The+Tragical+History+of+Hamlet,+Prince+of+Denmark

//**The Tragical History of Hamlet, Prince of Denmark**//, or more simply //**Hamlet**//, is a [|tragedy] by [|William Shakespeare], believed to have been written between 1599 and 1601. The play, set in the [|Kingdom of Denmark], recounts how Prince Hamlet exacts revenge on his uncle Claudius , firstly for murdering the old King Hamlet (Claudius's brother and Prince Hamlet's father) and secondly for then succeeding to the throne and marrying Gertrude (the King Hamlet's widow and mother of Prince Hamlet). The play vividly portrays real and feigned madness – from overwhelming grief to seething rage – and explores themes of treachery, revenge, incest, and moral corruption.

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 based //Hamlet// on the legend of [|Amleth], preserved by 13th-century chronicler [|Saxo Grammaticus] in his [|Gesta Danorum] as subsequently retold by 16th-century scholar [|François de Belleforest]. He may have also drawn on, or perhaps written, an earlier (hypothetical) [|Elizabethan] play known today as the // [|Ur-Hamlet] //.

The play's structure and depth of characterisation have inspired much critical scrutiny, of which one example is the centuries-old debate about Hamlet's hesitation to kill 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 has a story 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, what eventually became 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 performed by highly acclaimed actors and actresses from each successive age. [ [|hide] ] * [|1 Characters]
 * == Contents ==
 * [|2 Plot]
 * [|3 Sources]
 * [|4 Date]
 * [|5 Texts]
 * [|6 Analysis and criticism]
 * [|6.1 Critical history]
 * [|6.2 Dramatic structure]
 * [|6.3 Language]


 * [|7 Context and interpretation]
 * [|7.1 Religious]
 * [|7.2 Philosophical]
 * [|7.3 Psychoanalytic]
 * [|7.4 Feminist]


 * [|8 Influence]
 * [|9 Performance history]
 * [|9.1 Shakespeare's day to the Interregnum]
 * [|9.2 Restoration and 18th century]
 * [|9.3 19th century]
 * [|9.4 20th century]
 * [|9.5 21st century]
 * [|9.6 Screen performances]


 * [|10 Stage Pastiches]
 * [|11 References]
 * [|11.1 Notes]
 * [|11.2 Editions of Hamlet]
 * [|11.3 Secondary sources]


 * [|12 External links] ||

[ [|edit] ] Characters

 * * ** [|Hamlet] **–Son of the former king, and nephew of the present King
 * ** [|Claudius] **–King of Denmark, Hamlet's uncle.
 * ** [|Gertrude] **–Queen of Denmark, and mother to Hamlet
 * ** [|Polonius] **–Lord Chamberlain
 * ** [|Ophelia] **–Daughter to Polonius
 * ** [|Horatio] **–Friend to Hamlet
 * ** [|Laertes] **–Son to Polonius
 * **Voltimand, Cornelius**–Courtiers
 * ** [|Rosencrantz, Guildenstern] **–Courtiers, friends to Hamlet || * ** [|Osric] **–a Courtier
 * **Marcellus**–an Officer
 * **Bernardo**–an Officer
 * **Francisco**–a Soldier
 * **Reynaldo**–Servant to Polonius
 * ** [|Ghost of Hamlet's Father] **
 * ** [|Fortinbras] **–Prince of Norway
 * ** [|Gravediggers] **–A [|sexton] and a clown
 * **Player King, Player Queen, Lucianus, etc.**–Players ||

[ [|edit] ] Plot
The [|protagonist] of //Hamlet// is [|Prince Hamlet] of Denmark, son of deceased [|King Hamlet] and his wife, [|Queen Gertrude].

The story opens on a chilly night at [|Elsinore], the Danish royal castle. Francisco, one of the sentinels, is relieved of his watch by Bernardo, another sentinel, and exits while Bernardo remains. A third sentinel, Marcellus, enters with [|Horatio], Hamlet's best friend. The [|sentinels] inform Horatio that they have seen a ghost that looks like the dead King Hamlet. After hearing from Horatio of the Ghost's appearance, Hamlet resolves to see the Ghost himself. That night, the Ghost appears again. It leads Hamlet to a secluded place, claims that it is the actual spirit of his father, and discloses that he—the elder Hamlet—was murdered by Claudius' pouring [|poison] in his ear. The Ghost demands that Hamlet avenge him; Hamlet agrees, swears his companions to secrecy, and tells them he intends to "put an antic disposition on" [|[7]] (presumably to avert suspicion). Hamlet initially attests to the ghost's reliability, calling him both an "honest ghost" and "truepenny." Later, however, he expresses doubts about the ghost's nature and intent, claiming these as reasons for his inaction.

[|Polonius] is Claudius' trusted chief counsellor; [|Polonius] 's son, [|Laertes], is returning to France, and [|Polonius] 's daughter, [|Ophelia] , is courted by Hamlet. Both Polonius and Laertes warn Ophelia that Hamlet is surely not serious about her. Shortly afterward, Ophelia is alarmed by Hamlet's strange behaviour, reporting to her father that Hamlet rushed into her room, stared at her, and said nothing. Polonius assumes that the "ecstasy of love" [|[8]] is responsible for Hamlet's "mad" behaviour, and he informs Claudius and Gertrude. Perturbed by Hamlet's continuing deep mourning for his father and his increasingly erratic behaviour, Claudius sends for two of Hamlet's acquaintances— [|Rosencrantz and Guildenstern] —to find out the cause of Hamlet's changed behaviour. Hamlet greets his friends warmly but quickly discerns that they have been sent to spy on him.

Together, Claudius and Polonius convince Ophelia to speak with Hamlet while they secretly listen. When Hamlet enters, she offers to return his remembrances, upon which Hamlet questions her honesty and furiously rants at her to "get thee to a nunnery." [|[9]]

Hamlet remains uncertain whether the Ghost has told him the truth, but the arrival of a troupe of actors at Elsinore presents him with a solution. He will have them stage a play, //The Murder of Gonzago//, re-enacting his father's murder and determine Claudius's guilt or innocence by studying his reaction to it. The court assembles to watch the play; Hamlet provides an agitated running commentary throughout. When the murder scene is presented, Claudius abruptly rises and leaves the room, which Hamlet sees as proof of his uncle's guilt.

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. However, it is revealed that the King is not truly praying, remarking that "words" never made it to heaven without "thoughts." [|[11]] An argument erupts between Hamlet and Gertrude. Polonius, spying on the scene from behind an arras and convinced that the prince's madness is indeed real, panics when it seems as if Hamlet is about to murder the Queen and cries out for help. Hamlet, believing it is Claudius hiding behind the [|arras], stabs wildly through the cloth, killing Polonius. When he realises that he has killed Ophelia's father, he is not remorseful, but calls Polonius "Thou wretched, rash, intruding fool." [|[12]] 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.

