HAMLET

By William Shakespeare

Matric Summaries by Eden Naidoo

064 929 4532
 CHARACTER ANALYSIS

Hamlet
Prince Hamlet is a gentle, deep-thinking, loving, and loyal man. He is not only intelligent but
also quick-witted, appreciative of his standing, and self-aware. He is a decent soul, well-liked
by those close to him. As an 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, especially those who
get stuck, as Polonius does, in wondering whether the prince is mad.

Polonius
Polonius is counsellor to the king and father to Laertes and Ophelia, although his children
seem to have more heart and more integrity. That he loves his children is a strength, but it
also seems that he might sacrifice their best interests for what is the most politically correct
decision. And while Polonius is in a profession that may demand that type of
submissiveness, one could argue that his tendency toward action without thought—a
tendency that some audiences might say is in a proportion inverse to that of Hamlet's—is a
contributing factor to both Ophelia's and his own demise.

Claudius
Claudius is the king of Denmark. As the tale opens, Claudius has recently ascended to the
throne, taking his deceased brother's (and Hamlet's father's) position; to the chagrin of
many, he has also married his brother's widow, Gertrude. Claudius is a deceitful, corrupt,
jealous, and controlling man—characteristics exhibited again and again throughout the
play. Claudius carries himself well at the outset of the play; his nature is cordial and
reserved as one might expect of well-bred royalty—but this feels forced, or "played." Little by
little, we see Claudius's true nature: cold, calculating, and self-seeking, in contrast to
Hamlet's gentle, introspective nature.

Horatio
Loyal friend to Prince Hamlet, Horatio is also a student at Wittenberg in Germany. He is the
person the sentries Barnardo and Francisco alert after they have twice seen a ghostly
version of the recently deceased king. His role, which he performs well, is trusted ally and
logical thinker. In a sense, it is the calm and collected Horatio who represents a halfway
point between the introspective Hamlet and those who act without thinking, such as
Fortinbras (the young prince of Norway), Polonius, and, at times, Claudius. Horatio, by
virtue of having Hamlet's trust and company, is often privy to the prince's more private
thoughts and plans. Through Horatio, Shakespeare often gives the audience insight into
Hamlet, too. And, ultimately, because Horatio is so close to all that transpires—and yet not
immediately involved—he is able to be a witness to the events in Denmark and, as Hamlet
requested of him, communicate that tale to the world.

Laertes
Adventurous yet obedient, Laertes, whose name comes from Homer's The Odyssey, is
Polonius's son and Ophelia's brother. Early in the play, Laertes, who has most recently been
living in France, comes across as a young man eager to begin his life. When introduced to
the audience, he has come to the royal court, seeking permission from Claudius to return to
France. He is a bit hesitant, maybe even tongue-tied in that setting. But in a scene shortly
after this, with Ophelia in the family home, his character becomes a bit clearer. In that
setting, Laertes is the gentle, loving, older brother. He shows his loyalty, affection,
concern—and a bit of wisdom—when he speaks with his sister about Hamlet. Especially
telling is Laertes's explanation to Ophelia that for persons of state, such as Hamlet, the good
of the country often trumps individual desire—especially with regard to choice of partner.

Ophelia
The daughter of Polonius and sister of Laertes, Ophelia is also Hamlet's love interest. She is a
young, bright, and gentle woman, comfortable even with those above her in rank, like
Gertrude. Although the depth of her relationship with Hamlet is difficult to discern, she is
undoubtedly devoted to him. Her unbridled devotion, along with her obvious inexperience
in love—as well as Hamlet's determination to drive her away from him—all figure into her
misery and, ultimately, her heartbreaking death.

Gertrude
Gertrude is queen to Claudius, the current king of Denmark, and the widow of his brother,
the elder King Hamlet. She is also mother to Prince Hamlet, the main character in this
tragedy. A central quality of Gertrude's character is that she loves her son; it is apparent
from the outset and is a driving force for her.

Ghost
The ghost is the spirit of Hamlet's father, who has recently died. The ghost tells Hamlet that
this was not a natural death. He says he was murdered by Claudius, his brother, and he
urges Hamlet to avenge his death by killing Claudius. The ghost's message unnerves Hamlet.
He does not know whether to believe the ghost, or to think it is some sort of demon there to
trick him into committing murder.
 SUMMARY OF THE PLOT

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 hasty
second marriage. It is clear from his soliloquy in Act 2 that he is confused that his mother
could disregard the sorrow of losing her husband and enter into marriage with his brother.

Meanwhile, Claudius seeks some semblance of normalcy for Denmark. Holding court one
afternoon, Claudius draws attention to young Prince Fortinbras of Norway, who is raising
an army against Denmark. Fortinbras seeks to avenge the death of his father, who had died
in battle against King Hamlet some years before. Claudius does not see the parallel between
that young prince and his nephew, nor does he take a note of caution from the situation.

Claudius casts a more fatherly eye on Laertes, son of his counsellor Polonius, who seeks the
king's blessing for him to return to France, which Claudius approves. Claudius next
chastises Hamlet for the unseemly way in which he mourns for his father, after which he
and Hamlet's mother deny his desire to return to Germany, insisting he stay in Elsinore.

As Laertes prepares to leave for France, he confronts his sister, Ophelia, about her
relationship with Prince Hamlet. He warns her not to take Hamlet's affection seriously. Her
father, Polonius, overhears; when Laertes has gone, he agrees with his son's advice and
orders Ophelia to avoid Hamlet. Heartbroken, Ophelia says she will obey.
Sometime later, Ophelia tells Polonius of a distressing encounter with Prince Hamlet. She
says Hamlet came to her looking bewildered. Polonius thinks Hamlet's love for Ophelia is
driving him mad and decides he must tell the king and queen of this occurrence.

When Polonius visits the king and queen, they are already meeting with Rosencrantz and
Guildenstern, two of Hamlet's childhood friends, in an attempt to figure out Hamlet's
strange behaviour. Also at hand are Voltemand and Cornelius, the ambassadors Claudius
sent to Norway, who are reporting that "Old Norway" has commanded Fortinbras to
abandon aggression against Denmark. Fortinbras vows obedience and will turn his
attention to Poland. Finally, Polonius relates the story of Hamlet's encounter with Ophelia;
he tells the king and queen that he believes Hamlet's love for Ophelia has driven him mad.

Hamlet meets Rosencrantz and Guildenstern and becomes suspicious of their presence in
Elsinore. When they tell him that a company of players (actors) has arrived, he is excited.
Hamlet seeks out the actors and asks them to perform a version of the play The Murder of
Gonzago. By inserting a scene depicting his father's murder, Hamlet hopes his revised play,
The Mousetrap, will catch the king in his guilt.

Claudius and Polonius plan to eavesdrop on Ophelia and Hamlet. As they hide nearby,
Hamlet comes upon Ophelia and they chat. However, he quickly becomes suspicious of
Ophelia’s motives when she tries to return gifts he gave her. He rages wildly with sorrow
and disappointment and tells Ophelia to "get thee to a nunnery" before leaving her.

Ophelia is devastated; Claudius and Polonius are shocked. Claudius realises Hamlet poses a
threat to him. He decides to send Hamlet to England to be rid of him. Polonius agrees but
suggests one last try: have Gertrude talk with him after the play that evening, and he,
Polonius, will eavesdrop on the conversation.

That evening the theatre company performs for Claudius's court. As the players reenact the
scene of the king being poisoned in the garden—as the ghost told Prince Hamlet—Claudius
flies into a panicked rage, halting the play and fleeing the room. Hamlet, with Horatio beside
him, takes this as an admission of guilt.

After the play, Claudius meets with Rosencrantz and Guildenstern and tasks them with
taking Hamlet to England. When they leave to find Hamlet, Claudius admits to King
Hamlet's murder in a soliloquy. He attempts to pray, but finds he cannot repent, because he
is unwilling to give up the rewards gained from the murder: the throne and his wife. Hamlet
passes and sees Claudius on his knees. He thinks how easy it would be to kill his uncle then
and there, but decides not to. Hamlet believes that to kill Claudius while he is in prayer
would grant him entry to Heaven, which Hamlet does not want.

Hamlet meets with Gertrude in her chambers; Polonius hides nearby. Hamlet confronts
Gertrude about her part in King Hamlet's death. When she cries out, Polonius shouts,
revealing his presence, but not his identity. Believing that Claudius is hiding there, Hamlet
stabs Polonius through the tapestry and kills him. Hamlet leaves, dragging Polonius's body
with him. The encounter convinces Gertrude that her son is indeed mad.

Gertrude goes to tell Claudius of her meeting with Hamlet and of Polonius's death. Once he
is alone, Claudius reveals that Hamlet is also soon to die; the documents he is sending with
the ship call for Hamlet's execution.

As Hamlet, Rosencrantz, and Guildenstern head to the boat, they spy Fortinbras and his
army en route to Poland. Hamlet is struck by the contrast between himself and young
Fortinbras. He sees Fortinbras's ability to act—instead of think—as a mark of greatness.
When contrasting himself with Fortinbras, Hamlet finds himself wanting.

Ophelia asks to meet with Gertrude and Claudius, and they realise that she has gone mad
with grief. Laertes, back from France, storms in to see the king and queen and is
heartbroken to find Ophelia in such a confused condition. Claudius convinces Laertes they
had nothing to do with Polonius's death or Ophelia's madness. He counsels Laertes to be
patient and encourages him to follow his counsel to exact his revenge. Laertes consents.

A messenger finds Horatio, bearing letters from Hamlet to Horatio and to Claudius. Hamlet's
letter informs Horatio that he is back in Denmark and has much to tell him about his failed
trip to England. He asks that Horatio lead the messenger to the king to deliver his letters to
him. After that, the messenger will lead Horatio to him.
Claudius and Laertes are together when the king receives word of Hamlet's return. They plot
a fencing duel between Hamlet and Laertes, with Laertes using a poison-tipped foil (sword).
As a backup, they plan to have a poisoned cup of wine ready for Hamlet to drink. They
intend to give Laertes his revenge without putting either of them in harm's way. As they
conclude their meeting, Gertrude brings word that Ophelia has drowned.

