Act 3, Scene 4

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Key Events in Act 3, Scene 4

Hamlet visits his mother’s chamber, unaware that Polonius is eavesdropping from behind an arras.

Key events in Act 3, Scene 4

When Gertrude becomes alarmed, Polonius cries out and is killed by Hamlet, who presumes him to be the King.
Hamlet accuses his mother of “rank corruption” but is interrupted by the entrance of the Ghost who reminds Hamlet of his mission.

Hamlet accuses his mother

Hamlet verbally (and in some productions, physically) attacks his mother.
- Hamlet, in a highly agitated state after his murder of Polonius, accuses his mother of being Claudius’ accomplice in the murder of his father.
- One of Hamlet’s purposes in this scene is to ‘test’ his mother’s guilt - but he uses no subtlety here and instead blurts out this accusation.

Gertrude's innocence?

Gertrude (to Hamlet): “As kill a king?”
- Gertrude’s response to Hamlet mentioning her first husband being murdered may look insignificant, but many critics point to this question as ‘proof’ of Gertrude’s innocence regarding the old King’s murder.
- It also appears to satisfy Hamlet, who is more preoccupied with the idea of his mother and Claudius together “in the rank sweat of an enseamed bed”.

Language of confession

Hamlet urges his mother to distance herself from Claudius and to examine her conscience.
- Hamlet repeatedly uses words associated with confession throughout the scene (“Confess… Repent… Forgive…”) so that she may “live the purer”.
- To do this effectively, she must “go not to my uncle’s bed”.

Hamlet's self-justification

Hamlet: “I must be cruel only to be kind”
- Hamlet here attempts to justify his behaviour towards his mother. Hamlet once again uses antithesis (contrasting opposing ideas together) to juxtapose ideas of cruelty and kindness to argue that his harsh words are used only to help her save her own soul by examining her conscience.

Analysis of Hamlet's cruelty

But many critics and audience members may feel that Hamlet struggles to control his cruelty in this scene, particularly when he imagines Gertrude and Claudius in their marital bed.
At these moments, Hamlet’s words and behaviour (in some productions he manhandles his mother) may seem to overstep the mark.

Key Ideas in Act 3, Scene 4 - Action & Inaction

Hamlet is often described as a tragedy of a man unable to take action.

1948 Olivier production

The 1948 film version of the play, directed by (and starring) Laurence Olivier, begins with a voiceover stating that, “This is the tragedy of a man who could not make up his mind”.
- This positions the audience to hold the view that Hamlet is too indecisive to take meaningful action.

Hamlet's awareness of his inaction

At times, Hamlet seems to share this view. In this scene, he is keenly aware of not yet having fulfilled his mission. Before the Ghost speaks, Hamlet voices his fear that he has appeared to “chide” (tell off) his “tardy” (late to act) son.
The Ghost confirms this view, announcing that he has appeared “to whet thy almost blunted purpose” and urges Hamlet to action against Claudius.

Hamlet's rash behaviour

But this scene confirms that Hamlet is perfectly capable of taking bold action and, when roused, will act rashly.
He stabs Polonius through the arras without any attempt to discover the figure’s true identity and soon ‘forgets’ his actions to harangue his mother. Rather than being a man reluctant to take decisive action, Hamlet’s mission is complicated by the inherent contradictions in his revenge mission where he must punish the King (itself an enormously difficult task) yet spare his wife.

Hamlet's future intetions

Just before the end of the scene, Hamlet makes it known to his mother that he intends to take further action, this time against Rosencrantz and Guildenstern who are to accompany him to England.
He enthusiastically anticipates how he will “blow them at the moon”, striking at them before they are able to carry out any orders coming from Claudius.

Key Ideas in Act 3, Scene 4 - Madness

Madness is a key idea in Act 3, Scene 4.

Gertrude's links the Ghost to madness

Gertrude is appalled by Hamlet’s behaviour, particularly when he begins talking to a Ghost she cannot see.
- She confronts her son with the accusation that the Ghost Hamlet claims to see is but “the very coinage of your brain” caused by Hamlet’s “ecstasy” (fevered emotional state).

Hamlet contradicts Gertrude

Hamlet directly contradicts Gertrude using a blunt declarative, “It is not madness”, and insists that Gertrude tell Claudius that her son is only “mad in craft” i.e. feigning madness to achieve an ulterior goal.

Hamlet's emotional state

Hamlet has clearly been in a highly emotional state throughout this scene. In its first half, in particular, he seems in danger of losing all control over himself.
Not only does he act recklessly in fatally stabbing Polonius, but his tirade (list of accusations) against his mother becomes more and more vehement.
Many productions emphasise Hamlet’s loss of control through Hamlet’s physical gestures (e.g. grabbing his mother when she threatens to leave) and through Gertrude’s terrified reactions.

Hamlet regains control

Hamlet appears to regain control of himself after the Ghost calls on him to treat Gertrude more tenderly.
Hamlet’s tone becomes gentler and his speech becomes more measured. He shows he is still mentally alert and perceptive about the King’s reasons for sending him to England with Rosencrantz and Guildenstern.

Hamlet: increasingly unpredictable

Hamlet’s behaviour in this scene suggests a character under severe mental strain who, at times, comes close to breaking point (particularly when dwelling on his mother’s remarriage).
He is still able to compose himself and focus on the task at hand, but his behaviour throughout Act 3 has been noticeably more extreme and unpredictable than other acts.
The final image of this scene, of Hamlet lugging the dead body of Polonius out of the room, reinforces this.

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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