SparkNotes: Hamlet: Act III, scene i Act III, scene i Act III, scene i, page 2 page 1 of 2 Summary Claudius and Gertrude discuss Hamlet’s behavior with Rosencrantz and Guildenstern, who say they have been unable to learn the cause of his melancholy. They tell the king and queen about Hamlet’s enthusiasm for the players. Encouraged, Gertrude and Claudius agree that they will see the play that evening. Rosencrantz and Guildenstern leave, and Claudius orders Gertrude to leave as well, saying that he and Polonius intend to spy on Hamlet’s confrontation with Ophelia. Gertrude exits, and Polonius directs Ophelia to walk around the lobby. Polonius hears Hamlet coming, and he and the king hide. Hamlet enters, speaking thoughtfully and agonizingly to himself about the question of whether to commit suicide to end the pain of experience: “To be, or not to be: that is the question” (III.i.58).

He says that the miseries of life are such that no one would willingly bear them, except that they are afraid of “something after death” (III.i.80). Because we do not know what to expect in the afterlife, we would rather “bear those ills we have,” Hamlet says, “than fly to others that we know not of” (III.i.83–84). In mid-thought, Hamlet sees Ophelia approaching. Having received her orders from Polonius, she tells him that she wishes to return the tokens of love he has given her. Angrily, Hamlet denies having given her anything; he laments the dishonesty of beauty, and claims both to have loved Ophelia once and never to have loved her at all. Bitterly commenting on the wretchedness of humankind, he urges Ophelia to enter a nunnery rather than become a “breeder of sinners” (III.i.122–123). He criticizes women for making men behave like monsters and for contributing to the world’s dishonesty by painting their faces to appear more beautiful than they are.

Working himself into a rage, Hamlet denounces Ophelia, women, and humankind in general, saying that he wishes to end all marriages. As he storms out, Ophelia mourns the “noble mind” that has now lapsed into apparent madness (III.i.149). The king and Polonius emerge from behind the tapestry. Claudius says that Hamlet’s strange behavior has clearly not been caused by love for Ophelia and that his speech does not seem like the speech of insanity. He says that he fears that melancholy sits on something dangerous in Hamlet’s soul like a bird sits on her egg, and that he fears what will happen when it hatches. He declares that he will send Hamlet to England, in the hope that a change of scenery might help him get over his troubles. Polonius agrees that this is a good idea, but he still believes that Hamlet’s agitation comes from loving Ophelia. He asks Claudius to send Hamlet to Gertrude’s chamber after the play, where Polonius can hide again and watch unseen; he hopes to learn whether Hamlet is really mad with love.

Claudius agrees, saying that “[m]adness in great ones” must be carefully watched (III.i.187). Analysis “To be, or not to be” is the most famous line in English literature. What does it mean? Why are these words and what follows special? One reason is that they are a stunning example of Shakespeare’s ability to make his characters seem three-dimensional. The audience senses that there is more to Hamlet’s words than meets the ear—that there is something behind his words that is never spoken. Or, to put it another way, the audience witnesses signs of something within Hamlet’s mind that even he isn’t aware of. Hamlet is a fictional character who seems to possess a subconscious mind. How does Shakespeare manage to accomplish this? In the first place, Hamlet doesn’t talk directly about what he’s really talking about. When he questions whether it is better “to be, or not to be,” the obvious implication is, “Should I kill myself?” The entire soliloquy strongly suggests that he is toying with suicide and perhaps trying to work up his courage to do it. But at no point does he say that he is in pain or discuss why he wants to kill himself.

In fact, he never says “I” or “me” in the entire speech. He’s not trying to “express” himself at all; instead, he poses the question as a matter of philosophical debate. When he claims that everybody would commit suicide if they weren’t uncertain about the afterlife, it sounds as if he’s making an argument to convince an imaginary listener about an abstract point rather than directly addressing how the question applies to him. Now, it’s perfectly ordinary for characters in plays to say something other than what they mean to other characters (this suggests that they are consciously hiding their true motives), but Hamlet does it when he’s talking to himself. This creates the general impression that there are things going on in Hamlet’s mind that he can’t think about directly. 1 Shakespeare's Hamlet Act 3 Scene 1 - Hamlet Confronts Ophelia (Get thee to a nunnery) Explanatory Notes for Act 3, Scene 1 From Hamlet, prince of Denmark. Ed. K. Deighton. London: Macmillan. _________ 1. drift of circumstance, "roundabout method. 'Drift' occurs in ii. 1.

10, and 'circumstance' in this same sense, in i. 5. 127, and the two words in T. C. iii. 3. 113, 4, 'I do not strain at the position, � ... but at the author's drift; Who in his circumstance expressly proves,'" etc. (Cl. Pr. Edd.). Cp. also iii. 3. 83, below. 2. Get from him ... confusion, find out from him what has led him to behave in this excited manner; cp. T. C. ii. 3. 135, "the savage strangeness he puts on': J. C. i. 3. 60, "And put on fear and cast yourself in wonder"; in neither passage is there any idea of making a pretence. Schmidt takes puts on as = incite, instigate, but the two next lines show that the confusion refers to Hamlet himself only. 3,4. Grating ... lunacy, thus disturbing his peaceful life with outbursts of dangerous madness; the figurative sense of grating is from the literal sense of two bodies roughly rubbing against each other, as in i. H. IV. iii.

