The first five scenes of act 4 present the consequences of the murder of Polonius: Hamlet's banishment, Ophelia's madness, and Laertes' return. The remaining two scenes show the results of Hamlet's unexpected return ... Now the forces opposed to Hamlet are once more in the ascendant, we wonder whether their schemes will be carried out successfully and whether Hamlet can in any way circumvent his enemies and achieve his purpose.
There can only be 6 students per topic:
- How does Ophelia's madness compare with that of Hamlet?
- How does Hamlet differ from Laertes and Fortinbras?
- Show that Claudius is courageous, resourceful and unscrupulous in his behavior during act 4.
- Although Hamlet himself does not appear in the last three scenes of this act, show that we are not permitted to forget him.
- Who has the advantage in act 4, Hamlet or Claudius?
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How does Hamlet differ from Laertes and Fortinbras?
How does Hamlet differ from Laertes and Fortinbras?
How does Hamlet differ from Laertes and Fortinbras?
How does Ophelia's madness compare with that of Hamlet?
Although Hamlet himself does not appear in the last three scenes of this act, show that we are not permitted to forget him.
Who has the advantage in act 4, Hamlet or Claudius?
Throughout the play Hamlet, Shakespeare has made the parallelism evident between Hamlet, Laertes, and Fortinbras. Even though the parallelism between the characters shows Shakespeare adds a twist to Hamlet giving him more depth then Laertes or Fortinbras. The depth of Hamlet’s thought and being able to transcend the page shows that Hamlet is a truly different character then Laertes or Fortinbras.
Throughout act four Shakespeare makes it evident that Hamlet is different then Laertes because of Hamlets ability to think not just act, and not to be so easily persuaded by Claudius. Laertes after hearing of his father’s murder the only way he knows how to solve the situation is with his sword not his mind unlike Hamlet. After storming in to the castle Laertes demands revenge. “Let come what comes; only I'll be revenged/
Most thoroughly for my father.”(4.5.135-136) Claudius knows that Laertes is in a vulnerable state, Claudius is able to take advantage of Laertes and use him to eliminate Hamlet for him. Unlike Hamlet, Laertes just wants to act and does not formulate a plan of action. “CLAUDIUS: Hamlet comes back: what would you undertake,/To show yourself your father's son in deed/More than in words? LAERTES: To cut his throat i' the church.
”(4.7.123-126) Laertes allowing Claudius to manipulate him and choosing immediate action instead of thought, shows that Laertes is different from Hamlet.
In act four Shakespeare also makes it evident that Hamlet and Fortinbras are different. This difference shows through Fortinbras’ ability to lead his army, give orders and fight in battles, just like Laertes Fortinbras chooses the path of action rather then strategizing and planning. Fortinbras shows qualities that Hamlet does not, leadership is one of these qualities. Fortinbras takes his control of his army and is able to command his men to do what he pleases. “Fortinbras: Go, captain, from me greet the Danish king;... …Craves the conveyance of a promised march Captain: I will do't, my lord.”(4.4.1-8) In the quote Fortinbras is telling the captain what to do showing his leadership quality which Hamlet does not possess. Fortinbras choosing action also shows contrast from Hamlet, to revenge his father’s murder Fortinbras has created an army, instead of just thinking and planning his revenge like Hamlet. “Now, sir, young Fortinbras,/Of unimproved mettle hot and full,Hath in the skirts of Norway here and there/Shark'd up a list of lawless resolutes,/For food and diet, to some enterprise/That hath a stomach in't; which is no other--/As it doth well appear unto our state”(1.1.98-104) Fortinbras does show his differences from Hamlet throughout the play even though they are in similar situations.
The differences between Hamlet, Laertes, and Fortinbras are shown throughout act four. The parallelism is evident between the characters, but so are there differences. Hamlet shows that he is able to going in to deep thought and none of the other two characters portray this characteristic. Being led around by their swords and not their minds shows that Laertes, and Fortinbras are not as intelligent of characters as Hamlet.
Who has the advantage in act 4, Hamlet or Claudius?
During the fourth act of the play Hamlet, many situations arise due to Polonius’ death in the third act. Many events stem from this death in the later acts of the play and almost all affect every character in the play. This profound impact that the death has had also affects the battle between Hamlet and Claudius. Claudius has been planning and scheming thus far to get try to get Hamlet out the picture and at the end of the fourth act it seems as though Claudius has the upper hand. This is apparent through Claudius being successful in getting Hamlet out of Denmark for a short period of time allowing Claudius to continue to plot against Hamlet, Claudius is also able to convince Laertes to challenge Hamlet to a duel using a variety of tactics and finally Claudius and Laertes combining to form a trap that seems almost impossible for Hamlet to get out of while the duel is taking place. The topics that have been outlined above will reveal why Claudius has the upper hand at the end of the fourth act.
Once Hamlet kills Polonius while speaking to his mother in act 3 many events begin to unravel as more time passes since the death. When this happens shortly after Hamlet is sent off to England, “I must go to England, you know that?” (3.4.202). This is a very good example of how Hamlet has been outsmarted as he now knows that he is being led to certain death. This action provides Claudius with some much needed reassurance that he is finally getting rid of this burden. The problem with this is later in the play, perhaps by a stroke of luck, Hamlet while sailing to England is attacked by pirates, “…a pirate of very warlike appointment gave us chase.” (4.7.15), while this attack is taking place Hamlet boards the pirate ship, “… we put on a compelled valour, and in the grapple I boarded them.” (4.7.17), escaping his fate in England and he begins to head back to Denmark. Claudius soon hears of this and naturally begins to try and put together a plan to get rid of Hamlet once and for all as it seems that no one can kill Hamlet. As Claudius for the first time does something right and actually gets Hamlet out of Denmark, it shows that he is capable of actually forming and carrying out dangerous plans to rid Denmark of Hamlet. This shows that Claudius is able to carry out a plan and his next plan will be more carefully thought out and more dangerous then ever. This fact alone shows that at the end of act 4 Claudius has the upper hand.
As Hamlet begins to head back to Denmark Laertes is informed of his father’s death and heads back to Denmark. With only revenge on his mind Laertes storms Claudius’ castle, “Than young Laertes, in a riotous head, O’erbears your officers.” (4.5.101-102). Claudius sees this as a chance to get Laertes alone with Claudius to discuss an ingenious plan that will surely get rid of Hamlet. Claudius convinces Laertes to go and speak with him, “So you shall. And where th’offense is, let the great axe fall. I pray you go with me.” (4.6.215-216). Once Laertes and Claudius are alone Claudius uses certain tactics to twist Laertes into following through with the plan that is set out later in the play. The plan involves fencing in which Claudius informs Laertes of a famous fencer that spoke highly of Laertes’ skills to get Laertes confident and ready for the task at hand, “He made a confession of you, And gave you such a masterly report…” (4.7.94-95). These tactics were greatly benefited by the mention of Ophelia’s death to Laertes, “So fast they follow. Your sister’s drown’d, Laertes.” (4.7.162-163). This information has a multiplying affect upon Laertes’ anger and erases any doubt in Claudius’ mind the Laertes will not follow through with their plan. By Claudius being able to so easily twist Laertes’ fragile mind into doing whatever Claudius proposes to hurt Hamlet, Claudius yet gain shows that he is in control and has the advantage.
When Claudius is successful in getting Laertes alone he is able to do what he does best, unleash his political genius upon unsuspecting victims. By doing so Claudius is able to formulate a plan that seems flawless to finally put Hamlet to rest. Claudius formulates this plan with the help of Laertes. This plan involved a duel between Hamlet and Laertes where, Laertes would fence against Hamlet with an un-tipped sword, “… you may choose A sword unbated…” (4.7.134-135). This seems as though it is a very dangerous situation for Hamlet but, it gets worse. The sword will not only be un-tipped but it will also be tipped with poison, “With this contagion, that if I gall him slightly, It may be death.” (4.7.146-147). So not only will Laertes be fencing with a un-tipped sword but he will also have the sword tipped with poison, so that if he even so much as scratches Hamlet it will most likely result in death. With this plan in place it seems quite unlikely that Hamlet will survive this ordeal but it just seems to get worse as Claudius adds one more thing to this potentially deadly situation. Claudius decides to also poison Hamlet’s drinking glass if he decides to take a drink during the duel, “A chalice for the nonce, whereon but sipping, If he by chance escape your venom’d stuck, Our purpose may hold there.” (4.7.159-161). With all of these actions put in place there is no doubt that at the end of act 4 Claudius has the advantage and now all Claudius has to do is wait and see how his plan unravels.
After examining all of the features outlined above it is confirmed that through, Claudius sending Hamlet away for a short period of time, finally being alone with Laertes and twisting Laertes mind and passions to suit Claudius’ goals and through the plan set forth by Claudius where he and Laertes formulate the venomous plan to kill Hamlet, there is absolutely no questioning the fact that Claudius has the upper hand at the end of the fourth act in Hamlet .
Show that Claudius is courageous, resourceful and unscrupulous in his behavior during act 4.
How does Ophelia's madness compare with that of Hamlet?
In the play Hamlet, by William Shakespeare, Shakespeare introduces two different characters with uncontrolled characteristics. Hamlet is a prince of Denmark, who begins to act out his madness to be kept alive from his treacherous uncle Claudius, the Dane. On the other hand, Ophelia’s madness is not faked. It is a true madness caused by countless events occurred too rapidly. Although their intentions for acting like a lunatic is completely dissimilar, their outcomes are vividly similar. They both have an advantage of speaking their mind freely, where some are extremely offensive, and their speech both seems to have no meaning to it, yet contain shocking inner meanings. By their random outbursts, the audience, and the people of Denmark show a distinctive reaction.
Ophelia embodies the romantic notion of womanhood. She is beautiful, sweet, industrious, and gentle. She loves Hamlet, and believed that he loved her back. But when Hamlet’s madness confuses her, then wounds and terrifies her. Suddenly, direct, honest, and trusting, the deceitful intrigues which surround her, combined with the sudden death of her beloved father throws her into a state of madness. She is an innocent victim of an overbearing father’s foolishness. Ophelia starts to sing ballads which make no sense for the people of Denmark. But when she sings, “Tomorrow is Saint Valentine’s Day, /All in the morning betime, / And I a maid at your window, / to be your Valentine. / Then up he more, and donn’d his clo’es/ Let in the maid that out a maid/ Never departed more” (4.5.48-50), this can be reference back to Hamlet’s cruel comment back in act 3. He comments, “That’s a fiar thought to lie between maids’ legs” (3.2. 117). Now Ophelia’s referring herself as a “maid” for the people. This degrades her values and shocks the Danish since Ophelia always resembled the sweet and the innocent. The love song about Saint Valentine’s Day also gives the readers of an insight into the Romantic rejection she has experienced. However, she shows that she is has not completely lost it. She is still able to speak the truth, but now she cannot reason it. She tells Claudius, “Lord, we know what we are, but know/ not what we may be” (4.5.43-44). Remarks as such cannot come out from an insane person. Ophelia’s dressed in flowers and rags, and when she exits, she hands out flowers for everybody in court. She says, “there’s rosemary, that’s for remembrance - pray/ you love, remember. And there is pansies, that is for / thoughts” (4.5. 173-175). This is probably the most touching episodes in the play that Ophelia’s distributes the herbs and flowers whether real or imaginary. It is fitting that she gives her brother a rosemary, a symbol of remembrance used at weddings and funerals, as well as pansies, a symbol for thoughts. Although Laertes displayed the attitude of a man of the world for his sister’s adulation, he never demonstrated any thought for her human needs. Therefore, Ophelia is able to show her inner struggles and shock the nation with her idiocy. It is clear that some of her actions reflect Hamlet who has given up on her.
Hamlet’s madness beings when he decides to act mad to be kept alive. By acting crazy, it gives him numerous advantages such as, being able to speak whatever he wishes, since the other will not take him seriously. He can also dig out comments and information from the others since the others will let their guard down in front of Hamlet. When the king greets, “How fares our cousin Hamlet?” (3.2.93), Hamlet answers, “Excellent, I’faith, of the chameleon’s dish. I eat the/ air, promise-crammed. You cannot feed capons so.” (3.2. 94-95), which makes no sense at all. This confuses the court, but also assures that he is insane and ignores Hamlet’s actions, without knowing about Hamlet’s master plan. After the play, Hamlet clearly sees Claudius reaction and is thrilled. He orders, “Come, some music; come, the recorders.” (3.2.285). Acts like such makes the people perplexed since the Dane, is furious, but the Prince is ordering them to play music and be jolly. But Hamlet proves that he is not insane to Rosencrantz and Guilderstein, when he questions, “why do you go about recorder the wind / of me, as if you would drive me into a toil?” (3.2. 336-337). Therefore, Hamlet does act out randomly, but is also able to make a definite statement, just like Ophelia did.
Therefore, Hamlet and Ophelia’s madness has similar outcomes, although their primary intentions were completely opposite. Ophelia’s madness came when she had to deal with harsh reality, but Hamlet’s madness started as a fake action. Ophelia transforms to a complete messed up woman from a pure and virtuous teenager. Her change happened suddenly and unexpectedly. Hamlet’s change was also sudden and unexpected and impacted the crowed greatly. This shows that Hamlet and Ophelia has the same reactions from the crowd when the start to act mad.
Hamlet differs very much from the characters Fortinbras and Laertes in the play Hamlet. Hamlet’s use of his brain before taking action is what sets him apart from Laertes and Fortinbras as they are men of action and do not think before they act. Before Hamlet takes drastic measures, he delays to create a well though of plan, while Laertes and Fortinbras rush into action if they feel the need to. Throughout the play you can see how Hamlet is set apart from Fortinbras and Laertes by their constant call for action and their lack of though before they act.
