Hamlet Themes and Quotes

HAMLET THEMES AND QUOTES

MADNESS

“There assume some other horrible form,/Which might deprive your sovereignty of reason/And draw
you into madness?” (Horatio) A1S4

• Verb “assume” suggests uncertainty and doubt - he is worried that the Ghost may eventually turn •
Hamlet to madness - foreshadowing.

Verb “deprive” suggests torture, connotations of loss of sanity - foreshadowing further events.
Could provoke Hamlet’s antic disposition.
Verb “draw” suggests an unwillingness.

“These are wild and whirling words my lord.” (Horatio) A1S5

Alliteration of elongated ‘w’ sounds Horatio’s feelings of how Hamlet’s plan is ridiculous and
doesn’t fully believe him. Also, stresses his uncertainty and caution around the subject.
Use of the phrase “my lord” accentuates Horatio’s loyalty and trust in Hamlet despite his
doubts about his actions.
Emphasises Horatio’s position as voice of reason and foreshadows the plot and Hamlet’s
constant inaction
Syndetic listing elongates the phrase emphasising Horatio’s lack of conviction in Hamlet’s plan

“As I perchance hereafter shall think meet… to put an antic disposition on -” (Hamlet) A1S5

Used as a plot device and was typical of revenge tragedies of the time.
Confirms that, at least at the beginning of the play, Hamlet’s madness is feigned and used
purely to distract Claudius and the rest of the royal court

“Mad for thy love? / My lord I do not know, / But truly I do fear it.” (Polonius and Ophelia) A2S1

Suggestion that Hamlet has gone mad because of the actions of Polonius in keeping him and
Ophelia apart.
Polonius' idea has its roots in a popular idea of the time, which was that frustrated love brings
on a melancholy that is a near neighbor to madness.
The fact that Ophelia “truly [does] fear it” suggests that Hamlet’s madness is becoming true as
Ophelia truly believes it. Also, because she “fears” it highlights Hamlet’s dangerous capabilities
and foreshadows the catastrophic conclusion to his revenge

“Something have you heard/Of Hamlet’s transformation; so call it” (Claudius to Rosencrantz and
Guilderstern) A2S2

Noun “transformation” shows royal court’s ignorance of mental health issues and Claudius’
arrogance and egocentric view of life.
“So call it” dismissal of Hamlet’s emotions - uncaring, cold nature of Claudius - doesn’t have a
conscience.
“Your noble son is mad./Mad call I it, for to define true madness,/What is ‘t but to be nothing else but
mad?” (Polonius) A2S2

• Repetition of ‘mad’ highlights how focused Polonius is on that his daughter is responsible for
Hamlet’s mental state. Exaggerates his foolishness and how not understood Hamlet is.

“How does Hamlet? / Mad as the sea and wind when both contend/Which is the mightier” (Gertrude)
A4S1

• Allusion to the natural world “sea and wind” shows the magnitude of Hamlet’s power and his
motivation. However Gertrude also lies to Claudius through this, so “sea and wind” may be an
exaggeration and shows the breakdown of the royal court’s loyalty to Claudius - beginning of the
end.

“O he is mad, Laertes.” (Claudius) A5S1

Claudius is dismissive of Hamlet’s behaviour - blames everything on the excuse of Hamlet.

Trying to provoke Laertes to initiate conflict between the young men - blaming Ophelia’s
death on Hamlet.

REVENGE

“I am very proud, revengeful, ambitious” (Hamlet) A3S1

Verb “revengeful” suggests a desire for revenge,

“Ambitious” could suggest his lack of certainty in his convictions to kill Claudius. He is hopeful.
Verb “proud” suggests he is happy to kill, a sin, shows hypocrisy of the royal court and
difference from “perfect” image as Prince.

“How all occasions do inform against me… and spur my dull revenge” (Hamlet) A4S4

“How all occasions do inform against me” suggests arrogant self absorbance of Hamlet in
thinking that everything is the fault of ‘the world’ rather than himself
“Dull” suggests ruthlessness and inhumane desire for revenge
Only becomes ruthless and determined when Claudius has actually threatened him (sent him
to England) further implies his egotistical nature.

“Now might I do it pat, now he is praying; / And now I'll do't. And so he goes to heaven; / And so am
I revenged" (Hamlet) A3S3

Hamlet is attempting to psyche himself up, gaining courage to actually commit murder.
Disjointed speech with multiple end stop lines - unprepared, doubtful of if murder is the right
thing to do.

