In this paper we are traveling to research and critically analyze three characters of literature taken from the plants of two defferent genres. These characters are: Hamlet from the drama “ Hamlet ” by W.Shakespeare, Gjaur from the verse form “ Gjaur ” and Corsair from the verse form “ The Corsair ” by J.G.Byron. Exploring and analysing these heroes we wil happen some common characteristics in them and therefore we will link and compare these three plants.
The research workers of Shakespeare ‘s plants argue that there is no other illustration in the history of art of such a stable and digesting popularity of the drama than the popularity of Shakespeare ‘s “ Hamlet. ” The secret of such a lasting involvement in the calamity is in the philosophical deepness and humanistic enthusiasm of this work, the accomplishment of dramatist of William Shakespeare, who embodied the cosmopolitan jobs of artistic images.
The image of Hamlet is the cardinal one in the calamity of Shakespeare. Already in the beginning of the drama the chief intent of the hero is determined – the retaliation for the slaying of his male parent. Harmonizing to the medieval position – this is his responsibility, but Hamlet is a adult male of modern times, he is a humanist, and the barbarous retaliation contradicts his nature. To do a determination, he must weigh up good, if the decease of Claudius alterations anything in the universe. He sees merely treachery and cunning around him ( the female parent betrayed his male parent and married his liquidator, Hamlet is betrayed by the surest friends who help the slayer ) . He is even disappointed in his love and remains entirely. His ideas on the assignment of a individual get a tragic discoloration ( a scene at the graveyard ) . Evil, as he considers, has about a infinite character, and a individual is a really small substance to defy it. The events of the calamity seem to corroborate these observations of the hero: guiltless Ophelia dies, and evil corsets unpunished. Hamlet can non accept it, but does non happen the strength to defy. If he becomes a liquidator, he will travel to the side of the evil and therefore will beef up it. Shakespeare gives Hamlet a few chances to kill Claudius: Hamlet sees the King entirely, praying, and he falls this chance. And the hero does non do a decisive measure. In supplication, Claudius will merit forgiveness for his wickednesss, and decease at such a minute was perceived by coevalss of Shakespeare as an alibi of wickednesss, and it was thought that the psyche of a adult male flew off to heaven. Killing of Claudius in such minute would merely intend alibi for his injury. That is what Hamlet can non make. Before our eyes, the hero is in a hard battle between the sense of responsibility and his ain strong beliefs, this battle leads to a sad decision: the whole universe is a prison, where there is no topographic point for human virtuousnesss, where every adult male is doomed to loneliness.
Hamlet ‘s monologues reveal the inner battle that the hero leads to himself. He invariably blames his inactivity, attempts to calculate out whether he is able to make any action. He even thinks about self-destruction, but these ideas are about whether the same jobs are waiting for him in the following universe, halt him ( “ To Be or Not To Be? ” ) . Duty orders him to “ be ” and to move. Shakspere shows the gradual development of the character of Hamlet. In the concluding of the calamity the slayer of the male monarch is punished, but this happened as a consequence of fortunes instead than from the will of the hero. Hamlet does non by chance pretends to be brainsick: merely a really strong individual can understand what Hamlet has understood, and non to travel huffy. The strength of this image is non in the actions he does, but in what he senses and compels readers to see. Why can non a adult male achieve felicity and harmoniousness, what is the significance of the human life, is it possible to get the better of evil – these are merely the basic philosophical jobs, which Shakespeare raises in his calamity. He does non give them a unequivocal reply, I think this is impossible. But his religion in a adult male, in his abilities to make good, to defy immorality is a manner to reply them.
“ He was a adult male, take him for all in all.
I shall non look upon his like once more ” .
These words of Hamlet about his male parent the male monarch could be taken as an epigraph to a treatment of Hamlet, Prince of Denmark.
Hamlet ‘s problem is that he does non desire to be a follower of evil – in fact, to eliminate evil Hamlet will hold to use that same immorality. It is hard for him to step on this way. Dividing tears the hero: the spirit of his male parent calls for retaliation, as the interior voice stops the action of immorality. Hamlet tries to expose the immorality. He organizes the drama for this intent:
“ My lingua and psyche in this be hypocrites-
How in my words somever she be shent,
To give them seals ne’er, my psyche, consent! ”
Hamlet is able to be decisive – he kills Polonius, believing it was the male monarch, sends to decease in cold blood Guildenstern and Rosenkrantz, observing with acrimonious sarcasm that life for a adult male is to state: “ One ” . Why does non Hamlet make bold so long to take retaliation on Claudius, penalize him?
