Act 3, Scene 2 — Hamlet — Study Shakespeare

The argument Hamlet instructs the Players on acting. He briefs Horatio to watch Claudius during the play. The court assembles. The Mousetrap is performed; Claudius rises and leaves at the murder. Hamlet is triumphant. Then he is called to Gertrude, and delivers his 'Now could I drink hot blood' soliloquy — but pulls back from immediate action.

Enter Hamlet and certain Players.

HAMLET [Hamlet: directing the Players]

Speak the speech, I pray you, as I pronounced it to you, trippingly on

the tongue. But if you mouth it, as many of your players do, I had as

lief the town-crier spoke my lines. Nor do not saw the air too much

with your hand, thus, but use all gently; for in the very torrent,

tempest, and, as I may say, whirlwind of passion, you must acquire and

beget a temperance that may give it smoothness. O, it offends me to the

soul to hear a robustious periwig-pated fellow tear a passion to

tatters, to very rags, to split the ears of the groundlings, who, for

the most part, are capable of nothing but inexplicable dumb shows and

noise. I would have such a fellow whipped for o’erdoing Termagant. It

out-Herods Herod. Pray you avoid it.

Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue: but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines.

Speak it naturally—the way I showed you. Not overdone, not affected.

speak naturally trippingly no overacting

"Speak the speech, I pray you" Hamlet's acting lecture is one of the most famous pieces of theatre criticism in the language, and it is deeply self-referential: a man who performs madness for an audience is instructing professional actors in the art of naturalistic performance. His principles — don't overact, don't underact, hold the mirror up to nature — are also a description of what he himself attempts (and sometimes fails) to do.

Why it matters The acting lecture reveals Hamlet's aesthetic values and his theory of truth: theatre should hold 'the mirror up to nature.' This is also his theory of the Mousetrap — fiction reflects reality, and reality (Claudius's guilt) will be caught in its reflection.

FIRST PLAYER [First Player: acknowledging]

I warrant your honour.

Yes, my lord.

yes

HAMLET [Hamlet: the advice continues]

Be not too tame neither; but let your own discretion be your tutor.

Suit the action to the word, the word to the action, with this special

observance, that you o’erstep not the modesty of nature; for anything

so overdone is from the purpose of playing, whose end, both at the

first and now, was and is, to hold as ’twere the mirror up to nature;

to show virtue her own feature, scorn her own image, and the very age

and body of the time his form and pressure. Now, this overdone, or come

tardy off, though it make the unskilful laugh, cannot but make the

judicious grieve; the censure of the which one must in your allowance

o’erweigh a whole theatre of others. O, there be players that I have

seen play—and heard others praise, and that highly—not to speak it

profanely, that, neither having the accent of Christians, nor the gait

of Christian, pagan, nor man, have so strutted and bellowed that I have

thought some of Nature’s journeymen had made men, and not made them

well, they imitated humanity so abominably.

Nor do not saw the air too much with your hand, thus, but use all gently; for in the very torrent, tempest, and, as I may say, the whirlwind of passion, you must acquire and beget a temperance that may give it smoothness.

Don't flail your arms around. Even in passionate moments, control and smoothness matter. That's real acting.

control smoothness temp erance real acting

Why it matters Hamlet's praise of Horatio is the play's clearest statement of what Hamlet wants to be and cannot be: someone who endures without being destroyed. He celebrates in Horatio the stability he lacks himself.

FIRST PLAYER [the First Player assuring Hamlet]

I hope we have reform’d that indifferently with us, sir.

I hope we've performed reasonably well, sir.

I think we did pretty well, sir.

we did okay good performance

HAMLET [Hamlet: continuing the instructions]

O reform it altogether. And let those that play your clowns speak no

more than is set down for them. For there be of them that will

themselves laugh, to set on some quantity of barren spectators to laugh

too, though in the meantime some necessary question of the play be then

to be considered. That’s villainous, and shows a most pitiful ambition

in the fool that uses it. Go make you ready.

O, it offends me to the soul to hear a robustious, periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings, who for the most part are capable of nothing but inexplicable dumb-shows and noise.

I hate bad acting. When an actor overacts—when he destroys the words to impress the crowd—it's obscene.

bad acting offends me overacting spitting tearing words obscene

[_Exeunt Players._]

Enter Polonius, Rosencrantz and Guildenstern.

How now, my lord?

Will the King hear this piece of work?

POLONIUS [Hamlet: his praise of Horatio]

And the Queen too, and that presently.

Nay, do not think I flatter; for what advancement may I hope from thee that no revenue hast but thy good spirits? What should I say to thee, Lord Hamlet?—nothing; for I will not falter with thee.

I'm not flattering you—you have nothing to gain from me, so there's no reason to be false. I trust you completely.

no flattery you trust me i trust you completely

HAMLET [Hamlet: the real request]

Bid the players make haste.

I will tell you why; so shall my anticipation prevent your discovery, and your secrecy to the king and queen moult no feather. I have of late—but wherefore I know not—lost all my mirth. 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: observe his looks; if he but blench, I know my course.

Now listen. Watch Claudius during this play. One scene will show the murder of my father. If he reacts—if he shows any sign of guilt—then I'll know the Ghost was telling the truth. I'll know what to do.

watch claudius during the play if he reacts i'll know what to do he's guilty

[_Exit Polonius._]

Will you two help to hasten them?

ROSENCRANTZ and GUILDENSTERN.

We will, my lord.

[_Exeunt Rosencrantz and Guildenstern._]

HAMLET [Hamlet: evasive, mocking]

What ho, Horatio!

No, nor mine now.

Neither do I.

neither do i

🎭 Dramatic irony Claudius rises and leaves during the murder-by-poison scene, which Hamlet and Horatio both witness as proof of guilt. Claudius has confirmed everything. Yet Hamlet's opportunity to act immediately is exactly one scene away — and he will not take it.

Enter Horatio.