Claudius, now fearing for his life, finds a legitimate excuse to get rid of the prince: he sends Hamlet to England on a diplomatic pretext, accompanied (and closely watched) by Rosencrantz and Guildenstern. Alone, Claudius discloses that he is actually sending Hamlet to his death. Prior to embarking for England, Hamlet hides Polonius's body, ultimately revealing its location to the King. Upon leaving Elsinore, Hamlet encounters the army of Prince Fortinbras en route to do battle in Poland. Upon witnessing so many men going to their death on the brash whim of an impulsive prince, Hamlet declares, "O, from this time forth, / My thoughts be bloody, or be nothing worth!" [|[13]]

At Elsinore, further demented by grief at her father Polonius's death, Ophelia wanders the castle, acting erratically and singing [|bawdy] songs. Her brother, Laertes, returns from France, horrified by his father's death and his sister's madness. She appears briefly to give out herbs and flowers. Claudius convinces Laertes that Hamlet is solely responsible; then news arrives that Hamlet is still alive—a story is spread that his ship was attacked by [|pirates] on the way to England, and he has returned to Denmark. Claudius swiftly concocts a plot to kill his nephew but make it appear to be an accident, taking all of the blame off his shoulders. Knowing of Hamlet's jealousy of Laertes' prowess with a sword, he proposes a [|fencing] match between the two. Laertes, enraged at the murder of his father, informs the king that he will further poison the tip of his sword so that a mere scratch would mean certain death. Claudius, unsure that capable Hamlet could receive even a scratch, plans to offer Hamlet poisoned wine if that fails. Gertrude enters to report that Ophelia has drowned. In the Elsinore churchyard, two [|"clowns"], typically represented as "gravediggers," enter to prepare Ophelia's grave, and, although the coroner has ruled her death accidental so that she may receive Christian burial, they argue about its being a case of suicide. Hamlet arrives with Horatio and banters with one of them, who unearths the skull of a [|jester] whom Hamlet once knew, [|Yorick] ("Alas, Poor Yorick; I knew him, Horatio."). Ophelia's funeral procession approaches, led by her mournful brother Laertes. Distraught at the lack of ceremony (due to the actually-deemed suicide) and overcome by emotion, Laertes leaps into the grave, cursing Hamlet as the cause of her death. Hamlet interrupts, professing his own love and grief for Ophelia. He and Laertes grapple, but the fight is broken up by Claudius and Gertrude. Claudius reminds Laertes of the planned fencing match.

Later that day, Hamlet tells Horatio how he escaped death on his journey, disclosing that Rosencrantz and Guildenstern have been sent to their deaths instead. A courtier, [|Osric], interrupts to invite Hamlet to fence with Laertes. Despite Horatio's warnings, Hamlet accepts and the match begins. After several rounds, Gertrude toasts Hamlet—against the urgent warning of Claudius—accidentally drinking the wine he poisoned. Between bouts, Laertes attacks and pierces Hamlet with his poisoned blade; in the ensuing scuffle, Hamlet is able to use Laertes's own poisoned sword against him. Gertrude falls and, in her dying breath, announces that she has been poisoned.

In his dying moments, Laertes is reconciled with Hamlet and reveals Claudius's murderous plot. Hamlet stabs Claudius with the poisoned sword, and then forces him to drink from his own poisoned cup to make sure he dies. In his final moments, Hamlet names [|Prince Fortinbras of Norway] as the probable heir to the throne, since the Danish kingship is an elected position, with the country's nobles having the final say. Horatio attempts to kill himself with the same poisoned wine but is stopped by Hamlet, as he will be the only one left alive who can give a full account of the story.

When Fortinbras arrives to greet King Claudius, he encounters the deadly scene: Gertrude, Claudius, Laertes, and Hamlet are all dead. Horatio asks to be allowed to recount the tale to "the yet unknowing world," and Fortinbras orders Hamlet's body borne off in honour.

[ [|edit] ] Sources
//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. [|[15]] 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. [|[16]] 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. [|[17]] Many of the earlier legendary elements are interwoven in the 13th-century //Vita Amlethi// ("The Life of Amleth") [|[18]] by [|Saxo Grammaticus], part of // [|Gesta Danorum] //. [|[19]] Written in Latin, it reflects classical Roman concepts of virtue and heroism, and was widely available in Shakespeare's day. [|[20]] 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//. [|[21]] Belleforest embellished Saxo's text substantially, almost doubling its length, and introduced the hero's [|melancholy]. [|[22]]

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 William Shakespeare himself, the //Ur-Hamlet// would have been in performance by 1589 and the first version of the story known to incorporate a ghost. [|[23]] Shakespeare's company, [|the Chamberlain's Men], may have purchased that play and performed a version for some time, which Shakespeare reworked. [|[24]] 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. [|[25]]

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 which are not in Saxo's story do appear in Shakespeare's play. Whether Shakespeare took these from Belleforest directly or through the//Ur-Hamlet// remains unclear. [|[26]]

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. [|[27]] 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 neighbour 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. [|[28]] Sadler's first name is spelled "Hamlett" in Shakespeare's will. [|[29]]

Scholars have often speculated that //Hamlet//'s [|Polonius] might have been inspired by [|William Cecil] (Lord Burghley)—Lord High Treasurer and chief counsellor to Queen [|Elizabeth I]. [|E. K. Chambers] suggested Polonius's advice to Laertes may have echoed Burghley's to his son [|Robert Cecil]. [|John Dover Wilson] thought it almost certain that the figure of Polonius caricatured Burleigh, while [|A. L. Rowse] speculated that Polonius's tedious verbosity might have resembled Burghley's. [|[30]] Lilian Winstanley thought the name Corambis (in the Ist Quarto) did suggest Cecil and Burghley. [|[31]] Harold Jenkins criticised the idea of any direct personal satire as "unlikely" and "uncharacteristic of Shakespeare", [|[32]] while G.R.Hibbard hypothesized that differences in names (Corambis/Polonius:Montano/Raynoldo) between the First Quarto and other editions might reflect a desire not to offend scholars at Oxford University. [|[33]]

[ [|edit] ] Date
"Any dating of //Hamlet// must be tentative", cautions the //New Cambridge// editor, Phillip Edwards. [|[34]] The [|earliest date estimate] relies on //Hamlet//'s frequent allusions to Shakespeare's // [|Julius Caesar] //, itself dated to mid-1599. [|[35]] 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". [|[36]]

The phrase "little eyases" [|[37]] 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. [|[36]]

A contemporary of Shakespere'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. [|[38]]

[ [|edit] ] Texts
Three early editions of the text have survived, making attempts to establish a single "authentic" text problematic. [|[39]] Each is different from the others: [|[40]]


 * 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] ). [|[41]]
 * [|First Folio] (**F1**) In 1623 [|Edward Blount] and [|William and Isaac Jaggard] published the First Folio, the first edition of Shakespeare's//Complete Works//. [|[42]]

