Moral Ambiguity And Humanity In William Shakespeare's Hamlet
William Shakespeare’s Hamlet is a play primarily about the protagonist’s struggle to discover absolute certainty within a world plunged into instability. While Hamlet is reflective of the ideologies and contextual values which were of integral importance within the Elizabethan period, his dramatic exploration of this struggle continues to resonate with contemporary audiences. Through the use of dramatic techniques, Shakespeare explores the moral ambiguity and uncertainty existing within the kingdom as a consequence of the disruption to the Elizabethan Chain of Being, utilising Hamlet’s contemplative character as a medium to illuminate the tension between Christian doctrine and the philosophy of Humanism that began to emerge during the Renaissance.
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After the murderer of his father is revealed, Hamlet acts slowly and precisely whilst attempting to ascertain the truth behind Claudius and his father’s “most unnatural murder”. In act 3 scene 3 Hamlet refrains from killing Claudius because the king is praying, and “so a goes to heaven” highlighting Hamlet’s conflicted internal psyche regarding his beliefs in Christian conduct or divine judgment and personal responsibility, reflecting the prevailing Elizabethan tension between the philosophy of Humanism and the Christian beliefs in divine providence. Indeed Al Bradley’s contention that “The protagonist’s downfall can be reduced to a single flaw” fails to take account of the conflicting contextual factors with which Hamlet is faced. More compelling is Al Swin Barne’s assertion that “single inner most Hamlet’s is not… hesitation but rather the strong conflux of contending forces.” Whilst an Elizabethan audience would agree with Hamlet’s plan to avenge his father, as revenge was considered a positive act of retribution, a contemporary audience empathises with Hamlet’s struggle to reconcile his conflicting beliefs and therefore understands his hesitation to murder Claudius. Additionally, in Hamlet’s soliloquy in act 4 scene 4 he reveals his focus on contemplation rather than action as he states “Oh from this time forth, /My thoughts be bloody or nothing worth” highlighting his fixation on his contemplative and conflicted thoughts rather than significant action, acting as a cause of his delay. Furthermore, through Hamlet’s contention that “the king is a thing…/Of nothing” the ideas of the Elizabethan Chain of Being and divine providence is subverted and essentially reflects Existential concerns in which an individual’s maintains the personal responsibility to dictate
After the murderer of his father is revealed, Hamlet acts slowly and precisely whilst attempting to ascertain the truth behind Claudius and his father’s “most unnatural murder”. In act 3 scene 3 Hamlet refrains from killing Claudius because the king is praying, and “so a goes to heaven” highlighting Hamlet’s conflicted internal psyche regarding his beliefs in Christian conduct or divine judgment and personal responsibility, reflecting the prevailing Elizabethan tension between the philosophy of Humanism and the Christian beliefs in divine providence. Indeed Al Bradley’s contention that “The protagonist’s downfall can be reduced to a single flaw” fails to take account of the conflicting contextual factors with which Hamlet is faced. More compelling is Al Swin Barne’s assertion that “single inner most Hamlet’s is not… hesitation but rather the strong conflux of contending forces.” Whilst an Elizabethan audience would agree with Hamlet’s plan to avenge his father, as revenge was considered a positive act of retribution, a contemporary audience empathises with Hamlet’s struggle to reconcile his conflicting beliefs and therefore understands his hesitation to murder Claudius. Additionally, in Hamlet’s soliloquy in act 4 scene 4 he reveals his focus on contemplation rather than action as he states “Oh from this time forth, /My thoughts be bloody or nothing worth” highlighting his fixation on his contemplative and conflicted thoughts rather than significant action, acting as a cause of his delay. Furthermore, through Hamlet’s contention that “the king is a thing…/Of nothing” the ideas of the Elizabethan Chain of Being and divine providence is subverted and essentially reflects Existential concerns in which an individual’s maintains the personal responsibility to dictate