Hamlet
Act 4 - Scene Notes
Scene 1
The Queen reveals to Claudius that Hamlet has killed Polonius, who was hiding behind the arras in her room.
She does not tell him that Hamlet suspects Claudius of killing the King; instead she states that she is convinced
that Hamlet is mad.
Even though the Queen seems to be protecting Hamlet, her regard for Claudius seems undiminished in spite of
her son's accusations. In typical fashion, Claudius is only concerned with saving his own skin. He now knows for
sure that Hamlet constitutes a real threat to him and is more eager than ever to send the Prince off to
England. He justifies his action by saying that Hamlet is a potential threat to the lives of his subjects. Like a
good king, he will protect them from the madness of the Prince. The death of Polonius has provided Claudius
with the perfect opportunity of getting rid of his most dangerous foe.
Scene 2
Primarily, this scene reveals Hamlet's increasing animosity toward Rosencrantz and Guildenstern, his
childhood friends whom he believes have deserted him in favor of service to Claudius. He uses deliberately
confusing and involved language with them, in order to further persuade them he is mad. He also insults the
King in their presence. Structurally, this scene functions as a bridge between the plotting of the King against
Hamlet and Hamlet's attempt to murder the King.
Scene 3
It is obvious that Hamlet is still in control of his mental faculties as he taunts the king and teases about the
corpse of Polonius; however, it is also obvious that he is not in control of the situation any longer. He seems
preoccupied with death and morbidity; indeed, it almost seems he verges on real madness. He must know why
it is that Claudius wants to send him away, yet he readily acquiesces.
The purpose of the scene is primarily to advance the plot and reveal Claudius' overt plans to protect himself. In
a well-placed soliloquy after gaining the upper hand, Claudius speaks aloud about the murder he has planned
for his nephew.
Scene 4
In this scene, Shakespeare contrasts the actions of Fortinbras and Hamlet. The Prince, with shame, observes
Fortinbras marching against Poland in an aggressive effort to honor his late father, a great military hero.
Hamlet, in contrast, views himself as an inept son who, because of doubt and delay, has not avenged his
father's murder. The young Prince knows he has let his own father down by his lack of action. Motivated by
the sight of the brave soldiers marching to Poland, he promises that all of his future thoughts will be bloody
ones against Claudius.
Scene 5
The last scenes of Act IV reveal the disintegration of many of the key characters in the play. Polonius is dead;
the Queen, suffering from guilt and turbulent feelings, appears to be divided against her self; and Ophelia has
suffered a total breakdown. It seems that the poison poured by Claudius has contaminated the entire society.
Appearance vs. reality comes into play in an ironic manner in this scene. Whereas Hamlet has appeared to be
mad, Ophelia is really mad. She sings meaningless songs and wanders glassy-eyed about the stage, searching
for her father and lamenting her life. Some critics see Ophelia's madness as unnecessary to the plot and
cruelty on Shakespeare's part. They argue that Laertes has sufficient motivation to act against Hamlet and
does not require the additional impetus of a sister driven mad. Ophelia's madness does, however, serve to
point out the general corruption and decay that is spreading throughout the entire body politic. Since the
source of evil is the King himself, it is not surprising that the entire society, right down to the innocent and
pure, have been affected.
From her very first appearance in the play, Ophelia has been associated with flowers, especially with violets.
Flowers, normally symbolic of love and passion, have additional meaning in the hands of Ophelia. To Laertes
she gives rosemary, a symbol of remembrance used in funerals; she seems to be foreshadowing her own death
and asking her brother to remember her. To Claudius she gives fennel, which appropriately stands for flattery.
Ophelia then gives Gertrude columbines, which represent gratitude. She also gives the Queen rue, symbolizing
sorrow, and daisies, which symbolize women easily won over by love. It is significant that in her madness
Ophelia does not carry any violets, the symbol of faithfulness. Like Ophelia herself, her violets have withered
and dried up; her madness seems to mark the end of love and kindness in the play. Appropriately, Ophelia's
distribution of flowers links this scene to the Gravediggers Scene, where the Queen drops flowers over her
grave.
This scene also draws comparisons and contrasts between Laertes and Hamlet. Both have a murdered father,
and both seek vengeance. But unlike Laertes, Hamlet does not have the single-minded determination to sweep
unhesitatingly to revenge his father's death. Upon learning about his father's murder, Laertes returns from
Paris and quickly raises a rebellion against the King; he acts swiftly, without scruple, never pondering his
actions. Daring damnation, he declares, "Let come what comes; only I'll be reveng'd / Most thoroughly for my
father." When Laertes sees Ophelia in her state of insanity, he is even more overwhelmed with grief and
dismay.
Scene 6
This scene lends pace and movement to the action. The arrival of the sailors with the news that Hamlet has
returned to Denmark indicates that the final climax of the action is not far removed. The Prince will be
surprised, however, to learn that much has occurred since his departure, including the return of Laertes to
avenge his father and the insanity of his beloved Ophelia.
Scene 7
In this scene, the villainous Claudius is terrified to learn that Hamlet has escaped from England and returned to
Elsinore. Knowing that the Queen and the Danish people love Hamlet, he does not want to murder the Prince
himself; therefore, he manipulates Laertes into a plan for killing Hamlet. To his credit, Laertes is not easily or
quickly controlled. He questions Claudius about everything, until he is fully convinced that Hamlet, not
Claudius, is guilty of murdering his father.
Claudius shows his shrewdness in gaining Laertes' participation in his plan. He cunningly praises Laertes' skill in
fencing, knowing that the young man's pride is great. He then convinces Laertes to have a fencing match with
Hamlet, in which the blade of Laertes will be left uncovered. Fearful he may not strike a death blow, Laertes
suggests poisoning the tip of the sword so that a mere scratch will be fatal to Hamlet; it is obvious that he has
no moral scruples like the Prince. Claudius also comes up with another back-up plan; he will also poison
Hamlet's wine. The back-up plans, though a bit contrived, serve useful purposes in the culmination of the
action of the plot.
It is significant that the success of Claudius' plan depends upon Hamlet's "most generous and free from all
contriving nature." Hamlet is so trusting that he will not examine the foils to be used for the duel. Thus,
Laertes can easily take his revenge and make it appear accidental.
The scene closes with Gertrude telling of Ophelia's death by drowning. In attempting to put garlands in a
willow tree, Ophelia has slipped into the stream and met her muddy grave. Laertes is enraged that he has lost
a second member of his family to a needless death. He blames Hamlet, not Claudius, for both of them and
wants revenge more than ever.