Hamlets Irrational Emotions - Free Essay Example

Sample details Pages: 3 Words: 1017 Downloads: 7 Date added: 2019/04/10 Category Literature Essay Level High school Tags: Hamlet Essay William Shakespeare Essay Did you like this example? Hamlet is the son of Queen Gertrude and late King Hamlet. Hamlet is also the nephew of King Claudius. In the story Hamlet many people are stuck between if he is actually insane or if he is faking his insanity. Don’t waste time! Our writers will create an original "Hamlets Irrational Emotions" essay for you Create order Some people really do believe he is mad, and some people believe he is absolutely not mad. The story is very dramatic, and a lot goes on. Hamlet has had to go through a lot in this play. One of the main problems in the story are the anger he has against his uncle Claudius and mother and having to deal with the constant changes of emotion. Also one other problem is having to deal with the death of his father. I believe his irrational emotions are linked to his insanity. Hamlets character in this story is kind of odd, he does not act like anybody else in the story. He seems very angry and indecisive. He obviously carries a lot of anger and hatred for his family but his anger is mainly toward his uncle and his mother. His father King Hamlet has been killed by his own brother King Claudius to overthrow the crown and take his spot and after this his mother, Queen Gertrude and his fathers brother started having relations with each other. This causes Hamlet to be really uncomfortable and felt that it was disgusting. He was disgusted with the choices she has made so quickly after her husbands death and because Hamlet felt as if the relationship she had with her brother in law was incest. In the beginning of the story Hamlets character is bitter, sad and he was also kind of selfish. Towards the end of the play is when he is becoming very angry, indecisive and impulsive. In the story it is hard for some people to tell if he is insane or not. Sometimes it will seem like it but sometimes it will not. He is bipolar and his emotions change very quickly. There are many symptoms of insanity, and you do not have to have all of them to be considered insane. The many symptoms of insanity include confused thinking. Confused thinking can be just like indecisiveness or hesitation. Strong feelings of anger are also another symptom of insanity which Hamlet does have. In the story he does tend to rash out a lot and he becomes very impulsive. If you are insane, you can experience hallucinations like how Hamlet was seeing the ghosts that not everyone could see. Excessive high and low moods and long lasting sadness is another symptom of insanity that Hamlet does have like when he lashes out. Out of some of the symptoms of insanity, Hamlet has six. The person who is actually insane that believes Hamlet is not could be explained by denial of obvious problems which is an other symptom that comes along with insanity that, that person may be dealing with. I do believe Hamlet is actually insane. I do not believe he is faking his insanity or that he is completely normal. I believe he is insane because he even admitted to it. Hamlet had admitted that he was insane on occasions. Also, people in the story do not trigger this act of impulsiveness or him blowing up so it is all him. Nobody makes Hamlet act this way, unlike how people who are not insane would act irrationally because of something that happened, but Hamlet just lashes out for no reason. Hamlet has committed murder. Anybody that is not the littlest bit of insane would not kill anyone especially for simple reasons. Hamlet was involved directly and indirectly in seven deaths. Some people believe that Hamlet is not insane. Either way if he is not insane the fact that he would fake his insanity is kind of insane. A sane person would not fake insanity for so long or be as committed to it like Hamlet was. I think that Hamlet has dealt with a lot of things in his life, some things that he did not cause and things that he brought upon himself. Either way I do believe he has dealt with a lot that stressed him out and put a lot on his shoulders and this caused him to become insane. Some people develop certain illnesses because of trauma they have had to deal with throughout their life. I believe that all of the murders he pursued caused him to go mad. I also believe he could be very frustrated because of how much he feels like he is being watched by King Claudius and whoever King Claudius has hired to watch him. The death of his father and his mothers relationship with his fathers brother King Claudius after King Hamlet dies could also be a traumatic situation that caused him to become insane. Hamlet found it very hard to trust anyone especially women his mother moved on so fast after her husbands death so that situation really impacted him negativity. The hatred that King Claudius and Hamlet have for each other is probably stressful to Hamlet so that just adds more that he has to deal with. Hamlets life was in danger because of King Claudius. King Claudius was trying to kill Hamlet by poisoning him but insteadaccidentally poisoned Queen Gertrude. Hamlet has lost both of his parents, his mom and dad. I believe this may be a big reason as to why Hamlet has become mad. He is dealing with all of these symptoms of insanity which could be more stressful on him, and this could increase the symptoms. I believe it is a fact that Hamlet is insane although I do not think Hamlet has always been insane. I believe his insanity came along with all the things he has had to go through with in his life. It is hard to believe he was not insane because of his character and the way he acted. A normal person would not have that type of character on a daily basis or often at all. The definition of insanity describes Hamlet perfectly.

