In order to truly appreciate life or recognize its value, one must be able to understand the powerful finality that accompanies death. Furthermore, one must also understand this subject when one seeks to destroy and inflict death on another being. This complex but crucial concept is demonstrated in Shakespeare's Hamlet. Throughout Hamlet's soliloquies, the development of his character is revealed; it is a transformation from inaction to action. However, it is shown throughout the play that before he can successfully take revenge on Claudius, Hamlet must first fully appreciate the true nature of death. Obviously, Hamlet has many false perceptions of death that cause him to remain inactive. In Hamlet's mind, death moves from a neutral subject to one of fear. He then perceives it as a vague abstraction, then sees in it an illustrious but threatening adversary whom he does not have the means to defeat. It is only when Hamlet correctly perceives death – as an inevitable and brutal event – ​​that Hamlet is able to act. Therefore, Hamlet's transformation from inaction to action throughout his soliloquies relies largely on his understanding and perception of the concrete reality of death, as well as the unknowns that accompany it.Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essay Initially, Hamlet's view of death is very immature – like a child who has been shielded from the horrible reality of death and who received rosy images instead. to associate with the concept. Undoubtedly, Hamlet suffers from severe depression following the death of his father and the hasty marriage of his mother. He expresses a desire to commit suicide, but he does not seem to associate the idea of ​​suicide with death. Instead, in his first soliloquy, Hamlet wishes “that [his] too-soiled flesh would melt, / Thaw and dissolve into dew” (I, ii, 129-130). Obviously, death is much more brutal than simple dissolution or melting. Although Hamlet desires to leave this world, he does not seem to recognize the terrible journey that must be undertaken to get there. Therefore, his youthful approach to death causes Hamlet to remain inactive and ineffective when he is given the task of assassinating the king. Saying “it’s “farewell, farewell, remember me.” / I have not sworn” (I, v, 111-112) Hamlet promises to remember and obey the words of the ghost. Regardless, Hamlet reacts only in empty shock – empty, because no revenge will directly result. For Hamlet to succeed in taking revenge, he must be fueled by thoughts of death, as opposed to those of passing bitterness. Furious at his uncle's heinous crime, Hamlet refers to Claudius as "O wicked, wicked, wicked smiling villain" (I, v, 105-106). He reacts with anger towards his uncle rather than remorse over his father's death. Essentially, the only time Hamlet refers to his father is by saying that he was "such an excellent king" (I, v, 139), ultimately focusing more on his father's past life, as opposed to at his death. It is very likely that Hamlet's immature view of death minimizes the brutality of his father's death. Ultimately, his unrealistic view regarding death prevents him from immediately seeking revenge, resulting in various unnecessary deaths along the way. Before these deaths, however, Hamlet contemplates mortality in his second major soliloquy. Having recently destroyed his relationships with Gertrude, Claudius, Ophelia, as well as Rosencrantz and Guildenstern, Hamlet considers suicide more seriously. When he ponders “to be or not to be” (III, i, 56), he is essentially trying to decide whether there is a greater nobility in living – and “[suffering]/ the slings and arrows of scandalous fortune” (III, i). , 67-68) or die – and “by opposing their end” (III,i, 57-60). A recently deceased father and an equally recently remarried mother – Hamlets suffers many difficulties during his current stay on earth. During this monologue, he concludes that the main reason death is so often avoided is because of the unknowns that come with death. Hamlet expresses this realization by saying “who would bear the fardels, / grunt and sweat under a weary life, / but the fear of something after death” (III, i, 76-78). Clearly, Hamlet has begun to recognize the inevitable presence of death, as the time to kill Claudius draws nearer. Inevitably, Claudius' death will result in Hamlet's death as punishment; Hamlet must therefore reflect on this subject. However, instead of addressing this issue, it has now evolved into something threatening. Unfortunately, Hamlet now fears death, describing it as "the unknown country, from which no traveler returns" (III, i, 79-80). His perception of death has changed from an immature contempt to an unhealthy fear of death and what awaits him. This fear ultimately prevents Hamlet from acting because his death is inevitable once Claudius is killed. As stated previously, it is necessary for Hamlet to focus on death in order to kill Claudius – as he did not initially do so. However, his sense of death is still wrong, causing him to remain inactive. Therefore, Hamlet simply neglects his mission of vengeance in order to protect himself from the looming and threatening mysteries of death that are only mastered until the end of life. Clearly, the end of life is approaching inauspiciously for Claudius and Hamlet. After the play “The Mousetrap”, as well as the sudden departure of the king, Hamlet is convinced that Claudius has indeed murdered his father. He is now preparing for