Act II, Scene 1 Summary and Analysis
Act II, Scene 1:
Act II opens as Polonius orders his servant Reynaldo to follow Laertes to Paris and seek out any Danes that may be acquainted with him. Wanting to keep tabs on Laertes’s behavior, Polonius suggests that Reynaldo spread false rumors about Laertes to see whether they are confirmed or denied by those who know him. After giving Reynaldo specific instructions on how to surreptitiously obtain information about his son, Polonius sends him on his way.
After Reynaldo leaves, Ophelia enters, obviously upset. She tells her father that Prince Hamlet entered her room looking disheveled and wild. He grabbed her by the arm and let out a deep sigh before walking away without saying anything. Polonius says he was wrong to have thought that Hamlet’s interest in Ophelia was trifling and concludes that Hamlet’s feelings for Ophelia must have driven him to madness. Believing he has uncovered the cause of Hamlet’s recent strange behavior, Polonius goes to tell the king.
Analysis:
Act II further develops the character of Polonius, who may be interpreted in a variety of ways. Polonius’s decision to pay Reynaldo to spy on his son emphasizes his controlling nature, which we first glimpsed in act I. Polonius may be seen as a sneaky manipulator or a foolish busybody—indeed, he has been portrayed as both by various productions. On one hand, Polonius’s willingness to spy on his son and his specific instructions to Reynaldo on how best to extract information from Laertes’s friends suggest that Polonius is quite calculating. We see further evidence of Polonius’s scheming when he proposes that the king and queen use Ophelia as bait to spy on Hamlet. Polonius does not seem to consider how such an encounter will affect his daughter, who has already clearly been traumatized by Hamlet’s erratic behavior. If we interpret Polonius as a shrewd manipulator, these scenes suggest that he values information and scheming more than the well-being of his children.
Alternatively, Polonius is easily interpreted as a bumbling fool, and his actual advice to Reynaldo does seem to suggest that he is much less cunning and subtle than he thinks. In a plot that seems counterproductive at best, Polonius plans to spread false and potentially damaging rumors about his son just to find out whether or not Laertes is misbehaving. In Polonius’s conversation with his daughter, he immediately jumps to the simplistic (and incorrect) conclusion that Hamlet must be mad with love for Ophelia. When Polonius attempts to convey his “discovery” to the king and queen, Gertrude is forced to interrupt his long, bombastic speech to tell him to get to the point: “More matter with less art.” In his later interactions with Hamlet, Polonius does not seem to pick up on Hamlet’s subtle verbal barbs, dismissing most of what Hamlet says as the ravings of a madman. Polonius also comically interrupts the player’s dramatic speech to complain that it is “too long,” suggesting that he is not cultured or intellectual.
These scenes also introduce us to the characters of Rosencrantz and Guildenstern, who will always appear together. Rosencrantz and Guildenstern are often treated like a single character, and even the king’s and queen’s respective goodbyes (“Thanks, Rosencrantz and gentle Guildenstern. / Thanks, Guildenstern and gentle Rosencrantz.”) seem to imply that differentiating between the two men is difficult and unnecessary. Though summoned by the king and queen to spy on Hamlet, Rosencrantz and Guildenstern prove inept, and Hamlet sees through their ploy almost immediately. Unlike Claudius, Rosencrantz and Guildenstern do not necessarily seem to have harmful intentions, yet they are easily dominated, manipulated, and controlled by others, as evidenced by their interactions with both Claudius and Hamlet.
Act II reveals that Hamlet’s scheme of madness has progressed significantly. Though some scholars argue that Hamlet is, by this point, already truly insane, the clever and sharp criticisms that lurk beneath his seemingly nonsensical speeches are strong evidence that he is still in command of his mind. When Hamlet calls Polonius a “fishmonger,” for example, it could be meant as a euphemism for “pimp”—perhaps in reference to Polonius’s plan to use his daughter to trick Hamlet. It could also be taken as a simple insult meant to insinuate that Polonius is of low stature. Convinced Hamlet is crazy, Polonius pays little attention to these remarks, even as Hamlet subtly insults him to his face.
Hamlet again shows clarity with the arrival of the players, quickly coming up with a ploy to prove Claudius’s guilt. His plan with the play seems to indicate that Hamlet is either stalling for more time or remains unconvinced of Claudius’s guilt. After watching one of the players perform an especially dramatic speech, Hamlet disparages himself for not being able to muster up the same level of passion for his real-life revenge, wondering, “What would he do / Had he the motive and cue for passion / That I have?” Though he vows to do better, Hamlet’s painful awareness of his inability to take action remains a source of his internal conflict throughout the play.
Expert Q&A
How does Shakespeare use indirect characterization in Act 2, Scene 1 to portray Hamlet's feigned insanity?
Shakespeare uses indirect characterization in Act 2, Scene 1 to portray Hamlet's feigned insanity through Ophelia's account of his strange behavior. This scene follows Hamlet's encounter with his father's ghost, which leaves him visibly disturbed. Ophelia describes his disheveled appearance and silent, intense interaction with her, prompting her to report to Polonius. Shakespeare uses this indirect method to highlight Hamlet's supposed madness, while also exploring the varying interpretations and motivations of other characters.
What is Hamlet's intention in Act 2, Scene 1 of Hamlet, why does he present himself to Ophelia in a "distracted" state, and does he truly love her?
In Act 2, Scene 1, Hamlet presents himself to Ophelia in a "distracted" state to further his plan of appearing mad, ensuring that Polonius will report his behavior to King Claudius. This act helps him gather information and avoid suspicion while plotting revenge. Despite his erratic behavior, it is suggested that he truly loves Ophelia, as evidenced by his grief at her grave, but distances himself to protect her and focus on his mission.
What does Polonius want Reynaldo to discover about Laertes' life in France in Act 2, Scene 1?
Polonius instructs Reynaldo to discreetly gather information about Laertes' behavior in France by gossiping with other Danes in Paris. He suggests Reynaldo spread false rumors about Laertes, such as gambling or drinking, to provoke genuine accounts of his actions. Polonius believes this indirect method will reveal the truth about Laertes' conduct, although he advises Reynaldo to remain skeptical of the gossip he collects.
How does dramatic irony, when Ophelia tells her father Hamlet is mad in Hamlet act 2, scene 1, affect the plot, mood, theme, and character?
Dramatic Irony: We know Hamlet is only acting mad, but the characters don't.
Theme: The theme of uncertainty: Might Hamlet have acted this way because he is uncertain about his relationship with Ophelia?
Mood/Atmosphere (not Tone): I have no idea...?
Character: Hamlet begins to act mad, and we know it will later progress more. We also know that Polonius is only using his daughter to get closer to the king, which eventually leads to his death.
Dramatic irony in this scene emphasizes the theme of uncertainty and appearance versus reality, as Hamlet feigns madness while Ophelia and Polonius misinterpret his actions. This misunderstanding furthers the plot by alienating Ophelia from Hamlet and highlighting Polonius's faulty judgment, which impacts the younger generation. The mood is tense and unsettling, as Ophelia's frightened tone suggests panic. These elements reveal the complexity of relationships and the consequences of deception and misinterpretation.
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