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¥°. Characters
Hamlet
The Prince of Denmark, the title character, and the protagonist. About thirty years old at the start of the play, Hamlet is the son of Queen Gertrude and the late King Hamlet, and the nephew of the present king, Claudius. Hamlet is melancholy, bitter, and cynical, full of hatred for his uncle¡¯s scheming and disgust for his mother¡¯s sexuality. A reflective and thoughtful young man who has studied at the University of Wittenberg, Hamlet is often indecisive and hesitant, but at other times prone to rash and impulsive acts.
Claudius
The King of Denmark, Hamlet¡¯s uncle, and the play¡¯s antagonist. The villain of the play, Claudius is a calculating, ambitious politician, driven by his sexual appetites and his lust for power, but he occasionally shows signs of guilt and human feeling—his love for Gertrude, for instance, seems sincere.
Gertrude
The Queen of Denmark, Hamlet¡¯s mother, recently married to Claudius. Gertrude loves Hamlet deeply, but she is a shallow, weak woman who seeks affection and status more urgently than moral rectitude or truth.
Polonius
The Lord Chamberlain of Claudius¡¯s court, a pompous, conniving old man. Polonius is the father of Laertes and Ophelia.
Horatio
Hamlet¡¯s close friend, who studied with the prince at the university in Wittenberg. Horatio is loyal and helpful to Hamlet throughout the play. After Hamlet¡¯s death, Horatio remains alive to tell Hamlet¡¯s story.
¥°. µîÀåÀι°
Hamlet
µ§¸¶Å©ÀÇ ¿ÕÀÚÀÌ°í ±ØÀÇ Á¦¸ñÀÇ Àι°ÀÌ°í ÁÖÀΰø. ±ØÀÇ ½ÃÀۺκп¡¼ ¾à 30¼¼ÀÇ HamletÀº Queen Gertrude¿Í ͺKing hamletÀÇ ¾ÆµéÀÌ°í úÞ±¹¿Õ ClaudiusÀÇ Á¶Ä«ÀÌ´Ù. HamletÀº ¿ì¿ïÇÏ°í ³Ã¼ÒÀûÀÌ°í »ïÃÌÀÇ À½¸ð¿¡ ´ëÇÑ Áõ¿À¿Í ¾î¸Ó´ÏÀÇ àõé¯(¼º¿å)¿¡ ´ëÇÑ Çø¿À°¨À¸·Î °¡µæ Â÷ ÀÖ´Ù. Wittenberg´ëÇп¡¼ °øºÎ¸¦ ÇÑ, ¸í»óÀûÀÌ°í »ç»öÀûÀΠû³âÀÎ HamletÀº Á¾Á¾ éÐêõÝÕÓ¨(¿ìÀ¯ºÎ´Ü)ÇÏ°í ÁÖÀúÇÏ´Â ¼º°ÝÀÌÁö¸¸ ´Ù¸¥ ¶§¿¡´Â °æ¼ÖÇÏ°í Ã浿ÀûÀÎ ÇൿÀ» ÇÏ´Â °æÇâÀÌ ÀÖ´Ù.
Claudius
µ§¸¶Å©ÀÇ ±¹¿ÕÀÌ°í HamletÀÇ âÒÝ«(¼÷ºÎ)ÀÌ°í ±ØÀÇ Àû´ëÀι°. ±ØÀÇ äÂìÑ(¾ÇÀÎ)ÀÎ Claudius´Â öèß©îÜ(Ÿ»êÀû)ÀÌ°í ¾ß½ÉÀûÀÎ Á¤Ä¡ÀÎÀÌ°í ¼ºÀû ¿å¸Á°ú ±Ç·Â¿¡ ´ëÇÑ Å½¿å¿¡ ÈÛ¾µ¸®±âµµ ÇÏÁö¸¸ °¡²û¾¿ ÁËÀǽİú Àΰ£ÀûÀÎ »ç¶ûÀÇ Â¡Ç¥¸¦ ³ªÅ¸³»±âµµ ÇÑ´Ù¡ª¿¹¸¦ µéÀÚ¸é Gertrude¿¡ ´ëÇÑ ±×ÀÇ »ç¶ûÀº Áø½ÇÇÑ °Íó·³ º¸ÀδÙ.
Gertrude
µ§¸¶Å©ÀÇ ¿©¿ÕÀÌ°í HamletÀÇ ¾î¸Ó´ÏÀÌ°í ÃÖ±Ù¿¡ Claudius¿Í °áÈ¥. Gertrude´ÂHamletÀ» ¸Å¿ì »ç¶ûÇÏÁö¸¸, ±×³à´Â µµ´öÀû ïö̾(Á¤°á)À̳ª Áø½Ç º¸´Ù´Â ¾ÖÁ¤À̳ª ÁöÀ§¸¦ ´õ Àý¹ÚÇÏ°Ô Ãß±¸ÇÏ´Â °æ¹ÚÇÏ°í ¾àÇÑ ¿©¼ºÀÌ´Ù.
Polonius
Claudius ±Ã±ÈÀÇ ±Ã³»´ë½Å. °ú½ÃÀûÀÌ°í À½ÈäÇÑ ³ëÀÎ. Polonius´Â Laertes¿Í OpheliaÀÇ ¾Æ¹öÁöÀÌ´Ù.
Horatio
Wittenberg´ëÇп¡¼ ¿ÕÀÚ¿Í ÇÔ²² °øºÎÇÑ Hamlet°ú °¡±î¿î Ä£±¸. Horatio´Â ±Ø Àüü¸¦ ÅëÇؼ Hamlet¿¡ Ã漺ÇÏ°í HamletÀÌ Á×Àº ÈÄ¿¡ »ì¾Æ³²¾Æ¼ HamletÀÇ À̾߱⸦ ÀüÇÑ´Ù.
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Ophelia
Polonius¡¯s daughter, a beautiful young woman with whom Hamlet has been in love. Ophelia is a sweet and innocent young girl, who obeys her father and her brother, Laertes. Dependent on men to tell her how to behave, she gives in to Polonius¡¯s schemes to spy on Hamlet. Even in her lapse into madness and death, she remains maidenly, singing songs about flowers and finally drowning in the river amid the flower garlands she had gathered.
Laertes
Polonius¡¯s son and Ophelia¡¯s brother, a young man who spends much of the play in France. Passionate and quick to action, Laertes is clearly a foil for the reflective Hamlet.
Fortinbras
The young Prince of Norway, whose father the king (also named Fortinbras) was killed by Hamlet¡¯s father (also named Hamlet). Now Fortinbras wishes to attack Denmark to avenge his father¡¯s honor, making him another foil for Prince Hamlet.
The Ghost
The specter of Hamlet¡¯s recently deceased father. The ghost, who claims to have been murdered by Claudius, calls upon Hamlet to avenge him. However, it is not entirely certain whether the ghost is what it appears to be, or whether it is something else. Hamlet speculates that the ghost might be a devil sent to deceive him and tempt him into murder, and the question of what the ghost is or where it comes from is never definitively resolved.
Rosencrantz and Guildenstern
Two slightly bumbling courtiers, former friends of Hamlet from Wittenberg, who are summoned by Claudius and Gertrude to discover the cause of Hamlet¡¯s strange behavior.
Osric
The foolish courtier who summons Hamlet to his duel with Laertes.
Voltimand and Cornelius
Courtiers whom Claudius sends to Norway to persuade the king to prevent Fortinbras from attacking.
Marcellus and Bernardo
The officers who first see the ghost walking the ramparts of Elsinore and who summon Horatio to witness it. Marcellus is present when Hamlet first encounters the ghost.
Francisco
A soldier and guardsman at Elsinore.
Reynaldo
Polonius¡¯s servant, who is sent to France by Polonius to check up on and spy on Laertes.
Ophelia
PoloniusÀÇ µþ·Î¼ HamletÀÌ »ç¶ûÇÏ´Â ¾Æ¸§´ä°í ÀþÀº ¿©ÀÎ. Ophelia´Â ¾Æ¹öÁö¿Í ¿Àºü Laertes¿¡°Ô ¼øÁ¾ÇÏ´Â ¾äÀüÇÏ°í ¼ø°áÇÑ ¾Æ°¡¾¾ÀÌ´Ù. ó½ÅÇÏ´Â ¹æ¹ý¿¡ ÀÖ¾î¼ ³²Àڵ鿡°Ô ÀÇÁ¸ÇÏ´Â ±×³à´Â HamletÀ» °¨½ÃÇÏ·Á´Â PoloniusÀÇ °èȹ¿¡ ¼øÀÀÇÑ´Ù. ±¤±â¿Í Á×À½¿¡ ºüÁ®¼µµ ±×³à´Â ó³à´Ù¿ö¼ ²É¿¡ °üÇÑ ³ë·¡¸¦ ºÎ¸£°í ±×³à°¡ ¸¸µç ²É´Ù¹ß ¼Ó¿¡¼ °¹°¿¡ ÀÍ»çÇÑ´Ù.
Laertes
PoloniusÀÇ ¾ÆµéÀÌ°í OpheliaÀÇ ¿ÀºüÀÌ¸ç ±ØÀÇ ´ëºÎºÐµ¿¾È ÇÁ¶û½º¿¡¼ º¸³»´Â û³â. ¿Á¤ÀûÀÌ°í Çൿ¿¡ ºü¸¥ Laertes´Â ÞÖÜ©îÜ(»çº¯Àû)ÀÎ Hamlet¿¡°Ô´Â ºÐ¸íÈ÷ Àû¼ö°¡ µÇ´Â Àι°ÀÌ´Ù.
Fortinbras
³ë¸£¿þÀÌÀÇ ÀþÀº ¿ÕÀÚÀÌ°í ±×ÀÇ Ý«èÝ(ºÎ¿Õ: ¶ÇÇÑ À̸§ÀÌ Fortinbras)Àº HamletÀÇ ¾Æ¹öÁö(¶ÇÇÑ À̸§ÀÌ Hamlet)¿¡ ÀÇÇؼ Á×À½À» ´çÇÏ¿´¾ú´Ù. ÀÌÁ¦ Fortinbras´Â ¾Æ¹öÁöÀÇ ¿ø¼ö¸¦ °±±â À§ÇØ µ§¸¶Å©¸¦ ħ°øÇϱ⸦ ¿øÇÏ°í ÀÌ°ÍÀº ±×¸¦ Prince Hamlet¿¡°Ô ¶Ç ÇϳªÀÇ Àû¼öÀÇ ¿ªÇÒÀ» ÇÏ°Ô ÇÑ´Ù.
The Ghost
ÃÖ±Ù¿¡ Á×Àº Hamlet ¾Æ¹öÁöÀÇ À¯·É. Claudius¿¡ ÀÇÇؼ »ìÇصǾú´Ù°í ÁÖÀåÇÏ´Â ±× À¯·ÉÀº Hamlet¿¡°Ô º¹¼öÇØ ´Þ¶ó°í ¿ä±¸ÇÑ´Ù. ±×·¯³ª À¯·ÉÀÌ º¸ÀÌ´Â ±×´ë·ÎÀÇ À¯·ÉÀÎÁö ¾Æ´Ï¸é ´Ù¸¥ ¾î¶² °ÍÀÎÁö ÀüÀûÀ¸·Î È®½ÇÇÏÁö´Â ¾Ê´Ù. HamletÀº ±× À¯·ÉÀÌ ±×¸¦ ¼Ó¿©¼ »ìÀÎÀ» Çϵµ·Ï À¯ÀÎÇϱâ À§Çؼ º¸³»¾îÁø ¾Ç¸¶ÀÏÁöµµ ¸ð¸¥´Ù°í ÃßÃøÇÑ´Ù. ±×·¡¼ ±× À¯·ÉÀÌ ¹«¾ùÀÌ¸ç ¾îµð¿¡¼ ¿Ô´ÂÁö´Â ¸íÈ®ÇÏ°Ô °áÁ¤µÇÁö ¾Ê´Â´Ù.
Rosencrantz and Guildenstern
¾à°£ °Åµå¸§ºÎ¸®´Â ðÈãí(Á¶½Å)µéÀÌ°í Wittenberg¿¡¼ ¿Â HamletÀÇ îñÄ£±¸µé·Î¼, À̵éÀº HamletÀÇ ÀÌ»óÇÑ ÇൿÀÇ ¿øÀÎÀ» ¹ß°ßÇϱâ À§Çؼ Claudius¿Í Gertrude¿¡ ÀÇÇؼ È£ÃâµÈ´Ù.
Osric
Laertes¿ÍÀÇ °áÅõ¿¡ HamletÀ» ¼ÒȯÇÏ´Â ¾î¸®¼®Àº ðÈãí(Á¶½Å).
Voltimand and Cornelius
Fortinbras°¡ ħ°øÇÏ´Â °ÍÀ» ¸·¾Æ ´Þ¶ó°í ³ë¸£¿þÀÌ ¿ÕÀ» ¼³µæÇϱâ À§ÇØ Claudius°¡ Norway¿¡ ÆÄ°ßÇÏ´Â Á¶½Åµé.
Marcellus and Bernardo
ElsinoreÀÇ ¼ºº®À» °È°í ÀÖ´Â À¯·ÉÀ» óÀ½À¸·Î º¸°í ±× À¯·ÉÀ» ¸ñ°Ý½ÃÅ°±â À§Çؼ Horatio¸¦ È£ÃâÇÏ´Â Àå±³µé. Marcellus´Â HamletÀÌ À¯·ÉÀ» óÀ½À¸·Î ¸¸³¯ ¶§ Âü¼®ÇÑ´Ù.
Francisco
ElsinoreÀÇ º´»çÀÌ°í º¸ÃÊ.
Reynaldo
PoloniusÀÇ ÇÏÀÎÀÌ°í Laertes¸¦ Á¡°ËÇÏ°í °¨½ÃÇϱâ À§ÇÏ¿© Polonius¿¡ ÀÇÇؼ ÇÁ¶û½º¿¡ ÆİߵȴÙ.
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¥±. Plot Analysis
In telling the story of a fatally indecisive character¡¯s inability to choose the proper course to avenge his father¡¯s death, ¡°Hamlet¡± explores questions of fate versus free will, whether it is better to act decisively or let nature take its course, and ultimately if anything we do in our time on earth makes any difference. Once he learns his uncle has killed his father, Hamlet feels duty-bound to take decisive action, but he has so many doubts about his situation and even about his own feelings that he cannot decide what action to take. The conflict that drives the plot of ¡°Hamlet¡± is almost entirely internal: Hamlet wrestles with his own doubt and uncertainty in search of something he believes strongly enough to act on. The play¡¯s events are side-effects of this internal struggle. Hamlet¡¯s attempts to gather more evidence of Claudius¡¯s guilt alert Claudius to Hamlet¡¯s suspicions, and as Hamlet¡¯s internal struggle deepens, he begins to act impulsively out of frustration, eventually murdering Polonius by mistake. The conflict of Hamlet is never resolved: Hamlet cannot finally decide what to believe or what action to take. This lack of resolution makes the ending of ¡°Hamlet¡± especially horrifying: nearly all the characters are dead, but nothing has been solved.
The play¡¯s exposition shows us that Hamlet is in the midst of three crises: his nation is under attack, his family is falling apart, and he feels deeply unhappy. The Ghost of the old king of Denmark appears on the castle battlements, and the soldiers who see it believe it must be a bad omen for the kingdom. They discuss the preparations being made against the threat from the Norwegian prince, Fortinbras.
