On his way to his mother’s closet he asks himself for self-control (‘O heart, lose not thy nature’).
On his way to his mother’s closet he asks himself for self-control (‘O heart, lose not thy nature’).Tags: Narrative Essay About The Day I Met My Best FriendGreen Technology Thesis EssayEssay On Advantages And Disadvantages Of Joint Family SystemList Of Ap World History Essay QuestionsScholarship Essays LayoutWrite 5 Paragraph Essay VideoAlcohol Abuse Research PaperHuckleberry Finn Satire EssaysHow To Do A Small Business Plan
The first one is, in keeping with his declaration to Horatio and Marcellus, put on and taken off as the occasion requires. Most of his conversations with Polonius are attempts to make the old man as ridiculous as possible; he uses apparently nonsensical statements to fool and embarrass Polonius and to comment on his dubious behaviour.
When he calls him a fishmonger (11, ii, 174) he is using a slang term for a pander (pimp), and thus describing the reprehensible use being made of Ophelia.
The ‘normal’ Hamlet is found in conversation with Horatio, with the gravediggers or with the players, and in the soliloquies.
Hamlet’s two ‘abnormal’ personalities are fairly easily distinguishable.
The passion is genuine, the behaviour unselfconscious and beyond control.
When he is engaged with Claudius, Gertrude, Ophelia or Laertes, for example, or reflects on their dealings with him, he is frequently moved to passionate, raging outbursts of feeling, as in the scene with Ophelia (the ‘Nunnery Scene’- 111, i), and in the fight with Laertes over Ophelia’s grave, which draws the comment, ‘O, he is mad, Laertes’ (V, i, 269) from the King.Again, we may regard the assumption of a mask as evidence that Hamlet has begun to succumb to the general contamination which the fateful crime of Claudius has spread like a poison through the realm (‘Something is rotten in the state of Denmark’).This interpretation is in tune with the idea, found in all the tragedies, that overwhelming evil, engulfing most of the participants, issues from the initial breach in nature (in this case a brother’s murder).If we are to take his own statement of the case at face value, Hamlet’s ‘antic disposition’ is a disguise for real feelings and intentions, a mere act, something to be assumed and cast off at will, or so he tells Horatio and Marcellus: Every audience is bound to be taken aback by this, in the light of all that Hamlet has stood for up to now.He has made a point of asserting his truth, his anxiety to be what he looks like, to embody the perfect equation of appearance and reality: ‘Seems, madam! Now, only a few scenes later, he is preparing to employ the same ‘ambiguous giving out’ as he has so lucidly deplored in his mother and uncle.The explosive irrational side of his nature is exposed and provoked by contrast with those with whom he is involved emotionally.Here there is no question of an antic disposition easily assumed and as easily discarded.Indeed, his pranks and clowning make Claudius extremely suspicious.Even before such things become obvious, the King asks Rosencrantz and Guildenstern to spy on Hamlet in order, as he puts it, to, ‘glean whether aught to us unknown afflicts him thus’ (11, ii, 17).He recognises the logic of this position when he says of Laertes that, ‘by the image of my cause I see / The portraiture of his’ (V, ii 77).If Hamlet’s basic purpose in assuming his ‘antic disposition’ is to divert suspicion while he plots his uncle’s downfall, it must be said that it is not particularly successful stratagem.