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Hamlet, Prince of Denmark

(Critical Survey of Contemporary Fiction)

Hamlet, Prince of Denmark, has recently lost his father; his mother has entered into an overhasty marriage with the murdered man’s brother, Claudius. Grieving at his father’s death, and morally outraged at the hurried marriage, Hamlet broods about his helplessness, until a ghost appears on the ramparts, telling him his father was in fact murdered by his uncle, who poured poison in his ear while he slept. Gertrude, his mother, is indirectly implicated, but the ghost orders Hamlet to confine his revenge to Claudius.

In a series of delaying tactics, partly designed to obtain ocular proof and partly a result of Hamlet’s natural hesitation to kill, he forces Claudius to react in public. Feigning madness, Hamlet waits for his chance to kill his uncle in hot blood (not a sin); the play ends in a duel of poisoned swords.

The complex nature of this play, together with the soaring poetry of the soliloquies, makes it the most often quoted play in all history. Hamlet’s feigned madness, hesitation to action, demand for ocular proof, and final revenge are conventions of a formulaic dramatic form called revenge tragedy. What lifts HAMLET above its predecessors is the revelation of character by means of poetic diction. Through the device of soliloquies (internal monologues), we are privy to the anguished deliberations of a sensitive soul debating with itself the moral consequences of murder, weighed against filial loyalty, responsibilities of royal birth, and the human hesitation to perform irreversible acts whose consequences are unknown.

Bibliography:

Bowers, Fredson Thayer. Elizabethan Revenge Tragedy, 1587-1642 . Reprint. Princeton, N.J.: Princeton University Press, 1966. A full discussion of revenge tragedy...

(The entire section is 542 words.)