Hamlet
Act III, Scene 2

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A hall in the castle. Enter HAMLET and Players	This scene begins somewhere in a hall in the castle, and Hamlet is speaking to three of the “players,” or actors. He seems to be giving them instructions for how to perform the speech that he has written for their performance:
HAMLET
Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue: but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines.	“Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue.” Obviously, he is worried about their pronunciation. Then, he continues, and proceeds to give them an acting lesson. Hamlet’s opening instruction (“Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue”) seems to be a warning to be faithful to the script. In other words, don’t change a word. Also, though, he is concerned about pronunciations, and accents, and even articulation and enunciation. This lesson was perhaps taught on the day that Marlon Brando was home, sick. (See also Stallone, Sylvester — The “Mushmouth” School of Acting)
Nor do not saw the air too much with your hand, thus, but use all gently; for in the very torrent, tempest, and, as I may say, the whirlwind of passion , you must acquire and beget a temperance that may give it smoothness. O, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to	Hamlet cautions actors not to “saw the air too much with your hand, thus” (lines 4-5). In other words, gesturing with the hands can be effective, but too much of it can get in the way. This is a lesson which George Bush might have heeded.
very rags, to split the ears of the groundlings, who for the most part are capable of nothing but inexplicable dumbshows and noise: I would have such	Hamlet also criticizes actors who “mouth” their lines, and those who shout their lines: “To split the ears of the groundlings,” he says, is not good (lines 10-14).
a fellow whipped for o'erdoing Termagant ; it out-herods Herod: pray you, avoid it. First Player I warrant your honour. HAMLET Be not too tame neither, but let your own discretion	He says he would have an actor “whipped” for this. One delights at the thought of Hamlet seeking his revenge, chasing the likes of Richard Burton, or Charlton Heston.
be your tutor: suit the action to the word, the word to the action; with this special o'erstep not	Next Hamlet advises them not to underplay the scene, but to “suit the action to the word, the word to the action” (lines 17-18).
the modesty of nature: for any thing so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her own feature , scorn her own image , and the very age and body of the time his form and pressure. Now this overdone, or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve; the censure of the which one must in your allowance o'erweigh a whole theatre of others. O, there be players that I have seen play, and heard others praise, and that highly, not to speak it profanely, that, neither having the accent of Christians nor	Next, Hamlet warns the actors not to “o’erstep the modesty of nature.” He says that “anything so overdone is from the purpose of playing” (lines 19-20). He does not want them to do anything unnatural. In other words, do not overact. Just be natural. Do you hear that, Macauley Culkin? Are you there?
the gait of Christian, pagan, nor man, have so strutted and bellowed that I have thought some of nature's journeymen had made men and not made them well, they imitated humanity so abominably. First Player I hope we have reformed that indifferently with us, sir. HAMLET	Hamlet does not let the audience off, either. He criticizes the “unskillful” ones who will laugh at these antics (lines 24-25). Hamlet has obviously seen a few television sitcoms, or at the very least has been exposed to the antics of the “Olsen twins.”
O, reform it altogether. And let those that play your clowns speak no more than is set down for them;	Hamlet has some special advice for those who play comedy roles. He says “let those who play your clowns speak no more than is set down for them” (line 38). There will be no “ad libs,” this evening, so Jim Carey would certainly not be welcome.
for there be of them that will themselves laugh, to set on some quantity of barren spectators to laugh too; though, in the mean time, some necessary question of the play be then to be considered: that's villanous, and shows a most pitiful ambition	Hamlet’s final criticism is for those comedians who laugh at their own humor. Was Hamlet perhaps thinking of Harvey Korman?
in the fool that uses it. Go, make you ready. Exeunt Players	Hamlet excuses the actors to go and get into their costumes and make-up.
Enter POLONIUS, ROSENCRANTZ, and GUILDENSTERN How now, my lord! I will the king hear this piece of work? LORD POLONIUS And the queen too, and that presently. HAMLET	The door opens, and Polonius, Rosencrantz, and Guildenstern come in.
