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2008 - Communication Across the Curriculum (CAC)

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E n g l i s h<br />

Queen: Gertrude and <strong>the</strong> Theme of Sovereignty,” dismisses <strong>the</strong><br />

problem of character defects and weaknesses and delves into<br />

<strong>the</strong> world of symbolism and metaphors. Aguirre sees <strong>the</strong> play<br />

as an adaptation of older myths and legends, which indeed it<br />

is. According to Aguirre, Gertrude’s behavior can be explained<br />

by precedents set in medieval literature. As <strong>the</strong> queen, she<br />

symbolizes <strong>the</strong> shaper of destiny, <strong>the</strong> giver of sovereignty, and<br />

<strong>the</strong> prize to be won. This picture of Gertrude shows her to be allpowerful,<br />

making Claudius seem of only secondary importance.<br />

Indeed, as Aguirre states, “<strong>the</strong> Danish crown was not his to<br />

take, it was hers to give; she it was who yielded sovereignty<br />

to him; and Claudius’ own explanation of <strong>the</strong> event is hollow”<br />

(166). And, apparently, Gertrude had <strong>the</strong> right to do this: she<br />

could yield sovereignty to him as she pleased, and her moral or<br />

intellectual weaknesses were not even to be considered. Aguirre<br />

explains that Hamlet’s reaction, strangely enough, is much too<br />

realistic for <strong>the</strong> mythical ideology in <strong>the</strong> play: “[H]e is outraged<br />

by his mo<strong>the</strong>r’s deed, a deed which he, like ourselves, must<br />

interpret in a ‘realistic’ way and <strong>the</strong>refore without <strong>the</strong> framework<br />

of myth to justify it” (170).<br />

Gertrude will continue to be a subject of debate among<br />

Shakespeare scholars, who will continue to wonder if she<br />

actually was an adulteress, a mere pawn for o<strong>the</strong>r players in<br />

<strong>the</strong> story, or a discerning on-looker of <strong>the</strong> play’s events. If we<br />

were to look at <strong>the</strong> queen as a mere human being instead of as a<br />

symbol for wealth and sovereignty, her actions are unjustifiable.<br />

She must ei<strong>the</strong>r be a cunning villainess or <strong>the</strong> weak-minded<br />

character that Maxwell asserts her to be. When <strong>the</strong> last act has<br />

played and <strong>the</strong> last critic has spoken, <strong>the</strong> most complete way to<br />

understand Gertrude may be to see her as a symbol ra<strong>the</strong>r than<br />

a person and to understand her as an archetype transported into<br />

Shakespeare’s play straight from <strong>the</strong> realms of myth and lore.<br />

Works Cited<br />

Aguirre, Manuel. “Life, Crown, and Queen: Gertrude and <strong>the</strong> Theme of Sovereignty.” The<br />

Review of English Studies. 47 (May 1996): 163-174. JSTOR. Montgomery Coll. Lib.,<br />

Conroe, TX. 27 March. <strong>2008</strong> .<br />

Heilbrun, Carolyn. “The Character of Hamlet’s Mo<strong>the</strong>r.” Shakespeare Quarterly. 8 (1957): 201-206. JSTOR.<br />

Montgomery Coll. Lib., Conroe, TX. 27 March <strong>2008</strong>.<br />

Maxwell, Baldwin. “Hamlet’s Mo<strong>the</strong>r.” Shakespeare Quarterly. 15 (1964): 235-246. JSTOR. Montgomery<br />

Coll. Lib., Conroe, TX. 28 March. <strong>2008</strong> .<br />

3 9<br />

W r i t i n g A c r o s s t h e C u r r i c u l u m

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