PRO ARTE ALPHEN PARK

GRADE 12 LITERATURE STUDY GUIDE 2017

the tragic history of

prince of denmark
TABLE of CONTENTS
1. William Shakespeare 1

2. Synopsis of Hamlet 2

3. The tragedy 4

4. Themes in Hamlet 6

5. Symbols and motifs 8

6. Important quotes 10

7. Hamlet’s issues 12

8. Character map 14

9. Worksheet and questions - Act I.i 15

Worksheet and questions - Act I.ii 17
Worksheet and questions - Act I.iii 19
Worksheet and questions - Act I.iv & I.v 21
Act I quick quiz 23
Act I exam practice 24

Worksheet and questions - Act II.i-ii 25

Act II quick quiz 28
Act II exam practice 28

Worksheet and questions - Act III.i 29

Worksheet and questions - Act III.ii 31
Worksheet and questions - Act III.iii 33
Worksheet and questions - Act III.iv 35
Act III quick quiz 37
Act III exam practice 38

Worksheet and questions - Act IV.i-iv 39

Worksheet and questions - Act IV.v-vi 41
Worksheet and questions - Act IV.vii 43
Act IV quick quiz 45
Act IV exam practice 46

Worksheet and questions - Act V.i 47

Worksheet and questions - Act V.ii 49
Act V quick quiz 51
Act V exam practice 52

10. Character analyses 53

11. Soliloquies 56

12. Literature essays 60

13. Ideas for further study 63

14. References and acknowledgements 64

This study guide assumes the use of the standardised Second Quatro text of Hamlet.
All line references are to the Stratford Series of Hamlet edited by A.C. Horan and published by Maskew Miller.
WILLIAM SHAKESPEARE
There are some who believe that Shakespeare is irrelevant was certain that he would make a profit from this kind of
in modern South Africa and, even worse, that it is too drama. What followed were mainly comedies, with
Eurocentric. Yes, Shakespeare’s works are as old as the romantic love stories of young people who at the end of the
mountains and yes, he lived and wrote in Elizabethan play, marry and live happily ever after.
England. To say, however, that his works are useless and
outdated because he happens to be far removed from us in At the end of the sixteenth century Shakespeare’s plays
time and place, is completely absurd. became melancholy, bitter and tragic. This change may
have been caused by some sadness in his life (one of his
The genius of his plays is in their universal application and twins died in 1596). Shakespeare, however, was not the
their embodiment of everything that makes us human. only writer whose works were very serious at the time.
Shakespeare did not write about the English in the Queen Elizabeth I was growing old. She was greatly loved
Elizabethan age; he wrote about human beings. He was an and the people were sad to think she had to die soon. They
acute observer and chronicler of everything human. His were also afraid of civil strife as the Queen had never
plays highlight the vices of absolute power, the pain of married and thus there was no clear successor to the
unrequited love, the honour of a virtuous deed and the lure throne.
of riches and beauty - to name but a few. We can still
appreciate and relate to these things today. These are When James I came to the throne in 1603, Shakespeare
aspects of human existence with which we have always continued to write serious drama – the great tragedies and
dealt and will always have to deal. plays based on Roman history for which he is most famous.
Finally, before he retired from the theatre, he wrote another
There are two further reasons for Shakespeare’s pre- set of comedies. These all have the same theme: they tell of
eminence. Shakespeare was an incredibly gifted writer. No- happiness which is lost and then found again.
one before him (and very few after!) have ever manipulated
and broadened the English language to such an extent as he Shakespeare returned from London to Stratford, his home
has. With his gift for creating the most subtle nuances and town. He was rich and successful and he owned one of the
grand triumphs, he astounded his contemporary audiences. biggest houses in town. He died in 1616. Although several
He stretched the means of linguistic and literary expression of his plays were published separately, most of them were
to such extremes that he reinvented what literature meant. not printed until 1623, in a collection known as ‘the First
It is no wonder that Shakespeare has contributed an Folio’.
estimated 10 000 words to the English language and that
many of the idiomatic expressions we still use today were Although there are many public documents about his career
used for the first time by Shakespeare (vanish into thin air, as a writer and a businessman, Shakespeare has hidden his
foregone conclusion, one fell swoop, green with jealousy). personal life from us. A nineteenth-century poet, Matthew
Arnold, addressed Shakespeare in a poem and wrote ‘We
If you leave the academics behind and start reading ask and ask – Thou smilest and art still’. Not even a
Shakespeare, the second reason for the continued survival trustworthy portrait of the world’s greatest dramatist
of his works becomes apparent. Simply put: it’s a good survives.
show. The comedies are hysterical and the tragedies are
utterly intriguing and captivating. This is the final test for
the usefulness or greatness of literature: is it popular?

Shakespeare was born in 1564. He was the son of a

tradesman who made and sold gloves in the small town of
Stratford-upon-Avon and he was educated at the grammar
school in that town. Shakespeare did not go to university
when he left school, but worked, perhaps in his father’s
business. When he was eighteen he married Anne
Hathaway, who became the mother of his daughter,
Susanna, in 1583, and of twins in 1585. From 1585 until
1592 there are no documents that can tell us anything at all
about Shakespeare. We know that in 1592 he was known in
London and that he had been an actor and playwright for
some time.

We do not know when Shakespeare wrote his first play, and

indeed we are not sure of the order in which he wrote his
works. He started writing plays on subjects taken from the
history of England. No doubt this was partly because he
was always an intensely patriotic man – but he was also a
very shrewd businessman. He could see that the theatre
audiences enjoyed being shown their own history and it
1
SYNOPSIS of HAMLET
ACT I scene I action (like his father’s) is prized. His duty to avenge his
Marcellus, Bernardo and Horatio, while on guard on the father requires action that he is incapable of taking.
battlements of Elsinore Castle, see a ghost that resembles
their friend’s late father, King Hamlet. They plan to inform ACT II scene i
Hamlet of its appearance. Once Laertes leaves for Paris, Polonius sends Reynaldo after
him to spy on his son. Ophelia also informs her father of
ACT I scene ii Hamlet’s strange and upsetting behaviour towards her -
Claudius, the King of Denmark, gives instructions to his Polonius seizes on this information and plans to relay it to
ambassadors to Norway about a military situation with the King and Queen.
Prince Fortinbras. Prince Hamlet enters under a dark cloud
dressed in black. He has been summoned home to Denmark ACT II scene ii
from university in Germany to attend his father's funeral. Rosenkrantz and Guildenstern, childhood friends of Hamlet,
He is obviously depressed about the situation; however, on have been recalled to Denmark by Claudius to spy on
his return home, he is shocked to find his mother, Gertrude, Hamlet. They agree to help Claudius not out of friendship,
already remarried to his uncle Claudius. Hamlet considers but to ingratiate themselves with the him. Polonius reads
the marriage “foul incest”. Claudius had himself elected and Hamlet’s letter to Ophelia to them as proof of Hamlet’s
crowned King despite Hamlet’s clear claim to the throne. insanity. After a cold discussion between Polonius and
Hamlet suspects foul play in his father’s untimely death. Hamlet about Ophelia and a vigorous discussion with
After staving off his uncle-father, mother and Polonius’s Rosenkrantz and Guildenstern about acting, Hamlet hatches
attempts to cheer him up, Horatio informs Hamlet of the a plan to test the truthfulness of the ghost’s claims. Hamlet
ghost’s appearance. enlists the help of a troupe of actors to perform a play
called The Murder of Gonzago. Hamlet adds scenes that
ACT I scene iii recreate his father’s murder as the ghost described it.
Meanwhile Polonius, advisor to Claudius, sends his son, Hamlet calls the revised play The Mousetrap.
Laertes, off to Paris with clichéd advice. He also advises his
daughter, Ophelia, not to continue her relationship with ACT III scene i
Hamlet and to ignore his romantic advances. Ophelia, who Before the play is staged, Polonius sets up a meeting
has already heard similar advice from her brother, yields to between Hamlet and Ophelia so that he can prove to
her father’s authority and promises not to reciprocate Claudius (hiding within earshot) that Hamlet’s grief is due
Hamlet’s advances. to a lovesick heart. During Hamlet and Ophelia’s
conversation Hamlet teases her relentlessly about her
ACT I scenes iv & v supposed innocence. Claudius is, however, not convinced of
Horatio, Marcellus and Hamlet await the ghost’s appearance Hamlet’s love being the cause.
on the battlements. While they wait, they discuss the state
of Scotland under the sway of Claudius whom Hamlet ACT III scene ii
characterises as a lech. When the ghost appears, Hamlet Hamlet briefs the actors on performing The Mousetrap
confronts the ghost. The ghost leads him off alone where correctly and tells Horatio to be observant of Claudius’s
Hamlet's suspicions about Claudius’s misdeeds seem to be reactions to the play. Before and during the play Hamlet
confirmed. The ghost complains that he is unable to find continues teasing Ophelia cruelly, implying that she is a liar
peace because he was murdered without having confessed and less innocent than she seems. As Hamlet had hoped,
his sins. The ghost claims that Claudius poured poison in Claudius's reaction to the staged murder reveals the King to
King Hamlet's ear while he was sleeping in his orchard. The be suffering from a guilty conscience. Claudius leaves the
ghost also accuses Claudius of incest. Unable to confess and room, because he cannot breathe and his vision becomes
find salvation, King Hamlet must spend his days in blurry. Convinced now that Claudius is a villain, Hamlet
Purgatory and walk the earth by night until his sins have resolves to kill him. But, as Hamlet observes, “conscience
been atoned for. He begs Hamlet to avenge his death, but doth make cowards of us all.” Hamlet is also held back by
not to harm his mother as God must decide her fate. When God’s law that prohibits murder even for rightful revenge.
Marcellus and Horatio reappear (and the ghost disappears) Rosenkrantz, Guildenstern and Polonius come to tell
Hamlet taunts them with implications that they are not Hamlet that his mother wants to see him in her chamber.
trustworthy and thus cannot be told what the ghost said.
Hamlet decides to act insane (to “put an antic disposition ACT III scene iii
on”); this will enable him to observe the interactions in the On his way to his mother’s chamber, Hamlet encounters
castle. Hamlet finds himself ambivalent about what to do Claudius praying. Claudius cannot bring himself to ask
next. In his confusion, he questions the ghost's forgiveness for murdering Hamlet’s father because he is
trustworthiness and good intent. His rational mind unwilling to lose the benefits he has gained from the act.
considers the possibility that the ghost is not an Hamlet, hidden from Claudius’s sight, wants to kill him, but
honest/holy spirit, but rather an agent of the devil sent to realises that if Claudius were to die while confessing his sin,
tempt him. Hamlet agonises over what he perceives as his he would go to heaven - not a just enough punishment in
cowardice, because he cannot stop himself from thinking Hamlet’s estimation.
instead of jumping to action. Words and thoughts
immobilise Hamlet, yet he is stuck in a world where taking
2
ACT III scene iv ACT V scene ii
Hamlet confronts his mother about her actions. The Hamlet reveals to Horatio that he was to be handed over to
implications of the play-within-a-play seem to have no the English king for execution. He had swapped out his
effect on her. When Hamlet becomes aggressive, Polonius execution orders for those of Rosenkrantz and Guildenstern
(who is hiding out of sight) speaks. Hamlet believes that it and escaped back to Denmark. Osric, a foppish courtier,
is Claudius and stabs that spy through a curtain. On informs Hamlet of the friendly fencing bout between him
discovering that he has killed Polonius, Hamlet tortures his and Laertes. Laertes is unencumbered by words and
mother with a comparison between his beloved father and immobilising thoughts, and can leap to action to take
the sinful excesses of her new husband. Gertrude is revenge. Laertes wounds Hamlet and in the ensuing scuffle
distraught at the realisation of her sinful act and agrees to drops the poisoned sword: Hamlet retrieves the sword and
cover up Hamlet’s act of murder in turn wounds Laertes. Before he dies, he reveals to Hamlet
the plot that he and Claudius planned, admits his guilt in
ACT IV scenes i, ii & iii the matter and emphasises Hamlet’s noble nature. The
Claudius and Gertrude send Rosenkrantz and Guildenstern Queen, believing her son to have won the battle, drinks the
to find Hamlet. When the duo discovers Hamlet, he plays poisoned wine intended for Hamlet and dies. Laertes’
word games with them about the king and runs off. They confession enrages Hamlet who wounds Claudius with the
bring Hamlet under guard to Claudius who questions him poisoned sword and pours the poisoned wine down
as to the whereabouts of Polonius’s body; Hamlet, however, Claudius’s throat. Before Hamlet dies, he declares that the
refuses to divulge the information and pretends to be crazy. throne should pass to Prince Fortinbras of Norway. He asks
Claudius decides to exile him to England. his friend Horatio to explain the events which led to the
bloodbath at Elsinore accurately. With his last breath, he
ACT IV scene iv releases himself from the prison of his words: "The rest is
Fortinbras arrives in Denmark and sends a messenger to silence." The play ends as Prince Fortinbras orders a funeral
request passage through the country for his army. Hamlet, with full military honours for Prince Hamlet.
on his way to a ship, watches the swashbuckling prince and
laments his own lack of concrete action compared to
Fortinbras.

ACT IV scenes v & vi

A few weeks later, the courtiers discuss Ophelia’s
EXPOSITION
deteriorating state of mind caused by her father’s death and
There is something rotten in
Hamlet’s cold behaviour towards her. Ophelia seems to be
Denmark. The ghost appears and
living in a dream world where she sings sad songs about
loss and heartbreak to passers-by. Laertes also returns from calls for vengeance.
Paris to avenge his father’s murder. He suspects Claudius
and forces himself into the king’s council chamber. Claudius
RISING ACTION
convinces Laertes that he was not to blame and that they
Hamlet tries to discover the truth of
should work to bring the real culprit to book. Ophelia, in
her crazed state, re-enters and Laertes becomes upset at the ghost’s accusations
her dark melancholy and antic behaviour. Horatio receives a
letter from Hamlet detailing how he had escaped a pirate Will he take revenge or act?
attack on the ship carrying him to England.
CLIMAX
ACT IV scene vii Hamlet discovers Claudius’s guilt
Laertes and Claudius plot to kill Hamlet, whom they with his trap. He kills Polonius by
discovered has returned to Denmark, with a poisoned accident starting his downward
sword and a poisoned cup of wine. trajectory.
ACT V scene i
The grave-diggers are preparing Ophelia’s grave. On seeing FALLING ACTION
the grave-diggers’ flippant attitude towards death, Hamlet Hamlet is overcome by thoughts and
confronts him. One grave-digger hands Hamlet a skull remains passive. Claudius takes
which apparently belonged to Yorick, his late father’s jester control and plots Hamlet’s death.
and a childhood friend. Hamlet muses on mortality and the
purpose of life when Ophelia’s funeral procession enters.
Laertes, upset at his sister’s dishonourable burial, jumps
into the grave to profess his sadness. Hamlet joins him and CATASTROPHE
they come to blows over who loved her the most. Laertes Everyone’s vengeance is
vows to punish Hamlet for her death. consummated and the plot ends in
death and tragedy.

3
THE TRAGEDY
Hamlet, like most of Shakespeare’s tragic heroes, has a fatal In most tragedies the hero’s defect or flaw will bring about
flaw in his nature - he has a weakness which will lead to his the tragedy at the end, the death of the hero and many
destruction. Hamlet’s fatal flaw is his indecisiveness and people around him. The tragedy at the end is resolved by a
inaction. Coupled with his passivity is his intellectualism sense of relief at the order of the universe being restored by
and rationality which immobilises him - he becomes stuck the destruction of the hero. Hamlet is, however, also a
in his own thoughts and his weighing of all the possible revenge play. In the revenge play the hero is frequently
options. rather ambiguous - he sometimes seems to be the villain,
because of the vengeful act he has to complete. In Hamlet
The basic recipe of a tragedy is quite simple: we find these two dramatic types merged into a single play
ŸIt must end in catastrophic destruction - mainly the (see pages 6 and 13 for more information on revenge).
downfall of the principal, and ultimately noble,
character. The audience’s sense of the tragedy grows as the play
ŸThe tragedy at the end of the play cannot happen by progresses. We empathise with Hamlet’s ambivalent
mere accident - it has to be brought on by a specific feelings and indecisiveness in the face of the task he has
character trait in the principal character. This is been assigned by his father’s ghost. Hamlet is torn between
sometimes called the fatal or tragic flaw. his rational sense of the world and the irrational
ŸThe hero must possess such noble qualities that they happenings around him.
outweigh the fatal flaw in our final estimation. The
audience must care about the hero’s fate and pity the At the end of the play, the audience is conscious of a sense
intrusion of one destructive flaw in his character. of loss. We feel that Hamlet could have been great, in spite
of his inability to act. We feel not a sense of justice or
Aristotle said that the spectacle rouses in us pity and fear. satisfaction at his demise, but a feeling of great regret.
Just as a great misfortune in our lives outweighs the trivial
irritations of everyday life, so the flood of emotion the
audience feels for the hero lifts us above the flaw.

4
FOILS of HAMLET
A foil is a character who contrasts with another character been punished and later is gleeful at the prospect of dealing
so that particular qualities of the character can be with Hamlet himself. He is even willing to kill Hamlet in a
emphasised in order to highlight particular qualities of the church.
other character. Foil characters often form part of foil plots
or subplots – secondary plots which are similar to the main Hamlet, on the other hand, is nothing but thought. He is so
plot in many ways, but different in a crucial event or twist. concerned with discovering the truth intellectually that he
cannot move to action. His grief shows itself as melancholy
Literary foils can be of three types: and isolation - a willful desire to retreat from the problems.
In Laertes there is no soul-searching, no worrying about an
Ÿcharacterisation that emphasises the heightened afterlife and no concerns about conscience. It is a simple
contrast (this is different because ...) matter to him: Hamlet killed his father, so Hamlet must die.
Ÿcharacterisation that operates by exclusion (this is not X
because...) All three young men succeed in
Ÿcharacterisation that assigns blame ("due to the X...") avenging their fathers’ deaths:
Ÿ Hamlet kills Claudius;
Hamlet ↭ Fortinbras Ÿ Laertes kills Hamlet;
Hamlet and Fortinbras have several qualities in common: Ÿ Fortinbras regains the crown of
Denmark for himself.
they are both royal princes
Ÿ
they have both lost fathers and have been superceded by
Ÿ
their uncles Ophelia ↭ Gertrude
both intend on avenging their fathers’ dishonourable
Ÿ There are only two women in the play: Hamlet’s mother,
deaths Gertrude, and Hamlet’s love interest, Ophelia. There is a
both plot behind their uncles’ backs
Ÿ dichotomy of chaste and promiscuous establishing them as
foils of one another. Ophelia is a maiden and an obedient
They differ, however, in key aspects. Fortinbras is a soldier daughter to Polonius; Gertrude (in the eyes of Hamlet,
prince; Hamlet a scholar. Fortinbras is a man of action, anyway) has a sexual “appetite” and too hastily remarries,
impulsive even. He sets out to regain the lands lost to marking her as unfaithful and corrupt. It is notable that
Denmark and then, when thwarted by Claudius and his both women die as a result of the power plays of men.
uncle, he embarks on a foolhardy and meaningless mission
to invade Poland. Fortinbras is so intent on his revenge that Hamlet ↭ Claudius
he will do anything to leap to action. Hamlet is the epitome Hamlet and Claudius are foils in a very basic way: Hamlet
of inaction, indecision and self-doubt: he cannot bring hates deception, values honesty and is not politically
himself to act without having definite evidence and sure correct; Claudius is really good at deception, weaves a
outcomes. It must also be noted that Fortinbras seems to complicated tapestry of lies and he is exceptionally good at
have a much closer connection to his family – his uncle is handling people. Hamlet, being a thinker, worries about
able to persuade him not invade Denmark. Hamlet at this right and wrong and their long-term effects. Claudius seems
point despises his entire family. less concerned with morality than benefit and expediency.
These differences can easily be seen in how Claudius
Also note that they are characterised differently. Fortinbras handles Laertes’ anger and his unwillingness to ask for
is succint: he appears only three times in the play and then forgiveness, as he would have to give up the crown and
he barely speaks; Hamlet is always there chatting away. Gertrude.