Bid the players make haste. Exit POLONIUS Will you two help to hasten them? ROSENCRANTZ and GUILDENSTERN We will, my lord. Exeunt ROSENCRANTZ and GUILDENSTERN HAMLET	Hamlet apparently does not want to deal with these three, as he dismisses them immediately, to go and hurry the actors along.
What ho! Horatio! Enter HORATIO HORATIO Here, sweet lord, at your service. HAMLET	Then, Hamlet’s friend Horatio enters.
Horatio, thou art e'en as just a man As e'er my conversation coped withal. HORATIO O, my dear lord,-- HAMLET Nay, do not think I flatter; For what advancement may I hope from thee That no revenue hast but thy good spirits, To feed and clothe thee? Why should the poor be flatter'd? No, let the candied tongue lick absurd pomp, And crook the pregnant hinges of the knee Where thrift may follow fawning. Dost thou hear? Since my dear soul was mistress of her choice And could of men distinguish, her election Hath seal 'd thee for herself; for thou hast been As one, in suffering all, that suffers nothing, A man that fortune's buffets and rewards Hast ta'en with equal thanks: and blest are those Whose blood and judgment are so well commingled, That they are not a pipe for fortune's finger To sound what stop she please. Give me that man That is not passion 's slave, and I will wear him In my heart's core, ay, in my heart of heart, As I do thee. -- Something too much of this. --	Hamlet flatters his good friend (and really lays it on thick).
There is a play to-night before the king; One scene of it comes near the circumstance Which I have told thee of my father's death: I prithee, when thou seest that act afoot, Even with the very comment of thy soul	Hamlet compliments Horatio, and then asks a favor. Hamlet explains his plan to Horatio, how the actors will play a scene just like the killing of his father.
Observe mine uncle: if his occulted guilt Do not itself unkennel in one speech, It is a damned ghost that we have seen , And my imaginations are as foul As Vulcan's stithy . Give him heedful note;	Hamlet wants Horatio to “watch” the King, during the play. He asks Horatio to “observe my uncle” (line 81).
For I mine eyes will rivet to his face,	Hamlet also plans to watch Claudius.
And after we will both our judgments join In censure of his seeming. HORATIO	Then, afterward, he says, the two can compare notes.
Well, my lord: If he steal aught the whilst this play is playing, And ' scape detecting, I will pay the theft.	Horatio agrees to do as he is asked.
HAMLET They are coming to the play; I must be idle: Get you a place.
Danish march. A flourish. Enter KING CLAUDIUS, QUEEN GERTRUDE, POLONIUS, OPHELIA, ROSENCRANTZ, GUILDENSTERN, and others	Then, there is a flourish, some trumpets, some kettledrums, and the King and Queen come in, to watch the play. With them are Polonius, Ophelia, Rosencrantz, Guildenstern, some Lords, some attendants, some torch bearers, and the usual assortment of guards, ushers, peanut salesmen, etc. It seems that everyone and his grandmother has come to watch the performance of this play.
KING CLAUDIUS How fares our cousin Hamlet? HAMLET	Hamlet engages in some word play with the king, his mother, and Ophelia.
Excellent, i' faith; of the chameleon's dish: I eat the air, promise-crammed: you cannot feed capons so. KING CLAUDIUS I have nothing with this answer , Hamlet; these words are not mine.	Hamlet says he eats of the chameleon's dish. Yuck. The chameleon, of course, is known for its ability to disguise itself. He also says he eats the air, "promise crammed." He is excited about the possibilities, and thinks that the next few minutes may hold great promise. This is probably true. As long as the chameleon does not get angry.
HAMLET No, nor mine now.	Once the words have left his mouth, they are no longer his. Copyright laws were rather primitive back then.
