This topics for this week will give you a chance to formulate an opinion, and prove it. There can only be four students per topic. You must reserve your choice in this thread. I will delete the reservations after the due date.
- Show that Hamlet is insane Act 2.
- Show that Hamlet is sane in Act 2.
- Discuss the parallelism of Hamlet, Laertes and Forinbras by the end of Act 2.
- Who has the advantage in the play by the end of Act 2, Hamlet or Claudius?
- Explain the significance of Ophelia by the end of Act 2.
36 comments:
4. Who has the advantage in the play by the end of Act 2, Hamlet or Claudius?
4. Who has the advantage in the play by the end of Act 2, Hamlet or Claudius?
2.Show that Hamlet is sane in Act 2
4. Who has the advantage in the play by the end of Act 2, Hamlet or Claudius?
4. who has the advantage in the play by the end of Act 2, Hamlet or Claudius ?
5. Explain the significance of Ophelia by the end of Act 2.
5. Explain the significance of Ophelia by the end of Act 2.
5. Explain the significance of Ophelia by the end of Act 2.
2.Show that Hamlet is sane in Act 2
Discuss the parallelism of Hamlet, Laertes and Forinbras by the end of Act 2.
3. Discuss the parallelism of Hamlet , Laertes and Fortinbras by the end of Act 2 .
3. Discuss the parallelism of Hamlet, Laertes and Forinbras by the end of Act 2.
3. Discuss the parallelism of Hamlet, Laertes and Forinbras by the end of Act 2.
5.Explain the significance of Ophelia by the end of Act 2.
2.Show that Hamlet is sane in Act 2
2. Show that Hamlet is sane in Act 2
Show that Hamlet is insane in Act 2
The semi-rapturous love duet
Northrop Frye once said, �Hamlet, is perhaps the most impressive example in literature, of a titanic spirit thrashing around in the prison of what it is. A na�ve consciousness would say that, although bounded in a nutshell, it was also king of infinite space, but Hamlet�s consciousness is not na�ve, and it dreams.� The whole picture presented by Hamlet, his deep melancholic state, his longing for death, the hopeless musical note in his attitude towards the value of his life, his desperate efforts to get away from the thoughts of his duty, and finally, his controversial puzzling attitude towards Ophelia. While Hamlet�s sullied flesh moves through a world of sorrow and shadows, he dwells in his imagination on the emotions of love, which have been poisoned by his mother�s conduct. The exclamation, �Frailty, thy name is woman!� (1.2.146), in Hamlet�s first soliloquy comes to embrace Ophelia as well as his mother, Gertrude. The difficulty in understanding this sudden change of feelings is not that having once loved Ophelia, but the fact that Hamlet suddenly ceases to do so. Hamlet�s unexplainable actions are taxed on his mother, when he accuses her of destroying his capacity for affections, �Such an act / That blurs the grace and blush of modesty, / calls virtue hypocrite, takes off the rose / From the fair forehead of an innocent love / And sets a blister there� (3.4.41-4). Shakespeare strategically places Ophelia�s innocence in opposition to Hamlet�s illuminating antic disposition, causing Ophelia�s plight to be the counterpart in Hamlet�s tragic dilemma. Looking back nostalgically at the doomed love story of Hamlet and Ophelia, it rings a death knell for lost enraptured love. Hamlet�s jaded views of his mother draws Ophelia into a whirlpool associating her with female weakness and a sense of betrayal emerges in his love letter to �the celestial, and my soul�s idol, the most / beautified Ophelia� (2.2.110-11).
In a traditional five-act structure, the second act develops the conflict established in the first act. Shakespeare heightens the dramatic tension by creating both a plot and subplot, involving Polonius and Laertes. This allows the audience to calm down after the excitement generated by the end of Act I. When Ophelia enters with news of Hamlet�s seemingly mad behaviour in her presence, Shakespeare creates the second mystery of this tragic play. In Act II, Hamlet begins his quest to validate the ghost�s revelation, he feels a need to confirm by some means that Claudius did indeed kill his father. In order to conceal his purposes from Claudius, Hamlet puts on his antic disposition. Hamlet�s goal is to use his odd behaviour to arouse suspicions in Denmark about Claudius and thus it instigates the counterplot in Act II. Hamlet�s insulting grossness and disgusting actions towards Ophelia at the beginning of Act II, remains astonishing and it reveals his morbid state of mind, �My lord, as I was sewing in my closet, / Lord Hamlet, with his doublet all unbrac�d, / no hat upon his head, his stockings foul�d / Ungarter�d and down-gyved to his ankle, / Pale as his shirt, his knees knocking each other, / And with a look so piteous in purport / As if he had been loosed out of hell / To speak of horrors he comes before me� (2.1.77-84). The genius of the scene lies in the way Shakespeare is able to focus the attention on Hamlet�s main purpose to manipulate and use Ophelia as a decoy, that can create suspicions and to convince others, through her, that his insanity was not due to any mysterious unknown symptom. If his feelings for Ophelia had been fundamentally that of love, wouldn�t his dominant emotions generate and exact a plan, which wouldn�t cause Ophelia so much suffering? Hamlet is one of Shakespeare�s most thoughtful characters due to his self-reflective nature. If Hamlet is able to contemplate different dimensions of his conscience, was it a necessity to convince Ophelia that his disappointment in love was the cause of his insanity? Hamlet�s perceived notion of love is mingled with obscurity, suspicion, and resentment, which gives rise to an interpretation of Hamlet�s perplexing perfidious treatment towards Ophelia.
Hamlet seems to be in a peripatetic state of mind, conjuring a query that he has been deceived by Ophelia as he has been by his mother. Hamlet�s savagery towards an inoffensive child is at times inexcusable, endangering the respect and empathy, which has accumulated for him as a tragic hero, �He took me by the wrist and held me hard. / Then goes he to the length of all his arm, / And with his other hand thus o�er his brow / He falls to such perusal of my face / As� a would draw it. Long stay�d he so. / At last, a little shaking of mine arm, / And thrice his head thus waving up and down, / He rais�d a sigh so piteous and profound / And it did seem to shatter all his bulk / And end his being, That done, he lets me go, / And to the last bended their light on me� (2.1.88-100). It creates discordant views among the audience. Hamlet�s dramatized actions conflict with the audience�s consciousness that have contemplated that the worst crime committed by Ophelia, was the inability to understand Hamlet�s current disposition and more importantly, the inability to disobey her father�s commands, � No my good Lord, but as you did command, / I did repel his letters and denied / His access to me� (2.1.108-10). Ophelia is placed in an intolerable predicament of having to turn away from true love and obey her father. It gives rise to an interesting point that Ophelia is motherless. It makes one wonder what the mother-daughter relationship was like, or whether it is a dramatic device to ensure filial obligation and to take away the purpose of having independent thought.
It is an appalling idea, when the focus sharpens on Hamlet�s sudden explicit equation associating womankind with frailty. What gave birth to Hamlet�s implicit reflection of Ophelia being a prostitute? If one gives thought to this thorny question, the possible answer takes root during a conversation between Hamlet and Polonius. What was Hamlet�s reason of conveying the sarcastic advice to Polonius of not letting his daughter �walk i� th� sun� (2.2.184)? Bearing in mind Hamlet�s retort, �I am too much in the sun� (1.2.67), in answer to Claudius�s unctuously toned question, �How is it that clouds still hang on you?� (1.2.66), gives rise to an opportunity to consider Hamlet�s reasoning that he is the son and also the sun, which relates to his emphasis on his dead father being the sun God, Hyperion, �So excellent a king, that was to this / Hyperion to a satyr� (1.2.139-40). Hamlet is also the son of Denmark because he is next in line to the succession of the throne. This context allows no escape from Hamlet�s reasoning and can be considered as an intelligible conclusion paraphrased to Polonius� remark, �At such a time I�ll loose my daughter to him� (2.2.163). Would Hamlet associate Ophelia�s apparent corruption and weakness to the physical decay of her father? Hamlet tells Polonius he is reading a �satirical rogue�, who says that �old men have gray beards, and their faces are / wrinkled, their eyes purging thicker amber and plum- / tree gum, and that they have a plentiful lack of wit, / together with most weak hams� (2.2.196-200). These images join a cluster of images associated with King Hamlet�s dead body, and he also calls Claudius, �an arrant knave� (1.5.130). These images conjure an aura of mockery and disgust. The context emphasizes Hamlet�s distrust of physical appearances and he is particularly disturbed by the customs of women, which is clarified by his bitter and cynical remark, �I have heard of your paintings well enough. God / hath given you one face and you make yourselves / another. You jig and amble, and you lisp, you nick- / name God�s creatures, and make your wantonness/ your ignorance� (3.1.144-48). The tone of his language is characteristic of the way Hamlet�s intellect works. He takes physical appearances and strips away the exterior layers until something morally repelling comes into sight. The world itself is not immune to his corrosive vision, �this goodly frame the earth seems to / me a sterile promontory, this most excellent canopy / the air, look you, this brave o�erhanging firmament, / this majestical roof fretted with golden fire, why, it / appeareth nothing to me but a foul and pestilent / congregation of vapours. What piece of work is a man, / how noble in reason, how infinite in faculties, in from / and moving how express and admirable, in action / how like an angel, in apprehension how like a god: / the beauty of the world, the paragon of animals� / and yet, to me, what is this quintessence of dust? / Man delights not me�nor woman neither� (2.2.303-09). Hamlet pictures the duplicity of human kind in the form of woman�they don�t live up to his image of perfection, they are worthless to him. Ophelia may exaggerate Hamlet�s attributes of being a Renaissance man, but she realizes and senses that he tries to embrace all sides of life. One wonders why Hamlet�s main motive to be on a steady path of trying to defame and emasculate Ophelia�s character?