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. [|[42]] 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, [|[43]] 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//". [|[44]] The 2006 publication by Arden Shakespeare of different //Hamlet// texts in different volumes is perhaps the best evidence of this shifting focus and emphasis. [|[45]]

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 [|[46]] after which the action appears to continue uninterrupted. [|[47]] Comparison of the 'To be, or not to be' soliloquy in the first three editions of Hamlet, showing the varying quality of the text in the [|Bad Quarto], the Good Quarto and the [|First Folio] 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] ". [|[48]] 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) [|[49]] that does not appear in either Q2 or F1; and it is useful for comparison with the later editions. The scene order is more coherent, without the problems of Q2 and F1 of Hamlet seeming to resolve something in one scene and enter the next drowning in indecision. This is a scene order many modern theatrical productions follow.[// [|citation needed] //] The major deficiency of Q1 is that the language is not "Shakespearean" enough[// [|citation needed] //], particularly noticeable in the opening lines of the famous " [|To be, or not to be] " soliloquy: "To be, or not to be, aye there's the point. / To die, to sleep, is that all? Aye all: / No, to sleep, to dream, aye marry there it goes." 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). [|[50]] 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. [|[51]] 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. [|[52]]

[ [|edit] ] Critical history
From the early 17th century, the play was famous for its ghost and vivid dramatisation of [|melancholy] and [|insanity], leading to a procession of mad courtiers and ladies in [|Jacobean] and [|Caroline] drama. [|[53]] 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]. [|[54]] This view changed drastically in the 18th century, when critics regarded Hamlet as a hero—a pure, brilliant young man thrust into unfortunate circumstances. [|[55]] By the mid-18th century, however, the advent of [|Gothic literature] brought [|psychological] and [|mystical] readings, returning madness and the Ghost to the forefront. [|[56]] 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. [|[57]]

These developments represented a fundamental change in literary criticism, which came to focus more on character and less on plot. [|[58]] 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. [|[59]] Then too, critics started to focus on Hamlet's delay as a character trait, rather than a plot device. [|[58]] 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. For example, 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. The play is full of seeming discontinuities and irregularities of action, except in the "bad" quarto. At one point, as in the Gravedigger scene, [|[10]] 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. [|[60]] 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. [|[61]] Even today the play is rarely performed in its entirety, and has only once been dramatised on film completely, with [|Kenneth Branagh] 's 1996 version. //Hamlet// also contains a favourite Shakespearean device, a [|play within the play], a literary device or conceit in which one story is told during the action of another story. [|[62]]

[ [|edit] ] Language
Compared with language in a modern newspaper, magazine or popular novel, Shakespeare's language can strike contemporary readers as complex, elaborate and at times difficult to understand. Remarkably, it still works well enough in the theatre: audiences at the reconstruction of 'Shakespeare's Globe' in London, many of whom have never been to the theatre before, let alone to a play by Shakespeare, seem to have little difficulty grasping the play's action. [|[63]] Much of //Hamlet'//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. [|[64]]

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". [|[65]] 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". [|[66]] At times, he relies heavily on [|puns] to express his true thoughts while simultaneously concealing them. [|[67]] His "nunnery" remarks [|[68]] to Ophelia are an example of a cruel [|double meaning] as //nunnery// was [|Elizabethan] slang for //brothel//. [|[9]][|[69]] 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." [|[70]] An [|aside] is a dramatic device in which a character speaks to the audience. By convention the audience realises that the character's speech is unheard by the other characters on stage. It may be addressed to the audience expressly (in character or out) or represent an unspoken thought.

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//". [|[71]] 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. [|[72]] Pauline Kiernan argues that Shakespeare changed English drama forever in //Hamlet// because he "showed how a character's language can often be saying several things at once, and contradictory meanings at that, to reflect fragmented thoughts and disturbed feelings." She gives the example of Hamlet's advice to Ophelia, "get thee to a nunnery", which is simultaneously a reference to a place of chastity and a slang term for a brothel, reflecting Hamlet's confused feelings about female sexuality. [|[73]]

[ [|edit] ] Religious
// [|Ophelia] // depicts lady Ophelia's mysterious death by drowning. In the play, the clowns discuss whether Ophelia's death was a suicide and whether or not she merits a Christian burial. (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. [|[74]]

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 proposed his [|95 theses] in 1517, effectively ushering in the [|Protestant Reformation]. [|[75]] In Shakespeare's day Denmark, as the majority of Scandinavia, was Lutheran. [|[76]]

[ [|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 subjectivistic idea when he says to Rosencrantz: "there is nothing either good or bad, but thinking makes it so". [|[77]] 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. [|[78]] The clearest example of existentialism is found in the " [|to be, or not to be] " [|[79]] 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. [|[80]]

Scholars agree that //Hamlet// reflects the contemporary [|scepticism] that prevailed in [|Renaissance humanism]. [|[81]] 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. [|[82]]

Hamlet's scepticism is juxtaposed in the play with Horatio's more traditional Christian worldview. Despite the friends' close bond, Hamlet counters Horatio's faith with the seemingly agnostic comment, "There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy."

[ [|edit] ] Psychoanalytic
In the first half of the 20th century, when [|psychoanalysis] was at the height of its influence, its concepts were applied to //Hamlet//, notably by [|Sigmund Freud], [|Ernest Jones] , and [|Jacques Lacan] , and these studies influenced theatrical productions. [|Freud] suggested that an [|unconscious] [|oedipal conflict] caused Hamlet's hesitations. (Artist: [|Eugène Delacroix] 1844). 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". [|[83]] 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". [|[84]] Confronted with his [|repressed desires], Hamlet realises that "he himself is literally no better than the sinner whom he is to punish". [|[83]] Freud suggests that Hamlet's apparent "distaste for sexuality"—articulated in his "nunnery" conversation with Ophelia—accords with this interpretation. [|[85]][|[86]] [|John Barrymore] introduced Freudian overtones into his landmark 1922 production in New York, which ran for a record-breaking 101 nights.

Beginning in 1910, with the publication of "The Oedipus-Complex as An Explanation of Hamlet's Mystery: A Study in Motive," [|[87]] [|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]] Olivier later used some of these same ideas in his 1948 film version of the play.