Laertes and Fortinbras are men of action and examples of this can be seen throughout the play. From the beginning of the play, it is clear Fortinbras is a man of action. We see that when Fortinbras finds out that Denmark has no King, he demands Denmark, “Importing the surrender of those lands/ lost by his father.”(1.2.23-24) Already it is clear Fortinbras wants to attack Denmark to retrieve land back from Denmark, which was lost during a war. Fortinbras taste for war and action is shown again as he wants to invade Poland for only the pleasure of battle. It is shown this is true when you find out about the land he is going to invade, it is described to Hamlet by a Captain as, “A little patch of ground/ that hath in it no profit but the name.”(4.4.18-19) Fighting for such a pointless piece of land shows how Fortinbras is a man of action and loves to be in battle just for the fun of it. Theses actions show Hamlet how he is so different from Fortinbras who is a man of action and that he himself may be delaying too much. He admits he is different and may be staling just a little too much when he exclaims, “How all occasions do inform against me, /and spur my dull revenge.”(4.4.32-33) It shows that Hamlet knows Fortinbras is a man of action and that he is not. It seems Hamlet is very different from Fortinbras, as he likes to plan and think before he acts, as Fortinbras just acts without thinking and planning at all.
Hamlet also differs form his counter parts Laertes and Fortinbras because he thinks before he puts his acts into play. You see Laertes does not think before he acts when he storms the castle with peasants, looking for a Revolution. It shows he has not thought about his plan of action when he describes his reasons for being there, “That drop of blood that’s calm proclaims me bastard/ cries cuckold to my father, brands the harlot.”(4.5.117-118) If Laertes would have though before he acted he would have realized he was trying to avenge his father’s death by storming the castle instead of the man who actually killed his father. Not only does Laertes not think before he acts but also so does Fortinbras as he plans to take the land Denmark took from his father. Fortinbras is acting as if the land was unfairly stolen from his father, but as the King describes it, “Lost by his father, with all bonds of law” (1.2.24), you can clearly see the land was given away legally. If Fortinbras had taken the time to think and realize this, he would not be rushing into an unjust situation just for the fun of it. Hamlet on the other hand thinks before he makes his moves and takes his time so no mistakes are made. It is clear at the beginning of the play that Hamlet is a man who stops to think, when he tells his friends, “As perchance hereafter shall think meet/ to put an antic disposition on.”(1.5.179-180) Instead of being like Fortinbras and Laertes and quickly acting on his feelings he takes the time to realize that if he would kill the King he too would be killed for treason. It is clear to see how Laertes and Fortinbras egos’ get in the way of their thoughts as they act on their emotions as the time being. Hamlet is the complete opposite as he stops and takes the time to evaluate his situation before he does anything.
Throughout the play Laertes, Fortinbras and Hamlet are put into situations in which they must react to. The way they react to their situations shows a lot about each of their characters. In each of the situations, Laertes and Fortinbras tend to let their emotions take control and they act with out thinking about what they are doing. Hamlet on the other hand stops to look at his situation from every angle before he makes his move. It is clear to see how different Laertes and Fortinbras are form Hamlet as they are men of Action while Hamlet is a thinker before he acts.
Who has the advantage Hamlet or Claudius?
Act four is a building block to Act five, its Shakespeare’s way of leading you into the action of what will be all and end all. The thing is in Hamlet the reader never knows what will happen next, they can assume but it always turns out to be the unthinkable. With assuming what will happen in Act 5 and having the facts from Act four it looks to be that Claudius has the advantage over Hamlet. It’s not what is wanted but with Claudius taking action and sending Hamlet to England to die, and having Laertes on his side as well it looks to be the end of Hamlet. He know not only has Claudius plotting against him but Laertes as well, Hamlet killed his father and know there will be revenge to pay. Hamlet has killed Polonius the only thing that he has achieved, but it isn’t planned and it isn’t Claudius and because of his actions he has a second enemy. Hamlet needs to take a step in the direction of shedding Claudius’s blood and with him being sent off to England doesn’t help; Claudius seems to have the power over him at this point.
Hamlet as well known is delaying just a little too much that because of his actions instead of Claudius having to pay for them it’s Hamlet. Hamlet kills Polonius thinking it was Claudius and because of this he is sent off to England with death warrants. Hamlet is unaware of these letters and little does he know his tomorrow is lying in an envelope. “Our sovereign process, which imports at full, by letters conjuring to the effect, the present death of Hamlet. Do it in England; for like the hectic in my blood he rages, and thou must cure me.”(4.3.68). Claudius is at least planning and taking action; whether or not his plan fails at least he is taking a step and trying to be triumphant in Hamlets death. There haven’t been any plans from Hamlet except his plan to act insane, but it has now carried on too far. Not to the point whether or not he is actually insane but to the point where he needs to take another step so that Hamlets sword or Hamlets poison is in contact with Claudius’ last dieing breaths. Therefore right now the only one that seems to be taking initiative to shedding blood is Claudius.
Hamlets actions towards killing Polonius whether or not it was intentional, has got him sent to England and Polonius’ son Laertes out to get him. Laertes is a man of action, he says he’s going to do something and he does it, something that Hamlet needs to learn. Laertes and Hamlet are going to have a fencing match. “But good Laertes, will you do this, keep close within your chamber; Hamlet, returned, shall know you are come home; we’ll put on those shall praise your excellence, and set a double varnish on the fame. The Frenchman gave you; bring you, in fine, together, and wager o’er your heads.”(4.7.141-147). In this fencing match Laertes sword will be tipped and if having it tipped doesn’t kill Hamlet it will be poisoned so that one little scratch could end his life. If there is no chance that Laertes gets to do this Claudius will bring out a drink that is poisoned just for Hamlet. This isn’t just a fencing match it is a match that will conclude everything that Claudius has worked for to kill Hamlet just like he killed King Hamlet. It’s so planned out that there will be no way that Hamlet will be unable to get out of it. Another advantage that Claudius has is that in this match there isn’t really anything that Hamlet has against Laertes but yet Laertes has everything against Hamlet. Laertes has everything to fight for but Hamlet has nothing because Laertes doesn’t have anything that Hamlet wants, its Claudius that he wants. So in this fencing match what will be the drive for Hamlet? In the end Claudius has a greater advantage than Hamlet because Hamlet now has two people wanting him dead.
Claudius not only takes action but also thrives for it he’s so passionate with having Hamlets blood shed that if one plan fails it still doesn’t stop him. Hamlet can’t blame his procrastination on anyone but himself, because of his effortless contributions to killing Claudius he is now laying on his death bed just like his father.
Throughout William Shakespeare’s play Hamlet the character Hamlet is evident in all scenes. Hamlet is normally seen on stage in all scenes because the play revolves around him. However, in the last three scenes of act four although Hamlet is not seen on stage the audience is not left without him and he is talked about. This is evident through the explanation of why Ophelia has gone insane, Horatio receiving a letter from Hamlet telling him that Horatio must give the letters to the respected owners and when Hamlet escaped on a pirate ship returning to Denmark; also through Claudius’ and Laerte’s discussion of how to kill Hamlet.
Ophelia has made the transformation to insanity and this is shown through Claudius when he says, “When sorrows come, they come not single spies, / But in battalions. First, her father slain; / Next, your son gone, and he most violent author / of his own just remove;” (4.5.78-81) Even though Hamlet is not in this scene the audience, or reader, is still shown Hamlet through the explanation of how Ophelia has lost her sanity. Also, during Ophelia’s early insanity she sings songs that can have a sexual interpretation, therefore, causing the reader or audience to wonder if these sexual encounters were with Hamlet causing Hamlet to appear in the audiences mind’s even though he is not on the stage. “Tomorrow is Saint Valentine’s Day, / All in the morning betime, / And I a maid at your window, / To be your Valentine. / Then up he rose, and donn’d his clo’es, / And dupp’d the chamber door, / Let in the maid that out a maid / Never departed more.” (4.5.48-55) Every time a character speaks of Polonius’s death the reader or audience will think back and know that Hamlet killed Polonius. “Like a good child and a true gentleman. / That I am guiltless of your father’s death” (4.5.148-149)
In scene six Hamlet does not appear at all, however, you are still given your needed dose of Hamlet. The reader or audience learns that Hamlet has boarded a pirate ship as they were attacking “Finding ourselves too slow of sail, we put on a compelled / valour, and in the grapple I boarded them. On the instand / they got clear of our ship, so I alone became their prisoner.” (4.6.16-18) and through it all got a ride back to Denmark. All too convenient, does it not seem? However, you learn through a letter that Hamlet wrote to Horatio that he has also written letters to the King of Denmark “Let the / King have the letters I have sent, and repair thou to me / with as much speed as thou wouldest fly death. (4.6.20-22). You also learn that Rosencrantz and Guildenstern are still on their course to England. “Rosencrantz and / Guildenstern hold their course for England; of them I have / much to tell thee. Farewell.” (4.6.25-27)
Laertes is talking about how he wants to take revenge for all that Hamlet has done, “And so have I noble father lost, / A sister driven into desp’rate terms, / Whose worth, if praises may go back again, / Stood challenger on mount of all the age / For her perfections. But my revenge will come.” (4.7.25-29) The King also receives the letters that Hamlet sent from a messenger, “These to your Majesty, this to the Queen. / From Hamlet! Who brought them?” (4.7.36-37) Claudius and Laertes talk about how they must kill Hamlet however everyone, including the Queen, must see it as an accident, “And for his death no wind of blame shall breathe, / But even his mother shall uncharged the practice / And call it accident.” (4.7.65-67) Claudius is talking with Laertes and brings up a memory about how the great swordsman told Claudius that Laertes was a great swordsman and that Hamlet, being envious of Laertes, wants to play him in a match. “He made confession of you, / And gave you such a masterly report … Did Hamlet so envenom with his envy / That he could nothing do but wish and beg / Your sudden coming o’ver to play with you.” (4.7.94-104) Laertes is thinking that if Hamlet, by any chance, somehow gets out of this there would never be a chance like this again to kill Hamlet and make it look like an accident. Laertes decides to dip the tip of his sword in a poison so that all that is needed is a nick and Hamlet will die. “I’ll anoint my sword. / I bought an unction of a mountebank / So mortal that but dip a knife in it, Where it draws blood, no cataplasm so rare,” (4.7.139-142) Claudius is now thinking that Hamlet has the possibility of not being wounded, therefore, Claudius decides that he will poison Hamlet’s drink causing him to die after he drinks the contents. “And that he calls for drink, I’ll have prepar’d him / A chalice for the nonce, whereon but sipping, / If he by chance escape your venom’d stuck” (4.7.158-160)
Hamlet is seen throughout the entire play, but even in the scenes he is not in you are not able to forget him. In scene five of act four the reader, or audience, learns of Ophelia’s insanity due to Hamlet, during scene six act four we learn of Hamlet’s recent escape onto a pirate ship and his return to Denmark, and in scene seven act four Claudius and Laertes discuss how to kill Hamlet using poison and trying to trick him by using a fencing match. Throughout the last three scenes of act four Hamlet is not seen but is still talked about; showing that throughout all the bad circumstances such as Ophelia’s insanity and the plot of death, good is still evident through Hamlet’s character.
Starting in Act I Scene V we are introduced to the theme of madness. We first see this in Hamlet when he tells Horatio he has a plan to get revenge on Claudius; he tells him that his is going to put on an antic disposition. This will allow him to blame any strange comments or action on his madness. Later in the play we are introduced to the second main character who fits this theme. Ophelia, This character is who we know as Hamlets love interest. The difference between the two is that Ophelia has actually been driven to madness. Hamlet throughout the rest of the play only pretends to be mad but implies the truth through witty comments. Ophelia is truly mad and what separates the two from antic disposition and true insanity is that Ophelia sings and speaks exactly what is on her mind.
Hamlet talks to the ghost which we are told is King Hamlet. The ghost tells him to revenge his death by killing the man who killed him, this man is his uncle and now King Claudius. This talk is what triggers the string of events which leads to many deaths but most importantly, Ophelia's insanity and Hamlets fate "O cursed spite, that ever i was born to set it right."(1.5.196-197) This is where Hamlets decides to execute his plan of action begins his antic disposition. By doing this he allows himself the ability to say and do what he wants and being able to blame it on his madness. Although, Hamlet's madness is debatable. He tells us what he is going to do but we are now faced with a problem, if Hamlet ever crosses the line between sanity and insanity we may not be able to figure this out; but what we do know is that Hamlets intelligence and wit stay with him throughout the play which is a true sign of sanity. This is further proved by Ophelias madness in Act 4 of the play, showed by the way she does not hold back any thoughts she has "He is dead and gone, lady, He is dead and gone, At his head a grass-green turf, At his heels a stone." (4.5.29-32) this is opposite of Hamlet because he has to try his best to only imply what he wants to say without speaking his mind; Hamlet clearly has much more to say then he does but what Hamlet wants to say would have him accused for treason. Hamlet may have been pushed to far at certain points of the play, like when he attacks Laertes; but this is still not considered madness. Hamlet is angry because of the loss of his lover and he admits to taking this too far, but Hamlet still never fully crosses over into madness; as Polonius had said “Though This is Madness, Yet There is Method in It.” (2.2.205-206) This sums up Hamlets action throughout the whole play. He is in a rage, but puts thought into his action. This is not the signs of a crazy man.
Ophelia is a representation of innocence gone mad. She loves Hamlet and is deeply dependant on the men in her family. She has a close relationship with her brother Laertes and father Polonius trying to listen to all that they tell her. We find out later that she does not obey all of there requests "By Gis and by Saint Charity, Alack and fie for shame,Young men will do't, if they come to't, By cock, they are to blame. Quoth she, before you tumbled me, You promised me to wed. So would I ha' done, by yonder sun, An thou hadst not come to my bed." (4.5.58-63) as she talks about her sexual experience we see that she is not the "green girl"(1.3.101) that her father refers to her as but we now see there is one more important figure in her life which means just as much to her as her family, which is Hamlet. Unfortunatley Ophelias dependance on these man had drove her to her own madness. Hamlet tells her that he does not love her and this really hurts and confuses her. He tells her that he loves her and then tells her that he never did. Hamlet makes many sexual innuendos towards Ophelia and leaves her frightened and fragile "Like sweet bells jangled out of tune and harsh, That unmatch'd form and feature of blown youth Blasted with ecstasy. O woe is me T'have seen what i have seen, see what i see." (3.1.160-163) This is a stepping stone to Ophelias madness for the final step when she finds out of her fathers iminent death. That is the last step in Ophelias transformation to madness, she find out about her fathers death and starts to speak and sing about her self and sometimes about things that nobody understands. Later Hamlet is talking to two grave diggers and is told that Ophelia has died, we find out that she had drown but what we don't know how she died. It is assumed by the priest it was suicide.
