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Analysis of Major Characters

Hamlet
Hamlet - The Prince of Denmark, the title character, and the protagonist. About thirty years old at the start of the play, Hamlet is the son of Queen Gertrude and the late King Hamlet, and the nephew of the present king, Claudius. Hamlet is melancholy, bitter, and cynical, full of hatred for his uncle’s scheming and disgust for his mother’s ***uality. A reflective and thoughtful young man who has studied at the University of Wittenberg, Hamlet is often indecisive and hesitant, but at other times prone to rash and impulsive acts.
Hamlet has fascinated audiences and readers for centuries, and the first thing to point out about him is that he is enigmatic. There is always more to him than the other characters in the play can figure out; even the most careful and clever readers come away with the sense that they don’t know everything there is to know about this character. Hamlet actually tells other characters that there is more to him than meets the eye—notably, his mother, and Rosencrantz and Guildenstern—but his fascination involves much more than this. When he speaks, he sounds as if there’s something important he’s not saying, maybe something even he is not aware of. The ability to write soliloquies and dialogues that create this effect is one of Shakespeare’s most impressive achievements.
A university student whose studies are interrupted by his father’s death, Hamlet is extremely philosophical and contemplative. He is particularly drawn to difficult questions or questions that cannot be answered with any certainty. Faced with evidence that his uncle murdered his father, evidence that any other character in a play would believe, Hamlet becomes obsessed with proving his uncle’s guilt before trying to act. The standard of “beyond a reasonable doubt” is simply unacceptable to him. He is equally plagued with questions about the afterlife, about the wisdom of suicide, about what happens to bodies after they die—the list is extensive.
But even though he is thoughtful to the point of obsession, Hamlet also behaves rashly and impulsively. When he does act, it is with surprising swiftness and little or no premeditation, as when he stabs Polonius through a curtain without even checking to see who he is. He seems to step very easily into the role of a madman, behaving erratically and upsetting the other characters with his wild speech and pointed innuendos.
It is also important to note that Hamlet is extremely melancholy and discontented with the state of affairs in Denmark and in his own family—indeed, in the world at large. He is extremely disappointed with his mother for marrying his uncle so quickly, and he repudiates Ophelia, a woman he once claimed to love, in the harshest terms. His words often indicate his disgust with and distrust of women in general. At a number of points in the play, he contemplates his own death and even the option of suicide.
But, despite all of the things with which Hamlet professes dissatisfaction, it is remarkable that the prince and heir apparent of Denmark should think about these problems only in personal and philosophical terms. He spends relatively little time thinking about the threats to Denmark’s national security from without or the threats to its stability from within (some of which he helps to create through his own carelessness).



Claudius
Claudius - The King of Denmark, Hamlet’s uncle, and the play’s antagonist. The villain of the play, Claudius is a calculating, ambitious politician, driven by his ***ual appetites and his lust for power, but he occasionally shows signs of guilt and human feeling—his love for Gertrude, for instance, seems sincere.
Hamlet’s major antagonist is a shrewd, lustful, conniving king who contrasts sharply with the other male characters in the play. Whereas most of the other important men in Hamlet are preoccupied with ideas of justice, revenge, and moral balance, Claudius is bent upon maintaining his own power. The old King Hamlet was apparently a stern warrior, but Claudius is a corrupt politician whose main weapon is his ability to manipulate others through his skillful use of language. Claudius’s speech is compared to poison being poured in the ear—the method he used to murder Hamlet’s father. Claudius’s love for Gertrude may be sincere, but it also seems likely that he married her as a strategic move, to help him win the throne away from Hamlet after the death of the king. As the play progresses, Claudius’s mounting fear of Hamlet’s insanity leads him to ever greater self-preoccupation; when Gertrude tells him that Hamlet has killed Polonius, Claudius does not remark that Gertrude might have been in danger, but only that he would have been in danger had he been in the room. He tells Laertes the same thing as he attempts to soothe the young man’s anger after his father’s death. Claudius is ultimately too crafty for his own good. In Act V, scene ii, rather than allowing Laertes only two methods of killing Hamlet, the sharpened sword and the poison on the blade, Claudius insists on a third, the poisoned goblet. When Gertrude inadvertently drinks the poison and dies, Hamlet is at last able to bring himself to kill Claudius, and the king is felled by his own cowardly machination.
