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_death of a bee _
By: claud poiutyo
“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.
Word Count: 1202
Word Count: 1205
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