Last updated: August 26, 2019
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Polonius- A Senile Old Fool Essay, Research Paper

& # 8220 ; Oh, what a tangled web we weave, When foremost we pattern to lead on! & # 8221 ; . This quotation mark by

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Sir Walter Scott has been heard around the universe, translated into many linguistic communications, and repeated

to us by parents, instructors, and our equals. What does it truly average? Humans create major and

perchance helter-skelter jobs when seeking to juggle others. This quotation mark non merely applies to one

individual impacting another, but besides how the actions of one individual seeking to lead on many people

through double-talk or hypocrisy lead to complex and sometimes unresolveable events. The

character Polonius in Shakespeare? s Hamlet fits the description of one who tries to lead on others

by have oning different? masks? , double-talking, and practising lip service to derive the blessing of


It is safe to presume that since he is the King? s adviser, Polonius must move as a populace

individual to protect the King? s best involvement. Therefore ; on a basic actual degree, it is justifiable for

Polonius to desire to descry on everyone to protect the King. However ; if his actions and addresss

are examined closer, it is apparent that he is a limited and conceited individual who is excessively concerned with

his visual aspect and wears different masks to tune up to different people. His first mask is the 1

he puts on for Laertes and Ophelia before directing Laertes off to England. He wants Laertes and

Ophelia to believe of him as a wise, moral, and respectable male parent as shown in the undermentioned lines:

? Give thy ideas no lingua, nor be unproportioned thought his act & # 8230 ; . Those

friends thou hast, and acceptance tried, cope them unto thy psyche with basketballs of

steel & # 8230 ; ..Give every adult male thy ear, but few thy voice. Take every adult male? s animadversion, but

modesty thy judgement & # 8230 ; Never a borrower nor a loaner be & # 8230 ; . This above all: to thine

ain ego be true, and it must follow, as the dark the twenty-four hours, 1000 canst non be false to

any adult male. ( Hamlet II, three 65-86, Shakespeare ) ?

Polonius does an exceeding occupation of supplying good ethical motives for his boy to populate by, but so shows

his first act of lip service by judging Hamlet in forepart of Ophelia merely a few lines subsequently by stating? Make

non believe his vows, for they are agents, non of that dye which their investings show, but mere

implorators of unhallowed suits, take a breathing like sanctified and pious prostitute the better to juggle? ( II. three

136-140 ) . He subsequently speaks with Reynaldo and asks him to descry on his boy, while still presuming the

important figure he displayed to Laertes and Ophelia. Polonius seems incapable of moving in an

honest mode. His actions are evocative of a huntsman & # 8217 ; s occupation ; utilizing all his humor to bring out the

unwary quarry in a traffic circle manner. He even uses huntsmans & # 8217 ; nomenclature. & # 8220 ; Windlasses & # 8221 ; ( II. I. 72 )

means an indirect attack in runing. He talks of the & # 8220 ; come-on of falsity & # 8221 ; ( II. I. 70 ) , being

dishonest to the & # 8220 ; prey & # 8221 ; , Laertes, and even to the people who are to assist him catch the & # 8220 ; prey & # 8221 ; , the

familiarities. Polonius wants to catch & # 8220 ; the carp of truth & # 8221 ; . This subject is echoed subsequently on when

Hamlet calls Polonius a & # 8220 ; fishmonger & # 8221 ; . His methods of happening out the truth suggest that Polonius

is non concerned about Laertes? wellbeing ; instead Polonius is disquieted how Laertes is doing him

expression. Polonius has an disposition toward cynicism and intuition of other people. For Polonius,

moving rotten comes so of course that he expects other people to besides be like that. His tone

suggests that he is at easiness and non at all sorry about utilizing dishonest methods or doubting their

decency. In fact, his amour propre makes him really proud of his crafty schemes.

