How Hamlet relates to other heroes. W. Shakespeare "Hamlet": description, characters, analysis of the work. The correct groups that Hamlet belongs to

The dramaturgy of the 16th - 17th centuries was an integral and, perhaps, the most important part of the literature of that time. This type of literary creation was the closest and most understandable to the broad masses, it was a spectacle that made it possible to convey to the viewer the feelings and thoughts of the author. William Shakespeare is one of the brightest representatives of the drama of that time, who is read and re-read to our time, staged performances based on his works, and analyzed philosophical concepts.

The genius of the English poet, actor and playwright lies in the ability to show the realities of life, to penetrate into the soul of every spectator, to find in it a response to his philosophical statements through feelings familiar to every person. Theatrical action of that time took place on a platform in the middle of the square, the actors in the course of the play could go down to the "hall". The viewer became, as it were, a participant in everything that was happening. Nowadays, such an effect of presence is unattainable even when using 3d technologies. All the more important in the theater was the word of the author, the language and style of the work. Shakespeare's talent manifests itself in many ways in his linguistic manner of presenting the plot. Simple and somewhat florid, it differs from the language of the streets, allowing the viewer to rise above everyday life, to stand for a while on a par with the characters of the play, people of the upper class. And the genius is confirmed by the fact that this has not lost its significance in later times - we get the opportunity to become for some time accomplices in the events of medieval Europe.

The pinnacle of Shakespeare's creativity, many of his contemporaries, and after them and subsequent generations, considered the tragedy "Hamlet - Prince of Denmark". This work of the recognized English classic has become one of the most significant for Russian literary thought. It is no coincidence that Hamlet's tragedy was translated into Russian more than forty times. Such interest is caused not only by the phenomenon of medieval drama and the author's literary talent, which is undoubtedly. Hamlet is a work that reflects the "eternal image" of a seeker of truth, a philosopher of morality and a person who has stepped above his era. The galaxy of such people, which began with Hamlet and Don Quixote, continued in Russian literature with the images of “superfluous people” by Onegin and Pechorin, and further in the works of Turgenev, Dobrolyubov, Dostoevsky. This line is native to the Russian seeking soul.

History of creation - The Tragedy of Hamlet in 17th century romanticism

As many of Shakespeare's works are based on the novels of the literature of the early Middle Ages, so the plot of the tragedy Hamlet was borrowed by him from the Icelandic chronicles of the 12th century. However, this plot is not something original for the "dark time". The theme of the struggle for power, regardless of moral norms, and the theme of revenge are present in many works of all time. Shakespeare's romanticism on the basis of this created the image of a person protesting against the foundations of his time, looking for a way out of these shackles of conventions to the norms of pure morality, but who himself is a hostage to existing rules and laws. The Crown Prince, romantic and philosopher, who asks the eternal questions of being and, at the same time, is forced to fight in realities the way it was accepted at that time - "he is not his own master, his birth is tied by hand" (Act I, Scene III ), and this arouses his inner protest.

(Old engraving - London, 17th century)

England, in the year of writing and staging the tragedy, was going through a turning point in its feudal history (1601), therefore the play contains that certain gloom, real or imaginary decline in the state - "Something has rotted in the Danish kingdom" (Act I, scene IV ). But we are more interested in the eternal questions "about good and evil, about fierce hatred and holy love", which are so clearly and so ambiguously spelled out by Shakespeare's genius. In full accordance with romanticism in art, the play contains heroes of pronounced moral categories, an obvious villain, a wonderful hero, there is a love line, but the author goes further. The romantic hero refuses to follow the canons of the times in his revenge. One of the key figures of the tragedy, Polonius, does not appear to us in an unambiguous light. The topic of betrayal is dealt with in several storylines and is also offered to the viewer. From the obvious betrayal of the king and the infidelity of the memory of the deceased husband by the queen, to the trivial betrayal of the students' friends who are not averse to finding out secrets from the prince for the king's mercy.

Description of the tragedy (the plot of the tragedy and its main features)

Ilsinor, castle of Danish kings, night watch with Horatio, Hamlet's friend, meets the ghost of the deceased king. Horatio tells about this meeting to Hamlet, and he decides to personally meet with the shadow of his father. The ghost tells the prince the terrible story of his death. The death of the king turns out to be a dastardly murder committed by his brother Claudius. After this meeting, a turning point occurs in Hamlet's mind. What was learned is superimposed on the fact that the king's widow, Hamlet's mother, and the murderer's brother are too soon to marry. Hamlet is obsessed with the idea of ​​revenge, but is in doubt. He must make sure of everything for himself. Depicting madness, Hamlet observes everything. Polonius, the king's advisor and the father of Hamlet's beloved, tries to explain to the king and queen such changes in the prince by rejected love. Before, he forbade his daughter Ophelia to accept Hamlet's courtship. These prohibitions destroy the idyll of love, further leading to depression and insanity of the girl. The king makes his attempts to find out the thoughts and plans of his stepson, he is tormented by doubts and his sin. The former student friends of Hamlet hired by him are with him inseparably, but to no avail. The shock of the learned makes Hamlet think even more about the meaning of life, about such categories as freedom and morality, about the eternal question of the immortality of the soul, the frailty of being.

