William Shakespeare's Hamlet and Sophocles' Oedipus the King
Though Shakespeares’ Hamlet and Sophocles’ Oedipus the King were written in two different eras, echoes of the latter can be found in the former. The common theme of Hamlet and Oedipus the King is regicide. Also, like in Oedipus the King, there is a direct relationship between the state of the state and the state of their kings. Furthermore, there is also a relationship between Oedipus’ armed entrance into the bedroom in which Jocasta hanged herself, and Hamlet’s confrontation of Gertrude in her bedroom. Both plays share the emphasis on a tragic irony in the chain of events that lead up to ritual of catharsis, but the plot of Hamlet makes a much more complicated character than that of the classic Greek tragedy of Oedipus the King.
Sophocles’ Oedipus King and Shakespeare's Hamlet both contain the basic elements of tragedy, although the Shakespearean tragedy expanded its setting far beyond that of the ancient Greek tragedy. The tragic hero of Hamlet finds himself burdened with the task of avenging his father's death from the start of the play, and is not himself the source of the pollution of regicide, while Oedipus is of course the unwitting fashioner of his own doom, which is unveiled to him through recognition and repentance.
Sophocles has Oedipus foretelling his own tragedy when speaking to the
people of Thebes. The city suffers as a result of Oedipus’pride, and irony is shown when Oedipus suggest that by avenging Laius he will protect himself, or that by getting children upon Jocasta, the dead king's wife, he will be taking the place of the son of Laius, which, unknowingly, is himself. “I will bring it all to light... I shall rid us of this pollution, not for the sake of a distant relative, but for my own sake (Knox, 10).” The irony reaches its peak when Oedipus calls on the prophet Tiresias to help uncover the murder of Laius and seek an cure to the plague; the metaphor of vision is ironic in that the blind Tiresias can see what the seemingly brilliant Oedipus has overlooked, namely the king's crimes of incest and murder. “You are the murderer, you are the unholy defilement of this land(Knox, 23).” Tiresias goes on to say “I say that without knowing it you are living in shameful intimacy with your nearest and dearest. You do not see the evil in which you live (K...
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....” It was Gertrude’s subsequent reaction that led to the pivotal moment when Hamlet kills Polonius. The murder of Polonius was completely impetuous. Hamlet went from pondering murder to actually committing murder. When he does so it is not the actual act that is insane, but his lack of emotion which is. Scarcely acknowledging what he has just done, he continues preaching to Gertrude, and accuses her of plotting to murder his father. “With tristful visage, as against the doom, Is thought-sick at the act (Act 3, Scene 4).” After an elongated interrogation which sounded more like an S&M chat, we begin to realize Gertrude’s’s guilt for marrying Claudius, as well as her innocence in the actual plot to murder the King. It is only after the reappearance of the apparition that Hamlet begins to ease up on his mother.
Hamlet and Oedipus the King though quite different, have a lot in common. They are the similar from an oedipal perspective, as well as having in common the element of madness. Though many would have a problem putting Shakespeare in the same category as Sophocles, it is not difficult to place their works, Hamlet Oedipus the King respectively, in the same category.
Displaying an 'antic disposition', Hamlet first attempts to side step his trepidation by feigning madness. After meeting with his fathers proposed ghost, Hamlet attempts to distance himself from the thought or evidence of death. Hamlet notifies his friends, Marcellus and Horatio, of his plan to distract the kingdom from his real intentions. Although Hamlet proposes this as a way to fool those in Denmark, in the last lines of his meeting with Horatio and Marcellus, he curses that this revenge be placed upon him. This is the first indication of Hamlets reluctance to perform murder. Hamlet then returns to Claudius and Gertrude, at the castle, and acts out his madness for them and for the visitor, Polonius. Upon speaking to Polonius, Polonius picks up upon Hamlets 'madness', yet decides that this unnatural nature is because if Ophelia's behavior toward Hamlet. Indication of Hamlets fear is presented when Polonius asks leave of the prince. Hamlet then states that Polonius can take anything from him, anything but his life. Hamlet repeats thrice this idea of taking anything 'except [his] life.' Not only does this indicate how compulsive Hamlets fake insanity is becoming, but how afraid he is of dying. During the 'To be or not to be' soliloquy, Hamlet contemplates his view of death. As he go...
