Hamlet Hamlet is historian Saxo Grammaticus's Gesta

Danorum
By William Shakespeare ("Deeds of the Danes"; translated into English
as The Danish History; c. 1185–1202). In this
In Context
tale, Grammaticus documents long-standing
Shakespeare's plays are timeless, with a
oral legends. And though this is most likely
universality to which anyone can relate.
the earliest written source material, scholars
Hamlet, for example, has a modern militaristic
speculate that Shakespeare may have relied on
feel to its set and costuming, while at the same
a more contemporary work, such as Thomas
time it maintains a very medieval sensibility.
Kyd's The Spanish Tragedy, dating from the
The same can be said of Shakespeare's other
1580s or early 1590s.
plays: the stories, characters, and conflicts all
In addition to the universality of his plays,
have 21st-century analogues.
Shakespeare often draws audiences in and
Some of the timelessness of Shakespeare's
holds their attention through the use of
work has to do with the source material for his
dramatic and situational irony. Dramatic irony
plays. The tragedy in Hamlet may, in part,
happens when audience members are aware of
stem from the deaths of Shakespeare's son and
a situation that the play's characters know
father. In addition, however, the play is said to
nothing about. Situational irony involves a
have come from ancient stories that developed
situation whose outcome is different from
from some common ideas: killing a brother
for personal gain, committing adultery, and what is expected.
faking madness as a method for hiding in Author Biography
plain sight. Stories based on the idea of William Shakespeare's birthday is traditionally
fratricide—the killing of one's brother—for celebrated on April 23, although there are no
personal gain easily bring to mind the biblical records of his birth. The closest researchers
tale of Cain and Abel: these themes have been have is a baptismal record from Holy Trinity
incorporated into tales for thousands of years. Church in Stratford-upon-Avon, England,
Shakespeare, however, masterfully captured dated April 26, 1564.
these universal tales and put his unique spin His 38 plays were likely written between the
on them. late 1580s and 1613.
Beyond the Cain and Abel story, the oldest- Marriage records show that 18-year-old
known source for William married 26year-old Anne Hathaway
in November 1582. The following year,
Anne gave birth to the first of their children, Stratford, but his theatrical life was based in
Susanna. Twins London.
Judith and Hamnet were born in 1585. By 1592 he had established himself in London
Tragically, and found success as both actor and
Hamnet—Shakespeare's only son—died in playwright with the company Lord Strange's
1596 at age 11. Men. During the plague outbreaks that shut
Critics such as Edward Dowden and Samuel down many public theaters, Shakespeare
Taylor Coleridge believed that events in joined a new company, Lord Chamberlain's
Shakespeare's life influenced the writing of Men (later called the King's Men). This
Hamlet. In particular, they point to the deaths company was one of two well-known London
of his father in 1601 and of his son, whose companies. The group performed primarily at
name some intimate is an alternate spelling of the Globe Theater—often for Queen Elizabeth
Hamlet. I and later for King James I. Eventually,
Whether Shakespeare's grief for his dead Shakespeare would own a share of the theater
father and son found an outlet in the writing of and would remain with both the company and
Hamlet, one pivotal piece of the drama is very the theater for the rest of his career.
likely based on a historical incident. Shakespeare died in April 1616. Some sources
Claudius's poisoning of King Hamlet by list the date as April 23, but others consider
pouring a vial of "cursed hebona" into his ear that date a guess, romanticized by the idea that
and Hamlet's rewrite of The Murder of he was born and died on the same day. More
Gonzago both echo the 1538 murder of Italy's than four centuries later, his writing remains
Francesco Maria Della Rovere, Duke of one of literature's greatest influences—read,
Urbino. Marquis Luigi Gonzaga, jealous of performed, referenced, and enjoyed by people
the duke's social status, persuaded the duke's of all ages in countries all over the world.
barber to kill his employer by dripping poison Characters
into his ear. The dramatic nature of the crime Hamlet
helped the story spread throughout Europe Prince Hamlet is a gentle, deep-thinking,
and years later gave Shakespeare inspiration loving, and loyal man. He is not only
for Hamlet's plot. intelligent but also quick-witted, appreciative
Much of Shakespeare's life was spent in either of his standing, and self-aware. He is a decent
Stratford or London. His childhood, early soul, well-liked by those close to him. As an
married life, and later years were centered in only child, he is consumed with grief after the
death of his father, King Hamlet. Audiences
get as tangled in his thinking as he is, in contrast to Hamlet's gentle, introspective
especially those who get stuck, as Polonius nature.
does, in wondering whether the prince is mad. Horatio
Polonius Loyal friend to Prince Hamlet, Horatio is also
Polonius is counselor to the king and father to a student at Wittenberg in Germany. He is the
Laertes and Ophelia, although his children person the sentries Barnardo and Francisco
seem to have more heart and more integrity. alert after they have twice seen a ghostly
That he loves his children is a strength, but it version of the recently deceased king. His
also seems that he might sacrifice their best role, which he performs well, is trusted ally
interests for what is the most politically and logical thinker. In a sense, it is the calm
correct decision. And while Polonius is in a and collected Horatio who represents a
profession that may demand that type of halfway point between the introspective
submissiveness, one could argue that his Hamlet and those who act without thinking,
tendency toward action without thought—a such as Fortinbras (the young prince of
tendency that some audiences might say is in Norway), Polonius, and, at times, Claudius.
a proportion inverse to that of Hamlet's—is a Horatio, by virtue of having Hamlet's trust and
contributing factor to both Ophelia's and his company, is often privy to the prince's more
own demise. private thoughts and plans. Through Horatio,
Claudius Shakespeare often gives the audience insight
Claudius is the king of Denmark. As the tale into Hamlet, too. And, ultimately, because
opens, Claudius has recently ascended to the Horatio is so close to all that transpires—and
throne, taking his deceased brother's (and yet not immediately involved—he is able to
Hamlet's father's) position; to the chagrin of be a witness to the events in Denmark and, as
many, he has also married his brother's Hamlet requested of him, communicate that
widow, Gertrude. Claudius is a deceitful, tale to the world.
corrupt, jealous, and controlling man— Laertes
characteristics exhibited again and again Adventurous yet obedient, Laertes, whose
throughout the play. Claudius carries himself name comes from
well at the outset of the play; his nature is Homer's The Odyssey, is Polonius's son and
cordial and reserved as one might expect of Ophelia's brother.
wellbred royalty—but this feels forced, or Early in the play, Laertes, who has most
"played." Little by little, we see Claudius's recently been living in France, comes across
true nature: cold, calculating, and selfseeking, as a young man eager to begin his life. When
introduced to the audience, he has come to the Her unbridled devotion, along with her
royal court, seeking permission from Claudius obvious inexperience in love—as well as
to return to France. He is a bit hesitant, maybe Hamlet's determination to drive her away
even tongue-tied in that setting. But in a scene from him—all figure into her misery and,
shortly after this, with Ophelia in the family ultimately, her heartbreaking death.
home, his character becomes a bit clearer. In Gertrude
that setting, Laertes is the Gertrude is queen to Claudius, the current
king of Denmark, and the widow of his
brother, the elder King Hamlet. She is also
gentle, loving, older brother. He shows his
mother to Prince Hamlet, the main character
loyalty, affection, concern—and a bit of
in this tragedy. A central quality of Gertrude's
wisdom—when he speaks with his sister
character is that she loves her son; it is
about Hamlet. Especially telling is Laertes's
apparent from the outset and is a driving force
explanation to Ophelia that for persons of
for her.
state, such as Hamlet, the good of the country
Ghost
often trumps individual desire—especially The ghost is the spirit of Hamlet's father, who
with regard to choice of partner. has recently died. The ghost tells Hamlet that
Ophelia his was not a natural death. He says he was
The daughter of Polonius and sister of Laertes,
murdered by Claudius, his brother, and he
Ophelia is also Hamlet's love interest. She is a
urges Hamlet to avenge his death by killing
young, bright, and gentle woman, comfortable
Claudius. The ghost's message unnerves
even with those above her in rank, like
Hamlet. He does not know whether to believe
Gertrude. Although the depth of her
the ghost, or to think it some sort of demon
relationship with Hamlet is difficult to
there to trick him into committing murder.
discern, she is undoubtedly devoted to him.
Character Map

Laertes Father
Loyal, brash,
dedicated youth

Horatio Ophelia
Intelligent, creative Murders Symbol of purity;
student driven to madness
Loyal
friends

Love
interest
Hamlet
Tormented prince; grieving Father
over his father's death

Uncle
Murders

Murders

Claudius
Polonius
Corrupt king; rules Father
Aged counselor; full of advice
without a conscience