Meanwhile, a troupe of wandering actors appears in Ilsinor, and Hamlet persuades them to insert several lines into the theatrical action, denouncing the king of fratricide. During the performance, Claudius betrays himself with confusion, Hamlet's doubts about his guilt are dispelled. He tries to talk to his mother, to throw accusations in her face, but the ghost that appears forbids him to take revenge on his mother. A tragic accident aggravates the tension in the royal chambers - Hamlet kills Polonius, who hid behind the curtains out of curiosity during this conversation, mistaking him for Claudius. Hamlet was sent to England to cover up these annoying accidents. Friends-spies are sent with him. Claudius hands them a letter to the King of England asking them to execute the prince. Hamlet, who managed to accidentally read the letter, makes corrections in it. As a result, traitors fall under execution, and he returns to Denmark.

Laertes, the son of Polonius, also returned to Denmark, the tragic news of the death of Ophelia's sister as a result of her insanity due to love, as well as the murder of his father pushes him to an alliance with Claudia in revenge. Claudius provokes a duel on swords between two young men, Laertes's blade is deliberately poisoned. Without stopping at this, Claudius also poisons the wine in order to water Hamlet in case of victory. During the duel, Hamlet is wounded by a poisoned blade, but finds an understanding with Laertes. The duel continues, during which the opponents exchange swords, now Laertes is also wounded by the poisoned sword. Hamlet's mother, Queen Gertrude, cannot withstand the tension of the duel and drinks poisoned wine for her son's victory. Claudius is also killed, only Hamlet's only faithful friend Horace remains alive. The troops of the Norwegian prince enter the capital of Denmark, who occupies the Danish throne.

main characters

As can be seen from the entire development of the plot, the theme of revenge fades into the background before the moral quest of the protagonist. The fulfillment of revenge for him is impossible in the same terms as is customary in that society. Even convinced of the guilt of his uncle, he does not become his executioner, but only an accuser. Unlike him, Laertes makes a deal with the king, for him revenge is above all else, he follows the traditions of his time. The love line in the tragedy is only an additional means to show the moral images of that time, to shade the spiritual searches of Hamlet. The main characters in the play are Prince Hamlet and the King's advisor Polonius. It is in the moral foundations of these two people that the conflict of time is expressed. Not a conflict between good and evil, but the difference in the levels of morality of the two positive characters - the main line of the play, brilliantly shown by Shakespeare.

An intelligent, loyal and honest servant to the king and fatherland, a caring father and respected citizen of his country. He is sincerely trying to help the king understand Hamlet, he is sincerely trying to understand Hamlet himself. His moral foundations at the level of that time are impeccable. Sending his son to study in France, he instructs him on the rules of conduct, which even today can be brought without changes, they are so wise and universal for any time. Concerned about the moral character of his daughter, he admonishes her to abandon Hamlet's courtship, explaining the class difference between them and not excluding the possibility of the prince's frivolous attitude towards the girl. At the same time, according to his moral views corresponding to that time, there is nothing prejudicial in such frivolity on the part of the young man. With his distrust of the prince and the will of his father, he destroys their love. For the same reasons, he does not trust his own son, sending a servant to him as a spy. The plan for observing him is simple - to find acquaintances and, slightly denigrating his son, to lure out the frank truth about his behavior away from home. Eavesdropping on the conversation of an angry son and mother in the royal chambers is also not wrong for him. With all his actions and thoughts, Polonius seems to be an intelligent and kind person, even in the madness of Hamlet, he sees his rational thoughts and gives them their due. But he is a typical representative of a society that puts such pressure on Hamlet with its deceit and duplicity. And this is the tragedy, which is understandable not only in modern society, but also in the London public at the beginning of the 17th century. Such duplicity causes protest by its presence in the modern world.

A hero with a strong spirit and an extraordinary mind, seeking and doubting, one step above the whole of society in his morality. He is able to look at himself from the outside, he is able to analyze those around him and analyze his thoughts and actions. But he is also a product of that era, and this binds him. Traditions and society impose on him a certain stereotype of behavior, which he can no longer accept. Based on the plot about revenge, the whole tragedy of the situation is shown when a young man sees evil not just in one base act, but in the whole society in which such actions are justified. This young man calls himself to live in accordance with the highest morality, responsibility for all his actions. The family tragedy only makes him think more about moral values. Such a thinking person cannot but raise for himself universal philosophical questions. The famous monologue "To be or not to be" is only the pinnacle of such reasoning, which is woven into all his dialogues with friends and foes, in conversations with random people. But the imperfection of society and the environment still pushes on impulsive, often unjustified actions, which then are hard for them and ultimately lead to death. After all, the guilt in the death of Ophelia and the accidental mistake in the murder of Polonius and the inability to understand the grief of Laertes oppress him and chains him.