1. 132, "Or a dry wheel grate on the axle-tree." 6. he will .... speak, he cannot by any method be persuaded to say. 7. forward to be sounded, inclined to let us find out what is at the bottom of his mind. 8. But, with ... aloof, but with a cunning such as is seen in mad people holds us at a distance. 11. Most like a gentleman, with the greatest courtesy. 12. But with ... disposition, though he was evidently very ill [he] inclined to have much to do with us. 13, 4. Niggard ... reply, if question is used in its ordinary sense, this statement is not true, for Hamlet had plied them well with questions of various kinds, whereas they can scarcely be said to have made any demands of him. Warburton therefore would transpose Niggard and Most free. Against this it may be urged that Hamlet could not be said to be niggard of his answers when none were required of him. Malone and others take question as = conversation, discourse, a sense which it often bears in Shakespeare.

But here again we are as far from the fact as ever, for Hamlet conversed with them freely on a variety of subjects. The real explanation seems to me that suggested by the Cl. Pr. Edd., that "perhaps they did not intend to give a correct account of the interview." Possibly after Hamlet's generous forbearance in not forcing them to a confession as to the reason of their coming, they may have felt some scruples of delicacy in betraying what they knew; probably they felt that if they reported much of the conversation it would be discovered how completely Hamlet had seen through them, what poor diplomatists they had shown themselves; of our demands, as regarded our demands; see Abb. � 173. 14, 5. Did you pastime? did you test him as regards to his inclination to take part in any amusement? Cp. M. M. i. 2. 186, "bid herself assay him." The substantive assay, which is merely another spelling of essay, from Lat. exagium, a weighing, is now used only in the literal sense of the testing of metal or weights. 17. o'er-raught, passed; literally over-reached. 20.

as I think. I believe; they ... order, they have already received orders. 23. matter, in this word, according to Delius, there is a tinge of contempt. 24. doth much content me, is a great satisfaction to me. 26. give him ... edge, it seems doubtful whether this means 'sharpen his inclination,' or 'push him towards,' in which sense we commonly use the verb to 'egg.' The next line seems to indicate the latter meaning. 29. closely, privately, secretly. 31. Affront, meet face to face, confront; the only sense of the word in Shakespeare. whereas its only meaning now is to 'insult,' from the idea of meeting with too bold a face. 32. lawful espials, who may justifiably act as spies in such a matter; used again in this concrete sense in i. H. VI. i. 4. 8, iv. 3. 6. Cp. "intelligence," K. J. iv. 2. 116; "speculations," Lear. iii. 1. 24. 33. bestow ourselves, station ourselves. 34.

encounter, meeting, interview: frankly, freely; F. franc, free. 35. And gather ... behaved, and infer from his behaviour. 36. affliction of his love, the passionate love he feels. 37. That thus ... for, which causes him to suffer in this way. 38. for your part, as regards you. 39. your good beauties, the fascinations of your great beauty; be the happy cause, may happily prove to be the cause. 40-2. so shall I ... honours, for in that case I shall be able to cherish the hope that your various virtues will restore him to his usual healthy state of mind, with a result honourable alike to him and to you. 43. Gracious, addressed to the king; cp. "High and mighty," iv. 7. 43; so please you, provided it is agreeable to you. 44. bestow ourselves, place ourselves where we shall be unseen; cp. 1. 33, above; Read on, fix your eyes on as though reading. 45, 6. That show ...

loneliness, the appearance of your being occupied in that way will account for you being here all alone. 46-9. We are ... himself, we are often guilty, � as only too common experience shows, � of coating over our intentions, vile as the devil himself, with looks of sanctity and pious acts; for sugar o'er, cp. i. H. IV. i. 3. 251, "Why, what a candy deal of courtesy The fawning greyhound then did proffer me!" and below, iii. 1. 156, iii. 2. 65. 51. beautified ... art, which owes its beauty to rouge, etc., cp. Cymb. iii. 4. 51, 2, "Some jay of Italy Whose mother was her painting." 52. Is not ... it, is not more ugly in comparison with the thing to which it owes its beauty; cp. Macb. iii. 4. 64, "0, these flaws and starts Impostors to true fear." 53. Than is ...

word, than are my actions in comparison with the specious language in which I dress them up; most painted, thickly plastered over with specious words; deed does not refer to the particular deed of murdering his brother, but to his base actions generally. 56. To be ... question, whether to continue to live or not, that is the doubt I have to solve. 57. whether ... mind, whether it shows a nobler mind. 58. slings, properly that which casts a stone, here the missile itself; outrageous, violent, cruel. For more on this please click here. 59. a sea of troubles, many pages have been written upon the incongruity of taking arms against a sea, but a sea of troubles is a common expression in other languages besides English for a host, immensity, of troubles, and the mixture of metaphors is not greater than in many passages of Shakespeare; not much greater, for instance, than the "music of his honey vows," 1. 156 below. 61. No more, i.e. for death is nothing more than a sleep; to say we end, to assure ourselves that we thus put an end to, etc. 63, 4.

