Hamlet's plot is based on a universal element, which is the relentless complex battle. From the battle of the opening scene with the spirit of a deceased man to the bloodbath of the final scene, which leaves almost every key character dead, Death winds its way through the whole of Hamlet. Despite too many deaths, though, the treatment of the problem of death Shakespeare is notably clear in his depiction of Hamlet, who is portrayed as an individual obsessed with the question of death and King Hamlet's Ghost. From several perspectives, Hamlet continuously contemplates mortality.
He is both seduced and repelled by the suicide theory, but he is also intrigued by the actual fact of death in the iconic gravedigger scene. In a sense, Hamlet may be considered as a prolonged discussion between Hamlet and death. He advances to several understandings regarding mortality and death as Hamlet develops as a narrator in the plot and how it relates to himself and the characters around him. He trusts even more in the belief at the beginning that life is but a cruel stepping stone to death and beyond, but he acknowledges the tremendous detrimental effect death plays on man as he develops as a character and gets more experienced.
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The dramatist shows his vague representation of the principal theme in these roles. Hamlet represents an adolescent idolization of mortality from the very beginning, living life as a path toward death. And if he hates the Ghost, he wants to stay in contact with him. Hamlet is originally worried about death because he does not realize what awaits him after death. In a popular soliloquy, Hamlet reflects on his fear, showing the debate over the subject of death.
As he claims, the apprehension of everything beyond death, The undiscovered nation from which bourne No traveler comes back, puzzles the will And lets us endure the ills we have Then we don't know of to fly to others (3. 1. 86-90). Nevertheless, when Hamlet collides with crime, killings, inequality, and suicides, he appears to establish a certain lack of care for mortality. Hamlet talks a lot about death and the afterlife in his quest for retribution. But these efforts at his father's vengeance are merely a prerequisite for Hamlet's thoughts of suicide. This fascination with death eventually renders him mad; this obsession with implicit ridicule is shown by William Shakespeare. For example, after Hamlet destroys the father of Ophelia, he is unable to recall where his corpse is hidden; instead, he continues to madly talk about the worms that consume a dead body. Shakespeare reveals that his fascination with death is seen also in Hamlet's appearance; he wears black clothing and appears sad. Shakespeare intensifies Hamlet's concern regarding death in the graveyard scene, exposing Hamlet's gloomy feelings.
As he says, No, confidence, not a jot; yet to pursue him there with ample humility and possibility to guide him; as follows: Alexander died, Alexander was buried, Alexander returned to dust; dust is land (Shakespeare, 1985 5. 1. 201-206). In reality, throughout the play, the picture of the grave is seen many times to reveal the attitude of the character toward death. Both protagonists, with the exception of Hamlet, show terror and pity at the sight of the grave they equate with death. As Hamlet continually thinks about mortality, as well as the lives of other individuals, he does not respect his own survival.
As a consequence, Ophelia, Claudius, Polonius, Guildenstern, and Rosencrantz also seem to be liable for the demise of Hamlet. Hamlet's fascination, however, turns him from a lonely child into a ruthless killer. However, compared to some characters' deaths that are presented with a certain degree of irony, Hamlet's death is described in more serious terms. Each death seems to be blackened from the very beginning of Shakespeare's play and is quickly overlooked by other characters. Hamlet, for instance, reveals that the loss of his father is now ignored by individuals, while King Hamlet died just a few months earlier.
When Horatio says, 'My lord, I have come to see the funeral of your dad,' Hamlet replies, 'I prythee, don't mock me, a fellow student.' It was to see my mother's engagement, I suppose (Shakespeare, 1985 1. 2. 183-185). An unfortunate outlook like this shows that sometimes the most charitable citizens are ignored. The main characters often neglect the death of Polonius; Ophelia and Laertes are too busy with their feelings and emotions to recall their father, and Hamlet, who unintentionally kills Polonius, speaks just a few compassionate words: you horrible, reckless, intruding fool, farewell (Shakespeare, 1985 3. . 38). The death of Ophelia is portrayed in an even more ironic depiction when the dramatist believes that her death is a product of suicide and asks: Is she to be buried in a Christian burial as she wilfully finds her own salvation? (3. 4. 38, Shakespeare, 1985). The deaths of Gertrude, Claudius, Guildenstern, and Rosencrantz are only able to arouse sympathy among readers, close to the death of Ophelia. Hamlet's death sticks out against a backdrop of other deaths in this regard; it evokes admiration for the character and strong emotions.
