Thesis: Are Rosencrantz and Guildenstern really there as human entities?

Reason: Yes – It is clear that Rosencrantz and Guildenstern are present as they are spoken to by many of the main characters of the play as they are old friends, or have at least visited the castle before.

Example: King gives orders to Rosencrantz and Guildenstern (4.1.1-45)

-         “Friends both, go join you with some further aid.”

Example: Hamlet speaks with Rosencrantz and Guildenstern (2.2.220-388)

-         ” We’ll wait upon you”

-         “No such matter. I will not sort you with the rest of my servants”

Reason: No- It is clear that Rosencrantz and Guildenstern must be spirits of some kind, as no one can tell them apart or identify them, as if they are not quite sure who and what they really are.

Example: The King and Queen refer to them by different names when addressing them. (2.2.33-34)

-         ” Thanks Rosencrantz and gentle Guildenstern”

-         ” Thanks Guildenstern and gentle Rosencrantz”

Example: Hamlet refers to both of them by either Rosencrantz or Guildenstern (2.2.225-230)

Reason: No- it is implicitly stated in the play that Rosencrantz and Guildenstern are dead, and no one takes notice.

Example: An ambassador tells Horatio that Rosencrantz and Guildenstern are ‘dead’ (5.2.372)

-         “That Rosencrantz and Guildenstern are dead”

Example: Horatio then begins telling the story of Hamlet. (5.2. 375-387)

          While it may appear as though Hamlet is controlled by revenge, and that it is the motive behind his transformation, one must first consider the motives behind revenge. The purpose behind revenge is generally not that of justice, but is instead to put the victim through the same pain as they gave to others. Revenge can never just happen on it’s own and must be enticed by other actions. One could argue that Hamlet wished for revenge on the grounds that his father was murdered, and perhaps that his anger towards the murderer was amplified by the fact that his mother had married him. However, why would the marriage amplify it? It has nothing to do with murder itself. Thus, there must be an underlying cause for why he is angry to the extent that he is.

            Hamlet is so angry that his father was murdered because more was taken away from him then simply ‘his father’. Hamlet lost his biological connection to god, his perception of how a family should be structured and the love of 2 out of the 3 people that he loved. Thus, you could say that Hamlet’s motive, while it did lead to revenge, was a need to feel loved.

            When his father was a step below god, he was biologically closer to god, then when his uncle was in that position. Given that place, he would feel a stronger connection to god, and perhaps feel as though god loved him more. Clearly, he lost the love of his father, as his father died, but he also felt as though he lost the love of his mother, for his mother did not consider his feelings or situation and continued to side with the King throughout the play. Besides Ophelia’s love, which he later loses, Hamlet lost all of the love he felt in his life.

            Without a feeling of love and belonging, Hamlet deteriorated emotionally, and it was visible through his internal and external characteristics. Hamlet no longer felt love so he no longer spoke of love. This is evident through many of his soliloquies. He speaks of death, madness, etc. All that opposes love, for that is what he now feels inside. The majority of Hamlet’s mental ability remained for he was still cunning, intelligent and creative, but his ability to act appropriately in social situations was greatly affected for it was what he lost that made social situations positive for him. All that was left were the negative aspects of being sociable.

            His transformations are clearly convincing as his mother and other individuals point towards grieving and love as the cause of them. What they are not aware of is the extent to which it affects him (which they learn of later when he exacts his revenge) or how exactly or to whom exactly he is feeling these feelings. His mother assumes Hamlet is crazy with love for Ophelia, and that he is grieving for his father. While these things may be true he is also grieving over the loss of love from his father, mother and god. Ophelia relates very little to this situation and Gertrude is more involved than she thinks she is.

            Horatio seems to be the only individual within the whole play who somewhat understand Hamlet’s emotions. Gertrude, Claudius and Ophelia all assume the same thing (that Hamlet is crazy in love for Ophelia), and if they had spoken to Horatio, and received the information about the ghost and Hamlet’s thoughts on the ghost, perhaps they could have formulated the true response. Each character accepts a small segment of Hamlet’s motivations, but no one understands it in its entirety. Even after Hamlet’s death, not one other character completely understands the reasons behind both his transformation and actions.