Hamlet�s expressive punning retort is proven by his comparison of Polonius to a �fishmonger�, �How say you that? still harping on my / daughter. Yet he knew me not at first; �a said I was a / fishmonger. �A is far gone and truly in my youth I / suffered much extremity for love, very near this� (2.2.187-90). Hamlet�s conception of Polonius as a �fishmonger� gives insight into his awful consideration of Ophelia as a prostitute. It is also interesting to take note of Hamlet�s comparison of Polonius to Jephthah, �If you call me Jephthah, my Lord, I have a daughter / that I love passing well� (2.2.407-08). Hamlet�s attitude towards Ophelia�s father is hostile and unrestrained. It is an impressive comparison that points out how elders of a society use young people for their own thwarted ambitions. It emphasizes the repressed dark truth of how Polonius uses Ophelia as an outlet for achieving respect and political power.
It is hard to question that indeed there was a time in Hamlet�s life where he did genuinely love Ophelia, but the precise nature of his original feelings for Ophelia is a little obscure, �Doubt thou the stars are fire; / Doubt that the sun doth move, / Doubt truth to be a liar, / But never doubt I love / O dear Ophelia, I am ill at these numbers, I have no art to / reckon my groan. But that I love thee best, O most best, / believe it. Adieu� (2.2.115-21). In analyzing the two women in this tragic play, Ophelia has traits, which are strikingly contrasted with those of the Queen. Due to the configuration of these two characters being from opposite extremes, was Hamlet impelled to choose a woman that least reminded him of his mother? A case might be made for this ambiguous point of view, for instance, in the second scene of Act III, Hamlet denies his mother�s request to sit by her with harsh words, �No good mother, here�s metal more attractive� (3.2.108). Hamlet�s reply implicitly equates his ruthless and unforgiving nature of his attitude, which is covered in an underlying turmoil. Ophelia appears as a spiritless creature�na�ve, obedient, an unreflecting fundamental simplicity, and the inability to revivify after being held in many precarious situations. Ophelia is a knotty problem, an individual who seems to have no will of her own�docile, friable, used by her father and the Danish royal court. One wonders whether Ophelia will be tattered into fragments of madness because she has been cast into a series of frightening and melancholic event. Ophelia is a victim of political issues and is also surprisingly used as political bait, �Lord Hamlet is a prince out of thy star / This must not be �and then I prescripts gave her / That she should lock herself from his resort, / Admit no messengers, receive no tokens; / which done, She took the fruits of my advice /�Be you and I behind arras then, / Mark the encounter. If he love her not, / And be not from his reason fall�n there on / Let me be no assistant for a state, / But keep a farm and carters� (2.2.141-67).
In considering a parallelism between Ophelia and Gertrude, one must keep in mind how both their passive actions instill the seeds of hatred and distrust in Hamlet. Gertrude disregards her affections for Hamlet, by committing the guilty sin of incest and causing the royal bed of Denmark to rot, �She married�O most wicked speed! To post / With such dexterity to incestuous sheets!� (1.2.156-57). On the other hand, Ophelia�the daughter of a minister of the Danish royal crown, which has been drawn into a big political chess game which has been laced by the unpleasant aspects of filial obligation. Hamlet�s resentment against Ophelia is inflamed by her hypocritical jesters of following the commands of her father and brother. Hamlet�s grief intensifies his frustration and anguish even though he was a gentleman at the beginning of the play, �He hath importuned me with love / In honourable fashion� (1.3.110-11). Judith Cook once said, �While no one entertains a doubt of Ophelia�s love for Hamlet, it is a subject of dispute whether Hamlet loves Ophelia. Portia would have studied him, Juliet pitied him, Rosalind turned him over with a smile to the melancholy Jaques, Beatrice laughed at him outright, Isabel reason with him, Miranda wonder at him�but Ophelia loves him.� Ophelia is a strange mixture of innocence, romantic feeling, feminine nervousness, but unfortunately she lacks the quality of a sharp spoken candour. Ophelia�s being is the epitome of female weakness, the constant stripping away of layers of naivety results in a dutiful daughter�a daughter unable to stand family pressures and finally, she becomes enmeshed in a world devoted to filial obligation. Would poor Ophelia become a victim of vicious calumnies?
Indeed throughout Act II, Ophelia�s appearances are brief, but she does become the emotional centre of interest. The poignancy of her innocence is perfectly conveyed by her actions. She arouses pity among the audience and her presence is used to serve and counterpoint the tense moments during the play. Shakespeare is brilliantly able to compensate the needed pathos during the scenes involving Ophelia, which always grips the audience in a different way compared to the empathy we feel for Hamlet. The audience understands that Ophelia is caught in a tragic median�divided between her love for Hamlet and her father. As a woman, she is condemned in her world to a purely passive role. Ophelia�s tragic disposition, reminds me of a tragic poem written by the English poet, William Wordsworth, in the year 1799, named Lucy Gray or Solitude:
Oft I had heard of Lucy Gray:
And, when I crossed the wild,
I chanced to see at break of day
The solitary child.
No mate, no comrade Lucy knew;
She dwelt on a wide moor,
�The sweetest thing that ever grew
Beside a human door!
You yet may spy the fawn at play,
The hare upon the green;
But the sweet face of Lucy Gray
Will never more be seen.
�To-night will be a stormy night�
You to the town must go;
And take a latern, Child, to light
Your mother through the snow,�
�That, Father! will I gladly do:
�Tis scarcely afternoon�
The minister-clock has just struck two,
And yonder is the moon!�
At this the Father raised his hook,
And snapped a faggot-band;
He piled his work; �and Lucy took
The latern in her hand.
Not blither is the mountain roe:
With many a wanton stroke
Her feet disperse the powdery snow,
That rises up like smoke.
The storm came on before its time:
She wandered up and down:
And many a hill did Lucy climb;
But never reached the town.
The wretched parents all that night
Went shouting far and wide;
But there was neither sound nor sight
To serve them for a guide
At daybreak on a hill they stood
That overlooked the moor;
And thence they saw the bridge of wood,
A furlong from their door.
They wept�and, turning homeward, cried,
�In heaven we all shall meet !�
�When in the snow the mother spied
The print of Lucy�s feet.
Then downwards from the steep hill�s edge
They tracked the footmarks small;
And through the broken hawthorn hedge,
And by the long stone wall;
And then an open field they crossed:
The marks were still the same;
They tracked them on, nor ever lost;
And to the bridge they came.
They followed from the snowy bank
Those footmarks, one by one,
Into the middle of the plank;
And further there were none!
�Yet some maintain that to this day
She is a living child;
�That you may see sweet Lucy Gray
Upon the lonesome wild.
O�er rough and smooth she trips along,
And never looks behind;
And sings a solitary song
�That whistles in the wind.
Hamlet
In the play Hamlet, the three characters of Fortinbras, Laertes and Hamlet all have parallels in their life path. These include a lack of faith from the older generation, a sense of obligation to that older generation, and the hesitation to fulfill those obligations.
In the play, all three characters deal with a lack of faith from their elders in one way or another. With Fortinbras, his uncle did not trust him to listen to him and not attack Denmark. When the King of Norway found out, he sent for his nephew to meet with him. “Sends out arrests/ on Fortinbras; which he, in brief, obeys,/[…] Makes vows before his uncle never more/To give th’assay of arms against your Majesty” (2.2.67-71). The lack of faith Fortinbras’ uncle has in him is similar to what Laertes’ father has in him. With Laertes, his father is keeping an eye on him by sending a spy to make sure Laertes is behaving while he is in France because he does not want him to ruin his family reputation and make his father look bad. When Polonius says “You shall do marvelous wisely, good Reynaldo, / Before you visit him, to make inquire/ Of his behaviour” (2.1.3-5), he is showing that he is not trusting his son to make the right decisions while he is in France. Similar to Laertes, Hamlet is also being spied on by his uncle Claudius and his mother Gertrude after he begins to act weird. They get his childhood friends, Rosencrantz and Guildenstern, to figure out what is wrong with him. When Claudius says to Rosencrantz and Guildenstern “I entreat you both/ That, being of so young days brought up with him/[…] To draw him on to pleasure and to gather,/ So much as from occasion you may glean,/ Whether aught to us unknown afflicts him thus/ That, open’d, lies within our remedy” (2.2.10-18). Despite the lack of faith from the older generation, these three characters still feel they have an obligation to their families.
