哈姆雷特的性格淺析

中南大學高等教育自學考試畢業(yè)論文設計論文題目哈姆雷特的性格淺析報考專業(yè)英語考生姓名文姣考籍號010309102358報考所在地湖南省長沙市工作單位湖南省外貿(mào)職院郵政編碼410114ANALYSISOFTHECHARACTEROFHAMLETBYWENJIAO010309102358MARCH10,2011HUNANFOREIGNECONOMICRELATIONSANDFOURCOMEDIESTHECOMEDYOFERRORS,THETWOGENTLEMENOFVERONA,THETAMINGOFTHESHREW,ANDLOVESLABOURSLOSTINTHESECONDPERIOD,SHAKESPEARESSTYLEANDAPPROACHBECAMEHIGHLYINDIVIDUALIZEDBYCONSTRUCTINGACOMPLEXPATTERNBETWEENDIFFERENTCHARACTERSANDBETWEENAPPEARANCEANDREALITY,SHAKESPEAREMADESUBTLECOMMENTSONAVARIETYOFHUMANFOIBLESINTHISPERIODHEWROTEFIVEHISTORIESRICHARD,KINGJOHN,HENRY,PARTSAND,ANDHENRYSIXCOMEDIESAMIDSUMMERNIGHTSDREAM,THEMERCHANTOFVENICE,MUCHADOABOUTNOTHING,ASYOULIKEIT,TWELFTHNIGHT,ANDTHEMERRYWIVESOFWINDSORANDTWOTRAGEDIESROMEOANDJULIETANDJULIUSCAESARSHAKESPEARESTHIRDPERIODINCLUDESHISGREATESTTRAGEDIESANDHISSOCALLEDDARKCOMEDIESTHETRAGEDIESOFTHISPERIODAREHAMLET,OTHELLO,KINGLEAR,MACBETH,ANTONYANDCLEOPATRA,TROILUSANDCRESSIDA,ANDCORIOLANUSTHETWOCOMEDIESAREALLSWELLTHATENDSWELLANDMEASUREFORMEASURETHELASTPERIODOFSHAKESPEARESWORKINCLUDESHISPRINCIPALROMANTICTRAGICOMEDIESPERICLES,CYMBELINE,THEWINTERSTALEANDTHETEMPESTANDHISTWOFINALPLAYSHENRYANDTHETWONOBLEKINSMEN12INTRODUCTIONABOUTHAMLETHAMLET,THEFIRSTOFTHEGREATTRAGEDIES,ISGENERALLYREGARDEDASSHAKESPEARESMOSTPOPULARPLAYONTHESTAGETHEPLAYISABOUTHAMLET,THEPRINCEOFDENMARK,WHOTRIESTOAVENGEHISFATHERSMURDERTHEPLOTOFTHETRAGEDYISLIKETHISTHEPRINCEOFDENMARKHAMLETWASOVERTAKENBYASERIESOFUNFORTUNATEANDDOMESTICMISFORTUNEWHENHEWASINWITTENBERGUNIVERSITYFORSTUDY,FATHERDEMISED,UNCLECLAUDIUSUSURPEDTHRONE,HISMOTHERREMARRIEDWITHHISUNCLEALLTHISMAKESHIMINTOAGREATPAINTHENTHEGHOSTOFHISFATHERTOLDHIMHEWASPOISONEDBYHISUNCLEHAMLETTHINKTHATHEISNOWNOTONLYFORTHEFATHEROFVENGEANCEFORHISSAKE,BUTFORTHEWHOLESOCIETYANDTHECOUNTRYSPROBLEMSHEMUSTUNDERTAKETHETASKOFREFORMINGATTRIBUTEHECONSIDEREDALLSIDESOFTHEPROBLEM,THENHEWASAFRAIDOFLEAKINGWORRY,AGAINAFRAIDTHATTHEGHOSTISFALSE,ANDAFRAIDOFFALLINGINTOTHEWRONGTRAP,HEWASUPSETANDMELANCHOLY,HADTOFOOLONOCCASIONTOCONFUSEOTHERSENEMIES,ANDWAITEDFORANOPPORTUNITYOFREVENGECLAUDIUSPERCEIVEDTHEDANGER,TRYINGTOKILLHIMHOWEVER,TOPROVETHEFACTANDTRUTHFURTHER,HAMLETINCITEDTROUPESTOPLAYTHEPARTOFADRAMAWHICHISTALKEDABOUTAMANKILLEDHISBROTHERANDUSURPEDTHETHRONE,EVENMARRIEDWITHTHESISTERINLAWCLAUDIUSREALLYFELTVERYTERRIFIEDANDWITHDRAWNINPANICHAMLETSMOTHERTRIEDTOPERSUADEHIMTOTOLERANCE,BUTCRITICIZEDBYHIMHAMLETWASENRAGEDANDHADTHEMANSLAUGHTERTOHISLOVEROPHELIASFATHERTHENCLAUDIUSSENTHAMLETTOGREATBRITAIN,WANTEDTOKILLHIMINSECRETHAMLETRANAWAYBACKTODENMARKAFTERCOMINGBACK,HEKNEWTHATHISLOVEROPHELIAWASCRAZYANDFALLAWAYFROMDROWNINGASHERFATHERDIEDANDLOVERLEFTHAMLETWASINDIGNANTANDTRAPPEDBYTHEKINGTHEKINGPLOTTEDWITHOPHELIASBROTHERJONATHANLEORATLANTISTOKILLTHEHAMLETWITHPOISONOUSSWORDANDWINEASARESULT,HAMLETANDJONATHANLEORATLANTISWASPOISONEDBYSWORD,THEQUEENWATEREDTHEPOISONOUSWINE,ANDTHEKINGWASSTABBEDTHEPRINCEHAMLETENTRUSTEDHISFRIENDSTOSPREADHISDESIREINTHEARTICLEOFDEATHTHISREVENGESTORYWASBASEDONADANISHHISTORYINTHE12THCENTURY,THEAUTHORUSESHUMANISTICPERSPECTIVE,PUTTHISSTORYWHICHISMERELYFORFATHERSREVENGE,REWRITEINTOATRAGEDYWITHDEEPREFLECTIONOFERAAPPEARANCE,ANDSTRONGANTIFEUDALCONSCIOUSNESSTHROUGHANANCIENTPALACEVENDETTASTORY,THEAUTHORLEDTHEFEUDALAUTOCRATICDYNASTYCARRIEDOUTTOREVEALTHEPRINCEHAMLET,ASAREPRESENTATIVEOFTHEHUMANIST,STRUGGLEDFORTHEFEUDALTYRANNY,GIVENENTHUSIASTICADMIRATIONANDPROFOUNDSYMPATHYTHEIMAGEOFHAMLETREPRESENTEDTHETHOUGHTSANDDESIRESOFTHEPROGRESSIVEHUMANISMITISONEOFTHETYPICALROLESINTHEWORLDFAMOUSWORKSOFLITERATURECHAPTER2ANALYZETHECHARACTEROFHAMLET21HAVINGANEMOTIONALSOULHAMLETISAVERYEMOTIONALYOUNGMANWHOSTRUGGLESTOCOPEWITHTHEDEATHOFHISBELOVEDFATHERTISNOTALONEMYINKYCLOAK,GOODMOTHER,NORCUSTOMARYSUITSOFSOLEMNBLACK,NORWINDYSUSPIRATIONOFFORCEDBREATH,NO,NORTHEFRUITFULRIVERINTHEEYE,NORTHEDEJECTEDHAVIOROFTHEVISAGE,TOGETHERWITHALLFORMS,MOODS,SHAPESOFGRIEF,THATCANDENOTEMETRULYTHESEINDEEDSEEM,FORTHEYAREACTIONSTHATAMANMIGHTPLAYBUTIHAVETHATWITHINWHICHPASSETHSHOW,THESEBUTTHETRAPPINGSANDTHESUITSOFWOEII8291HELETSITBEKNOWNTHAT,REGARDLESSOFHOWGRIEFSTRICKENHEMIGHTOUTWARDLYAPPEAR,HISAPPEARANCECANNOTHOLDACANDLETOHOWMISERABLEHEFEELSINSIDECLAUDIUS,SPEAKINGASONEWHOISINCAPABLEOFREACHINGHAMLETSDEPTHOFEMOTION,MENTIONSTHATHAMLETISTAKINGTHEMOURNINGOFHISFATHERSDEATHTOEXTREMESTOGIVETHESEMOURNINGDUTIESTOYOURFATHERBUTYOUMUSTKNOW,YOURFATHERLOSTAFATHERTHATFATHERLOST