Relations Of The Tragic Kind

Relations of the Tragic kind

         It's a shame to see a relationship turn sour, or completely spiral out of control for that matter, and not just romantic relationships but relationships of any kind.  When looking at how the fates of the characters in Shakespeare's Hamlet play out, as well as the fall from grace that most of the people make in Shakespeare's Julius Caesar, it is easy to lament the very nature of mankind itself.  To understand the tragic nature of certain characters in their environment there must be an examination of why they do what they do, how they do it, and who is effected by their actions and if their actions parallel with others.  Certainly the leads in both of these plays lead a tragic flaw into the mix accompanied by minor flaws that echoed throughout their respective stories, but the side characters as well as the villains also have an equally large say in this regard and must be looked at just as thoroughly.  The sheer number and complexity of tragic flaws, ideals, and situations that encompass the citizens of these plays is astonishing if examined completely.  Such a revelation can also paint a very dreary picture of the nature of mankind itself and could indeed warrant a look into what makes us human and how to better ourselves.  In order to get to such a revelation this paper examines the relationships these characters have with each other, their environment, and themselves within categories such as idealism, faith, ignorance, obsession, hatred, pride, overdependence, and communication as well as being compared to the relationships between each plays and observing any similarities as well as distinct differences.

         Hatred is a strong emotion that leads people to commit unspeakable acts that have profound influences on others as well as themselves, and Hamlet's hatred for Claudius is one that is extreme.  "I'll observe his looks; I'll tent him to the quick. If he but blench, I know my course. The spirit that I have seen May be a devil; and the devil hath power T' assume a pleasing shape; yea, and perhaps Out of my weakness and my melancholy, As he is very potent with such spirits, Abuses me to damn me. I'll have grounds More relative than this. The play's the thing

Wherein I'll catch the conscience of the King" (Hamlet I.3.591-600)  This extreme emotion drives him to commit murder and conspiracy as well as feign insanity (or is he already insane?) to get what he wants, and that his vengeance against the man who supposedly killed his father King Hamlet.  Cassius is also a conniving schemer who wishes to get his vengeance against the great Julius Caesar because of his hatred for him and for the fear of his power as well, he tries to paint him as a tyrant that must be stopped lest he use his unlimited power "Why, man, he doth bestride the narrow world Like a Colossus, and we petty men Walk under his huge legs and peep about To find ourselves dishonorable graves" (Julius Caesar I.2.141-144) He manipulates Brutus into a conspiracy against the Emperor in order to murder him, he does this by using misinformation to get Brutus to his side and urges him that it is for the good of Rome, Cassius is not swayed by the divine nature that Caesar gives off to his people either unlike the idealistic Brutus "Tis true, this god did shake; His coward lips did from their color fly, And that same eye whose bend doth awe the world Did lose his luster. I did hear him groan" (Julius Caesar I.2.127-130) He downplays his victim just as much as Hamlet mocks Claudius "So excellent a king, that was, to this, Hyperion to a satyr" (Hamlet I.2.142-143)  This strong relationship between the angered and the instigator  is one that makes Hamlet and Cassius such strong figures but also leads to their ultimate downfall in different ways.  Hamlet is blinded and indecisive when he goes about his actions that are fueled by his anger, and thus cannot come to any sure conclusion throughout most of the play until he hatches his half hazard scheme to stage a play to see if Claudius is the murder, while Cassius has his scheme well in hand but ends up listening to Brutus's foolish pleas to let Mark Antony speak at Caesars funeral thus igniting the final conflict between the group consisting of Cassius and Brutus and the group consisting of Mark Antony and Octavius which leads to Cassius's downfall "Caesar, thou art revenged,

Even with the sword that kill'd thee" (Julius Caesar 5.3.47-48) in this case his suicide.  In the end, both of their hatred for the other leads to their own death in unique ways, but both of them decided to act with malice and manipulation in this regard and the result is tragic.

