O God! a beast that wants discourse of reason,
Would have mourn’d longer,—married with mine uncle,
My father’s brother; but no more like my father
Than I to Hercules: within a month;
Ere yet the salt of most unrighteous tears
Had left the flushing in her galled eyes,
She married:— O, most wicked speed, to post
With such dexterity to incestuous sheets!
Hamlet quiets suddenly as Horatio strides into the room, followed by Marcellus and Bernardo. Horatio was a close friend of Hamlet at the university in Wittenberg, and Hamlet, happy to see him, asks why he has left the school to travel to Denmark. Horatio says that he came to see King Hamlet’s funeral, to which Hamlet curtly replies that Horatio came to see his mother’s wedding. Horatio agrees that the one followed closely on the heels of the other. He then tells Hamlet that he, Marcellus, and Bernardo have seen what appears to be his father’s ghost. Stunned, Hamlet agrees to keep watch with them that night, in the hope that he will be able to speak to the apparition.Read a translation of Act I, scene ii →
Having established a dark, ghostly atmosphere in the first scene, Shakespeare devotes the second to the seemingly jovial court of the recently crowned King Claudius. If the area outside the castle is murky with the aura of dread and anxiety, the rooms inside the castle are devoted to an energetic attempt to banish that aura, as the king, the queen, and the courtiers desperately pretend that nothing is out of the ordinary. It is difficult to imagine a more convoluted family dynamic or a more out-of-balance political situation, but Claudius nevertheless preaches an ethic of balance to his courtiers, pledging to sustain and combine the sorrow he feels for the king’s death and the joy he feels for his wedding in equal parts.
But despite Claudius’s efforts, the merriment of the court seems superficial. This is largely due to the fact that the idea of balance Claudius pledges to follow is unnatural. How is it possible to balance sorrow for a brother’s death with happiness for having married a dead brother’s wife? Claudius’s speech is full of contradictory words, ideas, and phrases, beginning with “Though yet of Hamlet our late brother’s death / The memory be green,” which combines the idea of death and decay with the idea of greenery, growth, and renewal (I.ii.1–2). He also speaks of “[o]ur sometime sister, now our queen,” “defeated joy,” “an auspicious and a dropping eye,” “mirth in funeral,” and “dirge in marriage” (I.ii.8–12). These ideas sit uneasily with one another, and Shakespeare uses this speech to give his audience an uncomfortable first impression of Claudius. The negative impression is furthered when Claudius affects a fatherly role toward the bereaved Hamlet, advising him to stop grieving for his dead father and adapt to a new life in Denmark. Hamlet obviously does not want Claudius’s advice, and Claudius’s motives in giving it are thoroughly suspect, since, after all, Hamlet is the man who would have inherited the throne had Claudius not snatched it from him.
The result of all this blatant dishonesty is that this scene portrays as dire a situation in Denmark as the first scene does. Where the first scene illustrated the fear and supernatural danger lurking in Denmark, the second hints at the corruption and weakness of the king and his court. The scene also furthers the idea that Denmark is somehow unsound as a nation, as Claudius declares that Fortinbras makes his battle plans “[h]olding a weak supposal of our worth, / Or thinking by our late dear brother’s death / Our state to be disjoint and out of frame” (I.ii.18–20).
Prince Hamlet, devastated by his father’s death and betrayed by his mother’s marriage, is introduced as the only character who is unwilling to play along with Claudius’s gaudy attempt to mimic a healthy royal court. On the one hand, this may suggest that he is the only honest character in the royal court, the only person of high standing whose sensibilities are offended by what has happened in the aftermath of his father’s death. On the other hand, it suggests that he is a malcontent, someone who refuses to go along with the rest of the court for the sake of the greater good of stability. In any case, Hamlet already feels, as Marcellus will say later, that “[s]omething is rotten in the state of Denmark” (I.iv.67). We also see that his mother’s hasty remarriage has shattered his opinion of womanhood (“Frailty, thy name is woman,” he cries out famously in this scene [I.ii.146]), a motif that will develop through his unraveling romantic relationship with Ophelia and his deteriorating relationship with his mother.
His soliloquy about suicide (“O, that this too too solid flesh would melt, / Thaw and resolve itself into a dew!” [I.ii.129–130]) ushers in what will be a central idea in the play. The world is painful to live in, but, within the Christian framework of the play, if one commits suicide to end that pain, one damns oneself to eternal suffering in hell. The question of the moral validity of suicide in an unbearably painful world will haunt the rest of the play; it reaches the height of its urgency in the most famous line in all of English literature: “To be, or not to be: that is the question” (III.i.58). In this scene Hamlet mainly focuses on the appalling conditions of life, railing against Claudius’s court as “an unweeded garden, / That grows to seed; things rank and gross in nature / Possess it merely” (I.ii.135–137). Throughout the play, we watch the gradual crumbling of the beliefs on which Hamlet’s worldview has been based. Already, in this first soliloquy, religion has failed him, and his warped family situation can offer him no solace.