HAMLET
The Tragedy of Hamlet, Prince of Denmark is a tragedy by William Shakespeare. Set in the Kingdom of
Denmark, the play dramatizes the revenge Prince Hamlet exacts on his uncle Claudius for murdering King
Hamlet, Claudius's brother and Prince Hamlet's father, and then succeeding to the throne and taking as his
wife Gertrude, the old king's widow and Prince Hamlet's mother. The play vividly portrays both true and
feigned madness – from overwhelming grief to seething rage – and explores themes of treachery, revenge,
incest, and moral corruption.
Hamlet is Shakespeare's longest play and among the most powerful and influential tragedies in English
literature, with a story capable of "seemingly endless retelling and adaptation by others." The play was one
of Shakespeare's most popular works during his lifetime and still ranks among his most-performed, topping
the Royal Shakespeare Company's performance list since 1879. 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".
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 also have drawn on or perhaps written an earlier (hypothetical) Elizabethan play known today as
the Ur-Hamlet. He almost certainly created the title role for Richard Burbage, the leading tragedian of
Shakespeare's time. In the 400 years since, the role has been performed by highly acclaimed actors and
actresses from each successive age.
http://en.wikipedia.org/wiki/Hamlet
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“Shakespeare in Love” (1998)
The theatres
1. Where were the theatres located at that time in
London? Why?
2. Did you see any examples of control of the theatres?
3. Why was it not possible to have women actors?
4. Describe the architecture of the theatres.
5. Describe the stage – look at the drawing on the right.
The drawing was created in 1596 by Johannes de Witt, a
Dutch traveller who made the sketch while on a trip to
London, shortly after the Swan playhouse was built.
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The opening lines of the play
ACT I
SCENE I. Elsinore. A platform before the castle.
FRANCISCO at his post. Enter to him BERNARDO
BERNARDO
Who's there?
FRANCISCO
Nay1, answer me: stand, and unfold2 yourself.
BERNARDO
Long live the king3!
FRANCISCO
Bernardo?
BERNARDO
He.
FRANCISCO
You come most carefully upon your hour.
BERNARDO
'Tis now struck twelve; get thee to bed, Francisco.
FRANCISCO
For this relief much thanks: 'tis bitter cold,
And I am sick at heart4.
BERNARDO
Have you had quiet guard?
FRANCISCO
Not a mouse stirring.
BERNARDO
Well, good night.
If you do meet Horatio and Marcellus,
The rivals5 of my watch, bid them make haste.
FRANCISCO
I think I hear them (…)
Questions:
1. What is the situation here (who, where,
what)?
2. What is the first thing the audience sees?
3. What effect does it have that it’s Bernardo
and not Francisco who calls out?
4. Why does Francisco say “Nay”?
5. Identify all words or phrases that help
create the tension.
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Nay = no
Unfold = identify
3
This is the password the guards have to use to identify themselves
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Sick at heart = full of disappointment OR full of fear or grief OR unhappy
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Rivals = partners
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Meet the Ghost
ACT I
SCENE I. Elsinore. A platform before the castle.
(…)
BERNARDO
Welcome, Horatio: welcome, good Marcellus.
MARCELLUS
What, has this thing appear'd again to-night?
BERNARDO
I have seen nothing.
MARCELLUS
Horatio says 'tis but our fantasy,
And will not let belief take hold of him
Touching this dreaded sight, twice seen of us:
Therefore I have entreated6 him along
With us to watch the minutes of this night;
That if again this apparition come,
He may approve our eyes and speak to it.
HORATIO
Tush, tush, 'twill not appear.
BERNARDO
Sit down awhile;
And let us once again assail7 your ears,
That are so fortified against our story
What we have two nights seen.
HORATIO
Well, sit we down,
And let us hear Bernardo speak of this.
BERNARDO
Last night of all,
When yond8 same star that's westward from the pole
Had made his course to illume that part of heaven
Where now it burns, Marcellus and myself,
The bell then beating one,-Enter Ghost
MARCELLUS
Peace, break thee off; look, where it comes again!
BERNARDO
In the same figure, like the king that's dead.
MARCELLUS
Thou art a scholar9; speak to it, Horatio.
BERNARDO
Looks it not like the king? mark10 it, Horatio.
HORATIO
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entreated = asked
assail = attack, challenge
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yond = up there
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scholar = an educated man
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mark = look at
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Most like: it harrows11 me with fear and wonder.
BERNARDO
It would be spoke to12.
MARCELLUS
Question it, Horatio.
HORATIO
What art thou that usurp'st13 this time of night,
Together with that fair and warlike form
In which the majesty of buried Denmark14
Did sometimes march? by heaven I charge thee, speak!
MARCELLUS
It is offended.
