Hamlet's Dreams: The 'Rub' In Act 3 Scene 2
Shakespeare's Hamlet is a masterpiece of psychological depth, a play that delves into the darkest corners of the human mind. Among its most profound explorations are Hamlet's recurring meditations on dreams, reality, and the terrifying 'rub' that complicates human action and understanding. While the famous 'To be, or not to be' soliloquy, with its direct mention of 'what dreams may come,' is situated in Act 3, Scene 1, the profound impact of these existential considerations directly bleeds into and shapes Hamlet's behavior and the dramatic tension of Act 3, Scene 2. It is here, amidst the theatrical machinations of 'The Mousetrap,' that the idea of dreams is repeated not just as a philosophical musing, but as a lived, agitated experience for the troubled prince. His earlier contemplations on sleep, death, and the unseen realm profoundly color his actions, his erratic speech, and his desperate attempt to unmask Claudius, making this scene a crucible where internal thought clashes violently with external reality.
This pivotal act serves as a looking glass into Hamlet's fractured psyche. The 'rub,' a poignant expression of a critical obstacle or difficulty, represents more than just a momentary hesitation; it embodies the fundamental uncertainty that plagues Hamlet. This uncertainty about what lies beyond death, what consequences spring from decisive action, and even the very nature of reality itself, is consistently reinforced through the motif of dreams. Dreams, in Hamlet's world, are not merely nocturnal wanderings; they are a metaphor for the blurred lines between truth and illusion, sanity and madness, life and death. As we explore Act 3, Scene 2, we will uncover how Hamlet's philosophical wrestling with these concepts permeates every word and gesture, transforming the play-within-a-play into a desperate test of consciences and a reflection of his own tormented soul. This article will unpack the intricate ways in which the themes of dreams, reality, and the eternal 'rub' of human indecision are woven throughout this crucial scene, offering a deeper understanding of Hamlet's complex character and Shakespeare's enduring genius.
The Weight of Contemplation: Hamlet's Pre-Mousetrap Mindset
Before the grand spectacle of 'The Mousetrap' commences in Act 3, Scene 2, Hamlet is already a man adrift in a sea of philosophical torment, and Hamlet's musings on dreams and the 'rub' are at their peak. The famous 'To be, or not to be' soliloquy, delivered just a scene prior, is not an isolated incident but rather the core of his existential crisis that directly impacts his state of mind and actions during the subsequent play. In that soliloquy, he grapples with the ultimate 'rub' – the fear of 'what dreams may come' in the 'sleep of death.' This fear of the unknown, the dread of what horrors or eternal judgment await beyond life, acts as a profound impediment to his decisive action. He ponders suicide not as an escape from suffering, but as a plunge into an even greater, unimaginable suffering. This profound hesitation, this intellectual paralysis stemming from the 'rub' of uncertainty, is the psychological baggage he carries directly into Act 3, Scene 2.
Imagine the weight of such contemplation: to be so utterly consumed by the cosmic questions of existence, to view life as a burdensome struggle from which death offers no certain solace, only the terrifying potential of worse 'dreams.' This isn't just theoretical philosophy for Hamlet; it's a lived anxiety that fuels his erratic behavior. When he encounters Ophelia immediately before the play, his words are harsh, cruel, and deeply confused. He commands her to 'Get thee to a nunnery!' and rails against marriage and the deceptive nature of women. This outburst isn't just misogyny; it's a direct symptom of his disturbed state, reflecting his disillusionment with a world he perceives as inherently corrupt and deceptive, much like a nightmare from which he cannot awaken. His trust in humanity, much like his trust in the certainty of the afterlife, has been shattered. The 'rub' of his own moral dilemma and the perceived moral decay around him manifest in this venomous rejection of love and societal norms.
Furthermore, Hamlet's preoccupation with dreams extends beyond just the afterlife; it infiltrates his understanding of reality itself. Is his father's ghost a genuine apparition or a 'dream' of a 'damned ghost,' sent to trick him? The very purpose of 'The Mousetrap' is to test this blurred boundary between reality and illusion. If the play can mimic reality so perfectly as to elicit a confession, then perhaps life itself is just a grand, deceptive performance. This inherent skepticism, this constant questioning of appearances, is a direct consequence of his philosophical immersion in the nature of dreams and reality. He seeks solid ground in a world that feels increasingly fluid and dreamlike. The 'rub' of distinguishing truth from falsehood, sanity from madness, becomes his central challenge. His demeanor – sarcastic, volatile, and profoundly introspective – in the moments leading up to and during 'The Mousetrap' is a direct expression of this turbulent inner world, where the boundaries of what is real and what is imagined are constantly shifting, leaving him in a perpetual state of unease and intellectual agony. His very soul is haunted by the 'dreams' of what might be, both in life and beyond, making his actions in Act 3, Scene 2, a desperate attempt to solidify a crumbling reality.
