Cover illustration for the Hamlet novel study
High School Novel Study

Hamlet

by William Shakespeare (1603)

5 chapters · 5 chapter quizzes · 300 vocabulary words

📖 Read the full book onlineOpen the Interactive Guide →

About This Book

Denmark is uneasy. The old king has died suddenly, an army is massing across the water, and the soldiers who keep the midnight watch on the battlements of Elsinore Castle have started seeing something out there in the dark — something they are afraid to talk about in daylight. Inside the castle, meanwhile, the court is celebrating. The dead king's brother has taken the crown, married the widowed queen, and declared that the season of mourning is officially over. One person refuses to play along. Prince Hamlet, the dead king's son, has come home from his studies to find his family rearranged and his grief treated as an embarrassment. He is a student, a thinker, the sharpest wit in any room — and he is being asked to smile at a wedding he cannot bear. When his friend Horatio brings him news of what the watchmen have seen, Hamlet decides he will go and look for himself. What follows is a play about a young man who is handed an enormous obligation and cannot decide what to do with it. Written around 1600, *Hamlet* is the longest and most quoted play Shakespeare ever wrote, and four centuries later it is still the one people argue about most: is its hero brave or paralyzed, sane or unwell, heroic or reckless? The play does not settle the argument for you. That is largely the point.

Hamlet is the play that invented the way modern stories let us inside a character's head. Long before novels made interior monologue ordinary, Shakespeare put a young man alone on a stage and let an audience hear him think — doubting himself, arguing with himself, changing his mind mid-sentence. For high school readers that is the real draw: not the sword-fighting or the ghost story, but the recognizable experience of being told exactly who you are supposed to be and what you are supposed to do, and being unable to make yourself do it. Hamlet is also the source of more everyday English than almost any other text you will read this year, and knowing the play means hearing those phrases in their original weight rather than as clichés.

Meet the Characters

Portrait illustration of Hamlet from Hamlet
Hamlet
the protagonist, a young prince of Denmark
More about Hamlet

Hamlet is the Prince of Denmark, a thoughtful university student called home to Elsinore Castle after his father's sudden death. He is brilliant, funny, and deeply unhappy — quick with wordplay one moment and lost in grief the next. As the story opens he is the only person at court still openly mourning, and he cannot understand why everyone else has moved on so quickly.

Portrait illustration of Claudius from Hamlet
Claudius
the new King of Denmark, Hamlet's uncle
More about Claudius

Claudius is the newly crowned King of Denmark, brother to the late king and now, by marriage to the widowed queen, Hamlet's stepfather as well as his uncle. He is a smooth and capable ruler — warm in public, skilled at handling ambassadors, and eager to be seen as generous. He would very much like his nephew to stop grieving and start behaving like a son.

Portrait illustration of Gertrude from Hamlet
Gertrude
the Queen of Denmark, Hamlet's mother
More about Gertrude

Gertrude is the Queen of Denmark and Hamlet's mother, recently widowed and now married to her late husband's brother. She loves her son sincerely and worries about him constantly, though she cannot see why he will not simply cheer up. Warm, peace-loving, and eager for the household to be happy, she avoids conflict wherever she can.

Portrait illustration of Ophelia from Hamlet
Ophelia
a young noblewoman of the Danish court
More about Ophelia

Ophelia is the daughter of the king's chief counsellor and the younger sister of Laertes. Gentle, obedient, and well-liked at court, she has been receiving letters and attentions from Prince Hamlet — something both her father and her brother have opinions about. She is used to being told what to think by the men in her family.

Portrait illustration of Polonius from Hamlet
Polonius
the King's chief counsellor, father of Ophelia and Laertes
More about Polonius

Polonius is the chief counsellor to the King of Denmark and the father of Laertes and Ophelia. He is proud of his long service, certain of his own cleverness, and physically incapable of making a short speech. He means well by his children, though his idea of good parenting involves a great deal of advice and a certain amount of spying.

Portrait illustration of Horatio from Hamlet
Horatio
Hamlet's closest friend, a fellow student
More about Horatio

Horatio is Hamlet's friend and fellow student from the university at Wittenberg, visiting Elsinore at the time the story begins. Level-headed, honest, and rational, he is the sort of person who asks for evidence before he believes anything. He has no wealth and no ambition at court, which is exactly why Hamlet trusts him.

