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Polonius instructs Ophelia to stand in the lobby of the castle while he and Claudius hide. Hamlet approaches Ophelia and talks to her, saying "Get thee to a nunnery." Hamlet asks Ophelia where her father is; she lies to him, saying her father must be at home. Hamlet realises he is being spied upon.
Polonius forces Ophelia to return Hamlet's love letters to the prince while he and Claudius secretly watch in order to evaluate Hamlet's reaction. Hamlet is walking alone in the hall as the King and Polonius await Ophelia's entrance. Hamlet muses on thoughts of life versus death. When Ophelia enters and tries to return Hamlet's things, Hamlet ...
Jones' investigation was first published as "The Œdipus-complex as an Explanation of Hamlet's Mystery: A Study in Motive" (in The American Journal of Psychology, January 1910); it was later expanded in a 1923 publication; [4] before finally appearing as a book-length study (Hamlet and Oedipus) in 1949. [5]
Eliot uses Lady Macbeth's state of mind as an example of the successful objective correlative: "The artistic 'inevitability' lies in this complete adequacy of the external to the emotion….", as a contrast to Hamlet. According to Eliot, the feelings of Hamlet are not sufficiently supported by the story and the other characters surrounding him.
Eliot writes that Hamlet's state of mind is a direct result of his confused emotions and the lack of external representation for these emotions in an objective correlative. He goes on to say that Hamlet's initial conflict is a disgust in his mother, but his feelings regarding the situation are too complex to be represented by Gertrude alone ...
Claudius' speech is full of rhetorical figures, as is Hamlet's and, at times, Ophelia's, while Horatio, the guards, and the gravediggers use simpler methods of speech. Claudius demonstrates an authoritative control over the language of a King, referring to himself in the first person plural, and using anaphora mixed with metaphor that hearkens ...
Ophélie is in the garden with a book in her hand. She laments Hamlet's distance, feeling his look is something like reproach (Ophélie: Sa main depuis hier n'a pas touché ma main! – "His hand has not touched mine since yesterday"). She reads from her book, at first silently, then aloud (Ophélie: "Adieu, dit-il, ayez-foi!"
Hamlet caresses Ophelia and kisses her fingers and arm. Then, alone, Hamlet says: "Now, Horatio, you are mine". Part four: Hamlet's antagonistic feelings towards Ophelia leak out: the prince brushes her off in person and writes a letter calling her a numbskull. Hamlet's father urges the prince to avenge him in a dream.