Introduction
Hamlet is a tragedy play written by Williams Shakespeare; it is set in Denmark during unsettle times. It was revealed to the young prince that his father has been murdered by his uncle King Claudius, so Prince Hamlet seeks revenge by acting insane. Hamlet’s comments about madness, his elaborate actions and his madness compared to Ophelia’s reveals Hamlet’s madness to be feigned.
Hamlet’s Comments About Madness
Through the main character’s comments, a reader can note that Hamlet’s madness is a mask he puts on himself. For example, the last scene of the first act illustrates the most deliberate and firm decision of the protagonist to pretend to be insane after meeting with the Ghost: “How strange or odd soe’er I bear myself, as I perchance hereafter shall think meet to put an antic disposition on” (Shakespeare, 1599/2003, 1.5.170-172). However, Hamlet does not always put on the mask of a madman; he conveys his “transformations” in such a way: “I am but mad north-north-west: when the wind is southerly I know a hawk from a handsaw” (Shakespeare, 1599/2003, 2.2.378-379). Moreover, it becomes especially evident about the hero’s acting when the prince abruptly cuts off his speech, seeing the approach of the king and the entire court camarilla: “They are coming to the play; I must be idle” (Shakespeare, 1599/2003, 3.2.90). Therefore, due to a deep analysis of Hamlet’s sayings, one can remark that the prince did not go mad and did not lose his mind because his frenzy is imaginary.
Elaborate Actions
Hamlet is a master of complex intrigues, deceptions, and manipulations when interacting with people. Thus, Hamlet longs for revenge, but his mind does not allow him to act blindly; he pretends to be insane to be able to provoke frankness, speaking in riddles as if out of place, leading to topics that would never have surfaced: “May be the devil, and the devil hath power” (Shakespeare, 1599/2003, 2.2.628). Hamlet is circumspect, self-critical, and distrustful; he needs to check everything and then strike a blow, as in the case when he arranges an “investigative experiment” in the role of a crazy: “O good Horatio, I’ll take the ghosts word for a thousand pound” (Shakespeare, 1599/2003, 3.2.260-261). Nevertheless, even while in the presence of the king and the entire court, Hamlet uses a specific tactical move, continuing to play an insane, occasionally regaining consciousness: “Was ’t Hamlet wronged Laertes? Never Hamlet […] Who does it, then? His madness.” (Shakespeare, 1599/2003, 5.2.203-207). Consequently, one should assume that Hamlet is not mad because his every step is weighed and considered, and in the play, there is only a game of the mind, not madness.
Ophelia’s Madness
Hamlet is the most sensible, realistic character in comparison with Ophelia. For instance, the proof of madness is that the simple-minded and meek Ophelia cannot understand the meaning and significance of the struggle that is taking place in Elsinore; she believes in Hamlet’s madness and weakly agrees to become an “instrument of trial” in the hands of Polonius and Claudius. The young girl cannot bear the heavy blows of fate that fall on her; Ophelia gives up life consciously, even though suicide is considered a grave sin condemned by the church. With the loss of her mind, she lost control of her actions, which is why she did not understand what she was doing; this phenomenon often occurs under the pressure of life circumstances. Hence, a reader has the opportunity to compare the actions and deeds of the Danish Prince with the daughter of Polonius and understand that Hamlet, compared with Ophelia, has rational thinking and the ability to make wise choices.
Conclusion
Throughout the play, Hamlet makes comments about madness, engages in elaborate actions, and is compared to Ophelia, who is truly mad. One should assume that Hamlet is an actor and a pretender who is happy to be deceived by his idea of becoming insane in the name of revenge. Hamlet’s lack of insanity is proved by the fact that in the play, the hero behaves like a clever tactician and strategist who, before acting, learns about all the details of his interests. Moreover, compared to Ophelia, the prince looks less insane, adapting to the situation by relying on a critical mind and the ability to weigh decisions correctly. Thus, it should be concluded that Hamlet’s madness is not absolute since it implies deception, pretense, and playing to the public in the Shakespeare’s work.
Reference
Shakespeare, W. & Eisenstat, M. (2003). Hamlet (2nd ed.). Harcourt Shakespeare.