LANGUAGE IN INDIA

Strength for Today and Bright Hope for Tomorrow

Volume 17:3 March 2017
ISSN 1930-2940

Managing Editor: M. S. Thirumalai, Ph.D.
Editors: B. Mallikarjun, Ph.D.
         Sam Mohanlal, Ph.D.
         B. A. Sharada, Ph.D.
         A. R. Fatihi, Ph.D.
         Lakhan Gusain, Ph.D.
         Jennifer Marie Bayer, Ph.D.
         G. Baskaran, Ph.D.
         L. Ramamoorthy, Ph.D.
         C. Subburaman, Ph.D. (Economics)
         N. Nadaraja Pillai, Ph.D.
         Renuga Devi, Ph.D.
         Soibam Rebika Devi, M.Sc., Ph.D.
Assistant Managing Editor: Swarna Thirumalai, M.A.

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Feigned Madness –
Treatment of Theatre Imagery in Shakespeare’s Hamlet

Adappatu Ancy Antony, M.A., B.Ed.
Siddharth R., M.A.



Abstract

Theatre imagery has become almost an aphorism, has its occurrence been traced out even in plays belonging to the pre - Shakespearean era. The content for feigned madness has ancient roots. In the renaissance, the feigned madness was more than really the stuff of comic duplicity or confusion. The theatre imagery in Shakespeare’s Hamlet is a kind of perceptual lens through which we may observe and analyze the conduct of the character and their tragic predicaments. Hamlet is often described as tragedy dominated by the idea of the plays. Feigned madness becomes a powerful metaphor attached to the theatre imagery. “To be or not to be” begins one of the most famous soliloquies of all time by an author William Shakespeare in his play, Hamlet. There are several different motifs that are relayed within Hamlet’s story. These motifs include death, obsession and betrayal all of which contribute to reassure Hamlet’s madness. In every motif, the audience can state on a universal level both back in the day and in present times as death.

Keywords: Madness, antic disposition, imagery, William Shakespeare

Theatre Imagery - Feigned Madness

Theatre imagery has become almost an aphorism, has its occurrence been traced out even in plays belonging to the pre –Shakespearean era. The content for feigned madness has ancient roots. In the renaissance, the feigned madness was more than really the stuff of comic duplicity or confusion.

The theatre imagery in Shakespeare’s Hamlet is a kind of perceptual lens through which we may observe and analyze the conduct of the character and their tragic predicaments. Hamlet is often described as tragedy dominated by the idea of the plays. Feigned madness becomes a powerful metaphor attached to the theatre imagery. It is manifested specifically in Act II, Scene III in Hamlet as an “antic disposition”. The metaphor takes other important forms in the play: the masks and pretenses put on by the main characters in Claudius mock court: the use of the itinerant players, the play within the play and the imagery of clothing and painting.


This is only the beginning part of the article. PLEASE CLICK HERE TO READ THE ENTIRE ARTICLE IN PRINTER-FRIENDLY VERSION.


AdappatuAncy Antony
Susan Villa, Srinivasa Gardens
Kallikkad 678006
Palakkad
Kerala
India
adappatu.ancy@gmail.com

Siddharth R. Gaya
Parakkulam
Kannadi 678701
Palakkad
Kerala
India
siddhu113m@gmail.com

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