Introduction
The play by William Shakespeare is the most tragic
play ever written by William Shakespeare , himself
the greatest of English poets/authors of all time.
Such has been the mastery of Shakespeare in depicting
his characters that they seem to dominate the
entire specter of stage, as well as enthralls
their audience in a captivating mood from the
beginning of the play till its climax. The character
of Hamlet has perhaps embedded the name of Shakespeare
in the realms of English literature, as this character
alone has succeeded in capturing a variety of
moods. Hamlet has also mastered the roles of equally
different people, their feelings, sentiments and
depiction of an equally varied number of situations
in an individual's life. The following paper will
however limits its discussion on the specific
features of Hamlet, and strive to encompass this
character in different historical perspective.
Some of the Specific Features of Hamlet's Character
Hamlet's character as created by William Shakespeare is observed to make a gradual progression from one that respects and follows a moral order in life to one who is full of revenge. Right from the beginning of the play, as also the name of the protagonist, Hamlet encounters his father's ghost, revealing to him that the latter was murdered by his own brother and Hamlet's uncle Claudius . This is also the moment in the play, which perhaps serves as the turning point, and also a change of directions for Hamlet as he takes it upon himself to avenge his father's death. It is also the point where Hamlet's character is observed to undergo a change from that of a moral and righteous character to one who realizes that the causes of all moral dilemmas is perhaps the existence of Claudius, Hamlet's uncle. One can thus clearly observe that Hamlet continuously strives to correct the wrongs, yet succeed in eliminating Claudius . In Hamlet's words spoken in Act III, Scene IV, "thus bad begins, and worse remains behind".
The Characteristics of Revenge and Sin in Hamlet
This also introduces to one of the first features of Hamlet's character, one that comprises of revenge and sin. In this context, one must observe that human nature calls for a strong influence from both the beliefs as well as their desires, in turn providing for an easy leverage point for the development of a character. The character of Hamlet in Shakespeare's play brings forth the inner desires of the protagonist as he struggles to commit the sin of revenge through the murder of his Uncle Claudius, or refrain himself from indulging in such a heinous act. The audience can observe that the character of Hamlet is one who is pious and God loving, and may have never thought of committing such a sin, thus his conflicting inner being to take avenge of his father's death. As the play moves on, the audience fully realize that the pious and God loving Hamlet has turned against his religious beliefs and overcome by his inner conflicts, eventually takes the decision to commit the sin of murdering his uncle.
At this point, it is imperative to note that
the two opposing characteristics of Hamlet's character,
one that shows him to be a pious and God loving,
and the other showing him to filled with revenge
are duly commented through his own words. For
example, the piousness in Hamlet can clearly be
viewed when he comments on the marriage of his
mother with his Uncle Claudius , who is also the
murderer of Hamlet's father. Hamlet comments that
"she married ....../ with such dexterity
to incestuous sheets" (29), amply providing
evidence of his distaste for the decision. Similarly,
upon encountering Claudius busy in his prayers,
Hamlet refuses to kill him. With the religious
Hamlet taking over and allowing him to indulge
in a conflicting state of being, as he notes that
"A villain killed my father" (183),
yet he cannot ever dream of sending Claudius to
heaven, even though Hamlet stood "reveng'd"
(183). It is thus clear that Hamlet’s religious
inner being is somewhat overpowering at this particular
moment, which disallows him to indulge in any
sin, even if the same is take revenge of his father
death. (Hamlet-Revenge, 2004)
The Sanity in Hamlet's Character
before attempting to decide whether the character of Hamlet was indeed insane, it would only be imperative to provide a brief into what insanity actually is. The term insanity refers to mental disorder, irrespective of the fact that it is temporary or permanent. Insane people are those who cannot differentiate between right and wrong, neither can they consider the nature of their actions due to the mental defect or disorder. In Hamlet's character, there exist a number of points, which provide evidence to Hamlet's insanity, yet he is completely sane.
This can be evidenced in a number of occasions
where Hamlet takes decisions, strongly proving
that he is sane, and insane as majority of the
audience would otherwise presume. Hamlet's actions
are precise, timely and with complete knowledge
proving to the audience that every move made or
refrained from was a calculated maneuver, and
certainly not committed in a state of insanity.
