Hamlet: Prince of Denmark

by William Shakespeare

A young prince meets with his father's ghost, who alleges that his own brother, now married to his widow, murdered him. The prince devises a scheme to test the truth of the ghost's accusation, feigning wild madness while plotting a brutal revenge until his apparent insanity begins to wreak havoc on innocent and guilty alike. Hamlet's combination of violence, introspection, dark humour and rich language is intoxicating. It remains the world's most widely studied and performed play, and is a cornerstone of world literature.

This Macmillan Collector's Library edition is illustrated throughout by renowned artist Sir John Gilbert (1817-1897), and includes an introduction by Dr Robert Mighall.

Designed to appeal to the booklover, the Macmillan Collector's Library is a series of beautiful gift editions of much loved classic titles. Macmillan Collector's Library are books to love and treasure.

Genres: Classics, Plays, Fiction, Shakespeare, Drama, School, Literature

232 pages, Kindle Edition

First published January 1, 1601

About the author

William Shakespeare was an English playwright, poet, and actor. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "the Bard"). His extant works, including collaborations, consist of some 39 plays, 154 sonnets, three long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare remains arguably the most influential writer in the English language, and his works continue to be studied and reinterpreted.
Shakespeare was born and raised in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Sometime between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner ("sharer") of a playing company called the Lord Chamberlain's Men, later known as the King's Men after the ascension of King James VI and I of Scotland to the English throne. At age 49 (around 1613), he appears to have retired to Stratford, where he died three years later. Few records of Shakespeare's private life survive; this has stimulated considerable speculation about such matters as his physical appearance, his sexuality, his religious beliefs, and even certain fringe theories as to whether the works attributed to him were written by others.
Shakespeare produced most of his known works between 1589 and 1613. His early plays were primarily comedies and histories and are regarded as some of the best works produced in these genres. He then wrote mainly tragedies until 1608, among them Hamlet, Romeo and Juliet, Othello, King Lear, and Macbeth, all considered to be among the finest works in the English language. In the last phase of his life, he wrote tragicomedies (also known as romances) and collaborated with other playwrights.
Many of Shakespeare's plays were published in editions of varying quality and accuracy during his lifetime. However, in 1623, John Heminge and Henry Condell, two fellow actors and friends of Shakespeare's, published a more definitive text known as the First Folio, a posthumous collected edition of Shakespeare's dramatic works that includes 36 of his plays. Its Preface was a prescient poem by Ben Jonson, a former rival of Shakespeare, that hailed Shakespeare with the now famous epithet: "not of an age, but for all time".

Reviews

[Bill Kerwin · Rating 5 out of 5]

I don't have any earth-shattering insights to share from this most recent of god-knows-how-many readings, but this time through I was struck by:

1) what a damn fine piece of stagecraft this is, from the suspenseful, moody opening on the castle battlements to the solemn dead march carrying the prince offstage, and

2) how Shakespeare seems to want Hamlet's personality--particularly the wellspring of his actions (and lack of action)--to remain an enigma, and that he achieves this by infusing the character with so much of himself--so much wit and poetry, so much despondency and savagery--that the result is that the audience simply bows before the great mystery of human personality, and that this reverence for the unknown lurking in the heart of an extraordinary man intensifies the sense of pity, horror and waste that fills us at the end of the play.

[daph pink ♡ · Rating 4 out of 5]

if you don't ship Hamratio did you even read the play???

[Nayra.Hassan · Rating 4 out of 5]

متردد في قراءة هاملت..ستندم اذن!ا
كلنا نكره الاختيارات..و نجاهد احيانا لنلقي بها على غيرنا
نختار هذا اللون..ام ذاك؛ننام ام نعمل ..نقرأ هاملت و لا نؤجلها؟
ننتقم ام نسامح ؟
و الاهم☀ نسلك هذا الطريق المضيء..ام ذاك الطريق المعتم؟
نكون او لا نكون؟

ا"غاية ما دافعت به عن اب و ملك عزيز نكب أشد النكبات..هو ان اهذي هذيان الحالم. .مع ان شاغل الانتقام ملأ نفسي
..جبان انا"؟؟
حسنا و من منا لم تطن في أذنه هذه الكلمات..لمرات و مرات و نحن نلوم أنفسنا على تخاذلنا
عن أخذ حقوقنا..او حقوق من نحب
للاسف سيظل هاملت هو انا و انت و كل من يمتلك بذرة الخير و العدل في نفسه
و بحلول سن الثلاثين سيختار كل منا
هل سيكون؟و هؤلاء محظوظون
او لا يكون ؟..
و ساعتها سيضع نفسه على وضع الطيار الآلى الشهير "عايش و مش عايش "..حتى يقضي الله في أمره..و حينها لن يلح عليه سؤال هاملت ...و لن يكون مطالبا باتخاذ اي قرار


ا"سيظل فني خالدا ..ما دامت هناك عيون ترى و اذان تسمع "صدقت شكسبير بالفعل..قد تخيفنا اللغة الثقيلة. ..قد تصدنا مبادىء قديمة..و لكنه سيجذبنا هو
شاب نبيل ؛قلبه كبير قست عليه الحياة فثار عليها. .تشكك في الفضيلة..يأس من الناس
لكنه ظل مطالبا بالثار ممن قتل والده..احقاقا للعدل الذي ظل يؤمن به..و الفضيلة التي يطمح إليها و لو رغما عنه👀

و لكنه التردد..التردد ..لعنة هاملت"ان التفكير الكثير في احتمالات الموقف..يؤدي إلى شلل في التصرف "و هكذا لخص لنا هاملت مأساته في سطر واحد
أليست ماساتنا جميعا ؟💬
و من فينا اليوم لا يشعر بحيرة هاملت و تشاؤمه؟
..قلقه و كابته
من؟ لذا من المؤكد انك ستجد نفسك تقراها او تشاهدها كاملة ذات يوم ..من الايام

Link for an english review
https://www.goodreads.com/review/show...

[jessica · Rating 5 out of 5]

shakespeare when pitching this play, probably: this is my OC hamlet. hes a prince. hes bisexual. hes moody, brooding, and is anywhere between the ages of 16 to 30 years old. and no, i am not taking constructive criticism.

well, let me tell you what. im sold! i love hamlet. i love his angsty monologues. i love his sassy remarks. i love that he cant seem to shut up. i love his relationship with horatio. i love everything about him avoiding osric and his hat. i love that hes OTT and i seriously cant get enough.

also, for those of you who have read this, watch this. its great.

↠ 4.5 stars

[Paul Bryant · Rating 5 out of 5]

The Skinhead Hamlet - Shakespeare's play translated into modern English. By Richard Curtis. Yes, that Richard Curtis!

Note : those offended by the F word - LOOK AWAY NOW! And Georgia, if you've stumbled on this review by your funny old dad - this is ANOTHER Paul Bryant. Not me!

*********

ACT I
SCENE I
The Battlements of Elsinore Castle.

[Enter HAMLET, followed by GHOST:]

GHOST: Oi! Mush!

HAMLET: Yer?

GHOST: I was fucked!

[Exit GHOST:]

HAMLET: O Fuck.

[Exit HAMLET:]

SCENE II
The Throneroom.

[Enter KING CLAUDIUS, GERTRUDE, HAMLET and COURT:]

CLAUDIUS: Oi! You, Hamlet, give over!

HAMLET: Fuck off, won't you?

[Exit CLAUDIUS, GERTRUDE, COURT:]

HAMLET: (Alone) They could have fucking waited.

[Enter HORATIO:]

HORATIO: Oi! Watcha cock!

HAMLET: Weeeeey!

[Exeunt:]

SCENE III
Ophelia's Bedroom.

[Enter OPHELIA and LAERTES:]

LAERTES: I'm fucking off now. Watch Hamlet doesn't slip you one while I'm gone.

OPHELIA: I'll be fucked if he does.

[Exeunt:]

SCENE IV
The Battlements.

[Enter HORATIO, HAMLET and GHOST.:]

GHOST: Oi! Mush, get on with it!

HAMLET: Who did it then?

GHOST: That wanker Claudius. He poured fucking poison in my fucking ear!

HAMLET: Fuck me!

[Exeunt.:]

ACT II
SCENE I
A corridor in the castle.

[Enter HAMLET reading. Enter POLONIUS.:]

POLONIUS: Oi! You!

HAMLET: Fuck off, grandad!

[Exit POLONIUS. Enter ROSENCRANZ and GUILDENSTERN.:]

ROS & GUILD: Oi! Oi! Mucca!

HAMLET: Fuck off, the pair of you!

[Exit ROS & GUILD.:]

HAMLET: (Alone) To fuck or be fucked.

[Enter OPHELIA.:]

OPHELIA: My Lord!

HAMLET: Fuck off to a nunnery!

[They exit in different directions.:]

ACT III
SCENE I
The Throne Room.

[Enter PLAYERS and all COURT.:]

FIRST PLAYER: Full thirty times hath Phoebus cart...

CLAUDIUS: I'll be fucked if I watch any more of this crap.

[Exeunt.:]

SCENE II
Gertrude's Bedchamber.

