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Great Examples of Hamlet Thesis Statements

Do you need to write a paper on Hamlet? Are you confused and don’t know how to come up with a thesis statement? Read this article and get some more insight into the ways how to write a successful thesis on this popular piece of art!

Hamlet is one of the most famous tragedies created by William Shakespeare. This classic play is extremely important for the English literature. Most students have written an essay on this tragedy at least once during their studies. It is an essential part of their requirements to complete a degree. If you do a profound research, your thesis on Hamlet can break some new grounds and exert an impact on your readers.

One can find a number of topics covered in Hamlet. The most important ones are duality, revenge, and confusion. Meanwhile, the central theme of the tragedy is mourning. All of the themes are eternal: people faced these issues in the times of Shakespeare and we still encounter them in the present days. Therefore, it is not as hard as it may seem to choose a thesis on Hamlet. If you are creative enough, you can come up with an original and interesting thesis statement. All you need to do is to study the tragedy thoroughly to get your opinion regarding it.

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Your Hamlet thesis statement can be related to any of the major topics of the play, including mourning, duality, revenge, and others. Further in this article, you will find several good examples of thesis statements on Hamlet. You can use them as a guide to understand the point and create your own thesis statement.

Thesis Statement Samples

• Example 1:The Theme of Revenge in Hamlet “Hamlet is a sorrowful hero who is madly looking for vengeance for his beloved father’s demise, murders everyone who stands on his way, and eventually manages to take revenge by killing King Claudius, the man who murdered his father.”
• Example 2:The Theme of Tragedy in Hamlet

“Hamlet’s melancholy, blemish, bogus madness and inability to take action on his desire to seek vengeance for his father’s killing – it all result into his unavoidable but tragic collapse.”

• Example 3:The Theme of Hunger for Power in Hamlet

“William Shakespeare, in his famous tragedy Hamlet, tells about Claudius – an antagonist and an egocentric man who is seeking power by all means. He murders his brother and marries Queen Gertrude, his brother’s widow to attain the power he desires so much.”

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What do you think about these thesis statements? Hopefully, they will help you understand how a good thesis on Hamlet should look like and come up with your own excellent statement! If you are creative and original, you will succeed with your paper.

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12.6: Literary Thesis Statements

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• Page ID 43636

• Heather Ringo & Athena Kashyap
• City College of San Francisco via ASCCC Open Educational Resources Initiative

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The Literary Thesis Statement

Literary essays are argumentative or persuasive essays. Their purpose is primarily analysis, but analysis for the purposes of showing readers your interpretation of a literary text. So the thesis statement is a one to two sentence summary of your essay's main argument, or interpretation.

Just like in other argumentative essays, the thesis statement should be a kind of opinion based on observable fact about the literary work.

Thesis Statements Should Be

• This thesis takes a position. There are clearly those who could argue against this idea.
• Look at the text in bold. See the strong emphasis on how form (literary devices like symbolism and character) acts as a foundation for the interpretation (perceived danger of female sexuality).
• Through this specific yet concise sentence, readers can anticipate the text to be examined ( Huckleberry Finn) , the author (Mark Twain), the literary device that will be focused upon (river and shore scenes) and what these scenes will show (true expression of American ideals can be found in nature).

Thesis Statements Should NOT Be

• While we know what text and author will be the focus of the essay, we know nothing about what aspect of the essay the author will be focusing upon, nor is there an argument here.
• This may be well and true, but this thesis does not appear to be about a work of literature. This could be turned into a thesis statement if the writer is able to show how this is the theme of a literary work (like "Girl" by Jamaica Kincaid) and root that interpretation in observable data from the story in the form of literary devices.
• Yes, this is true. But it is not debatable. You would be hard-pressed to find someone who could argue with this statement. Yawn, boring.
• This may very well be true. But the purpose of a literary critic is not to judge the quality of a literary work, but to make analyses and interpretations of the work based on observable structural aspects of that work.
• Again, this might be true, and might make an interesting essay topic, but unless it is rooted in textual analysis, it is not within the scope of a literary analysis essay. Be careful not to conflate author and speaker! Author, speaker, and narrator are all different entities! See: intentional fallacy.

Thesis Statement Formula

One way I find helpful to explain literary thesis statements is through a "formula":

Thesis statement = Observation + Analysis + Significance

• Observation: usually regarding the form or structure of the literature. This can be a pattern, like recurring literary devices. For example, "I noticed the poems of Rumi, Hafiz, and Kabir all use symbols such as the lover's longing and Tavern of Ruin "
• Analysis: You could also call this an opinion. This explains what you think your observations show or mean. "I think these recurring symbols all represent the human soul's desire." This is where your debatable argument appears.
• Significance: this explains what the significance or relevance of the interpretation might be. Human soul's desire to do what? Why should readers care that they represent the human soul's desire? "I think these recurring symbols all show the human soul's desire to connect with God. " This is where your argument gets more specific.

Thesis statement: The works of ecstatic love poets Rumi, Hafiz, and Kabir use symbols such as a lover’s longing and the Tavern of Ruin to illustrate the human soul’s desire to connect with God .

Thesis Examples

SAMPLE THESIS STATEMENTS

These sample thesis statements are provided as guides, not as required forms or prescriptions.

______________________________________________________________________________________________________________

The Literary Device Thesis Statement

The thesis may focus on an analysis of one of the elements of fiction, drama, poetry or nonfiction as expressed in the work: character, plot, structure, idea, theme, symbol, style, imagery, tone, etc.

In “A Worn Path,” Eudora Welty creates a fictional character in Phoenix Jackson whose determination, faith, and cunning illustrate the indomitable human spirit.

Note that the work, author, and character to be analyzed are identified in this thesis statement. The thesis relies on a strong verb (creates). It also identifies the element of fiction that the writer will explore (character) and the characteristics the writer will analyze and discuss (determination, faith, cunning).

The character of the Nurse in Romeo and Juliet serves as a foil to young Juliet, delights us with her warmth and earthy wit, and helps realize the tragic catastrophe.

The Genre / Theory Thesis Statement

The thesis may focus on illustrating how a work reflects the particular genre’s forms, the characteristics of a philosophy of literature, or the ideas of a particular school of thought.

“The Third and Final Continent” exhibits characteristics recurrent in writings by immigrants: tradition, adaptation, and identity.

Note how the thesis statement classifies the form of the work (writings by immigrants) and identifies the characteristics of that form of writing (tradition, adaptation, and identity) that the essay will discuss.

Samuel Beckett’s Endgame reflects characteristics of Theatre of the Absurd in its minimalist stage setting, its seemingly meaningless dialogue, and its apocalyptic or nihilist vision.

A close look at many details in “The Story of an Hour” reveals how language, institutions, and expected demeanor suppress the natural desires and aspirations of women.

Generative Questions

One way to come up with a riveting thesis statement is to start with a generative question. The question should be open-ended and, hopefully, prompt some kind of debate.

• What is the effect of [choose a literary device that features prominently in the chosen text] in this work of literature?
• How does this work of literature conform or resist its genre, and to what effect?
• How does this work of literature portray the environment, and to what effect?
• How does this work of literature portray race, and to what effect?
• How does this work of literature portray gender, and to what effect?
• What historical context is this work of literature engaging with, and how might it function as a commentary on this context?

These are just a few common of the common kinds of questions literary scholars engage with. As you write, you will want to refine your question to be even more specific. Eventually, you can turn your generative question into a statement. This then becomes your thesis statement. For example,

• How do environment and race intersect in the character of Frankenstein's monster, and what can we deduce from this intersection?

Expert Examples

While nobody expects you to write professional-quality thesis statements in an undergraduate literature class, it can be helpful to examine some examples. As you view these examples, consider the structure of the thesis statement. You might also think about what questions the scholar wondered that led to this statement!

• "Heart of Darkness projects the image of Africa as 'the other world,' the antithesis of Europe and therefore civilization, a place where man's vaunted intelligence and refinement are finally mocked by triumphant bestiality" (Achebe 3).
• "...I argue that the approach to time and causality in Boethius' sixth-century Consolation of Philosophy can support abolitionist objectives to dismantle modern American policing and carceral systems" (Chaganti 144).
• "I seek to expand our sense of the musico-poetic compositional practices available to Shakespeare and his contemporaries, focusing on the metapoetric dimensions of Much Ado About Nothing. In so doing, I work against the tendency to isolate writing as an independent or autonomous feature the work of early modern poets and dramatists who integrated bibliographic texts with other, complementary media" (Trudell 371).

Works Cited

Achebe, Chinua. "An Image of Africa" Research in African Literatures 9.1 , Indiana UP, 1978. 1-15.