BERNARDO
See, it stalks away!
HORATIO
Stay! speak, speak! I charge thee, speak!
Exit Ghost
MARCELLUS
'Tis gone, and will not answer.
BERNARDO
How now, Horatio! you tremble and look pale:
Is not this something more than fantasy?
What think you on't15?
HORATIO
Before my God, I might not this believe
Without the sensible and true avouch16
Of mine own eyes.
MARCELLUS
Is it not like the king?
HORATIO
As thou art to thyself:
Such was the very armour he had on
When he the ambitious Norway combated17;
So frown'd he once, when, in an angry parle18,
He smote the sledded Polacks19 on the ice.
'Tis strange.
MARCELLUS
Thus twice before, and jump at this dead hour,
With martial20 stalk hath he gone by our watch.
HORATIO
In what particular thought to work I know not;
But in the gross and scope 21of my opinion,
This bodes22 some strange eruption23 to our state.
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harrows = fills
It wants us to speak to it
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usurp’st = steals
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the buried King of Denmark
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on’t = about it
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avouch = proof
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combated = fought
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parle = battle
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He beat the Polish soldiers on their sledges
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martial = like a warrior
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Questions:
6. How many times have Marcellus and Bernardo seen the Ghost?
7. What is Horatio’s initial attitude to this?
8. At what time does it appear?
9. In what way does the Ghost ressemble the dead King?
10. What do we learn about the dead King?
11. How does Horatio interprete the Ghost’s appearance?
12. Later on, they describe the Ghost as both “majestical” and “a guilty thing”. What does that
indicate?
After this appearance of the Ghost, Horatio and Marcellus talk about the situation in Denmark. The
country is preparing for war against Norway; shipbuilders are even called in to work on Sundays which is
a sin in a Christian country. Fortinbras, the Norwegian Prince, wants to invade Denmark to win back the
land his father lost when King Hamlet killed him.
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all in all
bodes = forebodes = signals
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eruption = that something strange will happen
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Summary
Scene 1
Denmark is in a state of alert fearing a Norwegian invasion. A Ghost closely
resembling the late King appears.
Scene 2
Claudius, the new King of Denmark, has married his brother’s widow Gertrude. He
addresses the court, but his nephew, the dead King’s son Prince Hamlet, responds
with bitterness. In a soliloquy, Hamlet expresses his disgust. Hearing of the ghost, he
decides to speak to it.
Scene 3
Hamlet has declared his affection for Ophelia. Her brother, Laertes, and her father,
Polonius, instruct her to reject Hamlet’s love. She promises to do so.
Scene 4
The Ghost appears and signals to Hamlet to follow him.
Scene 5
Alone with Hamlet, the Ghost tells him that he is the spirit of Hamlet’s father who
was poisoned by Claudius. The Ghost commands Hamlet to avenge his death.
Hamlet decides to play mad and vows his friends, Horatio and Marcellus, to secrecy.
Scene 1
Ophelia tells her father about a strange visit she has had from Hamlet. Polonius
decides to tell the King.
Scene 2
Claudius determines to spy on Hamlet. A company of actors arrives, and Hamlet
makes a plan to test the truth of the Ghost’s story.
Scene 1
The King and Polonius eavesdrop on the conversation between Hamlet and Ophelia.
The King is convinced that his nephew is dangerous.
Scene 2
The play-within-the-play is performed and breaks up in confusion.
Scene 3
The King prays to God for forgiveness, not knowing that Hamlet, given the
opportunity to kill him, spares his life.
Scene 4
Hamlet kills Polonius accidentally. Rebuked by her son, Gertrude confesses her sins.
The Ghost reappears. Hamlet hides Polonius’ body.
Scene 1
Alone together the King and Queen tell each other lies.
Scene 2
Rosencrantz and Guildenstern, the King’s hirelings, ask Hamlet where he has hidden
Polonius’ body.
Scene 3
Polonius’ body is discovered. Hamlet is sent to England where Claudius plans to
have him executed.
Scene 4
Hamlet meets the army of Fortinbras, Prince of Norway, on its way to fight in
Poland. Hamlet reflects on the nature of honour.
Scene 5
Ophelia goes mad and Laertes returns to avenge his father, Polonius.
Scene 6
We learn that Hamlet has escaped back to Denmark.
Scene 7
Claudius and Laertes plan Hamlet’s death.
Scene 1
Two gravediggers discuss Ophelia’s suicide. Hamlet meditates on death and then
fights Laertes by Ophelia’s grave.
Scene 2
Hamlet is challenged to a fencing match with Laertes. Claudius poisons Hamlet’s
wine, but Gertrude drinks it. Both Hamlet and Laertes are struck by a poisoned
blade. Before they die, everything is sorted out and Hamlet forces Claudius to drink
the poisoned wine. They die, and Fortinbras arrives and becomes King of Denmark.
