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The Madness of Hamlet

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Submitted By blakwing
Words 1427
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Oatley 1

Josh Oaltey
3/30/12
Elliott

Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily--how calmly I can tell you the whole story.
-Edgar Allen Poe; The Tell-Tale Heart

An Analysis of Hamlet's Unraveling

The madness of Hamlet is prevalent within each page of the beloved play. Stemming from his acute paranoia, distrust of others, and melancholy outlook, there is a great unraveling of his psyche as the play rolls on. He can be observed as a victim of Psychotic Depression with paranoid tendencies. In Hamlet, the key character is characterized by his suicidal tendencies, grandeur delusions, and highly conflicted personality, therefore he can be classified as depressive, paranoid, and psychotic (Zimbargo, et al 580). While Hamlet's initial sadness itself brings little alarm to the audience, his eventual distressed nature becomes an apparent issue:
O, that this too solid flesh would melt
Thaw and resolve itself into a dew!
Or that the Everlasting had not fix'd
His canon 'gainst self-slaughter! O God! God!
How weary, stale, flat and unprofitable,
Seem to me all the uses of this world!
(1.2.5)

Oatley 2 Initializing Hamlet's distressed nature and suicidal thoughts; Hamlet's spoken words brings the audience up to pace with his distress over his mother's marrying of his potentially murderous uncle. With this we pick up a certain instability in Hamlet's mental functioning and displays a rather melancholy and depressive vibe to his persona. From the beginning Hamlet is distressed and desires for his "flesh" to "melt" and become "dew". This anguish of this new development in his life is seen as a causal factor for his depression. Although one could easily dismiss this claim as dramatic anger, Hamlet's suicidal words conjure up a deeper and darker diagnosis. As "suicide claims one in 50 depression sufferers, persons on their way down in a depressive episode" are at a risk "for suicidal tendencies when compared to those in deeper forms of depression" (Zimbargo, et al 588). Thusly, we find Hamlet's suicidal needs are more than simply surface symptoms; rather, they are indicators of a depressed individual. As Hamlet's depressive psychosis persists we find him interacting with the ghost of his dead father:
[…] The spirit that I have seen
May be the devil: and the devil hath power
To assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,

Oatley 3
Abuses me to damn me
(2.2.58)
Here we find Hamlet's psychosis coming into play; "in severe cases...psychotic distortions of reality" (Zimbargo, et al 585), a disorder here found in Hamlet's conversing with the "ghost" of his deceased father. After the ghost tells Hamlet that Claudius has murdered his father, Hamlet begins to plan his next steps. Here, he warns his friends that he will put on an "antic disposition":
How strange or odd soe'er I bear myself,
As I perchance hereafter shall think meet
To put an antic disposition on
(1.5.58)
What does this antic detail entail? As it means "clown" or a performer who plays the role of a "grotesque" this translates Hamlet into pretending to be a madman. A further point in depressives "shifting their attention" and Hamlet following suit. Additionally, this delusional grandeur of his father's specter specifically mimics those under psychotic symptoms; "believing that they are witnessing actual manifestations, victims under psychosis especially those under depression-induced psychotics...are known for seeing families, and in some cases...deceased ones" (Zimbargo, et al 582). Oatley 4 After his already questionable interaction with the ghost, Hamlet now begins to contemplate murdering his Uncle and explains to his friends that he is going to put on an "antic" of insanity, hopefully placing his Uncle under false securities. This feigning of madness in conjunction with his stressors, need to murder, and severance with anyone trustworthy will soon bring Hamlet to psychosis. One that he even displays in front of his beloved paradise, Ophelia:
OPHELIA
My lord, as I was sewing in my closet,
Lord Hamlet, with his doublet all unbraced;
No hat upon his head; his stockings foul'd,
Ungarter'd, and down-gyved to his ancle;
Pale as his shirt; his knees knocking each other;
And with a look so piteous in purport
As if he had been loosed out of hell
To speak of horrors,—he comes before me.
LORD POLONIUS
Mad for thy love?
OPHELIA
My lord, I do not know;
But truly, I do fear it.
(2.1.1)
This calls into question Hamlet's lucid intentions, if they are present at all. While he is attempting to throw Polonius into a confused state and get him to stop spying, he is also acting psychotically in front of his love. "Little can be done to bring psychotics back from a delusion...friends and family rarely gain legitimate responses" (Zimbargo, et al 588). Hamlet's knowledge that Polonius has asked Ophelia to spy on him may be used as an argument, however Hamlet should have some form of trust in Ophelia.
Oatley 5 Contributing to his lacking trust, Hamlet may also be feeling rejected and unloved by Ophelia due to her non-writing. Lastly, Hamlet's paranoia is prevalent here as we see he gives her a complete absence of interaction and suspects her of working against him. This potentially displays Hamlet as one of ambiguous nature and brings an interesting light on his troubled mind. Another fascinating aspect of Hamlet's psychological downfall is seen through the moment he and his mother are in the same room with his father's ghost.
HAMLET
How is it with you, lady?
QUEEN GERTRUDE
Alas, how is't with you,
That you do bend your eye on vacancy
And with the incorporal air do hold discourse?
Forth at your eyes your spirits wildly peep;
And, as the sleeping soldiers in the alarm,
Your bedded hair, like life in excrements,
Starts up, and stands on end. O gentle son,
Upon the heat and flame of thy distemper
Sprinkle cool patience. Whereon do you look?
(3.4.18)

Oatley 6 The striking part of this passage is that Hamlet is the only one between the two of them whom can see the ghost. This moment brings in two schools of thought. The initial, simplistic idea that Hamlet's ghost simply elected to appear in front of Hamlet; while the other is that it is part of his broken mind. The second thought however makes the play far more complex that the other; if the ghost is a figment then each character who has viewed it previously is also a figment. With this idea we can break the play down into two groups of characters; those who see Hamlet's ghost such as Horatio, Bernardo, and Marcellus and those who do not like Claudius and Polonius. Oddly enough, these two groups of characters never interact with one-another until the final scene of the play. This would render Horatio and company as nonexistent to the others as is the ghost. Hamlet interacts with each of these characters and this leads one to find that the ghost and all the characters who also see the ghost are a fragments of Hamlet's mind. "Grandeur illusions are the pinnacle of psychotic minds...they create complex worlds we scarcely understand and....weave great systems" (Zimbargo, et al 585) thusly making Hamlet's world a falsity. So what does our dear hero of the play do to curb these depressive cycles and delusional visions? He takes the " major depression that lingers by his "shifting of attention to something else...by doing something physical in order
Oatley 7 to take their mind off their mood" (Zimbargo, et al 585). Murdering his father brings Hamlet to the only logical conclusion he can muster; persuading himself to kill his step-father as the ghost is Hamlet's way of persuading himself that it is right to kill his step father. Psychosis, for Hamlet, was brought on by depression over his father, social, political, and relationally isolated due to his paranoia, and his deeply depressed outlook. While his actions reflected those in need of control and reconciliation, his unwound mind simply gave him justification for murder.

Works Cited
"Hamlet." SparkNotes. SparkNotes. Web. 22 Mar. 2012. <http://www.sparknotes.com/shakespeare/hamlet/>.
Zimbardo, Philip G., Robert L. Johnson, and Vivian McCann. Psychology: Core Concepts. Boston: Pearson/Allyn and Bacon, 2009. Print.

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