Hamlet
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At any given moment during the play, the most accurate assessment of Hamlets state of mind probably lies somewhere between sanity and insanity. Hamlet certainly displays a high degree of mania and instability throughout much of the play, but his “madness” is perhaps too purposeful and pointed for us to conclude that he actually loses his mind. His language is erratic and wild, but beneath his mad-sounding words often lie acute observations that show the sane mind working bitterly beneath the surface. Most likely, Hamlets decision to feign madness is a sane one, taken to confuse his enemies and hide his intentions.
On the other hand, Hamlet finds himself in a unique and traumatic situation, one which calls into question the basic truths and ideals of his life. He can no longer believe in religion, which has failed his father and doomed him to life amid miserable experience. He can no longer trust society, which is full of hypocrisy and violence, nor love, which has been poisoned by his mothers betrayal of his fathers memory. And, finally, he cannot turn to philosophy, which cannot explain ghosts or answer his moral questions and lead him to action.
With this much discord in his mind, and already under the extraordinary pressure of grief from his fathers death, his mothers marriage, and the responsibility bequeathed to him by the ghost, Hamlet is understandably distraught. He may not be mad, but he likely is close to the edge of sanity during many of the most intense moments in the play, such as during the performance of the play-within-a-play (III.ii), his confrontation with Ophelia (III.i), and his long confrontation with his mother (III.iv).