William Shakespeare 's Hamlet, Prince Of Denmark

Hamlet is however racked with indecision, and spends most of this scene subtly ridiculing Claudius anyway, though Hamlet is not yet sure of his guilt. For example, after the play has served its purpose and Claudius rises, calling for light, Hamlet makes a joke that the King is “frightened by false fire” (272), implying that the King is scared this may happen to him. The reader can envision the mocking tone from Hamlet’s verbal irony as he rejoices in finally proving the King’s guilt, at least to himself. Hamlet actually employs the same stylistic irony earlier, during a short exchange with Polonius, relating it back to his father’s murder. Polonius says, “I did enact Julius Caesar: I was killed i' the / Capitol; Brutus killed me” (105-6). To which Hamlet replies, “It was a brute part of him to kill so capital a calf / there” (107-8). This is symbolic of what Hamlet knows about his father’s death in that he relates Caesar’s innocent “calf-like” death to his father’s murder. This, along with pieces of his conversation with Ophelia, seem to be pieces in which he is talking to himself, so zealous about his plan with the play, that he is merely speaking aloud in riddles about what has been bothering him. He mentions to Ophelia, “how cheerfully my / mother looks, and my father

Polonius played a vital role in Hamlet even though he was not one of the main characters. He continued to reinforce the theme of corruption and displayed the social and ethical collapse of Denmark. His deceitful actions show the reader that he is one of dishonesty and chicanery. In the play, Polonius was portrayed as someone who is a deceiver and pretender that betrays people he is supposed to be devoted to; and who only cares about things that will benefit him. These characteristics of Polonius are seen through his interactions with Ophelia, Hamlet, Laertes, Reynaldo and the King.

Right after Hamlet calls Rosencrantz a tool of the king, Rosencrantz replies "I understand you not, my lord." (IV, ii, 21) In act II, scene ii, line 185 - 7 , Hamlet calls Polonius's daughter a prostitute, and he merely replies "How say you by that," Social mores were incredibly strict in that era and such an insult would almost inevitably have created an uproar. The lack of such a disturbance indicates a lack of understanding on Polonius’s part.

Gertrude and Claudius have been concerned about Hamlet’s condition. This leads Claudice to send in Rosencrantz and Guildenstern to spy on their son to find out what is troubling Hamlet.”The king does not ask them to spy on their friend; rather he requests them to “glean” whether anything “unknown afflicts him thus,/ That, open’d, lie within our remedy”(II,ii, 17-18). Claudice, in greeting Rosencrantz and Guildenstern, tells them of Hamlet’s melancholic state. After Claudice is done with Rosencrantz and Guildenstern, Polonius comes and tell Claudius and Gertrude that he has the answer for their son’s melancholic state. At this point in the play, Claudius, Gertrude and Polonius all believe that Hamlet has gone mad. Polonius says, “Your noble son is mad” (II,ii,92). They all believe that Ophelia is the cause of his sadness and finally into “the madness wherein now he raves” (II,ii,149). When Polonius sees Hamlet, he realizes that he is neither mad nor melancholic. After, talking with Polonius Hamlet seems to realize that Polonius has prevented Ophelia from seeing him. He tells Polonius, “if the sun breed maggots in a dead dog” (II,ii,180), he should keep his daughter out of the sun. Polonius thinks Hamlet is “far gone, but considers “How pregnant sometimes his replies are! A happiness that often madness hits on, which reason and sanity could not so prosperously be delivered of” (II, ii, 206-209). This shows that Hamlet is in fact mad. When Polonius

Another instance where Polonius is a comic relief is when Hamlet is inviting the players into the castle. One player breaks into an emotional speech at Hamlets whim and Polonius interrupts with comments. “Fore God, my lord, well spoken, with good accent and/ Good discretion.”(IIii,447-448). Polonius is trying to commend the speaker to hasten him. After the speech keeps going on Polonius rudely interrupts with “This is too long”(IIii,478). As the player recites a part of the speech he becomes emotional with color and Polonius points it out. “Look whe’e he has not turned his color and has/ Tears in’s eyes.-Prithee, no more.”(IIii,499-500). Polonius is rude and pokes fun at the emotional speaker. His actions contrast with the player’s tragic speech emphasizing sorrow aspects of his speech.

Prior to this we discover Polonius' rancor for the prince when he warns Ophelia of Hamlet's feigned affections: "Do not believe his vows" (1.3, 127). As with Claudius, there exists little cordiality, less true affection and even less of an attempt to disguise the relationship. The king fears his nephew's grief-enraged condition and the dutiful advisor mirrors these suspicions. Hamlet, meanwhile, casts an equal contempt at the pair in protest of Claudius' unnatural ascension to the roles of both father and husband.

During their conversation, Hamlet calls the old man a “fishmonger” and illogically answers the man’s questions. Still, many of Hamlet’s seemingly lunatic statements disguise pointed observations about Polonius’s conceit and old age. In fact, Polonius himself comments that while Hamlet is not of right mind, his words are often “pregnant” with meaning (II.ii.206).

