william shakespeare's Hamlet 9781909417335

Citation preview

Mentor Shakespeare Series

William Shakespeare’s

Hamlet Leaving Certificate English

With notes by

Hugh Holmes Higher & Ordinary Levels

Mentor Books Ltd., 43 Furze Road Sandyford Industrial Estate Dublin 18 Republic of Ireland Tel: +353 1 295 2112/3 Fax: +353 1 295 2114 e-mail: [email protected] www.mentorbooks.ie A catalogue record for this book is available from the British Library Copyright © Hugh Holmes 2015 The right of Hugh Holmes to be identified as the author of this work has been asserted by him in accordance with the Copyright, Design and Patents Act 1988. All rights reserved. No parts of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of the publisher. ISBN: 978–1–909417–33-5 Editor: Daniel McCarthy Typesetting: Kathryn O’Sullivan Design: Mary Byrne

contentscontentsc Character List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Act 1

Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Scene 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Scene 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Act 1 Revision Quiz . . . . . . . . . . . . . . . . . . . . . . 50

Act 2

Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Act 2 Revision Quiz . . . . . . . . . . . . . . . . . . . . . . 83

Act 3

Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Scene 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Act 3 Revision Quiz . . . . . . . . . . . . . . . . . . . . . . 129 Act 4

Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Scene 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Scene 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Scene 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Scene 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Act 4 Revision Quiz . . . . . . . . . . . . . . . . . . . . . . 169

scontentscontents Act 5

Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Act 5 Revision Quiz . . . . . . . . . . . . . . . . . . . . . . 206

Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 the Life of shakespeare . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 ordinary Level exam

Ordinary Level Exam Tips. . . . . . . . . . . . . . . . . . . . . . . 238 Ordinary Level Past Exam Questions . . . . . . . . . . . . . . . . . 239

Ordinary Level Sample Questions . . . . . . . . . . . . . . . . . . . 241 Ordinary Level Sample Answers . . . . . . . . . . . . . . . . . . . 242 Higher Level exam

Higher Level Exam Tips . . . . . . . . . . . . . . . . . . . . . . . . 245 Higher Level Past Exam Questions . . . . . . . . . . . . . . . . . . 246

Higher Level Sample Questions . . . . . . . . . . . . . . . . . . . . 247 Higher Level Sample Answers. . . . . . . . . . . . . . . . . . . . . 248

Characters HAMLET:

Prince of Denmark

GERTRUDE:

Queen of Denmark

CLAUDIUS:

King of Denmark

GHOST:

The ghost of the late King Hamlet (Hamlet’s father)

LAERTES:

Polonius’ son

POLONIUS: OPHELIA:

HORATIO:

Claudius’ counsellor

Polonius’ daughter

Hamlet’s friend and fellow student

ROSENCRANTZ and GUILDENSTERN: Courtiers, former school friends of Hamlet VOLTEMAND and CORNELIUS:

Ambassadors to Norway

OSRIC:

A foppish courtier

MARCELLUS:

A Royal Guard

FRANCISCO:

A Royal Guard

REYNALDO:

BARNARDO:

FORTINBRAS:

TWO GRAVEDIGGERS

Polonius’ servant A Royal Guard

Prince of Norway

PLAYERS

ENGLISH AMBASSADORS

A NORWEGIAN CAPTAIN PRIEST

GENTLEMAN, LORDS, LADIES, SOLDIERS, SAILORS, MESSENGERS, ATTENDANTS

setting

Hamlet is set in Elsinore, Denmark

4

Act 1 Scene 1 scene summary

The scene opens upon the battlements of the Castle at Elsinore, in Denmark. The guard is changing. Two guards, Barnardo and Marcellus come on duty. Francisco is finishing his watch. The guards have asked Hamlet’s educated friend, Horatio, to join them on the watch. The guards are afraid of a strange apparition that has appeared to them on the previous two nights. As Barnardo is describing the ghost, it appears. The ghost looks like Old Hamlet (Hamlet’s father), the last King of Denmark. Horatio tries to speak to the ghost but it disappears. The ghost appears a second time. Horatio calls on it to speak but again it disappears. Horatio, Barnardo and Marcellus decide to tell Hamlet about what they have seen.

Elsinore. The guard-platform of the castle. FRANCISCO at his post. Enter to him BARNARDO BARNARDO Who’s there?1 FRANCISCO Nay, answer me. Stand, and unfold2 yourself.

1

Who’s there?: Barnardo is joining the watch, therefore he should not be the one to ask this. However, he does so as he is anxious and fearful

2

unfold: reveal

3

carefully upon your hour: 1. punctually 2. only just in time

BARNARDO Long live the King! FRANCISCO Barnardo? BARNARDO He. FRANCISCO You come most carefully upon your hour.3 BARNARDO ’Tis now struck twelve. Get thee to bed, Francisco. 5

Act 1 Scene 1

Hamlet

FRANCISCO For this relief4 much thanks: ’tis bitter cold, And I am sick at heart.

10

4

relief: taking over guard duty

BARNARDO Have you had quiet guard? FRANCISCO

2

Not a mouse stirring.

BARNARDO Well, goodnight. If you do meet Horatio and Marcellus, The rivals5 of my watch, bid them make haste.6

5 6

rivals: partners on guard duty make haste: hurry

FRANCISCO I think I hear them. Stand, ho! Who’s there? [Enter HORATIO and MARCELLUS] HORATIO Friends to this ground.7 MARCELLUS

7

And liegemen to the Dane.8

FRANCISCO Give you goodnight.9 MARCELLUS Who hath relieved you? FRANCISCO Give you goodnight. [Exit] MARCELLUS BARNARDO What, is Horatio there? 6

O, farewell, honest soldier.

Barnardo has my place.

Holla! Barnardo! Say,

to this ground: Denmark

8

liegemen…Dane: men who have sworn their loyalty to the King of Denmark

9

Give…goodnight: May God give you a good (peaceful) night

3

Act 1 Scene 1

HORATIO

20

Hamlet

A piece of him.10

10

BARNARDO Welcome, Horatio. Welcome, good Marcellus.

A piece of him: Because it is so dark, only a part (‘a piece’) of Horatio can be seen. He perhaps is offering his hand here

MARCELLUS What, has this thing appeared again tonight? BARNARDO I have seen nothing. MARCELLUS Horatio says ’tis but our fantasy,11 And will not let belief take hold of him12 Touching13 this dreaded sight twice seen of us.14 Therefore I have entreated him along15 With us to watch the minutes of this night,16 That if again this apparition17 come, He may approve our eyes18 and speak to it.19

30

HORATIO Tush, tush, ’twill not appear. BARNARDO

Sit down awhile; And let us once again assail your ears, That are so fortified against our story20 What we have two nights seen.

fantasy: imagination will not…of him: will not allow himself to believe 13 Touching: Concerning 14 twice seen of us: twice seen by us 15 entreated him along: requested him to come / urged him to come 16 watch…this night: keep watch through the night 17 apparition: ghost 18 approve our eyes: confirm what we have seen 19 speak to it: It was thought that ghosts could only be spoken to in Latin. Horatio is a scholar and therefore able to speak Latin. The others, presumably, can’t 11

12

20

HORATIO

let us…our story: allow us to again tell you our story which you will not believe. ‘Assail’ (attack) and ‘fortified’ (protected from attack) are military terms

Well, sit we down, And let us hear Barnardo speak of this.

BARNARDO Last night of all,21 When yond same star that’s westward from the pole22 Had made his course t’ illume23 that part of heaven Where now it burns, Marcellus and myself, The bell then beating24 one—

Last night of all: Just last night yond…the pole: the star there that’s positioned to the west of the Pole-Star 23 t’ illume: to illuminate / light up 24 beating: ringing (of the bell) 21 22

[Enter GHOST] 40

MARCELLUS Peace, break thee off; look where it comes again!

7

Act 1 Scene 1

Hamlet

BARNARDO In the same figure, like the King that’s dead.25 MARCELLUS Thou art a scholar; speak to it, Horatio.26 BARNARDO Looks it not like the King? Mark it,27 Horatio. HORATIO Most like. It harrows28 me with fear and wonder.

25

In the same…dead: In the same shape that looks like the dead King (Old Hamlet)

26

Thou art…Horatio: See note 19 above

27

Mark it: Observe it

28

harrows: distresses

29

usurp’st: take over

6

BARNARDO It would be spoke to. MARCELLUS

Question it, Horatio.

HORATIO What art thou that usurp’st29 this time of night, Together with that fair and warlike form30 In which the majesty of buried Denmark Did sometimes march? By heaven I charge thee, speak!

30

fair and warlike form: noble and armed form (of the dead King)

7

MARCELLUS It is offended.

50

BARNARDO See, it stalks away! HORATIO Stay! Speak, speak! I charge thee, speak! [Exit GHOST]

8

MARCELLUS ’Tis gone, and will not answer. BARNARDO How now, Horatio! You tremble and look pale. Is not this something more than fantasy?31 What think you on’t?

8

HORATIO Before my God, I might not this believe

31

fantasy: imagination

Act 1 Scene 1

Hamlet

Without the sensible and true avouch Of mine own eyes.

32

32

sensible and true avouch: true testimony of my senses

HORATIO As thou art to thyself. Such was the very armour he had on When he the ambitious Norway33 combated. So frowned he once, when, in an angry parle,34 He smote the sledded Polacks35 on the ice. ’Tis strange.

33

Norway: King of Norway

35

smote…Polacks: 1. struck a Polish army which were on sleds 2. struck the ice with his battle-axe (‘pole-axe’)

MARCELLUS Thus twice before, and jump36 at this dead hour, With martial stalk37 hath he gone by our watch.

36

jump: precisely

37

martial stalk: walking in armour

38

In what…know not: I don’t know what exactly this means

39

But in…our state: However, in the broad view of my opinion, this suggests some future disturbance for our state (Denmark)

MARCELLUS

60

Is it not like the King?

70

HORATIO In what particular thought to work I know not,38 But in the gross and scope of my opinion, This bodes some strange eruption to our state.39

80

MARCELLUS Good now, sit down, and tell me, he that knows, Why this same strict and most observant watch So nightly toils the subject of the land, And why such daily cast of brazen cannon And foreign mart for implements of war,40 Why such impress of shipwrights, whose sore task Does not divide the Sunday from the week, What might be toward, that this sweaty haste Doth make the night joint-labourer with the day?41 Who is’t that can inform me? HORATIO

That can I— At least, the whisper goes so. Our last king, Whose image even but now appeared to us, Was, as you know, by Fortinbras of Norway, Thereto pricked on by a most emulate pride, Dared to the combat,43 in which our valiant44 Hamlet– For so this side of our known world esteemed him – 42

34

angry parle: heated conference

Good now…implements of war: Good friends, sit down and tell me if you know, why the people of Denmark have to stay awake at night working. And why cannons are being made each day and weapons bought abroad? 41 Why such impress…with the day?: Why are ship-makers forced to work, even on Sundays, all day and night? 40

42

whisper: rumours

Our last king…combat: Our last king (Old Hamlet), whose image has just appeared to us, was, as you know, challenged to combat by Old Fortinbras of Norway out of a sense of rivalry and pride 44 valiant: brave 43

9

Act 1 Scene 1

Did slay this Fortinbras; who by a sealed compact, Well ratified by law and heraldry, Did forfeit, with his life, all those his lands Which he stood seized of, to the conqueror;46 Against the which, a moiety competent Was gaged by our King; which had returned To the inheritance of Fortinbras, Had he been vanquisher; as, by the same covenant, And carriage of the article designed, His fell to Hamlet.47 Now sir, young Fortinbras,48 Of unimproved mettle49 hot and full,50 Hath in the skirts51 of Norway here and there Sharked up a list of lawless resolutes, For food and diet, to some enterprise That hath a stomach in’t;52 which is no other – As it doth well appear unto our state – But to recover of us, by strong hand And terms compulsatory, those foresaid lands So by his father lost.53 And this, I take it, Is the main motive of our preparations, The source of this our watch and the chief head Of this post-haste and rummage in the land.54 45

90

100

110

120

10

BARNARDO I think it be no other but e’en so. Well may it sort that this portentous55 figure Comes armed through our watch so like the King That was and is the question56 of these wars. HORATIO A mote it is to trouble the mind’s eye.57 In the most high and palmy state of Rome,58 A little ere the mightiest Julius fell, The graves stood tenantless and the sheeted dead Did squeak and gibber in the Roman streets:59 As stars with trains of fire and dews of blood, Disasters in the sun, and the moist star Upon whose influence Neptune’s empire stands Was sick almost to Doomsday with eclipse.60

Hamlet 45

slay: kill in combat

46

who by a sealed…conqueror: Fortinbras, by means of a sworn, legally binding agreement, did lose, along with his life, land to Old Hamlet

a moiety competent…to Hamlet: an equal portion of land was wagered by our King, which would have gone to Fortinbras’ heirs had Fortinbras won; as by the terms of the agreement by which favoured Old Hamlet 48 young Fortinbras: son of the Old Fortinbras and nephew of the current Norwegian king 49 unimproved mettle: untested / undisciplined spirit 50 hot and full: hot headed / passionate 51 skirts: outskirts 52 Sharked up…stomach in’t: rounded up a bunch of determined young men, who will give themselves to a cause (some commentators read this as an army who will work for food) 53 As it doth appear…father lost: But it appears to us in Denmark, that he aims to recover by force, the land lost by his father 54 chief head…in the land: main reason for the urgency and commotion in our land 55 portentous: foreboding (i.e. the Ghost) 56 question: cause 57 A mote…eye: This ghost troubles the mind (a ‘mote’ is a piece of dust or grit that could irritate the eye) 58 In the most…Rome: During the flourishing time of Ancient Rome 59 The graves stood…streets: The graves were empty and the dead wearing their burial robes did gibber in the Roman streets 60 As stars…eclipse: Just as comets, drizzling blood, sun-spots and the moon (upon whose influence the sea depends) were eclipsed by total darkness as if it was the end of the world. (Note - it is generally accepted that there are words missing from the text in this passage) 47

1

1

Act 1 Scene 1

Hamlet

And even the like precurse of fierce events, As harbingers62 preceding still the fates And prologue to the omen coming on, Have heaven and earth together demonstrated Unto our climatures63 and countrymen. 61

61 62

precurse: warning sign harbingers: omens / signs

63

climatures: regions

64

I’ll cross…blast me: I’ll cross its path even though it may destroy me

[Enter GHOST] But soft, behold, lo, where it comes again! I’ll cross it though it blast64 me. Stay, illusion! [It spreads its arms]

130

140

If thou hast any sound, or use of voice, Speak to me. If there be any good thing to be done, That may to thee do ease and grace to me, Speak to me. If thou art privy to65 thy country’s fate, Which happily, foreknowing may avoid,66 O, speak! Or if thou hast uphoarded67 in thy life Extorted treasure in the womb of earth,68 For which, they say, you spirits oft walk in death, Speak of it. Stay and speak!

art privy to: have private knowledge of Which happily…avoid: which fortunately advance knowledge may avoid 67 uphoarded: hoarded 65 66

68

Extorted treasure…earth: stolen buried treasure

69

partisan: long-handled spear

[The cock crows] Stop it, Marcellus. MARCELLUS Shall I strike at it with my partisan?69 HORATIO Do, if it will not stand. BARNARDO HORATIO MARCELLUS ’Tis gone!

’Tis here! ’Tis here!

11

Act 1 Scene 1

Hamlet

[Exit GHOST] We do it wrong, being so majestical,70 To offer it the show of violence; For it is, as the air, invulnerable, And our vain blows malicious mockery.71

70

being so majestical: it being so regal looking i.e. appearing like Old King Hamlet

71

malicious mockery: an ineffective show of violence

72

trumpet: herald

73

god of day: Phoebus Apollo, the sun god

BARNARDO It was about to speak, when the cock crew.

150

160

170

HORATIO And then it started like a guilty thing Upon a fearful summons. I have heard The cock, that is the trumpet72 to the morn, Doth with his lofty and shrill-sounding throat Awake the god of day;73 and at his warning, Whether in sea or fire, in earth or air, The extravagant and erring spirit hies To his confine;74 and of the truth herein This present object made probation.75 MARCELLUS It faded on the crowing of the cock. Some say that ever ’gainst that season comes Wherein our Saviour’s birth is celebrated,76 The bird of dawning singeth all night long, And then, they say, no spirit dares stir abroad,77 The nights are wholesome, then no planets strike, No fairy takes, nor witch hath power to charm, So hallowed and so gracious is the time.78 HORATIO So have I heard and do in part believe it. But, look, the morn, in russet mantle clad,79 Walks o’er the dew of yon high eastward hill. Break we our watch up and by my advice Let us impart what we have seen tonight Unto young Hamlet, for upon my life, This spirit dumb to us, will speak to him. Do you consent we shall acquaint him with it, As needful in our loves, fitting our duty? MARCELLUS Let’s do’t, I pray, and I this morning know Where we shall find him most convenient.81 [Exeunt]

12

The extravagant…confine: the wandering spirit returns to where it is confined 75 the truth herein…probation: the truth of this is proven by the ghost 74

ever ’gainst that season… celebrated: just before Christmas, when Jesus’ birth is celebrated 77 stir abroad: wander 76

The nights are wholesome…the time: The night air is healthy, there is no evil influence from the planets, no supernatural being can chant, nor has any witch the power to charm, so holy is Christmas time 79 russet mantle clad: i.e. the sky is red 78

80

young Hamlet: Hamlet, the play’s hero

81

convenient: conveniently

Act 1 Scene 1

HORATIO

Hamlet

Key Quotations This bodes some strange eruption to our state

scene Commentary

the opening scene provides a dramatic and intriguing introduction to the world of the play. The first exchange bristles with a nervous tension as both Barnardo and Francisco question each other in the dark. The general atmosphere in the scene is one of anxiety as the guards talk of a strange apparition that has appeared in the form of the dead king, Old Hamlet. Marcellus calls the ghost ‘a dreaded sight’ and the guards are generally on edge and unsettled. Horatio establishes himself as a scholarly and sensible character. He is at first suspicious of the reports of the ghost, telling Marcellus, ‘Tush, tush, ’twill not appear.’ But when confronted by the image of the Ghost he is filled with ‘fear and wonder’ and has to accept that it is real. It was thought that ghosts could only be spoken to in Latin; as an educated person, Horatio is called upon to address the Ghost. At the end of the scene, Horatio says that Hamlet must be informed about the Ghost. The others quickly agree with him. This first scene provides some essential information regarding the political backdrop to the play. The audience learn that there is tension between Denmark and Norway. In a previous battle, the old king of Norway (Old Fortinbras) lost land to Old Hamlet. Old Fortinbras was also killed in the battle. His son, Young Fortinbras, is rumoured to be preparing to win back the lost land by force. Fortinbras is established as a passionate man of action who is willing to go to war to restore the honour of his father and his nation. Horatio sees him as made of ‘unimproved mettle hot and full’ but the threat he poses is significant enough for Denmark to prepare itself for war. As Marcellus notes, cannons are being manufactured daily and weapons are being bought from abroad. The figure of Fortinbras helps to establish one of the play’s central themes: revenge. old Hamlet, the former king of Denmark, is spoken about with reverence and nostalgia. Horatio refers to Old Hamlet’s ‘fair and warlike form’ and as ‘valiant Hamlet – / For so this side of our known world esteemed him’. The audience are filled with a sense of foreboding by the characters’ reactions to the Ghost. Barnardo sees the Ghost as a ‘portentous’ figure while Horatio considers it to be an omen. He refers to strange phenomena witnessed before the collapse of the Roman Empire: ‘the sheeted dead / Did squeak and gibber in the Roman streets’, the unusual astronomical events and a solar eclipse. Horatio sees the Ghost as a similar omen for Denmark: ‘This bodes some strange eruption to our state’.

Questions

1. How does Shakespeare make it clear that the guards are nervous on their watch? 2. Why has Horatio been invited to stand watch with the guards? 3. Before the Ghost arrives, what is Horatio’s attitude to the guards’ reports of a strange apparition? 4. What is the guards’ and Horatio’s view of Old Hamlet, the dead king? Quote from the text in your response. 5. According to Horatio, why is Denmark manufacturing and stockpiling new weapons? 6. How do the guards and Horatio interpret the significance of the Ghost’s appearance? 7. At the end of scene, what do Horatio and the guards decide to do? 13

Act 1 Scene 2

2

scene summary

This scene opens with the state address by the new King, Claudius (Old Hamlet’s brother). Claudius expresses sorrow for the loss of his brother. However, he announces with joy his marriage to Gertrude, the former wife of Old Hamlet. Claudius thanks his advisors and sends ambassadors to Norway. Claudius then hears from Laertes (son of Polonius) who requests permission to go back to France to study. Claudius grants this request. The attention of the King is then focused on Hamlet. Claudius calls on Hamlet to put aside his grief and names Hamlet as his successor to the throne. However, Hamlet’s bitter responses and dark wordplay show that he is unhappy with the marriage of Claudius and Gertrude. In soliloquy, Hamlet expresses his disgust with his mother’s behaviour and hasty marriage. Hamlet seems disillusioned with life and dwells on the idea of suicide. In the final part of his soliloquy, Hamlet compares Claudius unfavourably with Old Hamlet. Horatio, Barnardo and Marcellus then meet Hamlet and tell him about the Ghost. Hamlet decides to see it for himself that night. He urges his three friends to keep news of the apparition secret. Privately Hamlet says that he suspects some ‘foul play’.

Elsinore. The castle. Flourish. Enter CLAUDIUS, GERTRUDE, HAMLET, POLONIUS, LAERTES, VOLTEMAND, CORNELIUS, Lords and Attendants

10

14

CLAUDIUS Though yet of Hamlet our dear brother’s death The memory be green,1 and that it us befitted2 To bear our hearts in grief and our whole kingdom To be contracted in one brow of woe;3 Yet so far hath discretion fought with nature4 That we with wisest sorrow5 think on him, Together with remembrance of ourselves. Therefore our sometime sister,6 now our Queen, The imperial jointress7 to this warlike state, Have we, as ’twere with a defeated joy,8 With an auspicious and a dropping eye,9 With mirth10 in funeral and with dirge in marriage, In equal scale weighing delight and dole,12 Taken to wife.13 Nor have we herein barred14 Your better wisdoms, which have freely gone With this affair along. For all, our thanks.

3

4

be green: is fresh befitted: was fitting / appropriate contracted…woe: grieve together discretion…nature: reason has competed with emotion 5 wisest sorrow: mourning tempered by wisdom 6 sometime sister: former sister-in-law 7 imperial jointress: royal widow who holds a legal right to rule Denmark 8 defeated joy: joy that is marred / frustrated by sorrow 9 an auspicious…eye: one eye that is fortunate / joyful and one that is weeping 10 mirth: merriment 11 dirge: funeral song 12 dole: sorrow 13 Taken to wife: married (Gertrude) 14 barred: excluded 3 4 1 2

5

Act 1 Scene 2

20

30

40

Now follows that you know, young Fortinbras, Holding a weak supposal of our worth15 Or thinking by our late dear brother’s death Our state to be disjoint and out of frame –16 Colleagued17 with the dream of his advantage – He hath not failed to pester us with message Importing the surrender of those lands Lost by his father with all bonds of law,18 To our most valiant brother. So much for him. Now for ourself, and for this time of meeting, Thus much the business is: we have here writ To Norway,19 uncle of young Fortinbras – Who impotent and bedrid scarcely hears Of this his nephew’s purpose20 – to suppress His further gait21 herein, in that the levies, The lists and full proportions,22 are all made Out of his subject;23 and we here dispatch You, good Cornelius, and you, Voltemand, For bearers24 of this greeting to old Norway, Giving to you no further personal power To business with the King more than the scope Of these delated articles allow.25 Farewell, and let your haste commend your duty.

Hamlet a weak supposal of our worth: assuming that we / I am weak 16 disjoint and out of frame: disorganised. Claudius is using a carpentry metaphor here 17 Colleagued: combined 15

18

with all bonds of law: within the legally binding agreement

19

Norway: the King of Norway

Who impotent…purpose: who is powerless and bedridden and barely knows of his nephew’s plans 21 gait: advancement / proceeding 22 the levies…proportions: the soldiers, financing and other resources 23 are all…subject: are all funded by the Norwegian people 24 bearers: messengers / carriers 25 Giving…allow: I give you no more power to deal with the King than is limited (‘delated’) to in these instructions 20

CORNELIUS and VOLTEMAND In that and all things will we show our duty. CLAUDIUS We doubt it nothing. Heartily farewell. [Exeunt VOLTEMAND and CORNELIUS]

50

And now, Laertes, what’s the news with you? You told us of some suit;26 what is’t, Laertes? You cannot speak of reason to the Dane, And lose your voice.27 What wouldst thou beg, Laertes, That shall not be my offer, not thy asking?28 The head is not more native29 to the heart, The hand more instrumental30 to the mouth, Than is the throne of Denmark to thy father. What wouldst thou have, Laertes?

26

suit: request

You cannot…your voice: You cannot make a reasonable request of the King of Denmark and not have it granted 28 What wouldst…asking?: What could you ask for Laertes that I wouldn’t have given freely without being asked? 29 native: naturally connected with 30 instrumental: useful 27

LAERTES

My dread31 lord, Your leave and favour32 to return to France;

31

dread: respected / feared

32

leave and favour: permission 15

Act 1 Scene 2

From whence though willingly I came to Denmark To show my duty in your coronation, Yet now, I must confess, that duty done, My thoughts and wishes bend33 again toward France And bow them to your gracious leave and pardon.34

Hamlet

33

bend: turn to

34

pardon: consent / permission

8

CLAUDIUS Have you your father’s leave? What says Polonius? POLONIUS He hath, my lord, wrung from me my slow leave By laboursome petition, and at last Upon his will I sealed my hard consent.35 I do beseech you, give him leave to go.

60

CLAUDIUS Take thy fair hour,36 Laertes; time be thine, And thy best graces spend it at thy will!37 But now, my cousin38 Hamlet, and my son— HAMLET [Aside] A little more than kin, and less than kind.39 CLAUDIUS How is it that the clouds still hang on you?40 HAMLET Not so, my lord; I am too much in the sun.41 GERTRUDE Good Hamlet, cast thy nighted colour42 off, And let thine eye look like a friend on Denmark. Do not for ever with thy vailed lids43 Seek for thy noble father in the dust. Thou know’st ’tis common:44 all that lives must die, Passing through nature45 to eternity.

70

35

Take thy fair hour: Enjoy your youth time be thine…will!: the time is yours, may your good qualities help you to spend it as you wish 38 cousin: relative 36 37

A little more…kind: Hamlet is playing on words here – ‘A little more than kin’: I am more than just a mere kinsman (relative). ‘less than kind’: 1. I do not feel like a close family member 2. I am not like you; I am not your ‘kind’ 40 How is it…you?: Why is it that you seem so sullen? 41 I am too much in the sun: Pun 1. I shouldn’t be considered Claudius’ ‘son’ 2. I am too much in the sunshine of the King’s favour 42 nighted colour: black mourning clothes 43

vailed lids: downcast eyes

44

common: normal

45 46

GERTRUDE

16

9

39

HAMLET Ay, madam, it is common.46 If it be, Why seems it so particular with thee?47

He hath…consent: He has, my lord, gained my hard-won consent by constantly pleading

47

nature: life Ay, madam…common: Hamlet is twisting the meaning of the word ‘common’ here to criticise Gertrude’s behaviour. He is suggesting that she has acted in a commonplace manner or perhaps that she has been promiscuous If it be…thee?: If it is so, why are you acting as if you are the only one grieving

1

1

Act 1 Scene 2

80

90

100

110

HAMLET ‘Seems’,48 madam! Nay it is; I know not ‘seems’. ’Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forced breath,49 No, nor the fruitful river in the eye,50 Nor the dejected haviour of the visage,51 Together with all forms, moods, shapes of grief, That can denote52 me truly. These indeed ‘seem’, For they are actions that a man might play, But I have that within which passes show, These but the trappings and the suits of woe.53 CLAUDIUS ’Tis sweet and commendable in your nature, Hamlet, To give these mourning duties to your father; But, you must know, your father lost a father, That father lost, lost his, and the survivor bound In filial obligation for some term To do obsequious sorrow; 54 but to persever In obstinate condolement is a course Of impious stubbornness;55 ’tis unmanly grief; It shows a will most incorrect to heaven,56 A heart unfortified,57 a mind impatient,58 An understanding simple and unschooled; For what we know must be and is as common As any the most vulgar thing to sense –59 Why should we in our peevish60 opposition Take it to heart? Fie! ’Tis a fault to heaven,61 A fault against the dead, a fault to nature,62 To reason most absurd, whose common theme63 Is death of fathers, and who still hath cried From the first corpse till he that died today, ‘This must be so.’ We pray you, throw to earth This unprevailing woe,64 and think of us As of a father, for let the world take note You are the most immediate to our throne, And with no less nobility of love Than that which dearest father bears his son Do I impart toward65 you. For your intent In going back to school in Wittenberg It is most retrograde to our desire,66 And we beseech you, bend you to remain Here in the cheer and comfort of our eye, Our chiefest courtier, cousin, and our son.

Hamlet 48

‘Seems’: Hamlet is interpreting Gertrude’s use of ‘seems’ to mean ‘appears’ as if his grief is only for show

49

windy suspiration…breath: sighs

50

fruitful…eye: plentiful tears

51

dejected haviour…visage: downcast facial expression

52

denote: show

53

I have that within…woe: I have sorrow that goes beyond the appearance of grief. Crying, dark clothes etc. are just superficial expressions of grief

the survivor bound…sorrow: a mourning son is obliged to express the type of sorrow suited to a funeral 55 to persever…stubbornness: to persist to grieve obstinately is disrespectfully stubborn 56 a will…heaven: offends God 57 unfortified: not strengthened by Christian belief 58 impatient: incapable of enduring suffering 59 is as common…sense: is as common as the most familiar thing the eye can see 60 peevish: petulant 61 fault to heaven: an offence to God 62 fault to nature: a refusal to accept a natural law 63 theme: topic 54

64

unprevailing woe: pointless sorrow

65

impart toward: give to

66

retrograde to our desire: runs contrary to what I want 17

Act 1 Scene 2

GERTRUDE Let not thy mother lose her prayers,67 Hamlet. I pray thee, stay with us; go not to Wittenberg.

CLAUDIUS Why, ’tis a loving and a fair reply. Be as ourself in Denmark. Madam, come; This gentle and unforced accord68 of Hamlet Sits smiling to my heart, in grace whereof, No jocund health that Denmark drinks today But the great cannon to the clouds shall tell And the King’s rouse the heavens all bruit again, Re-speaking earthly thunder.69 Come away. [Exeunt all but HAMLET]

140

150

67

lose her prayers: have her prayers go unanswered

68

gentle and unforced accord: willing agreement

HAMLET I shall in all my best obey you, madam.

120

130

Hamlet

HAMLET O, that this too too solid flesh would melt Thaw and resolve itself into a dew!70 Or that the Everlasting had not fixed His canon ’gainst self-slaughter!71 O God! God! How weary, stale, flat and unprofitable Seem to me all the uses of this world! Fie72 on’t! Ah fie! ’Tis an unweeded garden That grows to seed; things rank and gross in nature Possess it merely.73 That it should come to this! But two months dead – nay, not so much, not two – So excellent a king, that was to this Hyperion74 to a satyr;75 so loving to my mother That he might not beteem76 the winds of heaven Visit her face too roughly. Heaven and earth! Must I remember? Why, she would hang on him As if increase of appetite had grown By what it fed on.77 And yet, within a month – Let me not think on’t – Frailty, thy name is woman! –78 A little month, or e’re those shoes were old With which she followed my poor father’s body, Like Niobe,79 all tears. Why she, even she— O, God! A beast that wants discourse of reason Would have mourned longer80 – married with my uncle, My father’s brother – but no more like my father

18

69

1

No jocund…thunder: no joyful drinking toast made by the King today shall not be accompanied by a fired cannon, so that the King’s revelry will echo the thunder of heaven

O, that this too…dew!: O I wish that my solid body would dissolve into a vapour. Some editors replace ‘solid’ with ‘sullied / sallied’. ‘Solid’ works well within the context of a body dissolving. However, ‘sullied’ sits well with the idea of contamination that is dwelled on later in the soliloquy 71 Or that the Everlasting…slaughter!: Or if only God hadn’t forbidden suicide in his divine law 72 Fie: An exclamation of shock or disgust 73 things rank…merely: it is completely (‘merely’) over-run by excessive weeds 74 Hyperion: Greek god of the sun 75 satyr: Mythological creature, half human and half goat. Satyrs were considered lustful and grotesque 76 he might not beteem: he would not allow 70

she would hang…fed on: she would cling to him as if her desire for him increased the more she had him 78 Frailty…woman!: Women are so fickle! 79 Niobe: Greek mythical figure who was turned into a weeping stone statue after the deaths of her children 80 A beast…longer: An animal who lacks the power of reason would have grieved longer than she did 77

1

Act 1 Scene 2

Hamlet

Than I to Hercules – Within a month, Ere yet the salt of most unrighteous tears Had left the flushing in her galled eyes,82 She married. O, most wicked speed, to post With such dexterity83 to incestuous84 sheets! It is not nor it cannot come to good; But break, my heart, for I must hold my tongue. 81

[Enter HORATIO, MARCELLUS and BARNARDO]

160

Hercules: A Greek mythological figure famed for his strength and heroism 82 flushing…eyes: redness of her irritated eyes 81

post…dexterity: hurry with such speed 84 incestuous: The marriage of a man to his brother’s former wife would have been forbidden by Christian law at that time 83

HORATIO Hail to your lordship! HAMLET

I am glad to see you well – Horatio, or I do forget myself.85

85

Horatio…myself: The preoccupied Hamlet at first fails to recognise Horatio

86

A truant disposition: My time-wasting nature

87

truster: believer

88

We’ll teach…depart: You’ll learn how to drink heavily before you leave. Hamlet is being bitterly sarcastic here

HORATIO The same, my lord, and your poor servant ever. HAMLET Sir, my good friend, I’ll change that name with you. And what make you from Wittenberg, Horatio? Marcellus! MARCELLUS My good lord. HAMLET I am very glad to see you. [To BARNARDO] Good even, sir. [To HORATIO] But what in faith make you from Wittenberg?

170

HORATIO A truant disposition,86 good my lord. HAMLET I would not hear your enemy say so, Nor shall you do mine ear that violence To make it truster87 of your own report Against yourself. I know you are no truant. But what is your affair in Elsinore? We’ll teach you to drink deep ere you depart.88

19

Act 1 Scene 2

Hamlet

HORATIO My lord, I came to see your father’s funeral. HAMLET I pray thee do not mock me, fellow-student; I think it was to see my mother’s wedding. HORATIO Indeed, my lord, it followed hard upon.89

180

HAMLET Thrift, thrift, Horatio! The funeral baked meats Did coldly furnish forth the marriage tables.90 Would I had met my dearest foe in heaven Or ever I had seen that day, Horatio! My father – methinks I see my father – !

89

it followed hard upon: it came quickly after

90

Thrift…tables: We must save money Horatio! The funeral’s leftovers were served at the wedding

2

HORATIO Where, my lord? HAMLET

In my mind’s eye, Horatio.

HORATIO I saw him once. He was a goodly king. HAMLET He was a man,91 take him for all in all, I shall not look upon his like again.

190

2

91

He was a man: He was a great man

HORATIO My lord, I think I saw him yesternight. HAMLET Saw who? HORATIO HAMLET

My lord, the King your father. The King my father!

2 20

Act 1 Scene 2

Hamlet

HORATIO Season your admiration for a while With an attent ear till I may deliver Upon the witness of these gentlemen, This marvel to you.92 HAMLET

200

210

For God’s love, let me hear!

HORATIO Two nights together had these gentlemen, Marcellus and Barnardo, on their watch In the dead waste93 and middle of the night, Been thus encountered. A figure like your father, Armed at point94 exactly, cap-à-pie,95 Appears before them and with solemn march Goes slow and stately by them; thrice he walked By their oppressed96 and fear-surprised97 eyes Within his truncheon’s98 length, whilst they, distilled99 Almost to jelly with the act of fear, Stand dumb and speak not to him. This to me In dreadful secrecy100 impart they did; And I with them the third night kept the watch Where, as they had delivered, both in time, Form of the thing, each word made true and good, The apparition comes. I knew your father; These hands are not more like. HAMLET

92

Season…to you: Contain your amazement for a while and listen attentively as I tell you, with these men as witnesses, about this incredible thing

dead waste: desolate armed at point: armed and ready 95 cap-à-pie: from head to foot 93 94

oppressed: troubled fear-surprised: suddenly made fearful 98 truncheon: military staff 99 distilled: dissolved / reduced 96 97

100

dreadful secrecy: the secrecy was laden with dread

101

did address…speak: it moved as if it was about to speak

But where was this?

MARCELLUS My lord, upon the platform where we watch. HAMLET Did you not speak to it? HORATIO

220

My lord, I did, But answer made it none. Yet once methought It lifted up its head and did address Itself to motion like as it would speak.101 But even then the morning cock crew loud, And at the sound it shrunk in haste away, And vanished from our sight.

21

Act 1 Scene 2

HAMLET

Hamlet

’Tis very strange.

HORATIO As I do live, my honoured lord, ’tis true, And we did think it writ down in our duty102 To let you know of it.

102

writ down in our duty: required by our duty

HAMLET Indeed, indeed, sirs, but this troubles me. Hold you the watch tonight? MARCELLUS and BARNARDO

We do, my lord.

HAMLET Armed, say you? MARCELLUS and BARNARDO Armed, my lord. HAMLET From top to toe? MARCELLUS and BARNARDO My lord, from head to foot. HAMLET Then saw you not his face? HORATIO O, yes, my lord; he wore his beaver103 up.

230

HAMLET What looked he – frowningly?104 HORATIO A countenance more in sorrow than in anger.105 HAMLET Pale or red? HORATIO Nay, very pale.

22

2

103

beaver: visor

104

What…frowningly?: How did he look? Was he frowning?

105

A countenance…anger: An expression more sorrowful than angry

Act 1 Scene 2

HAMLET

Hamlet

And fixed his eyes upon you?

HORATIO Most constantly. HAMLET

I would I had been there.

HORATIO It would have much amazed you. HAMLET Very like, very like. Stayed it long? HORATIO While one with moderate haste might tell a hundred.106

106

While one…hundred: Somebody counting at a moderate pace might have reached a hundred

107

grizzled: grey

108

sable silvered: black with streaks of silver-grey

109

If you have hitherto…still: If you have up until now kept this to yourselves, continue to keep it secret

MARCELLUS and BARNARDO Longer, longer. HORATIO Not when I saw’t. HAMLET

240

His beard was grizzled,107 no?

HORATIO It was, as I have seen it in his life: A sable silvered.108 HAMLET

I will watch tonight. Perchance ’twill walk again. HORATIO

I warrant it will.

HAMLET If it assume my noble father’s person I’ll speak to it, though hell itself should gape And bid me hold my peace. I pray you all, If you have hitherto concealed this sight Let it be tenable in your silence still.109

23

Act 1 Scene 2

250

Hamlet

And whatsomever else shall hap tonight Give it an understanding but no tongue,110 I will requite your loves.111 So, fare you well. Upon the platform, ’twixt eleven and twelve, I’ll visit you.

And whatsomever…no tongue: And whatever else happens tonight, watch it but do not speak about it 111 I will requite your loves: I will reward your loyalty 110

HORATIO, MARCELLUS and BARNARDO Our duty to your honour. HAMLET Your loves, as mine to you, farewell. [Exeunt all but HAMLET] My father’s spirit in arms! All is not well; I doubt112 some foul play. Would the night were come! Till then sit still, my soul. Foul deeds will rise Though all the earth o’erwhelm them, to men’s eyes.113 [Exit]

112

doubt: suspect

113

Foul deeds…men’s eyes: Evil deeds will be exposed even if the world hides them from view

Key Quotations

24

HAMLET

A little more than kin, and less than kind.

HAMLET

But I have that within which passes show, / These but the trappings and the suits of woe.

HAMLET

O, that this too too solid flesh would melt Thaw and resolve itself into a dew! Or that the Everlasting had not fixed His canon ’gainst self-slaughter!

HAMLET

How weary, stale, flat and unprofitable Seem to me all the uses of this world! Fie on’t! Ah fie! ’Tis an unweeded garden That grows to seed; things rank and gross in nature Possess it merely.

HAMLET

So excellent a king, that was to this / Hyperion to a satyr

HAMLET

Frailty, thy name is woman!

HAMLET

O, most wicked speed, to post / With such dexterity to incestuous sheets!

HAMLET

Thrift, thrift, Horatio! The funeral baked meats / Did coldly furnish forth the marriage tables.

Act 1 Scene 2

Hamlet

scene Commentary

Claudius reveals his skills as a statesman. His opening speech is remarkable for its balance of opposing ideas (‘defeated joy’, ‘mirth in funeral and with dirge in marriage’) as he ably acknowledges the grief that came with his brother’s death but also expresses his joy in being newly married. He acts decisively to deal with the threat from Fortinbras and seems eager to please when he gives Laertes permission to return to France. By offering himself as a father figure to Hamlet and naming Hamlet as his successor, Claudius successfully presents himself to the court as a benevolent ruler. Hamlet is introduced as an isolated and troubled figure, unlike the charismatic Claudius. The ‘nighted colour’ of his clothes is in marked contrast to the pomp and glamour of the royal court. Equally, his sullen demeanour and disillusionment are at odds with the joyous mood of the occasion. Claudius’ attempts to win Hamlet over and lift him from his grief are rebuffed coldly. When Claudius asks him, ‘How is it that the clouds still hang on you?’ Hamlet bitterly replies, ‘Not so, my lord; I am too much in the sun,’ suggesting that he feels nothing like a son to Claudius. The positive image that Claudius tries so hard to project is in marked contrast to Hamlet’s jaundiced view of him. Hamlet’s bitter asides and caustic remarks make it clear to the audience that he is unhappy to be associated with his uncle: ‘A little more than kin, and less than kind’. Hamlet compares Claudius unfavourably with Old Hamlet: ‘So excellent a king, that was to this / Hyperion to a satyr’. This scene establishes tension between Hamlet and Claudius. Hamlet’s disgust is not reserved solely for Claudius but is also directed at Gertrude. In soliloquy he expresses his revulsion at the haste of the marriage: ‘O, most wicked speed, to post / With such dexterity to incestuous sheets!’ This idea is echoed to Horatio as Hamlet sarcastically exclaims, ‘Thrift, thrift, Horatio! The funeral baked meats / Did coldly furnish forth the marriage tables.’ Hamlet’s abhorrence of his mother’s behaviour prompts him to direct his anger at womanhood in general (‘Frailty, thy name is woman!’) Hamlet’s disillusionment is most acutely expressed in this scene during his soliloquy. Hamlet sees life in general as meaningless and blighted by corruption: ‘How weary, stale, flat and unprofitable / Seem to me all the uses of this world!’ He sees the world as utterly corrupt, comparing it to an untended garden: ‘Tis an unweeded garden / That grows to seed; things rank and gross in nature / Possess it merely.’ Hamlet’s disillusionment prompts him to express thoughts of self-destruction: ‘O, that this too too solid flesh would melt / Thaw and resolve itself into a dew!’ This leads him to thoughts of suicide: ‘Or that the Everlasting had not fixed / His canon ’gainst self-slaughter!’ However, the mental and emotional anguish expressed in this soliloquy becomes offset by a renewed sense of purpose at the end of this scene when Hamlet decides to meet the ghost of his father. Gertrude appears weak next to the charismatic Claudius. Some commentators argue that her hasty marriage to Claudius suggests that Gertrude is a dependent character. In this scene she certainly follows Claudius’ lead, parroting his comments to Hamlet. For example when Claudius calls on Hamlet to abandon his plans to go to Wittenberg, Gertrude immediately echoes her husband. She fails to challenge Hamlet, even when he takes a curt tone with her. She finds herself in an embarrassing situation, caught between her new husband and her son.

25

Act 1 Scene 2

Hamlet

the theme of appearance and reality is established here. Claudius manages to win the approval of the court and to cement his position as King by marrying Gertrude. However, his benevolent public persona masks a darker reality that will be revealed at the end of Act 1. Hamlet instinctively anticipates this at the end of this scene: ‘I doubt some foul play… /… Foul deeds will rise / Though all the earth o’erwhelm them, to men’s eyes.’

Questions

1. Explain how Claudius pleases the royal court in this scene. 2. How does Hamlet feel about his mother’s recent marriage to Claudius? 3. (a) Summarise the main points of Hamlet’s soliloquy. (b) What does this soliloquy suggest about Hamlet’s frame of mind? 4. Is it fair to say that Hamlet compares Claudius unfavourably with Old Hamlet? Explain your answer. 5. What is your impression of Gertrude from this scene? 6. How does Hamlet react to the news of the apparition?

26

Act 1 Scene 3 scene summary

In this scene we see the relationships between three members of the one family (Polonius, Laertes and Ophelia). Laertes cautions Ophelia on her romantic relationship with Hamlet. He warns his sister that her relationship with Hamlet may damage her reputation. Ophelia advises her brother to heed his own advice in his relationships with women. Polonius advises Laertes on how he should conduct himself while in France. After Laertes has left, Polonius too advises Ophelia on her relationship with Hamlet. He warns her to be wary of Hamlet’s advances and not to mistake passion for love. Ophelia bows to her father’s wish that she end her relationship with Hamlet.

A room in Polonius’ house. Enter LAERTES and OPHELIA LAERTES My necessaries are embarked;1 farewell. And sister, as the winds give benefit And convoy is assistant,2 do not sleep But let me hear from you. OPHELIA

10

Do you doubt that?

LAERTES For Hamlet and the trifling of his favour, Hold it a fashion and a toy in blood, A violet in the youth of primy nature, Forward, not permanent, sweet, not lasting, The perfume and suppliance of a minute, No more.3 OPHELIA No more but so? LAERTES

My necessaries…embarked: My luggage is stowed on the ship 2 as the winds…assistant: whenever the winds blow in the right direction and means of communication is available 1

Think it no more. For nature crescent does not grow alone In thews and bulk, but, as this temple waxes The inward service of the mind and soul Grows wide withal.4 Perhaps he loves you now,

For Hamlet…No more: As for Hamlet and his less than serious affections (‘trifling of his favour’) for you, consider it a passing fancy (‘fashion’) and a superficial, sensual pleasure (‘toy in blood’). It is like a violet that has bloomed too early: it is lovely while it lasts and gives a momentary pleasure, but that’s all 4 For nature crescent…withal: Just like the body, the mind and soul change and mature with age. ‘crescent’ = as it grows, ‘thews and bulk’ = sinews and strength, ‘temple waxes’ = the body (the temple of the soul) grows 3

27

Act 1 Scene 3

And now no soil nor cautel doth besmirch The virtue of his will,5 but you must fear, His greatness weighed, his will is not his own. For he himself is subject to his birth.6 He may not, as unvalued persons do, Carve for himself, for on his choice depends The safety and health of this whole state,7 And therefore must his choice be circumscribed Unto the voice and yielding of that body Whereof he is the head.8 Then if he says he loves you It fits your wisdom so far to believe it As he in his particular act and place May give his saying deed, which is no further Than the main voice of Denmark goes withal.9 Then weigh what loss your honour may sustain If with too credent ear you list his songs Or lose your heart, or your chaste treasure open To his unmastered importunity.10 Fear it, Ophelia, fear it, my dear sister, And keep you in the rear of your affection Out of the shot11 and danger of desire. The chariest maid is prodigal enough If she unmask her beauty to the moon.12 Virtue itself scapes not calumnious strokes.13 The canker galls the infants of the spring Too oft before their buttons be disclosed,14 And in the morn and liquid dew of youth Contagious blastments are most imminent.15 Be wary then: best safety lies in fear; Youth to itself rebels, though none else near.16

20

30

40

50

OPHELIA I shall the effect of this good lesson keep As watchman17 to my heart. But, good my brother, Do not, as some ungracious18 pastors do, Show me the steep and thorny way to heaven Whiles, like a puffed and reckless libertine, Himself the primrose path of dalliance treads And recks not his own rede.19 LAERTES

O, fear me not.20 I stay too long. But here my father comes. 28

Hamlet And now no soil…his will: and at the moment no impurity nor deceit contaminates his intentions 6 you must fear…his birth: you should be wary of his powerful position as he cannot choose a wife according to his own will as he is of royal blood 7 He may not…whole state: He cannot, as ordinary (‘unvalued’) people do, and make his own choice because the good of Denmark depends on him 8 And therefore...the head: and therefore his choice of wife is limited to the vote and consent of the state which he is to lead 9 Then if he says…goes withal: Then, if he says that he loves you, it would be wise of you to believe it only as far as his position allows him to act on it; and this is no further than the people of Denmark will allow it 10 Then weigh…importunity: Consider how your reputation could be damaged if you listen too credulously to his love songs or fall in love with him or lose the treasure of chastity to undisciplined persistence 11 shot: range (of a gun or bow) 12 The chariest maid…moon: The most cautious maiden is extravagant if she shows her beauty to the moon. During this time, ladies would have worn masks and gloves to avoid exposure to the sun. Laertes is exaggerating and possibly suggesting an ‘unmasking’ in the bedroom 13 Virtue…strokes: Even the most virtuous person cannot escape being slandered 14 The canker…disclosed: Caterpillars too often damage young flowers before the buds have opened 15 And in the morn…imminent: and in the morning of life, infectious diseases are more threatening i.e. Young people are most susceptible to corruption 16 Youth…near: Young people can sometimes act against their own interests without provocation 17 watchman: guardian 18 ungracious: lacking grace / irreligious 19 Show me the steep…rede: show me the difficult route to heaven, while like a proud and reckless womaniser, he takes the pleasurable road (to hell) and pays no attention to his own teaching 5

20

fear me not: don’t worry about me

6

7

8

Act 1 Scene 3

Hamlet

[Enter POLONIUS] A double blessing is a double grace; Occasion smiles upon a second leave.21

60

70

80

POLONIUS Yet22 here, Laertes! Aboard, aboard, for shame! The wind sits in the shoulder of your sail And you are stayed for.23 There, my blessing with thee, And these few precepts in thy memory See thou character. Give thy thoughts no tongue Nor any unproportioned thought his act.25 Be thou familiar, but by no means vulgar.26 Those friends thou hast, and their adoption tried, Grapple them to thy soul with hoops of steel, But do not dull thy palm with entertainment Of each new-hatched, unfledged comrade.27 Beware Of entrance to a quarrel, but being in, Bear’t that the opposed may beware of thee.28 Give every man thy ear, but few thy voice; Take each man’s censure,29 but reserve thy judgement. Costly thy habit30 as thy purse can buy But not expressed in fancy:31 rich, not gaudy; For the apparel oft proclaims the man32 And they in France of the best rank and station Are of a most select and generous chief in that.33 Neither a borrower nor a lender be, For loan oft loses both itself and friend, And borrowing dulls the edge of husbandry.34 This above all: to thine own self be true, And it must follow, as the night the day, Thou canst not then be false to any man. Farewell, my blessing season35 this in thee!

21

A double blessing…leave: i.e. I am blessed with the opportunity to say goodbye to my father a second time

22

Yet: Still

The wind…stayed for: The wind is right for sailing and the other passengers are waiting for you 24 these few precepts…character: commit these few rules to your memory 25 Give thy thoughts…act: Do not speak or act upon any wild thought 26 Be thou familiar…vulgar: Be friendly but not overly so 27 Those friends…comrade: i.e. Keep close the friends you have whose loyalty has been proven. But don’t make meaningless friendships with every new person you meet 28 Beware…thee: Be wary of entering a quarrel; but if you do, ensure that your opponent comes to be wary of you 29 censure: opinion / thoughts 30 habit: clothes 31 fancy: showy fashion 32 the apparel…man: clothes often show a man’s true nature 23

33

Are of a most…in that: i.e. are refined in their choice of clothes

34

borrowing…husbandry: borrowing money can reduce your ability to manage your household affairs

35

season: mature

LAERTES Most humbly do I take my leave, my lord. POLONIUS The time invites you. Go, your servants tend.36

36

tend: wait

LAERTES Farewell, Ophelia, and remember well What I have said to you. 29

Act 1 Scene 3

Hamlet

OPHELIA

’Tis in my memory locked, And you yourself shall keep the key of it.

1

LAERTES Farewell. [Exit] POLONIUS What is’t, Ophelia, he hath said to you? OPHELIA So please you, something touching the Lord Hamlet.

90

100

POLONIUS Marry, well bethought. ’Tis told me he hath very oft of late Given private time to you, and you yourself Have of your audience been most free and bounteous.37 If it be so – as so ’tis put on me, And that in way of caution – I must tell you, You do not understand yourself so clearly As it behoves38 my daughter and your honour.39 What is between you? Give me up the truth. OPHELIA He hath, my lord, of late made many tenders40 Of his affection to me. POLONIUS Affection! Pooh, you speak like a green41 girl Unsifted in such perilous circumstance.42 Do you believe his ‘tenders’, as you call them? OPHELIA I do not know, my lord, what I should think. POLONIUS Marry, I will teach you; think yourself a baby That you have ta’en these tenders for true pay, Which are not sterling.43 Tender yourself more dearly44 Or – not to crack the wind of the poor phrase, Running it thus45 – you’ll tender me a fool.46

30

1 37

Have of your audience…bounteous: you have given your attention to him freely and generously

38

behoves: is fitting for honour: reputation

39

40

tenders: offers

1

green: immature / naïve Unsifted…circumstance: inexperienced in such dangerous circumstances 43 you have ta’en…sterling: i.e. you have taken these offers to be genuine but they are not. Polonius is punning on the word ‘tender’ which also means ‘money’ 44 Tender yourself…dearly: Value yourself higher 45 not to crack…it thus: Polonius recognises that he is overusing the financial metaphor. He compares this to overly whipping a horse making it breathless 46 you’ll tender me a fool: 1. you’ll make a fool of me 2. you’ll appear as a fool to me 41 42

Act 1 Scene 3

110

OPHELIA My lord, he hath importuned47 me with love In honourable fashion.

Hamlet 47

importuned: persistently made advances

48

given countenance…speech: supported his words

POLONIUS Ay, ‘fashion’ you may call it. Go to, go to. OPHELIA And hath given countenance to his speech,48 my lord, With almost all the holy vows of heaven. POLONIUS Ay, springes to catch woodcocks.49 I do know, When the blood burns, how prodigal the soul Lends the tongue vows.50 These blazes, daughter, Giving more light than heat, extinct in both Even in their promise, as it is a-making, 120 You must not take for fire.51 From this time Be somewhat scanter of your maiden presence;52 Set your entreatments at a higher rate Than a command to parley.53 For Lord Hamlet, Believe so much in him, that he is young And with a larger tether54 may he walk Than may be given you. In few, Ophelia, Do not believe his vows; for they are brokers Not of that dye which their investments show,55 But mere implorators of unholy suits,56 13 0 Breathing like sanctified and pious bonds, The better to beguile.57 This is for all; I would not in plain terms from this time forth, Have you so slander58 any moment leisure As to give words or talk with the Lord Hamlet. Look to’t,59 I charge you. Come your ways. OPHELIA I shall obey, my lord. [Exeunt]

springes to catch woodcocks: snares to catch woodcocks. (Woodcocks were considered to be stupid, easily caught birds) 50 When the blood burns…vows: I know how passion can make the soul generously lend the tongue promises i.e. sexual desire can encourage rash, empty promises 51 These blazes…fire: These fires of passion provide more light than heat but both light and heat die even as the promise of love is made. You must not mistake passion for real love 52 scanter…presence: be less available 53 Set your entreatments…parley: Polonius is using militaristic language to advise Ophelia to be less open to Hamlet’s advances. ‘entreatments’ = negotiations, ‘command to parley’ = call to discuss terms of a settlement 54 tether: chain / rope. Polonius is saying that Hamlet is freer to act than Ophelia 55 they are brokers…show: i.e they are deceptive go-betweens 56 implorators…suits: solicitors of immoral requests 57 breathing…beguile: sounding like holy promises, only so that they can deceive 58 slander: bring into disrepute 59 Look to’t: Pay attention to this 49

31

Act 1 Scene 3

Hamlet

Key Quotations OPHELIA

Do not, as some ungracious pastors do, Show me the steep and thorny way to heaven Whiles, like a puffed and reckless libertine, Himself the primrose path of dalliance treads And recks not his own rede.

POLONIUS

Neither a borrower nor a lender be

POLONIUS

above all: to thine own self be true, And it must follow, as the night the day, Thou canst not then be false to any man.

POLONIUS

For Lord Hamlet, Believe so much in him, that he is young And with a larger tether may he walk Than may be given you.

POLONIUS

In few, Ophelia, Do not believe his vows; for they are brokers Not of that dye which their investments show, But mere implorators of unholy suits, Breathing like sanctified and pious bonds, The better to beguile.

scene Commentary

Laertes is revealed as a well-intentioned but faintly foolish man. He is genuinely concerned for his sister’s wellbeing. However, because he is an inexperienced young man, his advice to Ophelia seems somewhat ridiculous. Indeed Ophelia is quick to tease her brother and the emptiness of his advice: Do not… / Show me the steep and thorny way to heaven / Whiles, like a puffed and reckless libertine, / Himself the primrose path of dalliance treads’. Polonius is a pompous and long-winded character. He tells Laertes to hurry aboard his boat for France but then gives him a long lecture on how he should behave in France. Polonius reveals himself to be a deeply cynical character. He is sceptical of Ophelia’s relationship with Hamlet. He sees his daughter as naïve: ‘you speak like a green girl’. Polonius never considers the possibility that Hamlet may truly love Ophelia and readily dismisses the idea that Hamlet’s ‘tenders’ of ‘affection’ could be genuine. Polonius’ jaundiced view of people is reflected in the animal imagery he uses: when explaining to Ophelia that Hamlet’s social status affords him greater liberty, he tells her, ‘with a larger tether may he [Hamlet] walk / Than may be given you.’ Polonius is shrewd and practical but his advice is unlikely to inspire Laertes. He tells his son, ‘Neither a borrower nor a lender be’, ‘Give every man thy ear, but few thy voice.’ This advice may help Laertes with the practicalities of living abroad and with worldly matters however, it offers little to encourage nobility or greatness. Although Laertes is offered some high-minded advice (‘to thine own self be true’) it sounds hollow coming from Polonius. 32

Act 1 Scene 3

Hamlet

there is an obvious parallel between Laertes and Hamlet. Both young men are keen to study abroad (Laertes in France, Hamlet in Wittenberg). Both characters express concern for the sexual behaviour of their female relatives: Laertes advises Ophelia, ‘keep you in the rear of your affection / Out of the shot and danger of desire.’ Hamlet expressed similar concern for his mother in the previous scene. The parallel paths of Hamlet’s and Laertes’ lives continues throughout the play.

1. 2. 3. 4. 5.

Questions

What is your impression of Laertes from this scene? Do you agree that Polonius is a long-winded, pompous character? Explain your answer. According to Polonius, why should Ophelia be wary of Hamlet’s expressions of affection? How does Polonius show himself to be a cynical character? If you were directing this scene what advice would you give to the actors playing: (a) Laertes (b) Ophelia (c) Polonius? Refer directly to the text in your answer.

33

Act 1 Scene 4 scene summary

Hamlet waits with Horatio and Marcellus on the battlements for the Ghost’s arrival. Hamlet criticises Claudius for his drunken revelry and believes that Claudius’ behaviour tarnishes the reputation of Denmark. The Ghost arrives and beckons Hamlet. Horatio and Marcellus try to restrain Hamlet but he breaks free of them and runs after the Ghost. Concerned for the safety of their friend, Horatio and Marcellus decide to follow Hamlet.

The guard-platform of the castle. Enter HAMLET, HORATIO and MARCELLUS HAMLET The air bites shrewdly,1 it is very cold. HORATIO It is a nipping and an eager2 air.

2 1

shrewdly: bitterly

2

eager: sharp

3

it lacks of twelve: it’s just before twelve

4

season: time

5

held his wont to walk: observed his custom of walking

HAMLET What hour now? HORATIO

I think it lacks of twelve.3

HAMLET No, it is struck. HORATIO

Indeed? I heard it not. Then it draws near the season4 Wherein the spirit held his wont to walk.5 [A flourish of trumpets, and two pieces go off] What does this mean, my lord?

