Conrad 1
Ryan Conrad
Mr. Flanigan
British Literature Honors (4)
12 February 2014
Title
In Shakespeare’s Hamlet, Gertrude acts as Claudius' advocate. Gertrude's involvement
in King Hamlet's death becomes apparent through conversations between Gertrude and Hamlet,
Claudius’ dialogue in Act III, Scene 2 (vague), and two exchanges between Rosencrantz and
Guildernstern. Shakespeare utilizes Polonius, Claudius, and Prince Hamlet, and Gertrude in order
to lead his readers and audience in many different directions. S h a k e s p e a r e e m p l o y s
complicated characterizations; the audience must interpret the
c h a r a c t e r ’ s t r u e i n t e n t i o n s . Understanding Gertrude as Claudius’s advocate exposes the
corrupt nature of politics at the national level of all nations.
Albomoz 1
Kyle Albomoz
Mr. Flanigan
British Literature Honors (4)
12 February 2014
Hamlet Paper
In William Shakespeare's play, Hamlet, Prince Hamlet's feelings toward Ophelia remain
the same; Hamlet truly loves Ophelia. Although Hamlet's actions may not lead the reader to
believe in his professed love for Ophelia, ,Hamlet’s affection for her does, in fact,
outweigh his random acts of anger towards Ophelia. Specifically, Hamlet’s interactions with
Ophelia, h i s r e actions to her death, and the concrete gifts Hamlet offers to Ophelia a l l s t a n d
a s s i g n s o f h i s a f f e c t i o n . The acts of love that Hamlet offers to Ophelia contain too
much meaning to think that he does not love her. Hamlet uses Ophelia t o c o n v i n c e Claudius,
Gertrude, and Polonius that he has gone crazy. Hamlet treats Ophelia poorl only to make others
believe that he has gone mad, which is a central tenet of plan to avenge his fathe r’s
death. Hamlet loves Ophelia, b u t h i s t r e a t m e n t o f h e r i l l u s t r a t e s h o w o f t e n o n e ’ s
affections are often lost in one’s ambitions [So what?]
Sun 1
John Sun
Mr. Flanigan
British Literature Honors (4)
12 February 2014
Hamlet's erratic behavior contributes to his dynamic characterization. The intermittent
nature of Hamlet's “apparent madness” adds to the reader’s difficulty in determining whether he
retains sanity at all. Hamlet does not demonstrate real madness when he talks to Gertrude in her
bedroom. He has complete awareness in his thoughts when he speaks in “pregnant replies,”
which a mad person could not muster. Hamlet corrects his actions when he strays from his goal.
Unlike a mad person, Hamlet has the abilities to convince his mother to cease her incestuous
relationship with Claudius. Hamlet's actions have a focused purpose: to target Claudius when
inspecting the arras, Hamlet behaves only from necessity under the pressure of his wretched
situation. His recognition of fault in murdering Polonius establishes his sanity. Hamlet can
arbitrarily change from madness to sanity. He has free will. Hamlet merely feigns madness and
utilizes it to achieve his revenge. The manipulative actions towards Gertrude juxtapose Claudius'
manipulation of Gertrude as both succeeded. The mad person could not manipulate Gertrude.
Ferrans 1
Justin Ferrans
Mr. Flanigan
British Literature Honors
12 February 2014
In Shakespeare’s
Title
Hamlet, Gertrude's actions demonstrate her love for her son. She
shows motherly concern for Hamlet’s a mental and physical health, she seeks out his company
to solidify their relationshop, and she works to discern the cause of his antic disposition.
Smith 1
James Smith
Mr. Flanigan
British Literature Honors (4)
12 February 2014
Title
Elaine from T e n n y s o n ’ s Idylls of the King and Ophelia from S h a k e s p e a r e ’ s
Hamlet have great similarities in their actions, and they endure similar situations. Tennyson
knowingly takes passages from Shakespeare in his creation of Elaine., I n t h e c a s e o f h e r
c h a r a c t e r i z a t i o n , Tennyson could possibly be taking the entire character o f O p h e l i a and
making it his own in the character of Elaine. Both women fall in love with men of great power. Both
love interests lead
their
beloveds
on,
but
both
men
leave
their
r e s p e c t i v e beloveds. Neither woman has a mother to go to in her time of despair Also,
Ophelia and Elaine die in a similar fashion. [So what?] …Comparing Shakespeare’s
characterization of a female with Tennyson’s proves that the need for strong female role models
is a dominant motif in British Literature.