         The presence of Idealism, or lack thereof, is relevant to the characters of Brutus and Hamlet in interesting ways; Brutus is a patriot who loves the people and loves Caesar and idolizes him as much as the populace does, his very honorable nature is regarded by many of the people in the play, particularly Cassius "Tis just, And it is very much lamented, Brutus,

That you have no such mirrors as will turn Your hidden worthiness into your eye

That you might see your shadow" (Julius Caesar I.259-63) which also allows him to be manipulated to such an extent by his so-called friend.  His choices are based on reason but only when they coincide with his moral code of honor, something that he tries to stay by strictly "For let the gods so speed me as I love The name of honor more than I fear death" (Julius Caesar .12.94-95) Hamlet on the other hand is seemingly devoid of idealism and especially patriotism, his actions throughout the play give not a thought to the well being of Denmark or its people, instead focusing on selfish goals that end up in the deaths of multiple people.  It would be easy to think that he is an idealist as one reads his long philosophical monologues, most of them concerning life and death but most importantly Damnation "To be, or not to be, that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune Or to take arms against a sea of troubles, And by opposing end them. To die, to sleep— No more—and by a sleep to say we end The heartache, and the thousand natural shocks That flesh is heir to. 'tis a consummation Devoutly to be wish'd. To die, to sleep— To sleep—perchance to dream" (Hamlet 3.1.62-72) Such a speech as this is cluttered and concerned with questions of killing Claudius that never get true answers and is filled with indecisiveness and despair.  Hamlet doesn't know what he wants out of the world, all he wants is his vengeance so when he does act it is impulsive and contrasted with his philosophical nature, unlike the strict adherence to ideals like honor and patriotism that Brutus does. It is the tragic absence of ideology that allows Hamlet to become the schemer and manipulator because he has no code to follow and thus ends up in a debacle that ruins the name of Denmark with the blood of innocents, whereas Brutus becomes manipulated into a scheme due to his blind love for Rome and his code of honor that allows him to be persuaded by Claudius into murdering an emperor and igniting a deadly civil war.

         This manipulation is a clear example of when there is too much faith put into a friend or their own ideals, and it is this facet that links Idealism with another fatal flaw that is shown here, faith or trust.  Brutus trusts his people because of his love for his country, he trusts Cassius because he is a dear friend who has not led him astray before, but both are seen to be examples of tragic faith.  The people of Rome are easily swayed by Antony in the later portion of the play, the very people that make up the city he is so proud of rebel against him due to his actions, even though he truly believed he as in the right.  Cassius only wanted the best for Brutus and his faith in him was justified but the turn of events lead that trust to be fatal even in the end as Brutus never gave up faith on Cassius's plans.  Interestingly enough, Hamlet, like idealism, seems to have a strong lack of faith in most people in the play.  His distrust is strong, and he doesn't hesitate to express his opinions on those who attempt to foil him, although they will be covered up in the guise of metaphors and feigned madness. "There's letters seal'd; and my two schoolfellows, Whom I will trust as I will adders fang'd, They bear the mandate; they must sweep my way And marshal me to knavery. Let it work; For 'tis the sport to have the enginer

Hoist with his own petar; and ' shall go hard But I will delve one yard below their mines

And blow them at the moon" (Hamlet 3.4.219-226) His distrust is clear here as he explains his plans to his mother whom he has interrogated, all that he does is for himself and none other.  Both men value different things, the blindness of faith and the absence of it just like idealism can prove tragic in the end.