The Mousetrap: Reality, Illusion, and Recurring Dreams
Act 3, Scene 2, ignites with the grand theatrical experiment, 'The Mousetrap,' a play-within-a-play orchestrated by Hamlet himself. This pivotal moment is where the idea of dreams is repeated not just in Hamlet's mind, but is actively projected onto the stage, forcing his uncle and mother to confront a nightmarish re-enactment of their crime. Hamlet's deliberate choice of The Murder of Gonzago—with a few 'dozen lines' of his own insertion—serves as a psychological trap, designed to blur the lines between theatrical illusion and raw, undeniable reality. The very concept of the play functions as a waking dream, a carefully constructed illusion meant to elicit a real-world, visceral reaction. Hamlet, acting as both director and erratic commentator, uses the play to externalize his internal struggle with the 'rub' of uncertainty, turning the stage into a mirror reflecting his deepest fears and suspicions.
As the players unfold their narrative, depicting a king murdered by poison poured into his ear, Hamlet's commentary is laced with sardonic wit and thinly veiled aggression, aimed directly at Claudius and Gertrude. His remarks, such as 'This is miching mallecho; it means mischief,' are not merely observations; they are provocations, designed to pierce through the 'dream' of their feigned innocence. The play itself becomes a living, breathing dream, a nightmare made tangible for the guilty parties. For Hamlet, who has been agonizing over 'what dreams may come' in death, this theatrical device is his desperate attempt to bring clarity to a reality that feels increasingly dreamlike and deceptive. He is trying to wake up Claudius and Gertrude, to force them out of their self-imposed illusion of blamelessness. The intensity of his focus on their reactions highlights his desperate need for confirmation, to validate the ghost's testimony and settle the 'rub' of doubt that has paralyzed him.
Claudius's violent reaction—rising abruptly and demanding 'Give me some light! Away!'—is the definitive moment. It is the scream of a man jolted awake from a dream, confronted by a truth too terrible to bear. For Hamlet, this is the proof he craved, the confirmation that his father's ghost was not a 'damned ghost' leading him astray, but a harbinger of truth. The 'rub' of his indecision, the agonizing doubt, is momentarily lifted. The play, a mere illusion, has paradoxically revealed a stark reality, turning a staged 'dream' into a concrete confession. Gertrude's confusion and discomfort, though less explosive, also betray her complicity or at least her willful ignorance, adding another layer to the recurring nightmare that Hamlet perceives his family to be living. This scene powerfully illustrates how a staged 'dream' can be more potent than any direct accusation, as it forces the characters to confront their guilt in a manner that transcends mere words, striking at their conscience in a profoundly unsettling way. It’s a moment where art mimics life, and life, in its most brutal form, is exposed through the fragile veil of a dream.
The Aftermath: Haunted by Shadows and Unfulfilled Dreams
The immediate aftermath of 'The Mousetrap' in Act 3, Scene 2, sees Hamlet in a state of feverish triumph, yet he remains profoundly haunted. The 'rub' of uncertainty regarding Claudius's guilt may have been momentarily assuaged, but it is quickly replaced by new, darker anxieties and the ever-present shadow of unfulfilled dreams. His exultation, evident in his playful, almost manic banter with Horatio, is quickly overshadowed by a sinister turn. His soliloquy, '’Tis now the very witching time of night, / When churchyards yawn and hell itself breathes out / Contagion to this world,' reveals a descent into a much darker, more violent psychological landscape. The 'witching time' is a dreamlike, liminal space where the boundaries between the living and the dead, the moral and the monstrous, become perilously thin. Here, his contemplation shifts from the fear of 'what dreams may come' in death to the terrifying 'dreams' of vengeance he feels compelled to execute in life, acknowledging his capacity for truly 'bitter business.'
This shift underscores how the confirmation of Claudius's guilt has not brought Hamlet peace, but rather propelled him into a more desperate and dangerous mental state. The 'rub' now is not knowing if Claudius is guilty, but how to exact justice without succumbing to the very moral corruption he despises. His 'dreams' of a just world, of avenging his father honorably, are now fraught with the terror of becoming a monster himself. His interactions with Rosencrantz and Guildenstern immediately following the play further illustrate his fractured reality. He perceives their attempts to 'pluck out the heart of my mystery' as another deceptive 'dream,' a betrayal cloaked in friendship. His famous retort, 'Why, look you now, how unworthy a thing you make of me! You would play upon me,' highlights his acute awareness of being manipulated, reinforcing his cynical view of a world where appearances are deceiving, much like the illusions of a dream.
The arrival of Polonius, urging Hamlet to meet with his mother, adds another layer to this chaotic aftermath. Hamlet's sardonic wit and his continued 'antic disposition' – his feigned madness – serve to blur the lines between his true feelings and his performance. He agrees to go, but his words, 'I will speak daggers to her, but use none,' reveal the tempest brewing within. His dream of rectifying the past and restoring moral order is complicated by the 'rub' of his deep-seated issues with his mother's hasty marriage. He must confront her, but his internal conflict prevents a clean, decisive action. The scene concludes with Hamlet teetering on the brink, his mind awash with the recurring motifs of dreams, illusion, and the harrowing 'rub' of his moral and emotional dilemmas. The play-within-a-play has confirmed his suspicions, but it has not resolved his internal torment; instead, it has intensified the urgency and the moral complexity of his path forward, leaving him trapped in a waking nightmare of his own making, desperately seeking a way to fulfill his dark 'dreams' of justice without losing his soul in the process.
