Prabin Raj Chalise

Subject: ENGL 551 Introductions to Literature and Literary Analysis

Date: 2021/01/07

“Hamlet as mad character in hamlet” in William Shakespeare “Hamlet”

Character is an important element of literature. Every story develops in text by a character.

Writer creates characters which is similar to the real world. Character is person which is made up

of words. And they perform as per the story is. According to online etymological dictionary

character means

Mid-15c., "symbol or drawing used in sorcery;" late 15c., "alphabetic letter, graphic

symbol representing a sound or syllable;" from Old French caratere "feature, character"

(13c., Modern French character), from Latin character, from Greek kharaktēr "engraved

mark," also "symbol or imprint on the soul," properly "instrument for marking," (13c.,

Modern French character), from Greek kharaktēr "engraved mark,"

In reference to the "person in a play or novel" provided by the author, the sense of

"defining qualities" is first attested to in the 1660s. In the abstract, the sense of a person"

is from 1749, particularly "eccentric person" (1773). Colloquial sense of "chap, fellow" is

from 1931. Character-actor, one who specializes in characters with distinct peculiarities,

is attested from 1861; assassination of characters is from 1888; construction of characters

(n.) from 1886.

According to online etymological dictionary character means

late 13c., "disordered in intellect, demented, crazy, insane," from Old

English gemædde "out of one's mind" (usually implying also violent excitement), also

"foolish, extremely stupid," earlier gemæded "rendered insane," past participle of a lost

verb *gemædan "to make insane or foolish," from Proto-Germanic *gamaidjan,

 Chalise |2

demonstrative form of *gamaidaz "changed (for the worse), abnormal" (source also of

Old Saxon gimed "foolish," Old High German gimeit "foolish, vain, boastful,"

Gothic gamaiþs "crippled, wounded," Old Norse meiða "to hurt, maim").

This apparently is from the Germanic intensive prefix *ga- + PIE *moito-, past participle

of root *mei- (1) "to change, go, move" (source also of Latin mutare "to

change," migrare "to change one's place of residence"). In Middle English usurped the

place of the more usual Old English word, wod (see wood (adj.)).

The meanings "beside oneself with excitement or enthusiasm, under the influence of

uncontrollable emotion" and "enraged, furious, beside oneself with anger" are attested

from early 14c., but the latter was deplored by Rev. John Witherspoon (1781) as an

Americanism. It now competes in American English with angry for this sense. Of

animals, "affected with rabies, furious from disease" from late 13c.

Every literary work has a story. In story, many characters perform to develop that story from

one point to next. Story always focuses on a particular character because it cannot be focus on

every character. So character in stories are foil character, static character, round character and

others types of characters. Here are some types of character as per the quality and characteristics.

Protagonist

The principle characters are the base of the story. They will create after some time and will

eventually be essential for the main impetus of the plot. This is the character your pursuers will

think often generally about. Except if, obviously, you expect for your hero to be unlikable. That

would absolutely be a pleasant wind.

Antagonist
This character, or gathering of characters, causes the contention for the hero. Be that as it may,
the enemy could be the hero, who is torn by an issue inside. Most occasions, something outer is
 Chalise |3

causing the issue. A gathering of individuals causing the contention would be viewed as society,
maybe the individuals from a group, network, or organization. Furthermore, the enemy could be
a piece of nature, for example, a creature, the climate, a mountain or lake... At last, if the
contention comes from something out of the character's control, the rival is destiny or God.
Foil – A foil is a character that has inverse character attributes from another, intended to help
feature or draw out another's positive or negative side. Ordinarily, the enemy is the foil for the
hero.

Static – Characters who are static don't change all through the story. Their utilization may
basically be to make or mitigate strain, or they were not intended to change. A significant
character can stay static through the entire story.

Dynamic – Dynamic characters change all through the story. They may gain proficiency with an
exercise, become awful, or change unpredictably.

Flat – A flat character has a couple of principle attributes, typically just all certain or negative.
They are something contrary to a round character. The blemish or strength has its utilization in
the story.

Round – These are something contrary to the level character. These characters have a wide range
of qualities, great and terrible, making them all the more fascinating.

Stock – These are the cliché characters, for example, the kid virtuoso, eager profession
individual, dependable companion, insane lab rat, and so on

The Theme of Death in Hamlet. (1969, December 31).

