Act III, Scene 1 Summary and Analysis

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Act III, Scene 1:

The scene opens as Claudius, Gertrude, Polonius, Ophelia, Rosencrantz, and Guildenstern discuss Hamlet’s madness. Rosencrantz and Guildenstern admit they have not been able to uncover the source of Hamlet’s troubles; however, they do report that Hamlet seemed pleased about the arrival of the acting troupe and its forthcoming performance. Gertrude exits as Claudius and Polonius prepare to spy on Hamlet and Ophelia. Telling Ophelia where to stand, they hide as they hear Hamlet approaching.

As he enters the room, Hamlet mulls aloud over the question of whether to commit suicide. He muses that the only reason people endure the burdens and suffering of life is that they fear the unknown of death. Acting on Claudius and Polonius’s orders, Ophelia interrupts Hamlet’s soliloquy and attempts to return some romantic gifts he once gave her. Hamlet denies ever having given Ophelia anything, erratically claiming that he loved her once before declaring that he never loved her at all. He then goes on to tell Ophelia that she should enter a nunnery rather than give birth to sinners. Increasingly agitated, Hamlet condemns marriage itself, saying that no more marriages should be allowed, before leaving the room.

Alone, Ophelia laments the apparent loss of such a “noble mind,” as Claudius and Polonius come out of their hiding place. Claudius declares that Hamlet’s madness does not appear to be caused by love. Furthermore, he suspects that Hamlet is not simply insane, observing that Hamlet’s melancholy behavior seems to be the result of something weighing on his soul. Fearing that Hamlet might prove dangerous in his current condition, Claudius resolves to send him on an errand to England in the hope that travel will cure whatever ails him. Polonius thinks this is a good idea, though he still believes that Ophelia is the cause of Hamlet’s behavior. He suggests that Hamlet be sent to Gertrude after the play, proposing that he once again hide and eavesdrop on their conversation.

Analysis:

These scenes contain Hamlet’s “To be, or not to be” soliloquy, arguably some of the most famous lines in all of Western literature. In this soliloquy, Hamlet reflects on the inherent unknowability of death as he ponders, yet again, the idea of suicide. Hamlet’s contemplative nature is on full display as he considers the merits of suicide from a philosophical, rather than personal, perspective. Without disclosing his own reasons for contemplating suicide, Hamlet concludes that people only bear the torments and burdens of life because they fear the unknown of death. Hamlet argues that contemplation robs individuals of their boldness (“Thus conscience does make cowards of us all”), highlighting his capacity for introspection as he pinpoints his own greatest weakness.

While Hamlet seems remarkably lucid during his soliloquy, his subsequent conversation with Ophelia is much more confusing. Hamlet rudely tells Ophelia to “Get thee to a nunnery” (Elizabethan audiences would have recognized “nunnery” as a euphemism for “brothel”), building on his earlier suggestion that Polonius is a “fishmonger” (pimp) and insinuating that Ophelia, who Hamlet seems to know is acting on her father’s orders, is prostituting herself. While Hamlet frequently claims that he is merely acting the part of a madman, his criticism of Ophelia seems to stem from very real feelings of frustration toward women in general. The dual meaning of “nunnery” suggests that Hamlet’s main complaint is against those who appear pious or good but are secretly sinful, a criticism he frequently directs toward the women in his life.

In an earlier scene, Hamlet translates a specific complaint against his mother into disillusionment with women as a whole, declaring, “Frailty, thy name is woman.” A similar pattern emerges in Hamlet’s conversation with Ophelia when he dismisses marriage itself, saying, “wise men know / well enough what monsters you make of them.” Hamlet’s treatment of Ophelia only worsens, and his overtly sexual responses to her polite remarks during the play become increasingly inappropriate and even borderline cruel. Whether or not Hamlet ever truly loved Ophelia, it now appears that their romantic relationship is over, and his apparent frustration with women in general sets the stage for the forthcoming confrontation with his mother.

The performance of the play reveals that just as Claudius is using Rosencrantz and Guildenstern to spy on Hamlet, Hamlet is surveilling Claudius. These competing schemes further contribute to the atmosphere of secrecy and deceit that has taken hold of the court. Claudius’s extreme reaction to the poisoning scene in the play is, for Hamlet, a sure sign of his guilt. Horatio, too, now knows of Claudius’s treachery. Before he leaves to go to his mother, Hamlet notes that it is midnight (the “witching time”) and says that he feels empowered to act villainously: “Now I could drink hot blood / And do such bitter business as the day / Would quake to look on.” These lines give the audience a glimpse into Hamlet’s dark state of mind, foreshadowing the violence that is to come.

Expert Q&A

Why is repetition used frequently in Hamlet's soliloquy in Act 3, Scene 1?

Repetition in Hamlet's soliloquy in Act 3, Scene 1 emphasizes his emotional intensity and desire for escape through death, which he equates with sleep. The frequent use of "sleep" and "die" highlights his longing for peace and his struggle with life's burdens. Additionally, the repetition underscores Hamlet's internal conflict and his rationalization of suicide, without directly addressing his torment.

