Death In Shakespeares Hamlet

dying In Shakespeares settlementThe Issue Of remnant In Shakespeares settlement And Its Relation To The conversion Thin major powerThe write up of demise is inseparably linked with a handed-down intellection of tragedy. Such supearned run averagennuated tactical maneuverwrights as Aeschylus, Euripides, Seneca and Sophocles utilize the subject of expiry into their dramatic cooks to reflect the essence of their own times and the berth of ancient people towards destruction. Their treatment of oddment was presented by serious and tragic elements that intensified a portrayal of verit adequate events and characters, solely the concept of death was restricted by the ancient apparitional beliefs. The spiritual rebirth gave birth to novel visions and interpretations of various issues of existence, especi tout ensembley concerning life and death. According to William Engel (2002), The decline and decay of incessantlyy individual is an old theme with many ways of bein g expressed during the rebirth (p.14). Although William Shakespeare, a famous English dramatist of the Renaissance period, constantly applies to various aspects of death in his tragedies, he goes beyond the ancient and Renaissance conception on death. Shakespeare interprets the issue of death through with(predicate) both tragic and comic elements, making an attempt to solve matchless of the most crucial issues of that era. The dramatist revives rough medieval customs associated with death and interprets them through the Renaissance vision. His idea of death is connected with both religious dogmas and atheistic values for him, death concurrently embodies everything and nonhing. The aim of this undertake is two-fold 1) to analyse the empowerment of death in Shakespeares play critical point and 2) to evaluate the concepts relation with the Renaissance view of Michel de Montaigne, Thomas More, Sir Walter Raleigh and Desiderius Erasmus Roterodamus.In Renaissance England death wa s perceived as a mysterious phenomenon that stirred up debates among Elizabethan philosophers, priests and writers (Cressy, 1997, pp.465-468). The lack of feelledge in regard to various diseases resulted in constant increase of fatality rate rates. Thus, death was regarded as a leveller that eliminated social inequality, that is, both the poor and rich could die of an incurable disorder or be murdered (Duddley, 1999, pp.277-281). Executions and mutilations were usually conducted in public and were rather popular among certain conclaves of British population. As Michael Neill (1997) puts it, death and other funerary issues constitute a crucial take up of any Elizabethan drama that is aimed at transforming individual death into a common recollection (pp.12-17). During Elizabethan ruling various funeral images and buildings were created in Britain, so that people could constantly think of their mortality (Gittins, 1984, pp.140). dying became an integral part of British existence as Nigel Llewellyn (1991) claims, Images reminding people about their own mortality were to be found in all kinds of public and private situations In early Modern England, shoemakers last always accompanied the individual on the streets or at home among the family (p.25). Thus, Renaissance literature reflects this aesthetics of death, as Neill claims (p.356). In this regard, William Shakespeares Hamlet is in addition overwhelmed with characters deaths that usually come out from revenge or deception.This is just the case with almost all headway characters of the play. For instance, Laertes, Ophelias brother, is masterfully deceived by Claudius and dies. Claudius makes Laertes avenge Hamlet who is accused of the murder of Laertes father. As Claudius claims, Laertes, was your father dear to you? / Or are you like the painting of a sorrow, / As face without heart? (Shakespeare, 1985 4.7.107-109). Although Hamlet makes an attempt to defend for Polonius death, Laertes refuses to forg ive him, because he feels fury and anger, as his sister Ophelia and his father Polonius are doomed. Laertes utilises the poison sword during the dual, just now Hamlet by the bye changes the sword and kills Laertes. Ophelias death does non fall under the category of revenge alternatively her suicide is closely connected with her sexual pronenesss towards Hamlet. As Jonathan Dollimore (1998) puts it, Death inhabits sexuality perversely, lethally, ecstatically (p.xi). As Ophelia experiences pie-eyed desires for the Prince, she implicitly wishes death. Dollimore (1998) borders that there is a close connection between sexual desires and death the Renaissance ideas on love issue that love is a changing phenomenon, and if it is so, sexual desires are excessively exposed to changes. With the passing game of love and desires a person starts to feel a desire for death. According to