what is a good thesis for hamlet

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Great Examples of Hamlet Thesis Statements

Do you need to write a paper on Hamlet? Are you confused and don’t know how to come up with a thesis statement? Read this article and get some more insight into the ways how to write a successful thesis on this popular piece of art!

Hamlet is one of the most famous tragedies created by William Shakespeare. This classic play is extremely important for the English literature. Most students have written an essay on this tragedy at least once during their studies. It is an essential part of their requirements to complete a degree. If you do a profound research, your thesis on Hamlet can break some new grounds and exert an impact on your readers.

One can find a number of topics covered in Hamlet. The most important ones are duality, revenge, and confusion. Meanwhile, the central theme of the tragedy is mourning. All of the themes are eternal: people faced these issues in the times of Shakespeare and we still encounter them in the present days. Therefore, it is not as hard as it may seem to choose a thesis on Hamlet. If you are creative enough, you can come up with an original and interesting thesis statement. All you need to do is to study the tragedy thoroughly to get your opinion regarding it.

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Your Hamlet thesis statement can be related to any of the major topics of the play, including mourning, duality, revenge, and others. Further in this article, you will find several good examples of thesis statements on Hamlet. You can use them as a guide to understand the point and create your own thesis statement.

Thesis Statement Samples

Example 1:The Theme of Revenge in Hamlet “Hamlet is a sorrowful hero who is madly looking for vengeance for his beloved father’s demise, murders everyone who stands on his way, and eventually manages to take revenge by killing King Claudius, the man who murdered his father.”
Example 2:The Theme of Tragedy in Hamlet

“Hamlet’s melancholy, blemish, bogus madness and inability to take action on his desire to seek vengeance for his father’s killing – it all result into his unavoidable but tragic collapse.”

Example 3:The Theme of Hunger for Power in Hamlet

“William Shakespeare, in his famous tragedy Hamlet, tells about Claudius – an antagonist and an egocentric man who is seeking power by all means. He murders his brother and marries Queen Gertrude, his brother’s widow to attain the power he desires so much.”

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What do you think about these thesis statements? Hopefully, they will help you understand how a good thesis on Hamlet should look like and come up with your own excellent statement! If you are creative and original, you will succeed with your paper.

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Jeffrey R. Wilson

Essays on hamlet.

Written as the author taught Hamlet every semester for a decade, these lightning essays ask big conceptual questions about the play with the urgency of a Shakespeare lover, and answer them with the rigor of a Shakespeare scholar. In doing so, Hamlet becomes a lens for life today, generating insights on everything from xenophobia, American fraternities, and religious fundamentalism to structural misogyny, suicide contagion, and toxic love.

Prioritizing close reading over historical context, these explorations are highly textual and highly theoretical, often philosophical, ethical, social, and political. Readers see King Hamlet as a pre-modern villain, King Claudius as a modern villain, and Prince Hamlet as a post-modern villain. Hamlet’s feigned madness becomes a window into failed insanity defenses in legal trials. He knows he’s being watched in “To be or not to be”: the soliloquy is a satire of philosophy. Horatio emerges as Shakespeare’s authorial avatar for meta-theatrical commentary, Fortinbras as the hero of the play. Fate becomes a viable concept for modern life, and honor a source of tragedy. The metaphor of music in the play makes Ophelia Hamlet’s instrument. Shakespeare, like the modern corporation, stands against sexism, yet perpetuates it unknowingly. We hear his thoughts on single parenting, sending children off to college, and the working class, plus his advice on acting and writing, and his claims to be the next Homer or Virgil. In the context of four centuries of Hamlet hate, we hear how the text draws audiences in, how it became so famous, and why it continues to captivate audiences.

At a time when the humanities are said to be in crisis, these essays are concrete examples of the mind-altering power of literature and literary studies, unravelling the ongoing implications of the English language’s most significant artistic object of the past millennium.

Publications



is a Suicide Text—It’s Time to Teach it Like One	?	: Divine Providence and Social Determinism

Why is Hamlet the most famous English artwork of the past millennium? Is it a sexist text? Why does Hamlet speak in prose? Why must he die? Does Hamlet depict revenge, or justice? How did the death of Shakespeare’s son, Hamnet, transform into a story about a son dealing with the death of a father? Did Shakespeare know Aristotle’s theory of tragedy? How did our literary icon, Shakespeare, see his literary icons, Homer and Virgil? Why is there so much comedy in Shakespeare’s greatest tragedy? Why is love a force of evil in the play? Did Shakespeare believe there’s a divinity that shapes our ends? How did he define virtue? What did he think about psychology? politics? philosophy? What was Shakespeare’s image of himself as an author? What can he, arguably the greatest writer of all time, teach us about our own writing? What was his theory of literature? Why do people like Hamlet ? How do the Hamlet haters of today compare to those of yesteryears? Is it dangerous for our children to read a play that’s all about suicide?

These are some of the questions asked in this book, a collection of essays on Shakespeare’s Hamlet stemming from my time teaching the play every semester in my Why Shakespeare? course at Harvard University. During this time, I saw a series of bright young minds from wildly diverse backgrounds find their footing in Hamlet, and it taught me a lot about how Shakespeare’s tragedy works, and why it remains with us in the modern world. Beyond ghosts, revenge, and tragedy, Hamlet is a play about being in college, being in love, gender, misogyny, friendship, theater, philosophy, theology, injustice, loss, comedy, depression, death, self-doubt, mental illness, white privilege, overbearing parents, existential angst, international politics, the classics, the afterlife, and the meaning of it all.

These essays grow from the central paradox of the play: it helps us understand the world we live in, yet we don't really understand the text itself very well. For all the attention given to Hamlet , there’s no consensus on the big questions—how it works, why it grips people so fiercely, what it’s about. These essays pose first-order questions about what happens in Hamlet and why, mobilizing answers for reflections on life, making the essays both highly textual and highly theoretical.

Each semester that I taught the play, I would write a new essay about Hamlet . They were meant to be models for students, the sort of essay that undergrads read and write – more rigorous than the puff pieces in the popular press, but riskier than the scholarship in most academic journals. While I later added scholarly outerwear, these pieces all began just like the essays I was assigning to students – as short close readings with a reader and a text and a desire to determine meaning when faced with a puzzling question or problem.

The turn from text to context in recent scholarly books about Hamlet is quizzical since we still don’t have a strong sense of, to quote the title of John Dover Wilson’s 1935 book, What Happens in Hamlet. Is the ghost real? Is Hamlet mad, or just faking? Why does he delay? These are the kinds of questions students love to ask, but they haven’t been – can’t be – answered by reading the play in the context of its sources (recently addressed in Laurie Johnson’s The Tain of Hamlet [2013]), its multiple texts (analyzed by Paul Menzer in The Hamlets [2008] and Zachary Lesser in Hamlet after Q1 [2015]), the Protestant reformation (the focus of Stephen Greenblatt’s Hamlet in Purgatory [2001] and John E. Curran, Jr.’s Hamlet, Protestantism, and the Mourning of Contingency [2006]), Renaissance humanism (see Rhodri Lewis, Hamlet and the Vision of Darkness [2017]), Elizabethan political theory (see Margreta de Grazia, Hamlet without Hamlet [2007]), the play’s reception history (see David Bevington, Murder Most Foul: Hamlet through the Ages [2011]), its appropriation by modern philosophers (covered in Simon Critchley and Jamieson Webster’s The Hamlet Doctrine [2013] and Andrew Cutrofello’s All for Nothing: Hamlet’s Negativity [2014]), or its recent global travels (addressed, for example, in Margaret Latvian’s Hamlet’s Arab Journey [2011] and Dominic Dromgoole’s Hamlet Globe to Globe [2017]).

Considering the context and afterlives of Hamlet is a worthy pursuit. I certainly consulted the above books for my essays, yet the confidence that comes from introducing context obscures the sharp panic we feel when confronting Shakespeare’s text itself. Even as the excellent recent book from Sonya Freeman Loftis, Allison Kellar, and Lisa Ulevich announces Hamlet has entered “an age of textual exhaustion,” there’s an odd tendency to avoid the text of Hamlet —to grasp for something more firm—when writing about it. There is a need to return to the text in a more immediate way to understand how Hamlet operates as a literary work, and how it can help us understand the world in which we live.

That latter goal, yes, clings nostalgically to the notion that literature can help us understand life. Questions about life send us to literature in search of answers. Those of us who love literature learn to ask and answer questions about it as we become professional literary scholars. But often our answers to the questions scholars ask of literature do not connect back up with the questions about life that sent us to literature in the first place—which are often philosophical, ethical, social, and political. Those first-order questions are diluted and avoided in the minutia of much scholarship, left unanswered. Thus, my goal was to pose questions about Hamlet with the urgency of a Shakespeare lover and to answer them with the rigor of a Shakespeare scholar.

In doing so, these essays challenge the conventional relationship between literature and theory. They pursue a kind of criticism where literature is not merely the recipient of philosophical ideas in the service of exegesis. Instead, the creative risks of literature provide exemplars to be theorized outward to help us understand on-going issues in life today. Beyond an occasion for the demonstration of existing theory, literature is a source for the creation of new theory.

Chapter One How Hamlet Works

Whether you love or hate Hamlet , you can acknowledge its massive popularity. So how does Hamlet work? How does it create audience enjoyment? Why is it so appealing, and to whom? Of all the available options, why Hamlet ? This chapter entertains three possible explanations for why the play is so popular in the modern world: the literary answer (as the English language’s best artwork about death—one of the very few universal human experiences in a modern world increasingly marked by cultural differences— Hamlet is timeless); the theatrical answer (with its mixture of tragedy and comedy, the role of Hamlet requires the best actor of each age, and the play’s popularity derives from the celebrity of its stars); and the philosophical answer (the play invites, encourages, facilitates, and sustains philosophical introspection and conversation from people who do not usually do such things, who find themselves doing those things with Hamlet , who sometimes feel embarrassed about doing those things, but who ultimately find the experience of having done them rewarding).

Chapter Two “It Started Like a Guilty Thing”: The Beginning of Hamlet and the Beginning of Modern Politics

King Hamlet is a tyrant and King Claudius a traitor but, because Shakespeare asked us to experience the events in Hamlet from the perspective of the young Prince Hamlet, we are much more inclined to detect and detest King Claudius’s political failings than King Hamlet’s. If so, then Shakespeare’s play Hamlet , so often seen as the birth of modern psychology, might also tell us a little bit about the beginnings of modern politics as well.

Chapter Three Horatio as Author: Storytelling and Stoic Tragedy

This chapter addresses Horatio’s emotionlessness in light of his role as a narrator, using this discussion to think about Shakespeare’s motives for writing tragedy in the wake of his son’s death. By rationalizing pain and suffering as tragedy, both Horatio and Shakespeare were able to avoid the self-destruction entailed in Hamlet’s emotional response to life’s hardships and injustices. Thus, the stoic Horatio, rather than the passionate Hamlet who repeatedly interrupts ‘The Mousetrap’, is the best authorial avatar for a Shakespeare who strategically wrote himself and his own voice out of his works. This argument then expands into a theory of ‘authorial catharsis’ and the suggestion that we can conceive of Shakespeare as a ‘poet of reason’ in contrast to a ‘poet of emotion’.

