And can you, by no drift of conference, Get from him why he puts on this confusion, Grating so harshly all his days of quiet With turbulent and dangerous lunacy? | – speaker: Claudius- speaking to: Rosencrantz and Guildenstern- context: Claudius wants the info on Hamlet’s madness from R&G |
But, with a crafty madness, keeps aloof | – speaker: Guildenstern- speaking to: Claudius- context: Hamlet avoided answer R&G’s questions for him and they couldn’t get a straight answer out of him while inquiring about his mental state- literary device: oxymoron |
And there did seem in him a kind of joy To hear of it. | – speaker: Rosencrantz- speaking to: Gertrude- context: Hamlet clearly had some sort of agenda pertaining to the players; at this point only the audience, Hamlet, and Horatio really know of this plan |
‘Tis most true. And he beseeched me to entreat Your Majesties To hear and see the matter. | – speaker: Polonius- speaking to: Claudius and Gertrude- context: Polonius is, yet again, a kiss-ass, and is sharing in the desire for the King and Queen to see the play the players will put on |
With all my heart, and it doth much content me To hear him so inclined. | – speaker: Claudius- speaking to: everyone but directed at Polonius- context: fake happiness for Hamlet’s momentary “normalcy”- literary device: dramatic irony |
Sweet Gertrude, leave us two, For we have closely sent for Hamlet hither | – speaker: Claudius- speaking to: Gertrude- context: Polonius and Claudius are indirectly characterized as deceptive and manipulative through their actions and utilization of Ophelia as bait for Hamlet |
If’t be th’affliction of his love or no That thus he suffers for | – speaker: Claudius- speaking to: Claudius- context: Claudius has this plan to uncover whether love for Ophelia is the cause of his madness |
I shall obey you. | – speaker: Gertrude- speaking to: Claudius- context: reflects patriarchy and inferiority of women; Gertrude seems to be subordinate to Claudius’ demands |
Read on this book, That show of such an exercise may color your loneliness. | – speaker: Polonius- speaking to: Ophelia- context: more indirect characterization of Polonius as controlling and manipulative |
We are oft to blame in this- ‘Tis too much proved- that with devotion’s visage And pious action we do sugar o’er The devil himself. | – speaker: Polonius- speaking to: Claudius and Ophelia- context: Polonius is making a general statement, one of the only things he says in the entire play that isn’t completely irrelevant and inept, basically saying that the path to hell is paved with good intentions- literary device: personification of devotion (has a visage and action); caesura |
How smart a lash that speech doth give my conscience. The harlot’s cheek beautied with plast’ring art Is not more ugly to the thing that helps it Than is my deed to my most painted word. | – speaker: Claudius- speaking to: audience (aside)- context: he feels guilty about the murder and comments on the juxtaposition of his good word and his bad deed- literary devices: personification (lash); cheek beautied… than is my deed to my most painted word (analogy) |
To be or not to be- that is the question. | – speaker: Hamlet- speaking to: himself (soliloquy)- context: To live or to not live (commit suicide)?; Hamlet debates life |
Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune… | – speaker: Hamlet- speaking to: himself (soliloquy)- context: militaristic diction enforces the idea of the internal battle between Hamlet’s desire for death and his Catholic belief in the sin of suicide |
we end The heartache and the thousand natural shocks That flesh is heir to. | – speaker: Hamlet- speaking to: himself (soliloquy)- context: his “sleep” is death, ending the hardships of life which he describes here |
For in that sleep of death what dreams may come When we have shuffled off this mortal coil Must give us pause. | – speaker: Hamlet- speaking to: himself (soliloquy)- context: Man doesn’t know for certain what happens after death, thus, the uncertainty of an afterlife is enough to convince someone to NOT commit suicide (pause) |
the whips and scorns of time | – speaker: Hamlet- speaking to: himself (soliloquy)- literary device: corruption/decay motif |
