|
. the Tragical History of . H A M L E T . Prince of Denmark .
(Notes)
- Scene 2 [~ Too Too Sallied ~] (Act 1 Scene 2)
EH 175, to EH 178- Setting: Inside the Castle;
The Throne Room;
Daytime, morning.
(a flourish of trumpets sounds;
King Claudius and Queen Gertrude enter;
Cornelius and Voltemand enter;
Polonius and Laertes enter;
Hamlet enters;
courtiers, guards, and servants enter)
~-~-~
Claudius is guarded by Swiss mercenaries that he's hired, called Swissers in Scene 16. It could give one the idea he doesn't trust the native Danes to guard him.
This is Claudius's first day of official business as King. We know that because, as we'll see, he will speak of his brother's death, announce his marriage to Gertrude, and will thank his political supporters. He won't be telling his audience anything new to them. His statements are formal. The only time he would engage in such formality is his first day as King. It also means the time of day is the morning.
EH 179, to EH 185- Claudius: Though yet of Hamlet, our dear brother's, death,
The memory be green, and that it us befitted
To bear our hearts in grief, and our whole kingdom
To be contracted in one brow of woe,
Yet, so far hath discretion fought with nature,
That we with wisest sorrow think on him
Together with remembrance of ourselves;
~-~-~
Claudius is announcing the end of the official mourning period for Hamlet Sr. Green means "fresh," in the sense of being recent. This is a gardening metaphor: a new plant, recently emerged, is green. A green memory is the memory of a recent event.
The first line means, "Hamlet's, our dear brother's, death." The possessive is dropped from "Hamlet" since it's unnecessary.
It us befitted means "it befitted us." The word order is changed for poetic rhythm. Poetically, he means it was fitting for the whole kingdom to have a sad face.
A decision about what is fitting would be a calculated judgment, however. Claudius speaks as though the sad face he, himself, wore was a calculated expression that he intentionally adopted. He describes the end of mourning for Hamlet Sr, and putting himself first, as a triumph of wisdom, calling his own judgment wisest.
Ourselves is "royal," that is, Claudius means himself. In speaking of remembrance of himself, he unintentionally hints of his own death, since the word remembrance, in the context of death, means remembering somebody who has died.
There's great irony in the royal plural, however, since as the play continues we'll see that Claudius and the other major characters are on their way to remembrance in the funerary sense. There's more to his plural than Claudius knows.
Claudius's overall meaning is that, although his brother died only recently, the mourning period is over, and it's time to move on, with himself as the King.
EH 186, to EH 194- Therefore, our sometime sister, now our Queen,
The imperial jointress to this warlike state,
Have we, as 'twere, with a defeated joy,
With an auspicious, and a dropping eye,
With mirth in funeral, and with dirge in marriage,
In equal scale weighing delight and dole,
Taken to wife; nor have we herein barred
Your better wisdoms, which have freely gone
With this affair along (for all, our thanks;)
~-~-~
Sometime means "former." Claudius means that when Gertrude was his sister-in-law, she was considered his sister. He isn't being bold in mentioning it, since everybody knows she was his sister-in-law. Marriage to a sister-in-law was viewed as incestuous under the social and religious standards of the time, the same as marrying a sibling. As Hamlet will later mention, a couple united in marriage were "one flesh" in the eyes of God, making a sister-in-law conceptually the same as a sister. The marriage of Gertrude and Claudius is in violation of religious norms. It's apparent that the King and Queen are not subservient to church officials, at least not as far as their own status goes.
By jointress Claudius is calling Gertrude a co-monarch. In plain meaning, he simply means she's the Queen, the co-ruler. Legally, a jointure has to do with a wife being granted real property by her husband, to become her own property if the husband dies. In undertone, the word alludes to the death of Hamlet Sr, but also, Claudius is again hinting slightly of his own death, since the word jointress relates to the death of a husband. Claudius isn't trying to predict his own death, but he's accidentally hinted of it twice, so far.
Denmark is an elective monarchy, so the "jointure" Gertrude held from her years as the wife of King Hamlet was not a legally-binding arrangement, for the nation. It arose from the general respect she gained as a popular queen. The word jointress is figurative in that way. Denmark is Gertrude's "property" because she's popular and respected by the people
The phrase this warlike state is ambiguous. The plain meaning is in reference to the military buildup in Denmark, because of the threat from Fortinbrasse. However, Claudius is speaking in the context of his marriage to Gertrude, and state can mean "situation." The phrase hints that the marriage is not a happy one, from Claudius's point of view. If a person is speaking of his marriage, and uses the term warlike state, the implications are obvious enough. Saying that he married her with a defeated joy only adds to the impression.
Taking Gertrude as the jointress of the kingdom, it would mean she essentially inherited the throne as the Queen, from Hamlet Sr. The political support she gained during her time as Queen kept her on the throne after Hamlet Sr's death. In turn, that means Claudius became King because she agreed to marry him. However, Claudius is trying to describe the situation as though it was all his own decision.
Auspicious literally means "upward-looking." The word "auspice" originally referred to trying to predict the future by watching the flight of birds. Thus, an auspicious eye is one that looks up, as if watching birds. Since an auspice is an omen, the word auspicious links back to the question of whether the Ghost is an omen. In plain meaning, when Claudius says the phrase he means he's looking toward the future.
Dropping means "downcast," looking downward. So, Claudius is literally saying he's looking up with one eye, and down with the other. A person who looks two different directions at once, in a manner of speaking, is a person who is insincere or hypocritical, although Claudius doesn't intend to give that impression about himself.
Further, auspicious can mean "happy," and dropping can refer to tear drops, that is, "weeping." So, Claudius is also saying he's smiling with one eye, and weeping with the other. As occurs so often in Hamlet, his phrase has more than one meaning. But in either meaning, Claudius is unintentionally describing himself as untrustworthy, a "two-faced" person, who is not sincere.
He then gets carried away with using contrary ideas, and speaks of Hamlet Sr's funeral as mirthful, and his marriage to Gertrude as doleful. He is revealing much more about his feelings than he intends. His uses of dirge and dole to characterize his marriage to Gertrude are very notable. His words continue to work strongly against any idea that he was really happy to marry her. He had to marry her to become King.
He then compliments the various political supporters who agreed to the marriage, and agreed to his coronation, and he thanks them. His thanks is perfunctory, only parenthetical, not warm or effusive. One would have expected a bigger show of thanks to his political supporters, if they were genuinely his personal supporters. The indications are, they are really Gertrude's political supporters.
EH 195, to EH 203- Now follows, that you know, young Fortinbrasse,
Holding a weak supposal of our worth,
Or thinking by our late, dear brother's death,
Our state to be disjoint, and out of frame,
Colleagued with this dream of his advantage,
He hath not failed to pester us with message
Importing the surrender of those lands
Lost by his father, with all bands of law,
To our most valiant brother, so much for him;
~-~-~
That you know means "as you know," as the plain reading. The author got double duty out of the phrase, however, because the first line can also be taken to mean, "Now follows, after that which you already know..." So, the line can be read to refer to what Claudius already said, or to what he's going to say. The double meaning is intentional in the way Shakespeare wrote the line.
Supposal means "estimation." Disjoint means "dislocated," with the concept that a dislocated limb would cause a body to be weakened and not capable of vigorous action in self defense. Out of frame means "disorganized," and with the special sense of a frame as a border around a picture. The implication is that the borders of Denmark are poorly defended. Fortinbrasse is "picturing" Denmark as not properly "framed," not strongly bordered, in his estimation.
Colleagued means "in league with." Fortinbrasse is figuratively "united," or in league with, his own dream of recovering his father's lands. The word colleagued also has reference to "legation," meaning a diplomatic embassy. This anticipates the diplomatic mission Claudius will announce. So, colleagued has a complex double meaning, where the main meaning is figurative, and the secondary meaning is an allusion. Such complexity is not unusual in Hamlet.
Message is properly singular, meaning "the message." Although Fortinbrasse sent several communications, they all carried the same message. It's one message, repeated numerous times.
With pester Claudius is trying to cast Fortinbrasse as a mere nuisance, but it's clear Claudius is fearful. The special diplomatic mission that Claudius will announce shows that he's worried. Claudius is trying to make light of the situation, but he does see it as very serious.
We know Fortinbrasse's message to Claudius couldn't contain a threat of military action, because Horatio has already told us Fortinbrasse was trying to make it look as if he wanted to attack Poland. Fortinbrasse would not have told Claudius the army was a threat against Denmark.
