Hamlet by William Shakespeare | Hamlet | Plot | Summary | Characters | Theme | Historical Context | Critical Overview | Free PDF Download – Easy Literary Lessons
Hamlet
The play “Hamlet” went through an interesting journey before it reached its final printed form. In 1602, James Roberts registered it in the Stationers’ Register, a sort of copyright record book for the Stationers’ Company in London. However, before he could print it, another fellow named Nicholas Ling put out a pirated version using actors’ memories. This unauthorized edition, known as the first quarto, turned out to be a bit of a mess.
Finally, in 1604, the official printed version, referred to as the second quarto, hit the shelves. It seems like this one was based on Shakespeare’s own papers, but there were still errors and additions from the pirated version. Two more quartos followed, and in 1623, seven years after Shakespeare passed away, his colleagues John Heminges and Henry Condell compiled all his plays into a big book called the Folio. The “Hamlet” in the Folio was different from the second quarto and is thought to be a revised version by Shakespeare himself.
The exact date when Shakespeare wrote “Hamlet” remains a bit unclear, but hints within the play suggest it happened between 1599 and 1602. Despite challenges, the play gained immense popularity. Even during a period called the Puritan Interregnum, when theaters were closed and performances banned (1649-1660), people found ways to perform the gravediggers scene from “Hamlet” illegally.
In the 17th century, the play continued to be a hit. Samuel Pepys, a gentleman of the time, noted in his diary that he watched “Hamlet” in 1661, 1663, and 1668. John Downes, who managed a prominent acting company, mentioned that between 1662 and 1706, no tragedy brought more money and reputation than “Hamlet.”
Moving into the 18th century, notable English writers like Samuel Johnson and Alexander Pope edited Shakespeare’s works. By the 19th century, it became fashionable to read rather than watch “Hamlet.” Samuel Taylor Coleridge’s interpretation of Hamlet as a thoughtful but indecisive character greatly influenced how people saw the play.
As we stepped into the 20th century, “Hamlet” rose to become the most famous and esteemed play in the English language. Ernest Jones, an English Freudian psychoanalyst, added a new layer by suggesting Hamlet’s inactivity was due to his identification with his uncle, drawing parallels with the Oedipus complex.
During Shakespeare’s time, revenge tragedies were known for their explicit depiction of violence on stage. However, “Hamlet” stood out by focusing more on Hamlet’s internal struggles rather than showcasing graphic violence. This departure marked a significant shift in the dramatic landscape.
Shakespeare drew inspiration from various sources while crafting “Hamlet.” The lost play known as Ur-Hamlet, possibly written by Thomas Kyd, and older stories like Saxo Grammaticus’s Gesta Danorum and Belleforest’s Histoires tragiques provided the foundation for this rich and complex literary work.
In essence, “Hamlet” remains a timeless masterpiece that has captivated audiences for centuries, thanks to its intricate themes, profound portrayal of human nature, and the endless interpretations it offers.
Plot
Act 1, Scene 1:
The play begins at the Elsinore castle in Denmark where the guards are changing shifts. Bernardo and Marcellus, along with Horatio, come to replace Francisco. Bernardo, feeling anxious, asks “Who’s there?” setting a tense mood for the rest of the play. Francisco says that nothing happened during his watch.
When they are alone, Bernardo and Marcellus tell Horatio about a ghost they saw the previous night. They are waiting to see if it will appear again and hope that Horatio, being a scholar, might be able to communicate with it.
As they wait, the ghost appears but disappears when Horatio tries to talk to it. The men notice that the ghost looks like the late King Hamlet. They ask Horatio why they are on guard and why Denmark is preparing for war. Horatio explains that they fear an invasion by Norwegian troops led by young Fortinbras. Fortinbras’ father was killed by King Hamlet in a war, and Fortinbras wants to avenge his father’s death and reclaim the lost territory. The ghost appears and disappears again. The three men decide to tell Hamlet about what they have seen.
Act 1, Scene 2:
Inside the castle, the new king, Claudius, is giving a speech. He talks about becoming king, the death of the old king, and his marriage to Gertrude, the old king’s widow and Hamlet’s mother. He then discusses the upcoming war with Norway. He sends Cornelius and Voltimand to Norway to talk to Fortinbras’s uncle, the king of Norway, to prevent a war.
Claudius then focuses on Hamlet, who is dressed in black mourning clothes. Claudius refers to Hamlet as their main courtier, cousin, and son. Hamlet’s first words show his dislike for Claudius. When Claudius asks why Hamlet is still sad, Hamlet responds with a pun, suggesting that he is too loyal for Claudius’s deceitful world.
Claudius, by marrying Gertrude, has effectively taken Hamlet’s place as the next king. He talks to Hamlet about his grief for his dead father, arguing that it’s wrong to continue grieving. Claudius also tells Hamlet that he won’t allow him to return to school in Germany and wants him to stay at court, especially since Queen Gertrude, his mother, wants him to stay near her.
Hamlet agrees to stay. When his mother asks him why his grief seems so strong, he tells her that his grief is indeed strong. He also tells her that his black mourning clothes and his sad behavior are signs of his inner sorrow.
After everyone leaves, Hamlet stays behind and reveals his inner feelings. He expresses his disgust with the world and wishes he could die, if it weren’t against God’s laws. He is upset about his mother’s quick marriage to Claudius. Hamlet is deeply troubled by the differences between his father and his uncle. He is angry not only at Gertrude’s disloyalty to her dead husband but also at her apparent hypocrisy.
As Hamlet finishes his thoughts, Horatio, Marcellus, and Bernardo enter the room and tell him about their encounter with the ghost of his dead father.
Act 1, Scene 3:
The focus shifts to Polonius and his children, Ophelia and Laertes. Laertes is about to leave for France and advises his sister, Ophelia, to be careful with Hamlet. Ophelia promises to do so and reminds him to behave well. Polonius comes to say goodbye to Laertes and gives him some advice for his time in France. After Laertes leaves, Polonius asks Ophelia about their conversation. Ophelia tells him that Laertes warned her about Hamlet. Polonius agrees with this and tells Ophelia not to talk to Hamlet anymore.