Laertes, Ophelia, Claudius, Gertrude, Horatio

All these persons are introduced into the plot as the environment of Hamlet and characterize ordinary society, positive and correct in the understanding of that time. Even considering them from a modern point of view, one can recognize their actions as logical and consistent. The struggle for power and adultery, revenge for the murdered father and the first girlish love, enmity with neighboring states and the receipt of lands as a result of knightly tournaments. And only Hamlet stands head and shoulders above this society, bogged down to the waist in the ancestral traditions of succession to the throne. Hamlet's three friends - Horatio, Rosencrantz and Guildenstern, are representatives of the nobility, courtiers. For two of them, spying on the other is not something wrong, and only one remains a faithful listener and interlocutor, an intelligent advisor. An interlocutor, but nothing more. Before his fate, society and the whole kingdom, Hamlet is left alone.

Analysis - the idea behind the tragedy of Prince Hamlet of Denmark

The main idea of ​​Shakespeare was the desire to show psychological portraits of contemporaries based on the feudalism of the "dark times", a new generation growing up in society, which can change the world for the better. Literate, seeking and freedom-loving. It is no coincidence that Denmark is called a prison in the play, which, according to the author, was the entire society of that time. But Shakespeare's genius was expressed in the ability to describe everything in semitones, without slipping into the grotesque. Most of the characters are positive and respected people according to the canons of that time, they reason quite sensibly and fairly.

Hamlet is shown as a person prone to introspection, spiritually strong, but still bound by conventions. The inability to act, inability, makes him akin to the "superfluous people" of Russian literature. But it carries in itself a charge of moral purity and the desire of society for the better. The genius of this work lies in the fact that all these issues are relevant in the modern world, in all countries and on all continents, regardless of the political system. And the language and stanza of the English playwright captivate with their perfection and originality, make you re-read works several times, turn to performances, listen to performances, look for something new hidden in the mists of time.

It is believed that the play "Hamlet" was not written by Shakespeare. Indeed, there is no copy of this work, written by the hand of the great playwright ...

The text of the play "Hamlet", which has not left the scenes of the world for more than 400 years, is a compilation of several versions recorded by different people at different times. Therefore, skeptics say, the significance and artistic merits of the tragedy are greatly exaggerated, and the deep meaning that all new researchers discover has been brought in by many generations of readers, viewers and critics. But, even if all this is really so, there is still no escape from the questions: why exactly this text excites minds and souls for so many years and why, in fact, is it so necessary for a person to find any meaning in works of art, philosophical works and religion? After all, you can just eat, drink, have fun and make money. However, no, for some reason one, sometimes insignificant person, was given the gift to create, and to others - to take to heart the works, called great in time.

Of course, masterpieces do not exist to answer all our questions, but they, at least, clearly demonstrate that these questions exist and continue to arise. Let's increase their number by five more.

1. Why does the Ghost need Hamlet?

Indeed, at first glance, the formidable Ghost could easily solve his problems himself. Had he appeared once to Claudius, the goals he formulated would have been achieved: the royal bed was cleansed of desecration and the vile fratricide was punished. In this case, the queen, most likely, would have remained alive. Not to mention the prince. Was the death of his son part of the Phantom's plans? Judging by his words, no. Just as there is no reason to doubt the sincerity of these words. But in reality it turned out differently. It turns out that the Ghost played his role against his will. And who is the director? Who set the rules according to which the Queen of the Ghost did not see, but Hamlet and his comrades saw and heard? Obviously, and Claudius the Phantom could not appear just like that. He had his own organic, that is, natural, inherent only in him, limitations, like each of us. Apparently, our achievements depend not so much on our goals, no matter how wonderful they are, but on our properties, that is, limitations, regardless of whether we are aware of them or not. Therefore, no matter what we achieve, the goal is never alone, there are always accompanying results that are significant for us and for others. And until you figure it out with yourself, you can never be sure that you are playing your own role, and not participating in someone else's performance. Like a ghost.

2. Did Hamlet follow the Phantom's instructions?

On the one hand, since Claudius is killed, the task can be considered completed, albeit in violation of the expected deadlines. On the other hand, in the process of execution, some additional results were achieved, which were not foreseen in the assignment, namely: Prince Hamlet, his mother Gertrude, his beloved girl Ophelia, the father of this girl Polonius, her brother Laertes, and school friends died an unnatural death Hamlet, Rosencrantz and Guildenstern. That is, the executor of the order himself, as well as his closest friends and relatives, died. At the same time, the hero killed some of them with his own hand, while others he fearlessly sent to certain death or did not protect them properly.

In these conditions, the answer to the question posed is no longer so unambiguous. We do not know with what words the Ghost greeted the soul of his son, where it apparently ended up after all that young Hamlet had created. The options can be very different: from "Well done, sonny, did a great job!" before "Did I ask you about this!" In any case, at least one managerial conclusion can be drawn: even in the clearest directive, it is impossible to specify everything that should NOT be done when executing it. So, without explanation, it should be clear. And if people understand each other perfectly, then there is no need to indicate anything at all. And if they don't understand, then things can turn out like the Ghost with Hamlet.

