hamlet theme of death essay

Death as a Theme in Hamlet

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Death permeates "Hamlet" right from the opening scene of the play, where the ghost of Hamlet’s father introduces the idea of death and its consequences. The ghost represents a disruption to the accepted social order – a theme also reflected in the volatile socio-political state of Denmark and Hamlet’s own indecision.

This disorder has been triggered by the "unnatural death" of Denmark's figurehead, soon followed by a raft of murder, suicide, revenge and accidental deaths.

Hamlet is fascinated by death throughout the play. Deeply rooted in his character, this obsession with death is likely a product of his grief.

Hamlet's Preoccupation With Death

Hamlet’s most direct consideration of death comes in Act 4, Scene 3. His almost morbid obsession with the idea is revealed when asked by Claudius where he has hidden Polonius’ body.

HAMLET At supper ... Not where he eats, but where a is eaten. A certain convocation of politic worms are e’en at him. Your worm is your only emperor for diet. We fat all creatures else to fat us, and we fat ourselves for maggots. Your fat king and your lean beggar is but variable service – two dishes, but to one table. That’s the end.

Hamlet is describing the life-cycle of human existence. In other words: we eat in life; we are eaten in death. 

Death and the Yorick Scene

The frailty of human existence haunts Hamlet throughout the play and it’s a theme he returns to in Act 5, Scene 1: the iconic graveyard scene. Holding the skull of Yorick, the court jester who entertained him as a child, Hamlet ponders the brevity and futility of the human condition and the inevitability of death:

HAMLET Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest, of most excellent fancy; he hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! My gorge rises at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? Your gambols? Your songs? Your flashes of merriment, that were wont to set the table on a roar?

This sets the scene for Ophelia’s funeral where she too will be returned to the ground.

Ophelia's Death 

Perhaps the most tragic death in "Hamlet" is one the audience doesn't witness. Ophelia's death is reported by Gertrude: Hamlet's would-be bride falls from a tree and drowns in a brook. Whether or not her death was a suicide is the subject of much debate among Shakespearean scholars.

A sexton suggests as much at her gravesite, to the outrage of Laertes. He and Hamlet then quarrel over who loved Ophelia more, and Gertrude mentions her regret that Hamlet and Ophelia could have been married.

What's perhaps the saddest part of Ophelia's death is that Hamlet appeared to drive her to it; had he taken action earlier to avenge his father, perhaps Polonius and she would not have died so tragically.

Suicide in Hamlet

The idea of suicide also emerges from Hamlet’s preoccupation with death. Although he seems to consider killing himself as an option, he does not act on this idea Similarly, he does not act when he has the opportunity to kill Claudius and avenge the murder of his father in Act 3 , Scene 3. Ironically, it is this lack of action on Hamlet’s part that ultimately leads to his death at the end of the play.

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Theme of Death in Hamlet Essay

Back to: Hamlet by William Shakespeare

Hamlet enters the play as a character deeply informed by the death of his father. The Tragedy of Hamlet, Prince of Denmark is a play where Shakespeare contemplates on death through various ways and its consequences. Death remains the grand theme of human speculation.

Throughout the play, one sees the philosophical contemplation on death and its practical results. Before the appearance and knowledge of the ghost of the dead king, Hamlet simply mourns the death of his father and his mother’s hasty marriage with his uncle but after his confrontation with the ghost and knowing about the betrayal, his philosophical speculation starts revolving around mortality.

In a helpless stance, he observes the inevitable end of our life. He even contemplates on suicide and like a Christian, he bides with the idea that it is forbidden. Life seems meaningless to him. He wonders, if God “ had not fixed his canon against self-slaughter” then one could suicide.

Throughout the play, there remains an air of despair, a death-inspired melancholy, a disenchantment with this world. Every time Hamlet goes through his agony, he questions whether life with all such constituents is worth living but in him remains doubt regarding death and what’s in it and what happens afterwards.

He wonders, “ for in that sleep of death what dreams may come. ” In his very first soliloquy, Hamlet despairs that “ O that this too too solid flesh would melt. ” The idea of death pervades the protagonist here so much that his prime action is uttering words.

On his way to meet his mother, he sees Claudius in kneeling position. Again, such a scene, inspires in him the dilemma, his belief in the idea that one killed while praying is sent to heaven. It stops him from killing the king right there. One comes to know the idea of afterlife believed by him.

Afterwards, the series of death ensues only because of this delay in killing Claudius. Through subsequent deaths, one can see how the idea of death and its consequences can be comprehended from Hamlet’s words and the overall plot of the play.

Hamlet stabs Polonius after mistaking him for Claudius behind the curtain. His death brings out the essence of relationships. One notices the absolute fear of Claudius. Polonius’ death deranges Ophelia and activates Laertes.

Ophelia’s suicide provides an occasion to brood upon the nature of death and how it sweeps across everyone and assigns them to oblivion. Hamlet recognises death as an impartial equaliser when he says to the king that to death “ your fat king and your lean beggar is but variable service—two dishes, but to one table. That’s the end. ”

The play maintains Christian ideas of death. Hamlet starts having a predisposition towards destiny. This is a unique play where almost all major characters are dead by the end i.e. Ophelia, his mother Queen Gertrude, Rosencrantz, Guildenstern, Claudius, Laertes and Hamlet himself. So inevitably, the major portion of the play thematically deals with aspects of mortality.

