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William Makepeace Thackeray, a prominent 19th-century English novelist, once remarked, "The world is a looking glass." This profound statement encapsulates the concept that we often perceive reflections of ourselves in various facets of the world, whether through the words, actions, or attitudes of others. This theme of reflection is a recurring motif in the works of William Shakespeare, particularly in plays like "Antony and Cleopatra" and, more prominently, in "Hamlet."
Shakespeare masterfully employs the theme of reflection throughout his oeuvre.
In "Antony and Cleopatra," Caesar recognizes Antony as a "spacious mirror set before him," highlighting how characters can serve as mirrors to one another, revealing their own dimensions and motivations. This realization leads Caesar to the stark understanding that the world may not be vast enough for both triumvirs, as implied by his declaration, "we could not stall together in the whole world."
However, it is in the play "Hamlet" that reflection takes center stage, manifesting in various forms and weaving a complex narrative tapestry.
One of the most notable instances of reflection in "Hamlet" is the 'play within a play,' often referred to as 'The Mousetrap.' This theatrical performance serves as a mirror to the troubled relationship between King Hamlet and Queen Gertrude.
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The play's plot also mirrors the circumstances surrounding King Hamlet's murder. Hamlet ingeniously uses this play to gauge Claudius's guilt, exploiting the notion of performance as a mirror to inner corruption, as he famously states, "Hold the mirror up to nature."
Shakespeare's use of theatrical reflection underscores the idea that performance can reveal concealed truths and serve as a means of holding individuals accountable for their actions.
Shakespeare employs literary techniques like hendiadys to emphasize reflection in "Hamlet." In Hamlet's renowned soliloquy, "To be, or not to be," he contemplates the "slings and arrows of outrageous fortune" and the "whips and scorns of time." The use of hendiadys, where two words are connected by "and" to convey a single complex idea, underscores the intensity of Hamlet's existential reflections.
Similarly, Hamlet later tells Horatio about "Fortune's buffets and rewards." This deliberate use of hendiadys amplifies the significance of the message, creating a parallelism that balances the phrases and underscores the thematic depth of the play.
An intriguing aspect of reflection in "Hamlet" is the interplay among the characters of Hamlet, Laertes, and Fortinbras.
These three young men share the common experience of losing or having lost their fathers, a reflection of their shared fate and shared purpose.
Hamlet, upon returning to Denmark from Wittenberg, is engulfed in grief over his father's death. He expresses his profound despair, declaring, "How weary, stale, flat, and unprofitable / Seem to me all the uses of this world!" This vivid portrayal of Hamlet's sorrow elicits empathy from the audience and establishes a deep emotional connection.
Similarly, young Fortinbras has lost his father, King Fortinbras of Norway, in a clash with King Hamlet. Laertes, too, returns from France to Denmark only to discover that his father, Polonius, has been killed. These three characters share not only the experience of paternal loss but also a profound desire for vengeance.
Their collective quest for revenge is a central theme of "Hamlet." Hamlet receives a supernatural mandate from the ghost of King Hamlet to "Revenge his foul and most unnatural murder!" The urgency of this charge is evident in the exclamation marks and the use of the word "unnatural," emphasizing the gravity of the task. Hamlet's response to this mission reveals his initial sense of duty and the weight he places on his own reflection of justice.
Fortinbras, too, seeks to avenge his father's death, not through personal violence, but by reclaiming the lands lost by his father in a previous conflict and launching a military campaign against Denmark. Hamlet observes Fortinbras leading his army through Denmark, and he recognizes the parallel between their causes, sparking introspection about his own purpose and determination.
Laertes, upon learning of his father's death, vows, "I'll be revenged / Most throughly for my father." This declaration mirrors the revenge motif present in both Hamlet and Fortinbras, highlighting the pervasive theme of vengeance throughout the play.
While Hamlet, Laertes, and Fortinbras share the overarching goal of avenging their fathers' deaths, they pursue this objective through distinct methods and temperaments.
Hamlet's character is characterized by vacillation and hesitation. He agonizes over the need for concrete proof of Claudius's guilt, leading to prolonged delays in taking action. The ghost of King Hamlet even reappears to "whet thy almost blunted purpose," underscoring Hamlet's reluctance and the blunting of his resolve.
Fortinbras, in contrast, is resolute and decisive, driven by a "divine ambition" to regain lost territory. His unwavering determination is evident in his readiness to wage war over a "little patch of ground." Fortinbras represents the archetype of the proactive avenger, driven by a clear sense of purpose.
Laertes, the most aggressive of the three, does not hesitate to confront Claudius over his father's death. He even declares his intent to "cut [Hamlet's] throat i'th'church." This stark proclamation reflects Laertes's impulsive and ruthless nature as he seeks swift retribution.
Shakespeare's portrayal of these distinct approaches to revenge underscores the complexity of human nature and the multifaceted nature of reflection. Each character's reflection in the actions of the others serves as a mirror through which their strengths and weaknesses are magnified.
The concept of reflection extends beyond the characters' interactions; it also acts as a catalyst for self-realization. Hamlet's introspection is deepened through his observations of others and their actions, leading to moments of epiphany and self-awareness.