[Enter GERTRUDE and POLONIUS, who hides behind an arras.:]

[Enter HAMLET.:]

HAMLET: Oi! Slag!

GERTRUDE: Watch your fucking mouth, kid!

POLONIUS: (From behind the curtain) Too right.

HAMLET: Who the fuck was that?

[He stabs POLONIUS through the arras.:]

POLONIUS: Fuck!

[POLONIUS dies.:]

HAMLET: Fuck! I thought it was that other wanker.

[Exeunt.:]

ACT IV
SCENE I
A Court Room.

[Enter HAMLET, CLAUDIUS.:]

CLAUDIUS: Fuck off to England then!

HAMLET: Delighted, mush.

SCENE II
The Throne Room.

[Enter OPHELIA, GERTRUDE and CLAUDIUS.:]

OPHELIA: Here, cop a whack of this.

[She hands GERTRUDE some rosemary and exits.:]

CLAUDIUS: She's fucking round the twist, isn't she?

GERTRUDE: (Looking out the window.) There is a willow grows aslant the brook.

CLAUDIUS: Get on with it, slag.

GERTRUDE: Ophelia's gone and fucking drowned!

CLAUDIUS: Fuck! Laertes isn't half going to be browned off.

[Exeunt.:]

SCENE III
A Corridor.

[Enter LAERTES.:]

LAERTES: (Alone) I'm going to fucking do this lot.

[Enter CLAUDIUS.:]

CLAUDIUS: I didn't fucking do it, mate. It was that wanker Hamlet.

LAERTES: Well, fuck him.

[Exeunt.:]

ACT V
SCENE I
Hamlet's Bedchamber.

[Enter HAMLET and HORATIO.:]

HAMLET: I got this feeling I'm going to cop it, Horatio, and you know, I couldn't give a flying fuck.

[Exeunt.:]

SCENE II
Large Hall.

[Enter HAMLET, LAERTES, COURT, GERTRUDE, CLAUDIUS.:]

LAERTES: Oi, wanker: let's get on with it.

HAMLET: Delighted, fuckface.

[They fight and both are poisoned by the poisoned sword.:]

LAERTES: Fuck!

HAMLET: Fuck!

[The QUEEN drinks.:]

GERTRUDE: Fucking odd wine!

CLAUDIUS: You drunk the wrong fucking cup, you stupid cow!

[GERTRUDE dies.:]

HAMLET: (Pouring the poison down CLAUDIUS'S throat) Well, fuck you!

CLAUDIUS: I'm fair and squarely fucked.

[CLAUDIUS dies.:]

LAERTES: Oi, mush: no hard feelings, eh?

HAMLET: Yer.

[LAERTES dies.:]

HAMLET: Oi! Horatio!

HORATIO: Yer?

HAMLET: I'm fucked. The rest is fucking silence.

[HAMLET dies.:]

HORATIO: Fuck: that was no ordinary wanker, you know.

[Enter FORTINBRAS.:]

FORTINBRAS: What the fuck's going on here?

HORATIO: A fucking mess, that's for sure.

FORTINBRAS: No kidding. I see Hamlet's fucked.

HORATIO: Yer.

FORTINBRAS: Fucking shame: fucking good bloke.

HORATIO: Too fucking right.

FORTINBRAS: Fuck this for a lark then. Let's piss off.

[Exeunt with alarums.:]

[Vit Babenco · Rating 5 out of 5]

Something is rotten in the state of Denmark…
I watched six different adaptations of Hamlet…
This is a review of sorts… All the quirks are deliberate…

Attempting Not to Be

Why didn’t time choose to stop?
How can the sun keep rising up?
How dare the earth still turn around?
Now that Ophelia’s drowned.

Tomorrow and tomorrow and tomorrow:
A meandering road of sorrow,
The present drags, the future breaks,
I rush along without brakes.

I walk my path without a bless,
Into the void I confess.
Love is a promiscuous art,
Hate splits me apart.
Love’s no poem. Life’s no song.
Something always goes wrong.

The only mourner in this house of mirth,
My heart gets colder with every single breath,
And sleeping pills became my daily bread,
Now that Ophelia’s dead.

Tomorrow and tomorrow and tomorrow:
From time I can’t borrow,
The present hurts, the future rapes,
I will eat these sour grapes.

I walk a trail of gory mess,
Into the void I digress.
Revenge tastes bittersweet
And vengeance is no feat.
Now that the distress is sown 
Let me die on my own.

[Sabrina · Rating 4 out of 5]

Is it possible that I had only read the first 4 scenes and Hamlet already became one of my favorite male characters ever? YES!
Why?
He’s constantly wearing black and monologuing about how literally everything is hard and making everything more dramatic then it is, is so ME!?

And this is considered a tragedy (which in some ways it is) but I found it so funny (probably because I have a dark soul) and I will definitely reread this at any given moment of peace.

I absolutely loved this play, and I’m so happy that now I can say that I have read Shakespeare!

I’m a cultured woman now y’all. 🙌😂

[فؤاد · Rating 5 out of 5]

یه اعتراف می خوام بکنم:
من قبلاً از بین کارهای شکسپیر، هملت رو اصلاً دوست نداشتم. عاشق اتللو و مکبث بودم، ولی از هملت خوشم نمی اومد اصلاً و نمی دونستم چ��ا معروف ترین اثر شکسپیره.

همه ى اين ها، تا وقتى شنيدم "بنديكت كمبربچ" نقش هملت رو بازى كرده. قبلاً اجراى سينمايى "مل گيبسون" رو ديده بودم، و راستش چندان كمكى نكرد كه هملت رو بيشتر دوست داشته باشم. اما بنديكت كمبربچ ماجراى ديگه ايه. با سختى اين اجرا رو پيدا كردم، و: موسيقى بى نظير، طراحى لباس بى نظير، طراحى صحنه ى بى نظير، نور پردازى بى نظير... اما همه ى اين ها فقط زيورهايى عارضى بودن گرد جوهر اصلى: بازى بى نظير.

عادت شكسپير اينه كه تقريباً هيچ كدوم از حالات شخصيت ها و لحن ديالوگ ها رو نمى نويسه و همه رو واگذار كرده به كارگردان و بازيگر. كلماتش همه خشك و بى جان هستن، و يك كارگردان و بازيگر خوب نيازه تا روح درستى به اين كلمات بدمه. يكى مثل بنديكت كمبربچ كه با دم مسيحايى ش به تك تك كلمات، شخصيت متمايزى بده، روح مستقلى بده، و حالات چهره اى به نمايشنامه اضافه كنه كه مثل شارح يك كتاب قديمى، جمله به جمله شرح بده كه چطور بايد هر جمله رو فهميد.

اوايل فيلم خیلی از دیالوگ ها رو متوجه نمی شدم به خاطر نثر قديمى شكسپير، و زيرنويس هم موجود نبود. به خاطر همین رفتم ترجمه ی "م.ا به آذين" (كه اتفاقاً از مترجم هاييه كه دوست دارم نثرشون رو) از نمایشنامه رو دانلود کردم. نمايشنامه رو باز گذاشتم کنار فیلم و همزمان فیلم رو می ديدم و ترجمه رو می خوندم، و به اين ترتيب بنديكت كمبربچ دست به دست م.ا به آذين، باعث شدن هملت با دوازده پله از قعر جدولِ نمايشنامه هاى محبوب من، به جايگاه صدرنشينى صعود كنه.

آنك من: شيفته و دوستدار هملت!

[Pakinam Mahmoud · Rating 4 out of 5]

"ما معنى الرحمة إذا لم تملك الوقوف في وجه الحقيقة، فتردَّنَا عن الشر إن نوينا، وتُقِيلنَا منه إن عَثَرنا؟ "

هاملت ...أحد روائع الكلاسكيات العالمية..
كتبها ويليام شكسبير الغني عن التعريف أكيد الذي يعد أشهر مؤلف مسرحي عرفه التاريخ ومن أشهر أعماله تاجر البندقية ،روميو وجولييت ،عطيل ،مكبث و الملك لير...

تُعد هاملت أطول المسرحيات التي كتبها شكسبير، حيث وصلت وقت عرضها إلى خمسة ساعات في النسخة الأصلية كما إنها تعتبر من أكثر الأعمال الأدبية قوة وتأثيراً في العالم و كانت من أكثر أعماله شهرة خلال حياته..
المسرحية مكونة من ٤ فصول بجانب مقدمة طويلة في بداية الكتاب بس مقدمة مهمة و ساعدتني كتير في فهم الأحداث وقد قرأتها بترجمة خليل مطران و كانت ممتازة...

تدور أحداث المسرحية حول قصة انتقام الأمير هاملت من عمه كلوديوس الذي قتل أخاه ثم تزوج أرملته (والدة هاملت) و استولي علي العرش..
علي الرغم من صعوبة بعض المفردات إلا أن الحوارات كانت رائعة و مليئة بالأسئلة الوجودية و الفلسفية...
شكسبير ألقي الضوء علي جانب مهم من شخصية هاملت وهو التردد أو الحيرة وذلك عندما قال جملته الشهيرة..أكون أو لا أكون..

