One of the significant conflicts within Renaissance culture was how to rationalize the many instances of violence that took place in a society with such strong Christian values. While some preached from the New Testament the importance of love and treating others well, many used the numerous descriptions of murder and war found in the Old Testament as justification for the violence that occurs every day. Both Hamlet and The Tempest describe the violence that follows a character's betrayal of his brother, a common incident seen in the Bible. However, while the numerous instances of violence in Hamlet are presented as extremely violent, The Tempest contains more threats of violence or psychological torture. While Shakespeare's graphic depiction of violence in Hamlet represents a reasonable desire to restore God's intended royal hierarchy, the lesser degree of violence in The Tempest means that force is not necessary because God will ultimately restore political stability. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Seventeenth-century Christianity was not entirely focused on the salvation of souls. Many times, religion served an ulterior purpose, acting to impose a sense of order on the public. The Bible was used to persuade people to follow God's rules. However, not only God's laws were imposed. A central idea in Renaissance society was the idea of ​​the divine right of kings, according to which the king was appointed by God and acted as a representative of God's will. Therefore, the laws of rulers were to be followed as if they came directly from God; to defy the king was to defy God. Sharpe writes, "The distinction between disobedience to royal and divine authority, between crime and sin, was less clear than today" (Sharpe 159). The perception that God appoints the ruler who would be best for the kingdom is extremely important in both Hamlet and The Tempest, and I believe this explains the biblical allusions and how Shakespeare depicts violence in both plays. From the first act of Hamlet, there are clear similarities to the biblical stories. As old Hamlet's ghost explains that he was murdered by his brother Claudius, he tells Hamlet, "The serpent that stung thy father's life / Now wears his crown" (1.5.39). The reference to the serpent is a biblical allusion. In the story of Adam and Eve, Satan disguises himself as a serpent and encourages Eve to disobey God and take a bite of the forbidden tree of knowledge. The description of Claudius as a serpent implies that he too is the embodiment of evil. In Renaissance society, ambition and the pursuit of power were seen as admirable qualities, and Shakespeare's description of Claudius in biblical terms reminds the reader that Claudius' actions should be considered reprehensible. The most obvious biblical reference in Hamlet is to the story of Cain and Abel. At the beginning of the Old Testament, two brothers offer sacrifices to God. God accepts the sacrifice of Abel's sheep, but rejects Cain's offering. Cain then takes Abel to a field and kills him in what Foakes calls “an act of wanton violence for which no reason is given” (Foakes 25). This act of violence is repeated in Claudius' murder of his brother, and Shakespeare mentions it many times. Claudius himself acknowledges the similarity to humanity's first murder, saying, "Oh, my offense is grievous! It smells heavenly./ It has upon it the oldest primordial curse,/ The murder of a brother" ( 3.3.36). Hamlet also alludes to the story when he describes Cainas the one who "committed the first murder!" (5.1.72). The echoes of the story of Cain and Abel are not simply a coincidence, but rather serve as confirmation of the extreme measures of violence in Hamlet. Critics argue that Renaissance society was “a society in which the use of violence was accepted as a necessary means of maintaining order in hierarchical relationships” (Fletcher 192). That is, violence was often necessary to restore social order and political that God had arranged. Old Hamlet was the ruler God appointed to rule Elsinore. However, when Claudius repeated the basic sin of killing his own brother, he destroyed the natural political order unequal. . . must produce turbulence as the axis of power shifts and is shifted by desire and possibility" (Cohen 4). The violence that results from the murder of Old Hamlet is inevitable as Hamlet attempts to restore stability to the kingdom. Hamlet is considered one of Shakespeare's bloodiest plays; in the final scene, Laertes, Polonius, Ophelia, Rosencrantz, Guildenstern, Claudius, Gertrude and Hamlet are all dead that violence is used on behalf of God and is therefore justified. In relation to my argument, the most violent deaths are those of Claudius and Hamlet himself is the main focus of much of the. operates as Hamlet attempts to avenge his father's "foul murder" (1.4.27). However, Hamlet's revenge is tainted by his moments of indecision. When he is finally presented with the perfect opportunity to kill Claudius, he is consumed by the Christian notion of the afterlife. The common conception was that if one died while praying, one would automatically go to heaven. Hamlet explains that to guarantee Claudius a place in hell, he must kill him in his most natural state, "when he is drunk in his sleep, or in his rage, / Or in the incestuous pleasure of his bed, / At play, oath, or regard to some act / that has no savor of salvation" (3.3.89). The fact that Claudius will also be subject to God's punishment excuses Hamlet's violent thoughts. The actual murder of Claudio is equally complex. In the process, Hamlet accidentally kills Polonius in what Foakes calls an act of primal violence, or "violence which has no motive, or is inadequately motivated, violence which may seem to arise spontaneously and be essentially meaningless, until it is given meaning". after the event" (Foakes 16). However, after Hamlet kills Polonius, he says, "Heaven hath so willed / To punish me with this, and this with me, / That I should be their scourge and minister" (3.4. 