When Hamlet murders Polonius, it is evident that Hamlet has gone thoroughly insane and he cannot return from the point he is at. No one is safe from Hamlet and the way he is deporting now. Hamlet has upset his mother by incriminating Claudius and insisting that her marriage is incest. Gertrude even says, Come, come, you answer with an idle tongue (Act 3 Scene 4. 10). This is in replication to Hamlet telling his mother that she is disrespecting King Hamlet (Act 3 Scene 3.9). All this that has occurred verbalizes volumes to Hamlet losing his sanity due to his recollection of the loss of his
Oedipus from the drama, “Oedipus the King” and Hamlet from, “Hamlet, Prince of Denmark” are two characters that are different, yet they both share the same title of being a tragic hero. Oedipus and Hamlet have many characteristics of a tragic hero that separates them in varieties. However, some of those characteristics show that both characters have and use similar thought processes and methods, which classify them as tragic heroes of their dramas. The five characteristics of a tragic hero are: nobility, tragic flaw, peripeteia, anagnorisis, and lastly irony. Both Oedipus and Hamlet hold or have a nobility position in their drama’s plot. Oedipus is the son of the king, and fate has foretold that he will kill his father and take over the kingdom. Hence, Oedipus was fated into his nobility, so he is required always remain in a status above all others. Hamlet is also the son of the former king that is now dead. Hamlet was born into this nobility, and this makes him the prince. Both characters are royalty, yet their morals and values are what make their nobilities the same. Their actions create heavy and dramatic outcomes, which lead to many more complications. Both men try to resolve their problems different, so their fortunes become reversed. Oedipus and Hamlet are very different, yet almost have the same fates. Out of all the five characterizes, three of them describe and separate both men best as tragic heroes. The tragic flaws, which is defined as hamartia, both men have are the main reason they are heroes of tragedy, their recognitions of their situations, which is an anagnorisis, are at different points in their stories, and lastly both men meet an ending that is meant to be an irony of their fate.
Tragedies in the Greek theater when compared to tragedies in the Renaissance theater varied in similarities and differences. Greek theater encouraged the use of religious figures while Renaissance theater was supposed to be strictly pagan in its ideologies. Theater was most dominantly used to depict the social and religious constraints of the time period. For example, Shakespeare’s Hamlet and Sophocles’ Oedipus Rex are both portrayals of deceit, murder, and revenge all of which lead to the demise of its leading characters. Hamlet is depicted as a young man who is seeking revenge for his fathers death. Oedipus is a king who means to free the people of Thebes from a disease that has been plaguing them. They share similarities in that each of their love interest are conduits of their pain and anguish, further pushing the protagonists over the precipice. The voice of reason that they share is Creon in Oedipus Rex and Horatio in Hamlet. Their tragic flaw is that they are both ultimately and utterly doomed and no amount of guidance will steer them away from what has been predestined by fate. They are ultimately doomed to be their own Achilles heel.
Hamlet. It all pertains to the subject of the “Oedipus Complex”. Was Hamlet indeed in
In contrast to Laertes speculation of his father’s killer, Hamlet assumes the individual spying on his conversation with Gertrude is Claudius. “Nay, I know not. Is it the King?” (Act III Scene 4 line 28). Without thinking, Hamlet automatically thrusts out attempting to kill who he believed was Claudius and actually kills Polonius.
Polonius takes this opportunity to spy on Hamlet and informs Gertrude that he will hide behind a tapestry and eavesdrop on their conversation. During their conversation Hamlet forces his mother in front of a mirror as to literally reflect on herself and the betrayal she’s caused him to feel. He tells her that he wants to reveal the figurative inmost part of her, but she takes this literally and thinks that he means he is going to murder her. She cries out for help which causes Polonius to cry out as well. Hamlet, thinking that the voice of the man who had just cried out for help belonged to his uncle, stabs Polonius through the curtain and kills him. Gertrude laments the murder of Polonius calling it a bloody deed and Hamlet retorts, “A bloody deed! Almost as bad, good mother, As kill a king and marry with his brother” (Shakespeare 1862). In this scene, Hamlet reaps revenge on Gertrude by emotionally torturing her so she may feel the utmost guilt for betraying her son and husband. Then, Hamlet’s unremorseful character is revealed in his ability to murder Polonius when he thought it was Claudius he had heard behind the curtain. Hamlet then justifies his murdering Polonius by equating it to Gertrude’s sin of marrying the man, her brother in law, who killed her
The two writers in tragedy showed what many writers couldn’t throughout the Greek tragedian era. Sophocles, who wrote “Oedipus Rex”, portrayed Jocasta as a caring mother who soon turned into a wife of her own son, while Shakespeare, who wrote “Hamlet”, used the same Greek tragedian tools and portrayed Gertrude as a naïve mother who made one decision that separated her son, Hamlet, from her. Gertrude was similar to Jocasta in that both were naïve but protective of their own sons. However Jocasta was more aware of the actions she took, even after the prophecy was told.
