What is an eternal image in literature definition. Control work eternal images in world literature
Eternal images
mythological, biblical, folklore and literary characters, which vividly expressed the moral and ideological content that is significant for all mankind and received repeated embodiment in literature different countries and eras (Prometheus, Odysseus, Cain, Faust, Mephistopheles, Hamlet, Don Juan, Don Quixote, etc.). Each era and each writer put their own meaning into the interpretation of this or that eternal image, which is due to their multicoloredness and polysemy, the richness of the possibilities inherent in them (for example, Cain was interpreted both as an envious fratricide and as a brave god-fighter; Faust - as a magician and a miracle worker, as a lover of pleasures, as a scientist obsessed with a passion for knowledge, and as a seeker of meaning human life; Don Quixote - as a comic and tragic figure, etc.). Often in literature, characters are created-variations of eternal images, which are given to other nat. features, or they are placed in a different time (as a rule, closer to the author of the new work) and / or in an unusual situation (“Hamlet of the Shchigrovsky district” by I.S. Turgenev, " Antigone" by J. Anui), sometimes ironically reduced or parodied (the satirical story by N. Elin and V. Kashaev "The Mistake of Mephistopheles", 1981). Close to the eternal images and characters, whose names have become common nouns in the world and national. Literature: Tartuffe and Jourdain ("Tartuffe" and "The Philistine in the Nobility" J. B. Molière), Carmen (short story of the same name by P. Merimee), Molchalin (“Woe from Wit” A. S. . Griboyedov), Khlestakov, Plyushkin ("Inspector General" and "Dead Souls" N. V . Gogol) and etc.
Unlike archetype reflecting primarily the "genetic", original features human psyche, eternal images are always the product of conscious activity, have their own “nationality”, the time of occurrence and, therefore, reflect not only the specifics of the universal perception of the world, but also a certain historical and cultural experience, enshrined in the artistic image.
Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .
See what "eternal images" are in other dictionaries:
- (world, “universal”, “secular” images) they mean images of art that, in the perception of the subsequent reader or viewer, have lost their original everyday or historical meaning and from ... ... Wikipedia
Literary characters, to whom the ultimate artistic generalization and spiritual depth convey a universal, all-time significance (Prometheus, Don Quixote, Don Juan, Hamlet, Faust, Majnun) ... Big Encyclopedic Dictionary
Eternal images- ETERNAL IMAGES, mythological and literary characters, to whom the ultimate artistic generalization, symbolism and inexhaustibility of spiritual content impart a universal, timeless meaning (Prometheus, Abel and Cain, the Eternal Jew, Don ... ... Illustrated Encyclopedic Dictionary
Mythological and literary characters, to whom the ultimate artistic generalization, symbolism and inexhaustibility of spiritual content impart universal, universal significance (Prometheus, Abel and Cain, the Wandering Jew, Faust, Mephistopheles, ... ... encyclopedic Dictionary
eternal images- literary characters, to whom the ultimate artistic generalization and spiritual depth impart a universal, timeless meaning. Heading: artistic image Example: Hamlet, Prometheus, Don Juan, Faust, Don Quixote, Khlestakov Eternal images ... Terminological dictionary-thesaurus on literary criticism
eternal images - artistic images, which, having arisen in specific historical conditions, acquire such an obvious non-historical significance that subsequently, turning into peculiar symbols, the so-called supertypes, again and again appear in ... ... Dictionary of literary terms
Or, as idealistic criticism called them, world, "universal", "eternal" images. By them are meant images of art, which, in the perception of the subsequent reader or viewer, have lost their originally inherent domestic or historical ... Literary Encyclopedia
Prominent Soviet critic and literary critic. Genus. in the town of Chernikhov, Volyn province. in a wealthy Jewish family. From the age of 15 he participated in the Jewish labor movement, from 1905 in the "Bund". During the reaction period, he emigrated abroad, where he studied ... ... Big biographical encyclopedia
Isaak Markovich (1889) a prominent Soviet critic and literary critic. R. in mke Chernikhov, Volyn province. in a wealthy Jewish family. From the age of 15 he participated in the Jewish labor movement, from 1905 in the "Bund". During the reaction period, he emigrated abroad, where ... ... Literary Encyclopedia
IMAGE- artistic, a category of aesthetics that characterizes a special way of mastering and transforming reality, inherent only in art. O. is also called any phenomenon creatively recreated in work of art(especially often … … Literary Encyclopedic Dictionary
Books
- Art. Eternal images of art. Mythology. Grade 5 Textbook. Vertical. Federal State Educational Standard, Danilova Galina Ivanovna. The textbook opens the author's line of G. I. Danilova on art. It introduces the most valuable heritage of mankind - the works of ancient and ancient Slavic mythology. Contains a large…
- Art. 6th grade. Eternal images of art. Bible. Textbook for general education. institutions. Federal State Educational Standard, Danilova Galina Ivanovna. The textbook introduces the most valuable asset of mankind - works of art created on biblical stories. Contains extensive illustrative material that gives a visual…
"Eternal Images"- artistic images of works of world literature, in which the writer, on the basis of the life material of his time, managed to create a durable generalization applicable in the life of subsequent generations. These images acquire a common sense and retain artistic value up to our time.
