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Isabel Bonner
Ms. Caldwell
European Studies: History
1 November 2013
The Layers of Hamlet
The art in the Baroque period reflects grandeur and excessiveness, focusing on the
exaggeration of movement and emotion. Shakespeare’s tragedy, Hamlet, encompasses aspects of
this era and its artwork, specifically the aggrandizement of human behavior. In Gentileschi’s
painting of David Contemplating the Head of Goliath, the composition parallels the theme
present in Hamlet, exaggerating the behavior of mankind. The painting works as a counterpoint
for the human characteristics of Hamlet, namely his humanity, his depression, and his
questioning nature.
When looking at this painting, one’s eye is immediately drawn to David, as his pale form
is highlighted against the dark background. This use of lighting deliberately makes David stand
out and accentuates his human form, emphasizing his humanity. Similarly, in Hamlet, the titular
character embodies quintessential human characteristics: he feels pain, he struggles with
decisions, and he schemes. Hamlet’s humanity is what makes him grapple with the choice of
whether or not to kill his uncle. If Hamlet did not have compassion and did not experience fear,
two common human emotions, then he would not question murdering his uncle. Alluding to the
conflict Hamlet has over acting versus not acting, he says, “Yet, I, /A dull and muddy-mettled
rascal, peak/Like John-a-dreams, unpregnant of my cause, /And can say nothing” (2.1.593-596).
Hamlet demonstrates that he does not find mankind significant when he asks, “What is this
quintessence of dust? Man/ delights not me, (no,) nor women neither” (2.2.332-333). By
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referring to men and women as dust, Hamlet is suggesting that the human race is inadequate, as
the species will eventually end up as useless particles. However, while Hamlet remains skeptical
about man’s importance, the painting of David appears to revel in his human figure, drawing
attention to his massive form and muscles.
While David is illuminated, the background is shadowy, giving the painting a mysterious
feel. Because David is highlighted by light, the viewer looks directly at David as opposed to
focusing on the surrounding scene. The darkness of the setting makes one wonder what the artist
is covering up in the background. Likewise, in Hamlet, one of the major themes is the
concealment of the truth. What is real and what is not real? The King pretends to be innocent,
while at the same time, Hamlet puts on an act of being mad, stating, “That I essentially am not in
madness, /But mad in craft” (3.4.209-210). This assertion suggests that Hamlet is only
pretending to be insane. In fact, Hamlet is manufacturing his own insanity. He has the ability to
unleash this lunacy and will use it to expose Claudius.
Although Hamlet pretends to be mad and uses this madness to deceive people, he is also
concerned with the truth. When talking to his mother he says, “‘Seems,’ madam? Nay, it is. I
know not ‘seems’” (1.2.79). By declaring himself, rather than disguising his identity, Hamlet
demonstrates that he is only capable of displaying his true self. However, this quotation presents
a paradox as to what was stated previously, regarding Hamlet’s act of insanity. How can one
pretend to be crazy, but at the same time be able to reveal the entirety of oneself? This
conundrum poses the question of whether Hamlet is more candid in his episodes of madness or
moments of sanity. What is Hamlet’s true self? These contradictions reflect a complexity to
Hamlet’s character; he is not two-dimensional.
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A motif of restraint and incarceration is present in the painting of David and Hamlet. In
addition to making David stand out, the gloomy background gives the painting a claustrophobic
feel. As David is the only light source, the background feels oppressive, as if it is closing in on
him. Hamlet also struggles with this sense of confinement when he states, “Denmark’s a prison”
(2.2.262). Hamlet feels imprisoned due to his lack of power; he is at the mercy of the king and is
unable to effectively communicate his discontent. He says, “But break, my heart, for I must hold
my tongue” (1.2.164), referencing the sorrow he feels over his inability to say what is on his
mind. This ineffectiveness to communicate, likewise, isolates Hamlet.
An atmosphere of truth seeking is present in both the image of David and in Hamlet.
When looking at this painting, David’s stance sparks curiosity in the viewer. He is rendered with
his leg bent and his elbow resting on his knee. This position, as well as David’s facial expression,
gives the painting a quizzical demeanor. One can infer that this positioning indicates that he is in
deep thought. Similarly, Hamlet’s tendency is to question everything. In his renowned soliloquy,
Hamlet states, “To be or not to be—that is the question” (3.1.64), refers to Hamlet’s
contemplation of suicide and whether it is better to live or to die. Hamlet later comes to the
conclusion that, “Conscience does make cowards (of us all,)” (3.1.91). In other words, the
knowledge of death is too terrifying for one to want to face it. In a previous monologue, Hamlet
asks, “Am I a coward?” (2.2. 558), again emphasizing his pensive manner.
Both the portrait of David and Hamlet explore and contemplate human nature. This focus
on questioning mankind reflects intellectual thought of the Baroque period. As during the
Renaissance, humanism was a major theme. However, the Baroque period intensified this way of
thinking. The image of David Contemplating the Head of Goliath, amplifies David’s physical
mass, and in so doing, enlarges his humanity. In Hamlet, Hamlet experiences what it means to be
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fully human, as he contemplates life, death, honesty, and deception. However, this examination
of the human condition, as seen through the lens of Hamlet’s emotions, emotions which are
overdramatized, again magnifies his humanness. Together, these two works relate to present day
society, in that they portray relatable human experiences and sentiments, as well as reveal the
complexities of humanity.