Part B: Mark Scheme and Model Answer (OCR A Level English Literature): Revision Note

AO1

• Display excellent understanding of the play and question 

• Write a coherent and detailed argument which is consistently developed

• Write fluently and accurately with critical concepts and terminology used accurately

AO5

• Make thoughtful judgments by considering various interpretations of the play

• Form judgements based on evolving critical perspectives of the play throughout history

Question:

‘Hamlet is destroyed by his impulsiveness, not his uncertainty.’ 

Using your knowledge of the play as a whole, show how far you agree with this view of the character Hamlet.

Remember to support your answer with reference to different interpretations

Proposition

‘Hamlet is destroyed by his impulsiveness, not his uncertainty’

Topic sentence 1

Hamlet's impulsive nature is evident in several key moments throughout the play, illustrating his tendency to act on immediate and intense emotions.

Sub point

When he decides to feign madness, it is not a carefully planned course of action, but a quick and impulsive response to the troubling circumstances he finds himself in.

Sub point

His decision, although strategic, is testament to his impulsive nature and is driven by a sudden need to protect himself from potential threats.

Sub point

As he declares in Act II, “I am but mad north-north-west: when the wind is southerly, I know a hawk from a handsaw”. This impulsive decision to feign madness becomes a pivotal aspect of his character and shapes the events of the play.

Proposition

‘Hamlet is destroyed by his impulsiveness, not his uncertainty’

Topic sentence 2

Critics have offered varied perspectives on Hamlet's impulsive nature and its role in the play's development. 

Sub point

Critics have offered varied perspectives on Hamlet's impulsive nature and its role in the play's development. A.C. Bradley examined Hamlet's indecisiveness and procrastination as reflective of his profound intellect and moral complexity. According to Bradley, Hamlet's internal struggles and his tendency to overthink his actions stem from his contemplative nature rather than mere impulsivity.  

Sub point

Bradley argued that Hamlet's hesitations are a result of his deep introspection. Thus, Bradley's interpretation challenges the notion of Hamlet as merely impulsive, offering a more nuanced perspective on the character's motivations. 

Sub point

T.S. Eliot posits that Hamlet's intellectual and moral uncertainties are at the core of his tragedy. Eliot suggests that Hamlet is a character who is too reflective, too analytical and too aware of the complexities of life, making it impossible for him to take decisive action. 

Sub point

In Act III, Scene I, Hamlet reflects on the moral and existential dilemmas he faces in his “To be or not to be” speech. This soliloquy encapsulates Hamlet's profound internal struggle, highlighting his uncertainty and indecision, which aligns with T.S. Eliot's interpretation of his character.

Proposition

‘Hamlet is destroyed by his impulsiveness, not his uncertainty’

Topic sentence 3

Hamlet's uncertainty is also reflected in his profound introspection which is especially evident in his soliloquies.

Sub point

In the “To be or not to be” soliloquy in Act III, he contemplates the uncertainties of life, death and the afterlife and this reveals his inner turmoil.

Sub point

Hamlet's uncertainty is further illustrated in his interactions with other characters. For instance, when he encounters the ghost of his father, he struggles with the uncertainty of its origins and whether it is a friendly or malevolent spirit. 

Sub point

This constant state of uncertainty manifests in his indecisiveness, particularly in moments where the contemplates seeking revenge against Claudius. 

The character of Hamlet has long been a subject of debate among scholars and audiences alike. One prevailing argument posits that Hamlet's downfall is a result of his impulsiveness rather than his uncertainty. By examining interpretations from critics like A.C. Bradley and T.S. Eliot, exploring film adaptations such as Laurence Olivier's and Kenneth Branagh’s portrayals of Hamlet, and analysing the play through the view of feminist criticism, I will argue that Shakespeare is presenting a character who is more nuanced than just being characterised by either impulsiveness, or uncertainty: rather, Hamlet embodies both traits, and so both of these elements of his character contribute to his destruction.

Hamlet's impulsive nature is evident in several key moments throughout the play, illustrating his tendency to act on immediate and intense emotions. When he decides to feign madness, it is not a carefully planned course of action but a quick and impulsive response to the troubling circumstances he finds himself in. His decision, although strategic, is testament to his impulsive nature and is driven by a sudden need to protect himself from potential threats. As he declares in Act II, “I am but mad north-north-west: when the wind is southerly, I know a hawk from a handsaw”. This impulsive decision to feign madness becomes a pivotal aspect of his character and shapes the events of the play.

