HAMLET: DISCOVERY GUIDE (ACT 5)
Act 5 - Scene 1a (lines 1-202)

WATCH FOR IT!
o This first part of the scene provides some comic relief, as we overhear
a conversation between two gravediggers. The incongruity of the
humour in this setting foreshadows the inappropriate behaviour of
Hamlet and Laertes later in the scene.
For now, though, take the time to work out the meaning of some of the
jokes in the scene and watch for one of the most famous lines in all of
Shakespeare: “Alas, poor Yorick. I knew him, Horatio…” (line 169).

TIPS AND QUESTIONS
o The Gravediggers Talk (lines 1-61)
 Comedy in Tragedy
The Greek philosopher Aristotle argued that a tragedy should be
entirely tragic; Shakespeare often broke this convention,
inserting elements of comedy in even his most tragic plays.
Can you think of examples of this comic relief in other
Shakespeare plays you have studied? Which approach do you
prefer—Aristotle’s or Shakespeare’s? Why?

Did Ophelia Kill Herself?
The gravediggers clearly believe that Ophelia killed herself, but
Gertrude's account of her death in Act 4, Scene 7 seems to
indicate she drowned accidentally. Which version do you
believe? What support can you find in the text for your opinion?

The Gravediggers
Shakespeare is known for creating believable, well rounded
characters—even when their appearance in the play is brief.
Here, the two gravediggers seem to have quite different
personalities. How would you describe each of them? What
differences can you discern in their character from their dialogue
and actions?

The Gravedigger’s Song
The song that the gravedigger sings is interrupted by dialogue,
so you may not have noticed what it was about. Reread the
three stanzas of the song together (lines 58–61; 67–70; 87–90).
How do the lyrics add to the theme being explored in this
scene?
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o
Hamlet and Horatio Arrive (lines 62-202)
 “Alas, poor Yorick. I knew him, Horatio…” (line 169)
The discovery of Yorick’s skull is clearly a shock to Hamlet, and
it leads to these famous lines in which he contemplates the
meaning of life.
How does the presence of the skull, and its identification as a
particular person, add to the poignancy of the scene and help us
to identify with Hamlet’s emotions?

TIP! The Royal Shakespeare Company production uses an
actual skull, which was bequeathed to the theatre by Polish
pianist Andre Tchaikowski on his death in 1982. While the skull
has been used in rehearsals, it had never been used in an
actual production before, for fear it would offend or distract the
audience!

Has Hamlet Changed?
From the gravedigger, we get a glimpse at the story from the
perspective of the common people of Denmark: young Hamlet
has been sent to England to recover his wits. (The joke about all
Englishmen being mad still gets a laugh in British theatres!)
Is there any truth in this version of the story? As far as you can
tell, has Hamlet’s journey changed him? (Watch for further
evidence of Hamlet’s transformation throughout Act 5.)


How Old Is Hamlet?
The gravedigger mentions that Hamlet was born thirty years
ago. Does this surprise you? Think back to the opening scenes
of the play, when Hamlet is moping around the court, dressed in
black, and responding sullenly to his mother and uncle. Does
that seem like the behaviour of an adult, or someone more
adolescent? Does finding out his age change your perception of
his behaviour at all?

TIP! The Shakespeare scholar Harold Bloom has speculated
that Shakespeare worked on the play for years, and that, as the
playwright matured, so did his character.
MEDIA SPOTLIGHT
o Flashback
Branagh’s version includes a brief flashback to Hamlet as a child,
sitting on the knee of Yorick, the jester.
How effective do you find this approach? Does it help you to empathize
more with Hamlet? Or do you find it a distraction? If you were directing
the film, would you include the flashback? Why or why not?
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Oxford University Press, 2010, Hamlet Online, ISBN: 978-019-544-1703
Act 5 - Scene 1b (lines 203-285)

WATCH FOR IT!
o This episode, in which Hamlet and Laertes confront one another over
Ophelia’s grave, can seem confusing. As you watch, read, or listen,
think about what their motives are.

