The basis of the dramatic composition of "Hamlet" by W. Shakespeare is the fate of the Danish prince. Its disclosure is constructed in such a way that each new stage of the action is accompanied by some change in Hamlet's position, his conclusions, and the tension increases all the time, right up to the final episode of the duel, ending with the death of the hero.
In terms of action, the tragedy can be divided into 5 parts.
Part 1 - the plot, five scenes of the first act. Hamlet's meeting with the Ghost, who entrusts Hamlet with the task of avenging the vile murder.
The plot of the tragedy is two motives: the physical and moral death of a person. The first is embodied in the death of his father, the second in the moral fall of Hamlet's mother. Since they were the closest and dearest people to Hamlet, with their death that spiritual breakdown occurred, when for Hamlet all life lost its meaning and value.
The second moment of the plot is the meeting of Hamlet with a ghost. From him, the prince learns that the death of his father was the work of Claudius, as the ghost says: “Murder is vile in itself; but this is more vile than all and more inhuman than all.
Part 2 - the development of the action arising from the plot. Hamlet needs to lull the king's vigilance, he pretends to be crazy. Claudius takes steps to learn about the reasons for this behavior. The result is the death of Polonius, father of Ophelia, the beloved of the prince.
Part 3 - the climax, called the "mousetrap": a) Hamlet is finally convinced of the guilt of Claudius; b) Claudius himself is aware that his secret has been revealed; c) Hamlet opens his eyes to Gertrude.
The culmination of this part of the tragedy and, perhaps, of the whole drama as a whole is the episode "scene on stage". The accidental appearance of actors is used by Hamlet to put on a performance depicting a murder similar to that committed by Claudius. Circumstances favor Hamlet. He gets the opportunity to bring the king to such a state when he will be forced to betray himself by word or behavior, and this will happen in the presence of the whole court. It is here that Hamlet reveals his intention in the monologue that concludes Act II, at the same time explaining why he has so far hesitated:
4th part: a) sending Hamlet to England; b) the arrival of Fortinbras in Poland; c) Ophelia's madness; d) death of Ophelia; e) conspiracy of the king with Laertes.
Part 5 - denouement. Duel of Hamlet and Laertes, Death of Gertrude, Claudius, Laertes, Hamlet.
MONOLOGUE
Behavior, actions of Hamlet, his thoughts - the search for answers to these questions. His thoughts about the meaning of life and doubts about the correctness of the chosen actions were reflected primarily in monologues, especially in the monologue of the third act "To be or not to be?" The answer to this question revealed the essence of Hamlet's tragedy - the tragedy of a person who came into this world too early and saw all its imperfections. This is a tragedy of the mind. A mind that decides for itself the main problem: whether to fight the sea of evil or avoid the fight? Rise up "on the sea of troubles" and slay them, or submit to the "slings and arrows of a furious fate"? Hamlet must choose one of two possibilities. And at this moment, the hero, as before, doubts: is it worth fighting for a life that "produces only evil"? Or give up the fight?
Hamlet is worried about "the unknown after death, the fear of a country from which no one has ever returned." And therefore, probably, he cannot "calculate himself with a simple dagger", that is, commit suicide. Hamlet is aware of his impotence, but cannot part with his life, for the task lies with him to avenge his father, restore the truth, punish evil. However, such a decision requires action from Hamlet. But reflection and doubt paralyze his will.
And yet Hamlet decides to go to the end. The choice is made - "to be!" To be the fight against evil, hypocrisy, deceit, betrayal. Hamlet dies, but before his death he thinks about life, about the future of his kingdom.
Monologue "To be or not to be?" reveals to us the soul of a hero who is unreasonably hard in the world of lies, evil, deceit, villainy, but who, nevertheless, has not lost the ability to act. Therefore, this monologue is really the highest point of Hamlet's thoughts and doubts.
