INTRODUCTION
Literary critics and academics have frequently noted that tragedy may make the audience feel dread and sympathy. One of William Shakespeare’s most great tragedies is said to be Hamlet (Cartmell & Deborah, 2006). It is centered on Hamlet, an obscure English drama by an unidentified author. William Shakespeare portrays Hamlet as the monarch of Denmark whose procrastination results in nothing but anguish and sorrow for him. Hamlet, a knowledgeable and aspirational character, is divided between the dictates of his feelings and the tentative mistrust of his intellect. The drama concentrates on this intense, never-ending fight inside his head ( Trounstine & Jean, 2020). Through his interludes, Hamlet expresses the struggles and disappointments within himself. Through his statements and the responses of the many other players, the spectator can comprehend Hamlet’s inner turmoil. Hamlet is a tragic hero who exhibits a complex personality with a range of emotions, including resentment, fury, arrogance, pride, and lunacy. Hamlet’s convoluted conduct makes the viewer feel sorry for him.
Shakespeare deviates from the typical standards and circumstances of the ancient tragedy, according to an analysis of the drama. In his book Poetics, Aristotle provides in-depth definitions of the word “tragedy” in relation to the theater and the characteristics of a tragic hero (Alnuaim et al., 2022). Oedipus, as well as other Greek tragic protagonists, had assumed charge for their destiny and misery, which made the audience feel for them, finally causing a cathartic condition (mixed emotions of pity and fear). We are unable to detect any particular emotional impulses in the instance of Hamlet. In Hamlet, the audience first empathizes with the lead character, but by the play’s conclusion, their feelings have changed to something more akin to dread and distaste (Pate, Mukund & Tharkude, 2021). Shakespeare presents Hamlet as a boy who is grievously insulted by both his mother’s remarriage to his uncle Claudius and the recent death of his father. In the first scene of the play Hamlet, Hamlet is shown as having conflicting emotions. The reader or audience is forced to consider the catastrophic defect in the hero as a result of his overwhelming feeling of loss, rage, and frustration. His tragic sorrow is greatly influenced by a number of elements, including his haughty character, his overconfidence, and his pride. It is plain to the reader that his overconfidence drives him to impulsively transmit his expertise via overt cues that are simple to misinterpret and ultimately lead to his demise (Al-Khatib & Waddah, 2001). Hamlet continually assigns responsibility for his own errors because of his inflated sense of self. “The figure of Hamlet, draped in black, his eyes lowered on the ground, his entire aspect reflecting the deepest dejection, the sole mourner in the glittering Court, at once catches the attention,” writes Frank Albert Marshall in his book A Study of Hamlet.
Research Questions
- What makes hamlet a complex character
- How does Shakespeare use linguistic and dramatic devices to introduce the character of Hamlet?
- How does Shakespeare present women in the play Hamlet?
LITERATURE REVIEW
The first priority is Shakespeare’s literature. The celebration is not by any means widespread or recognized, particularly in English. Outside of drama studies, unclear. Shakespeare’s cinematic studies that are “conventional” appear to have been abandoned in this piece. In an effort to locate a Major of Shakespeare Adaption Research Picture in the film that established itself as a component of Shakespeare’s field (Ribner & Irving, 2013). A more comprehensive study background is found in on-screen (Court all) literature. For people in the film business who have studied literature, even “classics” in literature have become fair game. In the first part of the study, Shakespeare’s cinematic task is examined. Shakespeare and Mina in the twentieth century, with a focus on the classics and the analogies made literary adaptation (Shukla, 2013). The scholar has been inspired by the personalities they came across in reading, writing, and books. Whom they trust strong characters may develop into. Thus, when the 1960s arrived, although presumptions regarding when the Midwestern borders began to disintegrate as well as America’s, it was no surprise that the scholars saw themselves as victims.