Hamlet and Horatio meet in the graveyard where Ophelia is about to be buried. As the
funeral procession gathers around her grave, the grief-stricken Laertes jumps into her grave
and proclaims his love. Hamlet, overcome in the moment, follows, and they fight. Horatio
and the other mourners separate the two as Hamlet boldly proclaims his love for Ophelia.

When Horaito and Hamlet leave the graveyard and enter the castle, Osric, one of Claudius's
courtiers, tells Hamlet that Claudius has wagered on Hamlet to win a fencing match against
Laertes. Hamlet accepts the challenge and says he will strive to win on the king's behalf.

The duel begins. Hamlet strikes Laertes twice and Gertrude drinks to Hamlet's health,
unknowingly drinking the poisoned wine. Alarmed by the way the competition is going,
Laertes finally strikes Hamlet, they scuffle, and the foils are exchanged. Hamlet's next hit on
Laertes poisons him.

Suddenly, the queen collapses. As she dies, Laertes reveals to Hamlet that both of them have
also been poisoned by the foil now in Hamlet's hands. Laertes reveals the plot to everyone,
proclaiming that the king is to blame. Before he closes his eyes for the last time, he and
Hamlet exchange forgiveness.

Enraged, Hamlet kills Claudius—stabbing him with the poisoned foil and forcing him to
drink the rest of the poisoned wine. Hamlet watches him die, but he himself is soon to
follow. As the prince approaches death, he begs Horatio to carry his story to the world.

Young Fortinbras, returning from Poland, arrives to find the gruesome scene—Hamlet,
Laertes, Gertrude, and Claudius all dead—and to hear Horatio's explanation.
 PLOT DIAGRAM

1. King Hamlet dies; Claudius takes the crown and marries Gertrude.
2. Hamlet is visited by his father's ghost.
3. Laertes and Polonius warn Ophelia to stay away from Hamlet.
4. The Mousetrap is staged.
5. Hamlet kills Polonius and is banished to England.
6. Claudius and Laertes conspire to kill Hamlet; Ophelia dies.
7. Gertrude, Claudius, Laertes, and Hamlet die.
 QUOTES FROM THE PLAY

1. “O ... that the Everlasting had not fix'd/His canon 'gainst self-slaughter!”
- Hamlet, Act 1, Scene 2
- Hamlet has just discovered his mother's remarriage to her brother-in-law, a
relationship Hamlet believes is incestuous and a betrayal of his father. This is
the first time of many that Hamlet considers suicide, but notes that religion
forbids it.

2. “ Something is rotten in the state of Denmark.”

- Marcellus, Act 1, Scene 4
- After seeing King Hamlet's ghost, Marcellus notes that something terrible must
be happening if the king's ghost has come back to haunt the land. It's unclear at
this point whether the king's ghost (which is dressed in full armour) has come
back for personal or political reasons.

3. “One may smile, and smile, and be a villain.”

- Hamlet, Act 1, Scene 5
- In this soliloquy, Hamlet places blame for his current situation on both Claudius
(for killing his father) and his mother (for betraying King Hamlet by marrying so
soon).

4. “How strange or odd some'er I bear myself.”

- Hamlet, Act 1, Scene 5
- In this line, Hamlet plans to pretend to have gone mad so he won't be suspected
of killing his uncle. This line raises one of the play's main questions: Has Hamlet
actually gone mad, or is he just pretending?

5. “Why, what an ass am I. ... That I/ ... must like a whore unpack my heart with words.”
- Hamlet, Act 2, Scene 2
- Hamlet's fatal flaw is his inability to act decisively to avenge his father's death.
He would rather analyse and theorise than act boldly. He recognizes this flaw
and chastises himself for it, but it will take him the entire play to reconcile it
into action.

6. “The spirit that I have seen may be a devil.”

- Hamlet, Act 2, Scene 2
 - Hamlet describes the reasoning behind his inaction—he is not sure whether the
ghost he's seen is actually his father, or if he is being tricked. Hamlet enjoys
analysis and is always looking for reasons to sit and think rather than to act.

7. “To be or not to be, that is the question.”

- Hamlet, Act 3, Scene 1
- In this, the most famous line from the play, Hamlet questions whether it would
be better to live in suffering or simply die. This gives the audience great insight
into his emotional struggles in the play.

8. “You go not till I set you up a glass/Where you may see the inmost part of you.”
- Hamlet, Act 3, Scene 4
- During an altercation with his mother, Hamlet wants Gertrude to look at herself
in the mirror and account for her sins, but Gertrude misinterprets his outburst
and believes he is going to kill her. Immediately after this, Polonius reacts to
save her, and Hamlet (mistakenly believing he is Claudius) kills him. This is the
point of no return for Hamlet's character.

9. “Sith, I have cause, and will, and strength, and means to do't.”
- Hamlet, Act 4, Scene 4
- After being banished to England, Hamlet undergoes the transformation he has
been waiting for. He recognizes that a man's purpose in life is to act—and he is
finally filled with enough motivation to stop dithering and avenge his father's
death.

10.“The rest is silence.”

- Hamlet, Act 5, Scene 2
- These are Hamlet's last words before death. He has just explained all to his
friend, Horatio, and accepts the inevitability of his death, which he has mused
about being the great equaliser. For a man as wavering and introspective as
Hamlet, his final words are particularly astute.
 SYMBOLS IN THE PLAY

Yorick's Skull
- The most obvious symbol in the play—and perhaps in Shakespeare's entire body of
work—Yorick's skull represents mortality. Should the audience have any question
about this symbolism, Hamlet explains it to them (and Horatio) when he says, "No
matter one's stance in life, we all must face our own mortality."
- Hamlet has learned that death is inevitable and, given the "haunting" by his father's
ghost, that the physical body is only temporary (Act 5, Scene 1).

The Mousetrap
- Hamlet, in asking the players to perform The Murder of Gonzago with a few revisions,
suggests that he has an understanding and appreciation for the idea of life imitating
art. In this particular case, Hamlet is hoping to put that idea to use to catch the
conscience of the king.
- In The Mousetrap, the edited version of the play, nearly everything is a symbol for the
truth Hamlet hopes to uncover, with the most obvious symbols in the casting: "I'll have
these players play something like the murder of my father."
- The King in The Mousetrap symbolises King Hamlet and The Poisoner obviously
symbolises Claudius.

The Ghost
- While the ghost symbolises decay or evil—"Something is rotten in the state of
Denmark" (Act 1, Scene 4)—it is an ambiguous character. It is not clear whether the
ghost is truly the spirit of Hamlet's father, a demon that wants to mislead the prince,
or a figment of Hamlet's imagination.
- Hamlet tries to find out by asking it, "Be thou a spirit of health, or goblin damned/... Be
thy intents wicked, or charitable?" The ghost appears with the purpose of seeking
revenge for his death.
- He comes dressed in armour, prepared for battle, but because he is a spirit, he needs
Hamlet's physical strength to exact revenge. Vengeance is a dangerous emotion,
however, and it nearly drives both Hamlet and Laertes mad through obsession: "O,
from this time forth my thoughts be bloody, or be nothing worth!"
 THEMES IN THE PLAY

Mortality
- For a play that is often depicted by the image of Hamlet contemplating Yorick's skull
in the graveyard scene, it is not surprising that Shakespeare uses mortality as a central
theme. It comes across in a number of ways: the ghost of Hamlet's father; Hamlet's
contemplation of suicide and Ophelia's suicide; Hamlet's tendency for black dress (at
least in the early scenes); the players' performance of The Murder of Gonzago; the
gravediggers, the grave, and the funeral as well as the skull in the graveyard scene;
and the numerous deaths in the play's final scene.
- But what does Shakespeare say about mortality in his presentation? Primarily, he
explores the concept as part of the cycle of life, looking at it from both religious and
secular perspectives.

Truth versus Deception

- The idea of truth versus deception, which at times is expressed more as reality versus
appearance, is prevalent in Hamlet. This theme plays out in major ways; the deceitful
way by which Claudius came to power underpins the entire play. And it is also
developed in smaller ways; the fact that Polonius is willing to spread rumours about
Laertes to investigate his behaviour in France tells us something about the nature of
Polonius's relationships with his children.
- The play presents many characters who thrive on deceit (Polonius, Claudius), and
many situations that evolve out of deceit (Polonius's death when he tries to eavesdrop
on Gertrude and Hamlet).
- Every scene and act contain examples, such as:
- The presence of the ghost—as a witness to the truth, or as a figment of Hamlet's
imagination
- The presence of Rosencrantz and Guildenstern—and their true mission—in
Elsinore
- Claudius's motivation in bringing Rosencrantz and Guildenstern to Elsinore
- Claudius's very existence
- The company of players
- Hamlet putting on an "antic disposition"
 Thought versus Action
- A life of thought versus a life of action is a theme woven throughout the play.
Although Hamlet seems like a man of thought through much of the play, by the end
he finds balance between the two. This suggests that Shakespeare's final idea on the
topic is that the best approach to life strikes a balance between thought and action.
- From the outset, both Laertes and Fortinbras are foils for Hamlet. Whereas Hamlet
initially thinks deeply before any action, Fortinbras seems prone to action before
thought. Laertes, like Fortinbras, wants to take immediate steps to avenge his father's
death and has none of the doubt that causes Hamlet to delay his revenge against
Claudius.

Madness
- Madness is a theme explored in Hamlet, particularly as it relates to Hamlet, Ophelia,
and maybe even Claudius (if one considers egomania a form of madness).
Interestingly, too, madness goes hand-in-hand with truth versus deception because
whether Hamlet's madness is real or feigned remains an open question throughout
the play.