HORATIO [Gertrude: inviting him to sit]

Here, sweet lord, at your service.

Come hither, my dear Hamlet, sit by me.

Sit with me.

sit

HAMLET ≋ verse [Hamlet: moving to Ophelia instead]

Horatio, thou art e’en as just a man

As e’er my conversation cop’d withal.

No, good mother, here's metal more attractive.

No, I'll sit here.

HORATIO [Ophelia: nervous at his approach]

O my dear lord.

O, what a noble mind is here o'erthrown!

...

Why it matters Hamlet's behavior during the performance is a masterpiece of controlled chaos. He is simultaneously the most entertaining person in the room and the most dangerous. His jokes are all live wires.

HAMLET ≋ verse [Hamlet: to Ophelia, aggressive]

Nay, do not think I flatter;

For what advancement may I hope from thee,

That no revenue hast, but thy good spirits

To feed and clothe thee? Why should the poor be flatter’d?

No, let the candied tongue lick absurd pomp,

And crook the pregnant hinges of the knee

Where thrift may follow fawning. Dost thou hear?

Since my dear soul was mistress of her choice,

And could of men distinguish, her election

Hath seal’d thee for herself. For thou hast been

As one, in suffering all, that suffers nothing,

A man that Fortune’s buffets and rewards

Hast ta’en with equal thanks. And blessed are those

Whose blood and judgement are so well co-mingled

That they are not a pipe for Fortune’s finger

To sound what stop she please. Give me that man

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 tonight before the King.

One scene of it comes near the circumstance

Which I have told thee, of my father’s death.

I prithee, when thou see’st that act a-foot,

Even with the very comment of thy soul

Observe mine uncle. If his occulted guilt

Do not itself unkennel in one speech,

It is a damned ghost that we have seen;

And my imaginations are as foul

As Vulcan’s stithy. Give him heedful note;

For I mine eyes will rivet to his face;

And after we will both our judgements join

In censure of his seeming.

Lady, shall I lie in your lap?

Can I rest here?

can i sit

HORATIO ≋ verse [Ophelia: confused]

Well, my lord.

If he steal aught the whilst this play is playing,

And ’scape detecting, I will pay the theft.

No, my lord.

No.

HAMLET [Hamlet: aggressive double meaning]

They are coming to the play. I must be idle.

Get you a place.

Danish march. A flourish. Enter King, Queen, Polonius, Ophelia,

Rosencrantz, Guildenstern and others.

I mean, my head upon your lap.

I meant my head. Nothing more.

my head that's all

Why it matters Claudius's departure is the Mousetrap's proof of concept. He cannot watch the play's murder scene without reacting. Whether this proves guilt or merely a bad conscience, Hamlet counts it as confirmation.

KING [Ophelia: trying to deflect]

How fares our cousin Hamlet?

Ay, my lord.

Yes. Okay.

okay

HAMLET ≋ verse [Hamlet: crude and cutting]

Excellent, i’ faith; of the chameleon’s dish: I eat the air,

promise-crammed: you cannot feed capons so.

Do you think I meant country matters?

Do you think I meant something sexual?

do you

KING [the King refusing to engage — Hamlet sees the lie]

I have nothing with this answer, Hamlet; these words are not mine.

I have nothing to say to that answer, Hamlet. Those words mean nothing.

That's not an answer, Hamlet. That's just words.

that doesn't mean anything just words no substance

HAMLET [Hamlet with cutting wit — shifting to Polonius]

No, nor mine now. [_To Polonius._] My lord, you play’d once i’

th’university, you say?

Neither do mine now. [To Polonius] My lord, you played a king once in the theater, didn't you?

And mine don't either. [To Polonius] My lord, did you ever act in a play? Play a king?

neither do mine palestine did you ever act play a king

POLONIUS [Player King: the opening of the playlet]

That did I, my lord, and was accounted a good actor.

Full thirty times hath Phoebus' cart gone round Neptune's salt wash and Tellus' orbed ground, and thirty dozen moons with borrow'd sheen about the world have times twelve thirties been, since love our hearts and Hymen did our hands unite commutual in most sacred bands.

For thirty years we've been married. Thirty years of love and happiness.

thirty years married happy

HAMLET [Player Queen: but with worry]

What did you enact?

So many journeys may the sun and moon make us again count o'er ere love dissolve so. But woe is me! you are but newly gone; my operant powers their functions leave to do: and will not let beliefs take hold of him unto his grave.

I hope our love lasts that long. But I'm worried. You're leaving on a journey. I'm afraid something will happen while you're gone. I'm afraid you'll forget me.

you're leaving i'm afraid you'll forget me i'll be alone

POLONIUS [Player King: reassuring]

I did enact Julius Caesar. I was kill’d i’ th’ Capitol. Brutus killed

me.

Faith, I must leave thee, love, and shortly too; my operant powers their functions leave to do: and will not let beliefs take hold of him unto his grave. But hark! what light through yonder window breaks?

I have to leave, but I promise I'll come back. And our love will last. Nothing will change between us.

i have to go but i promise i'll come back our love will last

HAMLET [Hamlet: sardonic, mocking Polonius]

It was a brute part of him to kill so capital a calf there. Be the

players ready?

That was a savage thing for him to do — to kill such a fool there. Are the players ready?

Pretty brutal of him to kill that idiot. Hey, are the actors ready?

killing a fool what brutality are the players ready

Why it matters Hamlet's sarcasm about Polonius's death — he is joking that killing such a fool (calf) was a brutal ('brute') thing to do. He dismisses it lightly while asking if the players are ready for the play-within-a-play.

ROSENCRANTZ [Rosencrantz confirming]

Ay, my lord; they stay upon your patience.

Yes, my lord. They're waiting for your signal.

