ACT II - Scene I Hamlet


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Elsinore. A room in the house of Polonius.

Enter Polonius and Reynaldo.

POLONIUS
Give him this money and these notes, Reynaldo.

REYNALDO
I will, my lord.

POLONIUS
You shall do marvell's wisely, good Reynaldo,
Before You visit him, to make inquire
Of his behaviour.

REYNALDO
My lord, I did intend it.

POLONIUS
Marry, well said, very well said. Look you, sir,
Enquire me first what Danskers are in Paris;
And how, and who, what means, and where they keep,
What company, at what expense; and finding
By this encompassment and drift of question
That they do know my son, come you more nearer
Than your particular demands will touch it.
Take you, as 'twere, some distant knowledge of him;
As thus, 'I know his father and his friends,
And in part him.' Do you mark this, Reynaldo?

REYNALDO
Ay, very well, my lord.

POLONIUS
'And in part him, but,' you may say, 'not well.
But if't be he I mean, he's very wild
Addicted so and so'; and there put on him
What forgeries you please; marry, none so rank
As may dishonour him- take heed of that;
But, sir, such wanton, wild, and usual slips
As are companions noted and most known
To youth and liberty.

REYNALDO
As gaming, my lord.

POLONIUS
Ay, or drinking, fencing, swearing, quarrelling,
Drabbing. You may go so far.

REYNALDO
My lord, that would dishonour him.

POLONIUS
Faith, no, as you may season it in the charge.
You must not put another scandal on him,
That he is open to incontinency.
That's not my meaning. But breathe his faults so quaintly
That they may seem the taints of liberty,
The flash and outbreak of a fiery mind,
A savageness in unreclaimed blood,
Of general assault.

REYNALDO
But, my good lord-

POLONIUS
Wherefore should you do this?

REYNALDO
Ay, my lord,
I would know that.

POLONIUS
Marry, sir, here's my drift,
And I believe it is a fetch of warrant.
You laying these slight sullies on my son
As 'twere a thing a little soil'd i' th' working,
Mark you,
Your party in converse, him you would sound,
Having ever seen in the prenominate crimes
The youth you breathe of guilty, be assur'd
He closes with you in this consequence:
'Good sir,' or so, or 'friend,' or 'gentleman'-
According to the phrase or the addition
Of man and country-

REYNALDO
Very good, my lord.

POLONIUS
And then, sir, does 'a this- 'a does- What was I about to say?
By the mass, I was about to say something! Where did I leave?

REYNALDO
At 'closes in the consequence,' at 'friend or so,' and
gentleman.'

POLONIUS
At 'closes in the consequence'- Ay, marry!
He closes thus: 'I know the gentleman.
I saw him yesterday, or t'other day,
Or then, or then, with such or such; and, as you say,
There was 'a gaming; there o'ertook in's rouse;
There falling out at tennis'; or perchance,
'I saw him enter such a house of sale,'
Videlicet, a brothel, or so forth.
See you now-
Your bait of falsehood takes this carp of truth;
And thus do we of wisdom and of reach,
With windlasses and with assays of bias,
By indirections find directions out.
So, by my former lecture and advice,
Shall you my son. You have me, have you not?

REYNALDO
My lord, I have.

POLONIUS
God b' wi' ye, fare ye well!

REYNALDO
Good my lord!

[Going.]

POLONIUS
Observe his inclination in yourself.

REYNALDO
I shall, my lord.

POLONIUS
And let him ply his music.

REYNALDO
Well, my lord.

POLONIUS
Farewell!

Exit Reynaldo.

Enter Ophelia.

How now, Ophelia? What's the matter?

OPHELIA
O my lord, my lord, I have been so affrighted!

POLONIUS
With what, i' th' name of God?

OPHELIA
My lord, as I was sewing in my closet,
Lord Hamlet, with his doublet all unbrac'd,
No hat upon his head, his stockings foul'd,
Ungart'red, and down-gyved to his ankle;
Pale as his shirt, his knees knocking each other,
And with a look so piteous in purport
As if he had been loosed out of hell
To speak of horrors- he comes before me.

POLONIUS
Mad for thy love?

OPHELIA
My lord, I do not know,
But truly I do fear it.

POLONIUS
What said he?

OPHELIA
He took me by the wrist and held me hard;
Then goes he to the length of all his arm,
And, with his other hand thus o'er his brow,
He falls to such perusal of my face
As he would draw it. Long stay'd he so.
At last, a little shaking of mine arm,
And thrice his head thus waving up and down,
He rais'd a sigh so piteous and profound
As it did seem to shatter all his bulk
And end his being. That done, he lets me go,
And with his head over his shoulder turn'd
He seem'd to find his way without his eyes,
For out o' doors he went without their help
And to the last bended their light on me.

