2.1.3

Act 1, Scene 3

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Key Events and Ideas in Act 1, Scene 3

We are introduced to Polonius, the King’s councillor, to Laertes, his son, and Ophelia, his daughter. Both Polonius and Laertes advise Ophelia to reject Prince Hamlet’s love.

Portrayal of Polonius & Laertes

Portrayal of Polonius & Laertes

  • Polonius and Laertes are portrayed as being very protective of Ophelia.
    • This scene introduces a key sub-plot in the play: the relationship between Hamlet and Ophelia.
    • Both Polonius and Laertes caution Ophelia not to accept Hamlet’s advances.
Laertes' warning to Ophelia

Laertes' warning to Ophelia

  • Laertes: “Fear it, Ophelia, fear it, my dear sister”.
    • Laertes urges his sister to resist Hamlet’s shows of affection, repeating the warning that she must “fear” Hamlet.
    • He argues that Hamlet’s intentions are not serious and that his shows of love are a “trifling” or “toy”, something which will not “last”.
    • Ophelia’s “honour” will be lost if she allows herself to be seduced by Hamlet and her “chaste treasure open” (i.e. lose her virginity).
  • Hamlet is portrayed as a dangerous character here.
Ophelia's obedience to men

Ophelia's obedience to men

  • Ophelia is shown as being obedient to her father and brother.
    • Ophelia can be seen as a very passive character who lacks control over her own life. Although we learn of Hamlet’s advances towards her, we are not given any insight into Ophelia’s own feelings towards Hamlet.
Ophelia's relationship with Polonius

Ophelia's relationship with Polonius

  • Ophelia (to her father): “I do not know, my lord, what I should think.”
    • Ophelia’s response reveals her helplessness and confusion.
    • She is infantilised (treated like a child) by her father, Polonius, who chastises her as a naïve and foolish “green girl”. He advises her to think of herself as a “baby”, incapable of protecting her own honour.
    • The final line of the scene (“I shall obey, my lord”) underlines how submissive she is towards her father.
Money imagery

Money imagery

  • Love is presented as a commercial transaction. The two male characters both use money/finance imagery when urging Ophelia to resist Hamlet’s advances.
    • Laertes refers to her virginity as a “treasure”.
    • Her father urges her to “tender” [sell, or value] herself “at a higher rate”.
      • While these metaphors may reflect reality (that marriage in Elizabethan England was often motivated by financial factors), they also help to portray Polonius in an unflattering light as a calculating and conniving character.
Jump to other topics
1

Introduction

1.1

Introduction & Background to Hamlet

1.1.1Introduction to Hamlet1.1.2The Literary Tradition of the Hamlet Story1.1.3Introduction to the Settings in Hamlet1.1.4Introduction to Social Issues Raised
2

Plot Summary

2.1

Act 1: Key Events & Ideas

2.1.1Act 1, Scene 12.1.2Act 1, Scene 22.1.3Act 1, Scene 32.1.4Act 1, Scenes 4-5
2.2

Act 2: Key Events & Ideas

2.2.1Act 2, Scene 12.2.2Act 2, Scene 2
2.3

Act 3: Key Events & Ideas

2.3.1Act 3, Scene 1: Key Events2.3.2Act 3, Scene 1: Key Ideas2.3.3Act 3, Scene 22.3.4Act 3, Scene 32.3.5Act 3, Scene 4
2.4

Act 4: Key Events & Ideas

2.4.1Act 4, Scene 12.4.2Act 4, Scenes 2-32.4.3Act 4, Scene 42.4.4Act 4, Scene 5: Key Events2.4.5Act 4, Scene 5: Key Ideas2.4.6Act 4, Scene 62.4.7Act 4, Scene 7
2.5

Act 5: Key Events & Ideas

2.5.1Act 5, Scene 1: Key Events2.5.2Act 5, Scene 2: Key Events2.5.3Act 5, Scene 2: Key Ideas
3

Character Profiles

3.1

Hamlet

3.1.1Hamlet's Speech & Mind3.1.2Hamlet's Heroic Status3.1.3Hamlet's State of Mind3.1.4Hamlet's Indecision/Action Taking
3.2

Claudius

3.2.1Claudius' Crime3.2.2Changing Impressions of Claudius
3.3

Gertrude

3.3.1Mystery & Hamlet's View of Gertrude3.3.2Gertrude's Character3.3.3Gertrude's Relationship with Hamlet
3.4

Ophelia

3.4.1Ophelia
3.5

Polonius

3.5.1Portrayal of Polonius & Treatment of Ophelia3.5.2Polonius' Spying & Death
3.6

Laertes

3.6.1Laertes' Popularity & Relationship with Ophelia3.6.2Laertes' Character Traits
4

Key Themes

4.1

Regicide in Hamlet

4.1.1Regicide in Hamlet
4.2

Madness in Hamlet

4.2.1Madness in Hamlet
4.3

Guilt & Punishment in Hamlet

4.3.1Guilt in Hamlet4.3.2Punishment in Hamlet
4.4

Settings in Hamlet

4.4.1Physical Settings & Historical Setting of Hamlet
5

Writing Techniques

5.1

Structure

5.1.1Structure of Hamlet5.1.2'Play Within a Play' Structure5.1.3Play-Acting Motif
5.2

Form

5.2.1Soliloquy5.2.2Comedy
5.3

Imagery

5.3.1Imagery of Corruption & Decay5.3.2Imagery: Healing, Performance & Costume
5.4

Language

5.4.1Word Usage & Hendiadys5.4.2Questions & Classical Allusions
6

Context

6.1

Social & Historical Context

6.1.1Elizabeth I & Succession6.1.2Cosmic & Social Hierarchy6.1.3Renaissance & Emergence of Humanism6.1.4Regicide6.1.5The Reformation
6.2

Literary Context

6.2.1Seneca Tragedy6.2.2The Revenge Tragedy
6.3

Performance & Textual History

6.3.1Performance History of Hamlet6.3.2Textual History of Hamlet
7

Critical Debates

7.1

18-19th Century Responses to Hamlet

7.1.1Introduction to Critical Debates7.1.218th Century Commentary on Hamlet7.1.3Romantic Commentary on Hamlet
7.2

20th Century Responses to Hamlet

7.2.1Freudian Response to Hamlet7.2.2Other Early 20th Century Responses to Hamlet
7.3

Feminist Readings of Hamlet

7.3.1Introduction to Feminist Criticism7.3.2Feminist Readings of Hamlet7.3.3Presentation of Ophelia
7.4

Marxist/Political Readings of Hamlet

7.4.1Introduction to Marxist Criticisms7.4.2Marxist Readings of Hamlet

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Act 1, Scene 2

Act 1, Scenes 4-5