To POLONIUS My lord, you played once i' the university, you say? LORD POLONIUS That did I, my lord; and was accounted a good actor. HAMLET What did you enact? LORD POLONIUS	Hamlet asks Polonius if he once "acted," back in his college days.
I did enact Julius Caesar: I was killed i' the Capitol; Brutus killed me.	Polonius explains that he did, and that he played the part of Julius Caesar, who was killed by Brutus. The play "Julius Caesar," of course, is another play written by Shakespeare. The mention of this play may be ironic, since Polonius may have some of the same qualities as Julius Caesar. It also may be that Shakespeare just wanted to get a plug in for another one of his plays.
HAMLET
It was a brute part of him to kill so capital a calf there. Be the players ready? ROSENCRANTZ Ay, my lord; they stay upon your patience. QUEEN GERTRUDE	Hamlet manages to call Polonuius a "calf." Polonius is probably not amused, and he does not "moo."
Come hither, my dear Hamlet, sit by me. HAMLET	The word "hither" means "here." Gertrude is holding a seat for Hamlet.
No, good mother, here's metal more attractive. LORD POLONIUS [To KING CLAUDIUS] O, ho! do you mark that? HAMLET	Hamlet shocks them when he refuses to sit by his mother.
Lady, shall I lie in your lap?	Instead, Hamlet asks Ophelia if he can “lie” in her lap. He seems to be in a good mood, for the first time.
Lying down at OPHELIA's feet	Hmmm... Hamlet apparently misses her lap entirely.
OPHELIA No, my lord. HAMLET	Poor Ophelia is surely confused by now. So, too, is the audience.
I mean, my head upon your lap? OPHELIA Aye, my lord. HAMLET	Ophelia is confused. The audience is confused. Now even I am confused.
Do you think I meant country matters? OPHELIA I think nothing, my lord. HAMLET That's a fair thought to lie between maids' legs. OPHELIA What is, my lord? HAMLET	Okay, boys and girls... cover your ears. "Count-ry matters." According to many scholars, one must place an emphasis upon the first syllable, here. This is also another one of those puns. The royal family thought that "country" people were vulgar, and disgusting, and crude. You know. Sort of like Hamlet.
Nothing. OPHELIA	Even this is a bit crude. The word "nothing" often referred to a certain part of the female anatomy. Hint: It might be located somewhere near Ophelia's lap.
You are merry, my lord. HAMLET Who, I? OPHELIA Ay, my lord. HAMLET O God, your only jig-maker. What should a man do but be merry? For, look you, how cheerfully my	Ophelia has noticed the change in Hamlet's behavior. He seems so much happier, and so much like the Hamlet of old -- sly, and funny, and completely vulgar.
mother looks, and my father died within these two hours. OPHELIA Nay, 'tis twice two months, my lord. HAMLET	Hamlet turns bitter again, and he also seems very confused over the time. He claims it has only been hours since his father's death. He is wrong. Does it only seem like hours? Or, is he pretending to be nuts again? Or, has he really gone nuts? The audience surely has.
So long? Nay then, let the devil wear black, for I'll have a suit of sables. O heavens! Die two months ago, and not forgotten yet? Then there's hope a great man's memory may outlive his life half a year: but, by'r lady, he must build churches, then; or else shall he suffer not thinking on, with the hobby-horse, whose epitaph is 'For, O, for, O, the hobby-horse is forgot.'	Hamlet's bitterness comes from the fact that they have all forgotten about his father. Nobody seems concerned about the old man's death. Ophelia has forgotten him, and Polonius has forgotten him. Even Queen Gertrude has apparently forgotten all about old what's his name.
Hautboys play. The dumb-show enters:	The play begins. It begins with a “dumb show.”
