He will come straight. Look you lay home to him,
Tell him his pranks have been too broad to bear with,
And that your Grace hath screen’d and stood between
Much heat and him. I’ll silence me e’en here.
Pray you be round with him.
He's coming now. Listen here—tell him directly that his behavior has gone too far to overlook, and that your gracious mercy has stood between him and the King's anger. I'll wait right here. Please be direct and firm with him.
He'll be right here. Look, you need to be straight with him—tell him his behavior is out of control and that you've been protecting him from the King getting really angry. I'll stay hidden. Be firm.
hes coming be direct w him tell him hes gone too far
[_Within._] Mother, mother, mother.
Mother! Mother! Mother!
Mom! Mom! Mom!
mom where r u
I’ll warrant you, Fear me not.
Withdraw, I hear him coming.
I promise you, don't worry. Move aside—I can hear him coming.
Don't worry, I got this. Get out of sight—he's on his way.
im ready he's coming get out of the way
Now, mother, what’s the matter?
Now, mother, what's the problem?
So, mother, what's going on?
what's the matter mom
Hamlet, thou hast thy father much offended.
Hamlet, you have deeply offended your father.
Hamlet, you've really hurt your father.
hamlet you've offended him your father gravely
Mother, you have my father much offended.
Mother, you have offended my father greatly.
Mother, you've really upset my father.
you upset dad a lot
Come, come, you answer with an idle tongue.
Come on, you're answering with a careless tongue.
Stop it, you're just throwing out empty words.
stop talking empty
Go, go, you question with a wicked tongue.
Go, go, you speak with a wicked tongue. You question my behavior, but you're the one who should be questioned.
Stop. You're using a poisoned tongue. You dare question me when you're the guilty one?
your tongue is wicked you're the guilty one not me
Why, how now, Hamlet?
Well, what now, Hamlet?
What's wrong with you, Hamlet?
what's wrong
What’s the matter now?
What's the problem now?
What's your problem exactly?
what's going on
Have you forgot me?
Have you forgotten who I am?
You're acting like you don't even know me.
do u forget who i am
No, by the rood, not so.
You are the Queen, your husband’s brother’s wife,
And, would it were not so. You are my mother.
No, I swear not. You are the Queen, married to your first husband's brother—and I wish it were different. You are my mother.
No way. You're the Queen, married to your dead husband's brother. And I hate it. You're still my mother, though.
no. youre the queen married to ur dead husbands brother thats wrong
Nay, then I’ll set those to you that can speak.
Well then, I'll bring people in here who can speak more sense than you.
Fine, then I'll get someone else in here to talk to you.
ill get someone else
Come, come, and sit you down, you shall not budge.
You go not till I set you up a glass
Where you may see the inmost part of you.
Come here and sit down, you won't leave. You won't go until I hold up a mirror for you where you can see the deepest parts of yourself.
Come sit down here. You're not leaving until I show you a mirror where you can see your true self.
sit down can't leave until you see yourself
What wilt thou do? Thou wilt not murder me?
Help, help, ho!
What will you do? You won't murder me, will you?
What are you doing? You're not going to hurt me?
what are you doing will you hurt me why
[_Behind._] What, ho! help, help, help!
What? Help! Help! Help!
Help! Help! Somebody help!
help help help!!
How now? A rat? [_Draws._]
Dead for a ducat, dead!
What now? A rat? [Draws.] Dead for a coin, dead!
What? A rat? [Draws.] I'll kill it for pocket change!
a rat kill it
[_Behind._] O, I am slain!
Oh, I've been killed!
Oh! He's killed me!
oh no im dead
The question of Gertrude's knowledge of the murder is one of the play's most contested. Hamlet treats her marriage as evidence of complicity; the speed of the remarriage and its nature (marrying the brother) suggest to him either knowledge or moral blindness equally culpable. But the text never confirms it. 'As kill a king?' can be played as genuine shock, or as a skilled deflection. The closet scene does not resolve the question — it complicates it. Gertrude ends the scene broken, vowing silence. Whether she is protecting Hamlet from information he is better off not having, or whether she is genuinely discovering something for the first time, remains open. Productions must choose. Most modern productions play her as innocent; some more complex readings keep her complicit but self-deceived. Shakespeare leaves the ambiguity, which may be the truest portrait of human complicity: people who choose not to know can be as guilty as those who know.
