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Table of Contents | Message Board | Printable Version | Barron's Booknotes ACT III, SCENE 2 Notes This highly charged, emotional scene contains the first climax of the play. The play-within-a-play, a common occurrence in Shakespearean drama, tests the King's conscience and confirms Hamlet's suspicions of his villainy. It is a turning point of the plot, for Hamlet now knows conclusively that the ghost has spoken the truth, forcing him to finally act decisively. In his soliloquy, he proves that his earlier indecision has been transformed into passionate emotion and immediate desire for revenge. Unfortunately, Hamlet has waited so long to take action that he has allowed Claudius time to plan his own drama. Besides dramatically furthering the plot of Hamlet, the play-within-a-play also presents a metaphor for the theatre and develops the theme of appearance vs. reality. The fictional drama being presented before the King is a parallel to the past reality of the King and will serve to shape the future reality of the King and several other characters. Hamlet, as director of this great masquerade on stage, cautions the players not to exaggerate their expressions and emotions, stating that only uncivilized "groundlings" are impressed by excessive melodrama. He tells them that the aim of art is to hold "the mirror up to nature," saying, in essence, that the representation of action should be a realistic reflection of life, with moderation as the keynote. Hamlet's advice to the players is important, for it reveals his state of mind before the presentation of the play. Hamlet has been striving to achieve a balance between reason and passion, as seen in his soliloquies in Acts II and III; before the players, he cautions for moderation and against excessive passion, indicating that Hamlet's own mind has finally reached a reasoned balance. It is important to remember that when the players first arrived in Act II, Scene 2, Hamlet had asked them to give a passionate presentation of the killing of Priam by Pyrrhus. Now he specifically instructs the players to "beget a temperance" in the "whirlwind of passion" in order to give it "smoothness." The fact that Hamlet confides his plans for the play to Horatio reveals his strong admiration and respect for his friend. In fact, he comments that Horatio's sense of equanimity makes him an admirable judge of things. As a result, Hamlet asks him to act as an independent witness of Claudius' reaction to the play. Hamlet tells Horatio that "both our judgements join / In censure of his seeming."
Before the play begins, Hamlet indulges in again poking fun at Polonius; but when it is time for the drama to begin, the suspense quickly builds. Hamlet rejects his mother's invitation to sit beside her and instead chooses to sit beside Ophelia in order to observe the reactions of the King and Queen during the drama. The Prince, still pretending to be mad, indulges in some word play with Ophelia and asks her whether he may lie in her lap. When Ophelia refuses, Hamlet says that he had only meant to lay his head upon her lap and hadn't meant "country matters" (a euphemism for sexual intercourse). When Ophelia says that she thinks nothing about such an act, Hamlet suggests that she is so chaste that she has "no thing" between her legs. Hamlet's punning is painfully cruel and serves to reveal his own tormented state. The inner play is preceded by a meaningful pantomime that foreshadows the action and theme of the actual play. In the mime, Duke Gonzago is killed by having poison poured in his ear; shortly after his death, his wife goes off with the murderer. Since it is a pantomime, the meaning is not fully clear, but provides Hamlet with an opportunity to observe Claudius before the King really realizes what is unfolding. When the actual play begins and Claudius fully understands its meaning, he is unable to contain his guilt; he is brought to his feet, stops the play, and flees the scene. Hamlet now knows the truth for certain; his excuse for inaction is gone. This scene, in typical Shakespearean fashion, develops the plot in rapid strokes. Only when Hamlet is left alone does the pace momentarily slow to allow for the self-reflection that is integral to his character development. His determination to act is given in a soliloquy, and he appropriately plans his momentous deeds for the hour of midnight. Hamlet, thirsty for revenge, declares, "Now could I drink hot blood, / And so much bitter business as the day / Would quake to look on."
Table of Contents | Message Board | Printable Version | Barron's Booknotes
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