Someone in the assembly of Rick Cloche’s performance The Cage in the San Francisco Bay is suffering. The san Using ex-offenders, Quentin performed. Shakespeare’s act between the sixteenth and seventeenth centuries. It was highly helpful for Knap to argue that “spirit (s)” and that “mythological beings interact with the material world” inventive technologies. The two authors like Shakespeare whose anxiety frameworks it altered the smallest ( Bansal & Rohit, 2018). Number of shadows and figure a thorough collection of awkward dating may provide debate. the book Kodak’s early research proves once again that the only way to get current material knowledge is through scrutinizing its inverse of. Shakespeare’s silent critic’s champion is opposed to Shakespeare’s movie’s animated adaptations. Reviewers’ favorites Saint and Choleric Furious The inevitable The Moving Picture World and View Photographer is his bullying sermon (Rothwell & Kenneth, 2001). In March 1907, readers could purchase volume one for 5 cents. He argued against the assumption that there Shakespeare, who belonged to a class apart from the general populace, regarded his film as a tool to draw in the masses “elite class individuals “to the soiled storefront movie. Shakespeare’s cry may be a reflection of his intrinsic propensity towards a fair parallel to the legendary Elizabeth (Ali et al., 2022). Shakespeare’s drama Anthony and Cleopatra is unquestionably one of his greatest. In any case, the greatest hoax is this Shakespeare drama. This is one of the most spectacular 2 theatrical layouts and sequences performances from the Elizabethan period. He had previously written well-known plays including King Lear, Macbeth, Othello, Hamlet, and Shakespeare’s career as a writer Anthony in the height of his life and penned Cleopatra. In contrast, The Death of the first play by Cleopatra Shake to be released . Equipment is used by students in the Sharing Shakespeare program to access the original text fields on the Internet, scanned photos, and illustrations from Elizabethan publications; captured by legislation; and alcoholic beverages
as they were recorded on VHS (Cressy & David, 1991). The fourth stage of the Shakespeare program’s curriculum was completed by the pupils as they advanced program, it was evident that they were familiar with the subject. They were unafraid. Their mode of transportation was the computer, exactly as a vehicle was stage acting. Richard Rory ends a chapter on Derrida with a gesture similar to Fine man’s in that it is categorical. In conclusion, I assert that Derrida has created a new kind of book with “Envois” that no one had ever imagined (Bansal & Rohit, 2018). Each piece of work is seen to be engaging in a similar kind of summarizing that calls for a summarizing act on the side of the critic. Whether one agrees with each statement’s premise or not, the programmatic character of these claims reveals the Shakespeare and Derrida’s writings have stakes in the contemporary critical conversation.
Shakespeare attacks the historical writing and reading traditions that are based on humanistic principles. He specifically challenges the notions that history serves as a guide for human behavior and that the past has inherent moral authority over the present. At the same time, he questions the historian’s assertion that he offers a thorough, impartial account of historical events that is uncolored by his own current situation and interests (Joshi et al., 2021). The play rejects one of two accepted interpretations of historical texts: either it is portrayed as a collection of ideologies that support it or as an accurate and objective account of historical truth. How have the reduced forms been understood historically? Although Stone is a daring form-maker, pattern-making is bad history. Readers of English Renaissance literature might benefit from understanding past context. Some of them are associated with my own research on family life cycle rituals, celebration and remembering, and education and education (Strier, Richard & Mazzio, 2006). Specific statements or transactions in Shakespeare’s play may be understood in their historical context and original meaning thanks to this sort of study. It makes no difference whether it is referred to as ancient history, modern antiquity, or local knowledge.
RESEARCH METHODOLOGY
Research Design
A descriptive qualitative design will be used for this research study. The approach mentioned above will be appropriate for this study because it offers a description of the situation as they exist now (Hammond, 1995; Cheatham, 2019). The researcher will use the approach to examine the previous research works on the literature of Shakespeare and the analysis of stylistic devices by several authors.
A descriptive research technique has the potential to describe characters, stylistic devices, phenomena, or situation accurately and systematically (Moser & Korstjens, 2018). The technique can answer questions that entail what, how, and where, when, but not why questions (Bradshaw, Atkinson & Doody, 2017).
This study will include a review of previous literature works of Shakespeare, the analysis by various authors, the video clips, among other previous research works on such topics. The above sources will provide rich information concerning the Shakespeare’s literature works.
Data Collection Instruments
This researcher proposes the secondary sources as the primary method of data colection. Besides, the researcher plans to make an analysis and comparisons of the current discussion around Shakespeare’s literary works and the use of stylistic devices.
Data Processing and Analysis
Data Analysis Technique revolves around identifying, classifying, and assigning a numeric or character symbol to data. The researcher will analyze the data collected from different writings in history that analyze Shakespeare’s Hamlet using a qualitative theorem analysis, which is the best in the analysis of literary work and theories.
