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A report on hamlet method in the madness by william shakespeare

Hamlet's Antic Disposition From Hamlet, an ideal prince, and other essays in Shakesperean interpretation: There is much evidence in the play that Hamlet deliberately feigned fits of madness in order to confuse and disconcert the king and his attendants.

  • Romeo and Juliet I;
  • When completing with Horatio the arrangements for the play, and just before the entrance of the court party, Hamlet says, "I must be idle;
  • But it serves his wicked purpose to declare him a madman, and to make this the excuse for getting rid of him by sending him to England;
  • Was not like madness;
  • She is herself, rather than Hamlet, "Like sweet bells jangled out of tune, and harsh.

His avowed intention to act "strange or odd" and to "put an antic disposition on" 1 I. The latter phrase, which is of doubtful interpretation, should be taken in its context and in connection with his other remarks that bear on the same question.

To his old friend, Guildenstem, he intimates that "his uncle-father and aunt-mother are deceived," and that he is only "mad north-north-west. But the intimation seems to mean nothing to the dull ears of his old school-fellow. His only comment is given later when he advises that Hamlet's is "a crafty madness. When completing with Horatio the arrangements for the play, and just before the entrance of the court party, Hamlet says, "I must be idle. This evidently is a declaration of his intention to be "foolish," as Schmidt has explained the word.

This pretense of madness Shakespeare borrowed from the earlier versions of the story. The fact that he has made it appear like real madness to many critics today only goes to show the wideness of his knowledge and the greatness of his dramatic skill.

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.

  • This evidently is a declaration of his intention to be "foolish," as Schmidt has explained the word;
  • But it needs no drama to teach that;
  • Shakespeare never makes of his dramas mere exhibitions of human experience, wise or otherwise, but they are all studies in the spiritual life of man;
  • Lear's madness had its roots in his moral and spiritual defects, and the cure was his moral regeneration.

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. 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. He soon admits that Hamlet's actions and words do not indicate madness but melancholy: Was not like madness.

But it serves his wicked purpose to declare him a madman, and to make this the excuse for getting rid of him by sending him to England.

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In this as in everything the king is insincere, and seeks not the truth but his own personal ends. 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. The poor distracted girl is no judge of lunacy, and knows little of real sanity.

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.

Method in the 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.

Lear's madness had its roots in his moral and spiritual defects, and the cure was his moral regeneration. But no such dramatic value can be assigned to Hamlet's madness. Shakespeare never makes of his dramas mere exhibitions of human experience, wise or otherwise, but they are all studies in the spiritual life of man.

  • Though it suits the king's purpose to accept this pronouncement of Polonius, he is never quite convinced of its truth;
  • To his old friend, Guildenstem, he intimates that "his uncle-father and aunt-mother are deceived," and that he is only "mad north-north-west;
  • Polonius is the first to declare him mad, and he thinks it is because Ophelia has repelled his love;
  • The fact that he has made it appear like real madness to many critics today only goes to show the wideness of his knowledge and the greatness of his dramatic skill;
  • Hamlet, an ideal prince, and other essays in Shakesperean interpretation;
  • His only comment is given later when he advises that Hamlet's is "a crafty madness.

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.

Romeo and Juliet I. Shakespeare-Lexicon, by Alexander Schmidt, 3rd edition, Berlin, 1902. How to cite this article: Hamlet, an ideal prince, and other essays in Shakesperean interpretation: