Hamlet - Act 4 Scene 6

Another room in the castle.

This scene appears to begin in mid-conversation, with Claudius having demonstrated his innocence in Polonius' murder, and Laertes perhaps still cautious, but no longer murderous. 

Enter CLAUDIUS and LAERTES

CLAUDIUS
Now must your conscience my acquaintance seal,
And you must put me in your heart for friend,
Sith you have heard, and with a knowing ear,
That he which hath your noble father slain
Pursued my life.

Laertes now demands explanations for Claudius' gentle treatment of Hamlet, who ought to have been punished both for his crimes against Polonius and for the clear threat he posed to Claudius.

LAERTES
It well appears: but tell me
Why you proceeded not against these feats,
So crimeful and so capital in nature,
As by your safety, wisdom, all things else,
You mainly were stirred up.

Claudius once more brings up the love that the population of Denmark has for Hamlet, and the need to balance moral action with political insight. He also claims to have spared Hamlet out of his love for Gertrude, which may be an insight into their marriage, or may be a manipulative fabrication on Claudius' part.

CLAUDIUS
O, for two special reasons;
Which may to you, perhaps, seem much unsinewed,
But yet to me they are strong. The Queen his mother
Lives almost by his looks; and for myself –
My virtue or my plague, be it either which –
She's so conjunctive to my life and soul,
That, as the star moves not but in his sphere,
I could not but by her. The other motive,
Why to a public count I might not go,
Is the great love the general gender bear him;
Who, dipping all his faults in their affection,
Would, like the spring that turneth wood to stone,
Convert his gyves to graces; so that my arrows,
Too slightly timbered for so loud a wind,
Would have reverted to my bow again,
And not where I had aimed them.

Laertes' praise for Ophelia seems excessive, though in keeping with his earlier concern for both her welfare and her chastity. It foreshadows both his reaction to her death and his extreme behaviour at her funeral.

LAERTES
And so have I a noble father lost;
A sister driven into desperate terms,
Whose worth, if praises may go back again,
Stood challenger on mount of all the age
For her perfections: but my revenge will come.

Claudius does not go into further detail, but begins to assure Laertes that he will be avenged on Hamlet. Claudius thinks Hamlet is safely on his way to his death in England, and the audience is reminded of this information just in time to see Claudius receive some bad news. 

CLAUDIUS
Break not your sleeps for that: you must not think
That we are made of stuff so flat and dull
That we can let our beard be shook with danger
And think it pastime. You shortly shall hear more:
I loved your father, and we love ourself;
And that, I hope, will teach you to imagine –

Enter a Messenger

How now! What news?

Messenger
Letters, my lord, from Hamlet:
This to your majesty; this to the queen.

CLAUDIUS
From Hamlet! Who brought them?

Hamlet's letter in the previous scene indicated that the Sailor was to be sent directly to the King, but the letters arrive via messenger instead. Gertrude is never shown receiving her letter, so we never find out if the message to her was different from the one to Claudius.

Messenger
Sailors, my lord, they say; I saw them not.
They were given me by Claudio; he received them
Of him that brought them.

CLAUDIUS
Laertes, you shall hear them. Leave us.

Exit Messenger

"All the rest" may be a reference to the entire expedition, or else Claudius may be having a superstitious moment, fearing that Hamlet has sent letters from beyond the grave, and that all the dead are now returning.

Reads
'High and mighty, You shall know I am set naked on
your kingdom. Tomorrow shall I beg leave to see your
kingly eyes: when I shall, first asking your pardon
thereunto, recount the occasion of my sudden and
more strange return. 'HAMLET.'
What should this mean? Are all the rest come back?
Or is it some abuse, and no such thing?

LAERTES
Know you the hand?

"Character" literally means "handwriting," though the letter is also in character for Hamlet in being irreverent, insulting, and enigmatic.

CLAUDIUS
'Tis Hamlet’s character. 'Naked!
And in a postscript here, he says 'alone.'
Can you advise me?

LAERTES
I'm lost in it, my lord. But let him come;
It warms the very sickness in my heart,
That I shall live and tell him to his teeth,
'Thus did’st thou.'

4.5 and 4.7 show a new side of Claudius, demonstrating his ability to improvise and plan, and to win over opponents and turn them into allies, all through the power of persuasive speech. Claudius is indeed a consummate politician, and the action here recalls the Ghost's accusations regarding his seduction of Gertrude.

Claudius now makes Laertes a co-conspirator in a plot to murder Hamlet, and insinuates that this plot must be kept from Gertrude.

CLAUDIUS
If it be so, Laertes —
As how should it be so? How otherwise? —
Will you be ruled by me?

LAERTES
Ay, my lord;
So you will not o'errule me to a peace.

CLAUDIUS
To thine own peace. If he be now returned,
As checking at his voyage, and that he means
No more to undertake it, I will work him
To an exploit, now ripe in my device,
Under the which he shall not choose but fall:
And for his death no wind of blame shall breathe,
But even his mother shall uncharge the practise
And call it accident.

In a few short scenes, Laertes has gone from steadfast avenger and usurper of the throne to Claudius' instrument (and, quite possibly, fall guy). The single-minded revenger easily falls under Claudius' spell and becomes a simple-minded accomplice.

Claudius abruptly shifts gears here, slowly winding Laertes up and manipulating him towards his place in Claudius' plan. The long-winded discussion may well frustrate Laertes, and it also creates suspense as the audience waits to discover the plan for the final confrontation.

A "riband" or ribbon would be an ornament worn in a hat, simultaneously a silly affectation and a piece of lavish decoration. Claudius describes fencing as such a "riband:" it is a useless skill, but also a worthwhile accomplishment appropriate for young men.

LAERTES
My lord, I will be ruled;
The rather, if you could devise it so
That I might be the organ.

CLAUDIUS
It falls right.
You have been talked of since your travel much,
And that in Hamlet's hearing, for a quality
Wherein, they say, you shine: your sum of parts
Did not together pluck such envy from him
As did that one, and that, in my regard,
Of the unworthiest siege.

LAERTES
What part is that, my lord?

CLAUDIUS
A very riband in the cap of youth,
Yet needful too; for youth no less becomes
The light and careless livery that it wears
Than settled age his sables and his weeds,
Importing health and graveness. Two months since,
Here was a gentleman of Normandy –
I've seen myself, and served against, the French,
And they can well on horseback: but this gallant
Had witchcraft in't; he grew unto his seat;
And to such wondrous doing brought his horse,
As he had been incorpsed and demi-natured
With the brave beast: so far he topped my thought,
That I, in forgery of shapes and tricks,
Come short of what he did.

LAERTES
A Norman was't?

Claudius goes to great extremes to describe the Frenchman's skill on horseback, which may be a topical reference, but also gives him more time to toy with Laertes' curiosity.

CLAUDIUS
A Norman.

LAERTES
Upon my life, Lamond.

CLAUDIUS
The very same.

LAERTES
I know him well: he is the brooch indeed
And gem of all the nation.

Claudius finally reaches the point of the anecdote: "defence" or "defencing" is the older term which eventually evolved into "fencing." Similarly, "scrimers" is a corruption of the French "escrimeurs," meaning sword-fighters or sword-masters. The audience is set up to expect a sword-duel, fought between truly skilled opponents.

CLAUDIUS
He made confession of you,
And gave you such a masterly report
For art and exercise in your defence
And for your rapier most especially,
That he cried out, 'twould be a sight indeed,
If one could match you: the scrimers of their nation,
He swore, had had neither motion, guard, nor eye,
If you opposed them. Sir, this report of his
Did Hamlet so envenom with his envy
That he could nothing do but wish and beg
Your sudden coming o'er, to play with him.
Now, out of this—

LAERTES
What out of this, my lord?

Claudius returns to images of exterior and interior, here reversing some of Hamlet's earlier treatment of pictures. In 3.4, Hamlet referred to paintings as indicators of truth, while Claudius presents them as just more outward show, lacking substance.

Claudius' speech here summarizes some of the play's core ideas: he argues that change is constant, that even the strongest intentions lose intensity over time, and that one should act instantly and decisively (something that no character in the play seems capable of). He indirectly references Hamlet's soliloquies-- the "sigh" releases tension and makes one feel better, but also removes or diminishes the impetus to act (thus it "hurts by easing").

CLAUDIUS
Laertes, was your father dear to you?
Or are you like the painting of a sorrow,
A face without a heart?

LAERTES
Why ask you this?

CLAUDIUS
Not that I think you did not love your father;
But that I know love is begun by time;
And that I see, in passages of proof,
Time qualifies the spark and fire of it.
There lives within the very flame of love
A kind of wick or snuff that will abate it;
And nothing is at a like goodness still;
For goodness, growing to a plurisy,
Dies in his own too much: that we would do
We should do when we would; for this 'would' changes
And hath abatements and delays as many
As there are tongues, are hands, are accidents;
And then this 'should' is like a spendthrift sigh,
That hurts by easing. But, to the quick o' the ulcer –
Hamlet comes back: what would you undertake,
To show yourself your father's son in deed
More than in words?

