Hamlet's quest to seek revenge for the murder of his father

" The nature of tragedy is that in that respect is no success, that the tragic hero must choose among what argon more accurately beguilen as various unpleasant if non horrifying alternatives. In any case, can we gentleman's gentlemanely or sanely claim that what happens in this play is a success of any sort? village certainly wins his revenge, but bo croaks of the inexperienced person litter the stage before that revenge is won. In addition, the brass and the nation are certainly thrown into complete nuthouse by what happens.

Polonius is killed because Hamlet accepted the situation as it was offered. Laertes and Gertrude die similarly. The situations as they present themselves in the scene of revenge are utterly chaotic and tragic, at least when compared to any vagary of a careful plan which Hamlet might pay off devised. Instead, what Hamlet plans carefully, instead of direct revenge, are various schemes to ruin Claudius' guilt and to assure himself beyond any reasonable or unreasonable doubt that Claudius is indeed the killer of Hamlet's father.

We s think of cannot see even the revenge against Claudius as a success, and it is impossible to hear how it can be accurately said that Hamlet utterly relaxed, took advantage of situations presented to him, and emerged as a success from the bloody mess.

Horatio's erect outing to the dying Hamlet faces to carry an most-valuable clue to the circularize of Hamlet's endless delays in taking his inevitable revenge against Claudius. Horatio says, " now cracks a formal heart.

redeeming(prenominal) enough night, sweet prince,/ And flights of angels sing thee to thy rest!" (715). What this demonstrates is that Horatio, who knows Hamlet well, sees him as a fundamentally vertical and sweet man with a noble heart, a man with hosts of angels on his side.

It would also appear askew to draw any "philosophical statement" on the part of the playwright from Hamlet's "accepting situations as they are offered." Does the question imply that Shakespeare is saying that human beings result find "success" in life is they simply accept situations as they present themselves? This would seem to belittle or ignore the very heart and thought of this tragic play. A good man must leave a murder.

He recognizes from almost the very beginning that thither is indeed something rotten in Denmark, and that he must set it right, if anyone can, and if it can be set right at all. Soon, he recognizes that he must kill Claudius. He is not alone a good man, he is a philosopher, which means that he will suppose at length any important action he must take, and will especially contemplate any violent act because he is a good man. In fact, even as the moment of vengeance draws near, Hamlet continues to philosophize: "Does it not, thinks't thee, stand me now upon/ He that hath kill'd my king, and whor'd my mother;/ Popp'd in between th' election and my hopes. . . . Is't not perfect conscience/ To abdicate him with this arm?" (709).

In other words, the basic nature of the extension of Hamlet should be our first consideration when assessing and interpreting his delays in moving toward the act of vengeance against Claudius. Hamlet is a good man, and his goodness is tested by the knowledge that he will have to commit a murder of another human being. The fact that the target of this murder is in turn the receiver of his father does not diminish the impact of this set of mountain on Hamlet's sensitive soul. There is no way to accurately call Hamlet's act of fatal revenge against Claudius a "success." H
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