Lecture Notes/ Commentary: Hamlet Act 5 – Minich
Scene i: Three distinct movements:
1. The Gravediggers:
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Comic relief – allows the audience to step back and gain new perspective on the tragic events that are propelling
the action forward
“Clowns” – work in a world of death but are amazingly alive – honest approach to life and death is refreshing /
oblivious to the poisonous and corrupting effects of court intrigue (could this be Marxist-type commentary on
rich versus poor?)
Discussion of Ophelia’s death – suicide or not: If suicide (considered a mortal sin) – she does not deserve a
Christian burial – might only be receiving this b/c of her money/ family’s status
Birth and wealth provide power and create true distinctions b/t the classes (this sets the stage for Hamlet’s
subsequent realizations about death as the ultimate equalizer)
First clown sings verses from a mediocre poem by Lord Vaux called “The Ancient Lover Renounceth Love”
Hamlet is fascinated at the gravediggers’ ability to chat and sing while they work among bones – his subdued
demeanor stands in stark contrast to his earlier self
Horatio – has not changed at all – practically comments that “custom hath made it in him a property of
easiness” (70-71)
2. Meditation on Death
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Hamlet muses about who the bones belonged to – speculates on the equality and inevitability of death (lawyer /
buyer of land)
He has been appalled by the moral corruption of the living and is now soothed and even amused by the
universality of physical corruption of the dead
Hamlet is intrigued by the gravediggers’ riddles (“Adam’s profession…bore arms…could he dig without arms…?”)
(What is he that builds stronger than either the mason, the shipwright, or the carpenter? A grave maker…the
houses he makes last till doomsday”) (wordplay “Lie” in the grave versus “lying” about whose grave it is)
o Hamlet says: “How absolute the knave is! We must speak by the card, or equivocation will undo us.”
Elizabethan Joke: “Sent to England b/c he was mad – he shall recover his wits there or if he do not, ‘tis no great
matter there…there the men are as mad as he.” (158)
A complimentary and loving eulogy for Yorick: “Alas, poor Yorick – I knew him well” – Hamlet has not, despite
the ordeals in his life of late, forgotten about those who loved him; he still possesses sympathy /pity
Death is the ultimate equalizer - Alexander the Great and Yorick the Jester have both turned to dust – the
hierarchal structure of society if illusory and crumbles to dust, just like these bones
o “Get you to my lady’s chamber and let her paint an inch thick – to this favor she must come” (she can
wear as much makeup as she wants – she’ll still end up looking like this)
3. Ophelia’s Funeral Procession
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Dramatic Irony: “Who is that they follow, and with such maimed rites?” – Hamlet doesn’t know it’s Ophelia’s
funeral (very timely, immediately following his philosophical musings on life and death, don’t you think?)
Hamlet’s grief and shock over the discovery that Ophelia is dead / doesn’t know how to react – is incensed at
Laertes’ showiness: “What is he whose grief bears such an emphasis?”
Makes his entrance: “This is I, Hamlet the Dane” as he leaps into the grave
o Mrs. Minich’s opinion: Neither man knows how to cope with Ophelia’s death – this scene turns into one
big testosterone-fest (Hamlet will not be outdone, but his method of out-doing is by being obnoxious)
o “I lov’d Ophelia: forty-thousand brothers could not, with all their quantity of love, make up my sum”
This scene marks the end of the flower imagery – symbolically also foreshadows the end of Hamlet and
Ophelia’s youth and life
Hamlet Act V, Scene ii:
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Sudden ending after such a long build-up; ‘tis the nature of a revenge tragedy
Scene opens “in media res” – mid-conversation b/t Hamlet and Horatio
Hamlet rewrites the letters after discovering his forthcoming execution – seals it with his father’s
ring…symbolism?
o No guilt over sending Rosencrantz and Guildenstern to their deaths
o No guilt over Claudius’ impending death
o His only guilt is over his violent behavior toward Laertes (the shock of Ophelia’s death put Hamlet “into a
towering passion” (80)
Osric – parallel to Polonius – target for Hamlet’s disdain of flattering courtiers
o Carrier of the degenerative disease that is destroying Elsinore
o Osric can spout flattering, flowery jargon, but cannot understand it when it’s thrown in his face by
Hamlet
The Duel: Hamlet’s gut tells him not to fight – Horatio also urges him not to: Hamlet says “there’s a special
providence in the fall of a sparrow” – God has a divine plan for everything – his fate is already determined; if he
doesn’t fight today, he’ll have to eventually
Hamlet apologizes – blames his behavior on his “madness” – thoughts on this? – Laertes accepts on the surface,
but must defend his honor (his speech is stilted – he might already be regretting the plan)
Laertes is no match for Hamlet’s expert swordsmanship
King, poisoned pearl, Gertrude drinks the poisoned cup, Hamlet and Laertes fatally wound each other with the
poisoned-tipped sword, Laertes confesses/ rats out Claudius – apologizes
Laertes and Hamlet exchange forgiveness as they had exchanged weapons only moments before
Hamlet dies – asks Horatio to be his messenger once more even though Horatio compares himself to an
“antique Roman” (would run on his sword rather than live deteated) more than a modern Dane – wishes to
follow Hamlet into death
Hamlet gives his vote to Fortinbras before he dies / all three men who sought revenge for their fathers’ deaths
have now achieved it
Hamlet’s heroism is not truly appreciated until the end of the play
Shakespeare allows the audience to build its understanding of the play as slowly as Hamlet evolves in his
understanding of his course of action – allows the audience to have an intimacy with the hero that is rarely
achieved in theatre – and the audience, along with Fortinbras and the court, etc. recognizes the value of the life
that has been lost.