In William Shakespeare's Hamlet, death is a theme that Shakespeare explores in depth,

throughout the play. Shakespeare captures the reader's interest concerning death in the

opening scene, when Hamlet is visited by the ghost of his dead father. This scene sets the

tone of the entire play where death, murder, revenge and suicide are played out over and
 Chalise |4

over again. Hamlet not only has to work through how to avenge his father's death, but

also has to deal with his own feelings and fears about death.

In William Shakespeare's Hamlet, passing is a topic that Shakespeare investigates inside and out,

all through the play. Shakespeare catches the pursuer’s advantage concerning passing in the

initial scene, when Hamlet is visited by the phantom of his dead dad. This scene establishes the

pace of the whole play where passing, murder and self-destruction are happened again and again.

Hamlet not just needs to work through how to retaliate for his dad's demise, yet additionally

needs to manage his own sentiments and fears about death.

"Hamlet Revenge Essay." ukessays.com

Hamlet is a revenge play. At this time, Shakespeare wrote Hamlet, this was a very

common genre. It had certain conventions: a villain commits a murder; the son of the

murdered man insists revenge; he carries out his duty and pledge, but in so doing destroys

himself. In Hamlet, the entire action of the play is centered on the task assigned by the

ghost to Hamlet to avenge his father's and the revenge obligations of Laertes and

Fortinbras that parallel the main plot. Murder but Hamlet has to answer four questions: Is

the ghost real? Is revenge good or evil? Is Claudius guilty? These questions, complicates

Hamlet's decision and his reflective, intellectual nature.

Hamlet is a vengeance play. Right now, Shakespeare composed Hamlet, this was an extremely

normal sort. It had certain shows: a reprobate submits a homicide; the child of the killed man

demands retribution; he completes his obligation and promise, however in this manner

obliterates himself. In Hamlet, the whole activity of the play is focused on the undertaking

relegated by the apparition to Hamlet to vindicate his dad and the vengeance commitments of
 Chalise |5

Laertes and Fortinbras that equal the fundamental plot. Murder yet Hamlet needs to address four

inquiries: Is the apparition genuine? Is retribution acceptable or evil? Is Claudius liable? These

inquiries entangle Hamlet's choice and his intelligent, scholarly nature.

A Method in Hamlet Madness.” study boss

After the Ghost’s first appearance to Hamlet, Hamlet decides that when he finds it

suitable or advantageous to him, he will put on a mask of madness. He confides to

Horatio that when he finds the occasion appropriate, he will “put an antic disposition on”

(I. v. 173). This strategy gives Hamlet a chance to find proof of Claudius’s guilt and to

contemplate his revenge tactic. Although he has sworn to avenge his father’s murder, he

is not sure of the Ghost’s origins: “The spirit that I have seen / May be the devil” (II. ii.

596-7).

He uses his apparent madness as a delaying tactic to buy time in which to discover

whether the Ghost’s tale of murder is true and to decide how to handle the situation. At

the same time, he wants to appear unthreatening and harmless so that people will divulge

information to him, much in the same way that an adult will talk about an important

secret in the presence of a young child. To convince everyone of his madness, Hamlet

spends many hours walking back and forth alone in the lobby, speaking those “wild and

whirling words” which make little sense on the surface but in fact carry a meaningful

subtext.

When the Ghost's first appearance to Hamlet, Hamlet concludes that when he thinks that its

appropriate or beneficial to him, he will put on a cover of franticness. He trusts to Horatio that

when he finds the event fitting, he will "put a prank manner on" (I. v. 173). This technique

allows Hamlet to discover confirmation of Claudius' blame and to mull over his retribution
 Chalise |6

strategy. In spite of the fact that he has vowed to retaliate for his dad's homicide, he isn't certain

of the Ghost's sources: "The soul that I have seen/May be the demon" (II. ii. 596-7).

He utilizes his obvious franticness as a postponing strategy to purchase time in which to find

whether the Ghost's story of homicide is valid and to conclude how to deal with the

circumstance. Simultaneously, he needs to seem pleasant and innocuous so that individuals will

uncover data to him, much similarly that a grown-up will discuss a significant mystery within the

sight of a small kid. To persuade everybody regarding his franticness, Hamlet spends numerous

hours strolling to and fro alone in the anteroom, talking those "wild and spinning words" which

look bad on a superficial level yet truth be told convey an important subtext.

