The inadvertent quality of this discovery is a significant departure from the typical revenge tragedy pattern. At this stage in the typical revenge play, the revenger is growing more certain in his control of other characters and situations. But Hamlet's interception of this message is providential, as he will later remark to Horatio. His success does not result from his own manipulative schemes. The revelation of discovering Claudius's letter reinforces the change in Hamlet's attitude toward control and manipulation of events after he has confronted his mother about her re-marriage and after he has killed Plonius.
Hamlet retains some traits of the revenge hero; he dispatches Rosencrantz and Gildenstern to their deaths without a second thought.
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But he seems to assume a new attitude of openly daring fate. He abandons such indirect techniques of communication as his punning double-talk and his Mouse-trap. Now he openly challenges Claudius with a letter announcing his return.
Claudius' reaction to this letter is revealing in terms of the change in Hamlet's attitude toward communication. Earlier in the play, when Hamlet is dissembling and manipulating, Claudius is not really fooled.
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He understands the real threat behind Hamlet's puns and "mad" tirades. After the nunnery speech scene, for example Claudius discounts Polonius's theory that Hamlet is mad for love: There's something in his soul O'er which his melancholy sits on brood, And I do doubt the hatch and the disclosure Will be some danger. And Claudius obviously understands Hamlet's threat in the Mousetrap, in addition to being stung with guilt by viewing Hamlet's play. But when Claudius reads Hamlet's announcement that "You shall know I am set naked on your kingdom" he seems nonplussed, for once: What should this mean?
Are all the rest come back? Or is it some abuse, and no such thing? And in a postscript here he says "alone. Of course, he should be surprised that Hamlet has survived his murder plot. But beyond that, I think, Claudius is genuinely confused by Hamlet's straightforwardness. This is not the enemy that Claudius has faced before. It is one indication that, unlike other revenge heroes, Hamlet is not growing progressively more like his enemy, Claudius.
Claudius remains a Machiavellian manipulator of people and events, as his handling of Laertes demonstrates, but by foregoing the strategy of manipulation, Hamlet has placed himself outside the sphere of Claudius' comprehension, and perhaps outside the sphere of Claudius' control. And, in turning his attention away from interior audiences, he has reestablished his rapport with the real audience.
The shift in Hamlet's attitude toward communication is also evident in comparing Hamlet's description of the letter that he forged during his sea voyage to this letter written to Claudius. The sea voyage letter, first of all, was a forgery; a manipulative communication designed to trick the King of England into beheading Rosencrantz and Guildenstern while thinking that Claudius had requested it. Hamlet describes this style of letter as a distasteful sort of diplomatic double-talk: Being thus benetted round with villainies, Or I could make a prologue to my brains, They had begun the play. I sat me down, Devis'd a new commission, wrote it fair.
I once did hold it, as our statists do, A baseness to write fair, and labor'd much How to forget that learning, but, sir, now It did me yeman's service. Wilt thou know Th'effect of what I wrote? Ay, good my lord. An earnest conjuration from the King, As England was his faithful tributary, As love between them like the palm might flourish, As peace should still her wheaten garland wear And stand a comma 'tween their amities, And many such-like as's of great charge, That on the view and knowing of these contents, Without debatement further, more or less, He should those bearers put to sudden death, Not shriving time allow'd.
With this forged letter Hamlet ironically arranges for Rosencrantz and Guildenstern to suffer the fate that had been intended for himself. This is an excessively manipulative gesture; an unnecessary exercise in deception. It is the typical sort of behavior one expects of a manipulating communicator-revenger. In contrast, the letter to Claudius represent a shift to open and straightforward communication.
In announcing his return Hamlet is exposing himself to danger and trusting to fate for his success. This is I, Hamlet the Dane! Hamlet's insistence that his suffering is equal to or greater than that of Laertes is credible. Hamlet and Laertes are both griefing for a murdered father, and they are both grieving for Ophelia. The potential exists in this scene for the kind of sharing of grief that occurs between Hieronimo and Bazulto. Instead, Hamlet is further isolated in his tragic suffering.
Laertes responds to Hamlet's assertion of grief with a curse, "The devil take thy soul" V. As might be expected, this cold reception further isolates Hamlet and drives him to an even greater frenzy in expressing his grief: Hamlet" Why, I will fight with him upon this theme Until my eyelids will no longer wag. O my son, what theme? Forty thousand brothers Could not with all their quantity of love Make up my sum. What wilt thou do for her?
Five Revenge Tragedies
Woo't drink up eisel, eat a crocadile? Dost come here to whine? Be buried quick with her, and so will I. And if theou prate of mountains, let them throw Millions of acres on us, till our ground, Singeing his pate against the burning zone, Make Ossa like a wart! Nay, and thou'lt mouth, I'll rant as well as thou. This outburst apparently isolates Hamlet even from Gertrude; though she may be especially sympathetic towards Hamlet's suffering after the closet scene, she simply cannot understand his problem.
She passes off the speech as a moment of "mere madness," which, significantly, she hopes will give way to silence: And [thus] a while the fit will work on him; Anon, as patient as the female dove, When that her golden couplets are disclosed, His silence will sit drooping. At the end of the scene Hamlet's isolation is emphasized as he leaves the stage before the other mourners. Before he leaves, Hamlet reproaches Laertes for not acknowledging his grief: Hear you, sir, What is the reason that you use me thus?
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I lov'd you ever. But it is no matter. Let Hercules himself do what he may, The cat will mew, and dog will have his day. Then, having called attention to the missed opportunity for reconciliation between himself and Laertes, Hamlet leaves.
