ALL THE CHARACTERS I HAPPEN TO HAVE BEEN IN MY DREAMS

Hamlet

Hamlet is a tragedy by William Shakespeare, believed to have been written between 1599 and 1601. The play, set in Denmark, recounts how Prince Hamlet exacts revenge on his uncle Claudius, who has murdered Hamlet's father, the King, and then taken the throne and married Hamlet's mother. The play vividly charts the course of real and feigned madness—from overwhelming grief to seething rage—and explores themes of treachery, revenge, incest, and moral corruption.
Despite much literary detective work, the exact year of writing remains in dispute. Three different early versions of the play have survived: these are known as the First Quarto (Q1), the Second Quarto (Q2) and the First Folio (F1). Each has lines, and even scenes, that are missing from the others. Shakespeare probably based Hamlet on the legend of Amleth, preserved by 13th-century chronicler Saxo Grammaticus in his Gesta Danorum and subsequently retold by 16th-century scholar François de Belleforest, and a supposedly lost Elizabethan play known today as the Ur-Hamlet.
Given the play's dramatic structure and depth of characterization, Hamlet can be analyzed, interpreted and argued about from many perspectives. For example, scholars have debated for centuries about Hamlet's hesitation in killing his uncle. Some see it as a plot device to prolong the action, and others see it as the result of pressure exerted by the complex philosophical and ethical issues that surround cold-blooded murder, calculated revenge and thwarted desire. More recently, psychoanalytic critics have examined Hamlet's unconscious desires, and feminist critics have re-evaluated and rehabilitated the often maligned characters of Ophelia and Gertrude.
Hamlet is Shakespeare's longest play and among the most powerful and influential tragedies in the English language. It provides a storyline capable of "seemingly endless retelling and adaptation by others".[1] During Shakespeare's lifetime, the play was one of his most popular works,[2] and it still ranks high among his most-performed, topping, for example, the Royal Shakespeare Company's list since 1879.[3] It has inspired writers from Goethe and Dickens to Joyce and Murdoch and has been described as "the world's most filmed story after Cinderella".[4] The title role was almost certainly created for Richard Burbage, the leading tragedian of Shakespeare's time.[5] In the four hundred years since, it has been played by highly acclaimed actors, and sometimes actresses, of each successive age.
Contents[hide]
1 Synopsis
2 Sources
3 Date
4 Texts
5 Analysis and criticism
5.1 Critical history
5.2 Dramatic structure
5.3 Language
6 Context and interpretation
6.1 Religious
6.2 Philosophical
6.3 Political
6.4 Psychoanalytic
6.5 Feminist
7 Influence
8 Performance history
8.1 Shakespeare's day to the Interregnum
8.2 Restoration and 18th century
8.3 19th century
8.4 20th century
8.5 Screen performances
8.6 Stage and screen adaptations
9 References
9.1 Notes
9.2 Editions of Hamlet
9.3 Secondary sources
10 External links
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[edit] Synopsis
For cast overview, see Characters in Hamlet.

Horatio, Marcellus, Hamlet, and the Ghost (Artist: Henry Fuseli 1798)[6]
The protagonist of Hamlet is Prince Hamlet of Denmark, son of the recently deceased King Hamlet. After the death of King Hamlet, the King's brother Claudius hastily marries King Hamlet's widow (and Prince Hamlet's mother) Gertrude. In the background is Denmark's long-standing feud with neighbouring Norway, and an invasion, led by the Norwegian prince Fortinbras, is expected.
The play opens on a cold night at Elsinore, the Danish royal castle. Francisco, a sentinel, is relieved of his watch by Bernardo, another sentinel, and exits while Bernardo remains. A third sentinel, Marcellus, enters with Horatio, the best friend of Hamlet, Prince of Denmark. The sentinels try to persuade Horatio that they have seen King Hamlet's ghost, when it appears again. After hearing from Horatio of the Ghost's appearance, Hamlet resolves to see the Ghost himself. That night, the Ghost appears to Hamlet. He tells Hamlet that he is the spirit of his father and discloses that Claudius murdered King Hamlet by pouring poison in his ears. The Ghost demands that Hamlet avenge him; Hamlet agrees and decides to fake madness to avert suspicion. He is, however, uncertain of the Ghost's reliability.
Busy with affairs of state, Claudius and Gertrude try to avert an invasion by Prince Fortinbras of Norway. Perturbed by Hamlet's continuing deep mourning for his father and his increasingly erratic behaviour, they send two student friends of his—Rosencrantz and Guildenstern—to discover the cause of Hamlet's changed behaviour. Hamlet greets his friends warmly but quickly discerns that they have been sent to spy on him.
Polonius is Claudius's trusted chief counsellor; his son, Laertes, is returning to France, and his daughter, Ophelia, is courted by Hamlet. Neither Polonius nor Laertes thinks Hamlet is serious about Ophelia, and they both warn her off. Shortly afterwards, Ophelia is alarmed by Hamlet's strange behaviour and reports to her father that Hamlet rushed into her room but stared at her and said nothing. Polonius assumes that the "ecstasy of love"[7] is responsible for Hamlet's madness, and he informs Claudius and Gertrude. Together, Claudius and Polonius set up Ophelia to spy on him. When she returns his letters and he silently guesses what is going on, he furiously rants at her, and insists she go "to a nunnery" (a slang term at the time for a brothel).

The "gravedigger scene"[8] (Artist: Eugène Delacroix 1839)
Hamlet remains unconvinced that the Ghost has told him the truth, but the arrival of a troupe of actors at Elsinore presents him with a solution. He will stage a play, re-enacting his father's murder, and determine Claudius's guilt or innocence by studying his reaction. The court assembles to watch the play; Hamlet provides a running commentary throughout. The other important event in this scene is the arrival of the players. The presence of players and play-acting within the play points to an important theme: that real life is in certain ways like play-acting. When the murder scene is presented, Claudius abruptly rises and leaves the room, which Hamlet sees as proof of his uncle's guilt. Claudius, fearing for his life, banishes Hamlet to England on a pretext, closely watched by Rosencrantz and Guildenstern. Alone, Claudius discloses to the audience that he is sending Hamlet to his death.
Gertrude summons Hamlet to her closet to demand an explanation. On his way, Hamlet passes Claudius in prayer but hesitates to kill him, reasoning that death in prayer would send him to heaven. In the bedchamber, an argument erupts between Hamlet and Gertrude. Polonius, spying hidden behind an arras, makes a noise; and Hamlet, believing it is Claudius, stabs wildly, killing Polonius. The Ghost appears, urging Hamlet to treat Gertrude gently but reminding him to kill Claudius. Unable to see or hear the Ghost herself, Gertrude takes Hamlet's conversation with it as further evidence of madness. Prior to embarking for England, Hamlet hides Polonius's body, ultimately revealing its location to the King and Gertrude.
Demented by grief at Polonius's death, Ophelia wanders Elsinore singing bawdy songs. Her brother, Laertes, arrives back from France, enraged by his father's death and his sister's madness. She comes onstage briefly to give out herbs and flowers. Claudius convinces Laertes that Hamlet is solely responsible; then news arrives that Hamlet is still at large—his ship was attacked by pirates on the way to England, and he has returned to Denmark. Claudius swiftly concocts a plot. He proposes a fencing match between Laertes and Hamlet in which Laertes will fight with a poison-tipped sword, but tacitly plans to offer Hamlet poisoned wine if that fails. Gertrude interrupts to report that Ophelia has drowned.
We next see two gravediggers discuss Ophelia's apparent suicide, while digging her grave. Hamlet arrives with Horatio and banters with a gravedigger, who unearths the skull of a jester from Hamlet's childhood, Yorick. Ophelia's funeral procession approaches, led by Laertes. Hamlet declares that he has always loved Ophelia, and he and Laertes grapple, but the brawl is broken up.
Back at Elsinore, Hamlet tells Horatio how he escaped and that Rosencrantz and Guildenstern have been sent to their deaths. A courtier, Osric, interrupts to invite Hamlet to fence with Laertes. With Fortinbras's army closing on Elsinore, the match begins. Laertes pierces Hamlet with a poisoned blade; in the ensuing scuffle, Hamlet takes the sword and fatally wounds Laertes. Gertrude drinks the poisoned wine and dies. In his dying moments, Laertes is reconciled with Hamlet and reveals Claudius's murderous plot. In his own last moments, Hamlet manages to kill Claudius and names Fortinbras as his heir. When Fortinbras arrives, Horatio recounts the tale and Fortinbras orders Hamlet's body borne off in honour.

