I would like to know what you think is the most interesting aspect of Act 1.
Considerations:
- Language
- Plot
- Dramatic devices
- Characterization
- Anything of considerable importance that you've noticed
This may be a good time to read the Writing section of the website.
30 comments:
The most interesting aspect in Act One of Hamlet is the way Shakespeare portrays our daily lives through the many events situated in Elsinore, Denmark. There are many relationships between the characters than can easily be compared to the relationships that we, as a community, have. These are the relationships between families, friends and a significant other, but the most riveting is the relationship between family members.
The most common is the bond between Laertes and Ophelia – the Lord Chamberlain’s son and daughter. Tending to his sister, Laertes utters, “A violet in the youth of primy nature, / Forward, not permanent, sweet, not lasting, / the perfume and suppliance of a minute, / No more” (1.3.7-9), leaving words of caution about her lover, Hamlet. He warns that Hamlet is just taking advantage of her love for him, but as soon as he gets what he wants, he will cease to exist in her world; Laertes does not want his sister to be easily fooled. Even in the 21st century, Laertes’ sense of protection can also be compared to the protection that siblings have for one another. Like Laertes, an older brother or sister keeps a close guard on their younger siblings to make sure that they are following the right footsteps. One may argue that this is simply unreasonable because it is an act made by a person who is over protective. Nonetheless, if what they inquire is right or wrong, the judgement placed by Laertes on Hamlet was simply made as an act of security for his younger sister, Ophelia. Through many experiences, it can be proven that it is an instinct for a sibling to act this way for a younger sibling because of past happenings in their own lives. They make these judgements to prevent their younger brother or sister from getting hurt, or from making the same mistakes they have. This reaction is very common, more so between a father and daughter.
Midway into Act 1, Scene 3, Polonius’ relationship with his daughter, Ophelia is introduced. “‘Tis told me he hath very oft of late/ Given private time to you, and you yourself/ Have of your audience been most free and bounteous. / […] And that in way of caution – I must tell you/ You do not understand yourself so clearly” (1.3.91-93, 95-96). He seems like a very caring and loving father to Ophelia, as if he cares about her well-being. Most fathers are always concerned about what their daughter is doing, and where she is, simply because he loves her. The last thing a father would want is to lose the connection he has with his daughter. Fathers pry through their daughters’ daily schedules, but only because they care for their well-being. Through this, Polonius is seen as a typical father. However, nearing the end of the scene, he then says, “Tender yourself more dearly, / Or (not to crack the wind of the poor phrase, / Running it thus) you’ll tender me a fool. / […] This is for all: / I would not in plain terms, in this time forth/ Have you slander any moment leisure/ As to give words or talk with the Lord Hamlet. / Look to’t I charge you. Come your ways” (1.3.107-109, 132-135), revealing his utmost concern: his reputation. This relates to the society around us, and to the society around the time of the Renaissance. There are many situations that might appear a certain way to others, but is not what it seems. It is not until you are the person that is directly involved in the situation that you will realize the truth behind what sits in front of your eyes. Filial obligation is the duty that a child has to respect and care for their parent, which is what Polonius uses to hide the true justifications to his actions, through Ophelia. The bond between Polonius and Ophelia – father and daughter – is a good example of filial obligation. It is the reason why Ophelia must respect Polonius’ wishes, whether it is what makes her happy, or not. She loves her father and does not want to upset him, so she obeys her father’s demand, to satisfy his reputation. Like Ophelia, many young adolescents in our society persevere with filial obligation. They do what their parents ask them to (whether it is a simple or immense, physical or mental task) out of their duty to do so.
Nevertheless, Shakespeare tweaks these situations into our reality, where readers can create a personal comparison with the characters’ lives to the reader’s. He manipulates the characters, using their unique personalities to create connections to the lives of the reader or audience – personalities such as: a prideful father or an overprotective older sibling. Through the many circumstances and situations that are presented in Act 1 of Hamlet, readers may agree that life, in general, is still the same; the ups and downs will be the vibrant waves that our lives will always surf on.
While growing up, we all will encounter very heartbreaking, overwhelming and even exciting experiences in which all have a lesson learnt afterwards. While reading Shakespeare’s Hamlet, Ophelia, who is Polonius’s daughter goes through a confusing time which includes one fragile thing; her heart. I feel as if Ophelia’s character is someone who I was, not so long ago and who I can really relate towards because of her situation to either, follow her heart or her mind. Ophelia is a very interesting character that is revealed in Act 1 because I feel seeing a 14 year old girl, being forced to break up with the boy of her dreams is both devastating and harsh. Also, I feel as if many girls can relate to Ophelia’s dilemma of trying to make her family happy and as well as herself. Ophelia has a mind of her own, and knows what she is expected to do by her father and brother. However sometimes as a young girl your innocence will control your decision, and sometimes you will think more about what you desire, than what your family does. Ophelia’s character is being revealed through her naive attitude towards the situation, she wants to be with Hamlet because she loves him, and it is something special, however her father and brother believe it is not real love.
When Ophelia’s brother Laertes discovers that she has been secretively visiting Hamlet, he gives her a lecture which I feel is what any protective, older brother would say to his little sister. Laertes is looking out for Ophelia’s best interests and for the families as well. “Hold it a fashion and a toy in blood, / a violet in the youth of primy nature, / forward, not permanent, sweet, not lasting, / The perfume and suppliance of a minute, no more” (1. 3. 6-10).Laertes is indicating that Hamlet is just using Ophelia, and it is not real love that she is feeling, the feeling will last like the smell of perfume for not more than a minute. This quotation is a great indication of how Laertes is against Ophelia and Hamlet being together because he feels that Hamlet will stay with Ophelia for a bit, and than leave her. He is trying to help Ophelia look into another direction because Laertes being near Hamlets’ age knows how all boys are. I can agree with Laertes’s motive to help Ophelia so she doesn’t have to deal with the consequences, but however all girls learn after their mistakes. Ophelia’s wit and along with her mind of her own is what I think is great for a young girl to have. It shows their confidence and determination to get what they want, no matter what they have to go through. Ophelia has taken in what her brother Laertes has told her, but she is unsure if he is true to his word. “ I shall the effect of this good lesson keep/ as watchman to my heart, but, good my brother,/ do not as some ungracious pastors do,/ show me the steep and thorny way to heaven/, whiles like a puffed and reckless libertine/ himself the primrose path of dalliance treads/ and recks not his own rede” ( 1.3.45-51). Ophelia’s personality is discovered piece by piece, her well understanding of her brother disagreeing with her and Hamlet’s love is not stopping her to feel like her brother is being very hypocritical. She is calling Laertes on his bluff, because she is smart enough to know that he is not listening to his own advice but just telling her things so she is taught well, and to keep her dignity. These lines are very sacred, because to me it indicates that she is putting both her heart and mind into the situation, rather than before. Ophelia at last has a conversation with her curious Father, Polonius about what Ophelia and Laertes where discussing previously. The conversation that they encounter is very interesting, it is what any father, and their young, naive daughter will come across, including me a couple of years ago. It is interesting because it is her father being protective, and with Ophelia not having a motherly figure in her life she has to go through talking about her love life with her Father. Polonius wants the best for her daughter, and also for the family. “For Lord Hamlet, / believe so much in him that he is young, / and which a larger tether may he walk/ than may be given you. In few, Ophelia,/ Do not believe his vows, for they are brokers/[…] I would not, in plain terms, from this time forth/ have you slander any moment leisure/ as to give words or talk with the Lord Hamlet” (1.3. 123-127, 132-134). Polonius is very hard-hitting towards his daughter and given no pity or understanding towards Ophelia and her love life, it indicates that he already knows what is best and right for her, and also for the Prince of Denmark. Polonius tells Ophelia to not listen to what Hamlet says; he does not really love you. Ophelia’s verdict comes clear after hearing what her father has to say. The decision from Polonius to further not associate herself with Hamlet, which is to break up with him, is a decision that really does not please Ophelia, and makes it more upsetting for her. For this reason she is forced to break up with Hamlet, and has no other choice but to obey her father because she feels as if since he is her father, he recognizes her best interests.
Therefore, Ophelia’s character is rather interesting in Act 1 because the situation to either follow her heart or her mind is a very common struggle that most young girls go through. At times we can’t get what we want, and by having your family disagree with your choices it discourages you, since you want to make everyone happy including yourself. Falling in love is the easy part, but for Ophelia to stop loving Hamlet it is the hard part.
The way an individual chooses to express his/her feelings has always been a very intriguing topic. I believe the most interesting part is how creative Shakespeare can be when choosing which words he uses to let his characters’ feelings be known. An example of this is his use of nature and the environment around the character to illustrate the character’s internal feelings and conflicts in Act One of Hamlet. The feelings that are portrayed include feelings of hate and anger.
Hamlet’s anger over the new addition to his family leads him to express himself cryptically. When Hamlet is talking to Claudius, his new father after his biological father has just passed, he finds a way of twisting Claudius’ references to nature making him look bad in front of the entire Royal family: “King: How is it that the clouds still hang on you?/ Hamlet: Not so, my lord. I am too much in the sun” (I.ii.66-67). I feel that Hamlet’s response is cutting because of the way he uses his sarcastic humor to fire back at Claudius. The way Hamlet uses puns to respond to Claudius’ concern shows how Shakespeare uses language to illustrate Hamlet’s internal conflict. The pun used is very clever because not only does it allow Hamlet to answer Claudius with his own form of environmental symbology, it refers to how Hamlet has recently become Claudius’ new son. Hamlet’s response is critical for the development of the play because it shows Hamlet’s true feelings about being Claudius’ son and it also shows the reader how he prefers to express his feelings through well thought lines like this, instead of losing his temper every once in a while.
Altogether I feel that the most interesting part of Act One in Hamlet is the language and how characters describe their feelings through the use of nature. Shakespeare’s creative choice of words left me captivated.
I will try to portray and summarize, the aspects of Hamlet’s nerve racking situation, which I believe, has made this play as successful as it is, so that even 400 years later, it still amazes readers all over the world, who just by having an understanding of the very first Act can come to the conclusion that Hamlet is a unique tragedy of its time.
The harsh reality of Hamlet by Shakespeare, is that Hamlet is trapped by his obligation to his dead father, the once king of Denmark, to look for revenge over his unnatural dead. Then, he is trapped by his own mother to obey his new father and uncle, Claudius; who at the same time, oppresses Hamlet to act accordingly to his desires in a way nobody realizes the truth of Claudius’ intentions-- to trap Hamlet so that he can have control over him and his actions.
Also I like to make a reference to other Shakespearean plays, in which the main characters have always been the ones who choose their destiny. For example, in Romeo and Juliet, both Romeo and Juliet acted on their love for each other, and can be blame for their decisions which eventually lead to their dead , not out of anybody else forcing them. Or in Macbeth, it was Macbeth and Lady Macbeth who planned out the murder of the king only for ambition, and then could not get out of their killing path, which eventually lead to Lady’s Macbeth dead and Macbeth’s murder.
In all of those plays, Shakespeare leaves the reader with the idea that wrong decisions are the causes of a hero’s downfall. But in Hamlet, Shakespeare also reveals a much more tragic type of downfall: the one forced upon a hero due to his obligation and tragic moment in time.
The occurrence that puts Hamlets on this spot of madness and tragedy, is his father’s ghostly apparition “I am thy father’s spirit, /Doomed for a certain term to walk the night, /And for the day confined to fast in fires” (1.1 9-11), due to this confession Hamlet realizes something very strange and dark is happening. The ironic part of this, is that the situation of his father, and how he has to suffer until the day of Judgment is not one of Hamlet’s biggest problems, but what the ghost asks him to do is, “Revenge his foul and most unnatural murder” (1.5. 25). His father’s spirit has now told Hamlet that in fact, what everyone believes to be a shocking dead due to a snake bite, was actually a murder committed by his own brother, Claudius.
If this was to be all of Hamlet’s problems to be faced on Act 1, the play would still be pretty interesting, but on top of that, Gertrude, Hamlet’s mother, also represents an obstacle’s to Hamlet‘s sanity. After just a month of his husband death, she decides to marry his brother. This at the same time, makes him King of Denmark, and obviously not only makes Hamlet furious, but it also sadness him so much to see his own mother act so promiscuous, “O God, a beast that want discourse of reason/ Would have mourned longer -- married with my uncle,/ My father’s brother” (1.2 150- 152).
Also without realizing it, she is making Hamlet go mad, because not only did she married the brother of his dead husband, but also his killer-- something only Hamlet knows. And on top of that, she is forcing Hamlet to obey his new father, “Good Hamlet, cast thy knighted color off, / And let thine eye look like a friend on Denmark”, which completely upsets Hamlet and makes him go hysterical -- his own mother does not realize what King Claudius is up to and Hamlet can not tell her!
Last but not least comes Claudius, who as a matter of fact, is the person who makes so tragic all of Hamlet’s predicaments. The Dane (as he names himself), has manage to kill his own brother without any suspicion of others, he has married the queen, and on top of that, has accomplish the approval of the state of Denmark in no less than a month. This situation is obviously nerve racking for Hamlet, since he realizes King Claudius is quit smart and cynical, and therefore is a character to be fearful of, and yet he is the exact same person that Hamlet has to confront, “But know, thou noble youth, /The serpent that did string thy father’s life/ Now wears his crown” (1.5 37-39).
As smart as King Claudius is, he realizes, by the way Hamlet does not approve of him, that probably Hamlet is also a character to be careful of, so to prevent any damage to his new life, he decides to keep Hamlet close so he can control him and manipulate him, just like he has done to everyone else, ”For your intent/ In going back to school in Wittenberg, /It is most retrograde to our desire, /And we beseech you, bend you to remain /Here in the cheer and comfort of our eye” (1.2 112- 117); this is a petition that Claudius portrays to everyone in the court, as an act of pure love and preoccupation for the cheerless state of Hamlet, but is really a well thought plan to keep Hamlet under his control and domain.
