Polonius has sometimes been presented Essay

There has been much debate amongst critics and coachs alike on the learning of Poloniuss character, and his purpose in the melt down. There atomic number 18 those, such as critic Myron Taylor, who view him as a much opprobrious persona, zephyr of reasoning his ineffectuality does non excuse his moral deviousness. Appearance has become his worldly concern, thus implying he is used for handsacing dramatic effect.However early(a)s guide a more sympathetic view, for example Elkin Calhoun Wilson that dotage repeatedly amuses us in his fondness for lecturing and full-grown advice, however sound, to his meandering novel, therefore interpreting him as a more bumbling and curious element to an other sharp serious play. Despite understanding both these views I still, like Hamlet, see Polonius as a rash, intruding fool motion. 3 panorama. 4 draw off33and desire anything done that may pop enigmatic or sullen notify only have occurred unintention on the wholey (in the scri pt) or through blowup in directing.Similarly to Wilson, I can see how Polonius would add light-hearted, merry relief to the play, oddly when paired witticismh quick-witted Hamlet, highlighting the cracks in Poloniuss delusional wise role he has adopted. Polonius has traditionally been played as a sinister character, with exaggerations on his staining and sneaking around castles, as is portrayed in Franco Zeffirellis version, though many actions in the twentieth Century have instead portrayed him as senescenter and more bumbling to bring a comic element to the play. There are two sides of Polonius shown in set 1 Scene 3 and feat 2 Scene 1.These focus on his traffichips with Ophelia and Laertes, and to me portray him as inadvisable once more, though not unintelligent. He appears authoritative Look tot I charge you come your courses Scene3 bound. 135 to Ophelia and gives further instructions to Laertes Aboard, aboard.. uncomplete a borrower nor a lender be tones55+75. Th is giveicular line enforces the paper he is comical/foolish advising Laertes to leave else hell miss his crossing, notwithstanding proceeding to bombard him with a lengthy consultanty speech that states what is obvious.It does wait that he is rambling here as well, as of course Laertes is travel to university, not good starting, making the well-meant advice effectively knowledge that Laertes al ca-ca has. Both his offspring create an impression of having to be patient with him, replying in just short sentences as if to make up for time incapacitated Most humbly do I take leave my captain Laertes line 81. The audiences knowledge that he isnt as respected as he thinks himself to be can be humorous, exploitation an almost bumbling man who is held in higher esteem by himself than even his long-suffering, and in the case of Ophelia, oppressed, children.With Ophelia, there is a significant inequality their relationship than that with Laertes Polonius seems highly insensitive to her feelings, and Ophelias replies become more temperate and subservient. When speaking to Ophelia, for example, Polonius advises her on her relationship with Hamlet Do not believe his vows, for they are brokers Act 1 sc. 3 line 127 in Kenneth Branaghs production of the play, Ophelia has already slept with Hamlet, and Branagh makes use of flashbacks in Ophelias attend of their sexual relations as she listens absent-mindedly to her father.This helps back up an image of Polonius as rather ignorant, especially as Ophelias reply is so submissive, building an impression of an advisor of teeny use to anybody, which in turn strengthens his role as a comic. However, this display of likeability could be argued to be compromised in Act 2 Scene 1 as Polonius plots to send spies after Laertes put on him What forgeries you please, Act 2 sc. 1 lines19+20, potentially revealing a darker side to him, yet for me this is done for(p) later on in duologue And then, sir, doesa this-he does-what wa s I well-nigh to say? suggesting he puts on an act whilst playing up his deviousness, as the inconsistency in language, dashes and faltering punctuation portray an inconsistent mind that runs away too easily and is not to be taken mischievously quite like the character itself not intended to be a serious one. With relevance to Claudius, when both in a scene, Polonius can any be argued to be more devious or even more of a fool. The former view could have been picked up on be energize of the spying and meddling that occurs between the two of them, such as in Act 3 Sc. 1 Her father and myself, lawful espials, Will so institute ourselves lines 32+33 and to some may show a more sinister shade to his persona. In Branaghs full-length version, Polonius is shown to be slyer, with the including of his (spying) scene with Reynaldo a scene some directors cut out to enhance their own, more verificatory view of the character, due to his scheming. Polonius is in a superior position in the cou rt, which has been argued to be deliberate to use his status power to a menacingly-inclined advantage, tho is this because of his wisdom (as critic Harry Levin believes Polonius is quotable because of the wisdom of his comments), or because Claudius just needs a friend?There is a theory which baron explain his position, interpreting him as someone who once had a capital mind, but is now losing control of it. This is Polonius in a more sad light, though Claudius evidently still relies on him and trusts him, as he follows Poloniuss advice regarding spying, but besides agreeing to a take ining between Hamlet and the nance before Hamlet is sent to England. The latter theory is the viewpoint that by chance Claudius and Gertrude see him as a fool. When Polonius in Act 2 Sc. 2 gets carried away in his own wordiness Why day is day, darkness night line 88 unintentionally, he is opposing himself to the idea of his speech transitoriness is the intelligence of wit line 90, and Gertru de even remarks More matter with less art. line 95, in other words, bluntly pointing out that Poloniuss act as a wise advisor is conjured by himself that he is not the mind he thinks himself to be. Act 3 Scene 1 reconfirms my phone lineal theory, as Polonius guesses-incorrectly and slightly hypocritically-that the cause of Hamlets madness is down