Th’oppressor’s wrong, the proud man’s contumely, The pangs of despised love, the law’s delay, The insolence of office, and the spurns that patient merit of th’unworthy takes, | – speaker: Hamlet- speaking to: himself (soliloquy)- context: commenting on every corrupt person and their faults; oppressor- claudius; proud man- polonius; despised love- ophelia; law, office, and unworthy- claudius |
the undiscovered country | – speaker: Hamlet- speaking to: himself (soliloquy)- literary device: metaphor for death |
Thus conscience does make cowards of us all, | – speaker: Hamlet- speaking to: himself (soliloquy)- context: the fear and uncertainty of death is what keeps people alive |
the native hue of resolution Is sicklied o’er with the pale cast of thought | – speaker: Hamlet- speaking to: himself (soliloquy)- context: overthinking weakens resolve- literary device: metaphor using color (hue and pale) |
No, not I. I never gave you aught. | – speaker: Hamlet- speaking to: Ophelia- context: Hamlet denies giving Ophelia gifts; there are a few possible reasons for this:1. doesn’t want their relationship to be legitimately over2. knows someone is spying and wants to protect her*note: the use of ‘you’ rather than ‘thou’, which conveys his mood as he gets angrier at Ophelia |
Take these again, for to the noble mind Rich gifts wax poor when givers prove unkind. | – speaker: Ophelia- speaking to: Hamlet- context: COUPLET; gifts don’t mean anything without genuine sentiment behind them |
Ha, ha, are you honest? | – speaker: Hamlet – speaking to: Ophelia- context: beginning of Hamlet’s highkey roast sesh of Ophelia; honest- chaste/good |
Ay, truly, for the power of beauty will sooner transform honesty from what is is to a bawd than the force of honesty can translate beauty into his likeness. This was sometime a paradox, but now the time gives it proof. I did love you once. | – speaker: Hamlet – speaking to: Ophelia- context: USES PROSE- indicative of mood (anger); tells Ophelia not to believe what men tell her |
Get thee to a nunnery… Go thy ways to a nunnery. Where’s your father? | – speaker: Hamlet – speaking to: Ophelia- context: Hamlet continues in prose and tells of his desire to be unborn, all the while insulting Ophelia in an attacking and aggressive tone; Hamlet also reveals that he knows of Polonius’ eavesdropping*note: continues to use thee and thou, proving his love for Ophelia despite his rude remarks |
Let the doors be shut upon him | – speaker: Hamlet – speaking to: Ophelia- context: about Polonius; that he mustn’t be welcome in the castle but should remain at his own home and annoy his own family |
God hath given you one face, and you make yourselves another. You jig and amble, and you lisp, you nickname God’s creatures and make your wantonness ignorance. | – speaker: Hamlet – speaking to: Ophelia- context: commenting on ALL women; women put on facades (makeup), walk seductively, flirt, and tease man |
Oh, what a noble mind is here o’erthrown! | – speaker: Ophelia – speaking to: self (soliloquy)- context: Hamlet is mad |
The courtier’s, soldier’s, scholar’s, eye, tongue, sword, Th’expectation and rose of the fair state… | – speaker: Ophelia – speaking to: self (soliloquy)- context: Hamlet was at the pinnacle of manhood and was ruined by madness, falling down (100->0 real quick)- literary device: periodic sentence |
Like sweet bells jangled out of time and harsh | – speaker: Ophelia – speaking to: self (soliloquy)- context: uses music metaphor to describe Hamlet as off-tune and unlike his old self- literary device: simile |
Love- his affections do not that way tend; | – speaker: Claudius – speaking to: Polonius- context: there’s something else causing his madness, not love- literary device: caesura |
There’s something in his soul O’er which his melancholy sits on brood, And I do doubt the hatch and the disclose Will be some danger | – speaker: Claudius – speaking to: Polonius- context: Hamlet is like a chicken hatching an egg but is actually hatching some sort of plan- literary device: metaphor |
he shall with speed to England For the demand of our neglected tribute | – speaker: Claudius – speaking to: Polonius- context: scared of what Hamlet could do so he wants to send Hamlet to England under the guise of retrieving an unpaid tax; indirect characterization of Claudius as conniving |