Heart Breaking Film, By Ambrose Bierce And Directed By...

This short, yet heart breaking film is written by Ambrose Bierce and directed by Robert Enrico. This story takes place during the Civil War. A man, by the name of Peyton Farquhar, is caught tampering with the bridge and is sentenced to death by rope. Ambrose Bierce specifically created this literary piece of film to keep the readers attention and she achieved this by going into the mind of Farquhar. â€Å"An Occurrence at Owl Creek Bridge† is ironic due to the inevitable time in which Farquhar has left, and the realism he must face. â€Å"Literature into Film,† Harry M. Gerald spoke of Bierce’s film as follows: â€Å"It was evident that if one saw Enrico’s film without having read the story, one would have no sense of the author’s ironic style† (Style†¦show more content†¦His thoughts seem to carry him back in time as he awaits his death. The noose then suddenly seems to just break off and Farquhar falls into the creek (Classics Revi ewed). While at first glance the creek looks shallow, but when Farquhar falls into its depths it becomes deep, which shows that he is really dreaming. His getaway itself is seen as a clear resurrection, which he effectively surpasses to make tracks in an opposite direction from death (Literary Context). Farquhar’s thoughts while standing on the plank with the noose around his neck takes him away from reality and takes him on a journey of rebirth. Before he hits the water, he feels â€Å"he swung through unthinkable arcs of oscillation, like a vast pendulum.† (Masterplots 2) The submerging under water and the removal of ropes is like a child s umbilical cord around its neck. At the point when Farquhar ascends to the surface it is represented as a child being conceived. His surroundings are also different than when he first got on the bridge, it is now summer with flowers blooming and the trees are covered with leaves. This automatically shows that this scene is a pigmen t of his imagination.The significance of him being reborn is the finished inverse in which he was getting away from, along these lines leaves the peruser with a humorous discernment. There is irony behind his escape from the soldiers’ bullets as he swims away from the bridge. The idea that this is just a dream is the bullets that miss him while

Paul Klee a Swiss

Paul Klee a Swiss-born painter Essay A Swiss-born painter and graphic artist whose personal, often gently humorous works are replete with allusions to dreams, music, and poetry, Paul Klee, b. Dec. 18, 1879, d. June 29, 1940, is difficult to classify. Primitive art, surrealism, cubism, and childrens art all seem blended into his small-scale, delicate paintings, watercolors, and drawings. His family was very interested in the arts. The jobs that Pauls parents had were strange for 1879. His mom helped support the family by giving piano lessons. His father did the housework. He cooked, cleaned, and painted. Pauls grandma taught him how to paint. After much hesitation he chose to study art, not music, and he attended the Munich Academy in 1900. Klee later toured Italy 1901-02, responding enthusiastically to Early Christian and Byzantine art. Klee was a watercolorist, and etcher, who was one of the most original masters of modern art. Belonging to no specific art movement, he created works known for their fantastic dream images, wit, and imagination. These combine satirical, grotesque, and surreal elements and reveal the influence of Francisco de Goya and James Ensor, both of whom Klee admired. Two of his best-known etchings, dating from 1903, are Virgin in a Tree and Two Men Meet, Each Believing the Other to Be of Higher Rank. The paintings of Klee are difficult to classify. His earliest works were pencil landscape studies that showed the influence of impressionism. Until 1912 he also produced many black-and-white etchings; the overtones of fantasy and satire in these works showed the influence of 20th-century expressionism as well as of such master printmakers as Francisco Goya and William Blake. Klee often incorporated letters and numerals into his paintings, but he also produced series of works that explore mosaic and other effects. Klees career was a search for the symbols and metaphors that would make this belief visible. More than any other painter outside the Surrealist movement with which his work had many affinities its interest in dreams, in primitive art, in myth, and cultural incongruity, he refused to draw hard distinctions between art and writing. Indeed, many of his paintings are