An Analysis of Shakespeare’s Hamlet Through Terry Eagleton’s Conception of Tragedy

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Hamlet remains an intense and sombre tragedy with only a few moments of puns to spare the audience any comic relief.

“However, Hamlet remains an intense and sombre tragedy with only a few moments of puns to spare the audience any comic relief.”

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The Gravedigger's scene in Act V, Scene I was the only dedicated comic relief in the play and had the most macabre sense of poking fun at death.

“The sardonic humour used in the Gravedigger's scene in Act V, Scene I was perhaps the only dedicated comic relief in the play and yet had the most macabre sense of poking fun at the idea of death.”

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Hamlet redeemed his father as a loyal son and redeemed himself as a man of honour for his people.

“He not only redeemed his father, the King, as a loyal son but also redeemed himself as a man of honour for his people.”

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Hamlet demonstrates agency at various stages even if he procrastinated in actually using it.

“Looking at Hamlet in such a sense we find him at various stages demonstrating the existence of this agency even if he procrastinated in actually using it.”

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Tragedy is not an idea limited to the great thinkers from Greece or the West but an experience that takes meaning when a community believes in it.

“It is through such an act it becomes apparent that tragedy is not an idea limited to the great thinkers from Greece or the West but an experience that takes meaning when a community believes in it.”

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Hamlet is characterized as different enough for the audience to loathe him given his hamartia of procrastination and indecisiveness, but also as a mirror-image of each one of us stuck between the nuances of morality.

“He is characterized in a manner where he is different enough for the audience to loathe him given his hamartia of procrastination and indecisiveness but is also at the same time a mirror-image of each one of us stuck between the nuances of morality.”

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Hamlet becomes the scapegoat of his story, carrying the guilt and burden of his community that has sinned by murdering, engaging in incest, and being manipulative and deceitful.

“Taking the former way of interpreting, the character of Hamlet becomes the scapegoat of his story-he carries the guilt and burden of his community that has sinned by murdering, engaging in incest, and has been manipulative and deceitful.”

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Hamlet subordinates himself and his desires for the 'well-being of the whole,' struggling against the divine laws of his faith to not succumb to suicide.

“In the case of Hamlet, he struggles against the divine laws of his faith ('universal') to not succumb to his will to commit suicide ('particular') after having endured a series of painful revelations in the course of the play-such a hero subordinates himself and his desires for the”

• cites SV 44Not matched

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Adrian Poole suggests Hamlet as a scapegoat is a 'double subject' for he exists between the contradictions of divine law and personal law.

“As Adrian Poole suggests, Hamlet as a scapegoat is a”

• cites [106]Not matched

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Coleridge commented that Shakespeare imitates life mingled with joy and sorrow.

“This was why Coleridge commented on the use of impeccable comic scenes in such tragedies:”

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Pity causes an upsurge in negative emotions, while fear becomes the trigger to release these emotions, depicting a cleansing effect.

“This would imply that while pity would cause an upsurge in negative emotions, similar to how the pharmakos is loaded with the guilt of the community, fear becomes the trigger to release these emotions thereby depicting a cleansing effect.”

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Eagleton holds that tragedy is rooted in specificity-the particularity of people and their suffering-which attains universality of meaning through relatable, ordinary characters.

“Eagleton reiterates its roots in specificity-the particularity of people and their suffering-which attain universality of meaning through their characters that are relatable and ordinary in their ordeals like any of us (Sweet Violence xvi).”

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Hamlet did not fail to provide a sense of redemption.

“and Hamlet precisely did not fail in such a feat.”

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Hamlet and his mortal being become the sacrifice for his community to be purged of their sins.

“In this process, Hamlet and his mortal being become the sacrifice for his community to be purged of their sins.”

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Coleridge's emphasis on reinforcing potential through ironic contrast helped plays like Hamlet achieve the status of a well-written tragedy.

“His emphasis on the reinforcing potential through ironic contrast was what helped plays like Hamlet achieve the status of a well-written tragedy.”

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The particularity of people and their problems is not comparable in complete essence.

“The particularity of people and their problems such as the precise dilemma of Hamlet seeking revenge or finding a personal escape through suicide are not comparable in their complete essence.”

• cites SV xviNot matched

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A tragedy renders itself only when there is a conscious struggle, a fighting spirit, and the power of the human spirit shown in taking reins over one's own life.

“though fate exists in some form, a tragedy renders itself only when there is a conscious struggle, a fighting spirit, and the power of the human spirit which can only be shown in taking reins over one's own life.”

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Walter Benjamin claims, 'Sacrifice is an act of liberation: through the death of the hero, the community comes to consciousness of its subjection.'