Chapter Four “To thine own self be true”: What Shakespeare Says about Sending Our Children Off to College

What does “To thine own self be true” actually mean? Be yourself? Don’t change who you are? Follow your own convictions? Don’t lie to yourself? This chapter argues that, if we understand meaning as intent, then “To thine own self be true” means, paradoxically, that “the self” does not exist. Or, more accurately, Shakespeare’s Hamlet implies that “the self” exists only as a rhetorical, philosophical, and psychological construct that we use to make sense of our experiences and actions in the world, not as anything real. If this is so, then this passage may offer us a way of thinking about Shakespeare as not just a playwright but also a moral philosopher, one who did his ethics in drama.

Chapter Five In Defense of Polonius

Your wife dies. You raise two children by yourself. You build a great career to provide for your family. You send your son off to college in another country, though you know he’s not ready. Now the prince wants to marry your daughter—that’s not easy to navigate. Then—get this—while you’re trying to save the queen’s life, the prince murders you. Your death destroys your kids. They die tragically. And what do you get for your efforts? Centuries of Shakespeare scholars dumping on you. If we see Polonius not through the eyes of his enemy, Prince Hamlet—the point of view Shakespeare’s play asks audiences to adopt—but in analogy to the common challenges of twenty-first-century parenting, Polonius is a single father struggling with work-life balance who sadly choses his career over his daughter’s well-being.

Chapter Six Sigma Alpha Elsinore: The Culture of Drunkenness in Shakespeare’s Hamlet

Claudius likes to party—a bit too much. He frequently binge drinks, is arguably an alcoholic, but not an aberration. Hamlet says Denmark is internationally known for heavy drinking. That’s what Shakespeare would have heard in the sixteenth century. By the seventeenth, English writers feared Denmark had taught their nation its drinking habits. Synthesizing criticism on alcoholism as an individual problem in Shakespeare’s texts and times with scholarship on national drinking habits in the early-modern age, this essay asks what the tragedy of alcoholism looks like when located not on the level of the individual, but on the level of a culture, as Shakespeare depicted in Hamlet. One window into these early-modern cultures of drunkenness is sociological studies of American college fraternities, especially the social-learning theories that explain how one person—one culture—teaches another its habits. For Claudius’s alcoholism is both culturally learned and culturally significant. And, as in fraternities, alcoholism in Hamlet is bound up with wealth, privilege, toxic masculinity, and tragedy. Thus, alcohol imagistically reappears in the vial of “cursed hebona,” Ophelia’s liquid death, and the poisoned cup in the final scene—moments that stand out in recent performances and adaptations with alcoholic Claudiuses and Gertrudes.

Chapter Seven Tragic Foundationalism

This chapter puts the modern philosopher Alain Badiou’s theory of foundationalism into dialogue with the early-modern playwright William Shakespeare’s play Hamlet . Doing so allows us to identify a new candidate for Hamlet’s traditionally hard-to-define hamartia – i.e., his “tragic mistake” – but it also allows us to consider the possibility of foundationalism as hamartia. Tragic foundationalism is the notion that fidelity to a single and substantive truth at the expense of an openness to evidence, reason, and change is an acute mistake which can lead to miscalculations of fact and virtue that create conflict and can end up in catastrophic destruction and the downfall of otherwise strong and noble people.

Chapter Eight “As a stranger give it welcome”: Shakespeare’s Advice for First-Year College Students

Encountering a new idea can be like meeting a strange person for the first time. Similarly, we dismiss new ideas before we get to know them. There is an answer to the problem of the human antipathy to strangeness in a somewhat strange place: a single line usually overlooked in William Shakespeare’s play Hamlet . If the ghost is “wondrous strange,” Hamlet says, invoking the ancient ethics of hospitality, “Therefore as a stranger give it welcome.” In this word, strange, and the social conventions attached to it, is both the instinctual, animalistic fear and aggression toward what is new and different (the problem) and a cultivated, humane response in hospitality and curiosity (the solution). Intellectual xenia is the answer to intellectual xenophobia.

Chapter Nine Parallels in Hamlet

Hamlet is more parallely than other texts. Fortinbras, Hamlet, and Laertes have their fathers murdered, then seek revenge. Brothers King Hamlet and King Claudius mirror brothers Old Norway and Old Fortinbras. Hamlet and Ophelia both lose their fathers, go mad, but there’s a method in their madness, and become suicidal. King Hamlet and Polonius are both domineering fathers. Hamlet and Polonius are both scholars, actors, verbose, pedantic, detectives using indirection, spying upon others, “by indirections find directions out." King Hamlet and King Claudius are both kings who are killed. Claudius using Rosencrantz and Guildenstern to spy on Hamlet mirrors Polonius using Reynaldo to spy on Laertes. Reynaldo and Hamlet both pretend to be something other than what they are in order to spy on and detect foes. Young Fortinbras and Prince Hamlet both have their forward momentum “arrest[ed].” Pyrrhus and Hamlet are son seeking revenge but paused a “neutral to his will.” The main plot of Hamlet reappears in the play-within-the-play. The Act I duel between King Hamlet and Old Fortinbras echoes in the Act V duel between Hamlet and Laertes. Claudius and Hamlet are both king killers. Sheesh—why are there so many dang parallels in Hamlet ? Is there some detectable reason why the story of Hamlet would call for the literary device of parallelism?

Chapter Ten Rosencrantz and Guildenstern: Why Hamlet Has Two Childhood Friends, Not Just One

Why have two of Hamlet’s childhood friends rather than just one? Do Rosencrantz and Guildenstern have individuated personalities? First of all, by increasing the number of friends who visit Hamlet, Shakespeare creates an atmosphere of being outnumbered, of multiple enemies encroaching upon Hamlet, of Hamlet feeling that the world is against him. Second, Rosencrantz and Guildenstern are not interchangeable, as commonly thought. Shakespeare gave each an individuated personality. Guildenstern is friendlier with Hamlet, and their friendship collapses, while Rosencrantz is more distant and devious—a frenemy.

Chapter Eleven Shakespeare on the Classics, Shakespeare as a Classic: A Reading of Aeneas’s Tale to Dido

Of all the stories Shakespeare might have chosen, why have Hamlet ask the players to recite Aeneas’ tale to Dido of Pyrrhus’s slaughter of Priam? In this story, which comes not from Homer’s Iliad but from Virgil’s Aeneid and had already been adapted for the Elizabethan stage in Christopher Marlowe’s The Tragedy of Dido, Pyrrhus – more commonly known as Neoptolemus, the son of the famous Greek warrior Achilles – savagely slays Priam, the king of the Trojans and the father of Paris, who killed Pyrrhus’s father, Achilles, who killed Paris’s brother, Hector, who killed Achilles’s comrade, Patroclus. Clearly, the theme of revenge at work in this story would have appealed to Shakespeare as he was writing what would become the greatest revenge tragedy of all time. Moreover, Aeneas’s tale to Dido supplied Shakespeare with all of the connections he sought to make at this crucial point in his play and his career – connections between himself and Marlowe, between the start of Hamlet and the end, between Prince Hamlet and King Claudius, between epic poetry and tragic drama, and between the classical literature Shakespeare was still reading hundreds of years later and his own potential as a classic who might (and would) be read hundreds of years into the future.

Chapter Twelve How Theater Works, according to Hamlet

According to Hamlet, people who are guilty of a crime will, when seeing that crime represented on stage, “proclaim [their] malefactions”—but that simply isn’t how theater works. Guilty people sit though shows that depict their crimes all the time without being prompted to public confession. Why did Shakespeare—a remarkably observant student of theater—write this demonstrably false theory of drama into his protagonist? And why did Shakespeare then write the plot of the play to affirm that obviously inaccurate vision of theater? For Claudius is indeed stirred to confession by the play-within-the-play. Perhaps Hamlet’s theory of people proclaiming malefactions upon seeing their crimes represented onstage is not as outlandish as it first appears. Perhaps four centuries of obsession with Hamlet is the English-speaking world proclaiming its malefactions upon seeing them represented dramatically.

Chapter Thirteen “To be, or not to be”: Shakespeare Against Philosophy

This chapter hazards a new reading of the most famous passage in Western literature: “To be, or not to be” from William Shakespeare’s Hamlet . With this line, Hamlet poses his personal struggle, a question of life and death, as a metaphysical problem, as a question of existence and nothingness. However, “To be, or not to be” is not what it seems to be. It seems to be a representation of tragic angst, yet a consideration of the context of the speech reveals that “To be, or not to be” is actually a satire of philosophy and Shakespeare’s representation of the theatricality of everyday life. In this chapter, a close reading of the context and meaning of this passage leads into an attempt to formulate a Shakespearean image of philosophy.

Chapter Fourteen Contagious Suicide in and Around Hamlet

As in society today, suicide is contagious in Hamlet , at least in the example of Ophelia, the only death by suicide in the play, because she only becomes suicidal after hearing Hamlet talk about his own suicidal thoughts in “To be, or not to be.” Just as there are media guidelines for reporting on suicide, there are better and worse ways of handling Hamlet . Careful suicide coverage can change public misperceptions and reduce suicide contagion. Is the same true for careful literary criticism and classroom discussion of suicide texts? How can teachers and literary critics reduce suicide contagion and increase help-seeking behavior?

Chapter Fifteen Is Hamlet a Sexist Text? Overt Misogyny vs. Unconscious Bias

Students and fans of Shakespeare’s Hamlet persistently ask a question scholars and critics of the play have not yet definitively answered: is it a sexist text? The author of this text has been described as everything from a male chauvinist pig to a trailblazing proto-feminist, but recent work on the science behind discrimination and prejudice offers a new, better vocabulary in the notion of unconscious bias. More pervasive and slippery than explicit bigotry, unconscious bias involves the subtle, often unintentional words and actions which indicate the presence of biases we may not be aware of, ones we may even fight against. The Shakespeare who wrote Hamlet exhibited an unconscious bias against women, I argue, even as he sought to critique the mistreatment of women in a patriarchal society. The evidence for this unconscious bias is not to be found in the misogynistic statements made by the characters in the play. It exists, instead, in the demonstrable preference Shakespeare showed for men over women when deciding where to deploy his literary talents. Thus, Shakespeare's Hamlet is a powerful literary example – one which speaks to, say, the modern corporation – showing that deliberate efforts for egalitarianism do not insulate one from the effects of structural inequalities that both stem from and create unconscious bias.

Chapter Sixteen Style and Purpose in Acting and Writing

Purpose and style are connected in academic writing. To answer the question of style ( How should we write academic papers? ) we must first answer the question of purpose ( Why do we write academic papers? ). We can answer these questions, I suggest, by turning to an unexpected style guide that’s more than 400 years old: the famous passage on “the purpose of playing” in William Shakespeare’s Hamlet . In both acting and writing, a high style often accompanies an expressive purpose attempting to impress an elite audience yet actually alienating intellectual people, while a low style and mimetic purpose effectively engage an intellectual audience.

