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.

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 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 (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”.

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: “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.

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.

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

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.

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.

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.

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.

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

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 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 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 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’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.