Yes, they're ready whenever you are.

yes they're waiting whenever you're ready

Why it matters Between 3-2 and 3-3 lies the scene where Hamlet could kill Claudius at prayer. He doesn't. The 'now could I drink hot blood' soliloquy shows him at peak readiness — but it is readiness for his mother's room, not for Claudius. The trajectory is not toward murder but toward confrontation.

QUEEN [Hamlet: to Ophelia, knowing what comes next]

Come hither, my dear Hamlet, sit by me.

Madam, how like you this play?

What do you think of the play so far?

what do you think

HAMLET [Ophelia: nervous]

No, good mother, here’s metal more attractive.

The lady doth protest too much, methinks.

She's complaining a lot.

she complains

[_To the King._] O ho! do you mark that?

HAMLET [Hamlet propositioning Ophelia — the cruelty continues, sexual now]

Lady, shall I lie in your lap?

Lady, may I rest my head on your lap?

Can I put my head on your lap?

let me lay on you let me rest there

[_Lying down at Ophelia’s feet._]

OPHELIA [Hamlet: the setup]

No, my lord.

You are as good as a chorus, my lord.

...

HAMLET [Hamlet clarifying his meaning — crude]

I mean, my head upon your lap?

I mean, my head resting on your lap?

I mean, my head. On your lap.

my head on your lap that's what i mean

OPHELIA [Player Lucianus: the poisoning speech]

Ay, my lord.

Thoughts black as hell, and tricks of cunning craft, work through the powers of this cold night! With Hecate's ban thrice blasted, thrice infected, with witches' charm created, conjured, consecrated, I will have present poison for the ghost of murder.

Now I poison him. In his sleep. The way a murderer would. With poison.

poison in sleep a murderer's way the poison works

HAMLET [Hamlet: pressing hard on Claudius]

Do you think I meant country matters?

He poisons him i' the garden for's estate. You shall see anon how the murderer gets the love of Gonzago's wife.

He kills the old king for the throne. And he gets the widow. That's the plot.

he kills for the throne he gets the widow that's the plot

OPHELIA [Claudius: rising abruptly, cannot watch anymore]

I think nothing, my lord.

Give me some light. Away!

Get me out of here!

leave get light

HAMLET [obscene wordplay — 'lie between maids' legs']

That’s a fair thought to lie between maids’ legs.

That's a pleasant way to think about being between a woman's legs.

Yeah, that's a nice image — a man lying between a woman's legs.

lying between legs sexual obscene

OPHELIA [Hamlet: triumphant, to Horatio]

What is, my lord?

Did'st perceive?

Did you see that?

you saw

HAMLET [Horatio: confirming what they both saw]

Nothing.

I did very well note him.

Yes. He reacted.

he reacted guilty

OPHELIA [Hamlet: the moment of confirmation]

You are merry, my lord.

Upon the talk of the poisoning?

During the poison scene?

during poison

HAMLET [Horatio: confirming the guilt]

Who, I?

I did observe him very well; and, if I mistake not, his guilt was confirmed.

Yes. His guilt was obvious.

obvious guilt confirmed

OPHELIA [Hamlet: ecstatic]

Ay, my lord.

I'll take the ghost's word for a thousand pound. Didst thou perceive?

The Ghost was telling the truth! Claudius murdered my father! A thousand pounds on it!

claudius is guilty murdered father one thousand pound

HAMLET [Rosencrantz: approaching cautiously]

O God, your only jig-maker! What should a man do but be merry? For look

you how cheerfully my mother looks, and my father died within’s two

hours.

My lord, you once did love me.

My lord, remember your friendship with us?

remember us

OPHELIA [Hamlet: immediately suspicious, switching modes]

Nay, ’tis twice two months, my lord.

And do still, by these pickers and stealers.

Of course I do.

of course

HAMLET [Guildenstern: making their move]

So long? Nay then, let the devil wear black, for I’ll have a suit of

sables. O heavens! die two months ago, and not forgotten yet? Then

there’s hope a great man’s memory may outlive his life half a year. But

by’r lady, he must build churches then; or else shall he suffer not

thinking on, with the hobby-horse, whose epitaph is ‘For, O, for O, the

hobby-horse is forgot!’

Trumpets sound. The dumb show enters.

_Enter a King and a Queen very lovingly; the Queen embracing him and he

her. She kneels, and makes show of protestation unto him. He takes her

up, and declines his head upon her neck. Lays him down upon a bank of

flowers. She, seeing him asleep, leaves him. Anon comes in a fellow,

takes off his crown, kisses it, pours poison in the King’s ears, and

exits. The Queen returns, finds the King dead, and makes passionate

action. The Poisoner with some three or four Mutes, comes in again,

seeming to lament with her. The dead body is carried away. The Poisoner

woos the Queen with gifts. She seems loth and unwilling awhile, but in

the end accepts his love._

Good, my lord, what is your cause of distemper? you do, surely, bar the door upon your own liberty, if you deny your griefs to us.

Tell us what's wrong. Let us help. Don't shut us out.

tell us what's wrong let us help don't shut us out

[_Exeunt._]

OPHELIA [Ophelia asking him to stop — scared]

What means this, my lord?

What is the meaning of this, my lord?

What are you doing? What is this?

stop what are you doing why

HAMLET [Polonius: with a message]

Marry, this is miching mallecho; it means mischief.

My lord, the queen would speak with you, and presently.

Your mother wants to see you. Now.

your mother wants you now

OPHELIA [Hamlet: mocking Polonius]

Belike this show imports the argument of the play.

Do you see that cloud that's almost in shape of a camel? Methinks it is like a weasel. Methinks it is like a whale.

Is that cloud shaped like a camel to you? Or a weasel? Or a whale? What do you see?

the clouds shape what you see matter

Enter Prologue.

HAMLET [Hamlet: tormenting him]

We shall know by this fellow: the players cannot keep counsel; they’ll

tell all.

It is back'd like a weasel.

Yes, it's definitely a weasel.

definitely

OPHELIA [Polonius: changing his answer]

Will they tell us what this show meant?

