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The performance of the play-within-the-play makes the theme of theater/performance explicit and focuses attention on the nature of "reality." The presence of a dual audience also emphasizes the theme of sight/perception, as we watch the characters watching a play, and, more specifically, Hamlet secretly observing Claudius (neatly reversing their roles of observed/observer from the previous scene).
Lines 1-129: Hamlet directs the players as to how he wants them to deliver the lines he has written, urging them to "suit the action to the word, the word to the action"--an ironic instruction given the apparent disparity between words and actions in the wider play. The players go to prepare and Hamlet sends Polonius, Rosencrantz and Guildenstern to "hasten" them. Horatio arrives and Hamlet excitedly explains his plan and tells him to watch Claudius. Horatio agrees, and the king and queen enter in a formal procession with other members of the court, accompanied by guards and torchbearers. This ceremony emphasizes the public setting for this scene, which contrasts with the concealed secrets, emotions and intentions of the various characters. Hamlet continues to disconcert everyone with his changeable speech,
including some bawdy wordplay directed at Ophelia that emphasizes his fixation with women in terms of their sexuality. Music sounds, and the dumb show begins.
Lines 130-256: The dumb show establishes the plot of the play-within-the-play, and the events surrounding the death of Hamlet's father in the wider play. This paralleling of storylines creates metatheatrical awareness, emphasized by Ophelia's comment, "Belike this show imports the argument of the play." The full performance begins, with asides from Hamlet as he comments on and explains the action for the others. Ophelia says that he makes a "good chorus," emphasizing his capacity as an "actor" but also highlighting that, despite this, he is often slightly distanced from the action, observing and commenting rather than participating. Hamlet responds to Ophelia with his usual harsh, deliberately sexual, wordplay. As we reach the point in the play-within-the-play where "Lucianus" kills "Gonzago" by pouring poison in his ear, Claudius rushes out, calling for light and throwing the court into confusion.
Lines 257-379: Hamlet and Horatio discuss Claudius' behavior and Horatio's more measured response contrasts with Hamlet's wild exclamations of conviction as to his uncle's guilt. Rosencrantz and Guildenstern come to report that the king is "marvellous distempered" and that they have been sent by Gertrude to fetch Hamlet. Despite their attempts to make Hamlet respond in a more reasoned way and put his "discourse into some frame," he continues to disconcert them with his unpredictable speech and behavior. He accuses them of trying to "play" him as they might play a musical instrument. Polonius interrupts and tells Hamlet to go to his mother. When he is left alone, Hamlet prepares himself to see Gertrude, declaring that he will be "cruel," but "not unnatural" and that although he will "speak daggers" he will "use none."
ACT 3 SCENE 3
Claudius tells Rosencrantz and Guildenstern that he is sending Hamlet to England immediately as he does not feel that it is safe "To let his madness range." He instructs them that they are to accompany Hamlet, and they go to prepare for the voyage. Polonius brings the news that Hamlet is going to speak to Gertrude and that he intends to conceal himself so as to "hear the process." Once alone, Claudius makes his first direct admission of guilt: he has committed an act that has "the primal eldest curse upon't, A brother's murder." Claudius' conscience appears to be troubling him as he tries to pray but cannot and, although he wishes to be forgiven for his sin, he does not wish to give up the "effects" it has brought him: his "crown," his "ambition" and his "queen." He wonders whether it is possible to "be pardoned and retain th'offence." He kneels and attempts to pray. Hamlet enters and, seeing Claudius, prepares to kill him. Once more, however, the expected progress of the revenge tragedy is frustrated as Hamlet shifts from a definite declaration of action, "now I'll do't," to further uncertainty. Emphasizing the opposing concepts of the physicalspiritual aspects to humanity, he considers the spiritual consequences of killing Claudius. He argues that, if he kills Claudius while he is at prayer, then Claudius' soul will go to heaven, which would be more of a reward than a punishment. Deciding to wait until Claudius is "about some act That has no relish of salvation in't" so that "his soul may be as damned and black As hell, whereto it goes," Hamlet puts up his sword and leaves. Claudius, unaware of his presence, rises and ironically announces that he could not pray, as "Words without thoughts never to heaven go."
ACT 3 SCENE 4
Lines 1-44: Polonius arranges with Gertrude that he will conceal himself behind the arras to overhear her conversation with Hamlet. Hamlet arrives, and Gertrude accuses him of offending his father (meaning Claudius). He responds that it is she who has offended, referring to his actual father. He continues to parry her attempts to question him, demonstrating his characteristic verbal dexterity, and then insists that she sit down so that he may show her "the inmost part" of herself. Frightened that Hamlet intends to attack her, Gertrude cries out and Polonius responds, calling for help from behind the arras. In an unusual moment of spontaneous action, Hamlet stabs the concealed figure, believing it to be Claudius. When he discovers that he has killed Polonius, he is unmoved, merely saying "Thou wretched, rash, intruding fool, farewell," before turning once more to his mother.
