Hamlet fascinates many readers and the first thing to point out about him is that he is mysterious. Shakespeare's work demonstrates Hamlet's dilemma as the role of revenger showing a man of thought forced to be a man of action. Hamlet is extremely philosophical and introspective. He is particularly drawn to difficult questions or questions that cannot be answered with any certainty. Faced with evidence that his uncle murdered his father, Hamlet becomes obsessed with proving his uncle's guilt before trying to act. He is equally overwhelmed with questions about the afterlife, about the wisdom of suicide, and about what happens to bodies after they die.
However, even though he is thoughtful to the point of obsession, Hamlet also behaves rashly and impulsively. When he does act, it is with surprising as when he stabs Polonius through a curtain without even checking to see who he is. He seems to step very easily into the role of a madman, behaving erratically and upsetting the other characters with his wild speech and pointed innuendos. It is also important to note that Hamlet is extremely depressed and unhappy with the state of affairs in Denmark and in his own family. At a number of points in the play, he contemplates his own death and even the option of suicide.
Hamlet is a man of thought' forced to become a 'man of action' because right from the start of the play, he is expected to take revenge/action for the murder of his father. His contrast of philosopher and revenger is shown throughout the play, either by the thoughts of the torments of this burden, decisions he has to make or actions he is expected to take.
Shakespeare uses many techniques in language and structure to show Hamlet's dilemma. For example, blank verse is used to act as a substitute for physical action, which could indeed represent Hamlet using words 'man of thought' instead of deeds, 'man of action'.
The soliloquies create an effect on the audience showing that Hamlet is depressed and confused. When he speaks, he sounds as if there is something important he is not saying, maybe something even he is unaware of, creating the sense that Hamlet's character, a philosopher, is extremely troubled at becoming a man of action.
In Hamlet's second soliloquy, Act 2, Scene 2, his speech moves through anger, self-condemnation and agonised self-accusation, impassioned fury and mocking self criticism, deep reflection and determination. He continuously points out his faults on how he cannot raise himself to adequate passion to avenge for his father's murder, he comments on how the actor showed grief for his lines, and how he cannot, even though he has great reason to. Hamlet's mood is far beyond normal and has gone into philosophical realms, continuously using metaphors to show his disgust and anguish for himself and his attitudes to the current affairs in the state of his own home.
The soliloquy opens with Hamlet cursing himself as a 'rogue and peasant slave'. Hamlet expresses an outburst of hatred, linking it to the actor when he describes the actor's passion.
Hamlet is outraged that he is not able to shed tears, and when he says 'fiction' he is disappointed to see that a man can make himself cry through a second-hand play, whereas he cannot. Hamlet's outrage here demonstrates his dilemma as the 'man of thought' forced to be a 'man of action'. He experiences the feelings of hatred and revenge, but cannot bring himself to act upon them.
Hamlet turns his critical gaze upon himself using affluent speech with immediate and striking images. He is like a 'John-a-dreams', an ineffectual person, showing he is a man of thought. 'Unpregnant of my cause', a metaphor used to show Hamlet's anger at himself, also demonstrates that Hamlet is unable to act or seize revenge, showing his dilemma. Here, Hamlet is also telling the audience that he has no plan, representing the 'man of thought' in himself, unable to take action.
Hamlet blames himself for not yet having taken revenge on his father's murder asking himself whether he is a 'coward' for making use of words and thoughts and not actions.
However, Hamlet finally forces himself to admit that he is a coward: 'pigeon-livered and lack gall'. The imagery used here shows an alleged source of bitterness. Hamlet cannot turn the anger or the 'oppression' he feels into something bitter enough to spur him into action.
'Remorseless', 'treacherous' and 'kindless villain' show how Hamlet is forced to be a man of action. He relates himself to the character of Phyrrhus, showing that he should have taken revenge already. The fact that Hamlet is much like a philosopher illustrates that he is frayed between the decisions he must make and the actions he must take.
His anger is such that he appears to be challenging some invisible accuser who calls him 'villain'. There is a series of physical attack. The 'villain' he accuses is Claudius and himself. The simple cry for 'vengeance' cuts short this train of thought; suggesting that Hamlet's mind is torn apart enough and opening up the idea that more thought will result in torture, therefore, he needs to take action.
Again, the soliloquy changes both pace and focus, because Hamlet is now focused on himself again, cursing himself with anger and hatred. However, it is now more reasonable. Hamlet is an 'ass' not a 'rogue and peasant slave'. After the violent, emotional climax of the soliloquy, the more rational and intellectual side of Hamlet is emerged and he begins to look at things more calmly. Hamlet becomes aware that he is discharging his heart and feelings, but in words and not deeds. Hamlet coolly analyses what he has said about himself and again judges himself unfavourably.
At the end of the soliloquy, Hamlet finally acknowledges how he will be sure of what to do, becoming a man of action.
'The play's the thing wherein I'll catch the conscience of the king' illustrates the final decision Hamlet has made, instantly spurring a 'man of thought' into a 'man of action'. Hamlet is not yet sure whether the Ghost is telling the exact truth, which has been one of the issues for his confusion and dilemma, throughout this soliloquy. Hamlet believes that this play within a play will give him enough proof of whether Claudius was the murderer of his father or not.
The soliloquy shows how Hamlet's dilemma as the role of revenger is dramatised, and how he is a 'man of thought forced to be a man of action' which has been demonstrated above. His emptiness and helplessness expand the idea that he is torn between two people, hence 'man of thought' and 'man of action'.
Alternatively, during the course of the play, Hamlet just talks and talks about what he plans on doing, but when an opportunity arises to make good on his word, he backs down. Hamlet's delay in killing Claudius when he is in prayer, Act 3, Scene 3, further shows that Hamlet is indeed a 'man of thought' because he is torn between the thoughts of life after death and whether taking revenge on someone in prayer will be better for him or the person, not once being a 'man of action'.
Hamlet sees Claudius praying and believes that it is a good opportunity to kill Claudius but is automatically drawn away from action and forced into thought. Hamlet says that if he is to kill Claudius now, Claudius shall go straight to heaven and 'this is hire and salary, not revenge'. Hamlet wants to get his uncle when he is sinning so there would be no chance of forgiveness. He makes up an excuse for himself, saying that it is dishonourable to kill someone in the church. He decides to wait for the precise moment to murder his uncle, Claudius to make sure that Claudius goes to hell and that he, Hamlet, will still go to heaven by saying, 'This physics but prolongs thy sickly days'.
This shows how Hamlet is a 'man of thought' and not a 'man of action'.
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