The origin and commencement of his grief Sprung from neglected love. | – speaker: Polonius – speaking to: Claudius- context: unable to admit to being incorrect, Polonius insists that Hamlet’s madness began due to his love for Ophelia |
And I’ll be placed, so please you, in the ear Of all their conference | – speaker: Polonius – speaking to: Claudius- context: Polonius (again, a manipulative kiss ass but what’s new) tells of his plan to eavesdrop on Hamlet’s later conversation with his mother, where his guard would more likely be down- literary device: synecdoche (placed in the ear) |
It shall be so, Madness in great ones must not unwatched go. | – speaker: Claudius – speaking to: Polonius- context: COUPLET which expresses Claudius’ desire to monitor and control the whole crazy Hamlet situation |
Be not too tame neither, but let your own discretion be your tutor. | – speaker: Hamlet – speaking to: some players- context: Hamlet is using PROSE (indicative of class) to both compliment the players’ skills as well as instruct them on specific things to focus on during the play *note: Hamlet also adds lines to the play to go by his agenda |
Suit the action to the word, the word to the action. | – speaker: Hamlet – speaking to: some players- context: more prose; continued instructions to players in play to be performed- literary device: chiasmus |
Why should the poor be flattered? | – speaker: Hamlet – speaking to: Horatio- context: speaking to Horatio as a friend; isn’t intending to flatter due to own desires/agenda*note: uses ‘thee’ and ‘thou’ toward Horatio indicative of similar class and respect for one another |
That they are not a pipe for Fortune’s finger To sound what stop she please. | – speaker: Hamlet – speaking to: Horatio- context: musical imagery; not a man who bends/adjust with change- literary device: personification of Fortune |
And my imaginations are as foul as Vulcan’s stithy | – speaker: Hamlet – speaking to: Horatio- context: mythological allusion to Roman god of metalworking (dirtied) thus his imagination has been blackened- literary device: allusion |
of the chameleon’s dish: I eat the air, promise-crammed. You cannot feed capons so. | – speaker: Hamlet – speaking to: Claudius- context: confusing dialogue to convey his madness; comments on ability to change like a chameleon |
I was killed i’the Capitol; Brutus killed me | – speaker: Polonius – speaking to: Hamlet (and Claudius is there)- context: Polonius is bragging about his acting history to which Hamlet respond with an insult; foreshadows Hamlet’s murder of Polonius- literary device: foreshadowing |
Do you think I meant country matters? | – speaker: Hamlet – speaking to: Ophelia (everyone is present)- context: just one of a series of erotic puns and phrases which Hamlet uses to tease Ophelia in nothing short of an incredibly uncomfortable situation- literary device: pun (country with emphasis on first syllable) |
For look you how cheerfully my mother looks, and my father died within’s two hours. | – speaker: Hamlet – speaking to: Ophelia- context: dig at Gertrude (ouch) for marrying and moving on way too soon; begins Hamlet’s use of prose to convey his sarcasm and overall bitterness |
For O, for O, the hobby-horse is forgot | – speaker: Hamlet – speaking to: Ophelia- context: alludes to hobby horse song of the time which laments the loss of traditions- literary device: allusion |
Marry, this is mitching malicho; it means mischief. | – speaker: Hamlet – speaking to: Ophelia- context: the play plays into Hamlet’s agenda- literary device: alliteration |
As woman’s love | – speaker: Hamlet – speaking to: Ophelia- context: the brevity of a woman’s love (nice one) |
Full thirty times hath Phoebus’ cart gone round Neptune’s salt wash and Tellus’ orbed ground | – speaker: player king- speaking to: audience/players- context: it’s been 30 days- literary device: allusions (mythological) |
How does the sentiment of the Play Queen contrast with that of Gertrude? | The player king is ill, and ready to die. The player queen is continuously worried and devoted to the husband, refusing to re-marry after his inevitable demise. |