Hamlet ↭ Laertes It may also be that they are foils in the Oedipal sense:
Once again, these two characters share traits: Hamlet might be delaying so much, because he realises that
he and Claudius are the same, both in love with Gertrude.
they both lose their fathers
Ÿ
both are important members of the Danish court
Ÿ
they stand to lose their status in the court because of the
Ÿ
death of their fathers
e
or

The difference between them lies in their responses to the

sin
El

dishonour done to them. Laertes returns to Denmark

immediately, whips up a frenzied mob with his impassioned
words and aggressively confronts whom he believes to be
his father’s murderer. His grief exhibits itself as anger and Wittenburg
hatred for all to see. His actions also betray a lack of
forethought and planning – it is fairly dangerous to accost
the king and accuse him of murder without any proof.
When he discovers that Hamlet is to blame, he once again
Paris
leaps ahead: he demands to know why Hamlet has not yet

5
THEMES in HAMLET
Action and Inaction Furthermore, it suggests that the world is fundamentally
Hamlet is a so-called revenge play, in which a inconsistent - an inconsistency that most people overlook.
man must take revenge against those who The failure to recognize these glaring inconsistencies is the
have wronged him. Hamlet subverts the only reason why most people can act every day and not
traditional revenge play in a clever way: submit to the same kind of limbo in which Hamlet finds
Hamlet, the man seeking revenge, cannot himself. Hamlet's fatal flaw is not that he is wrong to see
bring himself to take the revenge with which he is tasked. uncertainty in everything, but that he is absolutely right.
For various reasons, not all of which are clear to the His fatal flaw is his inability or unwillingness to act
audience, Hamlet constantly delays taking action. Hamlet is decisively because he can make a decision as to the nature
often characterised as the epitome of the ‘indecisive’ of the world around him.
person, who thinks too much and acts too little. Hamlet,
however, is more complicated and interesting than such Women
simplistic analysis would betray. It is true that Hamlet fails There are two important issues regarding
to act while many other characters seem to be concerned women in Hamlet: how Hamlet sees women
only with action, but many of the active characters’ plans do and women's social position. Hamlet views
not work out. Claudius's plots to hold on to power backfire women in a negative light. During those few
in the end; Gertrude marries her husband's murderer and moments when Hamlet is not faking
dies for it; Laertes is manipulated and killed by his own madness, he is usually angry at a woman. Hamlet becomes
deceitfulness. Hamlet does not give us a definitive answer convinced that women are deceitful and untrustworthy
about the virtue of action against inaction: the only because of his mother’s betrayal of his father’s memory -
conclusive answer the play provides is that both action and their beauty and meekness to him hide their deceit and
inaction are futile in the grand scheme of things as all sexual desire. In his opinion women embody the corrupting
decisions inevitably result in death. force of “seeming” over the rationality of reality.

Appearance versus Reality Women’s social position, on the other hand, is defined by
The contrast between what one sees and their powerlessness. Gertrude, though in an apparently
what is actually happening is a prime powerful position as the king’s widow, needs to marry
concern in many of Shakespeare’s plays, not Claudius to maintain her status. Ophelia’s options are even
least so in Hamlet. slimmer. She is unmarried and as such under her father’s
authority. Contrast Hamlet’s opportunity, but inability to
In Act I.ii, Gertrude asks why Hamlet is still avenge his father with Ophelia who cannot act, but
in mourning two months after his father died: "Why seems desperately desires to do so. She also submissively has to
it so particular with thee?" Hamlet responds: "Seems, listen to her father’s clichéd advice and her brother’s
madam? Nay, it is, I know not 'seems.'" (1.2.75-76). The hypocritical advice. Ophelia's (and to a lesser degree
difference between "seems" (appearance) and "is" (reality) Gertrude’s) predicament is symbolic of women's position in
is crucial in Hamlet. Every character is constantly trying to general: they are absolutely dependent on men.
figure out what the other characters think, as opposed to
what those characters are pretending to think or say. The Religion, Honour and Revenge
characters use various deceptions, such as spying and Every society is defined by its codes of
plotting, to figure out who a person truly is. Women paint conduct - its rules about how to act and
their faces to hide their age; Rosenkrantz and Guildenstern behave. There are many scenes in Hamlet
deceive Hamlet so as to be lauded by Claudius; Hamlet acts when one person tells another how to act:
mad and stages a rigged play in order to gain information; Claudius lectures Hamlet on the proper
Ophelia deceives Hamlet on the orders of her father. show of grief; Polonius advises Laertes on practical rules
for getting by at university in France; Hamlet constantly
Hamlet, however, takes this a step further. He not only lectures himself on what he should be doing. In Hamlet, the
investigates other people, he also peers into his own soul codes of conduct are largely defined by religion and an
and asks philosophical and religious questions about life aristocratic code that demands honour and revenge if
and death. Hamlet's obsession with what is real has specific honour is soiled.
effects:
Ÿ He becomes so caught up in the search for reality that he As Hamlet begins to pursue revenge against Claudius,
becomes unable to act; however, he discovers that the codes of conduct themselves
Ÿ To distinguish between what is real and what is do not fit together. Religion actually opposes revenge, which
appearance Hamlet himself hides his true character would mean that taking revenge could endanger Hamlet's
behind an appearance of lunacy; own soul. In other words, Hamlet discovers that the codes
Ÿ The more closely Hamlet looks, the less real and of conduct on which society is founded are contradictory. In
coherent everything around him seems to be. such a world, Hamlet suggests, the reasons for revenge
Many analyses of Hamlet focus only on the first effect, his become muddy and the idea of justice confused.
indecisiveness. The other two effects are, however, very Furthermore, the seeming contradictions of world views -
important. It shows that the relationship between rationality and spirituality; Catholicism and Protestantism -
appearance and reality is indistinct with no clear difference. which were emerging in Shakespeare’s time, were creating
6
a dilemma for those who tried to understand the world and is the one true reality and that life is merely a shadow, an
its workings. appearance to hide from reality by being lecherous,
committing murder and seeking power.
According to orthodox Catholic doctrine, the way one dies is
also very important. If one dies without confessing one’s The corruption and death in Denmark and its people seem
sins or receive the final sacraments from a priest, one to infect Hamlet himself and he becomes ‘tainted’ - a state
would be consigned to spend time in Purgatory - a place of against which the ghost warned him (I.v.84-86).
punishment to cleanse one’s soul. The unrepentant soul
would be forced to remain in Purgatory until such time as Madness
the living could atone for its crimes. This explains many of Madness is a well-established element in
the puzzling portions of Hamlet: Hamlet’s father’s ghost many revenge tragedies. Hamlet is different
returns because he died unexpectedly and without having as the madness is ambiguous: the
confessed his trespasses; Hamlet decides not to kill protagonist feigns madness (an “antic
Claudius when the time is opportune because he is praying disposition”), but at times seems to lapse
and if he were to die then, his soul would not be punished into real insanity.
in Purgatory, but would go to heaven.
Hamlet puts on a show of madness so as to distract the
Poison, Corruption, Death others from his search for the truth about his father, yet this
In medieval times it was believed that the pretend madness is so distracting at times that he cannot
health of a nation was connected to the act to take revenge.
legitimacy of its king. In Hamlet, Denmark is
often described as poisoned, diseased, or Although he does lapse into moments of apparently real
corrupt - a state Hamlet lays at the feet of lunacy, Hamlet does not truly seem to be mad. He admits
Claudius. The nervous soldiers on the ramparts and the fear that he will act with madness and, when he is alone or with
Claudius has that the commoners might rebel, show that his confidant Horatio, he is lucid and self-aware. He does
even those who are unaware of Claudius murdering sometimes become hysterical and manic, but that is not
Hamlet’s father are aware of something odd in Denmark. madness.
The image of Claudius’s poison spreading through Denmark
and corrupting it is powerful. K.T. Jones astutely remarks, Hamlet’s madness seems very self-aware - as if he knows he
“The examination of the play begins with the question is part of a revenge play. This ties neatly into the theatre
‘What is wrong with Denmark?’ rather than ‘What is wrong imagery in the play. His actions resemble the expected
with Hamlet?’” Claudius’s actions are an early indicator of actions of a hero in a revenge tragedy - Hamlet seems aware
this corruption. “Your better wisdoms which have freely of how he should act in this situation. He understands his
gone / with this affair along.” (I.ii.15) shows that the people role even as he is unable to play it satisfactorily. Hamlet is
in his court are aware of and tacitly supportive of his miscast as the avenger – his constitution is simply not
corrupting force. suited to revenge. He is too intelligent and noble to fit into
such a vulgar role. He makes a valiant effort at fulfilling the
Hamlet is also, for most of the play, obsessed with his part, but his actions are forced, insincere, anxious,
mother’s incestuous relationship with Claudius. Her ambiguous and filled with self-doubt.
actions, according to Hamlet, are an example of corruption
and the corrupting influence of women (”Frailty thy name is Ophelia’s actions exhibit true madness compared to
woman!” I.ii.146 and “O most pernicious woman” I.v.105). Hamlet’s actions. She is a foil to his bizarre play-acting.
Ophelia is also corrupted according to Hamlet: he tries to Hamlet’s madness increases his painful self-awareness -
assuage his concerns about women by appealing to Ophelia, Ophelia’s causes her to lose every vestige of composure and
but he discovers that she is acting on her father’s self-knowledge. She is, simply and innocently, mad.
instructions (III.i.90-141).

Hamlet makes frequent reference to rot and corruption

(”unweeded garden” and his constant references to
decomposing bodies). Hamlet’s descriptions of revolting
decay extend beyond the state of Denmark: all of human life
(including his) is described in these disgusting images of
revulsion. His inability to see beauty in life is manifest in
the fact that he seems comfortable only around death: he
reveres his dead father; he can only admit his love for
Ophelia once she has died; his handling of Yorick’s skull
seems almost tender and loving. Life itself seems to disgust
him: his mother's sexuality; women wearing makeup to
hide their age; worms feeding on a corpse; people lying to
get their way; Claudius’s revelry. Hamlet argues that death
7
SYMBOLS and MOTIFS
Yorick’s Skull In short, Hamlet, the play itself, is the main character of the
One of the most well known symbols play, and the character of Hamlet is merely the means by
in all of English literature comes which it explores its own place in the history of theater. One
from Hamlet - many people often gets the impression that Hamlet is unconsciously
recognise the image of Hamlet aware that he is play-acting. He realises that he is miscast in
holding Yorick’s skull, but have no his role and he tries to understand his function in the plot
idea whence it comes. The skull is of life. From a philosophical perspective, this is one of the
Yorick’s, a former court jester to his basic truths of modern human life - what are we doing
late father. Hamlet discovers the here?
skull with Horatio in the graveyard
near Elsinore in V.i. As Hamlet picks Which is the star of this play, Hamlet or Hamlet? T.S. Eliot,
up the skull and talks to both the for one, unequivocally endorses the latter: "Few critics have
deceased Yorick and Horatio about ever admitted that Hamlet the play is the primary problem,
the skull, it becomes clear that the and Hamlet, the character, only secondary.”
skull represents the inevitability of
death. What is most interesting Incest
about the skull as a symbol is that, Shakespeare’s plays often make sly innuendos or bold
while in most plays, a symbol means nudges about sex. In Hamlet, however, there is the constant
one thing to the audience and reference to incest mixed with the usual sexual allusions
another to the characters in the and puns. Incest (sexual relations with a close family
novel or play, in Hamlet it is Hamlet member) was considered a sign of the most rank vileness.
himself who recognizes and explains This act was associated with the devil and all manner of evil
the symbolism of Yorick's skull. situations. It represents the most extreme violation of God’s
natural order as the Elizabethans conceived of it. Claudius’s
Theater marriage to his erstwhile sister-in-law, though not unheard
Hamlet is a play about plays, about of in the aristocratic families of Europe, is proof to Hamlet
theater. Most obviously, it contains a of his devious and deviant character. His uncontrollable lust
play within a play, detailed instructions on acting technique, is an indication of his lowly character that breeds all kinds
an extended conversation about London theater companies of destruction and corruption, such as the murder of
and their fondness for boy troupes. There are also several Hamlet’s father and the debauchery in which Claudius
references to other forms of theatre, including Christian constantly finds himself. His unnatural acts threaten the
mystery plays and Shakespeare's own Julius Caesar. There very wholesomeness of Denmark itself.
are even references to the stage on which Hamlet would
have been performed: the globe theater with its ghost “in Bodies and Disease
the cellarage.” One of the most striking motifs in Hamlet is the one of
disease. It is woven into every scene to emphasise the
The literal references, though interesting and
probably entertaining to a contemporary audience,
do, however, not hold a candle to the figurative
interpretation of these references. Hamlet, among
other things, is an extended meditation on the
nature of acting in real life and the relationship
between acting and “genuine” life - the typical
Shakespearean concern with appearance versus
reality. The play refuses to obey the conventional
restrictions of theater and constantly spills out into
the audience, as it were, pointing out the "real"
surroundings of the "fictional" play, and thus
incorporating them into the larger theatrical
experience.

Furthermore, Hamlet explores the tragic genre and

its conventions. This tragedy both contains and
comments on the elements that define the genre. In
this way, Hamlet resembles modern westerns, heist
movies or martial arts movies. These film genres
have become extremely self-aware: they contain
references to past milestones in their respective
genres; they embrace or reject very demonstrably
the conventions that past films treated with
sincerity.
8
corruption with which Denmark is replete and to illustrate characters during her demented grief is an unconscious
Hamlet’s severe (all-consuming) pessimism. There are signal to these characters’ personality traits - unbeknownst
images of ulcers, pleurisy, pustules, apoplexy, madness and to her, she picks flowers that are suited to the recipient.
corpses; these images accompany and describe various Each type of flower has a specific significance:
vices rearing their heads in Denmark such as drunkenness, Ÿ Rosemary - remembrance; worn at weddings and
debauchery, espionage, murder, incest and war. The end funerals
point of this motif: Denmark is dying. Ÿ Pansy - thoughtfulness; pensiveness; grief
Ÿ Daisy - faithlessness; dissembling
Hamlet himself is also affected by this diseased state of Ÿ Fennel - flattery; cajolery; deceit
Denmark. He breathes “a foul and pestilent congregation of Ÿ Columbine - ingratitude
vapours” and his resolve rots in his mind as he is unable to Ÿ Rue (bitter medicinal plant) - repentance; grief; regret;
take the needed action in order to avenge his father and dipped in Holy Water with which to bless oneself so as
mend his country. Hamlet suffers from melancholy - the to gain God’s grace and mercy
Elizabethans thought of this attitude as a disease brought
on by an imbalance of the humours - which causes
moments of sheer lunacy and hysteria. Hamlet’s
preoccupation with death and disease is an image of his
cynical view of the worth of human life - life is simply
insubstantial and ephemeral.

Dew
Dew is condensed water vapour on plants usually found
early in the morning. It represents purity, but also how
ephemeral (fleeting) purity is. Its insubstantial nature
suggests that purity and a wholesome life are insubstantial
and difficult to obtain and to maintain.
Note how she presents the sly and faithless Claudius with
Serpent fennel and columbine. She also presents the Queen and
The serpent, as tradition holds, represent the Devil/Satan. herself with rue ("There's rue for you, here's some for me.").
It is the ultimate form of deception and represents human The Queen is supposed to wear hers as a token of
greed and ambition. The allusion to the Garden of Eden repentance for her adultery and incest. Ophelia wears it to
makes this image even more powerful in Hamlet. The show her regret and grief at the loss of her father and her
serpent is responsible for man’s fall from grace, his exile lover.
from God’s mercy. Note that the serpent and Eve were the
temptations - Hamlet’s preoccupation with the vileness of
women’s actions find an interesting echo here.

The serpent’s influence is also insidious: though its venom

is deadly and effective, it is slow-acting and almost
imperceptible; its corruption spreads unseen through the
body as Claudius’s corruption, for instance, has slowly
corrupted the state.

[Carefully note the close connection between this image

and the motif of disease.]

Prostitution
Imagery of prostitution refers to the theme of appearance
and reality, as well as deception and corruption. A
prostitute would be made up to appear attractive externally,
but would be morally reprehensible and contemptible
internally. There are several references to prostitution such
as Hamlet’s calling Polonius a “fishmonger” (an Elizabethan
word for a pimp) or his reprimanding Ophelia for using
make-up and telling her to go to a nunnery (an Elizabethan
euphemism for a brothel).

Flowers
Ophelia, like many young maidens, would have been well-
versed in the traditional lore of the power and significance
of flowers. Her distribution of flowers to the other
9
IMPORTANT QUOTES
I.ii I.v

Seems, madam! Nay, it is; I know not ‘seems’. The time is out of joint; O curs'd spite,
That ever I was born to set it right!

I.ii

O, that this too, too sullied flesh would melt, II.ii

Thaw, and resolve itself into a dew.
Therefore, since brevity is the soul of wit,
And tediousness the limbs and outward flourishes,
I will be brief.
I.ii

Frailty, thy name is woman!

II.ii

I.ii There is nothing either good or bad, but thinking

makes it so.
Thrift, thrift, Horatio! The funeral bak'd meats
Did coldly furnish forth the marriage tables.

II.ii
I.iii
I could be bounded in a nutshell, and count myself a
This above all — to thine own self be true; king of infinite space, were it not that I have bad
And it must follow, as the night the day, dreams.
Thou canst not then be false to any man.

I.iv II.ii

Something is rotten in the state of Denmark. What a piece of work is a man! How noble in reason!
how infinite in faculty! in form, in moving, how
express and admirable! in action how like an angel!
I.iv in apprehension how like a god! the beauty of the
world! the paragon of animals! And yet, to me, what
The dram of evil is this quintessence of dust?
Doth all the noble substance of doubt,
To his own scandal.

II.ii
I.v
What's Hecuba to him, or he to Hecuba,
O, villain, villain, smiling, damned villain! That he should weep for her?

I.v
II.ii
There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy. The play's the thing,
Wherein I'll catch the conscience of the king.
10
III.i IV.ii

To be, or not to be, —that is the question:— Diseases desperate grown,

Whether 'tis nobler in the mind to suffer By desperate appliances are relieved,
The slings and arrows of outrageous fortune, Or not at all.
Or to take arms against a sea of troubles,
And by opposing end them?
IV.iii

III.i Claudius: What dost thou mean by this?

Hamlet: Nothing but to show you how a king may go
Get thee to a nunnery: why wouldst thou be a a progress through the guts of a beggar.
breeder of sinners? I am myself indifferent honest;
but yet I could accuse me of such things that it were
better my mother had not borne me. V.i

Alas! poor Yorick. I knew him, Horatio; a fellow of

infinite jest.... Where be your gibes now? your
III.i gambols? your songs? your flashes of merriment,
that were wont to set the table on a roar?
I have heard of your paintings too, well enough. God
hath given you one face and you make yourselves
another. V.ii

We defy augury; there's a special providence in the

fall of a sparrow. If it be now, 'tis not to come; if it be
III.ii not to come, it will be now; if it be not now, yet it will
come: the readiness is all.
Why, look you now, how unworthy a thing you make
of me. You would play upon me; you would seem to
know my stops; you would pluck out the heart of my V.ii
mystery ... 'Sblood, do you think I am easier to be
played on than a pipe? Call me what instrument you Now cracks a noble heart. Good-night, sweet prince;
will, though you can fret me, you cannot play upon And flights of angels sing thee to thy rest.
me.

