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Claudius - Hamlets major antagonist is a shrewd, lustful, conniving king who contrasts sharply with the other male characters in the play. Whereas most of the other important men in Hamlet are preoccupied with ideas of justice, revenge, and moral balance, Claudius is bent upon maintaining his own power. The old King Hamlet was apparently a stern warrior, but Claudius is a corrupt politician whose main weapon is his ability to manipulate others through his skillful use of language. Claudiuss speech is compared to poison being poured in the ear�the method he used to murder Hamlets father. Claudiuss love for Gertrude may be sincere, but it also seems likely that he married her as a strategic move, to help him win the throne away from Hamlet after the death of the king. As the play progresses, Claudiuss mounting fear of Hamlets insanity leads him to ever greater self-preoccupation; when Gertrude tells him that Hamlet has killed Polonius, Claudius does not remark that Gertrude might have been in danger, but only that he would have been in danger had he been in the room. He tells Laertes the same thing as he attempts to soothe the young mans anger after his fathers death. Claudius is ultimately too crafty for his own good. In Act V, scene ii, rather than allowing Laertes only two methods of killing Hamlet, the sharpened sword and the poison on the blade, Claudius insists on a third, the poisoned goblet. When Gertrude inadvertently drinks the poison and dies, Hamlet is at last able to bring himself to kill Claudius, and the king is felled by his own cowardly machination.


My most memorable and literate introduction to the politics of the spoken word occurred in a graduate seminar on Hamlet at Wayne State University. Our professor analyzed Claudius state of the union speech and the kings unspoken but relentlessly pursued aims.


First he identified the contexts of the scene-Act I, scene ii


The scene takes place in a room of state in the Castle - a place where all vital matters of state are announced and discussed. Every word spoken here counts.


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The people present are


- The King (Claudius), the Queen (Gertrude), and Hamlet who enter with a flourish


- the Kings counselor, Polonius, and his son, Laertes


followed by


- the Lords of Denmark, their attendants, and courtiers.


And the defining emotional contexts are


- the former King Hamlet-Claudius brother, Prince Hamlets father-is dead


- the kingdom is in mourning-Hamlet was beloved


- the kingdom is in a state of readiness for war


- young Fortinbras, nephew to the infirm King of Norway, has raised an army against Denmark to reclaim land lost in war by his father


- Claudius, senior statesman and King Hamlets brother, has assumed the throne of Denmark and married the Queen, Gertrude, his brothers wife


- Prince Hamlet, who is arguably the rightful heir to the throne, is admired by the populace, and although he has not staked a claim for power, Claudius knows that he could


- the audience of the Globe Theater waiting to be swept up in greatness and tragedy


Claudius addresses the court and his first task is to use this speech to establish his legitimacy. He first joins his audience in their shared loss


Though yet of Hamlet our dear brothers death


The memory be green, and that it us befitted


To bear our hearts in grief and our whole kingdom


To be contracted in one brow of woe....


He then explains that he has married the Queen in order to unite the state in a time of war


Therefore our sometime sister, now our queen,


The imperial jointress of this warlike state,


Havewe, as twere with a defeated joy,-


With one auspicious and one dropping eye...


They have made their decision and by marrying joy and grief have united the state in their union. Claudius wants to believe his speech and the audience wants to believe that he has their interests at heart and that peace and protection of the state will be uninterrupted. We reflect on these words as we do on todays political speeches because what people want to believe may or may not have any relation to what is true, if the truth is indeed knowable.


To further consolidate the legitimacy of his actions, Claudius thanks the courts advisors for their guidance which he has followed Your better wisdoms, which have freely gone / With this affair along. For all, our thanks.


Next Claudius must establish himself as a military leader and statesman he announces that he is sending Cornelius and Voltimand to inform King Norway of his nephews threat to Denmark and to gain his cooperation in suppressing Fortinbras aggression. Cornelius and Voltimand leave to fulfill their duty. The natural fears of the court have been addressed and assuaged.


Claudius, surprisingly, turns next to Laertes, Polonius son and Hamlets only possible competitor. The tone changes and Claudius generously, pleasurably offers Laertes anything he wishes


...what ist, Laertes?


You cannot speak of reason to the Dane,


and lose your voice; what wouldst thou beg, Laertes,


That shall not be my offer, not thy asking?


Is Claudius creating a hostile division between Laertes and Hamlet-certainly! He approves Laertes wish to return to France-Laertes, like a good son, has returned home only to show his duty in Claudius coronation. Claudius power is safer with strife focused between Laertes and Hamlet and perhaps safer as well with this gesture of thanks to Polonius (appearances aside, Polonius is the only senior statesman we see). Moments later after giving his blessing to Laertes Claudius will deny Hamlet permission to resume his studies in Wittenberg and thereby deepen the trench of resentment between the two princes.