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Theme Of Death In Hamlet (Essay Sample)

Table of Contents

Introduction

Every person has their passionate well-being towards an issue that reflects the ability to satisfy one’s decision. However, there is an unexpected scenario that impacts a person’s well-being, especially if one experienced an activity that negatively impacted their life and routine. For Hamlet, he became passionate about death. The theme of death is what made Hamlet very interested about the cessation of life. Hamlet became obsessed about finding the truth about the issue of death, dying, and living to the other dimension. The problem of determining the truth provides a question to Hamlet on what are the consequences when a person will leave the living and joins the creator. Hamlet’s passion regarding the issue of death wants to increase awareness to the reader regarding uncertainties when a person dies (Shakespeare, 1598).

The main reason why the theme of death became a significant issue for Hamlet is based on his actual experience with his family’s dark activities. Hamlet discovered that his brother was murdered by Claudius, which is his uncle and then marrying his brother’s widow. Claudius then took over the throne to declare himself as the ruler of the kingdom. Basically, Hamlet is the main protagonist of the story while Claudius is obviously the antagonist, terrorizing their own family just to seek for power and authority. The theme of death is represented by greed and criminality as a way to satisfy a vision to become the prominent figure in the community. The hunger for power was an instrument for Hamlet to neutralize all individuals responsible for his family’s sufferings. However, Hamlet sacrificed his life to generate a legendary message to the kingdom as an exchange for the ruthless sufferings from his own family members to preserve peace across the kingdom.

The theme of death signifies a message regarding the value of sacrifice. A sacrifice that usually surfaces when one decides to take a revenge against an individual who made an unacceptable act of taking another person’s life. Hamlet’s theme of death represents a sacrificial structure that presented an act to benefit the general public. He believes that death is one of the best solutions as a legendary practice of a certain individual who wants to leave a legacy to the community. The aim of sacrificing one’s life is to provide a significant benefit for the welfare and security of the society. The theme is beneficial because it presents an anecdotal notion made by the author, which promotes a context that allows the next generation to remember the sacrifices that were made by Hamlet. The death of Hamlet indicates that the welfare of our society becomes peaceful and productive if only governed by a deserving leader, who is always concerned about their future.

It has been learned from this discussion that Hamlet’s theme of death promotes several learning values. The author of the play successfully reminds the readers regarding the significance of family relationships. Revenge usually follows when your immediate family members were intentionally executed by your relatives just to satisfy their greed to achieve power. As the victim, the theme of death is gruesome, but a frustrating scenario because it seeks to value the importance of revenge against individuals responsible for destroying your family. However, being heartless to protect and serve the welfare of the society represents a sacrifice to ensure that the future generation will benefit an optimistic governance of new leaders living in peace.

• Shakespeare, William (1598). Hamlet. London: Routledge

William Shakespeare

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Action and Inaction

Hamlet  is part of a literary tradition called the revenge play, in which a person—most often a man—must take revenge against those who have wronged him. Hamlet , however, turns the genre on its head in an ingenious way: Hamlet , the person seeking vengeance, can't actually bring himself to take his revenge. As Hamlet struggles throughout the play with the logistical difficulties and moral burdens of vengeance, waffling between whether he should kill Claudius …

Appearance vs. Reality

Hamlet is full of references to the wide gulf that often exists between how things appear and how they really are. From Hamlet ’s own “craft[ed]” madness to Claudius ’s many schemes and plots involving Polonius , Ophelia , Rosencrantz, and Guildenstern to the very foundation of Denmark’s political stability (or lack thereof), things within Elsinore castle are hardly ever as they seem. Hamlet ’s characters’ collective desire to make sense of the difference between…

Though there are only two traditionally female characters in Hamlet — Ophelia and Gertrude —the play itself speaks volumes about the uniquely painful, difficult struggles and unfair fates women have suffered throughout history. Written in the first years of the 17th century, when women were forbidden even from appearing onstage, and set in the Middle Ages, Hamlet exposes the prejudices and disadvantages which narrowed or blocked off the choices available to women–even women of noble…

Religion, Honor, and Revenge

Every society is defined by its codes of conduct—its rules about how to act and behave. In  Hamlet , the codes of conduct are largely defined by religion and an aristocratic code that demands honor—and revenge if honor has been soiled. As the play unfolds and Hamlet (in keeping with his country’s spoken and unspoken) rules) seeks revenge for his father’s murder, he begins to realize just how complicated vengeance, justice, and honor all truly…

Poison, Corruption, Death

When the sentinel Marcellus speaks the line “Something is rotten in the state of Denmark” after seeing the ghost of the former King Hamlet, he is speaking to a broadly-held societal superstition. In medieval times and the Middle Ages—the era in which Hamlet is set—the majority of people believed that the health of a nation was connected to the legitimacy of its king.  As Hamlet endeavors to discover—and root out—the “rotten” core of Denmark, he…

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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

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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353 Hamlet Essay Topics & Ideas

• 18 January 2024
• 15 min read

Hamlet essay topics delve into the deep, convoluted world of Shakespearean tragedy, focusing on various themes, such as revenge, mortality, madness, and moral corruption. These topics provide a rich exploration of Hamlet’s internal struggles and existential crises, his complex relationships with characters, like Ophelia, Gertrude, and Claudius, and his philosophically profound soliloquies. They also invite analysis of the play’s symbolism, motifs, and underlying social and political commentary. Delving into these subjects, students can contrast Hamlet’s contemplative nature with the impulsive behavior of other characters, scrutinize the impact of the supernatural, or dissect the tragic elements that lead to Hamlet’s downfall. From examining the ambiguity of characters’ actions to questioning the meaning of life and death, Hamlet essay topics offer many critical lenses through which students can understand and interpret this famous work of literature.

