Hamlet as an artisrtic failure

Hamlet" by William Shakespeare is widely regarded as one of the greatest plays in

the English language and a masterpiece of world literature. However, there have
been critics and scholars who have labeled it as an artistic failure. One notable critic
who expressed this view was T.S. Eliot, a renowned poet and literary critic.

Eliot's criticism of "Hamlet" as an artistic failure is rooted in several aspects of the

play:

Lack of Unified Tone: Eliot argued that "Hamlet" suffers from a lack of a unified tone.
The play shifts between tragedy, comedy, and philosophical introspection, making it
difficult for the audience to fully engage with a consistent emotional or thematic
experience. This fragmentation, according to Eliot, disrupts the play's artistic
integrity.

Delay in Action: One of the central elements of "Hamlet" is the protagonist's delay in
seeking revenge for his father's murder. Eliot believed that Hamlet's procrastination
was not adequately justified within the context of the play, making the character's
actions appear irrational and inconsistent.

Hamlet's Character: Eliot found Hamlet's character to be excessively introspective

and indecisive, leading to a lack of sympathy or identification with the audience. He
argued that Hamlet's excessive soliloquies and contemplations hinder the play's
dramatic progression.

Lack of Moral Purpose: Eliot believed that "Hamlet" lacked a clear moral purpose or
message. Unlike some of Shakespeare's other tragedies, such as "Macbeth" or
"Othello," where the consequences of immoral actions are more pronounced,
"Hamlet" raises moral questions without providing definitive answers.

Disconnection Between Characters: Eliot noted that there is a lack of emotional

connection between characters in "Hamlet." Relationships, such as that between
Hamlet and Ophelia, are not fully developed or emotionally resonant, contributing to
a sense of detachment in the play.

It's important to note that while T.S. Eliot criticized "Hamlet" as an artistic failure, his
views are not universally accepted. Many scholars and critics have praised the play
for its complexity, depth, and exploration of themes such as madness, revenge, and
existentialism. "Hamlet" continues to be studied, performed, and celebrated for its
enduring impact on literature and the arts.

Hamlet as a Tragic Hero.

"Hamlet" is often analyzed as a classic example of a tragic hero within the context of
literary analysis. A tragic hero is a central character in a tragedy who possesses
certain qualities and experiences a downfall as a result of a tragic flaw or error in
judgment. Here's a detailed discussion of Hamlet as a tragic hero:

Noble Birth and High Status: Hamlet is the Prince of Denmark, making him of noble
birth and high social status. His royal lineage fulfills the traditional requirement for a
tragic hero to come from a privileged background.

Hamartia (Tragic Flaw): Hamlet's tragic flaw, or hamartia, is his indecisiveness and
procrastination. He is unable to act swiftly and decisively, especially when it comes
to avenging his father's murder. This flaw ultimately leads to his downfall and the
deaths of others around him.

Hubris and Excessive Pride: While Hamlet is not characterized by excessive pride in
the way some tragic heroes are (like Oedipus in "Oedipus Rex"), his intellectual pride
and skepticism lead him to question the motives and actions of others. This
intellectual arrogance contributes to his isolation and tragic circumstances.

Reversal of Fortune: Hamlet's life takes a drastic turn for the worse. He begins as a
prince with a bright future but ends up causing the deaths of Polonius, Ophelia,
Rosencrantz, Guildenstern, Laertes, Gertrude, and ultimately, his own death. His
actions contribute to the chaos and tragedy in the play.

A Downfall and Suffering: Hamlet experiences profound suffering and torment

throughout the play. He grapples with the knowledge of his father's murder, the
betrayal of his mother, and the madness and death of Ophelia. His tragic journey is
marked by inner turmoil and emotional distress.

Recognition of Fate: Hamlet comes to recognize his tragic fate. In the famous "To be
or not to be" soliloquy, he contemplates the inevitability of death and the unfairness
of life. He is acutely aware of his tragic circumstances and the forces at play.

Catharsis: The audience experiences catharsis, a purging of emotions, through

Hamlet's tragic journey. His struggles and eventual downfall evoke feelings of pity
and fear, which are essential elements of tragic theater according to Aristotle's
definition.

Death: The tragic hero often meets a tragic death, which Hamlet certainly does. He
is fatally wounded in a duel with Laertes and poisoned by the treacherous King
Claudius. His death is a consequence of the events set in motion by his tragic flaw.

Legacy: Hamlet's story leaves a lasting impact. His tragic tale raises questions about
the human condition, justice, morality, and the consequences of inaction. It has
continued to captivate audiences and inspire countless interpretations and
adaptations over the centuries.

