Hamlet, Prince of Denmark has remained the most perplexing, as well as the most popular, of William Shakespeare’s tragedies. Whether considered as literature, philosophy, or drama, its artistic stature is universally admitted. To explain the reasons for its excellence in a few words, however, is a daunting task. Apart from the matchless artistry of its language, the play’s appeal rests in large measure on the character of Hamlet himself. Called upon to avenge his father’s murder, he is compelled to face problems of duty, morality, and ethics that have been human concerns through the ages. The play has tantalized critics with what has become known as the Hamlet mystery, that of Hamlet’s complex behavior, most notably his indecision and his reluctance to act.
Freudian critics have located Hamlet’s motivation in the psychodynamic triad of the father-mother-son relationship. According to this view, Hamlet is disturbed and eventually deranged by his Oedipal jealousy of the uncle who has done what, Freud claimed, all sons long to do themselves. Other critics have taken the more conventional tack of identifying as Hamlet’s tragic flaw the lack of courage or moral resolution. In this view, Hamlet’s indecision is a sign of moral ambivalence that he overcomes too late.
Both of these views presuppose a precise discovery of Hamlet’s motivation. However, Renaissance drama is not generally a drama of motivation, either by psychological character or moral predetermination. Rather, the Renaissance tendency is to present characters with well-delineated moral and ethical dispositions who are faced with dilemmas. It is the outcome of these conflicts, the consequences rather than the process, that normally holds center stage. What Shakespeare presents in Hamlet, Prince of Denmark is an agonizing confrontation between the