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Hamlet's Dilemma

Summary:   In Shakespeare's Hamlet, the protagonist, Hamlet, possesses a tragic flaw of being over-emotional and taking little or no action. When the play opens, Hamlet appears very frank in his actions and mental state. However, in the following act, Hamlet's character and intentions change suddenly, and become caught up in perplexity. Hamlet's many contradictions and inconsistencies also come through during the play.

William Shakespeare is arguably the most influential and world-renowned playwright in history. He is attributed with the writing of a total of 34 plays, which comprise of comedies, histories, and tragedies. His tragedies, which are frequently studied, follow one particular format: the protagonist, referred to as the tragic hero, is confronted by choices. The tragic hero must resolve them in one manner or another. Once he has taken the decision, a train of events sets off, which he cannot alter. His tragic flaw will lead to his utter downfall and death. The protagonist is named the tragic hero due to the fact that he possesses this tragic flaw. In Shakespeare's play Hamlet, the protagonist exhibits a deceitful and perplexing nature due to the internal dilemmas he faces. Consequently, he displays several inconsistencies throughout the play and every decision seems to be a struggle. Every decision is contemplated and pondered; nothing is easy for Hamlet. His dilemma is not concerning what decisions he should take but rather if he is able to make a decision at all. It is this inner dilemma and inability to act that proves to be Hamlet's tragic flaw in the play. Some interpretations find that Hamlet is merely an uncontrollable talker who takes pleasures in hearing himself speak1. Jean-Louis Barrault called Hamlet 'the hero of unparalleled hesitation'1. Despite his beautiful soliloquies and intense emotions, Hamlet cannot go beyond words and thoughts, and he remains an inactive and indecisive individual throughout the entire play.

When the play opens, Hamlet appears very frank in his actions and mental state. When questioned by his mother, Queen Gertrude, about his depressed appearance, he answers, "Seems madam? Nay it is. I know not 'seems'." (I, ii, 78). Later in the first act, Hamlet encounters a ghost of his father's spirit, and after learning of his father's murder by his uncle Claudius, Hamlet dedicates himself fully to avenge his father's murder. At this point, the play makes a shift, and Hamlet terminates his role as a student and mourning son. "I'll wipe away all trivial fond records, All saws of books, all forms, all pressures past, That youth and observation copied there, And thy commandment all alone shall live Within the book and volume of my brain," (I, v, 104-107). Hamlet's character is easy to understand here. He is saying that avenging his father's death has become his sole commitment. As his quote in earlier in Scene 2 indicated, Hamlet is only what he appears to be, not concealing any emotions or intentions.

However, in the following act, Hamlet's character and intentions change suddenly, and become caught up in perplexity. It seems as the words of his father's spirit have been swiftly placed aside, and he has lost almost all conviction. Hamlet spends the majority of the act using an approach that accomplishes little but squanders a great deal of time. Hamlet's actions in the entire act consist of exhibiting madness and making inconsequential conversation with Polonius, Rosencrantz and Guildenstern, and the players. Hamlet even admits to Rosencrantz and Guildenstern that he is merely simulating madness, "I am but mad north-north-west. When the wind is southerly I know a hawk from a handsaw." (II, ii, 390-391). Such a palpable statement implies Hamlet's comfort with the role he is playing. It seems as if he has completely lost motivation and the driving force to undertake what he set out to do in Act 1. Hamlet's only mention of vengeance comes at the end of the act, prompted by a speech given from one of the visiting players. In his soliloquy in the very same scene, Hamlet exclaims, "What's Hecuba to him, or he to Hecuba, That he should weep for her? What would he do Had he the motive and the cue for passion That I have"" (II, ii, 570-574). Hamlet is praising the player for his incomparable ability to act, and saying that he would surely have killed Claudius by this point in time had he been this type of actor. Throughout the entire soliloquy, Hamlet's indecisiveness and inability to come to a conclusion is revealed. First, he declares that he should have killed Claudius already: "I should have fatted all the region kites With this slave's offal." (II, ii, 591-592). But even after expressing support for the value of acting and words, Hamlet retracts his statement and cannot decide what the best course for action is. Finally, Hamlet concludes that he has not yet enough proof of King Claudius' guilt because the spirit he had seen "May be the devil, and the devil hath power To assume a pleasing shape." (II, ii, 611-612). Hamlet concludes that the best way to ensure King Claudius' guilt is to put on a play and observe the King's reaction. "The play's the thing, Wherein I'll catch the conscience of the King." (II, ii, 616-617).

Hamlet's many contradictions and inconsistencies also come through during the play. Before his "Mouse Trap" is ready to be played, Hamlet runs into his former love Ophelia and this confrontation reveals a great deal about his character. While Hamlet is in the process of berating Ophelia, he speaks about her beauty, saying, "That if you be honest and fair, your honesty should admit no discourse to your beauty." (III, i, 117-118). Hamlet here says that since honesty is a mental quality and fairness a physical quality, the two are not related. Furthermore, he goes on to say "Ay, truly, for the power of beauty will sooner transform honesty from what it is to a bawd than the force of honesty can translate beauty into his likeness." (III, I, 121-123). Hamlet says here how a person's exterior will transform one's inner self to match his exterior, rather than the exterior transforming to match the person's inner self. He states this after just recently denying that words and acting are important. Then, he contradicts himself, yet again, when he says "God hath given you one face, and you go make yourselves another"(III, I, 155-156). Hamlet had just exclaimed that appearance is all and now chastises women for changing it. He continues to shift back and forth from supporting acting to denouncing it.