William Shakespeare. The Tragedy of Hamlet, Prince of Denmark

I perchance hereafter shall think meet

to put an antic disposition on

(I.v.)

The point when the Ghost educates Hamlet concerning Claudius' homicide, Hamlet reacts

unusually: he tells his companion Horatio and the guard Marcellus that he will claim to be

distraught. He has no undeniable motivation to counterfeit madness, and Horatio, in any event,

assumes that Hamlet is now acting unusually: he depicts Hamlet's words as 'wild and spinning'

(I.v.132). Hamlet's 'trick mien' is one of the play's incredible secrets. As the play proceeds,

Hamlet acts increasingly more unpredictably, and neither the crowd nor Hamlet's different

characters can be sure if Hamlet is imagining. Hamlet won't make direct differentiations among

frenzy and rational soundness, or among the real world and misrepresentation.
 Chalise |7

I am but mad north-north-west. When the wind is

southerly, I know a hawk from a handsaw.

(II.ii.312–13)

Hamlet guides these lines to Rosencrantz and Guildenstern. His words suggest that, similarly as

the breeze just every so often blows from the north-north-west, so too is he just sometimes struck

by frenzy. These words likewise contain an admonition. At the point when Hamlet utilizes the

famous articulation "I know a bird of prey from a handsaw," he demonstrates that he remains

generally in charge of his resources and that he can at present recognize like and not at all like

things. Basically, Hamlet is cautioning his sidekicks that he can differentiate between a

companion and a foe.

The body is with the King, but the King is not with the

body.

(IV.ii.23–24)

Hamlet says this to Rosencrantz and Guildenstern. His words sound like an illustration of

franticness, and his two associates seem to accept it in that capacity. Notwithstanding, similarly

as with numerous different instances of Hamlet's twofold talk, there is a strategy to the (evident)

franticness. Here Hamlet alludes to the otherworldly qualification between the lord's actual body

and the body of the state for which he fills in as the head. The primary portion of the sentence

may allude to both of these two understandings of body, yet the subsequent half appears to allude

straightforwardly to Polonius, a "lord" who's been isolated from his body through death.

Her speech is nothing,

Yet the unshaped use of it doth move

 Chalise |8

The hearers to collection. They yawn at it

And botch the words up fit to their own thoughts,

Which, as her winks and nods and gestures yield them,

Indeed would make one think there might be thought,

Though nothing sure, yet much unhappily.

(IV.v.7–13)

In these lines a courteous fellow reports to Gertrude and Horatio concerning Ophelia's plunge

into franticness and her disjointedness—that is, her "unshaped use" of language. What's

intriguing here is the noble man's accentuation on how others endeavor to figure out her puzzling

language. Ophelia appears to act in a manner that infers her words convey deliberate importance,

thus people around her try to improve (i.e., "bungle") the words to comprehend them. However,

the courteous fellow continues imagining that her words speak to unadulterated frenzy. In this

way, "Her discourse isn't anything."

Young men will do’t if they come to’t,

By Cock they are to blame

(IV.v.)

In contrast to Hamlet's franticness, Ophelia's frenzy is obviously authentic. In any case, there is a

secret about her state of mind. In her frenzy, Ophelia sings grabs of melodies, the majority of

which sound like mainstream tunes of Shakespeare's day. Her selection of melodies appears to

uncover two fixations. The first is with the passing of fathers and elderly people men, which isn't

amazing in light of the fact that her dad has simply kicked the bucket. The second is with
 Chalise |9

youngsters who allure young ladies however don't wed them. Numerous perusers have puzzled

over whether she is considering Hamlet—yet it's difficult to know without a doubt.

Was 't Hamlet wronged Laertes? Never Hamlet.

If Hamlet from himself be ta'en away,

And when he's not himself does wrong Laertes,

Then Hamlet does it not. Hamlet denies it.

Who does it, then? His madness.

(V.ii.203–7)

Not long before they start their fencing match, Hamlet recognizes the torment he has caused

Laertes. In these lines, in any case, Hamlet likewise rejects obligation for having executed

Laertes' dad. He shows that his attack of franticness successfully isolated himself from himself,

and he underscores this feeling of distance from himself by talking as an outsider looking in.

Having been isolated from himself, Hamlet contends that he can't be considered liable for any

demonstration that his franticness, truth be told, dedicated.

