Polonius has sometimes been presented as an essentially comic character and sometimes as a more sinister figure. What critical and dramatic issues are raised by the character of Polonius?

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Polonius has sometimes been presented as an essentially comic character and sometimes as a more sinister figure. What critical and dramatic issues are raised by the character of Polonius?

There has been much debate amongst critics and directors alike on the depth of Polonius’s character, and his purpose in the play. There are those, such as critic Myron Taylor, who view him as a more sinister persona, arguing ‘his ineffectuality does not excuse his moral deviousness. Appearance has become his reality’, thus implying he is used for menacing dramatic effect. However others take a more sympathetic view, for example Elkin Calhoun Wilson; ‘that dotage repeatedly amuses us in his fondness for lecturing and giving advice, however sound, to his meandering young;’, therefore interpreting him as a more bumbling and comical element to an otherwise serious play.  Despite understanding both these views I still, like Hamlet, see Polonius as a ‘rash, intruding fool’ [Act.3Scene.4 line33]and believe anything done that may appear enigmatic or ominous can only have occurred unintentionally (in the script) or  through exaggeration in directing. Similarly to Wilson, I can see how Polonius would add light-hearted, comic relief to the play, especially when paired with quick-witted Hamlet, highlighting the cracks in Polonius’s delusional ‘wise’ role he has adopted.

Polonius has traditionally been played as a sinister character, with exaggerations on his spying and sneaking around castles, as is portrayed in Franco Zeffirelli’s version, though many productions in the 20th Century have instead portrayed him as older and more bumbling to bring a comic element to the play.

There are two sides of Polonius shown in Act 1 Scene 3 and Act 2 Scene 1. These focus on his relationships with Ophelia and Laertes, and to me portray him as foolish again, though not unintelligent. He appears authoritative ‘Look to’t I charge you; come your ways’ [Scene3 line.135 to Ophelia] and gives further instructions to Laertes ‘Aboard, aboard..neither a borrower nor a lender be’ [lines55+75]. This particular line enforces the idea he is comical/foolish; advising Laertes to leave else he’ll miss his crossing, yet proceeding to bombard him with a lengthy advisory speech that states what is obvious. It does seem that he is rambling here as well, as of course Laertes is returning to university, not just starting, making the well-meant advice effectively knowledge that Laertes already has. Both his offspring create an impression of having to be patient with him, replying in just short sentences as if to make up for time lost ‘Most humbly do I take leave my lord’ [Laertes line 81]. The audience’s knowledge that he isn’t as respected as he thinks himself to be can be humorous, developing an almost ‘bumbling’ man who is held in higher esteem by himself than even his long-suffering, and in the case of Ophelia, oppressed, children. With Ophelia, there is a significant difference their relationship than that with Laertes; Polonius seems highly insensitive to her feelings, and Ophelia’s replies become more restrained and subservient. When speaking to Ophelia, for example, Polonius advises her on her relationship with Hamlet ‘Do not believe his vows, for they are brokers’ [Act 1 sc.3 line 127]; in Kenneth Branagh’s production of the play, Ophelia has already slept with Hamlet, and Branagh makes use of flashbacks in Ophelia’s mind of their sexual relations as she listens absent-mindedly to her father. This helps back up an image of Polonius as rather ignorant, especially as Ophelia’s reply is so submissive, building an impression of an advisor of little use to anybody, which in turn strengthens his role as a comic. However, this display of likeability could be argued to be compromised in Act 2 Scene 1 as Polonius plots to send spies after Laertes ‘put on him What forgeries you please,’ [Act 2 sc.1 lines19+20], potentially revealing a darker side to him, yet for me this is ruined later on in dialogue ‘And then, sir, does’a this-he does-what was I about to say?’ suggesting he puts on an act whilst playing up his deviousness, as the inconsistency in language, dashes and faltering punctuation portray an inconsistent mind that runs away too easily and is not to be taken seriously; quite like the character itself: not intended to be a serious one. 

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With relevance to Claudius, when both in a scene, Polonius can either be argued to be more devious or even more of a fool. The former view could have been picked up on because of the spying and meddling that occurs between the two of them, such as in Act 3 Sc.1 ‘Her father and myself, lawful espials, Will so bestow ourselves...’ [ lines 32+33] and to some may show a more sinister shade to his persona. In Branagh’s full-length version, Polonius is shown to be slyer, with the including of his (spying) scene with Reynaldo; a scene some ...

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A well researched essay which shows a good knowledge of text and context. It is worth researching who Shakespeare was said to have modelled Polonius on - and the significance of this - too! ****