Ghost
The spirit of King
Hamlet; forced to
wander the earth
 Plot Summary
The play opens soon after the death of the king of Denmark. Claudius, the king's brother, has
claimed the throne and taken his sister-in-law—Hamlet's mother, Gertrude—as his queen. These
events have left Prince Hamlet distraught and grieving.
As the story begins, the ghost of King Hamlet appears in Elsinore, Denmark's royal castle.
Sentinels who witness the ghost alert Horatio, who, upon seeing the ghost himself, goes to tell his
dear friend Hamlet.
Hamlet's world is shaken anew when Horatio tells him that he has seen a ghost resembling his
father. When Hamlet joins Horatio (Act 1, Scene 4) and sees the ghost himself, he is terrified. The
ghost tells Hamlet that he has been murdered and that Claudius poisoned him. He commands
Hamlet to avenge his death but insists that he not harm his mother. Hamlet questions whether the
ghost is real, but his mourning is now compounded by rage.
Earlier, Hamlet had returned from his studies in Germany after learning of his father's death.
Already in mourning, Hamlet is
pushed deeper into despair by his mother's Claudius casts a more fatherly eye on Laertes,
hasty second marriage. It is clear from his son of his counselor Polonius, who seeks the
soliloquy in Act 2 that he is confused that his king's blessing for his to return to France,
mother could disregard the sorrow of losing which Claudius approves. Claudius next
her husband and enter into marriage with his chastises Hamlet for the unseemly way in
brother. which he mourns for his father, after which he
Meanwhile, Claudius seeks some semblance and Hamlet's mother deny his desire to return
of normalcy for Denmark. Holding court one to Germany, insisting he stay in Elsinore.
afternoon, Claudius draws attention to young As Laertes prepares to leave for France, he
Prince Fortinbras of Norway, who is raising confronts his sister, Ophelia, about her
an army against Denmark. Fortinbras seeks to relationship with Prince Hamlet. He warns her
avenge the death of his father, who had died not to take Hamlet's affection seriously. Her
in battle against King Hamlet some years father, Polonius, overhears; when Laertes has
before. Claudius does not see the parallel gone, he agrees with his son's advice and
between that young prince and his nephew, orders Ophelia to avoid Hamlet.
nor does he take a note of caution from the Heartbroken, Ophelia says she will obey.
situation.
Sometime later, Ophelia tells Polonius of a Claudius and Polonius plan to eavesdrop on
distressing encounter with Prince Hamlet. She Ophelia and Hamlet. As they hide nearby,
says Hamlet came to her looking bewildered. Hamlet comes upon Ophelia and they chat.
Polonius thinks Hamlet's love for Ophelia is However, he quickly becomes suspicious of
driving him mad and decides he must tell the Ophelia's motives when she tries to return
king and queen of this occurrence. gifts he gave her.
When Polonius visits the king and queen, they He rages wildly with sorrow and
are already meeting with Rosencrantz and disappointment and tells Ophelia to "get thee
Guildenstern, two of Hamlet's childhood to a nunnery" before leaving her.
friends, in an attempt to figure out Hamlet's Ophelia is devastated; Claudius and Polonius
strange behavior. Also at hand are Voltemand are shocked. Claudius realizes Hamlet poses a
and Cornelius, the ambassadors Claudius sent threat to him. He decides to send Hamlet to
to Norway, who are reporting that "Old England to be rid of him. Polonius agrees but
Norway" has commanded Fortinbras to suggests one last try: have Gertrude talk with
abandon aggression against Denmark. him after the play that evening, and he,
Fortinbras vows obedience and will turn his Polonius, will eavesdrop on the conversation.
attention to Poland. Finally, Polonius relates That evening the theater company performs
the story of Hamlet's encounter with Ophelia; for Claudius's court. As the players reenact
he tells the king and queen that he believes the scene of the king being poisoned in the
Hamlet's love for Ophelia has driven him garden—as the ghost told Prince Hamlet—
mad. Claudius flies into a panicked rage, halting the
Hamlet meets Rosencrantz and Guildenstern play and fleeing the room. Hamlet, with
and becomes suspicious of their presence in Horatio beside him, takes this as an admission
Elsinore. When they tell him that a company of guilt.
of players (actors) has arrived, he is excited. After the play, Claudius meets with
Hamlet seeks out the actors and asks them to Rosencrantz and
perform a version of the play The Murder of Guildenstern and tasks them with taking
Gonzago. By inserting a scene depicting his Hamlet to England.
father's murder, Hamlet hopes his revised When they leave to find Hamlet, Claudius
play, The Mousetrap, will catch the king in admits to King Hamlet's murder in a
his guilt. soliloquy. He attempts to pray, but finds he
cannot repent, because he is unwilling to give When contrasting himself with Fortinbras,
up the rewards gained from the murder: the Hamlet finds himself wanting.
throne and his wife. Hamlet passes and sees Ophelia asks to meet with Gertrude and
Claudius on his knees. He thinks how easy it Claudius, and they realize that she has gone
would be to kill his uncle then and there, but mad with grief. Laertes, back from France,
decides not to. Hamlet believes that to kill storms in to see the king and queen and is
Claudius while he is in prayer would grant heartbroken to find Ophelia in such a
him entry to Heaven, which Hamlet does not confused condition. Claudius convinces
want. Laertes they had nothing to do with Polonius's
Hamlet meets with Gertrude in her chambers; death or Ophelia's madness. He counsels
Polonius hides nearby. Hamlet confronts Laertes to be patient and encourages him to
Gertrude about her part in King Hamlet's follow his counsel to exact his revenge.
death. When she cries out, Polonius shouts, Laertes consents.
revealing his presence, but not his identity. A messenger finds Horatio, bearing letters
Believing that Claudius is hiding there, from Hamlet to Horatio and to Claudius.
Hamlet stabs Polonius through the tapestry Hamlet's letter informs Horatio that he is back
and kills him. Hamlet leaves, dragging in Denmark and has much to tell him about
Polonius's body with him. The encounter his failed trip to England. He asks that Horatio
convinces Gertrude that her son is indeed lead the messenger to the king to deliver his
mad. letters to him. After that, the messenger will
Gertrude goes to tell Claudius of her meeting lead Horatio to him.
with Hamlet and of Polonius's death. Once he Claudius and Laertes are together when the
is alone, Claudius reveals that Hamlet is also king receives word of Hamlet's return. They
soon to die; the documents he is sending with plot a fencing duel between Hamlet and
the ship call for Hamlet's execution. Laertes, with Laertes using a poison-tipped
As Hamlet, Rosencrantz, and Guildenstern foil (sword). As a backup, they plan to have a
head to the boat, they spy Fortinbras and his poisoned cup of wine ready for Hamlet to
army en route to Poland. Hamlet is struck by drink. They intend to give Laertes his revenge
the contrast between himself and young without putting either of them in harm's way.
Fortinbras. He sees Fortinbras's ability to act As they conclude their meeting, Gertrude
—instead of think—as a mark of greatness. brings word that Ophelia has drowned.
Hamlet and Horatio meet in the graveyard Hamlet's next hit on Laertes poisons him.
where Ophelia is about to be buried. As the Suddenly, the queen collapses. As she dies,
funeral procession gathers around her grave, Laertes reveals to Hamlet that both of them
the grief-stricken Laertes jumps into her grave have also been poisoned by the foil now in
and proclaims his love. Hamlet, overcome in Hamlet's hands. Laertes reveals the plot to
the moment, follows, and they fight. Horatio everyone, proclaiming that the king is to
and the other mourners separate the two as blame. Before he closes his eyes for the last
Hamlet boldly proclaims his love for Ophelia. time, he and Hamlet exchange forgiveness.
When Horaito and Hamlet leave the graveyard Enraged, Hamlet kills Claudius—stabbing
and enter the castle, Osric, one of Claudius's him with the poisoned foil and forcing him to
courtiers, tells Hamlet that Claudius has drink the rest of the poisoned wine. Hamlet
wagered on Hamlet to win a fencing match watches him die, but he himself is soon to
against Laertes. Hamlet accepts the challenge follow. As the prince approaches death, he
and says he will strive to win on the king's begs Horatio to carry his story to the world.
behalf. Young Fortinbras, returning from Poland,
The duel begins. Hamlet strikes Laertes twice arrives to find the gruesome scene—Hamlet,
and Gertrude drinks to Hamlet's health, Laertes, Gertrude, and Claudius all dead—and
unknowingly drinking the poisoned wine. to hear Horatio's explanation.
Alarmed by the way the competition is going,
Laertes finally strikes Hamlet, they scuffle,
and the foils are exchanged.
 Plot Diagram
Climax

Rising Action 4 Falling Action

6
3

2 7
1 Resol
ution Introduction

Introduction Climax

1. King Hamlet dies; Claudius takes crown 5. Hamlet kills Polonius and is banished to
and marries Gertrude. England.
Rising Action Falling Action

2. Hamlet is visited by his father's ghost. 6. Claudius and Laertes conspire to kill
3. Laertes and Polonius warn Ophelia to stay
Hamlet; Ophelia dies.
away from Hamlet. Resolution
4. The Mousetrap is staged. 7. Gertrude, Claudius, Laertes, and Hamlet
die.
 Timeline of Events

Before action begins

Claudius kills King Hamlet.

our weeks later

laudius marries Gertrude, King Hamlet's widow.

Four weeks later

Hamlet sees the ghost.

wo months later

osencrantz and Guildenstern are sent to spy on

amlet.

One day later

Hamlet stages The Mousetrap.

ater that evening

amlet kills Polonius.

Later that evening

Claudius banishes Hamlet to England.

ight weeks later

laudius and Laertes plot to kill Hamlet.

Later that day

Ophelia dies.

One day later

amlet returns—he, Claudius, Gertrude, and Laertes die.

