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They were first introduced in the play as Hamlet's friends, but unexpectedly betray him and surface with Claudius (2.2.225-227). Claudius orders Rosencrantz and Guildenstern to advise Hamlet to England considering he arranges for Hamlet's murder (3.3.4-7). In his arrangement, Claudius illustrates imagery, "Arm you, I pray you, to this speedy voyage, for we will fetters put about this fear, which now goes too free-footed" (3.3.24-26). In the portrayal Claudius refers to Hamlet as a poorly treated prisoner shackled at the ankles (3.3.25). Hamlet intercepts Claudius letter to England and replaces his own name for his two deceitful friends, Rosencrantz and Guildenstern (5.2.48-54). Once the two men arrive in England, they are killed (5.2.360-63). The death of these two men results from their own actions. From betrayal, to dishonesty and deception towards Hamlet their lies corrupt their euphoria and emanate in suicide (5.2.361). Lastly, Laertes' character indicates death through his father and sister. Due to the loss of two important figures in his life, Laertes begins to reveal images of death out of rage and eagerness to seek revenge for his father. Laertes says "To cut his throat I' the church" to portray death (4.7.126). This line foreshadows and resembles Hamlet's failure to kill Claudius and provides implication to Laertes character; if he will or will not be able to kill someone when
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Hamlet's clothes carry out two separate meanings, the first of which deals with Hamlet's melancholy state (Verma 20). In the Shakespearian era, a state of melancholy was viewed as the cause of madness (Ibid 20). Hamlet's clothing foreshadows his future madness (Ibid 20). The second is Hamlet's ability to put forth an act of appearance versus reality. His clothes do not necessarily mean he is still mourning and this is evident from the comment made to his mother that darkened clothes do not essentially mean he is still mourning (Ibid 22). Once Hamlet gets rid of his "mourning clothes" it is apparent that he is acting and the suggestion of his words show he will no longer pretend like Claudius; appearance versus reality (Ibid 22). Hamlet is very upset with his mother's marriage and loses respect and inadequacy for all women (1.2.141-45). Hamlet says "Let me not think on't; frailty, thy name is woman!"(1.2.146). He compares his mother to the image of gardens, "Fie on't, ah fie! 'tis an unweeded garden that grows to see; things rank and gross in nature possess it merely" (1.2.135-37). These lines exploit Gertrude's carelessness and disloyalty to Old Hamlet for marrying Claudius after two months. As well, the garden referred to by Hamlet associates with the biblical Garden of Eden (Verma 24). The imagery illustrates how corruption results in the fall of the sacred garden
Hamlet's clothes carry out two separate meanings, the first of which deals with Hamlet's melancholy state (Verma 20). In the Shakespearian era, a state of melancholy was viewed as the cause of madness (Ibid 20). Hamlet's clothing foreshadows his future madness (Ibid 20). The second is Hamlet's ability to put forth an act of appearance versus reality. His clothes do not necessarily mean he is still mourning and this is evident from the comment made to his mother that darkened clothes do not essentially mean he is still mourning (Ibid 22). Once Hamlet gets rid of his "mourning clothes" it is apparent that he is acting and the suggestion of his words show he will no longer pretend like Claudius; appearance versus reality (Ibid 22). Hamlet is very upset with his mother's marriage and loses respect and inadequacy for all women (1.2.141-45). Hamlet says "Let me not think on't; frailty, thy name is woman!"(1.2.146). He compares his mother to the image of gardens, "Fie on't, ah fie! 'tis an unweeded garden that grows to see; things rank and gross in nature possess it merely" (1.2.135-37). These lines exploit Gertrude's carelessness and disloyalty to Old Hamlet for marrying Claudius after two months. As well, the garden referred to by Hamlet associates with the biblical Garden of Eden (Verma 24). The imagery illustrates how corruption results in the fall of the sacred garden