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Act 3, Scene 2 — A hall in the Castle.
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The argument Hamlet instructs the Players on acting. He briefs Horatio to watch Claudius during the play. The court assembles. The Mousetrap is performed; Claudius rises and leaves at the murder. Hamlet is triumphant. Then he is called to Gertrude, and delivers his 'Now could I drink hot blood' soliloquy — but pulls back from immediate action.
Enter Hamlet and certain Players.
HAMLET [Hamlet: directing the Players]

Speak the speech, I pray you, as I pronounced it to you, trippingly on

the tongue. But if you mouth it, as many of your players do, I had as

lief the town-crier spoke my lines. Nor do not saw the air too much

with your hand, thus, but use all gently; for in the very torrent,

tempest, and, as I may say, whirlwind of passion, you must acquire and

beget a temperance that may give it smoothness. O, it offends me to the

soul to hear a robustious periwig-pated fellow tear a passion to

tatters, to very rags, to split the ears of the groundlings, who, for

the most part, are capable of nothing but inexplicable dumb shows and

noise. I would have such a fellow whipped for o’erdoing Termagant. It

out-Herods Herod. Pray you avoid it.

Speak the lines the way I taught you, tripping lightly off your tongue. But if you exaggerate it, the way many actors do, I'd just as soon have the town crier deliver my words instead. And don't wave your hand around too much in the air like this—use all restraint. Because even in the middle of the most intense, stormy, tempestuous passion, you must maintain a balance that gives it smoothness and control. It really upsets me deeply to hear a loud, rough fellow tear passion to shreds, destroy it completely, to burst the ears of the common groundlings, who are only capable of understanding obvious pantomime and noise anyway. I'd have such an actor whipped for overdoing it—going even beyond the wildest Turkish emperors. It completely outdoes Herod himself. Please avoid doing this.

Say the lines like I showed you, smooth and natural. But don't ham it up like most actors do—I'd rather have some random street vendor say my words. And stop waving your arms all over the place. Just be restrained and controlled. When you're in the middle of intense emotion, you need to keep it balanced and smooth. It honestly disgusts me to watch some loud guy rip the passion apart, totally destroy it, and blow out the ears of the groundlings—you know, the people who only understand silly pantomimes and noise. I'd whip any actor who overdoes it like that. It's worse than anything you've ever seen. Just don't do it.

speak it smooth don't ham it up keep control no waving seriously overacting is the worst

"Speak the speech, I pray you" Hamlet's acting lecture is one of the most famous pieces of theatre criticism in the language, and it is deeply self-referential: a man who performs madness for an audience is instructing professional actors in the art of naturalistic performance. His principles — don't overact, don't underact, hold the mirror up to nature — are also a description of what he himself attempts (and sometimes fails) to do.
Why it matters The acting lecture reveals Hamlet's aesthetic values and his theory of truth: theatre should hold 'the mirror up to nature.' This is also his theory of the Mousetrap — fiction reflects reality, and reality (Claudius's guilt) will be caught in its reflection.
FIRST PLAYER [First Player: acknowledging]

I warrant your honour.

I guarantee you, sir.

You've got my word on it.

promise i'll do it right

HAMLET [Hamlet: the advice continues]

Be not too tame neither; but let your own discretion be your tutor.

Suit the action to the word, the word to the action, with this special

observance, that you o’erstep not the modesty of nature; for anything

so overdone is from the purpose of playing, whose end, both at the

first and now, was and is, to hold as ’twere the mirror up to nature;

to show virtue her own feature, scorn her own image, and the very age

and body of the time his form and pressure. Now, this overdone, or come

tardy off, though it make the unskilful laugh, cannot but make the

judicious grieve; the censure of the which one must in your allowance

o’erweigh a whole theatre of others. O, there be players that I have

seen play—and heard others praise, and that highly—not to speak it

profanely, that, neither having the accent of Christians, nor the gait

of Christian, pagan, nor man, have so strutted and bellowed that I have

thought some of Nature’s journeymen had made men, and not made them

well, they imitated humanity so abominably.

But don't be too restrained either. Let your own judgment be your guide instead. Match the action to the words, and the words to the action, with this special attention: don't overstep the boundaries of natural behavior. Because anything overdone goes against the whole purpose of acting, which from the beginning and still today was and is to reflect nature honestly—to show virtue her own face, show scorn its own image, and show this age and society its true form and pressure. Now, when this is overdone, or performed badly, even though it makes unsophisticated people laugh, it can only make educated people grieve. The judgment of those educated people should outweigh a whole theater of others. I have seen actors perform—and heard others praise them highly—without exaggeration, who neither had the bearing of Christians nor the walk of Christian, pagan, or man, but strutted and bellowed so much that I thought Nature's apprentices had made men, and hadn't done a very good job, so badly did they imitate being human.

But don't be too stiff either. Use your own judgment about what feels right. Make the action fit the words and the words fit the action. The key thing is: don't go beyond what's natural. Anything too much defeats the whole point of theater, which is basically to hold up a mirror to nature—to show virtue what it looks like, show mockery what it looks like, show this present time what it actually looks like. When you overdo it or mess up the execution, sure, it makes regular people laugh, but it just makes educated people sad. And honestly, the opinion of those educated people matters way more than a whole crowd of others. I've seen actors—really praised ones too—who weren't even acting like normal people. They'd strut and bellow so much that they seemed like they were made by Nature's trainees, and not very well-made either.

use your own judgment match words to action stay natural overacting kills the whole point educated people will hate it

Why it matters Hamlet's praise of Horatio is the play's clearest statement of what Hamlet wants to be and cannot be: someone who endures without being destroyed. He celebrates in Horatio the stability he lacks himself.
FIRST PLAYER [the First Player assuring Hamlet]

I hope we have reform’d that indifferently with us, sir.

I hope we've performed reasonably well, sir.

I think we did pretty well, sir.

we did okay good performance

HAMLET [Hamlet: continuing the instructions]

O reform it altogether. And let those that play your clowns speak no

more than is set down for them. For there be of them that will

themselves laugh, to set on some quantity of barren spectators to laugh

too, though in the meantime some necessary question of the play be then

to be considered. That’s villainous, and shows a most pitiful ambition

in the fool that uses it. Go make you ready.

Please fix it completely. And don't let the actors who play clowns say anything more than what's written for them. Some of them will laugh by themselves on purpose, just to make a bunch of stupid audience members laugh too, even when it ruins some important part of the play that should be happening. That's terrible behavior and shows a pathetic kind of ambition in the fool who does it. Now go prepare.

Seriously, fix everything. And make sure the clown actors don't ad-lib or add anything extra. Some of them will start laughing just to get the crowd going, even if it messes up an important moment in the play. That's awful and shows how desperate they are for attention. Go get ready.

fix it all no improv from clowns stick to the script no ruining scenes for laughs

[_Exeunt Players._]
Enter Polonius, Rosencrantz and Guildenstern.
HAMLET ≋ verse [Hamlet turning eager, businesslike]

How now, my lord?

Will the King hear this piece of work?

How are things, my lord? Will the King listen to this play?

How's it going, sir? Is the King going to watch the play?

hey whats up king gonna watch this

POLONIUS [Polonius relaying the practical news]

And the Queen too, and that presently.

And the Queen too, right away.

And tell the Queen to come too, immediately.

queen needs to come now

HAMLET [Hamlet: the real request]

Bid the players make haste.

Tell the players to hurry.

Get the actors to speed it up.

players hurry up

[_Exit Polonius._]
HAMLET ≋ verse [Hamlet brisk, hurrying them off]

Will you two help to hasten them?