¥±. ÁٰŸ® ºÐ¼®
Ä¡¸íÀûÀ¸·Î ¿ìÀ¯ºÎ´ÜÇÑ ¼º°ÝÀÇ Àι°ÀÌ ¾Æ¹öÁöÀÇ Á×À½¿¡ ´ëÇÑ º¹¼ö¸¦ Çϱâ À§Çؼ ÀûÀýÇÑ Áø·Î(course)¸¦ ¼±ÅÃÇÒ ¼ö ÀÖ´Â ´É·ÂÀÌ ¾ø´Â À̾߱⸦ ÇÔ¿¡ ÀÖ¾î¼, ¡°Çܸ´¡±Àº ¼÷¸í(fate) Óß ÀÚÀ¯ÀÇÁöÀÎÁö, ´ÜÈ£ÇÏ°Ô ÇൿÇÏ´Â °ÍÀÌ ´õ ÁÁÀºÁö ¾Æ´Ï¸é ÀÚ¿¬ÀÌ ±× Áø·Î¸¦ ÃëÇϵµ·Ï ¹æÀÓÇϵçÁö, ±×¸®°í ±Ã±ØÀûÀ¸·Î ¼¼»ó¿¡¼ ¿ì¸®¿¡°Ô ÁÖ¾îÁø ½Ã°£ ¾È¿¡ ¿ì¸®°¡ ÇൿÇÏ´Â ¾î´À °ÍÀÌ¶óµµ È¿°ú(difference)°¡ ÀÖ´ÂÁö ¾ø´ÂÁöÀÇ ¹®Á¦µéÀ» Ž»öÇÏ°í ÀÖ´Ù. ±×ÀÇ ¼÷ºÎ°¡ ±×ÀÇ ¾Æ¹öÁö¸¦ Á׿´´Ù´Â °ÍÀ» ¾Ë¾ÒÀ» ¶§ HamletÀº °áÁ¤ÀûÀÎ ÇൿÀ» ÃëÇØ¾ß ÇÑ´Ù°í Àǹ«»ó ´À³¢Áö¸¸ ±×´Â ±×°¡ óÇÑ »óȲ°ú ½ÉÁö¾î ÀÚ½ÅÀÇ °¨Á¤¿¡ ´ëÇؼµµ ³Ê¹«³ª ¸¹Àº ÀǽÉÀ» °¡Áö°í ÀÖ¾î¼ ±×´Â ¹«½¼ ÇൿÀ» ÃëÇÒÁö¸¦ °áÁ¤ÇÒ ¼ö°¡ ¾ø´Ù. ¡°Çܸ´¡±ÀÇ ÁٰŸ®¸¦ ¸ô°í °¡´Â °¥µîÀº °ÅÀÇ ÀüÀûÀ¸·Î ½É¸®Àû[internal:Ò®îÜ(³»Àû)]ÀÌ´Ù: ÇൿÇÒ ±Ù°Å ÃæºÐÈ÷ µÈ´Ù°í ±×°¡ ¹Ï´Â ¾î¶² °ÍÀ» ãÀ¸¸é¼ ±×´Â ÀÚ±â ÀÚ½ÅÀÇ Àǽɰú ºÒÈ®½Ç¼º°ú ¾¾¸§ÇÑ´Ù. ±ØÀÇ »ç°ÇµéÀº ÀÌ ³»Àû °¥µîÀÇ ºÎ»ê¹°µéÀÌ´Ù. ClaudiusÀÇ ¹üÁË¿¡ ´ëÇÑ ´õ ¸¹Àº Áõ°Å¸¦ ¼öÁýÇÏ·Á´Â HamletÀÇ ½Ãµµ´Â HamletÀÇ ÀǽÉ(Claudius¿¡ ´ëÇÑ)¿¡ ´ëÇؼ Claudius¸¦ ±äÀå½ÃÅ°°í HamletÀÇ ³»Àû°¥µîÀÌ ½Éȵʿ¡ µû¶ó ±×´Â ÁÂÀý°¨¿¡¼ Ã浿ÀûÀ¸·Î ÇൿÇϱ⠽ÃÀÛÇÏ°í ¸¶Ä§³» Âø¿À·Î Polonius¸¦ »ìÇØÇÏ°Ô µÈ´Ù. HamletÀÇ °¥µîÀº °áÄÚ ÇØ°áµÇÁö ¾Ê´Â´Ù: HamletÀº °á±¹ ¹«¾ùÀ» ¹Ï¾î¾ß ÇÒÁö ¹«½¼ ÇൿÀ» ÃëÇØ¾ß ÇÒÁö¸¦ °áÁ¤ÇÒ ¼ö°¡ ¾ø´Ù. ÀÌ·± °á½ÉÀÇ ºÎÁ·Àº ¡°Çܸ´¡±ÀÇ °á¸»À» Ưº°È÷ ¹«¼·°Ô ÇÑ´Ù: °ÅÀÇ ¸ðµç Àι°µéÀÌ Á×°í ¾Æ¹«°Íµµ ÇØ°áµÇÁö ¾Ê´Â´Ù. ±ØÀÇ ¼³¸íÀº HamletÀÌ ¼¼ °¡Áö À§±â °¡¿îµ¥¿¡ óÇØ ÀÖ´Ù´Â °ÍÀ» º¸¿©ÁØ´Ù: ±×ÀÇ ³ª¶ó´Â °ø°ÝÀ» ¹Þ°í ÀÖ°í, ±×ÀÇ °¡Á·Àº ¶³¾îÁ® ³ª°¡°í ÀÖ°í, ±×¸®°í ±×´Â ¸Å¿ì ºÒÇàÇÔÀ» ´À³¤´Ù. µ§¸¶Å©ÀÇ ´ÄÀº ¿ÕÀÇ À¯·ÉÀÌ àòÀÇ ³°£¿¡ ³ªÅ¸³ª°í ±×°ÍÀ» º¸´Â ±ºÀεéÀº ±×°ÍÀº ¿Õ±¹¿¡ ´ëÇÑ ³ª»Û ¡Á¶ÀÓ¿¡ Ʋ¸²¾ø´Ù°í ¹Ï´Â´Ù. ±×µéÀº ³ë¸£¿þÀÌ ¿ÕÀÚ FortinbrasÀÇ À§Çù¿¡ ´ëÇ×Çؼ ÃëÇØÁö°í ÀÖ´Â Áغñ»óȲ¿¡ ´ëÇؼ ³íÀǸ¦ ÇÑ´Ù.
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The next scene deepens our sense that Denmark is in political crisis, as Claudius prepares a diplomatic strategy to divert the threat from Fortinbras. We also learn that as far as Hamlet is concerned, his family is in crisis: his father is dead and his mother has married someone Hamlet disapproves of. Hamlet is also experiencing an internal crisis. Gertrude and Claudius are worried about his mood, and in his first soliloquy we discover that he feels suicidal: ¡°O that this too, too sullied flesh would melt¡± (I.ii.).
The three crises of the play¡¯s opening—in the kingdom, in Hamlet¡¯s family, and in Hamlet¡¯s mind—lay the groundwork for the play¡¯s inciting incident: the Ghost¡¯s demand that Hamlet avenge his father¡¯s death. Hamlet accepts at once that it is his duty to take revenge, and the audience can also see that Hamlet¡¯s revenge would go some way to resolving the play¡¯s three crises. By killing Claudius, Hamlet could in one stroke remove a weak and immoral king, extract his mother from what he sees as a bad marriage, and make himself king of Denmark. Throughout the inciting incident, however, there are hints that Hamlet¡¯s revenge will be derailed by an internal struggle. The Ghost warns him: ¡°Taint not thy mind nor let thy soul contrive/Against thy mother aught¡± (I.v.). When Horatio and Marcellus catch up to Hamlet after the Ghost¡¯s departure, Hamlet is already talking in such a deranged way that Horatio describes it as ¡°wild and whirling¡± (I.v.), and Hamlet tells them that he may fake an ¡°antic disposition¡± (I.v.). The audience understands that the coming conflict will not be between Hamlet and Claudius but between Hamlet and his own mind.
´ÙÀ½ íñ(Àå)Àº Claudius°¡ FortinbrasÀÇ À§ÇùÀ» ´Ù¸¥ µ¥·Î ÀüȯÇϱâ À§ÇÑ ¿Ü±³Àû Àü·«À» ÁغñÇϸé¼, µ§¸¶Å©´Â Á¤Ä¡Àû À§±â¿¡ óÇØ ÀÖ´Ù´Â ¿ì¸®ÀÇ ´À³¦À» ½ÉȽÃŲ´Ù. ¿ì¸®´Â ¶ÇÇÑ Hamlet¿¡ °üÇÑÇÑ ±×ÀÇ °¡Á·ÀÌ À§±â¿¡ óÇØ ÀÖ´Ù´Â °ÍÀ» ¾Ë°Ô µÈ´Ù: ±×ÀÇ ¾Æ¹öÁö´Â Á×¾î ÀÖ°í ±×ÀÇ ¾î¸Ó´Ï´Â HamletÀÌ ÀÎÁ¤ÇÏÁö ¾Ê´Â »ç¶÷°ú °áÈ¥ÇÏ¿´´Ù. HamletÀº ¶ÇÇÑ ³»Àû À§±âµµ °æÇèÇÏ°í ÀÖ´Ù. Gertrude¿Í Claudius´Â ±×ÀÇ ãýѨ(½É±â:mood)¿¡ ´ëÇؼ °ÆÁ¤ÇÏ°í ÀÖ°í ±×¸®°í ±×ÀÇ Ã¹ ¹ø° µ¶¹é¿¡¼ ¿ì¸®´Â ±×°¡ ÀÚ»ìÀ» »ý°¢ÇÏ°í ÀÖ´Ù´Â °ÍÀ» ´À³¤´Ù: ¡°¾Æ, ÀÌ ³Ê¹«³ª ´õ·¯¿î ¸ö¶×ÀÌ ³ì°í ³ì¾Æ¼.¡±
±ØÀÇ ¼¸·ÀÇ ¼¼ À§±â´Â¡ª³ª¶óÀÇ, Hamlet °¡Á·ÀÇ, Hamlet ¸¶À½ÀÇ¡ª±ØÀÇ ¼±µ¿ÀûÀÎ »ç°ÇÀÇ Åä´ë¸¦ ³õ¾Ò´Ù: HamletÀÌ ±×ÀÇ ¾Æ¹öÁöÀÇ Á×À½¿¡ ´ëÇؼ º¹¼ö¸¦ ÇØ¾ß µÈ´Ù´Â À¯·ÉÀÇ ¸í·É. HamletÀº º¹¼öÇÏ´Â °ÍÀÌ ±×ÀÇ Àǹ«¶ó´Â °ÍÀ» Áï°¢ ¼ö¿ëÇÏ°í °üÁßµµ HamletÀÇ º¹¼ö´Â ±ØÀÇ ¼¼ °¡Áö À§±â¸¦ ÇØ°áÇÏ´Â µ¥ µµ¿òÀÌ µÉ °ÍÀ̶ó´Â °ÍÀ» ¾È´Ù. Claudius¸¦ Á×ÀÓ¿¡ ÀÇÇؼ HamletÀº ÀÏ°Ý¿¡ ¾àÇÏ°í ºÎµµ´öÇÑ ¿ÕÀ» Á¦°ÅÇÒ ¼ö ÀÖ°í ±×°¡ ³ª»Û °áÈ¥À̶ó°í »ý°¢ÇÏ´Â °ÍÀ¸·ÎºÎÅÍ ¾î¸Ó´Ï¸¦ »Ì¾Æ¿Ã ¼ö ÀÖÀ¸¸ç ÀÚ½ÅÀ» µ§¸¶Å©ÀÇ ¿ÕÀ¸·Î ¸¸µé ¼ö ÀÖÀ» °ÍÀÌ´Ù. ±×·¯³ª ±× °Ýµ¿ÀûÀÎ »ç°Ç Àüü¸¦ ÅëÇؼ HamletÀÇ º¹¼ö´Â ³»ÀûÀÎ ÅõÀï¿¡ ÀÇÇؼ Å»¼±µÉ °ÍÀ̶ó´Â ¾Ï½Ã°¡ ÀÖ´Ù. À¯·ÉÀº ±×¿¡°Ô °æ°íÇÑ´Ù: ¡°¸¶À½ÀÌ Èå·ÁÁ®(taint) ³ÊÀÇ ¾î¸Ó´Ï¸¦ ÇØÄ¡´Â ÀÏÀº ¸»¾Æ´Ù¿À.¡± À¯·ÉÀÌ ¶°³ µÚ¿¡ Horatio¿Í Marcellus°¡ ÂÑ¾Æ ¿ÔÀ» ¶§ HamletÀº ÀÌ¹Ì Á¤½ÅÀÌ ÈåÆ®·¯Áø »óÅ¿¡¼ ¸»ÇÏ°í ÀÖ¾î¼ Horatio´Â ±×°Í(HamletÀÇ ¸»)À» ¡°µµ¹«Áö ÇãȲµÈ¡± °ÍÀ¸·Î ¹¦»çÇÏ°í HamletÀº ±×µé¿¡°Ô °¡Â¥·Î ¡°ÀÌ»ó¾ß¸©ÇÑ Çൿ¡±À» ÇÒÁöµµ ¸ð¸¥´Ù°í ¸»ÇÑ´Ù. °üÁßÀº ´Ù°¡¿À´Â °¥µîÀº Hamlet°ú Claudius»çÀÌ¿¡ ÀÖÁö ¾Ê°í Hamlet°ú ÀÚ½ÅÀÇ ¸¶À½»çÀÌ¿¡ ÀÖÀ» °ÍÀ̶ó´Â °ÍÀ» ÀÌÇØÇÏ°Ô µÈ´Ù.
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For the whole of the second act—the play¡¯s rising action—Hamlet delays his revenge by pretending to be mad. We learn from Ophelia that Hamlet is behaving as if he is mad with love for her. We see him make fun of Polonius by talking nonsense which contains half-hidden jokes at Polonius¡¯s expense. Hamlet tells Rosencrantz and Guildenstern that he has ¡°lost all [his] mirth¡± (II.ii.). Only at the end of Act 2 do we learn the reason for Hamlet¡¯s delaying tactics: he cannot work out his true feelings about his duty to take revenge. First, he tells us, he doesn¡¯t feel as angry and vengeful as he thinks he should: ¡°I[¡¦]Peak like John-a-dreams, unpregnant of my cause¡± (II.ii.). Second, he¡¯s worried that the Ghost wasn¡¯t really a ghost but a devil trying to trick him. He decides he needs more evidence of Claudius¡¯s crime: ¡°I¡¯ll have grounds/More relative than this¡± (II.ii.).
As the rising action builds toward a climax, Hamlet¡¯s internal struggle deepens until he starts to show signs of really going mad. At the same time Claudius becomes suspicious of Hamlet, which creates an external pressure on Hamlet to act. Hamlet begins Act Three debating whether or not to kill himself: ¡°To be or not to be—that is the question¡± (III.i.), and moments later he hurls misogynistic abuse at Ophelia. He is particularly upset about women¡¯s role in marriage and childbirth—¡°Why wouldst thou be a breeder of sinners?¡± (III.i.)—which reminds the audience of Hamlet¡¯s earlier disgust with his own mother and her second marriage.
