Camel 1
Korina Camel
AP Literature
Mariani
10 December 2014
Mystery in Madness
Psychology’s Plato, Sigmund Freud, argued, “Madness and normal life are compatible rather than opposed.” To Freud, the human condition is not subject to separate entities like true or false, real or unreal. They do and must coexist. This is not a modern idea. Indeed, Shakespeare explores this concept in his play Hamlet. Perhaps this is the reason for the fascination that has attracted the minds of audiences, including critics and scholars, for over three centuries. The mystery in Hamlet’s madness tempts us to probe for the secret that lies just a little deeper than we can reach. This is Shakespeare’s genius: Hamlet’s madness (feigned and real) not only plays …show more content…
Before meeting the ghost he exclaims, “How weary, stale, flat, and unprofitable seem to me all the uses of this world” (129-34). Fearful, Horatio warns Hamlet not to follow the ghost for it may draw him into madness. But, Hamlet is compelled to follow the ghost. As he leaves Horatio says something that characterizes Hamlet’s condition through much of the play: “He waxes desperate with imagination” (86). At this point audience suspense is highly engaged. Along with Hamlet the audience wonders whether this ghost airs from heaven or blasts from hell; whether the ghost’s intent is wicked or charitable. When the ghost demands Hamlet revenge his foul and most unnatural murder not only does Hamlet’s blood freeze and his hair stand on end, but the audience is gripped with fear as well. However, the ghost never tells Hamlet anything he did not already suspect. But when the ghost reveals how he was murdered and that “incestuous…adulterate beast with witchcraft of his wit, with traitorous gifts…” did seduce his “seemingly-virtuous queen” whose lust was sated “in a celestial bed and [preyed] on garbage” (42-57) the audience’s imagination is horrified. It is at this point that Hamlet’s mind becomes unhinged—but not …show more content…
But, at the end of the play the audience is aware of a spiritual change in Hamlet. The culmination of Hamlet’s growing self-awareness and his acknowledgement of the providential nature of all events allows the audience to see that despite Hamlet’s indiscretions and questionable sanity, he still emerges as a truly noble tragic hero. At long last—and without any specific selfish plan—Hamlet accomplishes his purpose: he kills Claudius. His last thoughts are not about his revenge, but rather for the welfare of the state of Denmark. Ultimately, Hamlet is the instrument of universal justice. He has purged Denmark of a terrible evil. But, his inability to master his passion (hence his “madness”) resulted in this own death. The irony is that his unwillingness to act without deep thought is also his virtue. Tragically, a moral universe has been restored at the cost of this “noble
Korina Camel
AP Literature
Mariani
10 December 2014
Mystery in Madness
Psychology’s Plato, Sigmund Freud, argued, “Madness and normal life are compatible rather than opposed.” To Freud, the human condition is not subject to separate entities like true or false, real or unreal. They do and must coexist. This is not a modern idea. Indeed, Shakespeare explores this concept in his play Hamlet. Perhaps this is the reason for the fascination that has attracted the minds of audiences, including critics and scholars, for over three centuries. The mystery in Hamlet’s madness tempts us to probe for the secret that lies just a little deeper than we can reach. This is Shakespeare’s genius: Hamlet’s madness (feigned and real) not only plays …show more content…
Before meeting the ghost he exclaims, “How weary, stale, flat, and unprofitable seem to me all the uses of this world” (129-34). Fearful, Horatio warns Hamlet not to follow the ghost for it may draw him into madness. But, Hamlet is compelled to follow the ghost. As he leaves Horatio says something that characterizes Hamlet’s condition through much of the play: “He waxes desperate with imagination” (86). At this point audience suspense is highly engaged. Along with Hamlet the audience wonders whether this ghost airs from heaven or blasts from hell; whether the ghost’s intent is wicked or charitable. When the ghost demands Hamlet revenge his foul and most unnatural murder not only does Hamlet’s blood freeze and his hair stand on end, but the audience is gripped with fear as well. However, the ghost never tells Hamlet anything he did not already suspect. But when the ghost reveals how he was murdered and that “incestuous…adulterate beast with witchcraft of his wit, with traitorous gifts…” did seduce his “seemingly-virtuous queen” whose lust was sated “in a celestial bed and [preyed] on garbage” (42-57) the audience’s imagination is horrified. It is at this point that Hamlet’s mind becomes unhinged—but not …show more content…
But, at the end of the play the audience is aware of a spiritual change in Hamlet. The culmination of Hamlet’s growing self-awareness and his acknowledgement of the providential nature of all events allows the audience to see that despite Hamlet’s indiscretions and questionable sanity, he still emerges as a truly noble tragic hero. At long last—and without any specific selfish plan—Hamlet accomplishes his purpose: he kills Claudius. His last thoughts are not about his revenge, but rather for the welfare of the state of Denmark. Ultimately, Hamlet is the instrument of universal justice. He has purged Denmark of a terrible evil. But, his inability to master his passion (hence his “madness”) resulted in this own death. The irony is that his unwillingness to act without deep thought is also his virtue. Tragically, a moral universe has been restored at the cost of this “noble