Chapter Seventeen 13 Ways of Looking at a Ghost

Why doesn’t Gertrude see the Ghost of King Hamlet in Act III, even though Horatio, Bernardo, Francisco, Marcellus, and Prince Hamlet all saw it in Act I? It’s a bit embarrassing that Shakespeare scholars don’t have a widely agreed-upon consensus that explains this really basic question that puzzles a lot of people who read or see Hamlet .

Chapter Eighteen The Tragedy of Love in Hamlet

The word “love” appears 84 times in Shakespeare’s Hamlet . “Father” only appears 73 times, “play” 60, “think” 55, “mother” 46, “mad” 44, “soul” 40, “God" 39, “death” 38, “life” 34, “nothing” 28, “son” 26, “honor” 21, “spirit” 19, “kill” 18, “revenge” 14, and “action” 12. Love isn’t the first theme that comes to mind when we think of Hamlet , but is surprisingly prominent. But love is tragic in Hamlet . The bloody catastrophe at the end of that play is principally driven not by hatred or a longing for revenge, but by love.

Chapter Nineteen Ophelia’s Songs: Moral Agency, Manipulation, and the Metaphor of Music in Hamlet

This chapter reads Ophelia’s songs in Act IV of Shakespeare’s Hamlet in the context of the meaning of music established elsewhere in the play. While the songs are usually seen as a marker of Ophelia’s madness (as a result of the death of her father) or freedom (from the constraints of patriarchy), they come – when read in light of the metaphor of music as manipulation – to symbolize her role as a pawn in Hamlet’s efforts to deceive his family. Thus, music was Shakespeare’s platform for connecting Ophelia’s story to one of the central questions in Hamlet : Do we have control over our own actions (like the musician), or are we controlled by others (like the instrument)?

Chapter Twenty A Quantitative Study of Prose and Verse in Hamlet

Why does Hamlet have so much prose? Did Shakespeare deliberately shift from verse to prose to signal something to his audiences? How would actors have handled the shifts from verse to prose? Would audiences have detected shifts from verse to prose? Is there an overarching principle that governs Shakespeare’s decision to use prose—a coherent principle that says, “If X, then use prose?”

Chapter Twenty-One The Fortunes of Fate in Hamlet : Divine Providence and Social Determinism

In Hamlet , fate is attacked from both sides: “fortune” presents a world of random happenstance, “will” a theory of efficacious human action. On this backdrop, this essay considers—irrespective of what the characters say and believe—what the structure and imagery Shakespeare wrote into Hamlet say about the possibility that some version of fate is at work in the play. I contend the world of Hamlet is governed by neither fate nor fortune, nor even the Christianized version of fate called “providence.” Yet there is a modern, secular, disenchanted form of fate at work in Hamlet—what is sometimes called “social determinism”—which calls into question the freedom of the individual will. As such, Shakespeare’s Hamlet both commented on the transformation of pagan fate into Christian providence that happened in the centuries leading up to the play, and anticipated the further transformation of fate from a theological to a sociological idea, which occurred in the centuries following Hamlet .

Chapter Twenty-Two The Working Class in Hamlet

There’s a lot for working-class folks to hate about Hamlet —not just because it’s old, dusty, difficult to understand, crammed down our throats in school, and filled with frills, tights, and those weird lace neck thingies that are just socially awkward to think about. Peak Renaissance weirdness. Claustrophobicly cloistered inside the castle of Elsinore, quaintly angsty over royal family problems, Hamlet feels like the literary epitome of elitism. “Lawless resolutes” is how the Wittenberg scholar Horatio describes the soldiers who join Fortinbras’s army in exchange “for food.” The Prince Hamlet who has never worked a day in his life denigrates Polonius as a “fishmonger”: quite the insult for a royal advisor to be called a working man. And King Claudius complains of the simplicity of "the distracted multitude.” But, in Hamlet , Shakespeare juxtaposed the nobles’ denigrations of the working class as readily available metaphors for all-things-awful with the rather valuable behavior of working-class characters themselves. When allowed to represent themselves, the working class in Hamlet are characterized as makers of things—of material goods and services like ships, graves, and plays, but also of ethical and political virtues like security, education, justice, and democracy. Meanwhile, Elsinore has a bad case of affluenza, the make-believe disease invented by an American lawyer who argued that his client's social privilege was so great that it created an obliviousness to law. While social elites rot society through the twin corrosives of political corruption and scholarly detachment, the working class keeps the machine running. They build the ships, plays, and graves society needs to function, and monitor the nuts-and-bolts of the ideals—like education and justice—that we aspire to uphold.

Chapter Twenty-Three The Honor Code at Harvard and in Hamlet

Students at Harvard College are asked, when they first join the school and several times during their years there, to affirm their awareness of and commitment to the school’s honor code. But instead of “the foundation of our community” that it is at Harvard, honor is tragic in Hamlet —a source of anxiety, blunder, and catastrophe. As this chapter shows, looking at Hamlet from our place at Harvard can bring us to see what a tangled knot honor can be, and we can start to theorize the difference between heroic and tragic honor.

Chapter Twenty-Four The Meaning of Death in Shakespeare’s Hamlet

By connecting the ways characters live their lives in Hamlet to the ways they die – on-stage or off, poisoned or stabbed, etc. – Shakespeare symbolized hamartia in catastrophe. In advancing this argument, this chapter develops two supporting ideas. First, the dissemination of tragic necessity: Shakespeare distributed the Aristotelian notion of tragic necessity – a causal relationship between a character’s hamartia (fault or error) and the catastrophe at the end of the play – from the protagonist to the other characters, such that, in Hamlet , those who are guilty must die, and those who die are guilty. Second, the spectacularity of death: there exists in Hamlet a positive correlation between the severity of a character’s hamartia (error or flaw) and the “spectacularity” of his or her death – that is, the extent to which it is presented as a visible and visceral spectacle on-stage.

Chapter Twenty-Five Tragic Excess in Hamlet

In Hamlet , Shakespeare paralleled the situations of Hamlet, Laertes, and Fortinbras (the father of each is killed, and each then seeks revenge) to promote the virtue of moderation: Hamlet moves too slowly, Laertes too swiftly – and they both die at the end of the play – but Fortinbras represents a golden mean which marries the slowness of Hamlet with the swiftness of Laertes. As argued in this essay, Shakespeare endorsed the virtue of balance by allowing Fortinbras to be one of the very few survivors of the play. In other words, excess is tragic in Hamlet .

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Essays About Hamlet: Top 5 Examples and 10 Prompts

To write or not to write? To discover interesting topic ideas for your next essay, see below our round-up of helpful essays about Hamlet and writing topic prompts.

The tragedy of Hamlet , Prince of Denmark, is arguably the most famous work of William Shakespeare – or perhaps in the world of literature. A play revolving around love, betrayal, madness, and revenge, Hamlet is a masterpiece that opens with the murder of the King of Denmark. The ghost of the king will go on to appear before his son Hamlet throughout the play, seeking his help for vengeance by killing the new king, Hamlet’s uncle.

Written from 1600 to 1601 with five acts and published in a quarto edition, Hamlet has since been a beloved on the theatrical stages and modern film adaptations, becoming Shakespeare’s longest play and one of the most quoted in many art forms with its “To be or not to be” soliloquy.

Read on to see our essays and prompts about Hamlet.

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Top 5 Essay Examples

1. ”review: in a powerful ‘hamlet,’ a fragile prince faces his foes” by maya phillips, 2. “the concept of madness in hamlet by shakespeare” by cansu yağsız, 3. “analyzing the theme of religion in william shakespeare’s ‘hamlet’” by journey holm, 4. “ophelia, gender and madness” by ellaine showalter, 5. “the hamlet effect” by holly crocker, 1. the beginnings of hamlet, 2. was hamlet mad or not, 3. physicians’ diagnosis of hamlet, 4. feminism in the eyes of ophelia, 5. religion in hamlet, 6. oedipal complex in hamlet, 7. imageries in hamlet, 8. shakespeare’s language in hamlet, 9. an analysis of “to be or not to be” , 10. hamlet as a philosophical work.

“Hamlet” is one of the Shakespeare plays that most suffers from diminishing returns — adaptations that try too hard to innovate, to render a classic modern and hip.”

With the many theatrical adaptations of Hamlet, it may be a tall order for production companies to add new flairs to the play while being faithful to Shakespeare’s masterpiece. But Robert Icke, a theater director, stuns an audience with his production’s creative and technical genius, while Alex Lawther, his actor, offers a refreshing, charismatic portrayal of Hamlet.

“The cause of these three characters’ madness are trauma and unrequited love. They also have a spot in common: a devastating loss of someone significant in their lives… In my view, Shakespeare wrote about these characters’ madness almost like a professional about psychology, making the causes and consequences of their madness reasonable.”

Madness is the most apparent theme in Hamlet, affecting the main character, Hamlet, his love interest, Ophelia, and her brother, Laertes. The novel is most reflective of Shakespeare’s attraction to the concept of madness, as he was said to have personally studied its causes, including unrequited love, trauma from losses, and burnout.

“…I will argue that Hamlet’s hesitance to avenge his father’s death comes from something deeper than a meditation on another man’s life, a sort of faith. I will use three scenes in Shakespeare’s Hamlet to establish that the reason for Hamlet’s hesitance is religion and the fear of his own eternal damnation in hellfire.”

The essay builds on a pool of evidence to prove the religiousness of Hamlet. But, mainly, the author underscores that it is Hamlet’s religious reflections, not his alleged mental incapacity, that stifle him from performing his duty to his father and killing his murderer.

“Shakespeare gives us very little information from which to imagine a past for Ophelia… Yet Ophelia is the most represented of Shakespeare’s heroines in painting, literature and popular culture.”

The essay walks readers through the depictions of Ophelia in various stages and periods, particularly her sexuality. But the fascination for this heroine goes beyond the stage. Ophelia’s madness in the play has paved the way for constructive concepts on insanity among young women. She has also inspired many artists of the Pre-Rapahelite period and feminists to reimagine Hamlet through the lens of feminism.

“… [A]s the shame-and-troll cycle of Internet culture spins out of control, lives are ruined. Some of these lives are lesser, we might think, because they are racist, sexist, or just unbelievably stupid. Shakespeare’s Hamlet cautions us against espousing this attitude: it is not that we shouldn’t call out inane or wrong ideas… He errs, however, when he acts as if Polonius’s very life doesn’t matter.”

An English professor rethinks our present moral compass through the so-called “Hamlet Effect,” which pertains to how one loses moral standards when doing something righteous. Indeed, Hamlet’s desire for retribution for his father is justifiable. However, given his focus on his bigger, more heroic goal of revenge, he treats the lives of other characters as having no significance.

10 Writing Prompts For Essays About Hamlet

Essays About Hamlet written by Shakespeare

It is said that Shakespeare’s primary inspiration for Hamlet lies in the pages of François de Belleforest’s Histories Tragique, published in 1570 when Shakespeare was six years old. For your historical essay, determine the similarities between Belleforest’s book and Hamlet. Research other stories that have helped Shakespeare create this masterpiece.

Hamlet is the most fascinating of Shakespeare’s heroes for the complexity of his character, desire, and existential struggle. But is Hamlet sane or insane? That question has been at the center of debates in the literary world. To answer this, pore over Hamlet’s seven soliloquies and find lines that most reveal Hamlet’s conflicting thoughts and feelings.

