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https://my.noodletools.com/public/161103183745351141785488

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Set me the stoops of wine upon that table.
If Hamlet give the first or second hit,
Or quit in answer of the third exchange,
Let all the battlements their ordnance fire:
The king shall drink to Hamlet's better breath;
And in the cup an union shall he throw,
Richer than that which four successive kings
In Denmark's crown have worn. Give me the cups;
And let the kettle to the trumpet speak,
The trumpet to the cannoneer without,
The cannons to the heavens, the heavens to earth,
'Now the king dunks to Hamlet.' Come, begin:
And you, the judges, bear a wary eye.(Claudius,5.2 286-298)

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Set me the stoops of wine upon that table.
If Hamlet give the first or second hit,
Or quit in answer of the third exchange,
Let all the battlements their ordnance fire:
The king shall drink to Hamlet's better breath;
And in the cup an union shall he throw,
Richer than that which four successive kings
In Denmark's crown have worn. Give me the cups;
And let the kettle to the trumpet speak,
The trumpet to the cannoneer without,
The cannons to the heavens, the heavens to earth,
'Now the king dunks to Hamlet.' Come, begin:
And you, the judges, bear a wary eye.(Claudius,5.2 286-298)

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Claudius makes it seem that he is rooting for Hamlet, so he will not be suspicious of his murder plans/

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https://www.instagram.com/clauding4thecrown/

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Gertrude, do not drink. It is the poisoned cup. It is too late.(Claudius, 5.2.316,318)

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Gertrude, do not drink. It is the poisoned cup. It is too late.(Claudius, 5.2.316,318)

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This shows how Claudius gets caught up in his own trap to poison Hamlet and ends up killing his wife.

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Contrary to much critical comment, the play is tightly constructed and balanced. A case for a five-act scheme (absent in Q1 and Q2, partial in F) can be made; however, there are really three large phases of near-continuous action separated by weeks of time passing: I, II.1 to IV.4, IV.5 to the end. Each phase contains one full court scene mirroring emblematically, as it were, the state of play; in I.2 Claudius is at the height of his power, surrounded by his court, with Hamlet appearing as a wilful spoilsport and outsider; in III.2 the weights are not yet balanced, but Hamlet gains the initiative—compare the Court's exit in both scenes. In V.2, finally, the Court is decimated, Claudius has expended nearly all his proxies in the deadly struggle. Hamlet is at the centre, and when Claudius cries out ``O yet defend me, friends, I am but hurt!'' no one stirs. He has no friends; and his evident guilt now makes him the outsider.

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I entreat you both,
That, being of so young days brought up with him,
And sith so neighbour'd to his youth and havior,
That you vouchsafe your rest here in our court
Some little time: so by your companies
To draw him on to pleasures, and to gather,
So much as from occasion you may glean,
Whether aught, to us unknown, afflicts him thus,
That, open'd, lies within our remedy.(Claudius, 2.2.10-18)

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I entreat you both,
That, being of so young days brought up with him,
And sith so neighbour'd to his youth and havior,
That you vouchsafe your rest here in our court
Some little time: so by your companies
To draw him on to pleasures, and to gather,
So much as from occasion you may glean,
Whether aught, to us unknown, afflicts him thus,
That, open'd, lies within our remedy.(Claudius, 2.2.10-18)

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Claudius believes that since the two men knew Hamlet as a child, they might be able to serve as spies for him.

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Rosencrantz & Guildenstern Are Dead

In this movie Claudius is a minor character but he still orders around Rosencrantz and Guildenstern and uses them for the dirty work. He is shown as a bad person running from his actions.

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Make choice of whom your wisest friends you will, and they shall hear and judge 'twixt you and me. (Claudius, 4.5.228-229)

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Make choice of whom your wisest friends you will, and they shall hear and judge 'twixt you and me. (Claudius, 4.5.228-229)

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Claudius is convincing Laertes that he is innocent, and that Laertes should help and side with him. He is so confident that he believes even the wisest would say that he is innocent and correct.

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Prince Caspian

In C.S Lewis's The Chronicals of Narnia, Miraz is the King of Narnia after he kills his brother, the late king Claudius IX. He and his nephew, Prince Caspian, have a relationship similar to the one between Claudius and Hamlet.

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Sons Of Anarchy

Clay takes over power just like how Claudius did, killed the olfd king, and also married the queen.

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The characterization of Claudius throughout Hamlet as a lascivious king, an "adulterate beast" (I.v.42), corresponds to this derivation of Machiavellian politics from "desideriis et cupiditatibus" [Lust and Desires] (Pole, 145). Passion so understood is not blindly reactive or instinctual: it shares violence with the lion, but cunning with the fox. Hence lovers' discourse continually appears in Hamlet as a duplicitous language of persuasion inseparable from political interests; the Machiavellian emblem fear and love bridges eros and civilization.

