Act IV - Scene V
[Elsinore. A room in the Castle.] |
Enter Horatio, Gertrude, and a Gentleman. |
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[Exit Horatio.] |
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[Enter Gentleman, with Ophelia distracted.] |
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Enter King. |
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[Exit] |
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A noise within. |
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A noise within. |
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Enter Laertes with others. |
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[A noise within.] |
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Exit. |
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Exeunt. |
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— Sinead, Owl Eyes Contributor
As a nobleman and a trusted confidante of the king, Polonius would've been entitled to a lavish funeral, not unlike King Hamlet's. That he was buried quietly underscores the fact that Claudius and Gertrude are trying to cover up Hamlet's culpability (though not, in Claudius' cause, absolving him of guilt).
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— Sinead, Owl Eyes Contributor
Claudius speaks merely of himself and not of himself and Laertes, using the royal "we" to say that if he is touched (or has had a hand in Polonius' death, directly or otherwise), he will give his kingdom to Laertes. This would be a strange regime change, given that Hamlet is next in line for the throne, but Laertes doesn't yet pick up on the strangeness of this or suspect that Hamlet is the murderer.
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— Sinead, Owl Eyes Contributor
"Poll" refers to the part of the head where the hair grows. "Flaxen" refers to the color of flax or wheat, in this case probably a sandy blond. This is all to say that he (Polonius) was quite old when he died, but not so old that the hair on his head had turned gray (even though his beard had).
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— Sinead, Owl Eyes Contributor
Pelicans were then believed to feed their young with their own blood. Laertes thus figures himself as an altruistic person willing to "feed" or protect his father's friends by taking up their cause. In this way, he also presents himself as a wise and powerful man with the status to treat his father's friends like children. Given that he intends to kill the king, this arrogance isn't surprising.
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— Sinead, Owl Eyes Contributor
Notice that Gertrude doesn't reveal Polonius' true killer. Given license to speak, it's possible that she would've given Hamlet up in order to save her husband, but it isn't clear. This abrupt cry would seem to confirm that Gertrude does, in fact, love Claudius and doesn't think he deserves to be killed, regardless of the promises she's made to Hamlet.
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— Sinead, Owl Eyes Contributor
If "rue" symbolizes pity, then it seems most likely that Ophelia gives the rue to her brother, who looks on her with more pity than any of the others, who already know about her madness. If we assume that Laertes, Claudius, and Ophelia are all standing together, then the next flower, a daisy (false love), goes to either Claudius or Gertrude as a symbol of Ophelia's disillusionment with the crown.
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— Sinead, Owl Eyes Contributor
Given that violets mean faithfulness, and that she says "my" father instead of "our" father, we can assume that Ophelia would have given the violets to either Claudius or Gertrude, who would be entitled to her love and faithfulness by virtue of being the king and queen. However, all the violets died when her father did, symbolizing that Ophelia has lost her faith in the crown.
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— Sinead, Owl Eyes Contributor
Ophelia has begun throwing flowers, each of which have symbolic meanings: fennel means flattery, columbines mean cuckoldry, rue means pity, daisies mean false love, and violets mean faithfulness. From this, we can assume that Opehlia has been walking around with a bouquet of flowers, both like a woman in mourning and a bride to be.
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— Sinead, Owl Eyes Contributor
Laertes thinks Ophelia's nonsense says more than actual speech, or "matter." Likely, Laertes thinks that the steward and the master's daughter refer to other characters in the play, and he's trying to determine exactly who and what she's talking about. Though the lyrics don't quite coincide with any situation in the play, it's possible that she's referring to herself and Hamlet.
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— Sinead, Owl Eyes Contributor
Although there are no stage directions here, one can imagine Ophelia going from person to person, directing them on what to sing and what notes to hit, like a conductor standing before a stage. The "wheel" in this case refers to the succession of singers, whose lyrics cycle around the room, creating a wheel.
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— Sinead, Owl Eyes Contributor
A "bier" is a frame or tool for carrying, such as a handbarrow, litter, or stretcher. That they carried him "barefac'd" on it implies that he wasn't covered with a sheet, as the dead traditionally were. Given how many tears were shed on his grave, this lack of decorum shouldn't be taken as indication of his social status but rather as an artistic choice to make him seem beloved.
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— Sinead, Owl Eyes Contributor
An "instance of itself" means a sample of nature's refinement. Here, that "sample" is Ophelia's sanity, which has gone after her dead father Polonius and has, in some ways, honored him with its grace. Laertes thus characterizes Ophelia's beauty and goodness as a thing that can be lost under dire circumstances.
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— Sinead, Owl Eyes Contributor
Another way of saying "payback" or revenge. Laertes intends to kill whoever murdered his father and drove his sister mad. In this case, that murder is figured as "weight" or as a dead body that can then be placed on one side of the scale to balance it or tip it downward ("turn the beam").
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— Sinead, Owl Eyes Contributor
From these lines, we can assume that Laertes has heard a woman's voice and has most likely recognized it as his sister's. Thus, these two questions are spoken tenderly, affectionately, as if to soothe a weeping child. Laertes will soon see that his sister has gone mad, but in this moment, we see plainly that he's a very loving brother.
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— Sinead, Owl Eyes Contributor
"Stake" and "draw" are both terms from the gambling world, where one bets or stakes money when one is willing to take their chances with the cards and, hopefully, draw a winner. "Swoopstakes," then, means that one bets indiscriminately, taking out anyone in his path, regardless of whether or not they're friend or foe. Claudius may also mean that Laertes will draw a sword against anyone.
