ASSIGNMENT

PAPER: 3

LITERARY CRITICISM: WESTERN-1:

TOPIC   :   “PLATO’S OBJECTION TO POETRY.”

NAME     :   BHALIYA UMA H.

ROLL NO:  02

SEM -1: M.A. PART-1

BATCH:  2010-2011

SUBMITTED TO:  DR. DILIP BARAD.

Department of English, Bhavnagar University.

v PLATO’S OBJECTION TO POETRY  :-

ANS:  Plato was the most distinguished disciple of Socrates. The 4^th cen BC to which he belonged was an age of inquiry and as such Plato’s chief interest was philosophical investigations which form the subject of his great works in form of dialogues. He was not a professed critic of literature and his critical observations are not found in any single book. They lie scattered in seven of his dialogues, more particularly in the Lon, the symposium, the republic and the laws.

    FIRST SYSTEMIC CRITIC   :-

Plato was the first systemic critic who inquired into the nature of imaginative literature and put forward theories which are both illuminating and provocative. He was himself a great poet and his dialogues are full of his gifted dramatic quality. His dialogues are the classic works of the world literature having dramatic, lyrical and fictional elements.

According to him all arts are imitative or mimetic in nature. He wrote in the republic that “ideas are the ultimate reality”. Things are conceived as ideas before they take practical shapes. So, ideas is original and the thing is copy of that idea of chair in his mind. Thus chair is once removed from reality. But painter’s chair is imitation of carpenter’s chair. So it is twice removed from reality. Thus artist / poet takes man away from reality rather than towards it. Thus artist deals in illusion.

     THREE MAIN OBJECTIONS  :-

Plato’s three main objections to poetry are that poetry is not ethical, philosophical and pragmatic. In other words, he objected to poetry from the point of view of education. From philosophical point of view and from moral point of view.

It is not ethical because it promotes undesirable passions, it is not philosophical because it does not provide true knowledge, and it is not pragmatic  because it is inferior to the practical arts and therefore has no educational value.

     ARISTOTLE STUDENT  :-

     Plato then makes a challenge to poets to defend themselves against his criticisms. Ironically it was Plato’s most famous student, Aristotle. Who was the first theorist to defend literature and poetry in his writing poetics. Throughout the republic Plato condemns art in all forms including literature or poetry. Despite the fact that he wrote, Plato advocates the spoken word over the written word. He ranks imitation on a lower plane than narrative, even though his own works read like dramatic scripts. It appears as though his reasoning is that imitation of reality is not in itself bad, but imitation without understanding and reason is.

    POETRY – FORMS OF ART  :-

Plato felt that poetry, like all forms of art, appeals to the inferior part of the soul, the irrational, emotional cowardly part, the reader of poetry is seduced into feeling undesirable emotions. To Plato, an appreciation of poetry is incompatible with an appreciation of reason, justice, and the search for truth. In the ion, he suggests that poetry causes needless lamentation and ecstasies at the imaginary events of sorrow and happiness. It number the faculty of reason for the time being, paralyses the balanced thought and encourages the weaker part of soul constituted of the baser impulses. Hence poetry has healthy function, and it cannot be called good.

    DRAMA-FORM OF LITERATURE  :-

To him drama is the most dangerous form of literature because the author is imitating things that he / she does not understand. Plato seemingly feels that no words are strong enough to condemn drama. Plato felt that all the world’s evils derived from one source: a faulty understanding of reality. Miscommunication, confusion and ignorance were facets of a corrupted comprehension of what Plato always strived for – truth.

    PLATO IS, A MORALIST  :-

·         Plato is, above all, a moralist.

·         his primary objective in the republic is  to come up with the most righteous, intelligent way to live one’s life and to convince other  to live this way everything eise should  conform in order to achieve this perfect state. Plato considers poetry useful only as a means of achieving this state. That is, only useful if it helps one to become a better person. And if it does not, it should be expelled from the community.

·        Plato’s question in book x is the intellectual status of literature. He states that, the good poet cannot compose well unless he knows his subject, and he who does not have this knowledge can never be a poet.

·         Plato says of imitative poetry and homer, a man is not to be reverenced more than the truth. Plato says this because he believes that homer speaks of many things of which he has no knowledge, just as the painter who paints a picture of a chair does not necessarily know now to make a chair. His point is that in order to copy or imitate correctly. One must have knowledge of the original.

