Hamlet might already be going mad once the play starts, and his later decision to fake madness might simply be a cover for real insanity. The initially line addressed to Hamlet is,“How is it that the clouds still hang on you?” (I.ii.): Claudius thinks it’s stselection and unhealthy that Hamlet is still grieving for his father. In the same scene, Hamlet tells us that he is wearing “solemn black” and a “dejected ‘havior” (I.ii.), which audiences in Shakespeare’s time would have recognized as signs of “melancholy,” a condition which Renaissance doctors thought can cause madness.

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Although numerous personalities see the Ghost throughout Act One, only Hamlet hears it speak, which opens up the opportunity that the Ghost’s speech is a hallucination of Hamlet’s. Later, Hamlet wonders the exact same point, asking whether the Ghost’s story was a trick played on him by the Devil, “Out of my weakness and also my melancholy,/As he is very potent through such spirits” (II.ii.). The possibility that Hamlet is mad once the play starts forces us to question the reality of every little thing he claims, making his character also even more mysterious.

Hamlet’s misogynistic habits towards Gertrude and also Ophelia have the right to be viewed as evidence that Hamlet really is going mad, bereason these scenes have actually little bit to perform via his search for justice yet seem toprovoke his strongest feelings. We see bit evidence in the play that either Gertrude or Ophelia is guilty of any kind of wrongdoing, and they both show up to feel genuine affection and issue for Hamlet. Yet he treats them both with paranoia, suspicion, and cruelty, saying he has actually lost the capacity to accurately interpret other people’s motivations.

Hamlet defines Gertrude’s marital relationship as “incestuous” (I.ii.), however no one else in the play agrees with his opinion. Even though the Ghold instructs Hamlet not to “contrive versus thy mother aught” (I.v), Hamlet’s disgust through his mother’s sex life mounts as the play continues: when he lastly confronts Gertrude he paints a photo of her “honeying and also making love over the nasty sty” (III.iii).

Hamlet demonstprices a comparable attitude to Ophelia’s sexuality, informing her “Get thee to a nunnery” quite than become “a breeder of sinners” (III.i). After providing Ophelia a long list of what he sees as women’s faults, Hamlet confesses: “It hath made me mad” (III.i). The truth that Hamlet’s biggest emotional outbursts are directed versus the sexual feelings of the womales in his life argues that his mad behavior is not simply a ploy to disguise his revenge plans.

In spite of the evidence that Hamlet actually is mad, we likewise watch substantial proof that he is simply pretending. The the majority of noticeable proof is that Hamlet himself says he is going to pretend to be mad, saying he is at leastern sane enough to be able to tell the difference between disordered and also rational actions. Hamlet tells Horatio and also Marcellus that he plans to “put an antic disposition on” (I.v). His “mad” remarks to Polonius—“you are a fishmonger” (II.ii)—are as well silly and periodically also clever to be genuinely mad: even Polonius notes “How pregnant occasionally his replies are” (II.ii.).

Hamlet’s most mad-seeming outburst, against Ophelia, might be explained by the reality that Claudius and Polonius are spying on the conversation: if Hamlet suspects that he’s being spied on, he might be acting more deranged than he really is for the benefit of his listeners. If Hamlet does know that Claudius and also Polonius are listening, the reality that he have the right to instantly adjust his habits points toward the concept that he has a firm grip on reality and also his own mind.

Similarly, as soon as Hamlet is sent out to England, he acts skiltotally and also ruthlessly to escape, which argues that even at this late stage in the play he is qualified of perfectly sane actions. For eincredibly piece of evidence that Hamlet is mad, we deserve to also suggest to proof that he’s sane, which contributes to the mystery of Hamlet’s character.

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By making the audience constantly question whether Hamlet is really mad or simply pretfinishing, Hamlet asks us whether the line in between truth and also acting is as clear-cut as it appears. Hamlet tells us that he believes the objective of acting is “to hold, as ’twere, the mirror as much as Nature” (III.ii), that is, to be as close to truth as feasible. The First Player cries as he delivers a sad speech, and Hamlet asks whether the Player’s pretfinished feelings are more powerful than his own actual feelings, considering that Hamlet’s feelings are not solid sufficient to make him cry. Hamlet appears to believe that acting can be as real, or realer, than real-life eactivity, which raises the possibility that by pretending to be mad, Hamlet has actually actually resulted in his own psychological breakdown.

Anvarious other interpretation can be that Hamlet acts mad as a means to expush the solid, troubling eactivities he can’t enable himself to feel as soon as he’s sane, just as the actor deserve to cry easily once playing a function. Throughout the play, Hamlet struggles to identify which role he need to play—thoughtful, reticent scholar, or revenge-minded, decisive heir to the throne—and also by acting both components, Hamlet explores what his true role need to be. Hamlet forces us to question what the truth is: exactly how have the right to we tell in between reality and also pretense?