Such love must needs be treason in my breast. In second husband let me be accurst! | – speaker: player queen – speaking to: player king- context: making Gertrude uncomfy since she is expressing how wrong she thinks it is to re-marry after her husband’s death |
That’s wormwood | – speaker: Hamlet- speaking to: no one in particular- context: disturbing; bore into her conscience |
What to ourselves in passion we propose, The passion ending, doth purpose lose. | – speaker: player king – speaking to: player queen- context: understanding of human nature; when a person’s passion for something dwindles, the purpose for doing so will also be gone |
grief joys, joy grieves | – speaker: player king – speaking to: player queen- literary device: oxymoron, chiasmus |
whether love lead fortune or else fortune love | – speaker: player king – speaking to: player queen- context: does fortune precede love or does love precede fortune? |
So think thou wilt no second husband wed, But die thy thoughts when thy first lord is dead. | – speaker: player king – speaking to: player queen- context: queen’s adamant thoughts against re-marriage will end as he dies |
Both here and hence pursue me lasting strife, If, once I be a widow, ever I be a wife. | – speaker: player queen – speaking to: player king- context: condemn me if I ever re-marry |
how like you this play? | – speaker: Hamlet – speaking to: Gertrude- context: lowkey (only lowkey bc Gertrude is still oblivious) insulting her re-marriage to Claudius; inverted syntax due to play on words- question could have two meanings:1. are you enjoying the play?2. does this sound familiar? |
Let the galled jade winch, our withers are unwrung. | – speaker: Hamlet – speaking to: Claudius and Gertrude- context: horse metaphor; let the tied-up horse kick; claiming innocence in relation to the play (ironic) |
frightened with false fire | – speaker: Hamlet- speaking to: no one in particular- context: Claudius was #triggered by the play (false fire) even though it wasn’t the real story which proved his guilt- literary device: alliteration |
Lights, lights, lights! | – speaker: Polonius – speaking to: everyone- literary device: tricolon |
Why, let the strucken deer go weep, The hart ungalled play; For some must watch while some must sleep, Thus runs the world away. | – speaker: Hamlet – speaking to: Horatio- context: metaphor for strucken deer (Claudius) like a deer in the headlights, caught and guilty |
I’ll take the ghost’s word for a thousand pound. Didst perceive? | – speaker: Hamlet – speaking to: Horatio- context: Hamlet believes the word of the ghost and wants to compare impressions with Horatio to determine if revenge is the path to take. |
my wit’s deceased | – speaker: Hamlet – speaking to: Rosencrantz- literary device: personification of his wit |
And do still, by these pickers and stealers | – speaker: Hamlet – speaking to: R&G- context: Hamlet alludes to a catechism about refraining from picking and stealing- literary device: allusion (biblical) |
do you think I am easier to be played on than a pipe? | – speaker: Hamlet- speaking to: R&G- context: music metaphor to insult R&G’s investigation- literary device: extended metaphor; conceit*note: use of prose directed toward R&G; use of ‘you’ and ‘your’ directed toward R&G |
When churchyards yawn, and hell itself breathes out Contagion to this world. | – speaker: Hamlet – speaking to: himself (soliloquy)- context: personification of churchyards and hell before speaking of the vengeance which will soon occur- literary device: personification |
The soul of Nero enter this firm bosom. | – speaker: Hamlet – speaking to: himself (soliloquy)- context: alludes to emperor Nero who killed his mother; he needs to use words as daggers, not real ones, and let Gertrude’s conscience be her punishment- literary device: allusion (historical) |
My tongue and soul in this be hypocrites, How in my words soever she be shent, To give them seals never my soul consent. | – speaker: Hamlet – speaking to: himself (soliloquy)- context: COUPLET which explains Hamlet’s need to control himself and stay calm with his mother (no matricide) – literary device: personification of tongue and soul |
For we will fetters put about this fear Which now goes too free-footed. | – speaker: Claudius – speaking to: R&G- context: sending them w Hamlet to England; Hamlet has become too much of a threat- literary device: alliteration (f); metaphor for fear; personification of fear; epithet (free-footed) |