,LOSTHIS,ANDTHESURVIVORBOUNDINFILIALOBLIGATIONFORSOMETERMTODOOBSEQUIOUSSORROWIII9498THEKINGTELLSHAMLETTHATDEATHISAPARTOFTHENATURALORDEROFTHINGSANDHESHOULDGETOVERITINHISMENTALSTATE,HAMLETISGREATLYDISTURBEDBYTHEFACTTHATHISMOTHERDOESNOTSHAREHISSENSEOFPAINANDLOSSONCEHELEARNSOFTHEMURDER,HEBERATESHIMSELFFORNOT“STEPPINGUPTOTHEPLATE”ANDAVENGINGHISFATHERSDEATHHAMLETWONDERS,“HOWSTANDITHEN,/THATHAVEFATHERKILLED,AMOTHERSTAINED”IVIV5859HEISASKINGHIMSELFWHATKINDOFAPERSONHEISIFHECANALLOWHISFATHERTOBEMURDEREDANDHISMOTHERTOBEMARRIEDTOHISUNCLESOSOONAFTERHISFATHERSDEATHSHEMARRIEDO,MOSTWICKEDSPEED,TOPOSTWITHSUCHDEXTERITYTOINCESTUOUSSHEETSITISNOT,NORITCANNOTCOMETOGOODBUTBREAKMYHEART,FORIMUSTHOLDMYTONGUEIII162165HAMLETFEELSTHATTHEMARRIAGEISNOTGOOD,NORCANTHISMARRIAGEBETWEENCLAUDIUSANDGERTRUDECOMETOANYGOODHEWANTSTOEXPRESSHISTRUEFEELINGSTOHISMOTHERBUT,KNOWINGITWILLHURTHER,HEREMAINSSILENTFORTHETIMEBEINGTHISSHOWSHISDEEPEMOTIONALATTACHMENTTOHISMOTHER22DARINGANDBRAVERYTHEYOUNGPRINCEHAMLETISTHEPROTAGONISTOFTHEPLAYANDISPORTRAYEDASABRAVEANDDARINGCHARACTERTHEREAREMANYEXAMPLESOFHISFEARLESSATTITUDE,BUTTHREESTANDSOUTFROMALLTHERESTTHEFIRSTOCCURSWHENTHEGHOSTVISITSHAMLET,HORATIOANDMARCELLUSHAMLETISDETERMINEDTOMEETTHEGHOST“IFITASSUMESMYNOBLEFATHERSPERSON,ILLSPEAKTOIT,THOUGHHELLITSELFSHOULDGAPEANDBIDMEHOLDMYPEACE”III267269HAMLETINSISTSUPONSPEAKINGTOTHEGHOST,EVENTHOUGHITCOULDBEADEMONRATHERTHANHISFATHERSSPIRITTHESECONDEXAMPLEOFHISBRAVERYISILLUMINATEDWHENHEACTUALLYSEESTHEGHOSTHAMLETITWILLNOTSPEAKTHENIWILLFOLLOWITHORATIODONOT,MYLORDHAMLETWHY,WHATSHOULDBETHEFEARIIV6971THOUGHOTHERSFEARTHEGHOST,HAMLETDOESNOTANOTHERSIGNIFICANTINCIDENTTHATPORTRAYSHAMLETSDARINGCHARACTEROCCURSWHENHEARRANGESFORTHEPLAYERSTOPERFORMASLIGHTLYALTEREDVERSIONOF“THEMURDEROFGONZAGA“,HOPINGTOLEARNWHETHERORNOTTHEKINGISGUILTYOFHISFATHERSMURDER“THEPLAYSTHETHING/WHEREINILLCATCHTHECONSCIENCEOFTHEKING”IIII612613THEKINGSREACTIONTOTHEPLAYWILLDETERMINEWHATCOURSEHAMLETWILLFOLLOW,WHETHERTOCONTINUEASHEHASBEENORTODOWHATTHEAPPARITIONREQUESTEDOFHIMBRAVERYANDDARINGISTHEIMPORTANTCHARACTEROFHAMLETWITHOUTBRAVERY,HAMLETWOULDNEITHERHAVESPOKENWITHTHEGHOST,NORBAITEDTHEKINGWITH“THEMOUSETRAP,”NORSETINTOMOTIONTHESTRINGOFEVENTSLEADINGTOTHEDRAMATICCONCLUSIONWHEREINALLTHEMAJORCHARACTERSAREDEAD23SUSPICIONHAMLETWASLIVINGSMOOTHSINCECHILDHOODHEWASINTHEENVIRONMENTWITHIDENTITYANDHONOR,FAMILYHARMONYANDCONTENTMENTANDNATIONALPROSPERITYHEHADEXPERIENCEDTHESITUATIONANDBOTHARESMOOTHBUTOVERNIGHT,EVERYTHINGHEOWNEDWASATOTALLYSUBVERSIVEHISFATHERTODEATH,HISMOTHERREMARRIED,ANDKINGSHIPCHANGEDHANDS,THEFOREIGNARMYARRIVESWHATNEVERDOGGEDFORAMAJORSETBACKWITHTHEROUGHCIRCUMSTANCESOFTHEYOUNGPRINCE,NOTHINGMORETHANTHISSUDDENATTACKCHANGESTHINGSPRECISELYBECAUSEOFTHIS,THENATUREOFHAMLETSDEPRESSIONBECOMESMOREMARKED,WHILETHEPARANOIDSIDEOFHISCHARACTERWASINSPIREDFROM,ANDWORSESUCHASTHEFIRSTACT,HEDEBUT,THENTHEEVENTONEOFBARBEDSATIRICALFACEGREETINGTHENEWKINGANDQUEENKINGHAMLET,MYNEPHEW,MYCHILDRENKAZAKHSTANPROPROADD,THEMOREPROTHELESSDEARKINGWHYGLOOMSTILLENVELOPEDINYOURBODYHAMLETNO,YOURMAJESTY,IHAVETHESUNINTHESUNTOOLONGDRASTICCHANGESINTHEENVIRONMENT,BECOMEVERYSUSPICIOUSOFHAMLET,EVENASONEOFTHEHORATIOTOHELPHIMANDOTHERS,HECANNOTWHOLEHEARTEDLYTRUST“ITISSOAPIECEOFWORKHOWVALUABLEREASONHOWINFINITEPOWERINSTRUMENTSANDMANNEROFHOWTHEWHOLESIDE,HOWGOODOFACTION,HOWLIKEANANGELOFUNDERSTANDING,HOWLIKEAGODTHEUNIVERSEWAHOFALLTHINGSSPIRITHOWEVER,FORME,THISSTUFFEXTRACTEDFROMTHESOILWHATOFIT“HEREHAMLETISASARCASTICTONEOFVOICESPEAKTHESEWORDS,THISISTHESTATUSOFHAMLETSSUSPICIONOFPEOPLE,BUTALSOHAMLETREFLECTTHECONCEPTOFATIMEORDERHEWENTTOLOOKWITHSUSPICIONALLAROUNDTHEHYPOCRISYOFHUMANNATURE,THEWORLDSTATEOFYANLIANG,HEAVENSUNFAIRTHISISALSOTHETRAGEDYOFHAMLET,THEFINALOUTCOMEWASFORESHADOWING24DELAYONEOFTHEMOSTUNIQUECHARACTERSOFHAMLETISDELAYFROMTHEBEGINNINGTOEND,THISISALWAYSSHOWEDHISFATHERDIEDSUDDENLY,MOTHERMARRIEDWITHHISUNCLEALLTHISMADEHIMANGRYANDCONCERNEDHEEVENACCUSEDHISMOTHERTHAT“AH,EVILHURRY,SOCANNOTWAITTOBEQUILTGOTINTOINCEST“BUTONLYTHATIT,NOTPUTANYREALACTIONWHENHECOMPLAINEDTOHISFATHERSSPIRITS,HEWASANGRYNOTTOSELFSUSTAINING,ITSEEMSTOREVENGEIMMEDIATELY“LETMEIDEASANDLOVEDRIVINGASFASTASTHEWINGS,FLYTOTHEENEMYTOKILL“BUTHESEEMSALWAYSSEEMTOTHINKBUTNO,EVENFORAMOMENTFORGETREVENGE,LONGLASTINGBUTNOTIMPLEMENTED,BUTTOTHEENEMYINATREACHEROUSMOMENTOFDYING,TOCOMPLETEALONGCHERISHEDWISHOFREVENGEFORTHISDELAY,THENUMBEROFYEARSPEOPLEMADEAVARIETYOFEXPLANATIONSISCAUSING“UNTOLDHAMLET,“ONEOFTHEIMPORTANTREASONSGERMANPOETGOETHE,WHICHHAMLETISTOOFEMININE,IFEELTOOTHIN,BLOODYBUSINESSOFTHEPEOPLEHEKILLEDCANNOTAFFORDMENTALTHISREALLYMAKESSENSE,SAIDHAMLET,ALTHOUGHTHEEVIL,BUTHUMANITARIANFEELINGESPECIALLYHEAVY,ANYLENIENCYCOULDNOTBEARTOWITNESSPERSONALLYTHESCENEOFBLOODFLOWCAUSEDBYCORPSESTHEREFORE,HEWOULDEMPTY“ICANSWIGOFHOTBLOOD,DOESTHATDAYDIDNOTDARETOFACETHECRUELBEHAVIOR“,INIMAGINATIONTOENJOYTHEPLEASUREOFREVENGE,EVENAFTERTHEPLEASURE,BUTALWAYSAFRAIDTOTURNVISIONINTOREALITYHISERAFORTHISPURPOSE“IAMAHEARTLESS,COWARDLYRESIGNATIONOFHANIREALLYFOOLMYDEARFATHERWASMURDERED,MYSPIRITSAREURGINGREVENGE,MYSONSLIKEADOLIKEADIRTYWOMAN,ONLYTOBLOWOFFSTEAMWITHEMPTYWORDS,LEARNINGTOPLAYTHEWAYBITCHSQUALLING“BUTTHEBLAMEGOBLAME,THEBASICKNOWLEDGEANDACTIONSEEMSOUTOFTOUCHHEWASEVENTAKENAFATALISTICATTITUDETHISSTATEMENTDOESREVEALONEASPECTOFTHECHARACTEROFHAMLETENGLISHPOETCOLERIDGEBELIEVESTHATHAMLETISAMANLIVINGINCONTEMPLATION,MEDITATIONISNOTTHENATUREOFHISACTIONSEVENIFTHEINTENTOFGENERATINGACTION,BUTSOONREPLACEDBYMEDITATIONTHISISSOMEWHATTRUEHEDIDNOTWANTTHEENEMYTOKILLHIMFORPRAYER,SOGAVEUPACHANCEOFREVENGETHEREWEREEITHERWEAKPERSONALITY,ORPRIMARILYISBASEDONSOCIALETHICSOFHUMANTHOUGHTINTHEPLAY,SOLILOQUYISANATURALMEDIUM,ANECESSARYRELEASEOFHISANGUISHSOMEOFHISQUESTIONINGMONOLOGUESREVEALHISINNERCONTRADICTIONANDDELAYSUCHASTHEACTTHREESCENE，TOBE,ORNOTTOBETHATISTHEQUESTIONWHETHERTISNOBLERINTHEMINDTOSUFFERTHESLINGSANDARROWSOFOUTRAGEOUSFORTUNE,ORTOTAKEARMSAGAINSTASEAOFTROUBLES,ANDBYOPPOSINGENDTHEMTODIE,TOSLEEPNOMOREANDBYASLEEPTOSAYWEENDTHEHEARTACHEANDTHETHOUSANDNATURALSHOCKSTHATFLESHISHEIRTO,TISACONSUMMATIONDEVOUTLYTOBEWISHEDTODIE,TOSLEEPTOSLEEPPERCHANCETODREAMAY,THERESTHERUBFORINTHATSLEEPOFDEATHWHATDREAMSMAYCOMEWHENWEHAVESHUFFLEDOFFTHISMORTALCOIL,MUSTGIVEUSPAUSETHERESTHERESPECTTHATMAKESCALAMITYOFSOLONGLIFEFORWHOWOULDBEARTHEWHIPSANDSCORNSOFTIME,THOPPRESSORSWRONG,THEPROUDMANSCONTUMELY,THEPANGSOFDESPISDLOVE,THELAWSDELAY,THEINSOLENCEOFOFFICEANDTHESPURNSTHATPATIENTMERITOFTHUNWORTHYTAKES,WHENHEHIMSELFMIGHTHISQUIETUSMAKEWITHABAREBODKINWHOWOULDFARDELSBEAR,TOGRUNTANDSWEATUNDERAWEARYLIFE,BUTTHATTHEDREADOFSOMETHINGAFTERDEATHTHEUNDISCOVERDCOUNTRYFROMWHOSEBOURNNOTRAVELERRETURNS,PUZZLESTHEWILLANDMAKESUSRATHERBEARTHOSEILLSWEHAVETHANFLYTOOTHERSTHATWEKNOWNOTOFTHUSCONSCIENCEDOESMAKECOWARDSOFUSALLANDTHUSTHENATIVEHUEOFRESOLUTIONISSICKLIEDOERWITHTHEPALECASTOFTHOUGHT,ANDENTERPRISESOFGREATPITHANDMOMENTWITHTHISREGARDTHEIRCURRENTSTURNAWRY,ANDLOSETHENAMEOFACTION“TOBEORNOTTOBE,THATISTHEQUESTION”THISISAPROBLEMTHATSHOOKTHESOULFORGENERATIONSITPLAYSANIMPORTANTROLEINHAMLETSCHARACTERTHATISDELAYITISBECAUSEOFTHISISSUECANNOTMAKEACLEARANSWER,SOHAMLETHASALONGHESITATIONANDDELAYTOHISREVENGEHAMLETGETSINTOAFORKINTHEROADANDDOESNOTKNOWWHERETOBREAKIN,ONLYHESITATION,THISISNOTONLYAMANIFESTATIONOFHISTRAGICCHARACTER,ANDISDETERMINEDBYTHESOCIALENVIRONMENTCHAPTER3THEMAINREASONLEADINGTOTHEFORMATIONOFHAMLETSCHARACTERHAMLETISONLYACHARACTEROFTHENOVEL,SOHEISACOMPLEXOFTHECONTRADICTION,ANDANEPITOMEOFANERAWECANFINDTHESHADOWFROMTHEBACKGROUNDOFTIMESTOFINDTHEMAINREASONLEADINGTOTHEFORMATIONOFHAMLETSCHARACTER,WEANALYZEITFROMTHREEASPECTS31THEMARKOFTHETIMESSHAKESPEAREWASBORNINAPARTICULARERATHERENAISSANCETHEIDEOLOGYOFTHISPERIODCANBEREFLECTEDFROMTHEBODYOFHAMLETDURINGTHEPROCESSOFMODERNIZATIONINTHEWEST,SHAKESPEARECREATEDFROMTHEMIDDLEAGESTHERENAISSANCEISATRANSITIONINTOTHEMODERNHUMANISMBEGANTORISE,THEDECLININGSTATUSOFTHEOLOGY,THEVALUEOFHUMANCOGNITIONRISING,RESPECT,RESPECTFORLIFE,THEPURSUITOFUNIVERSALVALUESSUCHASATTITUDESAREBEGINNINGTOHAVEMEANINGONTHEOTHERHAND,THEFEUDALANDBACKWARDIDEASOFTHEPEOPLEARESTILLSTUBBORNLY,ITAFFECTSTHETHOUGHTANDACTIONOFPEOPLE“BIBLE“DOESNOTALLOWPERSONALREVENGE,ANDIFONETAKESTHISWAYHEWILLAPPROACHINRELATIONTOHELLMEANWHILE,ANOTHERVIEWISPOPULAR”WHENWEPIOUS,FILIALPIETYTOTHINKOFOURFATHERWEREKILLEDFORNOREASONANDOURREVENGEISJUSTICE“PERSONALREVENGEONTHETWOAREOPPOSED,WHILEAWARENESSOFTHEEXISTENCEOFDISPLAYUNIQUEPERIODOFSOCIALTRANSITIONAMBIVALENCEPEOPLEHAMLETISALSOTRUEISWAITINGFORTHEJUDGMENTOFGODWITHENDURINGTHEPRECEPTSOFRELIGION,ORCRUSADEAGAINSTINJUSTICEONEARTHWHICHKINDOFBEHAVIORMOREINKEEPINGWITHHISLOFTYIDEALSHISINNERSTRUGGLEHASALWAYSBEENIMMERSEDINTHISCONFLICT,THISNATURALCAUSEOFHISDELAYASAFEUDALPRINCE,ALTHOUGHHAMLETACCEPTEDSOMEFRESHIDEAS,HESTILLHASTHEFEUDALTHOUGHTSTHECONTRADICTIONINHAMLETSCHARACTERISACTUALLYTHINKINGOFTHESETWOSHARPCOLLISIONSTHUS,INSUCHATRANSITIONFROMTHEOLDERAOFTHERENAISSANCE,THEOLDTHEOLOGICALSYSTEMCANNOLONGERSUSTAINTHEIRPOSITION,BUTSTILLCANNOTSATISFACTORILYEXPLAINTHEIDEASOFTHISERAOBSERVATIONANDREFLECTION,DOUBTANDEXPLORATIONCOEXISTASANOTHERFEATUREOFTHISERATHISISCHARACTERISTICOFTHISERA,BUTALSOTHEQUALITYOFTHECHARACTEROFHAMLETTHESEQUALITIESMAKEHAMLETINTOACOMBUSTIONLIKEFIGURE,CONSTANTLYOBSERVINGANDTHINKING,HISMINDBECAMEMOREANDMOREDENSE,WHILEINCONSTANTDOUBTANDEXPLORATION,HEALSOTHROWNINTOCONFUSIONHEWASANGRYBUTSYMPATHETICTOHISMOTHER,HEESTABLISHEDAPIOUSFORTHESPIRITSHAVEADIFFICULTDISTRACTIONFAITHANDDOUBT,THEENDOFHISENEMYSLIFEFULLOFDESIREANDFULLOFMELANCHOLY,HEWASFORLIFE,WITHPRAISEBUTMORECASTIGATE32SOCIALFACTORSTHECRUELTYOFTHESOCIALREALITYANDDESTRUCTIONOFPERSONALIDEALSCREATEDTHECHARACTEROFHAMLETWHOLUSTSAFTERTHECONSTRAINTSOFIRRATIONALNORMSWILLHAVEINFINITEEVIL,SOCIETYWILLTENDTO“CONFUSION”INTHEEYESOFHAMLETWHOSEIDEALWASDISILLUSIONED,THEHUMANMINDISDARKANDDIRTY,THEPEOPLEINTHEBODYSENSEISUGLYCLAUDIUSISAHEINOUSEVILTHEFALLOFQUEENISALSODUETOIRRESISTIBLEPASSIONOPHELIAISNOEXCEPTION,HESAID“IFTHEEVILINTHEFIREOFHELLCOULDAMIDDLEAGEDWOMANQUEENOFTHEBONEMARROWFANNEDTHEBANK,THENTHEYOUTHINFLAMES,SOASTOMELTLIKEWAXVIRGINITYITWHENLARGESCALEATTACKCOULDNOTSTOPTHEPASSIONWHEN,NONEEDTOCALLANYSHAME,BECAUSETHEFROSTWILLAUTOMATICALLYBURNTHEFLESHOFTHESLAVESWILLDOSENSIBLYDO“OPHELIAEVENTHOUGHITLOOKED“ASCHASTEASICE,PUREASSNOW“BUT“BEAUTIFULCANBECOMECHASTESENSUALITY“INTHEFLESHWHENFORCEDTO,SHEWOULDLIKETHEQUEENAS“FRAGILE“HAMLETNOTONLYSAWTHEUGLYSOULOFOTHERS,BUTALSOKNEWTHEIROWNHEARTISDARKHESAID,“MYSINISSOMUCHTHATEVENMYTHOUGHTSAREFIT“THUS,INHISEYES,ALLOFTHEMAREFULLOFBADPEOPLE,BECAUSE“THENATUREOFVIRTUECANNOTINFLUENCEUS“,THEREFORETHEWORLDISBECAMEA“PRISON“AND“THEWASTELAND“HAMLETS“TOBEORNOTTOBE,“ISTHEINTENSEINNERSTRUGGLEANDREFLECTIONOFCRUELSOCIALREALITYPROMPTEDTHEFORMATIONOFHISCHARACTER33ENVIRONMENTALFACTORSENVIRONMENTISAPLACEWHEREPEOPLELIVE,THECONDITIONSOFACTION,THEOBJECTIVEBASISOFFORMATIONANDDEVELOPMENTOFCHARACTERTHEFORMATIONOFTYPICALCHARACTERSISINSEPARABLEFROMTHEENVIRONMENTSHAKESPEARESHEROISUSUALLYINVOLVEDINSTRONGCONTRA