2¸· Àüü¿¡¼ ¡ª±ØÀÇ »ó½ÂÈ°µ¿¡ªHamletÀº ±¤±â¸¦ °¡ÀåÇؼ º¹¼ö¸¦ Áö¿¬½ÃŲ´Ù. ¿ì¸®´Â Ophelia·ÎºÎÅÍ HamletÀÌ ±×³à¿¡ ´ëÇÑ »ç¶û ¶§¹®¿¡ ¹ÌÄ£°Íó·³ ÇൿÇÏ°í ÀÖ´Ù°í µè´Â´Ù. ¿ì¸®´Â ±×°¡ Polonius¸¦ Èñ»ýÇؼ ¹ÝÂë ¼û°ÜÁø(Áø½ÇÀÌ) ³ó´ãÀ» ´ã°í ÀÖ´Â ¹«ÀǹÌÇÑ ¸»µéÀ» ÇÔ¿¡ ÀÇÇؼ Polonius¸¦ Èñ·ÕÇÏ°í ÀÖ´Â °ÍÀ» º»´Ù. HamletÀº Rosencrantz¿Í Guildenstern¿¡°Ô ¡°[±×ÀÇ] ¸ðµç ±â»Ý¡±À» ÀÒ¾î ¹ö·È´Ù°í ¸»ÇÑ´Ù. 2¸·ÀÇ ³¡¿¡¼¾ß ¿ì¸®´Â ±×ÀÇ Àü¼ú(º¹¼ö½ÇÇà)ÀÇ ¿¬±âÀÇ ÀÌÀ¯¸¦ ¾Ë°Ô µÈ´Ù: º¹¼ö¸¦ ÇØ¾ß µÉ ±×ÀÇ Àǹ«¿¡ ´ëÇÑ °¨Á¤À» µµÃâÇØ ³¾ ¼ö ¾ø´Ù(´Â °ÍÀÌ´Ù). ù°, ±×´Â ±×°¡ ´ç¿¬È÷ ´À²¸¾ß ÇÑ´Ù°í »ý°¢ÇÏ´Â °Í¸¸Å ºÐ³ë³ª º¹¼ö½ÉÀ» ´À³¢Áö ¾Ê´Â´Ù°í ¿ì¸®°Ô ¸»ÇÑ´Ù: ¡°³ªÀÇ ¸ñÀû(cause)À» Àú¹ö¸®°í(unpregnant=unquickened:»¡¸® ÇÏÁö ¾Ê´Â) ¹éÀϸùȯÀÚó·³ Çì¸Å°í ´Ù´Ï°í ÀÖ¾î.(peak=mope ¹æȲÇÏ´Ù)¡±. µÑ°, ±×´Â ±× À¯·ÉÀº ÁøÂ¥ À¯·ÉÀÌ ¾Æ´Ï°í ±×¸¦ ¼ÓÀÌ·Á´Â ¾Ç¸¶¶ó°í °ÆÁ¤ÇÑ´Ù. ±×´Â ClaudiusÀÇ ¹üÁË¿¡ ´ëÇؼ´Â ´õ ¸¹Àº Áõ°Å°¡ ÇÊ¿äÇÏ´Ù°í °á·ÐÀ» ³»¸°´Ù: ¡°ÀÌ º¸´Ù ´õ ÀûÀýÇÑ(relative) Áõ°Å¸¦ °¡Á®¾ß°Ú´Ù.¡±
±ØÀÇ »ó½ÂÈ°µ¿ÀÌ Å¬¶óÀ̸ƽº·Î ÇâÇؼ ÃàÀûµÇ¾î °¥ ¶§, HamletÀÇ ³»Àû °¥µîÀº ±×°¡ Á¤¸»·Î ¹ÌÄ£ ÁþÀ» Çϴ ¡ǥ¸¦ º¸À̱⠽ÃÀÛÇÒ ¶§ ±îÁö ½ÉȵȴÙ. µ¿½Ã¿¡ Claudius´Â HamletÀ» ÀǽÉÇÏ°Ô µÇ°í ÀÌ°ÍÀÌ HamletÀÌ ÇൿÇϵµ·Ï ¿ÜÀû ¾Ð·ÂÀ» ¸¸µé¾î ³½´Ù. HamletÀº ÀÚ»ìÀ» ÇÒÁö ¸»Áö¿¡ ´ëÇؼ ³íÀïÇÏ¸é¼ 3¸·À» ½ÃÀÛÇÑ´Ù: ¡°»ç´À³Ä Á×´À³Ä¡ª ±×°ÍÀÌ ¹®Á¦¾ß.¡± ±×¸®°í ¾ó¸¶ ÈÄ¿¡ Ophelia¿¡°Ô ¿©¼ºÇø¿ÀÁõÀûÀÎ µ¶¼³À» ÆÛ º×´Â´Ù. ±×´Â °áÈ¥°ú Ãâ»ê¿¡ ÀÖ¾î¼ ¿©¼ºµéÀÇ ¿ªÇÒ¿¡ ºÐ³ëÇÏ°í ÀÖ´Ù¡ª¡°´ç½ÅÀº ¿Ö ÁËÀÎÀ» Áõ½Ä½ÃÅ°´Â »ç¶÷ÀÌ µÇ·Á°í Çմϱî?¡±—ÀÌ°ÍÀº °üÁߵ鿡°Ô ±ØÀÇ ÃÊ¿¡ ±× ÀÚ½ÅÀÇ ¾î¸Ó´Ï¿Í ±×³àÀÇ µÎ ¹ø° °áÈ¥¿¡ ´ëÇÑ HamletÀÇ Çø¿À°¨À» »ó±â½ÃÄÑ ÁØ´Ù.
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¥².Themes
The Impossibility of Certainty
What separates ¡°Hamlet¡± from other revenge plays (and maybe from every play written before it) is that the action we expect to see, particularly from Hamlet himself, is continually postponed while Hamlet tries to obtain more certain knowledge about what he is doing. This play poses many questions that other plays would simply take for granted. Can we have certain knowledge about ghosts? Is the ghost what it appears to be, or is it really a misleading fiend? Does the ghost have reliable knowledge about its own death, or is the ghost itself deluded? Moving to more earthly matters: How can we know for certain the facts about a crime that has no witnesses? Can Hamlet know the state of Claudius¡¯s soul by watching his behavior? If so, can he know the facts of what Claudius did by observing the state of his soul? Can Claudius (or the audience) know the state of Hamlet¡¯s mind by observing his behavior and listening to his speech? Can we know whether our actions will have the consequences we want them to have? Can we know anything about the afterlife?
Many people have seen ¡°Hamlet¡± as a play about indecisiveness, and thus about Hamlet¡¯s failure to act appropriately. It might be more interesting to consider that the play shows us how many uncertainties our lives are built upon, how many unknown quantities are taken for granted when people act or when they evaluate one another¡¯s actions.
¥².ÁÖÁ¦
È®½ÅÀÇ ºÒ°¡´É¼º
´Ù¸¥ º¹¼ö±Ø (ì¤îñ¿¡ ¾²¿© Á³´ø ¸ðµç ±Ø)°ú ¡°Hamlet¡±À» °¥¶ó³õ´Â °ÍÀº, ¿ì¸®°¡ º¸°ÔµÉ °ÍÀ¸·Î ±â´ëÇÏ´Â ¸ðµç ÇàÀ§´Â, ƯÈ÷ ¿ì¸®°¡ ±â´ëÇÏ´Â Hamlet ÀÚ½ÅÀ¸·ÎºÎÅÍ ³ª¿À´Â ¸ðµç ÇàÀ§´Â, HamletÀÌ ±×°¡ ½ÇÇàÇÏ·Á°í ÇÏ´Â °Í¿¡ ´ëÇÑ È®½ÇÇÑ Áö½ÄÀ» ȹµæÇÏ·Á°í ³ë·ÂÇÏ´Â µ¿¾È Áö¼ÓÀûÀ¸·Î ¿¬±â µÈ´Ù´Â °ÍÀÌ´Ù. ÀÌ ±ØÀº ´Ù¸¥ ±ØµéÀÌ ´Ü¼øÈ÷ ´ç¿¬ÇÏ°Ô »ý°¢ÇÒ ¸¹Àº Àǹ®À» Á¦½ÃÇÑ´Ù. ¿ì¸®´Â À¯·É¿¡ ´ëÇؼ ¾î´À Á¤µµÀÇ Áö½ÄÀ» ¾òÀ» ¼ö Àִ°¡? À¯·ÉÀº ½ÇÁ¦·Î ³ªÅ¸³ª º¸ÀÌ´Â ±× À¯·ÉÀΰ¡? ¾Æ´Ï¸é ½ÇÁ¦·Î ¿ì¸®¸¦ è¦Óô(¿Àµµ)ÇÏ°í ÀÖ´Â ¾Ç¸¶Àΰ¡? À¯·ÉÀº ÀÚ½ÅÀÇ Á×À½¿¡ ´ëÇؼ ¹ÏÀ» ¸¸ÇÑ Áö½ÄÀ» °¡Áö°í Àִ°¡? ¾Æ´Ï¸é À¯·ÉÀڽŵµ Âø°¢ÇÏ°í Àִ°¡? º¸´Ù Çö½ÇÀûÀÎ(earthly) ¹®Á¦·Î µ¹¾Æ°¡¼: ¾î¶² ¸ñ°ÝÀÚµµ ¾ø´Â ¹üÁË¿¡ °üÇÑ »ç½Ç¿¡ ´ëÇØ ¾î¶»°Ô È®½ÇÈ÷ ¾Ë ¼ö Àִ°¡? HamletÀº ClaudiusÀÇ Á¤½ÅÀÇ »óŸ¦ ±×¸¦ °üÂûÇÔ¿¡ ÀÇÇؼ ¾Ë ¼ö Àִ°¡? Claudius (ȤÀº °üÁß)´Â HamletÀÇ ¸¶À½ »óŸ¦ ±×ÀÇ ÇൿÀ» °üÂûÇϰųª ±×ÀÇ ¸»(speech)À» µéÀ½¿¡ ÀÇÇؼ ¾Ë ¼ö Àִ°¡? ¿ì¸®´Â ¿ì¸®ÀÇ ÇൿÀÌ °¡Áö±â¸¦ ¿øÇÏ´Â °á°ú¸¦ °¡Áö°Ô µÉÁö ¿©ºÎ¸¦ ¾Ë ¼ö Àִ°¡? ¿ì¸®´Â Òá¦(³»¼¼)¿¡ ´ëÇؼ Á¶±ÝÀÌ¶óµµ ¾Ë ¼ö Àִ°¡? ¸¹Àº »ç¶÷µéÀº ¡°Hamlet"À» éÐêõÝÕÓ¨(¿ìÀ¯ºÎ´Ü)¿¡ °üÇÑ Ð¼(±Ø)À¸·Î, µû¶ó¼ HamletÀÌ ÀûÀýÇÏ°Ô ÇൿÇÏÁö ¸øÇÏ´Â °Í¿¡ °üÇÑ ±ØÀ¸·Î °£ÁÖÇØ ¿Ô´Ù. ÀÌ ±ØÀº ¿ì¸®ÀÇ »îÀº ¸Å¿ì ¸¹Àº ºÒÈ®½Ç¼º À§¿¡ ±¸ÃàµÇ¾î ÀÖ°í, »ç¶÷µéÀÌ ÇൿÀ» Çϰųª ŸÀÎÀÇ ÇàÀ§¸¦ Æò°¡ÇÒ ¶§ ¸Å¿ì ¸¹Àº ºÒÈ®½ÇÇÑ ÍªÕá(°è·®)¿¡ ±Ù°Å¸¦ µÎ°í ÀÖ´Ù´Â °ÍÀ» °í·ÁÇØ º»´Ù¸é Àç¹ÌÀÖÀ» °ÍÀÌ´Ù.
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The Complexity of Action
Directly related to the theme of certainty is the theme of action. How is it possible to take reasonable, effective, purposeful action? In ¡°Hamlet¡±, the question of how to act is affected not only by rational considerations, such as the need for certainty, but also by emotional, ethical, and psychological factors. Hamlet himself appears to distrust the idea that it¡¯s even possible to act in a controlled, purposeful way. When he does act, he prefers to do it blindly, recklessly, and violently. The other characters obviously think much less about ¡°action¡± in the abstract than Hamlet does, and are therefore less troubled about the possibility of acting effectively. They simply act as they feel is appropriate. But in some sense they prove that Hamlet is right, because all of their actions miscarry. Claudius possesses himself of queen and crown through bold action, but his conscience torments him, and he is beset by threats to his authority (and, of course, he dies). Laertes resolves that nothing will distract him from acting out his revenge, but he is easily influenced and manipulated into serving Claudius¡¯s ends, and his poisoned rapier is turned back upon himself.
The Nation as a Diseased Body
Everything is connected in ¡°Hamlet¡±, including the welfare of the royal family and the health of the state as a whole. The play¡¯s early scenes explore the sense of anxiety and dread that surrounds the transfer of power from one ruler to the next. Throughout the play, characters draw explicit connections between the moral legitimacy of a ruler and the health of the nation. Denmark is frequently described as a physical body made ill by the moral corruption of Claudius and Gertrude, and many observers interpret the presence of the ghost as a supernatural omen indicating that ¡°[s]omething is rotten in the state of Denmark¡± (I.iv.67). The dead King Hamlet is portrayed as a strong, forthright ruler under whose guard the state was in good health, while Claudius, a wicked politician, has corrupted and compromised Denmark to satisfy his own appetites. At the end of the play, the rise to power of the upright Fortinbras suggests that Denmark will be strengthened once again.
ÇàÀ§ÀÇ º¹À⼺
ÇàÀ§ÀÇ ÁÖÁ¦´Â È®½Ç¼ºÀÇ ÁÖÁ¦¿Í Á÷Á¢ °ü·ÃµÇ¾î ÀÖ´Ù. ÇÕ¸®ÀûÀÌ°í È¿°úÀûÀ̸ç ÇÕ¸ñÀûÀûÀÎ ÇàÀ§¸¦ ÃëÇÏ´Â °ÍÀÌ ¾î¶»°Ô °¡´ÉÇÑ°¡? ¡°Hamlet¡±¿¡¼´Â, ¾î¶»°Ô ÇൿÇØ¾ß ÇÏ´À³ÄÀÇ ¹®Á¦´Â È®½Ç¼º¿¡ ´ëÇÑ ÇÊ¿ä¿Í °°Àº ±×·± ÇÕ¸®ÀûÀÎ °í·Á¿¡ ÀÇÇؼ ¿µÇâÀ» ¹ÞÀ» »Ó ¾Æ´Ï¶ó µµÇÑ °¨Á¤Àû, À±¸®Àû, ±×¸®°í ½É¸®Àû ¿äÀο¡ ÀÇÇؼµµ ¿µÇâÀ» ¹Þ´Â´Ù. Hamlet ÀÚ½ÅÀº ½ÉÁö¾î ÅëÁ¦µÇ°í ÇÕ¸ñÀûÀûÀÎ ¹æ¹ýÀ¸·Î ÇൿÇÏ´Â °ÍÀÌ °¡´ÉÇÏ´Ù´Â »ý°¢À» ºÒ½ÅÇÏ´Â °Íó·³ º¸ÀδÙ. ±×°¡ ÇൿÀ» ÇÒ ¶§´Â, ±×´Â ±×°ÍÀ» ¸Í¸ñÀûÀ¸·Î, °æ¼ÖÇÏ°Ô, ³ÆøÇÏ°Ô ÇÏ´Â °ÍÀ» ¼±È£ÇÑ´Ù. ´Ù¸¥ Àι°µéÀº ºÐ¸íÈ÷ Hamletº¸´Ù´Â ¡°ÇàÀ§¡±¿¡ ´ëÇؼ ÀÌ·ÐÀûÀ¸·Î (in the abstract) ÈξÀ ´õ Àû°Ô »ý°¢ÇÏ°í ±×·¡¼ È¿°úÀûÀ¸·Î ÇൿÇÏ´Â °ÍÀÇ °¡´É¼º¿¡ ´ëÇؼ ½Å°æÀ» ´õ Àû°Ô ¾´´Ù. ±×µéÀº ±×µéÀÌ Àû´çÇÏ´Ù°í ´À³¢´Â ´ë·Î ÇൿÇÑ´Ù. ±×·¯³ª ±×µéÀÇ ¸ðµç ÇൿÀº ½ÇÆÐÇϱ⠶§¹®¿¡, ¾î¶² Àǹ̿¡¼´Â ±×µéÀº HamletÀÌ ¿Ç´Ù´Â °ÍÀ» Áõ¸íÇÑ´Ù. Claudius´Â ´ë´ãÇÑ ÇàÀ§¸¦ ÅëÇؼ ¿Õºñ¿Í ¿Õ°üÀ» Â÷ÁöÇÏÁö¸¸ ±×ÀÌ ¾ç½ÉÀÌ ±×¸¦ ½ÉÈ÷ ±«·ÓÈ÷°í ±×ÀÌ ±Ç·Â¿¡ ´ëÇÑ À§ÇùÀ¸·Î ±«·ÓÈûÀ» ´çÇÏ°í ÀÖ´Ù (¹°·Ð ±×´Â Á״´Ù). Laertes´Â ¾î¶² °Íµµ ±×ÀÇ º¹¼öÀÇ ½ÇÇàÀ¸·ÎºÎÅÍ ±×¸¦ ¶¼¾î ³õÀ» ¼ö ¾ø´Ù°í °á½ÉÇÏÁö¸¸ ClaudiusÀÇ ¸ñÀû¿¡ ½±°Ô ¿µÇâÀ» ¹Þ°í Á¶Á¾µÇ¾î ÀÌ¿ëµÇ°í ±×ÀÇ µ¶°ËÀº ±×¿¡°Ô·Î µÇµ¹¾Æ¿Â´Ù.