So, in Prometheus, the features of a person who is ready to give his life for the good of the people are summarized; Antey embodies the inexhaustible power that an inextricable connection with his native land, with his people gives a person; in Faust - the indomitable desire of man to know the world. This determines the meaning of the images of Prometheus, Antey and Faust and the appeal to them by the leading representatives of social thought. The image of Prometheus, for example, was highly valued by K. Marx.
The image of Don Quixote, created by the famous Spanish writer Miguel Cervantes (XVI-XVII centuries), embodies a noble, but devoid of vital soil, daydreaming; Hamlet, hero of Shakespeare's tragedy (XVI - early XVII c.), is a nominal image of a bifurcated person, torn apart by contradictions. Tartuffe, Khlestakov, Plyushkin, Don Juan and similar images live long years in the minds of a number of human generations, since they summarize the typical shortcomings of a person of the past, stable traits of a human character brought up by a feudal and capitalist society.
"Eternal images" are created in a certain historical setting and only in relation to it can be fully understood. They are "eternal", i.e., applicable in other eras, to the extent that the traits of human character generalized in these images are stable. In the works of the classics of Marxism-Leninism, there are often references to such images for their application in a new historical situation (for example, the images of Prometheus, Don Quixote, etc.).
June 19 2011
Eternal images - this is the name of the images of world literature, which are marked by a great power of bad generalization and have become a universal spiritual acquisition.
These include Prometheus, Moses, Faust, Don Juan, Don Quixote, Hamlet, etc. Arising in specific social and historical conditions, these images lose their historical specifics and are perceived as universal types, images - symbols. New and new generations of writers turn to them, giving them an interpretation due to their time (“The Caucasus” by T. Shevchenko, “The Stone Master” by L. Ukrainka, “Moses” by I. Frank, etc.)
The mind of Prometheus, fortitude, heroic service to people, courageous suffering for their sake has always attracted people. No wonder this is one of the "eternal images." It is known that in there is the concept of "Prometheism". The meaning lies in the eternal desire for heroic deeds, insubordination, the ability to self-sacrifice in the name of humanity. So it is not for nothing that this image encourages brave people to new searches and discoveries.
Perhaps that is why writers, musicians, artists turned to the image of Prometheus different eras. It is known that Goethe, Byron, Shelley, Shevchenko, Lesya Ukrainka, Ivan Franko, Rylsky admired the image of Prometheus. The spirit of the titan inspired famous artists- Michelangelo, Titian, composers - Beethoven, Wagner, Scriabin.
The "eternal image" of Hamlet from the tragedy of the same name by W. Shakespeare became a certain sign of culture and received new life in the art of different countries and eras.
Hamlet incarnated man late Renaissance. A man who comprehended the infinity of the world and his own capabilities and lost in front of this infinity. It's deep tragic image. Hamlet understands reality well, soberly assesses everything that surrounds him, firmly stands on the side of good. But his point is that he cannot take decisive action and defeat evil.
His indecision is not a manifestation of cowardice: he is bold, outspoken. His doubts are the result of deep reflections on the nature of evil. Circumstances require him to take the life of his father's killer. He doubts, because he perceives this revenge as a manifestation of evil: murder is always murder, even when a villain is killed.
The image of Hamlet is the image of a person who understands his responsibility in resolving the conflict between good and evil, who is on the side of good, but his internal moral laws do not allow him to take decisive action.
