Act 3, Scene 2 Reflection

This scene takes place in a grand hall prepared for the performance of The Mousetrap, a play within the
play. The anticipation of the actors and the tension between Hamlet and Claudius create a charged
atmosphere. The use of props, such as the actors' costumes and the set that mirrors King Hamlet’s
murder, emphasizes the play's metatheatrical elements. The atmosphere shifts from festive to tense as
Hamlet’s plan to catch the king's conscience unfolds.

Hamlet directs the actors, instructing them on how to perform with subtlety ("Speak the speech, I pray
you, as I pronounced it to you," 3.2.1). This scene emphasizes Hamlet’s role as observer and manipulator,
much like Shakespeare himself. As the play begins, Hamlet’s witty exchanges with Ophelia are laced with
double meanings and sexual innuendos, contributing to the scene’s dark humor. The real dramatic
action, however, occurs when the murder in The Mousetrap echoes King Hamlet’s death. Claudius’
reaction—his abrupt departure—confirms his guilt for both Hamlet and the audience.

This scene is filled with irony and wordplay. Hamlet’s dialogue with the players is meta-theatrical,
offering insight into the nature of drama itself and providing comic relief. The dialogue is rife with
punning, as seen in his exchanges with Ophelia, where lines like "Shall I lie in your lap?" (3.2.110) are
loaded with sexual innuendo. There’s also dramatic irony, as the audience knows the significance of The
Mousetrap, while most characters do not.

The tone shifts from playful, as Hamlet jokes with Ophelia, to suspenseful as the audience within the
play and the audience of the play wait to see Claudius’ reaction. The tension mounts with every line of
The Mousetrap, and the mood becomes increasingly uneasy. Once Claudius reacts, the tone becomes
dark and victorious for Hamlet, but ominous for the court. The atmosphere becomes palpably
uncomfortable as Hamlet reveals his certainty that Claudius is guilty.

The audience, both within the play and in the theatre, would have been on edge, as Hamlet’s gamble
with the play is high stakes. Elizabethan audiences would have appreciated the moral implications and
dramatic irony, while modern viewers might focus on Hamlet’s growing sense of control and
empowerment.

The concept of The Mousetrap reflects the Elizabethan belief in the power of drama to reflect and even
alter reality. In the Renaissance, theatre was seen as a mirror to nature, and Hamlet’s orchestration of
the play shows his belief in its ability to reveal the truth. Shakespeare’s commentary on acting also
resonates with early modern ideas about performance and authenticity.

Act 3, Scene 3 Reflection

This scene occurs in a chapel, a stark change in setting, which imbues the scene with a solemn, spiritual
atmosphere. Claudius is seen at prayer, a prop central to the religious imagery in this scene. The sanctity
of the setting contrasts with the dark deeds Claudius has committed and Hamlet’s intentions to kill him.

The scene centers on Claudius' guilt and Hamlet’s near decision to murder him. Claudius attempts to
pray, revealing his inner torment and recognition of his sins ("O, my offense is rank, it smells to heaven"
3.3.36). Meanwhile, Hamlet, armed with a sword, considers killing Claudius but hesitates when he
realizes Claudius is praying. Hamlet reasons that killing Claudius in prayer would send him to heaven,
which is not the revenge Hamlet seeks.

The language in this scene is marked by religious imagery and metaphor. Claudius’ words reflect his deep
guilt—his sins are "rank," a vivid metaphor for corruption and decay. Hamlet’s soliloquy is also filled with
moral reasoning, where he weighs the consequences of killing a man at prayer. Hamlet’s lines reflect his
deep sense of justice, as he wants not just to kill Claudius but to damn his soul.

The tone is introspective and suspenseful. Hamlet’s decision to delay the murder, while logical from his
perspective, adds to the tragic inevitability of the play. The atmosphere, shaped by the dim, spiritual
setting of the chapel, heightens the moral conflict between sin and redemption.

For Elizabethan audiences, the religious implications of this scene would have resonated deeply.
Hamlet’s decision not to kill Claudius because he might go to heaven taps into contemporary fears of
death and salvation. The moral complexity of revenge is brought into sharp relief, challenging the
audience’s assumptions about justice.

In the religious context of the period, where the concepts of sin, confession, and redemption were
paramount, Claudius’ struggle to repent and Hamlet’s refusal to kill him while he prays carry profound
weight. This reflects Protestant concerns about the afterlife, salvation, and divine judgment.