“As Walter Benjamin claims,”

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Eagleton criticizes the Left's view of tragedy as associating sacrifice through mythic, cultic, and religious notions, entailing that 'suffering is an energizing, revitalizing part of human existence' and that sacrifice is 'dismembered to be renewed.'

“He comments that these Radicals view tragedy as one associating sacrifice through mythic, cultic, and religious notions.This would entail the idea that”

• cites SV 275Not matched

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Eagleton views the death of a tragic hero as significant, quoting Yeats that 'In all the great tragedies, tragedy is a joy to the man who dies,' indicating the Greek chorus emphasized the ecstasy of Aristotelian katharsis instead of painful agony.

“Eagleton views it as a significant part of the tragedy for he quotes Yeats claiming”

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Tragedies were usually shaped with the assumption that the public would not consume woeful tales without hints of humour or 'callous comic' elements.

“Nevertheless, he saw it as a recurring practice for tragedies to be closer to softened blows instead of a blatant jab-in simpler words, the plays were usually shaped keeping the assumption that the public would not consume such woeful tales without hints of humour or”

• cites SV 23Not matched

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Hamlet shares human traits-self-criticism, shame, guilt, overthinking, recklessness, defiance, anxiety-making him relatable to the audience.

“Moreover, he shares the human tenet of being one's own critic.Not only does he have bouts of hatred for himself for being unable to do as others can, but he also shares the emotions of shame and guilt associated with his flaws, making him relatable to the audience.He overthinks like any of us which was evident in his soliloquy”

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Bowers warns that isolating characters to justify their tragic ends is wrong; tragic ends ought to have a cause-effect relationship with events and people in the tragedy.

“Bowers warns about isolating characters in order to justify their tragic ends, for it ought to have a causeeffect relationship with the events and people in the tragedy (215).”

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Tragedies such as Shakespeare's Hamlet become one of the imminent pieces of literature that have guided theories of tragedy for centuries to come.

“In doing so, tragedies such as Shakespeare's Hamlet become one of the imminent pieces of literature that have guided theories of tragedy for centuries to come.”

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Under the democratized view, Krook's argument that tragedies have a specially endowed tragic hero becomes meaningless.

“The fates of characters like Hamlet become as important as any of ours-this would mean that Krook's argument of tragedies having a specially endowed tragic hero becomes meaningless.”

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The sacrificial attitude in the hero's persistence and struggle against personal motivations for socially, morally and ethically justified ones elevates characters such as Hamlet to tragic heroes.

“Hence, the sacrificial attitude found in the hero's persistence and struggle against personal motivations for ones that are socially, morally and ethically justified are what elevate characters such as Hamlet to tragic heroes.”

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Dorothea Krook describes tragic heroes as requiring an undying spirit to go on despite all odds, with conditions anything but pitiable and passive.

“She describes tragic heroes requiring to have an undying spirit to go on despite all odds, including their conditions as anything but pitiable and passive (SV 76).”

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Tragedy stands for an ecstasy associated with purging one's feelings, rendering a delicate balance of distress and empathy.

“It stands for an ecstasy associated with the purging of one's feelings rendering a delicate balance of distress and empathy which sets it off.”

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The pharmakoi were chosen from the 'lowest of the low' and were sacrificial scapegoats loaded with the sins, guilt, and burden of the entire community; they were paraded and beaten to rid them of identity.

“The pharmakoi were chosen from the”

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Tragic heroes like Hamlet attain the stature of suffering yet glamorous beings; their death is not defeat but triumph in life.

“Through such a principle, tragic heroes like Hamlet attain the stature of being suffering yet glamorous beings.The ecstatic energy around such characters like Hamlet elevated them to a higher pedestal-one where their death was not their defeat but their triumph in life.”

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Eagleton claims there exist two perspectives on the tragic hero: traditionalist and democratic.

“He claims that there exist two perspectives in this regard-the traditionalist and the democratic.”

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Eagleton maintains that the assumption 'tragedy is one thing and ordinary life another is unwarranted.'

“He maintains that the assumption that”

• cites SV 93Not matched

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Hamlet falls into the idea of democratized tragic characters because of his unabashed unapologetic sense of being a human.

“Hamlet, given his unabashed unapologetic sense of being a human, allows him to fall into the idea of democratized tragic characters as well.”

Classified as probably not a substantial claim.

Dorothea Krook claimed that for a play to be called a tragedy, it must not be 'lacking a sense of redemption.'

“Dorothea Krook claimed that in order for it to be called a tragedy, the play must not be”

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Yahweh identified with the 'anawim' or 'dispossessed'-the 'pharmakos' or 'scapegoats'-which fit perfectly in the etymology of the word 'tragedy.'

“Moreover, Yahweh identified with the 'anawim' or the 'dispossessed' as mentioned in the Hebrew scriptures-quite literally the 'pharmakos' or the 'scapegoats' which fit perfectly in the etymology of the word 'tragedy.'”

