Claudius and Gertrude discuss Hamlet’s behavior with Rosencrantz and Guildenstern, who say they have been unable to learn the cause of his melancholy. They tell the king and queen about Hamlet’s enthusiasm for the players. Encouraged, Gertrude and Claudius agree that they will see the play that evening. Rosencrantz and Guildenstern leave, and Claudius orders Gertrude to leave as well, saying that he and Polonius intend to spy on Hamlet’s confrontation with Ophelia. Gertrude exits, and Polonius directs Ophelia to walk around the lobby. Polonius hears Hamlet coming, and he and the king hide.
Hamlet enters, speaking thoughtfully and agonizingly to himself about the question of whether to commit suicide to end the pain of experience: “To be, or not to be: that is the question” (III.i.58). He says that the miseries of life are such that no one would willingly bear them, except that they are afraid of “something after death” (III.i.80). Because we do not know what to expect in the afterlife, we would rather “bear those ills we have,” Hamlet says, “than fly to others that we know not of” (III.i.83–84). In mid-thought, Hamlet sees Ophelia approaching. Having received her orders from Polonius, she tells him that she wishes to return the tokens of love he has given her. Angrily, Hamlet denies having given her anything; he laments the dishonesty of beauty, and claims both to have loved Ophelia once and never to have loved her at all. Bitterly commenting on the wretchedness of humankind, he urges Ophelia to enter a nunnery rather than become a “breeder of sinners” (III.i.122–123). He criticizes women for making men behave like monsters and for contributing to the world’s dishonesty by painting their faces to appear more beautiful than they are. Working himself into a rage, Hamlet denounces Ophelia, women, and humankind in general, saying that he wishes to end all marriages. As he storms out, Ophelia mourns the “noble mind” that has now lapsed into apparent madness (III.i.149).
The king and Polonius emerge from behind the tapestry. Claudius says that Hamlet’s strange behavior has clearly not been caused by love for Ophelia and that his speech does not seem like the speech of insanity. He says that he fears that melancholy sits on something dangerous in Hamlet’s soul like a bird sits on her egg, and that he fears what will happen when it hatches. He declares that he will send Hamlet to England, in the hope that a change of scenery might help him get over his troubles. Polonius agrees that this is a good idea, but he still believes that Hamlet’s agitation comes from loving Ophelia. He asks Claudius to send Hamlet to Gertrude’s chamber after the play, where Polonius can hide again and watch unseen; he hopes to learn whether Hamlet is really mad with love. Claudius agrees, saying that “[m]adness in great ones” must be carefully watched (III.i.187).
That evening, in the castle hall now doubling as a theater, Hamlet anxiously lectures the players on how to act the parts he has written for them. Polonius shuffles by with Rosencrantz and Guildenstern, and Hamlet dispatches them to hurry the players in their preparations. Horatio enters, and Hamlet, pleased to see him, praises him heartily, expressing his affection for and high opinion of Horatio’s mind and manner, especially Horatio’s qualities of self-control and reserve. Having told Horatio what he learned from the ghost—that Claudius murdered his father—he now asks him to watch Claudius carefully during the play so that they might compare their impressions of his behavior afterward. Horatio agrees, saying that if Claudius shows any signs of guilt, he will detect them.
The trumpets play a Danish march as the audience of lords and ladies begins streaming into the room. Hamlet warns Horatio that he will begin to act strangely. Sure enough, when Claudius asks how he is, his response seems quite insane: “Excellent, i’ faith; of the chameleon’s dish: I eat the air, promise-crammed” (III.ii.84–86). Hamlet asks Polonius about his history as an actor and torments Ophelia with a string of erotic puns.
The players enter and act out a brief, silent version of the play to come called a “dumbshow.” In the dumbshow, a king and queen display their love. The queen leaves the king to sleep, and while he is sleeping, a man murders him by pouring poison into his ear. The murderer tries to seduce the queen, who gradually accepts his advances.
The players begin to enact the play in full, and we learn that the man who kills the king is the king’s nephew. Throughout, Hamlet keeps up a running commentary on the characters and their actions, and continues to tease Ophelia with oblique sexual references. When the murderer pours the poison into the sleeping king’s ear, Claudius rises and cries out for light. Chaos ensues as the play comes to a sudden halt, the torches are lit, and the king flees the room, followed by the audience. When the scene quiets, Hamlet is left alone with Horatio.
Hamlet and Horatio agree that the king’s behavior was telling. Now extremely excited, Hamlet continues to act frantic and scatterbrained, speaking glibly and inventing little poems. Rosencrantz and Guildenstern arrive to tell Hamlet that he is wanted in his mother’s chambers. Rosencrantz asks again about the cause of Hamlet’s “distemper,” and Hamlet angrily accuses the pair of trying to play him as if he were a musical pipe. Polonius enters to escort Hamlet to the queen. Hamlet says he will go to her in a moment and asks for a moment alone. He steels himself to speak to his mother, resolving to be brutally honest with her but not to lose control of himself: “I will speak daggers to her, but use none” (III.ii.366).