ROSENCRANTZ and GUILDENSTERN.

We will, my lord.

Will you two help hurry them along?

Can you two help speed things up?

can you two speed them up

[_Exeunt Rosencrantz and Guildenstern._]
HAMLET [Hamlet warm, greeting a true friend]

What ho, Horatio!

Hey, Horatio!

Horatio! Hey!

horatio

🎭 Dramatic irony Claudius rises and leaves during the murder-by-poison scene, which Hamlet and Horatio both witness as proof of guilt. Claudius has confirmed everything. Yet Hamlet's opportunity to act immediately is exactly one scene away — and he will not take it.
Enter Horatio.
HORATIO [Horatio answering with easy devotion]

Here, sweet lord, at your service.

Here I am, my lord, ready to serve you.

I'm right here, my lord, whatever you need.

im here for u

HAMLET ≋ verse [Hamlet praising Horatio's steady soul]

Horatio, thou art e’en as just a man

As e’er my conversation cop’d withal.

Horatio, you are as honest a man as I have ever known in all my dealings.

Horatio, you're one of the most genuinely decent people I've ever met.

youre one of the good ones

HORATIO [Horatio humbled by the praise]

O my dear lord.

Oh, my most valued lord.

Oh man, you really get me.

lord

Why it matters Hamlet's behavior during the performance is a masterpiece of controlled chaos. He is simultaneously the most entertaining person in the room and the most dangerous. His jokes are all live wires.
HAMLET ≋ verse [Hamlet confiding in Horatio, sincere]

Nay, do not think I flatter;

For what advancement may I hope from thee,

That no revenue hast, but thy good spirits

To feed and clothe thee? Why should the poor be flatter’d?

No, let the candied tongue lick absurd pomp,

And crook the pregnant hinges of the knee

Where thrift may follow fawning. Dost thou hear?

Since my dear soul was mistress of her choice,

And could of men distinguish, her election

Hath seal’d thee for herself. For thou hast been

As one, in suffering all, that suffers nothing,

A man that Fortune’s buffets and rewards

Hast ta’en with equal thanks. And blessed are those

Whose blood and judgement are so well co-mingled

That they are not a pipe for Fortune’s finger

To sound what stop she please. Give me that man

That is not passion’s slave, and I will wear him

In my heart’s core, ay, in my heart of heart,

As I do thee. Something too much of this.

There is a play tonight before the King.

One scene of it comes near the circumstance

Which I have told thee, of my father’s death.

I prithee, when thou see’st that act a-foot,

Even with the very comment of thy soul

Observe mine uncle. If his occulted guilt

Do not itself unkennel in one speech,

It is a damned ghost that we have seen;

And my imaginations are as foul

As Vulcan’s stithy. Give him heedful note;

For I mine eyes will rivet to his face;

And after we will both our judgements join

In censure of his seeming.

No, don't think I'm flattering you. What advancement could you hope to get from me when you have no income except your own good character to support yourself with? Why should the poor be flattered? No, let the ambitious lick the boots of power and crook their knees before those who have wealth to give. But have you heard how I feel? Since my soul has been able to choose, she has picked you for herself. You've been the kind of person who endures everything with equal grace, a man who takes both Fortune's blows and her gifts with the same thanks. And blessed are those whose good judgment and natural inclination are so well mixed that they're not just an instrument for Fortune to play whatever notes she wants. Give me that man who is not a slave to his passions, and I'll treasure him in the deepest part of my heart, exactly as I do you. But I'm saying too much. There's a play tonight before the King. One scene of it is very similar to what I've told you about my father's death. Please, when you see that scene act itself out, watch my uncle carefully with complete attention. If his hidden guilt doesn't reveal itself in just one speech, then the ghost we've seen is a damned one and my suspicions are as foul as a blacksmith's forge. Pay careful attention to him, because I'll keep my eyes fixed on his face. After the play we'll compare what we've both seen and judge whether he seems guilty.

No, don't think I'm just flattering you. What could I actually give you? You don't have money—just your character and good nature to get by on. Why would I flatter someone poor? No way. Let the ambitious people bow and scrape to those with power and wealth. But here's the thing: since I could choose who I wanted to be close to, I picked you. You're the kind of person who takes everything—good and bad—without complaining, someone Fortune can knock down and reward equally and you just accept it all. Those are the really blessed people, the ones who know themselves so well that nobody can manipulate them. Give me a man like that—someone who doesn't let his emotions control him—and I'll cherish him like my own heart. That's you. Okay, but anyway, there's a play tonight for the King. One scene in it is basically the same as what I told you about my father's death. So when you see it happen, watch my uncle really carefully. If his guilt doesn't come pouring out during just one speech, then that ghost was lying and I'm crazy. But I don't think so. Watch him.

youre honest n i trust u theres a play tonight watch my uncle if hes guilty itll show im betting on u to tell me what u see

HORATIO ≋ verse [Horatio agreeing to watch closely]

Well, my lord.

If he steal aught the whilst this play is playing,

And ’scape detecting, I will pay the theft.

Well, my lord. If he steals anything while this play is being performed and escapes being caught, I'll make it good by paying for what he stole.

Absolutely, my lord. If he manages to sneak away without getting caught during the play, I'll make up for it.

if he pulls it off ill cover it

HAMLET [Hamlet bracing to play the madman]

They are coming to the play. I must be idle.

Get you a place.

Danish march. A flourish. Enter King, Queen, Polonius, Ophelia,

Rosencrantz, Guildenstern and others.

They're coming to the play. I need to act casual. Take a seat for yourself.

Here they come for the play. I should act like I'm not up to anything. Find a good spot to watch from.

theyre here act normal get ur seat

Why it matters Claudius's departure is the Mousetrap's proof of concept. He cannot watch the play's murder scene without reacting. Whether this proves guilt or merely a bad conscience, Hamlet counts it as confirmation.
KING [Claudius feigning polite concern]

How fares our cousin Hamlet?

How is our cousin Hamlet doing?

Hamlet, how are you doing?

hey hamlet how's it going

HAMLET ≋ verse [Hamlet: crude and cutting]

Excellent, i’ faith; of the chameleon’s dish: I eat the air,

promise-crammed: you cannot feed capons so.

Excellent, truly. I eat only air like a chameleon eating on empty promises you keep stuffing into me. You can't feed roosters that way.

Doing great, honestly. I'm living on nothing but broken promises—like a chameleon that only eats air. You can't keep a rooster alive that way either.

im living on air and ur promises no substance

KING [the King refusing to engage — Hamlet sees the lie]

I have nothing with this answer, Hamlet; these words are not mine.

I have nothing to say to that answer, Hamlet. Those words mean nothing.

That's not an answer, Hamlet. That's just words.

that doesn't mean anything just words no substance

HAMLET [Hamlet with cutting wit — shifting to Polonius]

No, nor mine now. [_To Polonius._] My lord, you play’d once i’

th’university, you say?

No, that's not mine anymore. [To Polonius.] My lord, you performed once at the university, you say?

No, those aren't my words. [To Polonius.] So I heard you did some acting at university back in the day?

not my words hey polonius you acted in college

POLONIUS [Polonius pleased to reminisce]

That did I, my lord, and was accounted a good actor.

Yes, I did, my lord, and I was considered a good actor.

I sure did, my lord, and people thought I was pretty good at it.

yeah i was good too

HAMLET [Hamlet needling him further]

What did you enact?

What did you perform?

What did you act in?

what role

POLONIUS [Polonius recounting, oblivious to the joke]

I did enact Julius Caesar. I was kill’d i’ th’ Capitol. Brutus killed

me.

