Structure of Hamlet

Structural Features - King Hamlet's Death & Supernatural

Hamlet moves from the state of disorder following the death of the King of Denmark to the restoration of order at the end of the play with the young prince, Fortinbras, set to succeed to the throne.

Basic structure of Hamlet

The basic structure of the play had been established in the ‘lost’ version of Hamlet that was performed on the English stage in the 1580s and which Shakespeare’s theatre company - the Lord Chamberlain’s Men - performed on several occasions.

Timing of King Hamlet's death

One of the most important structural features of the play is the placement of King Hamlet’s murder before the events described in the play.
This allows Shakespeare to create a tense atmosphere from the very beginning of the play, with nervous guards keeping watch on Elsinore’s battlements and Prince Hamlet full of grief and resentment at his father’s death and his mother’s remarriage.

'Play within a play' structure

Although we do not witness the murder which drives the narrative of the whole play, it is re-enacted twice in the ‘play within a play’ in Act 3, Scene 2, the mid-point of the drama.

The Ghost foreshadows turmoil

Another structural device used to propel the narrative forward is the supernatural. The Ghost of the dead King appears briefly in the opening scene and serves to foreshadow future turmoil. Horatio voices his fear that the Ghost’s appearance “bodes some strange eruption to our state”, contributing to the atmosphere of dread.

Role of the Ghost's appearances

The Ghost’s reappearance in Scene 5 drives the narrative for the rest of the play in that it introduces the revenge motive.
When the Ghost next appears (while Hamlet confronts his mother in Act 3, Scene 4) it serves to refocus Hamlet on the task of revenge.

Structural Features - Plots, Subplots & Soliloquy

Typical of Shakespeare’s plays, Hamlet consists of main plot and subplots. Hamlet’s revenge mission against Claudius is the main plot.

Role of the Laertes subplot

Shakespeare often uses sub-plots to explore common themes and parallels with the main plot.
The Laertes sub-plot mirrors the main plot in that they both focus on a young nobleman seeking to avenge the death of his father. Shakespeare invites the comparison between Hamlet and Laertes as two different forms of revenge heroes – one who is cautious and calculating; one who is reckless and impulsive.

Role of the Ophelia subplot

The Ophelia subplot reflects themes explored in the main plot. Madness is central to both; but whereas Hamlet’s is feigned, Ophelia’s is tragically real.

Soliloquys in Hamlet

Another structural device used in the play is the soliloquy.
- There are eight in the play as a whole (Hamlet has seven; Claudius one) and each serves to ‘pause’ the action in the play and dramatize the inner conflicts afflicting the hero.
- The final soliloquy ends with Hamlet vowing to finally take “bloody” action.
- There is no soliloquy in the final Act as the play speeds towards its resolution.

Hamlet's voyage to England

Hamlet’s voyage to England is not depicted on stage.
Instead, Shakespeare uses the structural device of a letter written by Hamlet recounting events at sea to provide the audience with the necessary details.

Origins of deus ex machina

The sudden appearance of the pirates that take Hamlet prisoner is an example of a deus ex machina – a plot device which literally means ‘god from the machine’ – referring to a special effect used in ancient Greek theatre where a God was lowered onto stage using a crane.
The deus ex machina now refers to any device used by a writer, however unbelievable, which solves a problem in the plotting of a story and which clears a way towards the resolution.

Deux ex machina in Hamlet

Shakespeare uses the intervention of the pirates to get Hamlet back to Denmark in a timely manner before the final Act of the play.

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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