Gertrude
Gertrude - The Queen of Denmark, Hamlet’s mother, recently married to Claudius. Gertrude loves Hamlet deeply, but she is a shallow, weak woman who seeks affection and status more urgently than moral rectitude or truth.
Few Shakespearean characters have caused as much uncertainty as Gertrude, the beautiful Queen of Denmark. The play seems to raise more questions about Gertrude than it answers, including: Was she involved with Claudius before the death of her husband? Did she love her husband? Did she know about Claudius’s plan to commit the murder? Did she love Claudius, or did she marry him simply to keep her high station in Denmark? Does she believe Hamlet when he insists that he is not mad, or does she pretend to believe him simply to protect herself? Does she intentionally betray Hamlet to Claudius, or does she believe that she is protecting her son’s secret?
These questions can be answered in numerous ways, depending upon one’s reading of the play. The Gertrude who does emerge clearly in Hamlet is a woman defined by her desire for station and affection, as well as by her tendency to use men to fulfill her instinct for self-preservation—which, of course, makes her extremely dependent upon the men in her life. Hamlet’s most famous comment about Gertrude is his furious condemnation of women in general: “Frailty, thy name is woman!” (I.ii.146). This comment is as much indicative of Hamlet’s agonized state of mind as of anything else, but to a great extent Gertrude does seem morally frail. She never exhibits the ability to think critically about her situation, but seems merely to move instinctively toward seemingly safe choices, as when she immediately runs to Claudius after her confrontation with Hamlet. She is at her best in social situations (I.ii and V.ii), when her natural grace and charm seem to indicate a rich, rounded personality. At times it seems that her grace and charm are her only characteristics, and her reliance on men appears to be her sole way of capitalizing on her abilities.
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Hamlet's Madness The issue of madness is one of major importance in this play. Is Hamlet truly mad, meaning insane? Or is he merely angry? Does he feign madness and use it as a guise? Or does he place himself so dangerously close to the line between sanity and insanity that he crosses it without even realizing it? Or is he so intelligent, cunning and in control that this is merely the playing out of his completely conceived and well-executed plan of attack? The patient is a thirty year-old male. He is Hamlet, Prince of Denmark, an introspective, grieving young member of the royalty, plagued by the recent death of his father, and the hasty marriage of his mother to his uncle, Claudius. He is capable of depressing anyone around him; the King and Queen attempt to pry Hamlet from his mourning. As relations become more strained between Hamlet and Claudius, his attitude becomes destitute. He begins to withdraw himself from everyone in the castle, and spends most of his time in solitude; he is often seen walking alone, talking to himself. Upon deeper investigation, it is discovered that Hamlet is seeing the ghost of the ex-King of Denmark, Hamlet’s father. The ghost becomes Hamlet’s counselor, guiding him through his everyday maze of depression and confusion. It is through the ghost of his father that he learns that Claudius, the new King of Denmark, is solely responsible for his father’s “foul and most unnatural murder” (I.v.26). He claims that he is told to seek revenge on his father’s murder by murdering Claudius. Hamlet sees the ghost at various times over the course of the play, appearing when he is in need of help. Hamlet’s condition persists, gradually getting worse, as he becomes increasingly more aggressive and violent. His behavior towards Ophelia, the woman he loves, becomes erratic. He has violent outbursts towards his mother. He kills various members of the castle without explanation. Hamlet is clearly out of control, and is in need of a psychological evaluation. The most major of mental illnesses is schizophrenia, a psychotic illness, where the patient is out of touch with reality. In this disease, thoughts may be deranged or delusions without basis may arise. The individual tends to withdraw from their already little social contact. They become unresponsive and lose interest in normal activities. Emotionally, they can be irritable, angry, aggressive, and even violent at times. At other times, they can have an obsession with death, or voices can be heard or visions seen. The reasons for this change often appear unexplainable to relatives and friends. Some try to explain this new behavior as due to stresses, past or present, especially from interpersonal difficulties and mishaps. It is generally a devastating illness, troublesome to the patient and painful to the relatives and sometimes offensive to society. (Chong, 1) William Shakespeare’s literary opus Hamlet is an adventure story of the highest quality, a tale of the psychological trials of a man who