Chaganti, Seeta. "Boethian Abolition" PMLA 137.1 Modern Language Association, January 2022. 144-154.

"Thesis Statements in Literary Analysis Papers" Author unknown. https://resources.finalsite.net/imag...handout__1.pdf

Trudell, Scott A. "Shakespeare's Notation: Writing Sound in Much Ado about Nothing " PMLA 135.2, Modern Language Association, March 2020. 370-377.

Contributors and Attributions

Thesis Examples. Authored by: University of Arlington Texas. License: CC BY-NC

107 Exceptional Hamlet Essay Topics: Questions & Prompts

Every academic paper starts with a captivating idea, and Hamlet research paper or essay shouldn’t be an exception. In the list below, our team has collected unique and inspiring topics for you. You can use them in your writing or develop your own idea according to the format.

Here are some Hamlet essay topics for you:

• Elaborate on the weather in Denmark. How does it reflect the state of affairs and mood in the country? How does it change throughout the play? Start this Hamlet essay by describing the foggy weather in the first scene and gradually provide more examples as evidence.
• Think of irony in Hamlet . How and for what purposes did Shakespeare incorporate it in the play? Provide examples of the lines and situations that can be considered ironic.
• Reflect on Gertrude’s marriages. Why did she marry Claudius? Did they have an affair when King Hamlet was alive? Or did she agree on the new marriage to help the country?
• Compare and contrast Claudius and King Oedipus from Oedipus the King . What character traits do they share? Who is a better politician? Why?
• Explain whether you think Gertrude is on Hamlet’s or Claudius’ side. Did she switch the side by the end of the play? Analyze her conversation with Hamlet and how she later told Claudius that Hamlet was mad. Why did she drink the suspicious (poisoned) wine?
• Analyze the fact that dying Hamlet asked Horatio to spread his story. Will Horatio retell it without changes? Can he tell the truth about what happened at all?
• Examine an approach to violence in Hamlet . Are violence and aggression excessive in the play? How do characters react to it? Comment on how violence is mainly linked to vengeance.
• Consider the Ghost of Old Hamlet and all his appearances in Hamlet . Who saw him? Who do you think can see him? In your Hamlet essay, analyze every scene where he occurred and elaborate on why he did so.
• Talk about the relationship between Gertrude and Old Hamlet. Analyze what we know about their marriage and her reaction to her husband’s death. Did Gertrude see the Ghost in the scene with Hamlet? Could she have pretended that she didn’t?
• If Hamlet had survived, would he have been a good king? Analyze his strengths and weaknesses concerning the matter. Did he prove to be a good leader or politician in the play? Consider that Fortinbras explicitly stated that Hamlet could’ve become a good ruler.
• Elaborate on the way Hamlet killed Polonius in act 3, scene 4. Why did Hamlet act so quickly and calmly when he hesitates to kill his enemy, Claudius? Was this murder intentional? Did Hamlet regret it or freak out about it?
• Explore Hamlet’s mental state. How did grief affect him? His depression and suicidal tendencies are apparent. How do they change throughout the play?
• Compare Hamlet’s attitude towards the only women in the play, Ophelia and Gertrude. Why does he shame both of them for their sexual relationships? Examine his dialogues with his mother and his (ex)girlfriend, where he expresses cruelty. Elaborate on how his mother’s remarriage affected his relationships with the women.
• Examine the madness that Hamlet may or may not obtain. Thanks to his dialogue with Horatio, we know that he fakes his insanity. But could it have changed by the end of the play? What could’ve caused it? Analyze the evidence of his abnormal behavior and whether you can consider it natural, not acted.
• Analyze how Hamlet reflects on suicide. Provide examples from the soliloquies where Hamlet presumably tells the truth about his feelings. He considers suicide as an option, way out of the situation. Why doesn’t he commit it? Or was his death close to suicide?
• Consider whether the Ghost exists or not. A few people have seen him, but may it have been a case of mass hysteria? Hamlet may have gone mad over the death of his father and his mother’s remarriage. What if he imagined his dialogues with deceased King Hamlet? Provide evidence for that opinion or refute it.
• Elaborate on Hamlet’s trust issues. He suspects everyone from the start except for one person. Why does Hamlet trust Horatio? Analyze how the prince never lies during their conversations, even when the truth is a little insane. Why does Horatio believe everything he says?
• Examine friendship in Hamlet . Most of the relationships in the play are based on manipulation and benefit. Who can you see as friends in Hamlet ? Reflect on whether Hamlet values his friendship with Horatio. What can you say about Hamlet’s friends from childhood?
• Analyze the literary period during which Shakespeare came up with Hamlet . What features of the Elizabethan era does he illustrate in the play? Examplify various scenes and dialogues to prove your point.
• Consider prominent theatrical productions of Hamlet . How did they change over the centuries? What does modern theatre do that the Medieval one could not? Did theatrical performances evolve?
• Compare and contrast the original play and Lion King by Disney corporation. What are the key differences that were made in the cartoon? Why did Disney decide to come up with them? Analyze which version do you like more and why.
• Comment on the theme of death and mortality What events and objects made Hamlet obsessed with death? Elaborate on the role that religion plays in his considerations concerning the matter.
• Examine Claudius’ soliloquy . What’s its role in the play? What’s the crucial idea of his speech? Elaborate on the reasons why Claudius, the villain, has a soliloquy in Hamlet .
• Analyze all the symbols of death in the play What symbols from Hamlet refer to mortality? Speculate whether you can call fences, poison, unweeded gardens, flowers, and so on a symbol of death.
• Explore the conflicts of Hamlet . The play combines inner and outer conflicts, which are addressed mainly through Hamlet’s monologues. List the fundamental oppositions and lines that exemplify them.
• Reflect on Hamlet’s relationship with Gertrude Why is he upset with her? How does it affect his actions and opinion about all the women? Does Gertrude love her son?
• Analyze the setting of the play. Does the fact that Hamlet takes place in Denmark play any crucial role? Speculate why Shakespeare may have decided upon this country and support your opinion with evidence.
• Elaborate on Hamlet’s relationship with Ophelia. Does the prince consider her significant? Does he care about her? Compare how he treated Ophelia before and after her death.
• Comment on Hamlet’s religious beliefs Does religion have an impact on the prince’s decisions? Why is Hamlet considered a protestant? Prove your point by providing evidence from the play.
• Reflect on the theme of revenge Why does everyone value revenge in the play? Why do people passionately seek it in the society presented in Hamlet ? Elaborate on what impact it has on the characters’ motivations and decisions.
• Consider the language of Hamlet . Explain that Shakespeare’s play is well-known for its rich language and broad vocabulary. He composed a few characters who pay close attention to the words they say and hear. Why is language crucial for Hamlet?
• Examine Fortinbras. Who is he? Why is he a character foil for Hamlet? Analyze why he succeeded in everything he did and even became the king of Denmark.
• Analyze imagery and descriptions in the play. How does Shakespeare enhance each scene by alternating descriptions of the weather and nature? Provide examples of prominent images presented in the play and elaborate on their purpose.
• Compare Hamlet to Oedipus Rex . What do the characters of the famous plays have in common? Do they have a similar goal? Elaborate on how their character traits affect the endings of the respective plays.
• Explore the deception in Hamlet . What things and events are built on lies? Why and how do characters try to manipulate each other throughout the whole play?
• Elaborate on the imagery of rot and diseases How do unweeded gardens reflect the state of affairs? Explain how ill atmosphere foreshadows and represents problems caused by the actions of the royal court’s members.
• Comment on the role of Rosencrantz and Guildenstern in the play. Speculate whether they are simply comic relief characters or they have another purpose in Hamlet . Why did Shakespeare decide that he needed such characters in the play?
• Analyze Gertrude’s attitude towards Ophelia. Elaborate on the scenes where Gertrude communicates with Ophelia and mentions her. What does the queen think of her and her relationships with Hamlet? How does Gertrude comments on Ophelia’s death?
• Compare Hamlet’s and Horatio’s character traits. In what ways are they different and similar? What Horatio’s qualities Hamlet explicitly admires and lacks?
• Speculate on Shakespeare’s opinion about theatre. Examine a few references to the English stage of the Elizabethan era that the author put in the play in Act 2. How does he comment on the theatre of his own time through Hamlet’s lines of dialogue?
• Explore the relationships between Hamlet and Claudius. Why does Hamlet suspect his uncle from the start? Does Claudius think of Hamlet as dangerous? When does he become highly aware of his nephew’s capabilities?
• Consider the death of Rosencrantz and Guildenstern. When and how did they die? Why does a reader find out about it after the deaths of the royal family members? Speculate on the reasons why it was structured to be so anticlimactic. Why did W. S. Gilbert write a short comic play about them?
• Analyze the reception and comprehension of Hamlet . Why is it one of the most popular Shakespeare’s plays even today? Is it still relevant? Explain why nowadays our understanding of the play differs from the one from the writer’s era.
• Comment on the appearance vs. reality in Hamlet . Why do so many characters pretend to have another personality or obtain character traits that they don’t have? Why does Hamlet see through the pretense?
• Elaborate on Ophelia’s death . Was it a suicide, how gravediggers presumed, or an accident, as Gertrude claimed? Explain in your Hamlet essay the reasons for Ophelia to commit suicide. Did she have a choice?
• Reflect on political corruption. What characters represent corrupted politicians in the play? How do they manipulate public opinion?
• Analyze one movie adaptation of Hamlet . Write about the changes that were made in the film version. What differences from the play did you like? What changes were you surprised to see?
