His fourth and final major soliloquy sees him resolute to act as he realises he has no excuse now, and it also exhibits another side to Hamlet to which the audience can sympathise as we see him admire for Fortinbras for his actions, ‘Rightly to be great is not to stir without great argument’. Again he questions he hasn’t acted, ‘How stand I, then, that have a father killed, a mother stained, excitements of my reason and my blood and let all sleep?’, a full summary of what he has endured, but yet he still doesn’t answer himself. ‘Stained’ demonstrating the degree of betrayal Hamlet feels, as it indicates a permanent and visual element. The fact he never answers this probing question prompts empathy, as it appears to be eating away at him.
Shakespeare’s precise wording and plot is obscure yet it works perfectly. Our view of Hamlet becomes more and more sympathetic as the play progresses, just as directed. Yet we are never award of this manipulation, because although Shakespeare has written in such a way to ensure this empathy, as an audience we can never quite realise that Hamlet is just a character created while in flow of the play. The significant fact never registers in an audiences mind, past or present, and so our human notions to sympathise with a hero, not quite in the normal use of the word, but his ability to overcome his analytical, questioning mind to commit one deed of revenge or justice as it would today be seen, signifies a great deal of power in such a philosophical mind such as Hamlets.
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