In Elizabethan England the genre of the revenge tragedy was very popular. Many plays of this kind by several different playwrights, including William Shakespeare, were written and staged in the 16 th and 17 th centuries. The success of the genre was not only due to it’s bloody, criminal, and therefore exciting action but also to the topicality of revenge at that time. In revenge plays questions were raised which concerned the Elizabethans and which made them reflect on their own situations and attitudes. It was around 1570, that English playwrights took over the concept of the revenge tragedy from foreign authors such as Seneca. 1 However, the genre was so successful and widely spread among the English, that a new Elizabethan revenge tragedy was developed. The Spanish Tragedy by Thomas Kyd, which can be regarded as the prototype of the English revenge drama, constituted a pattern containing the basic elements of a revenge play, which a lot of contemporary authors, such as Shakespeare, are said to have followed. 2 In the following, the success of the Elizabethan revenge play will be examined with respect to the attitude towards vengeance at that time. Furthermore, the relevance of the revenge tragedies for the Elizabethan audience will be taken into consideration. Afterwards, the pattern introduced with Kyd’s The Spanish Tragedy, the Kydian formula 3 , will be depicted before it’s basic constituents will be related to Hamlet, the most famous Shakespearean tragedy, in which revenge is an important motive. [...]
Table of Contents
1. Introduction
2. Revenge in the Elizabethan World
3. Revenge and the Elizabethan Audience
4. Influences on Shakespeare’s Revenge Plays
5. The pattern of Elizabethan Revenge Plays: The Kydian Formula
5.1 The Action in the Kydian Revenge Play
5.1.1 The Delay
5.1.2 Play-Within-a-Play
5.2 Characters in the Kydian formula
5.2.1 The Avenger
5.2.2 The Villain
5.2.3 The Ghost
5.3 The Message of the Elizabethan Revenge Tragedy
6. Hamlet as a Revenge Play
6.1 The Action of Hamlet
6.1.1 The Delay
6.1.2 The Play-Within-a-Play
6.2 The Characters
6.2.1 The Avenger
6.2.2 The Villain
6.2.3 The Ghost
6.3 The Message of Hamlet
7. Conclusion
Research Objective and Scope
This paper examines William Shakespeare's "Hamlet" within the context of the popular Elizabethan genre of revenge tragedy, specifically analyzing how the play aligns with or deviates from the established "Kydian formula." The central research question explores how Shakespeare adapted traditional elements of revenge, such as the avenger's dilemma, the villain's intrigue, and the presence of the ghost, to create a work that transcends the genre by integrating complex social, political, and psychological dimensions.
- Historical attitude towards vengeance and private revenge in Elizabethan England.
- The moral and ethical dilemma faced by the revenge tragedy audience.
- Senecan influences and the development of the Kydian formula.
- Structural and thematic comparison between the Kydian formula and "Hamlet."
- Analysis of core characters: The Avenger, The Villain, and The Ghost.
Excerpt from the Book
6.1 The Action of Hamlet
Concerning the main action of Hamlet, the play fits very well into the pattern introduced by Thomas Kyd. A very central part of the action is filled with the delay of the actual revenge. Also the parallel anti-action of the villain to the action of the hero appears in Hamlet, in which both characters develop intrigues and plans against each other. In these parallel strands it becomes clear that Hamlet and Claudius are both very intelligent and witty, which makes the struggle between the two adversaries even more exciting. What is unique in Hamlet is the fact that the main action contains two revenge situations. Hamlet’s murder of Polonius causes a further strand of action containing the strife for revenge of Laertes against Hamlet himself. With the story about Polonius’ family, which covers a quiet large part of the play, Shakespeare even includes a second plot in the play, even though each character of the family is also connected to Hamlet (e.g. act 1.3; act 2.1). This makes the action of the play more complex than in other revenge tragedies. Since the fifth act of Hamlet deals with the actual revenge, also the structure fits into the Kydian pattern, even though Hamlet acts more passively than the usual avenger. Also in Hamlet the external political situation constitutes a frame for the play, although the main action is not influenced by it. Nevertheless, the negotiations between Denmark and Norway and the eventual reign of Fortinbras over Denmark build up the larger context of the play. With regard to minor scenes, only a few can be found in Hamlet. However, Shakespeare uses the madness motive quiet often. Hamlet’s feigned madness plays a large role in the tragedy and also Ophelia’s real insanity, which finally leads to her death, is elaborately depicted. At the same time, a love scene does not appear, since the love between Hamlet and Ophelia can not withstand the whole situation. Because he regards his mother’s behaviour as slander, Hamlet’s attitude towards women in general deteriorates. Furthermore, his affectionate feelings to Ophelia are not conformable to the duty of revenge which is laid upon him.
Summary of Chapters
1. Introduction: Introduces the popularity of the revenge tragedy genre in Elizabethan England and outlines the aim to compare the "Kydian formula" with Shakespeare's "Hamlet."
2. Revenge in the Elizabethan World: Discusses the historical and legal context of blood revenge and its condemnation by the Elizabethan state and church.