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Seeming to argue for the arbitrary fickleness of passionate extremes, the Player-King at the same time repeats an earlier relay of grief into joy: Claudius' formula for remarriage: "With mirth in funeral and with dirge in marriage" (I.ii.12). Claudius himself establishes the political nature of his topsy-turvy emotions:

Yet so far hath discretion fought with nature

That we with wisest sorrow think on him

Together with remembrance of ourselves.

(I.ii.6-7)

Discretion, the "wisdom" of political prudence, self-interest: Claudius uses an elevated version of Machiavellism to describe his marital motives. In the heights of emotion, there is method in madness. Like the Player-Queen's ratio of fear and love, shifting circumstance counterchanges laughter and tears: "Grief joys, joy grieves, on slender accident." Claudius and the Player-King, each defending remarriage, point to both the mutability and the rationality of emotion.
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The Player-King's speech addresses issues of faith and friendship current in Elizabethan Machiavellism.11 Mutability, a scepticism masquerading as "distrust," and a problem with promises characterize the court politician as both actor and inactor. So speaks Claudius later:

That we would do,

We should do when we would: for this 'would' changes

And hath abatements and delays as many

As there are tongues, are hands, are accidents.

(IV.vii.112-30)

Claudius, Hamlet and the Player-King all confront and embrace self-definition structured on discontinuity. This is, finally, a model of identity at once theatrical and political, as is the Machiavellism it finds and founds.

The presence of Machiavellism at the center of the play disables the apparent antinomies between Hyperion and satyr, Christian king and Machiavel. The Murder of Gonzago, by casting nephew as murderer, not only condenses Claudius and Hamlet as villains, but Claudius and the dead king as victims. The father appears on stage twice as a ghost of questionable origin, and then in the figure of the Player-King, whose Machiavellian speech aligns him as much with Claudius as with a fairer feudal order. The brothers speak the same language, the play-within-a-play rationalizing in political terms thrifty second weddings; the Player-King doth protest too much. The mirror at the center of Hamlet, contrary to the purpose of playing, confounds virtue and scorn, reflecting identity where there ought to be difference. The thematic overlap extends to the murder at the root of Hamlet and Hamlet's play, reinforcing the potentially disfiguring alliances between the drama's many princes: Claudius and the brother he murders, Hamlet prince of Denmark, and the Player-King at the center who ultimately mirrors them all.
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O, my offence is rank, it smells to heaven; It hath the primal eldest curse upon 't,  A brother's murder.  (Claudius, 3.3.40-42)

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O, my offence is rank, it smells to heaven; It hath the primal eldest curse upon 't,  A brother's murder.  (Claudius, 3.3.40-42)

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This shows Claudius finally admitting to murdering his brother, and showing he has a guilt for it.

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'Tis sweet and commendable in your nature, Hamlet,
                            To give these mourning duties to your father.
                            But you must know your father lost a father,
                            That father lost, lost his, and the survivor bound
                            In filial obligation for some term
                            To do obsequious sorrow. But to persever
                            In obstinate condolement is a course
                            Of impious stubbornness. 'Tis unmanly grief.
                            It shows a will most incorrect to heaven,
                            A heart unfortified, a mind impatient,
                            An understanding simple and unschooled.(Claudius, 1.2.90-92; 96-101)

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'Tis sweet and commendable in your nature, Hamlet,
                            To give these mourning duties to your father.
                            But you must know your father lost a father,
                            That father lost, lost his, and the survivor bound
                            In filial obligation for some term
                            To do obsequious sorrow. But to persever
                            In obstinate condolement is a course
                            Of impious stubbornness. 'Tis unmanly grief.
                            It shows a will most incorrect to heaven,
                            A heart unfortified, a mind impatient,
                            An understanding simple and unschooled.(Claudius, 1.2.90-92; 96-101)

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Claudius knows that Hamlet is very upset that his father died, but he tries to lessen his grief. He says death is natural, but grieving is unmanly and needs to stop.

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O, 'tis too true! How smart a lash that speech doth give my    conscience. The harlot's cheek beautied with plast'ring art Is not more ugly to the thing that helps it Than is my deed to my most painted word. O heavy burden! (Claudius, 3.1.56-62)

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O, 'tis too true! How smart a lash that speech doth give my    conscience. The harlot's cheek beautied with plast'ring art Is not more ugly to the thing that helps it Than is my deed to my most painted word. O heavy burden! (Claudius, 3.1.56-62)

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Claudius lets the audience know in this aside that he knows that his actions are disgusting, but covered up by eloquent words.

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Though yet of Hamlet our dear brother's deathThe memory be green, and that it us befittedTo bear our hearts in grief, and our whole kingdomTo be contracted in one brow of woe,Yet so far hath discretion fought with natureThat we with wisest sorrow think on himTogether with remembrance of ourselves.(Claudius, 1.2.1-7)

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Though yet of Hamlet our dear brother's deathThe memory be green, and that it us befittedTo bear our hearts in grief, and our whole kingdomTo be contracted in one brow of woe,Yet so far hath discretion fought with natureThat we with wisest sorrow think on himTogether with remembrance of ourselves.(Claudius, 1.2.1-7)

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Claudius tells his people that yes while it is sad that king Hamlet is dead, life must go on, and he is the king now.