Enter a King and a Queen very lovingly; the Queen embracing him, and he her. She kneels, and makes show of protestation unto him. He takes her up, and declines his head upon her neck: lays him down upon a bank of flowers: she, seeing him asleep, leaves him.	In this dumb show, an anonymous King and Queen enter. Coincidentally, they just happen to resemble the King and Queen in this play. They embrace. The Queen seems to really love this husband of hers. The King falls asleep, so the Queen leaves.
Anon comes in a fellow, takes off his crown, kisses it, and pours poison in the King's ears, and exit. The Queen returns; finds the King dead, and makes passionate action. The Poisoner, with some two or three Mutes, comes in again, seeming to lament with her. The dead body is carried away.	Soon (or "anon,") a man enters and pours some poison in the King's ear. Then the poisoner quickly leaves. The Queen returns, and seems upset over her husband's death. The poisoner returns, and the King's body is carried off.
The Poisoner wooes the Queen with gifts: she seems loath and unwilling awhile, but in the end accepts his love Exeunt OPHELIA What means this, my lord? HAMLET Marry, this is miching mallecho; it means mischief. OPHELIA Belike this show imports the argument of the play. Enter Prologue HAMLET We shall know by this fellow: the players cannot keep counsel; they'll tell all. OPHELIA Will he tell us what this show meant? HAMLET	Next, the poisoner begins to make advances toward the Queen. The Queen at first rejects them, but finally gives in.
Aye, or any show that you'll show him: be not you ashamed to show, he'll not shame to tell you what it means. OPHELIA	In lines 154-159, Hamlet again engages in some “dirty talk” with Ophelia. This would be another good section to examine in detail, especially if you want to put your teacher on the spot.
You are naught, you are naught: I'll mark the play.	The word "naught" is short for "naughty." Ophelia is shocked at how crude Hamlet's jokes are.
PROLOGUE
For us, and for our tragedy, Here stooping to your clemency, We beg your hearing patiently. Exit HAMLET Is this a prologue, or the posy of a ring? OPHELIA 'Tis brief, my lord. HAMLET As woman's love. Enter two Players, King and Queen PLAYER KING	The Prologue (who is just like a narrator for the play) enters. The Prologue spouts some poetry, to get things started. He asks for the patience of the audience. He is much too late, though. Our audience lost that way back in Act I.
Full thirty times hath Phoebus' cart gone round Neptune's salt wash and Tellus' orbed ground, And thirty dozen moons with borrow'd sheen About the world have times twelve thirties been, Since love our hearts and Hymen did our hands Unite commutual in most sacred bands. PLAYER QUEEN	Up on the stage, the "King" discusses the fact that it has been a long time since they were married. He marks the time in the number of times Phoebus has driven his sun chariot around the earth.
So many journeys may the sun and moon Make us again count o'er ere love be done! But, woe is me, you are so sick of late, So far from cheer and from your former state , That I distrust you. Yet, though I distrust, Discomfort you, my lord, it nothing must: For women's fear and love holds quantity; In neither aught, or in extremity. Now, what my love is, proof hath made you know; And as my love is sized, my fear is so: Where love is great, the littlest doubts are fear; Where little fears grow great, great love grows there. PLAYER KING	On stage, the "Queen" agrees that it has been a long marriage, but she wishes they may have just as many years more. However, she is also worried that "The King" seems so upset lately. She has noticed his depression.
'Faith, I must leave thee, love, and shortly too; My operant powers their functions leave to do: And thou shalt live in this fair world behind, Honour'd, beloved; and haply one as kind For husband shalt thou-- PLAYER QUEEN	The "King" explains that he will die soon, and he knows she will then find a second husband.
O, confound the rest! Such love must needs be treason in my breast : In second husband let me be accurst!	The "Queen" disagrees. She claims she would never marry again. She says she would be "accursed" in a second husband.
None wed the second but who kill'd the first. HAMLET [Aside]	The "Queen" says that if she did marry a second husband, it would have to be the guy “who killed the first.”
Wormwood, wormwood. PLAYER QUEEN	"Wormwood" has a bitter taste. Hamlet thinks this is all very bitter.