"أكون أو لا أكون؟ تلك هي المسألة، أيُّ الحالتين أمْثَلُ بالنفس؟ أتَحَمُّلُ الرجم بالمقاليع وتَلَّقي سهام الحظِ الأنكد، أم النهوضُ لمكافحةِ المصائب.."

كل واحد فينا مع إختلاف الظروف بيفكر زي هاملت كتير..يكون أو لا يكون..يتكلم و لا يسكت..ياخد موقف في حياته و لا يستسلم...

مسرحية رائعة و علي الرغم إني قرأتها قبل كدة و في الغالب درسناها كلنا في المدرسة إلا إني أعتقد إن كل مسرحيات شكسبير تستحق قراءة تانية و بتأني لإنها حقيقي ممتعة..

"من مصائب هذه الحياة أن تحتاج أحيانًا الفضيلةُ إلى التماس الغفران من الرذيلة.."

[s.penkevich [hiatus-will return-miss you all] · Rating 5 out of 5]

Something is rotten in the state of Denmark and, like Oscar the Grouch, I love it. And I love Hamlet. He can’t shut up, he’s a moody as hell bisexual and gets all philosophical while wanting everyone to think he’s losing his mind triggering a self-fulfilling prophecy of his mental health actually spiraling… okay so maybe I relate a bit too much. But this play rules and it has survived as a classic for a reason even if its characters don’t survive the play. Plus who doesn’t love a good revenge story? Especially one that has become a staple plot that has also led to great retellings like Rosencrantz and Guildenstern Are Dead or even The Lion King and has so many elements that would later be revitalized as gothic tropes in literature and film.

This whole play is steeped in the interrogative mood that situates us in constant contemplation of ‘what a piece of work is man’ through a cavalcade of philosophical inquiries that move from sophism to existentialism. Of course ‘to be or not to be,’—one of the most quoted and recognizable lines of the play—is often considered to probe existentialist ideas long before Kierkegaard and Sartre would take up their pens and opens the play up as an investigation of identity and purpose that is, arguably, very existentially thematic. Much of the play asks ‘what is a man’ but is also Hamlet asking “who am I?” of himself as he schemes and stumbles through the ‘rotten’ state of the world. He also seems to express ideas of relativism central to the Sophists in lines such as ‘there is nothing either good or bad but thinking makes it so,’ and this moral relativism coupled with a thirst for revenge adds a rather edgy and engaging texture to the narrative as it plunges forward into destruction and death.

It is also a coveted role on the stage and there is such an incredible list of people who have played Hamlet. Peter O'Toole, Laurence Olivier, Ralph Fiennes, Richard Burton, David Tennant, Kenneth Branagh, Christopher Plummer, Daniel Day-Lewis, Alan Cumming and many more. Even Ian McKellen played him in a recent age-blind cast production. Who wouldn't want to play Hamlet? But Ophelia as well, one of the more interesting characters who has certainly had a life of her own across literature.

Shakespeare’s Hamlet lives on, like many of his plays, for having a rather universal quality to them that appeals to the times no matter when in history it is revisited or performed. Themes of being trapped by circumstance, themes of betrayal, themes of the in-fighting of the ruling class dooming a nation under them, and themes of struggling with identity continue to trouble people in every era and Hamlet always offers an avenue for confronting these ideas. A fantastic play that stands out even in Shakespeare’s impressive canon of works.

[persephone ☾ · Rating 4 out of 5]

i am not sure of many things, but there's one thing i know with the utmost certainty and it's that hamlet and horatio explored each other's bodies. multiple times.

[BookHunter M ُH َM َD · Rating 4 out of 5]

بين العبقرية و الجنون شعرة. فهل ادعى هاملت الجنون ليثأر لمقتل أبيه أم أنه جن فعلا و تصرفاته بعد ذلك هي قمة الجنون؟
في مسرحية لم ينج منها أحد من السيف أو السم أو الغرق ... هل خسر الجميع و فاز الجمهور؟

تبدأ الحكاية بموت الملك و عودة ولده هاملت إلى الدنمارك لتولي العرش فيجد أن أمه قد تزوجت عمه الذي اعتلى العرش فيصاب بالإكتئاب الشديد حزنا على والده و أمه و عرشه. يتصور طيف أبيه الذي يصرح له بأنه مات بالسم صريع مؤامرة من زوجته و أخيه و يطالب ابنه بالثأر فتتصاعد الأحداث الدرامية ذات النكهة الفلسفية كعادة العبقري وليام شكسبير حتى النهاية في مشهد ميلودرامي مؤثر يموت فيه هاملت بعد أن انتقم لوالده و أراق بركة من الدم بها من الضحايا اللذين لا ذنب لهم أكثر مما بها من الخونة المستحقين للقتل.

هل تستحق الحياة الموت من أجلها؟ فماذا سيبقى بعد الموت؟ و هل الشرف في لذة العيش أم في الاستغناء عن الملذات في سبيل تحقيق الذات؟

عندما هتف هاملت بعبارته الشهيرة أكون أو لا أكون .. تلك هي المشكلة. هل سلك الدرب الوعر الذي أفضى إلى حل المشكلة أم أنها ازدادت تعقيدا؟ ما جدوى الحياة أصلا و هي مليئة بالشر و المطامع و لن ينج منها أحد مهما اقترف من خير أو شر؟

مسرحية تم تقليبها على كل الوجوه منذ عدة مئات من السنين و ما زالت طازجة حتى الأن حتى أن دم هاملت ما زال ينزف و صوته يتردد بالأسئلة التي ليس لها أجوبة.

[Fergus, Weaver of Autistic Webs · Rating 4 out of 5]

IN PRAISE OF FOLLY!

"Thus are all things represented in counterfeit, yet without this is no living!"
Desiderius Erasmus, In Praise of Folly.

Hamlet goes nuts because he wants to somehow truly Live in a counterfeit world. He tells Horatio at the outset he's going to put on an antic disposition...

Fact is, though, seeing a Ghost has Driven him Antic! He's now crazy as a coot.

When the counterfeit world forces is into a corner at our Coming of Age - and we're labelled from that point on - the world WINS. We don't like it, but there it is.

The freedom of childhood now gone, we either pay obeisance to the True and Counterfeit State of Things or - like Hamlet - act weird over in a corner, as Dostoevsky's Underground Man does.

What's WRONG with Hamlet, folks? Better yet, what's RIGHT with him? All's well, he says, with him. Logically he just HAS to be nuts in a loony tunes world.

He knows cause the World knows. And he drops out of polite society, which sugarcoats its hidden knowing. So, out of spite, the World gives a label to such noncompliant ones.

And Hamlet? Freud says he has an unresolved Oedipal complex. And T.S. Eliot says his emotions have no "Objective Correlative," which means, I guess that he cannot link any FACTS together to express his anxiety.

But, dear Sigmund and dearer Tom, our world is skewed - and you know it. It doesn't FORGIVE. Because the State of Denmark is in charge. And that state is rotten.

So, bottom line, as the great philosophe Jacques Derrida says, our consciousness - Hamlet's, and Ours - is APORETIC. The world is unjust. It favours the Phony.

Not the Authentic. And Hamlet is Authentic.

Which means he's a tangled knot!

Therefore the Bard never successfully resolved the incredible Tensions of his play - hence, only four stars. You see, he never sugercoats it. But, man oh man, did we 18-year-olds dig our teeth into its words and its plot back in 1968!

We loved it. THIS, guys, was COMING OF AGE. No wonder I was a dud.

My friend Brian bought a powerful motorbike, Robert Pirsig's chosen weapon of Resistance. Camus wrote Resistance, Rebellion and Death. If the Establishment had a bone to pick with us real items our lock was Pick Proof.

For me too. I buried myself in existentialism. And that's the main reason MY consciousness has Remained aporetic all these years. I had no choice. If I couldn't win, I had to resist. And Bad luck has hounded my every act ever since.

I've been perched on my aporia for 50 years.

I loved this play because it showed me how to find a peaceful hiatus from its storm, now and then:

No! I am not Prince Hamlet (I said)
Nor was meant to be!
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, and a bit obtuse;
At times, indeed, Almost ridiculous -
Almost, at times, the Fool.

I'm other words I SAW THROUGH myself, all the way to the Emptiness.of all play acting.

Those words of T.S. Eliot heralded the beginning of long-delayed precarious peace for me.

The key, to me, was in the Gospel: "resist not evil." On a personal and not, however, international level - which remains in God's hands. That we can only pray about.

Resist not evil, because violence breeds further violence. KNOW that there's a solution for our pain. That solution is an outsider's authenticity.

Its way of Fractured Peace is best...

Even if its aporia has to be a personal MARTYRDOM:

For such is, in the end, our Unbalanced Purgatory and its final product, Everlasting Peace.

[Elle (ellexamines on TT & Substack) · Rating 5 out of 5]

Here's the thing about Hamlet: if you see it and you hate it, you saw a terrible Hamlet. I don't care if it's given critical acclaim - fuck off, Kenneth Branagh - Hamlet is supposed to be compelling, and if you didn't find the character compelling, that actor didn't do their job. You need a Hamlet who knows the character, not a Hamlet who wants to do grace to the character or some shit.

