Let us return to another of Venus' lovers, the "suppressed"or unstated side of the Vulcan analogy. Comparing Hamlet to Adonis, on the basis of the similarities and connections already noted, we can see how the conflict between love and strife or war (figured by the "hard"or fatal hunt in both play and myth) appears to define the universal or natural or even vegetative conditions of being embodied as a human, male and female. Hamlet and Ophelia seem to act out what Shakespeare had represented in as the curse of Venus, a sacred or eternal dimension of the human condition. Yet becoming an Adonis or Venus for Hamlet and Ophelia is a journey towards a deadly fate, becoming transformed into the more or other than human, their personal identity eradicated by the "destined"role they come to play that leads directly to their death. In this sense, Hamlet as Adonis shows how a soul can journey towards blackest hell, towards or the unweeded garden of the material world and away from or from spirit and the longed−for release from nature's endless cycle of corruption and generation. Hamlet is obsessed with the possibilities of pagan antecedents or feelings for their potential and ambiguous relationship to his own plight.


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