         The overdependence of others can be seen as a weakness because it may not allow for one to grow as an individual and make strong choices on their own, it can also lead to manipulation on the part of the dominant personality in question.  Gertrude and Ophelia are two such victims of this trait, and throughout their ordeal within Hamlet neither overcome it but instead fall prey to this lack of independence in different ways.  While it is unclear whether Gertrude really loved her husband, or even knew of the murder of King Hamlet or if she was even in love with Claudius, one thing is certain, she is content with her status and power.  Such a thing has been given to her by men and by men she is dependent on that.  Concerning the choices she has to make with Hamlet about his insanity she seems to always steer toward safer choices to remain were she is instead of taking charge of her situation as revealed when she Claudius asks what Hamlet did in the bedroom "Behind the arras hearing something stir, Whips out his rapier, cries 'A rat, a rat!' And in this brainish apprehension kills The unseen good old man" (Hamlet 4.1.9-12)  and where he ventured afterward she replies "To draw apart the body he hath kill'd; O'er whom his very madness, like some ore Among a mineral of metals base, Shows itself pure. He weeps for what is done" (Hamlet 4.1.25-28), it may not have been to expose his son in order to do away with him, but to solve a mystery she cannot figure out so that everything can return back to normal. Even though she is bound to Hamlet's greatest enemy, she is not bound to him in an active attempt to thwart Hamlets goals, even if it does happen to an extent.  Nevertheless her dependence puts her at odds with her own son and instigates more deceit and hatred amongst the characters of this play.  Gertrude excels in situations of social importance in where she exerts a charming personality that is more about keeping up with the status quo. "Good gentlemen, he hath much talk'd of you, And sure I am two men there are not living To whom he more adheres. If it will please you To show us so much gentry and good will As to expend your time with us awhile For the supply and profit of our hope, Your visitation shall receive such thanks As fits a king's remembrance" (Hamlet 2.2.19-26) Her pleasantries indicate a longing for the order that has been established for her by men.  Ophelia on the other hand is tragic innocence in its purest, she has a clear and strong love for Hamlet as well as her father Polonius and her brother Laertes and is completely dependent on men on how to act "I do not know, my lord, what I should think" (Hamlet I.3.110)  But that love is betrayed as she follows her family's wishes in spying on Hamlet.  Her overdependence is based on passion, and that passion blinds reason and personal integrity for Ophelia.  And once she becomes involved in this debacle and learns of her father's death, the strength in her life, she goes mad "Say you? Nay, pray you, mark. He is dead and gone, lady, He is dead and gone; At his head a grass-green turf, At his heels a stone.

O, ho!" (Hamlet 4.5.32-37) and then ends up drowning  in a river.  She never had the chance to be independent and was thrown along with other peoples schemes.  Once her passion was shattered her mind followed soon after.  Both end up victims to such overdependence, Gertrude gets caught up in a political battle towards the end and dies from a poisonous drink and Ophelia ends up dead as the victim of this personal madness from hearing of the tragedy concerning her father.

         Ignorance can have unforeseen consequences, when one is not informed of vital information tragedy can strike at any time, this is especially the case with Julius Caesar.  Throughout the play he is given omens of his doom by his wife Calpurnia as well as a soothsayer "Beware the ides of March" (Julius Caesar 1.2.21) but he continues to ignore them.  His saving grace was to listen to his wife once as she begged him not to go to the senate but not because of superstition but of a personal favor to his wife, but eventually he is convinced by another conspirator to attend.  It could be thought that since he is a war hero who has won innumerable battles, won the love of the public, and became the very epitome of strength and pride that he became fearless and thought himself invincible for a time "Caesar shall forth: the things that threaten'd me Ne'er look'd but on my back; when they shall see The face of Caesar, they are vanished" (Julius Caesar 2.210-12) He is clearly the most fearless person in the play "Danger knows full well That Caesar is more dangerous than he. We are two lions litter'd in one day, And I the elder and more terrible. And Caesar shall go forth" (Julius Caesar 2.2.46-50) But this confidence born of ignorance makes him an easy target for Cassius and his conspirators, especially since he is completely ignorant of Brutus's betrayal as well, which is the most tragic.  When one's closest friend betrays you, the fault can come from both ends, too much trust, too little trust, or just not the attitude of always knowing what is right "Et tu, Brute? Then fall, Caesar!" (Julius Caesar 3.1.85) 

         Pride is another thing that is uniquely suited to Julius Caesar's character, this relationship he has with himself is married with his ignorance throughout the play.  One notable instance of this is that he likes to refer to himself in the third person, he really thinks he is the top person, and for a while he is  "Such men as he be never at heart's ease Whiles they behold a greater than themselves, And therefore are they very dangerous. I rather tell thee what is to be fear'd

Than what I fear, for always I am Caesar" (Julius Caesar 1.2.13) His condescending nature does not hold a light to his conscious, he feels it's appropriate because of who he is.  His lack of humility means that his relationships are imbalanced, fierce enemies from outside his boarders, close friends within, and a few that are wolves in sheep's clothing, since he can't focus from himself and the people for just a bit then it leaves the opportunity for conspiracies to emerge. And when such a prideful figure falls it makes for such a spectacle.