34

3

Act 1 Scene 4

10

HAMLET The King doth wake tonight and takes his rouse,6 Keeps wassail and the swaggering upspring reels;7 And as he drains his draughts of Rhenish down, The kettledrum and trumpet thus bray out The triumph of his pledge.8 HORATIO

20

30

Hamlet takes his rouse: drinks heavily Keeps wassail…reels: drinks many toasts and dances wildly with the drink 8 And as he drains…pledge: and as he drinks lots of wine, the drums and trumpets make a loud harsh noise in public celebration of his promise (made to Hamlet in 1.2) 6 7

Is it a custom?

HAMLET Ay, marry9 is’t; But to my mind, though I am native here And to the manner born, it is a custom More honoured in the breach than the observance.10 This heavy-headed revel east and west Makes us traduced and taxed of other nations:11 They clepe us drunkards and with swinish phrase Soil our addition,12 and indeed it takes From our achievements, though performed at height, The pith and marrow of our attribute.13 So oft it chances in particular men, That, for some vicious mole of nature14 in them, As in their birth wherein they are not guilty, Since nature cannot choose his origin, By the o’ergrowth of some complexion,15 Oft breaking down the pales and forts16 of reason, Or by some habit that too much o’erleavens The form of plausive manners17 – that these men, Carrying, I say, the stamp of one defect, (Being Nature’s livery, or Fortune’s star),18 His virtues else, be they as pure as grace, As infinite as man may undergo, Shall in the general censure19 take corruption From that particular fault: the dram20 of evil Doth all the noble substance of a doubt To his own scandal.21

marry: by the Virgin Mary (a mild oath) it is a custom…observance: it is a custom that would be more honourable to break with than observe 11 This heavy-headed…nations: This drunken revelry (which leads to sore heads) universally leaves us slandered and censured by other nations 12 They clepe us…addition: They call us drunkards and by calling us pigs they spoil our reputation 13 it takes from…attribute: it detracts from our achievements, even though they are outstanding and the core of our good name 14 vicious mole of nature: undermining character flaw 9

10

By the o’ergrowth…complexion: by the overdevelopment of some trait 16 pales and forts: defences 17 o’erleavens…manners: causes an excess in what would have been acceptable behaviour 15

18

Nature’s livery…star: a natural flaw or misfortune

19

general censure: the popular view dram: small measure

20

21

Doth all…scandal: can undo a man and bring about his disrepute

22

ministers: agents

[Enter GHOST] HORATIO

Look, my lord, it comes!

HAMLET Angels and ministers22 of grace defend us!

35

Act 1 Scene 4 40

50

Hamlet

Be thou a spirit of health or goblin damned, Bring with thee airs from heaven or blasts from hell, Be thy intents wicked or charitable, Thou com’st in such a questionable shape24 That I will speak to thee. I’ll call thee Hamlet, King, father, royal Dane. O, answer me! Let me not burst in ignorance, but tell Why thy canonised25 bones, hearsed in death,26 Have burst their cerements;27 why the sepulchre,28 Wherein we saw thee quietly inurned,29 Hath oped his ponderous30 and marble jaws, To cast31 thee up again. What may this mean, That thou, dead corpse, again in complete steel32 Revisits thus the glimpses of the moon, Making night hideous; and we fools of nature33 So horridly34 to shake our disposition35 With thoughts beyond the reaches of our souls? Say, why is this? Wherefore? What should we do? 23

23

spirit…damned: a good spirit or a damned demon

24

questionable shape: a form that invites questions

canonised: blessed hearsed in death: buried in a coffin 27 cerements: burial clothes 28 sepulchre: tomb 29 inurned: interred / entombed 30 ponderous: heavy 31 cast: vomit 32 in complete steel: in full armour 25 26

we fools of nature: weak victims of nature 34 horridly: 1. horribly 2. with hair standing up 35 disposition: composure 33

[GHOST beckons HAMLET]

60

HORATIO It beckons you to go away with it, As if it some impartment did desire To you alone.36 MARCELLUS Look with what courteous action It waves you to a more removed ground:37 But do not go with it. HORATIO

36

As if it some impartment…alone: as if it wants to communicate something to you by yourself

37

removed ground: secluded spot

38

in a pin’s fee: on the value of a pin

No, by no means.

HAMLET It will not speak, then I will follow it. HORATIO Do not, my lord. HAMLET

Why, what should be the fear? I do not set my life in a pin’s fee;38 And for my soul – what can it do to that, 36

7

8

Act 1 Scene 4

Hamlet

Being a thing immortal as itself? It waves me forth again. I’ll follow it.

70

HORATIO What if it tempt you toward the flood,39 my lord, Or to the dreadful summit of the cliff That beetles o’er his base into the sea,40 And there assume some other horrible form, Which might deprive your sovereignty of reason41 And draw you into madness? Think of it: The very place puts toys of desperation,42 Without more motive into every brain That looks so many fathoms to the sea And hears it roar beneath. HAMLET

80

Go on. I’ll follow thee.

39

flood: sea

40

beetles…base: hangs over its base

deprive…reason: take away your capacity to control yourself through reason 42 toys of desperation: desperate thoughts (possibly suicidal thoughts) 41

It waves me still.

MARCELLUS You shall not go, my lord. HAMLET

Hold off your hands.







HORATIO Be ruled; you shall not go. HAMLET

My fate cries out, And makes each petty43 artery in this body As hardy as the Nemean lion’s44 nerve. Still am I called. Unhand me, gentlemen. By heaven, I’ll make a ghost of him that lets me! I say, away! – Go on; I’ll follow thee. [Exeunt GHOST and HAMLET] HORATIO He waxes45 desperate with imagination.46 MARCELLUS Let’s follow; ’tis not fit thus to obey him.





petty: small / insignificant 44 Nemean lion: a vicious mythological beast that was eventually strangled by Hercules 43

45 46

waxes: grows imagination: fantasy

37

Act 1 Scene 4 90

Hamlet

HORATIO Have after.47 To what issue will this come?48 MARCELLUS Something is rotten in the state49 of Denmark. HORATIO Heaven will direct it.50 MARCELLUS [Exeunt]

48

Have after: Let’s follow him To what issue…come?: What will be the outcome of this?

49

state: 1. nation 2. condition

50

will direct it: will decide the outcome

47

Nay, let’s follow him.

Key Quotations HAMLET

The King doth wake tonight and takes his rouse, Keeps wassail and the swaggering upspring reels; And as he drains his draughts of Rhenish down, The kettledrum and trumpet thus bray out The triumph of his pledge.

HAMLET

This heavy-headed revel east and west Makes us traduced and taxed of other nations: They clepe us drunkards and with swinish phrase Soil our addition, and indeed it takes From our achievements, though performed at height, The pith and marrow of our attribute.

HAMLET

the stamp of one defect… His virtues else, be they as pure as grace, As infinite as man may undergo, Shall in the general censure take corruption From that particular fault: the dram of evil Doth all the noble substance of a doubt To his own scandal.

MARCELLUS

Something is rotten in the state of Denmark.

scene Commentary

the opening of this scene is rich in dramatic tension. The combination of the dark setting and the characters’ anxiety creates an ominous atmosphere. This is reflected in the short, snappy exchanges between Hamlet and Horatio in the opening lines of the scene. 38

Act 1 Scene 4

Hamlet

Even before Hamlet speaks to the Ghost he thinks that Claudius is not fit to rule Denmark. Hamlet comments on the boorish, drunkenness of the new king: ‘The King doth wake tonight and takes his rouse, Keeps wassail and the swaggering upspring reels; And as he drains his draughts of Rhenish down, The kettledrum and trumpet thus bray out The triumph of his pledge.’ Hamlet argues that the drinking culture of Claudius’ court is a vice that tarnishes the reputation of the whole of Denmark. He tells Horatio that other nations now consider Danes to be drunkards and this overshadows Denmark’s achievements: ‘This heavy-headed revel east and west Makes us traduced and taxed of other nations: They clepe us drunkards and with swinish phrase Soil our addition, and indeed it takes From our achievements, though performed at height, The pith and marrow of our attribute’. Hamlet recognises how a ‘dram of evil’ can corrupt a man. A single flaw can undermine all of an individual’s virtues: ‘the stamp of one defect… His virtues else, be they as pure as grace, As infinite as man may undergo, Shall in the general censure take corruption From that particular fault’. The implication here is that a nation too can be threatened from within by the presence of corruption or evil. Hamlet’s concerns about Denmark are pithily echoed by Marcellus at the end of the scene when he exclaims ‘Something is rotten in the state of Denmark.’

1. 2. 3. 4.

Questions

What is Hamlet’s view of the drinking culture in Claudius’ court? Explain Hamlet’s comparison between an individual and a state. How does Hamlet react when he sees the Ghost? Why does Marcellus state, ‘Something is rotten in the state of Denmark’?

39

Act 1 Scene 5 scene summary

Hamlet speaks with the Ghost. The Ghost tells Hamlet that he is indeed the spirit of Old Hamlet. Hamlet is told that Claudius murdered Old Hamlet by pouring poison in his ear as he slept. The Ghost calls on Hamlet to seek revenge. After the Ghost leaves, Hamlet in soliloquy, expresses his determination to avenge his father’s murder. Horatio and Marcellus catch up with Hamlet. Three times Hamlet makes them swear to keep secret what they have seen and not to comment on any odd behaviour that he may show in the future. In the final lines of the scene, Hamlet curses the fact that he has been tasked with the duty of restoring order to Denmark.

Another part of the platform. Enter GHOST and HAMLET

1

2

HAMLET Where wilt thou lead me? Speak! I’ll go no further. GHOST Mark me.1 HAMLET

1

Mark me: Listen to me

2

My hour…myself: At daybreak the ghost must return to purgatory

I will.

GHOST

My hour is almost come, When I to sulphurous and tormenting flames Must render up myself.2 HAMLET

Alas, poor ghost!

GHOST Pity me not, but lend thy serious hearing To what I shall unfold. HAMLET 40

Speak, I am bound3 to hear.

3

3

bound: obliged

Act 1 Scene 5

Hamlet

GHOST So art thou to revenge when thou shalt hear. HAMLET What?

10

20

GHOST I am thy father’s spirit, Doomed for a certain term to walk the night, And for the day confined to fast in fires,4 Till the foul crimes done in my days of nature Are burnt and purged away. But that I am forbid To tell the secrets of my prison-house I could a tale unfold whose lightest word Would harrow up5 thy soul, freeze thy young blood, Make thy two eyes like stars start from their spheres,6 Thy knotted and combined locks7 to part And each particular hair to stand on end, Like quills upon the fretful porpentine – 8 But this eternal blazon9 must not be To ears of flesh and blood. List, list, O, list!10 If thou didst ever thy dear father love –

4

fast in fires: a traditional punishment in purgatory for gluttony

harrow up: rip up / uproot start…spheres: jump from their sockets 7 knotted and combined locks: i.e. combed and styled hair 8 fretful porpentine: irritable porcupine 9 eternal blazon: description / announcement of the supernatural 10 list: listen 5 6

HAMLET O God! GHOST – Revenge his foul and most unnatural murder. HAMLET Murder! GHOST Murder most foul – as in the best it is – But this most foul, strange and unnatural.11

30

HAMLET Haste me to know’t, that I, with wings as swift As meditation12 or the thoughts of love, May sweep to my revenge.

11

But this…unnatural: i.e. but this murder was particularly awful

12

meditation: contemplation of God. ‘As swift as thought’ was a proverb

13

apt: ready

GHOST

I find thee apt;13 And duller shouldst thou be than the fat weed

41

Act 1 Scene 5

40

That roots itself in ease on Lethe wharf, Wouldst thou not stir in this.14 Now, Hamlet, hear: ’Tis given out15 that, sleeping in my orchard, A serpent stung me, so the whole ear of Denmark Is by a forged process16 of my death Rankly abused.17 But know, thou noble youth, The serpent that did sting thy father’s life Now wears his crown. HAMLET My uncle!

50

60

70

Hamlet

8

O my prophetic18 soul!

GHOST Ay, that incestuous, that adulterate beast, With witchcraft of his wit, with traitorous gifts – O wicked wit and gifts that have the power So to seduce – won to his shameful lust The will19 of my most seeming-virtuous Queen. O Hamlet, what a falling-off20 was there! From me, whose love was of that dignity21 That it went hand in hand even with the vow22 I made to her in marriage, and to decline23 Upon a wretch whose natural gifts were poor To those of mine! But virtue, as it never will be moved, Though lewdness court it in a shape of heaven,24 So lust, though to a radiant angel linked, Will sate itself in a celestial bed, And prey on garbage.25 But soft, methinks I scent the morning air. Brief let me be. Sleeping within my orchard – My custom always of the afternoon – Upon my secure hour26 thy uncle stole, With juice of cursèd hebenon27 in a vial,28 And in the porches29 of my ears did pour The leperous distilment,30 whose effect Holds such an enmity with31 blood of man That swift as quicksilver32 it courses through The natural gates and alleys of the body, And with a sudden vigour doth posset33 And curd, like eager34 droppings into milk, The thin and wholesome blood. So did it mine; And a most instant tetter barked about,

42

And duller…in this: i.e. you will be considered dull and lazy if you do not carry this out. Lethe is a mythological river; drinking its waters was said to induce forgetfulness and drowsiness. The word ‘lethargic’ has its roots here 15 ’Tis given out: It was publicly announced 16 forged process: lie / false account 17 Rankly abused: grossly tricked 14

18

prophetic: foreknowing / predictive

will: sexual desire falling-off: decline in standards 21 dignity: value 19 20

22 23

9

even…vow: with the very vow to decline: stoop to / lower herself to

But virtue…heaven: A virtuous person could not be corrupted by lust even if the temptation came in the form of an angel 25 So lust…garbage: but a lustful person, even if married to an angel, will satisfy her appetite with her heavenly partner before turning to somebody foul. In this metaphor, Gertrude is the lusty person, while Claudius is the ‘garbage’ 26 secure hour: hour to relax 27 hebenon: poison 28 vial: small glass container 29 porches: openings 30 leperous distilment: distilled liquid that causes symptoms that look like leprosy 31 Holds such an enmity with: has such a violent effect on 32 quicksilver: mercury 33 posset: clot 24

34

eager: sour

1

1

Act 1 Scene 5

80

90

100

110

Most lazar-like, with vile and loathsome crust All my smooth body.35 Thus was I, sleeping, by a brother’s hand Of life, of crown, of Queen, at once dispatched, Cut off even in the blossoms of my sin,36 Unhouseled, disappointed, unaneled,37 No reckoning38 made, but sent to my account With all my imperfections on my head. O horrible! O horrible! Most horrible! If thou hast nature in thee, bear it not, Let not the royal bed of Denmark be A couch for luxury39 and damned incest. But, howsoever thou pursuest this act, Taint not thy mind,40 nor let thy soul contrive41 Against thy mother aught: leave her to heaven42 And to those thorns that in her bosom lodge, To prick and sting her.43 Fare thee well at once! The glow-worm shows the matin44 to be near, And ’gins to pale his uneffectual fire:45 Adieu, adieu Hamlet: remember me. [Exit] HAMLET O all you host of heaven!46 O earth! What else? And shall I couple hell?47 O, fie! Hold, hold, my heart, And you, my sinews,48 grow not instant old But bear me stiffly up. Remember thee? Ay, thou poor ghost, while memory holds a seat In this distracted globe.49 Remember thee? Yea, from the table50 of my memory I’ll wipe away all trivial fond51 records, All saws of books,52 all forms, all pressures past53 That youth and observation copied there54 And thy commandment all alone shall live Within the book and volume of my brain, Unmixed with baser matter.55 Yes, by heaven! O most pernicious56 woman! O villain, villain, smiling damned villain! My tables,57 meet it is I set it down That one may smile and smile and be a villain; At least I’m sure it may be so in Denmark: So, uncle, there you are. Now to my word. It is ‘Adieu, adieu, remember me.’ I have sworn’t.

Hamlet a most instant tetter…body: instantly my skin blistered (‘tetter’) and as with leprosy my smooth body was encrusted with horrible scabs 36 blossoms of my sin: when my sins were at a height 37 Unhouseled…unaneled: without taking communion (‘Unhouseled’), unprepared for heaven (‘disappointed’) and unanointed / without the final sacrament (‘unaneled’) 38 reckoning: to settle affairs with God (by making confession) 35

39

luxury: lust / lechery

Taint not thy mind: do not turn your mind against 41 contrive: scheme / plan 42 leave her to heaven: let heaven judge her 43 And to those thorns…sting her: i.e. and leave her to be tormented by her own conscience 44 matin: morning 45 And ’gins…fire: and the glow-worm’s ineffective light begins to pale 40

host of heaven: angels shall I couple hell?: i.e. Should I call on hell too? 48 sinews: muscles 46 47

distracted globe: 1. disturbed mind 2. disordered world 50 table: writing tablet 51 fond: foolish 52 saws of books: sayings / phrases copied from books 53 all forms…past: all shapes and impressions (made on the wax writing tablet of memory) 54 That youth…there: that I wrote there in my youth 55 baser matter: less important material 56 pernicious: wicked 49

57

tables: Hamlet now writes on an actual writing tablet or notebook

43

Act 1 Scene 5

Hamlet

MARCELLUS and HORATIO [Within] My lord, my lord! [Enter HORATIO and MARCELLUS] MARCELLUS

Lord Hamlet!

HORATIO

Heaven secure58 him!

58

secure: save / protect

59

Come bird, come: Hamlet responds as if he is a falconer calling his birds of prey

HAMLET So be it! HORATIO Hillo, ho, ho, my lord! HAMLET Hillo, ho, ho, boy! Come bird, come.59 MARCELLUS How is’t, my noble lord? HORATIO

1

What news, my lord?

HAMLET O, wonderful! HORATIO

Good my lord, tell it.

HAMLET No, you’ll reveal it. HORATIO Not I, my lord, by heaven. MARCELLUS

120

44

1

Nor I, my lord.

HAMLET How say you, then – would heart of man once think it?60 But you’ll be secret?

60

would heart…it?: i.e. who would ever have thought it?

Act 1 Scene 5

Hamlet

HORATIO and MARCELLUS Ay, by heaven. HAMLET There’s ne’er a villain dwelling in all Denmark But he’s an arrant knave.61

61

There’s ne’er…knave: There isn’t a villain in Denmark who isn’t a downright scoundrel

62

circumstance: detail

63

point: direct

64

wild and whirling: hysterical / excited

HORATIO There needs no ghost, my lord, come from the grave To tell us this. HAMLET

130

Why, right, you are in the right; And so, without more circumstance62 at all, I hold it fit that we shake hands and part: You, as your business and desire shall point63 you – For every man has business and desire, Such as it is – and for mine own poor part, Look you, I’ll go pray. HORATIO These are but wild and whirling64 words, my lord. HAMLET I’m sorry they offend you – heartily, Yes, ’faith heartily. HORATIO

140

There’s no offence, my lord.

HAMLET Yes, by Saint Patrick,65 but there is, Horatio, And much offence too. Touching66 this vision here It is an honest67 ghost – that let me tell you. For your desire to know what is between us,68 O’ermaster69 it as you may. And now, good friends, As you are friends, scholars and soldiers, Give me one poor request.

Saint Patrick: This is a fitting saint to refer to as St Patrick was seen as the keeper of purgatory 66 Touching: In relation to 67 honest: 1. spirit of health (not a devil) 2. truthful 68 between us: i.e. between Hamlet and the Ghost 69 O’ermaster: overcome 65

HORATIO What is’t, my lord? We will. HAMLET Never make known what you have seen tonight. 45

Act 1 Scene 5

Hamlet

HORATIO and MARCELLUS My lord, we will not. HAMLET Nay, but swear’t. HORATIO

In faith, my lord, not I.

MARCELLUS Nor I, my lord, in faith. HAMLET

Upon my sword.70

70

sword: The hilt of a sword forms a crucifix which could be sworn on

MARCELLUS We have sworn, my lord, already.

1

HAMLET Indeed, upon my sword, indeed. GHOST [Cries under the stage]71 Swear.

150

HAMLET Ah, ha, boy! Say’st thou so? Art thou there, truepenny?72 Come on, you hear this fellow in the cellarage: Consent to swear. HORATIO

71

under the stage: In Elizabethan Theatre, the space under the stage was often associated with hell

72

truepenny: honest fellow

1

Propose the oath, my lord.

HAMLET Never to speak of this that you have seen. Swear by my sword. GHOST Swear.

160 46

HAMLET Hic et ubique?73 Then we’ll shift our ground. Come hither, gentlemen, And lay your hands again upon my sword: Never to speak of this that you have heard. Swear by my sword.

73

Hic et ubique?: Here and everywhere? (Latin)

Act 1 Scene 5

Hamlet

GHOST Swear.

HAMLET Well said, old mole!74 Canst work i’ th’ earth so fast? A worthy pioneer!75 Once more remove, good friends. HORATIO O day and night, but this is wondrous strange!

170

180

HAMLET And therefore as a stranger give it welcome. There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy.76 But come, Here as before: never so help you mercy, How strange or odd some’er I bear myself – As I perchance hereafter shall think meet77 To put an antic disposition78 on – That you, at such times seeing me, never shall, With arms encumbered79 thus, or this headshake, Or by pronouncing of some doubtful phrase,80 As ‘Well, well, we know,’ or ‘We could, an if we would,’ Or ‘If we list to speak,’ or ‘There be, an if they might,’ Or such ambiguous giving out,81 to note That you know aught of me: this not to do. So grace and mercy at your most need help you.82 Swear.

mole: Hamlet compares the Ghost to a burrowing mole underground 75 pioneer: a soldier who digs to lay mines 74

There are more things… philosophy: There are things in heaven and in earth that cannot be explained by science. Hamlet is using ‘your’ in a general sense and is not attacking Horatio personally 77 meet: it fitting 78 antic disposition: clownish / mad / wild behaviour 79 encumbered: folded 80 doubtful phrase: ambiguous comment 76

81

giving out: comment

82

So grace…help you: Just as you would like grace and mercy to help you when you are most in need

83

perturbed: agitated I do commend…you: i.e. I place my trust in you

GHOST Swear. HAMLET Rest, rest, perturbed83 spirit! – So, gentlemen, With all my love I do commend me to you:84 And what so poor a man as Hamlet is May do, to express his love and friending to you, God willing, shall not lack. Let us go in together And still your fingers on your lips,85 I pray. The time is out of joint. O cursed spite, That ever I was born to set it right!86 Nay, come, let’s go together. [Exeunt]

84

85

your fingers on your lips: i.e. keep this secret

86

The time is out of joint…right: Denmark at this moment / the age (‘the time’) is disordered (‘out of joint’). O curse my misfortune that I am the one chosen to fix it (‘set it right’).

47

Act 1 Scene 5

HAMLET

Hamlet

Key Quotations that I, with wings as swift As meditation or the thoughts of love, May sweep to my revenge.

GHOST

The serpent that did sting thy father’s life / Now wears his crown.

GHOST

Ay, that incestuous, that adulterate beast, With witchcraft of his wit, with traitorous gifts – O wicked wit and gifts that have the power So to seduce – won to his shameful lust The will of my most seeming-virtuous Queen.

GHOST

So lust, though to a radiant angel linked, Will sate itself in a celestial bed, And prey on garbage.

GHOST

Thus was I, sleeping, by a brother’s hand Of life, of crown, of Queen, at once dispatched, Cut off even in the blossoms of my sin, Unhouseled, disappointed, unaneled, No reckoning made, but sent to my account With all my imperfections on my head.

GHOST

Taint not thy mind, nor let thy soul contrive Against thy mother aught: leave her to heaven And to those thorns that in her bosom lodge, To prick and sting her.

HAMLET

O most pernicious woman! O villain, villain, smiling damned villain! My tables, meet it is I set it down That one may smile and smile and be a villain.

HAMLET

The time is out of joint. O cursed spite, That ever I was born to set it right!

scene Commentary

This circumstances of Old Hamlet’s death are revealed in this scene. The Ghost explains that as Old Hamlet took his regular nap, Claudius poured poison in his ear. This paved the way for Claudius to become king. When he hears of the circumstances of his father’s murder, Hamlet is resolved to act and readily embraces the Ghost’s command to exact revenge. He immediately proclaims, ‘that I, with wings as swift / As meditation or the thoughts of love, / May sweep to my revenge’. However, in the closing lines of the scene, Hamlet’s enthusiasm to act is tempered by the 48

Act 1 Scene 5

Hamlet

weight of responsibility that has been placed on his shoulders. He sees his role as not only to avenge the murder of his father, but also to restore order to Denmark: ‘The time is out of joint. O cursed spite, / That ever I was born to set it right!’ This closing couplet shows that Hamlet recognises his duty but also curses the enormity of the task. As a thinker rather than a man of action, Hamlet is ill-equipped to act as avenger. The audience learn that old Hamlet was not as virtuous as Hamlet thought. Like any person, he too sinned. The Ghost says that he must suffer ‘sulphurous and tormenting flames’ in the afterlife until he has paid for all his sins. He tells Hamlet that he is for now ‘confined to fast in fires, / Till the foul crimes done in my days of nature / Are burnt and purged away.’ the portrayal of Gertrude in this scene is ambiguous. On the one hand she is condemned by both Hamlet and the Ghost as an adulterer engaged in lecherous behaviour. Hamlet calls her a ‘most pernicious woman’ and the Ghost suggests that her virtue and loyalty were false, that she was a ‘most seeming-virtuous Queen.’ The repetition of the words ‘adulterous’ and emotive phrases like ‘Let not the royal bed of Denmark be / A couch for luxury and damned incest’ help to vilify Gertrude. However, the Ghost instructs Hamlet not to punish his mother, and to leave her to her own conscience and for God to judge: ‘Taint not thy mind, nor let thy soul contrive Against thy mother aught: leave her to heaven And to those thorns that in her bosom lodge, To prick and sting her.’ The Ghost diminishes Gertrude’s role in the ‘adulterous’ relationship by presenting her as a victim of Claudius and the ‘witchcraft of his wit’. It is uncertain if Gertrude can be solely blamed for her ‘falling-off’. The idea of Claudius as false and cunning is well expressed in Hamlet’s description of him as a ‘smiling damned villain’. This image is reinforced through animal imagery (‘The serpent that did sting thy father’s life / Now wears his crown’). The biblical resonance of the serpent image helps to further associate Claudius with evil. The idea of Hamlet’s madness is introduced here. He states that he intends to adopt an ‘antic disposition’ to avoid suspicion. However, in this scene he is genuinely hysterical and unstable. It becomes difficult to differentiate between strategic madness and Hamlet’s possibly unstable mind. Hamlet oddly calls for his companions as if he were a falconer (‘Hillo, ho, ho, boy! Come bird, come’) and Horatio quickly notices Hamlet’s manic mood: ‘These are but wild and whirling words, my lord’. This is mirrored in the strange, hysterical language Hamlet uses: he calls the Ghost ‘old mole’ and ‘worthy pioneer’. The audience are left wondering where the line between Hamlet’s feigned madness and actual mental instability lies.

1. 2. 3. 4.

Questions

How did Old Hamlet die? Do you pity the Ghost? Explain your answer by referring to the text. What view of Gertrude is presented in this scene by both Hamlet and the Ghost? Hamlet tells Horatio and Marcellus that he will adopt an ‘antic disposition’. What does he mean by this? 5. Describe Hamlet’s behaviour after he has met the Ghost and is joined by his companions. 6. (a) The Ghost tells Hamlet to ‘Revenge his foul and most unnatural murder.’ Does Hamlet seem willing to obey? Explain your answer. (b) Is this at odds with Hamlet’s closing lines of the scene? Explain. 49

Act 1 Revision Quiz

Act 1 1. 2. 3. 4. 5. 6.

Revision Quiz

In the first scene, why is Horatio invited to join the watch on the castle’s battlements? Before meeting with the Ghost, why is Hamlet resentful of Claudius? Explain Fortinbras’ reason for preparing an army to attack Denmark. What advice does Laertes give his sister before he leaves for Paris? Polonius instructs Ophelia how to treat Hamlet. What does he tell her to do? How is the Ghost dressed when it appears? (a) In kingly robes (b) In battle dress (c) In burial robes (d) In bed wear 7. How did Claudius kill Old Hamlet? 8. After he has spoken with the Ghost, what does Hamlet insist that Horatio and Marcellus swear to? 9. Who says each of the following? (a) So excellent a king, that was to this / Hyperion to a satyr (b) How weary, stale, flat and unprofitable Seem to me all the uses of this world! (c) Neither a borrower nor a lender be (d) to thine own self be true (e) Something is rotten in the state of Denmark 10. Rewrite these quotations. In each case, write the speaker’s name and fill in the blanks. (a) But I have that within which passes show, / These but the ________ and the suits of ________ (b) Thrift, thrift, Horatio! The funeral baked meats / Did coldly ________ forth the ________ tables. (c) Taint not thy mind, nor let thy soul contrive Against thy mother aught: leave her to heaven And to those ________ that in her bosom lodge, To prick and ________ her (d) Ay, that incestuous, that ________ beast, With witchcraft of his ________, with traitorous gifts – O wicked wit and gifts that have the power So to seduce – won to his shameful lust The will of my most ________-virtuous Queen (e) The time is out of ________. O cursed spite, That ever I was born to set it ________!

50

Act 2 Scene 1 scene summary

Polonius sends Reynaldo to Paris to give money to Laertes. Polonius also instructs Reynaldo to spy on his son. Reynaldo is told to make false accusations about Laertes so that others may feel comfortable speaking about any of Laertes’ possible vices or shortcomings. Ophelia tells Polonius that Hamlet came to her room looking dishevelled and behaving very strangely. Polonius believes that this behaviour stems from Hamlet’s unrequited love for Ophelia. Polonius hurries off to tell Claudius.

A room in Polonius’ house. Enter POLONIUS and REYNALDO POLONIUS Give him this money and these notes,1 Reynaldo.

1

notes: letters

2

Inquire…Paris: First find out what Danish people are in Paris

REYNALDO I will, my lord. POLONIUS You shall do marvellous wisely, good Reynaldo, Before you visit him to make inquire Of his behaviour. REYNALDO

10

My lord, I did intend it.

POLONIUS Marry, well said, very well said. Look you, sir, Inquire me first what Danskers are in Paris,2 And how, and who, what means, and where they keep, What company, at what expense, and finding By this encompassment3 and drift4 of question That they do know my son, come you more nearer Than your particular demands will touch it:5 Take you, as ’twere, some distant knowledge of him,6 As thus, ‘I know his father and his friends, And in part him’ – do you mark this, Reynaldo?

encompassment: talking indirectly about a topic 4 drift: general direction 5 come you…touch it: this will bring you closer to the truth than asking direct questions 6 Take you…him: act as if you only know him distantly 3

51

Act 2 Scene 1

Hamlet

REYNALDO Ay, very well, my lord. POLONIUS ‘And in part him, but’ you may say ‘not well. But, if’t be he I mean, he’s very wild, Addicted so and so’, and there put on him What forgeries7 you please. Marry, none so rank8 As may dishonour him – take heed of that – But, sir, such wanton,9 wild and usual slips10 As are companions noted and most known To youth and liberty.

20

REYNALDO

As gaming,11 my lord?

POLONIUS Ay, or drinking, fencing, swearing, quarrelling, Drabbing:12 you may go so far.

4

7

forgeries: lies / falsehoods rank: abusive

8

9

wanton: unrestrained / reckless usual slips: typical failings / typical mistakes

10

11

gaming: gambling

12

Drabbing: visiting prostitutes

5

REYNALDO My lord, that would dishonour him. POLONIUS Faith, no, as you may season it in the charge.13 You must not put another scandal on him, That he is open to incontinency,14 That’s not my meaning, but breathe his faults so quaintly15 That they may seem the taints of liberty,16 The flash and outbreak of a fiery mind, A savageness in unreclaimed blood, Of general assault.17

30

REYNALDO

17

The flash and outbreak…assault: the impetuous behaviour of a spirited personality, the wildness of untamed passion which affects most men

18

Wherefore: Why

But, my good lord—

POLONIUS Wherefore18 should you do this? REYNALDO I would know that. 52

as you may…charge: not if you carefully make the accusation 14 You must not…incontinency: you must not accuse him of being regularly lecherous 15 breathe his…quaintly: mention his flaws so artfully 16 the taints of liberty: the faults typical of someone with too much freedom 13

Ay, my lord,

6

Act 2 Scene 1

Hamlet

POLONIUS

40

Marry, sir, here’s my drift –19 And I believe it is a fetch of wit –20 You laying these slight sullies21 on my son As ’twere a thing a little soiled i’ th’ working,22 Mark you, your party in converse, him you would sound,23 Having ever seen in the prenominate24 crimes The youth you breathe of guilty, be assured He closes with you in this consequence:25 ‘Good sir,’ or so, or ‘friend,’ or ‘gentleman,’ According to the phrase or the addition26 Of man and country. REYNALDO

50

drift: purpose / intention fetch of wit: justified strategy 21 slight sullies: minor criticisms 22 As ’twere…working: as if it were something that has become corrupted through use 23 your party…sound: the person you are speaking to whom you wish to sound out 24 prenominate: previously mentioned 19 20

closes…consequence: confides with you as follows 26 addition: title 25

Very good, my lord.

POLONIUS And then, sir, does he this – he does – what was I about to say? By the mass,27 I was about to say something! Where did I leave?

27

By the mass: a mild oath

REYNALDO At ‘closes in the consequence,’ at ‘friend or so,’ and ‘gentleman.’

60

POLONIUS At ‘closes in the consequence,’ ay, marry. He closes thus: ‘I know the gentleman, I saw him yesterday, or t’ other day, Or then, or then, with such, or such; and as you say, There was he gaming; there o’ertook in’s rouse;28 There falling out29 at tennis,’ or perchance, ‘I saw him enter such a house of sale,’ Videlicet,30 a brothel, or so forth. See you now, Your bait of falsehood takes this carp of truth:31 And thus do we of wisdom and of reach,32 With windlasses33 and with assays of bias,34 By indirections find directions out: So by my former lecture and advice, Shall you my son. You have me, have you not?35 REYNALDO My lord, I have.

o’ertook in’s rouse: overcome by drunkenness 29 falling out: arguing 30 Videlicet: namely (Latin) 31 Your bait…truth: you use a lie as bait to fish for the truth. Polonius is punning on ‘carp’ which is: 1. a type of fish 2. a criticism 32 reach: wide-ranging understanding 33 windlasses: to snare by approaching indirectly (a hunting term) 34 assays of bias: indirect approach (a term from lawn bowls) 35 You have me…you not?: You understand me, don’t you? 28

53

Act 2 Scene 1

POLONIUS

Hamlet

God buy ye;36 fare ye well.

36

God buy ye: God be with you i.e. goodbye

37

inclination: behaviour

38

let him ply his music: 1. let him study his music 2. give him his freedom

REYNALDO Good my lord!

70

POLONIUS Observe his inclination37 in yourself. REYNALDO I shall, my lord. POLONIUS And let him ply his music.38 REYNALDO Well, my lord.

9

POLONIUS Farewell! [Exit REYNALDO] [Enter OPHELIA]

1

How now, Ophelia! What’s the matter? OPHELIA O, my lord, my lord, I have been so affrighted! POLONIUS With what, i’ th’ name of God?

80

54

OPHELIA My lord, as I was sewing in my closet, Lord Hamlet, with his doublet all unbraced,39 No hat upon his head, his stockings fouled,40 Ungartered, and down-gyved to his ankle,41 Pale as his shirt, his knees knocking each other, And with a look so piteous in purport42 As if he had been loosed out of hell To speak of horrors, he comes before me.

doublet all unbraced: jacket unfastened 40 fouled: dirty 41 Ungartered…ankle: without garters (which hold the stockings up) and loose about his ankles 42 purport: meaning 39

1

Act 2 Scene 1

Hamlet

POLONIUS Mad for thy love? OPHELIA

My lord, I do not know, But truly, I do fear it. POLONIUS

90

100

What said he?

OPHELIA He took me by the wrist and held me hard, Then goes he to the length of all his arm43 And with his other hand thus o’er his brow, He falls to such perusal44 of my face As he would draw it. Long stayed he so; At last, a little shaking of mine arm And thrice his head thus waving up and down, He raised a sigh so piteous and profound45 As it did seem to shatter all his bulk46 And end his being. That done, he lets me go And with his head over his shoulder turned, He seemed to find his way without his eyes, For out o’ doors he went without their helps, And to the last bended their light on me.47 POLONIUS Come, go with me. I will go seek the King. This is the very ecstasy48 of love, Whose violent property fordoes itself49 And leads the will to desperate undertakings As oft as any passion under heaven That does afflict our natures.50 I am sorry – What, have you given him any hard words of late?

110

OPHELIA No, my good lord, but, as you did command, I did repel51 his letters and denied His access to me. POLONIUS

That hath made him mad. I am sorry that with better heed and judgement I had not quoted him.52 I feared he did but trifle,53

43

Then goes he…arm: then he keeps me at arm’s length

44

perusal: examination

45

profound: deep

46

bulk: body

47

bended their light: turned their attention

48

ecstasy: madness Whose violent…itself: whose violent nature destroys itself

49

50

As oft…natures: just as other passions often trouble our natures

51

repel: return / refuse

I am sorry…him: I am sorry that I didn’t observe him with closer attention and judgement 53 trifle: play 52

55

Act 2 Scene 1

Hamlet

And meant to wreck thee – but, beshrew my jealousy – By heaven, it is as proper to our age To cast beyond ourselves in our opinions As it is common for the younger sort To lack discretion.56 Come, go we to the King: This must be known, which, being kept close, might move More grief to hide than hate to utter love.57 [Exeunt] 54

55

54 55

wreck: ruin beshrew my jealousy: damn my suspicions

it is as proper…discretion: it is as common for people my age to read too much into things as it is for younger people to act recklessly 57 This must be known…utter love: this must be made known. If it is kept secret it may cause more pain than it would if it were revealed 56

Key Quotations POLONIUS

Your bait of falsehood takes this carp of truth: And thus do we of wisdom and of reach, With windlasses and with assays of bias, By indirections find directions out

OPHELIA

My lord, as I was sewing in my closet, Lord Hamlet, with his doublet all unbraced, No hat upon his head, his stockings fouled, Ungartered, and down-gyved to his ankle, Pale as his shirt, his knees knocking each other, And with a look so piteous in purport As if he had been loosed out of hell To speak of horrors, he comes before me.

scene Commentary

this scene establishes that time has passed since Act 1. Laertes is now in Paris, so some weeks have probably gone by. Polonius is revealed as a devious and unscrupulous character. He feels no qualms about tarnishing his son’s reputation so that he can have his behaviour monitored. Polonius instructs Reynaldo to spread accusations about Laertes so he can win the confidence of others who may reveal any of Laertes’ potential vices. Polonius feels justified in this strategy if it achieves his aim: ‘Your bait of falsehood takes this carp of truth: And thus do we of wisdom and of reach, With windlasses and with assays of bias, By indirections find directions out’. In Act 1, Scene 3 Polonius moralised: ‘above all: to thine own self be true’. Now he appears utterly hypocritical and absurd.

56

Act 2 Scene 1

Hamlet

In this scene Ophelia reports Hamlet’s bizarre behaviour, how he arrived in her room dishevelled and acting strangely, ‘with a look so piteous in purport / As if he had been loosed out of hell’. Hamlet is struggling to cope with the shock of the Ghost’s revelation and the burden of responsibility the Ghost has laid on his shoulders. Hamlet’s turmoil may be further compounded by Ophelia’s rejection of him. Hamlet is now alone and isolated within Elsinore. Alternatively, some commentators argue that Hamlet’s behaviour here results from his ‘antic disposition’.

Questions

1. In Act 1, Scene 3, Polonius told Laertes, ‘to thine own self be true.’ How has Polonius failed to heed his own advice in this scene? 2. How is Polonius shown to be a devious character in this scene? 3. (a) What does Hamlet do that shocks Ophelia? (b) Why do you think he has behaved this way? (c) How does Polonius explain this odd behaviour?

57

Act 2 Scene 2 scene summary

Claudius summons Rosencrantz and Guildenstern. As they are old friends of Hamlet’s, Claudius asks them to gather information about Hamlet and report back to him. Voltemand and Cornelius (ambassadors to Norway) return to say that the King of Norway has reprimanded young Fortinbras for preparing to wage war against Denmark. Norway asks that Fortinbras be given safe passage on his way to battle in Poland. Polonius tells Claudius and Gertrude that he believes Hamlet’s strange behaviour is the result of unrequited love for Ophelia. However, Claudius and Gertrude are not wholly convinced of this. Polonius suggests arranging a meeting between Hamlet and Ophelia, which will be spied upon by Claudius and himself. Claudius agrees to this. Polonius talks with Hamlet whose answers are strange and cryptic as he adopts his ‘antic disposition’. Polonius however sees Hamlet’s answers as evidence of madness arising from his feelings for Ophelia. Rosencrantz and Guildenstern meet with Hamlet as per Claudius’ instructions. Hamlet soon discovers their purpose and tells them so. Rosencrantz and Guildenstern tell Hamlet about the troop of actors (the Players) who are visiting. Hamlet meets with the Players. One actor delivers a passionate speech from a drama. Hamlet asks them to perform the play The Murder of Gonzago the following evening. Hamlet also asks to have some lines inserted into the drama. In soliloquy Hamlet self-critically questions why he has failed to act against Claudius. Hamlet decides to have the Players perform a murder scene that resembles the death of Old Hamlet. He hopes that by observing Claudius’ reaction he can be certain of the King’s guilt.

A room in the castle. Enter CLAUDIUS, GERTRUDE, ROSENCRANTZ, GUILDENSTERN and Attendants

10

58

CLAUDIUS Welcome, dear Rosencrantz and Guildenstern! Moreover1 that we much did long to see you The need we have to use you did provoke Our hasty sending. Something have you heard Of Hamlet’s transformation – so call it, Sith nor2 the exterior nor the inward man Resembles that it was. What it should be, More than his father’s death, that thus hath put him So much from the understanding of himself, I cannot dream of. I entreat you both, That, being of so young days3 brought up with him, And sith so neighboured to his youth and haviour,4

1

Moreover: Besides the fact

2

Sith nor: since neither

so young days: such early days i.e. Rosencrantz and Guildenstern have known Hamlet from an early age 4 sith so neighboured…haviour: since you have closely known his behaviour since he was young 3

2

3

Act 2 Scene 2

Hamlet

That you vouchsafe your rest here in our court Some little time, so by your companies To draw him on to pleasures6 and to gather, So much as from occasion7 you may glean,8 Whether aught to us unknown afflicts him thus That opened9 lies within our remedy. 5

20

GERTRUDE Good gentlemen, he hath much talked of you And sure I am two men there are not living To whom he more adheres.10 If it will please you To show us so much gentry11 and good will As to expend12 your time with us awhile For the supply and profit of our hope,13 Your visitation shall receive such thanks As fits a king’s remembrance.

vouchsafe your rest: agree to remain draw him on to pleasures: encourage him to have fun 7 occasion: opportunity 8 glean: gather information / find out 5 6

9

opened: revealed

adheres: is close to / is bound to (in friendship) 11 gentry: courtesy 12 expend: spend 13 For the supply…hope: to help to benefit our hope (of finding out what is the matter with Hamlet) 10

ROSENCRANTZ

Both your Majesties Might, by the sovereign power you have of us, Put your dread pleasures more into command Than to entreaty.14

GUILDENSTERN 30

But we both obey And here give up ourselves in the full bent15 To lay our service freely at your feet To be commanded. CLAUDIUS Thanks, Rosencrantz and gentle Guildenstern.

Both your Majesties…entreaty: Both your Majesties could by virtue of your regal power over us, have commanded us to do your bidding rather than have asked us. ‘dread’ in this context suggests that Rosencrantz and Guildenstern would have obeyed out of either fear or respect 15 in the full bent: to the full extent / entirely 14

GERTRUDE Thanks, Guildenstern and gentle Rosencrantz. And I beseech you instantly to visit My too much changed son. Go some of you And bring these gentlemen where Hamlet is. GUILDENSTERN Heavens make our presence and our practices16 Pleasant and helpful to him! GERTRUDE

16

practices: 1. activities 2. schemes

Ay, amen! 59

Act 2 Scene 2

Hamlet

[Exeunt ROSENCRANTZ, GUILDENSTERN and some Attendants] [Enter POLONIUS]

6

POLONIUS The ambassadors from Norway, my good lord, Are joyfully returned.

40

CLAUDIUS Thou still hast been the father of good news. POLONIUS Have I, my lord? I assure my good liege, I hold my duty, as I hold my soul, Both to my God and to my gracious King; And I do think, or else this brain of mine Hunts not the trail of policy so sure As it hath used to do,17 that I have found The very cause of Hamlet’s lunacy.

50

7

17

or else this brain…used to do: or else I am not as able to investigate a political matter (‘policy’) as well as I used to. The image is of a hunting dog following a scent

18

fruit: dessert

19

do grace to them: treat them honourably. Claudius is punning on ‘grace’ which is also a prayer before a meal thus continuing Polonius’ feast metaphor

20

head…distemper: origin and source of your son’s mental disorder

21

the main: the major one

22

sift him: question Polonius

CLAUDIUS O, speak of that, that do I long to hear. POLONIUS Give first admittance to the ambassadors. My news shall be the fruit18 to that great feast. CLAUDIUS Thyself do grace to them,19 and bring them in. [Exit POLONIUS] He tells me, my dear Gertrude, he hath found The head and source of all your son’s distemper.20 GERTRUDE I doubt it is no other but the main:21 His father’s death, and our o’erhasty marriage. CLAUDIUS Well, we shall sift him.22 [Re-enter POLONIUS, with VOLTEMAND and CORNELIUS]

60

8

9

Act 2 Scene 2

Welcome, my good friends! Say, Voltemand, what from our brother23 Norway?

60

70

80

VOLTEMAND Most fair return of greetings and desires.24 Upon our first,25 he sent out to suppress His nephew’s levies, which to him appeared To be a preparation ’gainst the Polack;26 But, better looked into, he truly found It was against your Highness. Whereat grieved, That so his sickness, age and impotence Was falsely borne in hand,27 sends out arrests28 On Fortinbras, which he in brief, obeys, Receives rebuke from Norway, and in fine29 Makes vow before his uncle never more To give the assay of arms30 against your majesty. Whereon old Norway, overcome with joy, Gives him threescore thousand crowns in annual fee,31 And his commission32 to employ those soldiers So levied as before, against the Polack, With an entreaty,33 herein further shown. [Gives a paper] That it might please you to give quiet pass34 Through your dominions35 for this enterprise On such regards36 of safety and allowance As therein are set down.

Hamlet 23

desires: good wishes Upon our first: As soon as we first spoke to him 26 he sent out to suppress…Polack: he delivered an order to prevent his nephew’s forces, which he had previously thought were preparing to do battle with the King of Poland 27 Whereat grieved…in hand: Because of this he was upset that his sickness, old age and helplessness were taken advantage of 28 arrests: orders to stop preparations for war 29 in fine: finally 30 to give the assay of arms: i.e. go to war against 24 25

31

fee: income

32

commission: permission

33

entreaty: request

34

quiet pass: safe passage dominions: lands

35 36

regards: conditions

37 38

likes us: pleases me at our more considered time: when I have time to consider this

39

well-took labour: a job well done

40

expostulate: discuss at length

CLAUDIUS

It likes us37 well, And at our more considered time38 we’ll read, Answer, and think upon this business. Meantime, we thank you for your well-took labour.39 Go to your rest, at night we’ll feast together. Most welcome home!

brother: fellow king

[Exeunt VOLTEMAND and CORNELIUS] POLONIUS

90

This business is well ended. My liege and madam, to expostulate40 What majesty should be, what duty is, Why day is day, night night, and time is time, Were nothing but to waste night, day and time. Therefore, since brevity is the soul of wit,41 And tediousness the limbs and outward flourishes,42

brevity…wit: saying a lot with few words is the essence of intelligent discussion 42 tediousness…flourishes: longwindedness is just the less essential show 41

61

Act 2 Scene 2

Hamlet

I will be brief: your noble son is mad. Mad call I it, for to define true madness, What is’t but to be nothing else but mad? But let that go. GERTRUDE

100

110

More matter, with less art.43

POLONIUS Madam, I swear I use no art at all. That he’s mad, ’tis true, ’tis true ’tis pity. And pity ’tis ’tis true. A foolish figure!44 But farewell it, for I will use no art. Mad let us grant him then, and now remains That we find out the cause of this effect, Or rather say, the cause of this defect, For this effect defective comes by cause.45 Thus it remains, and the remainder thus.Perpend.46 I have a daughter – have while she is mine – 47 Who in her duty and obedience, mark, Hath given me this. Now gather and surmise.48 [Reads] ‘To the celestial and my soul’s idol, the most beautified Ophelia’ – that’s an ill phrase, a vile phrase, ‘beautified’49 is a vile phrase: but you shall hear – ‘thus in her excellent white bosom, these etc.’ GERTRUDE Came this from Hamlet to her?

120

POLONIUS Good madam, stay awhile. I will be faithful.50 [Reads] ‘Doubt51 thou the stars are fire, Doubt that the sun doth move, Doubt truth to be a liar, But never doubt I love. ‘O dear Ophelia, I am ill at these numbers.52 I have not art to reckon my groans,53 but that I love thee best, O most best, believe it. Adieu. Thine evermore most dear lady, whilst this machine is to him,54 Hamlet.’ This, in obedience, hath my daughter shown me; And more above,55 hath his solicitings56 As they fell out by time, by means and place,57 All given to mine ear.

62

43

More matter…art: More substance with less rhetoric / Get to the point

44

figure: figure of speech

1

For this effect…by cause: as this defect must have a cause 46 Perpend: Consider 47 have while…mine: i.e. have until she gets married 48 gather and surmise: understand and then draw your own conclusions 49 beautified: blessed with beauty. Polonius objects because he believe Hamlet may be suggesting that Ophelia’s beauty is not natural and she may have ‘beautified’ herself by wearing make-up 45

I will be faithful: 1. I will read exactly what the letter says 2. I will keep my promise to tell you everything 51 Doubt: The meaning of ‘doubt’ switches between ‘question’ and ‘suspect’ throughout this short verse 52 I am ill at these numbers: I am poor at writing verse 53 I have not art…groans: I don’t have the skills to count up / express in verse (‘reckon’) my woes 54 whilst this machine is to him: as long as this body is my own / as long as I live 55 more above: in addition 56 solicitings: advances 57 As they fell out…place: as they happened: when, how and where

1

50

1

Act 2 Scene 2

Hamlet

CLAUDIUS Received his love? POLONIUS

But how hath she

What do you think of me?

CLAUDIUS As of a man faithful and honourable.

130

140

POLONIUS I would fain58 prove so. But what might you think When I had seen this hot love on the wing –59 As I perceived it, I must tell you that, Before my daughter told me – what might you, Or my dear majesty your Queen here, think If I had played the desk or table-book,60 Or given my heart a winking, mute and dumb,61 Or looked upon this love with idle sight,62 What might you think? No, I went round to work And my young mistress thus I did bespeak: ‘Lord Hamlet is a prince, out of thy star.63 This must not be.’ And then I prescripts64 gave her That she should lock herself from his resort,65 Admit no messengers, receive no tokens. Which done, she took the fruits66 of my advice, And he repelled, a short tale to make, Fell into a sadness, then into a fast, Thence to a watch,67 thence into a weakness, Thence to a lightness,68 and, by this declension,69 Into the madness wherein now he raves And all we mourn for. CLAUDIUS

150

58 59

fain: willingly hot love on the wing: i.e passionate love developing quickly

played the desk or table-book: 1. acted as a go-between for them 2. just took note of what I saw rather than reporting it. A ‘desk’ in Elizabethan times was a box placed on a table for writing 61 given my heart…dumb: chose to ignore it and said nothing 62 idle sight: turned a blind eye 63 out of thy star: above your social status 64 prescripts: instructions / orders 65 resort: visits 66 took the fruits of: profited by i.e. followed (the advice) 60

watch: sleeplessness / insomnia lightness: light-headedness 69 declension: decline 67 68

Do you think ’tis this?

GERTRUDE It may be, very like.70

70

like: likely

POLONIUS Hath there been such a time – I’d fain know that – That I have positively said ’tis so When it proved otherwise? 63

Act 2 Scene 2

Hamlet

CLAUDIUS

Not that I know.

POLONIUS [Pointing to his head and shoulder] Take this from this, if this be otherwise.71 If circumstances72 lead me, I will find Where truth is hid, though it were hid indeed Within the centre.73 CLAUDIUS

160

Take from this…otherwise: If I am wrong, behead me i.e. I stake my life on it 72 circumstances: evidence 73 the centre: the centre of the world (thought to be unreachable) 71

How may we try it further?

POLONIUS You know, sometimes he walks four74 hours together75 Here in the lobby.76 GERTRUDE

1

four: 1. four 2. several together: at a time 76 lobby: corridor 74 75

So he does indeed.

POLONIUS At such a time I’ll loose77 my daughter to him. Be you and I behind an arras78 then, Mark the encounter: if he love her not And be not from his reason fallen thereon,79 Let me be no assistant for a state, But keep a farm and carters.80 CLAUDIUS

77 78

loose: release arras: a hanging tapestry used as a wall-covering

79

And be not from…thereon: and this isn’t the reason for his madness

80

carters: men who drive carts

1

We will try it.

GERTRUDE But, look, where sadly the poor wretch81 comes reading.

81

poor wretch: poor fellow (a term of affection)

82

I’ll board him presently: I’ll address him right now

[Enter HAMLET, reading] POLONIUS Away, I do beseech you, both away. I’ll board him presently.82 O, give me leave. [Exeunt CLAUDIUS and GERTRUDE] How does my good Lord Hamlet? 64

Act 2 Scene 2

HAMLET 170 Well, God-a-mercy.83

Hamlet 83

God-a-mercy: thank God

84

fishmonger: 1. a random word chosen by Hamlet so that he will appear mad 2. a pimp 3. Polonius is trying to ‘fish’ for Hamlet’s secrets

85

For if the sun…carrion: The image here is of maggots breeding in the dead body of dog. Hamlet is combining ideas of sex and death within the one image. The juxtaposition is deepened by the word ‘carrion’ which was also slang for prostitute

POLONIUS Do you know me, my lord? HAMLET Excellent well, you are a fishmonger.84 POLONIUS Not I, my lord. HAMLET Then I would you were so honest a man. POLONIUS Honest, my lord! HAMLET Ay, sir; to be honest, as this world goes, is to be one man picked out of ten thousand. POLONIUS That’s very true, my lord. HAMLET For if the sun breed maggots in a dead dog, being a god 85 180 kissing carrion – have you a daughter? POLONIUS I have, my lord. HAMLET Let her not walk i’ th’ sun:86 conception87 is a blessing, but not as your daughter may conceive – friend, look to’t. POLONIUS [Aside] How say you by that? Still harping88 on my daughter. Yet he knew me not at first; he said I was a fishmonger! He is far gone, far gone, and truly in my youth I suffered much extremity89 for love, very near this. I’ll speak to him again. – What do you read, my lord?

walk i’ th’ sun: The suggestion here is that if Ophelia is exposed to sunlight she too will ‘breed’ like the dog’s dead body 87 conception: Hamlet is punning on ‘conception’: 1. understanding 2. pregnancy 88 harping: dwelling 86

89

extremity: distress

65

Act 2 Scene 2

Hamlet

HAMLET Words, words, words. POLONIUS What is the matter,90 my lord?

190

90

HAMLET Between who?

matter: subject matter. Hamlet misinterprets this, probably deliberately, to mean trouble

POLONIUS I mean, the matter that you read, my lord.

200

HAMLET Slanders, sir. For the satirical rogue says here that old men have grey beards, that their faces are wrinkled, their eyes purging thick amber and plumtree gum,91 and that they have a plentiful lack of wit,92 together with most weak hams93 – all which, sir, though I most powerfully and potently94 believe, yet I hold it not honesty to have it thus set down.95 For yourself, sir, shall grow old as I am, if, like a crab, you could go backward.96 POLONIUS [Aside] Though this be madness, yet there is method97 in’t. – Will you walk out of the air, 98my lord? HAMLET Into my grave. POLONIUS Indeed, that is out o’ the air. [Aside] How pregnant99 sometimes his replies are! – a happiness100 that often madness hits on, which reason and sanity could not so prosperously be delivered of.101 I will leave him, and suddenly contrive the means of meeting between him and my daughter. – My lord, I will take my leave of you.

210

HAMLET You cannot, sir, take from me anything that I will more willingly part withal – except my life, except my life, except my life. POLONIUS Fare you well, my lord.

66

purging thick…gum: discharging yellow pus 92 wit: intelligence 93 hams: thighs 94 potently: strongly 95 set down: written down 91

For yourself…backward: Hamlet pretends that he is old and Polonius is young. Crabs can move forward and backward, the image suggests moving backward through time and returning to youth 97 method: logic 98 out of the air: indoors. Fresh air was thought to be bad for sick people. Mad people were sometimes treated by being confined to a small, dark room 96

pregnant: meaningful. ‘Pregnant’ also picks up on the ‘breeding’, ‘conception’ metaphor 100 happiness: aptness 101 prosperously be delivered of: successfully express 99

2

Act 2 Scene 2

Hamlet

HAMLET These tedious old fools! [Enter ROSENCRANTZ and GUILDENSTERN] POLONIUS You go to seek the Lord Hamlet? There he is. ROSENCRANTZ [To POLONIUS] God save you, sir! [Exit POLONIUS] GUILDENSTERN My honoured lord! ROSENCRANTZ My most dear lord! HAMLET My excellent good friends! How dost thou, Guildenstern? 220 Ah, Rosencrantz! Good lads, how do you both? ROSENCRANTZ As the indifferent children of the earth.102 GUILDENSTERN Happy, in that we are not over-happy. On Fortune’s cap we are not the very button.103 HAMLET Nor the soles of her shoe?104

102

indifferent children of the earth: ordinary people of the world

103

On Fortune’s cap…button: i.e. We are not the most fortunate men in the world

104

Nor the soles of her shoe?: But you’re not trodden on by Fortune either?

105

privates: 1. private/sexual parts of the body 2. private individuals who hold no rank

ROSENCRANTZ Neither, my lord. HAMLET Then you live about her waist, or in the middle of her favours? GUILDENSTERN Faith, her privates105 we.

67

Act 2 Scene 2

230

HAMLET In the secret parts of Fortune? O, most true, she is a strumpet.106 What news?

Hamlet

106

strumpet: prostitute (because she gives favours to all but is faithful to nobody)

107

Doomsday: The Day of Judgement.

ROSENCRANTZ None, my lord, but that the world’s grown honest. HAMLET Then is Doomsday107 near. But your news is not true. Let me question more in particular. What have you my good friends, deserved at the hands of Fortune that she sends you to prison hither?

2

GUILDENSTERN Prison, my lord! HAMLET Denmark’s a prison. ROSENCRANTZ Then is the world one.

240

HAMLET A goodly one, in which there are many confines,108 wards and dungeons, Denmark being one o’ the worst.

2 108

confines: places of confinement

109

I could be bounded…bad dreams: Hamlet explains that even with no ambition he still would be troubled by bad dreams

ROSENCRANTZ We think not so, my lord. HAMLET Why, then, ’tis none to you, for there is nothing either good or bad, but thinking makes it so. To me it is a prison. ROSENCRANTZ Why then, your ambition makes it one; ’tis too narrow for your mind. HAMLET O God, I could be bounded in a nut shell and count myself a king of infinite space, were it not that I have bad dreams.109

68

2

Act 2 Scene 2

250

GUILDENSTERN Which dreams indeed are ambition, for the very substance of the ambitious is merely the shadow of a dream.110 HAMLET A dream itself is but a shadow.111 ROSENCRANTZ Truly, and I hold ambition of so airy and light a quality that it is but a shadow’s shadow.112 HAMLET Then are our beggars bodies, and our monarchs and outstretched heroes the beggars’ shadows.113 Shall we to the court? For, by my fay,114 I cannot reason. ROSENCRANTZ GUILDENSTERN We’ll wait upon you.

HAMLET No such matter. I will not sort115 you with the rest of my servants, for, to speak to you like an honest man, I am 260 most dreadfully attended.116 But, in the beaten way117 of friendship, what make you at Elsinore?

