Act 4, Scene 4

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Key Events in Act 4, Scene 4

Fortinbras, the young ruler of Norway, enters. He is marching his army across Denmark on his way to fight in Poland.

Key events in Act 4, Scene 4

Hamlet, on learning of Fortinbras’ desire to fight over a worthless “patch of ground”, compares the young leader’s desire for war with his own lack of action.

Hamlet's comparisons to the prince

On seeing young Fortinbras advance with his army, Hamlet begins to compare himself with the young prince.
- Hamlet is fascinated, and at first seems appalled, by Fortinbras’ willingness to risk “the imminent death of twenty thousand men” for a piece of ground which has no material value. But the more he thinks of Fortinbras, the more he reproaches himself for his own lack of action.

Hamlet's newfound determination

Hamlet: “O from this time forth / My thoughts be bloody or be nothing worth”
- By the end of his soliloquy, Hamlet has progressed from a sense of “shame” at his own inaction, which he thinks is caused by his tendency to over-think his mission, to a new sense of determination and resolve to finally act.
- The sense of a new beginning is created and Hamlet's words take the form of a solemn vow (“O, from this time forth…”) to be “bloody” in deed.

Significance of "thoughts"

However, the soliloquy ends with yet another reference to his “thoughts”, suggesting that Hamlet’s new resolve to action may just be a case of wishful thinking.

Key Ideas in Act 4, Scene 4 - Contrast

Act 4, Scene 4 highlights the contrast between Hamlet and Fortinbras.

Fortinbras' role in A4S4

Fortinbras speaks only eight short lines in this scene but the impression he makes is that of a confident leader.
- He is respectful of the King of Denmark’s sovereignty over his own territory but unafraid to deal with him as an equal in demanding what he has been “promis’d” (i.e. a route through Demark on the way to Poland).

Fortinbras' efficiency & purpose

Above all, we get the impression that Fortinbras is efficient and has purpose. He gives his orders clearly and is promptly obeyed by his captain. Within a few seconds, he is off-stage again, on his way to battle.

Fortinbras' army

Moreover, Fortinbras’ army has been raised to capture a piece of territory which is, according to his own captain, essentially worthless, it's only value being its “name” (reputation).
Hamlet wonders how Fortinbras has the resolve to put “two thousand souls” at risk for the sake of his own “ambition” and begins to compare himself with this young leader.

Hamlet admiration of Fortinbras

Hamlet is clearly impressed with Fortinbras, although his description of a “delicate and tender prince” seems at odds with the ambitious young man of action we have met.
- This could suggest that Hamlet is trying to present himself as being somehow similar to Fortinbras; a fellow young prince with a great task ahead of him.

Hamlet's chanigng thoughts

Hamlet’s soliloquy reveals his changing thought process. After some initial self-pity about how events have conspired against him, Hamlet begins to see himself as a “coward” who overthinks his revenge mission while seeing Fortinbras as someone who will risk all for the sake of his “honour” or “fame”, even if over a mere “eggshell” or “straw”.
Hamlet decides that Fortinbras’ single-mindedness is an example to follow, even if it risks pursuing “a fantasy and trick of fame”.

Hamlet settles for "bloody" action

By the end of his soliloquy, Hamlet has taken inspiration from Fortinbras and is settled upon “bloody” action.
It remains to be seen whether he acts upon his vow or not.

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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