Act 1, Scene 4:
Hamlet, Horatio, Marcellus, and Bernardo wait on the castle battlements at night to see if the Ghost will appear. They discuss the nightly revelry at the Danish court, which Hamlet admits gives Denmark a reputation for drunkenness. Hamlet reflects on human faults, saying one flaw can overshadow an otherwise decent person. The Ghost appears, signaling Hamlet to follow. Hamlet’s friends try to stop him, fearing the Ghost might drive him mad or lead him to harm himself. However, Hamlet resists, draws his sword, and follows the Ghost, with the others following him.
Act 1, Scene 5:
alone with the Ghost, Hamlet learns that it’s the spirit of his deceased father, condemned to wander the night. The Ghost reveals that he was murdered by Hamlet’s uncle, Claudius, who poured poison in his ear. Claudius, now the king, has deceived Denmark. The Ghost instructs Hamlet to avenge the murder but not to harm his mother, leaving her to heaven’s judgment. As morning approaches, the Ghost disappears, asking Hamlet to remember him. Hamlet believes the Ghost but doesn’t share the details. He instructs his friends not to reveal anything and makes them swear an oath of silence. Hamlet, feeling the world is out of order, accepts the responsibility to set things right.
Act 2, Scene 1:
Polonius is alone with Reynaldo, a courtier he’s sending to Paris to check on Laertes, Polonius’ son. Polonius advises Reynaldo on gathering information, suggesting that he should make derogatory remarks about Laertes to see if others confirm them or share more faults. After Reynaldo leaves, Ophelia enters and tells her father about a troubling encounter with Hamlet. She describes how Hamlet entered her room looking disheveled, grabbed her wrist, sighed, stared at her, and then left. Polonius thinks Hamlet is lovesick and asks if Ophelia has said anything harsh to him. Ophelia says she followed Polonius’ advice, returned Hamlet’s letters, and denied him access. Polonius decides to tell the king about the incident.
Act 2, Scene 2:
Claudius and Gertrude welcome Rosencrantz and Guildenstern, who are old school friends of Hamlet. They thank them for coming and explain that Hamlet has changed. They hope that the two friends can spend time with Hamlet and find out what caused his change. The friends leave to let Hamlet know they’re here.
Polonius comes in and tells Claudius that the ambassadors to Norway, Cornelius and Voltimand, have returned. He thinks he knows why Hamlet is acting mad and suggests that the king should hear from the ambassadors first. After Polonius leaves to get the ambassadors, Claudius tells Gertrude that Polonius thinks he knows why Hamlet is mad. She thinks it’s because of his father’s death and their quick marriage.
Voltimand and Cornelius report that the king of Norway was upset to learn that Fortinbras was raising an army against Denmark. He thought the army was for an attack against Poland. When he found out the truth, he stopped Fortinbras’s war effort against Denmark but asked for passage through Denmark for the Polish campaign.
After the ambassadors leave, Polonius tells the king and queen that he believes Hamlet is mad because he’s in love with Ophelia. He reads a letter from Hamlet to Ophelia that expresses love and desperation. The queen believes this, and the king wants to know how they can test it. Polonius suggests that he will arrange for Hamlet and Ophelia to meet and talk while the king, queen, and Polonius hide and listen. Claudius agrees, and Polonius, seeing Hamlet coming towards them, tells the king and queen to leave while he talks to Hamlet.
Polonius greets Hamlet and asks him if he knows him. Hamlet says he knows him very well and calls him a fishmonger, which can also mean a pimp. In a way, Polonius is using Ophelia to trap Hamlet. Hamlet continues to tease Polonius with references to love, sexuality, Ophelia, and death. Polonius leaves, convinced that Hamlet is mad and that his love for Ophelia is the cause.
As Polonius leaves, Rosencrantz and Guildenstern come in and greet Hamlet. Hamlet asks why they have come to Denmark, which he calls a prison. They say they don’t think it’s a prison, but Hamlet says it is to him because nothing is good or bad, but thinking makes it so. They think he is too ambitious, but Hamlet disagrees. He toys with them, saying he could live happily in a small space but has bad dreams. Hamlet asks again why they have come to Elsinore, and they say it was to visit him. But Hamlet says their visit is not voluntary and asks if they were sent for. They don’t know what to say, and Hamlet tells them they don’t need to answer; he knows they were summoned. Finally, they admit they were summoned, and Hamlet says he will tell them why so they won’t be guilty of revealing their mission.
Hamlet shares his disillusionment with life, expressing that the joys of being human don’t bring him happiness, suspecting their understanding might be crude. Rosencrantz denies any inappropriate thoughts and mentions encountering traveling players. Hamlet invites them to stay, particularly praising the actor playing the king.
Polonius arrives to announce the arrival of the players, and Hamlet and Polonius banter about theater and family matters. Hamlet subtly suggests that Polonius is sacrificing his daughter. The players enter, and Hamlet asks one of them to recite a speech about the fall of Troy. Polonius notices the player’s emotional performance.
Hamlet then asks the players if they know a play called “The Murder of Gonzago,” and they do. He arranges for them to perform it the next night with additional lines he will write. Alone, Hamlet reflects on his lack of determination in seeking revenge and considers that a play reflecting people’s misdeed might make them confess. Hamlet plans to observe the king’s response to “The Murder of Gonzago,” featuring a murder similar to King Hamlet’s. He concludes, “The play’s the thing / Wherein I’ll catch the conscience of the King.”
Act 3, Scene 1:
Rosencrantz and Guildenstern tell the king and queen that they couldn’t learn much from Hamlet. He was polite but avoided their questions with clever madness. They tell the king about the actors’ arrival and the performance scheduled for that evening. The king is happy that Hamlet seems to be seeking pleasure and tells them to keep trying to find out the cause of his mad behavior. The king then asks Gertrude to leave them. Gertrude tells Ophelia that she hopes Hamlet is mad because he loves her; she wouldn’t oppose their marriage. Polonius positions Ophelia with a book to wait for Hamlet; he and the king will watch in hiding when Hamlet arrives.
Hamlet enters and recites the famous soliloquy “To be or not to be,” in which he thinks about the pain of being alive and the fear of death and what the afterlife may hold. He concludes that fear of the unknown makes people bear the burdens, injustices, and woes of being alive. He stops his thoughts when he sees Ophelia, who is reading from a book that Hamlet thinks is a prayer book. He greets her and asks her to include him in her prayers. She tells him that she has “remembrances” of his, gifts and letters he has given her that she wants to return to him. He says that he never gave her anything, but she insists that he knows he did; when he did, he gave them with sweet words, but now that he is cold to her, the gifts no longer have the richness they once had.