Or like a whale.

Or a whale.

or whale

HAMLET [Hamlet: playing with him]

Ay, or any show that you’ll show him. Be not you ashamed to show, he’ll

not shame to tell you what it means.

Very like a whale. Now, my mother. But first let me tell you to her that while I speak to her, you shall hear all. I am but mad north-north-west: when the wind is southerly I know a hawk from a handsaw.

Let's go to my mother. I'll go see her now. But Hamlet isn't completely mad. I can tell the difference between a hawk and a handsaw—when I choose to. My madness is selective.

i'll go to mother i'm not completely mad i can tell hawk from handsaw selective

OPHELIA [Ophelia asserting herself, then giving in]

You are naught, you are naught: I’ll mark the play.

You're misbehaving, you're misbehaving. I'll watch the play now.

You're being inappropriate. I'm not listening anymore. Let me watch the play.

stop it stop i'm watching the play now

PROLOGUE ≋ verse [the Prologue announcing the play]

_For us, and for our tragedy,

Here stooping to your clemency,

We beg your hearing patiently._

[Prologue reciting] For our tragedy and the story we're about to tell, we come humbly before you. If you grant us patience, we'll perform for you with diligence and care.

[Prologue reciting] We're here to tell you a tragic story. We hope you'll be patient with us and let us perform it with all our skill.

a tragedy we ask your patience we'll do our best

HAMLET [Hamlet mocking the brevity — or the pointlessness]

Is this a prologue, or the posy of a ring?

Is that a prologue or the inscription on a wedding ring?

Is that a prologue or something engraved on a ring?

that's so short it's like a ring inscription not a proper prologue

OPHELIA [Ophelia defending the brevity]

’Tis brief, my lord.

It is brief, my lord.

It's supposed to be short.

it's supposed to be brief

HAMLET [Hamlet attacking women — comparing them to his own shortness]

As woman’s love.

Like a woman's love.

Like a woman's affection.

like women's love short-lived insincere

Enter a King and a Queen.

PLAYER KING ≋ verse [the Player King beginning the dumbshow — speaking of marriage and time]

Full thirty times hath Phoebus’ cart gone round

Neptune’s salt wash and Tellus’ orbed ground,

And thirty dozen moons with borrow’d sheen

About the world have times twelve thirties been,

Since love our hearts, and Hymen did our hands

Unite commutual in most sacred bands.

Thirty times the sun has completed its journey since I married you. My love for you has grown with each passing day. Yet time wears on us both, and now I must leave you.

Thirty years we've been married. My love for you has never faltered. But now my time is ending, and I must go.

thirty years married to you love never changed but now i'm dying i must leave

PLAYER QUEEN ≋ verse [the Player Queen responding — accepting the inevitability]

So many journeys may the sun and moon

Make us again count o’er ere love be done.

But, woe is me, you are so sick of late,

So far from cheer and from your former state,

That I distrust you. Yet, though I distrust,

Discomfort you, my lord, it nothing must:

For women’s fear and love holds quantity,

In neither aught, or in extremity.

Now what my love is, proof hath made you know,

And as my love is siz’d, my fear is so.

Where love is great, the littlest doubts are fear;

Where little fears grow great, great love grows there.

May the sun and moon complete as many journeys for us as your love has endured — which is to say, forever. But I feel the shadow of your parting coming.

I hope the sun and moon outlast your love — which is eternal. But I feel you slipping away.

may we live forever your love is eternal but you're leaving me

PLAYER KING ≋ verse [the Player King resigned — preparing her]

Faith, I must leave thee, love, and shortly too:

My operant powers their functions leave to do:

And thou shalt live in this fair world behind,

Honour’d, belov’d, and haply one as kind

For husband shalt thou—

In truth, I must leave you, beloved, and quite soon.

Yes, I have to leave. It'll be soon.

i have to go and it's coming soon

PLAYER QUEEN ≋ verse [the Player Queen pleading — stop the words]

O confound the rest.

Such love must needs be treason in my breast.

In second husband let me be accurst!

None wed the second but who kill’d the first.

Oh, curse all else that comes after this.

Oh God, stop talking like that.

don't say anymore please stop

[_Aside._] Wormwood, wormwood.

PLAYER QUEEN ≋ verse [the Player Queen on remarriage — why women remarry]

The instances that second marriage move

Are base respects of thrift, but none of love.

A second time I kill my husband dead,

When second husband kisses me in bed.

The reasons that motivate women to marry a second time are diverse and complicated. Some seek fortune, some seek a second chance at love, some are moved by circumstances beyond their control.

Women remarry for all sorts of reasons — new love, new hope, new desperation. Nothing is simple.

reasons women remarry love money needs circumstances none of it's simple

PLAYER KING ≋ verse [the Player King to the Queen — he trusts her vow]

I do believe you think what now you speak;

But what we do determine, oft we break.

Purpose is but the slave to memory,

Of violent birth, but poor validity:

Which now, like fruit unripe, sticks on the tree,

But fall unshaken when they mellow be.

Most necessary ’tis that we forget

To pay ourselves what to ourselves is debt.

What to ourselves in passion we propose,

The passion ending, doth the purpose lose.

The violence of either grief or joy

Their own enactures with themselves destroy.

Where joy most revels, grief doth most lament;

Grief joys, joy grieves, on slender accident.

This world is not for aye; nor ’tis not strange

That even our loves should with our fortunes change,

For ’tis a question left us yet to prove,

Whether love lead fortune, or else fortune love.

The great man down, you mark his favourite flies,

The poor advanc’d makes friends of enemies;

And hitherto doth love on fortune tend:

For who not needs shall never lack a friend,

And who in want a hollow friend doth try,

Directly seasons him his enemy.

But orderly to end where I begun,

Our wills and fates do so contrary run

That our devices still are overthrown.

Our thoughts are ours, their ends none of our own.

