How does Hamlet relate to other characters? “This world of Hamlet is the meaning of minor characters. Main characters and their characteristics
Hamlet Prince of Denmark is the main character of the tragedy by W. Shakespeare. His image is central to the tragedy. The bearer of the main thought, philosophical conclusions of the whole work is Hamlet. The hero's speeches are full of aphorisms, well-aimed observations, wit and sarcasm. Shakespeare accomplished the most difficult of artistic tasks - he created the image of a great thinker.
Plunging into the events of Shakespeare's tragedy, we observe all the versatility of the protagonist's character. Hamlet is not only a man of strong passions, but also of high intellect, a man who reflects on the meaning of life, on ways to fight evil. He is a man of his era, who carries within himself its duality. On the one hand, Hamlet understands that “man is the beauty of the universe! The crown of all living! ”; on the other hand, “the quintessence of dust. None of the people make me happy."
The main goal of this hero from the beginning of the play is revenge for the murder of his father, contrary to his nature, because. Hamlet is a man of the new time, an adherent of humanistic views, and he is incapable of causing pain and suffering to other people. But, knowing the bitterness of disappointment, the torment through which he goes, Hamlet comes to the realization that fighting for justice, he will have to resort to force.
Around him, he sees only betrayal, deceit, betrayal, “that you can live with a smile and be a scoundrel with a smile; at least in Denmark." He is disappointed in his “contemptible love”, in his mother, uncle - “Oh, pernicious woman! Scoundrel, smiling scoundrel, damned scoundrel! His reflections on the purpose of man, on the meaning of life acquire a tragic coloring. Before our eyes, the hero is going through a difficult struggle between a sense of duty and his own convictions.
Hamlet is capable of great and faithful friendship. In his relationships, he is alien to feudal prejudices: he appreciates people according to their personal qualities, and not according to the position they occupy.
Hamlet's monologues reveal the internal struggle that he leads with himself. He constantly reproaches himself for inactivity, tries to understand whether he is capable of any action at all. He even thinks about suicide:
“To be or not to be is the question;
What is nobler in spirit - to submit
Slings and arrows of a furious fate
Or, taking up arms against the sea of troubles, slay them
Confrontation? Die, sleep
But only; and say that you are ending with a dream
Longing and a thousand natural torments,
Legacy of the flesh - how such a denouement
Don't crave? Die, sleep. - Fall asleep!
And dream, maybe? That is the difficulty” (5, p. 44)
Shakespeare shows the consistent development of Hamlet's character. The strength of this image is not in what actions it does, but in what it feels and forces readers to experience.
Minor characters
Image Hamlet is revealed in its entirety in relationships with all the characters. After all, each minor character has his own task, his own destiny and illuminates some facet of the character of the main character. Consider the role and significance secondary characters tragedy for the full perception of the main character and artistic perception works generally.
The space of a tragedy is a multi-vector structure, almost every vector of which makes the existing confrontation between the protagonist and certain characters of the play visual. All the characters in "Hamlet" are direct participants in the dramatic action and can be combined according to their own characteristics.
Conventionally, Claudius and Gertrude represent the first vector in the field of dramatic conflict. The mother and uncle of the protagonist of the tragedy are a ruler who usurps power.
The second is Polonius and Osric. The chancellor of the Danish kingdom, who is at the top of feudal society, is a poor copy of a talented intriguer, united in their readiness to carry out any order of power, not forgetting about their own benefit.
The third is Ophelia and Laertes, the daughter and son of Polonius, whose fate is directly connected with the actions of Hamlet.
The fourth is Horatio, Rosencrantz and Guildenstern, Hamlet's fellow students at the University of Wittenberg.
The fifth is Prince Fortinbras. Hamlet will not meet him on stage, but the feeling that Fortinbras is a kind of double of the protagonist does not disappear. Some events in the life of the Norwegian prince coincide with the story of Prince Hamlet (as, by the way, with the story of Laertes), however, everyone defines life priorities in their own way. In the real space of the tragedy, Fortinbras can be a couple to his father, who was killed by King Hamlet, Hamlet himself and Laertes.
Outside the system is real acting heroes there remains a character who creates the plot of the main storyline - this is the Ghost, the shadow of Hamlet's father. The sphere of realization of this character is limited to communication with Hamlet, the Ghost pushes Prince Hamlet to take action. The events that took place before the beginning of the performance are translated into the plane of moral choice and encourage the hero to determine the priorities of being, to search and affirm, even at the cost of life, new system values.
Another possible schematization of the figurative system of the tragedy can be cited: Hamlet and the two kings (Hamlet, Claudius); Hamlet and two women (Gertrude, Ophelia); Hamlet and young vassals whom the prince considers friends (Horace, Rosencrantz-Guildenstern); Hamlet and the avenging sons (Fortinbras, Laertes).
The image of Claudius captures the type of a bloody usurper monarch.
