OCR AQA A-Level English Literature - Hamlet : Quotes, Themes, & Interpretations

AO1 (Question 2 a - 25%, Question 2 b - 50%)

Excellent and consistently detailed understanding of text and question with consistently well-structured, coherent and detailed argument consistently developed. Consistently fluent and accurate writing in appropriate register with critical concepts and terminology used accurately.

AO2 (Question 2 a - 75%, Question 2 b - 0%)

Well-developed and consistently detailed discussion of effects (including dramatic effects) of language, form and structure. Excellent and consistently effective use of analytical methods. Consistently effective use of quotations and references to text, critically addressed, blended into discussion.

AO5 (Question 2 a - 0%, Question 2 b - 50%)

Judgement consistently informed by exploration of different interpretations of the text. Judgement consistently informed by changing critical views of the text over time.

Act 1, Scene 2 : “O that this too too sullied flesh would melt, thaw, and resolve itself into a dew”

This is the first the audience hears from Hamlet properly - and at this point, he is not influenced by his ‘antic disposition’. He is represented as genuinely suicidal after Old Hamlet’s death - but does not wish to be active in his death, he would rather die passively. He is also seen to be witty, making a pun on death (“a dew” - > “adieu”)

Act 1, Scene 4 : “Something is rotten in the state of Denmark”

This line highlights the sense of unease felt by the ordinary Danes outside of the court of Elsinore (Marcellus, Horatio, and the Gravedigger are the only non-court men we see in the play, really). The guards are aware of preparations for an imminent war, but have little knowledge about it, and very little knowledge explaining why Claudius has taken power, not Hamlet (who is old enough to rule). This extended metaphor of corruption is picked up throughout the play.

Act 2, Scene 2 : “Though this be madness, yet there is method in’t”

Polonius begins to suspect that Hamlet’s madness may be deliberately antagonistic - yet still continues to be patient with Hamlet’s erratic behaviour. Hamlet is constantly being surveyed in Elsinore - further linking to the notion that “Denmark is a prison”.

Act 3, Scene 1 : “To be, or not to be, that is the question”

This could be performed as a soliloquy or as a monologue - it is not clear whether Hamlet is aware of Polonius, Claudius, or Ophelia until the end of the speech. As a result, this could be seen as genuinely philosophical, or as his ‘antic disposition’ working to present himself as mad.

Act 3, Scene 1 : “Thus conscience does make cowards of us all”

The abstract noun ‘conscience’ could mean reflection (Hamlet’s excessive philosophy does make him cowardly at times - could Act 3, Scene 3 be cowardly?) or it could mean moral mistakes (which Hamlet is famously afraid of making). Either way, this further highlights Hamlet’s procrastination, but contrasts other characters in the play (“us all”), such as Claudius, who is cowardly but still decisive.

Act 3, Scene 1 : “I did love you once” […] “I loved you not”

Hamlet’s feelings for Ophelia are uncertain - here the verb “love” could have two interpretations of either being romantic or sexual. This could suggest that they had a sexual relationship, but Hamlet never truly loved Ophelia. His deception here is both childish and unreasonable, perhaps less of an antic disposition and more true madness.

Act 3, Scene 2 : “I will speak daggers to her, but use none”

Hamlet’s pre-meditation suggests that he is certainly angry enough to act out violently against Gertrude, but in accordance to the Ghost’s words, he should not hurt her. His killing of Polonius could be interpreted to be displaced rage towards his mother.

Act 3, Scene 3 : “O my offence is rank, it smells to heaven”

Claudius’ soliloquy is the closest the audience gets to ‘sympathising’ with him (hence why it so swiftly followed by Hamlet’s soliloquy). As he is not performing, the audience has to assume his admissions are genuine.

Act 3, Scene 3 : “When he is fit and season’d for his passage? No!”