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Eagleton suggests the true redemption of a pharmakos lies in becoming an 'obscene disfigurement of humanity' whose justice lies in finally offering his tortured body and soul at the end of the play.

“Thus, as Eagleton suggests, the true redemption of such a pharmakos lies in becoming an”

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Eagleton claims that tragedy is 'released in the act of destruction,' and the sense of ruination associated with human calamity makes the suffering of the tragic hero an ecstatic experience.

“Thus, when Eagleton claims that tragedy is”

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The wisdom in Hamlet's self-reflection, the depth of his dilemma, and his maturity in fearing Christian laws enhance the drama into a tragedy par excellence.

“It is indeed the wisdom in Hamlet's self-reflection, the depth of his dilemma, and his maturity in fearing the Christian laws of the divine that enhance the drama into a tragedy par excellence.”

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Hamlet's murder of his uncle, justified by moral and ethical duties owed to the King, became a cause for a further death-the murder of the 'self.'

“Thus, when Hamlet justified the murder of his uncle due to moral and ethical duties which he owed to the King, it became a cause for a further death-the murder of the 'self.'”

Classified as probably not a substantial claim.

In Hamlet, the tragic struggle is that of a man's particularity with the universal, as when Polonius says 'Though this be madness, yet there is method in't.'

“Unlike classical plays where the 'tragic' was immanent, Hamlet becomes the struggle of a man's particularity with the universal-as Kant would call it”

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For an ecstatic experience, it is important for the play to justify the death of the tragic hero, or the emotional turmoil within viewers might never dissipate.

“For such an ecstatic experience, it becomes important for the play to justify the death of the tragic hero or else the emotional turmoil within the viewers might never dissipate.”

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The essence of tragedy exists because of the human value in dealing with the woes of life, the 'sublimity of human effort.'

“Such an association of complex emotions with the plot of the play brings forth the significance of the”

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Eagleton insists that tragedies exhibit 'a political hope' where the audience is impacted to continue their lives with the belief that even in the 'darkest historical moments' there ought to be faith.

“Nevertheless, such a story is not uncommon which is why Eagleton insists that tragedies are those that exhibit”

• cites SV 27Not matched

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Eagleton mocked Eliot's idea of tragedies as 'tragic elitism,' and the impact of such plays is somewhat dependent on the audience's reception.

“Though Eliot's idea of tragedies was mocked by Eagleton as”

• cites SV 48Not matched

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In Eagleton's democratized view, each one of us has the potential to be a tragic hero or 'tragic figure.'

“In this sense, each one of us has the potential to be a tragic hero or what he refers to as 'tragic figures' for the sake of democratizing it.”

• cites SV 93Not matched

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The pharmakos taking the burden of sins of a community and dying with it produces a tragic effect; a tragedy impacts its audience similarly to Aristotle's catharsis-an emotional cleanse, unburdening and riddance from negative emotions.

“Taking the latter perspective forward, the idea of the pharmakos taking the burden of sins of a community and dying with it produces a tragic effect.Eagleton demonstrates this using the idea that much like how the guilt-containing scapegoat would become the abject and further the unburdening of its people, similarly, a tragedy would have an impact on its audience similar to Aristotle's catharsis”

May combine two claims.

Eagleton does not deny fate in modern tragedies; he accords some credit to the logic of Fate but does not rely on it as the sole cause of tragedy.

“Despite his insistence that most modern tragedies like Hamlet are built upon the outcomes of extraneous variables, Eagleton does not deny the touch of fate in them.In agreement with Žižek, he does accord some credit to the logic of Fate yet steers clear from any reliance on it as the sole paddle to the boat of tragedy (SV 126).”

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True tragedies are those that can be equated with excellence, including fine writing, wisdom, intellectual depth, and maturity.

“To delve into the matter, it becomes necessary to examine how true tragedies are those which can indeed be equated with excellence (Koelb 72).These would include dramas that are classified as 'fine writing,' rich in the way they present wisdom, and include an intellectual depth as well as a maturity to understand.”

• cites Koelb 72Not matched

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Hamlet fits well in both the traditionalist and democratic perspectives on the tragic hero.

“Interestingly for us, Hamlet fits well in both of them!”

Classified as probably not a substantial claim. May combine two claims.

Eagleton calls tragedy a 'negative utopia' where Hamlet's disintegration integrates our emotionality as observers.

“Eagleton calls it a”

Classified as probably not a substantial claim.

In Hamlet, the tragic effect is achieved by allowing Prince Hamlet to be tortured throughout the play, allowing the audience to experience pity for him.