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. [|[84]] His point of departure is Freud's Oedipal theories, and the central theme of mourning that runs through //Hamlet//. [|[84]] 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. [|[84]] 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. [|[84]]

[ [|edit] ] Feminist
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]] Hamlet tries to show his mother Gertrude his father's ghost (artist: [|Nicolai A. Abildgaard] ca. 1778). [|Carolyn Heilbrun] 's 1957 essay "The Character of 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]][|[95]]

Ophelia has also been defended by feminist critics, most notably [|Elaine Showalter]. [|[96]] 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. [|[97]] 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. [|[98]]

[ [|edit] ] Influence
//Hamlet// is one of the [|most quoted] works in the English language, and is often included on lists of the world's greatest literature. [|[99]] 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. [|[100]]

[|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". [|[101]] 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. [|[101]] In the early 1850s, in // [|Pierre] //, [|Herman Melville] focuses on a Hamlet-like character's long development as a writer. [|[101]] 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. [|[101]] Academic Alexander Welsh notes that //Great Expectations// is an "autobiographical novel" and "anticipates psychoanalytic readings of //Hamlet// itself". [|[102]] About the same time, [|George Eliot] 's // [|The Mill on the Floss] // was published, introducing Maggie Tulliver "who is explicitly compared with Hamlet" [|[103]] though "with a reputation for sanity". [|[104]]

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] //. [|[101]] In the 1990s, two women novelists were explicitly influenced by //Hamlet//. In [|Angela Carter's] // [|Wise Children] //, //To be or not to be// [|[105]] 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. [|[103]]

> There is the story of the woman who read Hamlet for the first time and said, "I don't see why people admire that play so. It is nothing but a bunch of quotations strung together." > — [|Isaac Asimov], // [|Asimov's Guide to Shakespeare] //, pg vii, Avenal Books, 1970 >

[ [|edit] ] Performance history
Main articles: [|Hamlet in performance] and [|Shakespeare in performance]
 * < The day we see [|Hamlet] die in the theatre, something of him dies for us. He is dethroned by the spectre of an actor, and we shall never be able to keep the usurper out of our dreams. ||
 * > — [|Maurice Maeterlinck] (1890). [|[106]] ||

[ [|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. [|[107]] 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; [|[108]] that the play toured in Germany within five years of Shakespeare's death; [|[109]] and that it was performed before [|James I] in 1619 and [|Charles I] in 1637. [|[110]] 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. [|[111]] All theatres were closed down by the [|Puritan] government during the [|Interregnum]. [|[112]] 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//. [|[113]]

[ [|edit] ] Restoration and 18th century
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. [|[114]] 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]. [|[115]] 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]. [|[116]] Davenant cast [|Thomas Betterton] in the eponymous role, and he continued to play the Dane until he was 74. [|[117]] [|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". [|[118]] 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. [|[119]]

[|John Philip Kemble] made his Drury Lane debut as Hamlet in 1783. [|[120]] 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". [|[121]] [|Sarah Siddons] was the first actress known to play Hamlet; many women have since played him as a [|breeches role], to great acclaim. [|[122]] 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. [|[123]] In the years following America's independence, [|Thomas Apthorpe 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. [|[124]]

[ [|edit] ] 19th century
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]. [|[125]] 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". [|[126]] 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. [|[127]]

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. [|[128]] 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 contains 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?" [|[129]]

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. [|[130]] 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. [|[131]] [|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". [|[132]]

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. [|[133]] In Germany, //Hamlet// had become so assimilated by the mid-19th century that [|Ferdinand Freiligrath] declared that "Germany is Hamlet". [|[134]] From the 1850s, the [|Parsi] theatre tradition in India transformed //Hamlet// into folk performances, with dozens of songs added. [|[135]]

[ [|edit] ] 20th century
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. [|[136]] [|Shoyo Tsubouchi] translated //Hamlet// and produced a performance in 1911 that blended //Shingeki// ("new drama") and // [|Kabuki] // styles. [|[136]] This hybrid-genre reached its peak in [|Fukuda Tsuneari's] 1955 //Hamlet//. [|[136]] In 1998, [|Yukio Ninagawa] produced an acclaimed version of //Hamlet// in the style of [|Nō] theatre, which he took to London. [|[137]] [|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]. [|[138]] While Craig favoured stylised abstraction, Stanislavski, armed with his [|'system,'] explored psychological motivation. [|[139]] Craig conceived of the play as a [|symbolist][|monodrama], offering a dream-like vision as seen through Hamlet's eyes alone. [|[140]] This was most evident in the staging of the first court scene. [|[141]] 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. [|[142]] The production attracted enthusiastic and unprecedented world-wide attention for the theatre and placed it "on the cultural map for Western Europe". [|[143]]

//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]. [|[144]] 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. [|[145]] 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". [|[146]] 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. [|[147]] In 1942, [|Jiao Juyin] directed the play in a [|Confucian] temple in [|Sichuan Province], to which the government had retreated from the advancing Japanese. [|[147]] 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. [|[147]]

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]. [|[148]] 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". [|[149]] 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. [|[150]] 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.". [|[151]] In 1937 [|Tyrone Guthrie] directed the play at Elsinore, Denmark with Laurence Olivier as Hamlet and Vivien Leigh as Ophelia.

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] //. [|[152]]

[|Richard Burton] received his third Tony Award nomination when he played his second Hamlet, his first under John Gielgud's direction, in 1964 in a production that holds the record for the longest run of the play in Broadway history (136 performances). The performance was set on a bare stage, conceived to appear like a dress rehearsal, with Burton in a black v-neck sweater, and Gielgud himself tape-recorded the voice for the Ghost (which appeared as a looming shadow). It was immortalised both on record and on a film that played in US theatres for a week in 1964 as well as being the subject of books written by cast members William Redfield and Richard L. Sterne. 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..." [|[153]] [|Stacy Keach] played the role with an all-star cast at [|Joseph Papp] 's [|Delacorte Theatre] in the early 70's, with [|Colleen Dewhurst] 's Gertrude, [|James Earl Jones] 's King, [|Barnard Hughes] 's Polonius, [|Sam Waterston] 's Laertes and [|Raul Julia] 's Osric. [|Sam Waterston] later played the role himself at the [|Delacorte] for the [|New York Shakespeare Festival], and the show transferred to the [|Vivian Beaumont Theatre] in 1975 (Stephen Lang played Bernardo and other roles). [|Stephen Lang] 's //Hamlet// for the [|Roundabout Theatre Company] in 1992 received positive reviews, and ran for sixty-one performances. [|David Warner] played the role with the Royal Shakespeare Theatre in 1965. [|William Hurt] (at Circle Rep Off-Broadway, memorably performing "To Be Or Not to Be" while lying on the floor), [|Jon Voight] at Rutgers, and [|Christopher Walken] (fiercely) at Stratford CT have all played the role, as has [|Diane Venora] at the Public Theatre. [|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. [|[154]] 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]. [|[155]]

[|Ian Charleson] performed Hamlet from 9 October to 13 November 1989, in [|Richard Eyre] 's production at the [|Olivier Theatre], replacing [|Daniel Day-Lewis] , who had abandoned the production. Seriously ill from AIDS at the time, Charleson died eight weeks after his last performance. Fellow actor and friend, [|Sir Ian McKellen], said that Charleson played Hamlet so well it was as if he had rehearsed the role all his life; McKellen called it "the perfect Hamlet". [|[156]][|[157]] The performance garnered other major accolades as well, some critics echoing McKellen in calling it the definitive Hamlet performance. [|[158]]

