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How It All Goes Down

Welcome to Elsinore, Denmark, land of the recently deceased King who likes to chill out in ghost form at night on
the castle battlements. This has put the castle guards a little on edge so, they call in Horatio, a college pal of Prince
Hamlet (son of the deceased King), who confirms that, yep, there's a ghost on the battlements alright, and it looks a
lot like the dead king. This can't be a good thing, especially since Denmark's about to go to war with Norway.
(Norway's Prince Fortinbras Junior wants to reclaim the lands his deceased father lost in a bet to Old Hamlet,
Denmark's now deceased King.)

Back at the palace, we meet the new King Claudius, brother to the dead King and new husband of Queen Gertrude.
(Yes, that's right, she’s now married to her ex-brother-in-law, which makes Claudius Hamlet's uncle/stepfather.)
Claudius takes pains to avoid war with Norway, and then deals with his new stepson. Lately, Hamlet's been wearing
this all black get-up and he's been acting moody, mostly because his mother (Gertrude) waited about two seconds to
get married after his father died. In fact, Hamlet complains that the cookies and punch left over from his father's
funeral were served at his mother's wedding. The King and Queen tell him to cool it with the moping – everybody
has to die someday. After the family get-together, Hamlet says he wishes his flesh would "melt" and then Horatio
shows up and tells him about the ghost, which Hamlet wants to see ASAP.

We also learn that Ophelia's got a romantic thing going on with Hamlet. Her brother, Laertes, tells her to drop
Hamlet like a bad habit because Hamlet's only trying to sleep with her. Besides, Hamlet's a prince and so out of her
league. Ophelia reminds her big brother that he's got no room to talk and then Polonius shows up and wants to know
what his kids are talking about. Dad concurs with Laertes's remarks and tells Ophelia to let things cool off with
Hamlet. Being an obedient daughter, Ophelia agrees

Meanwhile, on the battlements, Hamlet confers with the ghost, who claims to be his father's spirit. At first, Hamlet's
not sure what to think. Is it a friendly ghost or, is it a demon from hell? After the ghost tells Hamlet that Claudius is
the man who murdered his father by pouring poison in his ear while he (Old Hamlet) was snoozing in his garden,
young Hamlet thinks the ghost is probably telling the truth. The ghost of the King orders Hamlet to "remember" him
by seeking revenge. Alright. Game on. Hamlet tells his pals not to worry if he starts to act a little crazy – he's got a
master plan that involves him putting on an "antic disposition" (acting like a madman or, a clown). Note: It's not
exactly clear why Hamlet decides to put on an "antic disposition." To avoid murdering Claudius? To buy some time
so he can figure out if the ghost is telling the truth? What do you think?

The next time we hear about Hamlet, Ophelia declares that Hamlet is crazy. Apparently, he showed up in her room
looking disheveled and out of it. Polonius brings the news to the King, and they decide to spy on the youngsters to
figure out if Ophelia is the source of Hamlet's "madness." Meanwhile, some Danish ambassadors return from
Norway with the good news that there will be no war after all – young Fortinbras has been put in check by his uncle,
the new King of Norway.

We then witness a humorous interlude with Hamlet and Polonius, during which the Prince plays the part of an
"antic" and mocks the courtier for being old and foolish. Polonius, of course, believes Hamlet has lost his mind.

Enter Rosencrantz and Guildenstern, two childhood pals of Hamlet and Horatio. The King and Queen have called
them to Elsinore to spy on Hamlet and find out why he's gone mad. While the duo fails to do this, some players
(actors) come into town. Hamlet asks them to give a speech about Hecuba and then Hamlet berates himself for being
unable to kill Claudius and avenge his father's death. Hamlet decides to set up a play, The Murder of Gonzago (also
called The Mousetrap) in which a king is murdered in the same way Claudius murdered Hamlet's father (by pouring
poison in the ear). This way, when the royal court watches it, Hamlet can gauge Claudius's reaction and discern
whether or not his father's ghost was telling the truth.

Claudius confers with Rosencrantz and Guildenstern and finds out that they haven't discovered the source of
Hamlet's odd behavior. Gertrude says she hopes Ophelia's beauty is the source of his madness. Everyone leaves
while Hamlet delivers the big "to be or not to be" speech in which he thinks about the pros and cons of suicide and
decides that most people don't commit suicide because they don't know what death will be like –it's an
"undiscovered country." Then Hamlet meets up with Ophelia, where he acts crazy and cruel, possibly because he

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knows Polonius is spying on them the whole time. Hamlet accuses all women of being dishonest and says to Ophelia
"get thee to a nunnery," which is Elizabethan slang for "go back to your brothel."

Hamlet asks Horatio to help him watch Claudius during his play's performance. When the murder scene plays,
Claudius does all but stand up and shout that he's guilty. That takes care of that, and Hamlet is convinced that his
stepfather/uncle is guilty of the crime. Hamlet is livid and later tries to kill Claudius. Unfortunately, Hamlet finds
Claudius praying. Hamlet, sneaking up behind him, decides killing a man while he's praying is not only
dishonorable, but will get Claudius a ticket to Heaven, which the guy doesn't deserve.

In Gertrude's room, Polonius tells her she should have a conversation with Hamlet and try to figure out what's up,
since no one else has been able to do so. He'll hide behind a curtain and listen in. Hamlet enters and berates his
mother for so quickly marrying Claudius after her first husband's death. Gertrude gets scared and calls out for help.
Polonius shouts back and Hamlet, thinking the man behind the curtain is Claudius (maybe), stabs Polonius in the
guts. Polonius dies. When Hamlet realizes his mistake, his reaction is something like this: "Whoops. I thought that
was your husband/brother-in-law behind the screen. But that's nothing compared to what you've done, Mom. Incest
is so much worse than murder."

When Gertrude tells Claudius her son has indeed gone mad (she conveniently leaves out the part about Hamlet
accusing him of murdering the old king) Claudius has Rosencrantz and Guildenstern fetch the Prince and
accompany him to England, where Hamlet will be out of the way. On the way to England, Hamlet looks ashore from
his ship and sees Prince Fortinbras of Norway marching across the land to fight for some lost territories. He thinks
Fortinbras's war is petty but he is inspired to action and decides he needs to go back to Denmark and finish what he
didn't start, namely, the killing of Claudius.

