What is a Marxist approach to Hamlet's Act 3, Scene 4?
Marxist criticism is not simply an attempt to examine the existence of class within a literary work, but to understand its "forms, styles and meanings as the product of a particular history," as prominent critic Terry Eagleton puts it. Marxist readings analyze ideologies and structures within a text, assessing how social factors may impact the behavior of characters.
In this scene from Hamlet, a Marxist reading might be that Hamlet 's own convictions, based upon the morals of the society in which he lives, lead him to believe that he has the moral high ground over his mother, whom he feels to be a sinner. This in turn means that Hamlet feels free to overturn the usual social expectation that he should treat his mother with respect: by sleeping with her late husband's brother, Hamlet feels she has resigned any position of respect she might have held. The early...
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exchange between Hamlet and his mother feels extremely childish, with Hamlet's retorts to her sing-song sardonic echoes of her chidings ("Mother, you have my father much offended."). Note that Hamlet does use the "you" form in addressing his mother, but here this seems to signify distance or coldness, rather than the respect it might usually imply.
Hamlet declares Polonius to have been equally condemned by his behavior, an inhabitant of an "enseamed bed." To him, Hamlet uses the informal "thee" pronoun insultingly: "I took thee for thy better."
Later in the scene, as Hamlet is explaining his reasoning, the ghost of his father appears, but Gertrude does not see him, declaring that Hamlet is "mad." A Marxist reading here might be, then, that Hamlet's moral outrage is so extreme that it has literally manifested itself as a ghost only he can see, supporting his argument.
What is a Marxist approach to Hamlet in Act 5, Scene 2?
A Marxist analysis will always look at a text in terms of economics and social class relations, with a view toward examining the ways in which the text reinforces or critiques hierarchies of social oppression.
With regard to this specific scene, you might look at the implied class relationships between Hamlet and Rosencrantz and Guildenstern as they affect Hamlet's treatment of his old schoolfellows. Another interesting topic would be the way that Claudius has manipulated Laertes in the context of their social and political relationship and the results that it has in this scene.
You could also examine the metaphorical economies at play in the text; what commodities do you see as being traded or sold? Examples might be death or information. What are the metaphorical economic relationships amongst the major characters, and how do they affect the way that the play's events turn out? What is the connection or interaction between these economics and the power relationships at work in the play?
This is an interesting question in that Act 5, Scene 2 is not necessarily significant in regards to plot. It is, however, significant in regards to character. A Marxist approach would always have to include a power struggle of rich vs. poor, owners vs. workers, or the “haves” vs. the “have nots.” Because this scene reveals the fate of Rosencrantz and Guildenstern (due to Hamlet’s intervention), a simple Marxist approach must mention how this power struggle plays out.
A review of the situation is appropriate here in order to indicate the power struggle. Rosencrantz and Guildenstern have always been Hamlet’s friends. Recently, however, they have begun spying on Hamlet for Claudius. This originally makes Hamlet angry enough to ridicule them with words, but not with much else. Things get worse when Claudius orders Hamlet’s death in England and asks Rosencrantz and Guildenstern to deliver the message. Of course, Rosencrantz and Guildenstern are happy to oblige. Hamlet is now livid. He takes the letters and changes them to indicate the deaths of Rosencrantz and Guildenstern instead. Hamlet seals the letters with the king’s own seal. Rosencrantz and Guildenstern are dead.
Unfortunately for Rosencrantz and Guildenstern, they are the “have nots” of the situation. As a result, they are killed. Hamlet, of course, is an example of one of the “haves” who is able to use his power to exert his own desires. In this case, Hamlet desires to get back at Rosencrantz and Guildenstern. Ironically (and despite his Marxist status), Hamlet is unable to control his inaction, his tendency to over-think things, or his own death due to poison.