Hamlet  ~~  Act IV  Scene VII

Ophelia Konstantin Makovsky source Wikiart

Claudius appears to have placated Laertes, but then a messenger arrives with the letters from Hamlet. Once again, Claudius is befuddled.  What could his letter mean?  Hamlet claims that he is returning alone. Is he lying?  Is it another trick? Laertes has no insight to add but Claudius first ensures his loyalty against his young enemy. Claudius has heard it bandied about that Laertes is a master swordsman.  Using quite masterful manipulation of Laertes’ grief, Claudius urges him to challenge Hamlet to a sword fight.  Not only does Laertes agree, he reveals that he will put poison on the end of his sword, so that even a little scratch, will kill Hamlet.  Claudius approves the plan but he is hesitant.  It must be done in a way that leaves no doubt of Hamlet’s death.  If the sword doesn’t do the job, he will have a poison drink ready for Hamlet.

Their plans are interrupted by Gertrude, who hurries in to announce the death of poor Ophelia.  In her muddled madness, Ophelia wandered down to the brook, making wreaths of flowers.  When she tried to climb out on a branch to hang her garland, the limb gave way and she fell into the brook.  She sang lovely old hymns as her garments dragged her down to her death.

Laertes is once again grief-stricken and Claudius follows him to try to moderate his actions.

Ophelia (1852) John Everett Millais source Wikiart

Thoughts:

Again Hamlet keeps Claudius on his toes.  The king must be in agony wondering what he will do next.  Claudius also spends an inordinate amount of time attempting to sooth Laertes’ wrath, aiming it in the appropriate direction, and ensuring his loyalty to the crown.  Using serpentine manipulation, he almost taunts Laertes, bringing up words vs. deeds and action vs. inaction.  I almost get the feeling that Claudius is getting desperate.  He already has Hamlet to deal with and another young man out of his control is certainly, at the least, worrisome.  Remember, the people are presently calling for Laertes as king.  Claudius’ hold on his power is tenuous at best.

I kind of liked Laertes before these last few scenes, but recently he’s showed himself to be a hot-head, easily manipulated, and perhaps not too bright. While it is understandable that he wishes to avenge his father’s death, his plan for Hamlet’s demise is rather dishonourable.

And, ah, the death of Ophelia, made more poignant by her singing and the symbols of flowers.  It’s as if she’s making wreaths for her own grave before her death actually occurs.  Does this emphasize her aloneness ….. with her father dead, she only has her brother, and in her madness is truly isolated.

Ophelia (c. 1900) Gaston Bussiere source Wikimedia Commons

Attack by Pirates (1880) Arnold Böcklin source Wikiart

Hamlet  ~~  Act IV  Scene VI

A sailor arrives in Denmark and speaks with Horatio.  He hands over a letter from Hamlet and other letters for the King.  The letter reveals that the ship was attacked by pirates on its way to England and somehow Hamlet ended up as their only prisoner.  Hamlet urges Horatio to come to him immediately as he has amazing things to tell him.  Rosencrantz and Guildenstern are headed to England.

Horatio rushes to deliver the letters so he can set off to find Hamlet directly.

Combat naval, ou un navire maltais attaqué par des pirates algériens Phillipe-Jacques de Loutherbourg source Wikimedia Commons

Thoughts:

Okay, this is interesting.  Hamlet has been abducted by pirates.  He is the only prisoner.  I have a hard time believing that the Prince of Denmark is the only one taken by the pirates, unless he put himself in a position to be taken.   He must know that he would be safe if he could get Claudius to pay for his release.  And in reality, he is only going from being a prisoner in one camp, to being a prisoner in another.  His actions are brilliant, and once again, he keeps Claudius on his toes, always unsure of Hamlet’s actions, and now even his whereabouts.  Hamlet may have been lamenting his inaction in previous scenes, but the torture of uncertainty that he is putting Claudius through must be excruciating.  Is his inaction more effective than action?

Ophelia Before the King and Queen (1792) Benjamin West source Wikimedia Commons

Hamlet  ~~  Act IV  Scene V

Wow, does the painting above truly highlight Ophelia’s madness, or what?  But I’m getting ahead of myself ……..  However, not too much ahead because the second person in this scene, in the third line, a gentleman speaking to Gertrude, announces Ophelia’s madness.  However, in this unsettled state of Denmark, people are listening to Ophelia’s babbling and drawing conclusions from it.  Horatio suggests that it might be wise to speak with her to learn of the danger of her condition.  While waiting, Gertrude perhaps gives the first sight of guilt in her actions, referring to her sin.  However, she shows compassion for the poor girl’s plight as Ophelia spews drivel about tombs and Valentine’s Day and lost virginity.

The First Madness of Ophelia (1864) Dante Gabriel Rossetti source Wikiart

Claudius is affected by Ophelia’s madness, but also makes reference to unrest and strife in his kingdom due to his hastily burying Polonius without a state funeral. He also reveals that Laertes has secretly returned from France and his good sense is being poisoned by gossip.  He’s concerned that Laertes will place the blame on him.  Poor, poor, Claudius ……… (gag!)

