i have to write an essay on hamlet

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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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Guidelines for Writing A Great Hamlet Analysis Essay

To enhance the independent work of students and the development of public speaking skills, many teachers resort to such a form of knowledge control as an essay. This type of activity can be attributed to small written works. The essay in its volume is significantly inferior to the thesis since it is usually related to a specific subject under study and includes an analysis of a limited number of concepts considered during training.

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As it is known, Hamlet has long been recognized by society as the great eternal image of world literature. The play “Hamlet” became not only the closest story for the reader, literary and theatrical critics, actors and directors, but acquired the significance of a text-generating work of art. The eternal image of the doubting Hamlet inspired a whole string of writers who, one way or another, used his character traits in their literary works.

In order to conduct a good literary analysis of the protagonist and the novel as a whole, and as a result, write an excellent essay, the author should take into account the following recommendations:

Define the structure of your paper. As a rule, an essay consists of three main structural elements: introduction, main part, and conclusion;
In the introduction a narrator should point the topic, highlight the main issues that need to be considered;
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The conclusion is the last basic element of an essay. The writer usually represents here a summary of basic ideas;
When checking the work, it is necessary first of all to pay attention to whether the ideas are arranged in a logical order. Usually, each paragraph of the main text should contain no more than one idea in question. In addition, it is important to check each sentence of the work for errors, as a good knowledge of the language should be demonstrated in the essay.

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Analysis of William Shakespeare’s Hamlet

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

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

—Harry Levin, The Question of Hamlet

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

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

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

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

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

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

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

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

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

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

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

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

Hamlet Oxford Lecture by Emma Smith

Analysis of William Shakespeare’s Plays

Essays About Hamlet: Top 5 Examples and 10 Prompts

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

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

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

Read on to see our essays and prompts about Hamlet.

Top 5 Essay Examples

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

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

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

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

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

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

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

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

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

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

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

10 Writing Prompts For Essays About Hamlet

Essays About Hamlet written by Shakespeare

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

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

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

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

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

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

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

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

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

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

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

Yna Lim is a communications specialist currently focused on policy advocacy. In her eight years of writing, she has been exposed to a variety of topics, including cryptocurrency, web hosting, agriculture, marketing, intellectual property, data privacy and international trade. A former journalist in one of the top business papers in the Philippines, Yna is currently pursuing her master's degree in economics and business.

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100+ Hamlet Essay Topics

Table of Contents

What is a Hamlet Essay?

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

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

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

Hamlet Essay Topics to Spark Your Imagination

Character analysis.

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

Thematic Concerns

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

Symbolism and Motifs

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

Historical and Contextual Analysis

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

Comparative Studies

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

Character Exploration

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

Themes and Philosophical Inquiries

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

Symbolism and Literary Devices

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

Structural Analysis

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

Comparative Analyses

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

Modern Interpretations and Adaptations

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

Feminist Perspectives

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

Historical and Contextual Insights

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

Psychological Angles

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

Miscellaneous Topics

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

Narrative Techniques and Structure

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

Cultural Perspectives

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

Philosophical and Ethical Discussions

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

Performance and Stagecraft

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

Secondary Characters and Their Significance

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

Get Writing Help

Struggling with your “Hamlet” essay? At writeondeadline.com , we offer top-tier essay writing services tailored to your needs. Allow our expert writers to bring your insights to life, delivering a masterpiece worthy of Shakespeare himself. Order your essay now!

Useful References

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

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Hamlet essay topics for students of any level.

William Shakespeare’s famous tragedy “Hamlet,” written around the year 1600, about a Danish prince who seeks revenge on the uncle who murdered his father and married his mother, is widely considered among the greatest works of English literature.

For those studying “Hamlet” we’ve put together a list of topics for Hamlet essay writing, a list of discussion topics on “Hamlet,” thesis statements that could be used for an essay on “Hamlet,” some advice for choosing which “Hamlet” topic to write about, and a “bonus round,” where we review the main characters in “Hamlet.” So have at!

Hamlet Essay Ideas

Before diving into our lists of Hamlet topics, let’s broadly review five major elements of the play that could be explored in more detail.

“Hamlet: A Psychological Analysis”

An essay could delve into the complex character of Hamlet and analyze his psychological journey throughout the play. It could explore themes such as grief, madness, and the existential crisis that Hamlet faces, providing in-depth analysis and interpretation of his thoughts, motivations, and actions.

“The Women of Hamlet”

An essay could focus on the female characters in “Hamlet,” namely Gertrude and Ophelia. It could examine their roles, relationships, and the societal pressures they face, shedding light on their perspectives and analyzing their significance in the play. It could also explore the themes of gender and power dynamics in Shakespeare’s work.

“Hamlet: A Tragic Hero Revisited”

An essay could take a closer look at Hamlet as a tragic hero, exploring the elements of tragedy present in his story. It could examine his fatal flaw, his struggles with decision-making, and the consequences of his actions, drawing comparisons with other tragic heroes in literature and discussing the enduring relevance of his character.

“Hamlet’s Denmark: Society, Politics, and Power”

An essay could provide a comprehensive analysis of the socio-political context of “Hamlet.” It could delve into the power dynamics within the kingdom of Denmark, discussing the corrupt nature of the court, the role of monarchy, and the impact of political intrigue on the characters and events of the play.

“Adaptations and Interpretations: Hamlet across Time and Media”

An essay could explore the various adaptations and interpretations of “Hamlet” throughout history and across different mediums. It could discuss how different directors, playwrights, filmmakers, and artists have approached the play, analyzing the changes made, the themes emphasized, and the impact of these adaptations on the audience’s perception of the story.

Remember, these are just broad ideas, and you can tailor them to suit your specific Hamlet topics and the angle you want to explore in your book.

Essay Topics on Hamlet

Here are 15 essay topics on “Hamlet” that you can consider:

The Role of Madness in “Hamlet.” Analyzing Hamlet’s feigned madness and its impact on the play.
Revenge and its Consequences in “Hamlet.” Discussing the theme of revenge and how it drives the characters’ actions.
The Tragic Hero in “Hamlet.” Examining Hamlet as a tragic hero and analyzing his fatal flaw.
The Theme of Appearance vs. Reality in “Hamlet.” Exploring how the play challenges the audience’s perception of truth and deception.
The Feminine Perspective in “Hamlet.” Discussing the portrayal of women in the play and their influence on the plot.
The Importance of Soliloquies in “Hamlet.” Analyzing the function and significance of Hamlet’s soliloquies in revealing his inner thoughts and conflicts.
The Role of Fate in “Hamlet”: Examining the role of destiny and its impact on the characters’ lives.
Moral Ambiguity in “Hamlet.” Discussing the moral dilemmas faced by the characters and the ethical implications of their actions.
The Influence of Religion in “Hamlet.” Exploring the religious elements present in the play and their significance in shaping the characters’ motivations and beliefs.
The Theme of Corruption in “Hamlet.” Analyzing the corrupt nature of the court and society depicted in the play.
Hamlet’s Delay. Discussing the reasons behind Hamlet’s hesitation and exploring the consequences of his indecisiveness.
The Father-Son Relationships in “Hamlet.” Examining the complex dynamics between Hamlet and his father, as well as other father-son relationships in the play.
Hamlet and Laertes. A Comparative Analysis. Comparing and contrasting the characters of Hamlet and Laertes, their motivations, and their approaches to revenge.
The Significance of the Ghost in “Hamlet.” Analyzing the role of the ghost of King Hamlet and its impact on the plot and characters.
Hamlet’s Existential Crisis. Exploring Hamlet’s philosophical contemplations on life, death, and the meaning of existence.