[ [|edit] ] 21st century
In May 2009, //Hamlet// opened with [|Jude Law] in the title role at the [|Donmar Warehouse] West End season at [|Wyndham's Theatre]. The production officially opened on 3 June and ran through 22 August 2009. [|[159]][|[160]] A further production of the play ran at [|Elsinore Castle] in Denmark from 25–30 August 2009. [|[161]] The Jude Law //Hamlet// then moved to Broadway, and ran for 12 weeks at the [|Broadhurst Theatre] in New York. [|[162]][|[163]]

[ [|edit] ] Screen performance
[|Laurence Olivier's] 1948 moody black-and-white // [|Hamlet] // won [|best picture] and [|best actor] [|Oscars]. His interpretation stressed the Oedipal overtones of the play, and cast 28-year-old [|Eileen Herlie] as Hamlet's mother, opposite himself, at 41, as Hamlet. [|[166]] Shakespeare experts Sir [|John Gielgud] and [|Kenneth Branagh] consider the definitive rendition of the Bard's tragic tale [|[167]] to be the 1964 Russian film// [|Gamlet] // ( [|Russian] : //Гамлет//) based on a translation by [|Boris Pasternak] and directed by [|Grigori Kozintsev], with a score by [|Dmitri Shostakovich]. [|[168]] [|Innokenty Smoktunovsky] was cast in the role of Hamlet; he was particularly praised by Sir [|Laurence Olivier].

John Gielgud directed [|Richard Burton] in a [|Broadway production] at the [|Lunt-Fontanne Theatre] in 1964–5, the longest-running //Hamlet// in the U.S. to date. A live film of the production was produced using "Electronovision", a method of recording a live performance with multiple video cameras and converting the image to film. [|[169]] Eileen Herlie repeated her role from Olivier's film version as the Queen, and the voice of Gielgud was heard as the Ghost. The Gielgud/Burton production was also recorded complete and released on LP by [|Columbia Records]. The first //Hamlet// in color was a 1969 film directed by [|Tony Richardson] with [|Nicol Williamson] as Hamlet and [|Marianne Faithfull] as Ophelia.

In 1990 [|Franco Zeffirelli], whose Shakespeare films have been described as "sensual rather than cerebral", [|[170]] 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. [|[171]] 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. [|[172]] Branagh set the film with late 19th-century costuming and furnishings; [|[173]] 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] ). [|[174]]

In 2000, [|Michael Almereyda's] // [|Hamlet] // set the story in contemporary [|Manhattan], with [|Ethan Hawke] playing Hamlet as a film student. Claudius (played by [|Kyle MacLachlan] ) became the CEO of "Denmark Corporation", having taken over the company by killing his brother. [|[175]]

Notable made-for-television productions of //Hamlet// include those starring [|Christopher Plummer] (1964), [|Richard Chamberlain] (1970; [|Hallmark Hall of Fame] ), [|Derek Jacobi] (1980; [|Royal Shakespeare Company], BBC), [|Kevin Kline] (1990), [|Campbell Scott] (2000) and [|David Tennant] (2009; [|Royal Shakespeare Company] , BBC). [|[176]]

There have also been several films that transposed the general storyline of //Hamlet// or elements thereof to other settings. There have also been many films which included performances of scenes from //Hamlet// as a play-within-a-film.

[ [|edit] ] Stage Pastiches
There have been various "derivative works" of //Hamlet// which recast the story from the point of view of other characters, or tranpose the story into a new setting or act as sequels or prequels to //Hamlet//. This section is limited to those written for the stage. The best-known is Tom Stoppard's 1966 play // [|Rosencrantz and Guildenstern are Dead] // which retells many of the events of the story from the point of view of the characters Rosencrantz and Guildenstern as well as giving them a backstory of their own. The play was nominated for eight Tony Awards, and won four: Best Play, Scenic and Costume Design, and Producer; the director and the three leading actors were nominated but did not win. It also won Best Play from the New York Drama Critics Circle in 1968, and Outstanding Production from the Outer Critics Circle in 1969. Several times since 1995, the [|American Shakespeare Center] has mounted repertories that included both //Hamlet// and //Rosencrantz and Guildenstern//, with the same actors performing the same roles in each; in their 2001 and 2009 seasons the two plays were "directed, designed, and rehearsed together to make the most out of the shared scenes and situations". [|[177]]

[|Lee Blessing] 's // [|Fortinbras] // is a comical sequel to //Hamlet// in which all the deceased characters come back as ghosts. The //New York Times// reviewed the play saying it is "scarcely more than an extended comedy sketch, lacking the portent and linguistic complexity of Tom Stoppard's //Rosencrantz and Guildenstern Are Dead.// //Fortinbras//operates on a far less ambitious plane, but it is a ripping yarn and offers Keith Reddin a role in which he can commit comic mayhem." [|[178]]

[|Heiner Müller] 's cutting-edge drama "The Hamletmachine" was first produced in Paris by director Jean Jourdheuil in 1979 and swiftly became a classic of postmodern drama. This play in turn inspired [|Giannina Braschi] 's dramatic novel "United States of Banana," which takes place at the Statue of Liberty in post-9/11 New York City. In it, Hamlet, [|Zarathustra], and Giannina are on a quest to free the Puerto Rican prisoner [|Segismundo] from the dungeon of Liberty, where Segismundo's father, Basilio, the King of the United States of Banana, imprisoned him for the crime of having been born. The work intertwines the plots and characters of Calderon de la Barca's "Life is a Dream" with Shakespeare's "Hamlet."

Caridad Svich's //12 Ophelias (a play with Broken Songs)// includes elements of the story of //Hamlet// but focuses on Ophelia. In Svich's play, Ophelia is resurrected and rises from a pool of water, after her death in //Hamlet//. The play is a series of scenes and songs, and was first staged at public swimming pool in Brooklyn. [|[179]] Heidi Weiss of the//Chicago Sun-Times// said of the play "Far more surreal and twisted than Tom Stoppard's //Rosencrantz and Guildenstern are Dead,// //12 Ophelias// is a reminder of just how morphable and mysterious Shakespeare's original remains." [|[180]] Other characters are renamed: Hamlet is Rude Boy, Rosencrantz and Guildenstern are androgynous helpers known simply as R and G, Gertrude is the madam of a brothel, Horatio becomes H and continues to be Hamlet's best friend/confidante, and a chorus of Ophelias serves as guide. A new character, Mina, is introduced, and she is a whore in Gertrude's brothel.