Hamlet

Which dreams…of a dream: These dreams are ambition. What we achieve in life is only a shadow of what our ambitions are 111 shadow: illusion 110

112

Truly…shadow: That’s very true and I believe that ambition is the most illusory of all dreams

Then are our beggars…shadows: Therefore beggars are the only people with real bodies (as they have no ambition), while kings and heroes are merely beggars’ shadows ambitiously stretching out before them 114 fay: faith 113

115

sort: class / categorise

116

dreadfully attended: poorly served beaten way: well-worn path i.e. tried and tested (friends)

117

ROSENCRANTZ To visit you, my lord, no other occasion. HAMLET Beggar that I am, I am even poor in thanks,118 but I thank you, and sure, dear friends, my thanks are too dear a halfpenny.119 Were you not sent for? Is it your own inclining? Is it a free visitation? Come, come, deal justly with me. Come, come, nay, speak.

Begger that...in thanks: As I am only a beggar (powerless / only with ambition) I have little to give you as thanks 119 my thanks…halfpenny: my poor thanks are worth a halfpenny more (than your friendship) 118

GUILDENSTERN What should we say, my lord? HAMLET Why, anything, but to the purpose.120 You were sent for, 270 and there is a kind of confession in your looks which your modesties have not craft enough to colour.121 I know the good King and Queen have sent for you.

Why, anything…purpose: Why say anything you want as long as it’s not to the point. Hamlet is being sarcastic here 121 your modesties…colour: your decency / embarrassment cannot not disguise 120

69

Act 2 Scene 2

Hamlet

ROSENCRANTZ To what end, my lord? HAMLET That you must teach me. But let me conjure122 you, by the rights of our fellowship, by the consonancy of our youth,123 by the obligation of our ever-preserved love,124 and by what more dear a better proposer can charge you withal,125 be even and direct with me, whether you were sent for, or no?

conjure: solemnly appeal to consonancy of our youth: similar upbringing / similar formative years 124 by the obligation…love: by the power of the friendship between us 125 by what more…withal: by anything else a more skilful persuader could say 122 123

ROSENCRANTZ [Aside to GUILDENSTERN] What say you? HAMLET [Aside] Nay, then, I have an eye of you.126 – If you love me, hold not off.127

280

GUILDENSTERN My lord, we were sent for.

290

300

HAMLET I will tell you why. So shall my anticipation128 prevent your discovery, and your secrecy to the King and Queen moult no feather.129 I have of late – but wherefore I know not – lost all my mirth, forgone all custom of exercises,130 and indeed it goes so heavily with my disposition131 that this goodly frame,132 the earth, seems to me a sterile promontory,133 this most excellent canopy, the air, look you, this brave o’erhanging firmament,134 this majestical roof fretted with golden fire,135 why, it appeareth no other thing to me than a foul and pestilent congregation of vapours.136 What a piece of work137 is a man! How noble in reason! How infinite in faculties!138 In form and moving how express139 and admirable! In action, how like an angel! In apprehension140 how like a god! The beauty of the world! The paragon141 of animals! And yet, to me, what is this quintessence of dust?142 Man143 delights not me – no, nor woman neither, though by your smiling you seem to say so. ROSENCRANTZ My lord, there was no such stuff in my thoughts.

70

3

I have an eye of you: I have my eye on you 127 hold not off: don’t keep it to yourselves 126

anticipation: saying it first moult no feather: remain intact 130 forgone all…exercises: given up my usual exercises 131 it goes so…disposition: my spirits are so low 132 frame: structure 133 sterile promontory: barren headland 134 brave o’erhanging firmament: splendid sky / heaven hanging above us 135 fretted with golden fire: decorated with the sun and stars. For early audiences Shakespeare may have been referring to the roof of the Globe Theatre as well as the sky 136 a foul…vapours: stormy, destructive clouds 137 piece of work: masterpiece of creation 138 infinite in faculties: limitless in capabilities 139 In form and moving how express: In shape and motion, how well-made 140 apprehension: understanding 141 paragon: the supreme example 142 quintessence of dust: pure concentration of earthly matter 143 Man: Hamlet means humankind but his companions think he means the male sex 128 129

3

Act 2 Scene 2

Hamlet

HAMLET Why did you laugh then, when I said ‘man delights not me’? ROSENCRANTZ To think, my lord, if you delight not in man, what lenten entertainment144 the players145 shall receive from you. We coted146 them on the way and hither are they coming, to offer you service. HAMLET He that plays the King shall be welcome – his majesty shall have tribute of me147 – the adventurous knight shall 310 use his foil and target,148 the lover shall not sigh gratis,149 the humorous man shall end his part in peace,150 the clown shall make those laugh whose lungs are tickled o’ the sere,151 and the lady shall say her mind freely, or the blank verse shall halt for’t. What players are they? ROSENCRANTZ Even those you were wont to take delight in, the tragedians of the city. HAMLET How chances it they travel? Their residence, both in reputation and profit, was better both ways.152 ROSENCRANTZ I think their inhibition comes by the means of the late 320 innovation.153 HAMLET Do they hold the same estimation154 they did when I was in the city? Are they so followed? ROSENCRANTZ No, indeed are they not.

lenten entertainment: meagre hospitality (Lent was a time of fasting) 145 players: actors 146 coted: overtook 144

tribute of me: payment / praise from me 148 foil and target: sword and shield 149 gratis: without payment 150 the humorous man…part in peace: the eccentric / comic will not be interrupted 151 tickled o’ the sere: easily made to laugh 147

152

Their residence…both ways: Staying in their town would have been better for their reputation and profits

their inhibition…innovation: their performances have been restricted because of recent events. This is possibly a reference to Claudius’ preparations for war. However, an audience in Shakespeare’s time may have thought of the 1601 Essex Rebellion when theatrical performances were restricted 154 estimation: esteem 153

HAMLET How comes it? Do they grow rusty? ROSENCRANTZ Nay, their endeavour keeps in the wonted pace;155 but there is, sir, an eyrie156 of children, little eyases,157 that cry

their endeavour…pace: their efforts are still as successful as ever 156 eyrie: nest of birds of prey 157 eyases: young hawks 155

71

Act 2 Scene 2

Hamlet

out on the top of question, and are most tyrannically clapped for’t. These are now the fashion, and so berattle the common stages159 – so they call them – that many wearing rapiers160 are afraid of goose-quills and dare scarce come thither.161 158

330

HAMLET What, are they children? Who maintains ’em? How are they escoted?162 Will they pursue the quality no longer than they can sing? Will they not say afterwards, if they should grow themselves to common players – as it is most like, if their means are no better – their writers do them wrong to make them exclaim against their own succession?163 ROSENCRANTZ Faith, there has been much to do on both sides, and the nation holds it no sin to tarre164 them to controversy. There was for a while no money bid for argument, unless the poet and the player went to cuffs in the question.165

340

HAMLET Is’t possible? GUILDENSTERN O, there has been much throwing about of brains.166 HAMLET Do the boys carry it away?167 ROSENCRANTZ Ay, that they do, my lord – Hercules and his load168 too.

350

HAMLET It is not very strange, for mine uncle is King of Denmark, and those that would make mows169 at him while my father lived, give twenty, forty, fifty, a hundred ducats apiece for his picture in little.170 ’Sblood,171 there is something in this more than natural,172 if philosophy173 could find it out. [Flourish within]

72

cry out…question: screech above other voices in a debate 159 berattle the common stages: loudly attack the public playhouses 160 wearing rapiers: fashionable young men 161 are afraid…thither: are afraid of playwrights mocking them and won’t come (to see the older acting companies) 158

162

escoted: paid

3

Will they not say afterwards… succession?: Will these young men, when they become adult actors (as they most likely will, if they can’t find profitable employment) say later that their playwrights do them wrong by satirising their own future profession 164 tarre: urge 165 There was for a while…question: For a while there, no money was offered for a plot unless it featured the controversy between the child actors’ playwrights and the professional actors 163

166

throwing about of brains: arguing

167

carry it away: gain victory

Hercules and his load: The sign outside Shakespeare’s Globe Theatre featured Hercules with a globe of the world on his shoulders. Shakespeare is saying that the young actors threaten well established acting companies 169 make mows: make rude faces at him i.e. treated him with contempt 170 his picture in little: a small portrait 171 ’Sblood: God’s blood (a mild oath) 172 more than natural: out of the ordinary / abnormal 173 philosophy: science 168

3

Act 2 Scene 2

Hamlet

GUILDENSTERN There are the players! HAMLET Gentlemen, you are welcome to Elsinore. Your hands, come then! Th’ appurtenance174 of welcome is fashion and ceremony. Let me comply with you in this garb,175 lest my extent to the players, which, I tell you, must show fairly outwards,176 should more appear like entertainment than yours. You are welcome. But my uncle-father and aunt360 mother are deceived.

appurtenance: proper accompaniment 175 comply…garb: exchange courtesies with you in the expected manner 176 show fairly outwards: appear pleasant 174

GUILDENSTERN In what, my dear lord? HAMLET I am but mad north-north-west.177 When the wind is southerly I know a hawk from a handsaw.178 [Enter POLONIUS] POLONIUS Well be with you, gentlemen! HAMLET Hark you, Guildenstern, and you too – at each ear a hearer.179 That great baby you see there is not yet out of his swaddling clouts.180 ROSENCRANTZ Happily181 he is the second time come to them, for they say an old man is twice a child.182

370

HAMLET I will prophesy he comes to tell me of the players; mark it. You say right, sir: o’ Monday morning, ’twas then indeed.183

I am but mad…west: I am only mad occasionally. Hamlet says he is only mad when the wind blows NNW; the rest of the time he is sane 178 I know a hawk…handsaw: I can tell one thing from another i.e. I am completely in touch with reality 177

at each ear a hearer: I want one of you at each of my ears i.e. stand either side of me 180 swaddling clouts: swaddling clothes: cloth wrapped around an infant baby 179

181 182

183

You say right…indeed: As Polonius approaches Hamlet pretends that he is talking about something else with Rosencrantz

184

Roscius: a famous Roman actor

POLONIUS My lord, I have news to tell you. HAMLET My lord, I have news to tell you. When Roscius184 was an actor in Rome—

Happily: Perhaps an old man…child: old age is a second childhood (proverb)

73

Act 2 Scene 2

Hamlet

POLONIUS The actors are come hither, my lord. HAMLET Buzz, buzz!185

185

Buzz, buzz!: i.e. Tell me something I don’t know!

POLONIUS Upon mine honour. HAMLET Then came each actor on his ass.186 POLONIUS The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral, scene individable, or poem unlimited.187 Seneca cannot be too heavy, nor Plautus188 too light. For the law of writ and the liberty,189 these are the only men.

380

HAMLET O Jephthah190, judge of Israel, what a treasure hadst thou! POLONIUS What a treasure had he, my lord? HAMLET Why, ‘One fair daughter and no more, The which he loved passing191 well.’192

390

POLONIUS [Aside] Still on my daughter. HAMLET Am I not i’ th’ right, old Jephthah? POLONIUS If you call me Jephthah, my lord, I have a daughter that I love passing well. HAMLET Nay, that follows not.

74

4 186

Then came…ass: Possibly a line from a ballad. Hamlet is mocking Polonius as ‘ass’ suggests ‘arse’

scene individable…unlimited: This may be a reference to Aristotle’s theory of drama where he argued that plays should be confined to one place, one day and one story (i.e. ‘individable’) as opposed to one which is ‘unlimited’ 188 Seneca, Plautus: Roman playwrights. Seneca wrote tragedy. Plautus wrote comedy 189 the law of writ…liberty: ‘law of writ’ = plays that follow Aristotle’s theory of unity of time, place and action. ‘liberty’ = plays that do not follow these rules 190 Jephthah: A biblical leader of Israel who sacrificed his daughter to please God. Hamlet is drawing a parallel with Polonius who is ‘sacrificing’ Ophelia to please Claudius 191 passing: extremely 192 One fair daughter…well: Hamlet is quoting from an old ballad 187

4

4

Act 2 Scene 2

Hamlet

POLONIUS What follows, then, my lord? HAMLET Why, ‘As by lot, God wot,’193 and then, you know, ‘It came to pass, as most like it was,’194 400 the first row195 of the pious chanson196 will show you more, for look, where my abridgement comes.197 [Enter the Players] You are welcome, masters, welcome all. I am glad to see thee well. Welcome, good friends. O, my old friend! Thy face is valanced198 since I saw thee last! Com’st thou to beard199 me in Denmark? What, my young lady200 and mistress! By’r Lady, your ladyship is nearer to heaven201 than when I saw you last, by the altitude of a chopine.202 Pray God, your voice, like a piece of uncurrent gold,203 be not cracked within the ring. Masters, you are all welcome. 410 We’ll e’en to’t like French falconers:204 fly at anything we see. We’ll have a speech straight. Come, give us a taste of your quality. Come, a passionate speech.

As by lot…wot: As by chance God knows (quote from ballad) 194 It came to pass…was: It happened, as was most likely (quote from ballad) 195 row: stanza 196 pious chanson: religious ballad 197 my abridgement comes: I’m about to be cut short (because the players are arriving) 193

valanced: fringed (with a beard) beard: confront 200 young lady: i.e. young boy (actors were male) 201 nearer to heaven: taller 202 the altitude…chopine: the height of a pair of high-heeled shoes 203 uncurrent gold: a gold coin that was cracked and therefore no longer legal tender 204 French falconers: It was thought that French falconers were too eager to release (‘fly’) their birds 198 199

FIRST PLAYER What speech, my lord? HAMLET I heard thee speak me a speech once, but it was never acted, or, if it was, not above once, for the play, I remember, pleased not the million; ’twas caviare to the general.205 But it was, as I received it, and others, whose judgements in such matters cried in the top of mine,206 an excellent play, well digested207 in the scenes, set 420 down with as much modesty as cunning.208 I remember, one said there were no sallets209 in the lines to make the matter savoury, nor no matter in the phrase that might indict210 the author of affectation, but called it an honest method,211 as wholesome as sweet, and by very much more handsome than fine.212 One speech in it I chiefly loved: ’twas Aeneas’ tale to Dido,213 and thereabout of it especially where he speaks of Priam’s214 slaughter. If it live in your memory, begin at this line – let me see, let me

pleased not…general: it was not popular but was instead like caviare (only appreciated by those with discerning taste) 206 cried in the top of mine: were superior to mine 207 digested: organised 208 with as much modesty as cunning: with as much restraint as skill 209 sallets: spicy bits (perhaps bawdy jokes) 210 indict: accuse 211 honest method: unpretentiously written 212 more handsome than fine: more decently written than flashy 213 Aeneas’s tale to Dido: Aeneas tells Dido the story of the fall of Troy 214 Priam: the King of Troy 205

75

Act 2 Scene 2

see – ‘The rugged215 Pyrrhus,216 like the Hyrcanian beast’ –217 ’Tis not so. It begins with Pyrrhus. ‘The rugged Pyrrhus, he whose sable arms,218 Black as his purpose, did the night resemble When he lay couched in the ominous horse,219 Hath now this dread and black complexion smeared With heraldry more dismal, head to foot. Now is he total gules,220 horridly tricked221 With blood of fathers, mothers, daughters, sons, Baked and impasted with the parching streets222 That lend a tyrannous and damned light To their lord’s223 murder; roasted in wrath and fire, And thus o’ersized with coagulate gore,224 With eyes like carbuncles,225 the hellish Pyrrhus Old grandsire Priam seeks.’ So, proceed you.

430

440

Hamlet rugged: fierce Pyrrhus: The son of Achilles who killed Priam 217 Hyrcanian beast: tiger 218 sable arms: black armour 219 ominous horse: the wooden horse used by the Greeks to enter Troy 215 216

220 221

total gules: completely red tricked: covered

Baked…parching streets: cooked and crusted by the scorching streets (because the houses are on fire) 223 lord: Priam 224 coagulate gore: congealing blood 225 carbuncles: red jewels thought to glow in the dark 222

POLONIUS ’Fore God, my lord, well spoken – with good accent and good discretion. FIRST PLAYER

450

460

‘Anon226 he finds him Striking too short227 at Greeks. His antique sword, Rebellious to his arm, lies where it falls, Repugnant to command.228 Unequal matched, Pyrrhus at Priam drives, in rage strikes wide, But with the whiff and wind229 of his fell sword The unnerved230 father falls. Then senseless Ilium231 Seeming to feel this blow, with flaming top Stoops to his base and with a hideous crash Takes prisoner Pyrrhus’ ear.232 For lo, his sword, Which was declining on the milky head Of reverend Priam, seemed i’ th’ air to stick. So, as a painted tyrant,233 Pyrrhus stood, And like a neutral to his will and matter,234 Did nothing. But as we often see, against some storm, A silence in the heavens, the rack235 stand still, The bold winds speechless and the orb236 below As hush as death, anon the dreadful thunder Doth rend the region,237 so, after Pyrrhus’ pause, A roused vengeance sets him new a-work;

76

4

4

226 227

228

Anon: Soon Striking too short: failing to hit (with his sword) Repugnant to command: refusing his orders

whiff and wind: slight breeze unnerved: feeble 231 senseless Ilium: insensible central fortress (of Troy) 229 230

232

Takes prisoner…ear: (the loud noise) grab’s Pyrrhus’ attention

as a painted tyrant: resembling the painting of tyrant because he wasn’t moving 234 neutral to his will and matter: indifferent to his desire and duty 233

235 236

237

rack: clouds orb: globe / world rend the region: tear the air

4

Act 2 Scene 2

Hamlet

And never did the Cyclops’ hammers fall On Mars’s239 armour forged for proof eterne240 With less remorse than Pyrrhus’ bleeding sword 470 Now falls on Priam. Out, out, thou strumpet241 Fortune! All you gods In general synod242 take away her power; Break all the spokes and fellies243 from her wheel, And bowl the round nave244 down the hill of heaven,245 As low as to the fiends!’246 238

POLONIUS This is too long. HAMLET It shall to the barber’s, with your beard. Prithee, say on – he’s for a jig247 or a tale of bawdry, or he sleeps. Say on, come to Hecuba.248

480

FIRST PLAYER ‘But who – O woe – had seen the mobled249 Queen’ –

Cyclops: In classical mythology, the Cyclops were a race of one eyed giants who helped make armour for the gods 239 Mars: Roman god of war 240 forged for proof eterne: made to last forever 241 strumpet: prostitute 242 synod: assembly 243 fellies: wooden pieces forming the rim of a wheel 244 nave: hub 245 hill of heaven: Probably Mount Olympus 246 fiends: devils 238

jig: comic entertainment (often a dance) 248 Hecuba: Priam’s wife, Queen of Troy 247

249

mobled: veiled

HAMLET ‘The mobled Queen?’ POLONIUS That’s good: ‘mobled Queen’ is good. FIRST PLAYER – ‘Run barefoot up and down, threatening the flames With bisson rheum,250 a clout251 upon that head Where late the diadem252 stood, and, for a robe, About her lank and all o’er-teemed loins,253 A blanket, in the alarm of fear caught up. Who this had seen, with tongue in venom steeped,254 ’Gainst Fortune’s state255 would treason have pronounced. 490 But if the gods themselves did see her then When she saw Pyrrhus make malicious sport In mincing256 with his sword her husband’s limbs, The instant burst of clamour that she made, Unless things mortal move them not at all, Would have made milch257 the burning eyes of heaven,258 And passion in the gods.’

bisson rheum: blinding tears clout: cloth 252 diadem: crown 253 lank…loins: gaunt loins worn out with child-bearing 250 251

with tongue…steeped: with bitter words 255 state: rule 254

256

mincing: cutting into small pieces

257

milch: producing milk (i.e. weep) burning eyes of heaven: sun, moon and stars

258

77

Act 2 Scene 2

500

POLONIUS Look, whether he has not turned his colour259 and has tears in’s eyes. Prithee no more.

259

turned his colour: gone pale

HAMLET ’Tis well. I’ll have thee speak out the rest soon. [To POLONIUS] Good my lord, will you see the players well bestowed?260 Do you hear, let them be well used, for they are the abstract and brief chronicles of the time:261 after your death you were better have a bad epitaph than their ill report while you live.

260

bestowed: accommodated abstract…the time: summarise and keep a record of the times in which we live

POLONIUS My lord, I will use them according to their desert.262 HAMLET God’s bodykins,263 man, much better! Use every man after his desert, and who should scape whipping? Use them after264 your own honour and dignity – the less they deserve, the more merit is in your bounty.265 Take them in.

510

Hamlet

POLONIUS Come, sirs. HAMLET Follow him, friends. We’ll hear a play tomorrow. [Aside to FIRST PLAYER] Dost thou hear me old friend? Can you play the Murder of Gonzago?

261

262

to their desert: as they deserve

263

God’s bodykins: By God’s body (a mild oath)

264

after: according to the less…bounty: the less they deserve, the more your generosity will be merited

265

5

5

FIRST PLAYER Ay, my lord. HAMLET We’ll ha’t tomorrow night. You could for a need, study a speech of some dozen or sixteen lines, which I would set down and insert in’t, could you not? FIRST PLAYER Ay, my lord.

520 78

HAMLET Very well. Follow that lord – and look you mock him not. [To the other players] My good friends, I’ll leave you till night. You are welcome to Elsinore.

5

Act 2 Scene 2

Hamlet

ROSENCRANTZ Good my lord! HAMLET Ay, so, God buy to you. [Exeunt all but HAMLET] Now I am alone. O, what a rogue and peasant266 slave am I! Is it not monstrous that this player here, But in a fiction, in a dream of passion, Could force his soul so to his own conceit267 That from her working all his visage wanned,268 Tears in his eyes, distraction in his aspect,269 530 A broken voice, and his whole function270 suiting With forms to his conceit?271 And all for nothing! For Hecuba! What’s Hecuba to him, or he to Hecuba, That he should weep for her? What would he do Had he the motive and the cue for passion272 That I have? He would drown the stage with tears And cleave the general ear with horrid speech,273 Make mad the guilty and appal the free,274 Confound275 the ignorant, and amaze indeed 540 The very faculties of eyes and ears. Yet I, A dull and muddy-mettled276 rascal, peak277 Like John-a-dreams,278 unpregnant of my cause,279 And can say nothing. No, not for a king, Upon whose property280 and most dear life A damned defeat281 was made. Am I a coward? Who calls me villain, breaks my pate282 across, Plucks off my beard and blows it in my face Tweaks me by the nose, gives me the lie i’ th’ throat, As deep as to the lungs?283 Who does me this? 550 Ha! ’Swounds, I should take it.284 For it cannot be But I am pigeon-livered and lack gall285 To make oppression bitter,286 or ere this I should have fatted all the region kites287 With this slave’s offal288 – bloody, bawdy villain! Remorseless, treacherous, lecherous, kindless villain! O, vengeance! Why, what an ass am I! This is most brave,289 That I, the son of a dear father murdered, Prompted to my revenge by heaven and hell,

266

peasant: base, unworthy man

Could force…conceit: could be so moved by what he only imagined 268 visage wanned: face grew pale 269 distraction…aspect: intensity in his expression 270 function: action of his body 271 forms to his conceit: corresponds to his imagination 267

cue for passion: incentive to act passionately 273 cleave…horrid speech: split the audience’s ears with horrifying words 274 appal the free: horrify the innocent 275 Confound: confuse 272

muddy-mettled: dull spirited peak: mope 278 John-a-dreams: a dreamer 279 unpregnant of my cause: unprepared to pursue my duty 280 property: 1. the state of Denmark 2. title of King 3. the dearest thing he owned: his life 281 defeat: destructive act 282 pate: head 283 gives me the lie…lungs: accuses me of lying 284 ’Swounds…take it: By God’s wounds, I would put up with it 285 I am pigeon-livered…gall: I am cowardly and lack anger/courage. It was thought that pigeons were gentle birds and that their livers did not produce bile (‘gall’) the supposed source of anger/courage 286 To make oppression bitter: 1. to make Claudius’ oppression bitter to himself 2. to make me bitterly resent the oppression so much that I may act 287 region kites: scavenging birds of the air 288 offal: guts / entrails 289 This is most brave: Oh I am so brave. Hamlet is being sarcastic 276 277

79

Act 2 Scene 2 560

570

580

Hamlet

Must like a whore, unpack my heart with words And fall a-cursing, like a very drab,291 A scullion!292 Fie upon’t! Foh! About, my brains!293 Hum – I have heard That guilty creatures sitting at a play Have by the very cunning294 of the scene Been struck so to the soul that presently They have proclaimed their malefactions.295 For murder, though it have no tongue, will speak With most miraculous organ.296 I’ll have these players Play something like the murder of my father Before mine uncle. I’ll observe his looks, I’ll tent him to the quick.297 If he do blench,298 I know my course. The spirit that I have seen May be a devil, and the devil hath power To assume a pleasing shape. Yea, and perhaps Out of my weakness and my melancholy, As he is very potent with such spirits, Abuses me to damn me!299 I’ll have grounds More relative than this.300 The play’s the thing Wherein I’ll catch the conscience of the King. [Exit] 290

unpack my heart with words: relieve my aching heart by speaking (rather than acting) 291 drab: prostitute 292 scullion: lowly servant / kitchenboy 293 About my brains!: Start thinking! 294 cunning: skilful performance 290

295

proclaimed their malefactions: owned up to their crimes

296

will speak…organ: can be announced in extraordinary ways

I’ll tent him to the quick: probe him at his most sensitive point. The image is of probing a wound 298 blench: 1. flinch 2. blanch (turn pale) 299 As he is very potent…damn me!: because spirits can have great influence over people who are melancholy, he may deceive me in order to damn me to hell! 300 I’ll have grounds…this: I need more conclusive evidence than the ghost’s word 297

Key Quotations

80

POLONIUS

brevity is the soul of wit

POLONIUS

Though this be madness, yet there is method in’t.

HAMLET

What a piece of work is a man! How noble in reason! How infinite in faculties! In form and moving how express and admirable! In action, how like an angel! In apprehension how like a god! The beauty of the world! The paragon of animals! And yet, to me, what is this quintessence of dust?

HAMLET

I am but mad north-north-west. When the wind is southerly I know a hawk from a handsaw.

HAMLET

Yet I, A dull and muddy-mettled rascal, peak Like John-a-dreams, unpregnant of my cause, And can say nothing. No, not for a king, Upon whose property and most dear life A damned defeat was made. Am I a coward?

Act 2 Scene 2

Hamlet

HAMLET

For it cannot be But I am pigeon-livered and lack gall To make oppression bitter, or ere this I should have fatted all the region kites With this slave’s offal – bloody, bawdy villain! Remorseless, treacherous, lecherous, kindless villain! O, vengeance!

HAMLET

Why, what an ass am I! This is most brave, That I, the son of a dear father murdered, Prompted to my revenge by heaven and hell, Must like a whore, unpack my heart with words And fall a-cursing, like a very drab

HAMLET

The play’s the thing Wherein I’ll catch the conscience of the King.

scene Commentary

Once again Claudius’s disingenuous and flattering manner masks his cunning, deceitful nature. He successfully flatters ‘dear Rosencrantz’ and ‘gentle Guildenstern’ and presents himself as a kindly monarch concerned for his nephew. The truth is that Claudius has no compunction about enlisting Rosencrantz and Guildenstern as spies. Similarly, he readily agrees to Polonius’ plan to eavesdrop on Hamlet and Ophelia’s conversation. Claudius is a capable statesman with diplomatic skill. Voltemand and Cornelius report back from Norway and tell Claudius that he has successfully averted a military confrontation with Fortinbras. Polonius continues to be a foolish figure. He fails to realise when Hamlet is mocking him. Hamlet sees Polonius as one of these ‘tedious old fools’ and therefore doesn’t hesitate to poke fun at him. He mocks Polonius by deliberately misinterpreting Polonius’ speech. In his manner, Polonius is both grandiose and verbose. There is great irony in his statement, ‘brevity is the soul of wit’ as he proceeds with a longwinded explanation. Gertrude tires of Polonius’ tedious rhetoric, urging, ‘more matter, with less art.’ Polonius may be considered a comical if somewhat irritating character. However, this should not excuse his cynical, unscrupulous nature. He is willing to use his own daughter as ‘bait’ to learn the reason for Hamlet’s unhappiness. Hamlet is disillusioned with both love and life. He cryptically tells Polonius: ‘if the sun breed maggots in a dead dog, being a god kissing carrion’. The image of maggots breeding in a dog’s carcass combines the ideas of sex and death and illustrates Hamlet’s cynical view of romance. He also speaks disrespectfully of Ophelia, telling Polonius, ‘Let her not walk i’ th’ sun: conception is a blessing, but not as your daughter may conceive’. Similarly, when Hamlet speaks with Rosencrantz and Guildenstern, he says ‘the earth, seems to me a sterile promontory’. Hamlet feels weighed down with the burden of avenging his father and restoring order to Denmark. His feelings are perhaps amplified by Ophelia’s distancing of herself from him. Despite the heaviness of his soul, Hamlet is a shrewd judge of others. He quickly ascertains that Rosencrantz and Guildenstern were summoned by the King to spy on him. Hamlet himself 81

Act 2 Scene 2

Hamlet

is quick to point out that although he may appear mad, he still remains sharp and perceptive: ‘I am but mad north-north-west. When the wind is southerly I know a hawk from a handsaw.’ This quality makes Hamlet a good match for the devious Claudius. After hearing the Player’s passionate speech, Hamlet recognises his own inability to act. this revives his sense of purpose. During his soliloquy Hamlet castigates himself for his own lack of passion. He wonders whether it is cowardice that holds him back: ‘For it cannot be / But I am pigeon-livered and lack gall’. Hamlet is prompted into an emotional outburst that reveals the depth of his hatred for Claudius: ‘I should have fatted all the region kites With this slave’s offal – bloody, bawdy villain! Remorseless, treacherous, lecherous, kindless villain! O, vengeance!’ Hamlet chides himself for his overly reflective nature and failure to act: ‘Why, what an ass am I! This is most brave, That I, the son of a dear father murdered, Prompted to my revenge by heaven and hell, Must like a whore, unpack my heart with words And fall a-cursing, like a very drab, A scullion!’ Despite recognising these flaws, Hamlet continues to prevaricate until he has more evidence against Claudius. Hamlet worries that the Ghost could be a malicious spirit encouraging him to kill his uncle. He plans to ‘catch the conscience of the King’ by orchestrating the play so as to provoke a reaction from Claudius.

Questions

1. Why have Rosencrantz and Guildenstern been summoned? 2. Do you agree, that in this scene, Claudius shows himself to be highly skilled in his dealings with people? Explain your answer. 3. ‘Polonius is exposed to the audience as a cynical, pompous fool in this scene.’ Do you agree with this statement? Why / why not? 4. How is Hamlet shown to be a world-weary character, disillusioned with life in this scene? 5. What effect does the Player’s speech have on Hamlet? Refer to Hamlet’s soliloquy in your answer. 6. Do you think Hamlet is wise to try to ‘catch the conscience of the King’ or is he again simply failing to take action? Explain your view. 7. In this scene, many characters try to discover the truth about others. Provide and discuss examples of this.

82

Act 2 Revision Quiz

Act 2

Revision Quiz

1. According to Polonius what is the cause of Hamlet’s strange behaviour? 2. What instructions does Polonius give to Reynaldo?

3. In Act 2, Scene 1, Ophelia tells her father that Hamlet came to her room looking and acting strangely. Describe how Hamlet looked and behaved.

4. Why does Claudius summon Rosencrantz and Guildenstern? 5. What do the ambassadors from Norway report to Claudius?

6. Polonius proposes a plan to Claudius that he hopes will uncover the reason for Hamlet’s strange behaviour. What is this plan?

7. What news does Hamlet hear from Rosencrantz and Guildenstern that lifts his spirits? 8. Describe Hamlet’s plan ‘to catch the conscience of the King.’ 9. Who says each of the following? (a) brevity is the soul of wit

(b) Though this be madness, yet there is method in’t. (c) The play’s the thing

Wherein I’ll catch the conscience of the King.



But I am pigeon-livered and lack gall

(d) For it cannot be

To make oppression bitter

10. Rewrite these quotations. In each case, write the speaker’s name and fill in the blanks. (a) Your bait of falsehood takes this _______ of truth:

And thus do we of wisdom and of reach,



By indirections find directions out



With windlasses and with assays of _______,

(b) I am but mad north-north-west. When the wind is southerly I know a _______ from a ____ ___.

(c) I should have _______ all the region kites

With this _______ offal – bloody, bawdy villain!



O, vengeance!



Remorseless, treacherous, lecherous, kindless _______!

(d) What a piece of work is a man! How noble in _______! How infinite in faculties!

In form and moving how express and admirable! In action, how like an _______! In

apprehension how like a _______! The beauty of the world! The _______ of animals! And yet, to me, what is this quintessence of dust?

83

Act 3 Scene 1 scene summary

Rosencrantz and Guildenstern tell Claudius that they cannot find the reason for Hamlet’s unusual behaviour. Claudius and Polonius hide so that they can listen in on Hamlet’s conversation with Ophelia. Hamlet speaks harshly to Ophelia. He sharply criticises her and speaks bitterly about women in general. Ophelia is deeply upset by her meeting with Hamlet. Polonius suggests that Gertrude should speak with Hamlet in an effort to discover what troubles him. He offers to position himself so that he can eavesdrop. Polonius goes on to say that if this does not work, perhaps Hamlet could be sent to England. Claudius agrees with his suggestions.

2

A room in the castle. Enter CLAUDIUS, GERTRUDE, POLONIUS, OPHELIA, ROSENCRANTZ and GUILDENSTERN CLAUDIUS And can you by no drift of conference1 Get from him why he puts on this confusion,2 Grating3 so harshly all his days of quiet With turbulent and dangerous lunacy? ROSENCRANTZ He does confess he feels himself distracted,4 But from what cause he will by no means speak. GUILDENSTERN Nor do we find him forward to be sounded,5 But with a crafty madness6 keeps aloof7 When we would bring him on to some confession Of his true state.

10

GERTRUDE

Did he receive you well?

ROSENCRANTZ Most like a gentleman. 84

drift of conference: direction of the conversation 2 puts on this confusion: assumes this madness 3 Grating: troubling 1

4

distracted: seriously confused. This has a stronger meaning than the modern use of the word

forward to be sounded: willing to be questioned 6 crafty madness: 1. cunningly pretending to be mad 2. made more cunning by his madness 7 keeps aloof: distances himself 5

3

Act 3 Scene 1

Hamlet

GUILDENSTERN But with much forcing of his disposition.8 ROSENCRANTZ Niggard of question, but of our demands, Most free in his reply.9 GERTRUDE To any pastime?

10

20

8

with much forcing…disposition: by forcing himself to remain agreeable

9

Niggard…his reply: Reluctant to begin a conversation but generous in reply to our questions

Did you assay him

ROSENCRANTZ Madam, it so fell out,11 that certain players We o’erraught12 on the way. Of these we told him And there did seem in him a kind of joy To hear of it. They are about the court, And, as I think, they have already order This night to play before him.

10

11

Did you assay…pastime?: Did you encourage him to take part in any pastime?

it so fell out: it so happened o’erraught: overtook

12

POLONIUS

’Tis most true, And he beseeched me to entreat your Majesties To hear and see the matter.

CLAUDIUS With all my heart, and it doth much content me To hear him so inclined. Good gentlemen, give him a further edge13 And drive his purpose into these delights.

13

a further edge: further encourage him

14

closely: 1. privately 2. secretly

ROSENCRANTZ We shall, my lord. [Exeunt ROSENCRANTZ and GUILDENSTERN] CLAUDIUS

30

Sweet Gertrude, leave us too; For we have closely14 sent for Hamlet hither, That he, as ’twere by accident, may here Affront15 Ophelia. Her father and myself – lawful espials –16 Will so bestow17 ourselves that, seeing unseen, We may of their encounter frankly judge, And gather by him, as he is behaved, If’t be th’affliction of his love or no That thus he suffers for.

Affront: confront espials: spies 17 bestow: place 15 16

85

Act 3 Scene 1

Hamlet

GERTRUDE

40

I shall obey you. And for your part, Ophelia, I do wish That your good beauties be the happy cause Of Hamlet’s wildness. So shall I hope your virtues Will bring him to his wonted way18 again, To both your honours.19 OPHELIA

18 19

wonted way: normal behaviour To both your honours: to the honour and credit of you both

7

Madam, I wish it may.

[Exit GERTRUDE] POLONIUS Ophelia, walk you here. – Gracious, so please you, We will bestow ourselves. – Read on this book20 That show of such an exercise may colour Your loneliness.21 We are oft to blame in this – ’Tis too much proved that with devotion’s visage And pious action we do sugar o’er The devil himself.22

50

CLAUDIUS [Aside] O, ’tis too true! How smart23 a lash that speech doth give my conscience! The harlot’s cheek beautied with plastering art Is not more ugly to the thing that helps it Than is my deed to my most painted word.24 O heavy burden! POLONIUS I hear him coming. Let’s withdraw, my lord. [Exeunt CLAUDIUS and POLONIUS] [Enter HAMLET]

60

86

HAMLET To be, or not to be25 – that is the question:26 Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune,27 Or to take arms against a sea of troubles And by opposing end them?28 To die: to sleep –

20

book: probably a prayer-book

21

may colour…loneliness: may explain why you are here alone

22

’Tis too much proved...himself: it is often proven the case that a religious appearance can disguise (sugar-coat) even the most evil of acts

23

smart: stinging

24

The harlot’s cheek…word: A prostitute’s face beautified with makeup is ugly compared to the make-up itself, just as my deed (the killing of Old Hamlet) is ugly compared to my hypocritical words

To be, or not to be: This is one of the most celebrated soliloquies in Shakespeare. It is worth noting that Hamlet talks in general philosophical terms and avoids saying ‘I’ or ‘me’ 26 the question: 1. whether life is worth living 2. whether he should commit suicide 3. whether he should take revenge against Claudius and in doing so lose his own life 27 slings and arrows…fortune: the hardship and pain of misfortune / fate 28 to take arms…end them: futilely fight against fate and in doing so, die in the process 25

8

9

Act 3 Scene 1

No more; and by a sleep to say we end The heartache and the thousand natural shocks That flesh is heir to;30 ’tis a consummation31 Devoutly to be wished. – To die: to sleep – To sleep, perchance to dream – ay, there’s the rub,32 For in that sleep of death what dreams may come When we have shuffled off this mortal coil33 Must give us pause:34 there’s the respect That makes calamity of so long life.35 For who would bear the whips and scorns of time,36 Th’ oppressor’s wrong, the proud man’s contumely,37 The pangs of disprized38 love, the law’s delay, The insolence of office39 and the spurns That patient merit of th’ unworthy takes, When he himself might his quietus make With a bare bodkin?40 Who would fardels bear,41 To grunt and sweat under a weary life, But that the dread of something after death, (The undiscovered country42 from whose bourn43 No traveller returns)44 puzzles45 the will And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience46 does make cowards of us all, And thus the native hue of resolution Is sicklied o’er with the pale cast of thought,47 And enterprises of great pitch and moment With this regard their currents turn awry, And lose the name of action.48 Soft you now!49 The fair Ophelia! Nymph,50 in thy orisons51 Be all my sins remembered. 29

70

80

90

OPHELIA

Good my lord, How does your honour for this many a day?

HAMLET I humbly thank you, well, well, well. OPHELIA My lord, I have remembrances52 of yours, That I have longed long to redeliver;53 I pray you now receive them.

Hamlet To die…No more: To die is just to sleep, nothing more 30 flesh is heir to: that is part of being alive 31 consummation: ending / conclusion 32 rub: problem / obstacle. A ‘rub’ is an obstacle used in the game of bowls which impedes the bowl 33 shuffled off this mortal coil: 1. discarded the turmoil of this life 2. discarded this mortal flesh 34 Must give us pause: must make us stop and think 35 there’s the respect…life: there’s the thought that makes calamities last so long (because we endure them rather than committing suicide) 36 whips and scorns of time: 1. pain and insults of the times we live in 2. pain and insults of time / life 37 contumely: insults 38 disprized: despised 39 office: positions of authority 40 When he himself…bodkin?: when he could pay his account (i.e. take his own life) with a mere dagger 41 fardels bear: put up with burdens 42 The undiscovered country: i.e. the afterlife 43 bourn: boundary 44 No traveller returns: Hamlet knows that the Ghost has returned from the ‘undiscovered country’ so he is probably talking generally about the nature of death 45 puzzles: bewilders and prevents action 29

conscience: conscious thought / reflection 47 the native…thought: the natural healthy colour of resolution is made sickly looking by the pallid tinge of thought i.e. thought impairs our ability to act decisively 48 enterprises of great pitch…action: important undertakings of great scope and significance are diverted from their course and are never acted upon 49 Soft you now!: Be quiet now 50 Nymph: Beautiful girl 51 orisons: prayers 46

52 53

remembrances: love tokens / gifts redeliver: return

87

Act 3 Scene 1

HAMLET No, not I. I never gave you aught.54

100

OPHELIA My honoured lord, you know right well you did, And with them, words of so sweet breath composed As made the things more rich.55 Their perfume lost,56 Take these again, for to the noble mind Rich gifts wax57 poor when givers prove unkind. There, my lord. HAMLET Ha, ha! Are you honest?58 OPHELIA My lord? HAMLET Are you fair?59

Hamlet

54

aught: anything

And with them…rich: and with those gifts, you said such sweet sounding words that it made the tokens seem all the more rich 56 Their perfume lost: Now that they are no longer perfumed by your sweet words 57 wax: become 55

58 honest: 1. chaste (still a virgin) 2. truthful

59

fair: beautiful

60

your honesty…beauty: your chastity should not allow anybody to converse with your beauty

61

commerce: dealings

1

OPHELIA What means your lordship? HAMLET That if you be honest and fair, your honesty should admit no discourse to your beauty.60 OPHELIA Could beauty, my lord, have better commerce61 than with honesty?

110

HAMLET Ay, truly; for the power of beauty will sooner transform honesty from what it is to a bawd62 than the force of honesty can translate63 beauty into his likeness. This was sometime64 a paradox,65 but now the time gives it proof. I did love you once.

1

bawd: prostitute translate: transform 64 sometime: once 65 paradox: an absurdity 62 63

OPHELIA Indeed, my lord, you made me believe so.

120

HAMLET You should not have believed me. For virtue cannot so inoculate our old stock but we shall relish of it.66 I loved you not.

88

66

For virtue…of it: You cannot graft virtue onto the plant of corruption so that corruption can no longer be tasted. Hamlet is using the metaphor of a gardener grafting plants

Act 3 Scene 1

Hamlet

OPHELIA I was the more deceived.

130

HAMLET Get thee to a nunnery!67 Why, wouldst thou be a breeder of sinners? I am myself indifferent honest68 but yet I could accuse me69 of such things that it were better my mother had not borne me. I am very proud, revengeful, ambitious, with more offences at my beck70 than I have thoughts to put them in, imagination to give them shape, or time to act them in. What should such fellows as I do crawling between earth and heaven? We71 are arrant knaves,72 all; believe none of us. Go thy ways to a nunnery. Where’s your father?73 OPHELIA At home, my lord. HAMLET Let the doors be shut upon him, that he may play the fool nowhere but in’s74 own house. Farewell.

nunnery: convent (where Ophelia could preserve her chastity) 68 indifferent honest: reasonably virtuous 69 me: myself 67

70

beck: command

We: 1. Humanity 2. Men arrant knaves: downright rascals 73 Where’s your father?: Some commentators argue that Hamlet suspects or even knows that Polonius is eavesdropping. This interpretation casts Hamlet’s exchange with Ophelia in this scene in a different light 71 72

74

in’s: in his

OPHELIA [Aside] O help him, you sweet heavens!

140

HAMLET If thou dost marry, I’ll give thee this plague for thy dowry:75 be thou as chaste as ice, as pure as snow, thou shalt not escape calumny.76 Get thee to a nunnery, go! Farewell. Or, if thou wilt needs marry, marry a fool, for wise men know well enough what monsters77 you make of them. To a nunnery, go, and quickly too. Farewell.

this plague for thy dowry: this curse instead of a dowry 76 calumny: slander 75

77

monsters: cuckolds (victims of marital infidelity)

OPHELIA [Aside] O heavenly powers, restore him! HAMLET I have heard of your paintings,78 well enough. God has given you one face, and you make yourselves another. You jig, you amble,79 and you lisp,80 and nickname God’s creatures,81 and make your wantonness your ignorance.82 Go to, I’ll no more on’t. It hath made me mad. I say, we will have no more marriages. Those that are married

paintings: make-up You jig, you amble: You dance and move seductively 80 lisp: speak in an affected way 81 nickname God’s creatures: This is offensive either because 1. it rejects what God has determined 2. it is trivial and silly 82 make your wantonness…ignorance: use ignorance to excuse your flirtatious / silly behaviour 78 79

89

Act 3 Scene 1

Hamlet

already – all but one – shall live. The rest shall keep as they are. To a nunnery, go! [Exit] 83

150

160

OPHELIA O, what a noble mind is here o’erthrown! The courtier’s, soldier’s, scholar’s eye, tongue, sword; Th’ expectancy and rose of the fair state,84 The glass of fashion85 and the mould of form,86 Th’ observed of all observers, quite, quite down!87 And I, of ladies most deject and wretched, That sucked the honey of his music vows,88 Now see that noble and most sovereign reason, Like sweet bells jangled, out of tune and harsh – That unmatched form and feature of blown89 youth Blasted with ecstasy.90 O woe is me, T’ have seen what I have seen, see what I see!

83

all but one: Presumably Hamlet is referring to Claudius

Th’ expectancy…state: i.e. the hope of beautiful Denmark 85 glass of fashion: reflection of fashion itself 86 mould of form: model of good behaviour 87 down: ruined 88 music vows: sweet sounding promises 84

89

blown: blooming

90

Blasted with ecstasy: blighted by madness

91

sits on brood: broods over I do doubt…disclose: I suspect the outcome and disclosure

[Re-enter CLAUDIUS and POLONIUS]

170

180

90

CLAUDIUS Love! His affections do not that way tend; Nor what he spake, though it lacked form a little, Was not like madness. There’s something in his soul O’er which his melancholy sits on brood91 And I do doubt the hatch and the disclose92 Will be some danger; which to prevent, I have in quick determination Thus set it down.93 He shall with speed to England For the demand of our neglected tribute.94 Haply95 the seas and countries different With variable objects96 shall expel This something-settled97 matter in his heart Whereon his brains still beating98 puts him thus From fashion of himself.99 What think you on’t? POLONIUS It shall do well. But yet do I believe The origin and commencement of his grief Sprung from neglected love. How now, Ophelia! You need not tell us what Lord Hamlet said; We heard it all. My lord, do as you please, But if you hold it fit, after the play Let his Queen-mother all alone entreat him To show his grief.100 Let her be round101 with him

92

set it down: decided neglected tribute: unpaid taxes. This possibly is a reference to the Danegeld: money paid by England to Denmark to prevent invasion during the Viking period 95 Haply: Perhaps 96 variable objects: change of scene 97 something-settled: somewhat obsessive 98 brains still beating: unrelenting fixation 99 puts him thus…fashion of himself: causes him to act uncharacteristically 93 94

show his grief: reveal what his grievance is 101 round: blunt 100

Act 3 Scene 1

Hamlet

And I’ll be placed, so please you, in the ear Of all their conference. If she find him not,102 To England send him, or confine him where Your wisdom best shall think.

102

find him not: cannot discover what his problem is

CLAUDIUS

It shall be so. Madness in great ones must not unwatched go. [Exeunt] Key Quotations POLONIUS

’Tis too much proved that with devotion’s visage And pious action we do sugar o’er The devil himself.

CLAUDIUS

The harlot’s cheek beautied with plastering art Is not more ugly to the thing that helps it Than is my deed to my most painted word. O heavy burden!

HAMLET

To be, or not to be… And lose the name of action. The full soliloquy (lines 57 – 91) is a key quotation.

HAMLET

Get thee to a nunnery! Why, wouldst thou be a breeder of sinners?

HAMLET

I have heard of your paintings, well enough. God has given you one face, and you make yourselves another. You jig, you amble, and you lisp, and nickname God’s creatures, and make your wantonness your ignorance.

OPHELIA

O, what a noble mind is here o’erthrown! The courtier’s, soldier’s, scholar’s eye, tongue, sword; Th’ expectancy and rose of the fair state, The glass of fashion and the mould of form, Th’ observed of all observers, quite, quite down!

scene Commentary

Both Claudius and Polonius are unscrupulous and devious characters. Neither have moral qualms about spying and invading the privacy of others. They hide and eavesdrop on Hamlet’s meeting with Ophelia. Using Ophelia as ‘bait’ is a devious ploy; both men then agree without hesitation to use Gertrude in a similar way. In an aside, Claudius reveals that he is burdened by guilt. Prompted by Polonius’ comment that the appearance of piety may ‘sugar o’er / The devil himself’, Claudius recognises that his own false appearance masks a darker truth: ‘The harlot’s cheek beautied with plastering art Is not more ugly to the thing that helps it Than is my deed to my most painted word. O heavy burden!’ 91

Act 3 Scene 1

Hamlet

Just as a prostitute may try to hide her ‘ugly’ sin with make-up, Claudius disguises his terrible crime with ‘painted’ words. Hamlet’s troubled mind prompts him to reflect on life, death and suicide. In his great soliloquy, Hamlet wonders why individuals put up with all of life’s suffering: ‘who would bear the whips and scorns of time…/ When he himself might his quietus make / With a bare bodkin?’ Hamlet concludes that people generally endure the hardships of life and avoid suicide out of fear of the ‘undiscovered country from whose bourn / No traveller returns’. This reflection is clearly prompted by Hamlet’s difficult situation. However, it should perhaps be seen as a philosophical meditation on life and death rather than expressing a personal desire to die. Hamlet is a thinker rather than a man of action. Hamlet’s meditation on suffering and suicide allows him to realise how thought can stand in the way of action. He says: ‘Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o’er with the pale cast of thought, And enterprises of great pitch and moment With this regard their currents turn awry, And lose the name of action’. His own inability to take action against Claudius grows out of his tendency to reflect. His conscience stands in the way of action. Hamlet’s meeting with Ophelia is commonly called the ‘Nunnery Scene’. there are a number of possible explanations for Hamlet’s cruel treatment of Ophelia: 1. Hamlet is perhaps angry with Ophelia for returning his presents and for acting aloof. 2. Hamlet possibly knows that he is being watched by Polonius and Claudius. This idea gives greater weight to Hamlet’s oblique criticism of Polonius and Claudius. For example he says of Ophelia’s father: ‘Let the doors be shut upon him, that he may play the fool nowhere but in’s own house’ and later threatens the King: ‘Those that are married already – all but one – shall live.’ 3. Hamlet’s view of women and marriage is perhaps coloured by his disgust at Gertrude’s behaviour. Hamlet sees his mother as betraying the memory of his father. If this is the consequence of marriage, Hamlet sees that the only way for Ophelia to prevent similar betrayal is to avoid marriage altogether: ‘Get thee to a nunnery!’ Ophelia is deeply distressed by Hamlet’s cruel treatment of her. She laments the drastic change in Hamlet: ‘O, what a noble mind is here o’erthrown!’ As a renaissance figure, Hamlet once had the qualities of the perfect man and was admired by all: ‘The glass of fashion and the mould of form, / Th’ observed of all observers’. Ophelia struggles to reconcile this with the bitter and angry version of the man she now sees.

Questions

1. What do Rosencrantz and Guildenstern tell Claudius about Hamlet at the start of the scene? 2. How does Claudius reveal to the audience that he has a conscience? 3. According to Hamlet’s soliloquy, why do people generally endure life’s suffering? 4. Rewrite Hamlet’s ‘To be, or not to be’ soliloquy using modern English. 5. (a) Explain how Hamlet treats Ophelia in the Nunnery Scene. (b) Why do you think he treats her this way? 6. What scheme does Polonius suggest to Claudius to deal with Hamlet? 92

Act 3 Scene 2 scene summary

Hamlet directs how the Players will perform for the King and the court. Hamlet talks to Horatio about the falseness of court life. He praises Horatio for having a personality that balances passion and reason. A dumb-show is performed prior to the play which mirrors the circumstances of Old Hamlet’s death. The play begins. The subject matter echoes Claudius’ crime and Gertrude’s hasty marriage. Claudius, angered and distressed by what he sees, leaves abruptly. Hamlet now has further proof that the Ghost’s story is true. Rosencrantz and Guildenstern, sent by Gertrude, again probe Hamlet to discover the reason for his behaviour. Hamlet sharply rebukes them for trying to manipulate him. As the scene closes, Hamlet expresses his determination to take revenge on Claudius.

A hall in the castle. Enter HAMLET and three of the Players

10

HAMLET Speak the speech, I pray you, as I pronounced it to you: trippingly1 on the tongue. But if you mouth2 it,as many of your players do, I had as lief3 the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use all4 gently; for in the very torrent, tempest and, as I may say, the whirlwind of passion, you must acquire and beget5 a temperance that may give it smoothness. O, it offends me to the soul to hear a robustious6 periwig-pated fellow7 tear a passion to tatters, to very rags, to split the ears of the groundlings,8 who for the most part are capable of nothing but inexplicable dumb-shows9 and noise. I would have such a fellow whipped for o’erdoing Termagant;10 it out-Herods Herod.11 Pray you, avoid it. PLAYER I warrant your honour.12 HAMLET Be not too tame neither, but let your own discretion be your tutor. Suit the action to the word, the word to the action, with this special observance: that you o’erstep

trippingly: lightly mouth: over-emphasise 3 I had as lief: I would like it as much if 4 use all: do everything 5 acquire and beget: adopt and achieve 6 robustious: boisterous 7 periwig-pated fellow: man wearing a wig i.e. an actor 8 groundlings: theatre audience who stood in front of the stage. These were the cheapest tickets to buy 9 inexplicable dumb-shows: meaningless mimes 10 Termagant: an imaginary God thought by medieval Christians to be worshipped by Muslims. Termagant was probably a villainous stage character 11 Herod: villainous king of Judea during the time of Christ. Herod featured as a villain in many medieval plays 12 I warrant your honour: Let me assure your lordship 1 2

93

Act 3 Scene 2

Hamlet

not the modesty of nature. For anything so overdone is from14 the purpose of playing whose end, both at the first and now, was and is, to hold, as ’twere, the mirror up to nature;15 to show virtue her own feature, scorn her own image,16 and the very age and body of the time his form and pressure.17 Now this overdone, or come tardy off,18 though it makes the unskilful19 laugh, cannot but make the judicious grieve; the censure of the which one20 must in your allowance o’erweigh a whole theatre of others. O, there be players that I have seen play and heard others praised – and that highly – not to speak it profanely, that, neither having th’ accent of Christians nor the gait of Christian, pagan, nor man,21 have so strutted and bellowed that I have thought some of Nature’s journeymen22 had made men, and not made them well, they imitated humanity so abominably.23 13

20

30

PLAYER I hope we have reformed that indifferently24 with us, sir.

40

HAMLET O, reform it altogether. And let those that play your clowns speak no more than is set down for them. For there be of them that will themselves laugh, to set on some quantity of barren spectators25 to laugh too, though, in the meantime, some necessary question26 of the play be then to be considered. That’s villainous, and shows a most pitiful ambition in the fool that uses it. Go, make you ready.

modesty of nature: natural restraints from: contrary to 15 mirror up to nature: 1. to reflect the truth of the world 2. to reveal the reality of human nature 16 scorn her own image: to show the scornful person how she appears to others 17 form and pressure: shape and impression 18 come tardy off: poorly performed 19 the unskilful: those lacking taste or education 20 the censure of the which one: the judgement of one of whom 21 Christian, pagan, man: i.e. all people 13 14

Nature’s journeymen: unqualified workers hired by Nature 23 O, there be players…abominably: Hamlet is saying that he has seen actors that are so poor that they seemed as if they weren’t human or had been made by an unskilled apprentice rather than Nature herself 24 indifferently: somewhat 22

5

quantity of barren spectators: a number of audience members lacking good judgement 26 necessary question: important issue 25

[Exeunt Players] [Enter POLONIUS, ROSENCRANTZ and GUILDENSTERN]

6

How now, my lord! I will the King hear this piece of work? POLONIUS And the Queen too, and that presently. HAMLET Bid the players make haste. 94

7

Act 3 Scene 2

Hamlet

[Exit POLONIUS] Will you two help to hasten them? ROSENCRANTZ and GUILDENSTERN

We will, my lord. [Exeunt ROSENCRANTZ and GUILDENSTERN]

HAMLET What ho! Horatio! [Enter HORATIO]

50

HORATIO Here, sweet lord, at your service. HAMLET Horatio, thou art e’en27 as just a man As e’er my conversation28 coped withal.29

e’en: even conversation: dealings with people 29 coped withal: ever encountered 27 28

HORATIO O, my dear lord – HAMLET

60

70

Nay, do not think I flatter, For what advancement30 may I hope from thee That no revenue hast but thy good spirits, To feed and clothe thee? Why should the poor be flattered? No, let the candied31 tongue lick absurd pomp And crook32 the pregnant33 hinges of the knee Where thrift may follow fawning.34 Dost thou hear? Since my dear soul was mistress of her choice35 And could of men distinguish her election,36 Sh’ath sealed thee for herself37. For thou hast been As one in suffering all that suffers nothing –38 A man that Fortune’s buffets39 and rewards Hast ta’en with equal thanks.40 And blest are those Whose blood and judgement41 are so well comeddled42 That they are not a pipe for Fortune’s finger To sound what stop she please.43 Give me that man That is not passion’s slave44 and I will wear him In my heart’s core – ay, in my heart of heart – As I do thee. Something too much45 of this. There is a play tonight before the King.

advancement: gain candied: sweet 32 crook: bend 33 pregnant: ready / willing 34 Where thrift may follow fawning: when profit follows flattery 35 mistress of her choice: able to make up its own mind 36 And could of men…election: and could choose between men 37 Sh’ath…herself: she has chosen you. The image here is of putting a legal seal on something to indicate ownership 38 As one…nothing: like someone who has suffered greatly but shows no sign of having suffered 39 buffets: blows 40 ta’en with equal thanks: takes with the same stoic spirit 41 blood and judgement: passion and reason 42 comeddled: mixed 43 they are not a pipe…please: i.e. you are not a man who is at the mercy of Fortune 44 passion’s slave: led by emotion 45 Something too much: That’s enough 30 31

95

Act 3 Scene 2

80

Hamlet

One scene of it comes near the circumstance Which I have told thee of my father’s death. I prithee,46 when thou seest that act afoot,47 Even with the very comment of thy soul48 Observe mine uncle. If his occulted49 guilt Do not itself unkennel50 in one speech, It is a damned ghost that we have seen And my imaginations are as foul As Vulcan’s stithy.51 Give him heedful note,52 For I mine eyes will rivet to his face And after we will both our judgements join In censure of his seeming.53

prithee: pray thee that act afoot: that act being performed 48 comment of thy soul: the fullest attention of your entire being 49 occulted: hidden 50 itself unkennel: reveal itself 51 Vulcan’s stithy: Vulcan’s forge. Vulcan is the Roman god of fire and volcanoes and was often pictured as a blacksmith 52 heedful note: careful attention 46 47

53

In censure of his seeming: to judge how he appears / behaves

54

scape: escape

55

be idle: adopt my ‘antic disposition’

56

How fares: How are you. However, Hamlet misinterprets this to mean ‘What have you been eating?’

1

HORATIO

Well, my lord If he steal aught the whilst this play is playing, And scape54 detecting, I will pay the theft.

HAMLET They are coming to the play. I must be idle.55 Get you a place. [Danish march. A flourish. Enter CLAUDIUS, GERTRUDE, POLONIUS, OPHELIA, ROSENCRANTZ, GUILDENSTERN and others] CLAUDIUS

90

How fares56 our cousin Hamlet?

HAMLET Excellent, i’ faith! Of the chameleon’s dish.57 I eat the air, promise-crammed.58 You cannot feed capons59 so. CLAUDIUS I have nothing with this answer, Hamlet. These words are not mine.60 HAMLET No, nor mine now. [To POLONIUS] My lord, you played once i’ th’ university, you say? POLONIUS That did I, my lord, and was accounted a good actor.

96

chameleon’s dish: i.e. air. It was believed that chameleons survived on air 58 promise-crammed: Claudius has promised that Hamlet will be his successor. Hamlet has promised to kill Claudius. Hamlet may have both promises in mind here 59 capons: castrated cockerels fattened for eating 60 I have nothing…not mine: I can get nothing out of this answer. These words have nothing to do with the question I asked 57

1

Act 3 Scene 2

Hamlet

HAMLET What did you enact? POLONIUS I did enact Julius Caesar. I was killed i’ th’ Capitol. Brutus killed me.