Revenge
- 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’ 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.
HAMLET

Facts Prince of Denmark. At university in Wittenberg. Returns to Denmark

after his father dies. Pretends to be mad after he is told that his uncle,
Claudius, murdered his father. Arranges a play that parallels his father’s
murder so that he can watch his uncle’s reaction and confirm that he is
guilty. Kills Polonius, thinking that he is Claudius. In a fencing match, he
and Laertes wound each other and both die, but before Hamlet does, he
kills Claudius.

What he Loyal son with intense emotions

reveals about Intelligent, with a sharp wit that he uses to criticise and insult people
himself Dislikes drunkenness and lechery
Often feels like life isn’t worth living
Believes he must avenge his father, but is uncomfortable with having
violence on his conscience
Feels like a coward, because he does not immediately kill Claudius
Feels trapped in Denmark
Describes himself as only moderately honest, as well as “proud,
revengeful, ambitious”, with more sins to come
Enjoys the theatre, and is a good critic
Respects the bravery and courage to act
Cruel to Ophelia
Disappointed in his mother, and so at times seems to hate and mistrust
all women
After Ophelia is dead, he admits he loved her

What others The other characters, apart from Marcellus and Horatio, think Hamlet
say about him is mad
Ophelia says he is frightening, with his clothes a mess and a terrible look
on his face
Polonius says Hamlet has been driven mad because Ophelia rejected him
Claudius says his madness is dangerous, but nevertheless, says he is
popular with the people of Denmark, and thinks he is trusting, generous
and honest
Fortinbras says Hamlet would’ve made a good king
Summary The incestuous lust of his mother and uncle and the murder of his father
force Hamlet to see the world as corrupt, rotten and dishonest. He
weighs up good and evil to decide whether or not it is right to take
revenge. He does finally avenge his father, but dies in the process.

Things to For all his thinking about good and evil, consider Hamlet’s behaviour
consider towards Ophelia, Polonius, Rosencrantz and Guildenstern. Is he a good
person? Is all his madness fake or his behaviour sometimes genuinely
insane?
 Summary of the plot

ACT 1 Denmark
Scene 1 Horatio, a friend of Hamlet’s, joins some guards on their watch because they
say that they have twice seen a ghost. The Ghost appears. It looks like the late
king of Denmark, King Hamlet, who died recently. The Ghost leaves, and
Horatio tells the sentries that Prince Fortinbras of Norway wants to go to war
against Denmark. The Ghost appears again but does not speak.
Scene 2 King Claudius, the late King Hamlet’s brother and current king of Denmark,
addresses his court. He discusses his marriage to Gertrude, King Hamlet’s
widow. He sends ambassadors to Fortinbras’s uncle, the king of Norway, to
ask him to control his nephew. He gives Laertes, the son of his advisor
Polonius, permission to return to France. Claudius and Gertrude advise
Hamlet to stop mourning his death so intensely. They also ask him to stay in
Denmark rather than return to university. Hamlet agrees to stay, but when
he is alone says how upset he is that his mother has remarried so soon.
Horatio tells Hamlet about the Ghost. Hamlet decides to look for it.
Scene 3 Laertes tells his sister, Ophelia, that she cannot marry Hamlet, and warns her
against having sex with him. Polonius warns Laertes to behave himself in
France, and he and Ophelia say goodbye to him. Ophelia tells Polonius that
Hamlet has declared his love for her. Polonius says that he probably just
wants to sleep with her, so he forbids her to have contact with Hamlet.
Scene 4 At midnight, the Ghost appears. Hamlet follows it.
Scene 5 The Ghost tells Hamlet that it is the spirit of King Hamlet, and that he was
murdered by Claudius, who poured poison into his ear while he was sleeping.
He says that his soul cannot rest, and demands that Hamlet avenge him.
Hamlet swears to do this. Hamlet then swears Horatio and the guard to
secrecy, and hints that he is going to be mad.
ACT 2 Denmark
Scene 1 Polonius sends his servant, Reynaldo, to France to spy on Laertes. Ophelia
tells Polonius how Hamlet acted very strangely around her; Polonius
interprets this as a sign that Hamlet loves her, and believes that Hamlet’s
recent madness is because he cannot save her.
Scene 2 Claudius order’s Hamlet’s friends Rosencrantz and Guildenstern to spy on
Hamlet and find out why he is mad. Claudius’s ambassadors report that the
king of Norway has told Fortinbras to leave Denmark alone. Polonius tells
Claudius and Gertrude that Hamlet is mad because of his love for Ophelia. He
reads from love letters that Hamlet wrote to her, and he plans to arrange for
them to speak, so that he and Claudius can spy on them. He tries to speak to
Hamlet twice, but he cannot understand him because Hamlet is pretending
to be mad. Guildenstern and Rosencrantz try to interrogate Hamlet, but he
realises they have been sent by Claudius and Gertrude, and all he tells them
is that he is depressed. A troupe of actors arrive. Hamlet asks them to
perform a play called The Murder of Gonzago the next night. When he is
alone, he is angry with himself because one of the actors shows so much
emotion when he is only acting, while he himself shows so little emotion
although his father was killed by his mother’s new husband.
ACT 3 Denmark
Scene 1 Rosencrantz and Guildenstern report to Claudius and Gertrude, and agree to
continue spying on Hamlet. Polonius and Claudius hide behind a tapestry to
spy on Hamlet and Ophelia. Hamlet tries to decide whether to bear his
misery or to end it by taking action. He is cruel to Ophelia, and Claudius is
not convinced that he is in love. Claudius wants to send him away to
England, but Polonius convinces him rather to arrange a meeting between
Hamlet and Gertrude. Polonius will spy on them to see if Hamlet tells her
what is wrong.
Scene 2 Hamlet tells the actors how to perform the play. He tells Horatio that the play
has a scene similar to King Hamlet’s murder, and asks him to watch Claudius
during it. When the play shows a murderer pouring poison into the King’s
ear, Claudius storms out. Hamlet believes that this shows that he is guilty.
Scene 3 Claudius tells Rosencrantz and Guildenstern to take Hamlet to England. He
tries to pray but cannot, because he feels too guilty. However, he is not
willing to give up Gertrude and the throne. Hamlet finds Claudius with his
back turned, and is about to take this perfect chance to kill him, but thinks
that Claudius will go to heaven if he dies while he is praying. He decides
rather to kill Claudius while he is sinning, so that he will go to hell.
Scene 4
 Act 1, Scene 1

Sentinels Barnardo and Francisco stand the night watch at Denmark's Elsinore castle.
Francisco is about to go off duty when Marcellus, another sentinel, appears with Horatio, a
friend of young Prince Hamlet. As soon as Francisco leaves, Marcellus and Barnardo eagerly
discuss two appearances of a ghost during their watch. The spirit resembles the late King
Hamlet, Prince Hamlet's father. Horatio is unconvinced. As they attempt to convince him
that the apparition is more than their imaginations, the ghost appears to the three of them.
At the others’ urging, Horatio begs the ghost to speak, but it refuses and slips away. Horatio
is terrified and suggests that the ghost's presence signifies something terrible for Denmark.
Noting that the ghost is wearing the very armour he had on when he fought old Fortinbras
of Norway, Horatio recounts the story of King Hamlet, who was drawn into battle with
Fortinbras over a small piece of land. Fortinbras is killed in the battle, and, as victor, King
Hamlet wins back the land—land that Fortinbras's son, also named Fortinbras, now seeks to
reclaim. As Horatio's story concludes, the ghost appears again and seems about to speak.
Suddenly, however, the rooster crows with the rising sun and the ghost slips away. Horatio
suggests they inform Hamlet of what they've seen.

Analysis
Shakespeare kicks off the play with an intriguing scene that pulls the audience right into
the story: a recently deceased king shows up in ghostly form, military tensions lie ahead,
and Denmark is in a state of general unrest. The playwright imparts a wealth of information
in a short scene, including—by reference to what the ghost is wearing—some backstory
that informs about the tension between Denmark and Norway. Horatio develops from a
sceptic into a concerned, even fearful, believer, curious about what this ghostly omen
foreshadows for Hamlet and the country. Horatio is able to introduce the audience to the
Fortinbras subplot, which will gain importance as the story progresses. In particular,
Horatio relates that Fortinbras is "Of unimproved mettle hot and full" and is raising an army
to march on Denmark to avenge his father's loss. This information explains that the young
Fortinbras is a man more about action than thought. His character stands in contrast to
Hamlet—a realisation that the prince himself eventually will come to. Having Fortinbras as
a foil helps the audience understand Hamlet's conflicted self and makes his story all the
more tragic.
 Act 1, Scene 2

Claudius holds court at Elsinore and thanks everyone for their support through the
kingdom's recent events: the death and funeral of his brother, King Hamlet, and Claudius's
subsequent marriage to Gertrude. Claudius then turns to the matter of young Fortinbras of
Norway, giving everyone the latest information on the warlike young man's actions.
Claudius speculates that Fortinbras thinks Denmark may be in chaos and that this
environment may offer him an advantage. Claudius relates that he has written to
Fortinbras's uncle, the present king of Norway who is gravely ill. The letter informs the
older man of his nephew's actions. Claudius then turns his attention to Laertes, son of the
counsellor Polonius. With a show of fatherly affection for Laertes, Claudius presses to know
what he has to ask. Laertes, having come from France for Claudius's coronation, now asks
permission to return to France. Ascertaining that Laertes has his father's blessing to depart,
Claudius agrees that Laertes may go. Claudius and Gertrude then chide Hamlet about his
continued mourning for his father. Claudius tells Hamlet that while it is commendable to
honour one's father, to so prolong a display shows a weakness of character. He then invites
Hamlet to look upon him as a father and wishes Hamlet to reconsider going back to school
in Wittenberg and instead stay in Denmark with them. Gertrude echoes his words. As
Hamlet vows to obey, Claudius and Gertrude leave. Alone, Hamlet reveals the depth of his
despair, saying that were it not against God's law, he would contemplate suicide. He speaks
of how weary he is of life, and we come to understand that it is not just his father's death
that has Hamlet in such sorrow but also the quick marriage of his mother to his uncle.
Hamlet's grief is interrupted by the entrance of Horatio, Marcellus, and Barnardo, who have
come to tell him of the ghost they've seen. Wildly shocked and interested, Hamlet peppers
them with questions and makes plans to stand watch with them that night. As the men part,
Hamlet asks them to tell no one else what they have seen. The others, swearing their loyalty
to him, give their word.