• Examine the political situation in the play. What war did Fortinbras lead? Why? How does it affect Denmark during the play and after it’s the last scene?
• Explore the role of women in Hamlet . The play presents the social norms that were relevant for people of this period. What parts of women’s lives did men explicitly control? Provide examples from the play.
• Compare Laertes and Hamlet . Laertes is known as Hamlet’s character foil. Examine similarities and differences in their character traits.
• Consider the doubt and indecisiveness of Hamlet . Why are such traits uncommon for the genre? What do they say about the prince as a character? Explain how these qualities affect the plot and Hamlet’s thought process.
• Elaborate on the symbolism in the play. Finding symbolism can be challenging as the interpretations differ. Some individuals consider particular objects as symbols, while others don’t. What do you view as examples of symbolism in the play? Why? What role do they play in understanding the story?
• Reflect on the Oedipus complex. Comment on whether Hamlet has it or not. Provide evidence from the play, especially from the scene with Gertrude, to prove your point. How can this idea be approached on the stage? Find examples of theatrical productions where Hamlet and Gertrude had a conversation in her closet.
• Compare and contrast Claudius and Polonius. What character traits do they have in common? Explain how they are not who they are trying to appear. Who is better at lying and manipulating others? Why?
• Examine how revenge affected characters in Hamlet . Three characters wish to avenge their fathers: Laertes, Hamlet, and Fortinbras. How does revenge affect their lives? Who succeeded in getting their revenge?
• Consider the family theme. What role does family play for various characters? Elaborate on how blood ties motivate multiple characters.
• Reflect on Yorick’s role in the play. Who was Yorick? What impact did he have on Hamlet during the prince’s childhood and present time? Elaborate on how Yorick led Hamlet to his last soliloquy.
• Analyze the religious conflict of the play. How did events from Shakespeare’s time affect the theme of religion? Explain how Hamlet presents the conflict between Protestantism and Catholicism through the prince and King Hamlet.
• Comment on the theme of madness. Who went mad in the play? Compare Hamlet’s and Laerte’s insanity to Ophelia’s one. How was her madness different from the other examples?
• Explore Polonius’ character. What was Polonius’ motivation throughout the play? Whom did he manipulate, and why? Explain why he tried to appear a good person and a parent.
• Elaborate on the reasons why Hamlet is the protagonist of the story. What makes him a tragic hero? Why is he considered a good person after every crime he committed and every cruel thing he said to his mother and Ophelia?
• Think of the conflict of good and evil. What imagery is associated with each of them in the play? Does evil spread like a disease?
• Explain how Hamlet differs from other plays of Shakespeare’s time . What new features and connections within the story did the writer present? How did Shakespeare make characters contribute to the plot?
• Analyze the “To be or not to be” speech. It’s one of the most famous lines in history, but what meaning is behind it? Elaborate on the circumstances around the monologue and whether Hamlet is partially lying.
• Reflect on performances of Hamlet. Choose a couple of performances on the stage or in a movie and compare them. Whose version of the character you prefer and why?
• Elaborate on the movie Ophelia (2018). What’s intriguing about a story told from Ophelia’s point of view? Exemplify the differences from the original play and how the change of perspective affected the story.
• Explore Hamlet’s obsession with inaction and action . What stops Hamlet from acting decisively? Exemplify situations from the play when characters act quickly, without any doubt compared to Hamlet’s almost constant hesitance.
• Compare Hamlet and King Lear. What similar character traits have an impact on the respective plays? Can we call the prince and the king victims of the social norms?
• Think of how the play’s themes are relevant nowadays . Which of them remained timeless, relevant for any period? Are any themes become obsolete and useless in today’s world? Elaborate on each theme separately with examples from the play.
• Reflect on Hamlet’s mood swings . Provide examples of how the prince’s mood affects his actions and speech. What can and did influence his mood?
• Examine Polonius’ death. Why was he hiding behind the tapestry during the scene? Was it his idea? How did he die? Elaborate on irony in the way he was murdered. How did it affect the plot?
• Analyze Hamlet as an actor. Is he good at playing a character? Elaborate on his dialogue with the First Player and his opinion about acting.
• Consider the motif of betrayal. Who betrays Hamlet? Explain how the attitude towards this act varies from character to character. How does Hamlet’s betrayal affect Ophelia?
• Explore the connection between honor and revenge . Explain why it’s the principal motivation for such characters as Hamlet, Laertes, and Fortinbras. Comment on scenes where it reveals itself through actions and conversations.
• Elaborate on Hamlet’s death. Was it the only logical conclusion for Hamlet’s psychological and emotional development? Was he satisfied?
• Comment on the genre of the play . Can we call it revenge tragedy without any reservation? How did Shakespeare ruin the genre by Hamlet ?
• Compare Hamlet and the Ghost. What can you say about the language that the characters use? List the lines that state that Hamlet and the Ghost look similar.
• Think of the father-son relationships in the play . Analyze the relationships between Hamlet and King Hamlet and compare them to those of Laertes and Polonius. Which features are common for both of them?
• Elaborate on the name Hamlet . What does it mean? What’s its country of origin? Add a sentence or two about Amleth.
• Consider allusions to historical figures in the play. Why does Hamlet mention Alexander the Great and Julius Caesar in act 5? Why did Shakespeare include allusions at all?
• Examine soliloquies in Hamlet . What’s their role in the play? Provide lines from soliloquies that let us dive into the thoughts and intentions of a character. Does anyone lie during such a speech?
• Compare the two film adaptations of the play. Elaborate on different film techniques and alterations of the plot. Concentrate on one scene in particular and explain what changes were made.
• Explore Hamlet’s nihilism. When does Hamlet start to display features that are inherent to this school of thought? Explain how the prince came to nihilism, what pushed him to this.
• List the most painful moments of Hamlet’s life and elaborate on them. Include events that happened before the first act and within the play. Prove your point with evidence from the prince’s lines.
• Think of what poison represents. What does it refer to? Who dies from poison in the play?
• Consider the play from the public’s perspective. How does Claudius manipulate the public’s opinion? What do people think of the new king and Hamlet?
• Compare and contrast Gertrude and Ophelia. What traits do they have in common? Explain differences and similarities in their affection towards Hamlet. Who controls these women?
• Elaborate on the villain of the story. Who can be considered an antagonist of the play? Why do some people regard Hamlet as a villain?
• Imagine how Hamlet could’ve reacted to modern society. What aspects of the future would he appreciate? What social norms would shock him? Would he be more comfortable in our period?
• Evaluate all the relationships in Hamlet’s life. What’s the most significant one? Why? What relationships changed throughout the play?
• Comment on contradictions in the play. What contradictions does Hamlet face? Is he himself a contradictory character? Provide examples of Hamlet’s contradictions
• Explore the fencing in the last scene of Hamlet . What does it contribute to the story? Does it affect the end of the duel?
• Elaborate on the gravediggers. How did their job affect their attitude towards death? Comment on their humor and whether it’s a coping mechanism. Does it illustrate their perception of life?
• Compare Claudius and King Hamlet. What qualities differentiate them? What do they have in common? Speculate on who was a more talented politician and a better leader.
• Think of comic relief in Hamlet . Comment on how Polonius, Osric, gravediggers, and Hamlet’s dialogues with them enlighten the mood. Was the humor appropriate for revenge tragedies before Shakespeare?
• Consider foreshadowing in the play. What events are foreshadowed early on in Hamlet ? Present lines and features from act 1 that indicate the tragic end.
• Elaborate on justice and truth . How does Shakespeare show attitude towards justice common for this time? Does Hamlet approach fairness differently from the others? Elaborate on how Hamlet both pursue the truth and ignores it.
• Examine the “Get thee to a nunnery, go.” sentence. Why did Hamlet say so to Ophelia? What made the prince think that she was vicious?
• Comment on Hamlet’s cruelty. When does Hamlet become cruel towards other characters? Is he cruel towards himself? Analyze situations where Hamlet talks viciously and whether it’s intentional or not.
• Explore Hamlet’s character . Why is the prince such an unusual figure for revenge tragedies? Explain how Shakespeare created the hero who struggles to act with firmness and constantly reflects on his actions and decisions. Is he easy to understand and relate to?
• Analyze the play within the play. What’s its role in plot development? Why did Hamlet let the play take place? Explain what scene he added and why. Elaborate on the title The Mousetrap .
• Examine the consequences of revenge . What conclusion does Shakespeare provide for the theme of revenge? Explain how does it influence the deaths of Hamlet and Laertes, the absolute victory of Fortinbras.
• Reflect on Hamlet’s hesitance to kill Claudius . Why does he consider murdering his uncle in act 1? What stops him? Illustrate all the occasions when Hamlet could’ve killed Claudius but didn’t, and one time he did. What pushed him in the end?
• Compare Claudius to Laertes. Are there any similarities? How do these characters form an alliance by the end of the play?
• Comment on Gertrude’s guiltiness . Hamlet considers his mother guilty of too many crimes, but was she guilty of anything? Speculate whether she participated in King Hamlet’s murder or had an affair with Claudius before her husband’s death. Was she loyal to Hamlet?
• Elaborate on the “Something is rotten in the state of Denmark …“ line. Who says it? Explain the context of the line, its meaning, and what it foreshadows.
• Examine Polonius’ advice to Laertes. Provide its meaning and reflect on Polonius’ intentions. Why is this speech ironic?