In conclusion, what I really find disturbing and interesting about the whole situation Hamlet is going through, is that not only he has to accomplish almost an impossible task which has already set his downfall from the begging of the play, but he is put to accomplish this mission by the people who are supposedly most closer to him, and yet seem to care so little.
His father puts his revenge on the hands of Hamlet who by obligation and love, can not say no, but at the same time his own father does not think about Hamlet’s soul or feelings. Equally, his mother goes on and marries Claudius without even spending time with Hamlet when he most needs it, instead she does not seem to understand how come Hamlet is still so miserable about his father dead. And on top of this, his uncle kills her brother, marries Hamlet’s mother and takes away Hamlet’s right for the crown. All of this in less than a month.
That is, in my opinion, what makes Act 1 of Hamlet so successful and at the same time, so ironic and stressful, since Hamlet love ones are the ones who set his downfall without any thought or regret.
In Shakespeare’s Hamlet, all the characters have a unique and significant role within the play. Their personalities make the play much more interesting and Shakespeare is able to portray each and every character in their own special way. In Act one many of the characters in the play are introduced, this allows the audience to be well aware of who everyone is and what their role is in the play, early on. Three fascinating characters in act one is the vulnerable Hamlet, the manipulative Claudius and hypercritical Laertes.
Hamlet portrays many interesting characteristics. He is an innocent teen in a world of heartache and distress. He had to go through his father’s death, mother’s remarriage and the visit of his father’s ghost. Hamlet is vulnerable and has no other choice but to listen to his uncle/ step-father. He is trapped under his uncle’s orders. Claudius proclaims “And with no less nobility of love/ Than that which dearest father bears his son/ Do I impart toward you For your intent/ In going back to Wittenberg, / It is most retrograde to our desire, / And we bessech you, bend you to remain/ Here In the cheer and comfort of our eye, / Our chiefest courtier, cousin, and son (1.2.110-117).” Hamlet is clearly obligated to obey Claudius because he is the king of Denmark and therefore if he does not, he could be accused of treason. Hamlet is clearly an unstable character with many difficult situations he must deal with. His relationship with certain people such as his uncle makes Hamlet’s character that much more interesting. Hamlet’s indecisive personality makes him more fascinating to find more about in the play.
Another character I found especially interesting is King Claudius. He is very manipulative and clearly the villain in the play. He is able to make himself more powerful by putting others down while still keeping his high reputation. After noticing that Hamlet was still grieving, Claudius lectured Hamlet on how being depressed for long periods of time is not acceptable. Claudius clearly states “That father lost, lost his, and the survivor bound/ In filial obligation for some term/ To do obsequious sorrow. But to preserver/ In obstinate condolement is a course/ of impious stubbornness’ Tis unmanly grief (1.2.90-94).” This is a clear example of how controlling and disrespectful Claudius truly is. As a king, Claudius must keep his and his families reputation and by doing so he forces his family to act their best. This is evidently Claudius’s manipulative side. Shakespeare’s portrayal of Claudius is magnificent simply through Claudius’s speeches and tone; the audience is clearly able to distinguish his true personality and characteristics.
Laertes is another intriguing character within the play Hamlet simply because of his actions and his personality. His father Polonius continues to lecture him about what and what not to do in France. This shows a boy figure which ties into the fact that he tries to also lecture his sister but can not quite get through to her because he isn’t setting a good example. Ophelia comments on how Laertes should start setting a better example and proclaims “I shall effect of his good lesson keep/ As watchman to my heart, but, good my brother, / Do not as some ungracious pastors do, / Show he the steep and thorny way to heaven, / Whiles like puffed and reckless libertine/ Himself the primrose path of dalliance treads, And recks not his own rede (1.3.45-51)”. Ophelia comments that Laertes is a hypocrite and everything he has lectured her about is a parallel of his own life and actions. There is a parallelism between Hamlet and Laertes because they are around the same age, are extremely intelligent because they go to University, their fathers are highly ranked in society and they both enjoy the company of women. Everything that Laertes is trying to protect Ophelia from is just a reflection of his own characteristics.
Three fascinating characters in act one is the vulnerable Hamlet, the manipulative Claudius and hypercritical Laertes. Hamlet’s character is interesting because he is unstable, vulnerable and trapped inside a world of traumatic events. Claudius is manipulative, disrespectful but also has a strong personality. Laertes is smart yet foolish in many ways and can also be very hypercritical. Therefore Hamlet, Claudius and Laertes show captivating characteristics within act one.
Often times in many novels there is a certain structure that is followed, that structure is determined by the genre of the play. In act one of Shakespeare’s Hamlet, this tragic plot is laid out by introducing the revenge triangle from the beginning of the text. From this short introduction to the tragedy one is able to for see what events may proceed from the point in which the revenge triangle is first introduced to the reader as well as the main character. The one commonality between all forms of literature, is that each piece follows a specific theme, based around that theme is a plot. The point of interest for myself was the fact that Shakespeare’s style in hamlet adds a definite tone of tragedy from the beginning of the text. In my view this tone was onset by the revenge triangle. The contents of the revenge triangle are what binds each character to the plot, those characters are all then interconnected to each other and their own situation. The beginning of the revenge triangle starts with the death of King Hamlet, by the new King, and also the brother to King Hamlet, Claudius, Hamlet, the son of King Hamlet, then has the filial obligation to avenge his father.
The revenge triangle begins with King Hamlets death by his brother, and now the reining King of Denmark, Claudius. Though the triangle does begin with King Hamlet, it is Claudius that began the onset of the revenge triangle to begin. Claudius killed King Hamlet for two reasons, for power and for the queens hand in marriage. This jealously and ambition for power is what leads Claudius to kill King Hamlet, “ But know, thou noble youth, The serpent that did sting thy father’s life, now wears his crown (1.5.37-39).” This quote is the begging in which the revenge triangle is first laid out. The reader than knows that the revenge triangle began with the killing of King Hamlet, by Claudius which will then result in Claudius’s own death. The structure of the revenge triangle is what foreshadows the death of King Claudius. By having an understanding of the revenge triangle, as well as the theme one is able to foresee the plot that is yet to come. Following the death of King Hamlet by Claudius is the point in which filial obligation occurs in the revenge triangle.
The now diseased king Hamlet then must have vengeance on his brother for his death, the only way to do so is to go through the closest descendant from the king. Therefore King Hamlet then involves Hamlet into the revenge triangle. Due to the fact that Hamlet is the closest descendant from the king he must then avenge his fathers death, and the only way to do so is to kill his uncle Claudius. The point in which Hamlet becomes involved into this affair of vengeance is when the ghost of the king returns to Hamlet. “ Revenge his foul and most unnatural murder (1.5.25)”. Once Hamlet hears this he is then bound to the revenge triangle, it then becomes his obligation to seek vengeance for his father. This obligation that Hamlet now holds is known as filial obligation, he must do what his father asks for it is his duty as King Hamlets son. Hamlet is not the only person in the play who has this filial obligation to follow, Shakespeare then uses Fortenbra and his father as an example of the fact that Fortenbra and Hamlet are very alike in the fact that they are bound to avenge there father’s as a sign of respect. The last point of the triangle occurs when Hamlet realizes his obligation and the task that he must go forth with in order to avenge his fathers death.
By following the structure of the triangle one can foresee that Hamlet will continue with the task his father has left him. Hamlet reaches a point of realization in which he understands that he is trapped and bound to the situation. The only way out for Hamlet is through the murder of King Claudius. The point in which the reader foresees that Hamlet will oblige to his fathers command and go through with the murder of his uncle is when he ponders the situation. “The time is out of joint. O cursed spite that I was born to set it right! ( 1.5. 188-189).” This is not the end of the revenge triangle but it is the beginning of the point in which the plot based around the murder of Claudius is set. Though it is not stated in the quote one is able to see that the revenge triangle will then end with Claudius’s death by the hand of Hamlet.
In conclusion the revenge triangle is set by the murder of King Hamlet, by King Claudius, which in turn will lead to the murder of King Claudius by Hamlet. The act of murder committed by Claudius on King Hamlet is the onset of the revenge triangle. King Hamlet then must seek vengeance through his son Hamlet. Hamlet then comes to the realization that he must complete the act of murder on Claudius in order to oblige to his fathers command. Though it is outlined and definite that Hamlet will kill Claudius, it is the way in which Hamlet will do so in order to get out of the situation he is bound by without any consequences to himself, that one should ponder.
Although many tragic plays have been written and performed, Shakespeare’s Hamlet is one of the most unsurpassed. In the first act he is able to develop many different dramatic devices to let the reader connected with the play 400 years after it was originally written. Throughout Act One of Hamlet, the language is used to build up to the significant characters and the plot shows how all the characters handle themselves.
The manner in which characters talk and think in any novel or play illustrates what type of character he or she is and their importance to the novel or play. In Hamlet, there are many distinct and bold characters and many inert and dull characters. The way Shakespeare develops and distinguishes the characters is through language. Characters such as Hamlet and Horatio use colourful and sharp words which helps the reader to fully understand the complexity of their nature. When Hamlet speaks to the King (his Uncle/ Father) he uses his quick wit to rival the King’s intelligence and during Hamlet’s aside he is able to express his true emotions about the King, “Married to my uncle/ My father’s brother, but no more like my father/ Than I to Hercules” (1.2.151-153). In this speech Hamlet shows the distaste he has for his uncle and expresses it with passionate and self-assured voice. On the other hand, characters such as Marcellus and Laertes use hollow and lifeless words. When the Ghost appears for the third time, Marcellus is asking questions about the country of Denmark instead of asking about the ghost, “And why such brazen cannon/and foreign mart for implements of war” (1.1.73-74). Marcellus does not think about the ghost walking around and its importance, instead he is too worried about the simple questions, such as are we going to war. This shows that the way a character talks can bring life to the play and show the reader who the significant and dynamic characters are and who the uninteresting and static characters are.
The plot of a play brings the reader into the story and helps them connect with it in a deeper way. The plot in Act One of Hamlet lets the reader learn a great deal about the characters in the play because it shows how all the characters will do anything in their power to better their life even if it means destroying someone else’s. A great example of this is when Claudius kills his own brother, marries his wife and then takes over the crown which rightfully belonged to Hamlet, “Ghost: ’Tis given out that, sleeping in my orchard/ A serpent stung me. […] The serpent that did sting thy father’s life/ Now wears his crown/ […] Hamlet: My uncle?” (1.5.34-41) Similarly, Polonius- the Lord Chamberlain of Denmark banns his daughter from seeing Hamlet because Polonius thinks of her as a child who does not know better and does not want a young, wild man to take her innocence from her, “In few, Ophelia/ do not believe his vows, for they are brokers” (1.3.126-127) He does not realize that his daughter and Hamlet have a special relationship and not allowing his daughter to see the man she loves is crule and selfish. The plot of Act I brings the reader in to the play by illustrating that no matter what you do in life, you always strive for more power.
In the first act of Hamlet, Shakespeare is able to show the reader the characters' importance through the use of language and use the plot to help the reader connect with the play. As a reader, I feel that the use of the language and the plot helps connect the lives of the characters to my own. Therefore, in Act One of Hamlet, the use of the language and plot is important in the development of the characters.
In life, you give a little, you get a little. But in literature, Shakespeare gives a little and the audience gets a lot. Shakespeare achieves this by utilizing expressive dialogue and vivid imagery. This is evident in his ability to introduce setting, character, and conflict in Act One of Hamlet.
In the first fifteen lines, Shakespeare effectively illustrates the setting. The following is a breakdown which translates the dialogue into visuals: “Who’s there?” (1.1.1) it is dark and difficult to see. “’Tis now struck twelve” (1.1.7) it is midnight. “For this relief much thanks. ’Tis bitter cold” (1.1.8) Guards are to keep watch for long intervals, despite the chilling temperatures. “Have you had quiet guard?” (1.1.9) the night-watchmen have been hired to guard a residence that faces intrusion. “And liegemen to the Dane” (1.1.15) the residence is a castle. It is nearly thirty seconds into the play and the audience is captivated by visuals and characterization.
In the second scene of Act One, the audience is introduced to the play’s most intriguing character, Prince Hamlet. His opening lines give great insight to his personality; “A little more than kin, and less than kind!” (1.2.65) Hamlet (aside) is speaking of King Claudius in a condescending tone. He mocks how the King’s marriage to his mother, has resulted in an awkward uncle/father relationship. King Claudius then asks Hamlet why he is still in such a state of grief, two months after his father’s death. Hamlet replies with “not so, my lord. I am too much in the sun” (1.2.67). From these two lines, this audience gathers that Hamlet is sarcastic, smart, depressed, and still in a state of mourning. As well, Hamlet refuses to display any form of respect towards the king, due to pure hatred for his incestuous deeds. This introduction to the play’s most significant character coincides with the next point of my argument – Shakespeare’s ability to deliver conflict.
An initial conflict is delivered in Act One, after the appearance of the ghost, when Horatio says, “this bodes some strange eruption to our state” (1.1.69). What Horatio indicates is a pun on the word ‘state’. He may mean one of two things; his and his fellow liegemen’s state of mind (after becoming acquainted with the ghost), or how the State (meaning Denmark), may go into a state of panic, provided they hear of the ghost walking amongst Elsinore Castle.
As said before, with Shakespeare, you are given little and, in turn, retrieve a lot. He uses strong imagery, figurative language, metaphors and puns, all for the readers benefit. His writing encourages readers to go further with the text; to find deeper meaning and therefore become closer with the characters and their situations. This is, in my opinion, the most interesting aspect of Act One.