Portrait illustration of Laertes from Hamlet
Laertes
Polonius's son, a young nobleman leaving for France
More about Laertes

Laertes is the son of Polonius and the older brother of Ophelia, about to return to his studies in France. He is hot-tempered, proud, and fiercely protective of his sister. He is a skilled fencer and more of a man of action than of long thought.

Portrait illustration of The Ghost from Hamlet
The Ghost
the spirit of the late King of Denmark, Hamlet's father
More about The Ghost

The Ghost appears on the battlements of Elsinore in the likeness of the dead King Hamlet, the prince's father. The night-watch have seen him walking in full armor, silent and kingly. Hamlet has not yet spoken with him when the play begins, but the rumor of his appearance has already unsettled the castle.

Portrait illustration of Rosencrantz from Hamlet
Rosencrantz
a childhood friend of Hamlet, summoned to court
More about Rosencrantz

Rosencrantz is one of two old schoolfellows of Hamlet who are invited to Elsinore by the new king. He is sociable, adaptable, and happy to be useful to people in power. He arrives with Guildenstern, and the two are rarely seen apart.

Portrait illustration of Guildenstern from Hamlet
Guildenstern
a childhood friend of Hamlet, summoned with Rosencrantz
More about Guildenstern

Guildenstern is Rosencrantz's inseparable companion and the quieter of Hamlet's two old friends. He is more cautious and more ambitious than he lets on. Together they have been asked to visit the prince and cheer him.

Portrait illustration of Fortinbras from Hamlet
Fortinbras
the young Prince of Norway
More about Fortinbras

Fortinbras is the nephew of the King of Norway and the son of the elder Fortinbras, who once fought Hamlet's father. He is restless, martial, and eager to recover honor for his house. His name is spoken at Elsinore before he himself appears.

Portrait illustration of Marcellus from Hamlet
Marcellus
an officer of the palace guard
More about Marcellus

Marcellus is an officer of the guard at Elsinore, honest, superstitious, and loyal to the old king's memory. He has seen the Ghost on the battlements and wants the scholar Horatio to witness it too. He is a practical man who does not like mysteries on his watch.

Portrait illustration of The Gravedigger from Hamlet
The Gravedigger
a sexton who digs graves in the churchyard
More about The Gravedigger

The Gravedigger is a sexton of the parish, a man who has spent his working life among bones and earth. He is cheerful, argumentative, and fond of riddles. He treats death as a trade, not a tragedy.

Pre-Reading Discussion Questions
  1. How long is a person 'supposed' to grieve? Who gets to decide when someone else should be over a loss?
  2. What is the difference between feeling an emotion and performing one? Can you always tell them apart in other people?
  3. If you were given a serious duty by someone you loved and respected, but carrying it out would cost you everything, how would you decide what to do?
  4. What would it take to convince you that something extraordinary was true — a testimony from a friend, seeing it yourself, or something more?
  5. Is revenge ever the same thing as justice? Where would you draw the line between them?
  6. When you find yourself in a situation where you cannot say what you really think, what do people do instead? What are the costs of that?
Themes & Big Ideas to Track
  • Appearance versus reality — nearly every character in this play performs a version of themselves for someone else, and the play keeps asking how you would tell the performance from the person.
  • The problem of action — knowing what you ought to do and being able to make yourself do it turn out to be two entirely different things.
  • Madness, real and assumed — watch how differently the play treats a mind that is pretending and a mind that is genuinely coming apart.
  • Surveillance and spying — notice how often a private conversation in this castle has an audience, and what that does to the people having it.
  • Mortality — the play returns again and again to the physical fact of death and what, if anything, survives it.
  • Words as weapons and as evasions — track how characters use language to wound, to stall, to test each other, and to avoid saying the thing they mean.

