The Many Faces of Claudius, from William Shakespeare’s Hamlet

William Shakespeare’s Hamlet addresses a variety of concerns through its characterizations. Claudius, in particular, is integral to the play’s tragic plot, and he thoroughly exemplifies falsity. Though Claudius attempts to create the facade that he is a ruler of great courage and conviction, he is, in actuality, a cowardly, vain and hypocritical man. His feigned valor is little more than bravado, as he possesses the capacity to exercise power only through deception. Claudius’ initial deceitful act instigates an horrific chain of events that is merely aggravated by the illusory nature of his persuasions. Therefore, my character study of Claudius supports Hamlet‘s theme of the inherent danger in adopting appearances that contradict reality.

Claudius is first revealed to the audience in an effectively glorified state. He ceremoniously enters the stage as the recently crowned king of Denmark, and regally addresses his people. Passionately maintaining the claim that although the memory of his brother Hamlet, the recently deceased king, is still painful, he has a vital obligation to assume the throne. The kingdom has appropriately mourned King Hamlet’s loss, and it is time to embrace Claudius’ potent leadership. Within the first few lines of his speech, Claudius cunningly pays lip service to the beloved King Hamlet, while effectively promoting his own, apparently compassionate image. Already comfortable using majestic idioms such as the royal we, it is apparent that Claudius is immensely contented with his new responsibility. When Claudius mentions using “an auspicious and a drooping eye”, he would have his followers believe that he views the current situation with both remorse and hopefulness. However, in an act of complex verbal irony, Claudius’ statement also refers to his two-faced nature. The elder Hamlet of whom Claudius so lovingly speaks is the victim of Claudius’ murderous nature. Therefore, it is with unparalleled audacity that Claudius attempts to simulate the rhetoric of a noble sovereign.

Within the aforementioned speech, Claudius criticizes Fortinbras, the young Norwegian prince. He implies that Fortinbras is little more than an irritant to Denmark, believing that a mere persuasive letter can alleviate Claudius’ kingdom of Norway’s threat. Claudius handles the issue with suave self-importance, which culminates in his comments on the stare of Norway’s king. Explicitly asserting that the king is “impotent and bedridden”, Claudius attempts to elevate his own appearance of vitality and vigor by creating this contrast. However, a later soliloquy by Claudius refutes this overconfidence, revealing him to be a man grappling with extreme terror, cowardliness and a fixation with the self. Within the speech, Claudius argues with himself over the possibility of acquiring salvation. He considers his to be a wretched state, whereas he desires absolution, but greatly fears that it may not be attainable. at the fruition, he states “All may be well”, timidly implying that although prayer has the ability to mend situations and absolve sins, redemption is not always possible. Claudius’ speech ends without one unadulterated word of prayer. He speaks fearfully, and is thereby too cowardly to candidly beg for God’s forgiveness, thus segregating himself from the universal love of God. Additionally, Claudius no longer utilizes the royal we, intimating that the stately jargon he adopts is merely for show. Consequently, his repetitious use of the pronoun “I” relates to the isolation he experience as result of his guilt.

If Claudius truly wielded the arrogant attitudes alluded to in his earlier, kingly dialogue, he would not be apprehensive in articulating his remorse to God. Rather, he would anticipate God’s forgiveness, just as he expects the acceptance of his newly acquired kingdom. Though he attempts to influence the public with his blustering words, the Claudius seen in private is apprehensive, anxious and confused. Consequently, his appearance does not reflect his true nature, and Claudius’ deep-seeded personal demons eventually lead to his own destruction.

Another way Claudius endeavors to deny his true nature is his attempt to assume various roles left behind by the murdered elder Hamlet. Said roles include not only that of king, but also father and husband. However, his attempt to create the visage of a loving patriarch ends in tragedy, not only for Claudius and his stepson, Hamlet, but also for the Danish monarchy as a whole. Such tragedy is highlighted by a contrast between Claudius’ words of fatherly love, and his unrelenting desire to kill the object of that supposed love. Within Act I, Scene II, Claudius boldly attempts to solace the young Hamlet with regards to his father’s death. He asserts that extended periods of mourning are disrespectful in their stubbornness, and that it is now time for Hamlet to move on. Already suspicious of Claudius’ motives, these presumptuous words infuriate Hamlet. With these lines, Claudius attempts to simulate a fatherly role by counseling Hamlet. However, as Claudius is merely feigning the emotion and underpinning the words, his advice comes off as harsh and declaratory. Thus, due to Claudius’ artificiality, Hamlet responds by intensifying his pent-up rage. Such fury leads both indirectly and unequivocally to the deaths of the main characters.