The play shows us each character feels he has a sense of obligation to a member of the older generation. Fortinbras experiences this with both his father and his uncle. For his father, he has an obligation to avenge his father’s death. With his uncle, he has an obligation to listen to him and follow his orders. In Act 2, Scene 2, Fortinbras uncle arrests him and tells him that he can never attack Denmark. Fortinbras swears he will not attack and he no has that obligation. Laertes has an obligation to his father, Polonius, by keeping out of trouble in France and not ruining his family’s name. Though he has an obligation to his father, he has a lot of pressure on him not to screw up and ruin what his father has given him. For Hamlet, he has an obligation to his dead father’s ghost to avenge his death and murder his uncle, Claudius. “Revenge his foul and most unnatural murder/ […] The serpent that did sting thy father’s life/ Now wears his crown” (1.5.25-40). When the Ghost tells Hamlet this, he is telling Hamlet to avenge his death and now he has an obligation to kill the king. Though all three characters have a sense of obligation to their families, they all have an inability trying to fulfill it.
This sense of obligation is partnered with a hesitation to actually fulfill the obligation itself. For Fortinbras, he needs to take over Denmark and take revenge for his father’s death by defeating Denmark and killing Hamlet. He can not fulfill this obligation because his uncle is stopping him from attacking Denmark. In Act 2, Scene 2, it says that Fortinbras wants to go through Denmark to attack Poland and when this happens, this is where he can take his revenge. In Laertes situation, he wants to go back to France and haven fun, but his father wants Laertes to stay with him in Denmark. This makes Laertes go to the King and ask him for permission. “My dread lord,/ Your leave and favour to return to France/[…] My thoughts and wishes bend again toward France/ And bow them to your gracious leave and pardon” (1.2.51-56). When the King asks Polonius what he thinks of this, he says “He hath, my lord, wrung from me my slow leave/ By laboursome petition, and at last/ Upon his will I seal’d my hard consent./ I do beseech you give him leave” (1.2.58-61). It shows that Polonius wants him to stay, but if the King tells him he can go, then it is fine. This causes Laertes to not listen to his father and not help his obligation. For Hamlet, he is a thinking man, and this causes him to think about his actions instead of doing them. For example, when he is talking to the Players, he gives them the situation in which his father was murdered. “We’ll ha’t tomorrow night. You could for a need/ study a speech of some dozen or sixteen lines, which/ I would set down and insert in’t, could you not?” (2.2.534-536). In many situations, Hamlet could have killed Claudius, but it shows that he wants the King to think about what he did and cause him to lose his mind and suffer with what he did.
The three characters of Fortinbras, Laertes and Hamlet have shown that they all have parallels in their lives. A lack of faith from the older generation, a sense of obligation to that older generation, and the hesitation to fulfill those obligations shows the similarities of their lives, and the problems that they face.
Hamlets advantage over Claudius throughout Act 2
Throughout Act 2, we got to see Hamlet turn into a thinking man. He began going through emotional changes and he began to procrastinate. Hamlet had a lot on his mind throughout this act and he wanted to accomplish his duty to his dead father which was to kill Claudius. By the end of Act 2, all fingers pointed to Hamlet as being the man with the upper hand.
Hamlet has been putting on an act towards his family. Everyone thought he was either crazy or sad. Hamlets mother was the one who noticed that her son was sad and that something was wrong, “But look where sadly the poor wretch comes reading” (II.ii.168). Hamlet can use this to his advantage because his mom will not take his gestures or acts seriously. Therefore, when Hamlet refers to his fathers’ murder, he will look at the facial expression or gesture that comes from Claudius or his mother. They will just assume that he still has not gotten over his fathers death, when really he wants to see their reaction to his words.
There were many characters throughout this act that were not taking Hamlet seriously. For example, Polonius was preoccupied with himself and thought that everything was about him. His answer to Hamlets strange behavior is that Hamlet is in love with Ophelia, “When I had seen this hot love on the wing-/As I perceiv’d it, I must tell you that,/ Before my daughter told me- what might you/ Or my dear Majesty your queen here think,/ If I had play’d the desk or table-book,/ Or given my hear a winking mute and dumb,/ Or look’d upon this love with idle sight-/What might you think? No, I went round to work,” (II.ii.132-139). Polonius does not realize that Hamlet is just acting and he has everyone wrapped around his fingers. Hamlet has become such a good actor; he has everyone fooled into believing that he is crazy and sad. Polonius also had the King and Queen convinced that the reason why Hamlet is sad and has not been eating was because he told Ophelia to break up with him, “And my young mistress thus I did bespeak:/ ‘Lord Hamlet is a prince out of thy star./ This must not be.’ And then I prescripts gave her,/ That she should lock herself from his resort,/ Admit no messengers, receive no tokens;/ Which done, she took the fruits of my advice,/ And he, repelled- a short tale to make-/ Fell into a sadness, then into a fast,/ Thence to a watch, thence into a weakness,” (II.ii.140-148). Hamlet can use this to his advantage because he has everyone fooled so that when he is ready to attack, he will catch everyone by surprise. In this Act, we saw Hamlets affection towards Ophelia change because he walked into her room looking awful and she made him leave. I think that this was an Act on Hamlet because he did not want her to get between his mission and he wanted her to be safe.
I found a quote that applies to Hamlet, “Understanding what is on the inside, despite what you see on the outside” (Copyright: The Invisible Disabilities Advocate). Hamlet knows what Claudius has done; however, Claudius does not have the slightest clue that Hamlet is up to no good. What you see on the outside, is not necessarily the truth. If Claudius shows no emotions whatsoever, that does not mean that he is innocent. Hamlet also has another advantage over Claudius in Act 2. Claudius has a lot on his mind to deal with because he recently received a letter from Fortinbras Uncle. Claudius has to deal with the fact that he has to return the favor to Fortinbras Uncle by letting Fortinbras army march through Denmark, “So levied, as before, against the Polack,/ With an entreaty, herein further shown, [Gives a Paper]/ That it might please you to give quiet pass/ Through your dominions for this enterprise/ On such regards of safety and allowance/As therein are set down” (II.ii.75-80). Claudius has this to deal with, which means he will not be paying too much attention to Hamlet. Hamlet has to act now while his Uncle is busy trying to deal with the fact that he has to return the favor to Fortinbras Uncle.
Hamlet also has an advantage over Claudius because of his well-thought out plan. Hamlet has players that are going to be acting out a skit that he wrote. It is about the death of his father and he wants to see the reaction from the King and Queen. In the past, we know that Hamlet is good at judging people based on their facial expressions. For example, when Rosencrantz and Guildenstern were sent to spy on Hamlet, Hamlet saw right through them, “Beggar that I am, I am even poor in thanks, but I/ thank you. And sure, dear friends, my thanks are too/ dear a halfpenny. Were you not sent for? Is it your/ own inclining? Is it a free visitation? Come, come,/ deal justly with me. Come, come. Nay, speak” (II.ii.272-276). Hamlet has the ability to see how Claudius will react towards his skit. I think that Claudius will break down because he will let his emotions get the best of him. Everyone might say that it is impossible since he is the King; however, Claudius is human. If you keep something bottled up for a long period of time, there will be a point where you explode.
Hamlet versus Claudius, and the winner is…
By the end of act two in Hamlet, there are two plans that have been thought of by two different people. Hamlet’s plan is to fool everyone into think he has gone mad, while Claudius’ plan is to uncover what has made Hamlet mad. These two plans are the very opposites of each other and only one can succeed. At the end of the act it is evident that Hamlet has the advantage over Claudius.
At the beginning of scene two, there is talk about Hamlet being mad. Hamlet has the entire country of Denmark truly believing he is mad even his uncle-father Claudius when he is only partially mad, “I am but mad north-north-west. When the wind is/ southerly, I know a hawk from a handsaw.” (2. 2. 374-375). Hamlet says that he is only mad at certain times, while everyone in Denmark thinks he is mad all the time. This has Claudius at the disadvantage because Hamlet can be planning his revenge when everyone thinks he is trapped in his madness. Polonius comes into the court and tells Claudius and Gertrude that he believes Hamlet has gone mad because of how Ophelia has reacted to his love. Polonius also thought of a plan to prove that he is not lying to Claudius, “At such a time I’ll loose my daughter to him. / Be you and I behind an arras then, / Mark the encounter” (2. 2. 162-164). At this point, Claudius does not have any other leads to follow, so he accepts Polonius’ plan. With Claudius distracted by Polonius’ false lead, Hamlet can continue his planning without worrying that Claudius will find out about what has truly made him mad. Before Polonius told Claudius why he thought Hamlet was mad, Claudius had his own plan to find out what is bothering Hamlet. Claudius had sent for Hamlet’s childhood friends, Rosencrantz and Guildenstern, to come to Elsinore to find out why Hamlet was mad and to distract him from the cause of his madness. When Rosencrantz and Guildenstern approach Hamlet to do what Claudius asked them to do, Hamlet saw that they were there on behalf of Claudius, “I will tell you why” (2. 2. 293). Hamlet has just foiled Claudius’ plan to uncover the truth to his madness. Now Hamlet has Claudius without a plan and distracted by what Polonius believes to be the cause of his madness. Now that Claudius has no way of find out the cause of Hamlet’s madness, and Hamlet can now begin to formulate a plan to begin his revengeful obligation without worry that Claudius will find out. When the players that Rosencrantz and Guildenstern have invited to Elsinore arrive, Hamlet thinks of using the players to make Claudius give a public omission of guilt. He asks the players to re-enact the play The Murder of Gonzago, which is very similar to the way Claudius killed King Hamlet. Through seeing the play he hopes to catch Claudius off guard, “The play’s the thing / Wherein I’ll catch the conscience of the King.” (2. 2. 600-601). Hamlet wants to catch Claudius making a public omission of guilt, so the act of his revenge is not seen as treason. This now gives Hamlet the advantage over Claudius because he has everyone in Denmark thinking he is mad all the time, he has Claudius with out a plan, Claudius is also distracted by Polonius, and Hamlet has a plan to make Claudius give a public omission of guilt.
