ACT V, 2: OSRIC
Hamlet does tell Horatio that he is sorry that he had acted so hotly against Laertes at Ophelia’s gravesite (lines 76-77). Hamlet had acted emotionally. His argument is with Claudius, not Laertes.
At this point a foppish and vain (conceited or excessively proud) courtier named Osric arrives to inform Hamlet about the fencing contest with Laertes. Osric is somewhat effeminate and rather foolish. The dialogue between Hamlet and Osric is fairly long (lines 82-136). It is, essentially, a digression in the play. Shakespeare uses this moment to insert once again social criticism into his play. Just as Polonius represents the bad advisor, Osric represents the bad courtier. Osric speaks improperly and ignorantly to Hamlet. And Hamlet, who still plays the role of the madman, uses the occasion to mock or make fun of Osric just as he had done with Polonius. As Hamlet directly implies after Osric exits, the foppish courtier represents a whole group of courtiers or young noblemen that somehow now seem to dominate the court:
Thus has he – and many more of the same bevy that I know the drossy age dotes on – only got the tune of the time and outward habit of encounter.
(140-43)
The word drossy here means worthless; “tune of the time” suggests noticeable behavior; and the expression “outward habit” refers to appearance. The drossy age, the worthless opinion of society, may dote on or admire these superficial courtiers. But such courtiers are all show and no substance. They may look good, but they are neither intelligent nor heroic. Such shallow courtiers must have been all too common in the court of England during
Shakespeare’s day.
A noteworthy parallel to Osric appears in King Henry IV, Part 1. The character of Hotspur in that play describes such a dandy or foppish courtier who had come up to him immediately after a battle with Scotland (in Act I, 3: 32-68). Shakespeare must have surely known such courtiers rather well to criticize them more than once in his plays.
ACT V, 2: THE FENCING MATCH
Hamlet accepts the challenge to fence with Laertes. However, he expresses some doubts about whether he is making a wise decision (lines 150-51). Horatio tells Hamlet that he can postpone (“forestall”) the match to some later date, but Hamlet objects to this idea. Hamlet explains that one cannot defy fate (“augury” in line 157). He adds, “There’s a special providence in the fall of a sparrow” (157-58). Here Hamlet seems to be contradicting his earlier statements about the existential nature of man. The word providence suggests God’s plan or design. It suggests a destiny or fate that is shaped and controlled by God. Hamlet is stating that even the death of a small creature like a tiny bird is somehow part of the grand design or plan of God. Therefore, he tells Horatio, a person should not try to avoid destiny. Rather, a person must accept his fate. These lines in the play suggest that the bloody outcome that follows in unavoidable. That violence, too, Shakespeare is implying, is also somehow part of God’s grand design, the Divine Plan of God. Hamlet does not really have a choice in regards to what he does or what happens to him.
Before the fencing match begins, Hamlet apologizes to Laertes (lines 163-81). Laertes responds by accepting the apology but also noting that he still feels obligated to act honorably: “But in my terms of honour, I stand aloof” (183-84). Laertes is suggesting that he has a duty to his father to seek vengeance. He must get his revenge even if such revenge means killing a friend or brother. Such action is a matter of honor. And Hamlet will surely understand such a response, for he too has the duty to avenge the death of his own father. Laertes, however, does hint that the fencing match will not be the time or occasion for his moment of revenge.
Once the fencing match does start, the action of the play moves swiftly. Hamlet scores the first point by striking or hitting Laertes with his sword (line 220). Claudius uses the occasion to toast Hamlet, to have a drink; and the king offers Hamlet a drink from the poisoned cup (line 226). Hamlet says that he will fence longer before he drinks. The fencing continues, and Hamlet scores a second point (line 228). Gertrude then takes a drink to congratulate Hamlet, but she does so from Hamlet’s poisoned cup (line 232). Claudius tries to stop her, but he is too late. In this instance, fate has sealed Gertrude’s doom (has passed judgment on her). Gertrude does not know that the cup is poisoned, but she starts to feel weak and ill at this point.
Once again Hamlet refuses to drink, but continues with the fencing match. During the match, Hamlet receives a wound, a scratch, by the poisoned sword. But before he feels any effects, the fighting continues. In a close struggle, both swords fall to the ground. Hamlet picks up Laertes’ sword, and Laertes then has Hamlet’s sword. The fighting proceeds, and Hamlet wounds Laertes. Now both Hamlet and Laertes have been poisoned.
Hamlet and Laertes are parted quickly
thereafter. Both are wounded. Both are dying. Laertes admits that his own evil plan has backfired upon himself: “I am justly killed with mine own treachery” (line 250 – similar to being “hoised with his own petard” in Act III, 4: 185.6). Queen Gertrude then realizes that she has drunk poison from Hamlet’s cup, and she is able to tell Hamlet this with her dying breath (line 253). And Laertes, before he dies, admits his treachery and informs Hamlet that Claudius is to blame for this poisonous plot (lines 256-63).
Hamlet now finally gets his revenge. He stabs Claudius with the poisoned sword, and he also forces Claudius to drink from the poisoned cup.
Claudius immediately dies (line 269).
Before Hamlet dies, music from a distance announces the return of Fortinbras, who has won a victory over Poland. In Hamlet’s final speech, the dying prince exclaims, “I do prophesy the election lights on Fortinbras. He has my dying voice” (29798). Hamlet is expressing his hope that Fortinbras will be elected the next king of Denmark. By voice, Hamlet means that he gives his vote to Fortinbras. Fortinbras will be a good king for Denmark. The corruption and vice that Claudius brought into the kingdom is gone. Denmark will no longer be a prison. It no longer will rot.
The play is at an end. Laertes is dead. His father Polonius and his sister Ophelia are dead. Rosencrantz and Guildenstern are dead. Queen Gertrude is dead. King Claudius is dead. And now the brooding prince of Denmark, the young hero Hamlet, is dead. And, so, the troubled ghost of old King Hamlet no longer needs to disturb his sleep and haunt any longer the castle in which he was murdered.