Back at the castle, Ophelia has cracked and gone mad. She wanders around the castle singing strange and bawdy
songs, which makes everyone uncomfortable. Meanwhile, Laertes has returned home from France to avenge father's
death and is enraged at the sight of his sister. Claudius calms him down by explaining that Hamlet killed Polonius,
and together they can get back at the Prince by staging a "friendly" duel in which they can treacherously kill the
Prince. The plan: Laertes will use a sharpened sword (as opposed to the standard blunted sword used for friendly
dueling), the sword will also be poisoned (just in case), and just to be safe, Claudius will get Hamlet to drink from a
poisoned goblet of wine.

The next thing we know, Ophelia has committed suicide or, has drowned by accident; it's unclear because it happens
off-stage and we hear about it from Gertrude, who may or may not have been an eyewitness. But, since everyone
thinks Ophelia committed suicide, she gets a shoddy burial, as suicide was considered a terrible sin. Hamlet, who
doesn't know what's happened, is hanging out in the graveyard playing with skulls and contemplating death when
Ophelia's funeral begins. At the funeral, there's more talk about Ophelia's "purity" and Laertes jumps into Ophelia's
grave to hold her one last time. Hamlet runs over and seems pretty distressed – he argues with Laertes over who
loved Ophelia the most.

Just as we are wondering what happened on the boat to England, how Hamlet got back, and where Rosencrantz and
Guildenstern have gone, Hamlet gets Horatio up to speed. On the boat to England, Hamlet opened the letter that
Rosencrantz and Guildenstern were carrying and found that it carried instructions to have him (Hamlet) killed.
Naturally, Hamlet altered the letter to say "Please kill Rosencrantz and Guildenstern, thanks," and escaped on a
pirate ship back to Denmark.

Onto the last scene: put your rain gear on because it's gonna be a bloodbath. During the friendly duel between
Hamlet and Laertes, everything goes according to Claudius's evil plan until, uh oh, Gertrude drinks the poisoned
wine. (Was it an accident? Or, did she subconsciously do it to save her son? It's not entirely clear.) Meanwhile,
Laertes cuts Hamlet with the poisoned sword, and Hamlet, ending up with Laertes's sword, wounds him back. All
three have fallen to the floor by now. Before the end of the play, one more person gets killed. Before he dies, Laertes
yells out, "It's all Claudius's fault!" So, Hamlet stabs Claudius with the poisoned sword and makes him drink the
poisoned wine. Bloodbath complete. Horatio's feeling left out and wants to kill himself too but Hamlet instructs him
that it's his job to tell Hamlet's story. While most characters are dying and/or dead, Fortinbras of Norway walks in,
steps over the blood and guts and bodies strewn out all over the floor, and then helps himself to the Danish throne.

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 Horatio and Fortinbras decide to put all the dead bodies up on a "stage" for people to look at while Horatio tells
Hamlet's story.

Hamlet Theme of Madness

Madness – both real and feigned – is at the heart of the play. Hamlet's "antic disposition" has famously sparked a
scholarly debate: Does Hamlet truly go "mad" or is it all an act? An impossible mystery, it's one of many
unanswered questions raised by the play. Nevertheless, the complexity and sheer ambiguity of Hamlet's mental state
and erratic behavior is compelling and seems to speak to the play's overall atmosphere of uncertainty and doubt.
Ophelia's clear descent into madness (and subsequent drowning) is somewhat of a different issue. Critics tend to
agree that Ophelia seemingly cracks under the strain of Hamlet's abuse and the weight of patriarchal forces, which
has important implications for the play's portrayal of "Gender" and "Sex."

Hamlet Theme of Revenge

Hamlet gears up to be a traditional bloody revenge play – and then it stops. The bulk of the play deals not with
Hamlet's ultimately successful vengeance on his father's murderer, but with Hamlet's inner struggle to take action.
The play concludes with a bloodbath that's typical of revenge tragedy, but Hamlet's infamous delay sets it apart from
anything that's come before it. Hamlet is also notable for the way it weaves together three revenge plots, all of which
involve sons seeking vengeance for their fathers' murders. Ultimately, the play calls into question the validity and
usefulness of revenge.

Hamlet Theme of Lies and Deceit

Hamlet, more than almost any character in literature, hates deception and craves honesty. It is one of the brilliant
ironies of the play that Hamlet, an absolutist in his quest for truth, is trapped in a seamy political world where
deception is a necessary part of life and political "spin" rules the day. This contrast, fascinating to the audience, is a
torment to Hamlet. Deception is necessary for and used by every character in Hamlet, for every purpose ranging
from love to parenting to regicide.

Questions About Lies and Deceit

1. What is Hamlet's stance towards deception or "seeming?" Does he provide any explanation as to why he is
so disgusted by these things? Are we supposed to share his opinion?
2. How do characters other than Hamlet discuss deception?

3. Who in the play engages in some kind of deception or deceit? Which characters avoid deception
completely?

4. Does Hamlet himself avoid deception? Is he a hypocrite?

5. Polonius says, "To thine own self be true / and it must follow, as the night the day / Thou canst not then be
false to any man." Is this evaluation of truth and deception backed up by the play? Does Polonius follow his own
advice? Does anyone follow it?

Chew on This
Try on an opinion or two, start a debate, or play the devil’s advocate.

Hamlet is miserable in Denmark not just because of his father's death, but because he craves honesty while everyone
else around him is engaged in deception and manipulation.

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There is justice in Hamlet because every character that practices deception is ultimately punished for doing so, often
by his own form of treachery.

Hamlet Lies and Deceit Quotes

How we cite the quotes:

Citations follow this format: (Act.Scene.Line). Line numbers correspond to the Norton edition.

QUEEN GERTRUDE
Why seems it so particular with thee?
HAMLET
Seems, madam! nay it is; I know not 'seems.'
'Tis not alone my inky cloak, good mother,
Nor customary suits of solemn black,
Nor windy suspiration of forced breath,
No, nor the fruitful river in the eye,
Nor the dejected 'havior of the visage,
Together with all forms, moods, shapes of grief,
That can denote me truly: these indeed seem,
For they are actions that a man might play:
But I have that within which passeth show;
These but the trappings and the suits of woe.
(1.2.2)

From his very first scene, Hamlet sets himself up as someone who hates deception and values inner
truth above all. Here, he insists that outward appearances (like his "inky" black clothing, sighs, and tears
– all the common markers of grief) can't possibly "denote" what's truly inside him. In other words,
Hamlet's saying that his anguish and grief over his father's death are far more intense that they appear
to the outside world. He's also implying that Gertrude, Claudius, and the rest of the court are totally fake
and disingenuous because they don't care about him or his feelings at all and are far too concerned with
keeping up appearances.

