经典诵读（戏剧）
孟晓
mengxiao@sdu.edu.cn
Hamlet 哈姆雷特
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To be or not to be,
That is the question.
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Contents
•
•
•
•
Shakespear’s life
Shakespear’s works
Hamlet
Quotes
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• Born in a businessman family in 1564
• Very little is known about education background
• Married to Anne Hathaway(8 years older than
him) on November the 28th, 1582
• Left hometown to London for living (20
years ,one visit to hometown)
• Began to write plays and poems
• Back to hometwon in 1613
• Passed away in 1616
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Shakespear’s House in Stratford-upon-Avon, England
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Written upon William Shakespeare’s tombstone
• Good friend, for Jesus´ sake forbeare
To digg the dust enclosed here!
Blest be ye man that spares thes stones
And curst be he that moues my bones.
看在上帝的面上，
请不要动我的坟墓，
妄动者将遭到诅咒，
保护者将受到祝福
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创作概况
创作时间： 1590-1612
叙事长诗：两部
创作成果
十四行诗：一百五十
四首
戏
剧：三十七部
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创作经历 （三个时期）：
时间范围：1590年－1600年
第
一
时
期
创作类型： 历史剧、喜剧、诗歌
具
体
成
就
历史剧（九部）
喜 剧 （十部）
诗歌若干
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感情基调：乐观、激越、明朗
《仲夏夜之梦》
四
大
喜
剧
作
品
A Midsummer Night‘s Dream
《皆大欢喜》
As You Like It
《第十二夜》
Twelfth Night
《威尼斯商人》
The Merchant of Venice
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莎士比亚环球剧院
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《
威
尼
斯
商
人
》
剧
照
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《
仲
夏
夜
之
梦
》
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以“爱情”为题材的悲剧《罗密欧与朱丽叶》
（1594）
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第二时期
1601-1607
创作类型
悲剧、悲喜剧
创作状态
高峰期
代表作品
四
大
悲
剧
作
品
《麦克白》
《李尔王》
《哈姆雷特》
《奥塞罗》
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以复仇为线“复仇悲剧”：《哈姆雷特》（1601）
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1603
爱由
情于
悲“
剧轻
信
”
导
致
的
《
奥
赛
罗
》
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揭露“野心”、
“金
钱”、“权势”等
罪恶
的悲剧
《李尔王》（1605）
（世态炎凉中真情
的悲剧 ）
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《麦克白》（1606）
（没有节制的野心导致的悲剧）
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第三时期：时间范围：1608－1612
创作类别：传奇剧
代表作品：《辛白林》《暴风雨》
以神话般的 传奇方式，描绘人世
间的悲欢离合，揭露现实的阴暗冷酷。同时
以仁爱、宽恕和谅解的精神，对社会矛盾的
解决进行了探索。
感情基调：清丽、俊秀
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Hamlet 哈姆雷特
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The Plot overview
•
•
•
•
•
•
Ghost story
Hamlet’s personal relation plight
Test of murder story
Hamlet’s exile
Duel : Laertes vs. Hamlet
Final revenge
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Hamlet Character Map
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Ghost
• On a dark winter night, a ghost walks the ramparts of Elsinore
Castle in Denmark. Discovered first by a pair of watchmen,
then by the scholar Horatio, the ghost resembles the recently
deceased King Hamlet, whose brother Claudius has inherited
the throne and married the king’s widow, Queen Gertrude.
When Horatio and the watchmen bring Prince Hamlet, the son
of Gertrude and the dead king, to see the ghost, it speaks to
him, declaring ominously that it is indeed his father’s spirit,
and that he was murdered by none other than Claudius.
Ordering Hamlet to seek revenge on the man who usurped his
throne and married his wife, the ghost disappears with the
dawn.