III.ii

The lady doth protest too much, methinks.

III.ii

Let me be cruel, not unnatural;

I will speak daggers to her, but use none.

III.iii

My words fly up, my thoughts remain below;

Words without thoughts never to heaven go.
11
HAMLET’S ISSUES
The Problem with Hamlet The Problem of Delay
Hamlet epitomises the ideal of the Renaissance prince (see Hamlet returns from Germany to find that he has lost:
Ophelia’s comments in III.i.142-154 and Claudius’s Ÿ his father (King Hamlet has been murdered)
statement in IV.vii.132-134). Hamlet represents the ideal Ÿ his mother (she has incestuously married his uncle)
man according to Renaissance scholars: a humanist, a Ÿ his throne (he expected to succeed his father)
scholar, a progressive thinker and an idealist. According to
the humanist philosophy of the time, man was considered During the first act of the play, Hamlet already has to deal
the centre of God’s universe and occupied an exalted with murder, incest and usurpation - unnatural and evil
position in the Great Chain of Being. He could through phenomena. The Elizabethans believed that unnatural acts
intellect elevate himself high up in the chain and achieve would trigger unnatural acts and finally the whole universe
god-like qualities, or conversely, fall down on the chain would descend into chaos and disturbance. The ghost,
through a dominating passion towards self-destruction and clearly a symptom of the chaos in Denmark, instructs
a bestial existence. Hamlet to avenge him, but it is not in Hamlet’s nature to be
violent. Hamlet is more of a scholar than he is a soldier.
The audience sees Hamlet, an idealist with his conceptions Fortinbras, a foil to Hamlet, exemplifies the very qualities
of the ideal world, faced with and surrounded by the real, Hamlet lacks in order to take revenge. Hamlet seems to
imperfect and corrupted world represented in the play by delay in taking any definitive action, because he is torn
the coutiers at Elsinore Castle. This world, corrupt and self- between very different codes of behaviour.
indulgent, negates his ideals. He tends to isolate himself
from it and becomes introspective because of this disjoint
between what should be and what is. This incongruity
makes him question the meaning and purpose of man: he
becomes cynical and contemptuous of the very concept of Aristocratic Code of Christian Code of
existence. However, for all his idealism, Elsinore is the “real
world” with which Hamlet must come to grips and which he Honour Ethics
has to accept – a realisation he only obtains toward the end Honour is paramount Forgiveness is paramount
of the play.
Nobility carries a lot of Goodness is superior to
social weight greatness
Hamlet believes in the power of reason, but he is also a very
sensitive person. The surrender to passion is Hamlet’s “Turn the other cheek”
Hesitation suggests
tragic flaw. Hamlet is confused and isolated by the The soul is eternal;
corruption, confusion and deception at Elsinore. His cowardice
political power is
measuring analytic nature, instead of helping him to Suicide is more noble temporal
understand the world around him, causes him to become than cowardice as it
anxious, slow to make decisions and scared of taking action. Murderous revenge is a
challenges Fate mortal sin
Hamlet’s private world is dominated by his incessant self- Suicide challenges God’s
analysis which renders him paralysed and morose; in his
will
public world he puts on an “antic disposition”, assuming
various façades to win him time to think and information
which could tell him how to act. He thus becomes inevitably Hamlet faces a choice between honour (temporal and
enmeshed in the “real” world of Elsinore, that is a world of political) and salvation (the eternal soul). If the ghost
appearance and reality. The more he immerses himself in advises honour, then it is evil, seeking mere personal
this world of confusion, contradiction and deception, the revenge against a political and social opponent and to
more he becomes morose, world-weary and contemptuous escape purgatory. Hamlet has to make a decision which will
of life and people. One clear example is his overwhelming cause him either humiliation as a coward (he has to kill
revulsion for women and sexual relationships which Claudius to satisfy the demands of honour) or damnation of
culminates in the “nunnery scene”. His mother’s hasty his soul (he will violate Christian doctrine by committing a
marriage, and Ophelia’s rejection and deception have both mortal sin).
reduced his ability to maintain one of the most important
Renaissance ideals: the ideal of the value of love (cf. Sonnet It is difficult to decide on what the ghost represents. He
116, Let me not to the marriage of true minds). requires vengeance from Hamlet, because of a political
sense of honour (he was killed for political reasons by
Paradoxically, on his return from England, the audience Claudius). He does, however, warn Hamlet not to taint his
sees a Hamlet who is less self-reproaching and more soul or usurp God’s will in deciding his mother’s
decisive in action. Before he is sent away, he seems to punishment.
accept the influence of providence. He realises that he
cannot brood on what the ideal world should be, but that he
must learn to live in it as it is (V.ii.8-11). Hamlet comes to a
humble recognition that there are limitations to his “god-
like reason” (V.ii.190-193).
12
The Question of Revenge Ghosts and Elizabethan Psychology
An important consideration in Hamlet is whether the Ghost could be interpreted by the Elizabethans as either an
command of the ghost is morally binding on Hamlet. It is an illusion, an angel, a devil or (for a Catholic) the true spirit of
ethical question which is central to the dramatic structure. a dead person. What is important to remember is that an
The play is predicated on the assumption that Hamlet feels Elizabethan would have found no contradiction to reality in
morally obligated to avenge his father’s death - modern the appearance of a ghost. Most often, ghosts were
audiences might not agree, but Shakespeare’s audience considered to be devils in disguise with the sole purpose of
would have. The conventional moral ideas of Shakespeare’s trapping and damning a soul of a person. However,
audience endorsed blood revenge as an absolute duty. according to Roman Catholic doctrine, a soul trapped in
However, the question of revenge was even in Purgatory would wander the earth at night.
Shakespeare’s time an ambiguous one: revenge in religious
terms was considered wrong, but doing nothing would be In order to decide whether a ghost is a good spirit (an angel
cowardly and does not satisfy the heroic impulse. or a soul from Purgatory) or a demon, there were tests to
suss out a ghost’s true nature:
For private men to take revenge is not merely to seek to Ÿ Time of day
rival God; it is actually to usurp Christ’s office. Revenge If a ghost appears at night, especially midnight, and
represents rebellion against divine providence. The vanished at daybreak, then it was probably demonic.
primary argument against revenge was that the avenger Ÿ Place
would endanger his eternal soul - regardless of how The Devil’s favourite haunts were held to be deserted
righteous the man may be. The nature of revenge, being a places, deserts, woods, precipices and graveyards. There
blasphemous act to God, makes the idea of justice they can isolate the victims from others.
impossible. To take revenge, therefore, would not only have Ÿ To whom
been considered malicious and blasphemous, it would also The spirit is unquestionably demonic if it appeared to
eliminate any possibility of forgiveness and ensure eternal the superstitious, simple people, children, murderers,
damnation. tyrants, magicians and melancholics.
Ÿ Statements
In other words, the Elizabethan audience would know If the ghost said or urged anything against the teachings
about the tradition of blood revenge and feel the need to of the Church, it was an agent of the Devil. The soul from
take revenge, but they would also be aware of the ethical Purgatory would ask for prayers to deliver it from pain.
and religious prohibitions against it. They would thus judge If the ghost spoke only according to Christian doctrine, it
Hamlet according to this ambiguous view of revenge. did not necessarily vouch for its goodness.

Hamlet’s very actions exemplify this ambivalence towards The Elizabethans also believed that ghosts should be
revenge. Revenge is a horrifying force driven by evil handled in very specific ways. One should not ask a ghost to
impulses; a complete rejection of God’s atonement. If one identify itself or the reason for its being there. The ghost
gives in to revenge, then the mind, soul and body of the should be charged to speak in the name of God. If it is a
avenger will be destroyed. Revenge represents masculine good spirit, it will only be able to speak once required to do
bravery; patience is effeminate cowardice. The drive to take so. If it is evil, it will vanish at the mention of God’s name.
revenge arises from an impulse to be active and leads to a
certain catharsis; patience, however, forces passivity which The Elizabethans believed that human health is achieved by
breeds physical, intellectual and spiritual atrophy and a balance of what was known as the 4 humours. They were:
decay. Ÿ choleric (hot and dry)
Ÿ sanguine (hot and moist)
This extreme ambiguity and the revenger’s conflict with Ÿ melancholy (cold and dry)
two contrasting philosophies make the revenge play so Ÿ phlegmatic (cold and moist)
popular and involving. Audiences respond to a young hero
desperate to prove his manhood and a rebel frustrated by A melancholic was absorbed in one mood and had extreme
social, moral and religious custom. This recognition on the and violent changes of mood. He was also desirous of death
audience’s part is sympathetic, not a sign of moral approval. and suffered from delusions.
Often our knowledge that a hero is violating moral law
increases our compassion, but rarely will we approve of his Man’s actions were directed by three influences:
actions. Ÿ the brain - understanding, will, reason, common sense
and memory
Ÿ the heart - passion and emotions
Ÿ the appetite - bestial instincts

A man’s actions (as with many other aspects of the

Elizabethan’s view of the world) were most favourable if
balanced between these three influences.

13
DRAMATIS PERSONAE
King Hamlet’s Ghost Gertrude
returns to Castle Elsinore to tell
Queen of Denmark, widow of the
Hamlet that Claudius is his
late King and wife of Claudius
murderer brother of
murdered

Claudius
Polonius
father of

King of Denmark, married to

sister-in-law, ascends to the Claudius’ Lord Chamberlain
throne after King Hamlet’s death
uncle & stepfather of

father of

Laertes
returns from France to avenge
Polonius’ death and conspires
with Claudius to kill Hamlet

Hamlet
Prince of Denmark,
seeks to avenge his loves Ophelia
father’s death
Polonius’ daughter, goes mad and
drowns after Hamlet mistreats
her and murders her father
friend & supporter of

childhood friends of

Horatio Rosenkrantz &

Guildenstern
friend of Prince Hamlet and
Supports him in his quest for Hamlet’s school friends brought to
revenge Denmark to spy on Prince Hamlet

14
ACTIVE READING - ACT I.i

How are these characters described throughout the scene? Quote and reference!

Late King
Hamlet

Young
Fortinbras

Ghost

List all elements of the supernatural found throughout this scene.

How is the mystery of death portrayed in this scene?

15
IMMERSION - ACT I.i
1. “What, has this thing appeared again tonight?” (I.i.21)
To what thing is Horatio referring?
2. “Question it, Horatio.” (I.i.45)
Why does Marcellus ask Horatio to question the ghost?
3. Describe the appearance of the ghost.
4. Consider the word “usurp’st” (I.i.46). What does it mean and how is it significant in Hamlet.
5. “Together with that fair and warlike form
In which the majesty of buried Denmark
Did sometimes march?” (I.i.47-49)
What do we learn about the erstwhile king from this extract?
6. “This bodes some strange eruption of our state.” (I.i.69)
Explain the significance of this line.
7. “Before my God, I might not this believe
Without the sensible and true avouch
Of mine own eyes.” (I.i.56-58)
How is Horatio different from Marcellus and Bernardo?
8. When Horatio sees the ghost for the first time, how many times has the ghost appeared?
9. Who is “our valiant Hamlet” (I.i.84)?
10. Who is Fortinbras? Describe what transpired between him and the late king.
11. Who is young Fortinbras and what is he concerned with at this time?
12. Describe young Fortinbras’s character.
13. How does the audience know that young Fortinbras does not have a lot of support for his campaign.
14. “this portentous figure / Comes armed...” (I.i.109-110)
Why does Shakespeare in every description of the ghost and the late king, refer to its wearing armour?
15. Consider Horatio’s speech about Julius Caesar and Rome in I.i.112-125.
a. What does Horatio want to say in this speech?
b. Identify and explain an example of allusion from this speech.
16. “I’ll cross it though it blast me. — Stay, illusion.” (I.i.127)
a. Explain the ambiguity of the word “cross”.
b. What is Horatio trying to do? What does this tell the audience about his state of mind?
17. Carefully read Horatio’s address to the ghost in I.i.128-139.
a. List the three things Horatio demands of the ghost in your own words.
b. Discuss how Shakespeare creates an eerie and suspenseful atmosphere in this speech.
c. How does Shakespeare create a sense of confusion directly after Horatio’s speech?
18. Both Horatio and Marcellus offer reasons for the ghost’s sudden disappearance at the crowing of the cock. What are their
reasons and what does this say about each of them?
19. How do we know that Horatio is not entirely sure about his world view?
20. “This spirit, dumb to us, will speak to him.” (I.i.171)
Why would the ghost prefer to divulge information to Hamlet rather than the sentinels?
21. “As needful in our loves, fitting our duty?” (I.i.173)
How do Bernardo, Marcellus and Horatio feel about Hamlet?
22. Discuss the dramatic significance of “the morn in russet mantle clad / Walks o’er the dew of yon hill” (I.i.166).
23. In a paragraph of 50-60 words, explain how Shakespeare creates a sense of foreboding and disorder in this scene.

16
ACTIVE READING - ACT I.ii

Follow the conversation: what do these characters say, to whom and what is the tone?

Claudius Claudius

Claudius Gertrude

Hamlet

Hamlet’s First Soliloquy

Hamlet

List all references to disease and weakness in this scene.

17
IMMERSION - ACT I.ii
1. Consider Claudius’s first speech turn carefully (I.ii.1-14). Do you believe his words are sincere?
2. Who is the “our sometime sister” (I.ii.8) about whom Claudius is talking?
3. How does Claudius plan to solve the problem concerning young Fortinbras?
4. A number of great personages are assembled around Claudius. Claudius chooses to address Laertes first among all of
them (I.ii.42-49).
a. Who is Laertes?
b. Why is it significant that he speaks to Laertes first, and not to another such as Hamlet?
c. Describe Claudius’s tone towards Laertes. Give examples from this extract.
5. Why is Laertes in Denmark?
6. “(Aside) A little more than kin, and less than kind.” (L.ii.65)
a. Discuss the layered pun in Hamlet’s aside in detail with reference to Hamlet’s relationship with Claudius
as well as his feelings about Claudius.
b. This is the first time the audience hears Hamlet speaking. What is the significance of his tone?
7. “Not so, my lord, I am too much i’the sun.” (I.ii.67)
This is a reference to the proverb “Out of heaven’s blessing to the warm sun”.
a. What does this proverb mean?
b. Account for Hamlet’s veiled tone of defiance toward Claudius.
8. How does Gertrude try to convince her son to be less sulky?
9. “I know not ‘seems’.” (I.ii.76)
Why does Hamlet emphasise this word? Make detailed reference to this speech turn and an important theme.
10. Consider Claudius’s choice of words in “obstinate condolement” (line I.ii.93).
a. What does Claudius think of Hamlet’s continued melancholy?
b. What do you think is the true reason for Hamlet’s black mood?
c. How does Shakespeare signal Hamlet’s mood visually?
d. List the techniques which Claudius employs to try to persuade Hamlet to be less melancholy. Give
examples from this speech turn.
e. What kind of a man and ruler is Claudius?
11. “you are the most immediate to our throne” (I.ii.93) Explain the irony of this statement.
12. What course of action does Claudius want Hamlet not to follow? Could there be some political reason for this? Explain.
13. Do you think Claudius is sincere in his request for Hamlet to stop being morose? Explain your answer.
14. Where do the Queen’s loyalties lie according to her words in lines 118 and 119 (”Let not thy mother... Wittenburg.”)?
15. Comment on Hamlet’s use of the word ‘madam’ in I.ii.120.
16. The play’s first soliloquy gives the audience a peek into Hamlet’s tortured mind.
a. Explain the significance of Hamlet’s being left alone on stage.
b. What is the function of a soliloquy in a drama?
c. Why does Hamlet want his flesh to “resolve itself into dew.” (I.ii.130)?
d. How long has Hamlet’s father been dead?
e. “as if increase in appetite had grown” (I.ii.144) - how does Hamlet feel about his mother’s marriage?
f. Hamlet compares his mother’s grief to that of Niobe’s – is this a positive image? Explain.
17. What does Horatio mean by “truant disposition” (I.ii.169)?
18. What image does Hamlet use to emphasise how quickly after his father’s death his mother remarried?
19. What shocking revelation does Hamlet make to Horatio?
20. What miraculous revelation does Horatio in turn make to Hamlet?
21. According to Horatio, why are they telling Hamlet of this apparition?
22. How does the audience know that Hamlet is skeptical of this news?
23. What does Hamlet decide to do that very night?
24. What does Hamlet ask Horatio and Marcellus to do?
25. How does the audience know that Hamlet desperately desires to see his father? Quote from this scene.

In a short literature essay of approximately 200 words, discuss how Claudius interacts with other characters and his
relationships with them.

Check the notes on the literature essay (later in the book) before you start writing the essay!
18
ACTIVE READING - ACT I.iii

Follow the conversation: what do they say and how do they respond?
Laertes Ophelia

Polonius Laertes

Polonius Ophelia

Make notes about the social position of women at this time.

19
IMMERSION - ACT I.iii
1. “the trifling of his favour.” (I.iii.5)
What is Laertes’ opinion of Hamlet’s love for Ophelia? Find other words from this speech turn to support your answer.
2. Which image does Laertes use to highlight Hamlet’s fleeting love interest?
3. Why would Hamlet not normally be allowed to choose his own wife?
4. “...on his choice depends
the sanity and health of this whole state.” (I.iii.20-21)
a. Explain the dramatic irony in these lines.
b. Which important theme in the play is touched on by these lines?
5. Of what, according to Laertes, should Ophelia be wary?
6. Consider Ophelia’s reply to her brother’s advice in I.iii.45-51.
a. What does “ungracious pastors” (I.iii.47) mean?
b. What implication does she make of her own brother’s conduct?
c. Does Ophelia show independence and a mind of her own? Explain your answer.
7. Note carefully Polonius’ advice to his son in I.iii.59-82.
a. What is the main point that most of his advice tries to make?
b. What is an aphorism?
c. How does Polonius’ use of these aphorisms elucidate his character?
d. Identify and explain the simile he uses to underline the importance of personal integrity.
e. In matters of politics, how does he advise his son to act?
f. “to thine own self be true...” (I.iii.78)
Explain the ambiguity of this advice with regards to its true meaning and what has gone before.
8. Consider Polonius’ reaction to Ophelia mentioning Hamlet’s affections for her: “Affection, pooh!” (I.iii.100).
What does this exclamation reveal about Polonius?
9. Explain the pun in Polonius’ words: “you’ll tender me a fool.” (I.iii.109)
10. What is the implication of comparing Ophelia to a woodcock?
11. What piece of wisdom given by Laertes is repeated by Polonius?
12. Why can Hamlet act “with a larger tether” (I.iii.125) than Ophelia? Give two reasons.
13. Identify the ambiguity in ‘broker’ (I.iii.127).
14. Identify and explain the metaphor Polonius uses to explain Hamlet’s intentions toward Ophelia.
15. What does Polonius finally command Ophelia to do?

In a short literature essay of approximately 200 words, discuss the character of Polonius. Focus on his use of language,
his sincerity and his advice to his children.

Check the notes on the literature essay (later in the book) before you start writing the essay!
20
ACTIVE READING - ACT I.iv & v
iv

List elements of evil or corruption and how they enhance the atmosphere.

Elizabethan values: how should one handle a ghost and how does Hamlet do it?

