Act 2, Scene 1 — Hamlet — Study Shakespeare

The argument Polonius dispatches his servant Reynaldo to Paris with instructions that amount to a master class in surveillance by rumor. Then Ophelia arrives, shaken: Hamlet came to her in silence, looked at her like a man undone, and left without a word.

Enter Polonius and Reynaldo.

POLONIUS [giving money for Laertes]

Give him this money and these notes, Reynaldo.

Give Laertes this money and these letters.

Take this money and these letters to Laertes in France.

money letters for laertes

REYNALDO [Reynaldo agrees]

I will, my lord.

I will do as you ask, my lord.

I will, sir.

i will

POLONIUS ≋ verse [Polonius gives elaborate spying instructions]

You shall do marvellous wisely, good Reynaldo,

Before you visit him, to make inquiry

Of his behaviour.

You'll do very wisely, Reynaldo, before you visit him — do this: find out what Laertes is doing, who he spends time with, what his behavior is. But don't ask directly — hint at what he might be doing.

Before you give him the money, find out how he's behaving. Who's he with? What's he doing? But don't ask directly — just hint around.

spy on him find out what he does hint around

REYNALDO [Reynaldo says he understood]

My lord, I did intend it.

I understand, my lord.

I get it, sir.

understood

POLONIUS ≋ verse [Polonius elaborates on the spying technique]

Marry, well said; very well said. Look you, sir,

Enquire me first what Danskers are in Paris;

And how, and who, what means, and where they keep,

What company, at what expense; and finding

By this encompassment and drift of question,

That they do know my son, come you more nearer

Than your particular demands will touch it.

Take you as ’twere some distant knowledge of him,

As thus, ‘I know his father and his friends,

And in part him’—do you mark this, Reynaldo?

Good, very well said. Now listen, sir. First ask what Danes are in Paris— Who they are and how many, what money they have, and where they stay, What circles they move in and how much they spend; then when Through these roundabout questions and probing approach You discover they know my son, come closer to the truth Than your direct questions ever could. Pretend you have some distant knowledge of him, Something like this: 'I know his father and his friends, And I know him somewhat'—do you understand this, Reynaldo?

All right, very good job. Look here, sir. First find out what Danes are in Paris— Who they are, how many, what they have, where they live, What kind of people they're connected to, how much money they spend; then when You figure out through these casual questions and indirect approach That they know my son, you'll get closer to real information Than your straight questions could reach. Just say you kind of know who he is, Say something like, 'I know his father and his friends, And I know him a little'—are you following me, Reynaldo?

good job first ask what danes are in paris who they are, money, where they live work it into casual questions when you learn they know my son you'll find out more more than direct questions just say you know his dad & friends & know him a bit get it?

Why it matters Polonius's surveillance instructions to Reynaldo establish the dominant metaphor of Acts 2-3: Denmark is a surveillance state in which everyone is watching everyone else. Polonius watches Laertes; Claudius watches Hamlet via Rosencrantz, Guildenstern, and Polonius; Hamlet watches Claudius via the play. The trap is: everyone becomes entangled in their own nets.

🎭 Dramatic irony Polonius instructs Reynaldo in the arts of indirection and surveillance — methods he considers wise and prudent. He will die because he applies the same methods to Hamlet, hiding behind Gertrude's arras to spy one time too many.

REYNALDO [Reynaldo agrees]

Ay, very well, my lord.

Yes, my lord.

Good idea.

yes

POLONIUS ≋ verse [Polonius gives examples of vices to accuse him of]

‘And in part him, but,’ you may say, ‘not well;

But if’t be he I mean, he’s very wild;

Addicted so and so;’ and there put on him

What forgeries you please; marry, none so rank

As may dishonour him; take heed of that;

But, sir, such wanton, wild, and usual slips

As are companions noted and most known

To youth and liberty.

And you might say you know him in part, but 'not well; but if it's the person I mean, he's very wild; he's addicted to this and that'—and then you can make up whatever faults you like, just don't make them so serious that they would destroy his honor. Be careful of that. But such reckless, wild, and common mistakes as are known to be typical of young men who have too much freedom.