Best Hamlet Essay Topics

• Exploring the Concept of Revenge in Hamlet
• Uncertainty in Decision Making: A Deep Dive Into Hamlet’s Indecisiveness
• Madness as Portrayed in Hamlet: Real or Feigned?
• Polonius as a Catalyst in the Tragedy of Hamlet
• Interpreting the Significance of Ophelia’s Death
• Hamlet and the Oedipus Complex: Analyzing Freudian Themes
• Claudius’ Manipulation Techniques in Power Consolidation
• Betrayal in Hamlet: Who Betrays Whom and Why?
• A Comparative Study: Hamlet and the Elizabethan Era
• Unpacking the Metaphor of Yorick’s Skull
• Aesthetic Symbolism in the Mousetrap Play Within Hamlet
• Laertes and Hamlet: A Study in Contrasts
• Death and the Afterlife: How Does Hamlet Approach Existential Questions?
• Soliloquies in Hamlet: Window Into the Prince’s Soul
• Shakespeare’s Hamlet: A Feminist Interpretation
• Hamlet’s Paralysis of Action: Causes and Consequences
• Exploring Misogyny and Power Structures in Hamlet
• Existential Crisis in Hamlet: A Modern Interpretation
• Supernatural Elements in Hamlet: Apparition as a Narrative Device
• Shakespeare’s Use of Foils in Hamlet: Purpose and Effectiveness

Easy Hamlet Essay Topics

• Hamlet’s Tragic Flaw: Procrastination and Its Consequences
• Understanding the Ghost of Hamlet’s Father
• Analysis of King Claudius as Hamlet’s Adversary
• Significance of the Play-Within-a-Play in Hamlet
• Examining Hamlet’s Relationship With Gertrude
• The Portrayal of Love and Relationships in Hamlet
• Major Themes in Hamlet: A Comprehensive Review
• A Closer Look at Hamlet’s Soliloquies
• Character Analysis: Is Polonius Truly Wise?
• Duplicity and Deception in Hamlet’s Denmark
• Hamlet’s View on Life and Death
• Comparing Hamlet and Laertes: A Study of Similarities
• Symbolism in Hamlet: An In-Depth Study
• Fortinbras as a Parallel Character to Hamlet
• Fate vs. Free Will in Hamlet’s Narrative
• Decoding the Importance of Dreams in Hamlet
• Understanding the Tragic Ending of Hamlet
• Guilt and Regret: Claudius’s Secret Torment
• Hamlet’s Friendship With Horatio: An Analysis

Interesting Hamlet Essay Topics

• Unraveling the Mystery of Hamlet’s Madness
• Deconstructing the Hamartia in Hamlet’s Character
• Dualism in Hamlet: Appearance vs. Reality
• Disease and Decay: A Recurring Imagery in Hamlet
• Analyzing Hamlet’s Misogyny: A Feminist Perspective
• Deciphering the Cryptic Nature of Hamlet’s Soliloquies
• Ophelia’s Descent Into Madness: A Psychological Interpretation
• Insight Into Hamlet’s Melancholic Nature
• Existentialism in Hamlet: A Philosophical Analysis
• Analyzing the Significance of Fortinbras in Hamlet
• Interpreting the Foreshadowing in Hamlet’s Narrative
• Comparative Analysis: Hamlet and Macbeth
• Decoding the Dramatic Irony in Hamlet
• Morality and Ethics in Hamlet’s Denmark
• A Closer Look at Hamlet’s Tragic Redemption
• Significance of the Sea Imagery in Hamlet
• Familial Relationships in Hamlet: An In-Depth Analysis
• Closet Scene in Hamlet: A Turning Point
• Understanding Hamlet Through His Soliloquies
• Exploring the Underlying Theme of Madness in Hamlet

List of Hamlet Essay Topics to Start With

• Understanding Hamlet’s State of Mind: A Psychological Analysis
• Consequences of Revenge in Hamlet’s Story
• Analyzing the Relationship Dynamics Between Ophelia and Hamlet
• Shakespeare’s Usage of Dramatic Irony in Hamlet
• Influence of Supernatural Elements in Hamlet
• Tragic Elements in Hamlet: A Detailed Study
• Unpacking the Concept of Death in Hamlet
• Existential Dilemmas Faced by Hamlet
• Imagery and Metaphors: A Study in Hamlet
• Insights Into the Ghost of King Hamlet
• Shakespeare’s Perspective on Morality in Hamlet
• Tracing the Theme of Deception in Hamlet
• Characters in Hamlet: A Comparative Analysis
• The Portrayal of Power Dynamics in Hamlet
• Feminine Characters in Hamlet: An Analytical Review
• Hamlet and His Tragic Hero Attributes
• King Claudius: An In-Depth Character Study
• Disguise and Deceit in the Court of Denmark
• Exploring the Theme of Loyalty in Hamlet
• Decoding the Symbolism in Hamlet’s Soliloquies