SHOULD HAMLET

Cause and effect: complete the descriptions and detail the effect of each incident below.
Hamlet’s conversation with Rosenkrantz
and Guildenstern

The ghost’s position during the cellarage

scene

The ghost’s exclamation during the

cellarage scene

21
IMMERSION - ACT I.iv & v
iv
1. What atmosphere do the exchanges in the first 4 lines create?
2. There is a flourish of trumpets while Horatio explains that the ghost will soon reappear.
a. What does the flourish of trumpets signal?
b. Describe Hamlet’s tone in listing Claudius’s exploits.
c. How are Claudius’s actions a mirror for the state of Denmark?
3. Carefully consider Hamlet’s speech from I.iv.23 to I.iv.38 (”So, oft it chances...his own scandal.”).
Explain what Hamlet sees as the tragedy of man.
4. Why does Hamlet describe the ghost as ‘questionable’ (I.iv.43)?
5. “...and we fools of nature
So horridly to shake our disposition
With thoughts beyond the reaches of our souls?” (I.iv.54-56)
What does Hamlet say about human nature?
6. “Say why is this? Wherefore? What should we do?” (I.iv.57) - What is Hamlet’s tone in this line?
7. Marcellus and Horatio beg Hamlet not to follow the ghost. Discuss why they fear the ghost, but Hamlet apparently does
not.
8. “I’ll make a ghost of him that lets me!” (I.iv.85)
Discuss the internal and external conflict Hamlet faces with reference to his sudden, violent exclamation.
9. “Something is rotten in the state of Denmark.” (I.iv.90)
a. Which theme is referenced in this line?
b. How does this line foreshadow what will take place later in the play?

v
10. “My hour is almost come,” (I.v.2) - Explain what the ghost is saying here.
11. “Doomed for a certain time to walk the night” (I.v.10) - What does this line confirm about his father’s death?
12. Identify and discuss the hyperbole Shakespeare uses in the ghost’s speech in I.v.13-20.
13. “Oh God!” (I.v.24) What emotion is Hamlet expressing with this exclamation?
14. “Now Hamlet, hear” (I.v.34)
a. What was the official cause of death for Hamlet’s father?
b. What does the ghost reveal were the actual circumstances?
c. Which image does the ghost use to describe the murderer and what is its significance?
15. What does Hamlet reveal about his knowledge of his father’s death with “O, my prophetic soul!” (I.v.40)?
16. The ghost accuses Claudius of another sin.
a. What is this other sin?
b. How does Claudius manage to commit this sin according to the ghost?
17. Carefully read the ghost’s ‘flashback’ to when it was murdered (I.v.59-73).
a. What is ironic about “my secure hour” (I.v.61)?
b. Which theme is foremost in this retelling? Explain the significance carefully.
c. What is the dramatic effect of this little interlude in the ghost’s speech to Hamlet?
18. What are his “imperfections” (I.v.79)?
19. The ghost begs Hamlet to avenge his death, but places two restrictions on him: what are they?
20. What does the ghost mean by saying “remember me!” (I.v.91)?
21. Consider Hamlet’s impassioned exclamation when the ghost exits in I.v.92-95 “O all you host...me stiffly up...”.
Discuss the internal conflict in Hamlet implicit in these lines with reference to the central themes of the play.
22. “O villain, villain, smiling, damnéd villain!” (I.v.106) To whom is Hamlet referring?
23. Explain the significance of Hamlet writing down this encounter with specific reference to the theme of inaction.
24. Discuss the effect of the so-called cellarage scene on the audience.
25. In the so-called cellarage scene Hamlet demands of Horatio and Marcellus to swear their silence on his sword. The ghost,
in the cellar below stage, yells ‘swear!’ every so often, apparently unheard by Hamlet’s two friends. What is the effect
created by this odd scene?
26. “There are more things in heaven and earth, Horatio,
than are dreamt of in your philosophy.” (I.v.166-167)
How is Hamlet’s view of the world already changing?
27. How does Hamlet decide to act in order to hide his plans from his enemies? Quote to prove your answer.
28. Explain the significance of lines 188-189 “O curséd spite / that ever I was born to set it right!”.

22
ACT I - QUICK QUIZ
i

1. Where does the play Hamlet take place?

2. Whose ghost appears in the first scene?
3. Where does it appear?
4. To whom does the ghost appear first?

ii

5. Who is the King?

6. What is the King’s relationship to the protagonist of the play?
7. Why is both Laertes and Hamlet home from university abroad?
8. Who is Polonius?
9. What has the King done to earn Hamlet’s disgust?
10. Which two requests do both Claudius and Gertrude make of Hamlet?
11. What is Hamlet wearing on his first appearance?
12. How long has Hamlet’s father been dead?
13. What is the relationship between Hamlet and Horatio?
14. What does Horatio reveal to Hamlet about Hamlet’s father?
15. Who was brave enough to speak to the ghost?
16. How did the ghost respond?
17. Describe the physical appearance of the ghost.
18. What does Hamlet decide to do that night based on his friend’s report?

iii
19. Who is Laertes’ sister?
20. Against what does he warn her?
21. Why should she be careful according to Laertes?
22. What is her response to her brother’s warning?
23. In brief, how does Polonius advise his son to act at university?
24. With whom has Polonius’s daughter been spending time of late?
25. What does he command her to do?

iv
26. What is Claudius doing while Hamlet awaits the
ghost?
27. What does Hamlet demand of the ghost on its
appearance?
28. What is the ghost’s response?
29. What does Hamlet do against the advice of his friends?

v
30. Why must the ghost soon disappear?
31. What does the ghost demand of Hamlet?
32. How and by whom was Hamlet’s father murdered?
33. Which three things did the ghost lose?
34. Who arrives once the ghost disappears and what do
they want?
35. What does Hamlet command them to do?
36. What happens while Hamlet tries to get them to do
what he asks?

23
ACT I - EXAM PRACTISE
Read Hamlet I.ii.74 to I.ii.120 and answer the questions which follow.

“If it be ...
I shall in all my best obey you, madam.”

1. What is the queen talking about in her first question to Hamlet? (3)
2. Discuss the effectiveness of the imagery Hamlet uses to explain his grief to his mother. (3)
3. How does Claudius attempt to convince Hamlet to change his mood? (3)
4. Explain the strange relationship between Hamlet, his mother and the King. Refer closely to the extract. (3)

Read Hamlet I.v.9 to I.v.52 and answer the questions which follow.

“I am thy father’s spirit...

...to those of mine.”

5. Account for the reason the ghost appears to Hamlet? (3)

6. “I find thee..wears his crown.” (I.v.32.39)
Discuss the imagery the ghost uses to describe his “foul and most unnatural murder” in this speech turn. What is the
significance of this imagery? (3)
7. How did Claudius seduce Hamlet’s mother? (3)
8. “O my prophetic soul!” (I.v.40)
Account for and discuss the tone of this exclamation by taking into account Hamlet’s suspicions throughout this first
act. (4)

TOTAL [25]

In a literature essay of approximately 400 words, explore how the rational and the supernatural are represented in
Act I of Hamlet. Discuss the effect of these two polar world views on how the characters react to their environment.

Check the notes on the literature essay (later in the book) before you start writing the essay!
24
ACTIVE READING - ACT II.ii
Track the tone: what is Hamlet’s tone, attitude and/or conduct during this section of the scene?

Hamlet’s greeting of Rosenkrantz &

Guildenstern
(II.ii.216-252)

Hamlet’s interrogation about

Rosenkrantz & Guildenstern’s presence
in Denmark
(II.ii.253-274)

“what a piece of work”

(II.ii.275-290)

The discussion of the theatre and the

coming acting troupe.
(II.ii.291-340)

Polonius’s re-entry
(II.ii.341-376)

Hamlet’s conversation with the

actor.
(II.ii.377-398)

Hamlet listening to his “beloved”

speech
(II.ii.417-477)

Make notes on how the theme of action and inaction is explored in Hamlet’s soliloquy.

25
IMMERSION - ACT II.i-ii
i

1. Who is the ‘him’ in II.i.1?

2. Polonius gives Reynaldo several instructions.
a. Where is he supposed to go?
b. What must he do first on arrival there?
c. What rumours should Reynaldo spread?
d. Why should he do this?
3. What are the ‘taints of liberty’ (II.i.32)?
4. “I have been affrighted!” (II.i.72)
a. Who says this?
b. What does it mean?
c. What happened?
d. Why does Hamlet act in this way? Be careful in your response.
5. “Come, go with me. I will go seek the king.” (II.i.98)
a. What does this line reveal about Polonius?
b. What do you think he intends on telling the king?
6. “What, have you given him any hard words of late?” (II.i.104)
Why does Polonius ask Ophelia this?
7. Polonius twice says that he is sorry. Is this an indication of his affection for his daughter? Explain your answer with
reference to the rest of his speech turn.
8. Consider the last three lines of this scene (II.i.115-117):
“This must be known, which, being kept close, might move
More grief to hide, than hate to utter love.
Come.”
a. What does this mean?
b. Discuss the relationship between Hamlet, Claudius and Polonius as revealed by this statement.

ii

9. Who are Rosenkrantz and Guildenstern?

10. What is Claudius’s tone in his first speech to Rosenkrantz and Guildenstern?
11. What does Claudius refer to when he talks about Hamlet’s “transformation” (II.ii.5)?
12. “What it should be...I cannot dream of.” (II.ii.7-10)
Identify the dramatic irony in Claudius’s speech.
13. What does Claudius request of Rosenkrantz and Guildenstern? Is he truthful in his request?
14. What plot point is unearthed by the return of the ambassadors from Norway?
15. “Have I, my lord?” (II.ii.43)
What does Polonius’s response to the King reveal about him?
16. What does “O speak of that! That do I long to hear.” (II.ii.50) reveal about Claudius’s priorities?
17. Consider Gertrude’s response to Claudius (II.ii.56-57). What can we conclude about her knowledge of Claudius’s actions?
18. What is the significance of Claudius’s use of the word “sift” (II.ii.58)?
19. Carefully read Valtemand’s report to Claudius (II.ii.60-80).
a. Who is Norway’s nephew?
b. What was he planning to do?
c. Why would he have been able to do so?
d. What does the King of Norway request of Claudius?
20. Consider Claudius’s reply to the ambassador in II.ii.80-85. Is it appropriate for him to dismiss the ambassador so quickly?
How do you explain his reaction?
21. “since brevity is the soul of wit,” (II.ii.90)
a. What is ironic about Polonius’s statement?
b. Consider Polonius’s criticism of Hamlet’s letter later on – account for his double standards.
22. What cause does Polonius give for Hamlet’s current lunacy/madness?
23. Explain how Hamlet’s “antic disposition” has progressed, according to Polonius.
24. “If circumstance lead me, I will find
Where truth is hid, though it were hid indeed
Within the centre.”
Explain how Polonius’s response to the King is an example of foreshadowing.
26
25. How does Polonius intend to prove his theory to Claudius and Gertrude?
26. How is Hamlet’s isolation from the other characters emphasised on his entering the scene (II.ii.168)?
27. “you are a fishmonger” (II.ii.173)
a. What does Hamlet’s reply prove to Polonius.
b. Explain the ambiguity of Hamlet’s reply.
28. Explain Hamlet’s nauseating description in II.ii.180-181 (”For if the sun breeds...carrion”) with reference to important
themes and symbols in the play.
29. Explain the pun in Hamlet’s warning to Polonius not to let his daughter outside (”Let her...may conceive” - II.ii.183-184).
30. What is the “grave” to which Hamlet refers in II.ii.203?
31. Polonius plans to manufacture a meeting between Hamlet and his daughter (II.ii.206-208). What does this tell us of his
relationship with Ophelia?
32. What is the function of Hamlet’s repetition of the words “except my life” (II.ii211)?
33. Explain the humour in Hamlet’s jesting about Fortune (II.ii.222-228). What humorous device is being used?
34. Explain the significance of “Then is doomsday near.” (II.ii.230).
35. Why does Hamlet call Denmark a prison (II.ii.234)?
36. “..for there is nothing either good or bad,
but thinking makes it so.” (II.ii.239-240)
What is Hamlet saying and how is this ironic about his own situation?
37. Hamlet questions Rosenkrantz and Guildenstern repeatedly on their reason for coming to Denmark. What does this
reveal of Hamlet’s understanding of the current circumstances?
38. Hamlet says of Rosenkrantz and Guildenstern that “there is a kind of confession in your looks, which your modesties have
not craft enough to colour.” (II.ii.262-264)
a. What does this mean? What is he saying about Rosenkrantz and Guildenstern?
b. Which theme is predominant here?
39. Consider Hamlet’s speech “I will tell you why...you seem to say so.” (II.ii.275-288)
a. What does Hamlet reveal to Rosenkrantz and Guildenstern?
b. What has Hamlet recently lost - use your own words.
c. Comment on the imagery of “sterile promontory” and “foul and pestilent congregation of vapours.”
d. Discuss the paradox of man as Hamlet sees it.
e. Explain the significance of “no, nor woman neither...” (II.ii287).
40. Why, according to Rosenkrantz, have the actors taken to traveling instead of remaining in the city?
41. How is the Danes’ treatment of Claudius different now according to II.ii327-329?
42. Explain how “if philosophy could find it out” (II.ii.330) illuminates the central internal conflict in Hamlet.
43. How does Hamlet’s conduct change when Polonius enters?
44. What joke do the three young men share at the expense of Polonius?
45. What is Hamlet’s tone towards Polonius in “When Roscius was an actor in Rome” (II.ii.349) and “Buz, buz!”?
46. Explain the biblical allusion to Jephthah in detail (II.ii.360-374).
47. Hamlet wants the first actor to perform a speech he has heard him recite before (II.ii.387-465).
a. What kind of speech was it according to Hamlet?
b. About whom was this speech?
c. What is the significance of the subject matter of the speech?
d. Polonius’s response to the epic speech is “this is too long.” (II.ii.446). What does this reveal about him?
48. Why has this speech “turned [Hamlet’s] colour” (II.ii.466)?
49. Which two things does Hamlet request of the actor before the acting troupe leaves with Polonius?
50. Study Hamlet’s soliloquy from II.ii.491-549 carefully and answer the following questions.
a. Why does Hamlet focus on the actor’s reactions to the story of Hecuba?
b. Why does he compare himself to the actor?
c. What does “unpregnant of my cause” imply about Hamlet?
d. How is Hamlet’s ambivalence about his need to avenge his father’s murder portrayed by Shakespeare?
e. “Ha!” What is the significance of this exclamation in Hamlet’s soliloquy?
f. What tone of voice does he employ about himself in “Why, what an ass... A scullion!” and why?
g. Why is he urged to take revenge “by heaven and hell”?
h. What is the significance of “unpacking my heart with words”?
i. What plan does he reveal at the end of the soliloquy?
j. What is the point of this plan? Explain carefully why he needs this plan.

27
ACT II - QUICK QUIZ
i
1. Why does Polonius enlist the aid of Reynaldo?
2. Where does he send him?
3. What news does Ophelia give her father?
4. How does Polonius respond to her news?

ii

5. Who are Rosenkrantz and Guildenstern?

6. Why are they in Denmark?
7. What do the King and Queen ask of them?
8. What news do the ambassadors, Valtemand and Cornelius, bring to Claudius?
9. What news does Polonius deliver to Claudius and Gertrude?
10. What does Polonius read to Claudius and Gertrude?
11. What is Polonius’s conclusion about the reason for Hamlet’s melancholy?
12. How does Polonius propose to prove his theory to Claudius and Gertrude?
13. What does Hamlet want to know of Rosenkrantz and Guildenstern?
14. What will lift Hamlet’s spirits according to Rosenkrantz?
15. Why are the actors traveling?
16. What news does Polonius bring Hamlet?
17. What does Hamlet request of the actor?
18. How does Hamlet react to the actor’s speech?
19. What does Hamlet request of Polonius and of the actor?
20. What is Hamlet’s plan for Claudius?

ACT II - EXAM PRACTISE

Read Hamlet II.ii.93 to II.ii.129 and answer the questions which follow:
“Mad call I it ...
...faithful and honourable.”

1. What is the “madness” to which Polonius refers? (3)

2. “More matter, with less art.” Discuss Polonius’s character as evidenced by Gertrude’s observation. (3)
3. “I have a daughter (have while she is mine).” Discuss the position of women in Hamlet’s world specifically with reference
to Ophelia’s relationship with her father. (3)
4. “This in obedience hath my daughter shown me,” What obedience is Polonius referring to here? (3)

Read Hamlet II.ii.491 to II.ii.549 and answer the questions which follow:
“Now I am alone...
...conscience of the king.”

5. “He would drown the stage with tears.” What difference between Hamlet and the actor is highlighted by this line? (3)
6. “Remorseless, treacherous, lecherous, kindless, villain!” How does this line illuminate Hamlet’s state of mind? (3)
7. Explain Hamlet’s desire to verify the ghost’s accusations. Refer carefully to the extract. (3)
8. Critically comment on the effect of this lengthy soliloquy and its significance in terms of Hamlet’s character and his
dilemma. (4)

TOTAL [25]

In a literature essay of approximately 400 words, discuss the importance of ploys and plots in Hamlet by referring to
at least two examples of these from Act II.

Check the notes on the literature essay (later in the book) before you start writing the essay!
28
ACTIVE READING - ACT III.i
List examples of spying or betrayal in this scene.

Analyse the soliloquy: TO BE OR NOT TO BE. What are the advantages and disadvantages of ...

BEING NOT BEING

Ophelia and Hamlet! List accusations Hamlet levels against Ophelia and say if they are justified.
Accusations Justified or not?

29
IMMERSION - ACT III.i
1. “with turbulent and dangerous lunacy?” (III.i.1)
Discuss the ambiguity of the words ‘turbulent’ and ‘dangerous’ in Claudius’s question to Rosenkrantz.
2. What does the word ‘crafty’ (III.i.8) imply about Rosenkrantz and Guildenstern’s observation of Hamlet?
3. Why have Rosenkrantz and Guildenstern not been able to sound out Hamlet’s true problem?
4. Claudius calls himself and Polonius ‘lawful espials’ (III.i.32). Of what is he trying to convince Gertrude?
5. How does Polonius instruct Claudius and Ophelia to behave for the little trap trey are setting for Hamlet?
6. Explain the comparison in Claudius’s aside (III.i.49-54) and the significance of the imagery he uses.
7. Consider Hamlet’s fourth soliloquy (III.i.56-89).
a. Explain the double meaning of the question: to be or not to be?
b. What is the implication of the words ‘slings’ and ‘arrows’ (III.i.58)?
c. What is the ‘rub’ (III.i.65) according to Hamlet?
d. How does Hamlet see life?
e. “Thus conscience does make cowards of us all,” (III.i.83)
What does this mean? Which theme is touched on by this line?
f. Discuss Hamlet’s state of mind during this speech.
8. “How does your honour for this many a day?” (III.i.91)
Comment on the style of Ophelia’s greeting to Hamlet.
9. “Ha, ha! are you honest?”
a. What does Hamlet realise at this point?
b. Explain the double meaning of his remark.
c. What is his tone of voice?
10. Why does Hamlet say that her “honesty should admit no discourse to [her] beauty”?
11. “Get thee to a nunnery...
... Where’s your father?” (III.i.118.125)
a. Explain the double meaning of “Get thee to a nunnery.” (III.i.118).
b. Account for Hamlet’s calling her a “breeder of sinners” (III.i.119).
c. Identify Hamlet’s tone in this speech.
d. What does the phrase “crawling between heaven and earth” (III.i.124) imply about humanity?
e. What is the reason for Hamlet’s inquiry about Polonius’s whereabouts?
12. “Be thou as chaste...escape calumny.” (III.i.130-131)
Why do you think Hamlet is abusing Ophelia so brutally? Is he perhaps not thinking of her at all?
13. Comment on the staging of this dramatic set of exchanges between Hamlet and Ophelia. What is Shakespeare trying to
achieve and how does he do it?
14. Consider Hamlet’s speech before he rushes off stage for the last time, the so-called marriage speech.
(”I have heard... To a nunnery, go!” III.i.136-141)
a. Of what does he accuses all women? Make reference to the imagery being used.
b. How does the audience know that Hamlet is aware of Polonius and Claudius’s eavesdropping?
15. What image does Ophelia use to describe Hamlet’s changed character?
16. Polonius intended to prove to Claudius that Hamlet’s strange behaviour can be attributed to his being love-sick? Is
Claudius convinced? Explain your answer.
17. What does Claudius intend to do next?
18. What further suggestions does Polonius offer Claudius to suss out Hamlet’s motivations?