This conflicting action continues to present itself throughout the remainder of the play. Just before the play, Hamlet is advising the player on how his lines should be read: 'Suit the action to the word, the word to the action" (III, ii, 18-19). This is an example of dramatic irony, because if Hamlet were to follow his own advice, the conflict would cease to exist. Hamlet is saying that one should not distinguish between word and actions, but he does maintain this separation. Yet, when Hamlet speaks with Horatio, he praises him for being objective, level-headed, and for having a consistent character. Hamlet is praising Horatio for being true to himself, and not being an actor. "Give me that man That is not passion's slave, and I will wear him In my heart's core, ay, in my heart of heart, As I do thee." (III, ii, 72-75). Hamlet says this to Horatio because he wants him to watch King Claudius at the play. He is unsure of his uncle's guilt, and hearing proof from someone honest would reinforce or disagree with his view. This scene reinforces the concept of acting and vengeance. Hamlet says to Horatio, "Observe mine uncle. If his occulted guilt Do not itself unkennel in one speech, It is a dammed ghost we have seen," (III, ii, 81-83). What is interesting is that his uncle will be judged by how he acts during the play. If the King succeeds in hiding his guilt, he will most likely not be killed. However, the King is not a good actor and when he rises Hamlet responds with, "What, frighted with false fire""(III, ii, 262). It's as if Hamlet is saying 'it's only a play, it is not real'. He does say something to this effect a few lines earlier: "Your majesty, and we that have free souls, it touches us not"(III, ii, 238-239). This new proof drives Hamlet to use more words. He again talks of killing, and he mentions at the end of the scene: "Now I could drink hot blood" (III, ii, 383). Hamlet is thinking about killing and establishing justice as he was thinking earlier. However, it is still to be seen whether Hamlet will put these words into action and finally triumph over his dilemma.

In Act III, Scene 3, Hamlet again talks himself out of character and does not kill the King. Instead of killing him in the church and sending him to heaven, Hamlet delays and intends to do the deed when King Claudius " is drunk asleep, or in his rage, At gaming, swearing, or about some act That has no relish of salvation in it, Then trip him, that his heels may kick at heaven, And that his soul may be dammed and black" (3.3.89-94). Hamlet's action is halted whenever the situation is not perfect, and once again Hamlet's tendency to think but not to act prevents him from overcoming his dilemma.

After Hamlet retracts from killing Claudius, he goes to visit his mother, Queen Gertrude. He comes to voice his gross distaste for her, not only for marrying his uncle, but also for not being true to herself: "O shame, where is thy blush"" (III, iv, 90) Hamlet believes that his mother should accept liability for her sins, but she refuses to do so. Hamlet is contradicting himself in this. He has been duplicitous and untrue for two thirds of the play. At this point, he is still not sure as how he is to proceed. Hamlet is caught in the middle of acting and objectivity.

Because King Claudius fears Hamlet, he sends him to England to ensure his own safety and to dispose of Hamlet. On his journey with Rosencrantz and Guildenstern, Hamlet takes note of Fortinbras' army in a plain in Denmark and once again reminds himself of his duty to his father. "The imminent death of twenty thousand men That, for fantasy and a trick of fame, Go to their graves like beds, fight for a plot Whereon the numbers cannot try the cause, Which is not tomb enough and continent To hide the slain"" (IV, iv, 62-67) Hamlet here realizes how cowardly he has acted to avenge his father's death, because he sees twenty thousand men go and fight for an insignificant piece of land. Hamlet becomes conscious here that he has a role, and he must do strictly what his role dictates.

When Hamlet returns to Denmark, he does not falter in his conviction, and he fully embraces the act. Upon confronting Laertes at Ophelia's funeral, he proclaims "This is I, Hamlet the Dane." (V, i, 265-266). Hamlet is claiming his right to the throne. Although this comes at a late time, it is the appropriate action for someone as wronged as he, and it is the first time in the play since Act 1 where Hamlet has revealed his inner true self.

Having been challenged to a duel by Laertes, Hamlet reveals his true nature in the second scene in Act V. Hamlet cannot refuse to duel because he is a person of nobility and must defend his honour. In this scene, Hamlet overcomes his dilemma. He accepts his role, and therefore is prompted to kill Claudius without the slightest thought. In the end, Hamlet avenged his father's death and accomplished what he set out to do. However, due to fate and his tragic flaw, Hamlet was unable to avoid death.

In Shakespeare's Hamlet, the protagonist, Hamlet, possesses a tragic flaw of being over-emotional and taking little or no action, regarded by T.S. Eliot as a character 'dominated by an emotion which is inexpressible because it exceeds the events that occur'1. Hamlet's dilemma raises an issue that is often contemplated in society even today. A truly tragic situation is one in which man's moral nature is faced with an unavoidable, immoral choice, and in which the essential immorality is condoned by society, in this particular case, In Hamlet, Shakespeare has heightened the situation by making the choice one which involves life and death. Whether or not to kill a man is the supreme moral question--far more real, more immediate, than any philosophical or theological speculation. His agonizing struggle to resist society's demands that he kill Claudius is thus the paradigm of the lesser moral decisions which every man is forced to take from time to time.