Elsewhere in the castle, King Claudius speaks to Rosencrantz and Guildenstern. Badly shaken by the play and now considering Hamlet’s madness to be dangerous, Claudius asks the pair to escort Hamlet on a voyage to England and to depart immediately. They agree and leave to make preparations. Polonius enters and reminds the king of his plan to hide in Gertrude’s room and observe Hamlet’s confrontation with her. He promises to tell Claudius all that he learns. When Polonius leaves, the king is alone, and he immediately expresses his guilt and grief over his sin. A brother’s murder, he says, is the oldest sin and “hath the primal eldest curse upon’t” (III.iii.37). He longs to ask for forgiveness, but says that he is unprepared to give up that which he gained by committing the murder, namely, the crown and the queen. He falls to his knees and begins to pray.
Hamlet slips quietly into the room and steels himself to kill the unseeing Claudius. But suddenly it occurs to him that if he kills Claudius while he is praying, he will end the king’s life at the moment when he was seeking forgiveness for his sins, sending Claudius’s soul to heaven. This is hardly an adequate revenge, Hamlet thinks, especially since Claudius, by killing Hamlet’s father before he had time to make his last confession, ensured that his brother would not go to heaven. Hamlet decides to wait, resolving to kill Claudius when the king is sinning—when he is either drunk, angry, or lustful. He leaves. Claudius rises and declares that he has been unable to pray sincerely: “My words fly up, my thoughts remain below” (III.iii.96).
In Gertrude’s chamber, the queen and Polonius wait for Hamlet’s arrival. Polonius plans to hide in order to eavesdrop on Gertrude’s confrontation with her son, in the hope that doing so will enable him to determine the cause of Hamlet’s bizarre and threatening behavior. Polonius urges the queen to be harsh with Hamlet when he arrives, saying that she should chastise him for his recent behavior. Gertrude agrees, and Polonius hides behind an arras, or tapestry.
Hamlet storms into the room and asks his mother why she has sent for him. She says that he has offended his father, meaning his stepfather, Claudius. He interrupts her and says that she has offended his father, meaning the dead King Hamlet, by marrying Claudius. Hamlet accosts her with an almost violent intensity and declares his intention to make her fully aware of the profundity of her sin. Fearing for her life, Gertrude cries out. From behind the arras, Polonius calls out for help. Hamlet, realizing that someone is behind the arras and suspecting that it might be Claudius, cries, “How now! a rat?” (III.iv.22). He draws his sword and stabs it through the tapestry, killing the unseen Polonius. Gertrude asks what Hamlet has done, and he replies, “Nay, I know not: / Is it the king?” (III.iv.24). The queen says his action was a “rash and bloody” deed, and Hamlet replies that it was almost as rash and bloody as murdering a king and marrying his brother (III.iv.26–28). Disbelieving, the queen exclaims, “As kill a king!” and Hamlet replies that she heard him correctly (III.iv.29).
Hamlet lifts the arras and discovers Polonius’s body: he has not killed the king and achieved his revenge but has murdered the relatively innocent Polonius. He bids the old man farewell, calling him an “intruding fool” (III.iv.30). He turns to his mother, declaring that he will wring her heart. He shows her a picture of the dead king and a picture of the current king, bitterly comments on the superiority of his father to his uncle, and asks her furiously what has driven her to marry a rotten man such as Claudius. She pleads with him to stop, saying that he has turned her eyes onto her soul and that she does not like what she sees there. Hamlet continues to denounce her and rail against Claudius, until, suddenly, the ghost of his father again appears before him.
Hamlet speaks to the apparition, but Gertrude is unable to see it and believes him to be mad. The ghost intones that it has come to remind Hamlet of his purpose, that Hamlet has not yet killed Claudius and must achieve his revenge. Noting that Gertrude is amazed and unable to see him, the ghost asks Hamlet to intercede with her. Hamlet describes the ghost, but Gertrude sees nothing, and in a moment the ghost disappears. Hamlet tries desperately to convince Gertrude that he is not mad but has merely feigned madness all along, and he urges her to forsake Claudius and regain her good conscience. He urges her as well not to reveal to Claudius that his madness has been an act. Gertrude, still shaken from Hamlet’s furious condemnation of her, agrees to keep his secret. He bids her goodnight, but, before he leaves, he points to Polonius’s corpse and declares that heaven has “punished me with this, and this with me” (III.iv.158). Hamlet reminds his mother that he must sail to England with Rosencrantz and Guildenstern, whom he says he will regard with suspicion, as though they were poisonous snakes, since he assumes that their loyalties are with Claudius, not with him. Dragging Polonius’s body behind him, Hamlet leaves his mother’s room.