[ [|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.
 * 1) ** [|^] ** Thompson and Taylor (2006a, 74).
 * 2) ^ [|//**a**//] [|//**b**//] Taylor (2002, 18).
 * 3) ** [|^] ** Crystal and Crystal (2005, 66).
 * 4) ** [|^] ** Thompson and Taylor (2006a, 17).
 * 5) ^ [|//**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).
 * 6) ** [|^] ** //Hamlet// 1.4.
 * 7) ** [|^] **  [|"Hamlet, Act 1, Scene 5, Line 172."].
 * 8) ** [|^] ** [|//Hamlet//, Act 1, Scene 5, Line 99.]
 * 9) ^ [|//**a**//] [|//**b**//] This is widely interpreted as having a double meaning, since 'nunnery' was slang for a brothel. Pauline Kiernan, //Filthy Shakespeare//, Quercus, 2006, p. 34. This interpretation has been challenged by Jenkins (1982, 493–495; also H. D. F. Kitto) on the grounds of insufficient and inconclusive evidence of a precedent for this meaning; Jenkins states that the literal meaning is better suited to the dramatic context.
 * 10) ^ [|//**a**//] [|//**b**//] //The Gravedigger Scene//: //Hamlet// 5.1.1–205.
 * 11) ** [|^] ** [|//Hamlet//, Act 3, Scene 3, Line 98.]
 * 12) ** [|^] ** [|//Hamlet//, Act 3, Scene 4, Line 31.]
 * 13) ** [|^] ** [|//Hamlet//, Act 4, Scene 4, Lines 65–66.]
 * 14) ** [|^] ** //The Killing Scene//: //Hamlet// 5.2.303–309.
 * 15) ** [|^] ** Saxo and Hansen (1983, 36–37).
 * 16) ** [|^] ** Saxo and Hansen (1983, 16–25).
 * 17) ** [|^] ** Saxo and Hansen (1983, 5–15).
 * 18) ** [|^] ** Books 3 & 4 – see [|online text]
 * 19) ** [|^] ** Saxo and Hansen (1983, 1–5).
 * 20) ** [|^] ** Saxo and Hansen (1983, 25–37).
 * 21) ** [|^] ** Edwards (1985, 1–2).
 * 22) ** [|^] ** Saxo and Hansen (1983, 66–67).
 * 23) ** [|^] ** Jenkins (1982, 82–85).
 * 24) ** [|^] ** Saxo and Hansen (1983, 67).
 * 25) ** [|^] ** In his 1936 book //The Problem of Hamlet: A Solution// Andrew Cairncross 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. Harold Jenkins, the editor of the second series Arden edition of the play, dismisses the idea as groundless (1982, 84 n4).
 * 26) ** [|^] ** Saxo and Hansen (1983, 66–68).
 * 27) ** [|^] ** Saxo and Hansen (1983, 6).
 * 28) ** [|^] ** Greenblatt (2004a, 311); Greenblatt (2004b).
 * 29) ** [|^] ** [|Shakespeare's Last Will and Testament].
 * 30) ** [|^] ** Chambers (1930) 418: J.D. Wilson (1932) 104: Rowse (1963) 323.
 * 31) ** [|^] ** Lilian Winstanley, //Hamlet and the Scottish Succession,// Cambridge University Press, 1921, 114.
 * 32) ** [|^] ** H.Jenkins (ed.) //Hamlet//, Methuen, 1982, p.142.
 * 33) ** [|^] ** Polonius was close to the Latin name for [|Robert Pullen], founder of Oxford University, and Reynaldo too close for safety to [|John Rainolds] , the President of [|Corpus Christi College] . G.R.Hibbard (ed.) //Hamlet,// Oxford University Press, 1987, pp.74–5.
 * 34) ** [|^] ** 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).
 * 35) ** [|^] ** MacCary (1998, 12–13) and Edwards (1985, 5–6).
 * 36) ^ [|//**a**//] [|//**b**//] Lott (1970, xlvi).
 * 37) ** [|^] ** //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.
 * 38) ** [|^] ** Edwards (1985, 5).
 * 39) ** [|^] ** Hattaway (1987, 13–20).
 * 40) ** [|^] ** Chambers (1923, vol. 3, 486–487) and Halliday (1964, 204–205).
 * 41) ** [|^] ** Halliday (1964, 204).
 * 42) ^ [|//**a**//] [|//**b**//] Thompson and Taylor (2006a, 78).
 * 43) ** [|^] ** Hibbard (1987, 22–23).
 * 44) ** [|^] ** Hattaway (1987, 16).
 * 45) ** [|^] ** 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).
 * 46) ** [|^] ** //Hamlet// 3.4 and 4.1.
 * 47) ** [|^] ** Thompson and Taylor (2006a, 543–552).
 * 48) ** [|^] ** Jenkins (1982, 14).
 * 49) ** [|^] ** //Hamlet Q1// 14.
 * 50) ** [|^] ** Jackson (1986, 171).
 * 51) ** [|^] ** Irace (1998); Thompson and Taylor (2006a, 85–86).
 * 52) ** [|^] ** Thompson and Taylor (2006b, 36–37) and //Checklist of Q1 Productions// in Thompson and Taylor (2006b, 38–39).
 * 53) ** [|^] ** Wofford (1994) and Kirsch (1968).
 * 54) ** [|^] ** Vickers (1974a, 447) and (1974b, 92).
 * 55) ** [|^] ** Wofford (1994, 184–185).
 * 56) ** [|^] ** Vickers (1974c, 5).
 * 57) ** [|^] ** Wofford (1994, 185).
 * 58) ^ [|//**a**//] [|//**b**//] Wofford (1994, 186).
 * 59) ** [|^] ** Rosenberg (1992, 179).
 * 60) ** [|^] ** MacCary (1998, 67–72, 84).
 * 61) ** [|^] ** Based on the length of the first edition of //The Riverside Shakespeare// (1974).
 * 62) ** [|^] ** Also used in [|Love's Labour's Lost] and [|A Midsummer Night's Dream] . Kermode (2000, 256).
 * 63) ** [|^] ** Adamson, Sylvia; Hunter, Lynette; Magnusson, Lynne; Thompson, Ann; Wales, Katie (1 Oct 2010). //Arden Shakespeare: Reading Shakespeare's Dramatic Language//. Los Angeles: Arden. [|ISBN] [|978-1-903436-29-5].
 * 64) ** [|^] ** MacCary (1998, 84–85).
 * 65) ** [|^] ** //Hamlet// 3.1.63–64.
 * 66) ** [|^] ** //Hamlet// 1.2.85–86.
 * 67) ** [|^] ** MacCary (1998, 89–90).
 * 68) ** [|^] ** //Hamlet// 3.1.87–148 especially lines 120, 129, 136, 139 and 148.
 * 69) ** [|^] ** Oxford English Dictionary (2004, CD).
 * 70) ** [|^] ** //Hamlet// 2.1.63–65.
 * 71) ** [|^] ** //Hamlet// 3.1.151 and 3.1.154. //The Nunnery Scene//: //Hamlet// 3.1.87–160.
 * 72) ** [|^] ** MacCary (1998, 87–88).
 * 73) ** [|^] ** Pauline Kiernan, //Filthy Shakespeare: Shakespeare's Most Outrageous Sexual Puns//, Quercus, 2006, p.34
 * 74) ** [|^] ** MacCary (1998, 37–38); in the [|New Testament], see Romans 12:19: " 'vengeance is mine, I will repay' sayeth the Lord".
 * 75) ** [|^] ** MacCary (1998, 38).
 * 76) ** [|^] ** Asimov, Asimov's Guide to Shakespeare(1970, 92)
 * 77) ** [|^] ** //Hamlet F1// 2.2.247–248.
 * 78) ** [|^] ** MacCary (1998, 47–48).
 * 79) ** [|^] ** //Hamlet// 3.1.55–87 especially line 55.
 * 80) ** [|^] ** MacCary (1998, 28–49).
 * 81) ** [|^] ** MacCary (1998, 49).
 * 82) ** [|^] ** Knowles (1999, 1049 and 1052–1053) cited by Thompson and Taylor (2006a, 73–74); MacCary (1998, 49).
 * 83) ^ [|//**a**//] [|//**b**//] Freud (1900, 367).
 * 84) ^ [|//**a**//] [|//**b**//] [|//**c**//] [|//**d**//] [|//**e**//] Britton (1995, 207–211).
 * 85) ** [|^] ** Freud (1900, 368).
 * 86) ** [|^] ** The nunnery conversation referred to in this sentence is //Hamlet// 3.1.87–160.
 * 87) ** [|^] ** //The American Journal of Psychology// 21.1 (January, 1910): 72–113.
 * 88) ** [|^] ** //The Closet Scene//: //Hamlet// 3.4.
 * 89) ** [|^] ** MacCary (1998, 104–107, 113–116) and de Grazia (2007, 168–170).
 * 90) ** [|^] ** Smallwood (2002, 102).
 * 91) ** [|^] ** //Hamlet// 4.5.
 * 92) ** [|^] ** Wofford (1994, 199–202).
 * 93) ** [|^] ** Howard (2003, 411–415).
 * 94) ** [|^] ** Heilbrun (1957)
 * 95) ** [|^] ** Bloom (2003, 58–59); Thompson (2001, 4).
