English 1C

April 30, 2011

Annotated Bibliography: Making Young Hamlet
Harkins, Matthew. Making Young Hamlet.
Matthew Harkins begins his article by proposing the vital role of youth, and its critical
subordinate position in Hamlet. Rather than portray an archetypal contest between the young
and the old or portray Hamlets developmental progression from youth to maturity, the play
examines the production and application of these categories as political phenomena (333).
Harkins tries to argue that in Hamlet, the mystery of his age raises questions about social
constructions of youth, and that there are ideological assumptions about the propriety of age
controlling youth (338). Harkins also tries to add that the age of Hamlet from the beginning of
the play has the audience introduced to the young Hamlet, something he is referred to as in the
first act, and his transition into an adult, as maturity plays an important role on the decisions he
makes and the experiences he undergoes. Bloom would find Harkins thoughts to be critical,
which he states in the beginning of his essay. Bloom found Hamlet to be completely matured by
Act 5, showing a collected side of him, no longer bickering like an immature little boy. Hamlets
age does make an impact on his character throughout the play, as we see an immature Hamlet
during his famous To be or not to be soliloquy, contemplating suicide because he feels that he
cannot handle the situation that is brought before him. Bloom would argue that this is the young,
pre-critical Hamlet because he is looking for the easy way out instead of dealing with his
problems. Hamlets situation may be overwhelming for any age group, but his behavior would
constantly be changing by showing signs of erratic, irrational, and unstable actions cause other
members of the play to persistently questioning him. These are all signs of a youthful Hamlet,
still trying to figure out who he is and what represents himself. If the power of an ideology rests
in its broad social acceptance, Hamlet focuses on local moments in which cultural stereotypes
and assumptions fall apart (347). This statement by Harkins shows a critical thinking Hamlet,
one who has already matured, and is ready to face the consequences of his actions. Hamlet is no
longer judged for his behavior, which Bloom would argue that by act 5, we see the pre-critical,
youthful Hamlet changed into a more mature, attuned to his surroundings. He is ready to finally
avenge his father, which Harkins quotes If Old Hamlets commission sentenced Young Hamlet
to death before he gave his own character life, we assumed that was because of the nature of
revenge and the risks revengers run (802). It was clear throughout the play the toll that revenge
took on the younger Hamlet, who was afraid of death. Bloom would argue that in the final act of
the play, the mature Hamlet had experienced enough in his life that he had games knowledge of
death and what represents him as a person, allowing death into his life.
I believe that Harold Bloom would agree with Harkins point of view on Hamlet, and his
transition from a younger, pre-critical Hamlet, to a mature critical Hamlet, who is actually ready
to avenge his father, and accept the consequences that come with it. Bloom would use Harkins
article to support his theory that in death, Hamlet learned to appreciate life.