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Menu
Hamlet’s personal relation plight
• Prince Hamlet devotes himself to avenging his father’s
death, but, because he is contemplative and thoughtful by
nature, he delays, entering into a deep melancholy and
even apparent madness. Claudius and Gertrude worry
about the prince’s erratic behavior and attempt to discover
its cause. They employ a pair of Hamlet’s friends,
Rosencrantz and Guildenstern, to watch him. When
Polonius, the pompous Lord Chamberlain, suggests that
Hamlet may be mad with love for his daughter, Ophelia,
Claudius agrees to spy on Hamlet in conversation with the
girl. But though Hamlet certainly seems mad, he does not
seem to love Ophelia: he orders her to enter a nunnery and
declares that he wishes to ban marriages.
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Test of Murder story
• A group of traveling actors comes to Elsinore, and Hamlet
seizes upon an idea to test his uncle’s guilt. He will have the
players perform a scene closely resembling the sequence by
which Hamlet imagines his uncle to have murdered his father,
so that if Claudius is guilty, he will surely react. When the
moment of the murder arrives in the theater, Claudius leaps up
and leaves the room. Hamlet and Horatio agree that this proves
his guilt. Hamlet goes to kill Claudius but finds him praying.
Since he believes that killing Claudius while in prayer would
send Claudius’s soul to heaven, Hamlet considers that it would
be an inadequate revenge and decides to wait.
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Hamlet’s Exile
• Claudius, now frightened of
Hamlet’s
madness
and
fearing for his own safety,
orders that Hamlet be sent
to England at once. Hamlet
goes to confront his mother,
in
whose
bedchamber
Polonius has hidden behind
a tapestry. Hearing a noise
from behind the tapestry,
Hamlet believes the king is
hiding there. He draws his
sword and stabs through the
fabric, killing Polonius.
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• For this crime, he is immediately dispatched to
England with Rosencrantz and Guildenstern.
However, Claudius’s plan for Hamlet includes more
than banishment, as he has given Rosencrantz and
Guildenstern sealed orders for the King of England
demanding that Hamlet be put to death.
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Duel Arranged
• In the aftermath of her father’s death, Ophelia goes mad with
grief and drowns in the river. Polonius’s son, Laertes, who has
been staying in France, returns to Denmark in a rage. Claudius
convinces him that Hamlet is to blame for his father’s and
sister’s deaths. When Horatio and the king receive letters from
Hamlet indicating that the prince has returned to Denmark
after pirates attacked his ship en route to England, Claudius
concocts a plan to use Laertes’ desire for revenge to secure
Hamlet’s death. Laertes will fence with Hamlet in innocent
sport, but Claudius will poison Laertes’ blade so that if he
draws blood, Hamlet will die.
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Final revenge
• The sword-fighting begins. Hamlet scores the first hit, but
declines to drink from the king’s proffered goblet. Instead,
Gertrude takes a drink from it and is swiftly killed by the
poison. Laertes succeeds in wounding Hamlet, though Hamlet
does not die of the poison immediately. First, Laertes is cut by
his own sword’s blade, and, after revealing to Hamlet that
Claudius is responsible for the queen’s death, he dies from the
blade’s poison. Hamlet then stabs Claudius through with the
poisoned sword and forces him to drink down the rest of the
poisoned wine. Claudius dies, and Hamlet dies immediately
after achieving his revenge.
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第一幕 矛盾冲突的揭示：
鬼魂显灵，告知真相，要求复仇，疑惧 被证实。
第二幕 矛盾冲突的高涨：
得知真相，立誓报仇，佯装疯狂试探虚实，再次求证
第三幕 矛盾双方的照面：
哲理思考，怒责母亲，误杀波洛涅斯
第四幕 矛盾冲突白热化：
国王设计陷害，阴谋假英王之手除去心腹大患。
第五幕 矛盾双方的对决：
国王安排圈套，设计斩草除根；哈姆雷特复仇，同归
于尽，大悲剧结局。
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soliloquy
To be, or not to be: that is the question:
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles,
And by opposing end them?
