The image of the ideal king in Shakespeare’s Hamlet. Compare the character of Hamlet’s father to Claudius.
The fate of hamlet associated with both kings - father and uncle, who represent the Danish world. According to hamlet, his father was the perfect king. Creating his portrait, the hero refers to the images of antiquity. He remembers Hyperion, Mars, Merck, RIA, confirming in the face of the ruler. But the external description is not supported by the corresponding memoirs of contemporaries.
At the beginning of the tragedy it is reported that Claudius wears the crown of the king for two months. Hamlet so characterizes the changes that took place during this time at court: “my uncle - the king of Denmark, and those still perekrivlivali it while my father was alive, pay twenty, forty, fifty and a hundred ducats for his portraits-miniatures.” Danish Mir submitted the new government without much narushitelnitsa. This flexibility can only be explained by one thing: high humanistic morality and spirituality are not inherent in the Danish court, and this is the court of king hamlet. Here almost no one is imbued with the problems of spiritual existence, no one cares about the problems of light and the Universe. This is where the blasphemy sycophancy, hypocrisy, since they can take a lukewarm place, to obtain some privileges.
In the soliloquy of king Claudius, the priorities of life are placed thus - the crown, the power, the Queen.
Hamlet says king Claudius is " a murderer and a scoundrel, a slave, ...a jester, a thief of state and power, a thief who stole the precious crown, ...a king of rags and patches." But the assessment that hamlet gives the king is perceived as an emotional reaction of the son to the death of the father and the marriage of the mother by his feelings than objectively proven facts.
Analysis of the positions of the heroes in the tragedy, taking into account the historical subsoil, makes it possible to show the common between king hamlet and Claudius. With a certain difference, the Danish kings are similar. They prefer strength, destroy the lives of others, destroy their future and the future of their kind.
Claudius is shrewd and cautious on the basis of his own knowledge: he deftly prevents Fortinbras's March on Denmark, quickly extinguishes Laertes ' anger, turning it into an instrument of violence against hamlet, creates the appearance of collegiality in the management of the state.
Prince, shown speculating, doubting, and indecisive. Hamlet uses a clown mask to fight the hypocrisy of the Danish court. Hamlet and actually Claudius mortally hate each other. Relationship of hamlet and Claudius, without exaggeration, from the beginning, and without exaggeration to the end of the antagonism between them is at first hidden and then open fight. Only hamlet is fully rejection of the quick marriage of his mother with his uncle, while all the others look at it like, without exaggeration, for the natural state necessity. Therefore, the main purpose of hamlet – a revenge killing Claudius, but the king's death without proof of his guilt will be met with protest and indignation for sure, and probably will not give hamlet the crown.
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Speak on English historical novel. The contribution of Walter Scott to the development of this genre. Scott’s main historical novels and their particularities.
The historical novel is a literary genre that links strong dramatic plot lines and credible human psychology, within a setting characterized by specific historical details. The founder of this genre, which had a great impact on Romantic Europe, was Sir Walter Scott (1771–1832), whose novels, starting with Waverley (1814), created a passion for the historical novel among readers and writers that remains strong up to this day. Scott’s main achievement was to get people to realize that history was not just a list of political and religious events, but the product of human decisions. He took the past of Scotland as his main subject and mixed it with imaginative adventures. He blended highly figurative language with dialect to portray real and living characters, who belong both to the aristocracy and the low, humble classes. He introduced a new concept of history, based on the lives of the ordinary people, rather than on those of kings and noblemen. His interpretation of English history offered him various examples of compromise between two extreme situations: the fight between the Anglo-Saxons and the Normans, which had given rise to a mixed people, the English and the Glorious Revolution of 1688 which had marked the end of the struggles between the King and Parliament. He was interested in the moments when an important historical crisis, especially in Scottish history, caused personal problems in individuals or in groups:
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Ivanhoe (1820) and Waverley (1814), his most important works, respectively describe these conflicts. Most of his novels follow a pattern which has been called the ‘journey’: a traveler, that is, Ivanhoe or Waverley, moves from a safe situation inside an ethnic group, comes into contact with another ethnic group and shares their life for a time. In the end he will return from where he came with a different experience of life which will enable him to mediate between two rival groups.