Dollimore (1998), For the Jacobeans, as for us, what connects death with desire is mutability the s ense that all being is governed by a ceaseless process of change indivisible from an inconsolable sense of loss (p.xii). Such a thought is consistent with a Christian dogma that human desires bring destruction and death, as is just the case with Eves desire for an apple. Claudius death also conforms to the Christian principles he is punished for his uncivilized actions and is killed by Hamlet. Claudius obsession with wealth and power results in many deaths and troubles thereforece Shakespeare reveals that Claudius deserves death. barely despite so many deaths, Shakespeares treatment of the issue of death is especially axiomatic through his portrayal of Hamlet who is presented as a person preoccupied with the idea of death and the contact of poove Hamlet. It is through these characters that the dramatist reveals his ambiguous representation of the jumper lead theme. From the very parentage Hamlet reflects a fresh idolization of death, living life as a journey toward death ( Engel, 2002, p.10) although he is panicked of the spook, he tries to get in touch with him. Initially Hamlet is anxious about death, because he does non know what awaits him after death. Hamlet reflects his anxiety in his famous soliloquy To be or non to be, where he demonstrates the controversy of the issue of death. As he claims, But that the dread of something after death, / The undiscovered country from whose bourne / No traveler returns, puzzles the will / And makes us rather bear those ills we have / Than to fly to others we know non of (Shakespeare, 1985 3.1.86-90). However, as Hamlet collides with cruelty, murders, injustice and deaths, he conditionms to form a certain unconcern towards death. In his seek of revenge, Hamlet thinks much about death and afterlife.But these attempts to revenge for his father are only a prerequisite to Hamlets thoughts of committing suicide. This obsession with death gradually drives him mad William Shakespeare demonstrates this obsessio n with implicit gibeery. For instance, when Hamlet kills Ophelias father, he is not able to remember, where he hides his body instead he starts to madly speak about the worms that eat a dead body. Shakespeare demonstrates that even Hamlets appearance shows his obsession with death he wears black clothes and looks depressed. In the graveyard scene Shakespeare intensifies Hamlets preoccupation with death, revealing Hamlets gloomy thoughts. As he claims, No, faith, not a jot precisely to follow him thither with modesty enough and likelihood to lead it as thus horse parsley died, Alexander was buried, Alexander returned into dust the dust is earth (Shakespeare, 1985 5.1.201-206). In particular, the image of the grave is shown several times passim the play to reveal the characters attitude towards death. With the exception of Hamlet, all characters demonstrate fear and pity at the cud of the grave that they associate with death. As Hamlet constantly thinks of death, he does not val ue his own life, as well as other peoples lives. As a result, Hamlet appears to be also responsible for the death of Ophelia, Claudius, Polonius, Guildenstern and Rosencrantz.Thus, Hamlets obsession transforms him from a miserable youth into a cruel murderer. However, contrary to other characters deaths that are visualised with a certain degree of irony, Hamlets death is depicted in more serious terms. From the very beginning of Shakespeares play each death seems to be blackened and is soon forgotten by other characters. For instance, Hamlet demonstrates that his fathers death is already neglected by people, although King Hamlet died only a couple of months ago. When Horatio claims, My lord, I came to see your fathers funeral, Hamlet responds I prithee, do not mock me, fellow student. I think it was to see my mothers wedding (Shakespeare, 1985 1.2.183-185). Such an ironic viewpoint reveals that even the most generous people are forgotten. The death of Polonius is also ignored by th e principal characters Ophelia and Laertes are too preoccupied with their emotions and feelings to remember their father, and Hamlet who accidentally kills Polonius expresses only some sympathetic words Thou wretched, rash, intruding fool, farewell (Shakespeare, 1985 3.4.38). Ophelias death is described in even more teetotal portrayal, as the dramatist presupposes that her death is a result of suicide and asks Is she to be buried in Christian burial, when she wilfully seeks her own salvation? (Shakespeare, 1985 3.4.38). Similar to Ophelias death, the deaths of Gertrude, Claudius, Guildenstern and Rosencrantz are able to set up only sympathy in readers. In this regard, Hamlets death stands out against a background of other deaths it evokes compliments and powerful emotions towards the