“The killer and the serf;
Smerd, smaller than twenty times one tenth
The one who was your husband; jester on the throne;
The thief who stole power and the state,
Pulling off the precious crown
And put it in his pocket!” (5, p.59)
Keeping the mask of a respectable person, a caring ruler, a gentle spouse, this "smiling scoundrel" does not bind himself to any moral standards: he breaks his oath, seduces the queen, kills his brother, carries out insidious plans against the rightful heir. At court, he revives the old feudal customs, indulges in espionage and denunciations. "The wild and evil reigns here."
"Yes, this prodigal beast, the incest,
The magic of the mind, deceit with a black gift -
O vile mind and vile gift that are powerful
So seduce! (5, p. 14)
Endowed with "the magic of the mind, deceit with a black gift", Claudius is perceptive and cautious: he deftly prevents Fortinbras from marching on Denmark, quickly extinguishes Laertes' anger, turning him into an instrument of reprisal against Hamlet, and creates the appearance of collegiality in governing the state. Fearing that the people will stand up for the prince, the king conducts intrigues against him very carefully: he does not believe the rumor about the madness of Hamlet.
The conflict between the humanist Hamlet and the tyrant Claudius is the conflict of the old and the new time.
Gertrude
The queen evokes a difficult feeling. Gertrude is “my seemingly pure wife”, a weak-willed, albeit not stupid woman, “the sky and thorns that live in her chest, stinging and stinging, are enough from her.”
“You are the queen, uncle's wife;
And - oh, why did it happen! - you are my mother ”(5, p. 71)
Behind the majesty and outward charm, you can’t immediately determine that the queen has neither marital fidelity nor maternal sensitivity. The people of Denmark are distant and alien to the queen. When, together with Laertes, people who are dissatisfied with the king burst into the palace, she shouts to them:
“They squeal and are glad, having lost their way!
Get back, you lousy Danish dogs!” (5, p. 79)
The biting, frank reproaches of Hamlet addressed to the Queen Mother are justified. And although at the end of the tragedy her attitude towards Hamlet warms up, the accidental death of the queen does not cause sympathy, since she is an indirect accomplice of Claudius, who herself turned out to be an unwitting victim of his vile atrocity. Submitting to Claudius, he dutifully helps to carry out an “experiment” on an allegedly insane prince, which deeply hurts his feelings and causes disrespect for himself.
Polonius is a dodgy courtier in the guise of a sage. Intrigue, hypocrisy, cunning became the norm of his behavior in the palace and his own house. Everything is subject to calculation. He teaches the same to others, for example, saying to his son Laertes:
A rash thought - from action.
Be simple with others, but by no means vulgar.
Your friends, having tested their choice,
Attach to the soul with steel hoops,
But don't callus the palm of nepotism
With any featherless familiar. into a quarrel
Beware of entering; but by entering
So act to beware of the enemy.
Collect all opinions, but keep your own.
Neck dress as expensive as possible
But no fuss - rich, but not catchy:
A person is often judged by appearance” (5, p. 24)
His distrust of people extends even to his own children. He sends a servant to spy on his son, makes his daughter Ophelia an accomplice in spying on Hamlet, not worrying about how this hurts her soul and how it humiliates her dignity. He will never understand Hamlet's sincere feelings for Ophelia, and he destroys him with his vulgar interference. He dies at the hands of Hamlet, as a spy, eavesdropping on the conversation between the queen and her son.
The image of Ophelia is one of the brightest examples of Shakespeare's dramatic skill. Hamlet loves Ophelia, the meek daughter of the courtier Polonius. This girl is different from other heroines of Shakespeare, who are characterized by determination, willingness to fight for their happiness: obedience to her father remains the main feature of her character.
Hamlet loves Ophelia, but does not find happiness with her. Fate is unfavorable to Ophelia: her father Polonius is on the side of Claudius, who is guilty of the death of Hamlet's father and is his desperate enemy. After the murder of her father by Hamlet, a tragic breakdown occurs in the girl's soul and she goes crazy.
“Sorrow and sorrow, suffering, hell itself
She turns into beauty and charm "(5, p. 62)
The madness and death of this fragile unprotected creature is sympathetic. We hear a poetic account of how she died; that before her death she continued to sing and died unusually beautifully, “weaving nettles, buttercups, iris, orchids into garlands”, breaks into a “sobbing stream”. This last poetic touch is extremely important to complete the poetic image of Ophelia.
"Her clothes
Spread out, they carried her like a nymph;
Meanwhile, she sang fragments of songs,
As if I did not smell trouble
Or was a creature born
In the element of water; it couldn't last
And robes, heavily drunk,
Unhappy from the sounds carried away
Into the quagmire of death” (5, p. 79)
Her death echoed in Hamlet's heart as a new heavy loss.
Finally, at her grave, we hear Hamlet's confession that he loved her, "as forty thousand brothers cannot love!" That is why the cruel words that he says to her are difficult for him, he utters them with despair, because, loving her, he realizes that she has become an instrument of his enemy against him, and in order to carry out revenge, love must also be abandoned. Hamlet suffers from the fact that he is forced to hurt Ophelia and, suppressing pity, is merciless in his condemnation of women.
