Date of publication: 2017-07-09 10:24
It is considered to be impolite not to know whom the phrase "To be or not to be" belongs to. So every person with respect for himself should be acquainted with this literary work.
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Life s but a stage, another Shakespearean character proclaims, and the playwright recognized quite well the dramatic trappings of life and the life-like elements of staged productions. Soliloquies are modern in that they break what is much later termed the fourth wall separating audience from stage the character speaks directly to the audience. Although the whole atmosphere seems patently false and theatrical, this serves to draw Hamlet somehow closer. Somehow, the effect of such metatheatrical gestures is to show not how different acting is from life, but how similar life is to acting.
On the other hand, Hamlet finds himself in a unique and traumatic situation, one which calls into question the basic truths and ideals of his life. He can no longer believe in religion, which has failed his father and doomed him to life amid miserable experience. He can no longer trust society, which is full of hypocrisy and violence, nor love, which has been poisoned by his mother&rsquo s betrayal of his father&rsquo s memory. And, finally, he cannot turn to philosophy, which cannot explain ghosts or answer his moral questions and lead him to action.
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The scene with gravediggers is a good example of tragedy mixed with comedy. The work is morbid, but the workers joke and sing as they go about their business. They seem totally unaware of the majestic tragedy unfolding itself in the castle nearby. On a smaller level, Yorick s skull embodies the tragicomic dichotomy it is a gruesome, deathly object that once belonged to a joker. There are several other comic scenes, including much of Hamlet s dialogue with Rosencrantz and Guildenstern, and most of Polonius scenes before his death. This gruesome mixture of pathos and humor is the essence of Shakespearean theater.
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