Bernard Lott believes that 'when Hamlet's speeches are straightened out the evident complications of phraseology and syntax remain to sense reflection of the inner turmoil in his soul'. This is clearly shown in Hamlets 'To be or not to be' soliloquy. Soliloquies in general show characters’ innermost emotions and are frequently used in revenge tragedies. Shakespeare uses speech to reflect characters’ roles and status; superior figures such as Hamlet speak in verse, whereas characters with less significance to the play speak in prose. This dramatic effect raises ‘Hamlet’ above the typical Revenge Tragedy.
Laertes and Hamlet are the two main characters linked to revenge throughout 'Hamlet’. They are in the same situation, with Hamlet stating 'by the image of my cause I see the portraiture of his.' Laertes is the stereotypical revenger. He is quick to assume that Claudius murdered his father and goes to seek him with a 'riotous head' and only one thing on his mind. He will 'dare damnation' to get revenge for his father and will die for his family honour. Hamlet alternately spends most of his time contemplating revenge and deciding how he will get it on Claudius.
Hamlet: ‘conscience does make cowards of us all.
Levin says, “Hamlet is the man who thinks too much, ineffectual because he is intellectual; his nemesis is a failure of nerve, a nervous prostration."
This delay of action is a typical convention of Revenge Tragedy, where the main character is prevented from going through with the revenge. The method of revenge is often intricate and devious, usually involving poison. However, in ‘Hamlet’, Claudius, (the criminal) is responsible for planning and scheming and using poison, whereas Hamlet fails to follow any particular scheme. However, he begins a battle of wits with Claudius by feigning madness, his "antic disposition.” This is a plan to remain close to Claudius, in order to avenge his father’s death more easily. The tactic has a disadvantage in that it draws attention to himself.
Typical revengers usually lack access to the criminal, who is the head of a royal court which consequently has been corrupted. They face various obstacles, which prevent them from carrying out their revenge. Hamlet as a man and revenger shifts from external vengeance to an internal one; there are no physical obstacles in his way. He has clear access to Claudius; however, he is endlessly faced with the conflicts in his mind. The Elizabethan audience would relate to concepts, which reflected upon historical events, taking place at the time. They were therefore able to understand the speedy marriage of Gertrude and Claudius as being incestuous and relate this to the dismissal of Henry VIII’s invalid marriage to Catherine of Aragon, who was the widow of his elder brother.
As a result of Claudius killing the king, he not only betrayed King Hamlet, he had also gone against God. This was seen as unacceptable by the Elizabethan audience, as their views were strongly influenced by Christian teachings and relied mainly upon the church and state and Christian morality.
Revenge in general was considered wrong. 'That, which is past is gone and irrevocable' said Francis Bacon expressing what was thought correct by a majority of people at the time of ‘Hamlet’.
Shakespeare wrote ‘Hamlet’ in a Christian context. He had to be cautious, not to promote revenge. Therefore it was vital for the revenger to die at the end of the play; consequently, Hamlet dies along with Laertes, Claudius and Gertrude. This was because they inappropriately sought their revenge, taking the law into their own hands; this is known as private revenge, strongly condemned by the Christian faith. If the outcome of revenge is righteous, then this is known as public revenge, where order is restored and the eventual revenge will purge the court of its corruption. Shakespeare uses Fortinbras as an example to show when the result of revenge is good. His revenge was for Norway and he will win the throne without committing murder.
Hamlet is strongly religious and is aware of suicide being a sin; he does not kill Claudius when he is praying because he believes that if he kills him while he is confessing his sins, Claudius will go to heaven. This would not be a punishment for the crime that has been committed. The irony of this is that Claudius felt so trapped in this shame, he is unable to 'make assay' and pray. He has to ask his 'stubborn knees' to bend as he is so deep in his guilt.
Another example of Christian teachings in the play is the idea of King Hamlet in purgatory. He tells Hamlet to 'revenge his foul and most unnatural murder’. The appearance of a ghost is a common device to get the revenger to go through with the deed. The revenger usually had a very close relationship with the audience through soliloquies and asides.
The ghost describes to Hamlet the process by which the poison murdered him which also parallels what is happening to Denmark.
The ghost explains to Hamlet the effects of the poison: ‘and in the porches of my ears did pour the leprous distilment"
Shakespeare uses many images of disease throughout ‘Hamlet.’ This imagery is an ominous sign that revenge is going to occur later in the play. The images of disease can also be perceived as 'something is rotten in the state of Denmark.’ Francisco exclaims that he is 'sick at heart', giving the play an inauspicious beginning and a clue to the remainder of the story.
There are also many visual references to death in the play, which can be expected in all revenge tragedies. In ‘Hamlet’, the references include the ghost of the late King, Hamlet’s visit to the graveyard and the skull, which he examines.
Madness is a strong theme in ‘Hamlet’, which is common to most revenge tragedies. It is caused by grief and loss and because of the burden of revenge, which results in isolation and prolonged thought. The disease of madness is shown through Ophelia and Hamlet's 'document in madness'.
In ‘Hamlet’, Imagery is used to distinguish reality from illusion and allows the audience to see a clearer version of what is occurring. The imagery constructs particular versions of reality and gives views of characters.
It can be easily understood that ‘Hamlet’ very closely follows the regular conventions for all revenge tragedies. However, it seems to differ slightly, as Shakespeare has brought complexity into both the characterisation and plot. Hamlet is a learned philosopher, who constantly dwells on the analysis of life and humanity. If we consider him as a typical avenger, we ignore these characteristics of his personality. Unlike any other revenge tragedy, the unresolved conflicts in his mind shape the foundations of the storyline.
The verse of the play can be seen in the great soliloquies, which surpass those of other revenge tragedies. The play contains many eternal themes, which are timeless and applicable to all cultures.
Although many conventions of Revenge Tragedy are obeyed, ‘Hamlet’, is unique in its own way and therefore should not be considered only as a revenge tragedy. If we do so we dismiss all aspects of Hamlet’s character, as his motives shape the story.
Bibliography
Jenkins, Harold (ed.) : Hamlet, 1982
Hamlet York Notes Advanced (2004 edition)