I performed as Julius Caesar. I was killed in the Capitol. Brutus killed me.

I played Julius Caesar. I got stabbed to death in the Capitol. Brutus was the one who did it.

i was caesar brutal death in the capitol

HAMLET [Hamlet: sardonic, mocking Polonius]

It was a brute part of him to kill so capital a calf there. Be the

players ready?

That was a savage thing for him to do — to kill such a fool there. Are the players ready?

Pretty brutal of him to kill that idiot. Hey, are the actors ready?

killing a fool what brutality are the players ready

Why it matters Hamlet's sarcasm about Polonius's death — he is joking that killing such a fool (calf) was a brutal ('brute') thing to do. He dismisses it lightly while asking if the players are ready for the play-within-a-play.
ROSENCRANTZ [Rosencrantz confirming]

Ay, my lord; they stay upon your patience.

Yes, my lord. They're waiting for your signal.

Yes, they're ready whenever you are.

yes they're waiting whenever you're ready

Why it matters Between 3-2 and 3-3 lies the scene where Hamlet could kill Claudius at prayer. He doesn't. The 'now could I drink hot blood' soliloquy shows him at peak readiness — but it is readiness for his mother's room, not for Claudius. The trajectory is not toward murder but toward confrontation.
QUEEN [Gertrude affectionately calling him near]

Come hither, my dear Hamlet, sit by me.

Come here, my dear Hamlet, sit next to me.

Come here, Hamlet, sit with me.

come sit by me

HAMLET [flirtatiously provoking his mother]

No, good mother, here’s metal more attractive.

No thanks, Mother. There's something more attractive here to sit with.

No thanks, Mom. I found someone more interesting to sit next to.

nah got someone better to sit with

POLONIUS [gleefully pointing out the byplay]

[_To the King._] O ho! do you mark that?

Oh! Are you watching that?

See that? Did you catch what he just did?

yo u seeing this rn

HAMLET [Hamlet propositioning Ophelia — the cruelty continues, sexual now]

Lady, shall I lie in your lap?

Lady, may I rest my head on your lap?

Can I put my head on your lap?

let me lay on you let me rest there

[_Lying down at Ophelia’s feet._]
OPHELIA [Ophelia curt, refusing]

No, my lord.

No, I'd rather not, my lord.

No, I don't think so.

nope

HAMLET [Hamlet clarifying his meaning — crude]

I mean, my head upon your lap?

I mean, with my head resting on your lap?

I mean, can I rest my head on your lap?

can i put my head on ur lap

OPHELIA [Ophelia answering briefly, guarded]

Ay, my lord.

Yes, my lord.

Sure, my lord.

ok

HAMLET [Hamlet pressing the crude joke further]

Do you think I meant country matters?

Don't you think I was making a sexual innuendo?

You don't think I was being dirty, do you?

u think i meant something rude

OPHELIA [Ophelia deflecting, embarrassed]

I think nothing, my lord.

I'm thinking nothing, my lord.

I'm not thinking anything, my lord.

nothing

HAMLET [obscene wordplay — 'lie between maids' legs']

That’s a fair thought to lie between maids’ legs.

That's a pleasant way to think about being between a woman's legs.

Yeah, that's a nice image — a man lying between a woman's legs.

lying between legs sexual obscene

OPHELIA [Ophelia confused, playing along]

What is, my lord?

What are you referring to, my lord?

What do you mean, my lord?

what

HAMLET [Hamlet feigning innocence]

Nothing.

Nothing.

Nothing at all.

nothing

OPHELIA [Ophelia noting his manic mood]

You are merry, my lord.

You're in a happy mood, my lord.

You're being pretty cheerful, my lord.

you seem happy

HAMLET [Hamlet playing coy]

Who, I?

Me?

Me? Am I?

me

OPHELIA [Ophelia, simple assent]

Ay, my lord.

Yes, certainly, my lord.

Yeah, you're pretty entertaining.

yeah

HAMLET [Hamlet manic, mocking his mother's cheer]

O God, your only jig-maker! What should a man do but be merry? For look

you how cheerfully my mother looks, and my father died within’s two

hours.

What about me? Look at how cheerfully my mother is acting, and my father died only two hours ago.

Me? Seriously, look how happy my mother is acting right now, and my father died literally two hours ago.

look how happy mom is dad dead 2 hours ago

OPHELIA [Ophelia correcting him, matter-of-fact]

Nay, ’tis twice two months, my lord.

No, it's actually been four months already, my lord.

No way, it's been four months already.

no its been 4 months

HAMLET [Hamlet bitterly joking about being forgotten]

So long? Nay then, let the devil wear black, for I’ll have a suit of

sables. O heavens! die two months ago, and not forgotten yet? Then

there’s hope a great man’s memory may outlive his life half a year. But

by’r lady, he must build churches then; or else shall he suffer not

thinking on, with the hobby-horse, whose epitaph is ‘For, O, for O, the

hobby-horse is forgot!’

Trumpets sound. The dumb show enters.

_Enter a King and a Queen very lovingly; the Queen embracing him and he

her. She kneels, and makes show of protestation unto him. He takes her

up, and declines his head upon her neck. Lays him down upon a bank of

flowers. She, seeing him asleep, leaves him. Anon comes in a fellow,

takes off his crown, kisses it, pours poison in the King’s ears, and

exits. The Queen returns, finds the King dead, and makes passionate

action. The Poisoner with some three or four Mutes, comes in again,

seeming to lament with her. The dead body is carried away. The Poisoner

woos the Queen with gifts. She seems loth and unwilling awhile, but in

the end accepts his love._

Two months already? Well then, let the devil wear black for mourning; I'll wear a suit of black fur too. O heavens! My father died two months ago, and not forgotten yet? Then there's hope that a great man's memory might outlive his life by half a year. But by our lady, he would have to build churches; otherwise he'll suffer from being forgotten, along with the old hobby-horse game, whose epitaph reads 'For, O, for O, the hobby-horse is forgot!' [Trumpets sound. There enters a silent scene: A King and a Queen embrace with great affection; the Queen kneels and makes a show of devotion to him. He helps her up and lays his head on her neck. He lies down upon a bank of flowers. Seeing him asleep, she leaves. Then comes a man, takes off his crown, kisses it, pours poison in the sleeping King's ears, and exits. The Queen returns, finds the King dead, and reacts with great emotion. The Poisoner returns with attendants, seeming to mourn with her. The dead body is carried away. The Poisoner woos the Queen with gifts. She seems reluctant at first, but eventually accepts his love.]

Two months? Well, the devil can wear black for mourning; I'll dress in black too. My God, my father died two months ago and people still remember him? So there's a chance a powerful man's memory might last half a year after he's dead. But he'd need to build churches, or else he'll be forgotten just like that old hobby-horse game whose saying goes 'The hobby-horse is forgot!' [Trumpets sound. There enters a silent scene: A King and Queen embrace lovingly; the Queen kneels and shows devotion to him. He raises her up and rests his head on her neck. He lies down on a bed of flowers. Seeing him asleep, she leaves. Then a man comes, takes off his crown, kisses it, pours poison in the sleeping King's ears, and exits. The Queen returns, finds him dead, and shows deep emotion. The Poisoner returns with attendants, appearing to grieve with her. The body is carried away. The Poisoner courts the Queen with gifts. She seems unwilling at first, but eventually accepts his love.]

two months? still remembered? maybe great men outlive their memory by half a year if they build churches or they're forgotten like the hobby-horse [silent scene plays out: king and queen together queen shows devotion king sleeps poison poured in his ear queen finds him dead poisoner woos her she accepts him]

[_Exeunt._]
OPHELIA [Ophelia asking him to stop — scared]

What means this, my lord?