A messenger arrives, announcing that the people are shouting for Laertes as king.  The doors break open and Laertes arrives, angry in his grief and looking for revenge. He demands to know what happened to his father, but Claudius does not tell him, choosing instead to try to bring him to sense and emphasize his friendship with him and his father. Ophelia interrupts their discourse, and Laertes’ grief increases as he witnesses the result of her broken mind.  Claudius attempts to join him in his sorrow, but suggests he bring his wisest friends to judge on Claudius’ guilt or innocence.

Thoughts:

I was somewhat disappointed that the reader is rather whacked over the head with Ophelia’s madness.  There is no prelude, no leading up to it, no real example of excess paternal devotion that may make the outcome truly believable.  I believe it because I’ve been whacked with it, but for no other reason.

Ophelia (1888) Marcus Stone source Wikimedia Commons

Has anyone ever speculated about Ophelia’s story of the girl who loses her virginity to a man, and then the man refuses to marry her?  I was wondering if it had anything to do with her relationship with Hamlet, but really it’s not clear — you’d probably have to employ rampant speculation here.  I also wondered if the lost of virginity might simply echo of the loss of Ophelia’s innocence, in her belief that the world is good.  She has not only lost her love (Hamlet), she has now lost her father forever.  Her character has always come across as sweet, simple and uncomplicated.  These tragedies in her life, coming so close together are just too much for her to bear.

Laertes is a mirror of Hamlet when he says:

“That drop of blood that’s calm proclaims me bastard,
Cries “Cuckold!” to my father, brands the “harlot”
Even here between the chaste unsmirchèd brow
Of my true mother.”

He is not his father’s son until he avenges his death.  Hmmm ….. Hamlet all over again ……

Ophelia is speaking nonsense but we do get sense from her when she gives Gertrude fennel and columbines to signify adultery and to Claudius rue for repentance.  Again, we have a foil in Ophelia’s madness to Hamlet’s.  She is truly mad and sometimes speaks sense, and his madness is a pretense (so far) impregnated with sense.  As Laertes notes about his sister: “A document in madness.  Thoughts and remembrance fitted.”

Is anyone else truly flabbergasted by the complete political ineptitude of Claudius?  He kills the first King, acts too hastily in marrying Gertrude, does not deal with Hamlet and perhaps acts too hastily in sending him away, which unsettles the populous, and NOW he has buried Polonius hastily without the proper ceremonies and trappings.  What was he thinking?  Not only does he make mistakes, he makes them again and again and again, apparently not learning anything from the previous ones.  Sigh!  I can’t imagine what blunder he’s going to make next!

Hamlet  ~  Act IV  Scene IV

Hamlet comes upon the captain of Fortinbras’ army who has arrived to pass through the kingdom on their way to Poland.  Upon questioning the captain, Hamlet discovers that the piece of Polish land being fought over is really worthless, and Hamlet laments the loss of money and lives over such a trivial thing.

Hamlet then sinks into a fantastic soliloquy, comparing Fortinbras’ venture to his own poor inaction.  Fortinbras’ is prepared to go to his death with an army of twenty thousand over an illusion, yet Hamlet has cause to fight, but is so far showing himself a coward.  He spurs his thoughts on to violence.

Hamlet tries to show his mother, Gertrude, his father’s ghost (1778) Nicolai A. Abildgaard source Wikipedia

Thoughts:

Hamlet is still appearing very sane and reasonable.  He questions the captain with great astuteness and judges the situation with a rational insight.

His soliloquy is quite wonderful.  I wonder however …….. at the beginning of his speech, he ridicules over-thinking without action, yet at the end he says, “From now on, if my thoughts aren’t violent I’ll consider them worthless.” Hamlet is still focused on his thoughts, and for all his blustering for action, again appears unprepared to act.  However, by concentrating on violence, perhaps he is slowly moving towards the culmination of his desire.  All in good time, Hamlet.

Hamlet  ~~  Act IV  Scene III

No one knows where Hamlet has placed Polonius’ body, and Rosencrantz and Guilderstern’s efforts at discovery have been fruitless, therefore Claudius calls Hamlet before him.  Hamlet plays with him a little, a cat and mouse type of game, increasing Claudius’ horror of his act until he divulges the location. Claudius reveals that he is sending Hamlet to England, and Hamlet receives the information with a calm disinterestedness.  Out of Hamlet’s hearing, Claudius urges speed and reveals that he has commissioned the English king to execute Hamlet.  He hopes that the fear of Denmark’s past deeds to England will secure this edict.

Thoughts:

Ah, Hamlet quite cleverly, advises Claudius to look in Hell for the body of Polonius:

“In heaven.  Send hither to see.  If your messenger find him 
not there, seek him i’ th’ other place yourself…..”

It’s quite appalling how Claudius can transform from a dear, doting, sympathetic figure to a cold-blooded murderer.  It’s becoming more apparent how he could have disposed of King Hamlet.  He sees the present Hamlet as a disease affecting himself and one that needs to be eradicated.