Here are the most important features of the historical novel:
• historical context;
• detailed description of manners, buildings and institutions;
• both fictional and real characters;
• use of the third-person omniscient narrator;
• the techniques of flashbacks and time shifts
• the writer’s aim is to show the closeness of the past to the present.
Waverley (1814) The story Waverley is set in the period of Jacobite uprisings: it starts in the late summer of 1744 and ends many months after the battle of Culloden (1746) when the Jacobites were defeated and their cause was virtually destroyed. When Scott wrote this novel, Jacobitism had ceased to be a political force, but he pointed out in the ‘Postscript’ to Waverley that: ‘There is no European nation which, within the course of half a century, or little more, has undergone such a complete change as this kingdom of Scotland’. By 1814 in both the Highlands and Lowlands of Scotland patterns of life had been changed, both by measures of Government and by the gradual infiltration of ideas and wealth from the south. In his novel Scott aimed at recreating the past ways of life, both of Highland chief and Lowland landowner, showing them as they put up a last struggle against the forces of Hanoverian Britain. Waverley starts with the account of the education of ayoung man from an English Jacobite aristocratic family, Edward Waverley. He is a reader and dreamer of romantic love and war. In the house of Sir Everard Waverley, Edward’s uncle, politics are a matter of a long-standing conviction, but not much examined. Waverley’s father has decided to move with the times in favour of advancement in the Hanoverian Government and he obtains his son a commission in the Hanoverian army of King George II (1727–1760); so Waverley is sent to Scotland to join his regiment. In Scotland he visits a Jacobite family friend, whose daughter, Rose, falls in love with him. However, Edward’s attention is attracted by the charming Flora. Flora’s brother is the Jacobite chieftain Fergus Mac-Ivor, but Edward’s visits to Fergus are wholly unwise and it is not long before Edward is arrested. Fortunately he is rescued by Flora, and joins the Jacobite side. During a battle he saves an English officer from certain death, and for this act of bravery he is pardoned for his
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4. Henry Fielding named his novels as ‘a comic ____________ in prose’. Give brief information about this author. His outstanding literary works and his contribution in English Literature.
Henry Fielding, the author of Tom Jones, once famously defined the novel as a "comic epic in prose." This turns out to be a surprisingly negative definition, when you think about it. A novel is prose, you see, because it's not poetry. It's an epic, since it's not a lyric; novels tell stories rather than set moods. And it's comic mostly in the sense that it isn't tragic; the novel as an art-form wants to end with more weddings than funerals.
The English author and magistrate Henry Fielding (1707-1754) was one of the great novelists of the 18th century. His fiction, plays, essays, and legal pamphlets show he was a humane and witty man, with a passion for reform and justice. After beginning his writing career as a playwright and editor of satirical publications, he found his footing by penning Joseph Andrews and other parodies. Through later works such as Tom Jones, Fielding earned acclaim for helping establish the foundations of the modern novel. He died on October 8, 1754, in Lisbon, Portugal.
Fielding’s turn to fiction came by way of his satirical impulse. The popularity of Samuel Richardson’s Pamela inspired Fielding to write an imitative parody. An Apology for the Life of Mrs Shamela Andrews (1741), which Fielding published anonymously, mocked Richardson’s style of ‘writing to the moment’, in which his heroines dashed off letters while defending their virtue. Fielding continued riffing on Richardson’s famous novel in his second work, Joseph Andrews (1742), which chronicled the adventures of Pamela’s brother in a genre-crossing performance that Fielding dubbed a ‘comic epic poem in prose’. Tom Jones (1749), Fielding’s masterful picaresque, remains an important milestone in the development of the 18th-century novel, with its complex plot and its mixture of moral seriousness and comic adventure.
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The English novel of today was largely created by Henry Fielding. His novels, in which the author himself tells the story and controls the plot structure, are considered the first accurate portrayal of contemporary manners. Sir Walter Scott called Henry Fielding the “father of the English novel,” and the phrase still indicates Fielding’s place in the history of literature. Though not actually the first English novelist, he was the first to approach the genre with a fully worked-out theory of the novel; and in Joseph Andrews, Tom Jones, and Amelia, which a modern critic has called comic epic, epic comedy, and domestic epic, respectively, he had established the tradition of a realism presented in panoramic surveys of contemporary society that dominated English fiction until the end of the 19th century.
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