RESULTS
From the data collected through descriptive qualitative design, and the analysis done using theorem and literal analysis, the research questions, which are the main objectives for undertaking this study have been answered as follows.
- What makes hamlet a complex character?
Examining Shakespeare’s characters in this play reveals Hamlet to be a complex protagonist. Throughout the play, Hamlet’s actions and reactions to various situations let us to see the different facets of his personality. Despite the fact that Hamlet presents a formidable picture, we see him crumble owing to his innate vulnerabilities.
Early in the play, Hamlet’s father’s ghost contacts him and instructs him to seek vengeance for his “foul and most unnatural death.” With the passage of time, however, Hamlet begins to question the ghost. He then conjures up Gonzago’s murder to both buy himself more time and demonstrate the ghost’s veracity. Despite understanding the truth, Hamlet postpones Claudius’ execution. Hamlet is extremely driven, yet a defect in his nature stops him from carrying out his plans, ultimately leading to his tragedy (Rothenberg & Wats, 1997). Another of Hamlet’s bad traits is his intense sadness. Hamlet is betrayed by his friends and family, rejected by his true love, enraged by his father’s death, and filled with dread about the future. His agony and grief, which devour him like a dreadful sickness, have a great influence on Hamlet. Unfortunately, at the end of the play, Hamlet has given up, leaving his future to chance. As he enters his combat with Laertes, he declares, “The ready is all,” implying that fate will decide his fate and that he will accept death if it occurs.
Shakespeare’s “Hamlet” (1601) shows a man torn apart by the thin lines between filial and familial allegiances, (religious) morality, and his duty to his country. This is evidenced by Hamlet’s repeated encounters with the cast. This plethora of opposing responsibilities fuels Hamlet’s inner struggle and shapes him into a complex and varied figure. As a morally troubled character, Hamlet’s relationship with Claudius raises problems regarding the consequences of loyalty and responsibility. This is part of the protagonist’s hamartia since it hinders him from completing the task handed to him during the rising action and forces him to postpone it. According to Hamlet’s admonition in Act I, Scene IV, “certain persons, / That for some ill mole of nature… receive corruption/ From that fault,” Claudius is the projected incarnation of corruption. Claudius, as King, represents Denmark since he says, “Let thine eye gaze upon Denmark as a friend” (Act I, Scene II), yet he is also compared to a snake because he “stung thy father’s life” (Act I, Scene II) (Act I, Scene V). His reluctance to take payback, “Now I may do it pat… this is hire and money, not revenge” (Act III, Scene III), and his astute remark, “a touch more than kin and less than kind,” (Act II, Scene II), attempt to distance him from his stepfather’s moral depravity and the state’s downfall. Act I, Scene IV exposition, “Something is wrong in the state of Denmark,” foreshadows his estrangement from his responsibility to Denmark and his ability to break the Great Chain of Being. His confused temperament emerges as he attempts to find a balance between duty and betrayal in his interactions with Claudius: “O cursed spite, / That ever was I born to make things right” (Act I, Scene V) demonstrates his equivocal disposition.
In contrast, Hamlet’s dialogues with Ophelia illustrate his potential for lying and moral ambiguity in his pursuit of the truth and administration of justice. This demonstrates his treachery and Machiavellian traits, tying him to Claudius’ moral quandaries as the enemy and highlighting the hero’s complexity. Shakespeare employed rhetorical inquiry to show how Hamlet’s mask and deception taint Ophelia’s purity, as seen by his use of “Ha, ha, are you being honest? Are you being objective? He will cause my daughter to die (Act II, Scene II).” She says this as a part of Polonius’ devious ploy to discover the cause of Hamlet’s illness. Ophelia’s shift from iambic pentameter in “My esteemed lord, you know very well you did” (Act III, Scene I) to ambiguous blank prose in “My esteemed lord, you know very well you did” “What about you, Lord? This is consistent with Hamlet’s earlier comment, “The lady must declare her mind honestly, or blank poetry must finish for her (Act II, Scene II),” which emphasizes the need of honesty in writing. In the second scene of the third act, Hamlet switches from poetry to prose to show his own dishonesty inside the “play within the play.” Hamlet presents himself as an unconventional protagonist, revealing his complicated psyche through his ability to deceive, a hostile quality similar to Claudius’.