Hamlet wants to ensure his revenge is complete - if Hamlet murders Claudius whilst praying, Claudius gets an immediate free pass to Heaven. This isn’t good enough for Hamlet - especially seeing as Old Hamlet was not given his rightful spot in Heaven.

Act 3, Scene 3 : “My words fly up, my thoughts remain below: words without thought never to Heaven go”

The dramatic irony of Hamlet postponing murder to prevent Claudius’ salvation just for Claudius to be unable to pray highlights Hamlet’s hamartia of procrastination. This irony also emphasises the theme of appearance versus reality, as it is the appearance of praying that ultimately prolongs Claudius’ life - but also reaffirms the importance of sincerity, as Claudius cannot save himself without sincere prayer.

Act 3, Scene 4 : “Hamlet, thou hast thy father much offended” “Mother, you have my father much offended”

Hamlet responds to Gertrude much more formally, using the formal 2nd person pronoun ‘you’ in place of Gertrude’s informal ‘thou’. Hamlet’s choice also could imply that he is talking as a plural - that both Gertrude and Claudius have offended Old Hamlet. His mirroring of Gertrude’s utterances and stress pattern is inherently mocking and much more vicious in comparison to Gertrude’s gentle urging.

Act 4, Scene 4 : “O, from this time forth: my thoughts be bloody or be nothing worth!”

This could present two things: the beginning of Hamlet’s maturity in the falling action (leading to a successful, revengeful denouement), or a dramatically ironic reference to Act 1, Scene 5, where he practically says the same thing… (“And you, my sinews, grow not instant old, but bear me stiffly up”)

Act 4, Scene 7 : “To cut his throat i’ the church”

Laertes will risk eternal damnation to accomplish his revenge on Hamlet. This further presents Laertes as a literary foil of Hamlet - emphasising both Hamlet’s procrastination in Act 3, Scene 3 and his moralistic reflections. Yes - Laertes may be a better tragic hero, but Hamlet’s philosophy allows him to maintain his moral ‘high ground’ over Claudius.

Act 4, Scene 7 : “When down her weedy trophies and herself fell in the weeping brook”

Ophelia’s ‘coronet weeds’ may have symbolised a crown she may have worn if she had become Hamlet’s bride - despite her being mad, this - accompanied with the speculation she may have committed suicide - could suggest that Hamlet is responsible for her death. The use of pathetic fallacy in the ‘weeping brook’ demonstrates a final turning point for the play - there is no hope for a comedic ending for these characters, they are damned to a tragedy.

Act 5, Scene 2 : “Since no man knows aught of what he leaves, what is’t to leave betimes? Let be.”

There are two interpretations of what here - leaving legacy, or leaving life - both of which he was originally very concerned about (upholding Old Hamlet’s legacy, and the time of which he would die). Hamlet changes from wishing for death, to simply accepting death. He now possesses a Stoic indifference to fortune and death, similar to what he praised Horatio for earlier in the play.

17th Century Revenge Tragedies

Typically featuring a protagonist seeking vengeance for a wrongful act, Hamlet was widely viewed as a revenge tragedy

17th Century Political Interpretations

During the Elizabethan and Jacobean eras, themes of usurpation, regicide, and the moral responsibilities of the nobility resonated with audience members of this time.

17th Century Stoicism

Until Act 5, Scene 2, Hamlet is explicitly non-stoic - he is very emotional when enduring hardship. However, he changes to ‘Let be’, overcoming his indecisiveness and fear of the unknown. This could be interpreted as Shakespeare encouraging his audiences to be stoic in order to complete their duties - as it is only in stoicism that Hamlet is able to accomplish revenge.

18th Century Romanticism and Psychology

This interpretation often highlighted the existential and moral dilemmas of Hamlet. His alienation and existentiality were seen as reflections of the fascination with individualism and psyche, and his struggles were seen to influence his behaviour.

18th Century Romanticism and Nature

Interpretations often drew connections between Hamlet’s mind and the (super)natural elements of the play. His soliloquies were seen as moments of unity with nature.

