fathers death. Hath made him (Hamlet) mad. Hamlet stages the Murder of Gonzago in which the actor who is playing the part of the king is murdered in the same manner that Claudius killed Hamlets father. Throughout the world, people have performed William Shakespeares plays, poems, and sonnets for over four hundred years. This speech comes in the midpoint of the main action of the play. According to this view, Hamlet is disturbed and eventually deranged by his Oedipal jealousy of the uncle who has done what, Freud claimed, all sons long to do themselves. The reasons for this is probably because of the plot that resolves around the revenge that Hamlet has against his step-father Claudius and because of the relationship that Hamlet has with his mother that is loaded with sexual energy. She tells her father that Hamlet came to her disheveled and in a shaken state of mind, speaking of horrors. In the opening description of Hamlet as bereft by the death of his father and distressed by his mothers hasty marriage, Shakespeare creates an ideal candidate to assume such a role. Hamlet ponders whether he should simply end the sorrows of his life quickly,.e.
Notably, the ghost tells Hamlet to enact his revenge in the opening scenes of the play; he seems hesitant, as if he questions death for the first time. Besides the need for taking revenge, his infatuation of Ophelia has also caused conflict. Whether or not Freud was right about this is as difficult to prove as any of the problems that Hamlet worries about, but his argument in regard to Hamlet is that Oedipus actually enacts this fantasy while Hamlet only betrays the. Other critics have taken the more conventional tack of identifying as Hamlets tragic flaw the lack of courage or moral resolution. In this timeless tragedy, despite Hamlets great nobility and knowledge, he has a tragic flaw that ultimately leads to his ironic death. Hamlet when read for it's allegorical meaning takes on a whole new meaning. The presence of two traits in the Queen's character accord with this assumption, namely her markedly sensual nature and her passionate fondness for her son. The former is indicated in too many places in the play to need specific reference, and is generally recognized. There are many conflicting ideas and theories on this subject, and hopefully this paper may be of some assistance in clearing up the confusion.
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