Tragic hero and conflict in Shakespeare’s four tragedies

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From the beginning, the criticism of Shakespeare has been synonymous with the criticism of his heroes, who necessarily presented within the historical, social, political and imagined context. Familiar heroes who come in special situations. Shakespeare knew well the audience he was addressing with his precious characters. He brought current situations of the time, testing the social values ​​in all contexts, which in general in the Elizabethan theater were welcome to the audience of the time. He provided the main characters with epithets of great heroes who were tempted by fate, misfortune, wrong decision-making, as well as the inability to avoid their actions which were also related to the social context. Situations where the characters presented motivated, led by feelings and acting on affect, which made them appear sometimes as irreplaceable heroes, sometimes ignorant who fail to take the situation in their hands, as we have Hamlet , his hesitation and hopeless dilemma towards the great and most precious obligation in the society in which he belongs, as an acquired and necessary image. This made the communication with the audience even more sensitive, as it seems to them, such stage presentations speak for themselves, an unstable image, a fragile situation, full of activism, euphoria and feelings.

Where the artistic and descriptive coloring gives even more cohesion to the extreme action in his literary activity, which activity becomes even clearer on stage when Shakespeare comes to the Elizabethan theater with the tragic heroes.

The tragic heroes in Shakespeare’s tragedies are the heroes who have fame and good social standing. They are not just random heroes who suddenly face their fate. They are heroes selected by Shakespeare to challenge with different conflicts such as: ambition for power, hatred, betrayal, jealousy and their own fate. Hamlet as the prince of Denmark is challenged by the great Hamletian dilemma, which tests his action without which the whole scene would be incomplete. The character of Hamlet, not only is an extraordinary figure, all inclusive, full of artistic colors, but he with the genius he expresses, poetic power, modular narrative of events and eloquence, fulfill the contextual aspect of the description that Shakespeare has alluded to in the four tragedies his famous “Hamlet”, “Macbeth”, “Othello” and “King Lear”.

The main advantage in these four tragedies is the increased dose of subjectivity that is used in the characters or heroes to overcome individual and ritual challenges in performing actions determined by the social context and social order. We have Hamlet, who overcomes all challenges to arrive at the precious moment, revenge. Lady Macbeth forgets everything that is sacred to her at first, to cement her ambitious feelings. Othello from his ignorance plunges into the depth of actions without controlling them. While King Lear suffers from his decisions made as a result of paternal inequality during his rule.

The flow of conflicts in Shakespeare’s tragedies is cause and effect. Everything starts from an idea, a thought that happened to be deeply embedded in the mind of his heroes. Then it appears here and there and as a result an event is created, which requires all the attention of the other characters, being installed as a passion for most. And to resolve this event, Shakespeare modifies his purpose with the passions of the moment and creates the conflict that leads to the tragedy by keeping the audience engaged all the time.

There are two types of conflicts in Shakespeare’s characters, internal and external conflicts, which begin during the course of the event and then suddenly materialize, become vague and unevoked until an unexpected conclusion. Hamlet’s internal conflict is presented as a result of his feelings, perception, and the nature of how he approaches problems. Too much reluctance to believe in his father’s ghost, prejudices, superstitions, all these make Hamlet a silent, unnatural, and very negligent character. This Hamletian dilemma has been studied for years as a need to grasp the common and natural parts of the course of events. While the external conflict appears as a consequence of the internal conflict, in the form of other events and sequences that take place all the time.

Hamlet is not just a character of the moment, Shakespeare tried his art with all the literary power to make him one of the most built and elevated characters in all the literature of the world. His worldview, eloquence, power to fantasize, all these are a version of Shakespearean thinking, of a special kind. Thus, Shakespearean thinking is a matter that must be well studied and rehearsed before the eventual performance of any work by this author begins. Moreover, without Shakespearean thinking, our whole concept falls flat, remains not well unraveled, which in most cases leaves the audience confused, because the event has a chronology between internal and external conflicts. While the audience is not always ready to capture this natural benefit of the whole event. So in most cases the audience rarely gets to understand exactly such a message.

Halil Bashota

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