Source: https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-3-1-act-3-scene-1-key-events [Revision notes](https://senecalearning.com/en-gb/revision-notes.md) › [A Level](https://senecalearning.com/en-gb/revision-notes/a-level.md) › [English Lit](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature.md) › [OCR](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr.md) › [English Lit: OCR A Level - Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet.md) › Act 3, Scene 1: Key Events # Act 3, Scene 1: Key Events English Lit: OCR A Level - Hamlet, topic 2.3.1 ## Key Events in Act 3, Scene 1 Hamlet enters. In his most famous soliloquy (**“To be, or not to be”**), he broods on his weariness of life, the potential merits of suicide and the fear of eternal damnation. ### Key events in Act 3, Scene 1 ![Key events in Act 3, Scene 1](https://image-v2.cdn.app.senecalearning.com/2018-10/903b913b-2f56-4659-a1c0-9f4cb94420de/England-flag-.jpg) - Polonius and Claudius spy on Hamlet and Ophelia and witness Hamlet behave cruelly towards her, insisting that she retires to a **“nunnery”**. - Claudius, troubled by Hamlet’s behaviour and perhaps sensing danger to himself, decides to send Hamlet to England. ### Claudius' feelings of guilt ![Claudius' feelings of guilt](https://image-v2.cdn.app.senecalearning.com/2018-09/dba21160-f61c-4b6a-8481-cd589b9f1cfe/crime-scene-clue-murder-.png) - As Polonius prepares Ophelia for her meeting with Hamlet, Claudius, in an aside, admits to feelings of **“conscience”**. - In admitting to feeling guilty, Claudius provides the audience with the first confirmation that he has indeed killed his brother. In doing so, Shakespeare creates dramatic irony for the audience - the audience knows more than Hamlet does of the truth of Claudius’ crime. ### **"Lash"** imagery ![**"Lash"** imagery](https://image-v2.cdn.app.senecalearning.com/2019-03/5bb6f84b-9c4d-47f0-9a0c-3b8baa19dc58/whip-294187_1280.png) - Claudius (on hearing Polonius tell Ophelia that appearances may disguise an inner ugliness): **“How smart a lash that speech doth give my conscience”**. - Claudius overhears Polonius’ advice to Ophelia on how appearances may disguise an inner ugliness and it triggers intense feelings of guilt. - The imagery of a **“lash”** creates connotations of torture, suffering and punishment, providing the audience with its first insight into Claudius’ inner turmoil. ### Significance of **"conscience"** ![Significance of **"conscience"**](https://image-v2.cdn.app.senecalearning.com/2018-06/19508373-2552-4280-9e9a-5ef701cc9781/brain.jpg) - The abstract noun **“conscience”** recalls Hamlet’s final words at the end of the previous scene about catching **“the conscience of the King”** and foreshadows events in the next scene when Claudius watches the players re-enact his murder of his own brother. ## More Key Events in Act 3, Scene 1 As Polonius has planned, Hamlet comes across Ophelia while she is praying. Ophelia hands back to Hamlet the **“remembrances”** (tokens of love) which he had given to her, causing Hamlet to respond angrily. ### How much does Hamlet know? ![How much does Hamlet know?](https://image-v2.cdn.app.senecalearning.com/2019-08/45b7649d-860e-4c98-b544-f05d58746d94/question-mark-1495858_1920.jpg) - Each production of the play must decide how much Hamlet knows of this meeting being set up by Claudius and Polonius. - If he is unaware that he is being spied upon, his behaviour towards Ophelia stems from genuine hurt and anger. - However, if he suspects that the King or his spies are eavesdropping, his words and actions may be a performance (i.e. Hamlet putting on his **“antic disposition”**) intended to throw Claudius off the scent of his quest for revenge. Regardless of Hamlet’s motivation, Ophelia is left shocked by his behaviour. ### Hamlet's forceful tone ![Hamlet's forceful tone](https://image-v2.cdn.app.senecalearning.com/2018-08/8ec6ae0d-4a6b-4dc0-83e9-67117fe9a010/nun-church-catholic-.jpg) - Hamlet (to Ophelia): **“Get thee to a nunnery. Why wouldst thou be a breeder of sinners?”