º´µç À°Ã¼·Î¼ÀÇ ±¹°¡
¡°Hamlet¡±¿¡¼´Â ¿Õ°¡ÀÇ º¹Áö¿Í ±¹°¡ÀÇ ¾È³çÀ» Æ÷ÇÔÇؼ ¸ðµç °ÍÀÌ ÇϳªÀÇ Àüü·Î¼ ¿¬°üµÇ¾î ÀÖ´Ù. ±ØÀÇ Ãʱâ íñ(Àå)µéÀº ÇÑ ÅëÄ¡ÀÚ¿¡¼ ´Ù¸¥ ÅëÄ¡ÀÚ¿¡°Ô·Î ±Ç·ÂÀÇ À̵¿À» µÑ·¯½Î°í ÀÖ´Â ºÒ¾È°ú °øÆ÷°¨À» Ž»öÇÑ´Ù. ±Ø Àüü¸¦ ÅëÇؼ Àι°µéÀº ÅëÄ¡ÀÚÀÇ µµ´öÀû ÇÕ¹ý¼º°ú ±¹°¡ÀÇ °Ç°»çÀÌÀÇ ¸í¹éÇÑ °ü·Ã¼ºÀ» ±×¸®°í ÀÖ´Ù. µ§¸¶Å©´Â Claudius¿Í GertrudeÀÇ µµ´öÀû Ÿ¶ô¿¡ ÀÇÇؼ º´À̵ç À°Ã¼·Î¼ ºó¹øÇÏ°Ô ¹¦»çµÇ°í ÀÖ°í, ¸¹Àº °üÂûÀÚµéÀº À¯·ÉÀÇ ÃâÇöÀ» ¡°µ§¸¶Å© ³ª¶ó¿¡ ¹º°¡ ºÎÆеǾî ÀÖ¾î¿ä.¡±¶ó´Â °ÍÀ» °¡¸®Å°´Â ÃÊÀÚ¿¬ÀûÀΠ¡Á¶·Î Çؼ®ÇÑ´Ù. Á×Àº Hamlet¿ÕÀº ±×ÀÇ ÁöµµÇÏ¿¡ ±¹°¡°¡ °Ç°ÇÏ¿´´ø °ÇÏ°í °Á÷ÇÑ ÅëÄ¡ÀÚ·Î ¹¦»çµÇ¸ç ¹Ý¸é¿¡ »ç¾ÇÇÑ Á¤Ä¡°¡ÀÎ Claudius´Â ÀÚ½ÅÀÇ ¿å¸ÁÀ» ¸¸Á·½ÃÅ°±â À§ÇÏ¿© µ§¸¶Å©¸¦ Ÿ¶ô½ÃÅ°°í ´õ·´Çû´Ù (compromise:¼Õ»ó½ÃÅ°´Ù, ´õ·´È÷´Ù). ±ØÀÇ ³¡¿¡ °¡¼ °í°áÇÑ Fortinbras°¡ ±Ç·ÂÀÇ ÀÚ¸®¿¡ ¿À¸£´Â °ÍÀº µ§¸¶Å©°¡ ´Ù½Ã °ÇÏ°Ô µÉ °ÍÀ̶ó´Â °ÍÀ» ¾Ï½ÃÇÑ´Ù.
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The Mystery of Death
In the aftermath of his father¡¯s murder, Hamlet is obsessed with the idea of death, and over the course of the play he considers death from a great many perspectives. He ponders both the spiritual aftermath of death, embodied in the ghost, and the physical remainders of the dead, such as by Yorick¡¯s skull and the decaying corpses in the cemetery. Throughout, the idea of death is closely tied to the themes of spirituality, truth, and uncertainty in that death may bring the answers to Hamlet¡¯s deepest questions, ending once and for all the problem of trying to determine truth in an ambiguous world. And, since death is both the cause and the consequence of revenge, it is intimately tied to the theme of revenge and justice—Claudius¡¯s murder of King Hamlet initiates Hamlet¡¯s quest for revenge, and Claudius¡¯s death is the end of that quest.
The question of his own death plagues Hamlet as well, as he repeatedly contemplates whether or not suicide is a morally legitimate action in an unbearably painful world. Hamlet¡¯s grief and misery is such that he frequently longs for death to end his suffering, but he fears that if he commits suicide, he will be consigned to eternal suffering in hell because of the Christian religion¡¯s prohibition of suicide. In his famous ¡°To be or not to be¡± soliloquy (III.i), Hamlet philosophically concludes that no one would choose to endure the pain of life if he or she were not afraid of what will come after death, and that it is this fear which causes complex moral considerations to interfere with the capacity for action.
Á×À½ÀÇ ½Åºñ
¾Æ¹öÁöÀÇ Á×À½ÀÇ ¿µÇâ ¼Ó¿¡¼ HamletÀº Á×À½¿¡ ´ëÇÑ »ý°¢¿¡ »ç·ÎÀâÈ÷°í ±ØÀÇ ÁøÇà¿¡ µû¶ó ±×´Â Á×À½À» ¸Å¿ì ´Ù¾çÇÑ ½Ã°¢(perspectives)¿¡¼ ¹Ù¶óº¸°Ô µÈ´Ù. ±×´Â À¯·ÉÀ¸·Î úÞãó(Çö½Å)µÈ Á×À½ÀÇ Á¤½ÅÀû æ®÷î(¿©ÆÄ)¿Í, YorickÀÇ ÇØ°ñ°ú ¹¦ÁöÀÇ ºÎÆÐÇÏ°í ÀÖ´Â ½Ãü¿Í °°Àº ±×·± ÞÝíº(»çÀÚ)µéÀÇ À°Ã¼Àû íÑúµ(ÀÜÇØ) µÎ °¡Áö¿¡ ´ëÇؼ, ±íÀÌ »ý°¢ÇÑ´Ù. Àüü¸¦ ÅëÇؼ, Á×À½¿¡ °üÇÑ »ý°¢Àº, Á×À½ÀÌ ¸ðÈ£ÇÑ ¼¼°è¿¡¼ Áø¸®¸¦ °áÁ¤ÇÏ·Á°í ³ë·ÂÇÏ´Â ¹®Á¦¸¦ ´ÜÈ£ÇÏ°Ô Á¾°áÇϸé¼, HamletÀÇ °¡Àå ±íÀº Àǹ®¿¡ ÇØ´äÀ» °¡Á®¿Â´Ù´Â Á¡¿¡¼(in that), çÏàõ(¿µ¼º), Áø¸®, ±×¸®°í ºÒÈ®½Ç¼ºÀÇ ÁÖÁ¦µé°ú ¹ÐÁ¢ÇÏ°Ô °ü·ÃµÈ´Ù. ±×¸®°í Á×À½Àº º¹¼öÀÇ ¿øÀΰú °á°ú µÑ ´Ù À̱⠶§¹®¿¡, ±×°ÍÀº º¹¼ö¿Í Á¤ÀÇÀÇ ÁÖÁ¦¿Í ¹ÐÁ¢ÇÏ°Ô °ü·ÃµÈ´Ù¡ªClaudiusÀÇ Hamlet¿Õ »ìÇØ´Â HamletÀÇ º¹¼öÃß±¸¸¦ ½ÃÀÛ½ÃÅ°¸ç ClaudiusÀÇ Á×À½Àº ±× Ãß±¸ÀÇ ³¡ÀÌ´Ù.
±× ÀÚ½ÅÀÇ Á×À½ÀÇ ¹®Á¦µµ, °ßµô ¼ö ¾øµµ·Ï °íÅ뽺·¯¿î ¼¼°è¿¡¼ ÀÚ»ìÀÌ µµ´öÀûÀ¸·Î ÇÕ¹ýÀûÀÎ ÇàÀ§ÀÎÁö ¾Æ´ÑÁö¸¦ ±×°¡ ¹Ýº¹ÀûÀ¸·Î ±íÀÌ »ý°¢ÇÔ¿¡ µû¶ó, HamletÀ» ±«·ÓÈù´Ù. HamletÀÇ ºñ¾Ö¿Í ºñÂüÇÔÀº ³Ê¹«³ª ½ÉÇؼ ±×´Â °íÅëÀ» ³¡³»±â À§Çؼ ºó¹øÇÏ°Ô Á×À½À» °¥¸ÁÇÏÁö¸¸ ¸¸¾à ±×°¡ ÀÚ»ìÀ» ¹üÇÑ´Ù¸é ±âµ¶±³ÀÇ ÀÚ»ì±ÝÁö ¶§¹®¿¡ Áö¿ÁÀÇ ¿µ¿øÇÑ °íÅëÀÇ Ã³ºÐÀ» ¹Þ°Ô µÉ(consigned)°ÍÀ» µÎ·Á¿öÇÑ´Ù. ±×ÀÇ À¯¸íÇÑ ¡°»ç´À³Ä Á×´À³Ä¡± µ¶¹é¿¡¼ HamletÀº ¸¸¾à Àΰ£ÀÌ Á×À½ ÈÄ¿¡ ¿Ã °ÍÀ» µÎ·Á¿öÇÏÁö ¾Ê´Â´Ù¸é ¾Æ¹«µµ »îÀÇ °íÅëÀ» °ßµð±â¸¦ ¼±ÅÃÇÏÁö ¾ÊÀ» °ÍÀÌ°í º¹ÀâÇÑ µµ´öÀû ¼÷°í°¡ ÇൿÀÇ ¿ë·®¿¡ °£¼·Çϵµ·Ï ÇÏ´Â ¿øÀÎÀÌ µÇ´Â °ÍÀº ¹Ù·Î ÀÌ µÎ·Á¿òÀ̶ó°í öÇÐÀûÀ¸·Î °á·ÐÀ» ³»¸°´Ù.
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Performance
Hamlet includes many references to performance of all kinds – both theatrical performance and the way people perform in daily life. In his first appearance, Hamlet draws a distinction between outward behavior— ¡°actions that a man might play¡±— and real feelings: ¡°that within which passeth show¡± (I.ii.). However, the more time we spend with Hamlet the harder it becomes to tell what he is really feeling and what he is performing. He announces in Act One scene five that he is going to pretend to be mad (¡°put an antic disposition on¡±.) In Act Two scene one, Ophelia describes Hamlet¡¯s mad behavior as a comical performance. However, when Hamlet tells Rosencrantz and Guildenstern that ¡°I have lost all my mirth,¡± he seems genuinely depressed. Generations of readers have argued about whether Hamlet is really mad or just performing madness. It¡¯s impossible to know for sure – by the end of the play, even Hamlet himself doesn¡¯t seem to know the difference between performance and reality.
Hamlet further explores the idea of performance by regularly reminding the audience that we are watching a play. When Polonius says that at university he ¡°did enact Julius Caesar¡± (III.ii), contemporary audiences would have thought of Shakespeare¡¯s own ¡°Julius Caesar¡±, which was written around the same time as ¡°Hamlet¡±. The actor who played Polonius may have played Julius Caesar as well.
æÑÐü(¿¬±â)
HamletÀº ¸ðµç Á¾·ùÀÇ ¿¬±â¿¡ ´ëÇؼ ¸¹Àº ¾ð±ÞÀ» ÇÑ´Ù¡ª ¹«´ë ¿¬±â¿Í ÀÏ»ó»ýÈ°¿¡¼ »ç¶÷µéÀÌ ¿¬±âÇÏ´Â ¹æ¹ý. ±×ÀÇ Ã¹ Ã⿬¿¡¼ HamletÀº ¿ÜÀû ¿¬±â¡ª ¡°»ç¶÷ÀÌ ¿¬±âÇÏ´Â Çൿ¡±°ú ½ÇÁ¦ °¨Á¤ »çÀÌÀÇ ±¸º°: ¡°°ÑÄ¡·¹(show)¿Í´Â ´Ù¸¥(passeth) °Í.¡± ±×·¯³ª Hamlet¿Í ÇÔ²² ½Ã°£À» ´õ ¸¹ÀÌ º¸³¾¼ö·Ï ±×°¡ ½ÇÁ¦·Î ´À³¢°í ÀÖ´Â °Í°ú ±×°¡ ¿¬±âÇÏ°í ÀÖ´Â °ÍÀ» ±¸º°ÇÏ´Â(tell) °ÍÀÌ ´õ ¾î·Á¿öÁø´Ù. ±×´Â 1¸· 5Àå¿¡¼ ¹ÌÄ£ ô ÇÒ °Í(¡°ÀÌ»ó¾ß¸©ÇÑ ¼ºÇâÀ» ÃëÇÒ °Í¡±)À̶ó°í ¹ßÇ¥ÇÑ´Ù. 2¸· 1Àå¿¡¼ Ophelia´Â HamletÀÇ ¹ÌÄ£ ÇൿÀ» Èñ±ØÀû ¿¬±â¶ó°í ¼³¸íÇÑ´Ù. HamletÀÌ ¡°³ª´Â ¸ðµç Ñâ(³«)À» ÀÒ¾î ¹ö·È¾î.¡±¶ó°í Rosencrantz°ú Guildenstern¿¡°Ô ¸»ÇÒ ¶§´Â ±×´Â ¼ø¼öÇÏ°Ô ¿ì¿ïÇÑ °Íó·³ º¸ÀδÙ. ÓÛÓÛ(´ë´ë)·Î µ¶ÀÚµéÀº HamletÀÌ Á¤¸»·Î ¹ÌÃÆ´ÂÁö ¾Æ´Ï¸é ´ÜÁö ¹ÌÄ£ ÁþÀ» ¿¬±âÇÏ°í ÀÖ´ÂÁö¿¡ ´ëÇؼ ³íÀïÀ» ÇØ¿Ô´Ù. È®½ÇÈ÷ ¾Æ´Â °ÍÀº ºÒ°¡´ÉÇÏ´Ù¡ª±ØÀÇ ³¡¿¡ °¡¼´Â Hamlet Àڽŵµ ¿¬±â¿Í »ç½Ç »çÀÌÀÇ Â÷À̸¦ ¾Æ´Â °Íó·³ º¸ÀÌÁö ¾Ê´Â´Ù.
HamletÀº ¿ì¸®°¡ ±ØÀ» °ü¶÷ÁßÀ̶ó´Â °ÍÀ» Á¤±âÀûÀ¸·Î °üÁß¿¡°Ô »ó±â½ÃÅ´À¸·Î¼ ¿¬±âÀÇ °³³äÀ» ´õ¿í´õ Ž±¸ÇÏ°í ÀÖ´Ù. ±×°¡ ´ëÇп¡¼ ¡°Julius Caesar¿ªÀ» ¿¬±âÇÏ¿´´Ù¡±¶ó°í Polonius°¡ ¸»ÇÒ ¶§¿¡ µ¿½Ã´ëÀÇ °üÁßµéÀº ¡°Hamlet¡±¿Í °°Àº ½Ã±â¿¡ ¾²¿© Á³´ø ShakespeareÀÚ½ÅÀÇ ¡°Julius Caesar¡±¸¦ »ý°¢ÇÏ¿´À» °ÍÀÌ´Ù. Poloniusæµ(¿ª)À» ÇÏ¿´´ø ¹è¿ì´Â Julius Caesar¿ªµµ ¿¬±âÇÏ¿´À» °ÍÀÌ´Ù.
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The device of the play within the play gives Hamlet further opportunities to comment on the nature of theater. By constantly reminding the audience that what we¡¯re watching is a performance, Hamlet invites us to think about the fact that something fake can feel real, and vice versa. Hamlet himself points out that acting is powerful because it¡¯s indistinguishable from reality: ¡°The purpose of playing [¡¦] is to hold, as ¡¯twere, the mirror up to Nature¡± (III.ii.). That¡¯s why he believes that the Players can ¡°catch the conscience of the King¡± (II.ii.). By repeatedly showing us that performance can feel real, Hamlet makes us question what ¡°reality¡± actually is.