In a literature essay of approximately 250 words, discuss Hamlet’s central conflict as is revealed by his fourth
soliloquy (Act III).

Check the notes on the literature essay (later in the book) before you start writing the essay!
30
ACTIVE READING - ACT III.ii
A play within a play...compare the play Hamlet to the play performed by the actors.

TITLE

DEAD PERSON

NEW KING

QUEEN

MURDER WEAPON

LANGUAGE

Friendships: Contrast the acts of Horatio with those of Rosenkrantz and Guildenstern.
Horatio Rosenkrantz and Guildenstern

31
IMMERSION - ACT III.ii
1. Hamlet coaches the actor on how to perform the speech. In brief, explain against what Hamlet warns the actor.
2. Why would Hamlet not flatter Horatio?
3. What image does Hamlet use to describe people who are seeking flattering attention?
4. What is Hamlet’s opinion of Horatio? Quote to prove your answer.
5. Give me a man...as I do thee.” (III.ii.59-62)
What is ironic about Hamlet’s description of Horatio considering Hamlet’s own situation and character?
6. What does he ask Horatio to do during the play? How is this typical of Hamlet’s problem?
7. Claudius, on entering, greets Hamlet first. “How fares our cousin?” (III.ii.79)
a. What is the significance of this action?
b. Explain Hamlet’s sarcastic reply “of the chameleon’s dish” (III.ii.80).
c. What does Hamlet mean by “promise-crammed” (III.ii.80)?
8. Explain the dramatic foreshadowing in Polonius’s admission that he played Julius Caesar at university (III.ii.87).
9. What does “here’s metal more attractive” (III.ii.92) mean? Why is it significant?
10. Consider Ophelia’s words “You are merry, my lord.” Explain Ophelia’s reply by carefully referencing the conversation she
is having with Hamlet.
11. Why does Shakespeare mention Hamlet’s father’s death so pertinently here again in Hamlet’s conversation with Ophelia
(”my father’s died within’s two hours.” III.ii.107)?
12. What was the purpose of the “dumb-show” before the main play?
13. The play within a play...
a. How long have the player king and player queen been married?
b. The player king tells the player queen that she might remarry after his death. What is her response to this
possibility?
c. “I do believe you think what now you speak,
But what we do determine, oft we break. (III.ii.163)
What does the player king mean?
d. Explain the different images he uses to explain how one’s mind can easily change (”Purpose can..slender
accident.” III.ii.165-176).
e. Gertrude’s response “The lady doth protest too much methinks.” (III.ii.207) is interesting. Do you think she realises
that the play’s plot is directed at her?
f. What pretext does Claudius use to try and stop the play?
g. Discuss Hamlet’s mood and demeanour in this section.
h. How does Claudius react to Lucianus’s poisoning of Gonzago?
i. Does Hamlet’s plot device succeed? Explain why.
14. Discuss Hamlet and Horatio’s relationship as is evidenced by their conversation after the play.
15. What does Rosenkrantz and Guildenstern come to tell and ask Hamlet?
16. “For, for me to put him to his purgation, would perhaps plunge
him into more choler.” (III.ii.274-275)
a. What is the cultural significance of the reference to ‘choler’ and ‘purgation’?
b. Explain the ambiguity of Hamlet’s reply to Guildenstern.
17. “Sir, I lack advancement.” (III.ii.303)
Explain the ambiguous irony of this statement.
18. Hamlet hands Guildenstern a recorder and tells him that he should play on it as it is an easy instrument. (III.ii.307-329)
a. What is Hamlet trying to prove by doing this?
b. How has Hamlet’s treatment of Rosenkrantz and Guildenstern changed? Can you account for this?
19. Consider Hamlet’s fifth soliloquy at the end of this scene.
a. How is this soliloquy different from the others Hamlet has performed up to this point?
b. What is ironic about Hamlet’s saying that “”Tis now...time...when...hell itself breathes out contagion...”?
c. Why does Hamlet decide not to harm his mother?
d. Who is Nero and why does Hamlet say he will not be like him?
e. How do we know that Hamlet understands his own complicity in the appearance and reality problem of Denmark?

In a literature essay of approximately 300 words, discuss the significance of the play-within-a-play in the context of
Hamlet’s attempts to take revenge. Discuss its importance, its results and the dramatic impact of it.

Check the notes on the literature essay (later in the book) before you start writing the essay!
32
ACTIVE READING - ACT III.iii
Final Moments: Compare and contrast King Hamlet’s final moment with Claudius’s confessional.
King Hamlet King Claudius

Hamlet’s soliloquy: which positive and negative traits of Hamlet do we learn of in this speech?

Imagery: what imagery is used in the two soliloquies to express the following ideas?
GUILT: APPEARANCE:

PURITY: ACTION:

REDEMPTION: DELAY:

33
IMMERSION - ACT III.iii
1. “I your commission forthwith dispatch.” (III.iii.3)
By considering this statement, how can we see that Claudius’s personality is different from that of Hamlet?
2. Who will accompany Hamlet to England?
3. Why is Claudius sending Hamlet to England? Explain and quote to prove your answer.
4. To which Elizabethan philosophy about the social structures in England are Rosenkrantz and Guildenstern referring in
“We will ourselves...a general groan.” (III.iii.7-23)?
5. “The cease of majesty
dies not alone, but like a gulf doth draw
what’s near it with it.” (III.iii.15-17)
a. Explain the simile Rosenkrantz is using.
b. What is ironic about his statement?
6. Apparently Claudius told Polonius to eavesdrop on Gertrude’s conversation with Hamlet (cf III.iii.30-33). What does this
imply about Claudius and Gertrude’s relationship?
7. Explain the allusion and its effectiveness in “the primal eldest curse” (III.iii.37).
8. “Pray can I not.” (III.iii.38)
What does this statement imply about Claudius’s state of mind?
9. Why would praying not help Claudius?
10. But ‘tis not so above.” (III.iii.60)
To what realisation does Claudius come as he weighs his options?
11. Consider Hamlet’s sixth soliloquy at the end of this scene.
a. Comment on the irony of the staging reversal we find in this soliloquy.
b. What does the verb ‘might’ (III.iii.73) tell us about Hamlet’s personality?
c. How does “full of bread” (III.iii.80) explain the reason for the ghost’s appearance?
d. Why does Hamlet sheathe his sword and decide not to kill Claudius?
e. How does Hamlet’s decision to have Claudius die “damned and black as hell” (III.iii.94-95) indict his own reasons
for revenge?
12. In Kenneth Branagh's Hamlet (1996), Claudius is sitting in a confessional and Hamlet is on the other side with his dagger
drawn. If you were producing the play, how would you stage Hamlet finding Claudius at prayer?

Morris LeRoy Arnold in The Soliloquies of Shakespeare argues that Claudius's soliloquy gives “the impression
of rhetorical pageantry rather than sincere contrition.”

In a literature essay of approximately 200 words, discuss whether you believe this statement is fair or not.

Check the notes on the literature essay (later in the book) before you start writing the essay!
34
ACTIVE READING - ACT III.iv

Two Kings: compare and contrast what Hamlet says about his late father and his step-father
King Hamlet King Claudius

Make notes about the relationship between Hamlet and his mother.

Consider Hamlet’s actions in this scene - keep track of how they differ from his normal actions.

35
IMMERSION - ACT III.iv
1. Comment on Hamlet’s repetition of his mother’s words “Mother, you have my father much offended.” (III.iv.10).
2. “your husband’s brother’s wife.” (III.iv.15)
Identify Hamlet’s tone.
3. How does Hamlet try to show Gertrude the true nature of her offence?
4. Hamlet acts passionately and decisively when he stabs Polonius through the curtain thinking it to be Claudius. Discuss
the irony of this situation.
5. “As kill a king!” (III.iv.29)
What does Hamlet assume about his mother?
6. Consider Hamlet’s invective against his mother in “Such an act...rhapsody of words.” (III.iv.40-48). Mention all the virtues
which Gertrude has corrupted through her sinful actions.
7. Which image is used to describe how Gertrude’s actions have offended heaven?
8. How does Shakespeare visually portray the differences between Gertrude’s late husband and current husband?
9. “Have you eyes?” (III.iv.65)
a. What is Hamlet’s tone in this exclamation?
b. Which theme is touched on by this question?
10. What is the significance of comparing his father to a mountain and Claudius to a moor (III.iv.66-67)?
11. “You cannot call it love...upon the judgement.” (III.iv.68-70)
What are Hamlet’s qualms about his mother according to this passage?
12. Hamlet asks his mother whether she has sense and whether it is “apoplexed, for madness would not err.” (III.iv.73). What
is ironic about the outrage he has toward his mother in this case?
13. Hamlet compares his uncle-father to two things in III.iv.96-10. What are they?
14. Identify the double meaning of “precious diadem” (III.iv.100).
15. What is the purpose of the ghost entering at the climax of Hamlet’s abusive behaviour toward his mother?
16. Why does Hamlet assume the ghost reappears?
17. “How is it with you, lady?” (III.iv.115)
a. How has Hamlet’s tone of voice changed?
b. Account for this change in his demeanour.
c. Do you think his change is sincere?
18. Explain “how is’t with you, / that you do bend your eye on vacancy.” (III.iv.116.117).
19. Suggest a reason why the ghost performs a “piteous action” (III.iv.128).
20. “Nothing at all, yet all that is, I see.” (III.iv.133)
What does this reveal about Gertrude?
21. What does “This is the very coinage of the brain.” mean and how does it shed light on the plot development of the play?
22. “Lay not that flattering unction to your soul,
That not your trespass but my madness speaks.” (III.iv.145.146)
a. What is an “unction”?
b. Of what does Hamlet accuse his mother?
23. “O Hamlet, thou hast cleft my heart in twain.” (III.iv.156)
What is the implication of this line?
24. “...assume a virtue if you have it not.” (III.iv.160).
a. What does Hamlet urge his mother to do in the preceding lines?
b. What is the irony of this statement?
c. What advice does Hamlet give his mother to stop living in sin?
25. After Hamlet calms down slightly, he becomes angry again and tells Gertrude that she should ignore his previous advice.
What does he now ask her to do?
26. How does the description of Rosenkrantz and Guildenstern illuminate Hamlet’s feelings toward them?

In a literature essay of approximately 200 words, discuss how Polonius’s death reveals Hamlet’s contradictory
personality and his pessimism about humanity.

Check the notes on the literature essay (later in the book) before you start writing the essay!
36
ACT III - QUICK QUIZ
i

1. Do Rosenkrantz and Guildenstern discover the cause of Hamlet’s madness as Claudius requested?
2. In which pastime do Rosenkrantz and Guildenstern convince Hamlet to indulge?
3. What do Claudius and Polonius plan to do to discover reason for Hamlet’s madness?
4. What is Ophelia doing when Hamlet finds her “alone”?
5. What does Ophelia want to return to Hamlet?
6. What does Hamlet tell Ophelia to do?
7. What does Ophelia do after Hamlet leaves in a rage?

ii

8. What does Hamlet ask the players to do?

9. What does Hamlet ask Horatio to do during the “play within a play”?
10. How does Claudius react to the murder depicted in the play?
11. By whom and to where is Hamlet summoned after the play?

iii

12. Of what does Polonius inform Claudius after the play?

13. What is Claudius doing when Hamlet happens upon him?
14. Why does Hamlet not kill Claudius when he has a clear opportunity?
15. What does Claudius reveal during his attempt at prayer?

iv

16. Who is hiding behind the curtain, eavesdropping on Hamlet and Gertrude?
17. What is Hamlet trying to do during the conversation with his mother?
18. Who does Hamlet assume is hiding behind the curtain?
19. What secret does Gertrude agree to keep from Claudius?
20. What does Hamlet take with him as he leaves his mother's room?

37
ACT III - EXAM PRACTISE
Read Hamlet III.i.93 to III.i.154 and answer the questions which follow.

“ My lord, I have remembrances of yours...

...see what I see!”

1. Explain why Ophelia is returning Hamlet’s remembrances. Substantiate from the extract. (3)
2. Discuss the vicious pun in “Get thee to a nunnery!” (III.i.118). (3)
3. “Where’s your father?” (III.i.125)
Explain why this question is critical to Hamlet’s relationship with Ophelia at this point in the play? (3)
4. Hamlet says farewell, storms off and re-enters several times in this extract. What is the significance of these actions in
the context of the play as a whole? (3)
5. Consider Ophelia’s last speech turn in this extract before she prays. Critically discuss how her words reveal the
development of Hamlet as a tragic hero. (3)

Read Hamlet III.ii.218 to III.ii.260 and answer the questions which follow.

“This is one Lucianus, nephew to ...

I did very well note him.”

6. Account for the presence of Lucianus in this extract. Explain the context of his being present at this point. (3)
7. “What, frighted with false fire!” (III.ii.237)
Discuss Hamlet’s tone and why Claudius does not rebuke him for his comments. (3)
8. In Act I.v the ghost says to Hamlet:
“But whosoever thou pursuest this act,
Taint not thy soul...”
How do Hamlet’s demeanour and actions in this extract reflect what the ghost demanded of him? (4)

TOTAL [25]

Consider Claudius’s soliloquy and that of Hamlet in Act III scene iii.

In a literature essay of approximately 400 words, discuss the problem of Hamlet’s delay in avenging his father.
Consider whether his reasons for delay are justified or not.

Check the notes on the literature essay (later in the book) before you start writing the essay!
38
ACTIVE READING - ACT IV.i-iv
Polonius’s death: how do each of these characters react to the death and body of Polonius?

Claudius

Gertrude

Hamlet

Rosenkrantz & Guildenstern

Leaving Denmark: contrast how Fortinbras and Hamlet’s departure from Denmark is portrayed.

Hamlet Fortinbras

#DADVICE
39
IMMERSION - ACT IV.i-iv
i
1. What is the cause of Gertrude’s “profound heaves” (IV.i.1)?
2. What image does Gertrude use to emphasise Hamlet’s state of mind?
3. “brainish apprehension” (IV.i.11)
How does Gertrude try to justify Hamlet’s actions to Claudius?
4. What does Claudius fear will happen because of Hamlet’s deed?
5. How does Claudius use imagery of disease to explain the repercussions of his and Gertrude’s secret and ineffectual
handling of Hamlet’s “antic disposition”?
6. Mention two examples of dramatic irony from this scene.
7. What is Claudius’s main concern in informing their “wisest friends” (IV.i.35)? Explain the imagery he uses.

ii
8. What is “safely stowed” (IV.ii.1)?
9. “Compounded it with dust whereto ‘tis kin” (IV.ii.6)
a. What does this mean?
b. How does this line reinforce Hamlet’s conception of the value of human life? Quote from elsewhere in the play to
prove for your response.
10. Why does he accuse Rosenkrantz and Guildenstern of being a “sponge” (IV.ii.14ff)?
11. “A knavish speech sleeps in a foolish ear.” (IV.ii.21)
What does this mean?
12. Consider Hamlet’s riddle about the king in IV.ii.24-25.
a. What is he saying with this riddle?
b. How does this riddle enhance the perception that Rosenkrantz and Guildenstern have of him?

iii

13. Why will Claudius not “put the strong law on [Hamlet]” (IV.iii.3)?
14. “to bear all ... not at all.” (IV.iii.7-11)
a. What does this prove of Claudius’s abilities as a leader?
b. What is ominous about this speech?
15. How is the dramatic tension heightened in this scene?
16. Explain Hamlet’s reference to Polonius’s being ‘at supper’.
17. How is Hamlet’s image of the worm typical of his view of life?
18. “seek him i’th’other place” (IV.iii.32)
a. How will Polonius be discovered if Claudius cannot locate him in heaven or in the “other place”?
b. How does this response illuminate Hamlet’s current relationship with Claudius?
19. “And, England, if my love thou hold’st at aught...” (IV.iii.55)
a. Identify an example of personification.
b. What does Claudius’s message to the English king demand?
c. Why does Claudius feel confident that his command will be executed?
20. Comment critically on Hamlet’s demeanour in this scene.

iv
21. Why is Fortinbras in Denmark and how does his introduction at this point in the play aid Hamlet’s plot development?
22. Consider Hamlet’s seventh and final soliloquy in IV.iv
a. Why does he call his revenge “dull” (IV.iv.33)?
b. What is the difference between man and beast according to Hamlet?
c. Of what does Hamlet accuse himself in the first part of the soliloquy?
d. What is the difference between Hamlet and Fortinbras?
e. How does Hamlet’s decision at the end of this soliloquy impact his development as a tragic hero?

40
ACTIVE READING - ACT IV.v-vi
Ophelia’s flowers: what do each flower represent about the person to whom it is given?

Rosemary Violets

Pansies Fennel

Daisies Columbine

Madness: compare and contrast Ophelia and Hamlet’s madness – are they the same?

Hamlet Ophelia

Consider Laertes’ return at this point in the play. Make notes about how tension is created.

41
IMMERSION - ACT IV.v-vi
v
1. What do we learn about Ophelia at the beginning of this scene?
2. Whom does her singing show she misses?
3. How do you explain Ophelia’s out-of-character references to sex in her ‘Valentine’ song?
4. Compare Hamlet’s ‘antic disposition’ to Ophelia’s crazed singing and wandering.
5. Refer to Ophelia’s parting speech “I hope all...good night” (IV.v.65-68). How is the tragedy of her situation heightened?
6. “it springs
all from her father’s death.” (IV.v.70-71)
To what extent is this statement true?
7. Identify the ambiguity of Claudius referring to Hamlet’s departure as his “remove” (IV.v.76).
8. Why are people “thick and wholesome in their thoughts and whispers.” (IV.v.77)?
9. Who has returned to Denmark? How does his return affect the pace of the play and the audience’s view of Hamlet?
10. Consider the attendant’s speech “Save yourself...Laertes King!” (IV.v.94-104). Explain the techniques Shakespeare uses to
create a sense of drama and fear.
11. Why does Laertes storm into the king’s audience chamber?
12. “What is the cause...of his will.” (IV.v.116-122)
Explain why Claudius acts with such confidence when he reprimands Laertes for breaking open the chamber doors.
13. How does Claudius try to disarm Laertes’ rage at his father’s death?
14. What is Ophelia singing about when she enters bearing flowers?
15. Explain the significance of the different flowers and herbs she distributes to Laertes, Claudius, Gertrude and herself.
16. About what is her last song?
17. What does Claudius say he may do?

vi
18. To whom does the sailor bring his letters? From whom do the letters come?
19. What news does the letter impart to Horatio?
20. Where are Hamlet, and Rosenkrantz and Guildenstern according to the letter?
21. What is Horatio to do on having read the letter addressed to him?

