Somos en Escrito The Latino Literary Online Magazine

Editors Note:
Professor Ortego y Gasca is not only a literary scholar and critic, a playright, and one who
himself has trod the boards, but the chronicler from its beginnings of the Chicano
Renaissance, that awakening of literary and creative consciousness that coincided in the
1960s and 1970s with the uprising of the Chicano Movement in response to generations of
discrimination and racism against Mexicans and Mexican Americans in the United States.
Along with a social and political insurgence bent on asserting basic civil and human rights,
Chicano and Chicana writers, poets and artists took the stage, so to speak, to embrace a new
identity and purpose among people so long ignored and disdained. This essay on Hamlet
reflects a sensibility for artistic nuance and insight second to none. We are honored always to
welcome an old friend and constant companion in these pages.
April 17, 2017

THE MYSTERY OF MEMORY IN SHAKESPEARES HAMLET

By Felipe de Ortego y Gasca
Scholar in Residence (Cultural Studies, Critical Theory, Public Policy) Western New Mexico University; Distinguished Professor
Emeritus of English and Comparative Literature, Texas State University SystemSul Ross

I
According to Haldeen Braddy, the Shakespearean scholar, Hamlet has been
one of the theaters most successful plays, and probably more has been written
about Hamlet, the Prince, than about any other literary figure (Ortego, iii).
Indeed, for more than 400 years critics of Hamlet have concerned themselves
primarily with the psychology of the play and the prince. But woven into the
tapestry of the play are the sometimes seen, faint-glimmering threads of Shake-
speares motive for the play seen only when held a particular way in a certain
kind of light. In that certain kind of light, we can see woven into the tapestry of Hamlet Shakespeares
dramatic genius, toying with the idea of a mentally disturbed character carrying the stamp of one defect,
invisible to those around him.

It is true that we cannot know exactly what Shakespeare knew or thought except from the words in his
texts or from the commentaries of his contemporaries. But the moral truth that seems to emerge from
Hamlet, Prince of Denmark (1599-1602) is that man is oftentimes no more than "a pipe for Fortune's fin-
ger to sound what stop she please." Hamlet is a tormented man in conflict with Fate, Society, and himself,
tortured by a nagging malady, "Some vicious mole of nature," that breaks down the "pales and fortes of

1
his reason."

Elizabethan men of learning and intellectual curiosity no doubt pondered the phenomena of mental disor-
ders. Cardan's Comforte, a book of consolation traditionally associated with Hamlet, points out that a
man is nothing but his mind: if the mind is discontented, the man is disquieted though the rest of him be
well. Hamlet is such a man, disquieted and discontented, suffering from the stamp of one defect: in his
case, the impediment of memory losstoday identified as Alzheimers. Milton opined that the mind is its
own place, and in itself can make a heaven of hell, a hell of heaven (Paradise Lost).

Caroline Spurgeon suggests that there hovers all through the play in both words and word pictures the
conception of disease, especially a hidden corruption infecting and destroying a wholesome body (123).
William Leighton felt the same way about Hamlet. He thought Shakespeare gave Hamlet a real infirmity
(26). And J. Dover Wilson concludes that Shakespeare meant us to imagine Hamlet [the Prince] as suf-
fering from some kind of mental disorder throughout the play (217). I think theyre rightHamlets in
consistent behavior is the result of a specific infirmitythe stamp of one defect.

Today, we have discovered that memory is a sensitive, delicate, and still unplumbed function of the brain.
Memory, like a tabula rasa, is sometimes wiped out completely or partially, depending upon the kind of
damage to the brain or the intensity of the psychological shock. Psychiatrists indicate that psychological
memory blackouts can often be restored in reasonable lengths of time. Some cases, admittedly, remain
baffling. Current research in the field indicates that more than 25% of the worlds population suffers from
some form of mental illness.

For more than half a century Ive pursued the mystery of memory in Hamlet. That pursuit began in a
Shakespeare class when I was an undergraduate student in comparative studies at the University of Pitts-
burgh from 1948 to 1952 and culminated with my Study of Hamlet: The Stamp of One Defect in 1966.
Something about the play jumped out at me and settled in the margins of my consciousness for some 20
years during which I spent almost a year in England traipsing through Stratford on Avon looking for
Hamlets ghost.

