641:, interrupts the conversation to deliver the fencing challenge to Hamlet. Hamlet, despite Horatio's pleas, accepts it. Hamlet does well at first, leading the match by two hits to none, and Gertrude raises a toast to him using the poisoned glass of wine Claudius had set aside for Hamlet. Claudius tries to stop her but is too late: she drinks, and Laertes realizes the plot will be revealed. Laertes slashes Hamlet with his poisoned blade. In the ensuing scuffle, they switch weapons, and Hamlet wounds Laertes with his own poisoned sword. Gertrude collapses and, claiming she has been poisoned, dies. In his dying moments, Laertes reconciles with Hamlet and reveals Claudius's plan. Hamlet rushes at Claudius and kills him. As the poison takes effect, Hamlet, hearing that Fortinbras is marching through the area, names the Norwegian prince as his successor. Horatio, distraught at the thought of being the last survivor and living whilst Hamlet does not, says he will commit suicide by drinking the dregs of Gertrude's poisoned wine, but Hamlet begs him to live on and tell his story. Hamlet dies in Horatio's arms, proclaiming "the rest is silence". Fortinbras, who was ostensibly marching towards Poland with his army, arrives at the palace, along with an English ambassador bringing news of Rosencrantz and Guildenstern's deaths. Horatio promises to recount the full story of what happened, and Fortinbras, seeing the entire Danish royal family dead, takes the crown for himself and orders a military funeral to honour Hamlet.
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1876:(1949). Influenced by Jones's psychoanalytic approach, several productions have portrayed the "closet scene", 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. Ophelia is overwhelmed by having her unfulfilled love for him so abruptly terminated and drifts into the oblivion of insanity. In 1937,
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question of length may be considered as separate from issues of poor textual quality. Editing Q1 thus poses problems in whether or not to "correct" differences from Q2 and F. Irace, in her introduction to Q1, wrote that "I have avoided as many other alterations as possible, because the differences...are especially intriguing...I have recorded a selection of Q2/F readings in the collation." 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. Other productions have used the probably superior Q2 and Folio texts, but used Q1's running order, in particular moving the
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reference to a place of chastity and a slang term for a brothel, reflecting Hamlet's confused feelings about female sexuality. However Harold
Jenkins does not agree, having studied the few examples that are used to support that idea, and finds that there is no support for the assumption that "nunnery" was used that way in slang, or that Hamlet intended such a meaning. The context of the scene suggests that a nunnery would not be a brothel, but instead a place of renunciation and a "sanctuary from marriage and from the world’s contamination". Thompson and Taylor consider the brothel idea incorrect considering that "Hamlet is trying to deter Ophelia from
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505:, admits her interest in Hamlet, but Laertes warns her against seeking the prince's attention, and Polonius orders her to reject his advances. That night on the rampart, the ghost appears to Hamlet, tells the prince that he was murdered by Claudius (by pouring poison into his ear as he slept), and demands that Hamlet avenge the murder. Hamlet agrees, and the ghost vanishes. The prince confides to Horatio and the sentries that from now on he plans to "put an antic disposition on", or act as though he has gone mad. Hamlet forces them to swear to keep his plans for revenge secret; however, he remains uncertain of the ghost's reliability.
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2080:'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 praised by many feminist critics, combating what is, by Heilbrun's argument, centuries' worth of misinterpretation. By this account, Gertrude's worst crime is of pragmatically marrying her brother-in-law in order to avoid a power vacuum. This is borne out by the fact that King Hamlet's ghost tells Hamlet to leave Gertrude out of Hamlet's revenge, to leave her to heaven, an arbitrary mercy to grant to a conspirator to murder.
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2087:. 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. 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.
1305:" 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." However, 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. New Cambridge editor Kathleen Irace has noted that "Q1's more linear plot design is certainly easier to follow but the simplicity of the Q1 plot arrangement eliminates the alternating plot elements that correspond to Hamlet's shifts in mood."
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1801:, Freud says that according to his experience "parents play a leading part in the infantile psychology of all persons who subsequently become psychoneurotics," and that "falling in love with one parent and hating the other" is a common impulse in early childhood, and is important source material of "subsequent neurosis". He says that "in their amorous or hostile attitude toward their parents" neurotics reveal something that occurs with less intensity "in the minds of the majority of children". Freud considered that Sophocles’ tragedy,
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271:. The editors of the Arden Shakespeare question the idea of "source hunting", pointing out that it presupposes that authors always require ideas from other works for their own, and suggests that no author can have an original idea or be an originator. When Shakespeare wrote, there were many stories about sons avenging the murder of their fathers, and many about clever avenging sons pretending to be foolish in order to outsmart their foes. This would include the story of the ancient Roman,
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518:, two student acquaintances of Hamlet, to Elsinore. The royal couple has requested that the two students investigate the cause of Hamlet's mood and behaviour. Additional news requires that Polonius wait to be heard: messengers from Norway inform Claudius that the king of Norway has rebuked Prince Fortinbras for attempting to re-fight his father's battles. The forces that Fortinbras had conscripted to march against Denmark will instead be sent against
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744:. Written in Latin, it reflects classical Roman concepts of virtue and heroism, and was widely available in Shakespeare's day. 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
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repression that "belongs to an early stage of our individual development". The audience identifies with the character of Hamlet, because "we are victims of the same conflict." 3) It is the nature of theatre that "the struggle of the repressed impulse to become conscious" occurs in both the hero onstage and the spectator, when they are in the grip of their emotions, "in the manner seen in psychoanalytic treatment".
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though he is not. The contrast (appearance and reality) is also expressed in several "spying scenes": Act two begins with
Polonius sending Reynaldo to spy on his son, Laertes. Claudius and Polonius spy on Ophelia as she meets with Hamlet. In act two, Claudius asks Rosencrantz and Guildenstern to spy on Hamlet. Similarly, the play-within-a-play is used by Hamlet to reveal his step-father's hidden nature.
2991:, running four and a half hours. Evans later performed a highly truncated version of the play that he played for South Pacific war zones during World War II which made the prince a more decisive character. The staging, known as the "G.I. Hamlet", was produced on Broadway for 131 performances in 1945/46. Olivier's 1937 performance at The Old Vic was popular with audiences but not with critics, with
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Claudius's plan. Claudius switches tactics, proposing a fencing match between
Laertes and Hamlet to settle their differences. Laertes will be given a poison-tipped foil, and, if that fails, Claudius will offer Hamlet poisoned wine as a congratulation. Gertrude interrupts to report that Ophelia has drowned, though it is unclear whether it was suicide or an accident caused by her madness.
1511:. 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
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559:. When Ophelia enters and tries to return Hamlet's things, Hamlet accuses her of immodesty and cries "get thee to a nunnery", though it is unclear whether this, too, is a show of madness or genuine distress. His reaction convinces Claudius that Hamlet is not mad for love. Shortly thereafter, the court assembles to watch the play Hamlet has commissioned. After seeing the
1282:, 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 after which the action appears to continue uninterrupted.
2861:, offering a dream-like vision as seen through Hamlet's eyes alone. This was most evident in the staging of the first court scene. 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
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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 preserved 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.
1162:): In 1604 Nicholas Ling published, and James Roberts printed, the second quarto, under the same name as the first. 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 about 77 lines found in F1 (most likely to avoid offending
1472:. It might require more than four hours to stage; a typical Elizabethan play would need two to three hours. It is speculated that because of the considerable length of Q2 and F1, there was an expectation that those texts would be abridged for performance, or that Q2 and F1 may have been aimed at a reading audience.
1534:: "to die: to sleep— / To sleep, perchance to dream". 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". At times, he relies heavily on
1863:, directed by Thomas Hopkins, "broke new ground in its Freudian approach to character", in keeping with the post-World War I rebellion against everything Victorian. He had a "blunter intention" than presenting the genteel, sweet prince of 19th-century tradition, imbuing his character with virility and lust.
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in the title role, the actor playing the ghost fell through the floorboards, and the rural audience thought it was part of the show and demanded that the actor repeat the fall, because they thought it was funny. Baum would later recount the actual story in an article, but the short story is told from
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Hamlet's enquiring mind has been open to all kinds of ideas, but in act five he has decided on a plan, and in a dialogue with
Horatio he seems to answer his two earlier soliloquies on suicide: "We defy augury. There is special providence in the fall of a sparrow. If it be now, 'tis not to come; if it
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The contrast between appearance and reality is a significant theme. Hamlet is presented with an image, and then interprets its deeper or darker meaning. Examples begin with Hamlet questioning the reality of the ghost. It continues with Hamlet's taking on an "antic disposition" in order to appear mad,
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Q1 was discovered in 1823. Only two copies are extant. According to
Jenkins, "The unauthorized nature of this quarto is matched by the corruption of its text." Yet Q1 has value: it contains stage directions (such as Ophelia entering with a lute and her hair down) that reveal actual stage practices in
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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. Eileen Herlie repeated her role from
Olivier's film version as the Queen, and the voice of Gielgud was heard
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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 (137 performances). The performance was set on a bare stage, conceived to appear like
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is an exception in that psychopathic characters are usually ineffective in stage plays; they "become as useless for the stage as they are for life itself", because they do not inspire insight or empathy, unless the audience is familiar with the character's inner conflict. Freud says, "It is thus the
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Hamlet is able to perform any kind of action except taking revenge on the man who murdered his father and has taken his father's place with his mother—Claudius has led Hamlet to realize the repressed desires of his own childhood. The loathing which was supposed to drive him to revenge is replaced by
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There is no subplot, but the play presents the affairs of the courtier
Polonius, his daughter, Ophelia, and his son, Laertes—who variously deal with madness, love and the death of a father in ways that contrast with Hamlet's. The graveyard scene eases tension prior to the catastrophe, and, as Hamlet
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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.
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to his son, and Polonius offering "precepts" to his son, Laertes. Jenkins suggests that any personal satire may be found in the name "Polonius", which might point to a Polish or Polonian connection. G. R. Hibbard hypothesised that differences in names (Corambis/Polonius:Montano/Raynoldo) between the
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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 seen as honest
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volume on Hamlet, editors Bloom and Foster express a conviction that the intentions of Shakespeare in portraying the character of Hamlet in the play exceeded the capacity of the Freudian Oedipus complex to completely encompass the extent of characteristics depicted in Hamlet throughout the tragedy:
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is capable of moving a modern reader or playgoer no less powerfully than it moved the contemporary Greeks". He suggests that "It may be that we were all destined to direct our first sexual impulses toward our mothers, and our first impulses of hatred and violence toward our fathers." Freud suggests
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That Q1 is so much shorter than Q2 has spurred speculation that Q1 is an early draft, or perhaps an adaptation, a bootleg copy, or a stage adaptation. On the title page of Q2, its text is described as "newly imprinted and enlarged to almost as much again as it was." That is probably a comparison to
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readings, returning madness and the ghost to the forefront. 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. These developments represented a fundamental
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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
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Hamlet, believing it is Claudius, stabs wildly, killing Polonius, but he pulls aside the curtain and sees his mistake. In a rage, Hamlet brutally insults his mother for her apparent ignorance of Claudius's villainy, but the ghost enters and reprimands Hamlet for his inaction and harsh words. Unable
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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
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opened their production, directed by H.K. Ayliff at the Kingsway Theatre on August 25, 1925. Ivor Brown reported, "Many of the first night audience came to scoff and remained to hold its breath, to marvel and enjoy. . . .Shakespeare's victory over time and tailoring was swift and sweeping." Horace
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all of which is part of his consideration of the causes of neurosis. Freud does not offer over-all interpretations of the plays, but uses the two tragedies to illustrate and corroborate his psychological theories, which are based on his treatments of his patients and on his studies. Productions of
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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, she claims, is simultaneously a
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for its internal, individual conflict reflecting the strong contemporary emphasis on internal struggles and inner character in general. Then too, critics started to focus on Hamlet's delay as a character trait, rather than a plot device. This focus on character and internal struggle continued into
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Unhinged by grief at Polonius's death, Ophelia wanders Elsinore. Laertes arrives back from France, enraged by his father's death and his sister's madness. Claudius convinces Laertes that Hamlet is solely responsible, but a letter soon arrives indicating that Hamlet has returned to Denmark, foiling
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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". The first actor known to
1805:, with its story that involves crimes of parricide and incest, "has furnished us with legendary matter which corroborates" these ideas, and that the "profound and universal validity of the old legends" is understandable only by recognizing the validity of these theories of "infantile psychology".
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is an early work by Shakespeare, which he then rewrote. Professor Terri Bourus in 2016, one of three general editors of the New Oxford Shakespeare, in her paper "Enter Shakespeare's Young Hamlet, 1589" suggests that Shakespeare was "interested in sixteenth-century French literature, from the very
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Gertrude summons Hamlet to her chamber to demand an explanation. Meanwhile, Claudius talks to himself about the impossibility of repenting, since he still has possession of his ill-gotten goods: his brother's crown and wife. He sinks to his knees. Hamlet, on his way to visit his mother, sneaks up
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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 ... thinks before he acts, a trait indicative of great
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have also captured the attention of scholars. Hamlet interrupts himself, vocalising either disgust or agreement with himself and embellishing his own words. He has difficulty expressing himself directly and instead blunts the thrust of his thought with wordplay. It is not until late in the play,
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the development of the plot or the action are determined by the unfolding of Hamlet's character. The soliloquies do not interrupt the plot, instead they are highlights of each block of action. The plot is the developing revelation of Hamlet's view of what is "rotten in the state of Denmark." The
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of the play as Shakespeare's company performed it, by an actor who played a minor role (most likely Marcellus). Scholars disagree whether the reconstruction was pirated or authorised. It is suggested by Irace that Q1 is an abridged version intended especially for travelling productions, thus the
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texts in different volumes is perhaps evidence of this shifting focus and emphasis. Other editors have continued to argue the need for well-edited editions taking material from all versions of the play. Colin Burrow has argued that "most of us should read a text that is made up by conflating all
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these impulses "remain repressed" and we learn of their existence through Hamlet's inhibitions to act out the revenge, while he is shown to be capable of acting decisively and boldly in other contexts. Freud asserts, "The play is based on Hamlet’s hesitation in accomplishing the task of revenge
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Polonius tells Claudius and Gertrude his theory regarding Hamlet's behaviour, and then speaks to Hamlet in a hall of the castle to try to learn more. Hamlet feigns madness and subtly insults Polonius all the while. When Rosencrantz and Guildenstern arrive, Hamlet greets his "friends" warmly but
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come from Catholic countries such as Italy and Spain, where the revenge tragedies present contradictions of motives, since according to Catholic doctrine the duty to God and family precedes civil justice. Hamlet's conundrum then is whether to avenge his father and kill Claudius or to leave the
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suggest that the play was written in 1600 and revised later; the New Cambridge editor settles on mid-1601; the New Swan Shakespeare Advanced Series editor agrees with 1601; Thompson and Taylor, tentatively ("according to whether one is the more persuaded by Jenkins or by Honigmann") suggest a
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Freud suggests that the character Hamlet goes through an experience that has three characteristics, which he numbered: 1) "the hero is not psychopathic, but becomes so" during the course of the play. 2) "the repressed desire is one of those that are similarly repressed in all of us." It is a
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is considered among the "most powerful and influential tragedies in the English language", with a story capable of "seemingly endless retelling and adaptation by others". It is widely considered one of the greatest plays of all time. Three different early versions of the play are extant: the
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a way that Q2 and F1 do not; it contains an entire scene (usually labelled 4.6) that does not appear in either Q2 or F1; and it is useful for comparison with the later editions. The major deficiency of Q1 is in the language: particularly noticeable in the opening lines of the famous "
482:. Claudius grants permission for Polonius's son Laertes to return to school in France, and he sends envoys to inform the King of Norway about Fortinbras. Claudius also questions Hamlet regarding his continuing to grieve for his father, and forbids him to return to his university in
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behind him but does not kill him, reasoning that killing Claudius while he is praying will send him straight to heaven while his father's ghost is stuck in purgatory. In the queen's bedchamber, Hamlet and Gertrude fight bitterly. Polonius, spying on the conversation from behind a
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Much of the play's Protestant tones derive from its setting in Denmark—both then and now a predominantly Protestant country, though it is unclear whether the fictional Denmark of the play is intended to portray this implicit fact. Dialogue refers explicitly to the German city of
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that are created by conflating the texts of the Second Quarto and the Folio are said to have approximately 3,900 lines; the number of lines varies between those editions based on formatting the prose sections, counting methods, and how the editors have joined the texts together.
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Ophelia rushes to her father, telling him that Hamlet arrived at her door the prior night half-undressed and behaving erratically. Polonius blames love for Hamlet's madness and resolves to inform Claudius and Gertrude. As he enters to do so, the king and queen are welcoming
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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.
3182:, 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". The performance garnered other major accolades as well, some critics echoing McKellen in calling it the definitive Hamlet performance.
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Brisbin Liveright's modern dress production opened at the Booth Theater in New York on November 9, 1925, the same night that the London production moved to Birmingham. It was known "more dryly, and perhaps with a touch of something more sinister, as 'the plain-clothes
1698:, 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, but rather only relative truth. The clearest alleged instance of existentialism is in the "
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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. In stark contrast to earlier opulence,
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contains 15,983 words, the Second Quarto (1604) contains 28,628 words, and the First Folio (1623) contains 27,602 words. Counting the number of lines varies between editions, partly because prose sections in the play may be formatted with varied lengths. Editions of
530:". Rosencrantz and Guildenstern tell Hamlet that they have brought along a troupe of actors that they met while travelling to Elsinore. Hamlet, after welcoming the actors and dismissing his friends-turned-spies, asks them to deliver a soliloquy about the death of
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change in literary criticism, which came to focus more on character and less on plot. In the 18th century, one negative French review of Hamlet would be widely discussed for centuries, in particular in publications throughout the 19th and 20th century. In 1768,
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Polonius forces Ophelia to return Hamlet's love letters to the prince while he and Claudius secretly watch in order to evaluate Hamlet's reaction. Hamlet is walking alone in the hall as the King and Polonius await Ophelia's entrance. Hamlet muses on thoughts of
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Hamlet jokes with Claudius about where he has hidden Polonius's body, and the king, fearing for his life, sends Rosencrantz and Guildenstern to accompany Hamlet to England with a sealed letter to the English king requesting that Hamlet be executed immediately.
452:, in which King Hamlet slew King Fortinbras of Norway in a battle some years ago. Although Denmark defeated Norway and the Norwegian throne fell to King Fortinbras's infirm brother, Denmark fears that an invasion led by the dead Norwegian king's son, Prince
1828:." But the difference in the "psychic life" of the two civilizations that produced each play, and the progress made over time of "repression in the emotional life of humanity" can be seen in the way the same material is handled by the two playwrights: In
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approaches, led by Laertes. Hamlet and Horatio initially hide, but when Hamlet realizes that Ophelia is the one being buried, he reveals himself, proclaiming his love for her. Laertes and Hamlet fight by Ophelia's graveside, but the brawl is broken up.
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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.
705:, 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,
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Back at Elsinore, Hamlet explains to Horatio that he had discovered Claudius's letter among Rosencrantz and Guildenstern's belongings and replaced it with a forged copy indicating that his former friends should be killed instead. A foppish courtier,
3818:, in which Hamlet's play is presented as a tragedy written by Claudius in his youth of which he is greatly embarrassed. Through the chaos triggered by Hamlet's staging of it, Guildenstern helps Rosencrantz vie with Hamlet to make Ophelia his bride.
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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. In the years following America's independence,
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Theobald's version became standard for a long time, 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
1694:. For example, he expresses a subjectivistic idea when he says to Rosencrantz: "there is nothing either good or bad, but thinking makes it so". The idea that nothing is real except in the mind of the individual finds its roots in the Greek
1098:—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
1908:, or so he said. Who can believe Eliot, when he exposes his own Hamlet Complex by declaring the play to be an aesthetic failure?" The book also notes James Joyce's interpretation, stating that he "did far better in the Library Scene of
1325:, analogous to how modern films released on disc may include deleted scenes: an edition containing all of Shakespeare's material for the play for the pleasure of readers, so not representing the play as it would have been staged.
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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 ..."
4176:, 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
2979:. Gielgud played the central role many times: his 1936 New York production ran for 132 performances, leading to the accolade that he was "the finest interpreter of the role since Barrymore". Although "posterity has treated
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in 1875 was described as "... the dark, sad, dreamy, mysterious hero of a poem. in an ideal manner, as far removed as possible from the plane of actual life". Booth played Hamlet for 100 nights in the 1864/5 season at the
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and takes its title from the play's text; Wallace incorporates references to the gravedigger scene, the marriage of the main character's mother to his uncle, and the re-appearance of the main character's father as a ghost.
3196:, Manitoba). The production garnered positive reviews from worldwide media outlets. Directed by Lewis Baumander the lavish production featured a cast of some of Canada's most distinguished classical actors of that period.
