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Visibility is a Trap: Panopticism and Ideology in Hamlet
In Hamlet, Shakespeare creates a world full of uncertainties, conspiracies and ideologies that engage and ultimately trap his characters. The character Hamlet in particular is the focal point of many uncertainties and conspiracies; he is subject to at least several ideologies present in his society. Unlike the other characters in Hamlet, Hamlet discovers the ideology directed at himself early in the play, which allows him to retaliate with the material practices of his own ideology. Hamlet finds himself in Foucault’s Panopticon; a realization that prompts him to establish a parallel Panopticon that he uses to his own advantage. Hamlet understands the ideology present in his court well enough to step outside of it, examine it and turn it against those in charge. Hamlet’s seemingly vague nature allows him to step outside of his court’s ideology and Panopticon and allows him to control his own, enabling him to fight against the currents.
Ideology controls the actions, thoughts and strategies in Hamlet. The state apparatus is perhaps the most visible ideology present as well as one of the most powerful - all characters, in some sense, are driven to their actions by this ideological apparatus.
This material existence of ideology is created by the subjects and for the subjects, as Althusser might say, making it the most difficult to break out of. Althusser believed that ideology is present in society in a material way, and that society, as subjects, seemingly chooses to perpetuate and produce the ideology present (Althusser, 303). Because society as subjects creates the ideology for itself, ostensibly to put some part of society at disadvantage, Althusser believed that “there is no ideology except by the subject and for subjects” (Althusser, 299). Ideology in this sense can be seen very clearly in Hamlet, and especially pertinent is Pascal’s summation of the effectiveness of ideology - “Kneel down, move your lips in prayer, and you will believe” (Althusser, 298). Hamlet toys with this idea, visiting madness and sanity in turns in order to take part in the ideology while remaining separate from it.
The most prevalent ideology in Hamlet is that of the court of Denmark. The political ideology represented by the structure of a court is a very real material representation of its subjects’ existence. The ideological apparatus is represented in lines of inheritance, appellations, and courtship, among others. Another ideology present in Hamlet is a more moral type of ideology. Hamlet, upon learning of his father’s murder, feels he must avenge him. Hamlet’s filial devotion is a result of the moral ideology that exists in his culture, an ideology that can be seen even in Aeschylus’ Oresteia. All of Hamlet’s actions and words are a result of this ideology; the play Hamlet is the material existence of this particular ideology. These two ideologies interact and force the characters they target to act in such a way that Hamlet can be seen as a play of warring belief systems and motivations. The lines between ideologies become blurred, allowing Hamlet to step between the lines, merging his world, the court’s world, and the supernatural while fighting the established system.
The ideology present in Hamlet’s world is manifest in several ways and the most effective of these is the purposefully created effect of a Panopticon. Foucault interpreted Bentham’s Panopticon as a social construct, method to discipline and indoctrination of ideology. The prison, with ultimate visibility of the prisoners and invisibility of the caretaker, creates an efficient, automated system which the prisoners must adopt and produce themselves. Because the prisoners are visible at all times and can never know if they are being observed by the guard, their actions become self-regulated, afraid of the threat of observation, which could be actually present or never present. In this instance, visibility is used as a trap. The threat of constant observation is enough for the subject to internalize the discipline and ideology being forced upon him, resulting in a cost-effective, productive and self-produced society of “good” citizens.
The effect of the Panopticon can be seen several ways in Hamlet. The ghost of Hamlet’s father creates a moral Panopticon for Hamlet alone; a self-fulfilling ideology that drives Hamlet’s actions. The ghost implores Hamlet to remember him, and also to “Taint not thy mind, nor let thy soul contrive/Against thy mother aught” (I.v.85-86). Hamlet follows this advice, and in the action that follows, attempts to reconcile or counteract the court’s ideology with the ghost’s and his own. Because Hamlet has the ghost’s observation disciplining him (whether it exists or not is unimportant; what is important is that Hamlet believes it exists), his struggle to fulfill the moral ideology set in place by both the Panopticon of his father and by the ideology of culture is much greater.
With the influence of the ghost, Hamlet begins to form his own Panopticon, set in place to observe those around him and force them to carry out his plans (material existence of his ideology). Hamlet takes refuge in madness, making him both extremely visible and completely invisible, allowing him to sidestep the ideology of the court as well as the Panopticon established by the King and Queen. He begin immediately after the ghost’s imploring speech, and uses its appearance as a reason for his seeming infirmity. Horatio and Marcellus act as unknowing accomplices, already carrying out the ideology Hamlet has set in place for the court. Hamlet’s madness begins: “There are more things in heaven and earth, Horation/Than are dreamt of in your philosophy…How strange or odd some’er I bear myself-/ As I perchance hereafter shall think meet/ To put an antic disposition on…That you know aught of me” (II.i.166-179). The ideology introduced by the ghost and Hamlet’s tradition drive him and also prompts his strategy to watch those watching him - madness is Hamlet’s cover, and unlike the court, he is the only one watching in the tower.
