Changing Impressions of Claudius

Our Impressions of Claudius in Acts 1-3

At first, we may have a very positive impression of Claudius as a skilled politician. However, we see different sides to Claudius as he engages in a game to 'cat and mouse' with Hamlet.

Initial impressions of Claudius

Claudius is clearly a very skilful politician.
When we first meet him in A1S2, we see him dealing effectively with the affairs of state, having successfully avoided conflict with the King of Norway and negotiating the Norwegian army’s safe passage through Denmark on the way to battle in Poland.
Moreover, he appears to be an attentive husband and father, generously complimenting his new wife and showing concern for his “son”, Hamlet.

Changing impression of Claudius

Our initial positive views of Claudius may be clouded by Hamlet’s description of him as a drunkard and of the negative comparisons he makes between Claudius and his dead father (“So excellent a king, that was to this / Hyperion to a satyr”).
They are certainly affected by the Ghost’s account of Claudius’ cowardice and treachery in poisoning a defenceless man while he lay sleeping.

Claudius' suspicions about Hamlet

Claudius and Hamlet become engaged in a game of cat and mouse (Hamlet even gives his rewritten play the title, 'The Mousetrap’).
Ever the watchful politician, Claudius has the insight and intelligence to see beyond Polonius’ theory of the cause of Hamlet’s “lunacy” being Ophelia’s rejection of his advances.
Claudius rightly suspects that Hamlet knows more than he is letting on and senses “something in his soul” which is a “danger” to him.

Debate over Claudius' leaving

The climactic moment of the play – the performance by the players which results in the King leaving in an agitated state – has long been a matter of fierce debate.
- Is Claudius unaffected by the ‘dumb show’ because he does not see it or because he is able to conceal any feelings of guilt?
- Does he leave the performance after becoming overcome with guilt or has he simply been offended by Hamlet’s wild behaviour as the performance reached its climax?
Each new production of the play must find its answers to these questions.

Evidence of Claudius' suffering

We see signs of Claudius’ inner suffering in Act 3 when he speaks of the “conscience” that torments him.
But it is only in the confession scene (A3S3) that Claudius admits responsibility for the murder of his brother.
Claudius tries to repent but is unable to. However guilty he may feel, he is not prepared to give up his crown.

Turning point for Claudius

For many critics and audience members, this moment is Claudius at his most interesting and most sympathetic: while he may be able to deceive others, he cannot deceive himself.
After this scene, Shakespeare portrays Claudius as very much the villain.

Our Impression of Claudius From Act 3

After 'The Mousetrap scene, there is growing tension between Claudius and Hamlet.

Tension: Claudius & Hamlet

Neither man can bring the truth out into the open but both know they must defeat the other.
When informing Hamlet of his decision to send him to England, Claudius can barely keep secret his plan to have Hamlet killed - a moment which perhaps shows how intense the pressure is becoming.

Increasingly manipulative

As the play moves into its final scenes, Claudius becomes colder and more manipulative.
He demonstrates little personal grief over the death of Polonius (he is more alarmed about the threat to his own safety) and then ruthlessly exploits Laertes’ grief and anger to use him as the way of disposing of Hamlet.

Courage with Laertes?

Some critics think Claudius demonstrates personal courage when he allows Laertes in his rage to confront him.
But this could also be a cold calculation on Claudius’ part, trusting in his ability to defuse the situation and then turning Laertes against Hamlet.

Claudius' lack of guilt

Claudius’ actions become riskier and more desperate by the end of the play.
There is a sense of overkill in his adding the poisoned drink to his and Laertes’ plot against Hamlet and then, when his plan backfires with Gertrude drinking from the cup, there is little evidence of any guilt.
Shakespeare gives him no words of grief at the death of his wife or of remorse for his crime. This is a contrast with Laertes, who asks Hamlet for his forgiveness before his death.

Causes his own downfall

Typical of a villain in a revenge tragedy, Claudius is the architect of his own downfall to some degree.
It is he who sets up the fencing match and overcomplicates the plan with the poisoned cup intended for Hamlet.
His final act in the play is to drink from this same cup.

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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