Here's the thing: I used to hate this play. Not lowkey hate, I fucking despised it. I thought it was boring and overrated and most of all, I thought Hamlet was a dick and a boring character. And then everything changed when the fire nation attacked when I saw Santa Cruz Shakespeare's 2016 production of Hamlet, starring actress Kate Eastwood Norris as Hamlet.


(CHECK OUT HER AND OPHELIA ON THE RIGHT!! THE BLACK COAT AND PURPLE DRESS!! IF ANY OF Y'ALL HAVE A DUBIOUSLY LEGAL RECORDING OF THIS SHIT PLEASE LINK ME)

I loved it. Not only did I love it; I loved it so much that my entire interpretation of the character changed. I keep using she/her pronouns to describe Hamlet because that actress has literally replaced the character in my head. And that is what Hamlet should be about. That is how you should feel after you watch a truly great production. You should feel like you've been inwardly changed as a person. You should also probably have cried at least once.


// HI GUYS. HERE ARE MY CHARACTER PERFORMANCE OPINIONS. HAVE FUN

➽ In general, every character's pain should matter. Every character needs to matter, every character needs to make you feel.

➽ Hamlet shouldn't be an asshole. Hamlet is a very complex character, and yeah, he does a lot of screwing around with people. But his interactions with Horatio, all his interactions excluding Claudius in 1.2, his love letter to Ophelia, and other's descriptions of his newfound madness as being out of character paint a very different picture. It is not compelling to watch an asshole be an asshole for four hours. You know what's far more compelling? A kind young man struggling with grief and anger, informed suddenly that he must become cruel and unkind.

Let's put emphasis on the “young” part. If you accept the first folio as real, the only line referring to his age establishes him as 20 at most. It is the second folio where the same line is changed to referring to a 23-year period since Yoric's death, rather than a 12-year period. As a result, the idea that he's thirty probably comes from dialogue changes as the Hamlet actor aged. I know no one read this, but Hamlet should be a teenager.

➽ A lot of people think of Ophelia's character as this very innocent virgin and I'm going to utterly disagree. Ophelia's character is about agency. Her character is doubted by all the other characters, yet keeps to her guns and continuously sticks up for herself. So many adaptations of this show will take away her agency and give it to the other characters, making her final mad scene seem silly and out of place. Do not let the narrative take her agency away. Emphasize her inner turmoil! Build up her ending madness!

On a related note: if scene 3.1 between Hamlet and Ophelia didn't make you cry, I'm vetoing it. You are supposed to care about these two characters, both separately and together. You are supposed to feel both of their pains. You are not, not, not supposed to only care for Hamlet because of his blinding angst over his girlfriend. Give this moment to Ophelia. Give her the agency she deserves.

➽ Give the villains characterization too. It is so, so important to get Gertrude right. One of the best scenes in this entire show, to me, is the closet scene between Gertrude and Hamlet. But you have to make Gertrude's character interesting. Her pain has to matter as much as anyone else's.

In general, y'all suck at portraying Claudius. He's obviously a bit of a smart villain in contrast to his heroic older brother, but that's not the extent of his characterization. Claudius is, in actuality, somewhat of a clever political player. You shouldn't love him, but if you hate him, this will not be as interesting a play.

VERDICT: I fucking love this show. Please watch it before you read it because it's not as good unless you've seen a really good production. Save yourself and skip Branagh - Tennant's a little better, actually.

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[Fernando · Rating 5 out of 5]

"Un sueño no es en sí más que una sombra."

“Hamlet” forma parte de esa tríada perversa escrita por Shakespeare junto a “Macbeth” (mi preferida de todas) y “El Rey Lear”.
Ninguna de sus otras obras alcanzan este nivel de perversidad y traiciones (tal vez, “Otelo”, aunque no la leí).
Hamlet tiene las mismas dudas y contradicciones que Macbeth con la diferencia de que utilizando su supuesta locura pelea contra todas las adversidades incluyendo la presión que el fantasma de su padre le impone cuando ya en el primer acto le advierte que fue asesinado por su propio hermano quien a su vez desposa a su viuda, la reina Gertrudis para ocupar el trono.
El planteo de la trama nos acerca potencialmente a otra tragedia impecable, la mejor de todas según Aristóteles, llamada “Edipo Rey” de Sófocles. Aquí como en la tragedia griega los lazos parentales afectan negativamente al personaje principal quien debe resolver “todos los problemas del mundo” como confiesa Hamlet por allí por sí mismo para llegar a la verdad.
La maldad inherente de Claudio ejercida sobre su tiránica manera de gobernar mancha, complica y condiciona a Hamlet, quien debe luchar desde lo más bajo para conseguir la descubrir la verdad y en medio de toda esta mezcla de odios y traiciones van apareciendo personajes que tironean al rey y al príncipe para bien o para mal, tal es el caso de Polonio, Laertes y Horacio.
El papel de Ofelia no es menor, no va en zaga de lo que sucede y será el detonante del final que como en toda obra de Shakespeare incluye una serie de enfrentamientos, regueros de sangre y muerte por todas partes.
El lenguaje, los coloquios, los monólogos y las disertaciones de los personajes elevan lo poético y lo bello de esta obra de Shakespeare (que si no me equivoco es una de las más extensas) a niveles de una brillantez y perfección sin precedentes y que sentaron las bases para todo lo que vino después.
William Shakespeare logró generar en Inglaterra y en la literatura un punto de inflexión y un camino a seguir y dejar su literatura en lo más alto y a punto tal de que hoy sigue siendo insoslayable su importancia.
“Hay cosas en el cielo y en la tierra, Horacio, que exceden lo que ha soñado tu filosofía” dice Hamlet en una escena.
Esa frase está dedicada a nosotros los lectores, quienes de una u otra manera estamos muchas veces destinados a aprender de la sabiduría de grandes como Shakespeare que la literatura es la más completa de las artes.
Siempre deberíamos recordar esto.

[J.G. Keely · Rating 5 out of 5]

Shakespeare is an adept poet and master of the language. He layers on jokes, puns, and references everywhere. He has a massive output of work, and a number of different plots. When we compare him to other authors, it is difficult to find anyone who stacks up--but then, we're often comparing him to the wrong people.

Shakespeare didn't write books or pamphlets or epics, he wrote plays: short pieces of drama that were meant to be fast-paced and exciting. That they are mainly experienced today as bound books and not theatrical productions does not change their origins. If one wants to look at the achievements of Shakespeare, he should be compared to someone of a similar bent.

He should be compared with prolific writers known for catchy jokes and phrases. Writers who reuse old plots, making fun of their traditions. Writers of work meant to be performed. Writers who aim for the lowest common denominator, while still including the occasional high-minded political commentary. He should be compared to the writers of South Park; or the Simpsons; or MAD Magazine.

Shakespeare was meant to be lowbrow and political, but now it only reads that way to those who are well-educated enough to understand his language, reference, and the political scene of the time. If you do know the period lingo, then his plays are just as filthy as any episode of South Park.

For example, the word 'wit' refers to a fellow's manhood (this one comes up a lot), here's an example from Much Ado About Nothing:

Don Pedro: I said that thou hadst a great wit. Yay, said she, a great gross one. Nay, say I, a fine wit. Yay, said she, a fine little one. Nay, said I, a good wit. Just, said she, it hurts nobody.

Plus there's the title of that play, which references the fact that 'nothing' was slang for a woman's maidenhead, which occurs also in Hamlet:

Hamlet: That's a fair thought to lie between a maid's legs.
Ophelia: What is, my lord?
Hamlet: Nothing.

He was also not one to pass up a good cunt joke.

Shakespeare often refers to mythology because that was the standard pool of reference for authors at the time. Family Guy references 1980's pop culture. Is that any less esoteric? How esoteric will Mr. T be after 400 years (assuming he doesn't find his way into the latest testament of the bible anytime soon)?

Additionally, all of Shakespeare's magnificent plots were lifted, sometimes whole cloth, from other books and histories, just like how sit coms reuse 'episode types' or borrow plots from popular movies. Shakespeare was not quite as visionary or deep as he is often given credit for. Rather, he was always so indistinct with the motives and thoughts of his characters that two critics could assign two completely different and conflicting motives, but find both equally well-supported.

Is Shylock evil because he's a Jew, evil despite the fact, or evil because of the effects of racism on him? You can make a case for all three. Marlowe (the more practised and precise writer) never left interpretation to chance, and where has it gotten him?

Shakespeare was an inspired and prolific author, and his effect on writing and talent for aphorism cannot be overstated. I think he probably wrote the King James version because it is so pretty. However, he is not the be-all and end-all of writing.

His popularity and central position in the canon comes mainly from the fact that you can write anything you like about his plays. Critics and professors don't have to scramble, or even leave their comfort zone. Shakespeare's work is opaque enough that it rejects no particular interpretation. No matter your opinions, you can find them reflected in Shakespeare; or at least, not outright refuted.

His is a grey world, and his lack of agenda leaves us pondering what he could possibly have been like as a person. His indirect approach makes his writing the perfect representation of an unsure, unjust world. No one is really right or wrong, and even if they were, there would be no way to prove it.

