To truly appreciate life, or recognize its value, one must be able to understand the powerful finality that accompanies death. Furthermore, one must also understand this topic when trying to destroy and inflict death on another being. This complex but crucial concept is demonstrated in Shakespeare's Hamlet. Over the course of Hamlet's soliloquies, the development of his character is revealed; it is a transformation from inaction to action. However, throughout the play it is shown that before Hamlet successfully seeks revenge on Claudius, he must first fully appreciate the true nature of death. Hamlet evidently has many false perceptions of death that lead him to remain inactive. In Hamlet's mind, death changes from a neutral subject to a theme of fear. He then perceives him as a vague abstraction, and then sees him as an illustrious but threatening adversary whom he does not have the means to defeat. It is only when Hamlet correctly perceives death – as an inevitable and brutal event – ​​that Hamlet is able to act. Therefore, Hamlet's transformation from inaction to action in his soliloquies is largely based on his understanding and perception of the concrete reality of death, as well as the unknowns that accompany it. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Initially, Hamlet's view of death is very immature, like a child who has been protected from the gruesome reality of death, and instead given rosy images to associate with the concept. Undoubtedly, Hamlet is going through severe depression following the death of his father and his mother's hasty marriage. He expresses a desire to commit suicide, but does not seem to connect the idea of ​​suicide with death. Instead, in his first soliloquy, Hamlet wishes «that [his] too-dirty flesh would melt, / melt and resolve itself into dew» (I, ii, 129-130). Of course, death is much more brutal than simply dissolving or melting away. Although Hamlet wishes to leave this world, he does not seem to recognize the gruesome journey that must be undertaken to achieve this goal. As a result, his youthful approach to death causes Hamlet to remain inactive and ineffective when given the task of killing the king. In saying “it's 'goodbye, goodbye, remember me'. / I have not sworn” (I, v, 111-112) Hamlet promises to remember and obey the ghost's words. Be that as it may, Hamlet reacts only in a fit of empty shock – emptiness, because no revenge will directly result from this. In order for Hamlet to successfully take revenge, he must be fueled by thoughts of death, as opposed to those of fleeting bitterness. Enraged by his uncle's heinous crime, Hamlet refers to Claudius by saying “O wicked, wicked, smiling damned wicked” (I,v, 105-106). He is reacting with anger towards his uncle instead of remorse for his father's death. Essentially, the only time Hamlet refers to his father is by saying that he was “so excellent a king” (I, v, 139), ultimately focusing more on his father's past life, rather than his death. It is quite possible that Hamlet's immature view of death downplays the brutality of his father's death. Ultimately, his unrealistic view of death prevents him from immediately seeking revenge, resulting in several unnecessary deaths along the way. Before these deaths, however, Hamlet contemplates mortality in his second great soliloquy. Having recently destroyed his relationships with Gertrude, Claudius, Ophelia, as well as Rosencrantz and Guildenstern, Hamlet considers suicide more seriously. By questioning "to be or not to be" (III, i, 56), he essentially tries to decide whether there is greater nobility inlive – and «[suffering] / the slingshots and darts of outrageous fortune» (III, i, 67-68) or die – and «oppose to put an end to it» (III,i, 57-60). A recently deceased father and an equally recently remarried mother: Hamlet suffers many hardships during his present time on earth. During this soliloquy, he concludes that the main reason death is so often avoided is because of the unknowns that accompany it. Hamlet expresses this realization when he says “who would bear fardels, / to grunt and sweat under a weary life, / but the fear of something after death” (III, i, 76-78). Evidently, Hamlet has begun to recognize the inevitable presence of death, as the time to kill Claudius approaches. Inevitably, Claudius' death will result in Hamlet's death as punishment; therefore it is necessary for Hamlet to consider this topic. However, instead of embracing this issue, it has now evolved into something disturbing. Unfortunately, Hamlet now fears death, referring to it as “the unknown country, from whose border / no traveler returns” (III, i, 79-80). His perception of death has transformed from an immature contempt to an unhealthy fear of death and what lies beyond. This terror ultimately prevents Hamlet from acting because his death is inevitable once Claudius is killed. As stated earlier, it is necessary for Hamlet to focus on death to kill Claudius, as he initially did not. However, his impression of death is still incorrect, which leads him to remain inactive. Therefore, Hamlet simply neglects his mission of vengeance to protect himself from the looming and threatening mysteries of death that are held only until the end of life. Evidently, the end of life is approaching inauspiciously for Claudius and Hamlet. After the play "The Mousetrap" and the sudden departure of the king, Hamlet is confident in the knowledge that Claudius actually killed his father. He now prepares for a speech agreed with his mother, and through a short but