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Over the past four hundred years Hamlet has become the most frequently performed play of all time. Its popularity is global and it appeals to audiences of all ages, young and old. One of the possible reasons for this plays popularity is the way Shakespeare uses the character Hamlet to exemplify the complex workings of the human mind. Delay was one of the key conventions of a revenge tragedy that Shakespeare inherited; if the Prince had carried out his father's ghostly image's instructions straight away then 'there would have been an End of our Play'. The complexity of Hamlet's thoughts and the ambiguous actions carried out by him, brought Hamlet a 'life-like' identity that could not be summed up. Through out this piece of work I will produce a critical analysis of Hamlet as a character and whether or not he resembles a stereotypical protagonist within the revenge play.
Gorboduc is thought to be the first English tragedy. The King of Britain divides his realm between his two sons. The two sons start fighting and the eldest is killed. Their mother loved the eldest more and chose to revenge his death. This unnaturally cruel act lead to a rebellion, this resulted in the deaths of both the King and Queen. Nobles kill the rebels and a civil war breaks out because of confusion for succession to the thrown. Like Hamlet, this follows the same themes of a tragedy. The revenge plot results in a great loss of life which in turn all resulted from a small family affair. This shows that Shakespeare moves on a stage, taking revenge tragedies to another level. Shakespeare's new concept is repulsion for life itself and is explained later on.
The great philosopher Aristotle believed that the two main emotions that a tragedy should revolve around are that of pity and fear. In order to move on from these rather old ideas, Shakespeare decided to add a third; this can be understood as repulsion for life itself. At the time Aristotle was writing, his tragedies would be structured around a straight forward plot. In Hamlet, Shakespeare drives away from this classical idea and instead weaves the three themes around each other, whilst creating an entirely different outcome for them all. Evidence of this concept is shown clearly within Shakespeare's Hamlet. Fortinbras's father was killed by Hamlet's father during combat in war; because of this, Fortinbras wants to avenge the death of his father. Laertes has he's mind set purely on avenging the death of Polonius and finally the third and central avenger is Hamlet, King Hamlet's son, determined to avenge the death of his father who lays dead and buried by the work of his uncle Claudius.
A difference that separates Hamlet from Fortinbras and Laertes is that he does not follow the words of his revenge advisor, without asking himself why he should actually carry out the deed. The further into the play, the longer the audience has to wait for the eventual revenge act to be carried out
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"This is most brave, that I, the son of a dear father murdered, 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"
This statement proves the difference between Hamlet and the other avengers, it shows that Hamlet has been convinced by the dead king's words, however chooses to act with less haste. As much as Hamlet would love to believe his dead father's immediate words, he did claim to see a ghost which at the time the audience would have classed as paranormal almost demonic possession. A revenge protagonist, like in Gorboduc would have carried the act out almost certainly, so in this instance, had Laertes been the main character, then he would have followed the role of a revenge protagonist. Hamlet may have thought he was delusional still and therefore devises a plan to test his Uncle's guilt through a play, rein-acting a similar death of his father. Laertes puts the least amount of thought into his revenge and is the most easily influenced of the three sons. He confronts Claudius at once after hearing about his father, Polonius', death. Claudius tells Laertes Hamlet slew his father. Fortinbras was the most controlled of the three avengers. Fortinbras could have caused mass destruction and death but instead, because of the advice her had received, actually was lead to happiness by his new inner strength because of the scene he witnessed in front of him, the dead bodies of Hamlet, Claudius and Laertes.
Even though Hamlet did not become the new King, he still acknowledges that he's an important man of duty and honour and it's this that means he must and will, act upon the request of his late father. Hamlet's feigned madness falls into the concept of antic disposition; this is the first part in his masterful plan to revenge his father's death. Instead of rushing into things, Hamlet takes time to think and consider his options. This delay of action shows that Hamlet is a calculating intellect; to the audience this may seem somewhat confused. I think this is where Hamlet moves away from being a stereotypical revenge protagonist. I think Shakespeare wanted Hamlet to be more than that, instead I think Hamlet in the long run carries out all the things asked of him by his advisor, but even questions himself at stages whether he really did see his father as a ghost or whether is feigned madness isn't, feigned at all. To be able to question himself on these issues shows at least some saneness. The audience that first viewed Hamlet may had thought that there is more to Hamlet then meets the eye, if Hamlet really was demonically possessed and simply seeing illusions within his corrupt mind, then how can he be such an intellectual thinker. Choosing to act as if his mind was corrupted is a daring thing to do, a modern day audience would find this very intriguing and would look forward to how he plans to use this form of masking to eventually avenge the death of his father. An audience of that era would believe that because of the ghost link, Hamlet is not choosing to act in this manner; he is being controlled to act in that manner.
The idea of a significant character feigning madness is not a rare thing within some of the great literary works; it's surprising to know that many authors in fact use it to prove the opposite of its intention, its used to prove ones innocence. In Homer's The Iliad, Odysseus feigns his sanity by pretending to be mad, if this had been successful then he would have stayed safe away from the danger of war.
Hamlet warns his friends that it is possible he may start to pretend to be mad; he will put on an antic disposition to help him carry out the Ghost's instructions. The behavior of Hamlet that's described by Ophelia in Act Scene 1 sounds very much like play-acting. It seems that Hamlet is trying to convince Ophelia that he is a harmless madman, this will make it far easier for him to carry out his instructions (from the Ghost); this is a natural characteristic for all revenge heroes. In Act 4 Scene 5, Ophelia's madness is portrayed as 'pretty' nonsense but yet is presented as charming or disturbing. This allows the audience to get a bearing on Hamlet's madness by comparing it to Ophelia's. Ophelia was badly treated by her lover and now parted from her father's protection, a lack of maturity and ability to cope with her losses; she can only cause pain on herself and eventually lose control of her mind. The difference between Hamlet's madness compared to Opheliea's is that Ophelia's is brought on by two existing figures, where as Hamlet's is brought on by an alleged paranormal figure. The audience of the time would feel sympathetic for Ophelia, but split in two ways by Hamlet's madness because of the link with the ghost whom further links forward to demonic possession, but also the possible sympathy evoked for him because his madness may come because of pure grief over his father's death.
The critic Maynard Mack believes that in the final act of the play, Hamlet is a different character. A change of clothes would indicate he is no longer wearing the costume of his antic disposition, more importantly though, Hamlet displays a significant change in mood. Mack believes Hamlet was too fast to take on the weight of the world's problems upon himself, Hamlet sought to play God. Hamlet decides Claudius's salvation, whether to save him from a more damnable occasion. I agree with Mack in the sense that in the final act, Hamlet is a new character; but I feel this is down to Hamlet finally knowing what his actions shall be and also knowing that these actions will most likely result in his inevitable formidable death
Let Hercules himself do what he may, The cat will mew, and dog will have his day.
Very soon everything will be done and dusted, Hamlet knows this and continues as he was advised to do so. My final view of Hamlets alleged feigned madness is that it really was feigned ant that the ghost sighting was true, but could also be used as a possible scapegoat, had it need be.
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