Laertes again shows disregard for the religious consequences of revenge.

Claudius' plan requires Laertes to calm himself and delay his revenge: this most difficult course for Laertes is precisely what comes naturally to Hamlet.

LAERTES
To cut his throat i' the church.

CLAUDIUS
No place, indeed, should murder sanctuarize;
Revenge should have no bounds. But, good Laertes,
Will you do this, keep close within your chamber.
Hamlet returned shall know you are come home.
We'll put on those shall praise your excellence
And set a double varnish on the fame
The Frenchman gave you, bring you in fine together
And wager on your heads: he, being remiss,
Most generous and free from all contriving,
Will not peruse the foils; so that, with ease,
Or with a little shuffling, you may choose
A sword unbated, and in a pass of practise
Requite him for your father.

The laying out of the plan becomes a game of one-upmanship, as Laertes and Claudius keep adding elements. 

LAERTES
I will do't:
And, for that purpose, I'll anoint my sword.
I bought an unction of a mountebank,
So mortal that, but dip a knife in it,
Where it draws blood no cataplasm so rare,
Collected from all simples that have virtue
Under the moon, can save the thing from death
That is but scratched withal: I'll touch my point
With this contagion, that, if I gall him slightly,
It may be death.

As Claudius points out, trying and failing with such a scheme would be worse than not trying at all.

Shakespeare creates suspense for the final scene by providing the audience with all the information in advance: there will be a fight, one sword will be pointed as well as poisoned, and there will be a poisoned drink. The danger to Hamlet is immense, as is the potential for the plan to go awry.

CLAUDIUS
Let's further think of this;
Weigh what convenience both of time and means
May fit us to our shape: if this should fail,
And that our drift look through our bad performance,
'Twere better not assayed: therefore this project
Should have a back or second, that might hold,
If this should blast in proof. Soft! Let me see:
We'll make a solemn wager on your cunnings: I ha't.
When in your motion you are hot and dry –
As make your bouts more violent to that end –
And that he calls for drink, I'll have prepared him
A chalice for the nonce, whereon but sipping,
If he by chance escape your venomed stuck,
Our purpose may hold there.

Enter GERTRUDE

How now, sweet queen!

Depending on the timing and manner of Gertrude's entrance, Claudius and Laertes may fear that she has caught them at their plotting.

Laertes' question is inane, even ridiculous, but may demonstrate the character's shock at this sudden and devastating news.

Ophelia is once again linked with plants and flowers, and with their multiple meanings of beauty, sexuality, and death. The "long purples" are probably Purple Orchis (orchis mascula, or "masculine orchid," whose name may derive from its testicle-shaped roots), which innocent maids know as "dead men's fingers," but which shepherds know by a variety of dirtier names.

GERTRUDE
One woe doth tread upon another's heel,
So fast they follow; your sister's drowned, Laertes.

LAERTES
Drowned! O, where?

GERTRUDE
There is a willow grows aslant a brook,
That shows his hoar leaves in the glassy stream;
There with fantastic garlands did she come
Of crow-flowers, nettles, daisies, and long purples
That liberal shepherds give a grosser name,
But our cold maids do dead men's fingers call them:
There, on the pendent boughs her coronet weeds
Clambering to hang, an envious sliver broke;
When down her weedy trophies and herself
Fell in the weeping brook. Her clothes spread wide;
And, mermaid-like, awhile they bore her up:
Which time she chanted snatches of old tunes;
As one incapable of her own distress,
Or like a creature native and indued
Unto that element: but long it could not be
Till that her garments, heavy with their drink,
Pulled the poor wretch from her melodious lay
To muddy death.

LAERTES
Alas, then, she is drowned?

There has been much discussion of how Gertrude came to know this detailed story, whether she watched Ophelia drown, or whether she invents this version of events to hide Ophelia's actual suicide.

Laertes' speech tells us that he is openly weeping, even as he struggles to restrain his tears, which he presents as a battle between his feminine and masculine natures.

GERTRUDE
Drowned, drowned.

LAERTES
Too much of water hast thou, poor Ophelia,
And therefore I forbid my tears: but yet
It is our trick; nature her custom holds,
Let shame say what it will: when these are gone,
The woman will be out. Adieu, my lord:
I have a speech of fire, that fain would blaze,
But that this folly drowns it.

Exit

CLAUDIUS
Let's follow, Gertrude.
How much I had to do to calm his rage!
Now fear I this will give it start again;
Therefore let's follow.

Exeunt