For example, his parents feel no paternal instincts toward their son at all - his mother "fell on the floor" (Kafka 20) at the sight of and his father "covered his eyes with his hands and wept until his great chest heaved" (20). His sister also allows his appearance to get the best of her as she tries to convince the family to "try to get rid of it" (48). Here we see how all of the characters in this story have a skewed perception of reality because they have a hard time remembering what is actually real.
Gregor's duties and responsibilities are severely affected by his transformation and that causes him to come to some serious realizations about his life and his family. First, he begins to understand that he is nothing more than a source of income for his family. He thinks he should "provide for my parents and sister" (21). Even though he grasps this notion, he still feels obligated to fulfill his obligations. We read that he wants to work although getting out of bed "proved too difficult to move" (14). His mother still intends on calling where Gregor works because the Samsas cannot afford for Gregor to miss work. Gregor's reality was shaped by his job and his family and how those two operated together. When one element was taken out of the equation, there was not much for Gregor to believe in and he realizes that his idea of what is real is greatly misshapen.
Gregor's family moves through several stages in the event of their realization of what is imagined and what is real. They are in shock for awhile, then they become frustrated with him and the burden he makes for them, and, finally, they...
Heaven and earth! Must I remember? Why, she would hang on him as if increase of appetite had grown by what it fed on: and yet, within a month, -- Let me not think on't, -- Frailty, thy name is woman! -- a little month; or ere those shoes were old With which she followed my poor father's body Like Niobe, all tears; -- why she, even she, --
.. O, woe is me, t' have seen what I have seen, see what I see!" (3.1. 116-164). The connotation is that her heart is breaking. This scene combined with her original startled outcry to Polonius in Act I further illustrates that Ophelia was in love with Hamlet, and that she did not meet him with ill intent despite the ulterior motives of everyone else. This further builds upon previous evidence
To act in a murderous, vengeful way that is contrary to his true nature, and to assume madness creates madness. At first, Hamlet suggests that vengefulness in a corrupt court is a kind of sanity, when he vows to put on an antic disposition, but he acts in a way that is more and more contrary to his moral nature as the play goes on, rebuking his mother against
He questions whether he should try to clear the court of corruption or just give up and end his life now. It is this emotional doubt that drives Hamlet to act deranged at times, but he overcomes it, and almost manages to answer the difficult questions posed in his life. In Act V, when calm returns, Hamlet repents his behavior (V, ii, 75-78) (Lidz, 164). In Lidz's book Freud is
Throughout the play Shakespeare presents Ophelia as the symbol of innocence who is destroyed by the evil and harshness of the world; which has its origins in the murder of the King. We experience her slide towards insanity in terms of the terrible predicament of her situation. It is also tragically ironic that the real cause or her madness is the murder of Hamlet's father, which has also driven Hamlet
After Hamlet has killed Polonius and Laertes has returned from Paris demanding satisfaction, Hamlet justly observes "by the image of my cause, I see the portraiture of his." It is the contrasts between these three characters which give significance to the parallelisms. The intelligent, sensitive Hamlet and the hot-headed Machiavellian Laertes perish on the same poisoned foil, leaving the kingdom to the cool-headed Norwegian, who has been a shrewder contriver
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