These Hamlet paper topics should provide you with a starting point for your essays. Remember to narrow down the focus and develop a strong thesis statement to guide your analysis effectively.

Hamlet Discussion Topics

Here are 15 discussion topics related to “Hamlet”:

Is Hamlet truly mad, or is he feigning madness? What evidence supports your interpretation?
Discuss the role of women in “Hamlet.” How are Gertrude and Ophelia portrayed, and what impact do they have on the play?
Analyze the theme of revenge in “Hamlet.” How do different characters approach revenge, and what are the consequences of their actions?
Explore the significance of the play within a play (the “Mousetrap” scene) in “Hamlet.” What purpose does it serve in the play, and how does it affect the characters and the plot?
Discuss the theme of appearance versus reality in “Hamlet.” How do characters present themselves versus their true nature? What are the consequences of this deception?
Examine the role of the ghost of King Hamlet in the play. What purpose does the ghost serve, and how does it influence the actions of the characters?
Analyze the character of Claudius. Is he solely a villain, or are there redeeming qualities to his character? Discuss his motivations and actions throughout the play.
Discuss the theme of mortality and the inevitability of death in “Hamlet.” How does the play explore these ideas, and how do the characters respond to them?
Examine the motif of betrayal in “Hamlet.” Which characters betray others, and what are the consequences of their betrayal?
Discuss the role of fate versus free will in “Hamlet.” Are the characters bound by fate, or do they have agency in shaping their own destinies?
Analyze the character of Polonius. What role does he play in the play, and how does his character contribute to the overall themes and conflicts?
Explore the theme of madness in “Hamlet.” How does madness manifest in different characters, and what does it reveal about their inner turmoil?
Discuss the theme of moral ambiguity in “Hamlet.” Are the actions of the characters morally justified, or do they operate in shades of gray?
Examine Hamlet’s famous soliloquies. What do these soliloquies reveal about his character, his motivations, and his internal struggles?
Discuss the significance of the final scene in “Hamlet.” How does the play’s resolution impact your understanding of the characters and the themes explored?

These Hamlet discussion topics can serve as starting points for in-depth conversations about various aspects of Hamlet. Encourage critical thinking and encourage participants to support their arguments with evidence from the play.

Hamlet Essay Thesis Statement Examples

The internal conflict of Hamlet, driven by his indecisiveness and moral dilemma, serves as the tragic flaw that ultimately leads to his downfall.
The theme of revenge in “Hamlet” explores the destructive nature of seeking vengeance and highlights the consequences it has on the individuals and the state.
Shakespeare’s portrayal of women in “Hamlet” challenges traditional gender roles and reveals the complexity and agency of female characters in the play.
The motif of appearance versus reality in “Hamlet” underscores the pervasive deception and manipulation within the court, ultimately exposing the corrupt nature of power.
The ghost of King Hamlet acts as a catalyst for the unfolding tragedy, propelling Hamlet’s quest for justice and illuminating the theme of the supernatural in the play.
The play within a play, known as the “Mousetrap” scene, serves as a pivotal turning point in “Hamlet,” exposing Claudius’s guilt and reinforcing the theme of retribution.
Hamlet’s soliloquies provide insight into his complex psychological state, revealing his philosophical contemplations, inner conflicts, and the existential crisis he grapples with throughout the play.
The theme of mortality and the inevitability of death permeate “Hamlet,” prompting the characters to question the meaning of life and the futility of their actions.
The character of Ophelia serves as a tragic figure, highlighting the destructive effects of patriarchal society on women and the consequences of their suppression.
The moral ambiguity present in “Hamlet” challenges traditional notions of right and wrong, showcasing the characters’ ethical dilemmas and the blurred lines between justice and revenge.

Remember, a strong thesis statement should be clear, specific, arguable, and provide a roadmap for your essay. You can further develop these thesis statements by providing supporting evidence and analysis in your essay topics on Hamlet .

How to Choose a Hamlet Essay Topic

Choosing a Hamlet essay topic can be an exciting but sometimes challenging task. Here are some steps to help you select a compelling essay topic:

Read and familiarize yourself with the play. Start by reading or reviewing the play thoroughly. Take notes on important themes, characters, plot points, and notable literary devices. This will help you gain a comprehensive understanding of the play, which can inform your topic selection.
Identify areas of interest. Reflect on the aspects of “Hamlet” that intrigue you the most. It could be a specific character, theme, relationship, or even a scene. Think about the questions that arise in your mind while reading or watching the play. Jot down any ideas or areas that spark your curiosity.
Research existing scholarships. Conduct some preliminary research on “Hamlet” to explore existing scholarship and critical analyses. This will expose you to different perspectives and ideas that can serve as inspiration for your own essay topic. Look for scholarly articles, books, or even online resources to gather insights.
Brainstorm potential topics. Based on your interests and the research you’ve done, brainstorm a list of potential essay topics. Write down as many ideas as possible without worrying about their feasibility at this stage. Consider both broad and specific topics, and don’t be afraid to think outside the box.
Evaluate feasibility and originality. Review your list of potential topics and evaluate their feasibility. Consider the scope of the topic and the resources available to you for research. Additionally, assess the originality of the topic. While it’s perfectly acceptable to explore popular themes, try to find a unique angle or perspective to make your essay stand out.
Narrow down your choices. Select a few topics from your list that align with your interests, offer room for in-depth analysis, and demonstrate originality. Consider the potential arguments, evidence, and analysis you can develop for each topic. Choose the one that resonates with you the most and feels manageable within the constraints of your assignment.
Refine your thesis statement. Once you have chosen your topic, develop a clear and concise thesis statement that encapsulates the main argument or focus of your essay. Your thesis statement should be debatable, specific, and provide a roadmap for your essay’s structure.

It’s useful to choose Hamlet paper topics that genuinely interest you and align with your strengths as a writer. This will not only make the writing process more enjoyable but also result in a more engaging and insightful essay.

Bonus Round: Hamlet Main Characters

The main characters in Shakespeare’s play “Hamlet” include:

Hamlet. The titular character and the prince of Denmark. Hamlet is a complex and introspective individual who is torn between his desire for revenge and his contemplative nature. He grapples with themes of mortality, madness, and the nature of truth.
Claudius. The main antagonist and the current king of Denmark. Claudius is Hamlet’s uncle and the brother of the late King Hamlet. He is manipulative, ambitious, and willing to do whatever it takes to maintain his power, including marrying his brother’s widow, Gertrude.
Gertrude. The queen of Denmark and Hamlet’s mother. Gertrude’s hasty marriage to Claudius after the death of King Hamlet becomes a source of conflict in the play. Hamlet often criticizes her for her actions and questions her loyalty.
Ophelia. A young woman and Hamlet’s love interest. Ophelia is torn between her love for Hamlet and her loyalty to her father, Polonius. The circumstances surrounding her relationships and her subsequent descent into madness contribute to the tragic nature of the play.
Polonius. The chief counselor to King Claudius. Polonius is a meddling and pompous character, often giving long-winded speeches. He becomes a victim of Hamlet’s erratic behavior and is ultimately killed, leading to a series of tragic events.
Horatio. Hamlet’s loyal friend and confidant. Horatio serves as a moral compass for Hamlet and provides support throughout the play. He is known for his rationality and level-headedness.
Laertes. The son of Polonius and Ophelia’s brother. Laertes is a passionate and impulsive character who seeks revenge for his father’s death. He becomes a foil to Hamlet and participates in the climactic final duel.
Ghost of King Hamlet. The spirit of Hamlet’s deceased father, who appears to Hamlet and reveals that he was murdered by Claudius. The ghost plays a significant role in setting the revenge plot in motion.

