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A.C. Bradley - suffering
‘essentially a tale of suffering and calamity conducting to death’
Emma Smith - play within a play
As detective, Hamlet’s main forensic tool is theatrical
J.A. Waldock - play within a play
Hamlet, the play, is a palimpsest: new material has been superimposed on old and the old shows through with confusing effect’
Watts - play within a play
‘the effect of such conspicuous fictionality is to make the surrounding fictional action appear more realistic by contrast’
Sharma - tragedy
‘the dominant tragic flaw in Hamlet is his indecision, a psychological paralysis manifesting through introspection
Moriarty - tragedy
‘corruption is an incurable disease’
Hornback - revenge
‘But Hamlet rejects revenge: His play is not a revenger’s drama at all.’
Brucher - revenge
‘revenge creates their own civil justice’
Watts - justice
‘when the pattern of justice is completed with the killing of Claudius the plot-structure seems to endorse Hamlet’s claim that ‘there’s a divinity that shapes our rough ends’
Rodeo - Corruption
Claudius secretly murders his brother so that he can obtain power, which is the root of deception and evil from which all succeeding events emanate
Walley - corruption
‘Hamlet is a hero placed in an unfortunate dilemma who perishes as a result’
Greenblatt - death
‘a protestant son haunted by the ghost of a catholic father’
Hornback - death
‘Horatio - alas - has missed the point. The story he will tell is one of meaningless violence’
Orgel - Supernatural
Supernatural figures like King Hamlet are quintessential theatrical devices
Watts - supernatural
‘When Hamlet stages the play the Mousetrap, its prime function is to test the Ghost’
Kornas - supernatural
Hamlet’s conversations with the Ghost can be viewed as an internal dialogue
Hamilton - uncertainty
The deaths are ‘not just a side-effect of Hamlet’s delay. They are, in themselves, the necessary price which must be paid to purge denmark’
Kastan - uncertainty
Tragedy is defined by the unanswered and perhaps unanswerable questions