Fortinbras - Wikipedia
Like every other young man in this play, Fortinbras has a serious case of daddy issues. His dad Old Fortinbras, former King of Norway, made a bet with Old. Horatio, when he sees the ghost of the old king, says: Unlike Hamlet, Fortinbras has a strong relationship with the rest of his family. This is a. By making this vow, it is suggested that Fortinbras Jr. also has a close relationship with his Uncle too. Fortinbras Jr's ID is calmed by his.
The mental will is undeveloped and ineffective. This explains why he is prone to constant mental agitation which does not translate into action.
He acts only when mind is brushed aside and the vital is free to move unimpeded--that is, when the gap between mind and the vital is temporarily filled. Revenge is a vital motivation. It can activate mind only to the extent that mind is subservient to the vital.
Left to itself mind finds no interest or satisfaction in it. The situation in consciousness expresses literally in life. Hamlet has grown to manhood, his faculty of knowledge is developed, but he is excluded from the throne which is the true power for action.
In this respect he is not merely an individual but a representative of a growth in the society as a whole. Not only is his birth a new development in the society, but it threatens the existing social consciousness and evokes a response of fear and hostility from it. In other words, his birth marks the appearance of a greater possibility, a greater power of consciousness, to rule Denmark. Because it is a higher development it has a power over the existing society and also poses a threat to it.
But because it is young and not yet integrated with the present achievements of the civilisation, it is awkward, unbalanced, weak and its appearance creates a temporary disequilibrium or gap in the consciousness of the society. This gap is a weakness which invites a challenge. The challenge comes from Norway as war.
In life, a new emergence usually brings with it an upset, accident or temporary difficulty. But where the basis is firm and the new element positive, the net result is an expansion and progress. Now let us turn to the text and follow the movements of life. The appearance of the Ghost and the news of war are simultaneous. The violent act of murder, though unknown to the public, evokes a violent challenge from abroad. When we first meet Hamlet he is sunk in deep melancholy. When his black attire is being noticed, he tells the queen: But I have that within which passeth show; These but the trappings and the suits of woe.
She, who clung to the king like a vine and whom Old Hamlet treated so lovingly, has proved most venal: His mind is paralysed and morbid. He had seen the lowness of her character and his mind generalises it as a truth of life and the world: How weary, stale, flat and unprofitable, Seem to me all the uses of this world!
He feels identified with his mother. I am myself indifferent honest; but yet I could accuse me of such things that it were better my mother had not borne me: I am very proud, revengeful, ambitious, with more offences at my beck than I have thoughts to put them in, imagination to give them shape, or time to act them in.
What should such fellows as I do crawling between earth and heaven? We are arrant knaves, all; believe none of us. When Horatio seeks out Hamlet to tell him of the Ghost, there is an interesting example of a type of subtle perception quite common in life which we usually dismiss as coincidence.
Fortinbras as a Foil for Hamlet | Owlcation
I saw him once; he was a goodly king. He was a man, take him for all in all, I shall not look upon his like again. My Lord, I think I saw him yesternight. My lord, the king your father. When the Ghost appears, Hamlet shows both courage and a reckless abandon born of despair: Why, what should be the fear? The Ghost commands him to Revenge his foul and most unnatural murder I. Rather he feels himself collapsing and his mind fainting away from the knowledge.
Hold, hold, my heart; And you, my sinews, grow not instant old, But bear me stiffly up. O most pernicious woman! O villain, villain, smiling, damned villain! My tables,--meet it is I set it down, That one may smile, and smile, and be a villain: How to forget unless from utter horror and despair? His emerging power of mental consciousness is oppressed by an enormous burden which threatens to destroy it. Yet almost immediately we see the strength and adeptness of his mind reassert themselves.
Fortinbras as a Foil for Hamlet
He knows exactly how to handle his companions, refuses to reveal anything, and elicits an oath of secrecy from them. Rather from a wider viewpoint it can be seen that the existing social forces are covertly working through subconscious life channels to weaken or destroy the nascent mental consciousness in Hamlet by presenting it in its weak condition with an intolerable burden.
It is the same movement that overtly confronted Socrates, Copernicus, Jesus and innumerable others who represented in themselves some new manifestation.
Hamlet is not a symbol or a metaphorical image of an allegory. He is a living example of the process by which human life evolves and the dynamics of that evolution.