Analysis
Shakespeare again packs a lot of information into a single scene, some of it played out here
and some previous action communicated in the dialogue. This scene gives a firsthand look
at the new king and queen, as well as some understanding of their strained relationship
with Prince Hamlet. Hamlet's emotional disturbance is readily visible. His unease is shown
in an aside about the added level to which he and Claudius are now related: they are now
both uncle/nephew and stepfather/stepson. His declaration that he and Claudius are not at
all alike gives the audience insight into Hamlet's feelings about his uncle—that he is
hesitant to trust him. His remarks foreshadow what will become ever clearer: the two men
truly are not alike. This scene also provides the first real view of Claudius's character in the
fatherly way he behaves toward Laertes, contrasted with the harsher manner in which he
deals with his stepson Hamlet. Shakespeare provides a brief but instructive view into the
relationship between Gertrude and Hamlet. Her plea for Hamlet to stay in Denmark
suggests she truly values her only child. And because Hamlet obeys, it shows he is devoted
to both his mother and father. In his soliloquy, however, he expresses disappointment in his
mother because of her ability to move on so quickly after her husband's death. Hamlet
believes his parents' relationship was strong—full of love, affection, and commitment—so
he finds it incomprehensible and even disloyal that she could so easily enter into a
relationship with Claudius, who Hamlet says is "no more like my father [t]han I to Hercules."
He ends his soliloquy saying that while his heart is breaking, he must hold his tongue. The
reason for his resolve is not made clear. Perhaps he does not wish to emotionally wound his
mother, or perhaps he feels threatened by Claudius—or perhaps he wants to hide his anger
until he is ready to strike at Claudius. At this moment, Shakespeare ushers in Horatio,
Marcellus, and Barnardo with their startling news. It is an intense moment for Hamlet to
hear that the ghost of his father walks Elsinore Castle, and such cliff-hanging moments
keep both the tension and the sense of tragedy ramped through the course of the play.
 Act 1, Scene 3

As Laertes prepares to head back to France, he and Ophelia talk about his trip and promise
to write to each other, but Laertes quickly steers the conversation to the topic of Ophelia
and Hamlet's relationship. Showing the concern of a thoughtful older brother, Laertes
warns Ophelia not to take Hamlet's attention too seriously. Laertes tells her that a person of
Hamlet's stature does not have the liberty to choose a mate, and reminds Ophelia that the
welfare of a prince's country may depend upon that choice. Reciprocating Hamlet's
affection, he adds, could damage her reputation. While Ophelia promises to take Laertes's
counsel to heart, their conversation is interrupted by their father, Polonius, who is surprised
to find Laertes still in residence. Once Laertes leaves, Polonius echoes much of his warnings
about Hamlet, dismissing Ophelia's claims that Hamlet's expressions of love are sincere. As
the scene closes, Polonius forbids her to spend any more time with Hamlet, and Ophelia
submits.

Analysis
The scene—basically just conversations between two siblings and then between a father
and his two children—does a lot of work, both in developing character and in building the
plot. The audience gains insight into Laertes and Ophelia's characters. For example, as
Laertes questions Ophelia about her relationship with Prince Hamlet, he appears as the
caring older brother. Laertes also comes across as confident and practical, with
straightforward reasoning and a gentle style. Being older—and no doubt because he is a
male and has been beyond the gates of Elsinore and the borders of Denmark—he is more
worldly than his sister and aware of the trouble that a young man's attention can cause a
young woman's reputation. Ophelia, for her part, shows herself to be young and
inexperienced, but also earnest and without guile. She is sincere in her love for Hamlet and
believes he is equally sincere, but she appears oblivious to the potential darker side of a
young man's intentions. Both Ophelia and Laertes seem thoughtful, which stands in
contrast to what we learn of Polonius in both the following conversation and in the
unfolding play. Polonius then talks first with Laertes and then with Ophelia. The audience
gets an initial glimpse into Polonius's character. Whereas his children seem to be
straightforward and sincere, Polonius appears somewhat self-absorbed and politically
minded—even in situations where his children are concerned. This scene also captures
Polonius's tendency to use many words when one would do. The scene communicates
backstory while moving the plot forward. The scene provides more information about
Laertes, Ophelia, and Polonius, and a sense of the society and hierarchy in Denmark.
Hamlet is observed through others' eyes and the scene gives enough information about
Hamlet and Ophelia's relationship to show that it's a matter to watch as the play unfolds.
Reality versus appearance is a key theme that runs through the play and is central to this
scene. "What are Hamlet's true intentions?" both Laertes and Polonius are asking. "Is he what
he seems?" or "is he deceiving Ophelia?" Even as Polonius caution Ophelia that Hamlet's
intentions might not be what they seem, he is actually more concerned with how her
actions might affect his reputation. Those same motivations underlie his advice to Laertes.
So much of what Polonius counsels has to do with outward appearance and with little
regard for an inner self.
 Act 1, Scene 4

Hamlet and Horatio accompany Marcellus on his watch. Near midnight they hear much
revelry from within the castle, and Hamlet remarks that the king is drinking and partying
again. He talks at length about how such wild behaviour has given Denmark a riotous
reputation, taking away from the country's strengths and positive qualities. Hamlet carries
the thought further, talking about how one's faults can overwhelm all the positive attributes
one has. Hamlet is then stunned by the ghost's appearance and that it indeed appears to be
his father. He begs the ghost to speak to him and to tell him why he has come. In response,
the ghost beckons Hamlet to come away with him, which Hamlet is eager to do. Horatio
cautions Hamlet not to follow the spirit, fearing it is dangerous. Both Horatio and Marcellus
try to stop Hamlet from following, but the prince is determined. He breaks free and follows
the ghost. Horatio and Marcellus, in turn, follow Hamlet.

Analysis
This short, powerful scene at last confronts Hamlet with the ghost. As the scene opens,
Hamlet sits in watch with Horatio and Marcellus, listening to boisterous revelry from
within the castle that further taints Claudius's character: he is more interested in raucous
celebration than in honouring the memory of his dead brother. Hamlet remarks that this
kind of behaviour damages Denmark's image with other countries and although Claudius is
not the first ruler to indulge in such revelry, he seems to believe that Claudius takes part in
it excessively. If nothing else, this sidebar tells us about Claudius and Hamlet's view of his
uncle/stepfather. The scene shifts sharply with the appearance of the ghost. It sets a stark
contrast between Hamlet's relationship with his uncle versus his father. He is distant and
has a negative view of his uncle, while he is so aligned with his father he will follow him,
even in death. Shakespeare uses this exciting, tension-filled moment to introduce a few
important ideas. The first is the depth of Hamlet's sadness. When Horatio cautions him
about following the ghost, Hamlet scoffs: "I do not set my life at a pin's fee." This notion of
"to be or not to be" will grow louder with each scene, although whether or not Hamlet has
the fortitude for action also becomes a point of contention. The theme of madness is also
introduced when Horatio—trying to dissuade Hamlet from following the ghost—suggests it
might "deprive your sovereignty of reason [and] draw you into madness." Whether real or
feigned, madness becomes central to the play—particularly around Hamlet—and
particularly because much of what transpires between the ghost and Hamlet takes place out
of sight and earshot of others.
 Act 1, Scene 5

Hamlet follows the ghost to another part of the castle wall, where the ghost tells Hamlet he
must avenge his murder. The ghost explains that the citizens of Denmark believe the king
died after being bitten by a snake while napping in his orchard. In reality, the only "serpent"
he encountered was his brother Claudius, who now wears the crown. The ghost tells Hamlet
how Claudius poured poison into his ears as he slept, thus stealing his life, crown, and wife.
Even as he reiterates his demand that Hamlet take revenge on Claudius, the ghost tells the
prince not to touch his mother, Queen Gertrude. Insisting Hamlet to leave his mother to
heaven, the ghost disappears as dawn arrives. Hamlet, overwhelmed by what he has seen
and heard, is a mixture of grief, anger, and confusion. He flies from one thought to another
in a soliloquy that is both sorrowful and raging. He closes with a commitment to the ghost's
entreaty just before Horatio and Marcellus find him. Horatio and Marcellus are eager to
know what transpired between Hamlet and the ghost, but Hamlet responds to their
questions by talking in confusing circles. He asks them to promise that they will tell no one
of what they have seen and heard that night. He presses them to swear on his sword, and
adds that they must hold to their promise no matter how strangely he acts in the future.
Three times, before they can swear, the ghost cries out "Swear!" Horatio and Marcellus
promise, and as the three men leave, his final words capture both his rage and sorrow.

