'5 Stages of Grief Hamlet Essay\r'

' following(a) the death of Prince village’s father, the condition King of Denmark, not only do those related by blood to the big(p) Dane experience the pentad stages of heartache as set(p) out by Kubler-Ross, exclusively the whole earth does as well. It is pass done many ensamples from the text that the kingdom as a unit experiences the heartache of losing their king and others by means ofout the adjoin twain as one(a) dysfunctional family and individu all(prenominal)y. The individuals in this dysfunctional family include: juncture, Gertrude, Claudius, Polonius, Laertes, and Ophelia.\r\nA major tenet of the ‘Five Stages’ theory which is spanking to understanding its pr flirtical use is that one is not needed to go through the quintet stages in order, nor is one required to go through all five stages. This is especially important because as a single family, the Danes do not go through all five stages together, instead, however, they go through the five stages individually, and will be addressed in the order verbalize by Kubler-Ross epoch identifying parts of the tactic where these stages were reached with no regard to chronological order. (Kubler-Ross)\r\n defense team is the graduation exercise stage of Kubler-Ross’ grief map. abnegation is a reaction in which a person, attempting to avoid the truth of the situation, develops a glowering populace or simply ignores the reality at hand. This is deally the most public stage, as demur affects those dealing with all magnitudes of trauma, large and small. (Santrock, 56)\r\nThough village does not go through the stage of denial, it is discernible starting in act one, video two, that the imperial family is genuinely much in denial of how much they should be affected by the loss of their king. This is seen through the royal ‘we’ that Queen Gertrude uses to display her and her new preserve’s feelings to Hamlet while covering up their s adness with royal duties. â€Å" top executive GERTRUDE Why seems it so particular with thee?\r\n hamlet\r\n calculates, madam! nay it is; I get along not ‘seems.’\r\n‘Tis not alone my neutral cloak, good mother,\r\nNor customary suits of solemn black,\r\nNor aery suspiration of forced breath,\r\nNo, nor the fruitful river in the eye,\r\nNor the dejected ‘havior of the visage,\r\nTogether with all forms, moods, shapes of grief,\r\nThat tooshienister denote me truly: these indeed seem,\r\nFor they ar actions that a man might play:\r\nBut I have that deep d take in which passeth show;\r\nThese except the trappings and the suits of woe.”\r\n(Shakespe ar, 1.2.2)\r\nThe purple family, in this scene, had only just of late lost their king before Claudius and Gertrude matrimonial and started their work as regents once again. The biggest hint of their being in the stage of denial is their preoccupation with Fortinbras’ perceived anger quite a than Hamlet’s actual sadness. They atomic number 18 too in denial most their son’s and perhaps their own guilt and trauma that they do not help or address the grief at all. Gertrude is a meliorate example of denial because of her lying to herself and telling herself that everything is perfect and back to normal when it is clearly not.\r\nOphelia excessively goes through denial on a smaller scale in the first act, as her trauma is losing her love, Hamlet, because of her father’s orders. This denial only grows when she loses her father and he is not given the proper sepulchre rites or respect. She then feels what Hamlet thinks he felt, yet says and does nothing until her suicide because she was very standardizedly in denial approximately her ability to help at all.\r\n pettishness is the second phase of Kubler-Ross’ five stages which is constitutionized by loss of judgment and simple peevishness at either the event which they are grieving, othe rs, and/or themselves. Anger is often associated with wildness as it impedes the objective observation skills and, like insanity, can cloud the mind with anything scarce the truth. (Santrock, 57)\r\nThe angriest character in all of Hamlet the title character himself, Hamlet. Hamlet’s anger is especially clear in his rash dealings with his family, which, he is supposed(p) to be bonding with over this dual-lane grief, his visions of his father as a ghost, and his cherry-red outbursts against the denizens of his kingdom.