Hamlet does non merely believe about his personal retaliation for the unfairness, or merely the retaliation for his murdered male parent – his ideas about the demand to rake up the conflict with the immorality of the universe toxicant his bosom:
“ Tis now the really charming clip of dark,
When God’s acres yawn, and hell itself breathes out
Contagious disease to this universe. Now could I imbibe hot blood
And make such bitter concern as the twenty-four hours
Would quiver to look on. Soft! now to my female parent!
O bosom, lose non thy nature ; let non of all time
The psyche of Nero enter this house bosom.
Let me be cruel, non unnatural ;
I will talk stickers to her, but use none. ”
This is what Hamlet sometimes thinks about. Hamlet is able to move and he acts, but his scruples and uncertainties tear him, he is ready for retaliation, and he idles, he can non make up one’s mind on one slaying, but his behaviour is the cause of the decease of those people who would non hold to be punished. Probably Hamlet has outsmarted himself: he talks excessively much, ponders, does everything except the chief. A adult male is a beautiful, perfect creative activity. These beliefs of a adult male of his clip have faced the old manner of life, in which all the agencies are beautiful to accomplish their ends, where the inhuman, cruel, carnal Torahs act. Due to such people as Hamlet is, a adult male remains a perfect human being – A«homo sapiensA» , who is in a changeless hunt of truth, when sing the undermentioned issues: “ To be or non to be? ”
The following characters of literature we are traveling to analyse are Gjaur and Corsair from the “ Oriental verse form ” of J.G.Byron.
Before analysing these two heroes it should be mentioned that the hero of the “ Oriental verse form ” of Byron is normally a Rebel renegade who rejects all the regulations of the jurisprudence genitive society. This is a typical romantic hero, and his personal life is characterized by exceeding, extraordinary passions, straightening will, tragic love, hatred stone. Individualist and lawless freedom is his ideal.
The most singular characteristic of the hero of “ Oriental verse form ” is the spirit of action, combat, make bolding embodied in them, contempt for any apathy, lecherousness for conflict, that would wake from the hibernation eruption the poltroon people, lift the tired 1s, burn the Black Marias for the title. The coevalss were profoundly troubled in the ideas scattered throughout the “ Oriental Poems ” about the decease of the hoarded wealths of human energy and endowment in footings of businessperson civilisation, so that one of the heroes of the Oriental verse form is sad about his unexpended mammoth forces, and another hero, Conrad, was born with the bosom capable of great good, but this good was non given for him to make.
Each of the “ oriental verse form ” is a small poetic narration at the centre of which there is a secret plan with the destiny of one romantic hero. All the attending is payed to the reveal of the interior universe of the hero, to the screening of the deepness of his violent and powerful passions.
“ Gjaur ” was foremost poem to be written from the “ Oriental verse form ” . The narrative was written in May – November 1813. Muslims called heathens as Gjaur.
The secret plan of this verse form is as follows: Gjaur confesses to the monastic on his deathbed. His joging narrative is a bunk of the death, some bits of conversation, the last agonising flash of consciousness. Merely with great trouble it is possible to catch the yarn of his ideas. Gjaur passionately loved Leila, she replied to him in return. Joy and visible radiation filled the whole being of giaour. But the covetous and calculating hubby of Leila Gessan spied her, and insultingly murdered. Gjaur awfully revenged on the autocrat and executioner of Leila. Gessan died with an agonising decease from his manus.
However, retribution does non convey Giaour neither satisfaction, no remainder. His troubled spirit is tormented by a secret disease. He seeks to support his self-respect from the onslaughts of a sombre, dark universe, which is embodied in the verse form by a cryptic and hostile background environing the hero.