TIPS AND QUESTIONS
o Brotherly Love…or Something More?
Laertes leaps into Ophelia’s grave, overcome by emotion. He then
grapples with Hamlet at the graveside, and the two of them try to outdo
each other in claiming how much they loved Ophelia. Some critics
have pointed out that Laertes is acting more like a lover than a brother.
Where else in the play does this suggestion of incest come up? What
does it imply about how personal corruption can inform social
corruption?
o
Hamlet’s Lack of Remorse
Hamlet appears to feel no guilt at all for Ophelia’s death, even though
his actions—cruelly rejecting her and killing her father—clearly had a
huge impact on her and probably led to her suicide.
How would you explain this insensitive attitude? Is he simply so
overcome by the sudden news of her death that he hasn’t yet worked
out all the reasons why it happened? Does he really feel it is not his
fault? Is all his anger at Laertes actually misplaced rage at himself?
o
Comparing Hamlet and Laertes
At earlier points in the play, Laertes has acted as a foil for Hamlet. In
Act 1, his good nature contrasted with Hamlet’s melancholy. In Act 4,
his passionate reaction to his father’s death showed up Hamlet’s
inability to act against Claudius.
What about now? How do the actions and characters of the two men
compare at this point in the play? Would you say there is evidence
here of a change in Hamlet?
o

“I thought thy bride-bed to have deck’d, sweet maid, / And not
have strew’d thy grave” (lines 229-230)
Gertrude’s words while placing flowers on Ophelia’s grave remind us of
Claudius’s speech in which he tries to reconcile his joy at his own
wedding with grief at his brother’s death. How do these circumstances
contrast with the circumstances and tone of that earlier speech?
MEDIA SPOTLIGHT
o What Does Horatio Know?
Watch Horatio in the Branagh version of this scene. Do you get the
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impression that he knows who the funeral is for before Hamlet does?
What reason might he have for keeping that information from Hamlet?
o
Claudius and Gertrude
In the Royal Shakespeare Company version, this scene ends with
Claudius escorting Laertes away, saying, “Good Gertrude, set some
watch over your son” (line 282). All of the characters leave, and we see
Gertrude standing alone by Ophelia’s grave.
What is the director suggesting, through Claudius’s tone and
Gertrude’s actions, about the relationship between the king and
queen?
o
Clothes Make the Man
In the Branagh version, Hamlet is not wearing black, for the first time in
the play. In the Royal Shakespeare Company version, he is unshaven,
and wears a sweater under his coat with a cross on it, making him look
something like a tenth-century crusader on his way to fight a holy war.
What do you think each director was trying to signal by these costume
changes?

TRY THIS!
o If you were directing the scene, would you make any changes to
Hamlet’s appearance? Kenneth Branagh has said that originally, he
contemplated showing Hamlet washed up on the shore, naked, thus
giving a literal interpretation to the letter he sent to Claudius (4.7.42–
46).
Think of other ways to convey some kind of transformation in Hamlet’s
character, using costume, appearance, or props. Jot down some ideas
and/or sketches in your Notebook. (You might even visit a fabric store
to find swatches of material that you think would work for a new
costume.)
Act 5 - Scene 2a (lines 1-80)

WATCH FOR IT!
o All the threads of the various plots and subplots come together in this
long, final scene. In this first part, we learn the shocking story of what
happened to Rosencrantz and Guildenstern. Watch for further layers of
Hamlet’s character to be revealed, not only to Horatio, but to us.

TIPS AND QUESTIONS
o TIP! The Branagh version follows the text most closely, and because
so many threads come together quickly, you may want to watch this
version before reading the last scene.
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Oxford University Press, 2010, Hamlet Online, ISBN: 978-019-544-1703
o
“There’s a divinity that shapes our ends, / Rough–hew them how
we will…” (lines 10–11)
Hamlet’s take on life has certainly changed! Compare these words to
the lament he expressed earlier in the play, "O cursed spite, / That
ever I was born to set it right" (1.5.196-197), and to his “To be, or not to
be” soliloquy (3.1.56–88). How would you describe the difference in his
attitude at each of these three key moments?
o
“I once did hold it, as our statists do, / A baseness to write fair…”
(lines 33–36)
Hamlet looks back on his younger self, remembering that he thought it
a waste of time to learn the skill of good handwriting. Now, however, it
has come in handy, because he is able to forge the signature of the
king and write a new commission.
In what way is this expression of gratitude a sign that Hamlet is
returning to a healthier frame of mind? Is this evidence that Hamlet has
matured since the beginning of the play? What other evidence can you
find?
o
The Fate of Rosencrantz and Guildenstern (lines 38–62)
Horatio is shocked to learn that Hamlet has essentially sent
Rosencrantz and Guildenstern to their deaths—and so are we! What
reasons does Hamlet give to justify his actions (lines 57–62)?
What do you make of those reasons—are you impressed by how
Hamlet has grown tougher and, in a sense, more king-like? Or do you
see this as further evidence of a hardening of his character and a sign
of his moral degeneration? What support can you find for either of
these interpretations?
o
“But I am very sorry, good Horatio, / That to Laertes I forgot
myself…” (lines 75-76)
Hamlet never acknowledges any guilt for the more serious offences of
killing Polonius or abusing Ophelia. Yet here he expresses regret for
the way he acted with Laertes, which may be seen as at least a step in
the right direction.
How much remorse, if any, do you think Hamlet feels for his earlier
behaviour? What text can you find to support this? Do you think he
feels justified in what he did, and if so, what might his justification be?

