Editing Hamlet (section)

===Language===
[[File:Delacroix-1834-I2-QueenConsolesHamlet.JPG|thumb|Hamlet's statement that his dark clothes are the outer sign of his inner grief demonstrates strong rhetorical skill (artist: [[Eugène Delacroix]] 1834).]]

Much of ''Hamlet''{{'}}s language is courtly: elaborate, witty discourse, as recommended by [[Baldassare Castiglione]]'s 1528 etiquette guide, ''The Courtier''. This work specifically advises royal retainers to amuse their masters with inventive language. Osric and Polonius, especially, seem to respect this injunction. Claudius's speech is rich with rhetorical figures—as is Hamlet's and, at times, Ophelia's—while the language of Horatio, the guards, and the gravediggers is simpler. Claudius's high status is reinforced by using the [[Majestic plural|royal first person plural]] ("we" or "us"), and [[Anaphora (rhetoric)|anaphora]] mixed with [[metaphor]] to resonate with Greek political speeches.{{sfn|MacCary|1998|pp=84–85}}

Of all the characters, Hamlet has the greatest rhetorical skill. He uses highly developed metaphors, [[stichomythia]], and in nine memorable words deploys both anaphora and [[asyndeton]]: "to die: to sleep—&nbsp;/ To sleep, perchance to dream".{{refn|''Hamlet'' 3.1.63–64.}} In contrast, when occasion demands, he is precise and straightforward, as when he explains his inward emotion to his mother: "But I have that within which passes show,&nbsp;/ These but the trappings and the suits of woe".{{refn|''Hamlet'' 1.2.85–86.}} At times, he relies heavily on [[pun]]s to express his true thoughts while simultaneously concealing them.{{sfn|MacCary|1998|pp=89–90}} Pauline Kiernan argues that Shakespeare changed English drama forever in ''Hamlet'' because he "showed how a character's language can often be saying several things at once, and contradictory meanings at that, to reflect fragmented thoughts and disturbed feelings". She gives the example of Hamlet's advice to Ophelia, "get thee to a nunnery",{{refn|''Hamlet'' 3.1.87–160.}} which, she claims, is simultaneously a reference to a place of chastity and a slang term for a brothel, reflecting Hamlet's confused feelings about female sexuality.{{sfn|Kiernan|2007|p=34}} However Harold Jenkins does not agree, having studied the few examples that are used to support that idea, and finds that there is no support for the assumption that "nunnery" was used that way in slang, or that Hamlet intended such a meaning. The context of the scene suggests that a nunnery would not be a brothel, but instead a place of renunciation and a "sanctuary from marriage and from the world's contamination".{{sfn|Jenkins|1982|pp=493–495}} Thompson and Taylor consider the brothel idea incorrect considering that "Hamlet is trying to deter Ophelia from ''breeding''".{{sfn|Thompson|Taylor|2006a|p=290}}

Hamlet's first words in the play are a pun; when Claudius addresses him as "my cousin Hamlet, and my son", Hamlet says as an aside: "A little more than kin, and less than kind."{{refn|''Hamlet'' 1.2.63–65.}}

An unusual rhetorical device, [[hendiadys]], appears in several places in the play. Examples are found in Ophelia's speech at the end of the nunnery scene: "Th'''expectancy and rose'' of the fair state"{{refn|''Hamlet'' 3.1.151.}} and "And I, of ladies most ''deject and wretched''".{{refn|''Hamlet'' 3.1.154.}} Many scholars have found it odd that Shakespeare would, seemingly arbitrarily, use this rhetorical form throughout the play. One explanation may be that ''Hamlet'' was written later in Shakespeare's life, when he was adept at matching rhetorical devices to characters and the plot. Linguist George T. Wright suggests that hendiadys had been used deliberately to heighten the play's sense of duality and dislocation.{{sfn|MacCary|1998|pp=87–88}}

Hamlet's [[Soliloquy|soliloquies]] have captured the attention of scholars. Hamlet interrupts himself, vocalising either disgust or agreement with himself and embellishing his own words. He has difficulty expressing himself directly and instead blunts the thrust of his thought with wordplay. It is not until late in the play, after his experience with the pirates, that Hamlet is able to articulate his feelings freely.{{sfn|MacCary|1998|pp=91–93}}