I guess I would say it is theoretically possible--outside the text, but I don't see anything in the text that suggests it. Shakespeare is pretty likely to leave suggestions and is not at all afraid of any topic, so if it's not there I would not, if directing it, push it in that direction--though some director might see it as a new line to use in a modern production. (And I act in Shakespeare, but I am awed by directors: I never see the whole in advance they way they do.) But I have not read the text for a while: do you see any place it might fit? I can imagine finding a way to imply it in the bedroom scene between Hamlet and his mother--not as the Oedipal version but instead as one of another kind of emotional horror. And one that adds to the irony of killing off Polonius.
>>> "[log in to unmask]
" <[log in to unmask]
> 11/15/12 1:40 PM >>>
Is it not possible that Claudius is Prince Hamlet's father? Adding to the simmering madness, whether intelligently or emotionally portrayed and (in the play) played.
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On Nov 15, 2012, at 12:26 PM, Nancy Gish <[log in to unmask]
> I agree that the Hamlet essay is not very useful. I only think the the idea of making images that evoke feelings instead of announcing how one feels works for students. Giving it that name is helpful.
> As for Hamlet, by Eliot's own definition (did I say this here before?) I think a murdered father, a mother married to the murderer, a corrupt court, a fool following one around to spy on one and one's "friends" being treacherous in the same way might unhinge a lot of people. Hamlet has plenty of "objective correlative" to explain how he feels; it is hardly beyond the facts of his life.
> The finest Hamlet I have ever seen was Derrick Jacobi when he opened in London: he made Hamlet so intelligent that he could not not know what was all around him, and he could not bear it. Nothing about being too passive to act or being mad or just pretending to be mad or any of the standard renditions. It was one of the few greatest performances I have had the great luck to see.
> >>> Carrol Cox <[log in to unmask]
> 11/15/12 12:03 PM >>>
> John Angell Grant:
> > I would love to know what was going on biographically between Shakespeare
> > his mother; that Eliot said intruded into the play "Hamlet," causing the
> > Hamlet/Gertrude scene to fail as an objective correlative....
> "Objective correlative" is one literary issue that Nancy & I don't quite
> agree on. It seems to me a fairly empty phrase.
> In any case, even if _some_ meaning could be given the term, it has no
> meaning in respect to the Hamlet-Gertrude scene. It connects to the rest of
> the play rather than to some "emotion" which Eliot seemed to think it should
> manifest. Eliot's essay on Hamlet was not one of his happier performances.