Throughout the plays of William Shakespeare, the motifs of the sordid love affair and the duplicitous poisoner loom large. From the frenzied and drug-induced love affairs of A Midsummer Night’s Dream to the brief, fatal love of Romeo and Juliet (ended by poison and dagger), these turpid motifs are ever-present in the Shakespearean canon. In Hamletspecifically, Shakespeare interrelatesthe motifs of poison and lust in the Ghost’s soliloquy in order to emphasize the unnatural and sinful nature of Claudius’ rule, as well as providing rhetorical devices to prod Hamlet to vengeance.
Prior to the Ghost’s soliloquy, Hamlet rashlydeclares that he would “sweep” to revenge with “wings as swift/As meditation or the thoughts of love”(I.v.35-36). Subsequently, the Ghost replies that it would find Hamlet “duller…than the fat weed/That roots itself in ease on Lethe wharf” (I.v.39-40) if he did not “stir” at the Ghost’s story. According to botanists,the “fat weed” that is referencedin the passage is most likely the poisonous hemlock plant. Moreover, Shakespeare consistently associates the motif of poison and plant imagery with Claudius throughout the play. Thus, Shakespeare’s use ofthe poison motif at this juncture reveals the Ghost’s emotional manipulation of Hamlet by implying that he would be “duller” than Claudius if revenge is not taken. In the same section of dialogue, Shakespeare establishes an additional metaphorical connection between Claudius and poison by means of snake imagery. Claudius is described herein as “a serpent that did sting [King Hamlet’s] life” (I.v.46). Through connotation, Shakespeare creates a link between Claudius and poison; in popular parlance, a “serpent” is generally used to describe venomous snakes. In similar vein, the use of “sting” also conveys the idea of venom, as in the sting of a hornet or scorpion. Shakespeare thereby conveys the motif of poison through snake imagery—scathingly characterizing Claudius as evil and deceptive.
Upon the reveal of the perpetrator of King Hamlet’s murder, Hamlet lets out a cry of lamentation. However, the Ghost continues to stoke the fires of revenge in Hamlet, as it claims that Claudius is an “incestuous” and “adulterate beast” that has seduced and “won to his shameful lust/The will of my most seeming virtuous queen” (I.v.49-53). Shakespeare’s deliberate diction regarding “incest” is of particular note; in the Elizabethan and Jacobian eras, incest was considered an unnatural sin—althoughcertainly overlooked among the royal families of Europe. Regardless, the dual charges laid by the Ghost—that of adultery and incest—serve to reinforce Shakespeare’s portrayal of Claudius’ rule as unnatural and sinful. In this passage, Shakespeare also contrasts Claudius’ “lust” with Gertrude’s virtue; as a result, the motif of corruption becomes apparent. The motif of corruption, however, is closely linked with the motif of poison, as poison can corrupt both the body and the mind, physically or metaphorically. Consequently, Hamlet is goaded to avenge the virtue and purity of his mother.
Shakespeare continues to expand the motif of lust following the Ghost’s remarks on his marriage: “So, lust, though to a radiant angel linked, /Will sate itself in a celestial bed/And prey on garbage” (I.v.62-64). By describing Gertrude as a “radiant angel,” the Ghost’s diction thus juxtaposes her with Claudius, the hellish, “adulterate beast.” Additionally, the contrast between “lust” (an earthly sin) and “celestial” (heaven) further enhances the effect of said juxtaposition. As a result, the efficacy of the rhetoric that the Ghost uses to spur on Hamlet’s vengeful inclinations is increased. After the aforementioned passage, Shakespeare rapidly shifts the dominant motif back to poison. As the Ghost discusses the method of its assassination by “juice of cursed hebona,” poured “in the porches of [his] ears” (I.v.69-70),it also returns to the motif of corruption: its “wholesome blood” was corrupted and turned into “curd, like eager droppings into milk” (I.v.76-77). The body of the late King Hamlet was also corrupted with a “vile and loathsome crust” that was “most lazar-like” (I.v.79-80). Through the use of visceral visual imagery, Shakespeare creates a shocking effect, which serves to highlight the vile and horrid nature of Claudius’ ascension to power. Again, the employment of this imagery serves to enhance Hamlet’s sense of filial piety, thus leading him to revenge.
At the closing of the soliloquy, Shakespeare ties the two motifs together more directly—as the Ghost implores Hamlet to “let not the royal bed of Denmark be/A couch for luxury and damnèd incest” (I.v.89-90), it also cautions against “contriving” against Gertrude. In fact, it advises Hamlet to “leave her to heaven/And to those thorns that in her bosom lodge/To prick and sting her” (I.v.92-95). The poison motif appears in the term “sting” again, as well as “thorns.” Through direct juxtaposition, Shakespeare shows how Hamlet is manipulated into revenge by appealing to his hatred of Claudius and love for his mother.
In Shakespeare’s Hamlet, the motifs of lust and poison play a prominent role in the Ghost’s Act 1 soliloquy in that they frame Claudius’ rule as illegitimate and depraved. Additionally, these motifs serve as rhetorical devices that push Hamlet towards his ultimate goal of revenge for his dead father, King Hamlet. Thus, Shakespeare connects the motifs of poison and lust in the Ghost’s soliloquy in order to emphasize the morally corrupt nature of Claudius’ regime as well as to serve as persuasive rhetorical devices to persuade Hamlet into action.