It hath the primal eldest curse upon’t, A brother’s murder | – speaker: Claudius – speaking to: self (soliloquy)- context: in chapel, alluding to story of Cain and Abel (fratricide)- literary device: allusion (biblical) |
Pray can I not | – speaker: Claudius- speaking to: self (soliloquy) – context: inverted syntaaax emphasis on pray bc he’s a heathen and a sinner and a dick |
Is there not rain enough in the sweet heavens To wash it white as snow? | – speaker: Claudius- speaking to: self (soliloquy)- context: Does God have enough forgiveness for the crime/sin I have committed? – literary device: rhetorical questions |
That cannot be since I am still possessed Of those effects for which I did the murder- My crown, mine own ambition, and my queen. May one be pardoned and retain th’offense? | – speaker: Claudius- speaking to: self (soliloquy)- context: Claudius is “sorry” but he doesn’t want to give up the benefits he reaped from the act |
Offense’s gilded hand may shove by justice | – speaker: Claudius- speaking to: self (soliloquy)- literary device: metaphor of the golden/rich hand which eludes justice |
There is no shuffling, there the action lies | – speaker: Claudius – speaking to: self (soliloquy)- context: In heaven, your actions are as they are, there is no eluding justice. |
to the teeth and forehead of our faults | – speaker: Claudius – speaking to: self (soliloquy)- literary device: personification of faults |
To give in evidence. What then? What rests? | – speaker: Claudius – speaking to: self (soliloquy)- context: Judgment Day; bringing in the Catholic theology |
syntax of Claudius’ soliloquy | multiple ? and ! are indicative of his emotional turmoil |
Oh, wretched state,oh, bosom black as death! | – speaker: Claudius – speaking to: self (soliloquy)- literary device: apostrophe, metaphor, simile |
Oh, limed soul that, struggling to be free, Art more engaged! | – speaker: Claudius – speaking to: self (soliloquy)- context: the more Claudius tries to fix things, the deeper he digs himself and the more complicated the situation gets- literary device: apostrophe |
why Hamlet doesn’t kill Claudius after Claudius’ soliloquy | he assumes Claudius just confessed and thus doesn’t want him to be murdered and sent to heaven; resolves to kill him while Claudius is sinning so that he truly avenges King Hamlet who had been condemned to purgatory |
Up, sword, and know thou more a horrid hent. | – speaker: Hamlet- speaking to: himself/his sword- context: letting Claudius die while absolved of his sins is unfair, kill him later- literary device: apostrophe |
My mother stays. This psychic but prolongs thy sickly days. | – speaker: Hamlet- speaking to: himself- context: COUPLET; wants Claudius to go to hell |
My words fly up, my thoughts remain below. Words without thoughts never to heaven go. | – speaker: Claudius – speaking to: himself- context: heroic COUPLET; Claudius is ‘praying’ but his thoughts are still earthly so he’s not going to heaven |
thou hast thy father much offended. | – speaker: Gertrude – speaking to: Hamlet- context: calls Claudius Hamlet’s father |
you have my father much offended | – speaker: Hamlet – speaking to: Gertrude- context: Hamlet’s father is King Hamlet, and Hamlet is yet again telling his mother that she re-married too early (zinger!)*note: use of ‘you’ in this exchange |
You are the Queen, your husband’s brother’s wife, | – speaker: Hamlet – speaking to: Gertrude- context: YET ANOTHER ZINGER BY HAMLET |
You go not till I set you up a glass Where you may see the inmost part of you | – speaker: Hamlet – speaking to: Gertrude- context: Hamlet uses an implied metaphorical mirror to express his desire for Gertrude to understand everything that happened and why she should be guilty |
Nay, I know not. Is it the King?…I took thee for thy better; take thy fortune. | – speaker: Hamlet – speaking to: Gertrude- context: Hamlet just stabbed and killed Polonius thinking that it was Claudius who was hiding and eavesdropping on their conversation (epitome of ‘snitches get stitches’) |