POLONIUS
This above all: to thine ownself be true,
And it must follow, as the night the day,
Thou canst not then be false to any man.
(1.3.1)

Polonius likes to dish advice, as when he says that if you are true to yourself, you cannot deceive anyone
else. Given Polonius's penchant for spying on his children and Hamlet in order to curry favor with King
Claudius, he's not in any position to be talking about truth. We're reminded that when these kinds of
cliché sayings are carelessly bandied about, they don't seem to carry any meaning at all.

GHOST
Ay, that incestuous, that adulterate beast,
With witchcraft of his wit, with traitorous gifts,—
O wicked wit and gifts, that have the power
So to seduce!—won to his shameful lust

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The will of my most seeming-virtuous queen:
O Hamlet, what a falling-off was there!
From me, whose love was of that dignity
That it went hand in hand even with the vow
I made to her in marriage, and to decline
Upon a wretch whose natural gifts were poor
To those of mine!
But virtue, as it never will be moved,
Though lewdness court it in a shape of heaven,
So lust, though to a radiant angel link'd,
Will sate itself in a celestial bed,
And prey on garbage.
(1.5.9)

Like Hamlet, the ghost dwells on Gertrude's "seeming" virtue. Critics are a bit divided over what this
means. Is the ghost saying Gertrude cheated on him when they were married? Or, does the ghost
merely see her remarriage as a betrayal. The debate comes down to the meaning of "adulterate," which,
in Elizabethan England could refer to a cheating spouse or any sexual sin in general (like incest). Either
way, the ghost implies that his marriage to Gertrude was a sham. Like young Hamlet, the ghost sees
Gertrude as an unfaithful woman with a serious sexual appetite.

HAMLET
O villain, villain, smiling, damned villain!
My tables,—meet it is I set it down,
That one may smile, and smile, and be a villain;
At least I'm sure it may be so in Denmark:
(1.5.10)

Now that the ghost (who claims to be the spirit of Old Hamlet) has revealed that King Claudius's a
murderer, the prince realizes that his instincts are correct –everything in Denmark's court, from the King
on down, is a big lie.

Marry, sir, here's my drift;

And I believe, it is a fetch of wit:
You laying these slight sullies on my son,
As 'twere a thing a little soil'd i' the working, Mark you,
Your party in converse, him you would sound,
Having ever seen in the prenominate crimes
The youth you breathe of guilty, be assured
He closes with you in this consequence;
'Good sir,' or so, or 'friend,' or 'gentleman,'
According to the phrase or the addition
Of man and country.
(2.1.8)

Here, Polonius instructs his servant to spread rumors about his son, Laertes, in the hopes of finding out
about Laertes's true behavior. (The idea is that Laertes will open up to Reynoldo about all his dirty little
secrets and Reynoldo can then tattle to Polonius.) Polonius believes that deception may be the best

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route to the truth. Obviously, this way of thinking has some major flaws. We also notice that this is
pretty much the same method Hamlet uses to find out whether or not the ghost is telling the truth
about Claudius. It seems like Hamlet is completely deceptive when he pretends to be a madman.

At such a time I'll loose my daughter to him:

Be you and I behind an arras then;
Mark the encounter:
(2.2.12)

Polonius is in collusion with the King over deceiving Hamlet. Based on Hamlet's own personal sense of
justice, under which betrayal and deception deserve death, perhaps this is why Hamlet doesn't feel
guilty when he accidentally stabs Polonius.

HAMLET
You were sent for; and there is a kind of confession in your looks
which your modesties have not craft enough to colour:
I know the good king and queen have sent for you.
(2.2.25)

Hamlet's old friends try to deceive him, but Hamlet sees right through it. The force (of sensing
deception) is strong in this guy.

KING CLAUDIUS
[Aside] O, 'tis too true!
How smart a lash that speech doth give my conscience!
The harlot's cheek, beautied with plastering art,
Is not more ugly to the thing that helps it
Than is my deed to my most painted word:
O heavy burthen!
(3.1.4)

Claudius is aware of the implications of his scheming and lies. What's interesting about this passage is
the way his sexist remarks align his own deception with the use of cosmetics. The king compares his
"painted word[s]" (every lie he tells) to the way a "harlot" "plasters" her face with makeup. This has
some serious implications for the way the play associates women with deception, which you can read
about by going to "Quotes" for the theme of "Gender." While you're there, be sure to check out our
discussion of Hamlet's very similar remarks about women, makeup, and deception at 3.1.12.

HAMLET
[…] Where's your father?
OPHELIA
At home, my lord.
HAMLET
Let the doors be shut upon him, that he may play the
fool no where but in's own house. Farewell.
(3.1.9)

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Hamlet seems to know that Polonius is using Ophelia as bait to spy on him. When he confronts her,
Ophelia lies to him outright. What's so terrible about all this is that Ophelia has no choice in the matter –
as an unmarried daughter she must obey her father's orders (to stop seeing Hamlet and, here, to
participate in Polonius's deception).

HAMLET
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, yet you
cannot play upon me.
(3.2.56)

When Rosencrantz and Guildenstern try to get Hamlet to confide in them (so they can report back to the
king), Hamlet is furious. Here, he makes an analogy between deception and playing a musical instrument
to demonstrate why his friends can't "play" him – they're simply not skilled enough. This, as we know, is
what gets Rosencrantz and Guildenstern killed.

HAMLET
An earnest conjuration from the king,
As England was his faithful tributary,
As love between them like the palm might flourish,
As peace should stiff her wheaten garland wear
And stand a comma 'tween their amities,
And many such-like 'As'es of great charge,
That, on the view and knowing of these contents,
Without debatement further, more or less,
He should the bearers put to sudden death,
Not shriving-time allow'd.
HORATIO
How was this seal'd?
HAMLET
Why, even in that was heaven ordinant.
I had my father's signet in my purse,
Which was the model of that Danish seal;
Folded the writ up in form of the other,
Subscribed it, gave't the impression, placed it safely,
The changeling never known. Now, the next day
Was our sea-fight; and what to this was sequent
Thou know'st already.
HORATIO
So Guildenstern and Rosencrantz go to't.
HAMLET
Why, man, they did make love to this employment;
They are not near my conscience; their defeat
Does by their own insinuation grow.

