W. Shakespeare’s "Hamlet" in context of E. Levinas’s philosophical concept of man: discovering "the other" as a meaningful subtext of the tragedy
The connection between literary and artistic and philosophical discourses in the process of verbalization of the meanings of being. Building the concept of a person as the overarching task of creating a literary work in V. Shakespeare's tragedy "Hamlet".
| Рубрика | Философия |
| Вид | статья |
| Язык | английский |
| Дата добавления | 22.07.2024 |
| Размер файла | 37,6 K |
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It is a well-known fact that Shakespeare played the part of the Ghost in the play, and the protagonist's name correlates with the name of the author's late son. In J. Joyce's “Ulysses”, it provided the grounds for Stephen Dedalus to formulate his theory concerning the tragedy, according to which Gertrude and Claudius are associated with the author's unfaithful wife and his brother, and the central character - with the playwright's gone son Hamnet. Consequently, the living and dead participants of the dialogue in “Hamlet” exchange their roles and statuses so that both of them appear to be dead and alive at the same time, that is, acquire an entirely new quality as a result of the discovery of the Other, actualized within the space of the work. Using Levinas's expression, one can call this quality “escaping death”, a unity at the level of the transcendent - the absolute Other over which ontology has no power.
The dialogical unity with the absolute Other, predefined by Shakespeare's tragedy, was artistically interpreted by B. Pasternak in his poem “Hamlet”, which projects the relationships between the father and the son onto the plane of the divine plan and its implementation by using gospel allusions (the agony in the garden of Gethsemane). This takes the axiological semantics of the intentions of the subject of reflection to a fundamentally new level [Маринчак, 2011]. The persona, the subject of feeling and speaking, is at once the actor playing the part of Hamlet in Shakespeare's tragedy, Hamlet, who commits himself to the task of restoring the violated justice, following his father's directions, and Christ, whose mission fulfils the will of God the Father, opening for all people the prospect of the victory over death. In fact, it complies with the principles of organization of the system of characters of the tragedy, which allows one person to appear in different hypostases and projections: for example, the late King Hamlet is present on stage in the form of Ghost the spirit, a real person (the father referred to by Hamlet, the son), and Hamlet himself, whose flesh and spirit are inextricably linked with his father by the fact of birth and inheritance of the name. Therefore, the spirit, the father, and the son are materialized by the integrity of the literary work, which, by means of the stage production, enters the actual being of the author, who played the spirit in the play and continues to participate in the shared spiritual existence of people after his death through the spiritual dialogue with the recipients of his work, made possible by art. According to this highly elaborate, multifaceted and essentially open artistic and existential configuration, the persona of Pasternak's “Hamlet” is Yuri Zhivago and Boris Pasternak (the character and the author of “Doctor Zhivago”), every actor playing the part of Hamlet in Shakespeare's tragedy or any role in any theatre performance, and every person who lives their unique and complex life, following their personal truth or opposing it. Hamlet (the hero of the tragedy written by the author of genius) and Christ (the axis and sense of history, as K. Jaspers would have said), who are, correspondingly, the sons of the Danish king and the King of Heaven, are moving towards their fathers - the earthly one and the eternal one. In the context of Pasternak's lyric interpretation as well as in Levinas's philosophical meditations, Hamlet and Christ appear to be the personal maximum of the particular and Absolute Other, related as the part and the whole within the integrity of being. Hence, in the context of the above paradigm, the person appears as a participant in the dialogue with the Other, which enables achieving the fullest self-actualization and genuine eventful fullness of being. At the same time, the person becomes a space of dialogue among different transcendent existential subjects, the mutual discovery of which fills human existence with both tragedy and meaning, opening the way for the renewal and harmonization of our shared being.
Therefore, of great significance is the fact that in Shakespeare's tragedy, Hamlet moves toward his father as the Other, looking for his trace both in the outer and inner worlds. He recognizes his father in the Ghost, overcoming the fear of communication with the afterworld; he perceives the deceased king as a role model; he is in despair because there is no memory of her late husband in Queen Gertrude's heart, etc. All these efforts aim at approaching his father as the necessary Other; they eventually make the hero act to restore the lost balance of good and evil powers and set the time right, and turn out to be noble selfsacrifice for the sake of the past and the future in which the hero himself is absent. These actions are perceived as corresponding to the grand design, absolute justice that gives evil due and puts an end to its reign. In this regard, Shakespeare's tragedy begins to play the role of a generalized artistic trace concerning the human actions of that level, inviting every potential recipient of the scenic or literary text to the dialogue-reading. Shakespeare's genius allows any reader to discover Hamlet as the Other within the work of art, thus directing the dialogical interaction into the future. It is no coincidence that this tragedy of Shakespeare has an impressive history of adaptations for the stage, supplemented by film adaptations since the 20th century. If the dialogue with Hamlet as the Other still becomes the biggest test for an actor, the dialogue with Shakespeare as the Other is a real challenge for a director who decides to stage or cinematize the play. For any reader of the tragedy as a work of literature, both Hamlet and Shakespeare embody an invitation to the dialogue that reveals the recipient's true personality. It is probably the reason for readers of all time to seek this dialogue, be interested in the mystery of the hero and the author, oscillations between excitement and disenchantment, which follows the flow of the tragedy through time, or try to avoid this dialogue as if protecting themselves from disclosure and evading significant inner work directed by the philosophical tragedy toward self-knowledge. The horizons of the existence of W. Shakespeare's tragedy in any given artistic interpretation are an important subject of further research into the work's sense-bearing sphere that reflects the vectors of a universal dialogue taking place in the space of culture.
So, the interpretation of W. Shakespeare's tragedy “Hamlet” in the context of E. Levinas's philosophical ideas makes it possible to assess the cognitive potential of the dialogical interaction between philosophical and artistic discourses. Their complementarity gains particular significance in the process of reflection aimed at comprehending the aspects of the intersection of ontological and anthropological riddles. This intersection emphasizes such facets of the poetics of the famous play (in particular, the organization of its system of images) that are subordinated to the task of implementing the dialogue between the ego and the Other.
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