An example to this respect can be found in the
Act III, section III, line 73, where Hamlet comments
"Now might I do it pat, now a is a-praying,
and now I'll do it-and so 'a goes to heaven, an
so am I revenged that would be scanned. A villain
kills my father, and for that, I, his sole son,
do this same villain send to heaven. Why, this
is hire and salary, not revenge.” As the
words so narrate, Hamlet all too clearly realizes
that his father murderer is praying, and if hamlet
murdered him while in prayers, the latter would
enter heaven, and that would not be revenge. Certainly,
these thoughts are not from an insane man, proving
the character in Hamlet is also not insane, and
acting with full knowledge of his thoughts as
well as his actions. Any insane individual would
have committed the murder, particularly when his
adversary was busy in a task, even if was prayers.
Another strong aspect the sanity in Hamlet's character
is the long duration taken for taking a final
decision. Act III, scene , line 55 duly notes
that "to be or not to be" implying that
Hamlet was truly in a state of indecisiveness,
as he could take a decision whether to commit
the sin or not. On one side his conscience forces
him to take the revenge of his father, while at
the same time Hamlet also thinks of committing
suicide as he cannot live a life in such a state
of turmoil. At the same time Hamlet also has thoughts
that he would rather die than remain unavenged.
Insanity would have any individual to act in impulse,
and not wait as was done by Hamlet. (Is He Insane,
2004)
The Antiheroism in Hamlet
Another specific feature of Hamlet's character is the aspect of Antiheroism in the character of Shakespeare's Hamlet. Perhaps an important part in practically every play, the author's intention of depicting the protagonist as an antihero is done to bring out the negative side of the hero or the protagonist, aside from the positive aspect as affixed for all heroes. Indeed on the most excellent and powerful strategies adopted by authors, the presentation of Antiheroism in any protagonist confirms the difference between the good and bad, although everybody is fully aware that the hero's intentions are well and certainly intended for the welfare and benefit of the larger population. That is why there have been numerous characters presented as antiheroes, a strategy that has continued from Shakespeare's era to date. For example the famous characters of Randle Murphy in "One Flew Over the Cuckoo's Nest", Allie Fox in "The Mosquito Fox", the character of Robin Hood and the not so recent character of Superman. One may thus observe that all these characters including the subject character of Hamlet in depicting Antiheroism display the characteristics of violent nature, use of coarse language, or an individual with self serving interests.
In Hamlet, the aspect of Antiheroism can be observed as he invites sentiments of sympathy and admiration from the audience or readers, as he undergoes the pain of losing his father and the conflicting desires of taking revenge or refraining himself from such a sinful act as murder, as this is the only choice left to him. Thus, one may observe that Hamlet is practically torn apart from the various roles to which he is assigned. For example he is the eldest son of the older Hamlet, is now the monarch, and also bears the burden of the traditions which demands vengeance against anyone who murders their fathers.
An example of Antiheroism in Hamlet can be observed
, where Hamlet addresses two aides of Claudius
namely Rosecrantz and Guildenstern, both of who
are disliked by Hamlet as well as the audience
hence the natural empathy towards our subject
hero. Hamlet comments "I am glad of it: a
knavish sleeps in a foolish ear", (Act IV,
Scene II, 24-25) . The members of the audience
can well understand the confusing language used
by Hamlet to offset any plans and strategies of
his opponents including the servants of his adversary.
The use of confusing terminology also serves to
confuse the two servants addressed by Hamlet,
while he makes his point clear to those around
him. This ploy of using confusing words and phrases
may have invited his suitors of the court to label
Hamlet as crazy or insane, but as one may observe,
he is neither. On the contrary, Hamlet use of
typical terms, idioms and phrases are excellent
tactics to keep his opponents busy in what was
uttered, keeping them busy in deciphering Hamlets
statements.
Hamlet Depicted Through The Eyes of a Foil
In literary writings, a foil is a character created to portray similar traits to that of another character, yet the intentions of the author are to bring out the various strengths and weaknesses of the other character. In Shakespeare's Hamlet the character of Laertes was depicted as a foil. One may thus observe that both the characters of Hamlet and Laertes have a lot of aspects in common, the largest aspect of which can be in their deep love for Ophelia, a female character of the same play. Another common set of factors found in both Hamlet and Laertes is their strong desires for revenge, and their associations and responsibilities to their immediate families. Yet the demands of a foil character call for different responses from both the characters in the same situation. Hence, Hamlet would react totally differently in a given situation, and Laertes would have his own way of handling a situation, as also apparent in a number of occasions.
