Hamlet and The Stranger Dialectical Portfolio

Daniel Arcega

Mrs. Emerick

IB English HL II

Hamlet and The Stranger Dialectical Portfolio

Part 1: Use of the death of a parent

Hamlet:

• Father is dead
• Learn much about the character because of it
• Spurs him into action

The Stranger:

• Mother is dead
• Learn much about the character because of it
• Forces him into action

    In both Hamlet and The Stranger, the main characters experience the death of a parent early in the novel to introduce the readers to their characters and spur them into action.

    Hamlet opens around two months after the titular character's father has died. Hamlet's first introduction illustrates that the event still heavily plagues Hamlet. Reflecting on what has happened, he laments " Oh, that this too, too sullied flesh would melt, thaw, and resolve itself into a dew, or that the Everlasting had not fixed his canon 'gainst self-slaughter!"(Shakespeare 129-132). Hamlet feels useless due to his inability to fix his sadness or speak against his mother's hasty remarriage. He can not even take his own life. The king's death sets up Hamlet as a tragic character in need of a purpose. Later on, the king's death even gives Hamlet a purpose; one of revenge. The death of the king introduces our tragic hero and then initiates him on his journey.

    The Stranger opens with the lines, "Maman died today. Or yesterday maybe, I don't know"(Camus 3). Not only does this opening set up the plot of the chapter, but also introduces a key characteristic of the main character. Meursault's bland response to his mother's own death informs the reader that Meursault is not like most people. It implies that he has a sharp emotional disconnect from his life. This idea is then reinforced by reading Meursault's actions and reactions during the funeral proceedings. Meursault did not do more than what was necessary of him and he always reacted with the first thoughts that came to his mind, no matter how appropriate. By the time the funeral is over, Meursault is actually glad to go home and go to sleep. If it were not for the funeral, he would have been more content going though his normal life. The death of Meursault's mother introduces his primary character trait and forces him out of his comfort zone.

Part 2: Use of a romantic interest

Hamlet:

• Hamlet first reveals his madness to Ophelia, his love interest. 
• This acts as our introduction to mad Hamlet
• Their relationship is used to explore Hamlet's new persona

The Stranger:

• Marie is one of the few things that Meursault finds genuine joy in
• Used to contrast the way Meursault reacts to the rest of the world

    In both Hamlet and The Stranger, a love interest is used to reflect on the main character's personality.

    Ophelia relationship with Hamlet is used to characterize Hamlet's madness. In act two scene 1, it is revealed that Hamlet first showed his "mad" persona to Ophelia. In the story, this is part of Hamlet's plan in order to make people believe his madness derives from his love for Ophelia. However, this first interaction illustrates to the reader the key traits of the new personality Hamlet has crafted.  For instance, Ophelia recalls Hamlet's outfit during the encounter: "his doublet all unbraced, no hat upon his head, his stockings fouled,  ungartered, and down-gyved to his ankle"(Shakespeare 2.1.78-80). Hamlet's clothing choice contrasts with what he would usually wear as a royal. This contrasts represents how he wishes to be viewed as sporadic and unkempt. When combined with his inexplicable actions, they outline Hamlet's idea of madness. Ophelia's importance in this encounter is also shown when Hamlet physically interacts with her. Hamlet would have not done what he did to any person other than Ophelia. However, those actions help to characterize his madness with an underlying purpose. The relationship between Hamlet and Ophelia assists in characterizing Hamlet's new madness.

    Marie's interactions with Meursault in The Stranger reveals an entirely new side to the latter's character. Up until Marie is introduced in the story, Meursault is shown to be an extremely impassive character. He rarely shows emotion; even at his own mother's funeral did he remain composed. He also speaks bluntly and rarely maintains conversations he isn't interested in. Even when something piques his curiosity, he only shows moderate interest through unemotional phrases. When Marie is introduced, this aspect of Meursault changes He begins to show more emotion than before; for example, when swimming with her, Meursault says that, "Her hair was in her eyes and she was laughing. I hoisted myself up next to her. It was nice"(Camus 20). Before this moment, Meursault's perception of the world has mostly been objective, but here we see him showing actual feelings. Meursault appreciates the moment he has with Marie, noticing the simple detail of her hair being in her face and her laughter; he even calls it nice. As the novel continues, we see that Meursault continues to have this shift in personality when spending time with Marie. The relationship between Meursault and Marie provides a contrast that helps to expand on the former's character 

Part 3: Use of murder as a turning point

    In both Hamlet and The Stranger, a murder done by the main character enforces a pressure on them.

