The Tragedy of Hamlet, Prince of Denmark Plot Overview
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[edit] About Hamlet
[edit] Summary
Some thirty years[1] after the King Hamlet of Denmark vanquished King Fortinbras of Norway in single combat and stripped him of the lands he had gained through conquest,[2], his son rises to face the Dane once more in the name of his fortune and people. While young Fortinbras makes preparations for his invasion of now Danish lands, young Hamlet wanders the corridors and courtyards of his ancestral home, Elsinore, half love-sick for Ophelia,[3][4][5] the daughter of Denmark's lord high chamberlain, Lord Polonius, and half mad for revenge[6] for what he has come to learn was the murder of his father by his uncle.
Thus unravels a tragedy which is to ultimately prove fatal to all the major protagonists of the play. Spared the uniformly fatal consequences of treachery and unlawful ambition are Fortinbras, the young prince of Norway, and Hamlet's friend, fellow student and liegeman, Horatio. These two finally appear on the stage as a witnesses to the carnage that just ensued.
[edit] Claudius and Polonius, Evil Schemers
Claudius' guilt is manifest[7] and he confesses to the audience to having murdered Hamlet's father to become king. This must certainly be the first cause of the play's action, and his motives are illuminated through a soliloquized confession.[8] These are greed, lust for power, and his "incestuous"(see note at bottom of page) love for his brother's wife, (his sister-in-law),[9],[10][11]) King Hamlet's wife and queen, and Prince Hamlet's mother.
However, Lord Polonius, the Danish court's Lord High Chamberlain, is shown as being equally influential in the final outcome of the tragedy. He becomes convinced [12] of Hamlet's emotional involvement with his daughter, and from then on spends his energies attempting to catch out the prince in his love for the girl. Though his motive is certainly a result of protective and fatherly feelings towards his daughter, when, following the funeral of King Hamlet and his queen's remarriage, his son, Laertes, departs once more for Paris, he sends a man after him to spy on the young man, demonstrating the kind of parental control considered by some in the present day to be intrusive, invasive or overbearing, or even a kind of harmful entrapment[13] [14].
Then, in his eagerness to similarly catch young Hamlet, he falls victim to a sword-thrust aimed by the prince at what he at first perceived to be an unwanted intruder in his mother's bedchamber.[15] Polonius had secreted himself behind a woven screen in the Queen's quarters, so as to be able to overhear the conversation that would ensue between Gertrude and her son when the young man was summoned to her private quarters in hopes that he might reveal to her the reason for his morose and erratic behavior. The thrust into the concealing screen would prove a mortal one to the great lord, and the main reason for all the action to come.
[edit] Revenge
While Ophelia would succumb to disappointment, depression and suicide[16] [17][18] [19] after her father's untimely demise, Polonius' son would end his days through the fateful misconception, miscarrying and misconsummation of his vow to revenge his father[20] and sister, especially by accepting the assistance of Claudius, whose plot to kill Hamlet[21] had already been discovered by the prince.[22]. The king's choice of murder weapons would prove the general undoing when the poison he chose to work his mischief is inadvertently consumed by his queen, sister and wife. Then, another lethal venom, procured by Laertes and applied to one of the dueling swords, yields to both him and Hamlet fatal consequences when they switch weapons during the climactic duel, and ultimately finds a target in Claudius, vengefully carried home on the point of Hamlet's rapier.
[edit] Historical Stuff
The historical dates intended by the author are uncertain, with some sources opting for an earlier, more Romantic era as the setting of the tragedy, namely at the height of the Viking era, or during the period of greatest Viking political expansion around the turn of the millennium. Then, though the castle might be imagined as rude, the characters might be fully Romanticized, with Hamlet's flowing blonde hair contained in a horned helmet, while his biceps and strong shoulders glisten beneath a full-length cloak of chain-mail armor.
[edit] Theatre
However, casting directors, scene directors and theatrical designers have, for the most part chosen a motif suitable to the major European urban centers of the 16nth century, making Hamlet more of a precocious commentary on the decadence of the European ruling classes, a theme which would eventually become a movement in the 19nth century. This artistic impulse reflected the end of Catholic idealism in France, and the onset of Materialism in Italy, Spain, England and Germany. There would arise subsequent movements to counter the Decadents, some having their roots in stark Nationalistic yearnings. Some of these counter-decadents would draw on the icons of Nordic literature and myth for their energy, once more reinfusing the drama of Hamlet with theatrical energy.