Hamlet implements his Panopticon by:
- Rosencrantz and Guildenstern, using them while they believe they are working for the court’s Panopticon. “Denmark’s a prison. / Then is the world one” (II.v.240-241). Hamlet shows he is aware of the Panopticon established around him: “Why then ‘tis none to you; for there is nothing ether good or bad, but thinking makes it so. To me it is a prison” (II.v.245-246).
- “the play’s the thing/wherein I’ll catch the conscience of the King” (III.i.584-585).
- “You would play upon me, you would seem to know my stops…yet cannot you make [the recorder] speak. ‘Sblood, do you thnk I am easier to be play’d on than a pipe? Call me what instrument you will, though you fret me, yet you cannot play upon me” (III.ii.344-351).
- The King after observing Hamlet’s behavior at length, comes to the conclusion of guilt that Hamlet wants him to come to: “ ‘Forgive me my foul murther?’/That cannot be, since I am still possess’d/ Of those effects for which I did the murther” (III.iii.53-54). The material existence of the ideology Hamlet is operating by is produced here, in the feelings of guilt and realization of a reckoning by the King. The King here also begins to realize the existence of the Panopticon constructed by Hamlet around the court: “and we ourselves compell’d/ Even to the teeth and forehead of our faults/ To give in evidence. What then? What rests?/ Try what repentance can” (III.iii.62-65).
- “You go not till I set you up a glass/ Where you may see the inmost part of you” (III.iv.19-20). Hamlet reveals this to the Queen, calling for her to reflect and repent by putting her in the Panopticon and subjecting her to his ideology. With this line and Polonius’ death, the Panopticon structured to observe Hamlet begins to fall apart, and Hamlet’s Panopticon begins to prevail.
Hamlet’s Panopticon exists as a weapon against all those out to get him, and to fulfill his own ideology. It seems as though the Panopticon is aimed at Hamlet, and exists only in that way, but as the play progresses, the Panopticon established by the court becomes more and more inefficient as Hamlet seeks refuge more and more deeply in madness. Hamlet creates a truly conceptual Panopticon that is highly functional and effective in serving his ideology. Ideology, specifically, ideology implemented by the ghost, prompts Hamlet’s idea of setting a trap with visibility instead of darkness. The Panopticon established by Hamlet, while a weapon against the system implemented by the court, is also only a function of the larger ideology he is operating within. Hamlet is only able to step out of the expected ideology of the court under the cover of madness, observing and commenting on the “main” action while always on the fringes. Hamlet, for all his intelligence and careful plans, is still as subject of ideology, although less of a subject than the rest of the court. Hamlet creates a whole system as a function of the ideology controlling him, while still creating a visible trap for those around him to serve his revenge.
bibliography! formatting! grammar!
In Hamlet, Shakespeare creates a world full of uncertainties, conspiracies and ideologies that engage and ultimately trap his characters. The character Hamlet in particular is the focal point of many uncertainties and conspiracies; he is subject to at least several ideologies present in his society. Unlike the other characters in Hamlet, Hamlet discovers the ideology directed at himself early in the play, which allows him to retaliate with the material practices of his own ideology. Hamlet finds himself in Foucault’s Panopticon; a realization that prompts him to establish a parallel Panopticon that he uses to his own advantage. Hamlet understands the ideology present in his court well enough to step outside of it, examine it and turn it against those in charge. Hamlet’s seemingly vague nature allows him to step outside of his court’s ideology and Panopticon and allows him to control his own, enabling him to fight against the currents.
Ideology controls the actions, thoughts and strategies in Hamlet. The state apparatus is perhaps the most visible ideology present as well as one of the most powerful - all characters, in some sense, are driven to their actions by this ideological apparatus.
This material existence of ideology is created by the subjects and for the subjects, as Althusser might say, making it the most difficult to break out of. Althusser believed that ideology is present in society in a material way, and that society, as subjects, seemingly chooses to perpetuate and produce the ideology present (Althusser, 303). Because society as subjects creates the ideology for itself, ostensibly to put some part of society at disadvantage, Althusser believed that “there is no ideology except by the subject and for subjects” (Althusser, 299). Ideology in this sense can be seen very clearly in Hamlet, and especially pertinent is Pascal’s summation of the effectiveness of ideology - “Kneel down, move your lips in prayer, and you will believe” (Althusser, 298). Hamlet toys with this idea, visiting madness and sanity in turns in order to take part in the ideology while remaining separate from it.
The most prevalent ideology in Hamlet is that of the court of Denmark. The political ideology represented by the structure of a court is a very real material representation of its subjects’ existence. The ideological apparatus is represented in lines of inheritance, appellations, and courtship, among others. Another ideology present in Hamlet is a more moral type of ideology. Hamlet, upon learning of his father’s murder, feels he must avenge him. Hamlet’s filial devotion is a result of the moral ideology that exists in his culture, an ideology that can be seen even in Aeschylus’ Oresteia. All of Hamlet’s actions and words are a result of this ideology; the play Hamlet is the material existence of this particular ideology. These two ideologies interact and force the characters they target to act in such a way that Hamlet can be seen as a play of warring belief systems and motivations. The lines between ideologies become blurred, allowing Hamlet to step between the lines, merging his world, the court’s world, and the supernatural while fighting the established system.