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Jeffrey R. Wilson

Essays on hamlet.

Written as the author taught Hamlet every semester for a decade, these lightning essays ask big conceptual questions about the play with the urgency of a Shakespeare lover, and answer them with the rigor of a Shakespeare scholar. In doing so, Hamlet becomes a lens for life today, generating insights on everything from xenophobia, American fraternities, and religious fundamentalism to structural misogyny, suicide contagion, and toxic love.

Prioritizing close reading over historical context, these explorations are highly textual and highly theoretical, often philosophical, ethical, social, and political. Readers see King Hamlet as a pre-modern villain, King Claudius as a modern villain, and Prince Hamlet as a post-modern villain. Hamlet’s feigned madness becomes a window into failed insanity defenses in legal trials. He knows he’s being watched in “To be or not to be”: the soliloquy is a satire of philosophy. Horatio emerges as Shakespeare’s authorial avatar for meta-theatrical commentary, Fortinbras as the hero of the play. Fate becomes a viable concept for modern life, and honor a source of tragedy. The metaphor of music in the play makes Ophelia Hamlet’s instrument. Shakespeare, like the modern corporation, stands against sexism, yet perpetuates it unknowingly. We hear his thoughts on single parenting, sending children off to college, and the working class, plus his advice on acting and writing, and his claims to be the next Homer or Virgil. In the context of four centuries of Hamlet hate, we hear how the text draws audiences in, how it became so famous, and why it continues to captivate audiences.

At a time when the humanities are said to be in crisis, these essays are concrete examples of the mind-altering power of literature and literary studies, unravelling the ongoing implications of the English language’s most significant artistic object of the past millennium.

Publications

Why is Hamlet the most famous English artwork of the past millennium? Is it a sexist text? Why does Hamlet speak in prose? Why must he die? Does Hamlet depict revenge, or justice? How did the death of Shakespeare’s son, Hamnet, transform into a story about a son dealing with the death of a father? Did Shakespeare know Aristotle’s theory of tragedy? How did our literary icon, Shakespeare, see his literary icons, Homer and Virgil? Why is there so much comedy in Shakespeare’s greatest tragedy? Why is love a force of evil in the play? Did Shakespeare believe there’s a divinity that shapes our ends? How did he define virtue? What did he think about psychology? politics? philosophy? What was Shakespeare’s image of himself as an author? What can he, arguably the greatest writer of all time, teach us about our own writing? What was his theory of literature? Why do people like Hamlet ? How do the Hamlet haters of today compare to those of yesteryears? Is it dangerous for our children to read a play that’s all about suicide? 

These are some of the questions asked in this book, a collection of essays on Shakespeare’s Hamlet stemming from my time teaching the play every semester in my Why Shakespeare? course at Harvard University. During this time, I saw a series of bright young minds from wildly diverse backgrounds find their footing in Hamlet, and it taught me a lot about how Shakespeare’s tragedy works, and why it remains with us in the modern world. Beyond ghosts, revenge, and tragedy, Hamlet is a play about being in college, being in love, gender, misogyny, friendship, theater, philosophy, theology, injustice, loss, comedy, depression, death, self-doubt, mental illness, white privilege, overbearing parents, existential angst, international politics, the classics, the afterlife, and the meaning of it all. 

These essays grow from the central paradox of the play: it helps us understand the world we live in, yet we don't really understand the text itself very well. For all the attention given to Hamlet , there’s no consensus on the big questions—how it works, why it grips people so fiercely, what it’s about. These essays pose first-order questions about what happens in Hamlet and why, mobilizing answers for reflections on life, making the essays both highly textual and highly theoretical. 

Each semester that I taught the play, I would write a new essay about Hamlet . They were meant to be models for students, the sort of essay that undergrads read and write – more rigorous than the puff pieces in the popular press, but riskier than the scholarship in most academic journals. While I later added scholarly outerwear, these pieces all began just like the essays I was assigning to students – as short close readings with a reader and a text and a desire to determine meaning when faced with a puzzling question or problem. 

The turn from text to context in recent scholarly books about Hamlet is quizzical since we still don’t have a strong sense of, to quote the title of John Dover Wilson’s 1935 book, What Happens in Hamlet. Is the ghost real? Is Hamlet mad, or just faking? Why does he delay? These are the kinds of questions students love to ask, but they haven’t been – can’t be – answered by reading the play in the context of its sources (recently addressed in Laurie Johnson’s The Tain of Hamlet [2013]), its multiple texts (analyzed by Paul Menzer in The Hamlets [2008] and Zachary Lesser in Hamlet after Q1 [2015]), the Protestant reformation (the focus of Stephen Greenblatt’s Hamlet in Purgatory [2001] and John E. Curran, Jr.’s Hamlet, Protestantism, and the Mourning of Contingency [2006]), Renaissance humanism (see Rhodri Lewis, Hamlet and the Vision of Darkness [2017]), Elizabethan political theory (see Margreta de Grazia, Hamlet without Hamlet [2007]), the play’s reception history (see David Bevington, Murder Most Foul: Hamlet through the Ages [2011]), its appropriation by modern philosophers (covered in Simon Critchley and Jamieson Webster’s The Hamlet Doctrine [2013] and Andrew Cutrofello’s All for Nothing: Hamlet’s Negativity [2014]), or its recent global travels (addressed, for example, in Margaret Latvian’s Hamlet’s Arab Journey [2011] and Dominic Dromgoole’s Hamlet Globe to Globe [2017]). 

Considering the context and afterlives of Hamlet is a worthy pursuit. I certainly consulted the above books for my essays, yet the confidence that comes from introducing context obscures the sharp panic we feel when confronting Shakespeare’s text itself. Even as the excellent recent book from Sonya Freeman Loftis, Allison Kellar, and Lisa Ulevich announces Hamlet has entered “an age of textual exhaustion,” there’s an odd tendency to avoid the text of Hamlet —to grasp for something more firm—when writing about it. There is a need to return to the text in a more immediate way to understand how Hamlet operates as a literary work, and how it can help us understand the world in which we live. 

That latter goal, yes, clings nostalgically to the notion that literature can help us understand life. Questions about life send us to literature in search of answers. Those of us who love literature learn to ask and answer questions about it as we become professional literary scholars. But often our answers to the questions scholars ask of literature do not connect back up with the questions about life that sent us to literature in the first place—which are often philosophical, ethical, social, and political. Those first-order questions are diluted and avoided in the minutia of much scholarship, left unanswered. Thus, my goal was to pose questions about Hamlet with the urgency of a Shakespeare lover and to answer them with the rigor of a Shakespeare scholar. 

In doing so, these essays challenge the conventional relationship between literature and theory. They pursue a kind of criticism where literature is not merely the recipient of philosophical ideas in the service of exegesis. Instead, the creative risks of literature provide exemplars to be theorized outward to help us understand on-going issues in life today. Beyond an occasion for the demonstration of existing theory, literature is a source for the creation of new theory.

