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.