'tis a ... wish'd, that is a conclusion for which we may well pray. 65. there's the rub, there is the difficulty; if we could be quite sure that death was a dreamless sleep, we should not need to have any hesitation about encountering it; rub, obstacle; a metaphor from the game of bowls; cp. K. J. iii. iv. 128, "the breath of what I mean to speak Shall blow each dust, each straw, each little rub Out of the path": H. V. ii. 2. 188, "For every rub is smoothed on our way." 66-8. For in ... pause, for the doubt as to what dreams may come in that sleep of death, when we have put off this encumbrance of the body ("this muddy vesture of decay," M. V. v. 1. 64), must compel us to hesitate when considering the question of suicide; though coil is elsewhere used by Shakespeare as = turmoil, tumult, and may here include that meaning also, the words shuffled off seem to show that the primary idea was that of a garment impeding freedom of action. 68, 9. there's the respect ...

life, in that lies the consideration which makes misfortune so long-lived; if it were not for that consideration, we should quickly put an end to calamity by ending our lives. 70. the whips ... time, the blows and flouts to which one is exposed in this life; here time seems to be opposed to eternity, as in Macb. i. 7. 6, "If ... that but this blow Might be the be-all and the end-all here. But here upon this bank and shoal of time We'ld jump the world to come"; and the whips and scorns to be a general expression for the particulars in the next four lines, "the oppressor's wrong," "'the law's delay," "the insolence of office," coming under the head of whips, and "the proud man's contumely," "the pangs of despised love," and "the spurns that patient merit of the unworthy takes," under that of scorns. It is, however, possible that of time may be equivalent to "of the times," as e.g. in K. J. v. 2.

12, "I am not glad that such a sore of time Should seek a plaster by contemn'd revolt." 73. The insolence of office, the insolent behaviour with which men in office treat those who have to sue to them; cp. the term "Jack in office," and i. H. VI. i. 1. 175, "But long I will not be Jack out of office." 74. That patient ... takes, that men of merit have patiently to endure at the hands of those who have no claim to respect. Furness remarks, "In the enumeration of these ills, is it not evident that Shakespeare is speaking in his own person? As Johnson says, these are not the evils that would particularly strike a prince." 75. his quietus, his release, acquittance; quietus was the technical term for acquittance of all debts at the audit of accounts in the Exchequer, and is used as late as Burke, Speech on Economical Reform. Cp. Sonn. cxxvi. 12, "Her audit, though delay'd, answer'd must be, And her quietus is to render thee." 76.

With a bare bodkin, with a mere dagger. Though Shakespeare probably had in his mind the idea also of an unsheathed dagger, his primary idea seems to be the easiness with which the release could be obtained, and the word bodkin, a diminutive, = small dagger, goes to confirm this notion. Among other passages in which the word occurs, Steevens quotes Beaumont and Fletcher, The Custom of the Country, ii. 3. 87, "Out with your bodkin, Your pocket-dagger, your stiletto": fardels, burdens; "a diminutive of F. farde, a burden, still in use in the sense of 'bale of coffee'" ... (Skeat, Ety. Dict.). 77. grunt, groan; the word, though now having a ludicrous association, had none to the ears of our forefathers. Steevens gives several instances of its use, and Staunton one from Armin's Nest of Ninnies, which is particularly apt; "how the fat fooles of this age will gronte and sweat under their massie burden." 79. bourn, boundary, confines; cp. Lear. iv. 6.

57, "From the dread summit of this chalky bourn." 80. No traveller returns, to the cavil that this is in opposition to the fact of the ghost of the king having re-visited the earth, Coleridge conclusively replies, "If it be necessary to remove the apparent contradiction, � if it be not rather a great beauty, � surely it were easy to say that no traveller returns to this world as to his home or abiding-place": will, resolution. For more on this line, please click here . 84, 5. And thus ... thought, and thus over the natural colour of determination there is thrown the pale and sickly tinge of anxious reflection. 86. of great pitch and moment, of soaring character and mighty impulse. The folios give pith for pitch, a word we have already had in i. 4. 22, in a different context. With Staunton, I take pitch in the sense of the highest point of a falcon's flight, as in R. II. i. 1. 109, "How high a pitch his resolution soars!" J. C. i. 1.

78, "Will make him fly an ordinary pitch"; but moment seems to me to be used here for 'momentum,' 'impulse,' the sense which the word appears to have in A. C. i. 2. 147, "I have seen her die twenty times upon far poorer moment." 87,8. With this ... action, influenced by this consideration, divert their course, turn themselves from the path along which they were going, and no longer can be said to be active. 88. Soft you now! said to himself, 'but let me pause!' 89. Nymph, literally bride, was a title given to female deities of lower rank; orisons, prayers; through F. from Lat. orare, to pray. 90. Be all ... remember'd! may you remember to ask pardon for all my sins! - to intercede for me. 91. How does... day? how have you fared for these many days during which I have not seen you? for many a day, see Abb. � 87. 93. remembrances, tokens of love given to ensure being remembered. 94. longed long, long been most desirous.

97. you know ... did, you know well enough, if you choose to remember, that you did give them to me, trifles though they may now seem, not worth remembering. 99, 100. their perfume ... again, now that you no longer have kind words to give me, take back the remembrances which those words made so dear to me. 100, 1. for to ... unkind, to a mind of any nobility, gifts, however costly, lose all their value when their givers change from what they were when they bestowed them. 102. There, my lord, said as she offers to return his gifts. 103. honest, virtuous, modest. 107, 8 That if ... beauty, that if you be virtuous and fair, your virtue should not allow itself any intercourse with your beauty. 109, 10. Could beauty ... honesty? Ophelia, with a woman's wit, inverts the terms of the proposition by asking whether beauty could associate with anything more profitably than with virtue. 111.