Even though the nature of the message from Fortinbrasse isn't openly stated, it's easy to surmise that it's a challenge to single combat over the land, the same way Fortinbrasse Sr challenged King Hamlet. (Horatio told us that Fortinbrasse is "just like his father.") Claudius has declined Fortinbrasse's challenge to single combat, for the simple reason that he doesn't want to get killed. Then, since Claudius turned down the challenge to single combat, Fortinbrasse is now recruiting an army to try to get the land back through warfare.
Bands refers to the "ties that bind." Legally, when Hamlet Sr defeated Fortinbrasse Sr, the old legal ties that bound the land to Fortinbrasse were severed, and new legal ties were formed to bind the land to Denmark.
So much for him is ambiguous. Claudius is apparently talking about Fortinbrasse, but he says this phrase as soon as he mentions his brother again. It has a double meaning, both in direct reference to Fortinbrasse, and also with an undertone of reference to King Hamlet. After the personal challenge, and now with a potential war looming, it makes Claudius uncomfortable to think of how valiant his brother was, and he doesn't like to think about his brother, anyway.
EH 204, to EH 221- Now, for ourself, and for this time of meeting,
Thus much the business is: we have here writ
To Norway, uncle of young Fortinbrasse,
Who, impotent and bedrid, scarcely hears
Of this, his nephew's purpose, to suppress
His further gate herein, in that the levies,
The lists, and full proportions are all made
Out of his subject, and we here dispatch
You, good Cornelius, and you, Voltemand,
For bearers of this greeting to old Norway,
Giving you no further personal power
To business with the King, more than the scope
Of these dilated articles allow;
Farewell, and let your haste commend your duty.
Cornelius and Voltemand: In that, and all things, will we show our duty.
Clau: We doubt it nothing; heartily farewell.
(Cornelius and Voltemand exit)
~-~-~
For ourself means Claudius is announcing what he, himself, is going to do about the problem of Fortinbrasse. For this time means "at this time."
Writ means "written," and also implies "legal writ." The letter Claudius has written is a legal document under the King's seal. Instead of writing directly to Fortinbrasse, Claudius is attempting to go over his head, to the King of Norway. Claudius has information from somewhere that old Norway, the King of Norway, is in bad health and doesn't know what Fortinbrasse is doing. Claudius thinks that when old Norway is informed, he'll put a stop to Fortinbrasse's military activity.
Gate means "access," and herein means Denmark. Claudius wants to block Fortinbrasse's entry into Denmark, by closing the gate, figuratively speaking.
Levies means "taxes," lists means a census has been done (for both taxes and church rolls,) and full proportions means that the land Hamlet Sr won has been officially divided into counties, and made a full part of the Kingdom of Denmark. Claudius is essentially saying the land his brother won has now been incorporated into Denmark, as regular Danish land, and is no longer open territory to be fought over.
Beyond that, the words levies, lists and proportions also have an undertone of allusion to military activity. "Levy" can refer to the recruitment of men from a "list" to make up a company or battalion, which is a "proportion," or part, of an army. The author chose the words nicely, so that although Claudius is talking about the land, and the Danish civilian population on it, the words can be read with an undertone relating to the military activity. Even further, the word "levy" has a legal definition referring to a seizure of property, which links to Fortinbrasse trying to "seize" the land back. Also, the word "list" has an obsolete, or poetic, meaning of "boundary," which refers to the boundary of the land at issue. Claudius's speech is a good example of the complexity of Hamlet. His words have a plain reading, referring to Danish government, but the words also suggest the military activity, the boundaries of the land, and then also there's an undertone alluding to Fortinbrasse's desire to seize the land. It's a sample of the web of concepts, in the way the play was written, with double meanings, undertones, and allusions used to "weave the web," so to speak. But all Claudius is really trying to say is that the land is part of Denmark now.
(For full understanding of Hamlet, nearly every phrase in the play has to be pondered, for how it might relate to more than one thing - and always keeping in mind that the author was a true genius. Hamlet is magnificent, but quite difficult.)
There is no mention of anything Claudius is offering old Norway in return, which would make diplomatic negotiation possible. It takes two sides to negotiate. Claudius is only pleading Danish bureaucracy. If old Norway asks what benefit he derives, the ambassadors will apparently have nothing much to tell him. Whether old Norway can be persuaded merely by the abstract ideas of peace, and lawfulness, and whether he respects Danish governmental bureaucracy, well, we'll see. Is old Norway still as ambitious as Horatio said he was?
Dilated means "expanded." Claudius is (unintentionally!) telling the ambassadors they have power to expand on what he's written, to achieve a successful mission.
But there is a double meaning. Claudius did not really mean dilated.
As Claudius speaks, he means "delated," an uncommon word which has the meanings: to hand over, to offer, and to accuse. The phrase, "delated articles," refers to the letter that Claudius "hands over" to the ambassadors, and which is a diplomatic "offer" to old Norway, that "accuses" Fortinbrasse of certain things.
That is not how the ambassadors hear it. They hear the word as dilated, which was not what Claudius meant.
The ambassadors misunderstand Claudius to mean dilated, and they proceed on that assumption, as they go on their mission. The ambassadors think that they're allowed to expand on what he's written, which they proceed to do. The agreement the ambassadors will report, later, which permits Fortinbrasse to enter Denmark with his army, is based on a misunderstanding of a single word spoken by Claudius. Instead of closing the gate on Fortinbrasse, the ambassadors open the gate, based on their misunderstanding that they have permission from Claudius to expand on what he wrote.
So, in the playtext of Hamlet, there is a double meaning between dilated and "delated," and both meanings are important in the play. Both words are intended to be understood in the playtext. Claudius says "delated," but the ambassadors hear dilated. The situation poses a difficulty for an editor, because only a single word can be printed in the text, where two words were intended by the author, simultaneously: the word the speaker says, versus the word the listeners hear.
I print the word dilated in the playtext because that word and meaning are directly relevant to the result the ambassadors will later report, as the play continues. However, it must be understood, it is not the word Claudius actually says in the dialogue here. He says "delated." The full meaning, for the play, is impossible to provide in only one word in the playtext.
(In the original Second Quarto of Hamlet, the word is printed "delated," while the First Folio Hamlet shows dilated. The difference reveals what Claudius intends to say, versus what the ambassadors understand him to say. It's a case where we're very lucky that both original printings are available, to make it possible to get Shakespeare's full meaning.)
(What this "delated/dilated" double meaning leads to, in the course of the play, is that at the end of Hamlet, when Fortinbrasse arrives, he's there because of a single letter in a single word spoken by Claudius, that was misunderstood by the ambassadors. Had the ambassadors correctly heard Claudius's "delated," rather than taking it as dilated, Fortinbrasse would not be there, at least not under the diplomatic agreement. The brilliant author of Hamlet made it so that one letter, in one word, in a play of some 3900 lines, brings Fortinbrasse into the play at the end - and that word is only in the mind of the listeners, as they hear it, and was not even what was said by the speaker, in the dialogue. One letter, in one word - that was misunderstood! - produces a significant event in the play. Shakespeare = genius. Believe it.)
So, in addition to the "web of concepts" that makes Hamlet complex, lines have to be viewed both from the point of view of the speaker, and also the point of view of the listeners. This doesn't mean the play is impossible to understand, but it is very difficult. Don't let it scare you, just keep going, it's worth it! Hamlet is fantastic.
(This "delated/dilated" double meaning is not the only instance of such a problem in understanding the play. There are others. For example, each time the word "hate" appears in the original printing of Q2, it simultaneously means both "hate" and "have it," and both meanings are intended to be understood. Because of the dual meanings in Hamlet, it is physically impossible to present it as one, single, literal playtext, and thereby communicate the full meaning of it in that ordinary, direct way of typical literature. A single word in the original Hamlet is occasionally intended to represent two words. This problem of the play, and some of its other facets, have been overlooked by most previous editors and commentators, which is one of the factors that has caused oversights in presenting and interpreting Hamlet. Extensive (and correct) commentary, in detail, on the play is vital to unfold its meanings, which is why I've written these Notes for you.)
Allow means "will allow," or "do allow." Commend means approximately "approve." The ambassadors's duty will be "approved" by how hastily they proceed, Claudius says.
So, Claudius is unintentionally telling the ambassadors (as they hear it!) that they may go beyond what he's personally written, to achieve a successful mission, and he's emphasizing they must hurry.
EH 222, to EH 230- (Claudius continues):
And now, Laertes, what's the news with you?
You told us of some suit, what is it, Laertes?