Hamlet Argumentative Essay Topics

• Deconstruction of the Ghost in Hamlet: A Derridean Perspective
• Analyzing Hamlet through Lacanian Psychoanalysis
• The Portrayal of Existentialist Philosophy in Hamlet
• Hamlet’s Madness: A Rorschach Test for Audiences and Readers
• The Politics of Power and Subterfuge in Hamlet
• Ophelia: An Early Feminist Icon or Victim of Patriarchy?
• Applying Carl Jung’s Theory of Archetypes to Characters in Hamlet
• Hamlet’s Tragic Paradox: Intellectual Acumen vs. Emotional Impulsivity
• Closet Scene: Freudian Psychoanalysis of Gertrude and Hamlet’s Relationship
• Justice and Retribution: A Postmodern Reading of Hamlet
• Analyzing Hamlet Using Judith Butler’s Theory of Gender Performativity
• Meta-Theatrical Elements in Hamlet: A Performance Theory Approach
• Hamlet’s Existential Crisis: A Nietzschean Perspective
• Decoding Hamlet’s Tragic Flaw Through Aristotelian Lens
• Hamlet and the Divine Right of Kings: A Political Analysis
• Concept of ‘Delay’ in Hamlet: A Study in Elizabethan Context
• Application of Julia Kristeva’s Intertextuality: Hamlet and Its Sources
• Absurdism in Hamlet: A Comparative Analysis With Samuel Beckett’s Waiting for Godot
• Hamlet: An Eco-Critical Interpretation
• Hamlet’s Soliloquies: A Bakhtinian Dialogic Analysis

Hamlet Research Paper Topics

• Subjectivity and the Self in Hamlet: A Lacanian Analysis
• Hamlet’s Delay: Procrastination or Philosophical Deliberation?
• Gender Dynamics and Power Structures in Hamlet’s Denmark
• Interpretation of Religious Themes in Hamlet
• Understanding Madness in Hamlet: From a Foucauldian Perspective
• Postcolonial Reading of Hamlet: Center and Periphery in Denmark
• Tragic Ambiguity: A Comparative Study of Hamlet and Oedipus Rex
• Interpreting Hamlet’s Indecision Through Sigmund Freud’s Psychoanalysis
• Metafiction in Hamlet: A Study of the Play Within the Play
• Deconstructing the Use of Irony in Hamlet
• Exploring Notions of Honor and Social Hierarchy in Hamlet
• Decoding Hamlet’s Relationship With Ophelia: A Freudian Perspective
• Ethical Dilemmas in Hamlet: A Kantian Interpretation
• Existential Dread in Hamlet: A Study Through Kierkegaard’s Philosophy
• Hamlet’s Soliloquies: A Study in Self and Society
• Revenge Tragedy Elements in Hamlet: A Comparative Study With Spanish Tragedy
• Interpreting the Paradox of Hamlet’s Character: A New Historicist Approach
• Characterization in Hamlet: A Study in Contrast
• The Intertwining of Politics and Morality in Hamlet

Hamlet Essay Questions Examples

• How Does the Character of Hamlet Reflect the Freudian Theory of Psychoanalysis?
• Exploring the Power Dynamics in Hamlet: A Foucauldian Analysis
• Does Hamlet’s Madness Symbolize an Individual’s Struggle Against Society?
• Can Hamlet’s Tragic Flaw Be Seen as a Reflection of His Intelligence?
• How Do Hamlet’s Soliloquies Contribute to the Development of His Character?
• What Makes Hamlet a Tragic Hero in Shakespeare’s Hamlet?
• Interpreting the Theme of Revenge in Hamlet: What Are Its Consequences?
• Is Ophelia a Victim or a Manipulator in Hamlet?
• How Does the Ghost of Hamlet’s Father Influence the Course of the Play?
• To What Extent Does the Theme of Mortality Drive the Narrative of Hamlet?
• Can We Consider Hamlet as a Commentary on the Nature of Acting?
• How Does Hamlet Conform to or Subvert the Conventions of a Revenge Tragedy?
• How Does Hamlet Explore the Idea of the Individual vs. Society?
• In What Ways Do the Other Characters Serve as Foils to Hamlet?
• How Does the Play Within the Play Contribute to the Meta-Theatrical Aspects of Hamlet?
• How Do the Concepts of Honor and Loyalty Manifest in Hamlet?
• What Is the Significance of the Oedipal Complex in Hamlet’s Relationship With Gertrude?
• How Does Hamlet’s Relationship With Ophelia Reflect His Attitude towards Women?
• What Role Does Polonius Play in the Tragedy of Hamlet?
• Can Hamlet Be Seen as an Exploration of the Human Condition?

