Roxanne A. Domingo
Many characters in The Hamlet are reminiscent of various gods and goddesses in Greek mythology. Some references are overt, referring directly to the god or goddess by name, whereas others subtly assume certain aspects of a particular deity. William Faulkner was fascinated by figures of Greek mythology, and this is evident in The Hamlet. John Lewis Longley Jr. writes, “His work has consistently demonstrated the presentness of the past, as an influence, and as a measurable factor in shaping the present”1 His references to Mount Olympus are found throughout the book. For example, to explain Labove’s volatile attraction to Eula, Faulkner writes, “eat like . . . the unchaste and . . . even anonymously pregnant immortals . . . of Paradise on a sunwise slope of Olympus”2 Faulkner equated the former glories of the mythological past of Mount Olympus and the carefree lifestyles of the Grecian deities with the American South prior to the Civil War. His characters bear a resemblance to those of the deities in Greek mythology; these gods and goddesses fought, loved, watched, and led lives similar to the humans they ruled.
In The Hamlet, Flem Snopes, son of the farmer, Ab Snopes, who previously burned a barn, is very private. Flem secretly plans to make a lot of money and move to the town of Jefferson. Initially, Flem tells Jody Varner, the person who hires him to work in his store, that nothing is gained by working on a farm (The Hamlet 25). Therefore, Flem strikes a deal with Jody to allow him to work in his store in exchange for keeping Jody’s barn intact. Overtime, Jody eventually grants all of Flem’s requests. First, Flem becomes a clerk in Jody’s store and after gaining enough money, he opens his own blacksmith business. Then, months later, he marries Eula, Jody’s younger sister. Flem’s actions show a man capable of accomplishing his goals in a slow and methodical way known only to him. His nature is likened to one of the deities in Greek mythology, Hades, the god of wealth and ruler of the underworld. Hades is also capable of methodical plans. He abducts Persephone, also known as Core, the maiden, when she is picking flowers on the plains of Sicily.3 However, when Demeter, the earth goddess, learns of Persephone’s abduction, she pleads with Zeus and an arrangement is made. Flem marries Eula for Jody’s wealth and Hades abducts Persephone to be his queen. Flem’s objective when he works at the store is not only to avoid work on the farm, but also to earn money. This corresponds with the Greek derivation of the name Hades, which comes from Pluto, meaning wealth. And the gods assign Hades as the treasurer of the earth’s resources.
Goddesses of Mount Olympus are described as figures with overwhelming beauty. In The Hamlet, Eula Varner is described with the physical characteristics of a goddess. Eula is only a thirteen-year old girl, yet she already receives admiration from the men and jealousy from the women in the town of Jefferson. Everyday, men drive twenty miles to watch her as she goes to school. Some men gather around her “like swarm of bees, and she would be serene . . . and apparently even oblivious” as she goes to class (The Hamlet 128). Eula has a beautiful figure and she possesses a calm and detached demeanor. Other girls, some who are older than Eula, enjoy being in her company to meet boys; Faulkner says, “[the girls] invited her so that the boys would come” (143). The other girls want to become just like her. Although aware of her appearance, Eula’s limited understanding of the admiration given to her is appropriate given her age. Yet, Eula’s innocence tends to heighten her attractiveness and the effect that she has on others. In this way, she is similar to the Greek goddesses, Aphrodite, known as the goddess of love and beauty. After Aphrodite is born, she goes to Cyprus and “as soon as her white feet touched the island—earth, grass, and flowers sprang up.”4 Like Eula, Aphrodite possesses qualities that create competition between men. Her beauty is so great that she responds indifferently to men’s attractions for her. There is one, however, whom Aphrodite loves—Adonis. She constantly warns Adonis every time he goes out to hunt, fearing that he is exposing himself to the dangers of hunting that could easily take his life. Aphrodite’s concern for Adonis is so strong that her other lover, Ares, the god war, kills him.
- K. Ratliff, a sewing-machine agent, serves as an informant for every character in The Hamlet. He is largely responsible for most of the townspeople’s information. Ratliff relays information about Ab Snopes, whom he was always a constant companion with when he was a child. People learn about Ab Snopes’ past through Ratliff, who is privy to Snopes’ life before they arrived in Jefferson. He examines the lives of the Snopes as the family grows and moves to Jefferson. As a result, he seems to be discouraged by the fact that they, especially Flem Snopes, are taking over some of the businesses of Will Varner. This, in turn, causes Ratliff tohamper Flem. Flem’s silence and private nature only bolster Ratliff’s claims against him. “ ‘Flem,’ Ratliff says, ‘has grazed up the store and he has grazed up the blacksmith shop and now [Lump Snopes] is starting the school. That just leaves Will’s house’ ” (The Hamlet 77). Ratliff does not only deliver news that he sees or hears, but he also has a tendency to pass along his opinions as facts. Ratliff’s nature matches the messenger god, Hermes. Hermes deceives Hera, the Queen of the Gods, when he disguises himself and makes Hera believe that he is Ares, the god of war and Hera’s own infant. Hermes performs several tasks for his brothers and sisters in addition to his main job, which is to bring information and messages given to him. Through the use of his “winged sandals,” he dutifully accomplishes his tasks. His role as a messenger through travel earns him worship from traveling salesmen in ancient Greece. Similarly, Ratliff’s job is to travel and deliver the gossip and news to his neighbors.