         Another strong case of Ignorance is of Ophelia, her position is a striking opposite of Caesar, although both end up dead.  Her position in life is of a powerless one, and her ignorance of life without the instruction of men makes her be able to become deceived by those closest to her, although her ignorance connects directly back to her dependence as well, while Caesars ignorance stems from his pride and power but both are used and betrayed by those closest to them because of their ignorance to certain events.  Ophelia doesn't know of Hamlets apparent madness (if it's even true or not is debatable) until it is too late and she is ordered leave to a nunnery, she laments in his apparent madness and does as she is told but is confused and frightened at this new knowledge that may or may not be true  "Now see that noble and most sovereign reason, Like sweet bells jangled, out of tune and harsh; That unmatch'd form and feature of blown youth Blasted with ecstasy. O, woe is me, To have seen what I have seen, see what I see!" (Hamlet 3.1.166-170) To not know and then be revealed truths that may not even be truths is to truly be caught in the tragic weave of ignorance.  Both of these characters are blinded and used in this regard.

         Obsession conquers the mind and body, it makes people do things they normally wouldn't do, perhaps unnatural, perhaps supernatural.  It is a trait, or perhaps a state of being, that leads can lead people down roads of brilliance and sadness, in the case of Hamlet it is the latter.  It's easy to draw parallels of obsession with Hamlet but the fact is, is that the trait of obsession is a core of who he is once he sees the ghosts vision.  It can closely be related with anger, but while anger was his motive for his actions, obsession is in a way the quality and style of his actions.  To go to such great lengths to expose a man he thinks of murder cannot be called anything but obsessive, staging an entire play just to get a reactionary moment from Claudius.  His continual bouts into madness in order to scare off others, his devotion to his craft, as indecisive as it may be at times is frightening "Was't Hamlet wrong'd Laertes? Never Hamlet. If Hamlet from himself be taken away, And when he's not himself does wrong Laertes, Then Hamlet does it not, Hamlet denies it. Who does it, then? His madness. If't be so, Hamlet is of the faction that is wrong'd; His madness is poor Hamlet's enemy" (Hamlet 5.2.224-230) He continues to trick mislead Claudius of the intent of his actions with more unusual excuses that show how far he is willing to go.  The trait of obsession is rivaled in Mark Antony after witnessing Caesars death.  Antony has a loving relationship (plutonic) with Caesar, unlike Hamlet's feelings toward Claudius, and his passion is also carried over to extracting vengeance upon his killers.  But while Hamlet's obsession is indecisive and ugly, Antony's is charismatically successful as he rallies the citizens to expel Brutus and Cassius from Rome and engages them in battle "I tell you that which you yourselves do know; Show you sweet Caesar's wounds, poor poor dumb mouths,And bid them speak for me. But were I Brutus, And Brutus Antony, there were an Antony Would ruffle up your spirits and put a tongue In every wound of Caesar that should move The stones of Rome to rise and mutiny" (Julius Caesar 3.2.234-240)  The very eloquence and passion of his speech indicates how obsessed he is with vengeance and the justice that must be taken against Brutus and Cassius.  Yet in the end both of these men's obsessions take their toll, Hamlets death causes chaos and death in Denmark and Antony, although technically victories, loses Brutus who he still considers a noble and honorable friend.

