Another room in the Castle · King, Laertes, Messenger, Queen
Claudius convinces Laertes that Hamlet killed Polonius and is now coming for the King, then talks him into a rigged fencing match: Laertes will use a sharpened blade, which he offers to smear with a poison he bought from a quack, and Claudius adds a poisoned cup of wine as a backup. Before they can finish, Gertrude arrives with the news that Ophelia has drowned, and describes her death under the willow tree.
Enter King and Laertes.
King
Now must your conscience my acquittance seal,
And you must put me in your heart for friend,
Sith you have heard, and with a knowing ear,
That he which hath your noble father slain
Pursu’d my life.
Now your own conscience has to clear my name, and you have to take me into your heart as a friend, since you've heard — and understood — that the man who killed your noble father was trying to kill me.
Laertes
It well appears.
That does seem clear.
But tell me
Why you proceeded not against these feats,
So crimeful and so capital in nature,
As by your safety, wisdom, all things else,
You mainly were stirr’d up.
But tell me why you took no action against crimes as vicious and as capital as those, when your own safety, and common sense, and everything else pushed you so hard to do it.
King
O, for two special reasons,
Which may to you, perhaps, seem much unsinew’d,
But yet to me they are strong.
For two particular reasons, which may look weak to you but are strong ones to me.
The Queen his mother
Lives almost by his looks;
His mother the Queen practically lives on the sight of him.
and for myself,—
My virtue or my plague, be it either which,—
She’s so conjunctive to my life and soul,
That, as the star moves not but in his sphere,
I could not but by her.
And as for me — call it my virtue or my sickness, whichever you like — she's so bound into my life and soul that I can't move except through her, the way a star can only move within its own sphere.
The other motive,
Why to a public count I might not go,
Is the great love the general gender bear him,
The other reason I couldn't bring him to a public trial is the ordinary people's great love for him.
Who, dipping all his faults in their affection,
Would like the spring that turneth wood to stone,
Convert his gyves to graces;
They dip all his faults in their affection, and like the spring that turns wood to stone, they'd turn his chains into decorations.
so that my arrows,
Too slightly timber’d for so loud a wind,
Would have reverted to my bow again,
And not where I had aim’d them.
My arrows are too lightly built for a wind that strong; they'd have blown back at my own bow instead of hitting the target.
Laertes
And so have I a noble father lost,
So I've lost a noble father,
A sister driven into desperate terms,
Whose worth, if praises may go back again,
Stood challenger on mount of all the age
For her perfections.
and my sister has been driven to the edge — a girl whose worth, if I may praise what's already gone, stood at the summit of the age daring anyone to match her.
But my revenge will come.
But my revenge is coming.
King
Break not your sleeps for that.
Don't lose sleep over that.
You must not think
That we are made of stuff so flat and dull
That we can let our beard be shook with danger,
And think it pastime.
Don't imagine I'm made of such flat, dull stuff that I'll let danger grab me by the beard and call it a game.
You shortly shall hear more.
You'll hear more shortly.
I lov’d your father, and we love ourself,
And that, I hope, will teach you to imagine—
I loved your father, and I love myself, and I hope that lets you guess —
Enter a Messenger.
King
How now?
What is it?
What news?
What's the news?
Messenger
Letters, my lord, from Hamlet.
Letters, my lord, from Hamlet.
This to your Majesty; this to the Queen.
This one for your Majesty, this one for the Queen.
King
From Hamlet!
From Hamlet!
Who brought them?
Who delivered them?
Messenger
Sailors, my lord, they say; I saw them not.
Sailors, my lord, or so they say — I didn't see them.
They were given me by Claudio. He receiv’d them
Of him that brought them.
Claudio gave them to me, and he had them from the man who brought them.
King
Laertes, you shall hear them.
Laertes, you'll hear these.
Leave us.
— Leave us.
Exit Messenger.
Reads.
King
‘High and mighty, you shall know I am set naked on your
kingdom.
[Reading] "High and mighty sir, you should know that I have been set down naked on your soil.
Tomorrow shall I beg leave to see your kingly eyes. When I
shall, first asking your pardon thereunto, recount the occasions of my
sudden and more strange return.
Tomorrow I will ask permission to look on your royal face, when — first begging your pardon for it — I will explain the circumstances of my sudden and very strange return.
HAMLET.’
Hamlet."
What should this mean?
What is this supposed to mean?
Are all the rest come back?
Have all the others come back too?
Or is it some abuse, and no such thing?
Or is it a trick, and there's nothing in it?
Laertes
Know you the hand?
Do you recognize the handwriting?
King
’Tis Hamlet’s character.
It's Hamlet's hand.
‘Naked!’
"Stripped bare"!
And in a postscript here he says ‘alone.’
And in a postscript here he writes "alone."
Can you advise me?
Can you make sense of it?