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works in the English language, and is often included on lists of the world's greatest literature. As such, it reverberates through the writing of later centuries. Academic Laurie Osborne identifies the direct influence of
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production "emphasised, with due caution, the helpless situation of an intellectual attempting to endure in a ruthless environment". In China, performances of Hamlet often have political significance: Gu Wuwei's 1916
2712:) staged Shakespeare in a grand manner, with elaborate scenery and costumes. The tendency of actor-managers to emphasise the importance of their own central character did not always meet with the critics' approval.
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to see or hear the ghost herself, Gertrude takes Hamlet's conversation with it as further evidence of madness. After begging the queen to stop sleeping with Claudius, Hamlet leaves, dragging Polonius's corpse away.
3806:, 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".
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considers the idea of Polonius as a caricature of Burghley to be conjecture, perhaps based on the similar role they each played at court, and perhaps also based on the similarity between Burghley addressing his
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Hattaway asserts that "Richard Burbage ... played Hieronimo and also Richard III but then was the first Hamlet, Lear, and Othello" and Thomson argues that the identity of Hamlet as Burbage is built into the
1912:, where Stephen marvellously credits Shakespeare, in this play, with universal fatherhood while accurately implying that Hamlet is fatherless, thus opening a pragmatic gap between Shakespeare and Hamlet."
1733:" seems to echo many of Montaigne's ideas, and many scholars have discussed whether Shakespeare drew directly from Montaigne or whether both men were simply reacting similarly to the spirit of the times.
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Modern editors have divided the play into five acts, and each act into scenes. The First Folio marks the first two acts only. The quartos do not have such divisions. The division into five acts follows
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that we "recoil from the person for whom this primitive wish of our childhood has been fulfilled with all the force of the repression which these wishes have undergone in our minds since childhood."
546:, a play featuring a death in the style of his father's murder. Hamlet intends to study Claudius's reaction to the play, and thereby determine the truth of the ghost's story of Claudius's guilt.
448:, his father's brother and successor. Claudius hastily married King Hamlet's widow, Gertrude, Hamlet's mother, and took the throne for himself. Denmark has a long-standing feud with neighbouring
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in September 1607; however, this claim is based on a 19th century insert of a 'lost' passage into a period document, and is today widely regarded as a hoax, likely to have been perpetrated by
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Horatio has received a letter from Hamlet, explaining that the prince escaped by negotiating with pirates who attempted to attack his England-bound ship, and the friends reunite offstage. Two
2720:'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
1400:, stating that "it is vulgar and barbarous drama, which would not be tolerated by the vilest populace of France or Italy... one would imagine this piece to be a work of a drunken savage".
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action of the play is driven forward in dialogue; but in the soliloquies time and action stop, the meaning of action is questioned, fog of illusion is broached, and truths are exposed.
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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. Similarly,
701:—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. The second is the Roman legend of
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retells many of the events of the story from the point of view of the characters Rosencrantz and Guildenstern and gives them a backstory of their own. Several times since 1995, the
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3361:. It was called the "most in-demand theatre production of all time" and sold out in seven hours after tickets went on sale 11 August 2014, more than a year before the play opened.
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s review said the playwright "has imagined a fascinating alternate reality, and quite possibly, given the fictional Hamlet a back story that will inform the role for the future."
3460:; music and words were recorded on phonograph records, to be played along with the film. Silent versions were released in 1907, 1908, 1910, 1913, 1917, and 1920. In the 1921 film
1604:(1852) depicts Lady Ophelia's mysterious death by drowning. In the play, the gravediggers discuss whether Ophelia's death was a suicide and whether she merits a Christian burial.
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Hamlet’s 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."
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runs for just over four hours. Branagh set the film with late 19th-century costuming and furnishings, a production in many ways reminiscent of a Russian novel of the time, and
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speculated that Polonius's tedious verbosity might have resembled Burghley's. Lilian Winstanley thought the name Corambis (in the First Quarto) did suggest Cecil and Burghley.
1900:"For once, Freud regressed in attempting to fasten the Oedipus Complex upon Hamlet: it will not stick, and merely showed that Freud did better than T.S. Eliot, who preferred
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beginning of his career" and therefore "did not need Thomas Kyd to pre-digest Belleforest's histoire of Amleth and spoon-feed it to him". She considers that the hypothesized
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in particular, see Taxidou; on Craig's staging proposals, see Innes; on the centrality of the protagonist and his mirroring of the 'authorial self', see Taxidou and Innes.
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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 1938/39 season he presented
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quickly discerns that they are there to spy on him for Claudius. Hamlet admits that he is upset at his situation but refuses to give the true reason, instead remarking "
486:. After the court exits, Hamlet despairs of his father's death and his mother's hasty remarriage. Learning of the ghost from Horatio, Hamlet resolves to see it himself.
2554:. This new stage convention highlighted the frequency with which Shakespeare shifts dramatic location, encouraging the recurrent criticism of his failure to maintain
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be not to come, it will be now; if it be not now, yet it will come. The readiness is all. Since no man, of aught he leaves, knows aught, what is't to leave betimes."
727:. 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.
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made his Drury Lane debut as Hamlet in 1783. His performance was said to be 20 minutes longer than anyone else's, and his lengthy pauses provoked the suggestion by
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As Polonius's son Laertes prepares to depart for France, Polonius offers him advice that culminates in the maxim "to thine own self be true." Polonius's daughter,
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progression. The production attracted enthusiastic and unprecedented worldwide attention for the theatre and placed it "on the cultural map for Western Europe".
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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 subsequently challenged in Montaigne's
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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.
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helped Freud understand, and perhaps even invent, psychoanalysis". He concludes, "The Oedipus complex is a misnomer. It should be called the 'Hamlet complex'."
1376:. This view changed drastically in the 18th century, when critics regarded Hamlet as a hero—a pure, brilliant young man thrust into unfortunate circumstances.
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was an early admirer of Shakespeare and took evident inspiration from his work. As John Kerrigan discusses, Milton originally considered writing his epic poem
1628:. This and Ophelia's burial ceremony, which is characteristically Catholic, make up most of the play's Catholic connections. Some scholars have observed that
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discuss Ophelia's apparent suicide while digging her grave. Hamlet arrives with Horatio and banters with one of the gravediggers, who unearths the skull of a
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1000:
1565:". Many scholars have found it odd that Shakespeare would, seemingly arbitrarily, use this rhetorical form throughout the play. One explanation may be that
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2732:'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.
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in New York. Although chided for "acknowledging acquaintances in the audience" and "inadequate memorisation of his lines", he became a national celebrity.
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Hamlet: Complete, Authoritative Text with Biographical and Historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives
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s Satan "undergoes a transformation in the poem from a Hamlet-like avenger into a Claudius-like usurper," a plot device that supports Milton's larger
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1275:. I suspect most people just won't want to read a three-text play ... a version of the play that is out of touch with the needs of a wider public."
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679:-like legends are so widely found (for example in Italy, Spain, Scandinavia, Byzantium, and Arabia) that the core "hero-as-fool" theme is possibly
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2149:(1667) as a tragedy. While Milton did not ultimately go that route, the poem still shows distinct echoes of Shakespearean revenge tragedy, and of
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and fair; however, it is virtually impossible to link these two traits, since 'fairness' is an outward trait, while 'honesty' is an inward trait.
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holds the skull, it is shown that Hamlet no longer fears damnation in the afterlife, and accepts that there is a "divinity that shapes our ends".
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and is as of 2024, the only Shakespeare film to have done so. His interpretation stressed the Oedipal overtones of the play and cast 28-year-old
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murdered by his rival pouring poison in his ear, Claudius abruptly rises and runs from the room; for Hamlet, this is proof of his uncle's guilt.
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10593:(1985). "Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism". In Parker, Patricia; Hartman, Geoffrey (eds.).
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reviewed the play, saying it is "scarcely more than an extended comedy sketch, lacking the portent and linguistic complexity of Tom Stoppard's
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to express his true thoughts while simultaneously concealing them. Pauline Kiernan argues that Shakespeare changed English drama forever in
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three versions ... it's about as likely that Shakespeare wrote: "To be or not to be, ay, there's the point" , as that he wrote the works of
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289:, and printed in Paris in 1514. The Amleth story was subsequently adapted and then published in French in 1570 by the 16th-century scholar
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2168:, especially around the idea of "putting on" certain dispositions, as when Hamlet puts on "an antic disposition," similarly to the Son in
1075:; she believes that Shakespeare, confident in the superiority of his own work, was making a playful and charitable allusion to his friend
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critics examined the play in its historical context, attempting to piece together its original cultural environment. They focused on the
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English Prose, Selections with Critical Introductions by Various Writers and General Introductions to Each Period; edited by Henry Craik
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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
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From around 1810 to 1840, the best-known Shakespearean performances in the United States were tours by leading London actors—including
1069:, were unlikely to be put to any disadvantage by an audience of "barely one hundred" for the Children of the Chapel's equivalent play,
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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".
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of several moments of the play: "we will profoundly misjudge the position if we do not recognise that, whilst this is Hamlet talking
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Three early editions of the text, each different, have survived, making attempts to establish a single "authentic" text problematic.
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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."
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shed light on human desire. His point of departure is Freud's Oedipal theories, and the central theme of mourning that runs through
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1429:, who in his plays, regularized the way ancient Greek tragedies contain five episodes, which are separated by four choral odes. In
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has survived, and it is impossible to compare its language and style with the known works of any of its putative authors. In 1936
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1995:) in the real, imaginary, and symbolic aspects of his psyche. Lacan's theories influenced some subsequent literary criticism of
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in 1637. Oxford editor George Hibbard argues that, since the contemporary literature contains many allusions and references to
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eclipsed it. Shakespeare provides no clear indication of when his play is set; however, as Elizabethan actors performed at the
2459:. More credible is that the play toured in Germany within five years of Shakespeare's death, and that it was performed before
1702:" speech, where Hamlet is thought by some to use "being" to allude to life and action, and "not being" to death and inaction.
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Hamlet's statement that his dark clothes are the outer sign of his inner grief demonstrates strong rhetorical skill (artist:
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Hamlet, Prince of Denmark: A Tragedy. As it is now acted at the Theatres-Royal in Drury-Lane and Covent-Garden. London, 1776
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was published, introducing Maggie Tulliver "who is explicitly compared with Hamlet" though "with a reputation for sanity".
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Britton, Celia (1995). "Structuralist and poststructuralist psychoanalytic and Marxist theories". In Seldon, Raman (ed.).
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began planning the production in 1908 but, due to a serious illness of Stanislavski's, it was delayed until December 1911.
2891:'s 1926 production at the Berlin Staatstheater portrayed Claudius's court as a parody of the corrupt and fawning court of
791:, may have purchased that play and performed a version for some time, which Shakespeare reworked. However, no copy of the
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Beginning in 1910, with the publication of "The Œdipus-Complex as an Explanation of Hamlet's Mystery: A Study in Motive"
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The court gathers the next day, and King Claudius and Queen Gertrude discuss affairs of state with their elderly adviser
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In France, Charles Kemble initiated an enthusiasm for Shakespeare; and leading members of the Romantic movement such as
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is mentioned more, from Shakespeare), the play was surely performed with a frequency that the historical record misses.
1022:, a survey of English literature from Chaucer to its present day, within which twelve of Shakespeare's plays are named.
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is not known. However, elements of Belleforest's version which are not in Saxo's story do appear in Shakespeare's play.
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third series published Q2, with appendices, in their first volume, and the F1 and Q1 texts in their second volume. The
3282:. The production officially opened on 3 June and ran through 22 August 2009. A further production with Jude Law ran at
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for Best Actor)—which ran, from first preview to closing night, a total of one hundred performances. About the Fiennes
2940:, to which the government had retreated from the advancing Japanese. In the immediate aftermath of the collapse of the
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Firm evidence for specific early performances of the play is scant. It is sometimes argued that the crew of the ship
1557:, appears in several places in the play. Examples are found in Ophelia's speech at the end of the nunnery scene: "Th'
876:
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3343:, it began its tour on 23 April 2014, the 450th anniversary of Shakespeare's birth, and performed in 197 countries.
1870:—a psychoanalyst and Freud's biographer—developed Freud's ideas into a series of essays that culminated in his book
297:, and lacks others that are found in Shakespeare. Belleforest's story was first published in English in 1608, after
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Jackson, MacDonald (1991). "The Year's Contributions to Shakespeare Studies: 3 – Editions and Textual Studies". In
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but focuses on Ophelia. In Svich's play, Ophelia is resurrected and rises from a pool of water, after her death in
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at its core but also creates parallels between the ghost and Wilhelm Meister's dead father. In the early 1850s, in
2227:-like plot elements: it is driven by revenge-motivated actions, contains ghost-like characters (Abel Magwitch and
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Hirrel, Michael J. (2010). "Duration of Performances and Lengths of Plays: How Shall We Beguile the Lazy Time?".
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3456:'s five-minute film of the fencing scene, which was produced in 1900. The film was an early attempt at combining
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series has begun to publish separate volumes for the separate quarto versions that exist of Shakespeare's plays.
3697:). This version was also the first unabridged theatrical film adaptation of the play, and runs four hours long.
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Apart from some western troupes' 19th-century visits, the first professional performance of Hamlet in Japan was
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reviewed the play, saying, "Mr. Davalos has molded a daft campus comedy out of this unlikely convergence", and
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3681:, built in the early 18th century, became Elsinore Castle in the external scenes. The film is structured as an
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Burnett, Mark Thornton (2003). "'To Hear and See the Matter': Communicating Technology in Michael Almereyda's
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Q2. Under their referencing system, 3.1.55 means act 3, scene 1, line 55. References to the First Quarto and
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is distracted by grief. Feminist critics have explored her descent into madness (artist: Henrietta Rae 1890).
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assigned to him; the text does not give the cause or the motive of this." The conflict is "deeply hidden".
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Traditionally, editors of Shakespeare's plays have divided them into five acts. None of the early texts of
752:. Belleforest embellished Saxo's text substantially, almost doubling its length, and introduced the hero's
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as a witness. After the ghost appears again, the three vow to tell Prince Hamlet what they have witnessed.
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had been written, though it's possible that Shakespeare had encountered it in the French-language version.
11816: – Transcriptions and facsimiles of thirty-two copies of the five pre-1642 quarto editions.
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2672:. Of these, Booth remained to make his career in the States, fathering the nation's most notorious actor,
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where Hamlet, Horatio, and Rosencrantz and Guildenstern attend university, implying where the Protestant
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3864:. The play is a series of scenes and songs, and was first staged at a public swimming pool in Brooklyn.
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that "we tell the story wrong when we say that Freud used the idea of the Oedipus complex to understand
1045:, whose popularity in London forced the Globe company into provincial touring. This became known as the
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According to one theory, Shakespeare's main source may be an earlier play—now lost—known today as the
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Complete text on one page with definitions of difficult words and explanations of difficult passages.
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directed the play at Elsinore, Denmark, with Laurence Olivier as Hamlet and Vivien Leigh as Ophelia.
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Of all the characters, Hamlet has the greatest rhetorical skill. He uses highly developed metaphors,
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The Theater of Trauma: American modernist drama and the psychological struggle for the American Mind
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11099:"Big Leagues: Specters of Milton and Republican International Justice between Shakespeare and Marx"
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Hamlet is often perceived as a philosophical character, expounding ideas that are now described as
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Many of the earlier legendary elements are interwoven in the 13th-century "Life of Amleth" (Latin:
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works, which some scholars use as dating evidence. Harvey's note says that "the wiser sort" enjoy
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is too obviously connected to legend, and the name Hamnet was quite popular at the time. However,
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Gillies, John; Minami, Ryuta; Li, Ruru; Trivedi, Poonam. "Shakespeare on the Stages of Asia". In
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3722:) became the CEO of "Denmark Corporation", having taken over the company by killing his brother.
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2255:'s first published short story was "They Played a New Hamlet" (1895). When Baum had been touring
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O'Connor, Marion. "Reconstructive Shakespeare: Reproducing Elizabethan and Jacobean Stages". In
628:. Hamlet picks up the skull, saying "Alas, poor Yorick" as he contemplates mortality. Ophelia's
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resembling the late King Hamlet which they have recently seen, and bring Prince Hamlet's friend
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at The Online Medieval & Classical Library (public domain translation into English of the
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after his experience with the pirates, that Hamlet is able to articulate his feelings freely.
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as the ghost. The Gielgud/Burton production was also recorded complete and released on LP by
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at the time, Charleson died eight weeks after his last performance. Fellow actor and friend,
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2319:-obsessed writer, Bradley Pearson, and the daughter of his rival. In the late 20th century,
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is Shakespeare's Q1 text, and that this derived directly from Belleforest's French version.
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Smallwood, Robert. "Twentieth-century Performance: The Stratford and London Companies". In
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in Denmark from 25–30 August 2009, and then moved to Broadway, and ran for 12 weeks at the
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by Tom Jones and Mr Partridge, with similarities to the "play within a play". In contrast,
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1820:", and, at one point, he considered calling it the "Hamlet complex". Freud considered that
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From the early 17th century, the play was famous for its ghost and vivid dramatisation of
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have argued that Q2 may represent "a 'reading' text as opposed to a 'performance' one" of
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Hamlet and the Scottish succession, Being an Examination of the Relations of the Play of
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These ideas, which became a cornerstone of Freud's psychological theories, he named the "
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1204:'s Q3, Q4, and Q5 (1611–37), which are regarded as reprints of Q2 with some alterations.
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Many works have been pointed to as possible sources for Shakespeare's play, from ancient
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Davison, Richard Allan (1999). "The Readiness Was All: Ian Charleson and Richard Eyre's
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Terri Bourus in Actes des Congrès de la Société française Shakespeare 34 (2016): pp.2-5.
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would have existed by 1589, and would have incorporated a ghost. Shakespeare's company,
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9752:(1910). "The Œdipus-Complex as an Explanation of Hamlet's Mystery: A Study in Motive".
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4221:. Their referencing system for Q1 has no act breaks, so 7.115 means scene 7, line 115.
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that depicts the Danish prince as a student at Wittenberg University (now known as the
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to highlight elements not made explicit in the play: Hamlet's sexual relationship with
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is by far the longest play that Shakespeare wrote, and one of the longest plays in the
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suggested that, until more becomes known, it may be assumed that Shakespeare wrote the
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3627:, whose Shakespeare films have been described as "sensual rather than cerebral", cast
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performed the play in 15-minute segments over two weeks in the short-lived late night
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9632:
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Hortmann, Wilhelm. "Shakespeare on the Political Stage in the Twentieth Century". In
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appears to have been Shakespeare's fourth most popular play during his lifetime—only
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329:
293:. It has a number of plot elements and major characters in common with Shakespeare's
268:
240:
107:
9803:
9164:
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Freud, Sigmond; Bunker, Henry Alden (1960). "Psychopathic Characters on the Stage".
2214:
focuses on a Hamlet-like character's long development as a writer. Ten years later,
1979:—the cause of his inaction—and is increasingly distanced from reality "by mourning,
1892:. Olivier later used some of these same ideas in his 1948 film version of the play.
1034:, believes it "unlikely that he would have overlooked ... so significant a piece".
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11301:
11116:
10590:
10514:
10449:
10146:
10027:
9976:
9965:
Kliman, Bernice W. (Summer 2011). "At Sea about Hamlet at Sea: A Detective Story".
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8499:
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Notable stagings in London and New York include Barrymore's 1925 production at the
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A brightly lit, golden pyramid descended from Claudius's throne, representing the
3755:, is based in the original Scandinavian legend that inspired Shakespeare to write
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was the first actress known to play Hamlet; many women have since played him as a
1957:
given in Paris and later published in "Desire and the Interpretation of Desire in
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8986:. The Penguin Freud Library. Vol. 4. Translated by Strachey, James. London:
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continues to be staged regularly. Actors performing the lead role have included:
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secured. It became the first of Shakespeare's plays to be presented with movable
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in contemporary dress on minimal sets, this would not have affected the staging.
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First Quarto and other editions might reflect a desire not to offend scholars at
406:
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Holland, Peter (2007). "Shakespeare Abbreviated". In Shaughnessy, Robert (ed.).
3002:"Mr. Olivier does not speak poetry badly. He does not speak it at all." In 1937
1974:
1221:
326: – King of Denmark, Hamlet's uncle and brother to the former king
30:
This article is about the play by William Shakespeare. For its protagonist, see
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13550:
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Reinventing Shakespeare: A Cultural History from the Restoration to the Present
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Saxo Grammaticus and the Life of Hamlet: A Translation, History, and Commentary
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3093:'s Osric. Sam Waterston later played the role himself at the Delacorte for the
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incest and murder are brought into the light as might occur in a dream, but in
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956:. MacCary suggests 1599 or 1600; James Shapiro offers late 1600 or early 1601;
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468:
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320: – son of the late king and nephew of the present king, Claudius
260:(F1, 1623). Each version includes lines and passages missing from the others.
