Abstract
The article analyzes and questions whether the problem of Hamlet —
Hamlet himself and his complexity as character — may be due to the
fact that the anagnorisis (personal recognition) of the hero does not
occur towards the end of the play, as in classical tragedy, but quite at the
beginning, due to the revelations of the ghost. It is true that the mood of
the Prince is singular before the ghost appears, it is its revelation which marks Hamlet’s peripeteia. Is it possible that this newfangled arrangement
or «advanced» anagnorisis can serve as a hermeneutical key to better
understand the difficulties of the tragedy?
Hamlet himself and his complexity as character — may be due to the
fact that the anagnorisis (personal recognition) of the hero does not
occur towards the end of the play, as in classical tragedy, but quite at the
beginning, due to the revelations of the ghost. It is true that the mood of
the Prince is singular before the ghost appears, it is its revelation which marks Hamlet’s peripeteia. Is it possible that this newfangled arrangement
or «advanced» anagnorisis can serve as a hermeneutical key to better
understand the difficulties of the tragedy?
| Original language | American English |
|---|---|
| Pages (from-to) | 5-15 |
| Number of pages | 10 |
| Journal | Poéticas. Revista de Estudios Literarios |
| Volume | año 2 |
| Issue number | 5 |
| State | Published - 2017 |
Keywords
- Poetics
- Theatre
- Anagnorisis
- Hamlet