42
ACTIVE READING - ACT IV.vii
Let’s kill Hamlet: what are the motivations behind Claudius and Laertes’ plan to kill Hamlet?
Claudius Laertes

Revenge: how well does Laertes fare on the planning-a-revenge-plot quiz?

YES NO

Dead relative in need of revenge?

Ghost of dead relative demands revenge?

Clever plot to murder one’s foe?

Feign indifference?

Pretend to be crazy?

How does Hamlet’s plan for revenge

compare to Laertes’?

43
IMMERSION - ACT IV.vii
1. What news does Claudius reveal to Laertes in his very first speech?
2. What surprises Laertes about this news?
3. How does Claudius explain his inaction? Give two explanations.
4. Of what does Claudius assure Laertes?
5. What news does the letter bring to Claudius?
6. “It warms the very sickness in my heart” (IV.vii.53)
a. To what does the word “it” refer?
b. What does this line mean?
c. Comment on the imagery used to get his point across.
7. How does Claudius flatter Laertes?
8. How does Claudius use guilt to get Leartes to do what he wants?
9. What image does Claudius use to describe how love abates after time?
10. “But to the quick o’th’ulcer” (IV.vii.121).
What is Claudius doing here?
11. “To cut his throat i’th’church”
a. What is so shocking about this statement?
b. What is the significance of this statement considering Hamlet’s actions?
c. How does Claudius respond to this statement?
12. What is Claudius’s plan to lure Hamlet into a fencing match?
13. How will he and Laertes kill Hamlet?
14. What back-up plan does Claudius suggest if the first one should fail?
15. Why is Gertrude weeping when she enters the room?
16. What does “One woe doth tread upon another’s heel,” (IV.vii.161) mean?
17. What is the significance of the willow (IV.vii.164)?
18. Explain the significance of the flowers woven into a garland (IV.vii.166-173)?
19. How does Ophelia die?
20. List two reasons why Laertes does not want to cry.
21. “How much had I to do to calm his rage!”
Explain the hypocrisy of these words.

44
ACT IV - QUICK QUIZ
i

1. Claudius asks why Gertrude seems so upset. What does she reveal to him?
2. What worries Claudius about the news Gertrude gives him?
3. What is Hamlet doing according to Gertrude?
4. What does Claudius command Rosenkrantz and Guildenstern to do?

ii

5. What does Hamlet do when Rosenkrantz and Guildenstern question him about the whereabouts of Polonius’s body?
Mention two things.

iii

6. What does Rosenkrantz and Guildenstern bring to the king?

7. Claudius tells Hamlet what will happen to him next. What is going to happen?
8. What instructions has Claudius included in his letter to the King of England?

iv
9. Why is Fortinbras in Denmark?
10. How does Hamlet feel about Fortinbras?

v
11. What does Ophelia do in reaction to the death of her father?
12. What does Claudius command must happen regarding
Ophelia?
13. What causes the noise that interrupts Claudius and Gertrude?
14. What does Laertes demand of Claudius?
15. What does Ophelia hand to Laertes, Gertrude and Claudius?

vi

16. How does Claudius placate the enraged Laertes?

17. What does the attendant hand Horatio?

vii
18. What news does Horatio learn about Hamlet?
19. Give two reasons why Claudius has not acted against Hamlet.
20. What does Claudius learn about Hamlet’s whereabouts? How
does he learn this?
21. Which skill of Laertes does Claudius flatter and plan to exploit
in his plan to rid himself of Hamlet?
22. What is Laertes and Claudius’s main plan and back-up plan to
kill Hamlet?
23. Why does Queen Gertrude enter the stage weeping?

45
ACT IV - EXAM PRACTISE
Read Hamlet IV.i.1 to IV.i.45 and answer the questions which follow.

“ There’s matter in these sighs...

...discord and dismay.”

1. “Mad as the sea and wind when both contend

Which is the mightier.”
Discuss why Gertrude is using this image to describe her son. (3)
2. Explain the political problem which Claudius faces because of Hamlet’s deed. (3)
3. What is Claudius’s plan to deal with Hamlet? (3)

Read Hamlet IV.v.** to IV.v.** and answer the questions which follow.

“I thank you: keep the door...

Fare you well, my dove.”

4. Explain Laertes’ sudden and rude entrance. (3)

5. “What the cause, Laertes,
that thy rebellion looks so giant-like?”
Discuss the irony of Claudius’s confidence in his reply to Laertes. Refer also to the rest of his speech turn. (3)
6. Comment on two techniques Claudius uses to calm Laertes’ rage. (3)
7. Explain how Shakespeare creates sympathy in this scene for Ophelia’s lot. (3)
8. Compare Laertes’ reaction to his father’s death to that of Hamlet. How is Laertes a foil to Hamlet’s character? (4)

TOTAL [25]

In a literature essay of approximately 400 words, explore

Check the notes on the literature essay (later in the book) before you start writing the essay!
46
ACTIVE READING - ACT V.i
Opehlia’s burial: summarise the two points of view about how Ophelia should be buried.

List examples of corruption, disease and death is this scene.

Stage-craft: sketch the layout of the stage with character positions and movements.

47
IMMERSION - ACT V.i
1. Consider the 1st Clown’s legal sophistry in “It must be...drowned herself wittingly.” (V.i.7-10) and “Give me leave...”his
own life.” (V.i.11-16).
What religious / societal issue is being discussed here?
2. 1st Clown: “A’ was the first that ever bore arms.”
2nd Clown: “Why, he had none.” (V.i.27-28)
Explain the pun in this exchange.
3. Explain the significance of the 2nd Clown’s apparently light-hearted witticism in “The gallows-maker, for that frame
outlives a thousand tenants.” (V.i.36).
4. “Argal, the gallows may do well to thee.” (V.i.39-40)
What is the 1st Clown’s insinuation?
5. What is the answer to the 1st Clown’s puzzle?
6. The clowns indulge in a game of puzzle-asking (a typical comic device). What is the significance of this little scene?
7. “Has this fellow no feeling of his business that he sings in grave-making?” (V.i.54)
Why does Hamlet ask this?
8. Hamlet imagines the skulls thrown up by the grave-digger as having belonged to several men of different professions.
a. What are the three professions which he mentions?
b. Why does he choose those three professions? Explain carefully with reference to the rest of the play.
9. “Whose grave’s this, sirrah?” (V.i.94)
a. Why is this question so dramatic?
b. Discuss the humour in the grave-digger’s response.
c. Explain the pun-game in which Hamlet and the grave-digger become involved.
d. What is the function of this light-hearted exchange?
10. How old is Hamlet?
11. “how long will a man lie i’th’earth ere he rot?” (V.i.132)
What is the significance of this question for the reader’s understanding of Hamlet’s character?
12. Explain the ambiguity of “if it be not rotten before he die” (V.i.133).
13. “Alas, poor Yorick.” (V.i.149)
a. What is the dramatic function of the introduction of Yorick’s skull?
b. Describe Yorick’s personality while alive.
c. Does Hamlet know that Ophelia is dead? Explain your answer carefully.
d. What effect does Hamlet’s speech to the skull have?
14. Consider Hamlet’s almost jovial quatrain:
“Imperious Caesar, dead and turned to clay,
Might stop a hole to keep the wind away,
O, that that earth, which kept the world in awe,
Should patch a wall t’expel winter’s flaw!” (V.i.172-175)
a. What is ‘reductio ad absurdum’?
b. Explain the reductio ad absurdum in this extemporaneous quatrain.
c. What is the effect of the procession interrupting Hamlet’s recital?
15. What news does the Doctor/Priest impart to Laertes?
16. On whom does Leartes lay the blame for his sister’s death?
17. “... This is I,
Hamlet the Dane.” (V.i.218-219)
What is the significance of how Hamlet announces himself?
18. “I loved Ophelia, forty thousand brothers
Could not with all their quantity of love
Make up my sum... What wilt thou do for her?” (V.i.231-233)
What proof is there from that passage that Hamlet is rational and
sincere?
19. Of what does Hamlet accuse Laertes? Explain how he does this.
20. “Hear you sir,
What is the reason that you use me thus?
I loved you ever, but it is no matter.
Let Hercules himself do what he may,
The cat will mew, the dog will have his day.” (V.i.250-254)
Identify and account for Hamlet’s change in demeanour.
21. What are Claudius’s instructions to Horatio, Laertes and Gertrude at the
end of this scene?

48
ACTIVE READING - ACT V.ii
There are three revenge plots taking place during the play. Give information about each.

WHO?

AGAINST
WHOM?

WHY?

PLAN?

JUSTIFIED?

SUCCESSFUL?

49
IMMERSION - ACT V.ii
1. “Our indiscretion sometimes serves us well,
When our deep plots do pall.” (V.ii.8-9)
a. Explain the meaning of ‘indiscretions’ and ‘deep plots’ in this context.
b. What is ironic about this revelation?
2. Who is the ‘them’ he “groped [...] to find out” (V.ii.14)?
3. What did Hamlet discover to be the letter’s content while on his way to England?
4. How did Hamlet manage to turn the tide against his two chaperones?
5. Consider Hamlet’s actions in escaping Claudius’s plot. How do they shed light on one of the central concerns of the play?
6. What reasons does Hamlet list for justifying his need to kill Claudius?
7. Comment on Hamlet’s calling Claudius a ‘canker’ (V.ii.69).
8. What is Hamlet’s one regret in all that has transpired?
9. Hamlet calls Osric a ‘water-fly’. Explain what Hamlet thinks of him and people like him.
10. Comment on Osric’s actions and speech.
11. How do you account for Osric’s contradictory replies to Hamlet’s observations on the weather?
12. “Sir, this definement suffers no perdition in you, though I know to divide
him inventorially would dizzy th’arithmetic of memory, and yet but
yaw neither in respect of his quick sail. But in verity of extolment
I take him to be a soul of great article, and his infusion of such dearth
and rareness, as to make true diction of him, his semblable in his mirror,
and who else would trace him, his umbrage, nothing more.” (V.ii.107-112)
Why is Hamlet’s language suddenly so verbose and eccentric?
13. Why has Claudius ‘impawned’ six Barbary horses against six French swords with all their accoutrements?
14. Why, according to Osric, would Hamlet not dare to refuse the duel?
15. To what does Horatio compare Osric? What is the implication of this comparison?
16. What is Horatio’s opinion of Hamlet’s chances in besting Laertes?
17. To what profound conclusion does Hamlet come before the duel? Explain the imagery he uses to describe his epiphany.

18. What is the “sore distraction” (V.ii.198) to which Hamlet refers?

19. Explain the image Hamlet uses to explain his irresponsible action towards Laertes.
20. Why will Laertes continue to “stand aloof” (V.ii.216) toward Hamlet?
21. Explain the pun in Hamlet’s use of the word ‘foil’ (V.ii.223ff).
22. Why does Laertes exchange his foil for another?
23. Claudius says that he will drink to Hamlet’s honour and have the cannons fire if Hamlet wins in the first two bouts and
draws in the third.
a. Why is it significant to have Claudius drink ‘stoups’ at this point in the play?
b. When and where does a similar set of events take place?
24. Who scores the first hit?
25. What is Claudius actually doing when he drops the pearl into the cup intended for Hamlet?
26. Who scores the second hit?
27. Explain the dramatic irony when Gertrude says she “carouses to [Hamlet’s] fortune” (V.ii.261).
28. What happens when Hamlet becomes angry at Laertes’ wounding him?
29. Why is the queen swooning?
30. What revelation does the dying Laertes make to Hamlet?
31. What does Hamlet do in response to Laertes’ revelation?
32. Why is it significant that Laertes forgives Hamlet and admits his own guilt?
33. How does Horatio plan to respond to Hamlet’s death?
34. What is the dying Hamlet’s final request of Horatio?
35. “- the rest is silence.” (V.ii.330)
Explain the significance of these final words with regard to the main conflict in the play and in Hamlet’s character.
36. Discuss the significance of Fortinbras’ entrance at this point in the play.
37. What news does the ambassador bring in vain?
38. To what do these phrases refer?
a. “carnal, bloody and unnatural acts” (V.ii.353)
b. “accidental judgements” (V.ii.354)
c. “cunning and forced cause” (V.ii.355)
39. What fortune will Fortinbras now embrace?
40. Which words of Fortinbras define the main concept of a tragic play?

50
ACT V - QUICK QUIZ
i

1. Where does this scene take place?

2. What are the two clowns doing?
3. Which objects does the 1st Clown remove from the ground?
4. To whom does one of the skulls belong?
5. Why does a procession of people including Claudius, Gertrude and Laertes enter the scene?
6. Why is Laertes upset?
7. How does Hamlet react to the procession?

ii

8. Hamlet tells Horatio of his exploits while en route to England. What new information does he give Horatio?
9. What request does Osric have of Hamlet?
10. How does Hamlet respond to his request?
11. What does Hamlet do on seeing Laertes?
12. In what activity will Hamlet and Laertes be involved? Why?
13. What does Claudius do to Hamlet’s cup of wine?
14. Why does Laertes choose a different foil?
15. Who drinks from Hamlet’s cup of wine?
16. What happens during the scuffle between Laertes and Hamlet?
17. What does Laertes admit as he is dying?
18. Name the two things Hamlet does to Claudius.
19. Who survives the slew of deaths at the end of the scene?
20. From where does Fortinbras return?
21. What position does he assume on his return?

51
ACT V - EXAM PRACTISE
Read Hamlet V.i.203 to V.i.226 and answer the questions which follow.

“(Scattering flowers) Sweets to the sweet...

Pluck them assunder!”

1. Comment on the significance of Gertrude’s strewing flowers on Ophelia’s grave. (3)

2. Account for Laertes’ anger before he leaps into Ophelia’s grave. (3)
3. Discuss Hamlet’s tone when he announces himself to the assembled mourners. (3)
4. Hamlet and Laertes scuffle in Ophelia’s grave. What is the importance of the staging in this scene? (3)

Read Hamlet V.ii.325 to V.ii.375 and answer the questions which follow.

“O, I die, Horatio...

Go, bid the soldiers shoot.”

5. Explain the “news from England” (V.ii.326) to which Hamlet refers. (3)
6. How does Hamlet’s last words (”The rest is silence”) reflect his tragic destruction? (3)
7. You are the director of a production of Hamlet. Explain to the actor how he should act in Hamlet’s very last speech
turn. (3)
8. “With sorrow I embrace my fortune.”
Discuss the basic difference between Hamlet and Fortinbras as evidenced by this line. (4)

TOTAL [25]

Death is predominant throughout Act V: the bones of long-dead men are dug up to bury the body of a newly-dead,
young woman; Hamlet talks of death as a police officer and Fortinbras as a hunter. In a literature essay of
approximately 400 words, explore what Shakespeare is trying to say about death and how this idea is presented on
stage.

Check the notes on the literature essay (later in the book) before you start writing the essay!
52
CHARACTER ANALYSES
CLAUDIUS OPHELIA
Claudius, the king, has murdered his brother, Hamlet’s Ophelia is the daughter of Polonius and the sister of
father, and married Queen Gertrude. Claudius is contrasted Laertes. She personifies the romantic and idealised notion
with Hamlet as a man of action. If morally reprehensible of womanhood: she is beautiful, sweet , industrious, gentle
action is important in order to attain a goal, then Claudius and innocent. She loves Hamlet and initially believes in his
will sacrifice the ethic for the end. He does not commit evil love for her. She, however, bows to her subservient position
carelessly, but is quite ready to waive morality in the light of in a patriarchal society, when her brother and her father
necessity. He is strong-minded, passionate and, above all, lecture her on the impossibility and impropriety of her love
ambitious. He makes his plans and proceeds accordingly. for Hamlet and her foolishness for believing they could be
together.
He is acutely aware of how people’s motivation shapes their
actions and is thus able to manipulate those around him. He This withdrawal from Hamlet and her willingness to be
becomes fully aware of Hamlet’s suspicions early on in the used by her father and brother to discover the course of
play and he doubts the motive behind Hamlet’s supposed Hamlet’s madness, further add to Hamlet’s disillusionment
madness. His skill at politics, his knowledge of social about women and isolate him even more from the image of
requirements and his suave and slick ability to manipulate the idealised man. Her death is an ironic result of Hamlet’s
language serve him well in hiding his corruption and using feigned madness and his rejection of sexuality and love.
other people to do his dirty work.

Only twice, in an aside to Polonius’s description of Ophelia

and, more forcibly, in the scene where he is praying, does
Claudius verbalise any qualms of conscience. These
moments of conscience are, however, fleeting: he does not
allow these thoughts to interfere with the decision he has
made to act.

Claudius’s astute, calculating and ruthless personality, in

combination with Hamlet’s uncertainty, delays his death
until Laertes’ accusation in the final scene of the play.

GERTRUDE
Gertrude is queen of Denmark, wife of Claudius and HORATIO
Hamlet’s mother. She obviously loved and was loved and He is a friend of Hamlet and has also been away studying at
revered by her first husband. She does not seem to be the University of Wittenburg in Germany. He is a scholar
intentionally evil or even immoral, but, as a woman in her and a man of incorruptible character. Although Horatio and
society, she needs a male protector in her life. Claudius’s Hamlet are of different stations socially, Horatio is treated
power and strength of personality coupled with her own as a true friend by the Prince; he is also the first person to
social weakness and vulnerability, lead her into this very whom Hamlet reveals his disgust at his mother’s speedy
sudden second marriage. She had questioned neither her marriage to Claudius. He reveals to Hamlet that he saw
husband’s untimely death nor her hasty remarriage, Hamlet’s father’s ghost.
accepting both as natural to the order of things, until
Hamlet’s return to Denmark. She supports Claudius’s He is described as a learned man, having a balanced outlook
efforts to find the reason for Hamlet’s black mood. on life and possessing an even disposition, without the
euphoria and depths of depression which characterise
Later she becomes “cleft...in twain,” torn between her love Hamlet. The prince later confides to Horatio the bloody
for Hamlet and her allegiance to her new husband and king. deeds of his uncle, his grief over the queen’s marriage, the
Hamlet evokes in her a guilt she had not felt nor even treachery of Rosenkrantz and Guildenstern, and his plan to
thought existed; she becomes tortured by her divided observe Claudius at the “play”. Concerned for the safety of
loyalties to her current husband on one hand and her son his friend, Horatio tries to dissuade Hamlet from dueling
on the other, as well as her present and sudden conscious with Laertes, and in his selfless loyalty, wants to drink the
recognition of the immorality of her remarriage. Able only poison as Hamlet is dying. The prince restrains him and
to show anguish at the painful change to her hitherto stable Horatio remains to tell Fortinbras and all the world of the
life, Gertrude allows Claudius to plan their joint treatment tragedies which have occurred.
of Hamlet: their attitudes toward his madness, the trip to
England, the duel with Laertes. In all these events she is
outside the planned treachery, yet she unwittingly conforms
to Claudius’s schemes and, in the end, dies a victim of the
poisoned drink intended for Hamlet. She is killed not by
Claudius’s machinations, but by her vulnerable position in
society and her maternal need to protect her son.

53
CHARACTER ANALYSES
ROSENKRANTZ & GUILDENSTERN coupled with his limited sensitivity and fatherly love, leads
They are interchangeable as both are sycophants: eager to him to verbosity, insincerity and clumsy meddling.
please, impressed by position and authority, and willing to
let themselves to be used by Claudius (even against their His attempt to ingratiate himself by offering to spy on the
friend Hamlet). Their feigned friendship with Hamlet, interview between the queen and Hamlet, leads directly to
which the prince knows to be false, is typical of their servile his death: startled by what he takes to be the queen’s cry for
behaviour in deference to social rank. Hamlet likens them help, he reveals his presence to Hamlet, who, believing the
to a “sponge”, which absorbs the orders and rewards of the king to be hidden there, draws his sword and kills Polonius
king and eventually, is squeezed dry into nothingness. through the curtains.
Hamlet uncovers their deceitfulness and ironically arranges
for their deaths in place of his - a just reward for their
disloyalty.