Laertes is the son of Polonius. He is straightforward, energetic, courageous, in his own way dearly loves his sister, wishes her well and happiness. But judging by the way, burdened by domestic care, Laertes seeks to leave Elsinore, it is hard to believe that he is very attached to his father. However, having heard about his death, Laertes is ready to execute the culprit, be it the king himself, to whom he swore an oath of allegiance.
“I am not afraid of death. I declare
That both worlds are contemptible to me,
And come what may; just for the father
Revenge as it should "(5, p. 51)
He is not interested in the circumstances under which his father died, and whether he was right or wrong. The main thing for him is "to take revenge as it should." The strength of his intentions to take revenge at any cost is so strong that he raises a rebellion against the king:
“The ocean itself, overflowing the borders,
So furiously does not devour the earth,
Like a young Laertes with a rebellious crowd
Sweeps the guard. The mob follows him;
And as if the world had just begun
Forgotten antiquity and despised custom -
Support and fastening of all speeches, -
They shout: “King Laertes! He's chosen!"
Hats, hands, tongues take off:
"Laertes, be king, Laertes king!" (5, p. 47)
Laertes, having entered into an agreement with the king, and entering the competition with the prince, having a poisoned weapon, neglects knightly honor, dignity and generosity, because before the competition Hamlet explained to him and Laertes held out his hand to him. Only the proximity of his own death, the realization that he himself was a victim of Claudius's deceit, makes him tell the truth and forgive Hamlet.
"Pay
well deserved; he prepared the poison himself. -
Let us forgive each other, noble Hamlet.
May you be in my innocent death
And my father, as I am in yours! (5, p. 97)
Horatio is a friend of Hamlet. The hero considers Horatio himself the best friend precisely because he sees in him a real person, untouched by universal moral corruption, who has not become a “slave of passions”, in which “blood and mind” are organically merged. This is a balanced, moderate and calm young man, for which Hamlet praises him:
"..human,
Who does not suffer even in suffering
And with equal gratitude accepts
Anger and gifts of fate; blessed
Whose blood and mind are so gratifyingly merged,
That he is not a pipe in the fingers of Fortune,
Playing on it” (5, p. 33)
Hamlet and Horatio are opposed by the deceitful and duplicitous Rosencrantz and Guildenstern, “his peers, school years", who agreed to spy on Hamlet in favor of the king and find out "what secret torments him and whether we have a cure for it."
Horatio fully justifies Hamlet's trust, seeing that Hamlet is dying, he is ready to die with him, but he is stopped by the request of the hero, who assigns an important role to his friend - to tell people the truth about him after death. And, perhaps, this truth will teach people to appreciate life, to better understand the shades of good and evil.
Composition and artistic features
The basis of the dramatic composition of "Hamlet" by W. Shakespeare is the fate of the Danish prince. Its disclosure is constructed in such a way that each new stage of the action is accompanied by some change in Hamlet's position, his conclusions, and the tension increases all the time, right up to the final episode of the duel, ending with the death of the hero. The tension of the action is created, on the one hand, by the expectation of what the hero's next step will be, and, on the other hand, by the complications that arise in his fate and relationships with other characters. As the action develops, the dramatic knot becomes more and more aggravated all the time.
At the heart of any dramatic work is conflict, in the tragedy "Hamlet" it has 2 levels. Level 1 - personal between Prince Hamlet and King Claudius, who became the husband of the prince's mother after the treacherous murder of Hamlet's father. The conflict has a moral nature: two life positions collide. Level 2 - the conflict of man and era. (“Denmark is a prison”, “the whole world is a prison, and excellent: with many gates, dungeons and dungeons ...”
In terms of action, the tragedy can be divided into 5 parts.
Part 1 - the plot, five scenes of the first act. Hamlet's meeting with the Ghost, who entrusts Hamlet with the task of avenging the vile murder.
The plot of the tragedy is two motives: the physical and moral death of a person. The first is embodied in the death of his father, the second in the moral fall of Hamlet's mother. Since they were the closest and dearest people to Hamlet, with their death that spiritual breakdown occurred, when for Hamlet all life lost its meaning and value.
The second moment of the plot is the meeting of Hamlet with a ghost. From him, the prince learns that the death of his father was the work of Claudius, as the ghost says: “Murder is vile in itself; but this is more vile than all and more inhuman than all.
Part 2 - the development of the action arising from the plot. Hamlet needs to lull the king's vigilance, he pretends to be crazy. Claudius takes steps to learn about the reasons for this behavior. The result is the death of Polonius, father of Ophelia, the beloved of the prince.
Part 3 - the climax, called the "mousetrap": a) Hamlet is finally convinced of the guilt of Claudius; b) Claudius himself is aware that his secret has been revealed; c) Hamlet opens his eyes to Gertrude.
The culmination of this part of the tragedy and, perhaps, of the whole drama as a whole is the episode "scene on stage". The accidental appearance of actors is used by Hamlet to put on a performance depicting a murder, similar to that committed by Claudius. Circumstances favor Hamlet. He gets the opportunity to bring the king to such a state when he will be forced to betray himself by word or behavior, and this will happen in the presence of the whole court. It is here that Hamlet reveals his intention in the monologue that concludes Act II, at the same time explaining why he has so far hesitated:
"The spirit that appeared to me,
Perhaps there was also a devil; the devil is powerful
Put on a cute image; and, perhaps,
That, since I am relaxed and sad, -
And over such a soul he is very powerful, -
He leads me to death. I need
Return support. The spectacle is a loop,
To lasso the king's conscience" (5, p. 29)
But even having made a decision, Hamlet still does not feel solid ground under his feet.