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(5.2.6)

Hamlet gleefully describes to Horatio how he got revenge on Rosencrantz and Guildenstern by sending
them to their deaths. He says this is fair repayment for the way they treated him and the deceit they
practiced. Horatio, by the way, is Hamlet's only loyal friend. He's also the only main character to survive
the bloodbath at the end of the play.

LAERTES
I am justly kill'd with mine own treachery.
(5.2.12)

It is poison that ultimately brings down Laertes, Claudius, Gertrude, and Hamlet, both Laertes and Claudius die as a
result of the poison they prepared for the Prince. The literally poisonous deception they practiced turns against them,
and Laertes admits that they are fairly punished by their own dirty scheme

Hamlet

Character Analysis

What's Up with Hamlet?

Prince Hamlet is a moody, smart-alecky teenager with suicidal tendencies, a penchant for wearing black mourning
clothes, and a habit of delivering long, drawn-out speeches on the futility of life. In his first soliloquy, he tells us he
wishes his "too, too solid flesh would melt / Thaw and resolve itself into dew" and that the world seems "weary,
stale, flat," like an "unweeded garden (1.2.5). Pretty intense stuff. What's this kid's problem anyway? It turns out his
father, Old King Hamlet, died less than two months ago so Hamlet's feeling the loss intensely. To make matters
worse, his mother, Gertrude, has already remarried and is now the wife of Hamlet's uncle, Claudius, who's also
helped himself to the Danish crown. (Did we mention that Hamlet's new stepdad also calls him a wimp for being sad
about his father's death?)

To makes matters even worse, a ghost who claims to be Old King Hamlet's spirit shows up and tells Hamlet that he
was murdered by Hamlet's uncle/stepfather. Gosh. That's a lot to take in, wouldn't you say? When Hamlet learns he
must avenge his father's murder, he responds in an unexpected way – by promising to take "swift" action against
Claudius and then taking his sweet time getting the job done. Seriously, this guy takes for-e-ver to kill the guy who's
shaken up his world. What does Hamlet do instead of killing his father's murderer? Why, he pretends to be a
madman, runs around delivering lengthy philosophical speeches, verbally abuses his girlfriend, stabs his girlfriend's
father in the guts, and terrorizes his mother.

Identifying with Hamlet

Hmm. Sounds like the basis of an episode of Days of Our Lives, not the greatest play in the history of the world.
Yet, that's what makes Shakespeare's character (and the entire play) so bizarre – and so brilliant. Hamlet's
psychological response and baffling actions make him one of the most complex dramatic characters ever created.
Watching Hamlet come to terms with life and death, his mother's sexuality, and the implications of avenging his
father's murder is like taking a psychological roller coaster ride.

We come to know Hamlet through his beautifully wrought speeches (soliloquies) and though we may often think of
him as a jerk, a sexist, and a madman, Hamlet is a deeply sympathetic figure (even if he does seem to be the
quintessential moping teenager). Seriously, how would you feel if your mother married your uncle about a month
after your father died? And what if you then found out that your uncle was responsible for your father's death? Most

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people never face these exact issues but everybody can identify with Hamlet's sense of being betrayed by those he
loves and looks up to. And, most people can also identify with Hamlet's overwhelming grief over the loss of his
father.

Hamlet and Sex

If you've read the play (and you should read the play), you've probably noticed that Hamlet is seriously angry with
his mother. Not only that, Hamlet's seriously angry that his mother has a sex life. Here's what Hamlet says in his first
soliloquy after he tells us he wants his "flesh" to "melt."

That it should come to this!

But two months dead: nay, not so much, not two:
So excellent a king; that was, to this,
Hyperion to a satyr; so loving to my mother
That he might not beteem the winds of heaven
Visit her face too roughly. Heaven and earth!
Must I remember? why, she would hang on him,
As if increase of appetite had grown
By what it fed on: and yet, within a month–
Let me not think on' – Frailty, thy name is woman!–(1.2.5)

OK, we get that Hamlet's ticked that mom's moved on so quickly – less than two months after his old man died.
Fine. But here's the thing, Hamlet says he can hardly stand to "remember" the way his mother couldn't get enough of
his father when he was alive – "she would hang on him" with a major sexual "appetite" that she seems to have
simply transferred over to her new husband. So, what's the deal? Is he mad that Gertrude is into her new husband or,
that Gertrude is into any man (including his dead dad)? We also notice that by the end of this passage, Hamlet's
attitude toward his mom has spilled over to include all women, who, according to Hamlet, are "frail" or, morally
weak because they're so lustful. This kind of thinking goes on throughout the entire play. Seriously, it seems that not
a scene goes by without Hamlet directing his anger and disgust at women. This also has major consequences for
Hamlet's relationship with his girlfriend, which you can read all about by checking out our "Character Analysis" of
"Ophelia." You can also check out our discussion of "Sex" and "Gender" if you want to know more about Hamlet's
attitude toward women and sexuality in general.

Hamlet and The Really Big Question

We know what you're thinking. You want some answers to the really big question: Why does Hamlet delay so long
in carrying out his revenge? As most big questions tend to do, this sucker spawned hundreds of years of scholars
writing hundreds of theories as to why. Here are some of the big schools of thought:

Theory #1: Don't talk to strange ghosts

Keep in mind that the Protestant Reformation happened twenty or so years before Hamlet was written. Basically,
these new Protestants had different views of Christianity than the current ruling team, the Catholics. From what the
ghost says, it sounds like he's coming from Purgatory, a sort of waiting room where souls chilled out before they
could get to Heaven. If this is true, then we trust the ghost; nothing wrong with a resident of Purgatory.

On the other hand, Protestants denied the existence of Purgatory. This means the ghost may be a demon from hell,
which is why Hamlet wonders if the spirit is a "goblin damned" (1.4.5). So what is Hamlet – Protestant or Catholic?
Protestant. Hamlet's chilling in Denmark, which is definitely Protestant nation, and he goes to the University of
Wittenberg, which was Martin Luther's university and also home to the church door he so famously nailed his theses
to. This means the ghost could possibly be a devil that has come to tempt him and is, therefore, not telling the truth
about Old Hamlet's murder. Hamlet takes his time with this one. The Prince obviously doesn't trust the ghost; he has
to confirm before he acts. We talk about this more in "Quotes" for "Religion."

