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1985 5.2.443-446). Hamlet’s noble death corresponds with the ideas of death maintained by such a Renaissance philosopher as Michel de Montaigne (1910) who claims that death uncovers the true essence of a person. According to him, a person can be really judged at his/her last moments. The similar attitude towards death is revealed by Sir Walter Raleigh who claimed that only death could provide people with real understanding of life. During his imprisonment Raleigh demonstrated real courage and was not afraid of death. As he wrote in the latter to his wife, I perceive that my death was determined from the first day (Raleigh, 1940, p.82). In this regard, Hamlet’s real self is obvious only after his death. At the end of the play Hamlet accepts his death with courage and inevitability. However, Shakespeare demonstrates that, despite Hamlet’s indifference to life, he needs much time and courage to prepare himself for killing and death. As Hamlet observes numerous deaths, he becomes immune to his own fortune. He starts to perceive death with irony, realising that life has no value for him. To a certain extent, it is Hamlet’s insanity that helps him to adjust to the idea of death and succeed in his revenge. As Hamlet collides with cruel reality, he seems to be mentally destroyed by it: Who does it, then? His madness. If’t be so, / Hamlet is of the faction that is wrong’d; His madness is poor Hamlet’s enemy (Shakespeare, 1985 2.233-235). Simultaneously, the principal character manages to create an ironical attitude towards death that is intensified by the utilisation of Biblical and classical allusions. For instance, Hamlet’s revenge resembles the classical story of Priam and Pyrrhus; when Priam kills the father of Pyrrhus, the latter decides to kill Priam in revenge. In Hamlet’s case the irony is explained by the repetition of the situation, but Hamlet finds it difficult to succeed in his revenge; he avoids some fortunate situations and kills Claudius only at the end of the play. Another allusion is taken from the Bible: when Shakespeare (1985) mentions the primal eldest curse A brother’s murder (3.3.40-41), he draws a parallel between the story of Cain and Abel with the murder of King Hamlet by Claudius. Although Claudius seems to ask for forgiveness in the church, he does not really repent of his action. When Hamlet recognises the truth about his father’s death, he decides to make a play ‘The Murder of Gonzago’, where he implicitly depicts the murder of his father by King Claudius. Ironically, the play has a great impact on Hamlet who has to suppress his desire to kill Claudius and his mother Gertrude. As he states, Let not ever the soul of Nero enter this firm bosom. / Let me be firm, not unnatural. / I will speak daggers to her, but use none (Shakespeare, 1985 3.2.426-429). As Agrippina, the character of the play ‘The Murder of Gonzago’, is killed by her son Nero, Hamlet is afraid of his desire to also kill his mother. Another element of death that Shakespeare strengthens in his play is the Dance of Death that is crucial for understanding the dramatist’s interpretation of the issue. In the Renaissance this dance was performed in the form of a carnival, during which some people disguised themselves into skeletons and guided other people into ‘afterlife’. As a humorous festivity, the Dance of Death was popular among different groups of people and was depicted in many dramatic works (Freedberg, 1989). The image of the Dance of Death occupies the principal place in Hamlet’s graveyard scene. In Hamlet’s conversation with the gravedigger, Shakespeare uncovers many important issues of existence. For instance, Hamlet asks Did these bones cost no more the breeding but to play at loggets with them? Mine ache to think on’t (Shakespeare, 1985 5.1.91). The Dance>GET ANSWER