These characters interact and collide in a web of betrayal, manipulation, and tragic circumstances, driving the narrative of “Hamlet” forward.

Use these Hamlet essay topics to write an outstanding paper, or as a source of inspiration for thinking over your own topic.

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Brave New World Essay Topics

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107 Exceptional Hamlet Essay Topics: Questions & Prompts

Every academic paper starts with a captivating idea, and Hamlet research paper or essay shouldn’t be an exception. In the list below, our team has collected unique and inspiring topics for you. You can use them in your writing or develop your own idea according to the format.

Here are some Hamlet essay topics for you:

Elaborate on the weather in Denmark. How does it reflect the state of affairs and mood in the country? How does it change throughout the play? Start this Hamlet essay by describing the foggy weather in the first scene and gradually provide more examples as evidence.
Think of irony in Hamlet . How and for what purposes did Shakespeare incorporate it in the play? Provide examples of the lines and situations that can be considered ironic.
Reflect on Gertrude’s marriages. Why did she marry Claudius? Did they have an affair when King Hamlet was alive? Or did she agree on the new marriage to help the country?
Compare and contrast Claudius and King Oedipus from Oedipus the King . What character traits do they share? Who is a better politician? Why?
Explain whether you think Gertrude is on Hamlet’s or Claudius’ side. Did she switch the side by the end of the play? Analyze her conversation with Hamlet and how she later told Claudius that Hamlet was mad. Why did she drink the suspicious (poisoned) wine?
Analyze the fact that dying Hamlet asked Horatio to spread his story. Will Horatio retell it without changes? Can he tell the truth about what happened at all?
Examine an approach to violence in Hamlet . Are violence and aggression excessive in the play? How do characters react to it? Comment on how violence is mainly linked to vengeance.
Consider the Ghost of Old Hamlet and all his appearances in Hamlet . Who saw him? Who do you think can see him? In your Hamlet essay, analyze every scene where he occurred and elaborate on why he did so.
Talk about the relationship between Gertrude and Old Hamlet. Analyze what we know about their marriage and her reaction to her husband’s death. Did Gertrude see the Ghost in the scene with Hamlet? Could she have pretended that she didn’t?
If Hamlet had survived, would he have been a good king? Analyze his strengths and weaknesses concerning the matter. Did he prove to be a good leader or politician in the play? Consider that Fortinbras explicitly stated that Hamlet could’ve become a good ruler.
Elaborate on the way Hamlet killed Polonius in act 3, scene 4. Why did Hamlet act so quickly and calmly when he hesitates to kill his enemy, Claudius? Was this murder intentional? Did Hamlet regret it or freak out about it?
Explore Hamlet’s mental state. How did grief affect him? His depression and suicidal tendencies are apparent. How do they change throughout the play?
Compare Hamlet’s attitude towards the only women in the play, Ophelia and Gertrude. Why does he shame both of them for their sexual relationships? Examine his dialogues with his mother and his (ex)girlfriend, where he expresses cruelty. Elaborate on how his mother’s remarriage affected his relationships with the women.
Examine the madness that Hamlet may or may not obtain. Thanks to his dialogue with Horatio, we know that he fakes his insanity. But could it have changed by the end of the play? What could’ve caused it? Analyze the evidence of his abnormal behavior and whether you can consider it natural, not acted.
Analyze how Hamlet reflects on suicide. Provide examples from the soliloquies where Hamlet presumably tells the truth about his feelings. He considers suicide as an option, way out of the situation. Why doesn’t he commit it? Or was his death close to suicide?
Consider whether the Ghost exists or not. A few people have seen him, but may it have been a case of mass hysteria? Hamlet may have gone mad over the death of his father and his mother’s remarriage. What if he imagined his dialogues with deceased King Hamlet? Provide evidence for that opinion or refute it.
Elaborate on Hamlet’s trust issues. He suspects everyone from the start except for one person. Why does Hamlet trust Horatio? Analyze how the prince never lies during their conversations, even when the truth is a little insane. Why does Horatio believe everything he says?
Examine friendship in Hamlet . Most of the relationships in the play are based on manipulation and benefit. Who can you see as friends in Hamlet ? Reflect on whether Hamlet values his friendship with Horatio. What can you say about Hamlet’s friends from childhood?
Analyze the literary period during which Shakespeare came up with Hamlet . What features of the Elizabethan era does he illustrate in the play? Examplify various scenes and dialogues to prove your point.
Consider prominent theatrical productions of Hamlet . How did they change over the centuries? What does modern theatre do that the Medieval one could not? Did theatrical performances evolve?
Compare and contrast the original play and Lion King by Disney corporation. What are the key differences that were made in the cartoon? Why did Disney decide to come up with them? Analyze which version do you like more and why.
Comment on the theme of death and mortality What events and objects made Hamlet obsessed with death? Elaborate on the role that religion plays in his considerations concerning the matter.
Examine Claudius’ soliloquy . What’s its role in the play? What’s the crucial idea of his speech? Elaborate on the reasons why Claudius, the villain, has a soliloquy in Hamlet .
Analyze all the symbols of death in the play What symbols from Hamlet refer to mortality? Speculate whether you can call fences, poison, unweeded gardens, flowers, and so on a symbol of death.
Explore the conflicts of Hamlet . The play combines inner and outer conflicts, which are addressed mainly through Hamlet’s monologues. List the fundamental oppositions and lines that exemplify them.
Reflect on Hamlet’s relationship with Gertrude Why is he upset with her? How does it affect his actions and opinion about all the women? Does Gertrude love her son?
Analyze the setting of the play. Does the fact that Hamlet takes place in Denmark play any crucial role? Speculate why Shakespeare may have decided upon this country and support your opinion with evidence.
Elaborate on Hamlet’s relationship with Ophelia. Does the prince consider her significant? Does he care about her? Compare how he treated Ophelia before and after her death.
Comment on Hamlet’s religious beliefs Does religion have an impact on the prince’s decisions? Why is Hamlet considered a protestant? Prove your point by providing evidence from the play.
Reflect on the theme of revenge Why does everyone value revenge in the play? Why do people passionately seek it in the society presented in Hamlet ? Elaborate on what impact it has on the characters’ motivations and decisions.
Consider the language of Hamlet . Explain that Shakespeare’s play is well-known for its rich language and broad vocabulary. He composed a few characters who pay close attention to the words they say and hear. Why is language crucial for Hamlet?
Examine Fortinbras. Who is he? Why is he a character foil for Hamlet? Analyze why he succeeded in everything he did and even became the king of Denmark.
Analyze imagery and descriptions in the play. How does Shakespeare enhance each scene by alternating descriptions of the weather and nature? Provide examples of prominent images presented in the play and elaborate on their purpose.
Compare Hamlet to Oedipus Rex . What do the characters of the famous plays have in common? Do they have a similar goal? Elaborate on how their character traits affect the endings of the respective plays.
Explore the deception in Hamlet . What things and events are built on lies? Why and how do characters try to manipulate each other throughout the whole play?
Elaborate on the imagery of rot and diseases How do unweeded gardens reflect the state of affairs? Explain how ill atmosphere foreshadows and represents problems caused by the actions of the royal court’s members.
Comment on the role of Rosencrantz and Guildenstern in the play. Speculate whether they are simply comic relief characters or they have another purpose in Hamlet . Why did Shakespeare decide that he needed such characters in the play?
Analyze Gertrude’s attitude towards Ophelia. Elaborate on the scenes where Gertrude communicates with Ophelia and mentions her. What does the queen think of her and her relationships with Hamlet? How does Gertrude comments on Ophelia’s death?
Compare Hamlet’s and Horatio’s character traits. In what ways are they different and similar? What Horatio’s qualities Hamlet explicitly admires and lacks?
Speculate on Shakespeare’s opinion about theatre. Examine a few references to the English stage of the Elizabethan era that the author put in the play in Act 2. How does he comment on the theatre of his own time through Hamlet’s lines of dialogue?
Explore the relationships between Hamlet and Claudius. Why does Hamlet suspect his uncle from the start? Does Claudius think of Hamlet as dangerous? When does he become highly aware of his nephew’s capabilities?
Consider the death of Rosencrantz and Guildenstern. When and how did they die? Why does a reader find out about it after the deaths of the royal family members? Speculate on the reasons why it was structured to be so anticlimactic. Why did W. S. Gilbert write a short comic play about them?
Analyze the reception and comprehension of Hamlet . Why is it one of the most popular Shakespeare’s plays even today? Is it still relevant? Explain why nowadays our understanding of the play differs from the one from the writer’s era.
Comment on the appearance vs. reality in Hamlet . Why do so many characters pretend to have another personality or obtain character traits that they don’t have? Why does Hamlet see through the pretense?
Elaborate on Ophelia’s death . Was it a suicide, how gravediggers presumed, or an accident, as Gertrude claimed? Explain in your Hamlet essay the reasons for Ophelia to commit suicide. Did she have a choice?
Reflect on political corruption. What characters represent corrupted politicians in the play? How do they manipulate public opinion?
Analyze one movie adaptation of Hamlet . Write about the changes that were made in the film version. What differences from the play did you like? What changes were you surprised to see?
