Hamlet by William Shakespeare Read Free Book Online Page B

and nonsensical speech suggests madness, but many of his remarks contain implicit comments/criticisms on Polonius’ character. This uncertainty as to the extent and veracity of Hamlet’s madness has been the subject of much debate in the play’s critical history, as the audience remains uncertain as to whether he is really mad or merely acting, or, perhaps, there is a genuine disturbance due to his father’s death that he is exaggerating for his own purposes. Rosencrantz and Guildenstern arrive and Polonius leaves.
    Lines 228–372: Hamlet seems pleased to see Rosencrantz and Guildenstern, but asks them why they have come to the “prison” of Denmark. They cheerfully claim that they have come solely to see Hamlet, but he tells them that he knows that Claudius and Gertrude sent for them. Our perception of Hamlet’s sanity is further confused during this exchange, as his manner toward Rosencrantz and Guildenstern is introspective and melancholy, but shows nothing of the “madness” he portrayed to Polonius. Rosencrantz tells him thatthey have engaged a group of “Players,” “the tragedians of the city,” that Hamlet has previously enjoyed watching. The presence of the Players further develops the theme of theater/performance and the conversation about them establishes a metatheatrical commentary on the conventions of genre, as Hamlet lists various recognizable “roles” (the “adventurous knight,” the “lover” and the “clown,” for example). A flourish announces the arrival of the Players and Hamlet tells Rosencrantz and Guildenstern that they are “welcome to Elsinore,” adding that his “uncle-father and aunt-mother are deceived” about his madness, a description that emphasizes the “incestuous” nature of Claudius and Gertrude’s relationship, and the uncomfortably close nature of various family dynamics in the play.
    Lines 373–533: Polonius returns, and Hamlet switches back to a more disjointed pattern of speech. He breaks off to welcome the Players and asks one man to recite a speech about the fall of Troy, which he begins and which is then taken up by the player, emphasizing Hamlet’s potential role as an “actor.” Pleased with the recital, Hamlet asks Polonius to “see the players well bestowed” and asks for a performance of
The Murder of Gonzago
the next day, adding that he has written “some dozen or sixteen lines” that he would like them to add.
    Lines 534–591: Hamlet’s soliloquy reveals his anguish at his own inaction, a factor that conflicts with his potential role of revenge-hero and one of the ways in which the play challenges expectations of genre. He comments that the player who gave the speech was able to summon emotion for a character in a play, whereas he himself is a “dull and muddy-mettled rascal” who remains unmotivated by a genuine “cue for passion.” The tensions between actions and words are explored again, as Hamlet comments that, despite being “Prompted to [his] revenge by heaven and hell,” all he does is “unpack” his heart “with words.” He outlines his plan to establish Claudius’ guilt: the players will act out “something like” the death of his father, while he watches Claudius’ reaction. This will give him proof that Claudius really did commit the murder and allay his concern that the spirit might have been “the devil,” working to damn him, rather than the genuine ghost of his father.
ACT 3 SCENE 1
    Lines 1–61: Claudius questions Rosencrantz and Guildenstern. They report that they cannot find out what is troubling Hamlet, who has evaded their questions “with a crafty madness.” The king tells them to encourage Hamlet’s interest in the players and they leave. Claudius asks Gertrude to leave, so that he and Polonius may secretly observe the arranged meeting between Ophelia and Hamlet. Polonius “directs” Ophelia in how she is to act, drawing attention once more to theater/performance and appearance/reality as he