 * 96) ** [|^] ** Showalter (1985).
 * 97) ** [|^] ** Bloom (2003, 57).
 * 98) ** [|^] ** MacCary (1998, 111–113).
 * 99) ** [|^] ** //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] .//
 * 100) ** [|^] ** Osborne (2007, 114–133 especially 115 and 120).
 * 101) ^ [|//**a**//] [|//**b**//] [|//**c**//] [|//**d**//] [|//**e**//] Thompson and Taylor (2006a, 123–126).
 * 102) ** [|^] ** Welsh (2001, 131).
 * 103) ^ [|//**a**//] [|//**b**//] Thompson and Taylor (2006a, 126–131).
 * 104) ** [|^] ** Novy (1994, 62, 77–78).
 * 105) ** [|^] ** //Hamlet// 3.1.55–87.
 * 106) ** [|^] ** Writing in //La Jeune Belgique// in 1890; quoted by Braun (1982, 40).
 * 107) ** [|^] ** Taylor (2002, 13).
 * 108) ** [|^] ** Thompson and Taylor (2006a; 53–55); Chambers (1930, vol. 1, 334), cited by Dawson (2002, 176).
 * 109) ** [|^] ** Dawson (2002, 176).
 * 110) ** [|^] ** Pitcher and Woudhuysen (1969, 204).
 * 111) ** [|^] ** Hibbard (1987, 17).
 * 112) ** [|^] ** Marsden (2002, 21).
 * 113) ** [|^] ** Holland (2007, 34).
 * 114) ** [|^] ** Marsden (2002, 21–22).
 * 115) ** [|^] ** [|Samuel Pepys] records his delight at the novelty of //Hamlet// "done with scenes"; see Thompson and Taylor (1996, 57).
 * 116) ** [|^] ** Taylor (1989, 16).
 * 117) ** [|^] ** Thompson and Taylor (2006a, 98–99).
 * 118) ** [|^] ** Letter to Sir William Young, 10 January 1773, quoted by Uglow (1977, 473).
 * 119) ** [|^] ** Morrison (2002, 231).
 * 120) ** [|^] ** Moody (2002, 41).
 * 121) ** [|^] ** Moody (2002, 44), quoting [|Sheridan].
 * 122) ** [|^] ** Gay (2002, 159).
 * 123) ** [|^] ** Dawson (2002, 185–187).
 * 124) ** [|^] ** Morrison (2002, 232–233).
 * 125) ** [|^] ** Morrison (2002, 235–237).
 * 126) ** [|^] ** William Winter, // [|New York Tribune] // 26 October 1875, quoted by Morrison (2002, 241).
 * 127) ** [|^] ** Morrison (2002, 241).
 * 128) ** [|^] ** Schoch (2002, 58–75).
 * 129) ** [|^] ** [|George Bernard Shaw] in //The Saturday Review// 2 October 1897, quoted in Shaw (1961, 81).
 * 130) ** [|^] ** Moody (2002, 54).
 * 131) ** [|^] ** Halliday (1964, 204) and O'Connor (2002, 77).
 * 132) ** [|^] ** [|Sarah Bernhardt], in a letter to the London // [|Daily Telegraph] //, quoted by Gay (2002, 164).
 * 133) ** [|^] ** Holland (2002, 203–205).
 * 134) ** [|^] ** Dawson (2002, 184).
 * 135) ** [|^] ** Dawson (2002, 188).
 * 136) ^ [|//**a**//] [|//**b**//] [|//**c**//] Gillies //et al.// (2002, 259–262).
 * 137) ** [|^] ** Dawson (2002, 180).
 * 138) ** [|^] ** For more on this production, see the [|MAT production of //Hamlet//] article. 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).
 * 139) ** [|^] ** Benedetti (1999, 189, 195).
 * 140) ** [|^] ** On Craig's relationship to [|Symbolism], [|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).
 * 141) ** [|^] ** //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).
 * 142) ** [|^] ** See Innes (1983, 140–175; esp. 165–167 on the use of the screens).
 * 143) ** [|^] ** Innes (1983, 172).
 * 144) ** [|^] ** Hortmann (2002, 214).
 * 145) ** [|^] ** Hortmann (2002, 223).
 * 146) ** [|^] ** Burian (1993), quoted by Hortmann (2002, 224–225).
 * 147) ^ [|//**a**//] [|//**b**//] [|//**c**//] Gillies //et al.// (2002, 267–269).
 * 148) ** [|^] ** Morrison (2002, 247–248); Thompson and Taylor (2006a, 109).
 * 149) ** [|^] ** Morrison (2002, 249).
 * 150) ** [|^] ** Morrison (2002, 249–250).
 * 151) ** [|^] ** "Olivier" by Robert Tanitch, Abbeville Press, 1985
 * 152) ** [|^] ** Smallwood (2002, 108); [|National Theatre reviews] Retrieved: 4 December 2007.
 * 153) ** [|^] ** Vincent Canby, "Theatre Review: Ralph Fiennes as Mod Hamlet," //The New York Times// 3 May 1995.
 * 154) ** [|^] ** Ari Panagako, "Dandy Hamlet Bows Uptown", //Heights/Inwood Press of North Manhattan//, 14 June 1978.
 * 155) ** [|^] ** According to the Internet Broadway Database  [|"show"] . // [|Romeo and Juliet] // is the second most-produced Shakespeare play on Broadway, with thirty-four different productions, followed by // [|Twelfth Night] //, with thirty.
 * 156) ** [|^] ** Ian McKellen, Alan Bates, Hugh Hudson, et al. [|//For Ian Charleson: A Tribute//] . London: Constable and Company, 1990. p. 124.
 * 157) ** [|^] ** Barratt, Mark. //Ian McKellen: An Unofficial Biography.// Virgin Books, 2005. p. 63.
 * 158) ** [|^] ** [|"The Readiness Was All: Ian Charleson and Richard Eyre's //Hamlet//,"] by Richard Allan Davison. In //Shakespeare: Text and Theater//, Lois Potter and Arthur F. Kinney, eds. Newark: University of Delaware Press, 1999. pp. 170–182
 * 159) ** [|^] ** Mark Shenton, [|"Jude Law to Star in Donmar's Hamlet."] //The Stage//. 10 September 2007. Retrieved 19 November 2007.
 * 160) ** [|^] ** [|"Cook, Eyre, Lee And More Join Jude Law In Grandage's HAMLET."] broadwayworld.com. 4 February 2009. Retrieved 18 February 2009.
 * 161) ** [|^] ** [|"Jude Law to play Hamlet at 'home' Kronborg Castle."] // [|The Daily Mirror] //. 10 July 2009. Retrieved 14 July 2009.
 * 162) ** [|^] ** [|"Shakespeare's Hamlet with Jude Law".] // [|Charlie Rose Show] //. video 53:55, 2 October 2009. Retrieved 6 October 2009.
 * 163) ** [|^] ** Dave Itzkoff, [|"Donmar Warehouse’s ‘Hamlet’ Coming to Broadway With Jude Law."] // [|New York Times] //. 30 June 2009. Retrieved 10 September 2009.
 * 164) ** [|^] ** //The Fencing Scene//: //Hamlet// 5.2.203–387.
 * 165) ^ [|//**a**//] [|//**b**//] [|//**c**//] Brode (2001, 117–118).
 * 166) ** [|^] ** Davies (2000, 171).
 * 167) ** [|^] **  [|"Innokenti Smoktunovsky - Biography - Movies & TV"] . Movies.nytimes.com . Retrieved 29 May 2010.
 * 168) ** [|^] ** Guntner (2000, 120–121).
 * 169) ** [|^] ** Brode (2001, 125–127).
 * 170) ** [|^] ** From Cartmell (2000, 212), Zeffirelli says he is trying to make Shakespeare "even more popular" in an interview quoted here given to [|The South Bank Show] in December 1997.
 * 171) ** [|^] ** Guntner (2000, 121–122).
 * 172) ** [|^] ** Crowl (2000, 232).
 * 173) ** [|^] ** Starks (1999, 272).
 * 174) ** [|^] ** Keyishian (2000, 78–79).
 * 175) ** [|^] ** Burnett (2000).
 * 176) ** [|^] ** [|Hamlet] [|Great Performances], [|PBS]
 * 177) ** [|^] ** Warren, Jim. [|"Director's Notes"] . American Shakespeare Center . Retrieved 20 June 2009.
 * 178) ** [|^] ** MEL GUSSOW (14 October 1992). [|"Theater in Review"] . //New York Times// . Retrieved 26 June 2011.
 * 179) ** [|^] ** David G. Schultz (July 2008). [|"A Play at Poolside: Caridad Svich's 12 Ophelias"] . The Brooklyn Rail . Retrieved 26 June 2011.
 * 180) ** [|^] ** Quoted in promotional material of "The Magdalena Project:international network of women in contemporary theatre" at [|[1]]