Act 3, Scene 4 Reflection

The scene takes place in Gertrude’s closet (private chambers), providing an intimate and tense setting.
The confined space heightens the emotional and physical confrontation between Hamlet and his mother.
The use of a concealed Polonius as a prop highlights the theme of surveillance, and when Hamlet kills
Polonius, the tone shifts dramatically from tense to chaotic.

This scene is the emotional climax of the play. Hamlet confronts Gertrude about her marriage to
Claudius, accusing her of incestuous behaviour ("You are the queen, your husband's brother's wife,"
3.4.15). Polonius, hiding behind a tapestry, calls for help, and Hamlet, thinking it is Claudius, stabs him
through the arras, killing him. The ghost of King Hamlet reappears, reminding Hamlet of his purpose to
avenge his death.

The language here is violent and accusatory, especially as Hamlet condemns his mother’s actions. The
murder of Polonius introduces irony, as Hamlet becomes the unintentional murderer, an action he has so
far hesitated to take. The ghost’s reappearance serves as a visual metaphor for Hamlet’s unresolved duty
and the lingering corruption in Denmark.

The tone is aggressive and accusatory, particularly in Hamlet’s treatment of Gertrude. However, the
atmosphere becomes more mystical and eerie when the ghost appears, reflecting Hamlet’s deepening
psychological crisis. There’s also a shift to a sense of pity for Hamlet as he becomes more isolated.

Audiences would have been shocked by Hamlet’s sudden action in killing Polonius, a moment of
dramatic irony. The ghost’s reappearance would have been startling, reminding both Hamlet and the
audience of the unresolved nature of the plot. This scene’s emotional intensity and moral questioning
about Hamlet’s right to judge his mother’s actions and kill Polonius would have provoked debate.
The themes of justice, moral corruption, and the consequences of hasty actions reflect Renaissance
concerns about power, monarchy, and the divine right of kings. Hamlet’s moral outrage and impulsive
murder show the tension between the humanistic ideals of reason and the chaotic nature of revenge
and passion.

Act 4, Scene 1 Reflection

The scene opens in the castle, where Gertrude immediately reports the murder of Polonius to Claudius.
This private setting in Elsinore reinforces the tense and secretive atmosphere as the political intrigue in
the play deepens. The atmosphere is fraught with urgency and rising fear, especially from Claudius, who
must manage both the public and private fallout from Hamlet’s violent act.

The dramatic action centers around the fallout of Polonius' murder. Gertrude reveals to Claudius that
Hamlet is responsible for the killing, prompting Claudius to quickly devise a plan to send Hamlet away.
Claudius' reaction is politically strategic rather than emotionally-driven: "His liberty is full of threats to
all" (4.1.14). His focus is on protecting himself and his throne rather than mourning Polonius. Claudius
decides to send Hamlet to England, instructing Rosencrantz and Guildenstern to accompany him.

The language in this scene is marked by pragmatic and political diction. Claudius’ words are laced with
calculation, as he weighs the consequences of Hamlet’s actions on his reign. The allusion to Hamlet’s
“liberty” as a threat and his reference to his rule being “soft and gentle” (4.1.20) showcase Claudius'
manipulation of language to suit his political needs. There is also dramatic irony at play: Claudius seeks
to send Hamlet away to his death, but the audience is aware that Hamlet is more dangerous than ever.

The tone is ominous and tense, as Claudius attempts to maintain control of the increasingly chaotic
situation. The audience can sense his growing desperation and fear of losing power, yet there is also a
sense of detachment in his cold pragmatism. This detachment contrasts sharply with the emotional
turmoil Hamlet is going through, highlighting Claudius’ villainous nature. The atmosphere remains one of
secrecy and political maneuvering.

The audience is likely to feel a combination of tension and anticipation. While Claudius’ scheming
reinforces his role as the antagonist, there is a sense that Hamlet’s departure for England will only
escalate the conflict. The audience may also pity Gertrude, who is caught between her son and husband,
and whose loyalty to Hamlet is increasingly fragile.

The political intrigue of this scene mirrors Renaissance concerns about monarchy, power, and the
consequences of unchecked ambition. Claudius’ manipulative behavior reflects the anxieties of
Elizabethan society about rulers who prioritize personal power over the welfare of the state,
emphasizing the theme of corruption.