4th part: a) sending Hamlet to England; b) the arrival of Fortinbras in Poland; c) Ophelia's madness; d) death of Ophelia; e) conspiracy of the king with Laertes.
Part 5 - denouement. Duel of Hamlet and Laertes, Death of Gertrude, Claudius, Laertes, Hamlet.
Reader's Perception
In our opinion, the tragedy "Hamlet" is one of the highest peaks of Shakespeare's work. This is perhaps the most popular and most profound work of the great playwright. Tragedy is characterized by complexity and depth of content, full of philosophical significance. Shakespeare invested in "Hamlet" a huge socio-philosophical content.
The tragedy of Hamlet, the tragedy of a person's knowledge of evil, develops before the eyes of the reader, we become involuntary witnesses of tragic events, a difficult choice that the main character faces. In "Hamlet" the moral torment of a person called to action, thirsty for action, but acting impulsively, only under the pressure of circumstances, is revealed; experiencing discord between thought and will. Obsessed with the thought of revenge, Hamlet goes against his moral convictions and principles. Hamlet's goal is not simply to kill the hated Claudius; his task is to punish the murderer of his father in all justice.
The betrayal of those closest to him, the shock experienced by Hamlet, shook his faith in man, gave rise to a split in his consciousness. The internal struggle that Hamlet is experiencing leads him to a state of indecision, confusion in the face of circumstances: "Thus thinking makes us cowards." Before him is a difficult choice, to submit or resist evil and avenge the death of his father, or die, fall asleep, "give yourself a calculation with a simple dagger." Hamlet realizes that the fear of death is “an unknown land from where there is no return to earthly wanderers”, the unknown “confuses his will”, and he understands that it would be better “to endure adversity and not rush to others hidden from us”. Hamlet is resolute in his intentions: “O my thought, from now on you must be bloody, or dust is your price!”
Hamlet is a lonely fighter for justice. He fights against his enemies by their own means. The contradiction in the behavior of the hero is that in order to achieve the goal, he resorts to the same immoral methods as his opponents.
All the misfortunes that we observe at the end of the work could have been avoided if "the century had not deteriorated." Many fell victims to the evil conspiracy, including the conspirators themselves. Evil begets evil. Retribution happened, but it makes me very sad, because in the end, two loving hearts could not be together, the son and daughter lost their father and both died, and Hamlet of the mother, the king died, even though his “retribution is deserved; he prepared the poison himself,” and Hamlet himself.
1) Main - Ethics of emotions.Actually, since we have the first function, it means that I want to turn it around. I want to - I will cry, and what the hell are you going to do to me, you also have to try to spoil the mood. Unlike Hugo, who can shout where they need to and where they don’t need to, the Hamlets have a developed sense relevance.
Those. if there is a quarrel now - you can yell, if there is a funeral - you have to cry.If you really feel like looking at the laughing Gam, get him drunk. Two glasses and fun guaranteed. Therefore, they usually do not drink (girls at least). What else can I add ... And if it seems to them that your behavior is inappropriate, they will pull you up. Well, their own behavior depends entirely on their mood. They don’t like it when they climb into their souls, so asking “what happened to you ?!” useless. If they are yelled at, they will tell you more. And if they screwed up themselves, then ... they have already forgotten what the jamb actually was, so trying to find out the details from them will only annoy them even more. They do have a memorywhat they were doingbad. But more on that later.
Although with all this, Hamlet is an extremely vindictive bastard. He doesn't remember WHAT you did exactly, but he remembers that YOU did it, and here, if they have at least some influence, you will not be in trouble.
2) Working - intuition of time.
The second one means social order. What, as it seems to me, is required of me, I give out.
The Hamlets have an opinion - that they should warn everyone. Even scary, I would say.
Constantly.
For any reason.
Ask them or not.
In general, this does not irritate Maksimov, quite the contrary, but it does not illusoryly get everyone else. Although their habit of seeing the negative in everything tires even positive Maxes.
They are very punctualwhich, by the way, is demanded of others. Late - or get angry or swear will be even worse. But if you, God forbid, told them "Come to me somehow, as it suits you" - then at first you will wait for them for three years, because you said it whenever you like, and then they can turn up at night, according to the same By the way, the reason.
They love aesthetes and love to be aesthetic. The look sometimes seems arrogant, do not confuse, this is an intelligent look.
By the way, they are not devoid of some intuition.
3) Pain - white sensory.
Since Hamlet is an alarmist, he is terribly afraid of looking sick. They, like any white intuitives, have a very nice feature to forget that they have limbs and a physical embodiment in general, hence, sometimes, a very strange coordination and manner of moving.
In general, everything that is connected with the body, taste, cleanliness, health and sex causes inconvenience.
