Textuality » 4A Interacting
Read
Hamlet, act III - ANALYSIS
Hamlet describes his father and Claudius to Gertrude and he criticizes her for she has married Claudius.
The two brother's description is full of figures of speech; as for Hamlet's father, he is characterized through some categories: physical appearance, qualities, military skills and reputation.
The first piece of information concerns his face, full of grace: during the Renaissance something grace was characterized by balance; since face expresses intimate thoughts, emotions, qualities.., Hamlet's father keeps an equilibrium in himself. In addition his grace is permanent and solid (was seated).
He is also compared to some Gods, in order to give the character a divine nature, with whom he distinguishes among other people; as a matter of fact at verse 12 Shakespeare creates an opposition between the world and a man. The character is associated to Hyperion and Jove, who are rulers, to Mars, the god of war, to Mercury, the god who takes messages; as a result he appears like a determined man, whose skills have made him an important authority, a general and a official with high functions.
His element in common with Jove(underlined by himself) is front, a symbol for rational attitude. Besides he has got an eye like Mars, that is to say he is very skilful in observing and judging situations; moreover a glance communicates orders or wishes: as a matter of fact he is skillful in treating and commanding.
Hamlet speaks also about his way of walking, similar to Mercury's one; Mercury is a herald who runs a lot to take messages: the simile expresses Hamlet's father's quickness and effectiveness.
At line 10 the exclamation represents a sot of conclusion; as a matter of fact the words combination and form refer to a group of elements observed all together: the character's interior and exterior components stay in a gracious and balanced combination. Actually there aren't adjectives in the line but only the adverb indeed: however it conveys a very good meaning thanks to the previous lines.
The succeeding category concerns his reputation: his qualities are so famous and positive that even gods put their seal on him; to put the seal means to give very relevant trust: as a result the reader understands the character's greatness, approved by gods and by the world.
The first description ends with the expression this was your husband: up to it, the character is unknown and it contributes to increase his exceptionality.
Instead his uncle's presentation precedes his description: the change conveys the difference between the two brothers; also look you now, what follow increases the sense of worsening.
The parallel disposition of this was your husband and here is your husband put the temporal change (wasà is) into evidence: past situation was better than the present one.
The only category used to characterize Claudius concerns his qualities and no piece of information is given about his role, functions, social position, probably because Hamlet doesn't appreciate them; the only aspect he considers is Claudius' bad moral qualities, expressed through similes and metaphors.
He is like a mildew'd ear blasting his wholesome brother; the image conveyed is that of a ground's fruit (an ear) that is spoilt in an irreversible way and whose defect spreads, damaging other ears. Readers realize the character is so evil that he makes other people suffer; as a matter of fact Hamlet knows Claudius has poisoned his brother.
Hamlet's anger moves from Claudius to Gertrude, who has chosen him after her first husband's death; his feeling is expressed through rhetorical questions have you eyes?( x2), accompanied by the exclamation ha! whose function is to scold Gertrude: she sure has got eyes, but she doesn't use them appropriately and she doesn't distinguish good and bad choices.
Hamlet wants her mother to understands she has lost a great man and chosen a worse husband; he exploits a metaphor whose vivid image may contribute to convince her: her first husband was a mountain, strong, determined and a head, Claudius is a moor, a barren land, without something pleasant. When Gertrude lived on the mountain she fed, now she batten on the moor: after the change she has lost the measure, that is she has lost her rational attitude. As a matter of fact Hamlet conveys the same concept also in some succeeding lines : he quotes madness, ecstasy in order to emphasise Gertrude's inability to judge.
Moreover Hamlet thinks of the possible reason why she has married Claudius: love; but he doesn't want to believe it because his mother is too old to feel passions. Also in this case he directly refers to Gertrude (you cannot) without saying "it isn't love": he wants her to understand her fault, her mistake; he provides an explanation: the hey-day is tame ( with an assonance that underlines the concept), it is humble, a repetition in order to persuade Gertrude.
Her feelings should be led by judgement; the repetition wants to fix the concept in the woman's mind; the rhetorical question (what judgement...?) is a sort of criticism for Gertrude's way of thinking.
After that he goes back to feelings (sense, sure you have): Hamlet doesn't doubt she feels emotions, but he also doesn't doubt (sure, that sense) her feelings are blocked.
They aren't led by madness, because they would preserve some judgement to note brothers' differences (such a difference); the consonance-assonance reserved-served connects the two concepts in a strong way.
Hamlet's certainty about his mother's feelings derives from his certainty about Claudius' evil.
The bad presence is considered also speaking about Gertrude (what devil) in order to express Claudius' big negativity; the devil has taken the judgement and the sight far from the mother and as a result she can't consider situations rightly: this is the reason why Hamlet often refers to the sense of sight and to intelligence.
The succeeding lines repeats that normal senses would never choose a man like Claudius; the last sequence is a strict reproach for Gertrude, substained by the previous reasoning.
The second exchange by Hamlet is disgusting, because he refers to sexual activity between Gertrude and Claudius: he probably thinks that his mother is attracted only sexually by his uncle.
Finally he provides another more direct description of Claudius; it is a list of names without a principal verb: as a result readers are more concentrate on the character's qualities.
This exchange is like an explosion in which Hamlet unveils all he knows about Claudius; the last piece of information (a king of shreds and patches) means that he isn't strong, he isn't suitable to be a king and his position wasn't made up totally in a correct way.
Gertrude's reactions unveil remorse, shame, fear and sadness: she is hurt by Hamlet's words (like daggers) and orders him not to speak more; she seems not to want to face the truth (my very soul), because she probably fears of recognizing her mistakes.