Hamlet - A Matter of Madness Hamlet's public persona is a facade he has created to fulfill his ulterior motives. The outside world's perception of him as crazy is the result of his own design. Hamlet is deciding what he wants others to think of him. Polonius, a close confidant of the king, is primarily responsible for the public's knowledge of Hamlet's madness. The idea that Hamlet is mad centers on the fact that he talks to the ghost of his dead father. He communicates with the ghost of his dead father twice, in the presence of his friends and again in the presence of his mother. Being in public when he talks to the ghost, the rumor of his madness takes substance. Polonius decides to go to Hamlet's mother, the queen, in Act II to tell her that her "noble son is mad" (105). Aware of what is happening to Hamlet, the Queen questions Polonius. In his response, Polonius continues to proclaim "That he is mad, it is true. It is true, it is a pity, / And pity that he is true – a foolish figure" (105). Although she doesn't believe it in her heart, the Queen later admits that Hamlet may be mad. After their conversation, Hamlet comes in and has his conversation with Polonius. During this conversation, Hamlet falsely labels Plonius as a fishmonger. Hamlet knows that Polonius will tell others about the mistaken identity; in particular, he knows that Polonius will report it to the king. Polonius believes that Hamlet's madness is related to sex; therefore, he is concerned with Hamlet's relationship with his daughter, Ophelia. Hamlet's relationship and actions towards Ophelia are not free from his dual personality. In private, he is deeply devoted to her; but in public he humiliates and belittles her... in the middle of the paper... at the end of the play they are dead. If Hamlet had not chosen to pretend to be mad, the outcome of events would probably have been different. Hamlet's attempt to destroy the king is selfish, as it affects both the innocent and the guilty. Hamlet's false madness ultimately leads to true madness at the end of the play which is inevitable. Works cited and consulted: http://shakespeare.about.com/library/blhamlet_2_2.htmBloom, Harold. Introduction. Modern critical interpretations: Hamlet. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. Bradley, A.C. Shakespearean tragedy: lessons on Hamlet, Othello, King Lear and Macbeth. New York: Penguin Books, 1991. Mack, Maynard. "Hamlet's World." Yale Review. vol. 41 (1952) p. 502-23. Rpt. in Readings on Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996.