Which manifest themselves in so many different forms and so many different ways within the span of a lifetime, wth a hero whose guilt-ridden mind is relentlessly torn between duty and conscience, lve and justice, mdness and reason. Hmlet can be critically examined for a reflection on human frailty, fllibility, teachery and insanity - that has come to be regarded as one the greatest tragedies penned in the Elizabethan era. Te unmatched poetic grace and tragic nuances of the play find their most striking expressions in the famous the titular character, epressing with unmitigated agony the rambling musings of a grieving son, a indecisive heir to the throne and a soul tortured by its own inactions.
Hwever, te most interesting and perfectly structured narrative construction of the play is the clever incorporation of an alternate dramatic strategy of a “play within a play” that Shakespeare employs as a climactic tool in the plot as well as an effective opportunity of exposure and self-revelation for both Claudius and Hamlet. I context of this inventive dramatic strategy, hwever, i important to note that the issue of narrative construction is not merely confined to Hamlet’s creation and directorial venture – The Mousetrap – a play presented by a group of players in front of Claudius and the court wherein Hamlet had intended to “catch the conscience of the king”.
[ct 2, sene 2, lne 601] (Shakespeare 273) A significant portion of the play is, i fact, Hmlet’s own mental negotiation, a attempt to execute vengeance that would satisfy both his duty as a son and his conscience. Yt, proves be virtually impossible.
Tus, te issues of tragic conflict and deliberately exuberant rhetoric of self-negation are primarily dominant elements of psychological interest to the readers of Hamlet. At 3, sene 2 of the play begins with Hamlet delivering a chain of comprehensive, rmbling and, a times, etremely generalized and, terefore, cnfusing instructions to the three players who were recruited to enact The Mousetrap. Te latent desire within Hamlet to temper and control the violence raging in his mind is expressed in his significant choice of words – the very tmpest, () whirlwind of your passion, yu must acquire and beget a temperance that may give it smoothness.
”[Lines 5-8] (Shakespeare 287) However, Hmlet’s own action falls short of his words. Wile he aptly. ..
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