3. To be or not to be?

Is it too late for every person to have questions to which one has to look for answers, as they say, to "Yes - No"? Are there such actions that I should never commit or not such actions and can you expect anything from me? There are such ideas, which I will never become a supporter of or not such ideas, and I can be convinced of anything? Is a person born free and endowed with a conscience, as stated in the Universal Declaration of Human Rights, or do I have a different opinion on this? The questions can be very different, but, in any case, they relate to the basic rules by which we live. And on our answers depends, perhaps, not only our personal fate, but also the fate of many other people.

The selection criterion is of decisive importance here. For Hamlet, this is nobility. We are free to choose another criterion, but how to make a choice about the selection criterion? Ultimately, our decisions reflect our beliefs, character, and way of thinking. And the list of calamities against which the Danish prince considered it noble to raise arms has changed little over the past few centuries. This, as before, the injustice of the oppressors, the pain of rejected love, the insolence of officials, delays in the courts, the humiliation of the proud - there is something to make a personal decision about: whether to endure in silence or end it in a struggle. Of course, you must be ready to answer for your convictions, that is, to pay a certain price, which will be the higher, than the firmness of our convictions. Therefore, the inevitable choice of every person is to be able to accept the challenges of life or not to be.

4. How does an intellectual major turn into a murderer?

What should happen to a person for him to turn from a darling of fate into a half-crazy criminal in a short time? After all, until recently, the prince was simply the rightful heir to the royal throne. A loving and beloved son, an intellectual, a handsome man dictating court fashion, he dedicated love poems to a beautiful girl and his feelings were mutual. Today they say about such - a typical major.

But suddenly old Hamlet, the adored father, dies. The death of a beloved parent, and even under suspicious circumstances, will throw anyone off balance. Especially if a person is prone to reflection and is capable of deep feelings, and this is exactly what Hamlet was. Soon, his beloved mother, the queen, marries her late husband's brother. Anyone who has observed a similar situation may agree that for a son, the imminent marriage of a mother is hardly good news. Moreover, the relationship between relatives was far from the best: the nephew suspected the uncle of his father's murder, and the uncle, in turn, suspected that he was suspected. The fact that Hamlet fell into extreme thoughtfulness seems completely natural. Indeed, imagine a son who, in such circumstances, could, as if nothing had happened, say something like: "Mommy, congratulations, a worthy choice, I wish you happiness!" Maybe someone could, but not Hamlet.

And then the next blow overtakes him. He meets the ghost of his father. Not everyone has such a meeting in life, but it is easy to understand that a person who has experienced such a thing may well seem a little strange to others. And in reality, to be no longer like everyone else, including not what he himself was until recently. Moreover, having a task that cannot be refused, and it is impossible to complete it. At least, if you are not ready to become a murderer and die yourself.

5. Hamlet or Fortinbras?

Once upon a time, two kings lived in the neighborhood - Danish and Norwegian. The Danish name was Hamlet, the Norwegian name was Fortinbras. Each of the kings had sons - respectively, young Hamlet and young Fortinbras. They also had brothers. King Hamlet has Claudius, and the name of the brother of the Norwegian king is unknown, in the play he is simply called "the old Norwegian."

Once the neighbors came together in a duel, each put up a part of his territory as a mortgage. The mortgage should go to the winner and then be inherited by the children - respectively, the Norwegian or Danish princes. The Dane won, the Norwegian was killed, his mortgage passed into the hereditary possession of the young Hamlet. But this turn of affairs did not suit the son of the deceased, and young Fortnibras immediately after the death of the king of Denmark began to demand the return of the lost territories, and moreover, he began to gather troops to solve the problem by force. In turn, the new Danish king, brother and assassin of the former king, Claudius, turned to Fortinbras's uncle, an old Norwegian, with a request to calm his nephew. The request was granted. At the same time, it turned out that the Norwegian prince was trying to deceive his king, assuring that the purpose of the military training was a campaign against Poland.

The old Norwegian forbade Fortinbras any action against Denmark, which he solemnly promised and, as a reward for obedience, received the right to a Polish campaign, the route of which ran just through the Danish kingdom. On the way back, the young Norwegian finds the denouement of the tragedy, all members of the Danish royal family are dead, and he has no choice but to become the new king of Denmark himself. Fortinbras is a real warrior, a man of action, for whom the main thing is to fight, no matter whether there is a reason for it or no reason. He abandoned the war with Denmark, having his own reasons for it, made a meaningless, from any point of view, campaign in Poland, and achieved what he could not even dream of without making any special efforts and not at all bothering himself with unnecessary reflections. Prince Hamlet, on the contrary, tried to understand the meaning of what was happening and to comprehend his destiny. Ultimately, he succeeded (albeit at a high price).

[Mentor]Ethical is an intuitive extrovert(EIE / ENFJ / Hamlet).
Young's basis: extrovert, ethic, intuition, rational.
Quadratic signs: aristocrat, subjectivist, determined.
Dyadic signs: stubborn, reckless, evolutor.
Individual signs: negativist, quest, speaker, strategist, constructivist.
Temperament: linearly assertive.
Life strategy: striving for the ideal.
Mission: educational.
Vocational guidance: communicator.
Incentive to activity: uniqueness.
Communication style: passionate (exchange of emotions).
The factor of creative problems: conservatism.
Life position: whatever happens, everything should be filled with feeling, passion, creativity, energy, love or desire.