Chapter-by-Chapter Study Guide

Chapter 1: Act I

Before you read — think about:
  1. What does it feel like to be the only person in a room who is still upset about something everyone else has decided to move past?
  2. What can make someone feel like an outsider inside their own family, even when everyone insists they belong?
  3. When a person with authority over you tells you that your feelings are excessive or unreasonable, what are your options for responding?
  4. What makes a friendship trustworthy? What qualities would make you tell one particular person something you would tell nobody else?
  5. Guards, servants, and other staff see a great deal of what goes on in a powerful household. Why might their view of that household be different from the family's own?
Watch for these while reading:
  • Hamlet's black clothing, and how everyone else at court is dressed around him.
  • Claudius's manner when he addresses the court, and how far his tone can travel inside a single speech.
  • How much of this act is written as questions rather than statements, and who is permitted to question whom.
  • The language characters reach for when they describe Denmark itself: images of sickness, weather, rot, and things spoiling.
  • The difference between how characters speak in company and how they speak when they are alone on stage.

Vocabulary to know:

sentinel (noun)a soldier posted to stand guard and keep watch; liegemen (noun)loyal subjects who have sworn service to a lord or king; unfold (verb)to reveal or declare who you are (rather than to open something out); relief (noun)the soldier who takes over a guard post, or the act of taking it over; rival (noun)in this scene, a partner or companion sharing the same duty — not a competitor; apparition (noun)a ghostly figure that appears suddenly and cannot be explained; harrow (verb)to tear at someone's feelings; to distress them deeply; usurp (verb)to take something by force that belongs to someone else; martial (adjective)warlike; belonging to a soldier or to war; brazen (adjective)made of brass; impress (noun)the forced enlistment of workers or soldiers into service; shipwright (noun)a builder or repairer of ships; mart (noun)trading or buying, especially on a large scale; moiety (noun)a portion or share of land or property; compact (noun)a formal agreement between two parties; heraldry (noun)the formal rules governing noble rank, coats of arms, and honourable combat; forfeit (verb)to lose something as a penalty for losing a contest or breaking a rule; mettle (noun)spirit, nerve, and toughness of character; resolute (noun)a desperate, determined man willing to take any risk for pay; rummage (noun)noisy, disorderly bustle and commotion; portentous (adjective)seeming to be a sign or warning that something serious is coming; tenantless (adjective)empty; having no occupant; gibber (verb)to make rapid, meaningless sounds that cannot be understood; sheeted (adjective)wrapped in a burial cloth; harbinger (noun)a person or sign that goes ahead to announce what is coming; illume (verb)to light up; partisan (noun)a long-handled spear with a broad blade, carried by a guard; invulnerable (adjective)impossible to wound or damage; extravagant (adjective)wandering outside its proper bounds; probation (noun)proof; a test that shows something is true; russet (adjective)reddish-brown; mantle (noun)a loose cloak worn over the shoulders; jointress (noun)a widow who holds a share in her late husband's estate; auspicious (adjective)promising good fortune; cheerful and hopeful; dirge (noun)a slow, mournful song sung for the dead; dole (noun)grief or sorrow; discretion (noun)careful judgement about what is sensible to do; filial (adjective)having to do with the duty a son or daughter owes a parent; obsequious (adjective)dutiful in showing respect for the dead; condolement (noun)grieving; sorrow expressed for a death; impious (adjective)showing disrespect toward God or religion; unfortified (adjective)not strengthened or defended; peevish (adjective)irritable and sulky over small things; corse (noun)a corpse; a dead body; retrograde (adjective)moving backward; directly contrary to what is wanted; jocund (adjective)cheerful and merry; bruit (verb)to announce loudly; to spread as noise or rumour; canon (noun)a law, especially a law of the church; satyr (noun)a coarse half-human, half-goat creature from Greek myth; beteem (verb)to allow or permit; frailty (noun)weakness of character; the tendency to give in; galled (adjective)rubbed raw and sore; dexterity (noun)quickness and skill; truant (adjective)inclined to skip school or duty; thrift (noun)careful saving; avoiding waste; yesternight (adverb)last night; admiration (noun)astonishment or wonder, rather than approval; attent (adjective)attentive; listening closely; marvel (noun)something astonishing and hard to believe; truncheon (noun)a short staff carried as a symbol of military command.