Tragedies of Shakespeare. Features of the conflict in the tragedies of Shakespeare (King Lear, Macbeth). Shakespeare wrote tragedies from the beginning of his literary career. One of his first plays was the Roman tragedy "Titus Andronicus", a few years later the play "Romeo and Juliet" appeared. However, Shakespeare's most famous tragedies were written during the seven years of 1601-1608. During this period, four great tragedies were created - Hamlet, Othello, King Lear and Macbeth, as well as Antony and Cleopatra and lesser-known plays - Timon of Athens and Troilus and Cressida. Many researchers associated these plays with the Aristotelian principles of the genre: the main character must be an outstanding person, but not without vice, and the audience must feel certain sympathy for him. All tragic protagonists in Shakespeare have the capacity for both good and evil. The playwright follows the doctrine of free will: the (anti)hero is always given the opportunity to get out of the situation and atone for sins. However, he does not notice this opportunity and goes towards fate.
The tragedy "King Lear" is one of the most profound socio-psychological works of world drama. It uses several sources: the legend of the fate of the British King Lear, told by Holinshed in the "Chronicles of England, Scotland and Ireland" according to earlier sources, the story of old Gloucester and his two sons in Philip Sidney's pastoral novel "Arcadia", some moments in Edmund's poem Spencer's The Faerie Queene. The plot was known to the English audience, because there was a pre-Shakespearean play "The True Chronicle of King Leir and his three daughters", where everything ended happily. In Shakespeare's tragedy, the story of ungrateful and cruel children served as the basis for a psychological, social and philosophical tragedy that paints a picture of injustice, cruelty, and greed prevailing in society. The theme of the anti-hero (Lear) and the conflict are closely intertwined in this tragedy. A literary text without conflict is boring and uninteresting to the reader, respectively, without an anti-hero and a hero is not a hero. Any work of art contains a conflict of "good" and "evil", where "good" is true. The same should be said about the significance of the anti-hero in the work. A feature of the conflict in this play is its scale. K. from a family develops into a state and already covers two kingdoms.
W. Shakespeare creates the tragedy "Macbeth", the main character of which is such a person. The tragedy was written in 1606. "Macbeth" is the shortest of Shakespeare's tragedies - it contains only 1993 lines. Its plot is taken from the History of Britain. But its brevity did not in the least affect the artistic and compositional merits of the tragedy. In this work, the author raises the issue of the destructive influence of sole power and, in particular, the struggle for power, which turns the brave Macbeth, a valiant and illustrious hero, into a villain hated by everyone. Even stronger sounds in this tragedy by W. Shakespeare, his constant theme - the theme of just retribution. Just retribution falls on criminals and villains - a mandatory law of Shakespeare's drama, a kind of manifestation of his optimism. Its best heroes die often, but villains and criminals always die. In "Macbeth" this law is shown especially brightly. W. Shakespeare in all his works pays special attention to the analysis of both man and society - separately, and in their direct interaction. “He analyzes the sensual and spiritual nature of man, the interaction and struggle of feelings, the diverse mental states of a person in their movements and transitions, the emergence and development of affects and their destructive power. W. Shakespeare focuses on the critical and crisis states of consciousness, on the causes of the spiritual crisis, the causes of external and internal, subjective and objective. And it is precisely such an internal conflict of a person that constitutes the main theme of the tragedy Macbeth.
Tragedy "Romeo and Juliet" (1595). The plot of this tragedy was widely spread in the Italian novelistics of the Renaissance. Particularly famous was Bandello's short story ("Romeo and Juliet. All kinds of misadventures and the sad death of two lovers") and its processing by Arthur Brooke in the poem "The Tragic Story of Romeus and Juliet", which served as a source for Shakespeare.
The events of the play unfold in the city of Verona, which is overshadowed by the long-standing enmity of two influential families: the Montagues and the Capulets. At the Romeo Ball, Montague first saw the young Juliet Capulet and fell in love with her passionately. The monk Lorenzo secretly crowns them, hoping that this marriage will end the protracted enmity between the two families. Meanwhile, in revenge for the death of his closest friend, the merry Mercutio, Romeo kills the frantic Tybalt. He is sentenced to exile, and Juliet's parents decide to marry her to Count Paris. Lorenzo persuades Juliet to drink a sleeping pill that will temporarily create the appearance of her death. Mistaking the sleeping Juliet for the deceased, Romeo drinks the poison and dies. Awakened from a dream, Juliet finds her beloved husband dead and stabs him with a dagger.