236:
224:
35:
11845: – Etext in Spanish available in many formats at Gutenberg.org.
10259:
Engaging with Shakespeare: Responses of George Eliot and Other Women Novelists
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Marsden, Jean I. "Improving Shakespeare: from the Restoration to Garrick". In
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that contained material from the First Folio and the Second Quarto. Branagh's
2585:
expresses Hamlet's shock at his first sighting of the ghost (artist: unknown).
1965:
is determined by structures of language and that the linguistic structures of
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the 20th century, when criticism branched in several directions, discussed in
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played the role of Hamlet as a woman who spends her life disguised as a man.
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among other plays at the Chestnut Street Theatre in Philadelphia, and at the
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suggested Polonius's advice to Laertes may have echoed Burghley's to his son
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thought it almost certain that the figure of Polonius caricatured Burghley.
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was created from a revision of this article dated 14 October 2011
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is an "autobiographical novel" and "anticipates psychoanalytic readings of
1867:
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1527:
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494:
11695:
11363:
review: A Supremely Self-Assured Prince – Rada's Jerwood Vanbrugh Theatre"
11120:
9980:
7142:
7131:
6966:
6733:
3693:'s Ophelia, for example, or his childhood affection for Yorick (played by
2850:. While Craig favoured stylised abstraction, Stanislavski, armed with his
2011:
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by Canadian playwright Michael O'Brien is a dark comedy loosely based on
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internationalist project. The poem also reworks theatrical language from
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drama. Though it remained popular with mass audiences, late 17th-century
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sometime between 1599 and 1601. It is Shakespeare's longest play. Set in
65:
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2231:), and focuses on the hero's guilt. Academic Alexander Welsh notes that
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8558:"Benedict Cumberbatch as 'Hamlet' Opens Next Year, And Is Now Sold Out"
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5357:
5329:
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5273:
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5189:
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3140:(fiercely) at Stratford, Connecticut, have all played the role, as has
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has Oedipal themes and murder intertwined with a love affair between a
1984:
1691:
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1290:
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759:
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11992:
11079:
11056:
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10706:
10574:
9649:(26 March 1995). "Middle-Aged, Yet a Prince, Slouching but Haunted".
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8543:
4169:
4156:
3882:), where he is torn between the conflicting teachings of his mentors
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3711:
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3298:
2908:
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Hamlet tries to show his mother Gertrude his father's ghost (artist:
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1988:
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1621:
1574:
1554:
1531:
1503:
s language is courtly: elaborate, witty discourse, as recommended by
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804:
775:
377:
Bernardo – an officer (spelled Barnardo or Barnard in
249:
15197:
11793:
10031:
9771:
9452:
8945:
8239:. Bloom's Shakespeare through the ages. Bloom's Literary Criticism.
5941:
3574:
2872:
happened in 1925 in London and then New York. Barry Jackson's
2854:
explored psychological motivation. Craig conceived of the play as a
2578:
1155:. Q1 contains just over half of the text of the later second quarto.
658:
570:
Hamlet mistakenly stabs Polonius (Artist: Coke Smyth, 19th century).
14901:
14355:
13305:
13291:
13146:
11728:
10142:
10063:
9925:
8635:
8338:. Cambridge History of Literary Criticism. Vol. 8. Cambridge:
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5755:
5454:
5452:
3785:
This section is limited to derivative works written for the stage.
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3271:
3193:
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in 1992 received mixed reviews and ran for sixty-one performances.
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is not among them, suggesting that it had not yet been written. As
872:
710:
576:
479:
425:
360:
335:
112:
11837: – Annotated text aligned to Common Core standards.
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11318:
7334:
4958:
4247:"50 Best Plays of All Time: Comedies, Tragedies and Dramas Ranked"
4001:; it takes up 10 of 85 pages dedicated to Shakespeare in the 1986
3747:, released on 22 April 2022 and directed by the American director
879:(Lord Burghley)—Lord High Treasurer and chief counsellor to Queen
411:
Player King, Player Queen, Lucianus, etc. – players
14740:
13160:
12514:
12507:
12339:
12147:
12140:
11425:
9885:
8796:
Davies, Anthony. "The Shakespeare films of Laurence Olivier". In
8147: – Royal Shakespeare Theatre, Stratford Upon Avon"
7941:
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5767:
3736:
3633:
2937:
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2083:
Ophelia has also been defended by feminist critics, most notably
1797:
have used Freud's ideas to support their own interpretations. In
1695:
1620:(or consciously modern). The ghost describes himself as being in
1373:
848:, who died in 1596 at age eleven. Conventional wisdom holds that
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220:
160:
117:
11680:
8402:"Sherlock star Andrew Scott to play Hamlet in new UK production"
5476:
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5437:
5042:
5030:
5018:
4840:
4838:
4688:
4476:"Terri Bourus (Theresa Mategrano) | the English Department"
3752:
3339:
in every country in the world in the space of two years. Titled
2571:
have played Hamlet in North America is Lewis Hallam Jr., in the
1973:. In Lacan's analysis, Hamlet unconsciously assumes the role of
14197:
13343:
13195:
11868: – Scholarly resource with multiple versions of
11855:
8425:"Shakespeare's Globe casts its own artistic director as Hamlet"
7005:
5893:
5881:
5608:
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4276:
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the groundlings". See also Thomson on the first player's beard.
3946:
is the F1 text with additional Q2 passages in an appendix. The
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2804:
2786:
2133:
1608:
Written at a time of religious upheaval and in the wake of the
625:
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535:
522:, though they will pass through Danish territory to get there.
519:
449:
276:
253:
11886: – A word-by-word audio guide through the play.
11810: – Transcripts and facsimiles of Q1, Q2 and F1.
10695:"The Displaced Body of Desire: Sexuality in Kenneth Branagh's
8815:
Shakespeare, Text and Theater: Essays in Honor of Jay L. Halio
6774:
6011:
6009:
6007:
5982:
5980:
4894:
4892:
4879:
4877:
4808:
4082:
Letter to Sir William Young, 10 January 1773, quoted by Uglow.
3518:
TV critic Jack Gould praised Manning's performance as Hamlet.
2200:, written between 1776 and 1796, not only has a production of
1853:
task of the dramatist to transport us into the same illness."
15156:
15046:
11865:
11297:"Fifth Avenue Theater – Edwin Booth as Hamlet"
9882:
Filthy Shakespeare: Shakespeare's Most Outrageous Sexual Puns
8457:
Burian, Jarka (2004) . "Hamlet in Postwar Czech Theatre". In
7077:
6762:
6478:
5953:
5512:
4904:
4835:
3883:
2488:
2278:
2050:
outside of that stereotype. In this analysis, the essence of
1999:
because of his alternative vision of the play and his use of
698:
531:
275:, which Shakespeare apparently knew, as well as the story of
15145:
11334:
Wofford, Susanne L. (1994). "A Critical History of Hamlet".
9863:
Keyishian, Harry. "Shakespeare and Movie Genre: The Case of
8753:
Shakespeare's Hamlet: The Relationship Between Text and Film
7447:
7445:
7113:
7029:
6993:
6954:
6910:
Brown, Ivor (29 August 1925). "To Breech or Not to Breech".
6813:
6598:
6586:
5808:
5806:
4784:
4226:
3117:
played the role with the Royal Shakespeare Theatre in 1965.
2907:
directors have used the play at times of occupation: a 1941
2287:. In the 1990s, two novelists were explicitly influenced by
14861:
10428:
The Real Shakespeare; Retrieving the Early Years, 1564-1594
9016:. Translated by Brill, A. A. New York: The Modern Library.
8618:
Cartmell, Deborah. "Franco Zeffirelli and Shakespeare". In
7613:
7565:
7529:
7493:
7166:
6697:
6673:
6627:
6625:
6163:
6129:
6045:
6004:
5977:
5869:
5596:
5054:
4889:
4874:
4796:
4491:
4396:
4372:
3301:, in which the play was set inside a psychiatric hospital.
3188:
performed Hamlet from 12 January to 4 February 1995 at the
3013:
as Hamlet in the inaugural performance of the newly formed
2697:, inaugurating the era of long-run Shakespeare in America.
1249:(1733), combined material from the two earliest sources of
1086:, wrote a marginal note in his copy of the 1598 edition of
687:
can be identified. The first is the anonymous Scandinavian
10302:
The Cambridge Companion to Shakespeare and Popular Culture
10133:
10102:. Greenwood Guides to Shakespeare. Westport, Connecticut:
9558:
The Cambridge Companion to Shakespeare and Popular Culture
9289:"Bollywood returns to their favourite destination Kashmir"
7250:
7148:
6574:
6259:
6057:
6021:
5126:
4825:
4823:
4647:
4515:
4348:
4336:
4324:
3834:
in which all the deceased characters come back as ghosts.
2404:
Shakespeare almost certainly wrote the role of Hamlet for
1266:". The 2006 publication by Arden Shakespeare of different
811:
considers that there are no grounds for thinking that the
279:, which was preserved in Latin by 13th-century chronicler
13094:
11813:
10894:. Plymouth, UK: Northcote House, in association with the
10804:. Contemporary Theatre Studies. Vol. 30. Amsterdam:
10802:
The Mask: A Periodical Performance by Edward Gordon Craig
10081:
8738:
Crowl, Samuel. "Flamboyant Realist: Kenneth Branagh". In
7442:
7262:
7065:
6873:
6849:
6786:
6466:
6396:
6394:
5965:
5803:
5791:
5745:
5743:
5716:
5680:
5668:
5656:
5167:
5165:
4772:
4575:
4360:
4217:, respectively, and are taken from the Arden Shakespeare
3667:
adapted, directed, and starred in a 1996 film version of
3349:
played the role for a 12-week run in a production at the
2825:
1535:
1352:, leading to a procession of mad courtiers and ladies in
1317:
soliloquy earlier. Developing this, some editors such as
1207:
1200:
This list does not include three additional early texts,
200:
191:
10624:"International Magazine Recalls Reeves' Reign As Hamlet"
10191:
Morrison, Michael A. "Shakespeare in North America". In
8312:
The Director and the Stage: From Naturalism to Grotowski
7517:
7505:
7457:
7017:
6930:
6918:
6803:
6801:
6637:
6622:
6526:
6379:
6175:
5847:
5845:
5830:
5560:
5524:
5401:
4850:
4700:
4611:
4456:
4420:
4408:
3162:
performed Hamlet from 9 October to 13 November 1989, in
2153:
in particular. As scholar Christopher N. Warren argues,
1530:, and in nine memorable words deploys both anaphora and
11224:"Billy Howle Joined by Niamh Cusack and Mirren Mack in
10012:
Knowles, Ronald (1999). "Hamlet and Counter-Humanism".
8440:
Introducing Psychoanalysis: Essential Themes and Topics
8359:
Shakespeare in the Movies: From the Silent Era to Today
7214:
7190:
6331:
6307:
6081:
5905:
5102:
4820:
4678:
4676:
4674:
4539:
4527:
4503:
4444:
3174:, who had abandoned the production. Seriously ill from
3017:; critics found resonance between O'Toole's Hamlet and
2887:
is often played with contemporary political overtones.
2764:
declared that "Germany is Hamlet". From the 1850s, the
2760:
had become so assimilated by the mid-19th century that
2399:
1925:". Rothman suggests that "it was the other way around:
1192:
in the First Folio, the first edition of Shakespeare's
807:
lists reasons for supporting Shakespeare’s authorship.
14276:
A Performance of Hamlet in the Village of Mrduša Donja
10730:"Cumberbatch's Hamlet most in-demand show of all time"
9092:
9053:
Gay, Penny. "Women and Shakespearean Performance". In
8377:"Cook, Eyre, Lee And More Join Jude Law In Grandage's
8257:
A Pictorial History of the American Theatre, 1860–1980
7553:
7469:
7322:
7154:
6987:
6975:
6750:
6744:
6721:
6709:
6454:
6442:
6430:
6391:
6319:
6295:
6199:
6187:
6105:
6093:
5740:
5692:
5584:
5464:
5162:
5150:
5114:
5006:
4862:
4712:
4635:
4432:
4384:
3718:
playing Hamlet as a film student. Claudius (played by
3353:, opening on 25 August 2015. The play was produced by
1308:
Q1 is considerably shorter than Q2 or F1 and may be a
332: – Queen of Denmark and Hamlet's mother
15110:
9166:
Will in the World: How Shakespeare Became Shakespeare
9105:
7661:
7541:
7370:
7340:
7274:
6861:
6837:
6798:
6514:
6490:
6355:
6343:
6232:
6069:
5842:
5779:
5138:
4994:
4970:
4623:
4599:
4551:
3497:
as Hamlet's mother opposite himself at 41 as Hamlet.
3357:, and directed by Lyndsey Turner, with set design by
2492:
were often performed illegally, including one called
1030:
was very popular, Bernard Lott, the series editor of
844:
is in any way connected with Shakespeare's only son,
231:
and his attempts to exact revenge against his uncle,
14067:
The Complete Works of William Shakespeare (Abridged)
10299:
and its afternovels". In Shaughnessy, Robert (ed.).
9820:
review – an all-consuming marvel – 5 out of 5 stars"
7673:
7637:
7625:
7577:
7346:
7298:
7286:
7238:
7202:
7101:
7053:
7041:
6661:
6550:
6538:
6283:
6271:
6117:
5992:
5818:
5066:
4921:
4919:
4760:
4671:
4659:
4563:
4300:
4264:
3390:
that opened on 1 September 2017 and was directed by
2772:
into folk performances, with dozens of songs added.
2486:. Even during this time, however, playlets known as
823:
The precise combination of Shakespeare's use of the
203:
197:
11275:
to the Scottish Succession and the Essex Conspiracy
11247:
The Essential Shakespeare: A Biographical Adventure
8836:Dawson, Anthony B. "International Shakespeare". In
8775:"Jude Law to play Hamlet at 'home' Kronborg Castle"
8603:(Reprint ed.). Norwood, PA: Norwood Editions.
7601:
7382:
6942:
6685:
6649:
6610:
6562:
6406:
6149:"St. John's Reading List: A Great Books Curriculum"
5078:
4007:. For examples of lists of the greatest books, see
3751:who also co-wrote the script with Icelandic author
3376:, was transferred that same year to the West End's
1153:
The Tragicall Historie of Hamlet Prince of Denmarke
194:
188:
185:
10661:
10563:
10295:Osborne, Laurie (2007). "Narration and Staging in
10256:
9620:
9237:The Applause/Best Plays Theater Yearbook 1991–1992
9040: – West Yorkshire Playhouse, Leeds"
9009:
8850:
8693:William Shakespeare: A Study of Facts and Problems
8536:
8049:William Shakespeare, Hamlet; The First Quarto 1603
7649:
7589:
7406:
7358:
7226:
7178:
7089:
5917:
5500:
5090:
4931:
3966:: Vengeance is mine; I will repay, saith the Lord.
2613:, the young nation's leading tragedian, performed
2562:, who continued to play the Dane until he was 74.
2260:the point of view of the actor playing the ghost.
2026:opened up new approaches to Gertrude and Ophelia.
14695:Polish Hamlet. Portrait of Aleksander Wielopolski
13631:
11178:. Cambridge Companions to Literature. Cambridge:
10861:Thompson, Ann (2001). Alexander, Catherine M.S.;
10327:
10305:. Cambridge Companions to Literature. Cambridge:
9730:. Cambridge Companions to Literature. Cambridge:
9701:. Cambridge Companions to Literature. Cambridge:
9592:Howard, Jean E. (2003). "Feminist Criticism". In
9560:. Cambridge Companions to Literature. Cambridge:
9388:Elizabethan Popular Theatre: Plays in Performance
8169: – Courtyard, Stratford-upon-Avon"
7418:
7394:
7310:
6424:
5488:
4916:
4587:
4201:, unless otherwise specified, are taken from the
3335:of London initiated a project in 2014 to perform
3105:played Bernardo and other roles). Stephen Lang's
2700:In the United Kingdom, the actor-managers of the
2596:that "music should be played between the words".
683:in origin. Several ancient written precursors to
15225:
10852:. "Shakespeare Plays on Renaissance Stages". In
10228:
9208:"Dueling Mentors Bedevil a Dithering Young Dane"
7481:
7083:
5185:"Article clipped from Boston Evening Transcript"
3405:played the role in a production notable for its
2881:'" and did not reach the same level of success.
2798:and produced a performance in 1911 that blended
2527:plays was divided between the two newly created
1379:By the mid-18th century, however, the advent of
1104:". This is because the same note also refers to
11175:The Cambridge Companion to Shakespeare on Stage
10519:1599: A Year in the Life of William Shakespeare
10475:Schoch, Richard W. "Pictorial Shakespeare". In
8438:Budd, Susan (2005). Rusbridger, Richard (ed.).
7985:
7958:
7011:
6899:. Cambridge University Press. pp. 143–149.
6508:
6373:
6253:
6226:
5773:
5614:
5518:
5482:
5458:
5048:
5036:
5024:
4964:
4898:
4883:
4844:
4814:
4694:
4282:
4232:
3651:—then famous as the psychotic "other woman" in
2928:'s attempt to overthrow the republic. In 1942,
2503:
2003:to explore the play's psychological landscape.
1719:. Prior to Montaigne's time, humanists such as
1413:
717:(Amlodi) and the hero Prince Ambales (from the
440:of Denmark is the son of the recently deceased
11076:Shakespeare: The Critical Heritage (1765–1774)
11053:Shakespeare: The Critical Heritage (1753–1765)
10887:
9906:(1969). "A Caroline Commentary on the Drama".
9727:The Cambridge Companion to Shakespeare on Film
9699:The Cambridge Companion to Shakespeare Studies
9415:. The Critics Debate. Basingstoke, Hampshire:
9193:"The Death of Hamnet and the Making of Hamlet"
8813:". In Potter, Lois; Kinney, Arthur F. (eds.).
6484:
5269:"Article clipped from Wisconsin State Journal"
4004:Bartlett's Familiar Quotations (14th ed. 1968)
3874:is a "tragical-comical-historical" prequel to
2808:styles. This hybrid-genre reached its peak in
1561:of the fair state" and "And I, of ladies most
1112:as if they were still alive ("our flourishing
995:is based on an entry, of 26 July 1602, in the
428:is immortalized as Elsinore in the play Hamlet
393: – the ghost of Hamlet's father
368: – courtiers, friends of Hamlet
338: – chief counsellor to the king
14847:
13080:
11930:
11876:Depictions and commentary of Hamlet paintings
10748:"Kenneth Branagh to Direct Tom Hiddleston in
10701:. In Desmet, Christy; Sawyer, Robert (eds.).
9227:
8463:Foreign Shakespeare: Contemporary Performance
8375:
7751:
7725:
7256:
7119:
5060:
4910:
2305:is reworked as a song and dance routine, and
2184:, published about 1749, describes a visit to
1581:
11168:
10853:
10645:
10476:
10283:
10281:
10192:
10179:
10122:
9580:
9544:
9437:(1957). "The Character of Hamlet's Mother".
9094:
9054:
8848:
8837:
8773:
7268:
6679:
5381:"Article clipped from The Kansas City Times"
5325:"Article clipped from The Kansas City Times"
4754:
4053:the groundlings, it is also Burbage talking
2838:—two of the 20th century's most influential
1633:vengeance to God, as his religion requires.
1368:as primitive and disapproved of its lack of
917:, was the founder of Oxford University, and
387:Reynaldo – Polonius's servant
12877:
9187:
9159:
8929:
8910:"Jack Manning, Character Actor, Dies at 93"
8231:
8012:
5986:
5887:
5875:
4653:
4533:
4521:
3798:has mounted repertories that included both
3431:
2971:; it influenced subsequent performances by
2042:England, pointing to the common trinity of
1674:, a contemporary of Shakespeare's (artist:
1523:to resonate with Greek political speeches.
1053:accepts a 1600–01 attribution for the date
971:of either Spring 1601 or sometime in 1600.
14854:
14840:
13699:The Angel of Vengeance – The Female Hamlet
13087:
13073:
11937:
11923:
11268:
11146:"Every Exit is an Entrance Someplace Else"
10448:
9543:Holland, Peter. "Touring Shakespeare". In
8853:Ungentle Shakespeare: scenes from his life
8595:
8159:
8137:
7986:Thompson, Ann; Taylor, Neil, eds. (2006).
7959:Thompson, Ann; Taylor, Neil, eds. (2006).
7940:, Advanced series (New ed.). London:
7220:
7196:
5213:"Article clipped from The Birmingham Post"
4581:
4509:
4497:
4438:
4426:
4402:
4378:
4366:
4354:
4342:
4330:
3977:Reformation in Denmark–Norway and Holstein
3771:Scenes from a 1904 benefit performance of
2535:was the only Shakespearean favourite that
1670:are similar to those of the French writer
1190:The Tragedie of Hamlet, Prince of Denmarke
693:. In this, the murdered king has two sons—
55:
14112:To Be or Not to Be: That is the Adventure
10927:. Theatre Production. London and Boston:
10643:
10589:
10350:
10328:Pitcher, John; Woudhuysen, Henry (1969).