Scene Summaries rising sun and the ghost slips away. Horatio
Act 1, Scene 1 suggests they inform Hamlet of what they've
Summary seen.
Sentinels Barnardo and Francisco stand the
Analysis
night watch at Denmark's Elsinore castle. Shakespeare kicks off the play with an
Francisco is about to go off duty when intriguing scene that pulls the audience right
Marcellus, another sentinel, appears with into the story: a recently deceased king shows
Horatio, a friend of young Prince Hamlet. As up in ghostly form, military tensions lie ahead,
soon as Francisco leaves, Marcellus and and Denmark is in a state of general unrest.
Barnardo eagerly discuss two appearances of The playwright imparts a wealth of
a ghost during their watch. The spirit information in a short scene, including—by
resembles the late King Hamlet, Prince reference to what the ghost is wearing—some
Hamlet's father. Horatio is unconvinced. backstory that informs about the tension
As they attempt to convince him that the between Denmark and Norway.
apparition is more than their imaginations, the Horatio develops from a skeptic into a
ghost appears to the three of them. At the
concerned, even fearful, believer, curious
others' urging, Horatio begs the ghost to
about what this ghostly omen foreshadows for
speak, but it refuses and slips away.
Hamlet and the country. Horatio is able to
Horatio is terrified and suggests that the
introduce the audience to the Fortinbras
ghost's presence signifies something terrible
subplot, which will gain importance as the
for Denmark. Noting that the ghost is wearing
story progresses. In particular, Horatio relates
the very armor he had on when he fought old
that Fortinbras is "Of unimproved mettle hot
Fortinbras of Norway, Horatio recounts the
and full" and is raising an army to march on
story of King Hamlet, who was drawn into
Denmark to avenge his father's loss. This
battle with Fortinbras over a small piece of
information explains that the young Fortinbras
land. Fortinbras is killed in the battle, and, as
is a man more about action than thought. His
victor, King Hamlet wins back the land—land
that Fortinbras's son, also named Fortinbras, character stands in contrast to Hamlet—a
now seeks to reclaim. realization that the prince himself eventually
As Horatio's story concludes, the ghost will come to. Having Fortinbras as a foil helps
appears again and seems about to speak. the audience understand Hamlet's conflicted
Suddenly, however, the rooster crows with the self and makes his story all the more tragic.
Act 1, Scene 2 character. He then invites Hamlet to look
Summary upon him as a father and wishes Hamlet to
Claudius holds court at Elsinore and thanks reconsider going back to school in Wittenberg
everyone for their support through the and instead stay in Denmark with them.
kingdom's recent events: the death and funeral Gertrude echoes his words. As Hamlet vows
of his brother, King Hamlet, and Claudius's to obey, Claudius and Gertrude leave.
subsequent marriage to Gertrude. Claudius Alone, Hamlet reveals the depth of his
then turns to the matter of young Fortinbras of despair, saying that were it not against God's
Norway, giving everyone the latest law, he would contemplate suicide. He speaks
information on the warlike young man's of how weary he is of life, and we come to
actions. understand that it is not just his father's death
Claudius speculates that Fortinbras thinks that has Hamlet in such sorrow but also the
Denmark may be in chaos and that this quick marriage of his mother to his uncle.
environment may offer him an advantage. Hamlet's grief is interrupted by the entrance of
Claudius relates that he has written to Horatio, Marcellus, and Barnardo, who have
Fortinbras's uncle, the present king of Norway come to tell him of the ghost they've seen.
who is gravely ill. The letter informs the older Wildly shocked and interested, Hamlet
man of his nephew's actions. peppers them with questions and makes plans
Claudius then turns his attention to Laertes, to stand watch with them that night. As the
son of the counselor Polonius. With a show of men part, Hamlet asks them to tell no one else
fatherly affection for Laertes, Claudius what they have seen. The others, swearing
presses to know what he has to ask. Laertes, their loyalty to him, give their word.
having come from France for Claudius's Analysis
coronation, now asks permission to return to Shakespeare again packs a lot of information
France. Ascertaining that Laertes has his into a single scene, some of it played out here
father's blessing to depart, Claudius agrees and some previous action communicated in
that Laertes may go. the dialogue. This scene gives a firsthand look
Claudius and Gertrude then chide Hamlet at the new king and queen, as well as some
about his continued mourning for his father. understanding of their strained relationship
Claudius tells Hamlet that while it is with Prince Hamlet. Hamlet's emotional
commendable to honor one's father, to so disturbance is readily visible. His unease is
prolong a display shows a weakness of shown in an aside about the added level to
which he and Claudius are now related: they Perhaps he does not wish to emotionally
are now both uncle/nephew and wound his mother, or perhaps he feels
stepfather/stepson. His declaration that he and threatened by Claudius—or perhaps he wants
Claudius are not at all alike gives the audience to hide his anger until he is ready to strike at
insight into Hamlet's feelings about his uncle Claudius. At this moment, Shakespeare ushers
—that he is hesitant to trust him. His remarks in Horatio, Marcellus, and Barnardo with their
foreshadow what will become ever clearer: startling news. It is an intense moment for
the two men truly are not alike. Hamlet to hear that the ghost of his father
This scene also provides the first real view of walks Elsinore Castle, and such cliff-hanging
Claudius's character in the fatherly way he moments keep both the tension and the sense
behaves toward Laertes, contrasted with the of tragedy ramped through the course of the
harsher manner in which he deals with his play.
stepson Hamlet. Act 1, Scene 3
Shakespeare provides a brief but instructive Summary
view into the relationship between Gertrude As Laertes prepares to head back to France, he
and Hamlet. Her plea for Hamlet to stay in and Ophelia talk about his trip and promise to
Denmark suggests she truly values her only write to each other, but Laertes quickly steers
child. And because Hamlet obeys, it shows he the conversation to the topic of Ophelia and
is devoted to both his mother and father. In his Hamlet's relationship. Showing the concern of
soliloquy, however, he expresses a thoughtful older brother, Laertes warns
disappointment in his mother because of her Ophelia not to take Hamlet's attention too
ability to move on so quickly after her seriously. Laertes tells her that a person of
husband's death. Hamlet believes his parents' Hamlet's stature does not have the liberty to
relationship was strong—full of love, choose a mate, and reminds Ophelia that the
affection, and commitment—so he finds it welfare of a prince's country may depend
incomprehensible and even disloyal that she upon that choice. Reciprocating Hamlet's
could so easily enter into a relationship with affection, he adds, could damage her
Claudius, who Hamlet says is "no more like reputation.
my father [t]han I to Hercules." While Ophelia promises to take Laertes's
He ends his soliloquy saying that while his counsel to heart, their conversation is
heart is breaking, he must hold his tongue. interrupted by their father, Polonius, who is
The reason for his resolve is not made clear. surprised to find Laertes still in residence.
Once Laertes leaves, Polonius echoes much of stands in contrast to what we learn of Polonius
his warnings about Hamlet, dismissing in both the following conversation and in the
Ophelia's claims that Hamlet's expressions of unfolding play.
love are sincere. As the scene closes, Polonius Polonius then talks first with Laertes and then
forbids her to spend any more time with with Ophelia.
Hamlet, and Ophelia submits. The audience gets an initial glimpse into
Analysis Polonius's character.
The scene—basically just conversations Whereas his children seem to be
between two siblings and then between a straightforward and sincere, Polonius appears
father and his two children—does a lot of somewhat self-absorbed and politically
work, both in developing character and in minded—even in situations where his children
building the plot. are concerned. This scene also captures
The audience gains insight into Laertes and Polonius's tendency to use many words when
Ophelia's characters. For example, as Laertes one would do.
questions Ophelia about her relationship with The scene communicates backstory while
Prince Hamlet, he appears as the caring older moving the plot forward. The scene provides
brother. Laertes also comes across as more information about Laertes, Ophelia, and
confident and practical, with straightforward Polonius, and a sense of the society and
reasoning and a gentle style. Being older— hierarchy in Denmark. Hamlet is observed
and no doubt because he is a male and has through others' eyes and the scene gives
been beyond the gates of Elsinore and the enough information about Hamlet and
borders of Denmark—he is more worldly than Ophelia's relationship to show that it's a
his sister and aware of the trouble that a young matter to watch as the play unfolds.
man's attention can cause a young woman's Reality versus appearance is a key theme that
reputation. runs through the play and is central to this
Ophelia, for her part, shows herself to be scene. "What are Hamlet's true intentions?"
young and inexperienced, but also earnest and both Laertes and Polonius are asking. "Is he
without guile. She is sincere in her love for what he seems?" or "is he deceiving Ophelia?"
Hamlet and believes he is equally sincere, but Even as Polonius cautions Ophelia that
she appears oblivious to the potential darker Hamlet's intentions might not be what they
side of a young man's intentions. Both seem, he is actually more concerned with how
Ophelia and Laertes seem thoughtful, which her actions might affect his reputation. Those
same motivations underlie his advice to Hamlet sits in watch with Horatio and
Laertes. So much of what Polonius counsels Marcellus, listening to boisterous revelry from
has to do with outward appearance and with within the castle that further taints Claudius's
little regard for an inner self. character: he is more interested in raucous
Act 1, Scene 4 celebration than in honoring the memory of
Summary his dead brother.
Hamlet and Horatio accompany Marcellus on Hamlet remarks that this kind of behavior
his watch. Near midnight they hear much damages Denmark's image with other
revelry from within the castle, and Hamlet countries and although Claudius is not the first
remarks that the king is drinking and partying ruler to indulge in such revelry, he seems to
again. He talks at length about how such wild believe that Claudius takes part in it
behavior has given Denmark a riotous excessively. If nothing else, this sidebar tells
reputation, taking away from the country's us about Claudius and Hamlet's view of his
strengths and positive qualities. uncle/stepfather.
Hamlet carries the thought further, talking The scene shifts sharply with the appearance
about how one's faults can overwhelm all the of the ghost. It sets a stark contrast between
positive attributes one has. Hamlet is then Hamlet's relationship with his uncle versus his
stunned by the ghost's appearance and that it father. He is distant and has a negative view
indeed appears to be his father. He begs the of his uncle, while he is so aligned with his
ghost to speak to him and to tell him why he father he will follow him, even in death.
has come. Shakespeare uses this exciting, tension-filled
In response, the ghost beckons Hamlet to moment to introduce a few important ideas.
come away with him, which Hamlet is eager The first is the depth of Hamlet's sadness.
to do. Horatio cautions Hamlet not to follow When Horatio cautions him about following
the spirit, fearing it is dangerous. Both Horatio the ghost, Hamlet scoffs: "I do not set my life
and Marcellus try to stop Hamlet from at a pin's fee." This notion of "to be or not to
following, but the prince is determined. He be" will grow louder with each scene,
breaks free and follows the ghost. Horatio and although whether or not Hamlet has the
Marcellus, in turn, follow Hamlet. fortitude for action also becomes a point of
Analysis contention.
This short, powerful scene at last confronts
The theme of madness is also introduced
Hamlet with the ghost. As the scene opens,
when Horatio—trying to dissuade Hamlet
from following the ghost—suggests it might the ghost's entreaty just before Horatio and
"deprive your sovereignty of reason [and] Marcellus find him.
