Hamlet As A Revenge Play

Essay from the year 2013 in the subject English Language and Literature Studies - Literature, , language: English, abstract: Shakespeare was a groundbreaking pioneer in his time and wrote plays that were totally different from anything the world had ever seen before. He explored the human spirit and what happens when it is challenged. He also tested the limits of language, inventing new words and phrases. Big Willy wrote Hamlet between 1599 and 1601, and the play tells the story of Prince Hamlet. Hamlet, in particular, has a lot of "most famous" things in it. It is Shakespeare's most famous play about Shakespeare's most famous character Hamlet, and it contains Shakespeare's most famous line: "To be or not to be, that is the question." If extraterrestrials were to visit Planet Earth, we would probably put a copy of Hamlet in their welcome basket. It's that good. Now, over 400 years after William Shakespeare wrote the play, readers and audiences are still connecting with it. Here I am going to consider “Hamlet” as a revenge tragedy.

A morbid tragedy about mortality, madness, and murder, Hamlet follows the eponymous Prince of Denmark as he plots to avenge his father's murder at the hands of Claudius, Hamlet's uncle and the current king, who married Hamlet's mother, Gertrude. Haunted by a ghost and arguing with his girlfriend Ophelia, Hamlet struggles to take revenge, as delay and feigned insanity preoccupy him. Rounding out the cast are other famous figures, like Horatio, and Polonius, and of course, the Gravedigger, who finds the skull of "poor Yorick." Perhaps Shakespeare's most popular play, Hamlet.

Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Paderborn, language: English, abstract: In Elizabethan England the genre of the revenge tragedy was very popular. Many plays of this kind by several different playwrights, including William Shakespeare, were written and staged in the 16 th and 17 th centuries. The success of the genre was not only due to it’s bloody, criminal, and therefore exciting action but also to the topicality of revenge at that time. In revenge plays questions were raised which concerned the Elizabethans and which made them reflect on their own situations and attitudes. It was around 1570, that English playwrights took over the concept of the revenge tragedy from foreign authors such as Seneca. 1 However, the genre was so successful and widely spread among the English, that a new Elizabethan revenge tragedy was developed. The Spanish Tragedy by Thomas Kyd, which can be regarded as the prototype of the English revenge drama, constituted a pattern containing the basic elements of a revenge play, which a lot of contemporary authors, such as Shakespeare, are said to have followed. 2 In the following, the success of the Elizabethan revenge play will be examined with respect to the attitude towards vengeance at that time. Furthermore, the relevance of the revenge tragedies for the Elizabethan audience will be taken into consideration. Afterwards, the pattern introduced with Kyd’s The Spanish Tragedy, the Kydian formula 3 , will be depicted before it’s basic constituents will be related to Hamlet, the most famous Shakespearean tragedy, in which revenge is an important motive. [...]

An illuminating account of how Shakespeare worked through the tensions of Queen Elizabeth's England in two canon-defining plays Conspiracies and revolts simmered beneath the surface of Queen Elizabeth's reign. England was riven with tensions created by religious conflict and the prospect of dynastic crisis and regime change. In this rich, incisive account, Peter Lake reveals how in Titus Andronicus and Hamlet Shakespeare worked through a range of Tudor anxieties, including concerns about the nature of justice, resistance, and salvation. In both Hamlet and Titus the princes are faced with successions forged under questionable circumstances and they each have a choice: whether or not to resort to political violence. The unfolding action, Lake argues, is best understood in terms of contemporary debates about the legitimacy of resistance and the relation between religion and politics. Relating the plays to their broader political and polemical contexts, Lake sheds light on the nature of revenge, resistance, and religion in post-Reformation England.

As the Elizabethan era gave way to the reign of James I, England grappled with corruption within the royal court and widespread religious anxiety. Dramatists responded with morally complex plays of dark wit and violent spectacle, exploring the nature of death, the abuse of power and vigilante justice. In Kyd's The Spanish Tragedy a father failed by the Spanish court seeks his own bloody retribution for his son's murder. Shakespeare's 1603 version of Hamlet creates an avenging Prince of unique psychological depth, while Chettle's The Tragedy of Hoffman is a fascinating reworking of Hamlet's themes, probably for a rival theatre company. In Marston's Antonio's Revenge, thwarted love leads inexorably to gory reprisals and in Middleton's The Revenger's Tragedy, malcontent Vindice unleashes an escalating orgy of mayhem on a debauched Duke for his bride's murder, in a ferocious satire reflecting the mounting disillusionment of the age. Emma Smith's introduction considers the political and religious climate behind the plays and the dramatic conventions within them. This edition includes a chronology, playwrights' biographies and suggestions for further reading.

The first fully-fledged example of a revenge tragedy, the genre that became so influential in later Elizabethan and Jacobean drama, The Spanish Tragedy (1589) occupies a very special place in the history of English Renaissance drama. Hieronimo, Knight-Marshal of Spain during its war with Portugal, fails to obtain justice when his son is murdered for courting Bel-Imperia, the Duke of Castile's daughter, and decides to take justice into his own hands... This new student edition has been freshly revised by Professor Andrew Gurr to incorporate the latest stage history and critical interpretations of the play. It also appends the scenes that were added in 1602, discusses Elizabethan attitudes to revenge, the Senecan features of the play and the significance of the Anglo-Spanish conflict in the 1580s.