is isolated from the society he must live in, and a portrait of a family driven to bloody and gruesome murder by one man’s lust for power (King, 1). In his essay “Hamlet: A Riddle in Greatness”, Louis Kronenberger states that “even on the surface, Hamlet remains among the greatest of unsolved psychological mysteries, and the one that has been provided with the most solutions” (1). The theme of madness in Hamlet has been one of great discussion; there is much conflicting evidence that can be found when trying to prove the validity of the claim to Hamlet’s true madness. The patient, Hamlet, prince of Denmark, has been diagnosed with schizophrenia due to his erratic, sometimes irrational behavior. Ever since the death of his father, King Hamlet, young Hamlet has been what appeared to be in a state of madness. This case study on Hamlet’s condition will cite many instances in William Shakespeare’s Hamlet in which the patient has acted in a schizophrenic, meaning mad, manner. Hamlet’s madness is the result of his fragile, overanalytical personality being confronted with a great deal of anguish. Hamlet’s madness is apparent even before he sees the ghost of his father. At the start of the play, Hamlet is shown to be “in the throes of bereavement” (“Though This is Madness, Yet There is Method in It.”, Online Archive, 1). The queen encourages him to look to the future, and to cease his grieving, for she believes it is false. Hamlet responds angrily to her suggestion: “But I have within which passeth show; these but the trappings and the suits of woe.” Hamlet’s strained relationship with Claudius is now evident; as he comments on his mother’s marriage, “It is not nor it cannot come to good” (I.ii.158), he already senses that it embodies much misfortune. This line sets a portentous prediction for the course of the play, as Hamlet struggles between emotion and sobriety in order to enact revenge on his father’s death. Hamlet’s encounter with the ghost of his father considerably changes his disposition, and his actions become more bizarre. He has the unique ability to communicate to his father by talking to a ghost; his friends must swear themselves to secrecy because of the threat that others may dismiss him as “mad”. Nevertheless, Hamlet’s actions after meeting the ghost do lead everyone except Horatio to believe he is crazy, but never acts upon his feelings and loses control. From the beginning, Hamlet feels much pressure to speak out against the king, but lacks the strength to do so. This inner conflict is shown in his soliloquy in act two, when he states, “O, what a rogue and peasant slave am I!” (II.ii.534). He confesses that he is a coward, and is torn between speaking out and actually taking action against Claudius. These new pressures cause much inner torment in Hamlet, and hint at the fact that he is mentally indisposed. Further evidence of Hamlet’s madness can be found in Hamlet’s encounter with his mother in act three, scene four. Hamlet has gone to see his mother in an attempt to force her to purge herself of her sin, her hasty marriage to Claudius. As he attempts to make his mother see her wrongs, he screams at her: “Nay, but to live in the rank sweat of an enseamed bed, stewed in corruption, honeying and making love” (III.iv.92-95). This attack on his mother clearly shows that he has gone beyond merely playing the role of a moralist, for he has crossed the line between sanity and insanity with his wild and whirling words. After this attack on his mother, Hamlet furthers his irrational behavior by killing Polonius, who was standing behind the curtain in his mother’s room. As Polonius slumps out from behind the curtain, the queen exclaims “O me, what hast thou done?”. Hamlet replies, “Nay, I know not. Is it the king?” After the slaying, Hamlet appears to justify the killing in his own mind by stating that Polonius’ death is “almost as bad, good mother, as kill a king and marry with his brother” (III.iv.30-31). Hamlet’s excuse for the murder is irrational, for he left Claudius a scene before, and did not take any affirmative action then. He continues to verbally attack his mother, and does not cease until his next meeting with the ghost. Hamlet is indeed acting madly, and without justification. As he continues the attack on his mother, the ghost appears in a nightgown. Hamlet appears to come back to his senses, his mood changes, and begs for guidance: “Save me, and hover o’er me with your wings, you heavenly guards! What would your gracious figure?” The queen, oblivious to Hamlet’s hallucinations, cries out: “Alas, he’s mad!” (III.iv.107-109). The queen is now convinced of Hamlet’s psychosis, as she has what appears to be solid evidence that Hamlet is hallucinating and talking to himself. After Hamlet kills Polonius, he will not tell anyone where the body is. Instead, he assumes the role of a “madman” once again, speaking in a grotesque and ironic manner. The king asks him, “Now Hamlet, where’s Polonius?” Hamlet replies with a sarcastic remark: “At supper.” He continues, “Not where he eats, but where ‘a is