First we notice that Gertrude does not display her grief for her dead husband, and suspicions mount when she also tells Hamlet that he should stop his mourning as well.
“Do not forever with thy vailed lids,
Seek for thy noble father in the dust”, Act 1, Scene 2.
Although she tells Hamlet this there is nothing to suggest that she has any guilty knowledge about the late King’s death or that she, herself, is missing him and grieving as well.
There is no solid evidence in the beginning to suggest that she really loves Claudius, but this changes through out the play. This is shown when Laertes comes to attack Claudius. At first Gertrude restrains him, saying “calmly, good Laertes” then she goes on to defend Claudius by revealing that it was not the king that killed Polonious “ But not by him” Act 4, Scene 5. It is evident that she depends on Claudius. This is shown when she faces unwanted confrontation and she immediately runs straight to Claudius, this is shown after she talks to Hamlet in the closet scene and she seems dependant on the men in her life. However this also works the other way round as we see that Claudius is slightly dependant on Gertrude’s advice as he seems to ask her for advice “Do you think ‘tis this” Act 2 Scene 2, but although this is the case she is not included in major decisions.
As a character there is a great deal emphasis on her relationship with Hamlet, it is evident that she loves her son very dearly; she seems particularly concerned when she learns of Hamlets madness. This could be explained in likeness of a mothers concern but it is also arguable that she has no knowledge that the madness is pretence; this could show that she does not really know her son, because she cannot distinguish his real personality from the false. She resorts to asking Rosencrantz and Guildenstern to look after Hamlet and find the reason for his madness for which she offers them a reward.
“Your visitation shall receive such thanks
As fit a king’s remembrance”
As to Hamlet’s madness she looks towards blaming herself for her son’s suffering, which is noticed whilst she in conversation with Claudius, “I doubt it is not other but the main: his father’s death, and our o’erhasty marriage.” Act2, Scene 2 This can also show that she is admitting that the marriage to her brother in law was too soon after the death of Hamlets father, but after blaming herself, she shifts the guilt onto Ophelia. Gertrude’s character in the terms of her suspected guilt and the love she feels for Claudius is reflected by Ophelia’s innocence and connection to real love. Perhaps it can be assumed that Shakespeare uses Ophelia to show whether Gertrude is morally corrupt or not, as Ophelia becomes overwhelmed by her loss of her father and by the rejection that is ultimately given to her by Hamlet, and Gertrude shows no evidential remorse as she refuses to see her during her state of madness “I will not speak with her” Act 4, Scene 5. This is contradicted as Gertrude does eventually speak with her, and during the conversation she shows some kind of responsibility and mother figure towards Ophelia, by asking her questions, showing some kind of concern, “How now Ophelia?” and “Alas sweet lady what imports this song”.
Although this is all evident within the play she still betrays her son, organizing a secret meeting, suggested to her by Claudius, for a private conference in the closet, to find about his recent behaviour, Gertrude shows no objection to the plan of spying on her son.
In contrast to this Hamlet can be quite sinister towards his mother, and even though he seems to show respect for his mother, whilst speaking to her, showing his love for her. He calls her “good lady” Act 3, Scene 4. But whilst in his state of false melancholy Hamlet is quite abrupt towards and about his mother and is rude, whilst in his soliloquy he mentions his mother and says “frailty, thy name is woman” Act 1 Scene 2, this shows how he perceives his mother to be morally frail relating to the speedy marriage. And even though Gertrude does show and unconditional love towards her only son, he is the only character that is questioning her innocence, this is shown in Act 3 scene 4:
“A bloody deed? Almost as bad, good mother,
As kill a king and marry his brother”.
Although hamlet holds this view over his mother, it could be suggested that the reason for Hamlet’s attitude towards his mother could be based on the Oedipus complex as he shows unhealthy jealousy towards his uncle and explain why he feels that his mother is guilty of a crime.
During the play that Hamlet asks the performer to present, Gertrude shows that she is not affected by the content at all. It almost seems as if she is confused by the storyline and she seems a bit shocked by Claudius’ response. This could show that she is innocent and that she is not aware of the cause of her late Husband’s sudden death.
After the death of the late King Hamlet, the ghost still defends Gertrude and persuades Hamlet to go and talk to her Act 3 Scene 4 "Oh step between her and her fighting soul" and he tells Hamlet not to judge Gertrude, or to seek any revenge upon her “leave her to heaven” Act 1 Scene 5, this could show that she was not involved as the king would have known and maybe sought after revenge, but this could also show that she was involved and she would receive the appropriate punishment upon death.
She does not show any untoward hatred towards Claudius showing that she may not be aware of his cruel deed.
In the end Gertrude drinks the poison which can suggest many things; that she has no knowledge of the poison or that she feels guilty of her late husband’s death, and cannot carry on with the corrupt behaviour between her husband and her son, or that she is protecting her son and saving his life. When she attempts to consume the drink she is stopped suddenly by Claudius, but she replies “I will my lord, I pray you pardon me”, is this the request of someone who is guilty, someone who is tired of the fighting between her two dearest or of someone with no awareness of what was going to happen? This for many readers is the critical part of the play in determining her innocence or guilt.
