Hamlet, The Prince of Denmark Essay

Much of the dramatic irony and dramatic latent hostility in Shakespe atomic number 18s hamlet, The Prince of Denmark derives from the inter round between the characters popular and snobby personas. The face that each(prenominal) of the characters shows to the public contrasts with, in most cases, the private persona of the same character. Similarly, the private face or motives of the characters usu totallyy stands in diametric opposition to their public persona. The most unambiguous examples of this dynamic is, are course, the characters of Claudius and Gertrude who must, by necessity, keep up a fraudulent set of public perceptions to cover their crimes of infidelity and murder.These obvious examples, however, are no more profound or integral to the matchs thematic impact than the likewise hypocrisies which afflict nearly either other character of the play. The almost universal nature of fond mendacity is de ductate in Hamlet as being,in fact, the source of what is rotten in Denmark. The wizardry of the play exists, in part, in Shakespeares ability to demonstrate the personal gentlemans gentlemanner in which prevarication and being two-faced can impact all levels of society and corrupt even friendship and love.In many ways, the cheat on of characters in Hamlet reflect a social microcosm, with Hamlet, the young Prince, and Ophelia, representing the young of society and the ghost of Hamlets father, Gertrude, Claudius, and Polonius representing the social establishment and heathenish traditions which have fostered ongoing mendacity. From the very opening scene of the play, Shakespeare, with a hang for amazing perspicaciousty, writes the following exchange between Bernardo and Horatio BERNARDO Say, What, is Horatio there?HORATIO A theme of him. (Hamlet, 1. 1 25-28) Horatios reply indicates, according to critics of the play, that he is referring to the cold wickedness air which has reduced him to a shivering semblance of his former self. However, the line can also be read as a subtle extension of the theme of mendacity adn meant to indicate that even Horatio, who will be revealed end-to-end the course of the play as a true friend to Hamlet, has been wedged by the rottenness in Denmark, the social hypocrisy which holds all in its sway.Similarly, Polonius, who represents the religious and spiritual aspects of society in the social microcosm of the play, dispenses words of firmness to Laertes, acting the part of the wise and compassionate patriarch, a man of morality and God. Among his words of wisdom in Act One, Scene Three are the following observations Beware/ Of entrance to a quarrel, but being in,/ possesst that the opposed whitethorn beware of thee. / bear every man thy ear, but few thy voice/ Take each mans censure, but reserve thy judgment (Hamlet 1. 3, 69-73).Obviously, Polonius fails to live by his own words. He openly intrigues against Hamlet, immersing himself into a quarrel which was not his own, and after doi ng so, fails to Beart that the opposed may beware of thee (Hamlet 1. 3, 71), but ends up being killed by Hamlet on accident. Key to all of the ironies which are associated with Shakespeares them of social mendacity is the character of Hamlet himself. If the contributor or audience member who is experiencing Hamlet believes in the heart that Hamlet is, indeed, sick, then much of Hamlets behavior can be explained by madness.If, on the other hand, the indorser or audience member believes that Hamlet is simply presenting yet some other social face this one in order to disrupt the hypocrisy of society then Hamlets behavior becomes a method acting by which Shakespeare examines the heavy toll which is exacted on the individual in a hypocritical society. There is every soil to believe that the latter consideration is the one which Shakespeare hope to achieve in the play. One good twist of evidence for this supposition is in Act 2, Scene One, when Ophelia, stricken by the state whic h Hamlet has fall by the waysideed himself to get into, she voices her concerns to her father, Polonius.Ophelia describes Hamlet with his doublet all unbraced (Shakespeare, 2. 1, 85) and No hat upon his head (Shakespeare 2. 1, 86). His appearance is taken to be an indication of his inner-state, propellent the sense of social facade as serving in do of truth in society. Ophelia concludes that Hamlet appeared as though he had been loosed extinct of hell/ To speak of horrors,he comes before me (Shakespeare 2. 1, 90-91). The implication is that Hamlets disheveled state must indicate that he is, in fact, mad.Obviously, eyepatch Hamlet appears mad to others, he is plotting with great, rational precision to expose what he fears is the crime committed by his mother and his uncle. The sub-text of this is that Hamlet should be mad given the reality of the dilemma he faces. The great irony is, in fact, that he is not mad, but sane which will not allow him to live in a world of lies and hy pocrisy. When Claudius and Gertrude react with horror to the play within a play Hamlets response is What, frighted with ridiculous fire (Shakespeare 3. 2, 262) indicating his very rational understanding of the situation and of the reality of social mendacity.At this point, it seems that merely knowing of the hypocrisy is enough for Hamlet because when Claudius responds Give me some light away (Shakespeare 3. 2, 265) it is an admission that he, the King, and by association the unit of measurement of Denmark exists in darkness which is the darkness of social hypocrisy. Although hypocrisy is never genuinely justified in Hamlet, there is an interesting reason which is given in Act 4 of the play as to wherefore people may be so easily led into hypocrisy and self-deception and that reason is compassionate mortality. When Hamlet observes of the dead that Theres another why may not that be the skull of a / lawyer?Where be his quiddities now, his quillets,/ his cases, his tenures, and his tricks? (Shakespeare, 4. 1, 94-98) the reader or audience member realizes that the humankind hypocrisy portrayed throughout the play represents not only the lies and deceit necessary to facilitate human ambition in a corrupted society, but the human magnetic dip to reject cosmic issues such as life and death and human spirituality in favor of materialism and worldly power. work Cited Shakespeare, William. The Works of William Shakespeare Gathered into One Volume. New York Oxford University Press, 1938.