a form of writing: they pullulate with signs, arrows, floating letters, misplaced directions, commas, and clefs; their code for any object, from the veins of a leaf to the grid pattern of Tunisian irrigation ditches, makes no attempt at sensuous description, but instead declares itself to be a purely mental image, a hieroglyph existing in emblematic space. So most of the time Klee could get away with a shorthand organization that skimped the spatial grandeur of high French modernism while retaining its unforced delicacy of mood. Klees work did not offer the intense feelings of Picassos, or the formal mastery of Matisses. The spidery, exact line, crawling and scratching around the edges of his fantasy, works in a small compass of post-Cubist overlaps, transparencies, and figure- field play-offs. In fact, most of Klees ideas about pictorial space came out of Robert Dulaunays work, especially the Windows. The paper, hospitable to every felicitous accident of blot and puddle in the watercolor washes, contains the images gently. As the art historian Robert Rosenblum has said, Klees particular genius to be able to take any number of the principal Romantic motifs and ambitions that, by the early twentieth century, had often swollen into grotesquely Wagnerian dimensions, and translate them into a language appropriate to the diminutive scale of a childs enchanted world. After his marriage in 1906 to the pianist Lili Stumpf, Klee settled in Munich, then an important center for avant-garde art. His wife, Lily, gave music lessons, while Paul babysat their only son, he was a good babysitter. .u934c9fc84154f7692a1a3c2e33dc9e3a , .u934c9fc84154f7692a1a3c2e33dc9e3a .postImageUrl , .u934c9fc84154f7692a1a3c2e33dc9e3a .centered-text-area { min-height: 80px; position: relative; } .u934c9fc84154f7692a1a3c2e33dc9e3a , .u934c9fc84154f7692a1a3c2e33dc9e3a:hover , .u934c9fc84154f7692a1a3c2e33dc9e3a:visited , .u934c9fc84154f7692a1a3c2e33dc9e3a:active { border:0!important; } .u934c9fc84154f7692a1a3c2e33dc9e3a .clearfix:after { content: ""; display: table; clear: both; } .u934c9fc84154f7692a1a3c2e33dc9e3a { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u934c9fc84154f7692a1a3c2e33dc9e3a:active , .u934c9fc84154f7692a1a3c2e33dc9e3a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u934c9fc84154f7692a1a3c2e33dc9e3a .centered-text-area { width: 100%; position: relative ; } .u934c9fc84154f7692a1a3c2e33dc9e3a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u934c9fc84154f7692a1a3c2e33dc9e3a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u934c9fc84154f7692a1a3c2e33dc9e3a .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u934c9fc84154f7692a1a3c2e33dc9e3a:hover .ctaButton { background-color: #34495E!important; } .u934c9fc84154f7692a1a3c2e33dc9e3a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u934c9fc84154f7692a1a3c2e33dc9e3a .u934c9fc84154f7692a1a3c2e33dc9e3a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u934c9fc84154f7692a1a3c2e33dc9e3a:after { content: ""; display: block; clear: both; } READ: The National Gallery of Art in Washington D. C. EssayKlee painted in a unique and personal style; no one else painted like he did. He used pastels, tempera, watercolor, and a combination of oil and watercolor, as well as different backgrounds. Besides using the canvas that he usually painted on he used paper, jute, cotton, and wrapping paper. A turning point in Klees career was his visit to Tunisia with Macke and Louis Molliet in 1914. He was so overwhelmed by the intense light there that he wrote: Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever. That is the significance of this blessed moment. Color and I are one. I am a painter. He now built up compositions of colored squares that have the radiance of the mosaics he saw on his Italian sojourn. The watercolor Red and White Domes 1914; Collection of Clifford Odets, New York City is distinctive of this period. His paintings and watercolors for the next 20 years showed a mastery of delicate, dreamlike color harmonies, which he usually used to create flat, semiabstract compositions or even effects resembling mosaic, as in Pastoral. Klee was also a master draftsman, and many of his works are elaborated line drawings with subject matter that grew out of fantasy or dream imagery; he described his technique in these drawings as taking a line for a walk. After 1935, afflicted by a progressive skin and muscular disease, Klee adopted a broad, flat style characterized by thick, crayon like lines and large areas of subdued color. His subject matter during this period