Goethe refers to the image of Hamlet, who interpreted this image as a kind of Faust, a “damned poet” forced to atone for the sins of civilization. special meaning acquired this image from the romantics. It was they who discovered the "eternity" and universality created by Shakespeare. Hamlet in their understanding is almost the first romantic hero who painfully experiences the imperfection of the world.
This image has not lost its relevance in the 20th century - the century of social upheaval, when each person decides for himself the eternal "Hamlet" question. Already at the beginning of the 20th century, the English Thomas Eliot wrote the poem "Alfred Prufrock's Love Song", which reflected the poet's despair from the realization of the meaninglessness of being. Critics accurately called the main character of this poem the fallen Hamlet of the 20th century. The image of Hamlet was addressed in their Russian poets I. Annensky, M. Tsvetaeva, B. Pasternak.
Cervantes lived out his life in poverty and loneliness, although throughout his life he was known as the bright novel Don Quixote. Neither the writer himself nor his contemporaries knew that several centuries would pass, and his heroes would not only not be forgotten, but would become “the most popular Spaniards”, and their compatriots would erect a monument to them that they would come out of the novel and live their own life. own life in the works of prose writers and playwrights, poets, artists, composers. Today it is hard to list how many works of art were created under the influence of the images of Don Quixote and Sancho Panza: Goya and Picasso, Massenet and Minkus turned to them.
Need a cheat sheet? Then save -» Eternal images in literature. Literary writings!The history of literature knows many cases when the works of the writer were very popular during his lifetime, but time passed, and they were forgotten almost forever. There are other examples: the writer was not recognized by his contemporaries, and the next generations discovered the real value of his works. But there are very few works in literature, the significance of which cannot be exaggerated, because they contain created images that excite every generation of people, images that inspire the creative searches of artists of different times. Such images are called "eternal", because they are carriers of traits that are always inherent in man. Miguel Cervantes de Saavedra lived out his age in poverty and loneliness, although during his lifetime he was known as the author of the talented, vivid novel Don Quixote. Neither the writer himself nor his contemporaries knew that several centuries would pass, and his heroes would not only not be forgotten, but would become the most “popular Spaniards”, and their compatriots would erect a monument to them. That they will come out of the novel and live their own independent life in the works of prose writers and playwrights, poets, artists, composers. Today it is difficult to enumerate how many works of art were created under the influence of the images of Don Quixote and Sancho Panza: they were addressed by Goya and Picasso, Massenet and Minkus. The immortal book was born out of the idea to write a parody and ridicule chivalric romances, so popular in Europe XVI century, when Cervantes lived and worked. But the writer's idea expanded, and contemporary Spain came to life on the pages of the book, and the hero himself changed: from a parody knight, he grows into a funny and tragic figure. The conflict of the novel is historically specific (displays contemporary writer Spain) and universal (because they exist in any country at all times). The essence of the conflict: the collision of ideal norms and ideas about reality with reality itself - not ideal, "earthly". The image of Don Quixote also became eternal due to its universality: always and everywhere there are noble idealists, defenders of goodness and justice, who defend their ideals, but are not able to realistically assess reality. There was even the concept of "quixotic". It combines the humanistic striving for the ideal, enthusiasm on the one hand, and naivete, eccentricity on the other. The internal upbringing of Don Quixote is combined with the comicality of its external manifestations (he is able to fall in love with a simple peasant girl, but he sees in her only a noble Beautiful lady). The second important eternal image of the novel is the witty and earthy Sancho Panza. He is the exact opposite of Don Quixote, but the characters are inextricably linked, they are similar to each other in their hopes and disappointments. Cervantes shows with his heroes that reality without ideals is impossible, but they must be based on reality. A completely different eternal image appears before us in Shakespeare's tragedy Hamlet. This is a deeply tragic image. Hamlet understands reality well, soberly evaluates everything that happens around him, firmly stands on the side of good against evil. But his tragedy lies in the fact that he cannot take decisive action and punish the evil. His indecision is not a manifestation of cowardice, he is a brave, outspoken person. His hesitation is the result of deep reflections on the nature of evil. Circumstances require him to kill his father's killer. He hesitates because he perceives this revenge as a manifestation of evil: murder will always remain murder, even when the villain is killed. The image of Hamlet is the image of a person who understands his responsibility in resolving the conflict between good and evil, who is on the side of good, but his internal moral laws do not allow him to take decisive action. It is no coincidence that this image acquired a special sound in the 20th century - a time of social upheaval, when each person solved the eternal "Hamlet question" for himself. You can give a few more examples of "eternal" images: Faust, Mephistopheles, Othello, Romeo and Juliet - they all reveal eternal human feelings and aspirations. And each reader learns from these grievances to understand not only the past, but also the present.
