Hamlet's Madness

Hamlet's madness is one of many disguises used to gain power over others. Because the line between madness and sanity is subject to change (depending on the context of ones actions), Hamlet's choice of disguise is both the most effective and the most volatile form of power in Shakespeare's play.

There are considerable distinctions between the actions of Hamlet in his "mad" state of mind and the few other characters that undoubtedly lost sanity. Hamlet is a smart, scholarly man, and faking a mental disability could certainly be apart of his plot to avenge his father's death, which was a command of his father. Hamlet gives a warning to Horatio and others that he might act strangely at times, which would put whatever mad tendencies he displays
He is the first to bring the idea of Hamlet's insanity to the King and Queen; therefore, at first, it could just be a technique to give more reason to send Hamlet away to England. Ophelia reports to her father that Hamlet was somewhat violent with her, both physically and verbally. From her description he displayed drastic unawareness, through his lack of proper clothing and insensible speech, so much that it seems highly improbable that he went mad so quickly. It most likely would have been a more gradual process. Later while Hamlet is speaking to Rosencrantz and Guildenstern, there is no textual note of odd dress, or unordinary facial expressions through the rest of the play, like those that Ophelia reported to her father. Hamlet is talking as anyone would when he greeted his childhood friends, a large contrast to the tone and attitude he had moments before they entered the room. His remark "these tedious old fools" (2.2.237), referring to Polonius and Claudius, is a glimpse of Hamlet's sane side, which he was choosing not to show to the king and his advisor. After the play, The Murder of Gonzogo, Hamlet talks to Horatio about Claudius' reaction to the play, and seems to be fine. It would be very strange that the prince would be able to regain his sanity after such intense periods of speaking
Gertrude, Claudius, Polonius and others base their convictions of Hamlet's insanity on his belief of the presence of a ghost. They are wrongfully condemning his guilt, because not only do others see the ghost, but also it makes a statement of its need to see Hamlet, and only him. Gertrude denied sight of the ghost of King Hamlet a few times throughout the play, but that is not true with everyone. Marcellus and Barnardo saw the ghost initially, and though they were unsure who the figure was, the two men were smart enough to find a more scholarly and cultured man to judge the identity of the figure. The play opens with Horatio, Marcellus, and Barnardo watching for the spirit. Horatio is skeptical at first, but after seeing the former king, he finds his friend Hamlet, and tells him what happened. That is the first time we meet the young Hamlet. He is confused and troubled upon hearing the news, but does not hesitate in volunteering to go see for himself. When they arrive at the tower and see the ghost, Horatio and Marcellus try to keep their friend Hamlet from going along with it. They knew so little about the image; it could very well have been a war omen, or a demon. After he is certain that the figure is the Dane, and not a demon, Hamlet converses with it. His father tells