What is the meaning of this, my lord?

What are you doing? What is this?

stop what are you doing why

HAMLET [Hamlet cryptic, relishing the trap]

Marry, this is miching mallecho; it means mischief.

Well, this is sneaky mischief; it means trouble.

Okay, so this is basically a sneaky thing—it's showing trouble or mischief.

it's showing mischief sneak trouble

OPHELIA [Ophelia trying to follow along]

Belike this show imports the argument of the play.

This show probably tells us what the play is going to be about.

This little play is probably going to show us what the actual play is about.

show explains the play

Enter Prologue.
HAMLET [Hamlet playfully cryptic with Ophelia]

We shall know by this fellow: the players cannot keep counsel; they’ll

tell all.

We'll find out from this fellow—the actors can't keep secrets. They'll tell everything.

We'll know from him. Actors can't keep their mouths shut anyway. They'll tell us what's going on.

actors cant keep secrets theyll tell everything

OPHELIA [Ophelia pressing for a clearer answer]

Will they tell us what this show meant?

Will they explain to us what this pantomime show means?

Are they going to tell us what this whole silent show is about?

will they explain what's happening

HAMLET [Hamlet teasing her with innuendo]

Ay, or any show that you’ll show him. Be not you ashamed to show, he’ll

not shame to tell you what it means.

Yes, or any other performance you show him. Don't be ashamed to show something; he won't be ashamed to tell you what it means.

Yeah, or any other show you put on for him. Don't be embarrassed to show anything—he'll be happy to tell you what it all means.

he'll tell you what it means no shame in asking

OPHELIA [Ophelia asserting herself, then giving in]

You are naught, you are naught: I’ll mark the play.

You're misbehaving, you're misbehaving. I'll watch the play now.

You're being inappropriate. I'm not listening anymore. Let me watch the play.

stop it stop i'm watching the play now

PROLOGUE ≋ verse [the Prologue announcing the play]

_For us, and for our tragedy,

Here stooping to your clemency,

We beg your hearing patiently._

[Prologue reciting] For our tragedy and the story we're about to tell, we come humbly before you. If you grant us patience, we'll perform for you with diligence and care.

[Prologue reciting] We're here to tell you a tragic story. We hope you'll be patient with us and let us perform it with all our skill.

a tragedy we ask your patience we'll do our best

HAMLET [Hamlet mocking the brevity — or the pointlessness]

Is this a prologue, or the posy of a ring?

Is that a prologue or the inscription on a wedding ring?

Is that a prologue or something engraved on a ring?

that's so short it's like a ring inscription not a proper prologue

OPHELIA [Ophelia defending the brevity]

’Tis brief, my lord.

It is brief, my lord.

It's supposed to be short.

it's supposed to be brief

HAMLET [Hamlet turning brevity into contempt for women]

As woman’s love.

Like a woman's love.

Like a woman's affection.

like women's love short-lived insincere

Enter a King and a Queen.
PLAYER KING ≋ verse [the Player King beginning the dumbshow — speaking of marriage and time]

Full thirty times hath Phoebus’ cart gone round

Neptune’s salt wash and Tellus’ orbed ground,

And thirty dozen moons with borrow’d sheen

About the world have times twelve thirties been,

Since love our hearts, and Hymen did our hands

Unite commutual in most sacred bands.

The sun has completed thirty full journeys while the moons have circled thirty dozen times over the years, since our hearts were joined and the god of marriage united our hands in sacred bonds.

The sun has gone around thirty times, the months have passed countless times, and for thirty years our hearts have been joined together and marriage has bound our hands.

thirty years together the sun went round our hearts bound our hands joined

PLAYER QUEEN ≋ verse [the Player Queen anxious over his health]

So many journeys may the sun and moon

Make us again count o’er ere love be done.

But, woe is me, you are so sick of late,

So far from cheer and from your former state,

That I distrust you. Yet, though I distrust,

Discomfort you, my lord, it nothing must:

For women’s fear and love holds quantity,

In neither aught, or in extremity.

Now what my love is, proof hath made you know,

And as my love is siz’d, my fear is so.

Where love is great, the littlest doubts are fear;

Where little fears grow great, great love grows there.

May the sun and moon make us count out the days over and over again before our love ends. But sadly, you've been so sick lately, so far from happiness and from how you used to be, that I'm worried about you. Yet even though I'm worried, my lord, nothing should make you uncomfortable. Because women's fear and love go together in equal measure—either in nothing or in extremes. Now you know my love through proof, and my fear is proportional to my love. Where love is great, the tiniest doubts become fears. Where small fears grow large, great love grows there too.

I hope the sun and moon keep bringing us back to count the days together until we die. But lately you've been so sick, so unhappy and different from how you were, that I'm scared. But even though I'm scared, my lord, it shouldn't upset you. Because with women, fear and love are linked—we either feel nothing or we feel everything. You know how much I love you from everything I do, and my fear matches my love exactly. When you really love someone, even tiny worries become huge fears. When small fears grow big, that's where big love is hiding.

you're sick and different i'm worried but also love you fear and love are the same when i love big i fear big

PLAYER KING ≋ verse [the Player King resigned — preparing her]

Faith, I must leave thee, love, and shortly too:

My operant powers their functions leave to do:

And thou shalt live in this fair world behind,

Honour’d, belov’d, and haply one as kind

For husband shalt thou—

Listen, I have to leave you, love, and very soon too. My strength to live is going away. You'll stay alive in this beautiful world after me, honored and loved, and perhaps one day as kind a man will be your husband—

Listen, I'm leaving you, love, and I'm leaving soon. I can feel my life ending. You'll be left behind in this world, still beautiful and beloved, and maybe someday another man as good as me will be your husband—

i have to leave you soon you'll stay beautiful

PLAYER QUEEN ≋ verse [cursing herself should she ever remarry]

O confound the rest.

Such love must needs be treason in my breast.

In second husband let me be accurst!

None wed the second but who kill’d the first.

Curse all the rest of that thought. If I take a second husband, it would be treason against my heart. Let me be cursed if I marry again! Nobody marries a second time unless they murdered the first one.

Forget all of that. If I married again, it would be like betraying my first love. I'm cursing myself right now—I won't marry again. Nobody remarries unless they killed the first guy to get rid of him.

if i marry again im cursed no one remarries unless they killed the first one

HAMLET [bitter aside, tasting his mother's guilt]

[_Aside._] Wormwood, wormwood.

This is poison, poison.

This is killing me, absolutely killing me.

ugh this is so painful to watch

PLAYER QUEEN ≋ verse [the Player Queen on remarriage — why women remarry]

The instances that second marriage move

Are base respects of thrift, but none of love.

A second time I kill my husband dead,

When second husband kisses me in bed.

The reasons why women marry a second time are just about money and advantage, never about love. A second marriage is like killing my first husband all over again, when a second husband kisses me in bed.

The only reason women marry again is for money and status, never for love. Marrying again is like killing my first husband all over again, especially when a new husband kisses me.

second marriage kills first love it's all about money all betrayal

PLAYER KING ≋ verse [the Player King gently doubting resolve holds]

I do believe you think what now you speak;

But what we do determine, oft we break.

Purpose is but the slave to memory,

Of violent birth, but poor validity:

Which now, like fruit unripe, sticks on the tree,

But fall unshaken when they mellow be.

Most necessary ’tis that we forget

To pay ourselves what to ourselves is debt.

