Paul Adrian Fried / HAMLET'S BIBLE

GOD'S BODYKINS: Hamlet and the THIRD COMMANDMENT (series) What is Hamlet really implying when he says to Polonius, "God's bodykins, man, better!" (2.2) Polonius was going to arrange for lodgings for the players, and says he will seek in the castle for some kind of lodgings they deserve. Hamlet says, "better!"  But "God's bodykins"?  The etymology of “bodykins” may be read as “God’s little bodies” (from the English word “body” plus the middle dutch “kins” for “little” [1]).  In other words, Eucharist. Another "minced oath."  In Shakespeare's time, God's little bodies implies Eucharist, or those who have received it and are members of Christ's mystical body [2].  Consider:  If Hamlet is saying to Polonius,  "Eucharist, man! Treat the players better than you think they deserve!"  this is like saying,  “Polonius, remember Eucharist! All of us here, including the players, have at one time or another received the Euc...

In Hamlet , why is “Mary” spelled “Marry”? The spelling helped to obscure the “minced oath” invoking the name of St. Mary, mother of Jesus [1], breaking the Third Commandment, not to take the name of God (and other holy persons and things) in vain [2]. In performance, audiences would hear “Mary,” but to get the play approved for performance in the first place, the players would submit the ("Marry"-spelling) script to the Master of Revels for approval or changes.  For publication, Elizabethan censors could also approve a text or require changes. “Marry” is interesting for many reasons: The allusion is to Mary, mother of Jesus. Joseph almost didn’t “Marry” her: He learned she had become pregnant before their marriage and considered quietly calling it off, but after a vision in a dream, he married her anyway. The play is about a resentful, vengeful ghost who thinks his wife should have been faithful, even after death (1.5). It’s also about an “incestuous” marriage of a...

HAMLET, Polonius, Marry, and the THIRD COMMANDMENT (series) Polonius wins at cursing the most in a single scene in Hamlet [1], and the forms of cursing he chooses to use convey irony. Characters in Hamlet swear or curse (taking the name of God or saints or religious things in vain) [2] as many as 21 times [3]. In a single scene, Polonius swears more than any other character in the play does in a single scene: Twice in the play he swears "by the Mass!" (in 2.1 and 3.2). Six times he swears "Marry" (twice in 1.3, and four times in 2.1), a reference to St. Mary, virgin mother of Jesus. (“Marry” occurs 12 times in the play.)  Instead of saying "for Christ's sake!", to exclaim "Marry" was like saying, "oh, by the virgin mother of Jesus!"  “Marry” is appropriate: When Polonius gives Ophelia a book to read in 3.1, he tells her:  Read on this book, That show of such an exercise may color Your loneliness.—We are oft to blame in this (’Tis...

Why is "Marry" invoked twelve times in Hamlet? It’s a "minced oath": cursing or swearing by a holy name – in this case Mary, the mother of Jesus. Of 21 minced oaths in the play, “Marry” is the most frequent [1]. In Protestant England, why would characters – in their cursing or swearing  in a play – keep invoking Mary? Mary had been "downgraded" by Protestants during the Reformation: The Catholic Church had claimed that Mary was a perpetual virgin, even after Jesus’ birth. Catholics explained the Bible’s mention of "brothers" of Jesus [2] by saying Joseph was a widower with children by a previous wife. Protestants were not convinced about perpetual virginity, nor about her Assumption: Such things were not in the Bible (“Solo scriptura” - scripture alone!) [3]. Many thought that superstitious Catholic authorities and laypeople had gone too far, making Mary a focus of idolatry, praying to her instead of God. A second century Greek and third century ...

Queen Elizabeth is said to have sworn like a sailor. Her favorite, “‘s’death!” (God’s death) invoked the crucifixion, perhaps projecting power as a woman in what was thought to be a man’s job [1]. In Tudor England, “A Sermon Against Swearing and Perjury" [2] was seventh in the First Book of Homilies (1547). It warned against taking God’s name in vain (Third Commandment), abusing holy names and words, and breaking oaths. Judging by how often characters in Hamlet abuse holy names and words, you’d think that the sermon was not working.  Characters invoke God, Jesus (Gis), saints, Jesus’ mother Mary (Marry), wounds (s’wounds) and blood (s’blood) of Christ, and Catholic Mass (by the mass) which claimed that the body of Jesus was present in Eucharist (little bodies, “God's bodkin”) [3]. Some swear on the cross-handle of a sword (1.5). Polonius (often thought to be a satire of William Cecil [4]) swears the most in a single scene (five times in 2.1). Such words and phrases occur in th...

“Words, words, words”: Hamlet, the Second Commandment & Idolatries of Reformation Literalism In Shakespeare’s lifetime, Protestants accused Catholics of idolatry, taking too literally their Eucharist (“this is my body”). Protestants claimed that more figurative meanings had been intended. To them, Catholics - like the ghost in Hamlet - went through the motions mechanically, without sincerity. To Protestants, this was artificial and idolatrous [1]. Shakespeare scholar Jennifer Rust (2003) [2] has noted that the mechanical reproduction of translated Bibles created new, similar problems of idolatry for Protestants, citing Greenblatt (1980) [3] regarding what he calls a fetishism of the printed word (94). Instead of a Latin Bible interpreted by the authority of bishops alone, greater access resulted in an exponentially higher number of contentious disagreements and potential idolatries [4]. Many factions claimed that they possessed true interpretations, and that others did not. B...

The ways that different Christian groups numbered the Ten Commandments may mean little to us today, but these meant a great deal in Shakespeare’s lifetime and may have left its marks on Hamlet. Catholics and Lutherans followed the numbering of St. Augustine (5th century):  1. THOU SHALT HAVE NO OTHER GODS BUT ME - and - THOU SHALT NOT MAKE TO THYSELF ANY GRAVEN IMAGE.  The second half emphasizes the first: Worship God alone, not other gods or graven images.  But reformed churches (including Calvinist Scottish and English churches) used an older numbering of Origen (3rd Century):  1. "THOU SHALT HAVE NO OTHER GODS BUT ME."  2. "THOU SHALT NOT MAKE TO THYSELF ANY GRAVEN IMAGE."  Graven images included icons, statues, paintings: targets of Elizabethan iconoclasm.  To reformed churches, Catholics were idolators, worshiping statues, rosaries, and paintings of saints instead of God alone. Following the older numbering from Origen made it easier to justify...

Puritans in Shakespeare’s time had a reputation for being no fun. As Sir Toby Belch says in Twelfth Night 2.3, "Dost thou think, because thou art virtuous, there shall be no more cakes and ale?" The Second Commandment: "THOU SHALT NOT MAKE TO THYSELF ANY GRAVEN IMAGE."  HAMLET AND OPHELIA: In his love letter, Hamlet calls Ophelia “celestial” and addresses her as “my soul’s idol” (2.2.117) [4]. Such rhetoric may have been a convention, but Shakespeare highlights this in a play with other idolatry issues. In a repressed and religiously charged context, Shakespeare may have (in part) been tweaking the preacher’s nose (like Sir Toby to Malvolio).  Sermons warned against idolatry [1] and the wearing of makeup [2], saying as Hamlet does to Ophelia, “God hath given you one face, and you / make yourselves another” (3.1.155-6), equating artifice, painting and “whorish” makeup with graven images, the devil, and idolatry [3].   PAINTINGS:  In 3.4, Hamlet says, “Look here u...

Whether or not Hamlet violates the First or Second Commandment (or none at all) in comparing his father to classical gods, through these comparisons, what might Hamlet's analogies reveal? 1. By comparing his father to four classical gods, this implies that Prince Hamlet is like a son of a god [1]. 2. By starting with Hyperion – among the Titans whose divine reign was overthrown – this echoes his father having been killed by Claudius [2]. 3. The overturning of the old divine order – the rule of Hyperion and the Titans – also echoes the Reformation, which sought to break bonds with Rome and the old Christian order, and to embody a new, reformed order. In this way, English Renaissance fascination with Titans and gods may have been an analogical way to write about what was sometimes forbidden, restricted, discouraged [3]. 4. Comparing his father to Mars, god of war, makes sense, given the dead king’s reputation as a warrior; this also contrasts with Claudius, the cowardly...

The First Commandment, "THOU SHALT HAVE NO OTHER GODS BUT ME,” has both a literal meaning (Don’t worship other deities) and figurative meanings. What matters most? One could say that one’s highest priority is, figuratively, one’s god. In an Elizabethan understanding, one could serve God in many practical ways, but one could also be distracted toward vice or tempted to sin and selfish priorities.  Moses came down from the mountain, but the people had created a golden calf. This was always interpreted figuratively as well as literally: Don’t make hoarding wealth your god. Don’t misplace your priorities.  What matters most to each character? (Do priorities evolve with character arc?) An actor or director’s understanding of character motivation or priorities may vary greatly depending on the cast and the director’s overall vision.  Feel free to comment regarding what you see as character priorities. In the footnotes, see some of my own thoughts on each character… ...

The First Commandment, "THOU SHALT HAVE NO OTHER GODS BUT ME,” doesn’t mention pride, but Christian tradition considered it to be like playing god, the worst of the seven deadly sins from which the others proceed [1].  By apocryphal tradition it was the sin of Satan and the fallen angels, who in their pride believed they were equal to God or might usurp God’s throne [2].  KING HAMLET & OLD FORTINBRAS: Horatio in 1.1 notes pride: […] our last king, [...] Was, as you know, by Fortinbras of Norway, Thereto pricked on by a most emulate *pride,* Dared to the combat… (1.1.92-96)  King Hamlet was “Dared to the combat”; instead of humbly urging peace instead of violence, “pricked on by… emulate pride,” he accepted the challenge and killed the Norwegian king, both of them gambling their lives and sons’ inheritance – and the future of their countries – on pride.  No “sealed compact,” “law” or “heraldry” (1.1.98-101) can excuse this sin of pride, and it may be among t...