Madness can be compared between the two main characters effected by this trait, Hamlet and Ophelia because they are both revoked of there innocence. Ophelia innocence was broken from the trust she had in the men she cared about. She had been driven mad by being denied of what she thought were safe and indestructible relationships, caused by the death of her father and Hamlet rejection of her and any love towards her. In madness she had possibly killed herself because of these events. Hamlet's loss of innocence is slightly different; because Hamlet had put on an antic disposition, not truly losing his sanity. What compares Hamlets madness to Ophelia's is the lose of Hamlets innocence, by the end of the play Hamlet is responsible for the death of almost every character we hear about and had killed many men himself. This shows that the innocence of Ophelia's faith and the Actions of Hamlet had created madness leading to the deaths of almost every main character in the castle as well as there own.
Who has the advantage in act 4, Hamlet or Claudius?
The basic template for William Shakespeare's plays has the climax in Act 3 such is true in Hamlet. Act 4 was an act full of falling action, bloodshed and quick thinking by Hamlet and Claudius. In this Act the audience is presented with the dilemma of who si truly in control, Clauduis or Hamlet. Claudius has been merely a puppet in Hamlet's extravagant plan but perhaps his own plan has grown out of his own control. The levelheaded Hamlet is only just now being to shown sign of being out of control. His actions seemed to be far too outrageous to be acted upon by a sane person. Though an examination of Act 4, in William Shakespeare's Hamlet, it will be determined that in fact a shift of power has occurred giving Claudius the upper hand.
Hamlet has in Act 3 displayed some peculiar behaviour but nothing to the gravity of how he talks about killing Polonius. After killing Polonius in Act 3, because he thought it was Claudius, young Hamlet in fact acts even more odd when talking about this to Rosencrantz and Guildenstern. Hamlet first accuses his childhood friends as being sponges, which " soak up the King's countenance, his rewards, his authorities."(4.2.15), thus suggesting that Hamlet is in fact in control. However later he goes on to say that deny any knowledge of Polonius' body. Hamlet when asked by Rosnecrantz as to the whereabouts of the body responds by saying " The body is with the King, but the King is not with the body. The King is a thing-"(4.2.26-27) this is a very odd statement to be made by a supposedly sane person. This whole scenario of Hamlet not telling where Polonius body was is also very strange, mainly because if Hamlet did in fact kill Poloinus why wouldn’t he want the body to be hidden? All this behaviour helps support the theory that Hamlet's antic disposition has in fact overcome his very being. These extreme actions are far too outrageous to be blamed on his antic disposition. Here it appears that Hamlet has lost all control of his actions and thoughts. To further prove how Hamlet has lost control, when talking to Claudius he suggest that Polonius can be found, " In heaven. Send thither to see. If your messanger find him not there. Seek him I'th'other place yourself. But if indeed you find him not within this month, you shall nose him as you go up the stairs into the lobby."(4.3.33-36) This is a very disturbing statement being made by Hamlet, he is saying that he has in fact hid the body of Polonius in the castle. All of these actions contribute to the idea that Hamlet has in fact long ago lost control over his actions and thoughts.
Claudius has appeared to remain clam and collected throughout all of young Hamlet's antics. Claudius had recognized that Hamlet is now out of control. Now Claudius will show the audience his competence level by following through with his plan by sending Hamlet to England. By Hamlet killing Polonius this has in turn given Claudius a feasible reason as to why he would send Hamlet away. Claudius here is capitalizing on Hamlet's mistakes by sending him to England. Claudius announces' this and gives the reason that Hamlet has forced Claudius to do this, " Therefore prepare thyself. The bark is ready, and the wind at help, Th'associates tend, and everything is bent For England."(4.3.44-46) a brilliant execution of his plan. Even thought it appears that Claudius has completed his plan, Claudius is in control enough to be aware that e must not celebrate Hamlet's death before this is confirmed. He is so aware that he allows the audience to also be alerted of his concerns by telling them, " The present death of Hamlet. Do it, England; For like the hectic in my blood he rages, And thou must cure me. Till I know 'tis done, However'er my haps, my joys were ne'er begun."(4.3.69-71), therefore showing the audience that he is not naive as to think that Hamlet is as good as dead yet. Here Claudius illustrates how he has the advantage over Hamlet at this point in the play.
Finally Claudius demonstrates his control by manipulating Laetres emotions he help complete his own master plan. This also succeeds in removing Claudius from the situation when simple the man whom orchestrated the entire plan. Claudius is clever enough to utilize Laetres hatred for Hamlet to his advantage. Hamlet will remain unaware, as Claudius further plots and plays on Laetres emotions and rage. He does this by calming Laetres down after he has just learned that Hamlet his enemy has killed his father. Claudius goes on to tell Laetres, " He made confession of you, And gave such a masterly report For art and exercise in your defence… Did Hamlet so envenom with his envy That he could nothing do but with and beg Your sudden coming o'er to play with you."(4.7.94-96, 102-104) In this quote Claudius is basically boosting Laetres ego and suggesting that Hamlet did claim to want and challenge Laetres to a fencing match. This would of course anger Laetres that someone who was trying to sue his sister and play his father had the nerve to challenge such a great fencer as Laetres. Once Claudius has got Laetres furious and frazzled in emotion, Claudius reveals his new plan to kill Hamlet, a more secure plot. Claudius later on describes his plan to Laetres that during the fencing match he can, "Will not peruse the foils, so that with ease- A sword unbated, and in a pass f practice Requite him for your father."(4.7.135-139) giving Laetres permission to kill Hamlet straight out and not receive any punishment for it. Also Claudius further plays on Laetres emotions by saying that this will not only kill Hamlet but also this act will requite his father. The final example in Act 4 that supports the Claudius is in control and has the advantage over Hamlet occurs at the end of the act when Claudius says, " How much I had to do to calm his rage. Now fear I this will give it start again. Therefore let's follow." (4.7.192-194) eluding that Claudius was in full control throughout this act and has the ultimate advantage over Hamlet. It seems impossible to the audience for Hamlet to possible escape the fencing fight with Laetres because of all the securities Claudius has put in place with the poisonous drink and tampered sword.
Throughout Act 4 Claudius demonstrates to the audience his complete control over the events that are occurring or are about to occur. With this control comes advantage, therefore giving Claudius the advantage over Hamlet. Claudius has not only physically controlled Hamlet by sending him to England but has also has played a major role in Hamlet losing his mind. By placing Polonius into the room with the Queen and Hamlet, Polonius was killed instead of Claudius, which lead to some very strange events by Hamlet supporting the fact that Hamlet has in fact lost control over himself. If this was not enough Claudius has also masterfully planned a fixed fencing match to kill Hamlet. This match and all of Claudius plans successfully cannot be linked or traced back to Claudius. All his plans he is somehow removed directly from them. This provided evidence that Claudius has the advantage in Act 4 not Hamlet.
How does Hamlet differ from Laertes and Fortinbras?
In Hamlet you are introduced to three character all facing similar problems; they are all set out to complete a comparable revenge triangle for satisfaction of their father’s death. Hamlet, Laertes (son of Kings trusted counsellor, Polonius) and Fortinbras (Prince of Norway) are all on a mission to seek avenge on the individual who killed their fathers. The character Hamlet differs from Laertes and Fortinbras by thinking before acting, keeping enemies close and being a witty individual.
Laertes and Fortinbras are both men of action. Shakespeare has created these two characters to point out how much of a procrastinator Hamlet actually is. By having two characters taking action almost right away after their fathers death puts Hamlet in a weak position, knowing these men are after him before he gets his own revenge done. Fortinbras displays characteristics of a man who takes action before thinking it through when he orders an entire army to fight Poland, for what is described as a patch of land to maintain his name. “Truly to speak, and with no addition, we go to gain a little patch of ground that hath init no profit but the name” (4.4.17-19). The land being fought over is not even worth “five ducats” (4.4.20), which shows Fortinbras passion for action and his name. Laertes is also a character who shows and takes initiative of acting before thinking. This is displayed when Laertes demands for retribution for the killing of his father, Polonius. He storms into the castle demanding for the King with hundreds of followers behind him, which is pretty daring considering all the guards and all the Kind had to do was give a signal and off with there heads. With all the anger built in him Laertes says to the King “Let come what comes, only I’ll be reveng’d most throughly for my father” (4.5.135-136). This proves Laertes is willing to seek revenge no madder what it takes, something Hamlet can not do for his father, while he sits back and thinks.
Hamlets character differs from Laertes and Fortinbras by him being an individual who keeps his enemies close unlike the other to men. Throughout the play the readers notice how Hamlet does not take the opportunities he has to seek revenge on Claudius, when it is very possible too, he always has to stop and think about it before he actually does it. “Now might I do it, now’a is a –praying. And now I’ll do it” (3.3.73-74), this is a perfect opportunity where Hamlet can kill Claudius but does not. This can be looked at by him keeping his enemies close because the more time Hamlet takes to come up with a plot against Claudius, Claudius has come up with more a plans against Hamlet which Hamlet is able to counter act on. Hamlet is too witty to be fooled by Claudius unlike the vulnerable Laertes. Hamlet does not allow for Claudius’ tricks to get him but Claudius seeks out the emotional Laertes to do the dirty deed to him. Although Laertes knows there is a possibly the King can mess with his head and he realises the King took no action when he stormed into the castle. “But tell me why you proceeded not against these feats, so crimeful and so capital in nature” (4.7.5-9), Claudius replies “o, for two special reasons” (4.7.9). This demonstrates how weak Laertes is and that he has already been trapped into Claudius plan. Fortinbras is also a character with no intelligence because as seen he just wants to fight over the smallest land for no purpose. “Nor will it yield to Norway or the Pole a ranker rate should it be sold in fee” (4.4.21-22). This puts his owns life in danger letting his craving for blood get the best of him.
Therefore after witnessing men of action vs. a man of thoughts shows it gets you no where fast when you contemplate when the right moment is to take revenge. Although the Fortinbras is in a similar situation as Hamlet (both fathers have been killed and their uncles have come in the way of them becoming King), these men are completely different personality wise and Laertes falls under Fortinbras characteristics of acting before thinking. Fortinbras and Laertes both seek out their revenge right away but Hamlet avoids it by coming up with a plan.
The physical mind can only endure so much. There are varying limitations to the amount of turmoil each person can handle. It is not unlikely for an individual to spiral into madness, whether choleric or melancholic. In William Shakespeare's play, Hamlet, madness is defined through the characters of Hamlet and Ophelia. Both lost their fathers at the hands of another person, and both have loved ones who seem to have turned against them. Despite the similarities of reason behind the idiocies, there are distinct differences evident in their dispositions.
Hamlet's proclaimed “madness” is fueled by revenge, and is merely an act of antic disposition, “As I perchance hereafter shall think meet/ To put an antic disposition on” (1.5.179-180). It is needed to delay for time, to put his plan of avenging his father and gaining the throne into effect. The more psychotic he acts, the less people will suspect of him. This behaviour masks his true intentions from the people who know him most, and saves him from being condemned for treason. Hamlet's thoughts and actions are logical responses to his situation. Being a man of thought, Hamlet does not act upon rage, because if done so he would not acquire what is rightfully his. Instead, he proposes a dumb show to capture Claudius' conscience, and gain himself the advantage of a public display of omission. Albeit his illustrated lunacy in moments of random speech, “Come, some music; come, the recorders.” (3.2.285), Hamlet's sanity is evident in his lines of intelligence and wit during conversations with Horatio, and even Polonius. With his antic disposition he is able to speak his mind, subjecting his dialogue as a result of his madness, and therefore gain information needed to further his plans. Rosencrantz and Guildenstern are among those subjected to spy on Hamlet. “Why do you go about recorder the wind/ of me, as if you would drive me into a toil?” (3.2.336-337), Hamlet could not have cleverly trapped his childhood friends into admittance if he were insane. Although there were moments where Hamlet seemed to have stepped across the border into lunacy, Shakespeare redirects the audience back to his antic disposition. He never completely steps over the line. Hamlet, contrary to Ophelia, has revenge and desire to hold on to.
Ophelia is an embodiment of love and innocence. She is driven into insanity by the rejection of Hamlet, and ultimately, her father's death at the hands of the man she loved. Ophelia's madness is bitterly ironic because Polonius deliberately articulated that the reason behind Hamlet's mental disorder was his anguish of having been separated from Ophelia. In turn, it is Hamlet's protection of the antic disposition, “The fair Ophelia! Nymph, in thy orisons/ Be all my sins remember'd.” (3.1.89-90), and conscious rejection of Ophelia (though good intentioned), that leads to her steady decent into madness. Ophelia's madness is dependent on Hamlet's folly because if it was not because of his willful plan of action, he would not have impulsively killed Polonius during a heated argument with his mother. It is only in this particular scene that Hamlet acts, without thinking beforehand. "By Gis and by Saint Charity, Alack and fie for shame,Young men will do't, if they come to't, By cock, they are to blame. Quoth she, before you tumbled me, You promised me to wed. So would I ha' done, by yonder sun, An thou hadst not come to my bed." (4.5.58-63), Ophelia's mental anguish portrays a deeper relationship between Hamlet and herself. It is conspicuous that the way Hamlet treated her was a great contribution to her insanity. The imminent loss of her father and the absence of her brother, Laeretes, further magnifies the feeling of abandonment. Ophelia is greatly dependent on the men in her life because they are the ones who makes all decisions, for her “well-being”. Only once has Ophelia spoke out her true emotions, that was when no one was around. All her emotions are spoken out once every disconsolate situation have accumulated. It is assumed that her death is a result of loss of hope. No one is present to guide her, and help her through her suffering.
Shakespeare uses Ophelia's madness as a dramatic tool to illustrate Hamlet's sanity. The weight of Ophelia's insanity is incomparable to that of Hamlet's, because Hamlet portrays glimpses of composure and intellectual forwardness. Despite their similar experiences, Hamlet has something to hold on to, to maintain composure. While Ophelia, has nothing left.