\r\nWhen he enters his mother’s chamber in act three, scene four, he shows many signs of madness and anger, including visions of violence inciting figures, lather out against his mother, and the murder of Polonius behind the veil. â€Å" small town\r\nHow is it with you, lady?\r\nQUEEN GERTRUDE\r\nAlas, how is’t with you,\r\nThat you do b abrogate your eye on emptiness\r\nAnd with the incorporal air do hold handle?\r\nForth at your eyes you r spirits wildly peep;\r\nAnd, as the dormancy soldiers in the alarm,\r\nYour bedded hair, like animateness in excrements,\r\nStarts up, and stands on end. O puritanic son,\r\nUpon the heat and flame of thy distemper\r\n spue cool patience. Whereon do you look?”\r\n(Shakespeare, 3.4.18)\r\n negotiate and Depression are slightly resembling stages of grieving that as seen in Hamlet, can happen at the same time. negociate is characterized by an attempt at negotiating with fate, while natural depression understands the imminence of death. This being said, in that location is no reason why Hamlet could not have been experiencing both of these stages at once. In fact, Hamlet seems to have drifted in and out of these stages in between exit through anger and acceptance. (Santrock 58, 59)\r\nIn act one, scene two, Hamlet demonstrates minting and depression by or so inquire the all-powerful to take his life away completely, because he is too saddened and maddened by all of th is steep behavior that he would rather die. â€Å" hamlet\r\nO, that this too too straightforward flesh would melt\r\nThaw and sever itself into a dew!\r\nOr that the Everlasting had not fix’d\r\nHis canon ‘gainst self-slaughter! O God! God!\r\nHow weary, stale, flat and unprofitable,\r\nSeem to me all the uses of this world!\r\nFie on’t! ah fie! ’tis an unweeded garden,\r\nThat grows to seed; things rank and gross in nature\r\nPossess it merely.”\r\n(Shakespeare, 1.2.6)\r\nAgain in act three, scene one, Hamlet makes some other speech that implies his fickle, suicidal-bargaining tendencies. In this speech he talks about his self-loathing due to his cowardice and he wishes that it could all be over, like a sleep, a quiet end. â€Å"HAMLET\r\nTo be, or not to be: that is the uncertainty:\r\nWhether ’tis nobler in the mind to suffer\r\nThe slings and arrows of outrageous fortune,\r\nOr to take arms against a sea of troubles,\r\nAnd by op posing end them?”\r\n(Shakespeare, 3.1.1)\r\nHamlet is not the only character to go through bargaining and depression, though. Ophelia also, in her singing and solemn visits to her father’s â€Å"burial site”, clearly shows signs of depression. She acts on these depressed thoughts by taking the bargain of suicide; if she cannot be happy in this world, she should take herself out of it to avoid the pain, and she does.\r\n borrowing is the situationtersweet end to grieving in which individuals come to terms with the fate they are handed, whether it be death, loss, or a proctor of their mortality. (Santrock, 60) The final scene before Fortinbras arrives to Elsinore, it is virtually as if each character is asking for forgiveness through their passing through the stage of acceptance. Every action, the voluntary intoxication of the cup that Claudius does, Laertes’ last\r\nwords to Hamlet, Gertrude’s voluntary drinking of the cup so Hamlet would live a bit longer, they all seemed to be actions of final absolution.\r\nKubler-Ross’ five stages of grief are plentiful in Shakespeare’s dramas, especially Hamlet, simply because of the great amounts of tragedies that occur within Hamlet that second grieving. The grieving process in Hamlet is easily visible because of the steps laid out by Kubler-Ross and how they match almost exactly with the feelings and actions of not only Hamlet, but the whole kingdom, including: Gertrude, Claudius, Laertes, Polonius, and Ophelia.\r\nWorks Cited\r\nâ€Å"The Kübler-Ross mourning Cycle.” The Kübler-Ross Grief Cycle. N.p., n.d. Web. 31 Mar. 2014. Santrock, magic W. Kubler-Ross P. 57,58,59,60. A Topical Approach to Life-span Development. capital of Massachusetts: McGraw-Hill, 2002. N. pag. Print. Shakespeare, William, and Harold Jenkins. â€Å"Act One, stroke Two, Act Three, Scene One, Act Three, Scene Three.” Hamlet. London: Methuen, 1982. N. pag. Print.\r\n'