(Part 7) Hamlet’s allusion in 3.2 to the boy Jesus: Hamlet as Abbott, Rosencrantz and Guildenstern as Costellos?

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INDEX OF POSTS IN THIS SERIES:
https://pauladrianfried.blogspot.com/2023/01/index-hamlet-in-32-as-boy-jesus-lost.html
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Hamlet’s allusion to himself and his mother as like the boy Jesus and his mother Mary is delivered, couched inside of a kind of comedy routine, not unlike Abbott and Costello’s “Who’s on First?” [1]

This is great fun but makes it easier to miss the allusion.

Rosencrantz and Guildenstern are being serious with Hamlet, trying to convey messages about the king’s “distemper” and the queen’s “affliction of spirit,” but Hamlet keeps joking.

Even Hamlet’s final allusion line, “O wonderful son that can so ’stonish a mother!” is delivered as a joke. Note this section of the scene:

~~~~~
GUILDENSTERN  Good my lord, vouchsafe me a word
with you.


HAMLET  Sir, a whole history.

GUILDENSTERN  The King, sir—


HAMLET  Ay, sir, what of him?

GUILDENSTERN  Is in his retirement marvelous
distempered.

HAMLET  With drink, sir?

GUILDENSTERN  No, my lord, with choler. *

HAMLET  Your wisdom should show itself more richer
to signify this to the doctor, for for me to put him to
his purgation would perhaps plunge him into more
choler. *

GUILDENSTERN  Good my lord, put your discourse into
some frame and start not so wildly from my
affair.

HAMLET  I am tame, sir. Pronounce.

GUILDENSTERN  The Queen your mother, in most great
affliction of spirit, hath sent me to you.

HAMLET  You are welcome.

GUILDENSTERN  Nay, good my lord, this courtesy is not
of the right breed. If it shall please you to make me
a wholesome answer, I will do your mother’s
commandment. If not, your pardon and my return
shall be the end of my business.

HAMLET  Sir, I cannot.

ROSENCRANTZ  What, my lord?

HAMLET  Make you a wholesome answer. My wit’s
diseased. But, sir, such answer as I can make, you
shall command—or, rather, as you say, my mother.
Therefore no more but to the matter. My mother,
you say—

ROSENCRANTZ  Then thus she says: your behavior hath
struck her into amazement and admiration.

HAMLET  O wonderful son that can so ’stonish a mother!
But is there no sequel at the heels of this
mother’s admiration? Impart.

ROSENCRANTZ  She desires to speak with you in her
closet ere you go to bed.

HAMLET  We shall obey, were she ten times our mother.
Have you any further trade with us?

(Hamlet 3.2.335-362) [2]
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The stepfather Claudius and mother Gertrude are out of sorts, like Joseph and Mary in their concern about the lost son, Jesus.
In both the play and in the Luke 2:46-52 gospel tale, forms of the words “amaze” and “astonish” are used. 

But the above context of the comedy routine makes it harder to spot the allusion. This may explain in part why so many miss the allusion. Blink, and you'll miss it. (More on that in Part 8 next week.)
 
NOTES:
[1] Bud Abbot and Lou Costello frequently performed their “Who’s on First” routine in a variety of contexts. It is considered one of the most famous comedy routines, and has often been imitated. Here is one 1945 version, via Youtube:
https://youtu.be/sYOUFGfK4bU

NOTES * (on "choler" and "purgation"):
"Shakespeare also uses the references to humours for comedic effect. For example, after the play within the play, Guildenstern tells Hamlet that the King “Is in his retirement marvelous 𝐝𝐢𝐬𝐭𝐞𝐦𝐩𝐞𝐫𝐞𝐝.” Hamlet asks, “With drink?” (clearly playing dumb in order to make a pointed insult about Claudius, whom he considers a drunk), and Guildenstern replies, “No, my lord, with 𝐜𝐡𝐨𝐥𝐞𝐫.” Hamlet then suggests Guildenstern should be giving this information to the king’s doctor, “for for me to put him to his 𝐩𝐮𝐫𝐠𝐚𝐭𝐢𝐨𝐧 would no doubt plunge him into more choler”  (III.ii.327-34). The phrase “put him to his purgation” would, in this case, refer to catheterizing him (in Elizabethan times, this would involve inserting a thin metal rod up the urethra in order to relieve pressure in the bladder) which Hamlet says would certainly make him angrier. No doubt!"  http://mason.gmu.edu/~rnanian/humours.html
George Mason University

"Being a patient in Shakespeare’s time was an adventure. You might be told to drink liquid gold or syrup of violets. You might undergo a violent 𝐩𝐮𝐫𝐠𝐚𝐭𝐢𝐨𝐧 to take the bad humors out of your body. They might draw blood from your ankle or your arm...."  https://www.folger.edu/podcasts/shakespeare-unlimited/elizabethan-medicine/ - Folger Shakespeare Library


[2] All references to Hamlet are to the Folger Shakespeare Library online version: https://shakespeare.folger.edu/shakespeares-works/hamlet/entire-play/


IMAGE:
Screen capture from cover, Budd Abbott and Lou Costello in "The Naughty Nineties," 1945. https://www.fye.com/on/demandware.static/-/Sites-fye-master/default/dw891be072/aec/mhv/mhv611/aec.mhv61196815dvd_0.jpg. Cropped. Fair use.