He interrupts her to ask if she is honest, suspecting that she is the bait in a trap to catch him. She doesn’t understand his question, and he declares that if she is honest and fair, her honesty wouldn’t allow her to be used (as she is being used to lure Hamlet into revealing himself). In a speech full of words with double meanings, Hamlet tells Ophelia “Get thee to a nunnery,” meaning both “seclude yourself in a convent to be away from this sinful, dangerous world” and “go into a brothel, for you are being a prostitute, in being used by Claudius and Polonius.” At length, he criticizes himself and all of mankind. He ends by asking, “Where’s your father?” and she answers with a lie, “At home, my lord.” Hamlet then calls her father a fool, tells Ophelia that if she marries she should be chaste, and ends with a condemnation of women who wear makeup and act artificially, making a mockery of God’s creation. He criticizes marriage and makes a veiled threat to kill the king. He ends by once more telling her, “To a nunnery, go.”
Alone, Ophelia grieves at Hamlet’s apparent madness. The king and Polonius come out of hiding, and the king remarks that Hamlet didn’t seem to be talking like a disappointed lover, that his words were not really like those of a madman. Furthermore, the king feels that Hamlet is a threat and so decides to send him to England in an ambassadorial role, to collect some tribute money that England has neglected to pay Denmark. Polonius tells Ophelia that she doesn’t need to tax herself to relate the conversation as they have overheard everything, thus offering no comfort to the heartbroken girl. Polonius suggests that after the play, Gertrude should talk to Hamlet to see what she can learn; he will hide behind a curtain and listen to their conversation. The king agrees and adds that “madness in great ones” must not go unnoticed.
Act 3, Scene 2:
Before the performance of The Mousetrap, Hamlet’s version of The Murder of Gonzago, Hamlet tells the actors how to act. He tells them not to overact but to perform realistically. When the actors leave, Horatio comes in. Hamlet tells him how much he admires him for his balanced, calm nature. Hamlet asks Horatio to watch the king’s reactions during the play, which will reflect the circumstances of King Hamlet’s death as the Ghost has told them.
The king and the court enter with a ceremonial flourish. The king greets Hamlet, asking how he is, and Hamlet responds with a cryptic pun. Hamlet says that he “eats the air, promise crammed,” suggesting that Claudius, by marrying Gertrude and becoming king, has taken Hamlet’s rightful place in the royal succession. Claudius says that he does not understand Hamlet’s meaning, and Hamlet retorts that now that they have been spoken, the words are not his either. Hamlet then jokes with Polonius about his past as an actor. The queen invites Hamlet to sit beside her, but Hamlet indicates that he would prefer to sit by Ophelia and proceeds to make a series of crude sexual puns and cutting references to his father’s death and his mother’s remarriage.
The play begins with a “dumb show” or pantomime of the action to come. After a spoken prologue, the Player King and Player Queen enter. They are loving, but the king is not in good health and speaks of the possibility of dying. The queen says that she will never marry again; to do so would be like a second death of her husband. But the king objects; as circumstances change, he asserts, so will she. She protests that she will be constant and then leaves the stage, and the king lies down for a nap. As the scene changes, Hamlet asks his mother what she thinks of the play, and she says that it seems to her that “the lady doth protest too much.”
A new character then enters and pours poison into the sleeping king’s ear, as Hamlet narrates what is happening, noting, “You shall see anon how the murderer gets the love of Gonzago’s wife.” At this point, Claudius rises, Gertrude asks how he is, Polonius orders the play stopped, and Claudius calls for “some light” and leaves; all the court except Hamlet and Horatio follow. Hamlet is euphoric, and he and Horatio agree that the king’s reaction confirms the Ghost’s honesty and the king’s guilt.
As they talk, Rosencrantz and Guildenstern enter and tell Hamlet how disturbed the king and queen are at his behavior and also that the queen wishes to speak with him in her chamber. They apologize for their boldness in speaking somewhat reproachfully to Hamlet, citing the great love they bear him as an excuse. Hamlet takes a flute from one of the actors and asks Guildenstern to play it; Guildenstern protests that he lacks the skill to do so. Hamlet remarks on how cheaply, then, Guildenstern must hold Hamlet, in that Guildenstern was trying to “play upon” him. Polonius enters to also announce that the queen wishes to see Hamlet in her chamber. Hamlet then taunts Polonius, too, and the scene ends with Hamlet leaving for Gertrude’s chamber, vowing to be severe with her and reprimand her for her remarriage but not to be abusive or violent.
Act 3, Scene 3:
Feeling threatened, Claudius asks Rosencrantz and Guildenstern to escort Hamlet to England and tells them to prepare for the task. They flatter him, telling him how important a king is and how he must protect himself to protect all the people of the kingdom who depend on him. As they leave, Polonius comes in; he tells the king that Hamlet is going to Gertrude’s room and that he will hide there to listen to their conversation. Polonius adds that a mother is too biased towards her son to be trusted in such circumstances.
Alone, Claudius thinks about his crime, admitting to himself how terrible the murder of a brother is. He tries to pray but realizes that his prayer is meaningless as long as he still enjoys the benefits of his crime. Meanwhile, Hamlet passes on his way to Gertrude’s room and realizes that he might kill the king—but he refrains from doing so because killing Claudius while he is in prayer would send his soul to heaven. That, Hamlet says, would be unfair: “A villain kills my father, and for that / I, his sole son, do this same villain send / To heaven.” He leaves Claudius alive. Claudius, alone, ends the scene saying, “My words fly up, my thoughts remain below. / Words without thoughts never to heaven go.” Ironically, prayer did, this time, despite his ambivalence, protect him.