To die,—to sleep,—
No more; and by a sleep to say we end
The heartache, and the thousand natural shocks
That flesh is heir to,—’tis a consummation
Devoutly to be wish’d. To die,—to sleep;—
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To sleep: perchance to dream:-ay, there’s the rub;
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause: there’s the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor’s wrong, the proud man’s contumely,
The pangs of despis’d love, the law’s delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would these fardels bear,
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To grunt and sweat under a weary life,
But that the dread of something after death,—
The undiscover’d country, from whose bourn
No traveller returns,—puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o’er with the pale cast of thought;
And enterprises of great pitch and moment,
With this regard, their currents turn awry,
And lose the name of action. (end)
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Questions:
1.“To be, or not to be” is the most famous line in English
literature. What does it mean? Why are these words
and what follows special?
2.what’s the main rhetorical devices in this soliloquy?
3. What are the themes of this soliloquy?
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• “To be, or not to be,” that is,
to live or not to live. There are
some other explanations.
• It also means “to do nothing
or fight back”, or “remain the
same or change” and so on. As far
as the context is concerned in this
soliloquy, “to live or not to live”
can be more persuasive.
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• One reason is that they are a stunning example of
Shakespeare’s ability to make his characters seem
three-dimensional. The audience senses that there is
more to Hamlet’s words than meets the ear—that
there is something behind his words that is never
spoken. Or, to put it another way, the audience
witnesses signs of something within Hamlet’s mind
that even he isn’t aware of. Hamlet is a fictional
character who seems to possess a subconscious mind.
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• Hamlet doesn’t talk directly about what he’s really
talking about. When he questions whether it is better
“to be, or not to be,” the obvious implication is,
“Should I kill myself?” The entire soliloquy strongly
suggests that he is toying with suicide and perhaps
trying to work up his courage to do it. But at no point
does he say that he is in pain or discuss why he wants
to kill himself.
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• In fact, he never says “I” or “me” in the entire speech.
He’s not trying to “express” himself at all; instead, he
poses the question as a matter of philosophical debate.
When he claims that everybody would commit
suicide if they weren’t uncertain about the afterlife, it
sounds as if he’s making an argument to convince an
imaginary listener about an abstract point rather than
directly addressing how the question applies to him.
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Comparisons: metaphor
• Examples: “[t]he slings and arrows of outrageous
fortune,” passively or to actively seek to end one’s
suffering?
• He compares death to sleep and thinks of the end to
suffering, pain, and uncertainty it might bring, “[t]he
heartache, and the thousand natural shocks / That
flesh is heir to.”
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Parallelism:
• “For who would bear the whips and scorns of time,
The oppressor’s wrong, the proud man’s contumely,
The pangs of despis’d love, the law’s delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes”
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Themes of this soliloquy
• this speech connects many of the play’s main themes,
including the idea of suicide and death, the difficulty of
knowing the truth in a spiritually ambiguous universe, and the
connection between thought and action.
• In addition to its crucial thematic content, this speech is
important for what it reveals about the quality of Hamlet’s
mind. His deeply passionate nature is complemented by a
relentlessly logical intellect, which works furiously to find a
solution to his misery. He has turned to religion and found it
inadequate to help him either kill himself or resolve to kill
Claudius. Here, he turns to a logical philosophical inquiry and
finds it equally frustrating.
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Tragedy
• a serious play or novel representing the disastrous
downfall of a central character, the protagonist.
According to Aristotle, the purpose is to achieve a
catharsis through incidents arousing pity and terror.
The tragic effect usually depends on our awareness of
admirable qualities in the protagonist, which are
wasted terribly in the fated disaster.
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Monologue[‘mɔnəlɔɡ] 独白
• an extended speech uttered by one speaker, either to
others or alone. Significant varieties include the
dramatic monologue (a kind of poem in which the
speaker is imagined to be addressing a silent
audience), and the soliloquy (in which the speaker is
supposed to be “overheard” while alone).独白
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Soliloquy [sə'liləkwi]独白；自言自语
• a dramatic speech delivered by one character speaking
aloud while under the impression of being alone. The
soliloquist thus reveals his or her inner thoughts and
feelings to the audience, either in supposed selfcommunion or in a consciously direct address. It is
also known as interior monologue.内心独白
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Analysis of Hamlet the character
1. enigmatic
2. philosophical and contemplative
3. rash and impulsive
4. melancholy and discontented
5. personal and philosophical concerns
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Analysis of the Character of Hamlet
1.Hamlet is enigmatic. Hamlet actually tells other
characters that there is more to him than meets the
eye—notably, his mother, and Rosencrantz and
Guildenstern—but his fascination involves much
more than this. When he speaks, he sounds as if
there’s something important he’s not saying,
maybe something even he is not aware of. The
ability to write soliloquies and dialogues that
create this effect is one of Shakespeare’s most
impressive achievements.