Ay, truly, yes, assuredly it could, so far as the interests of virtue are concerned. 113, 4. this was ... proof, this was at one time considered a strange idea, but the present time have shown that it is a mere truism; paradox, literally that which is contrary to (received) opinion. 117, 8. for virtue ... it, for virtue cannot so graft herself upon human nature but it shall smack of its original depravity; inoculate, Lat. in, in, and oculus, an eye, the technical term for the bud which is grafted on to another tree. Cp. W. T. iv. 4. 92-5. 120. I was the more deceived, then my mistake was all the greater. 121. why wouldst thou, why should you desire. 122. indifferent honest, fairly honourable as men go; indifferent, used adverbially. 123. it were better, it would be better. 125. at my back, ready to come at my summons, whenever I choose to beckon them; thoughts ... in, thoughts in which to clothe them.

127, 8. What should ... heaven? what business have such wretched fellows as myself to be crawling, like noxious reptiles, on earth and aspiring to heaven? arrant, through, utter; "a variant of errant, wandering, vagrant, vagabond, which from its frequent use in such expressions as arrant thief, became an intensive, 'thorough, notorious, downright,' especially from its original associations, with opprobrious names" (Murray, Eng. Dict.). Though generally used in a bad sense, we find it occasionally in a good one, e.g. Ford, The Fancies, Chaste and Noble, iii. 2, "true and arrant ladies"; also Fold, Love's Sacrifice, ii. 2, and Beaumont and Fletcher, The Loyal Subject, iii. 5, and The Little French Lawyer, iv. 4. 4. 129. thy ways, see note on i. 3. 135. 132. shut upon him, shut against his going out. 136, 7. be thou ... calumny, see quotation from W. T. ii. 1. 71-4, on i. 1.

38, above. 138. needs, of necessity; the old genitive used adverbially. 139. what monsters ... them, an allusion to the old belief that horns grew out of the forehead of men whose wives had been unfaithful to them. 142. your paintings, the rouging of the complexion so common among your sex; your, used generally. 144. jig, are given to loose dances; amble, walk with a mincing gait. 144, 5. nick-name God's creatures, are not content with calling God's creatures by their right names, but must invent foolish and ribald ones for them: a, nick-name is an eke-name, a name given to eke out another name, an additional name; creatures, both animate and inanimate, as in K. J. iv. 1. 121, "fire and iron ... creatures of note for mercy-lacking uses." So, Bacon, Essay of Truth, "The first creature of God, in the works of the days, was the light of the sense"; also Temp. iii. 3. 74; and make ...

ignorance, and when charged with immodest behaviour plead ingenuous simplicity as your excuse. 146. I'll no more on 't, I will allow no more of such goings on; on't, of it, sc. your behaviour. 148. one, sc. the king. "This exception would be quite unintelligible to Ophelia, but the audience, who are in on Hamlet's secret, see its purport" (Cl. Pr. Edd.); keep as they are, remain unmarried. 151. The courtier's ... sword, i.e. the eye of the courtier, the tongue of the scholar, the sword of the soldier; Hamlet, according to Ophelia, being endowed with the sprightly look of the courtier, the learning of the scholar, and the skill in arms of the soldier. 152. The expectancy ... state, the hope and chief ornament of the state, thus beautified by him; fair is used proleptically, which was made fair by wearing him (as a rose in a dress, coat, etc.). 153.

The glass of fashion, in whom was reflected all that was in the highest fashion, the most perfect good taste; the mould of form, "the model by whom all endeavoured to form themselves" (Johnson). 154. The observed of all observers, he whose conduct and carriage was closely observed by every one as an example to be followed; quite, quite down, now utterly overthrown; cp. iii. 2. 198. 155. deject, dejected, broken-spirited; for the omission of the participial termination, see Abb. � 342. 156. That sucked ... vows, who so greedily drank in his honeyed words of love; Ophelia combines what is sweet to the taste and sweet to the ear. 157. sovereign, the supreme power in the state of man: cp. J. C. ii. 1. 68, "the state of man, Like to a little kingdom, suffers then The nature of an insurrection." 158. Like sweet ... harsh, like bells naturally of a sweet tone, rung in such a way as to be out of tune with each other, and so harsh-sounding.

It seems better to follow the folios in placing the comma after tune and not after jangled, as most editors follow Capell in doing. 159, 60. That unmatch'd ... ecstasy, that peerless form and feature of youth in its full bloom now cruelly marred by madness (as a flower in bloom is blasted by a storm); feature is used by Shakespeare for the person in general (and especially of dignified appearance, e.g. R. II. i. 1. 19, Cymb. v. 5. 163, as featureless in Sonn. xi. 10, for 'ugly'), and rarely, if ever, in the restricted modern sense of the particular parts of the face; so that form and feature is almost redundant; woe is me, woe is to me; see Abb. � 230. 161. To have ... see, that I should have known him as he once was, and should know him as he now is. 162. Love! ... tend, you say that love is the cause of his madness! nonsense! the bent of his mind is not in that direction. 163. though it ...