[edit] Sources
Main article: Sources of Hamlet

A facsimile of Gesta Danorum by Saxo Grammaticus, which contains the legend of Amleth
Hamlet-like legends are so widely found (for example in Italy, Spain, Scandinavia, Byzantium, and Arabia) that the core "hero-as-fool" theme is possibly Indo-European in origin.[9] Several ancient written precursors to Hamlet can be identified. The first is the anonymous Scandinavian Saga of Hrolf Kraki. In this, the murdered king has two sons—Hroar and Helgi—who spend most of the story in disguise, under false names, rather than feigning madness, in a sequence of events that differs from Shakespeare's.[10] The second is the Roman legend of Brutus, recorded in two separate Latin works. Its hero, Lucius ("shining, light"), changes his name and persona to Brutus ("dull, stupid"), playing the role of a fool to avoid the fate of his father and brothers, and eventually slaying his family's killer, King Tarquinius. A 17th-century Nordic scholar, Torfaeus, compared the Icelandic hero Amlodi and the Spanish hero Prince Ambales (from the Ambales Saga) to Shakespeare's Hamlet. Similarities include the prince's feigned madness, his accidental killing of the king's counsellor in his mother's bedroom, and the eventual slaying of his uncle.[11]
Many of the earlier legendary elements are interwoven in the 13th-century Vita Amlethi ("The Life of Amleth")[12] by Saxo Grammaticus, part of Gesta Danorum.[13] Written in Latin, it reflects classical Roman concepts of virtue and heroism, and was widely available in Shakespeare's day.[14] Significant parallels include the prince feigning madness, his mother's hasty marriage to the usurper, the prince killing a hidden spy, and the prince substituting the execution of two retainers for his own. A reasonably faithful version of Saxo's story was translated into French in 1570 by François de Belleforest, in his Histoires tragiques.[15] Belleforest embellished Saxo's text substantially, almost doubling its length, and introduced the hero's melancholy.[16]

Cover of The Spanish Tragedy, by Thomas Kyd.
According to a popular theory, Shakespeare's main source is believed to be an earlier play—now lost—known today as the Ur-Hamlet. Possibly written by Thomas Kyd or even Shakespeare himself, the Ur-Hamlet would have been in performance by 1589 and the first version of the story known to incorporate a ghost.[17] Shakespeare's company, the Chamberlain's Men, may have purchased that play and performed a version for some time, which Shakespeare reworked.[18] Since no copy of the Ur-Hamlet has survived, however, it is impossible to compare its language and style with the known works of any of its putative authors. Consequently, there is no direct evidence that Kyd wrote it, nor any evidence that the play was not an early version of Hamlet by Shakespeare himself. This latter idea—placing Hamlet far earlier than the generally accepted date, with a much longer period of development—has attracted some support, though others dismiss it as speculation.[19]
The upshot is that scholars cannot assert with any confidence how much material Shakespeare took from the Ur-Hamlet (if it even existed), how much from Belleforest or Saxo, and how much from other contemporary sources (such as Kyd's The Spanish Tragedy). No clear evidence exists that Shakespeare made any direct references to Saxo's version. However, elements of Belleforest's version do appear in Shakespeare's play, though they are not in Saxo's story. Whether Shakespeare took these from Belleforest directly or through the Ur-Hamlet remains unclear.[20]
Most scholars reject the idea that Hamlet is in any way connected with Shakespeare's only son, Hamnet Shakespeare, who died in 1596 at age eleven. Conventional wisdom holds that Hamlet is too obviously connected to legend, and the name Hamnet was quite popular at the time.[21] However, Stephen Greenblatt has argued that the coincidence of the names and Shakespeare's grief for the loss of his son may lie at the heart of the tragedy. He notes that the name of Hamnet Sadler, the Stratford neighbor after whom Hamnet was named, was often written as Hamlet Sadler and that, in the loose orthography of the time, the names were virtually interchangeable.[22] Shakespeare himself spelled Sadler's first name as "Hamlett" in his will.[23]

[edit] Date

Frontispiece of the 1605 printing (Q2) of Hamlet
"Any dating of Hamlet must be tentative", cautions the New Cambridge editor, Phillip Edwards.[24] The earliest date estimate relies on Hamlet's frequent allusions to Shakespeare's Julius Caesar, itself dated to mid-1599.[25] The latest date estimate is based on an entry, of 26 July 1602, in the Register of the Stationers' Company, indicating that Hamlet was "latelie Acted by the Lo: Chamberleyne his servantes".
In 1598, Francis Meres published in his Palladis Tamia a survey of English literature from Chaucer to its present day, within which twelve of Shakespeare's plays are named. Hamlet is not among them, suggesting that it had not yet been written. As Hamlet was very popular, the New Swan series editor Bernard Lott believes it "unlikely that he [Meres] would have overlooked ... so significant a piece".[26]
The phrase "little eyases"[27] in the First Folio (F1) may allude to the Children of the Chapel, whose popularity in London forced the Globe company into provincial touring. This became known as the War of the Theatres, and supports a 1601 dating.[26]
A contemporary of Shakespeare's, Gabriel Harvey, wrote a marginal note in his copy of the 1598 edition of Chaucer's works, which some scholars use as dating evidence. Harvey's note says that "the wiser sort" enjoy Hamlet, and implies that the Earl of Essex—executed in February 1601 for rebellion—was still alive. Other scholars consider this inconclusive. Edwards, for example, concludes that the "sense of time is so confused in Harvey's note that it is really of little use in trying to date Hamlet". This is because the same note also refers to Spenser and Watson as if they were still alive ("our flourishing metricians"), but also mentions "Owen's new epigrams", published in 1607.[28]

[edit] Texts

Rendering of the "To be, or not to be" soliloquy from Q1, often called the "bad quarto".
Three early editions of the text have survived, making attempts to establish a single authentic text problematic.[29] Each is different from the others:[30]
First Quarto (Q1) In 1603 the booksellers Nicholas Ling and John Trundell published, and Valentine Simmes printed the so-called "bad" first Quarto. Q1 contains just over half of the text of the later second quarto.
Second Quarto (Q2) In 1604 Nicholas Ling published, and James Roberts printed, the second quarto. Some copies are dated 1605, which may indicate a second impression; consequently, Q2 is often dated "1604/5". Q2 is the longest early edition, although it omits 85 lines found in F1 (most likely to avoid offending James I's queen, Anne of Denmark).[31]
First Folio (F1) In 1623 Edward Blount and William and Isaac Jaggard published the First Folio, the first edition of Shakespeare's Complete Works.[32]
Other folios and quartos were subsequently published—including John Smethwick's Q3, Q4, and Q5 (1611–37)—but these are regarded as derivatives of the first three editions.[32]
Early editors of Shakespeare's works, beginning with Nicholas Rowe (1709) and Lewis Theobald (1733), combined material from the two earliest sources of Hamlet available at the time, Q2 and F1. Each text contains material that the other lacks, with many minor differences in wording: scarcely 200 lines are identical in the two. Editors have combined them in an effort to create one "inclusive" text that reflects an imagined "ideal" of Shakespeare's original. Theobald's version became standard for a long time,[33] and his "full text" approach continues to influence editorial practice to the present day. Some contemporary scholarship, however, discounts this approach, instead considering "an authentic Hamlet an unrealisable ideal. ... there are texts of this play but no text".[34] The 2006 publication by Arden Shakespeare of different Hamlet texts in different volumes is perhaps the best evidence of this shifting focus and emphasis.[35]
Traditionally, editors of Shakespeare's plays have divided them into five acts. None of the early texts of Hamlet, however, were arranged this way, and the play's division into acts and scenes derives from a 1676 quarto. Modern editors generally follow this traditional division, but consider it unsatisfactory; for example, after Hamlet drags Polonius's body out of Gertrude's bedchamber, there is an act-break[36] after which the action appears to continue uninterrupted.[37]
The discovery in 1823 of Q1—whose existence had been quite unsuspected—caused considerable interest and excitement, raising many questions of editorial practice and interpretation. Scholars immediately identified apparent deficiencies in Q1, which was instrumental in the development of the concept of a Shakespearean "bad quarto".[38] Yet Q1 has value: it contains stage directions that reveal actual stage practices in a way that Q2 and F1 do not; it contains an entire scene (usually labelled 4.6)[39] that does not appear in either Q2 or F1; and it is useful for comparison with the later editions.
Q1 is considerably shorter than Q2 or F1 and may be a memorial reconstruction of the play as Shakespeare's company performed it, by an actor who played a minor role (most likely Marcellus).[40] Scholars disagree whether the reconstruction was pirated or authorised. Another theory, considered by New Cambridge editor Kathleen Irace, holds that Q1 is an abridged version intended especially for travelling productions.[41] The idea that Q1 is not riddled with error but is instead eminently fit for the stage has led to at least 28 different Q1 productions since 1881.[42]