The Theme of Modern Society for Hamlet Essay Ideas

• Hamlet’s Indecision: A Reflection of Modern-Day Analysis Paralysis
• Relevance of Hamlet’s Existential Crisis in the 21st Century
• Interpreting the Tragic Hero: Hamlet in a Modern Context
• Unpacking the Theme of Surveillance in Hamlet and Its Echoes in Today’s Society
• Interpreting Hamlet’s Madness: A Lens to View Mental Health Stigma in Contemporary Society
• Deception and Duplicity in Hamlet: A Comparison With Modern-Day Politics
• Hamlet’s Struggle With Moral Dilemmas: Parallels in the Modern World
• Tragic Outcomes of Revenge in Hamlet and Its Reflections on Modern Conflicts
• Misogyny in Hamlet: A Dialogue on Current Gender Inequality
• Exploring the Theme of Death in Hamlet: A Contemporary Perspective
• Analyzing the Decay of Political Systems in Hamlet and Its Modern Reflections
• Ophelia’s Madness: A Commentary on Societal Treatment of Women’s Mental Health
• The Role of Conscience in Hamlet and Its Place in Modern Society
• Authority and Power in Hamlet: A Mirror to Modern Political Structures
• Father-Son Relationships in Hamlet and Its Reflections on Contemporary Society
• Hamlet’s Soliloquies: An Exploration of Individualism in the Modern World
• Corruption in Hamlet’s Denmark: Parallels With Contemporary Societies
• Decoding the Concept of Honor in Hamlet and Its Resonance Today
• Hamlet’s Tragic Paradox: Relevance in the Age of Information Overload

Hamlet Essay Topics on Themes and Motifs

• Deconstructing the Motif of Revenge in Hamlet
• Interpreting Death and Mortality in Hamlet: A Comprehensive Analysis
• Unmasking the Theme of Madness in Hamlet
• Tracing the Motif of Disease and Corruption in Hamlet
• Exploring the Theme of Betrayal in Hamlet
• Examining the Recurring Motif of Incest in Hamlet
• Analyzing the Theme of Appearance vs. Reality in Hamlet
• Decoding the Motif of Hesitation and Delay in Hamlet
• Fate and Destiny in Hamlet: A Thematic Exploration
• Understanding the Theme of Action vs. Inaction in Hamlet
• Exploring the Motif of Theatricality in Hamlet
• Analyzing the Theme of Love and Relationships in Hamlet
• Tracing the Motif of Suicide in Hamlet
• Hamlet’s Fear of the Afterlife: A Thematic Study
• Unraveling the Theme of Honor and Reputation in Hamlet
• Identifying the Motif of Ears and Hearing in Hamlet
• The Theme of Loyalty in Hamlet: A Detailed Analysis
• Analyzing the Recurring Motif of Ghosts and the Supernatural in Hamlet
• Interpreting the Theme of Deception and Lies in Hamlet
• Decoding the Motif of Metaphysical Uncertainty in Hamlet

Hamlet Essay Topics on Character Analysis

• Character Study: Hamlet as an Anti-Hero
• Exploring the Contradictions in Hamlet’s Character
• Analysis of Ophelia: Victim or Manipulator?
• Claudius: A Villain or a Tragic Figure?
• Understanding Gertrude: A Complex Character Study
• Fortinbras: A Contrast to Hamlet
• Polonius: Folly or Wisdom?
• Laertes: Revenge, Honor, and Contrast to Hamlet
• Horatio: Friendship and Loyalty Personified
• The Ghost of King Hamlet: More than an Apparition?
• Interpreting the Character of Rosencrantz and Guildenstern
• Gravediggers in Hamlet: Humor amid Tragedy
• Marcellus and Bernardo: Gatekeepers of the Supernatural
• Ophelia’s Madness: A Character Analysis
• Hamlet’s Foils: A Study of Laertes and Fortinbras
• Exploring the Character of Reynaldo in Hamlet
• Decoding the Character of Francisco in Hamlet
• Interpreting the Character of Voltemand in Hamlet
• Understanding the Character of Cornelius in Hamlet

Shakespearean Language and Style for Hamlet Essay Topics

• Metaphysical Imagery in Hamlet: An Analysis
• Exploring the Use of Soliloquies in Hamlet
• Decoding the Symbolism in Hamlet’s Monologues
• Shakespearean Puns in Hamlet: A Study of Linguistic Humor
• Figurative Language in Hamlet: An In-Depth Analysis
• Interpreting the Blank Verse and Prose in Hamlet
• Rhyme and Rhythm in Hamlet: A Study of Shakespeare’s Poetic Style
• Hamlet’s Language: An Indicator of His Madness?
• The Role of Foreshadowing in Hamlet
• Wordplay in Hamlet: A Comprehensive Study
• Analyzing the Use of Irony in Hamlet
• Tracing the Recurring Motifs in Hamlet Through Language
• Analyzing the Use of Alliteration in Hamlet
• Exploring the Use of Paradox in Hamlet
• Deciphering the Cryptic Language of the Ghost in Hamlet
• The Use of Similes and Metaphors in Hamlet
• Understanding the Role of Iambic Pentameter in Hamlet
• Analyzing the Language Patterns of Ophelia in Hamlet
• Exploring the Use of Pathos in Hamlet
• Interpreting the Imagery of Death and Decay in Hamlet