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Theory #2: Hamlet has some scruples

Think about the famous Christian sentiment from Romans, xii, 19: "Avenge not yourselves […] vengeance is mine, I
will replay, saith the Lord." Translation: It's not man's place to take vengeance on anyone, period. That's God's job.
Plus, everyone knows that murder is a sin. Shakespeare's inclusion of Christian morality in this play is really
fascinating because it doesn't necessarily square with the basic tenets of revenge tragedy, which calls for bloody
vengeance. (See "Genre" for more on this.) At work in Hamlet is also the notion of the old, Pagan revenge code, that
says when someone kills your father, you have to get your revenge on which, of course, means that person's kid will
eventually kill you, and so on and so on ad infinitum until everybody dies and entire families are wiped out. So
Shakespeare does a nifty thing in Hamlet: he injects a Pagan revenge code into a Christian setting. Hamlet is a
Christian hero with a Pagan duty. That would be why Hamlet delays in killing Claudius.

Theory #3: Hamlet stinks. Shakespeare stinks.

We're not kidding. Some people say that you can't answer the question of why Hamlet delays seeking revenge
because there is no answer. Stop trying to preserve the play's integrity and/or psychological accuracy, because there
isn't any to be preserved. Who thought this? Let's start with the famous author Voltaire. If that's not enough, there's
also the poet T.S. Eliot.

According to this school of thought, Hamlet is only "mysterious" to us because he's a poorly drawn dramatic figure.
Shakespeare didn't give him enough of a motive to make any sense of his behavior. But remember from your lesson
in Historical Context that there's a Renaissance crisis going on at the time; nothing is supposed to make sense.
Everyone's confused about religion, geography, and the state of the universe around 1600. If a play doesn't make
sense… maybe it's not supposed to. After all, how can we know anything for sure? Hamlet is certainly full of
contradictions, inconsistencies, and uncertainties – just like the rest of the world at the time.

Theory #4: Hamlet suffers from an Oedipus Complex

Yes, indeed, some people believe Hamlet is, in some ways, a re-telling of Oedipus the King by Sophocles. In case
you're not familiar, Oedipus was a king who, pretty much by accident, or by fate, killed his father and married his
mother. Fast-forward to the late 19th or early 20th century, and you've got Sigmund Freud going around talking
about the "Oedipus Complex," which basically says every man wants to do what Oedipus did. You're right to point
out that Freud came much later than Hamlet, but since Oedipus the King was written in the 400s B.C., the notion is
an old one.

So, work with us on this for a minute. Let's say Hamlet does suffer from an Oedipus Complex. If this is true, then
Claudius has done what Hamlet wants to do: kill King Hamlet (senior), and sleep with Gertrude. Hamlet can't kill
Claudius, because secretly, he wants to be Claudius. If you want to add some weight to this theory, check out all
those scenes where Hamlet displays a gnawing obsession with his mother's sexuality, down to the tiny details in his
imaginings of her and Claudius getting it on. Also, think about it this way: if Claudius is in a way like Hamlet, then
killing Claudius would be like killing himself. Revenge would be like suicide, which is why the two get so mixed-
up, and why Hamlet has the same feelings about both.

Regardless of what school of thought you subscribe to, there is no question that Hamlet is one of the most complex,
compelling, and fascinating characters in literary history. With Hamlet, Shakespeare broke the mold by creating a
hero whose inner thoughts and quandaries dominate the audience's experience of him, and literature has never been
the same since.

The Ghost

Character Analysis

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Ghosts are a common element in revenge tragedy (which you can read more about by going to "Genre") so it's not
terribly surprising that the specter shows up in the play. What is surprising is the way the ghost invites so much
speculation.

What the Heck Is It?

What is the ghost? What does it want? Where has it come from? As Hamlet wonders, is it a "spirit of health or
goblin damned" (1.4.5)? The answers to these questions are unclear.

Here's what the spirit claims: 1) The ghost says he's Hamlet's father (it sure looks like the guy); 2) The ghost also
says that he was murdered by his brother, who happens to be Hamlet's uncle Claudius, the guy who's now married to
Gertrude and sitting on the throne of Denmark; 3) The ghost also claims he's "doomed" to suffer in "sulph'rous and
tormenting flames" until the "foul crimes done in [his] days of nature / Are burnt and purged away" (1.5.2-5).
Sounds a lot like Purgatory (where sins had to be "purged" before a soul could make it to heaven).

OK fine, but there are a couple of hitches. First, purgatorial spirits weren't supposed to ask people to commit murder
and that's what the ghost wants Hamlet to do. (Remember, he tells the prince he's doomed to suffer until Hamlet
takes revenge on Claudius.) Second, Protestants don't believe in the doctrine of Purgatory and Hamlet is a
Protestant. (He lives in Denmark, a Protestant nation, and goes to school in Wittenberg, where the Protestant
Reformation began. Be sure to check out our discussion of "Religion" for more about this.) This makes the ghost a
pretty suspicious figure, which is partly why Hamlet isn't so sure he can believe the ghost's claims. Hamlet's not
about to go on a murdering spree until he knows the truth. So, while the ghost's appearance sets the revenge plot into
motion, the uncertainty surrounding the specter is what delays the play's action.

The Ghost and Hamlet

A lot of literary critics notice that the ghost has a whole lot in common with young Hamlet. They talk alike (mostly
about Gertrude's "unnatural" and "incestuous" relationship with Claudius) and they also kind of look alike at one
point. Remember when Ophelia describes the way Hamlet appeared when he showed up in her room looking all
ghostly "pale," almost "as if he had been loosed out of hell" (2.1.1)? Hell, as we know, is where the ghost may or
may not have come from.

Some speculate that the ghost could be a figment of Hamlet's imagination. Even though other characters see the
ghost (the castle guards and Horatio, for example), Hamlet's the only one who ever has a dialogue with it. It's also
worth noting that Hamlet's the only character who sees or hears the ghost when it shows up in Gertrude's chamber to
remind Hamlet to be nice to his mom (3.4.18). Has Hamlet been imagining his conversations with the ghost the
whole time? Does this have anything to do with the fact that Hamlet says to Horatio "My father!--methinks I see my
father [..] in my mind's eye" (1.2.12) before he even finds out that the ghost has been appearing on the castle walls?
What do you think?