Hamlet- different from Laertes and Fortinbras
It is arguable that the three men, Hamlet, Laertes and Fortinbras display considerable parallelism within the play, Hamlet. Nevertheless in Act four, as all three men then shared the common aspect of their fathers being brutally murdered; Laertes and Fortinbras reveal unambiguous differences from Hamlet. In fact, unlike Laertes and Fortinbras, Hamlet is a profound thinker, thus not being a man of action. With this in mind, Hamlet differs from Laertes and Fortinbras through his approach to avenging his father, emotionally and through his intentions.
It is evident that Hamlet, a profound thinker, differs from Laertes and Fortinbras through his approach of avenging his father. With this in mind, Hamlet is able to separate his emotions from his actions while Laertes and Fortinbras are competent for only acting upon their emotions alone. That is, Laertes will unquestionably attack whoever appears to be responsible for his father’s death and thus fails to find reasons as to why someone would murder his father nor will he verify who actually murdered his father. For instance, upon Laertes storming in the castle outraged by the death of his father he says, “O thou vile king, Give me my father” (4.5.116-117). This, being one of the first things he says to Claudius, shows Laertes accusing Claudius of having killed his father and thus acting on impulse. In contrast, Hamlet is able to lay his emotions aside and is willing to thoroughly analyze his decisions and put on an act of anit-disposition. For example, Hamlet doubts the ghost and feels the need to verify whether he is lying or not. Hamlet exemplifies this when he says,” More relative than this. The play’s the thing Wherein I’ll catch the conscience of the King.” (2.2.600-601), showing that Hamlet must verify his doubts through the play. In addition, Fortinbras differs from Hamlet as he demonstrates that he does not completely set aside his emotions, however does not act as impulsively as Laertes. Fortinbras shows that he is able to act upon what he feels he must accomplish, which is to avenge his father’s death and then take action. He associates some logic to his actions. Fortinbras does not act as immediately as Laertes or thinks as much as Hamlet, however assembles an army and takes action to avenge his father’s death.
As Hamlet sets a more distinct approach to achieving what he intends to do-to kill Claudius, he also differs from Laertes and Fortinbras emotionally. In Act 4, Laertes exemplifies that his emotions are easily swayed and thus he is easily influenced. As Claudius uses Laertes like a pawn, swaying his emotions so that he can kill Hamlet, Laertes denotes this quality. Laertes says, “The rather if you could devise it so that I might be the organ” (4.7.68-69). Here, Laertes shows that he is willing to immediately take action and be used by Claudius after he is almost effortlessly convinced by Claudius to work to his advantage. In addition, Fortinbras, a man of action, acts immediately after hearing about King Hamlet’s death, he then assembles an army. “Now, sir, young Fortinbras Of unimproved mettle, hot and full, Hath in the skirts of Norway here and there Shark’d up a list of lawless resolutes” (1.1.98-101), indicating Fortinbras’ immediate action. However, Hamlet, an intelligent man, exhibits his strong grasp on his emotions. Hamlet shows that unlike Laertes and Fortinbras, has a strong emotional capacity to endure not only his father’s death, but to endure his mother being remarried, the loss of Ophelia and then having to deal with the consequences of his murder of Polonius. As Hamlet does not over react or act impulsively, Hamlet shows that he must bear a strong emotional capacity and thus dissociates Hamlet from the conventional methods of Laertes and Fortinbras.
It is also evident towards the end of the play that there is more depth to Hamlet’s intentions rather than just simply avenging his father’s death. As Laertes, filled with passion and rage, he intends to kill Hamlet to avenge his father’s death is his underlying motive. Laertes even says, “Let come what comes, only I’ll be revenge’d Most thoroughly for my father” (4.5.135-136). Meaning, that Laertes initially storms into the castle ambitiously aspiring to avenge his father’s death. In addition, like Laertes, Fortinbras possesses similar motives, however also intends to fight to bring himself honor. The Captain of Fortinbras’ army says before attacking Poland, “We go to gain a little patch of ground That hath in it no profit but the name. To pay five ducats-five- I would not farm it” (4.4.18-20). Fortinbras’ willingness to fight for very little profit shows that his underlying ambition is to fight for his own glory. In contrast, Hamlet exposes that his intentions fall deeper than just avenging his father’s death. Hamlet later declares that he wanted to be king. Hamlet says, “Popp’d in between th’election and my hopes,” (5.2.65), denoting that Hamlet wanted to be king. Also, Hamlet implies that his intentions were good and noble. Hamlet says, “The time is out of joint, O cured spite, That ever I was born to set it right” (1.5.196-197). That is, Hamlets intentions were to put chaos at rest. Thus, Hamlets intentions transcends the other men’s intentions they were to become king and end chaos in Denmark.
In conclusion Hamlet differs from Laertes and Fortinbras due to his approach of vengeance, his emotional capacity to withstand so much and his intentions. Laertes and Fortinbras are merely men of action, while Hamlet is a man of profound thinking. As the play reveals that Hamlet has a high emotional capacity to endure so many problems and whose intentions go much deeper, thus Hamlet is a man that transcends other characters in the play.
In act 4 of Hamlet, we again see the struggle between Claudius and Young Hamlet. The actions which are taken by the two characters make it seem like a game of basketball, with the actions going back and forth into each others favour. In short, it does seem that Hamlet is almost in total control, with the loyalty of the Queen (if only slightly), the quick reflexes to escape the pirates and how Hamlet reacts to the spying. In the first scene of the act, the Queen has just reported to Claudius about Polonius’s death, “Whips out his rapier, cries, 'A rat, a rat' / And, in this brainish apprehension, kills / The unseen good old man.” (4.1.10-12), but keeps up the veil of Hamlet’s sanity “O'er whom his very madness, like some ore / Among a mineral of metals base, / Shows itself pure; he weeps for what is done” (4.1.25-27). We can see here that though the Queen did tell of Polonius’ death, she still does have loyalty to her son, which we can call as something in Hamlets favour. Another example of the act in Hamlets favour is in scene is how he escapes from the pirates, “Ere we were two days old at sea, a pirate of very warlike appointment gave us chase.” (4.7.14-15). He we have an example of Hamlets quick thinking resulting in him escaping, which we are told a few lines later, to sabotaging Rosencrantz and Guildenstern, which makes Hamlet an increased thorn in Claudius’ side. The third example of Hamlet showing the upper hand in the act is how he killed Polonius. Now earlier in the play, Hamlet recognizes that he is being watched by Claudius through Rosencrantz and Guildenstern, “That I can keep your counsel and not mine own. / Besides, to be demanded of a sponge! What / replication should be made by the son of a king?” (4.2.10-12), and Hamlet knows it’s meant to shake him. By recognizing this fact, Hamlet is able to prepare his reprisal towards Rosencrantz and Guildenstern’s betrayal. Hamlet, with his antic disposition has many audiences has made them wonder about whether if he is insane or not. In act 4, it is safe to say that Hamlet is still in control, with the ability to trust his mother, the escaping from Claudius’s pirate trap, and with the ability to see through the spying web laid forth by Claudius.
Although Hamlet himself does not appear in the last three scenes of this act, show that we are not permitted to forget him.
In Act 4 of Shakespeare’s Hamlet the effort put forth by the protagonist Hamlet, to remain the core of all events progressing in the midst of the lives of several significant characters in the play, is observed by the audience in spite of his absence. One of Hamlet’s soliloquy’s in the play emphasizes his struggle to “take arms against a sea of troubles” (3.1.59) and effectively create the legacy that lies within his soul. This act displays a few lives in which Hamlet actively influences, some to his intention and another to his dismay. Although Hamlet is not physically in attendance during the final scenes of Act 4 his presence is firmly acknowledged through Ophelia’s perplexed conclusions on the murder of the father, his letters to pronounce his definite validity as a character, and his ability to direct Claudius like a marionette.
One method in which the audience cannot dismiss Hamlet is through the sense that he cleaved Ophelia’s emotions into an intense toil. Due to Polonius’ recent death, the trigger resulting in the consequences of Act 4, Ophelia is not able to comprehend the meaning of his victimization. As a devoted daughter when “[Polonius] did command,/[She] did repel his letters and denied/[Hamlet’s] access to [her]” (2.1.108-110) it is evident that Ophelia is conscious of her imperative loyalty unto her father. This obligation is the root of Ophelia’s innocence. The startling murder of her father by her former beau Hamlet provokes Ophelia to question her role in the sacrifice. Bound by the constant assumptions of Polonius and Gertrude, Ophelia too must feel responsible that Hamlet is “Mad for [her] love” (2.1.85). Ophelia must now question the reason for Hamlet to desire revenge aligned with her father. Through her depressing yet frantic songs Ophelia expresses her concern with whether her love was enough for Hamlet. When suggesting she would have been “a maid at [Hamlet’s] window/ To be [his] Valentine/…[and] Let in the maid that out a maid” (4.5.50-54) and given him her virginity in order for the possibility that Hamlet would have “Never departed more” (4.5.55), the entire dilemma could have been avoided. This acts in response to Hamlet’s previous proposals involving “a fair thought to lie between a maids’ legs” (3.2.117) in which he imposed a sexual suggestion during his antic disposition. It is quite possible that Ophelia takes it upon herself as not providing the satisfaction that Hamlet needed to remain in stable behaviour. Through these confessions Ophelia expresses suppressed emotions of those she could have shown Hamlet, prolonging their love. Furthermore, Ophelia battles her obedience to her father against her true love for Hamlet. This is one consequence Hamlet is responsible for, but did not anticipate as Hamlet made a human flaw in his overall plan. Ophelia’s innocence is underlined as she cannot decipher whether she did the right thing. As the mental conflict within her conscience overwhelms her, Ophelia’s faith in Hamlet now dwindles her skill in judging character in comparison to when she advised Laertes to “recks not his own rede” (1.3.51). As Ophelia drowns “incapable of her own distress” (4.7.177) she can no longer bear the burden of a situation in which she could not have avoided without dishonouring one of the two men she loved. When Ophelia notes that “They say the owl was a baker’s/daughter”(4.5.42-43) it is obvious that she feels that she deserves to be turned into an owl for she ultimately believes that she has not offered enough to either companion.
In successfully freeing himself from the control of Rosencrantz and Guildenstern in their journey to England, Hamlet writes letters to Horatio and Claudius, inscribing his notion to soon return to Denmark. It is through the action of sending these letters that an opposite mood towards the presence of Hamlet is felt by the audience. Hamlet is voluntarily forcing himself back into the play, unaware of the grievances experienced by Ophelia. To Claudius, Hamlet beckons at his most recent victorious mindset with offering that “Tomorrow shall [he] beg leave to see [Claudius’]/kingly eyes,” (4.7.44-45) apparently attempting to put Claudius back into a distraught and tense nature. Hamlet is squeezing his head back into the picture to both entice Claudius, showing that he is ready for whatever may be scheming around the kingdom as well as prove that his capabilities should not be underestimated. Following in the pattern of his enraged tirade against his mother’s “act/That roars so loud” (3.4.52-53) Hamlet displays another act of spite in the form of this letter. Hamlet has displaced himself from an outwardly passive personage to what is being perceived as a ranting menace, the opposite end of human’s emotional spectrum. Hamlet does not hold back in maintaining a consistent role in Claudius’ life for his own purposes. Controlling knowledge is one theme that gives Hamlet the comfort of sustaining a strand of power. On another note, Horatio’s letter instructs him to “bring [himself] to where [Hamlet is]” (4.7.25) another attempt of Hamlet’s to keep himself in the present events. In this demand, Hamlet portrays a branch of his conquest in influencing the lives of all characters. This act of sending for Horatio can be seen as an opportunity for Hamlet to regroup and formulate a plan to finally defeat Claudius. In fact, as the audience views, this coupled meeting is merely an excuse for Hamlet to be the centre of attention as no plan is devised and he spends the time coming across a grave digger whom he feels has “no feeling of his business ‘a sings”(5.1.65). He simply would like to have Horatio with him for the sake of affecting someone at his will and having his finest friend there to converse about his recent adventure. Indeed, Hamlet portrays his selfish nature in these letters.
As a result of the letter addressed to Claudius, Hamlet is able to be a means of conniving strategy yet again. The fear that Hamlet creates is the undertone of Claudius and Laertes’ preparation to end Hamlet’s life for certain. Hamlet is able to generate pure thoughts of mischief and trickery depicting how intricate of a process Claudius must undergo in order to produce his ideal plan to “work [Hamlet]/To an exploit,…/Under the which he shall not choose but fall;” (4.7.62-64). Claudius weighs all of the possibilities, describing to the audience the desperation that now surrounds him. That is, Claudius is assertive that Hamlet can be given no alternatives and with this attitude the audience senses how skilled and threatening Hamlet has become. Claudius must initially manipulate Laertes channeling his anger and instilling that he “[hopes], [he] will teach [Laertes] to imagine -” (4.7.35) and understand the devious creations which inhabit his own mind. After boosting Laertes’ morale as “’twould be a sight indeed/If one could match [him],” (4.7.98-99), the duo become intensely involved in the plot to avenge Polonius’ death. Hamlet’s control over Claudius’ life has become so strong that annihilating Hamlet comes as a second nature to Claudius. At this point, the audience grows suspicions unto why Hamlet would direct the spotlight on himself so quickly and allow Claudius ample time to discuss his action. It is a sign of Hamlet’s mounting confidence and possibly his angst to simply portray that his “thoughts [are] bloody or [are] nothing worth” (4.4.66) hastening his will to finally defeat Claudius. As Claudius inputs the need to poison the tip of Laertes’ sword as well as provide a glass of poisoned drink if the first fails the audience is convinced that Claudius firmly trusts that “Revenge should have no bounds” (4.7.128) and that his motive of cheating may take a toll on Hamlet’s prearranged expectations in coming home to Denmark. Hamlet is successful in erupting anxious actions in a character like Claudius whom was first diagnosed with a calm aura, consistently appearing at ease. Hamlet makes his presence clear alongside his tactics of attaining control.
On a final note, Hamlet is becoming aware of his new action enhanced attributes. Thus, it seems that Hamlet is working with more haste minimizing the increased time between scenes of confrontation. With Ophelia’s distress as an exception, Hamlet uses the last scenes of this act to show his willingness to be prepared for the closing battle of the play. Moreover, Hamlet’s essence is undeniable in Act 4 as he spawns a war in Ophelia’s conscience between her rightful allegiance to Polonius or to Hamlet, his strange self proclaimed letters, and his assurance in giving Claudius a distinct advantage. It is unforeseen whether Hamlet will continue this trend in preserving his self in the centre of Denmark, as he is the heir to the throne, or whether he will fall out of his renovated determination to fulfill the Ghost’s wishes with the knowledge of Ophelia’s sudden death.