In act I, Claudius declares to Hamlet, “my love for you is no less than the most affectionate father feels for his son”. However, Claudius’ various attempts to both spy on and eventually slay Hamlet strongly suggest these words to be of vastly false pretense. Claudius discovers that Hamlet is aware of his murderous secret, thereby propelling Claudius to see Hamlet dead. Hypothetically, Claudius’ fear for his own life, as well as for his position as king, far outweighs the paternal love he supposedly bears for Hamlet. It is improbable that a truly loving father, even one as devious as Claudius, would sacrifice his son for personal gain. Consequently, Claudius’ final plan to kill Hamlet is contrasted by Claudius’ simulation of fatherliness. At the final duel between Hamlet and Laertes, Claudius says “Our son will win:, and even drinks to Hamlet’s health. Claudius’ insistence on perpetuating the facade of an idyllic patriarch haunts him until his last breath. If it were not for his obsession with maintaining appearances and thereby saving himself, Claudius would not have allowed Gertrude to drink from the poisoned cup. When he warns Gertrude “not to drink”, it is almost as an afterthought. Claudius knows what will happen, but is far too consumed by his longing to salvage himself by seeing his “son’s” death.

Secondly, Claudius exhibits an immense degree of cowardliness, apparent within his inability to take direct action against those who oppose him. Rather, he employs others to do his dirty work for him. Motivated by an intense fear for his own life, Claudius is willing to use and manipulate those who are loyal to him, to whatever end. For instance, Act IV Scene III finds Claudius imploring Rosencrantz and Guildenstern to chaperone Hamlet to England. What is thought to be a mere banishment of Hamlet is exposed as much more, when Claudius, in his imagination, speaks to the king of England. Stating that England already dreads the wrath of Denmark, Claudius virtually commands the country to heed his sovereign word. In essence, Claudius uses fear tactics to gain what he desires, i.e. the murder of Hamlet. Citing Hamlet’s public popularity as the reason for his inability to deal with him personally in Denmark, Claudius merely invents reasons to avoid a one-on-one discord. Claudius, a king of great political power, already plans to suppress the truth of Polonius’ untimely death. Therefore, it appears entirely feasible that Hamlet’s demise could also be managed with such political prowess and finesse. However, Claudius’ cowardly nature forces him to avoid conflict at all costs, and to utilize men such as Rosencranz and Guildenstern as simple means to an end.

Similarly, Claudius manipulates the misery-ridden Laertes by persuasively utilizing Hamlet’s accidental murder of Polonius, and the subsequent mental instability of Ophelia. Claudius wryly informs Laertes that Hamlet is the perpetrator of the slaughter, and consequently, he utilizes a shrewd rhetoric to purposefully infuriate him. In Act IV, scene VIII, Claudius obliquely beseeches Laertes to act quickly on his angry impulses, for such passion is fleeting. Claudius indirectly relates this revenge to love, stating that time constantly weakens the fervor of affection. By asking what actions the betrayed Laertes will take in the name of his father, Claudius successfully employs language in an effort to exploit Laertes’ grief. Laertes submits to a plan for revenge against Hamlet, and the King once again manages to avoid personal conflict.

Moreover, Claudius’ initial murder of the elder King Hamlet was performed in a wholly nerveless fashion. Instead of facing him, effectively giving Hamlet a fighting chance, Claudius merely slips poison into the sleeping man’s ear, thus exhibiting the height of Claudius’ non-confrontational personality, and explicating his fearfulness. If he had not gone about the murder in so craven a manner, Hamlet could have avoided purgatory, thus quelling the ghost, who remains much of the tragedy’s instigating force.

In conclusion, the theme of Hamlet articulates the great danger inherent in the adoption of appearances that betray a differing reality. Hamlet states, “One may smile, and smile, and be a villain”. Claudius adopts various visages, each of which lead to personal tragedy, as well as to the anguish of those around him. Though he ardently attempts to conceal them, Claudius’ deceitful and essentially cowardly personality traits are ultimately revealed through his actions. Effectively, Claudius is a driving force behind Hamlet’s great tragedy, and without his immense character flaws, the play would not exist as it does.

Sources:

Hamlet, by William Shakespeare