By Michael Hattaway (auth.)
ISBN-10: 0333385241
ISBN-13: 9780333385241
ISBN-10: 1349188328
ISBN-13: 9781349188321
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Arbeitsjoumal, 25 Nov 1948, cited in Heinemann 1985, p. 217; Brecht's analysis of the final act of the play is to be found in Brecht 1964, pp. 201-2) Looking at this another way, we might simply endorse the irony endorsed in a recent study by Jonathan Dollimore: 'Hamlet's brooding introspection does not achieve, but defeats, self-knowledge' (1984, p. 179). Indeed, it is strange that so many critics have been obsessed with fixing Hamlet's character, getting it right, when, as we shall see in Part Two, the play is studded with references to contradictions within character, to the phenomenon of the divided, self-monitoring self.
46) Secondly, and perhaps less happily for the course of Shakespeare criticism, this new way of defending the plays against neoclassical charges that they violated ideals of genre led to a new and idealistic conception of tragedy. The tragedies of Racine in France and post-Restoration tragedies in the English tradition - those, say, of Otway - had been concerned with matters of state, clashes between individuals and society: Romantic criticism tended to attend more to the spiritual agony and insight of the tragic hero.
And does the soldier's music that he orders for the departure of Hamlet's body from the stage suit the prince's character? 56 THE CRITICS DEBATE: 'HAMLET' Bradley's notion of tragedy derives from Hegel's paradigm of the synthesis after conflict of thesis and antithesis, rebelling hero and universal order. But why should the hero 'perish sublimely'? Our second example comes from 1965, when, at Stratford, Peter Hall's Hamlet (David Warner) died laughing, knowing only that the world in which order depends on the accidental switching of rapiers during a scuffie is as absurd as he thought it was when the play started.