The Ultimate Disguise Essay, Research Paper
Deep within the searing desert littorals lurks a animal, traveling carefully into place as it readies itself for a work stoppage upon its unsuspicious quarry. The quarry detects a little perturbation in the sand, but expecting no danger, carries on about its normal activities. Then all of a sudden, the comfy silence is broken by the oncoming of sprinkling sand followed by a short battle. Before long the soundlessness returns to the flaxen landscape, where everything seems to be the same as it was before, except that it is non. The lurking animal, a chameleon was hungry prior to the work stoppage, but now is rather content. In this state of affairs, it is obvious that the chameleon killed its quarry, nevertheless, what is non so obvious is how the chameleon was able to accomplish that terminal. At first glimpse, the chameleon does non look to possess a broad scope of armories when compared with other animals in the carnal land. However, it does hold one component most others do non, and that is its ability to mask and camouflage itself in order to intermix in with its environing environment. This characteristic is of import to the endurance of the chameleon as it serves a double intent with respect to offense ( such as catching its quarry ) and defence ( such as concealment from other marauders ) .
Similarly, merely as a chameleon alters its external visual aspect in order to lead on its quarry, so excessively do certain characters in William Shakespeare? s Hamlet ; viz. Hamlet, Claudius, and Polonius, who disguise their visual aspects, utilizing a assortment of tactics to accomplish a peculiar terminal. The characters in Hamlet modify their visual aspect by moving otherwise as a agency of a defence mechanism every bit good as an violative 1. The subject in the drama of Hamlet consists of many cases in which the external visual aspect of things appears to be true when in world it is the antonym.
Not surprisingly, the chief character of the drama Hamlet becomes the maestro of camouflage and misrepresentation. Hamlet seeks retaliation against Claudius shortly after he learns of the King? s engagement in his male parent? s decease, a? slaying most disgusting? ( Act I, Sc. 5, 27 ) . The retaliation by Hamlet will take some clip to put to death ; therefore Hamlet must invent a program to deviate attending off from himself. He does so by feigning to move in a huffy mode such that his intended topics ( i.e. Claudius, Polonius, Gertrude, and Ophelia ) will be wholly unsuspicious. Just like a chameleon transforming its outside visual aspect as the consequence of fright and utilizing disguise to hedge sensing by its quarry ; Hamlet feigns lunacy due to the fright of the unknown, by camouflaging his external visual aspect in readying to assail his quarry & # 8211 ; Claudius. As Hamlet stated, ? How unusual or odd some? Er I bear myself / As I perchance hereinafter shall believe run into / To set an fantastic temperament on? ( Act I, Sc.5, 170-172 ) . This peculiar defensive scheme fabricated by Hamlet is indispensable in geting critical information presented through the interactions with other characters. Hamlet is perceived by others to be that of a huffy individual. However, in world, his huffy behaviour is simply a camouflage and a agencies to work out the enigma of his male parent? s decease. Like a investigator, Hamlet is able to boringly patch together the grounds of the offense. He is capable of gulling everyone, even his ain female parent. Queen Gertrude asserts that Hamlet is as? mad as the sea and air current when both postulate? ( Act IV, Sc.1, 7 ) .
Subsequently, throughout the drama, Hamlet besides displays assorted other qualities, which are evident in a chameleon. For case, a chameleon is highly slow and inactive. Likewise, Hamlet reflects a individual who is slow in doing of import determinations because he contemplates and procrastinates invariably. In add-on, he appears to be a adult male of inactivity instead than a adult male of action. The longer Hamlet prolongs the mission that he has to carry through, the more he is unable to put to death it. At first glimpse, Hamlet appears knowing ; but in fact, he is a lost kid who is seeking attending. The male parent? s decease and the female parent? s headlong remarriage have turned Hamlet? s universe wholly upside down, ? an unweeded garden / That grows to seed ; things rank and gross in nature / Possess it simply? ( Act I, Sc.2, 135-137 ) . Furthermore, Hamlet? s monologue? To be, or non to be, that is the inquiry? ? ( Act III, Sc.1, 56 ) depicts his confuse province of head in clip of crisis. As a consequence, the defensive mechanism of lunacy portrayed by Hamlet has enabled him to achieve his aim. He receives overpowering attending from Claudius, Polonous, Gertrude, Ophelia, Horatio, Rosencrantz, and Guildenstern. By concealing his true individuality, Hamlet is able to outwit the diabolic King Claudius who believes that Hamlet has feign lunacy caused by Ophelia? s rejection of his love. In kernel, Hamlet is seen as an clever, persuasive, cunning person, who is able to invent a well-orchestrated program in finding Claudius? reaction in the drama within the drama. The program of Hamlet is unflawed as gold, he is able to carry the participants in The Murder of Gonzago to reenact his male parent? s decease. The program of the? mouse-trap? scene in The Murder of Gonzago is used to ensnare Claudius ; Hamlet observes his uncle? s look as mark of significant cogent evidence bespeaking his guilt. The climactic scene of the drama within the drama illustrates the success of Hamlet? s defensive mechanism utilizing lunacy as a agency to? catch the scruples of the
male monarch? ( Act II, Sc.2, 617 ) .
