In one of Shakespeare's tragedies, Hamlet, Hamlet's obsession with perfection in love and sexuality ultimately leads to his destruction.

In addition, Hamlet uses his enlightenment in love to preach to Ophelia the values of chastity. For example, Hamlet says to Ophelia, "For virtue / Cannot so inoculate our old stock but we shall relish of / It: I loved you not" (III.i.117-119) and later advising her to "get thee to a / Nunnery, go; farewell" (III.i.138-139). While it may seem as if Hamlet is denouncing his love for Ophelia, Hamlet's true intentions completely rely on warning Ophelia of iniquitous love. The words "Get thee to a / Nunnery" that Hamlet uses to show his disinterest with Ophelia also serves as advice that becoming a nun is the only way to be "as chaste as ice" (III.i.137) and free from culpable love. Hamlet acts out of sincere love for Ophelia by disregarding his love for her because he feels that their love might lead to an unscrupulous love as expressed by "why wouldst thou / be a breeder of sinners?" (III.i.122). While Hamlet's intentions are valorous, his abnegation of love to Ophelia conclusively results in first her madness shown by Laertes observation that Ophelia is a "document in madness" (IV.v.178), and later her death. Although Hamlet tries to protect Ophelia, his admonition about chastity and love ironically leads to her death.

Finally, Hamlet expels his feminine surroundings by assuming a stronger masculine identity in order to dismiss any confusion with his sexuality. This new affinity for manhood stems from Claudius’s accusation of Hamlet as “unmanly” (I.i.94) and his role in emasculating King Hamlet. In recounting the scene of his death, the Ghost explains that “the serpent that did sting thy father’s life / Now wears his crown” (I.v.39-40). Claudius strips King Hamlet of his masculinity by taking the crown, which represents “both his kingship and his genitalia” (Stone). Hence, when the ghost asks for “revenge” (I.v.25) and to “remember” (I.v.91) him, Hamlet assumes the role of an obedient son seeking revenge for his “feminized father” (Stone). This overshadowing femininity from his father leads to Hamlet’s confusion between the sexual identity of males and females as demonstrated by his reply “Farewell, dear mother” (IV.iii.51) to his uncle. Therefore, Hamlet embarks on a mission for “manly revenge” (Stone) not only to avenge his father’s death to cease the overshadowing femininity in his father’s apparition, but also to free himself from any sexual confusion by killing Claudius, who “wears the sexually ambiguous crown” (Stone). He manifests his masculinity by killing, a traditionally masculine act. Hamlet’s new volatile nature for vengeance leads to the accidental death of Polonius, and Gertrude illustrates his irrationality through her reasoning, “What a rash and bloody deed is this!” (III.iv.26). As a result, Polonius’s death triggers a reaction similar to an Anglo-Saxon term called wer-gild, where the motivation of retribution leads to constant hostilities. Thus, Hamlet’s desire for a defining masculine identity leads to the tragedy of numerous casualties.

In Hamlet, William Shakespeare shows Hamlet's obsession with perfection in love and sexuality as his ultimate destruction. While Hamlet is one play of many Shakespearean tragedies, three other types of plays exist, which are commonly known as comedies, histories, and romances.  The themes in his plays that he uses to appease his audience have also had the ability to satisfy the needs of people from present times. This general attraction has led to Shakespeare’s recognition that travels all over the world and through time. Hence, for these reasons, many critics claim that William Shakespeare is the best writer.

Works Cited

Robbins, Tom. Wisdom Quotes. [Online].  (no date).

Stone, James W. "Androgynous 'Union' and the Women in Hamlet." Shakespeare Studies 23 [Online]. (1995).

Mategrano, Terri. “Introduction to Hamlet”. Shakespeare’s Hamlet. Ed. Sidney Lamb. New York: Hungry Minds, 2000.