O me, what hast thou done?
Oh me, what have you done?
What did you do?
what did u do
Nay, I know not. Is it the King?
I don't know. Is it the King?
I didn't know—is that the King?
didnt know is that the king
O what a rash and bloody deed is this!
What a hasty and violent act this is!
This is a terrible, violent thing to do.
that was awful and violent
A bloody deed. Almost as bad, good mother,
As kill a king and marry with his brother.
A bloody deed. Nearly as evil, dear mother, as killing a king and then marrying his brother.
Bloody, sure. But it's almost as bad, Mother, as murdering a king and then marrying his brother.
bloody? sure but not as bad as killing a king and marrying his brother, mom
As kill a king?
As in killing a king?
Kill a king?
u mean my husband? killed a king?!
Ay, lady, ’twas my word.—
Yes, lady, that was my accusation.
Yes, that's what I'm saying.
yes that's what i mean killing a king
[_To Polonius._] Thou wretched, rash, intruding fool, farewell!
I took thee for thy better. Take thy fortune,
Thou find’st to be too busy is some danger.—
Leave wringing of your hands. Peace, sit you down,
And let me wring your heart, for so I shall,
If it be made of penetrable stuff;
If damned custom have not braz’d it so,
That it is proof and bulwark against sense.
You wretched, rash, meddling fool, goodbye! I thought you were someone better. There's your reward for being too nosy—it's dangerous. Stop wringing your hands. Quiet, sit down. Let me wring your heart, and I will, if it's made of something soft. If long habit hasn't made you so hard that nothing can touch you.
You pathetic, impulsive meddler, you're done. I thought you were someone important. This is what you get for sticking your nose in where it doesn't belong. Stop that panicking. Shut up and sit down. I'm going to crush your heart—really crush it—if you've still got one. If you haven't become so numb from doing wrong all your life that nothing can reach you anymore.
u reckless interfering jerk goodbye. shut up and sit. ima break ur heart if its even still real
What have I done, that thou dar’st wag thy tongue
In noise so rude against me?
What have I done that gives you the right to speak to me so accusingly?
What have I done that justifies you speaking to me like this?
what did i do to deserve this why are you accusing me
Such an act
That blurs the grace and blush of modesty,
Calls virtue hypocrite, takes off the rose
From the fair forehead of an innocent love,
And sets a blister there. Makes marriage vows
As false as dicers’ oaths. O such a deed
As from the body of contraction plucks
The very soul, and sweet religion makes
A rhapsody of words. Heaven’s face doth glow,
Yea this solidity and compound mass,
With tristful visage, as against the doom,
Is thought-sick at the act.
Such an act that destroys modesty and virtue, makes goodness seem false, takes away the rose from the innocent face of true love, and leaves a scar there. Makes marriage promises as false as a cheater's vows. Such a deed as tears out the very soul from the body of the marriage contract, and turns sweet religion into meaningless words. Heaven itself glows with anger, yes, this solid earth, with sad face, as if facing judgment day, feels sick at heart at this deed.
An act like that destroys all decency and purity, makes virtue look fake, strips away the beauty of true love and scars it permanently. It makes marriage vows just as meaningless as a liar's promises. It rips the soul right out of the marriage itself and turns religion into just random words. Heaven glows with anger at this, the whole earth looks sad like it's facing judgment day, and everything feels sick because of what you did.
destroys decency makes virtue fake scars true love makes marriage false heaven is angry
Ay me, what act,
That roars so loud, and thunders in the index?
What act, my son? What are you talking about?
What act? Tell me.
what act what do you mean what have i done
Look here upon this picture, and on this,
The counterfeit presentment of two brothers.
See what a grace was seated on this brow,
Hyperion’s curls, the front of Jove himself,
An eye like Mars, to threaten and command,
A station like the herald Mercury
New lighted on a heaven-kissing hill:
A combination and a form indeed,
Where every god did seem to set his seal,
To give the world assurance of a man.
This was your husband. Look you now what follows.
Here is your husband, like a mildew’d ear
Blasting his wholesome brother. Have you eyes?
