Scene Study prepares you to perform key scenes for your theater class or audition. We've got all the information you need for a great performance.

Excerpt from Act 3, Scene 1 Dialogue: Hamlet, Ophelia

 

HAMLET

Ay, truly, for the power of beauty will sooner transform honesty from what it is to a bawd than the force of honesty can translate beauty into his likeness. This was sometime a paradox, but now the time gives it proof. I did love you once.

OPHELIA

Indeed, my lord, you made me believe so.

HAMLET

You should not have believed me, for virtue cannot so inoculate our old stock but we shall relish of it. I loved you not...

Read the full dialogue.

 

 

Understanding the Given Circumstances

  • Prince Hamlet and Ophelia have been romantically involved, spending hours together and exchanging love tokens.
  • Hamlet is dealing with the murder of his father by his uncle, the incestuous marriage of his mother to that uncle, and orders from the ghost of his dead father. Hamlet decides to feign madness while planning to avenge his father and save Denmark from the newly crowned king.
  • Laertes, Ophelia’s brother, has warned her that, even if Hamlet loves her now, the prince will choose a bride of his own station, so she shouldn’t lose her virginity in a moment of passion that has no future.
  • Polonius, Ophelia’s father, agrees that Hamlet is just looking for sexual favors and has forbidden Ophelia to speak with Hamlet anymore.
  • Hamlet has started to act strangely, and Polonius decides Hamlet’s madness is due to unrequited love. He and Claudius have asked Ophelia to meet Hamlet while they secretly observe his actions.
  • When this dialogue begins, Hamlet is concluding his “To be or not to be” soliloquy, considering suicide as a way out of his troubles. Claudius and Polonius hide, listening. Ophelia enters the hall, interrupting Hamlet’s thoughts.

 

Blocking and Movement

In theater, blocking is the process of planning the actors’ physical movements and positions. Be sure to show respect and establish trust when working with scene partners. As you prepare to block this scene, ask yourself the following questions:

  • What feelings do Hamlet and Ophelia have toward each other at the moment? How might blocking and gestures initially convey their feelings to the audience?
  • Is Hamlet surprised to see Ophelia, or has this been a meeting place? Does he view her appearance as an interruption, a salvation, or something else?
  • Where are Polonius and Claudius hiding? Does Ophelia know this from the beginning, or does she discover it during the scene? How does this change her attitude and movement?
  • Hamlet repeats the word well three times. Is this tossed off or used as three separate emotions or realizations? If the latter, does movement or an expression by Ophelia trigger them? Does Hamlet become suspicious, hurt, irritated, or something else?
  • Does Hamlet hear or notice someone hiding? If so, when? How does that affect his mood and treatment of Ophelia?
  • Nunnery can mean a convent where single women are safe. In Elizabethan times, it can also mean a brothel. How can these two definitions convey different line readings, movements, and emotions?

 

Character Relationships

Family secrets and demands shatter the love between Hamlet and Ophelia, ultimately destroying them in the process. Prior to the beginning of the play, Hamlet and Ophelia spend a great deal of private time together, exchanging love “tenders” and sharing intimate conversations. Suddenly, circumstances change, and they must keep secrets from each other. Hamlet does not tell Ophelia that his uncle murdered his father and had an adulterous affair with his mother. Nor will he reveal his conversation with the ghost and his plans for revenge. Ophelia will not admit what her brother and father truly think about Hamlet’s love. Likewise, she cannot confess her part in her father’s conspiracy with Claudius.

Feeling betrayed at every level, Hamlet feigns madness and carries his burden alone as the Prince of Denmark. Abandoned by her brother and manipulated by her father, Ophelia sees no options as a woman other than to obey her father. Without these restrictions, perhaps the lovers would have found comfort and understanding with each other. Perhaps together they would have made other plans. Instead, duty, isolation, misunderstanding, and overwhelming emotions lead them inevitably to madness and death.

When approaching this scene for performance, ask yourself the following questions:

  • Do Hamlet and Ophelia really love each other? How long has the relationship been going on? Is it sexual or merely romantic?
  • Is there a point when Hamlet or Ophelia wants to confide in the other? What stops them?
  • How does their intimate knowledge of each other provide ammunition to hurt one another? Do they regret this?

 

Full Act 3, Scene 1 Dialogue: Hamlet, Ophelia

 

HAMLET

—Soft you now,
The fair Ophelia!—Nymph, in thy orisons
Be all my sins remembered.

OPHELIA

Good my lord,
How does your honor for this many a day?

HAMLET

I humbly thank you. Well, well, well.

OPHELIA

My lord, I have remembrances of yours
That I have longèd long to redeliver.
I pray you now receive them.

HAMLET

No, not I. I never gave you aught.

OPHELIA

My honored lord, you know right well you did,
And with them, words of so sweet breath composed
As made the things more rich. Their perfume lost,

Take these again, for to the noble mind
Rich gifts wax poor when givers prove unkind.
There, my lord.

HAMLET

Ha, ha, are you honest?

OPHELIA

My lord?

HAMLET

Are you fair?

OPHELIA

What means your lordship?

HAMLET

That if you be honest and fair, your honesty should admit no discourse to your beauty.

OPHELIA

Could beauty, my lord, have better commerce than with honesty?

HAMLET

Ay, truly, for the power of beauty will sooner transform honesty from what it is to a bawd than the force of honesty can translate beauty into his likeness. This was sometime a paradox, but now the time gives it proof. I did love you once.

OPHELIA

Indeed, my lord, you made me believe so.

HAMLET

You should not have believed me, for virtue cannot so inoculate our old stock but we shall relish of it. I loved you not.

OPHELIA

I was the more deceived.

HAMLET

Get thee to a nunnery. Why wouldst thou be a breeder of sinners? I am myself indifferent honest, but yet I could accuse me of such things that it were better my mother had not borne me.

I am very proud, revengeful, ambitious, with more offences at my beck than I have thoughts to put them in, imagination to give them shape, or time to act them in. What should such fellows as I do crawling between earth and heaven? We are arrant knaves, all. Believe none of us. Go thy ways to a nunnery. Where’s your father?

OPHELIA

At home, my lord.

HAMLET

Let the doors be shut upon him, that he may play the fool no where but in ’s own house. Farewell.

OPHELIA

O, help him, you sweet heavens!

HAMLET

If thou dost marry, I’ll give thee this plague for thy dowry. Be thou as chaste as ice, as pure as snow, thou shalt not escape calumny. Get thee to a nunnery, go. Farewell. Or, if thou wilt needs marry, marry a fool, for wise men know well enough what monsters you make of them. To a nunnery, go, and quickly too. Farewell.

OPHELIA

Heavenly powers, restore him!

HAMLET

I have heard of your paintings too, well enough. God has given you one face and you make yourselves another. You jig and amble, and you lisp, you nickname God’s creatures and make your wantonness your ignorance. Go to, I’ll no more on ’t. It hath made me mad. I say, we will have no more marriages. Those that are married already, all but one, shall live. The rest shall keep as they are. To a nunnery, go.

Exit HAMLET

OPHELIA

Oh, what a noble mind is here o'erthrown!—
The courtier’s, soldier’s, scholar’s, eye, tongue, sword,
Th' expectancy and rose of the fair state,
The glass of fashion and the mould of form,
Th' observed of all observers, quite, quite down!
And I, of ladies most deject and wretched,
That sucked the honey of his music vows,
Now see that noble and most sovereign reason
Like sweet bells jangled, out of tune and harsh;
That unmatched form and feature of blown youth
Blasted with ecstasy. Oh, woe is me,
T' have seen what I have seen, see what I see!

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