Act 4, Scene 2 Reflection

This brief scene takes place somewhere within the castle, as Rosencrantz and Guildenstern search for
Hamlet following the murder of Polonius. The location is not explicitly defined, but the sense of
movement and pursuit adds to the chaotic, almost absurd atmosphere. The tone is playful yet dark, as
Hamlet verbally spars with the two courtiers, avoiding giving them straight answers.

The dramatic action is minimal, with Hamlet engaged in a battle of wits with Rosencrantz and
Guildenstern, mocking their attempts to retrieve Polonius’ body. Hamlet’s lines, such as "The body is
with the king, but the king is not with the body" (4.2.25), carry multiple meanings, reflecting Hamlet’s
complex state of mind and his increasing disillusionment with the political world around him.

The language in this scene is characterized by wordplay and puns, emphasizing Hamlet’s intellectual
dominance over Rosencrantz and Guildenstern. The line mentioned above about the body and the king
is an example of verbal irony, as Hamlet refers both to the literal body of Polonius and the metaphorical
"body" of the monarchy, suggesting the disconnect between Claudius and the throne’s legitimacy.
Hamlet’s language becomes more cryptic and philosophical, indicating his growing detachment from the
events around him.

The tone is sardonic and deflective, with Hamlet using humour to conceal his deeper emotions. The
atmosphere, however, remains uneasy, as the tension from Polonius’ murder lingers in the background.
Hamlet’s behaviour in this scene is erratic, and the audience may sense that he is on the brink of
something dangerous.

The audience might find Hamlet’s behaviour amusing, but also increasingly concerning. His wordplay
reflects his sharp mind, but it also shows his avoidance of directly confronting the murder he has
committed. There’s an underlying sense of anxiety for the audience, who know that Hamlet’s actions are
leading to further consequences.

The use of wit and wordplay in this scene ties into Elizabethan intellectual traditions, where courtly
behavior often involved intricate displays of language and thought. Hamlet’s wit not only reflects his
superiority over Rosencrantz and Guildenstern but also critiques the superficial nature of the political
games being played in Elsinore.

Act 4, Scene 3 Reflection

This scene takes place in a public area of the castle, where Claudius confronts Hamlet about Polonius’
body and makes final preparations to send Hamlet to England. The atmosphere here is tense and
foreboding, as both Hamlet and Claudius are aware that this confrontation holds great significance. The
presence of attendants and courtiers adds to the formality of the encounter, emphasizing the public
nature of the conflict.

Claudius questions Hamlet about Polonius’ body, but Hamlet continues to evade, offering cryptic and
macabre responses. He refers to the decaying body and the cycle of life, with his famous line, "A man
may fish with the worm that hath eat of a king, and eat of the fish that hath fed of that worm" (4.3.28-
29), reflecting on the inevitability of death and decay. Claudius then informs Hamlet that he is being sent
to England, which Hamlet accepts with feigned compliance. Once Hamlet exits, Claudius reveals his true
plan: Hamlet is to be executed upon arrival in England.

The language in this scene is rich in imagery related to death and decay. Hamlet’s comparison of kings
and beggars to worms underscores the theme of mortality, which runs throughout the play. The
metaphor suggests the ultimate equality of all people in death, reflecting Hamlet’s increasingly fatalistic
worldview. The use of dramatic irony is also prevalent, as the audience knows that Hamlet is being sent
to his death, while Hamlet outwardly appears to accept his fate.

The tone of this scene is darkly humorous, particularly in Hamlet’s lines about the circle of life and death,
but it is also deeply ominous. The audience senses that Hamlet is in grave danger, even as he appears
unfazed by Claudius’ attempts to control him. The atmosphere becomes increasingly sinister when
Claudius reveals his true intentions to have Hamlet killed.

The audience may admire Hamlet’s wit and intelligence, but they are also likely to feel anxiety about his
fate. Claudius’ cold manipulation heightens the tension, as the audience is now fully aware of the deadly
game being played between him and Hamlet. Hamlet’s resignation to being sent to England could also
evoke sympathy, as the audience sees him caught in a web of political intrigue.

The political maneuvering in this scene reflects Renaissance concerns about assassination, exile, and the
use of foreign powers to eliminate political threats. Claudius’ use of England to dispose of Hamlet
mirrors the way monarchs in Shakespeare’s time would often exile or eliminate rivals through external
alliances, highlighting the ruthless nature of power politics.