little, though it was somewhat incoherent, unmethodical. 164. Was not, for the emphatic double negative, see Abb. � 406. 165. on brood, a-brooding; cp. i. 5. 19. 166. 7. And I do ... danger, and I suspect that when the outcome of it is seen, we shall find it something dangerous; disclose "'is when the young just peeps through the shell.' It is also taken for laying, hatching, or bringing forth young; as 'She disclosed three birds.' R. Holme's Academy of Armory and Blazon ... Cp. also v. 1. 275 [273]" (Steevens). 167. which for to prevent, in order to anticipate which; for to, now a vulgarism, occurs, among the undoubted and wholly Shakespearean plays, in W. T. i. 2. 427, A. W. v. 3. 181, and below v. 1. 89. 108, 9. I have ... down, I have with prompt determination decided; he shall, sc.

be sent, go; the verb of motion omitted, as frequently. 170. For the ... tribute, to demand the tribute of money due to us, which they have neglected to pay; cp. Cymb. iii. 1. 8-10. 171-5. Haply ... himself, possibly the variety of novel sights which in his voyage and travels he will behold will drive out this matter which has to some extent settled in his heart, and which by his brains constantly beating on it, has changed him from his usual self; the grammatical construction is 'the beating of his brains on which'; cp. Cymb. i. 6. 8, "blest be those ... that have their honest wills, which (sc. the having their wills) seasons comfort;" and see Abb. � 337. 176. It shall do well, the plan is certain to answer; yet, still (in time), not, notwithstanding what you say. 177,8. The origin ... love, a redundancy for 'the origin and commencement are from,' etc., or 'his grief sprung from'; How now, Ophelia! what brings you here? 181. if you ...

fit, if you agree with me as to the propriety of doing so. 183. grief, some editors prefer the reading of the folios, griefs, but we have the singular in 1. 177, and the idea of a burden, which here seems wanted, is better expressed by the singular than the plural; round, peremptory, plain spoken; see note on ii. 2. 139. 184, 5. in the ear ... conference, where I can hear all that passes between them. Polonius insinuates that from maternal affection the queen may not faithfully report the interview, and also perhaps that his wisdom is necessary to judge of the real meaning of what Hamlet may say with an accuracy that could not be expected of a woman; find him, discover his secret; cp. Lear. iv. 6. 104, "there I found 'em, there I smelt 'em out." 187. Your wisdom, you in your wisdom. ________ How to cite the explanatory notes: Shakespeare, William. Hamlet, prince of Denmark. Ed. K. Deighton. London: Macmillan, 1919. Shakespeare Online.

20 Feb. 2010. < >. How to cite the scene review questions: Mabillard, Amanda. Hamlet: Scene Questions for Review. Shakespeare Online. 27 Nov. 2013. < >. ________ Characteristics of Elizabethan Tragedy Scene Questions for Review 1. Clearly Claudius knows Hamlet is feigning madness (see line 2) and likely believes the reason is thwarted ambition (2.2.244) . Why then does he bother eavesdropping on Hamlet and Ophelia? Do his feelings for Gertrude play a role in his decision? 2. Explain the dramatic irony in lines 25-28. 3. Why does Ophelia agree to betray Hamlet's trust? 4. How does Shakespeare craft a more sympathetic Claudius in this scene? 5. A. C.

Bradley notes that "The present position of the 'To be or not to be' soliloquy, and of the interview with Ophelia, appears to have been due to an after-thought of Shakespeare's; for in the First Quarto they precede, instead of following, the arrival of the players, and consequently the arrangement for the play-scene." Does the position of Hamlet's soliloquy make a difference? More on this topic... 6. In writing Hamlet, Shakespeare is said to have been influenced by the work of French essayist, Michael de Montaigne, translated by an acquaintance of Shakespeare named John Florio. Montagine's essays on moral philosophy might have shaped many passages in Hamlet, including Hamlet's most famous soliloquy. Could Montaigne be the reason the first and second quartos of the play are so different, especially regarding Hamlet's propensity to delay? More on this topic... 7. Do you think Hamlet knows where Polonius is before he asks Ophelia in line 30? Although it is not specifically addressed in the play, can we assume that Hamlet has known about Polonius using Ophelia for some time? 8.

Is Hamlet's behavior toward Ophelia all an act to fool the Court? If Hamlet had found Ophelia to be loyal and trustworthy would he still have been able to treat her so harshly, simply to further his plan? How do his feelings in this scene relate to his last encounter with Ophelia (2.1.75-82) and to his mother, Gertrude? 9. Describe the kind of person Ophelia thinks Hamlet had once been, before his father's death (lines 152-56). 10. Claudius is now, more than ever, disturbed by Hamlet's behavior and believes he is in imminent danger. What plan does Claudius hatch to protect himself? What reason does he give to Polonius for such a plan? _____ Hamlet: Q & A _____ Points to Ponder ... "Horatio, Rosencrantz and Guildenstern seem to be of about the same age as Hamlet. How then do they come to be at Wittenberg? I had thought that this question might be answered in the following way.

