Hamlet's Response To The Ghost Of His Father

This question is interesting in the fact that there are several major dramatic questions wrapped into the narrative. The one(s) that captivate(s) the reader – or audience member, in the case of a stage production or movie adaption – depend(s) largely on the specific character(s) of the play with which they associate themselves or with whom they develop an empathetic or emotional connection. For example, if they see themselves represented in the life of Hamlet, then they might be drawn to the dramatic questions of “What will be Hamlet’s response to the ghost of his father?” and/or “What will happen in the course of this bizarre forbidden relationship with Ophelia?” However, if they are drawn to the character of Queen Gertrude, then they might

For while he does present an argument as to why he was right to postpone Claudius’ death, the argument is largely irrelevant, as ensuring that Claudius suffer in the afterlife was not a part of his charge. This could imply that he might be wavering in his belief that who he conversed with was (as he said in Act I Scene V) “an honest ghost” and not an evil spirit. However, his provided excuse does make rational sense and is sufficient to prolong both the life of Claudius and the play,

The crisis is Hamlet’s aforementioned internal struggle about murdering Claudius in his bedchambers. I consider this to be a crisis and not a turning point, most simply, because it does not elicit any sort of change in any of the characters involved. While Hamlet decides not to kill Claudius yet, he is still resolved to do so eventually. And despite the fact that Claudius is praying (presumably quite ardently), he acknowledges that, because he refuses to concede the ill-gotten gains of his crime, he cannot be repentant and does not change either. The climax comes at the end of the play, where in Act V Scene II the mortally wounded Young Hamlet both stabs the king with the poisoned foil and forces him to drink the same poison, which was originally intended for the prince. Additionally, this play could not simply have had a turning point, as it is not an issue of a change in mindset or opinion, but rather it was that of the decision of whether or not to make a direct and purposeful