The play opens with the chorus reciting a poem.
The Shakesperean world is impressed, as a whole, with an unmistakable joy in healthy living. This tells habitually as a pervading spirit, a contagious temper, not as a creed put forward, or an example set up.
It is as clear in the presentment of Falstaff or lago, as of Horatio or Imogen. And nowhere is it clearer than in his handling of the relations between men and women.
For here Shakespeare's preferences and repugnances are unusually transparent; what pleased him in the ways of lovers and wedded folks he drew again and again, and what repelled him he rarely and only for special reasons drew at all. Criminal love, of any kind, holds a quite subordinate place in his art; and, on the other hand, if ideal figures are to be found there, it is among his devoted, passionate, but arch and joyous women.
It is thus possible to lay down a Shakesperean norm or ideal type of love-relations. It is most distinct in the mature Comedies, where he is shaping his image of life with serene freedom; but also in the Tragedies, where a Portia or a Desdemona innocently perishes in the web of death. Even in the Histories it occasionally asserts itself as in Richard II's devoted queen, historically a mere child against the stress of recorded fact.
In the earlier Comedies it is approached through various stages of erratic or imperfect forms. And both in Comedy and Tragedy he makes use, though not largely, of other than the 'normal' love for definitely comic or tragic ends.
The present study will follow the plan thus indicated. The first section defines the 'norm. The third traces the gradual approach to the norm in the early Comedies. The fourth and fifth sections, finally, discuss the treatment, in Comedy and Tragedy, of Love-types other than the norm.
The Shakesperean norm of love, 1 thus understood, may be described somewhat as follows. Love is a passion, kindling heart, brain, and senses alike in natural and happy proportions; ardent but not sensual, tender but not sentimental, pure but not ascetic, moral but not puritanic, joyous but not frivolous, mirthful and witty but not cynical.
His lovers look forward to marriage as a matter of course, and they neither anticipate its rights nor turn their affections elsewhere. They commonly love at first sight and once for all. Love-relations which do not contemplate marriage occur rarely and in subordination to other dramatic purposes.
Tragedy like that of Gretchen does not attract him. Romeo's amour with Rosalind is a mere foil to his greater passion, Cassio's with Bianca merely a mesh in the network of lago's intrigue; Claudio's with Juliet is the indispensable condition of the plot. The course of love rarely runs smooth; but rival suitors proposed by parents are quietly resisted or merrily abused, never, even by the gentlest, accepted.
Crude young girls like Hermia, delicate-minded women like Desdemona and Imogen, the rapturous Juliet and the homely Anne Page, the discreet Silvia and the naive Miranda, are all at one on this point. And they all carry the day. The dramatically powerful situations which arise from forced marriage -- as when Ford's Penthea The Broken Heart or Corneille's Chimene Le Cid is torn by the conflict between love and honour -- lie, like this conflict in general, outside Shakespeare's chosen field.
And with this security of possession his loving women combine a capacity for mirth and jest not usual in the dramatic representation of passion. Rosalind is more intimately Shakesperean than Juliet.
Married life, as Shakespeare habitually represents it, is the counterpart, mutatis mutandis, of his representation of unmarried lovers. His husbands and wives have less of youthful abandon; they rarely speak of love, and still more rarely with lyric ardour, or coruscations of poetic wit.
But they are no less true. The immense field of dramatic motives based upon infringements of marriage, so fertile in the hands of his successors, and in most other schools of drama, did not attract Shakespeare, and he touched it only occasionally and for particular purposes.
Heroines like Fletcher's Evadne A Maid's Tragedywho marries a nominal husband to screen her guilty relations with the King, or Webster's Vittoria Corombona The White Devilwho conspires with her lover to murder her husband, or Chapman's Tamyra Bussy d'Amboiswhose husband kills her lover in her chamber; even Hey wood's erring wife, whom her husband elects to 'kill with kindness,' are definitely un-Shakesperean.
II The norm of love lent itself both to comic and to tragic situation, but only within somewhat narrow limits. The richness, depth and constancy of the passion precluded a whole world of comic effects.
It precluded the comedy of the coquette and the prude, of the affected gallant and the cynical roue, of the calf-lover and the doting husband; the comedy of the fantastic tricks played by love under the obsession of pride, self-interest, meticulous scruple, or superstition.
Into this field Shakespeare made brilliant incursions, but it hardly engaged his rarest powers, and to large parts of it his 'universal' genius remained strange.19th century critic William Hazlitt praised Hamlet by saying that, "The whole play is an exact transcript of what might be supposed to have taken pace at the court of Denmark, at the remote period of the time fixed upon." (Hazlitt ) Though "Like sweet bells jangled, out of time and harsh.
The following overview should help you better understand how to cite sources using MLA eighth edition, including the list of works cited and in-text citations. Polonius falsely believes Hamlet's madness stems from Hamlet's love of Ophelia.
To notice a method behind the crazy talk was impressive of Polonius. But as the play progresses, Hamlet's behavior become more erratic. His acting mad seems to cause Hamlet to lose his grip on reality.
Essay Questions Practice Projects Cite this Literature Note. Aug 02, · Your goal: to make someone fall in love with you (or at least your writing). First, choose a topic you really want to write about. - In this essay I will be writing about whether Hamlet is a revenge tragedy or not, I will have an introduction which will introduce the meaning of a revenge tragedy, then I will have a main body of text in which I will explain why Hamlet is a true revenge tragedy and finally I will have a conclusion.
Her love for Hamlet is strong, and very. The Cause And Effect Of Hamlets Madness English Literature Essay. Print She didn't understand why he was treating her in this manner and at the time was very much in love with him.
The next example of Hamlet pretending to be mad is his unusual conversation with Polonius. Hamlet himself eventually dies in the arms of his friend from the.