Typical manifestations of the type:
Actor. A man of tragedy and comedy. Hamlets tend to excite everyone around them. They often act on emotions, on impulses. The moment of emotional uplift is appreciated.
Eccentric and assertive. They know how to quickly escalate the situation. They like to dramatize.
If the situation allows them to act, then they look stubborn and unbending "flints", uncompromising, ready for any deprivation, self-restraint, etc. To any decisive, impeccable in dedication action, they respond with nervousness or psychosis: depending on which at the moment is more suitable for the situation.
These are real masters of creating or provoking anxiety, then fueled by the energy of excitement and again transmit it to the surrounding space. A kind of elemental magicians. A second ago, there was nothing, and suddenly once - a whirlwind, a tornado appeared. The stronger or more unstable the surrounding space, the stronger they are. With their intonations alone, they are able to heat up or defuse the situation.
They are afraid of manifestations of unmotivated intimacy and warmth in communication. If for no reason at all you decide to show your concern, start behaving as if you have known him for a hundred years, if you wave your arms around and try to break the intimate border of space, touch it "specially and informally", then Hamlet is right on your eyes, will cease to be flexible and tolerant.
He tries to look like an independent and self-sufficient person, although for self-confidence he really needs periodic encouragement and attention from friends and relatives. He can easily get upset and disappointed in himself if something does not work out for him, but it is not difficult for him to rehabilitate and regain faith in himself. Once you achieve what you want, and things get better, the mood picks up again.
Despite the fact that you strive to try everything in life, he is exactly the type of person who will eventually settle down, put his inner world in order, get a family, but will not fade, as is typical for many after that.

Main quality:
Bright energy and quick response. Hamlet's life should be filled with experiences, relationships should be deep, feelings should be intense. The motto “I feel, therefore I am” explains their tendency to dramatize.

Main motivation:
Express yourself. It is important for Hamlet to stand out from the crowd, to be different from everyone else.
On the other hand, the desire to prove one's worth and being chosen is also not the last of the motives.

The middle dream:
So that everyone without words understands how to care and when to help. To have the perfect wardrobe with clothes. To have all the necessary medicines. So that no one encroaches on his place in the life of another person and in society.

Basic Ability:
Dive into the spotlight. Excite the imagination, motivate the masses. Implement ideology. Engage in propaganda and agitation.
By their nature, they are ideologists and revolutionaries.

Growth vector:
Growth through working with information: writing, mentoring, advocacy.
Working with the masses: public speaking, organizing collective discussions.
Artistry, a penchant for artistic expression. Work in the theater.

Implementation vector:
Emotionality: What looks like emotional storms to others is a common inspired state for him.
Passion: with emotions, he easily covers everyone around him at the moment, changing their emotional states at will and whims.
Moral cleanliness: squeamish, does not forgive betrayal.
Reliability: very conservative in his views and habits.
Great Speaker: Restless himself, captures and makes others worry.
Happy: if he undertakes to help you, then you can safely rely on him.

Positive tendencies:
Make decisions quickly.
Be clear about your thoughts.
Stop any rush
Show hardness
Act directly and consistently
Identify the problem and focus on it.

Skills:
Feel the mood of other people subtly.
Change your mood.
Express your feelings beautifully: from sublime intonations to subtle irony.
Emotionally captivate, lead.
Correctly distribute actions in time.
Look into the future and clearly see the desired image

Positive trend:
The goal of personal growth is - the evolution of a particular mindset, the development and use of mental abilities.
He needs clarity and harmony of the logical system of being. Rules, instructions, frameworks often play the role of that very firm hand that allows you to structure your life and not break into emotional frenzy that threatens insanity.
An obstacle on the way to the development of intelligence can be both unmotivated demonstrativeness and unwillingness (inability) to delve into the essence independently.
Personal development directly depends on the level of communication skills. Harmonize themselves through verbal expression.

Strengths:
The ability to focus on the essentials. Highlighting priority interests, sacrifice the rest for their sake

Weak sides:
A penchant for fanaticism
Dubiousness
Categorical
Vanity
Ambition (pride)
Vulnerability
Emotional instability

Negative qualities:
Do not allow others to participate in the decision-making process until it is clear that these decisions may be appropriate.
They speak bluntly; others may perceive this as an attack against them.
Sometimes they start to act without figuring out how ready other people are.
Are in a hurry to make decisions; at the same time, they do not have sufficient information, including the factor of influence on people.

Negative trend:
When he feels the importance of each of his choices and actions and is responsible for them, when he realizes that the quality of life of other people depends on his decision, then strong principles awaken in him, including the ability to intuitively learn, to control someone else's will.
If he does not realize this, then his qualities, his energy, begins to work against himself, creating an outstanding laziness in him. In this capacity, he relies on a position like: "If necessary, I can easily, and so why try?" and a general, but very sincere egocentric orientation with a subconscious feeling: "Of course, the whole world should try for me, but for whom else?"
With the egocentric attitude of the person, the purpose of which is only to actively demonstrate his talents, under such circumstances, the main motivation turns him into a neat, but completely ruthless vampire in areas related to the consumption of any emotions.