What to ourselves in passion we propose,

The passion ending, doth the purpose lose.

The violence of either grief or joy

Their own enactures with themselves destroy.

Where joy most revels, grief doth most lament;

Grief joys, joy grieves, on slender accident.

This world is not for aye; nor ’tis not strange

That even our loves should with our fortunes change,

For ’tis a question left us yet to prove,

Whether love lead fortune, or else fortune love.

The great man down, you mark his favourite flies,

The poor advanc’d makes friends of enemies;

And hitherto doth love on fortune tend:

For who not needs shall never lack a friend,

And who in want a hollow friend doth try,

Directly seasons him his enemy.

But orderly to end where I begun,

Our wills and fates do so contrary run

That our devices still are overthrown.

Our thoughts are ours, their ends none of our own.

So think thou wilt no second husband wed,

But die thy thoughts when thy first lord is dead.

I believe you mean what you're saying right now. But what we decide to do, we often break that promise. Purpose is just a slave to memory—born with force but weak in strength. Right now, like unripe fruit stuck on a tree, it stays fixed, but it falls without being shaken when it gets ripe. Most necessarily we forget to pay ourselves what we owe ourselves. What in passionate moments we promise to do, that promise loses its power when the passion ends. The violence of either grief or joy destroys their own consequences. Where joy celebrates most, grief laments most. Grief is joyful, joy grieves, both from small accidents. This world is not permanent, and it's not strange that our loves should change with our fortunes. For it's a question still not proven whether love leads fortune or fortune leads love. When a great man falls, you see his favorite flee. When a poor man rises, he makes friends from enemies. And love so far depends on fortune. For who has no needs will never lack a friend, but who needs help and tries a false friend discovers that person becomes his enemy. But to end where I began: our wills and fate go in such opposite directions that our plans are always overthrown. Our thoughts are our own, but their endings are nobody's to control. So you think you won't marry a second husband, but your thoughts will die when your first husband dies.

I believe you really mean what you're saying. But we often break the promises we make. Our intentions are just slaves to memory—we mean them intensely at the moment, but they're actually weak. Right now they're like unripe fruit on a tree, stuck there, but they fall without anyone pushing when they ripen. The thing is, we naturally forget to pay ourselves what we owe. When we're in the heat of emotion and promise something, we lose that promise when the emotion goes away. Intense feelings, whether grief or joy, destroy themselves. Where there's the most joy there's also the most sadness. It all flips around from one small thing to another. Nothing in this world lasts forever, so it's not weird that our loves change when our luck changes. Nobody really knows if love creates luck or luck creates love. When a rich powerful guy loses everything, his friends disappear. When a poor person gets lucky, they turn enemies into friends. Love just follows the money. If you don't need anything, you'll never lack friends. But if you need help and test a shallow person, you've just made yourself an enemy. But basically, what I'm saying is our plans never work out the way we want. We can't control how things end up, only start them. So yeah, you think you won't marry again after me, but honestly those thoughts will disappear when I'm gone.

we break our promises intentions are weak our plans always fail love follows luck you'll forget me eventually

PLAYER QUEEN ≋ verse [the Player Queen vowing eternal fidelity — absolute and tragic]

Nor earth to me give food, nor heaven light,

Sport and repose lock from me day and night,

To desperation turn my trust and hope,

An anchor’s cheer in prison be my scope,

Each opposite that blanks the face of joy,

Meet what I would have well, and it destroy!

Both here and hence pursue me lasting strife,

If, once a widow, ever I be wife.

If I should ever marry again after your death, may the earth deny me food and heaven deny me light. May death be my portion if I break this vow.

If I ever marry again, let the earth starve me and the sky crush me. Let me be damned if I'm lying.

if i remarry let me starve let me die i mean this vow forever

HAMLET [needling Ophelia with dark irony]

[_To Ophelia._] If she should break it now.

If she breaks that vow right now.

If she goes back on her promise now.

if she ditches that vow rn

PLAYER KING ≋ verse [the Player King departing — leaving his Queen alone]

’Tis deeply sworn. Sweet, leave me here awhile.

My spirits grow dull, and fain I would beguile

The tedious day with sleep.

It's a solemn vow I've made. Sweet Queen, leave me alone for a while.

I've sworn it truly. Let me rest alone for now.

i've sworn the vow leave me i need to rest

[_Sleeps._]
PLAYER QUEEN ≋ verse [the Player Queen singing — blessing his sleep]

Sleep rock thy brain,

And never come mischance between us twain.

[Singing] May sleep bring peace to your mind, may your dreams be gentle and restful.

[Singing] Sleep well, rest your mind, find peace in dreams.

sleep rest peace in dreams

[_Exit._]
HAMLET [Hamlet asking the Queen's opinion — testing her reaction]

Madam, how like you this play?

Madam, what do you think of this play?

What do you think of it?

what do you think about the play

QUEEN [the Queen commenting on the Player Queen's vow]

The lady protests too much, methinks.

The lady protests too much, I think.

She's overdoing it. She protests way too much.

she talks too much protests too much insincere

HAMLET [Hamlet darkly — but she'll keep her word]

O, but she’ll keep her word.

No, she will keep her word.

But she means it. She'll keep what she promised.

but she will keep her vow no matter what

KING [the King questioning the play — does it offend him?]

Have you heard the argument? Is there no offence in’t?

Have you heard what the play's about? Is there anything in it that might offend me?

Do you know what this play is? Does it have anything that might hurt me?

what's the story will it offend me does it have meaning

HAMLET [Hamlet dismissing the concern — it's just a joke]

No, no, they do but jest, poison in jest; no offence i’ th’ world.

No, no. They're only joking. Poison is mentioned, but in jest. There's no real offense here.

No, no. It's just a story. They poison someone but as a joke. Nothing mean.

just a joke poison mentioned in jest no offense meant

KING [the King asking for the title]

What do you call the play?

What is the play called?

What's the name of it?

what's it called what's the title

HAMLET [Hamlet revealing the title — 'The Mousetrap' — trap is the point]

_The Mousetrap._ Marry, how? Tropically. This play is the image of a

murder done in Vienna. Gonzago is the Duke’s name, his wife Baptista:

you shall see anon; ’tis a knavish piece of work: but what o’ that?

Your majesty, and we that have free souls, it touches us not. Let the

gall’d jade wince; our withers are unwrung.

The Mousetrap. How so? Symbolically. This play represents a murder that happened in Vienna. The Duke's name is Gonzago, his wife is Baptista—you'll see it soon. It's a clever, cunning piece of work, but what of it? Your majesty and those of us with innocent consciences, it doesn't touch us. Let the guilty squirm; we innocent ones remain untouched.

It's called The Mousetrap. How, you ask? Symbolically. The play shows a murder in Vienna. The Duke is Gonzago and his wife is Baptista—you'll see soon. It's a clever piece of work, but so what? Your majesty and anyone with a clear conscience—it doesn't affect us. Let guilty people squirm; we're perfectly fine.

it's the mousetrap symbolic murder gonzago and baptista clever scheming but doesn't matter let the guilty squirm we're untouched

"Your majesty and we that have free souls, it touches us not" This is the needle inside the velvet. Hamlet tells Claudius directly — in front of everyone, as apparent playfulness — that innocent people won't be affected by this play about murder. The message to Claudius is: if it touches you, you're not innocent.
Enter Lucianus.
HAMLET [Hamlet introducing the murderer, watching Claudius]

This is one Lucianus, nephew to the King.

This is a man named Lucianus, the King's nephew.