[ [|edit] ] Editions of //Hamlet//

 * Bate, Jonathan, and Eric Rasmussen, eds. 2007. //Complete Works//. By William Shakespeare. The RSC Shakespeare. New York: Modern Library. [|ISBN 0-679-64295-1].
 * Edwards, Phillip, ed. 1985. //Hamlet, Prince of Denmark//. New Cambridge Shakespeare ser. Cambridge: Cambridge University Press. [|ISBN 0-521-29366-9].
 * Hibbard, G. R., ed. 1987. //Hamlet//. Oxford World's Classics ser. Oxford. [|ISBN 0-19-283416-9].
 * Hoy, Cyrus, ed. 1992. //Hamlet//. Norton Critical Edition ser. 2nd ed. New York: Norton. [|ISBN 978-0-393-95663-4].
 * Irace, Kathleen O. 1998. //The First Quarto of Hamlet//. New Cambridge Shakespeare ser. Cambridge: Cambridge University Press. [|ISBN 0-521-65390-8].
 * Jenkins, Harold, ed. 1982. //Hamlet//. The Arden Shakespeare, second ser. London: Methuen. [|ISBN 1-903436-67-2].
 * Lott, Bernard, ed. 1970. //Hamlet//. New Swan Shakespeare Advanced ser. New ed. London: Longman. [|ISBN 0-582-52742-2].
 * Spencer, T. J. B., ed. 1980 //Hamlet//. New Penguin Shakespeare ser. London: Penguin. [|ISBN 0-14-070734-4].
 * Thompson, Ann and Neil Taylor, eds. 2006a. //Hamlet//. The Arden Shakespeare, third ser. Volume one. London: Arden. [|ISBN 1-904271-33-2].
 * ———. 2006b. //Hamlet: The Texts of 1603 and 1623//. The Arden Shakespeare, third ser. Volume two. London: Arden. [|ISBN 1-904271-80-4].
 * 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 0-19-871190-5].

[ [|edit] ] Secondary sources

 * Alexander, Peter. 1964. //Alexander's Introductions to Shakespeare//. London: Collins.
 * Banham, Martin, ed. 1998. //The Cambridge Guide to Theatre//. Cambridge: Cambridge University Press. [|ISBN 0-521-43437-8].
 * Baskerville, Charles Read. ed. 1934. //Elizabethan and Stuart Plays//. New York: Henry Holt and Company.
 * Benedetti, Jean. 1999. //Stanislavski: His Life and Art//. Revised edition. Original edition published in 1988. London: Methuen. [|ISBN 0-413-52520-1].
 * Blits, Jan H. 2001. Introduction. In //Deadly Thought: "Hamlet" and the Human Soul//: 3–22. Langham, MD: Lexington Books. [|ISBN 0-7391-0214-1].
 * [|Bloom, Harold] . 2001. //Shakespeare: The Invention of the Human//. Open Market ed. Harlow, Essex: Longman. [|ISBN 1-57322-751-X].
 * ———. 2003. //Hamlet: Poem Unlimited//. Edinburgh: Cannongate. [|ISBN 1-84195-461-6].
 * Braun, Edward. 1982. //The Director and the Stage: From Naturalism to Grotowski//. London: Methuen. [|ISBN 978-0413463005].
 * 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 978-0-521-30013-1].
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