Madness
One of the central questions of "Hamlet" is whether the main character has lost his mind or is only pretending to be mad. Hamlet¡¯s erratic behavior and nonsensical speech can be interpreted as a ruse to get the other characters to believe he¡¯s gone mad. On the other hand, his behavior may be a logical response to the ¡°mad¡± situation he finds himself in – his father has been murdered by his uncle, who is now his stepfather. Initially, Hamlet himself seems to believe he¡¯s sane – he describes his plans to ¡°put an antic disposition on¡± and tells Rosencrantz and Guildenstern he is only mad when the wind blows ¡°north-north-west¡± – in other words, his madness is something he can turn on and off at will.
мñéм(±ØÁß±Ø)Àº Hamlet¿¡°Ô ýôÍØ(Èñ°î:theatre)ÀÇ º»Áú¿¡ °üÇØ ³íÆòÇÒ ´õ ¸¹Àº ±âȸ¸¦ ÁØ´Ù. ¿ì¸®°¡ ÁöÄѺ¸°í ÀÖ´Â °ÍÀº ÇϳªÀÇ ¿¬±â¶ó´Â °ÍÀ» °üÁß¿¡°Ô ²÷ÀÓ¾øÀÌ »ó±â½ÃÅ´¿¡ ÀÇÇؼ HamletÀº °¡Â¥ÀÎ °Íµµ »ç½ÇÀÎ °ÍÀ¸·Î ´À³¥ ¼ö ÀÖ°í ±× ¹Ý´ëµµ °¡´ÉÇÏ´Ù´Â »ç½Ç¿¡ ´ëÇؼ ¿ì¸®°¡ »ý°¢Çϵµ·Ï ÃÊ´ëÇÑ´Ù. HamletÀڽŵµ ¿¬±â´Â ½ÇÀç¿Í ±¸º°ÇÒ ¼ö ¾ø±â ¶§¹®¿¡ °·ÂÇÏ´Ù´Â °ÍÀ» ÁöÀûÇÑ´Ù: ¡°¿¬±ØÀÇ ¸ñÀûÀº £Û...£Ý, ¸»ÇÏÀÚ¸é, ÀÚ¿¬¿¡´Ù °Å¿ïÀ» ºñÃß´Â ÀÏ.¡± ±×°ÍÀÌ ¹è¿ìµéÀº ¡°¿ÕÀÇ ¾ç½ÉÀ» Æ÷ÂøÇÒ ¼ö ÀÖ´Ù¡±°í ±×°¡ ¹Ï´Â ÀÌÀ¯ÀÌ´Ù. ¿¬±â´Â »ç½ÇÀÎ °Íó·³ ´À²¸Áú ¼ö ÀÖ´Ù´Â °ÍÀ» ¿ì¸®¿¡°Ô ¹Ýº¹ÀûÀ¸·Î º¸¿©ÁÜ¿¡ ÀÇÇؼ HamletÀº ¡°reality(»ç½Ç)¡±ÀÌ ½ÇÁ¦·Î ¹«¾ùÀÎÁö¿¡ ´ëÇؼ Àǹ®À» Á¦±âÇϵµ·Ï ÇÑ´Ù.
±¤±â(Madness)
"Hamlet"ÀÇ Áß½ÉÀû Àǹ®ÁßÀÇ Çϳª´Â ÁÖÀΰø(Hamlet)ÀÌ ã÷àõ(½Ç¼º)À» ÇÏ¿´´ÂÁö ¾Æ´Ï¸é ´ÜÁö ¹ÌÄ£ ô ÇÏ´À³ÄÀÌ´Ù. HamletÀÇ ¾û¶×ÇÑ Çൿ°ú Å͹«´Ï¾ø´Â ¸»Àº ´Ù¸¥ Àι°µéÀÌ ±×°¡ ¹ÌÃÆ´Ù´Â °ÍÀ» ¹Ï°Ô ¸¶µé±â À§ÇÑ ÇϳªÀÇ Ã¥·«À¸·Î Çؼ®µÉ ¼ö ÀÖ´Ù. ´Ù¸¥ ÇÑÆí, ±×ÀÇ ÇൿÀº ±×°¡ óÇØ ÀÖ´Â ¡°¹ÌÄ£¡± »óȲ¿¡ ´ëÇÑ ³í¸®ÀûÀÎ ¹ÝÀÀÀÌ µÉ ¼öµµ ÀÖ´Ù.¡ª±×ÀÇ ¾Æ¹öÁö´Â ±×ÀÇ âÒÝ«(¼÷ºÎ)¿¡ ÀÇÇؼ »ìÇصǾú°í ¼÷ºÎ´Â Áö±Ý ±×ÀÇ ëùÝ«(ÀǺÎ)°¡ µÇ¾î ÀÖ´Ù. óÀ½¿¡´Â Hamlet ÀÚ½ÅÀº ±×°¡ Á¤½ÅÀÌ ¸ÖÂÄÇÏ´Ù°í ¹Ï´Â °Íó·³ º¸Àδ١ª±×´Â ¡°ÀÌ»ó¾ß¸©ÇÑ ¼ºÇâÀ» ÃëÇÒ¡± °èȹÀ» ¼³¸íÇÏ°í Rosencrantz¿Í Guildenstern¿¡°Ô ±×´Â ¡°ºÏ-ºÏ-¼Ç³¡±ÀÌ ºÒ ¶§ ¹ÌÄ¥ »ÓÀ̶ó°í ¸»ÇÑ´Ù¡ª.´Þ¸® ¸»Çؼ ±×ÀÇ ±¤±â´Â ±×°¡ í°ëòîÜ(ÀÚÀÇÀû)À¸·Î Ä×´Ù ²ø ¼ö ÀÖ´Â °ÍÀÌ´Ù.
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By the end of the play, however, Hamlet seems to doubt his own sanity. Referring to himself in the third person, he says ¡°And when he¡¯s not himself does harm Laertes,¡± suggesting Hamlet has become estranged from his former, sane self. Referring to his murder of Polonius he says ¡°Who does it then? His madness.¡± At the same time, Hamlet¡¯s excuse of madness absolves him of murder, so can also be read as the workings of a sane and cunning mind.
Doubt
In ¡°Hamlet¡±, the main character¡¯s doubt creates a world where very little is known for sure. Hamlet thinks, but isn¡¯t entirely sure, his uncle killed his father. He believes he sees his father¡¯s Ghost, but isn¡¯t certain he should believe in the Ghost or listen to what the Ghost tells him: ¡°I¡¯ll have grounds / More relative than this.¡± In his ¡°to be or not to be¡± soliloquy Hamlet suspects he should probably just kill himself, but doubt about what lies beyond the grave prevents him from acting. Hamlet is so wracked with doubt he even works to infect other characters with his lack of certainty, as when he tells Ophelia ¡°you should not have believed me¡± when he told her he loved her. As a result, the audience doubts Hamlet¡¯s reliability as a protagonist. We are left with many doubts about the action – whether Gertrude was having an affair with Claudius before he killed Hamlet¡¯s father; whether Hamlet is sane or mad; what Hamlet¡¯s true feelings are for Ophelia.
±×·¯³ª ±ØÀÇ ³¡¿¡ Âë¿¡´Â HamletÀº ÀÚ±â ÀÚ½ÅÀÇ Á¤½ÅÀÇ ¿ÂÀüÇÔ¿¡ ´ëÇؼ ÀǽÉÇÏ´Â °Íó·³ º¸ÀδÙ. 3ÀÎĪÀ¸·Î Àڽſ¡ ´ëÇØ ¸»Çϸé¼, ±×´Â ¡°±×¸®°í ±×°¡ ÀÚ½ÅÀ» ¶°³ª ÀÖÀ¸¸é ±×´Â Laertes¿¡°Ô Çظ¦ ³¢Ä£´Ù.¡±¶ó°í ¸»ÇÏ´Â µ¥, ÀÌ´Â Hamlet ÀÚ½ÅÀÌ ì¤îñ(ÀÌÀü)ÀÇ ¿ÂÀüÇÑ Á¤½ÅÀÇ ÀڽŰú ¸Ö¸® ¶³¾îÁ® ÀÖÀ½À» ¾Ï½ÃÇÑ´Ù. ±×´Â ÀÚ½ÅÀÇ Polonius »ìÇظ¦ ÁöĪÇÏ¸é¼ ¡°±× ¶§ ´©°¡ ±× ÁþÀ» ÇÏ¿´Áö? ±×ÀÇ ±¤±âÀÌÁö.¡±¶ó°í ¸»ÇÑ´Ù. µ¿½Ã¿¡ ±¤±â¿¡ ´ëÇÑ HamletÀÇ º¯¸í(»ìÀÎÀ» ±¤±âÀÇ Å¿À¸·Î µ¹¸®´Â °Í)Àº »ìÀο¡ ´ëÇØ ¹«Á˸¦ ¼±°íÇÏ°Ô µÇ°í ±×·¡¼ ¶ÇÇÑ ¹ÌÄ¡Áö ¾Ê°í Á¤»óÀûÀÎ ±³¹¦ÇÑ Á¤½ÅÀÇ ÀÛ¿ëÀ¸·Îµµ Çؼ®(read)µÉ ¼ö ÀÖ´Ù.
ÀǽÉ
"Hamlet"¿¡¼ ÁÖÀΰøÀÇ ÀǽÉÀº ¸Å¿ì ÀûÀº ºÎºÐ¸¸ È®½ÇÇÑ °ÍÀ¸·Î ¾Ë·ÁÁø ¼¼°è¸¦ âÁ¶ÇÑ´Ù. HamletÀº ¼÷ºÎ°¡ ¾Æ¹öÁö¸¦ Á׿´´Ù°í »ý°¢Àº ÇÏÁö¸¸ ÀüÀûÀ¸·Î È®½ÅÇÏÁö´Â ¸øÇÑ´Ù. ±×´Â ¾Æ¹öÁöÀÇ À¯·ÉÀ» º¸Áö¸¸ ±× À¯·ÉÀÇ Á¸À縦 ¹Ï¾î¾ß ÇÒÁö ¶Ç À¯·ÉÀÌ ±×¿¡°Ô Áö½ÃÇÏ´Â °ÍÀ» µé¾î¾ßÇÒÁö¸¦ È®½ÅÇÏÁö ¸øÇÑ´Ù: ¡°³ª´Â ÀÌ°Í(À¯·ÉÀÇ ¸»)º¸´Ùµµ/ ´õ °ü·ÃÀÌ ÀÖ´Â ±Ù°Å¸¦ ã¾Æ¾ß °Ú´Ù.¡± ±×ÀÇ ¡°»ç´À³Ä Á×´À³Ä¡± µ¶¹é¿¡¼ HamletÀº ¾Æ¸¶µµ ±×´Â ÀÚ»ìÀ» ÇØ¾ß µÈ´Ù°í »ý°¢ÇÏÁö¸¸ ¹«´ý³Ê¸Ó¿¡ Á¸ÀçÇÏ´Â °Í¿¡ ´ëÇÑ ÀǽÉÀÌ ±×ÀÇ ÀÚ»ì½ÇÇàÀ» ¸·´Â´Ù. HamletÀº Àǽɿ¡ ÀÇÇØ ³Ê¹« ¸¹ÀÌ °í¹®À» ´çÇؼ ±×´Â ½ÉÁö¾î ±×°¡ Ophelia¿¡°Ô ±×³à¸¦ »ç¶ûÇÑ´Ù°í ¸»ÇÒ ¶§ ¡°´ç½ÅÀº ³ª¸¦ ¹ÏÁö ¸»¾Ò¾î¾ßÁö.¡±¶ó°í ¸»ÇÒ ¶§Ã³·³ È®½ÅÀÇ °áÇÌ(ÀǽÉ)À» ŸÀε鿡°Ô °¨¿°½ÃÅ°·Á°í ³ë·ÂÇÑ´Ù. ±× °á°ú °üÁßÀº ÁÖÀΰøÀ¸·Î¼ÀÇ HamletÀÇ ½Å·Ú¼ºÀ» ÀǽÉÇÏ°Ô µÈ´Ù. ¿ì¸®´Â ¸¹Àº ÇàÀ§(±Ø¿¡ ³ª¿À´Â)¿¡ ´ëÇØ ¸¹Àº ÀǽÉÀ» °¡Áö°Ô µÈ´Ù¡ªClaudius°¡ HamletÀÇ ¾Æ¹öÁö¸¦ Á×À̱â Àü¿¡ Gertrude´Â ±×¿Í ¿¬¾Ö¸¦ ÇÏ°í ÀÖ¾ú´ÂÁö ¿©ºÎ¸¦, HamletÀº Á¤½ÅÀÌ ¸ÖÂÄÇÑÁö ¾Æ´Ï¸é ¹ÌÃÆ´ÂÁö¸¦, Ophelia¿¡ ´ëÇÑ HamletÀÇ Áø½ÇµÈ °¨Á¤Àº ¹«¾ùÀÎÁö¸¦(ÀǽÉÇÏ°Ô µÈ´Ù).
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¥³. Symbols
Yorick¡¯s Skull
In Hamlet, physical objects are rarely used to represent thematic ideas. One important exception is Yorick¡¯s skull, which Hamlet discovers in the graveyard in the first scene of Act V. As Hamlet speaks to the skull and about the skull of the king¡¯s former jester, he fixates on death¡¯s inevitability and the disintegration of the body. He urges the skull to ¡°get you to my lady¡¯s chamber, and tell her, let her paint an inch thick, to this favor she must come¡±—no one can avoid death (V.i.178–179). He traces the skull¡¯s mouth and says, ¡°Here hung those lips that I have kissed I know not how oft,¡± indicating his fascination with the physical consequences of death (V.i.174–175). This latter idea is an important motif throughout the play, as Hamlet frequently makes comments referring to every human body¡¯s eventual decay, noting that Polonius will be eaten by worms, that even kings are eaten by worms, and that dust from the decayed body of Alexander the Great might be used to stop a hole in a beer barrel.
¥³. »ó¡
YorickÀÇ ÇØ°ñ
¡°Hamlet¡±¿¡¼´Â ÁÖÁ¦ÀÇ À̳äÀ» ³ªÅ¸³»±â À§Çؼ À°Ã¼Àû ´ë»óÀº °ÅÀÇ »ç¿ëµÇÁö ¾Ê´Â´Ù. ÇϳªÀÇ Áß¿äÇÑ ¿¹¿Ü´Â HamletÀÌ 5¸· 1ÀåÀÇ ¹«´ýÀå¸é¿¡¼ HamletÀÌ ¹ß°ßÇÏ´Â YorickÀÇ ÇØ°ñÀÌ´Ù. HamletÀÌ ÇØ°ñ¿¡°Ô ±×¸®°í ±¹¿ÕÀÇ îñ¾î¸´±¤´ëÀÇ ÇØ°ñ¿¡ °üÇؼ ¸»À» ÇÏ¸é¼ ±×´Â Á×À½ÀÇ ºÒ°¡ÇǼº°ú À°Ã¼ÀÇ ºÐÇØ¿¡ »ý°¢À» °íÁ¤½ÃŲ´Ù. ±×´Â ÇØ°ñ¿¡°Ô "¸¶´Ô ³»½Ç·Î ´Þ·Á°¡, ÈÀåÀ» ¾Æ¹«¸® µÎ²®°Ô Çϼŵµ ÇÊ°æ ÀÌ ²ÃÀÌ¿ä ¶ó°í ±×³à¿¡°Ô ¸»ÇØ µå·Á¶ó. (favor= facial appearance."¶ó°í ÀçÃËÇÑ´Ù¡ª¾Æ¹«µµ Á×À½À» ÇÇÇÒ ¼ö´Â ¾ø´Ù. ±×´Â ÇØ°ñÀÇ ÀÔÀ» ÃßÀûÇؼ Á×À½ÀÇ À°Ã¼Àû °á°ú¿¡ ±×ÀÇ ¸¶À½ÀÌ È¦·ÁÁø °ÍÀ» ³ªÅ¸³»¸é¼ ¡°¿©±â¿¡ ³»°¡ ¾ó¸¶³ª ¸¹ÀÌ ÀÔ¼úÀ» ¸ÂÃè´ÂÁöµµ ¸ð¸¦ ÀÔ¼úÀÌ °É·Á ÀÖ¾úÁö.¡±¶ó°í ¸»ÇÑ´Ù. ÀÌ ÈÄÀÚÀÇ »ý°¢Àº ±Ø Àüü¸¦ ÅëÇؼ Áß¿äÇÑ ¸ðƼÇÁ°¡ µÇ´Â µ¥, ÀÌ´Â Polonius´Â ¹ú·¹¿¡ ÀÇÇؼ ¸ÔÇôÁú °ÍÀÌ°í, ½ÉÁö¾î ¿Õµéµµ ¹ú·¹¿¡ ÀÇÇØ ¸ÔÇôÁú °ÍÀÌ°í, ¾Ë·º»ê´õ´ë¿ÕÀÇ ½âÀº ¸ö¿¡¼ ³ª¿Â Àú Èë¸ÕÁö´Â ¸ÆÁÖ Åë ¸¶°³·Î »ç¿ëµÇ°í ÀÖÀ»Áöµµ ¸ð¸¥´Ù°í Ưº°È÷ ¾ð±Þ(note)ÇÏ¸é¼ Hamlet´Â ÀÚÁÖ Àΰ£ ½ÅüÀÇ ±Ã±ØÀûÀÎ ºÎÆи¦ ÁöĪÇÏ´Â ³íÆòÀ» ÀÚÁÖ Çϱ⠶§¹®ÀÌ´Ù.
