Page 2 Character Analysis of Shakespeare's Hamlet

Despite the intensity of his emotion, Hamlet is also contemplative and almost obsessive with respect to details of all sorts. For instance, although Hamlet believes instinctively that Claudius murdered his father, he goes to great lengths to investigate his suspicion in order to confirm it, and he sets up an elaborate ruse that is intended to provoke the revelation of Claudius’s guilt. “The play’s the thing/Wherein I’ll catch the conscience of the king,” he says at the end of Act II, Scene II (633-634). The play that Hamlet arranges is cleverly designed and he guides the players as skillfully as a director with an almost maniacal sense of purpose and attention to small particulars. He urges the actors to convey the authenticity of their characters, issuing the directive that they should, as stated in one of the important quotes from "Hamlet" by William Shakespeare, “Speak the speech, I pray you, as I pronounced it to you…./Nor do not saw the air too much with your hand,/for/in the very torrent, tempest, and…/the whirlwind of passion, you must acquire and beget a temperance that may give it smoothness” (II.i.1-2; 5-10). Still, even his seemingly singular dedication to bringing the play to the stage is not entirely straightforward.

Hamlet is deeply conflicted about the choices he is making to avenge his father’s death. In a moving monologue, Hamlet pauses and takes the time to examine his motives and his very character: “I am pigeon-liver’d and lack gall/…Why, what an ass am I! This is most brave,/That I…Must, like a whore, unpack my heart with/ words,/And fall a-cursing, like a very drab, a scullion!” (II.ii.602; 611-617). Yet just before the play begins, Hamlet is giddy with anxiety and anticipation, as Ophelia notes: “You are merry, my lord” (III.ii.128). In sum, one of the most interesting and compelling aspects of Hamlet as a tragic character is that he is not quite sure who he is and spends the play working on developing a sense of self—a difficult task given his circumstances. Clearly, Hamlet is still in the process of learning about his own complex identity, and is struggling with self-acceptance. At the time of his death, he has not fully resolved or accepted these complexities. In fact, it is his uncontrolled behavior and failure to resolve his emotions that precipitates his own death.

Hamlet also recognizes the complexity of other characters. He helps the reader, albeit in an indirect manner, to see these complexities. In fact, Hamlet may be even more successful in recognizing others’ multi-faceted nature than accepting his own, with the notable exceptions of his mother and Claudius, for whom he can only feel a singular disgust. When confronted by Rosencrantz and Guildenstern about the King’s and Queen’s reaction to the play, Hamlet affirms that he “lack[s] advancement” in understanding his own troubles. However, there are many examples of Hamlet’s acknowledgment of others’ complexity. When Horatio praises Hamlet’s father as a “goodly king,” (I.ii.187), for instance, Hamlet, who did respect his father deeply, replies, “He was a man, take him for all in all” (I.ii.188). Unfortunately, Hamlet lacks the ability, and never develops it, to turn such insight inwards.

It is not unusual for characters in literary works to appear more one-dimensional than people in real life actually are. Authors often develop a character type as a means of exploring a particular human quality, whether this type is positive or negative. The different character types are then situated within a physical and temporal setting and a plot, and are cast against one another with the purpose of eliciting the reader’s empathy or disapproval, thereby conveying moral or social lessons to the reader. Although this technique of character development is often successful, it can also be limiting. As this thesis statement for Hamlet suggests, one of Shakespeare’s many achievements was creating characters who were complex and believable, even though their lives and circumstances are so distinct from those of the contemporary reader. Rather than reduce his players to a single character type, Shakespeare trusted that the reader could, along with the character, explore the shallows and depths of each person’s complexity. In doing so, the reader gains an appreciation not only for the full range of feeling and experience in this work, but also in his or her own life.

Shakespeare, William. Hamlet. In The Complete Works of William Shakespeare, Volume 2. 597-634. New York: Nelson Doubleday Inc., 1853.

* If you are using this article as a study guide or as a resource for your own essays, please make sure to cite it as your source with proper citation, (even if you are just using a few important quotes or the same thesis statement or thesis statements) as this essay or article is copyrighted material. For a short summary of citation guides, please visit the MLA main website where a synopsis, tips and analysis on how to properly cite references can be found.*

Here you will find one of the many informative random articles, essays, or rants located here at Article Myriad. Clicking on any of the titles will magically transport you to the land of random articles, essays, and general tidbits--all of which have been painstakingly written and researched by one of us here at Article Myriad. A better system of organization of essays and pieces will eventually develop, we promise, but until that time, just enjoy the hodge-podge effect and let it help you meander rather than barrel through the site as if you have some kind of purpose. Because you don’t have a purpose here, do you? You’re just procrastinating—putting something off, aren’t you? .... We thought so.

Again, if you you find an article or essay that makes your life better, easier, or just plain happier / enriched, please don’t hesitate to support your friends here with a small donation. It keeps us able to write. Visit our homepage for more on that matter and thanks!