• “And so he goes to heaven” underlying belief that truly Claudius is a good person and his
conscience remains intact - allusion to a time when Hamlet respected, and perhaps idolised, his
uncle (before he found out about the murder)

“Do you not come your tardy son to chide, / That, lapsed in time and passion, lets go by / The
important acting of your dread command? O, say!" (Hamlet) A3S4
 “Important acting” indicates how it was a ‘psychological necessity’ for Hamlet to go mad -
essential part of his plan to avenge his father’s murder - - ‘Hamlet’s ‘antic disposition’ is not just
a device assumed for protection, but a psychological necessity.’ - Ramen Selden.
“Dread command” suggests that Hamlet does not feel like he is willing to carry out revenge -
guilt of having just killed Polonius?

"is't writ in your revenge, / That, swoopstake, you will draw both friend and foe / Winner and loser?"
(Claudius) A4S5

Claudius tries to explain to Laertes that he is free of sin and has committed no crime
“Winner and loser” could describe how, even though Claudius has won the throne, because he
is at risk of being killed by Hamlet.

"No place, indeed, should murder sanctuarize; / Revenge should have no bounds" (Hamlet) A4S7

• “No place” could extend to differing forms of relationship and could imply that killing his brother

“O from this time forth,/My thoughts be bloody, or be nothing worth.” (Hamlet) A4S4

Hamlet has had an epiphany and promised to be motivated from this moment onwards - new
sense of ambition.
Adjective “bloody” - implies that the new Hamlet is ruthless and is willing to match Claudius’
violent actions.

“Bloody, bawdy villain/Remorseless, treacherous, lecherous, kindless villain!” (Hamlet) A2S2

Syndetic listing - demonstrates the extent of Hamlet’s disgust towards Claudius - one word
will never suffice for describing the corruption and evil that the King embodies.
Repetition of “villain” - epitomises all that Claudius represents; he is the stereotypical villain
making the audience empathise with Hamlet more.

DECEIT

“This above all, to thine own self be true,/And it must follow, as the night the day,/Thou canst not
then be false to any man.” (Polonius) A1S3

• “To thine own self be true” - contradiction of all that characterises Polonius, but shows that he has
Laertes best interests at heart.

• “As the night the day” - allusion of natural aspect such as day and night suggests that staying true to
yourself is something that people cannot help doing even if they don’t want to. Implies natural
process and will always occur.

“You should not have believed me, for virtue cannot so inoculate our old stock, but we shall relish of
it. I loved you not.” (Hamlet) A3S1

Debatable whether Hamlet ever truly loved Ophelia although does confess his love for her
after her death.
“For virtue cannot so inoculate our old stock” Hamlet is disgusted by Ophelia - nothing can
salvage their relationship, although Hamlet is only rejecting Ophelia to protect her from his
antic disposition and the complexity of the situation.
“We will bestow ourselves. - Read on this book,/That show of such an exercise may colour./Your
loneliness” (Polonius) A3S1

• Polonius uses Ophelia as a way to discover the truth of Hamlet’s antic disposition - will go to any
lengths to trick Hamlet (shows loyalty to Claudius)

“One scene of it comes near the circumstance/Which I have told thee of my father’s death./I prithee
when thou seest that act afoot,/Even with the very comment of thy soul/Observe mine uncle.”
(Hamlet) A3S2

Highlights how motivated Hamlet is to avenge his father murder - goes to the extent that to
organise a full play to deceive Claudius.
Short sentence with full stop “Observe mine uncle” - Hamlet needs his plan to succeed, so
explain it simply to Horatio to preserve clarity. Also shows the trust Hamlet has in Horatio -
knows that Horatio understands his motives without having to tell him directly.

“You would play upon me, you would seem to know my stops, you would pluck out the heart of my
mystery, you would sound me from my lowest note to the top of my compass.” (Hamlet to
Rosencrantz & Guilderstern) A3S2

Rosencrantz and Guildenstern are attempting to deceive Hamlet into confiding in them but
Hamlet knows what they are doing and is angered.
Metaphor “pluck out the heart of my mystery” -
Allusion to musical instruments - highlights the extent of their deceit and the betrayal which
Hamlet feels.

“I am justly kill'd with mine own treachery.” (Laertes) A5S2

• Irony of Laertes’ deceit being the thing that ultimately leads to his death.

LOVE/SEXUALITY

“And in the morn and liquid dew of youth, / Contagious blastments are most imminent. / Be wary
then, best safety lies in fear. / Youth to itself rebels, though none else near.” (Laertes) A1S3

• Laertes wants Ophelia to fear premarital sex because it will tarnish her and she will be unwanted.

Iambic pentameter - suggests logical reasoning and sound advice.

“In the rank sweat of an enseamed bed/Stewed in corruption, honeying, and making love/Over the
nasty sty.” (Hamlet to Gertrude) A3S4

Adjective “rank” - repeated throughout play and symbolises Claudius and the corruption he
brings to Denmark.
Adjective “enseamed” - connotations of grease, dirt and animalistic sex, Hamlet is repulsed by
the thoughts that both his mother is sleeping with Claudius and that she is still having sex at her
mature age.
“Stewed in corruption” - verb “stewed” that Gertrude has been surrounded by Claudius’ deceit
for so long that she is completely ignorant to his malevolence.
“Nasty sty” - further accentuates Hamlet’s disgust and revulsion at his mother’s sexual
relationship - “sty” has connotations of disease, implying that Hamlet sees Claudius’ and
Gertrude’s marriage as a disease that must be contained and obliterated.
“I loved Ophelia, forty thousand brothers/Could not, with all their quantity of love,/Make up my sum
- what wilt thou do for her?” (Hamlet) A5S1

Metaphor “Forty thousand brothers” - demonstrates the extent to which Hamlet cared for
Ophelia, almost confirms that his rejection of her in A3S1 was to protect her from his ‘antic
disposition’ and his plot to avenge his father’s murder.
Rhetorical question to Laertes “what wilt thou do for her?” - challenging Laertes to what
extent he loved his sister - Laertes declares that he cared for Ophelia, but he did leave to study
in Wittenberg, whereas Hamlet stayed with her.

“O most wicked speed, to post/With such dexterity to incestuous sheets.” (Hamlet) A1S2 Too too
solid flesh would melt soliloquy.

“Such dexterity to incestuous sheets” - repulsed by his mother’s sex life so soon after the
death of his father.
Allusion to ‘incestuous sheets’ is repeated later in A3S4 during the closet scene between
Hamlet and Gertrude.

“Then you live about her waist, or in the middle of her favours? / Faith her privates we.” (Hamlet to
Rosencrantz and Guilderstern) A2S2

• Hamlet is teasing his friends about how they are both not getting any action.

“That if you be honest and fair, your honesty should admit no discourse to your beauty.” (Hamlet)
A3S1

Repetition of “honest” - highlights Hamlet’s obsession with the truth and his frustration at living
in a society where deceit is the norm.
“Admit no discourse to your beauty” - chastity and beauty are a dangerous combination -
Ophelia’s purity and her innocent beauty make her irresistible to Hamlet which is why he must
turn her away because she is so unaware that Claudius and Polonius are using her to get to
Hamlet.

“[Sings] How should I your true love know/From another one?” (Ophelia) A4S5

Allusion to Ophelia heartbreak from Hamlet rejecting her.

“Another one” - suggests that Hamlet was the only one for Ophelia, but Hamlet had multiple
‘true loves’ and she feels betrayed about how he could treat her like she was special, when in
actual fact, she might not have been.
Act of singing shows the bitter sweetness of their relationship - the act of singing should be
joyful and elating, but in Ophelia’s case, it appears like that, but the lyrics have a sad origin.

INACTION Vs ACTION

“I must be cruel, only to be kind” (Hamlet) A3S4

His choice to hurt his mother with words is a form of revenge for marrying his uncle.
“Must” be cruel suggests a sense of urgency or forcefulness over the decision in that he has no
choice over it - may feel forced into it by ‘Ghost’

“Suit the action to the word, the word to the action” (Hamlet) A3 S2
 Hamlet realises that he should probably do something at this point
Doubling of language is characteristic of Hamlet

“And where the offence is let the great axe fall” (Claudius) A4S5

Claudius line hints at Hamlet’s future course of action in murdering him for the offence on his
family
“Great axe” suggests a sense of graciousness/righteousness in his action

“To be or not to be, that is the question; whether tis nobler in the mind to suffer the slings and
arrows of outrageous fortune, or to take arms against a sea of troubles, and by opposing end them?”
(Hamlet) A3 S1

• Hamlet’s inner conflict with whether to not to take his life or suffer through is evident.