MEDIA SPOTLIGHT
o Show and Tell
Instead of having Hamlet tell Horatio what happened to Rosencrantz
and Guildenstern, Zeffirelli shows us. He includes a scene earlier in the
story (in Act 4, Scene 3), in which we see Hamlet forging the letter, and
the two surprised men being put to death. What are the pros and cons
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of this approach? What is lost by not having Horatio there to respond
to the story?
o
Symbolism
In the Royal Shakespeare Company production, the explanation of
Rosencrantz and Guildenstern’s actual fate is left to the imagination of
the audience; all we know is that they have been killed, and Hamlet
had something to do with it. As he gives his reasons for not feeling
guilty for their deaths, Hamlet stands looking in the broken mirror,
which his mother also stared into in a previous scene.
What significance do you see in this shot, and in the fact that Hamlet
has shaved and is putting on a clean white shirt? What might the white
shirt and the cracked mirror symbolize (see Glossary—symbol)?
Act 5 - Scene 2b (lines 81-208)

WATCH FOR IT!
o Duelling was a popular form of entertainment at court, but, as usual at
Elsinore, this duel is not quite what it seems. Hamlet doesn’t trust
Claudius, so why does he accept the challenge his uncle proposes
here? Watch for the answer as you read, listen to, or view this part of
the scene.

TIPS AND QUESTIONS
o Osric
Osric appears for the first time in the final act of the play. What other
character does he remind you of, with his pompous, flowery language?
How would you describe Hamlet’s treatment of him?
o
“If your mind dislike anything, obey it. I will forestall their repair
hither and say you are not fit.” (lines 202–203)
What is revealed about Horatio’s character here? Recall his skepticism
over the guards’ reports of the Ghost in Act 1, Scene 1. How has his
view of the world evolved since then?
o
“Not a whit. We defy augury. There is special providence in the
fall of a sparrow.” (lines 204–208)
Hamlet here expresses the conclusion he has come to after all the
questioning and anguish and fascination with death we have seen him
express since Act 1.
Go back and reread what he says about death when he is talking to
the gravedigger and Horatio (5.1.71–200). How do his reflections on
death at that point connect to the philosophy of mortality he expresses
here?
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Oxford University Press, 2010, Hamlet Online, ISBN: 978-019-544-1703
o
TIP! In line 204, Hamlet uses the royal “we” for the first time in the
play, perhaps signifying his acceptance of who he is and the role he
must play.

MEDIA SPOTLIGHT
o Juxtaposition of Scenes
The Zeffirelli version splits up Hamlet’s speech (lines 204–208) and
cuts to Laertes and Claudius planning their revenge, using lines from
Act 4, Scene 7. What effect does this juxtaposition create (see
Glossary—juxtaposition)? How does it increase the tension leading to
the climax of the play?

TRY THIS!
o How would you summarize Hamlet’s speech (lines 204–208) in your
own words? Try your hand at paraphrasing the words to get at the
essential meaning.
Act 5 - Scene 2c (lines 209-396)

WATCH FOR IT!
o A lot happens in this final section of the last scene. By the end of the
play, most of the main characters are dead. As you watch, read, or
listen, consider whether you think justice is finally done. Is this a finale
that uplifts the audience, redeems the hero, and restores order?