Hamlet Essay Topics on Literary Devices

• Exploring Foreshadowing in Hamlet: A Comprehensive Analysis
• Analyzing Irony in Hamlet: Dramatic, Situational, and Verbal
• Understanding the Significance of Soliloquies in Hamlet
• Tracing the Use of Metaphors and Similes in Hamlet
• Decoding the Role of Allusion in Hamlet
• Dramatic Structure in Hamlet: Freytag’s Pyramid Applied
• Analyzing the Use of Hyperbole in Hamlet
• Interpreting the Use of Symbolism in Hamlet
• Understanding the Significance of Metadrama in Hamlet
• Analyzing the Use of Antithesis in Hamlet
• Exploring the Role of Foils in Hamlet
• Decoding the Use of Puns and Wordplay in Hamlet
• Understanding the Significance of Anaphora in Hamlet
• Interpreting the Use of Synecdoche in Hamlet
• Understanding the Role of Juxtaposition in Hamlet
• Hamlet’s Language: A Study in Oxymoron and Paradox
• The Use of Euphemism in Hamlet: An Analysis
• Exploring the Use of Dramatic Monologue in Hamlet
• Analyzing the Significance of Alliteration in Hamlet

Hamlet Topics on Historical and Cultural Contexts

• Contextualizing Hamlet: Understanding Elizabethan Tragedy
• Hamlet and the Historical Context of the Protestant Reformation
• Exploring the Influence of Renaissance Humanism in Hamlet
• Interpreting Hamlet in the Light of Jacobean Political Intrigue
• Hamlet in Context: The Question of Regicide in Elizabethan England
• Understanding the Influence of Greek Tragedy on Hamlet
• Shakespeare’s Hamlet: An Examination of Renaissance Machiavellian Politics
• The Influence of Medieval Danish History on Hamlet
• Hamlet and the Influence of Elizabethan Views on Madness
• Understanding the Socio-Cultural Context of Ghosts in Hamlet
• Hamlet: A Critique of Courtly Politics in the Elizabethan Era?
• Analyzing the Influence of Elizabethan Gender Norms in Hamlet
• Understanding the Elizabethan Concept of Honor in Hamlet
• Interpreting Hamlet in the Context of Early Modern Attitudes Toward Death
• Hamlet and the Influence of Renaissance Philosophy
• Decoding the Influence of Elizabethan Revenge Tragedy Conventions in Hamlet
• Understanding the Historical Perception of Madness in the Context of Hamlet
• Interpreting the Cultural Symbolism of the Skull in Hamlet
• The Influence of Classical Tragedy on the Structure of Hamlet
• Hamlet and the Question of Loyalty in Elizabethan Society

Themes of Tragedy and Revenge for Hamlet Essay Topics

• Hamlet: Tragedy or Revenge Play?
• Understanding the Concept of Revenge in Hamlet
• Unraveling the Tragic Hero in Hamlet
• Interpreting the Cycle of Revenge in Hamlet
• Analyzing Hamlet as a Tragic Figure
• Exploring the Destructive Nature of Revenge in Hamlet
• The Tragedy of Action vs. Inaction in Hamlet
• Decoding the Link Between Madness and Revenge in Hamlet
• Understanding the Tragic Flaw in Hamlet
• Revenge and Its Consequences in Hamlet
• Tragic Consequences of Deception in Hamlet
• Analyzing the Role of Revenge in Driving the Plot of Hamlet
• Exploring the Impact of Revenge on the Characters of Hamlet
• Understanding the Transformation of Revenge Into Tragedy in Hamlet
• Analyzing the Role of Supernatural in Inciting Revenge in Hamlet
• Exploring the Intersection of Revenge and Madness in Hamlet
• Understanding the Dichotomy of Revenge and Justice in Hamlet
• Hamlet’s Procrastination: The Tragic Delay in Revenge
• Tragic Elements in the Subplot of Hamlet

Hamlet Topics on Feminist Criticism and Gender Roles

• Hamlet: A Feminist Critique
• Exploring the Feminine in Hamlet: Character Analysis of Ophelia
• Understanding Gertrude: A Feminist Perspective
• Hamlet and the Patriarchal Society: A Feminist Reading
• Interpreting Hamlet Through the Lens of Gender Performativity
• Analyzing the Role of Female Agency in Hamlet
• Feminist Criticism of Female Objectification in Hamlet
• Unraveling the Feminine Mystique in Hamlet
• Understanding the Subjugation of Women in Hamlet
• Decoding the Binary Oppositions of Gender in Hamlet
• Unraveling the Silence of Women in Hamlet
• Hamlet: A Study in Gender and Power Relations
• Analyzing the Influence of the Male Gaze in Hamlet
• Understanding the Construction of Femininity in Hamlet
• Exploring the Stereotypes of Madness and Female Weakness in Hamlet
• Unraveling the Madonna-Whore Dichotomy in Hamlet
• Gender and Mortality in Hamlet: A Feminist Study
• The Role of Women in Hamlet: Victims or Villains?
• A Feminist Reading of the Tragic Women in Hamlet
• Analyzing the Role of Virginity and Purity in the Characterization of Ophelia

