How have dramatic devices been used to explore human nature in Shakespeares Hamlet?

Support your response with close reference to TWO scenes from the play. Plan (TEE) This is effectively the essay, although in gestation. Act 3, Scene 2 o Madness Do you see yonder cloud thats almost in shape of a camel? (3.2.339) This statement proves to be ironic, given the setting of Act 3 scene 2 being situated indoors. o This would shows the madness of Hamlet, where a wild tangent to rational discussion takes place. o This could be read as Hamlet merely pretending to be mad, as Crawford would argue. o Morality and Loyalty Claudius betrayal of the order of things through Fratricide and Regicide Mousetrap Scene o Play within a play o This reveals to the audience the duplicitous nature of Claudius, as he is shown to be guilty It is a damned ghost we have seen (3.2.72) o The Ghost personifies the betrayal to Gods order of things questioning its authenticity, and wether Hamlet owes loyalty to it o Ill take the Ghosts word for a thousand pound (3.2.260) This use of Hyperbole clearly shows how Hamlet has pledged allegiance to the Ghosts demands (Ophelia: Tis brief my lord) Hamlet: As womens love (3.2.134-135) o This allusion to the flighty nature of women further reinforces the idea of Hamlets mistrust of women, and how he views them in a highly chauvinistic manner o Death It was a brute part of him to kill so capitol a calf there (3.2.93) This allusion to Julius Caesar satirises Death, making regicide an almost comical act. o In this way Shakespeare confronts the idea of death in an almost jovial manner. Tis now the very witching time of night, when churchyards yawn (3.2.349-350)

Within this Soliloquy, Hamlet creates an association between the witching time, associating this dark imagery with the churchyard, which typically contained graves. o This plays upon the very human fear of death, through the way in which dark imagery is used to convey this notion.

Act 4, Scene 5 o Madness (Song) And up he rose, and donned his clothes/ and dupped the chamber door (4.5.52-53) Ophelias madness contrasts with Hamlets, where his is intellectual hers is bawdy in nature. This gives writers such as Bernard Shaw an indication of Hamlet merely pretending to be mad, although this doesnt take into account the different effects of madness on different people. It does however show the different ways in which people are affected mentally. Her mood will needs be pitied. Gertrude: What would she have? (4.5.3) Here the problem of dealing with someone affected with a mental issue is considered through Dialogue. This shows the issue of how humans deal with madness; collusion with others over the issue. o Morality and loyalty How came he dead? Ill not be juggled with/ To hell allegiance (4.5.130-131) Through the metaphor of juggling, Laertes asserts his authority, while clearly showing his loyalty to family, reinforcing the idea that Denmark is in arrears. I would give you some violets, but they withered all when my father died (4.5.180-181) The flowers handed out by Ophelia become significant, especially the violets, as they are symbolic of faithfulness. This explores the notion of betrayal as the character(s) in question were unable to save Polonius, playing upon the idea of events in the macrocosm reflecting that of the human world. o Death And where thoffence is, let the great axe fall (4.5.213) Claudius is establishing a moment of dramatic irony, showing the eagerness of people to impart lethal judgement on others. This contrasts to Hamlet, who constantly errs on the side of caution when approaching this matter. No trophy, sword, nor hatchment oer his bones (4.5.209) Here Laertes confronts a fear associated with death; that of improper treatment by others after death, to not be remembered. Here the lack of a hatchment becomes a

symbol for this abandonment in death and funerary rites. (Song) And will a not come again? /No, no, he is dead/He will never come again (4.5.185-186) Here Ophelia explores the idea of accepting death, where through song she conveys the sense of grieving. It is generally assumed the song is sung mournfully, as shown through the Branagh version of the play.