My purpose here is not to make a medical diagnosis of Hamlet, but rather, to point out that Shakespeare
created, in the world of the play, conditions that precipitated a mental strain on Hamlet that he could not
endure. Thus, the play is not just the stale plot of a disinherited Prince nor just the muddled controversy
about the manifestations of the supernatural, but the intriguing dramatic idea of a man caught on the horns
of a supernatural dilemma and trapped into inertia by the stamp of one defect. It is the dramatic value of
the defect that has allured me and not the defect itself. I propose therefore to evaluate the dramatic value

2
of Hamlet's impediment and to point out how much it accounts for in the play.

Early in the play, Shakespeare gives us a clue to Hamlets problem:

So, oft it chances in particular men.
That for some vicious mole of nature in them,
As, in their birth wherein they are not guilty,
Since nature cannot choose his origin--
By their o'ergrowth of some complexion,
Oft breaking down the pales and forts of reason,
Or by some habit that too much o'erleavens
The form of plausive manners, that these men,
Carrying, I say, the stamp of one defect,
Being nature's livery, or fortune's star,
Their virtues elsebe they as pure as grace,
As infinite as man may undergo--
Shall in the general censure take corruption
From that particular fault. The dram of e'il
Doth all the noble substance often doubt
To his own scandal. The stamp of one defect! (I, iv.26-41).

In other words, some people afflicted with the stamp of one defect from birth through no fault of their
own (a flaw in the DNA strand perhaps) and exacerbated by the habits we acquire in life are at risk of
corruption from that particular fault. In Hamlet, I say, that fault is episodic amnesia, invested in the
character of Hamlet (the Prince) by Shakespeare for reasons known only to Shakespeare.

And much later he says:

... blest are those
Whose blood and judgment are so well commingled
That they are not a pipe for Fortune's finger
To sound what stop she please.

Both are references to the unknown finger of Fortune reaching from beyond the undiscovered coun-
trychallenging man to unequal combat.
II

One day in a graduate class with Professor Haldeen Braddy what jumped out at me was how often the
word memory or references to memory were mentioned in the play. That phenomenon was akin to what
3
John Nash the Nobel Laureate mathematician experienced in the throes of his stamp of one defect. For
example, from the beginning when Horatio, Marcellus, and Bernardo tell Hamlet about the ghost, he
seems startled to see Horatio: Or do I forget myself Hamlet says (I,ii.168).

Then Hamlet asks, And what make you from Wittenberg, Horatio? Marcellus? (I, ii, 172). But Marcel-
lus replies, My good lord! (I, ii, 174) which may mean that he thought Hamlet should know why Hora-
tio is in Elsinore. Then Hamlet repeats himself, But what, in faith, make you from Wittenberg (I, ii,
177). Horatio replies, A truant disposition, good my lord (I, ii, 178). And ffor the third time Hamlet
asks, But what is your affair in Elsinore? (I, ii, 183). Horatio tells him something he seems to have for-
gotten, My lord, I came to see your fathers funeral (I, ii, 185).

The inference here is that Horatio is also a student with Hamlet at Wittenberg, and that they most proba-
bly traveled together from Wittenberg to Elsinore which is why Horatio is surprised by Hamlets ques-
tions. Moreover, at this point in the play it has been two months since the funeral of Hamlet, Sr. Allowing
that perhaps Horatio and Hamlet did not travel together from Wittenberg to Elsinore, surely since Hamlet
Srs funeral the friends would have met long before now. Court protocol would have brought them to-
gether. Besides, when Horatio decides to take the news about the ghost to Hamlet, he says, I this morn-
ing know /Where we shall find him most conveniently (I, I, 189-190). Horatio knows Hamlets wherea-
bouts.

Hamlet encounters the ghost. It finds him apt and tells him the whole sordid story of how while sleeping
in his orchard he was done in by his brother Claudius. Sensing that the Prince is not getting the gist of his
narrative, the ghost rebukes him: duller shouldst thou be than the fat weed / That rots itself in ease on
Lethes wharf (I, v, 38-40). In Greek mythology, Lethe is the river of forgetfulness, one of the five rivers
of Hades. These are the kinds of clues studded in the play that led me to the possibility that Shakespeare
invested in the character of the Prince the stamp of one defectwhich Ive labeled as episodic amnesia.