Regardless of whether or not we believe the ghost is "real," it seems pretty clear that the spirit's presence in the play
dramatizes the way young Hamlet is emotionally haunted, as it were, by his father's memory. And why shouldn't he
be? The prince has just lost one of the most important figures in his life, a man he idolizes and loves. Young Hamlet
is also told by just about everyone he knows that he needs to move on and forget about his father – Claudius insists
Hamlet's excessive grief is "unmanly" and Gertrude tells Hamlet to ditch his mourning clothes and to quit moping
(1.2.2). Perhaps one of the simplest answers to the questions surrounding the ghost is that it stands for Hamlet's
lingering memory of a lost but not forgotten loved one.

Claudius

Character Analysis

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Claudius is the current king of Denmark. He's married to his dead brother's wife, Gertrude, which makes him
Hamlet's uncle and stepfather. Claudius becomes the object of Hamlet's quest for revenge when the young prince
learns that Claudius murdered his father.

Claudius and Biblical Allusion

How did Claudius murder his brother? By pouring poison in Old King Hamlet's ear while he was sleeping
peacefully in his garden. The story sounds familiar, right? Claudius is on more than one occasion aligned with Cain,
the biblical figure known for committing the first murder when he slew his brother, Abel, in the book of Genesis.
Even Claudius admits his "offence is rank [and] smells to heaven [because] / It hath the primal eldest curse upon't, /
A brother's murder (3.3.3). Claudius, then, is a central figure in the play's concern with the theme of "Family"
relationships.

Claudius's murderous deed in the garden also recalls the biblical story of the fall. The Ghost (of Old Hamlet) says
"[t]he serpent that did sting [Hamlet's] father's life / Now wears his crown. (1.5.8) The Ghost also goes on to say
"that that incestuous, that adulterate beast, / With witchcraft of his wit, with traitorous gifts […] won to his shameful
lust / The will of [Old Hamlet's] most seeming-virtuous queen (1.5.9). Hmm. Sounds like the Ghost is comparing
Claudius to the infamous serpent who seduced Eve in the Garden of Eden. (We talk more about gardens in
"Symbols, Imagery, Allegory," so be sure to check that section out.)

Claudius and Kingship

Claudius is also notable for the way his character speaks to the play's ideas about monarchy and power. "A bad man,
but a good king." That's one scholarly assessment of Claudius's character. There's no question that Claudius is a bad
man: nice guys don't kill their brothers and steal their wives. At the same time, Claudius certainly seems like a
competent ruler. The fact that he manages to assume his brother's crown so smoothly is a testament to his powers of
persuasion. As he says himself, he had to convince the nobles of the court to accept his bizarrely-timed and probably
sinful marriage to Gertrude.

Aside from crown-stealing and wife-stealing, Claudius goes on to diplomatically avoid war with Norway and keep
the members of his court (minus Hamlet) under control. We should note that the trouble between Denmark and
Norway began when Old King Hamlet accepted Old Norway's challenge to a duel in which the winner would walk
away with some of the other ruler's lands. Of course, Old Hamlet won the duel, but his willingness to gamble away
part of his kingdom suggests he wasn't exactly the terrific king his son remembers. In any case, Claudius cleans up
the mess with Norway when his negotiations prevent Old Norway's son (Fortinbras) from attacking Denmark in
order to retrieve Norway's lost territory.

Later in the play, Claudius's handling of Laertes's rebellion is especially impressive. Even at sword point, Claudius
manages to calm the kid down and convince him that he is innocent of Polonius's death. His palace is invaded by
Laertes's followers, and still Claudius comes out on top – and wearing his crown.

Claudius as Machiavellian Ruler

It's often noted that Claudius (like so many of Shakespeare's other kings – think of Richard III, among others)
resembles a Machiavellian ruler. (Note: Niccolò Machiavelli wrote The Prince, a "how to" guide for princes on the
maintenance of power.) Machiavelli's ideas were controversial but his book (published 1532) was popular in
Shakespeare's day. According to Machiavelli's theory, being a successful ruler has nothing to do with being a nice
person or doing the right thing. Instead, it's about being inventive, charismatic, willful, and manipulative.

So it seems that the same characteristics that make Claudius a bad man are those that make him a successful king.
He has no qualms about manipulating people, and he is unapologetically selfish. Hypocrisy barely bothers Claudius:
he pretends to be a loving stepfather to Hamlet even while sending him off to be killed. Claudius doesn't let his
conscience get in the way of the job that needs to be done. He also lets Gertrude drink a goblet of wine he knows is

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poisoned – the wine, of course, is intended for the oh so troublesome Hamlet but he'd rather see his wife die than
risk ruining his plans. He does manage a "Gertrude, do not drink," but opts out of the perhaps more effective,
"Gertrude, do not drink, whatever you do, as the wine is poisoned because I'm secretly trying to kill your son, and
even though I really would rather have him dead, I'm not willing to let you go down as a casualty of my despicable
and unlawful scheming."

Polonius

Character Analysis

A Danish lord, Polonius is the father of Laertes and Ophelia. Audiences tend to remember him for the way he dies –
Polonius is stabbed in the guts by Hamlet as he hides behind a screen while eavesdropping on Hamlet and Gertrude
(3.4.2).

Polonius and Comedy

Polonius is a pretty foolish character. There's no getting around it: he is self-absorbed, long-winded, and dull. He's
also, when played by the right actor, completely hilarious. It's all about finding ways to make Polonius's long
speeches as amusing as they can be. He likes to give the "when I was your age" speeches, as we see when he tells
Hamlet that he was in love once, too, back in the day. He also dishes lame advice like it's going out of style. He's
like an over-eager parent who gives unwanted opinions.

For all these reasons, Polonius can be a source of comic relief to a weighty play. Check out the scene where
Hamlet's directing the players (actors). Polonius is hilarious. When one of the players delivers a heart-wrenching
rendering of Priam's death and the hullabaloo to follow, Polonius interrupts to say (and we are not making this up),
"This is too long." We were all thinking it, but he's the guy that said it. He also cuts in at their use of the words
"mobled queen" to say "Oh, that's good; 'mobled queen' is good." Can't you see this going down onSNL? In many
ways, Shakespeare also uses Polonius to mock his less sophisticated audience members, whose theatrical tastes are
less developed than the ideal playgoer. (Be sure to check out "Art and Culture" for more on this.)

