In Szenczi's view, "the strength, the heroic quality of Hamlet has now been generally recognized." Shakespeare did not want to make a "model of irresolution, a case for psychopathology, or an illustration of the Oedipus complex." Arnold Kettle claims that "It is unforgivable to act Hamlet as though he were a neurotic instead of a hero" (Szenczi 1990: 124).

William Guthrie calls him "everyman" because there is nothing heroic in him, no special passion or virtue; he is just an average man: benevolent, pleasant, sensitive, and wants to fulfil his commitments. This is quite contrary to what Schlegel thinks about Hamlet: a romantic hero with a tragic fate. Schlegel also accuses him of becoming cynical (Hankiss 1995).

As Hankiss summarized Hamlet's picture: at first a hero who wins over the world and himself, then a fragile young man who takes refuge in daydreams and melancholy, then a loveable and weak character that is too sophisticated both morally and emotionally, then a symbol of melancholy and Weltschmerz (1995).

According to an unknown author: "A tragic hero doesn't need to be good." Hamlet dies, but it is the best that can ha

The third meaning of hero is: "the chief male character in a poem, play, story, etc." Hamlet certainly fulfils this requirement − probably no one questions that he is the chief character of this drama.

ppen to him under the circumstances: without his parents and Ophelia he could not have much pleasure in life. "The tragic hero must possess many good traits, as well as one flaw, which eventually leads to his downfall." Hamlet's good traits: brave, daring, loyal to his father, intelligent (as he is able to make up the idea of feigning madness "in order to get more information about Claudius"). His one flaw: he cannot "get around to do anything", such as finishing school, stopping mourning his father, killing Claudius, pretending he is insane, or marrying Ophelia. The audience must feel sympathy for the tragic hero, or else "it wouldn't seem so tragic". Fulfilling all the above criteria, Hamlet is a perfect example of a tragic hero (2002).

The word "hero" has the following meanings: 1) a person noted or admired for courage, outstanding achievements, nobility, etc.; 2) a great warrior; 3) the chief male character in a poem, play, story, etc.; 4) a man of superhuman qualities, favoured by the gods (The Oxford English Reference Dictionary, 1995: 660).

The next meaning of hero is: "a great warrior". We know that Hamlet was good at wielding the sword, but we do not know about his fighting in any battle − therefore he cannot be a warrior.

Now we can check whether Hamlet's personality fulfils the criteria of these meanings.

The meaning of "anti-hero" is: a central character in a story or drama who noticeably lacks conventional heroic attributes (ibid, 57).

Is Hamlet "noted or admired ... for nobility"? However, believing that he has to set the out-of-joint time right is a noble thought. The only 'problem' there is that it is the aim of all adolescents, and they usually grow out of it by the age of 20. The elevated thoughts that he expresses in his monologues are all noble, and so are his notions about loyalty and faithfulness. In contrast, the way he behaved towards Ophelia is certainly not an act of nobility. The nobility of his reasons for not killing Claudius when he is praying are a

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