9862:
9645:
9390:. Theatre Production. London and Boston:
9133:
8660:
8114:
7571:
7328:
7071:
6780:
6768:
6111:
5971:
5959:
5407:
4790:
3065:played the role with an all-star cast at
2338:There is the story of the woman who read
1781:(1899), as a footnote to a discussion of
1328:
359:Voltemand and Cornelius –
13264:The lady doth protest too much, methinks
11664:, and does not reflect subsequent edits.
11647:
11398:Alexander's Introductions to Shakespeare
11228:at Bristol Old Vic; Full Cast Announced"
11073:
11050:
11021:
10972:
10945:
10860:
10203:
10190:
10178:Moody, Jane. "Romantic Shakespeare". In
9842:Revenge Tragedy: Aeschylus to Armageddon
9839:
9810:
9691:"The Transmission of Shakespeare's Text"
9578:
9433:
9408:
9385:
9359:
8686:
8617:
7667:
7523:
7376:
7035:
7023:
6999:
6960:
6936:
6924:
6631:
6604:
6592:
6532:
6385:
6313:
6181:
6099:
6075:
5899:
5144:
5120:
5108:
4868:
4829:
4802:
4778:
4545:
4306:
3766:
3573:
3386:played the role for a three-week run at
2955:
2628:
2577:
2546:painted with generic scenery behind the
2507:
2116:
2057:
2010:
1945:to illustrate some of his concepts. His
1740:
1661:
1590:
1483:
1284:
1220:
1206:
932:
758:
657:
603:
565:
493:Horatio, Hamlet, and the ghost (Artist:
488:
420:
170:The Tragedy of Hamlet, Prince of Denmark
14863:Laurence Olivier Award for Best Revival
14366:Rosencrantz and Guildenstern Are Undead
14296:Rosencrantz & Guildenstern Are Dead
11944:
11872:, commentaries, concordances, and more.
11424:(Open Market ed.). Harlow, Essex:
11422:Shakespeare: The Invention of the Human
11333:
10920:
10799:
10771:
10727:
10656:
10561:
10513:
10487:
10373:
10294:
10120:
10095:
10011:
9879:
9868:
9723:
9688:
9659:
9627:. Directors in Perspective. Cambridge:
9555:
9542:
9337:
9308:
9275:
9261:
9065:
9030:
8808:
8797:
8739:
8714:
8619:
8538:"Will the real Hamlet please stand up?"
8483:
8333:
8278:
8089:
7901:
7845:
7777:
7679:
7643:
7631:
7619:
7583:
7535:
7499:
7352:
7304:
7292:
7244:
7208:
7172:
7160:
7107:
7059:
6819:
6792:
6703:
6472:
6460:
6448:
6436:
6337:
6325:
6169:
6135:
6051:
6027:
6015:
5998:
5947:
5911:
5761:
5749:
5722:
5698:
5686:
5674:
5662:
5602:
5590:
5566:
5530:
5443:
5241:"Article clipped from Evening Standard"
5171:
5156:
5132:
5084:
5012:
4976:
4856:
4766:
4718:
4706:
4665:
4641:
4629:
4617:
4605:
4462:
4414:
4390:
3920:
3293:In October 2011, a production starring
2752:, particularly admiring the madness of
2575:'s production in Philadelphia in 1759.
1937:In the 1950s, the French psychoanalyst
542:. Hamlet then asks the actors to stage
239:in order to seize his throne and marry
14:
15226:
11291:
11240:
11143:
11096:
11078:. Vol. 5 (New ed.). London:
11055:. Vol. 4 (New ed.). London:
11032:. Vol. 1 (New ed.). London:
10848:
10822:
10742:
10692:
10596:Shakespeare and the Question of Theory
10474:
9964:
9902:
9591:
9483:
8835:
8795:
8534:
8456:
8064:
8046:
7703:
7607:
7559:
7475:
7388:
6948:
6890:
6888:
6756:
6727:
6715:
6643:
6616:
6580:
6496:
6412:
6400:
6361:
6349:
6301:
6289:
6205:
6193:
6063:
5506:
5470:
5096:
4937:
4557:
4270:
4244:
4069:records his delight at the novelty of
3854:12 Ophelias (a play with broken songs)
3428:as Ophelia opened on 13 October 2022.
2359:
2271:—stripped of obsession and revenge—in
985:s frequent allusions to Shakespeare's
14835:
14543:Terrance and Phillip: Behind the Blow
14397:Rosencrantz and Guildenstern Are Dead
13068:
12689:Complete Works of William Shakespeare
11918:
11825: – A complete text of
11496:Crystal, David; Crystal, Ben (2005).
11196:
10998:
10980:. The Charles Eliot Norton Lectures.
10621:
10490:"A Play at Poolside: Caridad Svich's
10399:
10177:
9748:
9618:
9286:
9205:
9004:
8976:
8750:
8737:
8630:
8570:
8555:
8422:
8399:
8361:. New York: Berkley Boulevard Books.
8356:
8308:
8205:
8181:
8093:Ian Mckellen: An Unofficial Biography
7994:, third series. Vol. 2. London:
7967:, third series. Vol. 1. London:
7874:
7809:
7693:
7655:
7595:
7547:
7511:
7463:
7451:
7412:
7364:
7232:
7184:
7095:
6909:
6894:
6879:
6867:
6855:
6843:
6807:
6667:
6556:
6544:
6520:
6277:
6238:
6123:
6087:
5923:
5851:
5836:
5812:
5797:
5785:
5494:
5297:"Article clipped from Tucson Citizen"
5072:
5000:
4925:
4593:
4569:
4127:For more on this production, see the
3840:Rosencrantz and Guildenstern Are Dead
3791:Rosencrantz and Guildenstern Are Dead
2737:strength and great spiritual power".
2478:All theatres were closed down by the
2277:, though its main parallels are with
1755:caused Hamlet's hesitations (artist:
1419:
1258:an unrealisable ideal. ... there are
672:, which contains the legend of Amleth
374:Marcellus – an officer
344: – Polonius's daughter
15163:
11808:at the Internet Shakespeare Editions
11356:
11221:
10888:Thompson, Ann; Taylor, Neil (1996).
10680:from the original on 10 January 2022
10539:
10425:
10254:
10068:"Shakespeare's Hamlet with Jude Law"
8875:
8437:
8253:
8057:
7931:
7424:
7400:
7316:
7047:
6655:
6265:
5824:
4682:
4450:
3401:'s newly instated artistic director
2648:), showing several of the key scenes
2408:. He was the chief tragedian of the
2400:Shakespeare's day to the Interregnum
1953:were first presented in a series of
1897:Bloom's Shakespeare Through the Ages
1859:'s long-running 1922 performance in
864:Scholars have often speculated that
384:Francisco – a soldier
15294:Plays adapted into television shows
13049:
11749:at Wikisource, in multiple editions
11357:Zhuk, Nataliia (2 September 2017).
10562:Shenton, Mark (10 September 2007).
10207:John Barrymore, Shakespearean Actor
10062:
9052:
9012:The Basic Writings of Sigmund Freud
8904:
8336:From Formalism to Poststructuralism
7487:
7280:
6885:
6691:
6568:
3998:The Oxford Dictionary of Quotations
3762:
2868:The first modern dress stagings of
2790:("new school theatre") adaptation.
2558:. In the title role, Davenant cast
2267:managed "a more upbeat version" of
1961:". Lacan postulated that the human
1339:
840:Most scholars reject the idea that
459:On a cold night on the ramparts of
24:
12864:Shakespeare's influence on Tolkien
11862:'s Shakespeare Electronic Archive.
11633:
11385:
11028:Shakespeare: The Critical Heritage
10728:Stewart, Rachel (11 August 2014).
10705:. Accents on Shakespeare. London:
10488:Schultz, David G. (16 July 2008).
10374:Rothman, Joshua (14 August 2013).
9367:. Shakespeare Library. Baltimore:
7988:Hamlet: The Texts of 1603 and 1623
4219:Hamlet: the texts of 1603 and 1623
3856:includes elements of the story of
3097:, and the show transferred to the
2828:theatre, which he took to London.
2748:saw his 1827 Paris performance of
2519:The play was revived early in the
1120:new epigrams", published in 1607.
1037:The phrase "little eyases" in the
399: – prince of Norway
350: – friend of Hamlet
34:. For the type of settlement, see
25:
15355:
15289:Plays adapted into radio programs
14150:My Robin is to the greenwood gone
11581:
11222:Wild, Stephi (1 September 2022).
10946:Todoroff, Aimee (19 March 2011).
9669:Coming to Broadway With Jude Law"
9365:A Shakespeare Companion 1564–1964
9075:Foggerty's Fairy: and other tales
8980:(1991) . Richards, Angela (ed.).
8601:The Problem of Hamlet: A Solution
8556:Calia, Michael (11 August 2014).
7733:. The RSC Shakespeare. New York:
4245:Propst, Andy (28 November 2022).
3045:'s in 1995 (for which he won the
2820:produced an acclaimed version of
2523:. When the existing stock of pre-
1775:were first published in his book
1736:
1143:and John Trundell published, and
1082:A contemporary of Shakespeare's,
709:. A 17th-century Nordic scholar,
467:Bernardo and Marcellus discuss a
371:Osric – a courtier
15279:British plays adapted into films
15206:
15189:
15172:
15144:
15132:
15120:
13048:
13039:
13038:
12392:
11890:
11740:
11717:
11646:
11113:University of Pennsylvania Press
10667:, The Young Vic Theatre: review"
10405:William Shakespeare: A Biography
10330:Shakespeare Companion, 1564–1964
9287:Gupta, Priya (7 February 2014).
8849:Duncan-Jones, Catherine (2001).
7875:Irace, Kathleen O., ed. (1998).
7755:; Rasmussen, Eric, eds. (2008).
7729:; Rasmussen, Eric, eds. (2007).
7430:
7125:
6903:
6825:
6141:
6033:
5929:
5857:
5728:
5704:
5644:
5632:
5620:
5572:
4162:
4141:
4121:
4103:
4085:
4076:
4060:
4038:
4033:Columbia College Core Curriculum
4031:"Great Books" reading list, and
4017:Great Books of the Western World
3986:
3969:
3953:
3812:wrote a short comic play titled
3643:movies—in the title role of his
3562:in 1964–65, the longest-running
3547:was cast in the role of Hamlet.
2640:, for an American production of
2512:Title page and frontispiece for
2197:Wilhelm Meister's Apprenticeship
1932:
1763:
1657:
1454:The First Quarto (1603) text of
1057:was written, but notes that the
991:, itself dated to mid-1599. The
608:The gravedigger scene. (Artist:
356: – Polonius's son
181:
11898:The Danish History (Books I–IX)
11172:; Stanton, Sarah, eds. (2002).
11097:Warren, Christopher N. (2016).
10452:(1983). Hansen, William (ed.).
9918:The University of Chicago Press
9338:Gussow, Mel (14 October 1992).
8279:Brandes, Philip (5 July 2001).
8071:. Cambridge Guides. Cambridge:
8047:Weiner, Albert B., ed. (1962).
5548:
5536:
5425:
5413:
5373:
5345:
5317:
5289:
5261:
5233:
5205:
5177:
4982:
4943:
4736:
4724:
4482:
4468:
3932:
3735:is an adaptation set in modern
3531:) is based on a translation by
3199:
3152:lists sixty-six productions of
2899:, the number of productions of
2775:
2768:tradition in India transformed
2680:), and its most famous Hamlet,
2624:
1824:"is rooted in the same soil as
1151:" first quarto, under the name
948:must be tentative", states the
463:, the Danish royal castle, the
15299:Plays adapted into video games
14614:Asterix and the Great Crossing
13439:Cultural references to Ophelia
12869:Works titled after Shakespeare
11713:Internet Off-Broadway Database
11074:Vickers, Brian, ed. (1995c) .
11051:Vickers, Brian, ed. (1995b) .
10565:"Jude Law to star in Donmar's
10024:Renaissance Society of America
9755:American Journal of Psychology
9724:Jackson, Russell, ed. (2000).
9071:"Rosencrantz and Guildenstern"
8235:; Foster, Brett, eds. (2008).
8117:Stanislavski: His Life and Art
8068:The Cambridge Guide to Theatre
5353:"Article clipped from The Day"
4312:
4288:
4238:
4180:, which was unheard of at the
3880:University of Halle-Wittenberg
3710:set the story in contemporary
3476:'s 1948 moody black-and-white
2995:writing in a famous review in
2239:itself". About the same time,
1915:Joshua Rothman has written in
1553:An unusual rhetorical device,
1239:editors of Shakespeare's works
1049:, and supports a 1601 dating.
1009:Lo: Chamberleyne his servantes
827:, Belleforest, Saxo, or Kyd's
713:, compared the Icelandic hero
27:Tragedy by William Shakespeare
13:
1:
15015:Long Day's Journey into Night
14306:Highlander II: The Quickening
13235:What a piece of work is a man
13029:Shakespeare and other authors
10891:William Shakespeare, "Hamlet"
10703:Shakespeare and Appropriation
10622:Small, Alan (19 April 2019).
10543:(1961). Wilson, Edwin (ed.).
10357:Associated University Presses
10204:Morrison, Michael A. (1997).
10099:"Hamlet": A Guide to the Play
9206:Grode, Eric (30 March 2011).
9008:(1995) . Brill, A. A. (ed.).
8940:(3). The MIT Press: 144–148.
8576:"Ralph Fiennes as Mod Hamlet"
8535:Burrow, Colin (19 May 2002).
8423:Brown, Mark (11 April 2018).
8051:. Barrons Educational Series.
7829:Riverside Shakespeare Company
7761:The Royal Shakespeare Company
6425:Pitcher & Woudhuysen 1969
5361:. 3 December 1986. p. 31
4191:
3590:
3444:Cultural references to Hamlet
3190:Royal Manitoba Theatre Centre
3132:" while lying on the floor),
3095:New York Shakespeare Festival
3037:Other New York portrayals of
2634:
2604:, to great acclaim. In 1748,
2355:, p. vii, Avenal Books, 1970
2352:Asimov's Guide to Shakespeare
2172:who "can put on / terrors."
2067:
1731:What a piece of work is a man
1335:Critical approaches to Hamlet
1214:of the 1605 printing (Q2) of
528:What a piece of work is a man
304:
69:
15334:Works based on Gesta Danorum
14121:Tales from the Public Domain
14076:Rosencrantz and Guildenstern
13175:Rosencrantz and Guildenstern
12911:Shakespeare Birthplace Trust
11607:Resources in other libraries
11269:Winstanley, Lilian (1977) .
10778:Olivier: The complete career
10458:University of Nebraska Press
10156:For Ian Charleson: A Tribute
10076:(Interview). Interviewed by
9764:University of Illinois Press
9598:Shakespeare: An Oxford Guide
9201:. Vol. 51, no. 16.
9198:The New York Review of Books
9134:de Grazia, Margreta (2007).
8983:The Interpretation of Dreams
8819:University of Delaware Press
8400:Brown, Mark (1 April 2016).
8191:. New York: Harcourt Brace.
8119:(Revised ed.). London:
8065:Banham, Martin, ed. (1998).
8028:(Compact ed.). Oxford:
7846:Hibbard, G. R., ed. (1987).
7688:
5950:, pp. 104–107, 113–116.
5193:. 10 October 1877. p. 6
4112:, in a letter to the London
3815:Rosencrantz and Guildenstern
3804:Rosencrantz and Guildenstern
3778:Rosencrantz and Guildenstern
3021:'s hero, Jimmy Porter, from
2948:, Lin Zhaohua staged a 1990
2874:Birmingham Repertory Theatre
2552:Lincoln's Inn Fields Theatre
2504:Restoration and 18th century
2097:Literary influence of Hamlet
2090:
1799:The Interpretation of Dreams
1778:The Interpretation of Dreams
1654:to the church door in 1517.
1586:
875:might have been inspired by
516:Rosencrantz and Guildenstern
405: – a pair of
366:Rosencrantz and Guildenstern
7:
13910:The Story of Edgar Sawtelle
12717:English Renaissance theatre
12560:The Second Maiden's Tragedy
12539:The Merry Devil of Edmonton
12071:The Two Gentlemen of Verona
11849:
11814:Shakespeare Quartos Archive
11727:public domain audiobook at
11200:Hamlet in his Modern Guises
11150:American Shakespeare Center
11001:Hogarth: A Life and a World
10806:Harwood Academic Publishers
10265:University of Georgia Press
10096:MacCary, W. Thomas (1998).
9689:Jackson, MacDonald (1986).
9619:Innes, Christopher (1983).
9079:George Routledge & Sons
8465:(New ed.). Cambridge:
7932:Lott, Bernard, ed. (1970).
7012:Thompson & Taylor 2006a
6509:Thompson & Taylor 2006a
6374:Thompson & Taylor 2006a
6254:Thompson & Taylor 2006a
6227:Thompson & Taylor 2006a
5774:Thompson & Taylor 2006a
5764:, pp. 1049, 1052–1053.
5615:Thompson & Taylor 2006a
5519:Thompson & Taylor 2006a
5483:Thompson & Taylor 2006a
5459:Thompson & Taylor 2006a
5305:. 8 October 1988. p. 9
5049:Thompson & Taylor 2006a
5037:Thompson & Taylor 2006b
5025:Thompson & Taylor 2006a
4965:Thompson & Taylor 2006a
4899:Thompson & Taylor 2006b
4884:Thompson & Taylor 2006a
4845:Thompson & Taylor 2006a
4815:Thompson & Taylor 2006a
4695:Thompson & Taylor 2006a
4283:Thompson & Taylor 2006a
4233:Thompson & Taylor 2006a
4147:On Craig's relationship to
3796:American Shakespeare Center
2496:based on act 5, scene 1 of
2006:
1808:Freud explores the reason "
1479:
1396:wrote a negative review of
1139:): In 1603 the booksellers
10:
15360:
14525:The Conscience of the King
12885:Folger Shakespeare Library
12431:The Phoenix and the Turtle
12021:The Merry Wives of Windsor
11823:at Open Source Shakespeare
11774:Folger Shakespeare Library
11734:
11702:Internet Broadway Database
11535:Cambridge University Press
11499:The Shakespeare Miscellany
11252:Cambridge University Press
11205:Princeton University Press
11180:Cambridge University Press
10978:Sincerity and Authenticity
10871:Cambridge University Press
10854:Wells & Stanton (2002)
10646:Wells & Stanton (2002)
10477:Wells & Stanton (2002)
10351:Rosenberg, Marvin (1992).
10307:Cambridge University Press
10284:Wells & Stanton (2002)
10255:Novy, Marianne L. (1994).
10212:Cambridge University Press
10193:Wells & Stanton (2002)
10180:Wells & Stanton (2002)
10123:Wells & Stanton (2002)
9732:Cambridge University Press
9703:Cambridge University Press
9629:Cambridge University Press
9581:Wells & Stanton (2002)
9562:Cambridge University Press
9545:Wells & Stanton (2002)
9496:Folger Shakespeare Library
9409:Hattaway, Michael (1987).
9392:Routledge & Kegan Paul
9386:Hattaway, Michael (1982).
9171:W. W. Norton & Company
9143:Cambridge University Press
9095:Wells & Stanton (2002)
9055:Wells & Stanton (2002)
8838:Wells & Stanton (2002)
8467:Cambridge University Press
8340:Cambridge University Press
8073:Cambridge University Press
7885:Cambridge University Press
7877:The First Quarto of Hamlet
7793:Cambridge University Press
7138:Internet Broadway Database
6897:The Shakespeare Revolution
6485:Thompson & Taylor 1996
5221:. 25 April 1898. p. 5
3781:, with Gilbert as Claudius
3685:and makes frequent use of
3441:
3435:
3150:Internet Broadway Database
3111:Roundabout Theatre Company
3009:In 1963, Olivier directed
2914:The Usurper of State Power
2370:Shakespeare in performance
2363:
2094:
1991:", which create holes (or
1708:reflects the contemporary
1616:(or piously medieval) and
1612:, the play is alternately
1582:Context and interpretation
1414:context and interpretation
1332:
1293:, the Good Quarto and the
1007:was "latelie Acted by the
648:
644:
549:
308:
29:
15284:Plays adapted into operas
15269:Ghosts in written fiction
15244:English Renaissance plays
14920:
14869:
14783:The Hobart Shakespeareans
14714:
14646:
14604:
14563:
14506:
14485:Interred with Their Bones
14438:
14387:
14256:
14247:
14178:
14140:
14048:
14013:Hamlet, Prince of Denmark
13983:
13962:
13921:
13830:
13639:
13630:
13491:
13462:
13408:
13322:
13283:
13254:
13205:
13108:
13023:
12934:
12904:Royal Shakespeare Theatre
12899:Royal Shakespeare Company
12806:
12663:
12634:
12463:
12454:
12401:
12390:
12322:
12294:
12185:
12095:
12028:A Midsummer Night's Dream
11972:All's Well That Ends Well
11961:
11952:
11602:Resources in your library
11477:. Vol. 1. New York:
11277:. Philadelphia: R. West.
