In Hamlet, the word “paintings” is used in its archaic sense to mean hypocrisy or being two-faced. The play revolves around the two opposing forces: truth and deceit, and we see a contrast between the importance of being true to one’s self and the importance of being truthful with others. While the simple interpretation of the plot is revenge for murder, the true value in this play is in its examination of veracity and hypocrisy. All of the troubles stem from failure to be true, either to one’s self or to others. Hamlet is himself, the tragic hero who must choose to “suffer the slings and arrows of outrageous fortune”, or stay silent and complicit and live or to take arms and right the wrongs in peril of his life.
The play begins with the theme of appearance versus reality, which remains throughout. Things that appear to be true and honest are false fronts or evil lies. Four of the main characters, and many others in the play, are hiding behind a mask: Polonius, Rosencrantz, Guildenstern, and the false king Cluadius. They all appear sincere and genuine when in reality, they are evil liars or they have been duped by lies (Ophelia). Many of the main characters in the play are hiding behind a mask. Hamlet is distressed that his mother, Gertrude has married his uncle Claudius almost on the heels of the death of her husband, his father. Hamlet is still distraught at the death of his father, and Claudius begins the play by mocking him for this, saying it is unmanly. (I.ii.94)
The passage where Hamlet speaks of paintings in act three, scene 1, follows closely after Hamlet’s famous soliloquy about being true to one’s self. (To be, or not to be…) is a contrast to the inner seeking for the truth that is evident in his soliloquies. However, it is mentioned in III.i.48-54:
“According to Is not more ugly to the thing that helps it
Than is my deed to my most painted word.” (III.i.48-54)
“Women wearing makeup to conceal their blemishes is consistently used as a metaphor for hypocrisy and self-blindness; we find it also in the nunnery scene immediately following (III.i.144-51) and in the graveyard scene (V.i. 186-89). Surely Shakespeare allows Claudius opportunities to bear his soul so that we can appreciate the more Hamlet’s perception of his guilt.” (MacCary 81)
It is as if Shakespeare is allowing us to examine these characters from the perception of Hamlet, with just a touch of each character’s perspective to show the tragic miscommunications and also show proof that guilty characters are, indeed, guilty and well aware of it. We are also allowed to perceive some portion of Hamlet’s madness from his perspective, making it all the more immediate and real. Having touched it thus, we, as the audience, can accept Hamlet’s death as a hero who would never have been happy had he lived, and be satisfied that it is better this way since he has lost all.
Hamlet loved Ophelia but has been convinced by lies that she does not love him, and Ophelia has also been persuaded that he does not love her. When he meets her Hamlet accuses her of being two-faced.
“I have heard of your paintings too, well enough; God
has given you one face, and you make yourselves
another: you jig, you amble, and you lisp, and
nick-name God’s creatures, and make your wantonness
your ignorance. Go to, I’ll no more on’t; it hath
made me mad. I say, we will have no more marriages:
those that are married already, all but one, shall
live; the rest shall keep as they are. To a
nunnery, go.” (III,1, 140-44)
It is this speech that shows us both the extent of Hamlet’s madness and points out that the root of all the problems in the court is duplicity.
In reading Hamlet one almost has the feel of watching a Chinese drama where all the characters wear masks. We can see from speech to speech among the characters that some even change their masks. Polonius, in Act I, wants to appear to be a good concerned father and speaks as if counseling his son, and gives him leave to return to Norway. However, he then sends a spy to follow him. He shows his true face, though we are never sure of his exact motives, when he lies to Ophelia, telling her that Hamlet does not love her, but only lusts for her. He lies to, eavesdrops upon, and spies on his children and others: not the actions of a loving father at all.
This theme is deepened by the actions of Rosencrantz and Guildenstern, Hamlet’s supposed, long-time childhood friends. They are given the task to find out what is troubling Hamlet by the King, who suspects that Hamlet knows too much. A second time they are asked to find out what he knows is because Claudius is certain that he knows too much. Finally, they are commissioned to go with Hamlet to retrieve assets owed to Denmark, when, in truth, they are escorting Hamlet to his death. The actions of Hamlet’s supposed “friends” are the ultimate hypocrisy, earning them their early demise.
Though the betrayal of Hamlet by his friends is seriously troubling him, it is Claudius who enrages Hamlet. Claudius appears to the council to be a good and gracious king, always concerned for his subjects. He praises all, especially Polonius, whom he is simply using as a foil.
“The head is not more native to the heart,
The hand more instrumental to the mouth,
Than is the throne of Denmark to thy father.
What wouldst thou have, Laertes.” (Act I ii, 47-50)
Claudius is outwardly solicitous of Hamlet, asking after his health, but only wants to measure the extent of the danger from Hamlet. He finally decides that Hamlet must die, and sends Rosenkrantz and Guildenstern to accompany Hamlet with a note ordering his execution. Hamlet switches the note for one order their execution. Claudius appears to be concerned with Hamlet’s well-being. Gertrude and the council see this, making Claudius a more deserving person to be king. Claudius does not even love Gertrude, but only wants her to gain the throne. He is likely the biggest hypocrite of all, and is the most painted of all the characters, while poor Ophelia, to whom the earlier speech was directed, is perhaps the least painted, totally a victim of deceit, lies told to both her and to Hamlet.
Paintings are only seen in these two aforementioned speeches, but the play revolves around a veritable dance of masked characters (paintings), slowly spinning down to their destinies. We see a contrast of introspection as Hamlet examines his motives and feelings in his soliloquies to Hamlet’s attempt to unmask the others and uncover the truth in his dialogues with the various characters plotting for their ends. At the finish, it is only Ophelia whom we still see as pure and honest, yet it was she whom Hamlet accused directly of hypocrisy, making her an example of all women, whom he thinks all wear painted faces and should not be allowed to breed. By the end of the play, the paintings have all been washed away in blood.
Works Cited
- MacCary, W. Thomas. Hamlet A Guide to the Play. Westport, CT: Greenwood Press, 1998.
- Shakespeare, William, add the rest of this citation from your anthology.