So think thou wilt no second husband wed,

But die thy thoughts when thy first lord is dead.

I do believe that what you say now, you mean truly. But none of us know how time and circumstance will change our promises.

I believe you when you say it. But people change. Circumstances change. What you swear today might seem different tomorrow.

i believe you now but time changes hearts tomorrow you'll be different

PLAYER QUEEN ≋ verse [the Player Queen vowing eternal fidelity — absolute and tragic]

Nor earth to me give food, nor heaven light,

Sport and repose lock from me day and night,

To desperation turn my trust and hope,

An anchor’s cheer in prison be my scope,

Each opposite that blanks the face of joy,

Meet what I would have well, and it destroy!

Both here and hence pursue me lasting strife,

If, once a widow, ever I be wife.

If I should ever marry again after your death, may the earth deny me food and heaven deny me light. May death be my portion if I break this vow.

If I ever marry again, let the earth starve me and the sky crush me. Let me be damned if I'm lying.

if i remarry let me starve let me die i mean this vow forever

[_To Ophelia._] If she should break it now.

PLAYER KING ≋ verse [the Player King departing — leaving his Queen alone]

’Tis deeply sworn. Sweet, leave me here awhile.

My spirits grow dull, and fain I would beguile

The tedious day with sleep.

It's a solemn vow I've made. Sweet Queen, leave me alone for a while.

I've sworn it truly. Let me rest alone for now.

i've sworn the vow leave me i need to rest

[_Sleeps._]

PLAYER QUEEN ≋ verse [the Player Queen singing — blessing his sleep]

Sleep rock thy brain,

And never come mischance between us twain.

[Singing] May sleep bring peace to your mind, may your dreams be gentle and restful.

[Singing] Sleep well, rest your mind, find peace in dreams.

sleep rest peace in dreams

[_Exit._]

HAMLET [Hamlet asking the Queen's opinion — testing her reaction]

Madam, how like you this play?

Madam, what do you think of this play?

What do you think of it?

what do you think about the play

QUEEN [the Queen commenting on the Player Queen's vow]

The lady protests too much, methinks.

The lady protests too much, I think.

She's overdoing it. She protests way too much.

she talks too much protests too much insincere

HAMLET [Hamlet darkly — but she'll keep her word]

O, but she’ll keep her word.

No, she will keep her word.

But she means it. She'll keep what she promised.

but she will keep her vow no matter what

KING [the King questioning the play — does it offend him?]

Have you heard the argument? Is there no offence in’t?

Have you heard what the play's about? Is there anything in it that might offend me?

Do you know what this play is? Does it have anything that might hurt me?

what's the story will it offend me does it have meaning

HAMLET [Hamlet dismissing the concern — it's just a joke]

No, no, they do but jest, poison in jest; no offence i’ th’ world.

No, no. They're only joking. Poison is mentioned, but in jest. There's no real offense here.

No, no. It's just a story. They poison someone but as a joke. Nothing mean.

just a joke poison mentioned in jest no offense meant

KING [the King asking for the title]

What do you call the play?

What is the play called?

What's the name of it?

what's it called what's the title

HAMLET [Hamlet revealing the title — 'The Mousetrap' — trap is the point]

_The Mousetrap._ Marry, how? Tropically. This play is the image of a

murder done in Vienna. Gonzago is the Duke’s name, his wife Baptista:

you shall see anon; ’tis a knavish piece of work: but what o’ that?

Your majesty, and we that have free souls, it touches us not. Let the

gall’d jade wince; our withers are unwrung.

It's called 'The Mousetrap.' How does it work? Allegorically. This play is about a murder in Vienna. The duke's wife was poisoned by his brother, who then married her. The current duke and duchess are now living as man and wife.

The Mousetrap. How does it work? Through allegory. A story about a duke poisoned by his brother. The brother marries the widow. Now they're living as husband and wife.

the mousetrap a trap for the guilty poison betrayals incest

"Your majesty and we that have free souls, it touches us not" This is the needle inside the velvet. Hamlet tells Claudius directly — in front of everyone, as apparent playfulness — that innocent people won't be affected by this play about murder. The message to Claudius is: if it touches you, you're not innocent.

Enter Lucianus.

This is one Lucianus, nephew to the King.

OPHELIA [Ophelia praising his commentary — he's like the chorus]

You are a good chorus, my lord.

You're a good chorus, my lord.

You're like the chorus — explaining everything.

you're the chorus explaining it all

HAMLET [Hamlet with sexual innuendo — I could interpret between you and your lover]

I could interpret between you and your love, if I could see the puppets

dallying.

I could interpret between you and your lover if I wanted to.

I could explain the relationship between you and your boyfriend.

i could explain you and your lover what's really happening

OPHELIA [Ophelia defending against the innuendo]

You are keen, my lord, you are keen.

You're sharp, my lord. Very sharp.

You're clever. Very clever.

sharp you're clever too clever

HAMLET [Hamlet continuing the sexual attack — groaning from removing his edge]

It would cost you a groaning to take off my edge.

You'd have to cry out to remove my sharpness.

You'd have to make quite a noise to dull this wit.

you'd have to cry out scream and moan to stop me

OPHELIA [Ophelia — it's getting worse, or better]

Still better, and worse.

That's both better and worse.

better and worse worse and worse stop

HAMLET [Hamlet with a final cutting remark — then turning to the play]

So you mistake your husbands.—Begin, murderer. Pox, leave thy damnable

faces, and begin. Come, the croaking raven doth bellow for revenge.

That's how women mistake their husbands. Begin, murderer!

That's exactly what women do — choose the wrong man. But start the scene now.

women choose wrong just like that now play begin

LUCIANUS ≋ verse [Lucianus — the poisoner — announcing his thoughts]

Thoughts black, hands apt, drugs fit, and time agreeing,

Confederate season, else no creature seeing;

Thou mixture rank, of midnight weeds collected,

With Hecate’s ban thrice blasted, thrice infected,

Thy natural magic and dire property

On wholesome life usurp immediately.