11197:Welsh, Alexander (2001).
10867:Shakespeare and Sexuality
9880:Kiernan, Pauline (2007).
9600:. Oxford Guides. Oxford:
8715:Cotsell, Michael (2005).
8668:. Vol. 3. New York:
8115:Benedetti, Jean (1999) .
7913:, second series. London:
7881:New Cambridge Shakespeare
7821:The Riverside Shakespeare
7816:The Riverside Shakespeare
7789:New Cambridge Shakespeare
7784:Hamlet, Prince of Denmark
7735:Royal Shakespeare Company
7341:Globe to Globe Hamlet n.d
7120:Guernsey & Sweet 2000
5446:, pp. 65–72, 84, 96.
5277:. 29 May 1988. p. 86
5061:Bate & Rasmussen 2008
4911:Bate & Rasmussen 2007
3948:New Cambridge Shakespeare
3788:Tom Stoppard's 1966 play
3448:An early film version of
3308:played the title role of
3274:in the title role at the
3073:in the early 1970s, with
2718:Johnston Forbes-Robertson
2594:Richard Brinsley Sheridan
1513:royal first person plural
1507:'s 1528 etiquette guide,
1449:
1186:William and Isaac Jaggard
624:from Hamlet's childhood,
586:
508:
156:
146:
136:
90:
80:
54:
49:
15339:Fiction about poisonings
15264:Fiction about fratricide
15254:Fiction about familicide
15090:A Streetcar Named Desire
15039:Ma Rainey's Black Bottom
14943:Mourning Becomes Electra
14704:The River Bank (Ophelia)
13739:Let the Devil Wear Black
12042:Pericles, Prince of Tyre
11688:25 February 2021 at the
11445:"Innokenti Smoktunovsky"
11443:Brennan, Sandra (2015).
11003:(New ed.). London:
10982:Harvard University Press
10929:Routledge and Kegan Paul
10693:Starks, Lisa S. (1999).
10409:Barnes & Noble Books
9243:(illustrated ed.).
8547:. p. 6 – via
8254:Blum, Daniel C. (1981).
5389:. 8 May 1987. p. 25
5333:. 8 May 1987. p. 25
5249:. 25 May 1948. p. 6
4155:, and its principles of
3975:See the articles on the
3925:
3661:played Hamlet's father.
3585:'s skull (photographer:
3432:Film and TV performances
3368:production, directed by
3304:In 2013, American actor
3128:, memorably performing "
3123:Circle Repertory Company
3041:of note include that of
2756:'s Ophelia. In Germany,
2676:(who later assassinated
2666:William Charles Macready
2529:patent theatre companies
1147:printed, the so-called "
1123:
599:
432:
15319:Fiction about purgatory
15249:Shakespearean tragedies
14765:The Chronicles of Amber
14733:Hamlet and His Problems
14475:The Shakespeare Stealer
14026:(BBC 2, animated, 1992)
13429:Cultural references to
12050:The Taming of the Shrew
11479:Oxford University Press
10921:Thomson, Peter (1983).
10599:. New York and London:
9840:Kerrigan, John (1996).
9602:Oxford University Press
9262:Guntner, J. Lawrence. "
8933:The Tulane Drama Review
8670:Oxford University Press
8563:The Wall Street Journal
8357:Brode, Douglas (2001).
7858:Oxford University Press
7854:Oxford World's Classics
7759:. The RSC Shakespeare.
5987:Bloom & Foster 2008
5888:Freud & Bunker 1960
5876:Freud & Bunker 1960
4654:Wells & Taylor 1988
3830:is a comical sequel to
3099:Vivian Beaumont Theater
2932:directed the play in a
2832:Konstantin Stanislavski
1712:promoted by the French
1666:Philosophical ideas in
1310:memorial reconstruction
1116:"), but also mentions "
1041:(F1) may allude to the
928:
921:, was the President of
783:or by Shakespeare, the
746:François de Belleforest
416:
291:François de Belleforest
252:(Q1, 1603); the Second
40:Hamlet (disambiguation)
15259:Fiction about regicide
15031:A View from the Bridge
14336:In the Bleak Midwinter
14103:Lyle the Kindly Viking
12732:Lord Chamberlain's Men
12643:The Passionate Pilgrim
12416:comparison to Petrarch
12035:Much Ado About Nothing
12014:The Merchant of Venice
11858: – The
11856:Hamlet on the Ramparts
11692:at the British Library
11642:
11617:Listen to this article
11558:Shakespeare's Language
10999:Uglow, Jenny (2002) .
10800:Taxidou, Olga (1998).
10547:. New York: Applause.
10235:Royal National Theatre
9596:; Orlin, Lena (eds.).
9318:Starring Stephen Lang"
8755:. Screen Adaptations.
8751:Crowl, Samuel (2014).
8652: ed.). New York:
8309:Braun, Edward (1982).
8211:Hamlet: Poem Unlimited
8090:Barratt, Mark (2005).
8026:The Oxford Shakespeare
5902:, pp. 4, 129–130.
4510:Saxo & Hansen 1983
4498:Saxo & Hansen 1983
4427:Saxo & Hansen 1983
4403:Saxo & Hansen 1983
4379:Saxo & Hansen 1983
4367:Saxo & Hansen 1983
4355:Saxo & Hansen 1983
4343:Saxo & Hansen 1983
4331:Saxo & Hansen 1983
3995:has 208 quotations in
3782:
3657:—played Gertrude, and
3597:
3550:John Gielgud directed
3545:Innokenty Smoktunovsky
3528:
3326:New Haven, Connecticut
3318:Yale Repertory Theatre
2964:
2654:George Frederick Cooke
2649:
2611:Thomas Abthorpe Cooper
2586:
2537:Sir William Davenant's
2516:
2482:government during the
2410:Lord Chamberlain's Men
2382:
2357:
2345: —
2136:
2074:
2019:
1848:Freud points out that
1771:’s thoughts regarding
1760:
1679:
1678:, fl. 1560–1612).
1605:
1505:Baldassare Castiglione
1493:
1329:Analysis and criticism
1297:
1234:
1225:The first page of the
1218:
1059:Lord Chamberlain's Men
1051:Katherine Duncan-Jones
1043:Children of the Chapel
976:earliest date estimate
941:
923:Corpus Christi College
779:. Possibly written by
770:
731:
673:
613:
571:
498:
429:
38:. For other uses, see
15329:Fiction about suicide
14991:Cat on a Hot Tin Roof
13996:(Australian TV, 1959)
13880:The Dead Fathers Club
13860:Gertrude and Claudius
13453:Human skull symbolism
12922:Shakespeare Institute
12891:Shakespeare Quarterly
12410:Shakespeare's sonnets
12078:The Two Noble Kinsmen
11641:
11527:The Tempest and After
11475:The Elizabethan Stage
11121:10.1353/hum.2016.0020
10924:Shakespeare's Theatre
10432:Yale University Press
10238:. n.d. Archived from
10161:Constable and Company
10015:Renaissance Quarterly
9981:10.1353/shq.2011.0025
9968:Shakespeare Quarterly
9487:Shakespeare Quarterly
9440:Shakespeare Quarterly
9117:. n.d. Archived from
9111:Globe to Globe Hamlet
8908:(18 September 2009).
8666:The Elizabethan Stage
8654:The Macmillan Company
8597:Cairncross, Andrew S.
8281:"A Viking Helmet for
6268:, pp. 62, 77–78.
3770:
3631:—then famous for the
3577:
3560:Lunt-Fontanne Theatre
3521:The 1964 Soviet film
3378:Harold Pinter Theatre
3341:Globe to Globe Hamlet
3233:Christopher Eccleston
3166:'s production at the
2959:
2848:production of 1911–12
2842:—collaborated on the
2840:theatre practitioners
2762:Ferdinand Freiligrath
2695:Winter Garden Theatre
2632:
2581:
2511:
2374:
2366:Hamlet in performance
2336:
2246:The Mill on the Floss
2120:
2064:Nicolai A. Abildgaard
2061:
2022:In the 20th century,
2014:
1744:
1665:
1624:and as dying without
1594:
1487:
1403:By the 19th century,
1288:
1224:
1210:
1065:in the 3000-capacity
936:
789:the Chamberlain's Men
762:
661:
607:
569:
544:The Murder of Gonzago
538:at the climax of the
492:
424:
173:, often shortened to
151:Shakespearean tragedy
15314:Plays set in palaces
15309:Plays set in castles
15304:Plays set in Denmark
13850:Too, Too Solid Flesh
13719:Hamlet Goes Business
13419:Common phrases from
12778:Spelling of his name
12618:Vortigern and Rowena
12596:Thomas Lord Cromwell
12176:Troilus and Cressida
12106:Antony and Cleopatra
12000:Love's Labour's Lost
11986:The Comedy of Errors
11760:7 April 2018 at the
11697:Hamlet
11673:More spoken articles
11537:. pp. 255–270.
11342:. pp. 181–207.
11148:. Director's Notes.
11144:Warren, Jim (n.d.).
10660:(10 November 2011).
10541:Shaw, George Bernard
9884:(revised ed.).
9665:"Donmar Warehouse's
8504:10.1353/cj.2003.0007
7938:New Swan Shakespeare
7149:McKellen et al. 1990
7133:Hamlet
7084:National Theatre n.d
6895:Styan, J.L. (1977).
6822:, pp. 181, 188.
6783:, pp. 189, 195.
6151:. St. John's College
3921:Notes and references
3569:Columbia Masterworks
3407:gender-blind casting
3347:Benedict Cumberbatch
2953:fell to the ground.
2690:Fifth Avenue Theatre
2321:David Foster Wallace
2126:Władysław Czachórski
2122:Actors before Hamlet
2044:maid, wife, or widow
2032:cultural materialist
1884:in a Jones-inspired
1721:Pico della Mirandola
1714:Renaissance humanist
1596:John Everett Millais
1515:("we" or "us"), and
1262:of this play but no
1079:very similar piece.
993:latest date estimate
856:has argued that the
311:Characters in Hamlet
273:Lucius Junius Brutus
256:(Q2, 1604); and the
141:Early Modern English
15274:Metafictional plays
14552:Slings & Arrows
14130:The Skinhead Hamlet
13840:Hamlet Had an Uncle
13649:The Rest Is Silence
13446:Language of flowers
13369:Critical approaches
13352:The Spanish Tragedy
13215:To be, or not to be
13096:William Shakespeare
13002:Richard Shakespeare
12984:Gilbert Shakespeare
12916:Shakespeare's Globe
12821:Authorship question
12816:Attribution studies
12783:Stratford-upon-Avon
12625:A Yorkshire Tragedy
12603:Thomas of Woodstock
12589:The Spanish Tragedy
12530:Love's Labour's Won
12522:The London Prodigal
12479:The Birth of Merlin
12438:The Rape of Lucrece
12424:A Lover's Complaint
12304:Quarto publications
12007:Measure for Measure
11946:William Shakespeare
11457:on 18 February 2015
11359:"Tom Hiddleston in
11295:(26 October 1875).
11156:on 22 December 2015
10735:The Daily Telegraph
10673:The Daily Telegraph
10629:Winnipeg Free Press
10545:Shaw on Shakespeare
10426:Sams, Eric (1995).
10353:The Masks of Hamlet
10263:. Athens, Georgia:
9623:Edward Gordon Craig
9340:"Theater in Review"
9210:. Theater Reviews.
9191:(21 October 2004).
9189:Greenblatt, Stephen
9161:Greenblatt, Stephen
9115:Shakespeare's Globe
9107:"About the Project"
9034:(8 November 2002).
8890:The Huffington Post
8648:(Online edition by
8161:Billington, Michael
8139:Billington, Michael
7811:Evans, G. Blakemore
7711:. Signet Classics.
7622:, pp. 349–366.
7538:, pp. 121–122.
7502:, pp. 120–121.
7454:, pp. 117–118.
7175:, pp. 170–182.
7038:, pp. 249–250.
7002:, pp. 247–248.
6988:Gillies et al. 2002
6978:, pp. 267–269.
6976:Gillies et al. 2002
6963:, pp. 224–225.
6912:The Saturday Review
6882:, pp. 140–175.
6858:, pp. 165–167.
6771:, pp. 188–211.
6747:, pp. 259–262.
6745:Gillies et al. 2002
6706:, pp. 203–205.
6607:, pp. 235–237.
6595:, pp. 232–233.
6583:, pp. 185–187.
6256:, pp. 126–131.
6229:, pp. 123–126.
6172:, pp. 114–133.
6138:, pp. 111–113.
6066:, pp. 411–415.
6054:, pp. 199–202.
6018:, pp. 207–211.
5962:, pp. 168–170.
5890:, pp. 147–148.
5815:, pp. 274–279.
5800:, pp. 367–368.
5605:, pp. 493–495.
5135:, pp. 184–185.
4967:, pp. 543–552.
4805:, pp. 204–205.
4793:, pp. 486–487.
4757:, pp. 143–149.
4134:article. Craig and
4097:The Saturday Review
4092:George Bernard Shaw
4073:"done with scenes".
3917:Denmark in 999 AD.
3556:Broadway production
3541:Dmitri Shostakovich
3278:West End season at
3209:Simon Russell Beale
3130:To be, or not to be
2924:, was an attack on
2836:Edward Gordon Craig
2714:George Bernard Shaw
2658:Junius Brutus Booth
2606:Alexander Sumarokov
2386:Maurice Maeterlinck
2360:Performance history
2329:draws heavily from
1729:of 1580. Hamlet's "
1717:Michel de Montaigne
1700:to be, or not to be
1672:Michel de Montaigne
1610:English Reformation
1563:deject and wretched
1559:expectancy and rose
1303:To be, or not to be
1094:, and implies that
1047:War of the Theatres
1001:Stationers' Company
830:The Spanish Tragedy
766:The Spanish Tragedy
750:Histoires tragiques
723:) to Shakespeare's
690:Saga of Hrolf Kraki
235:, who has murdered
217:William Shakespeare
85:William Shakespeare
15077:No Ceremony (2021)
15071:Cyrano de Bergerac
14894:An Inspector Calls
14792:Gertrude – The Cry
14724:Hamlet and Oedipus
14427:To Be or Not to Be
14286:To Be or Not to Be
14266:To Be or Not to Be
14249:In popular culture
14226:Die Hamletmaschine
14094:The Klingon Hamlet
14003:Hamlet at Elsinore
13659:The Bad Sleep Well
13473:Moscow Art Theatre
12996:Edmund Shakespeare
12954:Hamnet Shakespeare
12851:Screen adaptations
12574:Sir John Oldcastle
12472:Arden of Faversham
11881:Clear Shakespeare
11643:
11531:Shakespeare Survey
11450:The New York Times
10960:on 23 October 2017
10757:The New York Times
10066:(2 October 2009).
9674:The New York Times
9652:The New York Times
9647:Isherwood, Charles
9504:10.1353/shq.0.0140
9345:The New York Times
9323:The New York Times
9294:The Times of India
9213:The New York Times
8915:The New York Times
8881:"Paul Giamatti in
8581:The New York Times
8549:InfoTrac Newsstand
8022:The Complete Works
7514:, pp. 125–27.
7466:, pp. 117–18.
7257:Broadwayworld 2009
6990:, pp. 267–69.
6030:, pp. 207–11.
5839:, pp. 274–79.
4453:, p. 121–124.
4197:All references to
4129:MAT production of
4100:on 2 October 1897.
4029:St. John's College
3892:The New York Times
3836:The New York Times
3783:
3618:Marianne Faithfull
3598:
3539:, with a score by
3288:Broadhurst Theatre
3146:The Public Theatre
3138:Christopher Walken
3058:The New York Times
3024:Look Back in Anger
2965:
2844:Moscow Art Theatre
2802:("new drama") and
2650:
2590:John Philip Kemble
2587:
2517:
2457:John Payne Collier
2303:To be or not to be
2233:Great Expectations
2220:Great Expectations
2137:
2075:
2020:
1873:Hamlet and Oedipus
1761:
1748:suggested that an
1680:
1651:Ninety-five Theses
1606:
1494:
1420:Dramatic structure
1315:to be or not to be
1298:
1235:
1219:
1003:, indicating that
942:
854:Stephen Greenblatt
846:Hamnet Shakespeare
771:
674:
630:funeral procession
614:
572:
499:
430:
269:Elizabethan dramas
15108:
15107:
15055:Angels in America
14829:
14828:
14810:Something Rotten!
14756:Ostalo je ćutanje
14642:
14641:
14044:
14043:
13398:Damon and Pythias
13255:Words and phrases
13062:
13061:
12966:Elizabeth Barnard
12930:
12929:
12659:
12658:
12388:
12387:
12086:The Winter's Tale
11799:Project Gutenberg
11745:The full text of
11639:
11588:Library resources
11544:978-1-139-05320-4
11488:978-0-19-956748-5
11214:978-0-691-05093-5
10991:978-0-674-50419-6
10905:978-0-74630-765-6
10873:. pp. 1–13.
10792:978-0-89659-590-3
10746:(1 August 2017).
10591:Showalter, Elaine
10499:The Brooklyn Rail
10320:978-0-521-60580-9
10274:978-0-8203-1596-6
10242:on 11 August 2010
10170:978-0-09-470250-9
10147:Redgrave, Vanessa
9904:Kirsch, Arthur C.
9895:978-1-84724-073-6
9855:978-0-19-159172-3
9571:978-0-521-60580-9
9435:Heilbrun, Carolyn
9254:978-1-55783-147-7
9239:. Illustrated by
9229:Guernsey, Otis L.
9152:978-0-521-69036-2
9023:978-0-679-60166-1
8879:(10 April 2013).
8859:Arden Shakespeare
8828:978-0-87413-699-9
8766:978-1-4725-3893-2
8757:Arden Shakespeare
8730:978-0-8204-7466-3
8679:978-0-19-956750-8
8449:978-1-135-44570-6
8387:. 4 February 2009
8349:978-0-521-30013-1
8326:978-0-413-46300-5
8294:Los Angeles Times
8287:Mad Boy Chronicle
8271:978-0-517-54262-0
8246:978-0-7910-9592-8
8198:978-1-57322-514-4
8188:The Western Canon
8163:(6 August 2008).
8107:978-1-85227-251-7
8058:Secondary sources
7992:Arden Shakespeare
7965:Arden Shakespeare
7911:Arden Shakespeare
7838:978-0-395-04402-5
7802:978-0-521-29366-2
7770:978-0-230-21786-7
7744:978-0-679-64295-4
7574:, pp. 78–79.
7269:Daily Mirror 2009
6795:, pp. 38–41.
6646:, pp. 58–75.
6511:, pp. 98–99.
6475:, pp. 21–22.
6376:, pp. 53–55.
6090:, pp. 58–59.
5776:, pp. 73–74.
5725:, pp. 47–48.
5689:, pp. 37–38.
5677:, pp. 91–93.
5665:, pp. 87–88.
5569:, pp. 89–90.
5533:, pp. 84–85.
5485:, pp. 92–93.
5461:, pp. 80–81.
5051:, pp. 18–19.
5039:, pp. 36–39.
5027:, pp. 85–86.
4859:, pp. 22–23.
4781:, pp. 13–20.
4755:Duncan-Jones 2001
4709:, pp. 12–13.
4697:, pp. 58–59.
4620:, pp. 74–75.
4500:, pp. 66–68.
4417:, pp. 82–85.
4405:, pp. 66–67.
4381:, pp. 25–37.
4345:, pp. 16–25.
4333:, pp. 36–37.
4251:Time Out New York
4203:Arden Shakespeare
4153:Russian symbolism
4025:The Western Canon
3981:Church of Denmark
3940:Arden Shakespeare
3907:Mad Boy Chronicle
3702:Michael Almereyda
3625:Franco Zeffirelli
3537:Grigori Kozintsev
3511:Monodrama Theater
3466:, Danish actress
3399:The Globe Theatre
3280:Wyndham's Theatre
3253:Christian Camargo
3071:Delacorte Theater
2909:Vinohrady Theatre
2704:(including Kean,
2674:John Wilkes Booth
2391:La Jeune Belgique
1630:revenge tragedies
1381:Gothic literature
1241:, beginning with
1096:the Earl of Essex
1072:Antonio's Revenge
911:Oxford University
893:John Dover Wilson
861:interchangeable.