Lines 45-105: Gertrude asks what she has done to deserve Hamlet's anger. He shows her two pictures, one of his father and one of Claudius, "The counterfeit presentment of two brothers," a visual symbol of the theme of identity. He urges her to look at the picture of his father, "Jove himself," and to compare it with a picture of Claudius, who is "like a mildewed ear" of corn. He asks her how she could "step" from one to the other, showing his bitterness and disgust. Despite Gertrude's attempts to stop him, he continues to accuse her, focusing particularly on the sexual aspect of her betrayal. Distressed, Gertrude claims that Hamlet has revealed her "very soul," which has "such black and grained spots." As she begs "No more!" the Ghost appears.
Lines 106-208: Hamlet fears that the Ghost has come to "chide" him for not taking revenge on Claudius, and the Ghost urges him to act, claiming that he is there "to whet" Hamlet's "almost blunted purpose." As they talk, it becomes clear that Gertrude cannot see the Ghost. Hamlet urges her to "look" as the Ghost leaves them, but Gertrude takes this as a sign of his insanity. Hamlet insists that he is "But mad in craft" and urges his mother to repent of her sins and avoid any further relationship with Claudius. He asks her to keep his feigned madness a secret and she agrees. He leaves, dragging Polonius' body with him.
Lines 209-249: Gertrude tells Claudius that Hamlet is "Mad as the seas and wind" in a storm, although it is uncertain whether she is lying to Claudius or still believes this to be true. She reports how Hamlet killed Polonius, and Claudius uses this as his excuse to send Hamlet to England. Sustaining his performance of grief at his nephew's behavior, he orders Rosencrantz and Guildenstern to find Hamlet and take Polonius' body to the chapel.
ACT 4 SCENE 1
Hamlet enters, commenting that Polonius is "safely stowed." Rosencrantz and Guildenstern come to ask what he has done with the body and Hamlet accuses them of being "sponges" out of which Claudius may squeeze information. He agrees to see the king, but leaves, running, with Rosencrantz and Guildenstern following.
ACT 4 SCENE 2
Claudius contemplates the danger he is in while Hamlet "goes loose," but says that he cannot "put the strong law on him" because Hamlet is loved by Denmark's people. He compares sending Hamlet away to ridding himself of a disease, reinforcing previous references to infection/decay. Rosencrantz arrives and reports that Hamlet will not reveal the whereabouts of the body, but that they have managed to get him to come to Claudius. Guildenstern brings Hamlet in and Claudius demands Polonius' body. Hamlet gives a nonsensical, macabre response, but eventually tells them that they will "nose him" in the lobby, another image of decay that emphasizes the corporeal, rather than spiritual, aspect of death. Claudius sends someone to find the body and, pretending great sorrow, informs Hamlet that he must go to England immediately as a result of his actions. Hamlet apparently agrees and Claudius sends Rosencrantz and Guildenstern to hurry Hamlet on board the ship. When they have left, Claudius' soliloquy reveals that he is sending letters to the English, instructing them to kill Hamlet.
ACT 4 SCENE 3
Fortinbras, marching across stage with his army, sends a messenger to tell Claudius that he is claiming safe passage across Denmark. In the Quarto version of the play (see "Second Quarto Passages That Do Not Appear in the Folio"), Hamlet witnesses the march and contrasts Fortinbras' willingness to "find quarrel in a straw" when his honor is affronted to his own inaction in the face of monstrous provocation.
ACT 4 SCENE 4
Lines 1-110: Horatio persuades Gertrude to see Ophelia, who has been sent mad by the death of her father. Ophelia is shown in and reveals a genuine, pitiful madness that contrasts with the potentially more contrived or exaggerated moments of Hamlet's insanity. She speaks mostly in rhyme and, while her ideas are disjointed and largely nonsensical, they focus on death and sex. Ophelia leaves and Claudius sends Horatio to watch over her. He laments recent events, and comments to Gertrude that the people of Denmark are stirred up by Polonius' death and have become "Thick and unwholesome in their thoughts and whispers." They are interrupted by a messenger, bringing the news that Laertes has stormed Elsinore.