Revenge play - Wikipedia
The King sends Horatio after Hamlet and turns to Laertes to remind him of their plot. While Hamlet suffers in isolation, Laertes is being drawn into a manipulative scheme of revenge. In the duel scene, at the end of the play, Hamlet's communicative-revenge mission is technically fulfilled. It is Hamlet's version of truth that will pass current in the court of Denmark as well as with the theatre audience. But Hamlet's success results from the failure of Claudius' manipulative scheme, not from Hamlet's own scheming.
Unlike any other revenge hero, Hamlet does not exert manipulative control in finally achieving his revenge. And Hamlet's is a limited success. Significantly, Hamlet dies before he is able to communicate his secret knowledge to the interior audiences of the court of Denmark. He is so far from exerting manipulative control of the situation at the end of the play that he must trust Horatio to deliver his message of Claudius' guilt.
Horatio will be able to relate the events that led to the bloody revenge scene now before them, but for the "rest," the disturbing source of Hamlet's melancholic isolation, that "is silence. Like Hieronimo's death, Hamlet's death is marked by a meaningful silence. After telling his audience that Lorenzo and Balthazar have killed his son, Hieronimo bites out his own tongue, literally and emphatically refusing to say anything further.
But Hieronimo's silence is that of a successful communicator who has made his grief communal, while Hamlet's silence is the transcendental silence of one who has given up on his obsession to communicate and who recognizes the impossibility of sharing his innermost feelings or of controlling absolutely the conditions of interaction with other people.
Even if one becomes a master of manipulative communication, controlling one's audiences' perceptions and responses as Hieronimo and other revengers do,, and as Hamlet has done in the Mouse-trap, there remains something within which cannot be communicated. If, in trying to make his grief communal, the typical revenge hero reverses the dominant tragic tendency to isolate the hero with a unique or particular kind of grief or suffering, in Hamlet Shakespeare does just the opposite.
He reverses the dominant revenge tragedy tendency to resolve the tragic dilemma through communication. As a communicator Hamlet is as skilled as any revenger, but he is unlike any other revenger in his realization that complete communication is impossible. Thus he remains emphatically and uniquely isolated from the rest of his community at the end of the play.
By creating a revenge hero who technically succeeds in revenge and self-expression, yet remains tragically isolated and frustrated in a deeper, personal sense, Shakespeare has managed to create an ultra-conventional revenge play that both examines the conventional limitations of the concern with communication in revenge tragedy and transcends those limitations, engaging the audience in genuine tragic suffering and revelation.
Hamlet, Subjectivity and Community in Revenge Tragedy Certainly no play before Hamlet could have accomodated so much and so diverse metaphysical and psychological speculation. The Spanish Tragedy click here for a link to a plot summary of The Spanish Tragedy To see how this alienation comes about, consider for a moment the proto-typical revenge play, Thomas Kyd's The Spanish Tragedy. A theatre audience's response to Hieronimo's tragic suffering will be directly affected by his progression from failure to success at communicating his vision of reality to the interior audience.
Discovering the body of his son, Hieronimo cries out in disbelief, and his shouts bring his wife, Isabella, to the garden where Horatio's body has been found. At first Hieronimo turns to Isabella for solace. But he soon begins to deny the reality of Horatio's death despite the protests of Isabella and his servants Pedro and Jacques Spanish Tragedy, I, v, Significantly, in this part of the play Hieronimo begins to speak more often in soliloquy. These soliloquies emphasize Hieronimo's isolation; he seems to be trying to express feelings that cannot be communicated to audiences within the play.
He is isolated from his community. Though he continues to interact with other characters as he performs his duties within the court, he is always preoccupied with his own grief, and the contrast between his grief and the general gaiety of the court is striking. Hieronimo speaks incoherently or mutters to himself III. At the "Mousetrap" scene, in a sense, Hamlet and Claudius have exchanged position since the beginning of the play. Hamlet is now orchestrating their battle of wits and Claudius is reacting in an off-balanced way.
Hamlet is no longer a grief-stricken melancholic, powerless and strikingly alone in his mourning habit, surrounded by a gay and busy court. This is not quite the same Hamlet who contemplates suicide in the "To be or not to be" soliloquy.
Revenge play
Hamlet hesitates because he fears that if Claudius dies while he is praying, he might go to heaven. Hamlet is determined that Claudius should go to hell for his betrayal and deception. The uncertainty about the nature of the old King's death also confuses the matter. Hamlet feels unable to take revenge unless he is absolutely sure of Claudius' guilt. Hamlet fears that the Ghost is not his father but an evil spirit sent to tempt him to Hell. Laertes' sense of revenge is much stronger than Hamlet's and Shakespeare contrasts the two.
Laertes does not need to be convinced of Hamlet's guilt to take revenge. On hearing Hamlet's explanation for Polonius' death, Laertes declares that he is "satisfied in nature". Claudius banishes Hamlet to England for the murder of Polonius 4. He sends Rosencrantz and Guildenstern to spy on Hamlet's actions 55 and makes plans to have Hamlet assassinated on English soil.
Horatio receives a letter from Hamlet reporting that he is returning to Denmark, thanks to pirates who had captured his boat and released him on the promise of future reward 4. Claudius hears of Hamlet's return and he conspires with Laertes, Polonius's son, to murder Hamlet. Laertes will use a poison-tipped sword during a fight with Hamlet, and Claudius will have a poisoned drink at the ready 4. Hamlet stabs Claudius 5. The revenge plot is thus concluded. Hamlet himself then dies from the wound received during the fight with Laertes How to cite this article: Introduction to Elizabethan Revenge Tragedy.
What Did Shakespeare Read? O this too too O, what a rogue and peasant slave am I! To be, or not to be