The Unprincipled FamilyFredrickPer 8 Interrelated arts The dangerous relationship of Claudius, the king, and Hamlet, the king’s nephew and stepson, contain two elements that are pervasive enough to categorize it as such. Treachery and paranoia are those traits. Treachery is one of the basic un principles of the relationship, as is shown in the scene of the fencing match and the planning that goes around it. In a scene that relates to the planning of the match itself, the king and Laertes, a man whose family is dead because of Hamlet, have plotted the death of Hamlet through various things.
All of which are to happen to Hamlet in the course of the match: King. .”.. And wager on your heads. He, being remiss, Most generous, and free from all contriving, Will not peruse the foils, so that with ease, Or with a little shuffling, you may choose A sword unbated, and, in a pass of practice, Requite him for your father.
Laertes. I will do ” tAnd for that purpose I’ll anoint my sword. I bought an unction of a mountebank, So mortal that, but dip a knife in it, Where it draws blood, no cataplasm so rare, Collected from all simple’s that have virtue Under the moon, can save the thing from death That is but scratched withal. I’ll tough my point With this contagion, that, if I gall him slightly, It may be death.” (IV, vii, 134-148) So in fact, within this quote there are two foul plans, the use of an ‘unbated ‘ foil, which is more than technically cheating in a fencing match, but then, adding insult, the use of a poison tipped foil. With the use of ‘contagion’ and the ‘unbated’ foil, Claudius and Laertes are making sure that they win.
The Essay on King Hamlet Faith Ghost Laertes
Hamlet – Hamlet's Faith Costs Him His Hamlet – Hamlet's Faith Costs Him His Life A great chain of events in "Hamlet', Shakespeare's great revenge tragedy, leads to Hamlet's own demise. His necessity for subterfuge allows him to inadvertently neglect is main objective, revenge. So much so that the ghost of his dead father appears to stipulate Hamlet's reserved behavior towards his ...
This is still not enough for them, however they move on to another backup scheme to win: a poisoned chalice: King. .”.. When in your motion you are hot and dry-As make your bouts more violent to that end-And that he calls for a drink, I’ll have prepared him chalice for the nonce, whereon but sipping, Our purpose may hold there. -… .” (IV, vii, 157-162) Claudius introduces a poisoned chalice, which, as the third option, or in better terms, the third method is used to kill Hamlet. After being stabbed by Hamlet, Laertes, in his final breaths pronounces the treachery of the king: Laertes.
.”.. The treacherous instrument is in thy hand, Unbated and envenomed. The foul practice Hath turned itself on me. Lo, here I lie, Never to rise again. Thy mother’s poisoned can do no more. The King, the King’s to blame.” (V, ii, 317-321) As Laertes states quite bluntly, the king is to blame.
Claudius indirectly causes the deaths of almost everyone in the area of the match (fig. 1) But that is not all. Claudius proves himself not only conniving, but also extremely paranoid. He believes (rightly) that Hamlet is out to get him.
But even realizing that, he takes extreme measures. For example, in Act 3, scene 3, he dispatches Hamlet to England, with the ever-present Rosencrantz and Guildenstern. Notably, he [Hamlet] has done nothing to Claudius at this point; he hasn’t fought, talked harshly, or abused him in any way. Apparently that does not matter to Mr. Guilty-Conscience, a.
k. a. Claudius, who ships him off at the first sign of trouble (madness): King. I like him not, nor stands it safe with us To let his madness range. Therefore prepare you. I your commission will forthwith dispatch, And he to England shall along with you.
The terms of our estate may not endure Hazard so near’s as doth hourly grow Out of his brows (III, iii, 1-7) Essentially Claudius is saying, “He’s nuts! Take him away (from me! ) ” Specifically Claudius states that he does not like the ‘madness’ that Hamlet expresses, and as the only ‘logical recourse’ is to send Hamlet away. Even if the previous quote is too general he states it again, .”.. to this speedy voyage… .” (III, iii, 24) another stage to his paranoia is the fact that he spies on (III, i), or has Polonium (III, iv) spy on Hamlet. The conspiracy theories finally add up until the only way he knows Hamlet’s out of the way is to order him killed in secret and in seclusion from Denmark (in England).
The Essay on King Henry V and King Richard III
Henry V and Richard III depicted how two very different men rose to power and assumed the throne of England. Henry was an intelligent, driven young man who sought to reconstruct the civil war ravaged kingdom after the death of his father. Shakespeare presented Richard as a corrupt, sadistic villain who cared nothing for the English people except that they knew and feared his absolute authority. ...
This instance is best shown by the events told by Hamlet to Horatio: Hamlet.
Up from my cabin, My sea gown scarfed about me, in the dark Groped I to find out them, had my desire, Fingered their packet, and in fine withdrew To mine own room again, making so bold, My fears forgetting manners, to unseal Their grand commission; where I found, Horatio-Ah, royal knavery! -an exact command, Larded with many several sorts of reasons, Importing Denmark’s health, and England’s too, With, ho, such bugs and goblins in my life, That on the supervise, no leisure bated, No, not to stay the grinding of the ax, My head should be struck off. (V, ii, 12-24) Essentially, the king had Hamlet sent to England, but on arrival wanted him killed. After this quote came the fencing match. Again the excess planning was given through the paranoiac delusions of the King. As Hamlet and Claudius’ relationship progressed, the dangerous situations increased both in intensity (a progression to violence, madness) thorough confrontations, and in number. By the end of the play, their arguments become more evident as one conversation relating to the conflict happens at least once a scene.
The treachery and paranoia state that danger shows the power of the most evident relationship in the play.
