Hamlet (Prince of Denmark) is one of Shakespeare's more popular tragedies.(Shakespeare, 1600) The narrative is famous for its soliloquies, the use offantasy, immorality, deception and desperate attempts at redemption. Madness isthe main element driving the plot. This madness is either real, or it isfeigned"antic disposition." (Hamlet 1.5 line 181). When reality is driven by

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fantasy, one often raises doubts about a man's mental state. Chronic depression(without the closure of mourning) following the death of a loved one is also animportant consideration. Hamlet was not mad; he merely feigned it to accomplishhis end of vengeance. There is, however, evidence of deep psychologicaldisturbance, more rage, than madness. Anybody whose life's story involves hismother marrying her brother-in-law two months after her husband's death will notreact with stoicism. The premise of Hamlet is launched by the appearance of aghost to several people. This ghost, however, speaks only to Hamlet. On anotheroccasion, the ghost appears only to Hamlet and is not visible to Gertrude,Hamlet's mother. Psychologists would have a field day attempting to analyze thedeep schizoid interpretations associated with this fantasy. Despite the above,Shakespeare's fantasy imagery is essential to the plot. It does not makepronouncements on Hamlet's sanityTo understand how Hamlet's "madness" plays an important role in the story,it is necessary to visit a broad outline of the plot. The ghost of Hamlet'sfather visits Hamlet's friends, and later, Hamlet, to inform him that his deathtwo months prior was a "foul and most unnatural murder." (Hamlet 1.5 line 26) Itwas his brother Claudius, having an adulterous affair with his wife Gertrude, whohad killed the king by pouring poison in his ear. This new information rousesHamlet from his depression. He vows revenge. He informs his close friends that hewill feign madness in his vengeful quest. In the end, Hamlet does earn hisrevenge. Hamlet kills Claudius. Unfortunately, however, all this comes at a costof Hamlet's own life, that of his mother Gertrude, his prospective brother-in-lawLaertes, and his prospective father-in-law Polonius. In the process, his loverOphelia becomes genuinely insane. The only redeeming feature in this tragedy isthat Hamlet assures that Denmark is left in capable hands.The scenes involving madness have been contrived. Each of the scenes whereHamlet feigns madness is easily "seen through" by the audience or readers ofShakespeare's plays. There is no uniformity to the manifestation of madness.Hamlet manipulates each character in the play so that they attribute his madnessto different reasons: Polonius thinks it is due to his rejection by Ophelia, andRosencrantz and Guildenstern feel Hamlet suffers from ambition. Claudius doubtshis nephew's madness, but at the same time, Hamlet's melancholy nature is clearlyexpressed in the beginning by his continued mourning for his father. During thetime when this play was purported to have been written (circa 1600), excessivemelancholy was often associated with forms of madness. Shakespeare's Hamlet'sdepression is understandable and cannot be attributable to madness.Perhaps it is the genius of Shakespeare that he deliberately contrastsHamlet's behavior with that of Ophelia who is genuinely insane. While Shakespearedoes not directly pit Ophelia's insanity against Hamlet's madness, there isinstead a clear definitiveness in Ophelia's condition and a clear uncertainty inHamlet's madness. Obviously, Hamlet's character offers more evidence of madness,while Ophelia's breakdown is quick, but more conclusive in its precision.Shakespeare offers clear evidence pointing to Hamlet's sanity beginning with thefirst scene of the play.Instances from the play are key in demonstrating that Hamlet is posturing.The most direct is when Hamlet tells Horatio that he is going to feign madness,and that if Horatio notices any strange behavior from Hamlet, it is because he isputting on an act. (Hamlet 1.5 lines 166-180). Until the end, only Horatio is