You cannot speak of reason to the Dane,
And lose your voice; what would'st thou beg, Laertes,
That shall not be my offer, not thy asking?
The head is not more native to the heart,
The hand more instrumental to the mouth,
Than is the throne of Denmark to thy father;
What would'st thou have, Laertes?
~-~-~
When he turns to dealing with personal requests, Claudius attends to Laertes first, making his own stepson, Hamlet, wait. This is not polite to Hamlet, who is both Claudius's own family, and who, as the Prince of the nation, greatly outranks Laertes. Claudius is being rude to his own family, and is also failing to observe proper protocol in conducting business. Rightly, he should deal with Hamlet's request first.
Although Claudius repeatedly calls on Laertes, he rudely talks over Laertes and prevents him from speaking. Claudius is enjoying his new power as King, following his important diplomacy, and he likes it that when he talks others have to be quiet and listen. He characterizes Laertes as "begging," which is an insult. With offer Claudius means he'll grant what Laertes wants as his own act of charity, and not because Laertes asks. Claudius is being self important and patronizing. Claudius already knows what Laertes wants; Polonius told him.
The line You cannot speak of reason to the Dane has facetious undertone. The King of Denmark is also referred to as "the Dane." Claudius unintentionally says that he can't be reasoned with, or that he isn't reasonable. The line gains irony in anticipation of Claudius's remarks to Hamlet that follow, where he'll insist Hamlet be reasonable about Hamlet Sr's death.
The mention of Polonius, immediately after Claudius has sent the diplomats on their mission, reveals the diplomatic mission was Polonius's suggestion. Claudius is hearing Laertes's request first, before speaking to Hamlet, out of gratitude to Polonius, who advised Claudius what to do about Fortinbrasse. Polonius provided the head that thought of diplomacy, and Claudius is grateful to him, from the heart. The hand - mouth line means Polonius fed the suggestion of the mission to Claudius, "hand to mouth." Polonius is cast as "the hand of Claudius," which is an idea we'll later see again with Rosencrantz & Guildenstern. Polonius has given Claudius a way out of armed combat against Fortinbrasse, Claudius thinks, and he appreciates it, and is now returning the favor by granting Laertes's request as a favor to Polonius's family.
In classical depiction, the heart is considered the center of wisdom, and the head the center of intelligence. With his head - heart line, Claudius implies Polonius is the intelligent person, and he's the wise person. We shall see about that.
EH 231, to EH 237- Laertes: My dread Lord:
Your leave and favor to return to France,
From whence, thou willingly I came to Denmark,
To show my duty in your coronation,
Yet now I must confess, that duty done,
My thoughts and wishes bend again toward France,
And bow them to your gracious leave and pardon.
~-~-~
Polonius is a servant of the King, and Laertes is in the same position. Laertes needs the King's permission to return to France. Dread means "revered," and was a standard word of address to a king. It's used here also with the ironic undertone of Claudius being a dreadful individual, and one to be dreaded, because he's a murderer.
Laertes did not return for the funeral of King Hamlet, or for the royal marriage of Gertrude and Claudius, but he did return for Claudius's coronation. It's easy to guess he didn't want to come back at all. He undoubtedly finds Paris a far more enjoyable place than Elsinore. Polonius ordered Laertes to return for Claudius's coronation, lest he appear insubordinate. Polonius was a long-time servant for King Hamlet, and he wants to be sure Claudius knows he and his family are loyal to Claudius. A new king could make personnel changes, and Polonius wants to secure himself in his job.
The words confess, gracious, and pardon convey a religous undertone. Laertes speaks as though his return to France involves something sinful.
EH 238, to EH 243- Clau: Have you your father's leave, what says Polonius?
Polonius: He hath, my Lord, wrung from me my slow leave,
By laborsome petition, and at last,
Upon his will I sealed my hard consent;
I do beseech you, give him leave to go.
Clau: Take thy fair hour, Laertes, time be thine,
And thy best graces spend it at thy will;
(Laertes exits)
~-~-~
Polonius says, in essence, that Laertes complained so much Polonius finally couldn't stand it any more, and told Laertes he could go. Polonius doesn't like the idea of Laertes gallivanting in Paris, as we'll see.
A seal was used to make a document, such as a will, official. Polonius speaks as though he were the solicitor for Laertes's estate, which is accidental phrasing by Polonius; his phrase Upon his will I sealed... can be read as "I sealed his will." The undertone is a slight death reference for Laertes, and an instance on the Death theme of the play.
Hard consent means firm or final consent, in plain reading. In allusion, Polonius doesn't want Claudius to think he takes it lightly whether a servant of the King is absent, so he means his hard-to-get consent, as well.
Claudius doesn't see Laertes as an especially valuable servant to him, at this time, and doesn't really care whether Laertes stays or goes, so he easily grants the leave. Fair hour means "holiday," as in going to a fair, and also implying happiness, and graces means "manners," i.e. decent behavior. Claudius is permitting Laertes a vacation, and is adding the usual advice to behave himself.
EH 244, to EH 247- (Claudius continues):
But now, my cousin Hamlet, and my son . . .
Hamlet (aside): A little more than kin, and less than kind.
Clau: How is it that the clouds still hang on you?
Hamlet: Not so much, my Lord, I am too much in the sun.
~-~-~
The relationship of uncle and nephew was viewed as a kind of cousin in those days. The word cousin could be applied to any relative, as it still is, occasionally, in loose usage.
Hamlet voices his kin - kind line as an aside, while Claudius pauses to ponder how he should try to talk to Hamlet. It's simple for Claudius to announce the end of mourning for King Hamlet to the people in general, but Hamlet is a special case, and Claudius is unsure how to approach the subject with him.
With the kin - kind line, Hamlet means, first, that son is more than his actual kinship with Claudius, and he doesn't take it kindly for Claudius to call him that. Hamlet is averse to looking upon Claudius as his father. The word kind derives from a Greek word for "child," so Hamlet also means he is more than cousin, and less than child, to Claudius, and instead he is something in between. Hamlet sees himself only as the "kind", or child, of Hamlet Sr, not Claudius. Hamlet also means he sees Claudius as being something less than his kind of person, as he will emphasize later. Hamlet doesn't like it that Claudius has announced such a short period of mourning for his father, and considers that unkind. He has also observed that Claudius spoke to Laertes first, and granted him a special request, thus treating Laertes more like a son than him. In general, Hamlet is expressing his dislike of Claudius calling him son, and is expressing his distaste at the kind of person he views Claudius to be. Hamlet means approximately, "I'm not really your son, and you're less than my kind of person."
Claudius's clouds is a reference to Hamlet's sad expression, andtoo much in the sun is Hamlet's objection to being called son by Claudius. Hamlet replies with wordplay, not taking Claudius's question seriously. Hamlet is right, of course - it's foolish for Claudius to pretend he doesn't know why Hamlet is sad. Also, Hamlet is sarcastically saying he's dazzled by the brilliance of Claudius; the sun is a traditional symbol for a king. For this second meaning, Hamlet is sarcastically saying, "I'm too impressed by your "royal" brightness." Instead of asking such a stupidly dishonest question, Claudius, if he were a normal person, would have begun by expressing condolences to Hamlet over the death of his father, but he failed to do so. Claudius has so little sympathy in connection with his brother's death, that he can't even pretend normal politeness about it, and express condolences to Hamlet. Claudius's lack of awareness is abnormal.
The figure of speech for Claudius's word clouds is like the sun being hidden behind clouds. Hamlet is the "son" and Claudius is saying he can't "see" Hamlet, behind the "clouds." It's nice poetic wordplay. The sun/son pun will appear again, many times. It's used frequently in the play, both explicitly and implicitly.
For plain reading, Claudius is only saying he can't understand Hamlet.
EH 248, to EH 254- Gertrude: Good Hamlet, cast they nightly color off,
And let thine eye look like a friend on Denmark;
Do not forever with thy veiled lids
Seek for thy noble father in the dust;
Thou know'st 'tis common all that lives must die,
Passing through nature to eternity.
Hamlet: Aye, Madam, it is common.
~-~-~
Gertrude observes the uncongenial exchange between Hamlet and Claudius, and she speaks up. Nightly color means the color of night, black, that is. It refers both to Hamlet's dark mood, and his mourning clothes. There is a pun on "knight." A black knight is one who conceals his true colors, and uses black instead. Since Hamlet is a Prince, it would make him a "Black Prince." In telling Hamlet to cast his nightly color off, she's saying that Hamlet's dark mood is not characteristic of him, that he's normally a happy fellow; he is not wearing his "true colors." She loves him and wants to see him happy again.