Take the 20-question chapter quiz →

Chapter 2: Act II

Before you read — think about:
  1. Hamlet asked his friends to keep a secret for him. What does keeping someone else's secret cost the person who keeps it?
  2. In Act I, Polonius questioned his daughter closely about her private life. What is the difference between watching someone because you are worried about them and watching someone because you want information? Can those two things look identical from the outside?
  3. When you are certain you are right about another person, what would it actually take to change your mind?
  4. In Act I, Denmark was arming for a possible war. How does living under a constant threat change the way people in a household or a school behave day to day?
  5. What makes a piece of advice genuinely useful? Think of advice you have been given by someone who was certain they knew best.
Watch for these while reading:
  • Polonius's way of talking — how long he takes to reach his point, and which listeners are patient with it.
  • How much of this act is written in prose rather than verse, and which characters and situations get which.
  • The vocabulary different characters use for Hamlet's state of mind, and who chooses which word.
  • Elsinore as a place: how often characters describe the castle itself, and in what terms.
  • Hamlet's habit of answering a question with a joke, and what he tends to do to the person who asked it.

Vocabulary to know:

Danskers (noun)Danes; people from Denmark; encompassment (noun)the technique of circling a subject instead of asking about it directly; forgeries (noun)invented accusations; made-up faults attached to someone; rank (adjective)offensively strong; foul; wanton (adjective)wild and undisciplined; quaintly (adverb)cleverly and delicately; savageness (noun)wildness; lack of restraint; prenominate (adjective)already named or mentioned beforehand; consequence (noun)the way a conversation follows on, one remark leading to the next; windlass (noun)an indirect, roundabout method of getting at something; inclination (noun)a person's natural tendencies and preferences; affrighted (adjective)badly frightened; doublet (noun)a close-fitting jacket worn by men of the period; down-gyved (adjective)fallen around the ankles like a prisoner's shackles; piteous (adjective)deserving pity; pitiful to see; purport (noun)the meaning or intention something seems to carry; perusal (noun)a long, careful examination; ecstasy (noun)a state of being beside oneself; a mind driven out of its normal course; fordo (verb)to destroy or undo; beshrew (verb)to curse mildly; to blame; quote (verb)to observe or take note of someone closely; transformation (noun)a complete change in someone's nature or behaviour; vouchsafe (verb)to agree graciously to give or do something; glean (verb)to gather up small scraps of information; gentry (noun)courtesy; the good manners expected of well-born people; entreaty (noun)an earnest request; expostulate (verb)to argue about at length; to discuss in detail; brevity (noun)shortness; saying much in few words; tediousness (noun)the quality of being tiresome and long-winded; perpend (verb)to consider carefully; surmise (verb)to guess at something from limited evidence; numbers (noun)lines of verse; poetry; soliciting (noun)persistent approaches or requests made to someone; declension (noun)a steady decline, stage by stage; arras (noun)a heavy woven wall hanging, thick enough to hide behind; fishmonger (noun)a seller of fish; carrion (noun)dead flesh; satirical (adjective)using mockery to criticise; pregnant (adjective)full of meaning; unusually apt; indifferent (adjective)middling; neither especially good nor bad; confines (noun)enclosed spaces; places of confinement; ward (noun)a cell or guarded division of a prison; bounded (adjective)enclosed within limits; beaten (adjective)well-worn and familiar; conjure (verb)to appeal to someone solemnly, as though putting them under oath; consonancy (noun)harmony; the agreement between things that match; moult (verb)to shed feathers; promontory (noun)a high point of land jutting out into the sea; firmament (noun)the sky, imagined as an arch over the earth; pestilent (adjective)diseased; carrying infection; quintessence (noun)the purest essence of something; paragon (noun)a perfect example of excellence; coted (verb)overtook; passed on the road; tragedian (noun)an actor who performs in tragedies; inhibition (noun)an official ban or restriction on performing; innovation (noun)a recent upheaval or disturbance; aerie (noun)a high nest of birds of prey; eyas (noun)a young hawk taken from the nest for training; rapier (noun)a long, slender sword used for thrusting; escoted (verb)paid for; financially supported.

Take the 20-question chapter quiz →

Chapter 3: Act III

Before you read — think about:
  1. Both Hamlet and Ophelia have been instructed by other people about how to behave toward each other. What happens to a relationship when other people are managing it from outside?
  2. What does the possibility of being overheard do to a conversation? Have you ever changed what you were saying because of who might be listening?
  3. What does it mean to be honest with someone you are angry at? Where is the line between honesty and cruelty?
  4. How easy is it to stay angry at one member of a family without the anger spreading to everyone else around them?
  5. What kinds of things do people say to themselves that they would never say aloud to anybody?
Watch for these while reading:
  • Who is listening, and from where — this act keeps arranging its conversations for an audience.
  • The language of disease, medicine, and cures, and which characters reach for it.
  • Hamlet's tone when he speaks to a woman, compared with his tone when he speaks to a man.
  • Where the verse breaks into prose and back again, and what is happening to the speaker at those moments.
  • Images of painting, cosmetics, and polished surfaces that cover something underneath.