You could say, 'Well, I know him a little, but not really well. If you mean this wild guy, he's into all sorts of things.' Then you just make up whatever bad habits you want him to have, but nothing so serious it would ruin his reputation. Just hint at the normal stuff that young guys with too much freedom get up to.

say u know him a little he's wild & into stuff make up habits nothing too serious tho just normal young guy stuff

"there put on him / What forgeries you please" Polonius is openly instructing his servant to slander his own son as a method of intelligence gathering. The casualness is the point — this is standard operating procedure for him, not an exception.

REYNALDO [Reynaldo asks — like gambling?]

As gaming, my lord?

Gambling, my lord?

What kind of vices? Gambling?

gambling what kind

POLONIUS ≋ verse [Polonius lists vices]

Ay, or drinking, fencing, swearing,

Quarrelling, drabbing. You may go so far.

Gambling, drinking, fencing, swearing, fighting, or anything else. Whatever fits your story.

Yes — gambling, drinking, fighting, whatever seems to fit.

drinking fighting swearing anyything

REYNALDO [Reynaldo worries this will shame Laertes]

My lord, that would dishonour him.

But my lord, that would shame him.

Won't that damage his reputation?

shame reputation honor

POLONIUS ≋ verse [Polonius explains it's about the method, not the accusation]

Faith no, as you may season it in the charge.

You must not put another scandal on him,

That he is open to incontinency;

That’s not my meaning: but breathe his faults so quaintly

That they may seem the taints of liberty;

The flash and outbreak of a fiery mind,

A savageness in unreclaimed blood,

Of general assault.

No really, keep it measured in the accusations. You must not add another scandal against him— That he's open to excess; That's not my meaning; but present his faults so subtly That they seem like the marks of freedom; The sudden outburst of a passionate mind, A wildness in uncontrolled blood, The kind of thing that happens to many.

No actually, keep the tone measured when you say it. Don't make another accusation against him— That he's into anything wild; that's not the point. But mention his faults in a really subtle way So they sound like the kind of stuff free young guys do; Like a sudden explosion of passion, Wildness in young blood, The kind of thing anyone might do.

don't add scandal just hint at his faults subtle make them sound like normal young guy stuff sudden passion wild energy everyone does it

REYNALDO [Reynaldo wants clarification]

But my good lord—

Hold on, my lord—

But sir—

but wait

POLONIUS [Polonius asks — don't you understand the strategy?]

Wherefore should you do this?

Why would you do this? Don't you understand?

Do you understand the strategy?

understand strategy

REYNALDO [Reynaldo confesses he's confused]

Ay, my lord, I would know that.

Yes, my lord, I would like to know.

I'd like to understand.

explain please

POLONIUS ≋ verse [Polonius explains his spying logic]

Marry, sir, here’s my drift,

And I believe it is a fetch of warrant.

You laying these slight sullies on my son,

As ’twere a thing a little soil’d i’ th’ working,

Mark you,

Your party in converse, him you would sound,

Having ever seen in the prenominate crimes

The youth you breathe of guilty, be assur’d

He closes with you in this consequence;

‘Good sir,’ or so; or ‘friend,’ or ‘gentleman’—

According to the phrase or the addition

Of man and country.

Here, sir, is my strategy, and I believe it's justified. By putting these small faults on my son, as if it's just a minor blemish—listen carefully—the person you're talking to, when he's heard about these crimes from the youth you're talking about, will definitely agree with you in this way: he'll say 'Good sir' or 'friend' or 'gentleman'—according to his rank and country.

Here's my strategy, and I think it's smart. When you hint that my son has these small vices, as if it's just a minor problem, the person you're talking to—when he realizes you're talking about someone he knows—will definitely agree with you. He'll say something like 'Yes, my friend' or 'Good sir,' depending on what rank he is.

hint at his faults the person will recognize him they'll agree w u they'll say 'friend' or 'good sir' based on rank

REYNALDO [Reynaldo understands]

Very good, my lord.

That sounds like an excellent plan, my lord.