TIPS AND QUESTIONS
o “The king—the king’s to blame.” (line 314)
How does Laertes attempt to redeem himself before he dies? Do you
agree with his assertion that it is Claudius’s fault? Why or why not?
o
“Absent thee from felicity awhile…” (line 340–342)
Horatio’s offer to die alongside Hamlet shows what a true and loyal
friend he is. Hamlet convinces him to live, and to tell the world the
prince’s story.
Given what words meant to Hamlet during his lifetime, why is this
request an appropriate one? And given how little Horatio says through
most of the play, how might Hamlet’s dying wish also be a way to give
Horatio his own voice?
o
Fortinbras
Fortinbras, the determined avenger who impressed Hamlet so much
earlier in the play, will now take over the throne of Denmark. Why do
you think Hamlet throws his dying vote behind Fortinbras? What
qualities in Fortinbras do you think Hamlet approves of? Is this a happy
resolution?
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o
Poetic Justice
The phrase “poetic justice” refers to a punishment (or reward) that is
particularly fitting or appropriate. What poetic justice can you see in the
way Claudius, Gertrude, Laertes, and Hamlet meet their ends?
o
A Satisfying Ending?
Hamlet finally gets his revenge on Claudius, but only after his mother
dies and he himself is poisoned. How satisfying do you find this as an
ending? Does Hamlet redeem himself? Would the revenge have been
more meaningful if Hamlet had taken it in cold blood, before Claudius’s
plans went so badly awry? Why or why not?
o
Hamlet: Tragic Hero...
According to the Aristotelian view of tragedy, a tragic hero must be a
person of high stature, who is neither entirely good nor entirely evil,
who suffers a fall as a result of a flaw in his own character.
Applying this theory to Hamlet, what would you say was his tragic
flaw? Does he deserve to be called a hero at all, given the number of
deaths he has caused, and his unpleasant behaviour throughout much
of the play? What evidence would you point to as support for your
opinion?
o

...or Villain?
Read the excerpt titled "Hamlet as Villain" under the Related Readings
tab. The author suggests that Hamlet is actually the villain in the play,
because he poses a danger to the order of the state, which Claudius
cannot ignore. What evidence do you see to support this point of view?
Does Claudius have a choice?
MEDIA SPOTLIGHT
o “Gertrude, do not drink.” (line 282)
Compare this part of the scene in all three films.
 How do the actresses interpret the moment differently?
 Which version has Gertrude realizing before she drinks that the
cup is poisoned, and why do you think she decides to drink it
anyway?
 In which film is this the moment when Gertrude finally decides to
stand up to Claudius and act on her own behalf?
Given your understanding of Gertrude throughout the play, which
version do you think is most plausible for this character? Why?
o
To Fortinbras, or Not to Fortinbras?
The Royal Shakespeare Company and Zeffirelli films cut the Fortinbras
subplot, which means that the story ends rather abruptly with Hamlet’s
death. Branagh, on the other hand, has a dramatic entrance by the
Norwegian troops, who smash through the glass windows and take
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over the hall.
Based on what you have seen, what arguments would you make in
favour of including Fortinbras in a film version? What arguments could
you make against?
o
Claudius Takes the Cup
In the Royal Shakespeare Company version, Claudius drinks from the
cup of his own accord when Hamlet hands it to him. How do you think
the director justified this reading of Claudius’s character? How is it
consistent with the way Claudius was presented throughout this film?
o
Hamlet’s Last Exit
Both the 2008 Stratford Festival production and the Branagh film end
in a traditional way—Hamlet is carried out with his arms outstretched
and his head back, like Christ being taken down from the cross.
Why do you think this approach is used so often? What final comment
does it make on Hamlet’s life? Would you use it if you were directing
the play?

TRY THIS!
o Block out your own ending for a film version of the play, after the last
lines are spoken. How can you develop some of the motifs or themes
of the play in these last shots? What is the last image you want to
leave your audience with?
Watch the three film versions and look at the images to get ideas, but
use your own imagination to come up with an interesting and unique
approach. Then write your ideas in your Notebook, or create
storyboards to show your vision.

THINK BACK
o Now that your study of the play is complete, take a look back at the Big
Questions (see the “Introducing Hamlet” section of the Discovery
Guide) and your initial responses to those questions. Have your ideas
changed? What new insights do you have into those questions after
your study of the play? Share your ideas with your classmates.
TIP! You might also want to continue your study of Hamlet by browsing
through some of the Related Readings. Some of the ideas put forward
by these critics will challenge you to look at the play in new ways.
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Oxford University Press, 2010, Hamlet Online, ISBN: 978-019-544-1703