The question of Human Nature is a constant question throughout Hamlet. Here through a range of dramatic devices Shakespeare questions the nature of being human. In this way Shakespeare confronts a variety of themes in association with being human, such as madness, morality and loyalty, and the ever present question of death. These themes become apparent within Act 3, Scene 2 and Act 4, Scene 5 where these inherent associations to the human condition are presented through a variety of dramatic devices. The theme of madness is a constant one throughout Hamlet. Through confronting the topic, Shakespeare looks into the impact it has upon people, both directly and those who surround them. Here the character of Hamlet reveals the majority of this theme, where he makes inane comments particularly to Polonius Do you see yonder cloud thats almost in shape of a camel? (3.2.339). Through irony, given the setting of Act 3 Scene 2 being situated indoors, this excerpt would show the madness of Hamlet, where a wild tangent to rational discussion takes place. While conventionally this would suggest insanity, Crawford reads this as Hamlet merely pretending to be mad. Hamlets unique madness is contrasted to Ophelias. This becomes evident through her use of song in the latter part of the play And up he rose, and donned his clothes/ and dupped the chamber door (4.5.52-53). This effectively portrays Ophelia as a foil to Hamlet, as his is intellectual insanity is shown to be different to her more bawdy nature. This contrast gives writers such as Bernard Shaw an indication of Hamlet merely pretending to be mad, although this doesnt take into account the different effects of madness on different people. Madness becomes a problem for not only the person, but those surrounding them as well. This is shown through dialogue Gentleman: Her mood will needs be pitied. Gertrude: What would she have? (4.5.3). This subtle discussion becomes an apparent representation of how people deal with the issue. Shakespeare questions how should people affected in such a way be dealt with, how a general concern for them should be shown. Shakespeare reveals a level of concern for those affected mentally, arguing in favour of providing our sympathy to those affected. Madness is a constant theme running throughout Hamlet, and facets of it are continually questioned. Morality and loyalty make up a central theme within Hamlet, as it conforms to the central notion of the plot. Claudius fratricide is continually demonised, let alone his regicide. This becomes particularly evident within the mousetrap scene, where through a play within a play his guilt is affirmed through making the audience identify the parallels between the two plots, showing Claudius to have broken the chain of being, which becomes a driving force behind Hamlets revenge. This destruction of

the chain of being is shown through the Ghost, where he personifies the tumultuous period thrust upon Denmark. Hamlets acceptance of the Ghost is further questioned, as this sparks questions about his loyalty; To the king or to his father. This conflict in allegiance forms the majority of tension within the play, further extrapolate this by the way in which it is associated with devilish beings It is a damned ghost we have seen/ and my imaginations are as foul/ As Vulcans smithy (3.2.72-74). Here through a classical allusion to Vulcan, the imagery provided clearly shows the nature of hell, questioning the authenticity of the Ghost. This evolves later into a total devotion to his father Ill take the Ghosts word for a thousand pound (3.2.260). This use of Hyperbole clearly shows how Hamlet has pledged allegiance to the Ghost, which complicates the nature of loyalty as it will further disrupt the chain of being. The notion of loyalty is shown to be a complex web within Hamlet, which drives the complexity of the characters within the performance. Again, like madness Hamlets loyalty is shown in contrast to that of others, not only engineering a picture of court intrigue but also questioning the nature of peoples allegiances. Working on multiple levels, excerpts such as (Ophelia: Tis brief my lord) Hamlet: As womens love (3.2.134-135). This connotation not only further reveals Hamlets mistrust of women, but also shows the conniving nature of political life, showing it to be inherently fickle. This idea is again repeated in Act 4, scene 5, where Ophelia reflects on the other characters characteristics. I would give you some violets, but they withered all when my father died (4.5.180-181). The violets become symbolic of faithfulness, but due to the lack of staging, the recipient(s) have different meanings when gifted in such a way. Gifting to Claudius or Gertrude would show dramatic irony given the duplicitous manner of his character. Gifted to Laertes instead, this would reinforce the notion of his character conducting revenge in the proper manner, showing loyalty to his father. Shakespeare confronts the idea of remaining loyal in multiple ways, which have remained inherently open based upon interpretations. The central theme of the play revolves around death, and how people relate to it. This is shown in multiple lights, fading between a mad lust for it, a dreadful fear of it, acting jovially about it, or a general melancholy. Within the prelude to the mousetrap scene, Hamlet makes an allusion to the political intrigues of Julius Caesar It was a brute part of him to kill so capitol a calf there (3.2.93). This shows an acceptance of death as being natural, through the satire of which the line is delivered in. In contrast, the latter stage of the scene provides a waning in Hamlets warmth towards the notion of death Tis now the very witching time of night, when churchyards yawn (3.2.349-350). Within this Soliloquy, Hamlet creates an association between the witching times, associating this dark imagery with the churchyard, which typically contained graves. This links to the more natural human fear of death, through the dark imagery associated with the grave. While Hamlet remains conflicted throughout the play over his relationship with death, other characters act as a foil to him in their notions of death. Claudius I particular establishes a moment of dramatic irony when he exclaims And where thoffence is, let the great axe fall (4.5.213). This reveals a relationship with death which is far less wholesome, where a continued fascination with it dehumanises Claudius. Laertes offers a more melancholy idea of death, when he mentions No trophy, sword, nor

hatchment oer his bones (4.5.209). Here a notion of a proper death is imparted, suggesting all funerals require the proper items to be considered a proper rest for the dead. In questioning aspects of human relationships with the dead, Shakespeare conveys a conflicting number of different messages to the audience. Within Act 2, Scene 3 and Act 4, Scene 5 a series of themes pertaining to Hamlet emerge. Here the inherent notions of madness, loyalty and morality are all questioned as to the proper decisions for people to make, while confronting a range of ideals over death. In this way, Shakespeare relates to the human condition through a range of dramatic devices.