In their choice of garment and style, the "Renaissance" Hamlettians are supported by the fact that Hamlet's castle-home, Elsinore, was built around 1420, while the University of Wittenberg, Hamlet's alma mater, was not founded until 1502.
[edit] Points of Interest
Perhaps the tributes mentioned by Claudius, and which he is ostensibly sending Hamlet to England after, have "been neglected"[23] for a much greater period then makes any real sense, and the statement is intended to draw a laugh from the audience, an attempt to place a kind of verbal fool's cap squarely on the young man's head.
The references to the French[24] is also an allusion to those Danish Vikings who took up residence in France when the Holy Roman Emperor, Charles the Simple, exchanged that right for their entering into the defense of Paris against oncoming raiders[25]. The descendants of these would, after conquering England, and then Ireland, play a vital part in the growth of Great Britain as a seapower, as well as give their law and language to the country in varying parts and degrees over the centuries.
[edit] Conclusion
Hamlet, Prince of Denmark, is a highly politicized tragedy with some overt sexual references, much violence, treachery, suspicion and talk of revenge, and probably suitable for mature High School and College students. Though some may initially perceive humor in the young protagonist's plight, the sad and fatal outcome is likely to darken even the most optimistic outlook.
Click here for a second essay - Hamlet's Death
[edit] Trivia
[edit] Hamlet was born
at the same time King Hamlet vanquished King Fortinbras. (See the Gravedigger's testimony)
He was a student at the University of Wittenberg (founded in 1502) at the time his father was murdered, returning to Elsinore to attend to the burial of this father.[26] By our standards, he should have been between 18 and 21 years old. However, Yorick, who carried Hamlet, the small boy, on his back had been dead twenty-three years when the gravedigger (clown) unearthed his skull. Therefore, add four years to that amount, and Hamlet would be about 27 years old. This age corresponds with the historical veracity that some Danish nobles waited until their sons were 14 years old before starting their schooling. Thus, they might still be thirty and carrying pen and books. - Cite Nash's Pierces Penniless Supplication to the Devil ed. Collier for the Shakespeare Society, P.27.
[edit] Note on incest
Evidently, the Elizabethans considered the marriage between one who was for some time one's brother's wife to the other brother to be incestuous, a view that coincided with a Biblical verse, Leviticus 20:21. "And if a man shall take his brother's wife, it is an unclean thing: he hath uncovered his brother's nakedness; they shall be childless."
However, this may also have been because they believed that persons who were married were literally or physically conjoined, and thus related by blood, and the laws or rules (mores) applying to incest held. They had no knowledge of the scientific (genetic) basis for incest taboos, and simply used what understanding they had of the natural world and the Bible to formulate their definition of incest.
This creates much confusion for the modern reader, since Shakespeare uses the words "my sometime sister" to describe Claudius' relationship with Gertrude. The meaning is undoubtedly, "she who was for some time my sister-in-law." Elsewhere in the text, namely in the confession, Claudius is quite explicit in stating that Hamlet was his brother, and not Gertrude's.[27]
Thus, Hamlet, should he have been born today, might not object to the remarriage based upon its incestuousness, but only because of the loss of his father through being murdered by his uncle, his father's brother. In those days, however, Hamlet and others would have seen the remarriage of his mother as purely incestuous, and contrary to the teachings of the Holy Bible, and specifically the Book of Common Prayer of the Church of England, which dates from 1553.
From Jim
"The incest issue comes from Leviticus 20:21 "And if a man shall take his brother's wife, it is an unclean thing: he hath uncovered his brother's nakedness; they shall be childless. " This not only challenges the legitimacy of Claudius' rule, it contributes to the rotteness in Denmark.
Now then, the dictates of Leviticus have to be tempered with the realities of Elizabethan England. Specifically, King Henry VIII who married his brother Arthur's wife Catherine of Aragon after his older brother, Arthur died. History and Shakespeare have judged that union harshly, notable for their one child Bloody (Queen) Mary, the Queen right before Elizabeth. Remember that after Anne Bolyn caught Henry's eye, he tried to use Leviticus to divorce Catherine and the Catholic Church sided with Catherine. This helps Shakespeare cast the catholic religion as part of the evil in the play." - Jim58
Here is a thread from a few years back that drifted into the incest issue.
http://mb.sparknotes.com/mb.epl?r=1&b=837&m=659357&t=215098&w=1#659357
Also: http://www.everything2.com/index.pl?node_id=52912 A good link to a history of Henry VIII.
