Claudius: my hands are bloody! but surely I could still be forgiven? (3.3.43-51) #InkyCloak #SlowShakespeare

CLAUDIUS      What if this cursed hand

Were thicker than itself with brother’s blood?

Is there not rain enough in the sweet heavens

To wash it white as snow? Whereto serves mercy

But to confront the visage of offence?

And what’s in prayer but this twofold force

– To be forestalled ere we come to fall

Or pardoned, being down? Then I’ll look up:

My fault is past.         (3.3.43-51)

Claudius’s soliloquy becomes vivid and visceral in its agonizing: what if this cursed hand were thicker than itself with brother’s blood? COVERED in it, clotted and foul (there’s an echo of the Pyrrhus speech, where Pyrrhus is described as being so bloodied that he’s like a wall freshly plastered with blood). Even if my hand were so covered—and he stares at it, seeing the blood (which is odd, because the murder was bloodless; it’s the stain, the mark of Cain, indelible and stark)—is there not rain enough in the sweet heavens to wash it white as snow? Hideous red could still become white, the hand could be clean again, because God is merciful, because there is no sin so great that it cannot be forgiven. Surely? Yes? (Seeds of Macbeth in this moment.) Whereto serves mercy but to confront the visage of offence? That’s the whole point of mercy, isn’t it, to look guilt in the eye and even then show clemency? Surely there’s still hope for me? And what’s in prayer but this twofold force—to be forestalled ere we come to fall or pardoned, being down? Come to that, what’s the point of prayer, if it’s not either to prevent us sinning in the first place, or to forgive us when we’ve already sinned? Then I’ll look up, fix my eyes on heaven; my fault is past. I’ve done what I’ve done, and nothing can change that—so I might as well pray for forgiveness. But it’s desperate pleading indeed—and a distraction and a deferral, because, as he’s already said, Claudius cannot pray.

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  1. Shakespeare in this time seems to be obsessed by mercy and who deserves it- he explores it in such stunning ways. Before Hamlet, we have Portia’s great mercy speech that on surface is so beautiful; yet, so carefully modulated to get the majority on her side and leave the non-Christian all alone. After Hamlet, we will have Isabella’s astonishing speeches on mercy; both in pleading for her brother’s life and at the end, asking for mercy on Angelo’s behalf. I find myself responding most to Isabella’s last speech asking for mercy for a man who had wronged her in every way possible; truly, the most Christian of all.

    1. Portia’s speech is sleight of hand (like Shylock’s equivalent, but more insidious). One can imagine the appeal of all these speeches to an audience in which young lawyers played a significant part (life and death is not just a matter of legal point-scoring) – but also the terrible resonance at a time of treason trials, where those condemned might plead for clemency towards their families – or those being martyred still preached forgiveness…

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