ACT I
ACT II
ACT III
ACT IV
ACT V
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From: Hamlet – Cambridge School Edition , CUP, 1994
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Hamlet’s soliloquies
A soliloquy is a kind of internal debate spoken by a character who is alone on stage (or believes himself or
herself to be alone). Soliloquies reveal the character’s true thoughts and feelings.
Hamlet has 7 soliloquies:
Act I, Scene 2:
“O that this too too solid flesh would melt…” (pp. 74-75)
Act I, Scene 5:
“O all you host of heaven! O earth! what else?...” (pp. 92-93)
Act II, Scene 2:
“Now I am alone….” (pp. 120-121)
Act III, Scene 1:
“To be, or not to be, that is the question -…” (pp. 124-125)
Act III, Scene 3:
“’Tis now the very witching time of night,…” (p. 142)
Act III, Scene 3:
“Now might I do it pat, now a is a-praying,…” (pp. 144-145)
ACT IV, Scene 4:
“How all occasions do inform against me,…” (pp. 160-161)
Questions for “O that this too too solid flesh would melt…” (pp. 74-75)
1.
2.
3.
4.
5.
6.
7.
8.
9.
Put the soliloquy into context: what is the background for this speech?
What does Hamlet want to do, and why is it impossible? (lines 129-132)
What is it that he describes as “weary, stale, flat” etc.? (lines 133-137
What was his father like and how does he compare him to Claudius? (lines 138-140)
What does he say about his parents’ love for each other? (lines 140-145)
What are his feelings for his mother’s recent marriage to Claudius? (lines 146-157)
What does he conclude and what does he decide? (lines 158-159)
What does the audience learn from this soliloquy?
What does this soliloquy add to the plot?
Questions for “O all you host of heaven! O earth! what else?...” (pp. 92-93)
1.
2.
3.
4.
Put the soliloquy into context: what is the background for this speech?
What does Hamlet swear?
What does the audience learn from this soliloquy?
What does this soliloquy add to the plot?
Questions for “Now I am alone….” (pp. 120-121)
1.
2.
3.
4.
5.
6.
7.
Put the soliloquy into context: what is the background for this speech?
What is he saying about the actor? (lines 457-563)
And about himself? (lines 563-586)
Comment on what he is saying about the ghost (line 582, lines 596-601).
He gets an idea. What is it? (lines 586-603)
What does the audience learn from this soliloquy?
What does this soliloquy add to the plot?
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Questions for “To be, or not to be, that is the question -…” (pp. 124-125)
1.
2.
3.
4.
5.
6.
7.
8.
Put the soliloquy into context: what is the background for this speech?
What is he thinking about (again) in lines 56 to 60?
What is he looking forward to in lines 60 to 64?
In lines 64 to 68 he is talking about a rub, an obstacle. What is the problem?
What is it that makes people endure life? (lines 68-82)
What is the problem with “conscience” and “thought”? (lines 83-88)
What does the audience learn from this soliloquy?
What does this soliloquy add to the plot?
Questions for “’Tis now the very witching time of night,…” (p. 142)
1. Put the soliloquy into context: what is the background for this speech?
2. In Shakespeare’s time, revenge was a crime in law, and was also an irreligious act. For the Church of
the late sixteenth century, revenge was considered a sin. The revenger’s soul was damned,
condemned to suffer everlasting torment in hell. How do we see this in this soliloquy?
3. What does the reference to Nero (line 401) indicate?
4. What does the audience learn from this soliloquy?
5. What does this soliloquy add to the plot?
Questions for “Now might I do it pat, now a is a-praying,…” (pp. 144-145)
1.
2.
3.
4.
5.
6.
Why would it not be revenge to kill Claudius at this point? (lines 73-79)
Why is it that Hamlet’s father did not go to heaven, but must be a ghost? (lines 80-84)
What does he answer “no” to in line 87?
What does Hamlet decide to do? (lines 88-96)
What does the audience learn from this soliloquy?
What does this soliloquy add to the plot?
Questions for “How all occasions do inform against me,…” (pp. 160-161)
1.
2.
3.
4.
5.
6.
7.
Put the soliloquy into context: what is the background for this speech?
What is the meaning of the first two lines, and why the word “spur”? (lines 32-33)
What is the difference between man and beast? (lines 33-43)
What can he learn from Fortinbras (a delicate and tender prince)? (lines 43-56)
How does Hamlet convince himself that he should not delay in his revenge? (lines 56-66)
What does the audience learn from this soliloquy?
What does this soliloquy add to the plot?
AF/ 2015
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