Polonius puts on an wholly different mask for his higher-ups, including Hamlet. He plays

an ignorant and encomiastic character when he is talking to Hamlet, which is wholly contrasting

to his important character he portrayed to Laertes, Ophelia, and Reynaldo. He makes little

talk with Hamlet in Act II. Sc. two and maintain his remarks and inquiries short and brief. It is ir


that Polonius agrees with Hamlet when he says? To be honest, as this universe goes, is to be one

adult male picked out of 10s thousand? ( II. two. 194-195 ) , when Polonius is one of the drama? s most

dishonest characters. Polonius besides ingratiates Hamlet subsequently in Act II. Sc. two by holding with

Hamlet? s remark to the first participant, ? The mobled queen? ? .

Polonius? 3rd mask is the 1 he shows to the King and Queen. He decides to state

Gertrude and Claudius that he has discovered the ground for Hamlet & # 8217 ; s uneven behaviour, which is in

his sentiment caused by Hamlet & # 8217 ; s love for Ophelia. The fact that this sort of love relationship

should do Polonius highly proud because of Hamlet & # 8217 ; s princely position, does non impact

Polonius because he is excessively overcome with cloud nine over the fact that he has solved the enigma that is

so of import to the King and Queen and everyone is seeking to work out. This is apparent in his

linguistic communication full of idiosyncrasies and amour propre.

& # 8220 ; My vassal, and dame, to expostulate what stateliness should be, what responsibility is,

why twenty-four hours is twenty-four hours, dark dark, and clip is clip were nil but to blow dark, twenty-four hours

and clip. Therefore, since brevity is the psyche of humor, and tediousness the limbs and

outward flourishes, I will be brief. Your baronial boy is huffy ( Hamlet II. two. 94-99,

Shakspere )

This address is a fantastic alleviation from the tenseness and tragic earnestness. Here it is apparent that

Polonius is the buffoon of the drama. His usage of correspondences, metaphors, and play on words are all

delivered in the supreme assurance in his ain ability. Most amusing is that Polonius is his ain

critic, as when, after a declamatory sentence about dark, twenty-four hours, and clip, he concludes, & # 8220 ; brevity is the

psyche of wit. & # 8221 ; ( II. two. 97 ) Besides, after indulging in another such exercising affecting the words true and

commiseration, he exclaims, & # 8220 ; A foolish figure! & # 8221 ; ( II. two. 106 ) . Polonius tries to set on a show of his humor by

presenting a philippic turn toing what he considers philosophical inquiries such as those about the

nature of dark, clip, twenty-four hours, and responsibility. However, this is all obvious and non deserving talking about to

the reader. Polonius? rhetoric and flowery linguistic communication that stress how profound this

subject-matter is in his sentiment do this all the more amusing. Besides the beat of Polonius?

address is different from the beat before it: it is simple, with shorter lines, and even a kind of

rime achieved by stoping lines with the same words. This beat makes the address seem even

shallower and more superficial, contrasting to Polonius? intend. Nevertheless, the linguistic communication,

nevertheless stupid, suggests that Polonius is an educated adult male. He is parroting books because to him

grandiloquent linguistic communication is a mark of wisdom. He is concerned approximately looking every bit wise as possible, at

the same clip playing- it- up to the royal twosome. His idiosyncrasy are about self-degrading. This

tone is opposite to his tone of authorization which he used when talking to Laertes, Ophelia, and

Reynaldo, but similar to his tone when talking with Hamlet though more verbose.

Even though Polonius is a amusing character, he has a functional relation to the chief

subjects of the drama and helps us derive penetration on other characters. I find the undermentioned quotation mark to be

one of Polonius? most dry lines: & # 8220 ; Madam, I swear I use no art at all, & # 8221 ; ( II. ii 104 ) . Readers

should express joy to the absurdness of this statement. Polonius used a really wicked art ; fraudulence, to derive

cognition that was none of his concern. Polonius was a conniving, grandiloquent dissembler whose

? terminal was justified by his means. ? He was literally stabbed in the dorsum without his individuality being

known to the liquidator, merely like he symbolically stabbed Hamlet in the dorsum with his studies and

remarks to the King oppugning Hamlet? s saneness. The artificiality of Polonius suggests the sort

of universe in which Hamlet and the other characters live in after his decease, every bit good as a universe in

which we live today: full of fraudulence, lip service, pretence and masks.