Within the tragic play Hamlet, by William Shakespeare, there are two characters that cause much speculation from the audience. The characters both seem to have the same advantages and gain quite a reaction in their lunacy. Yet the madness that they succumb to is for very different reasons. The madness of Ophelia in comparison to Hamlet is clearly outlined in their origin of madness, actions in madness and the reaction to their madness.
During the very first act of the play, Hamlet the Prince of Denmark decides, “To put on an antic disposition” (1.5.180) in which he can thus delay and have more time to think and put his plan into action against his murdering uncle. Hamlet decides he needs to act crazy in order to get people to put their guard down around him, this way he can gain information and evidence against Claudius. It also benefits him because while he is acting crazy he can say anything he wants to say, even accuse Claudius of murder and not be pinned down by treason. Yet it is quite discernable that Hamlet is only acting, as he says to his mother, “That I essentially am not in madness / But mad in craft,” (3.4.189-190) which means that he is not crazy, only his actions are. He is only using madness as a disguise to inevitably exact revenge on Claudius. Ophelia’s madness is quite in contrast to Hamlet’s because unlike Hamlet, Ophelia’s madness is real. Her madness is quite ironic because Hamlet’s madness was blamed on her while in turn he fuels the fire that ultimately leads to her going insane. Ophelia is struck with many shocking events within a short span of time and her ability or lack thereof to deal with it causes her to shut down and become crazy. Ophelia’s is ripped apart by Hamlet, who because he is acting crazy, confuses and hurts her. Hamlet tells her that he never loved her and that everything was a lie, this causes her great sadness and pain and begins to shatter her innocence. Her brother Laertes is also nowhere to be found because he has run off to France, completely abandoning her when she needs him the most. The breaking point for Ophelia seemed to be once Hamlet, the one whom she loved with all her heart, kills her father. From her madness she gains the same privileges that Hamlet does in his antic disposition. Ophelia begins to spout what she wants and act as she pleases without being punished for it because people think she is crazy and that what she speaks is nonsense, “Her speech is nothing” (4.5.7). Yet she does not have any intentional goal because unlike Hamlet she is not faking her madness.
Hamlet is constantly in control while under the ruse of his antic disposition; he is trying to find evidence against Claudius and is aiming to set his plan in action. His plan is unveiled masterfully during the play that they watch in which Hamlet gets his public omission of guilt out of Claudius. Only a sane and very brilliant person could be able to devise something like this, thus further showing that Hamlet is not insane. This is further proven when he goes against a battle of wits against several people including his childhood friends Rosencrantz and Guildenstern where he tells them, “Call me what / instrument you will, though you fret me, you cannot / play upon me” (3.2.361-363). He basically tells them that he knows what they are doing and they cannot play him into telling them anything. Ophelia during her madness seems to be very cryptic in her speech and thus confuses a lot of people because they do not understand her. Most think that what she says is complete nonsense and has no meaning whatsoever but on closer inspection she is actually making statements of truth but because of her madness she cannot completely rationalize them. Most of her dialogue becomes very sexual especially once she starts to sing the St. Valentine’s song; this is the point where the audience sees that Ophelia has made the transition from innocent young girl to woman. This shows just how badly she has snapped because there is such a drastic change in character so suddenly. Ophelia also shows her tortured soul when she hands out flowers with a symbolic meaning behind each of them, “There’s rosemary, that’s for remembrance – pray / you, love, remember. And there is pansies, that’s for / thoughts” (4.5.173-175). These she gives to her brother, Laertes which seems to be giving a message that says how he does not seems to remember to show her any real love or care or pay attention to what she needs, and he only puts up a front. These flowers and herbs are also fitting because they are used at funerals which ties into their father’s death.
The reaction to the madness of both Hamlet and Ophelia is quite the same; everybody sees them as crazy and dismisses their actions and words as sheer lunacy. For Hamlet this works perfectly mostly because Claudius will begin to see Hamlet as no threat and will begin to let his guard down. Unfortunately later on in the play Claudius suspects something and sends Hamlet off to death, which does not work as planned because Hamlet manages to come back and obtain his revenge. Again this is showing that Hamlet is not crazy only pretending to be crazy, Ophelia on the other hand is not pretending and she does not have a plan behind her madness. Both tend to act obscurely and speak nonsense which raises the brow of many viewers, more so towards Hamlet because it comes to the point where it is questioned on whether or not he remembers he is supposed to only be acting. Such as when he calls for music after Claudius bursts out from the play “Ah ha! Come, some music; come, the recorders” (3.2.285) which is very strange and many of the people present at the play including Horatio, who knew he was going to pretend to be crazy, think he is actually gone crazy. Ophelia’s madness is also seen as the contributor to her death because in context it is said that she did not struggle or even call for help when she fell into the water, “As one incapable of her own distress” (4.7.177). So many completely cast aside any other reasoning’s to her death because they think she is simply crazy. Nobody takes what she says or does seriously and there is no one to comfort her which inevitably led to her death.
Shakespeare brilliantly compares the madness of Hamlet and Ophelia dramatically. Yet it is Hamlet who we see is still sane under his antic disposition from the way he stays in control and is still able to win in a battle of wit. Ophelia on the other hand when compared to Hamlet is quite insane and is not putting on a guise. This can be clearly seen in their origin of madness, actions in madness and the reaction to their madness.
How does Hamlet differ from Laertes and Fortinbras?
Hamlet is a unique character throughout all tragedies, there are few even similar to him. Throughout the play Hamlet, Hamlet is contrasted with various other characters. The two major characters that are incredibly different from Hamlet are Fortinbras and Laertes. It is through the character of Hamlet, Fortinbras, and Laertes that they can be contrasted.
Fortinbras is the prince of Norway; his father was killed by King Hamlet. It is because of this conflict that Fortinbras' character is revealed. Fortinbras seeks revenge for his father's death, Fortinbras is a man of action. When Fortinbras discovers that Denmark is “disjoint and out of frame” (1.2.20) he instantly decides to exploit this apparent weakness. This is the first chance that Fortinbras has to avenge his father and reclaim “the surrender of those lands” (1.2.23) that were taken by Denmark. This is an act of impulse, a violent action used to seek out revenge. Hamlet, on the other hand, has many chances to exact his revenge. Hamlet is portrayed as a man of inaction. He thinks before he acts, sometimes it seems too much. Although Hamlet is bound by the obligation of killing Claudius out of revenge, he “hereafter shall.../ put an antic disposition on” (1.5.179-80). Instead of seeking Claudius out right away, he develops a strategy that will allow him to kill Claudius over time. It is this strategy and patience that differentiate between Hamlet and Fortinbras. Further portraying Hamlet as a man of inaction is the chance he has to murder Claudius, but turns down because Hamlet does not want “To take him in the purging of his soul, / when he is fit and season'd for his passage” (3.3.85-6). This refers to Hamlet's thirst for Claudius to endure the same agony that King Hamlet was forced to endure. Elizabethans believed that prayer purged the soul of all sins, the sins that would otherwise be burned off in purgatory. Since Hamlet caught Claudius as he appeared to be in prayer, Hamlet decided to leave him alive until he can once again taint his soul with the darkness of sins that he is accustomed to. There is also a difference in their characters based on the form that their strategies take. Before assembling his army to attack Denmark, Fortinbras “hath not fail'd to pester us with message” (1.2.22) regarding his imminent attack to relieve Denmark of the land they claimed from Norway when King Hamlet killed King Fortinbras. This is a very bold statement from Fortinbras, informing Denmark that Norway will attack them if they do not surrender the land that was won. Hamlet, on the other hand, takes a more passive role as he hides in the shadows, performing and perfecting his strategy. With his act of antic disposition, no one is the wiser that Hamlet is aware of Claudius killing King Hamlet. It is this difference of their strategies that differentiates Hamlet and Fortinbras. Fortinbras' action is further exemplified through his attack on Poland. Instead of attacking Denmark, Fortinbras is “commission[ed] to employ those soldiers / So levied, as before, against the Polack” (2.2.74-5). This attack on Poland is not an attack on the mainland of the country, it is “to gain a little patch of ground / That hath in it no profit but the name” (4.4.18-9). This exemplifies the lack of thought because the attack requires the mobility of an entire army, with a purpose of solely obtaining a worthless piece of land. Furthermore, the worthless piece of land “is already garrison'd” (4.4.24). With a fort in place on the land, it gives Poland the advantage over Norway. Since Fortinbras decides to still mount the attack, knowing that the odds are against him, his character is revealed. It is revealed as a man of action, not thinking before he acts. It is his decision to attack Denmark for revenge, his bold declaration of war, and his attack on Poland that exemplify his active nature. This is a contrast from Hamlet because of Hamlet's inactivity. Hamlet's inactivity is exemplified through his strategy of antic disposition, sparing Claudius' life when Hamlet thought Claudius was praying, and Hamlet hiding in the shadows to perfect his strategy.
Laertes is the son of Polonius, and the brother of Ophelia. Laertes is also contrasted with Hamlet throughout the play. Like Fortinbras, Laertes is a man of action. Upon hearing word of his father's death, Laertes returns to Denmark from France. Exemplifying his lack of thought, Laertes “O'erbears your officers” (4.5.102) and tries to launch an attack on Claudius as well as the rest of the kingdom. With only “The rabble” (4.5.102), commoners, to support him, Laertes is at a tremendous disadvantage. This is an irrational attack; it is much easier for Laertes to lose his life for this irrelevant cause than to succeed. Even if Laertes were to succeed, he would not have exacted his revenge because Claudius did not murder Polonius. As opposed to Laertes' irrationality, Hamlet is completely sane and rational throughout the play. Hamlet knows that he must “put an antic disposition on” (1.5.180) in order to successfully avenge King Hamlet. If Hamlet were to simply murder Claudius, Hamlet would be convicted of treason and killed. Thus, to perfect his strategy and show his sanity, Hamlet prolongs his revenge. Also, Hamlet plots other ingenious strategies to exact his revenge, strategies that exemplify his sanity. One of these strategies is when Hamlet has the players “Play something like the murder of my father / Before mine uncle” (2.2.591-2). Only a sane person could develop a plot this clever. Furthermore, Laertes is easily manipulated by Claudius. Claudius is able to turn Laertes against Hamlet so that Laertes believes Hamlet is responsible for “a noble father lost, / A sister driven into desperate terms” (4.7.25-6). This is representative of Laertes' weakness; he is not strong enough in spirit to resist Claudius' manipulation. Claudius also manipulates Laertes by motivating him. Claudius tells Laertes that a famous fencer named Lamord “made a confession of you, / And gave you such a masterly report” (4.7.94-5) that Laertes could beat this famous fencer. This motivates Laertes to the point that he is willing to become the organ of Claudius' plans. Throughout the course of the play Hamlet does not succumb to Claudius' manipulation. Through every situation Hamlet is able to maintain his composition, whether it be acting insane or not, and overcome the troubles. An example of this is escaping the course to England, when Hamlet “boarded [the pirate ship]” (4.6.17) and returned to Denmark. Claudius' strategy is not able to overcome Hamlet. Finally, Laertes and Hamlet are differentiated through Laertes' use as an instrument of evil. Together with Claudius, Laertes plots against Hamlet. They plan to “anoint my sword.../ that is but scratched withal. I'll touch my point / with this contagion, that if I gall him slightly, / it may be death” (4.7.139, 145-7). This refers to the use of poison in order to dishonourably murder Hamlet. Hamlet, on the other hand, is bound by obligation to the crimes he must commit. Hamlet is “bound to revenge when thou shalt hear” (1.5.7) because he must seek revenge against Claudius for the murder of his father. Claudius exemplifies the tragic flaw of greed, and kills King Hamlet. Thus Hamlet must avenge his father by murdering Claudius. Hamlet may need to commit crimes to exact his revenge, but his causes are noble and he does not use treachery to accomplish them. Hamlet and Laertes are differentiated through Laertes' inaction, succumbing to manipulation, and his dishonourable schemes.
Fortinbras and Laertes are contrasted from Hamlet all throughout the play Hamlet. Hamlet stands as his own unique character. Through Hamlet's inaction, great strategies, noble goals, free will, and a quiet nature Hamlet is differentiated from Fortinbras and Laertes. Fortinbras and Laertes are the complete opposites of everything that Hamlet exemplifies.
Hamlet is the axis on which the play spins; even if he is physically absent he is still embedded with in it. Due to this everything will continue to revolve around him implicitly if he himself is not present. Hamlet gives credibility to the other character’s actions and is therefore constantly represented. Hamlet himself is not directly present in the final three scenes of act four the purpose of which is to give the audience time to be able to absorb all his previous action, allowing Shakespeare to address causality and since Hamlet is the pivot of it we are forced to keep him in our thoughts.
