Mais c’est une autre terreur qui arrête la main de Hamlet. Le fantôme démodé est sûr que sa condition matérielle post-mortem pourrait faire se dresser les cheveux de Hamlet il a un sens de la terreur typique de la Renaissance, et qui passe par le corps.
THE GHOST ON THE SHORE GEORGE MICHAEL PLUS
Dans Hamlet, toutefois, émerge une connotation plus moderne du terme : un malaise qui perdure après la mort. La terreur du jugement de Dieu est un thème commun dans les emplois du mot « dread » avant 1600, d’après les relevés du dictionnaire Oxford English Dictionary. Dans quelques cas, et en particulier Lucrèce, la terreur s’accompagne aussi d’une conscience aiguë de la vie après la mort sous l’aspect de l’histoire et de la réputation. Mon analyse suggère qu’une atmosphère de terreur est associée à des genres spécifiques (les pièces romaines, les pièces historiques anglaises), à des sujets spécifiques (la politique et l’histoire), et à des œuvres spécifiques ( Le Viol de Lucrèce et Hamlet). Le corpus shakespearien contient cinquante occurrences du mot « dread » (terreur). The dread felt by Lucrece and Hamlet comes from anticipating historical reputation but also from a perception of the conflict between historical character and lived reality that haunts historical actors in the afterlife. These revenants belong to the poetic female complaint, a tradition popular in the 1590s that specifically informs The Rape of Lucrece. I place Hamlet and his father’s ghost within the context of other early modern revenants who relive emotionally their pasts. But the dread that stays Hamlet’s hand is different.
The old-fashioned ghost has confidence that his material condition in whatever afterlife he inhabits could make Hamlet’s hair stand on end he has a traditional early modern sense of dread as terror that expresses itself through the body. In Hamlet, however, there emerges a more modern connotation of “dread” as a malaise that persists after death. Dread of God’s judgment is a common theme in uses of word before 1600, as recorded by the Oxford English Dictionary. In a few cases, notably Lucrece, “dread” is also associated with an acute awareness of life-after-death in the form of history and reputation. The Shakespearean corpus provides fifty instances of the word “dread.” My examination suggests that an atmosphere of dread correlates with specific genres (the Roman plays, English histories), subjects (politics and history), and works ( The Rape of Lucrece and Hamlet ).
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