If 'the city' is Wittenberg, Shakespeare would regard it as a place like London, and we might suppose that Horatio, Rosencrantz and Guildenstern were living there, though they had ceased to be students. But this can hardly be true of Horatio, who, when he (to spare Hamlet's feelings) talks of being 'a truant,' must mean a truant from his University." A. C. Bradley. Read on... _____ HAMLET, Act 3 Scene 1 1. drift of circumstance: direction of conversation. 1 And can you, by no drift of circumstance, 2. puts on this confusion: shows this puzzling behavior. 3. Grating so harshly all his days of quiet: i.e., so opposite to his previous reasonable behavior. 2 Get from him why he puts on this confusion, 3 Grating so harshly all his days of quiet 4 With turbulent and dangerous lunacy? ROSENCRANTZ 5 He does confess he feels himself distracted; 6 But from what cause 'a will by no means speak. GUILDENSTERN 7. forward: readily willing. sounded: plumbed; tested deeply. 8.

crafty madness: i.e., the shrewdness that mad people sometimes exhibit. keeps aloof: i.e., refuses to be pinned down. 10. his true state: his genuine state of mind. 7 Nor do we find him forward to be sounded, 8 But, with a crafty madness, keeps aloof, 9 When we would bring him on to some confession 10 Of his true state. QUEEN 10 Did he receive you well? ROSENCRANTZ 11 Most like a gentleman. GUILDENSTERN 12 But with much forcing of his disposition. ROSENCRANTZ 13. Niggard of question: Miserly in conversation; i.e., unwilling to engage in free and easy conversation. demands: questions. 13 Niggard of question; but, of our demands, 14 Most free in his reply. QUEEN 14. assay: attempt to win. 14 Did you assay him 15 To any pastime? 16 Madam, it so fell out, that certain players 17. o'er-raught: overreached; i.e., passed.

17 We o'er-raught on the way. Of these we told him; 18 And there did seem in him a kind of joy 19. They are about the court: i.e., they are already here. 19 To hear of it. They are about the court, 20 And, as I think, they have already order 21 This night to play before him. POLONIUS 22 And he beseech'd me to entreat your majesties 23 To hear and see the matter. KING 24 With all my heart; and it doth much content me 25 To hear him so inclined. 26. edge: incitement. 26 Good gentlemen, give him a further edge, 27. drive his purpose into these delights: i.e., strongly encourage him to focus on such entertainments. 27 And drive his purpose into these delights. ROSENCRANTZ 28 We shall, my lord. Exeunt Rosencrantz and Guildenstern. 32 Her father and myself (lawful espials) 33. bestow ourselves: place ourselves.

33 Will so bestow ourselves that, seeing, unseen, 34. frankly: freely, honestly, accurately. 34 We may of their encounter frankly judge, 35 And gather by him, as he is behaved, 36 If 't be th' affliction of his love or no 37 That thus he suffers for. QUEEN 37 I shall obey you. 38 And for your part, Ophelia, I do wish 39 That your good beauties be the happy cause 40 Of Hamlet's wildness. So shall I hope your virtues 41. his wonted way: his accustomed mode of behavior. 41 Will bring him to his wonted way again, 42 To both your honors. OPHELIA 42 Madam, I wish it may. [Exit Queen.] 43. Gracious: your Grace [i.e., the king]. 43 Ophelia, walk you here. Gracious, so please you, 44. bestow ourselves: i.e., hide ourselves within earshot. 44 We will bestow ourselves. [To Ophelia.] Read on this book; 45.

exercise: i.e., religious exercise. The book is apparently devotional. 45‑46. color / Your loneliness: give your being alone a natural appearance. 47. too much prov'd: too often proved to be true in practice. 48. action: behavior. 45 That show of such an exercise may color 46 Your loneliness. We are oft to blame in this 47 'Tis too much provedthat with devotion's visage 48 And pious action we do sugar o'er 49 The devil himself. KING [Aside.] 49 O, 'tis too true! 50. How ... give: what a stinging whipping that speech gives. 51. plastering art: the art of plastering on cosmetics. 50 How smart a lash that speech doth give my conscience! 51 The harlot's cheek, beautied with plastering art, 52. ugly to: ugly in comparison to. 52 Is not more ugly to the thing that helps it 53. painted: prettified with cosmetics. 53 Than is my deed to my most painted word: 54 O heavy burden!

55 I hear him coming: let's withdraw, my lord. [Exeunt King and Polonius.] Enter HAMLET. HAMLET 56. To or not to be . . . : There is another version of this famous soliloquy. 57. suffer: endure patiently. 56 To be, or not to be: that is the question: 57 Whether 'tis nobler in the mind to suffer 58. slings: i.e., projectiles launched from slings. 58 The slings and arrows of outrageous fortune, 59 Or to take arms against a sea of troubles, 60. To die, to sleep / No more: This sequence puzzles me. 60 And by opposing end them? To die, to sleep 61 No moreand by a sleep to say we end 62 The heart-ache and the thousand natural shocks 63. consummation: completion, end. 63 That flesh is heir to, 'tis a consummation 64 Devoutly to be wish'd. To die, to sleep; 65. rub: i.e., obstacle, catch.