The Ever-Present "Rub": Philosophical Implications
Beyond its immediate dramatic function, the 'rub' of Hamlet's mind—his profound philosophical obstacle—resonates throughout Act 3, Scene 2, and indeed, the entire play, offering timeless insights into the human condition. This 'rub' is not simply a momentary indecision but an existential block, a deep-seated fear of consequences that stems from a profound uncertainty about life, death, and morality. It epitomizes the human struggle with decision-making when the stakes are immeasurable, and the path forward is obscured by doubt. Shakespeare masterfully weaves these philosophical dilemmas into the very fabric of Hamlet's character, transforming him from a vengeful prince into a universal symbol of intellectual paralysis and moral anxiety. The 'rub' isn't just about the fear of the afterlife; it's also about the fear of taking irreversible action, of making the wrong choice, and of the unforeseen repercussions that ripple through one's life and beyond. It's the moment where abstract thought collides with the brutal demands of reality, creating an internal friction that defines Hamlet's tragedy.
This recurring theme of the 'rub' is inextricably linked to the repeated idea of dreams. Dreams, in Hamlet's worldview, serve as a potent metaphor for the precariousness of reality and perception. If life itself can feel like a fleeting, uncertain dream, how can one make definitive, morally righteous choices? The constant blurring of lines between waking and sleeping, truth and illusion, sanity and madness, prevents Hamlet from achieving clarity. The ghost might be a dream, Claudius's performance might be a dream, even his own 'antic disposition' might be a dream from which he cannot fully awaken. This pervasive uncertainty, this inability to firmly grasp a stable reality, exacerbates his 'rub,' making every action a terrifying leap into the unknown. His psychological toll is immense; he transforms from a contemplative scholar into an erratic, often cruel, avenger, not because he is inherently evil, but because the weight of philosophical uncertainty has distorted his moral compass and frayed his nerves. The 'rub' essentially strips him of the comforting illusion of a straightforward, moral universe, leaving him exposed to the chilling ambiguities of existence.
The profound implications of Hamlet's 'rub' extend far beyond the revenge plot. They speak to the universal human experience of grappling with grand questions for which there are no easy answers. How do we live morally in an immoral world? How do we act decisively when the future is unknowable? How do we distinguish between truth and deception when appearances are constantly shifting? Act 3, Scene 2, serves as a powerful microcosm of these struggles. The theatrical 'dream' of 'The Mousetrap' momentarily offers a semblance of clarity, piercing through the 'rub' of doubt about Claudius's guilt. Yet, this temporary resolution only shifts the 'rub' to the daunting task of execution, forcing Hamlet to confront the moral nightmares of vengeance itself. Shakespeare's genius lies in presenting this 'rub' not as a flaw, but as a deeply human response to profound intellectual and emotional pressure, making Hamlet an eternally relevant figure who embodies the timeless struggle against indecision, the fear of the unknown, and the relentless quest for meaning in a world that often feels like a bewildering dream.
Conclusion
Act 3, Scene 2 of Hamlet stands as a pivotal moment where the prince's profound philosophical wrestling with dreams, reality, and the pervasive 'rub' of indecision dramatically unfolds. While the famous 'To be, or not to be' soliloquy directly addresses the terrifying 'what dreams may come' in Act 3, Scene 1, its existential weight deeply permeates Hamlet's actions and mental state during 'The Mousetrap.' We've seen how the idea of dreams is repeated throughout this critical scene, transforming from abstract musings into a tangible, live-action test of conscience. Hamlet's internal conflict, the 'rub' of his uncertainty about the afterlife and the blurred lines between truth and illusion, drives his erratic behavior and his desperate attempt to use the play-within-a-play to unmask Claudius. The success of 'The Mousetrap' offers a momentary reprieve from doubt but propels Hamlet into a darker, more volatile state, where the 'rub' shifts from confirming guilt to the harrowing challenge of righteous vengeance.
Ultimately, Act 3, Scene 2, serves as a powerful exploration of the human mind under extreme duress. Hamlet's enduring struggle with the 'rub'—the profound obstacle of philosophical uncertainty and moral paralysis—resonates deeply, making him a timeless embodiment of the human condition. His journey through this scene highlights how deeply our internal struggles with big questions shape our external realities and decisions. The play continues to remind us that life often feels like a dream, filled with illusions, and navigating its complexities requires confronting our own 'rubs' with courage and introspection. For further exploration of Shakespeare's most celebrated work, consider visiting The British Library: Hamlet and Shakespeare's Globe: Hamlet to delve deeper into the rich world of this tragic prince.