157).The Christian reading of this "reckless and bloody act" (3.4.26) implies that, although Polonius' death is regrettable, it is a necessary step in Hamlet's process of restoring God's order he murder of Claudius is graphic as Hamlet stabs him with a poisoned sword, but is depicted as punishment for Claudius' contempt for the natural order of the rulers. Hamlet is not seen as committing a simple act of violent revenge, but rather he acts as an agent of God and uses violence to punish the character who destroyed the political stability of the kingdom. Hamlet's death at the end of the final scene comes as a shock to many readers, who have come to feel some sort of of sympathy for this grieving and confused protagonist. However, Claudius' death would make Hamlet the rightful heir to the throne. Although Hamlet was not as evil or manipulative as Claudius was, he lacked the characteristics of a good king. ThereHis indecisive nature and spontaneous violent outbursts would have made him unfit to govern the kingdom. Therefore, Hamlet's violent death is equally necessary to maintain political order. God instituted Hamlet's murder so as to ensure that the best ruler would be in charge of Elsinore. The final scene shows Fortinbras as he comes to take the position of king, and his respect for the late Prince Hamlet indicates that God has chosen a worthy ruler. There are also many biblical references found in Shakespeare's The Tempest, but these references are of a decidedly less violent nature. Antonio betrays his brother Prospero to steal the title of Duke of Milan. However, this act of betrayal is much less bloody, closely paralleling the biblical story of Joseph and his brothers. After Joseph's brothers determined that he was the favorite of their father Israel, they conspired to kill Joseph. At the last minute, however, the brothers decided that they had nothing to gain from killing Joseph and sold him into slavery instead. Joseph was deported to Egypt, where he was blessed by God and eventually became responsible for the entire nation. Many years later, Joseph's brothers went to Egypt and Joseph did not punish them but forgave them for their sins (Genesis 37-43). Likewise, Antonio was jealous of his brother's power, but instead of killing him, Antonio persuaded the king of Naples that he was a better ruler and should therefore be given the title of duke. Prospero was sent to the island where the play takes place, he learned the art of magic and became very powerful. Upon Antonio's arrival on the island, Prospero uses his magic to psychologically torture him, but ultimately forgives him. Just as with Joseph, there are numerous instances throughout the play that suggest that God watched over Prospero and Miranda. When Miranda asks if they came to the island because of foul play, Prospero replies, "By foul play, as you say, we were raised thence, / But blessedly help us here" (1.2.61). Later, Miranda asks again how they came to this island, and Prospero replies, "By divine providence" (1.2.160). Although many critics have argued that Prospero is indeed an evil figure, these references to celestial intervention indicate the presence of God in the life of this displaced ruler. Although the audience does not actually witness Antonio taking Prospero's dukedom, Prospero goes into detail as he describes the situation. events in Miranda. Although in many of Shakespeare's plays the transfer of power is depicted as extremely violent, this usurpation was remarkably peaceful. Prospero explains that Antonio was already making all the political decisions for the state, while spending most of his time in the library. Prospero describes, “The government I entrusted to my brother, / And to my state is grown strange, transported / And ravished into secret studies” (1.2.75-77). Antonio became accustomed to this authority and, after having given a monetary tribute to the king of Naples, he convinced the king to "give him beautiful Milan, with all honors" (1.2.126-127). The king's men captured Prospero and Miranda in the middle of the night and were sent to the island. While Antonio's methods are clearly devious, his actions are not physically violent. Nonviolence in a situation typically represented as murderous has a particular meaning. Besides the obvious similarity to the biblical story of Joseph, the lack of violence inflicted on Prospero suggests that Prospero's death is not part of God's plan to restore the natural political hierarchy. The second event that would typically be described as violent is Prospero's revenge. The play of revenge was a popular theatrical tradition in the Renaissance and,.