The instances that second marriage move Are base respects of thrift, but none of love: A second time I kill my husband dead, When second husband kisses me in bed. PLAYER KING	The “Queen” promises that she could never marry again.  They argue about this, for quite some time.
I do believe you think what now you speak; But what we do determine oft we break. Purpose is but the slave to memory, Of violent birth, but poor validity ; Which now, like fruit unripe, sticks on the tree; But fall, unshaken, when they mellow be. Most necessary 'tis that we forget To pay ourselves what to ourselves is debt: What to ourselves in passion we propose , The passion ending, doth the purpose lose. The violence of either grief or joy Their own enactures with themselves destroy: Where joy most revels, grief doth most lament; Grief joys, joy grieves, on slender accident. This world is not for aye, nor 'tis not strange That even our loves should with our fortunes change; For 'tis a question left us yet to prove, Whether love lead fortune, or else fortune love. The great man down, you mark his favourite flies; The poor advanced makes friends of enemies. And hitherto doth love on fortune tend ; For who not needs shall never lack a friend , And who in want a hollow friend doth try, Directly seasons him his enemy. But, orderly to end where I begun, Our wills and fates do so contrary run That our devices still are overthrown; Our thoughts are ours, their ends none of our own: So think thou wilt no second husband wed; But die thy thoughts when thy first lord is dead. PLAYER QUEEN Nor earth to me give food, nor heaven light ! Sport and repose lock from me day and night! To desperation turn my trust and hope! An anchor 's cheer in prison be my scope! Each opposite that blanks the face of joy Meet what I would have well and it destroy!	The "King" says that he believes that his wife really is sincere, but that she may change her mind later, once he has croaked.
Both here and hence pursue me lasting strife, If, once a widow, ever I be wife! HAMLET	The "Queen" wishes that she might be plagued with everlasting trouble if she marries a second husband.
If she should break it now! PLAYER KING 'Tis deeply sworn. Sweet, leave me here awhile; My spirits grow dull , and fain I would beguile The tedious day with sleep. Sleeps PLAYER QUEEN Sleep rock thy brain, And never come mischance between us twain!	Hamlet says "If she should break it now..." He is referring to her promise.
Exit HAMLET	Finally, the “Queen” leaves.
Madam, how like you this play? QUEEN GERTRUDE The lady doth protest too much, methinks. HAMLET O, but she'll keep her word. KING CLAUDIUS Have you heard the argument? Is there no offence in 't? HAMLET No, no, they do but jest, poison in jest; no offence i' the world. KING CLAUDIUS	At one point, Hamlet asks his mother (the real Queen) how she is enjoying the play. Queen Gertrude answers, “The lady doth protest too much, methinks.”
What do you call the play? HAMLET The Mouse-trap. Marry, how? Tropically. This play is the image of a murder done in Vienna: Gonzago is the duke's name; his wife, Baptista: you shall see anon; 'tis a knavish piece of work: but what o' that? your majesty and we that have free souls, it touches us not: let the galled jade wince, our withers are unwrung.	King Claudius asks Hamlet what the title of the play is. It is called “The Mousetrap.”
Enter LUCIANUS This is one Lucianus, nephew to the king. OPHELIA You are as good as a chorus, my lord. HAMLET	Finally, the murderer, a character by the name of   “Lucianus” enters.
I could interpret between you and your love, if I could see the puppets dallying. OPHELIA You are keen, my lord, you are keen. HAMLET It would cost you a groaning to take off my edge. OPHELIA Still better, and worse. HAMLET So you must take your husbands. Begin, murderer; pox, leave thy damnable faces, and begin. Come: 'the croaking raven doth bellow for revenge.' LUCIANUS Thoughts black, hands apt, drugs fit , and time agreeing; Confederate season, else no creature seeing; Thou mixture rank, of midnight weeds collected, With Hecate's ban thrice blasted, thrice infected, Thy natural magic and dire property , On wholesome life usurp immediately.	"Dallying" was a slang term for intercourse. Hamlet is being a bit vulgar again. Tsk, tsk.