The first act of William Shakespeare’s Hamlet captivates unassuming readers and manages to hold the attention without slackening whatsoever. Taking into consideration that the play was written centuries ago, with language that is, at times, more than difficult to interpret without explanation, the story is surprisingly easily related to modern times. The play, with its countless tragic characters and calamities, seems, at first glance, implausible and farfetched. As more depth and detail is added and explored, however, Hamlet’s parallels to modern day are undeniably evident.
Written lifetimes ago and centered on the families of European royalties, relating to Hamlet was not an expectation I had before reading. Within pages, I was drawing parallels towards, not only the social aspects of the story’s setting and that of modern day society, but between the characters and myself, as well. Mental turmoil, chaos, revenge, and manipulation – whether willingly admitted or denied – are aspects of the average life. Injected with the discovery that the entire plot is archetypical, the inability to see the analogous factors is diminished entirely.
Readers are introduced to Elsinore, Denmark, a setting full of characters in a state of desperation. The discovery of a ghost in scene one, ultimately leads to Hamlet’s decision to avenge his father’s death in scene five. “Haste me to know’t, that I, with wings as swift / As meditation or the thoughts of love, / May sweet to my revenge” (1.5 29-31), is Hamlet’s reply to the ghost, his father’s request for vengeance. At one point or another, a majority of people can acknowledge that they have been encouraged or otherwise motivated, to seek revenge. Such motivation could be the simple manifestation of our conscience’s acknowledgement of the injustice.
In scene two, readers are subjected to a chess match of words between Hamlet and the second pivotal character of the play, Claudius. Claudius, a dominating figure throughout the act, who is able to manipulate an entire congregation of people with a simple speech, finds his match in stepson, Hamlet. Continuing his act as the amiable leader of Denmark, Claudius announces to the people, “But now, my cousin Hamlet, and my son-” (1.2 64), which is obviously inappropriate considering the brief period of time between Hamlet’s father’s death and the marriage between Hamlet’s mother, Gertrude, and Claudius, his uncle. To this, Hamlet retorts in an aside, “A little more than kin, and less than kind” (1.2 65), exemplifying his fortitude and intellect. Relating to Hamlet’s position in scene two is a simple task, for there is not a soul who has not been, at a time, intimidated by an authoritative figure. Though not everyone may voice their opinions, thoughts are often expressed in the manner of an aside, as Hamlet’s were.
Scene three is the easiest to relate to for it deals with familial relations, similar to that of Claudius and Hamlet. Siblings Laertes and Ophelia share a relationship that is typical between brothers and sisters of this generation, proving that, although certain things change over the centuries, people remain the same. Laertes looks out for Ophelia the way any older brother would, and Ophelia responds the way any younger sister would. Before Laertes departs to France, he explains to his sister, “And now no soil nor cautel doth besmirch / The virtue of his will, but you must fear, / His greatness weighed, his will is not his own” (1.3 15-17), warning Ophelia of the dangers that accompany her relationship with Hamlet. Ophelia replies, “Do not as some ungracious pastors do, / Show me the steep and thorny way to heaven, / Whiles like a puffed and reckless libertine / Himself the primrose path of dalliance tread” (1.3 47-50), exemplifying fortitude and her ability to see past the immediate.
Polonius, father of Laertes and Ophelia, is the Prime Minister of Denmark, and at times, is more concerned with maintaining his reputation than the needs of his children. “That you have ta’en these tenders for true pay / Which are not sterling. Tender yourself more dearly, Or (…) you’ll tender me a fool” (1.3 106-109), Polonius explains to Ophelia about her relationship with Hamlet. For the most part, Polonius reacts as any father would. However, his reputation should not be his leading concern in this situation. In today’s society, parents or guardians occasionally concern themselves more with their reputation amongst their peers than their relationships with their children.
Before reading, I had not expected to relate to the play in the slightest. To my surprise, it took less than one act, to realize that the play was entirely archetypical. Hamlet proves that, though fashion, music and language may change over time, people, and the relationships between them, do not. This is what, in my opinion, makes the first act of Shakespeare’s epic play, Hamlet, so enticing.
Love, Supernatural Forces, and Vengeance
The initial events in the plot of most literary works introduce characters and settings, set the mood, and highlight major themes. William Shakespeare’s Hamlet is an example. In Act 1 in Hamlet, the author introduces different themes for the reader. These themes are developed through events that reveal who the characters are and how they behave. In Act 1 of his play Hamlet, Shakespeare introduces love, supernatural forces, and vengeance as major themes to contribute in revealing the identity and behavior of the major characters.
In Act 1, Hamlet’s deep love for Ophelia, Polonius’s daughter, and for his father, King Hamlet, reveals the character traits of Hamlet, and of the others around him. Throughout the first act, Hamlet’s feelings toward Ophelia are strong, but his strange behavior causes Polonius to force Ophelia to end her love for him, and to “Look to’t, I change you. Come your ways / I shall obey my lord” (1.3.135-136). Ophelia obeys her father’s wish. She is forced to leave Hamlet because Polonius is sad to hear that his daughter is in love with a weak teenager who is constantly depressed. The love that exists between Hamlet and Ophelia also shows the great love and care Polonius has for Ophelia, his only daughter. Moreover, Hamlet misunderstands his mother’s love for King Hamlet. He calls women frail because he views them as weak. He cannot get over his father’s death and loves him more than Claudius and his mother, Gertrude. Hamlet expresses his feelings about the “Frailty, thy name is women” (1.2.146). However, Gertrude does not really care about Hamlet’s opposition. She thinks he is still not over his father’s death and that he is acting in an immature way. Hamlet shows that he does not feel comfortable with Claudius as “a little more than kin, a little less than kind” (1.2.65). Hamlet disapproves the marriage between his mother and his uncle since it happens only teo months after King Hamlet’s death. The reader gets the idea that Hamlet is a weak, depressed teenager that loves his father and Ophelia, but is too stubborn and will not get over them. The love theme that exists in Act 1 reveals the qualities of Hamlet and the characters he interacts with.
Supernatural forces, or ghosts, are revealed to the audience in the first several pages to create suspense and present Hamlet as a respectable, strong character. In Act 1 of the play, Shakespeare introduces King Hamlet’s ghost that frightens the guards. Horatio asks the guards if “this thing appeared again to-night?” (1.1.21). When Horatio sees the Ghost, he demands it to “Stay! speak, speak! I charge thee, speak!” (1.1.51). This shows that Horatio is a curious person and a good friend to Hamlet who would do anything to protect the castle. However, when the Ghost does not answer him, he believes that it has to answer to Hamlet. This tells the audience that Horatio respects Hamlet and views him as a strong person who is capable of doing what he cannot. Furthermore, when the Ghost signals to Hamlet to go with him, Hamlet rejects Horatio’s request to not follow the Ghost, and assertively questions “Why, what should be the fear? / I do not set my life at a pin's fee;” (1.4.64-65). When the Ghost finally talks, it starts to tell Hamlet about a serious event that has happened and clarifies that its “hour is almost come, when I to sulph’rous and tormenting flames must render up myself” (1.5.5). King Hamlet’s Ghost finally tells Hamlet to avenge his mysterious murder. The mysterious ghost sightings not only increase the suspense in the play, but also reveal to the reader that Hamlet is a respectable, strong character.
It becomes clear to the audience that the Ghost wants revenge for his unsolved murder mystery, which highlights Hamlet as a determined character who honors his father’s wish. Hamlet is told about his father’s “foul and most unnatural murder” (1.5.25). King Hamlet’s spirit tells Hamlet to avenge him if he loves him. This shows that Hamlet will do anything for his father because he loves and honors him. Furthermore, as Hamlet asks the Ghost about the person who has murdered him, the Ghost informs him that his murderer is the one who “now wears his crown” (1.5.39). This tells the audience that Claudius is the murderer. When the Ghost exits, Hamlet is shocked, and promises to avenge his father, as he has “sworn’t” (1.5.112). Also, Hamlet wants the three guards, including Horatio, to keep this incident a secret. This shows that Hamlet does not want anyone to know about the Ghost’s visit because he wants to plan his own revenge scheme to punish Claudius for what he has done. In Act 1, Hamlet is determined to avenge his father’s death, and by swearing to do so, he reveals the honor and respect he has for his father and his wishes.
In Act 1 of his play Hamlet, Shakespeare introduces love, supernatural forces, and vengeance as major themes to reveal to the reader the identity and behavior of major characters. These themes are linked to major events that show the personalities of Hamlet and the characters he interacts with. They help the reader foreshadow future events. This development of characters and events in the first act can help the audience mark the changes in the characters’ personalities as the plot unfolds.
In everyday life we are posed with challenges to overcome, and goals to accomplish. In Act 1 of Hamlet many challenges and goals are placed before the characters. These challenges come in many different forms such as the death of a father, the remarrying of a mother and how one copes with grief. Lastly, the goal that is present is the obligation to obey a father.
The number of challenges in Act 1 are numerous, that cause varying problems for the characters. Such as the death of Hamlet’s father, he was still grieving for his father because King Hamlet recently died. Grief is handled differently by everyone, and no matter the circumstance nobody has the right to tell you how to grieve.
Queen: Good Hamlet, cast thy knighted color off,/And let thine eye look like a friend on Denmark./Do not for ever with thy vailed lids/Seek for thy noble father in the dust./Thou know’st ‘tis common. All that lives must die,/Passing through nature to eternity. (1.2.68-73)
Hamlet’s mother is telling him to stop wearing black, stop looking so sad, to know how common it is that people die and to stop grieving for his father. She wants him to grow up and move on from the death of his father. I think Hamlet should take as long as he wants to grieve because he just lost his father, and he will come to peace with it in his own time. Another challenge is Ophelia’s brother Laertes telling her what to do in regards to Hamlet.
Laertes: For Hamlet, and the trifling of his favor,/Hold it fashion and a toy in blood,/A violet in the youth of primy nature,/Forward, not permanent, sweet, not lasting,/The perfume and suppliance of a minute/No more. (1.3.5-9)
According to Laertes the bond of love that Ophelia shares with Hamlet will not be everlasting. Therefore Hamlet wants one thing from her, and once he gets it he will not be apart of her life anymore. The love that she had for him will be no more. Even though Laertes may or may not be right, he should allow his sister to Experience life and make her own mistakes.
The main goal was the obligation to obey a father. Both Ophelia and Hamlet suffered with this obligation. Upon hearing his father’s story about his uncle, Hamlet immediately knew what he had to do, avenge his father. His father tells him, “Revenge his foul and most unnatural murder,”(1.5.25) Before he even tells hamlet the full story he wants him to avenge his murder. Hamlet agreeing, curiously wants to know the full story, “Haste me to know’t, that I, with wings as swift as meditation or the thoughts of love, may sweep to my revenge.” (1.5.29-31), he quickly wants to take revenge on the one who killed his father. The ghost leaves Hamlet with the obligation to avenge his father through the death of the new king, his uncle Cladius. I feel that Hamlet is right in a way to want tog et revenge for his father, but it should be his choice not the obligation to avenge his father. The way this goal affects Ophelia is with her father telling her that he forbids her to see Hamlet. Polonius looking out for his daughters best interest as well as her worth tells her, “Affection? Pooh! You speak like a green girl, Unsifted in such perilous circumstance. Do you believe his tenders, as you call them?” (1.3.101-103), Polonius’ insight on all of Hamlet’s gifts are to get one thing his daughter’s virginity. Thus, with further conversation Polonius forbids his daughter to speak to Hamlet or accept any of his gifts, “I would not, in plain terms, from this time forth/ Have you so slander any moment leisure/ As to give words or talk with the Lord Hamlet./ Look to’t, I charge you. Come your ways.” (1.3.132-135). Polonius is really looking out for his daughter, because he was Hamlet’s age once and he knows that he did the same thing with girls when he was Hamlet’s age. I agree with Polonius looking out for his daughter, but I feel he needs to let go of her, she is growing up and needs to learn from her own mistakes.
In act 1 of Hamlet the characters are faced with challenges and goals that are put before them throughout each scene in act 1. Some of which we are faced with everyday. Shakespeare’s relevance in Hamlet for the time is accurate to how things are today, over 400 years, since Hamlet was written, not much has changed. We all need to have our own experiences so that we can learn from them as well as grow from them. If these experiences were controlled by the people around us we would not learn anything, therefore we could not grow and learn from our mistakes.
In Shakespeare’s Hamlet, the most interesting aspect of Act 1 is the parallel characterization of Hamlet and Fortinbras. In Act 1 we come to terms with the many similarities between Fortinbras and Hamlet. However better yet we see the tremendous differences that distinguish them apart. The similarities between Hamlet and Fortinbras are, their uncles are both kings due to their fathers’ death, they both seek revenge, and the recipient of their revenge is Claudius.
Both Hamlet and Fortinbras have lost their fathers to unnatural deaths. Fortinbras father was killed ironically, by Hamlets father in war. “Did slay this Fortinbras; who, by a sealed compact/ well ratified by law and heraldry/did forfeit, with his life” (1.1.86-88).
Fortinbras was Prince so was next in line to be king. However his uncle took the throne.
But Fortinbras wants to avenge his father, so he plans to kill the king of Denmark. He gathers an army and is a force to reckon with. Likewise Hamlets father is also dead. King Hamlet was killed by his dear brother Claudius. Hamlet who was also Prince was next in line. But just like Fortinbras his Uncle took the throne, and even a little more, as Claudius married to his mother. “With mirth in funeral and with dirge in marriage/ In equal scale weighing delight and dole, / Taken to wife. Nor have we herein barred/ Your better wisdoms have freely gone/ With the affair along” (1.2.13-16). Hamlet finds this very strange and is very angered by the whole situation. All in all the deaths so cold to both Hamlet and Fortinbras lead to anger and revenge.