Act 3, Scene 4:
In Gertrude’s room, Polonius tells her that Hamlet is coming and that she should scold her son for his “pranks”; meanwhile, Polonius will hide behind the curtain. As Hamlet approaches, she tells Polonius not to worry and to hide. Hamlet asks his mother, “What’s the matter?” and she answers that he has upset his father, meaning Claudius, his stepfather. He retorts that she has upset his father, meaning her first husband, King Hamlet. They start to argue. She asks if he has forgotten who she is; he says that he hasn’t, that she is her husband’s brother’s wife and, though he wishes it were not so, his mother. She says that if he will not listen to her, she will have others speak to him, and he grabs her and sits her down, saying that he will show her her true self. Frightened, she cries out, “What will you do? You won’t murder me? Help!” Polonius, hearing her cry, calls out “Help!” too, and Hamlet stabs the man behind the curtain without seeing who it is. When his mother asks, “What have you done?” he says that he does not know. He asks if the man was the king, but she only says that it was a “bloody deed.” Hamlet responds that the act is “almost as bad, good Mother, / as kill a king, and marry with his brother.” She responds with the question, “As kill a king?” apparently not knowing what he is referring to. He then lifts the curtain and sees the dead Polonius, calling him a “wretched, rash, intruding fool.”
The murder seems to spur them to speak more openly, for Gertrude then asks what she has done to upset him so much. Hamlet proceeds to answer, and what he does not say is as interesting as what he does, for he fails to mention his meeting with the Ghost, nor does he explain the expression “as kill a king.” Rather, he focuses on the differences he perceives between the two brothers, elevating the old King Hamlet to a divine level and depicting Claudius as a depraved man. He criticizes his mother for being able to go from a man so fine to a man so base. She breaks down and tells him that he has torn her heart in two. He tells her to throw away the rotten part, the part attached to Claudius. As he speaks, the Ghost enters to remind Hamlet that he has nearly forgotten his mission, to avenge his father’s death. Gertrude sees Hamlet talking to the air and grows afraid that he truly is crazy. Hamlet warns her not to think that he is mad rather than realize that she is at fault; he tells her not to go again to Claudius’s bed or to be seduced into revealing Hamlet’s true condition. She agrees. Hamlet then tells his mother that he is being sent to England, that he suspects a plot against him, that he does not trust Rosencrantz and Guildenstern, and that he will beat them at their own game. He leaves, dragging Polonius’s body behind him to deposit it in another room.
Act 4, Scene 1:
The king asks Gertrude how her meeting with Hamlet went. She tells Claudius that Hamlet is as mad as a stormy sea and that he killed Polonius. The king thinks about how he could have been killed and how the people will partly blame him for the killing, as he failed to control Hamlet. He repeats that he will send Hamlet to England. When Claudius asks Gertrude where Hamlet is now, she says that he has gone to hide Polonius’s body somewhere. The king calls Rosencrantz and Guildenstern back, tells them about the murder of Polonius, and orders them to find Hamlet and the body.
Act 4, Scene 2:
No longer as friends but as agents of the king, Rosencrantz and Guildenstern demand Polonius’s body from Hamlet. He doesn’t give them a straight answer, insults them, and runs away as if playing hide-and-seek; they chase him.
Act 4, Scene 3:
The king tells some courtiers that he has sent people to find Hamlet and the body and that Hamlet is dangerous, though the people love him. Rosencrantz and Guildenstern come in and tell the king that Hamlet is outside the room under guard but won’t say where the body is. The king orders Hamlet brought in and asks him where the body is. Hamlet answers cryptically first that Polonius is “at supper,” “not where he eats, but where he is eaten,” then that perhaps Polonius is in heaven and the king should send a messenger there to find him; if he is not there, the king might look in the “other place” himself. Finally, Hamlet says that if the king cannot find him in either place he will soon smell him by a certain staircase. Claudius tells Hamlet that for his own safety he is sending him to England on a ship, and Hamlet is taken away under guard. In a short soliloquy, the king reveals that he has sent letters to England ordering Hamlet’s murder and that he will not know peace until Hamlet is dead.
Act 4, Scene 4:
Fortinbras, of Norway, crosses the stage with his troops, passing through Denmark on his way to fight for a barren piece of land in Poland, as a captain tells Hamlet when he asks. Hamlet is astonished that men should fight and so many should die for the possession of a worthless piece of ground. He concludes that to be great is to “find quarrel in a straw,” and criticizes himself for not having accomplished the Ghost’s mission yet. He vows that his thoughts will be bloody from then on, thinking that if they are not, they will be worth nothing.
Act 4, Scene 5:
In the castle, Gertrude initially refuses to speak with Ophelia until a courtier tells her that Ophelia is upset and talking madly about her father. Horatio then advises Gertrude to speak with Ophelia to prevent people from thinking badly of the king, and Gertrude agrees. Ophelia enters, upset by grief and singing songs about sexual promiscuity, abandonment, and death. Claudius enters and speaks kindly to Ophelia, but she leaves them talking about her father’s burial and how her “brother shall know of it.” Claudius instructs Horatio to keep an eye on Ophelia, as he is worried that seeing her grief will turn the people against him. Claudius then tells Gertrude that Laertes has secretly returned from France to avenge his father’s death, for which he blames the king. As Claudius speaks, there is a commotion, as Laertes has stirred up a mob looking to overthrow Claudius and make Laertes king. They break down the doors of the castle and enter, and Laertes commands the mob to stand outside and demands to know where his father is. Gertrude unsuccessfully tries to calm Laertes, and Claudius tells her to let him go, saying that he is not afraid, for a king is protected by God. The king persuades Laertes to be patient and tries to convince Laertes that they are partners in grief, that he is not responsible for Polonius’s death, and that he does not begrudge Laertes his revenge but also does not want Laertes to punish the innocent with the guilty. As Laertes’s anger subsides, Ophelia enters again, upset and scattering flowers, stirring up that anger again. Once Ophelia has gone, Claudius tells Laertes that he will answer any questions regarding Polonius’s death and will satisfy Laertes regarding his own innocence.
Act 4, Scene 6:
Sailors bring Horatio a letter from Hamlet. Hamlet writes that he is back in Denmark because pirates attacked their ship at sea, and during the battle, Hamlet boarded the pirates’ ship. The pirates treated him fairly and are returning him to Denmark as a reward. He asks Horatio to take the sailors to the king and give the king letters from him. Hamlet has a lot to tell Horatio about Rosencrantz and Guildenstern, who are still traveling to England. Horatio promises the sailors to do as Hamlet asks and asks them to take him to Hamlet.