·        Plato says that imitation is twice removed from the truth. Stories that are untrue have no value, as no untrue story should be told in the city. He states that nothing can be learned from imitative poetry.

    PLATO’S COMMENTARY ON POETRY IN REPUBLIC  :-

·         Plato’s commentary on poetry in republic is overwhelmingly negative.

·        Plato’s main concern about poetry is that children’s mind are too impressionable to be reading false tales and misrepresentations of the truth.

·        A young person cannot judge what is allegorical and what is literal; anything that he receives into his mind at that age is likely to become indelible and unalterable; and therefore it is most important that the tales which the young first hear should be models or virtuous thought. He is essentially saying that children cannot tell the difference between fiction and reality and this compromises their ability to discern right from wrong. Thus, children should not be exposed to poetry so that later in life they will be able to seek the truth without having a preconceived, or misrepresented, view of reality. Plato reasons that literature that portrayal the gods as behaving in immoral ways should be kept away from children, so that they will not be influenced to act the same way.

    MALE DOMINANCE OR FEMALE EXPLOITATION  :-

Another objection is that it is often viewed as portraying either male dominance or female exploitation. People argue that this should not be the way the world works; therefore it is not the truth. These claims sound much like the claims that Plato is trying to make when he asserts that certain poetry should be kept out of the hands of children. While the power of censorship can be abused, Plato seemed to believe that his stance is justified because he is trying to make children grow to be good, moral individuals. While Plato has some very negative views on the value of literature, he also states the procedures that he feels are necessary in order to change poetry and literature from something negative to something positive. He does feel that some literature can have redeeming values. Goog, truthful literature can educate instead of corrupting children. In the city Plato would allow only humans to the gods and praises to famous men. Plato does not wants literature to corrupt the mind; he wants it to display images of beauty and grace. Plato’s views may be deemed narrow – minded by today’s society. But one must remember that Plato lived over 2000 year’s age. He probably wrote republic with the best intentions for the people of his time. While his views on censorship and poetry may even seem outlandish today, Plato’s goal was to state what he judged to be the guidelines for a better human existence.

    PLATO’S OBJECTION TO POETRY FROM THE POINT OF VIEW EDUCATION  :-

a)     In “the republic” book ii – he condemns poetry as fostering evil habits and vices in children. Homer’s epics were part of studies. Heroes of epics “were not examples of sound or ideal morality. They were lusty, cunning, and cruel – war mongers. Even gods were no better.

b)    Plato writes: “if we mean our future guardians to regard the habit of quarreling among themselves as of all things the basest, no word should be said to them of the wars in the heaven, or of the plots and fighting of the gods against one another. For they are not true… if they would only believe as we would tell them that quarreling is unholy, and that never up to this time has there been ant quarreling between citizens… these tales must not be admitted into our state, whether they are supposed to have allegorical meaning or not”.

c)      Thus he objected on the ground that poetry does not cultivate good habits among children.

     OBJECTION FROM PHILOSOPHICAL POINT OF VIEW  :-

a)     In “the republic” book x: poetry does not lead to but drives us away form the realization of the ultimate reality – the truth.

b)     Philosophy is better than poetry because philosophy deals with ideal and poetry is twice removed from original idea.

c)      Plato says: “the imitator or maker of the image knows nothing of true existence; he knows appearance only... The imitative art is an inferior who marries an inferior and has inferior offspring”.

      OBJECTION FORM THE MORAL POINT OF VIEW  :-

a)     In the same book in “the republic”: soul of man has higher principles of reason as well as lower constituted of baser impulses and emotions. Whatever encourages and strengthens the rational principle is good, and emotional is bad.

b)     Poetry says: “then the imitative poet who aims at being popular is not by nature made, nor is his art intended, to please or to affect the rational principle in the soul; but he will prefer the passionate and fitful temper, which is easily limited. And therefore we shall be right in refusing to admit him into a well-ordered state, because he awakwns and nourishes and strengthen the feelings and impairs the reason... Poetry feeds and waters the passion instead of drying them up; she lets them rule, although they ought to be controlled, if mankind are ever to increase in happiness and virtue”.

c)     These are Plato’s principal charge on poetry and objection to it. Before we pass on any judgment, we should not forget to keepm in view the time in which he lived. During his time:

These are Plato’s principal charge on poetry and objection to it, before we pass on any judgment. We should not forget to keep in view the time in which he lived. During his time:

·         political instability

·         Education was in sorry state. Homer was part of studies-misrepresented.