Physicians have long mused over Hamlet’s characters like real people. They have even turned the cast into subjects of their psychiatric work but have come up with different diagnoses. For this prompt, dig deep into the ever-growing pool of psychoanalysis commentaries on Hamlet. Then, find out how these works affect future adaptations in theaters.

Throughout the play, Ophelia is depicted as submissive, bending to the whims of male characters in the play. In your essay, explain how Ophelia’s character reflects the perception and autonomy of women in the Elizabethan era when the play was created. You can go further by analyzing whether Shakespeare was a misogynist trapping his heroine into such a helpless character or a feminist exposing these realities.

Hamlet was written at a time London was actively practicing Protestantism, so it would be interesting to explore the religious theme in Hamlet to know how Shakespeare perceives the dominant religion in England in his time and Catholicism before the Reformation. First, identify the religions of the characters. Then, describe how their religious beliefs affected their decisions in the scenes.

Father of psychoanalysis Sigmund Freud proposes that Hamlet is hesitant to kill Claudius due to his Oedipus Complex, which grows with him in his adult years. An Oedipus Complex pertains to a male infant’s repressed desire to take possession of his mother from his father, who is viewed as a rival. First, write your analysis on whether you agree with Freud’s view. Then, gather evidence from passages of the play to agree or argue otherwise.

Hamlet in an “inky cloak” to signify his grief, a Denmark under Claudius linked to corruption and disease — these are just some imageries used in Hamlet. Find other imageries and explain how they achieved their dramatic effect on highlighting the moods of characters and scenes.

During Shakespeare’s time, playwrights are expected to follow the so-called Doctrine of Decorum which recognizes the hierarchy in society. So the gravediggers in Hamlet spoke in prose, as Hamlet does in his mad soliloquies. However, Shakespeare breaks this rule in Hamlet. Find dialogues where Shakespeare allowed Hamlet’s characters to be more distinct and flexible in language.

In the “To be or not to be” soliloquy, Hamlet contemplates suicide. Why do you think these lines continue to be relevant to this day even after centuries since Shakespeare? Answer this in your essay by elaborating on how Hamlet, through these lines, shares the suffering of the “whips and scorns of time” and our innate nature to endure.

In your essay, evaluate the famous philosophies that resound in Hamlet. For example, with the theme of suicide, Hamlet may echo the teachings of Seneca and the movement of Stoicism , who view suicide as freedom from life’s chains. One may also find traces of Albert Camus’s lessons from the Myth of Sisyphus, which tells of a human’s ability to endure.

Interested in learning more? Check out our essay writing tips . If you’re still stuck, check out our general resource of essay writing topics .

Literary Theory and Criticism

Home › Drama Criticism › Analysis of William Shakespeare’s Hamlet

Analysis of William Shakespeare’s Hamlet

By NASRULLAH MAMBROL on July 25, 2020 • ( 2 )

With Shakespeare the dramatic resolution conveys us, beyond the man-made sphere of poetic justice, toward the ever-receding horizons of cosmic irony. This is peculiarly the case with Hamlet , for the same reasons that it excites such intensive empathy from actors and readers, critics and writers alike. There may be other Shakespearean characters who are just as memorable, and other plots which are no less impressive; but nowhere else has the outlook of the individual in a dilemma been so profoundly realized; and a dilemma, by definition, is an all but unresolvable choice between evils. Rather than with calculation or casuistry, it should be met with virtue or readiness; sooner or later it will have to be grasped by one or the other of its horns. These, in their broadest terms, have been—for Hamlet, as we interpret him—the problem of what to believe and the problem of how to act.

—Harry Levin, The Question of Hamlet

Hamlet is almost certainly the world’s most famous play, featuring drama’s and literature’s most fascinating and complex character. The many-sided Hamlet—son, lover, intellectual, prince, warrior, and avenger—is the consummate test for each generation’s leading actors, and to be an era’s defining Hamlet is perhaps the greatest accolade one can earn in the theater. The play is no less a proving ground for the critic and scholar, as successive generations have refashioned Hamlet in their own image, while finding in it new resonances and entry points to plumb its depths, perplexities, and possibilities. No other play has been analyzed so extensively, nor has any play had a comparable impact on our culture. The brooding young man in black, skull in hand, has moved out of the theater and into our collective consciousness and cultural myths, joining only a handful of comparable literary archetypes—Oedipus, Faust, and Don Quixote—who embody core aspects of human nature and experience. “It is we ,” the romantic critic William Hazlitt observed, “who are Hamlet.”

Hamlet also commands a crucial, central place in William Shakespeare’s dramatic career. First performed around 1600, the play stands near the midpoint of the playwright’s two-decade career as a culmination and new departure. As the first of his great tragedies, Hamlet signals a decisive shift from the comedies and history plays that launched Shakespeare’s career to the tragedies of his maturity. Although unquestionably linked both to the plays that came before and followed, Hamlet is also markedly exceptional. At nearly 4,000 lines, almost twice the length of Macbeth , Hamlet is Shakespeare’s longest and, arguably, his most ambitious play with an enormous range of characters—from royals to gravediggers—and incidents, including court, bedroom, and graveyard scenes and a play within a play. Hamlet also bristles with a seemingly inexhaustible array of ideas and themes, as well as a radically new strategy for presenting them, most notably, in transforming soliloquies from expositional and motivational asides to the audience into the verbalization of consciousness itself. As Shakespearean scholar Stephen Greenblatt has asserted, “In its moral complexity, psychological depth, and philosophical power, Hamlet seems to mark an epochal shift not only in Shakespeare’s own career but in Western drama; it is as if the play were giving birth to a whole new kind of literary subjectivity.” Hamlet, more than any other play that preceded it, turns its action inward to dramatize an isolated, conflicted psyche struggling to cope with a world that has lost all certainty and consolation. Struggling to reconcile two contradictory identities—the heroic man of action and duty and the Christian man of conscience—Prince Hamlet becomes the modern archetype of the self-divided, alienated individual, desperately searching for self-understanding and meaning. Hamlet must contend with crushing doubt without the support of traditional beliefs that dictate and justify his actions. In describing the arrival of the fragmentation and chaos of the modern world, Victorian poet and critic Matthew Arnold declared that “the calm, cheerfulness, the disinterested objectivity have disappeared, the dialogue of the mind with itself has commenced.” Hamlet anticipates that dialogue by more than two centuries.

Like all of Shakespeare’s plays, Hamlet makes strikingly original uses of borrowed material. The Scandinavian folk tale of Amleth, a prince called upon to avenge his father’s murder by his uncle, was first given literary form by the Danish writer Saxo the Grammarian in his late 12th century Danish History and later adapted in French in François de Belleforest’s Histoires tragiques (1570). This early version of the Hamlet story provided Shakespeare with the basic characters and relationships but without the ghost or the revenger’s uncertainty. In the story of Amleth there is neither doubt about the usurper’s guilt nor any moral qualms in the fulfillment of the avenger’s mission. In preChristian Denmark blood vengeance was a sanctioned filial obligation, not a potentially damnable moral or religious violation, and Amleth successfully accomplishes his duty by setting fire to the royal hall, killing his uncle, and proclaiming himself king of Denmark. Shakespeare’s more immediate source may have been a nowlost English play (c. 1589) that scholars call the Ur – Hamlet. All that has survived concerning this play are a printed reference to a ghost who cried “Hamlet, revenge!” and criticism of the play’s stale bombast. Scholars have attributed the Ur-Hamle t to playwright Thomas Kyd, whose greatest success was The Spanish Tragedy (1592), one of the earliest extant English tragedies. The Spanish Tragedy popularized the genre of the revenge tragedy, derived from Aeschylus’s Oresteia and the Latin plays of Seneca, to which Hamlet belongs. Kyd’s play also features elements that Shakespeare echoes in Hamlet, including a secret crime, an impatient ghost demanding revenge, a protagonist tormented by uncertainty who feigns madness, a woman who actually goes mad, a play within a play, and a final bloodbath that includes the death of the avenger himself. An even more immediate possible source for Hamlet is John Marston’s Antonio’s Revenge (1599), another story of vengeance on a usurper by a sensitive protagonist.

Whether comparing Hamlet to its earliest source or the handling of the revenge plot by Kyd, Marston, or other Elizabethan or Jacobean playwrights, what stands out is the originality and complexity of Shakespeare’s treatment, in his making radically new and profound uses of established stage conventions. Hamlet converts its sensational material—a vengeful ghost, a murder mystery, madness, a heartbroken maiden, a fistfight at her burial, and a climactic duel that results in four deaths—into a daring exploration of mortality, morality, perception, and core existential truths. Shakespeare put mystery, intrigue, and sensation to the service of a complex, profound epistemological drama. The critic Maynard Mack in an influential essay, “The World of Hamlet ,” has usefully identified the play’s “interrogative mode.” From the play’s opening words—“Who’s there?”—to “What is this quintessence of dust?” through drama’s most famous soliloquy—“To be, or not to be, that is the question.”— Hamlet “reverberates with questions, anguished, meditative, alarmed.” The problematic nature of reality and the gap between truth and appearance stand behind the play’s conflicts, complicating Hamlet’s search for answers and his fulfillment of his role as avenger.

Hamlet opens with startling evidence that “something is rotten in the state of Denmark.” The ghost of Hamlet’s father, King Hamlet, has been seen in Elsinore, now ruled by his brother, Claudius, who has quickly married his widowed queen, Gertrude. When first seen, Hamlet is aloof and skeptical of Claudius’s justifications for his actions on behalf of restoring order in the state. Hamlet is morbidly and suicidally disillusioned by the realization of mortality and the baseness of human nature prompted by the sudden death of his father and his mother’s hasty, and in Hamlet’s view, incestuous remarriage to her brother-in-law:

O that this too too solid flesh would melt, Thaw, and resolve itself into a dew! Or that the Everlasting had not fix’d His canon ’gainst self-slaughter! O God! God! How weary, stale, flat, and unprofitable Seem to me all the uses of this world! Fie on’t! ah, fie! ’Tis an unweeded garden That grows to seed; things rank and gross in nature Possess it merely. That it should come to this!

A recent student at the University of Wittenberg, whose alumni included Martin Luther and the fictional Doctor Faustus, Hamlet is an intellectual of the Protestant Reformation, who, like Luther and Faustus, tests orthodoxy while struggling to formulate a core philosophy. Brought to encounter the apparent ghost of his father, Hamlet alone hears the ghost’s words that he was murdered by Claudius and is compelled out of his suicidal despair by his pledge of revenge. However, despite the riveting presence of the ghost, Hamlet is tormented by doubts. Is the ghost truly his father’s spirit or a devilish apparition tempting Hamlet to his damnation? Is Claudius truly his father’s murderer? By taking revenge does Hamlet do right or wrong? Despite swearing vengeance, Hamlet delays for two months before taking any action, feigning madness better to learn for himself the truth about Claudius’s guilt. Hamlet’s strange behavior causes Claudius’s counter-investigation to assess Hamlet’s mental state. School friends—Rosencrantz and Guildenstern—are summoned to learn what they can; Polonius, convinced that Hamlet’s is a madness of love for his daughter Ophelia, stages an encounter between the lovers that can be observed by Claudius. The court world at Elsinore, is, therefore, ruled by trickery, deception, role playing, and disguise, and the so-called problem of Hamlet, of his delay in acting, is directly related to his uncertainty in knowing the truth. Moreover, the suspicion of his father’s murder and his mother’s sexual betrayal shatter Hamlet’s conception of the world and his responsibility in it. Pushed back to the suicidal despair of the play’s opening, Hamlet is paralyzed by indecision and ambiguity in which even death is problematic, as he explains in the famous “To be or not to be” soliloquy in the third act:

For who would bear the whips and scorns of time, Th’ oppressor’s wrong, the proud man’s contumely, The pangs of despis’d love, the law’s delay, The insolence of office, and the spurns That patient merit of th’ unworthy takes, When he himself might his quietus make With a bare bodkin? Who would these fardels bear, To grunt and sweat under a weary life, But that the dread of something after death— The undiscover’d country, from whose bourn No traveller returns—puzzles the will, And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o’er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry And lose the name of action.