character. Although Hamlet expresses irony to death throughout the play, his death is a tragedy for those who knew him.As Horatio claims, at a time cracks a noble heart. / Goodnight sweet prince. An d a flight of angels sing thee to thy rest (Shakespeare, 1985 5.2.397-398). Hamlets death is the tragedy for the upstanding country, because it has lost its noble king and can hardly find another great person. Fortinbras considers that For he was likely, had he been put upon, to have proved most royal Speak loudly for him (Shakespeare, 1985 5.2.443-446). Hamlets noble death corresponds with the ideas of death maintained by much(prenominal) a Renaissance philosopher as Michel de Montaigne (1910) who claims that death debunks the true essence of a person. According to him, a person can be very judged at his/her last moments. The similar attitude towards death is revealed by Sir Walter Raleigh who claimed that only death could provide people with real understanding of life. During his chains Raleigh demonstrated real courage and was not afraid of death. As he wrote in the latter(prenominal) to his wife, I perceive that my death was determined from the first solar day (Raleigh, 19 40, p.82). In this regard, Hamlets real self is obvious only after his death. At the end of the play Hamlet accepts his death with courage and inevitability. However, Shakespeare demonstrates that, despite Hamlets phlegm to life, he needs much time and courage to prepare himself for killing and death. As Hamlet observes numerous deaths, he becomes immune to his own fortune. He starts to perceive death with irony, realising that life has no value for him. To a certain consummation, it is Hamlets insanity that helps him to adjust to the idea of death and succeed in his revenge. As Hamlet collides with cruel reality, he seems to be mentally destroyed by it Who does it, then? His craze. Ift be so, / Hamlet is of the faction that is wrongd His madness is poor Hamlets enemy (Shakespeare, 1985 2.233-235).Simultaneously, the principal character manages to create an ironical attitude towards death that is intensified by the utilisation of Biblical and classical allusions. For instance, Ha mlets revenge resembles the classical invention of Priam and Pyrrhus when Priam kills the father of Pyrrhus, the latter decides to kill Priam in revenge. In Hamlets case the irony is explained by the repetition of the situation, but Hamlet finds it difficult to succeed in his revenge he avoids some fortunate situations and kills Claudius only at the end of the play. Another allusion is taken from the book of account when Shakespeare (1985) mentions the primal eldest curse A brothers murder (3.3.40-41), he draws a parallel between the story of Cain and Abel with the murder of King Hamlet by Claudius. Although Claudius seems to ask for forgiveness in the church, he does not really repent of his action. When Hamlet recognises the truth about his fathers death, he decides to make a play The Murder of Gonzago, where he implicitly depicts the murder of his father by King Claudius. Ironically, the play has a great impact on Hamlet who has to reverse his desire to kill Claudius and his m other Gertrude. As he states, Let not ever the soul of Nero enter this firm bosom. / Let me be firm, not unnatural. / I will speak daggers to her, but use none (Shakespeare, 1985 3.2.426-429).As Agrippina, the character of the play The Murder of Gonzago, is killed by her son Nero, Hamlet is afraid of his desire to also kill his mother. Another element of death that Shakespeare strengthens in his play is the trip the light fantastic toe of Death that is crucial for understanding the dramatists interpretation of the issue. In the Renaissance this dance was performed in the form of a carnival, during which some people disguised themselves into skeletons and guided other people into afterlife. As a humorous festivity, the Dance of Death was popular among divergent groups of people and was depicted in many dramatic works (Freedberg, 1989). The image of the Dance of Death occupies the principal place in Hamlets graveyard scene. In Hamlets conversation with the gravedigger, Shakespeare u ncovers many important issues of existence. For instance, Hamlet asks Did these bones cost no more the breeding but to play at loggets with them? Mine ache to think ont (Shakespeare, 1985 5.1.91). The Dance of Death has a great impact on Hamlet, especially when he sees the skull of his ally Yorick who occupied a position of fool in the court during his life (Triggs, 1990, pp.73-76). Hamlet realises that death is infallible for all people, as he puts it, We fat all shafts else to fat us and we fat ourselves for maggots. Your fat king and your lean beggar is but variable service two dishes but to one table (Shakespeare, 1985 4.2.21-24).But this scene also reveals that the gravedigger