draw you into madness." Whether real or Horatio and Marcellus are eager to know what
feigned, madness becomes central to the play transpired between Hamlet and the ghost, but
—particularly around Hamlet—and Hamlet responds to their questions by talking
particularly because much of what transpires in confusing circles. He asks them to promise
between the ghost and Hamlet takes place out that they will tell no one of what they have
of sight and earshot of others. seen and heard that night. He presses them to
Act 1, Scene 5 swear on his sword, and adds that they must
Summary hold to their promise no matter how strangely
Hamlet follows the ghost to another part of the he acts in the future. Three times, before they
castle wall, where the ghost tells Hamlet he can swear, the ghost cries out "Swear!"
must avenge his murder. The ghost explains Horatio and Marcellus promise, and as the
that the citizens of Denmark believe the king three men leave, his final words capture both
died after being bitten by a snake while his rage and sorrow.
napping in his orchard. Analysis
In reality, the only "serpent" he encountered Each scene in which the ghost of King Hamlet
was his brother Claudius, who now wears the appears adds tremendous complexity to the
crown. plot. With King Hamlet's ghost now present
The ghost tells Hamlet how Claudius poured and speaking, he is revealing actions and even
poison into his ears as he slept, thus stealing motivation—particularly around his own
his life, crown, and wife. Even as he reiterates death—that the characters and audiences
his demand that Hamlet take revenge on would not otherwise know. For Hamlet, he is
Claudius, the ghost tells the prince not to a catalyst, capable of turning the course of the
touch his mother, Queen Gertrude. Insisting play's action. He is also a pivotal element
Hamlet to leave his mother to heaven, the when considering themes such as madness or
ghost disappears as dawn arrives. revenge.
Hamlet, overwhelmed by what he has seen The ghost's order for Hamlet to avenge his
and heard, is a mixture of grief, anger, and death increases the play's tension and furthers
confusion. He flies from one thought to Hamlet's development. Because he knows the
another in a soliloquy that is both sorrowful details of his own death—details no one other
and raging. He closes with a commitment to than Claudius would otherwise be able to
impart—he changes the course of the play's about Laertes—gaming, drinking, fencing,
action. The information he conveys takes the and swearing—when he talks with people.
play from a simple drama to a story of Polonius is confident this method will yield
revenge. Even at this point, Hamlet's life the truth about Laertes's behavior abroad.
parallels Fortinbras's. There are two princes, In the second half of the scene, Ophelia enters
two dead king fathers, and although they died distraught. She relates to Polonius that Hamlet
under different circumstances, the sons are left came to her in her chamber disheveled and
to consider revenge. confused. Believing Hamlet to be mad with
On a more personal level for the title lust for Ophelia, Polonius asks if she has said
character, the ghost's appearance moves anything upsetting to him. Ophelia answers
Hamlet from being simply a grieving son to that she has not spoken with him but has
an aggrieved one. Hamlet was filled with simply refused his letters and denied him any
sorrow before the ghost made himself known, contact, as Polonius instructed.
and he was already unsettled by Claudius and Polonius is convinced that by telling Ophelia
Gertrude's hasty marriage. Once the ghost to avoid Hamlet, he has inadvertently fanned
appears to Prince Hamlet bearing information the flames of the prince's love. He tells
that Hamlet feels must be the truth—that Ophelia that they must tell the king and queen
Claudius murdered his father—Hamlet is still about the romantic connection between
sorrowful but a huge wave of rage has swept Hamlet and her, adding that concealing it
in. In light of the obvious friction between might cause more grief than the knowledge
him and Claudius in Act 1, Scene 2, there is that Hamlet has fallen for someone "beneath
no doubt that this new information warns of him."
potential violence. Analysis
Act 2, Scene 1 The theme of truth versus deception is
Summary rampant in this scene.
Polonius sends his servant, Reynaldo, to As it opens, Polonius is sending his servant to
France to bring France to bring Laertes money and check up
Laertes money and snoop into his son's life. on him, even though Laertes has proven
Polonius suggests Reynaldo should ask himself to be responsible, obedient, and
around about Laertes to discover how he is thoughtful. Although Polonius treats Laertes
living. In directing Reynaldo, Polonius urges as trustworthy when they are face to face, he
his servant to suggest some negative qualities feels the need to check up on him, which in
itself may be innocent enough, but he goes so also act deceitfully, and has no qualms about
far as to suggest that Reynaldo "lay slight using deceit to achieve his goals. The layers of
sullies" against Laertes to dredge information deceit also contribute to Hamlet's sorrow,
out of various sources. Further, it's an disillusionment—and rage—regarding his
example of dramatic irony that Polonius, ever father's death.
mindful of his reputation, is so casual about Act 2, Scene 2
the idea of damaging his son's—and uses Summary
deception to find the truth. In Act 1, Scene 3, Claudius and Gertrude hire Rosencrantz and
Polonius had warned Ophelia about Guildenstern, two of Hamlet's childhood
maintaining her reputation. He is concerned friends, to spend time with Hamlet, hoping
that if her reputation is damaged, it will also they will be able to determine the cause of his
harm his status. strange behavior.
The second event in this scene—Ophelia After attendants take the friends to visit
relaying to Polonius the strange encounter she Hamlet, Polonius, followed closely by
had with Hamlet—also plays on truth versus ambassadors Voltemand and Cornelius, join
deception, or appearance versus reality. The the royal pair. The ambassadors, who have
audience knows from what Hamlet tells returned from speaking with the king of
Horatio and the soldiers in Act 1, Scene 5 that Norway about Fortinbras, are happy to report
he may need to appear mad. If we assume that their visit as successful.
Hamlet's odd behavior in the remainder of the "Old Norway," they say, has commanded
play is the result of cunning intelligence and Fortinbras to abandon any acts of force
not madness, then he is appearing in a way against Denmark. Fortinbras has vowed
that is untruthful. Ophelia, for her part, is obedience to his uncle and has turned his
being forced to appear uninterested in Hamlet attention to Poland, where he originally told
—a man she obviously loves. his uncle he was going. Voltemand notes that
In this scene and as the play progresses, the Fortinbras has asked permission for him and
audience sees the harm that such deceit causes his men to pass through Denmark en route to
or potentially causes. For example, Polonius's Poland.
lack of honesty damages the faith that As the ambassadors exit, Polonius tells
Reynaldo, much less Laertes or Ophelia, can Claudius and Gertrude he thinks Hamlet's love
place in him. He relies on deceit in his for Ophelia is driving him mad. Polonius then
treatment of his children, expects others to reads them a letter sent from Hamlet to
Ophelia, in which he proclaims his love for guiltily, it will prove that the ghost is a noble
her. Together, Polonius, Claudius, and spirit and not a devil come to trick him.
Gertrude decide to lay a trap, orchestrating a Analysis
meeting between Hamlet and Ophelia and This scene is long, rich, and loaded with
watching from afar. action. Claudius and
Hamlet meets Polonius while walking in the Gertrude try to delve more deeply into
hall. They talk a little, with Hamlet verbally Hamlet's state of mind. While Gertrude's
sparring in clever if not chaotic circles around motives are almost certainly caring and
the older man. Polonius, taking this as honorable, the audience may suspect that
evidence of the prince's madness, excuses Claudius's motives are anything but. The
himself to go in search of Ophelia and plan a dubious use of spies again comes into play;
"chance" meeting. they bring in Rosencrantz and Guildenstern,
Rosencrantz and Guildenstern appear, and old friends of the prince, who will rely on
Hamlet asks several times what brings them to their long-standing relationship with Hamlet
Elsinore. Although they try to evade his to ferret out the information the king and
questions, Hamlet quickly figures out that queen desire.
they've been sent to spy on him. The one good In this scene, too, we see the ambassadors
bit of information they give Hamlet is that a return from Norway. This subplot, although it
company of players has come to Elsinore. doesn't consume a significant amount of stage
With some excitement, Hamlet greets the time, does bring Fortinbras into the play. The
players. Hamlet arranges for them to perform young man becomes a foil for Hamlet; the
The Murder of Gonzago in the court the contrast of their styles—Fortinbras is a man of
following night—and to incorporate some action compared to the deepthinking Hamlet
lines he will give them. Once Hamlet is alone, —becomes apparent, even to Hamlet. The few
he speaks aloud, berating himself for his lack times we see Fortinbras or hear of him not
of action with the task the ghost has given only brings that to mind for the audience, but
him. He calls himself a coward and a villain, it also causes Hamlet to look at himself and
railing in his grief. Then, pulling himself sometimes recommit to the task the ghost has
together, he muses aloud about his plan to use assigned him.
the play—augmented with lines he will write The company of actors comes to Elsinore in
—as a means to probe Claudius's conscience. this scene, prompting the opportunity for a
Hamlet is convinced that if Claudius reacts play within a play and for Hamlet's further
development. He now is plotting a way to Claudius's spies, forsaking their loyalty to
cause Claudius to divulge his guilt through his the prince for the favor of the king.
reaction to Hamlet's play within a play. Claudius's motivation in bringing
Hamlet's revision of the play will change the Rosencrantz and
course of everything for the people of Guildenstern to Elsinore is a far cry from
Elsinore. The presence of the players and Gertrude's.
Hamlet's familiarity with them also gives Although he pretends that he wants to help
audiences another view of Hamlet. Hamlet, Claudius is actually looking to find
Throughout the play, the information we glean out what Hamlet knows in order to stay one
from his various interactions—with the step ahead of him.
soldiers and Horatio early on, with the players The company of players—some of the only
here and into Act 3, and with even the people or groups in the play who are not
gravediggers in Act 5—gives us a well- hiding something—are, in an example of
rounded character by the end of the play. dramatic irony, built around the idea of reality
As this scene closes, the presence of the versus appearance/truth versus deception. The
company of actors also provides fodder for basis of theater is a suspension of disbelief—a
Hamlet to use against himself and his willingness to believe what one is presented—
tendency to overthink. Contrasting himself and that idea, set into the middle of this play
with actors who can call up passion and tears so fraught with deception, shines a light on all
out of a fictitious motivation, Hamlet of the other examples of play acting around it.
condemns his lack of action in avenging his The final line in this scene foreshadows the
father, calling himself a "dully and muddy- importance of this company being here in
mettled rascal," chiding himself for his Elsinore at this time, with Hamlet saying,
inability to "say nothing!" "The play's the thing wherein I'll catch the
Thematically, this scene has many instances conscience of the King." The first evidence
that tap into the themes of truth versus of Hamlet showing false signs of madness, or
deception and madness. an "antic disposition," appears in this scene.
The very presence of Rosencrantz and Although in the previous scene (Act 2, Scene
Guildenstern oozes deception. They are—or 1) there is indication of his strange behavior
were—Hamlet's friends, but from the and appearance from Ophelia's account, his
moment they arrive in Elsinore they act as interaction with Polonius, and then
Rosencrantz and Guildenstern, gives a Hamlet eventually appears, lost in his
firsthand view. thoughts and apparently contemplating
Hamlet talks in riddles, such as when he suicide. Catching sight of Ophelia, he
calls Polonius a "fishmonger." interrupts his thoughts to speak with her.
This scene also examines the theme of thought Ophelia tries to return some gifts he gave her,
