Hamlet and Prince Hal initially strike the reader or viewer of their
respective dramas as miserable adolescents, albeit of different types.
Both Hamlet and Hal seem to live in a state of anger, alienated from their
respective societies. Over the course of Prince Hamlet's tragedy and Prince
Hal's historical play of coming to age in the drama named after his father,
"Henry IV, Part 1," both of these protagonists come of age before the
audience's eyes and ears. To achieve this sense of maturity the
protagonist must become a murderer of an individual who is the embodiment
of all that his father champions. By killing such an individual, both
characters are also able to kill the false ideal of the male self that is
upheld by both their respective societies and their respective fathers. In
doing so, they resolve the crux of both of their internal dilemmas.
The alienation of Hamlet from his society can be seen in the first
soliloquy he utters to the audience. "Oh that this too, too, solid
flesh/Should thawâ€" (1.2) Hamlet is first seen wishing himself dead,
dressed in black, still mourning for his father in a court that is all too
willing to forget about the elder king's recent death. Prince Hal as well
shares his first significant thoughts (as opposed to his semi-drunk,
slightly hung over banter with Falstaff during 1.2 of that play) with the
audience. "I know you all," he sneers to the retreating backs of his
disreputable companions Poins and Falstaff, then informs the audience that
he will comport himself with a truly savvy eye in terms of media relations
and be like a piece of moral metal that seems even brighter after it has
been picked up out of the mud. This demonstrates that Hal does not feel
comfortable at present being a prince and being with his father. Right
now, he prefers the mud of the tavern and the companionship of drunkards
and ordinary folk. Yet, Hal te...