To Scheme or Not to Scheme: Hamlet as a "Trickster"

      In a manner fitting the themes of uncertainty throughout “Hamlet”, we can never be sure whether or not Hamlet is being genuine or is putting on an act to trick other characters. However considering Hamlets clever and perceptive nature it seems odd to consider him letting his guard down where he could be heard and observed by Claudius. Hamlet was immediately aware that Rosencrantz and Guildenstern were sent by his parents to observe him, meaning he is aware of his parent’s actions and suspicious of them. Assuming Hamlet was unaware of Claudius’s presence is an underestimation of Hamlet. Because Hamlet was likely conscious of Claudius’s presence I think the “To be or not to be” speech was directed at Claudius and not true to Hamlet’s own thoughts and feelings.

      The assertion that Hamlet was aware of Claudius’s presence has definite implications to the soliloquy and by extension, the rest of the play. The most obvious change is that Hamlet is not viewed as actually suicidal, he simply recognised that faking suicidal tendencies would convince others that he is mad. The idea that Hamlet was not truly suicidal is supported by the tone of this soliloquy, which is relatively calm and consistent. This can be contrasted with his soliloquy in act 2, scene 2. Hamlet’s earlier soliloquy, when he really is alone, is punctuated with angry ejaculations such as “Ha!” (II.ii.562) and “A scullion! Fie Upon’t! Foh!” (II.ii.574). Because these expressions break up the iambic pentameter of the act 2 soliloquy it seems more natural and emotional than the “To be or not to be” soliloquy which is written in verse. Due to the impersonal and unemotional way Hamlet speaks of suicide it is hard to believe he is actually considering it. 

      If we have established that Hamlet is not simply talking to himself in the “To be or not to be” soliloquy, who is this speech directed at? Most likely at Claudius, a figure who likely inspired any genuine feelings of depression Hamlet would have. This speech works well as a message to Claudius because Hamlet does not use personal pronouns, speaking instead in generalities. Hamlet makes no reference to his specific situation either, using examples of injustices most people face such as “The oppressor’s wrong, the proud man’s contumely,/The pangs of despised love, the law’s delay,” (III.i.71-72). A possible motivation for this could be to demoralise Claudius by reminding him of the difficulties in his own life. By suggesting that it is only fear of the afterlife that prevents people from death Hamlet could cause Claudius to second guess himself and slip up. In addition, because Claudius has sinned so greatly that he will likely be punished in the afterlife regardless of how he died, Hamlet could be trying to introduce the idea of suicide to his uncle. Because Claudius would know some form of punishment awaited him in the afterlife, the barrier of the unknown suggested by Hamlet does not apply to him and he could commit suicide as he would be condemned either way. This subtle discouragement is not outside Hamlet’s capabilities, as we have already seen him weave a complex web of misconceptions between the other characters. Even if Hamlet did not succeed in discouraging his uncle, this speech gave evidence to convince Claudius of Hamlet’s madness.

      The elements of calmness and impersonality already discussed create a mood of artificiality surrounding this soliloquy. Hamlet’s lofty language could be compared to that of the players in act 3 scene 2, linking the two scenes and underscoring a common theme of acting in the play. We know that Hamlet has acting skill because he was able to fake madness and alter his behaviour around different characters. We are also aware of Hamlet’s love for the theatre as Rosencrantz says to Hamlet “those you were wont to take such delight in, the/tragedians of the city” (II.ii.321-322). These factors mean he may be willing to stage a dramatic scene in order to fool other players. This theatrical element also fits with the emotionally charged and exaggerated terms used by Hamlet in his soliloquy. Phrases like “The slings and arrows of outrageous fortune” (III.i.68), “shuffled off this mortal coil,” (III.i.67) and “the whips and scorns of time,” (III.i.70) seem more suited to a stage than to personal ramblings. Altogether the mood of the soliloquy is more formal than genuinely emotive.

      Because of Hamlet’s trickery, theatrical nature and the tone of the speech itself it is easy to argue that the “To be or not to be” soliloquy is an act put on by Hamlet to fool Claudius. This interpretation proves Hamlet to be a cunning character instead of a mopey prince, meaning this interpretation fits better with the trickster archetype. Though the ambiguity of the play prevents us from determining a certain meaning, the assumption that Hamlet knows he is being watched seems to fit better with his character.

Comment RE Jessie Chung’s post:

      I think it’s interesting to note that with our opposite interpretations of the soliloquy we came to opposite conclusions about Hamlet’s character, with myself seeing Hamlet as a trickster and Jessie seeing him as a thinker. This illustrates the importance of the soliloquy, as a different interpretation of Hamlet’s character can change the entire meaning of the play. While I consider the idea that Hamlet was lost in thought would make the speech more interesting and emotional, I have trouble believing that Hamlet would lower his guard enough to become lost in thought. As Hamlet is typically surrounded by people who will report his behaviour to Claudius I feel that Hamlet would have to be constantly putting on an act and would be too wrapped up in his own plans to get introspective. As well, while the line “Where’s your/ father?” (III.i.130-131) could indicate that Hamlet was unaware of Polonius observing them it could also be a tactic by Hamlet to put Claudius and Polonius off their guard and make sure they thought he was speaking genuinely. The ambiguity of the situation allows for many interpretations.