hamlet act 3 scene 4 essay

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A ct 3, S cene 4

Hamlet

Gertrude , gertrude , polonius , gertrude .

Hamlet

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Write a Critical Analysis on Hamlet Act 3 Scene 4

Act 3 scene 4 – also known as the ‘closet’ scene – is a pivotal moment within play. It depicts Hamlet’s confrontation with his mother, Gertrude, over his recent decisions and behaviour, and dwells over the relationship between the two.

The scene begins with Polonius telling the Queen to be “straight” and direct with Hamlet about his ways and that he – Polonius – will be hiding in silence; which is ironic, as it is his inability to stay silent which leads to his death. Quite strange within this brief introduction into the scene is that Polonius finds it fit that he should have to tell the Queen what to say and do when talking to her own son – and it is these sorts of foolish interjections, into business which do not concern people of his nature, which render his death inevitable.

Following Hamlet’s entrance into the scene, Gertrude tries fruitlessly to exemplify her authority. She first tells Hamlet that he has “thy father much offended” which he immediately counters by saying that she has the Old Hamlet “much offended”. The sudden change of subject to the dead – the Old King Hamlet – sets the scene for the later comparison which apparently hurts Gertrude at the heart. The conversation progresses with Gertrude attempting yet again to show her status as his mother by reminding him, “Have you forgot me?” however, likewise to the earlier counter, Hamlet reminds her that she is her “husband’s brother’s wife”. Hamlet’s fixation upon the condition and actions of Gertrude rather than his own, exemplifies his resentment upon her – however, this may also be seen as Hamlet’s love and concern for his mother; this view is later enforced by his advice for Gertrude to keep her “virtue” or what’s left of it, by not retreating to Claudius’ bed.

The scene then takes a most shocking turn with Hamlet actually putting meaning behind his words and taking his thoughts past their boundaries into action. Gertrude, realising that she is no match for Hamlet in this argument, attempts to “set those” who has the power and authority to make him listen. Hamlet however takes her back by force and sets up a mirror to see the “inmost part of” her. This can obviously be mistaken as literally seeing the inside of her body, which Gertrude takes on and interprets as an attempt of murder – which leads to her screams for “help”. Polonius now foolishly, still from behind the arras, shouts for help – the fact that he does not come out himself shows his cowardice – and this is what leads to his murder.

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Hamlet’s sudden decision to kill the “rat” on the basis of sound conveys his irrational personality – at this point – and sets the basis for the reader to assume that on some level, he may be ill at the mind. However, from this brutal act I can only assume that he was incensed due to Gertrude’s stubborn actions. Aside from the act itself, Hamlet still refers the deed “almost as bad” as “kill a king and marry his brother”. This comment shows that Hamlet is still fixated upon the actions of Gertrude rather than on the sin at hand – moreover, when realising it is Polonius who is dead, he still calls him an “intruding fool” which shows his little, if not no remorse; which again suggests that he may have already become mad.

After this their conversation continues, Hamlet tells Gertrude that he hopes that her heart hasn't become so hardened that it's impenetrable, he believes that her vices, that to her have become so habitual, are to blame. Gertrude questions Hamlets reasons for talking to her “in noise so rude”, he tells her his reasons are that she has committed an act that heaven would be ashamed of. Hamlet personifies the act by remarking that it “blurs the grace and blush of modesty” and “calls virtue hyprocrite”. He then blasphemously comments on the act opposing “sweet religion” which is ironic as Hamlet has just committed the worst sin of all, murder. Gertrude however is still confused as to what this act is which “roars so loud and thunders in the index”.

To illustrate his point, Hamlet takes two miniatures – one of Old King Hamlet, and another of the now King Claudius. He then compliments his father as if he was a God with an “eye like Mars” and “Hyperion’s curls”. Every god seemed to “set his seal” and when people were depressed with mankind they would look to him and he would be able to make them feel better and more assured. He then compares this almost too perfect picture to Claudius, “this was your husband” “here is your husband” and he remarks him as “mildewed ear”. The comparison between the two brothers are of course biased towards King Hamlet – due to Hamlet’s favour – therefore, the it is only natural that it is over-exaggerated in order to lower the appearance of Claudius.

Hamlet then forcibly attacks Gertrude, stating that it is not love that she is feeling, “for at” her “age” the feeling for love and adventure has settled. Hamlet believes that all her senses have gone, but that even if she did have part of her senses then she wouldn't be so confused. He believes that if the devil can encourage the worser nature of the older generation to rebel against their better judgement, then they have no right telling the younger generation what to do. Hamlet explains that in circumstances like these virtue becomes a soft wax melting in the fire of youthful ardour and, that reason acts as a pander to lust. Hamlet uses imagery to explain to Gertrude that things are no longer in the order that they should be “frost itself as actively doth burn” nature has lost its natural order.

When Hamlet has finished telling Gertrude this, she tells him that she doesn’t want him to speak anymore, this is because she feels guilty she tells him that as she looks in on her soul she sees black spots that now cannot be removed, here we see a change in Gertrude, she seems to have realised what she has done and why Hamlet is upset. Hamlet asks her how she could live in such a greasy and foul bed that is full of sin, and he tells her once again that Claudius is not worth even half of what her old husband was worth. After Hamlet has finished speaking he spots the ghost of his father again. His persistence in humiliating and informing Gertrude of her flaw may not only stem from his anger, but also from his love for his mother – showing his moral and humane side which contradicts his assumed madness. Shortly after, the ghost of King Hamlet appears.