The leading theme of "Romeo and Juliet" is the love of young people. One of the conquests of the European culture of the Renaissance was just a very high idea of human love.
Romeo and Juliet under Shakespeare's pen turn into true heroes. Romeo is ardent, brave, smart, kind, ready to forget about the old enmity, but for the sake of a friend enters into a duel. Juliet's character is more complex. The death of Tybalt, and then the courtship of Paris put her in a difficult position. She has to dissemble, pretend to be a submissive daughter. Lorenzo's bold plan scares her, but love removes all doubts.
Near Romeo and Juliet, a number of colorful figures appear in the tragedy: the lively nurse, the learned monk Lorenzo, the witty Mercutio, Tybalt, personifying the protracted turmoil, etc. And the story of Romeo and Juliet is sad, but this sadness is light. After all, the death of young people is a triumph of their love, stopping the bloody feud that has crippled the life of Verona for many decades.
"Othello" (1604). The love of the Venetian Moor Othello and the daughter of the Venetian senator Desdemona forms the plot basis of the play. Othello, believing Iago's slander, raises his hand against an innocent woman. Knowing well that the Moor is by nature a man of a free and open soul, Iago builds his low and vile plan on this. The world of Othello and Desdemona is the world of sincere human feelings, the world of Iago is the world of Venetian selfishness, hypocrisy, cold prudence. For Othello, the loss of faith in Desdemona meant the loss of faith in man. But the murder of Desdemona is not so much an explosion of dark passions as an act of justice. Othello avenges both desecrated love and the world that has lost harmony.
In this respect, it is interesting to compare Shakespeare's tragedy with Geraldi Cinthio's short story The Moor of Venice. This is the usual bloody short story about an unbridled Moor, who, due to bestial jealousy, with the help of a lieutenant, kills Disdemona and even under torture does not confess to the crime committed. Shakespeare's tragedy is written in a completely different vein. In it, Othello was able to arouse the love of the educated and intelligent Desdemona.
In the second period of creativity (1601-1608), Shakespeare, whose consciousness was shaken by the collapse of humanistic dreams, creates the most profound works that reveal the contradictions of the era. Shakespeare's faith in life is being seriously tested, and pessimistic moods are growing in him. Shakespeare's most famous tragedies belong to this period: "Hamlet", "Othello", "King Lear", "Macbeth".
His tragedies address such essential problems of the Renaissance as the freedom of the individual and freedom of feelings, the right to choose, which has to be won in the fight against the views of feudal society. The essence of tragedy in Shakespeare always lies in the clash of two principles - humanistic feelings, that is, pure and noble humanity, and vulgarity or meanness, based on selfishness and selfishness. “Like its hero, a sharply defined personality with its own special, personal character of the whole, not easily formed “internal form”, poetically fitting only for the subject (theme, plot) of this play, its spirit. Shakespeare's tragedies, therefore, are alien to a deliberately given external structure. Pinsky L.E. Shakespeare. Basic principles of dramaturgy. (from 99)
џ Shakespeare's tragedies are social tragedies. Unlike his comedies (where the hero is guided by his feelings), the hero here acts according to the code of honor, according to human dignity.
џ In Shakespeare's tragedies, the hero's past is completely unknown or known only in general terms, it is not a determining factor in the fate of the hero (for example, Hamlet, Othello).
џ The basis of the concept of Shakespeare's tragedies is the understanding of man as the creator, the creator of his own destiny. This concept was characteristic of the literature and art of the Renaissance.