Issues of power are foremost in Polonius' mind. He immediately seeks the King in order to legitimate his accusations concerning Hamlet. By doing this, not only does Polonius gain power over Hamlet, but also with the King himself. Polonius tries to control the way Hamlet is seen around the court so as to rise in stature himself. Through his manipulation of Ophelia, Polonius becomes a character not as much concerned with familial ties as one whose concern rests within the world of court intrigue and position.

            In Act 2, the King and Queen continue to try and determine why Hamlet is acting the way he is.   They request his friends Rosencrantz and Guildenstern to find out what is wrong. Polonius learns from Ophelia that Hamlet could be "mad for thy love?" (2.1.84), but Ophelia is not sure of it.  Polonius delivers his opinion to Claudius and Gertrude in which he states that Hamlet:

into every language. Polonius is one of the major characters in Hamlet, his role in the play

Polonius’ interactions with Hamlet are often the source of misinterpretations that Polonius is a bumbling fool. In every conversation, Polonius appears oblivious to the witty and cruel remarks Hamlet makes in response to his persistent questioning. Even when explicitly called a “fishmonger,” Polonius feigns surprised ignorance and suggests that Hamlet is insane rather than sarcastic (II.ii.187). He appears to continue ignoring Hamlet’s thinly veiled insults even when Hamlet compares Ophelia to “maggots in a dead dog,” assuming that Hamlet is “still harping on [his] daughter” (II.ii.669). However, Polonius is not the “tedious old fool” that he appears to be; just as Hamlet confessed to being “not in madness,/But mad in craft,” Polonius merely feigns stupidity (II.ii.224; III.iv.204-5). By pretending to be clueless, Polonius is able to question and study Hamlet further without

Polonius' pre-occupation with his courtly duties overshadows his character as the wise old man and marks his role as the fool. As the fool, Polonius provides comic relief, and a "busybody" messenger for the court. His speech, for all its wisdom, "makes him so comic and absurd. All his ludicrous exhibitions of pedantry and expertise, his mouthings of clichés and commonplaces, his observations and definitions--all imprison the mind's potential range in littleness" (Long 137). In addition to his speech being superfluous, Polonius' messages to Hamlet are quite ironic. The arrival of the Players and Gertrude's request to speak with Hamlet have already been relayed to Hamlet before Polonius repeats the messages. This foolish redundancy is comic and even more so is Polonius'

Polonius, the kings royal assistant, has a preoccupation with appearances. He always wants to keep up the appearance of a loving and caring person. Polonius appears like a man who loves and cares about his son, Laertes. Polonius speaks to his son with advice that sounds sincere but in reality it is rehearsed, hollow and without feeling. In reality Polonius lies, manipulates people and eavesdrops on peoples conversation. Polonius helps contribute to minor theme of

One of the more subtle elements of corruption in the play is the manner in which the court of Denmark functions. It is a game of favors, a constant play, with the director as the King, his subjects the players, and none more prominent than Polonius, the royal advisor. Polonius' two main faults lie in his ingratiating manner and his incessant spying. While he tells his daughter Ophelia that Hamlet is not true in his affections, he explains to the King that he warned Ophelia against Hamlet because the Prince it far above her station in life. Polonius perceives himself to be witty and tries to weasel his way around with actions and words to best fit the situation and above all benefit himself. His inclination to spy on people is obvious for he sends a man to France to find out how his son is behaving, he spies on his daughter while she is with Prince Hamlet, and he hides behind the arras to listen to the confrontation between the Queen and Hamlet. Rosencrantz and Guildenstern also try to win favor with the King, foregoing any friendship they once had with Hamlet, to 'play upon [him] . . . pluck out the heart of [his] mystery,' acting as little more than spies for the King, feigning friendship to obtain Hamlet's secrets (3.2.372-374).

Hamlet uses Polonius’s initial interactions within a domestic setting and the royal court to establish Polonius’s character. When Polonius notarizes Reynaldo to spy on Laertes, Polonius lauds his method with such rhetorical flourishes as “wisdom and of reach” and “with windlasses and assays of bias,” to ensure that his ‘grand’ scheme is not lost on Reynaldo (2.1.61-62). The text chooses to show Polonius strutting such ornate rhetoric to commend himself, even when there is no one to impress beyond his own servant, to illustrate how Polonius is by his very nature pompous. When Polonius subsequently hears Ophelia relay her encounter with a deranged Hamlet, Polonius’s first instinct is to “go see the king,” rather than to comfort Ophelia beyond simply saying he’s sorry (2.1.114). Polonius’s primal instinct to serve his lord reveals a servile disposition baked into his very being. These intrinsic tendencies are hyperbolized through Polonius’s interaction with the royal family. Upon entering the court, Polonius immediately professes to “hold my duty … both to my God