Examples Of Turning Points In Hamlet

William Shakespeare's play, Hamlet, documents one character's continual development. From a hesitant youth to a ruthless revenge-seeker, there are three major turning points that propose the start of Hamlet's wicked evolution. In dealing with his father's passing, Hamlet's grief burdens him to be overwrought with emotion and causes him to contemplate the irrational, even murder. The Players' scene, Prayer scene and Closet scene all present possible key turning points for this change. Although Hamlet's sanity remains questionable throughout the play, these three scenes suggest possible points in which Hamlet becomes particularly vicious. Beginning with the vision of his father's ghost relaying the notion of his own murder by Hamlet's uncle, Claudius, Hamlet's mind becomes increasingly flooded with impulsions. The Players' scene seems to be a very critical moment that causes the greatest change in Hamlet's character. In this scene, the re-enactment of King Hamlet's alleged homicide triggers a visual reaction from Claudius, thus causing Hamlet to realize the validity of the ghost's story. Initially Hamlet has his hesitations and uncertainties of Claudius' innocence. It is after the Players' scene that Hamlet is
able to put aside his doubts and to have a clear and legitimate motive in plotting and executing his revenge. It is now that Hamlet has the "motive and the cue for passion".
He becomes so engulfed with the thought of murdering Claudius that he even begins to push away those that he loves, such as Ophelia and his mother.
Upon encountering Ophelia, Hamlet is cruel towards her and snarls at her to "go to a nunnery". Hamlet becomes paranoid and has no one to trust but Horatio. Yet, though Hamlet acts viciously towards Ophelia, it is obvious that he still loves her as he grieves for her death in the cemetery. Prior to the Players' scene, Hamlet had described himself as "pigeon livered". Following the Players' scene, Hamlet claims to be able to "drink hot blood and do such bitter business". In order to ensure the successful execution of his revenge, his attitude towards Claudius' murder becomes focused and
precise. Arguably, the Prayer scene represents another likely turning point of Hamlet's character. Hamlet fails to kill an unsuspecting Claudius, despite his prior soliloquy promising immediate action. He feels that committing such a crime against a praying and supposedly-repenting Claudius would not do his own father's murder justice. Hamlet's revenge wants to damn Claudius with the worse possible fate. He desires not only to slay Claudius' earthly body, but to be sure that Claudius' soul is damned to eternal hell by killing him during an act of sinfulness.
The Prayer scene shows the depth of Hamlet's spitefulness. Hamlet wants to be sure that his vengeance is thorough and that he harms Claudius as deeply and as greatly as he can. It is ironic that although Hamlet's intentions are to ensure Claudius' just deserts, in actuality, Hamlet loses his best chance to act against Claudius and allows Claudius more time to act against him. Hamlet's rejection of an opportune moment to kill Claudius permits following tragedies to occur.

After obliviously missing out on the most seemly moment to kill Claudius, Hamlet decides to confront his mother to "speak daggers to her". The Closet scene begins with an infuriated Hamlet obnoxiously chiding his mother for her fragility. He boldly raises the topic of how his mother had chosen Claudius, "a mildewed ear", over remaining faithful to King Hamlet, a man whom Hamlet believes was "where every god did seem to set his seal". Hamlet crosses the line and shows that he no longer has any respect for his mother. In his rage, he blindly attacks a figure behind the curtain, despite knowing that it can't possibly be Claudius. The figure happens to be an unaware and spying Polonius.
Immediately after murdering Polonius, he responds to the Queen by saying that he "knows not" what he has done. Hamlet is so shaken up by his own violence that he begins to hallucinate in the presence of his mother, believing to see his father's ghost before them. It is after the realization of his crime that Hamlet's conscience takes a juristic degeneration. The Closet scene appears to be a turning point as it demonstrates the self-acceptance and embracement of Hamlet's new "killer" status.
It is with no remorse that Hamlet sends Rosencrantz and Guildenstern to their deaths. It is even with some enthusiasm that he describes to Horatio how "they did make love to this employment". Hamlet's cruelty is well thought out and achieved to the fullest extent. Though the awareness of Rosencrantz and Guildenstern, as to why they were bringing Hamlet to England to be murdered, is unclear, Hamlet is quick and thorough in his retaliation. After Hamlet's first committed murder in the Closet scene, he is shameless to murder again.

The Players' scene seems to be the most prominent and logical turning point for Hamlet, as it represents the very foundation of his wrath and anger. Hamlet now has a reason to act as he does for the remainder of the play. Had Hamlet continued to question his uncle's innocence, it is likely that he may have never committed any murders; He may have continued to be indecisive and postponing. It is the knowledge and truth of Claudius' guilt that initiates his rampage and quest for vengeance. Ironically, it is that same truth and fanaticism that ultimately consumes his own being.
In such an emotional and complex character, it is difficult to judge a particular moment that decrees his downfall. The Players' scene arises as the most appropriate turning point as it is the first scene that Hamlet hints to his growing malice. The Prayer scene and Closet scene are also of significance, but seem to be merely a result of the Players' scene. Had the Players' scene never occurred, latter events may have never followed. In such a disturbed and wrathful person, it is possible that there may be multiple turning points.