Far-fetched as it seems, was Shakespeare intuiting in 1605 the symptoms of Alzheimers? The reference
to forgetfulness is so obvious that it cannot be overlooked as possibly referring to Hamlets defect. Later,
when the ghost admonishes Hamlet to remember him, Hamlet replies, strangely, that he will while
memory holds seat / In this distracted globe (I, v, 103-104). Perhaps fearful that he will not remember
his fathers injunction, Hamlet calls for My tables! on which to write the ghosts command Remember
me for he has swornt on it.

Anyway, leaving the parapet of the castle, Hamlet complains bitterly, The time is out of joint, O cursed
spite / That ever I was born to set it right (I, v, 215-216). Is this a cry of Hamlets recognition about his

4
defect? Times that he could not remember would certainly be out of joint. Important to bear in mind,
however, is to resist being drawn into the world of the play in which Hamlet manifests the stamp of one
defect rather than being alert to Shakespeares intention with the play.

Lets not forget that Hamlet is a fictitious character in a play by Shakespeare. Hamlets thoughts, words
and movements are actuated by Shakespeare. Lest we get bogged down with the intentional fallacy,
We cant know for sure what Shakespeare may have meant or intended in Hamlet except as delineated in
the text of the play.

After his fathers injunction to avenge his death Hamlet gains some insight into the pledge he has made to
his fathers ghost: In other words, aware of the magnitude of his pledge and unsure of his condition with
memorythe time is out of jointHamlet rails at the agency of his pledgeO cursed spite / That
ever I was born to set it right. That is: Why me?

This is a bitter cry, J. Dover Wilson thinks, and I agree. At times Hamlet has brilliant, lucid moments;

then at other times, vague and sketchy moments. He lives in a dichotomous world of light and dark, of
hope and despair, of remembrance and forgetfulness. Time eludes him, as we shall see. Yet purpose
clings tenuously to his memory, and for this reason he has a mind that cannot hold to one intent. The real
merges with the unreal. We may wonder (as Elizabethans may have wondered) what dark and sinister
things prey on him when he is absent from his mind? Times that he could not remember would certainly
be out of joint. One may imagine the frustration of such a defect eliciting his bitter cry.

Following this thread, one of the most crucial and one of the most telling scenes in the play is the scene in
Ophelias closet when Hamlet appears with his doublet all unbraced. Ophelia recounts this scene to her
father: No hat upon his head, his stockings fouled, / Ungartred, and down-gyved to his ankle; / Pale as
his shirt, his knees knocking each other, / And with a look so piteous in purport / As if he had been loosed
out of hell / To speak of horrors (I, I, 87-93).

She explains to her father: He took me by the wrist and held me hard; / Then goes he to the length of all
his arm, / And, with his other hand thus oer his brow, / He falls to such perusal of my face / As he would
draw it. Long stayed he so. / At last, a little shaking of mine arm, / And thrice his head thus waving up
and down, / He raised a sigh so piteous and profound / As it did seem to shatter all his bulk / And end his
being. That done, he lets me go, / And with his head over his shoulder turned / he seemed to find his way
without his eyes, / For out o doors he went without their help / And to the last bended their light on me

(II I, 98-111).

Critics have described Hamlet in this scene as the distraught and rejected renaissance lovers simply be
5
cause his appearance here represents the way in which such lovers were commonly characterized. I think
Hamlets appearance in this scene is the most characteristic thus far of his defect. I know what those who
argue that he was feigning madness have said about his scene. There is nothing assumed or pretended
here. Ophelias words describe Hamlets extreme distress. And to suppose that Hamlets behavior here is
antic, I think is as absurd as J. Dover Wilson contends it is.

Hamlet is not completely out of the fit when he comes to Ophelia. It is pity and not romantic laughter
that this scene should arouse. For here is a sick man seeking help from a world that cannot begin to un-
derstand him, much less help him. In examining Ophelias face closely, Shakespeare has Hamlet groping
desperately for memory. Hamlet says nothing in this scene. Perhaps the scene is meant to show that he
doesnt know where hes at and who hes with. He seems to be searching Ophelias face for some sign of
recognition. Then, shaking his head up and down as if perhaps recognizing her, he sighs profoundly. He
releases her and goes to the door, not taking his eyes off her because perhaps at last here is a human being
he recognizes.