FORTINBRAS
He acts as another foil to Hamlet; Hamlet sees in his fellow
Prince (of Norway) all the qualities of strength and
determination he wishes he could possess. He has
embarked upon a military venture in order to regain for his
country the lands lost by his father in combat with Hamlet’s
father. He is dissuaded from his enterprise by Claudius’s LAERTES
warning to his elderly uncle in Norway, who restrains Laertes, Polonius’s son and Ophelia’s brother, is somewhat
Fortinbras and sets him upon a different course of attack. At cynical (like his father) in advising Ophelia of the
the close of the play, Fortinbras reveals admiration for impossibility of being in love with Prince Hamlet. Laertes,
Hamlet’s princely qualities and sorrow for the tragic deaths however, has a basic courage and honesty which his father
around him. Nonetheless, he makes it quite clear that he lacks. If he is rash and hot-headed, it is because he takes it
will assert his right of ascendancy to the now-empty throne upon himself to avenge his father’s death and then his
- unlike the indecisive Hamlet. sister’s insanity.

He seems to have had a youthful fling in Paris (as is

OSRIC
evidenced by Polonius’s espionage and Ophelia’s response
He is a ridiculous character and Hamlet mocks him, quite
about the hypocrisy of her brother’s advice), but he returns
tightly. He is typically satirised as the Elizabethan courtier
to Denmark to the serious responsibility of manhood and
‘hanging around’ the courts of Europe. He servilely carries
aristocratic honour - to uncover his father’s murderer and
Claudius’s message to Hamlet, proposing the duel between
to avenge Polonius’s almost-secret, unhonoured burial.
Hamlet and Laertes. Osric has the outwardly verbose and
superficial manner of the courtier. Hamlet mocks him in
His wrath leads him to use an unprotected and poisoned
their interchange, but Osric is insensitive to the intended
foil in his duel with Hamlet. He is Claudius’s dupe rather
ridicule.
than his co-conspirator in this tactic - he, like many others,
is used by Claudius. His conscience troubles him during the
POLONIUS
exchange and, when he falls victim as a result of a confusion
Polonius, father of Laertes and Ophelia, is the lord
of weapons, he confesses his treachery to Hamlet while
chamberlain in the court of Claudius. Although not an evil
dying and indicting the king.
man, Polonius is, nevertheless, cynical and self-seeking in
his eagerness to receive favour from the king and queen.
THE GRAVE-DIGGERS
Pragmatic and realistic, he gives his son, who is departing
The two grave-diggers are presented as clowns. The clown
for Paris, advice calculated to make Laertes a friend of
was a stock character in Shakespearean drama: he was
everyone and offensive to none - a reflection of Polonius’s
witty, irreverent and comically sage. The clown would often
own politic and ingratiating character. However, he sends a
dabble in word games (puzzles, puns, malapropisms and
spy to Paris to check on his son, with very definite
ambiguities), absurd situations and comically irreverent
instructions on how to go about questioning Laertes’
mockery of serious situations (satire). The function of the
friends and a command to report back. He is a meddling
clown is to bring comic relief and break the tension created
busybody and self-seeking; his actions are not entirely
by the tragic plot. It must be noted, however, that Hamlet's
moral. Similarly, he instructs Ophelia to ignore the
clowns' comedy does not arise from a zest for life - it
attentions of a man placed as highly as Hamlet. He is
highlights the tragic plot and the absurdities thereof.
convinced that the Prince (who is superior to Ophelia in
rank) is only selfishly motivated. Although this seems to be
The grave-diggers not only provide comic relief to the
an action of paternal love, he proves to be more interested
claustrophobic depression of Hamlet's inner conflict, but
in how he can use Ophelia to discover Hamlet’s problem
broaden the action of the play to the world outside the
and thus ingratiate himself with his master, Claudius.
intrigue of the Danish court. The grave-diggers introduce an
important plot point: Hamlet's mature consideration of the
Polonius’s craving to be esteemed by the king and queen,
value of life through his speech with Yorick's skull.
54
CHARACTER ANALYSES
HAMLET Hamlet is never free of himself. His focus is never entirely
Hamlet is the Prince of Denmark. His father dies and his on the matter at hand (his love for Ophelia, his need to take
uncle, Claudius, takes the throne and marries his widowed revenge), but he is completely enthralled and fascinated by
mother. Hamlet returns home to find nothing but disgust his own condemnation of the matter or person. He has a
for the world and those he used to loved. He plans revenge tendency to make everything, even what he feels deeply,
on his uncle - the ghost of his father assured him that into a matter of play-acting. His sincerity is publically
Claudius had murdered him. displayed only in the very last scene - not even all his
soliloquies seem sincere.
Hamlet’s attitude is distinctly negative. His exclusive
concentration on things rank and gross and his consequent Hamlet faces two minor plot problems during the play: he
recoil from life as a whole determine his attitude to death, needs to prove the authenticity of the ghost and he needs to
which is also purely one of negation. He sees no beauty in find a way of taking revenge on Claudius. These two
life and believes it is a senseless torture. problems serve as backdrop for his central issue: “How can
I live?” He needs to find a way to rid himself of a numbing
sense of meaninglessness created by his knowledge of the
adulteration and corruption of the world. His constant
egoism and introspection make it nigh impossible for him
to find a solution to this ultimate question. His
intellectualism, ironically, hampers his very ability to work
out the solution. Effective thinking in Hamlet’s case involves
a measure of self-forgetfulness and a capacity for true
relationships with others without the despondency at and
judgement of others’ flaws. His reason is completely
clogged by his emotions of disgust, revulsion and self-
contempt. This internalising of the problem, again and
again, isolates him within his own obsession.

Hamlet, in the face of life and death, can make no

affirmation or decision. He is irresolute beyond the
irresolution to perform a specific act - he is a soul without
clear belief, who loses his way and brings himself and
others to distress and finally disaster - a tragedy not so
much of excessive thought, but of defeated thought.

Hamlet is skeptical and cynical. He is an egoist and as such

can have no faith in himself; for no man can have faith save
what is outside self and above self.

Hamlet is a character of intense thought and introspection

and has risen above the level of merely instinctive action -
the level at which most of those who surround him live, and
the level at which revenge is an obvious duty. However, he
has not risen to full and adequate consciousness - a “self-
conscious man in an unconscious world”. In seeking to
account for Hamlet’s paralysis, his inability to affirm, we
need to look to his isolation and self-consciousness. There
are three degrees of consciousness which are dependent on
love and relationships:
Ÿ unconscious (instinctual),
Ÿ self-conscious (aware of self only),
Ÿ consciousness (aware of self in terms of others and an
affirmative attitude to life).

It is clear that Hamlet is self-conscious, but not conscious of

others. What Shakespeare is bringing to question in this
play is what it means to be an intellectual in any but a
sterile sense of the word. He is exploring to what extent
Hamlet’s intellectual view of life can be deemed “godlike”.
55
SOLILOQUIES 1 & 2
FIRST SOLILOQUY ACT I.ii FIRST SOLILOQUY ANALYSIS
O, that this too too sullied flesh would melt 129 Hamlet's passionate words contrast strikingly with the
Thaw and resolve itself into a dew! controlled, artificial dialogue of Claudius. This soliloquy
Or that the Everlasting had not fix'd emphasises Hamlet’s acute melancholy and the reason for
His canon 'gainst self-slaughter! O God! God! his despair. He explains that everything in the world is futile
How weary, stale, flat and unprofitable, or disgusting – his grief, anger, disgust and sorrow is
Seem to me all the uses of this world! overflowing at this.
Fie on't! ah fie! 'tis an unweeded garden, 135
That grows to seed; things rank and gross in nature Note all the references to rot or decay: “rank” (136), “gross”
Possess it merely. That it should come to this! (136), “an unweeded garden” (135). The reasons for his
But two months dead: nay, not so much, not two: grief are also exposed: his mother’s unnatural and hasty
So excellent a king; that was, to this, marriage to Claudius, as well as the sudden death of his
Hyperion to a satyr; so loving to my mother 140 father. Hamlet fixates on his mother’s loving behaviour to
That he might not beteem the winds of heaven his late father and concludes that she must have been
Visit her face too roughly. Heaven and earth! pretending to love him so as to satisfy her own lust and
Must I remember? why, she would hang on him, greed. He calls her tears “unrighteous” (154) because he
As if increase of appetite had grown believes her grief is insincere.
By what it fed on: and yet, within a month... 145
Let me not think on't ... Frailty, thy name is woman! Shakespeare juxtaposes contrasting ideas to enhance
A little month, or ere those shoes were old Hamlet’s feelings of contempt and disgust. There is a
With which she follow'd my poor father's body, distinct contrast between the heavenly and the earthly, his
Like Niobe, all tears, why she, even she soul which is confined to flesh. This causes him great
(O, God! a beast, that wants discourse of reason 150 anguish and a desire to escape from corporality into
Would have mourn'd longer) married with my uncle, spirituality (“sullied flesh would melt...into a dew”).
My father's brother, but no more like my father
Than I to Hercules: within a month, Another juxtaposition is that of Hyperion and a satyr to
Ere yet the salt of most unrighteous tears denote his father and his uncle. Hyperion (god of light)
Had left the flushing in her galléd eyes, 155 represents honour, virtue and regality - all traits of Hamlet's
She married. O, most wicked speed, to post father. Satyrs, the half-beast companions of Dionysus,
With such dexterity to incestuous sheets! represent lasciviousness and overindulgence, much like his
It is not nor it cannot come to good... usurping uncle Claudius. Hamlet develops a revulsion to not
But break, my heart, for I must hold my tongue. 159 only Claudius, but all the behaviours and excesses
associated with him. Hamlet finds any revelry unacceptable
and particularly loathes drinking and sensual dancing. His
self-deprecating comment “but no more like my father /
Than I to Hercules” (152-153) is a comparison to the
courageous Greek hero hinting at his emerging lack of self-
worth - a theme that will be foremost in his next soliloquy.

SECOND SOLILOQUY ACT I.v SECOND SOLILOQUY ANALYSIS

O all you host of heaven! O earth! What else? 92 The central conflict of this soliloquy is Hamlet’s doubts
And shall I couple hell? O fie! Hold, hold, my heart, about what to do and his weakened resolution. Note how he
And you, my sinews, grow not instant cold, is unsure of whether the ghost represents heaven or hell.
But bear me stiffly up... (He rises) Remember thee? 95 He tries to convince himself to steel himself for the task
Ay thou poor ghost whiles memory holds a seat ahead - an ironic contrast to the certitude he displayed
In this distracted globe. Remember thee? while the ghost was talking to him. The metaphor of the
Yea, from the table of my memory book with penned memories is important to signify his
I’ll wipe away all trivial fond records, determination to wipe away trivial concerns.
All saws of books, all forms, all pressures past 100
That youth and observation copied there, In his musings he becomes passionate at the thought of his
And thy commandment all alone shall live mother’s sexual perversion and his uncle’s deceptively
Within the books and volume of my brain, smirking face at official gatherings.
Unmixed with baser matter. Yes by heaven!
O most pernicious woman! 105 The repetition of “remember” is significant as he fixates on
O villain, villain, smiling, damnéd villain! the ghost’s revelation about Claudius and Gertrude - note
My tables, meet it is I set it down that he does not significantly focus on “revenge”. His
(He writes) inability to act and his propensity for passive thought come
That one may smile, and smile, and be a villain; to the fore quite forcefully.
At least I am sure it may be so in Denmark...
So, uncle, there you are. Now, to my word. 110
It is ‘Adieu, adieu! remember me.’...
56
SOLILOQUY 3
THIRD SOLILOQUY ACT II.ii THIRD SOLILOQUY ANALYSIS
Now I am alone. 490 Hamlet’s thrid soliloquy reveals two important plot points:
O, what a rogue and peasant slave am I! his plot to expose Claudius’s guilt and the essence of
Is it not monstrous that this player here, Hamlet’s inner conflict. Though they are separate, they feed
But in a fiction, in a dream of passion, into one another.
Could force his soul so to his own conceit 495
That from her working all his visage wann'd, Hamlet is committed in theory to avenge his father, yet he
Tears in his eyes, distraction in's aspect, cannot act for his father as he finds cold and calculating
A broken voice, and his whole function suiting revenge revolting. He is disturbed by how easily the actor
With forms to his conceit? and all for nothing! works himself into a passion for something imagined, yet he
For Hecuba! 500 is unable to do the same for the real challenge that faces
What's Hecuba to him, or he to Hecuba, him (II.ii.493-499). Ironically this makes Hamlet feel like a
That he should weep for her? What would he do, coward who refuses to act for fear. Hamlet’s self-effacing
Had he the motive and the cue for passion criticism seems almost childish as he melodramatically
That I have? He would drown the stage with tears imagines several demeaning insults aimed at his own
And cleave the general ear with horrid speech, 505 person because he has not yet been able to take revenge.
Make mad the guilty and appal the free,
Confound the ignorant, and amaze indeed The soliloquy becomes quite frenzied and hysterical as he
The very faculties of eyes and ears. Yet I, tries to work himself up to taking action. This impassioned
A dull and muddy-mettled rascal, peak, self-urging culminates in the invectives he hollowly hurls at
Like John-a-dreams, unpregnant of my cause, 510 Claudius in II.ii.523.
And can say nothing; no, not for a king,
Upon whose property and most dear life He tries to subdue his better judgement, his intellectual
A damn'd defeat was made. Am I a coward? capacity, by working himself up in this way. He
Who calls me villain? breaks my pate across? disparagingly describes his habit of over-thinking and long-
Plucks off my beard, and blows it in my face? 515 winded analysing with a comparison to women and their
Tweaks me by the nose? gives me the lie i' the throat, contemptible natures (this revulsion of women is borne of
As deep as to the lungs? who does me this? his disgust at his mother’s apparent deceptive and lusty
Ha! 'Swounds, I should take it: for it cannot be nature).
But I am pigeon-liver'd and lack gall
To make oppression bitter, or ere this 520 In spite of his attempts to force himself to act, his
I should have fatted all the region kites ambivalent and indecisive nature once again takes over as
With this slave's offal: bloody, bawdy villain! he says “About, my brain!”. He decides rather to check the
Remorseless, treacherous, lecherous, kindless villain! veracity of the ghost’s accusations by staging a play of
O, vengeance! which the subject matter is very similar to that of the events
Why, what an ass am I! This is most brave, 525 as the ghost described them. The conflict in his mind
That I, the son of a dear father murder'd, continues to be illuminated when the audience realises that
Prompted to my revenge by heaven and hell, he does not know whether the ghost is benevolent or sent
Must, like a whore, unpack my heart with words, by the devil - the duality of a Catholic upbringing and a
And fall a-cursing, like a very drab, Protestant education.
A scullion! Fie upon't! foh! 530
About, my brain! I have heard
That guilty creatures sitting at a play
Have by the very cunning of the scene
Been struck so to the soul that presently
They have proclaim'd their malefactions; 535
For murder, though it have no tongue, will speak
With most miraculous organ. I'll have these players
Play something like the murder of my father
Before mine uncle: I'll observe his looks;
I'll tent him to the quick: if he but blench, 540
I know my course. The spirit that I have seen
May be the devil: and the devil hath power
To assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
(As he is very potent with such spirits) 545
Abuses me to damn me: I'll have grounds
More relative than this: the play's the thing
Wherein I'll catch the conscience of the king.

57
SOLILOQUIES 4 & 5
FOURTH SOLILOQUY ACT III.i FOURTH SOLILOQUY ANALYSIS
To be, or not to be: that is the question: 56 Unlike Hamlet's previous soliloquies, this one (arguably the
Whether 'tis nobler in the mind to suffer most famous of Shakespeare’s speeches) is governed by
The slings and arrows of outrageous fortune, reason and not by manic emotion. Being forced to wait for
Or to take arms against a sea of troubles, his plan to start, Hamlet starts an internal philosophical
And by opposing end them? To die: to sleep; 60 debate on the advantages and disadvantages of existence,
No more; and by a sleep to say we end and whether it is one's right to commit suicide. Note that
The heart-ache and the thousand natural shocks nowhere does he discuss his own problem: he uses
That flesh is heir to, 'tis a consummation pronouns like “we”, and “us” and the impersonal infinitive.
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: ay, there's the rub; 65 He is including all people who are heir to flesh and suffer at
For in that sleep of death what dreams may come the vicissitudes of fortune - i.e. all people. His question is
When we have shuffled off this mortal coil, poignant: is it more noble to live a miserable life or to end
Must give us pause: there's the respect the pain of existence in one go? If the question is simple, the
That makes calamity of so long life; answer is not. Hamlet realises that it would be easy to end
For who would bear the whips and scorns of time, 70 one’s life, if there are no consequences to it - in other words,
The oppressor's wrong, the proud man's contumely, if there is no afterlife. The “rub” (65) is that it is widely
The pangs of despis'd love, the law's delay. believed that there is an afterlife so there might be
The insolence of office and the spurns consequences - consequences which might last for eternity
That patient merit of the unworthy takes, (66-69). These “dreams” might be nightmares. Hamlet is
When he himself might his quietus make 75 well aware that the church expressly forbids suicide as one
With a bare bodkin? who would fardels bear, of the mortal sins.
To grunt and sweat under a weary life,
But that the dread of something after death, Though the meaning of “to be or not to be” can be
The undiscover'd country from whose bourn understood in terms of suicide - live and suffer through life
No traveller returns, puzzles the will 80 or commit suicide in the hope of deliverance from the
And makes us rather bear those ills we have revulsions of life - there is also an interpretation hinging on
Than fly to others that we know not of? the idea of action and inaction. “to be” can also mean to
Thus conscience does make cowards of us all; follow the light of reason (the soul) and “not to be” implies
And thus the native hue of resolution giving in to one’s bestial passions (the body). Hamlet is thus
Is sicklied o'er with the pale cast of thought, 85 debating whether to remain passive while patiently
And enterprises of great pitch and moment awaiting God’s will or to tempt fate by taking vengeful
With this regard their currents turn awry, action.
And lose the name of action.-- Soft you now!
The fair Ophelia! Nymph, in thy orisons The soliloquy ends when Hamlet is interrupted by Ophelia
Be all my sins remember'd. 90 who is saying her prayers. Hamlet calls her a nymph, a
courtly salutation common in the Renaissance, in reference
to her beauty. Some critics argue that Hamlet's greeting is
strained and coolly polite and his request that she
remembers him in her prayers is sarcastic. However, others
claim that Hamlet, emerging from his moment of intense
personal reflection, genuinely implores the gentle and
innocent Ophelia to pray for him.