The history of literature knows many cases when the works of the writer were very popular during his lifetime, but time passed, and they were forgotten almost forever. There are other examples: the writer was not recognized by his contemporaries, and the next generations discovered the real value of his works.
But there are very few works in literature, the significance of which cannot be exaggerated, because they contain created images that excite every generation of people, images that inspire the creative searches of artists of different times. Such images are called "eternal", because they are carriers of traits that are always inherent in man.
Miguel Cervantes de Saavedra lived out his age in poverty and loneliness, although during his lifetime he was known as the author of the talented, vivid novel Don Quixote. Neither the writer himself nor his contemporaries knew that several centuries would pass, and his heroes would not only not be forgotten, but would become the most “popular Spaniards”, and their compatriots would erect a monument to them. That they will come out of the novel and live their own independent life in the works of prose writers and playwrights, poets, artists, composers. Today it is difficult to enumerate how many works of art were created under the influence of the images of Don Quixote and Sancho Panza: they were addressed by Goya and Picasso, Massenet and Minkus.
The immortal book was born from the idea to write a parody and ridicule the romances of chivalry, so popular in Europe in the 16th century, when Cervantes lived and worked. But the writer's idea expanded, and contemporary Spain came to life on the pages of the book, and the hero himself changed: from a parody knight, he grows into a funny and tragic figure. The conflict of the novel is historically specific (reflects the contemporary writer's Spain) and universal (because they exist in any country at all times). The essence of the conflict: the collision of ideal norms and ideas about reality with reality itself - not ideal, "earthly".
The image of Don Quixote also became eternal due to its universality: always and everywhere there are noble idealists, defenders of goodness and justice, who defend their ideals, but are not able to realistically assess reality. There was even the concept of "quixotic". It combines the humanistic striving for the ideal, enthusiasm on the one hand, and naivete, eccentricity on the other. The internal upbringing of Don Quixote is combined with the comicality of its external manifestations (he is able to fall in love with a simple peasant girl, but he sees in her only a noble Beautiful lady).
The second important eternal image of the novel is the witty and earthy Sancho Panza. He is the exact opposite of Don Quixote, but the characters are inextricably linked, they are similar to each other in their hopes and disappointments. Cervantes shows with his heroes that reality without ideals is impossible, but they must be based on reality.
A completely different eternal image appears before us in Shakespeare's tragedy Hamlet. This is a deeply tragic image. Hamlet understands reality well, soberly evaluates everything that happens around him, firmly stands on the side of good against evil. But his tragedy lies in the fact that he cannot take decisive action and punish the evil. His indecision is not a manifestation of cowardice, he is a brave, outspoken person. His hesitation is the result of deep reflections on the nature of evil. Circumstances require him to kill his father's killer. He hesitates because he perceives this revenge as a manifestation of evil: murder will always remain murder, even when the villain is killed. The image of Hamlet is the image of a person who understands his responsibility in resolving the conflict between good and evil, who is on the side of good, but his internal moral laws do not allow him to take decisive action. It is no coincidence that this image acquired a special sound in the 20th century - a time of social upheaval, when each person solved the eternal "Hamlet question" for himself.
You can give a few more examples of "eternal" images: Faust, Mephistopheles, Othello, Romeo and Juliet - they all reveal eternal human feelings and aspirations. And each reader learns from these grievances to understand not only the past, but also the present.
"PRINCE OF DANISH": HAMLET AS AN ETERNAL IMAGE
Eternal images is a term of literary criticism, art history, cultural history, covering artistic images passing from work to work - an invariant arsenal of literary discourse. We can distinguish a number of properties of eternal images (usually occurring together):
- content capacity, inexhaustibility of meanings;
high artistic, spiritual value;
the ability to overcome the boundaries of eras and national cultures, common understanding, enduring relevance;
polyvalence - an increased ability to connect with other systems of images, participate in various plots, fit into a changing environment without losing one's identity;
translatability into the languages of other arts, as well as the languages of philosophy, science, etc.;
widespread.