"Hamlet"
The tragedy "Hamlet" was created by Shakespeare in 1601, at the beginning of the second period of his work and during the crisis of the Renaissance - when Giordano Bruno was burned at the stake, the great scientist Galileo Galilei was hidden in prison, the humanist and scientist who discovered the pulmonary circulation was burned by John Calvin Michael Servet, the witch hunt has begun. Shakespeare captured the tragic disappointment in people in the power and goodness of reason. He sang this mind in the face of his hero - Hamlet.
The plot of the tragedy is borrowed from an ancient legend written down in the 13th century by the Danish historian Saxo Grammatik. It is believed that Shakespeare also used the now lost play Hamlet by Thomas Kidd, which was staged in London in the 1680s and dedicated to the theme of sons' revenge for the murder of their father. However, all this does not detract from the originality of Shakespeare's work and the characters he created. The playwright's ancient plot is saturated with social and philosophical content.
“The basis of the dramatic composition is the fate of the Danish prince. Its disclosure is constructed in such a way that each new stage of the action is accompanied by some change in the position or mindset of Hamlet, and the tension increases all the time until the final episode of the duel, ending with the death of the hero. The tension of the action is created, on the one hand, by the expectation of what the hero's next step will be, and, on the other hand, by the complications that arise in his fate and relationships with other characters. As the action develops, the dramatic knot becomes more and more aggravated all the time. Anikst A.A. Creativity of Shakespeare. (p120)
Hamlet is a man of remarkable abilities, brave, erudite, capable of a philosophical analysis of reality. He lived like all the young people of his circle lived. He had a father whom he respected and a mother whom he loved. He is characterized by an exalted idea of the purpose of a person, his soul is filled with a thirst for purity and nobility in human relations.
The death of his father serves as a turning point in the mind of the hero - the world opens up to his eyes with all its tragedy and evil. Hamlet treats the murder of his father not only as a personal loss, he understands that the source of this crime is in the criminal nature of society. The royal court with its depravity embodies for him the whole system of world evil. In this tragedy, Shakespeare is concerned about the problem of the collision of the humane personality with the community and the fate of humanism itself in an inhumane world. Hamlet's question is famous: "To be or not to be - that is the question?". He is concerned about the question of how to behave in relation to universal evil. In his monologue, he speaks to all mankind. There are two ways - to come to terms with evil as an inevitable element of being, to give in to it, or, defying all dangers, to come out in the fight against evil. Hamlet chose the second path. But he always postpones the accomplishment of revenge, since it can in no way contribute to the remaking of the world and all of humanity. This circumstance leads the hero to deep melancholy.
In "Hamlet" the moral torment of a person called to action, thirsty for action, but acting impulsively, only under the pressure of circumstances, is revealed; experiencing discord between thought and will
Shakespeare's play is an encyclopedia of wisdom. In each of its lines, the mind and knowledge of life are revealed. The instructions of Polonius Laertes, who is leaving for France, are instructions for all people and all times, they should be followed not only by an aristocrat by birth, but also by an aristocrat by spirit.
Despite the gloomy ending, there is no hopeless pessimism in Shakespeare's tragedy. Creating various aspects of reality, Shakespeare does not lose faith in the triumph of goodness and justice. That is why Hamlet turns to his friend Horatio with a request to tell people his story so that future generations can understand the reasons for his weakness and his tragedy. This gives Shakespeare's tragedy the significance of a work that is relevant at all times.
Tragedy Hamlet. The tragedy Hamlet, written in 1601, is one of Shakespeare's most brilliant creations. In it, under the allegorical image of "rotten" medieval Denmark, England was meant in the 16th century, when bourgeois relations, replacing feudal ones, destroyed the old concepts of honor, justice, and duty. The humanists, who opposed the feudal oppression of the individual and believed in the possibility of re-liberation from any oppression, were now convinced that the bourgeois way of life does not bring the desired liberation, infects people with new vices, gives rise to self-interest, hypocrisy, lies. With amazing depth, the playwright reveals the state of people experiencing the breaking of the old and the formation of new, but far from ideal forms of life, shows how they perceive the collapse of hopes.
