Hamlet #5

Scenes 1 and 2 of Act 3 serve as an emphasis for the true question at hand: is Hamlet truly crazy or is he a mastermind as an actor? Judging from Hamlet’s interactions with Ophelia both during Claudius’ attempt to spy on Hamlet and during the play itself, one would assume Hamlet to be truly insane. His cruelty towards Ophelia, women, and marriage may exhibit his frustrations, but they certainly do not eradicate any feelings of madness within Hamlet. At one point, while discussing the implications of honesty and goodness within women, Hamlet remarks that he “never did love [Ophelia] once”, and claims that Ophelia’s “wantonness” and “ignorance…hath made [Hamlet] mad”. In a very articulate manner, Hamlet expresses his discontent with Ophelia to promote the unsatisfactory predispositions he has towards society as a whole. This in turn seems to augment Hamlet’s true insanity. His continued bitterness towards Ophelia and lewd, obscene behavior during the play further propel this perspective. However, just as Hamlet describes himself as knowing “a hack from a handsaw” in the previous act, his ability to immediately change his behavior when speaking with Horatio indicates his dexterity in transitioning between wild, eccentric behavior and calm rationality. Where Hamlet’s seemingly never-ending fit of complete madness encompasses much of these two scenes, his amazing levelheadedness is clear and present with Horatio: “Give me that man / That is not passion’s slave, and I will wear him / In my heart’s core, ay, in my heart of heart / As I do thee”. Shakespeare juxtaposes Hamlet’s initial interaction with Ophelia with his down to earth and joyous personality towards Horatio. As the audience is being led into an upcoming emotional scene between Hamlet and his mother, this very juxtaposition can be viewed as an emphasis for Hamlet’s apparent madness. Knowing that the end result of this play is full of tragedy may be used as a focal lens for interpreting Hamlet’s duplicitous personality; it is only a matter of time before Hamlet’s emotions and insanity catch up with in when in the face of his family.

Hamlet #2 and #3

Hamlet #2:

Act I scene 3 placed King Claudius’ chancellor Polonious and his family in stark contrast to Claudius’ own relationship with Hamlet. Very early on in the scene, the audience is forced to intently listen to a monologue Laertes, son of Polonious, gives to his sister Ophelia about the implications of loving Hamlet. More importantly, Laertes is concerned that Hamlet’s prince-like charm will seduce Ophelia into sacrificing her purity saying, “The chariest maid is prodigal enough / If she unmask her beauty to the moon” (I.iii.40-41). Fearing that Ophelia’s purity will be jeopardized by a seductive appearance in front of Hamlet, Laertes shows an expressive amount of concern for Ophelia, and acting like a big brother, confesses his genuine feelings about the implications of Ophelia’s relationship with Hamlet. Following Laertes’ speech, Polonious enters the room stunned to find Laertes still there, as he is supposed to be heading back to France for school. Before pushing him out the door, Polonious offers much advice about his own personal well-being while he will be away at school. Polonious concludes his monologue with the statement, “This above all: to thine own self be true, / And it must follow, as the night the day, / Thou canst not be false to any man” (I.iii.84-86). In this passage, Polonious expresses his own concern over his son, genuinely offering advice that will hopefully offer many benefits. He explains the importance of being honest with who one truly is and never letting the falsities of life be made present to any man. The conversations between Polonious, Laertes, and Ophelia emphasize the disparaging relationship Hamlet has with his uncle. Even now that Claudius is his father, Hamlet does not seem to recognize his authority, and he despises his hypocrisy as a leader and a father. The contrasting relationships will most likely be heightened later on the play in order to further emphasize the sickening relationship between Hamlet and Claudius. 

Hamlet #3: 

High Hopes

How do I prepare for an event so predictable?

I am painlessly aware of that which is so visible.

I have known for seventeen years,

Now my eyes are full of tears.

Our time to separate has come,

Oh, please do write home!

For your worth and your size

Are everything in my eyes.

I love you just the same,

Now go create your fame.

I can grapple with this issue

In the time that I will miss you.

Your concern involves your future,

And not my emotional stupor.

I am a mother after all, pleasantly forbidding,

Now wander towards success, or should I be permitting?

Hamlet #4

In the longest scene of this play, a foggy haze surrounds Hamlet’s sanity, as he claims to be mentally capable when the moment calls for it, but when presented with the evidence, the audience is forced to believe differently. From previous scenes, the audience is supposed to perceive Hamlet as a very intelligent, yet fragile character. Hamlet unceremoniously declares his immense sadness over his father’s death and even goes as far as to contemplate suicide. At first, the audience is not meant to view Hamlet as a mentally stable character, especially after his shaky encounter with the ghost. Regardless, this scene begs the question: is Hamlet truly insane?