In order for revenge to occur something horrible must happen to the person who is seeking revenge, something that angers them and drives them insane. This something has occurred in the lives of both Fortinbras and Hamlet. Fortinbras revenge is towards who, that killed his father. It is the same situation for Hamlet. He also wants to kill the person who killed is father. However his situation is rather worst. As it did not only have elements of brutality, but more painfully was a betrayal. Which just makes revenge a more powerful and complicated thing. ‘A serpent stung me. So the whole ear of Denmark/ Is by a forged process of my death/ Rankly abused. But know, though noble youth,/ The serpent that did sting thy fathers’ life/ Now wears his crown” (1.5.36-40). Hamlets uncle, Claudius was the person who killed his father. He poisoned him, took his throne, his lady, everything. Both Hamlet and Fortinbras will feel it’s there duty/obligation to seek revenge.
Co-indecently, the recipient of revenge for both Hamlet and Fortinbras is King Claudius. It is rather ironic. But even though they both want and are obligated to revenge against Claudius, they are in different situations and they will also take very different approaches to seeking their revenge. Fortinbras is the more direct approach, he wants to attack Denmark, and kill King Claudius. “For all, our thanks. / Now follows, that you know, young Fortinbras,/ holding a weak supposal of our worth” (1.2.16-18). Hamlet takes a different approach, he plans to expose King Claudius, and then when it’s the right time he will take to the throne. He plans on doing this by acting crazy. “Here as before, never, so help you mercy, / How strange or odd some’er I bear myself/ (As I perchance hereafter shall think meet/ to put an antic disposition on)” (1.5.169-172). Hamlet and Fortinbras have the same target but there approaches of hitting that target are very different.
To conclude, there are many similarities between Hamlet and Fortinbras. There are a whole lot of similarities and little differences. But it is with those very differences that put them in completely different situations. That has them making different decisions and expose their differences in personality.
What struck me as the most interesting aspect of Act 1 of Shakespeare’s “Hamlet” was the relationship between the characters and how similar they are to the relationships that I see among people in today’s society. I find it interesting that I can relate to the situations written in the play, which was plotted hundreds of years ago. The technologies we have today have made the world so fast and immediate, and so vastly different from society in Hamlet’s time that it was a surprise to me that I could relate to the characters and the way they interact with each other. Another observation I made was that in Hamlet’s time, the English that they spoke was a different version of English than we speak today. I came to realise that much of what they say to each other is the same as what we would say to one another, just in a more complex manner.
Father’s in our society today worry about their daughters and their relationships with the opposite sex. Apparently this is nothing new: Polonius, Ophelia’s father goes to great lengths to warn her about Hamlet and his intentions. He does not believe that Hamlet truly loves his daughter, but more that he is using her. “Ay, springes to catch woodcocks. I do know, when the blood burns, how prodigal the soul lends the tongue vows. These blazes, daughter, giving more light then heat, extinct in both even in their promise, as it is a making, you must not take for fire.” (1.3.115-120). This is common in today’s society for a father to be protective of his daughter and to assume that the boy is up to no good, having been a teenager himself. I can relate to having an over protective father, and it is surprising to see this situation in a play that was written so long ago.
Ophelia’s father feels so strongly that Hamlet might not have the best intentions that he forbids her to see Hamlet again. He tells his daughter that Hamlet is too young to be able to make any statements of love or commitment to her, and that she must not speak with him again. “I would not, in plain terms, from this time forth have you so slander any moment leisure as to give words or talk with the Lord Hamlet. Look to’t, I charge you.” (1.3.132-135). I could relate to Ophelia and her relationship with her father and the discussions that took place. Although Ophelia agrees to end her relationship with Hamlet, I do not think this will be the end of them.
Hamlet is struggling with grief following his fathers death and his mothers decision to re-marry, to his uncle no less, which only adds to his depression. Hamlet uses sarcasm to get across to his friends that he is not okay with what his mother did. “The funeral baked meats did coldly furnish forth the marriage tables.” (1.2.180-181). Sarcasm is something that we see quite often in today’s speech. It is used to make people look stupid, and also to show dissatisfaction with something. Act 1 introduced complex relationships between characters to the reader. The stage has been set for the rest of the play.
In conclusion I found Act 1 to be very interesting because I can relate to it. I have noted that people will continue to have important discussions and relationships. Even though the world around us has changed immensely the relationship between ourselves and others will not. I guess some things never change.
Act 1 of William Shakespeare’s play Hamlet gives the reader an idea of what may occur in the future of the play. It gives the idea that what has already occurred may occur again in a different way. Some reoccurring possibilities are the feeling of being uneasy, the feeling of a struggle, as well as the obligation to fulfill one’s duties.
The feeling of being uneasy has reoccurred throughout act 1, implementing that it will continue to occur throughout the play. It begins on a cold night, at midnight, with guards feeling uneasy about their surroundings. Francisco and Bernardo speak to each other as they switch shifts, “Tis now struck twelve. Get thee to bed, Francisco./ For this relief much thanks. ‘Tis bitter cold, and I am sick at heart,” (1.1.7-9). This shows that coldness and darkness will be a part of the rest of the play. Another incident that emphasizes this is when the ghost appears as King Hamlet in armour. It indicates that there must be a battle, and that the dead king wants to fight. Horatio recognizes the ghost as being King Hamlet, dressed the way he was when he killed King Fortinbras, “Such was the very armour he had on/ when he the ambituous Norway combated./ So frowned he once when, in an angry parle,/ He smote the shedded Polaks on the ice./ Tis strange,” (1.1.71-75). This causes Horatio, as well as Francisco and Bernardo confused and uneasy as to why there would be a ghost of Denmark’s dead king. Therefore, the feeling of uneasiness within the characters throughout act 1 indicates that it may be prevalent within the play.
Another aspect that I feel will be reoccurring throughout the play is a sence of struggle, especially within Hamlet. He is distraught by his father’s death, and is being told to move on with his life. His mother tells him that everyone dies eventually, “Do not forever with thy vailed lids/ Seek for thy noble father in the dust./ Thou know’st ‘tis common; all that lives must die,/ Passing through nature to eternity, (1.2.72-75). She wants him to give up on the death of his father, but he is struggling to do so. Another struggle for Hamlet is the understanding that his mother’s marriage to Claudius occurred so quickly after the death of her husband and his father. He does not understand how she could move on as fast as she did. In his first soliloquy, he says, “Within a month,/ Ere yet the salt of most unriteous tears/ Had left the flushing in the galled eyes,/ she married. O, most wicked speed, to post/ With such dexterity to incestuous sheets!” (1.2.58-62), being disgusted in his mother’s decisions to marry so quickly, and that she is marrying the brother of her recent dead husband. In relation with Hamlet’s struggle with his mother’s marriage, he also struggles with who she married, Claudius. He does not like his uncle, and he knows that Claudius’ intentions are not what they seem to be. Hamlet mentions, “…married with my/ uncle,/ My father’s brother, but no more like my father/ Than I to Hercules,” (1.2.155-158), that Claudius is far from being Hamlet’s father. I believe that beginning the play with Hamlet facing so many struggles will result him in facing many other struggles in the future.
Lastly, I noticed that the feeling of obligation would be reoccurring throughout the play. Hamlet feels obligated to take revenge on Claudius in order to fulfill the wishes of his dead father. He tells the ghost of his father, “Haste me to know’t, that I, with wings as swift/ As meditation or the thoughts of love,/ May sweep to my revenge,” (1.5.35-37). He will do anything to get revenge on Claudius for what he did. Another situation in which a character is obligated to act in a certain way is when Polonius decides he does not want Hamlet and Ophelia to see each other. He is obligated to keep his reputation through Ophelia. He tells her, “If it be so (as so ‘tis put on me,/ And that in way of caution), I must tell you/ You do not understand yourself so clearly/ As it behooves my daughter and your honour,” (1.3.103-106). He does not want his daughter to make a mistake with Hamlet, as his reputation is in jeopardy. The feeling of obligation has occurred many times throughout act 1, and gives a feeling that it will occur again throughout the play.
Different scenes throughout act 1 give a feeling that they may occur again sometime throughout the rest of the play. What I enjoy most is that I feel as if I know what conflicts may occur in the acts to come after reading the first act of William Shakespeare’s Hamlet.
In William Shakespeare’s Act One of Hamlet, many dramatic devices are used to help the audience better understand the meaning of the play. For example, he reveals parallelism quite early through the characters and plot. However what is most intriguing about Act One is that Shakespeare completely contradicts the idea of parallelism within those same characters. He contrasts Hamlet and Laertes, Polonius and King Claudius, and scene one and two, to compare the unique characteristics of each other and, perhaps, send the same message.
Hamlet and Laertes are two central characters introduced in Act One in which Shakespeare uses obvious contrast in them, rather than parallelism, to reveal their characters. In Act One, Shakespeare reveals Hamlet as a depressed soul, overwhelmed with grief and sulking around the castle. Later in the act, however, Laertes is speaking to Ophelia, and says, “Then weigh what loss your honour may sustain,/ If with too credent ear you list his songs,/ Or lose your heart, or your chaste treasure open/ To his unmaster'd importunity./ Fear it, Ophelia, fear it, my dear sister,/ And keep you in the rear of your affection,/ Out of the shot and danger of desire” (1.3.29-35). This shows the active, compassionate Laertes commanding his sister to do what he says. These two characters contrast powerfully and emphasize each other’s distinct characteristics because Hamlet seems hesitant while Laertes is not afraid to say what he believes.
Likewise, King Claudius and Polonius are contrasted to compare their unique characters. For instance, when they give their sons advice or when they simply speak to them, their characters are shown through this contrast. During Hamlet’s depression, Claudius is embarrassed and says, “But to persever/ In obstinate condolement is a course/ Of impious stubbornness. 'Tis unmanly grief./ It shows a will most incorrect to heaven,/ A heart unfortified, a mind impatient,/ An understanding simple and unschool'd”(1.2.92-97). As opposed to Claudius, when Polonius gives his son Laertes advice, he says, for example, “This above all: to thine ownself be true,/ And it must follow, as the night the day/ Thou canst not then be false to any man”(1.3.78-80). The contrast that Shakespeare uses between these two characters reveals distinct dimensions within them. Although the father and son speech is paralleled excellently, the manner in which each man delivers it differs convincingly.
Finally, and perhaps most interestingly, scene one and two of Act One contrast not to compare each other, but to send forth one message to the audience. Scene one establishes a dark and eerie atmosphere, where the ghost of King Hamlet represents the unbalanced situation in Denmark. Horatio notes that, “A mote it is trouble the mind’s eye [...]And even the like precurse of fierce events,/ As harbingers preceding still the fates/ And prologue to the omen coming on,/ Have heaven and earth together demonstrated/ Unto our climatures and countrymen”(1.1.112, 121-125). Horatio is concerned that this image of their former King is foreshadowing the future of Denmark as a dark one. In scene two, however, this same message is revealed in contrast to scene one. This scene is of a cheerful court, where the recently crowned King Claudius tries to pretend that nothing is wrong. However, the speech he gives about his dead brother and his new marriage gives an uneasy feeling to the audience, suggesting that Denmark is unstable as a nation, and that the court of King Claudius is a corrupt one. Both scene one and two send the same message, the ill state of Denmark, in two contrasting approaches.
Shakespeare uses contradiction in three different examples in Act One to illustrate distinct characteristics. He contrasts Hamlet to Laertes, and King Claudius to Polonius, but uses two contrasting scenes to bring forth the same message. In Act One of Hamlet, this is the most intriguing aspect because Shakespeare steers away from parallelism, an ingenious device, and uses something completely opposite to illustrate more aspects and dimensions of the play.
Everyone experiences life altering situations in their existence. It can make people experience all sorts of emotions. The most interesting aspects in the first act of Shakespeare’s Hamlet are the severe situations he is exposed to, including the emotions that burn within. Feeling conflicted with the desire of suicide, an obligation to avenge his father’s unjust murder, and realizing that his own mother has moved on from her husband’s death so abruptly, are all compelling aspects Hamlet must deal with.
Almost everyone has felt as if their lives were no longer worth living, and have thought about what the world would be like without them. His mind is trapped with conflicting thoughts of suicide. Committing suicide is a sin, so Hamlet is aware that there is no escape by killing himself. He reflects on his thoughts and says:
“O, that this too too solid flesh would melt,/ Thaw and resolve itself into a dew!/ Or that the Everlasting had not fix'd/ His canon 'gainst self-slaughter! O God! God! ” (1.2. 129-132).
The fact that suicide is a sin and an act against God makes it the only thing preventing him from doing it. Some situations people are faced with can result in entrapment or obligation, one way or another.
Some conditions in life bring about certain circumstances that make one feel obligated to do something about it. When Hamlet first sees the ghost of his father, it beckons him to follow. Hamlet’s friend Horatio, tells him not to follow the ghost however; Hamlet disobeys him because he is not fearful. Hamlet has nothing to lose and exclaims:
“Why, what should be the fear?/ I do not set my life at a pin's fee; /And for my soul, what can it do to that,/ Being a thing immortal as itself? /It waves me forth again: I'll follow it” (1.4. 64-68).
Here, he explains to Horatio that he values his life to be as worthless as a pin. The man with nothing to lose is the most dangerous. Hamlet has nothing to lose and becomes very dangerous when the ghost speaks to him. The ghost informs Hamlet of his unjust murder committed by the new King of Denmark Claudius, who also happens to be Hamlet’s uncle. He is now out to get Claudius, and vows to gain retribution for his father’s murder. In his hatred, he makes a promise to himself and says, “So, uncle, there you are. Now to my word;/It is 'Adieu, adieu! remember me'./ I have sworn't” (1.5. 110-112). Hamlet, wants to have the final word on what is to come for his uncle. He writes the last words from the ghost of his father in a notebook, to serve as a reminder that he will never forget to avenge him. He feels compelled for vengeance, and believes his life is worthless without payback. Now, more incentive is added for him to take down King Claudius and he cries angrily: “The time is out of joint. O cursed spite/ That ever I was born to set it right!” (1.5. 188-189). Once again Hamlet is cornered. He must seek revenge because he is the son, who is burdened with the reality that the only reason for his existence is to correct this evil deed. Hamlet is alone with his thoughts and no longer has anyone turn to.
