Themes
Action and Inaction
The conflict between action and inaction is what drives Shakespeare's Hamlet. The title character, Prince Hamlet, grapples with the weight of his father's murder and is fueled by a desire for revenge; however, he is paralyzed by internal conflict. Hamlet's initial inaction stems from the deep shock and grief he experiences following his father's death. The suddenness of the event, coupled with the revelation of Claudius's treachery and Gertrude's hasty marriage, plunges him into a state of despair and confusion. His famous soliloquy, "To be or not to be," exemplifies his internal struggle. He questions the meaning of life, the purpose of revenge, and the potential consequences of taking action.
Hamlet's inaction is further fueled by his philosophical nature and his desire for certainty. He contemplates the morality of revenge, questioning whether killing Claudius would be justified and whether the Ghost's message is genuine. He devises elaborate schemes, such as the play within a play, to test Claudius's guilt, further delaying any decisive action.
In contrast to Hamlet's inaction, other characters demonstrate the dangers of impulsive action. Laertes, consumed by grief and stoked up by Claudius's manipulation, eagerly seeks revenge for his father's death. He readily agrees to participate in a duel with Hamlet, unaware of Claudius's plot to ensure his victory. His impulsive actions ultimately contribute to the tragic events of the final act.
Claudius, the play's antagonist, embodies the destructive nature of unchecked ambition. He takes decisive action by murdering his brother to seize the throne and marry Gertrude. However, his actions are driven by selfish desires for power and a lack of moral compass. His calculated actions set in motion a chain of events that ultimately lead to his own downfall.
Fortinbras, the Prince of Norway, demonstrates decisive leadership and action in pursuing his claim to Polish land. While his motivations may be driven by ambition, his willingness to act is something that Hamlet doesn’t possess. Fortinbras's presence prompts the audience to question whether any action, even driven by ambition, would have been preferable to Hamlet's inaction.
Certainty and Uncertainty
From the very beginning of the play, Hamlet is confronted with uncertainty. The appearance of his father's ghost, demanding revenge for his murder, sets in motion a chain of events that leaves Hamlet questioning everything he thought he knew. Is the ghost real or a figment of his imagination? Can he trust its words? This initial doubt sets the stage for the internal conflict that defines Hamlet's character. Hamlet's journey throughout the play is a constant quest for certainty. He devises various schemes, such as the "play within a play," to confirm Claudius's guilt and validate the ghost's message. However, these attempts only further highlight the elusive nature of truth in Denmark's corrupt court. Every piece of information he gathers, every encounter he has, only deepens his sense of doubt. The weight of consequences complicates Hamlet's decision-making. He fears acting on uncertain information, especially with the potential for harming innocent people in the process. This concern for morality becomes a significant barrier to action, as he seeks absolute certainty about the righteousness of his cause.
Hamlet's struggle with uncertainty leads to inaction. He becomes paralyzed by his doubts, unable to commit to a course of action. This inaction not only prolongs his personal suffering but also allows Claudius to solidify his control and further manipulate the situation. The constant state of uncertainty takes a toll on Hamlet's mental and emotional well-being. He experiences periods of despair, confusion, and even feigned madness.
Madness
Hamlet's descent into "madness" is central to the play. Witnessing his father's ghost, grappling with the burden of revenge, and navigating a court filled with deceit all contribute to his emotional and mental unraveling. His feigned madness serves as a coping mechanism that allows him to test others and mask his true intentions while navigating the treacherous political landscape. However, the line between genuine and feigned madness blurs as his internal conflict intensifies, leading to genuine moments of despair and confusion.
Ophelia's genuine descent into madness is a tragic consequence of the events surrounding her. The loss of her father, Polonius, coupled with the rejection and erratic behavior of Hamlet, whom she loved, shatter her mental stability. Unlike Hamlet, whose madness is partly strategic, Ophelia's mental breakdown stems from genuine grief and emotional trauma, highlighting the devastating impact of loss and betrayal.
Performance
The play is deeply intertwined with the theme of performance. From the elaborate courtly displays to the protagonist's feigned madness, performance permeates the narrative and serves as a tool for deception, self-discovery, and ultimately, exploration of the very nature of reality and identity.
The play opens with an atmosphere of performance. Claudius delivers a carefully crafted public image of mourning and piety to mask his guilt and ambition. Gertrude, too, performs the role of the grieving widow while possibly harboring hidden desires. These initial performances establish the theme of hidden truths and the unreliability of outward appearances, setting the stage for Hamlet's internal struggle.
Hamlet himself becomes a master of performance. He adopts the persona of the melancholy prince. His “madness” serves multiple purposes. It allows him to gather information, test others' reactions, and protect himself from harm. Yet, the performance also becomes a reflection of his own internal turmoil as it blurs the lines between reality and his constructed persona.
The play-within-a-play further highlights the theme of performance. Hamlet stages "The Murder of Gonzago" to observe Claudius's reaction and confirm his guilt. This meta-theatrical element not only exposes Claudius's duplicity but also allows Hamlet to explore his own emotions and motivations through the lens of the fictional performance. The play-within-a-play serves as a commentary on the act of deception and the difficulty of discerning truth from performance, both on and off the stage.
Performance also becomes a tool for self-discovery for Hamlet. Through his soliloquies, he performs his inner thoughts and anxieties for the audience, engaging in a form of self-reflection. These soliloquies offer unique insights into his emotional state, his philosophical contemplations, and his evolving understanding of himself and the world around him.
Patriarchy and Women
Both Gertrude and Ophelia are confined by the societal expectations placed upon women of their time. Gertrude is expected to be a submissive and obedient wife, first to her deceased husband, King Hamlet, and then to Claudius. Her hasty marriage to Claudius is seen as a betrayal of her former husband and raises questions about her loyalty and agency. Similarly, Ophelia is expected to be a dutiful daughter, following the commands of her father, Polonius. The play portrays women primarily as objects of manipulation and control by the male characters. Claudius uses Gertrude's grief and loneliness to manipulate her into marriage to solidify his hold on power. Hamlet betrays Ophelia and ultimately causes her to go insane. Neither Gertrude nor Ophelia is given the opportunity to fully explain their actions or motivations. Their perspectives are often filtered through the lens of male characters, diminishing their agency and silencing their voices.
Corruption and Decay
The play depicts Denmark as a kingdom that is rife with corruption and decay. This theme manifests not only in the political sphere but also in the moral fabric of society. It infects characters and relationships and ultimately contributes to the tragic downfall of the royal family. Claudius's usurpation of the throne serves as the most blatant example of political corruption. His murder of King Hamlet and his marriage to Gertrude represent a blatant disregard for moral and legal authority. This act sets a precedent for further corruption, as Claudius prioritizes self-preservation and manipulation over justice and good governance. The play reveals a moral decay that extends beyond the political sphere. Polonius, the royal advisor, prioritizes self-interest and social climbing over loyalty and integrity. He readily spies on Hamlet and encourages his daughter, Ophelia, to deceive him too. This moral decay erodes trust and weakens the social fabric of the kingdom. Shakespeare employs vivid imagery of rot and disease to emphasize the pervasiveness of corruption. Hamlet himself describes Denmark as "a foul and pestilent congregation of vapors," highlighting the sense of decay permeating the atmosphere. This imagery reinforces the connection between moral corruption and physical disintegration. The corruption also manifests in the loss of innocence. Ophelia, initially portrayed as a pure and innocent figure, descends into madness due to the manipulative actions of those around her. Her fate symbolizes the destructive power of corruption on the vulnerable and innocent.