Analysis
Each scene in which the ghost of King Hamlet appears adds tremendous complexity to the
plot. With King Hamlet's ghost now present and speaking, he is revealing actions and even
motivation—particularly around his own death—that the characters and audiences would
not otherwise know. For Hamlet, he is a catalyst, capable of turning the course of the play's
action. He is also a pivotal element when considering themes such as madness or revenge.
The ghost's order for Hamlet to avenge his death increases the play's tension and furthers
Hamlet's development. Because he knows the details of his own death—details no one other
than Claudius would otherwise be able to impart—he changes the course of the play's
action. The information he conveys takes the play from a simple drama to a story of
revenge. Even at this point, Hamlet's life parallels Fortinbras's. There are two princes, two
dead king fathers, and although they died under different circumstances, the sons are left to
consider revenge. On a more personal level for the title character, the ghost's appearance
moves Hamlet from being simply a grieving son to an aggrieved one. Hamlet was filled with
sorrow before the ghost made himself known, and he was already unsettled by Claudius
and Gertrude's hasty marriage. Once the ghost appears to Prince Hamlet bearing
information that Hamlet feels must be the truth—that Claudius murdered his
father—Hamlet is still sorrowful but a huge wave of rage has swept in. In light of the
obvious friction between him and Claudius in Act 1, Scene 2, there is no doubt that this new
information warns of potential violence.
 Act 2, Scene 1
Polonius sends his servant, Reynaldo, to France to bring Laertes money and snoop into his
son's life. Polonius suggests Reynaldo should ask around about Laertes to discover how he is
living. In directing Reynaldo, Polonius urges his servant to suggest some negative qualities
about Laertes—gaming, drinking, fencing, and swearing—when he talks with people.
Polonius is confident this method will yield the truth about Laertes's behaviour abroad. In
the second half of the scene, Ophelia enters distraught. She relates to Polonius that Hamlet
came to her in her chamber dishevelled and confused. Believing Hamlet to be mad with lust
for Ophelia, Polonius asks if she has said anything upsetting to him. Ophelia answers that
she has not spoken with him but has simply refused his letters and denied him any contact,
as Polonius instructed. Polonius is convinced that by telling Ophelia to avoid Hamlet, he has
inadvertently fanned the flames of the prince's love. He tells Ophelia that they must tell the
king and queen about the romantic connection between Hamlet and her, adding that
concealing it might cause more grief than the knowledge that Hamlet has fallen for
someone "beneath him."

Analysis
The theme of truth versus deception is rampant in this scene. As it opens, Polonius is
sending his servant to France to bring Laertes money and check up on him, even though
Laertes has proven himself to be responsible, obedient, and thoughtful. Although Polonius
treats Laertes as trustworthy when they are face to face, he feels the need to check up on
him, which in itself may be innocent enough, but he goes so far as to suggest that Reynaldo
"lay slight sullies" against Laertes to dredge information out of various sources. Further, it's
an example of dramatic irony that Polonius, ever mindful of his reputation, is so casual
about the idea of damaging his son's—and uses deception to find the truth. In Act 1, Scene 3,
Polonius had warned Ophelia about maintaining her reputation. He is concerned that if her
reputation is damaged, it will also harm his status. The second event in this scene—Ophelia
relaying to Polonius the strange encounter she had with Hamlet—also plays on truth versus
deception, or appearance versus reality. The audience knows from what Hamlet tells
Horatio and the soldiers in Act 1, Scene 5 that he may need to appear mad. If we assume that
Hamlet's odd behaviour in the remainder of the play is the result of cunning intelligence
and not madness, then he is appearing in a way that is untruthful. Ophelia, for her part, is
being forced to appear uninterested in Hamlet—a man she obviously loves. In this scene
and as the play progresses, the audience sees the harm that such deceit causes or potentially
causes. For example, Polonius's lack of honesty damages the faith that Reynaldo, much less
Laertes or Ophelia, can place in him. He relies on deceit in his treatment of his children,
expects others to also act deceitfully, and has no qualms about using deceit to achieve his
goals. The layers of deceit also contribute to Hamlet's sorrow, disillusionment—and
rage—regarding his father's death.
 Act 2, Scene 2

Claudius and Gertrude hire Rosencrantz and Guildenstern, two of Hamlet's childhood
friends, to spend time with Hamlet, hoping they will be able to determine the cause of his
strange behaviour. After attendants take the friends to visit Hamlet, Polonius, followed
closely by ambassadors Voltemand and Cornelius, join the royal pair. The ambassadors,
who have returned from speaking with the king of Norway about Fortinbras, are happy to
report their visit as successful. "Old Norway," they say, has commanded Fortinbras to
abandon any acts of force against Denmark. Fortinbras has vowed obedience to his uncle
and has turned his attention to Poland, where he originally told his uncle he was going.
Voltemand notes that Fortinbras has asked permission for him and his men to pass through
Denmark en route to Poland. As the ambassadors exit, Polonius tells Claudius and Gertrude
he thinks Hamlet's love for Ophelia is driving him mad. Polonius then reads them a letter
sent from Hamlet to Ophelia, in which he proclaims his love for her. Together, Polonius,
Claudius, and Gertrude decide to lay a trap, orchestrating a meeting between Hamlet and
Ophelia and watching from afar. Hamlet meets Polonius while walking in the hall. They
talk a little, with Hamlet verbally sparring in clever if not chaotic circles around the older
man. Polonius, taking this as evidence of the prince's madness, excuses himself to go in
search of Ophelia and plan a "chance" meeting. Rosencrantz and Guildenstern appear, and
Hamlet asks several times what brings them to Elsinore. Although they try to evade his
questions, Hamlet quickly figures out that they've been sent to spy on him. The one good bit
of information they give Hamlet is that a company of players has come to Elsinore. With
some excitement, Hamlet greets the players. Hamlet arranges for them to perform The
Murder of Gonzago in the court the following night—and to incorporate some lines he will
give them. Once Hamlet is alone, he speaks aloud, berating himself for his lack of action
with the task the ghost has given him. He calls himself a coward and a villain, railing in his
grief. Then, pulling himself together, he muses aloud about his plan to use the
play—augmented with lines he will write—as a means to probe Claudius's conscience.
Hamlet is convinced that if Claudius reacts guiltily, it will prove that the ghost is a noble
spirit and not a devil coming to trick him.

Analysis
This scene is long, rich, and loaded with action. Claudius and Gertrude try to delve more
deeply into Hamlet's state of mind. While Gertrude's motives are almost certainly caring and
honourable, the audience may suspect that Claudius's motives are anything but. The
dubious use of spies again comes into play; they bring in Rosencrantz and Guildenstern, old
friends of the prince, who will rely on their long-standing relationship with Hamlet to ferret
out the information the king and queen desire. In this scene, too, we see the ambassadors
return from Norway. This subplot, although it doesn't consume a significant amount of
stage time, does bring Fortinbras into the play. The young man becomes a foil for Hamlet;
the contrast of their styles—Fortinbras is a man of action compared to the deep thinking
Hamlet—becomes apparent, even to Hamlet. The few times we see Fortinbras or hear of him
not only brings that to mind for the audience, but it also causes Hamlet to look at himself
and sometimes recommit to the task the ghost has assigned him. The company of actors
comes to Elsinore in this scene, prompting the opportunity for a play within a play and for
Hamlet's further development. He now is plotting a way to cause Claudius to divulge his
guilt through his reaction to Hamlet's play within a play. Hamlet's revision of the play will
change the course of everything for the people of Elsinore. The presence of the players and
Hamlet's familiarity with them also gives audiences another view of Hamlet. Throughout
the play, the information we glean from his various interactions—with the soldiers and
Horatio early on, with the players here and into Act 3, and with even the gravediggers in Act
5—gives us a well-rounded character by the end of the play. As this scene closes, the
presence of the company of actors also provides fodder for Hamlet to use against himself
and his tendency to overthink. Contrasting himself with actors who can call up passion and
tears out of a fictitious motivation, Hamlet condemns his lack of action in avenging his
father, calling himself a "dully and muddy-mettled rascal," chiding himself for his inability
to "say nothing!"

