Hamlet - Ghost Besides the Research Paper

Excerpt from Research Paper :



The centrality of the ghost to the play's metaphysics might be inferred from the fact that William Shakespeare acted as the ghost and the player king (Bloom), a strange chimera and bellerophon within the anatomy of the play. To cite Eliot again, Hamlet "is the 'Mona Lisa' of literature" (cf. Hoy 182). It is an exciting challenge to participate in this critical tradition in hopes of concluding it. However, the volumes of superb criticism on Hamlet and King Hamlet's ghost are vast, and this is a mere gloss of its character. If we obsess over it too much, we, like Hamlet, may become lost in its problems.

Works Cited and Consulted

Bloom, Harold. Hamlet: Poem Unlimited. Riverhead Books: New York, 2003.

Dodsworth, Martin. Hamlet Closely Observed. The Athlone Press: London, 1985.

Greenblatt, Stephen. Hamlet in Purgatory. Princeton University Press: Princeton, 2001.

How, Cyrus, ed. William Shakespeare Hamlet, Second Edition. W.W. Norton & Company: New York, 1992.

Without having conducted an investigation into the textual history of the play, I can say that the phrase "be thy intents wicked or charitable" is part of a declarative sentence, not a question. Hamlet is prefacing his conversation rather than negotiating it. He will talk to the ghost whether the ghost is good or evil, and I argue below that this obsessiveness is the tragic flaw, parallel to his obsession with theater.

Sources Used in Document:

Works Cited and Consulted

Bloom, Harold. Hamlet: Poem Unlimited. Riverhead Books: New York, 2003.

Dodsworth, Martin. Hamlet Closely Observed. The Athlone Press: London, 1985.

Greenblatt, Stephen. Hamlet in Purgatory. Princeton University Press: Princeton, 2001.

How, Cyrus, ed. William Shakespeare Hamlet, Second Edition. W.W. Norton & Company: New York, 1992.

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