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Summary A level English Literature - Hamlet context - eduquas -
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A level English Literature - Hamlet context table - eduquas - literary, historical, social, political
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Context for HamletLiterary
Revenge Tragedy
- "Hamlet" belongs to the genre of Revenge Tragedies, which were popular in
Shakespeare’s day, but Hamlet is a more complex character than many Elizabethan
revengers.
- The revenge hero is usually a member of the nobility (e.g. a prince) who, in his
pursuit of revenge, must use his cunning to deceive those around him and conceal
his plans.
History of the genre
- Preconceptions conditioned by modern usage of the word ‘revenge’ may unduly
influence our readings of Renaissance plays.
- The term ‘revenge tragedy’ is a modern one. Unlike retribution, revenge has a
distinctly personal cast, implying 'the carrying out of a bitter desire to injure another
for a wrong done to oneself or to those who seem a part of oneself.'. The
Renaissance word revenge had a more extended meaning than the modern one, a
meaning more nearly equivalent to today's retribution.
- ‘Injured parties have the inalienable right to exact retribution.’ - This general set of
mind was reinforced by 'literature' - on one level by classical tragedy and epic, and
on another by contemporary novelle and a lively ballad tradition-which often
celebrated the heroes and values of the feud and due - creating a climate for revenge
tragedy.
- Philosophers such as Francis Bacon and institutions such as the Christian Church
argued revenge was morally wrong - "vengeance was God's business not man's".
- Although revenge was a criminal offence in England, bloody, Roman-style revenge
plays were very popular in London in the 1590s
Characteristics of the genre
- A tense and exciting plot, the presentation of strong passions, the creation of an
atmosphere of moral corruption, deceitful rulers, and exploitation of the theatrical
sensations that grotesque (but comically distorted) evil and violence could produce.
- Bloodthirsty deaths and inflicted injuries
- A hero already down on his luck, rather than the downfall happening during the play
- A ghost as a driving force, pushing the living into taking revenge
- A hero unable to act decisively, questioning the murder that has taken place
- A play within a play
- Madness in some form, either real or acted
- A plot made more convoluted by sexual complications
- The death(s) of the revenger(s)
- The narrative of revenge tragedies is driven by a mediaeval honour code which
allows acts of vengeance as a form of punishment.
- However, the crime at the heart of a revenge tragedy instigates a cycle of violence
which will eventually lead to the destruction of all the principal characters.
, - Hamlet conforms to the genre conventions with the bodies of King, Queen, Prince
and Laertes strewn on stage at the end of the play.
- Because all the principal characters suffer at the end of revenge tragedy narratives,
people have suggested that revenge tragedies support a Christian moral code and
State legal systems which prohibit anyone taking justice into their own hands.
- Revenge tragedies question the extent to which individuals can challenge authority,
whether the Monarch, Church or Law and, as such, reflect the changes happening in
society.
- Classic structure often relies on the conflict of blood and judgement: Exposition,
anticipation, confrontation, delay, completion
The history of tragedy
- Aristotle, Poetics, 4BC
- The tragic hero, ‘a man who enjoys prosperity and a high reputation’ and has the
potential to achieve greatness.
- Tragic hero is born into nobility, responsible to own fate, faces and accepts death
with honour, doomed by a fatal flaw, audience moved by pity for his fate, exhibits
admirable qualities, doomed to make a serious error in judgement, failing from
esteem and honourable status.
- The action of the tragedy focuses on the tragic hero’s downfall from his initial high
status, in a reversal of fortunes (peripeteia)
- This downfall is not an accident, but is brought about by hamartia - an act carried out
by the hero that sets in motion the chain of events that will lead to his death.
Hamartia is also interpreted as a ‘fatal flaw’.
- At some point before his death, the hero experiences a moment of insight
(anagnorisis) when he recognises what he has done and gains a new perspective on
the truths of human existence. This has the effect of catharsis for the audience - a
purging of emotions that draws out pity and fear.
- In Elizabethan theatre - a tragic hero has the potential for greatness but is doomed to
fail. Trapped in a situation where he cannot win. A moral victory is won, however by
their ability to perceive their own complicity and courageously accepting their fate
- Seneca’s tragedies
- Were more violent. The play within a play, a common element in Senecan drama,
adds a layer of complexity to the narrative structure. Key plot features in Hamlet -
such as the appearance of a ghost calling for revenge - originated in Senecan
tragedy.
- Bate describes the typical Senecan tragic hero as a complex figure (similar to Prince
Hamlet) who "cannot easily be labelled either a hero or a villain".
- This hero would be tormented by conflicting ideas and emotions, sharing his inner
turmoil with the audience through a series of monologues.
- Seneca’s plays also explored the philosophy of Stoicism – the belief that, as human
beings are not in control of our destiny, we must learn to control our emotional
responses and use our powers of reason to accept this fact.
- Only through control, reason and acceptance will we find happiness.
- Senecan tragic heroes fail to achieve this level of acceptance or self-control because
their emotional responses to events are too strong.
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