And Claudius is right that such “madness in great ones must not unwatched go” (III.i.end). For the madman, precisely because he does not accept society’s compromises and because he explores its conventions for meanings they cannot bear, exposes the flaws which “normal” society keeps hidden (70). Phyllis Abrahms and Alan Brody in “Hamlet and the Elizabethan Revenge Tragedy Formula” consider the madness of the hero to be completely feigned and not real: Hamlet is a masterpiece not because it conforms to a set of conventions but because it takes those conventions and transmutes them into the pure gold of vital, relevant meaning. Hamlet’s feigned madness, for instance, becomes the touchstone for an illumination of the mysterious nature of sanity itself (44-45). Hamlet’s first words in the play say that Claudius is "A little more than kin and less ... ... middle of paper ... ...y Martin).
The Overwhelming Emotional States of Hamlet in Shakespeare's Hamlet Depression, melancholy, disillusionment, and disconnectedness are the burning emotions churning in young Hamlet?s soul as he attempts to come to terms with his father?s death and his mother?s incestuous, illicit marriage. While Hamlet tries to pick up the pieces of his shattered idealism, he consciously embarks on a quest to seek the truth hidden in Elsinore; this mission of Hamlet?s is in stark contrast to Claudius? fervent effort to obscure the truth of King Hamlet?s murder. The question of Hamlet?s sanity is irrelevant, but instead his melancholy disposition is the centering aspect of the play The Tragedy of Hamlet, Prince of Denmark. Hamlet?s melancholy is prevalent in his unique diction, his conversations with both comrades and enemies, and especially in his soliloquies.
“An Explication of the Player’s Speech.” Modern Critical Interpretations: Hamlet. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. Rpt.
Modern Critical Interpretations: Hamlet. Ed. Harold Bloom. New York City: Chelsea House Publishers, 1986. 117-128 Wiggins, Martin.
Harold Bloom. New York: Chelsea House Publishers, 1986. Rpt. from Tragic Form in Shakespeare. N.p.
New York: Chelsea House Publishers, 1988. 5-20. Bloom, Harold. "Introduction." Modern Critical Interpretations William Shakespeare's Henry V. Ed.
If, throughout, Hamlet is prevented from enacting his revenge by the discomforting ratios that his literary imitations generate, he is equally prevented from repudiating his revenge by his inability to emancipate himself from his father, to be other than an imitation of what has generated him(Kastan 204). Toward the end of the play, Hamlet has abandoned the strong sense of morality that he once possessed. He no longer debated the morality of his every action. His true ... ... middle of paper ... ...aertes killed him physically. Bibliography: Bloom, Harold.