The arrival of a traveling theatrical group provides Hamlet with the empirical means to resolve his doubts about the authenticity of the ghost and Claudius’s guilt. By having the troupe perform the Mousetrap play that duplicates Claudius’s crime, Hamlet hopes “to catch the conscience of the King” by observing Claudius’s reaction. The king’s breakdown during the performance seems to confirm the ghost’s accusation, but again Hamlet delays taking action when he accidentally comes upon the guilt-ridden Claudius alone at his prayers. Rationalizing that killing the apparently penitent Claudius will send him to heaven and not to hell, Hamlet decides to await an opportunity “That has no relish of salvation in’t.” He goes instead to his mother’s room where Polonius is hidden in another attempt to learn Hamlet’s mind and intentions. This scene between mother and son, one of the most powerful and intense in all of Shakespeare, has supported the Freudian interpretation of Hamlet’s dilemma in which he is stricken not by moral qualms but by Oedipal guilt. Gertrude’s cries of protest over her son’s accusations cause Polonius to stir, and Hamlet finally, instinctively strikes the figure he assumes is Claudius. In killing the wrong man Hamlet sets in motion the play’s catastrophes, including the madness and suicide of Ophelia, overwhelmed by the realization that her lover has killed her father, and the fatal encounter with Laertes who is now similarly driven to avenge a murdered father. Convinced of her son’s madness, Gertrude informs Claudius of Polonius’s murder, prompting Claudius to alter his order for Hamlet’s exile to England to his execution there.

Hamlet’s mental shift from reluctant to willing avenger takes place offstage during his voyage to England in which he accidentally discovers the execution order and then after a pirate attack on his ship makes his way back to Denmark. He returns to confront the inescapable human condition of mortality in the graveyard scene of act 5 in which he realizes that even Alexander the Great must return to earth that might be used to “stop a beer-barrel” and Julius Caesar’s clay to “stop a hole to keep the wind away.” This sobering realization that levels all earthly distinctions of nobility and acclaim is compounded by the shock of Ophelia’s funeral procession. Hamlet sustains his balance and purpose by confessing to Horatio his acceptance of a providential will revealed to him in the series of accidents on his voyage to England: “There’s a divinity that shapes our ends, / Roughhew them how we will.” Finally accepting his inability to control his life, Hamlet resigns himself to accept whatever comes. Agreeing to a duel with Laertes that Claudius has devised to eliminate his nephew, Hamlet asserts that “There’s a special providence in the fall of a sparrow. If it be now, ’tis not to come. If it be not to come, it will be now. If it be not now, yet it will come. The readiness is all.”

In the carnage of the play’s final scene, Hamlet ironically manages to achieve his revenge while still preserving his nobility and moral stature. It is the murderer Claudius who is directly or indirectly responsible for all the deaths. Armed with a poisonedtip sword, Laertes strikes Hamlet who in turn manages to slay Laertes with the lethal weapon. Meanwhile, Gertrude drinks from the poisoned cup Claudius intended to insure Hamlet’s death, and, after the remorseful Laertes blames Claudius for the plot, Hamlet, hesitating no longer, fatally stabs the king. Dying in the arms of Horatio, Hamlet orders his friend to “report me and my cause aright / To the unsatisfied” and transfers the reign of Denmark to the last royal left standing, the Norwegian prince Fortinbras. King Hamlet’s death has been avenged but at a cost of eight lives: Polonius, Ophelia, Rosencranz, Guildenstern, Laertes, Gertrude, Claudius, and Prince Hamlet. Order is reestablished but only by Denmark’s sworn enemy. Shakespeare’s point seems unmistakable: Honor and duty that command revenge consume the guilty and the innocent alike. Heroism must face the reality of the graveyard.

Fortinbras closes the play by ordering that Hamlet be carried off “like a soldier” to be given a military funeral underscoring the point that Hamlet has fallen as a warrior on a battlefield of both the duplicitous court at Elsinore and his own mind. The greatness of Hamlet rests in the extraordinary perplexities Shakespeare has discovered both in his title character and in the events of the play. Few other dramas have posed so many or such knotty problems of human existence. Is there a special providence in the fall of a sparrow? What is this quintessence of dust? To be or not to be?

Hamlet Oxford Lecture by Emma Smith

Analysis of William Shakespeare’s Plays

Hamlet Character Analysis

Categories: Hamlet

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Table of Contents

What is a Hamlet Essay?

A Hamlet essay is an analytical piece that delves into the themes, characters, plot, motifs, or historical context of William Shakespeare’s iconic tragedy, “Hamlet”. This play, often touted as one of the greatest pieces of literature ever written, is rife with profound topics and subtle nuances. When writing an essay on “Hamlet”, students explore these intricacies, shedding light on the play’s enduring relevance and its multifaceted layers.

Choosing the Right Topic for Your Hamlet Essay: A Quick Guide

In choosing a Hamlet essay topic, consider what aspect of the play intrigues you the most. Is it the psychological torment of Hamlet, the play’s exploration of existentialism, or perhaps its political undertones? Reflect on the themes that resonate with you. Review the play and take notes on pivotal scenes or dialogues. Your passion will come through in your writing, making your essay more engaging. Moreover, ensure your topic is not too broad; narrowing it down will allow for a deeper analysis.

Hamlet Essay Topics to Spark Your Imagination

Character analysis.

Hamlet : A Study in Paralysis and Procrastination
Ophelia’s Descent into Madness
The Dual Nature of King Claudius
Gertrude: Victim or Villain?
Horatio: Hamlet’s Constant in a Chaotic World

Thematic Concerns

The Play Within the Play: Exploring Metatheatre in Hamlet
Madness vs. Sanity: A Thin Line in Elsinore
Revenge and Its Consuming Nature
Death and Decay: Imagery and Symbolism
Betrayal and Loyalty: Conflicting Values

Symbolism and Motifs

The Significance of Yorick’s Skull
The Poisoned Sword and Cup: Instruments of Fate
The Role of the Ghost in Driving the Plot
Flowers in Ophelia’s Hands: More Than Just Bloom
The Omnipresent Notion of Eavesdropping

Historical and Contextual Analysis

Elizabethan Beliefs About Madness as Reflected in Hamlet
Hamlet and the Renaissance Man
The Influence of Greek Tragedy on “Hamlet”
Political Strife and Its Reflection in Elsinore
“Hamlet” in the Lens of Protestant Reformation

Comparative Studies

“Hamlet” and “Oedipus Rex”: Tragedies of Fate
The Role of Women in “Hamlet” vs. “Macbeth”
How Film Adaptations Have Interpreted Hamlet’s Soliloquies
Modern Interpretations of “Hamlet” in Popular Culture
“Hamlet” and “Lion King”: From Denmark to Pride Rock

Character Exploration

Hamlet : The Complexity of His Avenging Mission
Ophelia: Between Love and Loyalty
The True Intentions of Rosencrantz and Guildenstern
Laertes: The Counterpart to Hamlet’s Revenge Quest
Polonius: The Manipulative Councilor

Themes and Philosophical Inquiries

The Ubiquity of Death in “Hamlet”
Exploring Existentialism in Hamlet’s Soliloquies
The Consequences of Deception and Secrets
The Tragedy of Miscommunication in Elsinore
Corruption and Moral Degradation in the Danish Court

Symbolism and Literary Devices

The Role of Ghosts in Elizabethan Drama and “Hamlet”
The Significance of the Play-within-a-Play Scene
The Use of Mirrors and Reflections in Character Dynamics
Gardens as Symbols of Decay and Corruption
The Sea and its Symbolic Representations

Structural Analysis

The Role and Impact of Soliloquies in “Hamlet”
The Use of Foreshadowing in the Tragedy’s Climax
The Dramatic Ironies that Pervade the Play
The Significance of Off-Stage Actions in “Hamlet”
The Role of Acts and Scenes in Pacing the Drama

Comparative Analyses

Contrasting “Hamlet” with Other Shakespearean Tragedies
“Hamlet” and “Othello”: Exploring Jealousy and Betrayal
A Comparative Study of “Hamlet” and its Sources
The Transformation of the “Hamlet” Story Through Time
“Hamlet” vs. “Romeo and Juliet”: Love in the Midst of Tragedy

Modern Interpretations and Adaptations

“Hamlet” in Today’s Pop Culture References
Cinematic Interpretations of “Hamlet”: From Olivier to Branagh
“Hamlet” in Non-English Theater: A Global Perspective
Updating “Hamlet”: The Challenges and Rewards
The Influence of “Hamlet” on Modern Dramatic Writing

Feminist Perspectives

The Role and Representation of Women in “Hamlet”
Gertrude: Passive Queen or Calculative Player?
Ophelia’s Voice and Silence: A Feminist Reading
The Paternal Controls Over Ophelia and Gertrude
Women’s Agency in “Hamlet”: A Critical Exploration

Historical and Contextual Insights

The Influence of Shakespeare’s Life Events on “Hamlet”
“Hamlet” and the Elizabethan Worldview on Ghosts and the Supernatural
Political Undertones in “Hamlet”: The State of Denmark
Elizabethan Theater and its Reflection in “Hamlet”
“Hamlet” and the Reflection of Renaissance Humanism

Psychological Angles

Hamlet’s Oedipal Complex Explored
The Mental State of Characters: Who’s Truly Mad?
The Psychological Effects of Grief and Loss in “Hamlet”
Fear, Paranoia, and Suspicion: A Psychological Dive into Elsinore’s Inhabitants
Analyzing “Hamlet” Through the Lens of Freudian Psychoanalysis

Miscellaneous Topics

The Role of Fate vs. Free Will in “Hamlet”
The Ethical Implications of Revenge in “Hamlet”
Exploring Religion and Morality in “Hamlet”
The Concept of Honor in “Hamlet”
The Nature of True Friendship in the Play

Narrative Techniques and Structure

The Role of the Chorus in “Hamlet”: Absence and Implication
Non-linear Storytelling in “Hamlet”: Flashbacks and Memories
The Significance of Interludes and Their Impact on the Main Plot
Parallel Plots in “Hamlet”: Subplots and Their Relation to the Central Narrative

Cultural Perspectives

“Hamlet” from an Eastern Philosophical Perspective
“Hamlet” in the Context of African Oral Traditions
Exploring “Hamlet” from a Postcolonial Point of View
The Play’s Universality: Why “Hamlet” Resonates Globally

Philosophical and Ethical Discussions

“To Be or Not To Be”: Hamlet’s Exploration of Nihilism
The Dichotomy of Action vs. Inaction in “Hamlet”
Ethical Ambiguities: Is Hamlet Justified in His Actions?
Determinism and Free Will in “Hamlet”

Performance and Stagecraft

The Evolution of “Hamlet” Stage Productions Over the Centuries
Modern Theatrical Interpretations of “Hamlet” and their Relevance
Challenges of Portraying Hamlet: An Actor’s Perspective
The Role of Stage Directions in Shaping “Hamlet’s” Performances

Secondary Characters and Their Significance

Fortinbras: The Silent Counterpart to Hamlet
Gravediggers in “Hamlet”: Humor Amidst Tragedy
Osric: A Reflection of Elsinore’s Decaying Morality
Marcellus and Bernardo: The Unsung Heroes of Elsinore

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Useful References

William Shakespeare’s Hamlet – Full Text
Royal Shakespeare Company’s Guide to Hamlet
Shakespeare Online: Hamlet Essays
BBC’s In-Depth Look at Hamlet

Introduction

Hamlet is a tragic play written by William Shakespeare somewhat in 1599. The exact date of publication is unknown, however, many believe that it was published between 1601 and 1603. The play is set in Denmark.

