Critical approaches to Hamlet amuse their rulers with their inventive language. Osric and Polonius seem to especially respect this suggestion. Claudius' speech is full of rhetorical figures, as is Hamlet's and, at times, Ophelia's, while Horatio, the guards, and the gravediggers use simpler methods of speech. Claudius demonstrates an authoritative control over the language of a King, referring to himself in the first person plural, and using anaphora mixed with metaphor that hearkens back to Greek political speeches. Hamlet seems the most educated in rhetoric of all the characters, using anaphora, as the king does, but also asyndeton and highly developed metaphors, while at
Critical approaches to Hamlet with "self-reproaches" and "scruples of conscience, which remind him that he himself is literally no better than the sinner whom he is to punish". Freud goes on to suggest that Hamlet's apparent "distaste for sexuality", as expressed in his conversation with Ophelia (presumably in the 'nunnery scene' rather than during the play-within-a-play), "fits in well" with this interpretation. Since this theory, the 'closet scene' in which Hamlet confronts his mother in her private quarters has been portrayed in a sexual light in several performances. Hamlet is played as scolding his mother for having sex with Claudius while simultaneously wishing (unconsciously)