100

HAMLET It was a brute part61 of him to kill so capital a calf62 there. Be the players ready? ROSENCRANTZ Ay, my lord. They stay upon your patience.63

62

63

stay upon your patience: wait for you to tell them to begin

64

here’s metal more attractive: Referring to Ophelia Hamlet means: 1. I’m drawn irresistibly over here (like a magnet) 2. I find Ophelia’s character (mettle) more appealing

65

lie in your lap: 1. rest my head on your lap 2. have sex with you. Hamlet is being deliberately ambiguous

66

country matters: sex

67

fair thought: good idea

GERTRUDE Come hither, my dear Hamlet. Sit by me. HAMLET No, good mother, here’s metal more attractive.64 POLONIUS [To CLAUDIUS] O, ho! Do you mark that? HAMLET Lady, shall I lie in your lap?65 [Lying down at OPHELIA’s feet]

brute part: brutal action capital a calf: a first-rate fool

61

OPHELIA No, my lord. HAMLET I mean, my head upon your lap? OPHELIA Ay, my lord. HAMLET Do you think I meant country matters?66

110

OPHELIA I think nothing, my lord. HAMLET That’s a fair thought67 to lie between maids’ legs.

97

Act 3 Scene 2

Hamlet

OPHELIA What is, my lord? HAMLET Nothing.68

68

OPHELIA You are merry, my lord.

Nothing: ‘Thing’ was slang for penis. ‘No-thing’ could therefore be a reference to a woman’s vagina

HAMLET Who, I?

1

OPHELIA Ay, my lord. HAMLET O God, your only jig-maker!69 What should a man do but be merry? For look you how cheerfully my mother looks, and my father died within’s two hours!

69

your only jig-maker: the only one who can entertain you

70

Nay then…sables: It can’t be; if it is I’ll let the devil wear my mourning clothes and I’ll wear a fur trimmed suit

71

hobby-horse: a horse costume worn by a morris dancer. These were abandoned from May festivals because of Puritan disapproval. In Hamlet’s view, his father may be forgotten like the once popular hobby-horses

OPHELIA Nay, ’tis twice two months, my lord.

120

HAMLET So long? Nay then, let the devil wear black, for I’ll have a suit of sables.70 O heavens! Die two months ago, and not forgotten yet? Then there’s hope a great man’s memory may outlive his life half a year! But, by’r lady, he must build churches then, or else shall he suffer not thinking on – with the hobby-horse,71 whose epitaph is ‘For O! For O! The hobby-horse is forgot!’ [Trumpets sound. Hautboys play. The dumb-show enters] [Enter a King and a Queen very lovingly. The Queen embracing him, and he her. She kneels, and makes show of protestation unto him. He takes her up, and declines his head upon her neck. He lies him down upon a bank of flowers. She, seeing him asleep, leaves him. Anon comes in a fellow, takes off his crown, kisses it, pours poison in the King’s ears, and exits. The Queen returns; finds the King dead, and makes passionate action72. The poisoner, with some two or three mutes, comes in again, seeming to lament with her. The dead body is carried away. The 98

72

makes passionate action: makes gestures of intense grief

1

Act 3 Scene 2

Hamlet

poisoner woos the Queen with gifts. She seems loath and unwilling awhile, but in the end accepts his love. Exeunt] OPHELIA What means this, my lord? HAMLET Marry, this is miching mallecho;73 it means mischief.

130

OPHELIA Belike74 this show imports75 the argument76 of the play. [Enter Prologue]77 HAMLET We shall know by this fellow: the players cannot keep counsel;78 they’ll tell all.

73

miching mallecho: This obscure phrase is explained by Hamlet himself: mischief

Belike: Perhaps imports: introduces 76 argument: plot 77 Prologue: the actor who speaks the play’s prologue 74 75

78

counsel: secrets

OPHELIA Will he tell us what this show meant? HAMLET Ay, or any show that you’ll show79 him. Be not you ashamed to show; he’ll not shame to tell you what it means. OPHELIA You are naught, you are naught.80 I’ll mark the play.

140

PROLOGUE For us, and for our tragedy, Here stooping to your clemency,81 We beg your hearing patiently. [Exit] HAMLET Is this a prologue, or the posy of a ring?82 OPHELIA ’Tis brief, my lord.

79

show: Hamlet implies that Ophelia may ‘show’ him something sexually intimate

80

naught: naughty. The word has a stronger meaning than today’s usage, something like ‘wicked’ or ‘obscene’

81

clemency: mercy

82

posy of ring: the inscription on the inside of a ring. Hamlet is complaining that the prologue is too short

HAMLET As woman’s love. 99

Act 3 Scene 2

Hamlet

[Enter two players: King and Queen] PLAYER KING Full thirty times hath Phoebus’ cart83 gone round Neptune’s salt wash84 and Tellus’ orbed ground85 And thirty dozen moons with borrowed sheen86 About the world have times twelve thirties been Since love our hearts and Hymen87 did our hands Unite commutual88 in most sacred bands.

150

160

PLAYER QUEEN So many journeys may the sun and moon Make us again count o’er ere love be done! But woe is me, you are so sick of late, So far from cheer and from your former state, That I distrust89 you. Yet, though I distrust, Discomfort you, my lord, it nothing must. For women fear too much, even as they love And women’s fear and love holds quantity,90 In neither aught, or in extremity.91 Now, what my love is, proof hath made you know And as my love is sized, my fear is so.92 Where love is great, the littlest doubts are fear, Where little fears grow great, great love grows there. PLAYER KING Faith, I must leave thee, love, and shortly too, My operant powers93 their functions leave to do,94 And thou shalt live in this fair world behind Honoured, beloved, and haply95 one as kind For husband shalt thou –

Phoebus’ cart: the sun Neptune’s salt wash: the sea 85 Tellus’ orbed ground: the earth 86 borrowed sheen: light reflected (from the sun) 83 84

87

commutual: together

89

distrust: worry about

holds quantity: are in proportion to one another 91 In neither…extremity: either there is none (‘aught’) or there is too much (‘in extremity’) 92 as my love is sized…so: just as my love is great, so is my fear 90

operant powers: 1. vital organs 2. faculties 94 their functions leave to do: cease to work 95 haply: perhaps

170

HAMLET [Aside] Wormwood, wormwood.97 PLAYER QUEEN The instances98 that second marriage move99 Are base respects of thrift,100 but none of love. 100

1

1

93

PLAYER QUEEN

O, confound the rest!96 Such love must needs be treason in my breast. In second husband let me be accurst! None wed the second but who killed the first.

Hymen: the god of marriage

88

96

2

O, confound the rest!: O, damn the rest of what you were about to say!

wormwood: a bitter medicinal herb. Hamlet is suggesting that the Player Queen’s lines will prove bitter for Claudius and particularly Gertrude to swallow 98 instances: reasons 99 move: motivate 100 base respects of thrift: dishonourable pursuit of money 97

2

Act 3 Scene 2

Hamlet

A second time I kill my husband dead When second husband kisses me in bed.

180

190

200

210

PLAYER KING I do believe you think what now you speak. But what we do determine oft we break. Purpose is but the slave to memory,101 Of violent birth, but poor validity,102 Which now, like fruit unripe, sticks on the tree But fall unshaken when they mellow be.103 Most necessary ’tis that we forget To pay ourselves what to ourselves is debt.104 What to ourselves in passion we propose, The passion ending, doth the purpose lose. The violence of either grief or joy Their own enactures105 with themselves destroy. Where joy most revels, grief doth most lament, Grief joys, joy grieves, on slender accident.106 This world is not for aye,107 nor ’tis not strange That even our loves should with our fortunes change, For ’tis a question left us yet to prove108 Whether love lead109 Fortune, or else Fortune love. The great man down,110 you mark his favourite flies, The poor advanced111 makes friends of enemies. And hitherto112 doth love on Fortune tend, For who not needs113 shall never lack a friend, And who in want a hollow friend doth try,114 Directly seasons him115 his enemy. But, orderly to end where I begun, Our wills and fates do so contrary run That our devices116 still are overthrown. Our thoughts are ours, their ends none of our own. So think thou wilt no second husband wed But die thy thoughts when thy first lord is dead. PLAYER QUEEN Nor earth to me give food, nor heaven light. Sport117 and repose lock from me day and night. To desperation turn my trust and hope. An anchor’s cheer118 in prison be my scope. Each opposite119 that blanks120the face of joy Meet what I would have well and it destroy. Both here and hence pursue me lasting strife If once a widow, ever I be wife!

Purpose…memory: Firm decisions rely on us to remember them 102 Of violent birth…validity: they are born of passion but do not last long 103 mellow be: are ripe 101

104

Most necessary…is debt: It is inevitable that we forget resolutions/ promises that we have made to ourselves

105

enactures: acting upon promises

slender accident: the slightest chance 107 aye: ever 106

108 109

prove: answer lead: dominates

down: out of favour advanced: promoted 112 hitherto: up to this point 113 who not needs: the person who needs no one 110 111

114

try: test

115

seasons him: turns him into

116

devices: plans

117

Sport: Recreation

An anchor’s cheer: The meagre diet of an anchorite (hermit) 119 opposite: opposing force 120 blanks: 1. makes pale 2. erases 118

101

Act 3 Scene 2

HAMLET If she should break it121 now! PLAYER KING ’Tis deeply sworn. Sweet, leave me here awhile. My spirits grow dull, and fain122 I would beguile123 The tedious day with sleep. [Sleeps]

Hamlet 121

break it: i.e. break her vow

122

fain: willingly beguile: charm away

123

PLAYER QUEEN

Sleep rock thy brain, And never come mischance between us twain! [Exit]

HAMLET Madam, how like you this play? GERTRUDE The lady doth protest too much, methinks.

220

2

HAMLET O, but she’ll keep her word. CLAUDIUS Have you heard the argument? Is there no offence in’t? HAMLET No, no, they do but jest. Poison in jest. No offence i’ th’ world. CLAUDIUS What do you call the play?

230

HAMLET The Mousetrap.124 Marry, how tropically!125 This play is the image126 of a murder done in Vienna. Gonzago is the Duke’s name, his wife, Baptista. You shall see anon;127 ’tis a knavish piece of work, but what o’ that? Your Majesty and we that have free souls128 – it touches us not. Let the galled jade wince, our withers are unwrung.129 [Enter LUCIANUS] This is one Lucianus, nephew to the King.

102

2

Mousetrap: Hamlet has probably invented this title. It stems from his intention to ‘catch the conscience of the King’ 125 tropically: derived from a trope (figure of speech) 126 image: representation 127 anon: soon 128 have free souls: are guilt free 129 Let the galled jade…unwrung: Let the saddle-sore horse kick out in pain, our backs are not chaffed i.e. Let the guilty feel pain; those of us who are free of guilt will feel none 124

Act 3 Scene 2

Hamlet

OPHELIA You are as good as a chorus, my lord. HAMLET I could interpret between you and your love, if I could see the puppets dallying.130 OPHELIA You are keen,131 my lord, you are keen. HAMLET It would cost you a groaning132 to take off my edge. OPHELIA Still better, and worse.133

240

HAMLET So you mistake your husbands.134 – Begin, murderer; pox,135 leave thy damnable faces, and begin. Come ‘the croaking raven doth bellow for revenge.’136 LUCIANUS Thoughts black, hands apt, drugs fit, and time agreeing, Confederate season,137 else no creature seeing,138 Thou mixture rank,139 of midnight weeds collected,140 With Hecate’s ban thrice blasted,141 thrice infected, Thy natural magic and dire property, On wholesome life usurp142 immediately. [Pours the poison into the sleeper’s ears]

250

HAMLET He poisons him i’ th’ garden for his estate. His name’s Gonzago. The story is extant,143 and written in very choice Italian. You shall see anon how the murderer gets the love of Gonzago’s wife.

130

I could interpret…dallying: I could speak the lines for you and your lover if you were puppets in a puppet show

131

keen: sharp / witty

132

groaning: groans of a woman losing her virginity

133

Still better, and worse: Even wittier and more obscene

So you mistake your husbands: So women take other men. Hamlet is linking Ophelia’s comment with the Christian marriage vow: ‘For better or worse’ 135 pox: curse you 136 the croaking raven…revenge: a rough quotation of two lines from the anonymous play The True Tragedy of Richard III 137 Confederate season: perfect opportunity 138 else no creature seeing: nobody else present to witness 139 rank: foul / offensive 140 of midnight weeds collected: made from weeds gathered at midnight 141 Hecate’s ban…blasted: Hecate’s (goddess of witchcraft) curse repeated three times 142 usurp: supplant / overthrow 143 extant: still exists (in writing) 134

OPHELIA The King rises. HAMLET What, frighted with false fire!144

144

false fire: blank ammunition

GERTRUDE How fares my lord? 103

Act 3 Scene 2

POLONIUS Give o’er145 the play.

Hamlet 145

Give o’er: Stop

CLAUDIUS Give me some light, away! POLONIUS Lights, lights, lights! [Exeunt all but HAMLET and HORATIO]

260

HAMLET Why, let the stricken deer go weep, The hart ungalled play, For some must watch, while some must sleep. So runs the world away.146 Would not this, sir, and a forest of feathers147 – if the rest of my fortunes turn Turk148 with me – with two Provincial roses149 on my razed shoes,150 get me a fellowship151 in a cry of players,152 sir? HORATIO Half a share.

270

HAMLET A whole one, I. For thou dost know, O Damon dear,153 This realm dismantled154 was Of Jove155 himself, and now reigns here A very, very – pajock.156 HORATIO You might have rhymed.157 HAMLET O good Horatio, I’ll take the ghost’s word for a thousand pound. Didst perceive? HORATIO Very well, my lord. HAMLET Upon the talk of the poisoning?

104

2

Why, let the stricken deer…away: These lines are from an unknown ballad. They serve as a metaphor that compares Claudius to an injured (‘stricken’) deer who must be now on his guard, while Hamlet is like an uninjured one (‘hart ungalled’) who may sleep and play at his leisure 147 a forest of feathers: i.e. many actors. Actors wore feathers in their hats 148 turn Turk: abandon 149 Provincial roses: French rosettes. Like the feathers these suggest an affected style 150 razed shoes: shoes that have a fashionable pattern cut into them 151 fellowship: partnership 152 cry of players: troop of actors 153 O Damon dear: O dear friend. This is a reference to the Greek legend of Damon and Pythius which explores the notion of true friendship 154 dismantled: divested of 155 Jove: Roman King of the Gods. Hamlet is comparing him to Old Hamlet 156 pajock: Possibly: 1. peacock – a bird thought to be proud and lecherous 2. patchcock – a disreputable person 157 rhymed: Horatio expects Hamlet to rhyme with ‘was’, probably by saying ‘ass’ 146

2

Act 3 Scene 2

Hamlet

HORATIO I did very well note him.

280

HAMLET Ah, ha! Come, some music! Come, the recorders! For if the King like not the comedy, Why then, belike,158 he likes it not, perdy.159 Come, some music!

158 159

belike: perhaps perdy: by God

[Re-enter ROSENCRANTZ and GUILDENSTERN] GUILDENSTERN Good my lord, vouchsafe160 me a word with you.

160

vouchsafe: allow

HAMLET Sir, a whole history. GUILDENSTERN The King, sir – HAMLET Ay, sir, what of him? GUILDENSTERN Is in his retirement161 marvellous distempered.162 HAMLET With drink, sir? GUILDENSTERN No, my lord, rather with choler.163

290

HAMLET Your wisdom should show itself more richer to signify this to his doctor. For, for me to put him to his purgation164 would perhaps plunge him into far more choler. GUILDENSTERN Good my lord, put your discourse into some frame165 and start166 not so wildly from my affair. HAMLET I am tame, sir: pronounce.167

retirement: withdrawal to his private chamber 162 distempered: angry. The word can also mean ‘drunk’ 161

163

164

choler: anger

purgation: treatment by purging. A purgation could be medical (done by bleeding) but Hamlet may have a spiritual purgation in mind here

put your discourse into some frame: get your ideas / words in order 166 start: shy away (like a spooked horse) 165

167

pronounce: speak your message 105

Act 3 Scene 2

Hamlet

GUILDENSTERN The Queen, your mother, in most great affliction of spirit, hath sent me to you. HAMLET You are welcome. GUILDENSTERN Nay, good my lord, this courtesy is not of the right breed.168 If it shall please you to make me a wholesome answer, I will do your mother’s commandment. If not, your pardon and my return shall be the end of my business.

300

3 168

breed: type / kind

169

my wit’s diseased: my mind is unwell

HAMLET Sir, I cannot. GUILDENSTERN What, my lord? HAMLET Make you a wholesome answer: my wit’s diseased.169 But, sir, such answer as I can make, you shall command. Or rather, as you say, my mother. Therefore no more. But to the matter – my mother, you say?

310

ROSENCRANTZ Then thus she says. Your behaviour hath struck her into amazement and admiration.170 HAMLET O wonderful son that can so stonish171 a mother! But is there no sequel at the heels of this mother’s admiration?172 Impart. ROSENCRANTZ She desires to speak with you in her closet,173 ere you go to bed. HAMLET We shall obey, were she ten times our mother. Have you any further trade174 with us?

106

3 170

admiration: wonder / bewilderment

171

stonish: astonish is there no sequel…admiration?: do you not have anything else to follow this news of my mother’s wonder?

172

173

closet: private chamber

174

trade: business

Act 3 Scene 2

Hamlet

ROSENCRANTZ My lord, you once did love me. HAMLET So I do still, by these pickers and stealers.175

320

ROSENCRANTZ Good my lord, what is your cause of distemper? You do surely bar the door upon your own liberty, if you deny your griefs to your friend.176 HAMLET Sir, I lack advancement.177

175

pickers and stealers: hands. The reference comes from The Book of Common Prayer

You do surely…your friend: You surely will prevent your mental recovery if you don’t share your problems with your friend 177 advancement: promotion 176

ROSENCRANTZ How can that be, when you have the voice of the King himself for your succession in Denmark? HAMLET Ay, but sir, ‘While the grass grows’178 – the proverb is something musty.179 [Re-enter players with recorders]

330

O, the recorders! Let me see one. To withdraw180 with you, why do you go about to recover the wind of me,181 as if you would drive me into a toil?182 GUILDENSTERN O, my lord, if my duty be too bold, my love is too unmannerly.183 HAMLET I do not well understand that.184 Will you play upon this pipe?185 GUILDENSTERN My lord, I cannot.

While the grass grows: The full proverb is ‘While the grass grows, the horse starves’ 179 musty: stale 178

withdraw: speak privately to recover the wind of me: get downwind of me. The metaphor is of a hunter stalking his prey 182 toil: trap 180 181

O, my lord…unmannerly: My lord, if I appear too forward in doing my duty to you, it is because my love for you causes me to neglect my manners 184 I do not well understand that: 1. Hamlet does not understand Guildenstern’s obscure remark 2. Hamlet does not believe Guildenstern’s claim that he loves him 185 pipe: recorder 183

HAMLET I pray you. GUILDENSTERN Believe me, I cannot. 107

Act 3 Scene 2

Hamlet

HAMLET I do beseech you. GUILDENSTERN I know no touch of it, my lord. HAMLET It is as easy as lying. Govern these ventages186 with your fingers and thumb, give it breath with your mouth, and it will discourse most eloquent music. Look you, these are the stops.

340

186

ventages: holes in the recorder

GUILDENSTERN But these cannot I command to any utterance of harmony. I have not the skill.

350

HAMLET Why, look you now, how unworthy187 a thing you make of me! You would play upon me! You would seem to know my stops;188 you would pluck out the heart of my mystery;189 you would sound190 me from my lowest note to the top of my compass.191 And there is much music, excellent voice, in this little organ.192 Yet cannot you make it speak. ’Sblood!193 Do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret194 me, yet you cannot play upon me. [Enter POLONIUS]

unworthy: easily manipulated stops: holes (the same as ‘ventages’) 189 mystery: 1. secret 2. skill (i.e. musical skill) 190 sound: 1. play on 2. probe 191 top of my compass: highest note/ limit 192 organ: instrument i.e. the recorder 193 ’Sblood: by God’s blood (an oath) 194 fret: 1. worry / irritate 2. use the fretboard of an instrument to produce notes 187 188

God bless you, sir! POLONIUS My lord, the Queen would speak with you, and presently. HAMLET Do you see yonder cloud195 that’s almost in shape of a camel? POLONIUS By th’ mass, and ’tis like a camel indeed.

360 108

HAMLET Methinks it is like a weasel.

195

cloud: This scene takes place indoors at night, Hamlet is therefore pretending to see the cloud and Polonius humours him (see next line)

3

Act 3 Scene 2

POLONIUS It is backed196 like a weasel.

Hamlet 196

backed: has a back like

HAMLET Or like a whale? POLONIUS Very like a whale. HAMLET Then197 I will come to my mother by and by. [Aside] They fool me to the top of my bent.198 – I will come by and by. POLONIUS I will say so.

370

HAMLET ‘By and by’ is easily said. Leave me, friends. [Exeunt all but HAMLET] ’Tis now the very witching time199 of night, When churchyards yawn200 and hell itself breathes out Contagion201 to this world. Now could I drink hot blood,202 And do such bitter business as the day Would quake to look on. Soft! Now to my mother. O heart, lose not thy nature.203 Let not ever The soul of Nero204 enter this firm bosom – Let me be cruel, not unnatural: I will speak daggers to her, but use none. My tongue and soul in this be hypocrites.205 How in my words somever she be shent To give them seals never, my soul consent!206 [Exit]

Then: i.e Seeing as you agree with what I say 198 to the top of my bent: to the limit of my patience 197

witching time: hour when witchcraft takes place 200 churchyards yawn: graves open 201 Contagion: Poison / Disease 202 drink hot blood: it was thought that witches did this 203 nature: natural love a son has for his mother 204 Nero: Roman emperor who had his mother Agrippina murdered. This reference is also quite fitting as Agrippina was accused of poisoning her husband, the emperor Claudius 205 My tongue…hypocrites: i.e. I will hypocritically merely rebuke my mother when in truth I want to physically hurt her 206 How in my words…consent!: No matter how much I rebuke (‘shent’) my mother, I will never act on my words (‘give them seals’). (The royal ‘seal’ ensured that any proclamation was enacted) 199

109

Act 3 Scene 2

Hamlet

Key Quotations HAMLET

And blest are those Whose blood and judgement are so well comeddled That they are not a pipe for Fortune’s finger To sound what stop she please.

GERTRUDE

The lady doth protest too much

HAMLET

Do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, yet you cannot play upon me.

HAMLET

Now could I drink hot blood, And do such bitter business as the day Would quake to look on.

HAMLET

Let me be cruel, not unnatural: I will speak daggers to her, but use none. My tongue and soul in this be hypocrites. How in my words somever she be shent To give them seals never, my soul consent!

scene Commentary

Hamlet highlights the falseness of court life. He expresses his deep frustration with the culture which rewards insincere flattery: ‘let the candied tongue lick absurd pomp / And crook the pregnant hinges of the knee / Where thrift may follow fawning.’ Hamlet admires Horatio’s balance of passion and reason, something he himself sorely lacks: ‘blest are those / Whose blood and judgement are so well comeddled / That they are not a pipe for Fortune’s finger / To sound what stop she please.’ Horatio’s loyalty, trustworthiness and rationality mean that he is the only character in the play in whom Hamlet can confide. Horatio’s stoical nature allows him to serve as a foil (contrast) to Hamlet, highlighting Hamlet’s inability to deal with a crisis effectively. The dramatic performance begins with a dumb-show. The circumstances of Old Hamlet’s murder are mimed. This is not enough to panic the King, whose self-control doesn’t crack until the main play is performed. The Murder of Gonzago, (or The Mousetrap as Hamlet calls it) contains subject matter that echoes the reality of life in elsinore. The Player Queen expresses guilt for marrying the brother of her dead husband: ‘In second husband let me be accurst! None wed the second but who killed the first.’ Naturally Gertrude has to reject the view of this fictional queen, close as it is to her own situation: ‘The lady doth protest too much’. Claudius’ guilt is confirmed in his reaction to The Mousetrap. Without comment he abruptly leaves the stage, provoking Hamlet to cry, ‘What, frighted with false fire!’ Claudius now feels exposed but also threatened as the poisoner in The Mousetrap is the King’s nephew. Hamlet now has the evidence he wants to take his revenge against Claudius. However, Hamlet has revealed himself to Claudius who will now take measures against his nephew. Rosencrantz and Guildenstern’s efforts to probe Hamlet prove fruitless. Hamlet recognises 110

Act 3 Scene 2

Hamlet

the falseness of their friendship and sharply rebukes them for trying to manipulate him. He tells them: ‘Do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, yet you cannot play upon me.’ Hamlet takes a dark delight in ridiculing Polonius. Hamlet exposes Polonius’ insincerity and by extension the flaws of the Danish court. Hamlet talks to Polonius about the shape of a cloud; every time Hamlet changes his mind Polonius sycophantically agrees with him, provoking Hamlet’s aside: ‘They fool me to the top of my bent.’ By the end of the scene Hamlet seems more ready to act. He expresses his thirst for violent revenge: ‘Now could I drink hot blood, / And do such bitter business as the day / Would quake to look on.’ However, it is yet to be seen if Hamlet will act upon this self-righteous anger.

Questions

1. (a) How does Hamlet praise Horatio’s character? (b) What is the significance of this? 2. In The Mousetrap, how does the murderer resemble: (a) Claudius? (b) Hamlet? 3. (a) How does Gertrude react to The Mousetrap? (b) How does Claudius? 4. Explain how Hamlet expresses his frustration with falsity and insincerity in this scene. 5. Hamlet is given the final lines in this scene. Paraphrase what he says here.

111

2

Act 3 Scene 3 scene summary

Claudius, seeing Hamlet as a threat, decides to send him to England. He tells Rosencrantz and Guildenstern to act as Hamlet’s escorts. Claudius kneels in the church and attempts to pray. In soliloquy he expresses his guilt and laments his inability to pray for forgiveness. Hamlet comes across Claudius kneeling. He is prepared to kill the King but, ironically puts it off, giving the reason that Claudius will go to heaven having just repented.

A room in the castle. Enter CLAUDIUS, ROSENCRANTZ and GUILDENSTERN CLAUDIUS I like him1 not, nor stands it safe with us2 To let his madness range.3 Therefore prepare you. I your commission will forthwith dispatch, And he to England shall along with you. The terms of our estate4 may not endure Hazard so near us as doth hourly grow Out of his brows.5

him: i.e. Hamlet’s behaviour nor stands it safe with us: nor is it safe for me 3 range: roam freely 1 2

The terms of our estate: My kingly responsibilities 5 Out of his brows: 1. from his deranged mind 2. from his threatening looks 4

GUILDENSTERN

10

We will ourselves provide.6 Most holy and religious fear7 it is To keep those many many bodies safe That live and feed8 upon your majesty. ROSENCRANTZ The single and peculiar life9 is bound With all the strength and armour of the mind To keep itself from noyance;10 but much more That spirit upon whose weal11 depends and rests The lives of many. The cess of majesty12 Dies not alone, but like a gulf13 doth draw What’s near it with it; it is a massy14 wheel, Fixed on the summit of the highest mount, To whose huge spokes ten thousand lesser things

112

3

6

provide: prepare

Most holy and religious fear: A very sacred duty 8 live and feed: depend 7

9

single and peculiar life: private/ ordinary individual

noyance: harm 11 weal: welfare 12 cess of majesty: death of a monarch 13 gulf: whirlpool 14 massy: massive 10

4

Act 3 Scene 3 20

Hamlet

Are mortised and adjoined, which when it falls Each small annexment,16 petty consequence,17 Attends the boisterous ruin.18 Never alone Did the king sigh, but with a general groan.19 15

CLAUDIUS Arm you,20 I pray you, to this speedy voyage For we will fetters put upon this fear,21 Which now goes too free-footed.

mortised: fastened (as in a carpenter’s mortise joint) 16 annexment: annex / thing attached 17 petty consequence: insignificant thing 18 Attends the boisterous ruin: accompanies the tumultuous disaster 19 general groan: the cries of everyone 15

20 21

Arm you: Prepare yourselves fear: danger

ROSENCRANTZ and GUILDENSTERN We will haste us. [Exeunt ROSENCRANTZ and GUILDENSTERN] [Enter POLONIUS]

30

POLONIUS My lord, he’s going to his mother’s closet. Behind the arras22 I’ll convey23 myself To hear the process.24 I’ll warrant she’ll tax him home25 And, as you said – and wisely was it said – ’Tis meet26 that some more audience than a mother, Since nature makes them partial, should o’er-hear The speech of vantage.27 Fare you well, my liege, I’ll call upon you ere you go to bed And tell you what I know. CLAUDIUS

arras: wall-hanging convey: hide 24 process: proceedings 25 I’ll warrant…home: I guarantee that she’ll reprimand him thoroughly 26 ’Tis meet: it is appropriate 22 23

27

of vantage: 1. from an advantageous position (i.e. hidden) 2. in addition (to Gertrude)

Thanks, dear my lord.

[Exit POLONIUS]

40

O, my offence is rank: it smells to heaven; It hath the primal eldest curse28 upon’t – A brother’s murder. Pray can I not, Though inclination29 be as sharp as will, My stronger guilt defeats my strong intent And like a man to double business bound30 I stand in pause where I shall first begin And both neglect. What if this cursed hand Were thicker than itself with brother’s blood? Is there not rain enough in the sweet heavens To wash it white as snow? Whereto serves mercy But to confront the visage of offence?31

primal eldest curse: The first murder ever committed in the Judaeo-Christian tradition was the murder of Abel by his brother Cain. Cain was subsequently cursed by God 29 inclination: desire / willingness 30 to double business bound: committed to undertaking two tasks at once 28

31

Whereto serves mercy…offence?: What is the point of mercy if not to be brought face-to-face with sin? 113

Act 3 Scene 3

50

60

70

And what’s in prayer but this twofold force To be forestalled ere we come to fall,32 Or pardoned being down?33 Then I’ll look up: My fault is past. But O, what form of prayer Can serve my turn? ‘Forgive me my foul murder’? That cannot be, since I am still possessed Of those effects34 for which I did the murder, My crown, mine own ambition and my Queen. May one be pardoned and retain th’ offence?35 In the corrupted currents36 of this world Offence’s gilded hand may shove by justice, And oft ’tis seen the wicked prize itself Buys out the law; but ’tis not so above: There is no shuffling,37 there the action lies In his true nature, and we ourselves compelled Even to the teeth and forehead38 of our faults To give in evidence. What then? What rests?39 Try what repentance can40 – what can it not? – Yet what can it, when one cannot repent? O wretched state! O bosom black as death! O limed41 soul that struggling to be free, Art more engaged! Help, angels! Make assay!42 Bow, stubborn knees, and heart with strings of steel Be soft as sinews of the new-born babe. All may be well. [Retires and kneels]

Hamlet To be forestalled…fall: prevented from sinning 33 being down: having sinned 32

9 34

effects: advantages / benefits

retain th’ offence: keep the benefits of the crime 36 currents: procedures 35

37

shuffling: trickery

teeth and forehead: i.e. brought faceto-face with / confront 39 rests: remains 40 can: i.e. can achieve 38

limed: snared (as a bird caught in birdlime: a sticky substance used to trap birds) 42 assay: attempt 41

[Enter HAMLET]

80

114

HAMLET Now might I do it pat,43 now he is praying; And now I’ll do’t. [Draws his sword] And so he goes to heaven. And so am I revenged! That would be scanned:44 A villain kills my father, and for that, I, his sole son, do this same villain send To heaven. Why this is hire and salary,45 not revenge. He took my father grossly, full of bread,46 With all his crimes broad blown,47 as flush48 as May; And how his audit stands who knows, save heaven? But in our circumstance and course of thought49 ’Tis heavy with him.50 And am I then revenged To take him in the purging of his soul

43

pat: easily

44

That would be scanned: This needs to be thought about

hire and salary: i.e. as if I hired him to kill my father and then paid him 46 grossly, full of bread: well fed, rather than fasting like one repenting 47 broad blown: in full bloom 48 flush: abundant 49 in our circumstance…thought: as far as we can tell 50 ’Tis heavy with him: i.e. his audit (list of sins) is a heavy one 45

Act 3 Scene 3

Hamlet

When he is fit and seasoned for his passage? No! [Sheathes his sword] Up, sword, and know thou a more horrid hent:52 When he is drunk asleep, or in his rage, Or in the incestuous pleasure of his bed, At gaming,53 a-swearing, or about some act That has no relish54 of salvation in’t – Then trip him that his heels may kick at heaven, And that his soul may be as damned and black As hell whereto it goes. My mother stays;55 This physic56 but prolongs thy sickly days. [Exit] 51

90

51

seasoned: ready

52

hent: 1. grip 2. opportunity

53

gaming: gambling

54

relish: taste

55

stays: waits physic: medicine i.e. Claudius’ prayer or Hamlet’s decision to wait

56

CLAUDIUS [Rising] My words fly up, my thoughts remain below. Words without thoughts never to heaven go. [Exit] Key Quotations ROSENCRANTZ

The cess of majesty Dies not alone, but like a gulf doth draw What’s near it with it; it is a massy wheel, Fixed on the summit of the highest mount, To whose huge spokes ten thousand lesser things Are mortised and adjoined, which when it falls Each small annexment, petty consequence, Attends the boisterous ruin. Never alone Did the king sigh, but with a general groan.

CLAUDIUS

O, my offence is rank: it smells to heaven; It hath the primal eldest curse upon’t – A brother’s murder. Pray can I not, Though inclination be as sharp as will, My stronger guilt defeats my strong intent And like a man to double business bound I stand in pause where I shall first begin And both neglect. What if this cursed hand Were thicker than itself with brother’s blood? Is there not rain enough in the sweet heavens To wash it white as snow?

115

Act 3 Scene 3

Hamlet

HAMLET

Up, sword, and know thou a more horrid hent: When he is drunk asleep, or in his rage, Or in the incestuous pleasure of his bed, At gaming, a-swearing, or about some act That has no relish of salvation in’t – Then trip him that his heels may kick at heaven, And that his soul may be as damned and black As hell whereto it goes.

CLAUDIUS

My words fly up, my thoughts remain below. Words without thoughts never to heaven go.

scene Commentary

Rosencrantz articulates the importance of kingship, an idea that is central to the play. He explains that the death of a monarch has consequences for the rest of society: ‘The cess of majesty / Dies not alone, but like a gulf doth draw / What’s near it with it’. The great irony here is that he is saying this to Claudius, a man who has himself committed regicide. Clearly unsettled by The Mousetrap, Claudius now sees Hamlet as a serious threat and decides to send him to england. Furthermore, The Mousetrap has pricked Claudius’ conscience. His guilt is laid bare in the Prayer scene as he agonises over his crime. It is difficult not to have some sympathy for the King as he gives voice to his shame and regret: ‘O, my offence is rank: it smells to heaven’. Claudius imagines his hand thick with his brother’s blood; he sees no way for his sin to be absolved so terrible is his crime: ‘What if this cursed hand Were thicker than itself with brother’s blood? Is there not rain enough in the sweet heavens To wash it white as snow?’ Claudius recognises his failure to make peace with God. Prompted by greed and ambition he has damned himself: ‘My words fly up, my thoughts remain below. / Words without thoughts never to heaven go.’ In a moment of supreme dramatic irony*, Hamlet believes that Claudius is praying and gives this as his reason for not killing the King: ‘A villain kills my father, and for that, / I, his sole son, do this same villain send / To heaven.’ However, Hamlet does not realise that Claudius is unable to pray. While this scene encourages some sympathy for Claudius, it can be seen as a low moment for Hamlet. Set against the backdrop of Claudius’ agonising attempt to pray, Hamlet’s desire to see Claudius eternally damned, seems particularly cruel. Hamlet plans to kill Claudius while he is sinning so that he may ‘trip him that his heels may kick at heaven, / And that his soul may be as damned and black / As hell whereto it goes’. In this moment it is perhaps unclear which of the two men is closer to hell. Dramatic irony: When the audience know something of which the characters on stage are unaware. *

116

Act 3 Scene 3

Hamlet

However, Hamlet’s motivation for sparing Claudius is ambiguous. Although Hamlet states that he wishes to kill Claudius when he is ‘about some act / That has no relish of salvation in’t,’ some critics see this as evidence of Hamlet’s inability to act and lack of determination. Alternatively, Hamlet may simply lack the mettle to stab a man who is kneeling defenceless in a church.

1. 2. 3. 4. 5.

Questions

Why has Claudius now decided to send Hamlet to England? What does Rosencrantz say about the death of a monarch? Using modern English, rewrite Claudius’ soliloquy in the Prayer Scene. Do you feel sympathy for Claudius in this scene? Why / why not? (a) What reason does Hamlet give for not killing Claudius there and then? (b) What is your personal view of this? Do you believe that this is the reason Claudius is spared? 6. Explain how this scene is rich in dramatic irony.

117

Act 3 Scene 4

1

scene summary

Hamlet comes to Gertrude’s chamber. Polonius hides himself behind the arras. Hamlet chides his mother for marrying Claudius. Gertrude becomes afraid of her son and cries for help. Polonius cries out in response. Hamlet, thinking it is Claudius, stabs and kills Polonius through the arras. Hamlet continues to accuse his mother of dishonouring Old Hamlet. She expresses shame. This may be genuine or feigned for Hamlet’s benefit. Hamlet sees the Ghost arrive but Gertrude cannot see it. She believes that Hamlet is mad and imagining his vision. Hamlet calls on his mother to rebuff Claudius’ romantic attention. Gertrude listens to Hamlet as he explains that he is to be sent to England. He says that he knows Rosencrantz and Guildenstern intend to harm him on the journey. Hamlet suggests that he has a scheme to turn this to his favour. Hamlet drags Polonius’ body away.

The Queen’s closet. Enter GERTRUDE and POLONIUS POLONIUS He will come straight.1 Look you lay home to him.2 Tell him his pranks3 have been too broad4 to bear with,5 And that your grace hath screened and stood between Much heat and him. I’ll silence me6 even here. Pray you, be round7 with him. HAMLET [Within] Mother, mother, mother!

straight: right away Look you…him: Be sure to talk firmly with him 3 pranks: misbehaviour 4 broad: excessive 5 bear with: tolerate / put up with 6 I’ll silence me: I’ll remain quiet. There is dramatic irony here as Polonius is soon to be ‘silenced’ permanently by Hamlet 7 round: blunt / direct 1 2

GERTRUDE

I’ll warrant you,8 fear me not.9 Withdraw, I hear him coming. [POLONIUS hides behind the arras] [Enter HAMLET] HAMLET Now, mother, what’s the matter? 118

I’ll warrant you: I guarantee that I’ll do as you ask 9 fear me not: do not worry about me 8

2

Act 3 Scene 4

Hamlet

GERTRUDE Hamlet, thou hast thy father10 much offended.

10

HAMLET Mother, you have my father11 much offended. GERTRUDE Come, come, you answer with an idle12 tongue.

10

11

father: i.e. Claudius

father: i.e. Old Hamlet

12

idle: 1. foolish 2. meaningless

13

forgot me: forgotten that I’m your mother

14

rood: Christ’s cross

15

set: send for

16

budge: move glass: mirror

HAMLET Go, go, you question with a wicked tongue. GERTRUDE Why, how now, Hamlet! HAMLET

What’s the matter now?

GERTRUDE Have you forgot me?13 HAMLET

No, by the rood,14 not so. You are the Queen, your husband’s brother’s wife, And – would it were not so – you are my mother. GERTRUDE Nay, then, I’ll set15 those to you that can speak.

20

HAMLET Come, come, and sit you down. You shall not budge.16 You go not till I set you up a glass17 Where you may see the inmost part of you.

17

GERTRUDE What wilt thou do? Thou wilt not murder me? Help, help, ho! POLONIUS [Behind] What, ho! Help, help, help! HAMLET [Drawing] How now! A rat?18 Dead for a ducat,19 dead! [Makes a pass20 through the arras]

rat: 1. spy 2. traitor Dead for a ducat: I bet a ducat that he’ll soon be dead 20 pass: sword thrust 18 19

119

Act 3 Scene 4

Hamlet

POLONIUS [Behind] O, I am slain! [Falls and dies]

5

GERTRUDE O me, what hast thou done? HAMLET Nay, I know not: Is it the King? GERTRUDE O, what a rash and bloody deed is this! HAMLET A bloody deed! Almost as bad, good mother, As kill a king, and marry with his brother.

30

GERTRUDE As kill a king!

6

HAMLET

Ay, lady, ’twas my word. [Lifts up the arras and discovers POLONIUS] – Thou wretched, rash, intruding fool, farewell! I took thee for thy better.21 Take thy fortune;22 Thou find’st to be too busy23 is some danger. – Leave wringing of your hands. Peace! Sit you down, And let me wring your heart. For so I shall, If it be made of penetrable stuff, If damned custom24 have not brazed it25 so That it is proof and bulwark26 against sense.27 GERTRUDE What have I done, that thou dar’st wag thy tongue28 In noise so rude against me?

40

HAMLET

Such an act29 That blurs the grace and blush of modesty, Calls virtue hypocrite, takes off the rose31 From the fair forehead of an innocent love And sets a blister32 there, makes marriage vows As false as dicers’ oaths.33 O, such a deed As from the body of contraction34 plucks 30

120

thy better: i.e. Claudius Take thy fortune: Accept your fate 23 busy: interfering / nosey 21 22

7

damned custom: sinful habits brazed it: hardened it (like brass) 26 proof and bulwark: armoured and fortified 27 sense: proper feeling 28 wag thy tongue: scold / reprimand 24 25

act: i.e. Gertrude’s’ marriage to Claudius (not the murder of Old Hamlet) 30 blurs: stains 31 rose: symbol of idealised love 32 blister: Henry VIII threatened to brand (‘blister’) prostitutes’ foreheads 33 dicers’ oaths: unreliable promises of gamblers 34 body of contraction: the substance of a marriage contract / vow 29

8

Act 3 Scene 4

50

The very soul, and sweet religion makes A rhapsody35 of words. Heaven’s face36 does glow O’er this solidity and compound mass37 With heated visage as against the doom,38 Is thought-sick at the act.39 GERTRUDE

Ay me, what act, That roars so loud, and thunders in the index?40

60

70

80

HAMLET Look here, upon this picture,41 and on this, The counterfeit presentment42 of two brothers. See what a grace was seated on this brow; Hyperion’s curls;43 the front of Jove44 himself; An eye like Mars,45 to threaten and command; A station like the herald Mercury46 New-lighted on a heaven-kissing hill;47 A combination48 and a form indeed, Where every god did seem to set his seal,49 To give the world assurance of a man. This was your husband. Look you now what follows: Here is your husband, like a mildewed ear,50 Blasting51 his wholesome brother. Have you eyes? Could you on this fair mountain leave to feed,52 And batten53 on this moor? Ha! Have you eyes? You cannot call it love, for at your age The heyday in the blood54 is tame, it’s humble And waits upon55 the judgement, and what judgement Would step from this to this? Sense, sure, you have, Else could you not have motion.56 But sure, that sense Is apoplexed,57 for madness would not err, Nor sense to ecstasy was ne’er so thralled58 But it reserved some quantity of choice To serve in such a difference.59 What devil was’t That thus hath cozened60 you at hoodman-blind?61 Eyes without feeling, feeling without sight, Ears without hands or eyes, smelling sans62 all, Or but a sickly part of one true sense Could not so mope.63 O shame! Where is thy blush? Rebellious hell, If thou canst mutine64 in a matron’s bones, To flaming youth let virtue be as wax And melt in her own fire; proclaim no shame

Hamlet rhapsody: confused jumble of words Heaven’s face: i.e. The sky 37 solidity and compound mass: i.e. the world 38 as against the doom: as if in preparing for Doomsday (the end of the world) 39 Is thought-sick at the act: is sick at the thought of your behaviour (i.e. Gertrude’s relationship with Claudius) 40 index: table of contents at the start of a book. Gertrude is asking Hamlet what his passionate words are leading up to 41 picture: Hamlet is probably drawing Gertrude’s attention to two pictures on the wall of Claudius and Old Hamlet 42 counterfeit presentment: representations in picture form 43 Hyperion’s curls: the hair of Hyperion, the sun god 44 the front of Jove: the forehead of Jove (Jupiter), king of the gods 45 Mars: the Roman god of war 46 A station…Mercury: a stance like Mercury, the messenger god (who would have been represented as very athletic) 47 New-lighted…hill: Recently landed on a high hill (Mercury was often with wings) 48 combination: a mixture (of god-like traits) 49 to set his seal: to give his seal of approval 50 mildewed ear: blighted ear of corn 51 Blasting: infecting 52 leave to feed: stop feeding 53 batten: fatten 54 heyday in the blood: peak of sexual appetite 55 waits upon: obeys 56 motion: the power to move 57 apoplexed: paralysed 58 Nor sense…thralled: nor was sense ever so enslaved by madness 59 To serve…difference: to differentiate 60 cozened: tricked 61 at hoodman-blind: in a game of blind man’s bluff 62 sans: without 35 36

63

mope: act blindly / aimlessly

64

mutine: mutiny / rebel

121

Act 3 Scene 4

Hamlet

When the compulsive ardour gives the charge, Since frost67 itself as actively doth burn And reason panders will.68 65

66

GERTRUDE

O Hamlet, speak no more. Thou turn’st mine eyes into my very soul And there I see such black and grained69 spots As will not leave their tinct.70

90

compulsive ardour: compelling lust 66 charge: orders (to attack) 67 frost: old age 68 reason panders will: reason acts to serve sexual indulgence 65

69 70

1

grained: ingrained tinct: stain

HAMLET

Nay, but to live In the rank sweat of an enseamed71 bed, Stewed72 in corruption, honeying73 and making love Over the nasty sty74 – GERTRUDE

enseamed: greasy Stewed: soaked. Brothels were also referred to as ‘stews’ 73 honeying: speaking words of love 74 sty: pigsty 71 72

O, speak to me no more! These words, like daggers, enter in mine ears. No more, sweet Hamlet! HAMLET

100

A murderer and a villain, A slave that is not twentieth part the tithe75 Of your precedent lord; a vice of kings;76 A cutpurse77 of the empire and the rule,78 That from a shelf the precious diadem79 stole, And put it in his pocket – GERTRUDE HAMLET patches –

1

tithe: one tenth a vice of kings: 1. supreme example of a villainous king 2. a clown (like the stock character of Vice from morality plays) 77 cutpurse: thief 78 the rule: the kingdom 79 diadem: crown 75 76

No more! – a king of shreds and

80

shreds and patches: the costume worn by clowns / fools

[Enter GHOST] Save me, and hover o’er me with your wings, You heavenly guards!81 What would your gracious figure? GERTRUDE Alas, he’s mad! 122

81

heavenly guards: Hamlet is appealing to angels (‘heavenly guards’) for protection

1

Act 3 Scene 4

110

HAMLET Do you not come your tardy82 son to chide,83 That, lapsed in time and passion,84 lets go by85 Th’ important acting of your dread86 command? O, say!

Hamlet tardy: slow to act chide: reprimand 84 lapsed in time and passion: having delayed and let passion cool 85 lets go by: neglects 86 dread: serious 82 83

GHOST

Do not forget! This visitation Is but to whet87 thy almost blunted purpose. But look, amazement88 on thy mother sits! O step between her and her fighting soul. Conceit89 in weakest bodies strongest works. Speak to her, Hamlet.

87 88

89

whet: sharpen amazement: bafflement Conceit: imagination

HAMLET How is it with you, lady? GERTRUDE

Alas, how is’t with you, That you do bend your eye on vacancy90 And with th’ incorporal91 air do hold discourse?92 120 Forth at your eyes your spirits wildly peep, And as the sleeping soldiers in the alarm93 Your bedded hair,94 like life in excrements,95 Starts up and stands on end. O gentle son, Upon the heat and flame of thy distemper96 Sprinkle cool patience. Whereon do you look?

130

HAMLET On him, on him! Look you, how pale he glares! His form and cause conjoined, preaching to stones, Would make them capable.97 [To GHOST] Do not look upon me, Lest with this piteous action you convert My stern effects!98 Then what I have to do Will want true colour,99 tears perchance for blood.100 GERTRUDE To whom do you speak this? HAMLET Do you see nothing there?

vacancy: empty space incorporal: insubstantial 92 discourse: conversation 90 91

in the alarm: when the alarm sounds bedded hair: 1. rooted hairs 2. hairs lying flat 95 like life in excrements: as they were living parts of your body 96 distemper: mental illness 93 94

His form…capable: The combination of his ghostly form and his purpose would make stones capable of acting if he preached to them 98 Do not look…stern effects!: Do not look at me in case your piteous look turns me aside from my grim intentions! 99 want true colour: lack its proper character 100 tears perchance for blood: by causing me to shed tears instead of blood 97

123

Act 3 Scene 4

Hamlet

GERTRUDE Nothing at all, yet all that is I see.

1

HAMLET Nor did you nothing hear? GERTRUDE No, nothing but ourselves. HAMLET Why, look you there! Look, how it steals101 away! My father, in his habit102 as he lived! Look, where he goes, even now, out at the portal!103

steals: sneaks habit: clothes 103 portal: doorway 101 102

1

[Exit GHOST] GERTRUDE This the very coinage104 of your brain. This bodiless creation ecstasy Is very cunning in.105

140

104 105

HAMLET

150

Ecstasy! My pulse, as yours, doth temperately keep time,106 And makes as healthful music. It is not madness That I have uttered. Bring me to the test And I the matter will reword,107 which madness Would gambol from.108 Mother, for love of grace, Lay not that flattering unction109 to your soul, That not your trespass, but my madness speaks. It will but skin and film110 the ulcerous place, Whilst rank corruption, mining111 all within, Infects unseen. Confess yourself to heaven, Repent what’s past, avoid what is to come, And do not spread the compost on the weeds, To make them ranker.112 Forgive me this my virtue,113 For in the fatness of these pursy114 times Virtue itself of vice must pardon beg. Yea, curb115 and woo for leave to do him good. GERTRUDE O Hamlet, thou hast cleft116 my heart in twain.

124

coinage: invention This bodiless…cunning in: Madness (‘ecstasy’) is very clever (‘cunning’) in creating these hallucinations (‘bodiless creation’)

1 106

temperately keep time: beats moderately

I the matter…reword: I will recount what has happened 108 gambol from: shy away from 109 unction: healing ointment 107

110 111

skin and film: thinly form a skin over

mining: undermining

ranker: more vigorous virtue: righteous tone 114 pursy: fat like a swollen purse i.e. selfindulgent 115 curb: bow 112 113

116

cleft: split

1

Act 3 Scene 4 160

170

180

HAMLET O, throw away the worser part of it, And live the purer with the other half. Goodnight, but go not to my uncle’s bed; Assume117 a virtue, if you have it not. That monster, custom, who all sense doth eat, Of habits evil,118 is angel yet in this, That to the use119 of actions fair and good He likewise gives a frock or livery,120 That aptly121 is put on. Refrain tonight And that shall lend a kind of easiness To the next abstinence, the next more easy. For use122 almost can change the stamp of nature,123 And either shame the devil, or throw him out With wondrous potency.124 Once more, goodnight, And when you are desirous to be blessed,125 I’ll blessing beg126 of you. For this same lord,127 I do repent, but heaven hath pleased it so, To punish me with this, and this with me, That I must be their scourge and minister.128 I will bestow129 him, and will answer well130 The death I gave him. So again, goodnight. I must be cruel, only to be kind. Thus bad begins and worse remains behind.131 One word more, good lady. GERTRUDE

190

Hamlet

Assume: behave as if you have who all sense…evil: takes away our awareness that we have adopted evil habits 119 use: custom / habit 120 frock or livery: coat or uniform 117 118

121

aptly: readily

use: habit stamp of nature: natural patterns of behaviour 124 wondrous potency: incredible power 125 desirous to be blessed: seek God’s blessing 126 beg: ask 127 this same lord: i.e. Polonius 122 123

their scourge and minister: heaven’s agent of punishment 129 bestow: dispose of 130 answer well: 1. atone for 2. explain 128

131

remains behind: is yet to come

What shall I do?

HAMLET Not this, by no means, that I bid you do:132 Let the bloat133 King tempt you again to bed, Pinch wanton134 on your cheek, call you his mouse And let him, for a pair of reechy135 kisses, Or paddling136 in your neck with his damned fingers, Make you to ravel all this matter out,137 That I essentially am not in madness, But mad in craft.138 ’Twere good you let him know,139 For who, that’s but a queen – fair, sober, wise – Would from a paddock,140 from a bat, a gib,141 Such dear concernings142 hide? Who would do so? No, in despite of143 sense and secrecy Unpeg the basket on the house’s top. Let the birds fly and like the famous ape

Not this…you do: Do not, by any means, do what I am about to describe 133 bloat: bloated / fat 134 Pinch wanton: pinch you in a sexually playful way 135 reechy: filthy 136 paddling: caressing 137 ravel all this matter out: untangle all of this affair (and thus reveal the truth that my madness is feigned) 138 in craft: by cunning 139 ’Twere good…know: Hamlet is being sarcastic here 140 paddock: toad 141 gib: tom-cat. (Toads, bats and cats were thought to be the familiars of witches and therefore knew their secrets) 142 dear concernings: important matters 143 in despite of: in spite of 132

125

Act 3 Scene 4

Hamlet

To try conclusions in the basket creep And break your own neck down.144

200

144

Unpeg the basket…neck down: Hamlet is referring to a fable of the time in which an ape climbs to the top of a house and releases birds from a basket. He then tries to imitate their ability to fly by climbing into the basket and jumping out; he breaks his neck in the fall. Hamlet is trying to tell Gertrude that if she releases Hamlet’s secrets (as the ape did the birds) she will suffer her own downfall

145

concluded on: arranged

GERTRUDE Be thou assured, if words be made of breath And breath of life, I have no life to breathe What thou hast said to me. HAMLET I must to England; you know that? GERTRUDE Alack, I had forgot; ’tis so concluded on.145

210

220

HAMLET There’s letters sealed and my two schoolfellows – Whom I will trust as I will adders fanged – They bear the mandate,146 they must sweep my way147 And marshal me to knavery.148 Let it work. For ’tis the sport to have the engineer149 Hoist with his own petard:150 and’t shall go hard151 But I will delve152 one yard below their mines And blow them at the moon. O ’tis most sweet When in one line two crafts directly meet.153 This man shall set me packing.154 I’ll lug the guts into the neighbour room. Mother, goodnight indeed. This councillor Is now most still, most secret and most grave,155 Who was in life a foolish prating knave. Come, sir, to draw156 toward an end with you. Goodnight mother. [Exit; HAMLET lugging in POLONIUS]

mandate: royal commission sweep my way: prepare the way for me 148 marshal me to knavery: lead me to some villainy 149 engineer: bomb-maker 150 Hoist with his own petard: blown up by his own bomb 151 shall go hard: will be difficult 152 delve: dig 153 When in one line…meet: when two schemes meet head on 154 This man…packing: Polonius (‘This man’) will oblige me to leave immediately 155 grave: A pun: 1. serious 2. ‘grave’ as in a place of burial 156 draw: A pun: 1. conclude 2. drag 146 147

Key Quotations

126

GERTRUDE

O, what a rash and bloody deed is this!

HAMLET

O shame! Where is thy blush? Rebellious hell, If thou canst mutine in a matron’s bones, To flaming youth let virtue be as wax And melt in her own fire; proclaim no shame When the compulsive ardour gives the charge, Since frost itself as actively doth burn And reason panders will.

Act 3 Scene 4

Hamlet

GERTRUDE

O Hamlet, speak no more. Thou turn’st mine eyes into my very soul And there I see such black and grained spots As will not leave their tinct.

HAMLET

Nay, but to live In the rank sweat of an enseamed bed, Stewed in corruption, honeying and making love Over the nasty sty.

HAMLET

heaven hath pleased it so, To punish me with this, and this with me, That I must be their scourge and minister.

scene Commentary

The murder of Polonius is ‘a rash and bloody deed’. It is interesting to note that Hamlet is capable of acting if he doesn’t have the time to consider his actions. In the Prayer Scene, it is Hamlet’s reflection on the state of Claudius’ soul that prompts him to spare Claudius, whereas in this scene (‘the Closet Scene’) Hamlet does not take the time to think about his actions. The killing of Polonius has serious consequences. It will eventually lead to Ophelia’s madness and to the emergence of Laertes as an avenger. Hamlet expresses little remorse for murdering Polonius. When he discovers that it is Polonius whom he has killed, Hamlet speaks dismissively of this ‘wretched, rash, intruding fool’. He contemptuously drags Polonius’ lifeless body offstage: ‘I’ll lug the guts into the neighbour room…/ This councillor / Is now most still, most secret and most grave, / Who was in life a foolish prating knave.’ Hamlet acts with such callousness partly because of his contempt for Polonius. He now sees himself acting out of a sense of divine duty and Polonius’s death is simply unfortunate: ‘For this same lord, I do repent, but heaven hath pleased it so, To punish me with this, and this with me, That I must be their scourge and minister. I will bestow him, and will answer well The death I gave him.’ there is great irony in the argument between Hamlet and Gertrude. Gertrude has summoned Hamlet so that she may rebuke him and discover the source of his madness. However, it is Hamlet who reproofs her. He tells his mother that he wishes to show her a reflection of her own soul: ‘You go not till I set you up a glass / Where you may see the inmost part of you.’ Hamlet then proceeds to admonish her for marrying Claudius; he shames his mother by pointing to her lustful nature. Hamlet’s disgust is clear from the repulsive animal imagery he uses to describe her marriage bed: ‘Nay, but to live In the rank sweat of an enseamed bed, Stewed in corruption, honeying and making love Over the nasty sty’ 127

Act 3 Scene 4

Hamlet

Gertrude’s response suggests that Hamlet’s accusations have struck a chord with her conscience: ‘O Hamlet, speak no more. Thou turn’st mine eyes into my very soul And there I see such black and grained spots As will not leave their tinct’. However, it could be argued that Gertrude’s response is an effort to appease the emotionally overwrought Hamlet. She is intimidated by Hamlet’s hysterical verbal attack and is in a state of shock as Polonius’ body lies on the floor. Her words therefore can be seen as either a genuine expression of guilt or as an act of self-preservation. Hamlet urges Gertrude to rebuff Claudius and also to keep secret the fact that his madness is feigned. Although Gertrude ultimately remains with Claudius, she does keep Hamlet’s secret. This raises the question of the sincerity of Gertrude’s expressions of guilt. However, she never betrays her son. Is Gertrude truly sorry for the ‘black and grained spots’ upon her soul? If so why does she remain with Claudius? Does she simply lack the moral courage to detach herself from him or are her expressions of remorse just a ruse? the Ghost makes an important reappearance in this scene. The Ghost serves to remind Hamlet of his duty to avenge: ‘This visitation / Is but to whet thy almost blunted purpose.’ Some commentators see the Ghost as evidence of Hamlet’s fraying mental state. They point to the fact that only Hamlet sees the Ghost, whereas Gertrude sees it as the ‘coinage’ of Hamlet’s brain. It must be remembered that when the Ghost first appeared Marcellus, Barnardo and Horatio all saw it too. However, it was believed in Shakespeare’s time that ghosts could appear to just one person. Furthermore, some commentators argue that Gertrude is blinded by her own black heart and is therefore unable to see the apparition. The ‘reality’ of the Ghost is therefore open to interpretation.

1. 2. 3. 4.

Questions

Why does Gertrude summon Hamlet to her chamber? How does Hamlet criticise Gertrude? How does Gertrude respond to her son’s angry verbal attack? Hamlet believes that it is Claudius who is hiding behind the arras. Why do you think he is quick to murder here, whereas he hesitated in the Prayer Scene? 5. How does Hamlet react when he realises that he has killed Polonius? 6. At the end of the scene, what does Hamlet urge Gertrude to do? 7. Do you believe the Ghost is ‘real’? Explain your answer.