Throughout the play, while Hamlet communicates irony in death, his death is a loss for those who knew him. As Horatio says, the valiant core is now breaking. Sweet Prince, goodnight. And the angels' flight sing thee to thy rest (Shakespeare, 1985 5. 2. 397-398). The death of Hamlet is a disaster for the entire world, for it has lost its noble ruler and another great individual can hardly be identified. Fortinbras claims that For he was likely to have proven most royal Talk loudly for him if he had been placed on (Shakespeare, 1985 5. . 443-446). Sir Walter Raleigh, who believed that only death will provide people with a true comprehension of reality, showed a similar stance towards death. Raleigh showed real bravery during his captivity and was not scared of death. I perceive that my death was decided from the first day, as he wrote in the latter to his wife (Raleigh, 1940, p. 82). In this respect, only after his death is Hamlet's true self-apparent. Hamlet acknowledges his death at the conclusion of the play with bravery and inevitability. Shakespeare reveals, though, that he wants a lot of time and bravery to brace himself for killing and death, considering Hamlet's aversion to life. He appears immune to his own fortune when Hamlet witnesses multiple deaths. Of irony, he begins to perceive mortality, believing that it is of little meaning to him.
To a certain degree, it is the madness of Hamlet that causes him to conform to the thought of death and excel in his vengeance. As Hamlet collides with cruel truth, it appears to kill him mentally: who does it, then? His psychosis. If not, Hamlet is of the wrong faction; his madness is the adversary of bad Hamlet (Shakespeare, 1985 2. 233-235). The main character continues to establish a sarcastic outlook about death at the same time, which is strengthened by the usage of Biblical and classical allusions.
Hamlet's vengeance, for instance, parallels Priam and Pyrrhus' classical tale; when Priam kills Pyrrhus's father, the latter tries to kill Priam in revenge. The tragedy is clarified in Hamlet's case by the repetition of the scenario, but Hamlet finds it hard to succeed in his vengeance; he escapes certain lucky circumstances and only destroys Claudius at the end of the play. Another allusion is drawn from the Bible: when Shakespeare (1985) discusses the primal oldest curse of the assassination of a brother (3. 3. 40-41), with the murder of King Hamlet by Claudius, he creates a connection between the tale of Cain and Abel.
Though Claudius appears to be asking the church for forgiveness, he doesn't really apologize for his behavior. As Hamlet learns the facts regarding the death of his father, he chooses to play 'The Murder of Gonzago,' where he indirectly portrays King Claudius's murder of his father. Ironically, Hamlet, who has to suppress his compulsion to destroy Claudius and his girlfriend, Gertrude, has a tremendous influence on the play. Let Nero's soul never come into this firm bosom, as he claims. Let me be not unnatural, but firm. I'll chat to her about daggers, just don't use any (Shakespeare, 1985 3. 2. 426-429).
Hamlet is afraid of his urge to destroy his mother, as Agrippina, the heroine of the play 'The Murder of Gonzago', is murdered by her son Nero. The Dance of Death is another aspect of death that Shakespeare enhances in his play, which is important for recognizing the meaning of the dilemma of the dramatist. In Hamlet's graveyard scene, the picture of the Dance of Death occupies the key role. Shakespeare uncovers several major existential problems in Hamlet's discussion with the gravedigger. Hamlet, for example, asks: Did these bones cost them no more to breed than to play with them at loggets? My ache to the care of not (Shakespeare, 1985 5. 1. 91). The deaths of Hamlet and other main characters in the play, though, expose the facts regarding these persons. In fact, Hamlet pretends to have a secret throughout the story, but he does not disclose it, but at the end, he appears to show his core and all his secrets: You wouldn't realize how sick something is here with my heart; but it doesn't matter (Shakespeare, 1985 5. 2. 208-211). Hamlet attempts to trick other characters, but he tricks himself instead when he is reluctant to accept that he hates death as well.
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