The ideology present in Hamlet’s world is manifest in several ways and the most effective of these is the purposefully created effect of a Panopticon. Foucault interpreted Bentham’s Panopticon as a social construct, method to discipline and indoctrination of ideology. The prison, with ultimate visibility of the prisoners and invisibility of the caretaker, creates an efficient, automated system which the prisoners must adopt and produce themselves. Because the prisoners are visible at all times and can never know if they are being observed by the guard, their actions become self-regulated, afraid of the threat of observation, which could be actually present or never present. In this instance, visibility is used as a trap. The threat of constant observation is enough for the subject to internalize the discipline and ideology being forced upon him, resulting in a cost-effective, productive and self-produced society of “good” citizens.
The effect of the Panopticon can be seen several ways in Hamlet. The ghost of Hamlet’s father creates a moral Panopticon for Hamlet alone; a self-fulfilling ideology that drives Hamlet’s actions. The ghost implores Hamlet to remember him, and also to “Taint not thy mind, nor let thy soul contrive/Against thy mother aught” (I.v.85-86). Hamlet follows this advice, and in the action that follows, attempts to reconcile or counteract the court’s ideology with the ghost’s and his own. Because Hamlet has the ghost’s observation disciplining him (whether it exists or not is unimportant; what is important is that Hamlet believes it exists), his struggle to fulfill the moral ideology set in place by both the Panopticon of his father and by the ideology of culture is much greater.
With the influence of the ghost, Hamlet begins to form his own Panopticon, set in place to observe those around him and force them to carry out his plans (material existence of his ideology). Hamlet takes refuge in madness, making him both extremely visible and completely invisible, allowing him to sidestep the ideology of the court as well as the Panopticon established by the King and Queen. He begin immediately after the ghost’s imploring speech, and uses its appearance as a reason for his seeming infirmity. Horatio and Marcellus act as unknowing accomplices, already carrying out the ideology Hamlet has set in place for the court. Hamlet’s madness begins: “There are more things in heaven and earth, Horation/Than are dreamt of in your philosophy…How strange or odd some’er I bear myself-/ As I perchance hereafter shall think meet/ To put an antic disposition on…That you know aught of me” (II.i.166-179). The ideology introduced by the ghost and Hamlet’s tradition drive him and also prompts his strategy to watch those watching him - madness is Hamlet’s cover, and unlike the court, he is the only one watching in the tower.
Hamlet implements his Panopticon by:
- Rosencrantz and Guildenstern, using them while they believe they are working for the court’s Panopticon. “Denmark’s a prison. / Then is the world one” (II.v.240-241). Hamlet shows he is aware of the Panopticon established around him: “Why then ‘tis none to you; for there is nothing ether good or bad, but thinking makes it so. To me it is a prison” (II.v.245-246).
- “the play’s the thing/wherein I’ll catch the conscience of the King” (III.i.584-585).
- “You would play upon me, you would seem to know my stops…yet cannot you make [the recorder] speak. ‘Sblood, do you thnk I am easier to be play’d on than a pipe? Call me what instrument you will, though you fret me, yet you cannot play upon me” (III.ii.344-351).
- The King after observing Hamlet’s behavior at length, comes to the conclusion of guilt that Hamlet wants him to come to: “ ‘Forgive me my foul murther?’/That cannot be, since I am still possess’d/ Of those effects for which I did the murther” (III.iii.53-54). The material existence of the ideology Hamlet is operating by is produced here, in the feelings of guilt and realization of a reckoning by the King. The King here also begins to realize the existence of the Panopticon constructed by Hamlet around the court: “and we ourselves compell’d/ Even to the teeth and forehead of our faults/ To give in evidence. What then? What rests?/ Try what repentance can” (III.iii.62-65).
- “You go not till I set you up a glass/ Where you may see the inmost part of you” (III.iv.19-20). Hamlet reveals this to the Queen, calling for her to reflect and repent by putting her in the Panopticon and subjecting her to his ideology. With this line and Polonius’ death, the Panopticon structured to observe Hamlet begins to fall apart, and Hamlet’s Panopticon begins to prevail.
Hamlet’s Panopticon exists as a weapon against all those out to get him, and to fulfill his own ideology. It seems as though the Panopticon is aimed at Hamlet, and exists only in that way, but as the play progresses, the Panopticon established by the court becomes more and more inefficient as Hamlet seeks refuge more and more deeply in madness. Hamlet creates a truly conceptual Panopticon that is highly functional and effective in serving his ideology. Ideology, specifically, ideology implemented by the ghost, prompts Hamlet’s idea of setting a trap with visibility instead of darkness. The Panopticon established by Hamlet, while a weapon against the system implemented by the court, is also only a function of the larger ideology he is operating within. Hamlet is only able to step out of the expected ideology of the court under the cover of madness, observing and commenting on the “main” action while always on the fringes. Hamlet, for all his intelligence and careful plans, is still as subject of ideology, although less of a subject than the rest of the court. Hamlet creates a whole system as a function of the ideology controlling him, while still creating a visible trap for those around him to serve his revenge.
bibliography! formatting! grammar!