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... upward lan, Bachelor writes, "The fact is that we have great difficulty imagining what we know. On this point, Blake writes: 'Natural Objects always did & now do Weaken deaden & obliterate Imagination in Me... '" (1943 / 1988, p. 92). We know that we die and bury the dead in one grave or another.
The fact of the statement 'death is natural' keeps us from imagining fantasy into nature. Material anthropology indicates that culture began with the first burial. A grave site is imagined as evidence that people remembered the once-living by means of reflection. The burial ground or grave is thought to give the dead a landscape in the imagination of those alive. Living people paid homage to and remembered the lives of the dead through burial, and burial or the grave focused the living on memory. The ghost breaks into Hamlet's black-based bereavement to instill a furor melancholia and to demand of him to keep alive the memory of his father.
The ghost does not respond to the earlier demands of Horatio: have something good to say; tell of the country's fate that it may, if forewarned, avoid; give information of a buried treasure. Marcellus and Bernardo threaten the ghost with spears. Is it a wonder the ghost leaves without a word? The manner in which Hamlet approaches the ghost is less demanding and "more phenomenological. He says he will call it as it seems, 'Hamlet, King, father, royal Dane'; he confesses himself a fool, limited, ignorant of supernatural truths, so when the ghost beckons, he follows" (Berry, p. 129). On another part of the platform, the ghost reveals to Hamlet the detail of the death of its likeness: "'Tis given out that, sleeping in my orchard, a serpent stung me...
But now, thou noble youth, the serpent that did sting thy father's life now wears his crown" (Shakespeare, p. 894). Homeopathic (like cures like) forensics: If you are to catch a serpent you must speak as a serpent-with a forked tongue that makes two points! The equivocation of the serpent is precisely what the ghost initiates into Hamlet: the vertical psychology of the ghost is to speak and hear equivocally. Although Hamlet accepts the vertical psychology of the ghost and promises the oath to remember, he squanders his new orientation when he is once again on the horizontal plateau with his comrades. Here is where Hamlet reports lightly of his meeting with the ghost: "Hill, ho, ho, boy!
Come, bird, come"Oh, wonderful!"Ah, ha, boy! Say " st thou so? Art thou there true penney"Well said, old mole! ... once more remove, good friends" (Shakespeare, p. 895). Each time for four times that Hamlet entreats his comrades to swear to secrecy and the ghost intones "swear" from beneath the stage, Hamlet shifts to another location. "Hamlet's triviality, giddiness, superficiality-the 'more removed ground' here becomes a horizontal defense, shifting ground to evade-nevertheless attest to the seriousness of Hamlet's task" (Berry, p. 134). The task of bringing his newfound vertical axis to the realm of Let us review the image of a 'removed ground, ' for it is a grave image.
Horatio says, "It waves you to a removed ground" (Shakespeare, p. 893). With the ghost, a grave conversation takes place on removed ground which leads Hamlet to swear to remember; with the clown, the ground removed creates the grave over which a conversation puts Hamlet's wit to the memory of his childhood with King Hamlet vis -- vis Yorick's skull, and, by equivocation, the ghost. The clown conjures up through equivocation the oath to the ghost at the grave. What is in the landscape of the grave site? It is set in a churchyard. There is a priest in the background.
Two clowns or gravediggers use equivocal language to sort through the efficacy of nobility in relation to Christian burial law regarding suicides. Jokes are told and songs sung as skulls are unearthed. There is irony in the juxtaposition of community or religious concern (the hair-splitting argument of the Christian burial of a suicide) with an unbefitting emotional display (a knave song and jocularity while digging a grave). A clown makes reference to Adam as the original digger, and King Hamlet was poisoned in the garden (remember the serpent? ). The O. E.
D. says, "clown form Polonius, one that ploughed the ground" (p. 443). Etymologically the word clown means, 'clod, ' 'clot, ' 'lump. ' The clowns derange the naturalistic fallacy with their clod-like jokes, songs and rude mannerisms. "What is he that builds stronger than either the mason, the shipwright, or the carpenter?" , asks clown 1 (Shakespeare, p. 925). Clown 2 offers the answer of a gallows-maker, "for that frame outlives a thousand tenants" (ibid. ). As Hamlet and Horatio enter the churchyard, clown 1 announces with finality, "'A grave maker. ' The houses that he makes last till Doomsday" (p. 926). Before he appears on the scene, the clowns foreshadow the return of Hamlet through the use of equivocal language.
Double entendre's, puns, and equivocations precede like a ghost Hamlet's concerns are of the qualities of Polonius and Ophelia, the people whom have died due to his earlier actions. Hamlet carries Polonius in respect to the language that focuses on custom: "Has this fellow no feeling of his business, that he sings at grave-making" (p. 926). Hamlet wears his Ophelia as he naively goes along reconstructing the possible life of a random skull and imagining a generalized death. Whereas Hamlet and Horatio were high on the platform when the ghost appeared, they peer beneath the earth's crust when they come upon the grave. It is here that Hamlet makes a move similar to when he phenomenologically met the ghost-saying, "I will speak to thee. I'll call thee Hamlet, King, Father, royal Dane" (p. 893); he decides to speak to this fellow, this gravedigger, for here Hamlet again seeks out assurance of what has come across his path.
Hamlet... Whose grave's this, sirrah? Hamlet. I think it be thine indeed, for thou list in 't. I. Clo.
You lie out on 't, sir, and therefore 'tis not yours. For my part, I do not lie in 't, and yet it is mine. Hamlet. Thou dost lie in 't, to be in 't and say it is thine. 'Tis for the dead, not for the quick, therefore thou list. I.
Clo. 'Tis a quick lie, sir, 'twill away again, from me to you. Hamlet is coached by the gravedigger into crafting space between meaning. The gravedigger's job is to create a space wherein a dead body may be laid to rest. 'To lie' is the equivocation through which the gravedigger vertically orients Hamlet. The gravedigger calls it like it is: Hamlet, in your job, "you lie out on it, sir. " You are lying down on the job and your job -- crafting equivocal space of meaning -- is to lie. "'Twill away again, from me to you, " may be the very meta-hours or method by which Hamlet creates confusion and uncovers buried truths via linguistic puns and double-entendre's. The clown is the sole character of the play who produces words (equivocation, puns, and double-entendre's) that work to beguile Hamlet. Hamlet digs deeper with inquiry, as if he did not learn the equivocate lesson well enough from the gravedigger.
Hamlet. What man dost thou dig it for? I. Clo. One that was a woman, sir, but, rest her soul, she's dead.
Hamlet. How absolute the knave is! We must speak by the card, or Hamlet begins to feel the very method that he employed with all of the previous characters of the play. "By poisoning what is said, " writes Berry, "[Hamlet] creates a space within which words because of their duplicity (multiplicity) have meaning" (1982, p. 139). Hamlet's insouciant attitude upon his return goes through a mortification (he is mortified by the gravediggers nonchalant attitude while grave-making) by speaking to the clown.
Hamlet re-members his method of speech by a dose of homeopathic dis-course with the clown. There is just one element Bibliography:
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