Denmark means Claudius, the King of Denmark, as the plain reading. In telling Hamlet to look upon Claudius as his friend, Gertrude is hinting to Hamlet that there's more to the situation than he knows. Also, she means the nation of Denmark. It's a double meaning. Hamlet has been at the university in Wittenberg, Germany, and Gertrude knows he wants to go back there. But she's trying to tell Hamlet that her marriage to Claudius is a "friendly" thing for Hamlet, in both senses of Denmark.
One can deduce why Gertrude thinks it's a friendly situation for Hamlet. We'll get to that.
Veiled lids means "lowered eyelids," referring to the gaze being downcast. Hamlet, in his depressed mood, is looking dejectedly at the floor. There's wordplay involving both the archaic word "vail," meaning "to lower," and also the current word "veil," meaning "to conceal." Hamlet is concealing the expression in his eyes by looking downward.
When Hamlet Sr went off to war, which was fairly often, Gertrude always feared he wouldn't come back. She worried he'd get himself chopped up on some battlefield, somewhere, and she might never even know where or how he died. Over the years, she faced the fact that she'd probably outlive him. She accepted it, and got strong. When he did die, it was a terrible blow for her, but she handled it, and at least it happened near home so that his body wasn't lost in some foreign land. Her attitude now is one of acceptance, and she's trying to share her experienced wisdom with Hamlet. However, Hamlet can't see things from her point of view (and he doesn't know everything she knows.)
EH 255, to EH 267- Gert: If it be,
Why seems it so particular with thee?
Hamlet: "Seems," Madam? Nay, it is; I know not "seems."
'Tis not alone my inky cloak, cooled mother,
Nor customary suits of solemn black,
Nor windy suspiration of forced breath,
No, nor the fruitful river in the eye,
Nor the dejected 'havior of the visage,
Together with all forms, moods, chapes of grief,
That can devote me truly; these indeed "seem,"
For they are actions that a man might play,
But I have that within which passes show;
These, but the trappings and the suits of woe.
~-~-~
Because of the three official ceremonies (the state funeral for Hamlet Sr, the royal wedding, and Claudius's coronation,) all happening in such a short time, Gertrude has not had a chance for a good private conversation with Hamlet. She's sincerely interested in how he feels.
However, it is not the right setting for a heart-to-heart talk, so Hamlet misunderstands Gertrude's concern, and takes offense at her use of seems. He feels it necessary to explain that his grief is real.
Hamlet says he doesn't know "seems." However, he ought to know that things are not always as they appear.
Cooled means "insensitive." He thinks Gertrude's attitude toward his father's death, and toward him, is callous and insensitive.
There is another sun/son pun implicit in the phrase cooled mother. A mother without a sun (son) would be literally cooler. Gertrude is "cooled" by having less "son," Hamlet means. Hamlet is using the son/sun wordplay to express his feeling of separation from his mother, because of her marriage to Claudius.
The word "mood" can mean "spirit," and thus makes allusion to the Ghost, an entity in the form of Hamlet's father.
In its origin, the word chapes means "capes," and thus refers to Hamlet's cloak. A chape is also the part of a scabbard that covers the point of a sword. The implication of protecting a sword point anticipates the fencing match at the end of the play.
Devote me truly means "truly show my devotion." Hamlet's true devotion to his father is within his heart, not in his clothing and expression. Also, devote has an archaic meaning of "to doom." That meaning would have Hamlet saying, "doom me truly." He doesn't really mean that, it's an accidental undertone to his choice of words.
Hamlet is trying to emphasize that he is not putting on an act, but is deeply and truly grieving for his father.
EH 268, to EH 270- Clau: 'Tis sweet and commendable in your nature, Hamlet,
To give these mourning duties to your father,
~-~-~
Claudius has completely missed the point of what Hamlet said. Hamlet really meant what he said, he wasn't saying it out of a sense of duty. Claudius is unintentionally revealing his own attitude, that he was only mourning his brother as a duty, to "put on a show," because people expected it.
EH 271, to EH 274- But you must know your father lost a father,
That father lost, lost his, and the survivor bound
In filial obligation for some term
To do obsequious sorrow; but to persevere
~-~-~
Claudius takes Gertrude's remark, about death being common, as the proper way to discuss the subject with Hamlet, since she said it to him. Claudius proceeds to run with the idea to ridiculous length, in a misguided effort to be persuasive. He has foolishly taken Hamlet's mourning for his father as a personal challenge, to overcome. However, there is no actual reason not to simply leave it alone.
That father lost means "that lost father." The usual word order is switched for poetic rhythm.
The word obsequious is wordplay with "obsequies," referring to funeral rites. Claudius means "dutiful sorrow," as the plain meaning of his phrase. He also indicates that he didn't like being obsequious, subservient, to his brother, and especially not after his brother's death.
Claudius has an added motive for what he says to Hamlet. All the people present can hear what he says, so, while he argues to Hamlet, he is also excusing himself, to his audience in general, for the uncustomarily brief period of mourning for Hamlet Sr. While talking to Hamlet, Claudius is making a speech to everyone, to persuade them as well. Although Claudius lacks insight, and sympathy, he can be quite sly, in his own self interest.
In anticipation of Hamlet's later remark of "smile, and be a villain," we know that Claudius smiles continually as he lectures Hamlet.
EH 275, to EH 289- In obstinate condolement is a course
Of impious stubbornness, 'tis unmanly grief;
It shows a will most incorrect to Heaven,
A heart unfortified, or mind impatient,
An understanding simple and unschooled,
For what we know, must be, and is as common
As any the most vulgar thing to sense;
Why should we, in our peevish opposition,
Take it to heart? Fie, 'tis a fault to Heaven,
A fault against the dead, a fault to nature,
To reason most absurd, whose common theme
Is death of fathers, and who still hath cried
From the first course till he that died today;
This must be so; we pray you throw to earth
This unprevailing woe, and think of us
~-~-~
Claudius throws a litany of insults at Hamlet: impious, stubborn, unmanly, impatient, simple, unschooled, peevish. He sounds reasonable in a very superficial way, but it's clear he has no love for Hamlet. Claudius hates Hamlet (and fears him.)
Claudius's own act of murder was impious, cowardly and unmanly, incorrect to Heaven, and etc. His insults to Hamlet fit himself, very well. Claudius is "projecting" as the modern psychologists call it, which is a sign of abnormality.
Claudius accuses Hamlet of persevering in obstinate condolement, but in truth it would be Claudius who would be merely obstinate if he continued to express a sympathy he does not feel. While lecturing Hamlet, Claudius is talking about himself.
Claudius uses the word opposition, which reveals his political fear of Hamlet. His fear is misplaced at this time, because, as we'll see, Hamlet wants to go back to Wittenberg to the university, and is not there to challenge Claudius for the throne. Claudius's fear will become self-fulfilling, however, when Hamlet obeys the request to remain at Elsinore.
Claudius describes Hamlet's understanding as simple and unschooled, and it's true Hamlet isn't educated about the truth of his father's death - yet. Claudius is constantly on the verge of saying too much, but never quite gives himself away. His unschooled remark anticipates the "education" the Ghost will give Hamlet.
Claudius will request Hamlet not to return to Wittenberg, just below. So he's insulting Hamlet as unschooled while at the same time requesting Hamlet not to go back to the university. Claudius doesn't perceive the contradiction in his own statements.
Claudius self-righteously presumes to speak for Heaven, lecturing on what is proper to Heaven. Having become King, he plays God. He'll find that playing God is more difficult than becoming King, however.
He speaks of the formal religious institution of mourning as a fault to Heaven, of respect for the dead as A fault against the dead, and of the natural feelings of grief as a fault to nature; in all of which, he is exactly wrong. He then claims to be using reason to identify these "absurdities" he falsely asserts. This has an ironic connection back to his line to Laertes: You cannot speak of reason to the Dane. Indeed, Claudius "the Dane," the King of Denmark, certainly makes it sound that way, that reason is something beyond him.
Claudius's murder of his brother was a fault to Heaven, certainly a fault against the dead, the man he killed, and a fault to nature, which went against the natural affection that ought to exist between family members. Beneath his affectation of being reasonable, Claudius is only talking about himself, some more.
It's true enough that the death of fathers is common, but lack of grief for the death of a family member is not common, it's aberrant. Death does not obviate grief, rather, grief is a natural consequence of death, for a normal person. Claudius is basing his "logic" on an abnormal, inhuman point of view.