Sullivan 6
Patrick Sullivan
Mr. Flanigan
British Literature Honors (4)
12 February 2014
To Feign, or Not to Feign: An Examination of Hamlet’s Madness
Hamlet proclaims to his friends in Act I, after his encounter with his father's ghost, "As
[I] perchance hereafter shall think meet I to put an antic disposition on-" (I.V.171-172). In other
words, Hamlet tells his friends that he will emulate insanity in order to find out information
about his father's death, so that he might eventually avenge that death. The question remains:
While Hamlet feigns madness, does he actually go mad? To examine this question, one must look
at the way Hamlet speaks to certain people. In his conversations with Horatio, the players, and
the gravediggers, Hamlet appears perfectly normal. Hamlet has the ability to control
his madness in these exchanges, unlike when he talks to Claudius, Polonius, Ophelia, and
Gertrude. One might argue that Hamlet remains perfectly sane throughout the entirety of the
play, as shown through his speech towards friends, the opinions of the 'victims' of his antic
disposition, and the thoughts of Hamlet himself.
Chris Tien
Mr. Flanigan
British Literature Honors - 4
12 February 2014
Hamlet's Insanity
Hamlet has a moment of insanity in the scene in Gertrude's room. However, his moment
does not mean that Hamlet remains insane throughout the rest of the play, nor that he is not
feigning his insanity previous to this scene. Shakespeare portrays Hamlet as insane in this scene
and, in this scene only. The fact that Gertrude does not see or hear the ghost, unlike Hamlet,
suggests that Hamlet does not feign his madness. I f i t w e r e t h e r e , Gertrude should have seen
the ghost, too. In the beginning of the play Marcellus, Bernardo, and Horatio all saw the ghost,
when it first appeares. Hamlet kills Polonius, which suggests that Hamlet is not feigning his
insanity. Hamlet kills Polonius, but he had no real incentive to kill him. One might understand
Hamlet’s madness be revisiting Gertrude's inability to see or hear the ghost of King Hamlet, the
cold-blooded murder of Polonius, and the appearance [need a third category]. So what? .
Toler 1
Ben Toler
Mr. Flanigan
British Literature Honors (4)
12 February 2013
Title
In Act I of Hamlet, Prince of Denmark, the ghost of King Hamlet visits his son Prince
Hamlet. The ghost tells Hamlet that his own brother, Hamlet's uncle Claudius, killed him by
pouring poison in his ear. The news stuns Hamlet. Throughout the play, Hamlet carries out his “antic
disposition” in order to seek his revenge, but the question arises as to whether Hamlet is only acting
crazy or he actually goes mad. Several aspects of the play show Hamlet's actual madness:, including
his soliloquies and his encounters with Ophelia and Gertrude. Hamlet's madness can also be seen
in his irrational and violent actions toward the end of the play. He becomes increasingly irrational in
decisions that result in violent acts. [So what?]
Period 4: write 5 “So What?” Questions for Friday, March 7
1
,
'
Hoelting 1
Zach Hoelting
Mr. Flanigan
British Literature Honors
12 February 2014
Hamlet struggles with his religion; he contemplates the religious consequences of
suicide, but neglects to consider the murder of Claudius as sinful. Hamlet's deliberations and
soliloquies on death compose a large part of Shakespeare's play. The prince is passionate
and thoughtful; however, his obsession with death causes him to hesitate on his revenge.
His perspective on death warps from beginning to end, changing with every significant, or
even minor, event in the play. The gravedigger scene reveals Hamlet's ultimate revelation
on death, as the young prince realizes that, just as Yorick, everyone will follow different
paths yet reach the same destination. The death that Hamlet describes disregards religion
but pursues the thought that no matter what one does in life, the paths he or she follows, the
actions he or she conducts, and the fates succumbed to, death remains unknown even
though it touches so many. Hamlet deliberates whether suicide is the best option in
Act 1, Scene 2. His tragic flaw of indecisiveness presents itself in Act 2, Scene 2, and he
contemplates the realities of death in Act 3, Scene 1.
Gardner 1
Zac Gardner
Mr. Flanigan
British literature Honors (4)
12 February 2014
In Shakespeare's Hamlet, one on the primary themes of the play is madness and the state
ofthe mind. This theme presents itself in Hamlets every action in a subtle way. Hamlets sanity is
questioned back and forth by various characters in the play, as hamlet seems to act differently
with certain characters, such as mad with Polonius and Claudius, and sane with Horatio and the
gravediggers. This would imply that hamlet isn't completely mad, as he can still rationalize with
some people. Horatio is especially important, as Hamlet tells him the he will "feign madness"
[Act i, Scene v, lines 166-180] and that his odd behavior is all an act. This could be used as
evidence for Hamlet rationalizing with certain characters while acting mad with others. Hamlet
uses the antic disposition to throw offPolonius and Claudius, and to get closer to his goal of
revenge, as he puts on the antic disposition after the ghost of Hamlet tells his son of what
happened to king Hamlet. Also, Claudius mentions that Hamlet's actions "actions although
strange, do not appear to stem from madness." [Act III, Scene i, lines 165-167] This hints at
other characters realizing, like Horatio does, that Hamlet is not truly as mad as he seems. This
paper seeks to prove that Hamlet actually remains sane throughout the play of Hamlet by
analyzing the previous evidence.