The plot of Hamlet written at the end of the 12th century. Saxopus Grammaticus in his History of Denmark. This ancient Jutlandic legend has been repeatedly subjected to literary processing by authors from different countries. A decade and a half before Shakespeare, his talented contemporary Thomas Kpd turned to her, but his tragedy has not been preserved. Shakespeare filled the plot familiar to the audience with a sharp topical meaning, and the "tragedy of revenge" acquired a sharp social sound under his pen.
In Shakespeare's tragedy we are talking about power and tyranny, the greatness and meanness of a person, about duty and honor, about loyalty and revenge, questions of morality and art are touched upon. Prince Hamlet is noble, smart, honest, truthful. He indulged in the sciences, appreciated the arts, loved the theater, was fond of fencing. A conversation with the actors testifies to his good taste and poetic gift. A special property of Hamlet's mind was the ability to analyze life phenomena and make philosophical generalizations and conclusions. All these qualities, according to the prince, were possessed by his father, who "was a man in the full sense of the word." And in it he saw that perfect harmony of the spirit, "where each god pressed his seal to give the universe the image of a man." Justice, reason, fidelity to duty, concern for subjects - these are the features of the one who "was the true king." This is what Hamlet was preparing to become.
But in the life of Hamlet, events occur that opened his eyes to how far from perfection the world around him is. How much in it is apparent, and not true well-being. This is the content of the tragedy.
Suddenly his father died in the prime of his life. Hamlet hurries to Elsinore to comfort the Queen Mother in grief. However, not even two months have passed, and the mother, in whom he saw an example of female purity, love, marital fidelity, "and did not wear out the shoes in which she went behind the coffin," becomes the wife of the new monarch - Claudius, brother of the deceased king. Mourning is forgotten. The new king feasts, and volleys announce that he has drained another cup. All this haunts Hamlet. He mourns for his father. He is ashamed of his uncle and mother: "Stupid revelry to the west and east shames us among other peoples." Anxiety, anxiety is felt already in the first scenes of the tragedy. “Something is rotten in the Danish state.”
Appearing ghost father confides to Hamlet a secret about which he vaguely guessed: the father was killed by the envious and treacherous Claudius, pouring deadly poison into the ear of his sleeping brother. He took both the throne and the queen from him. The ghost calls for revenge. Envy, meanness, lies and filth in people close to him shocked Hamlet, plunged him into a severe spiritual despondency, which those around him perceive as madness. When the prince realized this, he used his apparent madness as a means to lull Claudius's suspicions and figure out what was happening. Under the circumstances, the prince is very lonely. Guildenstern and Rosencrantz turned out to be spies assigned by the king, and the astute young man very soon figured this out.
Having comprehended the true state of things, Hamlet comes to the conclusion: in order to correct the vicious age, it is not enough to fight with one villain Claudius. Now he perceives the words of the ghost that called for revenge as a call to punish evil in general. “The world has been shaken, and the worst thing is that I was born to restore it,” he concludes. But how to fulfill this most difficult mission? And will he be up to the task? In the struggle, he even faces the question of “to be or not to be,” that is, is it worth living if it is impossible to overcome the dark forces of the age, but it is also impossible to put up with them. Exploring the psychological state of the hero, V. G. Belinsky notes two conflicts experienced by the prince: external and internal.
The first is the clash of his nobility with the meanness of Claudius and the Danish court, the second - in a mental struggle with himself. “The terrible discovery of the secret of his father’s death, instead of filling Hamlet with one feeling, one thought - the feeling and thought of revenge, ready for a minute to be realized in action - this discovery made him not go out of himself, but withdraw into himself and concentrate in his insides. spirit, aroused in him questions about life and death, time and eternity, duty and weakness of will, drew his attention to his own personality, its insignificance and shameful impotence, gave birth to hatred and contempt for himself.
