The knowers of Shakespeare regard this work as a climax in him, as a "tragedy of transition" from the period of comedies to the period of tragedy. They have it on the dividing line between two types of stage atmosphere - the sunny, cheerful atmosphere that unconditionally dominates the early comedies, and the suppressed, insecure atmosphere of tragedies that has faded from the evil stories of fate and worrying about the delusions of otherwise powerful people. In this tragedy, the demons of suspicion and discouragement and death seem to be being played out as a desirable and oblivious outburst of life.
The fable of the tragedy: By the 1600s, Marston, a contemporary Shakespeare's playwright, perceived the opportunity to use the melancholy avenger as a conduit to the melancholy of time and made a successful attempt to resume this popular genre. In his tragedy he reworked the central motif of Hamlet's history, already used by Kid (another Shakespeare-born contemporary playwright) in his lost tragedy, carrying the action to Italy. Piero treacherously kills his former enemy and is preparing to marry his widow. Antonio, the son of the dead Androudio, is terrified by the misfortunes that come to him: he suspects that his father is poisoned, but knows nothing positive. Under the pressure of his feelings he explodes with such unrelated wailing that his mother mourns him as a madman, and before Piero he deliberately pretends to be mad, because, as he points out, there are no weapons to fight openly. His father's spirit reveals the truth of the murder, and Antonius is preparing to take revenge. He deliberately misses a case of killing Piero because he wants not only to kill him but also to torment him, and in his place he cuts the throat of his young son. He even wants to kill his mother, but the ghost appears again and explains that he is innocent. Now Antonio falls into a melancholy apathy. He is dressed as a joke to be more sure than Piero, but he is incapable of acting ... In the end he is allied with other enemies of Piero, arranges a dance with masks where the conspirators find the possibility of releasing a tyrant from his people and kill him with terrible tortures.
Shakespearer recognizes that the exterior development of the action in Antonio's Revenge shows a remarkable resemblance to the intrigue in Hamlet. Russian explorer Anisturus takes this view, but adds that Shakespeare "has not left the legend of Hamlet untrustworthy: As he has inherently expanded it, creating parallel to the main line of action the second, related to the fates of Polonius, Ophelia and Laerte. This whole line at the beginning serves to give a more ordinary background to the tragic history of the royal family. There, above, they are concerned about state affairs, and the prolific struggle between the killer king and the venerable prince is hidden, and here they live with common interests: the father protects over his children, the son seeks to escape from this care; father and brother fear for the honor of the daughter and sister who has come close to Hamlet. In his study "The Hamlet Tragedy, Danish Danish, by Shakespeare, Russian art historian Vigotski analyzed as follows the "general outline of the figure" in the play: "Actually, the whole action of the tragedy is embedded in the connection that was made before the play began, the union; everything else is words, inaction. Just because the whole action is in the crash that it is not only the last chord, the final result of the action, we see that it is all given in the connection of the tragedy. The construction of the plot of our play is highly strange and unusual: it turns into two currents, one of which covers the other - the political and family intrigue. The relationship between both and the other is attributed to the time before the tragedy begins: two events dominate over it, defining the whole course of events as the pantomime determines the content of the play. This is Hamlet's and Fortinbras's fateful fight and Claudius's foul crime. These are the endpoints, the poles of the two intrigue outside the play, before it, and as events that took place before it began, enter into the pantomime of the tragedy, in the law of its action, and as the pantomime predetermines the roles in it. In the Hamlet tragedy, the first half of the action, formally said, is based on Claudius' expose. The stage of the court spectacle is the beginning of the defeat. Then Claudius and Hamlet enter a struggle that ends in a general disaster.