Contrary to Hamlet? s camouflage with lunacy, Claudius conceals the slaying he has committed by looking as an admirable male monarch who is honest and honest. Merely as a chameleon defensively camouflages itself to accommodate the embracing environment from its enemy, Claudius besides alters his external visual aspect by defensively camouflaging himself as a male monarch who is willing to make what is best for the state. But in world, he merely cares for his ain good being. Claudius, the adversary of the drama, is a adult male of action and is seen as the entire antonym of what he truly is. In order to stay in power, Claudius will even give the ethical motives and values, which are bestowed and upheld by a true male monarch. The statement? Something is rotten in the province of Denmark? ( Act I, Sc.4, 90 ) exemplifies the corruptness within the political hierarchy in Denmark. The upset and tenseness in the province of Denmark could be reflected as the mirrored image of upset and tenseness in the royal household. Claudius pretends to be a adult male of unity, he appears to be sort and lovingness. However, this characteristic behaviour demonstrated by Claudius is merely a frontage in defensively procuring his well being as a baronial male monarch. The current male monarch of Denmark Acts of the Apostless defensively because he fears the possibility of endangering his Crown as the caput of province. The fact of the affair is that behind the drape Claudius is genuinely cold, craft, and ciphering ; Claudius is barbarous and ruthless in the chase for power. ? O wicked humor and gifts, that have the power / So to score! ? ( Act I, Sc.5, 44-45 ) ; Claudius is a ambidextrous person, and because of this, he is able to devilishly pull strings the system for his ain benefit. Like a lizard rolling through the deep hot desert seeking for nutrient, Claudius appears to be rolling through Denmark in hunt of obstructions ( i.e. Hamlet? s lunacy for retaliation ) that would jeopardize his? incestuous? matrimony with Queen Gertrude, and endanger his Godhead right as swayer of Denmark.
As the play develops and the secret plan thickens, Claudius frequently requires aid in garnering information about Hamlet? s good being. Subsequently, the adult male responsible for Claudius? cognition about Hamlet is Polonius. The royal advisor to the male monarch devotes his clip and trueness towards functioning King Claudius and Queen Gertrude. All throughout the drama, Polonius disguises himself? as of a adult male faithful and honest? ( Act II, Sc.2, 130 ) . When in world, he is similar to that of the chameleon antecedently mentioned. The visual aspect of Polonius is lead oning, he is capable of defensively camouflaging his outside visual aspect as a trusty right-hand adult male of the male monarch ; but in actuality, behind the fancied mask he is sly and conniving. ? And borrowing dulleth border of farming. / This above all, to thine ain ego be true, / And it must follow, as the dark the twenty-four hours, / Thou canst non so be false to any adult male? ( Act I, Sc. 3, 77-80 ) . For case, in Act II, Sc.1, Polonius sent undercover agents to Paris to watch over his boy, Laertes. Polonius eluded that the undercover agents were sent to Paris to do certain his boy was acting suitably, ? ask me foremost what Danskers are in Paris, / And how, and who, what means, and where they maintain, / What company, at what disbursal ; and happening / By this encompassment and impetus of inquiry / That they do cognize my boy, come you more nearer / Than your peculiar demands will touch it? ( Act. II, Sc.1, 7-12 ) . In world, Polonius? acts seem less baronial because it appears that he is ever descrying and prising about other peoples concern.
Furthermore, throughout the drama, both Claudius and Polonius choose to lie, darnel and lead on their fellow familiarities in order to carry through their mission. For illustration, in order to find the ground for Hamlet? s lunacy, Claudius and Polonius undercover agent and eavesdrop on the conversation between Hamlet and Ophelia. Just as the male monarch concealed his true evil individuality, Polonius every bit good disguises his true ego. Polonius wears the mask of falsity as a defensive mechanism in detecting the cause of Hamlet? s wild behaviour. He is able to pull strings his ain girl in accomplishing his aim. Like a stealer robbing in the center of the dark, Polonius is quiet in his efforts in skulking behind the drapes for the undeniable truth.
Consequently, the subject of Hamlet refering camouflage is indispensable in understanding the narrative behind the characters moving a certain manner. Finally it can now be seen that the three characters Hamlet, Claudius and Polonius do associate to the chameleon in that they employ the component of camouflage in order to lead on their quarry and therefore accomplish their ultimate end. However, as the drama unfolds, it becomes clear that even though each character in Hamlet employed his ain component of camouflage, non every character is really successful in genuinely lead oning their intended topics. For illustration, King Claudius failed to mask himself as an admirable male monarch in efforts of halting Hamlet ; his failure resulted in his inevitable decease. Likewise, Polonius failed to properly mask his demonic ways as a baronial adviser to the throne, which every bit good resulted in his prematurely homicidal decease. However, of the three characters, Hamlet so reveals to the reader his true intelligence as he is able to observe and see through the camouflage of the others ; all while keeping his ain camouflage so good that he remains the undetected chameleon through to the terminal of the drama.