and Hamlet are blasphemous in their treatment of death, although to a different extent (Frye, 1979, pp.17-22). As the gravedigger prepares the grave for Ophelia, he sings songs Hamlet regards this action as awful, although his further action is more cruel. When he finds Yoricks skull, he begins to mo ck at him, simultaneously laughing at death Where be your gibes now? your gambols? your songs? your flashes of sport that wont to set the table on a roar? Not one now to mock your own grinning? Quite chapfallen? (Shakespeare, 1985 5.1.196-199). Such an ironic vision of the principal character reveals Hamlets privileged degradation Ewan Fernie (2002) considers that Hamlet involves into the depth of mortality and destruction, because he feels shame that makes him regard death in an docile and obscure manner. Hamlet thinks that the inner destruction is a necessary prerequisite of revenge, and the failure of this tragic whizz works against the illusion and the tyranny of the self (Fernie, 2002, p.225). Although death is a natural phenomenon, Shakespeare demonstrates that people imagine and pass death before they really die, as the ancient culture forms an attitude of people towards death base on suffering and purgatory. As Stephen Greenblatt (2001) puts it, by the late Middle Ages in Western Europe, Purgatory had achieved both a doctrinal and a social success (p.14). In other words, it not only concerned the religious side and the idea of existence, but was also associated with society and its attitude towards reality. In the sixteenth century there were two religious groups in Britain Catholics and Protestants the first group maintained the idea of Purgatory, while the second group opposed it.Although during the Renaissance period Protestants made everything to eliminate the principles of Purgatory, Shakespeare demonstrates that Purgatory was also closely connected with cultural beliefs of British people. In this regard, the shadow of King Hamlet confirms to the dogma of Purgatory, as he appears as a creature that suffers much because of his murder and that demands revenge. In fact, the very image of the Ghost brings up the question of death and obsessly elements, simultaneously demonstrating an ambiguous attitude of Renaissance literature towards the i ssue of death. On the one hand, on the voice of his principal character Shakespeare reveals peoples wish to communicate with dead people, but, on the other hand, he shows the wish of the dead to communicate with human beings. Thus, the Ghost in the play seems to ask not only for revenge, but also for recollection. Despite the fact that Shakespeare does not utilise the word purgatory in regard to the Ghost, the dramatist implicitly mentions that the Ghost comes back from this particular place. As Shakespeare (1985) states, Doomed for a certain term to walk the night / And for the day confined to fast in fires, / Till the foul crimes done in days of nature / are burnt and purged away (1.5.11-14).Purgatory, mystery plays and various medieval rituals were prohibited by the Church of England in the era of Reformation, destroying many important aspects of English culture. Purgatory was closely connected with the beliefs in phantoms, that is why the Church made everything to suppress the spread of these beliefs. However, Renaissance tragedy seems to revive some earlier traditions and customs associated with the dead, and Shakespeare is considered to be one of the principal Renaissance dramatists who combine medieval and Renaissance cultural traditions. Making the Ghost come back from Purgatory, Shakespeare simultaneously signifies the revival of the very concept of Purgatory, although in a changed form. In this regard, William Shakespeare resembles a famous Renaissance philosopher Desiderius Erasmus Roterodamus (1994) who also rejected many religious dogmas of Protestants and tried to revive some traditions, such as Purgatory. In his work Praise of Folly (1509) Erasmus reveals an ironical vision towards the issue of death, although he recollectd in God. According to Greenblatt (2001), Shakespeares play takes part in a cult of the dead (p.203), investigating in depth various aspects of death. Shakespeare demonstrates that Purgatory is an important mother fucker fo r preserving a connection between society and continuity, between life and death thus the rejection of the principles of Purgatory is considered by the dramatist as the destruction of the Renaissance cultural traditions. In this context, Shakespeares interpretation of the issue of death corresponds with the thinking of such conservative philosophers as More, Erasmus, Montaigne and Raleigh. In particular, Sir Thomas More in his works The Supplication of Souls (1529) and The Last Things demonstrates the richness of Purgatory for saving the ghosts and establishing relations between