Pours the poison into the sleeper's ears HAMLET He poisons him i' the garden for's estate. His name's Gonzago: the story is extant, and writ in choice Italian: you shall see anon how the murderer gets the love of Gonzago's wife. OPHELIA	The Poisoner (Lucianus) leans over the “King’s” ear, and pours his poison.
The king rises. HAMLET What, frighted with false fire! QUEEN GERTRUDE How fares my lord? LORD POLONIUS Give o'er the play. KING CLAUDIUS	Suddenly, out in the audience, King Claudius gets up out of his chair.
Give me some light: away! ALL Lights, lights, lights!	Something seems to have disturbed the poor man.  King Claudius calls for the lights to be turned on.
Exeunt all but HAMLET and HORATIO HAMLET	Then, Claudius rushes for the door, causing almost everyone to follow him out.
Why, let the stricken deer go weep, The hart ungalled play; For some must watch, while some must sleep: So runs the world away. Would not this, sir, and a forest of feathers-- if the rest of my fortunes turn Turk with me--with two Provincial roses on my razed shoes, get me a fellowship in a cry of players, sir? HORATIO Half a share. HAMLET A whole one, I. For thou dost know, O Damon dear, This realm dismantled was Of Jove himself; and now reigns here A very, very--pajock. HORATIO You might have rhymed. HAMLET O good Horatio, I'll take the ghost's word for a thousand pound. Didst perceive? HORATIO Very well, my lord. HAMLET Upon the talk of the poisoning? HORATIO I did very well note him. HAMLET Ah, ha! Come, some music! Come, the recorders! For if the king like not the comedy, Why then, belike, he likes it not, perdy . Come, some music!	Hamlet and Horatio remain behind, and they quickly agree that this reaction indicates Claudius’ guilt, for once and for all.
Re-enter ROSENCRANTZ and GUILDENSTERN	Rosencrantz and Guildenstern return to the hall, and tell Hamlet that King Claudius has gone directly to bed, and is sick.
GUILDENSTERN Good my lord, vouchsafe me a word with you. HAMLET Sir, a whole history. GUILDENSTERN The king, sir,-- HAMLET Ay, sir, what of him? GUILDENSTERN Is in his retirement marvellous distempered . HAMLET With drink, sir? GUILDENSTERN No, my lord, rather with choler. HAMLET Your wisdom should show itself more richer to signify this to his doctor; for, for me to put him to his purgation would perhaps plunge him into far more choler. GUILDENSTERN Good my lord, put your discourse into some frame and start not so wildly from my affair. HAMLET I am tame, sir: pronounce. GUILDENSTERN
The queen, your mother, in most great affliction of spirit, hath sent me to you. HAMLET You are welcome. GUILDENSTERN Nay, good my lord, this courtesy is not of the right breed. If it shall please you to make me a wholesome answer , I will do your mother's commandment: if not, your pardon and my return shall be the end of my business. HAMLET Sir, I cannot. GUILDENSTERN What, my lord? HAMLET Make you a wholesome answer; my wit's diseased: but, sir, such answer as I can make, you shall command; or, rather, as you say, my mother: therefore no more, but to the matter: my mother, you say,-- ROSENCRANTZ Then thus she says; your behavior hath struck her into amazement and admiration. HAMLET O wonderful son, that can so astonish a mother! But is there no sequel at the heels of this mother's admiration? Impart. ROSENCRANTZ	Then, Rosencrantz informs Hamlet that his mother would like to speak with him.
She desires to speak with you in her closet, ere you go to bed. HAMLET We shall obey, were she ten times our mother. Have you any further trade with us? ROSENCRANTZ My lord, you once did love me. HAMLET So I do still, by these pickers and stealers. ROSENCRANTZ	Queen Gertrude wants to speak with him “in her closet” (line 339-340).