128

Act 3 Revision Quiz

Act 3

Revision Quiz

1. In Act 3, Scene 1, what comment by Polonius prompts a guilty aside from Claudius? 2.

In his famous ‘To be, or not to be’ soliloquy, what does Hamlet compare the afterlife to? (a) A foreign country (b) An undiscovered country (c) A distant country (d) An enemy country

3. In the Nunnery Scene, who eavesdrops on the conversation between Hamlet and Ophelia? 4. The Players perform The Murder of Gonzago for the royal court. What does Hamlet call the play? 5. During the Prayer Scene, what reason does Hamlet give for postponing his revenge? 6. Who does Hamlet kill during the Closet Scene? 7. To whom does Hamlet reveal that he is ‘mad in craft’? 8. At the end of the Closet Scene, what does Hamlet request of Gertrude? 9. Who says each of the following? (a) O, what a noble mind is here o’erthrown! The courtier’s, soldier’s, scholar’s eye, tongue, sword; Th’ expectancy and rose of the fair state (b) The harlot’s cheek beautied with plastering art Is not more ugly to the thing that helps it Than is my deed to my most painted word. O heavy burden! (c) Do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, yet you cannot play upon me. (d) Never alone Did the king sigh, but with a general groan. (e) Nay, but to live In the rank sweat of an enseamed bed, Stewed in corruption, honeying and making love Over the nasty sty

129

Act 3 Revision Quiz

10. Rewrite these quotations. In each case, write the speaker’s name and fill in the blanks. (a) To be, or not to be – that is the _______: Whether ’tis nobler in the mind to suffer The slings and _______ of outrageous fortune, Or to take arms against a sea of _______ And by opposing end them? (b) Now could I drink _______ blood, And do such bitter business as the day Would _______ to look on. (c) What if this cursed hand Were _______ than itself with brother’s blood? Is there not rain enough in the _______ heavens To wash it _______ as snow? (d) My words fly up, my _______ remain below. Words without thoughts never to _______ go. (e) O Hamlet, speak no more. Thou turn’st mine _______ into my very soul And there I see such black and _______ spots As will not _______ their tinct

130

Act 4 Scene 1 scene summary

Gertrude tells Claudius that Hamlet has killed Polonius. She blames this on Hamlet’s madness in order to protect him. Claudius is determined to send Hamlet to England as soon as possible. He sends Rosencrantz and Guildenstern to retrieve Polonius’ body. Claudius tells Gertrude that he will seek advice from his wisest counsellors.

A room in the castle. Enter CLAUDIUS, GERTRUDE, ROSENCRANTZ and GUILDENSTERN CLAUDIUS There’s matter1 in these sighs, these profound heaves.2 You must translate;3 ’tis fit we understand them. Where is your son? GERTRUDE Bestow this place on us4 a little while.

matter: meaning heaves: sobs 3 translate: explain their meaning 1 2

4

Bestow this place on us: Leave us alone here

5

contend: argue lawless: uncontrollable

[Exeunt ROSENCRANTZ and GUILDENSTERN] Ah, my good lord, what have I seen tonight! CLAUDIUS What, Gertrude? How does Hamlet?

10

GERTRUDE Mad as the sea and wind, when both contend5 Which is the mightier. In his lawless6 fit, Behind the arras hearing something stir, Whips out his rapier, cries, ‘A rat, a rat!’ And in this brainish apprehension7 kills The unseen good old man.

6

7

brainish apprehension: deluded idea

8

us: me (royal plural)

CLAUDIUS

O heavy deed! It had been so with us had we been there. 8

131

Act 4 Scene 1

20

His liberty is full of threats to all, To you yourself, to us, to everyone. Alas, how shall this bloody deed be answered?9 It will be laid to us whose providence10 Should have kept short,11 restrained and out of haunt,12 This mad young man. But so much was our love, We would not understand what was most fit, But, like the owner of a foul disease, To keep it from divulging, let it feed Even on the pith13 of life. Where is he gone? GERTRUDE To draw apart the body he hath killed, O’er whom his very madness, like some ore14 Among a mineral of metals base, Shows itself pure: he weeps for what is done.15

30

CLAUDIUS O Gertrude, come away! The sun no sooner shall the mountains touch16 But we will ship him hence, and this vile deed We must with all our majesty and skill Both countenance and excuse.17 Ho, Guildenstern!

Hamlet

answered: 1. reponded to 2. accounted for 10 providence: forethought 11 kept short: kept on a tight leash i.e. controlled 12 out of haunt: away from company 9

13

pith: essential centre

14

ore: gold

O’er whom…is done: like gold in a mine of lesser metals Hamlet shows his pure nature, even though he acted in madness, he cries for what he has done. It is worth noting that Gertrude has added this lie to protect Hamlet 16 The sun…touch: i.e. by dawn 15

17

countenance and excuse: face up to and offer excuses for

18

speak fair: speak courteously

[Re-enter ROSENCRANTZ and GUILDENSTERN] Friends both, go join you with some further aid: Hamlet in madness hath Polonius slain, And from his mother’s closet hath he dragged him. Go seek him out; speak fair,18 and bring the body Into the chapel. I pray you, haste in this. [Exeunt ROSENCRANTZ and GUILDENSTERN]

40

132

Come, Gertrude, we’ll call up our wisest friends And let them know both what we mean to do And what’s untimely19 done: [so, haply slander,]20 Whose whisper21 o’er the world’s diameter,22 As level as the cannon to his blank23 Transports his poisoned shot, may miss our name,24 And hit the woundless25 air. O, come away! My soul is full of discord and dismay. [Exeunt]

untimely: inopportunely so haply slander: This phrase is not in any versions of the original text. It was added by editors in the 18th century in an effort to make sense of an incomplete line and is now adopted by many editions. ‘Haply’ means ‘perhaps’ 21 whisper: rumours 22 the world’s diameter: the whole wide world 23 As level…blank: as directly (‘level’) as a cannon hits its target (‘blank’) 24 miss our name: avoid damaging my reputation 25 woundless: invulnerable 19 20

Act 4 Scene 1

GERTRUDE

Hamlet

Key Quotations Mad as the sea and wind, when both contend Which is the mightier. In his lawless fit, Behind the arras hearing something stir, Whips out his rapier, cries, ‘A rat, a rat!’ And in this brainish apprehension kills The unseen good old man.

CLAUDIUS

It will be laid to us whose providence Should have kept short, restrained and out of haunt, This mad young man.

GERTRUDE

To draw apart the body he hath killed, O’er whom his very madness, like some ore Among a mineral of metals base, Shows itself pure: he weeps for what is done.

scene Commentary

Gertrude tries to shield Hamlet from blame. As she recounts the circumstances of Polonius’ death, she stresses the idea that Hamlet’s actions stem from his madness: ‘Mad as the sea and wind’, ‘his lawless fit’, ‘brainish apprehension’, ‘his very madness’. Gertrude also tells Claudius that Hamlet is tortured by regret for his actions: ‘he weeps for what is done.’ Although Hamlet mentions that he will ‘repent’ for killing Polonius, there is nothing to suggest that he feels any genuine depth of guilt. As a mother, Gertrude does her best to protect her son. Claudius remains self-interested, expressing only half-hearted sadness for the loss of Polonius. When Gertrude breaks the news of the death of Polonius, he worries for his own safety: ‘It had been so with us had we been there.’ Claudius is politically minded; he immediately weighs up what the public perception will be, fearing that he will be blamed for failing to contain Hamlet: ‘It will be laid to us whose providence / Should have kept short, restrained and out of haunt, / This mad young man.’ Claudius now has to work swiftly so that Hamlet’s ‘poisoned shot, may miss our name.’ Unlike Hamlet, Claudius is decisive and quick to act. He decides that Hamlet must be sent to England as a matter of urgency. He doesn’t hesitate to deal with the crisis of Polonius’ murder and speedily puts a plan into action, arranging for Rosencrantz and Guildenstern to retrieve the body.

Questions

1. (a) How does Gertrude’s account of Polonius’ death colour the real facts of what happened? (b) Why do you think she recalls the event in this way? 2. When Claudius hears the news of Polonius’ death, what does he seem most concerned with? Quote from the text in your answer. 3. In what way does this scene reveal the differences between Hamlet and Claudius, in particular how they deal with a crisis? 133

Act 4 Scene 2 scene summary

After hiding Polonius’ body, Hamlet is met by Rosencrantz and Guildenstern. They ask him to show them the body. Hamlet insults the two men and refuses to reveal the body’s location. Hamlet adopts his ‘antic disposition’. He runs away, forcing Rosencrantz and Guildenstern to pursue him.

Another room in the castle. Enter HAMLET HAMLET Safely stowed.1

2

1

stowed: hidden away. Hamlet has hidden Polonius’ body

2

Compounded: Mixed

ROSENCRANTZ and GUILDENSTERN [Within] Hamlet! Lord Hamlet! HAMLET But soft! What noise? Who calls on Hamlet? O, here they come. [Enter ROSENCRANTZ and GUILDENSTERN] ROSENCRANTZ What have you done, my lord, with the dead body? HAMLET Compounded2 it with dust, whereto ’tis kin. ROSENCRANTZ Tell us where ’tis, that we may take it thence and bear it to the chapel. HAMLET Do not believe it.

10 134

ROSENCRANTZ Believe what?

Act 4 Scene 2

HAMLET That I can keep your counsel3 and not mine own. Besides, to be demanded4 of a sponge!5 What replication6 should be made by the son of a king? ROSENCRANTZ Take you me for a sponge, my lord?

20

HAMLET Ay, sir – that soaks up the King’s countenance,7 his rewards, his authorities. But such officers do the King best service in the end: he keeps them, like an ape an apple, in the corner of his jaw, first mouthed, to be last swallowed.8 When he needs what you have gleaned, it is but squeezing you and, sponge, you shall be dry again.

Hamlet counsel: secrets (i.e. that you are agents of Claudius) 4 demanded: interrogated 5 sponge: i.e. someone who wants to soak up information 6 replication: reply 3

7

countenance: favour

8

he keeps them, like an ape…swallowed: Claudius keeps you in the corner of his mouth like an ape keeps an apple: squeezing out what he needs before swallowing it completely

9

a knavish…ear: an insulting speech cannot be understood by a foolish ear

ROSENCRANTZ I understand you not, my lord. HAMLET I am glad of it; a knavish speech sleeps in a foolish ear.9 ROSENCRANTZ My lord, you must tell us where the body is, and go with us to the King. HAMLET The body is with the King, but the King is not with the body.10 The King is a thing – GUILDENSTERN A thing, my lord! HAMLET Of nothing.11 Bring me to him. Hide fox, and all after.12 [Exeunt]

The body is with the King…body: 1. Polonius’ body is in the palace but the King is not in the same room as the body 2. Polonius’ body is in the palace but the King is himself not yet a body (i.e. not dead yet) 3. Claudius has a human body but has no right to be a political body (i.e. to be King). This third reading is in keeping with the doctrine of the divine right of kings whereby a king was thought of as having two bodies: human and political 11 Of nothing: Of no importance 12 Hide fox…after: i.e. Let’s all play hideand-seek 10

135

Act 4 Scene 2

HAMLET

Hamlet

Key Quotations But such officers do the King best service in the end: he keeps them, like an ape an apple, in the corner of his jaw, first mouthed, to be last swallowed. When he needs what you have gleaned, it is but squeezing you and, sponge, you shall be dry again.

scene Commentary

Hamlet’s ‘antic disposition’ allows him to evade the questions of Rosencrantz and Guildenstern. It also gives him greater freedom to insult the two men. Hamlet calls Rosencrantz a ‘sponge’, someone who soaks up the King’s favour by doing his bidding. Hamlet tells Rosencrantz and Guildenstern that Claudius is merely using them like an ape keeps ‘an apple, in the corner of his jaw, first mouthed, to be last swallowed.’ After Claudius gets what he wants he will discard them: ‘When he needs what you have gleaned, it is but squeezing you and, sponge, you shall be dry again.’ Hamlet’s apparent madness gives him greater licence to insult the King. He tells Rosencrantz and Guildenstern that ‘The body is with the King, but the King is not with the body.’ This cryptic statement suggests that Claudius himself is not yet a dead body. There is the further suggestion that Claudius has no right to be considered a political body (a proper king). Hamlet goes on to say, ‘The King is a thing…Of nothing,’ a man of no importance.

Questions

1. (a) How does Hamlet treat his former friends Rosencrantz and Guildenstern in this scene? (b) Do you think Rosencrantz and Guildenstern deserve to be treated this way? Why / why not? 2. How does Hamlet insult the King in this scene?

136

Act 4 Scene 3 scene summary

Rosencrantz and Guildenstern bring Hamlet before Claudius. From behind the mask of his ‘antic disposition’, Hamlet insults Claudius. Hamlet is told that he is to go to England. Claudius instructs Rosencrantz and Guildenstern to ensure that Hamlet boards his ship soon. In soliloquy, Claudius reveals to the audience that his letters to the King of England request him to kill Hamlet.

Another room in the castle. Enter CLAUDIUS, attended

10

CLAUDIUS I have sent to seek him,1 and to find the body. How dangerous is it that this man goes loose! Yet must not we put the strong law on him:2 He’s loved of the distracted multitude,3 Who like not in their judgement, but their eyes;4 And where ’tis so, th’ offender’s scourge is weighed But never the offence.5 To bear all smooth and even6 This sudden sending him away must seem Deliberate pause.7 Diseases desperate grown By desperate appliance are relieved, Or not at all.8 [Enter ROSENCRANTZ] How now! What hath befallen?

sent to seek him: sent someone to find him 2 put the strong law on him: punish him to the full extent of the law 3 distracted multitude: the irrational public 4 Who like not…eyes: who are drawn to a leader not through their own reason but rather by appearances 5 th’ offender’s scourge…offence: Hamlet’s punishment (‘scourge’) would be focused on, but not his crime (‘offence’) 6 To bear all smooth and even: To avoid suspicion 7 Deliberate pause: the result of careful deliberation 8 Diseases…at all: Desperate diseases require desperate remedies or they won’t be cured at all (proverbial) 1

ROSENCRANTZ Where the dead body is bestowed, my lord, We cannot get from him. CLAUDIUS

But where is he?

ROSENCRANTZ Without,9 my lord, guarded, to know your pleasure.

9

Without: Outside 137

Act 4 Scene 3

Hamlet

CLAUDIUS Bring him before us. ROSENCRANTZ Ho, Guildenstern! Bring in my lord. [Enter HAMLET and GUILDENSTERN] CLAUDIUS Now, Hamlet, where’s Polonius? HAMLET At supper.

20

CLAUDIUS At supper! Where? HAMLET Not where he eats, but where he is eaten. A certain convocation10 of politic worms11 are e’en at him. Your worm is your only emperor for diet.12 We fat all creatures else to fat us, and we fat ourselves for maggots.13 Your fat king and your lean beggar is but variable service, two dishes, but to one table.14 That’s the end. CLAUDIUS Alas, alas! HAMLET A man may fish with the worm that hath eat of a king, and eat of the fish that hath fed of that worm.

30

4

convocation: assembly convocation of politic worms: an allusion to the Diet of Worms (1521) at which Martin Luther defended his Protestant views 12 emperor for diet: a continuance of the pun on the Diet of Worms. Emperor Charles V summoned the gathering 13 We fat…maggots: We fatten other animals so that we can eat them and fatten ourselves, only to become food to fatten maggots 14 Your fat king…one table: A fat king and a thin beggar are just different courses in the one meal 10 11

CLAUDIUS What dost you mean by this? HAMLET Nothing but to show you how a king may go a progress15 through the guts of a beggar.

15

progress: official journey taken by a monarch

CLAUDIUS Where is Polonius?

5 138

Act 4 Scene 3

Hamlet

HAMLET In heaven. Send hither to see. If your messenger find him not there, seek him i’ th’ other place16 yourself. But indeed, if you find him not within this month, you shall nose17 him as you go up the stairs into the lobby.18

16 17 18

other place: i.e. hell

nose: smell lobby: corridor / anteroom

CLAUDIUS [To some Attendants] Go seek him there! HAMLET He will stay till ye come. [Exeunt Attendants]

40

CLAUDIUS Hamlet, this deed, for thine especial safety – Which we do tender,19 as we dearly grieve For that which thou hast done – must send thee hence With fiery quickness. Therefore prepare thyself; The bark20 is ready and the wind at help, Th’ associates tend21 and everything is bent22 For England. HAMLET CLAUDIUS

bark: ship Th’ associates tend: Your friends (Rosencrantz and Guildenstern) are waiting 22 bent: directed towards 20 21

Ay, Hamlet. Good.

CLAUDIUS So is it, if thou knewst our purposes.23 HAMLET I see a cherub24 that sees them. But come, for England! Farewell, dear mother.

50

tender: care for

For England!

HAMLET

CLAUDIUS

19

23

So is it…purposes: You would approve if you knew my reasons

24

cherub: an order of angels who supposedly knew all about human affairs

Thy loving father, Hamlet.

HAMLET My mother. Father and mother is man and wife. 139

Act 4 Scene 3

Hamlet

Man and wife is one flesh. So, my mother. Come, for England! [Exit] CLAUDIUS

Follow him at foot.25 Tempt him with speed aboard. Delay it not – I’ll have him hence tonight. Away! For everything is sealed and done That else leans on th’ affair.27 Pray you make haste. 26

25 26

27

[Exeunt ROSENCRANTZ and GUILDENSTERN]

60

And, England, if my love thou hold’st at aught28 As my great power thereof may give thee sense,29 Since yet thy cicatrice30 looks raw and red After the Danish sword, and thy free awe31 Pays homage to us, thou mayst not coldly set Our sovereign process,32 which imports at full,33 By letters congruing34 to that effect The present death of Hamlet. Do it, England! For like the hectic35 in my blood he rages And thou must cure me. Till I know ’tis done, Howe’er my haps,36 my joys were ne’er begun. [Exit]

CLAUDIUS

HAMLET

140

at foot: closely Tempt: Encourage

For everything is sealed…affair: Everything else is prepared that relates to this matter

hold’st at aught: value at all As my great power…sense: as my great military strength may make you appreciate 30 cicatrice: scar 31 free awe: voluntary respect 32 thou mayst not…process: you cannot ignore (‘coldly set’) my royal command (‘sovereign process’) 33 imports at full: full instructions 34 congruing: agreeing 35 hectic: fever 28 29

36

Howe’er my haps: whatever my good fortune be

Key Quotations He’s loved of the distracted multitude, Who like not in their judgement, but their eyes; And where ’tis so, th’ offender’s scourge is weighed But never the offence. We fat all creatures else to fat us, and we fat ourselves for maggots. Your fat king and your lean beggar is but variable service, two dishes, but to one table. That’s the end.

Act 4 Scene 3

Hamlet

scene Commentary

Claudius is a shrewd politician. He appreciates that Hamlet is popular with the people (‘He’s loved of the distracted multitude’) and therefore cannot be put on trial nor punished in Denmark. Claudius is a ruthless individual. He plans to use Rosencrantz and Guildenstern to deliver Hamlet to the King of England. The letters they carry give instructions for the English King to kill Hamlet. While Hamlet procrastinates about revenge, Claudius acts decisively to rid himself of his enemy. Hamlet enjoys using the mask of madness to insult Claudius. With great disrespect he compares the King to a beggar. His biting humour is dark and witty. It is also philosophical in that Hamlet recognises death as a great social leveller: ‘Your fat king and your lean beggar is but variable service, two dishes, but to one table. That’s the end.’

Questions

1. What is Claudius’ plan to deal with Hamlet? 2. What does this scene reveal about the character of Claudius? 3. How does Hamlet insult Claudius in this scene?

141

Act 4 Scene 4 scene summary

Fortinbras marches through Danish land on his way to do battle in Poland. Hamlet comes across a Norwegian captain who tells Hamlet that the battle concerns a worthless piece of land. In soliloquy, Hamlet contrasts his own procrastination with Fortinbras’ capacity to act decisively.

A plain in Denmark. Enter FORTINBRAS, a Captain, and Soldiers, marching FORTINBRAS Go, Captain, from me greet the Danish King. Tell him that, by his licence,1 Fortinbras Craves the conveyance2 of a promised march Over his kingdom. You know the rendezvous.3 If that his Majesty would aught with us4 We shall express our duty in his eye,5 And let him know so. CAPTAIN

2

licence: permission 2 Craves the conveyance…march: requests that his troops can travel safely as formerly agreed. Fortinbras is marching to Poland 3 rendezvous: arranged meeting place 4 would aught with us: wants to confer with me. Fortinbras is using the royal plural: ‘us’ 5 in his eye: face to face 1

I will do’t, my lord.

FORTINBRAS Go softly6 on. [Exeunt FORTINBRAS and Soldiers]

6

softly: respectfully / gently

7

powers: troops

8

How purposed: What is the purpose of their march?

[Enter HAMLET, ROSENCRANTZ, GUILDENSTERN and others] HAMLET Good sir, whose powers7 are these?

10

CAPTAIN They are of Norway, sir. HAMLET How purposed,8 sir, I pray you?

142

3

Act 4 Scene 4

Hamlet

CAPTAIN Against some part of Poland. HAMLET Who commands them, sir? CAPTAIN The nephew to old Norway, Fortinbras. HAMLET Goes it against the main9 of Poland, sir, Or for some frontier?

20

CAPTAIN Truly to speak, and with no addition,10 We go to gain a little patch of ground That hath in it no profit but the name. To pay five ducats – five – I would not farm11 it, Nor will it yield to Norway or the Pole12 A ranker rate13 should it be sold in fee.14 HAMLET Why, then the Polack15 never will defend it. CAPTAIN Yes, it is already garrisoned.16 HAMLET Two thousand souls and twenty thousand ducats Will not debate the question of this straw.17 This is th’ imposthume18 of much wealth and peace That inward breaks19 and shows no cause without20 Why the man dies. I humbly thank you, sir.

30

CAPTAIN God buy you,21 sir. [Exit] ROSENCRANTZ

9

main: main part of the country

10

with no addition: without embellishment

farm: rent it as farmland Norway or the Pole: the King of Norway or the King of Poland 13 ranker rate: higher price 14 sold in fee: sold outright (as a freehold property) 11

12

15

the Polack: the King of Poland

16

garrisoned: defended / fortified

Will not debate…straw: are not enough to decide the ownership of this worthless plot of land 18 imposthume: abscess 19 inward breaks: erupts inside 20 shows no cause without: shows no reason on the outside of the body 17

21

God buy you: God be with you / Good bye

22

go a little before: walk a little ahead

Wilt please you go, my lord?

HAMLET I’ll be with you straight go a little before.22 [Exeunt all except HAMLET]

143

Act 4 Scene 4

Hamlet

How all occasions do inform against me And spur my dull revenge! What is a man If his chief good and market of his time25 Be but to sleep and feed? A beast – no more. Sure, he that made us with such large discourse,26 Looking before and after,27 gave us not That capability and godlike reason To fust28 in us unused. Now, whether it be Bestial oblivion,29 or some craven scruple30 Of thinking too precisely31 on th’ event, – A thought which, quartered, hath but one part wisdom And ever three parts coward – I do not know Why yet I live to say ‘This thing’s to do’ Sith32 I have cause33 and will and strength and means To do’t. Examples gross34 as earth exhort35 me. Witness this army of such mass and charge36 Led by a delicate and tender37 prince, Whose spirit with divine ambition puffed38 Makes mouths at the invisible event39 Exposing what is mortal and unsure To all that fortune, death and danger dare, Even for an eggshell.40 Rightly to be great41 Is not to stir without great argument42 But greatly to find quarrel in a straw43 When honour’s at the stake. How stand I then That have a father killed, a mother stained,44 Excitements45 of my reason and my blood,46 And let all sleep? While, to my shame, I see The imminent death of twenty thousand men That for a fantasy47 and trick of fame,48 Go to their graves like beds, fight for a plot Whereon the numbers cannot try the cause,49 Which is not tomb enough50 and continent51 To hide the slain? O, from this time forth My thoughts be bloody, or be nothing worth! [Exit] 23

40

50

60

HAMLET

144

24

all occasions: every chance event inform against: accuse 25 chief good and market of his time: main way he spends his time 26 large discourse: considerable intellectual power 27 Looking before and after: looking into the future and the past 28 fust: grow musty 29 Bestial oblivion: animal-like ignorance 30 craven scruple: cowardly doubt 31 precisely: forensically 23 24

Sith: since cause: motive 34 gross: obvious 35 exhort: urge 36 mass and charge: size and cost 37 delicate and tender: sensitive and young 38 puffed: inflated 39 Makes mouths…event: laughs at the unforeseeable future 40 eggshell: trivial item i.e. the worthless piece of land in Poland 41 Rightly…great: To be truly great 42 Is not…argument: is not to act without a genuine reason for doing so 43 quarrel in a straw: argue over something insignificant 44 stained: dishonoured / whose reputation is tarnished 45 Excitements: motives to incite 46 blood: passion / emotion 47 fantasy: illusion 48 trick of fame: imaginary sense of honour 49 Whereon the numbers…cause: which is not large enough to hold all of the soldiers who fight over it 50 not tomb enough: not a large enough grave 51 continent: container 32 33

Key Quotations Two thousand souls and twenty thousand ducats Will not debate the question of this straw. This is th’ imposthume of much wealth and peace That inward breaks and shows no cause without Why the man dies.

Act 4 Scene 4

Hamlet

HAMLET

How all occasions do inform against me And spur my dull revenge! What is a man If his chief good and market of his time Be but to sleep and feed? A beast – no more.

HAMLET

Now, whether it be Bestial oblivion, or some craven scruple Of thinking too precisely on th’ event, – A thought which, quartered, hath but one part wisdom And ever three parts coward – I do not know Why yet I live to say ‘This thing’s to do’ Sith I have cause and will and strength and means To do’t.

HAMLET

Witness this army of such mass and charge Led by a delicate and tender prince, Whose spirit with divine ambition puffed Makes mouths at the invisible event Exposing what is mortal and unsure To all that fortune, death and danger dare, Even for an eggshell.

HAMLET

to be great Is not to stir without great argument But greatly to find quarrel in a straw When honour’s at the stake.

HAMLET

How stand I then That have a father killed, a mother stained, Excitements of my reason and my blood, And let all sleep? While, to my shame, I see The imminent death of twenty thousand men That for a fantasy and trick of fame, Go to their graves like beds, fight for a plot Whereon the numbers cannot try the cause, Which is not tomb enough and continent To hide the slain?

HAMLET

O, from this time forth My thoughts be bloody, or be nothing worth!

145

Act 4 Scene 4

Hamlet

scene Commentary

Fortinbras, as a man of action, functions as a foil (contrast) to Hamlet. Fortinbras is presented as a brave and decisive man who is willing to risk his life and the lives of others for a matter of honour. Hamlet recognises him as a ‘delicate prince’ who laughs in the face of the unknown (‘makes mouths at the invisible event’) simply to secure an insignificant piece of land (‘an eggshell’). Fortinbras inspires a similar sense of honour in his followers who go to war ‘for a fantasy and trick of fame’. He is a clear contrast to the procrastinating Hamlet who agonises over each and every decision. As he appreciates Fortinbras’ capacity for action, Hamlet recognises his own flawed nature. Hamlet wonders why he has failed to take revenge. He knows that he has a clear motive: ‘How stand I then / That have a father killed, a mother stained, / Excitements of my reason and my blood’, yet he fails to act. Hamlet sees that he reflects ‘too precisely on th’ event’ and loses the resolve to act. Hamlet knows it is thought that stands in the way of action: ‘A thought which, quartered, hath but one part wisdom / And ever three parts coward’. Inspired by the figure of Fortinbras, Hamlet again appears to recover his resolution. At the end of his soliloquy he speaks with determination: ‘O, from this time forth / My thoughts be bloody, or be nothing worth!’ Hamlet suggests here that his mind is now more focused on the necessity to kill Claudius. However, it is interesting that he says ‘my thoughts be bloody’ rather than ‘my deeds be bloody’. This may suggest that Hamlet is still a victim of his own flawed nature, unable to substitute action for reflection.

Questions

1. Why is Fortinbras going to war against Poland? 2. How is Fortinbras presented in this scene? 3. Explain how the figure of Fortinbras deepens our understanding of Hamlet through contrast. 4. What flaws does Hamlet recognise in himself as he speaks in soliloquy? 5. What do you understand by the final two lines of Hamlet’s soliloquy?

1

146

Act 4 Scene 5 scene summary

Ophelia asks to speak with Gertrude. Gertrude reluctantly grants her permission. Ophelia is clearly insane. She sings about love, loss and sex. Laertes, with the support of an angry mob, forces his way into the room. He is furious, demanding his father’s body and blaming Claudius for Polonius’ death. Claudius successfully calms Laertes, promising him that Polonius’ death will not go unpunished.

Elsinore. A room in the castle. Enter GERTRUDE, HORATIO and a Gentleman GERTRUDE I will not speak with her.1

1

GENTLEMAN She is importunate,2 indeed distract.3 Her mood4 will needs be pitied. GERTRUDE

10

importunate: persistent distract: mad 4 mood: state of mind 2 3

What would she have?

GENTLEMAN She speaks much of her father, says she hears There’s tricks5 i’ th’ world, and hems6 and beats her heart, Spurns enviously at straws,7 speaks things in doubt,8 That carry but half sense. Her speech is nothing,9 Yet the unshaped use of it doth move The hearers to collection.10 They aim at it, And botch the words up fit to their own thoughts Which, as her winks and nods and gestures yield11 them, Indeed would make one think there might be thought, Though nothing sure, yet much unhappily.12 HORATIO ’Twere good she were spoken with, for she may strew Dangerous conjectures in ill-breeding minds.13 GERTRUDE Let her come in.

her: Ophelia

tricks: plots / schemes hems: makes a throat-clearing sound ‘ahem’ 7 Spurns…straws: is easily offended by insignificant things 8 in doubt: with an unclear meaning 9 nothing: nonsense 10 Yet the unshaped…collection: although the random nature of her words inspires her listeners to find meaning in them 11 yield: deliver 12 unhappily: maliciously 5 6

13

ill-breeding minds: minds that think evil thoughts

147

Act 4 Scene 5

Hamlet

[Exit GENTLEMAN]

20

[Aside] To my sick soul, as sin’s true nature is, Each toy14 seems prologue to some great amiss,15 So full of artless jealousy is guilt It spills itself in fearing to be spilt.16 [Re-enter GENTLEMAN with OPHELIA]

toy: trivial thing amiss: disaster 16 So full of artless…spilt: guilt creates such uncontrollable paranoia that fear of disaster creates more misery than the disasters themselves 14 15

4

OPHELIA Where is the beauteous Majesty of Denmark? GERTRUDE How now, Ophelia! OPHELIA [Sings]17 How should I your true love know From another one? By his cockle hat and staff,18 And his sandal shoon.19 GERTRUDE Alas, sweet lady, what imports20 this song?

30

OPHELIA Say you?21 Nay, pray you, mark.22 [Sings] He is dead and gone, lady, He is dead and gone. At his head a grass-green turf, At his heels a stone. Oh, ho! GERTRUDE Nay, but, Ophelia – OPHELIA Pray you, mark. [Sings] White his shroud as the mountain snow – [Enter CLAUDIUS]

148

Sings: This song is a popular ballad which describes a woman whose lover has died 18 cockle hat and staff: a pilgrim traditionally wore a hat decorated with cockleshells and carried a staff. In Shakespeare’s time a pilgrim often represented a lover 19 shoon: shoes 17

20

imports: is the meaning of

21

Say you?: What did you say? mark: pay attention

22

5

Act 4 Scene 5

Hamlet

GERTRUDE Alas, look here, my lord.

40

OPHELIA [Sings] Larded23 with sweet flowers Which bewept to the grave did go With true-love showers.24

23

Larded: Strewn

24

showers: tears

CLAUDIUS How do you, pretty lady? OPHELIA Well, God dild you!25 They say the owl was a baker’s daughter.26 Lord, we know what we are, but know not what we may be. God be at your table! CLAUDIUS Conceit upon her father.27

50

OPHELIA Pray you, let’s have no words of this, but when they ask you what it means, say you this: [Sings] Tomorrow is Saint Valentine’s Day28 All in the morning betime,29 And I a maid at your window To be your Valentine. Then up he rose, and donned his clothes And dupped30 the chamber-door, Let in the maid, that out a maid Never departed more.31

God dild you: God reward you i.e. Thank you 26 They say the owl…daughter: This is a reference to a folk-tale in which a baker’s daughter refused to give bread to a begging Jesus. He then turned her into an owl 27 Conceit upon her father: These fantasies are inspired by the death of her father 25

Saint Valentine’s Day: Traditionally it was said that the first person of the opposite sex one met on this day would become one’s lover 29 betime: early 28

30

dupped: opened

31

Let in the maid…departed more: i.e. the girl entered the door a virgin but when she was left she was no longer a virgin

CLAUDIUS Pretty Ophelia!

60

OPHELIA Indeed, la, without an oath,32 I’ll make an end on’t:33 [Sings] By Gis34 and by Saint Charity,35 Alack, and fie for shame! Young men will do’t, if they come to’t: By Cock,36 they are to blame.

without an oath: without blaspheming I’ll make an end on’t: I’ll finish it 34 Gis: Jesus 35 Saint Charity: the saintly quality of charity 36 Cock: 1.God. This corruption allows Ophelia to avoid blaspheming 2. penis. This possible double meaning adds more obscenity to Ophelia’s song 32 33

149

Act 4 Scene 5

Hamlet

Quoth she, ‘Before you tumbled me, You promised me to wed’ 37

37

tumbled: had sex with

38

An: if

39

him: i.e. Polonius

40

close: closely

He answers: ‘So would I ha’ done, by yonder sun, An38 thou hadst not come to my bed.’ CLAUDIUS How long hath she been thus? OPHELIA I hope all will be well. We must be patient. But I cannot choose but weep, to think they should lay him39 i’ th’ cold ground. My brother shall know of it. And so I thank you for your good counsel. Come, my coach! Goodnight, ladies, goodnight. Sweet ladies, goodnight, goodnight. [Exit]

70

CLAUDIUS Follow her close.40 Give her good watch, I pray you.

1

[Exit HORATIO and GENTLEMAN]

80

90

O, this is the poison of deep grief. It springs All from her father’s death. And now behold – O Gertrude, Gertrude, When sorrows come, they come not single spies41 But in battalions. First, her father slain; Next, your son gone, and he most violent author42 Of his own just remove; the people muddied,43 Thick and unwholesome in their thoughts and whispers For good Polonius’ death, and we have done but greenly44 In hugger-mugger45 to inter him. Poor Ophelia, Divided from herself and her fair judgement, Without the which we are pictures, or mere beasts;46 Last, and as much containing47 as all these, Her brother is in secret come from France, Feeds on his wonder,48 keeps himself in clouds,49 And wants not buzzers50 to infect his ear With pestilent speeches of his father’s death; Wherein necessity, of matter beggared,51 Will nothing stick52 our person to arraign53 In ear and ear. O my dear Gertrude, this,

150

single spies: individual soldiers (sent in advance of the main army) 42 author: cause 43 muddied: 1. stirred up 2. confused 44 greenly: foolishly as if inexperienced 45 hugger-mugger: secretly and hurriedly 46 pictures, beasts: Both ‘pictures’ and ‘beasts’ lack reason. Claudius is explaining that without reason (‘judgement’) we are not fully human 47 as much containing: having as much potential for trouble 48 Feeds on his wonder: broods on his doubts (about his father’s death) 49 keeps himself in clouds: remains suspicious 50 buzzers: gossip-mongers 51 of matter beggared: lacking evidence 52 Will nothing stick: will stick at nothing 53 our person to arraign: to accuse me 41

1

Act 4 Scene 5

Hamlet

Like to a murdering-piece, in many places Gives me superfluous death.55 54

[A noise within]

murdering-piece: a type of cannon that fired many shots, killing more widely 55 superfluous death: kills me many times over 54

GERTRUDE Alack, what noise is this? CLAUDIUS

Attend!

[Enter a Messenger] Where are my Switzers?56 Let them guard the door. What is the matter?

56

Switzers: Swiss bodyguards

MESSENGER

100

110

Save yourself, my lord. The ocean, overpeering of his list,57 Eats not the flats58 with more impetuous haste Than young Laertes in a riotous head59 O’erbears your officers. The rabble call him lord And, as the world were now but to begin, Antiquity forgot, custom not known, The ratifiers and props60 of every word, They cry, ‘Choose we: Laertes shall be King!’ – Caps,61 hands and tongues, applaud it to the clouds – ‘Laertes shall be King! Laertes King!’ GERTRUDE How cheerfully on the false trail62 they cry! O, this is counter,63 you false Danish dogs!

[Noise within] CLAUDIUS The doors are broke.64

overpeering of his list: looking over the shoreline 58 Eats not the flats: doesn’t overrun the low-lying ground 59 riotous head: rebellion 57

60

The ratifiers and props: supporters

61

Caps: i.e. hats thrown into the air in celebration

false trail: i.e. like hounds on the wrong scent trail (because Claudius is not responsible for Polonius’ death) 63 counter: contrary (to the truth) 62

64

broke: broken in

[Enter LAERTES with his Followers] LAERTES Where is this king? Sirs, stand you all without.

151

Act 4 Scene 5

Hamlet

FOLLOWERS No, let’s come in. LAERTES

1

I pray you, give me leave.65

65

give me leave: leave me alone (with the King)

66

Keep: Guard

FOLLOWERS We will, we will. [They retire without the door] LAERTES I thank you. Keep66 the door. O thou vile King, Give me my father! GERTRUDE

120

Calmly, good Laertes.

LAERTES That drop of blood that’s calm proclaims me bastard, Cries ‘Cuckold!’67 to my father, brands the harlot68 Even here, between the chaste unsmirched brow69 Of my true mother. CLAUDIUS

What is the cause, Laertes, That thy rebellion looks so giant-like?70 Let him go, Gertrude; do not fear our person. There’s such divinity doth hedge a king71 That treason can but peep to what it would,72 Acts little of his will.73 Tell me, Laertes, Why thou art thus incensed. Let him go, Gertrude. Speak, man. LAERTES

Dead.

GERTRUDE But not by him.

152

1

Where is my father?

CLAUDIUS

CLAUDIUS

Cuckold: a man whose wife has been unfaithful. Laertes is saying that a true son would avenge his father 68 brands the harlot: puts the brand of a prostitute. Prostitutes were sometimes branded on their foreheads 69 chaste unsmirched brow: loyal, unblemished forehead 70 giant-like: large 71 There’s such divinity…king: The divine right of kings protects (‘hedge’) me 72 peep to what it would: peep at what it wants to overthrow 73 Acts little of his will: cannot achieve what it wants 67

1

Let him demand his fill.

Act 4 Scene 5

130

Hamlet

LAERTES How came he dead? I’ll not be juggled with.74 To hell allegiance! Vows to the blackest devil! Conscience and grace, to the profoundest pit!75 I dare damnation. To this point I stand,76 That both the worlds I give to negligence.77 Let come what comes, only I’ll be revenged Most thoroughly for my father. CLAUDIUS

Who shall stay78 you?

LAERTES My will, not all the world’s.79 And for my means80 I’ll husband81 them so well They shall go far with little.

74

juggled with: tricked / manipulated

profoundest pit: deepest pit (of hell) To this point I stand: I stand by this principle 77 That both the…negligence: I neglect the consequences of both heaven and hell (‘both worlds’) 75 76

78

stay: stop

My will…world’s: I will have my way despite what the world wants 80 means: resources 81 husband: manage 79

CLAUDIUS

140

Good Laertes, If you desire to know the certainty Of your dear father’s death, is’t writ in your revenge That swoopstake you will draw both friend and foe, Winner and loser?82

82

LAERTES None but his enemies. CLAUDIUS

Will you know them then?

LAERTES To his good friends thus wide I’ll ope my arms And like the kind life-rendering pelican83 Repast84 them with my blood. CLAUDIUS

150

That swoopstake…loser: like a sweepstakes draw, you will have it all indiscriminately, making friends and enemies alike

Why, now you speak Like a good child and a true gentleman. That I am guiltless of your father’s death, And am most sensible85 in grief for it, It shall as level86 to your judgement ’pear87 As day does to your eye.

kind life-rendering pelican: It was thought that pelicans fed their young with their own blood 84 Repast: feed 83

sensible: feelingly level: plain 87 ’pear: appear 85 86

153

Act 4 Scene 5

Hamlet

FOLLOWERS [Within] Let her come in. LAERTES How now! What noise is that? [Re-enter OPHELIA]

160

O heat,88 dry up my brains! Tears seven times salt Burn out the sense and virtue89 of mine eye! By heaven, thy madness shall be paid with weight, Till our scale turn the beam.90 O rose of May! Dear maid, kind sister, sweet Ophelia! O heavens! Is’t possible, a young maid’s wits Should be as mortal as an old man’s life? Nature is fine in love, and where ’tis fine, It sends some precious instance of itself After the thing it loves.91 OPHELIA [Sings] They bore him barefaced92 on the bier;93 Hey non nonny, nonny, hey nonny, And in his grave rained many a tear –

1 88 89

heat: anger virtue: power

90

thy madness…beam: i.e. I shall take revenge for you being made mad and with an act that outdoes the original crime

91

Nature…it loves: Human nature is pure when inspired by love. It often sends something precious (i.e. Ophelia’s sanity) of itself after its loved one (i.e. Polonius)

barefaced: i.e. the coffin was open or there was no coffin 93 bier: a frame on which a corpse is laid out 92

1

Fare you well, my dove! LAERTES Hadst thou thy wits, and didst persuade revenge, It could not move thus.94

170

OPHELIA You must sing ‘A-down a-down’, an you call him adown-a. O, how the wheel95 becomes it! It is the false steward that stole his master’s daughter. LAERTES This nothing’s more than matter.96 OPHELIA There’s rosemary: that’s for remembrance. Pray you, love, remember. And there is pansies: that’s for thoughts.97

154

94

move thus: urge me so

95

wheel: 1. refrain 2. wheel of Fortune

This nothing…matter: This apparent nonsense is more meaningful than ordinary speech 97 There’s rosemary…thoughts: Each of the flowers have a symbolic meaning and therefore are given to specific characters. However, the text does not specify who gets which flower. Rosemary = remembrance, pansies = thought, probably given to Laertes 96

2

Act 4 Scene 5

Hamlet

LAERTES A document98 in madness: thoughts and remembrance fitted.

98

OPHELIA There’s fennel for you, and columbines. There’s rue for 180 you; and here’s some for me. We may call it herb of grace o’ Sundays. You must wear your rue with a difference. There’s a daisy. I would give you some violets,99 but they withered all when my father died. They say he made a good end – [Sings] For bonny sweet Robin is all my joy.100

99

LAERTES Thought101 and affliction, passion,102 hell itself, She turns to favour and to prettiness.

190

document: lesson

There’s fennel…violets: See note 97 above. Fennel = flattery, probably given to a courtier or Claudius. Columbines = infidelity, probably given to Gertrude. Rue/Herb of Grace = repentance, probably given to Claudius or Gertrude. Daisy = unrequited love, Ophelia probably keeps these for herself. Violets = fidelity 100 For bonny…joy: A line from a popular song 101 Thought: Sadness 102 passion: suffering

OPHELIA [Sings] And will he not come again? And will he not come again? No, no, he is dead, Go to thy deathbed. He never will come again. His beard was as white as snow, All flaxen was his poll.103 He is gone, he is gone, And we cast away moan.104 God ha’105 mercy on his soul! And of all Christian souls. God buy you. [Exit]

103

All flaxen was his poll: all white was his hair

we cast away moan: 1. we waste our time mourning 2. we who are left alone now mourn 105 ha’: have 104

LAERTES Do you see this, O God?

200

CLAUDIUS Laertes, I must commune106 with your grief Or you deny me right. Go but apart, Make choice of whom your wisest friends you will. And they shall hear and judge ’twixt you and me. If by direct or by collateral107 hand

106

commune: share / join

107

collateral: indirect

155

Act 4 Scene 5

Hamlet

They find us touched, we will our kingdom give – Our crown, our life, and all that we can ours – To you in satisfaction. But, if not, Be you content to lend your patience to us, And we shall jointly labour with your soul To give it due content. 108

210

108

touched: guilty / implicated (in Polonius’ murder)

LAERTES

Let this be so. His means of death, his obscure109 funeral – No trophy,110 sword, nor hatchment111 o’er his bones, No noble rite, nor formal ostentation –112 Cry to be heard, as ’twere from heaven to earth, That I must call’t in question.113

obscure: secret trophy: memorial 111 hatchment: coat of arms 112 ostentation: ceremony 109 110

113

That I must…question: that I must question it

114

great axe: executioner’s axe

CLAUDIUS

So you shall, And where th’ offence is let the great axe114 fall. I pray you go with me. [Exeunt]

GERTRUDE

156

Key Quotations To my sick soul, as sin’s true nature is, Each toy seems prologue to some great amiss, So full of artless jealousy is guilt It spills itself in fearing to be spilt.

CLAUDIUS

There’s such divinity doth hedge a king That treason can but peep to what it would, Acts little of his will.

LAERTES

To hell allegiance! Vows to the blackest devil! Conscience and grace, to the profoundest pit! I dare damnation. To this point I stand, That both the worlds I give to negligence. Let come what comes, only I’ll be revenged Most thoroughly for my father.

Act 4 Scene 5

Hamlet

scene Commentary

Ophelia’s madness is made dramatically clear. Claudius states that her madness comes ‘All from her father’s death’. However, the themes of Ophelia’s songs suggest that there is more contributing to her insanity. She sings about death but also about lost love. The combination of her father’s murder and the ending of her relationship with Hamlet has driven her mad. This is compounded by the fact that it is her former lover, Hamlet, who is responsible for her father’s death. Gertrude clearly harbours a degree of guilt. However, she never wavers in her support for Claudius. In an aside she expresses her own sense of guilt, acknowledging her sinful state. This has led her to fear that some great tragedy may befall her: ‘To my sick soul, as sin’s true nature is, Each toy seems prologue to some great amiss, So full of artless jealousy is guilt It spills itself in fearing to be spilt.’ Despite this, Gertrude supports Claudius throughout this scene. She looks to protect her husband when Laertes leads an angry mob into the chamber and is quick to tell Laertes that Claudius did not kill Polonius. Claudius continues to exhibit his skill in manipulating those around him. He successfully manages to placate the fiery Laertes. Claudius allows Laertes room to vent his anger while managing to sidestep any suggestion of blame. He combines a mix of charm (‘Good Laertes’) and lies (‘I am guiltless of your father’s death, / And am most sensible in grief for it’). By the end of the scene, Laertes is coming to see Claudius as an ally rather than an enemy. He doesn’t realise that Claudius has manoeuvred him into becoming the instrument of Hamlet’s downfall. Claudius’ hypocrisy is apparent to the audience in this scene. He assures Gertrude that as King he enjoys a certain degree of divine protection: ‘There’s such divinity doth hedge a king / That treason can but peep to what it would, / Acts little of his will.’ The dramatic irony is that both Claudius and the audience know that no such ‘divinity’ protected Old King Hamlet when Claudius poisoned him. As a passionate and confrontational avenger, Laertes provides a dramatic contrast to Hamlet. While Hamlet is constrained by his conscience, Laertes is driven by impulse. He swears to ignore his conscience in his desire for retribution: ‘To hell allegiance! Vows to the blackest devil! / Conscience and grace, to the profoundest pit!’ While both men desire revenge for the murder of their fathers, Laertes’ need to act is in sharp contrast to Hamlet’s moral reflections and lack of action.

Questions

1. Do you agree with Claudius’ estimation of Ophelia’s madness, that it springs ‘All from her father’s death’? 2. What does this scene reveal about the character of Gertrude? 3. How does Claudius show himself to be a cunning and skilful manipulator in this scene? 4. Laertes and Hamlet approach revenge in radically different ways. How is this illustrated in this scene?

157

Act 4 Scene 6 scene summary

Horatio receives a letter from Hamlet. He learns that Hamlet’s ship was attacked by pirates as it made its way towards England. Hamlet boarded the pirate ship, allowing him to escape Rosencrantz and Guildenstern. Horatio is to be brought to Hamlet by the sailors who delivered the letter.

2

Another room in the castle. Enter HORATIO and a Servant HORATIO What are they1 that would speak with me? SERVANT Sea-faring men sir. They say they have letters for you. HORATIO Let them come in. [Exit Servant] I do not know from what part of the world I should be greeted, if not from Lord Hamlet. [Enter Sailors] SAILOR God bless you, sir. HORATIO Let Him bless thee too.

10

158

SAILOR He shall, sir, an’t please Him. There’s a letter for you, sir – it comes from th’ ambassador that was bound for England – if your name be Horatio, as I am let to know it is.

1

What are they: What sort of men are they

3

Act 4 Scene 6

20

30

Hamlet

HORATIO [Reads] ‘Horatio, when thou shalt have overlooked2 this, give these fellows some means3 to the King; they have letters for him. Ere we were two days old at sea, a pirate of very warlike appointment4 gave us chase. Finding ourselves too slow of sail, we put on a compelled valour,5 and in the grapple6 I boarded them. On the instant they got clear of our ship, so I alone became their prisoner. They have dealt with me like thieves of mercy,7 but they knew what they did. I am to do a good turn for them. Let the King have the letters I have sent, and repair thou to me with as much speed as thou wouldst fly death. I have words to speak in thine ear will make thee dumb. Yet are they much too light for the bore of the matter.8 These good fellows will bring thee where I am. Rosencrantz and Guildenstern hold their course for England. Of them I have much to tell thee. Farewell. He that thou knowest thine, Hamlet.’ Come, I will give you way9 for these your letters. And do’t the speedier that you may direct me To him from whom you brought them. [Exeunt]

2 3

overlooked: read over means: means of access

very warlike appointment: well equipped for battle 5 put on a compelled valour: had no option but to fight bravely 6 grapple: when the two ships were fastened together using grapple hooks 7 thieves of mercy: merciful thieves 4

8

much too light…matter: are not adequate to express the seriousness of the matter. The image here is of large cannon filled with bullets of a small calibre (‘bore’)

9

give you way: give you means of access (to the King)

scene Commentary

this short scene heightens the dramatic tension as the audience look forward to Hamlet’s return to Denmark. the fate of Rosencrantz and Guildenstern is uncertain. However, Hamlet already knows that they are working for Claudius and suggests that he has taken steps to deal with their treachery: ‘Rosencrantz and Guildenstern hold their course for England. Of them I have much to tell thee.’ Fate may now be working in Hamlet’s favour. Some commentators note how Hamlet is fortunate that his ship was boarded by pirates allowing him to leave Rosencrantz and Guildenstern. However, it could be argued that Hamlet took matters into his own hands and decisively took the opportunity to change vessels.

159

2

Act 4 Scene 7 scene summary

Claudius earns Laertes’ trust and devises a plan for him to kill Hamlet. Hamlet is to be challenged to a fencing match against Laertes. Laertes will use a sword that has no protective guard on the point. His sword will also be dipped in poison. Furthermore, Claudius will poison Hamlet’s drink. Gertrude tells Laertes that Ophelia has drowned. In Gertrude’s account, Ophelia slipped and died accidently (later in the play it is suggested that Ophelia took her own life).

3

Another room in the castle. Enter CLAUDIUS and LAERTES CLAUDIUS Now must your conscience my acquittance seal1 And you must put me in your heart for friend Sith2 you have heard, and with a knowing3 ear, That he which hath your noble father slain Pursued my life.

my acquittance seal: confirm my release (from your suspicions) i.e. confirm my innocence 2 Sith: since 3 knowing: receptive 1

LAERTES

It well appears. But tell me Why you proceeded not against these feats4 So crimeful and so capital5 in nature, As by your safety, wisdom, all things else, You mainly were stirred up.6

4

feats: (Hamlet’s) actions

5

capital: punishable by death

6

mainly…up: strongly incited to act

7

unsinewed: weak

CLAUDIUS

10

O, for two special reasons Which may to you perhaps seem much unsinewed7 But yet to me they are strong. The Queen his mother Lives almost by his looks and for myself – My virtue or my plague, be it either which – She is so conjunct8 to my life and soul That as the star moves not but in his sphere9 I could not but by her.10 The other motive Why to a public count11 I might not go Is the great love the general gender12 bear him, Who, dipping all his faults in their affection,

160

conjunct: joined / united sphere: orbit. Claudius refers to belief that stars orbited around the earth 10 I could not but by her: I could not live without her 11 count: accusation 12 general gender: ordinary sort of people 8 9

4

Act 4 Scene 7 20

Hamlet

Work like the spring that turneth wood to stone, Convert his gyves14 to graces,15 so that my arrows, Too slightly timbered for so loud a wind,16 Would have reverted17 to my bow again And not where I had aimed them. 13

LAERTES And so have I a noble father lost, A sister driven into desperate terms18 Whose worth, if praises may go back again,19 Stood challenger20 on mount21 of all the age For her perfections. But my revenge will come.

30

CLAUDIUS Break not your sleeps for that.22 You must not think That we are made of stuff so flat and dull That we can let our beard be shook with danger And think it pastime.23 You shortly shall hear more. I loved your father, and we love ourself, And that, I hope, will teach you to imagine –

Work…stone: Note: this is a reference to a type of spring in limestone rich areas that deposits a coating of limestone on any object placed in it 14 gyves: fetters / shackles 15 graces: marks of honour 16 Too slightly timbered…wind: made with wooden shafts that are too light for such a strong wind 17 reverted: returned 18 desperate terms: state of desperation 19 go back again: go back to how she was before 20 Stood challenger: rivalled 21 on mount: set up on high 13

22

Break not…for that: Don’t lose any sleep over that

23

think it pastime: take it lightly

[Enter a Messenger] How now! What news? MESSENGER Letters, my lord, from Hamlet: These to your Majesty; this to the Queen. CLAUDIUS From Hamlet! Who brought them?

40

MESSENGER Sailors, my lord, they say. I saw them not. They were given me by Claudio. He received them Of him that brought them. CLAUDIUS Leave us.

Laertes, you shall hear them –

[Exit Messenger]

161

Act 4 Scene 7

Hamlet

[Reads] ‘High and mighty. You shall know I am set naked24 on your kingdom. Tomorrow shall I beg leave to see your kingly eyes. When I shall, first asking your pardon, thereunto recount the occasion25 of my sudden and more strange return. Hamlet.’ What should this mean? Are all the rest come back? Or is it some abuse,26 and no such thing?

50

24

naked: 1. possessionless 2. unarmed

25

occasion: circumstances

26

abuse: deception

27

character: handwriting

28

devise: advise / explain to me

29

lost in: baffled by

30

Thus didest thou: You killed my father in the same way that I am killing you

31

ruled: governed

32

So you will…peace: as long as you don’t command me to end this matter peacefully

7

LAERTES Know you the hand? CLAUDIUS

’Tis Hamlet’s character.27

‘Naked!’ And in a postscript here, he says ‘alone.’ Can you devise28 me?

LAERTES I’m lost in29 it, my lord. But let him come. It warms the very sickness in my heart That I shall live and tell him to his teeth, ‘Thus didest thou.’30

8

CLAUDIUS

If it be so, Laertes – As how should it be so? How otherwise? – Will you be ruled31 by me?

LAERTES

Ay, my lord, So you will not o’errule me to a peace.32

60

CLAUDIUS To thine own peace.33 If he be now returned As checking at34 his voyage, and that he means No more to undertake it, I will work35 him To an exploit, now ripe in my device,36 Under the which he shall not choose but fall. And for his death no wind of blame shall breathe But even his mother shall uncharge the practice37 And call it accident.

162

To thine own peace: Let me give you peace of mind 34 checking at: abandoning / turning back from 35 work: manoeuvre 36 an exploit…device: a scheme which I have prepared 33

37

uncharge the practice: be unable to blame the plan

9

Act 4 Scene 7

Hamlet

LAERTES

70

My lord, I will be ruled The rather, if you could devise it so That I might be the organ.38

38

organ: instrument

39

It falls right: That fits my plan perfectly

40

sum of parts: list of attributes

41

unworthiest siege: least importance

42

A very riband: A mere ornament

CLAUDIUS

It falls right.39 You have been talked of since your travel much, And that in Hamlet’s hearing, for a quality Wherein they say, you shine. Your sum of parts40 Did not together pluck such envy from him As did that one, and that in my regard, Of the unworthiest siege.41 LAERTES

80

90

What part is that, my lord?

CLAUDIUS A very riband42 in the cap of youth, Yet needful43 too; for youth no less becomes44 The light and careless livery45 that it wears Than settled age his sables and his weeds,46 Importing health and graveness.47 Two months since Here was a gentleman of Normandy – I have seen myself, and served against, the French And they can well on horseback,48 but this gallant49 Had witchcraft in’t; he grew unto his seat And to such wondrous doing50 brought his horse As51 he had been incorpsed and demi-natured52 With the brave beast. So far he topped my thought53 That I, in forgery of shapes and tricks54 Come short of what he did. LAERTES

A Norman was’t?

CLAUDIUS A Norman. LAERTES

Upon my life, Lamord!55

needful: necessary becomes: suited by 45 livery: clothing. Claudius is making reference to the type of light clothes worn for fencing and to the easy-going attitude of young people in general 46 sables and his weeds: furs and his sensible clothing. This is a metaphor for the conservative attitude of older people in general 47 Importing health and graveness: indicating stability and seriousness 48 can well on horseback: are capable horse riders 49 gallant: spirited young gentleman 50 doing: behaviour 51 As: as if 52 incorpsed and demi-natured: made into one body and united in spirit 53 topped my thought: exceeded my imagination 54 in forgery of shapes and tricks: in imagining these feats of skill (on horseback) 43 44

55

Lamord: Some commentators note that the name Lamord is similar to the French word for death: la mort

163

Act 4 Scene 7

CLAUDIUS

Hamlet

The very same.

LAERTES I know him well. He is the brooch,56 indeed, And gem of all the nation.

100

CLAUDIUS He made confession of you,57 And gave you such a masterly report For art and exercise in your defence,58 And for your rapier59 most especial, That he cried out, ’twould be a sight indeed, If one could match you. The scrimers60 of their nation He swore, had had neither motion,61 guard,62 nor eye, If you opposed them. Sir, this report of his Did Hamlet so envenom63 with his envy That he could nothing do but wish and beg Your sudden coming o’er, to play64 with you. Now, out of this – LAERTES

56

brooch: ornament

He made confession of you: He testified to your ability 58 art and exercise in your defence: expertise in theory and practice of fencing 59 rapier: a type of sword 60 scrimers: fencers 61 motion: correct technique 62 guard: defence 63 envenom: embitter (literally ‘poison’) 57

64

play: fence

What out of this, my lord?

CLAUDIUS Laertes, was your father dear to you? Or are you like the painting of a sorrow, A face without a heart? LAERTES

1

1

Why ask you this?

CLAUDIUS Not that I think you did not love your father But that I know love is begun by time; And that I see in passages of proof65 Time qualifies66 the spark and fire of it. There lives within the very flame of love A kind of wick or snuff67 that will abate it, And nothing is at a like goodness still,68 For goodness, growing to a pleurisy,69 Dies in his own too much. That we would do We should do when we would, for this ‘would’ changes 120 And hath abatements and delays as many

110

164

passages of proof: experiences that support my views 66 qualifies: reduces / moderates 67 wick or snuff: wick: the fibre in a candle that is ignited; snuff: the part of the wick that is consumed as it burns. Claudius is saying that love is consumed by the very thing that feeds it 68 nothing…still: nothing remains at the same level of goodness forever 69 pleurisy: excess 65

1

Act 4 Scene 7

Hamlet

As there are tongues, are hands, are accidents, And then this ‘should’ is like a spendthrift’s sigh, That hurts by easing.71 But, to the quick of th’ ulcer –72 Hamlet comes back. What would you undertake To show yourself in deed your father’s son More than in words? 70

LAERTES

130

To cut his throat i’ th’ church.

CLAUDIUS No place indeed should murder sanctuarise.73 Revenge should have no bounds. But, good Laertes, Will you do this? Keep close within your chamber. Hamlet returned shall know you are come home; We’ll put on those shall praise your excellence And set a double varnish on the fame The Frenchman gave you, bring you in fine74 together And wager on your heads. He being remiss,75 Most generous76 and free from all contriving, Will not peruse the foils,77 so that, with ease, Or with a little shuffling, you may choose A sword unbated78 and in a pass of practice79 Requite him for your father.

