After killing King Hamlet, Claudius shadows his excitement about his own coronation by deflecting his subjects attention: “we with wise sorrow think on him” (1.2.6). Claudius does not evince his true self through his interactions, for when he speaks to Laertes about Polonius, Claudius artificially states that Polonius is “[more] instrumental [than] than the hand to the mouth, [nor] the head … to the heart” (1.2.48). Professions of love like this one for Polonius hold no value, for Claudius has proven to be disgustingly content in getting rid of his loved ones for personal gain. Indeed, Claudius calls the son of his murder victim “sweet and commendable” (1.2.90), but Claudius only wants Hamlets complacent silence. However, contrasting Claudius, Hamlet always portrays what he is thinking into his interactions. When speaking to Gertrude in about his mood, Hamlet genuinely says that it is “not alone [his] inky cloak” (1.2.80) that represents his feelings, but his insides also burn with grief for his father, so he displays it outwards. Hamlet truthfully explains that all the “shapes of grief” (1.2.85) he feels are not an act, but things that “denote [him] truly” (1.2.86). Indeed, Hamlet is prone to emotional outbursts, for when he is alone after Claudius beseeches him to stay in Denmark, Hamlet wrestles with the idea of “self slaughter” (1.2.136), and he says, “O, that this too, too sullied flesh would melt, thaw, and resolve itself into a dew” (1.2.133). Through Hamlets genuine outbursts being considered feminine in the eyes of the royal court, and Claudius’ faux empathy being lauded, Shakespeare shows that emotional control is paramount in maintaining respect from ones
After killing King Hamlet, Claudius shadows his excitement about his own coronation by deflecting his subjects attention: “we with wise sorrow think on him” (1.2.6). Claudius does not evince his true self through his interactions, for when he speaks to Laertes about Polonius, Claudius artificially states that Polonius is “[more] instrumental [than] than the hand to the mouth, [nor] the head … to the heart” (1.2.48). Professions of love like this one for Polonius hold no value, for Claudius has proven to be disgustingly content in getting rid of his loved ones for personal gain. Indeed, Claudius calls the son of his murder victim “sweet and commendable” (1.2.90), but Claudius only wants Hamlets complacent silence. However, contrasting Claudius, Hamlet always portrays what he is thinking into his interactions. When speaking to Gertrude in about his mood, Hamlet genuinely says that it is “not alone [his] inky cloak” (1.2.80) that represents his feelings, but his insides also burn with grief for his father, so he displays it outwards. Hamlet truthfully explains that all the “shapes of grief” (1.2.85) he feels are not an act, but things that “denote [him] truly” (1.2.86). Indeed, Hamlet is prone to emotional outbursts, for when he is alone after Claudius beseeches him to stay in Denmark, Hamlet wrestles with the idea of “self slaughter” (1.2.136), and he says, “O, that this too, too sullied flesh would melt, thaw, and resolve itself into a dew” (1.2.133). Through Hamlets genuine outbursts being considered feminine in the eyes of the royal court, and Claudius’ faux empathy being lauded, Shakespeare shows that emotional control is paramount in maintaining respect from ones