The Sweetness Of Revenge The Tradgedy Of — страница 2

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slowly slipping into a madness that will soon consume her. Hamlet is trapped between two worlds. The moral code from which he cannot escape from is basically medieval, but his instincts are with the Renaissance. Shocked from his unthinking acceptance of the commandments of Church and State, he is forced to find a new orientation (Prosser 166). As the insanity worsens, Hamlet denies her any hope of a marriage between them. It is only after Ophelia drowns accidentally and he is standing at her funeral that he finally confesses his love for her. Both Hamlet’s grief and his task constrain him from realizing this love, but Ophelia’s own behavior clearly intensifies his frustration and anguish. By keeping worldly and disbelieving advice of her brother and father as “watchman”

to her heart, she denies the heart’s affection not only in Hamlet but in herself; and both denials add immeasurably to Hamlet’s sense of loneliness, loss, and anger. Her rejection of him echoes his mother’s inconstancy and denies him the possibility even of imagining the experience of loving and being loved by a woman and her rejection of her own heart reminds him of the evil court whose shadow has fallen upon her and threatens him (Bloom 133). All of these incidents accumulate to strengthen the powers of insanity within Hamlet. As his anger and rage grow deeper and deeper, he finds the responsibility of this lies with Gertrude and Claudius. Hamlet’s own stability is questioned time and time again and all of his madness is blamed on the immense hatred towards his mother

and uncle and their incestuous relationship. The fact that the ghost convinced him of his uncle’s involvement in the death of his father and his mother’s willingness to marry again so quickly has altered every relationship Hamlet has tried to hold on to causing him great pain and unrest. This betrayal of the family he has so dearly loved and trusted sent him into a world of grief and cold-blooded revenge. The utter insanity in the story of Hamlet dwells deep within the family. The characters play emotions and guilt off each other and use one instance to cause another. For instance, Hamlet and Laertes exchange words at Ophelia’s funeral and Claudius arranges a swordfight between them. This would also be an easy way for the King to dispose of Hamlet without looking like the

antagonist. Once Hamlet is out of the way, then Claudius won’t have to worry about him interfering in the business matters of Denmark. Claudius thinks this to be the easy way for Laertes to avenge the deaths of his father and sister which he blames Hamlet solely responsible for. At the banquet before the swordfight, Hamlet’s mother falls to the ground, poisoned by the wine. As he goes to his mother lying on the ground, he falls realizing he has been slain. Hamlet realizes here that his work is done no matter how unethical or wrong it might have seemed and that he has paid the price for his deeds. By now, Claudius is dead from the wounds Hamlet caused and Laertes is dying next to him. Hamlet dies and his dear friend Horatio says “Now cracks a noble heart. Good night sweet

prince, and flights of angels sing thee to thy rest” (Horatio V:ii, William Shakespeare 174). So ends the tragedy of Hamlet, the Prince of Denmark. After all of the instances of murder and betrayal, there were no winners and everyone lost their lives. Many critics have charged Hamlet with moral disillusionment because he kills Claudius only when he is finally rushed into it precipitately by an avalanche of catastrophic events. Hamlet, they note, is merely striking back at Claudius in instinctive retaliation not consciously fulfilling his vow of revenge (Prosser 236).In any case, it should be plain to any reader that the signal characteristic of Hamlet’s inmost nature by no means irresolution or hesitation or any form of weakness, but rather the strong conflux of contending

forces. Hamlet represents the type of man whose power of direct action is paralyzed by an excessive development of his intellect. Hamlet is able to do anything except take vengeance on the man who did away with his father and took that father’s place with his mother, the man who shows him the represses wishes of his own childhood realized. Thus the loathing which should drive him on to revenge is replaced in him by self reproaches, by scruples of conscience, which remind him that he himself is literally no better than the sinner whom he is to punish. The distaste for sexuality expressed by Hamlet in his conversation with Ophelia fits in very well with this. Perfectly true, and precisely what was most natural for him to do and accordingly precisely what Shakespeare meant that he