Language (Hamlet)

This section explores the language used in Hamlet by William Shakespeare. The language in Hamlet is central to understanding its themes, character development, and dramatic impact. Shakespeare’s use of soliloquies, metaphors, imagery, and wordplay creates layers of meaning, contributing to the play’s exploration of philosophical, emotional, and moral issues. Below are key aspects of the language in Hamlet.

Soliloquies

Purpose: Soliloquies are a significant dramatic device in Hamlet, providing insight into characters’ inner thoughts and emotions. Through Hamlet’s soliloquies, Shakespeare explores his complex mental state, his philosophical dilemmas, and his evolving views on life, death, and revenge.

Key Soliloquies:

“O, that this too too solid flesh would melt” (Act 1, Scene 2): This soliloquy introduces Hamlet’s profound grief and disgust with the world following his father’s death and his mother’s remarriage. The repetition of “too too” and the imagery of melting flesh reflect his desire for escape from his suffering, as well as his preoccupation with mortality.

“To be, or not to be: that is the question” (Act 3, Scene 1): This is perhaps the most famous soliloquy in Shakespeare’s works. Hamlet reflects on the nature of existence, weighing the pains of life against the uncertainties of death. The soliloquy explores deep existential questions and showcases Hamlet’s intellectual nature and inner conflict.

“How all occasions do inform against me” (Act 4, Scene 4): Hamlet’s final soliloquy reveals his frustration with his inaction and compares himself unfavourably to Fortinbras, who acts decisively. The language shifts from introspection to a resolve to embrace his destiny, using imagery of blood and death to highlight the consequences of hesitation.

Imagery

Decay and Corruption: One of the play’s most recurring themes is the idea of physical, moral, and political decay. This is reflected in the language through vivid imagery:

“Something is rotten in the state of Denmark” (Act 1, Scene 4): Marcellus’s observation that Denmark is rotting reflects the moral corruption brought about by Claudius’s usurpation of the throne. The imagery of rot, disease, and poison runs throughout the play, symbolising the broader decay of the Danish state.

“An unweeded garden / That grows to seed; things rank and gross in nature” (Act 1, Scene 2): Hamlet’s description of the world as an overgrown, neglected garden filled with weeds suggests that the natural order has been disrupted. This reflects both his personal sense of disorder and the broader political corruption in Denmark.

Death and Mortality: The play is preoccupied with the inevitability of death, and Shakespeare uses powerful imagery to explore this theme:

“Alas, poor Yorick!” (Act 5, Scene 1): The imagery of Hamlet holding Yorick’s skull in the graveyard scene symbolises the inescapable reality of death. Hamlet’s reflections on the fate of the jester, once full of life, but now reduced to bones, highlight the transience of human existence.

“Alexander died, Alexander was buried, Alexander returneth into dust” (Act 5, Scene 1): Hamlet muses on the idea that even great historical figures, such as Alexander the Great, must ultimately return to dust, reducing their worldly achievements to nothing in the face of death.

Theatre and Acting: Shakespeare frequently uses imagery related to theatre and performance to explore themes of deception and identity:

“The play’s the thing / Wherein I’ll catch the conscience of the king” (Act 2, Scene 2): Hamlet’s decision to use a play to reveal Claudius’s guilt connects to the play’s wider use of theatre as a metaphor for human behaviour. Hamlet often contemplates the idea that life itself is a performance, and this imagery reflects his uncertainty about what is real and what is merely appearance.

“Seems, madam! Nay, it is; I know not ‘seems’” (Act 1, Scene 2): Hamlet’s response to Gertrude’s questioning of his grief explores the difference between appearance and reality, a recurring theme. The repetition of “seems” underlines Hamlet’s rejection of superficial displays of emotion, in contrast to his deeply felt anguish.

Metaphor and Symbolism

Poison and Disease: Poison is both a literal and metaphorical symbol in Hamlet, representing betrayal, moral decay, and the destructive nature of power.

The poisoning of King Hamlet: Claudius’s murder of his brother by pouring poison into his ear symbolises the insidious and corrupting nature of deceit and ambition. Throughout the play, the idea of poison continues to symbolise moral corruption, as Claudius’s guilt and betrayal infect the entire court.