Chapter One How Hamlet Works

Whether you love or hate Hamlet , you can acknowledge its massive popularity. So how does Hamlet work? How does it create audience enjoyment? Why is it so appealing, and to whom? Of all the available options, why Hamlet ? This chapter entertains three possible explanations for why the play is so popular in the modern world: the literary answer (as the English language’s best artwork about death—one of the very few universal human experiences in a modern world increasingly marked by cultural differences— Hamlet is timeless); the theatrical answer (with its mixture of tragedy and comedy, the role of Hamlet requires the best actor of each age, and the play’s popularity derives from the celebrity of its stars); and the philosophical answer (the play invites, encourages, facilitates, and sustains philosophical introspection and conversation from people who do not usually do such things, who find themselves doing those things with Hamlet , who sometimes feel embarrassed about doing those things, but who ultimately find the experience of having done them rewarding).

Chapter Two “It Started Like a Guilty Thing”: The Beginning of Hamlet and the Beginning of Modern Politics

King Hamlet is a tyrant and King Claudius a traitor but, because Shakespeare asked us to experience the events in Hamlet from the perspective of the young Prince Hamlet, we are much more inclined to detect and detest King Claudius’s political failings than King Hamlet’s. If so, then Shakespeare’s play Hamlet , so often seen as the birth of modern psychology, might also tell us a little bit about the beginnings of modern politics as well.

Chapter Three Horatio as Author: Storytelling and Stoic Tragedy

This chapter addresses Horatio’s emotionlessness in light of his role as a narrator, using this discussion to think about Shakespeare’s motives for writing tragedy in the wake of his son’s death. By rationalizing pain and suffering as tragedy, both Horatio and Shakespeare were able to avoid the self-destruction entailed in Hamlet’s emotional response to life’s hardships and injustices. Thus, the stoic Horatio, rather than the passionate Hamlet who repeatedly interrupts ‘The Mousetrap’, is the best authorial avatar for a Shakespeare who strategically wrote himself and his own voice out of his works. This argument then expands into a theory of ‘authorial catharsis’ and the suggestion that we can conceive of Shakespeare as a ‘poet of reason’ in contrast to a ‘poet of emotion’.

Chapter Four “To thine own self be true”: What Shakespeare Says about Sending Our Children Off to College

What does “To thine own self be true” actually mean? Be yourself? Don’t change who you are? Follow your own convictions? Don’t lie to yourself? This chapter argues that, if we understand meaning as intent, then “To thine own self be true” means, paradoxically, that “the self” does not exist. Or, more accurately, Shakespeare’s Hamlet implies that “the self” exists only as a rhetorical, philosophical, and psychological construct that we use to make sense of our experiences and actions in the world, not as anything real. If this is so, then this passage may offer us a way of thinking about Shakespeare as not just a playwright but also a moral philosopher, one who did his ethics in drama.

Chapter Five In Defense of Polonius

Your wife dies. You raise two children by yourself. You build a great career to provide for your family. You send your son off to college in another country, though you know he’s not ready. Now the prince wants to marry your daughter—that’s not easy to navigate. Then—get this—while you’re trying to save the queen’s life, the prince murders you. Your death destroys your kids. They die tragically. And what do you get for your efforts? Centuries of Shakespeare scholars dumping on you. If we see Polonius not through the eyes of his enemy, Prince Hamlet—the point of view Shakespeare’s play asks audiences to adopt—but in analogy to the common challenges of twenty-first-century parenting, Polonius is a single father struggling with work-life balance who sadly choses his career over his daughter’s well-being.

Chapter Six Sigma Alpha Elsinore: The Culture of Drunkenness in Shakespeare’s Hamlet

Claudius likes to party—a bit too much. He frequently binge drinks, is arguably an alcoholic, but not an aberration. Hamlet says Denmark is internationally known for heavy drinking. That’s what Shakespeare would have heard in the sixteenth century. By the seventeenth, English writers feared Denmark had taught their nation its drinking habits. Synthesizing criticism on alcoholism as an individual problem in Shakespeare’s texts and times with scholarship on national drinking habits in the early-modern age, this essay asks what the tragedy of alcoholism looks like when located not on the level of the individual, but on the level of a culture, as Shakespeare depicted in Hamlet. One window into these early-modern cultures of drunkenness is sociological studies of American college fraternities, especially the social-learning theories that explain how one person—one culture—teaches another its habits. For Claudius’s alcoholism is both culturally learned and culturally significant. And, as in fraternities, alcoholism in Hamlet is bound up with wealth, privilege, toxic masculinity, and tragedy. Thus, alcohol imagistically reappears in the vial of “cursed hebona,” Ophelia’s liquid death, and the poisoned cup in the final scene—moments that stand out in recent performances and adaptations with alcoholic Claudiuses and Gertrudes.

Chapter Seven Tragic Foundationalism

This chapter puts the modern philosopher Alain Badiou’s theory of foundationalism into dialogue with the early-modern playwright William Shakespeare’s play Hamlet . Doing so allows us to identify a new candidate for Hamlet’s traditionally hard-to-define hamartia – i.e., his “tragic mistake” – but it also allows us to consider the possibility of foundationalism as hamartia. Tragic foundationalism is the notion that fidelity to a single and substantive truth at the expense of an openness to evidence, reason, and change is an acute mistake which can lead to miscalculations of fact and virtue that create conflict and can end up in catastrophic destruction and the downfall of otherwise strong and noble people.

Chapter Eight “As a stranger give it welcome”: Shakespeare’s Advice for First-Year College Students

Encountering a new idea can be like meeting a strange person for the first time. Similarly, we dismiss new ideas before we get to know them. There is an answer to the problem of the human antipathy to strangeness in a somewhat strange place: a single line usually overlooked in William Shakespeare’s play Hamlet . If the ghost is “wondrous strange,” Hamlet says, invoking the ancient ethics of hospitality, “Therefore as a stranger give it welcome.” In this word, strange, and the social conventions attached to it, is both the instinctual, animalistic fear and aggression toward what is new and different (the problem) and a cultivated, humane response in hospitality and curiosity (the solution). Intellectual xenia is the answer to intellectual xenophobia.

Chapter Nine Parallels in Hamlet

Hamlet is more parallely than other texts. Fortinbras, Hamlet, and Laertes have their fathers murdered, then seek revenge. Brothers King Hamlet and King Claudius mirror brothers Old Norway and Old Fortinbras. Hamlet and Ophelia both lose their fathers, go mad, but there’s a method in their madness, and become suicidal. King Hamlet and Polonius are both domineering fathers. Hamlet and Polonius are both scholars, actors, verbose, pedantic, detectives using indirection, spying upon others, “by indirections find directions out." King Hamlet and King Claudius are both kings who are killed. Claudius using Rosencrantz and Guildenstern to spy on Hamlet mirrors Polonius using Reynaldo to spy on Laertes. Reynaldo and Hamlet both pretend to be something other than what they are in order to spy on and detect foes. Young Fortinbras and Prince Hamlet both have their forward momentum “arrest[ed].” Pyrrhus and Hamlet are son seeking revenge but paused a “neutral to his will.” The main plot of Hamlet reappears in the play-within-the-play. The Act I duel between King Hamlet and Old Fortinbras echoes in the Act V duel between Hamlet and Laertes. Claudius and Hamlet are both king killers. Sheesh—why are there so many dang parallels in Hamlet ? Is there some detectable reason why the story of Hamlet would call for the literary device of parallelism?

Chapter Ten Rosencrantz and Guildenstern: Why Hamlet Has Two Childhood Friends, Not Just One

Why have two of Hamlet’s childhood friends rather than just one? Do Rosencrantz and Guildenstern have individuated personalities? First of all, by increasing the number of friends who visit Hamlet, Shakespeare creates an atmosphere of being outnumbered, of multiple enemies encroaching upon Hamlet, of Hamlet feeling that the world is against him. Second, Rosencrantz and Guildenstern are not interchangeable, as commonly thought. Shakespeare gave each an individuated personality. Guildenstern is friendlier with Hamlet, and their friendship collapses, while Rosencrantz is more distant and devious—a frenemy.

Chapter Eleven Shakespeare on the Classics, Shakespeare as a Classic: A Reading of Aeneas’s Tale to Dido

Of all the stories Shakespeare might have chosen, why have Hamlet ask the players to recite Aeneas’ tale to Dido of Pyrrhus’s slaughter of Priam? In this story, which comes not from Homer’s Iliad but from Virgil’s Aeneid and had already been adapted for the Elizabethan stage in Christopher Marlowe’s The Tragedy of Dido, Pyrrhus – more commonly known as Neoptolemus, the son of the famous Greek warrior Achilles – savagely slays Priam, the king of the Trojans and the father of Paris, who killed Pyrrhus’s father, Achilles, who killed Paris’s brother, Hector, who killed Achilles’s comrade, Patroclus. Clearly, the theme of revenge at work in this story would have appealed to Shakespeare as he was writing what would become the greatest revenge tragedy of all time. Moreover, Aeneas’s tale to Dido supplied Shakespeare with all of the connections he sought to make at this crucial point in his play and his career – connections between himself and Marlowe, between the start of Hamlet and the end, between Prince Hamlet and King Claudius, between epic poetry and tragic drama, and between the classical literature Shakespeare was still reading hundreds of years later and his own potential as a classic who might (and would) be read hundreds of years into the future.