Act 4, Scene 7:
Explaining what happened to Polonius, Claudius convinces Laertes of his own innocence regarding Polonius’s death and of Hamlet’s guilt. When Laertes asks why Hamlet was not punished, Claudius explains that he could not punish him outright because of the love his mother and the people both have for him. Laertes vows to take revenge himself, but the king tells him that more news will soon come to satisfy him. As they talk, a messenger comes in with Hamlet’s letters, and the king reads that Hamlet has returned to Denmark alone and wants to see him. Laertes asserts that he must now take revenge, and the king comes up with a plan to make Hamlet’s death look accidental. He tells Laertes how much Hamlet admires his skill in fencing and proposes a match between the two. Laertes’ sword, however, will not have a blunt tip. Laertes, stirred by the king’s goading to a passion that would allow him to cut Hamlet’s throat in church, agrees. Besides the sword being sharp, the king proposes that its tip be wetted with a deadly poison and that, should Hamlet become thirsty during the duel, the king will offer him a cup of poisoned wine. Gertrude interrupts their conversation to announce that Ophelia has drowned in a brook near the castle, and Laertes is devastated. The king and Gertrude follow him offstage, with the king noting how terrible Ophelia’s death is, since he has had so much trouble calming Laertes’ rage, and her death has now inflamed it once again.
Act 5, Scene 1:
In the graveyard, two clowns are joking and singing as they dig a grave. From their conversation, we understand that the grave is Ophelia’s and that due to a dispute over whether her drowning was accidental or suicidal, she will not be given full burial rites. Hamlet and Horatio then enter, and Hamlet is surprised that the First Clown can go about his gravedigging work in such a carefree manner and engages him in conversation. The First Clown says that he has been doing his job for thirty years, since young Hamlet was born. They talk about mortality, and the clown shows Hamlet a skull, saying that it was the skull of Yorick, the king’s jester; Hamlet then reflects on the passing of time.
As they talk, Claudius, Gertrude, Laertes, a Priest, and members of the court enter for Ophelia’s burial. When she is laid in the earth, Laertes jumps into the grave after her. Hamlet, seeing everything, his passion aroused, jumps in, too, and wrestles with Laertes, proclaiming his greater love. The king separates them, and Hamlet protests that Laertes has no reason to be angry with him, that he has always respected him. Claudius asks Horatio to look after Hamlet, and when he is alone with Laertes, the king asks him to be patient in his desire for revenge, reminding him of the plan they have to murder Hamlet in the dueling contest.
Act 5, Scene 2:
Hamlet tells Horatio how he found the letter that Rosencrantz and Guildenstern were carrying from Claudius to the king of England ordering Hamlet’s immediate execution. He says that he replaced it with another letter that he wrote and sealed with his own royal signet ring, ordering instead the execution of Rosencrantz and Guildenstern. He feels no guilt for their deaths, as they were willing to do the king’s bidding. During this discussion, Hamlet reveals a new calmness based on his acceptance that things will be as they are meant to be.
As they are talking, Osric, a courtier, enters and tells Hamlet about the fencing bet the king has placed on him against Laertes. Hamlet agrees to the contest and says that he is ready immediately. The king, queen, Laertes, and the court then enter, and the contest begins. Hamlet asks Laertes for forgiveness, claiming that his madness, not himself, wronged Laertes. Laertes, still planning to kill Hamlet, lies and says that he forgives him. They choose their swords, with Laertes taking the sharp, poisoned one and Hamlet accepting the blunted one without checking the other, as the king had said he would. Between rounds, the king offers Hamlet a drink of poisoned wine, but Hamlet declines until later. The queen then begins to take a sip, and the king tries to stop her, but she insists that she will drink. After drinking, she faints and realizes that she has been poisoned. Hamlet and Laertes then both wound each other with the poisoned sword, as their swords are exchanged in a scuffle. Laertes then changes his mind and tells Hamlet about the king’s plot. Laertes asks for Hamlet’s forgiveness and dies receiving it. Hamlet then strikes the king with the poisoned sword and forces him to drink some of the wine, and the courtiers cry out treason. As Hamlet is dying, Horatio says that he will also drink from the cup and die like a Roman following his friend in death. However, Hamlet stops him, asking him to put off the joys of death for a while and, in the cruel world, to live in pain and tell Hamlet’s story, as he dies with a tarnished reputation. Hamlet notes that he imagines Fortinbras will be chosen as the king of Denmark, and he approves of that. Fortinbras then enters, returning across Denmark from victory in Poland, and has Hamlet placed on a funeral platform and given military rites.
MEDIA ADAPTATIONS
“Hamlet” has been adapted for the screen more than fifty times, in many languages. Here are some notable film adaptations:
Hamlet, 1948: Directed by Laurence Olivier, this adaptation is still regarded as one of the most successful. Olivier cut Fortinbras entirely and focused on Hamlet’s psychological turmoil.
Hamlet, 1969: Directed by Tony Richardson, this movie was based on his stage production of Hamlet, and it focuses more on Hamlet’s relationship with Ophelia.
Hamlet, 1990: Directed by Franco Zeffirelli, this version gives more screentime to the female characters than most adaptations.
Hamlet, 1996: Directed by Kenneth Branagh, this adaptation uses Shakespeare’s full text, and even adds in several flashbacks that don’t appear in the original play.
Hamlet, 2000: Directed by Michael Almereyda, this adaptation is the only one to move Hamlet’s action into a modern-day setting.
“Hamlet” has been adapted into Hindi media in various forms. Here are some notable adaptations:
Khoon Ka Khoon (1935): Directed by Sohrab Modi, this is an Indian adaptation of Hamlet. The story and script were by Mehdi Hassan Ahsan from his Urdu play adaptation of Shakespeare’s “Hamlet”.
Haider (2014): Directed by Vishal Bhardwaj, this film is a modern adaptation of Hamlet. The movie, starring Shahid Kapoor, Tabu, and Kay Kay Menon, is set in Kashmir and speaks more about its political insurgency.
CHARACTERS
Bernardo
Bernardo is a security guard at a place called Elsinore. While he’s on duty with his colleague Marcellus, he spots the ghost of Hamlet’s father, who was the old King Hamlet. He tells about this incident to Horatio, who is a friend of Hamlet. After hearing this, Horatio decides to join Bernardo and Marcellus for the night shift.
Claudius
Claudius is the brother of the old King Hamlet and the uncle of Prince Hamlet. At the beginning of the play, he has secretly killed his brother, married his brother’s wife, and become the king of Denmark. Claudius starts to worry that Hamlet has found out about his crime and is planning to take revenge for King Hamlet’s murder by killing him. So, he plans to kill Hamlet. Even though Claudius doesn’t regret his actions and doesn’t want to give up the benefits he got from his crime, he is troubled by a guilty conscience.