That we would do…accidents: If we wish to do something we should do it immediately, because our inclination to do it may change and be decreased by words, actions and misfortunes 71 And then this ‘should’…easing: and our sighs of regret may give short-term relief but will cause suffering in the long run 72 quick of th’ulcer: sensitive part of the problem 70

73

No place…sanctuarise: No place should offer sanctuary to a murderer

in fine: finally remiss: careless 76 generous: noble 77 peruse the foils: examine the fencing swords 74 75

78 79

unbated: not blunted (by a button) pass of practice: a treacherous swordthrust

LAERTES

140

I will do’t. And for that purpose I’ll anoint my sword. I bought an unction80 of a mountebank,81 So mortal that, but dip a knife in it, Where it draws blood no cataplasm82 so rare, Collected from all simples83 that have virtue84 Under the moon,85 can save the thing from death That is but scratched withal. I’ll touch my point With this contagion, that if I gall86 him slightly, It may be death.

unction: ointment mountebank: a travelling quack doctor 82 cataplasm: poultice 83 simples: herbs 84 virtue: medicinal qualities 85 Under the moon: It was thought that the power of medicinal herbs was intensified when collected by moonlight 86 gall: scratch 80 81

CLAUDIUS

150

Let’s further think of this, Weigh what convenience both of time and means May fit us to our shape.87 If this should fail And that our drift88 look through our bad performance ’Twere better not assayed.89 Therefore this project Should have a back or second90 that might hold

May fit…shape: suit the roles we intend to play 88 drift: scheme 89 our drift look through…assayed: our scheme appears obvious because of our bad performances, it would be better not to attempt it 90 a back or second: a ‘plan B’ 87

165

Act 4 Scene 7

Hamlet

If this should blast in proof. Soft! Let me see: We’ll make a solemn wager on your cunnings92 – I ha’t. When in your motion you are hot and dry – As make your bouts more violent to that end – And that he calls for drink, I’ll have prepared him A chalice for the nonce,93 whereon but sipping, If he by chance escape your venomed stuck,94 Our purpose may hold there. But stay, what noise? 91

160

blast in proof: blow up (go wrong) when it happens 92 your cunnings: your respective degrees of skill 91

93 94

nonce: occasion venomed stuck: poisoned sword thrust

1

[Enter GERTRUDE] GERTRUDE One woe doth tread upon another’s heel, So fast they follow. Your sister’s drowned, Laertes. LAERTES Drowned! O, where?

170

180

GERTRUDE There is a willow grows aslant95 a brook, That shows his hoary96 leaves in the glassy stream, Therewith fantastic97 garlands did she make Of crowflowers,98 nettles, daisies and long purples,99 That liberal100 shepherds give a grosser101 name But our cold102 maids do dead men’s fingers call them. There on the pendent103 boughs her coronet weeds104 Clambering to hang, an envious sliver105 broke, When down her weedy trophies and herself Fell106 in the weeping brook. Her clothes spread wide And, mermaid-like, awhile they bore her up, Which time she chanted snatches of old lauds107 As one incapable108 of her own distress, Or like a creature native and indued Unto that element.109 But long it could not be Till that her garments, heavy with their drink, Pulled the poor wretch from her melodious lay110 To muddy death. LAERTES

Alas, then, she is drowned?

GERTRUDE Drowned, drowned. 166

aslant: slanting over hoary: silvery-grey 97 fantastic: elaborate 98 crowflowers: buttercups or ragged robins (types of flower) 99 long purples: a type of orchid 100 liberal: free-speaking 101 grosser: ruder 102 cold: chaste 103 pendent: overhanging 104 coronet weeds: crown of wild flowers 105 envious sliver: malicious twig 106 Fell: Gertrude’s account suggests that Ophelia’s death was accidental. However, in Act 5 it is suggested that Ophelia took her own life 107 lauds: hymns 108 incapable: unable to understand 109 native and indued…element: adapted naturally to live in water 95 96

110

lay: song

Act 4 Scene 7

190

Hamlet

LAERTES Too much of water hast thou, poor Ophelia, And therefore I forbid my tears. But yet It is our trick111 – nature her custom holds Let shame say what it will. [Weeps] When these112 are gone The woman will be out.113 Adieu, my lord, I have a speech o’ fire,114 that fain115 would blaze, But that this folly116 douts117 it. [Exit]

trick: impulse these: i.e. these tears 113 The woman will be out: this feminine weakness will have left me 111

112

o’ fire: fiery fain: eagerly 116 folly: foolish weeping 117 douts: drowns / extinguishes 114 115

CLAUDIUS

Let’s follow, Gertrude. How much I had to do to calm his rage! Now fear I this will give it start again. Therefore let’s follow. [Exeunt]

CLAUDIUS

CLAUDIUS

Key Quotations That we would do We should do when we would, for this ‘would’ changes And hath abatements and delays as many As there are tongues, are hands, are accidents, And then this ‘should’ is like a spendthrift’s sigh, That hurts by easing. No place indeed should murder sanctuarise. Revenge should have no bounds.

scene Commentary

Claudius is a truly reprehensible and devious villain. The callous manner in which he manipulates Laertes to achieve his own ends underlines the fact that he is a scheming, cynical character. He flatters Laertes by apparently confiding in him his reasons for not killing Hamlet (it would upset Gertrude and lose him the support of the people). He also compliments Laertes as a skilled fencer. Critically, Claudius appeals to Laertes’ sense of duty to Polonius: ‘What would you undertake / To show yourself in deed your father’s son / More than in words?’ By using Laertes as his agent, Claudius is creating distance between himself and the murder plot. Furthermore, it is Claudius who decides to uncover Laertes’ sword and to poison Hamlet’s drink. Claudius lacks moral scruples and will stop at nothing to protect himself. there is great dramatic irony in this scene. Laertes tells Claudius that he is prepared to kill Hamlet without any hesitancy, remarking that he would be happy ‘To cut his [Hamlet’s] throat i’ th’ church.’ The audience will immediately think of the Prayer Scene and the opportunity Hamlet passed up to kill Claudius in the church. The irony is compounded by Claudius’ reply that ‘No place indeed should murder sanctuarise. / Revenge should have no bounds.’ 167



Act 4 Scene 7

Hamlet

Although he doesn’t appear in this scene, Hamlet’s noble nature is emphasised here. While discussing the plot to kill Hamlet, Claudius makes reference to Hamlet’s nobility remarking that he is ‘Most generous and free from all contriving, / Will not peruse the foils’. The underhand plot to kill Hamlet provides the audience with fresh appreciation of Hamlet’s moral nature. Whereas Laertes recklessly pursues revenge and Claudius is deviously self-interested, Hamlet constantly interrogates the morality of his actions. It is hard to imagine Hamlet using the kind of strategies that Claudius and Laertes employ to exact revenge. As a man blinded by his own passion, Laertes is vulnerable to Claudius’ manipulation. He naïvely agrees to be ‘ruled’ by Claudius so intense is his desire for revenge. Claudius is keen to keep Laertes’ anger in check and ensure that Laertes does not try to confront Hamlet prior to the fencing match. He therefore tells him, ‘Keep close within your chamber.’ Gertrude’s poetic and beautiful account of Ophelia’s death, contrasts with the moral ugliness of Claudius and Laertes’ scheme to murder Hamlet. She paints a beautiful image of the moments before Ophelia drowns: ‘There is a willow grows aslant a brook, / That shows his hoary leaves in the glassy stream, / Therewith fantastic garlands did she make’. The image of Ophelia singing as she drowns ‘mermaid-like’ is saddening yet beautiful. In contrast to this, Claudius and Laertes’ plan seems all the more villainous. Gertrude’s account of Ophelia’s death romanticises it, presenting it as an accident. Later in the play it is suggested that Ophelia has taken her own life. An audience may wonder why Gertrude hides this fact. Perhaps she wishes to avoid compounding Laertes’ grief and fuelling his anger at Hamlet. However, her lyrical account of Ophelia’s death may simply be a reflection of Gertrude’s humanity and sympathetic nature.

Questions

1. What is Claudius and Laertes’ plan to kill Hamlet? 2. Describe the methods used by Claudius in this scene to encourage Laertes to take part in the scheme to kill Hamlet. 3. Claudius tells Laertes, ‘She [Gertrude] is so conjunct to my life and soul / That as the star moves not but in his sphere / I could not but by her.’ Do you think he is being sincere here? Why / why not? 4. What differences between Hamlet and Laertes are made clear in this scene? 5. (a) Later in the play it is suggested that Ophelia may have died by suicide. How does Gertrude account for her death? (b) Why do you think Gertrude accounts for Ophelia’s death in this way?

168





Act 4 Revision Quiz

Act 4

Revision Quiz

1. When Gertrude tells Claudius about the death of Polonius, how does she try to divert blame from Hamlet? She says that: (a) Polonius attacked Hamlet (b) Hamlet thought an intruder has broken into her chamber (c) Hamlet killed Polonius because of his madness (d) Rosencrantz and Guildenstern killed Polonius 2. Where does Claudius decide to send Hamlet? 3. Who does Claudius order to accompany Hamlet on board the ship? 4.

Hamlet comes across Fortinbras’ army. Where are they going? (a) Poland (b) Elsinore (c) Wittenberg (d) Paris

5. Who forces his way into the King’s room, demanding revenge for his father’s death? 6. According to his letter, how did Hamlet escape the ship? 7. Claudius and Laertes devise a plan to murder Hamlet. What is their plan? 8.

How does Ophelia die? (a) She swallows poison (b) She is stabbed (c) She falls from a cliff (d) She drowns

9. Who says each of the following? (a) Mad as the sea and wind, when both contend Which is the mightier…. in this brainish apprehension kills The unseen good old man. (b) he keeps them, like an ape an apple, in the corner of his jaw, first mouthed, to be last swallowed. When he needs what you have gleaned, it is but squeezing you and, sponge, you shall be dry again. 169

Act 4 Revision Quiz

(c) He’s loved of the distracted multitude, Who like not in their judgement, but their eyes; And where ’tis so, th’ offender’s scourge is weighed But never the offence. (d) We fat all creatures else to fat us, and we fat ourselves for maggots. Your fat king and your lean beggar is but variable service, two dishes, but to one table. That’s the end. (e) There’s such divinity doth hedge a king That treason can but peep to what it would, Acts little of his will. 10. Rewrite these quotations. In each case, write the speaker’s name and fill in the blanks. (a) To draw apart the body he hath killed, O’er whom his very _______, like some ore Among a _______ of metals base, Shows itself pure: he weeps for what is done. (b) O, from this time forth My thoughts be _______, or be nothing worth! (c) To hell _______! Vows to the blackest devil! Conscience and grace, to the _______ pit! I dare damnation. (d) No place indeed should _______ sanctuarise. Revenge should have no bounds.

170

Act 5 Scene 1 scene summary

The scene opens with two gravediggers talking as they dig Ophelia’s grave. They discuss whether or not Ophelia took her own life. They remark that she is to be given a Christian burial as the coroner has not judged her death to be suicide. As one of the gravediggers goes on an errand, Hamlet and Horatio meet the other gravedigger. Hamlet is prompted to reflect on death as the gravedigger throws up buried bones and skulls. Ophelia’s funeral procession arrives. Hamlet and Horatio watch from some distance. The priest says he is only willing to perform a funeral service with a minimal amount of ceremony because he suspects that Ophelia died by suicide. Laertes is outraged. He leaps into Ophelia’s grave, making a show of his grief. Hamlet is appalled by the exaggerated nature of Laertes’ grieving. He steps forward referring to himself as ‘Hamlet the Dane’ (Hamlet, King of Denmark). Laertes and Hamlet tussle. They are separated. Claudius encourages Laertes to restrain himself and to stick to their original plan to kill Hamlet.

A churchyard. Enter two Clowns [Gravediggers], with spades and picks FIRST GRAVEDIGGER Is she1 to be buried in Christian burial2 that wilfully seeks her own salvation?3 SECOND GRAVEDIGGER I tell thee she is. Therefore make her grave straight.4 The crowner5 hath sat on her6 and finds it Christian burial. FIRST GRAVEDIGGER How can that be, unless she drowned herself in her own defence?

she: i.e. Ophelia Christian burial: burial in consecrated ground and with a Christian ceremony. This was traditionally denied in cases of suicide 3 wilfully…salvation: a euphemism for suicide 4 straight: immediately 5 crowner: coroner 6 hath sat on her: has judged her case 1 2

SECOND GRAVEDIGGER Why, ’tis found so.

10

FIRST GRAVEDIGGER It must be se offendendo.7 It cannot be else. For here lies the point: if I drown myself wittingly,8 it argues an act, and an act hath three branches: it is, to act, to do, to perform. Argal,9 she drowned herself wittingly.

se offendendo: The Gravedigger means se defendendo, which is Latin for ‘in self-defence’ 8 wittingly: intentionally 9 Argal: The Gravedigger means ergo, Latin for therefore 7

171

Act 5 Scene 1

SECOND GRAVEDIGGER Nay, but hear you, Goodman Delver –10 FIRST GRAVEDIGGER Give me leave. Here lies the water – good. Here stands the man – good. If the man go to this water and drown himself it is, will he nill he,11 he goes. Mark you that. But if the water come to him and drown him, he drowns not himself. Argal, he that is not guilty of his own death shortens not his own life.

Hamlet 10

11

Goodman Delver: Mr Digger

will he nill he: whether he is willing or not

4

SECOND GRAVEDIGGER But is this law?

20

FIRST GRAVEDIGGER Ay, marry, is’t, crowner’s quest12 law.

12

crowner’s quest: coroner’s inquest

SECOND GRAVEDIGGER Will you ha’ the truth on’t? If this had not been a gentlewoman, she should have been buried out o’ Christian burial. FIRST GRAVEDIGGER Why, there thou say’st, and the more pity that great folk should have countenance in this world to drown or hang themselves, more than their even13 Christian. Come, my spade. There is no ancient14 gentleman but gardeners, ditchers15 and grave-makers. They hold up16 Adam’s profession.

30

SECOND GRAVEDIGGER Was he a gentleman?17 FIRST GRAVEDIGGER He was the first that ever bore arms.18 SECOND GRAVEDIGGER Why, he had none. FIRST GRAVEDIGGER What, art a heathen? How dost thou understand the Scripture? The Scripture says ‘Adam digged.’ Could he dig without arms? I’ll put another question to thee. If thou answerest me not to the purpose,19 confess thyself –20

172

even: fellow ancient: well-established 15 ditchers: men who dig ditches 16 hold up: maintain 13 14

gentleman: a reference to the rhyme ‘When Adam delved and Eve span / Who was then the gentleman?’ The point being that there were no classes in the Garden of Eden 18 bore arms: had a coat of arms. Only gentleman traditionally had a coat of arms 17

19 20

to the purpose: correctly confess thyself –: The Gravedigger is interrupted here. The full phrase is: ‘Confess thyself and be hanged’

5

Act 5 Scene 1

SECOND GRAVEDIGGER Go to.21

Hamlet 21

Go to: Shut up

22

that frame: i.e. the gallows

23

unyoke: unyoke the oxen from the plough i.e. get it over with

24

Mass: By the Holy Mass (a mild oath)

FIRST GRAVEDIGGER What is he that builds stronger than either the mason, the shipwright, or the carpenter?

40

SECOND GRAVEDIGGER The gallows-maker, for that frame22 outlives a thousand tenants. FIRST GRAVEDIGGER I like thy wit well, in good faith. The gallows does well. But how does it well? It does well to those that do ill. Now, thou dost ill to say the gallows is built stronger than the church. Argal, the gallows may do well to thee. To’t again, come. SECOND GRAVEDIGGER ‘Who builds stronger than a mason, a shipwright, or a carpenter?’ FIRST GRAVEDIGGER Ay, tell me that and unyoke.23

50

SECOND GRAVEDIGGER Marry, now I can tell. FIRST GRAVEDIGGER To’t! SECOND GRAVEDIGGER Mass,24 I cannot tell. [Enter HAMLET and HORATIO, at a distance] FIRST GRAVEDIGGER Cudgel thy brains no more about it,25 for your dull ass will not mend his pace with beating.26 And when you are asked this question next, say ‘a grave-maker.’ The houses that he makes last till Doomsday. Go, get thee to Yaughan;27 fetch me a stoup28 of liquor.

Cudgel…about it: Don’t beat your brains thinking about it 26 your dull…beating: a slow donkey will not walk faster if you beat him 27 Yaughan: the name of a local tavern owner 28 stoup: pitcher 25

[Exit SECOND GRAVEDIGGER] 173

Act 5 Scene 1

Hamlet

[He digs and sings] In youth, when I did love, did love, Methought it was very sweet, To contract-o-the time for a my behove,30 O, methought there-a was nothing meet!31 29

60

sings: The song is a version of an old ballad. The Gravedigger’s version celebrates the carelessness of youth 30 To contract…behove: to pass the time as I saw fit 31 meet: appropriate 29

HAMLET Has this fellow no feeling of his business, that he sings at grave-making? HORATIO Custom hath made it in him a property of easiness.32 HAMLET ’Tis e’en so. The hand of little employment hath the daintier sense.33

70

FIRST GRAVEDIGGER [Sings] But age, with his stealing steps, Hath clawed34 me in his clutch, And hath shipped me into the land,35 As if I had never been such. [Throws up a skull] HAMLET That skull had a tongue in it, and could sing once. How the knave jowls36 it to the ground, as if t’were Cain’s jawbone,37 that did the first murder! This might be the pate38 of a politician,39 which this ass now o’er-reaches –40 one that would circumvent41 God, might it not? HORATIO It might, my lord.

80

HAMLET Or of a courtier, which could say ‘Good morrow, sweet lord! How dost thou, good lord?’ This might be my Lord Such-a-One, that praised my Lord Such-a-One’s horse, when he meant to beg42 it – might it not?

32

Custom…easiness: He is used to the job and that allows him to feel indifferent

33

The hand…sense: Those who do not have to work are more sensitive

34

clawed: caught hath shipped…land: has brought me to the land (of death)

35

9

1

jowls: hurls. This is also a pun as ‘jowls’ also means ‘jaw’ 37 Cain’s jawbone: Cain, the son of Adam and Eve, was thought to have murdered his brother Abel by hitting him with the jawbone of an ass 38 pate: head 39 politician: schemer 40 o’er-reaches: triumphs over 41 circumvent: get around 36

42

beg: borrow

HORATIO Ay, my lord.

1 174

Act 5 Scene 1

HAMLET Why, e’en so. And now my Lady Worm’s43 – chapless,44 and knocked about the mazard45 with a sexton’s spade. Here’s fine revolution,46 an47 we had the trick48 to see’t. Did these bones cost no more the breeding, but to play at loggets49 with ’em? Mine ache to think on’t.

90

100

FIRST GRAVEDIGGER [Sings] A pick-axe and a spade, a spade, For and a shrouding-sheet, O, a pit of clay for to be made For such a guest is meet. [Throws up another skull] HAMLET There’s another! Why may not that be the skull of a lawyer? Where be his quiddities now, his quillets,50 his cases, his tenures,51 and his tricks? Why does he suffer this rude knave now to knock him about the sconce52 with a dirty shovel, and will not tell him of his action of battery?53 Hum! This fellow might be in’s time a great buyer of land, with his statutes, his recognisances, his fines, his double vouchers, his recoveries.54 Is this the fine55 of his fines, and the recovery of his recoveries, to have his fine pate full of fine dirt! Will his vouchers vouch him no more of his purchases, and double ones too, than the length and breadth of a pair of indentures?56 The very conveyances of his lands will scarcely lie in this box,57 and must th’ inheritor himself have no more, ha? HORATIO Not a jot more, my lord. HAMLET Is not parchment made of sheepskins?

Hamlet my Lady Worm’s: 1. a lady’s skull that is now food for the worms 2. a lady’s name (Lady Worm) used ironically here 44 chapless: jawless 45 mazard: head 46 revolution: social change 47 an: if 48 trick: skill 49 loggets: a game where the aim is to throw pieces of wood as closely as possible to a stake 43

quiddities; quillets: subtle arguments with nuanced meanings that a lawyer would make 51 tenures: property titles 52 sconce: head 53 action of battery: lawsuit concerning physical assault 54 statutes; recognisances; double vouchers; recoveries: legal terms concerned with property 55 fine: final. This leads to a series of puns: ‘fine pate’ (handsome head) ‘fine dirt’ (powdery clay) 56 pair of indentures: identical legal documents written on the same piece of paper and then separated by cutting a jagged line. The documents could be proved authentic by fitting the torn pieces together again. Hamlet is also punning on the idea of the two parts of a jaw being fitted back together (‘(in)denture’ suggests tooth) 57 box: coffin 50

HORATIO Ay, my lord, and of calves’ skins too.

110

HAMLET They are sheep and calves which seek out assurance in that. I will speak to this fellow. Whose grave’s this, sirrah?58

58

sirrah: a form of ‘sir’ used to address social inferiors

175

Act 5 Scene 1

Hamlet

FIRST GRAVEDIGGER Mine, sir. [Sings] O, a pit of clay for to be made For such a guest is meet. HAMLET I think it be thine, indeed, for thou liest59 in’t.

59

liest: Hamlet and the Gravedigger engage in wordplay, punning on the word lie: 1. to lie down 2. to tell an untruth

60

quick: living

FIRST GRAVEDIGGER You lie out on’t, sir, and therefore ’tis not yours. For my part, I do not lie in’t, and yet it is mine. HAMLET Thou dost lie in’t, to be in’t and say it is thine. ’T’is for the dead, not for the quick.60 Therefore thou liest. FIRST GRAVEDIGGER ’Tis a quick lie, sir; ’twill away gain, from me to you.

120

1

HAMLET What man dost thou dig it for? FIRST GRAVEDIGGER For no man, sir. HAMLET What woman, then? FIRST GRAVEDIGGER For none, neither. HAMLET Who is to be buried in’t? FIRST GRAVEDIGGER One that was a woman, sir, but rest her soul, she’s dead.

HAMLET [To Horatio] How absolute61 the knave is! We must speak by the card,62 or equivocation63 will undo us. By the Lord, Horatio, these three years I have taken a note of it, the age is grown so picked64 that the toe of the peasant comes so near the heel 130 of the courtier, he galls his kibe.65 How long hast thou been a grave-maker? 176

absolute: precise / pedantic speak by the card: speak by the book / speak literally 63 equivocation: ambiguity 64 picked: refined 65 galls his kibe: rubs against his chilblain 61 62

1

Act 5 Scene 1

Hamlet

FIRST GRAVEDIGGER Of all the days i’ th’ year, I came to’t that day that our last King Hamlet overcame Fortinbras. HAMLET How long is that since? FIRST GRAVEDIGGER Cannot you tell that? Every fool can tell that. It was the very day that young Hamlet was born – he that is mad and sent into England. HAMLET Ay, marry. Why was he sent into England?

140

FIRST GRAVEDIGGER Why, because he was mad. He shall recover his wits there. Or if he do not, it’s no great matter there. HAMLET Why? FIRST GRAVEDIGGER ’Twill not be seen in him there. There the men are as mad as he. HAMLET How came he mad? FIRST GRAVEDIGGER Very strangely, they say. HAMLET How strangely? FIRST GRAVEDIGGER Faith, e’en with losing his wits. HAMLET Upon what ground?66

150

FIRST GRAVEDIGGER Why, here in Denmark. I have been sexton67 here, man and boy, thirty years.

66

Upon what ground?: For what reason? The Gravedigger interprets the questions literally as ‘In what place?’

67

sexton: a lay church official who would ring bells, dig graves etc. 177

Act 5 Scene 1

Hamlet

HAMLET How long will a man lie i’ th’ earth ere he rot? FIRST GRAVEDIGGER I’ faith, if he be not rotten before he dies – as we have many pocky corses68 now-a-days, that will scarce hold the laying in – he will last you some eight year or nine year. A tanner69 will last you nine year. HAMLET Why he more than another?

160

FIRST GRAVEDIGGER Why sir, his hide is so tanned with his trade, that he will keep out water a great while. And your water is a sore decayer of your whoreson70 dead body. Here’s a skull now; this skull has lien71 in the earth three and twenty years.

pocky corses: pox-ridden corpses. The pox was another name for syphilis 69 tanner: a person who makes leather from animal hides 68

70 71

1

whoreson: son of a prostitute lien: lain

HAMLET Whose was it? FIRST GRAVEDIGGER A whoreson mad fellow’s it was. Whose do you think it was? HAMLET Nay, I know not. FIRST GRAVEDIGGER A pestilence on him for a mad rogue! A poured a flagon of Rhenish72 on my head once! This same skull sir, was Yorick’s skull, the King’s jester. HAMLET This?

170

FIRST GRAVEDIGGER E’en that. HAMLET Let me see. [Takes the skull] Alas, poor Yorick! I knew him, Horatio. A fellow of

178

1 72

Rhenish: wine from the Rhine region of Germany

Act 5 Scene 1

Hamlet

infinite jest, of most excellent fancy. He hath borne me on his back a thousand times and now, how abhorred74 in my imagination it is! My gorge rises75 at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes76 now? Your gambols?77 Your songs? Your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? Quite chap-fallen?78 Now get you to my lady’s chamber, and tell her, let her paint an inch thick, to this favour79 she must come. Make her laugh at that. Prithee, Horatio, tell me one thing. 73

180

73 74

fancy: invention / creativity abhorred: horrible

75

My gorge rises: I feel sick

76

gibes: jeers / teasing jokes gambols: capers

77 78

chap-fallen: 1. dispirited 2. jawless

79

favour: appearance

HORATIO What’s that, my lord? HAMLET Dost thou think Alexander80 looked o’ this fashion i’ th’ earth?81 HORATIO E’en so.

Alexander: Alexander the Great. Considered to be a supreme example of a ruler during Shakespeare’s time 81 Dost thou think…earth?: Do you think Alexander the Great looked like this when he was buried? 80

HAMLET And smelt so? Pah! [Puts down the skull] HORATIO E’en so, my lord.

190

HAMLET To what base uses we may return, Horatio! Why may not imagination trace the noble dust of Alexander, till he find it stopping a bung-hole?82

82

stopping a bung-hole: used as a plug in a beer barrel

83

loam: plaster made from clay and water

HORATIO ’Twere to consider too curiously, to consider so. HAMLET No, faith, not a jot. But to follow him thither with modesty enough, and likelihood to lead it: Alexander died, Alexander was buried, Alexander returneth into dust, the dust is earth, of earth we make loam,83 and why of that loam, whereto he was converted, might they not stop a beer-barrel? Imperious Caesar, dead and turned to clay,

179

Act 5 Scene 1 200

Hamlet

Might stop a hole to keep the wind away. O, that that earth, which kept the world in awe Should patch a wall to expel the winter flaw! But soft! But soft awhile – here comes the King. [Enter CLAUDIUS, GERTRUDE, LAERTES in funeral procession after the coffin, with PRIEST and Lords attendant.] The Queen, the courtiers. Who is this they follow? And with such maimed rites?84 This doth betoken The corpse they follow did with desperate hand Fordo its own life.85 ’Twas of some estate.86 Couch we87 awhile, and mark. [Retiring with HORATIO] LAERTES What ceremony else?

210

84

maimed rites: incomplete funeral rites

This doth betoken…own life: This indicates that the dead person committed suicide 86 ’Twas of some estate: It was somebody of considerable social standing 87 Couch we: Hide ourselves 85

2

HAMLET [Aside to Horatio] That is Laertes – a very noble youth, mark. LAERTES What ceremony else?

220

PRIEST Her obsequies88 have been as far enlarged89 As we have warranty. Her death was doubtful;90 And, but that great command o’ersways the order91 She should in ground unsanctified have lodged Till the last trumpet:92 for charitable prayers, Shards,93 flints and pebbles should be thrown on her. Yet here she is allowed her virgin crants,94 Her maiden strewments95 and the bringing home Of bell and burial.96 LAERTES Must there no more be done? PRIEST

180

No more be done. We should profane the service of the dead To sing sage97 requiem98 and such rest to her As to peace-parted souls.99

obsequies: funeral rites enlarged: prolonged 90 Her death…doubtful: The means of her death were suspicious 91 but that great…order: i.e. Claudius’ command overrules the normal way of things. The Priest is speaking tactfully here 92 last trumpet: Doomsday 93 Shards: pieces of broken pottery 94 virgin crants: garlands appropriate for a virgin 95 maiden strewments: flowers signifying her virginity strewn over her coffin 96 the bringing home…burial: being sent to her final resting place accompanied by church bells and burial service 88

2

89

sage: solemn requiem: funeral song 99 peace-parted souls: those who left this world peacefully i.e. not by suicide 97 98

2

Act 5 Scene 1

Hamlet

LAERTES

Lay her i’ th’ earth, And from her fair and unpolluted flesh May violets spring! I tell thee, churlish100 priest, A ministering angel shall my sister be When thou liest howling.101 HAMLET

230

100

churlish: 1. rude 2. ungenerous

101

liest howling: lie in hell

102

decked: covered with flowers

103

most ingenious sense: excellent rationality / intelligence

What, the fair Ophelia!

GERTRUDE Sweets to the sweet. Farewell! [Scattering flowers] I hoped thou shouldst have been my Hamlet’s wife, I thought thy bride-bed to have decked,102 sweet maid, And not have strewed thy grave. LAERTES

240

O, treble woe Fall ten times treble on that cursed head Whose wicked deed thy most ingenious sense103 Deprived thee of! Hold off the earth awhile, Till I have caught her once more in mine arms: [Leaps into the grave] Now pile your dust upon the quick104 and dead Till of this flat105 a mountain you have made To o’ertop old Pelion,106 or the skyish head107 Of blue Olympus.108 HAMLET [Advancing] What is he whose grief Bears such an emphasis?109 Whose phrase of sorrow Conjures the wandering stars,110 and makes them stand Like wonder-wounded111 hearers? This is I, Hamlet the Dane.112 LAERTES

The devil take thy soul! [Leaps out113 and grapples with HAMLET]

250

HAMLET Thou pray’st not well. I prithee, take thy fingers from my throat, For, though I am not splenitive114 and rash,

quick: living flat: flat ground 106 Pelion: a mountain in Greece 107 skyish head: lofty top. 108 blue Olympus: a mountain in Greece. In myth this was considered the home of the gods. Laertes calls it ‘blue’ as it is so close to the sky 104 105

Bear such an emphasis: is displayed so emphatically 110 wandering stars: planets 111 wonder-wounded: struck with astonishment 112 This is I, Hamlet the Dane: It is me, Hamlet the King of Denmark. This dramatic moment on stage often sees Hamlet throwing off his cloak 109

113

Leaps out: Note - graves during Shakespeare’s time were much shallower than graves today

114

splenitive: quick-tempered 181

Act 5 Scene 1

Hamlet

Yet have I something in me dangerous, Which let thy wisdom fear. Hold off thy hand. CLAUDIUS Pluck them asunder. GERTRUDE

Hamlet, Hamlet!

ALL

Gentlemen!

HORATIO Good my lord, be quiet. HAMLET Why I will fight with him upon this theme Until my eyelids will no longer wag.115

2

115

wag: move

116

forbear: be patient with

GERTRUDE O my son, what theme? HAMLET I loved Ophelia – forty thousand brothers Could not with all their quantity of love Make up my sum. What wilt thou do for her?

260

CLAUDIUS O, he is mad, Laertes. GERTRUDE For love of God, forbear116 him.

270

HAMLET ’Swounds,117 show me what thou’lt do. Woo’t118 weep? Woo’t fight? Woo’t fast? Woo’t tear thyself? Woo’t drink up eisel?119 Eat a crocodile? I’ll do’t. Dost thou come here to whine? To outface120 me with leaping in her grave? Be buried quick121 with her, and so will I. And, if thou prate122 of mountains let them throw Millions of acres on us, till our ground,123 Singeing his pate against the burning zone,124

182

’Swounds: God’s wounds (an oath) Woo’t: Wilt (will you) 119 eisel: vinegar 120 outface: 1. publicly outdo 2. confront / stare down 117 118

121 122

quick: alive prate: prattle

our ground: the earth piled on top of them in the grave 124 Singeing…zone: scorching its top against the sun 123

Act 5 Scene 1

Hamlet

Make Ossa like a wart! Nay, an thou’lt mouth, I’ll rant as well as thou. 125

126

GERTRUDE

This is mere127 madness, And thus awhile the fit will work on him. Anon, as patient as the female dove, When that her golden couplets are disclosed; His silence will sit drooping.128

Make Ossa like a wart: makes Mt Ossa (a mountain in Greece that figures in mythology) look as small as a wart by comparison 126 mouth: make wild, passionate speeches 127 mere: absolute / total 128 Anon, as patient…drooping: Soon, he will be as calm as a female dove who sees her pair of newly hatched young; he will be silent and contemplative 125

HAMLET

280

Hear you, sir, What is the reason that you use129 me thus? I loved you ever – but it is no matter. Let Hercules130 himself do what he may,131 The cat will mew and dog will have his day.132 [Exit] CLAUDIUS I pray you, good Horatio, wait upon him. [Exit HORATIO] [Aside to LAERTES] Strengthen your patience in our last night’s speech,133 We’ll put the matter to the present push.134 – Good Gertrude, set some watch over your son. This grave shall have a living135 monument. An hour of quiet136 shortly shall we see; Till then, in patience our proceeding be. [Exeunt]

HAMLET

use: treat Hercules: Greek hero famed for his strength 131 Let Hercules…may: The meaning here is obscure. Possibly: 1. I’ll let Hercules rant as much as he likes, the outcome will be the same (Hercules is traditionally associated with ranting) 2. Not even Hercules could prevent me from what I intend to do 3. Not even Hercules could stop Laertes from ranting 132 dog will have his day: success will be mine in the end (Proverbial: Every dog has his day) 133 Strengthen…speech: Remain patient by thinking about our conversation last night 134 to the present push: into immediate execution 135 living: 1. enduring 2. Hamlet’s life will be a monument to Ophelia. The first meaning is intended for Gertrude, the second is for Laertes 136 An hour of quiet: For Claudius, peace (‘an hour of quiet’) will only come when Hamlet is dead 129 130

Key Quotations Imperious Caesar, dead and turned to clay, Might stop a hole to keep the wind away. O, that that earth, which kept the world in awe Should patch a wall to expel the winter flaw!

HAMLET

This is I, Hamlet the Dane.

HAMLET

though I am not splenitive and rash, Yet have I something in me dangerous, Which let thy wisdom fear.

183

Act 5 Scene 1

Hamlet

scene Commentary

The gravediggers discuss the fact that Ophelia’s death appears to be suicide. However, she is being given a Christian burial (traditionally not given to those who die by suicide). The gravediggers point out that Ophelia’s high social status means that the precise circumstances of her death have been ignored: ‘If this had not been a gentlewoman, she should have been buried out o’ Christian burial.’ The Graveyard Scene, as it’s called, is rich in black humour. The Gravediggers’ witty banter and mock legal argument provide some entertaining comic moments. However, this scene is a lot more than mere comic relief. The Gravediggers’ dark jokes are entertaining but also a profound statement about the finality of death. The First Gravedigger asks, ‘What is he that builds stronger than either the mason, the shipwright, or the carpenter?’ The answer to the riddle, ‘a grave-maker. The houses that he makes last till Doomsday,’ is a grim reminder of the finality of death. This theme is picked up again in the Gravedigger’s conversation with Hamlet. The Gravedigger tells Hamlet that he has worked as a gravedigger since the ‘very day that young Hamlet was born’. This is a subtle statement about the inevitability of death. The day Hamlet came into the world a gravedigger was employed; the implication being that from the moment a person is born, his/her death is inevitable. Pre-empted by the gravediggers’ jokes, Hamlet’s reflections on death are one of the play’s central themes. As Hamlet meditates on Yorick’s skull he feels sick at the physical presentation of death, literally staring him in the face (‘My gorge rises at it’). Hamlet tries to reconcile the grim reality of death with the energy and exuberance of Yorick’s life: ‘Here hung those lips that I have kissed I know not how oft. Where be your gibes now? Your gambols? Your songs? Your flashes of merriment…?’ Hamlet is led to the conclusion that death is the great leveller regardless of social status. He darkly imagines the body of Alexander the Great turned to dust and loam, used ignominiously to plug a beer barrel. Similarly, he envisages how Caesar’s body ‘dead and turned to clay / Might stop a hole to keep the wind away.’ As soon as Hamlet says this, his attention is immediately refocused on the arrival of Claudius: ‘But soft! But soft awhile – here comes the King’. This extends Hamlet’s morbid reflections on the mortality of kings to Claudius. this scene shows a marked change in Hamlet. For the first time in the play, Hamlet embraces his royal nature and refers to himself as King: ‘This is I, Hamlet the Dane.’ This is in marked contrast to the overwrought young prince who shunned public attention earlier in the play. A further change is evident as he grapples with Laertes on Ophelia’s graveside: Hamlet warns him, ‘though I am not splenitive and rash, / Yet have I something in me dangerous, / Which let thy wisdom fear.’ Despite the unseemly tussle, Hamlet comes across as a man in control, somebody now capable of decisive action. The excessive and public nature of Laertes’ grief is in sharp contrast to Hamlet’s controlled demeanour. Hamlet mocks Laertes’ fulsome display of grief suspecting that it is empty and without substance. The tussle in this scene between Hamlet and Laertes intensifies the tension between the two men and foreshadows the eventual fatal fencing match in which they will engage during the play’s final scene. Gertrude looks to protect her son by dismissing his words and actions as ‘mere madness’. However, Hamlet’s flamboyant language in his exchange with Laertes is not madness but rather a parody of Laertes’ hollow expressions of grief. In this scene, Hamlet is anything but mad. 184

Act 5 Scene 1

1. 2. 3. 4.

Hamlet

Questions

What does this scene suggest to the audience about the way in which Ophelia died? How do the gravediggers’ jokes touch on the larger themes of the play? What does Hamlet conclude about the nature of death in this scene? Why does Laertes become angry by the manner in which the Priest conducts Ophelia’s funeral? 5. How does this scene show a change in Hamlet’s character? 6. Comment on the differences between Hamlet and Laertes in this scene.

185

Act 5 Scene 2

1

scene summary

Hamlet tells Horatio that while he was aboard the ship he read Claudius’ letter to the King of England carried by Rosencrantz and Guildenstern. The letter instructed the King of England to execute Hamlet without hesitation. Hamlet tells Horatio that he forged a new letter instructing the King to kill the bearers of the letter (Rosencrantz and Guildenstern). Osric arrives and tells Hamlet that Claudius has placed a wager on Hamlet to beat Laertes in a fencing match. He asks Hamlet to take part. Hamlet agrees. Hamlet and Laertes duel. Gertrude drinks from the poisoned cup. Hamlet is grazed by the tip of the poisoned sword. The swords are swapped during a tussle and Laertes is similarly fatally wounded. As he dies, Laertes repents for mortally wounding Hamlet. He names Claudius as the architect of the scheme against Hamlet. Hamlet stabs Claudius with the poisoned sword. He then forces Claudius to drink from the poisoned cup. With his dying breath Hamlet persuades Horatio not to take his own life. He also names Fortinbras as his choice to be the next King of Denmark. Hamlet, Laertes, Claudius and Gertrude all die. Fortinbras arrives. He makes a claim for the Danish throne and is supported by Horatio. Fortinbras commends Hamlet as a prince who would have made a great king had he lived.

2

A hall in the castle. Enter HAMLET and HORATIO HAMLET So much for this, sir. Now shall you see the other.1 You do remember all the circumstance? HORATIO Remember it, my lord?2 HAMLET Sir, in my heart there was a kind of fighting That would not let me sleep. Methought I lay Worse than the mutines3 in the bilboes.4 Rashly – And praised be rashness for it, let us know,5 Our indiscretion sometimes serves us well, 186

1

So much…other: So far you know the start of my story. Now you’ll learn the rest

2

Remember…lord?: i.e. How could I forget it?

mutines: mutineers bilboes: shackles / fetters 5 know: acknowledge 3 4

3

Act 5 Scene 2

Hamlet

When our deep plots do pall, and that should teach us There’s a divinity that shapes our ends,7 Rough-hew them how we will.8 6

10

HORATIO

20

7

That is most certain.

HAMLET Up from my cabin, My sea-gown9 scarfed10 about me, in the dark Groped I to find out them,11 had my desire, Fingered their packet,12 and in fine13 withdrew To mine own room again, making so bold, My fears forgetting manners, to unseal Their grand commission; where I found, Horatio, O royal knavery! – An exact command, Larded14 with many several sorts of reasons Importing Denmark’s health and England’s too, With – ho! – such bugs and goblins in my life,15 That, on the supervise,16 no leisure bated,17 No, not to stay18 the grinding19 of the axe, My head should be struck off. HORATIO

pall: fail / falter There’s a divinity…ends: There’s a divine force that determines our destiny 8 Rough-hew…will: despite our own attempts to shape them 6

sea-gown: seaman’s coat scarfed: wrapped 11 them: i.e. Rosencrantz and Guildenstern 12 Fingered their packet: stole their papers 13 in fine: in conclusion 9

10

14

Larded: padded / filled out

With – ho! - such bugs…life: with, oh!, such imaginary terrors that my life poses a threat to (Denmark and England) 16 on the supervise: after reading (the letter) 17 no leisure bated: without delay 18 stay: wait for 19 grinding: sharpening 15

Is’t possible?

HAMLET Here’s the commission; read it at more leisure. But wilt thou hear me how I did proceed? HORATIO I beseech you.

30

HAMLET Being thus benetted round with villainies,20 Ere I could make a prologue to my brains21 They had begun the play.22 I sat me down, Devised a new commission, wrote it fair – I once did hold it, as our statists23 do, A baseness to write fair24 and laboured much How to forget that learning, but sir, now It did me yeoman’s service.25 Wilt thou know The effect26 of what I wrote?

benetted round…villainies: trapped (as in a net) by villains 21 Ere I could make…brains: Before I could begin to think about it 22 They had begun the play: My brains (‘They’) had begun to devise a plan 23 statists: statesmen 24 A baseness…fair: beneath me to have nice handwriting 25 yeoman’s service: faithful service. Yeomen were officials in royal households 26 effect: substance 20

187

Act 5 Scene 2

HORATIO

40

Ay, good my lord.

HAMLET An earnest conjuration27 from the King, As England was his faithful tributary,28 As love between them like the palm29 might flourish, As peace should still30 her wheaten garland31 wear And stand a comma ’tween their amities,32 And many such-like as’es33 of great charge, That on the view and knowing of these contents, Without debatement34 further, more or less, He should the bearers put to sudden death, Not shriving time35 allowed. HORATIO

50

Hamlet

How was this sealed?

HAMLET Why, even in that was heaven ordinant:36 I had my father’s signet37 in my purse – Which was the model of that Danish seal – Folded the writ up in form of th’ other, Subscribed38 it, gave’t the impression,39 placed it safely, The changeling40 never known. Now the next day Was our sea-fight; and what to this was sequent41 Thou know’st already. HORATIO So Guildenstern and Rosencrantz go to’t.42

60

HAMLET Why, man, they did make love to this employment. They are not near my conscience. Their defeat43 Does by their own insinuation44 grow. ’Tis dangerous when the baser nature comes Between the pass and fell incensed points Of mighty opposites.45 HORATIO

28

36 37

ordinant: ordaining events signet: a ring bearing a small seal

Subscribed: signed impression: i.e. impression of the seal 40 changeling: substitution 41 was sequent: followed 38 39

42

go to’t: go to their deaths

defeat: downfall insinuation: act of ingratiating themselves (to Claudius) 45 ’Tis dangerous…opposites: It is dangerous when individuals of lower status get caught between the sword thrusts of powerful men 43 44

Why, what a king is this!

HAMLET Does it not, think thee, stand me now upon?46 188

conjuration: formal request tributary: a country that pays tribute to another country 29 palm: sign for wealth 30 still: always 31 wheaten garland: a traditional symbol of peace 32 And stand a comma…amities: (peace) should provide the least possible amount of interruption between their friendship. A comma is the punctuation mark that creates the shortest possible pause 33 as’es: i.e. clauses beginning with ‘as’ 34 debatement: debate 35 shriving time: time for confession 27

46

Does it not…upon?: Do you not think that I am obliged to act now?

Act 5 Scene 2

70

Hamlet

He that hath killed my king and whored my mother, Popped in between th’ election and my hopes,47 Thrown out his angle48 for my proper49 life, And with such cozenage.50 Is’t not perfect conscience51 To quit52 him with this arm? And is’t not to be damned, To let this canker53 of our nature come In54 further evil? HORATIO It must be shortly known to him from England What is the issue of the business there.

80

HAMLET It will be short: the interim is mine, And a man’s life’s no more than to say ‘One.’55 But I am very sorry, good Horatio, That to Laertes I forgot myself; For, by the image of my cause I see The portraiture of his.56 I’ll court his favours.57 But sure the bravery58 of his grief did put me Into a towering passion. HORATIO

Popped in…hopes: got in the way of my ambition to be King and had himself elected. In the play, Denmark is an elective monarchy 48 angle: fishing hook 49 proper: own 50 cozenage: trickery 51 perfect conscience: morally right 52 quit: repay (i.e. kill) 53 canker: cancerous sore 54 come In: develop into 47

a man’s life…‘One’: a man’s life can be taken as quickly as it takes to say ‘One’. Fencers say ‘One’ when claiming to have won a point 56 by the image…his: i.e. by looking at my own situation I see a reflection of Laertes’ (both of their fathers have been killed) 57 court his favours: look for his goodwill 58 bravery: ostentation 55

Peace! Who comes here?

[Enter OSRIC] OSRIC Your lordship is right welcome back to Denmark. HAMLET I humbly thank you, sir. [Aside to HORATIO] Dost know this water-fly?59

59

water-fly: superficial individual

HORATIO [Aside to HAMLET] No, my good lord. HAMLET [Aside to HORATIO] Thy state60 is the more gracious; for ’tis a vice to know him. He hath much land, and fertile. Let a beast be lord of beasts and his crib shall stand at the King’s mess.61 ’Tis a chough,62 but as I say, spacious in the possession of dirt.63

state: state of ignorance Let a beast…mess: If a man owns lots of animals, even though he is little better than a beast himself, he will be welcome to eat at the King’s table 62 chough: chattering jackdaw 63 spacious…dirt: owns a lot of land 60 61

189

Act 5 Scene 2

OSRIC Sweet lord, if your lordship were at leisure, I should impart a thing64 to you from his Majesty.

90

HAMLET I will receive it, sir, with all diligence of spirit.65 Put your bonnet to his right use: ’tis for the head.66 OSRIC I thank your lordship, it is very hot.

Hamlet

64

a thing: something

diligence of spirit: attentiveness. As he speaks to Osric here, Hamlet parrots his elaborate language 66 Put your bonnet…head: Use your hat for its correct use: it’s for the head. Osric has evidently removed his hat as a sign of respect 65

HAMLET No, believe me, ’tis very cold; the wind is northerly. OSRIC It is indifferent67 cold, my lord, indeed. HAMLET But yet methinks it is very sultry and hot for my complexion.68

67

indifferent: fairly

68

complexion: constitution

1

OSRIC Exceedingly, my lord; it is very sultry, as ’twere, I cannot tell how. But, my lord, his Majesty bade me signify to you that he has laid a great wager on your head. Sir, this is the matter –

100

HAMLET I beseech you, remember – [HAMLET moves him to put on his hat] OSRIC Nay, good my lord; for mine ease, in good faith. Sir, here is newly come to court Laertes – believe me, an absolute gentleman, full of most excellent differences,69 of very soft society70 and great showing.71 Indeed, to speak feelingly72 of him, he is the card or calendar73 of gentry, for you shall find in him the continent74 of what part a gentleman would see.

110

HAMLET Sir, his definement suffers no perdition in you,75 though I know, to divide him inventorially would dizzy th’ arithmetic of memory,76 and yet but yaw neither, in 190

differences: exceptional qualities soft society: pleasant company 71 great showing: impressive appearance 72 feelingly: sincerely 73 card or calendar: exemplar (‘card’=map; ‘calendar’=directory) 74 continent: container 75 his definement…in you: his description does not suffer by your words. Hamlet is continuing to parody Osric’s affected speech 76 to divide…memory: to divide up and categorise his qualities would confound the ability of memory to calculate 69 70

1

Act 5 Scene 2

Hamlet

respect of his quick sail. But in the verity of extolment, I take him to be a soul of great article79 and his infusion of such dearth80 and rareness, as to make true diction81 of him, his semblable is his mirror,82 and who else would trace83 him, his umbrage,84 nothing more. 77

78

OSRIC Your lordship speaks most infallibly of him.

120

HAMLET The concernancy, sir?85 Why do we wrap the gentleman in our more rawer breath?86 OSRIC Sir? HORATIO Is’t not possible to understand in another tongue?87 You will do’t,88 sir, really. HAMLET What imports the nomination of this gentleman?89 OSRIC Of Laertes?

and yet but yaw…sail: and merely wander aimlessly (‘yaw’) in comparison to his quick sailing 78 verity of extolment: truthfully praise him 79 great article: importance 80 dearth: dearness 81 make true diction: speak honestly 82 his semblable…mirror: the only person like him is his own reflection 83 trace: copy 84 umbrage: shadow 77

The concernancy, sir?: How does this concern us? 86 Why do we wrap…breath?: Why do we wrap this gentleman in our crude words? i.e. Why are we talking about this refined gentleman in a way that fails to do him justice? 85

Is’t not possible…tongue?: Couldn’t you become more understandable if you spoke in a foreign language? 88 You will do’t: If you try (to speak plainly) you will manage it. It is not clear if Horatio is addressing Hamlet or Osric 89 What imports…gentleman?: What is the significance of you talking about this gentleman? 87

HORATIO His purse is empty already; all’s golden words are spent. HAMLET Of him, sir. OSRIC I know you are not ignorant –

130

HAMLET I would you did,90 sir. Yet, in faith, if you did, it would not much approve91 me. Well, sir?

90 91

I would you did: I wish that you did approve: commend

OSRIC You are not ignorant of what excellence Laertes is.

191

Act 5 Scene 2

HAMLET I dare not confess that, lest I should compare with him in excellence.92 But to know a man well, were to know himself.93 OSRIC I mean, sir, for his weapon.94 But in the imputation laid on him by them in his meed, he’s unfellowed.95 HAMLET What’s his weapon?

Hamlet

I dare not…excellence: I wouldn’t dare to say that in case it was thought that I was proclaiming myself to be excellent (as excellence can only be recognised by excellent people) 93 to know a man…himself: to know a man well you have to know yourself first 94 weapon: skill as a swordsman 95 in the imputation…unfellowed: according to his reputation among those who know his merit, he is unrivalled 92

1

OSRIC Rapier and dagger. HAMLET That’s two of his weapons. But well.

140

OSRIC The King, sir, hath wagered with him six Barbary96 horses, against the which he has impawned,97 as I take it, six French rapiers and poniards,98 with their assigns,99 as girdle,100 hangers101 and so. Three of the carriages,102 in faith, are very dear to fancy, very responsive103 to the hilts, most delicate carriages and of very liberal conceit.104 HAMLET What call you the carriages?105 HORATIO I knew you must be edified by the margent ere you had done.106

Barbary: North African impawned: staked 98 poniards: daggers 99 assigns: accessories 100 girdle: belt 101 hangers: straps 102 carriages: straps (hangers) 103 responsive: matching 104 liberal conceit: lavish design 96 97

105

What call you the carriages?: What do you mean by ‘carriages’?

106

I knew…done: I knew you would need to be instructed by a footnote (to Osric’s elaborate language) before you had finished

107

germane: relevant The phrase…sides: Hamlet is suggesting that the word ‘carriages’ would be a more appropriate term if they were using cannons as weapons

OSRIC The carriages, sir, are the hangers.

150

HAMLET The phrase would be more germane107 to the matter, if we could carry cannon by our sides.108 I would it might be ‘hangers’ till then. But on: six Barbary horses against six French swords, their assigns, and three liberal-conceited carriages – that’s the French109 bet against the Danish. Why is this all ‘impawned,’ as you call it? 192

108

109

French: Laertes has been living in France

1

Act 5 Scene 2

160

OSRIC The King, sir, hath laid,110 that in a dozen passes between yourself and him, he shall not exceed you three hits. He hath laid on twelve for nine, and it would come to immediate trial if your lordship would vouchsafe the answer.111 HAMLET How if I answer ‘No’?112 OSRIC I mean, my lord, the opposition of your person in trial.113 HAMLET Sir, I will walk here in the hall. If it please his Majesty, ’tis the breathing time114 of day with me. Let the foils be brought, the gentleman willing, and the King hold his purpose. I will win for him an115 I can; if not, I will gain nothing but my shame and the odd hits.116 OSRIC Shall I redeliver117 you so?

170

HAMLET To this effect, sir, after what flourish118 your nature will.

Hamlet 110

laid: bet

111

it would come to immediate…answer: the match could take place immediately if you will accept the challenge

How if I answer ‘No’?: Hamlet misinterprets Osric taking ‘answer’ to mean ‘reply’ 113 the opposition…trial: the acceptance of the challenge to duel 112

114

breathing time: time to exercise

115

an: if the odd hits: the extra three hits

116

117

redeliver: deliver the message

118

after what flourish: in whatever elaborate style

OSRIC I commend my duty to your lordship. HAMLET Yours, yours. [Exit OSRIC] He does well to commend it himself. There are no tongues else for’s turn.119 HORATIO This lapwing120 runs away with the shell on his head.121 HAMLET He did comply122 with his dug,123 before he sucked it. Thus has he – and many more of the same bevy124 that I know the drossy age125 dotes on – only got the tune of the time126

There are no tongues …turn: i.e. Nobody else will serve his purpose (by doing it for him) 120 lapwing: a type of bird 121 This lapwing…head: Horatio is pointing to Osric’s inexperience, haste and feathered hat by comparing him to a newly hatched lapwing walking with its shell still on its head 122 comply: paid his respects 123 dug: mother’s teat 124 bevy: group 125 the drossy age: this degenerate time 126 tune of the time: trendy style of the day 119

193

Act 5 Scene 2

Hamlet

and outward habit of encounter; a kind of yeasty collection, which carries them through and through the most fond and winnowed opinions;129 and do but blow them to their trial, the bubbles are out.130 127

180

128

[Enter a Lord] LORD My lord, his Majesty commended him to you by young Osric, who brings back to him that you attend him in the hall. He sends to know if your pleasure hold to play131 with Laertes, or that you will take longer time. HAMLET I am constant to my purpose, they follow the King’s pleasure. If his fitness speaks,132 mine is ready, now or whensoever, provided I be so able as now.

190

outward habit of encounter: superficiality of society 128 yeasty: frothy / trivial 129 carries them through…opinions: allows them to bluff their way with people who have firm and considered opinions 130 but blow them…are out: but if you test them, they burst like bubbles 127

131

132

LORD The King and Queen and all are coming down. HAMLET In happy time.133 LORD The Queen desires you to use some gentle entertainment134 to Laertes before you fall to play. HAMLET She well instructs me.

play: fence

If his fitness speaks: If he says he is ready. Hamlet’s response suggests that he sees Claudius as his true opponent rather than Laertes

2 133

In happy time: At an opportune time

134

use some gentle entertainment: act courteously

[Exit LORD] HORATIO You will lose this wager, my lord. HAMLET I do not think so. Since he went into France, I have been in continual practice. I shall win at the odds. But thou wouldst not think how ill all’s here about my heart – but it is no matter. HORATIO 200 Nay, good my lord – 194

2

Act 5 Scene 2

HAMLET It is but foolery, but it is such a kind of gaingiving,135 as would perhaps trouble a woman. HORATIO If your mind dislike anything, obey it. I will forestall their repair136 hither, and say you are not fit. HAMLET Not a whit, we defy augury;137 there’s a special providence in the fall of a sparrow.138 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.139 The readiness is all.140 Since no man has aught of what he leaves, what is’t to leave betimes?141 Let be. [Enter CLAUDIUS, GERTRUDE, LAERTES, Lords, OSRIC and Attendants with foils, daggers, wine and cushions]

210

220

CLAUDIUS Come, Hamlet, come, and take this hand from me. [CLAUDIUS puts LAERTES’ hand into HAMLET’s] HAMLET Give me your pardon, sir. I’ve done you wrong. But pardon’t, as you are a gentleman. This presence142 knows, and you must needs have heard, How I am punished with a sore distraction.143 What I have done, That might your nature, honour and exception144 Roughly awake,145 I here proclaim was madness. Was’t Hamlet wronged Laertes? Never Hamlet. If Hamlet from himself be ta’en away, And when he’s not himself does wrong Laertes, Then Hamlet does it not; Hamlet denies it. Who does it then? His madness. If’t be so, Hamlet is of the faction146 that is wronged – His madness is poor Hamlet’s enemy. Sir, in this audience, Let my disclaiming from a purposed evil147 Free me so far in your most generous thoughts, That I have shot mine arrow o’er the house And hurt my brother.148

Hamlet 135

gaingiving: misgiving

136

repair: coming

Not a whit…augury: Not all, I don’t believe that we can predict the future. ‘Augury’ was the art of predicting the future by observing the flight of birds 138 there’s a special…sparrow: God’s plan is evident in every occurrence, even in the death of a sparrow. This echoes a biblical passage: Matthew 10: 29-31 139 If it be now…will come: If my death is to happen now, it won’t happen later; if it’s to come later then it won’t occur now; it may not be imminent but it is inevitable 140 The readiness is all: Being prepared for death is everything 141 Since no man…betimes?: Seeing as nobody knows anything about what he leaves behind (after dying), what does it matter if somebody dies early? 137

142 143

144 145

146

presence: present company sore distraction: serious mental illness exception: dissatisfaction Roughly awake: rudely provoke

faction: party

disclaiming from a purposed evil: denying that I was intentionally evil 148 That I have…brother: as if I have misfired my arrow and injured my brother in the process. ‘Brother’ may refer to Laertes if Hamlet considers him a ‘brother-in-law’ 147

195

Act 5 Scene 2

Hamlet

LAERTES

I am satisfied in nature,149 Whose motive in this case should stir me most To my revenge. But in my terms of honour I stand aloof151 and will152 no reconcilement Till by some elder masters, of known honour153 I have a voice and precedent of peace To keep my name ungored.154 But till that time I do receive your offered love like love, And will not wrong it. 150

230

HAMLET

I embrace it freely And will this brother’s wager frankly155 play. Give us the foils. Come on. LAERTES

LAERTES

155

2

frankly: without ill-feeling

2

Come, one for me.

HAMLET I’ll be your foil,156 Laertes. In mine ignorance Your skill shall like a star i’ th’ darkest night Stick fiery off157 indeed.

240

in nature: as far as my natural feelings are concerned 150 motive: urging (of the natural feelings) 151 But in my terms…aloof: However, as far as my sense of honour is concerned, I remain reserved 152 will: wish for 153 Till by some…honour: until some experienced men, who know about questions of honour 154 I have a voice…ungorged: give me an opinion and precedent that will keep my good name from harm 149

You mock me, sir.

I’ll be your foil: I’ll act as a contrast that shows off your fencing skills. Hamlet is punning on ‘foil’: 1. fencing sword 2. a background against which a bright jewel is displayed 157 Stick fiery off: burn brightly in contrast 156

HAMLET No, by this hand. CLAUDIUS Give them the foils, young Osric. Cousin Hamlet, You know the wager? HAMLET

Very well, my lord Your Grace hath laid the odds o’ th’ weaker side.

CLAUDIUS I do not fear it. I have seen you both But since he is bettered, we have therefore odds.158 LAERTES This is too heavy, let me see another. 196

2 158

But since…odds: however, since Laertes is better, the odds are against me

Act 5 Scene 2 250

HAMLET This likes me well. These foils have all a length?159

Hamlet 159

OSRIC Ay, my good lord. CLAUDIUS Set me the stoups160 of wine upon that table. If Hamlet give the first or second hit, Or quit in answer of the third exchange161 Let all the battlements their ordnance fire.162 The King shall drink to Hamlet’s better breath163 And in the cup, an union164 shall he throw, Richer than that which four successive kings In Denmark’s crown have worn. Give me the cups, 260 And let the kettle165 to the trumpet speak, The trumpet to the cannoneer without, The cannons to the heavens, the heavens to earth, Now the King drinks to Hamlet. Come, begin. And you, the judges, bear a wary eye.

have all a length?: are all the same length?

stoups: flagons quit in answer…exchange: acquit himself well by winning the third point 162 Let all the battlements…fire: let all the soldiers on the battlements fire their cannons 163 breath: health / fitness 164 union: pearl 160 161

165

kettle: kettle drum

166

very palpable: obvious

HAMLET Come on, sir. LAERTES Come, my lord. [They play] HAMLET One! LAERTES No! HAMLET Judgement?