[edit] Analysis and criticism
Main article: Critical approaches to Hamlet

[edit] Critical history
From the early 17th century, the play was famous for its ghost and vivid dramatization of melancholy and insanity, leading to a procession of mad courtiers and ladies in Jacobean and Caroline drama.[43] Though it remained popular with mass audiences, late 17th-century Restoration critics saw Hamlet as primitive and disapproved of its lack of unity and decorum.[44] This view changed drastically in the 18th century, when critics regarded Hamlet as a hero—a pure, brilliant young man thrust into unfortunate circumstances.[45] By the mid-18th century, however, the advent of Gothic literature brought psychological and mystical readings, returning madness and the Ghost to the forefront.[46] Not until the late 18th century did critics and performers begin to view Hamlet as confusing and inconsistent. Before then, he was either mad, or not; either a hero, or not; with no in-betweens.[47] These developments represented a fundamental change in literary criticism, which came to focus more on character and less on plot.[48] By the 19th century, Romantic critics valued Hamlet for its internal, individual conflict reflecting the strong contemporary emphasis on internal struggles and inner character in general.[49] Then too, critics started to focus on Hamlet's delay as a character trait, rather than a plot device.[48] This focus on character and internal struggle continued into the 20th century, when criticism branched in several directions, discussed in context and interpretation below.

[edit] Dramatic structure
Hamlet departed from contemporary dramatic convention in several ways. First, in Shakespeare's day, plays were usually expected to follow the advice of Aristotle in his Poetics: that a drama should focus on action, not character. In Hamlet, Shakespeare reverses this so that it is through the soliloquies, not the action, that the audience learns Hamlet's motives and thoughts. Second—and unlike Shakespeare's other plays (with the exception of Othello)—there is no strong subplot; all plot-forks directly connect to the main vein of Hamlet's struggle for revenge. The play is full of seeming discontinuities and irregularities of action. At one point, as in the Gravedigger scene,[8] Hamlet seems resolved to kill Claudius: in the next scene, however, when Claudius appears, he is suddenly tame. Scholars still debate whether these twists are mistakes or intentional additions to add to the play's theme of confusion and duality.[50] Finally, in a period when most plays ran for two hours or so, the full text of Hamlet—Shakespeare's longest play, with 4,042 lines, totalling 29,551 words—takes over four hours to deliver.[51] Hamlet also contains a favourite Shakespearean device, a play within the play.[52] Though it was first called The Murder of Gonzago, Hamlet changes the name to The Mousetrap when he modifies the plot.

[edit] Language

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 the play'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 royal first person plural ("we" or "us"), and anaphora mixed with metaphor to resonate with Greek political speeches.[53]
Hamlet is the most skilled of all at rhetoric. He uses highly developed metaphors, stichomythia, and in nine memorable words deploys both anaphora and asyndeton: "to die: to sleep— / To sleep, perchance to dream".[54] 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, / These but the trappings and the suits of woe".[55] At times, he relies heavily on puns to express his true thoughts while simultaneously concealing them.[56] His "nunnery" remarks[57] to Ophelia are an example of a cruel double meaning as nunnery was Elizabethan slang for brothel.[58] His very 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."[59]
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"; "And I, of ladies most deject and wretched".[60] 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.[61]
Hamlet's soliloquies have also 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.[62]

[edit] Context and interpretation

[edit] Religious

Ophelia depicts her mysterious death by drowning. The clowns' discussion of whether her death was a suicide and whether she merits a Christian burial is at heart a religious topic. (Artist: John Everett Millais 1852).
Written at a time of religious upheaval, and in the wake of the English Reformation, the play is alternately Catholic (or piously medieval) and Protestant (or consciously modern). The Ghost describes himself as being in purgatory, and as dying without last rites. This and Ophelia's burial ceremony, which is characteristically Catholic, make up most of the play's Catholic connections. Some scholars have observed that revenge tragedies come from traditionally Catholic countries, such as Spain and Italy; and they present a contradiction, since according to Catholic doctrine the strongest duty is to God and family. Hamlet's conundrum, then, is whether to avenge his father and kill Claudius, or to leave the vengeance to God, as his religion requires.[63]
Much of the play's Protestantism derives from its location in Denmark—then and now a predominantly Protestant country, though it is unclear whether the fictional Denmark of the play is intended to mirror this fact. The play does mention Wittenberg, where Hamlet, Horatio, and Rosencrantz and Guildenstern attend university, and where Martin Luther first nailed up his 95 theses.[64] When Hamlet speaks of the "special providence in the fall of a sparrow",[65] he reflects the Protestant belief that the will of God—Divine Providence—controls even the smallest event. In Q1, the first sentence of the same section reads: "There's a predestinate providence in the fall of a sparrow,"[66] which suggests an even stronger Protestant connection through John Calvin's doctrine of predestination. Scholars speculate that Hamlet may have been censored, as "predestined" appears only in this quarto.[67]

[edit] Philosophical

Philosophical ideas in Hamlet are similar to those of the French writer Michel de Montaigne, a contemporary of Shakespeare's. (Artist: Thomas de Leu (fl. 1560–1612).
Hamlet is often perceived as a philosophical character, expounding ideas that are now described as relativist, existentialist, and sceptical. For example, he expresses a relativistic idea when he says to Rosencrantz: "there is nothing either good or bad but thinking makes it so".[68] The idea that nothing is real except in the mind of the individual finds its roots in the Greek Sophists, who argued that since nothing can be perceived except through the senses—and since all individuals sense, and therefore perceive, things differently—there is no absolute truth, only relative truth.[69] The clearest example of existentialism is found in the "to be, or not to be"[70] speech, where Hamlet uses "being" to allude to both life and action, and "not being" to death and inaction. Hamlet's contemplation of suicide in this scene, however, is less philosophical than religious as he believes that he will continue to exist after death.[71]
Scholars agree that Hamlet reflects the contemporary scepticism that prevailed in Renaissance humanism.[72] Prior to Shakespeare's time, humanists had argued that man was God's greatest creation, made in God's image and able to choose his own nature, but this view was challenged, notably in Michel de Montaigne's Essais of 1590. Hamlet's "What a piece of work is a man" echoes many of Montaigne's ideas, but scholars disagree whether Shakespeare drew directly from Montaigne or whether both men were simply reacting similarly to the spirit of the times.[73]

[edit] Political
In the early 17th century political satire was discouraged, and playwrights were punished for "offensive" works. In 1597, Ben Jonson was jailed for his participation in the play The Isle of Dogs.[74] Thomas Middleton was imprisoned in 1624, and his A Game at Chess was banned after nine performances.[75] Numerous scholars believe that Hamlet's Polonius poked fun at the safely deceased William Cecil (Lord Burghley)—Lord High Treasurer and chief counsellor to Queen Elizabeth I[76]—as numerous parallels can be found. Polonius's role as elder statesman is similar to the role Burghley enjoyed;[77] Polonius's advice to Laertes may echo Burghley's to his son Robert Cecil;[78] and Polonius's tedious verbosity may resemble Burghley's.[79] Also, "Corambis", (Polonius's name in Q1) resonates with the Latin for "double-hearted"—which may satirise Lord Burghley's Latin motto Cor unum, via una ("One heart, one way").[80] Lastly, the relationship of Polonius's daughter Ophelia with Hamlet may be compared to the relationship of Burghley's daughter, Anne Cecil, with the Earl of Oxford, Edward de Vere.[81] These arguments are also offered in support of the Shakespeare authorship claims for the Earl of Oxford.[82] Nevertheless Shakespeare escaped censure; and far from being suppressed, Hamlet was given the royal imprimatur, as the king's coat of arms on the frontispiece of the 1604 Hamlet attests.[83]

