Hamlet Themes
Revenge: Revenge is a central theme in “Hamlet.” The play revolves around Prince Hamlet’s quest to avenge his father’s murder. The Ghost of King Hamlet urges his son to take revenge against Claudius, who has usurped the throne. Hamlet’s internal conflict regarding the morality and consequences of revenge adds complexity to this theme.
Madness: The theme of madness is pervasive in “Hamlet,” with Hamlet himself feigning madness to disguise his true intentions. The line between feigned and real madness becomes blurred, raising questions about the nature of sanity and the impact of external pressures on one’s mental state.
Mortality and Death: Death is omnipresent in “Hamlet,” starting with the appearance of the Ghost and continuing with the numerous deaths that occur throughout the play. The characters grapple with the inevitability of death, contemplating its mysteries and contemplating suicide. The famous soliloquy “To be or not to be” reflects Hamlet’s philosophical musings on life and death.
Corruption and Deceit: The court of Elsinore is rife with corruption and deceit. Claudius’s usurpation of the throne through murder sets the tone for a morally compromised environment. The play explores the consequences of political and moral corruption, emphasizing the pervasive nature of deception.
Appearance vs. Reality: “Hamlet” delves into the theme of appearance versus reality, challenging the audience to question the authenticity of characters and situations. Hamlet’s antic disposition, Ophelia’s apparent madness, and Claudius’s false exterior exemplify the discrepancy between how things appear and their underlying truths.
Existentialism: The play delves into existential questions about the purpose and meaning of life. Hamlet’s internal struggles and philosophical soliloquies reflect existential themes, with the prince contemplating the futility of human endeavours and the inevitability of death.
Family and Betrayal: “Hamlet” explores the complexities of familial relationships, particularly the theme of betrayal within the family unit. Hamlet feels betrayed by his mother’s hasty marriage to Claudius, and this sense of familial betrayal fuels his actions throughout the play.
Oedipus Complex: The psychoanalytic interpretation of an Oedipus complex is evident in Hamlet’s relationship with his mother, Gertrude. Some critics argue that Hamlet’s hesitation to act stems from unconscious desires and conflicts related to his feelings for his mother.
Fate and Free Will: The play grapples with the tension between fate and free will. Characters often express a sense of being controlled by destiny, yet their choices and actions suggest a degree of agency. The interplay between fate and free will adds layers of complexity to the characters’ motivations.
Spying: Almost every character in Hamlet is involved in spying on another character or hiding something at some point. Polonius sends Reynaldo to France to keep an eye on Laertes and gets killed himself when he hides behind a curtain to spy on Hamlet while he is talking to Gertrude. He also advises Claudius to join him in watching Hamlet and Ophelia’s conversation. The king instructs Rosencrantz and Guildenstern to spy on Hamlet. Ophelia is used by the king and her father as a trap for their spying. Hamlet, in his effort to “catch the king’s conscience” and confirm the Ghost’s story, comes up with a complicated series of spying strategies, including pretending to be mad and presenting a play during which he observes the king. On the ship to England, Hamlet carries out spying that helps him find out about the plan to kill him. Horatio also becomes a spy during the performance of The Mousetrap, as per Hamlet’s request.
STYLE
Aside
An aside is a term used for a comment that a character in a play says out loud, but it’s understood by the audience as the character’s inner thoughts and is not heard by the other characters on the stage. The first words that Hamlet speaks in the play, “A little more than kin, and less than kind,” is an example of an aside. These words are not meant for the king, who has just spoken to him, but they reveal what Hamlet is thinking. Similarly, in Act 2, Scene 2, when Polonius is trying to understand Hamlet, after Hamlet has mentioned his daughter, Polonius says to himself, “How say you by that? Still talking about my daughter. Yet he didn’t recognize me at first.” Then he speaks to Hamlet, asking, “What are you reading, my lord?”