First Clown
While digging Ophelia’s grave, the First Clown is singing and cracking dark jokes about death. Hamlet comes across him and is surprised by his cheerful attitude. Hamlet asks whose grave is being dug and starts thinking about life and death as he holds what the First Clown says is the skull of Yorick, who was the jester of Hamlet’s father.
Second Clown
The Second Clown basically acts as the serious character in contrast to the funny First Clown while they are digging a grave for Ophelia.
Fortinbras
Fortinbras is the prince of Norway. His father was defeated and killed by King Hamlet in a battle many years ago. He wants to fight against Denmark to take back the lands his father lost in that battle. Claudius convinces Fortinbras’s uncle, who is the king of Norway, to control Fortinbras’s actions towards Denmark. In return, Claudius allows Fortinbras to lead his army through Denmark to wage war against Poland. At the end of the play, when Hamlet and Claudius are no more, Fortinbras becomes the king of Denmark.
Francisco
Francisco is shown in the first scene as one of the guards who keep watch every night on the fort walls at a place called Elsinore.
Gertrude
Gertrude is the queen of Denmark, the widow of the old King Hamlet, and the mother of Hamlet. Claudius marries Gertrude two months after the death of her first husband. She dies during a sword fight between Hamlet and Laertes. She insists on drinking from a cup that was meant for Hamlet, not knowing that the wine in the cup is poisoned.
Ghost
The Ghost is the spirit of King Hamlet. King Hamlet is destined to roam during the night for a certain period because he was killed in his sleep without getting a chance to repent for his sins. He tells his son, Hamlet, that his brother Claudius is the one who killed him. He orders Hamlet to take revenge for his murder by killing Claudius. He also tells Hamlet to spare Gertrude and leave her to face divine justice and the guilt that will torment her.
Guildenstern
Guildenstern is an old schoolmate of Hamlet. He and his friend Rosencrantz are called by Claudius to Denmark to keep an eye on Hamlet. Their job is to find out what’s bothering Hamlet and report back to the king. Hamlet doubts their honesty. When Claudius sends them with Hamlet to England, carrying orders for the English king to kill Hamlet, Hamlet finds out about the plan. He changes the order to have their names instead of his, and as a result, they are executed later.
Hamlet
Hamlet, the prince of Denmark, is the son of King Hamlet and the nephew of Claudius. After the ghost of King Hamlet tells him that he was murdered by Claudius and asks Hamlet to avenge his death, Hamlet becomes determined to find out if the ghost was telling the truth or trying to trick him into committing a sin. To do this, he decides to pretend to be mad and also to stage a play that mirrors his father’s murder, called The Murder of Gonzago, to see how Claudius reacts. In response to his dead father’s request, Hamlet starts to deeply think about life, death, responsibility, and destiny. Instead of being a typical action hero, Hamlet is a character who reflects and contemplates philosophically. He is fatally injured during a fixed fencing match with Laertes that Claudius has arranged, but not before he kills Laertes with the poisoned sword that was secretly prepared for him. He also stabs Claudius with that sword and forces him to drink from the poisoned cup that Claudius had prepared for him. As Hamlet and Laertes are dying, Hamlet forgives Laertes for plotting against him, and Laertes forgives Hamlet for accidentally killing his father, Polonius. Hamlet then tells his friend Horatio not to commit suicide out of loyalty and friendship; instead, Hamlet asks Horatio to live and tell his story so that his name will be remembered with honor after his death.
Horatio
Horatio is a calm and composed scholar who is a true and faithful friend of Hamlet. Hamlet observes that Horatio handles both good and bad situations with a balanced mind. When Marcellus and Bernardo ask him to join them for the night watch and the Ghost shows up, Horatio tries to talk to it, but fails. He informs Hamlet about the Ghost’s appearance and accompanies him the next night on the fort walls. When the Ghost signals Hamlet to follow it, Horatio tries to stop Hamlet from going alone with the spirit. He also advises Hamlet not to accept the king’s challenge to fight against Laertes in a duel. When Hamlet dies, he asks Horatio not to kill himself, but to tell his story, explain his strange behaviour, and clear his name.
Laertes
Laertes, the son of Polonius, comes back from his studies in Paris after Hamlet kills Polonius. Laertes’ goal to take revenge for his father’s murder is similar to Hamlet’s goal to avenge his own father’s murder. Claudius calms down Laertes, who is upset about his father’s death and his sister Ophelia’s mental breakdown. Claudius makes a plan with Laertes to kill Hamlet in a sword fight.
Ophelia
Ophelia is the daughter of Polonius and the sister of Laertes. When Polonius finds out that Hamlet has been showing interest in Ophelia, he warns his daughter that Hamlet might just be playing with her feelings. He explains that since Hamlet is a prince, he might not have the freedom to choose his own wife. After Ophelia ends her relationship with Hamlet, following her father’s advice, Polonius thinks that Hamlet’s love for her being rejected is what has driven him mad. In a way, Polonius uses Ophelia to find out the reason for Hamlet’s strange behavior. After Hamlet kills Polonius, Ophelia loses her mind and finally drowns. It’s not clear whether her death is an accident or a suicide.
Osric
Osric is a court official who delivers Laertes’ challenge for a duel to Hamlet. Hamlet makes fun of Osric without any hesitation for his exaggerated royal behaviours.
Players
The Players are a group of actors who travel around and come to visit a place called Elsinore. On Hamlet’s request, the main actor gives a speech that tells the story of the fall of Troy and the fate of its king and queen, Priam and Hecuba. Later, the Players perform a play called The Mousetrap, which is Hamlet’s version of another play called The Murder of Gonzago. They perform this play in front of Claudius and the entire court. The play shows a situation that is similar to the murder of King Hamlet and the seduction of his widow. Hamlet hopes to see if Claudius reacts to the play in a way that confirms his guilt and the Ghost’s claims. And indeed, Claudius does react in that way.
Polonius
Polonius is Claudius’s main advisor, also known as the Lord Chamberlain, and is the father of Laertes and Ophelia. He talks a lot and seems to enjoy listening to his own voice and making what he thinks are smart statements. Hamlet makes fun of him. When Polonius is hiding behind a curtain in Gertrude’s room, trying to listen to the conversation between Gertrude and Hamlet that he has set up, Hamlet stabs him, thinking that Claudius is the one hiding there.
