KING CLAUDIUS
What, Gertrude? How does Hamlet?
QUEEN GERTRUDE
Mad as the sea and wind when both contend
Which is the mightier. In his lawless fit,
Behind the arras hearing something stir,
Whips out his rapier, cries 'A rat, a rat,'
And in this brainish apprehension, kills
The unseen good old man.
(4.1.6-12)
This is an incredibly interesting passage. In the previous passage, Hamlet tells Gertrude that he isn't crazy but he asks her to lie and tell Claudius that he is in fact mad. As we can see here, Gertrude tells the king that Hamlet's as "mad as the sea and wind." Why does she do this? Is she trying to protect her son by lying to Claudius? Or, does she really think Hamlet's gone off the deep end? Where do Gertrude's loyalties lie at this point in the play?
Quote 2
[…] poor Ophelia
Divided from herself and her fair judgment,
Without the which we are pictures or mere beasts;
(4.5.91-93)
Here, Claudius describes Ophelia as being "divided from herself." In other words, she's lost her mind. But what causes Ophelia to go mad? Duh: her ex-boyfriend has murdered her father. Right? Well, maybe it's more complex than that. Maybe she's actually just cracked under the patriarchal pressures of the court. Throughout the play, Ophelia is ordered around by her brother and her father and has no control over her social or love life. Madness might just be the only way she has of fighting back.
Quote 3
KING
Follow her close; give her good watch, I pray you. (4.5.79)
Ophelia's mad ramblings are super problematic to the royal court, as we see here when Claudius orders Horatio to keep a close eye on her. The fact is that Ophelia's babblings about her father's murder could have important political implications. Later, we see just how volatile the realm can be when Laertes leads a rebellion and finds many eager supporters who would help him overthrow King Claudius.
CLAUDIUS
Hamlet comes back; what would you undertake
To show yourself indeed your father's son
More than in words?
LAERTES
To cut his throat i' th' church.
KING
No place indeed should murder sanctuarize;
Revenge should have no bounds.
(4.7.141-146)
Now here's a revenge hero the groundlings can get behind: revenge is a higher ideal even than church—or so Claudius tells Laertes. But, come on, would you trust the guy?
Quote 5
KING CLAUDIUS
Though yet of Hamlet our dear brother's death
The memory be green, and that it us befitted
To bear our hearts in grief, and our whole kingdom
To be contracted in one brow of woe,
Yet so far hath discretion fought with nature
That we with wisest sorrow think on him
Together with remembrance of ourselves.
(1.2.1-7)
King Claudius begins by acknowledging Old King Hamlet's death and says it "befitted" the "whole kingdom" to mourn Old Hamlet's loss (emphasis on the past tense.) But, he also asserts that it is "wise" for the "whole kingdom" to move on quickly. Self-interest ("remembrance of ourselves") and self-preservation are both far more important. But why? Well, Claudius, as we will soon learn, is responsible for murdering Old King Hamlet so it's no wonder he wants to sweep the guy's life under the rug. Claudius has also helped himself to Old Hamlet's wife and crown so it's in his best interest if the kingdom moves on and forgets Old Hamlet. Pretty crafty, King Claudius.
KING CLAUDIUS
Now, Hamlet, where's Polonius?HAMLET
At supper.KING CLAUDIUS
At supper where?HAMLET
Not where he eats, but where he is eaten. A
certain convocation of politic worms are e'en at
him. Your worm is your only emperor for diet. We
fat all creatures else to fat us, and we fat ourselves
for maggots. Your fat king and your lean beggar is
but variable service—two dishes but to one table.
That's the end. (4.3.19-28)
Hamlet tells Claudius that Polonius is "at supper," but what he really means is that Polonius is being eaten for supper. (There goes our appetite.) Is this part of his "antic disposition" or is this really how Hamlet sees things?
Quote 7
KING CLAUDIUS
[aside] O, 'tis too true!
How smart a lash that speech doth give my
conscience.
The harlot's cheek beautied with plast'ring art
Is not more ugly to the thing that helps it
Than is my deed to my most painted word.
O heavy burden!
(3.1.56-62)
Unlike Polonius, Claudius knows that all his scheming might catch up with him in the end. What's interesting about this passage is the way his sexist remarks align his own deception with the use of cosmetics. The king compares his "painted word[s]" (every lie he tells) to the way a "harlot" "plasters" her face with makeup. It sounds like, in Hamlet's world, women are fundamentally deceptive.
KING
'Tis sweet and commendable in your nature,
Hamlet,
To give these mourning duties to your father.
[…] but to persever
In obstinate condolement is a course
Of impious stubbornness. 'Tis unmanly grief.
It shows a will most incorrect to heaven,
A heart unfortified, a mind impatient,
An understanding simple and unschooled:
(1.2.90-92; 96-101)
Translation: stop acting so ridiculous about your dead dad. According to King Claudius, Hamlet's excessive grief for his father is "unmanly." Why? Bereavement, says Hamlet's new stepdad/uncle, makes him appear weak, unreasonable, and without discipline —all things associated, in Claudius' mind, with women. Gee, with a role model like this, it's no wonder Hamlet's so messed up.
Quote 9
KING
O, my offence is rank, it smells to heaven;
It hath the primal eldest curse upon 't,
A brother's murder.
(3.3.40-42)
As King Claudius prays, he acknowledges that, by murdering his brother, Old Hamlet, he has brought upon himself the first ("primal") and oldest ("eldest") "curse," which is a reference to the biblical story of Cain, who committed the first murder when he killed his brother Abel (Genesis 4.10-12). Apparently, family feuds go way back. Way back.