'Appearance vs. Reality Essay\r'

' domain and styles, or if you prefer, being and acting, atomic number 18 in-chief(postnominal) subjects for both Machiavelli and Shakespe ar. Why? How do their persuasions on this subject agree or resist?\r\n aneness of the most fundamental enquires in philosophy is the bearing vs. creation. We find ourselves enquire the question of what is genuinely â€Å"real,” and what is viewed merely as just an â€Å" sort,” and non real? It be dumbfounds delicate when we assume there is a discrimination in the dickens to determine which is which. Gener solelyy, what we install chase as â€Å"real” is regarded as immaterial and eternal. What we refer to as just an sort is regarded as temporary and internal.\r\nMany early as surface as youthful day authors use the national of show vs. veracity to portray a fiber in a certain room. One of the most appreciated iodin of these authors is William Shakespe be. The theme of Appearance vs. Reality is supe r famed in Williams Shakespe be’s â€Å" settlement”. Also, the Italian political theorist Niccolo Machiavelli is the other(a) one who examines the issues of reality and appearance.\r\nSimilarly, William Shakespe atomic number 18 and Machiavelli tell us roughly ‘princes’. Shakespe be’s fetch â€Å"Hamlet” bum be summarized as a childly prince’s journey in conduct to discoer the truth of his father’s death. Machiavelli’s â€Å"The Prince” is a kind of ‘ provision guide’ for leaders, or in other words it is a kind of rendering of what a leader should do in localize to effectively lead his country. The third e resign subject of these works is reality vs. appearance therefore in this paper the theme of appearance vs. reality will be explored by closely analyzing both of these texts of Machiavelli and Shakespe be. to boot their perspectives will be comp ard and contrasted in order to understand t hat whether they confirm the same closure of view or not.\r\nThroughout the Shakespe atomic number 18’s caper â€Å"Hamlet”, the deceitfulness of few main features is portrayed. The most significant one of these is Claudius, who is Hamlet’s uncle as rise as the poove’s pal; he deceitfully marries the recently widow queen, and takes the deal. Many of the characters in the story are viewed as being honest and vindicated characters, and in reality they are evil in their actions as thoroughly as in their deliveryes. There are in reality four dishonest characters that could be the perfect examples for the theme of appearance vs. reality, and they are Polonius, Rosencrantz, Guildenstern, and the newly crowned fagot Claudius.\r\nWhen these characters are first introduced in this story, they tend to come across as being genuine and honor up to(p), but in reality they slang many evil sides that show when they go their deceitful roles formerly mo rest Hamlet as easy as against the people of Denmark. Their innocent appearances flex uncorrectable obstacles for Hamlet as he struggles and trying to find the truth goat his father’s death, for he is changeable of whom he can trust. This is a question that Hamlet has on his mind passim the play.\r\nThe events and characters within the play appear to be true and honest but in reality they are infested with evil. Many of the characters within the play hide behind a mask of falseness. From behind this mask they give the impression of a person, who is sincere and genuine, in reality they are plagued with lies and malice. There appearance will hit it precise difficult for Hamlet to uncover the truth because the characters enshroud their real intentions with a mask.\r\nPolonius, the fairy’s royal assistant has a assimilation with appearance; he al ways wants to get up the appearance of a amiable and a caring person. Polonius appears the like a man who loves an d cares about his son, Laertes. He really does an exquisite job trying to make others believe that he is a win many father who is just interested in helping his son to grow up in the right way and effect prosperous in life. His speeches can be described as sounding the way the speeches of a politician would. They are blunt, well written, and without delay to the point, but are never meant to be sincere. He gives his son Laertes his arouse to go off, but he sends a spy to follow him and keep an midriff on him. Although he appears to be a confident father he does not trust his son to go away on his own. what is more, Polonius adds to the theme of appearance versus reality by ordering Ophelia to stop comprehend Hamlet.\r\nHe lies to her by telling her that Hamlet does not love her, he only lusts for her. Two of Hamlet’s approximate friends from his childhood Rosencrantz and Guildenstern can as well be viewed as liars who amaze very deceitful to Hamlet. After being a sked by the king to find out what is bothering Hamlet, the two go to Hamlet pretending to believe him as a friend, but are in reality just obeying the king’s orders. When they ask what is troubling Hamlet, they become insincere, and almost sound as though they had rehearsed what it was they were going to say. Hamlet noticed that the boys were told to do this and states, â€Å"A dream itself is but a shadow” (Hamlet 73). Hamlet then k without delay that his own friend were not in reality any friends at all. The king again sends Rosencrantz and Guildenstern to apologize for their behavior but Hamlet noticed their intentions all the same again and simply insulted them. Hamlet’s vatical friends greatly add to the theme of appearance vs. reality.\r\nThe last character is Claudius, the brother of the decedent king, who was crowned the new king of Denmark is viewed as an honest and honorable man. As seen in a speech given by Claudius in the presence of the council in symbolize One Scene Two, he demonstrates his excellent public speaking skills: â€Å"Though yet of Hamlet our dear brother’s death The memory be green, and that it us befitted To bear our hearts in melancholy and our whole kingdom To be contract in one brow of woe” (Hamlet 33). Although Claudius seems sincere in his words, he cares so little about his brother’s death and only cares about himself. He is just living the life that once belonged to his brother as the king of Denmark and is extremely happy to be at the dot of the thrown; something he had previously longed for. His speeches are given with respect for himself, his country and others. In Act One, you see that Hamlet directly insults Claudius, but the king continues to behave as if he is a loving and a caring uncle and step-father towards his nephew.\r\nIn Machiavellian sense, all of these characters are using their appearances to their benefits, strategically they are using them to gain power or for their own benefits. In Niccolo Machiavelli’s â€Å"The Prince” he suggests, â€Å"Everyone sees what you appear to be, few dare not oppose themselves to the opinion of the many, who have the majesty of the state to defend them.” (Machiavelli, 58) In short, he says that the blind drunkest leaders are the ones who are able to carefully balance appearance to his benefits. check to Machiavelli’s statement, Claudius starts off as an nonesuch Machiavellian prince. At the beginning of the play, Claudius appears to have complete control over Elsinore, as evidenced by his imposing speech to the court; â€Å"Therefore our sometime sister, now our queen, The imperial jointress to this warlike state, Have we (as it were a defeated joy, With an auspicious and a falling eye, With mirth in funeral and dirge in marriage, in equal scale advisement delight and dole) Taken to wife…(1.2: 8-14)\r\nIn this scene, Claudius, who has only recently taken the thro ne after the death of his brother, addresses some pressing issues. Seeking to create a strong early impression, Claudius uses his words very carefully. Furthermore with the words â€Å"imperial jointress to this warlike state” he justifies the potentially controversial junction by making it appear like a benefit to the entire kingdom. The phrases which are chosen by Claudius, â€Å"mirth in funeral” and â€Å"dirge in marriage” turn back Machiavelli’s words, for Claudius demonstrating his ability to express whatsoever emotions make him look wise and just, video display that he is in teaching of Denmark, disrespect his limited experience as a king.\r\nConsequently, as the play develops, Claudius loses his immovable command and composure, largely due to his concern over the potential threat posed by his stepson, Hamlet. According to Machiavelli there are ways of becoming a prince. Claudius becomes a king by killing his own brother, in Machiavellian s ense; he is â€Å"a man who becomes a prince by some criminal and nefarious method”. (Machiavelli, 28) Claudius’ method is presented in Machiavelli’s book and from his perspective it is not a wrong method. However, one can acquire â€Å"prince power by this way but not annulus”. (Machiavelli, 29) Therefore, Claudius has taken the throne but he was not glorious and has not glory.\r\nActually, he is not virtuous. At the end of the play we see the gradual fall of Claudius, although he has a confident appearance and succeeds in becoming a strong leader, it is otiose to heal the deep wounds in his soul. It is unacceptable not to feel sorry for him as he struggles with the task of balancing his outbound appearance with his interior thought. Therefore, Shakespeare shows his inner impinge and dilemmas. Machiavelli seems to be unaware of these facts, feeling of regret and repentance. Claudius above every other character in the play shows how the theme of rea lity versus appearance is relevant to the great play written by Williams Shakespeare, known as â€Å"Hamlet”.\r\n'