Losing a large figure in one’s life can have a tremendous impact. Hamlet is facing a lot of grief after the death of his father. At the same time, he sees his own mother moving on almost instantly and is quite disturbed by her actions. After speaking with her, he quietly says to himself:
“Ere yet the salt of most unrighteous tears/ Had left the flushing in her galled eyes,/ She married. O, most wicked speed, to post/ With such dexterity to incestuous sheets!” (1.2. 154-157).
Hamlet is perplexed at the idea that his mother could marry again so suddenly. In his mind, he believes the tears she shed, were not even genuine. He compares the fact that his mother moved on faster than a race horse moving from post to post. When Hamlet’s mother lost King Hamlet, she had an empty feeling that increased her appetite for affection. Claudius was there to satisfy that appetite. “As if increase of appetite had grown/ By what it fed on. And yet, within a month/ Let me not think on't; Frailty, thy name is woman!” (1.2.144-146). Hamlet’s mother was all alone before, and only Claudius was there to mend her grief-stricken heart. Hamlet compares frailty to a woman. In his time period, women were seen as delicate possessions, which were emotionally weak and vulnerable. Hamlet’s mother moved on so swiftly, because she is fragile and Claudius takes full advantage of this weakness. In his anger, Hamlet describes her grief by saying:
“O, God! a beast, that wants discourse of reason/ Would have mourn'd longer! married with my uncle,/My father's brother, but no more like my father/ Than I to Hercules”(1.2 .150-153).
Hamlet explains how a beast that lacks the power of reason, would have mourned longer than his own mother. He compares Claudius to his father and sees Claudius as nothing. To him, he is someone who is simply worthless just as he himself is weak and worthless compared to Hercules.
In Shakespeare’s Hamlet, the severity of the situations he faces, and the emotions coming from them are all aspects that make act one so appealing. Feeling conflicted with the desire of suicide, dealing with an obligation of avenging his father’s unjust murder, and realizing that his own mother has moved on from her husband’s death so abruptly are all things that Hamlet must deal with. Some people experience an internal struggle in situations showing no escape. There can be a feeling of obligation to do something based on the events experienced. Individuals can even be considered so brittle, that moving on from devastating events so rapidly appear sinful. Life is full of ups and downs, twists and turns, and even surprises. All these aspects of living can make an individual erupt with a multitude of feelings where in turn, alter life itself.
The most interesting aspect of Act One in Hamlet is the image Shakespeare presents in the character King Claudius. King Claudius obtains a positive view to the audience by having the ability to manipulate situations to his favour, subtly without causing suspicion from the audience. This skill and being the new King also allows him to have control over many characters in the play. He is able to make himself look like not only a man of action, following his brother King Hamlet, but also a very smart man, who can easily solve issues without a disturbance. I think this image will give him the upper hand against Hamlet all throughout the play.
The first introduction of King Claudius in the play is in scene two. In his first line he is able to grasp the audience’s attention by turning up their feelings of great sadness for the loss of King Hamlet, former King of Denmark and King Claudius’ brother. “Thought yet of Hamlet our dear brother’s death / The memory be green, and that is befitted / to bear out hearts in grief, and our whole kingdom / to be contracted in one brow of woe” (1.2.1-4) In this line King Claudius is able to remind the people of Denmark about the feelings of woe for the past King. In the same act of bringing the hopes of the audience down by telling them they have lost a great King and leader, he tells them that he has taken that place for Denmark, raising their spirits again. To the audience he looks like a great hero, rescuing Denmark in their time of need, as well as comforting the Queen in her time of need, by taking her hand in marriage. “ Therefore our sometime sister, now our queen, / Th’ imperial jointress to this warlike state / Have we, as ‘twere with a defeated joy, / With an auspicious and dropping eye, / With mirth in funeral and with dirge in marriage, / In equal scale weighing delight and dole, / Taken to wife.” (1.2.8-14) Not only is King Claudius able to control the feelings and the views of the people of Denmark, he is also able to control their actions, and how they live their lives. “ My dear Lord, / Your leave and favour to return to France, / From whence though willingly I came to Denmark / To show my duty in your coronation, / Yet now I must confess, that duty done, / My thoughts bend again to France / And bow them your gracious leave and pardon.” (1.2.50-56) In these lines, Laertes, son of the Lord Chamberlain, Polonius, is asking King Claudius permission to return to France. Laertes should not be obligated to ask King Claudius for this leave since he is not his father. But due to the controlling nature of King Claudius, Laertes feels that he must ask in order to be granted this leave.
While being able to control the feelings and actions of the people in Denmark, as well as the characters, King Claudius is also able to control their fears and comforts. He brings up the subject of the threatened war from the Prince of Norway, Fortinbras. He shows them what he is capable of, telling them that he is taking advantage of the fact that they have just lost their King, and is using that as a weakness to gain the upper hand. He plans to take back the land and money that his father rightfully lost in battle against King Hamlet. In the same motion, he brings Fortinbras down saying he is young and unproven, no challenge to Denmark. King Claudius has been able to take care of this matter with a simple letter sent to Fortinbras uncle, telling him to control his nephew. “Now follows, that you know, young Fortinbras, / Holding a weak supposal of our worth, / Or thinking by our late dear brother’s death / our state be disjoint and out of frame [...] So much for him. / Now for ourself and for this time of meeting. / Thus much the business is: we have here writ / To Norway, uncle of young Fortinbras” (1.2.17-28)
King Claudius is able to make the situation with Fortinbras somehow relate to Hamlet. This makes Hamlet seem to be too young, unproven and uneducated to take on the role of king, his rightful place. The people of Denmark would now fear Hamlet becoming king, because they believe that he will make the same mistakes and act like Fortinbras, trying to prove that he can rule the country. Due to the fact that Hamlet is still mourning over his father while everyone else has managed to move on, King Claudius makes him look weak, stubborn, and womanly. This in turn makes Denmark look bad “ ‘Tis sweet and commendable in your nature, Hamlet, / to give these mourning duties to your father, [...] Of impious stubbornness. ‘Tis unmanly grief. / It shows a will most incorrect to heaven, / a heart unfortified, a mind impatient, / An understanding simple and unschooled. [...] From the first corse till he that died to-day, / “This must be so.” We pray you throw to earth / This unprevailing woe, and think of us” (1.2.87-107) King Claudius tells Hamlet to stop making everything about him, he is being stubborn and making Denmark and the royal family look bad. He tells him he does not have a strong heart, and that he needs to think things through. He has only and elementary understanding of life, he is only a simple boy, not even a man. Claudius manages to manipulate another situation in his favour, asking for Hamlet to stay home instead of going back to school in Wittenberg. “Do I impart toward you. For your intent / in going back to school in Wittenberg, / It is most retrograde to our desire, / and we beseech you, bend you to remain / Here in the cheer and comfort of our eye, / Our chiefest courtier, cousin, and our son.”(1.2.112-117) Claudius knows Hamlet does not welcome him as his new father as much as his mother welcomes him as her husband. He fears that Hamlet will go to school and follow in Fortinbras steps and come back at him with an army. King Claudius knows that his only enemy is Hamlet.
Throughout the play, I think that the skill of manipulation and being able to control situations, will give King Claudius the upper hand against Hamlet. He is able to convince the audience that Hamlet will not be a suitable king for Denmark, and thus proves himself to be superior.
Characterizing Claudius through Parallelism
People are defined by their actions in life; through the repetition of various acts, one gains a reputation. This can be described as characterization through parallelism, the classification of an individual through observation of similar acts. After considering how someone acts, one always makes a judgement of that person based on what they see. In Hamlet, Claudius can be judged based on his reactions to the similar situations involving the young and unproven Fortinbras, Laertes and Hamlet. By the end of Act 1, he becomes a crafty king with a need to control his environment. The most remarkable aspect of Act 1 in Shakespeare’s Hamlet is the characterization of Claudius through his parallel actions.
In Act 1, Claudius can be characterized by the reader as a conniving, condescending and controlling king based on his actions in the parallel situations involving Fortinbras, Laertes and Hamlet. For example, to begin the act, Fortinbras is massing an army to attack Denmark. Claudius quickly dismisses Fortinbras as an unworthy adversary and talks about him like a young and foolish nuisance, “[…] you know young Fortinbras […] He hath not failed to pester us with message / Importing the surrender of those lands / Lost by his father, with all bonds of law […] So much for him. […] we have here writ / To Norway […] to suppress / His further gait” (1.2.17-31). Using words like ‘young’ and ‘pester’, Claudius belittles Fortinbras, making him look like a child. In addition, Claudius continues to mock Fortinbras with the phrase ‘so much for him’. As a resolution to Fortinbras’ threat of attack, Claudius decides to send a letter to the King of Norway, telling him to restrain his foolhardy nephew, creating the image of a parent controlling an immature child. In this situation, Claudius is very condescending, but also maintains control of a potentially dangerous situation with a simple letter. Following this incident, Claudius talks to Laertes about a matter of small importance and instantly attempts to gain a mental advantage with constant questioning, “And now, Laertes, what’s the news with you? […] What is’t Laertes? / You cannot speak of reason to the Dane / And lose your voice. What wouldst thou beg, Laertes, / That shall not be my offer, not thy asking? […] What wouldst thou have, Laertes?” (1.2.42-49). Claudius pounces on the reluctant Laertes, attacking him with a barrage of questions, gaining the advantage in the conversation. Furthermore, he uses Laertes’ name repeatedly, another form of intimidation, showing he is not scared of this young man. The fact that he is the Dane doing this in front of the royal court just adds to the pressure Claudius places on Laertes. Subsequently, Claudius addresses Hamlet, and during their conversation, Claudius tells Hamlet that he wants him to stay at home instead of going to school, “For your intent / In going back to school in Wittenberg, / It is most retrograde to our desire, / And we beseech you: bend you to remain / Here, in the cheer and comfort of our eye,” (1.2.112-116). In reality, Claudius is trying to control Hamlet, keeping him nearby, so he can make sure Hamlet is not causing any trouble, but to the people in the play, Claudius is playing the concerned parent to Hamlet; it just seems like he is trying to protect his young and distraught child. The fact that Claudius is the Dane also makes it hard for Hamlet to refuse his request to stay; nothing is more dangerous than a powerful person in a powerful position. In summary, these three parallel situations demonstrate how Claudius uses his political power, intimidation techniques, and intelligent use of the English language to gain control over and belittle his opponents, which consequently portrays him as a cunning and manipulative character.
The most interesting aspect of Act 1 of Shakespeare’s Hamlet is the use of parallelism to define Claudius’ character. Through observation of his comparable interactions with Fortinbras, Laertes and Hamlet, Claudius can be characterized as a sly manipulator who obsessively desires control. By using his assured, domineering personality and his power as Dane, he controls those around him in any way he can. How Shakespeare can so quickly create a believable character using parallelism is amazing. He truly understands the mechanics of life. Claudius’ actions are Claudius; this is who he is. Actions are what define an individual, and analyzing trait similarities through action provides a means to evaluate someone. Trends in behaviour are a telltale clue to discovering an individual, because who one is, is how one acts.
Works Cited
Shakespeare, William. Hamlet. Connecticut: Yale University Press, 2003.
Throughout the ages, many plays have been written, read, performed, but only some were remembered. In William Shakespeare’s Hamlet, there are a series of events that portray our daily lives today. Like today there are many family problems, and personal problems , that people have to deal with, just like in Hamlet.
In Act 1 many things are revealed to help understand the play, and to catch the audience’s attention. Shakespeare had a way of trying to connect all the characters in some sort of a unique way. For example¸ King Claudius , who is Hamlets uncle, and now also father, is the brother of the recently desists King Hamlet, who ended up marrying Hamlets mother, also known as his sister-in-law. After King Hamlets death Queen Gertrude had married Claudius, which Hamlet was not too happy about. Hamlet believes his mother is to dependant on men, and that to be the reason she had married Claudius. “Had left the flushing in her galled eyes,/ She married. O most wicked speed, to post/ With such dexterity to incestuous sheets!” ( 1.2.155-158) Hamlet is expressing how it was too fast for her to get married to another man.
Hamlet in his own way seems like a troubled character, he refuses to obey his uncle, now father, and will only obey his mother. Hamlet is also a suicidal character, he believes life is boring and useless, he wishes suicide was not a sin , so that he could end his life. “O God, God,/How weary, stale, flat, and unprofitable/ Seem to me all the uses of this world!” (1.2.132-134) Shakespeare had Hamlet express all this in his first soliloquy for the audience to better understand what is going on in the characters mind. Hamlet also is seeing a girl named Ophelia, who is the daughter of Polonius who is the Lord Chamberlin. Laertes is Ophelia’s older brother who tells Ophelia to stay away from Hamlet because what she thinks is love, really isn’t. In the first Act Shakespeare is showing the bond between the characters and how they look out for each other. Ophelia thanks her brother for the advice, but states that she has a mind of her own.
In Shakespeare’s Hamlet, he shows the audience and the readers today , the struggle everyone goes through, and how they might feel trapped and confined to what they know is right and wrong. Shakespeare also shows in Act 1 how much the world then and the world today are similar and how some things just never change.
I believe that a great literary work should not only reflect high quality of writing, have defined character development and present universal themes, but it should engage the audience—and the earlier the author captivates the reader, the more enjoyable and memorable I personally find his or her work. It is precisely the swiftness with which Shakespeare introduced the conflicts within the play, and aquatinted the reader with both the protagonist and the antagonist, that I find particularly interesting in Act 1 of Hamlet. Rather than prolonging the introduction with detailed description of background information, the reader is initiated to Hamlet’s multi-dimensional struggles, not only with Claudius, his uncle and the play’s antagonist, but also within himself. The momentum with which the story unfolds within Act 1, promptly set stage for an intricate and riveting plot and fully captivated my attention for the remainder of the play.