Very good, sir.

very good

POLONIUS ≋ verse [Polonius losing his train of thought]

And then, sir, does he this,—

He does—What was I about to say?

By the mass, I was about to say something. Where did I leave?

And then, sir, does he this—he does—what was I saying? By heavens, I was about to say something. Where did I leave off?

So then he does this—wait, what was I talking about? I had something to say. Where did I stop?

what was i saying? where did i leave off?

REYNALDO ≋ verse [Reynaldo reminds him of the key phrase]

At ‘closes in the consequence.’

At ‘friend or so,’ and ‘gentleman.’

At 'when he reacts' or 'at friend or so—'

Something about 'a friend or'—

friend or so

POLONIUS ≋ verse [Polonius confirms]

At ‘closes in the consequence’ ay, marry!

He closes with you thus: ‘I know the gentleman,

I saw him yesterday, or t’other day,

Or then, or then, with such and such; and, as you say,

There was he gaming, there o’ertook in’s rouse,

There falling out at tennis’: or perchance,

‘I saw him enter such a house of sale’—

_Videlicet_, a brothel, or so forth. See you now;

Your bait of falsehood takes this carp of truth;

And thus do we of wisdom and of reach,

With windlasses, and with assays of bias,

By indirections find directions out.

So by my former lecture and advice

Shall you my son. You have me, have you not?

At 'he responds to you in this way'—yes, exactly! He will answer you like this: 'I know this gentleman, I saw him yesterday, or the day before, Or then, or then, doing such things; and like you said, He was gambling there, he got drunk there, He had a fight about tennis there'; or perhaps, 'I saw him go into such a house of prostitution'— In other words, a brothel, or something like that. You see? Your false bait catches this fish of truth; And this is how we wise, far-reaching people work— With roundabout routes and slanted approaches, Through indirect ways we find directions out. This is how you'll learn about my son. Do you follow me?

When he gets to 'he responds to you like this'—yes, that's it! He'll say something like: 'I know that guy, I saw him yesterday or the day before, He was around doing whatever; and like you said, He was gambling, got completely drunk, Got in a fight over tennis'; or maybe, 'I saw him go into some house like that'— A brothel, you know, or something. You get it? Your fake information draws out the real truth; That's how smart, well-connected people work— We use roundabout methods and slanted questions, We find real answers through indirect ways. That's how you figure out what my son's really up to. You with me?

so he'll respond like 'i know him saw him gambling drunk fighting tennis' or maybe 'at a brothel' fake info gets real truth we use indirect methods slanted questions to find the answers understood?

"by indirections find directions out" This becomes one of the defining phrases of the whole play. Hamlet, Claudius, and Polonius all operate by indirection. The tragedy is that indirection generates collateral damage — Ophelia, Gertrude, Polonius himself — because once everyone is running misdirection, no one can see clearly.

REYNALDO [Reynaldo confirms understanding]

My lord, I have.

I understand, my lord.

Yes, sir.

understood

POLONIUS [Polonius bids him goodbye]

God b’ wi’ you, fare you well.

God be with you. Farewell.

Go on then. Goodbye.

go farewell

REYNALDO [Reynaldo bids goodbye]

Good my lord.

Sir.

sir

POLONIUS [final instruction — watch his behavior]

Observe his inclination in yourself.

Watch his inclinations yourself — observe everything.

Pay attention to everything he does.

observe watch evything

REYNALDO [Reynaldo confirms]

I shall, my lord.

I will make sure of that, my lord.

I will, sir.

i will

POLONIUS [another instruction — let him play music]

And let him ply his music.

And let him practice his music.

Let him enjoy himself.

music enjoy

REYNALDO [Reynaldo agrees]

Well, my lord.

I will, my lord.

Yes.

yes

POLONIUS [Polonius says farewell]

Farewell.

Goodbye.

go farewell

[_Exit Reynaldo._]

Enter Ophelia.

POLONIUS [Polonius alarmed by her distress]

How now, Ophelia, what’s the matter?

What is it now, Ophelia? What's the matter?

Ophelia, what's wrong? What's happened?

what's wrong ophelia?