Vocabulary to know:

assay (verb)to try or test something; beseech (verb)to beg earnestly; espial (noun)a spy; someone set to watch secretly; affront (verb)to come face to face with someone; wonted (adjective)usual; customary; bestow (verb)to place or position something, including oneself; consummation (noun)a completion or ending; the finish of something; devoutly (adverb)with deep religious feeling; sincerely; coil (noun)turmoil; the tangled bustle of ordinary life; contumely (noun)insulting, contemptuous treatment; insolence (noun)rude, arrogant disrespect; spurn (noun)a contemptuous rejection; a kick; quietus (noun)a final settlement; a release from debt or from life; bodkin (noun)a small pointed instrument or dagger; fardel (noun)a heavy bundle; a burden carried on the back; bourn (noun)a boundary or border; sicklied (adjective)made pale and unhealthy-looking; pith (noun)the essential core; the strength or substance of a thing; orisons (noun)prayers; remembrance (noun)a keepsake; a gift kept as a reminder of someone; honest (adjective)truthful, and also honourable and chaste; inoculate (verb)to graft a new shoot onto an old plant; nunnery (noun)a convent; a religious house for women; expectancy (noun)the hope of the future; what everyone is counting on; deject (adjective)cast down; miserable; jangled (adjective)sounding harshly out of tune; blown (adjective)in full bloom; brood (verb)to sit on eggs; to dwell heavily on something; tribute (noun)a payment one country owes another; haply (adverb)perhaps; by chance; commencement (noun)the beginning of something; round (adjective)blunt and direct in speech; trippingly (adverb)lightly and easily; lief (adverb)as willingly; just as soon; robustious (adjective)loud, violent, and overdone; periwig-pated (adjective)wearing a wig; groundling (noun)a theatregoer who paid least and stood in the yard; inexplicable (adjective)impossible to explain or make sense of; temperance (noun)self-control; moderation; modesty (noun)restraint; keeping within natural limits; judicious (adjective)showing good judgement; journeymen (noun)hired workmen who are trained but are not masters; abominably (adverb)dreadfully; hatefully badly; barren (adjective)empty; producing nothing; villainous (adjective)wicked; thoroughly bad; advancement (noun)promotion; rising in rank or fortune; revenue (noun)regular income; candied (adjective)sugar-coated; sweet in a false way; pomp (noun)showy display of grandeur; fawning (noun)flattering behaviour meant to win favour; election (noun)a choice made deliberately; buffet (noun)a blow; a hard knock from fortune; occulted (adjective)hidden; concealed from view; unkennel (verb)to drive an animal out of its den; stithy (noun)a blacksmith's forge; heedful (adjective)careful and attentive; rivet (verb)to fix firmly in place, like a metal bolt; idle (adjective)empty-headed; behaving like a fool; chameleon (noun)a lizard that changes colour, once believed to live on air; capon (noun)a bird fattened for the table.

Take the 20-question chapter quiz →

Chapter 4: Act IV

Before you read — think about:
  1. Across the first three acts, Claudius has repeatedly had to present a difficult situation to his court in an acceptable light. What tactics do people in authority use when they need to explain away something embarrassing?
  2. What makes a rumour spread quickly? Why is a rumour hardest to stop when people already distrust the person it is about?
  3. Hamlet has had several chances to explain himself plainly and has chosen not to take them. Why might a person let others go on believing the wrong thing about them?
  4. What is the difference between making a plan and making a decision? Can building a plan sometimes be a way of avoiding a decision?
  5. What does it do to a person to be sent away from home by someone else's choice rather than their own?
Watch for these while reading:
  • The settings of this act, and how often the play leaves the rooms of the castle.
  • Claudius's habit of converting a problem into a plan, and how quickly he manages it.
  • Moments when the dialogue turns into song or rhyme, and what that shift in form does to a scene.
  • Flowers, plants, and growing things in the language of this act.
  • How characters talk about Hamlet when he is not in the room, compared with what you have seen of him yourself.