They are afraid of blood, they react nervously to all sorts of other secretions of the human body. If their shirt is littered and they were told about it, they blush, turn pale, turn green, etc.
But exactly how nervous they are when we are talking about their illnesses - they show off pain when you get sick. And only they know the right pills, and how to do compresses, well at least they don’t say that they are full bladder useful for a speedy recovery, and patients should not write in any case. Although there are all sorts of hamlets.
Despite the fact that they have taste buds - like an alcoholic's coordination, they are very picky about food. If they have not been taught to experiment since childhood, they will only eat what they know. For fun, you can try to feed them to a familiar hamlet who has never eaten sushi. An enchanting spectacle, I will report to you.
4) Role - business logic.
As I said on the details and "what I did 10 minutes ago" their memory is short, not as much of course as I exaggerate, but still.
Since the function is normative, i.e. "I remember doing, I don't remember not doing" they do not like to redo the work done.
They quickly lose skills if they stop using them. Such "professors" in a narrow area, and also constantly improve in it.
The memory is fast enough, but, as I said, full of holes. They remember quite well, they retain as they use.
They like to be important and in demand. In general, they are periodically clowns and actors.
5) Kaif - system logic
“I want to be significant”, “I want to be in charge”, “I want to command” say the hamlets (guys mostly don’t speak, but they definitely think), but when it turns out that the “main” not only revel in their own importance, but also responsibility carry - this is where the problems begin.
Since the function works on the principle of "give me" - Hamlets are always happy to push their responsibility onto someone else. Guys, of course, have to carry it - gender obliges, but you would know what it costs them.
They have a very intelligent look, even if their faces look like a gopnik from the outskirts.
If it is not possible to become very significant themselves, then they are proud of their "friends-directors". Hamlet, the head of the department, and Maxim, the head of the department, will behave completely differently. The first will openly enjoy this status, and the second will not. No, not because he doesn't enjoy it, but because he's snickering, he knows that this is not the level where you can fluff feathers.
In general, if you are not significant for them and do not have a status, I congratulate you, you will see that the Hamlets are vile, petty, vindictive intriguers. Their attitude is treated - by acquiring a status. Good luck!
6) Polukayf - black sensory.
Remember, yes, that the semi-high of negative information cannot stand?
Hamlets suffer physically when there is no money in the wallet. Hence the desire to save something, so that the coin in your pocket always rang. No money = no mood = no mood for everyone within a radius of 50 meters.
They love to receive and give gifts and love to give them themselves. Especially expensive ones. Especially receive. Of course, they cannot compare with the Napoleons, but they also love them. If you give the girl Hamlet one rose, she may be offended, 20 carnations are better. For comparison, you can give Maximsha one rose, and then 20 carnations. You will be torn in any case :). Unless, of course, you have a charming Hamlet smile.
Yes, by the way, if Hamlet says that he does not need to give anything at all, he does not like gifts, especially expensive ones - he is lying. In general, they are mercantile creatures, to the point that they can calculate how well you treat them based on the approximate price of a gift. What, bitch, is typical (hereinafter CSH), they don’t turn such a trick with the maxes, they have enough mind for two to agree.
Girls do not like it when you pay for them because they do not want to be obliged, but they will be able to pay for you with a scratch, do not worry, you will hear him.
They don’t have a taste in clothes and furnishings at home, if they haven’t been instilled in them since childhood, so they try to dress and furnish themselves according to the principle “so as not worse than the rest”.
Play sports are preferred to power sports.
7) Extension - black intuition.
They take advice easily. They even ask to be taught. They can and should be advised. They do not like to look stupid, so they will gladly read what you advise and understand it the way you explain it. Then they make smart people, with a decent outlook. And in order to read something yourself, figs, do not wait.
8) Ignore - white ethics.
The words "Love, friendship" are treated with caution. In general, if you pulled out the phrase “I love you” from Hamlet, you can be proud of yourself, but for the next couple of years you won’t hear it anymore, so there’s nothing for all black-logs to catch here.
Sometimes it can give the impression that they have a lot of friends, nothing. Friends are a responsibility, but what is Hamlet's responsibility? That's right, he doesn't like it.
They demand from a person (not verbally, of course, although anything can happen) proof of love (and friendship) in the form of actions. And if you pour “sunshine, you are so wonderful with me, I love you so much” into their ears, they will vomit on your shoes, although they will endure for a long time.
Relationships are easily broken if they are thoroughly obtained. They worry about the breakup violently, but not for long.
That's actually all I wanted to tell you about these strange creatures.
For this, I bow out for today.
For self-realization, you do not need to make super efforts. It is important to find the best path. Let's analyze the issue of career guidance on the example of TIM "Hamlet" (EIE), or "Knight of staffs" in Savchenko's symbolic socionics.
Representatives of the type: William Shakespeare, Charlie Chaplin, Louis de Funes, Adolf Hitler, Che Guevara, Vladimir Zhirinovsky, David Copperfield, Philip Kirkorov, Edward Radzinsky, Dmitry Nagiev.
The description of TIM according to model A, adopted at the Research Institute of Socionics, tells us the following.