In my study of Hamlet Ive called this behavior episodic amnesia though by todays neurological per-
spective the behavior mimics a form of Alzheimers, even an incipient dementia. My theory is that given
Shakespeares relentless portrayal of characters with hamartia, the stamp of one defect, that with Mar-
lowe, Peale, Greene, and Johnson, Shakespeare may have venturedas a prankish suggestionafter a
few short beers at a late-night pub, a roundabout to the hospital at Bethlehem (Bedlam) to watch the
loonies (Lunatics as demented persons were referred to then). There, in the shadows of that institution
Shakespeares attention may have been drawn to a character exhibiting the behavior Shakespeare invests
in Hamlet. This is all conjecture, mind you, but why not?

III

At this point the big question is why has Hamlet not succeeded his father on the throne of Denmark?
From Ophelia we learn that at one time he was "Th'-expectancy and rose of the fair state." This is perhaps
the most glaring anomaly of the play. It is unlikely that Hamlet was simply disregarded because he was
deemed too young and unproved in war. Therefore, the facts of the succession must be plumbed to the
full.

The right of succession in feudal Europe fell to the eldest son, or to the eldest daughter (as in the case of
Mary and Elizabeth) where there were no sons to continue and where queens were permitted to rule. Only
in the event of a failure in the line of succession would the crown pass to a brother. It has been suggested
that in Hamlet, Hamlet the Elder ruled jointly with Gertrude because her father, and not his, had been
king of Denmark. He was king, therefore, only by virtue of his marriage to Gertrude. For this reason, the
6
argument continues, the death of Hamlet the Elder did not void the crown but represented only Gertrude's
lack of a husband, which she immediately took care of by marrying her brother-in-law. This argument
accounts for Claudius' calling her the "imperial jointress" of Denmark. On the other hand, another argu-
ment suggests that Hamlet gives us a clue about the constitution of Denmark when he tells Horatio that
Claudius popped in between the "election" and his hopes. An election suggests some kind of democracy
in which, more than likely, the court nobility constituted an electorate council for special purposes, one of
these purposes being the election of a monarch in case of lineal fault or contested claims, in the case of an
heirless monarch or heir-apparent.

There is some question in the play about Claudius' right to the throne, but nevertheless he was the choice
of the electors of the Danish Court. In the first court scene Claudius expresses his thanks to the "elec-
torate" for their approval of him as king and of his marriage to Gertrude, his brother's wife. At the mo-
ment there seems to be no doubt about Claudius' right to be king. But why is Hamlet not king? Notwith-
standing Denmark's "elective monarchy," it seems contrary to feudal custom for the Council to have
overpassed Hamlet in the succession and elected his uncle instead. And what about Gertrude? How much
did she influence the electorate in Claudius' favor by marrying him?

Hamlet has a moral and legal claim to the throne and it is hard to dismiss it lightly with the idea of some
"elective" process, his age, or lack of military prowess. If we are dealing here with a Danish feudal code,
there is all the more reason for wondering about Hamlet's lack of advancement. From the text, however,
we must assume that initially Hamlet accepted his non-succession as a matter of course since he applied
for permission to return to Wittenberg. Perhaps Wittenberg was nothing more than a cloister for Ger-
trudes "afflicted" son. And it does seem strange for a thirty year-old Prince to be still in school, for as
Salvador de Madariaga put it, "a thirty-year-old student-prince would be a somewhat strange bird at any
university." At this point, we may agree that there must have been indeed something rotten in Denmark
and postulate that Hamlet's rejection as a ruler may have had something to do with Hamlet himself as en-
visioned by Shakespeare.

The entire court is concerned about Hamlets demeanor. The king solicits the aid of Rosencrantz and
Guildenstern to pry out the cause of Hamlet's odd behavior. Polonius then reports to the monarchs Ophe-
lia's account of Hamlet's appearance in her closet and tells them Hamlet is suffering from ecstasy. He
suggests "loosing" his daughter on Hamlet to test his conclusion. At that moment Hamlet enters reading a

book. Polonius beseeches the monarchs to slip away and he stays to talk to Hamlet alone.

