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

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

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

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

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 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?

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.

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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