Hamlet, at this point in the play, has the advantage over Claudius through his own efforts and through the good intentions of others. With everyone focusing on why Hamlet has gone mad, it has distracted Claudius, giving Hamlet more time to carry out his revenge. Hamlet has also foiled Claudius’ plan which also gives him more time. The final and most crucial advantage that Hamlet has over Claudius, is that he now has a plan to make Claudius give a public omission of guilt. By the end of act two, Hamlet has the clear and decisive advantage over Claudius.
It becomes obvious in Act 2 that Ophelia plays a significant role in the play. It is evident that she is the reason for Hamlets strange behavior. His insanity is triggered by Ophelia’s denial, continued when this is exposed to the King and Queen and ultimately remains when she persists to deceive him.
In a discussion between Ophelia and Polonius, she tells her father that Hamlet sneaks into her room, grabs her by the wrist, holds her and actually frightens her. Polonius says, “Come, go with me. I will go seek the king. / This is the very ecstasy of love, / Whose violent property fordoes itself […]” (Act 2, Scene 1, Lines 101-103) Polonius is saying that these actions represent the madness of Hamlet’s love, he wants to bring his daughter to speak with the king regarding Hamlet. Ophelia replies “No, my good lord, but as you did command, / I did repel his letters and denied / His access to me.” (Act 2, Scene 1, Lines 108-110) She is explaining to her father that she has sent back his letters and rejected him, just as Polonius instructed in Act 1, Scene 3. Polonius answers, “That hath made him mad.” (Act 2, Scene 1, Line 111) In Polonius’ opinion, it is most definitely Ophelia’s denial that has instigated Hamlet‘s downfall. At this point, Ophelia has followed her father’s wishes and made it clear to Hamlet that she wants nothing to do with him. This enhances his foul mood and increases his insanity. His feelings for Ophelia stretch his anger and make him appear more fixated on his negative emotions. Ophelia is in control of Hamlet’s viewpoint, which contributes to her importance in Act 2.
Polonius then approaches King Claudius and the Queen and says, “ […] that I have found / The very cause of Hamlet’s lunacy.” (Act 2, Scene 2, Lines 48-49) Up until this point, everyone in Denmark believes that Hamlet’s behavior is caused by his father’s death and mother getting remarried. The Queen herself states, “ I doubt it is no other but the main, / His Father’s death and our o’er-hasty marriage,” (Act 2, Scene 2, Lines 56-57) It seems natural that Hamlet would react negatively to such events, but his feelings stretch beyond those of his father’s death and mother’s new husband. Polonius says to the King and Queen, “ […] she took the fruits of my advice, / And he, repelled--a short tale to make-- / Fell into a sadness, then into a fast, / Thence to a watch, thence into a weakness, / Thence to a lightness, and, by this declension, / Into a madness wherein now he raves / And all we mourn for. “ (Act 2, Scene 2, Lines 146-151) In these lines, Polonius exposes Ophelia’s rejection to Hamlet’s mother and uncle, which raises even more doubt about his lunacy. Hamlet is embarrassed to learn he has been revealed to the King and Queen which makes him even more upset.
Soon after Polonius speaks with the King and Queen, he speaks with Hamlet to clarify his suspicions. Hamlet speaks to Polonius with no respect, understanding the power he has put on Ophelia’s decisions makes him bitter. In this conversation, Polonius says, “[Aside] Though this be madness, yet there is method in’t.” (Act 2, Scene 2, Line 205) Polonius is perhaps admitting that Hamlet has reason to be upset. Hamlet says, “You cannot, sir, take from me anything that I will / not more willingly part withal--except my life, / except my life, except my life.” (Act 2, Scene 2, Lines 216-217) These lines spoken by Hamlet indicate that he does not care what Polonius does and is not threatened by him. Polonius has made it apparent that Hamlet will not be seeing Ophelia anymore. She remains to deceive Hamlet by staying true to her father’s wishes, which keep Hamlet’s head filled with anger and betrayal.
Ophelia remains to be the key reason for Hamlet’s insanity. She keeps control over Hamlet’s feelings which makes her an important part of the play. Hamlet remains crazy and upset which maintains the suspense of the play. Being denied by the person Hamlet cares about the most, exposed to his family, and deemed crazy are all adequate reasons for him to be upset. Without the help of Ophelia’s loyalty to her father, also known as her denial to Hamlet, Hamlet would in fact have no further reason to act insane and the play would not be as satisfying.
Filial obligation is the cultural concept that refers to an adult child’s sense of duty and commitment to respect and care for his/her parents in later life. This concept of filial obligation creates a triangle of parallelism between Hamlet, Laertes and Fortinbras.
Hamlet experiences filial obligation in Act 1, Scene 5, Lines 80-83
Ghost – “O Horrible! O Horrible! Most Horrible!If thou has nature in thee, bare it not Let it not be the royal bed of Denmark Be a coach of luxury and damned incest."
In these lines the Ghost of Hamlet’s father has just finished explaining to Hamlet that his uncle Claudius killed him. The ghost is telling Hamlet to take revenge on the King. He tells his son not to stand for such a crime; “bare it not”. Hamlet is obligated to listen to the ghost of his father. He must seek revenge on King Claudius. Is it his obligation to do so His father’s ghost has spoken of revenge and urges Hamlet to follow through.
Laertes comes into contact with the concept of filial obligation in Act 1, Scene 2 lines 52-56.
Laertes – “Your leave and favor to return to Franc From whence though I willingly I came to Denmark
To show my duty in your coronation, yet now I must confess, that duty done my thoughts and wishes bend
Again toward France and bow them to your gracious leave and pardon.”
In the above lines, Laertes is asking the King for permission to return to France in order to study. Laertes explains that he came to Denmark to show his “duty to the coronation” but now he feels that his duty is completed. Laertes is shows respect and obligation by asking the King’s permission to leave. He is feels obligated to the King and also his father due to filial ties.
Laertes obligation to the King is also shared by his father. In lines 60-61 Act 1 Scene 2, Polonius must also ask permission of the King to allow his son to leave Denmark.
Polonius:“Upon his will I seal’d my hard consent I do beseech you give him leave to go.”
The last piece of this triangle of parallelism is demonstrated Fortinbras. Fortinbras deals with filial obligation in Act 2, scene 2, lines 65-71.
Voltemand: “ It was against your highness; whereat griev’d
That so his sickness, age and impotence was fasley borne in hand, send out arrest on Fortinbras which he, in brief, obeys receives and rebuke from Norway and in fine
makes vow before his uncle never more to give tha’assay of arms against your majesty.”
In these lines King Claudius’s messenger his letter to Fortinbras. Voltemand is telling the King it was successfully delivered .The letter tells Fortinbras not to take up arms against Denmark.Fortinbras is encouraged by his uncle not to wage war against the King and his country of Denmark.
Fortinbras had to listen to his Uncle because of filial obligation. His Uncles is older and wiser and this means that Fortinbras cannot argue against his uncle. He must respect is rules and the advice not to “take up arms against your majesty”.
I think that Hamlet has an advantage over Claudius at the end of Act 2. I have come up with a few reasons to support my answer.
My first reason as to why Hamlet would have an advantage at the end of act 2 would be because Hamlet gets to know that Claudius really killed his father. While Claudius is unsuspecting of Hamlet and thinks he has him under control by making him stay in Denmark, Hamlet devises a plan to try and send out messages to people that Claudius really killed his father. At the beginning when Hamlet tried telling everyone that something was not right about Claudius becoming King and marrying his mom, all the people of Denmark did not take him seriously. So Hamlet decides to put on an act in front of everyone, he tries to act insane and tries to tell people about his fathers murder, he does so because he wants to see his mothers reaction to it because he thinks that she too might be involved with Claudius and he wants to know their reaction. Claudius is unsuspecting of Hamlets plan and does not know what is in store for him.
My second reason would be when Hamlet goes to see Ophelia and he appears to be deranged. Ophelia tells her father Polonius about Hamlets strange behaviour. Polonius then thinks that the answer to Hamlet’s strange behaviour is Love. Polonius also convinces Claudius and Gertrude that that is the reason for Hamlets strange behaviour. Claudius and Gertrude now thing that Hamlet is crazy in love with Ophelia and therefore Claudius is even more relaxed and therefore thinks that he has nothing to worry about.