        Maslow’s Hierarchy can be looked at in the shape of a pyramid, with the most primitive and important needs at the bottom on the pyramid, and those, which are more sophisticated and less important at the top. When considering a general overview of hamlet’s personal reality, it is clear that he is missing aspects of Maslow’s pyramid at each level.

1.Physiological: While hamlet appears physically healthy throughout the play it is evident that he is lacking the sexual relationship he was once involved in, as he stops seeing Ophelia.

2.Safety: Throughout the progression of the play Hamlet loses first his safety of family (as his father dies and his mother marries his uncle), then his safety of morality (as he plots to kill the King) and lastly his security of body (as he learns of the King’s plot to kill him).

3. Love/Belonging: By the end of the play Hamlet loses all three of the things in this category. He loses his family, as his father is killed (and his mother later on), he loses his friendship of Rosencrantz and Guildenstern when he discovers they tricked him and early on in the film his loses his sexual relationship with Ophelia.

4. Esteem: Hamlet loses his respect for many characters in the play including his mother, his uncle, Ophelia and Rosencrantz and Guildenstern. Others also lose respect for him, particularly Polonius and King Claudius.

5. Self-actualization: Hamlet has some difficulty accepting facts at times, but generally believes what he is told. However, he clearly loses his morality as he kills his uncle, the King.

When the progression of Hamlet’s personal reality throughout the play is considered, the Hierarchy would have to be reshaped all together.

            Hamlet’s personal reality would better fit a diagram in the shape of an hourglass, as he loses the needs closer to the middle of the triangle and keeps those near the top and bottom.

          Despite how the play may appear, depending on which type of reality is emphasized when analyzing the play, the reality of the society and the characters within it can appear quite normal. However, when considering the importance of the family unit within this society, one must first address the social constructionism represented. Such theories consider the development of certain social phenomena within a particular context. In the case of Shakespeare’s Hamlet, it is particularly relevant.

            In general, a social construct is a practice or conception that appears perfectly natural to those practicing it but is in fact simply a conception of that society alone. It is not particularly right or wrong but is accepted where it is used. The main focus of the study is to understand the ways by which individuals create their own realities, something that all of Hamlet’s players have done. In comparison to a truthful reality, a socially constructed reality would be an institutionalized tradition reproduced by the interpretations and knowledge of those using it. Does that not describe the role of family in the play?

            Taking this anti-realistic view into consideration, the role of family is so vital for the members of the play that by tampering with it, their entire world crumbles. During the time of the play, a family setting that did not consist of a father, mother and children was unheard of. It was part of the social artifact that the people believed made up reality in its completion. To further explain, on a subjective level, to individuals who have never heard of or considered living outside of the nuclear family construct a world without such a construct would not exist. Thus, when the known world is destroyed there is nothing. Their sense of reality is destroyed, and their lives fall.

            The individual situation of each character can prove that this usage of reality is used throughout the play. If each individual reality were considered to be phenomenological then the individual social constructs created by each character would not have to be shared by the other characters in order to be real. While something may not appear to be devastating to another individual if it was a social artifact created by a specific individual for himself the destruction of it would result in the destruction of his personal reality and ultimately, his own destruction.

Prince Hamlet

Yay: Hamlet lives in a world where the nuclear family rules all. While he does spend time at university, he is only capable of doing this because he is aware that his family is safe and sound at home. Hamlet is in a good position, and to him the levels his family members possess on the chain of being are vital to his reality. His biological father is next to god, making the man who gave him life highly important to him. His most important personal social constructs would be his family, and his biological fathers position on the thrown.

Boo: When his father is murdered both of his socials constructs are destroyed, as not only is his biological relation to god gone, but his ideal family is destroyed by his mother’s marriage to his uncle. Hamlet falls such a long way because he is falling down the chain of being. While his position is the same, his personal connection is missing, and his reality is altered. As a result, he goes mad, goes against his own morals to plot murder and executes it. Thus, he dies.