The speedy introduction of Hamlet’s interpersonal and inner conflicts set forth the play’s plot, captivated the audience and engaged me as a reader from the onset. Though numerous conflicts are indentified in Act 1, the major conflict is between Hamlet, the protagonist, and Claudius, the antagonist. From the beginning, Hamlet dislikes Claudius; he is grieved that Claudius took the crown that rightfully belonged to him. Claudius, on the other hand, views Hamlet as threat to his own reign and wishes to keep a close eye on his nephew. The basis of the play’s major conflict, however, is established when the ghost of the late king Hamlet visits his son, and tells him that it was Claudius who murdered him, by pouring poison into his ear. The ghost commands Hamlet to, “revenge his foul and most unnatural murder”(1.5.25). This leads Hamlet to the idea of feigning madness as a way of extracting revenge on Claudius. By hiding under the cloak of insanity, he would be able to express ideas that would be, otherwise, viewed as treasonous and thus not tolerated; all in hopes that somehow Claudius would be exposed. The plot thickens, though, with identification of Hamlet’s inner conflict—the grief of his father’s death and his mother’s hasty marriage to Claudius, to the extent he contemplates suicide, “Or that the Everlasting had not fixed/His Canon against self slaughter! O God, God/How weary and unprofitable /Seem to me all the uses of the world” (1.2.131-134). Hamlet recognizes his trapped situation of now being not only obligated to not only murder his uncle, but also to commit treason against Denmark, “O Cursed spite/ That ever I was born to set it right” (1.5.188-189). Those two conflicts in which Hamlet is engaged roused my interest and set forth the plot of the play.
Furthermore, rather than initially overly familiarizing the reader with the protagonist, the early identification of the antagonist adds momentum to the story line. The antagonist of the play, is the current king Claudius, Hamlet’s uncle, an intelligent, evil, manipulative man, as well as a great and ambitious politician. Claudius, bent upon maintaining his own power, and being a shrewd manipulator, solidifies the public’s opinion that he is a better option for king than Hamlet by constantly demonstrating how inappropriate Hamlet was for the job at the time, for example by telling him that mourning the death of his father, “Tis, unmanly grief/ It shows a will most incorrect to heaven/ A heart unfortified, a mind impatient/ An understanding simple and unschooled.” (1.2.94-97) Shakespeare makes the characters real and bigger than life with problems/dilemmas that not only I, but other readers can relate to, and that captivated me. The central figure and protagonist of this play is Hamlet, the son of the late King Hamlet and prince of Denmark (yet rightful heir to the throne). He is portrayed as a sharp-witted and smart young man who is grieving the loss of his father and his mother’s over-hasty marriage with Claudius. He often exchanges insults and sharp words with his mother and Claudius, mostly on the fact that he seems to have taken his father’s death extremely to his heart. The wit and intelligence of both men together with his Hamlet’s troubled mental state and Claudius’ greed for power, guarantees tension between then and ensures an intricate plot.
Like a game of chess with bold, early opening up of pieces which commences a promise of an exciting match, early identification of conflicts in Act 1 of Hamlet, rapidly opens the play and quickly establishes the reader’s interest in what appears to be an intricate, fascinating plot. The faster the reader can relate to the protagonist’s human struggles, the more meaningful a body of work becomes. From the onset, Hamlet is portrayed as a troubled individual, trapped between various conflicts and multiple obligations. Actions are what make up an individual, although I cannot really relate to Hamlet’s actions in Act 1, his emotional toils are universal and have related to audiences for the past 400 years.
There are multiple elements required to make a play truly remarkable. William Shakespeare had a gift of being able to utilise the features necessary to make a great play, as seen in his play Hamlet. The numerous interesting aspects of Shakespeare’s Hamlet, particularly in Act 1 are: character descriptions, political/mental battles, and using supernatural qualities to develop the plot.
Descriptions of a character through comparisons are what help make a character more vivid and easier to imagine, and in turn make a play more enjoyable. In act 1 the readers are introduced to Hamlet’s uncle Claudius, who is now the king after the death of Hamlet’s father. Hamlet’s first soliloquy shows how Hamlet sees his late father as compared to his uncle Claudius, “So excellent a king, that was to this Hyperion to a satyr,…” (1.2.139-140). Due to this insulting comparison, the impression is given that the former king was tall, fit, and powerful as opposed to his uncle who is visualized as smaller, cowardly, and a lecherous drunk. The first visual impression of Hamlet, the main character, is given during his soliloquy where he is complaining about his dislike for his uncle. Hamlet’s comparison about himself, “…My father’s brother, but no more like my father/ Than I to Hercules.” (1.2.152-153), depicts a picture of Hamlet being a slim teenager that is not very strong physically and is more of a thinker than a doer. One of the most important female figures in Hamlet’s life, his mother, is not given the most flattering description when she is first introduced. Hamlet’s mother Gertrude is portrayed as a dependent shallow woman, “Within a month,/ Ere yet the salt of most unrighteous tears/ Had left the flushing in her galled eyes, /she married. O, most wicked speed, to post/ With such dexterity to incestuous sheets!”(1.2.153-157), she is described as a woman who as soon as her husband died immediately married her brother-in-law so she could have someone to care for her. The characters, particularly how they are depicted, help cement the foundation of an incredible play.
The multiple occasions of mental manoeuvring of the characters to upgrade themselves and degrade others is another fascinating aspect of the first act in Hamlet that makes it treasured through the years. In particular the subtle quarrel between Hamlet and his uncle is especially entertaining and intriguing. In the first part of their dispute Hamlet insinuates that both his uncle Claudius and his mother Gertrude did not care about Hamlet’s father at all. Hamlet carefully states that he is the only who truly cared about his father as he is the only individual left mourning after his death, “These indeed seem,/ For they are actions that a man might play,/ But I have that within which passeth show ―/ These but the trappings and suits of woe,” (1. 2.83-86).Even his own mother has remarried and moved on a month later. For the second part of Hamlet and Claudius’s spat, Claudius belittles Hamlet in front of all the royal court, which embarrasses Hamlet. Since Hamlet had suggested that Claudius and Gertrude didn’t care for the late king, Claudius counters that Hamlet is still young and is acting immature and spoiled by not moving on with life, “’Tis unmanly grief./ It shows a will most incorrect to heaven,/ A heart unfortified, a mind impatient,/ An understanding simple and unschooled.” (1.2.94-97). For the last part of Hamlet and Claudius’s fight, Hamlet indirectly insults his Uncle by ignoring him and talking to his mother. After Claudius lectures Hamlet, Hamlet turns around and states that he’ll try his best to follow his mother’s wishes. What is left unsaid by this statement is that he will ignore whatever his uncle orders him to do and pretend his uncle does not exist, “I shall in all my best obey you, madam” (1.2.120).The mental chess between Claudius and Hamlet adds to this extraordinary play and gives it an amusing element for the audience to enjoy.
The last interesting aspect in the first act of Hamlet is the plot twist mixed with supernatural characteristics to give the tragedy an ominous feeling that is enjoyed through the ages. The feeling that some thing is not right is conveyed when the ghost is introduced, as the dead are not supposed to walk among the living even at night. The ghost takes the form of the late king of Denmark in war armour as exclaimed by Horatio, “…Together with that fair and warlike form/ In which the majesty of buried Denmark/ Did sometimes march?”(1.1.46-48). When Hamlet encounters the ghost, it shows itself as his father and wants revenge for his murder. Hamlet immediately responds that he will extract revenge on his father’s murderer, “Haste me to know’t, that I, with wings as swift/ As meditation or thoughts of love,/ May sweep to my revenge.”( 1.5.29-31). It does not even cross Hamlet’s mind to not avenge his father, as he loves his father and feels obligated to exact vengeance so his father can rest in peace. The real twist in the plot that helps it along in the beginning, is the fact that the king’s ghost reveals that his brother Claudius murdered him in his sleep. The ghost reveals to Hamlet how Claudius cowardly killed him by pouring poison in his ear while he slept, “Upon my secure hour thy uncle stole/ With juice of cursed hebona in a vial, / And in the porches of my ears did pour” (1.5.61-63). A good plot that has some supernatural elements to it helps make a play truly riveting.
All in all, I think character portrayals, political/mental battles, and plot twists are what provide a good play with a solid foundation. William Shakespeare definitely had a way of making amazing dramatic pieces, as shown in Hamlet. There are countless components to consider when creating a memorable play.
Modern day teenagers are best known for their adamant opposition to authority. That is why I find it interesting that the teenagers whom we are supposed to relate to be easy to control. If the main theme of the play is the feeling of being trapped, then the main characters should not be so easily controlled by their sense of obligation. Hamlet, for example, could have the opportunity to mourn his father’s death and the quick marriage of his uncle and mother if he goes to Wittenburg. When Queen Gertrude says “I pray thee stay with us, go not to Wittenburg.” (1.2.119). Hamlet should refuse and he could properly avenge his father’s death when he finds out. In the same way, Ophelia has the same chance to lessen Hamlet’s problems. If she fights when Polonius orders, “Have you so slander any moment leisure/ As to give words or talk with Lord Hamlet.” (1.3.134-135). Ophelia would not feel so trapped within her emotions unless she continues to see Hamlet the way a twenty-first century teenage girl would. Furthermore, it is a well-known fact that the most dangerous man is a trapped man. So it is interesting that Hamlet should choose to put on an “antic disposition” because the reader sees that he is bound to his situation. If the only reason he delays in committing his act of revenge is because he wants the crown, then he should kill Claudius just like how Claudius kills King Hamlet: in a cowardly but discreet way. Regardless of appearances, it is clear that Hamlet wants to murder the new king of Denmark when he writes, “So, uncle, there you are. Now to my word: / It is ‘Adieu, adieu, remember me.’ / I have sworn’t.” (1.4.110-112) after he finds out the real way his father died. Hamlet putting poison in Claudius’ ear achieves two things: Avenging his father’s death and allowing him to get the crown. All the characters in the play have their duties and obligations. King Claudius would not have a chance at the throne if he does what is expected of him. That is why Hamlet, Ophelia, Fortinbras or any other character should do what they want to do. The enemy may not be defeated, but they would not feel so trapped.
In today’s modern age people have varying weaknesses, some of which are more common than others. Insecurity and cowardliness are common ones which plays a key role in the way people conduct themselves in everyday life. Shakespeare uses these two weaknesses to bring together the reader and the character. In Shakespeare’s play Hamlet, weakness is a reoccurring theme, which we are able to see within the characters in the first Act. This is shown through the main characters individual weaknesses; Gertrude’s inability to be her own independent force, Claudius’ cowardly actions and the ability of their relationship to mask one another’s weak qualities.
Throughout history women have been thought to be helpless. It comes to no surprise that Shakespeare would incorporate this in his play, Hamlet. Shakespeare uses Hamlet’s mother as a prime example of women at this time. After Gertrude’s late husband’s death, King Hamlet, she feels unable to fulfill the ruling of being Queen without a male figure by her side. This feeling of insecurity is solved by marrying her brother-in-law Claudius. Her hasty marriage to Claudius never gave her the opportunity to independently rule Denmark, encouraging readers to assume she is unable to be in a position of control. Her son, Hamlet begins to realize how helpless she is and it alters his view on women. Hamlet describes her to be frail, “Let me not think on’t; frailty, thy name is woman-“(1.2. 146), this line is directed towards Gertrude, being the most influential female figure in his life. Gertrude lets down her son by not supporting him morally after the death of his father, an indication that she avoids uncomfortable situations. Gertrude moves on after the death quickly leaving her son to mourn by himself, leaving the impression that she does not care. This is infuriating to the audience since she does not try to understand how Hamlet is feeling. She even tries to convince him to get over it, “Do not forever with thy vailed lids/ seek for thy father in the dust. / Thou know’st ‘tis common. All that lives most die, /Passing through nature to eternity.” (1.2. 70-75). It is an outrage that Gertrude has the nerve to tell Hamlet to get over it when it was her late husband and she should be mourning as well. Shakespeare portrays Gertrude in a way that leaves the audience constantly questioning her character. Why does she not grieve for King Hamlet? Why has she jumped into a marriage only a month after her late husband’s death? There is one characteristic that is obvious; she cannot be independent, needing a man or some sense of security. Gertrude finds this security in her new husband, yet it is still troubling how weak she is alone.
How should a king’s characteristics be? Loyal, heroic, and strong are the best adjectives to describe a king. Shakespeare realizes that these are common characteristics that people look for in a leader and he alters it to show an unfit king. Claudius is now the king of Denmark and is expected to be all of these things. Claudius is not the right King but he manages to fool the people of Denmark with his way with words. His clever tricks do not fool the audience since we can see past them. Claudius and Hamlet constantly play around with words to sneak insults to each other throughout the play, revealing his sly ways with language. Hamlet seems to be the one that knows he does not have King like qualities, “My father’s brother, no more like my father/ Than I to Hercules.” (1.2 152-153). Claudius pretends not to be a coward but the reappearing Ghost of King Hamlet informs us of his cowardly act, “Thus was I sleeping by a brother’s hand /of life, of crown, of queen at once dispatched,” (1.5 74-75). King Claudius did not have the courage to fight King Hamlet in person instead he poisons Hamlet while he is sleeping blaming it on a snake bite. That is not a good quality for a King since he can not confront a situation head on, taking the easy way out, contrasting the very need for a King to be able to confront situations for his people. Claudius is a weak character through the first act and he tries to hide it with clever lines but his lingering lies are slowly being unraveled.