Hell (1500-04) Hieronymus Bosch source Wikiart

Hamlet  ~  Act IV  Scene II

Rosencrantz and Guildenstern turn up to question Hamlet about the body of Polonius.  Hamlet again speaks very insightful nonsense to them, which they do not appear to understand.  Finally he agrees to be taken to the king.

Gather Ye Rosebuds, or Ophelia (1908) John William Waterhouse source Wikiart

Thoughts:

I wonder …… are Rosencrantz and Guildenstern dense?  They are carrying out Claudius’ orders without question, and the copious insults that Hamlet flings at them, seem to pass right over their heads.

What exactly did Hamlet mean when he said “The body is with the king, but the king is not with the body …”  Is this a reference to his father’s murder, in that his dead body the responsibility of Claudius, but Claudius is not physically with it?  Or what he hinting that Claudius was actually to blame for the death of Polonius, even though he wasn’t physically with the body?

Hamlet  ~  Act IV  Scene I

Gertrude relates all to Claudius about her meeting with Hamlet, including the death of Polonius.  Claudius laments Hamlet’s state, his act and his own position.  He calls for Guildenstern, revealing Hamlet’s dreadful deed and commands him to bring the corpse to the chapel.  He then declares that he will tell their wisest friends of his planned action, hoping that the effects of this act, will not tarnish their reputation.

Ophelia (1863) Arthur Hughes source Wikiart

Thoughts:

This scene is very short but still enlightening.  In spite of Gertrude’s promise of silence to Hamlet, she immediately reveals to Claudius everything that had passed between them.  Or does she?  She only reveals her opinion that Hamlet is mad, yet does not say that he is playing at being mad.  So, in effect, did she really keep her pledge?

It’s fascinating that Claudius blames himself for Hamlet’s actions in the death of Polonius.  He claims his guilt is because he did not restrain his nephew, but is there other guilt that is affecting his feelings?

Again, Claudius is calling on others to support his actions, making them at least partially responsible for the course on which he decides.  Is this a crafty political move, or does Claudius’ simply need emotional support in his new position?

Hamlet  ~~  Act III  Scene IV

Hamlet and his Mother Eugene Delacroix source Wikimedia Commons

Hamlet devant le corps de Polonius Eugène Delacroix source Wikipedia Commons

Hamlet  ~~ Act III  Scene III

Claudius concludes that Hamlet is too dangerous to be allowed to remain in Denmark and employs Rosencrantz and Guildenstern to assist with his removal to England.  Polonius offers to observe Hamlet in his mother’s chambers and, upon his exit, we are treated to a lamenting regret from Claudius that is an insightful commentary on his crime.  He wants forgiveness, wants to be able to continue free from guilt, but his crime lives on, attached to what he has gained from it.  Is forgiveness and purification even within his grasp?  Hamlet comes upon Claudius during his prayers and contemplates murder.  His father had no time to confess his sins before his death, yet here is Claudius confessing his, a perfect time to kill him.  But Hamlet decides to wait until he finds Claudius in the grip of sin and then he’ll despatch him to hell.

La reine sans Hamlet (1895) Edwin Austin Abbey source Wikiart

Thoughts:

At least Claudius is not so malevolent as to try to bring about Hamlet’s death; at this point he is only prepared to banish him.

I hadn’t realized before how repulsive were Rosencrantz and Guildenstern’s sycophantic actions.  They claim to be Hamlet’s friends, yet how quick they are to work against him.

What is becoming more clear to me in this play is the theme of thought vs. action (or perhaps inaction vs. action).  Hamlet has been thinking and agonizing, perhaps overmuch, and bemoans his insufficient action, yet in this scene Claudius perhaps feels that his action (the murder of the king) was done with much force of will, yet little thought and is now regretting his precipitous behaviour.  They are both experiencing guilt but from two different, and really opposite, causes.

I was a little confused at Hamlet’s reasoning for not revenging himself on Claudius; because Claudius was at prayer, he’d go to heaven, but if Hamlet could catch him sinning and murder him then, he’d go to hell.  Is this more prevaricating by Hamlet?  Or is it influenced by a Catholic understanding of faith?

Claudius at prayer (1844) Eugene Delacroix source Wikimedia Commons

The Play Scene (1897) Edwin Austen Abbey source Yale University Art Gallery

Hamlet  ~~ Act III  Scene II

The Play Scene from “Hamlet” (1841) Daniel Maclise source Wikimedia Commons

Thoughts:

Why Hamlet concludes Claudius’ ire over the play confirms his guilt, is uncertain.  Claudius could be innocent and simply be angry that Hamlet is obviously accusing him of the first king’s death.  However, the fact that Guildenstern is still asking Hamlet what is the matter with him is suspect.  After the performance, it was blatantly obvious what was on Hamlet’s mind.  That fact indicates that Guildenstern, instead of being concerned about Hamlet, is, in fact, prodding him to confess.  His motives are suspect and Hamlet is certainly justified in his suspicion.

Hamlet Read-Along Posts

Act I  Scene I

Act I  Scene II

Act I  Scene III

Act I  Scene IV

Act I  Scene V

Act II Scene I

Act II  Scene II

Act III  Scene I
Act III Scene II