versus action, brought up by the discussion but, suspicious of her motives, he denies they
around Fortinbras and Norway, which paints are from him. He further denies that he loved
young Fortinbras as a man of action to her, which serves to bewilder and wound
Hamlet's man of thought as well as Hamlet's Ophelia. The two have an impassioned
comparison of himself to the players. discussion, reeling in confusion and a mutual
Act 3, Scene 1 feeling of betrayal. Hamlet orders her to a
Summary nunnery and leaves.
Claudius and Gertrude interrogate Claudius and Polonius come to Ophelia's side,
Rosencrantz and Guildenstern about their shocked by what they have witnessed.
discussion with Hamlet. The men have little to Polonius insists Hamlet's love for Ophelia—
report except that the company of players who love that Polonius made her refuse—is at the
arrived shortly after they did seemed to have root of the prince's madness. Claudius, already
interested and pleased the prince, and that he beginning to show a guilty conscience as an
has directed them to perform for the court this earlier aside suggests, is now convinced that
evening. Claudius sends Rosencrantz and Hamlet is brooding on something bigger—
Guildenstern to watch the prince and something that could be dangerous to his
encourage him in this endeavor. position. Although he initially refutes the idea
When they leave, Claudius sends Gertrude off that Hamlet is mad, he does say that madness
so that he, should not go unchecked. He decides to send
Polonius, and Ophelia can plan the "chance" Hamlet to England, away from the stress of
meeting between Ophelia and Hamlet. Denmark. Polonius agrees that sending him
Through this staged meeting, Claudius and abroad is the best course, but also suggests
Polonius hope to test Polonius's thought that it trying one last idea: sending the queen to
is Hamlet's love for Ophelia that is so speak with Hamlet after the play that evening,
distracting him. They instruct Ophelia to stroll while he (Polonius) hides nearby to witness
the hall, seemingly absorbed in a book, while the conversation. Claudius consents.
they hide nearby to watch and listen.
Analysis For instance, his meddling in the relationship
This scene contains Hamlet's "to be, or not to between Hamlet and Ophelia was primarily
be" soliloquy, which continues as one of motivated by how Ophelia's actions might
literature's most-quoted lines—and it captures affect his reputation. He didn't stop to
the essence of both this scene and the entire consider her reputation or Hamlet and
play. When Hamlet says those lines as part of Ophelia's feelings for each other.
a longer soliloquy, he is at his most sorrowful While this interference doesn't seem of great
and weary. With these words, Hamlet consequence at first, it actually contributes to
contemplates how a person deals with what he Hamlet's deepening feelings of isolation and
calls a "weary, stale, flat, and unprofitable" sorrow and Ophelia's emotional breakdown.
world. While many audiences take this Claudius, meanwhile, has abandoned truth; it
passage as giving voice to a struggle between is a challenge to think of an action he takes
suicide and existence, another interpretation that is honest—short of the discussion he had
suggests this is Hamlet's dilemma with living with himself about seeking pardon for his sin
in a way that is true to oneself or not. if he retains the profits of them.
The notion of living true to oneself fits nicely Even Ophelia is coerced away from being true
into the truth versus deception theme. to herself, although if we consider the time,
From their initial appearance, Rosencrantz and society, and, most especially, position that
Guildenstern are doing anything but living each of the sexes held—not to mention
truthfully. They have so fully aligned Ophelia's youth and apparent naïveté—her
themselves with Claudius, it is as if they choices can be seen as less dishonest than
forgot the basis of what brought them here: compliant to men of authority around her.
their friendship with Hamlet. Act 3, Scene 2
Likewise, almost everything Claudius and Summary
Polonius do is based on deceit. The ability to Hamlet coaches the actors in anticipation of
act from an honest motive—to be true to the performance they are about to give for
themselves or to the greater good—seems to Claudius, Gertrude, and the rest of the court.
have escaped both politicians a long time ago. As the players leave the prince to ready
Although Polonius uses deceit to protect his themselves, Polonius, Rosencrantz, and
appearance and good standing, by the end of Guildenstern enter, announcing that the king
the play, his dishonesty has contributed in a and queen will join them shortly. Hamlet
bigger way.
sends the three of them off to hurry the deliberating the ghost's motivation—whether
players just as Horatio arrives. it's a demon or an honest ghost. With the
Hamlet tells Horatio of his plan to use The revised play, he intends to present a scene that
Mousetrap—his version of The Murder of mimics the details of King Hamlet's death. He
Gonzago—to catch the king off guard. He hopes that with art mimicking reality, he will
further reports that he has amended the catch Claudius in his guilt. Hamlet does not
presentation so that one scene re-creates what want to seek revenge until he is sure of the
the ghost told him to be the circumstances of ghost's honesty.
his father's murder. Most importantly, Hamlet Thematically, this scene is rich. The play
instructs Horatio to watch the king's reaction. within the play,
As the play unfolds, Hamlet's additions to the Hamlet's antics throughout the play, the
original piece make for a strong, disturbing pressure on Rosencrantz and Guildenstern to
performance. It becomes too much for trick Hamlet—all of these elements support
Claudius, who leaps to his feet and leaves. In the theme of truth versus deception (or, in this
the ensuing confusion, the play is halted, and case, appearance versus reality). This notion is
all leave but Hamlet and Horatio, who recap particularly clear when the players reenact the
what they've just seen. scene of King Hamlet's death in the garden.
Rosencrantz and Guildenstern enter, telling When Claudius sees his deed played out so
Hamlet that the queen wishes to see him. They publicly, one can only imagine how the lines
go around and around with Hamlet, trying to between reality and appearance blur for him.
convince him to go to the queen. They are The theme of madness—or feigned madness
joined by Polonius, who speaks to Hamlet as —is never far behind the theme of truth versus
if he is humoring a fool. They rouse Hamlet's deception in Hamlet. The two themes are
anger, and he sends them off with word that almost inseparable. Interestingly, the king's
he will join Gertrude soon. Left to his own behavior as the murder scene plays out
thoughts, Hamlet's resolve to kill Claudius becomes frantic, and he bolts from the hall in
rises again, even as he plans to visit Gertrude. a way that could be construed as mad. This is
Analysis the beginning of a downward spiral for
One of the significant points of this scene is Claudius—one in which his deeds come to
Hamlet asking the theater troupe to perform a light, his cool demeanor slips, and his moves
specific play with revisions he wrote for them. become more reactive than proactive.
At the outset of this scene, Hamlet is still
Hamlet is an interesting study in this scene. At Polonius comes to Claudius, reporting that
the opening of the scene directing the players, Hamlet is headed to see Gertrude in her
he is masterful and in control, comfortable in chambers. Polonius hurries off to hide
the direction he is giving and displaying very somewhere in the vicinity so that he may
little antic disposition. Only when he goes into observe the interaction between mother and
the hall where the play is to be performed son.
does he again begin talking in the wild, witty, Left alone, Claudius contemplates the murder
uncontrolled way that has caused people to that audiences now know he committed. In a
think he is mad. And in the confines of the soliloquy, he talks about seeking forgiveness
theater, Hamlet's madness gives him the for his sin and praying over it—and he
freedom to sound out those around him, wonders about being pardoned for it if he
especially Claudius, to his advantage. retains all the power he gained in committing
Perhaps most interesting to this scene is the it. From his speech, it appears Claudius wants
consideration of the play within the play—and to be pardoned for his deed but not if getting
specifically Claudius's panicked reaction to pardoned means giving up crown and queen.
the climax of the play. Claudius's reaction to Hamlet, en route to see his mother, finds
the murder scene is certainly a turning point Claudius attempting to pray. He momentarily
for Hamlet, who is now convinced of considers killing the king then and there but
Claudius's guilt. realizes—according to beliefs of the time—
Act 3, Scene 3 that if he were to kill Claudius while in prayer
Summary and seeking repentance (which he thinks
This scene takes place the same evening as the Claudius is)—he would inadvertently send
production of The Murder of Gonzago. After him straight to heaven. With that, he moves
everyone has dispersed from the hall where on to find his mother.
the play was performed, Rosencrantz and Analysis
Guildenstern meet with Claudius. Claudius This scene gives the audience deeper
tells them that Hamlet, being dangerous in his knowledge about Claudius. From his plans to
madness, must be taken away to England for have Hamlet sent to England, to his continued
everyone's safety. Rosencrantz and scheming with Polonius, to his confession of
Guildenstern accept the assignment and leave the murder when he is alone, Claudius's
to prepare. character inches more and more into the light
of day—finally appearing as he is: guilty,
scheming, and intent on retaining his newly that Claudius has killed his father. In the
captured position and power. queen's chambers, Polonius instructs Gertrude
Particularly interesting is Claudius's attempt at on speaking with Hamlet and hides himself
prayer. With possibly his last bit of inner behind a tapestry before Hamlet enters.
goodness, he wonders if it is possible to be When Hamlet arrives, he and Gertrude begin
forgiven for his deed if he is still in possession talking, with Hamlet verbally sparring and
of the rewards gained from it. Clearly he has growing angry with her. His behavior
no intention of giving up any of it; the power frightens Gertrude, and she cries out. Polonius
that comes with the trappings is too great, and cries out in anger from his hiding spot. In
it overwhelms any goodness left inside him. response, Hamlet shouts that he hears a rat
"My words fly up, my thoughts remain and stabs Polonius through the tapestry,
below," he concludes at last, realizing the killing him.
futility of what he is doing. As Hamlet pulls aside the tapestry to find
Another fascinating moment in this scene is Polonius, both he and Gertrude are hysterical.
when Hamlet, en route to his mother's She is terrified and filled with sorrow for
chamber, comes upon Claudius attempting Polonius; Hamlet rages at Gertrude with all
prayer. Hamlet realizes this could be his the thoughts that have been festering in his
moment for revenge. He hesitates, fearing that brain, including the ideas that Claudius killed
killing Claudius while he's engaged in a King Hamlet and, worse yet, that she may
conversation with God will send his soul have been part of the scheme to kill his father.
straight to heaven rather than hell. Hamlet In the chaos of their exchange, the ghost
recalls that Claudius did not give his father appears. He tells Hamlet he has returned both
that benefit and so puts up his sword and to put him back on task and to remind him to
continues to Gertrude's chambers. Some leave his mother alone. As Hamlet responds to
critics point to this as just another example of the ghost, it becomes clear Gertrude neither
Hamlet's inability to act; Hamlet's refusal to sees nor hears the spirit, and the exchange
kill Claudius in prayer is just another excuse. further convinces her of his madness. Hamlet
Act 3, Scene 4 reminds Gertrude he is being banished to
Summary England, and that he knows she has hired
This scene also takes place on the night of the Rosencrantz and Guildenstern to spy on him.
production of The Murder of Gonzago in He leaves her, dragging Polonius's body with
which Hamlet has tried to prove to himself him.
Analysis Regardless, the ghost is able to calm down
For some audiences, the killing of Polonius is Hamlet.
arguably another point of climax. Tension and The scene closes with a somewhat more
emotions certainly remain high after the play- rational conversation between mother and son,
within-a-play murder scene. Audiences are with Gertrude even asking what she should do
