Revenge and Vengeance in Shakespeares Hamlet - Typical Revenge Tragedy :: GCSE Coursework Shakespeare Hamlet

critical point as a Typical retaliation Tragedy Shakespeares Hamlet very closely follows the dramatic conventions of penalise in Elizabethan theater. All revenge tragedies originally stemmed from the Greeks, who wrote and performed the commencement ceremony plays. After the Greeks came Seneca who was very influential to all Elizabethan disaster writers. Seneca who was Roman, fundamentally set all of the ideas and the norms for all revenge play writers in the spiritual rebirth era including William Shakespeare. The two most famous English revenge tragedies create verbally in the Elizabethan era were Hamlet, written by Shakespeare and The Spanish Tragedy, written by Thomas Kyd. These two plays used mostly all of the Elizabethan conventions for revenge tragedies in their plays. Hamlet especially incorporated all revenge conventions in one air or another, which truly made Hamlet a typical revenge play. Shakespeares Hamlet is one of many heroes of the Elizabethan and Jacobean sta ge who finds himself grievously wronged by a powerful figure, with no recourse to the law, and with a crime against his family to avenge. Seneca was among the greatest authors of classical tragedies and there was not one educated Elizabethan who was unaware of him or his plays. there were veritable stylistic and different strategically thought out devices that Elizabethan playwrights including Shakespeare erudite and used from Senecas great tragedies. The five act structure, the appearance of some form of ghost, the one line exchanges known as stichomythia, and Senecas use of long rhetorical speeches were all later used in tragedies by Elizabethan playwrights. virtually of Senecas ideas were originally taken from the Greeks when the Romans conquered Greece, and with it they took home many Greek theatrical ideas. whatever of Senecas stories that originated from the Greeks like Agamemnon and Thyestes which dealt with bloody family histories and revenge captivated the Elizabe thans. Senecas stories werent really written for exercise purposes, so if English playwrights liked his ideas, they had to figure out a way to make the story theatrically workable, relevant and exciting to the Elizabethan listening who were very demanding. Senecas influence formed part of a developing customs duty of tragedies whose plots hinge on political power, forbidden sexuality, family honor and private revenge. There was no author who exercised a wider or deeper influence upon the Elizabethan fountainhead or upon the Elizabethan form of tragedy than did Seneca. For the dramatists of Renaissance Italy, France and England, classical tragedy meant only the ten Latin plays of Seneca and not Euripides, Aeschylus and Sophocles.