King Claudius

Yay: King Claudius’ picture of reality does not involve morals or family but instead position and appearance. To him, having a high-ranking position, both socially and along the chain of being, means a good life. He frequently hides his true feelings and dealings from both his wife and the public for his social construct is that of false love. This is why, he begins plotting and being secretive when the actions of certain individuals become unruly. A good appearance towards the public must be maintained at all times. His most important personal social constructs are that he has a high social position and that the public loves him.

Boo: A key moment in Claudius’ destruction is when Hamlet’s performs the play detailing his outlandish ways. When this is done a scarred public image of him is presented which negates the public love for him and could hinder his position as king. Without the respect of his subjects he cannot function. Hamlet acts out to others, as well as Ophelia, so his reality soon crumbles as people truly learn of what goes on at the palace. He is lead to plotting a murder that is to happen in public, going against his ways, as his reality falls, which leads to his death.

Queen Gertrude

Yay: The Queen’s world is a mixture of both her son and her new husband. Gertrude believes in a happy family (though it need not be structured traditionally). She is greatly affected by the woe of those around her, for her stature breaks down more and more as those in her family become unhappy. When her son, husband and potential daughter-in-law are unhappy she is unhappy. She believes in keeping her family stable above all else, which could provide a reason behind her quick remarriage. The family’s position was in trouble, and there was no longer a father figure for her son to look up to, so she attempted to solve the problem. Her most important social construct is joyous family life.

Boo: Gertrude’s downfall commences when she realizes that those around her are not as happy as she tried to make them. She assumes Hamlet is mad out of love because she does not want to consider that he is grieving. Even when she drinks the poison she is happy and smiling for Hamlet. As she watched the reality of her family’s sorrow come into light he clearly tried to mentally ignore the problem and pretend things were still along her planned path. This lead to her death.

Polonius

Yay: A well-balanced world for Polonius, surprisingly, has little to do with his own family. While he at times appears to care for his daughter, all of his advice for her is what would better aid the royal family at that time. His social construct is that same as that of Queen Gertrude, which is a happy royal family.

Boo: As Polonius is Claudius’ advisor he is the first to learn of the troubles between the king and his stepson. Hence, he is the first to die. It is because he learns that there is disruption in the royal family that he commences the spying that leads to the actions that cause his death.

Ophelia

Yay: Somewhat like King Claudius, Ophelia needs to be loved. Moments near the beginning of the play (or flashbacks) that show her with family members or Hamlet adoring her and giving her comfort, are some of the only moments that show her smiling. It is in these moments that she feels loved by those around her, and her reality is balanced. Her most important personal social construct is her love from others.

Boo: When Ophelia believes that Hamlet is angry and no longer loves her she begins to feel distressed and is never shown as being happy. This is because the reality that “those around her love her” is breaking down. The death of her father crosses the line, as he was constantly giving her advice and reassuring her. Without her brother present, no one was there to love her, and she went insane. Since the figured that provided her with the most love could no longer provide that for her, she killed herself.

Laertes

Yay: Laertes is less affected by the death of his father than that of his sister because he believes that his sister must always be safe and happy. When he is seen with his sister he is constantly showing his affection for her, and clearly cares deeply for her. Thus, his most important personal social construct is the happiness and safety of his sister.

Boo: While Laertes hardly reacted to the death of his father, when he saw his sister in her state of madness he was clearly distressed. He had always protected her and kept her happy, but he had failed. His greatest failure was in Ophelia’s suicide, which is what drove him to attempt to kill Hamlet. Without Ophelia he no longer had any need for morals. He died because Ophelia died and he could no longer keep her happy.

Prince Fortinbras

Boo: While it may appear as though the prince cared deeply for his father, which is the cause for his distaste of the Royal family, the reality of Fortinbras is that of honor. His father was defeated in battle and all of his conquered land was taken away, which to him, is quite shameful. Unlike, with the previous individuals, things begin poorly for Fortinbras, as he begins the play shamed.