In summary, Hamlet exhibits many of the classic characteristics of a tragic hero,

including his noble birth, tragic flaw, reversal of fortune, suffering, recognition of fate,
and eventual death. His complex character and the moral dilemmas he faces make
him a timeless and compelling example of this archetype in literature.

Discuss importance of Play within play in Hamlet

The play within a play, often referred to as "The Mousetrap," is a pivotal and highly
significant element in William Shakespeare's "Hamlet." This theatrical device serves
several important purposes within the play:

Revealing the Guilt of Claudius: The primary purpose of "The Mousetrap" is to

confirm Hamlet's suspicions regarding his uncle Claudius's guilt in the murder of
King Hamlet. Hamlet uses the play to "catch the conscience of the king." By
reenacting a scenario that mirrors the suspected murder, Hamlet hopes to observe
Claudius's reaction, particularly if he shows signs of guilt or discomfort during the
performance. This would serve as evidence of Claudius's culpability.

Testing Claudius's Guilt: "The Mousetrap" puts Claudius in a position where he

cannot hide his guilt. When Claudius watches the play and witnesses the murder of
the king by poison—similar to how he murdered King Hamlet—he reacts strongly,
confirming Hamlet's suspicions. This moment is crucial in the plot because it
compels Claudius to take action to protect his own interests, which further escalates
the conflict.

Irony and Dramatic Tension: The play within a play adds dramatic irony to the
narrative. The audience knows that Claudius is guilty, but the characters on stage do
not. This creates tension and anticipation as the audience waits for Claudius's
reaction. The contrast between the actors' innocence and Claudius's guilt heightens
the tension.

Reflecting Themes: "The Mousetrap" reflects the broader themes of deception,

manipulation, and the corrupting influence of power that run throughout "Hamlet." It
underscores how appearances can be deceiving, as Claudius maintains a facade of
innocence while harboring dark secrets.

Character Development: The play within a play also provides insight into the
characters of Hamlet and Claudius. Hamlet's cunning and intelligence are on full
display as he orchestrates this elaborate scheme. Claudius's reaction to the play
reveals his vulnerability and guilt, which adds depth to his character.
Advancing the Plot: After the play, Hamlet's relationship with Claudius becomes even
more strained, and the conflict intensifies. Claudius's reaction leads him to take
action against Hamlet, ultimately leading to further tragic events in the play.

In summary, the play within a play in "Hamlet" serves as a pivotal plot device that
confirms Claudius's guilt, drives the conflict forward, and highlights key themes of
deception and corruption. It is a masterful example of dramatic irony and showcases
Shakespeare's skill in using theater within theater to reveal character motivations
and advance the narrative.

Important Lines

Act 1, Scene 1:

"Who's there?" (1.1)

Act 1, Scene 2:
2. "Frailty, thy name is woman!" (1.2)

"This above all: to thine own self be true." (1.3)

Act 1, Scene 5:
4. "There are more things in heaven and earth, Horatio, than are dreamt of in your
philosophy." (1.5)

Act 2, Scene 2:
5. "What a piece of work is man!" (2.2)

Act 3, Scene 1:
6. "To be or not to be, that is the question." (3.1)

Act 3, Scene 2:
7. "Speak the speech, I pray you, as I pronounced it to you." (3.2)

Act 3, Scene 4:
8. "O, speak to me no more. These words like daggers enter in mine ears." (3.4)

Act 4, Scene 7:
9. "This is the very ecstasy of love." (4.7)

Act 4, Scene 3:
10. "When sorrows come, they come not single spies, but in battalions." (4.5)

Act 4, Scene 4:
11. "What is a man, if his chief good and market of his time be but to sleep and
feed?" (4.4)

Act 4, Scene 5:
12. "There's rosemary, that's for remembrance." (4.5)

Act 5, Scene 1:
13. "Alas, poor Yorick! I knew him, Horatio, a fellow of infinite jest." (5.1)

Act 5, Scene 2:
14. "The rest is silence." (5.2)

Act 5, Scene 2:
15. "Goodnight, sweet prince, and flights of angels sing thee to thy rest!" (5.2)

Act 5, Scene 2:
16. "The play's the thing wherein I'll catch the conscience of the king." (5.2)

Act 1, Scene 2:
17. "My lord, it is too much proved that with devotion's visage and pious action we do
sugar o'er the devil himself." (1.2)

Act 1, Scene 2:
18. "A little more than kin, and less than kind." (1.2)

Act 1, Scene 2:
19. "Thrift, thrift, Horatio! The funeral baked meats did coldly furnish forth the
marriage tables." (1.2)