Gleeson 1
Tyler Gleeson
Mr. Flanigan
British Literature Honors
12 February 2014
Lost in a Feign of Madness
Throughout Hamlet's journey to cloak his own genuine characteristics in a furtive raiment
of antic disposition on his pursuit to exact revenge on Claudius, Hamlet loses himself in his own
feign of madness; thus, he himself grows truly mad. Hamlet first slowly slips away from the
dimension of reality into his masquerade of insanity when the boundaries ofhis Oedipus
Complex dissolve and reveal blurred borders. Hamlet's monologues then further cement and
solidify his own psychosis. In his monologues, Hamlet gripes, growls, and grunts about
ensnaring himself in his own emotions, thoughts, and beliefs. Furthermore, Hamlet's dialogue
with Polonius elevates the level and severity of Hamlet's madness. Hamlet's dialogue with a
character of comic relief, Polonius, beckons for the influence of the common man in Hamlet's
insanity, which now proves evident to people of all classes. Between these three circumstances of
revelation, Hamlet's rationality cracks open as if it were a nut shell. Hamlet quickly slides into
his first signs of authentic insanity when the Oedipus Complex between Gertrude, Ophelia,
Claudius, Hamlet the King, and himself rapidly proves confused, stressed, and stretched to its
limits.
Macdonald 1
Andrew Macdonald
Mr. Flannigan
British Literature Honors
12 February 2014
Just a Misunderstanding
The death of his father, King Hamlet, and his mother's hasty marriage to his uncle
perplexes Prince Hamlet, the antagonist in Shakespeare's Hamlet. When King Hamlet appears
to Prince Hamlet as a ghost in Act 1, Scene 5, he tells Hamlet what happened and gives him
specific orders saying, "thy uncle stole,/ With juice of cursed hebona in a vial,/ And in the
porches of my ear did pour/...Let not thy royal bed ofDenmark be/A couch for luxury and
darned incest./. ..taint not thy mind, nor let thy soul contrive/ Against thy mother" (Hamlet
1.5.68-93). Faced with evidence of his Uncle Claudius' actions, Hamlet's indecisive nature
inclines him to want to prove his uncle's guilt before he acts to avenge his father's death. As a
result ofthe ghost's news, Hamlet decides to act "strange and odd" (Hamlet 1.5.170) and "To
put an antic disposition on" (Hamlet 1.5.170). InHamlet's feigning of madness, the characters
in the drama construe his actions as true madness; however, Hamlet sees many advantages in
confusing the king and his comrades with his antics, and the use ofHamlet's antic disposition
proves sane and logical rather than actions that drive him truly mad. Hamlet's sanity showcases
itself at multiple points throughout the play. Observing Hamlet's dialogue with Gertrude about his
commitment to revenge and his dialogue with Rosencrantz and Guildenstern about vengeance
validates the fact that while Hamlet's actions exhibit an erratic nature, "there is/ method in 't"
(Hamlet 2.2.195-196). Furthermore, investigating the purpose ofHamlet's antic disposition
Sadler 1
William Sadler
Mr. Flanigan
British Literature Honors {4)
12 February 2013
Hamlet's Antic Disposition
William Shakespeare's play Hamlet contains many unsettled questions that have been
infinitely analyzed over the years. One of the most well-known and hotly debated questions
remains "Is Hamlet actually faking his madness, or is he really insane." Hamlet is a complex
character who encompasses a wide variety of emotions, thoughts and ideals, thus making him a
plethora of controversial questions. Hamlet's mind clearly remains intact throughout his antic
disposition. Critics often say that Hamlet's erratic emotions signal that he loses control over his
mind. One must take into account that he suffers an enormous emotional blow from the death of
his idol, his leader, his father. Before King Hamlet dies from the poison drizzled in his ear by his
treacherous brother, Hamlet behaves in a most tranquil way at school. When his world abruptly
turns upside down, and everything he knows disappears, a natural response is to be more
emotional than usual. The death of a family member so loved and respected provides a clear
explanation to his erratic emotions, thus the relationship between his suspected madness and
erratic emotions is mute. Hamlet's relationship with Ophelia defines a complex relationship.
The relationship is employed to help sell Hamlet's antic disposition. In the graveyard, Hamlet
fights Laertes in order to display his undying love for her. The fight displays that he has enough
wits about him to realize what remains important to him, which a mad man could never possibly
recognize, his love for Ophelia. The relationship with Ophelia serves as a constant gauge of
whether or not Hamlet's antic disposition actually got the best of his mind, and thus one can
Sadler 2
employ this as another piece of evidence for Hamlet's sanity. The play is another proof of
Hamlet's sanity. For him to have the where-with-all to create a portion of a play in a short period
of time is a difficult task for a sane person, much less a mad man. He also entertains Ophelia
with a variety of vulgar and witty jokes. Hamlet's actions throughout the play prove that he still
has control of his mind and actions (few as they may be). Hamlet remains remarkably faithful to
his antic disposition and never loses his mind to the madness which he feigned.