the quick and the dead.Thomas More also discusses the issue of death through the Seven Deadly Sins that are closely connected with Purgatory (More, 1997, pp.142-160). On the other hand, Shakespeare does not explicitly reveal his support for the issue of Purgatory. Although he challenges the Reformists rejection of Purgatory, he avoids taking one or another side. Shakespeare shows that the image of the Ghost is crucial for the Renaissance public, as Ghost stories were an integral part of British cultural traditions. Despite the fact that other Renaissance tragedies also portray the images of Ghosts, Shakespeares interpretation of the issue greatly differs from other interpretations. As Greenblatt (2001) puts it, Shakespeares ghost is presented in three different images the Ghost as a figure of false surmise, the Ghost as a figure of historys nightmare, and the Ghost as a figure of deep psychic disturbances (p.157). All these images demonstrate that Shakespeare treats the Ghost in a rather serious way, considering that it can give answers to some issues of existence, albeit the dramatist does not reveal these answers he simply points at the possibility to get these answers. The fact is that Shakespeare intentionally makes the Ghost a disputed creature, so that readers can interpret this image in their own ways.The controversy of the Ghost reflects the controversial attitude of Elizabet han society to the issue of death and afterlife. If the Ghost is thought to come back from Purgatory, then Hamlet may believe that it is the Ghost of his father who suffers much and is in search of revenge (Low, 1999, pp.463-472). However, the Ghost may also appear to come back from Hell in this regard, his aim is to turn Hamlet into insanity. William Shakespeare reveals this controversy, but he does not solve it. The issue remains open throughout the play and is change with the disappearance of the Ghost. Greenblatt (2001) even claims that purgatory exists in the imaginary universe of Hamlet and it provides many of the deep imaginative experiences, the drag longing, guilt, pity and rage evoked by More (p.252). However, the deaths of Hamlet and other principal characters of the play uncover the truth about these people. In particular, throughout the narration Hamlet pretends to have a secret, although he does not reveal it, but at the end he seems to expose his heart and all his s ecrets Thou wouldst not think how ill alls here about my heart but it is no matter It is but foolery (Shakespeare, 1985 5.2.208-211). Hamlet tries to fool other characters, but instead he fools himself, as he is not able to admit that he is also afraid of death.Analysing the treatment of death in William Shakespeares play Hamlet, the essay suggests that the play contributes much to the Renaissance debate on the issue of death. In particular, the dramatist goes beyond the ancient and Renaissance understanding of death, reviving some medieval death customs in Hamlet and challenging the traditional religious dogmas in regard to death. Introducing the image of the Ghost of King Hamlet, Shakespeare brings up the crucial issues of life and death and eliminates the suppression of the Purgatory concepts.According to the dramatist, the suppression of some earlier beliefs, such as the belief in Purgatory, destroys Renaissance culture. Shakespeares thinking cooperates with the thoughts of suc h philosophers as Erasmus, Raleigh, More and Montaigne who also demonstrate the necessity to preserve the medieval beliefs and traditions and who believe that a person reveals his true self only at death, while life is a preparation for death. However, Shakespeare avoids supporting either side of the Renaissance death debate although he revives some concepts, he does not provide an explicit answer to the controversial issue of death. In this regard, the reasons for his characters death are also different such characters as Hamlet and Laertes die because of their anger and revenge, Claudius dies because of his murderous actions, Ophelia dies as a result of her madness and sexual desires towards Hamlet, while her father Polonius and Hamlets mother die from an unintentional murder, similar to Guildenstern and Rosencrantz. Applying to these characters deaths, Shakespeare reveals both serious and ironical attitude to death that, on the one hand, reflects Renaissance preoccupation with d eath, while, on the other hand, demonstrates his own philosophical treatment of this crucial issue.ReferencesCressy, D. (1997). Burial, Marriage and Death. raw(a) York Oxford University Press.Dollimore, J. (1998). Death, Desire, and Loss in Western Culture. New York Routledge.Dudley, S. (1999). Conferring with the Dead necrophilism and Nostalgia in the Seventeenth Century. ELH 66.2, 277-294.Engel, W. E. (2002). 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