셰익스피어의 변장과 방백의 극작술을 통해 본 햄릿의 광기
A Study on Hamlet’s Assumed Madness: Focusing on Shakespearean Dramaturgy of Disguise and Aside
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It is hard to clarify whether Hamlet’s madness is pretended or not, only with his words and deeds. Once it is supposed so, however, his madness can be compared with other characters who disguise themselves in the play. In general, hiding one’s identity provides a useful solution to the present problems. In Shakespearean disguise, more focus is given to the effect and new difficulties that the perfect concealment makes rather than how it is realized. Aside is another device called upon by the isolated characters who need to tell what they really feel to the audience. By sharing the secret, the audience join to wish them back to the original identity. Hamlet in disguise of a mad man, however, refers not so much about his inner self as about his opponents. The absence of self-awareness is not just an exception but a minus device, which in itself enables to represent his ambivalent attitude towards madness. Hamlet needs madness for doing vengeance as well as escape from King’s surveillance, yet his mind does not allow this pseudo-identity to overwhelm him. Although resistance to madness, in which he sometimes fails, results in not only the delay of the action but also multiple casualties including his own death, he finally saves the noble mind, the true inheritance of his father. This paper examines how Shakespeare appropriates both the source and his own devices in order to describe a psychological crisis.
Abstract
It is hard to clarify whether Hamlet’s madness is pretended or not, only with his words and deeds. Once it is supposed so, however, his madness can be compared with other characters who disguise themselves in the play. In general, hiding one’s identity provides a useful solution to the present problems. In Shakespearean disguise, more focus is given to the effect and new difficulties that the perfect concealment makes rather than how it is realized. Aside is another device called upon by the isolated characters who need to tell what they really feel to the audience. By sharing the secret, the audience join to wish them back to the original identity. Hamlet in disguise of a mad man, however, refers not so much about his inner self as about his opponents. The absence of self-awareness is not just an exception but a minus device, which in itself enables to represent his ambivalent attitude towards madness. Hamlet needs madness for doing vengeance as well as escape from King’s surveillance, yet his mind does not allow this pseudo-identity to overwhelm him. Although resistance to madness, in which he sometimes fails, results in not only the delay of the action but also multiple casualties including his own death, he finally saves the noble mind, the true inheritance of his father. This paper examines how Shakespeare appropriates both the source and his own devices in order to describe a psychological crisis.
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