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¥². Motifs
Incest and Incestuous Desire
The motif of incest runs throughout the play and is frequently alluded to by Hamlet and the ghost, most obviously in conversations about Gertrude and Claudius, the former brother-in-law and sister-in-law who are now married. A subtle motif of incestuous desire can be found in the relationship of Laertes and Ophelia, as Laertes sometimes speaks to his sister in suggestively sexual terms and, at her funeral, leaps into her grave to hold her in his arms. However, the strongest overtones of incestuous desire arise in the relationship of Hamlet and Gertrude, in Hamlet¡¯s fixation on Gertrude¡¯s sex life with Claudius and his preoccupation with her in general.
Misogyny
Shattered by his mother¡¯s decision to marry Claudius so soon after her husband¡¯s death, Hamlet becomes cynical about women in general, showing a particular obsession with what he perceives to be a connection between female sexuality and moral corruption. This motif of misogyny, or hatred of women, occurs sporadically throughout the play, but it is an important inhibiting factor in Hamlet¡¯s relationships with Ophelia and Gertrude. He urges Ophelia to go to a nunnery rather than experience the corruptions of sexuality and exclaims of Gertrude, ¡°Frailty, thy name is woman¡± (I.ii.146).
Ears and Hearing
One facet of Hamlet¡¯s exploration of the difficulty of attaining true knowledge is slipperiness of language. Words are used to communicate ideas, but they can also be used to distort the truth, manipulate other people, and serve as tools in corrupt quests for power. Claudius, the shrewd politician, is the most obvious example of a man who manipulates words to enhance his own power. The sinister uses of words are represented by images of ears and hearing, from Claudius¡¯s murder of the king by pouring poison into his ear to Hamlet¡¯s claim to Horatio that ¡°I have words to speak in thine ear will make thee dumb¡± (IV.vi.21). The poison poured in the king¡¯s ear by Claudius is used by the ghost to symbolize the corrosive effect of Claudius¡¯s dishonesty on the health of Denmark. Declaring that the story that he was killed by a snake is a lie, he says that ¡°the whole ear of Denmark¡± is ¡°Rankly abused. . . .¡± (I.v.36–38).
¥². ¸ðƼÇÁ
±ÙÄ£»ó°£°ú ±ÙÄ£»ó°£ ¿å¸Á
±ÙÄ£»ó°£ ¸ðƼÇÁ´Â ±Ø Àüü¸¦ ÅëÇؼ ÁøÇàµÇ°í ÀÖÀ¸¸ç, Hamlet°ú À¯·É¿¡ ÀÇÇؼ ºó¹øÇÏ°Ô ¾Ï½ÃµÇ°í, Áö±Ý °áÈ¥ÇÏ°í ÀÖ´Â îñ¾¾µ¿»ý°ú Çü¼öÀÎ Gertrude¿Í Claudius¿¡ °üÇÑ ´ëÈ¿¡¼ ƯÈ÷ ¸Å¿ì ºÐ¸íÇÏ°Ô ¾Ï½ÃµÈ´Ù. ±ÙÄ£»ó°£ ¿å¸ÁÀÇ ¹Ì¹¦ÇÑ ¸ðƼÇÁ´Â Laertes°¡ ¶§¶§·Î ¿©µ¿»ý¿¡°Ô ¾Ï½ÃÀûÀ¸·Î ¼ºÀûÀÎ ¿ë¾î·Î ¸»ÇÏ°í ±×³àÀÇ Àå·Ê½Ä¿¡¼ ¹«´ý¿¡ ¶Ù¾î µé¾î °¡¼ ±×³à¸¦ ¾çÆÈ·Î ²ø¾î¾È´Â °Íó·³ Laertes¿Í OpheliaÀÇ °ü°è¿¡¼ ¹ß°ßµÉ ¼ö ÀÖ´Ù. ±×·¯³ª °¡Àå °ÇÑ ±ÙÄ£»ó°£ ¿å¸Á¿¡ ´ëÇÑ ÇÔÃàµÈ Àǹ̴ Hamlet°ú GertrudeÀÇ °ü°è¿¡¼, GertrudeÀÇ Claudius¿ÍÀÇ ¼º»ýÈ°¿¡ ´ëÇÑ º´ÀûÀÎ °ü½É(fixation)¿¡¼, ±×¸®°í ÀϹÝÀûÀ¸·Î ±×³à¿¡ ´ëÇÑ ±×ÀÇ ¿Áß¿¡¼ ³ªÅ¸³´Ù.
¿©¼º Çø¿À
¾î¸Ó´Ï°¡ ³²ÆíÀÇ »çÈÄ¿¡ Claudius¿ÍÀÇ °áÈ¥À» ±×·¸°Ô »¡¸® °áÁ¤ÇÏ´Â °Í¿¡ Ãæ°ÝÀ» ¹Þ°í ½É¶õÇØÁø(shattered) HamletÀº ¿©¼ºÀÇ ¼º°ú µµ´öÀû Ÿ¶ô»çÀÌ¿¡ °ü·ÃÀÌ ÀÖ´Ù´Â »ý°¢¿¡ Ưº°È÷ ÁýÂøÇÏ°í ÀÖÀ½À» º¸¿© ÁÖ¸é¼ ÀϹÝÀûÀ¸·Î ¿©¼º¿¡ ´ëÇؼ ³Ã¼ÒÀûÀÌ µÈ´Ù. ÀÌ ¿©¼ºÇø¿ÀÀÇ ¸ðƼÇÁ´Â ȤÀº ¿©¼ºÁõ¿ÀÀÇ ¸ðƼÇÁ´Â ±Ø Àüü¿¡ °ÉÃļ »ê¹ßÀûÀ¸·Î ÀϾÁö¸¸ ±×°ÍÀº HamletÀÇ Ophelia¿Í Gertrude¿ÍÀÇ °ü°è¿¡ ÀÖ¾î¼ ÇϳªÀÇ Áß¿äÇÑ ±ÝÁöÀû ¿äÀÎÀÌ µÈ´Ù. ±×´Â Ophelia¿¡°Ô ¼ºÀû Ÿ¶ôÀ» °æÇèÇÏ´À´Ï Â÷¶ó¸® ¼ö³à¿ø£Û(ëßåÞ(Àº¾î)·Î ¸ÅÀ½±¼À» ÀÇ¹Ì ÇÑ´Ù£ÝÀ¸·Î °¡¶ó°í ¸ô¾ÆÄ¡°í Gertrude¿¡ ´ëÇؼ´Â ¡°¾àÇÑ ÀÚ¿©, ±×´ë À̸§Àº ¿©ÀڷδÙ.¡±¶ó°í ¼Ò¸®Ä£´Ù.
±Í¿Í µè´Â °Í
ÂüµÈ Áö½ÄÀ» ¾ò´Â °ÍÀÇ ¾î·Á¿ò¿¡ ´ëÇÑ HamletÀÇ Å½±¸ÀÇ ÇÑ ¾ç»ó(facet:¸é)Àº ¾ð¾îÀÇ ¸Å²ô·¯¿òÀÌ´Ù. »ý°¢À» Àü´ÞÇϱâ À§Çؼ ´Ü¾î(¸»)°¡ »ç¿ëµÇÁö¸¸ ´Ü¾î´Â ¶ÇÇÑ Áø½ÇÀ» ¿Ö°îÇÏ°í ŸÀÎÀ» Á¶Á¾ÇÏ°í ±Ç·ÂÀ» ÇâÇÑ ºÎÆÐÇÑ Å½±¸¿¡¼ µµ±¸·Î¼ »ç¿ëµÈ´Ù. ¿µ¸®ÇÑ Á¤Ä¡ÀÎÀÎ Claudius´Â ±Ç·ÂÀ» °ÈÇϱâ À§ÇÏ¿© ´Ü¾î¸¦ Á¶Á¾ÇÏ´Â »ç¶÷¿¡ ´ëÇÑ °¡Àå ¸í¹éÇÑ çÓ°¡ µÈ´Ù. ´Ü¾îÀÇ À½ÈäÇÑ »ç¿ëÀº Claudius°¡ ¿ÕÀÇ ±Í¿¡ µ¶¾àÀ» ºÎ¾î³ÖÀ½¿¡ ÀÇÇؼ ¿ÕÀ» »ìÇØÇÏ´Â °ÍÀ¸·ÎºÎÅÍ Horatio¿¡ ´ëÇÑ HamletÀÇ ¡°±×°ÍÀ» µéÀ¸¸é(to speak in thine ear) ³î¶ó ¸»¹®ÀÌ ¸·Èú °É¼¼(make thee dumb).¡±¶ó´Â ÁÖÀå(ÆíÁö)¿¡ À̸£±â ±îÁö ±Í¿Í µè±âÀÇ À̹ÌÁö¿¡ ÀÇÇؼ ³ªÅ¸³ªÁø´Ù. Claudius¿¡ ÀÇÇÏ¿© ¿ÕÀÇ ±Í¿¡ ºÎ¾îÁö´Â µ¶Àº ClaudiusÀÇ ºÎÁ¤Á÷ÀÌ µ§¸¶Å©ÀÇ °Ç°¿¡ ¹ÌÄ¡´Â ݯãÚ(ºÎ½Ä)Àû ¿µÇâÀ» »ó¡Çϱâ À§ÇÏ¿© À¯·É¿¡ ÀÇÇؼ »ç¿ëµÈ´Ù. ±×°¡ ¹ì¿¡ ÀÇÇؼ »ìÇصǾú´Ù´Â °ÍÀº °ÅÁþ¸»À̶ó°í ¼±¾ðÇÏ¸é¼ ±×´Â ¡°µ§¸¶Å©ÀÇ ¸ðµç ±Í(¸ðµç »ç¶÷ÀÌ)¡±°¡ ¡°°¨ÂÊ°°ÀÌ(Rankly) ¼Ó¾Æ ³Ñ¾î°¬´Ù.¡±¶ó°í ¸»ÇÑ´Ù.
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¥³.Tone
Early in the play, Hamlet¡¯s mood is dark and depressed, but when he¡¯s given the task of avenging his father¡¯s ghost, his desire to find out the truth gives him a sense of urgency and purpose. As the play progresses, and he fails to find a satisfactory way to correct the problem, he becomes increasingly frustrated, lashing out more impulsively, ruthlessly, and recklessly, until the final catastrophe. Thus we could say that the tone of the play, meaning the author¡¯s attitude toward the events, seems like its going to be optimistic in the beginning of the play (when it seems like justice could be achieved), but bleaker as the play moves on, and it seems like achieving justice or redemption in a situation like this is impossible.
Hamlet makes passionate and intelligent attempts to understand himself and his situation, only to end up confused, disappointed or disgusted by what he encounters. The world of the play is both more terrible and more mysterious than its characters are capable of grasping. Initially Hamlet considers himself above the other characters, and his nimble wordplay, often at the expense of less verbally adept characters, gives the early scenes a playful tone, even as Hamlet is grieving his father. However, once Hamlet erroneously kills Polonius instead of Claudius, and learns that Claudius has ordered his execution, Hamlet realizes even he is not exempt from the malevolent forces of fate. The tone turns dark and brooding as Hamlet comes to terms with his own dark nature and resigns himself to committing more murders, in his killing of Rosencrantz, Guildenstern, and finally Laertes and Claudius.
¥³.À½Á¶
±ØÀÇ Ãʱ⿡´Â HamletÀÇ ãýѨ(½É±â)´Â ¾îµÓ°í ¿ì¿ïÇÏÁö¸¸ ±×°¡ ¾Æ¹öÁö À¯·ÉÀÇ º¹¼ö¸¦ Çϴ åÀÓÀ» ¸Ã¾ÒÀ» ¶§´Â Áø½ÇÀ» ¹ß°ßÇÏ·Á´Â ¿å¸ÁÀÌ ±×¿¡°Ô ±ä¹Ú°¨°ú ¸ñÀûÀǽÄÀ» ºÎ¿©ÇÑ´Ù. ±ØÀÌ ÁøÇàµÊ¿¡ µû¶ó, ±×¸®°í ¹®Á¦¸¦ ¹Ù¸£°Ô °íÄ¥ ¸¸Á·½º·± ¹æ¹ýÀ» ã¾Æ³»Áö ¸øÇÔ¿¡ µû¶ó, ±×´Â Á¡Á¡ ´õ ÁÂÀýÇÏ°Ô µÇ°í ´õ Ã浿ÀûÀ¸·Î, ´õ ¹«ÀÚºñÇÏ°Ô, ´õ °æ¼ÖÇÏ°Ô ÃÖÁ¾Àû Æı¹¿¡ À̸¦ ¶§±îÁö ¸Í·ÄÇÏ°Ô °ø°ÝÇÑ´Ù. ±×·¡¼ ¿ì¸®´Â ±ØÁß »ç°Ç¿¡ ´ëÇÑ ÀúÀÚÀÇ Åµµ¸¦ ÀǹÌÇÏ´Â ±ØÀÇ À½Á¶´Â ±ØÀÇ Ãʱ⿡´Â ³«°üÀûÀÎ °ÍÀÌ µÉ °Íó·³ º¸ÀÌÁö¸¸(Á¤ÀÇ°¡ ÀÌ·ç¾îÁú °Íó·³ º¸ÀÏ ¶§´Â), ±ØÀÌ ÁøÇàµÊ¿¡ µû¶ó ´õ Ȳ·®ÇÏ°Ô º¸ÀÌ°í ÀÌ¿Í °°Àº »óȲ¿¡¼´Â Á¤Àdzª Àç»ýÀÇ ¼ºÃë´Â ºÒ°¡´ÉÇÏ°Ô º¸ÀÎ´Ù°í ¸» ÇÒ ¼ö ÀÖ´Ù.