[edit] Psychoanalytic

Freud suggested that an unconscious oedipal conflict caused Hamlet's hesitations. (Artist: Eugène Delacroix 1844).
Since the birth of psychoanalysis in the late 19th century, Hamlet has been the source of such studies, notably by Sigmund Freud, Ernest Jones, and Jacques Lacan, which have influenced theatrical productions.
In his The Interpretation of Dreams (1900), Freud's analysis starts from the premise that "the play is built up on Hamlet's hesitations over fulfilling the task of revenge that is assigned to him; but its text offers no reasons or motives for these hesitations".[84] After reviewing various literary theories, Freud concludes that Hamlet has an "Oedipal desire for his mother and the subsequent guilt [is] preventing him from murdering the man [Claudius] who has done what he unconsciously wanted to do".[85] Confronted with his repressed desires, Hamlet realises that "he himself is literally no better than the sinner whom he is to punish".[84] Freud suggests that Hamlet's apparent "distaste for sexuality"—articulated in his "nunnery" conversation with Ophelia—accords with this interpretation.[86][87] John Barrymore introduced Freudian overtones into his landmark 1922 production in New York, which ran for a record-breaking 101 nights.
In the 1940s, Ernest Jones—a psychoanalyst and Freud's biographer—developed Freud's ideas into a series of essays that culminated in his book Hamlet and Oedipus (1949). Influenced by Jones's psychoanalytic approach, several productions have portrayed the "closet scene",[88] where Hamlet confronts his mother in her private quarters, in a sexual light. In this reading, Hamlet is disgusted by his mother's "incestuous" relationship with Claudius while simultaneously fearful of killing him, as this would clear Hamlet's path to his mother's bed. Ophelia's madness after her father's death may also be read through the Freudian lens: as a reaction to the death of her hoped-for lover, her father. She is overwhelmed by having her unfulfilled love for him so abruptly terminated and drifts into the oblivion of insanity.[89] In 1937, Tyrone Guthrie directed Laurence Olivier in a Jones-inspired Hamlet at the Old Vic.[90]
In the 1950s, Lacan's structuralist theories about Hamlet were first presented in a series of seminars given in Paris and later published in "Desire and the Interpretation of Desire in Hamlet". Lacan postulated that the human psyche is determined by structures of language and that the linguistic structures of Hamlet shed light on human desire.[85] His point of departure is Freud's Oedipal theories, and the central theme of mourning that runs through Hamlet.[85] In Lacan's analysis, Hamlet unconsciously assumes the role of phallus—the cause of his inaction—and is increasingly distanced from reality "by mourning, fantasy, narcissism and psychosis", which create holes (or lack (manque)) in the real, imaginary, and symbolic aspects of his psyche.[85] Lacan's theories influenced literary criticism of Hamlet because of his alternative vision of the play and his use of semantics to explore the play's psychological landscape.[85]

[edit] Feminist

Ophelia is distracted by grief.[91] Feminist critics have explored her descent into madness. (Artist: Henrietta Rae 1890).

Hamlet tries to show his mother Gertrude his father's ghost (artist: Nicolai A. Abildgaard ca. 1778).
In the 20th century feminist critics opened up new approaches to Gertrude and Ophelia. New Historicist and cultural materialist critics examined the play in its historical context, attempting to piece together its original cultural environment.[92] They focused on the gender system of early modern England, pointing to the common trinity of maid, wife, or widow, with whores alone outside of the stereotype. In this analysis, the essence of Hamlet is the central character's changed perception of his mother as a whore because of her failure to remain faithful to Old Hamlet. In consequence, Hamlet loses his faith in all women, treating Ophelia as if she too were a whore and dishonest with Hamlet. Ophelia, by some critics, can be honest and fair, however; it is virtually impossible to link these two traits, since 'fairness' is an outward trait, while 'honesty' is an inward trait.[93]
Carolyn Heilbrun's 1957 essay "Hamlet's Mother" defends Gertrude, arguing that the text never hints that Gertrude knew of Claudius poisoning King Hamlet. This analysis has been championed by many feminist critics. Heilbrun argued that men have for centuries completely misinterpreted Gertrude, accepting at face value Hamlet's view of her instead of following the actual text of the play. By this account, no clear evidence suggests that Gertrude is an adulteress: she is merely adapting to the circumstances of her husband's death for the good of the kingdom.[94]
Ophelia has also been defended by feminist critics, most notably Elaine Showalter.[95] Ophelia is surrounded by powerful men: her father, brother, and Hamlet. All three disappear: Laertes leaves, Hamlet abandons her, and Polonius dies. Conventional theories had argued that without these three powerful men making decisions for her, Ophelia is driven into madness.[96] Feminist theorists argue that she goes mad with guilt because, when Hamlet kills her father, he has fulfilled her sexual desire to have Hamlet kill her father so they can be together. Showalter points out that Ophelia has become the symbol of the distraught and hysterical woman in modern culture.[97]

[edit] Influence
See also Stage and screen adaptations (below), and Literary influence of Hamlet
Hamlet is one of the most quoted works in the English language, and is often included on lists of the world's greatest literature.[98] As such, it reverberates through the writing of later centuries. Academic Laurie Osborne identifies the direct influence of Hamlet in numerous modern narratives, and divides them into four main categories: fictional accounts of the play's composition, simplifications of the story for young readers, stories expanding the role of one or more characters, and narratives featuring performances of the play.[99]
Henry Fielding's Tom Jones, published about 1749, describes a visit to Hamlet by Tom Jones and Mr Partridge, with similarities to the "play within a play".[100] In contrast, Goethe's Bildungsroman Wilhelm Meister's Apprenticeship, written between 1776 and 1796, not only has a production of Hamlet at its core but also creates parallels between the Ghost and Wilhelm Meister's dead father.[100] In the early 1850s, in Pierre, Herman Melville focuses on a Hamlet-like character's long development as a writer.[100] Ten years later, Dickens's Great Expectations contains many Hamlet-like plot elements: it is driven by revenge-motivated actions, contains ghost-like characters (Abel Magwich and Miss Havisham), and focuses on the hero's guilt.[100] Academic Alexander Welsh notes that Great Expectations is an "autobiographical novel" and "anticipates psychoanalytic readings of Hamlet itself".[101] About the same time, George Eliot's The Mill on the Floss was published, introducing Maggie Tulliver "who is explicitly compared with Hamlet"[102] though "with a reputation for sanity".[103] The Count of Monte Cristo by Alexander Dumas makes mention of Hamlet numerous times and deals with the same revenge theme.
In the 1920s, James Joyce managed "a more upbeat version" of Hamlet—stripped of obsession and revenge—in Ulysses, though its main parallels are with Homer's Odyssey.[100] In the 1990s, two women novelists were explicitly influenced by Hamlet. In Angela Carter's Wise Children, To be or not to be[104] is reworked as a song and dance routine, and Iris Murdoch's The Black Prince has Oedipal themes and murder intertwined with a love affair between a Hamlet-obsessed writer, Bradley Pearson, and the daughter of his rival.[102] In 2008, David Wroblewski published The Story of Edgar Sawtelle, a best-selling novel set in rural Wisconsin whose plot closely follows the story of Hamlet.[citation needed]

[edit] Performance history
Main articles: Hamlet in performance and Shakespeare in performance

[edit] Shakespeare's day to the Interregnum
Shakespeare almost certainly wrote the role of Hamlet for Richard Burbage. He was the chief tragedian of the Lord Chamberlain's Men, with a capacious memory for lines and a wide emotional range.[5] Judging by the number of reprints, Hamlet appears to have been Shakespeare's fourth most popular play during his lifetime—only Henry IV Part 1, Richard III and Pericles eclipsed it.[2] Shakespeare provides no clear indication of when his play is set; however, as Elizabethan actors performed at the Globe in contemporary dress on minimal sets, this would not have affected the staging.[105]
Firm evidence for specific early performances of the play is scant. What is known is that the crew of the ship Red Dragon, anchored off Sierra Leone, performed Hamlet in September 1607;[106] that the play toured in Germany within five years of Shakespeare's death;[107] and that it was performed before James I in 1619 and Charles I in 1637.[108] Oxford editor George Hibbard argues that, since the contemporary literature contains many allusions and references to Hamlet (only Falstaff is mentioned more, from Shakespeare), the play was surely performed with a frequency that the historical record misses.[109]
All theatres were closed down by the Puritan government during the Interregnum.[110] Even during this time, however, playlets known as drolls were often performed illegally, including one called The Grave-Makers based on Act 5, Scene 1 of Hamlet.[111]

