Hamlet - Act 1 Scene 3

Polonius’ Rooms

Enter LAERTES and OPHELIA

Laertes here insists that Ophelia write to him regularly. This request (or demand) suggests a bond and affection between the siblings, but it also ties into the play's repeated theme of surveillance, observation, and control.

LAERTES
My necessaries are embarked: farewell:
And, sister, as the winds give benefit
And convoy is assistant, do not sleep,
But let me hear from you.

OPHELIA
Do you doubt that?

Laertes downplays Hamlet's love for Ophelia, using terms like "trifling" and "toy" to characterize it as a game or passing fancy.

LAERTES
For Hamlet and the trifling of his favour,
Hold it a fashion and a toy in blood,
A violet in the youth of primy nature,
Forward, not permanent, sweet, not lasting,
The perfume and suppliance of a minute;
No more.

OPHELIA
No more but so?

The image Laertes uses here is convoluted, but the idea is straightforward: as the body grows and changes, so does the mind. Hamlet is still growing and changing, and his current love for Ophelia will likewise alter.


Whether or not Laertes believes in Hamlet's love, his argument here is both gentle and firm, sparing Ophelia's feelings while giving her a strong warning: Hamlet may love Ophelia, but, being a prince, he cannot marry whom he chooses, but must wed for political gain, based on the needs and desires of the country.

Laertes' interest in his sister's chastity links to ideas about women's virginity and family honour, but it also suggests an unhealthy intensity to their relationship, at least from his side, hinting at his actions in 5.1.

The moon was traditionally associated with chastity and virginity. Laertes suggests here that the most modest maiden might be considered wanton merely by revealing herself to moonlight, so Ophelia's dalliance with Hamlet, however innocent risks destroying her reputation and virtue.

LAERTES
Think it no more;
For nature crescent does not grow alone
In thews and bulk, but, as this temple waxes,
The inward service of the mind and soul
Grows wide withal. Perhaps he loves you now,
And now no soil nor cautel doth besmirch
The virtue of his will: but you must fear,
His greatness weighed, his will is not his own;
For he himself is subject to his birth:
He may not, as unvalued persons do,
Carve for himself; for on his choice depends
The safety and health of this whole state;
And therefore must his choice be circumscribed
Unto the voice and yielding of that body
Whereof he is the head. Then if he says he loves you,
It fits your wisdom so far to believe it
As he in his particular act and place
May give his saying deed; which is no further
Than the main voice of Denmark goes withal.
Then weigh what loss your honour may sustain,
If with too credent ear you list his songs,
Or lose your heart, or your chaste treasure open
To his unmastered importunity.
Fear it, Ophelia, fear it, my dear sister,
And keep you in the rear of your affection,
Out of the shot and danger of desire.
The chariest maid is prodigal enough,
If she unmask her beauty to the moon:
Virtue itself 'scapes not calumnious strokes:
The canker galls the infants of the spring,
Too oft before their buttons be disclosed,
And in the morn and liquid dew of youth
Contagious blastments are most imminent.
Be wary then; best safety lies in fear:
Youth to itself rebels, though none else near.

OPHELIA
I shall the effect of this good lesson keep,
As watchman to my heart. But, good my brother,
Do not, as some ungracious pastors do,
Show me the steep and thorny way to heaven;
Whiles, like a puffed and reckless libertine,
Himself the primrose path of dalliance treads,
And recks not his own rede.

LAERTES
O, fear me not.
I stay too long: but here my father comes.

Polonius chastises his son for his lateness, then proceeds to detain him further. Polonius may not be ready to let Laertes leave, but his abrupt shifting also hints at the absent-mindedness he displays in 2.1 and 2.2.

"Character" here means "inscribe," making this one of the play's many images of memory as a book, which can be written, over-written, or erased.

Polonius' advice here is composed of commonplace sayings, bits of well-known and obvious wisdom. For an audience familiar with these expressions, Polonius may come off as a foolish pedant, substituting quotations for knowledge.

Even if this last piece of advice is trite, it could be a genuinely emotional father-son moment.

Enter POLONIUS

A double blessing is a double grace,
Occasion smiles upon a second leave.

