Form and Content in Hamlet

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Act 3.1.89-160 of Hamlet situates itself immediately after the most famous soliloquy of all time. Hamlet has just deliberated what it means to live and to die when his former lover enters the room. The theme of duality and appearance versus reality is rife during this scene, not only through the language but also through the form. The scene begins with Ophelia taking control of the dialogue for the first time in the play. Up until now, she has been a very submissive character, using single syllable words and repetition a lot in her speech. This suggests an equality between Hamlet and Ophelia that can only have come from a truthful love that existed between them prior to the beginning of the play. However, she is aware that her father and the King are listening ‘behind the arras’ (3.1.54). Hamlet and Ophelia are not the only two characters on stage in this scene; previous stage directions state that ‘King and Polonius hide behind and arras’ (3.1.54) to listen in. Ophelia is certainly aware of this and as we have seen in Act 1, Scene 3, she does not reveal a lot to Polonius so her interaction with Hamlet will surely be coloured by her knowledge of her father’s presence. There are indications that Hamlet may also be aware of their presence as he asks abruptly ‘Where’s your father?’ (3.1.129) and in some productions Hamlet enters at 2.2.156 so that he overhears the plot. He is certainly mindful or at least suspicious that Ophelia will report back to Polonius and maybe even Claudius on her conversations with Hamlet so his responses show an awareness of this. Ophelia and Hamlet were lovers so can be more straight with each other. Therefore, the couple begin their conversation by using metaphors. Ophelia says she has ‘remembrances’ (3.1.92) of Hamlet’s to ‘re-deliver’ (3.1.93). These would appear to be gifts from when they were in love but the Oxford English Dictionary

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