Blank Verse
Most of Hamlet, except for a few prose sections, is written in a style called blank verse, which is unrhymed iambic pentameter. Pentameter means that each line has five poetic feet, where a foot is made up of a certain number of syllables or beats. Iambic refers to the rhythm of the feet; in an iambic foot, the first syllable is not stressed, and the second syllable is stressed. For example, the iambic pentameter line “When we have shuffled off this mortal coil,” is read like this: “When WE have SHUFFled OFF this MORtal COIL.” Spoken English often follows an iambic pattern.
Punning
Shakespeare is famous for his wordplay or punning, where he uses one word or phrase to suggest multiple meanings at the same time. In Hamlet, Shakespeare uses punning in a way that is both rhetorical and dramatic, something he hadn’t done since his early play, Comedy of Errors. In that play, the confusion caused by two sets of twins leads to many comments having at least two meanings. Hamlet constantly plays with language and uses puns on purpose to tease and confuse the people he talks to. This also shows the complexity of his character.
Revenge Tragedy
In the 1590s, during the reign of Queen Elizabeth I, revenge tragedies were very popular. These tragedies usually have a structure where an initial crime leads to a series of revenge and counter-revenge actions. These plays are often filled with violence, cruelty, and graphic scenes. Hamlet is a play that follows this tradition of revenge tragedy, but it has a hero who, because of his intelligence and philosophical nature, questions the norms of his role while he is performing it.
Soliloquy
A soliloquy is a speech given by a character when they are alone on stage. It’s a way for the character to share their inner thoughts and feelings with the audience. The play Hamlet is well-known for its soliloquies, especially the one that Hamlet gives in Act 3, Scene 1, which starts with “To be, or not to be.” Shakespeare included several soliloquies in Hamlet, which highlight the character’s introspective nature and mental activity.
Historical Context
“Hamlet” is a product of its time, reflecting the historical and cultural context in which it was written. Here’s a detailed look at the historical context of “Hamlet”:
Shakespeare’s Life: William Shakespeare was born in 1564 to a successful middle-class glove-maker in Stratford-upon-Avon, England. He left his family around 1590 and traveled to London to work as an actor and playwright. His career spanned the reigns of Elizabeth I and James I, and he was a favorite of both monarchs. By the time of his death in 1616, his works were hailed as timeless.
Origins of the Story: The story of Hamlet has its roots in the historic records of Saxony. The 12th-century Saxon historian Saxo Grammaticus first wrote down the history of Prince Amleth avenging his murdered father by killing his usurping uncle.
The Renaissance: The play was written during the Renaissance, a period of renewed interest in human experience and awareness. By the time “Hamlet” was written in the early 17th century, the Renaissance had spread to other European countries, and ideas about our ability to fully understand the human experience became more skeptical.
Protestant Reformation: The main action of “Hamlet” takes place in Denmark, a largely Protestant nation at the time of the play’s composition. This may explain why Hamlet is hesitant to accept the ghost’s claims that he is tormented until his life’s crimes are “purged” away.
Publication and Performance History: “Hamlet” was probably first performed in 1602. In 1602, a man named James Roberts wanted to publish “Hamlet,” but before he could, another person named Nicholas Ling released a messy version using actors’ memories. In 1604, the official printed version, called the second quarto, came out. It had some mistakes from the pirated version. Later, in 1623, seven years after Shakespeare died, his friends John Heminges and Henry Condell put together all his plays into a big book called the Folio. The “Hamlet” in the Folio was different from the second quarto and is thought to be a revised version by Shakespeare himself.
Influence of Earlier Works: As was common practice during the sixteenth and seventeenth centuries, Shakespeare borrowed for his plays ideas and stories from earlier literary works. He could have taken the story of Hamlet from several possible sources, including a twelfth-century Latin history of Denmark compiled by Saxo Grammaticus and a prose work by the French writer François de Belleforest, entitled Histoires Tragiques.
