I’m going to see Raoul Bhaneja’s one-man performance of Hamlet on Friday at the Yukon Arts Centre. I’ve heard good things about it, and saw a good article in the Yukon News, and I love Shakespeare, but I’m going to see it because of the way Hamlet speaks about “belief.” One of the main questions, arguably, is whether or not Hamlet should believe the ghost of his father. He tells Hamlet that he was murdered by the King’s brother, Claudius, Hamlet’s uncle. It is also this ghost that asks, begs, persuades Hamlet to avenge his murder. Without the ghost, no play. With the ghost, several dilemmas at once, not the least of which is whether you believe a spirit that you’ve seen.
I’m teaching a class this semester at the Whitehorse United Church in Writing about Faith, a nebulous topic, a difficult endeavor. You neither want to sound as if you were deluded or over-zealous, but neither do you want to play down your experiences until they mean nothing. The spiritual things that happen to us are a keen part of our lives–sometimes they are the anchor that holds us rooted when the world tosses us around, and other times, they are an anchor dragging behind us, stopping us from moving forward. Either way, what value we give them determines how we proceed with our life: either our spiritual side is a nice addendum to everything else we have in our lives, or it is something profoundly different that affects our course of action. (Or we just ignore it altogether)
Hamlet is caught in a crisis of belief. If he believes a ghost—just stop there to see how preposterous that sounds—then he has to believe that his father was murdered, and that his uncle is the villain, and that his mother could have been an accomplice. Further, if that’s true, then the ghost must also be believed that he, Hamlet, can set it right. That everything that Hamlet does hinges on the believability of the words of a ghost means that the play is really about our belief, and how much it informs our real decisions.