That's Lucianus, the King's nephew.

thats lucianus the kings nephew

OPHELIA [Ophelia praising his commentary — he's like the chorus]

You are a good chorus, my lord.

You're a good chorus, my lord.

You're like the chorus — explaining everything.

you're the chorus explaining it all

HAMLET [Hamlet with sexual innuendo — I could interpret between you and your lover]

I could interpret between you and your love, if I could see the puppets

dallying.

I could interpret between you and your lover if I wanted to.

I could explain the relationship between you and your boyfriend.

i could explain you and your lover what's really happening

OPHELIA [Ophelia defending against the innuendo]

You are keen, my lord, you are keen.

You're sharp, my lord. Very sharp.

You're clever. Very clever.

sharp you're clever too clever

HAMLET [Hamlet continuing the sexual attack — groaning from removing his edge]

It would cost you a groaning to take off my edge.

You'd have to cry out to remove my sharpness.

You'd have to make quite a noise to dull this wit.

you'd have to cry out scream and moan to stop me

OPHELIA [Ophelia — it's getting worse, or better]

Still better, and worse.

Your remarks get better and worse at the same time.

Your jokes are getting sharper but also more cutting.

ur getting meaner w ur words

HAMLET [Hamlet with a final cutting remark — then turning to the play]

So you mistake your husbands.—Begin, murderer. Pox, leave thy damnable

faces, and begin. Come, the croaking raven doth bellow for revenge.

That's how women mistake their husbands. Begin, murderer!

That's exactly what women do — choose the wrong man. But start the scene now.

women choose wrong just like that now play begin

LUCIANUS ≋ verse [Lucianus — the poisoner — announcing his thoughts]

Thoughts black, hands apt, drugs fit, and time agreeing,

Confederate season, else no creature seeing;

Thou mixture rank, of midnight weeds collected,

With Hecate’s ban thrice blasted, thrice infected,

Thy natural magic and dire property

On wholesome life usurp immediately.

[Reciting] My thoughts are dark, my hands are ready, the poison is prepared, and the moment is right.

[Reciting] Dark thoughts, steady hands, poison ready, and the time is now.

dark thoughts ready hands poison mixed time is now

[_Pours the poison into the sleeper’s ears._]
HAMLET [Hamlet explaining to the King — he poisons for the estate]

He poisons him i’ th’garden for’s estate. His name’s Gonzago. The story

is extant, and written in very choice Italian. You shall see anon how

the murderer gets the love of Gonzago’s wife.

He poisons him in the garden for the sake of his estate. His name is Gonzago. The story actually exists and is written in very elegant Italian. You'll see in a moment how the murderer wins the love of Gonzago's wife.

So he poisons him in the garden to steal his property. The guy's name is Gonzago. This is a real story, it's written down in Italian. You're about to see how the murderer ends up with Gonzago's wife.

he poisons the duke for the money real story the killer seduces the wife

OPHELIA [Ophelia — the King stands up]

The King rises.

The King is rising!

He's leaving!

he's getting up he's leaving

HAMLET [Hamlet mocking — frightened by fake fire from the stage?]

What, frighted with false fire?

What, frightened by false theatrical fire?

What, scared of stage effects?

scared of fake fire of stage tricks scared of the play

QUEEN [Gertrude alarmed, checking on Claudius]

How fares my lord?

How are you, my lord?

Are you all right?

are you okay what's wrong

POLONIUS [Polonius commanding action — stop the play]

Give o’er the play.

Stop the play.

Stop it. Stop the performance.

stop stop the play now

KING ≋ verse [the King fleeing — the poison is shown to work]

Give me some light. Away.

All.

Lights, lights, lights.

Give me light and get me out of here.

Turn on the lights. I'm leaving.

lights get out leave now

[_Exeunt all but Hamlet and Horatio._]
HAMLET [Hamlet quoting a hunting song — celebrating that the King's guilt is revealed]

Why, let the strucken deer go weep,

The hart ungalled play;

For some must watch, while some must sleep,

So runs the world away.

Would not this, sir, and a forest of feathers, if the rest of my

fortunes turn Turk with me; with two Provincial roses on my razed

shoes, get me a fellowship in a cry of players, sir?

Why, let the hunted deer weep, The unharmed hart play; For some must keep watch while some must sleep, That's how the world goes on. Wouldn't this, sir—these fancy feathers, if my fortunes betray me—with two fashionable roses on my worn shoes, get me a place in a company of players, sir?

Come on, let the hunted deer cry, The unscathed deer can play; Because someone's always working while someone rests, That's how life works. Wouldn't all this—these feathers, if my luck goes bad—plus two fancy roses on my beat-up shoes—get me into an acting company, sir?

let the hunted deer cry the unharmed deer plays some work some sleep if my fortunes go bad wouldn't these feathers and roses get me into an acting company

HORATIO [Horatio answering — following Hamlet's lead]

Half a share.

I'll take half a portion.

I'll have half.

half i take half

HAMLET ≋ verse [Hamlet claiming the whole thing — his victory]

A whole one, I.

For thou dost know, O Damon dear,

This realm dismantled was

Of Jove himself, and now reigns here

A very, very—pajock.

A whole share for myself. For you know, dear Damon, this realm was stripped bare by Jove himself, and now reigns here a most peculiar... pajock.

The whole share for me. Because you know, my dear Damon, this kingdom was dismantled by Jove himself, and now there reigns here a very strange... pajock.

whole share for me good damon this realm stripped by jove himself now reigns a pajock

HORATIO [Horatio making a joke about rhyming]

You might have rhymed.

You could have continued the rhyme.

You should have rhymed that.

you missed the rhyme should have finished it

HAMLET [Hamlet exultant — the Ghost was telling the truth]

O good Horatio, I’ll take the ghost’s word for a thousand pound. Didst

perceive?

Oh good Horatio, I'll stake a thousand pounds on the Ghost's word now. Did you notice his reaction?

Horatio, I'd bet a thousand pounds the Ghost was telling the truth now. Did you see how he reacted?

ghost's word is gold did u see?

HORATIO [Horatio confirming]

Very well, my lord.

I did, my lord.

I saw it all.

yes i saw everything

HAMLET [Hamlet pressing Horatio on the poisoning scene]

Upon the talk of the poisoning?

When they acted out the poisoning — did you notice his reaction then?

Did you see him when they poured the poison in the ear?

during the poison scene did you see him react

HORATIO [Horatio confirming he was watching]

I did very well note him.

I watched him very carefully.

I was watching him the whole time.

i watched him very carefully the whole scene

HAMLET ≋ verse [Hamlet celebrating — calling for music to continue the evening]

Ah, ha! Come, some music. Come, the recorders.

For if the king like not the comedy,

Why then, belike he likes it not, perdie.

Come, some music.

Excellent! Come now, let's have some music. Bring me the recorders.

Perfect. Let's celebrate. Someone get instruments. I want music.

yes music recorders let's celebrate

Enter Rosencrantz and Guildenstern.
GUILDENSTERN [Guildenstern approaching carefully]

Good my lord, vouchsafe me a word with you.

Good my lord, may I speak a word with you in private?

My lord, can I talk to you for a moment?

can i talk to you privately

HAMLET [Hamlet mocking — more than a word]

Sir, a whole history.

Sir, I could give you an entire biography.

Sure, or I could give you a whole speech.

sure i'll give you an entire history

GUILDENSTERN [Guildenstern trying to get to his point]

The King, sir—

The King, sir—

The King is—

the king

HAMLET [Hamlet cutting him off — what about the King?]

Ay, sir, what of him?

What about him, sir?

