Guilt in Hamlet

Guilt in Hamlet - Claudius' Guilt

In texts that explore the psychology of the main characters, the presence or absence of guilt is a key factor in shaping the response of readers or audiences.

Guilt as punishment

Guilt can be seen as a form of punishment.
The villain, while evading legal/state punishment, cannot escape his or her conscience – an internal, moral judgement or punishment.

"Lash" metaphor

Claudius’ guilt is first revealed in a short aside in A3S1 when he refers to a “lash” upon his “conscience”.
The violent metaphor of a “lash” carries connotations of pain and suffering, recalling medieval flagellants who would whip themselves to repent for their sins.

Claudius' confession

Two scenes later, when Claudius attempts to confess his sins, he recognises that his “offence is rank. It smells to heaven”.
- Here, the use of sensory imagery (“rank” can be interpreted as foul-smelling) helps to convey Claudius’ revulsion at his crime.
But Claudius is unable to repent for his sins, being unwilling to give up his crown or queen and so lose the proceeds of his crime. His guilt has limits.

Sympathy for Claudius?

That Claudius admits that he has some level of inner torment may make audiences more sympathetic to him, in that he becomes a more complex and human character than a two-dimensional ‘stage-villain’.
Some playgoers may also respond positively to Claudius’ self-honesty in recognising the limits to his contrition.

Guilt in Hamlet - Gertrude & Hamlet

Hamlet is tormented by self-doubt and, at times, self-disgust throughout the play. The extent to which Gertrude feels guilt is somewhat ambiguous.

Does Gertrude feel guilt?

The extent to which Gertrude feels guilt is more ambiguous.
In Act 2, Scene 2, she tells Claudius that Hamlet’s disturbed behaviour may have been caused by her and Claudius’ “o’er-hasty marriage”.
Gertrude is not given the chance to develop this idea, but the audience has perhaps been given a glimpse of Gertrude’s guilt over her remarriage and the effect it has had on her son.

Does Hamlet feel guilt?

Hamlet is tormented by self-doubt and, at times, self-disgust throughout the play.
In his lengthy soliloquy in Act 2, Scene 2, (“O, what a rogue and peasant slave am I!”), Hamlet compares his inaction with the “passion” displayed by the player during his performance and asks himself if he is a “coward”.
However, it is in this soliloquy that he devises the plan to use the players to “catch the conscience of the King” and exploit any feelings of guilt Claudius may feel.

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

Jump to other topics