Hamlet Near The End Of The Play example essay topic

William Shakespeare's Hamlet- Signifying Death Regardless of a person's age or literary preference it is undeniable that William Shakespeare had a flair for composing dramatic tragedies. Tragedy, when evident is a powerful underlining theme which portrays the qualities of the human capacity. In one of Shakespeare's most brilliant plays, Hamlet, tragedy is portrayed through the protagonist's constant contemplation of suicide. Shakespeare often alludes to powerful images of death by using pathos and bereavement in life to be inconsequential. In the play, Hamlet, William Shakespeare produces a tragedy which illustrates the suggestion of suicide and the imagery of death as solutions to problems through Ophelia's demise, the minor characters reflection upon death, and most importantly the protagonist Hamlet. Firstly, the castle of Elsinore is notable for its evocation of place where it initially begins to shape Ophelia's character and create Ophelia's imagination beyond her life of limitations.

It is un disputable the love Ophelia and Hamlet once shared in their past relations. This is clearly evident when Hamlet jumps out from hiding at the graveyard and expresses his feelings for Ophelia proclaiming his love. "I lov'd Ophelia: forty thousand brothers could not, with all their quantity of love, make up my sum. What wilt thou do for her?" (5.2. 270-72) Although Polonius, Ophelia's father, instructs her to never see Hamlet again and to never trust his promises, she continues to honour Hamlet's love and defend him to her father; "My Lord, he hath import un'd me with love in honourable fashion" (1.3. 110-11).

Since, Ophelia is dependent on her father, and the men in her life; she now finds herself alone after his sudden death, which causes her grief and unhappiness (4.5. 11-13). Ophelia's distracted behaviour gives the impression that some great unhappiness has befallen her (Ibid). Claudius suggests it is a result from her father's death; "Conceit upon her father" (4.5. 43). Ophelia's abrupt behaviour shows the nature of her mind and her songs suggest tragic irony, since it is paradoxical to the Ophelia that is introduced at the beginning of the play; a sweet and innocent young girl, who obeyed her father and brother (1.3.

90-98). As stated from Hamlet, it shows Ophelia's change in behaviour after her father's death. To-morrow is Saint Valentine's Day, all in the morning be time, and I a maid at your window, to be your Valentine. Then up he rose, and donn'd his clothes, and dump'd the chamber-door, let in the maid, that out a maid never departed more. Indeed, without an oath, I'll make an end on't: by gas and by Saint Charity, alack, and fie for shame!

Young men will do't, if they come to't, by cock they are to blame. Quoth she, before you tumbled me, you promised me to wed (4.5. 46- 61). Ophelia's behaviour shown above connotes her state of mind through her songs.

Now that she is ill, she makes sexual references to her past relationship with Hamlet, a relationship that she was unable to keep while she was kept in confinement by her father (4.5. 55-59). Ophelia enters a phase of insanity and the pressure she endures foreshadows her forthcoming death (4.5. 16-20). The pressure she starts to suffer from causes her to become incoherent and she is unable to function without the commands of her father (4.5. 66-71).

Shockingly, Gertrude announces the death of Ophelia is committed by means of drowning in the river (4.7. 164- 65). Encircling the river, the area is lined with willows, wild and crow flowers, nettles, daisies and long purples (4.7. 170).

Above the river, willows hang suspended from the tree branch down towards the water which can suggest her attempt to commit suicide by hanging (4.7. 173). Despite Ophelia's death being argumentative, the willows hanging from the tree branch symbolize love forsaken and remembrance (4.7. 169). Ophelia's death can be a symbol of remembrance and in memory of Polonius and Hamlet since the flowers mentioned have specific meaning (4.5. 173-83).

Her death is questionable but there is reason to believe her death was suicidal. After ending her relationship with Hamlet, and having her father killed by her previous lover, Ophelia's character begins to change. A flower can resemble Ophelia's character; for even the most beautiful flower can be deceiving, and this is first seen in her character as a calm, delicate, and a controlled young lady (1.3. 45-51 & 136).