Hamlet by William Shakespeare Summary

All of Hamlet’s doubts and suspicions are confirmed when his father’s ghost visits the Castle and complains that because he is murdered, he is unable to rest in peace. Moreover, the ghost claims that Claudius had poured poison in the ear of King Hamlet when he was sleeping causing his death. The king’s ghost, impotent to confess and find redemption, is now condemned to pass his days in despair and walk on earth at night. He persuades and begs his son Hamlet to take revenge from Claudius, however, he asks to spare Gertrude and let her fate decided by heaven.

Laertes, before he dies, made another confession to Hamlet of his part in the plot and tell him the Claudius is responsible for Gertrude’s death. Enraged Hamlet stabs the poisoned sword into Claudius and pours the remaining poisoned wine into Claudius’ throat.

Themes in Hamlet

Political livelihood, hamlet characters analysis.

She is the Queen of Denmark and also the wife of deceased King Hamlet. She immediately remarries to Claudius, brother of King Hamlet.

She is the daughter of Polonius, sister of Laertes and Hamlet’s beloved. She commits suicide after her father’s death.

Rosencrantz and Guildenstern

He is King of Norway, who vows to avenge his father’s death who was killed by the Danes’ hands.

Voltimand and Cornelius

Marcellus and barnardo.

They are Danish officers who guard the castle of Elsinore.

Hamlet Literary Analysis

Hamlet Essays

I. Introduction Hamlet is a tragedy by William Shakespeare, probably written in 1600 or 1601. It is often considered his supreme achievement, and one of the world’s greatest tragedies. Considered as one of the greatest of Shakespeare’s tragedies, Hamlet is also one of the best-known plays in world...

1 111 words

Grammaticus The problems related to the origin and sources of Hamlet are no less contentious and inconclusive than the philosophical, moral and structural problems traditionally associated with the play. The present day iconic status of Shakespeare’s ‘Hamlet’ often obscures the...

2 875 words

Q1) The character of Claudius can be recognized as the major antagonist in the play. Traits such as being cleverly evil, lustful, and conniving were the factors that won him the crown as the King of Denmark. As a king, Claudius focused on protecting his throne from being relinquished from him. He...

1 028 words

Shakespeare's characterization of Gertrude and Ophelia in Hamlet is paradoxical as it challenges as well as complements the contemporary social traditions and norms. Gertrude is the best example of this paradox that is manifested through her extraordinary supremacy over all the major characters of...

Hamlet is a character with whom most of us could relate not only because of his imperfections but also because of his insecurities. He is imperfect, he has his insecurities, but what is most remarkable in him is his goodness of heart which makes it very difficult for him to think ill of other...

1 569 words

I) Introduction A. Hamlet is the direct cause of the tragedy i. Charnes; “Hamlet Without Hamlet.” II) First appearance of Hamlet A. Hamlet’s lack of a sense of purpose B. Hamlet’s attempt to relieve his melancholy i. Udo and Fels; "’Suit the Action to the Word, the Word to the Action’: An...

1 780 words

Isabella is a woman with a seemingly over pious regard to herself and her virginity, placing the same over an individual’s life and liberty. This is made evident in her statement “Then, Isabel, live chaste, and, brother, die: More than our brother is our chastity (Measure for measure...

William Shakespeare is perhaps best known for being the father of plays. Of all playwrights, none can compare to Shakespeare’s style, creativity, and wit. A great example would be Hamlet which could perhaps be viewed as the best of all his plays. The lines of the play have been remembered in the...

2 243 words

Introduction When discussing “Hamlet”, whether in casual company, stage production or academic study, the conversation can quite literally go in a million different directions. Widely regarded as Shakepeare’s most complex play, Hamlet can in fact be deeply examined and extensively interpreted...

Aristotle has written numerous treatises about a variety of topics, one of which is his treatise on Poetics. In this treatise he discusses poetry and the construction of epics, but the treatise focuses heavily on the creation and the definition of a tragedy, especially on the development of the...

1 644 words

There are a number of reasons why Hamlet has remained a classic and one of these reasons is because of the great characterization that Shakespeare uses in the creation of his characters. It is because of these characters that the play comes alive and the reason why the audience is able to laugh...

It is chiefly character that is responsible for the tragic fate of the hero, but a Shakespearean tragedy also arouses a feeling that there is a mysterious power in this universe, whom we may call Fate or Destiny or Providence that operates in the universe and is responsible for the manner in which...

1 869 words

1. Hamlet, one of William Shakespeare’s greatest tragedies possesses an intense environment of uncertainty. This sense of “uncertainty” is governed primarily by the indecision and hesitation demonstrated by the protagonist, Hamlet, the prince of Denmark. He is always in two minds and cannot seem...

William Shakespeare once said that “action is eloquence”. Hamlet finds it easy to make a choice to avenge his father’s death, but is unable to execute this choice. Hamlet’s choices and inconsistencies in carrying them out is what will lead to multiple tragedies and ultimately, his redemption...

The 1996 film version of Hamlet directed and starred in by Kenneth Branagh in the title role is a faithful adaptation of William Shakespeare’s famous play. The exposition of the plot occupies the first few minutes of the story. It begins with the appearance of a ghost to the castle guards. This...

Hamlet is a well known character in the body of works of Shakespeare. The soliloquy signifies the derailed and arguments of a wearied soul trying to explain life and the consequences of hardships of thoughts' impacts on decision makings throughout life which end with the beginning of death and the...

1 276 words

Introduction In order to understand the role of the rites in Hamlet, one must conceptualize the ritual. The rites in Hamlet concern mainly marriage, mourning and funeral. It is crucial to distinguish their specific nature to detect how they participate in the tragedy. Arnold van Gennep identified...

2 602 words

The first soliloquy of Hamlet occurs (act I, scene ii, lines 129-59) after the King and the Queen have urged Hamlet in the open court to cast off the deep melancholy which, as they think, has taken possession of him as a consequence of his father’s death. In this soliloquy, Hamlet reveals the...

1 472 words

Introduction Every emotion and feeling of human beings is captured by literary works such as stories, novels and poems. The characters, plot and themes in the stories and novels bring forth the varied emotions experienced by human beings. Two such stories which focus on the feelings and emotions...

This student owes a great deal of intellectual debt to Louise Cowans thanks in great part to the theoretical criticism the author expressed in her introduction to The Comic Terrain. An example of the brilliance of her critical theory is found in an extended quotation from the work’s introduction...

2 026 words

The dilemma about the intrinsical meaning of the story about the Prince of Denmark is a perturbing issue of discussion. Question about whether Hamlet feels affection to Ophelia is still not answered because the author uses various evasive situations when readers get more and more confused. Those...

The significant tragedy “Hamlet” violates the eternal problems. Those problems are connected with the contradiction between action and ideal, the role of personality in the history of humanity, the meaning of the life of each person, with justice, revenge, betrayal, love, friendship...

Hamlet’s different perspectives of death Death is perceived as different things according to different people. In William Shakespeare’s play “Hamlet,” the title character, Hamlet openly expresses his opinion of death through the various acts he commits and the things he says...

Shakespeare’s early 17th century revenge tragedy “Hamlet” is shaped by our understanding that knowledge of its contextual milieu develops an appreciation for the play’s timeless resonance. We also recognize the play’s textual integrity allows Shakespeare to explore...

Both Hamlet and Frankenstein deal with the concept of revenge. In a well-organized essay discuss the importance of revenge as a central theme in either Frankenstein OR Hamlet . Avoid mere plot summary. You must provide strong textual references to support your ideas. The revenge theme came in both...

“THE DEAD AMONGST THE LIVING” IN HAMLET AND FRANKENSTEIN William Shakespeare’s play Hamlet and Mary Shelley’s novel Frankenstein are challenging literary works that both have the same theme about the dead amongst the living. Both protagonists Hamlet and Victor Frankenstein...

2 140 words

Female voices in classic literature are rarely allowed to be heard as they should, especially in a society like Shakespeare’s, where women are expected to make children and hot meals and not much more than that. While Shakespeare does take drastic steps forward in allowing such prominent...

Harold Bloom says the genius of Shakespeare is that “Characters develop rather than unfold, and they develop because they reconceive themselves” (The Invention of the Human XVII). Shakespeare’s tragedy Hamlet, shows the development of Hamlet within the land of Denmark. Hamlet...

1 420 words

English 30-1 Hamlet Personal Response March 21 2013 Final Draft Interior Monologue My uncle is dead. Along with everyone else I love and the people they care about. My mother Gertrude, Ophelia, Laertes, and their father Polonius. Dead and gone to heaven forever. I finally killed Claudius! He has...

Hamlet: Response To Literature Taking place in Elsinore, Denmark Hamlet by Williams Shakespeare is a remarkable play where love and madness co-exist in an all-out war between family and friends. For many years, literature scholars have viewed Hamlet’s themes in many ways and forms. I intend...

Hamlet William Shakespeare

Hamlet essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Hamlet by William Shakespeare.

Hamlet Material

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Hamlet Essays

Appearance vs reality in hamlet anonymous 12th grade.

There is often an indistinctive discrepancy between actuality and what tends to be an illusion of actuality. This concept of deception is often captured by many authors, who establish characters and implement facades that hide their true...

Through Rose Colored Glasses: How the Victorian Age Shifted the Focus of Hamlet Rebecca Rendell

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 164-169) Though...

Q to F7: Mate; Hamlet's Emotions, Actions, and Importance in the Nunnery Scene Rebecca Rendell

"Like sweet bells jangled, out of time and harsh" Hamlet's trust is betrayed by the people who are dearest to his heart (III.i.87). The theme of betrayal takes root before the Shakespeare's tragedy begins, when Hamlet's uncle murders his father...

