The agonistic mode of the drama, as descended from classical Athens and to the Renaissance, essentially runs contrary to the dramatization of a disembodied divine vengeance that would develop beyond the spatio-temporal bounds of classical tragedy (Kerrigan). In secular drama, then, “if divine justice were to be made visible, it had to be wreaked by the hand of man” (Matthews 87). Hence, instead of being confined to a rule, Shakespeare is given ample technical space to make use of the dramatic situation of the play to question the effort to reconcile ethical differences regarding revenge and society’s consequent demand for irreconcilable modes of action.
Just the sort of thing I’m pounding on the laptop for my research essay right now on the lovely Mr. Hamlet. That was page 10, halfway through the whole thing. One day I shall look back and laugh at how self-important I sound.
But not right now, though.
I’m so addicted to black tea. I can’t study without it.