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Act 3, Scene 3

from Act 3

Published online by Cambridge University Press:  16 August 2019

Heather Hirschfeld
Affiliation:
University of Tennessee
Philip Edwards
Affiliation:
University of Liverpool

Summary

Type
Chapter
Information
Hamlet
Prince of Denmark
, pp. 175 - 180
Publisher: Cambridge University Press
Print publication year: 2019
Textual variants Explanatory notes Performance notes

Enter Claudius, Rosencrantz and Guildenstern

Claudius

I like him not, nor stands it safe with us
To let his madness range. Therefore prepare you:
I your commission will forthwith dispatch,
And he to England shall along with you.
5The terms of our estate may not endure
Hazard so near us* as doth hourly grow
Out of his brows*.

Guildenstern We will ourselves provide.

Most holy and religious fear it is
To keep those many many bodies safe
10That live and feed upon your majesty.

Rosencrantz

The single and peculiar life is bound
With all the strength and armour of the mind
To keep itself from noyance; but much more
That spirit upon whose weal* depends and rests
15The lives of many. The cess* of majesty
Dies not alone, but like a gulf doth draw
What’s near it with it. It is* a massy wheel
Fixed on the summit* of the highest mount,
To whose huge* spokes ten thousand lesser things
20Are mortised and adjoined, which when it falls,
Each small annexment, petty consequence,
Attends the boisterous ruin*. Never alone
Did the king sigh, but with* a general groan.

Claudius

Arm you I pray you to this speedy voyage*,
25For we will fetters put about* this fear
Which now goes too free-footed.

Rosencrantz We will haste us.

Exeunt **Rosencrantz and Guildenstern

Enter Polonius

Polonius

My lord, he’s going to his mother’s closet.
Behind the arras I’ll convey myself
To hear the process. I’ll warrant she’ll tax him home,
30And as you said, and wisely was it said,
’Tis meet that some more audience than a mother,
Since nature makes them partial, should o’erhear
The speech of vantage. Fare* you well my liege,
I’ll call upon you ere you go to bed
35*And tell you what I know.

Claudius Thanks, dear my lord.

Exit Polonius

Oh my offence is rank, it smells to heaven;
It hath the primal eldest curse upon’t,
A brother’s murder. Pray can I not,
Though inclination be as sharp as will.
40My stronger guilt defeats my strong intent,
And like a man to double business bound,
I stand in pause where I shall first begin,
And both neglect. What if this cursèd hand
Were thicker than itself with brother’s blood,
45Is there not rain enough in the sweet heavens
To wash it white as snow? Whereto serves mercy
But to confront the visage of offence?
And what’s in prayer but this two-fold force,
To be forestallèd ere we come to fall,
50Or pardoned* being down? Then I’ll look up,
My fault is past. But oh, what form of prayer
Can serve my turn? ‘Forgive me my foul murder’?
That cannot be, since I am still possessed
Of those effects for which I did the murder,
55My crown, mine own ambition, and my queen.
May one be pardoned and retain th’offence?
In the corrupted currents of this world
Offence’s gilded hand may shove* by justice,
And oft ’tis seen the wicked prize itself
60Buys out the law. But ’tis not so above;
There is no shuffling, there the action lies
In his true nature, and we ourselves compelled
Even to the teeth and forehead of our faults
To give in evidence. What then? What rests?
65Try what repentance can. What can it not?
Yet what can it when one cannot repent?
Oh wretched state! Oh bosom black as death!
Oh limèd soul that struggling to be free
Art more engaged! Help, angels! – Make assay:
70Bow stubborn knees, and heart with strings of steel
Be soft as sinews of the new-born babe.
All may be well.*

[He kneels]

Enter Hamlet

Hamlet

Now might I do it pat*, now a is a-praying*,
*And now I’ll do’t – and so a goes to heaven,
75And so am I revenged*. That would be scanned.
*A villain kills my father, and for that,
I his sole* son do this same villain send
To heaven.
Why*, this is hire and salary*, not revenge.
80A took my father grossly, full of bread,
With all his crimes broad blown, as flush* as May,
And how his audit stands who knows save heaven?
But in our circumstance and course of thought
’Tis heavy with him. And am I then revenged
85To take him in the purging of his soul,
When he is fit and seasoned for his passage?
No.
Up sword, and know thou a more horrid hent,
When he is drunk asleep*, or in his rage,
90Or in th’incestuous pleasure of his bed,
At game a-swearing*, or about some act
That has no relish of salvation in’t –
Then trip him that his heels may kick at heaven,
And that his soul may be as damned and black
95As hell whereto it goes. My mother stays.
This physic but prolongs thy sickly day. Exit

Claudius

My words fly up, my thoughts remain below.
Words without thoughts never to heaven go. Exit

Textual variants

3.3 ] Capell

Explanatory notes

1 I like him not i.e. I do not like the way he is behaving.

1 us i.e. the person of the king.