Hamlet Act I
On a dark winter night outside Elsinore Castle in Denmark, an officer named Bernardo comes to relieve the watchman Francisco. In the heavy darkness, the men cannot see each other. Bernardo hears a footstep near him and cries, “Who’s there?” After both men ensure that the other is also a watchman, they relax. Cold, tired, and apprehensive from his many hours of guarding the castle, Francisco thanks Bernardo and prepares to go home and go to bed.
Shortly thereafter, Bernardo is joined by Marcellus, another watchman, and Horatio, a friend of Prince Hamlet. Bernardo and Marcellus have urged Horatio to stand watch with them, because they believe they have something shocking to show him. In hushed tones, they discuss the apparition they have seen for the past two nights, and which they now hope to show Horatio: the ghost of the recently deceased King Hamlet, which they claim has appeared before them on the castle ramparts in the late hours of the night.
The morning after Horatio and the guardsmen see the ghost, King Claudius gives a speech to his courtiers, explaining his recent marriage to Gertrude, his brother’s widow and the mother of Prince Hamlet. Claudius says that he mourns his brother but has chosen to balance Denmark’s mourning with the delight of his marriage. He mentions that young Fortinbras has written to him, rashly demanding the surrender of the lands King Hamlet won from Fortinbras’s father, and dispatches Cornelius and Voltimand with a message for the King of Norway, Fortinbras’s elderly uncle.
If Hamlet is merely pretending to be mad, as he suggests, he does almost too good a job of it. His portrayal is so convincing that many critics contend that his already fragile sanity shatters at the sight of his dead father’s ghost. However, the acute and cutting observations he makes while supposedly mad support the view that he is only pretending. We have already seen the developing contrast between Hamlet and Laertes. The section involving the Norwegian ambassadors develops another important contrast, this time between Hamlet and Fortinbras. Like Hamlet, Fortinbras is the grieving son of a dead king, a prince whose uncle inherited the throne in his place. But where Hamlet has sunk into despair, contemplation, and indecision, Fortinbras has devoted himself to the pursuit of revenge. This contrast will be explored much more thoroughly later in the play. Here, it is important mainly to note that Fortinbras’s uncle has forbidden him to attack Denmark but has given him permission to ride through Denmark on his way to attack Poland. This at least suggests the possibility that the King of Norway is trying to trick Claudius into allowing a hostile army into his country. It is notable that Claudius appears indifferent to the fact that a powerful enemy will be riding through his country with a large army in tow. Claudius seems much more worried about Hamlet’s madness, indicating that where King Hamlet was a powerful warrior who sought to expand Denmark’s power abroad, Claudius is a politician who is more concerned about threats from within his state.
Hamlet Act II
The ghost’s demand for Hamlet to seek revenge upon Claudius is the pivotal event of Act I. It sets the main plot of the play into motion and leads Hamlet to the idea of feigning madness, which becomes his primary mode of interacting with other people for most of the next three acts, as well as a major device Shakespeare uses to develop his character. Most important, it introduces the idea of in revenge justice, the notion that sin must be returned with punishment. Claudius has committed a sin, and now, to restore balance to the kingdom, the sin must be punished. The idea of retribution haunts and goads characters throughout the play, functioning as an important motivation for action, spurring Claudius to guilt, Hamlet to the avoidance of suicide, and Laertes to murderous rage after the deaths of Ophelia and Polonius.
Polonius dispatches his servant Reynaldo to France with money and written notes for Laertes, also ordering him to inquire about and spy on Laertes’ personal life. He gives him explicit directions as to how to pursue his investigations, then sends him on his way. As Reynaldo leaves, Ophelia enters, visibly upset. She tells Polonius that Hamlet, unkempt and wild-eyed, has accosted her. Hamlet grabbed her, held her, and sighed heavily, but did not speak to her. Polonius says that Hamlet must be mad with his love for Ophelia, for she has distanced herself from him ever since Polonius ordered her to do so. Polonius speculates that this lovesickness might be the cause of Hamlet’s moodiness, and he hurries out to tell Claudius of his idea.
Hamlet Act III
Claudius and Gertrude discuss Hamlet’s unusual actions with Rosencratz, who say they don’t know why he’s sad. They say they will see the play. Polonius and the king hide when they hear Hamlet coming. Hamlet has a soliloquy in which he thinks about suicide. He says that nobody should have to live with this much pain. He then sees Ophelia. He says really really mean stuff to Ophelia that really crushes her. Claudius suspects that Hamlet’s behavior is not because he loves Ophelia and he doesn’t seem to be actually insane even though it appears that way.
Hamlet then lectures the players on how to act the parts of the play. Polonius shuffles by with Rosencrantz and Guildenstern, and Hamlet dispatches them to hurry the players in their preparations. Horatio enters, and Hamlet, pleased to see him, praises him heartily, expressing his affection for and high opinion of Horatio’s mind and manner, especially Horatio’s qualities of self-control and reserve. Having told Horatio what he learned from the ghost—that Claudius murdered his father—he now asks him to watch Claudius carefully during the play so that they might compare their impressions of his behavior afterward.