relieved to know the truth, as is Hamlet, and in light of what Hamlet has told her. Although
they're also privy to Claudius's confession in Hamlet still cannot determine whether
the previous scene. Gertrude bears any guilt for his father's death,
In his mother's chambers, Hamlet is driven he warns her away from Claudius and reminds
both by rage and by a poignant curiosity. He her that he is off to England. Bidding her
confronts Gertrude to voice his beliefs about goodnight, he leaves, dragging Polonius's
his father's murder and question Gertrude's body with him. Despite their conversation and
role in it. Before they get into the heat of their Hamlet's warnings to protect her, Gertrude
discussion, however, she cries out, frightened still believes he is mad.
by Hamlet's wild and impassioned state. This Act 4, Scene 1
causes Polonius to react—and leads Hamlet to Summary
slay him—thinking he has surprised the "rat" King Claudius and Queen Gertrude, along
Claudius. This is truly a point of no return for with Rosencrantz and Guildenstern, come
Hamlet, and the moment sets off its own chain together once again in Elsinore Castle.
of events. Gertrude dismisses Rosencrantz and
The exchange between Hamlet and Gertrude Guildenstern so that she may tell Claudius of
is enough to roust the ghost for a final time— her meeting with Hamlet. Comparing the
reminding Hamlet not to harm Gertrude. prince's madness with the wild power of the
Gertrude, meanwhile, is unable to see or hear wind and the sea vying to see which is
the ghost, and is driven to believe that Hamlet mightier, Gertrude tells Claudius of all that
is truly mad. This is an interesting moment as transpired between them, including how
well, leaving the audience wondering about Hamlet killed Polonius.
the significance of the ghost's injunction. Claudius says Hamlet must be sent away at
Does it suggest Gertrude's innocence of any once, and immediately summons Rosencrantz
involvement? Is it suggestive of the ghost's and Guildenstern. He tells them Hamlet has
(King Hamlet's) feelings for the queen? slain Polonius, asks them to find Hamlet, and
instructs them to bring Polonius's body to the
chapel. Claudius and Gertrude leave to inform Act 4, Scene 2
their closest supporters, hoping they can Summary
control the fallout. In a passageway somewhere in Elsinore
Analysis castle, Rosencrantz and Guildenstern find
Gertrude's transition from the end of the last Hamlet. They insist he tell them where
scene to the beginning of this one is notable. Polonius's body is so they can take it to the
At the end of Act 3, she was spent, having chapel, but he at once runs verbal circles
watched in terror as Hamlet raged about her, around them and taunts them. When he won't
killing Polonius, talking with a ghost that she tell them where the body is, they demand he
suspects was a hallucination of his addled go with them to the king. He agrees to go with
brain, then calmly leaving with a body in tow. them, and then sprints away, as if in a game of
Despite all that Hamlet has told her, however, hide-and-seek.
she assumes him mad and we find her at the Analysis
opening of this scene with Claudius, emotions Act 4, Scene 2 is short; the action is fast-
under control, and reporting on it all. moving now and Shakespeare uses the short,
Claudius forces himself to remain calm as quick scenes to keep the excitement rolling.
Gertrude tells him of the death of Polonius Hamlet plays his madness to the frustration of
and Hamlet's seemingly mad ramblings. He Rosencrantz and Guildenstern, who have been
seizes on the incident as further reason to send directed to find Polonius's body.
Hamlet away. Beyond putting that plan in Often, particularly in the later scenes of the
motion, however, Claudius's major concern is play, Hamlet's fiery speech and behavior seem
damage control. After Rosencrantz and fueled as much by his disappointment in some
Guildenstern go in search of Hamlet, of the people closest to him as by his feigned
preparing to sail that night, Claudius suggests madness. And, although his path is not clear
that he and Gertrude seek out their wisest to him yet, Hamlet feels more confident in his
friends and tell them what has happened. He is thinking and decisions. In this scene, even as
convinced that putting their spin (or he runs off with Rosencrantz and Guildenstern
interpretation) on the news will prevent in pursuit, Hamlet is less about thought and
Hamlet's crime from staining their reputation. more about action.
As always, Claudius remains concerned with Act 4, Scene 3
Summary
appearances just as Polonius was.
Claudius, by himself, talks of his intent to
send Hamlet to England—a plan made all the
more reasonable because Hamlet has killed Hamlet's having slipped into a position of
Polonius. Rosencrantz and Guildenstern come control. The differences are subtle between
to the king with Hamlet in tow. When Hamlet's behavior then and now, but it is
Claudius asks the whereabouts of Polonius's clear: the game is turning—regardless of the
body, he too is answered in riddles until at ship headed for England that will soon have
last, as if tired of the game, Hamlet tells them Hamlet aboard.
where to find the corpse. In the final moment of this scene, Claudius is
Claudius then tells Hamlet they must send him again talking with himself. From his musings
away—for his safety—to England. Hamlet —said as if he is speaking to England—it is
consents, and as he exits, Claudius instructs revealed he feels that Hamlet's presence is
Rosencrantz and Guildenstern to follow, driving him mad and that he plans to have the
saying they must set sail tonight. prince executed upon his arrival.
Once alone, Claudius reveals the papers he Act 4, Scene 4
has sent with Rosencrantz and Guildenstern Summary
ordering Hamlet's death. In this scene, set somewhere near Elsinore
Analysis Castle, Hamlet, Rosencrantz, and
The more opportunities audiences have to see Guildenstern are headed for the ship that will
Claudius on his own, the more information is carry them to England. They pass Fortinbras
provided about the inner workings of his and his army, which is passing Elsinore en
brain. As this scene opens, Claudius expounds route to Poland. Hamlet stops to speak with
on Hamlet's slaying of Polonius as an the captain whom Fortinbras has sent to greet
excellent rationale for sending him abroad. King
Oddly, something about Claudius's use of the Claudius and thank him for permission to pass
royal "we" and the points he is making to through Denmark.
himself come across as someone desperately When the captain presses on, Hamlet stops a
seeking to regain control of a situation. moment, alone, and compares himself to
Shakespeare, ever in command, may certainly young Fortinbras. He rebukes himself for his
have intended his speech to straddle the line failure to seek revenge for his murdered father
between sanity and madness. when Fortinbras, another young prince who
Hamlet's banter with Rosencrantz, also lost his father, goes to war for honor over
Guildenstern, and Claudius about Polonius's a worthless piece of land. At the close of this
body seems to be one more example of
soliloquy, he again pledges himself to the act than to let her wild talk and accusations fall on
the ghost has assigned him. fertile ears. Gertrude submits.
Analysis Ophelia enters and is obviously in a disturbed
This scene brings Fortinbras back into the state, singing and talking in a disconnected
picture as contrast to Hamlet. As Hamlet way. Claudius joins them and both king and
considers the similarities between the two (his queen are shocked by Ophelia's behavior.
definition of greatness and his own When Ophelia leaves, Claudius informs
shortcomings), the audience may feel a shift Gertrude that Laertes has secretly returned
in Hamlet's resolution. He sees the from France after hearing of his father's death.
doggedness with which Fortinbras and his As they speak, there is noise beyond their
men pursue their goal, even though their goal door, and a messenger enters to warn king and
is obtaining a tiny plot of soil that, at best, is queen that Laertes, leading a riotous group of
"a little patch of ground that hath in it no people, has come to see them.
profit but the name." Something in that Laertes enters; though angry, he convinces his
realization and in his discussion with followers to wait outside. He confronts
Fortinbras's captain seems to settle in Hamlet. Claudius and Gertrude, demanding answers
The scene closes with the prince's renewed and his father's body. As the king and queen
resolution that "from this time forth my try to calm him, Ophelia returns, still singing,
thoughts be bloody, or be nothing worth!" offering flowers, and wandering in her
This quote leaves the audience with the distraction. Laertes's anger is nearly
impression that something of Fortinbras— overwhelmed by his grief at the sight of his
something of his quickness to action—has sister. Claudius seizes Laertes's moment of
inspired Hamlet. weakness and, with comforting words and
Act 4, Scene 5 gestures, convinces Laertes to come with him
Summary so that he may explain the circumstances of
Back at Elsinore Castle, Ophelia has requested
Polonius's death. Claudius promises Laertes
an audience with Gertrude. Having heard that
that he will give his crown and kingdom if
Ophelia has been acting strangely since her
they find him—or Gertrude—at fault, but
father's death, the queen does not want to
otherwise they will stand beside Laertes and
speak with her. But Horatio and other advisers
help him through this tragedy.
suggest it might be better to speak with her
Analysis and he alone was taken prisoner. He explains
Madness once again is central in this scene; the pirates are "thieves of mercy," and he is to
this time the madness—real as opposed to do something for them. He asks that Horatio
feigned—is Ophelia's. It comes to the help the sailors get the other letters to the king
foreground as Gertrude and Claudius realize and then have the sailors deliver Horatio to
that Ophelia has lost control of her senses at Hamlet. Having read his letter, Horatio
her father's death (and the loss of Hamlet's departs with the sailors to find Hamlet.
affection). Her songs, though they may seem Analysis
nonsensical, point to her concern with her Through the continued quick scenes,
dead father and the loss of Hamlet's affection. audiences learn of a sudden turn of events:
On the heels of this revelation, Laertes storms Hamlet has returned to Denmark. In letters
Elsinore. He has evolved into a man of action that he has delivered to Horatio and Claudius,
—perhaps more like Fortinbras than before. Hamlet acquaints everyone with his situation.
Whereas he had seemed more in alignment Having been taken by pirates who treated him
with Hamlet in the past, his time away may well, he has since returned to Denmark.
have changed that. However, Laertes now (Undoubtedly, the sailors who present the
appears to lack balance, and his taste for letters are the pirates, but that is not
revenge will be his undoing—and the undoing addressed.) A growing sense of boldness
of several others. By the play's end, both radiates from Hamlet's actions. Instead of
Fortinbras and Hamlet will have achieved overthinking, Hamlet seems to be finding his
their independence, although only Fortinbras footing and striking a better balance between
will live to carry it into his maturity. Laertes, thought and action.
though he initially seems to be of strong Interestingly, the plot seems to be shedding
character, is batted about by Polonius and some of the focus on truth versus deceit. As is
Claudius, and never comes into his own. true of Hamlet himself, there appears to be a
Act 4, Scene 6 greater focus on the action. Claudius and
Summary Laertes are perhaps the last characters to still
Horatio is approached by sailors bearing display the deceit that was so prevalent in
letters from Hamlet. One of the letters is for Elsinore during the early acts.
him; the others are for the king. In the letter to
Horatio, Hamlet explains that en route to
England their ship was overtaken by pirates,
Act 4, Scene 7 Claudius has cunningly managed to convince
Summary Laertes of his innocence with regard to
Claudius and Laertes are together in Elsinore. Polonius's death. Now his deception evolves
As promised, even further, as he persuades Laertes to follow
Claudius explains the circumstances of his lead in a plot to kill Hamlet. Laertes is so
Polonius's death to driven by revenge that he agrees, as long as he
Laertes, as well as his reasoning for sending himself can be the one who deals a death blow
Hamlet abroad. Just as they touch on the to the prince.
subject of Laertes's revenge for his father and Hamlet's return to Denmark creates the
sister, a messenger enters with letters for the opportunity. Claudius is now so certain that
king from Hamlet. Hamlet must die that his ego tells him they
Hamlet informs Claudius that he is back in can murder Hamlet in front of Gertrude and
