Hamlet’s
Understanding of Life/Death in Act V, Scene II
The
play ‘Hamlet’ by Shakespeare is a tragedy that depicts the story of Hamlet and
his quest for revenge for the death of his father. His overall goal is to find a way to kill his
stepfather, Claudius because of the betrayal he has committed to both his
father and mother. In several scenes of the play, readers can see Hamlet
depicted to be scheming or finding ways to have his stepfather killed that in a
way provided the impression that he is insane or mad. However, this changes in Act
V, scene II when Shakespeare transforms Hamlet’s character that eventually
influenced the ending of this play.
A
good way to examine the transition of Hamlet’s character in Act V, scene II
would be the quote where it mentions “There is special providence in the fall
of a sparrow. If it be now, ‘tis not to come; if it be not to come, it will be
now; if it be not now yet it will come – the readiness is all. Since no man, of
aught he leaves, knows what is’t to leave betimes, let be” (Shakespeare, Act V,
Scene II, p.217). Arguably, this quote refers to the perspective of death. In
my opinion, the quote means no one really knows when it would come. It can be
today, tomorrow or some other time. However, the most important thing is one is
ready to face it when it does come. Based from the quote, Hamlet is accepting
his fate that death would eventually come and haunt him. It would be an event
he is ready to accept and willing to tackle especially when he knows that his
stepfather wants him dead.
Using
this quote, Hamlet is telling Horatio to accept the fact that he would die one
way or another. Regardless of how careful he is, the time would come where he
would face death. Arguably, this shows Hamlet’s maturity in Act V, Scene II. In
the previous scenes in the play, Hamlet wanted to cling on to life because he
wanted to avenge the death of his father and even accepting the fact that he
was labeled as insane. In essence, Hamlet wanted Horatio to understand that he
is ready whatever happens to him in the succeeding scenes. Specifically, Hamlet
feels he has done enough damage and eventually these wrong acts of killing
people would haunt him in the future.
Based
from this conversation with Hamlet and Horatio, this complements how Shakespeare
transforms Hamlet character and offers a more mature understanding of life and
death. Prior to Act V, Scene II, we can see Hamlet desperate to cling on his
life because he feels he has not yet achieved the purpose of killing Claudius
and avenging his father. There is somewhat a commitment to fulfill his father’s
wishes makes him lose the ability to appreciate life. All he thought about was
to get what he wants (Brandeis.edu, 2009). Arguably, this changes in Act V,
Scene II when Hamlet realizes the extent of what he has done. After all the
things he has endured, he feels that he has wasted his life not appreciating
life. Seeing this, he felt the need to just be ready and accept reality that
people would eventually face death. This transition of beliefs is clearly one
essential highlight in understanding how Hamlet becomes mature on the issue
of life and death.
In
addition, Shakespeare has made an attempt to create ways where Hamlet can
demonstrate his maturity through his interaction with Horatio. In Act V, Scene
II, readers can feel the different presence of Hamlet as he approaches the
match with Laertes. Both Hamlet and Horatio know that it was a trap. However,
Horatio was surprised when Hamlet accepted the offer especially knowing that
this event could be deadly and even cost Hamlet his life. However, the
perspective of Hamlet changes because he feels it is about time to face his
enemy. The invitation of Claudius is a wonderful opportunity for him to achieve
his goal and kill his stepfather. Also, he understands the risks involved in
the process and embraces this accordingly. Arguably, this level of maturity clearly
illustrates the willingness of Hamlet to face the risks to achieve his goal.
This is different from his original personality in the previous scenes where he
tries to show a thought and careful attention on what can be done.
Another
way of looking at the development of Hamlet’s character in Act V, Scene II
would be the acceptance of his fate. Even if Horatio kept on insisting that
Hamlet do not participate in the duel, he feels that it is about time to face
his biggest enemy. Acceptance happens when Hamlet concedes the fact that he
might die in the process. In addition, he feels guilty of killing Polonius and
not having the chance to seek amends for his actions. Arguably, this acceptance
also happened when Hamlet realized that he and Laertes remain to share the same
sentiment. Their desire for revenge continues to consume their life. Seeing
this, the duel then would be a perfect opportunity for all characters to
somewhat get redemption for the things they have done.
Based
from all these important transformation that happened in Act V, Scene II
Shakespeare did not give proper ending to the story because the realizations
and development have already been achieved in this particular section. This
means that the main characters were able to recognize their individual
objectives however with the price of death except for Horatio who was tasked to
recount the realities of the story and restore legitimacy to the tainted
leadership and rule. Arguably, Shakespeare was effective in creating a balance
with the characters he has created. The death of all monarchs and characters
except for Horatio remains to be a justification of what should happen eventually.
During this time, everyone was able to achieve their individual goals and
objectives. For example, the death of Hamlet allows him to achieve the death of
his father and also give justice to Laertes for killing his father Polonius
(Dramactica, 2010). In essence, through the death of the characters, it creates
a restoration of morality in the story.
References
Brandeis.edu (2009). Tragic Balance in ‘Hamlet’ Retrieved from
http://people.brandeis.edu/~teuber/balinham.html
Dramatica (2010). Hamlet:
Comprehensive Story form. Retrieved from
http://dramatica.com/analysis/hamlet
Shakespeare, W. (2005). Hamlet. US: Prestwick House.
.
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