[edit] Restoration and 18th century

David Garrick's iconic hand gesture expresses Hamlet's shock at the first sight of the Ghost. (Artist: unknown).
The play was revived early in the Restoration. When the existing stock of pre-civil war plays was divided between the two newly created patent theatre companies, Hamlet was the only Shakespearean favourite that Sir William Davenant's Duke's Company secured.[112] It became the first of Shakespeare's plays to be presented with movable flats painted with generic scenery behind the proscenium arch of Lincoln's Inn Fields Theatre.[113] This new stage convention highlighted the frequency with which Shakespeare shifts dramatic location, encouraging the recurrent criticisms of his violation of the neoclassical principle of maintaining a unity of place.[114] Davenant cast Thomas Betterton in the eponymous role, and he continued to play the Dane until he was 74.[115] David Garrick at Drury Lane produced a version that adapted Shakespeare heavily; he declared: "I had sworn I would not leave the stage till I had rescued that noble play from all the rubbish of the fifth act. I have brought it forth without the grave-digger's trick, Osrick, & the fencing match".[116] The first actor known to have played Hamlet in North America is Lewis Hallam. Jr., in the American Company's production in Philadelphia in 1759.[117]
John Philip Kemble made his Drury Lane debut as Hamlet in 1783.[118] His performance was said to be 20 minutes longer than anyone else's, and his lengthy pauses provoked the suggestion that "music should be played between the words".[119] Sarah Siddons was the first actress known to play Hamlet; many women have since played him as a breeches role, to great acclaim.[120] In 1748, Alexander Sumarokov wrote a Russian adaptation that focused on Prince Hamlet as the embodiment of an opposition to Claudius's tyranny—a treatment that would recur in Eastern European versions into the 20th century.[121] In the years following America's independence, Thomas Abthorpe Cooper, the young nation's leading tragedian, performed Hamlet among other plays at the Chestnut Street Theatre in Philadelphia, and at the Park Theatre in New York. Although chided for "acknowledging acquaintances in the audience" and "inadequate memorisation of his lines", he became a national celebrity.[122]

[edit] 19th century

A poster, c. 1884, for an American production of Hamlet (starring Thomas W. Keene), showing several of the key scenes
From around 1810 to 1840, the best-known Shakespearean performances in the United States were tours by leading London actors—including George Frederick Cooke, Junius Brutus Booth, Edmund Kean, William Charles Macready, and Charles Kemble. Of these, Booth remained to make his career in the States, fathering the nation's most notorious actor, John Wilkes Booth (who later assassinated Abraham Lincoln), and its most famous Hamlet, Edwin Booth.[123] Edwin Booth's Hamlet was described as "like the dark, mad, dreamy, mysterious hero of a poem ... [acted] in an ideal manner, as far removed as possible from the plane of actual life".[124] Booth played Hamlet for 100 nights in the 1864/5 season at The Winter Garden Theatre, inaugurating the era of long-run Shakespeare in America.[125]
In the United Kingdom, the actor-managers of the Victorian era (including Kean, Samuel Phelps, Macready, and Henry Irving) staged Shakespeare in a grand manner, with elaborate scenery and costumes.[126] The tendency of actor-managers to emphasise the importance of their own central character did not always meet with the critics' approval. George Bernard Shaw's praise for Johnston Forbes-Robertson's performance ends with a sideswipe at Irving: "The story of the play was perfectly intelligible, and quite took the attention of the audience off the principal actor at moments. What is the Lyceum coming to?"[127]
In London, Edmund Kean was the first Hamlet to abandon the regal finery usually associated with the role in favour of a plain costume, and he is said to have surprised his audience by playing Hamlet as serious and introspective.[128] In stark contrast to earlier opulence, William Poel's 1881 production of the Q1 text was an early attempt at reconstructing the Elizabethan theatre's austerity; his only backdrop was a set of red curtains.[129] Sarah Bernhardt played the prince in her popular 1899 London production. In contrast to the "effeminate" view of the central character that usually accompanied a female casting, she described her character as "manly and resolute, but nonetheless thoughtful ... [he] thinks before he acts, a trait indicative of great strength and great spiritual power".[130]
In France, Charles Kemble initiated an enthusiasm for Shakespeare; and leading members of the Romantic movement such as Victor Hugo and Alexandre Dumas saw his 1827 Paris performance of Hamlet, particularly admiring the madness of Harriet Smithson's Ophelia.[131] In Germany, Hamlet had become so assimilated by the mid-19th century that Ferdinand Freiligrath declared that "Germany is Hamlet".[132] From the 1850s, the Parsi theatre tradition in India transformed Hamlet into folk performances, with dozens of songs added.[133]

[edit] 20th century

In 1908, Edward Gordon Craig designed the MAT production of Hamlet (1911–12). The isolated figure of Hamlet reclines in the dark foreground, while behind a gauze the rest of the court are absorbed in a bright, unified golden pyramid emanating from Claudius. Craig's famous screens are flat against the back in this scene.
Apart from some western troupes' 19th-century visits, the first professional performance of Hamlet in Japan was Otojiro Kawakami's 1903 Shimpa ("new school theatre") adaptation.[134] Shoyo Tsubouchi translated Hamlet and produced a performance in 1911 that blended Shingeki ("new drama") and Kabuki styles.[134] This hybrid-genre reached its peak in Fukuda Tsuneari's 1955 Hamlet.[134] In 1998, Yukio Ninagawa produced an acclaimed version of Hamlet in the style of Nō theatre, which he took to London.[135]
Constantin Stanislavski and Edward Gordon Craig—two of the 20th century's most influential theatre practitioners—collaborated on the Moscow Art Theatre's seminal production of 1911–12.[136] While Craig favoured stylised abstraction, Stanislavski, armed with his "system", explored psychological motivation.[137] Craig conceived of the play as a symbolist monodrama, offering a dream-like vision as seen through Hamlet's eyes alone.[138] This was most evident in the staging of the first court scene.[139][140] The most famous aspect of the production is Craig's use of large, abstract screens that altered the size and shape of the acting area for each scene, representing the character's state of mind spatially or visualising a dramaturgical progression.[141] The production attracted enthusiastic and unprecedented worldwide attention for the theatre and placed it "on the cultural map for Western Europe".[142]
Hamlet is often played with contemporary political overtones. Leopold Jessner's 1926 production at the Berlin Staatstheater portrayed Claudius's court as a parody of the corrupt and fawning court of Kaiser Wilhelm.[143] In Poland, the number of productions of Hamlet has tended to increase at times of political unrest, since its political themes (suspected crimes, coups, surveillance) can be used to comment on a contemporary situation.[144] Similarly, Czech directors have used the play at times of occupation: a 1941 Vinohrady Theatre production "emphasised, with due caution, the helpless situation of an intellectual attempting to endure in a ruthless environment".[145] In China, performances of Hamlet often have political significance: Gu Wuwei's 1916 The Usurper of State Power, an amalgam of Hamlet and Macbeth, was an attack on Yuan Shikai's attempt to overthrow the republic.[146] In 1942, Jiao Juyin directed the play in a Confucian temple in Sichuan Province, to which the government had retreated from the advancing Japanese.[146] In the immediate aftermath of the collapse of the protests at Tiananmen Square, Lin Zhaohua staged a 1990 Hamlet in which the prince was an ordinary individual tortured by a loss of meaning. In this production, the actors playing Hamlet, Claudius and Polonius exchanged roles at crucial moments in the performance, including the moment of Claudius's death, at which point the actor mainly associated with Hamlet fell to the ground.[146]
Notable stagings in London and New York include Barrymore's 1925 production at the Haymarket; it influenced subsequent performances by John Gielgud and Laurence Olivier.[147] Gielgud played the central role many times: his 1936 New York production ran for 136 performances, leading to the accolade that he was "the finest interpreter of the role since Barrymore".[148] Although "posterity has treated Maurice Evans less kindly", throughout the 1930s and 1940s he was regarded by many as the leading interpreter of Shakespeare in the United States and in the 1938/9 season he presented Broadway's first uncut Hamlet, running four and a half hours.[149] Olivier's 1937 performance at the Old Vic Theatre was popular with audiences but not with critics, with James Agate writing in a famous review in The Sunday Times, "Mr. Olivier does not speak poetry badly. He does not speak it at all."[150] In 1963, Olivier directed Peter O'Toole as Hamlet in the inaugural performance of the newly formed National Theatre; critics found resonance between O'Toole's Hamlet and John Osborne's hero, Jimmy Porter, from Look Back in Anger.[151]
Other New York portrayals of Hamlet of note include that of Ralph Fiennes's in 1995 (for which he won the Tony Award for Best Actor) - which ran, from first preview to closing night, a total of one hundred performances. About the Fiennes Hamlet Vincent Canby wrote in The New York Times that it was "...not one for literary sleuths and Shakespeare scholars. It respects the play, but it doesn't provide any new material for arcane debates on what it all means. Instead it's an intelligent, beautifully read..."[152] Stephen Lang's Hamlet for the Roundabout Theatre Company in 1992 received positive reviews, and ran for sixty-one performances; and Sam Waterston's for the New York Shakespeare Festival at the Vivian Beaumont Theatre in 1975 (for which Lang played Bernardo and other roles) was well-received. Off Broadway, the Riverside Shakespeare Company mounted an uncut first folio Hamlet in 1978 at Columbia University, with a playing time of under three hours.[153] In fact, Hamlet is the most produced Shakespeare play in New York theatre history, with sixty-four recorded productions on Broadway, and an untold number Off Broadway.[154]