Act 4, Scene 4 Reflection

This scene is set in a field in Denmark, where Hamlet encounters a captain from Fortinbras’ army on his
way to Poland. The setting is expansive, in contrast to the claustrophobic atmosphere of Elsinore, and
the distant war serves as a backdrop to Hamlet’s inner conflict. The natural, outdoor setting introduces a
reflective atmosphere, as Hamlet contemplates action and inaction.

The dramatic action revolves around Hamlet’s conversation with the captain, who informs him that
Fortinbras is marching to fight for a small, worthless piece of land. This encounter triggers Hamlet’s
soliloquy, in which he reflects on his own hesitation to take action. He contrasts Fortinbras’ willingness to
fight for "a little patch of ground" (4.4.18) with his own failure to avenge his father’s murder. Hamlet
resolves to take action, declaring, "My thoughts be bloody, or be nothing worth!" (4.4.66).

The language in Hamlet’s soliloquy is introspective and philosophical. Hamlet uses rhetorical questions
to probe his own motives, asking, "What is a man, / If his chief good and market of his time / Be but to
sleep and feed?" (4.4.33-34). This reflects Hamlet’s existential crisis and his frustration with his own
indecision. The use of juxtaposition between Fortinbras’ seemingly pointless campaign and Hamlet’s
significant yet unfulfilled duty to his father emphasizes the theme of action versus inaction.

The tone is reflective but gradually becomes more determined as Hamlet works through his thoughts.
The initial sense of despair and self-reproach gives way to resolve by the end of the soliloquy. The
atmosphere is quiet and contemplative, with the presence of the army in the background serving as a
constant reminder of the impending conflict.

The audience is likely to sympathize with Hamlet’s internal struggle, as this soliloquy reveals his deep
self-awareness and moral questioning. At the same time, his resolution to embrace bloody thoughts
signals a turning point in his character, eliciting a sense of anticipation for the violent events to come.
The audience may also reflect on the futility of war, as embodied by Fortinbras’ campaign, which
heightens the play’s tragic themes.

This scene reflects the political realities of the time, where conflicts over land and power were frequent.
Fortinbras’ military campaign parallels the territorial struggles of Renaissance Europe, while Hamlet’s
internal conflict speaks to the humanist concerns of the era, which focused on individual conscience and
the moral implications of action.

Act 4, Scene 5 Reflection

The scene takes place back in Elsinore, in a royal hall where Gertrude, Horatio, and others are discussing
Ophelia’s madness. The court setting contrasts with the intimate nature of Ophelia’s grief, and the
atmosphere is one of tension and sorrow. The use of flowers as props, which Ophelia distributes later in
the scene, adds to the symbolism of innocence lost and death.

The action shifts to Ophelia’s mental breakdown, as she enters singing fragmented songs about death,
betrayal, and lost love. Her madness is a manifestation of the tragedies that have befallen her,
particularly the death of her father and Hamlet’s rejection. Laertes soon enters, enraged by his father’s
death, and confronts Claudius, seeking revenge. Claudius, ever the politician, manipulates Laertes’ anger,
turning him into an ally against Hamlet.

Ophelia’s language is fragmented and filled with symbolic references, particularly in her songs. She sings
of "a baker’s daughter" (4.5.41), a reference to a folk tale about deception and transformation, mirroring
her own betrayal and loss of identity. The flowers she distributes have symbolic meanings—rosemary for
remembrance, fennel for flattery, and rue for regret—illustrating her deep but disordered grief. Claudius’
language, in contrast, is calculated, as he uses rhetorical questions to guide Laertes toward his plan of
revenge.

The tone is tragic and unsettling, particularly in Ophelia’s madness. Her innocent songs are filled with
dark undertones, and her fragmented speech heightens the sense of psychological disintegration.
Laertes’ fury brings an added layer of tension, as the audience senses that his desire for revenge will
drive the play toward its violent conclusion. The atmosphere is chaotic, with emotions running high and
the threat of further violence looming.

The audience is likely to feel deep sympathy for Ophelia, whose descent into madness is one of the most
tragic elements of the play. Her innocence and youth make her unraveling particularly poignant. At the
same time, the audience may feel a sense of dread as Laertes is manipulated by Claudius, knowing that
this will lead to more death and destruction.

Ophelia’s madness reflects Elizabethan views on the fragility of women and the effects of grief on the
mind. Women were often seen as more susceptible to mental breakdowns, particularly under the strain
of emotional or social upheaval. Laertes’ desire for revenge also mirrors the Renaissance concern with
honor and familial duty, which often led to blood feuds and political conflicts.