The consequence of Polonius’s death is the devastating effect it has on Ophelia, and since Hamlet killed him he contributed to her resulting insanity. Scene four of act four ends off with Hamlet’s proclamation that, “O, form this time forth/ My thoughts be bloody or be nothing worth” (4.4.65-66) but there has already been too much action rendering us unable to take more at this point. Polonius’ blood is fresh on Hamlet’s hands and the anxiety of him almost having Claudius’ as well lingers in the minds of the audience. Time must be taken to digest all this. Meanwhile Shakespeare must tie up all his loose ends. A consequence of the reckless murder of Polonius by Hamlet, is that Ophelia is driven into madness. Even though Hamlet is not directly mentioned in scene five he still contributed to her madness. Ophelia feels guilt over the death of her father “White his shroud as the mountain snow” (4.5.36) all he wanted was to keep her pure. However in order to do this, she was ordered not to see Hamlet anymore. Since Ophelia is kept in the dark about what is going on most of the time it is easy for her to mislay the motives behind the murder of Polonius. Ophelia has been repressed sexually all her life by her father and brother who feed her things like “best safety lies in fear” (1.3.43) to warn her off from committing to someone sexually. Ophelia was then lead to believe that Hamlet was driven in to madness because of unrequited love at the suggestion of her father. Therefore when Hamlet kills Polonius in a state of insanity she feels it could have been prevented, had she given more of herself to Hamlet. Her experience reminds her of “they say the owl was a baker’s daughter” (4.5.42-43) because both her and the baker’s daughter held back and as consequence were forced to live in darkness. Ophelia did not have sex with Hamlet, because that would mean asserting her independence and she as a woman did not have the mentality to do that. This is another reason why Hamlet believes “Frailty, thy name is woman” (1.2.146) because Ophelia is weak and unwilling to stand up to her father despite his extremities in removing Hamlet from her life completely even though she loves him. Furthermore Hamlet refers to Polonius as “Jephthah, judge of Israel” an allusion to Jephthah who pointlessly sacrifices his daughter. It should also be noted that Jephthah’s daughter was a virgin and remained a virgin in her death. Hamlet is aware of Ophelia’s purity and wishes her to “Get thee to a nunnery” (3.1.121) so that she doesn’t become like Gertrude but stays pure, and ironically to protect her from what was to come, which drives her insane. Ophelia’s situation is frustrating because she feels that her father’s death was a result of Hamlet not getting his way with her, “Young men will do’t if they come to’t/ By Cock, they are to blame” (4.5.60-61) and he therefore took his revenge on Polonius who prevented this. Hamlet has told Ophelia that he doesn’t love her anymore thus it would make scene, for her to think that he killed her father out of spite. This causes her to repent, “Lord, we know what we are, but know/ not what we may be” (4.5.42-43) because she sees herself as the cause for Hamlet killing her father. She feels guilty because she did not believe her brother and father when they warned her that Hamlet was only toying with her. How could she have known, “It was the false steward that stole his master’s daughter”(4.5.170-171) Hamlet stole her heart (despite the warning from her father) using false vows of love. The situation is quite nihilistic; if she had relations with Hamlet she would be directly disobeying her father, simultaneously her refusal to do so could be the reason why Hamlet killed her father. No matter which way she acted the outcome would have been unfavorable. Since Ophelia is innocent and unable to overcome all totality of the pressure exerted on her, she obeys her father who was slain by Hamlet. There was nothing Ophelia could have done, or different way in which she could have acted. The inescapably of her situation drives her mad. The nihilism in her being punished for retaining her innocence is devastating, all she can do is try to keep hanging on to it and believe that “We must be patient. But I/ cannot choose but weep to think they would lay/ him i’th’ cold ground” (4.5.67-70). Her obedience to her father is shown when she is giving out flowers but has no more violets (which represent faithfulness) because they were all given to her father. Hamlet killing her father shattered Ophelia’s innocence and drove her mad. Her sexual repression and being unable to think for herself also drives her insane in the end. Her death by falling off a willow tree as she picked flowers is representative of her trying to hang on to something which can no longer be kept because of external forces; her innocence.
Hamlet’s letter to Horatio gives the audience a chance to know what has occurred to Hamlet since his banishment to England without him actually having to be in the scene. His exile to England is the causation of the murder of Polonius that served to give the king a pretext to send him away. Hamlet’s voyage needs to be recounted for in the form of a letter because it keeps the climax shifted towards act three and allows the audience a rest from the constant action. To our relief he was able to circumvent Claudius’s plan for “The present death of Hamlet”(64.4.8). It is almost unbelievable to learn that Hamlet has been able to escape because he boarded a pirate ship. This leaves the audience to question the outcome of the situation. It is left open for interpretation if is the result is a cause of deus ex machina, or if Hamlet had paid off the pirates to be there. The letter undertones the latter, “On the instant/ they got clear of our ship, so I alone became their prisoner…But they knew what they did” (4..6.17-18,20) leading us to believe that once again Hamlet has anticipated how people react in a given situation. After successfully having foiled Claudius plan to kill him, Hamlet sends Rosencrantz and Guildenstern to their death. Since the audience as been over quenched of their thirst for blood this is done behind the scenes. However the possibility of Deus ex machina having a part in Hamlet’s escape challenges the suspension of disbelief, enticing the reader to begin reading analytically and rationalize. The timing for his is perfect because it makes way for the black humor to be settle in when we realize that “Rosencrantz and Guildenstern hold their course for England”(4.7.25-27) and are going to die at the expense of the infallibility which they hold towards the king. Causality deals them a cruel fate; they were unable to think for themselves and be independent and thus because of the inability to question they never realized that the letter they were delivering could be their death warrant. In the midst of all the conspiracy about to go on in the play Shakespeare is bold enough to take the time to give us a proverbial pep talk in the importance of questioning and not becoming a drown. Ignorance cost Rosencrantz and Guildenstern to sign their own, ironically, willing death.
Hamlet eluding Claudius’ plan to kill him causes Cladius to devise a new one with Laertes who is consequently against Hamlet because of what he’s done. Polonius’ death drove Laertes back to Denmark. He was intelligent in avoiding Claudius at first, because he knew that Claudius would try and cloud his mind. However he was unable to avoid him and Claudius did indeed succeed in what he “had to do to calm his rage” (4.7.191) by assuring him that Polonius death was single-handedly Hamlet’s fault. We have already witnessed Hamlet foil plans of spying and death against him, and also his bloodshed, thus this new shift in not having Hamlet directly present is refreshing. Unfortunately this means that we mush witness the scheming that is being done against him. The eventuality of the letter that Hamlet sends Claudius allows him to prepare for his return and accommodate a plot against him. However Claudius cannot kill Hamlet because of “The Queen…The other motive… Is the great love the general gender bear him” (4.7.11,16,18) thus by killing Polonius and enraging Laertes, Hamlet gives Claudius an opportunity. He is now able to persuade Laertes against Hamlet to serve his own cause. The plan he has in mind is so dexterous that “no wind of blame shall breathe,/ But even his mother shall uncharge the practice/ And call it accident”(4.7.65-68) because he is going to set up a fencing match between Laertes and Hamlet. But before any of that happens he has to convince Laertes to take part in it and, as an effect of the death of Polonius, he willingly accepts. Laertes is in a vulnerable state, and even more so after learning about the death of Ophelia, so that Claudius is able to pin him against Hamlet and he renders himself “That I might be the organ” (4.7.69) to kill Hamlet with a poisoned sword. Laertes allowed himself to be taken over by emotion and as a result lost his ability to transvaluate, so that Claudius was able to manipulate him. Alas his imprudent mistake will cost him his life, because he ironically dies by his own poison sword.
The last three scenes of act four to give the audience time to cool off from the frustration they feel towards Hamlet, the opportunity is taken to transfer the focus to causality but because the plot revolves around Hamlet he is implicitly present. The lose ends of the previous action is tied up and a fresh plot to kill Hamlet unfolds. The underlying lesson to be learned from the death of Ophelia, Rosencrantz and Guildenstern, and the coming one of Laertes is to think for yourself and to not be afraid to act. Ophelia was driven into madness because of the constant repressions on her that refused to liberate her and in the end overwhelmed her to the point of insanity. Rosencrantz and Guildenstern never questioned the King’s task for them and inevitably walked into their own death. Laertes allowed Claudius to manipulate his thoughts and will also die as a consequence. If you don’t think for yourself, but allow others to form your opinion, your already dead mentally, and since the body cannot live without the mind physical death can only naturally follow.
In Act 4 of Shakespeare’s, Hamlet, the character Hamlet is not present in scenes five through seven. Though the audience has grown very accustomed to having Hamlet around, they are not able to dismiss or forget him in these scenes. His physical presence may not exist here, but the consequences of his actions conveyed in Ophelia’s madness, Laerte’s return and revenge plot, and the news of Hamlet to Horatio are a persistent reminder of the character.
Hamlet’s prior love interest, Ophelia, has gone mad due to the murder of her father by Hamlet himself. It is doubly painful as not only is her father dead, her ‘boyfriend’, Hamlet, is the murderer and dead emotionally to her. In scene 5 of Act 4, Hamlet is a constant figure on the mind of the audience as he is the cause of Ophelia’s undoing- her behaviour, her insanity is a result of Hamlet’s murder on Polonius as Claudius says: “First, her father slain; / Next, your son gone, and he most violent author / Of his own just remove…” (4. 5. 73-75). Ophelia’s madness is used not as a parallel, but as an opposition to Hamlet’s, as hers is legitimate. She has truly been driven mad by external factors, which conclusively lead backward to Hamlet. As the audience hears Ophelia’s lunacy; her incessant singing, they can only pity her and think of Hamlet- for Hamlet has murdered her father and broken her heart.
In scene 6 of Act 4, it is impossible to simply forget Hamlet because although he may not be on the stage, the scene is still centred on his character. When Horatio meets two sailors carrying a letter directly from Hamlet, Horatio is informed that pirates attacked Hamlet’s ship but the pirates were kind enough to return him to Denmark. As the scene is almost entirely devoted to reading aloud the letter from Hamlet to Horatio, it is clearly not possible to forget him: “Farewell. / He that thou knowest thine, / Hamlet.” (4. 6. 27-29). This scene is primarily dedicated to further developing the plot, as Horatio is now to continue on to the King with the sailors, and then follow to the Hamlet’s location.
In Act 4, scene 7, the audience is witness to Laertes and Claudius discussing Hamlet’s death- a death they have agreed must take place. Claudius plays another card of manipulation here as he explains ever so kindly to Laertes that he has not punished Hamlet for the murder of Polonius merely because the Queen loves him so. Thus, it should be up to Laertes to expel Hamlet from Denmark. Laertes is the ultimate reminder of Hamlet as he is Hamlet’s character foil throughout the play. The similarity between them is that both have a father’s death to avenge. In this way, Laertes is another reminder of Hamlet- both are seeking revenge. Laertes concocts a poisonous plan with Claudius to have a swordfight with Hamlet to ensure Hamlet’s death. As the audience observes the conversation between Laertes and Claudius, they cannot deny that Laertes has a right to be yearning revenge: “And so have I noble father lost, / A sister driven into desp’rate terms, / Whose worth, if praises may go back again, / Stood challenger on mount of all the age / For her perfections. But my revenge will come” (4. 7.25-29).
Upon hearing the news of his sister’s death at the end of the scene, the audience can assume Laertes rage and hatred for Hamlet will only heighten- as he will more than likely blame Ophelia’s lunacy on Hamlet.
The final three scenes of Act 4 each depict a new way that Hamlet is present without even being there. The affect he has had, and his actions have had on the people of Denmark is, evidently, just as physical as his presence would be. Hamlet has left all of these people whirling, confused, desperate to stop him or figure him out, desperate to kill him like he has killed- to break him like he has broken Ophelia. It is through this desperation, the deviance of Claudius, the vengeful nobility of Laertes, the pitiful madness of Ophelia and the companionship of Horatio, that Hamlet is forever present through all of the characters in the play.
In the 4th act of Hamlet, William Shakespeare shows the reader just how different Hamlet is from Laertes and Fortinbras despite their similar situations. Throughout the play, Hamlet has shown hesitation constantly when it comes to fulfilling his obligation to kill Claudius and avenge his father’s death. In Act 4, the reader notices that Hamlet always becomes entailed with his own contemplation whenever he is close to killing his uncle. Laertes and Fortinbras however, do not stop to take action when they are obligated to fulfill their duties.
In the middle of Scene 5 of Act 3 the reader finds a frantic messenger with news for Claudius and Gertrude warning them that “The ocean overpeering of his list/ Eats not the flats with more impetuous haste/Than young Laertes”(Act 4. 4. 99-100). Laertes has just received the news of his father’s death and his anger is greater than that of a raging ocean. This is comparable to Hamlet’s emotions when realizing the death of his father. However, as the messenger continued to heed his warning, he told Claudius and the queen that Laretes is “in riotous head/ O’erbears your officers” (Act 4. 4.101-102). In hearing his father’s death, Laertes then stormed the castle with a large group of rebels. Laertes’ reaction to hearing about his father’s death is an example of how he and Hamlet are both different from one another. In Act 1 where he was about to hear the truth about what happened to his father, Hamlet responded by saying “Haste me to know’t/ that I with wings as swift /As meditation or thoughts of love/ May sweep to my revenge”(Act 1. 5. 29-31). Now, in Act 4, Hamlet is still yet to take action whereas Laertes, in knowing the death of his father instantly took action.
In the beginning of the play, we are introduced to Frotinbras, the prince of Norway whose father died at the hands of Hamlet’s father. As a result, Fortinbras is now seeking vengeance for what happened to his father by invading Denmark. In Act 4, Fortinbras demonstrates his power, leadership and ability to also take action when telling the captain to “Greet the Danish King/ Tell him that by his license Fortinbras Craves the convetance of a promis’d march/ Over his kingdom”(Act 4. 4. 2-4). This sequence between Frotinbras and the Captain is an example of another important aspect Hamlet lacks: leadership and power. It was in Act 1 where Hamlet displays his inadequacy by saying “but no more like my father than I to Hercules” (Act 1. 2. 152-153). This utterance dies not only reflect on how Hamlet feels about himself but it also reflects on how the reader and possibly the characters feel about Hamlet.
Where Hamlet’s Leadership and will to take action are lacking, he posses’ one thing that not only separates him from Laertes or Fortinbras but is the one aspect that makes him stand out the most and that is his brilliant thinking. Laertes, overcome by emotion, has become reckless and one track minded and Fortinbras, fueled by anger has become blinded by his revenge. Despite Hamlet’s emotional demeanor, he has still displayed his cunning in Act 1 when he says “to put an antic disposition on” (Act1. 5.180) by acting insane and fooling the entire kingdom. Throughout the play, Hamlet’s “antic disposition” is so realistic that even the reader who knows that he’s acting questions his sanity. Now, in Act 4, when Hamlet is on his way to England gives his friend Horatio a letter saying “ On the instant they got clear of our ship, so I alone became their prisoner”(Act 4. 7. 17-18). Here Hamlet is telling Horatio that he has been kidnapped by pirates, implying that he may be dead or in danger. He also writes in the letter, that “we put on a compelled/valor, and the grapple I boarded them” (Act 4. 7 16-17). This is another indication where the reader questions Hamlet’s motives. Throughout the play, he has constantly displayed his inadequacy and lack of strength. In reading the letter, the reader comes to realize that the actions written are contradictory to his character which may indicate that he may not be telling the truth about the pirates. It is this cunning and these actions mentioned that have Hamlet transcend off the page and separate him from not only Fortinbras or Laertes but all of the characters in the play.