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• 2.Hamlet is extremely philosophical and
contemplative. He is particularly drawn to difficult
questions or questions that cannot be answered
with any certainty. Faced with evidence that his
uncle murdered his father, evidence that any other
character in a play would believe, Hamlet becomes
obsessed with proving his uncle’s guilt before
trying to act. The standard of “beyond a reasonable
doubt” is simply unacceptable to him. He is
equally plagued with questions about the afterlife,
about the wisdom of suicide, about what happens
to bodies after they die—the list is extensive.
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3.Hamlet also behaves rashly and impulsively.
When he does act, it is with surprising swiftness
and little or no premeditation, as when he stabs
Polonius through a curtain without even checking
to see who he is. He seems to step very easily into
the role of a madman, behaving erratically（不规律
的） and upsetting the other characters with his
wild speech and pointed innuendos（影射，暗讽）.
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• 4.Hamlet is extremely melancholy and
discontented with the state of affairs in Denmark
and in his own family—indeed, in the world at
large. He is extremely disappointed with his
mother for marrying his uncle so quickly, and he
repudiates Ophelia, a woman he once claimed to
love, in the harshest terms. His words often
indicate his disgust with and distrust of women in
general. At a number of points in the play, he
contemplates his own death and even the option of
suicide.
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5.But, despite all of the things
with which Hamlet professes
dissatisfaction, it is remarkable
that the prince and apparent heir
of Denmark should think about
these problems only in personal
and philosophical terms. He spends
relatively little time thinking about
the threats to Denmark’s national
security from without or the threats
to its stability from within (some of
which he helps to create through his
own carelessness).
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Shakespear’s quotes
Do not , for one repulse , give up the purpose that you resolved to
effect.
不要只因一次失败，就放弃你原来决心想达到的目的。
A light heart lives long. 豁达者长寿。
In delay there lies no plenty , Then come kiss me , sweet and twenty ,
Youth's a stuff that will not endure .
迁延蹉跎,来日无多,二十丽株,请来吻我,衰草枯杨,青春易过。
The time of life is short ; to spend that shortness basely , it would be
too long .
人生苦短，若虚度年华，则短暂的人生就太长了。
Don't gild the lily. 不要给百合花镀金/画蛇添足。
The empty vessels make the greatest sound .
满瓶不响，半瓶咣当。
Just be myself.超越你自己。
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图
片
欣
赏
伊丽莎白
跳过
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《仲夏夜之梦》（1595-1596）
A Midsummer Night’s Dream
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《温莎的风流娘儿们》（1598-1601）
The Merry Wives of Windsor
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《第十二夜》
Twelfth Night （1599-1600）
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威尼斯商人
Bassanio and Portia
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朱丽叶
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罗密欧与朱丽叶
返回
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奥赛罗
The Meeting of Othello and Desdemona
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李尔王
King Lear and the Fool in the Storm
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麦克白
The Three Witches
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暴风雨
The Tempest
返回
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暴风雨
Ariel
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哈姆雷特
The Young Lord Hamlet
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哈姆雷特
Ophelia
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哈姆雷特
Hamlet and the Ghost
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戏中戏
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雅典的泰门
Timon and Apemantus
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Come Unto These Yellow Sands
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莎士比亚铜像
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伊丽莎白时代典型剧场
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莎士比亚故居和签名
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奥赛罗封面
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《请君入瓮》
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问题：
1. 试分析哈姆雷特独白的两个层次。
2. 试分析哈姆雷特的艺术形象。
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