Vocabulary to know:

translate (verb)to interpret; to turn something into plain meaning; heaves (noun)deep, shuddering sighs; brainish (adjective)headstrong; produced by a disordered mind; apprehension (noun)an idea or impression seized on by the mind; providence (noun)foresight; careful provision against what may happen; haunt (noun)the company of other people; the places one frequents; divulging (noun)becoming publicly known; ore (noun)rock containing precious metal; mineral (noun)a mine or vein of metal in the earth; diameter (noun)the full width of something, side to side; blank (noun)the white centre of a target; woundless (adjective)incapable of being wounded; discord (noun)conflict; harsh disagreement; stowed (adjective)packed away out of sight; compounded (verb)mixed together; replication (noun)a reply; multitude (noun)the common people in a crowd; deliberate (adjective)carefully considered rather than hasty; appliance (noun)a remedy; a treatment applied to an illness; convocation (noun)a formal assembly called together; politic (adjective)scheming; skilled in political manoeuvre; progress (noun)a royal journey made through the country in state; bark (noun)a sailing ship; cherub (noun)an angel, thought of as all-seeing; cicatrice (noun)a scar left by a wound; homage (noun)formal acknowledgement of a greater power; sovereign (adjective)royal; carrying a king's authority; hectic (noun)a persistent fever; conveyance (noun)safe passage granted through a territory; rendezvous (noun)an agreed meeting place; garrison (verb)to station troops in a place to defend it; imposthume (noun)an abscess that swells and bursts inwardly; fust (verb)to grow mouldy from disuse; oblivion (noun)forgetfulness; a blank where memory should be; bestial (adjective)belonging to animals rather than people; craven (adjective)cowardly; scruple (noun)a hesitation of conscience about acting; quarter (verb)to divide into four parts; exhort (verb)to urge someone strongly to act; eggshell (noun)something worthless and fragile; importunate (adjective)persistently demanding; collection (noun)the drawing of conclusions from scattered hints; botch (verb)to patch together clumsily; conjecture (noun)a guess made without proof; ill-breeding (adjective)inclined to hatch trouble; artless (adjective)clumsy; without skill or concealment; toy (noun)a trifle; something of no importance; amiss (noun)a misfortune; something gone wrong; cockle (noun)a shell badge worn by pilgrims on their hats; shoon (noun)an old plural of shoes; larded (adjective)decorated; covered over with something; shroud (noun)a cloth used to wrap a body for burial; betime (adverb)early in the day; rosemary (noun)a fragrant herb traditionally standing for remembrance; pansies (noun)small flowers whose name suggests thoughts; fennel (noun)a tall herb associated with flattery; columbines (noun)flowers associated with unfaithfulness; rue (noun)a bitter herb standing for regret and repentance; violets (noun)small flowers standing for faithfulness; document (noun)a lesson or instruction.

Take the 20-question chapter quiz →

Chapter 5: Act V

Before you read — think about:
  1. Hamlet has spent four acts putting off a decision. In your own experience, what makes a person stop deliberating and actually act?
  2. Claudius has built a plan that depends on several people behaving exactly as he predicts. How reliable is that kind of prediction about other people?
  3. How much of what happens to a person do you think is chance, and how much is the result of their own choices?
  4. Denmark has been run by improvisation for four acts. What happens to any institution — a country, a school, a company — when the people in charge are managing crises instead of governing?
  5. Hamlet has trusted very few people in this play. What does it take before you will tell someone the truth about yourself?
Watch for these while reading:
  • Characters who appear for the first time this late in the play, and what the play uses them for.
  • Where the comedy is placed, and what it is sitting next to.
  • Hamlet's way of speaking here, compared with how he spoke in Acts II and III.
  • How often characters talk about chance, luck, and providence, and which word each of them chooses.
  • The play's habit of pairing people off — sons and fathers, rivals, opposites — and what the pairings are for.