an arranged speech with his mother and, through a short but meaningful monologue, manages to excite himself by focusing on horrible topics. In this mad state of mind, Hamlet claims that he "could drink hot blood, / and do affairs as bitter as the day / would tremble before his eyes" (III, iii, 381-383). He is determined to be impetuous, willing “to be cruel and not unnatural” (III, iii, 386). However, throughout this monologue, Hamlet's notable weakness: in his speech, he is determined and cruel, but he remains inactive. Essentially, Hamlet is all talk and no play. More specifically, Hamlet refers to things related to death like blood and daggers, but makes no specific reference to death itself, although – without no doubt – it's an important topic in his life right now. Therefore, Hamlet's poeticism is dangerous because it tends to generalize and familiarize death, without speaking specifically about the reality of the subject. In his mind, “to die – [is] to sleep” (III, i, 60), and death is “the unknown country” (III, i, 79). These romantic terms in which he refers to something quite horrible and brutal obscure his perception of death and transform it into a general and familiar concept. Thanks to this technique, Hamlet dances around death on poetic feet. He does not allow himself to think about the subject of death and, therefore, procrastinates before killing the king. It may be a way of coping with one's fear of death, although perhaps downplaying the intensity of death is just as dangerous. In short, Hamlet's habit of universalizing and romanticizing death causes him to avoid its reality and, therefore, prevents him from murdering the king. Nevertheless, it becomes almost impossible for Hamlet to avoid the reality of death as twenty thousand men parade before him. him in theirgraves. After meeting and conversing with Fortinbras' soldiers, in his final soliloquy, Hamlet reevaluates the events that have occurred. Hamlet recognizes that every man has a purpose in life that God gave him and he has not accomplished it. He scolds himself, saying: “I do not know/why yet I live to say that this thing is to be done,/if I have reason, and will, and strength, and means/to do it” (IV , iv, 43-46). However, it is obvious that the reason for Hamlet's procrastination is his continued lack of understanding regarding death. His perception has progressed a lot - although not fully developed - which has caused him to remain inactive. In this soliloquy, Hamlet admires the passion and will of others, and thus reproaches himself for having none. Previously, in the second act, Hamlet admired how the player "could so force his soul to his own vanity / that for his work his whole face wanted / tears in his eyes, distraction in his aspect, / a broken voice » (II, II, 547-550). Desperately, Hamlet recognizes that it was all for nothing (II,ii, 551). Yet the player has more passion than him, even though Hamlet has more reason to do so. Likewise, as he observes "the imminent death of twenty thousand men / Who, for a fantasy and a turn of glory, / go to their tombs like beds" (IV, iv, 60-62), he experiences the same remorse and incapacity. He recognizes the courage of others in being able to face death, but concludes that he has "the liver of a pigeon and lacks the nerve to make oppression bitter" (II, ii, 575-576). Therefore, Hamlet's fear of death caused him to view it as a fierce adversary that can only be defeated with immense courage. Unfortunately - because of this false perception - Hamlet does not believe he possesses this courage and therefore does not consider himself capable of facing death. Ultimately, Hamlet's soliloquies allow him to move from inaction to action. However, he only achieves revenge by understanding the true reality of death. Before this moment of realization, Hamlet views death immaturely, fearfully, and abstractly – preventing him from inflicting death on him. However, the discourse that takes place between the gravediggers sheds light on the reality of death. While holding a skull in his hand, Hamlet literally grasps the concept of mortality: death is conclusive and can conquer even the greatest of men. By saying “to what vile uses we may return, Horatio” (V, i, 196), Hamlet demonstrates his momentous revelation, that in time, death will conquer all living things. Furthermore, Hamlet's revelation is evident when he finally speaks of death in ordinary, familiar terms, instead of poeticizing a rather gruesome concept. In speaking to Horatio, Hamlet addresses the death of Alexander the Great in clear and appropriate terms, saying: "Alexander / is dead, Alexander has been buried, Alexander returns / to the dust" (V, i, 201-203 ). Finally, Hamlet has recognized that death is ominous, but it is inevitable, and Hamlet himself has the potential to play a role in inflicting the death of King Claudius. Additionally, Hamlet greets death in the most literal and dramatic way possible: by jumping into Ophelia's grave. He begs "to be buried quickly with her" (V, i, 274), which is Hamlet's most sincere plea for suicide because it is only now that he recognizes death for what 'she really is. Furthermore, only now is Hamlet fully prepared to face the king's murder – as well as his own impending death. This revelation radically changes Hamlet's reaction to the duel that has been arranged between him and Laertes. By saying “if it is now, it is not to come; if it does not come, it will be now” (V,ii, 216-217) Hamlet.