We have stated earlier that his mind achieves primarily a negative power of insight rather than a positive will to action or an intuition of higher truths which could have saved him from despair. Had his mental will been developed he may have had the power and initiative to act definitively instead of endlessly delaying.
But as it is he lacks the strength and balance of a mature mind. He finds himself in a time and conditions foreign to his nature and not conducive to the flowering of his mental consciousness. The time is out of joint: O cursed spite, That ever I was born to set it right! First there is the question of succession. It appears that the transition of power occurred quietly and smoothly without disturbance and once Claudius is King, he seems to have the full confidence of the court.
How is it, we may ask, that no one has raised a vocal complaint against incest and usurpation--unless there is a subconscious consent in the collectivity to the illegitimate marriage and coronation?
Not only is there a lack of resistance or objection to Claudius but there are several conscious initiatives against Hamlet. The most powerful is the work of Laertes and Polonius to discredit Hamlet in the eyes of Ophelia and prevent the lovers from further meetings. It appears as simply the loving concern of a father and brother and we do not imply that they were conscious of anything more.
The clear implication is that their attitude has changed after Hamlet was dispossessed of the crown. But is he not still a prince and a very fitting marriage partner?
Why, then, the change? What else can he think but that Ophelia like his mother is weak, unfaithful, and has lost her affection for him?
When later Hamlet breaks into her room with dishevelled clothes and shaking body he is obviously not feigning distress. It is one last desperate effort to find some emotional support and to confirm or deny his worst fears of her. Ophelia is a weak personality unable to respond to his need and frightened by his intensity.
She remains motionless and he withdraws. Laertes touches a deeper truth in his warning to Ophelia about her relationship with Hamlet: That for some vicious mole of nature in them, As, in their birth--wherein they are not guilty, Since nature cannot choose his origin-- I. It results from this particular character of emerging mind being placed in the position as rightful heir to the throne.
Father/son relationships in Hamlet by Emily Rose on Prezi
On his life and action depends the future of Denmark. Laertes refers to the positive challenge placed on Hamlet by his birth while Hamlet refers to the negative burden of impurity he has inherited from his mother. Polonius takes an active initiative against Hamlet. I would not, in plain terms, from this time forth, Have you so slander any moment leisure, As to give words or talk with the Lord Hamlet.
He is essentially a good man but not honest, and Hamlet tells him so: Then I would you were so honest a man. Both for his ignorant assertion and his unconscious collaboration, he reaps a swift reward. He is the first bystander to take sides and initiate a negative action and he is the first to fall. One further example may be cited of the general movement against Hamlet.
It is the readiness with which his old schoolmates, Rosencrantz and Guildenstern, respond to the lure of royal recompense: Again we may claim that the agents were unconscious and meant no harm to Hamlet, only to serve the king and help their disturbed friend. Or at most we may accuse them of responding to a bribe. The very fact that a man becomes a channel for negativity to reach another person indicates some desire or willingness in him to see the other suffer.
It is one expression of the law of inner-outer correspondence. Rosencrantz and Guildenstern respond to the general vibration of hostility and lend themselves as channels for its expression.
Furthermore, how can we explain events such as his meeting the pirate ship which seem to actively support his cause even in spite of his own incapacity and unwillingness? It is this force which Hamlet feels as Providence and A.
Bradley dismisses as chance or accident. This deeper connection is confirmed by the fact that soon after Hamlet accepts the duty of revenge, the threat of outer war disappears and the direct confrontation of antagonists commences. The attitudes of Francisco, Marcellus, Bernardo and Horatio are a second expression.
We may take them as representative of the common people of Denmark, as opposed to the aristocracy. They express feelings of sadness, discontent and uneasiness over the rapid changes in the country. Their natural goodwill and loyalty is towards Hamlet, not Claudius, and because of it, when the Ghost appears they immediately seek him out and refrain from informing the new king.
Horatio is more than a commoner but less than aristocracy. Of the major characters, he alone lives to tell the story. A further example of the manner in which these social forces find avenues for expression is the sudden arrival of the players at Elsinore.
Rosencrantz, Guildenstern and Polonius view the players as a means to entertain Hamlet in the hope he will loosen up and reveal the true cause of his discontent. But Hamlet immediately recognises the troop as his old acquaintances and seizes on their profession as a means to trap the king.