HamletÀº ÀڽŰú ÀÚ½ÅÀÌ Ã³ÇÑ »óȲÀ» ÀÌÇØÇϱâ À§ÇØ ¿Á¤ÀûÀÌ°í Áö´ÉÀûÀÎ ½Ãµµ¸¦ ÇÏÁö¸¸ ±×°¡ ºÎ´ÚÄ¡´Â °Í¿¡ ÀÇÇؼ È¥¶õµÇ°í ½Ç¸ÁÇÏ°í ¿ª°Ü¿öÁö´Â °ÍÀ¸·Î °á¸»ÀÌ ³´Ù. ±ØÀÇ ¼¼°è´Â ±ØÀÇ Àι°µéÀÌ ÀÌÇØÇÒ ¼ö ÀÖ´Â °Í ÀÌ»óÀ¸·Î ´õ ¹«¼·°í ´õ ½ÅºñÇÏ´Ù. óÀ½¿¡´Â HamletÀº ÀÚ½ÅÀÌ ´Ù¸¥ Àι°µé º¸´Ù ´õ À§¿¡ ÀÖ´Ù°í »ý°¢ÇÏ°í ±×¸®°í ±×ÀÇ Á¾Á¾ ¸»¼Ø¾¾°¡ ´ú ¼÷´ÞµÈ Àι°µéÀ» Èñ»ýÇÏ¸é¼ ÇàÇØÁö´Â ±×ÀÇ ÀçÄ¡ ÀÖ´Â î¦ÓÈ(Àç´ã)Àº, ½ÉÁö¾î HamletÀÌ ¾Æ¹öÁö¸¦ ½½ÇÁ°Ô ÇÏ°í ÀÖÀ» ¶§¶óµµ, ÃʱâÀÇ Àå¸é¿¡ ÄèÈ°ÇÑ(playful) À½Á¶¸¦ ºÎ¿©ÇÏ°í ÀÖ´Ù. ±×·¯³ª HamletÀÌ ÀÏ´Ü Âø¿À·Î Claudius´ë½Å¿¡ Polonius¸¦ Á×ÀÌ°Ô µÇ°í Claudius°¡ HamletÀÇ Ã³´ÜÀ» ¸í·ÉÇÏ¿´´Ù´Â °ÍÀ» ¾Ë°Ô µÇ¾úÀ» ¶§, HamletÀº ½ÉÁö¾î ±×µµ ¿î¸íÀÇ »ç¾ÇÇÑ ¼¼·ÂÀ¸·ÎºÎÅÍ ¸éÁ¦µÇ¾î ÀÖÁö ¾Ê´Ù´Â °ÍÀ» ±ú´Ý´Â´Ù. HamletÀÌ ÀÚ½ÅÀÇ ¾îµÎ¿î º»¼º¿¡ ±¼º¹ÇÏ°í Rosencrantz¿Í Guildenstern°ú ¸¶Áö¸·À¸·Î Laertes¿Í Claudius¸¦ Á×ÀÌ¸é¼ ´õ¿í´õ ¸¹Àº »ìÇØ¿¡ ÀÚ½ÅÀ» ¸Ã°Ü ¹ö¸®¸é¼ À½Á¶´Â ¾îµÓ°í ¿ì¿ïÇÏ°Ô º¯ÇÑ´Ù.
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The many secrets in Hamlet create an atmosphere of mystery and conspiracy. Claudius is tortured by the guilty secret of his brother¡¯s murder. Polonius sends Reynaldo to spy on his son Laertes, and spies on Hamlet himself. The Ghost hints that Gertrude and Claudius may have been having an affair. The songs Ophelia sings in her madness seem to reveal that her relationship with Hamlet is sexual. Hamlet demands that Horatio, Marcellus and later Gertrude promise to keep secret that he is only pretending to be mad. Rosencrantz and Guildenstern try to hide from Hamlet that they were summoned to Elsinore. That we never learn the truth about most of these secrets encourages us to share in Hamlet¡¯s frustration: like him, we suspect that terrible things are being kept from us. As the audience, we, too, are never certain to what degree Hamlet is acting insane as a strategy, and to what degree he has actually succumbed to mental illness. All these secrets and misunderstandings lead to a tone of distrust and insecurity, where the audience is constantly wondering what, if anything, to believe.
Hamlet dwells obsessively on sickness and decay, which keeps death at the forefront of the audience¡¯s minds and sets a tone of disgust and despair. We encounter not one but two decaying bodies: Yorick¡¯s skull (IV.i.) is the most famous prop in theatrical history, and after gruesomely dragging Polonius¡¯s body offstage, Hamlet tells Claudius that ¡°within this month you shall nose him as you go up the stairs into the lobby¡± (IV.iii.).
Hamlet ¸¶À½¼Ó¿¡ ÀÖ´Â ¸¹Àº ºñ¹ÐµéÀÌ ½Åºñ¿Í À½¸ðÀÇ ºÐÀ§±â¸¦ âÁ¶ÇÑ´Ù. Claudius´Â ±×ÀÇ ÇüÀÇ »ìÇØ¿¡ ´ëÇÑ ¹üÁË ºñ¹Ð¿¡ ÀÇÇØ °í¹®ÀÇ °íÅëÀ» ´çÇÑ´Ù. Polonius´Â ¾Æµé Laertes¸¦ °¨½ÃÇϱâ À§ÇÏ¿© Reynaldo¸¦ ÆÄ°ßÇÏ°í Hamletµµ °¨½ÃÇÑ´Ù. À¯·ÉÀº Gertrude¿Í Claudius°¡ °ú°ÅºÎÅÍ ¿¬¾ÖÇÏ°í ÀÖ¾úÀ» °ÍÀ̶ó°í ¾Ï½ÃÇÑ´Ù. Ophelia°¡ ¹ÌÄ£ »óÅ¿¡¼ ºÎ¸£´Â ³ë·¡µéÀº ±×³àÀÇ Hamlet¿ÍÀÇ °ü°è´Â ¼ºÀûÀ̶ó´Â °ÍÀ» ¹àÇôÁÖ´Â °Íó·³ º¸ÀδÙ. HamletÀº Horatio¿Í Marcellus¿Í ³ªÁß¿¡´Â Gertrude ¿¡°Ô ±×°¡ ´ÜÁö ¹ÌÄ£ ÁþÀ» °¡ÀåÇÏ°í ÀÖ´Ù´Â °ÍÀ» ºñ¹Ð·Î ÇÒ °ÍÀ» ¿ä±¸ÇÑ´Ù. Rosencrantz¿Í GuildensternÀº Elsinore¿¡ È£Ãâ¸í·ÉÀ» ¹Þ¾Ò´Ù´Â °ÍÀ» Hamlet¿¡°Ô ¼û±â·Á°í ³ë·ÂÇÑ´Ù. ´ëºÎºÐÀÇ ÀÌ·± ºñ¹Ð¿¡ ´ëÇؼ ±× Áø½ÇÀ» ¿ì¸®°¡ °áÄÚ ¾ËÁö ¸øÇÑ´Ù´Â °ÍÀº ¿ì¸®·Î ÇÏ¿©±Ý HamletÀÇ ÁÂÀýÀ» °øÀ¯ÇÏ°Ô ÇÑ´Ù: Hamletó·³ ¿ì¸®µµ ¹«¼¿î ÀϵéÀÌ ¿ì¸®·ÎºÎÅÍ ¼û°ÜÁ® ÀÖ´Ù´Â ÀÇȤÀ» °¡Áö°Ô µÈ´Ù. °üÁßÀ¸·Î¼ ¿ì¸®´Â ¶ÇÇÑ HamletÀÌ Àü·«À¸·Î¼ ¾î´À Á¤µµ±îÁö ¹ÌÄ£ Ç༼¸¦ ÇÏ°í ÀÖ´ÂÁö ¶Ç ¾î´À Á¤µµ±îÁö ½ÇÁ¦·Î ±×°¡ Á¤½Åº´¿¡ ¾Ðµµ´çÇÏ°í ÀÖ´ÂÁö¸¦ ¿ì¸®´Â °áÄÚ È®½ÅÇÒ ¼ö°¡ ¾ø´Ù. ÀÌ ¸ðµç ºñ¹Ð°ú ¿ÀÇØ°¡ ºÒ½Å°ú ºÒÈ®½Ç¼ºÀÇ À½Á¶·Î À̲ø°í, ÀÌ·± »óȲ(where)¿¡¼ °üÁßÀº ¹«¾ùÀ» ¹Ï¾î¾ßÇÒÁö, ¼³È¤ ¹Ï´Â´Ù ÇÏ´õ¶óµµ, ²÷ÀÓ¾øÀÌ ±Ã±ÝÇÏ°Ô »ý°¢ÇÏ°Ô µÈ´Ù.
HamletÀº Áúº´°ú ºÎÆп¡ ´ëÇؼ °¹ÚÀûÀ¸·Î °õ°õÀÌ »ý°¢ÇÏ°í, ÀÌ°ÍÀÌ Á×À½À» °üÁßÀÇ ¸¶À½ÀÇ ÃÖÀü¼±¿¡ ÀÖ°Ô ÇÏ°í Àý¸Á°ú Çø¿ÀÀÇ À½Á¶¸¦ Á¤Âø½ÃŲ´Ù. ¿ì¸®´Â Çϳª°¡ ¾Æ´Ï°í µÎ °³ÀÇ ºÎÆÐÇÑ ½Ã½Å°ú ºÀÂøÇÏ°Ô µÈ´Ù: YorickÀÇ ÇØ°ñÀº ¹«´ë¿ª»ç¿¡ ÀÖ¾î¼ °¡Àå À¯¸íÇÑ ¹«´ëÀåÄ¡(prop)ÀÌ°í HamletÀº PoloniusÀÇ ½Ãü¸¦ ¹«´ë ¹ÛÀ¸·Î ¹«½Ã¹«½ÃÇÏ°Ô ²ø¾î³½ ÈÄ¿¡ Claudius¿¡°Ô ¡°ÀÌ´Þ ¾È¿¡(Polonius¸¦ ¸ø ã¾Æ³»½Ã°Åµç) º¹µµ·Î ³ª°¡´Â Ãþ°è¸¦ µÚÁ® º¸½Ê½Ã¿À.¡±¶ó°í ¸»ÇÑ´Ù.
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Several characters suggest that Hamlet is mentally ill, and he himself admits that his ¡°wit¡¯s diseased¡± (III.ii). Even when the play¡¯s characters are not talking about literal illness and decomposition, they tend to fall back on imagery of sickness and decay. Marcellus declares that ¡°something is rotten in the state of Denmark¡± (I.iv.). Claudius says that his murder ¡°is rank: it smells to heaven¡± (III.iii.) and Gertrude sees ¡°black and grievèd spots¡± on her soul (III.iv.). Hamlet¡¯s fixation on sickness and decay creates a sense that the entire world of the play is corrupt and doomed.
For a tragedy, ¡°Hamlet¡± has an unusual number of comic scenes and characters, and the play¡¯s black humor adds complexity and ambiguity to its tone. For much of the play Hamlet makes fun of Polonius, and we are encouraged to laugh with him at the old man, but when Hamlet murders Polonius we are horrified that Hamlet continues to make fun: ¡°This councillor/Is now most still, most secret and most grave, / Who was in life a foolish, prating knave¡± (III.iv.). We are also encouraged to laugh at Hamlet in his worst moments. When he leaps into Ophelia¡¯s grave, Hamlet declares his love for Ophelia in terms which we can only find silly: ¡°Forty thousand brothers / Could not with all their quantity of love / Make up my sum. What wilt thou do for her? [¡¦] eat a crocodile?¡± (V.i.). The humor here is uncomfortable, because Hamlet¡¯s behavior is cruelly inappropriate. This painful humor reinforces the play¡¯s despairing tone, but it also creates complexity, because it distances us from Hamlet¡¯s suffering and asks us to question how seriously we should take him.
¸î¸îÀÇ Àι°µéÀº HamletÀÌ Á¤½ÅÀûÀ¸·Î º´ÀÌ µé¾ú´Ù°í ¾Ï½ÃÇÏ°í Hamlet Àڽŵµ ¡°±×ÀÇ ¸Ó¸®(wit)°¡ º´µé¾î ÀÖ´Ù¡±.´Â °ÍÀ» ÀÎÁ¤ÇÑ´Ù. ½ÉÁö¾î ±ØÁß Àι°µéÀÌ ¹®ÀÚ ±×´ë·Î Áúº´À̳ª ºÎÆп¡ °üÇØ ¸»ÇÏ°í ÀÖÁö ¾ÊÀ» ¶§µµ ±×µéÀº Áúº´À̳ª ºÎÆÐÀÇ À̹ÌÁö·Î µ¹¾Æ¿À´Â °æÇâÀÌ ÀÖ´Ù. Marcellus´Â ¡°µ§¸¶Å© ³ª¶ó ¾îµò°¡°¡ ½â¾î ÀÖ¾î.¡±¶ó°í ¼±¾ðÇÑ´Ù. Claudius´Â ±×ÀÇ »ìÀÎÀº ¡°ºÎÆÐÇÑ ³¿»õ°¡ °í¾àÇؼ ±×°ÍÀÌ ÇϴñîÁö ¹ÌÄ£´Ù.¡±¶ó°í ¸»ÇÏ°í Gertrude´Â ±×³àÀÇ ¿µÈ¥¿¡ ¡°»õÄ«¸Ä°Ô ¹°µç(grievèd=grained:¿°»öÇÏ´Ù) ÀÚ±¹¡±À» º»´Ù. º´°ú ºÎÆп¡ ´ëÇÑ HamletÀÇ º´ÀûÀÎ ÁýÂø(fixation)Àº ±ØÀÇ Àü ¼¼°è°¡ ºÎÆÐÇÏ°í ¿îÀÌ ´ÙÇß´Ù´Â ´À³¦À» âÁ¶ÇÑ´Ù.
ºñ±ØÀ¸·Î¼ÀÇ "Hamlet"Àº Ưº°È÷ ¸¹Àº ¼öÀÇ ÄÚ¹ÍÇÑ Àå¸é°ú Àι°À» °¡Áö°í ÀÖ°í, ±×·¡¼ ±ØÀÇ ºí·¢ À¯¸Ó´Â ±ØÀÇ À½Á¶¿¡ º¹ÀâÇÔ°ú ¾Ö¸ÅÇÔÀ» Áõ°¡½ÃŲ´Ù. ±ØÀÇ ¸¹Àº ºÎºÐ¿¡¼ HamletÀº Polonius¸¦ ³î¸²°¨À¸·Î »ïÀ¸¸ç ¿ì¸®´Â Hamlet°ú ÇÔ²² Polonius¸¦ ºñ¿ôµµ·Ï ±ÇÀåµÇÁö¸¸ HamletÀÌ Polonius¸¦ Á×ÀÏ ¶§´Â ¿ì¸®´Â HamletÀÌ ¿©ÀüÈ÷ Áñ°Å¿öÇÏ´Â °ÍÀ» º¸°í ¼Ò¸§³¢Ä¡°Ô µÈ´Ù: ¡°ÀÌ ´ë°¨µµ ÀÌÁ¦ ¾ÆÁÖ Á¶¿ëÇØÁö°í, ºñ¹ÐÀ» ÁöÅ°°í ¸Å¿ì ¾ö¼÷ÇØ Á³±º, »ì¾Æ ÀÖÀ» ¶§´Â ¸ÛûÇÏ°í ¼ö´ÙÀïÀÌ ¾Ç´çÀÌ´õ´Ï.¡± ¿ì¸®´Â ¶ÇÇÑ ÃÖ¾ÇÀÇ ¼ø°£¿¡ ÀÖ´Â HamletÀ» º¸°í ¿ì½º¿ö ÇÏ°Ô µÈ´Ù. ±×°¡ OpheliaÀÇ ¹«´ý¿¡ ¶Ù¾îµé ¶§ HamletÀº ¿ì¸®°¡ ¸Å¿ì ¾î¸®¼®´Ù°í »ý°¢ÇÒ ¼ö¹Û¿¡ ¾ø´Â ¿ë¾î·Î Ophelia¿¡ ´ëÇÑ »ç¶ûÀ» ¼±¾ðÇÑ´Ù: ¡°4¸¸¸íÀÇ ¿ÀºüµéÀÌ ±×µéÀÇ »ç¶ûÀ» ´Ù ¸ð¾Æµµ ³ªÀÇ »ç¶ûÀÇ ÃÑ·®¿¡´Â µû¶ó ¿ÀÁö ¸øÇÒ °ÍÀÌ´Ù. Ophelia¸¦ ¹» ÇÏ°Ú´Ù´Â °Å³Ä? [¡¦] ¾Ç¾î¸¦ Àâ¾Æ ¸ÔÀ»°Å³Ä(Çê ´«¹°À» È긮°Ô)?¡± ÀÌ°÷ÀÇ À¯¸Ó´Â ¸¶À½ ÆíÇÏÁö°¡ ¾Ê´Ù. HamletÀÇ Ã³½ÅÀÌ ÀÜÀÎÇÒ ¸¸Å ºÎÀûÀý±â ¶§¹®ÀÌ´Ù. ÀÌ °íÅ뽺·¯¿î À¯¸Ó´Â ±ØÀÇ Àý¸ÁÀûÀÎ À½Á¶¸¦ °È½ÃÅ°Áö¸¸ ±×°ÍÀº HamletÀÇ °íÅëÀ¸·ÎºÎÅÍ ¿ì¸®·Î ÇÏ¿©±Ý °Å¸®¸¦ µÎ°Ô ÇÏ°í ¿ì¸®¿¡°Ô HamletÀ» ¾ó¸¶³ª ÁøÁöÇÏ°Ô ¹Þ¾ÆµéÀÏÁö¸¦ Áú¹®À» Çϵµ·Ï ¿äûÇϱ⠶§¹®¿¡ ¶ÇÇÑ º¹À⼺À» âÁ¶ÇÑ´Ù.