MORTALITY

“O wretched state, o bosom black as death,” (Claudius) A3S3

“Wretched state” - implies misfortune and melancholy, an emotion that Claudius doesn’t
normally express, but conveys the sense that he is suicidal, provoking sympathy from Hamlet
(one of the reasons he chooses not to take his revenge at this moment)
Simile “bosom black as death” - (bosom = personal thoughts, person counsel) Claudius
acknowledges the corruption inside of him and the damage he has brought to both Elsinore
and Denmark.

“To die, to sleep -/To sleep, perchance to dream, ay there’s the rub,/For in that sleep of death what
dreams may come” (Hamlet) A3S1

Allusion to sleep - suggests death is a temporary escapism from life similar to sleep - Hamlet
fears the afterlife and what may happen to him if he commits suicide (AO3 link to religion of
Shakespeare’s contemporary audience)
“Perchance to dream” - Hamlet doesn’t fear death itself, he fears the afterlife as it is viewed as
a heightened version of reality, like sleep and nightmares, and all he wants is to escape life -
desires oblivion.

“Thou know’st ‘tis common, all that lives must die,/Passing through nature to eternity.” (Gertrude)
A1S2

Modal verb “must” - highlights the inevitability of death, which Gertrude uses as a reason for
why her son should stop grieving and celebrate her new marriage.
Verb “passing” - implies that life on earth is a small section of the wider life an individual will
lead - relates to Elizabethan views on afterlife and purgatory and the presence of the Ghost.
“Eternity” - complies with the Christian view of the afterlife - may explain why Gertrude
doesn’t seem to be grieving King Hamlet, because she believes he has gone on to a higher
spiritual plane.

“Good night sweet prince,/And flights of angels sing thee to thy rest.” (Horatio) A5S2

• Echoed allusion to sleep “good night” - Horatio holds the same belief as Hamlet that death is just
an extended death and his final farewell resonates this belief and wishes Hamlet a peaceful sleep,
now that he can finally rest (death of Claudius)
• “Sing thee to thy rest” - Hamlet is finally at peace now that he is finally revenged. Hamlet is certain
that the “flights of angels” will reunite Hamlet with his father.

“And for my soul, what can it do to that/Being a thing immortal as itself?” (Hamlet) A1S4

Rhetorical question - introduces Hamlet’s disregard for his own soul and life, in order to stay
loyal to his father - even with the sight of his father’s ghost, Hamlet starts to lose his sanity and
morals.
Noun “thing” - dehumanises Ghost, shows in actual fact that the ghost is purely an apparition.

“Her clothes spread wide, And mermaid-like awhile they bore her up,/Which time she chanted
snatches of old tunes,/As one incapable of her own distress,/Or like a creature native and
induced/Unto that element;” (Gertrude) A4S7

Simile “like a creature native and induced” - Ophelia lived such a tragic life that she is much
better off in death - reference to Hamlet’s cruelty towards Ophelia.
Noun “creature” - presents Ophelia as other-worldly and that she is too pure, too precious for
the corrupt world of Elsinore, emphasised by Shakespeare’s allusion to mermaids.

HUMANITY

“What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving,
how express and admirable in action, how like an angel in apprehension, how like a god:” (Hamlet to
Rosencrantz and Guilderstern) A2S2

“Piece of work is a man” - admiring God’s creation of humankind, but alternatively could be
expressing his disgust at the complexity of humankind and how it’s intelligence is what makes it
so flawed.
Repetition of “how” - Hamlet almost over-exaggerates his wonder at humanity - could be his
own doubts of whether he wants to live in a world with such evil in it or knows everything he
says will be fed back to Claudius by Rosencrantz and Guildenstern so is being purposely
dramatic.

APPEARANCE Vs REALITY

“Seems madam? Nay it is; I know not of ‘seems’.” (Hamlet) A1S2

Hamlet is focused on reality and the definitive in life. Annoyed that everyone in the castle is
acting normal, while he is still stricken by grief from the death of his father.
Difference between “seems” and “is” is crucial to Hamlet and sets up for the rest of that play.

“Denmark’s a prison.” “A goodly one, in which there are many confines, wards, and dungeons,
Denmark being one o’ the worst.” (Hamlet) A2S2

Allusion to “prison” - sense of entrapment, Hamlet feels his situation is inescapable - even
death isn’t the solution to his problems.
“Many confines, wards, and dungeons” - commenting on the complexity of the castle and how
from the surface, it appears like a happy community, when in actual fact, below the surface
there are “dungeons” - imagery of torture and excruciating pain.
Alluding to the corruption in Denmark that is hidden by Claudius’ charming demeanor.