3. Revenge and the Elizabethan Audience: Explores the moral dilemma of the audience, who sympathized with the avenger's duty while condemning revenge as a sin.
4. Influences on Shakespeare’s Revenge Plays: Analyzes the influence of Seneca and Thomas Kyd's "The Spanish Tragedy" on the structural development of the English revenge drama.
5. The pattern of Elizabethan Revenge Plays: The Kydian Formula: Defines the essential elements of the revenge tragedy, including the delay, the play-within-a-play, and the archetypal characters.
5.1 The Action in the Kydian Revenge Play: Details the structural role of the delay and the play-within-a-play in propelling the plot toward the final catastrophe.
5.1.1 The Delay: Examines how the delay serves to build emotional burden and provide the necessary time for the avenger to confirm guilt.
5.1.2 Play-Within-a-Play: Explains the function of the internal play as a tool to prove the villain's guilt and reveal the truth.
5.2 Characters in the Kydian formula: Introduces the recurring character types essential to the genre's mechanics.
5.2.1 The Avenger: Describes the avenger as a complex character, often marked by melancholy, madness, and high intellect.
5.2.2 The Villain: Characterizes the villain as a politically powerful figure driven by Machiavellian ambitions.
5.2.3 The Ghost: Discusses the role of the ghost as a catalyst for action and a representation of supernatural/divine intervention.
5.3 The Message of the Elizabethan Revenge Tragedy: Outlines the broader themes of the genre, such as justice, power, and the conflict between individual duty and religious morality.
6. Hamlet as a Revenge Play: Situates "Hamlet" within the genre, acknowledging its adherence to the Kydian structure while noting its uniqueness.
6.1 The Action of Hamlet: Analyzes the structural complexity of "Hamlet," particularly the presence of dual revenge plots and the role of madness.
6.1.1 The Delay: Investigates the unusually long delay in Hamlet and its roots in his introspective struggle.
6.1.2 The Play-Within-a-Play: Details Shakespeare's refinement of the play-within-a-play device using professional actors.
6.2 The Characters: Explains the smaller cast size in "Hamlet" and how the familial connections intensify the drama.
6.2.1 The Avenger: Analyzes the character of Hamlet as a scholar-prince caught in an moral dilemma between duty and conscience.
6.2.2 The Villain: Evaluates the character of Claudius and his villainous nature within the context of dynastic power.
6.2.3 The Ghost: Examines the ambiguous nature of the ghost in "Hamlet" and its significance in guiding Hamlet.
6.3 The Message of Hamlet: Discusses how "Hamlet" addresses deep social, religious, and political questions beyond the immediate theme of revenge.
7. Conclusion: Summarizes that while "Hamlet" originates from the Kydian structure, Shakespeare transformed it into a nuanced character tragedy.
Keywords
Revenge tragedy, William Shakespeare, Hamlet, Kydian formula, The Spanish Tragedy, Elizabethan era, The Avenger, The Villain, The Ghost, Delay, Play-within-a-play, Moral dilemma, Blood revenge, Seneca, Theodicy.
Frequently Asked Questions
What is the primary subject of this academic paper?
The paper explores the relationship between William Shakespeare’s "Hamlet" and the traditional Elizabethan genre of the revenge tragedy, specifically focusing on the influence of Thomas Kyd’s formula.
What are the central themes explored in the text?
The core themes include the historical and moral perception of revenge, the conflict between familial duty and divine law, and the political and psychological complexities of the characters.
What is the core research question?
The primary focus is how Shakespeare utilized the "Kydian formula"—a blueprint for revenge dramas—while simultaneously expanding upon it to create a deeper, more multifaceted tragedy.
Which methodology is employed in this analysis?
The author uses a comparative literature approach, contrasting established genre conventions (the Kydian formula) against the specific narrative and character development found in "Hamlet."
What does the main body of the paper cover?
The main body breaks down the structure of the revenge tragedy (action, characters, and message), first defining these as universal "formulaic" traits and then applying this analysis directly to "Hamlet."
Which keywords best describe this study?
Key terms include "Revenge tragedy," "Kydian formula," "Hamlet," "Elizabethan era," and "The Avenger," among others defining the structural elements of the drama.
Why is the "play-within-a-play" considered a crucial component?
In revenge tragedies, the play-within-a-play serves as a functional tool for the avenger to confirm the villain's guilt through an indirect, theatrical confrontation.
How does Hamlet differ from the standard "avenger" archetype?
While Hamlet fits the general pattern, he is characterized as a more intellectual, introspective, and passive figure who struggles with existential and religious doubts, rather than being a purely action-driven hero.
What role does the Ghost play in "Hamlet"?
Unlike in some other plays where the ghost is a static prologue figure, the ghost in "Hamlet" acts as a recurring catalyst who initiates the revenge motive and forces Hamlet to confront the circumstances of his father's death.
- Quote paper
- Melanie Kloke (Author), 2006, Hamlet and the Genre of the Revenge Tragedy, Munich, GRIN Verlag, https://www.grin.com/document/66583
