Hamlet

A university scholar whose studies are interrupted by his father's demise, Hamlet is exceptionally thoughtful and reflective. He is predominantly drawn to complicated issues or questions that cannot be answered with any conviction. He is enigmatic. There is constantly more to him than the other characters in the play can decipher; even the most cautious and intelligent readers come away with the sagacity that they don't make out everything there is to discern concerning this personality. Hamlet essentially tells other characters that there is more to him than meets the eye-particularly, his mother, Rosencrantz along with Guildenstern-but his appeal involves much more than this. When he articulates, he sounds as if there's rather something significant he's not saying, maybe something even he is not conscious of. The aptitude to inscribe soliloquies and dialogues that generate this achievement is one of Shakespeare's most remarkable achievements.

As the scene begins, Hamlet is giving guidance to the players on how to "hold...the mirror up to nature" (3.2.22). This makes one presume that Hamlet wishes the concert to be as realistic and practical as possible, in order to have an enhanced likelihood that it would "catch the conscience of the King," however he goes ahead at such degree that we might deduce that Shakespeare took the occasion to air some of his pet peeves regarding actors. When Hamlet tells the players to go get prepared for the show discovers that the King and Queen are prepared to observe the play. Initially, Hamlet says that his tribute of Horatio is genuine, since he has stands to gain nothing by flattering him (Horatio), who is an underprivileged man with nothing to present but companionship. Horatio is a stable man, one who can take "Fortune's buffets and rewards" with "equal thanks." In fact, Hamlet observes in his friend a value that he does not have, and he says, "Give me that man, that is not passion's slave, and I will wear him...

At this summit, Hamlet himself gets self-conscious, as well, saying "Something too much of this." He afterwards asks Horatio's assistance in observing the King throughout the presentation of the play. Horatio willingly consents, and guarantees that the King will not "[e]escape detecting." Hamlet remarks "They are coming to the play; I must be idle" (3.2.90); however he is actually much more than unoccupied. He instantaneously begins messing with other people's intellects. When the King asks him how he's feasting, he replies, "Excellent, I' faith; of the chameleon's dish: I eat the air, promise-crammed: you cannot feed capons so" (3.2.93-95). A chameleon was believed to consume air, and with a jibe on air / heir. Here, Hamlet is implying that the King pledged he would be successor to the throne, but that guarantee isn't even chicken feed. With an additional joke, Hamlet refers to Polonius as a "calf," and then turns his concentration to Ophelia.

He requests Ophelia, "Lady, shall I lie in your lap?" During Shakespeare's time the word "lie" could be employed in the sexual logic bestowed to "sleep with," and "lap" might contain a strong sexual connotation, as well. Unsurprisingly, Ophelia says, "No, my lord," although once Hamlet returns to her with "I mean my head upon your lap, "she says" Aye, my lord." This bestows Hamlet an opportunity for an exceedingly spiteful retort, "Do you think I meant country matters?" (3.2.116). (speak the phrase "country" audibly a number of times, and you'll get it.)

After an extra malicious jibe from Hamlet, Ophelia protects herself by saying "You are merry, my lord." She implies that Hamlet is merely creating comic stories, but Hamlet revolves that around by replying that everybody must get cheerful, "for, look you, how cheerfully my mother looks, and my father died within these two hours" (3.2.126-127). He mocks his mother through the play and it turns out that the play is directed to play with the psychology of the people around. Hamlet says, "They fool me to the top of my bent" (3.2.384). Here, he actually implies that if he's playing the fool, it's their mistake. Guildenstern, Polonius and Rosencrantz have handled him like a fool, cheerful and somnolent and poking and questioning, and he's ailing of it. He is almost ready to kill his mother after finding out the truth about the king's murder case.

Hamlet added around sixteen lines in the play "player king" which were previously lacking in the play Hamlet and were not there in the play "the murder of Gonzago". Immediately the players arrived at Elsinore, Hamlet said he wanted to add a dozen or sixteen lines to a play "the murder of Gonzago" which was already known by the players. The play "the murder of Gonzago" was written in sestets. The king spoke in six lines then the queen spoke in six lines and there was a spacer line before the king spoke the second time. In the play "player king", there is a change in the way Hamlet wrote. The king and the queen spoke in eight lines each that make sixteen lines, William S, 2001 pp 52.

The play "player king" is about a killing committed by Gonzago in the duke's name together with his wife in Baptista. One of the lines added here is the line that says that you will see soon enough. Another line added is the one that says that it is a piece of garbage, but who cares? More so, the line we can watch without being bothered has also been added in the new play.

Hamlet has added more lines in the play "the player king" due to his change of his former sestet line style to the writing of two eight-line speeches for the queen and the king. In addition, the added lines in the new play are because of the spacer lines used between the speeches that act as a speech breaker.

In this play, there is change between the way the king speaks and the way the queen speaks too. Hamlet's line marks the change between the play "the murder of Gonzago" and the play "player king", William S, 2001 pp 52.When Hamlet hears his own changes spoken by the actor, and he speaks about the changes. The speaking in eight lines marks a change in the sestets spoken in the previous play.

The other line that has been added is the one that states that that is what you women get when you trick us into marriage. In addition, the line damn it, stop fussing with the makeup and get going has also been added in the new play. Hamlet's lines changes consist of two speeches of sixteen lines for both the king and the queen. The spacer line added between the speeches of the king and those of the queen help Hamlet and others to talk in the play. The spacer lines are also significant because they act scene breaks. Moreover, the added lines also act as compliments for what the king says but the queen fails to offer the compliments.

The line about how women get married has also been added in the new play. In this line, Hamlet makes a mistake that demands a note. He makes it look like the queen will maintain her stand about not getting married the second time. Another line that has been added is Hamlet's remark that the play queen will not marry again. In the scene where Claudius speaks to Polonius is failure to follow the flow of the dialogue, William S, 2001 pp 53. In this scene, another line has been added that shows Polonius staring at the prince who is seated with his daughter.

We can understand Hamlet from the way he has added lines in the play. We can look at the people addressed by the lines that appear in the play. We can also understand Hamlet by concentrating on the dialogues found in the play and all the stage directions employed. Hamlet is one of the most dramatic characters created. He has radical contradictions, courteous but uncivil. Moreover, he is character who is full of faults. Despite being faulty, Hamlet becomes a tragic hero in the play, William S, 2001 pp 54.