Could you on this fair mountain leave to feed,
And batten on this moor? Ha! have you eyes?
You cannot call it love; for at your age
The hey-day in the blood is tame, it’s humble,
And waits upon the judgement: and what judgement
Would step from this to this? Sense sure you have,
Else could you not have motion; but sure that sense
Is apoplex’d, for madness would not err
Nor sense to ecstacy was ne’er so thrall’d
But it reserv’d some quantity of choice
To serve in such a difference. What devil was’t
That thus hath cozen’d you at hoodman-blind?
Eyes without feeling, feeling without sight,
Ears without hands or eyes, smelling sans all,
Or but a sickly part of one true sense
Could not so mope. O shame! where is thy blush?
Rebellious hell,
If thou canst mutine in a matron’s bones,
To flaming youth let virtue be as wax,
And melt in her own fire. Proclaim no shame
When the compulsive ardour gives the charge,
Since frost itself as actively doth burn,
And reason panders will.
Look at this picture here, and then this one, Two brothers shown side by side. See what beauty sat on this face, with hair like Apollo's, a forehead like Zeus himself, an eye like Mars, commanding and threatening, a bearing like the messenger Mercury just landed on a mountain that touches heaven. A face so perfect in every way, that every god seemed to put his seal on it, to prove to the world that this was truly a man. This was your husband. Now look at what comes next. Here is your husband, like a diseased ear of corn infecting his healthy brother. Do you have eyes? Could you leave this beautiful mountain to feed and instead eat from this swamp? Have you eyes? You cannot call it love. For at your age, passion is tame and modest, and it waits for judgment. So what judgment would make you step from this to this? You must have sense, or you couldn't move at all. But that sense must be paralyzed. For madness doesn't make such mistakes, and pleasure was never so enslaved to sense without keeping some ability to choose to understand such a difference. What devil was it that fooled you so completely? Blind man's bluff? Eyes without feeling, feeling without sight, ears without hands or eyes, smelling nothing, or just a sick piece of one true sense couldn't be so confused. Oh shame! Where is your blush? Rebellious hell, if you can rebel in an old woman's body, then to passionate youth let virtue be like wax, and melt in its own fire. Don't be ashamed when the compulsive burning takes command, since frost itself burns just as hot, and reason becomes a servant to desire.
Look at these two pictures of my father and uncle side by side. See how beautiful my father was? He had Apollo's curls, Zeus's forehead, the eyes of Mars—powerful and commanding. He had the bearing of Mercury, the messenger of the gods. Every god seemed to have put their seal on his face to show the world he was a perfect man. That was your husband. Now look at this one, your current husband—he's like a diseased ear of corn next to a healthy one. Do you have eyes? Could you leave this gorgeous mountain to eat in a swamp instead? Do you actually have eyes? And don't call it love. At your age, passion is supposed to be calm and controlled, letting judgment guide it. So what judgment would make you go from one to the other? You must have some sense, or you couldn't even move. But that sense has to be paralyzed somehow. Madness doesn't usually make these kinds of mistakes, and pleasure was never so enslaved to the senses that someone couldn't keep some ability to tell the difference. What devil tricked you so completely? Were you playing blind man's bluff? Eyes without feeling, feeling without sight, ears without hands or eyes, smell without anything—or even just a sick piece of one sense couldn't be this confused. Oh, the shame! Where's your blush? If hell itself can rebel in an old woman's body, then virtue to young, passionate people is like wax that melts in its own heat. Don't be ashamed when desire takes over, since even ice burns as hot as fire, and reason just serves desire.
see my father's beauty and his perfection now look at your new husband like a diseased ear how could you leave that for this where's your shame your judgment is paralyzed
O Hamlet, speak no more.
Thou turn’st mine eyes into my very soul,
And there I see such black and grained spots
As will not leave their tinct.
Oh Hamlet, stop talking. You're turning my eyes inward to my soul, and there I see such dark and ingrained stains as will never wash away.
Hamlet, please stop. You're making me look inside my own soul, and I can see such dark, permanent stains there that I can't get rid of them.
stop i see dark stains on my soul they won't go away
Nay, but to live
In the rank sweat of an enseamed bed,
Stew’d in corruption, honeying and making love
Over the nasty sty.
