Act 4, Scene 7

Key Events & Ideas in Act 4, Scene 7

Claudius and Laertes plan to arrange a fencing match between Laertes and Hamlet where Laertes’ sword will be tipped with a lethal poison. The Queen then enters, announcing the death of Ophelia from drowning.

Laertes agrees to kill Hamlet

Claudius manipulates Laertes into agreeing to kill Hamlet.
- As Claudius has just received the letter from Hamlet announcing his return to Denmark, Claudius knows that his first assassination plot has failed. But as a skilful and cunning politician, he can think on his feet and devise a new scheme, using Laertes as his means of killing Hamlet.

Claudius' provocative questions

Claudius: “Laertes, was your father dear to you? / Or are you like the painting of a sorrow, / A face without a heart?“
- Claudius asks two consecutive questions, both designed to provoke an emotional response from Laertes.

Meaning of Claudius' questions

The first question, asking if his father is “dear” to him, is shocking.
Claudius then almost taunts Laertes with the suggestion that his threats of revenge are just for show – a mere “painting”.
- Claudius is positioning Laertes into accepting that, to prove himself “your father’s son” (again, Claudius’ words), he must take revenge against Hamlet.

Laertes vows to take revenge

Laertes: “To cut his throat i’th’ church”
- Laertes responds emotionally to Claudius’ skilful manipulation to prove his readiness to kill Hamlet.
- Laertes uses imagery of savage violence to show the depth of his feelings of hatred towards Hamlet. That he is prepared to do so in the sanctified space of a “church” reiterates his cry of “I dare damnation” in Act 4, Scene 5. Laertes is willing to suffer an eternity in Hell to avenge his father.

Claudius' manipulative moves

To secure his position as King and conceal his regicide, Claudius must control and manipulate those around him, steering them away from any suspicion.
Claudius withholds his first assassination plot (using the English king to kill Hamlet) from his wife, and then from Laertes.
Claudius withholds the second plot (a fencing match using a poisoned rapier, and a poisoned chalice as security) from his wife. The scene ends with Claudius covering his tracks, lying to his Queen about how hard he had to work to “calm” Laertes.

Purpose of dramatic irony

The dramatic irony created by Shakespeare helps to build tension and suspense as the play moves towards a final confrontation between Hamlet and Claudius.

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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