Course puns with "corse," the archaic form of "corpse," so Claudius's from the first course puns with "from the first corpse." In the Bible, the first corpse was Abel, killed by his brother, Cain.
With unprevailing woe, Claudius again casts Hamlet's mourning as intentional, as something Hamlet is doing in a calculated way, to prevail over Claudius. However, Hamlet is only mourning his father, sincerely. Having gained the crown the way he did, Claudius is very concerned about keeping it, and he views Hamlet as his main competition. He knows what he did to become King, and he's worried about what Hamlet might do, to become King. Although Hamlet detests Claudius, he is not plotting a coup as Claudius speaks. As Claudius looks at Hamlet, he's seeing a kind of enemy who isn't there, at this time. Claudius is paranoid.
This passage brilliantly characterizes Claudius as an abnormal personality, as he insults and denigrates Hamlet, a person he claims to love, misuses logic, engages in projection, and sees an enemy in Hamlet who is not really there, at this time - and all without any good reason behind it, since he could simply leave the whole subject alone. Claudius is not mentally well.
EH 290, to EH 299- As of a father, for, let the world take note,
You are the most immediate to our throne,
And with no less nobility of love
Than that which dearest father bears his son,
Do I impart toward you, for your intent
In going back to school in Wittenberg,
It is most retrograde to our desire,
And we beseech you, bend you to remain
Here in the cheer and comfort of our eye,
Our chiefest courtier, cousin, and our son.
~-~-~
Claudius asks Hamlet to think of him As of a father. The way Hamlet is thinking "of his father," is that his father is dead. Also, as Claudius has so "reasonably" pointed out, fathers always die. So, Claudius is unintentionally asking Hamlet to think of him the same way: dead. Hamlet is pleased to obey that particular request by Claudius.
Immediate means "closest," to the throne. The word immediate derives from "mediate" which means, to divide in half. Hamlet is indeed halfway to the throne, in a manner of speaking. There were two brothers ahead of him, and one of them is dead. Hamlet isn't thinking of things in that way, it's subtle wordplay from the author.
Nobility of love can be taken as "kingly love." The "kingly love" we see in the play, is that the kings kill each other, or want to. Also, others want to kill the kings, to become king. It's an interesting variety of "loving" nobility.
Hamlet will play on Claudius's dearest father phrase when he later mentions "dearest foe" to Horatio. Claudius is pretending he wants to be Hamlet's "dearest father," but he has turned himself into Hamlet's "dearest foe." In addition to the idea of affection, dearest can mean "most costly."
Claudius says he "imparts" to Hamlet that he loves him, meaning, he says that he loves him. Whether it's true, or not, is a different matter. Impart toward you means "tell to you." Also, impart contains "part," as in playing a part in acting; this is on the Putting On A Show theme. In the "part" undertone of impart, Claudius reveals he's playing a part in claiming he wants to be a loving father to Hamlet.
His phrase Do I impart toward you does double duty, also. It can be read as following Claudius telling Hamlet of his "kingly love," and it can also be read as leading to his request for Hamlet to remain at Elsinore. Several phrases in the play serve double duty in a similar way.
The university at Wittenberg was famous in Elizabethan days, because Martin Luther taught there and it was a focus of Protestantism. Hamlet is set in the Renaissance, not the Medieval setting of Amleth, albeit with some anachronism.
Retrograde means "contrary," and bend you means "incline yourself." Claudius can't order Hamlet to stay, rather, he's asking Hamlet to want to stay. Claudius is pretending he wants Hamlet nearby because of affection. However, he wants Hamlet where he can keep an eye on him. Cheer and comfort has the undertone that Claudius will be happier and more comfortable if he can keep close watch on Hamlet. Claudius is a believer in the old saying, "keep your friends close, and your enemies closer." He's making a mistake.
EH 300, to EH 303- Gertrude: Let not thy mother lose her prayers, Hamlet,
I pray thee, stay with us, go not to Wittenberg.
Hamlet: I shall, in all my best, obey you, Madam.
~-~-~
A prayer would be "lost" if it went unanswered. Gertrude makes a simple, honest request, with no devious undertones. She sincerely wants her son nearby. Hamlet's use of Madam is painfully formal, but he obeys her.
EH 304, to EH 312- Clau: Why, 'tis a loving and a fair reply,
Be as ourself, in Denmark; Madam, come,
This gentle and unforced accord of Hamlet
Sits smiling to my heart, in grace whereof,
No jocund health that Denmark drinks today,
But the great cannon to the clouds shall tell;
And the King's rouse, the heaven shall bruit again,
Respeaking earthly thunder; come away.
(a flourish of trumpets sounds;
Hamlet stays;
everyone else exits)
~-~-~
Claudius is surprised that Gertrude gained Hamlet's consent so easily, without any need for all his rhetoric and "reasoning." He shouldn't have been surprised, but he does not understand what sincerity can do.
Be as ourself means "be like me" - the "our" in ourself is "royal." The phrase has a wicked undertone. Claudius killed the former King, and Hamlet will soon meet the Ghost who will tell him to do the same thing: kill the King, in this case, Claudius. So, in undertone, when Claudius says "be like me" he's telling Hamlet to kill the King, which is now King Claudius. After Hamlet heard the way Claudius spoke to him, the Ghost will find Hamlet apt. Hamlet won't need much persuasion to think about killing Claudius.
Claudius simple-mindedly calls Gertude Madam after Hamlet did. He's taking cues from Hamlet and Gertrude about how to talk to each of them. This indicates that, on his own, he doesn't really know how to talk to either of them.
He expressly tells Gertrude to come with him because he's afraid that otherwise she'd stay with Hamlet. He's envious of her affection for Hamlet.
Claudius dishonestly pretends Hamlet has assented to his own request, and announces he'll celebrate by having the cannons fired while he drinks. He does not truly have anything to celebrate in Hamlet's attitude toward him. However, he's gotten what he wanted, as Hamlet will stay at Elsinore. Be careful what you ask for.
EH 313, to EH 318- Hamlet: Oh, that this too too sallied flesh would melt,
Thaw, and resolve itself into a dew;
Or that the everlasting had not fixed
His canon 'gainst self-slaughter; God, God,
How wary, stale, flat and unprofitable
Seem to me all the uses of this world;
~-~-~
Sallied is the correct word in the playscript. It derives from "sally," meaning "to rush forth, as in making an attack." Hamlet's complaint is the sudden rush of unhappy events in his life, that makes him feel the world is attacking him. His father has died, he's had to leave the university, his mother has married a man he despises and who obviously dislikes him, he's been defeated in the election for King, he's now stuck at Elsinore where he's entirely dependent on Gertrude (and Claudius,) and which is a place that has nothing in particular to offer him in the way of good education or prospects for his own independent life - and it has all happened in less than two months. Further, his marriage prospects with Ophelia are dim if they can't lead their own independent lives, together. Sallied offers a pun on "solid" in connection with melt. The pun has universally been noticed, but the actual meaning has not been.
With melt, Thaw, and resolve Hamlet is talking about becoming vapor, incorporeal, like a ghost. His phrase connects back to the sentinels' description of the Ghost being like the air, invulnerable, and unharmed by their attempt to attack it.
In popular parlance, dew rises. Hamlet is wishing he could rise above it all, perhaps even rise to Heaven. If Hamlet could resolve into a dew, and rise above it all, like the air, he'd be invulnerable to the sallies against him.
The everlasting means God, and with canon Hamlet refers to the religious prohibition of suicide. His thoughts are that if he could be certain of going to Heaven he'd kill himself. Perhaps, but read on.
Hamlet's remarks have a double meaning. In undertone, Hamlet is also making a refererence to Claudius. For this meaning, His canon means "his cannons," fixed means "aimed," and self-slaughter means Claudius killing himself. Hamlet is wishing God would aim the cannons so that when Claudius orders the cannons fired while he's drinking, he'd shoot himself.
Wary is the correct word, it refers to wares for sale: "ware-y." Hamlet cynically sees the world as being for sale. This anticipates Hamlet's reference to the gifts Claudius gave Gertrude, (especially referred to at the later Mousetrap play,) by which Hamlet thinks Claudius bought Gertude's affection. There is wordplay with "weary," a word which goes back to a meaning of "drunk" and thereby alludes in undertone to Claudius. Further, wary derives from a meaning of "watch," which links to the sentinels' watch when they saw the Ghost. In this case, as with sallied and a few others, Q2 gives the main reading, and the Folio gives the pun. It's wonderfully fortunate that history has preserved both the Second Quarto and the Folio versions of Hamlet.
