莫纳什代写assignment：莎士比亚的灵感

2017-04-21 13:16

莎士比亚的灵感来自现在他失去了Ur Hamlet和托马斯·基德的著名的复仇剧西班牙悲剧玩。这两部剧都遵循传统复仇悲剧的公式，要求剧中主人公的死亡，以恢复自然秩序。莎士比亚的<<哈姆雷特>>通过其对原罪的圣经典故而离开了这些戏剧。文艺复兴神学家接受了最初罪的双重叙述及其持续的报应。正如Heather Hirschfeld所说，“这不仅仅是海侵行为本身的污点也由此产生的腐败，–随便给–传递到全世界。”[ 12 ]这是明显的在马丁·路德的供述关于基督的晚餐，在那里他国”，所有的人都有一个共同的祖先，亚当；从这个人，通过他们的诞生，他们获得和继承下跌，内疚和罪恶，这同亚当，通过魔鬼的邪恶，承诺在天堂；因此，所有的人随着他出生，生活，死亡共罪。”[ 13 ] Hamlet的死亡这出戏的结局是运动中的自然秩序的恢复他的父母和集的罪赎罪：FALS国王被杀，年轻的弗丁布拉斯进展从远处在自己谋杀父亲王位的名称要求。
莫纳什代写assignment：莎士比亚的灵感
Shakespeare drew inspiration for his play from the now lost Ur-Hamlet and Thomas Kyd’s famous revenge play Spanish Tragedy. Both of these plays follow the formula for traditional revenge tragedy which demands the hero’s death at the conclusion of the play in order to restore natural order. Shakespeare’s Hamlet departs from these preceding plays through its biblical allusions to original sin. Renaissance theologians accepted a dual account of initial sin and its continuing retribution. As Heather Hirschfeld says, “it is not just the taint of the transgressive act itself but also the resultant corruption that is transferred – literally bequeathed – to all the world.”[12] This is clearly evident in Martin Luther’s Confession Concerning Christ’s Supper, where he states “that all men have descended from one man, Adam; and from this man, through their birth, they acquire and inherit the fall, guilt, and sin, which the same Adam, through the wickedness of the devil, committed in paradise; and thus all men along with him are born, live, and die altogether in sin.”[13] Hamlet’s death at the end of the play is atonement for the sins of his parents and sets in motion the restoration of the natural order: the false king is killed, young Fortinbras advances from afar to claim the throne in the name of his own murdered father.

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