You cannot demand and expect from them:
Unchanging optimism;
Quick concrete return on business;
Sober, objective, without an emotional outlook on things;
Ability to reliably analyze the situation;
Democracy and ease of communication.

Contacts and connections:
Critical or picky communication style. The schemer is a provocateur. Likes to play a trick, play, give free rein to his poisonous tongue.
Trolling the environment is a kind of filter, as a result of which only those connections remain that will definitely be viable or useful.

Relationship:
In relations with others, he constantly requires confirmation of his status, proof of loyalty and reliability, extreme tact and patience for his originality. He himself is often very intrusive, eloquent, proud and very touchy. He is jealous of rivals, true, and even more so, imaginary.
Most often, he builds relationships with people from a different age group, or with peers who have confirmed their maturity, independence and self-sufficiency.
He is drawn to reliable, albeit not bright, but stable and solid personalities.
For all his emotionality, he does not tend to scatter feelings, but concentrates on one object of addictions.

Defense mechanisms:
Ban on mediocrity: ordinary life for him is meaningless.
Inclination to idealization: he dreams of a better world, of ideal relationships.
Need for self-expression: He often lacks recognition of his deepest individuality.

Behavior in extreme situations:
When the situation gets out of control, Hamlet becomes very harsh and impetuous. Decisions are made so quickly that sometimes they get ahead of the process of awareness and reflection. The wedge-wedge style is practiced. Problems are encountered with an open visor and with the same visor they are created.

Main difficulties:
Hamlet is prone to depressive states, accompanied by a loss of faith in himself. When closing on oneself, immersion in one's inner world, in one's sensations, appears, a tendency appears to act on inner motives, ignoring real circumstances. This leads to duality in the assessment of people and phenomena. It begins to sincerely seem to him that his vision of the situation is finally true, and it is almost impossible to convince him of this. He begins to be mistaken about people and things, being in the confidence that he alone sees everything correctly. As a result, there is depression, doubt, fear of being abandoned.

The image of Hamlet appears in its entirety, in interconnection with all the characters. After all, each such character has its own task, its own truth and illuminates some facet of the character of the protagonist. About the role and significance of the secondary heroes of this tragedy for the full-fledged perception of its main hero and the work of art in general Nevertheless, any literary hero, secondary or main, in a literary work is an actor and bearer of a certain type of historical consciousness.

In the literature of recent years, works have appeared in which characters who are secondary to the classic plot take the first places and begin to play the main roles. So, Rosencrantz and Guildenstern are the main characters of T. Stoppard's play “Rosencrantz and Guildenstern are already dead”, Gertrude and Claudius are the heroes of J. Updike's story, and Horatio became the main hero of B. Akunin’s paraphrase “Hamlet”. In an effort to fully understand the nature of the relationship between the artistic elements of a literary work, it is necessary to analyze not only the main storylines and positions of the main characters. Additional plots, the share of the action of the secondary characters, become interesting for the researcher. This approach makes it possible to discover new, equally important aspects in the process of perception, analysis and understanding of the work.

Let's try to consider the tragedy through the relationship, the attitude of the minor characters to Hamlet. The space of tragedy is a multi-vector structure, almost every vector of which makes the existing confrontation between the protagonist and certain characters in the play visual. All the heroes in "Hamlet" appear as direct participants in the dramatic action and can be combined into peculiar pairs for signs of both similarity and antagonism. Nevertheless, the unity or confrontation of the heroes of the tragedy is mobile, situational and occurs on the basis of family ties, common interests or positions.

Conventionally, the first vector on the field of dramatic conflict will be represented by Claudius and Gertrude. The mother and uncle of the main character of the tragedy are rulers who usurp power, although, according to the traditional interpretation, Gertrude is most often perceived as an involuntary victim, and Gertrude and Claudius can act as antipodes.

The second is Polonius and Osric. The Chancellor of the Danish Kingdom, who is at the top of the feudal society, a poor copy of a talented intriguer, is united in a willingness to carry out any order from the authorities, not forgetting about their own benefits.

The third - Ophelia and Laertes - daughter and son of Polonius, whose fate is directly related to the actions of Hamlet. According to the traditional version, Ophelia and Laertes are victims, puppets, or involuntary servants of power.

The fourth is Horatio .. Rosencrantz and Guildenstern are Hamlet's comrades in teaching at the University of Wittenberg. In the list of characters, Horatio is listed as a friend of the prince. He is always with him, except when Rosencrantz and Guildenstern appear. The prince also considers these heroes to be his friends, nevertheless, according to the viewers (readers), they take the side of the authorities and become the executors of its orders. The almost complete absence of personification of signs makes it possible to perceive them as one hero.