I don't know whether this makes him the most or least poignant of writers. Is the author's absence from the stories the most rarefied example of the craft, or is it just lighthearted pandering? Either way, he's still a clever, amusing, insightful, and helplessly dirty fellow.

[Kenny · Rating 5 out of 5]

“One may smile, and smile, and be a villain.”
Hamlet ~~ William Shakespeare


Richard Burton

I recently discovered that my non-existent Hamlet review has 51 likes. With that many likes, I figured I better buckle down and write a proper review for this amazing piece of theatre.

It's no wonder William Shakespeare’s Hamlet is so famous and beloved. Hamlet provides all the ingredients of a thrilling plot, while offering some of literature’s most breathtaking poetry and philosophical reflection. In Shakespeare’s paranoid Denmark, young love is throttled by fear, and friends are driven to become enemies, while a melancholic, young prince rages against a scheming uncle who married his mother after having killed his brother, King Hamlet.


John Gielgud

The story of Prince Hamlet, robbed of his father and of his rightful seat on the throne of Denmark, Hamlet has, over the years, became one of theatre’s most thrilling dramas. The love and betrayal coincide in this story to make one of the most shocking endings of Shakespeare’s work ever.

Madness, revenge, mortality, lust, and religion are words that can describe Hamlet. Not the play Hamlet, but Prince Hamlet, the boy. The only word that is needed to describe Hamlet, the play, is tragedy.

Hamlet is not a difficult read, being that we are so familiar with the text; if you look past the words on the paper and see the meaning of Hamlet you may find that the young prince Hamlet isn’t so different from you and me.

The story of a prince robbed of his father and of his rightful crown as king of Denmark, Hamlet has, over the years, became one of the most exciting tragedies ever written. Love and betrayal coincide in this story to make one of the most shocking endings of Shakespeare’s work ever.


John Barrymore

Prince Hamlet’s father, King Hamlet of Denmark, is dead. The king’s brother, Claudius, has attained the throne and married widowed Queen Gertrude — all done with such tasteless haste that the funeral bak’d meats did coldly furnish forth the wedding tables. On top of all the sneaky corruption, Denmark is under threat of invasion from Norway. But as everything seems to be falling out of place for the young prince of Denmark, he seems to have struck gold of the sorts.

The dead king rests uncomfortably and one night appears to Prince Hamlet on the castle walls. As young Hamlet receives the message, to set out revenge of the death of his father, the castle stirs after Hamlet’s remarks to seeing the spirit.

In order to complete the quest Prince Hamlet undertakes for his father, he must make himself seem mad, but is he truly mad? This is the one questions that actors, directors and critics have debated for centuries. The only person who truly answer that question died in 1616. Shakespeare has left this question open; Hamlet may well be mad, he may be playing on the fact that others read his actions that way to be able to better ready his revenge.

There is also a great deal of ambiguity about his mother’s views. She seems to allow that she is very naïve and doesn’t really know what’s going on, yet one gets the strong textual clues that she knows quite well what her new husband has done, and she’s trying very hard to not know.

In the end the entire mess comes crashing down in tragic deaths of nearly everyone.


Sarah Bernhardt

Hamlet , in addition to being gripping from the first line to the last line, is also just filled with famous lines and speeches, slices of Shakespeare’s writing that are so worthy of the fame they have achieved from the most famous “To be of not to be” speech to one-liners of great significance.

For centuries, Hamlet has been the theatre's cornerstone of the diversion of madness and revenge, and when these two are mixed, they create something much bigger than all of us. But what is Hamlet’s true nature? Does Hamlet know his own nature? As a director, I see a hero caught up in a villainous situation ~~ a young man of full of anger, filled mourning, who has no idea how to proceed in his corrupt world. Therefore, this is why we can all relate to Hamlet, as we are all stuck in a corrupt world with no idea how to proceed.


Benedict Cumberbatch

[Carlos · Rating 3 out of 5]

The first time I read this book I was in highschool. It was an 80-page book. The story was so short and simple, so I wondered "Why so many people say this is such a complex play/book?". A couple of years later, I bought a special edition of 592 pages: Too much? No! Why not? Because the play was written in Shakespearean English, and every single word that was not in standard English was explained at the bottom of the page, it explained the context, the uses you can have from that word.
Ok, so I read that version and it was a pain in the ass. Not because it was a bad story at all, but now I truly understand people who say that Shakespeare was such a special writer, and I agree!
Well, about the story... Fascinating! I loved how Shakespeare made of Hamlet such a special character. It was very difficult for Hamlet to take action, it was like "almost, almost!"
I feel Shakespeare wanted to express himself on Hamlet. His multiple personalities during the play reminded me of Shakespeare's life a bit.
On the other hand, I really LOVED how this play ends... What a bloody and violent ending, Terrific!
Recommended? Absolutely, but a simple version, because the original might be too difficult and slow to read.

[Luís · Rating 3 out of 5]

Oh, how much ink has spilled on this excellent Shakespeare work and how many tears will have been shed for it, I dare not imagine.
Also, I will not pretend to do a review that you would probably not have read dozens of times, or even bring new elements you would not already know, but only see this piece. Admittedly, this is a tragedy (therefore, as the name suggests, nothing very encouraging), but what poetry in these verses, what beauty in this bittersweet madness the Prince of Denmark believes he has reached, the young Hamlet.
Is he mad? I don't think so. He saw a specter, that of his father murdered by his uncle, but who never felt the presence by his side of a loved one who had recently disappeared, and what is more, in more than questionable conditions. I cannot say that I have never experienced this feeling or at least wanted to believe it. The specter, therefore, reveals to his son how his brother did it to assassinate him and demand revenge!
So Hamlet's mind is tortured, it is true, but who wouldn't be after such a revelation? So what does he have to do? Take the sword and spill the blood again? For his part, the King, Claudius, sensing the danger, does everything to remove Hamlet from the kingdom of Denmark to preserve his place on the throne.
Hamlet, therefore, finds himself alone in the face of his fate because, although the presence of this specter at the castle has been revealed to him by three guards and by his friend Horatio, on whom else can he count? Who will believe it? He will take for granted, which will well arrange the affairs of his uncle or others who would be just as greedy for power as he and who have dedicated their cause to Claudius. Because, as everyone knows, the Prime Minister (to name nothing but him) must be faithful to the one he serves and devote his most remarkable devotion to him.
I will not say more about the plot because I think once again that I will only repeat what has already been said many times, but I insist on the point that this work, although 'this is a drama in which a lot of blood will flow,' is a thing of beauty. It is to read and reread without fail!

[Justin · Rating 5 out of 5]

Updated review February 2017:
This is my third time reading Hamlet and, like a fine wine... you know the rest. I read the same copy I've had lying around for years with one page of notes on the left and the play on the right. This time I was able to read most of the play without notes which was pretty awesome. Just had to glance over to figure out what some of the words meant, but I actually got the story this time. It's taken me three tries with a book that helps me cheat, but boy oh boy I finally got this down.

It's beautiful! I loved it! It really hits a variety of genres and kept me turning the pages. It was weird... I read it pretty slowly to breathe in the language and take my time with it, even reading it out loud at times until my wife made me shut up. I tried to get her to play the female parts, but she wasn't feeling it. I guess she really just had the Queen of Ophelia so her options were limited. But yeah, I read it slowly but it also seemed to fly by at the same time.

Hamlet is a very complex guy who goes through a range of emotions as the story unfolds. His monologues are just really great poetry that I wish I could memorize and just belt out randomly on a street corner or while I'm in the grocery store contemplating another unhealthy snack. To be or not to be... I loved the monologues. I loved when things just went nuts at times. The ending was just crazy and awesome. It's just a daggum fantastic story, and you should give it a shot if you haven't already. Find a copy that helps you and breaks down the language and all that. It's good.

I've got Macbeth on the shelf, too. Might be time to revisit it and then tackle more Shakespeare. I've gotta be in the right mindset though. Can't just be reading all this nonsense all the time. I have real books waiting to be read, too. Books with real words and stuff.



Previous review:
I once asked a friend of mine if he liked Shakespeare to which he responded, "I don't dislike Shakespeare". That's exactly how I feel about him, too.

In high school I was forced to read Romeo and Juliet and Julius Caesar. My thoughts on Shakespeare haven't really changed much in the past 15 years. His stories are great, but they were written so long ago that it's not always fun to read. I appreciate the hell out of the guy, but he will never be my first choice (or second or third) when I'm looking for something new to read.

That being said, this was my favorite play to read through. Maybe I'm older now and find it easier and more enjoyable to read this stuff for pleasure rather than because I may have a pop quiz over the third act. I thought the story was fantastic and was surprised by how many lines I recognized from just being a human and dabbling in a little bit of culture every now and then.

Would I have ever read this if it wasn't being read in a group to prepare for Infinite Jest? Nope. But, I did and I'm glad I took the time to do it.

[Mark André · Rating 5 out of 5]

To be, or not to be: that is the question:
Whether ‘tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them?

... and by a sleep to say we end
The heart-ache and the thousand natural
shocks
That flesh is heir to ...

