The drama of Hamlet

In analysing the tragic conflict in Hamlet, one may lose sight of its sheer brilliance as a piece of theatre. The play has fascinated critics searching for the secret of the hero's delay, but it has also thrilled audiences with the twists and turns of its plot, as well as the soaring flights of its poetry. When one discusses the complexities of the play's meaning, one risks giving the impression that it would be ‘caviary to the general’ (II.ii.437), too complex and subtle for the average audience to appreciate. But in fact, in terms of number of performances and audience response, Hamlet must be one of the most successful plays ever written. Its greatness may ultimately rest on the profundity of its portrayal of the tragic reality of the Renaissance, but we must not forget that an integral part of Shakespeare's achievement was to dramatise that tragedy.

In analysing the dramatic structure of Hamlet, I will discuss it on the model of the traditional five-act play. I realise the difficulties with this approach; the division of the play into acts and scenes has been supplied by modern editors, and thus we have no certainty that it corresponds to Shakespeare's intentions. The Second Quarto has no act and scene divisions; the Folio marks off only I.i, I.ii, I.iii, II, and II.ii. In my analysis, I will use the standard act and scene divisions, even though a few have with some legitimacy been challenged.