No, but to live in the filthy moisture of a stained bed, festering in corruption, making love over a pigpen.
No—but living in that disgusting, filthy bed, surrounded by rot and decay, making love on top of a pigsty.
living in a filthy bed making love in filth fucking disgusting
O speak to me no more;
These words like daggers enter in mine ears;
No more, sweet Hamlet.
Oh, speak to me no more. You're breaking my heart.
Please stop. You're killing me.
stop i can't listen i'm breaking
A murderer and a villain;
A slave that is not twentieth part the tithe
Of your precedent lord. A vice of kings,
A cutpurse of the empire and the rule,
That from a shelf the precious diadem stole
And put it in his pocket!
A murderer and a villain, a slave that is not even one-twentieth of your first husband. A court fool in the shape of a king, a pickpocket of empire and power, who stole the precious crown from its place and put it in his pocket!
A murderer and a criminal, a slave who isn't even one-twentieth as good as your first husband. A jester disguised as a king, a thief who steals the empire's power, who literally stole the crown off the shelf and shoved it in his pocket!
murderer vile criminal stole the crown put it in his pocket
No more.
No more.
Stop.
no stop please
A king of shreds and patches!—
A king made of scraps and patches!
A king stitched together from rags and patches!
a king made of rags and patches
Save me and hover o’er me with your wings,
You heavenly guards! What would your gracious figure?
Save me and protect me with your wings, You heavenly guards! What do you want from me?
Help me and cover me with your wings, You heavenly spirits! What do you want?
help me angels whats happening
Alas, he’s mad.
Alas, he's mad.
He's gone mad.
he's insane madness
Do you not come your tardy son to chide,
That, laps’d in time and passion, lets go by
The important acting of your dread command?
O say!
Have you not come to scold your slow son, who in time and emotion has let slip the important carrying out of your dreadful command? Speak!
Aren't you here to scold your sluggish son, who in his confusion has failed to carry out your terrible order? Tell me!
you came to scold your slow son for letting go your command?
Do not forget. This visitation
Is but to whet thy almost blunted purpose.
But look, amazement on thy mother sits.
O step between her and her fighting soul.
Conceit in weakest bodies strongest works.
Speak to her, Hamlet.
Do not forget. This appearance is only to sharpen your almost worn-down resolve. But look, astonishment has taken hold of your mother. Oh, step between her and her troubled soul. Imagination works strongest in the weakest bodies. Speak to her, Hamlet.
Don't forget your purpose. This visit is to sharpen your almost fading determination. But your mother is struck with shock and confusion. You must comfort her and help her troubled spirit. The imagination works most powerfully in weak bodies. Speak to her, Hamlet.
don't forget this sharpens your resolve your mother's in shock comfort her soul speak to her
The Ghost appeared to multiple witnesses in 1-1 and 1-4, establishing its objective reality. In the closet scene it appears only to Hamlet — Gertrude sees and hears nothing. This difference has generated centuries of debate. The orthodox reading: the Ghost is real, appears selectively, and is choosing to be invisible to Gertrude (perhaps because its mission concerns Hamlet, not her). The psychological reading: the closet scene's Ghost is a hallucination produced by Hamlet's extreme emotional state — the confrontation has broken something loose. Shakespeare provides no resolution. Gertrude's rationalization ('this bodiless creation ecstasy is very cunning in') is clinically accurate for hallucination; Hamlet's defense (his pulse is steady, he can re-word everything he said) is precisely what a sane person would say. The scene is designed to be undecidable, and the undecidability is the point.
How is it with you, lady?
How are you, lady?
How are you?
are you okay how do you feel
Alas, how is’t with you,
That you do bend your eye on vacancy,
And with the incorporal air do hold discourse?
Forth at your eyes your spirits wildly peep,
And, as the sleeping soldiers in the alarm,
Your bedded hairs, like life in excrements,
Start up and stand an end. O gentle son,
Upon the heat and flame of thy distemper
Sprinkle cool patience. Whereon do you look?
Oh, how are you doing, when you stare at nothing, and talk with the invisible air? Your spirits peek wildly from your eyes, and like soldiers woken by alarm, your hair, like something alive, stands straight up. Oh dear son, spread cool patience on the heat and flames of your illness. What are you looking at?