Yay: Contrary to everyone else in the play Fortinbras ends the play on a happy note, as he has invaded Denmark, and because the royal family has died, takes the thrown. As such, he honor is restored, and his personal social construct returns to normal.

The Royal Family of Denmark:
The crises affecting this family provide the central themes of the play itself. Ultimately, they can be summed up as both betrayals, by a number of members, and a difference in family values.
King Claudius murders his bother and weds the newly widowed queen, which can be entitled betrayal by both participants. Claudius has clearly betrayed not only his brother and family but also the all-important chain of being, by killing the next in line after god. Arguably, Gertrude has also betrayed Old Hamlet, as she was very quick to wed after the death. Seeing as the situation greatly affects her son, it can be considered that she betrayed him as well.
Hamlet isn’t so innocent himself, as he later kills his stepfather, King Claudius. This is, again, a betrayal towards the chain of being, but can also be considered a betrayal against his mother, as she no doubt wished for her new family to live happily together. Hamlet destroyed that dream for her.
The central family copes using methods that can be described as both immoral and insane. Both Claudius and Hamlet plot murder against those who have ‘wronged’ them and succeed. Hamlet often results to rambling and spewing large bursts of emotion to purge him of the troubles affecting him. While Claudius and Gertrude tend to refrain from this, it is arguable that their position is the sole reason for it.

Polonius’ Family:
The family of the King’s advisor is faced with many problems caused by those faced by the royal family, as they are very involved in the workings of the royal family. For instance, Polonius is troubled by the struggle between Claudius and his stepson, and later the torment of his daughter by crazed Hamlet. Ophelia is in constant disarray because of Hamlet’s anger and then ‘crazed love for her’. Then she is then pushed over the edge by her father’s murder.
Laertes then faces the crisis is Ophelia’s death. While he is aware of Hamlet’s position within society he also believes that he is the cause of Ophelia’s assumed suicide. Thus, the struggles between Claudius and Hamlet that were mentioned earlier are used to gain leverage concerning his more recent crisis.
Ophelia copes with the destruction of both her lover and father by not coping. She goes mad, cries incessantly and eventually kills herself. Clearly, she has the worst coping methods out of her entire family. Laertes, like hamlet, plots revenge in order to ease his soul and though he dies in the process, ultimately succeeds in killing Hamlet.

The Royal Family of Norway:
While not much is discussed concerning the royal family of Norway it is clear that prince Fortinbras is greatly troubled by the defeat of his father and the loss of his conquered lands. As a warlord, this greatly shamed him, and thus was constantly devising a way to win back what he had lost and regain his father’s honor. The only real crisis affecting the uncle of Fortinbras is the actions taken by his son, which seem inappropriate to him and perhaps shame him.
In order to ease his mind Prince Fortinbras invades and conquers Denmark.

The Nuclear Family:
The typical nuclear family consists of descendants and their biological mother and father. It is known as the traditional family and does not include elements of one’s extended family such as grand parents. Traditionally, the nuclear family is viewed as a nurturing, low stress environment where the children are raised with love and stability. The family is generally in a stable economic position and much time is spent as a family, with the children.
The play expresses the destruction of the nuclear family. As can be seen from the family trees, each of the three families began as a proper, nuclear family but as certain catastrophic events began to affect them their representation as nuclear families began to crumble. Hamlet used to live in a love-filled and nurturing environment with his biological mother and father, but because of his father’s murder and his mother’s marriage to his uncle his family situation quickly becomes dysfunctional.
The father figured is killed in each situation, for Old Fortinbras is slain by Old Hamlet and Prince Hamlet murders Polonius. Without a biological father figure the nuclear family cannot exist, and when a family loses this position all of it’s other elements quickly fall out of place. The stress level elevates, there is a lack of emotional support and clearly there is a lack of love. The idea expressed is that without a father, there can be no nuclear family.