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Example research essay topic: Nt T End F - 1,198 words

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Irony in Hamlet Although Hamlet des indeed start ut as a revenge tragedy, it quickly turns int a bizarrely entertaining play which is first and forest abut a character wh is pretending t be crazy in the midst f a bunch f ther characters wh are nt extremely bright. Hard Blm says abut Hamlet that "n ther character in all literature changes his verbal drum s rapidly. " r, t put it anther way: n ther author in all literature changes the verbal drum f a character s rapidly as Shakespeare des with Hamlet. ther than Hamlet himself, there is n fl in the play until we get t the gravedigger in Act 5, wh might have been played by the same at wh had played Plnius. (This is nt, however, the prevailing belief. It is generally thought that the Gravedigger in Hamlet was played by Shakespeare's new can, Robert Irwin, wh would presumably nt have played Plnius. But Plnius and the Gravedigger are bth click characters, at least in my pain, and the Gravedigger nly appears n stage after Plnius is dead. ) Many times in the play, Hamlet is making a jan, which if tld well will get a big laugh frm the audience, but at the same time he's talking abut a murder he's committee. In contemporary terms, Hamlet's lines here, and in fact much f his home is what would be called a "sick jan. " In fact, ne f the things that fascinates us abut Hamlet is the contrast between the way he charms us and enlists ur sympathies with his conversation and, n the ther hand, the dreadful nature f the things he des.

In a contemporary more, we would rightly regard a character wh kills people and then make jke's abut it as a psychopath. But the fascinating thing is the way that Shakespeare sets things up s that we see Hamlet as a tragic her. There is in in also all f Hamlet's click dialogues. What Hamlet is saying is click, but the feeling behind the comedy is extremely hostile.

If ne plays these scenes t emphasize the hostility and display the home, then ne gets a series drama, which is the way we think f Hamlet that. The fact is that Hamlet, fr all his angst and melancholy, is an extremely entertaining person. We know that Shakespeare's language is free extravagant and veblen by modern standards. However, nce ne gets used t it, ne learns that his language is usually very appropriate t the character and situation. Here the language is very exaggerated, very different frm the peter language which ne finds in. The slings and areas f uraeus future; a sea f tables.

And a little further do: But wh would bear the whips and signs f time, The press's want, the put man's contumely, The pangs f despised love, the law's delay, The influence f ffice and the spurns That patient merit f the unworthy takes? ... Wh would fardels bear T grunt and sweat under a weary life? He des g n and n, and that is nt the end f it. Temp is crucial here.

A lng list like this must be speed quickly if it is nt t be very tedious. Each item simply makes the same pint as before with a slightly different example. n the ther hand, the soliloquy must nt be speed s fast that sme wrd's get swallowed up. Hamlet is very consciously china his wrd's in a very entertaining way. Each significant wrd here (each nun and verb) needs t have its men in the spotlight, because each new wrd takes the speech in a slightly new and unpredicted direction.

Anther example f the dramatic in in Hamlet is in Act I Sc. 5, when the Get reveals t Hamlet that he was posted t death by Claudius wh spread the run that he died f snake bite which is believed t be true by everyone in Denmark. Dramatic in results because nly Hamlet and the readers know the truth that Claudius murdered Hamlet's father. After this revelation, we sympathize with Hamlet and begin t hate Claudius: "Nw Hamlet hear... Nw wears his can. " f curse Hamlet is nt a comedy, despite the fact that it contains a large number f scenes that seem t me bogusly credit.

It seems t me that it would be very difficult t read Hamlet's first soliloquy, in Act I Scene 2, as being click: h, that this t t slid flesh would melt, Thaw and resolve itself int a dew! r that the Everlasting had nt fixed His cann against self-slaughter! h, Gd! Gd!

Hw weary, flat, stale, and unprofitable, Seem t me all the uses f this world! Here, before ever encountering the get, Hamlet des seriously meeting suicide as a possibility. In this soliloquy Hamlet speaks his heart, and t sme extent this is true f the send ne ("h, what a re and peasant slave am I"). But "T Be r Nt t Be" has a very different quality. It is a carefully crafted speech definitely intended t be speed t an audience, nt a record f Hamlet's thoughts at the men. However, frm the time when Hamlet decides t pretend t be crazy, up t the end f Act 4, also everything can be played as click.

Hamlet's killing f Plnius, fr example. There is indeed something a bit facial abut Plnius's very brief death scene, and it is the srt f home that wrk's because it makes sort f very real fears that were part f Elizabethan life. Hamlet is talking t Queen Gertrude. Plnius is hiding behind the arras and listening. [An arras, incidentally, is a hanging tapestry. ] Hamlet t Gertrude: Cme, cme, and sit yu do. Yu shall nt budge. Yu shall nt g until I set yu up a glass T see the input part f yu.

Queen: What wilt thu d? thu wilt nt murder me? Help, help, h! Plnius (behind the arras): What, h! Help, help, help!

Hamlet (drawing): Hw nw! A rat? Dead, fr a ducat, dead! (Stabs through the arras. ) Plnius (frm behind the arras): h, I am slain! Queen h me, what hast thu dne? Hamlet: Nay, I know nt. Is it the king?

Queen: h, what a rash and by deed is this! Hamlet: A by deed! also as bad, gd mother, As kill a king and marry with his better. Queen: As kill a king! Hamlet: Ay lady, 'twas my wrd.

If this is nt farce, then Hamlet's behavior here is truly disturbing, and the jan abut was afterwards is even mre disturbing. bogusly, Hamlet is mre farce than tragedy. T make sure f this, ne can simply compare the language used in Hamlet t that in any truly tragic death in Shakespeare, Rme and Juliet, fr instance. Works cited Shakespeare, William. Plays and Poems.

London: Spring books, 1966. Taylor, Edward. Literary Criticism of 17 th Century England. London: Universe, 2000. Damrosch, David.

Longman Anthology of World Literature. US: Longman, 2004. Greenblatt, Stephen. Renaissance Self Fashioning: From More to Shakespeare.

US: Chicago Press, 1984.


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Research essay sample on Nt T End F

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