Up until now, Hamlet may have demonstrated weakness and hesitation throughout which make him different from Laeretes or Fortinbras. However, there are certain aspects that Hamlet has and Fortinbras and Laertes do not. It is these characteristics that will pose as a vice and a virtue throughout the play.
Who has the advantage in Act 4?
Act three and four of Hamlet really reveal how calculating and meticulous each of the characters are. At the end of act three, it seemed that Hamlet was still somewhat in control, but the very beginning of Act 4 has Hamlet and Claudius reverse roles, leaving Claudius holding the proverbial reigns to the situation that he and Hamlet find themselves in. It was Polonius’ death, however, that was the trigger device for Claudius to gain the upper hand on Hamlet. Through that Claudius begins to use people, including Hamlet himself, to plot against Hamlet.
The first and most important person that Claudius is able to bring over to his side is Gertrude. When she tells of how Hamlet had killed Polonius, Claudius uses the opportunity to instill genuine fear into Gertrude. “O heavy deed! It had been so with us had we been there. His liberty is full of threats to all-to yourself, to us, to everyone.” (4.1. 13-15). Claudius expresses genuine fear at this point, because he had known that this plan was conducted with both him and Polonius, and that by some extension Polonius being killed was the same as Hamlet putting a sword through his own plans. This communication of fear seems to allow Gertrude to become more malleable in her feelings towards Hamlet, which is how Claudius sets his first plan into motion. “Come, Gertrude, we’ll call up our wisest friends, and let them know both what we mean to do and what’s untimely done. [so envious slander], whose whisper o’er the world’s diameter, as level as the cannon to his blank, Transports his poisoned shot, may miss our name and hit the woundless air.”(4.1.38-44). Claudius is again using the opportunity to further the feeling of confusion held towards Hamlet from Gertrude; in that he, in a very subtle way says that Hamlet is a cure on their name. Claudius may also be using the royal “we” in his statement, giving further insight that he is really using Gertrude as a pawn in his plan to consult with others to kill Hamlet.
Hamlet begins to allow himself to doubt his actions following an encounter with the Capitan of Fortinbras army. This self-doubt adds to the already complex situation that Hamlet finds himself in, giving the appearance that Hamlet is beginning to lose control. “Witness this army of such mass and charge, led by a delicate and tender prince, whose spirit, with divine ambition puff’d, makes mouths at the invisible event, exposing what is mortal and unsure to all that fortune, death, and danger dare, even for an eggshell.” (4.4.47-53). Hamlet begins to make comparisons to himself and his situation as a parallel to how Fortinbras plans to go and fight the Polacks. The entire quote can broken down as used as metaphors to Hamlet’s current state of mind. The army of mass and charge would be filial obligation, while the tender prince is Hamlet questioning why he had to be thrust into a situation which robbed him of his innocence. Furthermore, Hamlet may be implying that his ambition to seek revenge may have blinded him, and that at the end of all of this it could be all for nothing (eggshells). Conclusively, Hamlets self-doubt indirectly gives Claudius even more control over the game of wits that is being played between them.
Finally, Claudius begins to conspire with Laertes to give himself even further reassurance that Hamlet will not be able to get to him. “So you shall. And where the offence is, let the great axe fall. I pray you go with me.”(4.6.214-216). Claudius has already begun to twist Laertes into becoming another pawn in his game with Hamlet. Claudius spots a weakness in Laertes and uses it to exploit his feelings. The fact that Laertes had been in a weakened state of mind allowed for Claudius to realize that the more people that he could put between him and Hamlet, the better.
It is clearly evident that through unrivaled cunning, and dumb luck that Polonius had been killed, that Claudius was able to gain an advantage over Hamlet in Act 4. Hamlet, who seemed to be in control in Act 3, has begun to question what he is doing, and how much of it may be blind ambition versus actual fact. However, Hamlet does realize that Claudius is plotting, but is unknowing of what.
Although Hamlet himself is not on stage in the last three scenes of act four of Hamlet, written by Shakespeare, the readers cannot forget his presence in the play. Shakespeare reminds his audience of Hamlet through other character’s dialogue which ensures that his presence is always felt. In the last three scenes of Hamlet the audience is aware of Hamlet existence through Ophelia’s madness, Hamlet’s letters to Horatio and Claudius malevolence murder plot.
In Act four scene four, Ophelia’s madness is presented to the audience which is a reminder of Hamlet in two ways. The reasons for Ophelia’s madness are in many ways, Hamlet’s fault, her father’s death which was caused by Hamlet and then Hamlet leaving for England, “First, her father slain; / Next, your son gone, and he most violent author/ Of his just remove;” (4. 5. 79-81). This reminder is quite obvious because it directly involves Hamlet since he is the cause of these tragic events in Ophelia’s life but the audience is also reminded of Hamlet through Ophelia’s disposition which is similar to his earlier on in the play. While Hamlet’s antic disposition is a farce and Ophelia’s madness is genuine the form in which they present their madness is quite similar. Ophelia speaks in rhymes and riddles, which shows her superiority through the level of language she uses, which is ironic because that is the point in which she goes mad, this form is the same that Hamlet used when he was pretending to be insane. “Her speech is nothing, / Yet the unshaped use of it doth move/ The hearers to collection.” (4. 5. 7-9) Ophelia’s madness allows for her to speak the truth without a controlling authority figure censoring her, which was the reason for Hamlet’s antic disposition and both characters’ use their language to confuse and disorient other characters. Ophelia’s madness is a reminder of Hamlet which keeps focus on Hamlet at all times in the play.
In scene six of act four the audience learns that Hamlet has sent letters to both Horatio and Claudius which includes Hamlet in the scene even though he is not actually physically present. Hamlet’s letter to Horatio insinuates Hamlet’s return to Denmark and the castle, through this letter the realization of the threat of danger becomes apparent to the audience. This awareness of danger keeps the audience attention on the situations surrounding Hamlet throughout the last three scenes of act four. “I have/ words to speak in thine ear will make thee dumb;” (4. 6.22-23), this letter strongly implies that Hamlet will finally tell Horatio everything that has happened in detail which may then lead to the end of this chaos. Hamlet also sends a letter to King Claudius which is read aloud in scene seven which adds to the increasing tension nearing the end of the play, “Tomorrow shall I beg leave to see your/ kingly eyes…” (4. 7. 43-44). Hamlet’s letter to Claudius promises Hamlet’s return and both characters meeting face to face so the audience cannot dismiss his character.
Though Hamlet is not in attendance, the last scene of act four is founded on him and his fate. In scene seven of act four King Claudius is plotting Hamlet’s death and tricking Laertes into carrying out his plan. Laertes is used as an instrument against Hamlet he is character foil throughout the play and Laertes must destroy Hamlet because he too must avenge his father’s death. “And so have I a noble father lost, / A sister driven into desp’rate terms, /…But my revenge shall come. (4. 7. 25-29). Laertes is forced into avenging his father’s death and Hamlet’s death is planned “Hamlet comes back; what would you undertake / To show yourself in deed your father’s son / More than in words? /…Revenge should have no bounds.” (4. 7. 123-127). Even when Hamlet is not present, the existence is still known because the play is based on Hamlet and the state of his condition.
Hamlet, though not on stage, is present throughout the last three scenes of act four of Hamlet through the dialogue of characters and the state of characters. Hamlet’s letters keep a connection between Horatio and himself in order to maintain his presence; and his affect on Ophelia, Claudius and Laertes are continually felt which makes certain that audiences will not overlook him even though he is not physically present on stage.
The capability of the human mind, body or soul has been tested all throughout time, and continues to astound humankind to this day. Despite infinite arguments of whether it be the mind, body or soul of which is the true feat and origin of human nature, there still lays no precise answer. In William Shakespeare’s Hamlet, we are presented two characters, Hamlet and Ophelia who test the questionable aspects of human nature. Throughout the play we are exposed to similarities between the madness of Hamlet and Ophelia, such as the fact that they have lost their fathers to the hands of others, tragically to the hands of people they knew. Nevertheless, their insanity was initiated from varied incentives.
Dissection of Hamlet’s madness causes a questioning of Hamlet crossing between the blurred line of sanity and insanity. His madness came as a product to his circumstances of avenging his father’s death, and dealing with the fact that his own uncle, who had murdered his father was now his father and the usurper of the throne. Beginning as an innocent scheme, the weight of the universe that rested upon Hamlet, such to that of Atlas, fermented and caused Hamlet to begin to lose his balance, especially the balance within his mind. Hamlet’s mind wades in the shallow end of the insanity pool but it is evident that Hamlet, at times controls his sanity. “That I essentially am not in madness,/ But mad in craft.” (3. 4. 189-190). Although his plot began as a “pretend of madness” it is evident through Hamlet’s progression he has slowly loosened his grip from the side of sanity, yet he is still able to see it, therefore not making Hamlet completely insane.
Careful observation into the madness of Ophelia allows us to differentiate the insanity between Hamlet and that of Ophelia’s. Ophelia’s madness stems from the loss of someone whom she had once loved, added to the death of her father at the hands of her lover, with no one around her to have caught her as she let her mind fall from her. Though it is not the loss of Hamlet, someone whom she had once deeply cared for and who had supposedly once cared for her as well “I was the more deceived” (3. 1. 120), that was the breaking point of her madness, it was surely a dominant factor. It is palpable that Hamlet’s antic disposition is what finally causes Ophelia to realize that she has lost the one she had once loved. “Rich gifts wax poor when givers prove unkind.” (3. 1. 100-101). Hamlet’s harsh words and jarring separation from Ophelia may have only grazed the surface of Ophelia’s madness. It is in the murder of her father where she reveals true insanity, unlike the madness of Hamlet which he only uses as a mask. When Ophelia sings “He is dead and gone, lady, He is dead and gone.” (4. 5. 29-30) it reveals the state of true madness. Ophelia has not chosen to bring upon this madness to herself, as it is a product of her unwanted circumstances. The murder of Polonius sets off the insanity from which Ophelia suffers. As Ophelia endures the loss of her father, it becomes evident the role of which Hamlet imparted on Ophelia. “‘Before you tumbled me, / You promis’d me to wed.’” Ophelia has admitted her loss of everything she ever had. Her father now deceased, her once lover who had taken her “worthiness” from her and her lost brother who seemed oblivious to these matters. She had nothing to hold onto, her world collapsed upon her with no mercy as to where it landed.
Shakespeare’s brilliance shines through the contrast of both characters insanity. As it has been revealed Hamlet’s and Ophelia’s madness vastly differ, yet are meant to do exactly that. Hamlet’s insanity is ignited by revenge and filial obligation it is meant to exaggerate feelings of hatred and discontent towards Hamlet at times and as well towards Hamlet’s enemies and people who did Hamlet any wrong. Shakespeare then spins the audience toward the lunacy of Ophelia in attempt to then provoke thoughts of sympathy and tenderness towards her. Shakespeare stirs up emotions using the contrasts of both characters.
Ophelia’s madness greatly differs from that of Hamlet, because in the end Hamlet is in control and able to withdraw himself at anytime and is able to live as he did before. Whereas Ophelia has no where left to go or anything left to hold onto if she steps back into full consciousness.
Who has the advantage on Act 4?, Hamlet or Claudius?
The fourth act of Hamlet contains events that brought the audience much revelation, turning the tables regarding Hamlet and Claudius’s battle over supremacy. Hamlet continues to believe in his sanity and never doubts control over it, constructing himself to proceed on his plan and finally taking action. Also, because of certain occurrences, Hamlet’s will to avenge his father’s death is elicited from his thoughts and transformed into actions, therefore causing him to totally surrender to his fate and focus on fulfilling his purpose instead. Hamlet’s transformation in act four is evident through a series of unexpected occurrences, which later on mends his plans together, causing him to fully gain control over the situation.
Although Polonius’s death caused much disarray and rumor in Denmark, it turns out to work for Hamlet’s advantage as well. Hamlet’s action of killing Ophelia’s father appeared to be an “accident” for the people of Denmark, thus, stressing Claudius’s impression of him as a mad prince and his act of killing Polonius is a result of his insanity. “Hamlet in madness hath Polonius slain” (4.1.34). By fortuitously giving Claudius the wrong notion, Hamlet once again, proves the effectiveness of his brilliant antic- disposition, convincing people that he is innocent of the loss of Ophelia’s father. In addition, Polonius’s death instilled fear in Claudius, knowing that Hamlet can always commit murder and appear to be innocent. “It had been so with us had we been there. His liberty is full of threats to all” (4.1.13-14.). As he fears for his life, Claudius is starting to see Hamlet as a threat, to both him and Denmark, and he knows that the only way to get rid of him is to send him off to England. Because of this incident, Hamlet gains more freedom as well, when it comes to the ideas he is trying to convey. “The body is with the King, but the King is not with the body, The King is a thing—” (4.2.26-27). Hamlet liberally insults the king in front of his own spies, still confusing them in a manipulative way, and inducing the idea of madness to the minds of Rosencrantz and Guildenstern.
The moment of fate that brought Hamlet and Fortinbras together opens a door of connection for Hamlet to recognize what needs to be done and when to do it. By seeing Fortinbras and his army ready to fight for what seems to be worthless, primarily for the sake of honor, Hamlet sees not a man of action, but rather a man of dignity who is driven by the passion to fulfill an obligation. “But greatly to find quarrel in a straw, when honour’s at the stake. How stand I then, That have father kill’d a mother stain’d” (4.4.55-57). Through witnessing Fortinbras’s determination to perform his duty, (to both Norway and King Fortinbras) no matter what the consequences are, his drive to act upon his plan of vengeance is stimulated. Hamlet uses Fortinbras and his actions to identify his major flaw—procrastination. That his gradual attempts to delay his plan distinguish him completely from Fortinbras, in a more negative way, and hinders him from the success of his vengeful plan. “How all occasions do inform against me, And spur my dull revenge. What is a man If his chief good and market of his time But to sleep and feed? A beast, no more” (4.4.32-35). Hamlet sees Fortinbras redeem his father’s name by fighting over a trifling matter, and watches everything take into shape, all except for his plans, while he puts so much time to waste due to his unproductiveness. Through this unforeseen event Hamlet identifies himself and feels a sense of admiration for Fortinbras, as his pursuit of goal sets an example to Hamlet, driving him to finally execute his plans.
