FREE ESSAY ON CLAUDIUS (HAMLET)

CLAUDIUS (HAMLET)

"Every one sees what you appear to be, few really know what you are, and those few dare
not oppose themselves to the opinion of the many, who have the majesty of the state to
defend them."
- Nicolo Machiavelli, from The Prince
Italian political theorist Nicolo Machiavelli speculated that the strongest leaders
are ones who are able to carefully balance appearances to his benefit, strategically
using
them to strengthen his regime. If Machiavelli was indeed correct, then Claudius, from
Shakespeare's Hamlet, starts off as an ideal Machiavellian prince. However, as the play
develops, Claudius' loses his previously immovable command and composure, largely due
to his concern over the potential threat posed by his stepson, Hamlet. 
At the beginning of the play, Claudius appears to have complete control over
Elsinore, as evidenced by his imposing speech to the court:
Therefore our sometime sister, now our queen, 
Th' imperial jointress to this warlike state, 
Have we (as 'twere with a defeated joy, 
With an auspicious and a dropping eye, 
With mirth in funeral and dirge in marriage, 
In equal scale weighing delight and dole) 
Taken to wife... [1.2: 8-14]
In this scene, Claudius, who has only recently taken the throne after the death of his
brother, addresses some pressing issues. Seeking to create a strong early impression,
Claudius uses his words very carefully, taking great pains to both mourn his late
brother
and celebrate his marriage. Furthermore, with the words "imperial jointress to this
warlike
state" he justifies the potentially controversial union by making it appear like a
benefit to
the entire kingdom. Claudius is clearly a shrewd politician, for he deliberately
emphasizes
the contrast between his marriage and Hamlet's death, using phrases such as "defeated
joy" and "with an auspicious and a dropping eye." The benefits to such an approach are
obvious : on one hand Claudius appeals to popular sentiment by remembering his popular
brother, and on the other hand, with his celebration of his marriage, the King proves
that
he is ready to move on and attack his new role with vigor. The oxymoronic phrases "mirth
in funeral" and "dirge in marriage" recall Machiavelli's words, for Claudius
demonstrates
his ability to express whatever emotions make him look wise and just, showing that he is
in command of Denmark, despite his limited experience as king. 
Claudius fortifies his majestic appearance by taking decisive and positive action.
When faced with the threat of Fortinbras, he immediately takes diplomatic measures,
sending Cornelius and Voltemand to protect Denmark's borders and create an alliance
with Norway. Later, Laertes asks for permission to return to France. Knowing the value
of the advice of Laertes' father, Polonius, Claudius gives his consent in a jovial
manner,
thus strengthening his position with the courtiers. The King even senses the troubled
state
of Hamlet, and rather than letting things run their course, Claudius immediately sends
Rosencrantz and Guildenstern as spies. Most importantly, in every decision he makes,
Claudius appears confident, maintaining a balanced temperament in the public eye. Yet
underneath this smooth facade lies a man who is concerned above all about Hamlet. A full
two months after the death of his father, Hamlet continues to mourn, thereby keeping Old
Hamlet's death in the public spotlight. Claudius, of course, would much rather forget
about the incident, for that would not only decrease the likelihood of his being
discovered
but also help lighten his overburdened conscience. Unfortunately, Hamlet will not let
him
nor the public forget. Furthermore, Claudius realizes that Hamlet has a justified claim
to
the throne that could destabilize the King's regime. In an attempt to alleviate the
situation,
Claudius stresses Hamlet's role as his successor, not potential replacement.
Nevertheless,
the threat of Hamlet remains, and Claudius becomes extremely concerned with it. "That
do I long to hear!" [2.2: 53] refers not to news of Fortinbras but to the cause of
Hamlet's
perceived lunacy. This exclamation is also the first time that we have seen Claudius
stray
from his even-tempered public appearance, as he reveals a bit of emotion where Hamlet is
concerned. 
The effect of Hamlet on the King reaches a climax during The Murder of Gonzago,
during which the King's composure breaks down completely. Hamlet's plan to confirm
Claudius' guilt succeeds brilliantly: when the murder in the play pours poison into
Gonzago's ear, telling the audience that the plot is based on true events, Claudius
suddenly rises, shouting "Give me some light. Away!" [3.2: 295] Gone is the calm that
had begun to make Claudius a successful leader, replaced by a sudden outburst of emotion
in the presence of many others. 
Now that Claudius' even-tempered shell has been shattered, we get a better idea of
what he would call the "inward man." [2.2: 6] In the third scene of the third act, we
finally
see Claudius alone, and he reveals his innermost thoughts while acknowledging his guilt.
Clearly, he is not a cold-blooded and inhumane monster but a person whose conscience is
making him regret his sins. He explores the similarities between himself and Cain, the
Biblical first man to commit fratricide. Claudius knows that in order to achieve divine
salvation he must be truly repentant for his sins. However, he is unwilling to give up
either
the crown or Gertrude, both of which he loves very much, and he resigns himself to a
hopeless fate. 
Claudius is clearly a tormented man who has fallen victim to the temptations of
love and power, very similar to the situation of Macbeth. At no point in the play does
Claudius glorify his crime; instead, he simply tries to forget about it and move
forwards. In
the first two acts, Claudius is able to mask his turbulent conscience with a confident
appearance. While this approach certainly succeeds in making Claudius a strong leader,
it
is unable to heal the deep wounds in his soul. As the King wrestles with the
increasingly
unenviable task of balancing his outward appearance with his interior thought, it is
impossible not to feel sorry for him. By the time Claudius kneels and prays, he has been
reduced to a man who is now the slave of one terrible deed. 
To properly portray Claudius, an actor must focus on the gradual fall of the
character. In the first two acts, Claudius is at his best, running the court with the
sharpness
of an experienced leader and decisively acting on every issue of importance. Therefore,
the
actor must have an imposing and confident presence on stage, for Claudius dominates
Elsinore and is in full control of Denmark. However, by the third act, the King must be
depicted as a man who is growing increasingly fearful of Hamlet, and during the play,
Claudius is so startled that he must appear as though he has seen the ghost of Old
Hamlet.
But in my opinion, Claudius' defining moment comes during his lengthy soliloquy in which
he acknowledges his guilt. As he mourns his condemned soul, he should seem so helpless
that the audience views him with intense pity, for the character of Claudius, like
Macbeth,
is not intended to represent evil but instead to show the universal ability of power to
corrupt and to destroy lives in the process.