Denmark and wishes to meet with him the have her be none the wiser. The plan that
next day. Hamlet writes that he will explain Claudius and Laertes devise is simple. He
everything when they meet. Knowing that flatters Laertes regarding his fencing skill and
Hamlet has returned, Claudius and Laertes Laertes becomes so eager to kill Hamlet that
devise a plan for a fencing match where he devises a plan to poison his sword; the
Laertes will use a poisoned foil. As a backup slightest cut will kill the prince. Claudius
plan, Claudius will also have a poisoned drink devises a backup plan; he will have a
waiting for him. poisoned drink standing by for Hamlet in case
Just as the plan is settled, the queen enters Laertes fails to wound him. As usual,
with news that Ophelia has drowned. Claudius has concocted the plan so that even
Analysis if it fails, it should not touch him.
The action in this scene speeds along, giving
Act 5, Scene 1
audiences a feeling of certainty that a collision Summary
of some sort is imminent but that the who, In a churchyard, a sexton and a gravedigger
when, and where are yet mysteries. prepare a grave. As they go about their
Shakespeare, the master storyteller, is at his business, they are wrapped in their own
best here, giving detail and maintaining discussions. Some of what they say is banter;
excitement and tension. some of what they say has cultural and
As the scene begins, we find Claudius and religious aspects to it.
Laertes together when Hamlet's letter arrives;
As one of the men ambles off for liquor, Analysis
Hamlet and Horatio converge. They speak to Act 5, Scene 1 is iconic. As the various plots
the gravedigger, asking about his work, and he and themes converge, the characters
tells them he has been a gravedigger since themselves also converge—all in the
King Hamlet defeated Fortinbras. When graveyard. That one of the final scenes is set
Hamlet asks how long that has been, the in a graveyard is reminiscent of the play's
gravedigger notes that it's been 30 years, opening scene with the ghost on the wall—
having taken place on the day that young both reflecting on the idea of man's mortality.
Hamlet was born. As they talk, the Here Hamlet is presented from two vantage
gravedigger hands Hamlet a skull; it turns out points. Early on, with Horatio, he talks with
to be the skull of the former king's jester, gravediggers, one of whom hands him the
Yorick. Hamlet, examining the skull, is struck skull of King Hamlet's former jester, Yorick.
by the information; he tells Horatio that he Yorick, as it happens, was a friend to Hamlet
had known Yorick well. in childhood, and the moment releases all
A procession appears. Claudius, Gertrude, and sorts of good memories for Hamlet. There,
Laertes lead, followed by a coffin and various Hamlet is perhaps seen closest to his former
other courtiers and attendants. By what people self—before his father's death set him on a
begin to say, it dawns on Hamlet that this is collision course with his uncle. He is warm,
Ophelia's funeral. With Horatio beside him, he funny, thoughtful, and beloved, just as
watches in disbelief. audiences have been told he was.
Overcome by grief, Laertes jumps into Hamlet is also shown as reacting rather than
Ophelia's grave, shouting to be buried with thinking, as he jumps into Ophelia's grave in a
her. Hamlet, also overcome, reveals himself moment of unchecked action. He does not
and jumps in after Laertes, also proclaiming think it through; he does not examine the
his sorrow. The two fight, but Horatio and many ramifications. Like Fortinbras, he is in
others in attendance separate them and pull the moment, and in that moment he declares
them from the grave. Hamlet professes his himself with more power and certainty than at
love for Ophelia—as well as his admiration any other moment in the play. And though his
for Laertes—and runs off. Claudius sends actions are unchecked, they are not
Horatio after Hamlet and steadies Laertes's uncontrolled. Rather, everything about Hamlet
resolve, telling him his opportunity for has come together at last.
revenge will be here soon.
Laertes and Hamlet's clash in Ophelia's grave into Hamlet's cup of wine. An attendant offers
foreshadows the final clash to come. That it the cup to Hamlet, who waves him off. After
takes place in a grave suggests that one or both Hamlet hits Laertes a second time, Gertrude
might not make it out alive. reaches for the drink. Claudius attempts to
Act 5, Scene 2 stop her, but she insists and unknowingly
Summary drinks the poison. Yet again, Shakespeare
In the final scene, all are back at Elsinore uses dramatic irony to great effect, as
Castle. Hamlet gives Horatio the details of the Claudius accidentally murders his wife.
failed journey to England. He describes Laertes, becoming desperate, finally scores a
discovering that the papers carried by hit on Hamlet. A scuffle ensues, the foils are
Rosencrantz and Guildenstern called for exchanged, and, as the duel resumes, Hamlet
Hamlet's death. Hamlet tells Horatio that he makes his third hit on Laertes—this time with
replaced the original documents with forgeries the poisoned foil. Before anything more can
that called for the bearers to be put to death— occur, the queen succumbs to the poison she
and that Rosencrantz and Guildenstern were has drunk and collapses. Laertes, realizing
carrying them when the pirates captured that he has been hit by his own poisoned foil,
Hamlet. cries out that he has been killed by his own
A courtier, Osric, approaches Horatio and treachery. On the heels of his words, the
Hamlet with a message for Hamlet from the queen realizes what is happening, exclaims
king. Osric tells Hamlet that he has been that the drink has been poisoned, and dies.
invited to test his skills in a friendly duel with Hamlet calls for the doors of the hall to be
Laertes. Claudius wagers against Hamlet's locked at once and demands they get to the
abilities and wishes to know if Hamlet will cause of the treachery. Laertes speaks up in
accept the challenge. Hamlet does. his final moments, informing everyone that he
People gather for the duel: Claudius, Gertrude, and Hamlet have been poisoned by the foil,
Laertes, Hamlet, Horatio, and a number of that Gertrude has also been poisoned, and that
lords and attendants. Hamlet and Laertes the king is to blame. In a fury, Hamlet hits the
shake hands, and Hamlet asks for Laertes's king with the tainted foil and forces him to
forgiveness. drink from the poisoned cup. Claudius soon
The duel begins, and Hamlet hits Laertes. The dies. Laertes calls out, begging Hamlet's
king cheers on Hamlet and, with a false forgiveness and saying that if they forgive
display of affection, drops a poisoned pearl each other, neither his nor his father's death
will be on Hamlet and Hamlet's death will not murdering his brother and taking his crown
be on him. They agree as Laertes closes his and his queen. That it ends here in this
eyes. scene, with Claudius having put together yet
Hamlet, now failing, bids his dead mother another plot to secure his power, gives the
goodbye and collapses. Horatio comforts him play a feeling of having come full circle.
and attempts to drink the last of the wine, but That this particular scheme has gone bad,
Hamlet stops him. Hamlet implores Horatio to costing Claudius and Gertrude their lives,
live on and, if he loved him, to take his story are instances of situational and dramatic
to the world. irony.
Sounds in the castle announce the return of Thought versus action: Hamlet, in this final
Fortinbras from Poland and the arrival of the English scene, may finally have struck a balance
ambassadors. Hamlet prophesizes that Fortinbras between thought and action. It is as if the
will become king of Denmark. As he dies, Fortinbras idealistic intellectual finally woke up,
and the ambassadors enter, shocked at the carnage realizing thinking alone is not enough. That
around them. Horatio tells the arrivals what has he won't be able to take that new-found skill
occurred, and Fortinbras asks that Hamlet be borne into maturity contributes to the tragedy.
away with the honor of a soldier. Thought versus action is also evident in
Analysis Fortinbras. This Fortinbras is different from
As with all Shakespearean tragedies, the final the character the audience heard about when
scene ends with a number of dead people. he was initially passing through Denmark.
That it includes Hamlet and Laertes moves us; Time and experience—and now the stunning
that it includes Gertrude, who fell an scene he finds at Elsinore—seem to help
unwitting victim to her husband's schemes— Fortinbras become a more tempered
as she has been from the outset—adds to that person. He shows himself bold but thoughtful
sorrow. That Claudius is dead leaves the when he stumbles into the death-filled hall;
audience with the feeling that the "something clearly someone needs to take charge, and
rotten in Denmark" may have been cleaned up Fortinbras does.
at last. But the feeling communicated here is that,
This scene touches on a number of the major unlike the Fortinbras who at the beginning
themes: was all action and no thought, this Fortinbras
Truth versus deception: The entire play thinks as he acts. In a sense, it is as if
rests on Claudius's original act of deception: Fortinbras and Hamlet, originally representing
two ends of a continuum, have now moved to husband to catch her son. And Hamlet, who is
the middle—to the point that they may have just coming into his own, suggests that death
more in common with each other than not. is inevitable and truly waits for no man.
Sadly, the world Shakespeare has created
within this play will never know what might
have been.
Madness: Madness has permeated the play. In
Act 1, Scene 1, the soldiers on the watch do
not want people to know they think they saw a
ghost. By Scenes 4 and 5 of Act 1, Hamlet
and Horatio wonder if they have actually seen
King Hamlet's ghost, prompting Hamlet to
assume an "antic disposition." In Act 2, others
begin to question Hamlet's sanity; close to the
end of Act 4, everyone agrees Ophelia truly is
mad; and audiences must certainly wonder
about Claudius's sanity. But by the end of this
scene, it is only Claudius's madness—spurred
by a need to secure his position—that the play
contends with.
Mortality: Musings on mortality abound
throughout the play. The ghost, Hamlet's dress
in the beginning of the play, the grave and the
graveyard, Yorick's skull, the many deaths in
the play (and the various ways by which
characters die) all underscore that we all must
eventually face death. In the final scene,
Laertes, Hamlet, Gertrude, and Claudius all
die. There is situational irony in that Laertes
and Claudius die by the scheme they've
hatched. Gertrude's death shows dramatic
irony, as she is caught up in a trap set by her
g Quotes his uncle. This line raises one of the play's
"O ... that the Everlasting had not main questions: Has Hamlet actually gone
fix'd/His canon 'gainst selfslaughter!" mad, or is he just pretending?
— Hamlet, Act 1, Scene 2
"Why, what an ass am I. ... That I/ ...
Hamlet has just discovered his mother's must like a whore unpack my heart
remarriage to her brother-in-law, a with words."
relationship Hamlet believes is incestuous and — Hamlet, Act 2, Scene 2
a betrayal of his father. This is the first time of Hamlet's fatal flaw is his inability to act
many that Hamlet considers suicide, but notes decisively to avenge his father's death. He
that religion forbids it. would rather analyze and theorize than act
"Something is rotten in the state of boldly. He recognizes this flaw and chastises
Denmark." himself for it, but it will take him the entire
— Marcellus, Act 1, Scene 4 play to reconcile it into action.
After seeing King Hamlet's ghost, Marcellus "The spirit that I have seen may be a
notes that something terrible must be devil."
happening if the king's ghost has come back — Hamlet, Act 2, Scene 2
to haunt the land. It's unclear at this point Hamlet describes the reasoning behind his
whether the king's ghost (which is dressed in inaction—he is not sure whether the ghost he's
full armor) has come back for personal or seen is actually his father, or if he is being
political reasons. tricked. Hamlet enjoys analysis and is always
"One may smile, and smile, and be a looking for reasons to sit and think rather than
villain." to act.
— Hamlet, Act 1, Scene 5 "To be or not to be, that is the
In this soliloquy, Hamlet places blame for his question."
current situation on both Claudius (for killing — Hamlet, Act 3, Scene 1
his father) and his mother (for betraying King In this, the most famous line from the play,
Hamlet by marrying so soon). Hamlet questions whether it would be better
"How strange or odd some'er I bear to live in suffering or simply die. This gives
myself." the audience great insight into his emotional
— Hamlet, Act 1, Scene 5 struggles in the play.
Quotes 25

