Polonius has sometimes been presented Essay

on that point has been much fence amongst critics and directors a handle on the depth of Poloniuss character, and his purpose in the break a appearance. There argon those, such as critic Myron Taylor, who muckle him as a to a greater extent than dismal persona, arguing his ineffectuality does non free his moral deviousness. Appearance has be put in his human beings, thus implying he is spendd for peril dramatic effect.However others take a more sympathetic view, for example Elkin Calhoun Wilson that senility repeatedly am enjoyments us in his be intimate for lecturing and giving advice, however sound, to his wind young, at that placefore understand him as a more bumbling and bizarre element to an other sharp serious play. in spite of understanding both these views I still, want small town, see Polonius as a rash, go in receive carry. 3 shooter. 4 margin33and believe anything through that may appear enigmatic or ominous finish only deport occurred unintent ionally (in the script) or through caricature in directing.Similarly to Wilson, I burn see how Polonius would add light-hearted, curious meter out to the play, oddly when paired with quick-witted settlement, found out the cracks in Poloniuss delusional sharp caperction he has adopted. Polonius has traditionally been vie as a dreary character, with exaggerations on his spying and sneaking around castles, as is portrayed in Franco Zeffirellis version, though many productions in the 20th coke let instead portrayed him as older and more bumbling to bring a comic element to the play. There be two sides of Polonius shown in procedure 1 Scene 3 and Act 2 Scene 1.These focus on his relationships with Ophelia and Laertes, and to me portray him as foolish once more, though non unintelligent. He appears authoritative attend to tot I charge you come your ways Scene3 line. 135 to Ophelia and gives further book of instructions to Laertes Aboard, aboard.. neither a borrower no r a loaner be lines55+75. This extra line enforces the sentiment he is comical/foolish advising Laertes to render else hell miss his crossing, withal speak to bombard him with a prolonged consultative savoir-faire that states what is obvious.It does seem that he is straggly here as healthful, as of run for Laertes is returning to university, not moreover starting, do the well-meant advice effectively knowledge that Laertes already has. Both his turnedspring create an force of having to be patient with him, replying in just short sentences as if to make up for time lost Most nastily do I take lead my lord Laertes line 81. The auditions knowledge that he isnt as respected as he thinks himself to be can be humorous, developing an or so bumbling man who is held in higher(prenominal) esteem by himself than up to now his long-suffering, and in the case of Ophelia, oppressed, children.With Ophelia, there is a evidentiary difference their relationship than that with Laer tes Polonius seems highly unreactive to her feelings, and Ophelias replies become more guarded and subservient. When speaking to Ophelia, for example, Polonius advises her on her relationship with hamlet Do not believe his vows, for they atomic number 18 brokers Act 1 sc. 3 line 127 in Kenneth Branaghs production of the play, Ophelia has already slept with juncture, and Branagh makes use of flashbacks in Ophelias judgement of their intimate 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 slim use to anybody, which in turn streng and thens his role as a comic. However, this display of a give c areability could be argued to be compromised in Act 2 Scene 1 as Polonius plots to identify spies after Laertes put on him What forgeries you please, Act 2 sc. 1 lines19+20, potentially revealing a darker side to him, provided for me this is ruined ulterior on in intercourse 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 fatigued punctuation portray an inconsistent mind that runs away too easily and is not to be taken seriously sort of standardized the character itself not think to be a serious sensation. With relevance to Claudius, when both in a ikon, Polonius can either be argued to be more devious or even more of a fool. The former view could withdraw been picked up on because of the spying and officious 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 any(prenominal) may show a more sinister shade to his persona. In Branaghs untrimmed version, Polonius is shown to be slyer, with the including of his (spying) scene with Reynaldo a scene some directors cut out to promote their own, more positive view of the character, payable to his scheming. Polonius is in a superior sentiment in the court, which has been argued to be deliberate to use his status power to a menacingly-inclined advantage, notwithstanding is this because of his knowledge (as critic Harry Levin believes Polonius is repeatable because of the wisdom of his comments), or because Claudius just call for a friend?There is a conjecture which might explain his position, interpreting him as someone who once had a great mind, barely is now losing supremacy 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 also agreeing to a acting between small town and the fagot before critical point is sent to England. The latter theory is the sales booth that perhaps Claudius and Gertrude see him as a fool. When Polonius in Act 2 Sc. 2 gets carried away in his own tautology Why day is day, dar kness night line 88 unintentionally, he is opposing himself to the idea of his speech brevity is the soul of wit line 90, and Gertrude 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 declensional theory, as Polonius guesses-incorrectly and slightly hypocritically-that the cause of settlements madness is down to Ophelias rejection, again giving crossroads, and the reference, the upper hand yet do I believe The origin and commencement of his grief/ Sprung from neglected love.Even when it is confirmed that hamlets madness has nothing to do with Ophelia, Polonius ride outs 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 himself is taken in by Hamlets performance. It is also worth(predicate) 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 contumacious on a matter he previously disagreed with-and seemed so ready to work Ophelia likewise of- himself. Polonius is often crinkleed with Hamlet. It could be argued his direct in the play is to emphasise Hamlets quick-wittedness and intelligent nature. He seems not to understand the Prince is teasing him informally I did enact Julius Caesar, I was started I th Capitol Brutus killed me Polonius Act 3 Sc. 2lines one hundred five+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 speec h, peculiarly when he is with the King or puff 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 fun at the old diplomats expense.It also quite blatantly makes a joke out of Polonius, the laughs in the audience this time actually being against him, as he remains too winding in the sound of his own illustration to properly register what Hamlet is saying, establishing him undisputedly as a comic character. Hamlet is a character with an excellent control condition over language in the play though, and is naturally clever without striving to be, whereas Polonius speaks in dragging, slow bouts and wants to be considered wise.There is clear 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 around too cruel towards him at some points though, e. g. old men guard colour beards they have a plentiful drop of wit Act. 2 Sc. 2 lines 197-201, all the way describing Polonius, and so perhaps enforcing the idea of him as a sad character. Right until the end, Hamlet still treats Polonius as a cabin class person showing no regret at his end 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 earn 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 inclined that his persona in the play was one of elaboration and false grandeur.This is almos t like a last, bittersweet laugh against him, exactly the opposite of how he would have wish to have exited, the word dragged being of particular importance, as when performed on stage this would have been so undignified as to have crossed slightly into black climate territory, dep ratiocination on the director (Ill obturate the guts into the neighbour room, Hamlet, Act. 3 Scene. 4, line 213)It is also exposing that Polonius should have been killed from can buoy 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 reception 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 at long last taking revenge on Cla udius, and results in the murders of Gertrude, Hamlet, Laertes and Claudius.Whether this increases his worth or not in the play is open to interpretation. Elkin Calhoun Wilson decides Polonius has a lowly 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 walk old fool, but also, as Elkin writes, a comic appendage. overall then, looking at various views and canvas 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 catastrophe entangled in the plot which would other than make for a very discourage production. Of course, it is down to personal interpretation how a director would present the character, but to me the lengthy and se lf-important dialogue is unavoidable, and the undignified death inevitable, making Polonius -arguably- doomed to lack conceivable menace void of irony and humour, and and so 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. 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, promulgated 1994 Heinemann Advanced Shakespeare, published 2000 Journals Shakespeare Quarterly Vol. 9 (winter 2005), Vol. 8 No. 2 (spring 1968).