[Reciting] My thoughts are dark, my hands are ready, the poison is prepared, and the moment is right.

[Reciting] Dark thoughts, steady hands, poison ready, and the time is now.

dark thoughts ready hands poison mixed time is now

[_Pours the poison into the sleeper’s ears._]

HAMLET [Hamlet explaining to the King — he poisons for the estate]

He poisons him i’ th’garden for’s estate. His name’s Gonzago. The story

is extant, and written in very choice Italian. You shall see anon how

the murderer gets the love of Gonzago’s wife.

He poisons the king in the garden to steal his property. His name is Lucianus. He's the king's nephew.

So he poisons the king in the garden to get the land. Lucianus, the king's nephew.

poison in the garden for the estate the nephew does it for power and money

OPHELIA [Ophelia — the King stands up]

The King rises.

The King is rising!

He's leaving!

he's getting up he's leaving

HAMLET [Hamlet mocking — frightened by fake fire from the stage?]

What, frighted with false fire?

What, frightened by false theatrical fire?

What, scared of stage effects?

scared of fake fire of stage tricks scared of the play

QUEEN [the Player Queen checking on her husband]

How fares my lord?

How are you, my lord?

Are you all right?

are you okay what's wrong

POLONIUS [Polonius commanding action — stop the play]

Give o’er the play.

Stop the play.

Stop it. Stop the performance.

stop stop the play now

KING ≋ verse [the King fleeing — the poison is shown to work]

Give me some light. Away.

All.

Lights, lights, lights.

Give me light and get me out of here.

Turn on the lights. I'm leaving.

lights get out leave now

[_Exeunt all but Hamlet and Horatio._]

HAMLET [Hamlet quoting a hunting song — celebrating that the King's guilt is revealed]

Why, let the strucken deer go weep,

The hart ungalled play;

For some must watch, while some must sleep,

So runs the world away.

Would not this, sir, and a forest of feathers, if the rest of my

fortunes turn Turk with me; with two Provincial roses on my razed

shoes, get me a fellowship in a cry of players, sir?

[Singing] Why, let the wounded deer go weep... The one who's killed without confession goes to his deserved end.

[Singing] Why let the shot deer run away and cry... The guilty one will get what's coming to him.

the wounded deer runs the guilty one gets what they deserve it worked

HORATIO [Horatio answering — following Hamlet's lead]

Half a share.

I'll take half a portion.

I'll have half.

half i take half

HAMLET ≋ verse [Hamlet claiming the whole thing — his victory]

A whole one, I.

For thou dost know, O Damon dear,

This realm dismantled was

Of Jove himself, and now reigns here

A very, very—pajock.

I'll take the whole portion for myself.

I take it all.

no i take the whole thing

HORATIO [Horatio making a joke about rhyming]

You might have rhymed.

You could have continued the rhyme.

You should have rhymed that.

you missed the rhyme should have finished it

HAMLET [Hamlet exultant — the Ghost was telling the truth]

O good Horatio, I’ll take the ghost’s word for a thousand pound. Didst

perceive?

Oh, good Horatio, I'll accept the Ghost's testimony as absolute truth now. One man poisoned in his ear while sleeping, and now my uncle is revealed. Did you see his reaction?

Oh Horatio, the Ghost was right. I knew it was true, but now everyone knows. My uncle's poison was literal and figurative. Did you see his face?

the ghost was right the ghost was honest claudius revealed the plan worked

HORATIO [Horatio confirming]

Very well, my lord.

I did, my lord.

I saw it all.

yes i saw everything

HAMLET [Hamlet pressing Horatio on the poisoning scene]

Upon the talk of the poisoning?

When they acted out the poisoning — did you notice his reaction then?

Did you see him when they poured the poison in the ear?

during the poison scene did you see him react

HORATIO [Horatio confirming he was watching]

I did very well note him.

I watched him very carefully.

I was watching him the whole time.

i watched him very carefully the whole scene

HAMLET ≋ verse [Hamlet celebrating — calling for music to continue the evening]

Ah, ha! Come, some music. Come, the recorders.

For if the king like not the comedy,

Why then, belike he likes it not, perdie.

Come, some music.

Excellent! Come now, let's have some music. Bring me the recorders.

Perfect. Let's celebrate. Someone get instruments. I want music.

yes music recorders let's celebrate

Enter Rosencrantz and Guildenstern.

GUILDENSTERN [Guildenstern approaching carefully]

Good my lord, vouchsafe me a word with you.

Good my lord, may I speak a word with you in private?

My lord, can I talk to you for a moment?

can i talk to you privately

HAMLET [Hamlet mocking — more than a word]

Sir, a whole history.

Sir, I could give you an entire biography.

Sure, or I could give you a whole speech.

sure i'll give you an entire history

GUILDENSTERN [Guildenstern trying to get to his point]

The King, sir—

The King is—

the king

HAMLET [Hamlet cutting him off — what about the King?]

Ay, sir, what of him?

What about him, sir?

What about him?

what about the king

GUILDENSTERN [Guildenstern delivering his message]

Is in his retirement, marvellous distempered.

The King is remarkably upset and has gone to his private chambers.

The King's very disturbed. He's gone to his room.

the king is upset very disturbed he left went to his chambers

HAMLET [Hamlet with false innocence]

With drink, sir?

Is it because of alcohol?

Did he drink too much?

drunk too much wine

GUILDENSTERN [Guildenstern correcting him]

No, my lord; rather with choler.

No, my lord. Rather, he's upset and angry.

No, my lord. He's angry. Furious.

no he's angry very angry

HAMLET [Hamlet mocking — Guildenstern should understand better]

Your wisdom should show itself more richer to signify this to the

doctor, for me to put him to his purgation would perhaps plunge him

into far more choler.

You would do better to demonstrate your wisdom by using fewer and clearer words.