Chapter Twelve How Theater Works, according to Hamlet

According to Hamlet, people who are guilty of a crime will, when seeing that crime represented on stage, “proclaim [their] malefactions”—but that simply isn’t how theater works. Guilty people sit though shows that depict their crimes all the time without being prompted to public confession. Why did Shakespeare—a remarkably observant student of theater—write this demonstrably false theory of drama into his protagonist? And why did Shakespeare then write the plot of the play to affirm that obviously inaccurate vision of theater? For Claudius is indeed stirred to confession by the play-within-the-play. Perhaps Hamlet’s theory of people proclaiming malefactions upon seeing their crimes represented onstage is not as outlandish as it first appears. Perhaps four centuries of obsession with Hamlet is the English-speaking world proclaiming its malefactions upon seeing them represented dramatically.

Chapter Thirteen “To be, or not to be”: Shakespeare Against Philosophy

This chapter hazards a new reading of the most famous passage in Western literature: “To be, or not to be” from William Shakespeare’s Hamlet . With this line, Hamlet poses his personal struggle, a question of life and death, as a metaphysical problem, as a question of existence and nothingness. However, “To be, or not to be” is not what it seems to be. It seems to be a representation of tragic angst, yet a consideration of the context of the speech reveals that “To be, or not to be” is actually a satire of philosophy and Shakespeare’s representation of the theatricality of everyday life. In this chapter, a close reading of the context and meaning of this passage leads into an attempt to formulate a Shakespearean image of philosophy.

Chapter Fourteen Contagious Suicide in and Around Hamlet

As in society today, suicide is contagious in Hamlet , at least in the example of Ophelia, the only death by suicide in the play, because she only becomes suicidal after hearing Hamlet talk about his own suicidal thoughts in “To be, or not to be.” Just as there are media guidelines for reporting on suicide, there are better and worse ways of handling Hamlet . Careful suicide coverage can change public misperceptions and reduce suicide contagion. Is the same true for careful literary criticism and classroom discussion of suicide texts? How can teachers and literary critics reduce suicide contagion and increase help-seeking behavior?

Chapter Fifteen Is Hamlet a Sexist Text? Overt Misogyny vs. Unconscious Bias

Students and fans of Shakespeare’s Hamlet persistently ask a question scholars and critics of the play have not yet definitively answered: is it a sexist text? The author of this text has been described as everything from a male chauvinist pig to a trailblazing proto-feminist, but recent work on the science behind discrimination and prejudice offers a new, better vocabulary in the notion of unconscious bias. More pervasive and slippery than explicit bigotry, unconscious bias involves the subtle, often unintentional words and actions which indicate the presence of biases we may not be aware of, ones we may even fight against. The Shakespeare who wrote Hamlet exhibited an unconscious bias against women, I argue, even as he sought to critique the mistreatment of women in a patriarchal society. The evidence for this unconscious bias is not to be found in the misogynistic statements made by the characters in the play. It exists, instead, in the demonstrable preference Shakespeare showed for men over women when deciding where to deploy his literary talents. Thus, Shakespeare's Hamlet is a powerful literary example – one which speaks to, say, the modern corporation – showing that deliberate efforts for egalitarianism do not insulate one from the effects of structural inequalities that both stem from and create unconscious bias.

Chapter Sixteen Style and Purpose in Acting and Writing

Purpose and style are connected in academic writing. To answer the question of style ( How should we write academic papers? ) we must first answer the question of purpose ( Why do we write academic papers? ). We can answer these questions, I suggest, by turning to an unexpected style guide that’s more than 400 years old: the famous passage on “the purpose of playing” in William Shakespeare’s Hamlet . In both acting and writing, a high style often accompanies an expressive purpose attempting to impress an elite audience yet actually alienating intellectual people, while a low style and mimetic purpose effectively engage an intellectual audience.

Chapter Seventeen 13 Ways of Looking at a Ghost

Why doesn’t Gertrude see the Ghost of King Hamlet in Act III, even though Horatio, Bernardo, Francisco, Marcellus, and Prince Hamlet all saw it in Act I? It’s a bit embarrassing that Shakespeare scholars don’t have a widely agreed-upon consensus that explains this really basic question that puzzles a lot of people who read or see Hamlet .

Chapter Eighteen The Tragedy of Love in Hamlet

The word “love” appears 84 times in Shakespeare’s Hamlet . “Father” only appears 73 times, “play” 60, “think” 55, “mother” 46, “mad” 44, “soul” 40, “God" 39, “death” 38, “life” 34, “nothing” 28, “son” 26, “honor” 21, “spirit” 19, “kill” 18, “revenge” 14, and “action” 12. Love isn’t the first theme that comes to mind when we think of Hamlet , but is surprisingly prominent. But love is tragic in Hamlet . The bloody catastrophe at the end of that play is principally driven not by hatred or a longing for revenge, but by love.

Chapter Nineteen Ophelia’s Songs: Moral Agency, Manipulation, and the Metaphor of Music in Hamlet

This chapter reads Ophelia’s songs in Act IV of Shakespeare’s Hamlet in the context of the meaning of music established elsewhere in the play. While the songs are usually seen as a marker of Ophelia’s madness (as a result of the death of her father) or freedom (from the constraints of patriarchy), they come – when read in light of the metaphor of music as manipulation – to symbolize her role as a pawn in Hamlet’s efforts to deceive his family. Thus, music was Shakespeare’s platform for connecting Ophelia’s story to one of the central questions in Hamlet : Do we have control over our own actions (like the musician), or are we controlled by others (like the instrument)?

Chapter Twenty A Quantitative Study of Prose and Verse in Hamlet

Why does Hamlet have so much prose? Did Shakespeare deliberately shift from verse to prose to signal something to his audiences? How would actors have handled the shifts from verse to prose? Would audiences have detected shifts from verse to prose? Is there an overarching principle that governs Shakespeare’s decision to use prose—a coherent principle that says, “If X, then use prose?”

Chapter Twenty-One The Fortunes of Fate in Hamlet : Divine Providence and Social Determinism

In Hamlet , fate is attacked from both sides: “fortune” presents a world of random happenstance, “will” a theory of efficacious human action. On this backdrop, this essay considers—irrespective of what the characters say and believe—what the structure and imagery Shakespeare wrote into Hamlet say about the possibility that some version of fate is at work in the play. I contend the world of Hamlet is governed by neither fate nor fortune, nor even the Christianized version of fate called “providence.” Yet there is a modern, secular, disenchanted form of fate at work in Hamlet—what is sometimes called “social determinism”—which calls into question the freedom of the individual will. As such, Shakespeare’s Hamlet both commented on the transformation of pagan fate into Christian providence that happened in the centuries leading up to the play, and anticipated the further transformation of fate from a theological to a sociological idea, which occurred in the centuries following Hamlet .

Chapter Twenty-Two The Working Class in Hamlet

There’s a lot for working-class folks to hate about Hamlet —not just because it’s old, dusty, difficult to understand, crammed down our throats in school, and filled with frills, tights, and those weird lace neck thingies that are just socially awkward to think about. Peak Renaissance weirdness. Claustrophobicly cloistered inside the castle of Elsinore, quaintly angsty over royal family problems, Hamlet feels like the literary epitome of elitism. “Lawless resolutes” is how the Wittenberg scholar Horatio describes the soldiers who join Fortinbras’s army in exchange “for food.” The Prince Hamlet who has never worked a day in his life denigrates Polonius as a “fishmonger”: quite the insult for a royal advisor to be called a working man. And King Claudius complains of the simplicity of "the distracted multitude.” But, in Hamlet , Shakespeare juxtaposed the nobles’ denigrations of the working class as readily available metaphors for all-things-awful with the rather valuable behavior of working-class characters themselves. When allowed to represent themselves, the working class in Hamlet are characterized as makers of things—of material goods and services like ships, graves, and plays, but also of ethical and political virtues like security, education, justice, and democracy. Meanwhile, Elsinore has a bad case of affluenza, the make-believe disease invented by an American lawyer who argued that his client's social privilege was so great that it created an obliviousness to law. While social elites rot society through the twin corrosives of political corruption and scholarly detachment, the working class keeps the machine running. They build the ships, plays, and graves society needs to function, and monitor the nuts-and-bolts of the ideals—like education and justice—that we aspire to uphold.