The idea of pure love is seen in The Hamlet when Ike Snopes is introduced. Ike is an innocent young man suffering from mental retardation. Once, at dawn, he goes out wandering in the fields when he sees a lovely creature: a cow. Ike is so amazed at the creature’s beauty that as he approaches her, he cannot take his eyes off her. Compelled by her beauty, Ike perceives the creature in the same way a normal man would see his loved one. Incapable of knowing that loving an animal in such a way is wrong, Ike’s innocence makes him believe that loving a cow is right. He continues to love her without expecting anything in return. Aware that the cow is neither wealthy, powerful, or has the ability to return his love, Ike nevertheless gives his love to the cow unconditionally. It is readily apparent that Ike’s love is pure in the sense that he has given his love freely and completely and without expectation. He even tries to rescue her from danger, risking his own life. He is “running among . . . the sedge dotted with small island of . . . incombustible green and . . . tiny blue and white daisies” when suddenly smoke appears before him (The Hamlet 190). Ike becomes terrified that the smoke is coming from the barn, but as soon as he hears his love and knows that she is in danger, his fear turns into desperation to save her. After the incident, Ike comforts her, “trying to tell her how this violent violation of her maiden’s delicacy is no shame, since such is the very iron imperishable wrap of the fabric of love” (The Hamlet 192).
The love story of Psyche and Eros resembles Ike’s love for the cow. When Aphrodite learns about Psyche’s beauty, she becomes so furious that she commands Eros, also known as Cupid, to go and strike her with his arrow and make her fall in love with a hideous man. However, when Eros sees Psyche for the first time, Psyche astonishes him with her beauty. Later on, Eros marries Psyche and takes her away to live in his palace, though she has never seen his face. Eros commands Psyche not look upon his face, on the pain of having their children being born mortal. Though Psyche has everything that she could possibly want, the fact that she does not know what her own husband looks like troubles her. To satisfy her curiosity, Psyche decides to secretly look upon Eros’ face that following night. When Eros wakes up, finding Psyche staring at him in awe of his beauty, he flies away from her and decides not to return. Psyche, full of sorrow, goes out and tries to find her husband. When Psyche reaches Aphrodite’s temple, Aphrodite welcomes her with bitterness and commands Psyche to do several tasks before she will allow Psyche to see her husband. Psyche, still very much in love with Eros, willingly accepts the tasks. Psyche succeeds at these tasks, impossible though they may seem. Unfortunately, on her last mission, she accidentally opens the box Persephone gives to her and falls asleep. Having witnessed the strength of Psyche’s love for him, Eros goes to her rescue, revives her, and carries her to Mount Olympus.
The pure love of Ike for the cow and Psyche for Eros may seem arguable to some who believe that Ike’s love for the cow is not pure because the cow is obviously an animal; this does not equate the true affection any man, normal or abnormal, feels for a human being. Some may add that Ike Snopes cannot be compared to Psyche because Eros shares the same characteristics as Psyche, both physically and emotionally. To refute such an argument, the purity of love takes place in many forms—physically, emotionally, mentally, and spiritually. Ike Snopes falls deeply in love with the cow unaware of her form; his love is the same as any human giving love unconditionally. His primary care is not for the awkwardness of the situation, but the welfare of the cow. This is demonstrated by his actions when he sees the smoke coming from the direction of the barn. Similarly, Eros learns of Psyche’s passion through her devotion, which Eros previously underestimated. Psyche sees Eros as “a beautiful winged youth” and she proves the purity of her love by accomplishing her tasks without fear.
It is undeniable that Faulkner draws much of his characters’ substance from notable figures in Greek mythology. Writer Lewis P. Simpson points out, “In [The Hamlet], Flem and Eula are up to their ears in conventional existence but bear always the signs of their beginnings in Faulkner’s fascination with satyrs and fauns, demons and goddesses.” The very nature of Yoknapatawpha County is reminiscent of Mount Olympus and its inhabitants, the gods and goddesses, who live there. In the aftermath of the Civil War, writes John Macdonald,“Though the Union could impose its will upon the South, it could not rob the Southern people of the memory of its heroes, of battles boldly won, or of its sacrificed sons. There was a spirit abroad that the Confederacy should never be forgotten. Nor has it been.”
Yet after examining the characters in The Hamlet and the deities in Greek mythology, perhaps the ancient Greeks needed all-powerful beings to explain their human impulses. To explain their thoughts and emotions, the Greeks may have needed a god or a goddess to justify their love, anger or regrets. Faulkner realizes this need and exemplifies complex human nature in the characters that populated Jefferson County.
Works Cited
Barthell, Edward E., Jr. Gods and Goddesses of Ancient Greece. Coral Gables, FL: University of Miami Press, 1971.
Duthie, Alexander. The Greek Mythology. Wesport, CT: Greenwood Press, 1979. Faulkner, William. The Hamlet. New York: Vintage Books, 1931.
Harrington, Evans, and Ann J. Abadie, eds. “Yoknapatawpha & Faulkner’s Fable of Civilization.” In The Maker and The Myth: Faulkner and Yoknapatawpha. Faulkner and Yoknapatawpha Conference (4th, 1977) Jackson, MI, University of Mississippi, 1978.
Longley, John Lewis, Jr. The Tragic Mask: A Study of Faulkner’s Heroes. Chapel Hill, NC: University of North Carolina Press, 1957.
Macdonald, John. Great Battles of the Civil War. New York: Macmillan, 1988.
Philip, Neil. Annotated Guides, Myths and Legends. New York: DK Publishing Inc., 1999.
Rose, H. J. A Handbook of Greek Mythology. London: Methuen, 1928.