THE LORD CHAMBERLAIN’S MAN 197
hero is forced to compromise his
own conscience in order to carry
out an attack on the original
criminal, in this case Claudius.
As well as their brutality,
revenge tragedies were known for
their meta-theatrical jokes, which
Shakespeare incorporates into his
play when the ghost calls out to
Horatio and Marcellus. Hamlet
refers to the ghost as “old mole”
and “this fellow in the cellarage”
(1.5.153), which draws a knowing
audience’s attention to the actor
calling from beneath the stage
floor, rather than any disembodied,
spectral voice. However, Hamlet is
no simple revenge hero: he is torn
between hatred for his uncle, love
for his father, disgust for his
mother, and distrust of the ghost.
He deliberately delays his attack
on Claudius, choosing instead
to ruminate on his actions and
on his existence. Hamlet’s
approach places him in direct
contrast with Laertes and
Fortinbras, who also seek revenge
against their fathers’ murderers.
When news of Polonius’s death
reaches Laertes, he flies in the
face of all custom and duty in
order to challenge the king, risking
his own reputation by committing
treason. Unlike Hamlet, Laertesdoes not delay and even swears to
“dare damnation” (4.5.131) in order
to have revenge on Polonius’s
murderer. Although his behavior is
rash and is exploited by the king,
who also wishes Hamlet dead,
Laertes’s motivation and intent are
not dissimilar to those of Hamlet.
The third avenger is Fortinbras,
whose own father was murdered
by Hamlet’s father, the former king.
Whereas Hamlet delays and Laertes
rushes in, Fortinbras tactfully
assembles his army and plans
to invade Denmark, making his
vengeance political rather than
personal. Laertes and Fortinbras
lack Hamlet’s tragic flaw—the
doubt and indecision that lead
Hamlet inexorably to his fate. ■This haunting depiction of Ophelia’s
death was painted by British artist
John Everett Millais in 1852. The
floating flowers correspond to the
play’s description of her garland.Now cracks a noble heart.
Good night, sweet prince,
And flights of angels sing
thee to thy rest.
Horatio
Act 5, Scene 2