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— Sinead, Owl Eyes Contributor
In other words, Laertes doesn't care what happens to him in this world or the next; he just wants to avenge his father's death. Contrast this with Hamlet's soliloquies, which dwell heavily on heaven, hell, sin, and whether or not vengeance is worthwhile. The contrast between how Laertes and Hamlet approach the same problem cements Laertes as Hamlet's foil.
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— Sinead, Owl Eyes Contributor
Laertes scoffs at the idea of being calm, stating that if he were calm, Polonius would have to be a cuckold and Laertes' mother a "harlot," making Laertes someone else's son. If he is a true born son, which he is, he must naturally grieve for his father. He points to his brows as proof that he isn't a bastard, because the brows were said to be proof of a person's good breeding.
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— Sinead, Owl Eyes Contributor
In the wake of Polonius' death, the general population (or "rabble") has started to consider a coup led by Laertes that would overthrow Claudius. In doing so, they're breaking the laws of "antiquity" and "custom" wherein kings inherit the throne. By demanding that their leader, who has no blood rights to the throne, be accepted as the true king, they are defying the concept that kings have a divine right to rule.
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— Sinead, Owl Eyes Contributor
Claudius (perhaps accidentally) gives himself away, evoking King Hamlet's murder by referring to an ear infection that is not unlike being poisoned. Gertrude witnessed a similar poisoning in the play within the play, but either doesn't make the connection to Claudius or chooses to look away. Knowing this, it's hard for the audience to justify her taking his side now.
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— Sinead, Owl Eyes Contributor
Notice the similarities in this line and Hamlet's speech about "bestial oblivion." Shakespeare draws this parallel to underscore the fact that Hamlet and Claudius are both intelligent men and that, unlike Polonius, Claudius may be a match for the prince.
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— Sinead, Owl Eyes Contributor
It's funny that Claudius would say this, given just how many spies he's enlisted to keep tabs on Hamlet. In addition to Rosencrantz and Guildenstern, he's used Polonius, Gertrude, Ophelia, and of course himself, which makes a small battalion of "sorrows" for Hamlet, who's been stripped of all his dearest relationships because of it.
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— Sinead, Owl Eyes Contributor
A word used as a substitution for "God" when swearing oaths. This particular "oath" doubles as a wedding vow that the young man refuses to take because he's already had sex with his girlfriend and therefore doesn't need to marry her.
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— Sinead, Owl Eyes Contributor
In other words, there's no way to predict the future. Ophelia seems dismayed by the loss of her father, unable to work through the grief and the shock of knowing that he was there one day and then gone the next. Shakespeare uses this line as a chilling reminder that we're not sure what will happen to these characters or how these events will affect them.
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— Sinead, Owl Eyes Contributor
An allusion to a folktale about a girl who was turned into an owl after she rebuked her father for baking a free loaf of bread for Christ, who had disguised himself as a beggar. Polonius would've told Ophelia this story to instill filial loyalty in her (which may itself have led to this breakdown).
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— Sinead, Owl Eyes Contributor
A "cockle" is a bivalve like a mussel or a scallop whose shell is sewn onto the hats of pilgrims traveling to St. James of Compostella. This song compares the pilgrim to a man whose "true love" is so pure that it must be compared to the pilgrim's love of God in order to be put into perspective.
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— Sinead, Owl Eyes Contributor
Polonius' death has driven Ophelia slightly mad, and she's becoming paranoid and unpredictable. Though "her speech is nothing," or mad and meaningless, there's something in the way she speaks that gives other people pause (or "moves" them to collection). In her ravings, people find their own suspicions confirmed and draw conclusions Ophelia herself hasn't.
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— Sinead, Owl Eyes Contributor
It isn't clear from this line, but we'll soon learn that Gertrude is talking about Ophelia here. Horatio and the Gentleman have evidently been asking her to speak with Ophelia, and she's been walking away from them, refusing. This obstinance underscores Gertrude's impatience and suggests that she's recovering fairly well from the fright Hamlet gave her.
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— William Delaney
This is an appropriate analogy, given that Denmark, like Holland, has lowlands (flats) which are subject to flooding by the ocean and have to be protected by dikes. To pray that the ocean doesn't overtake the king's territory is akin to wishing him good health and great fortune.
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— William Delaney
Think of guilt as a cup or a bowl filled with water. When we try not to spill it, we become so shaky and afraid that the water spills anyway. This metaphor is easily overlooked, but neatly characterizes Gertrude as someone who tries very hard to be careful but can't, in the end, conceal the guilt that Hamlet has accused her of already.
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— William Delaney
Recall that in Hamlet's time (and, indeed, in Shakespeare's) monarchs were said to have a divine right to rule. That is, they were anointed by God with the power to rule, thus making an overthrow like the one Laertes describes a very dangerous endeavor. This explains why Claudius feels so confident and why Hamlet has hedged so much on his decision to kill the king.
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— Scott Locklear, Owl Eyes Contributor
From the ancient superstition that the first girl a man sees on St. Valentine's Day is destined to be his true love. In this song, the man opens his bedroom door to let the girl in, and when she leaves she's no longer a virgin. That Ophelia sings this after talking about her father suggests that his advice not to talk to Hamlet came too late and that it ruined an otherwise beautiful relationship.