Before the Storm Rebecca Rendell

When Hamlet sees Fortinbras' army headed for combat in Poland he is moved to deliver a striking monologue about the battle raging in his soul. Passion and anger drive Hamlet to avenge his father's murder at any cost, while logic and reason turn...

Haunted: Hamlet's Relationship With His Dead Father Tommy Stevenson

William Shakespeare's Hamlet, a story grounded in worldly issues like morality, justice, and retribution, begins in a very otherworldly way: the appearance of a ghost desiring vengeance from beyond the grave. The supernatural confrontation between...

Heliocentric Hamlet: The Astronomy of Hamlet Theoderek Wayne

If imagination is the lifeblood of literature, then each new scientific advance which extends our scope of the universe is as fruitful to the poet as to the astronomer. External and environmental change stimulates internal and personal tropes for...

Paralytic Prince: Hamlet's "Thought" Complex Theoderek Wayne

"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. If't be so,

Hamlet is of the faction that is wrong'd;

His madness is poor Hamlet's enemy."

"I Have Seen Nothing": Hamlet and His Home Eddie Borey

Hamlet begins at the open mouth of the Void. Barnardo and Francisco call out to each other and into darkness; they stand atop a guard platform that is naked to the open air and to the night. Every character's entrance is marked by a series of...

The Corruption in Hamlet Allison Masters

Central to the plot and the themes developed in Shakespeare's Hamlet, are the varying elements of corruption which occur during the play. This is echoed in Marcellus' famous comment of 'Something is rotten in the state of Denmark,' when Hamlet is...

Hamlet's Obsession With Death Marie Moulin

In the play Hamlet by William Shakespeare, the author presents the main character of Hamlet as a man who is obsessed with death. Shakespeare uses this obsession to explore both Hamlet's desire for revenge and his need for certainty. In the...

Hamlet's Frustration with Himself: "A Rogue And Peasant Slave" David Sauvage

In order to understand Hamlet, we must understand his frustration. This frustration is most clear in his famous monologue, famously beginning with the line "Oh what a rogue and peasant slave am I."

This self-condemnation is contrasted by his...

"Pray God Restore Him": The Importance of the Origin of the First Quarto of Hamlet David Sauvage

Ofel: Alas, what a change is this?

Ham: But if thou wilt needes marry, marry a foole,

For wisemen know well enough,

What monsters you make of them, to a Nunnery goe.

Ofel: Pray God restore him.

Ham: Nay, I have heard of your painting too,

God hath giuen...

Hamlet's Problematic "Celestial Bed" David Sauvage

To understand Hamlet's insecurities, we must understand Ophelia's point of view. It is she who makes him most uncomfortable over the course of the play, and it is her rejection of him that drives Hamlet closer to insanity. Her reasons for this...

"He's Depressed": The Implications of Hamlet, II.ii.278-292 Alex Hoffer

In his famous speech, "I have of late, but wherefore I know not, lost all my mirth[...]" (II.ii.280), Hamlet illustrates an Elizabethan fusion of medieval and humanist ideas, perhaps lost on Rosencrantz and Guildenstern but not on E.M.W. Tillyard....

A Play of Espionage and War Joshua V. Rohe

"It is not the object of war to annihilate those who have given provocation for it, but to cause them to mend their ways; not to ruin the innocent and guilty alike, but to save both" (Polybius). From the start of man's political awareness, war has...

In Violence, the Rest is Silence Sara Liss

Location is everything. The setting of Shakespeare's Hamlet, the royal court, functions as more than the backdrop to the drama. On the contrary, embedded within the play is the implicit significance of its environment. Court society, with its...

The Interpretive Effects of an Affecting Interpretation Sara Liss

"For there is nothing either good or bad but thinking makes it so" (2.2, 249-250)

From the start of Shakespeare's Hamlet it is clear that much of the action is cerebral. The play never escapes the confines of Hamlet's head. One is never sure if...

Hamlet's Conflict Between Play and Reality Chris Mays

In Shakespeare's Hamlet, Polonius puts forth a simple explanation of insanity, stating that "to define true madness, what is it to be nothing else but mad?" Such a diagnosis is necessary in the court of Denmark, in which the perspective of reality...

Cultural Identity In Hamlet Matt Zajic

In William Shakespeare's play Hamlet, the concept of cultural identity is explored through Hamlet's isolation which is created by the conflict between his duty to his father, and his duties to the monarchy and society. Hamlet is isolated from his...

Thought as Inaction in William Shakespeare's Hamlet Megan DiGregorio

"Understanding kills action." With these three simple words, Nietzsche explains the idea behind Shakespeare's development of the acting of thought as inaction, and also the reason that Hamlet hesitates for over 3000 lines of blank verse and prose...

The Dishonest Ghost in "Hamlet" Marilyn Fu

Shakespeare has always been able to create characters richly dichotomous in nature. In "Hamlet, Prince of Denmark," the portrayal of the ghost of Hamlet's father vacillates through the play from Hamlet's uncertainty of whether "it is an honest...

The Foils of Hamlet David McDevitt

Literary techniques evoke images, emotion and in the case of Shakespeare's "Hamlet" teach a lesson. The dominant literary technique ongoing throughout "Hamlet" is the presence of foils. A foil is a character who, through strong contrast and...

How All Deletions Do Inform Against Me: A Look at Hamlet's Psychological Transformation in His Final Soliloquy Jessica Hindman

Though the identity of the "editor" responsible for deleting Hamlet's final soliloquy from the 1623 Folio edition of Hamlet may be lost to history, the possible reasons for his omission of the Quarto's fifty-eight lines are as relevant and...

The Inseparability of Acting and Ruling: An Analysis of Hamlet and The First Part of Henry the Fourth Tyler Merritt

Within Hamlet and 1 Henry the Fourth are examples of Shakespeare including the trade of acting within the text as a central theme. Hamlet certainly shows us his skill as an actor throughout the play, but there is a more blatant preference to...

William Shakespeare: Hamlet’s Actions and Inactions Essay (Critical Writing)

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“Hamlet” is a play for all times. Its protagonist is a contradictory and mysterious person. If he is guided by blind revenge or righteous feel of justice, why he hesitates and lingers to punish culprits if he is prudent or light-minded – these adages may be united under two maxims:” Look before you leap” and “He who hesitates is lost”. This paper is an attempt to analyze Hamlet’s actions and inactions to prove the authenticity of the application of these maxims to the protagonist.

Although the scene of the play is laid in the Danish Kingdom, the problems involve the whole of mankind to think over this play. In the first act, we get acquainted with Hamlet and it gives us some intellectual challenge. The protagonist is a noble hero, he has a philosophical set of minds, he judges everything from the height of moral virtues, but he has found himself in a complicated and even tragic predicament after having known about his mother and uncles betray. The old world is destructed, and the Ghost asks Hamlet to take responsibility and revenge for his father’s death and restore universal justice. Hamlet obeys the Ghost and is careless of consequences. Here we see the first “leap” of Hamlet because he takes too much upon himself. But this proves the Prince to be an ideal person of the Renaissance.

Hamlet disguises himself as a madman. He should convince everybody that he has gone insane. Being a jester gives an opportunity to tell everything he thinks about. The Prince gives praise to Human beings, calls him perfect, but here we hear the disappointment in life values. All Universal lacks any sense. Hamlet became animated when remembering an old play about the murder of Priam by Pyrrhus. This scene has a very emotional moment when the Prince remembers Priam’s wife Hecuba. For Hamlet it is very important: Hecuba is a faithful wife and Queen Gertrude – not. Anguish comes to the surface again, but reproaches about inaction mingle with this anguish. Why does he linger? Why not avenge his father’s death? He is angry with himself and calls himself pejorative names: “what a rogue and peasant slave am I” (Hamlet, Act II). This is an example of his hesitations.

The famous soliloquy “To be or not to be” is the culmination of Hamlet’s doubts. “To suffer The slings and arrows of outrageous fortune” (Hamlet, Act III) directly refers to the situation Hamlet is in: to fight against evil or avoid struggle. Desires controvert virtues. Hesitation is grounded on fear. The Prince is afraid to suffer a defeat. His views on life are destructed, and his goddess Justice is blind. Does he have enough powers to resist the temptation of inactivity and sleep peacefully? Once again, the Prince is prevented from action by his hesitancy. Hamlet does not moralize. He is lost in the world, lost in his hesitations. He cannot draw a demarcation line between reality and his feigned insanity. Hamlet chooses “to be”, but “to be” means to die. He claims that death is inevitable, but hesitates because it is unknown as well. The soliloquy expresses Hamlet’s torment of mind. He is determined to kill the King, but he is unsure if it will bring good or harm.

Now nothing can stop Hamlet and there is a right moment. Hamlet finds Claudius praying, but he cannot kill him. The prayer defends the King and Hamlet does not want him to die sinless. It leads to Heaven, but Claudius does not deserve it. And here Hamlet should think before he leaps. The Prince just excuses his hesitation by waiting for some other appropriate fatal occasion. He wants his revenge to be perfect and edifying. If not – he refuses it completely. He has no time to consider the circumstances and kills Polonius, once more “leaping” before thinking.

Laertes wants to compete in fencing with Hamlet and kill him during this duel. Laertes’ sword will be poisoned and the Prince will die from the wound. Hamlet is tortured by forebodings of evil. Horatio suggests declining the duel. But Hamlet’s response astonishes by its wisdom. Come what may, what must be will be, there exists some Divine power that rules the world – such thoughts occur in Hamlet’s mind for the first time.

Hamlet is uncertain whether he can believe the Ghost. He scruples to trust everybody: Ophelia, Horatio, Gertrude. He is even unsure of himself. When a troupe of actors comes, he gets inspired with his new intention. To re-act, the murder of his father means to punish the culprits. Hamlet mocks the evils of life, thus trying to delete them from reality. He is just satisfied when everybody sees that it is his uncle who has killed Hamlet’s father. His suspicions are confirmed, but he never tries to return for evil. And it happens but by an accident. Hamlet makes no attempt to punish the King. So Hamlet “leaps” into the struggle, but with much hesitation. On one hand, he is a loser, because he died, on the other – a winner, because culprits endured the punishment. He reflects upon his infirmity but does not try to put his intentions into practice. He is obsessed with thinking, not acting. This is his essence and escapes from reality. Only death can bring deliverance and oblivion from uncertainty.

Hamlet is not remarkable for willpower or determination, foresight and deep consideration. But we enjoy refined thoughts and genuine sentiments of his. The Prince lacks deliberateness in actions; he rushes to the whirl of life on the spur of the occasion. If Hamlet were a man of action, he might have killed Claudius at once together with the Queen. And everybody would think him to be a cruel murderer. If he were more prudent, he could have avoided his death and become a King himself. But could he be a good King for his people? A hesitating and indiscreet king can ruin his kingdom. He could save Ophelia, innocent victim of his indifference, Laertes, noble and loving brother. But Hamlet breaks the equilibrium of imaginative and authentic worlds, and reality turns out to be crueler than his fictional insanity. Skepticism, accompanying Hamlet, makes him vulnerable, as only strong beliefs can bring to actions. What if Hamlet has not believed the Ghost at all? Maybe it is conscience that came to him, and if he had not listened to it, his life would be full of scruples of remorse facing his father’s memory. Hamlet, the flesh and blood of his mother, wanted to sentence her to death, and if he had not been stopped by the Ghost, a fatal mistake could have been made.

