Hamlet: my dad died unprepared! I can’t kill my uncle now, no (3.3.80-87) #InkyCloak #SlowShakespeare

HAMLET         ’A took my father grossly full of bread

With all his crimes broad blown, as flush as May,

And how his audit stands who knows, save heaven,

But in our circumstance and course of thought

’Tis heavy with him. And am I then revenged

To take him in the purging of his soul

When he is fit and seasoned for his passage?

No. [Sheathes sword.]            (3.3.80-87)

Then fury and disgust and grief overcome Hamlet again, his anguish over the manner of his father’s death even more prominent in his imagining than the fact of it in this moment: ’a took my father grossly full of bread with all his crimes broad blown, as flush as May. My dad wasn’t ready to die, he had no chance to prepare himself! No time to repent! (He was full of bread because he could not fast in repentance, here standing for repentance in general, but it suggests a life of pleasure, of appetites indulged.) He hadn’t confessed his sins, done penance; he wasn’t in a state of grace when he died, but rather all his crimes were broad blown, as flush as May, verdant as springtime: Hamlet’s echoing his father’s own description of dying in the blossom of his sin. It’s an image ironically appropriate for a garden death, but that’s part of its horror, as if a decaying, overblown wreath of roses, a ghastly funeral tribute, has interposed itself on Hamlet’s memories. My father’s sins were ripe, full-blown—but he wasn’t ready! (And neither were we; we couldn’t say goodbye!)

And so I’m really worried, I’m just agonized at the thought that my dad’s in hell. The not knowing, it’s eating me up (along with everything else that’s eating me up). And how his audit stands who knows, save heaven, but in our circumstance and course of thought ’tis heavy with him. It just doesn’t look good, there’s no way of knowing the details, what’s on his charge sheet, as it were, and I HATE not knowing, hate it. I’m so worried, I feel so helpless, not being able to do anything.

So, in the circumstances, am I then revenged to take him in the purging of his soul, when he is fit and seasoned for his passage? If I were to kill my uncle now, he’d be in exactly the opposite position, praying, confessing, in a state of grace. (Probably. No way of knowing.) But in any case, the best possible circumstances in which to die, surely? The next best thing to a direct flight, with a get out of jail free card? No. No. I can’t do it, I can’t take that chance. I won’t do it. No. (The movement in this speech from now to no is striking, and extremely cool.)

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  1. Man of Action/ Man of Reasoning- how beautifully Shakespeare portrays this in this scene! Perhaps unnecessary for plot purposes, essential for thematic purposes. I am doing a structural analysis of Shakespeare plays and gotten through about a third of the way; other than the all important opening lines, the central scene and the scenes bracketing the central scene are always thematically important. Here, the play within the play is the central scene and this scene follows immediately.
    Hamlet is so good at reasoning himself into not acting. He just got the confirmation he was seeking throughout, but reasons himself out of action. Most students when they read the play are frustrated with Hamlet for not acting. My colleague who taught this play for years always asked them this question: what is the action? Murder. Even if it is for revenge, it is still murder. A civilized mind ought to rebel against murder. Suddenly, Hamlet’s hesitation is understandable. Hamlet has never been in war, he is a university student, a man of letters. He is very different from Macbeth who is used to killing on the battlefield, and hesitates to be bloody in his own house.
    Hamlet will become a man of action only after accidentally killing Polonius. After the first killing, does the next become easier? For Macbeth, it is definitely true. Hamlet shows no remorse in sending Rosencratz and Guildenstern to their deaths, though it is indirect. We are given no soliloquies as to why he is so clear-minded in Act V (‘the readiness is all’), but he certainly has been transformed and is ready for action.
    Claudius is a man of action, but not a thoughtless brute. Here he is reasoning and justifying his actions. Remorse after the fact for Claudius; remorse before acting for Hamlet.

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