Do you know me, my lord?" Polonius asks Hamlet who replies, "Excellent well. You are a fishmonger"
(Elizabethan term for a pimp). This part of the scene has long been interpreted as proof of Hamlet's an-
7
tic behavior. But in view of what I have already suggested about Hamlet's memory, it may be quite likely
that he does not remember Polonius at the moment. Then Hamlet asks Polonius a most baffling question:
"Have you a daughter?" And Polonius utters (aside) the truth of the matter: that Hamlet knew him not at
first and called him a fishmonger. "He is far gone, far gone!"

What has been described as Hamlets antic behavior represents a glimmer of suspicion on Hamlets part
about the succession. Hamlet has a plan by which he will catch the conscience of the King and expose his
crime of regicide. The plan involves the Players whom he has instructed on how to stage the performance
of The Murder of Gonzago or the Mousetrap. The playlet is about to begin. The audience is assembled.
Hamlet has given his advice to the players. Horatio has his instructions. But Hamlet seems to be overdo-
ing everything like the man who knows something particularly secret and thinks everybody else knows he
knows something. His suggestive play with Ophelia about "country matters" is certainly out of character
with what has just happened between them. Ophelia may be tolerant here, not erotic. She knows there is
something wrong with Hamlet. She has already had two experiences with him when he was not himself.
At the moment Hamlet seems rather oblivious to all that has happened before. Like a man in a dream he
may be intentionally exaggerating everything because he cannot remember the past. He has misplaced the
candle, so to speak, momentarily. That this is so is borne out when he says to Ophelia, "For, look you,
how cheerfully my mother looks, and my father died within's two hours." Ophelia gently reminds him,
"Nay, 'tis twice two months, my lord." Hamlet is confused: "So long?" There is something awry in his
"distracted globe." "0 heavens!" he cries, "die two months ago, and not forgotten yet?" He cannot com-
prehend that it is four months and not two since his father died.

Theres a quick reference to memory by Ophelia in her water scene when she sorts through some leafage
and identifies rosemary for remembrancethe title of an early short story of mine from the 60s.
IV

Hamlet has temporized in carrying out his fathers injunction to remember him. It may be meaningless to
see a delay in Hamlet, merely because the ghost's commandment is not executed at once. Naturally, the
play is carrying out that command somehow, and naturally, the ghost's revenge will be done by the end of
the play. But in Hamlet we are not interested here in the delay per se, but in the dramatic justification for
it.

The idea of Hamlet as a play undoubtedly presented certain dramatic problems to Shakespeare. The most
obvious problem, of course, was how to account for Hamlet's not carrying out swift and bloody venge-
ance on his uncle immediately after learning of his father's murder. The delay in Hamlet is very purpose-
ful, and as a consequence has been the real knotty issue of the play. Interpretations of the delay have been

8
varied. But psychologist-critics have maintained all along that the delay is due not to external obstacles
but to an inherent character disorder. The clues and impressions in the play suggesting a mentally unsta-
ble Hamlet are too many not to be part of a deliberate pattern. And perhaps the originality of Hamlet lies
in Shakespeare's having taken the idea of mental disorders seriously which Ernest Jones identified as an
Oedipus Complex (Hamlet and Oedipus, 1949)

In the mind of Hamlet there is no delay. A man suffering from memory lapses, a man who reduces four
months to two hours, a man who cannot remember his friends or what he does and says cannot possibly
imagine that he is not acting with full deliberate speed and that he has lost his sovereignty of reason.
Hamlet fails to act because he forgets, and perhaps has forgotten also where he put the tablet upon which
he wrote the ghost's commandment not to forget.

Hamlet may have achieved a turning point in his "To be or not to be" soliloquy, for the soliloquy does
not demonstrate Hamlet's lack of memory, but, rather, the return of his memory since he is con-
cerned here about his failure to act, to carry out the ghost's injunction. This is one of Hamlet's
lucid moments. For, as I have said, there are times when Hamlet remembers and times when he
forgets. He alternates between remembrance and forgetfulness. It is this alternation and Hamlet's
doubts that account for the delay in executing his commission. I am not rejecting the traditionally
accepted reading of this passage. I am merely suggesting that in the context of Hamlet's impedi-
ment, the passage also implies Hamlet's awareness of his mental problem.