He begins to talk to it; Gertrude who doesn’t see the ghost believes that he is totally mad. Hamlet tells the ghost that he has allowed his emotions to cloud his judgment he believes that he has allowed time to slip by and his commitment to his task of revenge to cool. The ghost tells Hamlet that he has come back to sharpen his will and to remind him of what he has to do; not because he has forgotten but because he is misusing the energies which should be directed towards revenge. He then tells Hamlet that he should go to try and put Gertrudes' mind at rest. Gertrude, who still cannot see who Hamlet is talking to, asks him why he is talking to an empty space. She describes how mad he looks to her, he appears to be talking to nothing, his eyes are popping out of his head and his hair is on end; she’s worried about him and she wants him to calm down. She asks him whom he is talking to. Hamlet points to the ghost and describes to her that the look on the ghosts face could make even stones cry, he doesn’t want the ghost to look at him like that as he feels that it will weaken him, he believes that pity is not a state of mind that is likely to generate violent behaviour. As Gertrude is still wondering what is going on, the ghost leaves.

Gertrude believes that everything that Hamlet says he can see, he has created in his imagination; she believes that madness is very skillful in creating. Hamlet tells her that he is not mad, he knows what he is saying and he tells her that he wants her to stop reassuring herself that he is mad, as he believes that that will encourage this to continue. He wants Gertrude to repent for what she has done, here we see Hamlet acting like a moral judge, he sees himself as the only person upholding morality. He becomes sarcastic by asking Gertrude for forgiveness for being a good person; he’s mocking her. Gertrude becomes confused, her heart has been divided into two and she doesn't know in which direction to turn. Hamlet tells her that she should throw away the bad part of her heart and keep the good part of it; he wants her to pretend that she is virtuous even if she isn't. He tells her that when she's goes to sleep tonight she shouldn't go Claudius' bed, as this will make the next night away from him easier for her. He tells her that he will pray to be forgiven for what he has done and that at the same time he will also pray for her to be forgiven, he won't ask ask for her blessing (like a son normally should do) until she is repentant and seeks God's blessing. Hamlet tells us such has been the will of heaven that he should be punished by being the cause of Polonius's death, and that because of this Polonius will be punished in death. Hamlet tells Gertrude that he will be honest about the death of Polonius and he carries on to say that he sees the death of Polonius as the bad beginning of a vengeance that will yet be worse.

Getrude asks him what she must do now and Hamlet tells her that she must not let the King tempt her again, she must not tell him what has happened tonight. He tells her that he is not mad, but that he has created this madness "I essentially am not in madness, but mad in craft". Once again Hamlet turns sarcastic towards Gertrude and asks her what reason a good and honest Queen may have to keep a secret from a bad and dishonest King, he tells her that if she lets any of this out she will live to suffer and that should do this for her own good. Hamlet uses a fable to illustrate to Gertrude what will happen to her if she tells anyone; she will gain nothing by it and that if she imagines that she can act with the king as cleverly as he can, independently of him, then she will be like the ape trying to fly and so will come to grief. She swears to him that she will not tell a soul.

Hamlet has a plan to do with Rosencrantz and Guildenstern, that instead of them trapping him, he will trap them. The scene finishes off by Hamlet telling Gertrude that he could never trust Polonius before, but now that he is dead he can. He says goodnight to Gertrude and then leaves tugging Polonius' body behind him. In this scene we can see Hamlets relationship with women and his mother in particular, even thought he talks to her he is still very suspicious of her and this gives him a bad impression of women in general, he feels as though he cannot trust them.

Hamlet’s behaviour and character is sending the reader a very confusing signal. The fact that he shows no remorse over the killing of Polonius illustrates his detachment with reality, but at the same time, he loves his mother enough to warn her not to fall deeper in sin. The fact that Gertrude could not see the ghost but he could suggests that it was merely an apparition which contributes to the idea of his insanity. Whether sane or insane, it is without doubt that Hamlet still remains a powerful character, and with his hands already stained with blood, it is assured that he will shed more.

Document Details

Word Count 2130
Page Count 4
Level AS and A Level
Subject English

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Bedchamber or closet? Interpreting and staging Act 3, Scene 4 in Hamlet

This climactic scene is a disconcerting moment that lends itself to various interpretations. A Freudian view of Hamlet promotes a by now conventional staging that illustrates a supposed oedipal link between Hamlet and his mother. The scene can be seen as a revelatory moment in which the Prince unmasks his true cruel Machiavellian self or reveals the purity and nobility of his character; in which he shows himself as a misogynistic bully or as a person who is no longer feigning madness but has actually lost his mind; as a son still bent on revenging his father and ready to drink hot blood or as one more interested in policing his mother's sexuality. This is also the only moment of the play when we see the erstwhile Royal Danish family reunited, and the behaviour of the parents is as puzzling as that of the son. What exactly does the Ghost represent? Why does he appear now? Why doesn't Gertrud see him? Does Gertrud really believe that Hamlet is pretending to be mad? That Claudius has killed old Hamlet? Was she an accomplice in the murder? Was she an adulteress? This paper addresses these questions through an analysis of the most interesting solutions offered by actors and directors who have staged and screened Hamlet, as well as refer to some of the most insightful scholarly interpretations. The so-called 'closet scene' is a pivotal scene in Hamlet. It takes place in the middle of the play, straight after the 'play within the play' or 'mousetrap scene' which have allowed Hamlet to reach complete certainty about the nature of the Ghost and therefore the decision to commit to his revenge. Now, says Hamlet, I could drink hot blood. Many important things happen during the closet scene: first and uppermost, Hamlet becomes a murderer; secondly, he ascertains that his mother was not an accomplice in King Hamlet's murder; thirdly, he makes it quite clear to his mother that he knows she is an adulteress and tells her in no uncertain terms what he thinks of her behavior; fourthly, he reveals to her that his madness is

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