Wary leads to unprofitable. Hamlet sees no "profit" in the world being for sale.
Hamlet is using this world in the limited sense of the world he perceives: Denmark, and primarily, Elsinore Castle. He doesn't mean the universe, or the whole earth, which he can't observe. Hamlet's world, at this time, is Elsinore Castle, the "world" of Hamlet.
EH 319, to EH 321- Fie on it, ah fie, 'tis an unweeded garden
That grows to seed; things rank and gross in nature
Possess it, merely, that it should come thus;
~-~-~
Fie means "shame." Hamlet is saying, "shame on me," for the way he is thinking. His fie mocks the fie that Claudius said to him while lecturing him. Claudius had no legitimate reason to scold him, but Hamlet properly rebukes himself for turning his own thoughts against himself.
The gardening metaphor is an instance on the association of Saint Gertrude of Nivelles, a patron of gardeners, with Gertrude in the play.
Hamlet describes Claudius as rank and gross in his nature, the kind of person he is. There's double meaning between Claudius being a "weed" in possession of the "garden" of Elsinore, and Hamlet thinking the world in general, that he can see, being a "weedy garden" now.
EH 322, to EH 343- But two months dead, nay, not so much, not two;
So excellent a King, that was to this,
Hyperion to a satyr; so loving to my mother,
That he might not beteem the winds of heaven
Visit her face too roughly; heaven and earth,
Must I remember! Why, she should hang on him
As if increase of appetite had grown
By what it fed on, and yet within a month . . .
Let me not think on it; frailty, thy name is woman;
A little month, or ere those shoes were old
With which she followed my poor father's body,
Like Niobe, all tears; why she -
Oh, God, a beast that wants discourse of reason
Would have mourned longer - married with my uncle,
My father's brother, but no more like my father
Than I to Hercules; within a month,
Ere yet the salt of most unrighteous tears
Had left the flushing in her galled eyes,
She married - oh, most wicked speed - to post
With such dexterity to incestuous sheets;
It is not, nor it cannot come to good,
But break my heart, for I must hold my tongue.
~-~-~
As Hamlet speaks, his father's death was a little less than two months earlier. Gertrude married Claudius within a month of Hamlet Sr's funeral. So, Gertrude and Claudius have been married about a month at this point.
In mythology, Hyperion can mean either the sun god, Helios, or it can mean a Titan who was the father of the sun god. The sun is a symbol of majesty, so Hamlet's reference casts Hamlet Sr as properly majestic, a man aptly symbolized by the sun. The second idea, of "father of the sun," introduces the sun/son pun again, and has Hamlet saying Hamlet Sr was his proper father, the father of the "son," Hamlet.
A satyr is a semi-human creature of mythology. The satyrs are best known as servants of Bacchus, the god of wine and revelry. The comparison Hamlet makes is between his father as a god and titan, versus Claudius as a degenerate, drunken, sub-human.
In both Q2 and the Folio, satyr is spelled "satire," which adds the additional meaning that Claudius is a caricature of a king, a contemptible imitation.
Hyperion is another name for Apollo, considered the model of male handsomeness; a satyr is considered ugly and deformed, in human terms. In that way, Hamlet is comparing physical appearance, as he will again, later, in the Closet Scene. The primary satyr-like god is Pan, a brother of Apollo since both were sons of Jupiter, so in that indirect way Hamlet's phrase offers a secondhand allusion to Hamlet Sr and Claudius being brothers.
Should is the past tense of "shall," exactly analogous to "would" being the past tense of "will." Hamlet means Gertrude seemed compelled to cling to his father, that it was more than something she was in the habit of doing. It indicates Gertrude really loved Hamlet Sr.
With frailty Hamlet means moral weakness, fickleness or unfaithfulness. He's generalizing what he sees in Gertrude to all women. He's making a mistake with such generalization, however, since, as he says, he doesn't understand why Gertrude married Claudius. Hamlet should pay better attention to his own words. His generality about women will unduly influence his feelings about Ophelia, later.
Hamlet's lines that begin Why, she - can be read either as question, or as declaration. It's another instance of doubleness in the phrasing.
His remark about a beast that wants discourse of reason primarily refers to Gertrude, but also sarcastically alludes to Claudius, and Claudius's claim of "reason." Hamlet heard Claudius's reasons for not mourning his father any longer, and he means that a beast, who could not be persuaded by such reasons, would have mourned longer. Hamlet takes it that Gertrude was persuaded by Claudius's "reasoning."
Dexterity means both ease and quickness. Hamlet is remarking on both the speed with which Gertrude married Claudius, and her apparent ease in ignoring moral standards.
EH 344, to EH 355- (Horatio, Marcellus, and Barnardo enter)
Horatio: Hail to your Lordship.
Hamlet: I am glad to see you well; Horatio, or I do forget my self.
Hora: The same, my Lord, and your poor servant, ever.
Hamlet: Sir, my good friend, I'll change that name with you;
And what make you from Wittenberg, Horatio?
Marcellus.
Marcellus: My good Lord.
Hamlet: I am very glad to see you; (good even, sir.)
~-~-~
When Hamlet says he is glad to see Horatio well, it reveals why Horatio did not accompany Hamlet in returning to Denmark. Horatio was ill. Horatio recovered in a day or two, and then traveled to Elsinore, alone. At that point, Hamlet was involved in the official ceremonies and socializing, greeting friends of the family and the visiting dignitaries who were there for the funeral. After the funeral, the marriage and coronation followed soon, with more crowds, and more dignitaries to take up Hamlet's time in official socializing. Also, Hamlet has been depressed and keeping to himself quite a bit. Further, Hamlet and Ophelia have noticed each other, and Hamlet has been spending some time with her. Horatio has been waiting to see Hamlet, patiently, until the crowds clear out and things settle down. While waiting, Horatio became acquainted with Marcellus, who told him of the Ghost.
Hamlet emphasizes Horatio's name in a teasing way, as though it's been so long since he's seen him, he nearly forgot his name. It's humor, between good friends. Hamlet's or I do forget my self is his facetious observation that he knows Horatio's name as well as he knows his own. Also, at this point, with what's happened in his life, Hamlet is about ready to "forget himself" and be somebody else, instead. And there's the old saying that a good friend is a second self.
Horatio smilingly assures Hamlet that he got the name right. His remark of being Hamlet's poor servant is humorous self deprecation, where he teases Hamlet a little in return. Horatio likes it that Hamlet, although a Prince, is not arrogant, and is comfortable to be good friends with a common fellow.
When Hamlet says I'll change that name with you, he means he'd rather be Horatio than Hamlet. That name goes back to "Horatio," the name Hamlet just stated. Hamlet says it with a smile, but he's quite depressed, and he would not mind being Horatio, instead. Shakespere made frequent use of change of identity, in his plays, as a plot device. Here, the author provides a hint of Hamlet and Horatio trading places, but that doesn't actually happen in Hamlet.
Hamlet greets Marcellus, whose name he knows, and who properly returns the greeting. Hamlet then says "good evening" to Barnardo, whose name he doesn't know. Barnardo says nothing, and in the context of Elizabethan times, he bows in response. Hamlet's even means evening, which was the word used for any time of day after noon. Noon is the midpoint, or "even" point of the day, between sunrise and sunset, and "evening" originally referred to the time after the "even" time of day. Claudius's session of the court lasted until noon, so it's after noon as Hamlet speaks.
EH 356, to EH 363- But what, in faith, make you from Wittenberg?
Hora: A truant disposition, good my Lord.
Hamlet: I would not hear your enemy say so,
Nor shall you do my ear that violence
To make it truster of your own report
Against yourself; I know you are no truant,
But what is your affair in Elsinore?
We'll teach you for to drink ere you depart.
~-~-~
Horatio, being sick at the time, had no plans to leave Wittenberg when Hamlet returned to Elsinore, so Hamlet is curious why he's here. In faith means "in all faith," or "in truth," but Hamlet is not intending to suggest Horatio would ever lie to him. Hamlet is using the phrase more in the sense of "my goodness," and is also teasing a little.
Horatio's reply is tongue-in-cheek, but contains a literal truth. He does not have a truant attitude, but is indeed truant from the university in being away so long. Truant comes from a meaning of "beggar," so this slightly anticipates Hamlet's later characterization of himself as a beggar. By remaining at Elsinore, Hamlet is also "truant" from the university.