...more 65 To sleep: perchance to dream: ay, there's the rub; 66 For in that sleep of death what dreams may come 67. shuffled off: sloughed, cast off. this mortal coil: the turmoil of this mortal life. 68. respect: consideration. 67 When we have shuffled off this mortal coil, 68 Must give us pause: there's the respect 69 That makes calamity of so long life; 70. bear . . . time: i.e., endure the punishments and insults that always come with the passage of time. 71. contumely: insolent abuse. 72. despised: rejected. 73. office: i.e., all those who hold official positions which give them power over others. spurns: insults. 70 For who would bear the whips and scorns of time, 71 The oppressor's wrong, the proud man's contumely, 72 The pangs of despised love, the law's delay, 73 The insolence of office and the spurns 74 That patient merit of the unworthy takes, 75.

his quietus make: settle all his debts. 75 When he himself might his quietus make 76. With a bare bodkin: with nothing more than a dagger. fardels: burdens. 76 With a bare bodkin? Who would fardels bear, 77 To grunt and sweat under a weary life, 78 But that the dread of something after death, 79. undiscover'd: unknown, mysterious. from whose bourn: from beyond the boundary of which. 80. puzzles: paralyzes. 79 The undiscover'd country from whose bourn 80 No traveller returns, puzzles the will 81 And makes us rather bear those ills we have 82 Than fly to others that we know not of? 83. conscience: consciousness, reflection. 83 Thus conscience does make cowards of us all; 84. native hue of resolution: natural complexion of a resolution to take action. 85. pale cast: pallor. ...more 84 And thus the native hue of resolution 85 Is sicklied o'er with the pale cast of thought, 86. pitch: urgency.

...more moment: importance. 86 And enterprises of great pitch and moment 87. With this regard: because of this kind of consideration [of possibilities]. currents turn awry: turn off course. 88. Soft you now: i.e., wait a minute! ...more 89. orisons: prayers. 90. Be all my sins remember'd: i.e., please pray over my sins. 87 With this regard their currents turn awry, 88 And lose the name of action.Soft you now, 89 The fair Ophelia! Nymph, in thy orisons 90 Be all my sins remember'd. OPHELIA 91 How does your honor for this many a day? HAMLET 92 I humbly thank you; well, well, well. OPHELIA 93. remembrances of yours: i.e., love tokens; things Hamlet gave Ophelia to remember him by. 93 My lord, I have remembrances of yours, 94 That I have longed long to re-deliver; 95 I pray you, now receive them. HAMLET 95.

I pray you, now receive them: please take them back now. 96. aught: anything whatsoever. I think Hamlet means that he didn't give Ophelia anything that needs to be returned. 95 No, not I; 96 I never gave you aught. OPHELIA 97 My honor'd lord, you know right well you did; 98 And, with them, words of so sweet breath composed 99 As made the things more rich. Their perfume lost, 100 Take these again; for to the noble mind 101. unkind: unnatural; i.e., false. 101 Rich gifts wax poor when givers prove unkind. 102 There, my lord. HAMLET 103. Ha, ha!: I believe that Hamlet is expressing surprise because Ophelia has just spoken as if he were the one who broke off the relationship. honest: 1) truthful; 2) chaste. 103 Ha, ha! are you honest? OPHELIA 111 Ay, truly; for the power of beauty will sooner 112. bawd: madame of a whorehouse.

112 transform honesty from what it is to a bawd than the 113. translate: transform. 113 force of honesty can translate beauty into his 114-115. sometime: formerly. paradox: a view contrary to accepted belief. the time gives it proof: the present age proves that it is true. I believe that Hamlet is thinking that it is his mother's case which proves his point. His mother was beautiful and honest, but her beauty attracted Claudius, who seduced her into adultery, so her beauty corrupted her honesty. 114 likeness. This was sometime a paradox, but now the 115 time gives it proof. I did love you once. OPHELIA 116 Indeed, my lord, you made me believe so. HAMLET 117-119. virtue cannot so inoculate our old stock but we shall relish of it: i.e., no matter how hard we try to be virtuous, our naturally sinful nature will come through in some way.

Hamlet here uses a metaphor from gardening; "inoculate" means "to graft," and in grafting, the "stock" is the hardy root and stem on which the desired plant is grafted. 117 You should not have believ'd me, for virtue cannot 118 so inoculate our old stock but we shall relish of 119 it. I lov'd you not. OPHELIA 120 I was the more deceived. HAMLET 137 shalt not escape calumny. Get thee to a nunnery, go: 138 farewell. Or, if thou wilt needs marry, marry a fool; for 139. monsters: i.e., cuckolds. ...more you: i.e., you women. 140. nunnery: Here, and at his next use of the word "nunnery," Hamlet may be punning on the slang meaning of the word, which is "whorehouse." 139 wise men know well enough what monsters you make 140 of them. To a nunnery, go, and quickly too. Farewell. OPHELIA 141.

restore him: restore him [to sanity]. Ophelia believes that Hamlet has gone mad before her eyes. ...more 141 O heavenly powers, restore him! HAMLET 150. o'erthrown: overthrown, destroyed. 150 O, what a noble mind is here o'erthrown! 151. The courtier's . . . sword: i.e., the courtier's tongue (persuasiveness, charisma); the soldier's sword (courage, fighting ability); the scholar's eye (discernment, wisdom). 152. expectancy: hope. rose: ornament. the fair state: i.e., the kingdom made beautiful by his presence. 153. glass of fashion and mold of form: mirror (model) of pleasing manners and pattern of courtly behavior. 154. The observed of all observers: i.e., the center of attention and honor. 159. blown: in full bloom. 160. Blasted: withered. ecstasy: madness.

