Paul Adrian Fried / HAMLET'S BIBLE

GOD'S BODYKINS: Hamlet and the THIRD COMMANDMENT (series) What is Hamlet really implying when he says to Polonius, "God's bodykins, man, better!" (2.2) Polonius was going to arrange for lodgings for the players, and says he will seek in the castle for some kind of lodgings they deserve. Hamlet says, "better!"  But "God's bodykins"?  The etymology of “bodykins” may be read as “God’s little bodies” (from the English word “body” plus the middle dutch “kins” for “little” [1]).  In other words, Eucharist. Another "minced oath."  In Shakespeare's time, God's little bodies implies Eucharist, or those who have received it and are members of Christ's mystical body [2].  Consider:  If Hamlet is saying to Polonius,  "Eucharist, man! Treat the players better than you think they deserve!"  this is like saying,  “Polonius, remember Eucharist! All of us here, including the players, have at one time or another received the Euc...

In Hamlet , why is “Mary” spelled “Marry”? The spelling helped to obscure the “minced oath” invoking the name of St. Mary, mother of Jesus [1], breaking the Third Commandment, not to take the name of God (and other holy persons and things) in vain [2]. In performance, audiences would hear “Mary,” but to get the play approved for performance in the first place, the players would submit the ("Marry"-spelling) script to the Master of Revels for approval or changes.  For publication, Elizabethan censors could also approve a text or require changes. “Marry” is interesting for many reasons: The allusion is to Mary, mother of Jesus. Joseph almost didn’t “Marry” her: He learned she had become pregnant before their marriage and considered quietly calling it off, but after a vision in a dream, he married her anyway. The play is about a resentful, vengeful ghost who thinks his wife should have been faithful, even after death (1.5). It’s also about an “incestuous” marriage of a...

HAMLET, Polonius, Marry, and the THIRD COMMANDMENT (series) Polonius wins at cursing the most in a single scene in Hamlet [1], and the forms of cursing he chooses to use convey irony. Characters in Hamlet swear or curse (taking the name of God or saints or religious things in vain) [2] as many as 21 times [3]. In a single scene, Polonius swears more than any other character in the play does in a single scene: Twice in the play he swears "by the Mass!" (in 2.1 and 3.2). Six times he swears "Marry" (twice in 1.3, and four times in 2.1), a reference to St. Mary, virgin mother of Jesus. (“Marry” occurs 12 times in the play.)  Instead of saying "for Christ's sake!", to exclaim "Marry" was like saying, "oh, by the virgin mother of Jesus!"  “Marry” is appropriate: When Polonius gives Ophelia a book to read in 3.1, he tells her:  Read on this book, That show of such an exercise may color Your loneliness.—We are oft to blame in this (’Tis...

Since at least 2022, I've done a post around the time of Good Friday, sharing what seem to be either direct allusions, or at least echoes of the Good Friday gospel stories (the Passion of Christ) in Shakespeare's Hamlet .  The index link below is to blog posts about allusions in Hamlet to the Good Friday stories (which Shakespeare and others in England would have been required to hear via mandatory church attendance. The index covers related posts on this subject from 2022-2026. The 2022 post [1] collected a few general allusions or plot echoes. For people interested in a list of detailed, short references in the text of the play, this is a good place to start.  - A post in December of 2023 related to these by way of Ophelia's "willow" [2];  - Good Friday posts in 2024 [3] and in 2025 [4] continued this, each with new insights.  INDEX: Good Friday echoes in Hamlet - April 03, 2026. https://pauladrianfried.blogspot.com/2026/04/index-good-friday-echoes-in-hamlet...

HUGGER-MUGGER: Shakespeare has Claudius use these words to describe the burial of Polonius in Hamlet 4.5. "Hugger-mugger" means "secret," "chaotic," "clandestine, sly," or "disorderly, chaotic" [1].  Shakespeare consulted the 1579 Thomas North translation of Plutarch, which used “hugger-mugger” to describe the burial of Julius Caesar [2]. Polonius once played Julius Caesar in a play production, as he reveals to Hamlet in 3.2.  HUGGER-MUGGER as HOARDING a SECRET:  To do something secretly is to hoard the knowledge of the thing: Claudius hoards not only knowledge of the secret burial of Polonius, but also of his murder of his own brother.  IMPOSTUME:  Observing Norway’s troops ready to invade Poland, Hamlet notes:  This is th’ impostume of much wealth and peace, That inward breaks and shows no cause without Why the man dies. (4.4.28-30) An impostume is an abscess, as if the body is secretly hoarding puss from an infection. Hamlet impli...

References to Julius Caesar in Shakespeare’s “Hamlet” from Horatio (1.1) and from Polonius (3.2) may remind us that Shakespeare’s play, Julius Caesar (published 1599), only shortly preceded his Hamlet (published 1603-4); the earlier play may still have been in the company’s repertoire. But besides good advertising, why mention Julius in this play? HORATIO: “In the most high and palmy state of Rome, A little ere the mightiest Julius fell, The graves stood tenantless, and the sheeted dead Did squeak and gibber in the Roman streets” (1.1.125-8) Horatio is at first a doubting Thomas, yet he mentions not graves opening after Jesus’ death (Matt 27:51-53), but another J.C.: Julius Caesar, tyrant who crossed the Rubicon with his army, violating the social order. Polonius mentions playing Caesar at university, killed in the capital: “Brutus killed me.” HAMLET: It was a brute part of him to kill so capital a calf there.” (3.2.111-2) This foreshadows that Hamlet will stab Polonius in a later sce...