OPHELIA [Ophelia is frightened]

Alas, my lord, I have been so affrighted.

Oh my lord, I've been so terrified!

Oh Father, I'm so scared!

scared terrified frightened

POLONIUS [Polonius demands to know why]

With what, in the name of God?

What is it, in God's name?

What happened?

what's wrong?

OPHELIA ≋ verse [Ophelia describes Hamlet's visit — strange and wild]

My lord, as I was sewing in my chamber,

Lord Hamlet, with his doublet all unbrac’d,

No hat upon his head, his stockings foul’d,

Ungart’red, 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

To speak of horrors, he comes before me.

My lord, as I was sewing in my room, Lord Hamlet came before me with his doublet completely unbuttoned, no hat on his head, his stockings dirty and fallen down to his ankles, his face as pale as his shirt, his knees shaking against each other, and with a look so horrible, as if he had just escaped from hell to describe horrors.

Sir, I was sewing in my room when Hamlet came in looking absolutely terrible. His shirt was completely unbuttoned, he had no hat, his stockings were filthy and falling down around his ankles, he was pale as a ghost, his knees were shaking, and he looked like he'd just crawled out of hell.

hamlet came to my room his shirt was unbuttoned no hat, stockings falling pale & shaking looked like hed escaped hell

"pale as his shirt, his knees knocking each other" This is the only eyewitness account of Hamlet's state between Act 1 (the Ghost's revelation) and Act 2 (his performance of madness in public). Whether this is real breakdown or calculated performance is left open — the ambiguity is the point of the play.

POLONIUS [Polonius asks — is he mad from love?]

Mad for thy love?

Mad from love for you?

Is he going crazy because of you?

love crazy for you

OPHELIA [Ophelia is unsure but fears it]

My lord, I do not know, but truly I do fear it.

I don't know, Father, but I truly fear it is.

I don't know, but I think so.

i think so i'm scared

POLONIUS [Polonius asks what Hamlet said]

What said he?

What did he say to you?

What did he do?

what did he do say

OPHELIA ≋ verse [Ophelia describes his wild behavior]

He took me by the wrist and held me hard;

Then goes he to the length of all his arm;

And with his other hand thus o’er his brow,

He falls to such perusal of my face

As he would draw it. Long stay’d he so,

At last,—a little shaking of mine arm,

And thrice his head thus waving up and down,

He rais’d a sigh so piteous and profound

As it did seem to shatter all his bulk

And end his being. That done, he lets me go,

And with his head over his shoulder turn’d

He seem’d to find his way without his eyes,

For out o’ doors he went without their help,

And to the last bended their light on me.

He grabbed my wrist hard, then stepped back to arm's length away from me, and with his other hand over his forehead, he just stared at my face as if he was trying to draw it. He stood like that for a long time. Then he shook my arm a little, and moved his head up and down three times, and let out a sigh so pitiful and profound that it seemed to shatter his whole body and end his life. After that he let me go, and turning his head over his shoulder, he seemed to find his way without using his eyes, because he went out the door without looking, but the whole time his eyes stayed fixed on me.

He grabbed my wrist really hard, then stepped back to arm's length and just stared at my face like he was trying to memorize it. He stood there like that for a really long time. Then he shook my arm a little and moved his head up and down three times, and let out this desperate sigh like it was destroying him from the inside. Then he just let me go, turned around, and walked out without even looking where he was going, but he kept his eyes on me the whole time.

he grabbed my wrist hard stepped back & stared at my face stood there forever shook my arm & sighed like it was killing him let me go walked out watching me

"a sigh so piteous and profound that it did seem to shatter all his bulk" Elizabethan medicine held that sighing literally shortened life — each sigh was believed to drain blood from the heart. Hamlet's sigh is not a figure of speech here; it describes something that looks like a person coming apart.

Why it matters Ophelia's description gives us the only unmediated view of Hamlet after the Ghost. By the time we see him again in 2-2, he is already performing. This scene is the gap — what happened when the performance hadn't started yet, or when it slipped.