Thematically, this scene has many instances that tap into the themes of truth versus
deception and madness:
- The very presence of Rosencrantz and Guildenstern oozes deception. They are—or
were—Hamlet's friends, but from the moment they arrive in Elsinore they act as
Claudius's spies, forsaking their loyalty to the prince for the favour of the king.
- Claudius's motivation in bringing Rosencrantz and Guildenstern to Elsinore is a far
cry from Gertrude's. Although he pretends that he wants to help Hamlet, Claudius is
actually looking to find out what Hamlet knows in order to stay one step ahead of
him.
- The company of players—some of the only people or groups in the play who are not
hiding something—are, in an example of dramatic irony, built around the idea of
reality versus appearance/truth versus deception. The basis of theatre is a suspension
of disbelief—a willingness to believe what one is presented—and that idea, set into
the middle of this play so fraught with deception, shines a light on all of the other
examples of play acting around it. The final line in this scene foreshadows the
 importance of this company being here in Elsinore at this time, with Hamlet saying,
"The play's the thing wherein I'll catch the conscience of the King."
- The first evidence of Hamlet showing false signs of madness, or an "antic disposition,"
appears in this scene. Although in the previous scene (Act 2, Scene 1) there is
indication of his strange behaviour and appearance from Ophelia's account, his
interaction with Polonius, and then Rosencrantz and Guildenstern, gives a firsthand
view. Hamlet talks in riddles, such as when he calls Polonius a "fishmonger."
 Act 3, Scene 1
Rosencrantz and Guildenstern report back to Claudius and Gertrude, describing
Hamlet’s strange behaviour; Polonius confirms their report. Claudius has sent for
Hamlet, intending to hide with Polonius and watch as Hamlet meets with Ophelia.
Everyone else leaves, and Polonius instructs Ophelia to pretend to read a prayer
book. He notes that it is sadly common for people to use prayers and devotions
deceptively, covering up the evil inside them. In an aside, Claudius says that he
knows this truth all too well: He is eaten up by his guilt. As Hamlet appears,
Polonius and Claudius hide.
Hamlet enters thinking aloud: He is considering suicide: “To be, or not to be—that
is the question” (3.1.56). Is it braver, he wonders, to struggle against life’s troubles,
or to fight them by refusing to live? The sleep of death would end his pain, but,
then, that’s not altogether sure: “In that sleep of death what dreams may come /
When we have shuffled off this mortal coil / Must give us pause” (3.1.66-68). If the
Afterlife was not so uncertain, Hamlet wondered, no one would go through the agonies of
life. It is the fear of the unknown that makes it difficult to act: “Thus
conscience does make cowards of us all, / And thus the native hue of resolution / Is
sicklied o’er with the pale cast of thought” (3.1.83-85).
Ophelia appears and tries to greet Hamlet warmly, returning the affections that she
had withdrawn. Hamlet bitterly denies that there was ever any real love between
them. He cries, “Get thee to a nunnery” (3.1.121), and declares that marriage is a
sham that should be ended. He storms away.
Ophelia, distraught, mourns Hamlet, believing him to have lost his mind. Claudius
and Polonius comes out of hiding; Claudius doubts that Hamlet is truly mad. He
vows to send Hamlet away to England, where he hopes whatever is bothering
Hamlet will be settled. Polonius agrees with this plan, but he suggests that they
send Gertrude to Hamlet alone before they carry it out, as a final test.
 Act 3, Scene 2
Hamlet enters with some of the actors, instructing them on their performance. He
hates melodramatic overacting; he insists that the purpose of theatre is to “hold [...]
the mirror up to nature” (3.2.21-22). Horatio appears, and Hamlet greets him with praise,
calling him the most just and reasonable person he knows. He refuses Horatio’s polite
disavowals, pointing out that he can’t be giving false flattery because Horatio has nothing to
give him. He confides in Horatio and tells him his plan for the play, asking him to watch
Claudius and see how he reacts. Horatio agrees. Claudius, Gertrude, Polonius, Ophelia,
Rosencrantz, and Guildenstern arrive to watch the play. Gertrude invites Hamlet to sit by
her, but Hamlet rejects her company in favour of Ophelia’s. He discomfits Ophelia with
pointed sexual jokes and references to Gertrude’s speedy remarriage. The play begins with a
silent pantomime: A king and queen lovingly lie down in an orchard. The king falls asleep,
the queen departs, and another man enters; he takes the king’s crown, kisses it, and pours
poison in the king’s ear. The queen finds the king dead and is horrified. The other man
consoles her, then woos her and wins her over. This scene makes Ophelia confused and
uncomfortable. Hamlet responds only with more lewd jokes. The play proper begins, with
the player queen avowing to the player king that to take a second husband if her first died
would be to kill her first husband twice, and she’d never do it. The player king doubts this.
Hamlet, Claudius, Gertrude, and Ophelia discuss the play; Hamlet notes everyone’s growing
discomfort. When the murderer poisons the king, Claudius gets up and flees, as Hamlet
predicted he would. Horatio and Hamlet excitedly discuss this. Rosencrantz and
Guildenstern bring Hamlet a report of Claudius’s agitation and tell him Gertrude wants to
speak with him. Hamlet refuses to give them straight answers, playing more word games
and accusing them of trickery and treachery. Polonius enters and asks Hamlet to come see
Gertrude; Hamlet taunts him, but agrees at last. He ends the scene speaking of his
murderous rage but vowing not to injure his mother.
 Act 3, Scene 3
Claudius, knowing that Hamlet is onto him, asks Rosencrantz and Guildenstern to take
Hamlet away to England, claiming that this is for the good of Denmark. Rosencrantz and
Guildenstern agree, speaking of the importance of the body politic over any one person’s
life. Polonius enters, saying that he’ll complete his plan of hiding himself behind a tapestry
to eavesdrop on Hamlet’s conversation with Gertrude. Claudius thanks him and sends him
away. Alone, a shaken Claudius reflects on his guilt. Horrified by his own crime, he feels
himself unable to pray for forgiveness because he is still benefiting from his brother’s
murder. On earth, forgiveness can be bought, but heavenly justice doesn’t work that way.
Claudius, trapped and agonised, calls out to the angels for help and is kneeling to pray when
Hamlet enters. Hamlet sees Claudius kneeling and thinks that now would be an easy time to
kill him. He dissuades himself, saying that it wouldn’t be a full revenge if he killed Claudius
while he was praying; Hamlet’s father wasn’t given the chance to pray or repent before his
death. Hamlet vows to wait and kill Claudius when Claudius is embroiled in gambling,
drinking, or sex. He creeps away. Claudius rises, saying that the words of his prayer alone
won’t be received in heaven. His thoughts have to align with his words, or his prayer is
meaningless.
 Act 3, Scene 4
Polonius speaks briefly with Gertrude, then hides behind a tapestry in her room. Hamlet
enters, and Gertrude tries to scold him for his behaviour. Hamlet responds with rage and
disgust, calling her “your husband’s brother’s wife” (3.4.16). Gertrude becomes frightened
that Hamlet will hurt her, and Polonius cries for help. Hamlet stabs Polonius through the
tapestry, killing him. Hamlet is appalled by what he’s done, but not so much as to be
diverted from his purpose: He tells Gertrude that Claudius killed the king. He forces
Gertrude to look at portraits of the king and of Claudius, comparing them point by point:
The king, he says, was almost godlike, where Claudius is in comparison “like a mildewed ear
/ Blasting his wholesome brother” (3.4.64-65). In a disgusted diatribe, Hamlet
wonders what could possibly have moved his mother to marry Claudius. Gertrude
begs him to stop; his words, she says, show her “my very soul, / And there I see
such black and grainèd spots / As will leave there their tinct” (3.4.89-91). But Hamlet
won’t relent, and he torments Gertrude by describing her marriage bed with
Claudius. The ghost suddenly enters, wearing nightclothes instead of armour. He reminds
Hamlet that his job isn’t to torment his mother, but to kill Claudius. At the ghost’s
command, Hamlet turns to his mother—but she cannot see the ghost, and thinks
This is more evidence of Hamlet’s madness. Hamlet assures his mother that he is sane, tells
her to repent her sins, instructs her not to sleep with Claudius again, and gives an equivocal
semi-apology for his behaviour: “Forgive me this my virtue. / For in the fatness of these
pursy times / Virtue itself of vice must pardon beg” (3.4.152-154). He also swears her to
secrecy
about his feigned madness. Hamlet closes the act by vowing that, while he must go to
England with Rosencrantz and Guildenstern, he will turn this plot of Claudius’s against him.
He drags the body of Polonius away with him.
 Act 4, Scene 1
Gertrude immediately tells Claudius much of what has just happened: She reports that
Hamlet has gone mad and killed Polonius, and that he is now dragging the body around the
house, weeping over it. Claudius summoned Rosencrantz and Guildenstern to find Hamlet,
planning to send him away and cover up the murder.

Act 4, Scene 2
Rosencrantz and Guildenstern find Hamlet, ask him where he’s put Polonius’s body, and tell
him he must go to Claudius. Hamlet refuses to tell them anything at first, calling them
“sponges” who will soak up his words and deliver them to Claudius. At last, Hamlet agrees to
go with them.
Act 4, Scene 3
Claudius muses that, though Hamlet is dangerous to him, he must treat him carefully:
Hamlet is popular with the public, “who like not in their judgement, but their eyes” (4.3.4).
Rosencrantz and Guildenstern enter, bringing Hamlet with them; he still refuses to
say where he’s left Polonius’s body, but grimly jokes that Polonius is “at supper” (in
other words, a feast for worms) or in heaven, or maybe hell, in which case Claudius
may go find him himself. Claudius tells Hamlet that, for his own safety, they will send him
abroad immediately. Hamlet leaves, and Claudius, in an aside, describes how he will have
Hamlet assassinated in England.
Act 4, Scene 4
Fortinbras and his army have arrived in Denmark. Per their arrangement with Claudius,
they will not attack the Danes and will be granted free passage through the country to fight
the Poles. Hamlet, on his way to the ship that will take him to England, runs into a
Norwegian captain, who tells him their plans. He says that the piece of land they’re fighting
for is worth very little, yet the Poles are already preparing to battle for it. Hamlet marvels
that so much effort and violence will go into reclaiming this spot of ground, all for the sake
of Fortinbras’s and Norway’s honour. While Rosencrantz and Guildenstern go on ahead,
Hamlet stays to muse on valour. Without some sense of personal pride and reason, he says,
a human’s life isn’t worth anything more than a beast’s. He castigates himself for showing
so little resolve in his revenge, when 20,000 men may die to reclaim a worthless patch of
land. He resolves to let their example drive him: “O, from this time forth / My thoughts be
bloody or be nothing worth!” (4.4.65-66)
 Act 4, Scene 5
Gertrude, Horatio, and a gentleman are discussing Ophelia, who has been behaving
strangely in the wake of her father’s death. The guilt-riddled and increasingly paranoid
Gertrude does not want to speak to Ophelia, but Horatio suggests it might be a good idea
politically. Ophelia might stir up doubt and anger if she is left unchecked. When Ophelia
appears, she is obviously unwell: She wanders around singing about love and death, and
recounting old folktales. After she drifts away, Claudius reflects that sorrows travel in
packs, and he recounts the tragedies that have befallen Denmark. A messenger announces
that an enraged Laertes has returned from France and that the people in the street are
calling for him to be made king, against all tradition. Laertes himself arrives shortly
thereafter; believing Claudius to have killed Polonius, he swears that he will take bloody
revenge. Claudius, seeing a potential use for Laertes’s rage, explains that he didn’t kill
Polonius—Hamlet did. Ophelia reappears and distributes symbolic flowers to the assembled
crowd: pansy for thoughts, rosemary for remembrance, rue for regret. Laertes is distraught:
“O heavens, is’t possible a young maid’s wits / Should be as mortal as an old man’s
life?” (4.5.159-160). Taking advantage of the moment, Claudius makes Laertes his ally,
vowing to help him take proper revenge.