eaten.” (IV.iii.16-19) Hamlet is clearly disrespecting Claudius, and making him look like a fool. Yet again, Hamlet does not act upon his plan to seek revenge of his father’s murder, but merely attacks Claudius verbally, as he did to his mother in a fit of rage. From the beginning of the play, Hamlet has a great fascination with death, another common symptom of schizophrenia (Goldman, 3). Despite being warned by his friends that following the ghost was a bad idea, Hamlet’s obsession with death was so great that he was prepared to risk all to follow. Taking such a risk, Hamlet organized a play that revealed the truth about his father’s death. This play was to serve as a strategy to force Claudius to admit to the killing of Hamlet’s father. Claudius’ reaction to the play served as solid evidence against himself; it was all Hamlet needed to be convinced that he was the true murderer. While he is struggling with the truth of his father’s death, Hamlet is also struggling with thoughts of suicide: “Devoutly to be wished; To die, to sleep...” (III.i.65). This soliloquy shows how Hamlet’s obsession with death turned on him, to the point where he is considering taking his own life. Another instance of madness in Hamlet is found in Ophelia, Hamlet’s true love. Before the tragedy began, Hamlet and Ophelia were already in love, and was shown through Ophelia’s words: “My lord, he hath importuned me with love in honorable fashion...and hath given countenance to his speech, my lord, with almost all the holy vows of heaven” (I.iii.111-115). Ophelia’s madness was caused by the repression of their true love; Claudius wanted Hamlet removed, and Polonius was determined to not let Ophelia be caught in a harsh social class (Desmet, 2). This subplot even furthers the theme of madness in Hamlet, and plays an important role in the other characters’ rationalization of Hamlet’s madness. The appearance of Ophelia’s madness is sudden; Hamlet is unaware of her condition, preoccupied with his own mental deterioration and his lust for revenge. The repression of her love for Hamlet, his rejection of her, her father’s death, and Hamlet’s own mental incapacity all drive Ophelia across the line between sanity and insanity; in this madness, she takes her own life. Hamlet’s behavior towards Ophelia is inconsistent throughout the play. After her death, as he was visiting her grave, he jumped in the grave to fight with Laertes. During the fight, Hamlet states “Forty thousand brothers could not, with all their quantity of love, make up my sum (V.i.250-253). This statement contradicts his words when she returned his gifts, stating that he never loved her. Hamlet’s madness does not reflect Ophelia’s true madness, his actions contrast them (Soon, 4). When Hamlet was sent to England, he carefully exchanged the letter that accompanied Guildenstern and Rosencrantz; the result was these men going to their death, because of Hamlet’s clever exchange. Even though they were not part of his plot of revenge, he had them killed, a demonstration of his madness once again. In the final scene when Hamlet is confronting Laertes, his thoughts and words turn again to the topic of madness: Was’t Hamlet wronged Laertes? Never Hamlet. If Hamlet from himself be ta’en away, Then Hamlet does it not, Hamlet denies it. Who does it then? His madness (V.ii.223-226). By these words, Hamlet is speaking of his true madness, which caused him to kill Polonius. He is apologizing to Laertes, and admits that his loss of control is due to his madness. In this final scene, Hamlet comes to terms with his own madness, and apprehends that it was his suffering and procrastination that kept him from killing Claudius sooner. He loses control over his revenge, and it is at this time that he finally finds the right opportunity to kill Claudius, and satisfy the wishes of the ghost of his father: “Hamlet is of the faction that is wronged; his madness is poor Hamlet’s enemy” (V.ii.227-228). The theme of madness in Shakespeare’s Hamlet has been a widely popular topic in the discussion of the play by both critics and readers alike. It is quite simple to see the reason why, since the play confronts us with evidence to prove the validity of the claim to Hamlet’s true madness, or, rather a view that the actions and words arising from the apparent madness is but a feigned “antic disposition” as proclaimed by Hamlet himself. (Soon, 1) The psychological case study of Hamlet, Prince of Denmark, presents the theory that Hamlet did have a break with reality, and should be diagnosed with schizophrenia, a devastating disease that affects a mere 1 percent of the world’s population. The preponderance of evidence that has been displayed clearly points to the conclusion that Hamlet was indeed mad; the disease’s onset is in the young adult years, it is disabling, resulting in a period of productive time lost, and it has social effects on the patient, as well as his family. In Hamlet’s case, all criteria have been met, and therefore can be declared schizophrenic, or “mad.”

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