Hamlet

Appearance can be defined as a superficial aspect; a semblance; or pretending something is the case in order to make a good impression. Reality on the other hand can be defined as the state of being actual or real; the state of the world as it really is rather than as you might want it to be. It is undeniably noticeable that throughout Shakespeare's Hamlet many characters are playing roles: acting rather than being. This unquestionably reminds the reader of reality, where a person can play various roles. In reality, as well as in the play, it is not always easy to distinguish what is true from what only appears to be true. Throughout Hamlet, Shakespeare illuminates the theme of appearance versus reality by portraying principal characters. The principal characters put on an act to conceal their true motives and use it to carry out that motivation as well.

The character Polonius reveals this theme stronger than any other character in the play. Throughout the play we see him as a noble and honest man who means well for his family and is a vital link between his son Laertes and daughter Ophelia. But in truth, Polonius is desperately attempting to keep up the appearance of a loving and caring man, in order to prove himself to be of a high status. Before Laertes parts for Paris, Polonius speaks to him and gives him fatherly advice that appears to be meaningful, but in reality is hollow, repetitive, and without feeling. This speech is questionably the most deceiving speech of the play, and takes much thought and study to realize Polonius' real priorities and objectives. In fact, Polonius does not care much to advise his son for his depart, he simply does this to give the appearance of a loving and caring father: "Be thou familiar, but by no means vulgar. / Those friends thou hast, and their adoption tried, /Grapple them to thy soul with hoops of steel, /But do not dull thy palm with entertainment" (I.iii.65-68). However, at the end of his speech, Polonius makes quite an ironic statement, drastically changing the tone: "And borrowing dulls the edge of husbandry. /This above all: to thine own self be true, /And it must follow, as the night the day, Thou canst not be false to any man. /Farewel. My blessing season this in thee!" (I.iii.77-81). Just when Polonius has won the trust of the reader, he sends Reynaldo to spy on Laertes, ultimately revealing Polonius' inability to trust. Also, Polonius' advice to Laertes may be interpreted as a device to protect his son, and more importantly himself, from embarrassment. Furthermore, in the same scene, Polonius forbids Ophelia to see Hamlet, who tells her that he loves her. Although Polonius knows this is true, he belittles Ophelia telling her that Hamlet is young and eager, and does not truly care for and love her: "Ay, springes to catch woodcocks. I do know, /When the flood burns, how prodigal the soul" (I.iii.120-121). Throughout the play, Polonius only appears to be an honest and true politician, but his appearance is far from his true nature. Behind all this, lies someone completely different: a manipulating, eaves dropping, liar.

Another prime example of a character that portrays this theme, and perhaps a more obvious one, is Hamlet. He claims he is righteous and honest to himself, but in truth Hamlet is acting most of the time in the play: and furthermore, he knows it. He begins to expose his true motives and nature when he learns that his uncle Claudius, the new king, has murdered his father, the late Lord Hamlet. Hamlet is sickened by the thought of his own blood committing such a sin, and furthermore is appalled by the fact that his uncle is sleeping with his mother: "[...] - Frailty, thy name is woman - / A little month, or ere those shoes were old / With which she followed my poor father's body /," (I.ii.147-150). It is in Act III, where the reader truly sees what Hamlet is capable of, and where his true rage comes out: "[...] Now could I drink hot blood, /And do such bitter business as the day /Would quake to look on." (III.ii.383-385). Through scheming and planning, Hamlet has decided to act insane towards his mother and the rest of the royal family. As he begins to do so, the reader may notice that Hamlet is in truth becoming insane, when psychomachia starts playing an active role in the play. After the performance of the players, Guildenstern and Rosencrantz grow worried of Hamlet's behavior and distemper, and it is at this point that Hamlet's true nature is revealed. He had acted so much and well as a madman that he has convinced himself that he has in truth become insane. Even Hamlet himself has realized this when he says "This physic but prolongs thy sickly days" (III.iii.99). What began simply as an appearance to assist him with his motives had developed into the reality of a severe insanity and a loss of control over actions. Shakespeare portrayed Hamlet to underline the theme of appearance versus