Honey, how are you doing? You're staring at empty space and talking to thin air. Your soul is showing wildly in your eyes, and your hair is standing straight up like you've been shocked. My dear son, you need to calm yourself and cool down this burning illness. What are you looking at?
you're staring at nothing talking to air your hair is standing up what are you looking at
On him, on him! Look you how pale he glares,
His form and cause conjoin’d, preaching to stones,
Would make them capable.—Do not look upon me,
Lest with this piteous action you convert
My stern effects. Then what I have to do
Will want true colour; tears perchance for blood.
At him, at him! Look how pale he glares, his form and his message joined together, would convince even stones to understand. Don't look at me, or your pity will weaken my stern purpose. Then what I have to do will lose its force; I'll weep instead of kill.
At him! Look how pale and horrible he looks, and what he's saying combined with how he looks would convince even rocks. Don't look at me, because if you feel sorry for me, it will weaken what I have to do. Then I'll end up crying instead of doing what needs to be done.
look at him he's pale and horrible don't look at me or i'll lose my nerve
To whom do you speak this?
Who are you speaking with?
Who are you addressing right now?
whos that
Do you see nothing there?
Can't you see anything there?
Don't you see him?
u dont see him
Nothing at all; yet all that is I see.
Nothing at all. Yet everything I see, I see as it truly is.
I see nothing. Just what's here.
nothing no ghost just us
Nor did you nothing hear?
Did you hear nothing at all?
You didn't hear anything?
nothing no sound no voice
No, nothing but ourselves.
Nothing at all except our conversation.
Just us talking.
just us just our voices
Why, look you there! look how it steals away!
My father, in his habit as he liv’d!
Look where he goes even now out at the portal.
Look there! See how it steals away? The Ghost is leaving!
There it goes! See it leaving?
look it's going the ghost fading away
This is the very coinage of your brain.
This bodiless creation ecstasy
Is very cunning in.
This is pure imagination from your mind. Ecstasy is very skilled at creating these imaginary beings.
That's all in your head. It's just your imagination getting out of control.
its in ur head just imagination
Ecstasy!
My pulse as yours doth temperately keep time,
And makes as healthful music. It is not madness
That I have utter’d. Bring me to the test,
And I the matter will re-word; which madness
Would gambol from. Mother, for love of grace,
Lay not that flattering unction to your soul
That not your trespass, but my madness speaks.
It will but skin and film the ulcerous place,
Whilst rank corruption, mining all within,
Infects unseen. Confess yourself to heaven,
Repent what’s past, avoid what is to come;
And do not spread the compost on the weeds,
To make them ranker. Forgive me this my virtue;
For in the fatness of these pursy times
Virtue itself of vice must pardon beg,
Yea, curb and woo for leave to do him good.
Madness? No! My heartbeat keeps steady time just like yours, and my pulse plays just as healthy music. This isn't madness—what I've said makes sense. Test me on it, and I can restate everything. Real madness would run away from such a test. Mother, for God's sake, don't soothe your soul with the false comfort that my madness, not your actions, is speaking. That kind of thinking just covers the wound without healing it—like a bandage on an infected sore—while the corruption festers underneath, spreading poison that can't be seen. Confess yourself to heaven. Repent what you've already done. Stop committing new sins. Don't throw manure on the weeds to make them grow even thicker. Forgive me this lecture. In these soft, corrupt times, virtue itself has to beg for permission to do good, as if virtue were the criminal and vice the victim.
Madness? No! My heart beats just fine, regular as yours. My pulse is steady. This isn't madness—everything I said is true. I can prove it if you need me to. A truly mad person would avoid this test. Look, I know I'm being harsh, but I'm not crazy. Don't lie to yourself that my madness is doing the talking instead of your own guilt. That's like putting a bandage on a wound that's infected underneath—the rot keeps spreading in secret. You need to admit what you've done, actually feel sorry for it, and stop doing it again. Stop making things worse. I'm sorry for being so brutal, but in these corrupt times, even being decent and honest is treated like a crime.
im not mad im telling truth test me u need to confess what u did stop repeating the sin
O Hamlet, thou hast cleft my heart in twain.
Oh Hamlet, you've split my heart in two.
