What is insanity? The general definition is “mental delusion or the eccentric behavior arising from it.” Emily Dickinson’s definition, in the given excerpt of the poem, embodies the idea of the matrix: the out of body sensation of reality vs. thought. William Shakespeare explores this question using Dickinson’s idea in his play, Hamlet, through the tragic hero acting with an “antic disposition” as a tool to take revenge for his father’s murder. However, by immersing himself in the act, Hamlet actually loses himself in “madness,” exemplified by his broken relationships and the bodies. Through this exploration of Hamlet’s descent into “madness,” Shakespeare compels the audience to question what defines “madness” and their perception of reality.
Hamlet questions reality and appearance, inaction and action and obsessing to the point of losing his sense of reason and losing himself to primal emotions. From donning an “antic disposition” to evaluating Claudius’ guilt, Hamlet destroys his relationships and kills trusted confidants, bring to life Shakespeare’s definition of madness: giving into emotions over listening to reason. Dickinson’s poem suggests that normalcy is defined by the majority and not necessarily by what is true. “Madness” and “sense” are the two opposites of the same coin and create the paradox that Hamlet questions.
Hamlet’s decision to feign insanity is a reasonable move because he is emotionally unstable and this fact helps him avoid suspicion in his revenge. His grief over his father’s death and sense of abandonment of the perceived betrayal of his mother cause him to seek out tangible truth, which comes to him like an answer to a prayer in form of the Ghost, who reveals the truth. The mystical being confirms Hamlet’s worst fears, and Hamlet cries “O my prophetic soul!” (I.v.40). This shows another instance of Hamlet’s divine sense as “prophetic” specifically contributes to idea of this character’s otherworldly ability to grasp the true essence of the universe. Tying into Dickinson’s definition of madness, God and the divine realm are believed during the Elizabethan era to be the highest power in which every soul is subjected to.
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Hamlet enacts his Hamlet first admits his façade when Rosencrantz and Guildenstern visit Elsinore not merely the crowned king, but the queen, who fears Hamlet is a “too much changed son” (I.i.36). Hamlet reveals his behavior is only an act for the royals. He says to Rosencrantz and Guildenstern, “my uncle-father and aunt-mother are deceived” (II.ii. 327-328). When asked how they are being tricked, Hamlet responds by saying, “I am but mad north-north west…” (II.ii.330). This quote references hunting and specifically the hunter’s eye and perception.
It is understood “that birds generally fly with the wind, and, when the wind is northerly, the sun dazzles the hunter’s eye, and he is scarcely able to distinguish one bird from another,” likening Hamlet as a hunter, who has a “discerning Eye.” Thus, the protagonist is able to differentiate his enemies from friends (Mertins). While Hamlet acts “mad” as a diversion for others to focus on while he carries out his plan and accomplishes his intended goal, it also sows the start of discord between the young prince and his friends.
Likewise, this dynamic is demonstrated after his “To be or not to be” soliloquy between Hamlet and Ophelia when he behaves impertinently, denying his love letters she presents him. He continuously acts irrationally, confusing Ophelia and asking her if she is “honest” and “fair” (III.i.105-107). He acts doggedly paranoid and rude to the love of his life before asking “Where’s [her] father?” is (III.i.122). Hamlet acts with an “antic disposition” which was unnecessary until this question, which reveals Ophelia’s deceit, causing her to lose Hamlet’s trust.
Ophelia, albeit following her father’s orders in scheming against Hamlet, acts reasonably as a gentlewoman of the Elizabethan era: soft, beautiful, and compliant to the patriarchal system. This interaction illustrates a moment of Hamlet’s true descent into madness, his accomplishment in disguising his revenge and the disintegration of one of his most valued relationships. Another example of the detioration of his realtionship with an important person is with his mother… On one hand, though there is evidence that Hamlet is sane and only feigning his “madness,” it becomes clear he is not due to his broken relationships with friends, love and family.
Polonius’ death serves as the pivotal point from which Hamlet acts mad to truly becoming mad. When Gertrude chastises Hamlet for “father is much offended,” he responds with nearly the same phrase but refers to the late Hamlet. An altercation breaks out and Gertrude fears for her safety, calling out, “Thou wilt not murder me? / Help, help, ho!” and kills Polonius, believing him to be Claudius (III.iv.21-21). This moment reveals the transformative change of Hamlet’s disposition of being so incredibly hesitant and cautious in taking action to thoughtlessly acting on emotion.
It is further shown when his mother asks what he has done. Not even sure if he eliminated his target, he replies, “Nay, I know not: / Is it the king?” (III.iv.24). The careful steps to determine Claudius’ guilt with the play, to avoid suspicion even at the cost of his social relations, and to protect his lineage’s legacy all come to nothing with this thoughtless murder. Yet, he did finally act.
Polonius’ death is but the first of many, which all contribute to the meaning of senseless death. It creates the domino effect of tragedy, starting with Ophelia descent into madness and eventually death. In the final act of vengeance, Hamlet, Laertes, Claudius, and Gertrude all meet death. Despite all the schemes, lies, deception and noble intentions, each of these players face an end that they did not anticipate nor desire for.
Hamlet’s final act is the murder of Claudius and the ultimate form of retribution, justified in the constructs of religion and noble pride. Though Hamlet refused to kill Claudius praying in the chapel, it serves as a weak excuse for inaction because “He took [Hamlet’s] father grossly, full of bread, /With all his crimes broad blown, as flush as May,” (III.iii.82-84). The fact that Claudius robbed the late Hamlet’s chance of cleansing his sins translates into him being unable to pass onto Heaven as easily due to the numerous sins the late Hamlet must pay for should anger the prince even more. Instead, the prince merely backs away.
Even Laertes, on the brink of death, says that the king is “justly serv’d” (V.ii.291). Therefore, his actions are justifiable, because he wishes to fulfill his father’s wishes by eliminating an unworthy person of the throne. He is also, arguably, in a state of true insanity, brought about by spending far too much time pretending to be mentally ill. The gruesome scene that Fortinbras ends up discovering was brought about by vengeance – first Hamlet’s, and then Claudius’ and Laertes’. Their madness encompassed them, overtook them, and eventually, killed them.
Indeed, using the inferred definition of madness being giving into the temptation of emotions over listening to reasoning, Hamlet does descend into “madness.” However, elaborating on Shakespeare’s definition with Dickinson’s, madness is generally defined as the odd minority of people who do not conform to the majority’s standards. In fact, there is no confirmation for what anyone believes as real, reasonable or truthful. Hamlet observes the continuously senseless cycle of existence, exchanging life and death, and trying to understand the intangible divinity of the power power only makes everything less integrated and true.
Hence, his realization that it is the ignorance that the world is founded on fundamental inconsistencies such as enduring the “whips and scorns of time” and “pangs of despised for no concrete benefit that allows people to act and to live. Hence, his recognition that “conscience does make cowards of us all” renders him unable to act due to fear and existential questioning.
Hamlet’s “antic disposition” may have started out as simple deception, but it proved to be much deadlier. Fueled by his desire to avenge his father, Hamlet committed impulsive and deceptive acts that not only ruined the only stable relationships he had, but led to multiple deaths – including his own. Hamlet’s transition from feigned to real madness puts forth the idea that when one truly understands the enormity of life, the knowledge cripples and renders the knower as being unable to differentiate jubilation from pain, happiness and sadness, and life from death. Perhaps to be insane is a form of “madness that requires “Sense.”
Works Cited
- Mertins, Emma. Shakespeare Examinations. Ed. William Taylor Thom, M. A. Boston: Ginn and Co., 1888. Shakespeare Online. 10 Aug. 2010
