Act 2, Scene 2

Key Events in Act 2, Scene 2

Claudius orders two of Hamlet's former companions - Rosencrantz and Guildenstern - to spy on Hamlet and discover the reason for the “transformation” in Hamlet’s behaviour.

Hamlet's lunacy & plan

Polonius argues that Hamlet’s “lunacy” is caused by Ophelia’s rejection of his love and proposes to use his daughter in a staged encounter to prove this.
We see Hamlet for the first time since the change in his behaviour and, at the end of the scene, see him hatch a plan to prove Claudius’ guilt.
Before Hamlet speaks, Gertrude remarks on how “sadly” he appears

Hamlet's puzzling language

In his exchange with Polonius, Hamlet’s language is puzzling. He seems to be talking in riddles and his tone is rude and dismissive.
- He addresses Polonius as a “fishmonger”, which Elizabethan audiences may have recognised as a mocking reference to his daughter (Ophelia) being a prostitute. Polonius takes Hamlet’s other comments on his daughter, including a warning that she “may conceive” (become pregnant) as confirmation that Ophelia’s rejection has caused Hamlet’s “lunacy”.

Calling Polonius a "fool"

Hamlet (as Polonius leaves him): “These tedious old fools”.
- Hamlet calling Polonius a “fool” strongly suggests that his whole exchange with the King’s councillor has been a performance intended to conceal his true intentions from both him and the King.

Significance of plural "fools"

It may be significant that Hamlet uses the plural form (“fools”).
- Critics such as John Dover Wilson have argued that, before his entrance, Hamlet may have heard Polonius and Claudius plotting to use Ophelia as a way of determining the cause of Hamlet’s “transformation” and that, as a result, Hamlet is also dismissing the King as a “fool”.

More Key Events in Act 2, Scene 2

Hamlet admits that he feels melancholy (deep sadness).

Hamlet's feelings of despair

Hamlet reveals his feelings of despair to Rosencrantz and Guildenstern.
- As in the previous exchange with Polonius, Hamlet may well be play-acting to some extent here. He knows that his friends have been sent for by the King, presumably to act as informants, and skilfully manipulates Guildenstern into admitting that they had been “sent for” by Claudius. However, Hamlet's feelings of melancholy (deep sadness) echo sentiments expressed in his earlier soliloquies.

Glories of humanity and dust

Hamlet: “What piece of work is a man… the beauty of the world, the paragon of animals – and yet, to me, what is this quintessence of dust?”
- Hamlet reveals his feelings of gloom and despair in this famous passage. He lists the glories of humanity (its “reason”, “faculties”, “form” and “action”) as being above all other life-forms in the natural world (“the paragon of animals”), before reducing all of these attributes to mere “dust”.
  - The imagery again reveals an unhealthy preoccupation with corruption, decay and death.

Hamlet's feelings of "melancholy"

At the end of Act Two, Hamlet admits to feelings of “melancholy” in his soliloquy. This suggests that Hamlet’s feelings of disgust towards humanity are actually genuine.

Hamlet's mood & behaviour change

Hamlet decides to use the visiting company of players (actors) as a way of proving Claudius’ guilt by arranging for them to “play something like the murder of my father” to provoke a reaction from Claudius.
- The arrival of the company of actors causes Hamlet’s mood and behaviour to change. The melancholy and despair revealed in his words to Rosencrantz and Guildenstern (“I have of late… lost all my mirth”) is quickly transformed into a burst of enthusiasm for, and curiosity with, the visiting players.

Hamlet's guilt and insecurities

Hamlet: “The play’s the thing / Wherein I’ll catch the conscience of the King.”
- Hamlet’s second major soliloquy in this scene initially shows him full of guilt and insecurities, reproaching himself for his lack of action and questioning whether he is a “coward” or “villain”.

Ending of Hamlet's soliloquy

However, Hamlet's second soliliquy ends on a note of positivity and resolve. By directing the players to perform a play similar to the murder of his father, he has found a way of proving his uncle’s guilt and, as a result, of taking control of events.
The verb “catch” suggests Hamlet is taking on the role of hunter, closing in on his prey.

Key Ideas in Act 2, Scene 2 - Guilt & Insecurity

Guilt and insecurity are key ideas in Act 2, Scene 2.

Signs of Gertrude's insecurity

We see a glimpse of Gertrude's guilt and insecurity when she tells her husband that Hamlet’s “distemper” may have been caused by her and Claudius’ “o’er-hasty marriage”.
Gertrude is not given the opportunity to develop this thought. The conversation is closed down by her husband and by Polonius' and the royal ambassadors' arrival. However, the audience is left with the sense that Gertrude is troubled by the idea that she has married Claudius too quickly after her husband's death.

Polonius' view of "lunacy"

This moment of doubt and insecurity is soon contrasted with the pompous certainty displayed by Polonius, convinced that he knows the cause of Hamlet’s “lunacy”.

Hamlet's self-disgust

Hamlet’s soliloquy at the end of the scene reveals his feelings of self-disgust as he reproaches himself for his lack of “passion”.
His doubts are revealed in his self-questioning (“Am I a coward?”) and self-mockery (dismissing himself as a “John-a-dreams” incapable of decisive action).

Hamlet's use of the future tense

However, Hamlet can snap himself out of his feelings of sadness (“Fie upon’t! Foh!”) and schemes a way to prove Claudius’ guilt.
The repeated use of future tense verbs in the closing lines of the scene (“I’ll have these players… I’ll observe… I’ll tent… I’ll have grounds… I’ll catch…”) create an impression of excitement, urgency and resolve.

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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