Hamlet act 3 scene 3. No Fear Shakespeare: Hamlet: Act 3 Scene 3 2023-01-02
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In Act 3, Scene 3 of William Shakespeare's play "Hamlet," we see the titular character struggling with his indecision over whether to avenge his father's murder or to let it be. This scene is a pivotal moment in the play as it reveals the depth of Hamlet's turmoil and the complexity of his thoughts.
At the beginning of the scene, Hamlet is speaking with his old friend, Horatio, about the ghost of his father and its recent appearance. Horatio is skeptical of the ghost's existence and urges Hamlet to be cautious in his actions. However, Hamlet is determined to uncover the truth and decides to use the upcoming performance of "The Mousetrap," a play within the play, to test the guilt of his uncle, Claudius.
As the play begins, Claudius becomes visibly agitated and leaves the room. This confirms for Hamlet that Claudius is indeed guilty of the murder. However, instead of taking immediate action, Hamlet remains hesitant. He tells Horatio that he is "cursed by fate,/Subjected to love's cruel madness" and that he is "too much in the sun" to act on his desire for revenge.
This hesitation is a major turning point in the play as it highlights the internal conflict that Hamlet is facing. On the one hand, he wants to avenge his father's murder and fulfill his duty as a son. On the other hand, he is struggling with the moral implications of killing his own uncle, who is now the king.
As the scene comes to a close, we see Hamlet's indecision continue to plague him. He tells Horatio that he will "speak daggers" to his uncle, but he still does not take any concrete action. This leaves the audience wondering what Hamlet will do next and how his indecision will ultimately affect the outcome of the play.
Overall, Act 3, Scene 3 is a crucial moment in "Hamlet" as it reveals the depth of the main character's turmoil and the complexity of his thoughts. It also foreshadows the events to come and leaves the audience wondering what will happen next.
Hamlet Act III, scene iii Summary & Analysis
He hesitates, fearing that killing Claudius while he's engaged in a conversation with God will send his soul straight to heaven rather than hell. Up, sword; and know thou a more horrid hent: When he is drunk asleep, or in his rage, Or in the incestuous pleasure of his bed; 90 At gaming, swearing, or about some act That has no relish of salvation in't; Then trip him, that his heels may kick at heaven, And that his soul may be as damn'd and black As hell, whereto it goes. I should be doing him the greatest possible kindness, not punishing him, as I ought. To put the question is natural and legitimate; to answer it may even be useful, in so far as it removes an obstacle to the fullness of our aesthetic experience of the play. Summary This scene takes place the same evening as the production of The Murder of Gonzago. Then, of course, the play would have been cut short, and no tragedy would exist.
What are Hamlet's intentions? HAMLET Now I could do it. Analysis From the top of the scene, any ambiguity concerning Claudius' character disappears. Now he is a-praying. This only heightens our sense that the climax of the play is due to arrive. But in our circumstance and course of thought, 'Tis heavy with him: and am I then revenged, To take him in the purging of his soul, When he is fit and season'd for his passage? HAMLET: Now might I do it pat, now he is praying; And now I'll do't. Hamlet warns Horatio that he will begin to act strangely. What if this cursed hand Were thicker than itself with brother's blood, Is there not rain enough in the sweet heavens To wash it white as snow? Claudius survives in order to preserve Hamlet's character.
O limèd soul that, struggling to be free, Art more engaged! O bosom black as death! Enter KING CLAUDIUS, ROSENCRANTZ, and GUILDENSTERN KING CLAUDIUS I like him not, nor stands it safe with us To let his madness range. How does the speech given by Rosencrantz lines 11-23 contribute to an understanding of Shakespeare's philosophy? In fact, this moment represents the pivotal point in the play — the moment of truth. A king does not die alone. The terms of our estate may not endure 5 Hazard so near us as doth hourly grow Out of his brows. That would be scann'd, that point requires careful scrutinizing. His murder of his brother, he knows, is like a corpse rotting in the ground—soon it will stink and become unbearable and impossible to ignore.
He recognizes his perfect opportunity to kill Claudius, but stops himself. Pray can I not, Though inclination be as sharp as will: My stronger guilt defeats my strong intent; And, like a man to double business bound, I stand in pause where I shall first begin, And both neglect. Read Macbeth's soliloquy 1. In this case, the mortises are the holes into which the spokes of the wheel are fit, and there are thousands of them to represent the number of citizens over whom the crown presides. Most holy and religious fear it is To keep those many many bodies safe 10 That live and feed upon your Majesty.
Adn nwo lIl do it. It is a massy wheel Fixed on the summit of the highest mount, To whose huge spokes ten thousand lesser things Are mortised and adjoined, which, when it falls, Each small annexment, petty consequence, Attends the boisterous ruin. Claudius wishes he could make his sins go away without really atoning for them. What if this cursed hand Were thicker than itself with brother's blood, Is there not rain enough in the sweet heavens To wash it white as snow? Try what repentance can. He had better have died at once, before he had added to his guilt a share in the responsibility for all the woe and death that followed.
It does not seem certain to me that the word, instead of being one of three "effects," is not in apposition with My crown, i. KING: My words fly up, my thoughts remain below. O, this is hire and salary, not revenge. My giutl is rgoetrsn neev atnh my oniistnnet. Rosencrantz instead says that we shouldn't suffer and that we're bound to rid ourselves of any annoyances "noyance" , such as Hamlet and his apparent madness.
But apart from this ultraviolent posturing, Hamlet has once again avoided the imperative to act by involving himself in a problem of knowledge. What else is there for me to do? What can it not? Arm you, prepare yourselves. Claudius, your praying only prolongs your ill days on earth. And so am I revenged. Hamlet plans on killing Claudius during this time but then decides on waiting to kill Claudius.
CLAUDIUS Oh, my offence is rank. Words without thoughts never to heaven go. KING CLAUDIUS Arm you, I pray you, to this speedy voyage; For we will fetters put upon this fear, Which now goes too free-footed. May one be pardon'd and retain the offence? This soliloquy represents the moment at which Claudius recognizes what he has done and chooses his sin over repentance. Claudius feels guilty about killing his brother. Since he has no way of knowing whether to believe a member of the spirit world, he tries to determine whether Claudius is guilty by reading his behavior for signs of a psychological state of guilt. That he was to be got out of the way, they of course knew; but the king would hardly be likey to confide to his agents what was to be done with him when thus out of the way.