Hamlet replies he would never hear Horatio's enemy say such a thing about him. This has an undertone following what Claudius, Hamlet's enemy, said to Hamlet, that he was unschooled. Hamlet was at the university, and for Claudius to call him unschooled would imply he wasn't attending classes, that he was truant. (Unschooled is literally what Claudius was asking Hamlet to be, in not going back to school, while Claudius was insulting Hamlet as unschooled.) In plain meaning, Hamlet's rejection of Horatio's truancy indicates Horatio is a tough fellow, whose enemies would beware of saying bad things about him. The attraction between Hamlet and Horatio is an attraction of opposites: Hamlet is the intellectual, verbose, scholarly type, while Horatio, although a serious scholar, himself, is more the strong, quiet type. It indicates Horatio is slightly taller than Hamlet, and tougher looking. Hamlet's line further means he would not tolerate hearing any of Horatio's enemies say bad things about him. This is a mark of their friendship.
Hamlet's word violence then further reinforces that he knows Horatio to be a person capable of violence. The idea of violence to the ear anticipates what the Ghost will tell Hamlet, about Claudius's "violence to the ear" in poisoning Hamlet Sr, and it connects with the Slander theme of the play. Further, Claudius did "violence" to Hamlet's ear in the way Claudius talked to him.-
Hamlet's remark about drinking alludes unflatteringly to Claudius, and also, the Danes had the reputation of being heavy drinkers in general. In undertone, drink ere is a pun on "drink air," and, among other things, anticipates Hamlet's remark at the later Mousetrap play that he "eats the air." At Elsinore, they all "drink the air," filled with intoxicating words. Further, depart can mean "die," so Hamlet's last line can be read as him saying they'll teach Horatio to drink before he dies. It's another little death allusion in the play, on the Death theme. And Claudius will be drinking just before he dies.
EH 364, to EH 375- Hora: My Lord, I came to see your father's funeral.
Hamlet: I prithee, do not mock me, fellow student;
I think it was to see my mother's wedding.
Hora: Indeed, my Lord, it followed hard upon.
Hamlet: Thrift, thrift, Horatio! The funeral-baked meats
Did coldly furnish forth the marriage tables;
Would I had met my dearest foe in Heaven,
Ere ever I had seen that day, Horatio;
My father, methinks I see my father.
Hora: Where, my Lord?
Hamlet: In my mind's eye, Horatio.
Hora: I saw him once; he was a goodly King.
~-~-~
Hamlet tells Horatio, facetiously, that the wedding was a practical arrangement. It was a custom to serve a meal at a funeral, so in that way Hamlet sardonically says the food cooked for the funeral then supplied the wedding, as well, giving two meals for the price of one. This is not literally true.
The word funeral includes a meaning of funeral pyre, or cremation, although Hamlet Sr was not cremated. In poetic undertone, with funeral-baked Hamlet is sarcastically saying his father's fictitious funeral pyre was used to cook the food for the wedding, to save money. The sarcastic undertone is as if the wedding feast was cooked on the funeral pyre.
Meats can mean any food, including pastry which would typically be served for a dessert. Thus Hamlet further implies the wedding was the "dessert" to the funeral.
Dearest foe means "worst enemy," or most hated enemy. Hamlet uses dearest to mean the one who causes him to feel the strongest emotion. "Dear" further means "expensive;" Claudius was "dear" to Hamlet in costing him the crown. Hamlet's line about meeting his dearest foe in Heaven anticipates what Hamlet will say in the Prayer Scene, later.
Hamlet says he thinks he sees his father, in his imagination, just after mentioning Heaven. If Hamlet were seeing truly, in picturing his father in Heaven, it would tell us a lot about the Ghost. Horatio is momentarily taken aback, by Hamlet saying he sees his father, and wonders if the Ghost has suddenly appeared.
Horatio's I saw him once means he met Hamlet Sr in person, once. Horatio has probably seen King Hamlet many times in pictures.
The words "good" and "god" were closer in meaning in Elizabethan times, virtually synonymous on occasion, so Horatio's goodly also implies "godly." It goes along with Hamlet's description of his father in terms of the god Hyperion, as we've already seen, and his later mentions of Jove, Mercury and Mars.
EH 376, to EH 386- Hamlet: He was a man, take him for all in all;
I shall not look upon his like again.
Hora: My Lord, I think I saw him yesternight.
Hamlet: Saw, who?
Hora: My Lord, the King, your father.
Hamlet: The King, my father?
Hora: Season your admiration for a while
With an attent ear, 'til I may deliver,
Upon the witness of these gentlemen,
This marvel to you.
Hamlet: For God's love, let me hear!
~-~-~
The ambiguity of Horatio's goodly provided Hamlet with an opportunity to praise his father in godly terms, as he'll do elsewhere, later, but he skips it here, and somberly comments on his father being a man. All in all is a generality meaning "everything a man can be, overall."
Take him, interpreted in light of Marcellus's mention in the first Scene that "no fairy takes" during the Christmas season, implies a mischievous enchantment. Hamlet is not intending to say that; it's an undertone in the words. Read in allusion to the Ghost, the image of Hamlet's father, it would imply a spell being used.
Hamlet's second line is, in plain meaning, that he won't see anybody else like his father. In undertone the line is on the Mirror theme, with like meaning "likeness." Hamlet is about to be surprised, that the likeness of his father has appeared again.
Claudius has called himself Hamlet's father, so when Horatio says he saw the King, Hamlet's father, last night, Hamlet is momentarily baffled by the ambiguity. What on earth could Horatio have been doing, seeing Claudius last night? Horatio surely can't mean that, can he, that he was with Claudius?
Season means to delay, a figurative reference to doing something at the right time of year. Season could also mean to moderate, as in seasoning food to make it more palatable, but the phrase for a while pins it down as a time reference. The word is intentionally somewhat ambiguous, however, from the author.
Admiration means "wonder." Horatio is going to give Hamlet even more to wonder about, after he tells of the Ghost. Attent is a poetic shortening of "attentive." Attent also plays on a combination of the prefix "a-" meaning "not," and the word "tent" meaning "test." Hamlet's ears are untested, that is, not yet "tested" by the account of the Ghost.
Hamlet does not yet know, for certain, that Horatio's use of father and the King meant Hamlet Sr, and not Claudius. It would be a marvel, indeed, to Hamlet, if Horatio could explain why he and the two fellows with him were visiting with Claudius last night. Horatio doesn't mean that, of course; it's an ambiguity in the wording.
EH 387, to EH 403- Hora: Two nights together had these gentlemen,
Marcellus and Barnardo, on their watch,
In the dead waste and middle of the night,
Been thus encountered: a figure like your father
Armed at point, exactly cap-a-pie,
Appears before them, and with solemn march,
Goes slow and stately by them; thrice he walked
By their oppressed and fear-surprised eyes,
Within his truncheon's length, whil'st they, distilled
Almost to jelly with the act of fear,
Stand dumb and speak not to him; this to me
In dreadful secrecy impart they did,
And I with them the third night kept the watch;
Whereas, they had delivered both in time,
Form of the thing, each word made true and good;
The apparition comes; I knew your father,
These hands are not more like.
~-~-~
Waste means "wasteland," as in an unpopulated area. The middle of the night is usually "unpopulated" at Elsinore, in the sense that people are at home asleep, and not awake and walking around. Waste can be taken as "emptiness" for the same reason, that the middle of the night seems empty of life. The idea is that no people are stirring - and not even a mouse, as Francisco mentioned - and with nothing going on, usually. There is a pun on "waist" in connection with middle. The "dead of night" is a common expression, and with dead Horatio leads into his description of the Ghost.
Horatio calls the Ghost a figure like your father because he knows, of course, the Ghost is not actually Hamlet Sr, in person. Hamlet now understands, with confidence, that Horatio is talking about Hamlet Sr, not Claudius.
The phrases at point and cap-a-pie are from French. Cap-a-pie means from head to foot. At point means at every point, in full detail; in other words, completely ready. The Ghost was wearing a full suit of armor, complete in every detail, so he appeared dressed entirely ready for battle.
A truncheon is a club. The Ghost's truncheon was his royal mace, or scepter, sometimes called a baton. A king is a war leader, as necessary, and a king's royal mace is symbolic of his war club. In the case of Hamlet Sr, his royal mace was more than symbolic when he was alive, since he was a great warrior. King Hamlet's truncheon was a serious battle weapon. The length would be about a yard, give or take, so Horatio is saying the Ghost walked by within about three feet of them.
