Source: https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/ocr/hamlet/2-3-5-act-3-scene-4 [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 4 # Act 3, Scene 4 English Lit: OCR A Level - Hamlet, topic 2.3.5 ## Key Events in Act 3, Scene 4 Hamlet visits his mother’s chamber, unaware that Polonius is eavesdropping from behind an arras. ### Key events in Act 3, Scene 4 ![Key events in Act 3, Scene 4](https://image-v2.cdn.app.senecalearning.com/2020-06/402fbadb-d4f9-432f-882c-e6bd387389a3/murder-skull-.jpg) - When Gertrude becomes alarmed, Polonius cries out and is killed by Hamlet, who presumes him to be the King. - Hamlet accuses his mother of **“rank corruption”** but is interrupted by the entrance of the Ghost who reminds Hamlet of his mission. ### Hamlet accuses his mother ![Hamlet accuses his mother](https://image-v2.cdn.app.senecalearning.com/2019-04/ec0e84b7-4606-4c3d-86bf-05ceec437b42/argue-arguement-couple-angry-anger-shout-.png) - Hamlet verbally (and in some productions, physically) attacks his mother. - Hamlet, in a highly agitated state after his murder of Polonius, accuses his mother of being Claudius’ accomplice in the murder of his father. - One of Hamlet’s purposes in this scene is to ‘test’ his mother’s guilt - but he uses no subtlety here and instead blurts out this accusation. ### Gertrude's innocence? ![Gertrude's innocence?](https://image-v2.cdn.app.senecalearning.com/2020-07/f709c6fd-456a-4588-a399-65a2ef3ce6c2/innocent-halo-.png) - Gertrude (to Hamlet): **“As kill a king?”** - Gertrude’s response to Hamlet mentioning her first husband being murdered may look insignificant, but many critics point to this question as ‘proof’ of Gertrude’s innocence regarding the old King’s murder. - It also appears to satisfy Hamlet, who is more preoccupied with the idea of his mother and Claudius together **“in the rank sweat of an enseamed bed”**. ### Language of confession ![Language of confession](https://image-v2.cdn.app.senecalearning.com/2018-08/6c3ca295-efcd-4e22-a504-b396238e40cc/confession-praying.jpg) - Hamlet urges his mother to distance herself from Claudius and to examine her conscience. - Hamlet repeatedly uses words associated with confession throughout the scene (**“Confess… Repent… Forgive…”**) so that she may **“live the purer”**. - To do this effectively, she must **“go not to my uncle’s bed”**. ### Hamlet's self-justification ![Hamlet's self-justification](https://image-v2.cdn.app.senecalearning.com/2020-07/c318a7fb-7f94-45de-bc00-13df15605da2/cruel-kind-.jpg) - Hamlet: **“I must be cruel only to be kind”** - Hamlet here attempts to justify his behaviour towards his mother. Hamlet once again uses antithesis (contrasting opposing ideas together) to juxtapose ideas of cruelty and kindness to argue that his harsh words are used only to help her save her own soul by examining her conscience. ### Analysis of Hamlet's cruelty ![Analysis of Hamlet's cruelty](https://image-v2.cdn.app.senecalearning.com/2020-07/96586122-7fb9-44e8-94c2-d5c06fce084a/pillows-820149_1280.jpg) - But many critics and audience members may feel that Hamlet struggles to control his cruelty in this scene, particularly when he imagines Gertrude and Claudius in their marital bed. - At these moments, Hamlet’s words and behaviour (in some productions he manhandles his mother) may seem to overstep the mark. ## Key Ideas in Act 3, Scene 4 - Action & Inaction Hamlet is often described as a tragedy of a man unable to take action. ### 1948 Olivier production ![1948 Olivier production](https://image-v2.cdn.app.senecalearning.com/2020-07/5a64aa74-474c-4627-9d71-986333b65329/Laurence_Olivier_-_1961_-_Boston.jpg) - The 1948 film version of the play, directed by (and starring) Laurence Olivier, begins with a voiceover stating that, **“This is the tragedy of a man who could not make up his mind”**. - This positions the audience to hold the view that Hamlet is too indecisive to take meaningful action. ### Hamlet's awareness of his inaction ![Hamlet's awareness of his inaction](https://image-v2.cdn.app.senecalearning.com/2018-09/12ae049e-19eb-4afb-bfed-1e4adad3f336/time-clocks.jpg) - At times, Hamlet seems to share this view. In this scene, he is keenly aware of not yet having fulfilled his mission. Before the Ghost speaks, Hamlet voices his fear that he has appeared to **“chide”** (tell off) his **“tardy”** (late to act) son. - The Ghost confirms this view, announcing that he has appeared **“to whet thy almost blunted purpose”** and urges Hamlet to action against Claudius. ### Hamlet's rash behaviour ![Hamlet's rash