3 dispatch make ready.

4 along go along. Compare 1.1.26.

5 The terms of our estate The conditions of my position as king.

7 Out of his brows So Q2. ‘[B]rows’ means ‘effrontery’ (which derives from Latin frons = brow). Though ‘effrontery’ is not recorded in the language of Shakespeare’s day in OED, ‘effronted’ (= barefaced, shameless) does exist.

7 ourselves provide make provision for ourselves (to travel to England).

11 The single and peculiar life The life that belongs to the individual only.

13 noyance harm.

14 weal well-being.

17 massy massive.

21 annexment adjunct, supplement. A rare word – Shakespeare’s is the first example, and one of only two, in OED.

21 consequence attachment. Again a curious usage.

24 Arm you Prepare yourselves.

28 convey myself secretly move myself.

29 the process what goes on.

29 tax him home censure him severely.

30 as you said Polonius’s transfer of responsibility for the scheme is a matter of prudence as well as deference (see 3.1.175–9).

31 meet suitable.

33 of vantage from a good position.

37 primal eldest curse Cain’s murder of his brother Abel in Genesis 4.10–11.

39 Though inclination … will Claudius cannot pray although his desire to do so is as great as his determination. Thompson and Taylor point out that he may mean that he cannot pray because his desire to do so is matched by his will to sin, as indicated in the next line.

41 double business two incompatible purposes.

41 bound Probably this means ‘directed towards’ (as in ‘bound for England’, 4.6.9), rather than ‘obliged’ or ‘sworn’.

46–7 Whereto … offence? What is mercy for, except to meet crime face to face?

54 effects things acquired or achieved.

55 mine own ambition i.e. those things I was ambitious for.

56 th’offence i.e. the fruits of the offence.

58 shove by thrust aside.

59 wicked prize reward achieved by wicked means.

61 shuffling trickery, sharp practice, deception. See 3.1.67 note.

61 the action lies A legal phrase, meaning that a case is admitted to exist. But it also means that every deed lies exposed to God’s scrutiny.

63–4 Even to … evidence to give evidence even about the worst of our sins. We are witnesses for the prosecution of ourselves; ‘teeth’ is for savagery and ‘forehead’ for effrontery (compare ‘brows’ above, 7).

64 rests remains.

68 limèd The image is of a bird caught by the smearing of a very sticky substance, called birdlime, on twigs and branches.

69 Make assay Claudius is probably addressing himself rather than the angels, since he knows that it is he who must make the effort.

73 pat neatly, aptly.

73 a is Represents a slurred pronunciation of ‘he is’; compare 2.2.185. We would write ‘he’s’, but perhaps the pronunciation was nearer ‘uz’.

75 would be scanned needs to be examined.

79 hire and salary So F. Q2’s ‘base and silly’ is suspect, though it too emphasizes that killing Claudius at this moment would be beneath Hamlet and the demands of revenge.

80 grossly i.e. without consideration or decency.

80 full of bread Malone noted that this was a biblical echo, quoting Ezekiel 16.49: ‘the iniquity of thy sister Sodom, pride, fulness of bread, and abundance of idleness’.

81 broad blown in full blossom.

81 flush vigorous.

83 circumstance … thought ‘circumstance’, as at 1.5.127 and 3.1.1, has the sense of circuitous or circling discourse. The construction here is the familiar Shakespearean use of two nouns for an adjective and a noun, i.e. ‘circumstantial course of thought’ = our course of thought which is necessarily indirect.

88 hent grasp (a rare word). He puts his sword up in its scabbard, promising to lay hold of it at a ‘more horrid’ opportunity.

89 drunk asleep i.e. in a drunken sleep.

91 At game a-swearing Gambling, and cursing the dice or cards as he plays. Although ‘at game’ is not elsewhere used by Shakespeare, there can be little doubt about the correctness of Q2 (followed here) which is supported by Q1, as against F’s paraphrase, ‘At gaming, swearing’.

91 At game a-swearing gambling, and cursing the dice or cards as he plays. Although ‘at game’ is not elsewhere used by Shakespeare, there can be little doubt about the correctness of Q2 (followed here) which is supported by Q1, as against F’s paraphrase, ‘At gaming, swearing’.

92 relish touch, trace.

93–5 trip him … it goes This ambition to bring Claudius to eternal damnation – a speech, said Dr Johnson, ‘too terrible to be read or to be uttered’ – is discussed in the Introduction, 19.