POLONIUS
Come, go with me. I will go seek the King.
This is the very ecstasy of love,
Whose violent property fordoes itself
And leads the will to desperate undertakings
As oft as any passion under heaven
That does afflict our natures. I am sorry.
What, have you given him any hard words of late?

OPHELIA
No, my good lord; but, as you did command,
I did repel his letters and denied
His access to me.

POLONIUS
That hath made him mad.
I am sorry that with better heed and judgment
I had not quoted him. I fear'd he did but trifle
And meant to wrack thee; but beshrew my jealousy!
By heaven, it is as proper to our age
To cast beyond ourselves in our opinions
As it is common for the younger sort
To lack discretion. Come, go we to the King.
This must be known; which, being kept close, might move
More grief to hide than hate to utter love.
Come.

Exeunt.

Frequently Asked Questions about ACT II - Scene I from Hamlet

What happens in Act 2, Scene 1 of Hamlet?

Act 2, Scene 1 of Hamlet takes place in Polonius’s house and contains two important exchanges. In the first half, Polonius instructs his servant Reynaldo to travel to Paris and spy on his son Laertes by spreading minor rumors about him—such as gambling and drinking—to see if acquaintances confirm the behavior. Polonius summarizes his strategy with the line, "Your bait of falsehood takes this carp of truth." In the second half, Ophelia rushes in, frightened, and reports that Hamlet visited her in her private chamber looking disheveled and wild—his clothes unfastened, his face pale, his knees knocking. He grabbed her wrist, stared at her face silently, then left with a deep sigh, never taking his eyes off her. Polonius concludes that Hamlet has gone mad with love because Ophelia rejected him on her father’s orders, and he resolves to report this to King Claudius.

Why does Polonius send Reynaldo to Paris in Act 2, Scene 1?

Polonius sends Reynaldo to Paris ostensibly to deliver money and notes to his son Laertes, but his real purpose is to have Reynaldo spy on Laertes and gather intelligence about his behavior abroad. Rather than simply asking people directly, Polonius devises an elaborate scheme: Reynaldo should casually suggest that Laertes engages in minor vices like gaming, drinking, and visiting brothels. If the people Reynaldo speaks with agree or add details, it confirms that Laertes is actually misbehaving. Polonius calls this tactic using "indirections" to "find directions out," revealing his deep-seated belief that deception is the most effective tool for uncovering the truth—a philosophy that characterizes his role throughout the play.

Is Hamlet’s madness real or an act in Act 2, Scene 1?

Shakespeare deliberately leaves this question ambiguous in Act 2, Scene 1. The audience knows from Act 1 that Hamlet told Horatio he planned to put on an "antic disposition" to conceal his true intentions after learning about his father’s murder. This suggests his wild appearance before Ophelia—with disheveled clothes, pale face, and erratic behavior—is a calculated performance designed to make the court believe he has lost his mind. However, his intense, silent staring at Ophelia and the deep sigh that seemed to "shatter all his bulk" hint at genuine emotional turmoil. Hamlet may truly be distressed at losing Ophelia, who rejected him on her father’s orders, making his madness a blend of strategic deception and authentic anguish. This ambiguity between performance and reality is one of the central tensions of the entire play.

What role does Ophelia play in Act 2, Scene 1 of Hamlet?

Ophelia serves as both a messenger and a victim in this scene. She enters in a state of fright to report Hamlet’s disturbing visit to her private chamber, delivering a vivid and detailed description of his wild appearance and strange behavior. Her account is the audience’s only window into Hamlet’s transformation, since Shakespeare keeps Hamlet offstage during this scene. Ophelia’s situation highlights her powerlessness: she followed her father Polonius’s orders to reject Hamlet’s letters and deny him access, and now she witnesses the apparent consequences of that rejection. Rather than being allowed to respond to Hamlet on her own terms, she is immediately swept up in Polonius’s next scheme as he decides to bring her story to King Claudius. The scene establishes Ophelia as a pawn caught between the men who control her life.

What is the significance of the theme of surveillance in Act 2, Scene 1?

Act 2, Scene 1 introduces surveillance as a central motif that will recur throughout the rest of Hamlet. Polonius’s scheme to have Reynaldo spy on Laertes in Paris establishes a pattern of characters secretly observing one another rather than communicating openly. This foreshadows Polonius’s later eavesdropping behind the arras—which ultimately costs him his life—and the broader pattern of Claudius and Polonius using Ophelia, Rosencrantz, and Guildenstern as instruments of surveillance against Hamlet. The theme reflects the poisoned atmosphere of Claudius’s court, where trust has been destroyed by regicide and deception. Shakespeare suggests that in a world built on lies, everyone resorts to spying because direct honesty has become impossible.

 

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