Examine the political situation in the play. What war did Fortinbras lead? Why? How does it affect Denmark during the play and after it’s the last scene?
Explore the role of women in Hamlet . The play presents the social norms that were relevant for people of this period. What parts of women’s lives did men explicitly control? Provide examples from the play.
Compare Laertes and Hamlet . Laertes is known as Hamlet’s character foil. Examine similarities and differences in their character traits.
Consider the doubt and indecisiveness of Hamlet . Why are such traits uncommon for the genre? What do they say about the prince as a character? Explain how these qualities affect the plot and Hamlet’s thought process.
Elaborate on the symbolism in the play. Finding symbolism can be challenging as the interpretations differ. Some individuals consider particular objects as symbols, while others don’t. What do you view as examples of symbolism in the play? Why? What role do they play in understanding the story?
Reflect on the Oedipus complex. Comment on whether Hamlet has it or not. Provide evidence from the play, especially from the scene with Gertrude, to prove your point. How can this idea be approached on the stage? Find examples of theatrical productions where Hamlet and Gertrude had a conversation in her closet.
Compare and contrast Claudius and Polonius. What character traits do they have in common? Explain how they are not who they are trying to appear. Who is better at lying and manipulating others? Why?
Examine how revenge affected characters in Hamlet . Three characters wish to avenge their fathers: Laertes, Hamlet, and Fortinbras. How does revenge affect their lives? Who succeeded in getting their revenge?
Consider the family theme. What role does family play for various characters? Elaborate on how blood ties motivate multiple characters.
Reflect on Yorick’s role in the play. Who was Yorick? What impact did he have on Hamlet during the prince’s childhood and present time? Elaborate on how Yorick led Hamlet to his last soliloquy.
Analyze the religious conflict of the play. How did events from Shakespeare’s time affect the theme of religion? Explain how Hamlet presents the conflict between Protestantism and Catholicism through the prince and King Hamlet.
Comment on the theme of madness. Who went mad in the play? Compare Hamlet’s and Laerte’s insanity to Ophelia’s one. How was her madness different from the other examples?
Explore Polonius’ character. What was Polonius’ motivation throughout the play? Whom did he manipulate, and why? Explain why he tried to appear a good person and a parent.
Elaborate on the reasons why Hamlet is the protagonist of the story. What makes him a tragic hero? Why is he considered a good person after every crime he committed and every cruel thing he said to his mother and Ophelia?
Think of the conflict of good and evil. What imagery is associated with each of them in the play? Does evil spread like a disease?
Explain how Hamlet differs from other plays of Shakespeare’s time . What new features and connections within the story did the writer present? How did Shakespeare make characters contribute to the plot?
Analyze the “To be or not to be” speech. It’s one of the most famous lines in history, but what meaning is behind it? Elaborate on the circumstances around the monologue and whether Hamlet is partially lying.
Reflect on performances of Hamlet. Choose a couple of performances on the stage or in a movie and compare them. Whose version of the character you prefer and why?
Elaborate on the movie Ophelia (2018). What’s intriguing about a story told from Ophelia’s point of view? Exemplify the differences from the original play and how the change of perspective affected the story.
Explore Hamlet’s obsession with inaction and action . What stops Hamlet from acting decisively? Exemplify situations from the play when characters act quickly, without any doubt compared to Hamlet’s almost constant hesitance.
Compare Hamlet and King Lear. What similar character traits have an impact on the respective plays? Can we call the prince and the king victims of the social norms?
Think of how the play’s themes are relevant nowadays . Which of them remained timeless, relevant for any period? Are any themes become obsolete and useless in today’s world? Elaborate on each theme separately with examples from the play.
Reflect on Hamlet’s mood swings . Provide examples of how the prince’s mood affects his actions and speech. What can and did influence his mood?
Examine Polonius’ death. Why was he hiding behind the tapestry during the scene? Was it his idea? How did he die? Elaborate on irony in the way he was murdered. How did it affect the plot?
Analyze Hamlet as an actor. Is he good at playing a character? Elaborate on his dialogue with the First Player and his opinion about acting.
Consider the motif of betrayal. Who betrays Hamlet? Explain how the attitude towards this act varies from character to character. How does Hamlet’s betrayal affect Ophelia?
Explore the connection between honor and revenge . Explain why it’s the principal motivation for such characters as Hamlet, Laertes, and Fortinbras. Comment on scenes where it reveals itself through actions and conversations.
Elaborate on Hamlet’s death. Was it the only logical conclusion for Hamlet’s psychological and emotional development? Was he satisfied?
Comment on the genre of the play . Can we call it revenge tragedy without any reservation? How did Shakespeare ruin the genre by Hamlet ?
Compare Hamlet and the Ghost. What can you say about the language that the characters use? List the lines that state that Hamlet and the Ghost look similar.
Think of the father-son relationships in the play . Analyze the relationships between Hamlet and King Hamlet and compare them to those of Laertes and Polonius. Which features are common for both of them?
Elaborate on the name Hamlet . What does it mean? What’s its country of origin? Add a sentence or two about Amleth.
Consider allusions to historical figures in the play. Why does Hamlet mention Alexander the Great and Julius Caesar in act 5? Why did Shakespeare include allusions at all?
Examine soliloquies in Hamlet . What’s their role in the play? Provide lines from soliloquies that let us dive into the thoughts and intentions of a character. Does anyone lie during such a speech?
Compare the two film adaptations of the play. Elaborate on different film techniques and alterations of the plot. Concentrate on one scene in particular and explain what changes were made.
Explore Hamlet’s nihilism. When does Hamlet start to display features that are inherent to this school of thought? Explain how the prince came to nihilism, what pushed him to this.
List the most painful moments of Hamlet’s life and elaborate on them. Include events that happened before the first act and within the play. Prove your point with evidence from the prince’s lines.
Think of what poison represents. What does it refer to? Who dies from poison in the play?
Consider the play from the public’s perspective. How does Claudius manipulate the public’s opinion? What do people think of the new king and Hamlet?
Compare and contrast Gertrude and Ophelia. What traits do they have in common? Explain differences and similarities in their affection towards Hamlet. Who controls these women?
Elaborate on the villain of the story. Who can be considered an antagonist of the play? Why do some people regard Hamlet as a villain?
Imagine how Hamlet could’ve reacted to modern society. What aspects of the future would he appreciate? What social norms would shock him? Would he be more comfortable in our period?
Evaluate all the relationships in Hamlet’s life. What’s the most significant one? Why? What relationships changed throughout the play?
Comment on contradictions in the play. What contradictions does Hamlet face? Is he himself a contradictory character? Provide examples of Hamlet’s contradictions
Explore the fencing in the last scene of Hamlet . What does it contribute to the story? Does it affect the end of the duel?
Elaborate on the gravediggers. How did their job affect their attitude towards death? Comment on their humor and whether it’s a coping mechanism. Does it illustrate their perception of life?
Compare Claudius and King Hamlet. What qualities differentiate them? What do they have in common? Speculate on who was a more talented politician and a better leader.
Think of comic relief in Hamlet . Comment on how Polonius, Osric, gravediggers, and Hamlet’s dialogues with them enlighten the mood. Was the humor appropriate for revenge tragedies before Shakespeare?
Consider foreshadowing in the play. What events are foreshadowed early on in Hamlet ? Present lines and features from act 1 that indicate the tragic end.
Elaborate on justice and truth . How does Shakespeare show attitude towards justice common for this time? Does Hamlet approach fairness differently from the others? Elaborate on how Hamlet both pursue the truth and ignores it.
Examine the “Get thee to a nunnery, go.” sentence. Why did Hamlet say so to Ophelia? What made the prince think that she was vicious?
Comment on Hamlet’s cruelty. When does Hamlet become cruel towards other characters? Is he cruel towards himself? Analyze situations where Hamlet talks viciously and whether it’s intentional or not.
Explore Hamlet’s character . Why is the prince such an unusual figure for revenge tragedies? Explain how Shakespeare created the hero who struggles to act with firmness and constantly reflects on his actions and decisions. Is he easy to understand and relate to?
Analyze the play within the play. What’s its role in plot development? Why did Hamlet let the play take place? Explain what scene he added and why. Elaborate on the title The Mousetrap .
Examine the consequences of revenge . What conclusion does Shakespeare provide for the theme of revenge? Explain how does it influence the deaths of Hamlet and Laertes, the absolute victory of Fortinbras.
Reflect on Hamlet’s hesitance to kill Claudius . Why does he consider murdering his uncle in act 1? What stops him? Illustrate all the occasions when Hamlet could’ve killed Claudius but didn’t, and one time he did. What pushed him in the end?
Compare Claudius to Laertes. Are there any similarities? How do these characters form an alliance by the end of the play?
Comment on Gertrude’s guiltiness . Hamlet considers his mother guilty of too many crimes, but was she guilty of anything? Speculate whether she participated in King Hamlet’s murder or had an affair with Claudius before her husband’s death. Was she loyal to Hamlet?
Elaborate on the “Something is rotten in the state of Denmark …“ line. Who says it? Explain the context of the line, its meaning, and what it foreshadows.
Examine Polonius’ advice to Laertes. Provide its meaning and reflect on Polonius’ intentions. Why is this speech ironic?

