His father physically abused him until he was old enough to fight back, an experience that greatly contributed to his thick-skinned exterior. He ditches class frequently and gets generally poor grades. It might not just be laziness, though; his academic struggles may be caused in part by an undiagnosed learning disability.
No matter how many ways critics examine him, no absolute truth emerges.
Hamlet breathes with the multiple dimensions of a living human being, and everyone understands him in a personal way. Hamlet's challenge to Guildenstern rings true for everyone who seeks to know him: The conundrum that is Hamlet stems from the fact that every time we look at him, he is different.
In understanding literary characters, just as in understanding real people, our perceptions depend on what we bring to the investigation. Hamlet is so complete a character that, like an old friend or relative, our relationship to him changes each time we visit him, and he never ceases to surprise us.
Therein lies the secret to the enduring love affair audiences have with him. They never tire of the intrigue. The paradox of Hamlet's nature draws people to the character.
He is at once the consummate iconoclast, in self-imposed exile from Elsinore Society, while, at the same time, he is the adulated champion of Denmark — the people's hero.
He has no friends left, but Horatio loves him unconditionally. He is angry, dejected, depressed, and brooding; he is manic, elated, enthusiastic, and energetic. He is dark and suicidal, a man who loathes himself and his fate. Yet, at the same time, he is an existential thinker who accepts that he must deal with life on its own terms, that he must choose to meet it head on.
There is special providence in the fall of a sparrow. He recognizes the decay of the Danish society represented by his Uncle Claudiusbut also understands that he can blame no social ills on just one person.
He remains aware of the ironies that constitute human endeavor, and he savors them. Though he says, "Man delights not me," the contradictions that characterize us all intrigue him.
How noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god! In his soliloquys he upbraids himself for his failure to act as well as for his propensity for words. Hamlet is infuriatingly adept at twisting and manipulating words.
He confuses his so-called friends Rosencrantz and Guildenstern — whom he trusts as he "would adders fang'd" — with his dissertations on ambition, turning their observations around so that they seem to admire beggars more than their King.
And he leads them on a merry chase in search of Polonius ' body. He openly mocks the dottering Polonius with his word plays, which elude the old man's understanding. He continually spars with Claudius, who recognizes the danger of Hamlet's wit but is never smart enough to defend himself against it.
Words are Hamlet's constant companions, his weapons, and his defenses.
In Rosencrantz and Guildenstern are Dead, a play that was later adapted into a film, playwright and screenplaywright Tom Stoppard imagines the various wordplays in Hamlet as games. In one scene, his characters play a set of tennis where words serve as balls and rackets.
Hamlet is certainly the Pete Sampras of wordplay. Continued on next page Next Hamlet Pop Quiz!
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