My third reason as to why Hamlet has the advantage over Claudius is when Hamlet gets Rosencrantz and Guildenstern to admit to him that they are spying on him because Claudius gave them no choice and made them do it. Hamlet then tells his friends about the new plan he has come up with, he hires some “players” to act out the death of his father. I think that Hamlet has the advantage because he has the presence of mind to come up with brilliant plans to get his revenge and mostly because he is a smart guy. So now Claudius has no idea that Hamlet knows that Rosencrantz and Guildenstern are spy’s and therefore Hamlet can use it against him by making his friends tell Claudius that he is really crazy or that everything is ok and there is nothing to worry about. Claudius also has no idea that Hamlet is planning to get the actors to re-enact his fathers death before everyone’s eyes and therefore I think that Hamlet might be successful in making Claudius admit to his crime or at least show some sign of guilt.
Hamlet is Insane Throughout act 2
Hamlet is a unique individual who comes across the rather rare experience of seeing his departed father in the form of a ghost. This is said to be his turning point from a sane prince, to an insane prince seeking revenge, justice on those who are plotting against him. Hamlet's problem is not exact; it cannot be pinpointed. In fact, Hamlet has numerous problems that contribute to his dilemma. The first of these problems is the appearance of King Hamlet's ghost to his son. Also one of Hamlet's biggest drawbacks is that he tends to think things out too much and he does not act on instinct; however, he makes certain that every action is thought-out, which potentially led him to insanity
The Ghost is the main cause of Hamlet's insanity. This is because of his jealousy towards Claudius’ new role as king, as he feels he should rule the throne since he is the son of King Hamlet. Another reason is the agony and pain he is going through trying to deal with the fact that his own uncle killed Hamlets father just to gain his place on the throne. Thus causing him to go insane, an example depicting this occurs throughout the play but the most significant was:
Hamlet: My excellent good friends! How dost thou Guildenstern? Ah, Rosencrantz! Good lads, how do you both? Rosencrantz: As indifferent as children of the earth. Guildenstern: Happy in that we are not over happy; on Fortune's cap we are not the very button. Hamlet: Nor the soles of her shoe?
Rosencrantz: Neither, my lord. Hamlet: Then you live about her waist, or in the middle of her favours?
Guildenstern: Faith, her privates we. Hamlet: In the secret parts of Fortune? O, most true! She is a strumpet. What's the news? Rosencrantz: None, my lord, but that the world's grown honest. Hamlet: Then is doomsday near.
(Act 2, Scene 2)
The reason why I’m finding this quote to be the most significant reference to his insanity is because this is supposed to be an act he is performing to make a false image to through off his friends Rosencrantz, and Guildenstern. But with his actions throughout the play leading to this point and time it seems that he is not acting for he is in a state of deliriousness after hearing the words of his father’s ghost, in regards to how he had died and who had committed the crime.
I am but mad north-north-west: when the wind is southerly I know a hawk from a handsaw (Act 2 Scene 2, lines 376-7) these words, however, prove that he truly is Sane at times. But with this strange choice of imagery involving hawks and hand saws shows how he is trying to pinpoint when he expresses his truly insane self. The reason why is taking the extra effort to do this is because he recognizes his enemy’s and understands what he must do to distract there efforts of attempting to withhold the truth. Hamlet's madness was technically faked for a purpose. He had gave his friends a warning that he intended to fake madness, but Gertrude as well as Claudius had seemed to pick up on his act, and even the somewhat thick headed Polonius was suspicious. His action towards the public is one of insanity but, in his concealed moments of soliloquy, he careful crafts a plan of action, we see that his madness is assumed. After the Ghost's first appearance to Hamlet, Hamlet decides that when he finds it proper or beneficial to him, he will put on “a mask of madness”. He confides to Horatio that when he finds the occasion appropriate, he will put an antic disposition on (Act 2 Scene 1).
For hundreds of centuries great minds have been analyzing the work of William Shakespeare. His use of language and storytelling is not something that is easily understood at first glance; it requires great time and effort to properly understand his genius. Shakespeare is the master of parallelism, a literary device that is still used in countless works of fiction today. The use of subplots in the first two acts of Hamlet, Prince of Denmark adds to the dramatic tension of the play. Shakespeare also uses parallelism to highlight the major themes of the first two acts. Through the examination of parallelism in Hamlet the audience gains more insight into the nature of the characters.
The first act of Hamlet is full of suspense. In the first act the audience learns about young Fortinbras and his position in the play. While standing on the castle wall a sentinel named Bernardo asks his wise friend Horatio why their country of Denmark is constantly preparing for war. Horatio’s answer to Bernardo’s question reveals a great amount about the character of young Fortinbras. The audience discovers that the King Hamlet of Denmark murdered King Fortinbras of Norway and that Fortinbras’ son is seeking revenge, in the form of war. King Fortinbras bed-ridden brother has now taken the thrown of Norway. “His fell to Hamlet. Now, sir, young Fortinbras, / Of unimproved mettle, hot and full,” (1.1 98-99). Horatio refers to Fortinbras as unproven metal which means that he has not fought in battle yet. Young Fortinbras is strong, angry about his father’s death and ambitious to receive revenge but he has not been tested yet. Act 1, Scene 2 is the first appearance of Hamlet in the play. In scene 2 the audience learns of Hamlet’s position and automatically discovers the similarities to Fortinbras’ situation. Hamlet and Fortinbras have both lost their fathers, lost the throne to their uncles and are full of strong emotions. It is through the parallel of the two characters that Shakespeare allows the audience to see the difference between their actions. In Act 1, Scene 5 Hamlet meets his father’s ghost and learns of his uncle’s fratricide; he swears to avenge King Hamlet’s death by murdering his uncle. Hamlet then discloses the information he has received to his friends Horatio and Marcellus and they promise to keep it secret. Hamlet tells them that he is going to pretend to be insane so that the kingdom is not suspicious of him while he formulates a plan to murder Claudius. “How strange or odd some’er I bear myself-/ As I Perchance hereafter shall think meet/ To put an antic disposition on-“ (1.5 178-180). At the beginning of Act 2 the audience learns that much time has passed since the events of Act 1 and that Hamlet has not put his plan into action just yet. Through examining the parallel between Hamlet and Fortinbras the audience can determine that Fortinbras is a man of action while Hamlet is not. The audience can see that Hamlet is smart and cunning but that he has a significant problem when it comes to manifesting his thoughts into action. Fortinbras reaction is the very opposite of Hamlet’s, he reacts to his father’s death by preparing a war, while Hamlet formulates a plan. Hamlet is raging against time, he knows that death is a part of everyday life yet he is willing to go to great lengths to avenge his father’s death. Fortinbras rages against the odds because Claudius believes that Fortinbras is not capable of war with Denmark. In Act 2, Scene 2 second soliloquy reveals much about his character. “What would he do/ Had he the motive and cue for passion/ That I have? He would drown the stage with tears, / And cleave the general ear with horrid speech…Yet I, / A dull and muddy-mettled rascal, peak/ Like John-a-dreams, unpregnant of my cause, / And can say nothing- no, not for a king” (2.2. 554-564). Hamlet confesses that if an actor were in his position he would have committed the murder of Claudius. By the end of Act 2 Hamlet proves that he dwells on his thoughts and that taking action is something he cannot easily do. Fortinbras, being a man of action would have killed his traitorous uncle by this point in the play. The use of parallelism in the first two acts of Hamlet shows a contrast between two similar plots, a contrast that allows the audience a look into the nature of the characters.
One of the major themes of Hamlet is filial obligation, which pertains to responsibility to one’s parents. The three young men of Hamlet all deal with their own forms of filial obligation. It is something that is imperative to the three plots that include Hamlet, Laertes and Fortinbras. In Act 1, Scene 2 Leartes first example of filial obligation is displayed. “Your leave and favour to return to France,/ From whence though willingly I came to Denmark/ To show my duty in your coronation,/ Yet now I must confess, that duty done,/ My thoughts and wishes bend again toward France/ And bow them to your gracious leave and pardon.” (1.2 52-56). Scene 2 takes place in the castle’s court where King Claudius is the ultimate authority. Claudius demonstrates his authority over Laertes by telling him that all he has to do is ask for what he wants and the king shall grant it. The audience can see from this scene that Laertes does not have an obligation to his father Polonius, but to Claudius. Hamlet’s form of filial obligation is paralleled through his commitment with his father.” For your intent/ in going back to Wittenberg, / It is most retrograde to our desire (1.2. 112-113). Hamlet expresses early in the play that he would like to attend university but there are a number of obstacles that stop him. Claudius and Gertrude express their dislike of Hamlet’s idea to attend university. However, it is demonstrated to the audience that Hamlet will not allow Claudius to control him “Not so, my lord, I am too much in the sun.” (1.2 67) This pun shows that Hamlet has a sense of humor and that he has the power to disrespect Claudius in the front of his court. The fundamental obstacle that Hamlet faces is his obligation to avenge his father’s death. Fortinbras has filial obligation to his uncle, the current king of Norway. Claudius demonstrates this obligation by sending a letter to the king of Norway, hoping that the king would stop his nephew from achieving his revengeful plans. Through examination of the parallel between the three young men of the play it is evident that they are being controlled by their elders and are forced to deal with their filial obligation.
Evaluating situations from different points of views allows a person to further their knowledge. Shakespeare's seemingly perfect use of parallelism illustrates the radical differences between the characters. Shakespeare’s use of contrasting sub plots allows the audience to understand and sympathize with the characters’ personal feelings.