Hamlet Topics on Mental Health and Illness

• Hamlet and the Spectrum of Madness: A Comprehensive Analysis
• Interpreting Ophelia’s Madness in the Context of Elizabethan Society
• Hamlet’s Melancholia: An Analysis Through Freudian Lens
• Exploring the Representation of Mental Illness in Hamlet
• Depiction of Grief and Loss in Hamlet: A Psychological Perspective
• Hamlet: Tragic Hero or a Victim of Mental Illness?
• Understanding the Representation of Psychosis in Hamlet
• Interpreting the Mental Breakdown of Ophelia: A Psychological Study
• Hamlet’s Soliloquies: Insight Into His Mental State
• Exploring the Impact of Hamlet’s Faked Insanity on His Mental Health
• Analyzing the Theme of Madness and Mental Instability in Hamlet
• Hamlet: A Study of Paranoid Personality Disorder
• Interpreting the Theme of Despair in Hamlet
• Understanding the Depiction of Depression in Hamlet
• Madness Real and Feigned: A Study of Hamlet
• Hamlet: A Case Study in the Stigmatization of Mental Illness
• Ophelia’s Descent Into Madness: A Psychological Analysis
• Understanding the Tragic Consequences of Ignoring Mental Health in Hamlet

Hamlet Topics on the Role of Ghosts

• Hamlet’s Ghost: Messenger or Manipulator?
• Interpreting the Significance of Ghosts in Hamlet
• Ghostly Apparitions and Their Function in Hamlet
• Hamlet and the Supernatural: Analyzing the Ghost’s Influence
• Deciphering the Ghost in Hamlet: A Study of Supernatural Elements
• Understanding the Ethereal: The Ghost’s Existence in Hamlet
• Exploring the Intersection of Supernatural and Reality in Hamlet
• Hamlet: A Study in Spectral Ambiguity
• Interrogating the Ghost’s Veracity in Hamlet
• Hamlet’s Ghost: Symbol of Revenge or Remorse?
• The Ghost in Hamlet: An Embodiment of Fear and Guilt?
• Deconstructing the Role of Ghosts in Shaping Hamlet’s Actions
• Understanding the Narrative Function of the Ghost in Hamlet
• The Ghost as a Catalyst for Tragedy in Hamlet
• Purgatorial Representations: The Ghost in Hamlet
• How the Ghost Alters the Course of Events in Hamlet
• Ghosts and Revenge: Unraveling the Connection in Hamlet
• Investigating the Existential Dread Created by the Ghost in Hamlet
• The Ghost as a Symbol of Unresolved Issues in Hamlet
• Influence of the Ghost on Hamlet’s Perception of Death

Symbolism of Objects and Settings for Hamlet Essay Topics

• Significance of Yorick’s Skull in Hamlet: A Symbolic Analysis
• Interpreting the Symbolism of the Ghost in Hamlet
• Understanding the Role of Denmark’s Court as a Symbol in Hamlet
• Exploring the Symbolism of the Poisoned Sword in Hamlet
• Hamlet’s Soliloquy: Symbolic Representation of His Inner Turmoil
• The Garden Imagery in Hamlet: Symbolizing Corruption and Decay
• Reading the Symbolism in Ophelia’s Flowers in Hamlet
• Decoding the Symbolism of Death and Mortality in Hamlet
• Understanding the Role of Theater in Hamlet: A Symbolic Study
• The Symbolism of Madness in Hamlet: A Thorough Examination
• The Metaphor of the Unweeded Garden in Hamlet: A Symbolic Analysis
• Significance of the Ghostly Apparitions in the Setting of Hamlet
• The Symbolism of the Sea and Voyages in Hamlet: A Detailed Study
• Elucidating the Role of the Graveyard Scene in Hamlet
• Symbolism in Hamlet’s Clothing: A Comprehensive Analysis
• Decoding the Symbolism in the Monarchic Power Struggle in Hamlet
• Interpreting the Symbolic Use of Ophelia’s Death in Hamlet
• The Symbolism of Revenge in Hamlet: An Analytical Study
• Decoding the Symbolic Representation of Power and Betrayal in Hamlet
• The Symbolic Function of the Play-Within-a-Play in Hamlet

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Home — Essay Samples — Literature — Hamlet — Uncertainty in Hamlet: Themes of Doubt and Indecision

Uncertainty in Hamlet: Themes of Doubt and Indecision

• Categories: Hamlet

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Published: Sep 1, 2023

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‘The Sympathizer’ Opens a Counteroffensive on Vietnam War Movies

HBO’s series is not just a good story. It’s a sharp piece of film criticism.

• Share full article

By James Poniewozik

HBO has long defined itself in contrast to mainstream television — “It’s not TV,” as the slogan goes — but in many ways its history is one of revising and responding to the movies. “The Sopranos” updated the mafia movie (and its characters quoted, and were influenced by, films like “The Godfather”). “Game of Thrones” dirtied up the high-fantasy genre; “Deadwood” the Western; “Watchmen” the superhero story.

But the network has never given us its longform version of, or rebuttal to, one Hollywood staple: the Vietnam War movie (unless one counts the alternative history aspects of “Watchmen”). Until now, with “The Sympathizer,” Park Chan-wook’s kinetic and darkly hilarious adaptation (with the co-showrunner Don McKellar) of the novel by the Vietnamese American author Viet Thanh Nguyen.