Once her father passes away and Hamlet is out of reach her state of being becomes confused, ill, insane and bitter (4.5. 46-64). Ophelia starts wearing flowers like rosemary which is to be worn in memory (4.5. 173). It is evident by the course of events that Ophelia commits suicide and her demise results from her own actions. Secondly, throughout Denmark inevitable justice is proficient with the minor characters that shape the reflection of death.

One of the first minor characters that play a major role to reflect death is Horatio. Horatio is the definition of a true friend. He remains a complex character that is honest and loyal to his companion Hamlet (3.2. 56-57). By the end of the play, Laertes stabs Hamlet with a poisonous sword (5.2. 387-89).

Dearly honoured by Hamlet, Horatio insists on drinking what is left from the poisonous cup which killed Gertrude (5.2. 330-32). In act five, scene two Horatio declares to Hamlet that he will drink the poison; an act of committing suicide "indicating how deeply he is moved by Hamlet suffering" (5.2. 331) Horatio states "Never believe it: I am more an antique Roman than a Dane, here's yet some liquor left" (5.2. 330-332) Hamlet responds with the suggestion of death (5.2. 343).

William Shakespeare's imagery in Hamlet's response, The potent poison quite o'er-crows my spirit: I cannot live to hear the news from England, but I do prophesy the election lights on Fortinbras: he has my dying voice; so tell him, with the, more and less, which have solicited. The rest is silence (5.2. 342-48). William Shakespeare discloses death defining words in Hamlet's response to Horatio to emphasize Hamlet's suggestion of death (5.2. 337-343). Similarly, Rosencrantz and Guildenstern are the next two characters to reflect upon death.

They were first introduced in the play as Hamlet's friends, but unexpectedly betray him and surface with Claudius (2.2. 225-227). Claudius orders Rosencrantz and Guildenstern to advise Hamlet to England considering he arranges for Hamlet's murder (3.3. 4-7). In his arrangement, Claudius illustrates imagery, "Arm you, I pray you, to this speedy voyage, for we will fetters put about this fear, which now goes too free-footed" (3.3. 24-26).

In the portrayal Claudius refers to Hamlet as a poorly treated prisoner shackled at the ankles (3.3. 25). Hamlet intercepts Claudius letter to England and replaces his own name for his two deceitful friends, Rosencrantz and Guildenstern (5.2. 48-54). Once the two men arrive in England, they are killed (5.2. 360-63).

The death of these two men results from their own actions. From betrayal, to dishonesty and deception towards Hamlet their lies corrupt their euphoria and emanate in suicide (5.2. 361). Lastly, Laertes' character indicates death through his father and sister. Due to the loss of two important figures in his life, Laertes begins to reveal images of death out of rage and eagerness to seek revenge for his father. Laertes says "To cut his throat I' the church" to portray death (4.7.

126). This line foreshadows and resembles Hamlet's failure to kill Claudius and provides implication to Laertes character; if he will or will not be able to kill someone when not under sin (4.7. 127). Laertes announces under the circumstances, Hamlet is one to be blamed for Ophelia's death; seeks revenge (5.1. 247-51). Laertes makes reference to the dead, "Now pile your dust upon the quick and dead, till of this flat a mountain you have made to o'er top old Pelion or the sky ish head of blue Olympus" (5.1.

252-54). His reference refers to the dust of bodies piled up to make mountains higher then the tallest standings mountain like Olympus (5.1. 253). Laertes' constant attempt to revenge for his father is correlated with Hamlet near the end of the play demonstrating his character and reflecting upon his death. Lastly, the country of Denmark was a different place. It presented a new direction of people socially and mentally; differing in ideology compared to the beliefs of Hamlet who spent most of his time in Wittenberg, Berlin (1.2.

110-117). This environment allows Hamlet to distinguish between a sense of self-identity and the organization of society. Hamlet is considered to be a dynamic character. He begins to experience anguish and grief from the loss of his father and his mother's immediate marriage to old Hamlet's far inferior brother Claudius (1.2. 76-86). His life begins to change prospectively in his first soliloquy when he starts contemplating about suicide (1.2.

