Betlehem Sirak. FekadeMs Gardner

‘The two women are a little more than pawns in a patriarchal world of sexual exploitation’ (Cambridge Shakespeare) to what extent does the presentation of Gertrude (Act 1 scene 2 and Act 3 scene 4) show this to be true.

Century after century Hamlet has stood the test of time and changes in society to become Shakespeare’s greatest and indeed the most well known play every written. Despite its beauty and ever changing appeal, Hamlet can been criticised for being misogynistic. Shakespeare can be criticised for undermining his female characters and colour our judgment of characters such as Gertrude. Critics argue whether she is just a pawn, she has control, or even if she wishes to exert control over her own life. Critics like A.C. Bradley [1] consider Gertrude as a sheep content to live her life in the shadows of men and seems to be the cause of Hamlets impending doom. T.S. Eliot [2] labels Gertrude as the reason behind Hamlet’s ultimate failure with her lustful relationship with Claudius however, feminist Lisa Jardine [3] argues with fellow critics about their need to believe in a blameless hero at the expense of blaming everything on Gertrude. Until recently most critics have been male therefore the female characters have been belittled; the modern audience might quite rightly question why the women are blamed even though Hamlet is the one with the fatal flaw?

From the first impression of Gertrude in Act 1 scene 2 it is easy to draw as A.C. Bradley’s interpretation of a ‘happy sheep’ and her first words make Hamlet’s erratic action towards her seem justified ‘Good Hamlet cast thy nighted colour off’. These words can be interpreted controversially. Her words can be taken to be insensitive and inconsiderate to Hamlet’s grief whilst others say she is trying to ease her son’s pain and reconnect Hamlet with ‘Denmark’ meaning Claudius, as he is now rules the monarchy an astute political move. Shakespeare rarely gives stage directions therefore the interpretation of Gertrude often lies with the director. For me, Gertrude is not the selfish women she is sometimes portrayed but a mother trying protect her son in the chaos of the reign of a new king. The fact that she says nine lines as to Claudius’ ninety-seven can make Gertrude seem unintelligent or marginalised however Caroline Hilburn [4]points out that although she does not say much what she says is of a real value.

Hamlet’s deteriorating relationship with his mother is reflected in his relationship with Ophelia. He mistreats Ophelia for a reason beyond her control. Ophelia is yet another character undermined by her fellow male companions. In the 1600s women were considered nothing more than objects used to trade for status therefore it was common to have a male family member controlling their lives. Seeing Ophelia oppressed by her father and brother, we can also wonder how much control Claudius has over the queen. We are aware of his love for her and their lustful relationship however the reason behind Gertrude’s remarriage is controversial. We are not sure if she is a willing participant in this marriage or as Professor Draper [5] mentions a wise political move on her part. If her move was

political, as some suspect, then is it wrong to criticise her? Is she not vulnerable as a woman without a guardian and so acts to protect her and her son’s position as well as his life?

The sexual oppression of this play is mirrored in Shakespeare’s other plays such as ‘Romeo and Juliet’ where Juliet is threatened to be disowned if she does not follow her father’s order into marrying the man of his choice and this was the fate of every high born female in the past centuries ‘go with Paris to Saint Peter's Church,/ Or I will drag thee on a hurdle thither’.

Unlike Shakespeare’s other tragic heroes, Hamlet’s fatal flaw is not as clear cut therefore critics have been debating over what they believe it to be. Critics such as Earnest Jones accentuate Hamlet’s supposed Oedipus complex. Act 3 scene 4, ‘the Closet Scene’ is often interpreted as a sexual scene between Hamlet and his mother. Despite ‘a closet’ being a private room and not necessarily a bedroom, directors like Franco Zeffirelli interpret it as a bedroom, highlighting Hamlet’s supposed fatal flaw. From Hamlet’s unusual interest in his mother’s sexual life with Claudius it is easy to assume he has sexual feelings for his mother. From early in the play he tortures himself with sexual images of them in the bed discounting the ghost’s advice not to pollute his mind; ‘taint not thy mind’.

He uses repulsive language ‘rank sweat of enseamed bed’ to demonstrate the loathing he feels for this unorthodox relationship. This portrays a very grim picture of Gertrude as even her son views her as a ‘bawd’. He calls their bed ‘sty’ making out that they are nothing more than animals. He also repeatedly implies that his mother is a prostitute and is referring to the brand of prostitution women received at the time ‘from fair forehead of an innocent love/ and sets a blister there’

Some critics extenuate Hamlet’s Oedipus complex by blaming Gertrude for his down fall, however I do not believe it’s justified to blame a woman for appearing desirable to a man. Her lustful relationship with the king might set a bad example to her son however Hamlet is old enough to understand right from wrong therefore a mother should not be punished for her son’s misguided attempt to avenge his father. To illustrate Hamlet’s disgust with his mother, Shakespeare uses imagery of corrupted nature: ‘'tis an unweeded garden, /That grows to seed; things rank and gross in nature’. Hamlet’s speech is typical of the imagery of corruption that rule through the play (his soliloquy in act 2 scene 1). Hamlet dwells too much on his mother’s relationship rather than his father’s murder as he feels her betrayal more keenly that his father’s death. In act 3 scene 4 there seemed to be sexual tension between Hamlet and Gertrude. Some director intended this and it is part of the interpretation of the play. Hamlet and Gertrude's conduct is slightly inappropriate in some presentations of the plays.

Hamlet loses his temper with his mother and taunts her until she can shouts out ‘Oh speak to no more... no more, sweet Hamlet’. This scene gives Hamlet control over his mother, the control he has lost since his father’s death; ‘Oh Hamlet thou hast cleft my heart in twain’. In this scene Gertrude shows her bravery in accepting his judgement and not fleeing. At the end of this scene Gertrude asks ‘What shall I do?’. It can argued that it is a sign of ignorance that she needs confirmation and guidance as to what actions she needs to take and is showing her to be easily led. However it can also be argued that she is gathering the

resolution to be brave about her future conduct and so proves she is not a total ‘pawn’ and can act independently of Claudius. Conversely it can also show how powerless she is in this mad society.

The last scene is arguably the most crucial scene of this play and has a tragic ending where all characters, with the exception of Horatio, die with Fortinbras becoming future king of Denmark. In this scene Gertrude selflessly dies for her son drinking the poison meant for him and using her last breath to warn her child. This scene brings out the antithesis part of Gertrude we have not seen often. Even the toughest critics find her last act hard to disparage. However it is not very clear whether she drank the poison to protect her son or was as usual unaware, but as his mother her instinct is to protect her son.

In a patriarchal society the women are controlled by their male relatives in fact Shakespeare does not develop their character therefore they are wrapped in mystery, their intentions and aims unclear. This makes the ideas of females as ‘pawns’ seem more realistic. there is some irony in the fact that the only time we see a female character, Gertrude take an independent action, deliberately not doing what Claudius wants (‘ I will drink my lord’) it leads directly to her death. It might be perceived as a sign that Shakespeare wanted to redeem her at the end of the play. Is she now a better mother that at the start of the play where she was ‘betraying’ Hamlet and her ex-husband? Although Gertrude seems a pawn in this game of power and vengeance she is in fact an independent woman who makes the right decisions when possible therefore I do no believe she is the pawn she is presented to be.

Bibliography

‘Hamlet’ Cambridge Shakespeare

‘Shakespearean Tragedy’ - A.C Bradley [1]

T.S. Eliot [2]

Lisa Jardine [3]

Caroline Hilburn[4]

Professor Draper[5]

Work count: 1500