The seven-episode series is many things. It’s an exploration of dual identity: The protagonist, known only as the Captain ( Hoa Xuande ), is a half-French, half-Vietnamese communist double agent planted as an aide to the General (Toan Le), a leader of the South Vietnamese secret police. It’s a spy thriller, a satire of colonialism and its many faces — many of them Robert Downey Jr.’s — and an exploration of the complications of love and memory.

But it’s also an intense dialogue and argument with the movies. It is simultaneously its own Vietnam War movie, bold, inventive and sometimes bloody, as well as a pointed, detailed work of movie criticism.

In “The Sympathizer,” which began airing in April, the movies are a continuation of war by other means. Its fixation on film begins early. Retelling his story in a postwar re-education camp — the framing device for the series — the Captain recalls watching the vicious interrogation of a communist agent on the stage of a movie theater, where the marquee sign for “Emmanuelle” is coming down, and the one for Charles Bronson’s “Death Wish” is hoisted into place. Even in Hollywood’s dream vision, beauty gives way to an American pointing an oversized gun.

“Hollywood” is a metonym for America in “The Sympathizer”; it is the country’s front door, its export and its weapon. The Captain’s C.I.A. contact, Claude (Downey), lectures his “protégé” (who he is unaware is a communist) about American pop culture, expounding to him about the Isley Brothers and the Herbie Hancock score for “Death Wish.” Later, Claude tells him about the C.I.A.’s interest in keeping tabs on film directors: “As long as we can keep them within the nebulous bounds of humanism but with no actionable political ideology, they’re completely harmless.”

For Nguyen, who came to the United States with his family in 1975, the movies were potent and personal. “I grew up when America was fighting its war in Vietnam all over again, this time onscreen,” he recalled in a 2022 commencement speech. “Vietnam was our country and this was our war, and yet our only place in American movies was to be killed, raped, threatened or rescued.”

The adaptation of his novel dramatizes this in its centerpiece fourth episode, which premiered Sunday. The Captain, sent to America after the war to keep an eye on the General in exile, is hired as a consultant for “The Hamlet,” an “Apocalypse Now”–like film by a blowhard American auteur, Nikos, again played by Downey. (Downey also plays an academic peddling theories about the “Oriental” mind-set and a right-wing politician who displays a photo of himself with John Wayne, whose “The Green Berets” tried to rouse support for the war.)

The filming takes the Captain into 1970s Hollywood’s heart of dimness. Nikos proclaims that he’s making “The Hamlet” to give voice to the Vietnamese people’s pain, but he neglects to give his Vietnamese characters any dialogue. When he agrees to add lines for them, he runs into the small problem that none of the extras hired to play the villagers are Vietnamese or speak the language.

(The multiple casting of Downey, by the way, is arguably a visual riff on this history of the movies treating Asians in general, and Vietnamese in particular, as interchangeable: Every aspect of imperialism, it conveys, is the same face in different makeup. But in a series that’s meant to foreground the Vietnamese in their own story, the device is showy and distracting because … well, it’s a whole lot of Robert Downey Jrs.)

The Captain volunteers to solve the problem, rounding up a group of Vietnamese expats to fill the extra roles, including his friend Bon (Fred Nguyen Khan), who proves to have a talent for getting killed, repeatedly, in a variety of costumes and makeup.

But the Captain’s solution introduces its own complications. His refugee extras, who fled the communists, don’t want to play Viet Cong onscreen. “Why do we make art,” the Captain pleads with them, “if not to explore the full complexity of life?” His speech doesn’t persuade anyone, but an offer of an extra $10 in pay does.

Park, the director of the relentless and sanguinary “Oldboy,” is an apt fit for this story, able to both render the thrill of actual action and satirize the absurdity of action moviemaking. (Park and McKellar wrote the fourth episode, which is directed by Fernando Meirelles.) On set, the Captain meets a Korean American actor (played by John Cho), whose résumé includes characters of multiple Asian ethnicities who have been beaten to death by Robert Mitchum, stabbed by Ernest Borgnine and shot by Frank Sinatra. An overbearing method actor (David Duchovny) plays his role as a war criminal with disturbing fidelity.

The episode builds to the movie-within-a-show’s climax, the rape of a village woman whom Nikos has named for the Captain’s mother. Though Nikos considers it a “tribute,” the Captain is appalled. (“You should be thanking me!” Nikos complains.) It’s too much for the Captain, whom Xuande plays as a man expert at mastering his emotions and his affect. He is fired and breaks up the scene’s shooting, and while leaving the set, he’s injured in a pyrotechnic blast meant to simulate an airstrike against the Vietnamese hamlet.

The Captain survives the devastation of his country only to be blown up by the simulacrum of the war he escaped. But Nikos gets the explosions he needs, and “The Hamlet” is released into the world.

“This movie is trash,” a Vietnamese character later says philosophically, “but that’s only from our perspective. He’s an American, and from an American perspective, it’s pretty progressive.”

This theme — perspectives and the lenses that express and determine them — is what makes “The Sympathizer” both an ingenious critique of war movies and an inventive war story of its own. The series opens with a statement displayed onscreen: “All wars are fought twice / The first time on the battlefield / the second time in memory.” Sly and passionate, “The Sympathizer” joins this battle on a third front: in the pictures.

James Poniewozik is the chief TV critic for The Times. He writes reviews and essays with an emphasis on television as it reflects a changing culture and politics. More about James Poniewozik

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