Hamlet (28 page)

Lines 106–208:
Hamlet fears that the Ghost has come to “chide” him for not taking revenge on Claudius, and the Ghost urges him to act, claiming that he is there “to whet” Hamlet’s “almost blunted purpose.” As they talk, it becomes clear that Gertrude cannot see the Ghost. Hamlet urges her to “look” as the Ghost leaves them, but Gertrude takes this as a sign of his insanity. Hamlet insists that he is “But mad in craft” and urges his mother to repent of her sins and avoid any further relationship with Claudius. He asks her to keep his feigned madness a secret and she agrees. He leaves, dragging Polonius’ body with him.

Lines 209–249:
Gertrude tells Claudius that Hamlet is “Mad as the seas and wind” in a storm, although it is uncertain whether she is lying to Claudius or still believes this to be true. She reports how Hamlet killed Polonius, and Claudius uses this as his excuse to send Hamlet to England. Sustaining his performance of grief at his nephew’s behavior, he orders Rosencrantz and Guildenstern to find Hamlet and take Polonius’ body to the chapel.

Hamlet enters, commenting that Polonius is “safely stowed.” Rosencrantz and Guildenstern come to ask what he has done with the body and Hamlet accuses them of being “sponges” out of which Claudius may squeeze information. He agrees to see the king, but leaves, running, with Rosencrantz and Guildenstern following.

Claudius contemplates the danger he is in while Hamlet “goes loose,” but says that he cannot “put the strong law on him” because Hamlet is loved by Denmark’s people. He compares sending Hamlet away to ridding himself of a disease, reinforcing previous references to infection/decay. Rosencrantz arrives and reports that Hamlet will not reveal the whereabouts of the body, but that they have managed to get him to come to Claudius. Guildenstern brings Hamlet in and Claudius demands Polonius’ body. Hamlet gives a nonsensical, macabre response, but eventually tells them that they will “nose him” in the lobby, another image of decay that emphasizes the corporeal, rather than spiritual, aspect of death. Claudius sends someone to find the body and, pretending great sorrow, informs Hamlet that he must go to England immediately as a result of his actions. Hamlet apparently agrees and Claudius sends Rosencrantz and Guildenstern to hurry Hamlet on board the ship. When they have left, Claudius’ soliloquy reveals that he is sending letters to the English, instructing them to kill Hamlet.

Fortinbras, marching across stage with his army, sends a messenger to tell Claudius that he is claiming safe passage across Denmark. In the Quarto version of the play (see “Second Quarto Passages That Do Not Appear in the Folio”), Hamlet witnesses the march and contrasts Fortinbras’ willingness to “find quarrel in a straw” when his honor is affronted to his own inaction in the face of monstrous provocation.

Lines 1–110:
Horatio persuades Gertrude to see Ophelia, who has been sent mad by the death of her father. Ophelia is shown in and reveals a genuine, pitiful madness that contrasts with the potentially more contrived or exaggerated moments of Hamlet’s insanity. She speaks mostly in rhyme and, while her ideas are disjointed and largely nonsensical, they focus on death and sex. Ophelia leaves and Claudius sends Horatio to watch over her. He laments recent events,
and comments to Gertrude that the people of Denmark are stirred up by Polonius’ death and have become “Thick and unwholesome in their thoughts and whispers.” They are interrupted by a messenger, bringing the news that Laertes has stormed Elsinore.

Lines 111–228:
Laertes breaks in, demanding vengeance for his father’s death, creating parallels and contrasts with Hamlet, as Laertes also becomes a potential “revenge hero.” In contrast to Hamlet’s hesitant and thoughtful approach, Laertes is intent on action and his assertion that he will “dare damnation” shows that he has less consideration for the moral/spiritual issues raised by revenge. The king and queen explain that Claudius is not responsible for Polonius’ death and Laertes is calmer, until Ophelia returns. He is aghast at the change in his sister, who continues to sing in a distracted way and distributes flowers (possibly imaginary) such as “rosemary” for “remembrance” and “pansies” for “thoughts.” She sings a lament, and leaves. Laertes calls on the gods as Claudius tries to calm him. He promises to help Laertes get revenge, saying that “where th’offence is, let the great axe fall.”

Sailors bring Horatio a letter from Hamlet. Hamlet explains that he was captured by pirates who have returned him to Denmark, while Rosencrantz and Guildenstern are still bound for England. He asks Horatio to see that some enclosed letters are given to Claudius and then to come to him.

