The Source of Intrigue for Modern Audiences Is the Infinite Mystery of the Human Conscious Revealed in the Tension Between Acting and Thinking
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The source of intrigue for modern audiences is the infinite mystery of the human conscious revealed in the tension between acting and thinking. While composed over four centuries ago, Shakespeare’s Hamlet continues to resonate in any context because of its enduring issues that engage modern humanistic values of morality and loyalty. Shakespeare uses the powerful tool of soliloquies in the dramatic structure of the play but also the irony and imagery presented through the careful choice of language to highlight Hamlet’s morality and undermine the revenge tragedy. The essence of the play builds to create a deep sense of conflict and tension among characters, thus creating an emotional and intellectual reaction within audiences as they question Hamlet’s ‘antic disposition’. The Revenge Tragedy genre reveals the transformation of humanity from simplistic, one dimensional feudal beliefs towards a more humanistic modern man trying to understand his role in the universe. Hamlet, who is caught in a transitional society, is a Renaissance man who can think and question ideologies. Why he behaves as he does enables existing responders to value the texts importance by engaging modern humanistic values. Reminiscent of Shakespeare’s tragedies, we see that those that act upon their thoughts, if they transgress society ideologies must be punished. Contemporary responders are able to empathise with Hamlet, who as an individual is responsible for making his own choices concerning morality and the introspective presentation of the perpetual value of justice. He swears to avenge his fathers “foul and most unnatural murder”. The strong imagery suggesting the corruption made the first act possible by setting out the foundations of Hamlet’s quest so that audiences develop an understanding of the play. However, his procrastination hinders his quest. Hamlet’s first soliloquy reveals his personal disgust in the remarriage of Gertrude to Claudius immediately following his father’s death. The conflicting notions of Chivalric vengeance and the Renaissance ideal of retribution torment the protagonist as he contemplates suicide in his soliloquy using the metaphor “Oh, that this too, too sullied flesh would melt… that the everlasting has not fixed his canon”. The vivid imagery created from the language used in Hamlet’s soliloquy graphically demonstrates his inner thoughts, which contradicts with his Christian beliefs inevitably catalysing Hamlet’s moral dilemma. It is thus through Shakespeare’s choice of language features which reflect tensions between acting and thinking in the contemplation of Hamlet’s moral dilemma. Presented in Hamlet’s soliloquies, the enduring values of justice and vengeance continue to engage modern society and remain timeless, as illustrated in the opening act to uphold its function in the play. Presented as a revenge tragic hero, Hamlet’s obligation to avenge his father’s murder triggers the notion of chivalric honour and vengeance; however, his humanistic values surpass him highlighting his fatal flaw of indecisiveness. The Renaissance period was a time of social and philosophical transition, which is portrayed through the ghost’s appearance. Hamlet’s tone in his sceptical response to the ghost “it is a damn ghost that we have seen” reflects the plays setting in the cusp of change from old medieval feudalism to new Renaissance thinking. Parallels can be drawn from the uncertainty of plays context to the deepening of Hamlet’s characterisation as an individual who questions the ghost’s command and himself to justify his vacillating mind and inaction. Play within the play The notion of uncertainty and the duality of mankind is conveyed in Hamlet’s ‘play within a play’ to verify the ghosts accusations and prove his uncle’s guilt for the murder of the old king. The dramatic structure presented in ACT 111 has a pivotal function in the whole play as it gives Hamlet the vital evidence he needs to proceed in avenging his father’s death. Until now, Hamlet’s sense of morality and careful nature, making him contemplate too often, hasn’t allowed him to act impulsively, as illustrated earlier in the prayer scene of ACT 111. It is also through Hamlet’s employment of antic disposition to ‘catch the conscience of the King’ that allows Hamlet to verify the ghost’s integrity where he changes disposition explicitly. This exemplifies the dramatic relationship between acting and thinking to enable the reader to question Hamlet’s ‘antic-disposition’. Hamlet challenges the conventions of revenge as an indecisive and uncertain avenger while Claudius reveals a pragmatic Machiavellian hero, hence demonstrating differing treatments of tensions between acting and thinking. Comparable to Hamlet, who is uncertain as he hovers between life and death, Claudius is more concerned with political power and averting political danger “but we will ship him hence”. Claudius highlights his guilt over the murder of King Hamlet within the prayer scene “Oh. My offense is rank it smells to heaven” as he prays for forgiveness. He uses the rhetorical question in “can a person be forgiven and still keep the fruits of his mind?” Even though he begs for forgiveness, he realises he is not willing to relinquish these materials “my crown and my queen” that made him commit the murder, highlighting the deception in his reign. This is juxtaposed to Hamlet’s moral dilemma in the prayer scene who has the opportunity to kill Claudius. However, due to his vacillating mind he thinks too carefully about the consequences “That would be scanned” and doesn’t take revenge. However, Hamlet lists off ways to kill Claudius “drunk asleep or in his rage”. Hamlet’s decision of inaction, where his thinking fails to proceed into action, is clearly seen earlier in act 111 “drink hot blood And do such bitter business”. Thus, it is through Shakespeare’s deliberate use of language features that highlight Hamlet’s inaction and moral dilemma, which continue to engage contemporary audiences. Overall, it is evident that Shakespeare’s integrated use of Ultimately, the play questions, how do we live? The emotional connotations of Hamlet, reflecting the notion of death is introduced in the first and third acts to enable contemporary responders to appreciate the text as a whole by engaging modern humanistic values of righteousness and entitlement. The critic Kott explores this significant idea by contrasting Hamlet to a “sponge”, which has the potential to “absorb all problems of our time.” Shakespeare uses the dramatic language feature of soliloquies to provide an insight into the character’s emotions, which ultimately drive the issues in the text. Hamlet’s soliloquy, “To be or not to be” reveals Hamlet developing humanistic thoughts about death. He first sees death as more preferable to life in the hyperbole, “a consummation devoutly to be wished for” as it connotes a perfect satisfying ending in contrast to life on earth as a “sea of troubles”. However he concludes by realising death is a mystery “conscience does make cowards of us all”, referring to our ability to think makes us choose to live through the sorrow rather than choose the unknown, death. Hence, through Shakespeare’s particular choice of language features, which reflect Hamlet’s moral contemplation of the perennial ideal of death, significant and memorable ideas are able to transcend to modern audiences. .