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CLASSIC LITERATURE ANALYSIS

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Reports & Essays: Literature - Shakespeare

"AND""OR"

Greek Heroes
In ancient Greek religion, a hero was a famous dead individual who was worshiped as quasi-divine. The heroes might be actual dead great men, real or imaginary ancestors, or gods who for some reason were demoted to human status. Homer treats his heroes as nobles and fighting men, but many Homeric heroes, such as Hector and Achilles, later became objects of worship. Hector, in Greek mythology, was the greatest hero of the Trojan troops during the Trojan War, He ws the eldest son of Priam and Hecuba, the husbane of Andromache, and the father of Astanax. In the "Iliad", he is portrayed as the corageous leader of Trojan resistance. He was killed by Achilles in revenge for the deathof Patrocius. Hector had several hero cults, most notably at Troy and Thebes. Achilles, son of Peleus and Thetis, was also a noteable Greek hero. Thetis, knowing that Achilles was fated to die at Troy, disguised him as a girl and hid hin among Antiheroism has always been an interesting aspect of a character that authors have chosen to illustrate. In literature, there have been countless antiheroic characters, from Randle McMurphy in " One Flew Over the Cuckoo's Nest" and Allie Fox in " The Mosquito Coast", to others as famous as " Robin Hood". By literary definition, an antihero is the "hero" of the play or novel, but he/she has negative attributes which separate him or her from the classic hero figure such as Superman. Such negative aspects may include a violent nature, use of coarse language, or self serving interests which may inadvertently depict the protagonist as a hero since the result of serving those interests may be for the betterment of society or an environment. In William Shakespeare's Hamlet, the protagonist, Hamlet, is depicted as an antihero. One main factor which gives Hamlet such a label is that he draws sympathy, as well as admiration, from the reader since Hamlet feels the pain of losing his father along with the burden and obstacles in avenging his murder. Act four places a special emphasis on Hamlet's intelligence. In scene two, Hamlet is very insolent and rude towards Rosencrantz and Guildenstern with such phrases as, "That I can keep your counsel and not, mine own. Beside, to be demanded of a sponge, what replication should be made by the son of a king?" (IV, ii, 12-14) The reference to the sponge reflects the fact that Rosencrantz and Guildenstern are easily ordered by the king and do not have minds of their own. Hamlet does not like Rosencrantz and Guildenstern since they are servants of the Claudius, Hamlet's mortal enemy. The reader does not like Rosencrantz and Guildenstern either which causes the reader to side with Hamlet. Another incident of Hamlet's high intelligence is shown when he tells Rosencrantz and Guildenstern, "I am glad of it: a knavish sleeps in a foolish ear." (IV, ii,24-25) This statement leaves Rosencrantz and Guildenstern more or less confused. Hamlet is clearly more clever than the two of them combined and is able to toy with them. Hamlet has an excellent command of the language and because of it, can use words to the point that those around him will not understand and may label him as crazy. Hamlet shows another example of his cleverness, this time towards Claudius, when he says, "I see a cherub that sees them. But, come; for England! Farewell, dear mother." (IV, iii, 49-50) The cherub, or the angel, gives Hamlet a sense of superiority over Claudius. Having an angel at one's side would be a definite sign of power, which is exactly what Hamlet tries to maintain over Claudius in their constant power struggle. Just when Claudius thinks he controls Hamlet, it is really Hamlet who has the upper hand over Claudius. There are very strong philosophical references made by Hamlet in this act regarding life and death. Hamlet tells Claudius, "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." (IV, iii, 21-26) This statement is a reference to the food chain, and in turn, a reflection on the meaning of life. It illustrates the equality of men in that whether one is born to be a king or a beggar, when one dies, we are all equal. Worms and maggots do not treat anybody differently once one is dead and buried. The final scene draws the greatest sympathy towards Hamlet even though he is not even in the scene. The forces of Claudius and Laertes have combined against Hamlet. Claudius states, "To an exploit now ripe in my device, Under the which he shall not choose but fall, And for his death no wind of blame shall breathe; But even his mother shall unchange the practice, And call it accident." (IV, vii, 65-69) Claudius is willing to undertake any measures necessary to eliminate Hamlet, to the point that it does not matter whether or not it hurts Gertrude in any way. This scene depicts Hamlet as the victim, much like two bullies picking on a smaller child in school, since the king, with the aid of Laertes, is out to kill Hamlet, this time with a passion. Much like a political revolutionary, Hamlet has the system against him and is facing death because of his loyalty and honor towards his father. The fact that Hamlet's life is not indeed in jeopardy attributes to his "hero" status. In addition, his only fault is the desire to avenge his father's murder, an act considered completely honorable by the reader. However, Hamlet's negative attributes include his rudeness towards others, including the fair Ophelia, and a violent nature as shown when he kills Polonius, albeit accidentally, and shows no remorse, causing a reclassification from the classic hero, to the more appropriate label of antihero.

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