Literature Humanities 07-08

Hamlet. 3.2.192-211

PLAYER KING
    What to ourselves in passion we propose,
    The passion ending, doth the purpose lose.
    The violence of either grief or joy
    Their own enactures with themselves destory.
    Where joy most revels, grief doth most lament;
    Grief joys, joy grieves, on slender accident.
    This world is not for aye, not 'tis not strange
    That even our loves should with our fortunes
       change;
    For 'tis a question left to prove,
    Whether love lead fortune, or else fortune love,
    The great man down, you mark his favorite flies;
    The poor advanced makes friends of enemies.
    And hitherto doth love on fortune tend;
    For who not needs shall never lack a friend,
    And who in want a hallow friend doth try
    Directly seasons him his enemy.
    But, orderly to end where I begun,
    Our wills and fates do so contrary run
    That our devices are still overthrown...

Dissecting Hamlet's Character

So what has always puzzled me when reading Hamlet is what exactly causes his disillusionment with the world. Ostensibly, he is annoyed with Gertrude's quick remarriage and thus obvious disrespect toward her ex-husband's death, but are there other reasons besides the obvious? I feel that Hamlet's relationship with his dead father is characterized more by duty than by love, and that a lot of his inner turmoil is caused more by his unanswerable philosophical ponderings than by the sadness of his father's death. In the soliloquy in Act 2, Scene 2, page 113, he says, in reference to the players, "He would drown the stage with tears/ And cleave the general ear with horrid speech [. . .] Yet I/ A dull and muddy-mettled rascal, peak/ Like John-a-dreams, unpregnant of my cause." What would you attribute to Hamlet's descent into madness, if it were not feigned? Is it anger at himself for not being able to conjure up the kind of emotion needed to avenge his father, and that he cannot live up to his own expectations? Is it, and this is just a possible reading of the work, a self-fulfilling prophecy—that by initially pretending to be mad, he slowly grows into the role? Or (ok, this is a bit much, but nothing's impossible with Shakespeare) could it be some kind of latent sexual desire for his mother that invokes his jealousy and subsequent madness at not being able to murder the obstruction to his affection? If so, could it be that part of Hamlet's madness stems from his realization that he is, in fact, no better than Claudius? I am also interested to see what others think Hamlet's tragic flaw is: is it his need to think things through too much? In going through pains to verify that Claudius is guilty, in failing to murder Claudius when he is praying because he doesn't want Claudius to be absolved of his sins, Hamlet arouses Claudius' fear. In his accidental murder of Polonius by thinking he was Claudius, Hamlet digs himself into a hole, as Laertes comes to avenge his father. Is his tragic flaw both, then—his extremes of irrationality and rationality and his improper use of them?
-Christine

Oh, Ophelia, who art thou?

This is probably my third time reading Hamlet; it's a wonderful play because it explores so many complicated themes about human nature. Each of the main characters seem to do *something* for the play other than move on the plot. Ophelia, though, is one of the characters that I've always wondered about; I think I just am confused at her role in the book. In the beginning of the play it seemed like she had so much potential: she brought up complicated ideas about love and loyalty. I guess I'm angry at how she's just portrayed as the victim, being mistreated by Hamlet, and finally in 4.5 where she's singing insanely. Her previous struggles are overshadowed by her insanity; she becomes nothing more than the girl driven mad by the men of her life. What caught my eye in 4.5 was Laertes' observation of Ophelia: "This nothing's more than matter," described in the footnotes as "This seeming nonsense is more eloquent than sane utterance" (4.5.178). This makes me think that Ophelia may be more than just a "victim" in the play; this could be a hint to Ophelia's true self at this point in time, and Shakespeare could be suggesting here that she isn't just a victim. Are there any signs of Ophelia being more than just a victim in the play? Is she more than just a victim here? What are your thoughts on Ophelia's role in /Hamlet/? -Annie

Running with Hamlet

As a notice coming into the "Hamlet" experience, through the Acts and soliloquies I began to appreciate Hamlet as a character. When avenging his father he creates his anti-disposition, putting his acting talents on full display; performing in crazed manners and speaking in riddles. Hamlet is considered Shakespeare's "smartest" character, why? He is unlimited in his ways, witty and clever and a sword fight. How does he discern reality from performance, it seems that throughout the play we never see Hamlet for who he is or get a good sense of the "real" Hamlet. In his soliloquies Hamlet questions the famous "to be or not to be" and his consideration of suicide. Hamlet is not content and dissatisfied in the closing acts he compares himself to Prince Fortinbras and aspires to model his action. Yet there are moments as Jeff mentioned today when Hamlet is hubristic, in the scene when Claudius believes he has gotten rid of Hamlet by sending to him to England thinking his intentions were concealed while Hamlet is completely aware of Claudius' scheme. These moments contrasts, is there a balance or is Hamlet pleased with himself as a character. Do you believe that Hamlet is all that he seems? He doesn't necessary admits his faults but he addresses them and thinks them over, does that make him better? Can someone create this alter-person or isolate oneself by "radical individualism"? There are a lot of ideas here and on the analysis of Hamlet as a character. So take something and run with it. -melissa

Hamlet Starring in Hamlet

One of the things which makes Hamlet enjoyable to read or watch has to be his wit, which can be found in many parts of the play. But one part of the play which I thought especially emphasized this (or maybe its just a personal favorite) was in Act 2, Scene 2, when Polonius convinces Claudius and Gertrude that their son's madness is due to the love he has for Ophelia. After he is able to convince the king that this idea is at least plausible, Hamlet walks in, where upon Hamlet says to Polonius comments such as " Let not [your daughter] walk i'th'sun. Conception is a blessing, but as your daughter may conceive, friend, look to't" – conception having a two-fold meaning: understanding as well as pregnancy (as told in the notes section). Polonius, of course, takes this as further evidence for his claim on Hamlet's obsessive love for Ophelia. Meanwhile, Hamlet continues insulting Polonius as he tells him of his "plentiful lack of wit" and "weak ham". But it wasn't just his witty persona that made an impression on me. Following lines 197-204, where he ridicules Polonius, Polonius asks Hamlet if he would "walk out of air" (the open air, according to the notes, was considered a dangerous place for the sick). Hamlet then responds by saying "Into my grave" (2.2, line 207) and later on adds. "You cannot, sir , take from me anything that I will more willingly part withal – except my life, except my life." So my question is this: what significance do you think this part of Hamlet's conversation with Polonius has on the overall work? And secondly, what exactly does Hamlet's characterization as a witty man add to the play? Could the play exist without it? Tracey