Vocabulary to know:

crowner (noun)a coroner; the official who investigates a sudden death; argal (adverb)the gravedigger's mangled version of the Latin for 'therefore'; delver (noun)a digger; quest (noun)an official inquiry into a death; ditcher (noun)a labourer who digs ditches; sexton (noun)a church officer who looks after the building and digs the graves; heathen (noun)someone with no religion; gallows-maker (noun)a builder of scaffolds for executions; unyoke (verb)to unhitch the oxen; to stop work for the day; cudgel (verb)to beat; here, to rack one's brains; stoup (noun)a large drinking cup or jug; behove (noun)benefit; advantage; jowls (verb)dashes or knocks something down hard; circumvent (verb)to get around something by cunning; courtier (noun)an attendant at a royal court; mazard (noun)the head; loggets (noun)a game in which sticks are thrown at a stake; chapless (adjective)missing the lower jaw; quiddits (noun)hair-splitting arguments; fine legal quibbles; quillets (noun)clever verbal distinctions used to win an argument; tenures (noun)the legal terms on which land is held; sconce (noun)the head; battery (noun)the legal charge of striking someone; recognizances (noun)formal bonds promising to pay a debt or keep the peace; vouchers (noun)documents guaranteeing legal ownership; recoveries (noun)legal procedures for securing title to land; indentures (noun)legal contracts written in duplicate; parchment (noun)writing material made from animal skin; assurance (noun)a legal guarantee of ownership; absolute (adjective)exact; insisting on precise meanings; equivocation (noun)using words with two meanings in order to mislead; picked (adjective)over-refined; fussily polished; kibe (noun)a chilblain or sore on the heel; tanner (noun)someone who turns animal hides into leather; hide (noun)an animal's skin; decayer (noun)something that causes decay; flagon (noun)a large container for drink; jester (noun)a professional entertainer kept by a royal household; gibes (noun)mocking jokes at someone's expense; chop-fallen (adjective)with the jaw hanging; downcast and crestfallen; favour (noun)a person's face and appearance; bung-hole (noun)the stopper hole of a barrel; loam (noun)earth mixed for building or sealing; imperious (adjective)imperial; commanding; flaw (noun)a sudden gust or squall of wind; maimed (adjective)cut short; incomplete; betoken (verb)to be a sign of something; obsequies (noun)funeral rites; warranties (noun)official permissions; unsanctified (adjective)not blessed; outside consecrated ground; strewments (noun)flowers scattered on a grave; requiem (noun)a sung service for the dead; churlish (adjective)rude and mean-spirited; ingenious (adjective)quick, lively, and full of understanding; splenative (adjective)hot-tempered; quick to rage; asunder (adverb)apart; eisel (noun)vinegar; couplets (noun)a pair of newly hatched birds; bilboes (noun)iron bars with sliding shackles used to restrain sailors; rough-hew (verb)to shape roughly, leaving the finishing to someone else.

Take the 20-question chapter quiz →

About the Author

William Shakespeare (1564–1616) was born in Stratford-upon-Avon, the son of a glove-maker, and left no diaries or letters explaining himself — which is part of why people have argued about him ever since. By his late twenties he was working in London as an actor and playwright, and he eventually became a part-owner of his acting company and of the Globe theatre where many of his plays were staged. Over roughly twenty years he wrote or co-wrote about thirty-eight plays and a celebrated sequence of sonnets, moving between comedies, English histories, and the great tragedies of his middle career, of which Hamlet is generally considered the first. He retired to Stratford a wealthy man and died there at fifty-two.

Shakespeare wrote Hamlet around 1600–1601, near the end of Queen Elizabeth I's long reign, at a moment when England was anxious about who would rule next — a question the play quietly shares. He did not invent the story: a Danish prince who feigns madness to avenge his father appears in a medieval Norse chronicle by Saxo Grammaticus, was retold in French by François de Belleforest, and had already been staged in London in a lost earlier play. What Shakespeare was working in was a popular Elizabethan genre, the revenge tragedy, whose conventions audiences knew by heart: a murder, a demand for vengeance, delay, disguise, and a body-strewn final scene. Two details are easy for modern readers to miss. First, Shakespeare's audience genuinely disagreed about ghosts — Catholic tradition allowed for spirits returning from purgatory, while Protestant teaching held that such apparitions were demons in disguise, so a character who hesitates to trust one is being careful, not cowardly. Second, all the female roles were played by boys, on a bare outdoor stage in the afternoon, with almost no scenery: everything you 'see' in this play, you are meant to see because someone describes it.