Good my lord, what is your cause of distemper? you do, surely, bar the door upon your own liberty , if you deny your griefs to your friend . HAMLET	Rosencrantz also wants Hamlet to tell him what is causing his strange behavior. “What is the cause of your distemper?” (line 345).
Sir, I lack advancement. ROSENCRANTZ	Hamlet answers that he lacks “advancement.”
How can that be, when you have the voice of the king himself for your succession in Denmark? HAMLET Ay, but sir, 'While the grass grows,'--the proverb is something musty.	This mystifies Rosencrantz.
Re-enter Players with recorders O, the recorders! let me see one. To withdraw with you:--why do you go about to recover the wind of me, as if you would drive me into a toil? GUILDENSTERN O, my lord, if my duty be too bold , my love is too unmannerly. HAMLET	Some of the “Players” enter, with recorders. A recorder is a small musical instrument, similar to a flute, only more annoying.
I do not well understand that. Will you play upon this pipe? GUILDENSTERN My lord, I cannot. HAMLET I pray you. GUILDENSTERN Believe me, I cannot. HAMLET I do beseech you. GUILDENSTERN I know no touch of it, my lord. HAMLET 'Tis as easy as lying: govern these ventages with your lingers and thumb, give it breath with your mouth, and it will discourse most eloquent music. Look you, these are the stops. GUILDENSTERN But these cannot I command to any utterance of harmony; I have not the skill . HAMLET Why, look you now, how unworthy a thing you make of	Hamlet asks Guildenstern to play it, but he explains that he cannot.
me! You would play upon me; you would seem to know my stops; you would pluck out the heart of my mystery; you would sound me from my lowest note to the top of my compass: and there is much music, excellent voice, in this little organ; yet cannot you make it speak. 'Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, yet you cannot play upon me.	Hamlet then points out that Guildenstern can “play” Hamlet, so he should also be able to “play” this musical instrument.
Enter POLONIUS	Polonius enters next, probably to tell Hamlet that his mother wants to see him.
God bless you, sir! LORD POLONIUS My lord, the queen would speak with you, and presently. HAMLET	Since Hamlet already knows this, Polonius really has no reason to be there at all.
Do you see yonder cloud that's almost in shape of a camel? LORD POLONIUS By the mass, and 'tis like a camel, indeed. HAMLET Methinks it is like a weasel. LORD POLONIUS It is backed like a weasel. HAMLET Or like a whale? LORD POLONIUS Very like a whale. HAMLET Then I will come to my mother by and by. They fool me to the top of my bent. I will come by and by. LORD POLONIUS I will say so. HAMLET By and by is easily said. Exit POLONIUS Leave me, friends.	Hamlet cannot resist insulting the old man one more time. By looking at the clouds, he calls Polonius a camel, a weasel, and a whale.
Exeunt all but HAMLET	Everybody leaves, except Hamlet, who likes to be the last one on stage.
Tis now the very witching time of night, When churchyards yawn and hell itself breathes out	Left alone, he cannot resist one last soliloquy, to remember him by.
Contagion to this world: now could I drink hot blood, And do such bitter business as the day	"Now could I drink hot blood," says Hamlet. Hamlet's tastes tend toward the bizarre.
Would quake to look on. Soft! now to my mother. O heart, lose not thy nature; let not ever The soul of Nero enter this firm bosom : Let me be cruel, not unnatural:	Hamlet decides to go and visit his mother, Queen Gertrude.
I will speak daggers to her, but use none; My tongue and soul in this be hypocrites; How in my words soever she be shent , To give them seals never, my soul, consent!	He says he will "speak daggers" to her, but that he will not actually use any daggers toward her. He sharpens his tongue, in preparation.
Exit	Finally, Hamlet exits, to go see his mother, Queen Gertrude. The scene ends. At last.

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