Why Would Hamlet Want to Feign Madness?
I believe that Hamlet is, in fact, feigning his madness. What I do not know is if I believe this because it is what I was taught or if I came up with the idea myself based on my own interpretation. When I was taught Hamlet there was no argument it was just fact that he was faking his madness.
This was the onset of her depression. She didn’t understand why he was treating her in this manner and at the time was very much in love with him. The next example of Hamlet pretending to be mad is his unusual conversation with Polonius. As cited by John Brown, John Russell in Multiplicity of Meaning in the Last Moments of Hamlet. Connotations 2.1 (1992): 16-33, ” This part of Hamlet’s character–for ambiguous and complicated speech is a distinctive element of the “mind” with which Shakespeare has endowed his hero–this characteristic operates on various levels. Hamlet’s conduct and behavior clearly shows someone who was in control of himself and using his pretended madness as a cover for his revenge on Claudius. He displays cunning, nerve and purpose. One definition of insanity includes “losing touch with reality, lacking the ability to determine right from wrong, or having no concept for the consequences of one’s actions.” Hamlet proves he is still sane at this point in the play by his ability to re-write a play to demonstrate the complexity of his father’s murder. Writers and story tellers often must immerse themselves in their characters so much that they begin to fantasize of becoming them, a vicarious escapism. Shakespeare as a writer was no doubt well aware of this trait when one pretends plays or assumes the role of another. It is entirely feasible that Prince Hamlet’s descent into madness came as a result of his choice to feign madness as a ruse. Although we know that he is intentionally setting this stage to prove he is mad, you can almost start to believe it due to the emotional intensity of his behavior. Hamlet’s transition from sanity to insanity begins at the point where his mother, Gertrude summons him to her closet to demand and explanation. After several moments of harsh interaction between Hamlet and his mother in the bedchamber, Hamlet hears a noise behind a tapestry. Polonius is hidden there spying on them. Hamlet believes it to be Claudius and stabs wildly through the tapestry, killing Polonius supporting the case for insanity because of his inability to determine right from wrong and having no concept of the possible consequences of his actions. Claudius, fearing for his life, banishes Hamlet to England on a pretext, closely watched by Rosencrantz and Guildenstern, Hamlet’s school friends, with a letter instructing that the bearer be killed. Hamlet switches the letters and Rosencrantz and Guildenstern end up being beheaded. The deaths of these two men were indirectly related to Hamlet’s actions. If he had not feigned madness in the beginning, worrying his mother, she would not have asked his friends to come and see about Hamlet’s welfare, thus causing their death.
If he had been acting rationally or even sanely, he would have known that his actions could result in dire consequences, in the end, owing to the psychological effects they were bound to have on her. In addition, the manner in which he kills her father seriously brings to question his mental consistency.
Hamlet seems to believe that acting can be as real, or realer, than real-life emotion, which raises the possibility that by pretending to be mad, Hamlet has actually caused his own mental breakdown. Another interpretation could be that Hamlet acts mad as a way to express the strong, troubling emotions he can’t allow himself to feel when he’s sane, just as the actor can cry easily when playing a role. Throughout the play, Hamlet struggles to determine which role he should play—thoughtful, reticent scholar, or revenge-minded, decisive heir to the throne—and by acting both parts, Hamlet explores what his true role should be. Hamlet forces us to question what the truth is: how can we tell between reality and pretense?
Camden, Carroll. “On Ophelia’s madness.” Shakespeare Quarterly 15.2 (1964): 247-255. Print.
Clifford, John, and John Schilb. Making Arguments About Literature: A Compact Guide and Anthology. New York, NY: Bedford/St. Martin’s, 2005. Print.
Greenblatt, Stephen. “The death of Hamnet and the making of Hamlet.” New York Review of Books 51.16 (2004): 42-47. Print.
Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Vol. 2. Raleigh, NC: Hayes Barton Press, 1950. Print.
Sullivan, Harry Stack, ed. The interpersonal theory of psychiatry. London United Kingdom: Routledge, 2013. Print.
Wilson, J. D. (1959). What happens in Hamlet. Cambridge, United Kingdom: Cambridge University Press. Print.