Why Does Hamlet Hesitate to Kill Claudius?

Why does Hamlet hesitate to kill Claudius?

There are a few different ways to answer this question. I assume that most of the time people ask it, they’re referring to III.3 when he catches Claudius at prayer:

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 reveng’d. That would be scann’d.
A villain kills my father; and for that,
I, his sole son, do this same villain send
To heaven.
Why, this is hire and salary, not revenge! [citation]

So the short and easy answer is Hamlet tells us – by killing Claudius at prayer, his soul is clean, and therefore he’d go to heaven. However, this is not a luxury granted to Hamlet’s father, which is why he now roams the earth as a ghost.  Hamlet doesn’t feel that this is an even exchange.

You should, however, be saying, “Seriously?” right now.  “You set the trap to prove Claudius’ guilt, it worked, now you’re behind him, there’s no witnesses, you could absolutely finish him off. And instead you’re thinking ahead to where he soul ends up?”

That is precisely the whole point of the play. Hamlet’s indecisiveness is all. He can talk himself out of anything. Go back to I.5:

But know, thou noble youth,
The serpent that did sting thy father’s life
Now wears his crown. [citation]

So your father’s ghost appears and says, “I was murdered by the king.”  Your first thought is, “I know, I’ll start acting crazy around everybody so they won’t know what I’m up to.”

At least the point has a specific rationale, however. In Amleth, the source material for Hamlet, the hero believes that his life is in danger and decides to pretend that he is an imbecile not to be perceived as a threat to the new king.

In Shakespeare’s version, however, that connection is lost — there’s no reason early in the play to think that Claudius is planning to kill Hamlet (though clearly, he plans to have England do it). So it looks like Hamlet’s just coming up with excuses to delay action.

I’ve always held that his mother’s death, not his father’s, ultimately spurs him into action. The entire play passes without him avenging his father, but it takes just 20 lines of dialogue between his mother’s death (“The drink! I am poison’d.”) and Hamlet’s action (“Follow my mother!”). Some argue that he finally sees his own mortality and knows, from Laertes, that he, too, has been poisoned, and if he does not act now, he will never have the chance. But I’ve always felt that the “Follow my mother” line is a big deal – it’s not as if he mentions his father. Remember his concern over the fate of his father’s soul? How he was not absolved of his sins? Well, now his mother’s met the same fate.

What Makes or Breaks a Romeo and Juliet?

I can’t believe it’s taken this long, but this week my oldest is finally seeing an actual live Shakespeare production as part of her studies (i.e. not because I made it happen).  The production in this case is Romeo and Juliet (why is it always Romeo and Juliet?) and I’ve already told her that my assumption is she already knows moRomeo and Julietre about the play going in than anybody else in her class.

Since she’s already seen and read the play on her own, plot and character and all that stuff are out of the way (as has always been the plan).  So what I’d like to do is give her some suggestions to watch out for that will make this particular interpretation different.  In other words, it’s a great opportunity to discuss how everybody gets the same script, but every production is different.

What do you suggest?  For instance, I’m a big fan of watching the minor characters. I think they can really fill out the play when you give them a chance.  How’s Friar Laurence?  Is he just an incompetent adult, or should we see him as more of a villain who brings about all the tragedy because he is overly zealous in his desire to be the one who ends the feud?

Similarly consider Lord Capulet.  Which face is the right one? The one that says Juliet must decide for herself to marry Paris? Or the one that says do what I tell you or get out of my house?  I’ve always thought of him as a bad guy. But I’ve had people defend him, saying he’s merely a man with a temper who doesn’t mean what he says.

Another question I like to ask is how violent is the conflict between the two families in this version?  I don’t like the overly violent interpretation where both sides are always this close to killing each other. I prefer to believe that the grudge is dying out. Both sides now are all talk and bluster but neither is really serious about doing injury to the other. That way, Mercutio’s death is an accident. Even Tybalt is surprised – which makes Romeo’s revenge darker because while Tybalt accidentally killed Mercutio, Romeo deliberately killed Tybalt.

See what I’m talking about? When you see Romeo and Juliet for the umpteenth time, what are you paying close attention to?

Make Life Better

Why won’t your friends come see Shakespeare with you?

I don’t mean you, specifically. I expect that if you’re here reading this you probably enjoy taking in a nice Shakespeare performance on occasion. And I don’t mean your core group of friends who may feel the same way. I think that it’s safe to say, for all of us, that such a group only extends so far.

I mean literally everybody else in your life. Friends, family, coworkers.  If you asked, they probably don’t want to come see Shakespeare with you.

Why do you think that is?  It’s a question I come back to regularly because it bothers me. I feel like there’s a large audience out there that is dismissing Shakespeare as a chore, something they said sayonara to back in school and never looked back. I feel like those people are missing something important, something that will make their lives better, and I feel some degree of personal obligation to fix that.