Priest
The Priest is in charge of Ophelia’s funeral and decides the extent of the religious ceremonies that can be performed for her, as her death is thought to be a suicide.
Reynaldo
Polonius sends Reynaldo to Paris to make inquiries regarding Laertes’ behaviour.
Rosencrantz
Rosencrantz, along with Guildenstern, is a schoolmate of Hamlet. The king calls him to a place called Elsinore to help find out the reason for Hamlet’s unusual actions.
First Sailor
When Hamlet is being taken to England, the ship he is on is captured by pirates who bring Hamlet back to Denmark. Among others, the First Sailor gives letters to Horatio and Claudius from Hamlet.
Voltimand
Voltimand, together with Cornelius, is a representative that Claudius sends to Norway. Their job is to talk to the king to stop Fortinbras from attacking Denmark.
Themes
Revenge: Revenge is a central theme in “Hamlet.” The play revolves around Prince Hamlet’s quest to avenge his father’s murder. The Ghost of King Hamlet urges his son to take revenge against Claudius, who has usurped the throne. Hamlet’s internal conflict regarding the morality and consequences of revenge adds complexity to this theme.
Madness: The theme of madness is pervasive in “Hamlet,” with Hamlet himself feigning madness to disguise his true intentions. The line between feigned and real madness becomes blurred, raising questions about the nature of sanity and the impact of external pressures on one’s mental state.
Mortality and Death: Death is omnipresent in “Hamlet,” starting with the appearance of the Ghost and continuing with the numerous deaths that occur throughout the play. The characters grapple with the inevitability of death, contemplating its mysteries and contemplating suicide. The famous soliloquy “To be or not to be” reflects Hamlet’s philosophical musings on life and death.
Corruption and Deceit: The court of Elsinore is rife with corruption and deceit. Claudius’s usurpation of the throne through murder sets the tone for a morally compromised environment. The play explores the consequences of political and moral corruption, emphasizing the pervasive nature of deception.
Appearance vs. Reality: “Hamlet” delves into the theme of appearance versus reality, challenging the audience to question the authenticity of characters and situations. Hamlet’s antic disposition, Ophelia’s apparent madness, and Claudius’s false exterior exemplify the discrepancy between how things appear and their underlying truths.
Existentialism: The play delves into existential questions about the purpose and meaning of life. Hamlet’s internal struggles and philosophical soliloquies reflect existential themes, with the prince contemplating the futility of human endeavours and the inevitability of death.
Family and Betrayal: “Hamlet” explores the complexities of familial relationships, particularly the theme of betrayal within the family unit. Hamlet feels betrayed by his mother’s hasty marriage to Claudius, and this sense of familial betrayal fuels his actions throughout the play.
Oedipus Complex: The psychoanalytic interpretation of an Oedipus complex is evident in Hamlet’s relationship with his mother, Gertrude. Some critics argue that Hamlet’s hesitation to act stems from unconscious desires and conflicts related to his feelings for his mother.
Fate and Free Will: The play grapples with the tension between fate and free will. Characters often express a sense of being controlled by destiny, yet their choices and actions suggest a degree of agency. The interplay between fate and free will adds layers of complexity to the characters’ motivations.
Spying: Almost every character in Hamlet is involved in spying on another character or hiding something at some point. Polonius sends Reynaldo to France to keep an eye on Laertes and gets killed himself when he hides behind a curtain to spy on Hamlet while he is talking to Gertrude. He also advises Claudius to join him in watching Hamlet and Ophelia’s conversation. The king instructs Rosencrantz and Guildenstern to spy on Hamlet. Ophelia is used by the king and her father as a trap for their spying. Hamlet, in his effort to “catch the king’s conscience” and confirm the Ghost’s story, comes up with a complicated series of spying strategies, including pretending to be mad and presenting a play during which he observes the king. On the ship to England, Hamlet carries out spying that helps him find out about the plan to kill him. Horatio also becomes a spy during the performance of The Mousetrap, as per Hamlet’s request.
STYLE
Aside
An aside is a term used for a comment that a character in a play says out loud, but it’s understood by the audience as the character’s inner thoughts and is not heard by the other characters on the stage. The first words that Hamlet speaks in the play, “A little more than kin, and less than kind,” is an example of an aside. These words are not meant for the king, who has just spoken to him, but they reveal what Hamlet is thinking. Similarly, in Act 2, Scene 2, when Polonius is trying to understand Hamlet, after Hamlet has mentioned his daughter, Polonius says to himself, “How say you by that? Still talking about my daughter. Yet he didn’t recognize me at first.” Then he speaks to Hamlet, asking, “What are you reading, my lord?”
Blank Verse
Most of Hamlet, except for a few prose sections, is written in a style called blank verse, which is unrhymed iambic pentameter. Pentameter means that each line has five poetic feet, where a foot is made up of a certain number of syllables or beats. Iambic refers to the rhythm of the feet; in an iambic foot, the first syllable is not stressed, and the second syllable is stressed. For example, the iambic pentameter line “When we have shuffled off this mortal coil,” is read like this: “When WE have SHUFFled OFF this MORtal COIL.” Spoken English often follows an iambic pattern.
Punning
Shakespeare is famous for his wordplay or punning, where he uses one word or phrase to suggest multiple meanings at the same time. In Hamlet, Shakespeare uses punning in a way that is both rhetorical and dramatic, something he hadn’t done since his early play, Comedy of Errors. In that play, the confusion caused by two sets of twins leads to many comments having at least two meanings. Hamlet constantly plays with language and uses puns on purpose to tease and confuse the people he talks to. This also shows the complexity of his character.
Revenge Tragedy
In the 1590s, during the reign of Queen Elizabeth I, revenge tragedies were very popular. These tragedies usually have a structure where an initial crime leads to a series of revenge and counter-revenge actions. These plays are often filled with violence, cruelty, and graphic scenes. Hamlet is a play that follows this tradition of revenge tragedy, but it has a hero who, because of his intelligence and philosophical nature, questions the norms of his role while he is performing it.