Since the time of the passing of King Hamlet youthful Hamlet has been what had all the

earmarks of being in a condition of frenzy. In a conversation between Hamlet and Polonius

Hamlet addresses Polonius by asking him "have you a daughter." In this conversation, Hamlet

shows trick conduct towards Polonius by taunting him when Hamlet would as a rule show

extraordinary regard for him due to the age and his high situation in the court. This unexpected

inquiry to Polonius has made Polonius accept that Hamlet has a type of adoration infection and

that Polonius makes certain to tell Claudius of his condition. Hamlet additionally blames

Polonius for being the "Jephthah, judge of Israel," implying that Polonius would place his nation
 C h a l i s e | 10

before his little girl. Hamlet has now persuaded Polonius that he is in a condition of frenzy since

he realizes that Polonius thinks about his little girl without a doubt and could never put her

second. By persuading Polonius that he has no thought for the prosperity of others, Hamlet is

then trusting that Polonius will tell the court of his passionate franticness.

Dissimilar to Hamlet, Laertes has built up an alternate sort of franticness, a frenzy that is

constrained by vengeance. At the point when Laertes is conversing with Claudius, Laertes gets

such a lot of retribution developing inside him against Hamlet that Laertes presently needs to

"cut his throat Laertes' conduct is brought about by the abrupt passing of his dad who was

without a due function, and his sister who has been made distraught which has added to the

franticness that is being developed inside Laertes. This frenzy develops considerably further

when Claudius guarantees "no wind of fault" when Laertes slaughters Hamlet. With Claudius

being the manikin holder and Laertes being the manikin, Claudius transforms Laertes into a

savage monster to retaliate for his dads' passing; maybe this is the thing that Claudius has

arranged from the start. Laertes has a type of franticness that is rising since Laertes realizes that

he has the abilities and inspiration to follow up on what he puts stock in.

Ophelia has an exceptional type of frenzy dissimilar to Hamlet's and Laertes' since it a

combination of affection and disdain. An illustration of disdain is the point at which she sings

about a "pastry specialist's daughter." Ophelia is alluding to the manner in which her dad used to

treat her before the sad occurrence of his demise. Adoration inside her frenzy is the point at

which she talks about the occasions on "Valentine's day." When Ophelia talks about Valentine's

Day she is eluding to the occasions of sentiment that she was denied. Ophelia's frenzy is

welcomed on by her absence of having the option to exhibit any development in attempting to

adapt to her misfortunes and consequently can just perpetrate her franticness on the court. By
 C h a l i s e | 11

expressing that Hamlet might have controlled his fake franticness, he at that point had the ability

to control his cognizant psyche into acting customary. Where Laertes was powerful by others

and had no genuine command over the psychological state he was created by the influence of

Claudius. Ophelia was the most blameless casualty of all since she was the result of every other

person's activities and had no clue that she was intellectually crumbling. It very well may be seen

that inside every one of these three individuals there can be no consolation on what the impact

they may have on others because of their psychological state out in the open.

Citation

Poli, Rachel. “9 Types Of Characters In Fiction Writing.” Medium, The Startup, 15 June 2020,

medium.com/swlh/9-types-of-characters-in-fiction-writing-7de58ebff3e7.

“Literary Terms.” Literary Terms. 1 June 2015. Web. 3 Nov. 2016. <https://literaryterms.net/>.

“Mad (Adj.).” Index, Online Etymological Dictionary, 6 Jan. 2020,

www.etymonline.com/word/mad.

The Theme of Death in Hamlet. (1969, December 31). In MegaEssays.com. Retrieved 04:34,

January 07, 2021, from www.megaessays.com/viewpaper/204713.html

"Hamlet Revenge Essay." ukessays.com. 11 2018. UK Essays. 01 2021

<https://www.ukessays.com/essays/english-literature/hamlet-is-a-revenge-play.php?vref=1>.

“A Method in Hamlet Madness.” studyboss.com. 05 2019. 01 2021.

<https://studyboss.com/essays/a-method-in-hamlet-madness.html>.
 C h a l i s e | 12

Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. New Folger's ed. New York:

Washington Square Press/Pocket Books, 1992.

“Essay Topics.” Online Essays, 6 Jan. 2021, onlineessays.com/essays/shakespeare/madness-in-

shakespeares-hamlet.php.