Claudius has established his legitimacy and his competence to deal with Denmarks enemies, the court has seen their Queen loyally beside him, and Claudius has thanked the architect of his support, Polonius. This done, what remains? Only Hamlet, the natural heir to the throne. The stage is clear for Claudius to raise suspicion within the court against Prince Hamlet-his only adversary.


Claudius first says the words that the court will want to hear and that cast him in benevolent light


Tis sweet and commendable in your nature, Hamlet,


To give these mourning duties to your father;


Now Claudius proceeds to define Hamlet in ways calculated to destroy him and to discredit him in the eyes of the court. He shrewdly uses observable facts-Hamlets visible grief, downcast eyes, black cloak--that are true and visible but interprets these facts maliciously and leaves Hamlet no chance to raise a credible voice. It is noble, Claudius says, to grieve the death of ones father...but-


...but to persever


In obstinate condolement is a course


Of impious stubbornness; tis unmanly grief;


It shows a will most incorrect to heaven,


A heart unfortified, a mind impatient,


An understanding simple and unschoold;


...


Fie! Tis a fault to Heven,


A fault against the dead, a fault to Nature,


To Reason most absurd....


After Claudius has used his position, his age, his established authority, his political skill to relentlessly discredit Hamlet in the eyes of the people whose support he would need if he were to challenge Claudius now or later. Think of the words used against the obviously grieving prince obstinate, impious, stubborn, unmanly, unfortified, impatient, unschoold. Imagine these words spoken in the context of Denmarks loss, a court facing Hamlets brother as their king, in the context of a country threatened with war, a state of the union speech, in the context of their Queens acceptance of Claudius in marriage, and in the context of Claudius skillful dealings with Norway and Fortinbras. How will the court see their prince Hamlet now? They cannot trust him.


Having successfully broken Hamlets favor in public, Claudius can appear loving and fair by giving back to Hamlet what is already his, his right to be king


...think of us


As a father; for let the world take note,


you are the most immediate to our throne,


And with no less nobility of love


Than that which dearest father bears his son


Do I impart toward you.


Having successfully questioned Hamlets sanity in front of the court, Claudius can say what everyone knows-the prince is the natural heir to the throne-and can justifiably forbid Hamlets wish to return to his studies in Wittenberg. Claudius wants Hamlet under his watchful eyes.


After this skillfully vicious attack on Hamlets character, Hamlets only safety is in silence. Only when his mother asks him to remain at home does Hamlet concede, and he concedes to her


I shall in all my best obey you, madam.


Claudius now defines Hamlets assent in self-aggrandizing terms-he applies what today we call the spin.


Why, tis a loving and a fair reply;


Be as ourself in Denmark...


Claudius, ever conscious of his public image, can declare Hamlets words as a gentle and unforced accord that sits smiling to my heart. Claudius saved his most difficult challenge for last, and now that he has successfully defined Hamlet, he can leave with his Queen and with the court following him to celebrate the new ruling couple. Very smooth, very smooth.


If we remember the essential context of this scene, Claudius necessity to legitimize his power and to dispense with his primary threat, Prince Hamlet, we are in a far better position to realize that Hamlet is not crazy but only out-maneuvered.


By understanding Claudius speech in context, we can see how he persuades others to believe in his legitimacy and authority, to ignore any questions about King Hamlets death, to view Hamlet as weak-minded and disturbed, and to celebrate the restoration of order. We can easily imagine that the court is grateful to Claudius for making it easy for them to believe reassuring stories of the kingdoms integrity.