Soliloquy
A soliloquy is a speech given by a character when they are alone on stage. It’s a way for the character to share their inner thoughts and feelings with the audience. The play Hamlet is well-known for its soliloquies, especially the one that Hamlet gives in Act 3, Scene 1, which starts with “To be, or not to be.” Shakespeare included several soliloquies in Hamlet, which highlight the character’s introspective nature and mental activity.
Historical Context
“Hamlet” is a product of its time, reflecting the historical and cultural context in which it was written. Here’s a detailed look at the historical context of “Hamlet”:
Shakespeare’s Life: William Shakespeare was born in 1564 to a successful middle-class glove-maker in Stratford-upon-Avon, England. He left his family around 1590 and traveled to London to work as an actor and playwright. His career spanned the reigns of Elizabeth I and James I, and he was a favorite of both monarchs. By the time of his death in 1616, his works were hailed as timeless.
Origins of the Story: The story of Hamlet has its roots in the historic records of Saxony. The 12th-century Saxon historian Saxo Grammaticus first wrote down the history of Prince Amleth avenging his murdered father by killing his usurping uncle.
The Renaissance: The play was written during the Renaissance, a period of renewed interest in human experience and awareness. By the time “Hamlet” was written in the early 17th century, the Renaissance had spread to other European countries, and ideas about our ability to fully understand the human experience became more skeptical.
Protestant Reformation: The main action of “Hamlet” takes place in Denmark, a largely Protestant nation at the time of the play’s composition. This may explain why Hamlet is hesitant to accept the ghost’s claims that he is tormented until his life’s crimes are “purged” away.
Publication and Performance History: “Hamlet” was probably first performed in 1602. In 1602, a man named James Roberts wanted to publish “Hamlet,” but before he could, another person named Nicholas Ling released a messy version using actors’ memories. In 1604, the official printed version, called the second quarto, came out. It had some mistakes from the pirated version. Later, in 1623, seven years after Shakespeare died, his friends John Heminges and Henry Condell put together all his plays into a big book called the Folio. The “Hamlet” in the Folio was different from the second quarto and is thought to be a revised version by Shakespeare himself.
Influence of Earlier Works: As was common practice during the sixteenth and seventeenth centuries, Shakespeare borrowed for his plays ideas and stories from earlier literary works. He could have taken the story of Hamlet from several possible sources, including a twelfth-century Latin history of Denmark compiled by Saxo Grammaticus and a prose work by the French writer François de Belleforest, entitled Histoires Tragiques.
In conclusion, “Hamlet” is deeply rooted in the historical and cultural context of its time, reflecting the religious, political, and intellectual currents of the Renaissance and the Protestant Reformation.
Compare and Contrast
Theatre Then and Now: In the 1600s, during the time of Hamlet, adult actors were replaced by children’s groups on the London stage, which became very popular. Today, Broadway, once known for plays by famous writers like Eugene O’Neill and Arthur Miller, is now filled with children’s shows and musicals.
Adaptations of Hamlet: Shakespeare used older plays, stories, and historical accounts to write Hamlet in the 1600s. Today, Hamlet is still used as a foundation for new plays, movies, and stories.
Belief in Ghosts: In the 1600s, people didn’t find it impossible to see a ghost. Today, if someone sees a ghost, many people would consider it a sign of mental or emotional problems.
Critical Overview
Historical Context:
“Hamlet” was written in the early 17th century during the reign of Queen Elizabeth I and later performed during the Jacobean era. The play reflects the political and cultural milieu of the time, with themes of political intrigue, moral corruption, and existential questioning resonating with the uncertainties of the period.
Literary Style:
Shakespeare’s language in “Hamlet” is characterized by its poetic eloquence, intricate wordplay, and profound depth. The play is a testament to Shakespeare’s mastery of the English language, with soliloquies like “To be or not to be” and dialogues demonstrating his ability to capture complex human emotions and philosophical musings.
Tragedy:
“Hamlet” is categorized as a tragedy, following the classical structure of a tragic hero facing a downfall due to a tragic flaw. Hamlet’s tragic flaw is often identified as his indecisiveness, leading to his ultimate demise. The play explores the consequences of revenge, betrayal, and political machinations.
Psychological Depth:
One of the hallmarks of “Hamlet” is its deep exploration of human psychology. Hamlet’s internal struggles, his philosophical reflections, and his complex relationships contribute to a character of remarkable depth. The psychological complexity of the characters has led to diverse interpretations and psychological analyses over the years.
Existential Themes:
“Hamlet” delves into existential themes, questioning the meaning and purpose of life. Hamlet’s introspective soliloquies, particularly the famous “To be or not to be,” reflect existential dilemmas, contemplating the nature of existence, the afterlife, and the human condition.
Political Allegory:
Some critics view “Hamlet” as a political allegory reflecting the anxieties and intrigues of the Elizabethan court. The play explores themes of political legitimacy, regicide, and the consequences of political corruption, mirroring the political tensions of the time.
Feminist Interpretations:
The role of female characters, particularly Ophelia and Gertrude, has been subject to feminist analysis. Critics discuss their marginalization, vulnerability, and the impact of patriarchal structures on their lives. Ophelia’s tragic fate and Gertrude’s complicated relationship with Hamlet are central points of feminist discourse.
Freudian Psychoanalysis:
Freudian interpretations of “Hamlet” have focused on the Oedipus complex, suggesting that Hamlet’s hesitations and conflicts are rooted in unconscious desires related to his mother, Gertrude. This perspective, championed by psychoanalyst Ernest Jones, has influenced both literary criticism and adaptations of the play.
Performance and Adaptations:
“Hamlet” has been staged and adapted countless times, influencing the play’s interpretation and reception. Notable productions, such as Laurence Olivier’s film adaptation and Kenneth Branagh’s full-text film, have contributed to the evolving critical landscape surrounding the play.
Modern Relevance:
“Hamlet” remains relevant in contemporary times due to its exploration of universal themes such as revenge, morality, and the human psyche. Its adaptability to various cultural contexts and reinterpretations in literature, film, and theater speak to its enduring impact.
In conclusion, “Hamlet” is a literary masterpiece that continues to captivate audiences and scholars alike. Its exploration of human nature, political intrigue, and existential questions ensures its place as a timeless and multifaceted work in the world of literature and drama. The richness of its characters and themes guarantees that “Hamlet” will continue to be a subject of critical inquiry and artistic exploration for generations to come.