Strong conscious functions of the personality reflect the main thing in the essence of the type. They represent a zone of confidence. According to these functions, a person chooses life goals and tools to achieve them. The choice of profession should be based on these functions.
1. BASIC FUNCTION: Ethics of emotions
Semantics of the aspect: excitement (excitement, excitement, indignation, pressure, passion, ecstasy, calmness, depression); motivation for action (fanaticism, attitude, determination, enthusiasm); manifestation of emotions (passion, artistry, intonation, ability to control emotions); emotions of people (delight, admiration, anger, mood, joy, sadness).
The basis of Hamlet's personality and intellect is the ethics of emotions, hence the high level of EIE emotionality. They are well versed in their own and other people's emotions, able to manage them. Due to this, they are able to give the necessary emotional charge through a certain message to their “viewers”.
It has a very wide range of manifestations of emotions from complete indifference to their most dramatic manifestations. Able to easily evoke in himself or others the necessary emotion at the moment.
2. CREATIVE: Intuition of time
Aspect semantics: time (time interval, calendar time, moment, pause, period, then, duration, timeliness, term); communication over time (wait, catch up, planning, generational relationship, warning, punctuality, strategy); forecast (perspective, foresight, retrospective, foreboding); development of processes in time (genealogy, history, variability, maturation, alternation, era, development, modernity); speed (rhythm, tempo).
EIE can freely manipulate time, are critical of others being late, and can also react aggressively if someone tries to re-allocate their time.
Now consider weak conscious functions:
3. ROLE ROLE: Logic of actions
Semantics of the aspect: action (movement, activity, movement, act, realization); knowledge (qualification, method, skill, fact, erudition); work (tool, mechanism, technology, functioning); reason (adequacy, benefit, pragmatism, utility, common sense, rationality, rationalism, expediency, efficiency); economics (entrepreneurship, cost, price).
Since this function is weak, creativity on it should not be expected, however, in an unfamiliar situation, it comes to the fore. For the most effective adaptation, Hamlet needs to speak and look businesslike. He is more comfortable talking about what position he holds, what functions he performs, what results he has achieved, how many educations he has received and how much money he has earned. As soon as he gets used to the environment, he switches to his strong conscious ones - the ethics of emotions and the intuition of time.
4. PAIN: Sensory sensations
Aspect semantics: sensation (gustatory, tactile, color shades, pleasant, elastic, solid); well-being (health, pleasure, rest, relaxation, satisfaction); taste of life (harmony, design, quality, "bird in hand", convenience, pleasure, cosiness, comfort); a sense of oneself in space and time (here and now, a sense of space, reliability, the ability to settle in space).
Hamlet (EIE) is extremely sensitive to remarks about his appearance, it is difficult for him to talk about his well-being. Hamlet himself does not understand what feelings and state of health are inherent in people at one time or another. It is difficult for him to provide himself with the necessary comfort.
5. SUGGESTIVE: Structural logic
Aspect semantics: measurement (parameter, distance, commensurability, comparison, standard); understanding (analysis, detail, synthesis, universality); order (classification, control, accounting, sequence); structure (mutual position of objects, correlation, subordination, scheme); system (regularity, hierarchy, organization, causal relationships, theory); formal logic (algorithm, proof, law, instruction, equality, statistics, equation).
It is believed that according to this function, all information comes from the outside world, further redistributed for processing by all other functions. Hence, Hamlet is very trusting where information is presented from the point of view of a scientific approach. If he is given information through a system of rules and laws, he perceives it easily and on faith.
It is also worth noting that Hamlet strives to follow the rules that are established in the society where he ended up, or to follow the algorithm of work, if there is one. This helps him to be more mobilized and concentrated, as well as to perform his tasks much better.
6. REFERENTIAL: Volitional sensory
Aspect semantics: possession (desire, possession, guard, sphere of influence, tactics, territory, sense of master, expansion); external qualities (beauty, contrast, appearance, shape, brightness); mass (many, cluster, crowd); manifestation of volitional qualities (to achieve, achieve a goal, force, command, conquer, storm, suppress, conquer, decisiveness); strength (weight, power, weightiness, resistance, willpower, resistance, confidence, violence, pressure, physical strength); status (authority, ambitions, weight in society, significance).
Hamlet needs a "strong hand" and volitional influence. It is difficult for him to get up and start the task. It is also difficult to understand your appearance, beauty. Needs help from his dual. He is not sure what he can claim in terms of territory, position in society, and it is also difficult for him to judge the degree of his attractiveness.
Now consider strong subconscious functions:
7. FRAMEWORK: Ethics of relationships
Aspect semantics: moral categories (worldview, morality, morality, conscience, religion, decency); attraction (psychological distance); manifestation of feelings (arrogance, delicacy, diplomacy, mercy, responsiveness, condescension, tolerance); feelings (kindness, envy, anger, love-hate, sympathy-dislike, compassion); human relations (enmity, friendship).
The ethics of relations is a very strong function of Hamlet. If he wants to limit external activity in his favor, he will demonstrate a certain attitude, which he considers appropriate. However, Hamlet is just as easy to disarm by showing a certain attitude: hostility, indifference, and so on. He won't be able to get over it right away.
8 RELEASE: Intuition of possibilities
Aspect semantics: vision of possibilities (holistic perception, desire to get to the bottom, deep vision); opportunities (talent, chance, potential, viability); uncertainty (someone, something, surprise, paradox, ambiguity, probably, “pie in the sky”); search (choice, hypothesis, discovery, insight, ideas, design, discovery, assumption); essence (openness, basis, content, simplicity, purity, true property).
EIE has good intuition - he will not miss his own. He sees the possibilities very well, although he cannot always accurately determine the expediency of the undertaking. Feels the pitfalls, feels the development of the situation as a whole, has an intuitive insight.
Based on the description of TIM, one should not expect perseverance, objectivity in assessing activities, a dispassionate analysis of the situation, simplicity and ingenuity, as well as democracy in relations from Hamlet.
However, the undoubted strengths of "Hamlet" are the ability to subtly feel other people, to perfectly manipulate one's own and other people's feelings, the ability to ignite, lead, foresee the development of the situation, foresight, the ability to see the hidden potential of a person, the ability to competently distribute cases in time. From this it should be concluded that the activities of the EIE should be related to people, and among others, this is work on the development and motivation of personnel, as well as adaptation and training.
The following case can serve as an example of Hamlet's professional orientation.
In the second year of the institute, studying at the Faculty of Economics and Management, EIE decided that he should master the profession of HR Manager. He passed the appropriate training and went to work as a personnel inspector. The essence of the work was that "Hamlet" had to conduct personnel records management and enter information into the accounting system.
Since sensorics and logic are not strong functions of the EIE, the following consequences could be observed: his work was accompanied by frequent minor errors and inaccuracies, since he had to deal with details. Either the number is incorrectly indicated, or the wrong order number, the wrong seal. The wrong numbers were entered into the database, and the names were misspelled. In order for the work to be done correctly, Hamlet double-checked all the work for himself 3-4 times, which allowed him to achieve good results in this position. To this, he had to carefully study the legislation, which was not difficult, however, when the situation required the inspector to find a loophole and get out of the delicate situation that was associated with the manipulation of the law, then certain problems arose, because EIE has a weak subconscious structural logic.
Then Hamlet decided that it was worth trying to go into recruitment. This is where things got better. EIE quickly adapted to new position, because strong ethics and intuition made it possible to almost accurately select the right people.
The next step was the transition to external recruiting for the position of a headhunter. The ability to be cunning, to play various roles, the ability to assess the potential and capabilities of a person in a limited period of time played decisive role in the success of Hamlet in this position. And his penchant for uniqueness and need to stand out was satisfied by finding extremely rare specialists and attracting them by hunting.
So, the conclusion can be drawn as follows: for self-realization, sometimes you need to take several steps, especially if something does not come out easily. Everyone should look for an occupation that does not require super effort from a person to achieve the desired result.
Plan to characterize the image of Hamlet:
1. Introduction.
2) Main character tragedy.
3) Hamlet's aspiration.
4) Hamlet's attitude towards Ophelia.
5) Hamlet's attitude towards other people.
6) Hamlet's views on life.
7) Hamlet's conclusions on the fight against evil.
The famous English poet W. Shakespeare wrote his outstanding tragedy Hamlet in 1601. In this poetic work, the author reworked the plot of the famous ancient legend and connected it with the plot of a medieval play about a fictional prince named Hamlet. W. Shakespeare managed with extraordinary depth to reflect the tragedy of humanism, but rather its absence in the then society.
The Prince of Denmark Hamlet became a vivid and unsurpassed image of a humanist who found himself in the world around him, hostile to humanistic ideas. The insidious murder of his father opens the eyes of the prince to the evil that has taken possession of the country. He considers his main duty, not ordinary, but blood feud, to search for those responsible for the death of his father. This desire eventually grows into his public duty and raises him to the struggle for justice and humanism, for a just cause, which at that time was the most important historical task.
But with this struggle, Hamlet hesitates and constantly reproaches himself for his inaction. Sometimes the author expresses the opinion that Hamlet is not capable of decisive action and is only an observer and thinker, a naturally weak-nerved person. But that's not the case at all. The protagonist of the tragedy has a powerful force of feelings that was inherent in the people of the Renaissance. He takes the death of his father very hard and does not accept the shameful marriage of his mother.
At the same time, Hamlet loves Ophelia with all his heart, but she is unhappy with him. His cruelty to the girl and insults to her do not indicate that he is really a cruel and rude person, but only that he loved Ophelia very much and was also very disappointed in his love.
Hamlet is distinguished by nobility and most of his actions come from his high humanistic ideas about how a decent person should be. He is capable not only of great love, but also of great faithful friendship. He values people not by their material or social status, but by their personal qualities. But his only true friend is the student Horatio. This is another proof that Hamlet is hostile towards officials, and meets people of art and science with all his love.
Hamlet is a man of a philosophical mindset. He can comprehend individual facts as an expression of important general civil phenomena. But it is not at all a penchant for reflection that delays him on the path to a real struggle, but the conclusions to which he eventually comes, and sad reflections about the world around him. The events that take place at the court allow the main character of the tragedy to come to conclusions regarding individual people and the whole world.
