Appearence VS Reality

Apperance is known as an outward aspect of somebody or something that creates a particular impression. Almost contradictory is the definition of reality: Actual being or existence, as opposed to an imaginary, idealized, or false nature. A prominent theme in Shakespeares play Hamlet is the contrast between appearance and reality. This theme is interlaced through each act of the play. Apperance VS Reality allows characters to reveal inner motives, creates an ironic gap in the play and distinguishes right from wrong. 3 characters that vividly demonstrate apperance are: Claudius, Rosencrantz and Guildenstern and Hamlet himself. The first character, Claudius desquises himself as king to go to any extent to get what he wants. After becoming the new king, he appears compationate and sympathetic towards hamlet jr. due to the loss of his father. He does this to 'win the crowd over' so to speak. This is shown in his first speech, as he pleads with the crowd ''to bear our hearts in grief and our whole kingdom. To be contracted in one brow of woe... That we with wisest sorrow think on him, together with remembrance of ourselves'' (Shakespeare 1. 2. 2-7). Here we see how Claudius appears to unite everyone by using the word 'our'. He wants to show that Hamlet's pain is felt throughout the kingdom. It is shown further on in that same speech when he says, ''our late dear brother's death.'' (Shakespear I, II, 19) No doubt this does leave a notible impression on the crowd and 'wins them over'. However, this is not how Claudius truly feels about his brothers death, for Claudius is the one who murders elder Hamlet. We see proof of this in Claudius' soliloquy when he appears to be praying; "O, my offence is rank, it smells to heaven; It hath the primal eldest curse upon't, A brother's murder" (Shakespeare 3. 3. 36-38). Here claudius' consience kicks in and he regrets what he did. He feels that ''[his] offence is rank...smells to heaven.'' This shows that he feels discusted over what he did and feels that God has seen what he did and will punish him. In this state, Claudius feels scared of what is to come and isolate because he is unable to pray to God after what he has done. Clearly, Claudius' example of appearance caught up with him, revealed his inner motives and cost him dearly. Another apperance Claudius puts on is his love towards his step son, Hamlet. Again, in order to gain Hamlet's trust he appears to honestly care about him. In his first speech to his court Claudius tells Hamlet not to leave for school but to remain in Denmark; "It is most retrograde to our desire: And, we do beseech you, bend you to remain, Here in the cheer and comfort of our eye..." (Shakespeare 1. 2. 114-117). Once again, Claudius uses the word 'our' to remind Hamlet that he is now a part of the family. He uses this as a means to reasure him that the whole family has his best interests in mind, when in reality this is his decision. He acts respectfully and politely by using expressions such as '' we do beseech you, bend you to remain.'' However,

later in the play Claudius develops a plan to send Hamlet away from Denmark with the aid of Rosencrantz and Guildenstern; "And he [Hamlet] to England shall along with you [R & G]''(Shakespeare 3. 3. 4). However Hamlet can see through Claudius and later exposes his inner motives. Another character source of information relating to apperance vs reality would be Rosencrantz and Guildenstern. As two of Hamlet's good friends, they have no doubt demonstrated their loyalty and trustworthyness to him. They even address him as "My honour'd lord!/ My most dear lord!" (Shakespeare 2. 2. 223-224) However, when faced with the king ordering them to do as he pleases they accept quickly failing, failing to realize that their relationship with Hamlet would be in the balance. Hamlet realizes this and voices his distrust of the duo comparing them to sponges, ''that soak up the kings countenance, his rewards, his authorities... When he needs what you have gleaned, it is but squeezing you, and, sponge, you shall be dry again.'' (Shakespeare 4. 2. 16-21) Hamlet mentions that he knows what they are up to and what it will lead them to. He also warns them that the king uses them as a sponge to soak up information, and once done with them ''[they] shall be dry again.'' Rosencrantz and Guildenstern's attempt to appear natural and concerned made Hamlet mad, thus revealing the king's inner motives and distinguishing the good from the bad. No doubt this also affected their relationship as friends. A finally and obvious character demonstrating apperance to everyone is Hamlet himself. As strange as Hamlet may appear though, he is quite clever. He was able to understand everyones plans and knew them very well. However, he did not want others to be onto him. So he acted mad as a means of self-security, to hide away from everyone. This worked well and confused everyone. For example, as he learns that Claudius is responsible for death of his father, he plans to subtly expose claudius and let him know that he knows. Hamlet's use of the play to determine the Kings guilt or innocence; "The play's the thing, wherein I'll catch the conscience of the king" (Shakespeare 2. 2. 602-603). His appearance to the rest of the characters created an ironic gap and exposed many people without even saying a word. Hamlet demonstrates that he is very good at playing mind games with people. On the other hand, Hamlet's actions could also show that he is trying to bring apperance into reality. This is evident when he speaks to the ghost before Gertrude. Because she cannot see the ghost, she concludes that ''Alas, he's mad.'' (Shakespeare 3. 4. 107) However Hamlet insists that he saw the ghost saying: '' On him, on him! Look you how pale he glares... Do you not see anything there... Why, look you there! Look, how it steal away! My father, in his habit as he lived! Look, where he goes, even now, out at the portal! (Shakespeare 3. 4. 127-138) Many people speculate that this ghost could be

Hamlet's imagination. This may be true according to the following facts. Firstly, throughout the entire play Hamlet is the only character to see and speak to the ghost. This shows Hamlet's uniqueness. In addition, Hamlet mentioned to Horation about seeing his father ''in [his] mind's eye'' (Shakespeare 1. 2. 183,184) before Horatio even mentioned about seeing a ghost resembling his father two night ago. This may signify that Hamlet is simply imagining conversations with his father, as though he appeared right there. It seems clear that the ghost's presence in the play dramatizes the way Hamlet is emotionally haunted, as it were, by his father's memory. Regardless of whether or not the ghost is "real, it creates an ironic gap and stands for Hamlet's lingering memory of a lost but not forgotten loved one. As we can see there are many instances of different realities being hidden behind outward appearances in the play Hamlet. This creates a lot of irony, conflicts, confusion, helps others distinguish right from wrong and exposes inner motives. Claudius, Hamlet, and Rosencrantz and Guildenstern to an extent, all have a hidden side to them that only the reader is allowed to see. This helps keep the plot suspenseful and sometimes humourous when the reader knows what each character thinks of each other and then sees the opposite happen when the characters interact.