Oh Hamlet, you've torn my heart apart.
my heart broken split in half
O throw away the worser part of it,
And live the purer with the other half.
Good night. But go not to mine uncle’s bed.
Assume a virtue, if you have it not.
That monster custom, who all sense doth eat,
Of habits evil, is angel yet in this,
That to the use of actions fair and good
He likewise gives a frock or livery
That aptly is put on. Refrain tonight,
And that shall lend a kind of easiness
To the next abstinence. The next more easy;
For use almost can change the stamp of nature,
And either curb the devil, or throw him out
With wondrous potency. Once more, good night,
And when you are desirous to be bles’d,
I’ll blessing beg of you. For this same lord
Oh, throw away the worse part of it, and live the purer with the other half. Good night. But don't go to your uncle's bed. Pretend to have virtue, even if you don't. That terrible habit, which destroys all feeling toward evil, is a good angel in this way: it gives a kind of clothing and uniform for good and fair actions that fits perfectly. Refrain tonight, and that will make it easier to do it again tomorrow. The next time easier still. Because habit can almost change our very nature, and either control the devil or throw him out with amazing power. Once more, good night, and when you want to be blessed, I'll ask for your blessing. For this same man,
Get rid of the bad part of yourself and live with the good half. Good night. But don't go to your uncle's bed. Act like you have virtue even if you don't. Here's the thing about habit—it destroys all feeling for evil, but it's actually good in this way: it gives you clothing and appearance for good and fair actions. So don't sleep with him tonight, and tomorrow it'll be easier. The next time easier still. Habit can basically change your entire nature, controlling the devil or throwing him out with incredible power. Good night. When you want to be blessed, I'll ask for your blessing. About your uncle,
throw away the bad part live with the good don't go to his bed pretend to have virtue habit changes nature it will get easier
I do repent; but heaven hath pleas’d it so,
To punish me with this, and this with me,
That I must be their scourge and minister.
I will bestow him, and will answer well
The death I gave him. So again, good night.
I must be cruel, only to be kind:
Thus bad begins, and worse remains behind.
One word more, good lady.
I do repent it, but heaven has chosen to punish me through this death, and to punish you through me. I must handle his body and answer for the death I caused. So again, good night. I must be cruel only to be kind. Here is where bad things begin, and worse things follow after. One more word, good lady.
I'm sorry about it, but heaven has decided to punish me by making me do this, and to punish you by what I've done to you. I'll take care of the body and take responsibility for the death. So again, good night. Sometimes you have to be harsh to do what's right. This is the beginning of bad things, and worse will follow. One more thing, lady.
i regret it but heaven made this happen ill deal w the body im sorry i had to be harsh to do right worst is still coming
What shall I do?
What course of action should I take?
What am I supposed to do now?
what do i do
Not this, by no means, that I bid you do:
Let the bloat King tempt you again to bed,
Pinch wanton on your cheek, call you his mouse,
And let him, for a pair of reechy kisses,
Or paddling in your neck with his damn’d fingers,
Make you to ravel all this matter out,
That I essentially am not in madness,
But mad in craft. ’Twere good you let him know,
For who that’s but a queen, fair, sober, wise,
Would from a paddock, from a bat, a gib,
Such dear concernings hide? Who would do so?
No, in despite of sense and secrecy,
Unpeg the basket on the house’s top,
Let the birds fly, and like the famous ape,
To try conclusions, in the basket creep
And break your own neck down.
Don't do this, not by any means: let the swollen King tempt you into bed again, paw your cheek playfully, call you his mouse, and let him, for a couple of nasty kisses, or touching your neck with his cursed fingers, make you tell all about this matter, that I'm not mad at all, but mad by calculation. It would be good for you to let him know, for who, just a queen, fair, sober, and wise, would hide such important secrets from a frog, a bat, a tomcat? Who would do so? No, ignoring sense and secrecy, let the birds out of the basket on top of the house, let them fly, and like the famous ape, trying experiments, creep into the basket and break your own neck climbing down.