Thanks for checking our list! You can consider some free Hamlet samples or other articles about the play, following the links below.

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About 1 in 5 U.S. teens who’ve heard of ChatGPT have used it for schoolwork

Roughly one-in-five teenagers who have heard of ChatGPT say they have used it to help them do their schoolwork, according to a new Pew Research Center survey of U.S. teens ages 13 to 17. With a majority of teens having heard of ChatGPT, that amounts to 13% of all U.S. teens who have used the generative artificial intelligence (AI) chatbot in their schoolwork.

A bar chart showing that, among teens who know of ChatGPT, 19% say they’ve used it for schoolwork.

Teens in higher grade levels are particularly likely to have used the chatbot to help them with schoolwork. About one-quarter of 11th and 12th graders who have heard of ChatGPT say they have done this. This share drops to 17% among 9th and 10th graders and 12% among 7th and 8th graders.

There is no significant difference between teen boys and girls who have used ChatGPT in this way.

The introduction of ChatGPT last year has led to much discussion about its role in schools , especially whether schools should integrate the new technology into the classroom or ban it .

Pew Research Center conducted this analysis to understand American teens’ use and understanding of ChatGPT in the school setting.

The Center conducted an online survey of 1,453 U.S. teens from Sept. 26 to Oct. 23, 2023, via Ipsos. Ipsos recruited the teens via their parents, who were part of its KnowledgePanel . The KnowledgePanel is a probability-based web panel recruited primarily through national, random sampling of residential addresses. The survey was weighted to be representative of U.S. teens ages 13 to 17 who live with their parents by age, gender, race and ethnicity, household income, and other categories.

This research was reviewed and approved by an external institutional review board (IRB), Advarra, an independent committee of experts specializing in helping to protect the rights of research participants.

Here are the questions used for this analysis , along with responses, and its methodology .

Teens’ awareness of ChatGPT

Overall, two-thirds of U.S. teens say they have heard of ChatGPT, including 23% who have heard a lot about it. But awareness varies by race and ethnicity, as well as by household income:

A horizontal stacked bar chart showing that most teens have heard of ChatGPT, but awareness varies by race and ethnicity, household income.

72% of White teens say they’ve heard at least a little about ChatGPT, compared with 63% of Hispanic teens and 56% of Black teens.
75% of teens living in households that make $75,000 or more annually have heard of ChatGPT. Much smaller shares in households with incomes between $30,000 and $74,999 (58%) and less than $30,000 (41%) say the same.

Teens who are more aware of ChatGPT are more likely to use it for schoolwork. Roughly a third of teens who have heard a lot about ChatGPT (36%) have used it for schoolwork, far higher than the 10% among those who have heard a little about it.

When do teens think it’s OK for students to use ChatGPT?

For teens, whether it is – or is not – acceptable for students to use ChatGPT depends on what it is being used for.

There is a fair amount of support for using the chatbot to explore a topic. Roughly seven-in-ten teens who have heard of ChatGPT say it’s acceptable to use when they are researching something new, while 13% say it is not acceptable.

A diverging bar chart showing that many teens say it’s acceptable to use ChatGPT for research; few say it’s OK to use it for writing essays.