·        Women were regarded inferior – slavery.

·         Best time of Greek literature was over-corruption and degeneration in literature.

·         Confusion prevailed in all sphere of life- intellect, moral, political and education.

·         Example: philosophers and thinkers like Socrates were imprisoned, forces to drink wine and kill him.

ASSIGNMENT

PAPER: 4

THE NEO-CLASSICAL LITERATURE:

TOPIC   :   “GULLIVER’S TRAVELS AS AN ALLEGORY.”

NAME     :   BHALIYA UMA H.

ROLL NO:  02

SEM -1: M.A. PART-1

BATCH:  2010-2011

SUBMITTED TO:  MISS. RUCHIRA DUDHREJA .

Department of English, Bhavnagar University.

v     GULLIVER’S TRAVELS AS AN

ALLEGORY

    ans:  GULLIVER

-        Jonathan swift

  AN ALLEGORY      :-

An allegory means a story, poem, or Gulliver’s travels is an allegorical work. In other words. Everything in it can not be taken literally except by children. The mature reader will understand that swift has a serious moral purpose in writing these account of the voyages of Gulliver to different lands. An allegory conveya its meaning in a veiled and hidden manner, not in an obvious manner. In other words, the real meaning in an allegory does not lie on the surface but is hidden below the surface which we must probe. Swift is here mooking at the way human being behave. We find in the book a merciless exposure of different categories and classes of people – kings, queens, politicians, lawyers, physicians, scientists, and other.

  JONATHAN  SWIFT   :-

Jonathan swift son of English lawyer Jonathan swift the elder, was born in Dublin, Ireland, on November 30, 1667. He grew up there in the care of his uncle before attending Trinity College at the age of fourteen, where he stayed for seven years, graduating in 1688. In that year, he became the secretary of sir William temple, an English politician and member of the Whig party. In 1694, he took religious orders in the church of Ireland and then spent a year as a country parson. He then spent further time in the service of temple before returning to Ireland to become the chaplain of the earl of Berkeley.

    Gulliver’s TRAVELS AS AN ALLEGORICAL SATIRE  :-

Gulliver’s travels is an allegorical satire. This means that swift  does not attack personalities and institutions directly but in a veiled manner. The portrayal of flimnap. The treasure in Lilliput, is a satirical sketch of Sir Robert Walpole who was the prime minister of England from 1715 to 1716 and then again from 1721 from 1742. Dancing on a tight rope here symbolizes Walpole’s skill in parliamentary tactics and political intrigues, similarly, reldresal represents Lord Carteret who was appointed by Walpole to the office of lord lieutenant of Ireland. Again, the phrase, “one of the king’s cushions “, refers to one of king George’s mistresses who helped to restore Walpole to favour after his fall in 1717. The conflict between the high-heels and the low-heels symbolizes the conflict between the two major political parties in England at that time. The dispute between the big-endians and the little-endians symbolizes the quarrels between the Roman Catholics and the Protestants. The reaction of the empress of Lilliput to Gulliver’s extinguishing a fire in her apartment is a satirical way of describing Queen Anne’s annoyance with swift for having written a tale of a tub in which swift had attacked religious abuses but which had been misinterpreted by the queen as an attack on religion itself. The pigmies of Lilliput human beings, first reduced to a small scale, as if seen through the wrong end of a telescope, and then enlarged to a huge scale as if seen through a magnifying glass. Swift gives us animalsymbolism. Here the yahoos represent human beings with all their good qualities completely left out. While the houyhnhnms represent human being. With their good qualities carried to perfection and their bad qualities completely eliminated.

  AN ALLEGORICAL PICTURE OF MAN’S DEAL NATURE   :-

If swift’s own hints as to the meaning of his book are taken into consideration. The man thesis of the book. Would seem to be hidden in the contrast between the yahoos and the houyhnhnms. Gulliver, occupying a position between the two, part beast, part reason, is swift’s allegorical picture of the dual nature of man. He is not houyhnhnms or animal rationale: not is he a yahoo. He is rationis capax.  We could apply to Gulliver’s travels a passage from the writings of the ancient roman thinker Cicero: “nature has been to man not a mother but a stepmother sending him into the world naked, frail, and infirm.  Toiling under a burden of care, fearful, slothful, and given over to lust, but not without a spark of divine reason”.