The fifth is Prince Fortinbras. Hamlet will not meet him on stage, but the feeling that Fortinbras is a kind of double of the protagonist does not disappear. Some events in the life of the Norwegian prince coincide with the story of Prince Hamlet (as, by the way, with the story of Laertes), nevertheless, everyone determines their life priorities in their own way. In the real space of the tragedy, Fortinbras can be a match for his father, killed by King Hamlet, Hamlet himself and Laertes.

Outside the system of really acting heroes, there is a character who inspires the plot of the main storyline. This is the Ghost, the Shadow of Hamlet's father. The sphere of realization of this character is limited to communication with Hamlet, the Ghost pushes Prince Hamlet to action. The events that took place at the beginning of the performance are transferred to the plane of moral choice and encourage the hero to determine the priorities of being, to search and assert, even at the cost of life, a new system of values

Nevertheless, researchers consider another variant of a possible schematization of the figurative system of tragedy: Hamlet - two kings (Hamlet, Claudius); Hamlet - two women (Gertrude, Ophelia); Hamlet - young vassals whom the prince considers friends (Horatio, Rosencrantz-Guildenstern); Hamlet - the sons of the avengers (Fortinbras, Laertes).

For any variant of considering the tragedy, the role of secondary characters in understanding the events, thoughts and actions of the protagonist is significant, and the disclosure of the versatility of the artistic plane of the work would be impossible without taking into account the peculiar intersections of thoughts and positions of the main and secondary characters. “Between the characters,” we read in the literary commentary of VA Anikst, “there are threads of connection. Nothing in tragedy is isolated, everything is interconnected, human destinies interbreed, and Hamlet is not only what he is in himself, but also what he is in his relations with others ”.

For self-realization, you do not need to exert extra efforts. It is important to find the optimal path. Let us examine the issue of career guidance using the example of TIM “Hamlet” (EIE), or “Knight of the Staffs” in Savchenko's symbolic socionics.

Representatives of the type: William Shakespeare, Charlie Chaplin, Louis de Funes, Adolf Hitler, Che Guevara, Vladimir Zhirinovsky, David Copperfield, Philip Kirkorov, Edward Radzinsky, Dmitry Nagiyev.

The description of TIM according to model A, adopted at the Socionics Research Institute, tells us the following.
Strong conscious personality functions reflect the main thing in the essence of the type. They represent a zone of confidence. According to these functions, a person chooses life goals and tools to achieve them. The choice of a profession should be based on these functions.

1. BASIC FUNCTION: Ethics of emotions

Aspect semantics: excitement (excitement, excitement, indignation, oppression, passion, ecstasy, calmness, depression); motivation for action (fanaticism, attitude, determination, enthusiasm); manifestation of emotions (passion, artistry, intonation, ability to control emotions); emotions of people (delight, admiration, anger, mood, joy, sadness).

The basis of Hamlet's personality and intellect is the ethics of emotions, hence the high level of emotionality of EIE. They are well versed in their own and others' emotions, they are able to manage them. Due to this, they are able to give the necessary emotional charge through a certain message to their "viewers".

Has a very wide range of manifestations of emotions from complete indifference to their most dramatic manifestations. Able to easily evoke in himself or others the emotion necessary at the moment.

2. CREATIVE: Intuition of time

Aspect semantics: time (time interval, calendar time, moment, pause, period, then, duration, timeliness, time); communication with time (wait, catch up, planning, generational attitude, warning, punctuality, strategy); forecast (perspective, foresight, retrospective, premonition); development of processes in time (genealogy, history, variability, maturation, alternation, era, development, modernity); speed (rhythm, pace).

EIE is free to manipulate time, is critical of the lateness of others, and can react aggressively if someone tries to redistribute their time.

Now let's look at weak conscious functions:

3. ROLE: The logic of action

Aspect semantics: action (movement, activity, movement, action, implementation); knowledge (qualification, method, skill, fact, erudition); work (tool, mechanism, technology, functioning); reason (adequacy, benefit, pragmatism, benefit, common sense, rationality, rationalism, expediency, efficiency); economy (entrepreneurship, cost, price).

Since this function is weak, you should not expect creativity on it, but in an unfamiliar situation it comes to the fore. For the most effective adaptation, Hamlet needs to speak and look businesslike. He is more comfortable talking about what position he holds, what functions he performs, what results he has achieved, how many educations he received and how much money he earned. As soon as he gets used to the situation, he switches to his strong conscious - the ethics of emotions and intuition of time.

4. PAIN: Sensory perception

Aspect semantics: sensation (gustatory, tactile, shades of colors, pleasant, elastic, firm); well-being (health, pleasure, rest, relaxation, satisfaction); taste of life (harmony, design, quality, "tit in hand", convenience, pleasure, coziness, comfort); feeling of oneself in space and time (here and now, feeling of space, reliability, ability to settle down in space).

Hamlet (EIE) is extremely sensitive to comments about his appearance, it is difficult for him to talk about his health. Hamlet himself does not understand what sensations and state of health are inherent in people at one time or another. It is difficult for him to provide himself with the necessary comfort.

