1. Review of Hamlet, Act V November 2015

2. Hamlet: Bipolar Prince? Act V, Scene I: Hamlet jumps into Ophelia’s grave and fights with Laertes. Do his actions and words suggest that Hamlet’s love for Ophelia was stronger than what we are led to believe throughout the course of the play? Does Hamlet finally act on emotion rather than over think a situation? Are his actions and words an extension of Hamlet’s mental instability and madness? Act V, Scene II: A more sober Hamlet regrets his behaviour and apologizes to Laertes. Does Hamlet realize the extent to which his actions have caused the death of Ophelia? Is Hamlet’s apology sincere or hollow? Is madness a legitimate reason especially since Hamlet madness was initially an act?

3. Death The graveyard and gravediggers complement the play’s (and Hamlet’s) preoccupation with death; they also lead to a significant change in Hamlet’s attitude towards death. Shakespeare uses commoners and dark humour to balance Hamlet’s serious obsession with death. Hamlet disapproves of the gravediggers’ flippant behaviour and then (literally and figuratively) comes face to face with death as he picks up Yorick’s skull. Hamlet seems to come to terms with death before his own in Scene 2. During the gravedigger scene, Hamlet realizes that all men, great (Julius Caesar) or insignificant (Yorick), meet the same fate: death. This realization is liberating for Hamlet.

4. Hamlet’s Peace Before the duel, Hamlet seems at peace with death. (His preoccupation with his own mortality for whatever reason has seemingly come to an end.) Gravedigger scene Conversation with Horatio before the duel Hamlet apologizes to Laertes. Regardless of whether or not we accept Hamlet’s apology, Hamlet seems to have a greater awareness of his mistakes and takes responsibility. He now realizes that, in pursuit of revenge, he has affected others.

5. Revenge Hamlet pursues his bloody thoughts, while Laertes accepts Hamlet’s apology but pursues Claudius’s plan for revenge. The pursuit of revenge brings moral corruption. (Young Fortinbras is the only one not to pursue revenge.) Revenge is bloody and all-consuming. The final scene leaves us with many questions: Do the deaths of the characters demonstrate that revenge secures justice? Does the bloodbath of the final scene show the absurdity of revenge as no one is spared?

6. Hamlet’s Dying Wishes Hamlet tells Horatio not to commit suicide; instead, he should tell Hamlet’s story. Hamlet makes Young Fortinbras the King of Denmark.

7. The New King Throughout the play, Denmark was a state marred by moral and political corruption. Claudius lacked the moral authority to rule and was depicted as a political plotter, not a heroic king. Hamlet, the heir to the throne, killed Polonius and slipped into madness. Laertes, who is hailed by the Danes upon his return, plots with Claudius to kill Hamlet; he too becomes morally corrupt. With a new king – one that has no involvement with the moral and political corruption we have seen in the play – comes the possibility of moral and political regeneration. Young Fortinbras, as Hamlet observed, is a courageous and heroic leader who acts honourably and defends his honour.