Act 1, Scene 3:
20. "Give me that man that is not passion's slave, and I will wear him in my heart's
core." (1.3)

Act 1, Scene 4:
21. "Something is rotten in the state of Denmark." (1.4)

Act 1, Scene 5:
22. "There's ne'er a villain dwelling in all Denmark but he's an arrant knave." (1.5)

Act 1, Scene 5:
23. "The time is out of joint. O cursed spite, that ever I was born to set it right!" (1.5)

Act 2, Scene 2:
24. "What a piece of work is man, how noble in reason, how infinite in faculties, in
form and moving, how express and admirable!" (2.2)

Act 2, Scene 2:
25. "Though this be madness, yet there is method in't." (2.2)

Act 2, Scene 2:
26. "The play's the thing wherein I'll catch the conscience of the king." (2.2)

Act 3, Scene 1:
27. "Get thee to a nunnery!" (3.1)

Act 3, Scene 1:
28. "To be or not to be, that is the question." (3.1)

Act 3, Scene 1:
29. "The lady doth protest too much, methinks." (3.2)

Act 3, Scene 2:
30. "Speak the speech, I pray you, as I pronounced it to you." (3.2)

Act 3, Scene 2:
31. "The play's the thing wherein I'll catch the conscience of the king." (3.2)

Act 3, Scene 3:
32. "O, my offence is rank, it smells to heaven." (3.3)

Act 3, Scene 4:
33. "O, speak to me no more. These words like daggers enter in mine ears." (3.4)

Act 4, Scene 1:
34. "When sorrows come, they come not single spies, but in battalions." (4.5)

Act 4, Scene 3:
35. "What is a man, if his chief good and market of his time be but to sleep and
feed?" (4.4)

Act 4, Scene 5:
36. "There's rosemary, that's for remembrance." (4.5)

Act 4, Scene 5:
37. "Let Hercules himself do what he may, the cat will mew, and the dog will have his
day." (4.5)
Act 5, Scene 1:
38. "Alas, poor Yorick! I knew him, Horatio, a fellow of infinite jest." (5.1)

Act 5, Scene 1:
39. "There's a divinity that shapes our ends, rough-hew them how we will." (5.2)

Act 5, Scene 2:
40. "The rest is silence." (5.2)

Act 5, Scene 2:
41. "Goodnight, sweet prince, and flights of angels sing thee to thy rest!" (5.2)

Act 1, Scene 2:
42. "My lord, it is too much proved that with devotion's visage and pious action we do
sugar o'er the devil himself." (1.2)

Act 1, Scene 2:
43. "A little more than kin, and less than kind." (1.2)

Act 1, Scene 2:
44. "Thrift, thrift, Horatio! The funeral baked meats did coldly furnish forth the
marriage tables." (1.2)

Act 1, Scene 3:
45. "Give me that man that is not passion's slave, and I will wear him in my heart's
core." (1.3)

Act 1, Scene 4:
46. "Something is rotten in the state of Denmark." (1.4)

Act 1, Scene 5:
47. "There's ne'er a villain dwelling in all Denmark but he's an arrant knave." (1.5)

Act 1, Scene 5:
48. "The time is out of joint. O cursed spite, that ever I was born to set it right!" (1.5)

Act 2, Scene 2:
49. "What a piece of work is man, how noble in reason, how infinite in faculties, in
form and moving, how express and admirable!" (2.2)

Act 2, Scene 2:
50. "Though this be madness, yet there is method in't." (2.2)
Act 2, Scene 2:
51. "The play's the thing wherein I'll catch the conscience of the king." (2.2)

Act 3, Scene 1:
52. "Get thee to a nunnery!" (3.1)

Act 3, Scene 1:
53. "To be or not to be, that is the question." (3.1)

Act 3, Scene 1:
54. "The lady doth protest too much, methinks." (3.2)

Act 3, Scene 2:
55. "Speak the speech, I pray you, as I pronounced it to you." (3.2)

Act 3, Scene 2:
56. "The play's the thing wherein I'll catch the conscience of the king." (3.2)

Act 3, Scene 3:
57. "O, my offence is rank, it smells to heaven." (3.3)

Act 3, Scene 4:
58. "O, speak to me no more. These words like daggers enter in mine ears." (3.4)

Act 4, Scene 1:
59. "When sorrows come, they come not single spies, but in battalions." (4.5)

Act 4, Scene 3:
60. "What is a man, if his chief good and market of his time be but to sleep and
feed?" (4.4)

These lines represent some of the most iconic and thought-provoking moments from
"Hamlet" by William Shakespeare. They touch on themes of mortality, madness,
deception, and the human condition, making "Hamlet" a timeless work of literature.