Laertes
I am lost in it, my lord.
I can't, my lord.
But let him come,
But let him come.
It warms the very sickness in my heart
That I shall live and tell him to his teeth,
‘Thus diest thou.’
It warms the sickness in my heart that I'll live to tell him to his face, "This is how you die."
King
If it be so, Laertes,—
As how should it be so? How otherwise?—
Will you be rul’d by me?
If that's how it is, Laertes — and how could it be, yet how could it not? — will you let me direct you?
Laertes
Ay, my lord;
Yes, my lord
So you will not o’errule me to a peace.
— as long as you don't direct me into making peace.
King
To thine own peace.
Peace for yourself, that's all.
If he be now return’d,
As checking at his voyage, and that he means
No more to undertake it, I will work him
To an exploit, now ripe in my device,
Under the which he shall not choose but fall;
If he really has come back, breaking off his voyage and refusing to go on with it, I'll steer him into an undertaking I've just now got ripe in my head, one he can't survive.
And for his death no wind shall breathe,
But even his mother shall uncharge the practice
And call it accident.
And no one will breathe a word of blame over his death — even his mother will call it an accident and clear us of any scheming.
Laertes
My lord, I will be rul’d;
The rather if you could devise it so
That I might be the organ.
My lord, I'll be directed by you — all the more if you can arrange it so that I'm the instrument.
King
It falls right.
That works out perfectly.
You have been talk’d of since your travel much,
And that in Hamlet’s hearing, for a quality
Wherein they say you shine.
You've been talked about a great deal since your travels, and in Hamlet's hearing, for one skill they say you shine at.
Your sum of parts
Did not together pluck such envy from him
As did that one, and that, in my regard,
Of the unworthiest siege.
All your other accomplishments together didn't pull as much envy out of him as that single one — and in my opinion it's the least important of them.
Laertes
What part is that, my lord?
Which skill is that, my lord?
King
A very riband in the cap of youth,
Just a ribbon in the cap of a young man
Yet needful too, for youth no less becomes
The light and careless livery that it wears
Than settled age his sables and his weeds,
Importing health and graveness.
— but necessary all the same, because light, careless clothes suit the young exactly as well as furs and heavy black suit older men and signal their health and dignity.
Two months since
Here was a gentleman of Normandy,—
Two months ago there was a gentleman here from Normandy.
I’ve seen myself, and serv’d against, the French,
And they can well on horseback, but this gallant
Had witchcraft in’t.
I've seen the French myself and fought against them, and they ride well — but this man was uncanny.
He grew unto his seat,
And to such wondrous doing brought his horse,
As had he been incorps’d and demi-natur’d
With the brave beast.
He seemed to grow into the saddle, and he made the horse do such extraordinary things that the two of them looked like one creature, half man and half animal.
So far he topp’d my thought
That I in forgery of shapes and tricks,
Come short of what he did.
He went so far past anything I'd imagined that whatever tricks and shapes I invent in my head, I come up short of what he actually did.
Laertes
A Norman was’t?
He was a Norman?
King
A Norman.
A Norman.
Laertes
Upon my life, Lamord.
I'll bet my life it was Lamord.
King
The very same.
That's the man.
Laertes
I know him well.
I know him well.
He is the brooch indeed
And gem of all the nation.
He's the jewel of the whole country.
King
He made confession of you,
And gave you such a masterly report
For art and exercise in your defence,
And for your rapier most especially,
That he cried out ’twould be a sight indeed
If one could match you.
He spoke about you, and gave you such an expert's report for your training and technique in fencing — especially with the rapier — that he burst out that it would really be something to see if anyone could match you.
The scrimers of their nation
He swore had neither motion, guard, nor eye,
If you oppos’d them.
He swore the fencers of his own country had no footwork, no defense, no eye at all against you.
Sir, this report of his
Did Hamlet so envenom with his envy
That he could nothing do but wish and beg
Your sudden coming o’er to play with him.
Sir, that report of his so poisoned Hamlet with envy that he could do nothing but wish and beg for you to come home and fence with him.
Now, out of this,—
Now, out of that —
Laertes
What out of this, my lord?
What out of that, my lord?
King
Laertes, was your father dear to you?
Laertes, was your father dear to you?
Or are you like the painting of a sorrow,
A face without a heart?
Or are you like a painting of grief — a face with nothing behind it?
Laertes
Why ask you this?
Why do you ask me that?
King
Not that I think you did not love your father,
Not because I think you didn't love your father.
But that I know love is begun by time,
And that I see, in passages of proof,
Time qualifies the spark and fire of it.
But I know love begins at a particular moment in time, and I've seen proof that time cools its spark and its fire.