It is not chance that brings them, but an active force. There are other striking expressions of the life forces supporting Hamlet in his effort and carrying him forward in spite of himself. We shall return to these events shortly. But first we must enquire into the nature of these forces which at crucial moments seem to have saved him from disaster or raised him out of inertia into activity.
This positive atmosphere acts as a channel for supportive conditions and events. In normal life we refer to it as good fortune, chance, luck, coincidence, according to our disposition.
There are also indications that the people suspected some foul play or immorality in the behaviour of Claudius and the queen. A general feeling of suspicion, disapproval or moral outrage among the people would have a powerful influence on the events which followed. Laertes shall be king, Laertes king! At a deeper level the positive support for Hamlet reflects the readiness and willingness of the country for an evolutionary advance, namely, to develop a governing mental consciousness.
The resistance to this advance comes from the old established order, not the wider collectivity and we find the forces of the social life constantly fostering the movement. When it is disturbed by Claudius or delayed by Hamlet himself, the country shows signs of disease or decay symptomatic of the transition from an old to a new consciousness.
Because it is simply a vital force and not the full emotional personality, it lacks warmth and Hamlet feels no attraction or affection for it. His pride is hurt because the queen chose a man of inferior quality over him. He is not only angry but also sad, and this sadness stems from his continued attachment to his wife. His last words to Hamlet on the battlement are not of revenge at all, but about the queen: But, howsoever thou pursuest this act, Taint not thy mind, nor let thy soul continue Against thy mother aught: The Ghost says, …………………….
But, look, amazement on thy mother sits: O, step between her and her fighting soul. By allowing herself to be won over and seduced, she paved the way for Claudius to kill the king and claim the throne. In trying to spare her punishment, the Ghost is actually protecting the source of all the difficulty. So long as the queen remains alive, Hamlet is unable to kill Claudius. Hamlet senses this truth in himself. The difference between Hamlet and his father is mind. Hamlet possesses true emotions born of mind while his father has only uncontrollable feelings flowing to an object, a foolish fondness aware of its own intensity, emotions of a low order lacking discrimination.
Ophelia, like the queen, is a weak, unformed personality, but she does not suffer from the same impurity and depravity. Her weakness is that of a passive submission to the insensitive commands of her father.
When Hamlet comes to her in desperate need of support, she is too ignorant and frightened to respond. She is incapable of receiving or returning any intense emotions. Even had their relationship been allowed to continue, the stress of the intensity would have led to illness or separation.
O dear Ophelia, I am ill at these numbers. I have not art to reckon my groans. Secondly, in a moment of hypocrisy, Claudius calls the Prince of Norway a shameless opportunist. These estimations of Fortinbras build a connection between him and Hamlet, making him a foil for the protagonist. Both men have lost their fathers and now seek retribution.
A point of difference is their family relations. Unlike Hamlet, Fortinbras has a strong relationship with the rest of his family.
This is a quality Claudius uses to avoid war. Ambassadors from Norway come and explain the situation to Claudius. Though a warrior and a prince, Fortinbras knows there are forces with greater authority them himself, and he honors the will of those forces.
However, his off-stage actions at the beginning of the play set the political tone and context of the whole work.
The Prince of Norway also holds glory and honor in high regard. He is going to fight the Polish for glory, not monetary gain. This revelation leads Hamlet to praise Fortinbras: However, these passages let the reader know Fortinbras is still lurking on the fringes of the play, and he appears—or at least a representative of his force does—at the center of the play when the situation has become even more dire now that Hamlet has killed a man.
Another telling quality of Fortinbras is his brevity. This virtue also puts him at odds with the more introspective and longwinded Hamlet. Fortinbras only appears twice in the play, and he does not speak more than nine lines at any one time. This succinctness may be a symptom of his militaristic nature, for he is a man of action more than words. Nonetheless, this quality is admirable, and near, death, Hamlet claims the Prince of Norway is likely to be the next king 5. Though he two are foils of each other, Hamlet deeply respects Fortinbras it seems.
Though much of his time is consumed by martial affairs, Fortinbras shows himself to be more than a warrior. His affinity for honor and glory makes him sound evenhanded or perhaps just.