797:Andrew Cairncross
557:life versus death
166:
165:
137:Original language
16:(Redirected from
15351:
15219:
15211:
15210:
15209:
15202:
15194:
15193:
15192:
15185:
15177:
15176:
15175:
15165:
15149:
15148:
15137:
15136:
15135:
15125:
15124:
15116:
15063:Summer and Smoke
14856:
14849:
14842:
14833:
14832:
14822:
14813:
14804:
14795:
14786:
14777:
14768:
14759:
14750:
14743:
14736:
14727:
14707:
14698:
14689:
14679:
14676:Affe mit Schädel
14670:
14660:
14635:
14626:
14617:
14597:
14587:
14577:
14573:Last Action Hero
14556:
14546:
14537:
14528:
14519:
14499:
14489:
14479:
14469:
14466:The Undiscovered
14460:
14452:
14448:Hamlet, Revenge!
14431:
14421:
14411:
14401:
14380:
14370:
14360:
14350:
14340:
14330:
14320:
14316:Last Action Hero
14310:
14300:
14290:
14280:
14270:
14254:
14253:
14240:
14230:
14220:
14210:
14202:
14192:
14171:
14162:
14153:
14152:" (16th century)
14133:
14124:
14115:
14106:
14097:
14088:
14079:
14070:
14061:
14058:15-Minute Hamlet
14037:
14027:
14017:
14007:
13997:
13976:
13955:
13945:
13935:
13914:
13904:
13894:
13890:Something Rotten
13884:
13874:
13864:
13854:
13844:
13823:
13813:
13803:
13793:
13783:
13773:
13763:
13753:
13743:
13733:
13723:
13713:
13703:
13693:
13683:
13673:
13663:
13653:
13637:
13636:
13623:
13616:
13609:
13602:
13595:
13588:
13581:
13574:
13567:
13560:
13553:
13546:
13539:
13532:
13525:
13518:
13511:
13504:
13484:
13476:
13455:
13448:
13441:
13434:
13424:
13401:
13392:
13390:House of Gonzaga
13385:
13383:Saxo Grammaticus
13378:
13371:
13364:
13355:
13346:
13344:Legend of Hamlet
13315:
13308:
13301:
13294:
13276:
13267:
13247:
13244:Speak the speech
13238:
13227:
13218:
13198:
13191:
13189:The Gravediggers
13184:
13177:
13170:
13163:
13156:
13149:
13142:
13135:
13128:
13121:
13089:
13082:
13075:
13066:
13065:
13052:
13051:
13042:
13041:
12990:Joan Shakespeare
12972:John Shakespeare
12875:
12874:
12856:Shakespeare and
12567:Sejanus His Fall
12534:
12494:Double Falsehood
12461:
12460:
12445:Venus and Adonis
12396:
12169:Titus Andronicus
12155:Romeo and Juliet
11959:
11958:
11939:
11932:
11925:
11916:
11915:
11903:Saxo Grammaticus
11801:
11744:
11721:
11720:
11663:
11661:
11650:
11649:
11640:
11629:
11627:
11623:
11618:
11576:
11548:
11533:. Vol. 43.
11517:
11492:
11466:
11464:
11462:
11453:. Archived from
11439:
11413:
11394:Alexander, Peter
11380:
11353:
11330:
11302:New-York Tribune
11288:
11265:
11242:Wilson, J. Dover
11237:
11218:
11193:
11165:
11163:
11161:
11152:. Archived from
11140:
11093:
11070:
11047:
11025:, ed. (1995a) .
11018:
10995:
10974:Trilling, Lionel
10969:
10967:
10965:
10956:. Archived from
10942:
10917:
10884:
10857:
10845:
10819:
10796:
10768:
10766:
10764:
10739:
10724:
10689:
10687:
10685:
10669:
10658:Spencer, Charles
10653:
10640:
10638:
10636:
10618:
10586:
10584:
10582:
10571:
10558:
10536:
10510:
10508:
10506:
10484:
10471:
10450:Saxo Grammaticus
10445:
10422:
10396:
10394:
10392:
10370:
10347:
10324:
10291:
10278:
10262:
10251:
10249:
10247:
10225:
10200:
10187:
10174:
10130:
10117:
10092:
10090:
10088:
10059:
10008:
9961:
9909:Modern Philology
9899:
9876:
9859:
9836:
9834:
9832:
9814:(25 June 2017).
9807:
9745:
9720:
9685:
9683:
9681:
9663:(30 June 2009).
9656:
9642:
9626:
9615:
9588:
9575:
9552:
9539:
9480:
9430:
9405:
9382:
9356:
9354:
9352:
9334:
9332:
9330:
9312:(3 April 1992).
9305:
9303:
9301:
9283:
9258:
9224:
9222:
9220:
9202:
9184:
9156:
9130:
9128:
9126:
9102:
9089:
9087:
9085:
9062:
9049:
9027:
9015:
9001:
8973:
8926:
8924:
8922:
8901:
8899:
8897:
8872:
8856:
8845:
8832:
8805:
8792:
8790:
8788:
8780:The Daily Mirror
8770:
8747:
8734:
8711:
8683:
8657:
8627:
8614:
8592:
8590:
8588:
8567:
8552:
8540:
8531:
8480:
8453:
8434:
8419:
8417:
8415:
8396:
8394:
8392:
8372:
8353:
8330:
8305:
8303:
8301:
8275:
8262:Crown Publishers
8260:(5th ed.).
8250:
8228:
8202:
8178:
8156:
8134:
8111:
8086:
8052:
8043:
8009:
7996:Cengage Learning
7982:
7969:Cengage Learning
7955:
7928:
7898:
7871:
7842:
7825:Houghton Mifflin
7806:
7779:Edwards, Phillip
7774:
7748:
7722:
7683:
7677:
7671:
7665:
7659:
7653:
7647:
7641:
7635:
7629:
7623:
7617:
7611:
7605:
7599:
7593:
7587:
7581:
7575:
7569:
7563:
7557:
7551:
7545:
7539:
7533:
7527:
7521:
7515:
7509:
7503:
7497:
7491:
7485:
7479:
7473:
7467:
7461:
7455:
7449:
7440:
7434:
7428:
7422:
7416:
7410:
7404:
7398:
7392:
7386:
7380:
7374:
7368:
7362:
7356:
7350:
7344:
7338:
7332:
7326:
7320:
7314:
7308:
7302:
7296:
7290:
7284:
7278:
7272:
7266:
7260:
7254:
7248:
7242:
7236:
7230:
7224:
7218:
7212:
7206:
7200:
7194:
7188:
7182:
7176:
7170:
7164:
7158:
7152:
7146:
7140:
7129:
7123:
7117:
7111:
7105:
7099:
7093:
7087:
7081:
7075:
7069:
7063:
7057:
7051:
7045:
7039:
7033:
7027:
7021:
7015:
7009:
7003:
6997:
6991:
6985:
6979:
6973:
6964:
6958:
6952:
6946:
6940:
6934:
6928:
6922:
6916:
6915:
6907:
6901:
6900:
6892:
6883:
6877:
6871:
6865:
6859:
6853:
6847:
6841:
6835:
6829:
6823:
6817:
6811:
6805:
6796:
6790:
6784:
6778:
6772:
6766:
6760:
6754:
6748:
6742:
6731:
6725:
6719:
6713:
6707:
6701:
6695:
6689:
6683:
6677:
6671:
6665:
6659:
6653:
6647:
6641:
6635:
6629:
6620:
6614:
6608:
6602:
6596:
6590:
6584:
6578:
6572:
6566:
6560:
6554:
6548:
6542:
6536:
6530:
6524:
6518:
6512:
6506:
6500:
6494:
6488:
6482:
6476:
6470:
6464:
6458:
6452:
6446:
6440:
6434:
6428:
6422:
6416:
6410:
6404:
6398:
6389:
6383:
6377:
6371:
6365:
6359:
6353:
6347:
6341:
6335:
6329:
6323:
6317:
6311:
6305:
6299:
6293:
6287:
6281:
6275:
6269:
6263:
6257:
6251:
6242:
6236:
6230:
6224:
6209:
6203:
6197:
6191:
6185:
6179:
6173:
6167:
6161:
6160:
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6156:
6145:
6139:
6133:
6127:
6121:
6115:
6109:
6103:
6097:
6091:
6085:
6079:
6073:
6067:
6061:
6055:
6049:
6043:
6037:
6031:
6025:
6019:
6013:
6002:
5996:
5990:
5984:
5975:
5969:
5963:
5957:
5951:
5945:
5939:
5933:
5927:
5921:
5915:
5909:
5903:
5897:
5891:
5885:
5879:
5873:
5867:
5861:
5855:
5849:
5840:
5834:
5828:
5822:
5816:
5810:
5801:
5795:
5789:
5783:
5777:
5771:
5765:
5759:
5753:
5747:
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5726:
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5714:
5708:
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5690:
5684:
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5672:
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5642:
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5606:
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5570:
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5540:
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5528:
5522:
5516:
5510:
5504:
5498:
5492:
5486:
5480:
5474:
5468:
5462:
5456:
5447:
5441:
5435:
5429:
5423:
5417:
5411:
5405:
5399:
5398:
5396:
5394:
5377:
5371:
5370:
5368:
5366:
5349:
5343:
5342:
5340:
5338:
5321:
5315:
5314:
5312:
5310:
5293:
5287:
5286:
5284:
5282:
5265:
5259:
5258:
5256:
5254:
5237:
5231:
5230:
5228:
5226:
5209:
5203:
5202:
5200:
5198:
5181:
5175:
5169:
5160:
5154:
5148:
5142:
5136:
5130:
5124:
5118:
5112:
5106:
5100:
5094:
5088:
5082:
5076:
5070:
5064:
5058:
5052:
5046:
5040:
5034:
5028:
5022:
5016:
5010:
5004:
5003:, pp. 1–34.
4998:
4992:
4986:
4980:
4974:
4968:
4962:
4956:
4947:
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4902:
4896:
4887:
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4776:
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4698:
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4663:
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4603:
4597:
4591:
4585:
4579:
4573:
4567:
4561:
4555:
4549:
4543:
4537:
4534:Greenblatt 2004b
4531:
4525:
4522:Greenblatt 2004a
4519:
4513:
4507:
4501:
4495:
4489:
4486:
4480:
4479:
4472:
4466:
4465:, p. 84 n4.
4460:
4454:
4448:
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4436:
4430:
4424:
4418:
4412:
4406:
4400:
4394:
4388:
4382:
4376:
4370:
4364:
4358:
4357:, pp. 5–15.
4352:
4346:
4340:
4334:
4328:
4322:
4316:
4310:
4304:
4298:
4292:
4286:
4285:, p. 59-69.
4280:
4274:
4268:
4262:
4261:
4259:
4257:
4242:
4236:
4230:
4185:
4170:feudal hierarchy
4166:
4160:
4145:
4139:
4125:
4119:
4107:
4101:
4089:
4083:
4080:
4074:
4064:
4058:
4042:
4036:
4009:Harvard Classics
3990:
3984:
3973:
3967:
3957:
3951:
3936:
3902:
3763:Derivative works
3654:Fatal Attraction
3614:Nicol Williamson
3595:
3594: 1885–1900
3592:
3581:as Hamlet, with
3535:and directed by
3474:Laurence Olivier
3438:Hamlet on screen
3412:A production by
3388:Vanbrugh Theatre
3351:Barbican Theatre
3276:Donmar Warehouse
3180:Sir Ian McKellen
3172:Daniel Day-Lewis
3136:at Rutgers, and
3079:James Earl Jones
3075:Colleen Dewhurst
3015:National Theatre
2998:The Sunday Times
2977:Laurence Olivier
2963:as Ophelia, 1910
2946:Tiananmen Square
2938:Sichuan Province
2916:, an amalgam of
2824:in the style of
2782:Otojirō Kawakami
2754:Harriet Smithson
2708:, Macready, and
2684:. Edwin Booth's
2639:
2636:
2573:American Company
2560:Thomas Betterton
2494:The Grave-Makers
2395:
2312:The Black Prince
2159:
2085:Elaine Showalter
2078:Carolyn Heilbrun
2072:
2069:
2024:feminist critics
1882:Laurence Olivier
1757:Eugène Delacroix
1753:Oedipal conflict
1502:
1490:Eugène Delacroix
1340:Critical history
1145:Valentine Simmes
1103:
984:
968:terminus ad quem
940:as Hamlet (1922)
881:Elizabeth I
870:
736:Saxo Grammaticus
670:Saxo Grammaticus
610:Eugène Delacroix
444:, and nephew of
281:Saxo Grammaticus
210:
209:
206:
205:
202:
199:
196:
193:
190:
187:
74:
71:
59:
47:
46:
21:
15359:
15358:
15354:
15353:
15352:
15350:
15349:
15348:
15224:
15223:
15222:
15218:from Wikisource
15212:
15207:
15205:
15195:
15190:
15188:
15178:
15173:
15171:
15168:
15164:sister projects
15161:at Knowledge's
15155:
15143:
15133:
15131:
15119:
15111:
15109:
15104:
14999:After the Dance
14916:
14865:
14860:
14830:
14825:
14819:Sons of Anarchy
14816:
14807:
14798:
14789:
14780:
14774:Symphony No. 65
14771:
14762:
14753:
14746:
14739:
14730:
14721:
14710:
14701:
14692:
14682:
14673:
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14653:
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14620:
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14600:
14590:
14580:
14570:
14559:
14549:
14540:
14534:Born to Be King
14531:
14522:
14513:
14502:
14492:
14482:
14472:
14463:
14455:
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14434:
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14414:
14404:
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14383:
14373:
14363:
14353:
14343:
14333:
14326:Renaissance Man
14323:
14313:
14303:
14293:
14283:
14273:
14263:
14243:
14233:
14223:
14213:
14205:
14195:
14185:
14179:Opera/classical
14174:
14168:Song for Athene
14165:
14156:
14147:
14136:
14127:
14118:
14109:
14100:
14091:
14082:
14073:
14064:
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14020:
14010:
14000:
13990:
13979:
13972:Rockabye Hamlet
13969:
13958:
13948:
13938:
13928:
13917:
13907:
13900:Hamlet's Father
13897:
13887:
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13796:
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13696:
13689:One Hamlet Less
13686:
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13117:
13104:
13093:
13063:
13058:
13019:
12968:(granddaughter)
12926:
12873:
12802:
12768:Religious views
12746:Curtain Theatre
12667:
12655:
12630:
12581:Sir Thomas More
12527:
12501:Edmund Ironside
12450:
12397:
12384:
12358:Ghost character
12318:
12290:
12181:
12162:Timon of Athens
12091:
11948:
11943:
11893:
11866:Hamletworks.org
11852:
11791:
11785:Standard Ebooks
11762:Wayback Machine
11737:
11718:
11690:Wayback Machine
11677:
11676:
11665:
11659:
11657:
11654:This audio file
11651:
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11591:
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11579:
11573:
11551:
11545:
11520:
11514:
11495:
11489:
11471:Chambers, E. K.
11469:
11460:
11458:
11442:
11436:
11416:
11392:
11388:
11386:Further reading
11383:
11350:
11293:Winter, William
11285:
11262:
11215:
11190:
11159:
11157:
11090:
11067:
11044:
11015:
11005:Faber and Faber
10992:
10963:
10961:
10939:
10906:
10896:British Council
10881:
10842:
10816:
10793:
10783:Abbeville Press
10773:Tanitch, Robert
10762:
10760:
10721:
10683:
10681:
10634:
10632:
10615:
10580:
10578:
10555:
10533:
10504:
10502:
10468:
10442:
10419:
10390:
10388:
10380:: A Love Story"
10367:
10344:
10321:
10275:
10245:
10243:
10222:
10171:
10114:
10104:Greenwood Press
10086:
10084:
10032:10.2307/2901835
9896:
9856:
9846:Clarendon Press
9830:
9828:
9772:10.2307/1412950
9742:
9717:
9679:
9677:
9639:
9612:
9572:
9453:10.2307/2866964
9427:
9402:
9379:
9361:Halliday, F. E.
9350:
9348:
9328:
9326:
9299:
9297:
9255:
9235:, eds. (2000).
9218:
9216:
9181:
9153:
9124:
9122:
9083:
9081:
9024:
8998:
8946:10.2307/1124852
8920:
8918:
8895:
8893:
8869:
8829:
8786:
8784:
8767:
8731:
8708:
8698:Clarendon Press
8688:Chambers, E. K.
8680:
8662:Chambers, E. K.
8611:
8586:
8584:
8477:
8459:Kennedy, Dennis
8450:
8413:
8411:
8390:
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8369:
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8272:
8247:
8225:
8199:
8131:
8108:
8083:
8060:
8055:
8040:
8030:Clarendon Press
8020:, eds. (1988).
8006:
7979:
7952:
7925:
7903:Jenkins, Harold
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7263:
7255:
7251:
7243:
7239:
7231:
7227:
7221:Billington 2008
7219:
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7207:
7203:
7197:Billington 2001
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5525:
5517:
5513:
5505:
5501:
5493:
5489:
5481:
5477:
5473:, p. lxiv.
5469:
5465:
5457:
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5442:
5438:
5430:
5426:
5418:
5414:
5406:
5402:
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5143:
5139:
5131:
5127:
5119:
5115:
5107:
5103:
5095:
5091:
5083:
5079:
5075:, pp. 5–6.
5071:
5067:
5059:
5055:
5047:
5043:
5035:
5031:
5023:
5019:
5011:
5007:
4999:
4995:
4987:
4983:
4975:
4971:
4963:
4959:
4948:
4944:
4936:
4932:
4924:
4917:
4913:, p. 1923.
4909:
4905:
4897:
4890:
4882:
4875:
4867:
4863:
4855:
4851:
4843:
4836:
4828:
4821:
4813:
4809:
4801:
4797:
4789:
4785:
4777:
4773:
4765:
4761:
4753:
4749:
4741:
4737:
4729:
4725:
4721:, pp. 5–6.
4717:
4713:
4705:
4701:
4693:
4689:
4685:, p. xlvi.
4681:
4672:
4664:
4660:
4652:
4648:
4640:
4636:
4628:
4624:
4616:
4612:
4604:
4600:
4592:
4588:
4582:Winstanley 1977
4580:
4576:
4568:
4564:
4556:
4552:
4544:
4540:
4532:
4528:
4520:
4516:
4508:
4504:
4496:
4492:
4487:
4483:
4474:
4473:
4469:
4461:
4457:
4449:
4445:
4439:Cairncross 1975
4437:
4433:
4425:
4421:
4413:
4409:
4401:
4397:
4393:, pp. 1–2.
4389:
4385:
4377:
4373:
4369:, pp. 1–5.
4365:
4361:
4353:
4349:
4341:
4337:
4329:
4325:
4317:
4313:
4305:
4301:
4293:
4289:
4281:
4277:
4273:, pp. 1–3.
4269:
4265:
4255:
4253:
4243:
4239:
4231:
4227:
4223:
4194:
4189:
4188:
4167:
4163:
4146:
4142:
4126:
4122:
4115:Daily Telegraph
4110:Sarah Bernhardt
4108:
4104:
4090:
4086:
4081:
4077:
4065:
4061:
4043:
4039:
3991:
3987:
3974:
3970:
3958:
3954:
3944:RSC Shakespeare
3937:
3933:
3928:
3923:
3900:
3765:
3720:Kyle MacLachlan
3679:Blenheim Palace
3665:Kenneth Branagh
3610:Tony Richardson
3604:in color was a
3593:
3587:James Lafayette
3579:Sarah Bernhardt
3533:Boris Pasternak
3500:In 1953, actor
3454:Sarah Bernhardt
3446:
3440:
3434:
3420:in title role,
3414:Bristol Old Vic
3392:Kenneth Branagh
3366:Almeida Theatre
3322:Yale University
3284:Elsinore Castle
3202:
3168:Olivier Theatre
3089:'s Laertes and
2987:'s first uncut
2889:Leopold Jessner
2810:Tsuneari Fukuda
2792:Tsubouchi Shōyō
2778:
2746:Alexandre Dumas
2734:Sarah Bernhardt
2678:Abraham Lincoln
2646:Thomas W. Keene
2637:
2627:
2548:proscenium arch
2506:
2447:, anchored off
2419:Henry IV Part 1
2406:Richard Burbage
2402:
2397:
2384:
2376:The day we see
2372:
2364:Main articles:
2362:
2212:Herman Melville
2157:
2130:National Museum
2099:
2093:
2070:
2028:New historicist
2009:
1949:theories about
1935:
1818:Oedipus complex
1766:
1739:
1660:
1589:
1584:
1500:
1482:
1452:
1422:
1407:critics valued
1342:
1337:
1331:
1168:Anne of Denmark
1158:Second Quarto (
1126:
1099:
982:
954:Phillip Edwards
944:"Any dating of
931:
868:
833:as sources for
707:King Tarquinius
662:A facsimile of
656:
647:
602:
589:
552:
511:
456:, is imminent.