To sleep: perchance to dream: ay, there’s the
rub ... what dreams may come ...
Must give us pause:

To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover’d country from whose bourn
No traveler returns, puzzles the will
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o’er with the pale cast of thought
And enterprises of great pitch and moment
With this regard their currents turn awry,
And lose the name of action.

Act III, Scene I

[Maureen · Rating 4 out of 5]

According to reports, Gillian Flynn is set to release a retelling of Hamlet as part of the Hogarth Shakespeare project in 2021, so this felt like the right time to reread this delightful Shakespeare play. Enjoyed all over again!

[li.reading · Rating 5 out of 5]

oh yeah, I read Hamlet again… on LIVE, out loud, in its entirety…because of course I did

[Lisa · Rating 5 out of 5]

I bought a skull as my only prop for Halloween dress-up, and I hope someone will recognise that I will be Hamlet. As spontaneous actions always need to be followed by bookish contemplation for full satisfaction, I am preparing for the event by rereading the whole play.

Somewhere in the middle I started laughing at Hamlet's advice to Ophelia: "To the nunnery!" For who wants to end up a breeder of sinners? I rejoiced at the fact that fake news are as old as the rotten state of states in general, and Rosencrantz and Guildenstern made my day, several times. I loved the play inside the play, and what it tells us of Shakespeare's idea regarding the power of literature to move and affect people on the deepest level.

I quite coldly skim the overquoted "to be or not to be", and stop cold at "Faith! Her privates we."

Her privates we? Meaning the middle parts of fortune? I have Manning's book at home, and I have been meaning to read it forever, and I didn't have a clue that the title was a quote from Hamlet, and that it referred to female genitals.

I am not even at the point yet in the play where my skull makes an appearance, alas Yorick!, but I have already started a new book based on my rereading of Hamlet.

That is what happens to readers, - stories affect them, they react, and that reaction generates new action, followed by new stories, in eternity - a precious circle. That's Hamlet. Hamlet is human in a rotten state. Who knows whether he is insane or not? I guess it depends on who you ask.

I am still feeling kind towards him. Ophelia's fate is still in the future, as is the cathartic show effect of taking up the bodies to the stage.

When going to bed later, after finishing the last acts, Maestro Shakespeare may be out of my favour again.

But that is another story...

[Jason · Rating 5 out of 5]

“Madness in great ones must not unwatch’d go.”

I don’t know what to say about Hamlet. I could go on about how it is a story of madness and revenge. I could talk about the bonds of family loyalty, the sacrifices of love, the breaches of trust and their deleterious effects on the psyche. But this is old news—Hamlet has been around for over four hundred years. What could I possibly say that hasn’t already been said?

When my wife saw I was reading Shakespeare, her snippy comment went something like, “What are you reading that for? Don’t you you have enough drama in your life?” Which, thanks Cristina, and yes I suppose I do, but what of it? Drama can be so much freaking fun. There is a reason it sells, a reason there are countless dramatic television shows on the air, countless box office films released each year rehashing the same old dramatic plotlines (some to great effect; others, not so much). And there is a reason people are still reading Shakespeare centuries upon centuries after his death: they are fun, they are witty, they are ever so dramatic.

Hamlet is no exception. With plot elements involving fratricide, lethal potions, mistaken identity, forgery of correspondence, espionage and treachery, along with a solid dose of hanging out with the ghosts of dead relatives, one could imagine I’m reviewing an episode of General Hospital. But what is Hamlet if not a soap opera for the Elizabethans? It is an epically tragic train wreck crammed into five tiny acts.

What makes this piece of drama so timeless, though, is that its action is served in such perfect complement by its depiction of character. We all know what Prince Hamlet is going to do before he does it. Hamlet himself, even while doubting his abilities and struggling with his resolve, knows how it’s going to all play out. Why else would he be so cruel to Ophelia? And yet it is this internal turmoil that fuels our interest in the action. It might seem like an ordinary train wreck at its surface, but upon deeper inspection it is a train wreck in whose conductors and engineers we have a vested interest.

So, witty discourse meets fast-paced drama meets penetrating character introspection? It almost makes me wonder what would have become of Luke and Laura had William Shakespeare been in charge of the script.

[Sean Barrs · Rating 1 out of 5]

Well, I’m an English literature student and I absolutely love Shakespeare’s plays. This is nothing unusual or exciting. Most English student’s live for Shakespeare. So far I’ve enjoyed reading, and studying, everything of his that’s popped up on the reading list until this came along. My reaction surprised me most of all, I never expected to find something of Shakespeare’s that I not only dislike, but also detest. This is also one of his most revered plays, and it’s also considered one of his greatest tragedies. So I’m somewhat dumfounded at my reaction. This play was frustrating, annoying and damn right revolting.

Now, I know what you’re thinking: ‘who has the right to actually criticise this masterpiece?’ Well no one does. Objectively speaking it is, of course, a work of sheer brilliance. But, that doesn’t mean I have to like it or enjoy reading it. Today I sat through three hours of my lecturer praising this and calling it one of Shakespeare’s most important plays because it marked an important change within his career as dramatist and development as a writer. That’s all well and good, I can see that; and I appreciate that. However, Hamlet is one of the most idiotic and self-obsessed characters in creation. His inaction defines him as a tragic character, but to my mind that’s just silly. He caused his own death and the death of everyone in the play; yes, again, this makes his inaction tragic but it was also completely self-defeating; it boarded upon the absurd. The man needed a slap and a reality check, I just find him so unbearably frustrating.

I’m not arguing against the play’s literary merit, so please don’t get defensive with me in the comments section. It is an iconic piece of literature; it can’t be denied. However, I am going to lay down three points of reasoning as to why I disliked it so.

1. A crap idea for revenge



Hamlet’s revenge makes no sense; it is completely illogical. His uncle has killed his farther; he has personally murdered his own brother by pouring poison into his ear. This man, Claudius, has no empathy; he has no conscience. If a man can so callously kill his own brother, then, surely, logically speaking, trying to appeal to his sense of regret is almost pointless. He’s murdered his brother and has taken his place. He’s filled that role; he doesn’t care who he’s killed in the process. But, yet, somehow, this cold hearted man is deeply affected by his deed that is manifested in Hamlet's mock play. The idea for revenge shouldn’t have worked, but it did. Claudius admits his guild, in prayer, and sets Hamlet into a more crazed state. How is this revenge?

2. Hamlet is a fool




Hamlet needed to step and truly consider his situation; yes, he does this in five soliloquies, but he never considered one angle; he never considers that his inaction could lead to a worse result that acting directly. He stages a play for the King to get revenge after much indecisiveness. The most direct action of revenge would have been to simply run the King through with a sword in the throne room or to poison him in kind. This would have made him a murderer, so it was off the table. He could have clenched his fists, and grinded his teeth, and just got on with the situation. But, to do so would be to ignore his father’s spirits’ request for revenge. So he could not really go down either route, but to do neither is worse than simply ignoring one. It leads to the bloodbath that is the final scene, which forced his hand. On a character level, I think of Hamlet as a coward who, ultimately, causes his own fate. This isn’t why I dislike him; he makes the play a tragedy, but it’s the illogical nature of his actions that condemns him in my estimation. He has two roads before him, and instead of taking either he forces a third road that is more detrimental than either.

3. He is too self-obsessed



Hamlet barely considers anyone else. To his mind, his uncle marrying his mother is incest. In renaissance England this was as bad as full blown incest. Claudius and Gertrude were only in-laws: siblings by marriage. So by today’s standards it’s not that immoral. Regardless, though Hamlet doesn’t consider how his mother feels about this. He is repulsed by the notion, but she could be in love or she could be in the more likely eventuality of a forced marriage. Hamlet doesn’t consider her feelings; he is just repulsed by the idea of their marriage rather than the emotions and bond that may or may not be involved. This doesn’t make him a bad person, but, when considered with my other two points, I think it make him somewhat idiotic, selfish and frustrating.

I simply dislike this play because I’m practically repulsed by its “tragic hero.” I recognise that this is an unpopular opinion, and I cannot help but think that I should have liked the play. But, Hamlet just infuriates me far too much for me to overlook my dissatisfaction with him and admire the play's formal features. I just cannot personally like it.

[Trevor · Rating 5 out of 5]

I’ve always meant to talk to my mate George about Hamlet and I guess this is as good an opportunity to do so as any.

There are different things I would say to different people about Hamlet – and as this is the near perfect play I guess there ought to be many and various things one could say about it.

The oddest thing about Hamlet is that people always tend to say the same thing – they always say, “Oh yes, Hamlet, the man who hesitates”. I’ve said it before and I’ll say it again, I don’t believe in capital punishment, but I do think that corporal punishment is much maligned and if one does not deserve a slap for saying Hamlet hesitates, it is hard to see what one should be slapped for at all.

Aristotle was a top bloke, one of my favourites. In his poetics he says what he thinks makes a good tragedy. The first thing is that you needed a fall from grace. It is hardly a tragedy if the tragic figure is already at the bottom of the heap. There has got to be a fall or there really is no tragedy. So, tragedies are about kings and such – not (excuse my French, but I’ve just finished reading Simenon) ‘shit kickers’. Miller’s Death of a Salesman is famous as a modern tragedy, not least as it breaks this Aristotelian requirement for the tragic figure to be from the upper classes.