If the world allows the existence of such evil that occurs around Hamlet, if such eternal human values as love, friendship, honesty and dignity perish in it, then he really went crazy. The world it seems to the hero either a city overgrown with weeds, or a well-ordered prison with cells, casemates and dungeons, or a lush garden that breeds only evil and a wild family.
And the “To be or not to be” familiar to all of us is nothing but doubts about the value human life. And enumerating the various misfortunes of man, Hamlet describes the customs of the then society. For example, the hero perceives poverty as a great grief for a person, because he has to endure:
But Hamlet is struck not only by the criminality of Claudius, but also by the whole system of principles of life and moral values incomprehensible to him. He understands that limiting himself only to revenge, he will not change anything in the world around him, because another official will come to the place of the murdered Claudius, perhaps even worse. Hamlet still does not refuse revenge, but at the same time he realizes that his task is much broader and consists in counteracting the common evil.
The magnitude of this task and the objective unreality of fulfilling Hamlet's aspirations predetermine the extreme complexity of the inner life and actions of the protagonist of the tragedy. Surrounded by a dishonest game, in a life that is entangled in the networks of meanness, it is extremely difficult for him to define his own society and find effective means of struggle. The scale of evil oppresses Hamlet, makes him disappointed in life and realizes the insignificance of his forces. Man and the world are not what they seemed to Hamlet before.
Hamlet is faced not with a single enemy, not with a random crime, but with a large hostile society. He feels his powerlessness in the fight against universal evil precisely because his far-sighted philosophical thought reveals to him the laws of this evil.
21:50
I have a question for people who are familiar with the Hamlets and for the Hamlets themselves: how do the Hamlets feel about intrigues, intrigues, do they like to spin them?
And then I recently read at Stratievskaya's that the Hamlets are still intriguers. And the whole problem is that I suspected Hamlet in my mother, but then I read it, and was shocked by the descriptions. And now I don’t know what to think: does this really apply to Hamlets, or is it just a figment of Stratievskaya’s fantasy?
I am Gabin myself, and I have never noticed such behavior in my mother.
2012-05-29 at 14:06
Even the stars look brighter tonight | Nothing's impossible
As you can see, this text provides answers to many questions of the discussion that has arisen.
2012-05-29 at 21:32
"... what now, should I think about the correct definition of Tim?"
- Everything that you talked about does not go beyond the scope of TIM EIE, Hamlet, but fits very well into the structure of his model: according to the observational ethics of relations (-BE7), Hamlet does not seek to be a violator of ethical norms. Moreover, he keeps track of such violators well and exposes their behavior to them.
But the observational ethics of relations (which is also called restrictive) does not overlap his programmatic ethics of emotions (+ NE1), following which he often acts under the influence of spontaneous impulses (because of which representatives of this TIM often write themselves down in IRRATIONALS), follows the lead of their own feelings, with all the ensuing consequences, which he does not always prefer to think about in advance, as is characteristic of the CAREFUL. And here we are already talking about the fractal (programming and programmable) properties of informational aspects. The programmatic aspect of Hamlet's Ethics of Emotions (+HE) is a "careless" aspect (see the graphic link in my previous post), but "strategic" (again, in terms of its programming properties). From the standpoint of this aspect, Hamlet can act CAREFULLY, but with a STRATEGIC scope. Hamlet is a STRATEGIST on a psychological basis (see the sign of STRATEGY and TACTICS: socionika-forever.blogspot.ca/2010/03/blog-post... - similar behavior of Hamlet is described there in the chapter on DECISION-STRATEGIES-DYNAMICS).
The creative intuition of Hamlet's time (-B2) is a PREDICTIONAL aspect (see the graphical link above), but a local, TACTICAL one (according to the TACTICAL attribute programming it). And here, already from his creative PREDICTIONAL intuition of time (BI2), Hamlet TACTICALLY at close range, in close, trusting relationships, builds a chain of cause-and-effect relationships, through which he can avert a blow from himself or prevent the danger that threatens him. That is, he conducts some kind of intrigue - he rebuilds the causal relationship of future events in his own way and in a way convenient for him. And the fact that at the same time the "arrow" sometimes has to be transferred to others - to find the "guilty" and point to him - these are already the costs of protective measures, which are far from always logical (-BL5) and impeccable, with the programmatic emotionality inherent in Hamlet (+ChE1) .
In my opinion, you are a harmonious, balanced Hamlet, sympathetic, sensitive (as far as I can judge from your posts) - a HUMANITARIAN in the full sense of the word.
2012-05-29 at 23:48
Free chess free chess, victims of victims and, you know, sheep
no, it started. “I don’t fit into this team according to Stratievskaya, I need to change the team to the one I fit into.” leave the community...
2012-05-30 at 01:27
Every day I "m a star in the city Walk the streets like a loaded gun All the time got my shine lookin pretty (c)
In my opinion, you are a harmonious, balanced Hamlet, sympathetic, sensitive (as far as I can judge from your posts) - a HUMANITARIAN in the full sense of the word.