~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ INDEX of posts in this series:

(Part 1) Hamlet as the Boy Jesus among Temple Elders

https://pauladrianfried.blogspot.com/2023/01/hamlet-as-boy-jesus-among-synagogue.html

(Part 2) Hamlet as boy Jesus among Temple Elders: Historical-Artistic Background
https://pauladrianfried.blogspot.com/2023/02/hamlet-as-boy-jesus-among-temple-elders.html

(Part 3) Hamlet as the boy Jesus among Temple Elders: A closer look
https://pauladrianfried.blogspot.com/2023/02/hamlet-as-boy-jesus-among-temple-elders_14.html

(Part 4 ) Dissonance and Irony in Hamlet's 3.2 Allusion to Luke 2
https://pauladrianfried.blogspot.com/2023/02/part-4-dissonance-and-irony-in-hamlets.html

(Part 5) The targets of Hamlet's 3.2 ironic allusion to Luke 2:46-52
https://pauladrianfried.blogspot.com/2023/02/part-5-targets-of-hamlets-32-ironic.html

(Part 6) Hamlet in 3.2 as the boy Jesus among temple elders: Plucking mysteries' hearts?
https://pauladrianfried.blogspot.com/2023/03/part-6-hamlet-in-32-as-boy-jesus.html

(Part 7) Hamlet’s allusion in 3.2 to the boy Jesus: Hamlet as Abbott, Rosencrantz and Guildenstern as Costellos?
https://pauladrianfried.blogspot.com/2023/03/part-7-hamlets-allusion-in-32-to-boy.html

(Part 8) Hamlet in 3.2 as the boy Jesus: Why has this been missed?
https://pauladrianfried.blogspot.com/2023/03/part-8-hamlet-in-32-as-boy-jesus-why.html

(Part 9) Twisting the tale of the boy Jesus in the temple: Bishop Jewell, official book of homilies
https://pauladrianfried.blogspot.com/2023/04/part-9-twisting-tale-of-boy-jesus-in.html

(Part 10) A Boy Amazing Elders (and audience) in Shakespeare's Macbeth
https://pauladrianfried.blogspot.com/2023/04/part-10-boy-amazes-mother-in.html

(Part 11) Cordelia in 4.4 is about her father's business in Shakespeare's King Lear
https://pauladrianfried.blogspot.com/2023/04/part-11-cordelia-in-44-is-about-her.html

(Part 12) TRY THIS: One Method for Considering Biblical Allusions
https://pauladrianfried.blogspot.com/2023/05/part-12-try-this-one-method-for.html


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INDEX OF POSTS IN THIS SERIES:
https://pauladrianfried.blogspot.com/2023/01/index-hamlet-in-32-as-boy-jesus-lost.html
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Disclaimer: If and when I quote or paraphrase bible passages or mention religion in many of my blog posts, I do not intend to promote any religion over another, nor am I attempting to promote religious belief in general; only to explore how the Bible and religion influenced Shakespeare, his plays, and his age.
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Thanks for reading!
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Comments

  1. Paul, why do you think WS chose Jewish men to be the 'play within a play'?

    ReplyDelete
    Replies
    1. Do you mean the names Rosencrantz and Guildenstern sound Jewish for Hamlet's school friends? Those two don't play roles in "The Mousetrap," but they do speak to Hamlet right afterward.

      The suspected murderer of Lord Darnley, husband of Mary Queen of Scots, was the 4th Earl of Bothwell, James Hepburn. He fled Scotland but was captured off the coast of Norway, and because he'd had a previous wife there (oops), he was imprisoned in... Rosencrantz tower.

      Evoking the name of Bothwell's prison has a political effect on Shakespeare's English audience.

      Some say it was a common name, perhaps less Jewish than we now assume, so more research about the religious allegiances of people with the name Rosencrantz of the time might be in order, so we don't project modern assumptions onto the play.

      Wikipedia claims, "James Voelkel suggests that the characters were named after Frederik Rosenkrantz and Knud Gyldenstierne, cousins of Tycho Brahe who had visited England in 1592." If that's (also?) true, it may have more to do with changing scientific and astronomical paradigms associated with Tycho Brahe, Copernicus, and Giordano Bruno than it does with religion.
      https://en.wikipedia.org/wiki/Rosencrantz_and_Guildenstern#:~:text=James%20Voelkel%20suggests%20that%20the,had%20visited%20England%20in%201592.

      But if one is inclined to paint Shakespeare as employing anti-Semitic tropes, one might claim that the pair, Rosencrantz and Guildenstern, are greedy for royal favor, perhaps painting all such courtiers (no matter the religion) as boot-lickers, sycophants, as being like the stereotypes about Jews... so perhaps the point was not that Hamlet's friends at Wittenberg were Jewish (they were probably Lutheran?) but that they are - figuratively - compared to a Jewish stereotype that Shakespeare knew had currency among his audiences?

      That's my best guess at your question. But I may have missed your question entirely, if you are perceiving something in "The Mousetrap" itself that involves "Jewish men"...

      Feel free to clarify your question if you like.

      Delete

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