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... a constant doubt as to whether what we perceive is the part, or the whole. It almost seems diminishing to say that Hamlet is complex, but in thinking so we realize of the charms of Hamlet. His characterization is a puzzle, whose pieces appear mixed with pieces of other puzzles. In other words, Hamlet is not a figure you can characterize as having one easily defined personality. In the quoted passage, Hamlet uses several different tones of speech that illuminate different facets of his person.
Hamlets first line brings to light a cunning Hamlet who comes off a touch brash, disclosing his knowledge of Rosencrantzs and Guildensterns secret motive as if they did a poor job of hiding it. Next, starting with the words, I have of late, Hamlet switches to a softer, and appealingly pitiable tone of sensitivity that contains no aggressiveness, as in his previous tone. The tone in this line is also tinged with a hint of melancholy, supporting the impression of a pitiable character lost in a current drama. Following this is a passionate and cheerful tone of one who finds profound pleasure in the grandeur of nature, philosophizing on the most excellent and majestic al sky. Distinct from the introspective depression seen in the tone previous, Hamlet shows himself a noble and inspired extrovert, proclaiming optimism through an appreciation of nature.
Hamlets bright character is then suddenly snuffed out by a contradicting morbid line of bitterness, denouncing the grand sky as an ugly cloud of gases. Like two successive scenes on a roll of film, Hamlets tone is once bright, and then as dark as night. The next scene on this film-strip also pops up abruptly, conflicting with the dark tone seen just seconds before. Hamlet now praises the magnificence of man, showing us a wise and admirable Hamlet who heaps praises on humanity, burying with spirit and zest. Hamlets last change of tone emanates apathy, once again totally conflicting with its previous tone. In an impressive flurry of tone changes, we sit stunned and in awe at Hamlets rapid change of masks, confusing us as to how many facets exist to Hamlets personality; we realize the complexity of Hamlets character that does not fail to mesmerize.
Previous to this quoted passage, Polonius establishes the elusiveness of Hamlets dialogue in commenting, How/ Pregnant sometimes his replies are! A happiness/ That often madness hits on, which reason and sanity/ Could not so prosperously be delivered of (II. ii. 210 - 14). We, the audience, sit stunned at Hamlets relevant ravings. Finally, a fiftieth reading of the quoted passage decodes the puzzling innuendoes that hide behind the seemingly schizophrenic sequence of images.
The first five lines of the passage are a statement of the present situation that has brought Rosencrantz and Guildenstern into Hamlets company. Hamlets anticipation is simply Hamlets awareness that the king and queen have taken notice of his black mood, and have taken measures to discover whether his prolonged mourning is solely mourning. The next image of the earth differs from the first in that several issues are hinted at. In describing the earth as a goodly frame, Hamlet is referring first to his good homeland, Denmark, which he cannot help but love as his native country. The following sterile promontory, however, refers to his home as a stagnant cliff eagerly jutting out into the water, alluding to Hamlets rejected wish to school in Wittenberg (I. ii. 119 - 20).
Perhaps reading a bit far into the image, the earth can also possibly refer to Hamlets dead fathers present place of underground rest, which is sterile by disallowing Hamlets father to avenge himself. The following image is of the sky, which seems to refer to Hamlets uncle, the king, in being described as a majestic al roof fretted with golden fire. This description appears respectful, but sarcastic undertones resonate an embellishment for the hated uncle. Inferring the king as a brave overhanging firmament appears somewhat of a challenge by Hamlet, who has the intention of murdering his brave uncle, his fathers murderer.
These assertions gain weight with Hamlets line, foul and pestilent congregation of vapours, if we take into account the hatred that Hamlet harbours towards his uncle-king. The following image of man seems an encompassing one that is linked to Hamlets mood that changes in accordance to Hamlets current company. However, Hamlets questioning, yet, to me, what is this quintessence of dust? touches upon the many introspective soliloquies where Hamlet ponders much about himself, and the immoral actions of others. As well as being a questioning of man, Hamlets question also hints at Hamlets obsession with death, which pervades the whole play.
Finally, Hamlets declaration of his displeasure with man and woman is an obvious declaration of the hatred he harbours for his uncle and his mother. Yet, the simplicity of Hamlets statement implies a duality of meaning. Though man is an obvious reference to his uncle, the term can also refer to Hamlets constant self-criticism; and woman can also be a reference to Ophelia, who later rejects, betrays, and literally refuses him physical delight. True to his complex nature, Hamlets images touch upon the several important factors of the plot of Hamlet. I must now confess that though I have heard countless mention of the famous Hamlet, I have gone through the whole of my education without any tangible encounter with the play, until now. I must also confess that professor Stockholders accompanying lesson unveiled the character of Hamlet as one of my literary liberators (Stockholder, 116).
Oddly enough, I found Hamlet to be less of a character that allows for a kind of self-validation, (116), and more of a character that reinforces my own confusing introspection's. Nevertheless, I found every aspect of the play captivating, and found my eyes opening ever wider with every reading of the quoted passage. Luckily, I have found Hamlet through my studies and will, in future, definitely be rereading Shakespeare's words, words, words (II. ii. 194).
Shakespeare, William. Hamlet. (New York: Penguin Books Ltd. , 1987). Stockholder, Kay. English 365: Shakespeare. (Vancouver: UBC Press, 1997). Bibliography:
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