** - Hamlet’s tone is forceful, almost aggressive, confronting Ophelia with the blunt imperative (command) to take up residence in a **“nunnery”** where she will be able to preserve her chastity and avoid sexual corruption. ### Double meaning of **"nunnery"** ![Double meaning of **"nunnery"**](https://image-v2.cdn.app.senecalearning.com/2020-07/aefaffac-e21e-4cf2-8bec-9818245b097c/brothel-.jpg) - But Elizabethan audiences would have been familiar with the term **“nunnery”** being used as a slang-term for ‘brothel’, giving the instruction a more derogatory, insulting implication: that Ophelia is already prostituting herself. - Critics disagree over whether Hamlet knows that the conversation is being spied upon by the eavesdroppers, Claudius and Polonius, but Hamlet may well suspect that Ophelia’s rejection of him has come at the behest of her father. ### Significance of **"breeder"** ![Significance of **"breeder"**](https://image-v2.cdn.app.senecalearning.com/courseImages/biology/6.2.1%20-%20Variation%20and%20evolution/cows-1209635_640-min.jpg) - Hamlet’s question is a direct challenge to Ophelia. - The derogatory term **“breeder”** dehumanises Ophelia, reducing her to the level of livestock. ### Link between sex and **"sin"** ![Link between sex and **"sin"**](https://image-v2.cdn.app.senecalearning.com/2018-09/72036823-87bf-478b-b593-98d15a19bfc1/snake-sin-eden-.jpg) - Hamlet once again links sex to **“sin”**: his imagination continues to be tainted by the thought of his mother’s incestuous marriage. ## Key Ideas in Act 3, Scene 1 - Suicide In his **“To be, or not to be”** soliloquy, Hamlet considers how suicide could release him from the **“slings and arrows”** of a troubled life. ### The State's response to suicide ![The State's response to suicide](https://image-v2.cdn.app.senecalearning.com/2018-09/3c200912-3212-4c63-9eea-ffd92fd2104b/debt-money-sack-.png) - In Shakespeare’s society, suicide was considered a crime against God, the King and Nature. - The State severely punished those who attempted to take their own life. For those who succeeded in taking their own life, the State was able to seize their property and other wealth which would have otherwise passed to descendants. ### The Church's response to suicide ![The Church's response to suicide](https://image-v2.cdn.app.senecalearning.com/2019-05/d0030ef3-172a-4bca-a93c-a3f907e69929/barroco-church-.jpg) - The Church taught that suicide was a Mortal Sin, for which no forgiveness would ever be granted and those that had committed suicide were denied Christian burial. Those that attempted suicide condemned their souls to eternal damnation. ### Hamlet's conclusions on suicide ![Hamlet's conclusions on suicide](https://image-v2.cdn.app.senecalearning.com/2018-10/3d07dcf8-832c-4da2-9de0-4b8e56567e0e/apocalypse-hell-.jpg) - Hamlet’s soliloquy concludes with his realisation that his uncertainty about what might await him in the afterlife - the **“undiscover’d country”** from which **“no traveller returns”** - prevents him from ending his own life. - An audience is likely to have the Ghost’s account of its own punishment and suffering in the afterlife fresh in its minds. This makes Hamlet’s fears even more plausible. ## Test yourself on Act 3, Scene 1: Key Events - Where does Claudius decide to send Hamlet to in A3S1? - What technique does Shakespeare use when Claudius admits to feelings of **“conscience”** in A3S1? - Which of these are the correct interpretations of the quotation below?“Get thee to a nunnery. Why wouldst thou be a breeder of sinners?” - What does Ophelia hand back to Hamlet in A3S1? - Identify the key words in this quotation.“Get thee to a nunnery. Why wouldst thou be a breeder of sinners?” [Practise this topic for free](https://app.senecalearning.com/classroom/course/8dece131-d168-46de-9b11-ea7deb49963f/section/6f8ecfe7-7444-440a-a4b3-424dbc0a7de7/session) - Previous topic: [2.2.2 Act 2, Scene 2](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-2-2-act-2-scene-2.md) - Next topic: [2.3.2 Act 3, Scene 1: Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-3-2-act-3-scene-1-key-ideas.md) ## English Lit: OCR A Level - Hamlet contents ### 1 Introduction - 1.1 Introduction & Background to Hamlet - [1.1.1 Introduction to Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/1-1-1-introduction-to-hamlet.md) - [1.1.2 The Literary Tradition of the Hamlet Story](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/1-1-2-the-literary-tradition-of-the-hamlet-story.md) - [1.1.3 Introduction to the Settings in Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/1-1-3-introduction-to-the-settings-in-hamlet.md) - [1.1.4 Introduction to Social Issues Raised](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/1-1-4-introduction-to-social-issues-raised.md) ### 