All duties . . .
All duties seem holy to Hamlet.
Hamlet is . . .
Hamlet is “the most amiable of misanthropes.”
Hamlet is obliged . . .
Hamlet is obliged to act on the spur of the moment.
Hamlet is haunted . . .
Hamlet is haunted, not by a physical fear of dying, but of being dead.
Unworthy of a . . .
Unworthy of a hero.
The violence towards the . . .
The violence towards the mother is the effect of the desire for her.
A poetic . . .
A poetic and morally sensitive soul crushed by the barbarous task of murder.
Hamlet’s far fetched . . .
Hamlet’s far fetched scruples are often mere pretexts to cover his want of determination.
Hamlet is rather . . .
Hamlet is rather an instrument than an agent.
Hamlet “has . . .
Hamlet “has no firm belief in himself or anything”
Hamlet is a man . . .
Hamlet is a man incapable of acting because he thinks too much.
Hamlet is a merge of . . .
Hamlet is a merge of the tragic hero and the clown figure.
“Hamlet’s suffering and . . .
“Hamlet’s suffering and behaviour stem from the fact that he cannot find a play to be part of.”
(Hamlet is) an . . .
(Hamlet is) an element of evil in the state of Denmark,
The world of Hamlet is . . .
The world of Hamlet is a remarkably enclosed one.
“[Hamlet] is not safe . . .
“[Hamlet] is not safe, primarily because he is right.”
“The contemplative . . .
“The contemplative, sensitive, even feminine Prince is given an entirely masculine, martial, noisy funeral.”
“[Hamlet] is no . . .
“[Hamlet] is no soldier, no politician, no King.”
“A ruler should perform . . .
“A ruler should perform any action that preserves and strengthens his power, regardless of its morality.”
“Hamlet’s disgust at the . . .
“Hamlet’s disgust at the feminine passivity in himself is translated into violent repulsion against women.”
“Hamlet’s situation is . . .
“Hamlet’s situation is ambigous, since he pursues not only a personal vendetta . . . which Elizabethan commentators condemned but also official justice - which they tended to approve.”
“Persistently cruel to . . .
“Persistently cruel to Ophelia.”
The hero is not a . . .
The hero is not a helpless victim of fate but is brought down by his “tragic flaw”.
“To thine . . .
“To thine own self be true, says Polonius to Laertes. Hamlet exemplifies this”.