Other On the contrary, they consider the prince to be a strong-willed, stubborn, decisive, purposeful person. “The reasons for such a sharp disagreement in determining the dominant features of that character,” writes Ukrainian researcher A. Z. Kotopko, “in our opinion, lie primarily in the fact that Shakespeare’s characters, in particular Hamlet, are characterized by a multifaceted character. As a realist artist, Shakespeare possessed an amazing ability to bring together the opposite sides of the human character - its general and individual, socio-historical and moral and psychological features, reflecting in this the contradictions of social life. And further: “Doubts, hesitations, reflections, slowness of Hamlet are doubts, hesitations, reflections of a resolute, brave man. When
href="http://www.school-essays.info/">Hamlet
convinced of the guilt of Claudius, this decisiveness is already manifested in his actions.
1) The story of the plot of "Hamlet" and "King Lear". The prototype is Prince Amlet (the name is known from the Icelandic sagas of Snorri Sturluson). 1 lit. a monument in which this plot is - "History of the Danes" by Saxo Grammar (1200). Differences of the plot from “G”: the murder of King Gorvendil by brother Fengon takes place openly, at a feast, before that F. had nothing with Queen Gerutha. Amlet takes revenge in this way: returning from England (see Hamlet) for a feast on the occasion of his own death (everyone thought that he was killed), he makes everyone drunk, covers them with a carpet, nailed him to the floor and set fire to it. Gerutha blesses him, because she repented that she married F. In 1576, fr. writer François Belforet published this story in French. language. Changes: The connection between F. and Gerutha before the murder, the strengthening of the role of Gerutha as an assistant in the cause of revenge.
Then (before 1589) another play was written, which reached, but the author did not reach (most likely it was Thomas Kidd, from whom the “Spanish Tragedy” remained). The tragedy of bloody revenge, the ancestor of which was just Kid. Secret assassination of the king, reported by a ghost. + motive of love. The intrigues of the villain, directed against the noble avenger, turn against himself. Sh. left the whole plot.
From tragedy "Hamlet" (1601) a new stage in Shakespeare's creative development begins. W. lost faith in the ideal monarch. He reflected on the disorder of the world, on the tragedy of a person living in a transitional era, when "the connection of times broke up" and "time dislocated the joints." The world of Elizabethan England was fading into the past, replaced by the world of cynical predators, making their way through crimes, regardless of morality. Time moved inexorably. And the heroes of Shakespeare's tragedies cannot stop him. Hamlet cannot correct "time that has come out of the joints."
The tragic consciousness of the playwright reaches its culmination in the play "G". Dramatic events unfold behind the heavy stone walls of the royal castle in Elsinore. Plot tragedy goes back to the medieval legend of the Danish prince Hamlet, who avenges the treacherous murder of his father. (…) But Shakespeare's Hamlet- a complex personality, deeply thinking, striving to understand people's lives. The conflict between the humanist Hamlet and the immoral world of Claudius, who is so unlike his brother, Hamlet's father. From a ghost, young Hamlet learned that his father was killed while sleeping by his brother Claudius, who seized the Danish throne and married the widow of the murdered Gertrude, Hamlet's mother. Endowed with insight and an all-encompassing mind, Hamlet sees in this single event a disturbing sign of the times. Elsinore became a reserve of hypocrisy, deceit, evil. Hamlet calls Denmark a prison. Crimes, lies, hypocrisy, reigning in Elsinore, G. perceives as the state of the whole world. An insightful person, Hamlet feels his tragic loneliness. His beloved mother became the wife of the main villain, dear Ophelia does not find the strength to resist the will of her father, childhood friends Rosencrantz and Guildenstern are ready to serve the tyrant, only Horatio is faithful to Hamlet and understands him.