If you were smart, you'd just say what you mean clearly.

speak plain use fewer words be direct

GUILDENSTERN [Guildenstern trying again]

Good my lord, put your discourse into some frame, and start not so

wildly from my affair.

My lord, please state your thoughts more clearly and systematically.

My lord, just tell me plainly what's going on in your head.

my lord please just explain yourself clearly

HAMLET [Hamlet granting permission with sarcastic calm]

I am tame, sir, pronounce.

I am content, sir. Speak.

Fine. Go ahead.

okay say it

GUILDENSTERN [Guildenstern delivering the message about his mother]

The Queen your mother, in most great affliction of spirit, hath sent me

to you.

Your mother, the Queen, is in great distress of mind.

Your mother is very upset.

your mother the queen very upset very distraught

HAMLET [Hamlet being sarcastically gracious]

You are welcome.

You're welcome.

Thank you for telling me.

thanks thank you

GUILDENSTERN [Guildenstern pushing back — this isn't the right response]

Nay, good my lord, this courtesy is not of the right breed. If it shall

please you to make me a wholesome answer, I will do your mother’s

commandment; if not, your pardon and my return shall be the end of my

business.

No, good my lord, this courtesy doesn't fit the occasion. Your mother is genuinely troubled.

No, my lord. Be serious. Your mother is really hurting.

this isn't funny your mother is genuinely upset

HAMLET [Hamlet refusing to cooperate]

Sir, I cannot.

I can't.

i can't i won't

GUILDENSTERN [Guildenstern pressing — what can't you do?]

What, my lord?

What do you mean?

what do you mean what can't you do

HAMLET [Hamlet explaining his condition — his mind is sick]

Make you a wholesome answer. My wit’s diseased. But, sir, such answer

as I can make, you shall command; or rather, as you say, my mother.

Therefore no more, but to the matter. My mother, you say,—

I cannot give you a rational answer. My mind is afflicted with disease. But I will go to my mother.

I can't think straight. My brain's not working. But yes, I'll see my mother.

i can't think my mind is broken but i'll go to her

ROSENCRANTZ [Rosencrantz reporting the Queen's message]

Then thus she says: your behaviour hath struck her into amazement and

admiration.

The Queen says your behavior has deeply disturbed her.

She says you've hurt her with how you're acting.

your behavior has upset her very much

HAMLET [Hamlet mocking — a son who can shock his mother?]

O wonderful son, that can so stonish a mother! But is there no sequel

at the heels of this mother’s admiration?

How wonderful — a son who can so astonish his mother! But I will see her. You can be sure of that.

A son who can shock his mother! How rare. But yes, I'll go to her.

a son who shocks his mother rare talent i'll see her soon

ROSENCRANTZ [Rosencrantz with the specific request]

She desires to speak with you in her closet ere you go to bed.

She wants to speak with you in her private chamber before you go to bed.

She wants to see you in her room before you sleep tonight.

in her chamber before bed tonight she needs to talk

HAMLET [Hamlet agreeing — with a joke about his mother's authority]

We shall obey, were she ten times our mother. Have you any further

trade with us?

We will obey, even if she were ten times our mother. Does the King come down to supper?

I'll go, absolutely. Is the King coming to dinner?

i'll go i'll obey her where's the king is he eating

ROSENCRANTZ [Rosencrantz with emotional appeal]

My lord, you once did love me.

My lord, you once loved me.

My lord, we were friends.

you used to care about us about me

HAMLET [Hamlet swearing by his hands]

And so I do still, by these pickers and stealers.

And I still do, I swear by these hands of mine.

I still do. I promise.

i still do i care i swear it

ROSENCRANTZ [Rosencrantz making a direct appeal]

Good my lord, what is your cause of distemper? You do surely bar the

door upon your own liberty if you deny your griefs to your friend.

Good my lord, what's causing your distress? You seem changed from the man I knew.

My lord, what's wrong? You're not yourself.

what happened to you you're different what's wrong

HAMLET [Hamlet with a flat answer — lack of advancement]

Sir, I lack advancement.

I'm not getting ahead.

i'm stuck no advancement no progress

ROSENCRANTZ [Rosencrantz — but you have the King's favor]

How can that be, when you have the voice of the King himself for your

succession in Denmark?

How can that be? The King speaks well of you.

But the King likes you.

but the king favors you he speaks well of you

HAMLET [Hamlet with a proverb about waiting]

Ay, sir, but while the grass grows—the proverb is something musty.

True, but as the proverb says, while the grass grows, the horse starves.

Maybe, but while you wait for things to happen, you starve.

while you wait for things to happen the grass grows and you die hungry

Re-enter the Players with recorders.

O, the recorders. Let me see one.—To withdraw with you, why do you go

about to recover the wind of me, as if you would drive me into a toil?

GUILDENSTERN [Guildenstern approaching carefully]

O my lord, if my duty be too bold, my love is too unmannerly.

My lord, if my loyalty seems excessive, it's because my love is even greater.

My lord, I'm being bold because I care so much.

i care my love my duty to you

HAMLET [Hamlet with false confusion — will you play on this recorder?]

I do not well understand that. Will you play upon this pipe?

I don't understand that well. Will you play this recorder for me?

I don't follow. Can you play this instrument?

play this for me the recorder

GUILDENSTERN [Guildenstern refusing]

My lord, I cannot.

I can't, my lord.

i can't i don't play

HAMLET [Hamlet pressing him]

I pray you.

I beg you.

Please.

please i'm asking

GUILDENSTERN [Guildenstern more firmly]

Believe me, I cannot.

I really can't.

i can't truly

HAMLET [Hamlet even more insistent]

I do beseech you.

I beg you, please.

I'm begging you.

please i'm begging

GUILDENSTERN [Guildenstern with finality]

I know no touch of it, my lord.

I have no skill in it, my lord.

