Act 3, Scene 2

Key Events in Act 3, Scene 2

In this central scene of the play, the touring actors perform their play, ‘The Murder of Gonzago’ (with additional lines added by Hamlet) in front of the royal court.

‘The Murder of Gonzago’

It seems that the play has had the desired effect when Claudius refuses to continue watching after the re-enactment of the King’s murder.
Hamlet, in a state of euphoria, is convinced that this reaction proves his uncle’s guilt and resolves to take action.

Hamlet's inappropriate behaviour

As members of the royal court arrive for the performance, Hamlet is in an excitable state.
- Hamlet speaks and behaves inappropriately to the arriving playgoers, lying at Ophelia’s feet before engaging in some graphic sexual innuendo. Again, it is left ambiguous whether Hamlet’s unpredictable behaviour reflects his actual emotional state or whether he is putting on a performance of his “antic disposition” designed to deflect the royal court's suspicions of his revenge mission.

Hamlet on his mother's behaviour

Hamlet (to Ophelia): “For look you how cheerfully my mother looks and my father died within’s two hours”
- Hamlet’s comment about his mother’s behaviour after her husband’s death appears to be deliberately provocative and offensive. It is completely out of context (Gertrude has just arrived for the players’ performance) and deliberately uses hyperbole (exaggeration) to make her conduct seem grotesque.

Reasons for Hamlet's behaviour

Hamlet may be using this to unsettle the royal couple before the performance, which he hopes will prove Claudius’ (and Gertrude’s?) guilt.
Hamlet may be trying to cover his tracks, giving the whole of the royal court the impression that his behaviour stems from his grievances over his mother’s re-marriage rather than Claudius’ murder of his father.

Claudius leaves the performance

Claudius “rises” and leaves the performance in an emotional state at the moment when the murder is re-enacted.
- Hamlet convinces himself of Claudius’ guilt and is almost in a state of euphoria at having the Ghost’s account of his murder confirmed as true, paving the way for Hamlet to act.

Hamlet's animalistic imagery

Hamlet (in soliloquy): “Now could I drink hot blood…”
- This animalistic image is shocking. It has connotations of almost primal savagery and blood-lust. Hamlet portrays himself as a wild predator, linking to other imagery used by Hamlet in this scene (such as his earlier reference to “the stricken deer”).
But it is significant that Hamlet does not leap into action.
Instead, the soliloquy continues. Hamlet tries to compose himself before attending his mother who has sent for him.

Irony: Polonius' murder

There is a dark irony in his line “I will speak daggers to her, but use none”, with Hamlet unaware that his visit to Gertrude’s chamber will result in his slaughter of Polonius.

Key Ideas in Act 3, Scene 2 - The 'Inner Play'

The ‘inner play’ or ‘play-within-a-play’ is a structural device which had become a key feature of revenge tragedies on the Elizabethan stage after its use in Thomas Kyd’s ‘The Spanish Tragedy’.

Reinforces Old Hamlet's murder

The 'inner play' reinforces the importance of the crime which lies at the heart of the play and propels all the subsequent action – the murder of Old King Hamlet.
The dramatic power of its re-enactment lies in the parallels between the actual murder (as described by the Ghost in Act One) and the theatrical version: the garden setting; the sleeping victim; the use of poison etc.

Double reenactment of the murder

In this scene, the murder is actually re-enacted twice – first as a “dumb-show” (mime) which opens the play, then in performance using the lines that Hamlet has included for the players.

Missing the first re-enactment

Most modern productions tend to portray Claudius, Gertrude and Polonius as missing the first re-enactment because they have been distracted by Hamlet’s behaviour immediately before the play begins - lying at Ophelia’s feet before almost taunting the King and Queen (“look you how cheerfully my mother looks and my father died within two hours”).

Hamlet's view of Claudius' "choler"

Claudius is unable to continue watching after the murder scene is performed but the reasons for his “choler” (anger) are left unclear.
Hamlet is convinced that Claudius reacts this way either through feelings of guilt at seeing his crime re-enacted before the eyes of the whole court but other interpretations are possible.

Wilson on Claudius' leaving

Critics such as John Dover Wilson have argued that Claudius does not withdraw because he feels guilt but because he is disturbed and threatened by Hamlet’s behaviour and barbed comments throughout the performance - in particular, Hamlet’s pointing out to Claudius that the stage murderer, Luciana, is “nephew to the King”. As Hamlet is Claudius’ nephew, this could have been interpreted as Hamlet making a threat against the King’s life.

Key Ideas in Act 3, Scene 2 - Succession to the Throne

As the dead King’s only son, Hamlet would be the natural heir to Denmark’s throne. But his uncle, Claudius, secures the crown instead, probably (though unclear) through his marriage to Queen Gertrude.

Contributes to Hamlet's disgust

Some critics see Hamlet’s frustrations at being usurped (displaced on the throne) by Claudius as another (often overlooked) factor behind his disgust at his mother’s remarriage - this marriage has denied Hamlet his inheritance as King of Denmark.

References to usurpation

There are various references to Hamlet’s usurpation in this scene, although it's easy to overlook them because of all of the other action in this scene.
Moreover, the references are often cryptic (like riddles), with Hamlet using clever puns as if he only wants to hint at his frustration.

Ambiguity: "promise-crammed"

When the King enters and greets his nephew, Hamlet responds with a curious description of being “promise-crammed” which most editors take to being a sarcastic reference to previous promises made, perhaps by Claudius himself, regarding Hamlet’s succession to the throne.
After the players’ show, Hamlet is more direct to Rosencrantz, telling him that he lacks “advancement” (i.e. to the kingship).

Frustrations & misleading behaviour

In making these comments, Hamlet’s frustrations may be spilling over.
He could also be playing a clever tactical game, using these barbed comments as misdirection, leading Claudius and the court to believe Hamlet’s behaviour is the result of thwarted ambition rather than the knowledge of Claudius’ crime.

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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