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folly was a blanket term that designated all behavior which differed from the way daily life was generally conducted. they ranged from poor feeble-minded folk who provided slapstick entertainment for the nobility to especially licensed nimble-witted and sharp-tongued jesters like the 'fool' in king lear. 1 certainly there was a real confusion of the title-and the role-of 'fool' in the courts of europe. Michael foucault claims that there was a growing conviction in the late middle ages that the line between folly and sanity was tenuous-that fools could be a great deal closer to the truth than so-called sane people, or that all people were fools. it was becoming a more finely-tuned matter of not sharing the perceptions and conclusions of the culture. no longer was madness perceived as showing up in those explosive deeds that broke the taboos of human society. by this time, madness had become more a matter of inappropriate social response than of inexplicable acts of violence. when edgar wants to disguise himself as someone of no account, whom no one will bother, he chooses to be poor tom o'bedlam who roams the english countryside, harmlessly incoherent. in fact, it is their ineffectiveness that is striking in these plays. hamlet and king lear do not rampage and kill their children as heracles and agave do. for one thing, madmen were no longer conceived of as effectively dangerous. The imaginative conceptions of madness during the english renaissance were very different from those of the ancient world.

in king lear the central image of madness is that of a deserted child, left alone to howl his rage into the storm, for the old man's age and abdication of power reverses his relation to his daughters and makes him their dependent child.… ophelia, too, is trapped between loyalties, warned by each side about the other, until her trust in herself and others is destroyed and she is unable to relate to anyone and even 'incapable of her own distress' (iv, vii). he is left alone, contemplating himself in the mirror of his consciousness, trying abstractedly to see what he feels. thus hamlet is betrayed by the enmities and alliances among his parental figures, which leave him nowhere to turn and paralyze him with ambivalence. his characters are locked up with the other members of their families in gloomy castles, where together they play through the progressive circumstances which lead to madness.

Shakespeare … locates madness in family relations. Source: 'madness in euripides, shakespeare, and kafka: an examination of the bacchae, hamlet, king lear, and the castle,' in the psychoanalytic review, vol. Last updated on june 8, 2022, by enotes editorial. through their analysis of elizabethan stage conventions, the critics conclude that the dramatic portrayal of feminine madness 'allowed women an emotional intensity and scope not usually expected in conventional feminine roles.' hamlet in particular has been the focus of gender analysis by modern feminist commentators such as elaine showalter, who articulates the historical importance of ophelia's character to the 'theoretical construction of female insanity.' also examining madness and gender in shakespeare's plays are maurice and hanna charney, who associate madness with a form of liberation for shakespeare's female characters.

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coddon has read hamlet in the light of the trial for treason of robert devereux earl of essex, arguing that the tragedy dramatizes the elizabethan notion that political disobedience is a form of madness.Īn interest in the relationship between gender and madness has also informed recent shakespearean scholarship. some commentators, including jack d'amico, have examined how shakespeare illustrated connections between madness and politics through his characterization of the legendary roman figure junius brutus. carol thomas neely, for example, explores the ways in which madness during the early modern period 'began to be secularized, medicalized, psychologized, and… gendered.' also concerned with a historical perspective are scholars including winfred overholser and paolo valesio, who elucidate the elements of greco-roman, medieval christian, and folkloristic traditions contributing to renaissance conception of insanity. several critics have focused in particular on correcting previous misreadings of key shakespearean texts by articulating the distinctions between twentieth-century conceptions of the nature of insanity from those of the elizabethan period. Shakespearean scholarship of recent decades has evidenced an increasing historical interest in the elizabethan conception of mental illness as a means of shedding new light on such plays as hamlet, macbeth, and king lear.

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