When Polonious encounters Hamlet by himself in one of the main hallways, he interrogates Hamlet attempting to yank bits and pieces of information that prove his vile love for Ophelia and the growing madness inside him. At one point, Polonious merely asks for Hamlet to step outside, to which Hamlet replies in a manner that forces Polonious to question his sanity: “How / pregnant his replies are. A happiness / that often madness hits on, which reason and / sanity could not so prosperously be delivered of”. Certainly Polonious is capable of deciphering a mad fool when one considers his experience in politics, but shortly after the conversation, Hamlet reassures the audience that his display was merely an act saying, “I am but mad north-north-west. When the / wind is southerly, I know a hawk from a handsaw”. Hamlet claims that he is capable of displaying his madness and insanity only in certain occasions, defending himself against any accusations that provoke his alleged insanity. On a deeper look, Hamlet’s ability to observe his surroundings and make acute judgments suggest he is mentally capable most of the time. In the end, due to this play’s inherently tragic nature, the haze surrouding Hamlet’s mental abilities will thin out and become crystal clear; the question is when that immediate transition will occur. 

Good Luck

It is darkness that surrounds our remorse.

It creeps up on us on the most unsuspecting times,

As if to punish us for our loss…

And by law it makes the black crow caw.

It pierces the sky and scours the ground,

Making the innocent victim drown.

It blankets the day and terrifies the night,

Leaving the victim trembling in fright.

Navigating the seas and exploring the air,

Death can come from nearly anywhere.

I have come to the point where the darkness arrives,

It kicks in my door with subtle surprise.

Remember my name for the reaper hath slain.

It is darkness that surrounds your remorse. Good luck.

Othello: Act V scene II lines 1-24

Othello's final soliloquy in Act V scene ii overtly displays his transformation from a composed and confident leader to an irrational thinker dictated by his emotions. Although it appears Othello is sympathetic to the murderous act he is about to perform, constantly kissing Desdemona and complimenting her smooth, white skin, he is in no way shape or form the same character he was at the beginning of the play. Othello even goes on to explain his motives, proclaiming that "she must die, else she'll betray more men" (V.ii.6). Othello seems to be dictated by his own emotions, especially that of vengeance stemming from Iago's false inquiries of adultery between Desdemona and Cassio. Originally in the novel, the audience perceives Othello as an incredibly gifted leader who uses concepts of diction, syntax, and decision making to successfully command an army and influence a nation. The nature of Shakespearean tragedies tell us about Othello's ultimate downfall, but when and where this unquestionable demise occurs is unclear until reading Act V scene ii. Othello's passion for Desdemona is still fairly strong and in tact; however, the juxtaposition of Othello's passion and his ultimate intentions highlight Othello's transformation as a character. One would expect a calm and composed leader to arrive at a rational conclusion that does not involve murder and "cruel tears" (V.ii.23). However, his love for Desdemona is clearly overshadowed by his emotions, which eventually lead him to kill his love and ultimately himself. Othello's downfall as the protagonist of a Shakespearean tragedy is plain and clear cut. There are nearly no distinguishable similarities between Othello as a composed leader and Othello as an emotion-driven tyrant who resorts to acts of murder in order to restore order and authority.

Othello #5

Act four views Othello’s continuous loss of self-control and composure. Originally, the audience is forced to perceive Othello as this infinitely humble, thoughtful, and articulate leader. In fact, it is not until late in Act two that we begin to see the manifestations of Othello’s fall from power. Act four is meant to stand in stark contrast with the previous scenes involving Othello directly after arriving at Cyprus. In the earlier act, Othello was first praising his “soul’s joy” (II.i.169), and now he now “trembles” (47) with rage at the thought of Cassio sleeping with his wife Desdemona. Any sense of self control and rational thought are completely out the window, especially when Othello proclaims, “to confess and be hanged for his labor. / First to be hanged and then to confess” (46-47), meaning he will kill Cassio before he allows him to confess to his crimes. Othello’s rage is like no other. He is unquestionably the most powerful man on the island, and his trip to Cyprus does not seem to be getting better. Iago’s conspiracy against Othello leads to his ultimate demise, which is clearly professed in the inner-workings of Act four. Observing the behaviors of Othello in the succeeding scenes will be interesting to analyze. Othello’s articulate manner and power seem to diminish at the hands of Iago’s uncontrollable guile. Act four prepares the audience for Othello’s final transformation into a gutless and seemingly foolish character, as he can do nothing but watch himself fall from power as a result of the uncontrollable series of unfortunate events that riddled the earlier sections of the play.