Hamlet — Mentally Ill, Mad Or Acting

Hamlet — Mentally Ill, Mad Or Acting

Hamlet is one of Shakespeare’s most iconic plays to date. It rivals in popularity with his other notable works, such as A Midsummer Night’s Dream, Romeo and Juliet and Twelfth Night. The first performance of Hamlet occurred during July of 1602 and its popularity ever since has grown. Hamlet is a tragedy that depicts the life of a young prince of Denmark called Hamlet. The tragedy of Hamlet explores the concepts of madness, acting, emotional volatility, secrecy and deception. When Hamlet first learns of his father’s injustice, he adopts the fake guise of madness to try and pry open the door for revenge against his uncle Claudius, who married his mother Gertrude and killed his father Old Hamlet. Hamlet adopts this guise of insanity to aid in his plot for revenge; however, as the tragedy further progresses through its storyline, it becomes uncertain whether he is still acting, has become mad, or if there is a deeper underlying issue with Hamlet’s mental health.

Firstly, at the start of the play Hamlet is seen grieving for the loss of his father. Due to this, he falls into a melancholic depression which eventually consumes him like diseased black bile. This leads to him starting to feel the effects of his father’s death, which turns his state of mind suicidal as he proclaims that “O that this too, too sullied flesh would melt (act 1, scene 2)”. However, gradually, Hamlet learns of his father’s great injustice through a ghostlike figment of Old Hamlet, which tells the tale of how Hamlet’s uncle Claudius had poisoned him. This is the turning point for where Hamlet chooses to start the guise of his “antic disposition (act 1, scene 5)”. Hamlet does not commit to this due to his uncertainty as to whether the ghost is his father, or whether or not it is his imagination tricking him into believing the devil to create a narrative against Claudius. This is the first example of Hamlet truly acting mad. After the experience with the ghost of his father, Hamlet uses his “antic disposition (act 1, scene 5)” to create a way of distracting Claudius so he does not see Hamlet’s plot to kill him and to avenge his father. It is illustrated that Hamlet has contemplated the action of taking revenge as he can be observed pretending to act mad. This is evident as he has told Rosencrantz and Guildenstern that he has “lost all [his] mirth and forgone all custom of exercises (act 2, scene 2)”. This is further demonstrated as Hamlet tries to ensure that the figment isn’t the devil, simultaneously gathering adequate evidence in order to “have grounds/More relative than this (act 2, scene 2)” against Claudius. This marks the turning point from Hamlet acting mad to becoming truly mad.

Secondly, as Hamlet starts to descend into a further true madness it becomes a very hard topic for the audience to comprehend. This is reflected through the subject of suicide due to his melancholy, which, during those times, was considered a gateway into the world of madness. Due to the possibility of Hamlet truly being mad, it forces the audience to question his every move as either acting mad or being mad. Hamlet can be identified as being truly mad through his interactions with Ophelia and Gertrude. This is noticeable as Hamlet gradually displays increasingly misogynistic attitudes towards these characters, which can suggest that Hamlet is truly mad. These misogynistic behaviours towards Ophelia and Gertrude expose Hamlet’s untrustful side as he treats both of these females with suspicion and paranoia when they show him signs of affection. This suggests that Hamlet may truly be mad as he is not able to discern the difference between the truth and the lies when it comes to his environment. Alternatively, this could also be due to the environment Hamlet is in, therefore causing him to act in such a way that his “antic disposition (act 1, scene 5)” is not threatened. Another possible cause for Hamlet’s declining disposition could be actually due to him potentially having an underlying mental health issue.

