“…when men look into their hearts…(they) find anger, lust and fear…”
(Wild at Heart, John Eldridge, pg 41)
Such words can set the premise for the fate of a kingdom. In William Shakespeare’s Hamlet there is found layer upon layer of dramatic irony. The declaration, “Custom hath made it in him a property of easiness” (Act V, scene I, lines 70, 71) made about a grave digger, is actually a more direct reflection of the corruption that is in the kingdom of Denmark itself. The King of Denmark, Claudius, has committed some very grave crimes. His thirst for power (which, by very nature can be viewed as anger through lack of fulfillment), pursuit of lust and resulting fear have caused irreparable damage to a nation which now bears the fatal consequences.
Upon observation of Denmark’s new king, Claudius’ corrupted nature (and by natural progression, being the leader of a nation, his kingdom which follows suit) can be determined by his own accord: “Though inclination be sharp as will: my stronger guilt defeats my strong intent; And like a man to double business bound, I stand in pause where I shall first begin, and both neglect.” (Act III, scene III, lines 40-44) Though he is exposed by heaven in his very soul for the murder of his own brother, he states, quite flatly, that he can no more admit his guilt than he can surrender his crown or his queen – the very things he would slay for in the first place. This represents a chain of corruption visible in his very character.
The first link in this chain of corruption hinges on power. He has no qualms about killing for his crown. He was willing to slaughter his brother to capture a power that was determined, both by bloodline and by destiny, never to be his. Rather than accept this fact, he decides to make for himself a destiny. The second hinges on his lust. In order to claim Queen Gertrude for his own, he must eradicate her husband, his brother. He claims, ironically enough, to love her very much: “She’s so conjunctive to my life and soul, That, as the star moves not but in his sphere, I could not but by her.” (Act IV, scene VII, lines 14-16) It does bear an interesting question: Does Claudius, in his own despoiled mentality, actually believe he loves his queen? If he does not, it evidences his corruption manifested in his integrity. If he does in fact believe he loves her, the decay is seen as a warped reflection, a surreal portrayal of this love. This, of course, proves a far deeper taint than his integrity, but tainted nonetheless. He appears as loving a husband as he can be; yet he schemes, manipulates and controls his way to possession of his new queen. In the final moments of her life, he is given the opportunity to preserve her – by not allowing her to drink from the poisoned cup intended for young Hamlet – yet to do so would admit his treachery to all. Instead, he states “It is the poison’d cup! It is too late.” (Act V, sc II, line 296). He lets his “beloved” bride die. The answer, then, is most definitely no: his love for her is not real at all. The last link in the chain hinges on Claudius’ fear. Though he appears to have control of his life, his queen and his kingdom, we see this is not at all the case. The aforementioned admission of his foul deeds shows the weight of guilt pressing heavily upon him. The unfolding of the play reveals a more frightened Claudius, and certainly more resigned when he says, “For like the hectic in my blood he rages, And thou must cure me. Till I know ’tis done, Howe’er my haps, my joys were ne’er begun.” (Act IV, scene III, lines 68-70) He knows he is trapped in a web that he has spun for himself, and all but foreshadows his own doom. He has obtained all that he has by treachery, by “..foul and most unnatural murder” (Act I, scene V, line 25) , and must now face the fulfillment of his new destiny alone.
The decay of Claudius, and of the kingdom that he leads, is both tragic and inevitable. His corruption, hinged on power, lust and fear, are made obvious in one single statement made to the young prince Hamlet: “And the survivor bound In filial obligation for some term To do obsequious sorrow; but to persever In obstinate condolement is a course Of impious stubbornness; ’tis unmanly grief: It shows a will most incorrect to heaven,” (Act I scene II, lines 90-95) This goes far beyond being merely deceptive. Implying that resignation to the will of heaven on Hamlet’s part is the appropriate course of action is almost unfathomable. His perfidy against the young prince has cost him all but everything, and labels the resulting grief as “unmanly”. As spoken by Marcellus, a soldier: “Something is rotten in the state of Denmark.” (Act I, scene IV, line 90). The putrefaction in the kingdom has permeated even the lowliest of rank.
A kingdom whose foundations were uprooted from the essence of nobility and reconstructed upon lies, deceit, murder and treachery is sure to be torn asunder. “Custom hath made it in him a property of easiness” (Act V, scene I, lines 70, 71), which is spoken of a gravedigger, drolly in nature, blithely given to the task he performs daily, and yet so poignant a proclamation of the very kingdom.
