In the play, Hamlet, authored by William Shakespeare, the feature of love as well as family acceptance are upset by incessant ideas of greed. The play is set in Denmark, at the court when the new king was being crowned, King Claudius (Leo 155). Once the king was given the throne, he attracted threats from neighbors, Norway, in which there was a young Prince who was seeking to seek to revenge the overthrow of his father, Prince Hamlet’s father who was the former King. The idea of greed is evidenced when Polonius kills his brother the kind and marries his wife. By this, Shakespeare depicts the greed that has captured the heart of humans (Reedy 242). The playwright seeks to expose how the heats of the people are full of greed to the extent that they can kill for it. Therefore, themes in this play today are relevant to the society today. Hamlet owes its success not to its novelty or innovation, but rather to its allegiance to dramatic structures as well as the need to rectify human vices such as greed. While revenge may be seen to serve justice against the victims, it may not be effective in achieving one’s objectives.
Hamlet applied the discussions with the ghost of his father to grow in touch with his Hamlet deeply is believed to be an insane or a revengeful genius. Justice is a term that connotes fairness while mercy is used to present a weak idea given to the victims (Leo 155). Indeed, justice is an idea that the people demand when they feel that they have not been treated fairly or they want the law to fix a particular problem between people or groups. Similarly, mercy is a gift that embraces forgiveness. For instance, Prince Hamlet is intensely disheartened by the unexpected death of his father and the quick remarriage of his mother who was known as Queen Gertrude. The queen, the mother of Prince Hamlet, was married by Claudius who was a brother to older Hamlet. At the times when his father’s ghost appeared to prince hamlet informing him that he (older hamlet) was killed by Claudius, and called prince Hamlet to revenge his death. This made Hamlet to be engaged in a serious mission that was difficult to achieve. He coined a way in which he could actualize the revenge by first, feigning madness to nor reveal his intentions and becomes inactive (Reedy 242). This made King Claudius and his newly married queen believe that Prince Hamlet could not be able to undertake nay revenge. The implication is that King Claudius has fallen into the trap of Prince Hamlet. Hamlet even abandoned his relationship with Ophelia, who later died by drowning herself (Leo 156). First, Ophelia mistakenly kills her father, king Polonius when he confused him for Claudius. Finally, the due needs when King Claudius, Queen Gertrude, and Hamlet himself are all dead. Besides, Shakespeare’s “Hamlet revolves around the theme of free will. Shakespeare has not only given its characters an opportunity to make their own decision but also allowed them to be influenced (Ghandeharion et al. 7). Each character has a role and destiny to realize.
In summary, the play seeks to expose how greed has captured human hearts to the extent that they opt to kill people including their blood relatives. Shakespeare reveals how greed is of no value and finally, none will benefit from it. He father showcases that revenge is not the revenge may be a good or a bad thing. In the case of prince Hamlet, he did revenge the murder of his father after the ghost of his father appeared to him informing him that it is Claudius who killed him, (old hamlet), and that prince hamlet should revenge his murder. Finally, the thrown goes to Norway.
Ghandeharion, Azra, Behnaz Heydari, and Mahmood Reza Ghorban Sabbagh. “When Shakespeare travels along the Silk Road: Tardid, an Iranian Adaptation of Hamlet.” Acta Via Serica2 (2017).
Leo, Russ. “Hamlet’s Early International Lives Geeraardt Brandt’s De Veinzende Torquatus and the Performance of Political Realism.” Comparative Literature 68.2 (2016): 155-180.
Reedy, Katy. “Shakespeare, Revenge Tragedy and Early Modern Law: Vindictive Justice.” Medieval & Renaissance Drama in England 30 (2017): 242.