'The good that lives after them', A Pattern in Shakespeare's Tragedies
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Hamlet, Lear and Macbeth, like Richard III, have two sets of motives: primary and secondary. The secondary are clear, particular, consciously known, and revealed near the play's start. The primary are subconscious, less clear but also more profound, real, important, and revealed near the play's end (usually in reaction to the death of the woman the protagonist loves most). Richard is motivated by ambition and self-hatred; Hamlet by revenge and a desire to prove the quality of his love; Macbeth by ambition and ennui. Lear wants not freedom from care but a longer life. King Lear and Macbeth, Cor...
Hamlet, Lear and Macbeth, like Richard III, have two sets of motives: primary and secondary. The secondary are clear, particular, consciously known, and revealed near the play's start. The primary are subconscious, less clear but also more profound, real, important, and revealed near the play's end (usually in reaction to the death of the woman the protagonist loves most). Richard is motivated by ambition and self-hatred; Hamlet by revenge and a desire to prove the quality of his love; Macbeth by ambition and ennui. Lear wants not freedom from care but a longer life. King Lear and Macbeth, Cordelia and Lady Macbeth are opposites. The action of both plays is structured around a pair of love tests.