almost as bad, good Mother, As kill a king and marry with his brother. | – speaker: Hamlet – speaking to: Gertrude- context: Gertrude STILL doesn’t get that Claudius murdered King Hamlet (oblivious af) and Hamlet just keeps going with these zingers |
-Leave wringing of your hands! | – speaker: Hamlet – speaking to: Gertrude- context: Gertrude is clearly distraught and Hamlet doesn’t give a h*ck. – literary device: caesura |
Heaven’s face does glow | – speaker: Hamlet – speaking to: Gertrude- context: God is mad- literary device: personification (anthropomorphize) |
Hyperion’s curls, the front of Jove himself, An eye like Mars to threaten and command, A station like the herald Mercury | – speaker: Hamlet- speaking to: Gertrude- context: comparing Hamlet and Claudius, Hamlet clearly portrayed superiorly- literary device: allusion (mythological) |
like a mildewed ear Blasting his brother. Have you eyes? | – speaker: Hamlet- speaking to: Gertrude- context: Claudius is clearly inferior to King Hamlet- literary device: simile/synecdoche |
for at your age The heyday in the blood is tame | – speaker: Hamlet – speaking to: Gertrude- context: she is too old to be newly in love with someone so her relationship with Claudius is ridiculous |
Thou turn’st my very eyes into my soul And there I see such black and grained spots As will leave there their tinct | – speaker: Gertrude – speaking to: Hamlet- context: she finally understands Hamlet’s anger with her and is realizing her guilt |
In the rank sweat of an enseamed bed, Stewed in corruption, honeying and making love | – speaker: Hamlet- speaking to: Gertrude- context: guttural |
These words like daggers enter in my ears | – speaker: Gertrude – speaking to: Hamlet- context: Hamlet earlier stated he would use words like daggers but not real ones |
This visitation Is but to whet thy almost blunted purpose. | – speaker: Ghost – speaking to: Hamlet- context: reminding him of the need to avenge the dead King*the Queen cannot see the Ghost, only Hamlet can. |
My pulse as yours doth temperately keep time, And makes as healthful music. | – speaker: Hamlet – speaking to: Gertrude- context: continues use of music metaphor- literary device: conceit |
It will but skin and film the ulcerous place, Whiles rank corruption, | – speaker: Hamlet – speaking to: Gertrude- literary device: corruption/decay motif |
That monster, Custom, | – speaker: Hamlet – speaking to: Gertrude- literary device: personification of Custom |
To the next abstinence, the next more easy | – speaker: Hamlet – speaking to: Gertrude- context: Hamlet has entreated his mother to gradually leave Claudius, and states that it will get easier and easier as the process continues |
That I must be their scourge and minister. | – speaker: Hamlet – speaking to: Gertrude- context: God made him a tool in revenge; justifying Polonius’ death |
Let the bloat king tempt you again into bed. | – speaker: Hamlet – speaking to: Gertrude- context: let the king do what he wants… while he can |
That I essentially am not in madness, But mad in craft. | – speaker: Hamlet – speaking to: Gertrude- context: inform Claudius that he is not actually mad |
Unpeg the basket | – speaker: Hamlet – speaking to: Gertrude- context: open the cage; the story of an ape who fell to his death; Hamlet warns his mother not to follow a similar fate- literary device: allusion |
I have no life to breathe | – speaker: Gertrude- speaking to: Hamlet- context: she won’t tell Claudius everything |
Whom I will trust as I will adders fanged, | – speaker: Hamlet – speaking to: Gertrude- context: not going to trust R&G who are as trustworthy and a venomous snake- literary device: metaphor |
I will delve one yard below their mines And blow them at the moon. | – speaker: Hamlet – speaking to: Gertrude- context: he’s going to figure out exactly what they’re up to while in England |
two crafts directly meet | – speaker: Hamlet – speaking to: Gertrude- context: Hamlet is smarter than R&G |
this counselor Is now most still, most secret, and most grave, Who was in life a most foolish, prating knave. | – speaker: Hamlet – speaking to: Gertrude- context: COUPLET; their conversation will remain secret as their only witness is now dead; Polonius is better off dead as he was foolish during his life |
Hamlet Act 3 Quotes and Literary Devices
July 12, 2019