The sources of eternal images were historical figures (Alexander the Great, Julius Caesar, Cleopatra, Charlemagne, Joan of Arc, Shakespeare, Napoleon, etc.), characters of the Bible (Adam, Eve, Serpent, Noah, Moses, Jesus Christ, apostles, Pontius Pilate, etc.), ancient myths (Zeus - Jupiter, Apollo, Muses, Prometheus, Elena the Beautiful, Odysseus, Medea, Phaedra, Oedipus, Narcissus, etc.), legends of other peoples (Osiris, Buddha, Sinbad the Sailor, Khoja Nasreddin , Siegfried, Roland, Baba Yaga, Ilya Muromets, etc.), literary tales(Perrot: Cinderella; Andersen: The Snow Queen; Kipling: Mowgli), novels (Cervantes: Don Quixote, Sancho Panza, Dulcinea de Toboso; Defoe: Robinson Crusoe; Swift: Gulliver; Hugo: Quasimodo; Wilde: Dorian Gray), short stories (Mérimée: Carmen), poems and poems (Dante: Beatrice; Petrarch: Laura; Goethe: Faust, Mephistopheles, Margarita; Byron: Childe Harold), dramatic works (Shakespeare: Romeo and Juliet, Hamlet, Othello, King Lear, Macbeth, Falstaff; Tirso de Molina: Don Juan; Molière: Tartuffe ; Beaumarchais: Figaro).
Examples of the use of eternal images by different authors permeate all world literature and other arts: Prometheus (Aeschylus, Boccaccio, Calderon, Voltaire, Goethe, Byron, Shelley, Gide, Kafka, Vyach. Ivanov, etc., in painting Titian, Rubens, etc.) , Don Juan (Tirso de Molina, Moliere, Goldoni, Hoffmann, Byron, Balzac, Dumas, Merimee, Pushkin, A. K. Tolstoy, Baudelaire, Rostand, A. Blok, Lesya Ukrainka, Frisch, Alyoshin and many others, opera by Mozart), Don Quixote (Cervantes, Avellaneda, Fielding, essay by Turgenev, ballet by Minkus, film by Kozintsev, etc.).
Often, eternal images act as pairs (Adam and Eve, Cain and Abel, Orestes and Pylades, Beatrice and Dante, Romeo and Juliet, Othello and Desdemona or Othello and Iago, Leila and Majnun, Don Quixote and Sancho Panza, Faust and Mephistopheles, etc. . d.) or entail fragments of the plot (the crucifixion of Jesus, the struggle of Don Quixote with windmills, Cinderella's transformation).
Eternal images become especially relevant in the context of the rapid development of postmodern intertextuality, which has expanded the use of texts and characters by writers of past eras in contemporary literature. There are a number of significant works devoted to the eternal images of world culture, but their theory has not been developed. New achievements in the humanities (thesaurus approach, sociology of literature) create prospects for solving the problems of the theory of eternal images, with which the equally poorly developed areas of eternal themes, ideas, plots, and genres in literature merge. These problems are interesting not only for narrow specialists in the field of philology, but also for the general reader, which forms the basis for the creation of popular science works.
The sources of the plot for Shakespeare's Hamlet were the Tragic Histories by the Frenchman Belforet and, apparently, a play that has not come down to us (possibly Kida), in turn dating back to the text of the Danish chronicler Saxo Grammaticus (c. 1200). Main feature artistry of "Hamlet" - syntheticity (synthetic alloy of a number storylines- the fate of the heroes, the synthesis of the tragic and the comic, the sublime and the low, the general and the particular, the philosophical and the concrete, the mystical and the everyday, the stage action and the word, the synthetic connection with the early and late works of Shakespeare).
Hamlet is one of the most mysterious figures in world literature. For several centuries, writers, critics, scientists have been trying to unravel the mystery of this image, to answer the question of why Hamlet, having learned the truth about the murder of his father at the beginning of the tragedy, postpones revenge and at the end of the play kills King Claudius almost by accident. J. W. Goethe saw the reason for this paradox in the strength of the intellect and the weakness of the will of Hamlet. On the contrary, the film director G. Kozintsev emphasized the active principle in Hamlet, saw in him a continuously acting hero. One of the most original points of view was expressed by the outstanding psychologist L. S. Vygotsky in The Psychology of Art (1925). Having a new understanding of Shakespeare's criticism in L. N. Tolstoy's article "On Shakespeare and Drama", Vygotsky suggested that Hamlet is not endowed with character, but is a function of the action of tragedy. Thus, the psychologist emphasized that Shakespeare is a representative of the old literature, which did not yet know character as a way of depicting a person in verbal art. L. E. Pinsky connected the image of Hamlet not with the development of the plot in the usual sense of the word, but with the main plot of the “great tragedies” - the discovery by the hero of the true face of the world, in which evil is more powerful than it was imagined by humanists.