[edit] Screen performances

Sarah Bernhardt as Hamlet, with Yorick's skull (Photographer: James Lafayette, c. 1885–1900)
Main article: Hamlet on screen
The earliest screen success for Hamlet was Sarah Bernhardt's five-minute film of the fencing scene,[155] produced in 1900. The film was a crude talkie, in that music and words were recorded on phonograph records, to be played along with the film.[156] Silent versions were released in 1907, 1908, 1910, 1913, and 1917.[156] In 1920, Asta Nielsen played Hamlet as a woman who spends her life disguised as a man.[156] Laurence Olivier's 1948 film noir Hamlet won best picture and best actor Oscars. His interpretation stressed the Oedipal overtones of the play, to the extent of casting the 28-year-old Eileen Herlie as Hamlet's mother, opposite himself, at 41, as Hamlet.[157] Gamlet (Russian: Гамлет) is a 1964 film adaptation in Russian, based on a translation by Boris Pasternak and directed by Grigori Kozintsev, with a score by Dmitri Shostakovich.[158] Innokenty Smoktunovsky was cast in the role of Hamlet, which won him a praise from Sir Laurence Olivier. Shakespeare experts Sir John Gielgud and Kenneth Branagh consider this work the definitive rendition of the Bard's tragic tale.[159] John Gielgud directed Richard Burton at the Lunt-Fontanne Theatre in 1964–5, and a film of a live performance was produced, in ELECTRONOVISION.[160] Tony Richardson directed Nicol Williamson as Hamlet and Marianne Faithfull as Ophelia in his 1969 version. Franco Zeffirelli's Shakespeare films have been described as "sensual rather than cerebral": his aim to make Shakespeare "even more popular".[161] To this end, he cast Mel Gibson—then famous for the Mad Max and Lethal Weapon movies—in the title role of his 1990 version, and Glenn Close—then famous as the psychotic other woman in Fatal Attraction—as Gertrude.[162]
In contrast to Zeffirelli, whose Hamlet was heavily cut, Kenneth Branagh adapted, directed, and starred in a 1996 version containing every word of Shakespeare's play, combining the material from the F1 and Q2 texts. Branagh's Hamlet runs for around four hours.[163] Branagh set the film with late 19th-century costuming and furnishings;[164] and Blenheim Palace, built in the early 18th century, became Elsinore Castle in the external scenes. The film is structured as an epic and makes frequent use of flashbacks to highlight elements not made explicit in the play: Hamlet's sexual relationship with Kate Winslet's Ophelia, for example, or his childhood affection for Yorick (played by Ken Dodd).[165] In 2000, Michael Almereyda's Hamlet set the story in contemporary Manhattan, with Ethan Hawke playing Hamlet as a film student. Claudius became the CEO of "Denmark Corporation", having taken over the company by killing his brother.[166]

[edit] Stage and screen adaptations
Further information: References to Hamlet
Hamlet has been adapted into stories that deal with civil corruption by the West German director Helmut Käutner in Der Rest ist Schweigen (The Rest is Silence) and by the Japanese director Akira Kurosawa in Warui Yatsu Hodo Yoku Nemuru (The Bad Sleep Well).[167] In Claude Chabrol's Ophélia (France, 1962) the central character, Yvan, watches Olivier's Hamlet and convinces himself—wrongly and with tragic results—that he is in Hamlet's situation.[168]
Tom Stoppard's play, Rosencrantz & Guildenstern Are Dead (which has a 1990 film version), portrays the events of Hamlet from the perspective of Hamlet's two school friends, recasting it as the tragedy of two minor characters who must die to fulfil their role in a drama that they do not understand. A parody of Hamlet called Rosencrantz and Guildenstern had been written by W. S. Gilbert in 1874. In 1977, East German playwright Heiner Müller wrote Die Hamletmaschine (Hamletmachine), a postmodernist, condensed version of Hamlet; this adaptation was subsequently incorporated into his translation of Shakespeare's play in his 1989/1990 production Hamlet/Maschine (Hamlet/Machine).[169] The highest-grossing Hamlet adaptation to date is Disney's Academy Award-winning animated feature The Lion King, which enacts a loose version of the plot among a pride of African lions.[170]