Aristotle then thought that if the play was going to work as a tragedy the person about to undergo a tragic fall should have some flaw that was pretty ‘human’ and therefore something that would make sense to the audience. The feeling the writer of a tragic play wants to convey to his audience is pretty much, ‘there but for the grace of god go I’. The flaw needs to be fairly easy to identify – pride, for example, or lust – something easy to spot and it needs to be the reason for the downfall.

Well, Hamlet is the Prince of Denmark, so he has a long way to fall. But just what is his tragic flaw? And this is where so many rush in and say, “He hesitates.” But I beg to differ.

I think Hamlet is an enlightenment figure in an age only just (and even then, not quite) casting off the last remnants of the dark ages – and Shakespeare is an enlightenment figure doing much the same. It is important to remember that Shakespeare is writing at a time when King James is king. James was a very interesting King – not simply because he was homosexual and spent a lot of time chasing young men around the castle. But for me the most illuminating story of him – and he is mostly remembered for the Bible that bears his name – is to do with his new bride’s little trip over from Norway. On her way to England a storm blow up and made her crossing incredibly dangerous and frightening. James was not impressed. He decided that the storm was caused by the ill-will of local witches (as one does) – so a goodly number of old women were gathered together and killed for daring to cause such an irritation for his new bride. Like I said, the Enlightenment hasn’t quite taken hold, but we are getting there.

In my view the people who say that Hamlet hesitates are dark age types. What happens in the story? Hamlet is called by his best friend to see his father’s ghost wandering around at night – his father’s ghost tells him that he has been killed by Hamlet’s uncle and that Hamlet should kill his uncle in revenge. In the dark ages this would have been enough.

However, Hamlet decides to test what the ghost has told him by putting on a play in which the circumstances of the murder are acted out in front of his uncle to see if he gives himself away – he does and Hamlet almost immediately tries to kill him (deciding against it on religious grounds the first opportunity that arises – interestingly) and then mistakenly kills the Prime Minister about five minutes later.

So, does he hesitate? Well, yes. But only in the sense that trying to confirm the advice presented by a ghost before killing your uncle is a bad idea. The fact that pausing is anything but reasonable after the enlightenment should give us pause to think (which is about all that Hamlet does – hardly a ‘tragic flaw’).

I love this play – I think it is one of the greatest things ever written in our language. I love the way Shakespeare plays with Hamlet’s madness and compares and contrasts with Ophelia’s true (and horrific) madness. Imagine your lover killing your father – what a complete nightmare. I’ve never understood why there is no such thing as an Ophelia complex. Not least as it would seem to me that many women must feel that being with their husband / lover must feel like killing off their family.

There is so much in this play to talk about – it is truly endless. That people go on and on about it being about hesitation really is saying just about the dullest thing about it. Hamlet is playing with forces greater than himself – he is trying to understand those forces, as he is a thoughtful, rational person, but sometimes we are too close to what is going on in our lives to really get to see – even if we are incredibly clever. Sometimes only those outside can see and understand. There are some interesting Oedipal themes going on here too.

The only thing that bothers me about this play is that at the end everyone ends up dead – I mean, if it wasn’t for Hamlet, even Horatio would have snuffed it. I’m not sure that really is the most satisfying end to a play – where the only way things can go on is for everyone affected to be dead. Lear is much the same, but worse in so many ways. Death always seems the easy way out in these things – the real tragedy of human existence isn’t death, but being forced to live on. As Oedipus must go on, even after plucking his own eyes out. Ah, but you know what those bloody Greeks are like, George. ‘Unrelenting’ is the word I’m struggling for.

[Henry Avila · Rating 5 out of 5]

When a play is considered the best ever written by the greatest author in history, well a serious reader ( maybe not too serious) must take a look and see, I for sure was not disappointed, a marvelous written view of human nature the good and the bad. Hamlet is a kindly man, and longtime student (over ten years not too dedicated it seems), at the University of Wittenberg,Germany . But his carefree life is destroyed, when his father dies suddenly. Having the misfortune to be a Prince of Denmark, he just wanted to have fun...Duty demands, going back to the royal palace at Elsinore immediately, the royal castle overlooking the
cold Baltic Sea, which controls its entrance. The new King, his uncle has married Hamlet's mother the Queen! And thus gaining the throne, just a month after the King's funeral quite shamelessly thinks Hamlet.The ruler was an elective office then so the Prince is still the Prince not the King. More shocking still, the ghost of the late sovereign appears (or the devil), above the walls of the castle in the depth of night and tells his son that he was murdered, can you imagine how his son reacts in the darkness in the creepy setting . By his own brother, what a situation for poor Hamlet to be and his mother involved too, the family honor demand revenge however the family are the killers...Others, the royal guards witness this frightening episode.The father wants satisfaction you can guess what... And you think you have problems! What will Hamlet do. The Prince becomes very melancholic, procrastinating, condemning himself for his weakness, relatives and friends become concerned about the behavior, is Hamlet insane? Telling Ophelia his sweetheart, he loves her, nevertheless later to her face to become a nun. She the daughter of Polonius a counselor to Claudius, the new ruler such a quandary. Spying for Claudius, Polonius is slain by the Prince who kills the wrong man. Who mistakes him hiding behind a curtain, for the odorous King. Claudius plots with the help of Rosencrantz and Guildenstern, two former school friends of his nephew , an inept pair of halfwits. To eliminate Hamlet, he has been making threats against his uncle.A long voyage to England with the evil two, which the Prince, will never return home.Sounds good to Hamlet, he needs to get away from the vile machinations. Besides Ophelia's brother will come back soon to Denmark and he wants blood. And on the horizon possible war against Norway , also becomes a very real possibility.Time to get out of town of course.But he does come back, mysteriously alone you need not wonder how. The first thing the Prince sees is the digging in a graveyard, with friend Horatio by his side.The skull of Yorick his father's jester is uncovered, Hamlet remembers him. Holding the clown's head in his hands he tells Horatio and the gravedigger how Yorick used to carry him on his back, the pathos flow out over the site unashamedly . Making jests to everyone he met Yorick was a merry man but no more.Sadly no more...."The Rest is Silence". A beautiful end to an unmatched skillful product of human endeavors.

[Manny · Rating 5 out of 5]

Jesus Christ what a year no way could this get worse now they're hacking away at each other with their swords and I'm supposed to look interested oh well done Hamlet despite everything he's still my son that was a lovely feint pretty worried about Laertes though he looks so crazy first his dad and then his sister wish I could do something to help oh come on who am I kidding it's Hamlet I'm worried about of course God what am I going to do that poor kid is totally fucked and he thinks it's all my fault I told Claudius it wasn't smart to hush up what happened to Kingy they'd only believe he'd done it was I right or was I right of course with the two of us carrying on it did look suspicious don't blame people for jumping to conclusions I wish he hadn't broken up with Ophelia she seemed like such a nice girl everything just got worse after that he was so mean to her takes after his father that way know how she felt there were moments I could have jumped in the river myself and then lecturing me on my sex life I couldn't believe it honestly teenagers all think they've invented sex they can't imagine anyone over twenty still does it I'm only thirty-six for crying out loud I'm in my sexual prime not that I was getting much before Claudius noticed me poor old Kingy completely hopeless in bed have to hand it to Claudius even if he is a bastard he's the first man who's ever given me an orgasm can't imagine what Hamlet would say if I told him that bad enough as it is oh for Christ's sake Laertes what do you think you're doing that's not a real sword you know sweet Mary mother of God I need a drink but if Claudius sees me he'll start going on again about my alcohol consumption I'll wait until his back is turned and grab a quick one before he notices right here's my chance one glass won't k---

[Bionic Jean · Rating 5 out of 5]

"To be or not to be that is the question:"

Is this the most famous line in Shakespeare? It is certainly a contender. The Tragedy of Hamlet, Prince of Denmark is Shakespeare's longest and most ambitious play, taking over four hours to perform in its entirety. Written at some point between 1599 and 1602, it has such an extensive vocabulary and expressive range, that Shakespeare was emotionally drained afterwards, and was incapable of writing anything for two years. It was not only one of Shakespeare's most popular works during his lifetime, but it has been hugely influential, inspiring countless adaptations and retellings, and is still among his most-performed plays world-wide. People have joked that it is a series of quotations from end to end, and certainly maxims such as,

"Give thy thoughts no tongue"
"Be thou familiar but by no means vulgar"
"Neither a borrower nor a lender be"
"To thine own self be true"
"I must be cruel only to be kind"
"Thus conscience doth make cowards of us all"
"... it is a custom
More honoured in the breach
than the observance"

have entered the English language so successfully, that people sometimes mistakenly think they are from a holy book. Many of the characters in Hamlet are inclined to philosophise. Here is Claudius, racked with guilt,

"My words fly up, my thoughts remain below.
Words without thoughts never to heaven go."

