Hamlet's Inactivity
Hamlets Inactivity
Throughout the course of the play, one of the main contentions comes in Hamlets constant delay in enacting revenge in the face of the encouragement of "heaven of hell". However this impotence is to no fault of Hamlets, but in fact is reflective of the qualities of a man who strives for reason and meditation; one who is "noble in reason". At the commencement of the play Hamlets melancholic state prompted by the dexterity in which his mother threw herself to "incestuous sheets" deters him from revenge. Although once his melancholy is dealt with, the ideals of Hamlet become his main restraints of action, as he finds it necessary to justify the ghosts claims and Hamlets ideals of Christian humanism and his academic philosophy condemn such a base, destructive act as vengeance. However by the final acts of the play, Hamlet comes to the realization that fate is the ultimate decider as "divinity shapes our ends", deciding to be an instrument to be 'played' by providence, and therefore is able to commit himself to the role of the revenger. In this way the play of Hamlet casts its spotlight upon the growth of Hamlet, depicting a man of reason and academia transforming into a man who is capable to accept the traditional role of revenger; a pure submittal to fate. From the commencement of the play, Hamlets delay in befitting the role of revenger is reflective of his melancholic state of being. In act one scene 2, the audience is immediately informed upon Hamlets frame of mind within the first few lines of his first simile, as he states that "O, that this too too solid flesh would melt", and that to him the "uses of this world" are "weary, flat, stale and unprofitable". This melancholy is furthered developed through Hamlets first address to Rosencrantz and Guildenstern, wherein he explains his disassociation with man, stating that "man delights not" him, and that there existence is merely a "quintessence of dust". This disjoint from man fosters a
Throughout the course of the play, one of the main contentions comes in Hamlets constant delay in enacting revenge in the face of the encouragement of "heaven of hell". However this impotence is to no fault of Hamlets, but in fact is reflective of the qualities of a man who strives for reason and meditation; one who is "noble in reason". At the commencement of the play Hamlets melancholic state prompted by the dexterity in which his mother threw herself to "incestuous sheets" deters him from revenge. Although once his melancholy is dealt with, the ideals of Hamlet become his main restraints of action, as he finds it necessary to justify the ghosts claims and Hamlets ideals of Christian humanism and his academic philosophy condemn such a base, destructive act as vengeance. However by the final acts of the play, Hamlet comes to the realization that fate is the ultimate decider as "divinity shapes our ends", deciding to be an instrument to be 'played' by providence, and therefore is able to commit himself to the role of the revenger. In this way the play of Hamlet casts its spotlight upon the growth of Hamlet, depicting a man of reason and academia transforming into a man who is capable to accept the traditional role of revenger; a pure submittal to fate. From the commencement of the play, Hamlets delay in befitting the role of revenger is reflective of his melancholic state of being. In act one scene 2, the audience is immediately informed upon Hamlets frame of mind within the first few lines of his first simile, as he states that "O, that this too too solid flesh would melt", and that to him the "uses of this world" are "weary, flat, stale and unprofitable". This melancholy is furthered developed through Hamlets first address to Rosencrantz and Guildenstern, wherein he explains his disassociation with man, stating that "man delights not" him, and that there existence is merely a "quintessence of dust". This disjoint from man fosters a