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No place indeed should murder sanctuarize; Revenge should have no bounds.(Claudius, 4.7.141-146)

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No place indeed should murder sanctuarize; Revenge should have no bounds.(Claudius, 4.7.141-146)

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Claudius is telling Lacerates that nowhere, even a church, should a murderer(Hamlet) be safe, which is ironic because Hamlet could have killed Claudius while he was praying.

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[…] poor Ophelia Divided from herself and her fair judgment, Without the which we are pictures or mere beasts;  (Claudius, 4.5.91-93)

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[…] poor Ophelia Divided from herself and her fair judgment, Without the which we are pictures or mere beasts;  (Claudius, 4.5.91-93)

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Ophelia is no longer acting like a human or like herself because she has gone crazy. The only form of her that remains is the beast or the physical form.

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Second Analysis. still needs reading and analyzing. 

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Second Analysis. still needs reading and analyzing. 

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Lupton, Julia. "Truant Dispositions: Hamlet and Machiavelli." Shakespearean Criticism, edited by Michelle Lee, vol. 107, Gale, 2007. Literature Resource Center, go.galegroup.com/ps/i.do?p=LitRC&sw=w&u=glenbard&v=2.1&id=GALE%7CH1420078062&it=r&asid=919eaf4325e5b6f602d98489d40d91e7. Accessed 7 Nov. 2016. Originally published in Journal of Medieval and Renaissance Studies, vol. 17, no. 1, Spring 1987, pp. 59-82.

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Literary Analysis. Second to last paragraph frames Hamlet with respect to Claudius

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Literary Analysis. Second to last paragraph frames Hamlet with respect to Claudius

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Klein, Holger. "Hamlet: Overview." Reference Guide to English Literature, edited by D. L. Kirkpatrick, 2nd ed., St. James Press, 1991. Literature Resource Center, go.galegroup.com/ps/i.do?p=LitRC&sw=w&u=glenbard&v=2.1&id=GALE%7CH1420007252&it=r&asid=4a1af5bc53ef29383f06a421dea24e74. Accessed 3 Nov. 2016.

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Video Representations- Act 3 Scene 3, "O, my offence is rank" Sililoquy

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Video Representations- Act 3 Scene 3, "O, my offence is rank" Sililoquy

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https://youtu.be/5XJwsReIfis?t=1m29s

Patrick Stewart

We chose this clip because it is one of the more famous film productions, but also because of Patrick Stewart's acting. He takes this soliloquy so simply in the movement, but portrays Claudius's emotions very strongly. His voice is almost breaking delivering the speech, showing the extreme remorse.

https://www.youtube.com/watch?v=Ii44HuFQObQ
Unknown Actor
This clip is slightly more dark than other versions. While the actor shows remorse, he shows it in a more still but serious tone than a sad one. This is also shown in the lighting of the clip. Instead of an intricate set, it is just the actor alone in a room of black.

https://youtu.be/HqS7VyuD_Mg?t=32s
Alan Bates
This last clip is probably the closest to historically accurate, with a mixture of sadness and seriousness. It shows the setting descried in the play, along with the emotions that Claudius had, while not as extreme as Stewart's portrayal. Bates also moves more than the other actors.

We chose this soliloquy because it is one of Claudius's most famous and important ones. This is in the act after Hamlet's play, and Claudius knows that Hamlet knows he poised the late king. Claudius shows severe remorse for his actions, saying "My stronger guilt defeats my strong intent". Claudius wanted very much to be king, but now he regrets killing his brother and wants God to forgive him. He also asks "O, what form of prayer can serve my turn? 'Forgive me my foul murder'?". Praying is unusual to Claudius's character. Normally he is wrathful and will do anything necessary to accomplish what he needs, but now he is so desperate that he turned to a god he may or may not believe in, as some do in the face of death. Due to him praying, Hamlet will not kill Claudius at this point. Therefore Claudius lives on to deepen the plot of the play.

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Lion King

In the movie the Lion King Scar is like Claudius because he kills his brother and then takes the thrown as Simba resents him like Hamlet resents Claudius and in the end gets killed by Simba/Hamlet.

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Colored by Death:
Green = Poison
Blue    = Drown
Red     = Stabbed
Black  = Living

Claudius is married to Gertrude, since King Hamlet is dead by Claudius's hand. Hamlet is the son of Gertrude and King Hamlet. Horatio is Hamlet's bets friend, and Rosencrantz and Guildenstern used to be friends with Hamlet, but spent this play working for Claudius. This makes it ironic that only Rosencrantz and Guildenstern are killed the same way as Claudius's right hand man, Polonius. Polonius has two children, Laertes and Ophelia. Hamlet and Ophelia are romantically involved, and due to this and Hamlet's accidental slaughter of Polonius, Laertes challenges Hamlet to a duel, ending with the poisoned sword killing them both.

Young Fortinbras is the current King of Norway who invades Denmark in order to claim a disputed land between them. He arrives at the end of the story after everyone from Denmark has died.