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By Paul A. Cantor

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Extra info for Shakespeare: Hamlet. A Student Guide (Second Edition) (Landmarks of World Literature)

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This aspect comes out, for example, in the prince’s interest in fencing, a dramatic detail which is obviously required for Shakespeare’s ending, but which also does a great deal to develop our sense of Hamlet as a heroic type. 102–5). As his final confrontation with Laertes approaches, Hamlet gives an astute analysis of his situation in the face of Horatio’s friendly doubts: The tragedy of Hamlet 33 Horatio You will lose this wager, my lord. Hamlet I do not think so; since he went into France I have been in continual practice.

To outface me with leaping in her grave? Be buried quick with her, and so will I. And if thou prate of mountains, let them throw Millions of acres on us, till our ground, Singeing his pate against the burning zone, Make Ossa like a wart! Nay, and thou’lt mouth, I’ll rant as well as thou. 274–84) There is something of the almost childish contentiousness of the classical hero in Hamlet’s outburst, above all, in the selfcentred quality that makes him imagine that Laertes’s genuine expression of grief for Ophelia is merely an attempt to prove his superiority to the prince.

Athens and Elizabethan England – conform to this Hegelian historical schema. One of the most profound students of Hegel, the Hungarian Marxist Georg Luk´acs, developed this historical aspect of Hegel’s theory of tragedy in his book The Historical Novel: It is certainly no accident that the great periods of tragedy coincide with the great, world-historical changes in human society. Already Hegel . . saw in the conflict of Sophocles’ Antigone the clash of those social forces which in reality led to the destruction of primitive forms of society and to the rise of the Greek polis.

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