         When there is a lack of communication things start to break down, ideas and values that people have about others become warped and twisted in the absence of clarity.  The mistake of not talking outright to others, failing to talk through your problems, and just clearing the air of what needs to be done makes conflicts arise and leaves the possibility for immense suffering if the conditions are right.  Portia and Brutus's marriage becomes strained because of this.  Portia is a faithful wife who loves her husband deeply, and believes that no secrets should be allowed between a married couple, but Brutus conceals secrets regardless "I should not need, if you were gentle Brutus. Within the bond of marriage, tell me, Brutus, Is it excepted I should know no secrets That appertain to you? Am I yourself But, as it were, in sort or limitation, To keep with you at meals, comfort your bed, And talk to you sometimes? Dwell I but in the suburbs Of your good pleasure? If it be no more, Portia is Brutus' harlot, not his wife" (Julius Caesar 2.1.291-299)  Portia makes it clear that communication between them is vitally important and that just because she is a woman her opinion shouldn't be less than that of a man, yet Brutus does not heed this advice at all, without the necessary communication this relationship breaks down quickly.  There is no attempt made to fix this though as Brutus's inner pain of his involvement with Cassius's conspiracy leaves him introverted and isolated from his wife which ultimately leads to her suicide.  Communication is relevant to the character of Claudius as well, although in a much different sense, instead of a lack of conversing Claudius uses his elegant tongue to manipulate and distort the truth making his communication with his audience a tool for his own ends  "But you must know, your father lost a father; That father lost, lost his, and the survivor bound In filial obligation for some term To do obsequious sorrow. But to persever In obstinate condolement is a course Of impious stubbornness; 'tis unmanly grief; It shows a will most incorrect to heaven, A heart unfortified, a mind impatient," (Hamlet 1.2.92-99)  Claudius is shown trying to dissuade Hamlet of his sorrow for his father claiming that it is the natural order of things for fathers deaths to come about like this, but this is really just a ploy to make Hamlet more complacent so that he may not ponder on his father's fate.  Where Portia was the victim of a lack of communication, Claudius was a manipulator of the spoken word who was almost as effective as Hamlets oratory skills, although less philosophical and maniacal. The oral manipulation shows his lust for power, but is power through deceit a good thing?  A rhetoric question to be pondered, what is sure is that Claudius never had the status of being a truly honest man and that in itself is a sad state of affairs when looked at how he falls in the end.

         The examination of these tragic relationships should hold a mirror to ourselves and society as a whole, in order for us to come to a revelation that mankind is a fragile being, and that our vices are many and wide.  The lessons learned from the pitfalls of these tragedies can help better one's on relationships and society as a whole.  Where pride and ignorance is concerned; to the arrogance of Caesar to the blindness of Ophelia, it is important to keep a keen eye on the world around oneself and become observant on changes within those you love and those you hate as well as keeping in check your own feelings of self worth.  Hatred destroys all and could be argued to be the most fatal tragic flaw, Hamlet and Cassius know hatred all too well and it served to cause much more death than was originally intended, the recognition and destruction of hatred can go a long way in restoring peace amongst modern societies yet is still one of the most difficult things to master.  Idealism and faith helps bring people together and helps people stay the course on difficult projects, but as Brutus shows, too much of a good thing can turn sour as his faith was betrayed and his ideals got him exiled, yet the opposite is also true with Hamlet, a lack of focus or moral grounding can lead only to chaos and the loss of trust in most people isolates that individual, it is good to have guiding principles in this life that help us maintain who we are but a balance between the openness to change and a guiding ideal could lead to a much healthier lifestyle.  Overdependence is an all too common trait amongst many people, Ophelia and Gertrude show that latching on to others as well as positions of power can have negative social and health effects that take away from the strength of a character, by breaking out of one's comfort zone and taking the steps toward independence one can take charge in their life and leave the risk of abuse behind.  Communication is a must for people to work together and get things done but the way we communicate can also be tampered with, Brutus's lack of communication with Portia proves a deadly end to their relationship, while Claudius uses his lyrical mastery to maintain power.  A healthy regulation of what we communicate, how we do it, and how often we do it makes for a society that is more in touch with one another and more open about social issues.  Obsession is the ultimate double edged sword since great and terrible things can come from the absolute obsessed, Hamlet and Claudius both become consumed in their plots and make a macabre spectacle in the end, it depends on the subject but obsession can be vice that must be restrained or a gift that must be let loose it all depends on the person and should be monitored in order to reap its benefits or quell its problems.  In the end it's all just fiction, but lessons that can be paralleled with society do not have to come from just textbooks, the examined relationships within these two plays show harsh examples of realities that people face every day, but by learning and understanding the reasons behind why these relationships are doomed there is no reason why one cannot come out with strong lessons that can be applied to everyday life and give some real hope for the future of our people.