435:
426:Kronborg Castle
419:
414:
379:quarto versions
313:
307:
265:Greek tragedies
241:Hamlet's mother
237:Hamlet's father
184:
180:
132:
76:
72:
43:
28:
23:
22:
15:
12:
11:
5:
15357:
15347:
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15316:
15311:
15306:
15301:
15296:
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15276:
15271:
15266:
15261:
15256:
15251:
15246:
15241:
15236:
15221:
15220:
15203:
15201:from Wikiquote
15186:
15157:
15154:
15153:
15141:
15129:
15106:
15105:
15103:
15102:
15094:
15086:
15082:Constellations
15078:
15075:
15067:
15059:
15051:
15043:
15035:
15027:
15019:
15011:
15003:
14995:
14987:
14979:
14971:
14963:
14955:
14947:
14939:
14924:
14922:
14918:
14917:
14915:
14914:
14910:As You Like It
14906:
14898:
14890:
14882:
14873:
14871:
14867:
14866:
14859:
14858:
14851:
14844:
14836:
14827:
14826:
14824:
14823:
14814:
14805:
14796:
14787:
14778:
14769:
14760:
14751:
14744:
14737:
14728:
14718:
14716:
14712:
14711:
14709:
14708:
14699:
14690:
14680:
14671:
14661:
14650:
14648:
14644:
14643:
14640:
14639:
14637:
14636:
14632:Sharpe's Havoc
14627:
14618:
14608:
14606:
14602:
14601:
14599:
14598:
14588:
14578:
14567:
14565:
14561:
14560:
14558:
14557:
14547:
14538:
14529:
14520:
14510:
14508:
14504:
14503:
14501:
14500:
14490:
14480:
14470:
14461:
14457:Theatre of War
14453:
14442:
14440:
14436:
14435:
14433:
14432:
14422:
14412:
14402:
14391:
14389:
14385:
14384:
14382:
14381:
14371:
14361:
14351:
14341:
14331:
14321:
14311:
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14291:
14281:
14271:
14260:
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14242:
14241:
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14221:
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14203:
14193:
14182:
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14175:
14173:
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14142:
14138:
14137:
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14125:
14116:
14107:
14098:
14089:
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14071:
14062:
14052:
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14042:
14041:
14039:
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14028:
14018:
14008:
13998:
13987:
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13978:
13977:
13966:
13964:
13960:
13959:
13957:
13956:
13946:
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13875:
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13845:
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13825:
13824:
13814:
13804:
13794:
13784:
13774:
13764:
13754:
13744:
13734:
13724:
13714:
13704:
13694:
13684:
13674:
13664:
13654:
13643:
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13634:
13628:
13627:
13625:
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13610:
13603:
13596:
13589:
13582:
13575:
13568:
13561:
13554:
13547:
13540:
13533:
13526:
13519:
13512:
13505:
13497:
13495:
13489:
13488:
13486:
13485:
13481:Richard Burton
13477:
13468:
13466:
13460:
13459:
13457:
13456:
13449:
13442:
13435:
13425:
13414:
13412:
13406:
13405:
13403:
13402:
13393:
13386:
13379:
13376:Bibliographies
13372:
13365:
13356:
13347:
13339:
13337:
13335:
13334:
13329:
13323:
13320:
13319:
13317:
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12957:
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12913:
12908:
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12881:
12879:
12872:
12871:
12866:
12861:
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12760:
12755:
12750:
12749:
12748:
12743:
12729:
12724:
12719:
12714:
12709:
12707:Collaborations
12704:
12699:
12698:
12697:
12692:
12680:
12674:
12672:
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12660:
12657:
12656:
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12563:
12556:
12549:
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12518:
12511:
12504:
12497:
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12482:
12475:
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12452:
12451:
12449:
12448:
12441:
12434:
12427:
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12405:
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12399:
12398:
12391:
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12386:
12385:
12383:
12382:
12377:
12372:
12367:
12362:
12361:
12360:
12355:
12350:
12342:
12337:
12332:
12326:
12324:
12320:
12319:
12317:
12316:
12311:
12306:
12300:
12298:
12296:Early editions
12292:
12291:
12289:
12288:
12280:
12273:
12272:
12271:
12264:
12257:
12242:
12235:
12234:
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12214:
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12199:
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12172:
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12137:
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12123:
12116:
12109:
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12099:
12093:
12092:
12090:
12089:
12082:
12074:
12067:
12060:
12053:
12046:
12038:
12031:
12024:
12017:
12010:
12003:
11996:
11989:
11982:
11979:As You Like It
11975:
11967:
11965:
11956:
11950:
11949:
11942:
11941:
11934:
11927:
11919:
11913:
11912:
11892:
11889:
11888:
11887:
11878:
11873:
11863:
11851:
11848:
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11846:
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11811:
11802:
11789:
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11776:
11765:
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11731:
11715:
11704:
11693:
11666:
11652:
11645:
11632:
11615:
11614:
11610:
11609:
11604:
11598:
11597:
11586:
11585:
11583:
11582:External links
11580:
11578:
11577:
11571:
11553:Kermode, Frank
11549:
11543:
11523:Wells, Stanley
11518:
11512:
11493:
11487:
11467:
11440:
11434:
11414:
11389:
11387:
11384:
11382:
11381:
11354:
11348:
11331:
11289:
11283:
11266:
11260:
11238:
11219:
11213:
11194:
11188:
11170:Wells, Stanley
11166:
11141:
11094:
11088:
11071:
11065:
11048:
11042:
11023:Vickers, Brian
11019:
11013:
10996:
10990:
10970:
10943:
10937:
10918:
10904:
10885:
10879:
10863:Wells, Stanley
10858:
10846:
10840:
10820:
10814:
10797:
10791:
10769:
10744:Sulcas, Roslyn
10740:
10725:
10719:
10690:
10654:
10641:
10619:
10613:
10587:
10559:
10553:
10537:
10531:
10515:Shapiro, James
10511:
10485:
10472:
10466:
10446:
10441:978-0300072822
10440:
10423:
10417:
10397:
10385:The New Yorker
10371:
10365:
10348:
10342:
10325:
10319:
10292:
10279:
10273:
10252:
10226:
10220:
10201:
10188:
10175:
10169:
10139:Puttnam, David
10131:
10118:
10112:
10093:
10060:
10009:
9975:(2): 180–204.
9962:
9926:10.1086/390087
9900:
9894:
9877:
9869:Jackson (2000)
9860:
9854:
9837:
9812:Kellaway, Kate
9808:
9746:
9740:
9721:
9715:
9695:Wells, Stanley
9686:
9657:
9643:
9637:
9616:
9610:
9594:Wells, Stanley
9589:
9576:
9570:
9553:
9540:
9481:
9447:(2): 201–206.
9431:
9425:
9406:
9400:
9383:
9377:
9357:
9335:
9314:"A High-Keyed
9306:
9284:
9276:Jackson (2000)
9259:
9253:
9233:Sweet, Jeffrey
9225:
9203:
9185:
9179:
9157:
9151:
9139:without Hamlet
9131:
9121:on 8 July 2016
9103:
9090:
9067:Gilbert, W. S.
9063:
9050:
9028:
9022:
9006:Freud, Sigmund
9002:
8996:
8978:Freud, Sigmund
8974:
8927:
8902:
8877:Fine, Marshall
8873:
8867:
8846:
8833:
8827:
8806:
8798:Jackson (2000)
8793:
8783:. 10 July 2009
8771:
8765:
8748:
8740:Jackson (2000)
8735:
8729:
8712:
8706:
8684:
8678:
8658:
8636:"Ten Precepts"
8632:Cecil, William
8628:
8620:Jackson (2000)
8615:
8609:
8593:
8574:(3 May 1995).
8572:Canby, Vincent
8568:
8553:
8532:
8491:Cinema Journal
8481:
8475:
8454:
8448:
8435:
8420:
8397:
8373:
8367:
8354:
8348:
8331:
8325:
8306:
8276:
8270:
8251:
8245:
8229:
8223:
8203:
8197:
8179:
8157:
8141:(4 May 2001).
8135:
8129:
8112:
8106:
8087:
8081:
8061:
8059:
8056:
8054:
8053:
8044:
8038:
8014:Wells, Stanley
8010:
8004:
7983:
7977:
7956:
7950:
7929:
7923:
7905:, ed. (1982).
7899:
7893:
7872:
7866:
7843:
7837:
7813:, ed. (1974).
7807:
7801:
7781:, ed. (1985).
7775:
7769:
7753:Bate, Jonathan
7749:
7743:
7731:Complete Works
7727:Bate, Jonathan
7723:
7718:978-0451526922
7717:
7707:, ed. (1998).
7705:Barnet, Sylvan
7700:
7698:
7692:
7690:
7687:
7685:
7684:
7672:
7660:
7648:
7636:
7624:
7612:
7600:
7588:
7576:
7572:Keyishian 2000
7564:
7562:, p. 272.
7552:
7550:, p. 232.
7540:
7528:
7526:, p. 212.
7516:
7504:
7492:
7480:
7478:, p. 171.
7468:
7456:
7441:
7429:
7417:
7405:
7393:
7381:
7369:
7357:
7345:
7333:
7329:Isherwood 1995
7321:
7309:
7297:
7285:
7273:
7261:
7249:
7237:
7225:
7213:
7201:
7189:
7177:
7165:
7153:
7151:, p. 124.
7141:
7124:
7112:
7100:
7088:
7076:
7074:, p. 108.
7072:Smallwood 2002
7064:
7052:
7050:, p. 307.
7040:
7028:
7026:, p. 249.
7016:
7014:, p. 109.
7004:
6992:
6980:
6965:
6953:
6941:
6939:, p. 223.
6929:
6927:, p. 214.
6917:
6902:
6884:
6872:
6870:, p. 172.
6860:
6848:
6846:, p. 152.
6836:
6824:
6812:
6810:, p. 153.
6797:
6785:
6781:Benedetti 1999
6773:
6769:Benedetti 1999
6761:
6759:, p. 180.
6749:
6732:
6730:, p. 188.
6720:
6718:, p. 184.
6708:
6696:
6694:, p. 164.
6684:
6672:
6660:
6648:
6636:
6634:, p. 241.
6621:
6609:
6597:
6585:
6573:
6571:, p. 159.
6561:
6549:
6537:
6535:, p. 231.
6525:
6523:, p. 473.
6513:
6501:
6489:
6477:
6465:
6453:
6441:
6429:
6427:, p. 204.
6417:
6405:
6403:, p. 176.
6390:
6388:, p. 334.
6378:
6366:
6354:
6342:
6340:, p. 110.
6330:
6318:
6306:
6304:, p. 141.
6294:
6282:
6270:
6258:
6243:
6241:, p. 131.
6231:
6210:
6208:, p. 379.
6198:
6196:, p. 367.
6186:
6184:, p. 122.
6174:
6162:
6140:
6128:
6116:
6112:Showalter 1985
6104:
6092:
6080:
6068:
6056:
6044:
6032:
6020:
6003:
5991:
5989:, p. xii.
5976:
5974:, p. 102.
5972:Smallwood 2002
5964:
5960:de Grazia 2007
5952:
5940:
5928:
5916:
5914:, p. 191.
5904:
5892:
5880:
5878:, p. 147.
5868:
5856:
5854:, p. 278.
5841:
5829:
5827:, p. 112.
5817:
5802:
5790:
5788:, p. 381.
5778:
5766:
5754:
5739:
5727:
5715:
5703:
5691:
5679:
5667:
5655:
5643:
5631:
5619:
5617:, p. 290.
5607:
5595:
5583:
5571:
5559:
5547:
5535:
5523:
5511:
5499:
5487:
5475:
5463:
5448:
5436:
5434:. 5.2.215–220.
5424:
5412:
5410:, p. 179.
5408:Rosenberg 1992
5400:
5372:
5344:
5316:
5288:
5260:
5232:
5204:
5176:
5174:, p. 186.
5161:
5159:, p. 185.
5149:
5137:
5125:
5113:
5111:, p. 447.
5101:
5089:
5077:
5065:
5053:
5041:
5029:
5017:
5015:, p. 171.
5005:
4993:
4981:
4969:
4957:
4942:
4930:
4915:
4903:
4888:
4873:
4861:
4849:
4834:
4832:, p. 204.
4819:
4817:, p. 465.
4807:
4795:
4791:Chambers 1923b
4783:
4771:
4759:
4747:
4735:
4723:
4711:
4699:
4687:
4670:
4658:
4656:, p. 653.
4646:
4644:, p. 341.
4634:
4622:
4610:
4598:
4586:
4584:, p. 114.
4574:
4572:, p. 323.
4562:
4560:, p. 104.
4550:
4548:, p. 418.
4538:
4526:
4524:, p. 311.
4514:
4502:
4490:
4481:
4467:
4455:
4443:
4431:
4419:
4407:
4395:
4383:
4371:
4359:
4347:
4335:
4323:
4311:
4299:
4287:
4275:
4263:
4237:
4224:
4195:
4193:
4190:
4187:
4186:
4161:
4140:
4120:
4102:
4084:
4075:
4059:
4037:
3985:
3968:
3952:
3930:
3929:
3927:
3924:
3922:
3919:
3764:
3761:
3616:as Hamlet and
3552:Richard Burton
3516:New York Times
3491:Academy Awards
3458:sound and film
3436:Main article:
3433:
3430:
3403:Michelle Terry
3384:Tom Hiddleston
3355:Sonia Friedman
3297:opened at the
3225:Angela Winkler
3221:Tom Hiddleston
3201:
3198:
3083:Barnard Hughes
3031:Richard Burton
3004:Tyrone Guthrie
2893:Kaiser Wilhelm
2818:Yukio Ninagawa
2777:
2774:
2716:'s praise for
2670:Charles Kemble
2626:
2623:
2556:unity of place
2540:Duke's Company
2505:
2502:
2401:
2398:
2373:
2361:
2358:
2263:In the 1920s,
2257:New York State
2223:contains many
2176:Henry Fielding
2104:is one of the
2092:
2089:
2008:
2005:
1934:
1931:
1918:The New Yorker
1878:Tyrone Guthrie
1857:John Barrymore
1765:
1762:
1738:
1737:Psychoanalytic
1735:
1688:existentialist
1659:
1656:
1588:
1585:
1583:
1580:
1481:
1478:
1451:
1448:
1421:
1418:
1341:
1338:
1333:Main article:
1330:
1327:
1247:Lewis Theobald
1202:John Smethwick
1198:
1197:
1194:Complete Works
1171:
1156:
1125:
1122:
1084:Gabriel Harvey
1077:John Marston's
1020:Palladis Tamia
1018:published his
938:John Barrymore
930:
927:
901:Harold Jenkins
885:E. K. Chambers
809:Harold Jenkins
763:Title page of
649:Main article:
646:
643:
601:
598:
588:
585:
551:
548:
510:
507:
434:
431:
418:
415:
413:
412:
409:
400:
394:
388:
385:
382:
375:
372:
369:
363:
357:
351:
345:
339:
333:
327:
321:
314:
309:Main article:
306:
303:
164:
163:
158:
154:
153:
148:
144:
143:
138:
134:
133:
131:
130:
125:
120:
115:
110:
105:
100:
94:
92:
88:
87:
82:
78:
77:
60:
52:
51:
36:Hamlet (place)
26:
9:
6:
4:
3:
2:
15356:
15345:
15342:
15340:
15337:
15335:
15332:
15330:
15327:
15325:
15324:Revenge plays
15322:
15320:
15317:
15315:
15312:
15310:
15307:
15305:
15302:
15300:
15297:
15295:
15292:
15290:
15287:
15285:
15282:
15280:
15277:
15275:
15272:
15270:
15267:
15265:
15262:
15260:
15257:
15255:
15252:
15250:
15247:
15245:
15242:
15240:
15237:
15235:
15232:
15231:
15229:
15217:
15216:
15204:
15200:
15199:
15187:
15183:
15182:
15170:
15169:
15166:
15160:
15152:
15147:
15142:
15140:
15130:
15128:
15123:
15118:
15117:
15114:
15100:
15099:
15095:
15092:
15091:
15087:
15084:
15083:
15079:
15076:
15073:
15072:
15068:
15065:
15064:
15060:
15057:
15056:
15052:
15049:
15048:
15044:
15041:
15040:
15036:
15033:
15032:
15028:
15025:
15024:
15020:
15017:
15016:
15012:
15009:
15008:
15007:Anna Christie
15004:
15001:
15000:
14996:
14993:
14992:
14988:
14985:
14984:
14983:The Histories
14980:
14977:
14976:
14972:
14969:
14968:
14964:
14961:
14960:
14956:
14953:
14952:
14948:
14945:
14944:
14940:
14937:
14936:
14931:
14930:
14929:Twelfth Night
14926:
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14919:
14912:
14911:
14907:
14904:
14903:
14899:
14896:
14895:
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14843:
14838:
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14834:
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14812:
14811:
14806:
14803:
14802:
14801:Poor Murderer
14797:
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14450:
14449:
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14443:
14441:
14437:
14429:
14428:
14423:
14419:
14418:
14417:I Hate Hamlet
14413:
14409:
14408:
14403:
14399:
14398:
14393:
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14390:
14386:
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14250:
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14238:
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14232:
14228:
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14218:
14217:
14212:
14209:(Tchaikovsky)
14208:
14204:
14200:
14199:
14194:
14190:
14189:
14184:
14183:
14181:
14177:
14169:
14164:
14160:
14159:Pull Me Under
14155:
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14146:
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14139:
14132:
14131:
14126:
14122:
14117:
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14047:
14036:(BBC 2, 2009)
14035:
14034:
14029:
14025:
14024:
14019:
14015:
14014:
14009:
14005:
14004:
13999:
13995:
13994:
13989:
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13982:
13974:
13973:
13968:
13967:
13965:
13961:
13953:
13952:
13947:
13943:
13942:
13941:Dogg's Hamlet
13937:
13933:
13932:
13931:Hamletmachine
13927:
13926:
13924:
13920:
13912:
13911:
13906:
13902:
13901:
13896:
13892:
13891:
13886:
13882:
13881:
13876:
13872:
13871:
13870:Dating Hamlet
13866:
13862:
13861:
13856:
13852:
13851:
13846:
13842:
13841:
13836:
13835:
13833:
13829:
13821:
13820:
13819:The Lion King
13815:
13811:
13810:
13805:
13801:
13800:
13795:
13791:
13790:
13789:Hamlet A.D.D.
13785:
13781:
13780:
13775:
13771:
13770:
13765:
13761:
13760:
13755:
13751:
13750:
13745:
13741:
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13735:
13731:
13730:
13729:The Lion King
13725:
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13715:
13711:
13710:
13705:
13701:
13700:
13695:
13691:
13690:
13685:
13681:
13680:
13679:Johnny Hamlet
13675:
13671:
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13032:
13030:
13026:
13025:
13022:
13015:
13014:Thomas Quiney
13012:
13009:
13006:
13004:(grandfather)
13003:
13000:
12997:
12994:
12991:
12988:
12985:
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12979:
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12967:
12964:
12961:
12960:Judith Quiney
12958:
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12952:
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12946:
12943:
12942:Anne Hathaway
12940:
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12751:
12747:
12744:
12742:
12739:
12738:
12737:
12733:
12730:
12728:
12725:
12723:
12722:Globe Theatre
12720:
12718:
12715:
12713:
12710:
12708:
12705:
12703:
12700:
12696:
12693:
12691:
12690:
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12378:
12376:
12373:
12371:
12368:
12366:
12363:
12359:
12356:
12354:
12351:
12349:
12346:
12345:
12343:
12341:
12338:
12336:
12335:Late romances
12333:
12331:
12330:Problem plays
12328:
12327:
12325:
12321:
12315:
12312:
12310:
12307:
12305:
12302:
12301:
12299:
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12150:
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12145:
12143:
12142:
12138:
12136:
12135:
12131:
12129:
12128:
12127:Julius Caesar
12124:
12122:
12121:
12117:
12115:
12114:
12110:
12108:
12107:
12103:
12102:
12100:
12098:
12094:
12088:
12087:
12083:
12080:
12079:
12075:
12073:
12072:
12068:
12066:
12065:
12064:Twelfth Night
12061:
12059:
12058:
12054:
12052:
12051:
12047:
12044:
12043:
12039:
12037:
12036:
12032:
12030:
12029:
12025:
12023:
12022:
12018:
12016:
12015:
12011:
12009:
12008:
12004:
12002:
12001:
11997:
11995:
11994:
11990:
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11947:
11940:
11935:
11933:
11928:
11926:
11921:
11920:
11917:
11910:
11909:
11908:Gesta Danorum
11904:
11900:
11899:
11895:
11894:
11891:Related works
11885:
11884:
11879:
11877:
11874:
11871:
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11857:
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11853:
11844:
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11674:
11670:
11655:
11608:
11605:
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11594:
11589:
11574:
11572:0-14-028592-X
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11554:
11550:
11546:
11540:
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11532:
11528:
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11519:
11515:
11513:0-14-051555-0
11509:
11505:
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11494:
11490:
11484:
11480:
11476:
11472:
11468:
11456:
11452:
11451:
11446:
11441:
11437:
11435:1-57322-751-X
11431:
11427:
11423:
11419:
11418:Bloom, Harold
11415:
11411:
11407:
11403:
11399:
11395:
11391:
11390:
11378:
11374:
11370:
11369:
11368:The Telegraph
11364:
11362:
11355:
11351:
11349:0-312-08986-4
11345:
11341:
11340:Bedford Books
11337:
11332:
11328:
11324:
11320:
11316:
11312:
11308:
11305:. p. 5.