- How does Shakespeare use linguistic and dramatic devices to introduce the character of Hamlet?
Act 1 At the start of Scene 2, Claudius introduces Hamlet: “But now, my cousin Hamlet, and my son – ” A dramatic hyphen is used to underline the importance of Hamlet’s entry, and a paraprosdokian phrase is used to startle the audience and maybe prompt them to reconsider what was spoken. Claudius’ emphasis on family and familiarity in his speech might also be read as a failed attempt to win over Hamlet.
After Claudius has finished speaking, Hamlet appears onstage for the first time. Shakespeare uses an aside to portray Hamlet’s sardonic, intellectual, and eccentric personality, as well as to predict the audience’s future connection with the prince. Shakespeare used the phrase “a bit more than kin and a little less than nice” to describe Hamlet’s discourse. The word “kind” has multiple different meanings. It might be seen as Hamlet’s resentment of the king for his hasty and rash marriage to the queen, or as Claudius’ unnatural yearning for his sister-in-law (kind meaning natural in this scenario).
Shakespeare used metaphorical language to emphasize to Claudius that Hamlet is a gloomy guy. Why are there clouds still over you? In contrast, Hamlet exhibits his wit and comedy once more when he responds to Claudius’ criticism with the pun “I am too much in the sun.” Gertrude repeats Claudius’ description of Hamlet as a pessimist, saying he “cast thy knighted colour off” and had “vailed lids.”
- How does Shakespeare present women in the play Hamlet?
Hamlet demonstrated the status of women in society by depicting their subordinate responsibilities in accordance with their historical position. He claimed that because males did not regard women, they were frequently considered as tools. Men portrayed women as primarily reliant, uneducated, and manipulable for their own gain. “Let me not concentrate on what he ate inside a month,” Hamlet remarked. You’re a lady, fragility! She followed my beloved father’s body in shoes that were just a month old. (1.2.145-148) Gertrude’s husband died lately, but instead of allowing herself time to mourn, she married Claudius right away. Because of their inferior duties during the Elizabethan age, this episode demonstrated that women had to go to extreme measures to defend their social position.
When Gertrude learned that Claudius was obligated to marry upon gaining the throne, she promptly consented to be his bride. Gertrude kept her position of power and public regard by marrying him. This behavior revealed her frailty since it underlined her longing for friendship. When Gertrude drank from the poisoned cup by mistake in the final scene, Claudius screamed, “It is the poisoned cup.” It is already too late. He didn’t tell his wife about the poison in the cup, and he didn’t express sorrow or concern that she may die. This exemplified how males will choose their pride and dignity over a woman’s health. Claudius said he didn’t realize the cup was poisoned because he didn’t want to admit his culpability in front of the crowd.
Ophelia’s personality traits were comparable to Gertrude’s. Men preyed on her, even her own father Polonius, Lord Chamberlain of Claudius’ court. Ophelia practically became his puppet. Polonius took advantage of Hamlet and Ophelia’s affection for his own gain. He frantically sought to convince Claudius that his nephew was mad in order to gain the King’s favor and improve his image. He told Ophelia to “be considerably scantier to your maiden presence/Set your entrustments at a greater rate than an order to bargain” from now on. (1.3.120-123) Polonius arranged for Ophelia to treat Hamlet coldly in order to drive him mad. Polonius and the King considered using Ophelia as bait in Act II to demonstrate Hamlet’s insane love for her. This scenario, once again, demonstrated a lady who adapts to the wants of others without expressing her own.
Regardless of whether Ophelia was the prince’s darling or Gertrude was the queen, the men always had the last say in how they behaved. Their behavior, words, and influence gave the impression that they were always reliant on males and hence weak.
CONCLUSION
Finally, because of the character “Hamlet: Hamlet is Shakespeare’s finest drama. Shakespeare’s greatest and most challenging character to date is the Danish prince. Unlike many other characters, Hamlet is torn between all of these feelings and suffers from great existential misery. This combination lends to Hamlet’s exceptional delicacy. Shakespeare created an exceptional character study for him that elevates both the reader and the actor who plays him.
LIMITATIONS TO FURTHER RESEARCH
Hamlet’s vocabulary is not as euphuistic as Kiefer asserts, and its use of irony throughout the play is due to the ambiguity of the word rather than its purported euphuistic quality.
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