Throughout "Hamlet," moments of anagnorisis, or self-discovery, are intertwined with the theme of reflection. Anagnorisis occurs when characters recognize essential truths about themselves or their situations. Hamlet experiences a significant anagnorisis when he sees Fortinbras leading his army through Denmark. He reflects on Fortinbras's resolute pursuit of his goals and exclaims, "How all occasions do inform against me, / And spur my dull revenge!" In this moment, Hamlet confronts the inadequacies of his own character and recognizes the need to overcome his hesitations. The word "spur" conveys a sense of urgency and motivation, emphasizing the transformative power of reflection.
Ophelia metaphorically refers to Hamlet as "The glass of fashion," implying that he embodies the ideal nobleman whose behavior others should emulate. In the Danish society depicted in the play, noblemen are expected to model themselves after the prince. Hamlet's initial portrayal aligns with this image, as Claudius notes that he is "loved of the distracted multitude." He is regarded as a reflection of nobility and virtue, admired by the people.
However, as the play unfolds, Hamlet's reflection in this societal mirror undergoes a transformation. Following his feigned madness and his outburst at Ophelia, she mourns the decline of his noble character, exclaiming, "The glass of fashion and the mould of form, / The observed of all observers, quite, quite down!" The repetition of "quite" underscores the magnitude of Hamlet's deviation from the ideal reflection of nobility. His character becomes fragmented and tarnished, mirroring the disintegration of his world.
This evolution in Hamlet's reflection illustrates how external perceptions can shape one's self-perception and identity. Hamlet's journey from the admired prince to a troubled and erratic figure underscores the fragility of self-concept when subjected to societal expectations and personal trials.
At the outset of the play, Hamlet displays skepticism regarding the ability of external reflections to capture his true essence. He mocks the idea that words or physical appearances can "denote [him] truly." In his view, these reflections fall short of encapsulating the complexity of his character.
However, as the narrative unfolds, Hamlet's perspective on reflection undergoes a significant shift. He comes to realize that reflections are, indeed, everywhere, as echoed in William Thackeray's assertion that "The world is a looking glass." Hamlet recognizes reflections of himself in the actions, motivations, and behaviors of others, particularly in Laertes and Fortinbras.
Hamlet's evolving perception of reflection mirrors a broader human experience. It highlights the idea that self-awareness and understanding often emerge through interactions with the external world and the reflections it offers. While Hamlet initially questions the accuracy of these reflections, he eventually embraces them as valuable mirrors that reveal hidden facets of his character.
Throughout "Hamlet," reflection serves as a catalyst for action. The characters' encounters with reflective surfaces or situations prompt them to reevaluate their goals and motivations, ultimately propelling them toward decisive choices.
When Hamlet witnesses Fortinbras leading his army through Denmark, he experiences a profound moment of reflection. He acknowledges that "all occasions do inform against [him]," recognizing the contrast between his own hesitancy and Fortinbras's resolute pursuit of his objectives. This reflection spurs Hamlet to declare, "From this time forth, / My thoughts be bloody, or be nothing worth." The use of "bloody" underscores Hamlet's newfound determination and readiness for action. The reflection of Fortinbras's purpose ignites Hamlet's own resolve.
Hamlet's encounter with Laertes during Ophelia's burial also serves as a reflective moment. He regrets his earlier emotional outburst towards Laertes, realizing that their shared grief and pursuit of vengeance connect them. Hamlet expresses a desire to "court" Laertes' favor, recognizing the value of collaboration over conflict. This moment of reflection in the mirror of Laertes prompts Hamlet to seek reconciliation and common cause.
Similarly, Laertes reflects on his own actions and motivations when he learns of his father's death. His vow to be "revenged / Most throughly" underscores his commitment to avenging Polonius's murder. Laertes's reflection on his mission propels him to take swift and aggressive action, leading to a fateful confrontation with Hamlet.
Shakespeare's portrayal of reflection as a catalyst for action underscores its transformative power. Characters in "Hamlet" evolve in response to their encounters with reflective surfaces—whether in the form of other characters, situations, or self-realizations. These moments of reflection drive them to make choices that shape the course of the play's tragic events.
In "Hamlet," Shakespeare masterfully weaves the theme of reflection throughout the narrative, revealing its multifaceted nature. Reflection serves as a mirror through which characters perceive themselves and others, prompting moments of self-discovery and realization. It acts as a call to action, propelling characters toward decisions that carry profound consequences.
Hamlet, Laertes, and Fortinbras, each reflecting on their fathers' deaths, embody varying approaches to revenge and self-discovery. Their interactions and observations highlight the strengths and weaknesses of their respective characters, contributing to the complexity of the play's tragic narrative.
Ultimately, "Hamlet" underscores the idea that the world indeed functions as a looking glass, where reflections in various forms illuminate the human experience, driving individuals to confront their innermost truths and motivating them to take action, whether hesitant or resolute.
Reflections in Shakespearean Tragedy: A Study of Hamlet. (2017, Jul 29). Retrieved from https://studymoose.com/hamlet-laertes-and-fortinbras-are-all-reflections-on-each-other-essay
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