Polonius as a Father

Polonius's relationships with his children are of particular interest. His decision to spy on his son while Laertes is off
at college is in keeping with the play's theme of "Lies and Deceit," as is his use Ophelia to spy on Hamlet. As
comical and ridiculous as Polonius is, his elaborate attempts to keep tabs on Laertes and Ophelia remind us that
father's cannot always be trusted to care for their children. This is especially true when Polonius pays Reynoldo to
spread rumors about Laertes so that Laertes will confide in Reynoldo, who can then report back to Polonius (2.1.4).
Yikes!

Polonius's willingness to use his daughter as a way to curry favor with the king in Act III, Scene i has disastrous
consequences – his manipulative tactics leave Ophelia open to Hamlet's abuse and likely contribute to Ophelia's
tragic end. (You can read more about this by checking out "Quotes" on "Madness." Polonius isn't the only
Shakespearean father to use his daughter in order to manage his relationships with other men. The "Comedy" plays
are full of father's who use their daughters as bartering tools

Hamlet Symbolism, Imagery & Allegory

Sometimes, there’s more to Lit than meets the eye.

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Yorick's Skull and the Graveyard

Hamlet's constant brooding about death and humanity comes to a head (grotesque pun intended) in the infamous
graveyard scene, where Hamlet holds up the unearthed skull of Yorick, a court jester Hamlet knew and loved as a
young boy. The skull itself is a physical reminder of the finality of death. For all of Hamlet's brooding and
philosophical contemplation of mortality, here, Hamlet literally looks death directly in the face.

We're also interested in the way this moment with the skull marks a turning point for Hamlet. It's here, in the
graveyard, where Hamlet thinks about the commonness of death and the vanity of life. He not only remembers
Yorick, a mere jester, but also considers what's become of the body that belonged to Alexander the Great. Both men,
concludes Hamlet, meet the same end and "returneth into dust" (5.1.30). This seems like a new, more mature
acceptance of a common human fate. (Notice that Hamlet is contemplative but not suicidal or anguished when he
speaks these lines.)

Aside from seeming to "grow up" in the graveyard, some literary critics also suggest that Hamlet literally ages in
this scene. Here's how the argument works: when the play begins, Hamlet is a university student, which means he's
pretty young. By the time Hamlet makes it to the graveyard in Act V, Hamlet appears to be thirty years old (much
older than the average university student). The evidence? The First Clown says he's been a gravedigger in Elsinore
since "the very day that young Hamlet was born" (5.1.28) and a few lines later he reveals that he's been a "sexton" in
Denmark for "thirty years" (5.2.30). If you want to argue that Shakespeare just messed things up, feel free
(Shakespeare has been known to make a mistake or two). But it's not so surprising to us that Hamlet literally ages
between Act I and Act V – perhaps it's a reflection of his new, more mature outlook on life and death.

Finally, we also want to note the way the graveyard is different from the royal court (aside from the dirt and bones
and all). Recall from Act I that the court is a place where Hamlet's told to stifle his grief, to forget his dead father,
and to move on (1.2.6). The graveyard is a space, then, where Hamlet is allowed to remember the dead.

"Alas, poor Yorick," says Hamlet, as he recalls that Yorick was "a fellow of infinite jest, of most excellent fancy,"
one who "hath borne [Hamlet] on his back a thousand times" (5.1.26). Hmm. That’s quite a coincidence, no? Hamlet
encounters the skull of a man who worked for his father and who Hamlet knew as a child. This causes Hamlet to
remember his childhood as a happy time in which Old Hamlet was alive and all was well in the world. All this
happiness, of course, is disrupted when Hamlet realizes Ophelia (now dead) is being buried a few gravestones over.
We'll let you handle that one on your own.

The Ghost

We thought you might look here for a little somethin’ about the ghost. We talk about the ghost in its own "Character
Analysis" and in the theme of "Religion."

"Rank" Gardens

There's a whole lot of garden imagery in the play. The thing is, the gardens in Hamlet aren't necessarily the kind of
places where you'd like to hang out and watch butterflies while you picnic. According to Hamlet, the entire world
"tis an unweeded garden, / That grows to seed; things rank and gross in nature / Possess it merely" (1.2.6). The word
"rank" refers to the fertile overgrowth of vegetation and also implies the kind of festering and rot that often
accompanies lush foliage. Yuck.

Why does Hamlet see the world this way? As his speech continues, it becomes clear that his father's death as well as
his mother's sexual appetite and marriage to Claudius are the causes of Hamlet's world view. In fact, the term "rank"
turns up over and over again throughout the play to describe Gertrude's incestuous relationship. Consider, for
example, Hamlet's description of his mother's "rank" marriage bed, which offers a rather repulsive view of sexuality.

Nay, but to live

In the rank sweat of an enseamed bed,

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Stew'd in corruption, honeying and making love
Over the nasty sty,– (3.4.14).

Of course, this allusion to the world as a ruined garden also recalls Eve's temptation in the biblical Garden of Eden,
which, according to Christian theology, causes man's Fall. The allusion to Eden is strengthened later in the play
when the Ghost reveals that Old King Hamlet was murdered by his brother, Claudius, while he slept in his orchard:

'Tis given out that, sleeping in my orchard,

A serpent stung me; so the whole ear of Denmark
Is by a forged process of my death
Rankly abused: but know, thou noble youth,
The serpent that did sting thy father's life
Now wears his crown. (1.5.8)

Gosh. The Ghost sounds a lot like young Hamlet. Notice the way the Ghost insists the murder "rankly abused" the
entire kingdom – as if Claudius poured poison in "the whole ear" of Denmark. What's more, the Ghost insists that
Claudius's poison caused a scaly rash and "loathsome crust" to cover his once "smooth body" (1.5.8). This suggests,
in turn, that the whole country has been infected by a contagious disease.

Hamlet's Costume Changes

Early on in the play, we learn that Hamlet wears an all black get-up that seems to be getting on his mom's nerves.
But why? Well, Hamlet wears an "inky cloak" because he's in mourning for his dead father, who hasn't been gone
for very long. But, Hamlet's the only one in the royal court who's still upset. His mother married Claudius about two
seconds after Old Hamlet died and now that Claudius is king, the happy couple wants everyone to forget about Old
Hamlet. So, Hamlet's black attire sets him apart from everyone else – just like his grief makes him an outsider in the
cheerful court. (When the play's staged, Hamlet's black clothing really stands out, especially when the director
positions him off to the side of stage while the rest of the court is in the center.)