Hamlet is a man of the new time, a man of thought. Reflection is his natural need. His disappointment is deep. He reproaches himself for inaction and despises himself for not knowing what to do. In the famous monologue "To be or not to be" Hamlet seems to settle scores with his own thought. The eternal question, Reconcile or fight? G does not want and cannot submit to evil. He is ready to fight, although he knows that he will die. He doubts the effectiveness of those methods of struggle that the cat can use, doubting - hesitating; thinking, it is inactive (thus thinking makes us cowards). Suicide is not an option, it will not destroy evil. He hesitates, because he wants to make sure and convince everyone of the guilt of Claudius. The arrival of wandering actors in Elsinore helps him find out the truth. Hamlet instructs the actors to play the play "The Murder of Gonzago", in which the circumstances in detail resemble the murder of Hamlet's father. Claudius can't stand it and leaves the auditorium in agitation. Now Hamlet knows for sure that Claudius is a murderer. To mislead him, Hamlet puts on the guise of a madman. It's easier to tell the truth. His ideal is a beautiful human personality, although “not a single person pleases me” in Elsinore.
An important role in the development of the plot is tragic accidents. In the finale, there are especially many of them: they accidentally change rapiers, a glass with a poisoned drink accidentally falls into the queen. The tragic outcome is approaching with inevitability. As a heroic personality, Hamlet manifests himself in the finale. At the cost of his life, he affirms the truth, he is ready for it. Before his death, he asks Horatio to reveal to the world the cause of the tragic events, the truth about the Prince of Denmark.
A fatal blow strikes Claudius when he, full of deceit, is ready to commit a new villainy. At the end of the tragedy, the young Norwegian prince Fortinbras orders military honors to be given to the deceased Hamlet. Hamlet is a hero. Only for the viewer, he is no longer the hero of an old legend, who lived back in pagan times, but a hero of the new time, educated, intelligent, who rose to fight against the dark kingdom of selfishness and deceit.
The text of the tragedy expresses thoughts close to Shakespeare himself about art and its tasks. In a conversation with actors, G talks about art as a reflection of life.
Tragedy has been addressed at all times and the hero has been interpreted in different ways. Goethe: the weakness of the will of Hamlet. Belinsky: G is by nature a strong personality, the fact that he does not kill his father is the greatness of his spirit. Contradiction m / ideals G and reality. Turgenev: G is an egoist and a skeptic, he doubts everything, does not believe in anything; procrastination is weakness, not greatness. You can't love him because he doesn't love himself. Intransigence with evil.
The main conflict is the violation of harmony and the desire to restore it.
2) The history of the study of the tragedy "G". At the expense of G. there were 2 concepts - subjectivist and objectivist. Subjectivist t.z.: Thomas Hammer in the 18th century. was the first to draw attention to G.'s slowness, but said that G. was bold and resolute, but if he had acted immediately, there would have been no play. Objectivist tz: They believed that G. does not take revenge, but creates retribution, and for this it is necessary that everything looks fair, otherwise G. will kill justice itself: “The century has been shaken - And the worst thing is that I was born to restore it.” That is, he administers the highest court, and not just takes revenge.
Another concept: the problem of G. is connected with the problem of interpreting time. A sharp shift in chronological perspective: the clash of the heroic time and the time of the absolutist courts. The symbols are King Hamlet and King Claudius. Both of them are characterized by Hamlet - "the chivalrous king of exploits" and "the smiling king of intrigues." 2 fights: King Hamlet and the Norwegian king (in the spirit of the epic, “honor and law”), 2 – Prince Hamlet and Laertes in the spirit of the policy of secret murders. When G. finds himself in the face of irreversible time, Hamletism begins.
4) The image of the protagonist. The hero is a highly significant and interesting nature. The tragic situation is his lot. The protagonist is endowed with a “fatal” nature, rushing against fate. Everyone, except G., starts with illusions, he has illusions in the past. For him, the tragedy of knowledge, for others - knowledge.
5) The image of the antagonist. Antagonists are various interpretations of the concept of "valor". Claudius - The energy of the mind and will, the ability to adapt to circumstances. Strives to “seem” (imaginary love for the nephew).
7) Features of the composition. Hamlet: the plot is a conversation with a ghost. The climax is the “mousetrap” scene (“The Killing of Gonzago”). The connection is understandable.
