CAT and Hamlet

I recently wrote a piece about cognitive analytic therapy (CAT) and thought it might be interesting to apply it to a character to illustrate how it works as a way to help understand ourselves better; to step back and reflect on why we feel and behave the way we do.

I’ve chosen a classic – Hamlet. I’m aware I may be playing with fire here, but it’s a favourite of mine, and hopefully will illustrate CAT without it becoming dull. To me, CAT is so exciting, so interesting, once you grasp the basics, it’s difficult to see yourself, or the world (or your job) in the same way. Anyway, back to Hamlet. To begin with, we need to think about his character development on three levels:

  • Other to self (how other people behaved towards him, taught him etc when he was younger)
  • Self to self (what he learned from these experiences; internalised and so became the ‘lens’ through which he sees and understands the world)
  • Self to other (how he then behaves towards others)

We don’t get much information in the script about Hamlet’s early life, but we get the sense it was pretty idyllic. He idolised his father, the King (see his speech to his mum in Act 3 Scene 3 for a description), had really good friendships growing up (Horatio, Rosencrantz and Guildenstern) and there are further suggestions of joy as a child when he recalls playing with Yorick, the jester. Not much to go on, but there’s a sense all was good. Certainly, no negative reports are made about his childhood. So let’s assume that Hamlet learned (from others to himself) that the world was a good, safe place (self to self).

This helps us to build a picture of how relationships have shaped Hamlet’s character, identity, and ways of behaving towards himself and others around him. CAT gives us the notion of ‘reciprocal roles’ to describe these complex ideas in a simple way. Don’t be put off by the terminology – it just means relational patterns that we learn to expect from others.

Returning back to Hamlet again, in Act 3 scene 4, he describes his dad as, “…a form indeed, where every god did seem to set his seal to give the world assurance of a man”. So pretty sturdy then. Dad was experienced by Hamlet as strong, dependable and god-like. In response we might assume Hamlet felt safe, untouchable and as if entitled in some way. Conversely, Hamlet may have never felt good enough to match his father’s god-like status. These ‘reciprocal roles’ might be drawn like this:

Then tragedy happens. His father dies. Hamlet’s constructed view of the world is shattered. This grief is increased when his mum marries his uncle and he discovers his uncle – his dad’s own brother – murdered his dad. Thinking about Hamlet’s upbringing and the reciprocal roles he has – this ‘lens’ – his understanding of the world as a safe place doesn’t match with this new set of circumstances. ‘He feels rejected (other to self) and in response, becomes rejecting towards his own difficult emotions (self-to-self). He has had little or no preparation for feelings as overwhelming as these in his earlier life. He thinks about rejecting the world (self-to-other). Hamlet’s world falls apart and he contemplates suicide.

The ensuing action deals with Hamlet’s struggle at coming to terms with this different world, one where people aren’t always to be trusted. His rage and bewilderment at events fuel his actions (or inactions). For a large part of the play, he struggles to take on a powerfully decisive and ‘god-like’ role (as if trying to mimic his father) by taking his uncle’s life. His aim might be seen as trying to get back to a sense of fairness and stability. However he is stalled in his quest, perhaps by his feelings of ‘not being good enough’.

A considerable portion of the play is given to Hamlet’s reflection, introspection, musings and wonderings. Arguably, as a result of these explorations, towards the end of the play, Hamlet seems to have found an ‘exit’. This is the term used in CAT to describe the emergence of new ways of coping or responding to situations. Indeed, new reciprocal roles appear to be emerging from his reflections and the process of stepping back, when he travels to England, literally having a chance to gain some distance from the world in Denmark.

This might be likened to another notion in CAT, that of developing a stronger ‘observing eye’. This can help someone to take a step back from overwhelming feelings and use this perspective to help find new ways of reacting. One clear example of an ‘exit’ Hamlet has developed is when, towards the end of the play, he returns to the question of mortality – “to be or not to be”. In a speech to Horatio, he says,

“If it be now, ’tis not to come. If it be not to come, it will be now. If it be not now, yet it will come— the readiness is all. Since no man of aught he leaves knows, what is’t to leave betimes? Let be.” 

(Act 5, Scene 2).

Through reflection and time to step back from his emotions, he has found an ‘exit’ from the pattern of behaviour he was in, and it seems to signify a level of acceptance. He seems more able to accept the world is a place where there is deceit, failure and heartbreak. Despite the pain this causes, he has been able to absorb this, and understand that the ‘bad’ in the world doesn’t need to destroy the good.

Through acceptance and greater understanding, he isn’t as threatened by these more challenging aspects of life, and therefore doesn’t need to reject them, or the world they belong to. There is acceptance. “Let be”.

So we could map Hamlet’s journey in the play in relational terms as this:

If you are interested in learning more about CAT ideas, you can find out more through the website of the Association of Cognitive Analytic Therapy (ACAT). In the meantime, maybe have a think about CAT in relation to other characters you have played or are working on. It might help deepen your understanding of a character and help you mine the text. Also perhaps consider your relationship as an actor with casting directors, agents and of course, your audience. Reflect on the very difficult job you do and think about how you treat yourself.

1 Comment

  1. Brilliant. I think plays (and soaps) are such a wonderful medium to explore what underlie our ways of relating and provides something extra as people relate to various characters/selves.

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