Act II, Scene 2 Reading Guide
The following is a guide for Act II, Scene 2. If you're interested in getting the most from the
play, then you'll take the time to read the notes in your text. If you aren't, then you probably
won't (Of course, if you're not interested in getting the most from the play, then you're probably
not reading this guide anyway; instead, you're probably Tweeting about how you’re not reading
Hamlet and how you’re so over school )
Think of Act II, Scene 2 as a series of six conversations:
I. Claudius and Gertrude’s Conversation with Rosencrantz and
Guildenstern.
In the opening lines of Scene 2, Claudius and Gertrude explain to Rosencrantz and
Guildenstern, Hamlet’s childhood friends, that they have been summoned for a particular
purpose. R & G, being of a lower order, readily agree to the King and Queen’s request.
This conversation is important to the plot, and it introduces and characterizes R & G.
II. Polonius’s overblown conversation with Claudius and
Gertrude
Polonius arrives to inform Claudius that ambassadors Voltemand and Cornelius have
returned from Norway (remember why they go to Norway?). However, Polonious also
informs Claudius that he has information about what’s “wrong” with Hamlet, information
that he thinks will gain him favor with the King.
Notice at line 50 that Claudius would rather hear his news about Hamlet BEFORE the
news from the ambassador’s about the possibility of war, revealing Claudius’s
considerable concern about his Hamlet “problem.”
Pay close attention to the news from Norway that Voltemand reveals and how quickly
Claudius dismisses it.
After Voltemand and Cornelius exit, Polonius’s conversation with Claudius and Gertrude
fully reveals his role as a bumbling, self-important sycophant. He’s one of those people
who talks too much in an attempt to make themselves seem important. Note how
Gertrude calls him out in line 95. We should probably take heed of Gertrude’s
admonition to Polonius in regard to how we write essays . However, Polonius does
offer one very interesting piece of information: a note from Hamlet to Ophelia. Pay close
attention to it, particularly the four lines of verse that Hamlet writes to her.
Finally, Polonius recommends a plan to further verify what’s “wrong” with Hamlet.
III. Hamlet's conversation with Polonius
Stage directions - Be sure to note the stage directions in brackets, particularly the
“[aside]” in this scene. An aside is when characters momentarily talk to themselves
instead of to the other characters on the stage, and it is presumed that the other characters
do not hear the aside. Asides differ from soliloquies in that there are other characters
present on stage and asides are only brief interruptions to dialogue, whereas soliloquies
are often extended speeches that stand on their own. Think of an aside as an actor talking
to himself for a moment.
Hamlet's sarcasm and irony - One of Hamlet's salient characteristics is wit. "Wit," at
least in the traditional sense, does not mean mere humor. More accurately, "wit" refers to
a keenness of mind, a mental acuity that often manifests itself in the ability to make
quick, clever comments. Consequently, Hamlet's conversation with Polonius is full of
sharp, verbal barbs that Polonius doesn't quite fathom, although he senses that Hamlet's
remarks seem to have other meanings, hence Polonius's aside, "Though this be madness,
yet there is method in't," which gave birth to the English cliché, "There's method in his
madness." Although much of this conversation is filled with irony, Hamlet is genuine
when, as Polonius leaves, he exclaims, "These tedious old fools!"
iv. Hamlet's conversation with Rosencrantz and Guildenstern
Vulgar humor - Rosencrantz and Guildenstern are Hamlet's childhood friends, so he
knows them fairly well. Note the bawdy humor as they greet each other (again, read the
notes to get the full effect of Shakespeare's low humor).
Tone shift - Although the conversation begins with the three jesting with one another,
note Hamlet's shift toward seriousness and even anger at his friends.
Hamlet's explanation of himself - At approximately line 257, Hamlet begins a
beautiful and earnest explanation of his current state of mind. His line begins with, " I
will tell you why," although the speech itself really begins with, "I have of late." Read
this as if it were a poem (you know what I mean, right? Read it closely so that A.) you
understand what he's saying and B.) you appreciate the elegance of Shakespeare's poetics.
v. Hamlet's conversation with the Players
Polonius's introduction of the players - Hamlet continues his sarcasm toward Polonius
as Polonius informs him of the players' arrival, and Polonius continues his verbose
pretentiousness. Again, read the notes. Just because Polonius doesn't get Hamlet's
comments doesn't mean that we shouldn't. Don't be Polonius.
Hamlet's theatrical knowledge - The scene with Hamlet and the Players is a kind of
thespian jam in which Hamlet and one of the actors play a bit of a scene off the tops of
their heads. Hamlet is extraordinarily knowledgeable about theater (not unlike many of
you are extraordinarily knowledgeable about movies). The lines that he quotes are not
random lines; these lines are relevant to what's going on in Hamlet. Be patient with
them, and also note Polonius's response: "This is too long." As Hamlet implies, if a play
doesn't have a fight scene or a car chase or a bit of sex in it, Polonius falls asleep,
implying further than Polonius is shallow. Don’t be Polonius.
vi. Hamlet's conversation with himself
Self-references - Pay attention to the words that Hamlet uses to describe himself. Not
pretty.
Comparison - For much of the soliloquy Hamlet refers to the Player who has just given
the speech. Hamlet refers to him for the sake of comparison with himself and his current
situation.
Inspiration - The Player's speech becomes a bolt of inspiration for Hamlet and his
course of action.