  THE ALLEGORICAL MEANING OF THE EMPRESS’S ANNOYANCE WITH GULLIVER  :-

The incident of Gulliver’s extinguishing a fire in the apartment of the Lilliputian empress relates to the circumstances in swift’s own life. The Lilliputian empress was filled with resentment at Gulliver’s action in extinguishing the fire by urinating upon it, and she decided never again to make use of that apartment. This incident is an allegorical representation of the fact that Queen Anne was so disgustes with swift’s a tale of a tub that. In spite of swift’s political services, she could never be prevailed upon to promote swift to a higher office in the church. The result of queen Anne’s annoyance was that swift failed to obtain the position of a bishop which he hoped to get in 1708: and it was with great difficulty that he got the office of a dean in 1713, swift also believed that queen Anne was “a royal prude”, and that her opposition to his promotion was due to the efforts of his enemies. In one of his poems. Swift names the duches of Somerset, the archbishop of York, the earl of Nottingham, and Robert Walpole as his enemies.

“The bury their dead with their head directly downwards because they hold an opinion that after eleven thousand moons they are all to rise again”.

Swift took the holy orders and was ordained a priest of the Anglican Church. He wrote a witty allegory on the religious controversies of the time entitled. A tale of a tub. An allegory is a literary device which consists of the use of symbol to express a deeper philosophic meaning. Serious ideas are symbolically conveyed through a simple fable or parable. A tale of a tub is a celebrated satire on the corruptions in religion conveyed through a simple story of three brothers, peter, martin and jack who allegorically represent the Catholics, Anglicans and non-conformists or Calvinists respectively. Swift holds up for acceptance the Anglican faith. His light-hearted treatment of religious matters so horrified Queen Anne that his prospects of church preferment’s where permanently endangered. He remained the dean of st Patrick’s cathedral in Dublin to the end of his life, and this thwarted ambition sometimes led to a gloomy cynicism.

  GULLIVER’S TRAVELS AS A POLITICAL ALLEGORY  :-

An allegory is a literary genre which is structured in such a way that its meaning could be read on two levels-a primary or literal level, and a secondary and more complex level. An allegory is defined as a narrative in which the characters, plot, setting and occasion, while making sense in themselves also signify a second layer of meaning where they point at another set of people, events and setting either from the writer’s social milieu or recent historical events. It is a figurative mode of representation where ideas are conveyed through symbolism and metaphor. Swift uses satire to highlight the allegorical elements in his tale and thus the allegorical functions as an excellent government and its activities. The allegory and the satire, in a sense, are interwoven inextricably and deftly.

Many readers familiar with eighteenth century politics of England see in the book a revision of those event. Hence it is often studied as a political or historical allegory; the characters and action are based on historical or political personages and events allegories work as a critical interpretative frame and in historical and political allegories, characters and in the text represent people and event in real life. John banyan’s pilgrim’s progress is a moral or religious allegory that presents the Christian philosophy of salvation through suffering. Gulliver’s travels is a political allegory in which the text contains symbolic references to actual people and events in eighteenth century England. Allegory and satire are closely  intertwined. One form serving the other. The flippancy and hollowness of court life are satirized through the Lilliputian ministers and their antics. Sir Robert Walpole seems to be presented in the person of flimnap the treasured while skyresh bologna has been identified  as possibly, the earl of Nottingham. The punishment. Decreed for Gulliver’s namely  of putting out his eyes and starving him instead of putting him to death at once is curiously reminiscent of the crown’s decree on lord Bolingbroke and the earl of oxford. They were accused of high misdemeanor instead of high treason and hence escaped the death penalty. For the sentence only entailed a loss of their titles and estates. Lilliput’s hostility towards and the battle with blefuscu bring to mind the antagonism between England and France at the time. The Whig and Tory parties presented in the text as tramecksan and slamecksan are differentiated by the height of their Neels, thus trivializing the principles they stood for. Religious disputes and theological arguments between the Roman Catholic and the Anglican churches are lampooned in the form of the conflict between the big-endians and the little-engians.