It is this ability to know the true face of the world that makes tragic heroes Hamlet, Othello, King Lear, Macbeth. They are titans, surpassing the average spectator in intelligence, will, courage. But Hamlet is different from the other three protagonists of Shakespeare's tragedies. When Othello strangles Desdemona, King Lear decides to divide the state between his three daughters, and then gives the share of the faithful Cordelia to the deceitful Goneril and Regan, Macbeth kills Duncan, guided by the predictions of the witches, then they are wrong, but the audience is not mistaken, because the action is built so that they could know the true state of affairs. This puts the average viewer above the titanic characters: the audience knows something they don't know. On the contrary, Hamlet knows less than the audience only in the first scenes of the tragedy. From the moment of his conversation with the Phantom, which is heard, apart from the participants, only by the spectators, there is nothing significant that Hamlet does not know, but there is something that the spectators do not know. Hamlet ends his famous monologue "To be or not to be?" nothing is meaningful phrase“But enough”, leaving the audience without an answer to the most important question. In the finale, having asked Horatio to "tell everything" to the survivors, Hamlet utters a mysterious phrase: "Further - silence." He takes with him a certain secret that the viewer is not allowed to know. Hamlet's riddle, therefore, cannot be solved. Shakespeare found a special way to build the role of the protagonist: with such a construction, the viewer can never feel superior to the hero.
The plot connects Hamlet with the tradition of the English "revenge tragedy". The genius of the playwright is manifested in the innovative interpretation of the problem of revenge - one of the important motives of the tragedy.
Hamlet makes a tragic discovery: having learned about the death of his father, the hasty marriage of his mother, having heard the story of the Phantom, he discovers the imperfection of the world (this is the plot of the tragedy, after which the action develops rapidly, Hamlet matures before our eyes, turning in a few months of plot time from a young student to 30 year old person). His next discovery: “time is dislocated”, evil, crimes, deceit, betrayal are the normal state of the world (“Denmark is a prison”), therefore, for example, King Claudius does not need to be a powerful person arguing with time (like Richard III in the chronicle of the same name ), on the contrary, time is on his side. And one more consequence of the first discovery: in order to correct the world, to defeat evil, Hamlet himself is forced to embark on the path of evil. From the further development of the plot it follows that he is directly or indirectly guilty of the death of Polonius, Ophelia, Rosencrantz, Guildenstern, Laertes, the king, although only this latter is dictated by the demand for revenge.
Revenge, as a form of restoring justice, was such only in the good old days, and now that evil has spread, it does not solve anything. To confirm this idea, Shakespeare poses the problem of revenge for the death of the father of three characters: Hamlet, Laertes and Fortinbras. Laertes acts without reasoning, sweeping away “right and wrong”, Fortinbras, on the contrary, completely refuses revenge, Hamlet puts the solution of this problem depending on the general idea of the world and its laws. The approach found in Shakespeare's development of the motive of revenge (personification, i.e., tying the motive to characters, and variability) is also implemented in other motives.
Thus, the motive of evil is personified in King Claudius and presented in variations of involuntary evil (Hamlet, Gertrude, Ophelia), evil from vindictive feelings (Laertes), evil from servility (Polonius, Rosencrantz, Guildenstern, Osric), etc. The motive of love is personified V female images: Ophelia and Gertrude. The friendship motif is represented by Horatio (faithful friendship) and by Guildenstern and Rosencrantz (betrayal of friends). The motif of art, the world-theatre, is associated both with touring actors and with Hamlet, who appears insane, Claudius, who plays the role of the good uncle Hamlet, etc. The motif of death is embodied in the gravediggers, in the image of Yorick. These and other motives grow into a whole system, which is important factor development of the tragedy.
