The Theme of Revenge That Dominates Hamlet

In both versions, however, the moving-picture show in which critical point follows the Ghost through the envisionle to memorise its story sets up all the problems of the play. Revenge is the paramount mend of the play, and it reaches cosmic dimensions almost from the moment it is mentioned. It is an aspect of Destiny because it impinges on Hamlet's troubled consciousness yet pushes him beyond consciousness to quick revenge: "O all you host of heaven! O earth! what else? / And shall I couple hell?" (I.v.92-3). After shortened consultation with Horatio, he considers going off to pray, to sort break through what the Ghost has told him, whereupon the Ghost reappears, commanding him to constitute. This does nonhing so lots as cause Hamlet to question whether the Ghost, who repeatedly intones from infra (the place of hell), is really the devil, whom he compares to other denizens of the cellarage or underworld, much(prenominal) as the mole and pioner (miner). At the end of the long II.ii, when Hamlet determines to catch the conscience of the king by means of the play, he returns to the problem of the emergency of his soul: "The spirit that I fetch seen / May be the devil; and the devil hath power / To dramatize a pleasing shape, yea, and perhaps / . . . Abuses me to damn me" (II.ii.627-32).

In the snap version, the Ghost's stark insistence on revenge takes the form of dim disapproval. The Ghost is unmoved by Hamlet's emotion, as if he is taunting, or more exactly haunting, Hamlet until the re

Freud cites Goethe as the source of the interpretation of Hamlet as "paralysed by excessive intellectual activity" (306). Abel besides cites Hamlet's angle of inclination to prune and indeed to find "refuge in philosophy, just as he has already taken refuge in assumed madness" (Abel 55). The text provides evidence that Hamlet is quite cognizant of his tendency to consider the consequences of process rather than engage in action itself. The monologue in III.i that begins "To be or not to be" might as healthful have begun "To act or not to act," for what follows is an extended meditation on the consequences of, as it were, traveling to "undiscover'd country," which may mean the unknown of death further which may also mean the unknown more generally.

The tendency in Hamlet to know what he knows very well indeed but to hang back from the unknown explains such phrases as, "Thus conscience does make cowards of us all; / And olibanum the native hue of resolution / Is sicklied o'er with the pale cast of thought" (III.i.83-5). His awareness of consequences extends beyond the immediate circumstances of his enterprise, which points toward his awareness that the cosmos, or destiny, has a stake in the actions he takes. Abel says that the dramatic function of the soliloquy "To be or not to be" is to move Hamlet closer to the name of action and to action itself, as a meditation that "takes him from the plot into metaphysics, and then, turning him toward death, enables him to spirit something metaphysical in the plot" (Abel 55-6). In other words, the soliloquy provides Hamlet with a way of reaching a convey for his revenge enterprise that extends beyond the outlines of circumstance itself, toward something like destiny.

The permeation of mental and physical, in particular the physical enactment of thought, is also consistent with Hamlet's having come to terms with the identification of his cursed destiny with enacted revenge. By the systematic application of reason he has reason that physical a
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