And here's a couple of good sites describing some developments in the history of English law: http://www.agh-attorneys.com/3_camo_appendix_c0_.htm
http://www.answers.com/topic/list-of-acts-of-parliament-of-the-english-parliament-to-1600
http://www.tudorplace.com.ar/aboutElizabeth.htm
And, of course: http://en.wikipedia.org/wiki/Incest
Here are some current definitions of incest according to the Law of the Commonwealth of Pennsylvania also courtesy of Jim:
A man may not marry his mother. A man may not marry the sister of his father. A man may not marry the sister of his mother. A man may not marry his sister. A man may not marry his daughter. A man may not marry the daughter of his son or daughter. A man may not marry his first cousin. A woman may not marry her father. A woman may not marry the brother of her father. A woman may not marry the brother of her mother. A woman may not marry her brother. A woman may not marry her son. A woman may not marry the son of her son or daughter. A woman may not marry her first cousin.
Find out more or become a contributor to the Shakespeare Wikia or others by going to the You Decide Page or the
Hamlet scene-by-scene plot summary,
or, if you are interested in psychology, to the Psychology Wikia Hamlet page
or the Hamlet table of text selections and concordance pages.
Click here to go to the Table of Contents entry: The Tragedy of Hamlet, Prince of Denmark
[edit] Here's a line-linkin' quick view and analysis
All the protagonists take the high moral ground, even Claudius and Gertrude, the co-conspirators.
However, one by one, they abandoned their pretences, precepts and principles, which are a bit like Hamlet’s hobby horse, “For, O, for, O, the hobby-horse is forgot.” – III,2,135 - [28]
Claudius breaks down under pressure and before making his nightly prayers. “O, my offence is rank it smells to heaven; It hath the primal eldest curse upon't, etc.”- III,3,35 - [29]
Gertrude breaks down after being confronted by Hamlet in her “closet.” – III,4,90 - [30]
Hamlet abandons his morally superior stance when questioned by R. and G.. R. asks him, “How can that be, when you have the voice of the king himself for your succession in Denmark?” He answers, “Ay, but sir, 'While the grass grows,'--the proverb is something musty.” – III,2,358 - [31]
The proverb to which he refers continues, “While the grass grows, the steed starves.” Elsewhere Hamlet reiterates his suspicion that his uncle has somehow cut him out of the succession. Claudius has “Popp'd in between the election and my hopes, etc.” – V,2,65 [32]
Polonius is excessively jealous of his daughter, but probably goes to heaven under the circumstances, while Laertes holds the high ground until he agrees to join with Claudius. Before then, he might have been king by the popular vote, if he had chosen to remain aloof from the murderers. – IV,7,126 [33]
Horatio might either be considered a tool, or a “Hamlet right or wrong” loyalist. He works for both Claudius and Gertrude -IV,5,14 [34] and Hamlet (all other parts of the play).
Rosencrantz and Guilderstern are practical and professional, perhaps somewhat opportunistic. “The cease of majesty Dies not alone; etc.” – III,3,15 [35]
As to how this all culminates in the final two scenes; first it results in the death of Ophelia by suicide. Instruction is provided the audience in the Catholic (possibly Anglican, as well) law concerning that way of ending it all, while the double standard displayed separating “great folk” from commoners is questioned. “Why, there thou say'st: and the more pity that great folk should have countenance in this world to drown or hang themselves, more than their even Christian.” - V,1,27 [36]
Finally, as Jim so rightly observes, (may I paraphrase?) vanity, the curse of the idle rich, is estimated by Claudius to be the “ventage” that needs be closed to make Hamlet whistle the note he wants him to. And just as Hamlet accused R. of trying to do in III,2,378 - [37] , he is played into a mortal confrontation with all the “fallen” adversarial principles, save the late O., attending.
Now pretty obviously bereft of moral stature, the group falls together, having been fatefully bound for oblivion from the day that Claudius and Gertrude resorted to the crime of murder to remove King Hamlet from his throne. Whether that was a right or wrong thing to do depends upon what weight is given to Claudius’ diplomatic triumph over Fortinbras. Since war was not glorified, (Hamlet failed to do this - IV,4,25 [38] ), then a case may be made for crass ambition on Hamlet’s part as his guiding motive. (see [39] ) He’s no better than his uncle or mother, and quite a skillful murderer in his own right.- V,2,13 ([40] he changes the letter to be a death warrant for R.&G.) ([41] R.&G. are dead- V,2,380 ) Whether he was justified is a matter of debate.