I don't know how.

i don't know how to play

HAMLET [Hamlet with cutting logic — it's easy, just use your fingers]

’Tis as easy as lying: govern these ventages with your finger and

thumb, give it breath with your mouth, and it will discourse most

eloquent music. Look you, these are the stops.

It's as simple as lying. Control these finger holes with your breath, and you'll make sweet music. Here, place your finger here, and your thumb here. These holes control the air flow.

It's easy. Just put your fingers on the holes and blow. Come on — thumb here, fingers there. The air goes where you direct it.

it's simple finger holes breath controls it just try

GUILDENSTERN [Guildenstern making the excuse — I can't make it sound right]

But these cannot I command to any utterance of harmony. I have not the

skill.

But I cannot make it produce the right sound, no matter what I do.

But even if I do that, I can't make it work.

i can't make it sound right i don't have the skill

HAMLET [Hamlet turning it around — you're saying you can't manipulate simple things?]

Why, look you now, how unworthy a thing you make of me! You would play

upon me; you would seem to know my stops; you would pluck out the heart

of my mystery; you would sound me from my lowest note to the top of my

compass; and there is much music, excellent voice, in this little

organ, yet cannot you make it speak. ’Sblood, do you think I am easier

to be played on than a pipe? Call me what instrument you will, though

you can fret me, you cannot play upon me.

Look, how shameful it is that you make such a small matter so difficult! You cannot play this instrument, yet you presume to play me — to manipulate me — as if I were a simple pipe.

You see? You can't even play a simple instrument. Yet you try to control me, manipulate me, use me like I'm just an object to play with.

you can't play this yet you try to play me manipulate me use me it's contemptible

"You would play upon me" The recorder scene is one of the most explicit confrontations in the play: Hamlet drops the pretense of madness and tells Rosencrantz and Guildenstern directly that he knows what they're doing. The recorder is the metaphor made physical — they want to 'play' him the way a musician plays an instrument, getting the notes they want. Hamlet says: you cannot.

Enter Polonius.

God bless you, sir.

POLONIUS [Polonius with the Queen's message]

My lord, the Queen would speak with you, and presently.

My lord, the Queen would speak with you now, and she says it's important.

The Queen wants to see you right away.

the queen wants you now important

HAMLET [Hamlet testing Polonius — do you see that cloud?]

Do you see yonder cloud that’s almost in shape of a camel?

Do you see that cloud over there, shaped almost like a camel?

Look at that cloud. Doesn't it look like a camel?

that cloud it looks like a camel

POLONIUS [Polonius agreeing]

By the mass, and ’tis like a camel indeed.

Yes, by God, it does look like a camel.

It does look like one, actually.

yes it does looks like a camel

HAMLET [Hamlet shifting — now it looks like a weasel]

Methinks it is like a weasel.

I think it looks like a weasel.

No wait, it looks like a weasel.

no a weasel looks like a weasel

POLONIUS [Polonius agreeing again]

It is backed like a weasel.

Yes, it is shaped like a weasel.

You're right, it does look like a weasel.

yes a weasel absolutely

HAMLET [Hamlet again — or a whale]

Or like a whale.

Or a whale.

or a whale

POLONIUS [Polonius — whatever you say]

Very like a whale.

Very much like a whale.

Very much like one.

exactly a whale

HAMLET [Hamlet dismissing him]

Then will I come to my mother by and by.—They fool me to the top of my

bent.—I will come by and by.

Then I will come to my mother shortly. These men are fools who play along with whatever nonsense I propose.

Then I'll go see my mother soon. But these men are idiots — they'll agree with anything I say.

i'll go to her soon these men are fools they agree with everything

POLONIUS [Polonius affirming]

I will say so.

I will tell her so.

I'll tell her.

yes i'll tell her

[_Exit._]

HAMLET [Hamlet dismissing everyone — alone now to think]

By and by is easily said. Leave me, friends.

Immediately is easily said. Leave me, friends.

That's easy to say. Now leave me alone.

leave go away i need to be alone

[_Exeunt all but Hamlet._]

’Tis now the very witching time of night,

When churchyards yawn, and hell itself breathes out

Contagion to this world. Now could I drink hot blood,

And do such bitter business as the day

Would quake to look on. Soft now, to my mother.

O heart, lose not thy nature; let not ever

The soul of Nero enter this firm bosom:

Let me be cruel, not unnatural.

I will speak daggers to her, but use none;

My tongue and soul in this be hypocrites.

How in my words somever she be shent,

To give them seals never, my soul, consent.

[_Exit._]

The Reckoning

This is the play's theatrical center — a play within a play. Hamlet's instructions to the Players ('Speak the speech, I pray you') reveal his theory of acting and, by implication, his theory of truth: don't overact, don't underact, hold the mirror up to nature. Then the performance itself: Hamlet is brilliant and unsettling during the play, performing a different kind of madness — bawdy, pointed, cruel to Ophelia, making jokes that are daggers. When the Player King is poisoned by a nephew who then courts the queen, Claudius rises and leaves. The trap has worked. Hamlet's elation is genuine: 'I'll take the ghost's word for a thousand pound.' Then the aftermath: Rosencrantz and Guildenstern deliver Claudius's anger and Gertrude's summons. Hamlet plays the recorder game — you cannot play upon me. His soliloquy before going to his mother is the most bloodthirsty he ever gets: 'Now could I drink hot blood.' But the speech ends with self-constraint: he is going to his mother's room, and he will use words, not weapons.

If this happened today…

A documentary filmmaker has secretly edited a reenactment of a corporate fraud to closely mirror what actually happened, and screens it for the alleged fraudster in front of a live audience. The filmmaker watches the screen, then watches the subject's face. The subject walks out. The filmmaker turns to his only confidant: 'Got him.' Then a pair of network executives arrive to tell him the client is angry and the network head wants to see him. Late at night he writes in his journal: 'Now I could destroy him. Now. But not like this — I'll see my mother first.'

Continue to 3.3 →