Relationships are ideal when two people are in love with one another and complete each other in a sense. In a relationship the two people come as a strong force, compensating for one another’s imperfections. Shakespeare understands this concept and portrays this with Claudius and Gertrude. Claudius is a weak man by himself and can not be King without marrying Gertrude. Gertrude herself is in a similar predicament feeling as though she can not run the country on her own, Gertrude and Claudius come together in marriage. This sudden marriage is comforting to the people of Denmark giving them assurance that they will be in safe care of a Queen and King, “Therefore our sometimes sister, now our queen, / Th’ imperial jointress to this warlike state,” (1.2. 8-10), Claudius acts as if he is doing Denmark a favour. Having a King gives Denmark security, hiding the Queen’s insecurity of ruling by herself. Claudius benefits from this marriage since he automatically gets to be King when the crown rightfully belongs to her son, Hamlet. By the sudden marriage this rightful title is stripped from Hamlet. The two are dependent on one another, success and failure tied together. The relationship manages to shield their weaknesses from most of Denmark.
Shakespeare manages to emphasize the theme of weakness within these two characters, Gertrude and Claudius. Insecurity and cowardliness are weaknesses that are still common in our everyday life. The readers are able to strip the walls that the characters have built as early as Act one, building much more anticipation for the following acts.
In my opinion, the most interesting aspect of Act One in Shakespeare’s Hamlet is the use of parallelism as depicted through the characters of Fortinbras and Hamlet in relation to the political structures of both Norway and Denmark. This is exemplified through the similarities between the way in which the two kingdoms come to be ruled, and the unworthiness of the Fortinbras and Hamlet to hold the title of king.
Shakespeare’s use of parallelism is evidenced by the similarities in which Denmark and Norway are ruled. For example, the kings of both kingdoms share the same names as their respective son’s which would imply that, as next in line to rule, they would also possess the same qualities. However, when both kings die, their respective brothers assume the throne, indicating the unsuitability of both Princes for the role of King regardless of their lineage. Hamlet’s acknowledgement of this fact is exemplified when he says, “My father’s brother, but no more like my father/ Than I to Hercules” (1.2 51-53). The fact that Hamlet contrasts himself with Hercules reinforces his acceptance that he does not possess the qualities of his father and therefore is unsuited to be king. Similarly, Fortinbra’s unsuitability for the role of king is illustrated by the fact that he is planning to engage in a war with Denmark to reclaim lost land without consulting the King of Norway. This is exemplified when King Claudius explains “…we have here writ/ To Norway, uncle of young Fortinbras--/ Who, impotent and bedrid, scarcely hears/ Of this his nephew’s purpose –“(1.2.27-30). Fortinbra’s lack of respect for the current king demonstrates that he is impious, a character trait unbefitting a king.
The use of Parallelism is strengthened by the way in which Shakespeare makes it clear that both Prince Fortinbras and Prince Hamlet are unworthy to hold the title of king, as a result of their emotional instability and impious judgement, two qualities unbefitting a king. In the case of Fortinbras, Shakespeare depicts him as a young man who reacts on his desire for revenge without thinking things through to their consequences. This is exemplified when Horatio says, “…Fortinbras; who, by sealed compact/ well ratified by law and heraldry,/ did forfeit, with his life, all those his lands/ which he stood seized of to the conqueror; …Now, sir, young Fortinbras,/ Of unimproved mettle hot and full,/ Hath in the skirts of Norway here and there/ Sharked up a list of lawless resolutes/…As it doth well appear unto out state,/ But to recover of us by strong hand/ And terms compulsatory those forsaid lands/ So by his father lost… ” (1.1.86-89, 95-98, 101-104). Fortinbras is seeking revenge for the loss of his land to the King of Denmark. Even though the loss was the result of a contract between the two former kings, his feelings of revenge cloud his judgment. As such, he is choosing to ignore the contract his father honored, thus illustrating that young Fortinbras does not possess the qualities of a king as he would not be a man of his word. Similarly, Shakespeare depicts Hamlet as a young man who displays qualities unbefitting a king, in that he is portrayed as weak, since he is overcome by his emotions over the death of his father. King Claudius makes this point when he tries to enlighten Hamlet on a more manly way of dealing with his loss by explaining, “But you must know your father lost a father,/ That father lost, lost his, and the survivor bound/ In filial obligation for some term/ To do obsequious sorrow. But to persever/ In obstinate condolement is a course/ Of impious stubbornness. ‘Tis unmanly grief.” (1.2.89-94) By suggesting that such behaviour is unmanly and impious, is to suggest that Hamlet is weak and lacks proper respect for God, two qualities unbefitting a king.
Through the similarities between the way in which Norway and Denmark were politically structured and the characters of Fortinbras and Hamlet, I found Shakespeare’s use of parallelism to be a most interesting aspect of Act One.
The Interest in Conflict
While reading act one of Hamlet by William Shakespeare, the aspect that I found most interesting was all the conflict that occurs and the variety in the types of conflict that develop within the first act. Within the act the reader witnesses interesting conflicts that develop, establishing a basis for the events that follow. In act one of Hamlet by William Shakespeare, the conflict is one of the most interesting aspects of the act, the reader sees conflict in the forms of man vs. society, man vs. man, and true internal conflict.
In act one, scene one, the conflict between man and society is visible through the actions of Fortinbras. Initially, Old Fortinbras, “Dared to the combat; in which our valiant Hamlet/ (For so this side of our known world esteemed him)/Did slay this Fortinbras; who, by a sealed compact/Well ratified by law and heraldry, /Did forfeit, with his life, all those his lands” (1.1/84-88), forfeited lands to Denmark and King Hamlet. Fortinbras breaches this contract, and as Horatio tells the reader, he plans to attack Denmark, “Now, sir, young Fortinbras, /Of unimproved mettle hot and full, /Hath in the skirts of Norway here and there/Sharked up a list of lawless resolutes/ […] And terms compulsatory those foresaid lands/So by his father lost; and this, I take it/Is the main motive of our preparations” (1.1.95-98, 103-105). These events show Fortinbras’ refusal to comply with social and political standards, causing him to be in conflict with society. His violation of the contract affects society as a whole, destroying social and political peace and unity. Within Denmark there is also a social conflict, this conflict happens between Hamlet and Ophelia, whose love for each other is unaccepted by society. The relationship between Ophelia and Hamlet is seen through her conversations with Laertes and Polonius, when she reveals that Hamlet has “of late made many tenders/Of his affection” (1.3.99-100) to her. Polonius and Laertes refuse to let Ophelia and Hamlet be together as they see that by social principles, Hamlet, being a prince, cannot marry Ophelia, who is not of royalty. Their view that Hamlet does not love her and is misusing her, is seen during Laertes’ talk to Ophelia, when he tells her that “Perhaps he loves you now,/And now no soil nor cartel doth besmirch/The virtue of his will, but you must fear,/ His greatness weighed, his will is not his own.”(1.3.14-17), making her ready for heartbreak, due to Hamlets inability to choose whoever he wants to marry. Due to society’s restrictions, Ophelia is told by her father Polonius to discard Hamlets affection. Hamlet is trapped in all of this, as he cannot marry the girl he loves.
The next type of conflict is man versus man. The reader is introduced to the man versus man conflict in scene two; in this scene Hamlet and King Claudius are in a conflict of words. Hamlet and the king are engaged this conflict within Elsinore Castle, in front of all the councilors of Denmark, an instance the verbal conflict passing from Claudius to Hamlet is in the following exchange: “How is it that the clouds still hang on you?/Not so, my lord. I am too much in the sun.”(1.2.66-67). The remainder of the conversation between Hamlet and Claudius is similar. Another instance of conflict between two individuals occurs in scene five which describes a prior conflict that occurred between Claudius and the deceased King Hamlet, whose ghost reveals to Hamlet about his murder by Claudius, we know that Claudius murdered the king as he says, “The serpent that did sting thy father’s life/Now wears his crown.”(1.5.38-39). This conflict between Old Hamlet and Claudius ultimately leads to his untimely death and Claudius usurping of the crown. These conflicts set the stage for the remainder of the play.
The last type of conflict that we are exposed to in act one of Hamlet is man vs. self or internal conflict. This conflict occurs at many circumstances, some more apparent than others. Internal conflict is seen from the beginning of the play, when Marcellus and Bernardo choose to tell Horatio about the ghost of King Hamlet instead of first informing Claudius. The decision to bring Horatio to the sentry-post instead of Claudius is a tough decision since if Claudius discovers that he has not been informed, they can be charged with treason. Internal conflict also arises when Hamlet learns about the truth behind his father’s premature death, and when he decides to get revenge on Claudius. The internal struggle experienced by Hamlet is between him and time, as he has to decide when the time is right to get revenge. Hamlet realizes that he is trapped and it is evident when Hamlet states that “The time is out of joint. O cursed spite/That ever I was born to set it right!”(1.5.188-189). Through this one can see that he has decided to restore the natural order of things and that he must set things right. The prior instance is also the anagnorisis in the play Hamlet.
In conclusion, while reading act one of Hamlet, all three types of conflict are evident, making it the most interesting aspect of the act. Very rarely is such diversity of conflict seen as in the first act of Hamlet. If transvaluation is used by the reader, placing them in Hamlet’s situation, there will be numerous decisions and conflict that one will be faced with, making it interesting to see how each individual would deal with such conflicts, and whether their methods will coincide with those of Hamlet. That is what makes conflict the most interesting aspect of act one.
Hamlet, Prince of Denmark, is arguably one of the most intriguing plays ever written, that made an impact on the western literature and made the audience grow an appetite for William Shakespeare. In Act one, of the play, the playwright introduces us to an outstanding plot, characters and settings. Shakespeare separates Hamlet from other literary works by involving many literary devices in the first act, making this play a masterpiece. Moreover, Shakespeare clearly uses irony, allusion and symbolism to strengthen the plot.
Irony has played an important part in Shakespeare’s works. Ironic statements can be visible from the commencement of the play, within the first five lines as a matter of fact. In Act 1, Scene 1, the sentries’ first conversation in the whilst of night, involves the password which proves to be ironic. “Long live the King” (1.1.3), says Bernardo (a sentry). This statement is ironic to one since we are later enlightened in scene 2 that the king is deceased and a new king has taken the thrown, who is none other than Claudius, his own brother. Claudius, who is a major political-player, also presents an ironic condition. Somewhat dramatic, since no one knows of it until act 2, Claudius, the King presents his imposter sorrow to the whole political cabinet, “Yet so far discretion fought with nature that we with wisest sorrow think on him together with remembrance of ourselves” (1.2.5-7. This is ironic since we later learn that Claudius is the one who murdered Hamlet SR, the late Dane. These Ironic statements make Hamlet stand out as a play, which after 400 years, still continues to strive.
Shakespeare is known for his potent dialogues in which he included the most puissant allusions one can possibly think of. The first allusion in Act 1 is the allusion to Jesus Christ. Right after witnessing the ghost, frightened and somewhat perplexed, Marcellus, suggests that the ghost disappears before dawn, “Some say that ever ‘gainst that season comes wherein our Savior’s birth is celebrated” (1.1.158-159). Another major allusion is the allusion in which Shakespeare compares Hamlet SR and Claudius through the words of hamlet, in his first soliloquy. A very strong comparison is made in this soliloquy when Hamlet SR is referred to as Hyperion and Claudius as a satyr. “So excellent a King, that was to this Hyperion to a Satyr” (1.2.139-140), referring to Greek mythology, Hamlet compares his father to Hyperion who was the God of Sun and compared his uncle to a Satyr, which is a half man-half animal. Another Greek mythology allusion is mentioned in act 1, scene 2, when hamlet refers himself to being quite the opposite of the Greek mythological hero, Hercules, “My father’s brother, but no more like my father than I to Hercules.”(1.2.152-153). Another mythological allusion includes the allusion to Niobe, a mother in Greek mythology who was turned into a tear-shedding rock statue, by Zeus. “A little month, or ere those shoes were old with which she followed my poor father’s body like Niobe, all tears” (1.2.147-149). Referring to his mother this time, hamlet shows us the regret he has for the wedding. A reference to one of Hercules’ labors can be found, “As hardy has the Nemean Lion’s nerve” (1.4.83). Referring to the impenetratable skin of the Nemean’s lion, he compares his energy to that of the lion’s.
Another strong force of the play Hamlet comes from the symbolism contained in it. The symbols in act 1 have been positioned very carefully by the ingenious William Shakespeare. One of the symbols mentioned in scene 2 includes the symbol of Clouds, “How is it that the clouds still hang on you?”(1.2.66). This is what the Dane says to the ink-cloaked Hamlet when we are first introduced to hamlet. The clouds represent sorrow. In literature clouds and rain symbolize sorrow or evil, in this case sorrow. A significant symbol in the play is the labrum of the unweeded garden, “Fie on’t ah, fie, ‘tis an unweeded garden that grows to seed” (1.2.35-36), referring to Denmark, the unweeded garden represents a state of chaos and disorder in Denmark. Which will get worst over time (grows to seed). This is an important symbol in Hamlet because a garden, in literature, represents a setting of purification and therefore an unweeded garden is a place which pustulates over time (reference to the rotting imagery). Shakespeare uses the symbol of armor in Hamlet to represent foul acts. This can be seen in act 1, scene 3, “A figure like your father, armed at point exactly cap-a-pe…” (1.3.199-200). When Horatio encounters the ghost of hamlet SR in full body armor, he informs hamlet who predicts that all is not well. We later come to know that king wore the armor because he wanted a violent revenge against his brother, representing bad blood. In act 1, scene 5, after Hamlet’s encounter with the ghost, Claudius is revealed to be the murderer of Hamlet SR, “A serpent stung me. So the whole ear of Denmark is by a forged process.”(1.5.36-37). in this dialogue, Claudius is referred as a snake. This symbol is appropriate for Claudius because snakes are known to feast on their own kind, and Claudius in a way feasts on his brother’s throne by killing him. Significantly, this symbol can be found throughout the play. These symbols develop voluminous as the play progresses and help us better understand the hyperboles found in Hamlet.