Laertes asks why Claudius did not take public action against Hamlet for Polonius’ death. Claudius persuades him that it was because both the queen and the Danish people love Hamlet and he did not wish to upset her or cause trouble. A messenger brings the letter from Hamlet, announcing that he has returned to Denmark and asking to see Claudius the next day. The king is confused, but Laertes is pleased as it means he can confront and kill Hamlet. Claudius sees a way to rid himself of Hamlet and urges Laertes to take his revenge and show
that he is his father’s son “in deed / More than in words,” again forcing a comparison with Hamlet, who generally seems more concerned with words than deeds. Claudius reminds Laertes that Hamlet has always been jealous of his abilities with a sword, and has long wished to fence with him. Claudius suggests that they tempt Hamlet into fencing with Laertes but that Laertes use an “unbated” sword rather than a blunted one. Laertes agrees and announces his intention to anoint the tip of the sword with poison. Claudius further suggests poisoning a cup of wine to give to Hamlet if he should win the duel. Gertrude interrupts with the news that Ophelia has drowned, describing how she went to a “glassy stream,” dressed in a crown of flowers, and fell in. Gertrude seems to suggest that the fall was an accident, but Ophelia sang serenely as the weight of her clothes dragged her down. Laertes leaves, distraught.

Lines 1–207:
Two rustics are digging Ophelia’s grave and discussing the fact that she is to have a Christian burial, despite appearing to have committed suicide. Their witty exchange creates dark humor when juxtaposed with their task. Hamlet and Horatio approach, unaware of who the grave is for. Hamlet observes that the gravedigger has no finer feelings as he sings while he digs and unceremoniously throws down any skulls that he unearths. Hamlet muses that status has no meaning once you are dead. He banters with the gravedigger, sustaining the witty wordplay that began the scene and ironically discussing the madness of “young Hamlet” as the gravedigger does not recognize him. Hamlet’s discussion of himself in the third person emphasizes the divisions in his character that have been evident throughout. The banter continues until the rustic identifies one of the skulls as belonging to Yorick, a court jester that Hamlet knew as a child. Hamlet immediately becomes more introspective, philosophizing on the inevitability of death and commenting that no matter how great the man, he will eventually die and decompose: “Alexander [the Great] died, Alexander was buried, Alexander returneth into dust.” This seems to mark a new turn in Hamlet’s thoughts concerning death: until now he has largely been concerned with the spiritual,
rather than corporeal, aspects of dying. He sees a funeral procession approach, led by the king, queen and Laertes, and notes that the funeral rites have been shortened, guessing that it is for a suicide. He and Horatio conceal themselves to watch.

Lines 208–293:
Hamlet recognizes Laertes, who is asking the priest why the ceremony is so short. The priest explains that because Ophelia’s death “was doubtful,” she should really have been buried in “ground unsanctified” and that he has done as much as he has “warrantise” to do. Furious, Laertes retorts that his sister will become “a minist’ring angel” and Hamlet realizes that the funeral is for Ophelia. Gertrude scatters flowers in the grave, emphasizing the repeated association between Ophelia and flowers, which represent the transience and beauty of nature. Overcome, Laertes curses Hamlet for sending Ophelia mad and leaps into her grave, demanding to be buried with her. Hamlet steps forward and reveals his identity, also jumping into the grave. Laertes and Hamlet fight and Hamlet declares that he did love Ophelia. He rushes off, followed by Horatio. Claudius speaks to Laertes, obliquely reassuring him that the subject of their “last night’s speech” will be put “to the present push.”

Lines 1–168:
Hamlet tells Horatio the circumstances of his return to Denmark. He explains that while on board the ship he crept from his cabin and took the letter entrusted to Rosencrantz and Guildenstern by Claudius, containing the instructions for his execution. He explains how he forged a replacement letter from Claudius, asking that the English put Rosencrantz and Guildenstern “to sudden death.” The next day he was captured by the pirates, leaving Rosencrantz and Guildenstern to sail to their deaths, a fate he feels that they deserved. He repeats his intention to kill Claudius and expresses regret at his behavior toward Laertes, acknowledging the similarities in their circumstances. They are interrupted by Osric, whose long-winded and obsequious manner is mocked by Hamlet. Osric explains that he has been sent to tell Hamlet that the king has placed a bet that he will win a fencing match against Laertes and to ask if Hamlet will take up the
challenge. Hamlet agrees and Osric goes to report this. Horatio warns Hamlet that he will “lose this wager,” but Hamlet says that he has been in “continual practice” and, anyway, it does not matter if he is killed as everyone must die: it is not important when, but “the readiness is all.”