270

OSRIC A hit, a very palpable166 hit. [Drums, trumpets and cannon shot] LAERTES Well, again.

197

Act 5 Scene 2

Hamlet

CLAUDIUS Stay, give me drink. Hamlet, this pearl is thine; Here’s to thy health. Give him the cup. HAMLET I’ll play this bout first. Set it by awhile. Come. [They play] Another hit! What say you?

2

LAERTES A touch, a touch. I do confess. CLAUDIUS Our son shall win. GERTRUDE

He’s fat,167 and scant of breath.168 Here, Hamlet, take my napkin, rub thy brows. The Queen carouses169 to thy fortune, Hamlet.

280

167 168 169

fat: 1. sweaty 2. out of shape scant of breath: out of breath carouses: drinks

HAMLET Good madam! CLAUDIUS

Gertrude, do not drink.

GERTRUDE I will, my lord. I pray you, pardon me. CLAUDIUS [Aside] It is the poisoned cup! It is too late. HAMLET I dare not drink yet, madam, by and by. GERTRUDE Come, let me wipe thy face. LAERTES [Aside to CLAUDIUS] My lord, I’ll hit him now. CLAUDIUS [Aside to LAERTES] I do not think’t. 198

3

Act 5 Scene 2

Hamlet

LAERTES [Aside] And yet ’tis almost ’gainst my conscience.

290

HAMLET Come, for the third,170 Laertes. You do but dally.171 I pray you, pass172 with your best violence. I am afeard you make a wanton of me.173 LAERTES Say you so? Come on. [They play]

third: third bout You do but dally: You’re only toying with me 172 pass: thrust 173 I am afeard…of me: I am afraid you are treating me like a child 170 171

OSRIC Nothing, neither way. LAERTES Have at you now! [LAERTES wounds HAMLET, then in scuffling, they change rapiers and HAMLET wounds LAERTES] CLAUDIUS Part them; they are incensed.174

174

incensed: enraged

175

springe: trap

HAMLET Nay, come, again. [GERTRUDE falls] OSRIC Look to the Queen there, ho! HORATIO They bleed on both sides. How is it, my lord? OSRIC How is’t, Laertes?

300

LAERTES Why, as a woodcock to mine own springe,175 Osric; I am justly killed with mine own treachery. HAMLET How does the Queen?

199

Act 5 Scene 2

CLAUDIUS

Hamlet

She swoons176 to see them bleed.

176

swoons: faints

GERTRUDE No, no, the drink, the drink – O my dear Hamlet – The drink, the drink! I am poisoned. [Dies] HAMLET O villainy! Ho! Let the door be locked! Treachery! Seek it out.

310

LAERTES It is here, Hamlet. Hamlet, thou art slain, No medicine in the world can do thee good. In thee there is not half an hour of life, The treacherous instrument is in thy hand, Unbated and envenomed.177 The foul practice178 Hath turned itself on me. Lo, here I lie, Never to rise again – thy mother’s poisoned – I can no more. The King, the King’s to blame.

3

Unbated and envenomed: unguarded and poisoned 178 practice: scheme 177

HAMLET The point! Envenomed too! Then, venom, to thy work. [Stabs CLAUDIUS]

3

ALL Treason! Treason! CLAUDIUS O, yet defend me, friends, I am but hurt.

320

HAMLET Here, thou incestuous, murderous, damned Dane, Drink off this potion. Is thy union179 here? Follow my mother.

179

union: 1. the pearl in the poisoned cup 2. union with Gertrude (in death)

180

tempered: prepared

[CLAUDIUS dies] LAERTES

He is justly served. It is a poison tempered180 by himself. Exchange forgiveness with me, noble Hamlet,

200

Act 5 Scene 2

Hamlet

Mine and my father’s death come not upon thee, Nor thine on me.181 [Dies]

330

HAMLET Heaven make thee free182 of it! I follow thee. I am dead, Horatio. Wretched183 Queen, adieu!184 You that look pale and tremble at this chance,185 That are but mutes186 or audience to this act,187 Had I but time – as this fell sergeant,188 Death, Is strict in his arrest189 – O, I could tell you – But let it be. Horatio, I am dead. Thou livest: report me and my cause aright To the unsatisfied.190

181

free: free of the guilt Wretched: Unhappy 184 adieu: goodbye 185 chance: event 186 mutes: actors without speaking parts 187 act: action 188 fell sergeant: cruel officer 189 strict in his arrest: is rigorous about when he takes his victims 182 183

190

report me…unsatisfied: provide an accurate account of me and the reasons for my actions to those who demand an explanation

191

antique Roman: ancient Roman (who saw suicide as an honourable action)

192

wounded name: damaged reputation

193

felicity: happiness (of death)

194

o’er-crows: crows over in triumph

195

election: election of the next king of Denmark

HORATIO

Never believe it. I am more an antique Roman191 than a Dane: Here’s yet some liquor left.

Mine and my…on me: My death and my father’s cannot be blamed on you, nor can your death be blamed on me

HAMLET

340

As thou’rt a man Give me the cup. Let go! By heaven, I’ll have’t! O good Horatio, what a wounded name,192 Things standing thus unknown, shall live behind me! If thou didst ever hold me in thy heart Absent thee from felicity193 awhile, And in this harsh world draw thy breath in pain To tell my story. [March afar off, and shot within] What warlike noise is this? OSRIC Young Fortinbras, with conquest come from Poland, To th’ ambassadors of England gives This warlike volley. HAMLET

O, I die, Horatio. The potent poison quite o’er-crows194 my spirit, I cannot live to hear the news from England, But I do prophesy th’ election195 lights

201

Act 5 Scene 2

Hamlet

On Fortinbras: he has my dying voice. So tell him, with th’ occurrents, more and less197 Which have solicited198 – The rest is silence. [Dies] 196

350

HORATIO Now cracks199 a noble heart. Good night sweet Prince, And flights200 of angels sing thee to thy rest! Why does the drum come hither?

voice: vote th’ occurents, more and less: occurrences, both important and not 198 solicited: prompted my support (for Fortinbras). This sentence is unfinished 196 197

cracks: It was thought that the heart strings broke upon death 200 flights: flying companies 199

3

[Enter FORTINBRAS, the English Ambassadors and others] FORTINBRAS Where is this sight?201

201

HORATIO

this sight: Fortinbras has clearly been told what he should expect to see in the hall

What is it you would see? If aught of woe or wonder, cease your search.

360

FORTINBRAS This quarry cries on havoc.202 O proud Death, What feast is toward203 in thine eternal cell,204 That thou so many princes at a shot So bloodily hast struck?

This quarry…havoc: This pile of bodies (‘quarry’) screams slaughter (‘cries havoc’) 203 is toward: is being prepared 204 eternal cell: infernal grave 202

AMBASSADOR

The sight is dismal205 And our affairs from England come too late. The ears207 are senseless that should give us hearing To tell him his commandment is fulfilled That Rosencrantz and Guildenstern are dead. Where should we have our thanks? 206

205 206

dismal: dreadful affairs: business

207

ears: i.e. Claudius’ ears

208

jump: exactly question: conflict

HORATIO

370

202

Not from his mouth, Had it th’ ability of life to thank you; He never gave commandment for their death. But since, so jump208 upon this bloody question,209 You from the Polack wars, and you from England, Are here arrived give order that these bodies High on a stage be placed to the view, And let me speak to th’ yet unknowing world How these things came about. So shall you hear

209

3

Act 5 Scene 2

Hamlet

Of carnal, bloody and unnatural acts, Of accidental judgements,211 casual slaughters,212 Of deaths put on213 by cunning and forced cause,214 And in this upshot,215 purposes mistook Fallen on th’ inventors’ heads. All this can I Truly deliver. 210

FORTINBRAS 380

Let us haste to hear it And call the noblest to the audience. For me, with sorrow I embrace my fortune. I have some rights of memory216 in this kingdom Which now to claim my vantage doth invite me.217

HORATIO Of that218 I shall have also cause to speak And from his mouth219 whose voice will draw on more. But let this same220 be presently performed Even while men’s minds are wild, lest more mischance On221 plots and errors happen.

carnal: sensual / lustful (Horatio seems to concur with Hamlet’s view of Gertrude’s marriage to Claudius) 211 accidental judgements: punishments brought about accident. Horatio may mean the deaths of Polonius, Gertrude and Laertes 212 casual slaughters: killings brought about by chance 213 put on: brought about 214 forced cause: schemes. Horatio may mean the deaths of Old Hamlet, Hamlet, Rosencrantz and Guildenstern 215 upshot: conclusion. The ‘upshot’ is literally the final shoot-off in an archery contest 216 rights of memory: immemorial rights 217 to claim my vantage…invite me: my advantageous position calls on me to make a claim for the Danish throne 218 that: i.e. Fortinbras’ claim to the throne 219 his mouth: i.e. Hamlet’s last words 220 this same: i.e. the public exhibition of the bodies and Horatio’s account of events 221 On: on top of 210

FORTINBRAS

390

Let four captains Bear Hamlet like a soldier to the stage, For he was likely, had he been put on,222 To have proved most royal. And for his passage223 The soldiers’ music and the rites of war224 Speak loudly for him.225 Take up the bodies. Such a sight as this Becomes the field226 but here shows much amiss.227 Go, bid the soldiers shoot. [A dead march. Exeunt, bearing off the dead bodies; after which a peal of ordnance is shot off]

HAMLET HAMLET

been put on: been put to the test (as King) 223 passage: passing (from life into death) 224 rites of war: gunshots 225 Speak loudly for him: loudly sound his praises 226 Becomes the field: would be more fitting if this were a battlefield 227 but here shows much amiss: but is much out of place here 222

Key Quotations There’s a divinity that shapes our ends, Rough-hew them how we will. Does it not, think thee, stand me now upon? He that hath killed my king and whored my mother, Popped in between th’ election and my hopes, Thrown out his angle for my proper life, And with such cozenage. Is’t not perfect conscience To quit him with this arm? 203

Act 5 Scene 2

HAMLET

Hamlet

there’s a special providence in the fall of a sparrow. 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 has aught of what he leaves, what is’t to leave betimes? Let be.

scene Commentary



204

Hamlet’s philosophical outlook has changed. Earlier in the play Hamlet thought of death as a release from the pain and suffering of life or as something unknowable that inspires dread. Hamlet now sees it as an inevitable part of the human condition: ‘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.’ Death visits us all, the important thing is to be ready for it. Tied to this idea is Hamlet’s new belief in the power of providence. He recognises that life is shaped by a force beyond the scope of human choice: ‘There’s a divinity that shapes our ends, / Rough-hew them how we will.’ Hamlet tells Horatio that providence worked in his favour during his adventure at sea. He sees that fate allowed him to find Claudius’ letter in the dark and ensured that he had his signet ring to forge a substitute (‘even in that was heaven ordinant’). Hamlet’s belief in providence allows him to overcome his sense of foreboding about his fencing match with Laertes; he proceeds in the belief that it is futile to try to resist fate: ‘there’s a special providence in the fall of a sparrow’. Ultimately his death is beyond his own control. Hamlet has learned to act decisively and is no longer paralysed by an overly examined conscience. He is quick to send Rosencrantz and Guildenstern to their deaths without any pangs of conscience: ‘they did make love to this employment. / They are not near my conscience’. Similarly, Hamlet no longer feels compelled to examine his conscience to carry out his revenge on Claudius. He lists clearly and decisively the reasons that Claudius must die: ‘He that hath killed my king and whored my mother, Popped in between th’ election and my hopes, Thrown out his angle for my proper life, And with such cozenage. Is’t not perfect conscience To quit him with this arm?’ Hamlet is no longer a procrastinating philosopher; when the opportunity presents itself, Hamlet kills Claudius without hesitation, stabbing Claudius and forcing him to drink poisoned wine: ‘Here, thou incestuous, murderous, damned Dane, / Drink off this potion.’ Hamlet’s demeanour has also changed: he is nobler and more generous of spirit. He empathises with Laertes, recognising how their situations mirror one another: ‘by the image of my cause I see / The portraiture of his’. Hamlet offers his apologies to Laertes before they fence. There is no bitterness, no sign of resentment, only a nobility that sets him apart from his opponent. Although he is partly responsible for Hamlet’s death, Laertes redeems himself somewhat. In an aside, he expresses his guilt for the fact that he is about to murder Hamlet: ‘’tis almost ’gainst my conscience’. Although this does not lend Laertes the moral courage to go against Claudius’ plan, his subsequent appeals for forgiveness seem heartfelt: ‘Exchange forgiveness with me, noble Hamlet, / Mine and my father’s death come not upon thee’. Claudius remains a self-serving villain to the end. When Gertrude drinks from the poisoned chalice Claudius’ protest is half-hearted for fear of incriminating himself: ‘Gertrude, do not

Act 5 Scene 2

Hamlet

drink.’ When she collapses from the effects of the poison, Claudius instinctively looks to hide his own culpability, declaring: ‘She swoons to see them bleed.’ Furthermore, when he is revealed as the chief architect of the plot against Hamlet, Claudius expresses no remorse but instead desperately looks for protection: ‘O, yet defend me, friends, I am but hurt.’ There is poetic justice in the fact that he dies from drinking his own poisoned chalice. Horatio is a deeply loyal character whose ultimate dramatic function is to tell Hamlet’s story to the world. So affectionate is he towards Hamlet that he expresses a desire to kill himself and, like an ancient Roman, follow Hamlet into the afterworld: ‘I am more an antique Roman than a Dane’. However, Hamlet insists that his friend remain alive and report everything that has occurred. He trusts Horatio to represent him in nominating Fortinbras as the next Danish King. The other characters in this final scene underline Hamlet’s finer qualities. As Laertes dies he calls him, ‘noble Hamlet’. Fortinbras points to Hamlet’s nobility, remarking that Hamlet would have made a great king: ‘For he was likely, had he been put on, / To have proved most royal.’ Horatio laments Hamlet’s death as the passing of a great noble: ‘Now cracks a noble heart. Good night sweet Prince, / And flights of angels sing thee to thy rest!’

Questions

1. What evidence shows that Hamlet is now a much more decisive character? 2. Other than this, how has Hamlet changed as a person over the course of the play? 3. Is there a difference in the way Hamlet now views death? (You may wish to consider his soliloquy in Act 3, Scene 1 for comparison). 4. Do you feel that Laertes is successful in redeeming himself? Why / why not? 5. What is your impression of Claudius in this scene? 6. In this scene, how do the other characters emphasise Hamlet’s nobility?

205



Act 5

Revision Quiz

1. Whose skull does Hamlet discover in the churchyard?

2. Why is the Priest at Ophelia’s funeral only willing to perform a funeral service with the minimal amount of ceremony?

3. According to the First Gravedigger, ‘Who builds stronger than a mason, a shipwright, or a carpenter?’

4. Explain what happened to Rosencrantz and Guildenstern on board the ship to England. 5. How does Gertrude die?

6. Who does Hamlet name as his choice for the Danish throne?

7. How many characters die during the course of the entire play? (Do not include Old Hamlet) 8. Who is the only main character to survive at the end of the play? 9. Who says each of the following?

(a) To what base uses we may return, Horatio! Why may not imagination trace the noble dust of Alexander, till he find it stopping a bung-hole?

(b) though I am not splenitive and rash,



Yet have I something in me dangerous, Which let thy wisdom fear.

(c) there’s a special providence in the fall of a sparrow. 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.

10. Rewrite these quotations. In each case, write the speaker’s name and fill in the blanks. (a) This is I, Hamlet the _______.

(b) There’s a _______ that shapes our ends, _______-hew them how we will.

(c) Does it not, think thee, stand me now upon?



He that hath killed my king and whored my _______,



Thrown out his _______ for my proper life,



Popped in between th’ _______ and my hopes,

And with such cozenage. Is’t not perfect conscience To quit him with this arm?

(d) Imperious Caesar, dead and turned to clay,

206

Might stop a _______ to keep the wind away.

O, that that _______, which kept the world in awe Should patch a wall to expel the winter _______!

Notes

Characters Hamlet

Hamlet is one of the most discussed characters in all literature. This enigmatic man has fascinated commentators and audiences for centuries. As a tragic hero, he manages to retain the audience’s sympathy as we come to see part of ourselves in him. However, at times this sympathy is strained as Hamlet acts and speaks in ways that are disquieting for the audience. As with any person, Hamlet has both virtues and flaws. At times these qualities contend within him as he struggles to deal with the moral predicament of revenge. Hamlet can be cruel yet kind, melancholy yet merry, idealistic yet cynical, decisive yet indecisive, rational yet hysterical. Hamlet himself admits to his many flaws: ‘I am very proud, revengeful, ambitious, with more offences at my beck than I have thoughts to put them in, imagination to give them shape, or time to act them in’ (Act 3, Sc 1). As the play progresses, Hamlet grows in wisdom, coming to know himself and the world. This wisdom is achieved through suffering. Eventually, in Act 5, Hamlet appreciates the role of providence in life and accepts the inevitability of fate and death.

Disillusioned (at First)

Hamlet expresses huge disillusionment with life and the world, most notably in two of his soliloquies (Act 1, Sc 2 and Act 3, Sc 1). In his first soliloquy he laments how corrupt the world has become and is troubled by how meaningless life seems to him: ‘How weary, stale, flat and unprofitable Seem to me all the uses of this world! Fie on’t! Ah fie! ’Tis an unweeded garden That grows to seed; things rank and gross in nature Possess it merely’ (Act 1, Sc 2). Similarly, in Act 3, Hamlet expresses his view that life is characterised by intolerable anguish. To be human is ‘to suffer / The slings and arrows of outrageous fortune’. Hamlet wonders why more people do not more often end their lives through suicide (‘might his quietus make / With a bare bodkin’). Hamlet concludes that people reflect on the unknowable nature of the afterlife (‘The undiscovered country from whose bourn / No traveller returns’), and are too afraid to end their lives: ‘Thus conscience does make cowards of us all’ (Act 3, Sc 1). However, this despairing sentiment gives way in the final act of the play. Hamlet’s disillusionment disappears as he learns to accept the idea of providence. He comes to see that there is a force greater at work in his life, telling Horatio, ‘There’s a divinity that shapes our ends, / Rough-hew them how we will’ (Act 5, Sc 2). Hamlet’s sense of purposelessness and disillusionment is discarded by the end of the play. Instead, he comes to see meaning and divinity working through all aspects of life: ‘there’s a special providence in the fall of a sparrow’ (Act 5, Sc 2). Hamlet no longer thinks of death as a release from life’s suffering or as something unknowable that inspires dread. He now sees it as an inevitable part of the human condition: ‘If it be now, ’tis

207

Characters

Hamlet

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.’ Death visits everybody, the important thing is to be ready for it. For Hamlet, disillusionment has been replaced by an acceptance of fate.

Bitter (for much of the Play)

For much of the play Hamlet is an embittered character. This is largely fuelled by his disgust at his mother’s hasty marriage to Claudius which Hamlet sees as ‘incestuous’. In a caustic quip he tells Horatio, ‘Thrift, thrift, Horatio! The funeral baked meats / Did coldly furnish forth the marriage tables’ (Act 1, Sc 2). Hamlet has been so embittered by Gertrude’s relationship with Claudius that he projects his feelings about his mother onto all women, crying out, ‘Frailty, thy name is woman!’ (Act 1, Sc 2). The full force of his disgust is expressed in a bitter tirade against his mother during the Closet Scene. He is determined to make his mother aware of her sins: ‘You shall not budge. / You go not till I set you up a glass / Where you may see the inmost part of you’ (Act 3, Sc 4). Hamlet focuses on her sexual relationship with Claudius, using farmyard imagery to articulate his revulsion: ‘but to live In the rank sweat of an enseamed bed, Stewed in corruption, honeying and making love Over the nasty sty’ (Act 3, Sc 4). Hamlet’s bitterness with his mother colours his view of all women including his lover Ophelia. He uses similar gross sexual imagery to describe her: ‘For if the sun breed maggots in a dead dog, being a god kissing carrion’ (Act 2, Sc 2). In the Nunnery Scene, Hamlet accuses Ophelia of sexual crimes she is yet to commit: ‘Get thee to a nunnery! Why, wouldst thou be a breeder of sinners?’ (Act 3, Sc 1). Hamlet’s bitter view of his mother profoundly affects his relationship with women in general.

A Procrastinator (until Act 5)

Hamlet is charged with avenging the murder of his father. However, he is temperamentally unsuited to this task. This in part explains his procrastination for much of the play. Hamlet castigates himself for his failure to act. He questions whether it is fear that holds him back: ‘For it cannot be / But I am pigeon-livered and lack gall’ (Act 2, Sc 2). Hamlet chides himself for his overly reflective nature which prevents him from taking action: ‘Why, what an ass am I! This is most brave, That I, the son of a dear father murdered, Prompted to my revenge by heaven and hell, Must like a whore, unpack my heart with words And fall a-cursing, like a very drab, A scullion!’ (Act 2, Sc 2). Despite recognising his failure to act, Hamlet continues to prevaricate. This is in part due to his refined conscience, which requires unequivocal proof of Claudius’ guilt. Hamlet worries that the Ghost could be a malicious spirit encouraging him to kill his uncle: ‘The spirit that I have seen / May be a devil, and the devil hath power / To assume a pleasing shape’ (Act 2, Sc 2). However, after he becomes satisfied of Claudius’ guilt, Hamlet still procrastinates. During the Prayer Scene he has a clear opportunity to murder Claudius but doesn’t seize it. When Hamlet 208

Characters

Hamlet

sees Claudius kneeling in the church he says that he fears killing him would only send Claudius to heaven, in effect rewarding him for his crime. Instead he would rather kill Claudius when he is ‘about some act / That has no relish of salvation in’t’ so that ‘his soul may be as damned and black / As hell whereto it goes’ (Act 3, Sc 3). Some critics see this as evidence that Hamlet lacks determination to do what is required. However, it is clear that reflection prevents Hamlet from acting. However, there are times when Hamlet acts readily with little consideration of the consequences. He is overwhelmed by passion at various times throughout the play, causing him to act recklessly. The most obvious incident occurs during the Closet Scene when Hamlet kills Polonius. Gertrude rightly characterises this as ‘a rash and bloody deed’ (Act 3, Sc 4). Although Hamlet may have believed that it was Claudius behind the arras, there is no moral justification for his callous reaction to Polonius’ corpse: ‘Thou wretched, rash, intruding fool, farewell! / I took thee for thy better. Take thy fortune; / Thou find’st to be too busy is some danger’ (Act 3, Sc 4). Although paralysed by conscience for much of the play, Hamlet can often behave recklessly when consumed by passion. Hamlet experiences a dramatic change in Act 5 and shows that he is able to act decisively. He is quick to send Rosencrantz and Guildenstern to their deaths without any pangs of conscience: ‘they did make love to this employment. / They are not near my conscience’ (Act 5, Sc 2). Similarly, Hamlet no longer agonises over killing Claudius. Instead he lists clearly and decisively the reasons that Claudius must die: ‘He that hath killed my king and whored my mother, Popped in between th’ election and my hopes, Thrown out his angle for my proper life, And with such cozenage. Is’t not perfect conscience To quit him with this arm?’ (Act 5, Sc 2) By the end of the play Hamlet is no longer a procrastinating philosopher. When fate presents him with the opportunity to kill Claudius, Hamlet seizes it without hesitation: ‘Here, thou incestuous, murderous, damned Dane, / Drink off this potion’ (Act 5, Sc 2).

Noble

The killing of Polonius shows that Hamlet can at times be rash. At various points of the play he is also cruel (the Nunnery Scene, the Closet Scene) and remorseless (sending Rosencrantz and Guildenstern to their deaths, his callous reaction to the killing of Polonius). However, this is balanced by Shakespeare when he stresses Hamlet’s nobler qualities, particularly towards the end of the play. In his conversation with Horatio Hamlet displays his capacity for empathy as he reflects on Laertes’ situation, seeing it as a mirror of his own: ‘by the image of my cause I see / The portraiture of his’ (Act 5, Sc 2). This prompts a generosity of spirit as he apologises to Laertes prior to the fencing match. There is no bitterness, no sign of grudge, only a nobility that sets him apart from his opponent. Hamlet’s innate nobility is best communicated by the testimonies of the other characters. Ironically Claudius points to this. He explains that Hamlet is loved by his Danish subjects: ‘He’s loved of the distracted multitude’ (Act 4, Sc 3). Later he testifies that Hamlet is ‘Most generous and free from all contriving’ (Act 4, Sc 7). Similarly, Ophelia pays tribute to Hamlet’s innate noble nature after she witnesses his hysterical 209

Characters

Claudius

outburst:

‘O, what a noble mind is here o’erthrown! The courtier’s, soldier’s, scholar’s eye, tongue, sword; Th’ expectancy and rose of the fair state, The glass of fashion and the mould of form’ (Act 3, Sc 1). Despite the fact that Laertes is the instrument of Hamlet’s death, he too observes Hamlet’s honourable nature. He begs Hamlet’s forgiveness, absolving him of any wrongdoing: ‘Exchange forgiveness with me, noble Hamlet, / Mine and my father’s death come not upon thee, / Nor thine on me’ (Act 5, Sc 2). After his death there are two further testimonies to Hamlet’s noble nature. Fortinbras points to Hamlet’s nobility, remarking that Hamlet would have made a great king: ‘For he was likely, had he been put on, / To have proved most royal.’ Horatio laments Hamlet’s death as the passing of a great man: ‘Now cracks a noble heart. Good night sweet Prince, / And flights of angels sing thee to thy rest!’

Hamlet

§ Disillusioned (at First) § Bitter (for much of the Play) § A Procrastinator (until Act 5) § Noble

Claudius

Claudius is a fascinating villain. He ruthlessly pursues his own ambition taking his brother’s crown and wife. His underhand and manipulative tactics make him a very dangerous character, yet he is humanised by the fact that he wrestles with the enormity of his crime and is deeply burdened by guilt. Claudius is a well-drawn and credible character who serves as an excellent counterpoint to the noble, yet indecisive, Hamlet.

A Capable, yet Flawed, Monarch

Claudius is a skilful politician and a capable ruler. He is quick to deal with the threat from the Norwegian prince, Fortinbras. Claudius sends ambassadors (Voltemand and Cornelius) to Norway and successfully avoids an international war. When we first meet Claudius he wins the approval of the court in his state address which sensitively balances expressions of grief for the death of Old Hamlet with a celebration of his marriage to Gertrude. However, Hamlet is quick to point to Claudius’ flaws as a ruler. According to Hamlet, Claudius’ drunkenness brings Denmark into disrepute: ‘The King doth wake tonight and takes his rouse, Keeps wassail and the swaggering upspring reels; And as he drains his draughts of Rhenish down, The kettledrum and trumpet thus bray out The triumph of his pledge’ (Act 1, Sc 4). Hamlet sees this as damaging Denmark’s international reputation: ‘They clepe us drunkards and with swinish phrase 210

Characters

Claudius

Soil our addition, and indeed it takes From our achievements, though performed at height, The pith and marrow of our attribute’ (Act 1, Sc 4).

A Ruthless Murderer

Perhaps one of Claudius’ most defining characteristics is his murderous nature. The Ghost’s description of how he was murdered is disturbing and underscores Claudius’ villainy. The Ghost explains that Claudius poured poison in his ear as he slept. The ‘leperous distilment’ moved as ‘swift as quicksilver’ and ‘barked about, / Most lazar-like’ covering Old Hamlet’s body with a ‘vile and loathsome crust’ (Act 1, Sc 5). Not only is this an act of murder but it is also fratricide (the killing of a sibling) and regicide (the killing of a king). Claudius’ crime is grave and is ruthlessly performed to achieve his ambition for the crown and Gertrude. Claudius is no less ruthless in his murderous schemes to kill Hamlet. He initially plans to send Hamlet to England with instructions for him to be murdered by the English King: ‘Do it, England! / For like the hectic in my blood he rages / And thou must cure me’ (Act 4, Sc 3). When this plot fails, Claudius puts in place another scheme, using Laertes as his instrument of revenge (see ‘Manipulative’ below).

Hypocrite / False

When Hamlet learns of Claudius’ treachery he proclaims him a ‘smiling damned villain’ (Act 1, Sc 5). This phrase pithily sums up Claudius’ hypocrisy and falsity throughout the play. The first time Claudius appears on stage, his exaggerated courtesy masks his villainous nature. He appears eager to please Laertes: ‘And now, Laertes…what is’t, Laertes?...What wouldst thou beg, Laertes…What wouldst thou have, Laertes?’ (Act 1, Sc 2). Similarly he tries to ingratiate himself with Hamlet, referring to him as ‘son’ and confirming that he is next in line for the throne. So insincere is Claudius that he pretends not to notice when Hamlet insults him, remarking that Hamlet’s bitter response is ‘a loving and a fair reply’ (Act 1, Sc 2). Once it becomes clear that Claudius murdered his brother, his expression of grief during the state address seems all the more hypocritical: ‘of Hamlet our dear brother’s death The memory be green, and that it us befitted To bear our hearts in grief and our whole kingdom To be contracted in one brow of woe’ (Act 1, Sc 2). Claudius’ hypocrisy is also evident when he tells Gertrude, ‘do not fear our person. There’s such divinity doth hedge a king That treason can but peep to what it would, Acts little of his will’ (Act 4, Sc 5). The obvious dramatic irony here is that no such ‘divinity’ protected Old Hamlet when Claudius poured poison in his ears.

Manipulative

Claudius is an expert manipulator. He uses those around him with villainous skill. Claudius exploits Rosencrantz and Guildenstern’s friendship with Hamlet, employing them as spies to uncover the 211

Characters

Claudius

source of Hamlet’s discontent. Hamlet however recognises Claudius’ strategy and warns Rosencrantz and Guildenstern that they will be used and then discarded by the King: ‘he keeps them, like an ape an apple, in the corner of his jaw, first mouthed, to be last swallowed. When he needs what you have gleaned, it is but squeezing you and, sponge, you shall be dry again’ (Act 4, Sc 2). Claudius exhibits no moral scruples about using Ophelia as ‘bait’ as he and Polonius eavesdrop on her conversation with Hamlet. Claudius’ manipulative nature is most evident in his treatment of Laertes. He coolly deals with the threat of a rebellion by winning Laertes’ trust and securing him as an ally against Hamlet. He first convinces Laertes that he is not to blame for the death of Polonius: ‘I am guiltless of your father’s death, And am most sensible in grief for it, It shall as level to your judgement ’pear As day does to your eye’ (Act 4, Sc 5). Claudius then diverts blame away from himself, directing it towards Hamlet: ‘you must put me in your heart for friend Sith you have heard, and with a knowing ear, That he which hath your noble father slain Pursued my life’ (Act 4, Sc 7). Claudius exploits Laertes’ anger, using him as a weapon against Hamlet.

Self-Interested

Claudius’ first concern is always himself. When he hears of Polonius’ death, his first thought is for his own safety: ‘It had been so with us had we been there’ (Act 4, Sc 1). As a skilled politician he moves quickly to ensure that the news of Polonius’ death will not tarnish his image as King. He calls his wisest counsellors to ensure, ‘[that slander] Whose whisper o’er the world’s diameter, As level as the cannon to his blank Transports his poisoned shot, may miss our name, And hit the woundless air’ (Act 4, Sc 1). Rattled by The Mousetrap play, Claudius fears for his life. Acting out of self-preservation he decides to send Hamlet to England. Upon hearing of the death of Polonius, Claudius adds to his plan by sending instructions to the King of England to execute Hamlet. He puts his own safety ahead of morality. Claudius’ instinct for self-preservation is consistent right up to the end of the play. When he sees Gertrude drink from the poisoned chalice he makes only a half-hearted attempt to warn her: ‘Gertrude, do not drink’ (Act 5, Sc 2). As she dies he looks to distance himself from any crime, blaming her illness on a mere fainting fit.

Guilty

Claudius is a complex villain. His conscience weighs heavily upon him as he fully recognises how evil his actions are. When Polonius remarks that individuals may hide their wickedness, Claudius immediately reflects on the evil that he himself hides: ‘How smart a lash that speech doth give my conscience! 212

Characters

Gertrude

The harlot’s cheek beautied with plastering art Is not more ugly to the thing that helps it Than is my deed to my most painted word. O heavy burden!’ (Act 3, Sc 1). In the Prayer Scene, Shakespeare humanises his villain, reminding us of the delicate balance between good and evil. Tortured by regret, Claudius is presented as a man unable to pray for forgiveness, fully aware of the enormity of his crime: ‘O, my offence is rank: it smells to heaven; It hath the primal eldest curse upon’t – A brother’s murder. Pray can I not, …What if this cursed hand Were thicker than itself with brother’s blood? Is there not rain enough in the sweet heavens To wash it white as snow? … O wretched state! O bosom black as death! O limed soul that struggling to be free, Art more engaged!’ (Act 3, Sc 3) In other circumstances, Claudius could well have been considered a tragic hero. The fact that Claudius has a conscience does not encourage the audience’s forgiveness but it does make him a more complex and credible villain.

Claudius

§ A Capable, yet Flawed, Monarch § A Ruthless Murderer § Hypocrite / False § Manipulative § Self-Interested § Guilty

Gertrude

Gertrude is a weak willed woman who lives in the shadow of Claudius. It is not clear when her romantic relationship with Claudius started. Whether or not it began while Old Hamlet was still alive is not made clear in the play. However, Gertrude can certainly be criticised for the haste with which she remarried following Old Hamlet’s death. Some critics have gone so far as to suggest that she was aware of the murder long before Hamlet reveals it to her. However, there is no evidence for this. Despite her flaws, Gertrude is a loving and protective mother. Furthermore, her love for Claudius appears genuine. She is a woman capable of remorse and exhibits great compassion for Ophelia when recounting her death. Gertrude is particularly important in the play as she acts as a catalyst for much of the action. Her behaviour motivates Hamlet’s actions and colours much of his philosophical outlook.

Adulterous / Fickle

Both Hamlet and the Ghost see Gertrude’s relationship with Claudius as adulterous. Hamlet bitterly 213

Characters

Gertrude

tells Horatio that her marriage followed quickly after her former husband’s funeral: ‘Thrift, thrift, Horatio! The funeral baked meats / Did coldly furnish forth the marriage tables’ (Act 1, Sc 2). The Ghost too accuses Gertrude of adultery, describing how she was seduced by Claudius: ‘Ay, that incestuous, that adulterate beast, With witchcraft of his wit… won to his shameful lust The will of my most seeming-virtuous Queen. O Hamlet, what a falling-off was there!’ (Act 1, Sc 5) It is not clear if this relationship began while Old Hamlet was still alive or if it is simply the marriage itself that is seen as adulterous. Either way, Gertrude is characterised by Hamlet and the Ghost as a woman who abandons loyalty for sexual desire.

Dominated

Gertrude is a weak character, dominated by those around her. Hamlet notes how firmly attached she was to her first husband, Old Hamlet: ‘Why, she would hang on him / As if increase of appetite had grown / By what it fed on’ (Act 1, Sc 2). Her behaviour is no different in her second marriage where she seems to live in Claudius’ shadow. She follows Claudius’ lead when he requests Hamlet not to go Wittenberg. At one point in the play her words sound like a mere echo of her husband’s: ‘Thanks, Rosencrantz and gentle Guildenstern’ (Claudius); ‘Thanks, Guildenstern and gentle Rosencrantz (Gertrude)’ (Act 2, Sc 2). Even when Gertrude is told by Hamlet that Claudius is a murderer, she is unable to muster the courage to question him. She is easily swayed by Hamlet during the Closet Scene. Having been given the responsibility of confronting her son, Gertrude instead is dominated by Hamlet and coerced into expressing guilt for her relationship with Claudius. As Hamlet makes accusations she cries out: ‘O, speak to me no more! / These words, like daggers, enter in mine ears. / No more, sweet Hamlet!’ (Act 3, Sc 4). Her admission of guilt may or may not be heartfelt here, but what is clear is how subservient she is. Once she returns to Claudius, there is no sign of this guilty conscience. Gertrude is unable to live independently and instead finds herself overshadowed by the men in her life.

Maternal and Protective

Despite her flaws, Gertrude has a number of redeeming qualities. Most notable is her devotion to her son. She consistently looks to protect Hamlet by diverting blame away from him. Her concern for Hamlet is initially evident when she looks to Rosencrantz and Guildenstern to discover the cause of Hamlet’s strange behaviour. She tells Hamlet’s old friends: ‘And I beseech you instantly to visit / My too much changed son’ (Act 2, Sc 2). Her maternal nature prompts her to present Hamlet’s behaviour in a more favourable light. When recounting the circumstances of Polonius’ death to her husband, she stresses the idea of Hamlet’s madness and omits the fact that Hamlet thought that it was Claudius hiding behind the arras: ‘Mad as the sea and wind, when both contend Which is the mightier. In his lawless fit, Behind the arras hearing something stir, Whips out his rapier, cries, ‘A rat, a rat!’ 214

Characters

Gertrude

And in this brainish apprehension kills The unseen good old man’ (Act 4, Sc 1) She continues in her misleading account by presenting Hamlet as remorseful for the murder: ‘To draw apart the body he hath killed, O’er whom his very madness, like some ore Among a mineral of metals base, Shows itself pure: he weeps for what is done’ (Act 4, Sc 1) Gertrude’s maternal protectiveness is again evident in the scuffle between Hamlet and Laertes during Ophelia’s funeral. Gertrude tries to excuse her son by dismissing his behaviour as resulting from madness: ‘This is mere madness, And thus awhile the fit will work on him. Anon, as patient as the female dove, When that her golden couplets are disclosed; His silence will sit drooping’ (Act 5, Sc 1) It is therefore fitting that Gertrude’s dying words are reserved solely for Hamlet. Aware that she is dying, she cries out for her son: ‘No, no, the drink, the drink – O my dear Hamlet – / The drink, the drink! I am poisoned’ (Act 5, Sc 2).

Capable of Remorse

Gertrude displays her capacity for remorse during the Closet Scene (Act 3, Sc 4). When Hamlet accuses her of acting disloyally to his father, Gertrude’s response suggests that his words have pricked her conscience: ‘O Hamlet, speak no more. Thou turn’st mine eyes into my very soul And there I see such black and grained spots As will not leave their tinct’. However, despite this expression of guilt, Gertrude remains with Claudius. This has prompted some critics to suggest that Gertrude is not truly remorseful and is merely looking to appease Hamlet amidst his hysterical verbal attack on her. On the other hand, Gertrude may simply lack the moral courage to leave Claudius. If this is true we should pity rather than vilify her.

Sympathetic

Gertrude shows her humanity in her lyrical account of Ophelia’s death. She paints a beautiful image of the moments before Ophelia drowns: ‘There is a willow grows aslant a brook, / That shows his hoary leaves in the glassy stream, / Therewith fantastic garlands did she make’ (Act 4, Sc 7). Gertrude’s account of Ophelia’s death romanticises it, presenting it as an accident. Her account of Ophelia’s death suggests a sympathetic nature. We see an echo of this during Ophelia’s funeral when Gertrude seems genuinely affected by Ophelia’s passing: ‘I hoped thou shouldst have been my Hamlet’s wife, / I thought thy bride-bed to have decked, sweet maid, / And not have strewed thy grave’ (Act 5, Sc 1).

A Catalyst for much of the Play’s Action

Although an interesting character in her own right, Gertrude has an important dramatic function in 215

Characters

Polonius

the play in that she inspires much of the behaviour of Hamlet and Claudius. Claudius was motivated to kill Old Hamlet by his desire to be King. However, he was also moved to commit his crime by his desire for Gertrude. He recognises that he cannot repent for his crime as he still possesses all that inspired him to murder: ‘My crown, mine own ambition and my Queen’ (Act 3, Sc 3). Similarly he tells Rosencrantz and Guildenstern that ‘[Gertrude] is so conjunct to my life and soul / That as the star moves not but in his sphere / I could not but by her’ (Act 4, Sc 7). Although Claudius’ feelings for Gertrude do not prompt him to risk his own life and save hers in the final scene, she certainly seems to inspire many of his actions throughout the play. Hamlet’s view of life is coloured by Gertrude’s behaviour. His sense of disillusionment in the earlier part of the play results from his disgust with his mother’s marriage to Claudius. Hamlet’s opening soliloquy is dominated by his bitter thoughts on his mother’s swift marriage to Claudius: ‘O, most wicked speed, to post / With such dexterity to incestuous sheets!’ (Act 1, Sc 2). Hamlet characterises the marriage as ‘incestuous’ and sees his mother as weakly succumbing to desire: ‘Frailty, thy name is woman!’ (Act 1, Sc 2). Similarly, Gertrude’s ‘incestuous’ behaviour may encourage Hamlet’s cruel treatment of Ophelia as he bitterly tells her ‘Get thee to a nunnery! Why, wouldst thou be a breeder of sinners?’ (Act 3, Sc 1).

Gertrude

§ Adulterous / Fickle § Dominated § Maternal and Protective § Capable of Remorse § Sympathetic § A Catalyst for much of the Play’s action

Polonius

Polonius represents the falsity and obsequious nature of court life. He ingratiates himself with Claudius and Gertrude in order to cement his position in society. He is an unpleasant and foolish character whose cynical attitude, pompous demeanour and lack of moral scruples do nothing to win the approval of the audience.

Ingratiating

Polonius devotes much energy to currying favour with the King and Queen. He tells Claudius: ‘I assure my good liege, / I hold my duty, as I hold my soul, / Both to my God and to my gracious King’ (Act 2, Sc 2). He promises Claudius that he will discover the source of Hamlet’s distemper (‘I will find / Where truth is hid, though it were hid indeed / Within the centre’ (Act 2, Sc 2)) and does all he can to keep in favour. In this regard Polonius is successful. Claudius, recognising Polonius’ servility, calls him ‘a man faithful and honourable’ (Act 2, Sc 2) and Gertrude dubs him a ‘good old man’ (Act 4, Sc 1). However, upon hearing of Polonius’ death, Claudius is unmoved. Polonius manages to appear useful to his superiors but never truly earns their affection.

216

Characters

Devious

Polonius

Although Polonius manages to keep on the good side of the King and Queen, his devious nature earns only the condemnation of the audience. We first see this side to his personality in his willingness to employ Reynaldo to spy on Laertes. Unable to trust his own son in Paris, Polonius instructs Reynaldo to ‘put on him / What forgeries you please’ (Act 2, Sc 1) in an effort to discover any misbehaviour that his son may engage in. Some may be inclined to excuse Polonius’ actions as overzealous parental concern. However, he continues to show himself as devious when he eavesdrops on Hamlet on two occasions. He has no compunction about using Ophelia as bait as he listens in on her conversation with Hamlet. Similarly, he hides himself behind an arras in Gertrude’s closet in the hope of learning more about the troubled prince. He is killed as he engages in this unscrupulous behaviour. Hamlet dismisses him as worthless spy, who should have avoided meddling: ‘Thou wretched, rash, intruding fool, farewell!’ (Act 3, Sc 4).

Pompous and Pretentious

Polonius’s pompous and pretentious demeanour makes him quite an annoying character. As Laertes departs for Paris, Polonius pompously offers advice to his son: ‘Give every man thy ear, but few thy voice; …Costly thy habit as thy purse can buy But not expressed in fancy: rich, not gaudy; For the apparel oft proclaims the man ….Neither a borrower nor a lender be’ (Act 1, Sc 3) He finishes by telling him: ‘to thine own self be true…/ Thou canst not then be false to any man’ (Act 1, Sc 3). The hypocrisy of this statement becomes apparent later on as Polonius is revealed as a devious and unscrupulous character (see ‘Devious’ above). Polonius’ inflated sense of self-importance encourages him to make longwinded, pompous speeches. His tedious discussion with Reynaldo is so long that Polonius loses track of what he was originally saying: ‘what was I about to say? By the mass, I was about to say something! Where did I leave?’ (Act 2, Sc 1). We see how this trait irritates the other characters when one of his verbose explanations elicits a sharp response from Gertrude ‘More matter, with less art’ (Act 2, Sc 2).

Foolish

Polonius cultivates his image as a knowledgeable counsellor. However, he is anything but. He announces to Claudius: ‘I have found / The very cause of Hamlet’s lunacy’ (Act 2, Sc 2), mistakenly seeing it as resulting from unrequited love for Ophelia. This is despite the fact that he already scoffed at Ophelia for trusting Hamlet’s expressions of love. Rather than masking his foolishness, Polonius’ behaviour highlights it. In his interactions with the witty Hamlet, Polonius fails to realise when fun is being poked at him. Hamlet sees Polonius as one of these ‘tedious old fools’ and therefore doesn’t hesitate to mock him. He teases Polonius by deliberately misinterpreting his speech. For example, at one point Polonius asks him about the subject matter of a book Hamlet is reading, ‘What is the matter, my lord?’ Hamlet replies, ‘Between who?’ (Act 2, Sc 2). Hamlet highlights Polonius’ foolishness when he argues with him about the shape of a cloud. He tells him that it is shaped like a camel, then says a whale and then a weasel. Each time Polonius 217

Characters

Laertes

agrees with Hamlet’s change of mind, unaware that Hamlet is mocking him as a sycophantic and ridiculous old man.

Cynical

Perhaps one of Polonius’ most offensive qualities is his cynical view of humanity, including his own children. He refuses to believe that Ophelia and Hamlet can be truly in love, scoffing at Ophelia as ‘a green girl’ (Act 1, Sc 3). He warns his daughter: ‘Do not believe his vows; for they are brokers / Not of that dye which their investments show’ (Act 1, Sc 3). His jaundiced view of love prompts him to insist that Ophelia end her relationship with Hamlet. His cynicism is best represented by the farmyard imagery he uses: when explaining to Ophelia that Hamlet’s social status affords him greater liberty, he tells her, ‘with a larger tether may he walk / Than may be given you’ (Act 1, Sc 3). The distasteful comparison of his daughter to an animal highlights his cynical outlook.

Polonius

A Foil to Hamlet

§ Ingratiating § Devious § Pompous and Pretentious § Foolish § Cynical

Laertes

Laertes functions as a foil (contrast) to Hamlet. Both men seek revenge for the murder of their fathers. Hamlet himself recognises the similarities in their situations, telling Horatio: ‘by the image of my cause I see / The portraiture of his’ (Act 5, Sc 2). However, there is a striking contrast in the way Hamlet and Laertes pursue revenge. Whereas Hamlet procrastinates, Laertes acts impetuously (see ‘Impulsive’ below). Although desirous of revenge, Hamlet never abandons his conscience; Laertes’s hot-headed nature prompts him to abandon morality (see ‘Immoral’ below). Although an interesting character in his own right, one of Laertes’ functions in the play is to deepen the audience’s understanding of Hamlet by serving as a foil.

Priggish / Moralising

Laertes’ smug, self-righteous conversation with Ophelia reveals the priggish side of his character. He lectures his sister on her relationship with Hamlet, warning her that Hamlet’s affections for her will not last: ‘For Hamlet and the trifling of his favour, Hold it a fashion and a toy in blood, A violet in the youth of primy nature, Forward, not permanent, sweet, not lasting, The perfume and suppliance of a minute, No more’ (Act 1, Sc 3) We can admire Laertes for the concern he shows his sister. However, his presumptuous, moralising establishes him as a foolish young man. This idea is compounded by the fact that Ophelia

218

Characters

expects that Laertes is unlikely to heed his own advice: ‘Do not, as some ungracious pastors do, Show me the steep and thorny way to heaven Whiles, like a puffed and reckless libertine, Himself the primrose path of dalliance treads And recks not his own rede’ (Act 1, Sc 3).

Laertes

Impulsive

Laertes is a hot-headed, passionate young man. He acts recklessly on impulse, refusing to consider the consequences or morality of his actions. As soon as he learns of his father’s death, Laertes storms into the King’s court, heading up a mob who call for rebellion. Without any reflection he seeks revenge: ‘Let come what comes, only I’ll be revenged / Most thoroughly for my father’ (Act 4, Sc 5). This type of uncontrolled impetuosity is again evidenced during Ophelia’s funeral. Outraged by the lack of ceremony afforded his sister, Laertes leaps into her grave and cries out in the most dramatic manner: ‘Now pile your dust upon the quick and dead Till of this flat a mountain you have made To o’ertop old Pelion, or the skyish head Of blue Olympus’ (Act 5, Sc 1). This behaviour is in stark contrast to the overly meditative Hamlet (‘the native hue of resolution / Is sicklied o’er with the pale cast of thought’ (Act 3, Sc 1)). As Hamlet’s foil, Laertes’ passionate nature serves as a counterpoint to Hamlet’s procrastination.

Weak / Easily Manipulated

Laertes’ passionate, impulsive nature leaves him vulnerable to manipulation. Claudius exploits this weakness, using Laertes’ anger to rid himself of his own enemy. By using flattery and emotively calling on Laertes’ sense of duty, Claudius involves Laertes in a devious scheme to kill Hamlet. Laertes foolishly agrees to be ‘ruled’ by the King so long as he can have his revenge: ‘My lord, I will be ruled The rather, if you could devise it so That I might be the organ’ (Act 4, Sc 7).

Immoral

Another noticeable difference between Laertes and Hamlet, is the readiness with which Laertes puts aside morality. Whereas Hamlet needs absolute certainty that his actions are morally justified, Laertes actively suppresses his conscience: ‘To hell allegiance! Vows to the blackest devil! Conscience and grace, to the profoundest pit! I dare damnation. To this point I stand, That both the worlds I give to negligence’ (Act 4, Sc 5). Laertes readily puts his desire for vengeance ahead of conscience. This colours the nature of his revenge. When Claudius asks him what he is prepared to do for vengeance, Laertes answers: ‘To cut his throat i’ th’ church’ (Act 4, Sc 7), the dramatic irony being that Hamlet refrained from 219

Characters

Ophelia

exacting revenge in this manner. Ultimately, Laertes and Claudius’ scheme is just as morally ugly. It is Laertes who decides to poison his sword tip as he enthusiastically embraces the plot to kill Hamlet.

Redeems Himself Somewhat

Although Laertes never does enough to earn the forgiveness of the audience, he does make some amends for his actions moments before he dies. We see a twinge of conscience when he hesitates briefly before mortally wounding Hamlet ‘’tis almost ’gainst my conscience’ (Act 5, Sc 2). However, he lacks the moral courage to stop. Only after he is poisoned by his own sword does Laertes repent. He accepts the justice of his own death: ‘Why, as a woodcock to mine own springe…/ I am justly killed with mine own treachery’ (Act 5, Sc 2). He reveals Claudius as the architect of the plot against Hamlet and then looks for reconciliation: ‘Exchange forgiveness with me, noble Hamlet, / Mine and my father’s death come not upon thee, / Nor thine on me’ (Act 5, Sc 2). His attempt to do what is right comes too late and he dies a victim of his own impulsive and immoral desire for revenge.

Laertes

§ A Foil to Hamlet § Priggish / Moralising § Impulsive § Weak / Easily Manipulated § Immoral § Redeems Himself Somewhat

Ophelia

Ophelia is an innocent victim of a corrupt, patriarchal world. A dutiful daughter, she is readily dominated by the men in her life. As the play progresses she becomes increasingly isolated, succumbing to madness and eventually drowns. Her death highlights the play’s tragic dimension.

Dutiful

One of Ophelia’s defining characteristics is her dutiful and obedient nature. She politely listens to Laertes as he lectures her on the danger of her relationship with Hamlet. He tells her that Hamlet’s love will eventually fade, his feelings are ‘not permanent, sweet, not lasting, / The perfume and suppliance of a minute, / No more’ (Act 1, Sc 3). Ophelia shows some spirit when she retorts by urging Laertes to heed his own advice about love, but ultimately she listens passively as would be expected of a dutiful Elizabethan woman. Similarly, Ophelia listens without objection to her father’s lecture about her relationship with Hamlet. Polonius cynically sees Hamlet’s love as false. He calls Ophelia naïve (‘a green girl) warning her: ‘Do not believe his vows; for they are brokers / Not of that dye which their investments show’ (Act 1, Sc 3). The crude financial imagery reduces the purity of love to a mere transaction. However, Ophelia listens dutifully and obeys her father when he insists that she end her relationship with Hamlet.

220

Characters

Ophelia

Weak / Dominated The audience cannot help but pity Ophelia as she is dominated by the men in her life. She allows herself to become involved in Claudius and Polonius’ scheme to eavesdrop on Hamlet. She may be motivated by her concern for Hamlet or by her duty to her father. However, she lacks the strength to question the morality of the plan and even takes direction from Polonius as to how to behave: ‘Ophelia, walk you here…Read on this book’ (Act 3, Sc 1). By allowing herself to become ‘bait’ for Hamlet, Ophelia becomes embroiled in the subterfuge and deception of court life. Just as she weakly follows the instructions of Claudius and Polonius, Ophelia allows Hamlet to verbally abuse her during the Nunnery Scene. During his tirade, Hamlet projects his disgust with his mother’s behaviour onto Ophelia. He accuses her of future sins, sharply telling her: ‘Get thee to a nunnery! Why, wouldst thou be a breeder of sinners?’ (Act 3, Sc 1). Ophelia hardly protests as she allows herself to be dominated by the hysterical Hamlet.

Loving

Perhaps Ophelia’s lack of resistance has its roots in her loving nature. Her speech after the Nunnery Scene reveals her compassion for Hamlet as she laments his loss of sanity: ‘O, what a noble mind is here o’erthrown! …Like sweet bells jangled, out of tune and harsh – That unmatched form and feature of blown youth Blasted with ecstasy. O woe is me, T’ have seen what I have seen, see what I see!’ (Act 3, Sc 1).

Innocent Victim

Ophelia elicits the audience’s sympathy as she becomes the victim of tragic circumstances. A sweet and innocent girl, she is ill-equipped to cope with the harshness of the world. Her father’s death at the hands of her lover proves too much for her sensitive nature and she succumbs to madness. This is compounded by the collapse of her relationship with Hamlet. Ophelia may even feel that by repelling Hamlet’s love she has contributed to his madness and therefore indirectly to the death of Polonius. The songs she sings in a disturbed state express the themes of lost love and death and help to explain the genesis of her madness. As an innocent victim, Ophelia pays the ultimate price when she drowns (probably as a suicide). Her death is not the result of a personal flaw or mistake but rather the tragic outcome of forces beyond her control. Her innocence is highlighted by the floral imagery associated with her. At her graveside Laertes hopes that ‘from her fair and unpolluted flesh / May violets spring!’ and calls her ‘rose of May’ (Act 5, Sc 1). Ophelia’s death is a deeply sad moment in the play.

Ophelia

§ Dutiful § Weak / Dominated § Loving § Innocent Victim

221

Characters

Horatio

Horatio

Hamlet’s only friend and confidant, Horatio is a symbol of virtue in the play. He lacks the moral flaws that so many of the other characters exhibit. Level-headed and intellectual, Horatio acts as an important commentator for the audience and a sounding-board for Hamlet.

Intellectual

Horatio, like Hamlet, studies in Wittenberg. As a trusted scholar he is asked by Marcellus to witness the Ghost. Horatio is a level-headed individual and is therefore sceptical about the stories of the apparition. He requires proof before he believes the guards’ stories. However, once the Ghost appears he is immediately filled with ‘fear and wonder’ (Act 1, Sc 1). It was believed in Shakespeare’s time that ghosts spoke only Latin; Marcellus therefore tells Horatio: ‘Thou art a scholar; speak to it, Horatio’ (Act 1, Sc 1).

A Commentator for the Audience

One of Horatio’s important dramatic functions is to act as a commentator for the audience. In the opening scene he recognises the Ghost’s armour as that of Old Hamlet. He summarises the tensions between Denmark and Norway, providing important background information that contextualises the military threat from Fortinbras. Horatio also reveals to the audience that the appearance of the Ghost may be a sign that the security of Denmark itself is under threat. He says, ‘But in the gross and scope of my opinion, / This bodes some strange eruption to our state’ (Act 1, Sc 1).

A Confidant for Hamlet

Horatio is the only character that Hamlet can truly trust. He acts as Hamlet’s confidant, listening as Hamlet expresses his disgust at Gertrude’s hasty marriage: ‘Thrift, thrift, Horatio! The funeral baked meats / Did coldly furnish forth the marriage tables’ (Act 1, Sc 2). Horatio is the only person who hears of Hamlet’s plan to ‘catch the conscience of the King’ (Act 2, Sc 2) by using The Mousetrap. Horatio is relied upon to observe Claudius’ reaction during the performance. In the later scenes of the play, Hamlet tells Horatio about his sea voyage and how he sent Rosencrantz and Guildenstern to their deaths. In these scenes the audience learn of the dramatic change in Hamlet’s philosophical outlook through his conversations with Horatio. By acting as a sounding-board, Horatio helps us to deepen our understanding of Hamlet.

Balanced

In the first four acts Hamlet overanalyses and fails to act (e.g. the Prayer Scene), or acts without thinking (the killing of Polonius). His mood can be hysterical (e.g. the Closet Scene, the Nunnery Scene) or overly analytical (e.g. his soliloquies). Recognising these flaws in his own personality, Hamlet admires Horatio’s blend of passion and wisdom. ‘And blest are those Whose blood and judgement are so well comeddled That they are not a pipe for Fortune’s finger To sound what stop she please’ (Act 3, Sc 2). Hamlet commends Horatio for possessing this perfect balance of traits: ‘Give me that man 222

Characters

That is not passion’s slave and I will wear him In my heart’s core – ay, in my heart of heart – As I do thee’ (Act 3, Sc 2).

Horatio

A Loyal Friend

Horatio is the very opposite of Hamlet’s former friends Rosencrantz and Guildenstern. His loyalty is unwavering. Throughout the play he is the only person that Hamlet can truly trust. His loyal nature is highlighted in the final scene. After listening to Hamlet express his sense of foreboding, he offers Hamlet sound advice not to take part in the fencing match. As Hamlet dies, Horatio is even prepared to take his own life in the manner of an Ancient Roman so true is he to his friend (‘I am more an antique Roman than a Dane.’) He is only dissuaded as Hamlet charges him with the task of carrying out his dying requests.

Dutiful

Horatio is tasked with carrying out Hamlet’s dying requests, namely to tell the world the truth about what has occurred and to voice Hamlet’s nomination of Fortinbras as the next Danish king: ‘Horatio, I am dead. / Thou livest: report me and my cause aright / To the unsatisfied’ (Act 5, Sc 2). Horatio dutifully carries out this task. He also reminds the audience of Hamlet’s nobility, reinforcing Hamlet’s tragic heroism: ‘Now cracks a noble heart. Good night sweet Prince, / And flights of angels sing thee to thy rest!’ (Act 5, Sc 2). To the end, Horatio remains a dutiful and loyal friend.

Horatio

§ Intellectual § A Commentator for the Audience § A Confidant for Hamlet § Balanced § A Loyal Friend § Dutiful

223

Imagery Imagery

The rich imagery of Hamlet brings the themes of the play into sharp focus. Shakespeare uses poetic language to metaphorically explore key ideas. The play’s imagery also enriches the audience’s understanding of the characters. In particular, three recurring images are woven into the text: § Poison and Disease § Weeds and Flowers § Clothing and False Appearance

Poison and Disease

Images of poison and sickness are powerful metaphors in Hamlet that represent the corruption of the Danish court. This type of imagery is also used by the characters to represent their own personal traumas. Poison and disease imagery presents Claudius as a moral infection. The ‘leperous distilment’ (Act 1, Sc 5) he pours into Old Hamlet’s ear is both disease (‘leperous’) and poison. This infection spreads outward, corrupting Denmark. As Hamlet tells Gertrude, ‘Here is your husband, like a mildewed ear, / Blasting his wholesome brother’ (Act 3, Sc 4). Just like an ear of diseased corn can infect the rest of the crop, Claudius’ moral contagion spreads throughout the Danish court. Hamlet characterises Claudius’ immorality as a type of illness during the Prayer Scene. As he decides to temporarily spare Claudius he says, ‘This physic but prolongs thy sickly days’ (Act 3, Sc 3). Ironically, Claudius uses the same type of imagery to describe Hamlet, whom he sees as a threat to his wellbeing. He characterises Hamlet as a disease needing a desperate cure: ‘Diseases desperate grown / By desperate appliance are relieved, / Or not at all’ (Act 4, Sc 3). He hopes that the King of England will provide the necessary remedy: ‘Do it, England! / For like the hectic in my blood he rages / And thou must cure me’ (Act 4, Sc 3). Images of disease and sickness are also used to represent personal trauma and personal plight. Gertrude speaks of her ‘sick soul’ (Act 4, Sc 5); Laertes sees revenge as a way of curing himself of his grief: ‘It warms the very sickness in my heart’ (Act 4, Sc 7); and Ophelia’s insanity is described as ‘the poison of deep grief’ (Act 4, Sc 5). Hamlet uses the same type of imagery during the Closet Scene. After he sees the Ghost, Gertrude tries to explain away his behaviour as mere madness. However, Hamlet warns her not to use this as an excuse to ignore her own guilt that spreads through her soul like a disease: ‘Mother, for love of grace, Lay not that flattering unction to your soul, That not your trespass, but my madness speaks. It will but skin and film the ulcerous place, Whilst rank corruption, mining all within, Infects unseen’ (Act 3, Sc 4). Sickness imagery is also used by Hamlet to describe his own conscience as it impedes his 224

Imagery

Hamlet

capacity to act: ‘the native hue of resolution / Is sicklied o’er with the pale cast of thought’ (Act 3, Sc 1). He understands his personal plight as a disease, a flaw in his nature. It is fitting that all of the main characters in the final scene (Hamlet, Claudius, Gertrude, Laertes) die by means of poison. This purging of the royal court gives Denmark the chance of a new beginning and a healthier future.