behaviour](https://image-v2.cdn.app.senecalearning.com/2020-07/010e1fbc-78eb-4826-8efa-5826024d8be3/the-murder-of-polonius-36360a-1024.jpg) - But this scene confirms that Hamlet is perfectly capable of taking bold action and, when roused, will act rashly. - He stabs Polonius through the arras without any attempt to discover the figure’s true identity and soon ‘forgets’ his actions to harangue his mother. Rather than being a man reluctant to take decisive action, Hamlet’s mission is complicated by the inherent contradictions in his revenge mission where he must punish the King (itself an enormously difficult task) yet spare his wife. ### Hamlet's future intetions ![Hamlet's future intetions](https://image-v2.cdn.app.senecalearning.com/courseImages/biology/4.1.1%20Photosynthesis/moon-1859616_640-min.jpg) - Just before the end of the scene, Hamlet makes it known to his mother that he intends to take further action, this time against Rosencrantz and Guildenstern who are to accompany him to England. - He enthusiastically anticipates how he will **“blow them at the moon”**, striking at them before they are able to carry out any orders coming from Claudius. ## Key Ideas in Act 3, Scene 4 - Madness Madness is a key idea in Act 3, Scene 4. ### Gertrude's links the Ghost to madness ![Gertrude's links the Ghost to madness](https://image-v2.cdn.app.senecalearning.com/2018-08/9a76d1fd-635f-49a5-bd37-36d7c22782cf/brain-mri.jpg) - Gertrude is appalled by Hamlet’s behaviour, particularly when he begins talking to a Ghost she cannot see. - She confronts her son with the accusation that the Ghost Hamlet claims to see is but **“the very coinage of your brain”** caused by Hamlet’s **“ecstasy”** (fevered emotional state). ### Hamlet contradicts Gertrude ![Hamlet contradicts Gertrude](https://image-v2.cdn.app.senecalearning.com/2018-09/de139e36-65c8-47a8-81c7-7b1985b0d23e/goal-aim-target.jpg) - Hamlet directly contradicts Gertrude using a blunt declarative, **“It is not madness”**, and insists that Gertrude tell Claudius that her son is only **“mad in craft”** i.e. feigning madness to achieve an ulterior goal. ### Hamlet's emotional state ![Hamlet's emotional state](https://image-v2.cdn.app.senecalearning.com/2018-07/5ca25ce4-75ab-4d4a-9fb1-eb3cb46949eb/Anger-Antagonist-Bully-Cartoon.jpg) - Hamlet has clearly been in a highly emotional state throughout this scene. In its first half, in particular, he seems in danger of losing all control over himself. - Not only does he act recklessly in fatally stabbing Polonius, but his tirade (list of accusations) against his mother becomes more and more vehement. - Many productions emphasise Hamlet’s loss of control through Hamlet’s physical gestures (e.g. grabbing his mother when she threatens to leave) and through Gertrude’s terrified reactions. ### Hamlet regains control ![Hamlet regains control](https://image-v2.cdn.app.senecalearning.com/2020-07/018ea97d-cb86-4ef4-8f2e-193e6e70918b/hamlet-and-the-ghost-of-his-father-549faf-1024.jpg) - Hamlet appears to regain control of himself after the Ghost calls on him to treat Gertrude more tenderly. - Hamlet’s tone becomes gentler and his speech becomes more measured. He shows he is still mentally alert and perceptive about the King’s reasons for sending him to England with Rosencrantz and Guildenstern. ### Hamlet: increasingly unpredictable ![Hamlet: increasingly unpredictable](https://image-v2.cdn.app.senecalearning.com/2020-07/6e240b67-541e-4d41-a9db-a6dd669d50ad/hamlet-polonius-.jpg) - Hamlet’s behaviour in this scene suggests a character under severe mental strain who, at times, comes close to breaking point (particularly when dwelling on his mother’s remarriage). - He is still able to compose himself and focus on the task at hand, but his behaviour throughout Act 3 has been noticeably more extreme and unpredictable than other acts. - The final image of this scene, of Hamlet lugging the dead body of Polonius out of the room, reinforces this. ## Test yourself on Act 3, Scene 4 - What does Hamlet accuse his mother of in A3S4? - What accusation does Hamlet make of Gertrude in A3S4? - What do most critics see this line as a sign of?Gertrude (to Hamlet): **“As kill a king?”** - What is the final image of A3S4? - What does Hamlet say of his state of mind in A3S4? [Practise this topic for free](https://app.senecalearning.com/classroom/course/8dece131-d168-46de-9b11-ea7deb49963f/section/0f61875b-f59c-4ca0-ac12-30518600affe/session) - Previous 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) - Next topic: [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) ## 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)