Preaching to the choir

Surely you’ve heard that expression. I realize I’m often doing that here.  I’m all, “Hey, Shakespeare is even cooler than I imagined, check this out!” and you all are all, “Yeah, I know, right?”  Only, you know, we both sound more education when we say it.  Like, totally.

Good Idea!I don’t want that.  Well, I do, I just don’t want only that :).  I want our choir bigger. I want the whole world to be a part of it.  Maybe there are folks out there that have studied Shakespeare and know everything they want to know about him and his work, and just don’t like it, and I suppose we have to accept that. (We just don’t have to invite them to the holiday party.)

But how about everyone else?  That gets me back to my original question.  If you’ve got someone in your life (and I know you do) who you wish would share Shakespeare with you, but doesn’t … why do you think that is?  How do we bridge that gap?

Oh, and by the way, for that core group of friends that do want to see Shakespeare with you? Show them this post. Spread the word. We’re not about keeping the Shakespeare to ourselves here.

 

 

Naught Without Mustard

Sometimes you find yourself in those situations that make you feel like more of a geek than usual.

A reddit user had asked about Touchstone in As You Like It and I was going through some quotes when I found this:

Of a certain knight that swore by his honour they
were good pancakes and swore by his honour the
mustard was naught: now I’ll stand to it, the
pancakes were naught and the mustard was good, and
yet was not the knight forsworn.

Hmmm, that rang  a bell. I immediately thought of, “Not without mustard,” and had to go do some research.

For those that don’t get it, “Not without mustard” is a line from Ben Jonson’s Every Man out of His Humor, and is thought by some to be a joke reference to the coat of arms that Shakespeare had recently acquired for himself bearing the motto Non Sans Droit, or, “Not Without Right.”

 

So, then, is Touchstone’s line a response to Jonson’s? It’s unlikely we’d ever truly know for sure, but it can be fun to pursue the line of reasoning.

Dating the plays is already notoriously tricky, not to mention answering the question of who knew what when.  Would Shakespeare have had to see a performance of Jonson’s play to know the line, or would they have been sharing scripts while it was being written?

Jonson’s play was acted by the Lord Chamberlain’s Men in 1599, and it is technically a sequel to the 1598 Every Man in His Humour, so we have a pretty small window to work with there.

But what about As You Like It?  The Wikipedia entry reads, “believed to have been written in 1599 and first published in the First Folio, 1623.” Even if we don’t always trust Wikipedia, the Royal Shakespeare Company page says, “Typically dated late 1599.”

Not Without Right
Not without mustard.

Looks like it’s certainly possible.  After some cursory research I called in Bardfilm, who is much better at this sort of thing than I, and has access to all the best resources. He tells me that the Arden edition offers no notes on the connection, but then goes on to find this amusingly “relevant” article from an author named Mustard.

So who knows.  Either we’ve uncovered a joke between playwrights that nobody else has thought to mention, or it’s just a coincidence.  This is why we’re geeks about this stuff!

 

Small Shakespeare World

So, I’m trying to get the family to Disney World this year.  We’ve been in the past, but it’s a whole thing where my girls were old enough to remember it but the boy wasn’t, so we’d like to get back for a trip where it’s more about him and he’s not just the one being pushed around in a stroller.
Mickey MouseBut I digress.  Helping us set up the trip is a travel agent who turns out to be a friend of my in-laws.  In fact I may even have met her at a random gathering at one point or another, but it’s not like we see or speak regularly.

Anyway, the other day during the snow storm I’m working from home when my daughter comes into my office and says, “Did you know about a new teen Shakespeare program coming to town?”

“No,” I say, “And I’m surprised I didn’t hear about it sooner? Where did you hear this, what’s the details? Wait, are you talking about Rebel Shakespeare?”

“I think that was the name.”

“Honey you’ve been to a number of their shows.  They’re not new.”

I’ve been writing about Rebel Shakespeare for years. They’re a children’s Shakespeare group from a couple of towns over that’s been running for something like thirty years. We try to get to their shows when we can, and I even helped organize getting them to do a show in my own town.

Unfortunately this year their founder had to retire, and for a little while we thought they were done. But a bunch of parents and former participants have taken it over, and Rebel Shakespeare lives again!  So I figured that’s what my daughter was talking about, that one of their new marketing links.

Then she tells me that our new travel agent, who my wife is friends with on Facebook, posted it.

It just got interesting.

It turns out that her son has been part of that group for the last five years!  I may even have seen him perform, we’d have to sit down and compare notes.

I told them all about us (“Next time you’re with them, if the name Shakespeare Geek comes up, they’re talking about me.”) and they seemed quite excited to join our little family. In fact, they may be reading right now.  So, hi there 🙂 Welcome!

O small new world, that has such people in it!