“Mad as the sea and wind” or just “mad in craft”, this is the question. William Shakespeare is renowned for his unrivalled poetic genius and his uncanny psychological insight into human nature. This insight included madness, for within the pages of his most famous plays we find remarkable delineations of insanity. These portrayals are from his observations and engagement with patients in a mental asylum opposite his house on Muggleton Street.
The controversial debate of Shakespeare’s masterpiece Hamlet lies in the mere fact that unlike in his other works Shakespeare never concludes whether Hamlet is insane or feigning madness. Doctors, literary critics and academics alike have disagreed on a conclusion to this argument since the play was written in approximately 1600. As such with such a complicated question and Shakespeare immense knowledge of insanity, remarkable in accuracy it is no wonder that in a play where, Hamlet’s mental suffering is at the heart that the mooted question of Hamlet’s sanity has been debated for over 400 years.
Simon Blackmore was a literary educator and author of the Riddles of Shakespeare, published in 1917. Within his book he discusses at length his opinion on the feigned madness of Hamlet. It is Blackmore’s belief, that for the plot and story development Hamlet must appear mad but, through flashlights every now and then Shakespeare shows the audience the truth. Blackmore like Cardinal Wiseman, argues that not only does Hamlet have reason to act that way but he must appear authentically mad or his purpose would be undone.
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This is evident in his consistency of action after he states in (A1S5) he will put on an “antic disposition”. For before this scene there is no whisper of Hamlet’s madness and so thus the perfect impersonation of madness is created by actions subsequent to warning his friends. Furthermore, other characters with whom he set out to deceive doubt his madness, Claudius for one confesses “And I do doubt the hatch” (A3S1). As is the case with Ophelia, if Hamlet was really mad there would have been no doubt. However, the most influential evidence comes through Horatio’s belief in his sanity; for he never questions Hamlet. An opinion echoed by Hamlet himself who believes he is only “mad in craft”.
Throughout his book, Blackmore comments on how Hamlet’s retains his intelligence and logic with an ability to change demeanour to suit his environment. With Hamlet’s madness only manifesting when confronted with an enemy. For upon the suspicious return of Hamlet’s friends Rosencrantz and Guildenstern to Denmark in (A252) Hamlet employs illogical language as expected from a madman to derive their purpose. Remarking “When he (Claudius) needs what you have gleaned, it is but squeezing you”.
Hamlet’s language is used as a form of hidden subterfuge and manipulation with his ‘assumed madness’ serving a dual purpose. It allows him to cleverly avoid giving a direct answer to his friend’s questions, while through his puns getting from them the information he requires to confirm their guilt. However, it is his soliloquies where we can find confirmation. For while they’re of a melancholy nature, the soliloquies show deep and logical contemplation of life. For example his use of antithesis in “to be or not to be”, where there was ample opportunity to expose Hamlet.
The sanity of Hamlet often comes into question when examining his outbursts of rage or passion. A.C Bradley a literary critic for who published the proclaimed Shakespearean Tragedy (1929) provides support for Blackmore’s argument by attributing Hamlets irrational behaviour to having melancholy disposition. For the Elizabethans madness was believed to be an imbalance of the humours; for Hamlet this is depression. Placed under overwhelming strain from the betrayal of his family, friends and lover it is no surprise that in fits of rage or sadness, Hamlet becomes irrational or irresponsible.
Blackmore maintains in (A351) Hamlet still loved Ophelia but he knows she has been dutiful to her father and that he must stop himself from submitting to her magic. As such he attacks her with short, sharp questions “Are you honest”. Language that lacks form, for prose gives voice to his authenticated madness. He showers her with the rage he feels toward the state of his world. The actions that Hamlet performs mirror the patterns of a manic depressive.”(Manic Hamlet). Therefore from these to critic’s points of views Hamlet’s thoughts, language and actions bear no resemblance to unsoundness of intellect.
Dr O.A Kellogg and Dr Ray members of the State Lunatic Asylum, Utica New York maintains from their knowledge Hamlet is indeed insane. Kellogg author of Shakespeare’s Delineations of Insanity, Imbecility, and Suicide (1971) stating “In the life of Hamlet it was not a case of mania- nor general insanity but a case of melancholy madness- in which the reason was only occasionally overpowered”. He believes that for the untrained eye the evidence of the premonitory symptoms of the disease are ignored. For the doctors the turning point in the development of the disease comes when Hamlet meets the ghost in (A1S4).
Hamlet acting against the warning of his friends, that following the ghost may “draw you into madness” goes without fear or thought of the consequences. In Elizabethan England the return of the king’s ghost was a bad omen yet Hamlet completely ignores this. Furthermore, Kellogg notes Hamlet first words when he returns hint his sanity has stretched to the limit so that he now enters the disposition were the working of the disease are apparent. For instead of walking towards his friends in shock of what he has just learned, he swears them to secrecy and offers them a parting hand saying “I’ll go pray”. Something for which the doctor’s conclusion betrays “the excitement of delirium, the wandering of the mind reeling under the first stroke of the disease” (Kellogg).
In regards to language, Dr Ray states that melancholy madness is a disease “under which the mind only occasionally suffers while the feelings are greatly disordered”. In (A251), when Ophelia enters his mind it is been made reel but is not overthrown, as such he rushes towards her regardless of his attire. But Hamlet is able to still read her intent and his emotions take over as he grasps her wrists and looks widely into her face. This conduct sees Hamlet speaks rationally yet sometimes with “wild and whirling words” and obscurely for he has harrowing up the feelings of betrayal.
As such his anger and mockery of Ophelia in (A3S1) with his statement “get thee to a nunnery” is in perfect keeping with his disease’s development. The doctors stating “nothing is more natural for the insane to fix upon an individual whom they have received some injury”. They further go on to explain that on the other hand Hamlet under no exertion of the mind can remain calm. Strangers often surprised Ray notes by the rational conversation and gentle manner of the insane. For Hamlet in (A3S2) can instruct the players “speak the speech I pray you”.
While Blackmore in his work maintains it is unusual for the insane to pled sanity, the doctor’s remark quite the contrary stating they have patient’s shouting daily that they are feigning madness. As for the test of sanity he offers up to his mother, it while common, is worthless in proving him sane. Kellogg raising the question why would someone who is feigning madness, try and make other believe he is not mad. For them Hamlet’s madness is an essential element upon which Shakespeare has crafted the dramatic and complex plot.
Shakespeare leaves us today as he did his audiences all these years ago, still debating the question of Hamlet’s sanity. Men such as Blackmore, Bradley and the doctors Kellogg and Ray have come to their own conclusion. For me it is a belief in light of Blackmore’s evidence in Hamlet feigned madness, though I don’t deny that at times Hamlet may come close to slipping into madness but you must make up their own mind. For Shakespeare’s brilliance is in his ability to create characters in which we connect and find a bit of ourselves. This influenced by our context, knowledge and personal interaction with Hamlet allows us to form an opinion. So “Mad as the sea and wind” or just “mad in craft”, this is the question for which we shall never know, Shakespeare’s answer. This was most likely deliberate as it is what makes the play so intriguing, proof as today 400 years later we are still debating the question.