According to the New Webster’s Dictionary, to be insane is to be ‘mad or senseless’. In Shakespeare’s Hamlet: Prince of Denmark, there are a number of factors which provoke the main character, Hamlet, to become insane. This includes the death of his father King Hamlet, his uncle’s incapability of replacing his dead father on the throne, his mother’s marriage to his uncle, and his dwindling relationship with Ophelia. In Act 2 of the play, Hamlet demonstrates his insane state of mind through his confrontation with his girlfriend Ophelia, his exchange of words with Polonius, and his meeting with friends Rosencrantz and Guildenstern.
In Scene 1 of Act 2, Ophelia approaches her father Polonius in a distressed state after meeting with her boyfriend Hamlet. Earlier on in the story, Polonius had given his daughter strict orders to no longer involve herself with Hamlet. Obeying her father, Ophelia stopped seeing her boyfriend and instead began to ignore him. This caused a very upset Hamlet to suddenly appear to Ophelia’s room in an extremely disheveled manner. He proceeded to physically shake her, stare at her and make odd head movements before storming out of the room in a frenzy. “He took me by the wrist and held me hard. /The goes he to the length of all his arm, /And with his other hand thus o’er his brow/ He falls to such perusal of my face/ As ‘a would draw it.” (2.I.87-91). This quote from Ophelia to Polonius illustrates Hamlet staring at her as if he was drawing a portrait of her face. This odd behaviour demonstrates an insane character who is angered due to his rejection from the woman he is in love with, or in other words, unrequited love.
Hamlet resumes with his mad behaviour in an exchange of words between him and Polonius. It would be expected that Hamlet would speak to Polonius in a polite manner, due to the fact that one should always respect their elders. However, Hamlet does not do so in this conversation. Instead, he mocks and ridicules Polonius, who is already suspect of Hamlet’s recent weird behaviour. “Have you a daughter?” (2.II.182) Hamlet asks of Polonius, who tells him that he does. “”Let her not walk I’th’ sun. Conception is a blessing, / but as your daughter may conceive-friend, look/ to’t.” (2.II.184-186) This is an example of a question Hamlet asks of Polonius, which is very ironic, because he is giving Polonius advice to not allow his daughter to go out in public. Hamlet’s peculiar questions to Polonius further display his insane attitude.
Hamlet continues to establish his antic behaviour when he meets with his friends Rosencrantz and Guildenstern. The two men were asked by King Claudius and Queen Gertrude to spy in Hamlet and report back with answers as to why Hamlet had been recently acting odd. However, the devised plan does not work because of Hamlet’s strong intuition and intelligence. Suspicious of his friends’ sudden visit to Elsinore, he realizes what the true purpose of their visit was. Hamlet ensures Rosencrantz and Guildenstern that they can not play him, and goes on to explain to them his theory of Denmark. He tells them that he believes Denmark has become a prison in which he is confined to. When his friends assure him that this is not the case, Hamlet responds by stating: “Why then ‘tis none to you; for there is nothing/ either good or bad but thinking makes it so. To me/ it is a prison.” (1.II.249-251). This reveals that Hamlet believes that a certain mindset determines a negative or positive outcome on life, and therefore he is making himself believe that he lives inside a prison. When Hamlet says: “O God, I could be bounded in a nutshell and count/ myself a king of infinite space-were it not that I/ have bad dreams.” (2.II.254-256), he exposes the fact that he is an extremely troubled individual who has a lot going on in his head which he is finding it difficult to deal with.
Essentially, Hamlet is overwhelmed with a number of problems in his life, including the death of his father, his mother’s remarriage to his uncle, and his relationship with Ophelia (or lack of). Most importantly, Hamlet is struggling with his filial obligation to kill his uncle Claudius for murdering his father. He has devised a plan, however can not yet find the strength to go through with it. He is forced to keep all emotions bottled up inside, which evidently is causing him to act in an extremely odd manner. Therefore, it is inevitable that Hamlet has become insane.
“The Most Beautified Ophelia”
Shakespeare’s Hamlet is dominated by the men personas varying from those who are strong and courageous, to those who have charisma and intelligence. But what is a story without a woman? In the play Hamlet, there are two women personas that balance out the strong personalities of the men, one of which is Ophelia. In the 16th century, women were perceived as mere objects and properties of men, just like in the play. But Ophelia is more than just a mere insignificant character- she is a key to open up locked doors to understanding the mysterious prince Hamlet.
Ever heard the quote ‘Like father like son’? In a sense, Hamlet is like his father with regards to loving a woman. He holds a grudge against his mother because he constantly feels that she has betrayed his father. “So excellent a king, that was to this hyperion to a satyr, so loving to my mother that he might not beteem the winds of heaven visit her face too roughly” (I.II.139-142). He feels that King Hamlet did nothing but loved her and did anything he could to make her happy yet in return, she married his brother. In act 2, Ophelia follows Polonius’ orders and avoids Hamlet, “but as you did command, I did repel his letters and denied his access to me” (II.I.108-110). Shakespeare adds in the teachings of Christianity, comparing Hamlet to Adam wherein he longs for his Eve to accompany him when he feels most alone. In Hamlet’s utter most time of need for an escape from sadness, instead of Ophelia being his happiness and sanctuary, she becomes another weight on his shoulders. Ophelia describes an incident that happens as an effect to her actions, “Pale as his shirt, his knees knocking each other, and with a look so piteous in purport as if he had been loosed out of hell to speak of horrors, he comes before me… He rais’d a sigh so piteous and profound as it end seem to shatter all his bulk being” (II.I.81-84; 94-96). Ophelia reveals that Hamlet feels deeply hurt because the woman he loves has abandoned and betrayed him just like how his mother betrayed his father. Despite Ophelia’s efforts to push him away, he still continues to affirm his young love for her, “Doubt thou the stars are fire, doubt that the son doth move, doubt truth to be a liar, but never doubt I love… I love thee best, o most best, believe” (II.II.115-121). The parallelism of the love and the outcome from both King Hamlet and Prince Hamlet is shown. Both start with the men professing and showing their love to the women leading to the sad ending of their heartache but still their love undying. Ophelia is the key that unlock Hamlet’s heart and reveals the prince’s likeness with his father.
What differentiates Hamlet from all the characters in the play is his intelligence- there is method to his madness, a madness called Ophelia. Ophelia becomes a key that opens up Hamlet’s mind. He strategizes to use Ophelia as a pawn in his chess game with King Claudius to mislead the king and everyone into thinking that he is acting mad because of his love for her. Polonius is the main believer of this, “I will go seek the King. This is the very ecstasy of love” (II.I.102-103). He shows King Claudius the letter that Hamlet wrote and soon enough, the king opens his mind to the possibility of Hamlet’s disturbing actions, “Do you think ‘tis this?” (II.II.152). The crafty mind of Hamlet lays down the trap of the letter, using Ophelia as a bait to the curious and meddling characters. Polonius reads the letter to the king and queen, “I have a daughter-have while she is mine- who in her duty and obedience, mark, hath given me this… To the celestial and my soul’s idol, the most beautified Ophelia” (II.II.106-110). Hamlet knows that Ophelia has filial obligation to Polonius and is certain that it would reach him and the King, setting his trap in place. His sudden change of heart to treating Ophelia as a mere object to use is triggered by her avoidance and fuelled by his broken heart. As Ophelia describes, “I have been so affrighted… He took me by the wrist and held me hard. Then goes he to the length of all his arm… and to the last bended their light on me” (II.I.75; 87-100); a new Hamlet is introduced- a prince that is dark and disturbed. Ophelia unfolds another aspect of Hamlet, that he can be cunning and as evil as a fox even if everyone sees him as a fool.
Jules Michelet says that, “Woman is a miracle of divine contradictions.” Ophelia proves this to be true. Ophelia’s importance is that she brings the femme fatal archetype to the play Hamlet. She unknowingly completes and takes apart the protagonist for she is the reason to both his sanity and insanity. In other words, she brings trouble to the play. Ophelia’s ability to bring out the good and the bad of Hamlet adds in to the essence of the story, as well as the grasping the essence of the prince. She is able to expose the loving and romantic Hamlet but at the same time, create the dark side of him that is disturbing and conniving.
Hamlet,insane? I think not...
Insanity is a recurring theme within William Shakespeare’s writings. Shakespeare tends to add an element of madness to several of his characters’ personalities. Though this is true, it is not necessarily the case for Hamlet. Hamlet’s insanity is only part of his scheme to allow himself to act in ways and say things he would not be able to if he was sane. Through his witty actions, intelligent tactics, and his own hints, it will be clear why Hamlet is sane and only acting this way to fool his peers.