But don't tell Hamlet that his clothes reflect his grief – he might jump down your throat, as he does here when his
mom asks him why he "seems" so sad:

'Tis not alone my inky cloak, good mother,

Nor customary suits of solemn black,
Nor windy suspiration of forced breath,
No, nor the fruitful river in the eye,
Nor the dejected 'havior of the visage,
Together with all forms, moods, shapes of grief,
That can denote me truly (1.2.4)

In other words, Hamlet objects to the idea that any outward signs (dress, behavior, etc.) can truly "denote" what he's
feeling on the inside (which is rotten). Hamlet's "suits of solemn black," he says, can't even begin to express his grief
and anguish.

Later on, however, Hamlet changes his tune about what it is that clothing or costume can "denote." After he decides
to play the role of an "antic" or madman, he adjusts his costume accordingly. Check out Ophelia's description of
Hamlet:

My lord, as I was sewing in my closet,

Lord Hamlet, with his doublet all unbraced;
No hat upon his head; his stockings foul'd,
Ungarter'd, and down-gyved to his ancle;
Pale as his shirt; his knees knocking each other;
And with a look so piteous in purport
As if he had been loosed out of hell

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To speak of horrors,--he comes before me. (2.1.1)

If we assume that Hamlet makes himself appear disheveled in order to convince Ophelia that he's lost his mind, then
we can also assume that Hamlet is banking on the convention that one's physical attire is a reflection of one's state of
mind. And it works because Ophelia and Polonius are convinced that Hamlet is mad. Notice too that Hamlet's not
wearing his favorite black cloak – Ophelia says his skin's as "pale as his shirt." Hmm. Ophelia makes Hamlet sound
a lot like the ghost. What's that all about? Be sure to check out the themes of "Art and Culture" and "Madness" if
you want to think about this some more.

Flowers

When Ophelia loses her mind in Act IV, Scene v, she starts handing out flowers to everyone around her. She talks
directly about the symbolic meaning of those flowers, but what's also important is to whom she hands each flower.

Does Ophelia give the rosemary (for remembrance) to an invisible Hamlet, praying he hasn't forgotten about her?
Does she give the rue (another word for regret) to Gertrude, who may be regretting her hasty marriage to Claudius?
Keep these questions in mind as you read Ophelia's lines. "There's rosemary, that's for remembrance; pray, love,
remember," she says, "and there is pansies. That's for thoughts […]. There's fennel for you, and columbines: there's
rue for you; and here's some for me: we may call it the herb-grace o' Sundays: O you must wear your rue with a
difference. There's a daisy: I would give you some violets, but they withered all when my father died." Fennel
symbolized strength and praiseworthiness, columbine symbolized folly, daisies symbolized innocence, and violets
symbolized faithfulness and modesty. So which flowers belong to which characters?

Hamlet Plot Analysis

Most good stories start with a fundamental list of ingredients: the initial situation, conflict, complication, climax,
suspense, denouement, and conclusion. Great writers sometimes shake up the recipe and add some spice.

Initial Situation

Mom just married Dad's brother. Also, war may be on the way.

Only a month after the old King of Denmark dies, his queen remarries – to his own brother. Hamlet is not happy to
have his uncle as his new step-father. On the political front, Prince Fortinbras of Norway plans to invade Denmark.

Conflict

Dad's ghost says mom's new husband knocked him off. Revenge!

A ghost shows up on the castle battlements, looking suspiciously like the recently deceased King. The ghost has a
message for Hamlet: his father's death was no accident. Hamlet is supposed to exact revenge, which, when you're
talking about the current King of Denmark and the husband of your mother, can be quite the conflict. Meanwhile,
Polonius tells Ophelia, Hamlet's girl friend, to end whatever it is she's doing with Hamlet.

Complication

For reasons nobody really understands, months pass with no revenge.

Revenge theoretically shouldn't be too complicated, if you actually get it done. The complication comes when
Hamlet doesn't get it done. All he does manage to do is go crazy, which is complicated in its own right, but more so
when you're not sure if he's faking it or not.

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The addition of the treacherous pseudo-friends (Rosencrantz and Guildenstern) complicates matters further, as spies
tend to do. On the Ophelia front, she's no longer talking to Hamlet. When the former lovers finally meet, he berates
her for having all those qualities that, according to him, all women possess (that would be deceit and treachery).
Lastly, there's some strange sort of lie-detecting play that Hamlet has devised, which is supposedly going to prove
whether or not King Claudius is guilty of murdering the former King.

Climax

Confirmed: Mom's new husband totally guilty! Also, Hamlet argues with his Mom and kills girlfriend's dad.

Some people consider the play-within-the-play as the climax of Hamlet; others argue that Hamlet's confrontation
with his mother is more central. One way of thinking about it is to see Hamlet's interaction with Gertrude as the
play's emotional climax, while the play-within-the play is the plot's climax. After all, this is the point when Hamlet
definitively knows that Claudius is guilty; it's also the first action Hamlet actually takes in the name of advancing his
revenge. And Hamlet's plan works: the play within the play – which Hamlet calls "The Mousetrap" – snaps shut on
Claudius. Yet the emotional boiling point of the play happens in the next scene, when Hamlet rails on Gertrude and
stabs Polonius.

Suspense

Mom's new husband sends Hamlet away to be killed. Meanwhile, Ophelia dies and her brother plots Hamlet's
death with Mom's new husband.

The suspense builds when we wonder if Hamlet is going to die on or after the trip to England. We feel more
suspense as Claudius and Laertes plot our prince's death, suspense that only increases with every added back-up
plan. Will Hamlet die from one of the umpteen poisoned objects?

Denouement

Everybody whose name you know dies, except Horatio.

Talk about "casual slaughters" (5.2.366). After four acts of delay, everybody finally gets some revenge, all in about
five minutes. In the friendly duel, which quickly becomes completely un-friendly, Laertes manages to wound
Hamlet with a poisoned sword. Then, in a truly masterful move, Hamlet grabs the poisoned sword and wound
Laertes back. To clean up all the lose ends, Gertrude dies from poisoning and Hamlet kills Claudius.

Conclusion

Horatio survives. Fortinbras arrives and takes the throne.

Horatio, Hamlet's friend, is basically the only character left standing. He gets to explain to Prince Fortinbras of
Norway why there are dead bodies all over the floor. Fortinbras decides he will probably get to be the next King of
Denmark, since all of the other contenders are – you guessed it – dead.

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