These literary devices used by William Shakespeare open act 1 and give us a better understanding on how complex the play is going to be in further acts. These are the exact reasons why Hamlet has fascinated the world, for over 400 years, and continues to do so. By analyzing act 1, the readers/audience of hamlet may understand how only a genius like Shakespeare can write a play like this.
Works cited:
William Shakespeare. Hamlet, edited by Willard Farnham, in “The Pelican Shakespeare.” General Editor: Alfred herbage (rev. ed. ; New York: Penguin Books, 1970).
There are several situations that are very common among people, but sometimes it takes a little bit more to realize that you are or were once in that place. Shakespeare shows that in the play Hamlet. Not only could people in Elizabethian times relate to Shakespeare’s play but teenagers in the 21st century can as well. Shakespeare shows characters in different situations throughout Act 1 which many of us may find ourselves in at some point in our future, have found ourselves in at sometime in our past or are going through at this moment in time. Shakespeare gives the readers something to relate to within the first act by making them able to connect to the characters and what they are going through. Examples of this in the first act of Shakespeares Hamlet are Laertes being protective of his younger sister Ophelia, Hamlet being upset about his fathers’ death and his mothers re-marriage and finally with Laertes searching acceptance to go back to school as many of us will this year.
The first way readers can relate to Shakespeare’s play is with Laertes being over-protective of his younger sister. With his younger sister dating Hamlet, who he assumes is using his sister as most guys his age along with his ranking would; Laertes tells Ophelia he wants her to stop seeing him. Laertes is being a stereotypical older brother. Many older brothers talk to their sisters about who they are dating and whether or not they should be trusted. Laertes tells Ophelia “Forward, not permanent, sweet, not lasting / The perfume and suppliance of a minute, / No more.”(1.3.8-10). Many young girls hear this same thing but in a different context from someone in their life, if not their older brother, their dads. It is not surprising to see this in Laertes’ behavior because you still see in today’s society. Brothers are always going to be protective of their sisters when it comes boys because they have been that boy before and know what is truly going through their mind. Coming from a family with two older brothers I find I can relate to Ophelia very easily, and I assume other girls with the same family situation could as well.
The second way readers can relate to Shakespeare’s play is with what Hamlet is going through. Hamlet recently lost his father and soon after his mother re-married. Hamlet is heartbroken at the news of his fathers’ death and is still mourning months after which is not surprising. Although it is not common for teenagers to be in this position with the loss of a parent, but unfortunately it still happens. Hamlet mourning months after is understandable and anyone in the same position he is in would most likely be doing the same. Another way teens could relate to Hamlet is with the marriage of his mom to another man, although in Hamlets case it is his uncle. Now, teens in the 21st century may not be able to relate to certain parts of Hamlets mothers’ re-marriage, but they are still able to understand how he feels with the fact that she is married to someone who is not his father. Teens often deal with parents re-marrying which in the end leaves them in wonder of whether their parents truly loved each other and question what the meaning of marriage is. Hamlet wonders how his mother could re-marry so quickly after his fathers’ death, “She married, O, most wicked speed, to post / With such a dexterity to incestuous sheets!”(1.2.156-157), leaving Hamlet wondering how she could move on so quickly.
Finally, Laertes seeks acceptance to go to college in a different state. Many teenagers want acceptance from their parents to go to the school of their choice. This year, many of us will hope our parents accept our decisions on where we want to go to school and at the same time seek any advice they may have. Personally I know I want my parents to be ok with my decision on where I go to school, whether it is university or college. Laertes gets Polonius acceptance to go back to school, and in doing so, gets advice. Polonius tells Laertes “Give thy thoughts no tongue, / Nor any unproportioned thought his act / Be thou familiar, but by no means vulgar.”(1.3.59-61). Many parents will be giving their children advice this year on university or college and how to help them make it through, which is what Polonius is doing for his son.
Shakespeare has a way of getting the audience into his play early by giving them something they could relate to. Teenagers back in the Elizabethian times could relate to the younger characters in Hamlet, as well as teenagers now. They often find themselves in the same situation and have the same feelings as to what the characters throughout Hamlet do.
Analysis of Dramatic Elements in Hamlet
Throughout history, literature has combined dynamic characters with diverse literary elements to produce works of true innovation. Authors often include these dramatic devices to allow the reader a greater understanding and appreciation of their literature. Shakespeare’s use of literary technique in Hamlet has created a tragedy of profound complexity- into which the thoughts, actions, and motives of characters are intricately woven. After analyzing the first act of the play, I found the application of pathos and character foils to be the most thought-provoking dramatic elements of Hamlet.
Shakespeare establishes pathos, an emotional appeal to the audience, as a central literary element during the introduction of Hamlet. The protagonist, who recently suffered the death of his father, must now contend with the remarriage of Gertrude, his mother, to Claudius, his uncle, stepfather, and present king of Denmark. He is forced to confront the authenticity of Gertrude’s former relationship, and therefore questions the underlying character of all females. Within his first soliloquy, Hamlet elaborates upon this internal conflict, “A little month, or ere those shoes were old / With which she followed my poor father’s old body / Like Niobe, all tears, why she, even she [...] married with my uncle, / My father’s brother, [...] It is not nor it cannot come to good. / But break my heart, for I must hold my tongue” (I.ii.147-149, 151-152, 158-159). Though Hamlet is adversely affected by the recent events of the play, he is unable to publicly express his opinions. To openly question the actions of Claudius is to question the actions of Denmark, and effectively commit treason against the state. Thus, the futile reality of Hamlet’s situation is intended to instil pity in the audience of the play. Pathos is subsequently demonstrated after Hamlet’s encounter with the ghost of his father. Having learned of Claudius’ plot to murder his brother and assume leadership of Denmark, Hamlet vows to expose his uncle as a traitor and seize control of the state. The protagonist, however, recognizes the level of tact required to successfully carry out this plot. He must operate under the guise of madness in order to reveal Claudius’ treachery, without suffering the penalty of treason. In bitter acknowledgement, Hamlet reflects upon the fate he is dealt, “The time is out of joint. O curséd spite / That ever I was born to set it right!” (I.v.188-189). During this realization, Hamlet is cemented as a character unwillingly born into a destiny of filial obligation- one in which he cannot escape. It is my opinion that Shakespeare designed Hamlet to demand sympathy from those attending the play, in order to connect with his audience on an intimate and personal level. Thus, I believe that the use of pathos as a means of emotional appeal is one of the most artistically implemented dramatic devices of Hamlet.
Shakespeare further demonstrates literary technique through his inclusion of character foils- those who contrast with the protagonist (in the case of Hamlet) to emphasize the latter’s personal traits. Within the first act of the play, Fortinbras, who shares many superficial characteristics with the protagonist (the status of prince, an untested quality of leadership, etc), is introduced as a foil of Hamlet. Fortinbras is distinguished from Hamlet, however, through his approach of filial obligation and rebellion against the governing authority. While partial to more blatant acts of defiance, he attempts to avenge his father through assembling a makeshift army and assaulting Denmark. Horatio explains the nature of Fortinbra’s actions, “Now, sir, young Fortinbras, / Of unimprovéd mettle hot and full, / Hath in the skirts of Norway here and there / Sharked up a list of lawless resolutes [...] which is no other, [...] But to recover of us by strong hand / And terms compulsatory those foresaid lands / So by his father lost...” (I.i.95-98, 100, 102-104). This behaviour is intended to contrast with Hamlet’s more reserved defiance, in which he continues to mourn the death of his father against the desire of Claudius. Queen Gertrude addresses Hamlet’s conduct, “ Good Hamlet, cast thy nighted color off, [...] Do not for ever with thy vailéd lids / Seek for thy noble father in the dust” (I.ii.68, 70-71). I believe that Shakespeare included Fortinbras as a foil in order to highlight the intellectual complexity of Hamlet. While Fortinbras overtly defies the authority of Norway, Hamlet subtly draws attention to Claudius and Gertrude’s lack of consideration for the deceased King of Denmark. The idea of a character foil is also witnessed in how Claudius addresses adolescent defiance. In order to avert conflict, Claudius notifies Norway’s King of Fortinbras’ current motives and demands that he cease further acts of war. Denmark’s council is informed of Claudius’ decision, “...we have here writ / To Norway, uncle of young Fortinbras [...] to suppress / His further gait herein, in that the levies, / The lists, and full proportions are all made / Out of his subject...” (I.ii.27-28, 30-33). Claudius’ method of controlling Fortinbras is distinguished from his approach at manipulating Hamlet. The King of Denmark acknowledges Hamlet as a potential adversary, and concludes that the protagonist must remain within the confines of the state. He persuades Hamlet in the eye of the public, “For your intent / In going back to school in Wittenburg, [...] we beseech you, bend you to remain / Here in the cheer and comfort of our eye...” (I.ii.112-113, 115-116). As an adept politician, Claudius recognizes that an intellectual and rational adversary is often more dangerous than an openly physical opponent. He therefore maintains control over his nephew, attempting to eliminate Hamlet as threat to his reign over Denmark. The direct manner in which Fortinbras is controlled highlights the subtle precautions taken to restrict Hamlet. As a result, I consider the employment of a character foil in the first act of Hamlet genuinely effective as a dramatic device.
To conclude my examination of the first act in Hamlet, I found the inclusion of pathos and character foils to be the most intellectually stimulating literary techniques of the play. Shakespeare brilliantly captivates and establishes an emotional connection with his audience, allowing one to personally identify with the protagonist. Through subtle comparisons with Fortinbras, he emphasizes the sheer complexity of Hamlet’s character. It is my belief that Shakespeare recognized one incontrovertible truth as a playwright- the mark of any profound literary work is its ability to instil genuine passion within the reader.
Works Citied
Shakespeare, William. Hamlet. Connecticut: Yale University Press, 2003.
Character is a ethical quality that all human beings possess. It is what gives us the opportunity to express who we are and our personalities. William
Shakespeare’s Hamlet is a play where characterization is one of the key ways the audience gets sees a character and his or her traits especially in Act one . I believe that one of the most interesting aspect of act one of Hamlet is that even though the story has just started the audience all ready knows so much. William Shakespeare has does an excellent job of showing the character traits of Hamlet and the other characters in the first act. I like how Shakespeare has shown the characters of the play and the different personalities they have.
Characterization is one of the key aspects of any work of literature because it shows the audience who
the characters are and what they are like . William Shakespeare has done s fantastic job in giving the audience so much information about the characters in only the first act of the play. I believe the most interesting aspect of act one in Shakespeare’s Hamlet is characterization because it tells us a lot about Hamlet and the other characters like Horatio.
Characterization is used very well in the play and it helps the audience see the main character Hamlet for what he truly is. Hamlet is first introduced in Act one, scene two and within the first line he says he already shows his personality and his feeling towards his uncle and hi uncle,s marriage to his mother. After his mother and his uncle leave Hamlet lets his feeling show in a soliloquy telling the
audience how he feels about his situation. “She married, O most wicked speed, to post with such
dexterity to incestuous sheets”(1.2.47) and what is going on around him. From personal experience the best way to get to know someone is to see their character traits because they reveal a lot about a
person and they show the persons real identity. Hamlet is not the only character in the play that has good characterization.
Hamlets stepfather and uncle, King Claudius. is man who is a thinker who is very smart and
very manipulative . Later in the Act the audience finds out that Claudius also has an evil and evil side when Hamlets father comes back as a ghost and tells Hamlet “The serpent that did sting thy fathers life know where s his crown” (1.5.459). This is revealed that it was Claudius who planned the murder of his own brother in order to become king. All ready in the first few pages of the play Shakespeare has done a tremendous job in Characterization of Hamlet and the other characters making characterization a large component of Act 1. He has shown why it is important to know someone by their character and that they exist in all humans whether they are visible or not.
It seems that throughout the play Hamlet, there is an ongoing theme. Many themes are evident in act one of this play. The theme I thought would be most appropriate for this scene would be betrayal. From the ghost to the marriage of Gertrude and Claudius. Each of these scenarios in my opinion, subject the theme of betrayal to one or more main characters in this play.
The ghost appears in the play in the very beginning of Act one. The guards are almost certain that the ghost is of the previous king, King Hamlet. I am curious as to why the ghost is there. Surely there is some reason as to why he is wandering the castle. Is he here to get revenge? Is he here to try and tell everyone what happened to him? Horatio even tries talking to the ghost. Trying to coax it into saying something of use. “If thou hast any sound or use of voice, speak to me … o’ speak.” (1.1-131-132) personally I think that the reason the ghost is there is to show someone or something what happened to him, or he is there to have someone to guide in the right direction as to who killed him or knows something about it. This ties into the theme of betrayal because I think that the ghost has some unfinished business with someone who betrayed him in the past. It was even stated by in the play that the ghost was wearing body armour, armour that you would use to fight. This gives me some evidence as to why the ghost might be wandering the castle so feverishly.
Another evident sign of betrayal in Act one is the fact that just after her late husband Hamlet dies, Gertrude (the queen) marries his brother Claudius, thus having Claudius take the thrown. I thought it was very interesting as to how she was able to get over her husband so quickly, and thus put her son through an rollercoaster of emotions. Hamlet (her son) has no idea how she got over her husband who she supposedly loved so much, in such a short time. Was it because she married him for his title, not his love? Did she have any part in his death? Hamlet dislikes his “new” father so much he has come to the conclusion that he will not treat him as a king, nor as a father. “A little more then kin, a little less then kind.” (1.2 – 164)Hamlet has a very witty mind. Harping at Claudius every chance he gets. In Hamlet as well as my eyes, it is evident that Gertrude has betrayed her late husband by remarrying so quickly.
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