Hamlet without a doubt is a very smart individual. Up until this point, he has made all of those around him believe that he has gone insane. Although it may seem that he has gone mad, it is also very obvious that he is very mentally stable, starting off with his actions towards Polonius. Polonius is completely convinced that Hamlet has gone mad because of his love for Ophelia, at which point Hamlet verbally bashes Polonius. Hamlet questions Polonius by asking “[…] Have you a daughter?/I have, my lord./Let her not walk i’th’ sun. Conception is a blessing,/but as your daughter may conceive-friend, look/to’t/[Aside] How say you by that? Still harping on my/daughter” (2.2.181-188). Hamlet has made Polonius believe that he is obsessed with Ophelia. Hamlet would not have been able to say such an articulate speech in regards to Ophelia if he was insane. Hamlet was very calm and sold his trick perfectly. Later on, Hamlet focuses his attention on verbally bashing Polonius more personally. As Hamlet reads from a book he is holding he describes to Polonius that “[…] old men have gray beards, that their faces are/wrinkled, their eyes purging thick amber and plum-/tree gum, and that they have a plentiful lack of wit,/ together with most weak hams- all which, sir,/ though I most powerfully and potently believe, yet I/ hold it not honesty to have it thus set down. For/yourself, sir, shall grow old as I am- if like a crab you/could go backward” (2.2. 196-204). Hamlet had summarized an excerpt from the book he was reading, which talked bad about old men. Hamlet is comparing this to Polonius saying that he is a crazy old man like it described in the book. Hamlet has clearly demonstrated why he is not insane through this action. He was able to make a fool of Polonius by analyzing a piece of writing. It is quite obvious that if someone was really in such a state of insanity, they would not be able to read a piece of literature, and be able to criticize another person based on it. Based on his ability to verbally bash Polonius, and to be able to stay so calm while doing so, is a huge indicator that Hamlet is sane, and only putting on an act.
Hamlet’s main struggle in the play is finding the right moment to kill his uncle, King Claudius. While talking to the ghost of his father, Hamlet discovers that Claudius murdered King Hamlet for the throne. Hamlet now has to avenge his father’s murder, by finding the perfect moment to kill Claudius. Hamlet has been only doing a lot of thinking and no action, so a huge step to making his action take place is by the players re-enacting the murder of King Hamlet on stage. Hamlet wants to know for sure, and says to himself “I’ll have these players/Play something like the murder of my father/Before mine uncle. I’ll observe his looks;/I’ll tent him to the quick. If’a do blench,/I know my course” (2.2.590-594). By taking all of this time to think and devise a plan show why Hamlet is not insane. Hamlet wants to see Claudius’ reaction to the play, which will ignite his action. Hamlet wants to expose Claudius and start raising questions for the people of Denmark. Hamlet also establishes the action that will be taken from the play when he declares “I’ll have grounds/More relative than this. The play’s the thing/Wherein I’ll catch the conscience of the King” (2.2. 599-601). Hamlet has made his plan of action, and clearly does not seem to be affected or confused by insanity. It is quite clear on the tactics Hamlet has, and wants to carry them out in perfect fashion. The thought put into devising this plan shows exactly why Hamlet is in a fine state of mind. Through his devising of plans and deep thought on how to execute them display why Hamlet is not insane.
Although Hamlet himself does not want anyone to know about his act, he has on a few occasions given hints that he is not insane. He has not directly said it, but his words indicate that his condition is only an act. At one point, Hamlet is surprised to see his childhood friends Rosencrantz and Guildenstern. He is suspicious and immediately questions them by saying “You were sent for, and/there is a kind of confession in your looks, which your/modesties have not craft enough to colour. I know/the good King and Queen have sent for you” (2.2.278-281). Hamlet without being told anything, instantly could read Rosencrantz and Guildenstern, and why they were in Elsinore. His inquiry alone was not very suspicious, but being able to make a prediction such as that one shows why Hamlet is not insane. Being able to make this prediction not only proves that Hamlet is sane; it shows that he is a genius. Though his prediction about Rosencrantz and Guildenstern does not directly show how obvious his saneness is, Hamlet gives a more direct hint. Hamlet declares “I am but mad north-north-west. When the wind is/southerly, I know a hawk from a handsaw” (2.2.374-375). Hamlet speaks in riddles, and although this seems to not make sense, Hamlet clearly admits that he not insane. Rosencrantz and Guildenstern do not understand what Hamlet had said, and disregards it. Hamlet could not have made such a metaphor if he was insane. It has been established that Hamlet is a very intelligent man, and would not admit that there is nothing wrong with him unless he knew those around him would not understand what he is saying. Hamlet has shown and nearly admitted that he is not insane. His act is confusing all those around him, which is exactly what he wanted.
It is evident that through the actions and words of Hamlet, he is not insane. Hamlet has fooled everyone by making them believe that he has a problem. Hamlet is much too intelligent to lose control and seems to be playing his cards right. Although many characters in the play believe that Hamlet is insane, his notions prove otherwise. Only time will tell to see how the journey for Hamlet will play out
William Shakespeare’s Hamlet develops as a battle is fought between a son to a murdered father, and the father’s murderer himself. This battle is fought using political influence and wit, as King Claudius attempts to maintain his position as king, as well as deal with his nephew Hamlet who is beginning to understand what happened to his father. King Claudius takes advantage of his powers as king to prevent Hamlet and the rest of Denmark from discovering the truth; Claudius murdered King Hamlet. By the end of act two in William Shakespeare’s Hamlet, Prince Hamlet has the upper hand over King Claudius because of his knowledge that Claudius assassinated King Hamlet, his realization that Rosencrantz and Guildenstern are spying on him, and through his arrangement to reenact his father’s death in front of Claudius.
During the first two acts of the play, Hamlet speaks with the ghost of his murdered father. He discovers that it was Claudius, his uncle, who murdered his father. At this point, Claudius is oblivious to Hamlet’s knowledge of this act, and as such, is at a disadvantage in the situation. Hamlet is able to uncover the details of the murder from the ghost, “’Tis given out that, sleeping in my orchard/A serpent stung me – so the whole ear of Denmark/Is by a forged process of my death/Rankly abus’d – but know, thou noble youth/The serpent that did sting thy father’s life/Now wears his crown” (1.5.35-40) Hamlet’s knowledge of his father’s murder allows him time to contemplate how he will obtain revenge. With Claudius worrying about other affairs, such as Fortinbras’ army advancing through Denmark, he becomes distracted from his nephew’s behavior, and is unable to deduce that Hamlet knows about his gruesome act. In the time he takes to think about what the ghost has told him, Hamlet understands that he must seek revenge in order to restore order and justice to Denmark, “Why, what an ass am I! This is most brave/That I, the son of a dear father murder’d/Prompted to my revenge by heaven and hell/Must like a whore unpack my heart with words/And fall a-cursing like a very drab/A scullion! Fie upon’t! Foh!” (2.2.578-583) Hamlet realizes that he must kill Claudius, although reluctant and procrastinating to do so. The fact that Hamlet is not only aware of Claudius’ secret, but that he understands that he must act upon it is compelling when deciding who has the upper hand, Hamlet or Claudius.
During act two, Hamlet meets with four players of whom he asks to memorize a play that he has written. This play is a reenactment of his father’s murder, which the ghost described to Hamlet when they spoke. Much of the time Hamlet spent contemplating during act one and two was spent pondering if Claudius actually murdered Hamlet’s father, or if King Hamlet’s ghost was merely a hallucination influenced by emotional trauma, “…I’ll have these players/Play something like the murder of my father/Before mine uncle. I’ll observe his looks;/I’ll tent him to the quick. If ‘a do blench,/I’ll know my course.” (2.2.590-594) Hamlet describes how he will observe how Claudius reacts to this play, and based on his reaction Hamlet will know if Claudius did indeed murder his father. Prince Hamlet learned of his father’s assassination in the months previous to this event, and now he is ready to be sure if Claudius was involved, “…The Play’s the thing/Wherein I’ll catch the conscience of the King”(2.2.600-601) Hamlet explains to the audience that through all the time that has passed, this play will be the deciding factor in whether or not Hamlet must kill Claudius to avenge his father. During act 1, Hamlet learns of his father’s murder at the hands of his uncle, but does not act prematurely. He waits, and during that time he thinks about if it is true. His play that will be acted out in front of Claudius serves as Hamlet’s reassurance that his father’s ghost was correct, and Claudius must be killed. Hamlet has the upper hand because of this play, as he hopes that Claudius will fall into his trap and unknowingly confess to Hamlet.
Not only is Hamlet aware of his father’s murder, but he is also aware of Claudius’ attempts to spy on him. King Claudius and Queen Gertrude devise a plan to better understand what is upsetting Hamlet by sending his childhood friends to spy on him. When Rosencrantz and Guildenstern confront Hamlet to try and extract information from him, Hamlet becomes aware of their true intentions right away, “I know/the good King and Queen have sent for you” (2.2.280-281) Hamlet tells his friends that he is aware of their purpose, and through this, he shows the audience that Claudius’ methods of obtaining information are futile. Hamlet also understands that Rosencrantz and Guildenstern could be used as pawns in confusing Claudius. He tells them that he will keep it secret from the King and Queen that they were discovered, and during their conversation he explains to them that he is not mad, “I am but mad north-north-west. When the wind is/southerly, I know a hawk from a handsaw” (2.2.374-375) Hamlet tells his friends that he is not insane, and that his King and Queen are wrong. Through this statement, Hamlet intends to ease the mind of Claudius, thus preventing him from discovering Hamlet’s knowledge of his father’s death. Hamlet has the upper hand largely due to his extensive knowledge of everything that happens around him. Through his discovery of Rosencrantz and Guildenstern’s methods, he is able to deduce that Claudius is suspicious of his behavior, and through Hamlet’s methods of handling this situation, he is able to make Claudius believe nothing is bothering him.