Act 4, Scene 6
Some sailors deliver a letter from Hamlet to Horatio. Hamlet’s ship, the letter reports, was
attacked by pirates, who are now holding Hamlet hostage. Hamlet asks Horatio to deliver
another letter informing Claudius of these events, and adds that he has news about
Rosencrantz and Guildenstern that he can only tell Horatio in person. He signs his letter,
“He that thou knowest thine” (4.6.30). Horatio, alarmed, goes to do as Hamlet asks him.
Act IV, Scene 7 Claudius is conspiring with Laertes when a messenger delivers Hamlet’s
news. Claudius is upset to hear that Hamlet is returning, but Laertes is ready to fight.
Claudius flatters Laertes, telling him all of the good things he has heard about him. In
particular, he tells the story of a renowned French knight called Lamort, who, he says,
praised Laertes so lavishly that Hamlet became jealous. Abruptly, Claudius asks Laertes if he
truly loved Polonius. Claudius explains that it is not that he doesn’t think Laertes loved his
father, but that he knows love alters over time, and that words aren’t always matched with
deeds. Laertes protests that he would slit Hamlet’s throat even if he saw him in a church.
Satisfied, Claudius lays out his plot: When Hamlet returns, they’ll spread rumours of
Laertes’s brilliance as a fighter and goad Hamlet into agreeing to duel with him. Laertes will
fight with a poisoned sword, so he’ll only need to nick Hamlet to kill him. As a backup,
Claudius will keep a poisoned goblet of wine on hand, so they can toast Hamlet to his death.
Gertrude arrives with terrible news: Ophelia has fallen into a brook and drowned. Laertes
tries to bury his grief in rage but can’t stop himself from weeping, and he departs to prepare
his revenge against Hamlet. Claudius insinuates to Gertrude that he’s been trying to calm
Laertes down; they follow him.

Analysis: Acts 3-4

The momentous developments of Act III set the rapid motion of Act IV in gear. Act III begins
with Hamlet’s famous “To be, or not to be'' speech, which gives voice to the human dilemma
at the play’s centre. Hamlet says he sees suicide as a reasonable answer to the inevitable
suffering of life, except there’s no guaranteethat what’s beyond the grave is any better, and
indeed, it may be much worse. This debate demonstrates the depth of Hamlet’s paralysis. In
questions of the afterlife, he might seem to be in rather a privileged position, having met a
ghost who tells him outright that Purgatory, and thus, presumably, Heaven and Hell,
certainly exist. But the evidence of the senses and the supernatural together cannot resolve
this dilemma past question.

Questions of reality and falsehood are particularly pronounced in these acts. The
play-within-a-play highlights how fiction can work on people. The audience is called to
reflect on what kind of a job the actors of Hamlet are doing when Hamlet excoriates bad
actors. His famous idea that theatre should hold “the mirror up to nature” takes some
unpacking (3.2.21-22). The image does not suggest that theatre is a mirror, presenting an
exact (if reversed) picture of what’s in front of it; rather, theatre holds up the mirror. What
“nature” might see in that mirror depends on how it perceives, and how it understands what
it sees. Hamlet spends so much time questioning whether anyone can know what is real
that he ends up forsaking Ophelia. He wants love and intimacy but fears that intimacy
merely covers falseness. He loves Ophelia but speaks harshly to her, and even in his cruelty
speaks with double meaning: a “nunnery” could be either a convent or a brothel. Ophelia’s
unbalanced behaviour, unlike Hamlet, is genuine; in fact, she is one of the play’s most
genuine characters. Only when Hamlet learns of her death will he appreciate the depth of
his love for her. Hamlet’s frustration with his own indecisiveness continues in Acts III and
IV. He compares himself to Fortinbras, who is willing to give his life for an insignificant
piece of land, and laments his own inability to act decisively to avenge his father. Instead,
he rages at his mother and humiliates her, inadvertently stabbing Polonius in the process,
and sets up the events that will lead to his own death and the turnover of Denmark to the
son of the elder Fortinbras—thus undoing his father’s victory.
Overwhelmed by grief after her father is killed by the beloved who spurned her, Ophelia is
driven to death. Shakespeare leaves this death offstage; we are not asked to suspend our
disbelief in watching a living person pretending to drown, but hear of her end through
Gertrude’s report. The report is itself potentially unreliable. It’s hard to understand how
Gertrude could have the full story, including the detail of Ophelia floating and singing until
her sodden clothes pull her under. The person who watched Ophelia drowning is also
someone who could have helped. Why didn’t they? The precise beauty of Gertrude’s
language here hangs yet another screen over the truth while also solidifying Ophelia’s
status as a tragic innocent.
 Act 5, Scene 1
Two gravediggers debate giving Ophelia a Christian burial which is traditionally denied to
deaths by suicide. They agree that, while the coroner has declared Ophelia’s death an
accident, he would not have done so if she hadn’t been a gentlewoman. They are singing
and making jokes about their profession—a gravedigger is a better builder than a mason,
they say, because what a gravedigger builds lasts until Doomsday—when Hamlet and
Horatio arrive. Neither is yet aware of Ophelia’s death. Hamlet is both amused and appalled
by the gravediggers’ humour. When they start to unearth old skulls, Hamlet himself begins
to make morbid jokes, speculating on the skulls’ past lives. He gets into a punning battle of
wits with one of the gravediggers, who claims to have been working at his profession since
the day that the late king overthrew Fortinbras—coincidentally, the same day that young
Hamlet was born. The gravedigger, not knowing who is speaking to, says Hamlet was sent
away to England because he was mad. At last, the gravedigger unearths the skull of
someone Hamlet knew: the jester Yorick. Hamlet addresses the skull, at first horrified to the
point of sickness, then blackley joking that everyone, king and jester alike, will come to this
same fate in the end. His reflections are interrupted by the arrival of Ophelia’s burial party.
Still unsure who is being buried, Hamlet and Horatio listen as Laertes bitterly argues with
the priest about whether Ophelia’s death was a suicide. In his grief, Laertes leaps into
Ophelia’s open grave to embrace her; Hamlet follows, and the two grapple over Ophelia’s
body. Horatio at last separates them; Hamlet raves, claiming his love for Ophelia was greater
than Laertes’s could ever be. At last, he flees, and Horatio follows him.
 Act 5, Scene 2
A shaken Hamlet tells Horatio the whole story of his adventure on the seas. He recounts
opening the commission that Claudius has sent with Rosencrantz and Guildenstern and
discovering that Claudius has asked the King of England to kill Hamlet as a diplomatic
favour. Hamlet rewrote the commission to request instead the execution of Rosencrantz and
Guildenstern, and he sealed it with his father’s ring. The next day, the pirates attacked.
Rosencrantz and Guildenstern are thus on their way to their deaths even now. Hamlet
denies feeling any guilt over this. Osric, a courtier, arrives; in an aside, Hamlet tells Horatio
that Osric is a wealthy braggart. In florida and self-contradictory language, Osric delivers a
challenge: Claudius, he says, has laid a heavy wager on Hamlet in a sword fight between him
and Laertes. Though Horatio tries to dissuade him, and in spite of his own foreboding,
Hamlet agrees to the fight. Hamlet and Laertes meet to duel in front of Claudius and
Gertrude. Hamlet begins by apologising to Laertes, blaming his madness for the harm he has
caused. Laertes seems to accept the apology but cannot fully consider his honour satisfied.
They choose their swords, and Laertes is careful to take the poisoned blade. Hamlet and
Laertes begin their combat in the semblance of a civil, formalised game; Osric acts as
referee. After Hamlet scores the first hit, Claudius tries to tempt Hamlet to drink from a
poisoned glass of wine, but Hamlet puts him off. Hamlet scores another hit on Laertes, and
Gertrude, in celebration, unknowingly drinks a toast to him with the poisoned wine.
Claudius notices but cannot bring himself to say anything. Hamlet is winning, and Laertes
loses his temper. The fight loses its veneer of civilization and becomes deadly. As Hamlet
and Laertes grapple, they accidentally exchange swords, and both are badly wounded by the
poisoned blade. Gertrude cries out. She feels the poison taking effect and understands it is
the wine that has poisoned her. A guilt-stricken Laertes confesses: Both he and Hamlet will
shortly die of the sword’s poison, and Claudius has masterminded it all. Hamlet turns and
stabs Claudius with the same blade, and when Claudius doesn’t die immediately, Hamlet
forces the poisoned wine down his throat. Laertes reaches out to exchange forgiveness with
Hamlet, and then he dies as well. Hamlet, dying, asks Horatio to tell his tale. Horatio offers
Hamlet the last of the poisoned cup. Before Hamlet can drink, Osric appears, with news that
Fortinbras has arrived in triumph after defeating the Poles. Hamlet, with his dying breath,
passes the throne of Denmark to Fortinbras. His final words are, “the rest is
silence” (5.2.341). Fortinbras and an ambassador from England enter, amazed and horrified
by the carnage. Horatio is the only person left who knows what happened: He tells
Fortinbras that he will tell him the truth.
 Analysis: Act 5

Two images dominate this last act of the play: the skull and the poisoned blade. In the
famous graveyard scene, Hamlet, whose short life has been so choked with death, gazes into
the empty eye sockets of his family’s old court jester, Yorick. Everything that made Yorick
himself, Hamlet finds, has been stripped away. All skulls look more or less alike, and this
one could as easily be Alexander the Great as a jester. This sameness is at least one possible
response to Hamlet’s questions: The grim physical reality of death is one of the world’s only
certainties, and it comes to king and peasant alike. The final sword fight between Laertes
and Hamlet crystallises the whole mood of the play and the “rotten in the state of
Denmark.” The atmosphere is of murderous cruelty beneath a thin veneer of civilization.
The sword fight is framed as a mannerly, aristocratic game, with rules and points, but one
of the regulation-issue swords is secretly poisoned. Even the goblet of celebratory wine is
lethal. Claudius’s poisoned weapons are concrete images of all of Hamlet’s fears. The deceit
of their plain exteriors is like the deceit of words, of love, of people, of Denmark itself. But
the very deceit of the swords and the wine lead to a final eruption of truth. Over the course
of this battle, the combatants and almost everyone in the room meet with the
incontrovertible reality of death. Hamlet’s final words, “the rest is silence” (5.2.341), show
that he has come to a point beyond all his anxieties about truth and falsehood. He passes
into the undiscovered country, encountering a silence that is both the great answer to his
questions and a tremendous question in itself—to be or not to be. Horatio, the last Dane
standing, greets Fortinbras and cedes the kingdom to him. His final act in the play is to vow
to tell truthfully the whole story of the fall of Denmark. This truth telling is shown in the
last resort to be a complicated thing. Horatio asks that the bodies of the royal family be put
on a “stage”—where, of course, they already are, as a watching audience would know. The
moment recalls Hamlet’s earlier theorising about the role of theatre. His own story—its
complexities, its darkness, its irresolvable riddles—indeed holds the mirror up to nature,
and fiction tells a greater truth.
 ESSAY QUESTION
“Analyse Hamlet’s internal suffering throughout the play.”