As a political allegory of europen civilization, swift presents the aspects of war and the European propensity for destruction, particularly in the parallels that one can draw between Lilliput’s desire to enslave an already defeated blefescu and the strained relationship between England and France. He also indirectly criticizes the arrogance of European imperialists who civilized through brutality and opperession while masking their chief motive which was greed. Patterns of war and destruction are woven into the allegorical motif here to explicate the existing political situation that swift is satirizing.

ASSIGNMENT

PAPER: 1

THE RENAISSANCE LITERATURE:

TOPIC   :   “HAMLET AS A TRAGIC DRAMA.”

NAME     :   BHALIYA UMA H.

ROLL NO:  02

SEM -1: M.A. PART-1

BATCH:  2010-2011

SUBMITTED TO:  Mr. JAY Mehta.

Department of English, Bhavnagar University.

v     HAMLET AS A TRAGIC DRAMA

-SHAKESPEARE’S

   ANS: 

                       ARISTOTLE DEFINITION OF TRAGEDY :-

Tragedy, then is an imitation of an action that is serious, complete, and of a certain magnitude: in the language embellished with each kind of artistic ornament. The several kinds being found in separate part of the play. In the form of action. Not of narrative through pity and fear effecting the proper purgation – catharsis of these and similar emotions.

The tragic section presented on the stage in a drama should be complete or self contained with a beginning, middle and an end. A beginning is that before which the audience or the reader does not need to be told anything to understand the story. If something more is required to understand the story than the beginning gives. It is unsatisfactory. From it follow the middle. In their turn the event from the middle lead to the end.

Tragedy has never been a drama of despair, causeless death or chance disaster. The drama that only paints horrors and leaves souls shattered and mind unreconciled with the world may be described as a gruesome, ghastly play, but not a healthy tragedy, for tragedy is a play in which disaster or downfall has causes which could carefully be avoided and sorrow in it does not upset the balance in favors of pessimism. That is why, in spite of seriousness, even heartrending scenes of sorrow, tragedy embodies the vision of beauty. It stirs noble thoughts and serves tragic delight but does not condemn us to despair. If the healthy notion of tragedy is maintained throughout the literary history, of Europe, the ultimate credit, perhaps, goes to Aristotle who propounded it in his theory of catharsis.

CATHARSIS VIEW OF TRAGEDY   :-

Catharsis established tragedy as a drama of balance. Sorrow alone would be ugly and repulsive. Beauty pure would be imaginative and mystical. These together constitute what may be called tragic beauty. Pity alone would be sentimentality. Fear alone would make us cowards. But pity and fear, sympathy and terror together constitute the tragic feeling which is most delightful though it is tearfully. Delightful. Such tragic beauty and tragic feeling which it evokes constitute the aesthetic of balance as pronounded for the first time by Aristotle in his theory of catharsis.

Aristotle asserts that any tragedy can be divided into six component parts.

a)   the spectacle

b)  melody / songs

c)   diction

d)  character

e)   thought

f)    the plot

  “HAMLET” AS SHAKESPEAREANS TRAGEDY  :-

In the world literature, “hamlet” is one of the four greatest tragedies. The present tragedy raises several problems which may baffle us but which stimulate our mental faculties too. Mostly Shakespearean tragedy deals with “the hero, a person of high rank” and is a tale of suffering or misfortune leading to his death, who must be a man holding a lofty position and commanding respect; and the suffering on misfortune must be of an exceptional or extraordinary kind so as to produce strong tragic feelings especially of pity awe, and terror. “Hamlet” is primarily or chiefly the tragedy of hamlet, the prince of Denmark. Hamlet is a well-known, honored and well-beloved figure in the political life of Denmark, at the time at which the incidents of this play are supposed to have taken, place. In the play hamlet suffers mentally due to his mother-Gertrude’s hastily remarriage with his uncle – Claudius, his father’s brother. He has suspicion that Claudius might have killed his beloved father king hamlet, here, he  speaks

“How weary, stale flat

And unprofitable

Seem to me all the

Uses of this world”.

                           [Act 1, scene 2, 133 – 4]

In this solilorly he contrasts his dead father with the present king.

“So excellent a king:

That was a to this / Hyperion

To a satyr”.

 Behind the fall of hero. There is always defect in the hero’s character. Character chiefly is responsible for suffering and tragedy. The tragedy of hamlet is due mainly to a defect in his own character. This defect is his quality of procrastination. Hamlet is certainly capable of impulsive action, but he is not capable of planned or pre-meditated action.

But here one can not fully ignore to fate and destiny, which also play a vital role after the tragedy of hamlet. Hamlet certainly produces a feeling in us that there is some mysterious power working in this universe and that this power upsets human hopes, plans, and calculation. The very appearance of the ghost in this play is a situation for which fate is responsible. At one moment hamlet speaks about fate.

“The time is out of joint o

Cursed spite,

That eér I was born to

Set it right!”.

                    [Act iv, 196-7]

Conflict is the absences of a Shakespearean tragedy.

A.                       The outward conflict is taken place between hamlet and Claudius, to whom hamlet wants to avenge his father’s murder.

B.                        The inner conflict is taken place in the mind of hamlet, it totally indicates to his procrastination. Almost every soliloquy contains this conflict for paradigm.

“To be or not to be – that is the question”.

                                  [Act iii, 56- 88]

There is a perfect unity of tone and effect in Shakespeare’s tragedies the unity is achieved by preserving a single play. In tragedies where the element of horrors is introduced, it serves not only to relieve the tragic intensity but also to deepen it by contrast. In hamlet, the unconscious humors is provided by Polonius and by grave diggers also: these comic elements. Do not strike a discordant note in a play which is predominantly tragic in tone and effect. In hamlet one laughs on the affected and superficial osric. But the most central use of comedy is hamlet’s mordant wit.

If one judges “hamlet” according to Shakespearean tragedy. He marks that there is one duel continuously going on between fate and character. In which character looses everything due to his taken action against a little glimpse of fate. Means fate just gives glimpse now. It depends upon your own prospective. Here same thing occurs with hamlet. That’s why here one very popular line from the present tragedy.

“Nothing is good or bad

  Everything depends upon

You’re thinking”.

 “HAMLET” AS A TRAGIC HERO   :-

The tragic heroes of Shakespeare are built on a grand scale. A hero in a Shakespearean. Tragedy has either nobility of mind or strength of character or genius or immense force which in spite of his defect or flow. Exits our admiration and sympathy for him. Hamlet a prince of Denmark is a man of genius, has high sense of humor his heart is full of devotion to his dead father king hamlet he has a noble mind. These qualities win him our admiration and sympathy in spite of his tendency to procrastinate.

So great is the mental suffering of hamlet, that times he seems to have gone mad. However, as we have been told early in the play hamlet merely pretends to be mad and that he is not be regarded as actually mad. Same time there can be no doubt of the genuine and deep. Despondency which afflicts hamlet throughout the play. And which makes him bitter and cynical in his conversations with the various characters in the play.

Here in the tragic figure of hamlet there is a defect of proerastination. He is certainly capable of impulsive action but he is not capable of planned or premeditated action. He wants to avenge Claudius for his father’s murder. But there are many postponements from hamlet’s side for the revenge. These post-ponement of his revenge. This irresolution, this shrinking from what he has already called his duty, constitutes a serious flow in  his character and is chiefly responsible for his tragedy.

The essence of conflict is also in the character of hamlet

(a) The outward conflict is between the characters and their particular ideology.

(b) The inner conflict is in the mind of hamlet due to this inner conflict there are various kinds of soliloquy and the formost and very popular soliloquy is.

“To be or not to be- that is the question.”

                                           [Act-3, 56-88]

There is transformation in the tragic figure of the hero. When we first meet hamlet, he is in deep depression. The world seems to him an “unweeded garden”from which he would willingly depart. He has found corruption not only. In the Denmark but in existence itself. We soon learn that he had not always been so. Ophelia tells us that he had been the ideal renaissance prince – a combination of the  soldier, the scholar the courtier etc. And though the glimpses of his formor personality through his conversation with horatia. However by the final scene, his composure and is in fact, aggravated. However by the final scene his composure has returned.

Thus, at the end, hamlet is transformed. Into something which he had not been at the beginning of the play. At the end the hero is very different from the man. Shakespeare’s  tragic heroes do not renounce the world. The dying hamlet is still concerned about. The welfare of the kingdom and about his own wordly reputation. Such values are never denied, but at the end of the tragedies this value is no longer. At such moments the contral thing is that the spirit of man adlieves grandeur.

Thus, hamlet is a tragic drama. That who connects one chine. It is a revenge tragedy.