grew increasingly brooding and gloomy, as in the nightmarish Death and Fire. Klee died in Muralto, Switzerland, on June 29, 1940. His work influenced all later 20th-century surrealist and nonobjective artists and was a prime source for the budding abstract expressionist movement. If Klee was not one of the great form givers, he was still ambitious. Like a miniaturist, he wanted to render nature permeable, in the most exact way, to the language of style and this meant not only close but ecstatic observation of the natural world, embracing the Romantic extremes of the near and the far, the close-up detail and the cosmic landscape. At one end, the moon and mountains, the stand of jagged dark pines, the flat mirroring seas laid in a mosaic of washes; at the other, a swarm of little graphic inventions, crystalline or squirming, that could only have been made in the age of high-resolution microscopy and the close-up photograph. There was a clear link between some of Klees plant motifs and the images of plankton, diatoms, seeds, and microorganisms that German scientific photographers were making at the same time. In such paintings, Klee tried to give back to art a symbol that must have seemed lost forever in the nightmarish violence of World War I and the social unrest that followed. This was the Paradise-Garden, one of the central images of religious romanticism the metaphor of Creation itself, with all species growing peaceably together under the eye of natural or divine order. Pail Klees Dancing Girl is a painting that he did in 1940 that stood out from all the rest on our visit to the Art Institute. Dancing Girl is a painting made up of simple short bold line strokes and a couple of circles to high light her head and hands. Done in 1940 Klee used a far-fetched medium for this piece. Dancing girl was composed on oil on linen and then glued on to a panel. As strange as it must seem it still has a strong appeal to it. Dancing Girl follows the pattern of man of Klees past work. His work at times seems hard to explain but understanding to the mind. There are certain suttle objects in the painting that make it obvious that this is a girl dancing. One is the distinguishing fact that this is a young woman. This is shown by the 3 main lines that make up her body. .u978a5e852b7564865d4addef661a037e , .u978a5e852b7564865d4addef661a037e .postImageUrl , .u978a5e852b7564865d4addef661a037e .centered-text-area { min-height: 80px; position: relative; } .u978a5e852b7564865d4addef661a037e , .u978a5e852b7564865d4addef661a037e:hover , .u978a5e852b7564865d4addef661a037e:visited , .u978a5e852b7564865d4addef661a037e:active { border:0!important; } .u978a5e852b7564865d4addef661a037e .clearfix:after { content: ""; display: table; clear: both; } .u978a5e852b7564865d4addef661a037e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u978a5e852b7564865d4addef661a037e:active , .u978a5e852b7564865d4addef661a037e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u978a5e852b7564865d4addef661a037e .centered-text-area { width: 100%; position: relative ; } .u978a5e852b7564865d4addef661a037e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u978a5e852b7564865d4addef661a037e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u978a5e852b7564865d4addef661a037e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u978a5e852b7564865d4addef661a037e:hover .ctaButton { background-color: #34495E!important; } .u978a5e852b7564865d4addef661a037e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u978a5e852b7564865d4addef661a037e .u978a5e852b7564865d4addef661a037e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u978a5e852b7564865d4addef661a037e:after { content: ""; display: block; clear: both; } READ: Navajo Sand Paintings EssayHalfway down the middle line there is a curve that forms the shape of a triangle as well as her other leg. Under the triangle on the background is a shade of red that gives the triangle and you the visual effect of her wearing a dress. The painting itself is simple yet dramatic as most of Paul Klees works were. The Background was a tealish green color with highlights of yellow around the circles to distinguish her hands and feet. What makes the main object stand out at the viewer more is the white highlight around the girl. This effect draws your eye to the center of the piece and then lets you wonder around the rest of the painting. It appears as if he Paul Klee used watercolors and inks for this and implemented small pictures and childlike symbols to give it appeal. Klee valued the primitive look especially art of children. I believe that he envied their freedom and respected their innocence. . As the art historian Robert Rosenblum has said, Klees particular genius to be able to take any number of the principal Romantic motifs and ambitions that, by the early twentieth century, had often swollen into grotesquely Wagnerian dimensions, and translate them into a language appropriate to the diminutive scale of a childs enchanted world. Formerly we used to represent things visible on earth, he wrote in 1920, things we either liked to look at or would have liked to see. Today we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities

Mayor Of Casterbridge Essays - British Films,

Mayor Of Casterbridge In Thomas Hardy's The Mayor Of Casterbridge, Michael Henchard represents an incarnation of the Classical ?tragic hero.' In Greek literature, a tragic hero is a well-known and respected individual whose tragedy usually involves some kind of fall from glory. His downfall has been precipitated by his own flaw of character or judgment, some mistake or series of mistakes that has serious consequences. A key element is that the hero's experiences don't simply end with the mistake or catastrophe; true tragic heroes must come to discover or recognize what has happened to them and ultimately pay their ramifications. Surely such a description fits the hubristic Michael Henchard and maps out the tale of events set forth in The Mayor Of Casterbridge. The definition of a tragic hero includes his fall from glory, which in early 20th century literature would be social-class related. Henchard's rapid decline from Mayor to pauper qualifies as such a fall. It is even more of a tragedy since there was so much embarrassment and scandal surrounding his deterioration from a pillar of the town of Casterbridge. "Everybody else, from the Mayor to the washerwoman, shone in new vesture according to means; but Henchard had doggedly retained the fretted and weather-beaten garments of bygone years." (Page 261) His ragged appearance at a royal procession shows just how deep he had fallen into depression and oblivion. Though modern usage of the word ?hero' indicates a nobler persona, at its roots a hero is simply the main character of any story, and not necessarily a knight in shining armor. A tragic hero's sad story comes from his own flaws, and Michael Henchard was certainly not lacking in faults and poor judgments. Often he displays impulsiveness, which always results in bringing him closer to his demise. As with selling his wife, deciding to hide his past grievances, and buying over-priced grain, Henchard's lack of self-control worsens each situation. He is also a very proud man, which turns into simple stubbornness. On page 259 he indignantly proclaims: "'I'll welcome his royal highness, or nobody shall!'" showing his childish need for control and superiority. His poor judgment in dealing with his feud with Donald Farfrae shows what a weak character he really is. All of Henchard's offensive qualities gradually alienate all those around him. The final characteristic of a tragic hero's saga is his realization of his mistake as well as the endurance of the consequences. In Henchard's case, the original mistake was the sale of his wife Susan two decades prior. His affliction begins almost immediately as his mistake is realized; he vows to abstain from alcohol for twenty-one years ("'...being a year for every year that I have lived.'" Page 25) But, as the reader begins to realize, Henchard has only gone through the motions of repentance, and as soon as he is faced with adversity, his rougher qualities still surface. "...it was still a part of his [Henchard's] nature to extenuate nothing, and live on as one of his own worst accusers."(Page 322) So since his self-inflicted punishment is only half-hearted, Hardy has Fate or Consequence step in to sufficiently burden him with hardships until his death. The theme and spirit of tragedy found a new vehicle in the novel in the 19th century, its form being originally used only in plays. Thomas Hardy has been quoted as comparing the rural setting of this and other of his novels to the stark and simple setting of the Greek theater, giving his novels something of that drama's intensity and sharpness of focus. This grimly pessimistic view of man's nature qualifies Michael Henchard as a Classical Tragic Hero; his own inner faults ultimately bring him down from his high post. Darkness and doubt blanket the tale with Michael Henchard's forever unresolved and unpredictable capacities for good, and for evil.