Hamlet, a Critical Study

Hamlet, a Critical Study

1. Revenge

   • Explores changing attitudes of society towards revenge by outlining flawed nature of H approach to morality of avenging father
     • Transitional nature means must mediate betw medieval codes of revenge that advocated revenge at all costs, as opposed to emerging protestant notions of the Renaissance that assert personal revenge as a sin
       • H, archetypal of emerging humanism and philosophical thinking contrasts with C's MM qualities as C states "TUG,ISAWMITH", reflective MCOH. Caesura isolate "TUG", emphasising highly modal unmanly and incorrect coupled with qualifier most, implying to question G was sinful, ironic
         • To challenge this M thinking, H dramatically exclaims "OTTEHNFHCGSSOGOG". B repetition challenges heirarchical ideals of C, prompting viewer to believe that H is a highly educated R man who contemplates before aligning himself with any philosophy on revenge.
           • Final scene, L struck by H "TFAHTIUM", recurring motif of foul imagery problematises morality of revenge as both sought revenge yet procured their own demise. The dramatic irony of this exemplifying the validity of both emerging and established ideals.
   • TUGGED

2. Corruption

   • Problematises the standing of the moral individual in a corrupt world.
     • First scene, Regicide permeates across kingdom, after encountering ghost of Old Hamlet, Marcellus, SIRITSOD, grotesque images creates DT, foreshadowing motif that facilitates the idea of corruption throughout play.
       • In response to corruption, H arbitrates betw conscience and reality of corrupted world, evident as informs ghost, catalyst for drama, that revenge will be "with wings as swift", simile higlighting gulf betw diff versions truth as indicates swift yet complications of corrupt world negate his moral intentions
         • At conclusion of play H soliloquoy states "WTNITMTS" or to "TAAASOT", audience questions what is noble as his external world imposes on internal world, through battle imperative 'take arms' couple with natural imagery expanse of "SOT", convey extent to which overcome by corrupt forces of world.
     • PROMISTE

3. Facades

   • Notion of facades as an inherent human tendency to conceal motives, galvanising the dialectic betw notions of truth and facade
     • After learning of C M R, H is impelled to seek revenge under a false pretence, first creating a metatheatrical play in order to reveal the truth about Claudius. He asks Claudius to "LYHCMMLAMFDWTH". Hyberpole connotes feigned madness still emanating aspect of truth as his mother is unecpectedly cheerful. Coupled with repitition sight imagery. encouraging us to question whether appearances align with reality.
       • Meatatheatre aimplifies fictional nature of both play and H senselessness.
         • During C incongruous reflection of self "WWTNTHG", juxtaposing words and thoughts. Dramatic irony emanates from their technical similarity yet vastly different nature in the reality of his world.
           • As reflective of overbearing uncertainty of truth in a world of facades "IIBNN,TNTC, IIBNTC, IWBN", a chiasmus that dramatises H's surrender to the fact that he cannot rectify conflict betw truth and facade in a contradictory world.
   • GMFAWC

4. PBQ//ATQ