“Disease” and “sickness” metaphors: The use of sickness as a metaphor for the state of Denmark appears throughout the play. Hamlet describes Denmark as “rank” and “rotten,” emphasising the pervasive nature of Claudius’s corrupt rule.

The Garden of Eden: The metaphor of Denmark as a fallen paradise is rooted in biblical imagery. Claudius’s usurpation of the throne mirrors the biblical story of the Fall, with Claudius taking on the role of the serpent who brings sin and corruption into the world.

“The serpent that did sting thy father’s life / Now wears his crown” (Act 1, Scene 5): The ghost’s description of Claudius as the serpent directly links Claudius to the devil and the theme of original sin, positioning Denmark as a fallen Eden tainted by betrayal.

Wordplay and Double Meanings

Puns and Ambiguity: Shakespeare frequently employs puns and double meanings in Hamlet, often to reveal characters’ underlying thoughts or to express the play’s themes of uncertainty and duplicity.

“A little more than kin, and less than kind” (Act 1, Scene 2): Hamlet’s pun on the word “kin” reflects his discomfort with Claudius’s new role as both his uncle and stepfather. The play on words suggests Hamlet’s feelings of alienation and his disdain for the incestuous nature of Claudius’s marriage to Gertrude.

“I am too much i’ the sun” (Act 1, Scene 2): Hamlet’s response to Claudius can be read as a pun on “son,” indicating his discomfort with his new status as Claudius’s stepson. This layered meaning highlights Hamlet’s sense of displacement and dissatisfaction with the new political order.

Riddles and Word Games: Hamlet’s use of riddles and complex language reflects his intellectual nature and his tendency to evade direct answers. These moments of wordplay also highlight his sense of alienation and his distrust of those around him.

“Words, words, words” (Act 2, Scene 2): Hamlet’s reply to Polonius when asked what he is reading suggests his frustration with the emptiness of language. This can be seen as a reflection of the play’s broader concern with the gap between appearance and reality, and the limits of language in conveying truth.

Antithesis and Juxtaposition

Conflict and Duality: Shakespeare often uses antithesis to reflect the play’s central conflicts and to explore the theme of duality. Hamlet’s own character is defined by oppositions: thought vs. action, life vs. death, appearance vs. reality.

“To be, or not to be” (Act 3, Scene 1): The juxtaposition between being and not being captures Hamlet’s existential dilemma. The use of antithesis here reflects the broader tensions within Hamlet’s character as he contemplates life and death, action and inaction.

Juxtaposition of Characters: Shakespeare contrasts Hamlet with other characters, such as Fortinbras and Laertes, who are more decisive and action-oriented. These juxtapositions highlight Hamlet’s introspection and his difficulty in taking action. Laertes, for example, serves as a foil to Hamlet, emphasising Hamlet’s hesitation by contrast with Laertes’s swift move to avenge his father’s death.

Rhythm and Verse

Blank Verse and Prose: Shakespeare distinguishes between different characters and their emotional states through the use of verse and prose. Most of the play is written in blank verse (unrhymed iambic pentameter), but shifts to prose are significant.

Hamlet’s use of prose: Hamlet often speaks in prose when he is feigning madness or when he is being particularly cynical. His exchanges with Polonius, where he adopts a mock-mad tone, are often written in prose to highlight his playfulness and disdain for courtly behaviour.

The Ghost’s verse: In contrast, the ghost of King Hamlet speaks in solemn, elevated blank verse, which underscores the gravity of his message and the supernatural nature of his character.

Rhyme and Finality: Shakespeare uses rhyme at key moments to create a sense of finality or to emphasise a moral lesson.

The Mousetrap scene: The lines in the play-within-the-play are often written in rhymed verse, contrasting with the blank verse of the rest of the play and giving the play-within-a-play an artificial, heightened tone. This serves to highlight the performative and deceptive nature of the court’s politics.

Conclusion

The language of Hamlet is rich in complexity, blending poetic imagery, philosophical reflection, and dramatic intensity to explore profound themes of mortality, identity, and morality. Shakespeare’s use of soliloquies, metaphor, wordplay, and verse form creates a nuanced portrayal of Hamlet’s inner turmoil and the corrupt world around him. By analysing the play’s language, audiences gain a deeper understanding of the characters’ psychological depth and the thematic concerns of the play.