What about him?

what about the king

GUILDENSTERN [Guildenstern delivering his message]

Is in his retirement, marvellous distempered.

The King is remarkably upset and has gone to his private chambers.

The King's very disturbed. He's gone to his room.

the king is upset very disturbed he left went to his chambers

HAMLET [Hamlet with false innocence]

With drink, sir?

Is it because of alcohol?

Did he drink too much?

drunk too much wine

GUILDENSTERN [Guildenstern correcting him]

No, my lord; rather with choler.

No, my lord. Rather, he's upset and angry.

No, my lord. He's angry. Furious.

no he's angry very angry

HAMLET [Hamlet mocking — Guildenstern should understand better]

Your wisdom should show itself more richer to signify this to the

doctor, for me to put him to his purgation would perhaps plunge him

into far more choler.

You should be wise enough to tell the doctor this, because if I tried to cure him, it might throw him into an even worse angry mood.

You should be smart enough to tell the doctor about this yourself, because if I tried to treat him, it would probably just make him angrier.

tell the doctor yourself if i try to fix it he'll get worse

GUILDENSTERN [Guildenstern trying again]

Good my lord, put your discourse into some frame, and start not so

wildly from my affair.

My lord, please state your thoughts more clearly and systematically.

My lord, just tell me plainly what's going on in your head.

my lord please just explain yourself clearly

HAMLET [Hamlet granting permission with sarcastic calm]

I am tame, sir, pronounce.

I am content, sir. Speak.

Fine. Go ahead.

okay say it

GUILDENSTERN [Guildenstern delivering the message about his mother]

The Queen your mother, in most great affliction of spirit, hath sent me

to you.

Your mother, the Queen, is in great distress of mind.

Your mother is very upset.

your mother the queen very upset very distraught

HAMLET [Hamlet being sarcastically gracious]

You are welcome.

You're welcome.

Thank you for telling me.

thanks thank you

GUILDENSTERN [Guildenstern pushing back — this isn't the right response]

Nay, good my lord, this courtesy is not of the right breed. If it shall

please you to make me a wholesome answer, I will do your mother’s

commandment; if not, your pardon and my return shall be the end of my

business.

No, my lord, this politeness is not genuine. If you'd give me a straightforward answer, I'll carry out your mother's command. If not, I'll apologize and leave, and that will be the end of my business here.

No, my lord, that politeness doesn't seem real. If you'd just give me a straight answer, I'll do what your mother wants. If not, I'll apologize and get out of here, and that's all there is to it.

be straight with me or i'm leaving your mom sent me

HAMLET [Hamlet refusing to cooperate]

Sir, I cannot.

Sir, I cannot.

I can't.

i can't i won't

GUILDENSTERN [Guildenstern pressing — what can't you do?]

What, my lord?

What, my lord?

What do you mean?

what do you mean what can't you do

HAMLET [Hamlet explaining his condition — his mind is sick]

Make you a wholesome answer. My wit’s diseased. But, sir, such answer

as I can make, you shall command; or rather, as you say, my mother.

Therefore no more, but to the matter. My mother, you say,—

I cannot give you a rational answer. My mind is afflicted with disease. But I will go to my mother.

I can't think straight. My brain's not working. But yes, I'll see my mother.

i can't think my mind is broken but i'll go to her

ROSENCRANTZ [Rosencrantz reporting the Queen's message]

Then thus she says: your behaviour hath struck her into amazement and

admiration.

The Queen says your behavior has deeply disturbed her.

She says you've hurt her with how you're acting.

your behavior has upset her very much

HAMLET [Hamlet mocking — a son who can shock his mother?]

O wonderful son, that can so stonish a mother! But is there no sequel

at the heels of this mother’s admiration?

How wonderful — a son who can so astonish his mother! But I will see her. You can be sure of that.

A son who can shock his mother! How rare. But yes, I'll go to her.

a son who shocks his mother rare talent i'll see her soon

ROSENCRANTZ [Rosencrantz with the specific request]

She desires to speak with you in her closet ere you go to bed.

She wants to speak with you in her private chamber before you go to bed.

She wants to see you in her room before you sleep tonight.

in her chamber before bed tonight she needs to talk

HAMLET [Hamlet agreeing — with a joke about his mother's authority]

We shall obey, were she ten times our mother. Have you any further

trade with us?

We will obey, even if she were ten times our mother. Is there anything else you need from us?

We'll do it, even if she were ten times the mother she is. Anything else you need from me?

we'll obey anything else

ROSENCRANTZ [Rosencrantz with emotional appeal]

My lord, you once did love me.

My lord, you once loved me.

My lord, we were friends.

you used to care about us about me

HAMLET [Hamlet swearing by his hands]

And so I do still, by these pickers and stealers.

And I still do, I swear by these hands of mine.

I still do. I promise.

i still do i care i swear it

ROSENCRANTZ [Rosencrantz making a direct appeal]

Good my lord, what is your cause of distemper? You do surely bar the

door upon your own liberty if you deny your griefs to your friend.

Good my lord, what is bothering you? You're basically locking yourself away if you won't tell your troubles to your friend.

My lord, what's wrong? You're basically shutting yourself off from the world if you won't tell your friend what's bothering you.

what's wrong you're shutting me out tell me

HAMLET [Hamlet with a flat answer — lack of advancement]

Sir, I lack advancement.

Sir, I'm not getting anywhere in life.

Sir, I'm stuck. Nothing's working out for me.

im stuck no opportunities

ROSENCRANTZ [Rosencrantz — but you have the King's favor]

How can that be, when you have the voice of the King himself for your

succession in Denmark?

How can that be? The King speaks well of you.

But the King likes you.

but the king favors you he speaks well of you

HAMLET [Hamlet with a proverb about waiting]

Ay, sir, but while the grass grows—the proverb is something musty.

True, but as the proverb says, while the grass grows, the horse starves.

Maybe, but while you wait for things to happen, you starve.

while you wait for things to happen the grass grows and you die hungry

Re-enter the Players with recorders.
HAMLET [Hamlet turning sharply on them, angry]

O, the recorders. Let me see one.—To withdraw with you, why do you go

about to recover the wind of me, as if you would drive me into a toil?

Oh, the recorders. Let me see one. But stepping aside with you, why are you trying to get in front of me the way someone would drive prey into a trap?

Oh, let me see a recorder. But seriously, why are you trying to trap me like I'm game you're hunting?

let me see one why u tryna trap me

GUILDENSTERN [Guildenstern backpedaling, appeasing him]

O my lord, if my duty be too bold, my love is too unmannerly.

My lord, if my loyalty seems excessive, it's because my love is even greater.

My lord, I'm being bold because I care so much.

i care my love my duty to you

HAMLET [Hamlet with false confusion — will you play on this recorder?]

I do not well understand that. Will you play upon this pipe?

I don't understand that well. Will you play this recorder for me?

I don't follow. Can you play this instrument?

play this for me the recorder

GUILDENSTERN [Guildenstern refusing]

My lord, I cannot.

My lord, I don't know how.

My lord, I don't have the skill for that.

i dont know how

HAMLET [Hamlet pressing him]

I pray you.

I beg you.

Please.

please i'm asking

GUILDENSTERN [Guildenstern more firmly]

Believe me, I cannot.

I'm telling you, I genuinely cannot do this.

Look, I just don't know how to play it.

i cant. no skill

HAMLET [Hamlet even more insistent]

I do beseech you.

I beg you, please.

I'm begging you.

please i'm begging

GUILDENSTERN [Guildenstern with finality]

I know no touch of it, my lord.

I have no skill in it, my lord.