However, there is much less support for using ChatGPT to do the work itself. Just one-in-five teens who have heard of ChatGPT say it’s acceptable to use it to write essays, while 57% say it is not acceptable. And 39% say it’s acceptable to use ChatGPT to solve math problems, while a similar share of teens (36%) say it’s not acceptable.

Some teens are uncertain about whether it’s acceptable to use ChatGPT for these tasks. Between 18% and 24% say they aren’t sure whether these are acceptable use cases for ChatGPT.

Those who have heard a lot about ChatGPT are more likely than those who have only heard a little about it to say it’s acceptable to use the chatbot to research topics, solve math problems and write essays. For instance, 54% of teens who have heard a lot about ChatGPT say it’s acceptable to use it to solve math problems, compared with 32% among those who have heard a little about it.

Note: Here are the questions used for this analysis , along with responses, and its methodology .

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Many Americans think generative AI programs should credit the sources they rely on

Americans’ use of chatgpt is ticking up, but few trust its election information, q&a: how we used large language models to identify guests on popular podcasts, striking findings from 2023, what the data says about americans’ views of artificial intelligence, most popular.

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NPR suspends veteran editor as it grapples with his public criticism

David Folkenflik

NPR suspended senior editor Uri Berliner for five days without pay after he wrote an essay accusing the network of losing the public's trust and appeared on a podcast to explain his argument. Uri Berliner hide caption

NPR suspended senior editor Uri Berliner for five days without pay after he wrote an essay accusing the network of losing the public's trust and appeared on a podcast to explain his argument.

NPR has formally punished Uri Berliner, the senior editor who publicly argued a week ago that the network had "lost America's trust" by approaching news stories with a rigidly progressive mindset.

Berliner's five-day suspension without pay, which began last Friday, has not been previously reported.

Yet the public radio network is grappling in other ways with the fallout from Berliner's essay for the online news site The Free Press . It angered many of his colleagues, led NPR leaders to announce monthly internal reviews of the network's coverage, and gave fresh ammunition to conservative and partisan Republican critics of NPR, including former President Donald Trump.

Conservative activist Christopher Rufo is among those now targeting NPR's new chief executive, Katherine Maher, for messages she posted to social media years before joining the network. Among others, those posts include a 2020 tweet that called Trump racist and another that appeared to minimize rioting during social justice protests that year. Maher took the job at NPR last month — her first at a news organization .

In a statement Monday about the messages she had posted, Maher praised the integrity of NPR's journalists and underscored the independence of their reporting.

"In America everyone is entitled to free speech as a private citizen," she said. "What matters is NPR's work and my commitment as its CEO: public service, editorial independence, and the mission to serve all of the American public. NPR is independent, beholden to no party, and without commercial interests."

The network noted that "the CEO is not involved in editorial decisions."

In an interview with me later on Monday, Berliner said the social media posts demonstrated Maher was all but incapable of being the person best poised to direct the organization.

"We're looking for a leader right now who's going to be unifying and bring more people into the tent and have a broader perspective on, sort of, what America is all about," Berliner said. "And this seems to be the opposite of that."

Conservative critics of NPR are now targeting its new chief executive, Katherine Maher, for messages she posted to social media years before joining the public radio network last month. Stephen Voss/Stephen Voss hide caption

Conservative critics of NPR are now targeting its new chief executive, Katherine Maher, for messages she posted to social media years before joining the public radio network last month.

He said that he tried repeatedly to make his concerns over NPR's coverage known to news leaders and to Maher's predecessor as chief executive before publishing his essay.

Berliner has singled out coverage of several issues dominating the 2020s for criticism, including trans rights, the Israel-Hamas war and COVID. Berliner says he sees the same problems at other news organizations, but argues NPR, as a mission-driven institution, has a greater obligation to fairness.

"I love NPR and feel it's a national trust," Berliner says. "We have great journalists here. If they shed their opinions and did the great journalism they're capable of, this would be a much more interesting and fulfilling organization for our listeners."

A "final warning"

The circumstances surrounding the interview were singular.

Berliner provided me with a copy of the formal rebuke to review. NPR did not confirm or comment upon his suspension for this article.

In presenting Berliner's suspension Thursday afternoon, the organization told the editor he had failed to secure its approval for outside work for other news outlets, as is required of NPR journalists. It called the letter a "final warning," saying Berliner would be fired if he violated NPR's policy again. Berliner is a dues-paying member of NPR's newsroom union but says he is not appealing the punishment.

The Free Press is a site that has become a haven for journalists who believe that mainstream media outlets have become too liberal. In addition to his essay, Berliner appeared in an episode of its podcast Honestly with Bari Weiss.

A few hours after the essay appeared online, NPR chief business editor Pallavi Gogoi reminded Berliner of the requirement that he secure approval before appearing in outside press, according to a copy of the note provided by Berliner.

In its formal rebuke, NPR did not cite Berliner's appearance on Chris Cuomo's NewsNation program last Tuesday night, for which NPR gave him the green light. (NPR's chief communications officer told Berliner to focus on his own experience and not share proprietary information.) The NPR letter also did not cite his remarks to The New York Times , which ran its article mid-afternoon Thursday, shortly before the reprimand was sent. Berliner says he did not seek approval before talking with the Times .

NPR defends its journalism after senior editor says it has lost the public's trust

Berliner says he did not get permission from NPR to speak with me for this story but that he was not worried about the consequences: "Talking to an NPR journalist and being fired for that would be extraordinary, I think."

Berliner is a member of NPR's business desk, as am I, and he has helped to edit many of my stories. He had no involvement in the preparation of this article and did not see it before it was posted publicly.

In rebuking Berliner, NPR said he had also publicly released proprietary information about audience demographics, which it considers confidential. He said those figures "were essentially marketing material. If they had been really good, they probably would have distributed them and sent them out to the world."

Feelings of anger and betrayal inside the newsroom

His essay and subsequent public remarks stirred deep anger and dismay within NPR. Colleagues contend Berliner cherry-picked examples to fit his arguments and challenge the accuracy of his accounts. They also note he did not seek comment from the journalists involved in the work he cited.

Morning Edition host Michel Martin told me some colleagues at the network share Berliner's concerns that coverage is frequently presented through an ideological or idealistic prism that can alienate listeners.

"The way to address that is through training and mentorship," says Martin, herself a veteran of nearly two decades at the network who has also reported for The Wall Street Journal and ABC News. "It's not by blowing the place up, by trashing your colleagues, in full view of people who don't really care about it anyway."

Several NPR journalists told me they are no longer willing to work with Berliner as they no longer have confidence that he will keep private their internal musings about stories as they work through coverage.

"Newsrooms run on trust," NPR political correspondent Danielle Kurtzleben tweeted last week, without mentioning Berliner by name. "If you violate everyone's trust by going to another outlet and sh--ing on your colleagues (while doing a bad job journalistically, for that matter), I don't know how you do your job now."

Berliner rejected that critique, saying nothing in his essay or subsequent remarks betrayed private observations or arguments about coverage.

Other newsrooms are also grappling with questions over news judgment and confidentiality. On Monday, New York Times Executive Editor Joseph Kahn announced to his staff that the newspaper's inquiry into who leaked internal dissent over a planned episode of its podcast The Daily to another news outlet proved inconclusive. The episode was to focus on a December report on the use of sexual assault as part of the Hamas attack on Israel in October. Audio staffers aired doubts over how well the reporting stood up to scrutiny.

"We work together with trust and collegiality everyday on everything we produce, and I have every expectation that this incident will prove to be a singular exception to an important rule," Kahn wrote to Times staffers.