An example to the introduction of the author
of foil character of Laertes can be observed when
both Laertes and Hamlet portray the common love
for Ophelia. Laertes's love for Ophelia is one
which is regarded as brotherly, as also evidenced
from his advises as well as writings, warning
Ophelia about the true intentions of Hamlet. Furthermore,
Laertes also advises Ophelia that she would only
be hurt if she continues to love Hamlet. Hamlet,
on the other hand openly expresses his love for
Ophelia through letters and gifts, yet all these
expressions may be viewed as a mere timely, or
graded as a crush and certainly a true and profound
love found between two sincere lovers. Though
one may also observe that Hamlet's love for Ophelia
emerges ever stronger when the latter rejects
his love, in turn bringing a significant change
in both the appearance and the attitude of Hamlet.
The play takes a sudden turn with the death of
Ophelia, causing misery to both Hamlet as well
as Laertes. Such were their strong and deep love
for Ophelia that both Hamlet and Laertes even
indulge in a fight at the grave of Ophelia, making
them despise each other as well.
Another common aspect in the characters of Hamlet and Laertes was their impulsive nature to take revenge. Yet, the characteristic of foil in Laertes is observed to portray the good or positive role of Laertes as compared to the somewhat impulsive nature of Hamlet. This is clearly evidenced when Hamlet stabs one Polonius, mistaking him for Claudius, his principle enemy. The character of Polonius was spying while both Hamlet and his mother were busy in a conversation, and Hamlet impulsively stabs the former, thinking it was Claudius. Thus, one may note that both Laertes and Hamlet exhibited the instincts of revenge, yet Hamlet was only too keen to carry out his revenge, even though he takes the life of another individual by mistake, also proving the cool minded Laertes compared to the impulsively acting role of Hamlet. (Is Laertes Really A Foil To Hamlet, 2004)
The Conscientiousness in Hamlet
Perhaps one of the most profound and striking elements of Shakespeare's Hamlet is the role of Hamlet, ever in conflict and fighting with his own conscience. Thus, one may observe that conscience perhaps takes a key motif. For Hamlet in particular, conscience does not appear from his inner being, as is normal. Instead Hamlet is initiated by a course of events and actions which somewhat forces him to develop his conscience to that respect.
Hamlet's quote ""The play’s
the thing, wherein I’ll catch the conscience
of the king." (II, ii, 617), perhaps best
describes the principle character's infight and
conflicting desires as he seeks the results of
actions around him to nurture his conscience.
It can also be said that this particular ploy
of the conflicting conscience in Hamlet also plays
an important role in the entire development of
the plot in Hamlet as a play.
One can thus note that the character of Hamlet first carries out a self-evaluation of the actions that have occurred, such as the death of his father, the marriage of his mother with the same uncle who has murdered his father, and his failed love for Ophelia. Hamlet then calculates his actions based on this very self-evaluation. Thus, it is the set of actions that have caused Hamlet to think of his conscience and then take action upon those feelings. Examples to this can be found at a number of occasions, which prove this particular strategy adopted Hamlet during the entire course of the play. One of the best examples is found where Hamlet utters words immediately after his mother's betrayal followed by her wedding with the same uncle who has murdered his father.
Hamlet comments, "O, most wicked speed, to post, with such dexterity to incestuous sheets. . . but break my heart, for I must hold my tongue." (I, ii, 156-159). One may take note that Hamlet's conscience at this particular point of the play leaves him dumbfounded, as he knows that it was wrong for his mother to wed his uncle, and that too in such haste. This dilemma leaves him no choice as to handle this affair. His dilemmas is somewhat solved as he meets the ghost of his father, who informs him that it was the same uncle Claudius who has murdered him, but alas, the time for taking any action has indeed passed. The only course of action for Hamlet now is to remain silent and wait for an appropriate time, and thus the delay in his revenge, which is yet another element for making the play ever more intriguing.
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