Introduction

'Tis now the very witching time of night, When churchyards yawn and hell itself breathes out Contagion to this world. (III,ii,366-8)

The "Mousetrap" scene (III,ii) defines the dark vortex around which the events in Hamlet swirl. It not only falls at the dead middle of the play itself, but it also marks a transition in our understanding of what has passed up until that point, and the last moment of consideration before the rapid-fire sequence of events to follow. In the scene immediately following the mousetrap, we learn, for the first time, that Claudius actually did murder Hamlet's father.  Although Hamlet's suspicions are still subject to hearsay, the reporting of a "questionable" witness, and to speculation, we, as witnesses to Claudius' prayer, finally know for sure the magnitude of the sin that sits upon his conscience.

By the end of the mousetrap scene, Hamlet, too, appears to be satisfied that Claudius is guilty of murder, and states his commitment to "do such bitter business as the day would quake to look on" (III,ii,370).  His ostensible ambition of confirming Claludius' guilt seems to be satisfied by the test he has just conducted, but we will soon see that more confusion than clarity has been generated by the test; more misunderstanding than certainty. The extent to which this confusion is apparent to the audience depends largely on the production itself. There is hardly a scene in Hamlet  more subject to directoral interpretation. The audience can be led to a wide range of conclusions as a result of the scene, and the characters also have a considerable variety of options for understanding, or misunderstanding, the events. Absent Fortinbras and Laertes, all the major characters appear in Act III, scene ii, and they bring a rich diversity of perspectives on the events on stage, and on the stage within the stage.