Polonius has sometimes been presented Essay

in that location has been much take amongst critics and directors a a interchangeable(p) on the depth of Poloniuss character, and his break up in the converge. There be those, such as critic Myron Taylor, who view him as a much sinister persona, arguing his ineffectuality does non apologia his moral deviousness. Appearance has become his reality, thus implying he is exampled for menacing dramatic effect. only if others take a to a greater extent sympathetic view, for poser Elkin Calhoun Wilson that dotage repeatedly amuses us in his fondness for lecturing and giving advice, however heavy(a), to his meandering recent, so interpreting him as a more(prenominal) bumbling and comical element to an other sapiential sober play. Despite understanding both these views I still, handle crossroads, catch come out of the closet Polonius as a rash, intruding soft touch morsel. 3 exposure. 4 clientele33and entrust anything d genius that may erupt enigmatic or ominous sp ate merely consecrate occurred unintentionally (in the script) or through travesty in directing.Similarly to Wilson, I eject see how Polonius would add light-hearted, comic moderation to the play, especially when mated circuit boardh quick-witted small town, highlighting the cracks in Poloniuss delusional wise role he has adopted. Polonius has traditionally been play as a sinister character, with exaggerations on his espial and sneaking around castles, as is rendered in Franco Zeffirellis version, though homophiley productions in the twentieth Century put one across instead portrayed him as octogenarianer and more bumbling to bring a comic element to the play. There are two sides of Polonius tapen in travel 1 Scene 3 and Act 2 Scene 1.These focus on his relationships with Ophelia and Laertes, and to me portray him as suck inish once again, though not unintelligent. He appears authoritative Look tot I charge you come your ways Scene3 line. 135 to Ophelia and gives only instructions to Laertes Aboard, aboard.. neither a borrower nor a lender be lines55+75. This particular line enforces the idea he is comical/ soft touchish advising Laertes to leave else hell neglect his crossing, merely proceeding to bombard him with a protracted advisory speech that states what is obvious.It does seem that he is tangential here as well, as of frame Laertes is returning to university, not just starting, making the well-meant advice effectively knowledge that Laertes already has. Both his offspring effect an impression of having to be patient with him, replying in just short sentences as if to make up for clock lost Most humbly do I take leave my lord Laertes line 81. The consultations knowledge that he isnt as respected as he thinks himself to be can be humorous, developing an almost bumbling man who is held in higher esteem by himself than veritable(a) his long-suffering, and in the case of Ophelia, oppressed, children.With Ophelia, there is a cru cial difference their relationship than that with Laertes Polonius seems highly insensitive to her feelings, and Ophelias replies become more restrained and subservient. When peaching to Ophelia, for example, Polonius advises her on her relationship with critical point 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 see of their sexual relations as she listens absent-mindedly to her father.This helps back up an image of Polonius as kind of an ignorant, especially as Ophelias reply is so submissive, building an impression of an advisor of little use to anybody, which in turn strengthens his role as a comic. However, this display of worryability could be argued to be compromised in Act 2 Scene 1 as Polonius plots to trust spies after Laertes put on him What forgeries you please, Act 2 sc. 1 lines19+20, potentially disclosure a darker side to him, yet for me this is ruined later on in colloquy And then, sir, doesa this-he does-what was I about 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 intimately and is not to be taken seriously quite like the character itself not intended to be a serious one. With relevance to Claudius, when both in a scene, Polonius can either be argued to be more devious or even more of a twit. The former view could have been picked up on because 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 bestow ourselves lines 32+33 and to some may show a more sinister shade to his persona. In Branaghs full-length version, Polonius is sh give to be slyer, with the including of his (spying) scene with Reynaldo a scene some directors cut out to provoke their own, more positive view of the character, due to his scheming. Polonius is in a superior position in the court, which has been argued to be deliberate to use his status power to a menacingly-inclined advantage, but 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 supposition which great power explain his position, interpreting him as someone who erst had a great mind, but is now losing delay of it. This is Polonius in a more tragic light, though Claudius evidently still relies on him and trusts him, as he follows Poloniuss advice regarding spying, but also agreeing to a group meeting between juncture and the poove before crossroads is sent to England. The latter theory is the viewpoint that peradventure 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, wickedness night line 88 unintentio nally, he is opposing himself to the idea of his speech brevity is the soul of wit line 90, and Gertrude even remarks More theme 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 original theory, as Polonius guesses-incorrectly and slightly hypocritically-that the cause of Hamlets madness is down to Ophelias rejection, again giving Hamlet, and the consultation, the upper hand yet do I believe The origin and commencement of his tribulation/ Sprung from neglected love.Even when it is confirmed that critical points madness has nothing to do with Ophelia, Polonius sticks to his theory despite all evidence pointing to the contrary. Far from show sinister then, the two (Claudius and Polonius) together appear asinine, like puppets with Hamlet as their master, manipulating and playing their minds. This is demonstrated former 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 himself 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 stubborn 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 reenact Julius Caesar, I was eraseed 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 colloquy with Poloniuss slow, lengthy modality of speech, particularly when he is with the King or Queen and uses it to impress as Elkin Calhoun Wilson has noticed and everyplace-elaborating it his wisdom in speech with the King and Queen. Hamlet only 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 fun at the old diplomats expense.It also quite blatantly makes a joke out of Polonius, the laughs in the audience this time actually creation 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 excellent command over language in the play though, and is naturally quick 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 thought process towards him. He is almost too cruel towards him at some points though, e. g. old men have colour in beards they have a plentiful inadequacy of wit Act. 2 Sc. 2 lines 197-201, clearly describing Polonius, and so perhaps enforcing the idea of him as a tragic character. veracious until the end, Hamlet still treats Polonius as a cabin class person showing no remorse at his death 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 meddling and rash doesnt invite the praise self-produced 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, academic degree directions Exit Hamlet dragging in Polonius line 219 given that his persona in the play was one of elaboration and false grandeur.This is almost like a last, bittersweet laugh against him, exactly the opposite of how he would have liked to have exited, the word dragged being of particular importance, as when performed on stage this would have been so undignified as to have pass over slightly into black humour territory, depending on the director (Ill lug the guts into the neighbour board, Hamlet, Act. 3 Scene. 4, line 213)It is also exposing that Polonius should have been killed from back 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 shallowness 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 matter to him finally taking revenge on Claudius, and results in the murders of Gertrude, Hamlet, L aertes and Claudius.Whether this increases his worth or not in the play is open to interpretation. Elkin Calhoun Wilson decides Polonius has a minor tragic proportionality as well as a major(ip) 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 dotty old fool, but also, as Elkin writes, a comic appendage. Overall 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 welcome relief from the drama and tragedy entangled in the plot which would otherwise make for a very deject 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 undignifie d death inevitable, making Polonius -arguably- doomed to lack credible menace void of irony and humour, and therefore set firmly as a foolish prating character. 1999 words Sophie Mayall.Bibliography Websites usedhttp//www. metroactive. com/papers/metro/02. 20. 97/branagh-9708. html http//en. wikipedia. org/wiki/Polonius www. jstor. org- Studies in English Literature 1500-1900 Vol. 8, no(prenominal) 2, Elizabethan and Jacobean England www. jstor. org- Shakespeare every quarter 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 give instruction Shakespeare First Edition, published 1994 Heinemann Advanced Shakespeare, published 2000 Journals Shakespeare Quarterly Vol. 9 (winter 2005), Vol. 8 No. 2 (spring 1968).