But none more so than the eponymous character of Hamlet. His remark to the courtier Rosencrantz,

"For there is nothing either good or bad,
but thinking makes it so"

is subjectivist. It has its philosophical basis in the Greek Sophists, who argued that nothing is real except in the mind of the individual. Therefore there is no absolute truth, only relative truth. Hamlet's most famous soliloquy, the "To be or not to be" speech, is a clear example of existentialism. Hamlet is considering "being" - or continuing in his life and therefore acting on his knowledge, as against "not being" - where he would not live any more, and therefore not take any action. Yet as all true philosophers are, Hamlet is both open-minded and sceptical. On seeing the ghost, he reassures his friend,

"There are more things in heaven and earth, Horatio,
than are dreamt of in your philosophy."

In addition, Shakespeare has made this brilliant, perceptive young man, the most skilled of all the characters at rhetoric, frequently using metaphors, puns, and double meanings. Surprisingly, this style of language still works well in a modern theatre, and is also comparatively easy to understand in this play. Other phrases such as,

"Frailty, thy name is woman!"
"Murder most foul"
"To sleep: perchance to dream"
"A little more than kin, a little less than kind"
"Sweets to the sweet"
"In my mind's eye"

and many more, are present in our culture. They are common sayings, frequently "borrowed" by other authors to be the titles of their books and plays. Shakespeare's language can sometimes be difficult to understand for contemporary readers, as it uses highly elaborate and complex witty discourse. Yet such is the skill of our greatest playwright, that he has coined these timeless and memorable quips in this play. For, as wise Polonius says,

"Brevity is the soul of wit."

There are many long speeches and soliloquies, but often it is these shorter phrases which have the most resonance.

Shakespeare created the title role of Hamlet (as the play is usually referred to) for the leading tragic actor of the time, Richard Burbage, and the tradition of "wanting to play Hamlet" has remained the pinnacle of many actors' careers for 400 years. In modern times, some female actors have also expressed a desire to play the role - and a few now have.

Shakespeare rarely invented his stories, and the source material for this one was probably the legend of "Amleth", from the 13th century. This was later retold by François de Belleforest in the 16th century. There is also apparently an earlier Elizabethan play, known today as the "Ur-Hamlet", although it is no longer extant. The author of the "Ur-Hamlet" is not known, and may well have been Shakespeare himself.

The play starts with a supernatural episode, guaranteed to grip the audience. It is approaching midnight, a cold winter's night outside Elsinore, the royal castle in Denmark, where the play is to be set. With the very first words,

"Who's there?"

a ghostly figure has appeared to the guards, while they are awaiting a relief patrol.

As the guards and the audience begin to anticipate more appearances by the ghost, we learn of the political situation through the discussion between the soldiers. There has been a long-standing feud between Denmark and Norway, a neighbouring country. The Norwegian prince, Fortinbras is expected to lead an invasion. This also neatly leads to an introduction of his counterpart, the title character and protagonist, Prince Hamlet of Denmark, whom the soldiers admire. Hamlet's father (who was also called Hamlet) has recently died, and his widowed mother, Gertrude, has married the deceased king's brother, Claudius, who immediately succeeded him to the throne. This is obviously an interesting topic of discussion, both in terms of both the domestic and the international political situation.

The action moves to within the castle, and a scene introducing the characters mentioned. We become instantly aware of the young Prince Hamlet's dislike of his uncle Claudius,

"My father's brother, but no more like my father
Than I to Hercules"

Indeed, he later refers to him as,

"that incestuous, that adulterate beast"

Hamlet seems confused, and consequently distanced from his mother, whom he views as having made an over-hasty marriage,

"Frailty, thy name is woman! -
A little month, or ere those shoes were old
With which she follow'd my poor father's body,
Like Niobe, all tears:"

...

"within a month:
Ere yet the salt of most unrighteous tears
Had left the flushing in her galled eyes,
She married. O, most wicked speed, to post
With such dexterity to incestuous sheets!"

Much later, Gertrude has begun to recognise her behaviour in Hamlet's dramatic representation, and objects,

"The lady doth protest too much, methinks"

but at this point she seems unaware of his judgement of her.

We are introduced to Hamlet's circle of friends, his good friend Horatio, his romantic interest, Ophelia, her wise father - and the Lord Chamberlain Polonius (source of many of the timeless quotations), and her brave brother Laertes. The soldiers have consulted Horatio about the apparition's strange resemblance to the old king, and the Prince Hamlet decides to investigate.

From now on, the play becomes increasingly tense, with thrills, madness, mayhem, suicide and murder at every turn. One of the greatest bloodbaths in the whole of Shakespeare is in this play. The ghost tells Hamlet,

"the serpent that did sting thy father's life
Now wears his crown"

"Thus was I, sleeping, by a brother's hand
Of life, of crown, of queen, at once dispatch'd:"

urging Hamlet to,

"Revenge his foul and most unnatural murder...
Murder most foul!"

"O, horrible! O, horrible!" most horrible!"

"Adieu, adieu, adieu! remember me."

Hamlet is mentally tortured by the knowledge of what the ghost has told him. He is driven to question the worth of his very existence, dissembling to many of his loved ones by assuming an air of madness. A genuine insanity takes hold of Ophelia, mainly because of Hamlet's behaviour and actions, particularly one which resulted in the wrong victim. He uses his brain to outwit the one he now knows to be the murderer,

"O villain, villain, smiling, damned villain!"

"... the play's the thing
Wherein I'll catch the conscience of the King."


and a remarkable piece of theatre, a play within a play, is the result.

This is a favourite device of Shakespeare, a literary conceit in which one story is told during the action of another story. It is both enjoyable in its own terms, yet it also reveals traits of character in those watching - just as that in, for instance, "A Midsummer Night's Dream". The twist in this play, of course, is that such reactions are being searched for by one of the characters, who is watching the others like a hawk. This a nice self-referential touch.

When Hamlet is banished, although he does not know the whole of the devilment in store for him, he turns circumstances to his advantage.

"Though this be madness, yet there is method in 't"

"with wings as swift
As meditation or the thoughts of love
May sweep to my revenge"

Yet he feels persecuted, and the audience sense that he is doomed. This is a tragedy, after all. And Hamlet himself seems to feel the omens,

"The time is out of joint - O cursed spite!
That ever I was born to set it right!"

There are twists and turns in the play which come as a shock to the audience, and critics have debated the interpretation of the events ever since. There is cold-blooded murder, desire, jealousy, ambition, and calculated revenge. There are complex ethical and philosophical issues which have had varying significance depending on the time the play is performed.

In the early 17th century Jacobean drama, when themes of insanity and melancholy were fashionable, the play was very popular. By the middle of the 18th century, Gothic themes became popular, so audiences appreciated not only madness in the play, but also the mystical and ghostly elements of Hamlet. In the 19th century, Romanticism blossomed, and readers and audiences began to admire internal and individual conflicts, so the focus shifted to an interest in Hamlet's characters and internal mental struggles. This tradition has continued into the 20th century, and even today.

A modern audience may have an even deeper psychological approach, and look at Hamlet's unconscious desires and motivations, which may not be merely the ones he expresses. Additionally, on each performance, or reading, a reader may understand different points about the play. Consider just a few paltry examples from the hundreds of questions the play raises; here are a few alternative interpretations to those which seem the more obvious ones:

Was Gertrude actually "guilty" of anything? A respectable woman of this time would be classed either as a maid, a wife, or a widow. Whores were considered to be clearly unrespectable. Yet Hamlet perceived his mother as a whore because she did not remain faithful to his father, the king. But wasn't she a woman trapped by convention, in the tradition of marrying her brother-in-law, to protect the kingdom? Or were there baser desires, as Hamlet suspected? Or alternatively, was Hamlet disgusted by his mother's "incestuous" relationship with Claudius because he himself had Oedipal desires?

What was the true relationship between Hamlet and Ophelia? Was she an innocent? Or could Ophelia's madness after her father's death also be given a Freudian interpretation. She clearly loved her father - but was this in all innocence as a daughter? Why was she apparently so completely overwhelmed by his death that this drove her insane?

And why did Hamlet's disgust at his mother's behaviour lead him to lose faith in all women, so that he treated Ophelia as if she was being dishonest - and as if she too was a whore? Was Hamlet himself mad, suicidal, hormonal, confused, or psychotic? It is interesting that in a play which sees so much action, it is in the soliloquies that Shakespeare shows us Hamlet's motives and thoughts. Why did he seem so inconsistent? Is this to lead the audience astray? The play focuses on confusion and duality, in all things. Was he a true hero?

As with all classic works, there are myriad interpretations. None of the situations are simple; none of the characters one-sided. It is a play which can, and should, be read and watched over and over again.


"O, that this too too solid flesh would melt
Thaw and resolve itself into a dew!
Or that the Everlasting had not fix'd
His canon 'gainst self-slaughter! O God! God!
How weary, stale, flat and unprofitable,
Seem to me all the uses of this world!
Fie on't! ah fie! 'tis an unweeded garden,
That grows to seed; things rank and gross in nature
Possess it merely. That it should come to this!
...
It is not nor it cannot come to good:
But break, my heart; for I must hold my tongue."

...

"To be, or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to, 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover'd country from whose bourn
No traveller returns, puzzles the will..."