In conclusion, “Hamlet” is deeply rooted in the historical and cultural context of its time, reflecting the religious, political, and intellectual currents of the Renaissance and the Protestant Reformation.
Compare and Contrast
Theatre Then and Now: In the 1600s, during the time of Hamlet, adult actors were replaced by children’s groups on the London stage, which became very popular. Today, Broadway, once known for plays by famous writers like Eugene O’Neill and Arthur Miller, is now filled with children’s shows and musicals.
Adaptations of Hamlet: Shakespeare used older plays, stories, and historical accounts to write Hamlet in the 1600s. Today, Hamlet is still used as a foundation for new plays, movies, and stories.
Belief in Ghosts: In the 1600s, people didn’t find it impossible to see a ghost. Today, if someone sees a ghost, many people would consider it a sign of mental or emotional problems.
Hamlet Critical Overview
Historical Context:
“Hamlet” was written in the early 17th century during the reign of Queen Elizabeth I and later performed during the Jacobean era. The play reflects the political and cultural milieu of the time, with themes of political intrigue, moral corruption, and existential questioning resonating with the uncertainties of the period.
Literary Style:
Shakespeare’s language in “Hamlet” is characterized by its poetic eloquence, intricate wordplay, and profound depth. The play is a testament to Shakespeare’s mastery of the English language, with soliloquies like “To be or not to be” and dialogues demonstrating his ability to capture complex human emotions and philosophical musings.
Tragedy:
“Hamlet” is categorized as a tragedy, following the classical structure of a tragic hero facing a downfall due to a tragic flaw. Hamlet’s tragic flaw is often identified as his indecisiveness, leading to his ultimate demise. The play explores the consequences of revenge, betrayal, and political machinations.
Psychological Depth:
One of the hallmarks of “Hamlet” is its deep exploration of human psychology. Hamlet’s internal struggles, his philosophical reflections, and his complex relationships contribute to a character of remarkable depth. The psychological complexity of the characters has led to diverse interpretations and psychological analyses over the years.
Existential Themes:
“Hamlet” delves into existential themes, questioning the meaning and purpose of life. Hamlet’s introspective soliloquies, particularly the famous “To be or not to be,” reflect existential dilemmas, contemplating the nature of existence, the afterlife, and the human condition.
Political Allegory:
Some critics view “Hamlet” as a political allegory reflecting the anxieties and intrigues of the Elizabethan court. The play explores themes of political legitimacy, regicide, and the consequences of political corruption, mirroring the political tensions of the time.
Feminist Interpretations:
The role of female characters, particularly Ophelia and Gertrude, has been subject to feminist analysis. Critics discuss their marginalization, vulnerability, and the impact of patriarchal structures on their lives. Ophelia’s tragic fate and Gertrude’s complicated relationship with Hamlet are central points of feminist discourse.
Freudian Psychoanalysis:
Freudian interpretations of “Hamlet” have focused on the Oedipus complex, suggesting that Hamlet’s hesitations and conflicts are rooted in unconscious desires related to his mother, Gertrude. This perspective, championed by psychoanalyst Ernest Jones, has influenced both literary criticism and adaptations of the play.
Performance and Adaptations:
“Hamlet” has been staged and adapted countless times, influencing the play’s interpretation and reception. Notable productions, such as Laurence Olivier’s film adaptation and Kenneth Branagh’s full-text film, have contributed to the evolving critical landscape surrounding the play.
Modern Relevance:
“Hamlet” remains relevant in contemporary times due to its exploration of universal themes such as revenge, morality, and the human psyche. Its adaptability to various cultural contexts and reinterpretations in literature, film, and theater speak to its enduring impact.
In conclusion, “Hamlet” is a literary masterpiece that continues to captivate audiences and scholars alike. Its exploration of human nature, political intrigue, and existential questions ensures its place as a timeless and multifaceted work in the world of literature and drama. The richness of its characters and themes guarantees that “Hamlet” will continue to be a subject of critical inquiry and artistic exploration for generations to come.