[edit] References

[edit] Notes
All references to Hamlet, unless otherwise specified, are taken from the Arden Shakespeare Q2 (Thompson and Taylor, 2006a). Under their referencing system, 3.1.55 means act 3, scene 1, line 55. References to the First Quarto and First Folio are marked Hamlet Q1 and Hamlet F1, respectively, and are taken from the Arden Shakespeare "Hamlet: the texts of 1603 and 1623" (Thompson and Taylor, 2006b). Their referencing system for Q1 has no act breaks, so 7.115 means scene 7, line 115.
^ Thompson and Taylor (2006a, 74).
^ a b Taylor (2002, 18).
^ Crystal and Crystal (2005, 66).
^ Thompson and Taylor (2006a, 17).
^ a b See Taylor (2002, 4); Banham (1998, 141); Hattaway asserts that "Richard Burbage ... played Hieronimo and also Richard III but then was the first Hamlet, Lear, and Othello" (1982, 91); Peter Thomson argues that the identity of Hamlet as Burbage is built into the dramaturgy of several moments of the play: "we will profoundly misjudge the position if we do not recognise that, whilst this is Hamlet talking about the groundlings, it is also Burbage talking to the groundlings" (1983, 24); see also Thomson on the first player's beard (1983, 110).
^ Hamlet 1.4.
^ Hamlet 2.1.99.
^ a b The Gravedigger Scene: Hamlet 5.1.1–205.
^ Saxo and Hansen (1983, 36–37).
^ Saxo and Hansen (1983, 16–25).
^ Saxo and Hansen (1983, 5–15).
^ Books 3 & 4 - see online text
^ Saxo and Hansen (1983, 1–5).
^ Saxo and Hansen (1983, 25–37).
^ Edwards (1985, 1–2).
^ Saxo and Hansen (1983, 66–67).
^ Jenkins (1982, 82–85).
^ Saxo and Hansen (1983, 67).
^ In his 1936 book The Problem of Hamlet: A Solution Andrew Carincross asserted that the Hamlet referred to in 1589 was written by Shakespeare; Peter Alexander (1964), Eric Sams (according to Jackson 1991, 267) and, more recently, Harold Bloom (2001, xiii and 383; 2003, 154) have agreed. This is also the opinion of anti-Stratfordians (Ogburn 1988, 631). Harold Jenkins, the editor of the second series Arden edition of the play, dismisses the idea as groundless (1982, 84 n4). Francis Meres's Palladis Tamia (published in 1598, probably October) provides a list of twelve named Shakespeare plays, but Hamlet is not among them (Lott 1970, xlvi).
^ Saxo and Hansen (1983, 66–68).
^ Saxo and Hansen (1983, 6).
^ Greenblatt (2004a, 311); Greenblatt (2004b).
^ Shakespeare's Last Will and Testament.
^ MacCary suggests 1599 or 1600 (1998, 13); James Shapiro offers late 1600 or early 1601 (2005, 341); Wells and Taylor suggest that the play was written in 1600 and revised later (1988, 653); the New Cambridge editor settles on mid-1601 (Edwards 1985, 8); the New Swan Shakespeare Advanced Series editor agrees with 1601 (Lott 1970, xlvi); Thompson and Taylor, tentatively ("according to whether one is the more persuaded by Jenkins or by Honigmann") suggest a terminus ad quem of either Spring 1601 or sometime in 1600 (2001a, 58–59).
^ MacCary (1998, 12–13) and Edwards (1985, 5–6).
^ a b Lott (1970, xlvi).
^ Hamlet F1 2.2.337. The whole conversation between Rozencrantz, Guildenstern and Hamlet concerning the touring players' departure from the city is at Hamlet "F1" 2.2.324–360.
^ Edwards (1985, 5).
^ Hattaway (1987, 13–20).
^ Chambers (1923, vol. 3, 486–487) and Halliday (1964, 204–205).
^ Halliday (1964, 204).
^ a b Thompson and Taylor (2006a, 78).
^ Hibbard (1987, 22–23).
^ Hattaway (1987, 16).
^ Thompson and Taylor published Q2, with appendices, in their first volume (2006a) and the F1 and Q1 texts in their second volume (2006b). Bate and Rasmussen (2007) is the F1 text with additional Q2 passages in an appendix. The New Cambridge series has begun to publish separate volumes for the separate quarto versions that exist of Shakespeare's plays (Irace 1998).
^ Hamlet 3.4 and 4.1.
^ Thompson and Taylor (2006a, 543–552).
^ Jenkins (1982, 14).
^ Hamlet Q1 14.
^ Jackson (1986, 171).
^ Irace (1998); Thompson and Taylor (2006a, 85–86).
^ Thompson and Taylor (2006b, 36–37) and Checklist of Q1 Productions in Thompson and Taylor (2006b, 38–39).
^ Wofford (1994) and Kirsch (1968).
^ Vickers (1974a, 447) and (1974b, 92).
^ Wofford (1994, 184–185).
^ Vickers (1974c, 5).
^ Wofford (1994, 185).
^ a b Wofford (1994, 186).
^ Rosenberg (1992, 179).
^ MacCary (1998, 67–72, 84).
^ Based on the length of the first edition of The Riverside Shakespeare (1974).
^ Also used in Love's Labour's Lost and A Midsummer Night's Dream. Kermode (2000, 256).
^ MacCary (1998, 84–85).
^ Hamlet 3.1.63–64.
^ Hamlet 1.2.85–86.
^ MacCary (1998, 89–90).
^ Hamlet 3.1.87–148 especially lines 120, 129, 136, 139 and 148.
^ Oxford English Dictionary (2004, CD).
^ Hamlet 2.1.63-65.
^ Hamlet 3.1.151 and 3.1.154. The Nunnery Scene: Hamlet 3.1.87–160.
^ MacCary (1998, 87–88).
^ MacCary (1998, 91–93).
^ MacCary (1998, 37–38); in the New Testament, see Romans 12:19: " 'vengeance is mine, I will repay' sayeth the Lord".
^ MacCary (1998, 38).
^ Hamlet 5.2.197–202.
^ Hamlet Q1 17.45–46.
^ Blits (2001, 3–21).
^ Hamlet F1 2.2.247–248.
^ MacCary (1998, 47–48).
^ Hamlet 3.1.55–87 especially line 55.
^ MacCary (1998, 28–49).
^ MacCary (1998, 49).
^ Knowles (1999, 1049 and 1052–1053) cited by Thompson and Taylor (2006a, 73–74); MacCary (1998, 49).
^ Baskerville (1934, 827–830).
^ Jones (2007, web page).
^ French writes in 1869: "The next important personages in the play are the 'Lord Chamberlain', Polonius; his son, Laertes; and daughter, Ophelia; and these are supposed to stand for Queen Elizabeth's celebrated Lord High Treasurer, Sir William Cecil, Lord Burleigh; his second son, Robert Cecil; and his daughter, Anne Cecil" (301). Excepts from his research may be found here. In 1932, John Dover Wilson wrote: "the figure of Polonius is almost without doubt intended as a caricature of Burleigh, who died on 4 August 1598" (1932, 104).
^ Winstanley (1921, 112). Winstanley devotes 20 pages proposing connections between scenes involving Polonius and people and events in Elizabethan England.
^ See Chambers (1930, 418); in 1964, Hurstfield and Sutherland wrote: "The governing classes were both paternalistic and patronizing; and nowhere is this attitude better displayed than in the advice which that archetype of elder statesmen William Cecil, Lord Burghley—Shakespeare's Polonius—prepared for his son" (1964, 35).
^ Rowse (1963, 323).
^ Ogburn (1988, 202–203). As glossed by Mark Anderson, "With 'cor' meaning 'heart' and with 'bis' or 'ambis' meaning 'twice' or 'double', Corambis can be taken for the Latin of 'double-hearted,' which implies 'deceitful' or 'two-faced'."
^ Winstanley (1921, 122–124).
^ Ogburn (1984, 84–86).
^ Matus (1994, 234–237).
^ a b Freud (1900, 367).
^ a b c d e Britton (1995, 207-211).
^ Freud (1900, 368).
^ The nunnery conversation referred to in this sentence is Hamlet 3.1.87–160.
^ The Closet Scene: Hamlet 3.4.
^ MacCary (1998, 104–107, 113–116) and de Grazia (2007, 168–170).
^ Smallwood (2002, 102).
^ Hamlet 4.5.
^ Wofford (1994, 199–202).
^ Howard (2003, 411–415).
^ Bloom (2003, 58–59); Thompson (2001, 4).
^ Showalter (1985).
^ Bloom (2003, 57).
^ MacCary (1998, 111–113).
^ Hamlet has 208 quotations in "The Oxford Dictionary of Quotations; it takes up 10 of 85 pages dedicated to Shakespeare in the 1986 Bartlett's Familiar Quotations (14th ed. 1968). For examples of lists of the greatest books, see Harvard Classics, Great Books, Great Books of the Western World, Harold Bloom's The Western Canon, St. John's College reading list, and Columbia College Core Curriculum.
^ Osborne (2007, 114–133 especially 115 and 120).
^ a b c d e Thompson and Taylor (2006a, 123–126).
^ Welsh (2001, 131).
^ a b Thompson and Taylor (2006a, 126–131).
^ Novy (1994, 62, 77–78).
^ Hamlet 3.1.55–87.
^ Taylor (2002, 13).
^ Thompson and Taylor (2006a; 53–55); Chambers (1930, vol. 1, 334), cited by Dawson (2002, 176).
^ Dawson (2002, 176).
^ Pitcher and Woudhuysen (1969, 204).
^ Hibbard (1987, 17).
^ Marsden (2002, 21).
^ Holland (2007, 34).
^ Marsden (2002, 21–22).
^ Samuel Pepys records his delight at the novelty of Hamlet "done with scenes"; see Thompson and Taylor (1996, 57).
^ Taylor (1989, 16).
^ Thompson and Taylor (2006a, 98–99).
^ Letter to Sir William Young, 10 January 1773, quoted by Uglow (1977, 473).
^ Morrison (2002, 231).
^ Moody (2002, 41).
^ Moody (2002, 44), quoting Sheridan.
^ Gay (2002, 159).
^ Dawson (2002, 185–187).
^ Morrison (2002, 232–233).
^ Morrison (2002, 235–237).
^ William Winter, New York Tribune 26 October 1875, quoted by Morrison (2002, 241).
^ Morrison (2002, 241).
^ Schoch (2002, 58–75).
^ George Bernard Shaw in The Saturday Review 2 October 1897, quoted in Shaw (1961, 81).
^ Moody (2002, 54).
^ Halliday (1964, 204) and O'Connor (2002, 77).
^ Sarah Bernhardt, in a letter to the London Daily Telegraph, quoted by Gay (2002, 164).
^ Holland (2002, 203–205).
^ Dawson (2002, 184).
^ Dawson (2002, 188).
^ a b c Gillies et al (2002, 259–262).
^ Dawson (2002, 180).
^ For more on this production, see The MAT production of Hamlet. Craig and Stanislavski began planning the production in 1908 but, due to a serious illness of Stanislavski's, it was delayed until December, 1911. See Benedetti (1998, 188–211).
^ Benedetti (1999, 189, 195).
^ On Craig's relationship to Russian symbolism and its principles of monodrama in particular, see Taxidou (1998, 38–41); on Craig's staging proposals, see Innes (1983, 153); on the centrality of the protagonist and his mirroring of the 'authorial self', see Taxidou (1998, 181, 188) and Innes (1983, 153).
^ The First Court Scene: Hamlet 1.2.1–128.
^ A brightly lit, golden pyramid descended from Claudius's throne, representing the feudal hierarchy, giving the illusion of a single, unified mass of bodies. In the dark, shadowy foreground, separated by a gauze, Hamlet lay, as if dreaming. On Claudius's exit-line the figures remained but the gauze was loosened, so that they appeared to melt away as if Hamlet's thoughts had turned elsewhere. For this effect, the scene received an ovation, which was unheard of at the MAT. See Innes (1983, 152).
^ See Innes (1983, 140–175; esp. 165–167 on the use of the screens).
^ Innes (1983, 172).
^ Hortmann (2002, 214).
^ Hortmann (2002, 223).
^ Burian (1993), quoted by Hortmann (2002, 224–225).
^ a b c Gillies et al. (2002, 267–269).
^ Morrison (2002, 247–248); Thompson and Taylor (2006a, 109).
^ Morrison (2002, 249).
^ Morrison (2002, 249–250).
^ "Olivier" by Robert Tanitch, Abbeville Press, 1985
^ Smallwood (2002, 108); National Theatre reviews Retrieved: 4 December 2007.
^ Vincent Canby, "Theatre Review: Ralph Fiennes as Mod Hamlet," The New York Times May 3, 1995.
^ Ari Panagako, "Dandy Hamlet Bows Uptown", Heights/Inwood Press of North Manhattan, June 14, 1978.
^ According to the Internet Broadway Database: http://www.ibdb.com/show; Romeo and Juliet is the second most-produced Shakespeare play on Broadway, with thirty-four different productions, followed by Twelfth Night, with thirty.
^ The Fencing Scene: Hamlet 5.2.203–387.
^ a b c Brode (2001, 117–118).
^ Davies (2000, 171).
^ Guntner (2000, 120–121).
^ http://movies.nytimes.com/person/66625/Innokenti-Smoktunovsky/biography)
^ Brode (2001, 125–127).
^ Both quotations from Cartmell (2000, 212), where the aim of making Shakespeare "even more popular" is attributed to Zeffirelli himself in an interview given to The South Bank Show in December 1997.
^ Guntner (2000, 121–122).
^ Crowl (2000, 232).
^ Starks (1999, 272).
^ Keyishian (2000, 78–79).
^ Burnett (2000).
^ Howard (2000, 300–301).
^ Howard (2000, 301–302).
^ Teraoka (1985, 13).
^ Vogler (1992, 267–275).

