Yet once again, Hamlet demonstrates the will to act, but does not realize his goals in a courageous manner. Yes, Hamlet does kill Claudius in the conclusion of the play, but his final epiphany “let be” is merely a simple acceptance of anxiety, rather than a final, courageous action (V. 2. 196). Accepts the duel, falling into Claudius’ and Laertes’ trap. Ultimately, Hamlet’s inaction is greatly caused by his thoughtfulness, which overshadows impulsive behavior and action.
In addition, Romeo’s hamartia, or his fatal error that ultimately brings his doom, lies in his impulsive actions, which drives him to kill Tybalt, Paris, and eventually himself. The tragic hero also has a downfall, where his circumstances are reversed and he gradually loses power. In Romeo’s example, his continued abrupt actions lead to his fatal end. In Shakespearean tragedy, the anagnorisis, or the change from ignorance to the recognition of the hamartia, is not always realized by the tragic hero. While it does not appear Romeo acknowledged his own lack of sensibility, both Friar Laurence and Juliet
If up until now my analysis examined some of Hamlet´s actions, as well as steps taken so as to avenge his father’s murder, now it is time to focus on his constant hesitation and perpetual procrastination over the matter. William Shakespeare’s Hamlet is clearly a revenge play, yet ironically, our protagonist seems unable to commit such an act. Although, he establishes that the Ghost’s request for revenge is his obligation to carry out, Hamlet always postpones the act. Throughout the course the play it becomes quite obvious that Hamlet is conscious of the illusive form of his hollow intention: “I do not know/ Why yet I live to say, ‘This thing’s to do’” (4.4.43–44). His delay becomes central to the plot, and it shows how far from resolving his purpose, Hamlet lacks courage to carry it out.
In the tragedy Hamlet, Hamlet’s conflict was cause by his own emotions and flaws. “Hamlet does have a tragic flaw, for being the principal character in a tragedy, written within the template of a classical tragedy, Hamlet was expected to share this trait with all other noble, tragic characters.” (Tatu, 126). Hamlet had a fundamental weakness that he couldn’t overcome until the end of the story. Hamlet was responsible for his own downfall. He felt like he was obligated to defend his father when finding out the truth behind his death.
This lack of remorse is his shrill that pushes him to continue with his evil conspiracies. This conveys Macbeth’s character at the beginning to be a misrepresentation because for him to have killed Duncan who was his king and cousin as well as Banquo a friend and man who he fought alongside in the war is not the actions of a noble man. However, he first acts on his ambition in (2.1) when Macbeth makes his “is this dagger before me” speech; he acknowledges that what he sees is not real, but through this vaulting ambition he visualizes the dagger as sign that he should kill Duncan. After he kills Duncan it is apparent that his
Loman, whose ideas of achieving perfection have been frustrated due to his incapacity to face his weaknesses, cope with his limitations, and confront his real self, is the reason the play can be categorized as a tragedy. Miller evokes pity and fear in his audience throughout the story, portrays Loman as a man who is plagued by his American Dream that is unrealistic and impractical, and finally uses Willy’s suicide as his inevitable defeat through his own actions and flaws. Death of a Salesman has many aspects associated with dramatic tragedy, including a flawed hero, a ‘fall’ into despair,
Creon disagrees strongly and becomes inflamed towards Haemon. Another flaw of Creon is that he is a hypocrite who does not stick to his own words, thus perjuring himself. In his initial speech he says “ - a man who does not take the best advice there is - such a man is the very worst of men and always will be.”. But later in the play Creon doesn’t listen to the advice of those around him, in the most basic sense he is saying that he is the worst of men. These tragic flaws work against him as the story progresses.
The feeling of getting revenge starts the signs of active nihilism in Hamlet. Hamlet goes through passive nihilistic views in most of the play and shows this through his lack of motivation to live. Hamlet says, “How weary, stale, flat and unprofitable seem to me all the uses of this world,” (I,2). Hamlet talks on how that everything in this world is useless. This suggests that he really does not have a reason to live.
Having been raised in this society, and taught the expectations of one’s gender, each character must carefully choose their actions so as to conform. Hamlet laments his failure to do so when he does not take action on the knowledge of his father’s murder, and, having recently witnessed an actor expend all his effort to play a part, exclaims: “O, what a rogue and peasant slave am I!” (2.2.471). Hamlet’s tone and sorrowful diction depict the disdain with which he holds himself for his failure to be brave, honorable -- manly. His continued scrutiny, depicted and described through the question: “What would he do, Had he the motive and the cue for passion That I have?” (2.2.481-482) exposes another effect of gender expectations, one which sparks the internal conflicts which Hamlet is grappling with in this scene: comparison between oneself and others is magnified and assigned importance due to the presence of gender attributes and expectations. One can also tell the effect of such a situation: Hamlet’s description of himself as “A dull and muddy-mettled rascal, peak, Like John-a-dreams, unpregnant of my cause” (2.2.488-489) and self doubting question of “Am I a coward?” (2.2.492) both decry the negative effect which self-depreciation due to failure to meet gender expectations has.