Weeds and Flowers

Connected to the images of disease is the weed imagery, which similarly symbolises the corruption and moral decay of Elsinore. This is contrasted by the floral imagery (largely associated with Ophelia) which suggests innocence and purity. In his opening soliloquy Hamlet compares the world to a neglected garden, its former beauty and order now choked by weeds: ‘’Tis an unweeded garden / That grows to seed; things rank and gross in nature / Possess it merely’ (Act 1, Sc 2). For Hamlet, Claudius’ rule has ruined Danish society. The same type of imagery is also used by Hamlet to suggest immorality. He sees his mother as revolting against proper moral order in her marriage to Claudius; his disgust is readily apparent in the weed imagery he employs: ‘Repent what’s past, avoid what is to come, / And do not spread the compost on the weeds, / To make them ranker’ (Act 3, Sc 4). In contrast, images of flowers are used in the play to suggest innocence and purity. In his conversation with Ophelia, Laertes argues that promiscuity will ruin a young innocent woman, just like a young flower that blossoms too early. ‘canker galls the infants of the spring Too oft before their buttons be disclosed, And in the morn and liquid dew of youth Contagious blastments are most imminent’ (Act 1, Sc 3). Floral imagery is associated with Ophelia to stress her innocence and purity. During an episode of madness, she is seen presenting flowers to those around her. Similarly, when Gertrude offers a lyrical account of Ophelia’s death, she makes use of floral imagery: ‘Therewith fantastic garlands did she come / Of crowflowers, nettles, daisies and long purples’ (Act 4, Sc 7). After Ophelia dies, Gertrude says that she wanted to strew Ophelia’s bridal bed, rather than her grave, with flowers: ‘I hoped thou shouldst have been my Hamlet’s wife, / I thought thy bride-bed to have decked, sweet maid, / And not have strewed thy grave’ (Act 5, Sc 1). Moments later Laertes exclaims: ‘Lay her i’ th’ earth, / And from her fair and unpolluted flesh / May violets spring!’ (Act 5, Sc 1). As an emblem of innocence within the play, Ophelia provides a stark contrast to the subterfuge and moral ugliness of the Danish court. The images of weeds and flowers amplify this distinction between innocence and corruption, good and evil.

Clothing and False Appearance (Masks)

Appearance and reality is one of the central themes of Hamlet. This idea is explored in part through the imagery of clothing and masks. King Claudius is the most false of all of the play’s characters. His ability to successfully cultivate an image of benevolence and generosity allows evil to thrive as he hides the reality of his crime. When Hamlet discovers how Old Hamlet died, he immediately focuses on Claudius’ hypocrisy: ‘O villain, villain, smiling damned villain!.../ That one may smile and smile and be a villain’ (Act 1, 225

Imagery

Hamlet

Sc 5). The play shows that evil thrives beneath masks. This idea is echoed by Polonius: ‘’Tis too much proved that with devotion’s visage / And pious action we do sugar o’er / The devil himself’ (Act 3, Sc 1). Shakespeare illustrates how the importance of image in political life encourages corruption. Claudius holds onto the reins of power by presenting himself as a benevolent king, saddened by his brother’s death. During the Prayer Scene (Act 3, Sc 3), he recognises the power of false appearances: ‘In the corrupted currents of this world Offence’s gilded hand may shove by justice, And oft ’tis seen the wicked prize itself Buys out the law’. However, he concludes that this is meaningless in the afterlife, where one is judged on merit rather than appearances: ‘but ’tis not so above: / There is no shuffling’ (Act 3, Sc 3). In this sense, Polonius’ maxim, ‘the apparel oft proclaims the man’ (Act 1, Sc 3), is only true of this world. For Hamlet, being true to oneself is more important than mere appearances. When Gertrude questions why he ‘seems’ to grieve so much more intensely than everybody else, Hamlet retorts, ‘I have that within which passes show, / These but the trappings and the suits of woe’ (Act 1, Sc 2). Hamlet is acutely aware of the presence of deceit and this colours his view of others. He is suspicious that the Ghost may be a devil that has assumed his father’s shape: ‘The spirit that I have seen / May be a devil, and the devil hath power / To assume a pleasing shape’ (Act 2, Sc 2). Disgusted by his mother’s fickleness, Hamlet suspects that all women may be equally false. He sharply criticises Ophelia for wearing make-up: ‘I have heard of your paintings, well enough. God has given you one face, and you make yourselves another’. He then equates this with immorality and promiscuity: ‘the power of beauty will sooner transform honesty from what it is to a bawd than the force of honesty can translate beauty into his likeness’ (Act 3, Sc 1). The imagery of clothing and masks highlights the conflict between outward appearance and inward reality. Hamlet exposes how social masks can often facilitate evil and disguise corruption. Imagery

Function

Poison and Disease

§ Highlights the corruption and immorality at the heart of the Danish court. § Claudius’ evil is presented as an infectious contagion corrupting the heart of Denmark. § Represents the personal traumas and plight of the characters.

Weeds and Flowers

226

§ Weed imagery highlights the disorder of the corrupt Danish court. § It also registers Hamlet’s disgust at his mother’s ‘sinfulness’. § Floral imagery highlights purity (particularly Ophelia’s) in the play. § This is seen as the antithesis of the immorality at the heart of Denmark.

Imagery

Clothing and False Appearance (Masks)

Hamlet

§ False appearances are equated with evil and immorality, Claudius being a supreme example of this. § However, this is shown to only have a currency in this world and not in the afterlife. § Hamlet is acutely aware of the potential for appearances to mislead. This colours his view of the Ghost (initially) and Ophelia.

227

Themes Death

Death is arguably the dominant theme in Hamlet. From the appearance of the Ghost to the multiple deaths in the final scene, death is a consistent feature of the plot. All of the major characters (apart from Horatio) die by the end of the play. Death visits the guilty (Claudius) and the innocent (Ophelia) alike. The play is punctuated by the deaths of Ophelia, Polonius and Rosencrantz and Guildenstern. However, it is Hamlet’s fixation on death in his soliloquies that most thoroughly explores this issue. In his opening soliloquy, Hamlet reflects on the concept of suicide. Grieving after the death of his father and disgusted by his mother’s recent and hasty marriage, Hamlet considers death as a welcome escape from life’s suffering: ‘O, that this too too solid flesh would melt / Thaw and resolve itself into a dew! ’ (Act 1, Sc 2). He laments the fact that suicide is forbidden under Christian theology: ‘Or that the Everlasting had not fixed / His canon ’gainst self-slaughter!’ (Act 1, Sc 2). The idea of suicide is explored in greater depth in Hamlet’s famous ‘To be, or not to be’ soliloquy (Act 3, Sc 1). Again Hamlet wonders whether there is any nobility in enduring the pain that life can bring: ‘To be, or not to be – that is the question: / Whether ’tis nobler in the mind to suffer / The slings and arrows of outrageous fortune’. Hamlet wonders why more people do not take their own lives rather than bear suffering: ‘For who would bear the whips and scorns of time, / …When he himself might his quietus make / With a bare bodkin?’ Hamlet concludes that fear of the unknown dissuades people from taking their lives: ‘the dread of something after death, (The undiscovered country from whose bourn No traveller returns) puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of?’ This idea of the afterlife as something to be feared is compounded by Hamlet’s earlier meeting with the Ghost who tells him: ‘I could a tale unfold whose lightest word Would harrow up thy soul, freeze thy young blood, Make thy two eyes like stars start from their spheres, Thy knotted and combined locks to part And each particular hair to stand on end’ (Act 1, Sc 5). Hamlet is fascinated by the physical nature of death. When asked where Polonius’ body is hidden, he takes great relish in describing the process of bodily decay: ‘Not where he eats, but where he is eaten. A certain convocation of politic worms are e’en at him. Your worm is your only emperor for diet. We fat all creatures else to fat us, and we fat ourselves for maggots. Your fat king and your lean beggar is but variable service, two dishes, but to one table. That’s the end.’ (Act 4, Scene 3). 228

Themes – Death

Hamlet

Hamlet’s dark humour here underlines a more serious philosophical point: death is blind to social status. He bitterly notes that both a beggar and an emperor are destined for the same end. This idea is picked up again in Act 5, when Hamlet imagines the body of Alexander the Great: ‘Alexander died, Alexander was buried, Alexander returneth into dust, the dust is earth, of earth we make loam, and why of that loam, whereto he was converted, might they not stop a beer-barrel?’ (Act 5, Sc 1). Despite an individual’s greatness, he/she faces the same end as everybody else. Alexander the Great’s decomposed body could turn to dust and eventually be used to plug a beer barrel. Hamlet most memorably confronts the physical nature of death as he meditates on Yorick’s skull (Act 5, Sc 1). He feels sick at the sight of the skull, as death literally stares him in the face (‘My gorge rises at it’). Hamlet tries to reconcile the grim reality of death with the liveliness of Yorick’s life: ‘Here hung those lips that I have kissed I know not how oft. Where be your gibes now? Your gambols? Your songs? Your flashes of merriment…?’ Yorick’s skull becomes a very definite symbol of the inevitability of death. No matter how exuberant an individual is during life, death will eventually come. The comic characters, the Gravediggers, underline the finality of death. The First Gravedigger asks, ‘What is he that builds stronger than either the mason, the shipwright, or the carpenter?’ The answer to the riddle, ‘a grave-maker. The houses that he makes last till Doomsday,’ is a grim reminder that death is ultimate and final. The Gravedigger also brings the inevitability of death into sharp focus. He tells Hamlet that he has worked as a gravedigger since the ‘very day that young Hamlet was born’. The day Hamlet came into the world a gravedigger was employed; the implication being that from the moment a person is born, his/her death is inevitable. This foreshadows the change in Hamlet’s view of death. In his earlier soliloquies Hamlet thought of death as a release from the suffering of life or as something unknowable that inspires fear. Hamlet now sees it as an inevitable part of the human condition: ‘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.’ Hamlet has come to terms with the idea that death is part of the natural cycle of life. He knows that it is pointless trying to avoid or hasten it. Death is simply part of the destiny of every individual. Death A significant feature of the plot

§ The theme is established by the presence of the Ghost § Death features throughout the play: deaths of Polonius, Ophelia, Rosencrantz and Guildenstern § All of the major characters (except Horatio) die

229

Themes – Revenge

Hamlet’s meditations on death

Hamlet

§ Hamlet initially sees death as a release from the suffering of life § Hamlet reflects on suicide and wonders why more people do not take their own lives § Hamlet concludes that people cling to life out of fear of the unknowable afterlife § Death is presented as the great social leveller § Hamlet fixates on the physical nature of death § The Gravediggers stress the inevitability of death § Hamlet comes to accept death as inevitable and a natural part of the human condition. § He sees that death cannot be avoided; it is the ultimate fate of every human being

Revenge

In Hamlet, the stories of three avengers (Hamlet, Laertes and Fortinbras) are carefully woven together making revenge a fundamental aspect of the plot. Shakespeare explores the moral dilemmas that face the avenger. How can revenge be justified? What proof is needed to exact revenge? When seeking revenge, at what point should reflection give way to action? Is there a danger that a sense of honour or passionate emotion may affect the nature of revenge? Like Hamlet and Laertes, Fortinbras wishes to avenge the death of a father. However, both Hamlet’s and Laertes’ fathers were killed unjustly whereas Fortinbras’ father died during lawful combat, a battle which Old Fortinbras himself instigated. Fortinbras’ desire for revenge is also politically motivated in that he wishes to regain territory for Norway. However, he has no legal right as his father and Old Hamlet agreed to award the land in question to the victor: ‘this Fortinbras; who by a sealed compact, Well ratified by law and heraldry, Did forfeit, with his life, all those his lands Which he stood seized of, to the conqueror’ (Act 1, Sc 1). Fortinbras’ desire for revenge therefore, does not have the same moral justification as Hamlet’s or Laertes’. Even though Fortinbras has less motivation than Hamlet, he embraces his role as an avenger. The point here is that, unlike Hamlet, Fortinbras puts action ahead of reflection. He is not restrained by an overly active conscience that paralyses his revenge. Hamlet recognises and admires Fortinbras’ decisiveness. As he comes across a group of Fortinbras’ soldiers going to war in Poland to fight over a worthless piece of land, Hamlet notes Fortinbras’ ability to act even when he lacks compelling justification: ‘Rightly to be great Is not to stir without great argument But greatly to find quarrel in a straw When honour’s at the stake’ (Act 4, Sc 4). Fortinbras’ capacity to act is in sharp contrast to Hamlet’s hesitancy. Fortinbras is willing to risk 230

Themes – Revenge

Hamlet

the lives of his soldiers simply to recover a ‘little patch of ground / That hath in it no profit but the name’ (Act 4, Sc 4). Hamlet clearly admires his decisiveness, naming him as his choice to be the next Danish king: ‘I do prophesy th’ election lights / On Fortinbras: he has my dying voice’ (Act 5, Sc 2). Like Fortinbras, Laertes deepens our understanding of Hamlet by acting as a foil (contrast). He has compelling reasons for desiring revenge: ‘so have I a noble father lost, / A sister driven into desperate terms’ (Act 4, Sc 7). However, he pursues his revenge with a passion and impetuosity that is the antithesis of Hamlet’s ponderous revenge. As a hot-headed youth, Laertes is willing to put aside conscience in the pursuit of his revenge. Hamlet requires absolute certainty that his actions are morally justified, whereas Laertes chooses to ignore conscience: ‘To hell allegiance! Vows to the blackest devil! Conscience and grace, to the profoundest pit! I dare damnation. To this point I stand, That both the worlds I give to negligence’ (Act 4, Sc 5). Laertes is willing to achieve revenge at all costs. When Claudius asks him what he is prepared to do for vengeance, he answers: ‘To cut his throat i’ th’ church’ (Act 4, Sc 7). Hamlet cannot bring himself to exact revenge in this way; the contrast between the two avengers could not be more explicit. Shakespeare uses Hamlet’s situation as a means to explore the moral problem of revenge. Hamlet is given the task of avenging the murder of his father. He promises to act speedily: ‘I, with wings as swift / As meditation or the thoughts of love, / May sweep to my revenge’ (Act 1, Sc 5). However, Hamlet’s temperament makes him ill-suited to this role. He is a man of thought rather than action; his revenge is frustrated by his habit of ‘thinking too precisely on th’ event’ (Act 4, Sc 4). The onus on Hamlet to kill Claudius is compounded by the fact that his is more than simply a personal revenge (unlike Laertes’). Claudius has no right to be King. His drunkenness makes him unsuitable and his position as head of the state has a corrupting influence on the court. Hamlet recognises that Claudius’ rule brings shame on Denmark: ‘This heavy-headed revel east and west Makes us traduced and taxed of other nations: They clepe us drunkards and with swinish phrase Soil our addition, and indeed it takes From our achievements, though performed at height, The pith and marrow of our attribute’ (Act 1, Sc 4). Hamlet’s revenge therefore has a political function in that it will restore order to the state of Denmark. However, Hamlet feels the burden of responsibility and laments the fact that he has been tasked with this heavy duty: ‘The time is out of joint. O cursed spite, / That ever I was born to set it right!’ (Act 1, Sc 5). Hamlet is further troubled by his conscience. To carry out his revenge, he needs compelling evidence of Claudius’ guilt – Laertes has no such qualms. Hamlet fears that the Ghost may be a devil encouraging him to commit murder: ‘The spirit that I have seen May be a devil, and the devil hath power 231

Themes – Revenge

Hamlet

To assume a pleasing shape. Yea, and perhaps Out of my weakness and my melancholy, As he is very potent with such spirits, Abuses me to damn me! I’ll have grounds More relative than this’ (Act 2, Scene 2). On the other hand, if the Ghost is genuine and Hamlet fails to act, he will have neglected a solemn duty to his father and his country. Hamlet ascertains Claudius’ guilt by observing his reaction to The Mousetrap. However, this is hardly irrefutable proof: the problem of establishing guilt is never fully resolved in the play. Even after he is convinced that the Ghost is honest, Hamlet prevaricates further. In the Prayer Scene, Hamlet has a prime opportunity to murder Claudius. However, he hesitates, offering the excuse that to kill Claudius while he prays, would only ensure his passage to heaven. Hamlet decides to wait until Claudius ‘is drunk asleep, or in his rage, Or in the incestuous pleasure of his bed, At gaming, a-swearing, or about some act That has no relish of salvation in’t – Then trip him that his heels may kick at heaven, And that his soul may be as damned and black As hell whereto it goes’ (Act 3, Sc 3). However, some commentators believe that Hamlet’s failure to act has less to do with the notion of divine punishment and more to do with Hamlet’s lack of mettle. Perhaps Hamlet at this point does not have it in him to coldly murder an unsuspecting man. Arguably Hamlet wastes his opportunity because he lacks the necessary resolve to carry out his revenge. Throughout the play Hamlet makes a number of declarations of his intention to avenge his father: ‘Now could I drink hot blood, / And do such bitter business as the day / Would quake to look on’ (Act 3, Sc 2); ‘O, from this time forth / My thoughts be bloody, or be nothing worth!’ (Act 4, Sc 4). Despite these assertions, Hamlet delays. This illustrates how revenge poses a number of profound moral dilemmas for the avenger. It is only in the fifth act that Hamlet is decisive enough to take his revenge. He now has a fresh philosophical outlook in which he recognises the power of providence. He swiftly takes revenge on Rosencrantz and Guildenstern without any moral scruples: ‘they did make love to this employment. / They are not near my conscience’ (Act 5, Sc 2). Similarly, without any hesitation he lists clearly the reasons that Claudius must die: ‘He that hath killed my king and whored my mother, Popped in between th’ election and my hopes, Thrown out his angle for my proper life, And with such cozenage’ (Act 5, Sc 2). Hamlet now understands that fate will present him with the opportunity to take his revenge: he just needs to be prepared. When this does happen, Hamlet seizes the chance without hesitation: ‘Here, thou incestuous, murderous, damned Dane, / Drink off this potion’ (Act 5, Sc 2). Hamlet is a rich exploration of the moral dilemmas posed by revenge. The avenger has the burden of proof and must balance decisiveness with conscience. In the context of an Elizabethan tragedy, it is important for the avenger to understand the role of fate in carrying out revenge. 232

Themes – Appearance and Reality

Hamlet

Revenge Fortinbras

Laertes

Hamlet

§ A foil (contrast) to Hamlet. § His revenge lacks the moral justification of Hamlet’s. § However, he pursues his revenge with a vigour and decisiveness that serves to highlight Hamlet’s prevarication. § Hamlet approves of Fortinbras as a man of action. § A foil (contrast) to Hamlet. § Pursues his revenge with passion and impetuosity. This is in marked contrast to Hamlet’s ponderous revenge. § Unlike Hamlet, Laertes sacrifices his conscience in the name of action. § Illustrates the moral dilemmas of revenge (burden of proof, problem of conscience etc.) § Hamlet’s temperament is ill-suited to the role of avenger. § The burden on Hamlet is intensified by the political and social significance of his revenge. § Hamlet’s revenge is frustrated by his conscience. § Hamlet possibly lacks the mettle to carry out the murder of an unsuspecting man (Prayer Scene). § Hamlet is only able to act as an avenger when he accepts the importance of providence and understands his role as an agent of fate.

Appearance and Reality

A key theme in Hamlet is the marked contrast between outward appearance and reality. Shakespeare presents the audience with a world in which duplicity, uncertainty and deceit are commonplace. Claudius is a hypocritical villain. His immorality corrupts the court and nurtures a culture of dishonesty. To others he appears a benevolent and capable king. However, his generous manner and confident rule disguise the fact that he is a murderer who killed his brother to attain power. During his state address, Claudius is truly the ‘smiling damned villain’ (Act 1, Sc 5) as described by Hamlet. He publicly expresses grief for the death of Old Hamlet: ‘yet of Hamlet our dear brother’s death The memory be green, and that it us befitted To bear our hearts in grief and our whole kingdom To be contracted in one brow of woe’ (Act 1, Sc 2). Claudius hides his heinous crime, appearing in this scene as kindly and benevolent. The Prayer Scene (Act 3, Sc 3) is a supreme example of how appearance can mask reality. In soliloquy, Claudius agonises over his crimes: ‘O, my offence is rank: it smells to heaven’. Claudius imagines his hand thick with his brother’s blood; he sees no way for his sin to be absolved so terrible is his crime: ‘What if this cursed hand Were thicker than itself with brother’s blood? Is there not rain enough in the sweet heavens To wash it white as snow?’

233

Themes – Appearance and Reality

Hamlet

Claudius believes that he has damned himself. He is unable to pray for God’s forgiveness: ‘My words fly up, my thoughts remain below. / Words without thoughts never to heaven go.’ Hamlet sees Claudius kneeling in church. He confuses appearance with reality and assumes that Claudius is truly repenting. Hamlet offers this as his reason for not killing Claudius: ‘A villain kills my father, and for that, / I, his sole son, do this same villain send / To heaven.’ It is this confusion between appearance and reality that prompts Hamlet to defer his revenge. The imagery of the play presents Claudius as a moral contagion. Hamlet describes him as ‘a mildewed ear, / Blasting his wholesome brother’ (Act 3, Sc 4). Claudius’ deceptive nature corrupts the court as he involves other characters in his web of deceit. Rosencrantz and Guildenstern eagerly betray their friend Hamlet in order to win the King’s favour. Hamlet compares them to ‘adders fanged’ (Act 3, Sc 4) to describe their devious natures. Even innocent Ophelia is corrupted by Claudius. She is encouraged to act as bait so that Claudius and Polonius can eavesdrop on her conversation with Hamlet. It is likely that Hamlet sees through the falseness of the situation. This may explain why he accuses Ophelia (and women in general) of duplicity: ‘I have heard of your paintings, well enough. God has given you one face, and you make yourselves another’ (Act 3, Sc 1). Laertes is deeply corrupted by Claudius’ moral contagion. He is encouraged to take part in an underhand scheme to murder Hamlet. Laertes and Claudius arrange a fencing match, which appears to be a test of swordsmanship, but is in reality a devious scheme to kill Hamlet by using an uncovered sword dipped in poison. As well as this, Hamlet’s drink is to be poisoned. Laertes assumes the mask of a noble youth. He tells Hamlet that he accepts his apology: ‘I do receive your offered love like love, / And will not wrong it’ (Act 5, Sc 2). In reality, Laertes is a scheming, bitter murderer prepared at all costs to take his revenge. Polonius truly exemplifies the corrupt culture at the heart of Denmark. Polonius presents himself as a loving father, concerned with his children’s wellbeing. In reality he is a devious man who spies on his son and uses his daughter to gain favour with the King. Polonius’ lack of moral scruples is clearly evident when he employs Reynaldo to spy on Laertes in Paris. He instructs Reynaldo to make false accusations about Laertes’ behaviour with a view to discovering any of his vices. Polonius is willing to tarnish his son’s good name just so he can be kept informed. He feels that this underhand scheme is justified if it achieves his aim: ‘Your bait of falsehood takes this carp of truth: And thus do we of wisdom and of reach, With windlasses and with assays of bias, By indirections find directions out’ (Act 2, Sc 1). Polonius’ moralising statement, ‘above all: to thine own self be true’, illustrates the distance between his outward show and his inward nature. Polonius’ constantly strives to ingratiate himself with the King. He even offers his daughter Ophelia as bait so that Claudius and he may eavesdrop on Hamlet. Polonius has no moral qualms about hiding himself in Gertrude’s chamber to listen in on Hamlet’s conversation. His devious personality is at odds with his outwardly agreeable nature. However, Hamlet sees through this façade. He ridicules Polonius’ falseness in their conversation about clouds. He tells him a cloud they are looking at is shaped like a camel, then says a whale and then a weasel. Each time Polonius agrees with Hamlet’s change of mind, unaware that Hamlet is mocking him as a sycophantic and ridiculous old man. 234

Themes – Appearance and Reality

Hamlet

Polonius himself underscores how false appearance can mask a more sinister nature. He tells Claudius: ‘’Tis too much proved that with devotion’s visage / And pious action we do sugar o’er / The devil himself’ (Act 3, Sc 1). Polonius however fails to see any immorality in this type of behaviour. It is ironic that Polonius is killed in a case of mistaken identity as he spies on Hamlet. Hearing Polonius move behind the arras, Hamlet believes it is the King and stabs Polonius. He then exclaims: ‘Thou wretched, rash, intruding fool, farewell! / I took thee for thy better’ (Act 3, Sc 4). As the play’s hero, Hamlet sets himself against the hypocrisy and falseness of the Danish court. From the start of the play Hamlet is keen to show that his appearance faithfully represents his inward feelings. He takes exception when Gertrude wonders why he ‘seems’ to grieve so intensely: ‘‘Seems’, madam! Nay it is; I know not ‘seems’. / … But I have that within which passes show, / These but the trappings and the suits of woe’ (Act 1, Sc 2). Hamlet is appalled at the possible suggestion that his grief is feigned. Hamlet recognises that honesty is rare in his world, telling Polonius, ‘to be honest, as this world goes, is to be one man picked out of ten thousand’ (Act 2, Sc 2). Hamlet is disgusted by the manner in which hypocrisy is rewarded: ‘let the candied tongue lick absurd pomp / And crook the pregnant hinges of the knee / Where thrift may follow fawning’ (Act 3, Sc 2). Hamlet’s view of the insincerity of court life establishes him as a man of conscience. It is therefore ironic that Hamlet uses false appearance as a strategy against Claudius. He adopts an ‘antic disposition’ (Act 1, Sc 5) to confuse Claudius. However, this does not prove to be a particularly useful or successful ploy. Hamlet’s feigned madness does nothing to avert suspicion; in fact it brings him more to the attention of Claudius ‘Madness in great ones must not unwatched go’ (Act 3, Sc 1). Nor does Hamlet seem particularly concerned about maintaining this façade. He tells Rosencrantz and Guildenstern: ‘I am but mad north-north-west. When the wind is southerly I know a hawk from a handsaw’ (Act 2, Sc 2). As the champion of truth and honesty, Hamlet lacks the guile and cunning to successfully maintain a false appearance. This sets him apart from the devious Claudius, aligning Hamlet with good and truthfulness. Appearance and Reality

Claudius

Laertes

§ The ‘smiling damned villain’ of the play. § In his state address he ably disguises the fact that he is a murderer by feigning grief for the death of Old Hamlet. § During the Prayer Scene, the gulf between Claudius’ appearance and his inward reality is made clear. § Claudius’ hypocrisy corrupts the Danish court. He turns Rosencrantz and Guildenstern into his spies and involves the innocent Ophelia in a duplicitous scheme § He is corrupted by Claudius. § Presenting himself as a righteous, noble youth, he collaborates in Claudius’ underhand scheme to murder Hamlet.

235

Themes – Appearance and Reality

Polonius

Hamlet

236

Hamlet

§ Exemplifies the hypocrisy of the Danish court. § He presents himself as a loving and concerned parent but spies on his son and uses his daughter as bait. § Chiefly concerned with ingratiating himself with the King. § His death is fitting in that he is killed in a case of mistaken identity while spying. § Sets himself up against the hypocrisy and falseness of Claudius’ court. § Looks to equate his inner reality with his appearance. § Ironically, he feigns madness as a strategy to avoid arousing Claudius’ suspicion. § This strategy is ultimately unsuccessful. This aligns Hamlet with honesty and sets him apart from Claudius.

Interesting Fact Dur ng Shakespeare’s t me t was ega for women to act. The fema e characters n h s p ays were therefore p ayed by men.

The Life of William Shakespeare

The exact details of William Shakespeare’s life are unclear. However some facts are known from court and clerical Interesting Fact There are 6 surv v ng cop es of Shakespeare’s records. s gnature. H s name s spe t d fferent y n each, Shakespeare’s exact date of birth is unknown but records us ng abbrev ated forms. Interest ng y h s reveal that he was baptised on the 26 April 1564. Due to a surname s never spe t as Shakespeare’. scholar’s mistake, his birthday is commemorated on the 23 The s gnatures appear as: - Willm Shakp April. This date has appealed to commentators as it is also the - William Shakspēr - Wm Shakspē same date on which he died (23 April 1616). - William Shakspere Shakespeare was born at Stratford-upon-Avon to John - Willm Shakspere Shakespeare and Mary Arden. He was the third child of eight, - William Shakspeare although three of his siblings died before reaching adulthood. None of his school records survive, but Shakespeare probably attended the local grammar school: the King’s New School. It is thought that he left school at the age of 15. In 1582, he married Anne Hathaway. He was 18; she was 26. Six months later, Anne gave birth to a daughter, whom they named Susanna. She was followed two years later by the twins: Hamnet and Judith. Sadly, Hamnet, Shakespeare’s only son, died at the age of 11; the cause is unknown. Biographers refer to the years 1585-1592 as ‘The Lost Years’ as there are no records of Shakespeare’s life for this period. Shakespeare is mentioned in the London theatre records in 1592. Various legends suggest Shakespeare’s reasons for leaving Stratford-upon-Avon. The most persistent is that Shakespeare fled to avoid prosecution for deer poaching at the Charlecote estate. This is unlikely as Charlecote did not have a deer park for another 100 years! Other biographers believe that he worked as a school teacher pointing to the record of a William Shakeshaft in Lancashire. However, Shakeshaft was a relatively popular name at the time. What is known for certain is that Shakespeare worked as an actor, and wrote plays and poetry. He joined a theatre group called The Lord Chamberlain’s Men. In 1603, King James I became the company’s royal patron and it changed its name to The King’s Men. Shakespeare also owned a share in the Globe Theatre in London which made him a wealthy man. Shakespeare wrote about 37 plays, including the tragedies: Romeo and Juliet, Julius Caesar, Hamlet, Othello, King Lear, Macbeth and Coriolanus. His celebrated comedies include The Tempest, A Midsummer’s Night Dream, Much Ado About Nothing and The Merchant of Venice. His dramas are performed regularly throughout the world today. Shakespeare died in 1616. He left the bulk of his wealth to his daughter Susanna. Famously, Shakespeare left his wife his ‘second best bed’. Some commentators see this as an insult to his wife, others argue that this is a reference to the matrimonial bed and therefore a symbolic gesture. Shakespeare was buried at the Holy Trinity Church. His epitaph warns Interesting Fact against his body being moved: The average person has an ‘Good friend, for Jesus’ sake forbear, act ve vocabu ary of 10,000 words. Shakespeare’s p ays To dig the dust enclosed here. conta n over 30,000 d fferent Blessed be the man that spares these stones, words. And cursed be he that moves my bones.’ [modern spelling] 237

OL Past Exam Questions

Ordinary Level Exam Tips

Hamlet

❍ Answer the question: This may seem obvious, but it is vital that you remain focused on what exactly the question is asking. ❍ Structure you answer: Take a few minutes to plan the shape of your answer. Sequence your ideas in a logical order. ❍ Make points. Don’t narrate the plot: Although there are times when you will need to explain what has occurred in a scene, it is important that you don’t simply retell the story. ❍ Use paragraphs in your answer: Although you are not required to write a long essay, you should use paragraphs where it is appropriate. ❍ Quote and refer: The examiner is keen to see that you have an in-depth knowledge of the play. Illustrate this by using quotations and by making appropriate references. ❍ Watch your timing: Most students spend approximately an hour on the Single Text question.

Ordinary Level Exam Topics ❍ Key scenes: Focus on scenes that are tense or exciting, act as turning points, illuminate the characters’ personalities and are of thematic importance. ❍ Characters: Think about how characters are portrayed, the relationship between central characters, the dramatic importance of key characters. ❍ Staging / directing the play. ❍ Your personal response to the play ❍ Themes

238

OL Past Exam Questions

Ordinary Level – Past Exam Questions 2012

Hamlet

Sample Answer on P242–244

Answer all of the questions. 1. (a) What does the ghost of Hamlet’s father tell Hamlet when he appears to him on the battlements of Elsinore Castle? (10) (b) What is your opinion of Gertrude? Support your answer with reference to the text. (10) 2. Explain what you find most interesting about Claudius.

(10)

3. Answer ONE of the following: [Each part carries 30 marks] (i) ‘Ophelia is treated cruelly by those around her.’ Do you agree with this statement regarding the treatment of Ophelia by either Hamlet or Polonius? Base your answer on your knowledge of the play. OR (ii) Imagine your school is staging a version of this play. Which character would you most or least like to play on stage? Explain your choice with detailed reference to the text. OR (iii) Write a piece beginning with one of the following statements: – I would find it exciting to live in Elsinore in Hamlet’s time because... – I would find it frightening to live in Elsinore in Hamlet’s time because... Your response should be based on your knowledge of the play.

2011 Answer all of the questions. 1. (a) Why does Claudius send Hamlet to England? Explain your answer. (b) Do you think Laertes deserves to be killed by Hamlet at the end of the play? Give one reason for your answer. 2. What is your opinion of Horatio? Explain your answer.

(10) (10) (10)

3. Answer ONE of the following: [Each part carries 30 marks] (i) Relationships between parents and their children are at the centre of this play. Write a piece about one of the following relationships: – the relationship between Gertrude and Hamlet – the relationship between Polonius and Ophelia. OR (ii) Write an article about Shakespeare’s Hamlet for your school magazine in which you consider whether the play is relevant to young people today. 239

OL Past Exam Questions



Hamlet

OR (iii) Which character would you most like to play in your school’s production of Hamlet? Give reasons for your answer based on your knowledge of the play.

2005 Answer all of the questions. 1. (a) What does Hamlet learn about his uncle Claudius when the Ghost speaks to him at the start of the play? (10) (b) Do you think that Hamlet treats his mother, Gertrude, fairly? Give one example to support your opinion. (10) (c) With whom did you have the greater sympathy, Claudius or Hamlet? Give a reason for your opinion. (10) 2. Answer ONE of the following: [Each part carries 30 marks] (i) Hamlet’s father told him to take revenge on Claudius for his murder. Which of the following statements is closest to your view of how he carried out the revenge? – I think Hamlet did his best – I think Hamlet took too long – I think Hamlet failed Explain your view, supporting your answer by reference to the text. OR (ii) The play, Hamlet, has many exciting scenes. Briefly describe one scene that had a strong effect on you and explain why it had such an effect. OR (iii) Imagine that you are Ophelia. Write a letter to your brother, Laertes, telling him about the way Hamlet treats you and how you feel about the situation. Refer to events from the play in your answer.

2002 Answer all of the questions. 1. (a) Write a short account of an important moment or scene from Shakespeare’s Hamlet. (10) (b) Why, in your view, was that moment or scene an important one? (10) 2. From the following statements, choose the one which best conveys what the play is about. Give reasons for your choice. – It is a play about revenge – It is a play about love – It is a play about madness (10) 3. Answer ONE of the following: [Each part carries 30 marks] (i) ‘We find it hard to feel any sorrow for Gertrude, Hamlet’s mother.’ 240

OL Past Exam Questions

Hamlet



Write a response to this statement supporting your points by reference to the play. OR (ii) Imagine you are a young servant living in the castle of Elsinore, the home of Hamlet. Write a letter to your parents telling them about the kinds of things that go on in the castle. Your letter should refer to characters and events from the play. OR (iii) ‘Polonius is a good father to his children, Laertes and Ophelia.’ To what extent would you agree with this statement? Support your view by reference to the play.

Ordinary Level – Sample Questions Sample Questions A

Answer all of the questions. 1. (a) What is Hamlet’s view of Gertrude’s relationship with Claudius? (b) Why does Hamlet decide to delay killing Claudius during the Prayer Scene?

(10) (10)

2. Explain how Hamlet and Laertes find themselves in very similar situations.

(10)

3. Answer ONE of the following: [Each part carries 30 marks] (i) Do you have any sympathy for Claudius? Support your answer with reference to the play. OR (ii) Which of the characters in Hamlet do you admire the most? Explain by commenting on how the character behaves during the play. OR (iii) Hamlet continues to be one of the most performed and popular of Shakespeare’s plays. Do you think it deserves to remain so popular? Give reasons for your answer by referring to the text and/or your experience of watching the play performed.

Sample Questions B

Answer all of the questions. 1. (a) Hamlet describes Claudius as a ‘smiling damned villain’. Explain how he has earned this description. (b) What is your opinion of Gertrude? Support your answer with reference to the play. 2. Horatio is a much better friend to Hamlet than Rosencrantz and Guildenstern are. Explain how this is so by making suitable reference to the play. 3.

(10) (10) (10)

Answer ONE of the following: [Each part carries 30 marks] (i) Write a piece beginning with one of the following phrases: - I would not like to live in the world of the play because… - I would find it interesting to live in the world of the play because… 241

OL OL Sample E Answers



Hamlet



Support your answer with reference to the text. OR (ii) Imagine you are a director. Choose one important moment from Hamlet and describe how you would show it on stage or on film. Explain your reasons for showing it this way, pointing out the effect you would like it to have on the audience. OR (iii) ‘There is no happy ending for any of the main characters in Hamlet.’ To what extent do you agree or disagree with this statement? Explain your answer, supporting your points with reference to at least two characters from the play.

Ordinary Level 2012 – Sample Answers Answer all of the questions. 1. (a) What does the ghost of Hamlet’s father tell Hamlet when he appears to him on the battlements of Elsinore Castle? (10) 1. (a) The ghost of Hamlet’s father shocks and appals Hamlet when he appears to him on the battlements. The Ghost begins by confirming that he is indeed the ghost of Old Hamlet. He explains that he has been temporarily released from purgatory but that he must return at daybreak. The Ghost says that he is forbidden to reveal the horrors of purgatory to the living. Hamlet is told that Claudius murdered his father: ‘The serpent that did sting thy father’s life / Now wears his crown’. The Ghost describes how he was murdered as he slept in his orchard. Claudius poured poison in his ear. It acted swiftly leaving his body covered in scabs. The Ghost says that he was not given a chance to repent his sins (‘Cut off even in the blossoms of my sin’). The Ghost calls on Hamlet to avenge this terrible crime. Hamlet is also instructed not to punish his mother for her marriage to the murderer Claudius. The Ghost tells Hamlet to leave Gertrude to suffer her own conscience and for God to punish: ‘Taint not thy mind, nor let thy soul contrive Against thy mother aught: leave her to heaven And to those thorns that in her bosom lodge, To prick and sting her.’ 1. (b) What is your opinion of Gertrude? Support your answer with reference to the text. (10) 1. (b) Gertrude is a weak woman who is dominated by the men in her life. She was firmly attached to her first husband, Old Hamlet: ‘Why, she would hang on him / As if increase of appetite had grown / By what it fed on’ and is equally dependent upon her second husband. Even when Gertrude is told by Hamlet that Claudius is a murderer, she is too weak to turn against her husband. She is also dominated by her own son during the Closet Scene. After Hamlet makes accusations she cries out: ‘O, speak to me no more! / These words, like daggers, enter in mine ears. / No more, sweet Hamlet!’ It is not clear if she truly feels guilt here. However, 242

OL OL Sample E Answers













Hamlet

she allows Hamlet to dominate her in this scene. I believe that Gertrude was very insensitive in marrying Claudius so quickly after the death Old Hamlet. Even if she is innocent of the murder, she failed to think of her son’s feelings. Hamlet sees the marriage as ‘incestuous’ and is left embittered by her actions: ‘Thrift, thrift, Horatio! The funeral baked meats / Did coldly furnish forth the marriage tables’. It is suggested by the Ghost that Gertrude cannot shoulder all the blame in that she was seduced by Claudius: ‘Ay, that incestuous, that adulterate beast, / With witchcraft of his wit… won to his shameful lust / The will of my most seeming-virtuous Queen.’ However, I believe that Gertrude can be blamed for being weak-willed and failing to consider how Hamlet will feel. Gertrude does have some positive qualities. She is maternal and protective of her son. When she recounts how Polonius was murdered she emphasises the idea that Hamlet is mad and therefore not responsible for his actions: ‘Mad as the sea and wind, when both contend / Which is the mightier. In …/ this brainish apprehension kills / The unseen good old man’. She never mentions that Hamlet mistook Polonius for Claudius. She lies for her son, saying that he weeps for what he has done. Gertrude is sensitive to Laertes’ feelings when she recounts the circumstances of Ophelia’s death. She makes no mention of suicide and instead suggests that Ophelia drowned accidentally. She may also do this so that Laertes will not blame Hamlet for Ophelia’s death. This again shows her to be protective of her son. Like so many of Shakespeare’s characters, Gertrude is a mix of virtue and vice. On the one hand she is weak-willed and selfish. However, she is also protective and sensitive at times. Gertrude dies after she drinks a poisoned chalice intended for Hamlet. Although she is a flawed character, she did not deserve to die in this way. For that reason I find myself sympathising with her at the end of the play.

2. Explain what you find most interesting about Claudius. (10) 2. For me, the most interesting thing about Claudius is his deep sense of guilt. This is best illustrated in the Prayer Scene. During his soliloquy, Claudius’ guilt is laid bare as he agonises over his crime. At this point of the play, I find myself feeling sympathy for this arch villain. He expresses huge shame and regret for murdering Old Hamlet: ‘O, my offence is rank: it smells to heaven’. He imagines his hand thick with his brother’s blood and sees no way for his sin to be forgiven: ‘What if this cursed hand Were thicker than itself with brother’s blood? Is there not rain enough in the sweet heavens To wash it white as snow?’ Claudius feels that he cannot repent for his crime while he still enjoys all that it has brought him. He recognises his failure to make peace with God and knows that his greed and ambition have damned him: ‘My words fly up, my thoughts remain below. / Words without thoughts never to heaven go.’ Shakespeare brilliantly humanises Claudius, but does not encourage the audience to forgive 243

OL Sample Answers

Hamlet

him his terrible crime. We pity Claudius’ flawed nature but still condemn him as a vicious murderer. This makes him a fascinating villain. 3. Answer ONE of the following: [Each part carries 30 marks]

(i) ‘Ophelia is treated cruelly by those around her.’ Do you agree with this statement regarding the treatment of Ophelia by either Hamlet or Polonius? Base your answer on your knowledge of the play.

3. (i) There is no doubt that Ophelia is treated cruelly by her former lover, Hamlet, particularly in the Nunnery Scene. At her father’s request she meets with Hamlet and allows Polonius and Claudius to eavesdrop on the conversation. Hamlet verbally attacks Ophelia projecting his disgust of women onto her. He accuses her of being false: ‘I have heard of your paintings, well enough. God has given you one face, and you make yourselves another’, and says that as a woman Ophelia is foolish and trivial: ‘You jig, you amble, and you lisp, and nickname God’s creatures, and make your wantonness your ignorance.’ Hamlet ends by sharply telling her: ‘Get thee to a nunnery! Why, wouldst thou be a breeder of sinners?’ There are a number of reasons that Hamlet treats Ophelia so cruelly. Firstly, Hamlet is perhaps angry with Ophelia for returning his presents and for acting aloof. Another explanation is that Hamlet knows he is being watched by Polonius and Claudius. This may explain Hamlet’s criticisms of the two men here. For example he says of Ophelia’s father: ‘Let the doors be shut upon him, that he may play the fool nowhere but in’s own house’ and later threatens the King: ‘Those that are married already – all but one – shall live.’ Finally, Hamlet’s mistreatment of Ophelia may result from his disgust of Gertrude’s behaviour. Hamlet sees his mother as betraying the memory of his father. If this is the consequence of marriage, Hamlet sees that the only way for Ophelia to prevent similar betrayal is to avoid marriage altogether: ‘Get thee to a nunnery!’ Hamlet’s view of Ophelia and indeed all women may be coloured by the actions of his mother. Whatever the reason, there is no justification for the terrible treatment of Ophelia. She is an innocent girl who has tried to act as a dutiful daughter. Whatever Hamlet’s grievance, his verbal abuse is disproportionate. Ophelia is deeply distressed by the manner in which Hamlet treats her. She pities the drastic change in his character: ‘O, what a noble mind is here o’erthrown!’ Ophelia believes that Hamlet was once an ideal man but has now become bitter and angry: ‘The glass of fashion and the mould of form, / Th’ observed of all observers’. Ophelia is left in a very difficult situation when her father is killed by her former lover. It is too much for her sensitive nature. Because Hamlet has treated her so cruelly she is left isolated and alone. The songs she sings in a disturbed state express the themes of lost love and death and help to explain the reasons for her madness. I believe that Hamlet’s cruel treatment of Ophelia contributed to her sense of despair. Ophelia pays the ultimate price when she takes her own life. Her death is not the result of a personal flaw but rather because she is a victim of her circumstances. 244

HL Past Exam Questions

Higher Level Exam Tips

Hamlet

❍ Answer the question: This may seem obvious but it is vital that you remain focused on what exactly the question is asking. ❍ Structure you answer: Take a few minutes to plan the shape of your essay. Sequence your ideas in a logical order. ❍ Include an introduction: Address the question directly and outline your general response. ❍ Make points. Don’t narrate the plot: Although there are times when you will need to explain what has occurred in a scene, it is important that you don’t merely retell the story. ❍ Use topic sentences: It should be clear to the examiner what the overall point of each paragraph is. This is usually done in the opening sentence of each paragraph. ❍ Make one point per paragraph. Each paragraph should deal with one main idea that is discussed by referring to the play. ❍ Quote and refer: The examiner is keen to see that you have an in-depth knowledge of the play. Illustrate this by using quotations and making appropriate references. ❍ Include a conclusion: This should ‘wrap up’ your essay by drawing all your main points together. ❍ Watch your timing: Most students spend approximately one hour on the Single Text question.

Higher Level Exam Topics ❍ Characters: Think about how characters are portrayed, the relationship between central characters and the dramatic importance of key characters. ❍ Themes ❍ Key scenes: Focus on scenes that are tense or exciting, act as turning points, illuminate the characters’ personalities and/or seem of thematic importance. ❍ Soliloquies: These are intimate moments when a character reflects on their situation out loud to the audience. ❍ Imagery, symbolism and language ❍ Your personal response to the play

245

HL Past Exam Questions

Higher Level – Past Exam Questions

Hamlet

Each question is worth 60 marks.

2012

Sample Answer on P248

1. (i) ‘Hamlet’s madness, whether genuine or not, adds to the fascination of his character for the audience.’ Discuss this statement, supporting your answer with suitable reference to the play, Hamlet. Sample Answer OR on P250

(ii) ‘Shakespeare uses a variety of techniques to convey a world of corruption in the play, Hamlet.’ Write your response to this statement, supporting your answer with suitable reference to the text.

2011 (i) ‘Revenge and justice are finely balanced themes in the play, Hamlet.’ Discuss this statement, supporting your answer with suitable reference to the text. OR (ii) ‘Claudius can be seen as both a heartless villain and a character with some redeeming qualities in the play, Hamlet.’ Discuss both aspects of this statement, supporting your answer with suitable reference to the text.

2005

(i) In your opinion, what is the appeal of the play, Hamlet, for a twenty-first century audience? Support the points you make by reference to the text. OR (ii) ‘We admire Hamlet as much for his weaknesses as for his strengths.’ Write a response to this view of the character of Hamlet, supporting your points by reference to the text.

2002

(i) ‘The appeal of Shakespeare’s Hamlet lies primarily in the complex nature of the play’s central character, Hamlet.’ To what extent would you agree with the above statement? Support your view by reference to the play. 246

HL Past Exam Questions

Hamlet

OR (ii) What is your view of the importance of either Gertrude or Ophelia in Shakespeare’s play, Hamlet? Support the points you make by reference to the play.

Higher Level – Sample Questions 1. Discuss the possible reasons for Hamlet’s inaction. Support your answer with suitable reference to the text. 2. ‘Hamlet explores the moral dilemmas of revenge.’ Write your response to this statement supporting your answer with suitable reference to the text. 3. ‘Claudius’ character is defined by the contradictory qualities of villainy and remorse.’ Discuss this view, supporting your answer with suitable reference to the play. 4. ‘Laertes is a foil to Hamlet.’ Discuss this view, supporting your answer with suitable reference to the play. 5. ‘It is through his soliloquies that we best appreciate the character of Hamlet.’ Discuss this view of Shakespeare’s Hamlet. Support your answer by making reference to the text. 6. ‘The dominant images of Hamlet, reinforce the play’s key themes.’ Write a response to this view of the play, supporting your answer by reference to the text. 7. Discuss the roles of Gertrude and Ophelia in the play, Hamlet. Discuss this statement with reference to both the characters of Gertrude and Ophelia. Support your answer with suitable reference to the text. 8. ‘Deception is a key ingredient of the dramatic action of Hamlet.’ Write your response to this statement supporting your answer with suitable reference to the text. 9. In your view, what is the enduring popularity of the play, Hamlet? Support your answer with suitable reference to the text. 10. ‘Hamlet undergoes a dramatic transformation during the course of the play.’ Write your response to this statement supporting your answer with suitable reference to the text.

247

HL Sample Answers

Higher Level – Sample Answers

Hamlet

2012 (i) ‘Hamlet’s madness, whether genuine or not, adds to the fascination of his character for the audience.’ Discuss this statement, supporting your answer with suitable reference to the play, Hamlet.

248

(i) Hamlet’s madness is an intriguing aspect of William Shakespeare’s play. Hamlet clearly feigns madness in the hope that he will confuse his enemies and avoid suspicion. However, questions can be asked about the success of this strategy. Furthermore, there are moments in the play when Hamlet’s madness appears all too real. This raises doubts about Hamlet’s actual sanity. The world of Denmark is blighted by falseness and hypocrisy. Many of the characters adopt façades, hiding their true selves. Hamlet is keenly aware of the deceit of those around him. He tells Polonius, ‘to be honest, as this world goes, is to be one man picked out of ten thousand’. As King, Claudius is at the centre of this hypocritical culture; Hamlet recognises his duplicitous nature: ‘O villain, villain, smiling damned villain!.../ That one may smile and smile and be a villain’. In the context of this world, it is appropriate that Hamlet fakes madness. He is equipping himself to survive in a world of false appearances. Hamlet decides upon this strategy after his first meeting with the Ghost. He explains his intention to ‘put an antic disposition on’. However, in this scene Hamlet behaves strangely, prompting early questions about the stability of his mind. It becomes difficult to differentiate between what is feigned madness and Hamlet’s possibly unstable mind. Hamlet oddly calls for his companions as if he were a falconer (‘Hillo, ho, ho, boy! Come bird, come’) and Horatio quickly notices his manic mood: ‘These are but wild and whirling words, my lord’. This is mirrored in the strange, hysterical language Hamlet uses: he calls the Ghost ‘old mole’ and ‘worthy pioneer’. The audience are left wondering if the trauma of meeting his father’s ghost and hearing the Ghost’s shocking revelation has destabilised Hamlet’s mind. Ophelia testifies to Hamlet’s madness. She recounts how Hamlet came to her room and behaved in a bizarre manner, ‘with his doublet all unbraced… Ungartered, and down-gyved to his ankle, Pale as his shirt, his knees knocking each other, And with a look so piteous in purport As if he had been loosed out of hell’. Some commentators feel that this is evidence of Hamlet’s ‘antic disposition’. However, I believe that Hamlet is struggling to cope with the shock of the Ghost’s revelation and the burden of being tasked with avenging his father. His state of mind is possibly worsened by Ophelia’s rejection of him. There are moments in the play where Hamlet’s behaviour is hysterical and borders on madness. During the Nunnery Scene, Hamlet engages in a tirade against Ophelia and women in general. He accuses women of falsity: ‘I have heard of your paintings, well enough. God has given you one face, and you make yourselves another’, and says, that as a woman, Ophelia is

HL Sample Answers















Hamlet

foolish and trivial: ‘You jig, you amble, and you lisp, and nickname God’s creatures, and make your wantonness your ignorance.’ Hamlet ends by sharply telling her: ‘Get thee to a nunnery! Why, wouldst thou be a breeder of sinners?’ accusing her of sins that she will commit at some later stage. It is not clear whether or not Hamlet has genuinely lost control in this scene and given into irrationality. It is suggested that Hamlet is aware that Polonius and Claudius are spying on him by his criticism of these two men. He says of Polonius: ‘Let the doors be shut upon him, that he may play the fool nowhere but in’s own house’ and then obliquely threatens the King: ‘Those that are married already – all but one – shall live.’ This may explain why Hamlet could be faking irrationality and hysteria here. However, I believe that Hamlet’s emotional instability in this scene is genuine. He is so disgusted by Gertrude’s behaviour and hurt by Ophelia’s rejection of him, that he bitterly accuses all women of deceit. I cannot condone his behaviour, but it can be explained as growing out of his disillusionment with the women in his life. Although the play raises doubts about Hamlet’s sanity, there are also a number of instances when his madness is clearly feigned. This liberates Hamlet, allowing him to caustically mock Polonius. Hamlet calls him a ‘fishmonger’, suggesting that Polonius is fishing for secrets but also that he is a pimp. Hamlet wittily counters Polonius’ probing; his ‘crazy’ answers barely disguise his intelligent responses. When Polonius tells him, ‘My lord, I will take my leave of you.’ Hamlet’s apparent madness only thinly veils the wittiness of his response, ‘You cannot, sir, take from me anything that I will more willingly part withal – except my life, except my life, except my life.’ On other occasions Hamlet explicitly says that his madness is an act. When Claudius and Gertrude come to watch the play-within-the-play, Hamlet tells Horatio, ‘I must be idle.’ Similarly, later in the play, he confides in his mother, ‘I essentially am not in madness, / But mad in craft’. He also admits his sanity to Rosencrantz and Guildenstern, ‘I am but mad northnorth-west. When the wind is southerly I know a hawk from a handsaw.’ It seems that Hamlet is not overly concerned about maintaining his ‘antic disposition’. It is difficult to see what real advantage it affords him in his pursuit of revenge. Rather than averting suspicion, it invites it. Claudius employs Rosencrantz and Guildenstern to uncover the source of it. Hamlet’s madness also encourages Polonius to spy on him. Hamlet’s ‘antic disposition’ only succeeds in drawing Claudius’ notice: ‘Madness in great ones must not unwatched go.’ Hamlet abandons this strategy completely in Act Five. Perhaps he has realised that it is pointless, understanding that fate will present him with the opportunity for revenge. Hamlet is confirmed as a noble prince at the end of the play. He is called ‘noble Hamlet’ (Laertes), ‘sweet Prince’ (Horatio) and Fortinbras says ‘he was likely…/ To have proved most royal’. His innate nobility requires him to be a forthright hero; Hamlet therefore discards his antic disposition. Although Hamlet’s madness is intentionally feigned, there are moments when I feel his rationality is overwhelmed by the burden of responsibility and the trauma of the Ghost’s revelation. I therefore see Hamlet’s madness as genuine at times. It is certainly a fascinating aspect of this enigmatic character and makes for great drama.

249

HL HL Sample E Answers



2011

Hamlet

(ii) ‘Claudius can be seen as both a heartless villain and a character with some redeeming qualities in the play, Hamlet.’ Discuss both aspects of this statement, supporting your answer with suitable reference to the text. (ii) In Claudius, Shakespeare has created a fascinating and credible villain. Although Claudius is both dangerous and ruthless, Shakespeare humanises him by giving him a conscience. Ultimately this is not enough to redeem Claudius but it adds complexity to his character that makes his appearances on stage utterly gripping. Claudius’ villainy begins with the murder of his brother Old Hamlet. This is reported to Hamlet by his father’s ghost. The description of the murder underscores the disturbing nature of the crime. The Ghost explains that Claudius poisoned him as he slept by dropping a ‘leperous distilment’ in his ear. The poison moved as ‘swift as quicksilver’ and ‘barked about, / Most lazar-like’ covering Old Hamlet’s body with a ‘vile and loathsome crust’. Not only is this an act of murder but it is also fratricide (the killing of a sibling) and regicide (the killing of a king). The heartless nature of this murder is compounded by Claudius’ pretence of grief during his state address. He tells the court: ‘of Hamlet our dear brother’s death The memory be green, and that it us befitted To bear our hearts in grief and our whole kingdom To be contracted in one brow of woe’. When Hamlet learns of Claudius’ treacherous crime, he immediately condemns Claudius as a ‘smiling damned villain’. He is horrified by Claudius’ heartless capacity to maintain his benevolent façade while harbouring such a dark secret. Claudius is no less ruthless in his murderous schemes to kill Hamlet. He initially sends Hamlet to England with instructions that he be murdered by the English King: ‘Do it, England! / For like the hectic in my blood he rages / And thou must cure me’. When this plot fails, Claudius enlists Laertes as an agent of murder. Claudius and Laertes hatch a scheme whereby Hamlet will take part in a fencing match with Laertes. Unbeknownst to Hamlet, Laertes’ sword will be unguarded and poisoned. To ensure success Claudius plans to poison Hamlet’s drink. Claudius has no moral scruples about using such underhand methods to rid himself of Hamlet. He spares no thoughts for Gertrude, whose son he plans to murder and cares even less for Laertes who he uses as a convenient tool. However, Claudius is not a simple villain. Shakespeare adds complexity to Claudius’ character by giving him a conscience. This is first evident in a pointed aside. When Polonius remarks that individuals may disguise their wickedness, Claudius immediately reflects on the evil that he himself hides: ‘How smart a lash that speech doth give my conscience! The harlot’s cheek beautied with plastering art Is not more ugly to the thing that helps it Than is my deed to my most painted word. O heavy burden!’

250

HL Sample Answers







Hamlet

Privately, Claudius expresses his sense of tortuous regret. He is not completely heartless in that he is deeply troubled by the magnitude of his crimes. Claudius’ guilt is best expressed in the Prayer Scene. Shakespeare humanises his villain, reminding us of an individual’s capacity for both good and evil. Claudius is presented as a man unable to pray for forgiveness, fully aware of the enormity of his crime: ‘O, my offence is rank: it smells to heaven; It hath the primal eldest curse upon’t – A brother’s murder. Pray can I not, …What if this cursed hand Were thicker than itself with brother’s blood? Is there not rain enough in the sweet heavens To wash it white as snow? … O wretched state! O bosom black as death! O limed soul that struggling to be free, Art more engaged!’ The image of Claudius literally snared by his own evil actions (‘O limed soul’), encourages the audience’s sympathy. His guilt is visually conveyed by the image of his hand soaked in his brother’s blood: ‘What if this cursed hand / Were thicker than itself with brother’s blood?’ However, I don’t feel that Claudius redeems himself in this scene. He clearly recognises how abhorrent his crime is, yet he makes no effort to atone. His concern in this soliloquy is for his own damned soul. I feel redemption would only come through a public acknowledgement of guilt but Claudius never drops his façade. Even in his last moments of life, Claudius remains a heartless, self-serving villain. When he is unmasked as the chief architect of the plot against Hamlet, he fails to admit his crime. Instead he desperately looks for protection: ‘O, yet defend me, friends, I am but hurt.’ Claudius is truly a heartless villain. He ruthlessly pursues his own ambition taking his brother’s crown and wife. His underhand and manipulative tactics make him a very dangerous character. Although he is humanised in the Prayer Scene when he wrestles with the enormity of his crime and expresses deep guilt, I don’t feel that he is redeemed for the audience. What endures at the end of the play is an image of false and self-serving villain who is justly killed by his own poison.

251

Notes

______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ 252

Notes

______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ 253

Notes

______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ 254

Notes

______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ 255

Notes

______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ 256