20th Century Freudian

Hamlet’s conflict arises from his unresolved Oedipal feelings, leading to his indecision and psychological turmoil. His repressed desires create a sense of guilt and conflict, causing him to struggle with the moral implications of revenge

21st Century New Historicist and Contexual Understanding

Critics following this lens often explore how themes relate to the political climate of Shakespeare’s time. Often focuses on how the play reflects concerns on the succession of the monarchy.

21st Century New Historicist and Dominant Ideologies

The play can be seen as subverting expectations by challenging the status quo, subverting authority, and questioning established norms.

21st Century Feminist Interpretation

The dominance of male characters and the lack of female agency in the play are seen as reflections of gender inequality. Gertrude is often used as a pawn as she tries to maintain political power, and Ophelia is seen as a vulnerable woman dictated by the patriarchy.

21st Century Postcolonial Interpretations

Examines how Hamlet reflect the cultural and political dynamics of Shakespeare’s time and the impact of colonialism on literature. Often explores themes of resistance and subversion: Hamlet’s quest for justice against a corrupt court can be seen as a form of resistance.

Prose

Typically used comically, by those who are lower-class (the grave-digger), mad (Hamlet and Ophelia), or deceitful (Claudius and Polonius)

Verse

Typically used seriously, by those who are upper-class (Claudius)

Soliloquy

A genuine vocal admission - can be treated as the character’s view of the truth. Used to isolate the speaking character and allow the audience to sympathise with them (Hamlet and Claudius in Act 3 Scene 3)

Monologue

A performance - can sometimes be truthful, but it depends on the on-stage audience. If it is a monologue to a loyal friend (Hamlet to Horatio), it can typically be considered to be truthful. If it is to a group of ‘lower’ people (Claudius to the Court), it may not be truthful.

Dramatic Irony

Creates a sense of unease and foreboding - the revelation of information is an anticipated catharsis for the audience. Also links to the continuous theme of surveillance - the audience feels out of place with this information.

Foreshadowing

Reinforces the atmosphere of uncertainty and deception.

Structure of the Play

Does the extract build anticipation or create dramatic irony? How does this affect the audience’s understanding of the plot and characters?

Form

Hamlet is a tragedy play - tragedy conventions are prevalent throughout the play.

‘A Tragic Hero’ Convention

Hamlet is a noble character with a hamartia (his indecision and overthinking) that leads to his downfall.

Supernatural Convention

The ghost of Old Hamlet adds complexity to the play, as it is another layer of consideration that influences Hamlet’s hamartia.

External and Internal Conflicts Convention

Hamlet experiences many external conflicts (killing Polonius, the duel), but his internal conflicts expressed through his soliloquys are often reflective of contemporaneous doubts and anxieties.

Fatal Resolution Convention

The play ends with all the nobility and some of the court of Elsinore dead, creating a tragic end.

Exposition (Act 1)

Thе charactеrs, sеtting and basic conflict of thе play arе introducеd.

Rising Action

Encountеrs a sеriеs of challеngеs and complications that build tеnsion. Hamlet’s complication is the truthfulness of the Ghost, which causes him to present the microcosmic play.

Climax

Thе turning point of thе play, thе momеnt оf grеаtеst tеnsion and thе point at which thе protagonist makеs a crucial dеcision. Hamlet’s decision to not kill Claudius in Act 3 Scene 3 is the main turning point.

Falling Action

Thе consеquеncеs of thе protagonist's decision at thе climax unfold - including Polonius’ and Ophelia’s deaths.

Denoument

Thе rеsolution of thе play, whеrе thе cеntral conflict is rеsolvеd and thе charactеrs' fatеs arе rеvеаlеd. Unfortunately for Hamlet, the fate is death.

Dialogue

Does one character speak more or over another? How does this present their relationship and characteristics?