Source: https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-3-3-act-3-scene-2 [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 2 # Act 3, Scene 2 English Lit: OCR A Level - Hamlet, topic 2.3.3 ## Key Events in Act 3, Scene 2 In this central scene of the play, the touring actors perform their play, *‘The Murder of Gonzago’* (with additional lines added by Hamlet) in front of the royal court. ### *‘The Murder of Gonzago’* ![*‘The Murder of Gonzago’*](https://image-v2.cdn.app.senecalearning.com/2020-07/2bc68e20-535b-4c92-8748-ea52b593fe1d/guilty-3096217_1920.jpg) - It seems that the play has had the desired effect when Claudius refuses to continue watching after the re-enactment of the King’s murder. - Hamlet, in a state of euphoria, is convinced that this reaction proves his uncle’s guilt and resolves to take action. ### Hamlet's inappropriate behaviour ![Hamlet's inappropriate behaviour](https://image-v2.cdn.app.senecalearning.com/2020-06/f2fd9095-82b1-4ab9-a038-7e25010c29b3/cross-wrong-.png) - As members of the royal court arrive for the performance, Hamlet is in an excitable state. - Hamlet speaks and behaves inappropriately to the arriving playgoers, lying at Ophelia’s feet before engaging in some graphic sexual innuendo. Again, it is left ambiguous whether Hamlet’s unpredictable behaviour reflects his actual emotional state or whether he is putting on a performance of his **“antic disposition”** designed to deflect the royal court's suspicions of his revenge mission. ### Hamlet on his mother's behaviour ![Hamlet on his mother's behaviour](https://image-v2.cdn.app.senecalearning.com/2020-07/d167f224-af92-4738-9390-bfcfd1a26b32/gertrude-queen-hamlet-.png) - Hamlet (to Ophelia): **“For look you how cheerfully my mother looks and my father died within’s two hours”** - Hamlet’s comment about his mother’s behaviour after her husband’s death appears to be deliberately provocative and offensive. It is completely out of context (Gertrude has just arrived for the players’ performance) and deliberately uses hyperbole (exaggeration) to make her conduct seem grotesque. ### Reasons for Hamlet's behaviour ![Reasons for Hamlet's behaviour](https://image-v2.cdn.app.senecalearning.com/2020-07/a2708916-f4b1-48ce-b882-ef6a8e430c0e/motive-.jpg) - Hamlet may be using this to unsettle the royal couple before the performance, which he hopes will prove Claudius’ (and Gertrude’s?) guilt. - Hamlet may be trying to cover his tracks, giving the whole of the royal court the impression that his behaviour stems from his grievances over his mother’s re-marriage rather than Claudius’ murder of his father. ### Claudius leaves the performance ![Claudius leaves the performance](https://image-v2.cdn.app.senecalearning.com/2020-07/f1ecd9c8-7550-4b62-801c-c8fbd5b6a08f/exit-sign-.png) - Claudius **“rises”** and leaves the performance in an emotional state at the moment when the murder is re-enacted. - Hamlet convinces himself of Claudius’ guilt and is almost in a state of euphoria at having the Ghost’s account of his murder confirmed as true, paving the way for Hamlet to act. ### Hamlet's animalistic imagery ![Hamlet's animalistic imagery](https://image-v2.cdn.app.senecalearning.com/2020-07/bd418048-d9d9-41b3-be2d-e2552fc82126/blood-.png) - Hamlet (in soliloquy): **“Now could I drink hot blood…”** - This animalistic image is shocking. It has connotations of almost primal savagery and blood-lust. Hamlet portrays himself as a wild predator, linking to other imagery used by Hamlet in this scene (such as his earlier reference to **“the stricken deer”**). - But it is significant that Hamlet does not leap into action. - Instead, the soliloquy continues. Hamlet tries to compose himself before attending his mother who has sent for him. ### Irony: Polonius' murder ![Irony: Polonius' murder](https://image-v2.cdn.app.senecalearning.com/2018-11/ac21dd12-12e2-4983-bfe2-3a8d1343a7b6/dagger-sword-.jpg) - There is a dark irony in his line **“I will speak daggers to her, but use none”**, with Hamlet unaware that his visit to Gertrude’s chamber will result in his slaughter of Polonius. ## Key Ideas in Act 3, Scene 2 - The 'Inner Play' The ‘inner play’ or ‘play-within-a-play’ is a structural device which had become a key feature of revenge tragedies on the Elizabethan stage after its use in Thomas Kyd’s *‘The Spanish Tragedy’*. ### Reinforces Old Hamlet's murder ![Reinforces Old Hamlet's murder](https://image-v2.cdn.app.senecalearning.com/2020-07/82090af4-8e2e-4162-bd6a-b55f36033c96/poison.png) - The 'inner play' reinforces the importance of the crime which lies at the heart of the play and propels all the subsequent action – the murder of Old King Hamlet. - The dramatic power of its re-enactment lies in the parallels between the actual murder (as described by the Ghost in Act One) and the theatrical version: the garden setting; the sleeping victim; the use of poison etc. ### Double reenactment of the murder ![Double