8) The motive of madness and the motive of life-theatre. For G. and L. madness is the highest wisdom. They in madness understand the essence of the world. True, G.'s madness is fake, L.'s is real. The image of the theater world conveys Shakespeare's view of life. This is also manifested in the vocabulary of the characters: “scene”, “jester”, “actor” are not just metaphors, but words-images-ideas (“My mind had not yet composed a prologue, when I started the game” - Hamlet, V, 2, etc.). d.). The tragedy of the hero is that he has to play, but the hero does not want to, but is forced (Hamlet). This polysemic image expresses the humiliation of a person by life, the lack of freedom of the individual in a society unworthy of a person. Hamlet's words: "The goal of acting was and is - to hold, as it were, a mirror in front of nature, to show its likeness and imprint to every time and class" - has a retroactive effect: life is acting, the theatricality of art is a small resemblance to the big theater of life.
Hamlet is a philosophical tragedy.
The goal of tragedy is not to frighten, but to provoke the activity of thought, to make one think about the contradictions and troubles of life, and Shakespeare achieves this goal. Achieves primarily due to the image of the hero. Putting questions before himself, he encourages us to think about them, to look for answers. But Hamlet not only questions life, he expresses many thoughts about it. His speeches are full of sayings, and, what is remarkable, the thoughts of many generations are concentrated in them. .
In order for the death of a person depicted in the drama to be truly tragic, three prerequisites are necessary: a special state of the world, called a tragic situation; an outstanding personality with heroic power; a conflict in which hostile social and moral forces collide in an irreconcilable struggle.
Othello is a tragedy of betrayed trust.
The construction of the play can easily lead to an analysis of Othello as a purely personal tragedy. However, any exaggeration of the intimate-personal element in Othello to the detriment of other aspects of this work inevitably turns in the end into an attempt to limit Shakespearean tragedy to the narrow confines of the drama of jealousy. True, in the verbal use of the whole world, the name Othello has long become synonymous with jealous. But the theme of jealousy in Shakespeare's tragedy appears, if not as a secondary element, then in any case as a derivative of more complex problems that determine the ideological depth of the play.
Othello, by his outward position, is the universally recognized savior of Venice, the support of her freedom, a revered general who has royal ancestors behind him. But morally he is alone and not only alien to the republic, but even despised by its rulers. There is no one in the entire Venetian council, except the Doge, who could believe in the naturalness of Desdemona's love for the Moor. When the thought that he might lose Desdemona for the first time creeps into Othello's soul, the Venetian commander recalls with a sense of doom that he is black.
In the face of death, Othello says that jealousy was not a passion that initially determined his behavior; but this passion took possession of him when he was unable to resist the influence on him from Iago. And Othello was deprived of this ability to resist by the very side of his nature that Pushkin calls the main one - his gullibility.
However, the main source of Othello's credulity is not in his individual qualities. Fate threw him into a foreign and incomprehensible republic, in which the power of a tightly stuffed wallet triumphed and strengthened - a secret and overt power that makes people selfish predators. But the Moor is calm and confident. He is practically not interested in relations between individual members of Venetian society: he is not associated with individuals, but with the signoria, whom he serves as a military leader; and as a commander, Othello is impeccable and extremely necessary for the republic. The tragedy begins precisely with a remark confirming what has been said above about the nature of Othello's ties with Venetian society: Iago is outraged that the Moor did not heed the voice of the three Venetian nobles who petitioned for his appointment to the post of lieutenant.
To deal Othello a death blow, Iago uses both his deep understanding of the nature of the direct and trusting Othello, and his knowledge of the moral standards that guide society. Iago is convinced that the appearance of a person is given to him in order to hide his true essence. Now it remains for him to convince the Moor that such an assertion is also true of Desdemona.
The comparative ease with which Iago managed to win this victory is due not only to the fact that Othello believes in Iago's honesty and considers him a man who perfectly understands the true nature of ordinary relations between Venetians. The base logic of Iago captures Othello primarily because other members of Venetian society also use similar logic.
Othello's admission that chaos reigned in his soul until this soul was illuminated by the light of love for Desdemona can, in a certain sense, serve as the key to understanding the whole history of relations between the main characters of the tragedy.