129-59) His thoughts are revealed not only through his state of mind but in his clothes as well (1.2. 129). Gertrude beseeches Hamlet to remove his black clothing, 'Good Hamlet, cast thy nightly colour off' (1.2. 68).

Hamlet's clothes carry out two separate meanings, the first of which deals with Hamlet's melancholy state (Verma 20). In the Shakespearian era, a state of melancholy was viewed as the cause of madness (Ibid 20). Hamlet's clothing foreshadows his future madness (Ibid 20). The second is Hamlet's ability to put forth an act of appearance versus reality. His clothes do not necessarily mean he is still mourning and this is evident from the comment made to his mother that darkened clothes do not essentially mean he is still mourning (Ibid 22).

Once Hamlet gets rid of his "mourning clothes" it is apparent that he is acting and the suggestion of his words show he will no longer pretend like Claudius; appearance versus reality (Ibid 22). Hamlet is very upset with his mother's marriage and loses respect and inadequacy for all women (1.2. 141-45). Hamlet says "Let me not think on't; frailty, thy name is woman!" (1.2.

146). He compares his mother to the image of gardens, "Fie on't, ah fie! 'tis an un weeded garden that grows to see; things rank and gross in nature possess it merely" (1.2. 135-37). These lines exploit Gertrude's carelessness and disloyalty to Old Hamlet for marrying Claudius after two months. As well, the garden referred to by Hamlet associates with the biblical Garden of Eden (Verma 24). The imagery illustrates how corruption results in the fall of the sacred garden (Ibid 24).

Old Hamlet's ghost makes a similar reference to Eden when he says "The serpent that did sting thy father's life now wears his crown" (1.5. 39). The ghost mentions Old Hamlet's irritation from the serpent and compares his sovereignty of Denmark (which relates to the Garden of Eden) to the present king of Denmark, Claudius, (who relates to the serpent) that has recently taken over the title (1.5. 35-40) In Hamlet's second soliloquy it shows his state of mind and his prevailing mood of frustration due to the spiritual aftermath of death (3.1. 65-69). Hamlet repeatedly contemplates suicide but cannot bring himself to commit the act of sin (Sams a 7).

He fears that if he commits suicide, he will be designated to eternal suffering in hell due to Christian religions prohibition of suicide (Ibid 7). Hamlet's problem of whether to commit suicide is found as a habit of reasoning or speculation of thought. To be, or not to be, that is the question; Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing, end them. To die; to sleep, No more, and by a sleep to say we end The heart- ache, and the thousand natural shocks That flesh is heir to; 'tis a consummation Devoutly to be wish'd (3.1. 56-64) The above describes Hamlet's emotional frustration to either endure the grief or escape from it all by committing suicide (3.1.

57-60). In Act two scene two, Hamlet mocks Polonius' appearance with insults, "Excellent well, you are a fishmonger" referring to how "Polonius sacrifices Ophelia to gain his own ends" (2.2. 174). As well, Hamlet reflects death when he says, "Into my grave" (2.2. 208) Although, Hamlet is mocking Polonius' pretensions he ridicules in a manner where he can insult and express some of his true feelings; contemplation of suicide. By the end of the play, Hamlet learns to concede death when he abhorrers Yorick's skull at the graveyard reshaping his perception on life (5.1.

185-196). Therefore, it is indisputable that Hamlet's character restructures throughout the play to willingly suggest and provide images of death. Considering the above, it is clear to anyone who reads the play Hamlet that the implications of suicide and the imagery of death were vividly evident. This is proven through Ophelia's demise, the minor characters reflection upon death, and the protagonist Hamlet.

From this play, a person starts to realize the relevance of life and the profound changes people go through. It also shows that each person has an internal weakness. William Shakespeare is able to write a significant play to portray the reality of life. Therefore it is apparent that Shakespeare uses a reoccurring symbol of death to illustrate "tragedy" throughout the play.

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