In Hamlet act 3, scene 1, how does Ophelia react when Hamlet leaves?

Ophelia is deeply distressed after Hamlet leaves, not only because of his harsh words but more due to witnessing his apparent madness. She mourns the transformation in Hamlet, recalling his noble and admirable character before his mental decline. Her speech reflects her sorrow over seeing someone she loved and respected now "o'erthrown" by madness, making it difficult for her to cope with the drastic change in his behavior.

In Hamlet, what does the Queen attribute Hamlet's madness to in act 3, scene 1?

In Act 3, Scene 1 of Hamlet, Queen Gertrude attributes Hamlet's apparent madness to his love for Ophelia. She expresses hope that Ophelia's "good beauties" might be the cause of his "wildness," suggesting that Ophelia's virtues could restore Hamlet to his normal self. Despite this, Gertrude earlier suspects that Hamlet's madness may be due to his father's death and her hasty remarriage, reflecting her internal conflict about her role in his condition.

Where is conflict presented in act 3, scene 1 of Hamlet?

Conflict in Act 3, Scene 1 of Hamlet is presented through internal and external struggles. Claudius experiences internal conflict as he feels guilt over his brother's murder. Hamlet's famous "To be, or not to be" soliloquy reveals his internal conflict of indecision about life and revenge. Externally, Hamlet's harsh treatment of Ophelia, denying his love and urging her to a nunnery, creates tension. Claudius, observing this, decides Hamlet must be removed to England.

In Act 3, Scene 1 of Hamlet, what is the effect of Claudius' soliloquy?

Claudius' soliloquy in Act 3, Scene 1 of Hamlet reveals his guilt over King Hamlet's murder, confirming the ghost's truthfulness and his own moral torment. He acknowledges his "heavy burden" of conscience, likening his deceitful words to a prostitute's painted face, suggesting his actions are uglier than his false words. This soliloquy emphasizes Claudius as a complex character who, despite his villainy, experiences genuine guilt and inner conflict.

In Act 3, Scene 1 of Hamlet, does "of" in "That patient merit of the unworthy takes" mean "from," implying the merit doesn't belong to "the unworthy"?

"That patient merit of the unworthy takes" (Act 3, Scene 1, Hamlet)

In "That patient merit of the unworthy takes," the word "of" means "from," implying that the merit does not belong to "the unworthy." The context describes how those with true merit endure disdain from lesser individuals who lack the ability to appreciate their talents. This is a common theme across various fields, as seen with artists like Van Gogh and characters like Roark in The Fountainhead, who face criticism from those unworthy of judging their capabilities.

What are examples of euphemism, hyperbole, assonance, and consonance in Hamlet's act 3, scene 1 soliloquy?

In Act 3, Scene 1 of Hamlet, euphemism is found in "to be or not to be," which softens the contemplation of suicide. Hyperbole is evident in phrases like "whips and scorns of time" and "sea of troubles," exaggerating life's burdens. Assonance appears in "The fair Ophelia!—Nymph, in thy orisons," with "o" sounds in "Ophelia" and "orisons." Consonance is seen in "With a bare bodkin? Who would fardels bear," repeating "b" sounds.

What does the following quote from Act 3, Scene 1 reveal about Claudius' character?

How smart a lash that speech doth give my conscience!

The harlot's cheek, beautied with plastering art,

Is not more ugly to the thing that helps it

Than is my deed to my most painted word:

O heavy burthen!

This quote reveals Claudius' deep sense of guilt over his actions. He compares his deceptive words to a harlot's makeup, acknowledging that his words mask his evil deeds just as makeup hides ugliness. Claudius is aware of his wrongdoing and feels the heavy burden of his conscience, indicating that despite his position as king, he is troubled by the moral implications of his actions.

In act 3, scene 1, what resolution does Hamlet come to?

In Act 3, Scene 1, Hamlet resolves to live and pursue revenge against Claudius, despite contemplating suicide in his "To be or not to be" soliloquy. He decides against suicide due to fear of the unknown afterlife and the possible consequences of breaking his oath to his father's ghost. Additionally, Hamlet rejects Ophelia, demonstrating his deteriorating mental state. His resolution to live and seek revenge seals his fate, reflecting his internal conflict and despair.

How does Hamlet's use of language in act 3, scene 1 of Hamlet reveal his complex thoughts about Ophelia?

In Act 3, Scene 1 of Hamlet, does Hamlet show love for Ophelia?

In Act 3, Scene 1, Hamlet's love for Ophelia is ambiguous due to his conflicting behavior. He tells Ophelia "I did love you once," suggesting genuine feelings. However, his rudeness and questioning of her "honesty" could be part of his feigned madness, a strategy against Claudius. Productions differ on whether Hamlet realizes they are being spied upon, impacting his behavior. At Ophelia's funeral, he professes deep love, indicating complex emotions.

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