Hamlet Vs. Oedipus

Character Analysis of Prince Hamlet in “Hamlet” by William Shakespeare and Oedipus in “Oedipus King” by Sophocles

In Aristotle’s literary discourse, “Poetics,” he discusses his theory of tragedy, wherein he introduces the concepts of tragic flaw or “hamartia,” which serves as the catalyst for the protagonist’s downfall or the tragedy of the story to happen. He determines a tragedy as a “drama” that brings about a “sorrowful conclusion, arousing fear and pity in the audience” (Roberts and Jacobs, 1998:1189). Tragic stories are identified through three (3) characteristics or elements: first, the protagonist, usually a male, must be of noble stature; second, the protagonist or tragic hero must possess a tragic flaw or “hamartia” that shall become his downfall at the end of the story; and third, the hero’s downfall must come with a self-realization on his part, making him a ‘reformed’ individual even if a tragic outcome happens to him.

These characteristics are the important qualities that “Hamlet” by William Shakespeare and “Oedipus the King” by Sophocles have; these similarities determine these plays as tragedies, and their protagonists, Hamlet and Oedipus, as tragic heroes.

In this paper, a character analysis of both Prince Hamlet and Oedipus is conducted, arguing that both characters have exhibited tragic flaws that ultimately determined their downfall in life. In Prince Hamlet, readers witness his indecisive character, which led to his eventual death; Oedipus’ stubbornness and distrust in fate, meanwhile, made him commit murder and blind himself to repent from his mistakes that he had unwittingly committed against his own parents.

Hamlet’s indecisive character emerges early in the story, and is illustrated by his inability to forget the memory of his father and his death. Haunted by his Old Hamlet’s memory, Prince Hamlet finds it hard to move on; furthermore, his anxiety also stems from the fact that he is expected to become an equally or even greater, leader like his father. Thus, confronted by the fact that there are so many expectations at a time when Hamlet was just realizing his potential as a leader, he becomes indecisive, totally dependent on his mother and stepfather’s (Claudius) decisions.

As his anxieties later develop to become his most tragic flaw, that of being indecisive, Hamlet lets himself plunge towards his downfall. This is demonstrated in the play’s most famous scene, wherein Hamlet delivers his soliloquy: “To be, or not to be, that is the question, Whether ‘tis nobler in the mind to suffer…Or to take arms against a sea of troubles, And by opposing, end them: to die, to sleep, No more; and by a sleep, to say we end The heart-ache…’tis a consummation Devoutly to be wished” (1288). In this passage, Shakespeare brings into lucidity Hamlet’s tragic flaw: as he delayed his plan to avenge his father against Claudius, Hamlet opens an opportunity for the murderer of his father (Claudius) to plan ahead and instead, turn the tables against Hamlet, which eventually results to his death.

It was only at the end of the play that Hamlet redeems himself from his mistakes in life. This is when he achieves “catharsis,” the “end or goal of tragedy” (1186). Hamlet finally kills Claudius before he dies himself,