Hamlet’s actions throughout the play incentivises the audience to come to the conclusion that Hamlet may suffer from a mental illness, showing possible symptoms of being either bipolar or manic. The Diagnostic and Statistical Manual for Mental Disorders (DSM-5) defines someone with bipolar disorder as possessing three possible characteristics; these being shifts in mood and activity levels, drastic changes from normal mood or behaviour and being disruptive to daily relationships and tasks. These shifts in how a person acts can be sorted into two categories, manic and depressive. When someone is in a manic state they have to show at least three of the following symptoms to be considered in that state. These symptoms can be inflated self-esteem, less of a need for sleep, excessive talking, racing thoughts, being easily distracted and an increase in activity, which can help with goals and gaining pleasure from potentially dangerous situations. Throughout the play, Hamlet can be observed displaying some of these behaviours. David Tennant’s product of Hamlet portrays Hamlet obtaining pleasure from potentially dangerous situations which are demonstrated during his interactions with Ophelia between act 3 scene 2 and act 3 scene 4 whereby Hamlet bites Ophelia in a sexually suggestive way. This not only demonstrates Hamlet’s characteristic of gaining pleasure from dangerous situations but also illustrates Ophelia’s discomfort, compromising their relationship. Another example can be observed in the same scene when Hamlet is observed jumping up and talking quickly whilst also participating in childish dances. This demonstrates a drastic change in his mood and activity as he has gone from soft and sombre, to loud, active and obnoxious. Hamlet’s interaction with Rosencrantz and Guildenstern also suggests Hamlet’s manic state as he gets distracted. This is evident as Hamlet says “O, the recorders! let me see one. (Act 3, Scene 2)”. The final characteristic which Hamlet shows in general manic depressive disorder can be observed when he is talking to Rosencrantz and Guildenstern and suddenly becomes suspicious and displays large amounts of agitation. This is demonstrated when Hamlet goes from general conversation to stating “‘Sblood, do you think I am easier to be played on than a pipe?” and that Rosencrantz and Guildenstern can “Call [him] what instrument [they] will…yet [they] cannot play upon [him]. (act 3, scene 2)”. Finally, Hamlet’s manic state can be depicted when hamlet walks in on Claudius praying and debates on killing. Hamlet at this point has a change of heart, which can be observed during his soliloquy;

“Now might I do it pat, now he is praying;

And now I’ll do’t. And so he goes to heaven;

And so am I revenged. That would be scann’d:

A villain kills my father; and for that,

I, his sole son, do this same villain send

To heaven.

O, this is hire and salary, not revenge.

He took my father grossly, full of bread;

With all his crimes broad blown, as flush as May;

And how his audit stands who knows save heaven?

But in our circumstance and course of thought,

’Tis heavy with him: and am I then revenged,

To take him in the purging of his soul,

When he is fit and season’d for his passage?

No!

Up, sword; and know thou a more horrid hent:

When he is drunk asleep, or in his rage,

Or in the incestuous pleasure of his bed;

At gaming, swearing, or about some act

That has no relish of salvation in’t;

Then trip him, that his heels may kick at heaven,

And that his soul may be as damn’d and black

As hell, whereto it goes. My mother stays:

This physic but prolongs thy sickly days” (act 3, scene 3).

This soliloquy displays his intent to kill his uncle, which shows his willingness to do an activity that will benefit him.

Hamlet not only exhibits manic behaviour, but can also be observed to display depressive characteristics common for bipolar disorder. These symptoms can be, a depressed or depressive mood, reduced interest in activities, significant weight gain or loss, daily hypersomnia or insomnia, psychomotor agitation or retardation, fatigue, feelings of worthlessness, easily distracted or indecisive and the constant thought of death or recurrent suicidal ideation. Hamlet’s depressive episode can be demonstrated when Claudius asks Hamlet “How is it that the clouds still hang on you? (act 1, scene 2)”. This questions why Hamlet is depressed and is the first example that depicts him in a depressive state. Furthermore, Hamlet’s diminished interest in his everyday activities can be seen when he exclaims to Rosencrantz and Guildenstern that he has “lost all [his] mirth (act 2, scene 2). This represents how Hamlet is in a depressive state due to him reflecting on life itself instead of engaging in regular conversation with people who are childhood friends. Hamlet can be observed to have changes in his sleeping patterns as he is observed to lay on the floor, pondering his sleep and questioning why it has changed. Additionally, Hamlet’s psychomotor agitation can be seen in an interaction with Ophelia in which David Tennant’s Hamlet performs numerous unnecessary hand actions as well as moving around with no real purpose. This amplifies the feeling of agitation in which Hamlet feels as well as providing a reason for why he performs obscure movements with his body. Finally, it is evident that Hamlet possesses extensive feelings of guilt for his father’s death although he had no control over it. This, therefore, suggests that due to the evidence, Hamlet could possess the possibility of being mentally ill prior to even adopting the guise of having an “antic disposition (act 1, scene 5)

The possibility of Hamlet being mentally ill can be linked to modern society in a very unique way as the support for people who are mentally ill in today’s society compared to that during Hamlet’s time, was very different. As we can see in the play, the support for Hamlet when he was being mad or mentally ill was for him to be exiled, and ordered to be murdered by Claudius’s letter to the English king. However, in today’s society, there is greater support for people who are mentally ill as there has been an increase and development of understanding regarding mental illnesses. Due to this, modern society is able to truly provide support to those who suffer from mental illnesses.

In conclusion, there is a blurred line when it comes to determining Hamlet’s true mental state. Due to the uncertainty of whether he is mentally ill, mad or acting, the audience will never be able to fully understand Hamlet nor his psychology when he is going through his trauma and his melancholic depression.