Hamlet and Performative Utterance

In “Hamlet,” by William Shakespeare, performative utterance has a major impact on the characters and the plot.  The way in which Hamlet speaks seems to constitute action in itself.  Throughout the play, locutionary, illocutionary, and perlocutionary acts are all present.  In “The Performative Utterance in Hamlet,“ by  Fredrik Deboer, these elements were analyzed and observed in the play.  Also, “self-overhearing” is a prominent element as well.  By examining myself, I have also found performative utterance taking place in my life.  Performative utterances contain agent to constitute action, and affect real change in the world.

    A locutionary act can be defined as the act of an utterance.  Locutionary acts happen constantly; even a baby talking gibberish would qualify into this category.  However, if the speaker of that utterance has a specific intention, it becomes an illocutionary act.  For instance, asking a question with an intention of getting an answer.  When an utterance produces an effect, intended of not, it becomes a elocutionary act.  An example of this would be when a priest pronounces a couple “man and wife,” the effect of this would be they are assumed to now be married.

     A particular scene in “Hamlet” includes all three of these acts, and also sets the plot of the play into action.  This scene is when the ghost of King Hamlet approaches Hamlet, and the two have a discussion.  Locutionary acts occur each time one of them produces an utterance.  When the ghost says, “Revenge his foul and most unnatural murder,” this is an illocutionary act.  The ghost had a specific intention for that utterance: to persuade Hamlet to avenge him.  The perlocutionary act occurs when Hamlet vows to take revenge on his uncle.  This single utterance produces innumerable affects, impacts all of the characters, and produces the plot.

    “Self-overhearing” occurs when hearing one self’s thoughts and opinions out loud helps that person gain knowledge about himself.  This occurs countless times in the play.  Hamlet would often host long soliloquies in which he would talk about his dilemmas and feelings out loud.   By doing this, it helped him gain knowledge about how he reacts in certain situations, and also what he should do about his dilemma.

    My experience with “self-overhearing” is similar to Hamlet‘s.  For example, as I reflect on my experience of memorizing the “To be, or not to be,” soliloquy,  it helps me realize the reasons this task was difficult for me.  I found it hard to focus for long periods of time, and I also psyched myself out before even starting!  It also tells me what strategies of memorization work well for me.  By reviewing what I accomplished and how long it took me, I gain knowledge of future expectations.  Such as how much time I should allow myself to learn a piece of this length, or what my mind is capable of.  If  I could do that, what else can I do?  Perhaps a little more “self-overhearing” could answer that.