“They clepe us drunkards, and with swinish phrase soil our addition;” (Hamlet) A1S4
 Adjective “swinish” - connotations of disrespectful, uneducated, ill-mannered behaviour;
Hamlet is ashamed and disgusted at how Claudius can act like this.
Verb “soil” - adds to the imagery of neglect, contemptment and corruption - on the surface
Denmark looks like its prospering from having a new king, but in actual fact, all Claudius brings
is deceit.

“Lord Hamlet with his doublet all unbraced, No hat upon his head, his stockings fouled, Ungartered,
and down-gyved to his ankle, Pale as his shirt, his knees knocking each other, And with a look so
piteous in purport As if he had been loosed out of hell” (Ophelia to Polonius) A2S1

• First description of Hamlet with his ‘antic disposition’ which is convincing to initially Ophelia, but
also diffuses throughout the entire court. However, the audience understand that this is just a tactic,
but there may be some doubts that the sight of King Hamlet’s ghost has actually affected his mental
health.

CORRUPTION

“Something is rotten in the state of Denmark.” (Marcellus) A1S4

Introduces the theme of corruption and the decay it brings.

As this line is spoken by an insignificant character, it highlights the extent of Denmark’s issues -
not only the pending invasion from Norway.

“How much I had to do to calm his rage!/Now fear I this will give it start again,” (Claudius) A4S7

“I had to do” - Claudius doesn’t view his actions as being wrong which emphasises how
corruption is an integral part of him.
Doesn’t care for Laertes’ feelings towards the death of his father, only seeks what is best for his
aim of obliterating Hamlet.

“Who’s there? / Nay, answer me. Stand and unfold yourself. / Long live the king!” (Barnardo and
Francisco) A1S1

• As even the guards don’t trust each other, even though they know of each other’s presence
highlights the tension in Denmark (link to Fortinbras and Norway) and is reflective of the fears for
national security in England at the time of writing.

“‘Tis an unweeded garden/That grows to seed, things rank and gross in nature” (Hamlet) A1S2 Too
too solid flesh would melt soliloquy

Metaphor “unweeded garden” - imagery of neglect and and contemptment, Claudius presence
as King has sparked deterioration in not only Elsinore but in the state of Denmark.
“Things rank and gross in nature” - Hamlet acknowledges his helplessness at the situation as
the King is unstoppable and “natural”, however implies that Claudius marrying Hamlet’s mother
is only the start of his evil - foreshadowing the unveiling of the truth by the Ghost.

“So excellent a king, that was to/Hyperion to a satyr” (Hamlet) A1S2 Too too solid flesh would melt
soliloquy

• Comparison to King Hamlet shows Hamlet’s disgust at both Claudius and Gertrude.

“Satyr” - imagery of Claudius being sub-human, useless and incapable

“My father’s brother, but no more like my father/Than I to Hercules;” (Hamlet) A1S2 Too too solid
flesh would melt soliloquy

• Emphasises the corruption Claudius brings to Denmark in comparison to the late King Hamlet.

GUILT

“O my offence is rank, it smells to heaven;/It hath the primal eldest curse upon’t,/A brother’s
murder.” (Claudius) A3S3 Prayer Scene

Allusion to Cain and Abel shows how Claudius acknowledges his wrongdoing and how he
deeply regrets it - acknowledges the disastrous consequences.
Adjective “rank” - shows his awareness at the corruption that is ever present in Elsinore and
how God knows of his sin (“smells to heaven”).
Verb “smells” - implies that both God and the court finding out Claudius’ sin is inevitable like a
smell diffusing through an area is inevitable and uncontrollable.
Short, simple sentence “A brother’s murder” - tone of woe and regret

“Hamlet, thou hast thy father much offended. / Mother, you have my father much offended.”
(Gertrude and Hamlet) A3S4

Doubling language shows how Gertrude is constantly trying to get the blame moved from her
(hints at a guilty conscience), but Hamlet refuses and directly confronts his mother.
The emphasis on personal pronouns “you have my father much offended” - Hamlet sees
Gertrude’s betrayal of King Hamlet as a personal attack, which is why he finds it so hard to
move on from.