Chapter Twenty-Three The Honor Code at Harvard and in Hamlet

Students at Harvard College are asked, when they first join the school and several times during their years there, to affirm their awareness of and commitment to the school’s honor code. But instead of “the foundation of our community” that it is at Harvard, honor is tragic in Hamlet —a source of anxiety, blunder, and catastrophe. As this chapter shows, looking at Hamlet from our place at Harvard can bring us to see what a tangled knot honor can be, and we can start to theorize the difference between heroic and tragic honor.

Chapter Twenty-Four The Meaning of Death in Shakespeare’s Hamlet

By connecting the ways characters live their lives in Hamlet to the ways they die – on-stage or off, poisoned or stabbed, etc. – Shakespeare symbolized hamartia in catastrophe. In advancing this argument, this chapter develops two supporting ideas. First, the dissemination of tragic necessity: Shakespeare distributed the Aristotelian notion of tragic necessity – a causal relationship between a character’s hamartia (fault or error) and the catastrophe at the end of the play – from the protagonist to the other characters, such that, in Hamlet , those who are guilty must die, and those who die are guilty. Second, the spectacularity of death: there exists in Hamlet a positive correlation between the severity of a character’s hamartia (error or flaw) and the “spectacularity” of his or her death – that is, the extent to which it is presented as a visible and visceral spectacle on-stage.

Chapter Twenty-Five Tragic Excess in Hamlet

In Hamlet , Shakespeare paralleled the situations of Hamlet, Laertes, and Fortinbras (the father of each is killed, and each then seeks revenge) to promote the virtue of moderation: Hamlet moves too slowly, Laertes too swiftly – and they both die at the end of the play – but Fortinbras represents a golden mean which marries the slowness of Hamlet with the swiftness of Laertes. As argued in this essay, Shakespeare endorsed the virtue of balance by allowing Fortinbras to be one of the very few survivors of the play. In other words, excess is tragic in Hamlet .

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Home › Drama Criticism › Analysis of William Shakespeare’s Hamlet

Analysis of William Shakespeare’s Hamlet

By NASRULLAH MAMBROL on July 25, 2020 • ( 2 )

With Shakespeare the dramatic resolution conveys us, beyond the man-made sphere of poetic justice, toward the ever-receding horizons of cosmic irony. This is peculiarly the case with Hamlet , for the same reasons that it excites such intensive empathy from actors and readers, critics and writers alike. There may be other Shakespearean characters who are just as memorable, and other plots which are no less impressive; but nowhere else has the outlook of the individual in a dilemma been so profoundly realized; and a dilemma, by definition, is an all but unresolvable choice between evils. Rather than with calculation or casuistry, it should be met with virtue or readiness; sooner or later it will have to be grasped by one or the other of its horns. These, in their broadest terms, have been—for Hamlet, as we interpret him—the problem of what to believe and the problem of how to act.

—Harry Levin, The Question of Hamlet

Hamlet is almost certainly the world’s most famous play, featuring drama’s and literature’s most fascinating and complex character. The many-sided Hamlet—son, lover, intellectual, prince, warrior, and avenger—is the consummate test for each generation’s leading actors, and to be an era’s defining Hamlet is perhaps the greatest accolade one can earn in the theater. The play is no less a proving ground for the critic and scholar, as successive generations have refashioned Hamlet in their own image, while finding in it new resonances and entry points to plumb its depths, perplexities, and possibilities. No other play has been analyzed so extensively, nor has any play had a comparable impact on our culture. The brooding young man in black, skull in hand, has moved out of the theater and into our collective consciousness and cultural myths, joining only a handful of comparable literary archetypes—Oedipus, Faust, and Don Quixote—who embody core aspects of human nature and experience. “It is we ,” the romantic critic William Hazlitt observed, “who are Hamlet.”

Hamlet also commands a crucial, central place in William Shakespeare’s dramatic career. First performed around 1600, the play stands near the midpoint of the playwright’s two-decade career as a culmination and new departure. As the first of his great tragedies, Hamlet signals a decisive shift from the comedies and history plays that launched Shakespeare’s career to the tragedies of his maturity. Although unquestionably linked both to the plays that came before and followed, Hamlet is also markedly exceptional. At nearly 4,000 lines, almost twice the length of Macbeth , Hamlet is Shakespeare’s longest and, arguably, his most ambitious play with an enormous range of characters—from royals to gravediggers—and incidents, including court, bedroom, and graveyard scenes and a play within a play. Hamlet also bristles with a seemingly inexhaustible array of ideas and themes, as well as a radically new strategy for presenting them, most notably, in transforming soliloquies from expositional and motivational asides to the audience into the verbalization of consciousness itself. As Shakespearean scholar Stephen Greenblatt has asserted, “In its moral complexity, psychological depth, and philosophical power, Hamlet seems to mark an epochal shift not only in Shakespeare’s own career but in Western drama; it is as if the play were giving birth to a whole new kind of literary subjectivity.” Hamlet, more than any other play that preceded it, turns its action inward to dramatize an isolated, conflicted psyche struggling to cope with a world that has lost all certainty and consolation. Struggling to reconcile two contradictory identities—the heroic man of action and duty and the Christian man of conscience—Prince Hamlet becomes the modern archetype of the self-divided, alienated individual, desperately searching for self-understanding and meaning. Hamlet must contend with crushing doubt without the support of traditional beliefs that dictate and justify his actions. In describing the arrival of the fragmentation and chaos of the modern world, Victorian poet and critic Matthew Arnold declared that “the calm, cheerfulness, the disinterested objectivity have disappeared, the dialogue of the mind with itself has commenced.” Hamlet anticipates that dialogue by more than two centuries.

Like all of Shakespeare’s plays, Hamlet makes strikingly original uses of borrowed material. The Scandinavian folk tale of Amleth, a prince called upon to avenge his father’s murder by his uncle, was first given literary form by the Danish writer Saxo the Grammarian in his late 12th century Danish History and later adapted in French in François de Belleforest’s Histoires tragiques (1570). This early version of the Hamlet story provided Shakespeare with the basic characters and relationships but without the ghost or the revenger’s uncertainty. In the story of Amleth there is neither doubt about the usurper’s guilt nor any moral qualms in the fulfillment of the avenger’s mission. In preChristian Denmark blood vengeance was a sanctioned filial obligation, not a potentially damnable moral or religious violation, and Amleth successfully accomplishes his duty by setting fire to the royal hall, killing his uncle, and proclaiming himself king of Denmark. Shakespeare’s more immediate source may have been a nowlost English play (c. 1589) that scholars call the Ur – Hamlet. All that has survived concerning this play are a printed reference to a ghost who cried “Hamlet, revenge!” and criticism of the play’s stale bombast. Scholars have attributed the Ur-Hamle t to playwright Thomas Kyd, whose greatest success was The Spanish Tragedy (1592), one of the earliest extant English tragedies. The Spanish Tragedy popularized the genre of the revenge tragedy, derived from Aeschylus’s Oresteia and the Latin plays of Seneca, to which Hamlet belongs. Kyd’s play also features elements that Shakespeare echoes in Hamlet, including a secret crime, an impatient ghost demanding revenge, a protagonist tormented by uncertainty who feigns madness, a woman who actually goes mad, a play within a play, and a final bloodbath that includes the death of the avenger himself. An even more immediate possible source for Hamlet is John Marston’s Antonio’s Revenge (1599), another story of vengeance on a usurper by a sensitive protagonist.

Whether comparing Hamlet to its earliest source or the handling of the revenge plot by Kyd, Marston, or other Elizabethan or Jacobean playwrights, what stands out is the originality and complexity of Shakespeare’s treatment, in his making radically new and profound uses of established stage conventions. Hamlet converts its sensational material—a vengeful ghost, a murder mystery, madness, a heartbroken maiden, a fistfight at her burial, and a climactic duel that results in four deaths—into a daring exploration of mortality, morality, perception, and core existential truths. Shakespeare put mystery, intrigue, and sensation to the service of a complex, profound epistemological drama. The critic Maynard Mack in an influential essay, “The World of Hamlet ,” has usefully identified the play’s “interrogative mode.” From the play’s opening words—“Who’s there?”—to “What is this quintessence of dust?” through drama’s most famous soliloquy—“To be, or not to be, that is the question.”— Hamlet “reverberates with questions, anguished, meditative, alarmed.” The problematic nature of reality and the gap between truth and appearance stand behind the play’s conflicts, complicating Hamlet’s search for answers and his fulfillment of his role as avenger.