It is controversial if Hamlet is a hero or a pure madman with judicious observations; his motives are mixed and vague. But we can find Hamlet in ourselves. Like him, we hesitate before an important decision and overestimate our powers. It is in human nature and when Hamlet speaks, he speaks on behalf of all people.

Works Cited

Shakespeare William. Hamlet. NY: Dover Publications, 2004.

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Essay for Hamlet

I’m writing Literary Analysis on Hamlet in my class and I asked my teacher which thesis he liked better. He said he liked the second one better saying that the first one was too “flowery”. I personally like the first one a lot better, but he does have a point in the fact that it is an analysis so I shouldn’t be over the top. But I still wanted to get this subs opinion to see if I’m crazy or my thesis just isn’t that good. What do u think?

Thesis 1: Claudius’ vial of poison, infused with the recurring ingredients of corruption and greed, is the dawn of the inevitable and never ending cycle of decay and revenge.

Thesis 2: the corruption and greed that run rampant in the streets of Denmark, pave the way for the inevitable and never ending cycles of revenge and mental, emotional and moral decay.

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What a Thesis Paper is and How to Write One

A student sitting at her laptop working on her college thesis paper.

From choosing a topic and conducting research to crafting a strong argument, writing a thesis paper can be a rewarding experience.

It can also be a challenging experience. If you've never written a thesis paper before, you may not know where to start. You may not even be sure exactly what a thesis paper is. But don't worry; the right support and resources can help you navigate this writing process.

What is a Thesis Paper?

A thesis paper is a type of academic essay that you might write as a graduation requirement for certain bachelor's, master's or honors programs. Thesis papers present your own original research or analysis on a specific topic related to your field.

“In some ways, a thesis paper can look a lot like a novella,” said Shana Chartier , director of information literacy at Southern New Hampshire University (SNHU). “It’s too short to be a full-length novel, but with the standard size of 40-60 pages (for a bachelor’s) and 60-100 pages (for a master’s), it is a robust exploration of a topic, explaining one’s understanding of a topic based on personal research.”

Chartier has worked in academia for over 13 years and at SNHU for nearly eight. In her role as an instructor and director, Chartier has helped to guide students through the writing process, like editing and providing resources.

Chartier has written and published academic papers such as "Augmented Reality Gamifies the Library: A Ride Through the Technological Frontier" and "Going Beyond the One-Shot: Spiraling Information Literacy Across Four Years." Both of these academic papers required Chartier to have hands-on experience with the subject matter. Like a thesis paper, they also involved hypothesizing and doing original research to come to a conclusion.

“When writing a thesis paper, the importance of staying organized cannot be overstated,” said Chartier. “Mapping out each step of the way, making firm and soft deadlines... and having other pairs of eyes on your work to ensure academic accuracy and clean editing are crucial to writing a successful paper.”

How Do I Choose a Topic For My Thesis Paper?

What your thesis paper is for will determine some of the specific requirements and steps you might take, but the first step is usually the same: Choosing a topic.

“Choosing a topic can be daunting," said Rochelle Attari , a peer tutor at SNHU. "But if (you) stick with a subject (you're) interested in... choosing a topic is much more manageable.”

Similar to a thesis, Attari recently finished the capstone for her bachelor’s in psychology . Her bachelor’s concentration is in forensics, and her capstone focused on the topic of using a combined therapy model for inmates who experience substance abuse issues to reduce recidivism.

“The hardest part was deciding what I wanted to focus on,” Attari said. “But once I nailed down my topic, each milestone was more straightforward.”

In her own writing experience, Attari said brainstorming was an important step when choosing her topic. She recommends writing down different ideas on a piece of paper and doing some preliminary research on what’s already been written on your topic.

By doing this exercise, you can narrow or broaden your ideas until you’ve found a topic you’re excited about. " Brainstorming is essential when writing a paper and is not a last-minute activity,” Attari said.

How Do I Structure My Thesis Paper?

Thesis papers tend to have a standard format with common sections as the building blocks.

While the structure Attari describes below will work for many theses, it’s important to double-check with your program to see if there are any specific requirements. Writing a thesis for a Master of Fine Arts, for example, might actually look more like a fiction novel.

According to Attari, a thesis paper is often structured with the following major sections:

Introduction

Literature review
Methods, results

Now, let’s take a closer look at what each different section should include.

Your introduction is your opportunity to present the topic of your thesis paper. In this section, you can explain why that topic is important. The introduction is also the place to include your thesis statement, which shows your stance in the paper.

Attari said that writing an introduction can be tricky, especially when you're trying to capture your reader’s attention and state your argument.

“I have found that starting with a statement of truth about a topic that pertains to an issue I am writing about typically does the trick,” Attari said. She demonstrated this advice in an example introduction she wrote for a paper on the effects of daylight in Alaska:

In the continental United States, we can always count on the sun rising and setting around the same time each day, but in Alaska, during certain times of the year, the sun rises and does not set for weeks. Research has shown that the sun provides vitamin D and is an essential part of our health, but little is known about how daylight twenty-four hours a day affects the circadian rhythm and sleep.

In the example Attari wrote, she introduces the topic and informs the reader what the paper will cover. Somewhere in her intro, she said she would also include her thesis statement, which might be:

Twenty-four hours of daylight over an extended period does not affect sleep patterns in humans and is not the cause of daytime fatigue in northern Alaska .

Literature Review

In the literature review, you'll look at what information is already out there about your topic. “This is where scholarly articles about your topic are essential,” said Attari. “These articles will help you find the gap in research that you have identified and will also support your thesis statement."

Telling your reader what research has already been done will help them see how your research fits into the larger conversation. Most university libraries offer databases of scholarly/peer-reviewed articles that can be helpful in your search.

In the methods section of your thesis paper, you get to explain how you learned what you learned. This might include what experiment you conducted as a part of your independent research.

“For instance,” Attari said, “if you are a psychology major and have identified a gap in research on which therapies are effective for anxiety, your methods section would consist of the number of participants, the type of experiment and any other particulars you would use for that experiment.”

In this section, you'll explain the results of your study. For example, building on the psychology example Attari outlined, you might share self-reported anxiety levels for participants trying different kinds of therapies. To help you communicate your results clearly, you might include data, charts, tables or other visualizations.

The discussion section of your thesis paper is where you will analyze and interpret the results you presented in the previous section. This is where you can discuss what your findings really mean or compare them to the research you found in your literature review.

The discussion section is your chance to show why the data you collected matters and how it fits into bigger conversations in your field.

The conclusion of your thesis paper is your opportunity to sum up your argument and leave your reader thinking about why your research matters.

Attari breaks the conclusion down into simple parts. “You restate the original issue and thesis statement, explain the experiment's results and discuss possible next steps for further research,” she said.

Find Your Program

Resources to help write your thesis paper.

While your thesis paper may be based on your independent research, writing it doesn’t have to be a solitary process. Asking for help and using the resources that are available to you can make the process easier.

If you're writing a thesis paper, some resources Chartier encourages you to use are:

Citation Handbooks: An online citation guide or handbook can help you ensure your citations are correct. APA , MLA and Chicago styles have all published their own guides.
Citation Generators: There are many citation generator tools that help you to create citations. Some — like RefWorks — even let you directly import citations from library databases as you research.
Your Library's Website: Many academic and public libraries allow patrons to access resources like databases or FAQs. Some FAQs at the SNHU library that might be helpful in your thesis writing process include “ How do I read a scholarly article? ” or “ What is a research question and how do I develop one? ”

It can also be helpful to check out what coaching or tutoring options are available through your school. At SNHU, for example, the Academic Support Center offers writing and grammar workshops , and students can access 24/7 tutoring and 1:1 sessions with peer tutors, like Attari.

"Students can even submit their papers and receive written feedback... like revisions and editing suggestions," she said.

If you are writing a thesis paper, there are many resources available to you. It's a long paper, but with the right mindset and support, you can successfully navigate the process.

“Pace yourself,” said Chartier. “This is a marathon, not a sprint. Setting smaller goals to get to the big finish line can make the process seem less daunting, and remember to be proud of yourself and celebrate your accomplishment once you’re done. Writing a thesis is no small task, and it’s important work for the scholarly community.”

A degree can change your life. Choose your program from 200+ SNHU degrees that can take you where you want to go.

Meg Palmer ’18 is a writer and scholar by trade who loves reading, riding her bike and singing in a barbershop quartet. She earned her bachelor’s degree in English, language and literature at Southern New Hampshire University (SNHU) and her master’s degree in writing, rhetoric and discourse at DePaul University (’20). While attending SNHU, she served as the editor-in-chief of the campus student newspaper, The Penmen Press, where she deepened her passion for writing. Meg is an adjunct professor at Johnson and Wales University, where she teaches first year writing, honors composition, and public speaking. Connect with her on LinkedIn .

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Essay for Hamlet : r/shakespeare
Essay for Hamlet. I'm writing Literary Analysis on Hamlet in my class and I asked my teacher which thesis he liked better. He said he liked the second one better saying that the first one was too "flowery". I personally like the first one a lot better, but he does have a point in the fact that it is an analysis so I shouldn't be over ...
What is a Thesis Paper and How to Write One
Thesis papers tend to have a standard format with common sections as the building blocks. While the structure Attari describes below will work for many theses, it's important to double-check with your program to see if there are any specific requirements. Writing a thesis for a Master of Fine Arts, for example, might actually look more like a ...

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Useful References

Introduction

Hamlet by William Shakespeare Summary

Themes in Hamlet

Rosencrantz and Guildenstern

Voltimand and Cornelius

Hamlet Literary Analysis

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Q to F7: Mate; Hamlet's Emotions, Actions, and Importance in the Nunnery Scene Rebecca Rendell

Before the Storm Rebecca Rendell

Haunted: Hamlet's Relationship With His Dead Father Tommy Stevenson

Heliocentric Hamlet: The Astronomy of Hamlet Theoderek Wayne

Paralytic Prince: Hamlet's "Thought" Complex Theoderek Wayne

"I Have Seen Nothing": Hamlet and His Home Eddie Borey

The Corruption in Hamlet Allison Masters

Hamlet's Obsession With Death Marie Moulin

Hamlet's Frustration with Himself: "A Rogue And Peasant Slave" David Sauvage

"Pray God Restore Him": The Importance of the Origin of the First Quarto of Hamlet David Sauvage

Hamlet's Problematic "Celestial Bed" David Sauvage

"He's Depressed": The Implications of Hamlet, II.ii.278-292 Alex Hoffer

A Play of Espionage and War Joshua V. Rohe

In Violence, the Rest is Silence Sara Liss

The Interpretive Effects of an Affecting Interpretation Sara Liss

Hamlet's Conflict Between Play and Reality Chris Mays

Cultural Identity In Hamlet Matt Zajic

Thought as Inaction in William Shakespeare's Hamlet Megan DiGregorio

The Dishonest Ghost in "Hamlet" Marilyn Fu

The Foils of Hamlet David McDevitt

How All Deletions Do Inform Against Me: A Look at Hamlet's Psychological Transformation in His Final Soliloquy Jessica Hindman