POLONIUS
Yet here, Laertes! Aboard, aboard, for shame!
The wind sits in the shoulder of your sail,
And you are stayed for. There; my blessing with thee!
And these few precepts in thy memory
See thou character. Give thy thoughts no tongue,
Nor any unproportioned thought his act.
Be thou familiar, but by no means vulgar.
Those friends thou hast, and their adoption tried,
Grapple them to thy soul with hoops of steel;
But do not dull thy palm with entertainment
Of each new-hatched, unfledged comrade. Beware
Of entrance to a quarrel, but being in,
Bear't that the opposèd may beware of thee.
Give every man thy ear, but few thy voice;
Take each man's censure, but reserve thy judgment.
Costly thy habit as thy purse can buy,
But not expressed in fancy; rich, not gaudy;
For the apparel oft proclaims the man,
And they in France of the best rank and station
Are of a most select and generous chief in that.
Neither a borrower nor a lender be;
For loan oft loses both itself and friend,
And borrowing dulls the edge of husbandry.
This above all: to thine ownself be true,
And it must follow, as the night the day,
Thou canst not then be false to any man.
Farewell: my blessing season this in thee!

LAERTES
Most humbly do I take my leave, my lord.

POLONIUS
The time invites you; go; your servants tend.

LAERTES
Farewell, Ophelia; and remember well
What I have said to you.

The way this leave-taking is staged tells us a great deal about the relationship between Laertes and Ophelia at this point: they may embrace warmly, or remain politely distant.

OPHELIA
'Tis in my memory locked,
And you yourself shall keep the key of it.

LAERTES
Farewell.

Exit

POLONIUS
What is't, Ophelia, be hath said to you?

Ophelia's language with her father is far more polite and deferential than with Laertes, indicating her respect for her father and/or her position as a woman in a largely patriarchal society.

OPHELIA
So please you, something touching the Lord Hamlet.

POLONIUS
Marry, well bethought:
'Tis told me, he hath very oft of late
Given private time to you; and you yourself
Have of your audience been most free and bounteous:
If it be so, as so 'tis put on me,
And that in way of caution, I must tell you,
You do not understand yourself so clearly
As it behoves my daughter and your honour.
What is between you? Give me up the truth.

Where Laertes is considerate of Ophelia's emotions, Polonius is far more direct. As far as he is concerned, Hamlet's pursuit of Ophelia can only be about sex, and her belief in Hamlet's love and honourable intentions demonstrates her gullible naivete. 

OPHELIA
He hath, my lord, of late made many tenders
Of his affection to me.

POLONIUS
Affection! Pooh! You speak like a green girl,
Unsifted in such perilous circumstance.
Do you believe his tenders, as you call them?

OPHELIA
I do not know, my lord, what I should think.

Polonius compares Hamlet's oaths and love-letters to counterfeit coins, and, below, describes Hamlet's behaviour in terms of clothing and disguise, once more emphasizing the discrepancy between exterior presentation and interior truth.

POLONIUS
Marry, I'll teach you: think yourself a baby;
That you have ta'en these tenders for true pay,
Which are not sterling. Tender yourself more dearly;
Or – not to crack the wind of the poor phrase,
Running it thus – you'll tender me a fool.

OPHELIA
My lord, he hath importuned me with love
In honourable fashion.

POLONIUS
Ay, fashion you may call it; go to, go to.

OPHELIA
And hath given countenance to his speech, my lord,
With almost all the holy vows of heaven.

Polonius claims here (as he will again in 2.2) to be familiar with the passions of love. As he is often portrayed as a doddering old man, this admission may have a comic effect.

Polonius combines several images here, but the central idea is the pun on "suits," meaning both love-pursuit and clothing. Polonius' claims that Hamlet's suits are counterfeit, meant to trick Ophelia into sex.

POLONIUS
Ay, springes to catch woodcocks. I do know,
When the blood burns, how prodigal the soul
Lends the tongue vows: these blazes, daughter,
Giving more light than heat, extinct in both,
Even in their promise, as it is a-making,
You must not take for fire. From this time
Be somewhat scanter of your maiden presence;
Set your entreatments at a higher rate
Than a command to parley. For Lord Hamlet,
Believe so much in him, that he is young
And with a larger tether may he walk
Than may be given you: in few, Ophelia,
Do not believe his vows; for they are brokers,
Not of that dye which their investments show,
But mere implorators of unholy suits,
Breathing like sanctified and pious bawds,
The better to beguile. This is for all:
I would not, in plain terms, from this time forth,
Have you so slander any moment leisure,
As to give words or talk with the Lord Hamlet.
Look to't, I charge you: come your ways.

OPHELIA
I shall obey, my lord.

Exeunt