reenactment of the murder](https://image-v2.cdn.app.senecalearning.com/2018-11/e74981c0-3bec-4d09-804f-30eaebb6775d/2-two-number-.jpg) - In this scene, the murder is actually re-enacted twice – first as a **“dumb-show”** (mime) which opens the play, then in performance using the lines that Hamlet has included for the players. ### Missing the first re-enactment ![Missing the first re-enactment](https://image-v2.cdn.app.senecalearning.com/2020-07/f5723a8d-15a3-4952-ae03-cc4ba65ac0ee/empty-theatre-seats-.jpg) - Most modern productions tend to portray Claudius, Gertrude and Polonius as missing the first re-enactment because they have been distracted by Hamlet’s behaviour immediately before the play begins - lying at Ophelia’s feet before almost taunting the King and Queen (**“look you how cheerfully my mother looks and my father died within two hours”**). ### Hamlet's view of Claudius' **"choler"** ![Hamlet's view of Claudius' **"choler"**](https://image-v2.cdn.app.senecalearning.com/2020-07/49f984e2-ccd7-4c19-b220-c5f39d06d586/angry-4625234_1280.png) - Claudius is unable to continue watching after the murder scene is performed but the reasons for his **“choler”** (anger) are left unclear. - Hamlet is convinced that Claudius reacts this way either through feelings of guilt at seeing his crime re-enacted before the eyes of the whole court but other interpretations are possible. ### Wilson on Claudius' leaving ![Wilson on Claudius' leaving](https://image-v2.cdn.app.senecalearning.com/2020-07/7d4ceedb-9bdb-42f1-ba27-a831a9fb510d/exit-sign-.jpg) - Critics such as John Dover Wilson have argued that Claudius does not withdraw because he feels guilt but because he is disturbed and threatened by Hamlet’s behaviour and barbed comments throughout the performance - in particular, Hamlet’s pointing out to Claudius that the stage murderer, Luciana, is **“nephew to the King”**. As Hamlet is Claudius’ nephew, this could have been interpreted as Hamlet making a threat against the King’s life. ## Key Ideas in Act 3, Scene 2 - Succession to the Throne As the dead King’s only son, Hamlet would be the natural heir to Denmark’s throne. But his uncle, Claudius, secures the crown instead, probably (though unclear) through his marriage to Queen Gertrude. ### Contributes to Hamlet's disgust ![Contributes to Hamlet's disgust](https://image-v2.cdn.app.senecalearning.com/2020-07/d159c483-8a33-448f-a3cb-57bbdf12ed3b/throne-2822320_1920.png) - Some critics see Hamlet’s frustrations at being usurped (displaced on the throne) by Claudius as another (often overlooked) factor behind his disgust at his mother’s remarriage - this marriage has denied Hamlet his inheritance as King of Denmark. ### References to usurpation ![References to usurpation](https://image-v2.cdn.app.senecalearning.com/2020-07/98ed4c04-ebd3-46c2-8657-eb37f58c4826/checkmate-1511866_1920.jpg) - There are various references to Hamlet’s usurpation in this scene, although it's easy to overlook them because of all of the other action in this scene. - Moreover, the references are often cryptic (like riddles), with Hamlet using clever puns as if he only wants to hint at his frustration. ### Ambiguity: **"promise-crammed"** ![Ambiguity: **"promise-crammed"**](https://image-v2.cdn.app.senecalearning.com/2019-08/ba5308fd-0d6a-4c8d-b0b6-94db9157ab56/hand-shake-handshake-.jpg) - When the King enters and greets his nephew, Hamlet responds with a curious description of being **“promise-crammed”** which most editors take to being a sarcastic reference to previous promises made, perhaps by Claudius himself, regarding Hamlet’s succession to the throne. - After the players’ show, Hamlet is more direct to Rosencrantz, telling him that he lacks **“advancement”** (i.e. to the kingship). ### Frustrations & misleading behaviour ![Frustrations & misleading behaviour](https://image-v2.cdn.app.senecalearning.com/2020-07/78c88429-a70c-44e7-8210-ea20b86f1d7c/falsity-truth-deception-.jpg) - In making these comments, Hamlet’s frustrations may be spilling over. - He could also be playing a clever tactical game, using these barbed comments as misdirection, leading Claudius and the court to believe Hamlet’s behaviour is the result of thwarted ambition rather than the knowledge of Claudius’ crime. ## Test yourself on Act 3, Scene 2 - Which play made the ‘inner play’ a key feature of Eliabethan revenge tragedies? - What does **“choler”** mean? - Which of these are true of literary 'inner plays' and the 'inner play' in A3S2? - What does Hamlet say Luciana is in A3S2? - How did Claudius secure the Danish throne, presumably? [Practise this topic for free](https://app.senecalearning.com/classroom/course/8dece131-d168-46de-9b11-ea7deb49963f/section/06290d82-9e2d-4bda-af17-9d686f05cd28/session) - Previous 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) - Next topic: [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) ## 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)