2.3.2

Act 3, Scene 1: Key Ideas

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Key Ideas in Act 3, Scene 1 - Deception & Acting

Deception and play-acting are key ideas in Act 3, Scene 1.

Motif of women wearing make-up

Motif of women wearing make-up

  • The theme of deception recurs throughout the scene.
    • Both Claudius and Hamlet use the motif of women using make-up to deceive men.
Derogatory language about women

Derogatory language about women

  • Feminist readings of Hamlet often focus on the derogatory, dehumanising language used by male characters to describe female characters.
  • Both Claudius and Hamlet use such language in this scene.
    • Claudius refers to the “harlot’s” use of the “plast’ring art”, arguably reducing women who use make-up to the status of a prostitute.
    • Hamlet’s fevered rant at Ophelia (“God hath given you one face and you make yourselves another”) condemns all women as deceivers.
Ophelia's performance

Ophelia's performance

  • Before her ‘arranged’ encounter with Hamlet, Ophelia is given last-minute advice by her father. Polonius directs her as if she is an actor, positioning her on ‘stage’ (“walk you here”) and providing her with a prop (“Read on this book”).
  • Her meeting with Hamlet is therefore a performance put on for an audience (Claudius and Polonius) hiding behind an arras (curtain).
Dover Wilson on Hamlet's acting

Dover Wilson on Hamlet's acting

  • For some critics, Hamlet’s cruel treatment of Ophelia is another theatrical ‘performance’ in the sense that Hamlet is perfectly aware that his meeting with Ophelia is being spied upon by the King.
  • John Dover Wilson argues that Hamlet overheard Polonius and Claudius plotting this meeting with Ophelia before his entrance in Act 2, Scene 2. Dover Wilson interprets Hamlet’s harsh words towards Ophelia in this scene as 'intended for the ears of Claudius and Polonius, whom he knows to be behind the arras’.
Dover Wilson: dual meanings & irony

Dover Wilson: dual meanings & irony

  • Dover Wilson thinks Hamlet’s questioning of Ophelia’s honesty has an additional meaning, with Hamlet alluding to her allowing herself to be "used as a bait" by the King and her father.
  • Likewise, Hamlet’s question to Ophelia, “Where’s your father?”, can be read as ironic – Hamlet knows full well that Polonius is eavesdropping on their conversation.
A threat to Claudius?

A threat to Claudius?

  • Similarly, Hamlet’s assertion that “Those that are married already – all but one – shall live” could be seen as a deliberate threat to Claudius, who Hamlet knows is listening.
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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 3, Scene 1: Key Events

Act 3, Scene 2