There lives within the very flame of love
A kind of wick or snuff that will abate it;
In the very flame of love there's a kind of wick or burnt residue that dims it,
And nothing is at a like goodness still,
For goodness, growing to a pleurisy,
Dies in his own too much.
and nothing stays at the same pitch of goodness for long — because goodness, swelling too much, dies of its own excess.
That we would do,
We should do when we would; for this ‘would’ changes,
And hath abatements and delays as many
As there are tongues, are hands, are accidents;
What we mean to do, we should do while we still mean it, because "I mean to" changes, and gets weakened and delayed by as many things as there are tongues to talk you out of it, hands to stop you, accidents to intervene.
And then this ‘should’ is like a spendthrift sigh
That hurts by easing.
And then "I should have" is like a self-pitying sigh: it relieves you and damages you at the same time.
But to the quick o’ th’ulcer:
But to the heart of the sore:
Hamlet comes back:
Hamlet is coming back.
what would you undertake
To show yourself your father’s son in deed,
More than in words?
What would you be willing to do to prove you're your father's son in action, not just in words?
Laertes
To cut his throat i’ th’ church.
Cut his throat in a church.
King
No place, indeed, should murder sanctuarize;
Revenge should have no bounds.
True enough — no place should shelter a murderer, and revenge should have no limits.
But good Laertes,
Will you do this, keep close within your chamber.
But, good Laertes, if you're going to do this, stay shut in your room.
Hamlet return’d shall know you are come home:
When Hamlet gets back he'll be told you're home.
We’ll put on those shall praise your excellence,
And set a double varnish on the fame
The Frenchman gave you,
We'll set people on to praise your skill and put a second coat of varnish on the reputation the Frenchman gave you.
bring you in fine together
And wager on your heads.
In the end we'll bring the two of you together and put bets on your heads.
He, being remiss,
Most generous, and free from all contriving,
Will not peruse the foils;
He's careless, generous-minded, incapable of suspecting a plot — he won't inspect the swords.
so that with ease,
Or with a little shuffling, you may choose
A sword unbated, and in a pass of practice,
Requite him for your father.
So easily, or with a little sleight of hand, you can pick out a blade that isn't blunted, and with one treacherous thrust pay him back for your father.
Laertes
I will do’t.
I'll do it.
And for that purpose I’ll anoint my sword.
And to make sure of it, I'll poison my sword.
I bought an unction of a mountebank
So mortal that, but dip a knife in it,
Where it draws blood no cataplasm so rare,
Collected from all simples that have virtue
Under the moon, can save the thing from death
This is but scratch’d withal.
I bought an ointment from a traveling quack so deadly that if you dip a knife in it, then wherever it draws blood there's no medicine on earth — not made from every healing herb under the moon — that can save whatever it scratched.
I’ll touch my point
With this contagion, that if I gall him slightly,
It may be death.
I'll smear my point with that filth, so that even a graze may kill him.
King
Let’s further think of this,
Weigh what convenience both of time and means
May fit us to our shape.
Let's think this through further, and weigh what timing and what means will best fit our purpose.
If this should fail,
And that our drift look through our bad performance.
’Twere better not assay’d.
If it went wrong, and our intention showed through a clumsy performance, it would be better never attempted.
Therefore this project
Should have a back or second, that might hold
If this did blast in proof.
So this plan needs a backup, a second one to hold if the first blows up under pressure.
Soft, let me see.
Wait — let me think.
We’ll make a solemn wager on your cunnings,—
We'll bet solemnly on which of you is better.
I ha’t!
I have it!
When in your motion you are hot and dry,
As make your bouts more violent to that end,
And that he calls for drink, I’ll have prepar’d him
A chalice for the nonce;
When the fighting has made you hot and thirsty — and make your attacks fierce enough to guarantee it — and he asks for a drink, I'll have a cup prepared for exactly that moment.
whereon but sipping,
If he by chance escape your venom’d stuck,
Our purpose may hold there.
One sip, and even if he somehow escapes your poisoned thrust, we'll still have him.
Enter Queen.
King
How now, sweet Queen?
What is it, my dear Queen?
Queen
One woe doth tread upon another’s heel,
So fast they follow.
One grief comes treading on the heels of the last, they follow so fast.
Your sister’s drown’d, Laertes.
Your sister has drowned, Laertes.
Laertes
Drown’d!
Drowned!
O, where?
Where?
Queen
There is a willow grows aslant a brook,
That shows his hoary leaves in the glassy stream.
There's a willow that leans out over a brook, showing its pale underleaves in the glassy water.
There with fantastic garlands did she make
Of crow-flowers, nettles, daisies, and long purples,
That liberal shepherds give a grosser name,
But our cold maids do dead men’s fingers call them.
She came there with strange garlands she'd made of buttercups, nettles, daisies, and the long purple flowers that coarse-mouthed shepherds have a ruder name for, though our modest girls call them dead men's fingers.
