Bomb Makers Who Gets Blown Up Sky High by Their Own Weapons - Research Paper Example

Bomb makers who get Blown up Sky High by their own Weapons The game of deceit lies and masks appearance is one of the many actions that human beings choose to engage to yet they harbor many consequences. In most cases, deception kills trust within the people associated close and brings in the feeling of vulnerability (Schulze 6). This is the most overt theme in Shakespeare’s Play Hamlet. This is because each character who engages in deceit, sideshows, and mask driving seems eventually and at the wrong time punished for the heinous act by an underhanded death. Hamlet has engaged himself in lies and continuously deceiving. This has prolonged his primary goal and results in his life cut short by the fate of death. In addition, Rosencrantz and Guildenstern engage themselves in what appears as the unskilled acts of deception. Their dishonest and disloyalty to Hamlet towards Hamlet ends up backfiring through an ironic death. Even more shocking is Getrude’s and Ophelia’s action, which carries with them a plan to trick or deceive their counterpart in the play. In fact, deception seems to be the fiber through which character’s demises come to reality. Hamlet is both a contributor and a victim to the theme of deception. For example, he seems so drunk with the villainous act of a calculated intention deceive Claudius. He puts these acts at the forefront rather than uncompromisingly trail his quest for revenge (Cameron et al 124). Chiefly, in the scene depicting play within a play where ‘The Murder of Gonzago’, Hamlets tricks and deceptions are reality. Even though Claudius cannot fathom the underworld of the play, Hamlets play which parallels the death of King Hamlet was a decoy to see how Claudius would react. Claudius reaction to the events on the stage would have proven his guilt. Notably, in act II, Hamlet vows that it would be in the play that where he end up catching the conscious of the King. In another angle, Hamlet, the protagonist of the play engages in a deceptive ploy after he confers with the ghost on the cause of the death of King Hamlet. In response to the tragic death of his father, he feigns to be insane. He pretends his insanity to distract his own mother, Gertrude, his uncle and stepfather, King Claudius and their entourage (Cameron et al 54). This is to pull them away from his true intention since he had embarked on gathering enough intelligence to expose Claudius for the murder of his father. What Hamlet tries to put on as his behavior is purely out of pretence, as he goes mentioning it to his friends. He deceives them into believing that he is out of his wits. For example, in Act 1, Scene 5, Hamlet says that he would have to put an antic disposition on (Schulze 8-9). In reference to the term antic, Hamlet made ‘clown’, or an improvisation of a character that would play a comic role. At the end of it, he would deceive his people and those watching him that he is mad to achieve his goal. The order to kill causes Hamlet much agony. This disguise and pretense Hamlet engages into by deceiving everyone around in order to achieve his desires turns out to be ruinous. This act blinds him up to his deathbed. However, deception ultimately causes Hamlets death as Laertes kills Hamlet using a lethally poisoned rapier. The delay of Hamlet to take on his cause of deceptive schemes to revenge his father’s death is a realization of his the limitations of his perception. This is evident when he proclaims that there is a divinity, which seems to shape their ends (Levy 78). He concedes in the later stages of the play, and idea more affirmed as he asserts that there ought to be a special providence in the fall of a sparrow. He refers to his own deceptions and the dallying and dallying of the time he anticipated (Hamlet 5.2. 208-211). His intellect takes long to perceive the truth, only to find himself confronting the deception he had pursued. The fatalism of the words spoken by Hamlet shows nothing less than a total mental capitulation of a man, who, at the beginning, seemed so determined to take the world in his hands and restructure it as he saw it. He rather curves into an epistemological cesspool, a shadow of his former self, reduced into humbly comparing himself to that of lowly sparrow. It is as if he was barred by some religious inclination to avert himself from such a sin. This is what necessitates Ophelia describe Hamlets scenario as a tale of noble mind overthrown (Cameron et al 66). He realizes that he cannot forge his own destiny other than humble himself into what fate make of him. His story is a resemblance of a precipitous rise and almost immediate reconsideration of a dualistically fictitious renaissance mind. This makes Hamlet concede that she is what he seems to be, no more, no less. It is therefore true to say that consciousness introduces deception into the world we live at its foundation. This is why at the end, unable to deal with his dual nature, he gives up efforts to manipulate the world and control its destiny, rather, the world takes hold of him and controls his destiny. He recognizes the vital interrelationship between ideal and real. Namely, the tone of the play suggested that the physical precedes the ideal, and Hamlet recognition of this is what accrues to his development (Levy 95). Rosencrantz and Guildenstern engage themselves in what appears as the unskilled acts of deception. They have been good friends to Hamlet but unknowingly, Hamlet is vulnerable due to the schemes the, once friends of his, have dissolved into (Hamlet 2.2.1). For example, when King Claudius welcomes the two in his residence, they get an order, to hang out with Hamlet as much as they can. The two take this as a responsibility despite being friends with Hamlet. This is a deception since one does not expect his friends to engage in such a spy sideshow in disguise that they are still acquaintances. Rosencrantz and Guildenstern secretly got into spying and unearthing what exactly was wrong with Hamlet. The fact that the King says he could not have dreamt of what might have been the problem/ wrong with Hamlet, other than the death of his late father, King Hamlet. It is this assertion that hints that probably Rosencrantz and Guildenstern knew something about the death of their friend’s father, yet they could not reveal any to Hamlet. In other words, Rosencrantz and Guildenstern were on a mission, serving a foreseeable