Act 2, Scene 1

Key Events in Act 2, Scene 1

Some weeks have passed since the events of Act One. An “affrighted” (frightened) Ophelia tells her father of a strange visit she received from Hamlet. Polonius, suspecting Hamlet to be “mad”, decides to tell the King of Hamlet’s condition.

Ophelia describes Hamlet to Polonius

Ophelia tells Polonius of Hamlet’s strange appearance and behaviour.
- Hamlet’s behaviour and appearance are so extreme that it's possible that Hamlet is dissembling (play-acting) and simply putting on the “antic disposition” (show of madness) he had prepared his companions for in the previous scene. Hamlet may want the Danish court to think him “mad” while he actually plots his revenge against Claudius.

Supernatural "horrors"

Ophelia (describing Hamlet's appearance and behaviour): “As if he had been loosed out of hell / To speak of horrors, he comes before me.”
- In Elizabethan times, those suffering from melancholy or madness were said to suffer from visions of supernatural “horrors” such as devils and goblins.

Dramatic irony: Ghost's visit

Shakespeare creates dramatic irony here as the audience knows that the Ghost visited Hamlet and that he mentioned the terrifying “secrets” of his “prison-house” in the afterlife.
Both Ophelia and Polonius are unaware of the Ghost’s visit and of Hamlet’s possible motivation to put on a show of madness.

Polonius' view: Hamlet is "mad"

Polonius is quick to conclude that Hamlet has gone “mad” because of his unrequited “love” for Ophelia.
- Shakespeare presents Polonius as a self-important and pompous character in this scene, convinced that he is right in his judgements of others.
- Because of this, audiences might be sceptical of Polonius’ judgement that Ophelia’s rejections of his advances “hath made him mad”.

Polonius' confidence in his judgements

Polonius: “This is the very ecstasy of love”.
- Polonius’ pomposity is demonstrated by his complete confidence in his own judgements.
- But audiences might resist his blunt declaration that Hamlet’s madness “is” due to his love-sickness because they know more about the possible causes of Hamlet’s strange behaviour than Polonius does.

Connotations of "ecstasy"

Polonius’ reference to Hamlet being in a state of “ecstasy” has connotations of Hamlet being unable to control his behaviour.
But audiences may suspect that Hamlet is instead cleverly manipulating others to provide himself with some cover.

Key Ideas in Act 2, Scene 1 - Madness

Madness is a key idea in Act 2, Scene 1.

Hamlet's warning to his companions

Towards the end of Act One, Hamlet warns his companions to be prepared to witness him putting on “an antic disposition” (a show of strangeness or madness) and commands them to say nothing of the Ghost’s visit as an explanation for it.
In the next scene, we hear of Hamlet's strange behaviour which Polonius quickly judges to be a result of madness.

Ambiguity about Hamlet's behaviour

Shakespeare creates ambiguity about Hamlet’s behaviour in this scene.
- The audience only has Ophelia’s account of Hamlet’s appearance and behaviour to base its judgement on. The audience will also still have Hamlet’s warning about putting on an “antic disposition” fresh in its ears.
- As a result, it is impossible to be certain about Hamlet’s behaviour in this, and following, scenes. Critics have debated the issue of Hamlet’s madness for centuries: is it genuine, or simply an act?

1Introduction

1.1Introduction & Background to Hamlet

1.1.1Introduction to Hamlet

1.1.2The Literary Tradition of the Hamlet Story

1.1.3Introduction to the Settings in Hamlet

1.1.4Introduction to Social Issues Raised

2Plot Summary

2.1Act 1: Key Events & Ideas

2.1.1Act 1, Scene 1

2.1.2Act 1, Scene 2

2.1.3Act 1, Scene 3

2.1.4Act 1, Scenes 4-5

2.2Act 2: Key Events & Ideas

2.2.1Act 2, Scene 1

2.2.2Act 2, Scene 2

2.3Act 3: Key Events & Ideas

2.3.1Act 3, Scene 1: Key Events

2.3.2Act 3, Scene 1: Key Ideas

2.3.3Act 3, Scene 2

2.3.4Act 3, Scene 3

2.3.5Act 3, Scene 4

2.4Act 4: Key Events & Ideas

2.4.1Act 4, Scene 1

2.4.2Act 4, Scenes 2-3

2.4.3Act 4, Scene 4

2.4.4Act 4, Scene 5: Key Events

2.4.5Act 4, Scene 5: Key Ideas

2.4.6Act 4, Scene 6

2.4.7Act 4, Scene 7

2.5Act 5: Key Events & Ideas

2.5.1Act 5, Scene 1: Key Events

2.5.2Act 5, Scene 2: Key Events

2.5.3Act 5, Scene 2: Key Ideas

3Character Profiles

3.1Hamlet

3.1.1Hamlet's Speech & Mind

3.1.2Hamlet's Heroic Status

3.1.3Hamlet's State of Mind

3.1.4Hamlet's Indecision/Action Taking

3.2Claudius

3.2.1Claudius' Crime

3.2.2Changing Impressions of Claudius

3.3Gertrude

3.3.1Mystery & Hamlet's View of Gertrude

3.3.2Gertrude's Character

3.3.3Gertrude's Relationship with Hamlet

3.4Ophelia

3.4.1Ophelia

3.5Polonius

3.5.1Portrayal of Polonius & Treatment of Ophelia

3.5.2Polonius' Spying & Death

3.6Laertes

3.6.1Laertes' Popularity & Relationship with Ophelia

3.6.2Laertes' Character Traits

4Key Themes

4.1Regicide in Hamlet

4.1.1Regicide in Hamlet

4.2Madness in Hamlet

4.2.1Madness in Hamlet

4.3Guilt & Punishment in Hamlet

4.3.1Guilt in Hamlet

4.3.2Punishment in Hamlet

4.4Settings in Hamlet

4.4.1Physical Settings & Historical Setting of Hamlet

5Writing Techniques

5.1Structure

5.1.1Structure of Hamlet

5.1.2'Play Within a Play' Structure

5.1.3Play-Acting Motif

5.2Form

5.2.1Soliloquy

5.2.2Comedy

5.3Imagery

5.3.1Imagery of Corruption & Decay

5.3.2Imagery: Healing, Performance & Costume

5.4Language

5.4.1Word Usage & Hendiadys

5.4.2Questions & Classical Allusions

6Context

6.1Social & Historical Context

6.1.1Elizabeth I & Succession

6.1.2Cosmic & Social Hierarchy

6.1.3Renaissance & Emergence of Humanism

6.1.4Regicide

6.1.5The Reformation

6.2Literary Context

6.2.1Seneca Tragedy

6.2.2The Revenge Tragedy

6.3Performance & Textual History

6.3.1Performance History of Hamlet

6.3.2Textual History of Hamlet

7Critical Debates

7.118-19th Century Responses to Hamlet

7.1.1Introduction to Critical Debates

7.1.218th Century Commentary on Hamlet

7.1.3Romantic Commentary on Hamlet

7.220th Century Responses to Hamlet

7.2.1Freudian Response to Hamlet

7.2.2Other Early 20th Century Responses to Hamlet

7.3Feminist Readings of Hamlet

7.3.1Introduction to Feminist Criticism

7.3.2Feminist Readings of Hamlet

7.3.3Presentation of Ophelia

7.4Marxist/Political Readings of Hamlet

7.4.1Introduction to Marxist Criticisms

7.4.2Marxist Readings of Hamlet

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