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¥´. Foreshadowing
Few of the events of ¡°Hamlet¡± are foreshadowed in a straightforward way, which is striking because in Shakespeare¡¯s tragedies, and especially in the tragedies which have a supernatural element (like the Ghost in ¡°Hamlet¡±), the play¡¯s climactic events are usually foreshadowed or even prophesied. The absence of foreshadowing helps create the sense that in ¡°Hamlet¡± certainty is hard to come by, and it also raises the dramatic tension. Hamlet spends much of the play trying to decide whether or not to kill either himself or Claudius: if either of these deaths were explicitly foreshadowed, Hamlet¡¯s deliberations would be less momentous.
Claudius¡¯s death
Claudius¡¯s death is partially foreshadowed by the Ghost. The Ghost is recognised by Barnardo as a ¡°portentous figure¡± (I.i.), and Horatio agrees that it ¡°bodes some strange eruption¡± (I.i.), but none of the characters who witness the Ghost in the opening scene are certain about what its appearance means. Hamlet, by contrast, jumps to the conclusion that the Ghost¡¯s appearance indicates ¡°foul play¡± (I.ii.) before he has even seen it, which may indicate the Ghost¡¯s accusation that Claudius murdered Hamlet¡¯s father is all in Hamlet¡¯s head. Whether or not the Ghost¡¯s story is a hallucination of Hamlet¡¯s, Hamlet himself doubts whether the ghost is ¡°an honest ghost¡± (I.iv). It could also be said that the Ghost does not foreshadow Claudius¡¯s murder so much as cause it, so the exact relationship between the Ghost¡¯s appearance and Claudius¡¯s death is hard to pin down: the ghost¡¯s appearance is part foreshadowing, part cause, and part red herring. In ¡°Hamlet¡±, even messages from beyond the grave are hard to interpret and harder still to trust.
¥´. ÀüÁ¶
"Hamlet"ÀÇ »ç°Ç Áß¿¡¼ ¼ÖÁ÷ÇÑ ¹æ¹ýÀ¸·Î ÀüÁ¶°¡ µÇ´Â °ÍÀº °ÅÀÇ ¾ø´Âµ¥, ShakespeareÀÇ ºñ±Ø¿¡¼´Â, ƯÈ÷ ¡°Hamlet"ÀÇ À¯·Éó·³ ÃÊÀÚ¿¬ÀûÀÎ ¿ä¼Ò°¡ ÀÖ´Â ºñ±Ø¿¡¼´Â, ±ØÀÇ Å¬¶óÀ̸ƽº »ç°ÇÀº ´ëü·Î ÀüÁ¶°¡ µÇ°Å³ª ½ÉÁö¾î ¿¹¾ð±îÁö µÇ±â ¶§¹®¿¡ ÀÌ°ÍÀº ³î¶ó¿î °ÍÀÌ µÈ´Ù. ÀüÁ¶ÀÇ ÝÕî¤(ºÎÀç)°¡ ¡°Hamlet¡±¿¡¼´Â È®½Ç¼ºÀº ¸¸³ª±â°¡ ¾î·Æ´Ù´Â ´À³¦À» âÁ¶Çϴµ¥ µµ¿òÀ» ÁÖ°í ¶ÇÇÑ ±ØÀûÀÎ ±äÀå°¨À» ÀÏÀ¸Å²´Ù. HamletÀº ±ØÀÇ ¸¹Àº ºÎºÐÀ» ÀÚ±â ÀÚ½ÅÀ» Á×ÀÏÁö ¾Æ´Ï¸é Claudius¸¦ Á×ÀÏÁö¸¦ °áÁ¤ÇÏ´Â ³ë·ÂÀ» ÇÏ´Â µ¥¿¡ º¸³½´Ù: ¸¸¾à ÀÌ µÎ Á×À½ ÁßÀÇ Çϳª°¡ ¸íÈ®ÇÏ°Ô ÀüÁ¶°¡ µÈ´Ù¸é HamletÀÇ âÙÍÅ(¼÷°í)´Â ´ú Áß¿äÇÒ °ÍÀÌ´Ù.
ClaudiusÀÇ Á×À½
ClaudiusÀÇ Á×À½Àº À¯·É¿¡ ÀÇÇؼ ºÎºÐÀûÀ¸·Î ÀüÁ¶µÈ´Ù. À¯·ÉÀº Barnardo¿¡ ÀÇÇؼ ¡°¹«¼¿î Àι°¡±·Î Àνĵǰí Horatio´Â ±×°ÍÀº ¡°¹«½¼ ܨÎÖ(º¯±«)¶óµµ ÀϾ ¡Á¶¡±¶ó´Â µ¥ µ¿ÀÇÇÏÁö¸¸ °³¸· Àå¸é¿¡¼ À¯·ÉÀ» ¸ñ°ÝÇÏ´Â Àι°µé Áß¿¡¼ ¾Æ¹«µµ À¯·ÉÀÇ ÃâÇöÀÌ ¹«¾ùÀ» ÀǹÌÇÏ´Â Áö¸¦ È®½ÅÇÏÁö ¸øÇÑ´Ù. ÀÌ¿Í ´ëÁ¶ÀûÀ¸·Î HamletÀº À¯·ÉÀ» º¸±âµµ Àü¿¡ À¯·ÉÀÇ ÃâÇöÀº ¡°(¹«½¼) Èä°è¡±¸¦ °¡¸®Å°´Â °ÍÀ̶ó´Â °á·ÐÀ» ³»¸®´Â µ¥, ÀÌ°ÍÀº ¾Æ¸¶µµ Claudius°¡ HamletÀÇ ¾Æ¹öÁö¸¦ »ìÇØÇÏ¿´´Ù´Â À¯·ÉÀÇ °í¹ßÀº ¸ðµÎ HamletÀÇ ¸Ó¸´¼Ó¿¡ ÀÖ´Ù´Â °ÍÀ» °¡¸®Å°°í ÀÖ´ÂÁöµµ ¸ð¸¥´Ù. À¯·ÉÀÇ À̾߱Ⱑ HamletÀÇ È¯»óÀÌµç ¾Æ´Ïµç, Hamlet ÀÚ½ÅÀº ±× À¯·ÉÀÌ ¡°Á¤Á÷ÇÑ À¯·É¡±ÀÎÁö ¾Æ´ÑÁö¿¡ ´ëÇØ ÀǽÉÀ» ÇÑ´Ù. À¯·ÉÀÌ ClaudiusÀÇ ÇÇ»ìÀ» ÀüÁ¶Çϱ⠺¸´Ù´Â ¿ÀÈ÷·Á ±× »ìÇظ¦ ÀÏÀ¸Å²´Ù°í ¸» ÇÒ ¼ö ÀÖ°Ú´Ù. ±×·¡¼ À¯·ÉÀÇ ÃâÇö°ú ClaudiusÀÇ Á×À½»çÀÌÀÇ Á¤È®ÇÑ °ü°è´Â ºÐ¸íÈ÷ ¸»ÇϱⰡ ¾î·Æ´Ù: À¯·ÉÀÇ ÃâÇöÀº ºÎºÐÀûÀ¸·Î´Â ÀüÁ¶ÀÌ°í, ºÎºÐÀûÀ¸·Î´Â ¿øÀÎÀÌ°í, ºÎºÐÀûÀ¸·Î´Â Çò°¥¸®°Ô ÇÏ´Â °ÍÀÌ´Ù. ¡°Hamlet¡±¿¡¼ ¹«´ý °Ç³Ê¿¡¼ ¿À´Â ¸Þ½ÃÁöµµ Çؼ®ÇϱⰡ ¾î·Æ°í ¹Ï±â¿¡´Â ´õ¿í ´õ ¾î·Æ´Ù.
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Hamlet¡¯s madness
Horatio warns Hamlet that the Ghost ¡°might deprive your sovereignty of reason/And draw you into madness¡± (I.iv.). The Ghost itself instructs Hamlet: ¡°Taint not thy mind¡± (I.v.). These warnings foreshadow Hamlet¡¯s descent into madness. However, as always in Hamlet, we see a further layer of complexity to the question of Hamlet¡¯s madness. After his encounter with the Ghost, Hamlet tells Horatio that he may ¡°put an antic disposition on¡± (I.v.), that is, pretend to be mad. The play therefore sets up two different ways to understand Hamlet¡¯s increasingly erratic behavior: as the real madness predicted by the Ghost and Horatio, or as the ¡°antic disposition¡± mentioned by Hamlet. This uncertainty makes Hamlet¡¯s character ultimately mysterious.
Polonius¡¯s death
Hamlet¡¯s murder of Polonius is foreshadowed when Polonius tells the assembled court that he acted at university: ¡°I did enact Julius Caesar. I was killed i¡¯ th¡¯ Capitol. Brutus killed me¡± (III.ii.). Shakespeare¡¯s ¡°Julius Caesar¡± was written at the same time as ¡°Hamlet¡±, and very likely the actors who played Polonius and Hamlet in ¡°Hamlet¡± would have played Caesar and Brutus in ¡°Julius Caesar¡±. Contemporary audiences would have recognised the actors, and may have taken this line as a hint that Polonius faces the same end as Caesar. Even if audiences aren¡¯t familiar with the actors or the plot of the play, Polonius¡¯s line introduces the idea of the character being killed by a confidant. The foreshadowing of Polonius¡¯s murder raises the tension in the scene which follows: Hamlet behaves more erratically than ever, and we realize that his behaviour may for the first time in the play have real consequences.
HamletÀÇ ±¤±â
Horatio´Â À¯·ÉÀÌ ¡°¿ÕÀÚ´ÔÀÇ À̼ºÀÇ ÁÖ±ÇÀ» »©¾Ñ¾Æ¼/ ¿ÕÀÚ´ÔÀ» ¹ÌÄ¡°Ô ÇÒÁöµµ ¸ð¸¨´Ï´Ù.¡±¶ó°í Hamlet¿¡°Ô °æ°íÇÑ´Ù. À¯·ÉÀڽŵµ Hamlet¿¡°Ô ÈÆ°èÇÑ´Ù: ¡°³ÊÀÇ Á¤½ÅÀ» ´õ·´È÷Áö ¸¶¶ó.¡± ÀÌ·± °æ°íµéÀº HamletÀÌ ¹ß±¤ÇÏ¿© ï´Õª(Àü¶ô:descent)ÇÒ °ÍÀ̶ó´Â °ÍÀ» ÀüÁ¶ÇÑ´Ù. ±×·¯³ª Hamlet¿¡°Ô Ç×»ó ±×·¸µíÀÌ, HamletÀÇ ±¤±âÀÇ ¹®Á¦¿¡´Â ´õ ±íÀº ÃþÀÇ º¹À⼺ÀÌ Ã·°¡µÇ´Â °ÍÀ» º¸°Ô µÈ´Ù. À¯·É°úÀÇ »óºÀ ÈÄ¿¡ HamletÀº Horatio¿¡°Ô ±×´Â ¡°ÀÌ»ó¾ß¸©ÇÑ Áþ(¼ºÇâ)À»¡± Áï ¹Ìģô ÇÒÁöµµ ¸ð¸¥´Ù°í ¸»ÇÑ´Ù, ±×·¯¹Ç·Î ±ØÀº HamletÀÇ ïÂñò(Á¡Áõ)ÇÏ´Â µ¹¹ßÀû ÇàÀ§¸¦ ÀÌÇØÇϱâ À§Çؼ µÎ °¡Áö ´Ù¸¥ ¹æ¹ýÀ» ³» ³õ°í ÀÖ´Ù: À¯·É°ú Horatio¿¡ ÀÇÇؼ ¿¹¾ð µÈ ÁøÂ¥ ±¤±â·Î¼ (ÀÌÇØÇϰųª), ȤÀº Hamlet¿¡ ÀÇÇØ ¾ð±ÞµÈ ¡°ÀÌ»ó¾ß¸©ÇÑ Áþ)À¸·Î (ÀÌÇØÇÏ´Â °ÍÀÌ´Ù). ÀÌ ºÒÈ®½Ç¼ºÀÌ HamletÀÇ ¼º°ÝÀ» ±Ã±ØÀûÀ¸·Î ½Åºñ·Ó°Ô ¸¸µç´Ù.
PoloniusÀÇ Á×À½
HamletÀÇ Polonius»ìÇØ´Â Polonius°¡ ÀÚ±â´Â ´ëÇп¡¼ ¿¬±ØÀ» ÇÏ¿´´Ù°í Ïàñé(±ÃÁß)¿¡ ¸ðÀÎ »ç¶÷µé¿¡°Ô ¸»ÇÒ ¶§¿¡ ÀüÁ¶°¡ µÈ´Ù: ¡°³ª´Â Julius Caesar¿ªÀ» Çß¾î¿ä. ³ª´Â ÀÇ»ç´ç¿¡¼ »ìÇØ µÇ¾ú¾î¿ä. Brutus°¡ ³ª¸¦ Á׿´¾î¿ä.¡± ShakespeareÀÇ ¡°Julius Caesar¡±´Â ¡°Hamlet¡±°ú °°Àº ½Ã±â¿¡ ¾²¿© Á³¾ú´Ù. ±×·¡¼ ¡°Hamlet¡±¿¡¼ Polonius¿Í Hamlet¿ªÀ» ¸ÃÀº ¹è¿ì°¡ ¡°Julius Caesar¡±¿¡¼ Caesar¿Í Brutus¿ªÀ» ¿¬±âÇÏ¿´À» °¡´É¼ºÀÌ ¸Å¿ì ³ô´Ù. ´ç´ëÀÇ °üÁßµéÀº ¹è¿ìµéÀ» ¾Ë¾ÆºÃÀ» °ÍÀÌ°í ÀÌ ´ë»ç (this line: PoloniusÀÇ)¸¦ Polonius°¡ Caesar¿Í ¶È °°Àº Á¾¸»À» ¸ÂÀÌÇÏ°Ô µÉ °ÍÀ̶ó´Â ¾Ï½Ã·Î °£ÁÖÇÏ¿´À» °ÍÀÌ´Ù. °üÁßµéÀÌ ¹è¿ì³ª ±ØÀÇ ÁٰŸ®¿¡ Ä£¼÷ÇÏÁö ¾Ê´Â´Ù ÇÏ´õ¶óµµ PoloniusÀÇ ´ë»ç´Â ÀýÄ£ÇÑ »ç¶÷¿¡ ÀÇÇØ »ìÇصǴ Àι°¿¡ ´ëÇÑ ¾ÆÀ̵ð¾î¸¦ µµÀÔÇÑ´Ù. Polonius »ìÇØÀÇ ÀüÁ¶´Â µÚµû¶ó¿À´Â Àå¸é¿¡¼ ±äÀå°¨À» ÀϾîŲ´Ù : HamletÀº ÀÌÀüÀÇ ¾î´À ¶§ º¸´Ùµµ ´õ¿í ´õ º¯´ö½º·´°Ô ÇൿÇÏ°í ±×·¡¼ ¿ì¸®´Â ±×ÀÇ ÇàÀ§°¡ ±Ø¿¡¼ óÀ½À¸·Î ¾î¶² ½ÇÁúÀû °á°ú¸¦ °¡Á® ¿Ã °ÍÀ̶ó´Â °ÍÀ» ±ú´Ý°Ô µÈ´Ù.