Hamlet opens with startling evidence that “something is rotten in the state of Denmark.” The ghost of Hamlet’s father, King Hamlet, has been seen in Elsinore, now ruled by his brother, Claudius, who has quickly married his widowed queen, Gertrude. When first seen, Hamlet is aloof and skeptical of Claudius’s justifications for his actions on behalf of restoring order in the state. Hamlet is morbidly and suicidally disillusioned by the realization of mortality and the baseness of human nature prompted by the sudden death of his father and his mother’s hasty, and in Hamlet’s view, incestuous remarriage to her brother-in-law:

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! How weary, stale, flat, and unprofitable Seem to me all the uses of this world! Fie on’t! ah, fie! ’Tis an unweeded garden That grows to seed; things rank and gross in nature Possess it merely. That it should come to this!

A recent student at the University of Wittenberg, whose alumni included Martin Luther and the fictional Doctor Faustus, Hamlet is an intellectual of the Protestant Reformation, who, like Luther and Faustus, tests orthodoxy while struggling to formulate a core philosophy. Brought to encounter the apparent ghost of his father, Hamlet alone hears the ghost’s words that he was murdered by Claudius and is compelled out of his suicidal despair by his pledge of revenge. However, despite the riveting presence of the ghost, Hamlet is tormented by doubts. Is the ghost truly his father’s spirit or a devilish apparition tempting Hamlet to his damnation? Is Claudius truly his father’s murderer? By taking revenge does Hamlet do right or wrong? Despite swearing vengeance, Hamlet delays for two months before taking any action, feigning madness better to learn for himself the truth about Claudius’s guilt. Hamlet’s strange behavior causes Claudius’s counter-investigation to assess Hamlet’s mental state. School friends—Rosencrantz and Guildenstern—are summoned to learn what they can; Polonius, convinced that Hamlet’s is a madness of love for his daughter Ophelia, stages an encounter between the lovers that can be observed by Claudius. The court world at Elsinore, is, therefore, ruled by trickery, deception, role playing, and disguise, and the so-called problem of Hamlet, of his delay in acting, is directly related to his uncertainty in knowing the truth. Moreover, the suspicion of his father’s murder and his mother’s sexual betrayal shatter Hamlet’s conception of the world and his responsibility in it. Pushed back to the suicidal despair of the play’s opening, Hamlet is paralyzed by indecision and ambiguity in which even death is problematic, as he explains in the famous “To be or not to be” soliloquy in the third act:

For who would bear the whips and scorns of time, Th’ oppressor’s wrong, the proud man’s contumely, The pangs of despis’d love, the law’s delay, The insolence of office, and the spurns That patient merit of th’ unworthy takes, When he himself might his quietus make With a bare bodkin? Who would these fardels bear, To grunt and sweat under a weary life, But that the dread of something after death— The undiscover’d country, from whose bourn No traveller returns—puzzles the will, And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o’er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry And lose the name of action.

The arrival of a traveling theatrical group provides Hamlet with the empirical means to resolve his doubts about the authenticity of the ghost and Claudius’s guilt. By having the troupe perform the Mousetrap play that duplicates Claudius’s crime, Hamlet hopes “to catch the conscience of the King” by observing Claudius’s reaction. The king’s breakdown during the performance seems to confirm the ghost’s accusation, but again Hamlet delays taking action when he accidentally comes upon the guilt-ridden Claudius alone at his prayers. Rationalizing that killing the apparently penitent Claudius will send him to heaven and not to hell, Hamlet decides to await an opportunity “That has no relish of salvation in’t.” He goes instead to his mother’s room where Polonius is hidden in another attempt to learn Hamlet’s mind and intentions. This scene between mother and son, one of the most powerful and intense in all of Shakespeare, has supported the Freudian interpretation of Hamlet’s dilemma in which he is stricken not by moral qualms but by Oedipal guilt. Gertrude’s cries of protest over her son’s accusations cause Polonius to stir, and Hamlet finally, instinctively strikes the figure he assumes is Claudius. In killing the wrong man Hamlet sets in motion the play’s catastrophes, including the madness and suicide of Ophelia, overwhelmed by the realization that her lover has killed her father, and the fatal encounter with Laertes who is now similarly driven to avenge a murdered father. Convinced of her son’s madness, Gertrude informs Claudius of Polonius’s murder, prompting Claudius to alter his order for Hamlet’s exile to England to his execution there.

Hamlet’s mental shift from reluctant to willing avenger takes place offstage during his voyage to England in which he accidentally discovers the execution order and then after a pirate attack on his ship makes his way back to Denmark. He returns to confront the inescapable human condition of mortality in the graveyard scene of act 5 in which he realizes that even Alexander the Great must return to earth that might be used to “stop a beer-barrel” and Julius Caesar’s clay to “stop a hole to keep the wind away.” This sobering realization that levels all earthly distinctions of nobility and acclaim is compounded by the shock of Ophelia’s funeral procession. Hamlet sustains his balance and purpose by confessing to Horatio his acceptance of a providential will revealed to him in the series of accidents on his voyage to England: “There’s a divinity that shapes our ends, / Roughhew them how we will.” Finally accepting his inability to control his life, Hamlet resigns himself to accept whatever comes. Agreeing to a duel with Laertes that Claudius has devised to eliminate his nephew, Hamlet asserts that “There’s a special providence in the fall of a sparrow. If it be now, ’tis not to come. If it be not to come, it will be now. If it be not now, yet it will come. The readiness is all.”

In the carnage of the play’s final scene, Hamlet ironically manages to achieve his revenge while still preserving his nobility and moral stature. It is the murderer Claudius who is directly or indirectly responsible for all the deaths. Armed with a poisonedtip sword, Laertes strikes Hamlet who in turn manages to slay Laertes with the lethal weapon. Meanwhile, Gertrude drinks from the poisoned cup Claudius intended to insure Hamlet’s death, and, after the remorseful Laertes blames Claudius for the plot, Hamlet, hesitating no longer, fatally stabs the king. Dying in the arms of Horatio, Hamlet orders his friend to “report me and my cause aright / To the unsatisfied” and transfers the reign of Denmark to the last royal left standing, the Norwegian prince Fortinbras. King Hamlet’s death has been avenged but at a cost of eight lives: Polonius, Ophelia, Rosencranz, Guildenstern, Laertes, Gertrude, Claudius, and Prince Hamlet. Order is reestablished but only by Denmark’s sworn enemy. Shakespeare’s point seems unmistakable: Honor and duty that command revenge consume the guilty and the innocent alike. Heroism must face the reality of the graveyard.

Fortinbras closes the play by ordering that Hamlet be carried off “like a soldier” to be given a military funeral underscoring the point that Hamlet has fallen as a warrior on a battlefield of both the duplicitous court at Elsinore and his own mind. The greatness of Hamlet rests in the extraordinary perplexities Shakespeare has discovered both in his title character and in the events of the play. Few other dramas have posed so many or such knotty problems of human existence. Is there a special providence in the fall of a sparrow? What is this quintessence of dust? To be or not to be?

Hamlet Oxford Lecture by Emma Smith

Analysis of William Shakespeare’s Plays

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This student owes a great deal of intellectual debt to Louise Cowans thanks in great part to the theoretical criticism the author expressed in her introduction to The Comic Terrain. An example of the brilliance of her critical theory is found in an extended quotation from the work’s introduction...

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The dilemma about the intrinsical meaning of the story about the Prince of Denmark is a perturbing issue of discussion. Question about whether Hamlet feels affection to Ophelia is still not answered because the author uses various evasive situations when readers get more and more confused. Those...

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English 30-1 Hamlet Personal Response March 21 2013 Final Draft Interior Monologue My uncle is dead. Along with everyone else I love and the people they care about. My mother Gertrude, Ophelia, Laertes, and their father Polonius. Dead and gone to heaven forever. I finally killed Claudius! He has...

Hamlet: Response To Literature Taking place in Elsinore, Denmark Hamlet by Williams Shakespeare is a remarkable play where love and madness co-exist in an all-out war between family and friends. For many years, literature scholars have viewed Hamlet’s themes in many ways and forms. I intend...

Home — Essay Samples — Literature — Hamlet — Hamlet Killing His Fathers Death Analysis

Hamlet Killing His Fathers Death Analysis

• Categories: Hamlet Revenge

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Words: 533 |

Published: Mar 19, 2024

Words: 533 | Page: 1 | 3 min read

Table of contents

I. introduction, thesis statement:, ii. hamlet's reaction to his father's death, iii. psychological implications of hamlet's actions.

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