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Next Section Hamlet Summary Buy Study Guide How To Cite in MLA Format Untermacher, John. Indeed, nothing sure can be said about Hamlet except that it has been a perennial occasion for brilliant minds to explore some of the unanswerable questions of human existence. Stephen Greenblatt, the editor of the Norton Edition of Shakespeare, views these interpretive attempts of Hamlet as mirrors for the interpretation within the play itself - many of the characters who have to deal with Hamlet, including Polonius, Claudius, and Rosencrantz and Guildenstern, also develop theories to explain his behavior, none of which really succeeds in doing so. Political interpretations of Hamlet also abound, in which Hamlet stands for the spirit of political resistance, or represents a challenge to a corrupt regime. However, Freud is careful to note that Hamlet represents modern man precisely because he does not kill Claudius in order to sleep with his mother, but rather kills him to revenge his father’s death. Freud points out that Hamlet's uncle has usurped his father's rightful place, and therefore has replaced his father as the man who must die. This complex is usually associated with the wish to kill one’s father and sleep with one’s mother. Austrian psychoanalyst Sigmund Freud viewed Hamlet in terms of an “Oedipus complex,” an overwhelming sexual desire for his mother. Johann Wolfgang von Goethe described him as a poet - a sensitive man who is too weak to deal with the political pressures of Denmark. His brooding, erratic nature has been analyzed by many of the most famous thinkers and artists of the past four centuries. The central reason for the play's eminence is the character of Hamlet. But Hamlet is generally considered the greatest revenge tragedy, if not the greatest tragedy, if not the greatest play, ever written. Hamlet is not Shakespeare's first revenge tragedy - that distinction belongs to Titus Andronicus, a Marlovian horror-show containing all of the elements just mentioned. Finally, revenge tragedies end up with a dramatic bloodbath in which the guilty party is horribly and often ritualistically killed. Revenge tragedies also emphasize the subjective struggle of the avenger, who often fights (or feigns) madness and generally wallows in the moral difficulties of his situation. Often in these plays the conventional means of retribution (the courts of law, generally speaking) are unavailable because of the power of the guilty person or persons, who is often noble if not royal. In all of them, some grievous insult or wrong requires vengeance. Revenge tragedies typically share a few plot points. The Spanish Tragedy was one of the first and most popular Elizabethan "revenge tragedies," a genre that Hamlet both epitomizes and complicates. The Spanish Tragedy shares many elements with Hamlet, such as a ghost seeking revenge, a secret crime, a play-within-a-play, a tortured hero who feigns madness, and a heroine who goes mad and commits suicide. Most scholars attribute it to Thomas Kyd, author of The Spanish Tragedy of 1587. Shakespeare was likely aware of Saxo's version, along with another play performed in 1589 in which a ghost apparently calls out, "Hamlet, revenge!" The 1589 play is lost, leading to much scholarly speculation as to who might have authored it. This story is on the whole more straightforward than Shakespeare’s adaptation. With his mother's active support, Amleth succeeds in killing Feng. The terrified sentinels Marcellus, Francisco, and Barnardo convince a skeptical nobleman, Horatio, to watch along with them one night. He acts the fool in order to avoid suspicion, a strategy which succeeds in making the others think him harmless. A ghost resembling the recently-deceased King of Denmark stalks the ramparts of Elsinore, Denmark’s royal castle, over the course of several nights, setting all the castle’s guardsmen on edge. Horwendil's and Gerutha's son Amleth, although still young, decides to avenge his father's murder. In it, the unscrupulous Feng kills his brother Horwendil and marries his brother's wife Gerutha. This version was later adapted into French by Francois de Belleforest in 1570. The story of the play originates in the legend of Hamlet (Amleth) as recounted in the twelfth-century Danish History, a Latin text by Saxo the Grammarian.
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