Jelly quivers, so Horatio means Marcellus and Barnardo trembled with fear. Distilled is used in a general way, to mean "changed," and it's correct that the making of jelly involves a kind of distillation, in the broad sense. In the days before electricity, distillation was always done with fire for heat, so distilled has a suggestion of fire or flames, relating to the concept of the fires or flames of Purgatory, or Hell.
Horatio affirms that what he saw agreed with what he had been told, and his word apparition identifies the figure as a ghost. When he says These hands he holds out his own hands and brings them together. A person's hands are mirror images of each other, approximately, so Horatio means the Ghost was so much like Hamlet's father, it was like a mirror image. This is on the Mirror theme of the play.
EH 404, to EH 417- Hamlet: But, where was this?
Marcellus: My Lord, upon the platform where we watch.
Hamlet: Did you not speak to it?
Hora: My Lord, I did,
But answer, it made none; yet once methought
It lifted up its head, and did address
Itself to motion like as it would speak,
But even then, the morning cock crew loud,
And at the sound it shrunk in haste away,
And vanished from our sight.
Hamlet: 'Tis very strange.
Hora: As I do live, my honored Lord, 'tis true,
And we did think it writ down in our duty
To let you know of it.
~-~-~
They briefly inform Hamlet of the additional facts. Hamlet's speak question to Horatio ironically follows the insistence of Marcellus at the time that Horatio should speak to the Ghost. Hamlet will refer to strangeness again, significantly, after the Ghost talks to him, later.
Like as means "as if." Writ means both "written," and also refers to official writing, but Horatio is speaking figuratively. It is not actually written in the duty of friendship, or of military service, what to do about a ghost. Horatio means they felt obligated to tell Hamlet, as a matter of propriety.
EH 418, to EH 432- Hamlet: Indeed, sirs, but this troubles me;
Hold you the watch tonight?
(They reply): We do, my Lord.
Hamlet: Armed, say you?
(They reply): Armed, my Lord.
Hamlet: From top to toe?
(They reply): My Lord, from head to foot.
Hamlet: Then saw you not his face.
Hora: Oh, yes, my Lord, he wore his beaver up.
Hamlet: What looked he, frowningly?
Hora: A countenance more in sorrow than in anger.
Hamlet: Pale, or red?
Hora: Nay, very pale.
Hamlet: And fixed his eyes upon you?
Hora: Most constantly.
~-~-~
The beaver is the faceplate of a helmet, hinged so it can be raised to expose the face, or lowered for protection.
Hamlet is not doubting what they tell him, but he questions more closely to try to determine what the Ghost might be, and what it might mean. His questioning is thoughtful, not accusatory.
Horatio observed at the time that the Ghost frowned once, but to Hamlet he characterizes its expression as more sorrowful than angry, generally speaking.
Hamlet's question Pale, or red? concerns the Ghost's humor, from the theory of the four humors theory. He's following up on Horatio's mention of sorrow versus anger, to try to determine more about the Ghost's mood, based on its complexion. Red would be sanguine, and pale, phlegmatic. Elizabethan ideas of the humors were complicated, too much to present in detail in these notes, and difficult to pin down, anyway. But very generally, a sanguine appearance could indicate optimism, and a phlegmatic one, fearfulness. Taking the Ghost as a portent, it would be the difference between optimism for the future, or fearfulness about the future. Additional allusions are available, as between tears and blood, mentioned later in the play, and also association with the colors white and red that the author used for certain ideas in his various writings, such as in Loves Labour's Lost and the Sonnets.
Hamlet's question, of whether the Ghost looked at them, is to determine whether the Ghost was aware of them, or only going by. Horatio's reply informs him that the Ghost was well aware of them.
EH 433, to EH 438- Hamlet: I would I had been there.
Hora: It would have much amazed you.
Hamlet: Very like; stayed it long?
Hora: While one, with moderate haste, might tell a hundredth.
(Marcellus and Barnardo): Longer, longer.
Horatio: Not when I saw it.
~-~-~
To tell is to count. Hundredth (the original word in the Second Quarto) is nearly always changed to "hundred" in printings of Hamlet, based on the simple idea of counting to a hundred, by ones. However, hundredth is the correct term in general arithmetic. A person counting a hundred items, of any kind, is finished when he has counted the hundredth item. The hundredth item, when counting things in general, is not necessarily going to be the number 100, and usually won't be.
The disagreement among the men as to how long the Ghost was seen, rather than undermining the story, helps to prove it. It's normal for people to disagree about such details.
EH 439, to EH 443- Hamlet: His beard was grizzled, no?
Hora: It was as I have seen it in his life:
A sable, silvered.
Hamlet: I will watch tonight,
Perchance 'twill walk again.
Hora: I warrant it will.
~-~-~
Grizzled means "gray," as would be expected for a pale, monochromatic ghost, whatever its original beard color. However, Horatio replies he was able to perceive different colors in the beard, that it was black with some silver hair, the same as he saw when King Hamlet was alive. This indicates the Ghost had essentially human coloration. Horatio's reply is enough to establish that it isn't just a gray ghost. It looked human.
The word tonight is printed as "to nigh" in Q2. That may not be a misprint in the original, but rather wordplay, to hint of Hamlet getting "too near" the Ghost.
Horatio's line, guaranteeing the Ghost will appear, is somewhat tongue-in-cheek by the author. If the Ghost doesn't show up, they have no play to do. In plain meaning, Horatio is sure the Ghost will appear again, because it's been so consistent in appearing each night, and it almost spoke to Horatio.
EH 444, to EH 454- Hamlet: If it assume my noble father's person
I'll speak to it, though hell, itself, should gape,
And bid me hold my peace; I pray you all,
If you have hitherto concealed this sight,
Let it be tenable in your silence, still;
And whatsomever else shall hap' tonight,
Give it an understanding, but no tongue;
I will requite your loves, so fare you well;
Upon the platform 'twixt eleven and twelve
I'll visit you.
(They reply): Our duty to your honor.
(Horatio, Marcellus, and Barnardo exit)
~-~-~
Hamlet has heard enough to convince him that the Ghost merits his attention. He doesn't know what it is, but accepts that it looks like his father. In his second line, he states his awareness that it could be something hellish, but he intends to speak to it, anyway.
Assume has a root meaning of "to take," which suggests an enchantment, or the idea of obtaining something unjustly.
Hamlet requests of the three, that if they have not told anybody else, to keep it a secret. Concealed means "not revealed," not told. Tenable means "held," or in other words, "kept."
Give it an understanding means "pay attention to it," or "take heed of it." No tongue means "no speech;" they mustn't speak of it. He then dismisses them to get some sleep, which they probably need very much by this time.
The men say duty in recognition that Hamlet is their Prince. They're not being unfriendly, but are only using correct language in a formal way, as they take their leave.
EH 455, to EH 459- Hamlet: Your loves, as mine to you, farewell;
My father's spirit (in arms;) all is not well;
I doubt some foul play; would the night were come,
'Til then, sit still, my soul; fond deeds will rise
Though all the earth o'erwhelm them to men's eyes.
(Hamlet exits)
~-~-~
With loves, Hamlet is expressing his friendship, and also using the right word in connection with his status. The language is on the same pattern as used in religion, where people have duty to their god, and the god, in turn, loves his people. The class system of society used that kind of language, where commoners have "duty" to their nobility, and noble persons "love" their common people. Similar ideas are still found, even in modern democracy, where people have a duty to obey the law, and the lawmakers are supposed to have affection for their constituents. Hamlet's use of "love" goes beyond the formality, however. He's recognizing that the men have approached him in friendship, and he's returning the feeling. Hamlet uses the word "love" in a general way, in the play, to mean not only romantic love, but also good family feelings, and good friendship.
Alone, Hamlet ponders the idea of the Ghost being his father's spirit. If it's his father's spirit, in arms, it must mean trouble of some kind.
Doubt means "suspect." To doubt something is to have suspicion about it. Hamlet doesn't know what the foul play might be. He doesn't suspect murder at this time, but based on the kind of person Claudius is, Hamlet thinks Claudius might have engaged in some chicanery to get the crown, and perhaps the Ghost can tell him about it.
The original meaning of fond is "foolish." Hamlet is hoping Claudius has done some foolish deed, either personally or politically, that Hamlet can use against him. Fond also refers to Hamlet's affection for his father; it's a double meaning. So, Hamlet is hoping his father's spirit will rise from the earth, out of affection for him, and tell him about something foolish that Claudius has done, which Claudius is trying to hide.
End of Scene 2
|
Back to Scene 1:
Both Text and Notes, in Frames
Scene 1 Text, only
Scene 1 Notes, only
|
(Regained)