In this line, Hamlet plans to pretend to have

gone mad so he won't be suspected of killing
 "You go not till I set you up a Yorick's Skull
glass/Where you may see the inmost The most obvious symbol in the play—and
part of you." perhaps in Shakespeare's entire body of work
— Hamlet, Act 3, Scene 4 —Yorick's skull represents mortality. Should
During an altercation with his mother, Hamlet the audience have any question about this
wants Gertrude to look at herself in the mirror symbolism, Hamlet explains it to them (and
and account for her sins, but Gertrude Horatio) when he says, "No matter one's
misinterprets his outburst and believes he is stance in life, we all must face our own
going to kill her. Immediately after this, mortality." Hamlet has learned that death is
Polonius reacts to save her, and Hamlet inevitable and, given the "haunting" by his
(mistakenly believing he is Claudius) kills father's ghost, that the physical body is only
him. This is the point of no return for temporary (Act 5, Scene 1).
Hamlet's character. The Mousetrap
Hamlet, in asking the players to perform The
"Sith, I have cause, and will, and
Murder of Gonzago with a few revisions,
strength, and means to do't."
suggests that he has an understanding and
— Hamlet, Act 4, Scene 4
appreciation for the idea of life imitating art.
After being banished to England, Hamlet
In this particular case, Hamlet is hoping to put
undergoes the transformation he has been
that idea to use to catch the conscience of the
waiting for. He recognizes that a man's
king. In The Mousetrap, the edited version of
purpose in life is to act—and he is finally
the play, nearly everything is a symbol for the
filled with enough motivation to stop
truth Hamlet hopes to uncover, with the most
dithering and avenge his father's death.
obvious symbols in the casting: "I'll have
"The rest is silence."
these players play something like the murder
— Hamlet, Act 5, Scene 2
of my father." The King in The Mousetrap
These are Hamlet's last words before death.
symbolizes
He has just explained all to his friend,
King Hamlet and The Poisoner obviously
Horatio, and accepts the inevitability of his
symbolizes Claudius.
death, which he has mused about being the
The Ghost
great equalizer. For a man as wavering and
While the ghost symbolizes decay or evil
introspective as Hamlet, his final words are
—"Something is rotten in the state of
particularly astute.
Denmark" (Act 1, Scene 4)—it is an
l Symbols
ambiguous character. It is not clear whether
Symbols 26
the ghost is truly the spirit of Hamlet's father, life, looking at it from both religious and
a demon that wants to mislead the prince, or a secular perspectives.
figment of Hamlet's imagination. Hamlet tries Truth versus Deception
to find out by asking it, "Be thou a spirit of The idea of truth versus deception, which at
health, or goblin damned/... Be thy intents times is expressed more as reality versus
wicked, or charitable?" The ghost appears appearance, is prevalent in Hamlet. This
with the purpose of seeking revenge for his theme plays out in major ways; the deceitful
death. He comes dressed in armor, prepared way by which Claudius came to power
for battle, but because he is a spirit, he needs underpins the entire play. And it is also
Hamlet's physical strength to exact revenge. developed in smaller ways; the fact that
Vengeance is a dangerous emotion, however, Polonius is willing to spread rumors about
and it nearly drives both Hamlet and Laertes Laertes to investigate his behavior in France
mad through obsession: "O, from this time tells us something about the nature of
forth my thoughts be bloody, or be nothing Polonius's relationships with his children.
worth!" The play presents many characters who thrive
Themes on deceit (Polonius, Claudius), and many
Mortality situations that evolve out of deceit (Polonius's
For a play that is often depicted by the image death when he tries to eavesdrop on Gertrude
of Hamlet contemplating Yorick's skull in the and Hamlet).
graveyard scene, it is not surprising that Every scene and act contain examples, such
Shakespeare uses mortality as a central theme. as:
It comes across in a number of ways: the Themes 27
ghost of Hamlet's father; Hamlet's
The presence of the ghost—as a witness to
contemplation of suicide and Ophelia's
the truth, or as a figment of Hamlet's
suicide; Hamlet's tendency for black dress (at
imagination
least in the early scenes); the players'
The presence of Rosencrantz and
performance of The Murder of Gonzago; the
Guildenstern—and their true mission—in
gravediggers, the grave, and the funeral as
Elsinore
well as the skull in the graveyard scene; and
Claudius's motivation in bringing Rosencrantz
the numerous deaths in the play's final scene.
and
But what does Shakespeare say about
Guildenstern to Elsinore
mortality in his presentation? Primarily, he
Claudius's very existence
explores the concept as part of the cycle of
The company of players like Fortinbras, wants to take immediate steps
Hamlet putting on an "antic disposition" to avenge his father's death and has none of
Thought versus Action the doubt that causes Hamlet to delay his
A life of thought versus a life of action is a revenge against Claudius.
theme woven throughout the play. Although Madness
Hamlet seems like a man of thought through Madness is a theme explored in Hamlet,
much of the play, by the end he finds balance particularly as it relates to Hamlet, Ophelia,
between the two. This suggests that and maybe even Claudius (if one considers
Shakespeare's final idea on the topic is that egomania a form of madness). Interestingly,
the best approach to life strikes a balance too, madness goes hand-in-hand with truth
between thought and action. versus deception because whether Hamlet's
From the outset, both Laertes and Fortinbras madness is real or feigned remains an open
are foils for Hamlet. Whereas Hamlet initially question throughout the play.
thinks deeply before any action, Fortinbras Revenge
seems prone to action before thought. Laertes, Revenge is a prominent theme in Hamlet and
a catalyst to

many events in the plot. Several characters seek revenge:

The ghost of Hamlet's father wants Hamlet to
avenge his death.
Laertes wants to avenge both Polonius's and
Ophelia's deaths.
Fortinbras wants revenge for his father's death
and for military losses.
Of the characters prominently involved in
vengeful action, Fortinbras is the only one
who does not die as a direct result. It might be
said that Hamlet's death was less a result of
his own action (or attempted action) and
unavoidable because Claudius and his need to
protect his position was the force behind that
string of events. It could be argued that
Claudius's actions might have resulted in
Hamlet's demise regardless of whatever
Hamlet decided to do about the ghost's
entreaty.
Both Hamlet and Fortinbras grow in spite of—
or perhaps because of—the vengeful actions
they undertake or attempt to undertake. The
same might not be said about Laertes,
however, unless the last-minute wisdom by
which he asks for and extends forgiveness
counts. And, ultimately, with the carnage of
the final scene so poignant, Shakespeare could
be making a case for the uselessness of
revenge, but that could also be a 21st-century
viewpoint overlaid on a 17th-century drama.
Suggested Reading
Kinney, Arthur F. Hamlet: New Critical Essays. New York:
Routledge, 2002. Print.
McEachern, Claire Elizabeth. The Cambridge
Companion to Shakespearean Tragedy. Cambridge:
Cambridge U, 2002.