2 Plot Summary - 2.1 Act 1: Key Events & Ideas - [2.1.1 Act 1, Scene 1](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-1-1-act-1-scene-1.md) - [2.1.2 Act 1, Scene 2](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-1-2-act-1-scene-2.md) - [2.1.3 Act 1, Scene 3](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-1-3-act-1-scene-3.md) - [2.1.4 Act 1, Scenes 4-5](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-1-4-act-1-scenes-4-5.md) - 2.2 Act 2: Key Events & Ideas - [2.2.1 Act 2, Scene 1](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-2-1-act-2-scene-1.md) - [2.2.2 Act 2, Scene 2](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-2-2-act-2-scene-2.md) - 2.3 Act 3: Key Events & Ideas - [2.3.1 Act 3, Scene 1: Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-3-1-act-3-scene-1-key-events.md) - [2.3.2 Act 3, Scene 1: Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-3-2-act-3-scene-1-key-ideas.md) - [2.3.3 Act 3, Scene 2](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-3-3-act-3-scene-2.md) - [2.3.4 Act 3, Scene 3](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-3-4-act-3-scene-3.md) - [2.3.5 Act 3, Scene 4](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-3-5-act-3-scene-4.md) - 2.4 Act 4: Key Events & Ideas - [2.4.1 Act 4, Scene 1](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-4-1-act-4-scene-1.md) - [2.4.2 Act 4, Scenes 2-3](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-4-2-act-4-scenes-2-3.md) - [2.4.3 Act 4, Scene 4](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-4-3-act-4-scene-4.md) - [2.4.4 Act 4, Scene 5: Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-4-4-act-4-scene-5-key-events.md) - [2.4.5 Act 4, Scene 5: Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-4-5-act-4-scene-5-key-ideas.md) - [2.4.6 Act 4, Scene 6](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-4-6-act-4-scene-6.md) - [2.4.7 Act 4, Scene 7](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-4-7-act-4-scene-7.md) - 2.5 Act 5: Key Events & Ideas - [2.5.1 Act 5, Scene 1: Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-5-1-act-5-scene-1-key-events.md) - [2.5.2 Act 5, Scene 2: Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-5-2-act-5-scene-2-key-events.md) - [2.5.3 Act 5, Scene 2: Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-5-3-act-5-scene-2-key-ideas.md) ### 3 Character Profiles - 3.1 Hamlet - [3.1.1 Hamlet's Speech & Mind](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-1-1-hamlets-speech-and-mind.md) - [3.1.2 Hamlet's Heroic Status](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-1-2-hamlets-heroic-status.md) - [3.1.3 Hamlet's State of Mind](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-1-3-hamlets-state-of-mind.md) - [3.1.4 Hamlet's Indecision/Action Taking](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-1-4-hamlets-indecisionaction-taking.md) - 3.2 Claudius - [3.2.1 Claudius' Crime](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-2-1-claudius-crime.md) - [3.2.2 Changing Impressions of Claudius](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-2-2-changing-impressions-of-claudius.md) - 3.3 Gertrude - [3.3.1 Mystery & Hamlet's View of Gertrude](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-3-1-mystery-and-hamlets-view-of-gertrude.md) - [3.3.2 Gertrude's Character](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-3-2-gertrudes-character.md) - [3.3.3 Gertrude's Relationship with Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-3-3-gertrudes-relationship-with-hamlet.md) - 3.4 Ophelia - [3.4.1 Ophelia](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-4-1-ophelia.md) - 3.5 Polonius - [3.5.1 Portrayal of Polonius & Treatment of Ophelia](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-5-1-portrayal-of-polonius-and-treatment-of-ophelia.md) - [3.5.2 Polonius' Spying & Death](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-5-2-polonius-spying-and-death.md) - 3.6 Laertes - [3.6.1 Laertes' Popularity & Relationship with Ophelia](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-6-1-laertes-popularity-and-relationship-with-ophelia.md) - [3.6.2 Laertes' Character Traits](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/3-6-2-laertes-character-traits.md) ### 4 Key Themes - 4.1 Regicide in Hamlet - [4.1.1 Regicide in Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/4-1-1-regicide-in-hamlet.md) - 