Hamlet, one of the most renowned plays by William Shakespeare, is a story of betrayal,
tragedy, and internal conflict. The titular character, Hamlet, suffers greatly throughout the
play, both physically and mentally. However, it is his internal suffering that is the most
prominent, as he grapples with his own beliefs, desires, and doubts. This essay will explore
how Hamlet suffered internally, examining the various factors that contribute to his
emotional turmoil.

Hamlet's internal suffering can be traced back to the very beginning of the play, where he is
first introduced as a melancholic character. He is deeply affected by the death of his father
and is consumed by grief, unable to move on. This initial grief sets the tone for the rest of
the play, as Hamlet's internal turmoil becomes increasingly complex.

One of the primary sources of Hamlet's internal suffering is his moral dilemma. Hamlet is a
man of strong principles, and he is deeply troubled by the corruption and deceit he
encounters throughout the play. He is torn between his duty as a son to avenge his father's
death and his moral code, which forbids murder. This internal conflict is most evident in
Hamlet's famous soliloquy, where he contemplates the morality of revenge. "To be or not to
be," he ponders, questioning whether it is better to suffer the slings and arrows of
outrageous fortune or to take arms against a sea of troubles. This dilemma torments Hamlet
throughout the play, as he struggles to reconcile his sense of justice with his desire for
revenge.

Another factor contributing to Hamlet's internal suffering is his sense of isolation.

Throughout the play, he is portrayed as a lonely figure, cut off from those around him. He is
betrayed by those he trusts, including his friends Rosencrantz and Guildenstern and his love
interest Ophelia, and this betrayal only serves to deepen his sense of isolation. Hamlet's
loneliness is further compounded by his inability to express his true feelings, as he is
constantly forced to hide his emotions from those around him. This inability to connect
with others leaves Hamlet feeling alienated and alone, adding to his already intense internal
suffering.

Finally, Hamlet's internal suffering is exacerbated by his own doubts and insecurities. He is
constantly second-guessing himself, questioning his own motives and actions. This
self-doubt is most evident in his interactions with Ophelia, where he vacillates between
affection and cruelty, unable to express his true feelings. Hamlet's doubts also extend to his
own worthiness as a man, as he constantly compares himself to others and finds himself
lacking. This self-doubt only serves to deepen his internal suffering, as he struggles to find
his place in the world.

In conclusion, Hamlet suffered greatly internally throughout the play, with his emotional
turmoil stemming from a variety of sources. His moral dilemma, sense of isolation, and
self-doubt all contributed to his intense suffering, making him one of the most complex and
tragic figures in literature. Shakespeare's portrayal of Hamlet's internal struggle continues
to resonate with audiences today, as we are all familiar with the pain of grappling with our
own beliefs, desires, and doubts.
 ESSAY QUESTION
“Evaluate how good a king Prince Hamlet could have been, had he been given a chance as
heir to the throne.”

It is difficult to say with certainty how good a king Prince Hamlet could have been, as his
fictional character is complex and multifaceted. However, based on the events of
Shakespeare's play "Hamlet," we can draw some conclusions about his character that may
shed light on his potential as a ruler.

On the one hand, Prince Hamlet displays some qualities that could be seen as desirable in a
king. He is intelligent, introspective, and has a strong sense of justice. He is also brave, as
evidenced by his willingness to confront his father's murderer, even at great personal risk.

On the other hand, Hamlet's character flaws could also make him a less than ideal king. He
is prone to indecision and inaction, as seen in his prolonged delay in avenging his father's
death. He is also consumed by his own personal grief and struggles with mental health
issues, which could potentially interfere with his ability to rule effectively.

In addition, Hamlet's relationships with others are fraught with conflict and tension, which
could create difficulties for him as a ruler. He has a strained relationship with his mother,
who he sees as complicit in his father's murder. He is also distrustful of his childhood
friends Rosencrantz and Guildenstern, and his treatment of them suggests that he may not
be able to trust those around him.

Overall, while Prince Hamlet has some admirable qualities, his flaws could make him a less
than ideal candidate for the throne. His indecision and mental health issues, as well as his
difficult relationships with others, could potentially interfere with his ability to rule
effectively.
 ESSAY QUESTION
“Hamlet is deeply concerned with questions of truth and falsehood. What role
does truthfulness play in the events of the story, and how is truthfulness
shown to be more complex than it might at first seem?”

Shakespeare's play "Hamlet" explores the theme of truth and falsehood in various ways
throughout the story. The play demonstrates that truthfulness plays a critical role in the
events of the story, but it is shown to be more complex than it initially seems.

At the beginning of the play, Hamlet's father, the former King of Denmark, is believed to
have died of natural causes. However, when Hamlet is visited by the ghost of his father, he
learns that his father was actually murdered by his own brother, Claudius, who then took
the throne and married Hamlet's mother. Hamlet is immediately confronted with the
question of how to deal with this truth and the complex emotions that come with it. He
struggles with his own sense of morality and is torn between his desire for revenge and his
fear of the consequences of his actions.

Throughout the play, other characters also grapple with questions of truth and falsehood.
Polonius, the chief counsellor to the king, frequently lies and manipulates those around him
in order to gain power and influence. This ultimately leads to his own death when Hamlet
mistakes him for Claudius and kills him.

The theme of truthfulness is also explored in the relationships between characters. Ophelia,
Hamlet's love interest, is pressured by both her father and brother to lie to Hamlet about her
feelings for him. This deception ultimately leads to Ophelia's mental breakdown and
suicide.

In addition to these examples, the play also raises larger philosophical questions about the
nature of truth and how it can be determined. Throughout the story, characters struggle to
discern what is real and what is not, and they often rely on their own perceptions and
interpretations of events.

Overall, "Hamlet" demonstrates that truthfulness plays a crucial role in the events of the
story, but it is also shown to be more complex than it might at first seem. The play explores
the ways in which individuals can be both truthful and deceptive, and how the truth can be
difficult to discern in complex situations.
 ESSAY QUESTION
“In the middle of Hamlet, we watched a play within a play, “The Mousetrap.” But
first, we hear Hamlet’s opinions on theatre: The stage should hold up a mirror
to nature. What role does “The Mousetrap” play in Hamlet’s examination of
the nature of reality?”

In Hamlet, the play within a play, "The Mousetrap," serves as a critical element in Hamlet's
examination of the nature of reality. Hamlet is convinced that his uncle, King Claudius, has
murdered his father, and he decides to use the play as a means of testing his suspicions.

The play within the play is a reenactment of the murder of King Hamlet, with some slight
variations. Hamlet has instructed the players to add a few lines to the script, which mirror
the circumstances of his father's murder. As the play unfolds, Hamlet carefully observes his
uncle's reaction to the scene, hoping to catch him off guard and confirm his guilt.

The success of the play within the play is crucial to Hamlet's understanding of the nature of
reality. If Claudius reacts as expected, then it confirms Hamlet's suspicions and provides
him with the evidence he needs to take action. But if Claudius remains calm and collected,
then it throws Hamlet's entire worldview into question. It suggests that reality may be more
complex than he originally thought, and that the truth may be harder to discern than he
had hoped.

In this way, "The Mousetrap" serves as a microcosm of Hamlet's overall examination of the
nature of reality. It forces him to confront the possibility that his perceptions may be
flawed, and that the truth may be more elusive than he had anticipated. Ultimately, it is this
uncertainty and doubt that drives the tragic events of the play, and that makes Hamlet such
a powerful exploration of the human condition.
 ESSAY QUESTION
“Hamlet’s “To be, or not to be” soliloquy is one of the most famous in
literature—and for that reason, it can be difficult to read it with fresh eyes.
Reread the soliloquy carefully, and choose one of its images to examine in
depth. How does this image contribute to the speech’s larger meaning?”

One of the striking images in Hamlet's "To be, or not to be" soliloquy is the idea of "the
undiscovered country, from whose bourn no traveller returns." This metaphor is a reference
to death, and it highlights the uncertainty and fear that Hamlet has about what happens
after we die.

The use of the word "undiscovered" suggests that death is a mysterious and unknown realm,
one that we cannot fully comprehend or prepare for. The phrase "from whose bourn no
traveller returns" emphasises the finality of death, and the idea that once we cross over into
this unknown territory, we cannot come back.

This image contributes to the larger meaning of the speech by emphasising the existential
questions that Hamlet is grappling with. He is contemplating suicide as a way to escape the
pain and uncertainty of life, but he is also aware that death may not offer any real answers
or relief. The metaphor of the undiscovered country reinforces the idea that death is a leap
into the unknown, and that we cannot be sure what awaits us on the other side.

Furthermore, the image of the undiscovered country also highlights the theme of mortality
and the human condition. It reminds us that death is an inevitable part of life, and that all
of us will one day have to face this final frontier. The soliloquy as a whole explores the
complexities of human existence and the struggle to find meaning and purpose in a world
that can often seem cruel and senseless. The image of the undiscovered country serves as a
powerful symbol of this existential struggle, and it contributes to the speech's larger
message about the human experience.