The position of Gertrude’s character in the play raises numerous questions about her involvement with her former husband’s murder, along with her reasoning for marrying Claudius. Failing to question Claudius’ intentions with her son, Hamlet, Gertrude includes herself in the corruption. She is present at various meetings discussing her son’s whereabouts and plots to spy on him (83). Though she is conscious of the corruption in the court, she does not seek to resolve the matters. But rather, she involves herself in the conflict and schemes. Claudius’ ways definitely influence her judgment, which is seen when she allows Polonius to spy on her private conversation with Hamlet (169). Furthermore, when confronted by Hamlet, she admits, “Thou turn’st mine eyes into my very soul, And there I see such black and grainèd spots, As will not leave their tinct” (175). Her response to Hamlet’s raging interrogative and accusatory speech insinuates that she too has in some fashion contributed to the corruption in Denmark, though the specific circumstance is never revealed. Shakespeare’s portrayal of Gertrude shows a woman who is more concerned about self-preservation and remaining in power so much so that she involves herself with the plots of a man, who murdered her
Following the performance of “The Mousetrap”, Hamlet is summoned to his mother's chamber. Upon arguing with Gertrude over the intentions of his play, and his reasons for wanting to distress the king so openly, Hamlet kills Polonius. “How now? A rat? Dead for a ducat, dead (III.iv.27-28)! Perhaps Hamlet did not know whom he was killing. “Thou wretched, rash, intruding fool, farewell! / I took thee for thy better”(III.iv.38-39)! Perhaps Hamlet thought he was killing the king.
Theater audiences and literary enthusiasts are not spared of Shakespeare’s astonishing ability to capture the human spirit in his play Hamlet. The story of the tormented prince who desires revenge but is unable to take action delves deep into the human mind than plays before it. While some uninformed readers may write off Hamlet’s behavior to poor writing, it is clear that the Oedipus complex is the true driving force of Hamlet’s actions when delaying his revenge.
Oedipus Rex, or Oedipus the King is Sophocles’s first play of “The Theban Cycle.” It tells the story of a king that tries to escape his fate, but by doing so he only brings about his downfall. Oedipus is a classic example of the Aristotelian definition of a tragic hero. Aristotle defines a tragic hero as a basically good and noble person who causes his own downfall due to a flaw in his character.
Sophocles’ Oedipus is the tragedy of tragedies. An honorable king is deceived and manipulated by the gods to the point of his ruination. In the face of ugly consequences Oedipus pursues the truth for the good of his city, finally exiling himself to restore order. Sophocles establishes emotional attachment between the king and the audience, holding them in captivated sympathy as Oedipus draws near his catastrophic discovery. Oedipus draws the audience into a world between a rock and a hard place, where sacrifice must be made for the greater good.
In this scene, Hamlet argues with his mother, Gertrude. He belittles her, and insults her “incestuous” relationship with Claudius. Hamlet accuses his mother of helping Claudius kill his father. Hamlet even tells his mother that “(would it were not so) you are my mother” (3.4.21.). Basically, Hamlet tells his mother that he wishes that she wasn’t his mother. During this scene, Hamlet is actually contemplating whether or not he is to kill his mother. While Hamlet has no concrete proof that Gertrude actually had any place in the plot to kill Hamlet Senior, he believes that her relationship, and loyalty, to Claudius is proof enough. Then, however, the ghost intervenes and informs Hamlet of his mothers’ innocence. The passion behind Hamlet in this scene is his resentment of his mothers’ marriage to Claudius, and his belief that his mother had a part in the murder of Hamlet Senior. This caused him to be enraged at his mother, and even wish for her death. However, if Hamlet thought logically, he could have discussed Claudius’ crime with his mother and determined whether or not she was guilty for himself, instead of relying solely on the
Oedipus the King by Sophocles has the ingredients necessary for a good Aristotelian tragedy. The play has the essential parts that form the plot, consisting of the peripeteia, anagnorisis and a catastrophe; which are all necessary for a good tragedy according to the Aristotelian notion. Oedipus is the perfect tragic protagonist, for his happiness changes to misery due to hamartia (an error). Oedipus also evokes both pity and fear in its audience, causing the audience to experience catharsis or a purging of emotion, which is the true test for any tragedy according to Aristotle.