FIFTH SOLILOQUY ACT III.ii FIFTH SOLILOQUY ANALYSIS

‘Tis now the very witching time of night, 343 Hamlet's plan to “catch the conscience of the king” has
When churchyards yawn and hell itself breathes out succeeded. Hamlet feels an unusual surge of confidence
Contagion to this world: now could I drink hot blood, 345 which leads to the first half of this soliloquy. The “bitter
And do such bitter business as the day business” of revenge no longer seems so undoable - he feels
Would quake to look on. Soft! now to my mother. confident in his ability to kill Claudius. Hamlet then plans to
O heart, lose not thy nature; let not ever force his mother to make a full confession. Although Hamlet
The soul of Nero enter this firm bosom: loves his mother, he must be cruel to her in order to make
Let me be cruel, not unnatural: 350 her confess her guilt (350-351). Hamlet realises that he
I will speak daggers to her, but use none; must act one way while feeling another (352) just like the
My tongue and soul in this be hypocrites; actors from II.ii – at that time he expressed a wish to
How in my words soever she be shent, manipulate his emotions and actions like they do.
To give them seals never, my soul, consent!
58
SOLILOQUIES 6 & 7
SIXTH SOLILOQUY ACT III.iii SIXTH SOLILOQUY ANALYSIS
Now might I do it pat, now he is a-praying; Hamlet described himself ready to “drink hot blood”
And now I'll do't. And so he goes to heaven; (III.ii.382) in carrying out his revenge. However, as he sees
And so am I revenged. That would be scann'd: 75 the unprotected Claudius, he finds that he cannot take
A villain kills my father; and for that, action and kill Claudius. Hamlet delays as Claudius, while
I, his sole son, do this same villain send praying, is in a state of grace which means he would go to
To heaven. heaven and not be punished in Purgatory as would be
O, this is hire and salary, not revenge. proper for his revenge - he needs to kill Claudius while his
He took my father grossly, full of bread; 80 is committing some sinful act such as sex, gambling or
With all his crimes broad blown, as flush as May; drinking.
And how his audit stands who knows save heaven?
But in our circumstance and course of thought, It may be that Hamlet is using Claudius's prayer as an
'Tis heavy with him. And am I then revenged, excuse for delay, because his conscience forbids
To take him in the purging of his soul, 85 premeditated murder. Another point is that his habit of over
When he is fit and season'd for his passage? thinking (“thinking too precisely on th'event”, IV.iv.41) is
No! Up, sword; and know thou a more horrid hent: 87 & 88 what paralyses him to inaction.
When he is drunk asleep, or in his rage,
Or in the incestuous pleasure of his bed; 90 It is ironic to note that Hamlet’s ambivalence is irrelevant as
At game, a-swearing, or about some act Claudius is not sincerely repentant (see the concluding
That has no relish of salvation in't; couplet of Act III.iii).
Then trip him, that his heels may kick at heaven,
And that his soul may be as damn'd and black
As hell, whereto it goes. My mother stays. 95
This physic but prolongs thy sickly days.

SEVENTH SOLILOQUY ACT IV.iv SEVENTH SOLILOQUY ANALYSIS

How all occasions do inform against me, 35 Hamlet's last soliloquy is crucial to our understanding of his
And spur my dull revenge! What is a man, character development. Hamlet abandons his serious
If his chief good and market of his time contemplation on the immoral act of murderous revenge by
Be but to sleep and feed? a beast, no more. the end of it and accepts the act as an unavoidable duty.
Sure, he that made us with such large discourse, Note that he has not presented any solid or reasonable
Looking before and after, gave us not 40 argument to convince himself; he has forced himself to this
That capability and god-like reason conclusion with intense and distorted thoughts.
To fust in us unused. Now, whether it be
Bestial oblivion, or some craven scruple Hamlet’s deranged state of mind is all too clear in this
Of thinking too precisely on the event, speech where on the one he hand accuses himself of
A thought which, quarter'd, hath but one part wisdom 45 “bestial oblivion” (IV.iv.43) in forgetting his father, and on
And ever three parts coward, I do not know the other lays blame on his “thinking too precisely on the
Why yet I live to say 'This thing's to do;' event” (IV.iv.44).
Sith I have cause and will and strength and means
To do't. Examples gross as earth exhort me: In spite of having never met Fortinbras, he is convinced that
Witness this army of such mass and charge 50 Fortinbras is acting to protect his own honour. Yet, Hamlet
Led by a delicate and tender prince, knows nothing of his true motives for going to war.
Whose spirit with divine ambition puff'd
Makes mouths at the invisible event, Fortinbras is a foil to Hamlet - the epitome of Hamlet’s lack
Exposing what is mortal and unsure of action and Hamlet is enamoured by the thought of such
To all that fortune, death and danger dare, 55 active determination and conviction, even if Fortinbras’
Even for an egg-shell. Rightly to be great actions are unreasonable or futile. The image of Fortinbras
Is not to stir without great argument, leading his troops courageously into battle is in stark
But greatly to find quarrel in a straw contrast to Hamlet’s brooding inactivity.
When honour's at the stake. How stand I then,
That have a father kill'd, a mother stain'd, 60 Hamlet is overcome by the obligation to take revenge, as his
Excitements of my reason and my blood, thinking and questioning attitude cannot keep him from
And let all sleep? while, to my shame, I see taking action any longer. His deliberation on the honour of
The imminent death of twenty thousand men, revenge or the consequences of his action pales in
That, for a fantasy and trick of fame, comparison to the manly demeanour of Fortinbras that he
Go to their graves like beds, fight for a plot 65 has evoked in his mind’s eye. Hamlet used to be greatly
Whereon the numbers cannot try the cause, distressed over needing to avenge his father's murder, even
Which is not tomb enough and continent though the reason for revenge was clear. Now he commends
To hide the slain? O, from this time forth, the idea of the “imminent death of twenty thousand men”
My thoughts be bloody, or be nothing worth! for a "fantasy and trick of fame." (IV.iv.63-4).
57
LITERATURE ESSAYS
Analyse the question
Find the pertinent information in the Identify the pertinent instruction verbs
Ÿ
question. (compare; contrast; discuss; explore; etc.).
Look for action verbs (discuss, compare, Check whether the question has more than one
Ÿ
contrast). aspect that needs to be addressed.
Identify which elements you need to Ensure that you take note of all the
Ÿ
address. requirements of the question (e.g. 3 characters,
etc.).
Plan the essay
In most other essays excellent writers can
do without planning, but no amount of
brilliance can help you in writing a
literature essay without proper and
thorough planning.
Your planning must be detailed and
concise.
‘Planning’ and ‘drafting’ are not the same
thing!
Ensure that your plan covers the question
and is not simply a synopsis of the plot.

Write the introduction

The introduction must detail what will be
discussed in the essay. Rephrase the question as a statement of intent.
Ÿ
Rephrase the question as a statement of Detail what the essay will be discussing.
Ÿ
intent.
Be clear about what you will be “In this essay I ...” is clichéd and inappropriate
Ÿ
discussing. Moralising is not factual or an analysis
Ÿ
Ÿ
Write the essay
Each paragraph in the body of the essay ŸEach paragraph must have one new idea.
should contain a new argument (i.e. a ŸUse quotes and paraphrases to substantiate
statement, lots of proof and a discussion each claim made.
of the relevance to the question). ŸMake reference to incidents in the
Ensure that each paragraph answers a play/novel/poem to support ideas.
portion of the question and does not ŸConnect all proof, quotes and ideas to pertinent
merely repeat information or retell the themes and the question.
plot.
Conclude the essay by summing up your ŸDo not retell the plot
arguments. ŸDo not repeat yourself from one paragraph to
the next.
Edit the essay
The appropriateness of the language in a ŸCheck spelling, especially common errors
literature essay counts 40%. It is (there/their).
important that you spend enough time ŸCorrect punctuation errors (e.g. comma splice)
editing the final copy of the essay. ŸImprove ambiguous or misleading sentences
The language in a literature essay should (e.g. misrelated phrases, ambiguous words).
be formal, factual and objective – the ŸCorrect punctuation errors - especially comma
reader must be in no doubt as to what you splice.
mean when you say something.
Avoid a personal style (e.g. I, we, us).
Ÿ
Remove all contractions (don’t, can’t).
Ÿ
Do not use the past tense - use only the present
Ÿ
tense.
Remove redundancy and vagueness/nonsense.
Ÿ
60
LITERATURE ESSAYS
Example Question
Hamlet is above all a revenge play. There are several
revenge plots which play out during the drama and each
contributes to the tragedy of Hamlet. Discuss three revenge
plots from the play and why they are important for
Hamlet’s development as a tragic hero.

Analyse the question

Ÿ A discussion is required - proof and analysis of facts
Ÿ Two issues in the question: revenge plots and the
development of a tragic hero. These two issues must
be addressed in relation to one another.
Ÿ You must look at three revenge plots.

Plan the essay

Look at the examples of bad planning (top) and good
planning (bottom) reproduced to the right.

Write the introduction

The question of whether one should or should not take
revenge is a fundamental one in Hamlet by William
Shakespeare. Various characters embark on missions to
avenge some loss, each with varying degrees of success. The
revenge plans plotted by Fortinbras and Laertes serve as
foils to Hamlet’s own indecisive quest for vengeance.

Write the essay

One early instance of revenge from the play is found in the
storyline surrounding Fortinbras. He wants revenge,
because his father lost a battle to King Hamlet and thus lost
his territories (I.ii). Fortinbras puts together a group of
mercenaries to achieve his goal, but his plans are foiled by
Claudius who learns of his plan and asks Fortinbras’ uncle
to intervene and channel his aggression into a more useful
action - invading Poland. By the end of the play, Fortinbras
has become the heir apparent to Denmark and claims the
throne. His revenge has been achieved though by a
circuitous route. Fortinbras’ strength not only lies in his
passionate action, but also in his capability of being ruled affected and ring insincere - rather like his father who
by others: he can listen to reason. His forthright action and knows how to be diplomatic and politic.
his small reliance on introspection and over-thinking
distinguish him from Hamlet whose indecision and Hamlet’s need for revenge is instigated by his meeting with
contempt for life itself destroy him. his father’s ghost(I.v). Before that he is simply lost in
depression and disgust at his mother’s hasty remarriage.
Laertes is also seeking vengeance. Hamlet kills Polonius Hamlet’s sense of aristocratic honour impels him to take
when Polonius eavesdrops on his and his mother’s revenge for his father’s murder, but his intellectualism and
conversation after the staging of the play (III.iv). Laertes self-criticism constantly frustrate his progress. His need to
takes decisive action: he returns to Denmark, confronts satisfy his own sense of justice keeps him from going
Claudius aggressively and finally plots and executes his through with the act when he finds Claudius vulnerable, but
revenge against Hamlet with Claudius (IV.vii and V.ii). confessing his sins (III.iii). His excessive wondering about
During the staged duel, Laertes wounds Hamlet with his the issue’s truthfulness is another factor that causes him to
poisoned sword. Though Laertes does act decisively in his delay - this is evident in his staging of the play (III.ii) and
revenge, he fails in his goal as he dies, wounded by his own his questioning of his mother (III.iv). Hamlet seems only
sword, before Hamlet dies. Furthermore, he admits to able to act when not actively following his revenge - he
Hamlet his own wrong-doing and reaffirms Hamlet’s impulsively kills Polonius and stages an elaborate deception
nobility of character. Laertes’ actions, however, are often to ascertain his uncle’s guilt.
61
LITERATURE ESSAYS
It is clear that the tragedy of Hamlet’s character lies in his (similar to that in Macbeth) have on the characters,
inability to get past his own intellectualising over the action the audience and the main thesis?
he needs to take. Though his revenge is successful, he 10. “What a piece of work is a man.” It could be argued
destroys himself in the process like Laertes. His paralysis, that the predicaments that Hamlet faces have
springing from his contempt of the world and his mental always been faced by mankind. Examine three
fixation on the corruption of the world, hampers his ability issues developed and show how they make the
to take action as Fortinbras does. play relevant to a modern audience.
11. Explore how the command to avenge his father,
Edit the essay drives the tragic and fatal plot of Hamlet.
Lastly you need to edit your essay carefully. Make sure that 12. A.C. Bradley (Shakespearean Tragedy page 108)
you leave enough time during the examination so that you says that the turning-point of the drama is
can edit carefully. Know exactly which steps you are going Hamlet's refusal to kill Claudius while he is
to take in editing your essay and follow it meticulously. An praying. His lack of action there “is the cause of all
example of such an editing plan is as follows: the disasters that follow. In sparing the King, he
Ÿ check spelling and commonly misused words (his - he’s, sacrifices Polonius, Ophelia, Rosenkrantz and
etc.); Guildnestern, Laertes, the Queen and himself”
Ÿ find style errors such as writing in the first person; Do you agree with this assessment?
Ÿ check specific format requirements such as indicating 13. Consider Hamlet’s treatment of Ophelia in Act III
titles of books and spelling of character names; and his claim in Act V.i that he loves Ophelia more
Ÿ correct tense usage and remove contractions; than her brother does. Discuss whether he really
Ÿ find examples of pronoun vagueness (“it”, “they”, loves her and why he treats her the way he does.
ambiguous “he”/“she”); 14. “There are two sides to Claudius - the cowardly,
Ÿ correct punctuation (especially comma splice and treacherous villain; and the tormented sinner who
quotations); longs for redemption, is benevolent and loves his
Ÿ check for inconsistent / illogical statements; queen.”
Ÿ ensure that paragraphs are properly divided, but that Discuss these two aspects of Claudius’s character,
they flow logically into one another. showing which, in your opinion, is more dominant.
15. “The Queen is a rather foolish woman who is guilty
Sample literature essays for practise of nothing more than insensitivity in remarrying
too hastily after her first husband’s death.”
1. What kind of a King is Claudius? What evidence Discuss this view of Gertrude, showing to what
shows the kind of monarch he is and the kind of extent her actions affect those of her son, Hamlet.
man he is? Is this his appearance, or is it his true 16. To what extent is Hamlet’s quest for revenge
character? justifiable in terms of the situation presented?
2. Discuss Hamlet’s conflict over the ghost's Discuss?
existence. Explore why he continues to doubt the 17. What are Hamlet’s religious beliefs? Find evidence
“honesty” of the ghost even after Claudius of these beliefs and discuss how these beliefs
confesses his guilt. influence his actions and decisions.
3. Several characters serve as foils to Hamlet in the 18. Hamlet is a study in what is real and what is
play – discuss why Shakespeare characterises them pretense. Examine the characters and events in the
in this way. play in terms of appearance and reality. Cite
4. Discuss the function of the grave-diggers at the examples of things that are not what they seem.
beginning of Act V. 19. Death, corruption and decay are important
5. Explain the effect Hamlet's ideas of sin and symbols in Hamlet. Discuss what effect these
salvation have on the development of his character images have on the reader and the significance of
and the movement of the plot. their inclusion in the play.
6. Death is a constant presence in this play. Discuss to 20. Explain what you think is revealed about human
what extent Hamlet's speech to Yorick's skull nature in Hamlet. Use characters and situations to
represents a philosophy of death. Be sure to illustrate your points.
identify his attitude to death in contrast to that of, 21 “Imagery of corruption and quibbling both
for instance, the grave-diggers. represent a mode of Hamlet’s own consciousness,
7. Consider Hamlet’s “To be or not to be”speech in Act for it is above all his sense of rottenness in
III.i. Comment on the importance of the speech Denmark, and his intelligence in responding to
within the development of Hamlet’s character. others, that his disease images and riddling
8. There are many elements of Hamlet which call reflect.” R.A. Foakes
attention to its status as a play, rather than reality. Discuss the implications of this statement.
By showing the trappings of theater and non- 22. “Hamlet is a play about the mystery and
reality, does Shakespeare make Hamlet's suffering impenetrability of human personality.” K. Muir
seem more acute or more distant? Discuss. Discuss the validity of this statement.
9. Discuss the setting of Hamlet. What effect does
setting the drama in a bleak northern castle
62
FURTHER STUDY
SPECIAL TOPICS for DISCUSSION Theatre in Menlo Park, Pretoria. The productions have
been excellent: the director, Clare Mortimer, is a former
1. Identify the three revenge plots in Hamlet, and English teacher and has consistently done a stellar job in
explain why each is important to the development producing a show that is entertaining, understandable and
of the play. true to the text. ThinkTheatre will stage Hamlet as of 2017.
2. Does the text hold up to a Freudian reading of The admission fees are very reasonable and the production
Hamlet's relationship with his mother? How does takes place in May, serving as invaluable revision for the
Hamlet's relationship with Ophelia support, June examination paper. Learners benefit immensely from
complicate or work against an Oedipal seeing the play on stage and the director usually presents a
interpretation of the play? short introduction to the play that focuses on important
3. The play begins with the fantastical appearance of themes and the staging used in the production. If you are
a ghost. Are we meant to believe that this is really interested, contact Doreen Stanley at
Hamlet's father, or is he a figment of Hamlet's [email protected] for more information.
imagination? If he is imagined, is the rest of the
play imagined as well?
4. Can a healthy state be presided over by a corrupt
ruler? Shakespeare draws frequent comparisons
between the moral legitimacy of a leader and the
health of a state. Is Denmark's monarchy
responsible for the demise of the state in this play?

FILM VERSIONS / FILMED STAGE PRODUCTIONS

1. The Royal Shakespeare Company’s Hamlet (2016)

starring Paapa Essiedu
2. Franco Zeffirelli’s Hamlet (1990) starring Mel
Gibson
3. The BBC’s BBC Television Shakespeare Hamlet
(1980) starring Derek Jacobi and Patrick Steward
(as Claudius)
4. The Royal Shakespeare Company and the BBC’s
Hamlet (2009) starring David Tenant and Patrick
Stewart (as Claudius).
5. Kenneth Branagh’s Hamlet (1996) starring
Kenneth Branagh and Kate Winslet (as Ophelia)

Derek Jacobi’s Hamlet is probably the best know and most

well-regarded Hamlet on film. The full-text play is
presented as a classical Shakespearean production. The
Zeffirelli and Branagh productions are made for film:
Zeffirelli’s version is typical of his film noir style and has
been condensed substantially; Branagh’s interpretation is
classical and full text, and the lead actors are excellent. The
two RSC productions are both modernised in setting, but
retain their full, original texts. The most recent one (Paapa
Essiedu’s Hamlet from 2016) was been critically lauded
both for the depth of acting and the meticulous directorial
choices - Essiedu’s Hamlet is set to become the Hamlet of
the 21st century, just like Jacobi’s Hamlet has been the gold
standard for Hamlet interpretations.

Youtube has many snippets of these (and other) stage

productions by famous actors - search and you will find!

OTHER RESOURCES

ThinkTheatre’s Hamlet at Brooklyn Theatre

For several years this Kwazulu-Natal-based production
company has staged productions of Othello at the Brooklyn

63
REFERENCES
The following are some of the resources which were used in compiling this study guide.

1. Campbell, D. s.d. Dr Donna Campbell’s Site. (http://public.wsu.edu/~campbelld/amlit/hamletques.htm)

2. Folger Shakespeare Library. s.d. Hamlet [a set of 121 original drawings] [graphic] / John Austen.
3. Grade Saver (http://www.gradesaver.com)
4. LitCharts (http://www.litcharts.com)
5. McWhorter, P.C. s.d. A Teacher's Guide to the Signet Classic Edition of William Shakespeare's Hamlet.
6. Shakespeare Online (http://www.shakespeare-online.com)
7. Shakespeare, W. 1977. Hamlet. Horan, A.C. (ed.). Maskew Miller: Cape Town
8. Tillman, T. 2012. Teacher's Guide to Hamlet (Calfornia Shakespeare Theater September/October 2012
production)

Please use this study guide responsibly. Do not copy it wholesale for commercial distribution and acknowledge the
sources from which the information comes. This study guide and the associated teaching material are distributed
under a Creative Commons non-commercial redistribution copyright.

If material has been used in this guide which has not been acknowledged, please accept a sincere apology for the
unintentional oversight and contact the compiler to rectify the situation.

A special word of thanks is due to Bertie Rieger and Lisa-Marie Deysel for meticulous and insightful proofing of
this document. In spite of their wonderful work, errors will alsways creep in, so any lingering errors the reader can
safely attribute the compiler.

64