I don't know how.

i don't know how to play

HAMLET [Hamlet with cutting logic — it's easy, just use your fingers]

’Tis as easy as lying: govern these ventages with your finger and

thumb, give it breath with your mouth, and it will discourse most

eloquent music. Look you, these are the stops.

It's as simple as lying. Control these finger holes with your breath, and you'll make sweet music. Here, place your finger here, and your thumb here. These holes control the air flow.

It's easy. Just put your fingers on the holes and blow. Come on — thumb here, fingers there. The air goes where you direct it.

it's simple finger holes breath controls it just try

GUILDENSTERN [Guildenstern making the excuse — I can't make it sound right]

But these cannot I command to any utterance of harmony. I have not the

skill.

But I cannot make it produce the right sound, no matter what I do.

But even if I do that, I can't make it work.

i can't make it sound right i don't have the skill

HAMLET [Hamlet turning it around — you're saying you can't manipulate simple things?]

Why, look you now, how unworthy a thing you make of me! 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; and there is much music, excellent voice, in this little

organ, yet cannot you make it speak. ’Sblood, do you think I am easier

to be played on than a pipe? Call me what instrument you will, though

you can fret me, you cannot play upon me.

Look at this now, how cheap you make me out to be! You want to play me like an instrument? You want to seem to know my secrets? You want to pluck out my heart and discover who I really am? You want to sound me out from my lowest note to my highest range? And there's tremendous music in this little instrument, great possibility in my voice, yet you can't make it speak. Do you think I'm easier to play than a pipe? Call me whatever instrument you want, but even though you can make me irritated, you can't actually play me like an instrument.

Wow, you're trying to treat me like I'm cheap or easy! You want to play me like an instrument? You want to act like you know all my secrets? You want to pull my heart out and figure out who I really am? You want to test me from my worst moment to my best? Look, there's beautiful music in this little tool, incredible sound I can make, but you can't get me to make it. You think I'm easier to mess with than a pipe? Call me whatever you want, but even if you can annoy me, you can't actually play me.

you're trying to play me like i'm an instrument stop trying to use me you can't manipulate me

"You would play upon me" The recorder scene is one of the most explicit confrontations in the play: Hamlet drops the pretense of madness and tells Rosencrantz and Guildenstern directly that he knows what they're doing. The recorder is the metaphor made physical — they want to 'play' him the way a musician plays an instrument, getting the notes they want. Hamlet says: you cannot.
Enter Polonius.
HAMLET [Hamlet pivoting, sarcastic courtesy]

God bless you, sir.

May the blessings of heaven be upon you, sir.

Take care of yourself, sir.

good luck

POLONIUS [Polonius with the Queen's message]

My lord, the Queen would speak with you, and presently.

My lord, the Queen would speak with you now, and she says it's important.

The Queen wants to see you right away.

the queen wants you now important

HAMLET [Hamlet testing Polonius — do you see that cloud?]

Do you see yonder cloud that’s almost in shape of a camel?

Do you see that cloud over there, shaped almost like a camel?

Look at that cloud. Doesn't it look like a camel?

that cloud it looks like a camel

POLONIUS [Polonius agreeing]

By the mass, and ’tis like a camel indeed.

Yes, by God, it does look like a camel.

It does look like one, actually.

yes it does looks like a camel

HAMLET [Hamlet shifting — now it looks like a weasel]

Methinks it is like a weasel.

I think it looks like a weasel.

No wait, it looks like a weasel.

no a weasel looks like a weasel

POLONIUS [Polonius agreeing again]

It is backed like a weasel.

Yes, it is shaped like a weasel.

You're right, it does look like a weasel.

yes a weasel absolutely

HAMLET [Hamlet again — or a whale]

Or like a whale.

Or perhaps it resembles a whale.

Or it could be a whale.

looks like a whale

POLONIUS [Polonius — whatever you say]

Very like a whale.

It truly does look like a whale.

Yeah, that's totally a whale.

100% a whale

HAMLET [Hamlet dismissing him]

Then will I come to my mother by and by.—They fool me to the top of my

bent.—I will come by and by.

Then I will come to my mother shortly. These men are fools who play along with whatever nonsense I propose.

Then I'll go see my mother soon. But these men are idiots — they'll agree with anything I say.

i'll go to her soon these men are fools they agree with everything

POLONIUS [Polonius affirming]

I will say so.

I will tell her so.

I'll tell her.

yes i'll tell her

[_Exit._]
HAMLET [Hamlet dismissing everyone — alone now to think]

By and by is easily said. Leave me, friends.

Immediately is easily said. Leave me, friends.

That's easy to say. Now leave me alone.

leave go away i need to be alone

[_Exeunt all but Hamlet._]
HAMLET ≋ verse [Hamlet's resolve hardening into dark purpose]

’Tis now the very witching time of night,

When churchyards yawn, and hell itself breathes out

Contagion to this world. Now could I drink hot blood,

And do such bitter business as the day

Would quake to look on. Soft now, to my mother.

O heart, lose not thy nature; let not ever

The soul of Nero enter this firm bosom:

Let me be cruel, not unnatural.

I will speak daggers to her, but use none;

My tongue and soul in this be hypocrites.

How in my words somever she be shent,

To give them seals never, my soul, consent.

It's now the very hour when witches are abroad, When graveyards open, and hell itself breathes poison into this world. Right now I could drink blood and do terrible deeds that daylight would refuse to look at. But wait, gently—I'll go to my mother. Heart, don't lose your human nature; don't let Nero's cruelty enter this heart. Let me be harsh, but not evil. I will speak harshly to her, but I won't hurt her physically. My tongue and my true intentions will not match. No matter how much I wound her with harsh words, My soul will never agree to follow through.

It's the dead of night now, when everything feels sinister and twisted. I feel like I could do something violent and terrible. But I need to control myself and keep my humanity. I'm going to go talk to my mother, and I'll be harsh with her—really harsh—but I won't actually hurt her. I'll say cruel things, but I won't act on them. I need to stay human inside.

its the witching hour hell feels loose in the world i could do violent things but im going to my mom gotta stay human gonna say harsh stuff but wont act on it

[_Exit._]

The Reckoning

This is the play's theatrical center — a play within a play. Hamlet's instructions to the Players ('Speak the speech, I pray you') reveal his theory of acting and, by implication, his theory of truth: don't overact, don't underact, hold the mirror up to nature. Then the performance itself: Hamlet is brilliant and unsettling during the play, performing a different kind of madness — bawdy, pointed, cruel to Ophelia, making jokes that are daggers. When the Player King is poisoned by a nephew who then courts the queen, Claudius rises and leaves. The trap has worked. Hamlet's elation is genuine: 'I'll take the ghost's word for a thousand pound.' Then the aftermath: Rosencrantz and Guildenstern deliver Claudius's anger and Gertrude's summons. Hamlet plays the recorder game — you cannot play upon me. His soliloquy before going to his mother is the most bloodthirsty he ever gets: 'Now could I drink hot blood.' But the speech ends with self-constraint: he is going to his mother's room, and he will use words, not weapons.

If this happened today…

A documentary filmmaker has secretly edited a reenactment of a corporate fraud to closely mirror what actually happened, and screens it for the alleged fraudster in front of a live audience. The filmmaker watches the screen, then watches the subject's face. The subject walks out. The filmmaker turns to his only confidant: 'Got him.' Then a pair of network executives arrive to tell him the client is angry and the network head wants to see him. Late at night he writes in his journal: 'Now I could destroy him. Now. But not like this — I'll see my mother first.'

Continue to 3.3 →