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Conclusion paragraph hamlet

conclusion paragraph hamlet

In the play the only persons who regard Hamlet as really mad are the king and his henchmen, and even these are troubled with many doubts. Polonius is the first to declare him mad, and he thinks it is because Ophelia has repelled his love. He therefore reports to the king that "Your noble son is mad" (II. ii. 92), and records the various stages leading to his so-called madness (II. ii. 145-150). No sooner, however, has he reached this conviction than Hamlet's clever toying with the old gentleman leads him to admit that "Though this be madness, yet there is method in't." (II. ii.203-4.)

Though it suits the king's purpose to accept this pronouncement of Polonius, he is never quite convinced of its truth. His instructions to his henchmen, "Get from him why he puts on this confusion" (II. i. 2), imply that he understands it as pretence and not real lunacy. He soon admits that Hamlet's actions and words do not indicate madness but melancholy:

"What he spake, though it lack'd form a little.

Shakespeare Essay Absolute Hamlet at

Ophelia's view that Hamlet has gone mad for love of her is of no value on the point. She is herself, rather than Hamlet, "Like sweet bells jangled out of tune, and harsh." (III. i. 158.) The poor distracted girl is no judge of lunacy, and knows little of real sanity. She cannot enter into the depth of his mind, and cannot understand that it is her own conduct that is strange and incoherent.

There need he no doubt, then, that Hamlet's madness was really feigned. He saw much to be gained by it, and to this end he did many things that the persons of the drama must construe as madness. His avowed intention was to throw them off the track. To understand the madness as real is to make of the play a mad-house tragedy that could have no meaning for the very sane Englishmen for whom Shakespeare wrote. There is dramatic value in such madness as Lear's, for the play traces the causes of his madness, and the influences that restore him.

His dramas are always elaborate attempts to get a meaning out of life, not attempts to show either its mystery, or its inconsequence, or its madness. If Hamlet were thought of as truly mad, then his entrances and his exits could convey no meaning to sane persons, except the lesson to avoid insanity. But it needs no drama to teach that.

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FOOTNOTE 1: Cf. Romeo and Juliet (I. v. 54), where "antic face" means a mask, and also Richard II (III. ii. 162) and Henry VI (IV, vii. 18).

FOOTNOTE 2: Cf. Shakespeare-Lexicon, by Alexander Schmidt, 3rd edition, Berlin, 1902.

How to cite this article:
Crawford, Alexander W. Hamlet, an ideal prince, and other essays in Shakesperean interpretation: Hamlet; Merchant of Venice; Othello; King Lear. Boston R.G. Badger, 1916.

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