Whatever you do, don't let the fat King seduce you into bed again, don't let him paw at your cheek and call you his mouse, and don't let him use a couple of sloppy kisses or his disgusting fingers on your neck to trick you into telling him that I'm not actually insane but pretending. You should tell him I am crazy so he doesn't find out. Who, just because she's a queen and fair and sober and wise, would hide such important things from a frog, a bat, a tomcat? Nobody, right? But you should. Don't spill the basket on top of the house and let all the birds fly out just to try some experiment, and definitely don't be like that ape that crawled into an empty basket to see what would happen and broke its own neck.
don't let him seduce you don't tell him i'm faking keep the secret or you'll destroy everything
Be thou assur’d, if words be made of breath,
And breath of life, I have no life to breathe
What thou hast said to me.
I swear it — if words are made of breath and breath has any power, I will not go to him.
I promise. My words mean something. I won't go to him.
i swear my words mean something i won't go
I must to England, you know that?
I must go to England, as you know.
I have to go to England.
i'm leaving going to england
Alack,
I had forgot. ’Tis so concluded on.
Oh, I had forgotten. That's been decided.
Oh, I forgot. Yes, that's all been arranged.
oh right i forgot
There’s letters seal’d: and my two schoolfellows,
Whom I will trust as I will adders fang’d,—
They bear the mandate, they must sweep my way
And marshal me to knavery. Let it work;
For ’tis the sport to have the enginer
Hoist with his own petard, and ’t shall go hard
But I will delve one yard below their mines
And blow them at the moon. O, ’tis most sweet,
When in one line two crafts directly meet.
This man shall set me packing.
I’ll lug the guts into the neighbour room.
Mother, good night. Indeed, this counsellor
Is now most still, most secret, and most grave,
Who was in life a foolish prating knave.
Come, sir, to draw toward an end with you.
Good night, mother.
There are sealed letters. My two school friends, whom I'll trust as little as venomous snakes, carry the orders. They must clear my path and lead me to treachery. Let it work. Because it's fun when the engineer gets blown up by his own bomb, and it will go hard if I won't dig one yard below their mines and blow them up at the moon. Oh, it's so sweet when two plots directly meet in one line. This man will cause me to be sent away. I'll drag his guts into the next room. Mother, good night. This counselor who is now very still, very secret, and very dignified, was in life a foolish, chattering fool. Come, sir, to wind things up with you. Good night, mother.
There are sealed letters. My two old school friends, who I trust about as much as I trust snakes with fangs, are carrying orders. They're supposed to clear my way and guide me to my death. Let them try. It's actually fun when the person setting the trap gets caught in it instead, and I promise I'll dig deeper than their mines and blow them to the moon. It's beautiful when two plots crash into each other like this. This dead guy is going to be responsible for me leaving. I'll carry his body to the next room. Mother, good night. This advisor—now he's very quiet, very secret, and very serious—was just a stupid, loud-mouthed jerk when he was alive. Alright, let's wrap this up with you. Good night, mother.
sealed letters school friends going to betray me i'll turn their trap around blow them up this counselor is finally quiet good night mom
The Reckoning
The closet scene is the emotional heart of the play's third act. Everything that has been compressed — Hamlet's grief, his rage, his love for his mother, his horror at what she's done — erupts here in private. And the scene doubles: while Hamlet is confronting Gertrude, he kills Polonius by accident, which transforms the play's entire trajectory. From this point on, Hamlet is no longer a prince investigating his father's murder; he is also a murderer, and everyone in Denmark will know it. The portraits scene — Hamlet forcing Gertrude to look at the two men and compare them — is one of the play's most intimate and brutal moments. The Ghost appears and is visible only to Hamlet, which raises again the question of his sanity. Gertrude's journey in this scene is from defensive to genuinely broken: she has seen something she cannot unsee. Hamlet's instruction — stay out of Claudius's bed — is almost parental in tone, which is itself deeply strange. He leaves with a corpse. The scene ends with Gertrude alone and the irreversibility of everything made clear.
If this happened today…
A son arrives at his mother's apartment, intending to confront her about the man she married immediately after his father's death. There is someone hiding in the coat closet — the man's assistant, as it turns out, not the man. The son, believing it was the man, has stabbed through the door. Now there is a body on the floor, his mother is in shock, and he shows her photographs of his father and her new husband side by side: 'Look at these two. Really look. Have you lost your mind?' Then he sees something in the corner that his mother cannot see. He tells her things about herself that she will not recover from. He leaves with the body over his shoulder.