Lines 111-228: Laertes breaks in, demanding vengeance for his father's death, creating parallels and contrasts with Hamlet, as Laertes also becomes a potential "revenge hero." In contrast to Hamlet's hesitant and thoughtful approach, Laertes is intent on action and his assertion that he will "dare damnation" shows that he has less consideration for the moral/spiritual issues raised by revenge. The king and queen explain that Claudius is not responsible for Polonius' death and Laertes is calmer, until Ophelia returns. He is aghast at the change in his sister, who continues to sing in a distracted way and distributes flowers (possibly imaginary) such as "rosemary" for "remembrance" and "pansies" for "thoughts." She sings a lament, and leaves. Laertes calls on the gods as Claudius tries to calm him. He promises to help Laertes get revenge, saying that "where th'offence is, let the great axe fall."
ACT 4 SCENE 5
Sailors bring Horatio a letter from Hamlet. Hamlet explains that he was captured by pirates who have returned him to Denmark, while Rosencrantz and Guildenstern are still bound for England. He asks Horatio to see that some enclosed letters are given to Claudius and then to come to him.
ACT 4 SCENE 6
Laertes asks why Claudius did not take public action against Hamlet for Polonius' death. Claudius persuades him that it was because both the queen and the Danish people love Hamlet and he did not wish to upset her or cause trouble. A messenger brings the letter from Hamlet, announcing that he has returned to Denmark and asking to
see Claudius the next day. The king is confused, but Laertes is pleased as it means he can confront and kill Hamlet. Claudius sees a way to rid himself of Hamlet and urges Laertes to take his revenge and show that he is his father's son "in deed / More than in words," again forcing a comparison with Hamlet, who generally seems more concerned with words than deeds. Claudius reminds Laertes that Hamlet has always been jealous of his abilities with a sword, and has long wished to fence with him. Claudius suggests that they tempt Hamlet into fencing with Laertes but that Laertes use an "unbated" sword rather than a blunted one. Laertes agrees and announces his intention to anoint the tip of the sword with poison. Claudius further suggests poisoning a cup of wine to give to Hamlet if he should win the duel. Gertrude interrupts with the news that Ophelia has drowned, describing how she went to a "glassy stream," dressed in a crown of flowers, and fell in. Gertrude seems to suggest that the fall was an accident, but Ophelia sang serenely as the weight of her clothes dragged her down. Laertes leaves, distraught.
ACT 5 SCENE 1
Lines 1-207: Two rustics are digging Ophelia's grave and discussing the fact that she is to have a Christian burial, despite appearing to have committed suicide. Their witty exchange creates dark humor when juxtaposed with their task. Hamlet and Horatio approach, unaware of who the grave is for. Hamlet observes that the gravedigger has no finer feelings as he sings while he digs and unceremoniously throws down any skulls that he unearths. Hamlet muses that status has no meaning once you are dead. He banters with the gravedigger, sustaining the witty wordplay that began the scene and ironically discussing the madness of "young Hamlet" as the gravedigger does not recognize him. Hamlet's discussion of himself in the third person emphasizes the divisions in his character that have been evident throughout. The banter continues until the rustic identifies one of the skulls as belonging to Yorick, a court jester that Hamlet knew as a child. Hamlet immediately becomes more introspective, philosophizing on the inevitability of death and commenting that no matter how great the man, he will eventually die and decompose: "Alexander [the Great] died, Alexander was buried, Alexander returneth into dust." This seems to mark a new turn in Hamlet's thoughts concerning death: until now he has largely been concerned with the spiritual, rather than corporeal, aspects of dying. He sees a funeral procession approach, led by the king, queen and Laertes, and notes that the funeral rites have been shortened, guessing that it is for a suicide. He and Horatio conceal themselves to watch.
Lines 208-293: Hamlet recognizes Laertes, who is asking the priest why the ceremony is so short. The priest explains that because Ophelia's death "was doubtful," she should really have been buried in "ground unsanctified" and that he has done as much as he has "warrantise" to do. Furious, Laertes retorts that his sister will become "a minist'ring angel" and Hamlet realizes that the funeral is for Ophelia. Gertrude scatters flowers in the grave, emphasizing the repeated association between Ophelia and flowers, which represent the transience and beauty of nature. Overcome, Laertes curses Hamlet for sending Ophelia mad and leaps into her grave, demanding to be buried with her. Hamlet steps forward and reveals his identity, also jumping into the grave. Laertes and Hamlet fight and Hamlet declares that he did love Ophelia. He rushes off, followed by Horatio. Claudius speaks to Laertes, obliquely reassuring him that the subject of their "last night's speech" will be put "to the present push."
ACT 5 SCENE 2