Giaour ‘s character is revealed in the battle and in the tragic contradictions of his psyche: he vehemently opposes the endangering him cryptic powers, desperation does non weaken his committedness to action, to conflict:
“ The searching throes of ceaseless hurting ;
Nor sought the self-accorded grave
Of ancient sap and modern rogue:
Yet decease I have non feared to run into ;
And the field it had been sweet,
Had danger wooed me on to travel
The slave of glorification, non of love. ”
Gjaur is tormented by the idea that his rich fillings wasted on the nonmeaningful things. In his soliloquy the accusal to the society sounds, which made him suffering renegade, humiliated him.
In December 1813 Byron began to work at a new verse form “ The Corsair ” which was written with love and taken from life.
At the bosom of “ The Corsair ” there is a struggle of the hero with the universe ; the secret plan is reduced to a dramatic state of affairs – battle for love.
The hero of the verse form is the leader of the plagiarists – the unafraid people who are in struggle with a despotic jurisprudence of the proprietary society, because they can non populate with lewd retainers and ambitious work forces hungry for comfort.
Byron ( 1813 ) said that
“ Strange though it seem – yet with extremest heartache
Is link ‘d a hilarity – it doth non bring alleviation –
That gaiety of Sorrow ne’er beguiles,
And smilings in bitterness – but still it smiles ;
And sometimes with the wisest and the best,
Till even the scaffold reverberations with their joke!
Yet non the joy to which it seems kindred –
It may lead on all Black Marias, save that within. ”
They prefer to take a free life on a desert island, off from the bondage of the large metropoliss. Corsair, their brave and wise leader is besides a Rebel and renegade, as Gjaur. On the island of the plagiarists all esteem and fear him. He is rough and tyrannizing. The squads of the plagiarist brigs obey a moving ridge of his manus, the enemies tremble at the mere name. But he is awfully lonely, he has no friends, a fatal secret weighs on him, no 1 knows anything about his yesteryear. Merely by two or three intimations thrown casually, we can reason that Conrad in his young person passionately longed for making good. As with the destiny of Giaours, love dramas in the life of Conrad a fatal function.
Having fallen in love with Medora, he ever remains true to her one. With the decease of Medora, every joy of life was lost to Conrad, he cryptically disappears. What was the terminal of Conrad, cipher knows.
The hero of “ The Corsair ” , the same as Hamlet and Gjaur, is all the clip immersed in his interior universe, he admires his agonies, his pride and jealously guards his ain isolation by non leting anyone to interrupt his speculation ; the individuality of the hero standing over other people, whom he despises for pettiness and failing of spirit, is hidden in it. So, he is unable to measure the sacrificial love of beauty Gulnare, who saved him by put on the lining her life out of prison.
Conrad has in common with Gjaur and Hamlet a mighty power of the spirit. However, his fearless, ardent nature, despite its built-in traits of individuality, is yet more diverse and more complex than the characters of the other literary plants ; it has a topographic point non merely for wrath, but besides for compassion.
To get away from himself, he throws himself into the action in the battle ; a Barbary pirate or a plagiarist, he declares war on society: he chases the strong feelings. Is he waiting for decease? – He is ready to purchase the rescue from ennui at any monetary value.
The verse form “ The Corsair ” is a chef-d’oeuvre of the English poesy. The good strength of romantic dreams is combined here with the comparative simpleness of the artistic development of the subject ; formidable heroic poetry energy in “ The Corsair ” is combined with his finest musicalness, poetic landscape – with the deepness in the portraiture of the hero ‘s psychological science.
So, in this paper we have explored and critically analyzed three characters of literature taken from the plants of two defferent genres. These characters are: Hamlet from the drama “ Hamlet ” by W.Shakespeare, Gjaur from the verse form “ Gjaur ” and Corsair from the verse form “ The Corsair ” by J.G.Byron. Having explored and analyzed these heroes we can do a decision that they have a common characteristic. This characteristic is their nature of Rebel, the desire to contend for justness, the desire to alter the universe around them. However, these heroes display these characteristics of character in different manner. Hamlet most frequently keeps his feelings indoors, he is largely bravery in his ideas in contrast to Gjaur and Corsair who show their character and will by the actions. It is possible to state that the last two characters are more active in their willing to alter the fortunes.
So, as we can see in three different literary plants of two different genres the writers show us the characters with similar characteristics but they do it in different ways harmonizing to the Torahs of their era.