4.2 Madness in Hamlet - [4.2.1 Madness in Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/4-2-1-madness-in-hamlet.md) - 4.3 Guilt & Punishment in Hamlet - [4.3.1 Guilt in Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/4-3-1-guilt-in-hamlet.md) - [4.3.2 Punishment in Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/4-3-2-punishment-in-hamlet.md) - 4.4 Settings in Hamlet - [4.4.1 Physical Settings & Historical Setting of Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/4-4-1-physical-settings-and-historical-setting-of-hamlet.md) ### 5 Writing Techniques - 5.1 Structure - [5.1.1 Structure of Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/5-1-1-structure-of-hamlet.md) - [5.1.2 'Play Within a Play' Structure](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/5-1-2-play-within-a-play-structure.md) - [5.1.3 Play-Acting Motif](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/5-1-3-play-acting-motif.md) - 5.2 Form - [5.2.1 Soliloquy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/5-2-1-soliloquy.md) - [5.2.2 Comedy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/5-2-2-comedy.md) - 5.3 Imagery - [5.3.1 Imagery of Corruption & Decay](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/5-3-1-imagery-of-corruption-and-decay.md) - [5.3.2 Imagery: Healing, Performance & Costume](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/5-3-2-imagery-healing-performance-and-costume.md) - 5.4 Language - [5.4.1 Word Usage & Hendiadys](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/5-4-1-word-usage-and-hendiadys.md) - [5.4.2 Questions & Classical Allusions](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/5-4-2-questions-and-classical-allusions.md) ### 6 Context - 6.1 Social & Historical Context - [6.1.1 Elizabeth I & Succession](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/6-1-1-elizabeth-i-and-succession.md) - [6.1.2 Cosmic & Social Hierarchy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/6-1-2-cosmic-and-social-hierarchy.md) - [6.1.3 Renaissance & Emergence of Humanism](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/6-1-3-renaissance-and-emergence-of-humanism.md) - [6.1.4 Regicide](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/6-1-4-regicide.md) - [6.1.5 The Reformation](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/6-1-5-the-reformation.md) - 6.2 Literary Context - [6.2.1 Seneca Tragedy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/6-2-1-seneca-tragedy.md) - [6.2.2 The Revenge Tragedy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/6-2-2-the-revenge-tragedy.md) - 6.3 Performance & Textual History - [6.3.1 Performance History of Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/6-3-1-performance-history-of-hamlet.md) - [6.3.2 Textual History of Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/6-3-2-textual-history-of-hamlet.md) ### 7 Critical Debates - 7.1 18-19th Century Responses to Hamlet - [7.1.1 Introduction to Critical Debates](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/7-1-1-introduction-to-critical-debates.md) - [7.1.2 18th Century Commentary on Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/7-1-2-18th-century-commentary-on-hamlet.md) - [7.1.3 Romantic Commentary on Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/7-1-3-romantic-commentary-on-hamlet.md) - 7.2 20th Century Responses to Hamlet - [7.2.1 Freudian Response to Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/7-2-1-freudian-response-to-hamlet.md) - [7.2.2 Other Early 20th Century Responses to Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/7-2-2-other-early-20th-century-responses-to-hamlet.md) - 7.3 Feminist Readings of Hamlet - [7.3.1 Introduction to Feminist Criticism](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/7-3-1-introduction-to-feminist-criticism.md) - [7.3.2 Feminist Readings of Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/7-3-2-feminist-readings-of-hamlet.md) - [7.3.3 Presentation of Ophelia](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/7-3-3-presentation-of-ophelia.md) - 7.4 Marxist/Political Readings of Hamlet - [7.4.1 Introduction to Marxist Criticisms](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/7-4-1-introduction-to-marxist-criticisms.md) - [7.4.2 Marxist Readings of Hamlet](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/7-4-2-marxist-readings-of-hamlet.md)