But the play does not achieve a turning point until after the death of Polonius behind the arras in Ger-
trudes chamber. From this point on, there is no longer an incongruity between Hamlet and the play. The
last appearance of the ghost, not so strangely coincidental after Polonius' death, directs Hamlet's purpose
to the end of the affair. The action in the two concluding acts moves swiftly and inevitably to the confron-
tation between Hamlet and his uncle. The "divinity that doth hedge a king" does not save Claudius. De-
spite Hamlets stamp of one defect, the ghost is revenged. The wicked have been properly punished.
On reconsideration the play is so convoluted that one wonders what Shakespeare may have had in mind.
Still, memory is the dynamic that governs the thrust of the play. About the moral we cannot say, except
that the judgment of the audience is not the judgment of the world of the play. To set thing right, at the
end of the play Horatio says: let me speak to the yet unknowing world How these things came about. So
shall you hear Of carnal, bloody, and unnatural acts; The election lights on Fortinbras.
V
Plays are like dreams to which we attach our own meanings. This was so in my play Madre del
Sol/Mother of the Sunthe story of Cortes and la Virgin de Guadalupe which toured internationally from
9
1981 when it premiered in San Antonio, Texas, to its production in Mexico City in 1982 and its Critics
Circle staging at the La Mama Theater in New York City in 1984.

What I perceive to be the true character of Hamlet may not be what others perceive as his true character
or what Shakespeare had in mind. Though Hamlets rejoinder to Horatio may say it best: There are more
things in heaven and earth . . . Than are dreamt of in your philosophy.

WORKS CITED AND CONSULTED

Leighton, William. The Subjection of Hamlet: An Essay. Philadelphia: Lippincott, 1882.

Ortego y Gasca, Felipe de (Philip D. Ortego). The Stamp of One Defect: A Study of Hamlet, M.A. Thesis,
University of Texas (Texas Western College), El Paso, Texas 1966: Caravel Press, 1970.
Shakespeare, William. Hamlet: The Prince of Denmark (The First Quarto 1603: Facsimile Copy from
the Copy in the Henry E. Huntington library, San Marino, California, 1964).
Spurgeon, Caroline F. E. Shakespeares Imagery. Cambridge University Press, 1935.
Wilson, J. Dover. What Happens in Hamlet. Cambridge University Press, 1959.

Select Bibliography on Shakespeare

By Dr. Felipe de Ortego y Gasca, PhD (English)
English Renaissance Literature/Mexican American Literature
Shakespeare and the Doctrine of Monarchy in King John, College Language Association Journal 13,
No. 4, 392-401, June 4, 1970.
This work is featured in the Folger Librarys King John Study Pack, 2015,
Cited in Magna Carta and Shakespeares The Life and Death of King John by Helen Hargest in Find
ing Shakespeare: Curating stories from Shakespeares Work, Life, and Times, June 16, 2015.
Cited in e-notes.com, King John EssayKing John (Vol. 88): http://www.enotes.com/topics/king-
john/critical-essays/king-john-vol-88
The Winters Tale as Pastoral Tragicomic Romance, Rendezvous: Journal of Liberal Arts, Spring 1970.
Hamlet: The Stamp of One Defect, Shakespeare in the Southwest: Some New Directions, Texas West-
ern Press, 1969.
Felipe

Dr. Felipe de Ortego y Gasca (Tochtli), Ph.D. (English)

Scholar in Residence (Cultural Studies, Critical Theory, Public Policy)
Distinguished Professor Emeritus of Philology and Cultural Studies
Texas State University SystemSul Ross; Alum: Pitt, UTx, UNM
m Western New Mexico University
Miller Library, 1000 College Ave, PO Box 680
Silver City, New Mexico 88062
Branches: Gallup, Deming, Truth or Consequences, Lordsburg & Web
t 575-538-6410, F: 575-538-6178, C: 575-956-5541
e-mail: Philip.Ortego@wnmu.edu
v Veteran: Sgt. Marine Corps, WW II / Maj. (Res) USAF, Korean Conflict, Early Vietnam Era

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