to Ophelias rejection, again giving Hamlet, and the audience, the upper hand yet do I believe The origin and commencement of his grief/ Sprung from neglected love.Even when it is confirmed that small towns madness has nothing to do with Ophelia, Polonius sticks to his theory despite all evidence pointing to the contrary. Far from appearing sinister then, the two (Claudius and Polonius) together appear foolish, like puppets with Hamlet as their master, manipulating and playing their minds. This is demonstrated earlier in the play, as Polonius tells Ophelia not to believe his vows for they are brokers Act 1 sc. 3 line 127, yet here, he him self is taken in by Hamlets performance. It is also worth noting that Polonius had previously told Ophelia Affection?Pooh, you speak like a green girl Act 1 Sc. 3, lines 127, + 101, showing he is proving to be strong-minded on a matter he previously disagreed with-and seemed so ready to persuade Ophelia likewise of- himself. Polonius is often contrasted with Hamlet. It could be argued his place in the play is to emphasise Hamlets quick-wittedness and intelligent nature. He seems not to understand the Prince is teasing him conversationally I did enact Julius Caesar, I was killed I th Capitol Brutus killed me Polonius Act 3 Sc. 2lines 105+106 It was a brute part of him to kill so capitol a calf there Hamlet lines 107+8.Scenes like this also help to contrast Hamlets sharp dialogue with Poloniuss slow, lengthy style of speech, featurely when he is with the powerfulness or queen regnant and uses it to impress as Elkin Calhoun Wilson has noticed and over-elaborating it his wisdom in speech with the King and Queen. Hamlet further makes Polonius the butt of his jokes in Act 3 Scene 2 By th mass and tis, like a camel indeed Polonius line 375 Methinks it is like a weasel Hamlet line 376 and has more pastime at the old diplomats expense.It also quite blatantly makes a joke out of Polonius, the laughs in the audience this time rattling being against him, as he remains too involved in the sound of his own voice to properly register what Hamlet is saying, establishing him unarguably as a comic character. Hamlet is a character with an clear command over language in the play though, and is naturally tricksy without striving to be, whereas Polonius speaks in dragging, slow bouts and wants to be considered wise.There is clearly little respect towards Polonius from Hamlet (you are a fishmonger Act.2 Sc. 2 line 174, and, as he is the protagonist of the play, this sways the audiences opinion towards him. He is almost too cruel towards him at some points though, e. g. old men have grey beards they have a plentiful lack of wit Act. 2 Sc. 2 lines 197-201, clearly describing Polonius, and so perhaps enforcing the idea of him as a tragic character. Right until the end, Hamlet still treats Polonius as a second-class person showing no remorse at his wipeout and branding him a rash, intruding fool Act 3 Scene 4 line 33 which of course he was.The words intruding convey a completely different meaning to cleverly inquisitive and rash doesnt invite the praise spontaneous would. He was then labelled a fool during his time in the play, and labelled a fool again upon his exit. It is ironic Poloniuss death should be so unceremonious Act 3 Scene 4, stage directions Exit Hamlet dragging in Polonius line 219 given that his persona in the play was one of elaboration and dishonest grandeur.This is almost like a last, bittersweet laugh against him, exactly the other of how he would have liked to have exited, the word dragged being of particular importance, as when pe rformed on stage this would have been so undignified as to have crossed slightly into black humour territory, depending on the director (Ill lug the guts into the neighbour room, Hamlet, Act. 3 Scene. 4, line 213)It is also exposing that Polonius should have been killed from behind the arras, and in a foolish way too.It would have been wiser to remain hidden, and so by shouting, symbolically, perhaps Polonius was revealing the superficiality there was to his sinister persona. Hamlets reaction is one of brevity and disrespect I took thee for thy better line 134. However, his death does act as a catalyst for the race towards the ending of the play Hamlet is sent to England to meet his death, though Rosencrantz and Guildenstern are killed instead. This proceeds to him finally taking revenge on Claudius, and results in the murders of Gertrude, Hamlet, Laertes and Claudius.Whether this increases his worth or not in the play is abrupt to reading material. Elkin Calhoun Wilson decides P olonius has a minor tragic dimension as well as a major comic boasting my eyes catch a more embracive view of him than Hamlets possibly can and with this I can, to an extent, agree. It is tragic he should be cast off in such a way, and in him there was not just the doddering old fool, but also, as Elkin writes, a comic appendage. boilersuit then, looking at various views and studying the text thoroughly, I can stick by my judgement of Polonius as a foolish, though comic, character.Although considered unimportant by those in the play, I believe him to bring a pleasurable relief from the drama and tragedy entangled in the plot which would otherwise make for a very depressing production. Of course, it is down to personal interpretation how a director would present the character, but to me the lengthy and self-important dialogue is unavoidable, and the undignified death inevitable, making Polonius -arguably- doomed to lack credible threat void of irony and humour, and therefore set f irmly as a foolish prating character. 1999 words Sophie Mayall.Bibliography Websites usedhttp//www. metroactive. com/papers/metro/02. 20. 97/branagh-9708. hypertext markup language http//en. wikipedia. org/wiki/Polonius www. jstor. org- Studies in English Literature 1500-1900 Vol. 8, No. 2, Elizabethan and Jacobean England www. jstor. org- Shakespeare quarterly Vol. 9, No. 1 (Winter 1958), pp. 83-85 Films Kenneth Branaghs film version Hamlet 1996 Franco Zeffirellis film version Hamlet 1990 Copies of the text Cambridge School Shakespeare First Edition, print 1994 Heinemann Advanced Shakespeare, published 2000 Journals Shakespeare Quarterly Vol. 9 (winter 2005), Vol. 8 No. 2 (spring 1968).