L. S. Vygotsky saw in the double assassination of the king (with a sword and poison) the completion of two different storylines developing through the image of Hamlet (this function of the plot). But there is another explanation as well. Hamlet acts as a fate that everyone has prepared for himself, preparing his death. The heroes of the tragedy die, ironically: Laertes - from the sword, which he smeared with poison, in order to kill Hamlet under the guise of a fair and safe duel; the king - from the same sword (according to his proposal, it should be real, unlike Hamlet's sword) and from the poison that the King had prepared in case Laertes could not inflict a mortal blow on Hamlet. Queen Gertrude drinks poison by mistake, as she mistakenly confided in a king who did evil in secret, while Hamlet makes all secret clear. Hamlet bequeaths the crown to Fortinbras, who refuses to avenge his father's death.
Hamlet has a philosophical mindset: he always moves from a particular case to the general laws of the universe. family drama he sees his father's murders as a portrait of a world in which evil thrives. The frivolity of the mother, who so quickly forgot about her father and married Claudius, leads him to generalize: "O women, your name is treachery." The sight of Yorick's skull makes him think about the frailty of the earth. The whole role of Hamlet is based on making the secret clear. But with special compositional means, Shakespeare ensured that Hamlet himself remained an eternal mystery for viewers and researchers.
Well, I hesitate and endlessly repeat
About the need for revenge, if to the point
Is there will, power, right and pretext?
In general, why was Laertes able to raise people against the king, returning from France after the news of the death of his father, while Hamlet, whom the people of Elsinore loved, did not go for it, although he would have done the same with the least effort? One can only assume that such an overthrow was either simply not to his liking, or he was afraid that he would not have enough evidence of his uncle's guilt.
Also, according to Bradley, Hamlet did not plan the "Murder of Gonzago" with the great hope that Claudius, by his reaction and behavior, would reveal his guilt to the courtiers. With this scene, he wanted to force himself to make sure, mainly, that the Phantom is telling the truth, which he tells Horatio:
Even with the very comment of your soul
Observe my uncle. If his occupied guilt
Do not itself unkennel in one speech,
It is a damned ghost that we have seen,
And my imaginations are as foul
As Vulkan's stithy. (III, II, 81–86)
Be kind, look at your uncle without blinking.
He will either give himself away
At the sight of the scene, either this ghost
There was a demon of evil, but in my thoughts
The same fumes as in the forge of Vulcan.
But the king ran out of the room - and the prince could not even dream of such an eloquent reaction. He triumphs, but, as Bradley aptly remarks, it is quite understandable that most of the courtiers perceived (or pretended to perceive) the "Murder of Gonzago" as the young heir's insolence towards the king, and not as an accusation of the latter of murder. Moreover, Bradley is inclined to believe that the prince is worried about how to avenge his father without sacrificing his life and freedom: he does not want his name to be dishonored and forgotten. And him dying words can be proof of that.
The Prince of Denmark could not be satisfied only with the need to avenge his father. Of course, he understands that he is obliged to do this, although he is in doubt. Bradley called this assumption the "theory of conscience", believing that Hamlet is sure that you need to talk to the Ghost, but subconsciously his morality is against this act. Although he himself may not be aware of it. Returning to the episode when Hamlet does not kill Claudius during prayer, Bradley remarks: Hamlet understands that if he kills the villain at this moment, the soul of his enemy will go to heaven, when he dreams of sending him to the blazing hell of hell:
Now might I do it pat, now 'a is apraying,
And now I'll do't. And so a' goes to heaven,
And so am I revenged. That would be scanned. (III, III, 73–75)
He prays. What a convenient moment!
A blow with a sword and he will fly up to the sky,
And here is the reward. Is not it? Let's figure it out.
This can also be explained by the fact that Hamlet is a man of high morals and considers it beneath his dignity to execute his enemy when he cannot defend himself. Bradley believes that the moment when the hero spares the king is a turning point in the course of the entire drama. However, it is difficult to agree with his opinion that with this decision Hamlet “sacrifices” many lives later. It is not entirely clear what the critic meant by these words: it is clear that this is exactly what happened, but, in our opinion, it was strange to criticize the prince for an act of such moral loftiness. Indeed, in essence, it is obvious that neither Hamlet nor anyone else simply could have foreseen such a bloody denouement.
So, Hamlet decides to postpone the act of revenge, nobly sparing the king. But then how to explain the fact that Hamlet without hesitation pierces Polonius, who is hiding behind the tapestries in the room of the Queen Mother? Everything is much more complicated. His soul is in constant motion. Although the king would be as defenseless behind the curtains as in the moment of prayer, Hamlet is so excited, the chance comes to him so unexpectedly that he does not have time to think it over properly.
etc.................