At NPR, some of Berliner's colleagues have weighed in online against his claim that the network has focused on diversifying its workforce without a concomitant commitment to diversity of viewpoint. Recently retired Chief Executive John Lansing has referred to this pursuit of diversity within NPR's workforce as its " North Star ," a moral imperative and chief business strategy.

In his essay, Berliner tagged the strategy as a failure, citing the drop in NPR's broadcast audiences and its struggle to attract more Black and Latino listeners in particular.

"During most of my tenure here, an open-minded, curious culture prevailed. We were nerdy, but not knee-jerk, activist, or scolding," Berliner writes. "In recent years, however, that has changed."

Berliner writes, "For NPR, which purports to consider all things, it's devastating both for its journalism and its business model."

NPR investigative reporter Chiara Eisner wrote in a comment for this story: "Minorities do not all think the same and do not report the same. Good reporters and editors should know that by now. It's embarrassing to me as a reporter at NPR that a senior editor here missed that point in 2024."

Some colleagues drafted a letter to Maher and NPR's chief news executive, Edith Chapin, seeking greater clarity on NPR's standards for its coverage and the behavior of its journalists — clearly pointed at Berliner.

A plan for "healthy discussion"

On Friday, CEO Maher stood up for the network's mission and the journalism, taking issue with Berliner's critique, though never mentioning him by name. Among her chief issues, she said Berliner's essay offered "a criticism of our people on the basis of who we are."

Berliner took great exception to that, saying she had denigrated him. He said that he supported diversifying NPR's workforce to look more like the U.S. population at large. She did not address that in a subsequent private exchange he shared with me for this story. (An NPR spokesperson declined further comment.)

Late Monday afternoon, Chapin announced to the newsroom that Executive Editor Eva Rodriguez would lead monthly meetings to review coverage.

"Among the questions we'll ask of ourselves each month: Did we capture the diversity of this country — racial, ethnic, religious, economic, political geographic, etc — in all of its complexity and in a way that helped listeners and readers recognize themselves and their communities?" Chapin wrote in the memo. "Did we offer coverage that helped them understand — even if just a bit better — those neighbors with whom they share little in common?"

Berliner said he welcomed the announcement but would withhold judgment until those meetings played out.

In a text for this story, Chapin said such sessions had been discussed since Lansing unified the news and programming divisions under her acting leadership last year.

"Now seemed [the] time to deliver if we were going to do it," Chapin said. "Healthy discussion is something we need more of."

Disclosure: This story was reported and written by NPR Media Correspondent David Folkenflik and edited by Deputy Business Editor Emily Kopp and Managing Editor Gerry Holmes. Under NPR's protocol for reporting on itself, no NPR corporate official or news executive reviewed this story before it was posted publicly.

Katherine Maher
uri berliner

The Trump Trial’s Extraordinary Opening

The first days of the criminal case against the former president have been mundane, even boring—and that’s remarkable.

This is The Trump Trials by George T. Conway III, a newsletter that chronicles the former president’s legal troubles. Sign up here .

The defendant nodded off a couple of times on Monday. And I have to confess, as a spectator in an overflow courtroom watching on closed-circuit television, so did I.

Legal proceedings can be like that. Mundane, even boring. That’s how the first couple of days of the trial in The People of the State of New York v. Donald J. Trump , Indictment No. 71543–2023, felt much of the time. Ordinary—despite being so extraordinary. And, frankly, that was comforting. The ordinary mechanics of the criminal-litigation process were applied fairly, efficiently, and methodically to a defendant of unparalleled notoriety, one who has devoted himself to undermining the rule of law.

Certainly the setting was ordinary. When the Criminal Courts Building, at 100 Centre Street in Lower Manhattan, first opened in 1941, an architectural critic lamented that the Art Deco structure, a New Deal/Public Works Administration project, was “ uncommunicative .” Eight decades later, it still has little to say. Raw and spartan, it’s a bit of a mystery to people who aren’t familiar with it (including me, a civil litigator who, despite having been admitted to the New York state bar some 35 years ago, practiced mostly in federal and Delaware courts). A pool reporter yesterday described the surroundings as “drab.”

Drab indeed, but busy—very busy. There’s never a want of bustle here, of the sort you would expect. As the former federal prosecutor Andrew Weissmann put it this week, 100 Centre is, “well, Dickensian—a beehive of activity with miscreants, state prosecutors, judges, defense lawyers, probation officers, court security [and] families—in dark, dingy halls and courtrooms.” It’s a bit like New York City as a whole: How it functions, with the volume it handles, never ceases to amaze.

And how the court manages to keep track of things, Lord only knows. In contrast with the federal courts or even New York’s civil courts, it has no electronic, publicly accessible docket. The Supreme Court of the State of New York for the County on New York, Criminal Term, is, as one courthouse reporter said last month, “stuck in the past.” It’s a tribunal “where the official record is a disorganized and incomplete mass of paper with no accounting of what’s inside.” The records come in brown accordion folders—Redwelds, lawyers call them—and what judges and clerks decide to put in them is the record, and what they don’t is not.

But somehow it works. Somehow the court manages to dispose of thousands of cases a year, involving all manner of defendants and offenses. A calendar emailed to journalists by the Manhattan District Attorney’s Office listing the week’s anticipated court appearances gives you the flavor. It catalogs names seemingly of many ethnicities, with a couple of corporate entities to boot. A hodgepodge of alleged charges, including the violent and the corrupt: robbery, conspiracy, forgery, criminal mischief, identity theft, enterprise corruption, stalking, murder, attempted murder, sex trafficking, grand larceny, attempted grand larceny, possession of a forged instrument, offering a false statement for filing.

And the list contained three cases involving the crime of falsifying business records, one of which was set for trial on Monday, April 15, in Part 59, Courtroom 1530— People v. Trump .

Nothing on the calendar, other than the defendant’s readily recognizable name, would have told you there was anything special about the case. In that sense, it was ordinary. But the hubbub outside—a handful of protesters, multiple television cameras, and a long line for the press and other spectators—made clear that something somewhat special was afoot. An overflow courtroom down the hall from the main courtroom offered a closed-circuit television feed of the proceedings. Those who had lined up went through an extra set of security screeners and machines—mandated, we were told, by the United States Secret Service.

But still, so much was ordinary—the stuff of the commencement of a criminal trial, housekeeping of the sort you’d see in virtually any court about to try a criminal case. That began promptly at 10 a.m. on Monday, when Judge Juan Merchan assumed the bench. There were loose ends for the judge to tie up, pending motions to decide. Merchan denied the defendant’s motion to recuse, reading, in even tones, an opinion from the bench. The motion was frivolous; the result unsurprising. And then the parties argued some motions in limine—pretrial efforts to exclude evidence.

For example, would the notorious Access Hollywood tape that rocked the 2016 presidential campaign be played for the jury? The prosecution said it should be: An assistant district attorney said the tape would elucidate why the defendant and his campaign were so hell-bent, to the point of falsifying business records, on keeping additional instances of the defendant’s miscreant conduct with women out of the public eye. The defense, of course, argued that playing the tape would be prejudicial. After all, this wasn’t a case about sexual assault.

