Now Shakespeare is able to achieve his purpose. Although many critics credit Eliot's concept of the objective correlative, some take issue with his discussion of the subject in this essay. This can be comprehensively explained through the text, as can be explained why Hamlet should be considered even partially mod. The soliloquy then continues with Hamlet wondering whether he is a coward for delaying his act of vengeance. The workmanship is not unstable.
And finally there are unexplained scenesthe Polonius-Laertes and the Polonius-Reynaldo scenesfor which there is little excuse; these scenes are not in the verse style of Kyd, and not beyond doubt in the style of Shakespeare. In a state of frenzy, he accidentally kills Polonius. Also, the behavior of Hamlet in rushing headlong against all restraints to follow a beckoning ghost; in rashly running his rapier through Polonius hiding behind the arras; in boldly boarding the pirate ship in the sea battle; and in leaping into a grave to grapple with Laertes, hardly fits the description of one with an aversion to real action. Furthermore, there are verbal parallels so close to the Spanish Tragedy as to leave no doubt that in places Shakespeare was merely revising the text of Kyd. Usually plays are intended for entertainment purposes. Others also feel that Eliot's critique of the play is too driven by his modernist views and that he takes Hamlet too much at face value. Elliot believes Hamlet is an artistic failure even though Shakespeare is arguably one of the most successful and artistically credited play writers of his time.
This comparison that Eliot produces is very weak and difficult to prove. Of the intractability there can be no doubt. When Rosencrantz and Guildenstern reach out to Hamlet, Hamlet suspects they are trying to deceive him and play him for a fool. This is quite puzzling for me. The audience enjoys the different characters reactions when the truths are revealed. And finally there are unexplained scenes—the Polonius-Laertes and the Polonius-Reynaldo scenes—for which there is little excuse; these scenes are not in the verse style of Kyd, and not beyond doubt in the style of Shakespeare. The play this looks strange.
Shakespeare here offers a double-plane of vision, the one for reflection and the other for immediate apprehension. It often occurs in adolescence: the ordinary person puts these feelings to sleep, or trims down his feeling to fit the business world; the artist keeps it alive by his ability to intensify the world to his emotions. But here the comparison ends, for though both Brutus and Hamlet reflect at length over the need to act, Brutus is able immediately to act while Hamlet is not. Hamlet appears to be friends with them but in reality he has them killed. Of all the plays it is the longest and is possibly the one on which Shakespeare spent most pains; and yet he has left in it superfluous and inconsistent scenes which even hasty revision should have noticed. Because of his postponement, not only was his own mother a victim, but he himself perished in the end. The guilt of a mother is an almost intolerable motive for drama, but it had to be maintained and emphasized to supply a psychological solution, or rather a hint of one.
They are true to their lives and their destiny. According to him, there are many superfluous and inconsistent scenes in the play and as such it lacks the unity of action. Eliot calls that Hamlet is an artistic failure. No, he did not have any children but he did have a few wives including the girl that he was in love with in college her name is Emily Hale. This short essay considers the Renaissance political theories that might have shaped Hamlet. It is thus a feeling which he cannot understand. But Eliot points out that if Shakespeare had found an objective correlative for Hamlet's internal conflict, the play would be entirely changed because the bafflement that characterizes it is a direct result of Shakespeare's shortcomings in this respect.
Also, Shakespeare does not try to conceal this meaning until the end; he actually took great pains to suggest it, right from the beginning of the play. The arguments in which T. This is most brave, That I, the son of a dear father murdered, Prompted to my revenge by heaven and hell, Must like a whore unpack my heart with words And fall a-cursing like a very drab, 6 A scullion! So if Shakespeare intends melancholy to be the reason for Hamlet's delay, he certainly does a bad job of portraying it; furthermore, he really has no message at all to deliver in the play. The tragedy follows the story of Prince Hamlet as he undergoes states of insanity, depression, and eventual death. I know, what about this: I'm a paradox, wrapped inside and enigma, wrapped inside a puzzle, that is a mystery.
We can only criticize a work of art according to certain standards by comparing it to other works of art. For Shakespeare it is less than madness and more than feigned. Eliot defines the subject matter of the play. With respect to relationships he relies heavily on his intuition to guide him. But the sober, calm, serene Hamlet is not altogether dead. Shakespeare stresses the point that Hamlet is delaying. In several ways the play is puzzling, and disquieting, as is none of the others Elliot 5.
To think that hamlet ceased to love Ophelia when he thought she had deserted or betrayed him, is this a massive blunder. Claudius, Hamlet's uncle, hastily marries Gertrude, Hamlet's mother, and more importantly they become the new king and queen. The guilt of a mother is an almost intolerable motive for drama, but it had to be maintained and emphasized to supply a psychological solution, or rather a hint of one. If Hamlet had debated the moral issue with himself, he would either conclude that it is morally acceptable, which would contradict what Shakespeare wanted to convey, or he would conclude that it is morally wrong and abandon his course of vengeance. The truth is that we might not have noticed the delay if Hamlet himself had not brought it to our attention. Similarly Horatio seems to be at one moment a stranger to Denmark, and at another reveals the cause of armourments which no other character in the play whole have done with so much facility.