There on the pendant boughs her coronet weeds
Clamb’ring to hang, an envious sliver broke,
When down her weedy trophies and herself
Fell in the weeping brook.
There, as she was climbing to hang her crown of weeds on the drooping branches, a spiteful limb snapped, and down she and her flowers came into the weeping stream.
Her clothes spread wide,
And mermaid-like, awhile they bore her up,
Her clothes spread out wide and held her up for a while like a mermaid,
Which time she chaunted snatches of old tunes,
As one incapable of her own distress,
Or like a creature native and indued
Unto that element.
and all that time she sang scraps of old songs, as if she had no idea what danger she was in, or as though she'd been born to live in water.
But long it could not be
Till that her garments, heavy with their drink,
Pull’d the poor wretch from her melodious lay
To muddy death.
But it couldn't last long. Before long her clothes, heavy with all they'd drunk, dragged the poor girl out of her singing down into the mud, and death.
Laertes
Alas, then she is drown’d?
So she's drowned, then?
Queen
Drown’d, drown’d.
Drowned, drowned.
Laertes
Too much of water hast thou, poor Ophelia,
And therefore I forbid my tears.
You've had too much water already, poor Ophelia, so I won't let myself cry.
But yet
It is our trick; nature her custom holds,
Let shame say what it will.
But tears come anyway — it's what we do, nature keeps its habits no matter what shame says about it.
When these are gone,
The woman will be out.
Once these are out of me, there'll be nothing womanly left.
Adieu, my lord,
Goodbye, my lord.
I have a speech of fire, that fain would blaze,
But that this folly douts it.
I have a speech of fire in me that wants to blaze up, but this weeping puts it out.
Exit.
King
Let’s follow, Gertrude;
Let's go after him, Gertrude.
How much I had to do to calm his rage!
Now fear I this will give it start again;
It took everything I had to calm his rage — now I'm afraid this will set it going again.
Therefore let’s follow.
Come on.
Exeunt.
Hamlet Act 4, Scene 7 summary
Claudius convinces Laertes that Hamlet killed Polonius and is now coming for the King, then talks him into a rigged fencing match: Laertes will use a sharpened blade, which he offers to smear with a poison he bought from a quack, and Claudius adds a poisoned cup of wine as a backup. Before they can finish, Gertrude arrives with the news that Ophelia has drowned, and describes her death under the willow tree.
Who appears in this scene
King, Laertes, Messenger, Queen — Another room in the Castle.
Famous lines in Hamlet Act 4, Scene 7, explained
- “That we would do, / We should do when we would; for this ‘would’ changes, / And hath abatements and delays as many / As there are tongues, are hands, are accidents;” (line 131)
- Claudius argues that intentions decay: you should act on a purpose while you still feel it, because the wish weakens and gets delayed by every voice, obstacle and accident in the way. He is using a genuine psychological truth as a manipulation — he wants Laertes committed to murder before he has time to cool off. It is also the play's central problem stated by its villain, since Hamlet's whole tragedy is a purpose that has been talked and delayed out of existence.
- “so that with ease, / Or with a little shuffling, you may choose / A sword unbated, and in a pass of practice, / Requite him for your father.” (line 150)
- Fencing foils were "bated" — blunted with a button on the tip — so choosing an unbated sword means smuggling a live weapon into a friendly match. Claudius stresses that Hamlet is too generous and unsuspicious to check the blades, which is a compliment that doubles as a murder plan. This single line sets up the ending: the swapped sword in the final duel kills Laertes and Hamlet both.
- “There is a willow grows aslant a brook, / That shows his hoary leaves in the glassy stream.” (line 182)
- Gertrude's report of Ophelia's death is one of the most quoted descriptions in Shakespeare, and its strangeness is the point: it is unbearably beautiful and oddly detached, full of flowers and mermaids and singing, with no urgency and no explanation of how the Queen came to watch a drowning so closely without anyone saving her. Ophelia dies offstage and is never allowed to speak for herself, so this speech is all we get. Crucially, it never says whether she meant to die — she is described as passive, as if the water simply took her — and that ambiguity is what the gravediggers and the priest argue over in the next scene, since a suicide could not be buried in consecrated ground.
- “Her clothes spread wide, / And mermaid-like, awhile they bore her up, / Which time she chaunted snatches of old tunes, / As one incapable of her own distress,” (line 191)
- The image turns Ophelia into something out of a folk tale — floating, singing, apparently unaware she is dying — which is both lovely and horrifying. "Incapable of her own distress" means she couldn't take in what was happening to her; her madness has cut her off even from her own death. Painters have returned to this passage for centuries, most famously Millais, whose Ophelia fixed this drowned, flower-strewn image in the popular imagination.
Keep reading
- Act 4, Scene 6 — modern English translation
- Act 5, Scene 1 — modern English translation
- All Hamlet scenes
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