"...'Every man by nature is and ought to be his own friend'. Whereas the excessive love of self is in reality the source to each man of all offenses; for the lover is blinded about the beloved, so that he judges wrongly of the just, the good, and the honorable, and thinks that he ought always to prefer himself to the truth." - Plato Laws, c. 360 B.C.E Consider using this as context and historical background for the advice of Polonius to his son Laertes in Shakespeare's Hamlet: "This above all: to thine own self be true, And it must follow, as the night the day. Thou canst not then be false to any man." (1.3.84-86) Polonius also seems narcissistic and miserly, advising his son, "Neither a borrower nor a lender be..." (1.3.81), and having learned that Ophelia has been "most free and bounteous" of her time spent with Hamlet (1.3.101-2), urges that she should "tender" herself "more dearly" (1.3.116), or in other words,...

Shakespeare makes a mousetrap for the audience regarding Ophelia’s family and Hamlet. We could call this mousetrap, “Much Ado About Ophelia Marrying Hamlet.” Near the play’s end, Gertrude says in 5.1 that she’d rather have decorated Ophelia and Hamlet’s wedding bed with flowers than Ophelia’s grave. The Queen seems to have liked Ophelia and thought her a good match for her son.  Rewind to the start: After seeing the ghost, Horatio and the sentinels think so highly of Prince Hamlet that they report the sighting to him, and not to King Claudius or Polonius. [1] In 1.2, Horatio calls Prince Hamlet “my lord,” presenting himself to his friend as “your servant ever.” Hamlet replies that he would “change those names” [2]: He’d rather be Horatio’s servant, and Horatio his lord. When Horatio and the sentinels speak of their duty to him, Hamlet would rather have them think of their mutual love.[3]  Shakespeare presents Hamlet as a prince who desires to serve, to love and to be loved, ...

Cassidy Cash of That Shakespeare Life podcast fame recently posted regarding occurrences of the word “parley” in Shakespeare.[1] She explains that we may have heard the word from Pirates of the Caribbean films. In a parley, opposing sides cease hostilities, sometimes to clear the battlefield of wounded and dead, or to discuss terms of a truce.  In Hamlet , Polonius uses the word “parley” in an interesting way in his statements to Ophelia, discouraging her from believing Hamlet’s expressions and vows of love. It is clear in their discussion that Ophelia wishes to believe Hamlet’s vows and “tenders” of his affection, while Polonius repeatedly assumes that Hamlet is waging an adversarial war to win Ophelia as a prize and to violate her chastity as an enemy might violate an opponent’s borders.   Polonius tells Ophelia, From this time Be something scanter of your maiden presence. Set your entreatments at a higher rate Than a command to *parley.* (1.3.129-132) [2]   The contra...

In her alleged madness, Ophelia says things that seem merely mad ramblings. But to original audiences, these may have been allusions to well-known tales, and there may be a reason for their ordering. First: OPHELIA: They say the owl was a baker’s daughter. Lord, we know what we are but know not what we may be. God be at your table. (4.5.47-49) [1] Second: OPHELIA:  You must sing “A-down a-down”—and you “Call him a-down-a.”—O, how the wheel becomes it! It is the false steward that stole his master’s Daughter. (4.5.194-197) Consider: “THE OWL WAS A BAKER’S DAUGHTER” is a reference to a tale in which a baker’s daughter is turned into an owl after being repeatedly ungenerous with a beggar at the door - who was Jesus in disguise. This is a folktale retelling of the gospel tale of the Rich Man (Dives) and the beggar Lazarus.[2] Ophelia summarizes: “Lord, we know what we are but / know not what we may be.” Ophelia may feel punished, like the baker’s daughter, and as people in Denmark’s ...

Ophelia’s brother and father are overly protective of her chastity [1], too suspicious that Hamlet might take advantage of her. Like a lover or spouse, Laertes leaving for France tells Ophelia, “do not sleep, But let me hear from you” [2]. Biblical sayings urge welcome for strangers, which involves risk; but they also discourage fear [3]. Laertes, in contrast, repeatedly urges Ophelia to fear Hamlet [4]. After warning her to be chaste, Laertes tells Ophelia to remember his advice. Ophelia replies, "'Tis in my memory lock'd, / And you yourself shall keep the key of it."[5] Chastity can be a virtue, keeping something of great value secret, disclosed only in an intimate, faithful relationship. Ophelia’s promise to Laertes is analogous: she has the feminine lock and he the masculine key, suggesting a figuratively incestuous relationship. Polonius mistrusts his children’s secret, so he figuratively rapes Ophelia's memory by demanding she disclose it. [6] Ten lines ea...