISBN 0-7641-1365-8 1. Vocabulary. I. Title: Eleven hundred words you need...
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