HamNun+Lynn

Lynn Hong Ms. Porter AP Literature/D Block April 13, 2010 3.1 Close Reading: Did Hamlet know he was being eavesdropped?

How does one know that he or she is being eavesdropped? For Hamlet, it is the change in attitude that most strongly suggests a conspiracy—and potentially an unseen and unwanted “audience on stage.” Although there is no direct reference to the fact that Hamlet discovers that his conversation with Ophelia is being listened upon, the context of the story, the reference to Claudius and Polonius, and the tone of his words to Ophelia suggest that Hamlet grew aware that Polonius and Claudius were eavesdropping during the conversation.

The context of the play’s story provides to us that Hamlet most likely became suspicious when Ophelia gave back his letters and presents. His first greetings to her are amiable and welcoming, despite the fact that moments ago he had been mulling life and death in the misery he is trapped in. Though he thanks her and says that he is doing well, as soon as Ophelia tries to return the “remembrances of [his],” Hamlet immediately grows cynical and defensive (3.1.94). When Ophelia goes further to reference him as an “unkind giver” whose “rich gifts wax poor when...[proven unkind],” Hamlet retorts back with a cold laugh, asking if she is honest (3.1.103) His question of her honesty is a strong clue that suggests that he has begun to suspect her loyalty—and consequently possible conspiracies and espionages.

Hamlet’s sly references to Claudius and Polonius are also an indicator of his knowledge of their presence on stage. The word “remembrance” is reminiscent of the gifts that Claudius allegedly gave to Gertrude. This is especially true because Hamlet had just returned from meeting the Ghost, who referenced to the “traitorous gifts” that Claudius presented to Gertrude (1.5.43). He further expounds upon his point by directly referring to his mother, albeit in a way that does not attack her as he wishes that his “mother had not borne [him]” (3.1.123-124). Shortly afterwards, Hamlet even asks “where’s [Polonius]” to Ophelia, an intentional statement that hints to the audience that he is aware (3.1.130). The fact that he states that “[Polonius] may play the fool nowhere but in’s own house” displays his intention to go against Polonius and is a roundabout attack on him as well (3.1.133). These references to both Claudius and Polonius are signals that are targeted towards the audience that are aware of all four characters on stage.

Lastly, Hamlet’s deliberate cynicism and icy tone exhibits his awareness. Although Hamlet starts out the conversation pleasantly, he immediately switches his tone as soon as Ophelia tries to return his gifts and letters. He repeatedly says “get thee to a nunnery,” so that he appears indignant to Claudius and Polonius. He comes to a point where he leaves in the middle of the conversation, leaving Ophelia behind. The fact that he rejects her openly—an attitude that is unlikely from a lover—is evidence that Hamlet is acting, knowing the possibility that Claudius and Polonius may manipulate his relationship with Ophelia should they become aware of his love.

All in all, although subtly, Hamlet hints that he has noticed the presence of Claudius and Polonius during his conversation with Ophelia. And only those who look close enough can note that he has noticed as well.