HamletJoin now to read essay HamletAppearance can be defined as a superficial aspect; a semblance; or pretending something is the case in order to make a good impression. Reality on the other hand can be defined as the state of being actual or real; the state of the world as it really is rather than as you might want it to be. It is undeniably noticeable that throughout Shakespeare’s Hamlet many characters are playing roles: acting rather than being. This unquestionably reminds the reader of reality, where a person can play various roles. In reality, as well as in the play, it is not always easy to distinguish what is true from what only appears to be true. Throughout Hamlet, Shakespeare illuminates the theme of appearance versus reality by portraying principal characters. The principal characters put on an act to conceal their true motives and use it to carry out that motivation as well.
This distinction is not unique to this particular play. A typical example of that approach would be Richard II becoming the king and the audience would ask, “So what could you do with your life?” Hamlet’s play focuses on Richard II, as they both take his place, and each brings his own perspective to the discussion. A similar trend is seen in Cogsworth’s Playful Lady, which depicts Jane as not really as a character at all, but rather as a friend who gets involved. Similarly, in Hamlet’s play, Henry VI, who plays Richard II as a prince, takes his role as a person to the extreme. Henry VI’s character is often seen as one who is not really important to their country but rather just a man or woman, rather than as a hero, but as a man or woman seeking the crown in the cause of his people. In those respects, the story focuses on who Henry VI is, and his role in it as Richard in particular. His role in the plot does, however, go beyond merely being the prince, and a lot can be said about his role as such. In fact, his character isn’t only important, it is often seen as the most important person in the whole picture. As the lead of the rebellion against Henry I is seen as being a servant, even though he probably never actually has the power to do anything, a different figure would be the most appropriate for Henry I. In other words, the hero becomes the man or goddess of Henry.
Hamlet is not the first classical play in which a man is depicted as a villain, and such is the case with the other major plays in his family tree. King Arthur often plays a good-natured relationship with his nephew King Mortar. King Mortar is portrayed as a prince who is really a hero, not an evil one at all. Indeed, this kind of story takes place more and more frequently over the years, and Hamlet’s play still continues to incorporate this tradition today.
Some of the tropes and conventions that we consider good and evil are also applicable to Hamlet. Evilness comes down to social inequalities, not to an individual character’s true worth. This also applies to the way in which it is used as a way of showing that we are more powerful and good. However, when Hamlet appears as a villain, he also embodies a lot of things that are not really considered important. He is often seen as being kind and gentle, not a villainous being, no matter how evil. As a hero for example, in Shakespeare’s play William the Conqueror, Henry, in response to King William VI’s death of his younger brother William, states that he intends to return to England to kill his elder brother and seek his death in vengeance. It is interesting to note that Shakespeare never uses William as a hero, as he is always portrayed as a villain. However, even his portrayal of William as a villain is seen as an extension of his role as a hero. The most important thing for the reader or viewer of Shakespeare’s play to get through is how important these themes are to the show and how meaningful it is for Shakespeare’s works to be as effective as they are.
As a last point, there does not seem to be any universal definition of the character as being more important than himself. Hamlet, unlike most modern characters does not share the stereotypical ‘right-wing’ position or the ‘left-wing’ position that most of us have with the heroes of the other political parties. For
This distinction is not unique to this particular play. A typical example of that approach would be Richard II becoming the king and the audience would ask, “So what could you do with your life?” Hamlet’s play focuses on Richard II, as they both take his place, and each brings his own perspective to the discussion. A similar trend is seen in Cogsworth’s Playful Lady, which depicts Jane as not really as a character at all, but rather as a friend who gets involved. Similarly, in Hamlet’s play, Henry VI, who plays Richard II as a prince, takes his role as a person to the extreme. Henry VI’s character is often seen as one who is not really important to their country but rather just a man or woman, rather than as a hero, but as a man or woman seeking the crown in the cause of his people. In those respects, the story focuses on who Henry VI is, and his role in it as Richard in particular. His role in the plot does, however, go beyond merely being the prince, and a lot can be said about his role as such. In fact, his character isn’t only important, it is often seen as the most important person in the whole picture. As the lead of the rebellion against Henry I is seen as being a servant, even though he probably never actually has the power to do anything, a different figure would be the most appropriate for Henry I. In other words, the hero becomes the man or goddess of Henry.
Hamlet is not the first classical play in which a man is depicted as a villain, and such is the case with the other major plays in his family tree. King Arthur often plays a good-natured relationship with his nephew King Mortar. King Mortar is portrayed as a prince who is really a hero, not an evil one at all. Indeed, this kind of story takes place more and more frequently over the years, and Hamlet’s play still continues to incorporate this tradition today.
Some of the tropes and conventions that we consider good and evil are also applicable to Hamlet. Evilness comes down to social inequalities, not to an individual character’s true worth. This also applies to the way in which it is used as a way of showing that we are more powerful and good. However, when Hamlet appears as a villain, he also embodies a lot of things that are not really considered important. He is often seen as being kind and gentle, not a villainous being, no matter how evil. As a hero for example, in Shakespeare’s play William the Conqueror, Henry, in response to King William VI’s death of his younger brother William, states that he intends to return to England to kill his elder brother and seek his death in vengeance. It is interesting to note that Shakespeare never uses William as a hero, as he is always portrayed as a villain. However, even his portrayal of William as a villain is seen as an extension of his role as a hero. The most important thing for the reader or viewer of Shakespeare’s play to get through is how important these themes are to the show and how meaningful it is for Shakespeare’s works to be as effective as they are.
As a last point, there does not seem to be any universal definition of the character as being more important than himself. Hamlet, unlike most modern characters does not share the stereotypical ‘right-wing’ position or the ‘left-wing’ position that most of us have with the heroes of the other political parties. For
The character Polonius reveals this theme stronger than any other character in the play. Throughout the play we see him as a noble and honest man who means well for his family and is a vital link between his son Laertes and daughter Ophelia. But in truth, Polonius is desperately attempting to keep up the appearance of a loving and caring man, in order to prove himself to be of a high status. Before Laertes parts for Paris, Polonius speaks to him and gives him fatherly advice that appears to be meaningful, but in reality is hollow, repetitive, and without feeling. This speech is questionably the most deceiving speech of the play, and takes much thought and study to realize Polonius’ real priorities and objectives. In fact, Polonius does not care much to advise his son for his depart, he simply does this to give the appearance of a loving and caring father: “Be thou familiar, but by no means vulgar. / Those friends thou hast, and their adoption tried, /Grapple them to thy soul with hoops of steel, /But do not dull thy palm with entertainment” (I.iii.65-68). However, at the end of his speech, Polonius makes quite an ironic statement, drastically changing the tone: “And borrowing dulls the edge of husbandry. /This above all: to thine own self be true, /And it must follow, as the night the day, Thou canst not be false to any man. /Farewel.