Laertes' Character Traits

Laertes’ return after the death of his father is one of the most dramatic moments in the play, with the panicked responses by Claudius’ guards suggesting the King is in grave danger.

Laertes' leadership ability

Laertes is shown as a leader, able to command his followers (who have broken down the doors to the royal chamber) to “stand you all without” (wait outside) while he speaks to the King.

Comparisons with Hamlet

Comparisons with Hamlet are inevitable.
Both have the role of revenge hero thrust upon them but Laertes seems much more comfortable with the part.
He is forceful and direct with the King (“Give me my father") rather than engaging in the game of cat and mouse that Hamlet is compelled to play with Claudius.
He is single-minded about his revenge mission. He says that he is prepared to even risk eternal damnation “only I’ll be revenged / Most thoroughly for my father.”

Offending Laertes' honour

Laertes’ sense of honour seems to be most offended by his father’s “obscure funeral”. He later complains to the priest about the “maimed rites” of Ophelia’s funeral – “Must there no more be done?”.
This suggests that, for Laertes, public show and ceremony are of paramount importance.

Laertes' show of grief

Laertes puts on a melodramatic show of grief at Ophelia’s graveside.
Laertes uses numerical hyperbole (exaggeration) to ‘measure’ his pain (“O, treble woe / Fall ten times double on that cursed head…”).
This so offends and enrages Hamlet that he joins Laertes in Ophelia’s grave and seems to mock his use of outlandish numbers when he proclaims “I loved Ophelia – forty thousand brothers / could not with all their quantity of love / Make up my sum”.

Laertes’ limitations

Shakespeare also presents us with Laertes’ limitations as a revenge hero. He is easily manipulated by Claudius’ rhetorical games (“Laertes, was your father dear to you?”) and is willing to achieve his revenge in an underhand manner, using the double deception of an unfoiled sword which has been tipped in poison.
Laertes sees no dishonour in his means of killing Hamlet and it is a form of poetic justice when this very poison kills him.

Laertes' final words

However, Laertes' final words demonstrate his nobility.
He asks Hamlet to “exchange forgiveness” with him and publicly outs the play’s villain (“the King, the King’s to blame”) which finally frees Hamlet to act against Claudius. The cycle of revenge is now complete.

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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