Critics have offered varied perspectives on Hamlet's impulsive nature and its role in the play's development. A.C. Bradley examined Hamlet's indecisiveness and procrastination as reflective of his profound intellect and moral complexity. According to Bradley, Hamlet's internal struggles and his tendency to overthink his actions stem from his contemplative nature rather than mere impulsivity. Bradley argued that Hamlet's hesitations are a result of his deep introspection. Thus, Bradley's interpretation challenges the notion of Hamlet as merely impulsive, offering a more nuanced perspective on the character's motivations. T.S. Eliot posits that Hamlet's intellectual and moral uncertainties are at the core of his tragedy. Eliot suggests that Hamlet is a character who is too reflective, analytical and aware of the complexities of life, making it impossible for him to take decisive action. In Act III, Scene I, Hamlet reflects on the moral and existential dilemmas he faces in his “To be or not to be” speech. This soliloquy encapsulates Hamlet's internal struggles, highlighting his uncertainty and indecision, which aligns with T.S. Eliot's interpretation of his character.

In his film adaptation, director Kenneth Branagh underscores Hamlet’s impulsivity as a flaw. Branagh's portrayal illustrated his impulsive tendencies, depicting Hamlet as emotionally volatile and unpredictable. According to Branagh's interpretation, Hamlet's impulsive nature contributes significantly to the tragic events of the play, leading to his ultimate downfall. Additionally, Marjorie Garber, through a feminist aspect, explores how Hamlet's impulsive decisions, such as his abrupt rejection of Ophelia, can be viewed through the lens of gender dynamics and societal expectations. According to Garber, Hamlet's impulsive behaviour can be attributed, in part, to the pressures of conforming to traditional masculine ideals, leading to impulsive outbursts against perceived threats to his masculinity. One instance occurs in Act III, Scene I where Hamlet states: “Get thee to a nunnery. Why wouldst thou be a breeder of sins?” In this scene, Hamlet's harsh words to Ophelia could be seen as a manifestation of his inner turmoil and his struggle with the expectations placed upon him as a man. By telling Ophelia to go to a nunnery (a place traditionally associated with purity and chastity), Hamlet might be expressing his disillusionment with the corrupt world around him and his belief that women, including Ophelia, should not be subjected to the sinful world of men.

Further, Hamlet's impulsive actions often emerge from moments of profound uncertainty and emotional turbulence. For instance, the impulsive murder of Polonius occurs in a fit of rage, triggered by the emotional vulnerability stemming from his mother's hastily arranged remarriage. This impulsive act conveys Hamlet's intense emotional responses to the events around him. Another example is when Hamlet returns from his journey to England when he impulsively jumps into Ophelia's grave. This action, although not as spontaneous as his killing of Polonius, is motivated by shock upon learning of Ophelia's death and irritation at her grief-stricken brother Laertes's claims of love and desire to be buried with her.

In addition, Hamlet’s impulsive duel with Laertes can be interpreted as a desperate attempt to assert his honour and courage. This could be interpreted as being driven by uncertainty regarding his own identity and worth. This uncertainty, stemming from existential questions and his moral dilemmas, fuels his impulsive behaviour. Additionally, Laurence Olivier's film adaptation of Hamlet portrays him with a blend of both impulsiveness and internal conflict. Olivier's interpretation aligns with this nuanced perspective, illustrating how Hamlet's impulsive tendencies are often intertwined with his deep-seated uncertainties

Hamlet's uncertainty is also reflected in his profound introspection which is especially evident in his soliloquies. In the “To be or not to be” soliloquy in Act III, he contemplates the uncertainties of life, death and the afterlife and this reveals his inner turmoil. Hamlet's uncertainty is further illustrated in his interactions with other characters. For instance, when he encounters the ghost of his father, he struggles with the uncertainty of its origins and whether it is a friendly or malevolent spirit. This constant state of uncertainty manifests in his indecisiveness, particularly in moments where the contemplates seeking revenge against Claudius.

In conclusion, Hamlet's character is shaped by both impulsiveness and uncertainty. While his impulsive actions contribute to the unfolding tragedy, they are intrinsically linked to his profound inner turmoil and uncertainty. Critical interpretations and various film and stage adaptations offer diverse perspectives which help to enrich the audience’s understanding of Hamlet's multifaceted personality. Overall, Shakespeare’s portrayal of Hamlet cannot be reduced to a simplistic dichotomy; instead, he could be viewed as embodying the complexities of the human condition.