In Scene of the First Quarto, King Claudius appears before his court. He is businesslike and efficient, moving steadily from one decision to the next. The scene opens as the King informs his lords of his response to the threat of Fortenbrasse Lords, we here have writ To Norway, uncle of young Fortenbrasse, Who impotent and bedrid, scarcely hears Of this his nephew’s purpose. (, 1 - 4) While Scene 1 has informed the audience of the “strict and most observant watch” (1, 61) and fierce labor that have been Denmark’s response to Fortenbrasse’s “enterprise” (1, 85), Claudius here reveals no particular concern. The only clear opinion or emotion expressed in the King’s words is his contempt for the “impotent” King of Norway (, ). Once Claudius has dispatched his ambassadors, he turns immediately to Leartes to respond to his “suit” (, 15). The King’s decision is made quickly, without excess deliberation or rhetoric. He says simply, “With all our heart, Leartes; fare thee well” (, 5). Claudius does not seem particularly effected by Leartes’ choice, and he seems comfortable with his position as commander. When Claudius turns to Hamlet’s request, his treatment reveals a similar domineering efficiency What means these sad and melancholy moods? For your intent going to Wittenberg. We hold it most unmeet and unconvenient, Being the joy and half heart of your mother. (, 8 - 1) The King focuses on Hamlet’s “unconvenient” request to return to Germany and the scene creates a strong contrast between Claudius’ treatment of Leartes and his response to Hamlet. Claudius presents himself in this scene primarily as a judge. When Hamlet replies to his question about his sadness, rather than consenting to the King’s request of Hamlet’s presence at court, Claudius takes this subject on as one requiring his judgment But you must think, your father lost a father; That father lost his, and so shall be Until the general ending. Therefore cease laments. (, 4 - 44) The King’s approach is unfeelingly logical and his conclusion swift. Here the Queen intercedes, asking Hamlet to stay in Denmark, and when he agrees, Claudius grasps at the resolution, moving quickly on to his interest in drink. Throughout the First Quarto Claudius continues to make decisions quickly, as when he sends Hamlet to England the same night that the idea first occurs to him (1, 14 -1). The source and motivation for his thrift in this scene is not entirely clear; it could be interpreted as efficiency, nervousness, or the kingly demonstrations of power. In the corresponding scene in the composite Hamlet , Claudius begins ceremoniously, not with business, but with thanks for those who have “freely gone / With this affair along” (I ii, 15 - 16), supporting his claim to the throne and his marriage to Gertrude. When he proceeds to the business at hand, he describes Fortinbras and his demands as unworthy of any concern “He hath not fail’d to pester us with message” (I ii, ). Like the Q1 Claudius, the King expresses contempt for Norway, but here he shares with the court the content of his reply (I ii, 0 - 4). When he has dismissed his ambassadors, the King begins to sweet-talk Laertes. The King devotes nine lines to ask Laertes of his wishes, proclaiming his indebtedness to Polonius and even going so far as to tell him, “What wouldst thou beg, Laertes, / That shall not be my offer, not thy asking?” (I ii, 45 -46). The King’s praise of his courtiers, Polonius, and Laertes brings to mind Hamlet’s speech to Horatio about flattery (III ii 57 - 87). The importance of the King’s praise in terms of his characterization, then, lies in whether one interprets these commendations as sincere expressions without ulterior motivation (as Hamlet’s trust in Horatio) or as pointed manuvers by Claudius to ingratiate himself. The absolute resolution of this issue cannot be found within this scene, but once the audience has witnessed the King’s comparison of himself to a painted harlot (III i 48 - 54) and his masterful manipulation of Laertes in Act IV scene vii, it becomes difficult to conclude that any of the King’s statements to other characters are sincere. The question of Claudius’ sincerity continues to be an interpretative crux in this scene and throughout the composite Hamlet. In response to Hamlet’s only slightly veiled hostility when he addresses him as “my son” (I ii 64), the King asserts his power, alternately criticizing and attempting to flatter Hamlet. Although he tells Hamlet that his grief is “sweet and commendable” (I ii 87), he goes on to call it “obstinate” (I ii ), “impious” (I ii 4), and “unmanly” (I ii 4). While the King has told Hamlet that he has a good “nature” (I ii 64), he says of his grief, It shows a will most incorrect to heaven, A heart unfortified, a mind impatient, An understanding simple and unschooled. (I ii 5 - 7) Once he has attacked this “peevish opposition” (I ii 100) on almost every possible front, Claudius tries to appease the prince by proclaiming, “for let the world take note / You are the most immediate to our throne” (I ii 108 - 10). As part of his flattery he “beseech[es]” (I ii 115) Hamlet not to go back to Germany and then concludes his speech with the kind of familiarity which offended the prince at the beginning of his address by calling him “Our chiefest courtier, cousin, and our son” (I ii 117). One must wonder reading this scene if Claudius has no understanding of Hamlet’s hostility, or if these speeches are for the benefit of the rest of the court rather than the prince. As the composite Hamlet continues, we begin to develop a portrait of a King who attempts to manipulate the opinions of those around him and so indirectly effect their actions. The composite Claudius is calm, his words delivered in a measured, stately manner. The pace of this first scene is slower than its counterpart in Q1, as the King uses his time to control his court’s opinions of Fortinbras and Hamlet’s attitude and earn loyalty through flattery. The composite Claudius proceeds cautiously, concerned with public opinion (as is clear from his concern about the people’s love of Hamlet) and his presentation of himself to the court. In the final scenes of the First Quarto, Claudius reveals himself to be decisive and even rash as he attempts to have Hamlet killed. Unlike in most composite versions of Hamlet, the plot to kill the prince in the duel is entirely the King’s idea. When Claudius finds out that Hamlet has returned safely from England, he tells Leartes, “be rul’d be me” (16, 6). Without waiting for any confirmation of Leartes’ loyalty, the King describes a plan to have the prince killed Among the foils shall a keen rapier lie,





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