significant soliloquy he manages to get emotional by focusing on gruesome topics. In this mad mood, Hamlet states that he "could drink warm blood, / And do such bitter business that the day / Would tremble at the sight" (III, iii, 381-383). He is determined to be brazen, willing to “be cruel, not unnatural” (III,iii, 386). However, in this entire soliloquy Hamlet's main weakness: in speaking he is determined and cruel, yet he remains inactive. Essentially, Hamlet is all talk and no play. More specifically, Hamlet refers to things related to death such as blood and daggers, but makes no specific reference to death itself, although – without a doubt – it is an important topic in his life at this time. As a result, Hamlet's poeticism is dangerous because it tends to generalize and familiarize death, without speaking specifically to the reality of the subject. In his mind, "to die - [is] to sleep" (III, i, 60), and death is "the unknown country" (III, i, 79). These romantic terms with which he refers to something rather gruesome and brutal cloud his perception of death and shape it into a familiar and general concept. Using this technique, Hamlet dances around death on the feet of the poetic. He does not allow himself to reflect on the topic of death and, as a result, procrastinates in killing the king. Perhaps it is a way of dealing with his previous fear of death, although downplaying the intensity of death is perhaps equally dangerous. In short, Hamlet's habit of universalizing and romanticizing death causes him to avoid its reality, and consequently prevents him from killing the king. However, it becomes nearly impossible for Hamlet to avoid the reality of death as twenty thousand men march before him. himto their graves. After meeting and conversing with Fortinbras' soldiers, in his final soliloquy Hamlet reevaluates the events that have occurred. Hamlet recognizes that every man has a God-given purpose in life and that he has not fulfilled it. He reproaches himself by saying: “I don't know / why I still live to say that this thing must be done, / if I have the cause, will, strength and means / to do it” (IV, iv, 43-46). However, it is evident that the reason for Hamlet's procrastination is his continued lack of understanding regarding death. His perception has progressed greatly, although it is not fully developed, forcing him to remain inactive. In this soliloquy, Hamlet admires the passion and will of others, and then blames himself for not having it. Earlier, in the second act, Hamlet admires how the actor “could force his soul to such an extent of his conceit / That by his work all his countenance was dulled / Tears in his eyes, absent-mindedness in his countenance, / a broken voice” (II, ii, 547-550). Desperately, Hamlet recognizes that this is “all for nothing” (II,ii, 551). Yet the player has more passion than himself, even if Hamlet has more reason to do so. Likewise, while he notes «the imminent death of twenty thousand men / who, through fantasy and the deception of fame, / go to their graves like beds» (IV, iv, 60-62), he feels similar remorse and inadequacy. He acknowledges the courage of others to be able to face death, but concludes that it is "pigeon-livered and devoid of gall / to make oppression bitter" (II, ii, 575-576). As a result, Hamlet's fear of death has led him to view her as a ferocious adversary who can only be defeated with immense courage. Unfortunately - due to this false perception - Hamlet does not believe he has this courage, and therefore does not see himself fit to meet death. Ultimately, Hamlet's soliloquies allow him to move from inaction to action. However, he is only able to successfully seek revenge after realizing the true reality of death. Before this moment of realization, Hamlet views death immaturely, fearfully, and abstractly, preventing him from inflicting it. However, the discourse that occurs among the gravediggers sheds light on the reality of death. Holding a skull in his hand, Hamlet literally captures the concept of mortality: death is decisive and can conquer even the greatest of men. In saying “to what vile uses can we return, Horatio” (V,i, 196) Hamlet demonstrates his epochal epiphany, that in time death will conquer every living being. Furthermore, Hamlet's revelation is evident when he finally talks about death in ordinary and familiar terms instead of poeticizing a rather gruesome concept. In speaking to Horatio, Hamlet addresses the death of Alexander the Great in appropriately clear terms by saying: “Alexander / died, Alexander was buried, Alexander returns / to dust” (V, i, 201-203). Finally, Hamlet recognized that death is disturbing, but it is inevitable, and Hamlet himself has the potential to play a role in inflicting King Claudius' death. Furthermore, Hamlet embraces death in the most literal and dramatic way possible by leaping into Ophelia's grave. He begs to “be buried with her soon” (V, i, 274), which is the most sincere suicide plea Hamlet has ever had as he only now recognizes death for what it really is. Furthermore, Hamlet is only now fully prepared to face the king's murder – as well as his own impending death. This epiphany radically changes Hamlet's reaction to the duel arranged between him and Laertes. In saying “if it is now, it is not for/that will come; if he should not come, he will come now” (V,ii, 216-217) Hamlet refers to the fact that death is inevitable. He states that "readiness is everything" (V,ii, 218), and demonstrates remarkable peace on the subject by simply saying "forget it" (V,ii,.