The judge allowed that the tape’s existence provided context for the business-records charges but ruled that actually showing the tape to the jury would be prejudicial. Instead, the jury would be given a transcript. And speaking of sexual assault, prosecutors tried to get in an excerpt from Trump’s deposition in the E. Jean Carroll sexual-assault and defamation cases in which Trump testified that he was a “star,” and that stars historically get to do to women what Trump said on the Access Hollywood tape that he liked to do to them. Judge Merchan rightly said no, he would not allow the jury to hear that. It would be too much, too beside the point of what this case (unlike the Carroll cases) is actually about.

But as unusual and colorful as the factual predicate for the evidentiary motions was, the argument wasn’t all that interesting. It was rather low-key, in fact. Perhaps that was because none of the proffered evidence was new. But it was also because the arguing of pretrial evidentiary motions, however crucial they may be (although these, frankly, weren’t), is seldom scintillating. I can’t imagine that Donald Trump and I were the only ones watching who dozed off.

Then came jury selection, which took the rest of Monday, all of yesterday, and will probably consume tomorrow and Friday as well. (The judge will be handling his other cases today.) That was a bit more interesting, but slow going at first. Again, the ordinary met the extraordinary. Ninety-six potential jurors were brought in. The judge provided an overview of the case in the broadest terms, describing the charges in a few sentences; explained what his role and what the jury’s would be; and read the names of the cast of characters (some would be witnesses, others would simply be mentioned, including—full disclosure—my ex-wife). Still, it was mundane. It was pretty much what a judge would say in any big case.

And jury selection was a bit tedious; in a case like this, it simply has to be. Jurors were asked to give oral answers—some 42 of them, including a number with multiple subparts—to a written questionnaire. In substance: Where do you live? What do you do? What’s your educational background? What news sources do you read? What’s your experience with the legal system? Have you ever been to a Trump rally or followed him on social media? Have you belonged to any anti-Trump groups? And on and on and and on. But the most important inquiries came toward the end of the list: questions asking whether the prospective jurors could be fair. Occasionally the judge would interject, when an unusual or unclear answer was given. And once in a while there was a moment of levity: One woman—in response to a question about having relatives or close friends in the legal field—noted that she had once dated a lawyer. “It ended fine,” she volunteered, with a flatness of tone that betrayed no hint of nostalgia or loss.

This process took well over a day, and included brief follow-up questioning—“voir dire”—by the lawyers for both sides. But the judge did take a shortcut, one that saved a great deal of effort: After describing the case, but before proceeding to the individual-by-individual, question-by-question process, he asked the entire group the bottom-line question: Do any of you think you couldn’t judge the case fairly? Roughly two-thirds of this first batch of potential jurors said they couldn’t. That was extraordinary—a reflection of the fact that everyone knows who the defendant is, and that not many people lack a strong opinion about him.

And during the lawyers’ voir dire, a few interesting moments did occur, mostly when Trump’s lawyers pulled out social-media posts that they claimed showed possible bias on the part of the remaining candidates in the jury pool. One man was stricken by the court for cause because he once posted that Trump should be locked up. The Trump lawyers attempted, but failed, to get the court to strike a woman whose husband had posted some joking commentary about the former president. The judge’s response: That’s all you have? He allowed the juror to stay, and left it to counsel to decide whether to use their limited number of peremptory strikes.

In the end, for two days, the extraordinary intertwined with the ordinary, as it should in a case like this one. As one young woman from the Upper East Side, now to be known as Juror No. 2, put it during the selection process, “No one is above the law.” Let’s hope that sentiment prevails.

After Reports About Trump Jurors, Judge Demands Restraint From the Press

Some news reports have included details about jurors that had been aired in open court. One was excused after she developed concerns about being identified.

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Reporters stand near lights and cameras.

By Jesse McKinley , Kate Christobek and Matthew Haag

April 18, 2024

The judge in former President Donald J. Trump’s criminal trial ordered reporters to not disclose employment information about potential jurors after he excused a woman who said she was worried about her identity becoming known.

The woman, who had been seated on the jury on Tuesday, told the judge that her friends and colleagues had warned her that she had been identified as a juror in the high-profile case. Although the judge has kept prospective jurors’ names private, some have disclosed their employers and other identifying information in court.

She also said that she did not believe she could be impartial.

The judge, Juan M. Merchan, promptly dismissed her.

Moments later, Justice Merchan ordered the press to not report the answer to two queries on a lengthy questionnaire for prospective jurors: “Who is your current employer?” and “Who was your prior employer?”

The judge conceded that the information about employers was necessary for lawyers to know. But he directed that those two answers be redacted from the transcript.

Justice Merchan also said that he was concerned about news outlets publishing physical descriptions of prospective or seated jurors, asking reporters to “simply apply common sense.”

“It serves no purpose,” Justice Merchan said about publishing physical descriptions, adding that he was directing the press to “refrain from writing about anything you observe with your eyes.”

William P. Marshall, a professor at the University of North Carolina School of Law in Chapel Hill, said that Justice Merchan’s order appeared “constitutionally suspect.” Professor Marshall said that a landmark Supreme Court ruling in a 1976 case, Nebraska Press Association v. Stuart, struck down a trial judge’s ruling barring the news media from reporting information introduced in open court.

“The presumption against prior restraint is incredibly high in First Amendment law,” Professor Marshall said. “It’s even higher when it’s publishing something that is already a matter of public record.”

Lawyers for news outlets, including The New York Times, were expected to seek clarification on the order.

With the loss of the female juror on Thursday morning, six seated jurors remain.

In early March, Justice Merchan issued an order prohibiting publicly disclosing the names of jurors, while allowing legal teams and the defendant to know their identities.

But before the trial, Mr. Trump’s lawyers requested that potential jurors not be told that the jury would be anonymous unless he or she expressed concerns. Justice Merchan told the parties that he’d “make every effort to not unnecessarily alert the jurors” to this secrecy, merely telling jurors that they would be identified in court by a number.

On Thursday, Justice Merchan seemed frustrated by news reports that included identifying characteristics of potential jurors that had been aired in open court. He said: “There’s a reason why this is an anonymous jury, and we’ve taken the measures we have taken.”

“It kind of defeats the purpose of that when so much information is put out there,” he said.

He added that “the press can write about anything the attorney and the courts discuss and anything you observe us do.”

But he also said he had the legal authority to prevent reporters from relaying employer information on prospective jurors. He added that “if you can’t stick to that, we’re going to have to see if there is anything else we can do to keep the jurors safe.”

Jesse McKinley is a Times reporter covering upstate New York, courts and politics. More about Jesse McKinley

Kate Christobek is a reporter covering the civil and criminal cases against former president Donald J. Trump for The Times. More about Kate Christobek

Matthew Haag writes about the intersection of real estate and politics in the New York region. He has been a journalist for two decades. More about Matthew Haag

Our Coverage of the Trump Hush-Money Trial

News and Analysis

As the final jurors for Donald Trump’s criminal trial were selected and lawyers finalized their opening statements, a man set himself aflame outside the courthouse .

Fame creates its own gravity and Trump, who for decades sought to project an image of power, is usually at the center of it, but the mundanity of the courtroom has all but swallowed him. And in his courtroom, Justice Juan Merchan also has pull .

Two prospective jurors who were excused contacted The New York Times to describe their experience in the fraught environment of an unprecedented trial.

Madness in Shakespeares Hamlet

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William Shakespeare’s famous tragedy “Hamlet,” written around the year 1600, about a Danish prince who seeks revenge on the uncle who murdered his father and married his mother, is widely considered among the greatest works of English literature.

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