(I know most of this stuff takes place in act 4, but the actual death takes place in act 3)

    Hamlet's murder of Polonius accelerates the plot of the novel, putting pressure on Hamlet and Claudius. Before the murder, both Hamlet and Claudius confront their problems with little urgency. Hamlet decides to act mad and enact a roundabout plan to prove Claudius's guilt instead of just killing him immediately. For Claudius's actions, he too tries to roundaboutly determine the cause of Hamlet's madness instead of confronting him directly. However, Hamlet's murder of Polonius forces both characters into immediate action. Claudius is horrified at the realization that he could have been the one who was killed: "It had been so with us, had we been there" (Shakespeare 4.1.13). The murder shows Claudius that his life is in immediate danger due to Hamlet's unpredictableness. Claudius can no longer afford to dance around the issue. He takes immediate action by sending Hamlet away to England hoping that he will be killed there. For Hamlet, killing Polonius results in him being captured by guards and sent away. He no longer has the freedom to approach Claudius as he once did. His new predicament and a coincidental encounter spur Hamlet on to commence his revenge at once. After realizing that he himself is to blame for the delay in his revenge, he states, "O, form this time forth my thoughts be bloody or be nothing worth!"(Shakespeare 4.4.65-66). Hamlet claims that he will complete his revenge immediately, having no more room for hesitation.

    The murder Meursault commits at the end of chapter 6 is a distinct turning point in the plot and the exploration of his character. Before this moment the novel explores Meursault's character passively. Meursault goes through his life as he normally would, reacting to whatever happens in his day. The reader learns about Meursault based on these reactions. However, the novel's approach to exploring his character changes after Meursault kills the arab. This change is signaled by the final line in chapter 6, where Meursault describes his shots as "like knocking four quick times on the door of unhappiness"(Camus 59). The symbol of a door suggests the start of a new section, just as a door suggests the start of a new room. The following chapters have Meursault under direct scrutiny for his personality. Nearly the entirety of the courtroom scene is dedicated to Meursault being judged for his personality. The direct investigation into Meursault's character contrasts the passive investigation seen in part one of the novel.

Part 4: Use of effect on romantic interest

    Both Hamlet and The Stranger have the main character's romantic interests affected by their actions as consequences of their actions.

    After Hamlet kills Polonius, Ophelia is driven into deep madness from the loss of her father. In act four scene five, we see the initial stage of this madness. Similar to Hamlet's reveal of madness, she rambles on and on, rarely making sense. Also similar to Hamlet are her brief flashes of logical thought. Eventually, Ophelia's madness grows so much that she drowns herself in a river. Hamlet is the direct (although unintentional) cause of her madness. However, Hamlet could have avoided this outcome if he went to enact his revenge immediately. His delays led to his killing of Polonius, and therefore to Ophelia's death.

    

    The murder Meursault commits throws his life into turmoil. The event also affects those who are close to him as well. Seeming the most affected by this event is Marie. Before, she was perfectly happy. She was one of the few people who accepted Meursault's odd personality, and was even going to marry him. Meursault himself also cared for her very much, with her smile being very dear to him. Unfortunately, Marie is not able to keep that happiness after the murder. When Marie visits Meursault in prison, she seems to be alright, showing the smile that Meursault likes. At the end of their conversation, however, Meursault notices that something is wrong. When he is leaving, Meursault notes, "She hadn't moved and her face was still pressed against the bars with the same sad force smile on it(Camus 76). Marie can no longer smile freely because of Meursault's actions. She only keeps up the smile to reassure Meursault.

Part 5: An encounter gives the main characters new perspectives on death

    Both Hamlet and The Stranger have the main characters converse with a character on the subject of death.

    Hamlet's conversation with the gravedigger gives him a realization about the nature of death. When Hamlet first sees the gravedigger, he is singing and throwing skulls out of the grave he is digging. When Hamlet sees the gravedigger throwing the skulls about, he speculates about who the skulls might have belonged to. Hamlet makes guesses such as a lawyer or landlord, unable to discern the identity from the skull alone. While talking with the gravedigger, Hamlet inquires about a particular skull. The gravedigger tells him that it used to belong to Yorick, a court jester. Hamlet takes the skull and asks it, "Where be your gibes now? your gambols ? your songs? your flashes of merriment that were wont to set the table on a roar?"(Shakespeare 5.1.183-185). Everything that Yorick was is reduced to a skull. Hamlet realizes that no matter who someone is in life, they will be reduced to nothing in death. This realization gives Hamlet a new outlook on death and adds to the complexity of the story's reoccurring theme of death.

    The final dialogue in The Stranger between Meursault and the priest helps Meursault to come to terms with his inevitable death. During his stay on death row, Meursault denies seeing the priest many times, but eventually, the priest comes in with a surprise visit. Initially, the priest only wants to understand why Meursault refuses to see him. However, their conversation becomes heated as the priest becomes frustrated at not being able to understand Meursault's reasoning. As the priest pressure Meursault further, the latter eventually snaps back. In a passionate rant, Meursault realizes that, "I was sure about me, about everything, surer than he could ever , be sure of my life and sure of the death I had waiting for me" (Camus 120). Meursault is reaffirmed that he lived his life the way he wanted to. This reaffirmation helps him accept his fate, seen at the end of the chapter when the only thing he wants is for his execution to be attended by a large crowd.

Works Cited

Camus, Albert. The Stranger. Translated by Matthew Ward, Vintage Books, 1989.

Shakespeare, William. Hamlet. Edited by Susan Emerick, Open Source Shakespeare, 2021.