“In the case of Hamlet, such an effect is achieved by allowing Prince Hamlet to be tortured throughout the play, allowing the audience to experience pity for him.”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Hamlet's death was justified and necessary for closure; Shakespeare was successful in doing so.

“Taking the case of Hamlet, the death of Prince Hamlet had to be justified and Shakespeare was successful in doing so.The element of tragedy took place because his death was not just seemingly necessary for closure but also justified in its essence.”

May combine two claims.

Eagleton agrees with Hölderlin's claim that God is presented in a human incarnation and it is only through its annihilation that the tragic effect can take hold of the audience.

“Furthering his ideas about the implications of a play that render it a tragedy, Eagleton agrees with Hölderlin's claim that God is presented in a human incarnation and it is only through its annihilation that the tragic effect can take hold of the audience (SV 28).”

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Eagleton argues that sacrifice has remained an integral part of community life, not merely religious.

“Eagleton argues that sacrifice has remained an integral part of community life, not merely religious.He quotes the example of 'Yahweh' from the Old Testament who struggled to convince people he was the god of freedom and justice (SV 277) and that cults were perhaps secondary to such a liberation.”

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Probably not a substantial claim: may not pass S4 (based). May combine two claims.

Eagleton claimed that passive suffering was not what constituted a real tragedy, and that the death of the tragic hero was central to the plot and dramatically significant while being saved for the end.

“Eagleton claimed that as passive suffering was not what constituted a real tragedy, it was of ultimate importance that the death of the tragic hero, or Hamlet, was central to the plot and made dramatically significant while being saved for the end.”

Classified as probably not a substantial claim.

The idea of sacrifice becomes significant in most, if not all, tragedies.

“In conclusion, it can be claimed that the idea of sacrifice becomes significant in most, if not all, tragedies.”

Classified as probably not a substantial claim. May combine two claims.

The universality of suffering is rooted in all communities and creates a 'communality of meaning.'

“However, the universality of his experiences in the form of 'suffering' is rooted in all communities and creates a”

• cites SV xviNot matched

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Prince Hamlet embodies the tragic hero in his specificity and the 'world-historical forces' in his universality, making him the perfect agent in creating a tragedy.

“In such a sense, Prince Hamlet who embodies the tragic hero in his specificity and the”

Classified as probably not a substantial claim. May combine two claims.

In Nietzsche's terms, tragedy is associated with a glimpse into the Dionysian and coming back to the Apollonian; Hamlet's losses stir the audience's emotions, and redemption through Claudius' death and his own brings the audience back to emotional normalcy.

“In Nietzsche's terms, it would be associated with a glimpse into the Dionysian and coming back to the state of the Apollonian-the pain associated with Hamlet's character when he loses his father to murder, his mother to Claudius' manipulation, his lover to suicide, and his sanity to a depressive-manic state stirs the audience's emotions; the redemption through Claudius' death and his own brings”

• cites Nietzsche 129Not matched

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Hamlet falls into the category of modern tragedies, and extraneous accidents render it a success in the genre.

“In the context of Hamlet which falls into the category of modern tragedies, the idea of”

Classified as probably not a substantial claim. May combine two claims.

Hamlet's soliloquy 'to be or not to be' is his 'death-in-life,' and his final passing becomes his 'life-in-death' for having cleansed the community of crimes.

“His soliloquy of”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

There has been no proof to claim that Greek dramas were derived from religion.

“This is also supported by the argument that there has been no proof to claim that Greek dramas were derived from religion.”

Classified as probably not a substantial claim. May combine two claims.

Eagleton distinguishes classic or traditional tragedies from Hegelian modern tragedies: the Hegelian viewpoint depends on accident as a catalyst of dramatic action, while the traditional perspective relies on fate or predetermination.

“Eagleton goes on to elaborate that the Hegelian viewpoint depends heavily on the idea of 'accident' as a catalyst of dramatic actions pertaining to tragedies yet the traditional perspective takes on the approach that relies on fate or 'predetermination' (SV 43).”

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Classified as probably not a substantial claim. May combine two claims.

Hamlet can be viewed as a tragedy under the pharmakos lens in two ways: as a literal scapegoat in the drama and as a play whose impact is equated with the impact of a pharmakos.

“Eagleton paves the way for interpreting the play in two ways-one where he suggests a literal representation of a scapegoat in the drama and the other where the impact of the play is equated with the impact of a pharmakos.”

Classified as probably not a substantial claim. May combine two claims.

Eagleton claims that sacrifice is a necessary aspect of tragedies but it has to do with ethics, not the cult, replacing divinity with community.

“Eagleton takes an intellectually stimulated stance, for he claims that sacrifice is a necessary aspect of tragedies yet it has to do with the realm of ethics, not the cult.It is important when something has to be destroyed or diminished for it to be remade with the added sense of replacing the idea of 'divinity' with 'community.'”