[edit] Editions of Hamlet
Bate, Jonathan, and Eric Rasmussen, eds. 2007. Complete Works. By William Shakespeare. The RSC Shakespeare. New York: Modern Library. ISBN 0679642951.
Edwards, Phillip, ed. 1985. Hamlet, Prince of Denmark. New Cambridge Shakespeare ser. Cambridge: Cambridge University Press. ISBN 0521293669.
Hibbard, G. R., ed. 1987. Hamlet. Oxford World's Classics ser. Oxford. ISBN 0192834169.
Hoy, Cyrus, ed. 1992. Hamlet. Norton Critical Edition ser. 2nd ed. New York: Norton. ISBN 9780393956634.
Irace, Kathleen O. 1998. The First Quarto of Hamlet. New Cambridge Shakespeare ser. Cambridge: Cambridge University Press. ISBN 0521653908.
Jenkins, Harold, ed. 1982. Hamlet. The Arden Shakespeare, second ser. London: Methuen. ISBN 1903436672.
Lott, Bernard, ed. 1970. Hamlet. New Swan Shakespeare Advanced ser. New ed. London: Longman. ISBN 0582527422.
Spencer, T. J. B., ed. 1980 Hamlet. New Penguin Shakespeare ser. London: Penguin. ISBN 0140707344.
Thompson, Ann and Neil Taylor, eds. 2006a. Hamlet. The Arden Shakespeare, third ser. Volume one. London: Arden. ISBN 1904271332.
———. 2006b. Hamlet: The Texts of 1603 and 1623. The Arden Shakespeare, third ser. Volume two. London: Arden. ISBN 1904271804.
Wells, Stanley, and Gary Taylor, eds. 1988. The Complete Works. By William Shakespeare. The Oxford Shakespeare. Compact ed. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0198711905.

[edit] Secondary sources
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Benedetti, Jean. 1999. Stanislavski: His Life and Art. Revised edition. Original edition published in 1988. London: Methuen. ISBN 0413525201.
Blits, Jan H. 2001. Introduction. In Deadly Thought: "Hamlet" and the Human Soul: 3–22. Langham, MD: Lexington Books. ISBN 0739102141.
Bloom, Harold. 2001. Shakespeare: The Invention of the Human. Open Market ed. Harlow, Essex: Longman. ISBN 157322751X.
———. 2003. Hamlet: Poem Unlimited. Edinburgh: Cannongate. ISBN 1841954616.
Britton, Celia. 1995. "Structuralist and poststructuralist psychoanalytic and Marxist theories" in Cambridge History of Literary Criticism: From Formalism to Poststructuralism (Vol 8). Ed. Raman Seldon. Cambridge: Cambridge University Press 1995. ISBN 978-0521300131.
Brode, Douglas. 2001. Shakespeare in the Movies: From the Silent Era to Today. New York: Berkley Boulevard Books. ISBN 0425181766.
Brown, John Russell. 2006. Hamlet: A Guide to the Text and its Theatrical Life. Shakespeare Handbooks ser. Basingstoke, Hampshire and New York: Palgrave Macmillan. ISBN 1403920923.
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Burnett, Mark Thornton. 2000. " 'To Hear and See the Matter': Communicating Technology in Michael Almereyda's Hamlet (2000)". Cinema Journal 42.3: 48–69.
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Halliday, F. E. 1964. A Shakespeare Companion 1564–1964. Shakespeare Library ser. Baltimore, Penguin, 1969. ISBN 0140530118.
Hattaway, Michael. 1982. Elizabethan Popular Theatre: Plays in Performance. Theatre Production ser. London and Boston: Routledge and Kegan Paul. ISBN 0710090528.
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Holland, Peter. 2002. "Touring Shakespeare". In Wells and Stanton (2002, 194–211).
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Howard, Jean E. 2003. "Feminist Criticism". In Shakespeare: An Oxford Guide: 411–423. Ed. Stanley Wells and Lena Orlin. Oxford: Oxford University Press. ISBN 0199245223.
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———. 1991. "Editions and Textual Studies Reviewed". In Shakespeare Survey 43, The Tempest and After: 255–270. Ed. Stanley Wells. Cambridge: Cambridge University Press. ISBN 0521395291.
Jackson, Russell, ed. 2000. The Cambridge Companion to Shakespeare on Film. Cambridge Companions to Literature ser. Cambridge: Cambridge University Press. ISBN 0521639751.
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Keyishian, Harry. 2000. "Shakespeare and Movie Genre: The Case of Hamlet". In Jackson (2000, 72–84).
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Lacan, Jacques. 1959. "Desire and the Interpretation of Desire in Hamlet". In Literature and Psychoanalysis: The Question of Reading Otherwise. Ed. Shoshana Felman. Baltimore: Johns Hopkins University Press, 1982. Originally appeared as a double issue of Yale French Studies, nos. 55/56 (1977). ISBN 080182754X.
Lennard, John. 2007. William Shakespeare: Hamlet. Literature Insights ser. Humanities-Ebooks, 2007. ISBN 184760028X.
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———. 1934. The Manuscript of Shakespeare's "Hamlet" and the Problems of its Transmission: An Essay in Critical Bibliography. 2 volumes. Cambridge: The University Press.
———. 1935. What Happens in Hamlet. Cambridge: Cambridge University Press, 1959. ISBN 0521068355.
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[edit] External links
Find more about Hamlet on Wikipedia's sister projects: Definitions from Wiktionary
Textbooks from Wikibooks Quotations from Wikiquote Source texts from Wikisource Images and media from Commons News stories from Wikinews Learning resources from Wikiversity
Hamlet at the Internet Broadway Database
Hamlet at the Internet off-Broadway Database
Texts
"HyperHamlet" — The Q2 text, with copious hyper-linked references and notes. Run by the University of Basel.
Modern English Translation of Hamlet — A full modern English version of the play.
ISE — Internet Shakespeare Editions: transcripts and facsimiles of Q1, Q2 and F1.
MaximumEdge.com Shakespeare: Hamlet - Scene-indexed and searchable version of the full play.
Open Source Shakespeare—Hamlet A complete text of Hamlet based on Q2.
Hamlet (Regained) — Full play text, with a parallel modern English translation. Also includes notes and analysis.
Analysis
Full summary of Hamlet
Hamlet on the Ramparts — The MIT's Shakespeare Electronic Archive.
Hamletworks.org A highly respected scholarly resource with multiple versions of Hamlet, numerous commentaries, concordances, facsimiles, and more.
"Nine Hamlets" — An analysis of the play and nine film versions, at the Bright Lights Film Journal.
"The Hamlet Weblog" — A weblog about the play.