Lines 169–230:
Claudius and Gertrude enter with Laertes, other courtiers and attendants, emphasizing the public nature of the duel in contrast to the secret intentions of Claudius and Laertes. The king joins Hamlet’s and Laertes’ hands and Hamlet asks for Laertes’ pardon, explaining that his actions were “Never Hamlet,” but the result of “madness” which caused “Hamlet from himself [to] be taken away,” again reinforcing the fragmented nature of his identity. Laertes will not consider “reconcilement” until he has consulted “some elder masters” on the matter of honor, but he accepts Hamlet’s “offered love.” They begin to fence.

Lines 231–325:
The fight signifies a shift from “words” to “action.” After all the contemplation and conversation, we are presented with fast and confusing activity, added to by the various characters’ brief comments and asides. There is a switch of rapiers, resulting in both Hamlet and Laertes being stabbed with the poisoned blade. Gertrude, meanwhile, mistakenly drinks the poisoned wine. She dies and Hamlet demands that they seek out the treachery that killed her. Laertes, realizing that he and Hamlet are both dying, explains everything and blames Claudius. Hamlet kills Claudius with the poisoned sword, finally fulfilling his quest for revenge. Laertes begs Hamlet to “exchange forgiveness” with him and dies. Hamlet forgives Laertes and curses the courtiers who stand around and watch as “but mutes or audience to this act,” sustaining the theatrical awareness to the end. Horatio wishes to drink the poison and die, but Hamlet begs him to remain alive “in this harsh world,” so as to tell Hamlet’s story. A “warlike noise” is heard, and Osric explains that Fortinbras and the English ambassadors have arrived. Hamlet announces that Fortinbras will be the next king of Denmark and dies.

Lines 326–353:
Fortinbras asks what has happened, and Horatio promises to tell him. We learn that Rosencrantz and Guildenstern are dead. Fortinbras claims the Danish throne and orders that Hamlet be given a military funeral.

The best way to understand a Shakespeare play is to see it or ideally to participate in it. By examining a range of productions, we may gain a sense of the extraordinary variety of approaches and interpretations that are possible—a variety that gives Shakespeare his unique capacity to be reinvented and made “our contemporary” four centuries after his death.

We begin with a brief overview of the play’s theatrical and cinematic life, offering historical perspectives on how it has been performed. We then analyze in more detail a series of productions staged over the last half-century by the Royal Shakespeare Company. The sense of dialogue between productions that can only occur when a company is dedicated to the revival and investigation of the Shakespeare canon over a long period, together with the uniquely comprehensive archival resource of promptbooks, program notes, reviews and interviews held on behalf of the RSC at the Shakespeare Birthplace Trust in Stratford-upon-Avon, allows an “RSC stage history” to become a crucible in which the chemistry of the play can be explored.

Finally, we go to the horse’s mouth. Modern theater is dominated by the figure of the director. He, or sometimes she (like musical conducting, theater directing remains a male-dominated profession), must hold together the whole play, whereas the actor must concentrate on his or her part. The director’s viewpoint is therefore especially valuable. Shakespeare’s plasticity is wonderfully revealed when we hear directors of highly successful productions answering the same questions in very different ways.

Hamlet
is the best-known and most discussed of all Shakespeare’s plays. It is also one of the most frequently performed. The many early
references to it suggest that this has always been the case. There is then a remarkably full stage history which reveals a certain continuity and predictability by way of a perpetual focus on the figure of the prince himself, claims for the “naturalistic” quality of the actor’s performance, a sense of the play’s special capacity to catch the contemporary Zeitgeist, cutting and rearranging of the text, and the international dimension and appeal of the play. The legendary centrality of the prince—with nearly forty percent of the lines—has led to the focus on the performance of the leading actor in the main part, particularly in historical productions in which the cutting of the text increased the relative size of the role. Such a focus is problematic but inevitable and does have some value, as the modern critic Anthony Dawson recognizes: