The literary word, Hamartia, can be defined as “a fatal flaw leading to the downfall of a tragic hero or heroine.” In such tragedies, the hero is often presented as a righteous, but flawed character, whose demise is brought upon by their imperfections in dealing with the circumstances that enfold them. In William Shakespeare’s Hamlet, there is a powerful manifestation of the tragedy that occurs after the protagonist, Hamlet, is conflicted with carrying out a solemn promise that is foreign to his nature. After the ghost of his late father appears and informs him that his father has actually been murdered by the king of Denmark, Claudius, he is burdened with attaining revenge on his behalf. However, in his attempts to kill Claudius, Hamlet faces …show more content…
Firstly, Hamlet’s inability to act decisively, in the face of unforeseeable consequences, causes him to be unable to avenge the death of his father in the way that he had initially intended. For instance, Hamlet holds back from killing Claudius, who is unaware of his presence, upon seeing him kneeling in prayer. Instead, he justifies his procrastination by saying he will kill him, “When he is drunk asleep, or in his rage, / Or in th' incestuous pleasure of his bed; / At gaming, a-swearing, or about some act / That has no relish of salvation in’t,” (3.3.90-94).” Unfortunately, in his flaw of indecision and uncertainty, Hamlet takes a momentary refuge from murdering him at an opportune time where he is defencelessly repenting his sins. This is ironic because Hamlet’s revenge could have been complete had he actually killed the king in that moment. This is because Claudius, who is unwilling to give up the fruits of his treachery, was not truly expressing sincere regret or remorse for his wrongdoing. All in all, his hesitancy and conscious renders him …show more content…
This is evident when Hamlet is in a state of self-reflection, and begins to criticize the way he conducts himself. Hamlet expresses, “That I, the son of a dear father murdered / Prompted to my revenge by heaven and hell, / Must, like a whore, unpack my heart with words / And fall a-cursing like a very drab,” (2.2.561-564). Here, Hamlet metaphorically compares himself to a whore, who, by definition, is someone who trades real love for false lust by saying the words, but not truly feeling the emotions. Hamlet says that he is like this in that he cannot act with real emotion, but is only feigning his obedience and love for his father. This is caused by Hamlet’s paralyzing grief over his death, which causes him to be too disheartened and morose to act on any of his plans. His melancholia habitually makes him feel revulsion towards himself. This feeling of revulsion is also evident later on when he is put to shame by his inaction after he encounters Fortinbras’ army. Hamlet expresses, “How stand I then, / That have a father killed, a mother stained, / Excitements of my reason and my blood, / And let all sleep—while, to my shame, I see / The imminent death of twenty thousand men, / That for a fantasy and trick of fame / Go to their graves like beds, fight for a plot / Whereon the numbers cannot try the cause, / Which is not tomb enough and continent / To hide the
Fortinbras, Laertes, Hamlet: hero, villain, mechanism of conflict. This triad is necessary to Shakespeare 's celebrated play, Hamlet. Despite his crucial role, the first named character is often absent in productions. Fortinbras represents the brave hero Hamlet wants to be and ultimately becomes, while Laertes represents Hamlet 's emotional self-doubt and self-hatred that drives the play 's conflict. The separate subplots of Fortinbras and Laertes mirror both Hamlet 's contradictory personality and the play’s plot.
Aristotle wrote “A tragedy is the imitation of an action that is serious and also, as having magnitude, complete in itself; in appropriate and pleasurable language;... in a dramatic rather than narrative form; with incidents arousing pity and fear, wherewith to accomplish a catharsis of these emotions.” (Poetics). Shakespeare 's “The Tragedy of Hamlet, Prince of Denmark,” is viewed by most as one of the greatest tragedies that was ever written. Hamlet, an ideal tragic hero in his right, as appealed to many people of different cultures since it was written all those years ago. Hamlet has all of the makings to be a real man and that is what brings us into his world so easily, but like every human being on Earth, he has a hamartia. John Green
One of William Shakespeare’s greatest works is a play entitled Hamlet. This play is about Prince Hamlet whose father, the king, was killed by his Uncle, Claudius, who then took the throne. Shortly after the death of his father, Gertrude, his mother, married Claudius. His father comes back as a ghost and tells him about the murder and asks him to seek revenge on Claudius. This is when a great controversy arises that is debatable to this day. Hamlet begins to act mad to set up his revenge on Claudius. The question is, does Hamlet still truly possess his sanity, or is he really mad?
Ere yet the salt of most unrighteous tears…But break, my heart, for I must hold my tongue" Hamlet painfully moans to himself. It is clear at the beginning of the play that Hamlet was suffering—emotionally. It hurt him to see his mother marry so soon after his father’s death and Hamlet felt alone since no one else seemed to feel his pain and be mourning with him. It’s safe to conclude that Hamlet had a commendable and upright relationship with his father whom he admired. Unless one was not as courageous or as confident as Hamlet, we would’ve complained and tried to ruin the marriage.
Hamlet has evidently shown in the play how his uncertainty in his decisions slows him down in killing Claudius. His indecisiveness makes spend more time thinking about the situation and the possible outcomes. In act 2 scene, Hamlet has yet to fulfil his promise to his father. Hamlet is holding himself back from avenging his father. Hamlet refuses to act as if he knows what he is doing when in reality, he has not found out whether the act of killing is heroic and moral or cowardly and immoral. “O vengeance! Why, what an ass am I! This is most brave, that I, the son of a dear father murdered, prompted to my revenge by heaven and hell, must, like a who 're, unpack my heart with words and fall a-cursing like a very drab, a scullion! Fie upon’t, for!” (2.2 579-585). Despite all this, instead of taking revenge immediately, Hamlet wants to find out whether his ghostly father is telling the truth. This takes a while as Hamlet would eventually realize it is true later in the play. Hamlet had a so much time to kill King Claudius but it is his uncertainty of his father 's words that delays the revenge. Later in act 3 scene 3, King Claudius is seen kneeling in prayer as he confesses his sins.
Hamlet’s anger and grief- primarily stemming from his mother’s marriage to Claudius- brings him to thoughts of suicide, which only subside as a result of it being a mortal and religious sin. The fact that he wants to take his own life demonstrates a weakness in his character; a sense of cowarness, his decision not to kill himself because of religious beliefs shows that this weakness is balanced with some sense of morality. Such an obvious paradox is only one example of the inner conflict and turmoil that will eventually lead to Hamlet’s downfall.
Once Hamlet has learned of his father’s death, he is faced with a difficult question: should he succumb to the social influence of avenging his father’s death? The Ghost tells Hamlet to “revenge his foul and most unnatural murder” (1.5.31) upon which Hamlet swears to “remember” (1.5.118). Hamlet’s immediate response to this command of avenging his father’s death is reluctance. Hamlet displays his reluctance by deciding to test the validity of what the Ghost has told him by setting up a “play something like the murder of (his) father’s” (2.2.624) for Claudius. Hamlet will then “observe his looks” (2.2.625) and “if he do blench” (2.2.626) Hamlet will know that he must avenge his father’s death. In the course of Hamlet avenging his father’s death, he is very hesitant, “thinking too precisely on the event” (4.4.43). “Now might I do it…and he goes to heaven…No” (3.3.77-79) and Hamlet decides to kill Claudius while “he is drunk asleep, or in his rage, or in th’ incestuous pleasure of his bed” (3.3.94-95). As seen here, Hamlet’s contradicting thought that Claudius “goes to heaven” (3.3.79) influences him to change his plans for revenge. Hamlet eventually realizes that he must avenge his father’s death and states “from this time forth my thoughts be bloody or be nothing worth” (4.4.69). From this, Hamlet has succumbed to the social influence and has vowed to avenge his father’s death.
Hamlet has an enormous amount of stress placed on him by the events of his father’s death and his mother’s hasty marriage. Hamlet’s mentality is further stressed by his father’s appearance in the form of a ghost telling Hamlet the true cause of his death, “The serpent that did sting thy father’s life now wears his crown” (Shakespeare 1.5.38-39), and more importantly telling Hamlet to avenge his death and to never forget him (1.5). This must weigh heavily on Hamlet’s mind as he tries to bring himself to carry out such a corrupt act. As Javed describes Hamlet’s ordeal as, “having taken on unwillingly the task of the revenge whose narrower function may have been to avenge a wronged kinsman, but whose wider one was to purge from society the evil which it could not otherwise escape” (332.) The corruption of Hamlet’s character is tragic because as Polonius says: “the safety and health of [the] whole state” depends on him (Shakespeare 1.3.20). The first drastic demonstration of Hamlet’s corruption is shown when he finds Polonius hiding behind a curtain . Hamlet, who believes his uncle Claudius is spying on him, stabs at the curtain, inadvertently killing Polonius. As Dr. Topchyan describes this act, Hamlet does it in “unrestrained passion,” unexpectedly even for himself. His deed, dictated by the situation, is impulsive, not deliberate – an instinctive action, a desperate
Hamlet is nearly the perfect tragic hero. Nearly. At the beginning of the play, the motives behind the crime he wants to commit against the new king are noble, seeing as though his goal is to avenge his murdered father’s death. Fitting glove-like to the definition of a tragic hero given by Abram in A Glossary of Literary Terms, Hamlet is accompanied by a tragic flaw that results in his downfall, doesn’t get to survive to see the outcome of his actions, and aids in or directly causes all of the deaths in the play, including but not limited to Polonius, Claudius, Rosencrantz and Guildenstern, and Ophelia, making him an almost perfect example of a tragic hero. What has seen the most controversy in the argument of Hamlet as a tragic hero is the inability to find his true tragic flaw.
Hamlet is the best known tragedy in literature today. Here, Shakespeare exposes Hamlet’s flaws as a heroic character. The tragedy in this play is the result of the main character’s unrealistic ideals and his inability to overcome his weakness of indecisiveness. This fatal attribute led to the death of several people which included his mother and the King of Denmark. Although he is described as being a brave and intelligent person, his tendency to procrastinate prevented him from acting on his father’s murder, his mother’s marriage, and his uncle’s ascension to the throne.
Hamlet is one of the most often-performed and studied plays in the English language. The story might have been merely a melodramatic play about murder and revenge, butWilliam Shakespeare imbued his drama with a sensitivity and reflectivity that still fascinates audiences four hundred years after it was first performed. Hamlet is no ordinary young man, raging at the death of his father and the hasty marriage of his mother and his uncle. Hamlet is cursed with an introspective nature; he cannot decide whether to turn his anger outward or in on himself. The audience sees a young man who would be happiest back at his university, contemplating remote philosophical matters of life and death. Instead, Hamlet is forced to engage death on a visceral level, as an unwelcome and unfathomable figure in his life. He cannot ignore thoughts of death, nor can he grieve and get on with his life, as most people do. He is a melancholy man, and he can see only darkness in his future—if, indeed, he is to have a future at all. Throughout the play, and particularly in his two most famous soliloquies, Hamlet struggles with the competing compulsions to avenge his father’s death or to embrace his own. Hamlet is a man caught in a moral dilemma, and his inability to reach a resolution condemns himself and nearly everyone close to him.
The tragedy of Hamlet, Shakespeare’s most popular and greatest tragedy, presents his genius as a playwright and includes many numbers of themes and literary techniques. In all tragedies, the main character, called a tragic hero, suffers and usually dies at the end. Prince Hamlet is a model example of a Shakespearean tragic hero. Every tragedy must have a tragic hero. A tragic hero must own many good traits, but has a flaw that ultimately leads to his downfall. If not for this tragic flaw, the hero would be able to survive at the end of the play. A tragic hero must have free will and also have the characteristics of being brave and noble. In addition, the audience must feel some sympathy for the tragic hero.
Hamlet is a paradox; he is a perplexing character that throughout the play has more to show. Hamlet is a person of contradictions he is inquisitive and profound yet indecisive. The experiences Hamlet goes through led to dramatic changes in his character. In the beginning we are introduced to a young man who is mourning for the death of his father and struggling with the sudden marriage of his mother to his uncle. Hamlet faces the dilemma of wanting to avenge his father’s death and suppressing his intense emotions in order to calculate a plan.
Hamlet is one of Shakespeare’s most well-known tragedies. At first glance, it holds all of the common occurrences in a revenge tragedy which include plotting, ghosts, and madness, but its complexity as a story far transcends its functionality as a revenge tragedy. Revenge tragedies are often closely tied to the real or feigned madness in the play. Hamlet is such a complex revenge tragedy because there truly is a question about the sanity of the main character Prince Hamlet. Interestingly enough, this deepens the psychology of his character and affects the way that the revenge tragedy takes place. An evaluation of Hamlet’s actions and words over the course of the play can be determined to see that his ‘outsider’ outlook on society, coupled with his innate tendency to over-think his actions, leads to an unfocused mission of vengeance that brings about not only his own death, but also the unnecessary deaths of nearly all of the other main characters in the revenge tragedy.
Hamlet seems incapable of deliberate action, and is only hurried into extremities on the spur of the occasion, when he has no time to reflect, as in the scene where he kills Polonius, and again, where he alters the letters which Rosencraus and Guildenstern are taking with them to England, purporting his death. At other times, when he is most bound to act, he remains puzzled, undecided, and skeptical, until the occasion is lost, and he finds some pretence to relapse into indolence and thoughtfulness again. For this reason he refuses to kill the King when he is at his prayers, and by a refinement in malice, which is in truth only an excuse for his own want of resolution, defers his revenge to a more fatal opportunity, when he will be engaged in some act "that has no relish of salvation in it."