POLONIUS ≋ verse [Polonius determines this is important — the King must know]

Come, go with me. I will go seek the King.

This is the very ecstasy of love,

Whose violent property fordoes itself,

And leads the will to desperate undertakings,

As oft as any passion under heaven

That does afflict our natures. I am sorry,—

What, have you given him any hard words of late?

Come, go with me. I will go find the King. This is love's madness, a state that destroys itself through its violent nature and drives people to do desperate things, just like any powerful emotion that affects human nature. I'm sorry—have you said anything harsh to him recently?

Come on, let's go find the King. This is what love-madness does—it destroys itself and makes people do crazy, desperate things, just like any strong emotion can affect people. I'm sorry—have you said anything mean to him lately?

this is love-madness it makes ppl do desperate things have u been mean to him

OPHELIA ≋ verse [Ophelia reminds him — I obeyed your command to avoid Hamlet]

No, my good lord; but as you did command,

I did repel his letters and denied

His access to me.

But Father, remember? You commanded me to avoid Hamlet, and I've been doing exactly that.

But remember — you told me to stay away from him, and I did.

i obeyed avoided him your command

POLONIUS ≋ verse [Polonius realizes his own advice may have caused this]

That hath made him mad.

I am sorry that with better heed and judgement

I had not quoted him. I fear’d he did but trifle,

And meant to wreck thee. But beshrew my jealousy!

It seems it is as proper to our age

To cast beyond ourselves in our opinions

As it is common for the younger sort

To lack discretion. Come, go we to the King.

This must be known, which, being kept close, might move

More grief to hide than hate to utter love.

That's what made him go mad. I'm sorry I didn't pay better attention and observe him more carefully. I was afraid he was just playing with your feelings and meant to hurt you. But curse my suspicion! It seems it's just as natural for people my age to make hasty judgments as it is common for young people to lack good judgment. Come, let's go to the King. This must be revealed, because hiding it might cause more harm than revealing that he loves you.

That's what drove him mad. I'm sorry I didn't pay closer attention to him and really observe his behavior. I thought he was just toying with you and trying to hurt you, but I was wrong. We older people jump to conclusions just as much as young people act without thinking. Let's go tell the King. This has to come out, because keeping it secret might do more damage than letting people know he loves you.

that drove him mad i was wrong about him we need to tell the king keeping it secret does more harm than saying he loves u

"beshrew my jealousy" Polonius briefly acknowledges his error — for about two seconds. His suspicion caused this, his surveillance of his daughter's love life helped drive Hamlet here. Then he immediately pivots to action and uses her experience as a political tool. This is character in miniature.

Why it matters Polonius's closing speech converts Ophelia's traumatic encounter into an administrative problem — something to be reported to the King, managed, turned to advantage. This is his essential quality: everything is information, and information is power. The tragedy is that Ophelia has no equivalent framework — she is simply frightened.

[_Exeunt._]

The Reckoning

The scene does two things at once. In the first half, Shakespeare shows us exactly how Polonius's mind works — he is not just a foolish old courtier, he is a professional spy, and the instructions he gives Reynaldo (spread rumors, watch for reactions, catch the truth in the nets of lies) reveal that this is simply how he moves through the world. It is comic because Polonius loses his own thread; it is chilling because it is second nature to him. Then Ophelia enters and everything shifts: her description of Hamlet — disheveled, pale, holding her wrist, staring, sighing, leaving in silence — is the only window we get into what has happened to Hamlet between the Ghost's revelation and now. We don't see him; we see his aftermath in the face of a woman he's frightened half to death. Polonius immediately processes it through his framework: love-madness, and a political asset. He will tell the King.

If this happened today…

A mid-level intelligence operative sends a junior analyst to a foreign city with instructions to befriend someone's acquaintances, drop subtle rumors about that person's habits, and see who flinches. Somewhere between instructions three and four, the operative loses his own thread. Meanwhile his daughter arrives, visibly shaken: her ex-boyfriend had appeared at her door, looked through her like a ghost, and left without speaking. The operative's immediate response is not concern. It is: 'I can use this.'

Continue to 2.2 →