5. SUGESTIVE: Structural Logic

Aspect semantics: measurement (parameter, distance, commensurability, comparison, standard); understanding (analysis, detail, synthesis, versatility); order (classification, control, accounting, sequence); structure (mutual position of objects, ratio, subordination, scheme); system (regularity, hierarchy, organization, cause-and-effect relationships, theory); formal logic (algorithm, proof, law, instruction, equality, statistics, equation).

It is believed that for this function, all information comes from the outside world, being further redistributed for processing by all other functions. Hence, Hamlet is very trusting where information is presented from the point of view of a scientific approach. If he is given information through a system of rules and laws, he takes it easily and on faith.

It is also worth noting that Hamlet strives to follow the rules that are established in the society where he got, or to follow the algorithm of work, if there is one. This helps him to be more mobilized and concentrated, as well as to perform the assigned tasks much better.

6. REFERENCE: Volitional sensing

Aspect semantics: possession (desire, possession, protect, sphere of influence, tactics, territory, sense of master, expansion); external qualities (beauty, contrast, appearance, shape, brightness); mass (many, congestion, crowd); manifestation of volitional qualities (to achieve, achieve a goal, force, command, conquer, storm, suppress, conquer, determination); strength (weight, power, weight, resistance, willpower, resistance, confidence, violence, pressure, physical strength); status (authority, ambition, weight in society, significance).

Hamlet needs a "strong hand" and volitional influence. It is difficult for him to get together and begin to complete the task. It is also difficult to understand your appearance, beauty. Needs the help of his dual. I'm not sure what he can claim with regard to the territory, position in society, and it is also difficult for him to judge the degree of his attractiveness.

Now let's look at strong subconscious functions:

7. FRAMEWORK: Ethics of relations

Aspect semantics: moral categories (worldview, morality, morality, conscience, religion, decency); attraction (psychological distance); manifestation of feelings (arrogance, delicacy, diplomacy, mercy, responsiveness, condescension, tolerance); feelings (kindness, envy, anger, love-hate, sympathy-antipathy, compassion); relationships between people (enmity, friendship).

Relationship ethics is a very powerful function of Hamlet. If he wants to limit external activity in his favor, then he will demonstrate a certain attitude that he considers appropriate. However, Hamlet is just as easy to disarm by showing a certain attitude: hostility, indifference, etc. He will not be able to overcome this at once.

8 RELEASE: Intuition of Opportunity

Aspect semantics: vision of opportunities (holistic perception, striving to reach the essence, deep vision); opportunities (talent, chance, potential, vitality); uncertainty (someone, something, surprise, paradox, ambiguity, probably “pie in the sky”); search (choice, hypothesis, find, insight, ideas, conception, discovery, assumption); essence (openness, basis, content, simplicity, purity, true property).

EIE has good intuition - it will not miss its own. He perfectly sees the possibilities, although he cannot always accurately determine the expediency of the business being undertaken. Feels pitfalls, feels the development of the situation as a whole, has an intuitive insight.

Based on the description of TIM, one should not expect from Hamlet perseverance, objectivity in assessing activities, impassive analysis of the situation, simplicity and ingenuity, as well as democratic relations.

However, the undoubted strengths of "Hamlet" are the ability to subtly feel other people, perfectly manipulate their own and other people's feelings, the ability to ignite, lead, foresee the development of the situation, foresight, the ability to see the hidden potential of a person, the ability to correctly distribute things in time. Hence, it should be concluded that the activity of EIE should be associated with people, and among others it is work on the development and motivation of personnel, as well as adaptation and training.

An example of Hamlet's vocational guidance is the following case.
In the second year of the institute, studying at the Faculty of Economics and Management, EIE decided that he should master the profession of “HR Manager”. He passed the appropriate training and went to work as a personnel inspector. The essence of the work was that "Hamlet" had to conduct personnel records management and enter information into the accounting system.

Since sensorics and logic are not strong functions for EIE, the following consequences could be observed: his work was accompanied by frequent minor errors and inaccuracies, since he had to deal with details. Either the number is incorrectly indicated, the wrong order number, the wrong seal. The wrong numbers were entered into the database, and the names were with typos. For the work to be done correctly, Hamlet double-checked all the work for himself 3-4 times, which allowed him to achieve good results in this position. For this, he needed to carefully study the legislation, which was not difficult, however, when the situation required the inspector to find a loophole and get out of a delicate situation that was associated with the manipulation of the law, certain problems arose, because EIE had a weak subconscious structural logic.

Then Hamlet decided that it was worth trying to switch to recruiting. Things got better here. EIE quickly adapted to the new position, because strong ethics and intuition made it possible to almost accurately choose the right people.

The next step was to move to external recruiting as a headhunter. The ability to cheat, play various roles, the ability to assess the potential and capabilities of a person in a limited period of time played a decisive role in the success of Hamlet in this position. And his penchant for uniqueness and the need to stand out was satisfied by finding extremely rare specialists and attracting them by hunting.

So, the conclusion can be made as follows: for self-realization, sometimes you need to take several steps, especially if something does not come out easily. Everyone should look for an occupation that does not require superfluous efforts from a person to achieve the desired result.