Hamlet’s return to Elsinor does not only generate a greater tension in Denmark but unveils Hamlet’s brilliance as well. The sudden attack of the pirates on Hamlet’s way to England provides Hamlet with a better strategy for his revenge. By knowing this incident, the people in Denmark would assume that it is not a part of Hamlet’s plan, neither any of his intentions to escape from the hands of Rosencrantz and Guildenstern and return to Elsinor. “On the instant they got clear of our ship, so I alone became their prisoner” (4.7.17-18). By this time even fate has gone to Hamlet’s side, presenting him occurrences that would work for his benefit. Hamlet’s abrupt arrival also instills fear into Claudius, pressuring him to begin manipulating Laertes and devise a plan to dispatch Hamlet due to his alarm. “And in his postscript here he says ‘Alone’. Can you devise me?” (4.7.51-52). Hamlet becomes more of a threat to Claudius, creating confusion and yet appearing to be guiltless all at the same time.
The unanticipated twists of happenings in act four all seems to be aiding Hamlet in every way, for him to act upon his intentions and fulfill his filial obligation. Peculiarly, fate has worked on Hamlet’s side, giving him the upper hand in the situation. Claudius, on the other hand, is completely unaware of the peril that awaits him, for he obligingly convinces himself of Hamlet’s blamelessness and cooperatively participates in hamlet’s dark plan. Hamlet has completely transformed into a man of action, seeing no immorality on all his deeds—but rather a part of his plan to avenge his father’s murder.
How does Ophelia’s insanity compare with that of Hamlets?
In act four of Hamlet, the character Ophelia Hamlet love interest is observed to have gone mentally insane. The difference between Ophelia’s insanity and that of Hamlet’s is that Ophelia is that Ophelia has truly lost her sanity. However Hamlet is in control of his sanity and is able to act insane when he needs to, to fool the people. Ophelia had truly gone insane after the events that happened after each other, Ophelia watched her life fall apart in front of her and losing her sanity was her only way out. Ophelia had to deal with the loose of her love, Hamlet. Then her Father had crushed her by calling her a slut and worthless. Which follows with Hamlet telling her he never loved and her and ordering her out of is life to a nunnery. The final step was the murder of her father. With no one around to help or support her Ophelia went mad.
Ophelia enters in act four singing to the queen; she has seemed to have completely lost control of her sanity. This is not normal behavior in the castle during the Elizabethan time. Ophelia madness is evident when she tells the king “ Lord we know what we are, but know/ not what we may be. God be at your table.” (4, 5, 42-44). When Hamlet had decided to act insane one of the reasons he did so was so that he would be able to say anything to Claudius because of his sanity. We see Ophelia doing the same thing she tells Claudius may God be with you, and is acting very strangely towards the king and queen. Claudius response further confirms the idea that she has lost her sanity “Conceit upon her father.” (4, 5, 45). Claudius blames her actions as distress over her father. The same excuse he uses for Hamlets insanity. Ophelia continues to sings about sexual actions with the king. Which is very disrespectful and not proper or sane behavior in front of royalty. It is very clear that Ophelia has lost all sanity after the events that have taken place in her life. This is further confirmed when her brother returns from France and barges into the castle, to find Ophelia dancing and singing. Laertes also admits that she has gone mad “ A document of madness: thoughts and remembrance/ fitted.” (4, 5, 176-177) Laertes admits that Ophelia has gone and that she has truly gone insane.
Shortly after Ophelia leaves, the queen enters with the news that Ophelia has drowned. “ Your sister’s drowned Laertes.” (4, 7,163) Ophelia had been getting rosses from a tree when she slipped and fell into the water and drowned. However what is very interesting that when she drowned she did not call out in distress or yell for help, like a sane person would if they were able to comprehend what was happening to them. “Which time she chanted snatches of old lauds,/ As one incapable of her own distress …” (4, 7,178 – 177). Ophelia’s insanity cost’s her, her life. She was not able to comprehend that she was drowning and call out for help. This shows the audience that Ophelia was in fact truly insane and had gone mad through her actions and her lack of action as she was droning. Every sane person will call out for help, or yell in distress in any situation similar to Ophelia’s.
Throughout the play, the audience knows that Hamlet is acting insane towards the King so that he is able to get the Claudius to publicly admit his actions towards king Hamlet. Hamlet is in control at all times of his sanity. This is evident through the intellectual conversation and the action Hamlet does and has. When a person has lost their sanity it is evident to all that there is something wrong with this character. However when Hamlet interacts with the captain of Fortinbras army there is no hesitation at all that he might be an insane man. “God buy you, sir.” (4, 4, 30). It is evident that Hamlet has not lost his sanity and that he is able to control his words and actions. For one to be insane, they loose control over their body, their thoughts and actions are evident of this, they act the same way Ophelia would act as an insane character. Hamelt through out the whole play is able to see the bigger picture, is able to understandwhat others are doing around him and he is able to come up with a plan to get around any situation thrown at him. Such as the one with the sailors “’Tis Hamlet the Character” (4 7 49). Hamlet has defeated the sailors and is back in Denmark so it is evident that Hamlet is not insane.
In conclusion the main difference is that Hamlet is not completely insane. He has control at all times of his sanity. However Ophelia has completely lost it to the extent that she drowns because of her madness. This is the main difference between Ophelia and Hamlets madness, simply that one is mad and insane and the other has control over them selves at all times.
Through out Shakespeare's Hamlet, there are a number of scenes where Hamlet does not physically appear in. In the last three scenes of Act IV Hamlet is not physically present, but the audience is not permitted to forget him. In scene V, Hamlet has caused Ophelia's madness and Claudius puts all the blame on Hamlet. In scene VI, the audience is reminded of Hamlet through his letters to Horatio. Finally, in scene VII, Hamlets presence is felt when word is given of his return, Ophelia's death, and when the truth is revealed that he is guilty of Polonius’ death. It shows the true skill of a play write to be able to provoke the presence of a character without them physically being on stage.
In Act IV, scene V, Hamlet has gone off to England, and the audience learns that Hamlet is not the only one going mad. Ophelia appears to have gone mad due to the murder of her father by the hands of Hamlet, the man she loves. Ophelia mentions indirectly mentions Hamlet in her song, “Quoth she, ‘Before you tumbled me,/ you promis’d me to wed”(4.5. 62-63) This is a reference to when Hamlet and Ophelia were in love and he promised to marry her. As well, when Laertes returns, he demands to know the identity of his fathers killer, and Claudius informs him that is was Hamlet.
In Act IV, scene VI, Horatio receives letters from Hamlet which reminds the audience that Hamlet is still playing a vital role in the play even though he is off stage. Sailors arrive bearing letters addressed to Horatio who’s only inclination is that they must be from Hamlet, “I do not know from what part of the world/ I should be greeted, if not from Lord Hamlet” (4.6.4-5) This letter show’s that Horatio is the only person Hamlet can trust now with his preparation and the detail of the fate of Rosencrantz and Guildenstern. As well, Hamlet had sent letters to the Claudius and Gertrude, “Come, I will give you way for these your letters,” (4.6.29). Horatio escort’s the sailors to the king and queen, for they have messages for them as well. Horatio follows the sailors to rejoin Hamlet to bring him back. The audience is reminded that Hamlet is still alive and well, and that he is now more willing than ever to avenge his father. Hamlet is present in the play even through something as simple and plain as a letter.
In act IV, scene VII, Hamlet is the cause for much mayhem in Elsinore. Claudius breaks the news to Laertes that it was Hamlet who took Polonius’ life, “Sith you have heard, and with a knowing ear,/that he which hath your noble father slain/ pursu’d my life,”(4.7.3-5) Here Claudius reveals to Laertes that Hamlet also tried to kill Claudius. In doing this, Claudius is build an allied with Laertes. To add, Claudius receives his letter from Hamlet and learns of his return to Denmark, alone. Claudius schemes with Laertes, “ Hamlet comes back; what would you undertake / to show yourself in deed you father’s son/ more than in words?” (4.7.123-125) here Claudius is trying to persuade Laetres to take action against Hamlet.
In the last three scenes of Act IV, although he does not make a physical appearance, the audience is aware of Hamlets presence. He was blamed for Ophelia’s death, sent letters to Horatio and the King and Queen, and was plotted against by Claudius and Laertes.
In act 4 of William Shakespeare’s Hamlet, the tension between Hamlet and Claudius is at its best. It is very evident that by killing Claudius like the ghost told him to, Hamlet would achieve satisfaction. The question is between Hamlet and Claudius, who has the advantage in this act?
Hamlet’s act of being insane seems to have gotten the best of him in which his madness took over his actions. In act 3 he burst in anger and disrespected his mother, verbally and physically. In the fourth act, Claudius is informed about the murder of Polonius which was performed by Hamlet. Already we can assume that Hamlet is definitely out of control when the Queen tells Claudius. “Mad as the sea and wind when both contend which is the mightier. In his lawless fit, behind the arras hearing something stir…the unseen good old man.” (4.1.7-12)
Claudius has Hamlet brought in to be questioned about Polonius’ death. The problem with Hamlet’s information isn’t that it’s true but the words and allusion used. When the King asks him where Polonius is, Hamlet proceeds to say “At supper.” (4.3.17) “Not where he eats, but where’a is eaten. A certain convocation of politic worms are e’en at him.” (4.3.19-20) Hamlet then begins to attack Claudius with words by comparing him to a beggar. “A man may fish with the worm that hath eat of a king, and eat of the fish that hath fed of that worm.” (4.3.27-28) “Nothing but to show you how a king may go a progress through the guts of a beggar.” (4.3.30-31)
As the play continues, Act 4 allows the audience to witness that Claudius has the upper hand. His plan to kill Hamlet is set on its way after he manages to convince Gertrude that he can handle the situation. “Come, Gertrude, we’ll call up our wisest friends, and let them know both what we mean to do and what’s untimely done. [So envious slander], as level as the cannon to his blank, transports his poison’d shot, may miss our name and hit the woundless air.” (4.2.38-44) Claudius decides to express his concern and fear about Hamlet, knowingly aware that Hamlet is responsible for the death of Polonius. It does not appear that when Claudius says “we” he is referring to both himself and Gertrude, but more of himself. This would imply the case that Claudius cares more about protecting himself and using Gertrude as a way to get to Hamlet.
Hamlet then begins to question his own actions; whether or not all the time he’s spent on planning has really been worth it. Basically Hamlet starts doubting the success of his plans and convinces himself that he’s losing control to Claudius. If we were to analyze the play, we could identify that Hamlet is responsible for a number of deaths: Polonius, Rosencrantz, and Guildenstern. Claudius was only responsible for one: his own brother Hamlet, who is also the father of the Prince of Denmark. Conclusively, we can assume that Claudius had the advantage over Hamlet in Act 4 because he shows less of a struggle in handling the task at hand, and because Hamlet shows more insanity than he expected to.
In the play Hamlet, William Shakespeare revolves act 4 around Claudius. Since the death of Polonius, Claudius had been articulating many plans to get rid of Hamlet. With every plan and action that Claudius comes up with, another piece of his personality is revealed. In act 4, Claudius proves himself to be resourceful, courageous, and unscrupulous.
In the beginning of act 4, Gertrude betrays her son and informs Claudius of everything, except for Hamlet’s claim to fake insanity. When Claudius finds out that Polonius was murdered, he meets with two or three Lords to view of how they will banish Hamlet as they keep the news a secret. With his excellent skills to deal with situations, Claudius deals with hamlet by sending him to England. “Th’associates tend, and everything bent / For England” (4.3.45-46). When Claudius was talking to the Lords, he provoked an idea onto them, which was Hamlet is mad with killing and must be dealt with like dealing with a serious illness. “Delibrate pause. Dieases desperate grown / By desperate appliance are relieved” (4.3.9-10). Claudius’ cleverness, knowing that he can not kill Hamlet because he is loved by too many people, suggests banishing him with a message for England, demanding Hamlet's immediate death. “By letters congruing to that effect, / the present death of Hamlet” (4.3.67-68). This whole scene allowed Claudius to reveal his cleverness, and skills to deal with ugly situations.
Following the death of Polonius in the end of act 3, Laertes makes his way from France to the castle of Denmark with an angry mob. Laertes, angered due to his father’s death, decides to take revenge for his father not caring for the punishment. “Laertes: That both the/ worlds I give to negligence, / Let come what comes; / only I'll be revenged / Most thoroughly for my father” (4.5.134-136). With that in mind, Claudius’ courage decides to ask Gertrude to let Laertes loose, even though Laertes is so angry that he is willing to kill Claudius. “Claudius: Let him go Gertrude” (4.5.122). Claudius not only proves his courage to Laertes, but also to the reader. This gives the reader and idea of how courageous Claudius may act in the future and how confident he is in himself.
By the end of the fourth act, Claudius convinces the reader that nothing stops him from taking cowardly decisions, not even morality. Claudius seems to feel that the end justifies the means, which shows the final piece of his personality. For him to calm Laertes down, he manipulates the idea of a fencing match between Laertes and Hamlet, where Laertes gets a sharp sword to kill Hamlet. “Or with a little shuffling, you may choose / A sword unbated, and in a pass of practice / Requite him for your father” (4.7.136-138). Yet, Claudius does not just stop their. After Laertes suggests poisoning the sword, so that even a scratch could Hamlet, Claudius adds to his plan by planning to put poison in Hamlets cup of wine just incase he does not die. “And that he calls for drink, I'll have prepared him / A chalice for the nonce, whereon but sipping, / If he by chance escape your venom'd stuck, / Our purpose may hold there” (4.7.158-161). With this, the reader feels that Claudius is a Machiavellian leader, who does whatever needs to be done to achieve his goal.
In act 4 of Hamlet, Claudius shows and presents himself to the reader of his resourceful, courageous, and unscrupulous at its best. He shows he is resourceful by dealing with Hamlet, banishing him to England. He shows he is courageous by standing up to Laertes, when he is unguarded. Finally, he shows that he is unscrupulous by simply planning to kill Hamlet without thinking about his decision morally. Shakespeare has done a great job presenting act 4, and it’s orbiting of Claudius.
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