Election and Emergence of Elizabethan Tragedy

Question: Discuss about the Election and Emergence of Elizabethan Tragedy. Answer: Introduction: The considered paper is attempting to make a critical discussion on of the magnum opuses of William Shakespeare Hamlet. More specifically, the present essay is going to achieve a coherent understanding about the mentioned plays attributes as a revenge tragedy by evaluating the notion and conventional traits of revenge play. Hence, the purpose of this distinct assignment is to determine, whether literary pieces are the interpretation of the very culture in which they are written or not. Prior to proceed with making a thorough understanding regarding the underpinned statement, it is essential to keep in mind that the phrase revenge tragedy is the counterpart of the classical Senecan or ancient Roman plays on tragedy. According to Dunne (2016), the culture of scripting a revenge strategy has been possibly ingrained through the hands of Thomas Kyd. With his remarkable revenge drama The Spanish Tragedy, possibly the entire trend of writing plays with gory scenes and bloodbath, butchery acts has been introduced to the English literary culture. In other words, taken place in the early modern period in England, revenge dramas are found to evolve around heroic yet tragic protagonists, whose chief aim used to seek revenge against someone. However, as per the argument by Rozett (2014), the entire culture of revenge tragedy had been inaugurated in the year 1560 by the hands of the classicist - Jasper Heywood. Heywoods translations of the classical Seneca, the joint play Gorbud uc by Sackville and Norton are considered to be creates near abut twenty years before The Spanish Tragedy. Based on Bowers (2015), among other world known magnum opuses of Shakespeare, Hamlet could be viewed as one of the most prominent presentation of the Senecan or the revenge dramas conventions. It is predominantly perceived that, Shakespeares Hamlet has adopted the most accurate depiction of the dramatic cultures of revenge drama. The plays tragic notion regarding Hamlets unfortunate parental loss coupled with his intense struggle to take revenge on his uncle Claudius due to his crime for killing Hamlets father is that dominant premise, which forces us to acknowledge the play to be one the most successful English revenge tragedies. However, it is required to take a brief look at the predominant tradition of revenge tragedies prior to evaluate the notions of Senecan conventions in the considered play. Typical characteristics of an Elizabethan revenge drama involve, appearance of ghastly apparitions or supernatural elements to reveal information about the killer, a protagonist belonging to the royal family and an unending series of bloodshed (Condon 2012). Additionally, a play within a play, a good number of soliloquies, disguise, a typical Machiavellian villain and mandatory demise of the revenge seeker should also be regarded as some of the potential features of a revenge drama of the Elizabethan age. It is to say in this context that, this individual culture became a staple demand for the Elizabethan audience as for them revenge or the concept of giving justice to the criminal by the death penalty had been a pious act. Nevertheless, as contradicted by Bastian (2016), notion of revenge tragedy in Hamlet is largely dominated by Shakespeares quintessential themes like social indoctrination, moral underpinning of the apparitions injunction and the ethical form of revenge. Most significantly, as stated by Dunne (2016), Hamlets moral and ethical principles have ruled over his sole purpose of taking revenge upon Claudius. For example, the phenomenal soliloquy of Hamlet to be or not to be, that is the question is probably the most prominent evidence of the protagonists dilemma to achieve his long desired revenge. On the other side, if the drama could be seen through the other conventions of the Senecan drama, Hamlet could be accomplished as one of the relevant specimen. The notion of revenge drama initiates with the very scene where Hamlet for the first time encounters the ghost of his father (Foakes 2013). One of the chief conventions of revenge drama is found to have fruitfully accomplished by the hands of Shakespeare by his noteworthy use of the supernatural elements. On the other hand, Hamlets decision to kill his uncle Claudius through his own hands after recognizing him to be the murderer of his father and developing the entire drama as a search operation to destroy him, strongly categorizes the drama to be a revenge drama. As per Denton (2013), probably Hamlets gradual transformation as a frantic and frenzied individual is the most prime premise that highlights the tragedy to be a Senecan one. It is worth acceptable considering the scene where Hamlet, in one of his frenzy insults Ophelia his fianc, which ultimately led her to attempt suicide. On the other hand, Claudius portrayal as a cold-blooded criminal and Hamlets tragic death at the end are again strong evidences those establish the play to be a perfect revenge tragedy. However, coming to the question that whether literary texts are the depiction of the contemporary culture or not, it can be said that Shakespeares Hamlet was not driven by the playwrights desire to follow the Senecan tradition only (Rozett 2014). The fundamental creation of the play rests on the stereotype demand of the Elizabethan audience and their belief regarding the concept of revenge had been potential aspects. Moreover, it has to be said in this context that the Elizabethan era is considered as the golden era of Britains history as the time zone enlists some of the most magnificent work of art, ideas, naval triumph and global expansion. However, it could not be said that the period of Hamlet matches with the Elizabethan time scale and the grim picture of bloodshed and vengeance of Hamlet is an interpretation of the Elizabethan culture (Condon 2012). Nevertheless, the Elizabethan literary culture of enacting revenge drama should be regarded as a vital aspect for influencing the minds of the playwrights. The culture to enjoy bloodshed on stage or revenge activities on the hall has been found to be one of the main trends of the Elizabethan audience. Hence, following this particular culture, it can be said that literary productions are dominated by the culture in which they are written. Reference Bastian, N., 2016. Why did Hamlet delay his revenge? An analysis of Shakespeare's play. Bowers, F.T., 2015.Elizabethan revenge tragedy, 1587-1642. Princeton University Press. Condon, J.J., 2012. Setting the Stage for Revenge: Space, Performance, and Power in Early Modern Revenge Tragedy.Medieval Renaissance Drama in England,25, pp.62-82. Denton, M., 2013. Beyond Reason: Madness in the English Revenge Tragedy. Dunne, D., 2016. Exceptional Hamlet and Resistance to Law. InShakespeare, Revenge Tragedy and Early Modern Law(pp. 95-119). Palgrave Macmillan UK. Dunne, D., 2016.Shakespeare, Revenge Tragedy and Early Modern Law: Vindictive Justice. Springer. Foakes, R.A., 2013. Hamlets Neglect of Revenge.Hamlet: New Critical Essays, pp.85-99. Rozett, M.T., 2014.The Doctrine of Election and the Emergence of Elizabethan Tragedy. Princeton University Press.