This contrasts the identification process of medieval works, in which the reader was encouraged to identify with a hero's inhuman qualities -- inhuman virtue in the case of books of chivalry. In those works the reader was called to identify himself with a god -- or even God proper -- but in Hamlet the reader is called only to identify himself with another, equally flawed man.
Finally, in the question of denouement the treatment is also renaissance; the answer, ambiguous at best. Whether Hamlet leaves Denmark improved is anyone's guess; whether anyone in this story was able to make a difference is tangential to the question. The question, it seems, is not whether Hamlet will be able to overcome his uncle, but whether he will be able to overcome himself. The treatment implies that even if a man is able to overcome himself, it may still be impossible to change anything.
Of course, a thousand pages might barely scratch the surface of the...
Characterization of Ophelia in Shakespeare's Hamlet In William Shakespeare's play Hamlet, the character of Ophelia is perhaps the most tragic, as her wishes and desires are constantly sublimated in favor of the scheming characters around her. Essentially she is used as bait for Hamlet, and when her father dies, she is left to her own madness and death (a death whose circumstances leave open the possibilities of accident or suicide). By
Shakespeare's "Hamlet" is perhaps one of the most famous and hotly debated literary artifacts ever written. However, because literary critics and historians have discussed the work so often, it is easy to forget that Shakespeare wrote his tragedy as a play to be performed in the context of an Elizabethan production, to an Elizabethan audience. It is a refreshing antidote to some of more modern textual analysis of this performed
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