96 This physic Hamlet sees his decision as a medicine temporarily preserving Claudius’s life. Some commentators think the physic is Claudius’s prayer.

Performance notes from Shakespeare in Production

1–27 Rossi, who played Rosencrantz, reports that Guthrie at Minneapolis had Rosencrantz and Guildenstern help the King out of his public garb of office, including a ribbon and medal, into a dressing gown. Guthrie saw the two as ‘just opportunistic climbers … Royalists – loyal to the King and The Establishment … who really don't know what the King's designs are’ (p. 16). As he staged this scene they are at first sincerely deferential. At 10, Guildenstern is kneeling (to tie the King's belt) and at 11 Rosencrantz is buttoning him into his robe (pp. 85–6). Yet in the course of rehearsing this exchange, ‘Rosencrantz became a bit sadistic’. At ‘the cess of majesty’ Guthrie had him ‘slowly advance behind the seated King and speak from behind his right ear, reaching a soft, insinuating climax on “falls,” at which point Claudius winced and made a half-gesture to his ear’ (p. 23). Compare the business Guthrie introduced at 1.5.34.

15 In the Branagh film, trying to soothe the King's choler, Rosencrantz after ‘lives of many’ seems to run dry, looks in vain for help from Guildenstern, then continues to elaborate in the same vein.

27–35 Patrick Stewart on BBC-TV had been able to sustain his self-possession through his interview with Rosencrantz and Guildenstern, in which he was warmly confidential with them, putting his arm around Guildenstern at one point. But when Polonius came in, the King was plainly preoccupied, so much so that he did not express his thanks to Polonius until after he had gone. Finally, his guilty conscience could be contained no longer and he virtually vomited before attempting to pray.

36ff Q1's Claudius wept at the beginning of his soliloquy: ‘O that this wet that falles upon my face/Would wash the crime cleere from my conscience!’

To Morris Carnovsky, who played Claudius at Stratford, Connecticut in 1958, this soliloquy is ‘the revelation of an extremely sensitive and conscience-ridden man’, his final couplet (97–8) ‘a wrenching confession’ (Actor's Eye, pp. 69, 170). Playing opposite Jacobi on stage, Timothy West gave this speech as ‘a dog-tired worrying-away at an old, incurable obsession, packed with self-mockery and self-contempt, the last testament of a man who has already evolved from despair to a deadly cynicism’ (New Statesman, 3 June 1977).

40–4a Michael Pennington, Claudius with Stephen Dillane, shows ‘a touch of Hamlet's own irresolution’ (Country Life, 17 November 1994); ‘like Hamlet he is precariously balanced between guilt, terror and self-control’ (Sunday Times, 13 November 1994).

73ff Davies praised Garrick as the first to reject ‘this horrid soliloquy’ (p. 101); since then it has often been cut. When included, its vengefulness has commonly been mitigated by treating it as a rationalization. In 1763, Thomas Sheridan, a rival of Garrick's in the role, told Boswell that this speech ‘if really from the heart, would make Hamlet the most black, revengeful man. But it coincides better with his character to suppose him here endeavouring to make an excuse to himself for his delay’ (Boswell, London Journal, pp. 234–5). Of Fechter: ‘restrained by reasonable doubt, not vacillation of purpose … he did not kill the King at prayers, because of that Catholic faith which would send this same villain to heaven’. Field adds that Hamlet had feared meeting ‘my dearest foe in heaven’ at 1.2.182 (p. 93). To Tree the speech ‘clearly reveals that tenderer side of Hamlet's nature, which makes him seek for any excuse which may postpone the shedding of blood’ (‘Hamlet’, p. 875).

Of the simplicity of Barrymore's staging: ‘One man is here, one is there. Here are the uplifted hands, there the sword drawn. Here, sick conscience, power, and tormented ambition; there, the torture of conflicting thoughts, the irony, the resolution. Two bodies and their relation to each other, the words, the essential drama, the eternal content of the scene. No tricks, no plausible business’ (New Republic, 6 December 1922, p. 46). Peter Hall: this soliloquy ‘is time suspended, a close-up with voice-over that lasts a few seconds. The speech rushes out while the sword is poised’ (Diaries, p. 191).

93–5 Booth's ‘eyes, naturally jet black, were almost white with light’ (Shattuck, p. 222).

97–8 Pennington comments that this couplet allows an actor playing the King ‘to correct his performance’: ‘If he's veered to self-pity in the main speech, he can toughen these lines up; if he's been too emphatic they can be simple and direct; if too armoured, he is now vulnerable’ (Hamlet, p. 97n).

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