enemy to Hamlet, and uncover whether Hamlet knows or suspects anything about his father’s death. Notwithstanding that, they are conspiring against a friend who likes and trusts them; the Queens even digs them deeper into the deceptive game. She promises them that there could be some money if they unveil the Kings wishes (Hamlet 2.2.25-26). Gertrude is the anti-thesis of her son, Hamlet. While his son is a scholar and a philosopher in search of life’s most elusive answers, Gertrude engages in a sexual deceit to Hamlet’s father, King Hamlet. It is an act of lie to conspire against Hamlets father and be part of the king’s murder, something that Hamlet gets disgusted with so much. This means she had been a lover of Claudius even before Hamlet’s father died, and this amounted to an act of deception. In an amazing turn of events, Rosencrantz and Guildenstern not only agree to act in accordance to the Kings wishes but also they ultimately suck-up (Bloom 102). They even acknowledge into knowing that the King could as well have commanded and it was good for them that such a deity asked them to deceive their friend. In the play, the exeunt’s and entrances of characters is a game of deceit Hamlet cannot fathom. For example, this is seen when Rosencrantz and Guildenstern approaches Hamlet in his room, Hamlets extents his greetings to his old friends in a heartily manner. This was shortly after Polonius had exited. It looks like a good visit to Hamlet little does he know that his friends her spying on him. Hamlet even asks them how they have been faring and the news of their unexpected visit (Hamlet 2.2.274). As expected, Rosencrantz and Guildenstern do not have a straight and honest answer into that. This is because they had not come out there to hang out or give Hamlet company like they used to, something that Hamlet is in total darkness about. They were out to know what the secret dossier Hamlet what having about the King, an act that in total amounts to deception since Hamlet is not only a royal son but also a friend they used to be. The two old friends lie even when being on Hamlet’s side (Hamlet 2.2.254-256). It is not a surprise that they get stunned and concede to have been sent when Hamlet asks them whether they were not sent for (Hamlet 2.2.274). This later reveals to Hamlet that his friends have been coating him as spies of the king, something that tilts him into philosophical orbit. Moreover, an act of deceit comes when Rosencrantz and Guildenstern have to meet with the King, Queen, Polonius, and Ophelia to discuss the state of their friend Hamlet. Eventually, the climax of their deception comes when they disguise as collaborating Hamlet on a voyage only for Hamlet to rewrite his death letter sentence into their own fate. Their deception led them to their own death traps. Ophelia’s action carries with them a plan to trick and deceit. First, he is in the league that is spying Hamlet even though Gertrude, Hamlets mother thinks that Ophelia’s virtues, her sweetness, loving and kind nature could be the remedy to her son’s shrewd character (Bloom 89). After the queen orders Ophelia to stay away of her son, Polonius engages the young lady into deceptive moves to counter Hamlets behaviors. Ophelia’s acceptance to play folly for the gain of other people is an act of deceit to Hamlet. She accepts to hold a book pretentiously, in order, to pretend as though reading when Hamlet enters the space (Peterson, Kaara and Deanne 84). This is hypocritical of her as Polonius babbles for the imminent trap of the long sought Hamlet in his wits. Surprisingly, Hamlet does not see Ophelia as he encircles himself with the menace of whether to allow himself to suffer the slings of outrageous fortune or to dust-up and face the sea of troubles in his path (Hamlet 3.1.56). Upon seeing the girl who dumped him, Hamlet is surprised why she had paid him such a visit and even asks her to pray for him (3.3.89-90). Ophelia’s deceptive lures go to extend where she seems to drop her father’s missions on Hamlet but rather pursue her. She has seemingly confessed that she loves Hamlet yet in a real sense, she was the one who dumped him earlier. This is a lie for Ophelia (Hamlet 3.1.111-114). Suggestively, Hamlets seems to unveil the deceitful advances of Ophelia, as just someone who could be tenderly attempting to get him to protect herself from the harsh realities of the world. This makes it true that Ophelia’s presence in that space was a lie, especially when Hamlet inquire about her father’s whereabouts. He senses that he is being spied upon, a trick led by an old friend, Ophelia. Ophelia, realizing she is in a fix, she lies that the father is at home. Hamlet outrageously calls her a deceiving woman and brands her father a fool (3.1.138-140). Gertrude has been portraying this same deception. For example, why does she not support her son in waging revenge against their dead father and husband? This insinuates that she had some hidden lie about the whole plot (Hamlet 1.5.75). She has thus an aversion to the truth, and she cannot tell anyone of her deceitful maneuvers. She lies to protect herself and everybody around her and keep them self physically and emotionally safe. It is because of their deception that Gertrude looses favor from his son and Ophelia faces a rough destiny ahead. In conclusion, deception has been essential in producing the most scintillating themes in Shakespeare’s writings. Like in Hamlet play, it has helped to create tragedy, history, or comedy in the way the characters behave (Schulze 7). As the play portrays, deception can turn out to be destructive as well as benign. One can practice it on others, as some characters shown in the play Hamlet, and it can be self-inflicting as Hamlet, the protagonist brings it out. Work cited Bloom, Harold. Hamlet. London: Infobase Publishing, 2009. Print. Cameron, Lloyd, Rebecca Barnes, William Shakespeare, and Tom Stoppard. Hamlet by William Shakespeare and Rosencratz and Gildenstern Are Dead by Tom Stoppard. Glebe, N.S.W: Pascal Press, 2001. Print. Hamlet, by William Shakespeare. Sunnyvale, Calif.: Shmoop University, 2010. Levy, Eric P. Hamlet and the Rethinking of Man. Madison: Fairleigh Dickinson University Press, 2008. Print. Peterson, Kaara L, and Deanne Williams. The Afterlife of Ophelia. Basingstoke: Palgrave Macmillan, 2012. Print. Schulze, Hendrikje. Hamlet engages in self-exploration, Faustus in self-deception. New York: GRIN Verlag, 2004. Print. Read More