By the end of act two in William Shakespeare’s Hamlet, there is little to debate in the matter of whom, Claudius or Hamlet, has the upper hand. It is clear Hamlet has the upper hand over Claudius at this point in the play due to his knowledge of Claudius murdering King Hamlet, the uncovering of Rosencrantz and Guildenstern, and Hamlet’s attempt to be sure of Claudius’ guilt through his play. During act one, the audience sees Hamlet as a distraught individual who refuses to act against Claudius. However, as the play develops, we can see that Hamlet’s intentions are to be completely sure of Claudius’ guilt, and Hamlet has the upper hand over Claudius because of his intelligence during this situation. Hamlet is aware that Claudius killed his father, and to prove this to himself, he puts on a play that will surely drive Claudius to his unknowing confession. Hamlet is also aware of Claudius’ plot to send spies after him, and this leads him to a better understanding that Claudius knows something is wrong. While Hamlet is taking time to understand and interpret the situation, Claudius is distracted with political affairs and has little time to wonder if his seemingly insane nephew knows of his secret, and because of this very fact, Hamlet has a large advantage over Claudius by the end of act two.
Hamlet is Sane!
Throughout William Shakespeare’s play, especially during Act 2, we see lots of evidence to say that Hamlet has really gone insane and that Hamlet’s actions reveal to us he’s actually gone mentally overboard. On the other hand, I believe that it is all just an act or plot into deceiving the rest of the characters into thinking Hamlet is insane. Let recall what Hamlet said at the very end of Act 1, “ But come, Here, as before, never, so help you mercy, How strange or odd some’er I bear myself-As I perchance hereafter shall think meet/ To put an antic disposition on”(1.5.176-180). Here Hamlet is saying that he plans to act mentally unstable with strange behavior and craziness in order for people to let their guard down in his attempt to gather information and proof as to whether Claudius has really murdered his father. Everything Hamlet does now in Act Two is all a set up to fool everyone within the play, this makes Hamlet a pure genius and shows us that he really is in fact a sane human being.
During Act 2, Scene 1 the frightened Ophelia rushes into the room to tell her father that Hamlet came to see her while she was sewing, and that it was a strange and shocking experience, “Lord Hamlet, with his doublet all unbrac’d, No hat upon his head, his stocking foul’d, Ungarter’d and down-gyved to his ankle, Pale as his shirt white, his knees knocking at each other, And with a look so piteous in purport, As if had been loosed out of hell, To speak of horrors, he comes before me”(2.1.78-84). Hamlets cloths aren’t on properly, there also dirty, he’s a total mess and he looks miserable and pathetic. This is no way in how a true prince should look and act, it’s not right and also in a sense it’s quite bizarre to Ophelia and Polonius. Polonius at once assumes that the loss of Ophelia's affections has driven Hamlet insane since he told her at to not talk to Hamlet anymore and therefore he must tell Claudius and he must know that Hamlet has gone madly insane for Ophelia. Hamlet plays it out pretty well into making Polonius think that he’s gone completely mad over Ophelia.
Into Act 2, Scene 2, Polonius tells Claudius of Hamlets strange behavior for Ophelia, and even the King himself knows that something has been wired lately with him also, but he thinks that’s not the case. Claudius calls forth Rosencrantz and Guildenstern, two of Hamlet's classmates at Wittenberg who are there too show him a good time and ease of whatever is brothering him nowadays in an attempt hoping that they will be able to uncover and find out what has sparked such a change in Hamlet. Polonius tries to talk with Hamlet again to find out what’s making him go insane and Hamlet replies, “Are you a fishmonger” (2.2.174). Hamlets clearly tries to not recognize him and his responses are but mere nonsense and goes on insulting and ridiculing Polonius further more calling him an old man until he finally gives up and goes away then Rosencrantz and Guildenstern enter the scene. Hamlet at first seems pleased to meet his old friends from University once again but why would his best friends come at such a time of tension and grief within the kingdom. They start questioning Hamlet what has made him so depressed lately and says, “What have you my good friends, deserved at the hands of Fortune that she sends you to prison hither?(2.2.239-241). Clearly Hamlet knows something must be up and starts questioning them as to why they’ve came to Denmark for and why. They try and talk Hamlet into giving them some answers as to his resent behaviors but Hamlets not the type of person to get fooled into tricks that easily and doesn’t believe anything they say, it just won’t go in his head. They aren’t here for friendship and Hamlet knows how to tell between someone that’s lying and someone that’s being truthful just by the tone of a voice or expression. Finally Rosencrantz and Guildenstern give into Hamlets words, “My lord, we were sent for.”(2.2.292). They confess and tell Hamlet they were sent by Claudius to spy on him in order to get information to his recent mental illness.
Lastly within Act 2 the arrival of the Players and how Hamlet asked one of the actors to reenact a play, the actor began to show a depth of emotions and feelings that brought tears to his eyes during the speech. This gives Hamlet a great idea because within Act 2 he’s still not in fact sure as to whether the ghost is his actual father and therefore needs proof. So he announces that the next night they will hear “The Murder of Gonzago” performed but a short speech that he will write himself and add on to it. His plan is for the Players to act out the murder that is very similar to King Hamlet’s death the ghost told him and while Claudius watches this play, he hopes to find out whether Claudius is surely guilty of his actions from the look on his face, “More relative than this. The play’s the thing, Wherein I’ll catch the conscience of the King.”(2.2.600-601). If he appears to be uncomfortable during the play then Hamlet will then truly know that Claudius is the murderer of his father and then go into the act of revenging the ghost that is then after really King Hamlet.
We definitely know Hamlet is sane because someone who is mad has no sense of his or her actions and would be considered insane. A person who has gone insane will not plan out their actions or have the inspiration to carry it out as well. This shows that Hamlet indeed has the intelligence of a genius and is able to see through other people’s schemes, while making everyone believe he’s gone mad when really it’s his mind that’s sane but his actions toward everyone around him that seem insane. Hamlet’s idea to plan out the trap for Claudius is excellently organized and for him to accomplish his goals within the play, he must further act upon avenging his father’s death
Ophelia’s role in the behaviour of Hamlet
The rights of women today are not the same as they were in the time of Hamlet. Women in the early 1600’s were essentially property for men, invested for the purpose of procreation and status. Few women accomplished anything significant, only through their husbands or spouses did they encompass any sort of power. In William Shakespeare’s play Hamlet, Ophelia is a young woman that does not have any high title or role to play in Denmark, but her relationship and influence on Hamlet gives her an important and significant meaning to her presence.
In the first two Acts, Ophelia and Hamlet are never present together, but it is known that they are in a relationship. She is an important part of Hamlet’s life, as they are both of their respective ages to wed. Hamlet and Ophelia are professed to be in love. “He hath, my lord, of late made many tenders/Of his affection to me.” (I.iii.99-100). Ophelia professes to her father, Polonius, what Hamlet and her have been like as of late, and he has been professing his love for her. Polonius dismisses these affections as persuasion to make love, and warns her not to be a “green girl,/Unsifted in such perilous circumstance.” (I.iii.101-2). Her relationship with Hamlet is a major ordeal in Hamlet’s life, as, without showing any direct interaction between the two, Shakespeare has outlined how they act with each other.
Polonius is worried Hamlet is simply using Ophelia to have relations with her, and not get involved in a serious relationship, so he instructs her to avoid Hamlet. Ophelia agrees because to her, the bond between her and her father is much more important than Hamlet. This shows the fact that Hamlet and Ophelia are in love but not crazy for each other, which is what Polonius thinks the Prince is. After Ophelia avoids Hamlet for a few days, he stumbles into her room acting very odd without saying a word to her, looking distraught and unkempt. “And with a look so piteous in purport/As if he had been loosed out of hell/To speak of horrors, he comes before me.” (II.i.82-4). Polonius concludes with this that Hamlet must in fact be going mad because of Ophelia’s absence, all while the audience is aware of his true distress. “I did repel his letters and denied/His access to me. Polonius: That hath made him mad.” (II.i.109-111) This makes Ophelia a significant component of Polonius’ theory of Hamlet’s manic disposition, for without her, Polonius would have no idea why Hamlet is acting weird. She is a significant half of his theory of Hamlet’s erratic behaviour.
By the end of Act II, Ophelia is established to be a significant part of Hamlet’s life and the potential reason for his abnormal actions. Despite what Polonius believes, she is not the reason for Hamlet’s grief, but she does play an important role in his life. She acts as a female companion to the protagonist, one who is quite separate and indirect with Hamlet because they never are present together until Hamlet’s distressed confrontation with her in her room. While it is unknown how they truly are together under normal circumstances, Ophelia professes that he does display his love for her and is a good man to her. Because of the events that surrounded the Throne of the King and the fate of Hamlet’s father, his manic disposition is attested to the revenge he must strive for, not his lovesickness for Ophelia. She is a person of significance to Hamlet, and this makes her a very important character.
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