By far, one of the most notable works in English literature, Hamlet by William Shakespeare, written in 1599, incorporates a range of ideas on a variety of topics. However, when analyzing the poem, one must admit that the themes addressing the failure of human relationships stand out the most. This paper will argue that, although the concepts of hypocrisy, lying, and acting are brought up directly only a few times in Hamlet , the manifestations thereof can be found throughout the poem, the Dutch prince himself along with the King and the Queen being the embodiment of these ideas. I will prove the above statement by examining the ways in which characters in Hamlet develop and interact with each other. By taking a look at how they change throughout the play, I will spot the instances of lying, acting, and hypocrisy, therefore, making a point. It could be argued that Hamlet’s descent into madness is a sort of deception implied by the author and, therefore, can be interpreted as a variation on lying. On the one hand, the tormented soul that the lead character could be described as was clearly showcasing the instance of psychological turmoil. On the other hand, the elaborate plan that Hamlet designed in order to take revenge on his murderous uncle and avenge his father evidently showed that Hamlet’s madness was somewhat overstated: “I am but mad north-north-west” (Shakespeare 1460). In addition, the very concept of staging the performance that would lure the king into fearing the revenge of the prince can be interpreted as an elaborate lie. First and most obvious, the very concept of performance is often rendered as a lie as in the reimagining of the truth through a specific perspective: “‘The Mousetrap.’ Marry, how? Tropically. This play is the image of a murder done in Vienna” (Shakespeare 2131-2132). The quote above points to the fact that the play is the process of reimagining reality and, therefore, in a way, is a combination of a lie and acting. Thus, the environment, which the creation of the play suggests, implies a significant amount of acting. Weirdly enough, the same element of the poem may also be viewed through the lens of lying. Although the acting is supposed to look as the reimagining of a specific play, it, in fact, creates the veneer of mystery that is supposed to deceive the King and the Queen into being alarmed about their secret being disclosed: “You are welcome: but my uncle-father and aunt-mother are deceived” (Shakespeare 1457-1458). Despite the fact that the purpose of the play is not explained to the viewers, it clearly plants very specific fears into them, therefore, serving as the means of deceiving them into confessing their crime. In fact, at some point in the development of the plot, Hamlet states directly that deceit is the primary reason for the play to exist in the first place. Moreover, speaking of the same staging process, the purpose thereof as a disguised attempt at revealing the lies of the murderous King can and should be considered hypocritical (Kafanelos 74-76). At this point, however, one might argue that lies often imply the idea of meanness and, thus, are rendered as something despicable. Hamlet, in his turn, is not typically viewed as the character that would stoop so low as to act in a despicable manner. The above vision of the event, therefore, suggests the interpretation that does not involve lying and, instead, focuses on the concept of revenge. Nevertheless, a closer consideration of the subje