In Act 3 Scene 1, Hamlet says;
“The native hue of resolution is sicklied o’er with the pale cast of though…”
Conversely, in Act 5 Scene 2 he state;
“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 your understanding of the play, account or the significant changes in Hamlet’s thought and behaviour.
Shakespeare’s masterfully written play, Hamlet, is a paradigmatic revenge tragedy, yet is equally notable for its examination of the human nature and its infirmities. His skilfully crafted philosophical melodrama is theatrically thoughtful, shaped by the vast cultural phenomenon of Renaissance – a movement that brought light into new ways of interest in the human experience and the potential scope of human existence. Permeated with moralising and epistemological speculation, the play allows its readers to explore the psychological struggles with death and the instability of human purpose and identity that arises within a world upheld by natural order pervaded by corruption. Shakespeare’s dramatic representation of these themes are unquestionably the most enduring elements that fundamentally enables itself to retain its universal relevance and textual integrity.
In Hamlet, the disruption of the natural order, becomes a catalyst for the corruption and deceptive nature of Denmark. The Elizabethan era was influenced by the belief in the ‘Great Chain of Being’ – an ideological framework of universal orderliness ordained by God. This notion is reflected in the play, whereby the disturbance of such order – The Divine right of kings is catalysed by the Machiavellian figure, Claudius, thus leading to a pervading sense of uncertainty in the State of Denmark. Claudius is personified as a ‘serpent’ that stung King Hamlet and so ‘the whole ear of Denmark’ is ‘forged’ and ‘rankly abused’. The disrupted succession of the throne acts as a synecdoche for the corrupted and fabricated nature of Denmark, yet it also serves as a simulation to Hamlet’s pessimistic meditations – where the sky and air that was once a ‘beautiful canopy’ and a ‘majestical roof’ is now juxtaposed to ‘no other thing … but a foul pestilent congregation of vapours’. Here his sceptical tone is accentuated by the cacophony of his diction, where the imagery metaphorically portrays the vice and dissatisfaction with his current existing condition of life. Hamlet’s inner turmoil is exacerbated to such profound degree that he vacillates between undisciplined emotion at the cost of his selfhood when ‘putting an antic-disposition’. His dramatic irony serves as of a meta-theatrical methodology, adopting the role of the a ‘fool’ such that he is ‘essentially am not in madness, but mad in craft’, representing a self-reflexive model to mimic the facet of truth in lies. Hamlet’s idea of putting an act is further reinforced in the ‘Mousetrap play’, representing a ‘mirror’ held ‘up to nature’. Shakespeare creates a...