151 The courtier's, soldier's, scholar's, eye, tongue, sword; 152 The expectancy and rose of the fair state, 153 The glass of fashion and the mold of form, 154 The observed of all observers, quite, quite down! 155 And I, of ladies most deject and wretched, 156 That suck'd the honey of his music vows, 157 Now see that noble and most sovereign reason, 158 Like sweet bells jangled, out of tune and harsh; 159 That unmatch'd form and feature of blown youth 160 Blasted with ecstasy: O, woe is me, 161 To have seen what I have seen, see what I see! Enter KING CLAUDIUS and POLONIUS. KING 162 Love! his affections do not that way tend; 163 Nor what he spake, though it lack'd form a little, 164 Was not like madness. There's something in his soul, 165. sits on brood: i.e., prepares to hatch. ...more 166.

doubt: suspect, fear. disclose: disclosure, hatching. 165 O'er which his melancholy sits on brood; 166 And I do doubt the hatch and the disclose 167 Will be some danger: which for to prevent, 168-169. I have in quick determination / Thus set it down: i.e., I have quickly and firmly decided as follows. 168 I have in quick determination 169 Thus set it down: he shall with speed to England, 170. For . . . tribute: to demand the tribute (money payment) due to Denmark, which has not been paid. 171. Haply: perchance, happily. 172. variable objects: i.e., a variety of things to see. 170 For the demand of our neglected tribute. 171 Haply the seas and countries different 172 With variable objects shall expel 173 This something-settled matter in his heart, 174-175. puts him thus / From fashion of himself: estranges him [as we have just seen] from his natural manner of acting.

174 Whereon his brains still beating puts him thus 175 From fashion of himself. What think you on't? POLONIUS 176 It shall do well: but yet do I believe 177. grief: problem, what is troubling him. 177 The origin and commencement of his grief 178. neglected love: i.e., Hamlet's love for Ophelia, which Ophelia, on her father's orders, has refused. How now, Ophelia!: There seems to be some implied stage direction here, but I don't know just what it is. Did Ophelia, when her father said "neglected love," give her father a significant look? 178 Sprung from neglected love. How now, Ophelia! 179 You need not tell us what Lord Hamlet said; 180 We heard it all. My lord, do as you please; 181 But, if you hold it fit, after the play 182 Let his queen mother all alone entreat him 183. his grief: what is troubling him. round: blunt, outspoken. 184-185.

in the ear / Of all their conference: within earshot of everything they say. 185. find him: learn the truth about him. 186. confine him: Confinement in a dark room was a common treatment for madness. 183 To show his grief: let her be round with him; 184 And I'll be placed, so please you, in the ear 185 Of all their conference. If she find him not, 186 To England send him, or confine him where 187 Your wisdom best shall think. KING William Shakespeare's Hamlet O, that this too too solid flesh would melt, Thaw, and resolve itself into a dew! Or that the Everlasting had not fix'd His canon 'gainst self-slaughter! O God! God! How weary, stale, flat and unprofitable, Seem to me all the uses of this world! Fie on't! ah fie! 'tis an unweeded garden, That grows to seed; things rank and gross in nature Possess it merely.

Hamlet (1.2), Hamlet Hamlet's passionate first soliloquy provides a striking contrast to the controlled and artificial dialogue that he must exchange with Claudius and his Court. The primary function of the soliloquy is to reveal to the audience Hamlet's profound melancholia and the reasons for his despair. In a disjointed outpouring of disgust, anger, sorrow, and grief, Hamlet explains that, without exception, everything in his world is either futile or contemptible. His speech is saturated with suggestions of rot and corruption, as seen in the basic usage of words like "rank" (138) and "gross" (138), and in the metaphor associating the world with "an unweeded garden" (137). Read on... ____ That is not passion's slave, and I will wear him In my heart's core, ay, in my heart of heart As I do thee.-- Something too much of this. -- There is a play to-night before the king; One scene of it comes near the circumstance Which I have told thee of my father's death. Hamlet (3.2), Hamlet to Horatio "Shakespeare has introduced these traveling players with a double purpose.

The person who recites the death of Priam with such feeling, in the first place, makes a deep impression on the prince himself; he sharpens the conscience of the wavering youth: and, accordingly, this scene becomes a prelude to that other, where, in the second place, the little play produces such effect upon the King. Hamlet sees himself reproved and put to shame by the player, who feels so deep a sympathy in foreign and fictitious woes; and the thought of making an experiment upon the conscience of his stepfather is in consequence suggested to him." [Goethe. Wilhelm Meister's Critique of Hamlet] ____ Hamlet History The following entry appears in the Stationers' Register (1602): "A Booke called 'the Revenge of HAMLETT Prince [of] Denmarke' as yt was latelie Acted by the Lord Chamberleyne his servants......vjd." Consequently, it is reasonable to assume that Shakespeare completed the play in 1601. According to contemporary references, Hamlet became an instant hit, and the great Shakespearean actor, Richard Burbage , received much acclaim in the lead role.

Hamlet's popularity grew steadily until the closing of the theatres by the puritanical government (1642-1660). During that time it was performed as an abridged playlet at taverns and inns, along with all the other great dramas that suffered at the hands of Oliver Cromwell, Lord Protector of England. After the theatres re-opened, Hamlet was brought back to the stage by author and entrepreneur, William Davenant , and the play's popularity has been constant ever since. ____

Question: The line "To be, or not to be: that is the question" comes from Act 3, Scene 1 of which Shakespeare play?
Answer: 'HAMLET'