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This article argues that generic ambiguity of Hamlet results from its reflexive engagement with the genre of revenge tragedy. Renaissance revenge tragedy demonstrates a high level of self-consciousness about its own dramatic mode as well as its history and conventions. Yet Hamlet merits special scrutiny because its metatheatricality is intended to question the basic assumptions of the genre. Indeed, unlike other avengers, Hamlet postpones his revenge in order to debate and reflect on his obligation to vengeance itself. The prince hesitates because he is not able to naturally acquiesce to the obligation of revenge, which is predicated upon the kinship between the avenger and the victim as well as the unrepentant perpetrator. Hamlet’s self-reflexivity not only alludes to a common writing practice in the early modern period, but also contributes to establishing the genre of revenge tragedy as modern and open to constant change and innovation.
