In your position, how has Shakespeare utilized dramatic techniques in Hamlet to make a drama that explores universally relevant thoughts?
A text is exposed as singular and memorable as a consequence of the advanced thoughts and the dramatic executing that carry them from author to audience. Shakespeare ‘s theatrical drama, Hamlet, exemplifies this cardinal interaction as it underscores the innate human province of indecision, driven by a confrontation between the desires of an person and the actions of others. “ Bear [ ing ] our Black Marias in heartache ” a province of lunacy is seen to attest, and Hamlet finally unfurls as a work underpinned by a preoccupation with decease, in a great calamity that will finally “ call on mayhem ” .
Shakespeare explores the cosmopolitan impression of indecision, as his supporter grapnels with actions that contravene historical and modern-day impressions of morality. Such indecisiveness in action is explored extensively through Hamlet ‘s cunctation refering “ retribution… for a beloved male parent slaying ‘d ” . Fighting with the divisiveness of butchering Claudius, Hamlet ‘s incubation monologues best uncover his indecisiveness and apathetic intellectualism. The rhetorical contemplation ‘To be or non to be… whether ‘t is nobler in the head to endure… or to take weaponries against a sea of problems ” exhibits, in its mere length, Hamlet ‘s cosmopolitan battle with morality and hesitance. Positioned to butcher Claudius in Act 3 Scene 3, Hamlet rationalises his inactivity and indecisiveness, “ To take him in the purge of his psyche, when he is fit and seasoned for his transition? No ” . Hamlet, tormented by his indecision, is thrust into a world of otherworldly complexs as he identifies with Queen Hecuba and acts out his homicidal purposes through the theatrical murder of the participant male monarch. Stating “ I, impregnant of my cause… can state nil ” , Shakespeare metaphorically alludes to his inability to exert bravery and finding. Emasculated as he stands barred from his rightful place as King, Hamlet ‘s deep-rooted commitment to his female parent appears to be the root of his indecision. Instructed to “ Taint non thy head, nor allow thy soul contrive against thy female parent ” , it is merely following Gertrude ‘s decease that Hamlet can proclaim “ The male monarch ‘s to fault… venom to thy work! ” and toxicant Claudius, as highlighted in O.B. Hardison ‘s analysis of Hamlet. Comparably confronted with the decease of a male parent, Laertes overcomes his ambivalency sing retaliation or patience, vibrating through his contracted and emphasized resoluteness to “ cut [ Hamlet ‘s ] pharynx i’th’church. ” As a foil to Hamlet ‘s indecision Laertes ‘ energy instantly juxtaposes Hamlet ‘s cunctation and leads to the rhetorical enquiry “ Am I a coward? ” which doubtless reveals Hamlet ‘s tragic flaw – indecision – as a most human, and cosmopolitan defect.
The cosmopolitan relevancy of Hamlet is obviously best seen in the catholicity of its supporter, and the humanity of his defects, including his ingestion by heartache. Emphasised with a sense of antithesis, the chew overing “ To be or non to be ” arouses a sense of Hamlet ‘s experiential nature, as a Machiavellian Renaissance adult male, willing the freedom to go forth his heartache ridden “ mortal spiral ” . Polarizing the impressions of freedom and damnation in the face of heartache, Shakespeare manipulates Ophelia as a foil to Hamlet as she continues the way of self-destruction to its fruition. A dishonourable act devoid of justification, Ophelia ‘s shuffling off her “ mortal spiral ” and heartache is foreshadowed as universally present by realistic motives, asseverating “ I would give you/some violets, but they withered all when my father/died. ” The dramatic apposition of Hamlet and Ophelia exposes Shakespeare ‘s perceptual experience that the veiled ‘madness ‘ of heartache is more baneful and universally relevant than the “ fantastic temperament ” barbarian Denmark defines as true lunacy. This is linguistically highlighted through Hamlet ‘s poetic declarations – “ Which passes show, the furnishings and the suits of suffering ” – as paralleled by Ophelia – “ They bore him bare-faced on the bier… and in his grave rained many a tear ” . Institution of gender segregation in heartache emerges afterlife as merely Ophelia ‘s deranged province in Act 4 Scene 5 is identified as true “ lunacy ” doing those around her to “ give her good ticker ” , disparate to Hamlet ‘s estranging “ lunacy ” which is disregarded as “ unmanful heartache ” . The axiomatic impression that “ wise work forces cognize… what monsters you make of them ” serves to foreground Hamlet ‘s deep-rooted misgiving for adult females catalysed by his heartache, and is reflexively recognised as he states “ It hath made me huffy ” . The impression that heartache is obviously inimitable emerges as the effects of Hamlet ‘s heartache extend to both misogynisms and the deceases of many courtiers, whereas Ophelia ‘s lunacy is brief and auto-retributive. This cosmopolitan component appears as an built-in cross-contextual statement functioning to foreground the respect that must be shown in the face of heartache.
Shakespeare farther explores the manifestation of heartache as a cosmopolitan predecessor to preoccupation with decease. The cosmopolitan relevancy of decease itself is underscored as Hamlet reflects “ Alexander died, Alexander was buried, Alexander returneth to dust ” , paralleling the decease of Yorrick and Alexander the Great through the dateless power of decease. Raised in Act 1 Scene 2, Hamlet instigates his geographic expedition of decease, had “ the Everlasting… non fix’d/His canon ‘gainst self-slaughter! ” Ruled conscienceless by the allusion to the Christian philosophy, as a show of “ failing and melancholy ” , discussed in J. Nosworthy ‘s thesis of Hamlet, preoccupation with decease is relegated to the sphere of “ retribution… for a beloved male parent slaying ‘d ” . It is this dramatic use of Hamlet ‘s compulsion with decease which unifies the supporter and world as a whole. Hamlet ‘s compulsion is seen to attest in the apparitional visual aspect of Old Hamlet, as Shakespeare employs fast-paced, interrogation-style duologue to prosecute the audience – “ His face fungus was grizzled, no? ” and, “ Looked he frowningly? ” The shade ‘s phantom acts as a vas to pass on the built-in concern for the hereafter and explores the possible associated with purgatory and supernatural caparison to the Earth. A looming figure, the shade is arguably a metaphor for Hamlet ‘s preoccupation with decease despite his uncertainness sing the cogency of such a presence – “ O all you host of Eden! O Earth! What else / And shall I match snake pit ‘ O fie! ” It is this ambiguity sing decease that possibly allows for Hamlet ‘s unprompted rejection or credence of duty for the deceases of those around him. The dramatic deficiency of discourse environing Hamlet ‘s slaying of Polonius and his unsettling indifference towards Rosencrantz and Guildenstern – “ They are non near my scruples ” – exposes the sociopathic manifestation of deathlike compulsion which allegorically claims Hamlet ‘s life. Realised in a Feudal context, this perilously cosmopolitan arrested development is a subject that remains enlightening for a modern-day audience and enlightens persons to the hazard of arrested development.
Though Shakespeare ‘s thematic geographic expeditions are manifest in a context bearing small resemblance to that of the twenty-first Century, it is through critical thematic and lingual analysis that much is revealed about human nature today. Having devised such a dramatic three of calamity, Shakespeare presents the audience with impressions sing human nature and the cosmopolitan impression that an person will be capable to “ thine ain perfidy. ”