11304:
11303:
11299:. The Drama.
11298:
11294:
11290:
11286:
11284:0-8492-2912-X
11280:
11276:
11272:
11267:
11263:
11261:9780521068277
11257:
11253:
11250:. Cambridge:
11249:
11248:
11243:
11239:
11235:
11234:
11233:BroadwayWorld
11229:
11227:
11220:
11216:
11210:
11206:
11202:
11201:
11195:
11191:
11189:0-521-79711-X
11185:
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11118:
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11095:
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11089:0-415-13408-0
11085:
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11068:
11066:0-415-13407-2
11062:
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11049:
11045:
11043:0-415-13404-8
11039:
11035:
11031:
11029:
11024:
11020:
11016:
11014:0-571-19376-5
11010:
11006:
11002:
10997:
10993:
10987:
10983:
10979:
10975:
10971:
10959:
10955:
10954:
10953:Nytheatre.com
10949:
10944:
10940:
10938:0-7100-9480-9
10934:
10930:
10926:
10925:
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10915:
10911:
10907:
10901:
10897:
10893:
10892:
10886:
10882:
10880:0-521-80475-2
10876:
10872:
10869:. Cambridge:
10868:
10864:
10859:
10855:
10851:
10847:
10843:
10841:0-7012-0888-0
10837:
10833:
10832:Hogarth Press
10829:
10825:
10821:
10817:
10815:90-5755-046-6
10811:
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10720:0-415-20725-8
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10614:0-416-36930-8
10610:
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10556:
10554:1-55783-561-6
10550:
10546:
10542:
10538:
10534:
10532:0-571-21481-9
10528:
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10520:
10516:
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10500:
10495:
10493:
10486:
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10478:
10473:
10469:
10467:0-8032-2318-8
10463:
10459:
10455:
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10447:
10443:
10437:
10433:
10429:
10424:
10420:
10418:1-56619-804-6
10414:
10410:
10406:
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10398:
10387:
10386:
10381:
10379:
10372:
10368:
10366:0-87413-480-3
10362:
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10345:
10343:0-14-053011-8
10339:
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10280:
10276:
10270:
10266:
10261:
10260:
10253:
10241:
10237:
10236:
10231:
10230:"Hamlet 1963"
10227:
10223:
10221:0-521-62028-7
10217:
10213:
10210:. Cambridge:
10209:
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10198:
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10158:
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10152:
10148:
10144:
10140:
10136:
10135:McKellen, Ian
10132:
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10115:
10113:0-313-30082-8
10109:
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10069:
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10033:
10029:
10026:: 1046–1069.
10025:
10021:
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9789:
9785:
9781:
9777:
9773:
9769:
9765:
9761:
9757:
9756:
9751:
9750:Jones, Ernest
9747:
9743:
9741:0-521-63975-1
9737:
9733:
9729:
9728:
9722:
9718:
9716:0-521-31841-6
9712:
9708:
9704:
9700:
9696:
9692:
9687:
9676:
9675:
9670:
9668:
9662:
9661:Itzkoff, Dave
9658:
9654:
9653:
9648:
9644:
9640:
9638:0-521-27383-8
9634:
9630:
9625:
9624:
9617:
9613:
9611:0-19-924522-3
9607:
9603:
9599:
9595:
9590:
9586:
9582:
9577:
9573:
9567:
9563:
9559:
9554:
9550:
9546:
9541:
9537:
9533:
9529:
9525:
9521:
9517:
9513:
9509:
9505:
9501:
9497:
9493:
9489:
9488:
9482:
9478:
9474:
9470:
9466:
9462:
9458:
9454:
9450:
9446:
9442:
9441:
9436:
9432:
9428:
9426:0-333-38524-1
9422:
9418:
9414:
9413:
9407:
9403:
9401:0-7100-9052-8
9397:
9393:
9389:
9384:
9380:
9378:0-14-053011-8
9374:
9370:
9366:
9362:
9358:
9347:
9346:
9341:
9336:
9325:
9324:
9319:
9317:
9311:
9307:
9296:
9295:
9290:
9285:
9281:
9277:
9274:on film". In
9273:
9269:
9265:
9260:
9256:
9250:
9246:
9242:
9241:Al Hirschfeld
9238:
9234:
9230:
9226:
9215:
9214:
9209:
9204:
9200:
9199:
9194:
9190:
9186:
9182:
9180:0-393-05057-2
9176:
9172:
9168:
9167:
9162:
9158:
9154:
9148:
9144:
9141:. Cambridge:
9140:
9136:
9132:
9120:
9116:
9112:
9108:
9104:
9100:
9096:
9091:
9080:
9076:
9072:
9068:
9064:
9060:
9056:
9051:
9047:
9046:
9041:
9039:
9033:
9029:
9025:
9019:
9014:
9013:
9007:
9003:
8999:
8997:0-14-013794-7
8993:
8989:
8985:
8984:
8979:
8975:
8971:
8967:
8963:
8959:
8955:
8951:
8947:
8943:
8939:
8935:
8934:
8928:
8917:
8916:
8911:
8907:
8906:Fox, Margalit
8903:
8892:
8891:
8886:
8884:
8878:
8874:
8870:
8868:1-903436-26-5
8864:
8860:
8855:
8854:
8847:
8843:
8839:
8834:
8830:
8824:
8820:
8816:
8812:
8807:
8803:
8799:
8794:
8782:
8781:
8776:
8772:
8768:
8762:
8758:
8754:
8749:
8745:
8741:
8736:
8732:
8726:
8722:
8718:
8713:
8709:
8707:0-19-811774-4
8703:
8699:
8695:
8694:
8689:
8685:
8681:
8675:
8671:
8667:
8663:
8659:
8655:
8651:
8647:
8646:
8641:
8637:
8633:
8629:
8625:
8621:
8616:
8612:
8610:0-88305-130-3
8606:
8602:
8598:
8594:
8583:
8582:
8577:
8573:
8569:
8565:
8564:
8560:. Speakeasy.
8559:
8554:
8550:
8546:
8545:
8539:
8533:
8529:
8525:
8521:
8517:
8513:
8509:
8505:
8501:
8497:
8493:
8492:
8487:
8482:
8478:
8476:0-521-61708-1
8472:
8468:
8464:
8460:
8455:
8451:
8445:
8442:. Routledge.
8441:
8436:
8432:
8431:
8426:
8421:
8409:
8408:
8403:
8398:
8386:
8385:Broadwayworld
8382:
8380:
8374:
8370:
8368:0-425-18176-6
8364:
8360:
8355:
8351:
8345:
8341:
8337:
8332:
8328:
8322:
8318:
8314:
8313:
8307:
8296:
8295:
8290:
8288:
8285:in Satirical
8284:
8277:
8273:
8267:
8263:
8259:
8258:
8252:
8248:
8242:
8238:
8234:
8233:Bloom, Harold
8230:
8226:
8224:1-84195-461-6
8220:
8216:
8213:. Edinburgh:
8212:
8208:
8207:Bloom, Harold
8204:
8200:
8194:
8190:
8189:
8184:
8183:Bloom, Harold
8180:
8176:
8175:
8170:
8168:
8162:
8158:
8154:
8153:
8148:
8146:
8140:
8136:
8132:
8130:0-413-52520-1
8126:
8122:
8118:
8113:
8109:
8103:
8099:
8095:
8094:
8088:
8084:
8082:0-521-43437-8
8078:
8074:
8070:
8069:
8063:
8062:
8050:
8045:
8041:
8039:0-19-871190-5
8035:
8031:
8027:
8023:
8019:
8015:
8011:
8007:
8005:1-904271-80-4
8001:
7997:
7993:
7989:
7984:
7980:
7978:1-904271-33-2
7974:
7970:
7966:
7962:
7957:
7953:
7951:0-582-52742-2
7947:
7943:
7939:
7935:
7930:
7926:
7924:1-903436-67-2
7920:
7916:
7912:
7908:
7904:
7900:
7896:
7894:0-521-65390-8
7890:
7886:
7883:. Cambridge:
7882:
7878:
7873:
7869:
7867:0-19-283416-9
7863:
7859:
7855:
7851:
7850:
7844:
7840:
7834:
7830:
7826:
7822:
7818:
7817:
7812:
7808:
7804:
7798:
7794:
7791:. Cambridge:
7790:
7786:
7785:
7780:
7776:
7772:
7766:
7762:
7758:
7754:
7750:
7746:
7740:
7736:
7732:
7728:
7724:
7720:
7714:
7710:
7706:
7702:
7701:
7697:
7681:
7676:
7669:
7668:Todoroff 2011
7664:
7657:
7652:
7645:
7640:
7633:
7628:
7621:
7616:
7609:
7604:
7597:
7592:
7585:
7580:
7573:
7568:
7561:
7556:
7549:
7544:
7537:
7532:
7525:
7524:Cartmell 2000
7520:
7513:
7508:
7501:
7496:
7489:
7484:
7477:
7472:
7465:
7460:
7453:
7448:
7446:
7438:
7433:
7426:
7421:
7414:
7409:
7402:
7397:
7390:
7385:
7378:
7377:Kellaway 2017
7373:
7366:
7361:
7354:
7349:
7342:
7337:
7330:
7325:
7318:
7313:
7306:
7301:
7294:
7289:
7282:
7277:
7270:
7265:
7258:
7253:
7246:
7241:
7234:
7229:
7222:
7217:
7210:
7205:
7198:
7193:
7186:
7181:
7174:
7169:
7163:, p. 63.
7162:
7157:
7150:
7145:
7139:
7135:
7134:
7128:
7122:, p. 43.
7121:
7116:
7109:
7104:
7097:
7092:
7085:
7080:
7073:
7068:
7061:
7056:
7049:
7044:
7037:
7036:Morrison 2002
7032:
7025:
7024:Morrison 2002
7020:
7013:
7008:
7001:
7000:Morrison 2002
6996:
6989:
6984:
6977:
6972:
6970:
6962:
6961:Hortmann 2002
6957:
6950:
6945:
6938:
6937:Hortmann 2002
6933:
6926:
6925:Hortmann 2002
6921:
6913:
6906:
6898:
6891:
6889:
6881:
6876:
6869:
6864:
6857:
6852:
6845:
6840:
6833:
6828:
6821:
6816:
6809:
6804:
6802:
6794:
6789:
6782:
6777:
6770:
6765:
6758:
6753:
6746:
6741:
6739:
6737:
6729:
6724:
6717:
6712:
6705:
6700:
6693:
6688:
6682:, p. 77.
6681:
6680:O'Connor 2002
6676:
6670:, p. 54.
6669:
6664:
6658:, p. 81.
6657:
6652:
6645:
6640:
6633:
6632:Morrison 2002
6628:
6626:
6618:
6613:
6606:
6605:Morrison 2002
6601:
6594:
6593:Morrison 2002
6589:
6582:
6577:
6570:
6565:
6559:, p. 44.
6558:
6553:
6547:, p. 41.
6546:
6541:
6534:
6533:Morrison 2002
6529:
6522:
6517:
6510:
6505:
6499:, p. 16.
6498:
6493:
6487:, p. 57.
6486:
6481:
6474:
6469:
6463:, p. 34.
6462:
6457:
6451:, p. 21.
6450:
6445:
6439:, p. 17.
6438:
6433:
6426:
6421:
6414:
6409:
6402:
6397:
6395:
6387:
6386:Chambers 1930
6382:
6375:
6370:
6364:, p. 13.
6363:
6358:
6352:, p. 18.
6351:
6346:
6339:
6334:
6328:, p. 24.
6327:
6322:
6316:, p. 91.
6315:
6314:Hattaway 1982
6310:
6303:
6298:
6291:
6286:
6280:, p. 40.
6279:
6274:
6267:
6262:
6255:
6250:
6248:
6240:
6235:
6228:
6223:
6221:
6219:
6217:
6215:
6207:
6202:
6195:
6190:
6183:
6182:Kerrigan 1996
6178:
6171:
6166:
6150:
6144:
6137:
6132:
6126:, p. 57.
6125:
6120:
6113:
6108:
6101:
6100:Thompson 2001
6096:
6089:
6084:
6077:
6076:Heilbrun 1957
6072:
6065:
6060:
6053:
6048:
6041:
6036:
6029:
6024:
6017:
6012:
6010:
6008:
6000:
5995:
5988:
5983:
5981:
5973:
5968:
5961:
5956:
5949:
5944:
5937:
5932:
5925:
5920:
5913:
5908:
5901:
5900:Morrison 1997
5896:
5889:
5884:
5877:
5872:
5865:
5860:
5853:
5848:
5846:
5838:
5833:
5826:
5821:
5814:
5809:
5807:
5799:
5794:
5787:
5782:
5775:
5770:
5763:
5758:
5752:, p. 49.
5751:
5746:
5744:
5736:
5731:
5724:
5719:
5712:
5707:
5701:, p. 38.
5700:
5695:
5688:
5683:
5676:
5671:
5664:
5659:
5652:
5647:
5640:
5635:
5628:
5623:
5616:
5611:
5604:
5599:
5593:, p. 34.
5592:
5587:
5580:
5575:
5568:
5563:
5556:
5551:
5544:
5539:
5532:
5527:
5521:, p. 84.
5520:
5515:
5508:
5503:
5496:
5491:
5484:
5479:
5472:
5467:
5460:
5455:
5453:
5445:
5440:
5433:
5428:
5421:
5416:
5409:
5404:
5388:
5387:
5382:
5376:
5360:
5359:
5354:
5348:
5332:
5331:
5326:
5320:
5304:
5303:
5298:
5292:
5276:
5275:
5270:
5264:
5248:
5247:
5242:
5236:
5220:
5219:
5214:
5208:
5192:
5191:
5186:
5180:
5173:
5168:
5166:
5158:
5153:
5146:
5145:Vickers 1995c
5141:
5134:
5129:
5123:, p. 92.
5122:
5121:Vickers 1995b
5117:
5110:
5109:Vickers 1995a
5105:
5098:
5093:
5086:
5081:
5074:
5069:
5063:, p. 11.
5062:
5057:
5050:
5045:
5038:
5033:
5026:
5021:
5014:
5009:
5002:
4997:
4990:
4985:
4979:, p. 14.
4978:
4973:
4966:
4961:
4954:
4951:
4946:
4939:
4934:
4927:
4922:
4920:
4912:
4907:
4900:
4895:
4893:
4885:
4880:
4878:
4871:, p. 16.
4870:
4869:Hattaway 1987
4865:
4858:
4853:
4847:, p. 78.
4846:
4841:
4839:
4831:
4830:Halliday 1964
4826:
4824:
4816:
4811:
4804:
4803:Halliday 1964
4799:
4792:
4787:
4780:
4779:Hattaway 1987
4775:
4768:
4763:
4756:
4751:
4744:
4739:
4732:
4727:
4720:
4715:
4708:
4703:
4696:
4691:
4684:
4679:
4677:
4675:
4667:
4662:
4655:
4650:
4643:
4638:
4632:, p. 13.
4631:
4626:
4619:
4614:
4608:, p. 35.
4607:
4602:
4595:
4590:
4583:
4578:
4571:
4566:
4559:
4554:
4547:
4546:Chambers 1930
4542:
4535:
4530:
4523:
4518:
4511:
4506:
4499:
4494:
4485:
4477:
4471:
4464:
4459:
4452:
4447:
4440:
4435:
4429:, p. 67.
4428:
4423:
4416:
4411:
4404:
4399:
4392:
4387:
4380:
4375:
4368:
4363:
4356:
4351:
4344:
4339:
4332:
4327:
4320:
4315:
4308:
4307:Trilling 2009
4303:
4296:
4291:
4284:
4279:
4272:
4267:
4252:
4248:
4241:
4235:, p. 74.
4234:
4229:
4225:
4222:
4220:
4216:
4212:
4208:
4204:
4200:
4183:
4179:
4175:
4171:
4165:
4158:
4154:
4150:
4144:
4137:
4133:
4132:
4124:
4117:
4116:
4111:
4106:
4099:
4098:
4093:
4088:
4079:
4072:
4068:
4063:
4056:
4052:
4048:
4041:
4034:
4030:
4026:
4022:
4018:
4014:
4010:
4006:
4005:
4000:
3999:
3994:
3989:
3982:
3978:
3972:
3965:
3962:
3956:
3949:
3945:
3941:
3935:
3931:
3918:
3916:
3912:
3908:
3904:
3899:
3898:
3897:Nytheatre.com
3893:
3889:
3888:Martin Luther
3885:
3881:
3877:
3873:
3869:
3868:David Davalos
3865:
3863:
3859:
3855:
3851:
3850:Caridad Svich
3847:
3845:
3841:
3837:
3833:
3829:
3828:
3823:
3819:
3817:
3816:
3811:
3810:W. S. Gilbert
3807:
3805:
3801:
3797:
3793:
3792:
3786:
3780:
3779:
3774:
3773:W. S. Gilbert
3769:
3760:
3758:
3754:
3750:
3749:Robert Eggers
3746:
3745:
3740:
3738:
3734:
3733:
3728:
3723:
3721:
3717:
3713:
3709:
3708:
3703:
3698:
3696:
3692:
3688:
3684:
3680:
3676:
3675:
3670:
3666:
3662:
3660:
3659:Paul Scofield
3656:
3655:
3650:
3646:
3642:
3641:
3640:Lethal Weapon
3636:
3635:
3630:
3626:
3621:
3619:
3615:
3611:
3607:
3603:
3588:
3584:
3580:
3576:
3572:
3570:
3565:
3561:
3557:
3553:
3548:
3546:
3542:
3538:
3534:
3530:
3526:
3525:
3519:
3517:
3513:
3512:
3507:
3503:
3498:
3496:
3495:Eileen Herlie
3492:
3489:
3485:
3481:
3480:
3475:
3471:
3469:
3465:
3464:
3459:
3455:
3451:
3445:
3439:
3429:
3427:
3424:as Gertrude,
3423:
3419:
3415:
3410:
3408:
3404:
3400:
3395:
3393:
3389:
3385:
3381:
3379:
3375:
3372:and starring
3371:
3367:
3362:
3360:
3356:
3352:
3348:
3344:
3342:
3338:
3334:
3333:Globe Theatre
3329:
3327:
3323:
3319:
3315:
3311:
3307:
3306:Paul Giamatti
3302:
3300:
3296:
3295:Michael Sheen
3291:
3290:in New York.
3289:
3285:
3281:
3277:
3273:
3269:
3266:In May 2009,
3264:
3262:
3258:
3257:Paapa Essiedu
3254:
3250:
3249:Michael Sheen
3246:
3242:
3238:
3234:
3230:
3226:
3222:
3218:
3217:David Tennant
3214:
3210:
3206:
3197:
3195:
3191:
3187:
3183:
3181:
3177:
3173:
3169:
3165:
3161:
3160:Ian Charleson
3157:
3155:
3151:
3147:
3143:
3139:
3135:
3131:
3127:
3124:
3120:
3116:
3112:
3108:
3104:
3100:
3096:
3092:
3088:
3087:Sam Waterston
3085:'s Polonius,
3084:
3080:
3077:'s Gertrude,
3076:
3072:
3068:
3064:
3059:
3055:
3054:Vincent Canby
3052:
3048:
3044:
3043:Ralph Fiennes
3040:
3035:
3032:
3028:
3026:
3025:
3020:
3016:
3012:
3011:Peter O'Toole
3007:
3005:
3001:
2999:
2994:
2990:
2986:
2982:
2981:Maurice Evans
2978:
2974:
2970:
2962:
2961:Mignon Nevada
2958:
2954:
2951:
2947:
2943:
2939:
2935:
2931:
2927:
2923:
2919:
2915:
2910:
2906:
2902:
2898:
2894:
2890:
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2866:
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2863:dramaturgical
2860:
2857:
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2823:
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2807:
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2797:
2793:
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2788:
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2773:
2771:
2767:
2766:Parsi theatre
2763:
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2755:
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2738:
2735:
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2719:
2715:
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2707:
2706:Samuel Phelps
2703:
2702:Victorian era
2698:
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2663:
2659:
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2647:
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2631:
2622:
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2616:
2612:
2607:
2603:
2602:breeches role
2599:
2598:Sarah Siddons
2595:
2591:
2584:
2583:David Garrick
2580:
2576:
2574:
2569:
2565:
2564:David Garrick
2561:
2557:
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2396:
2394: (1890).
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2335:
2332:
2328:
2327:
2326:Infinite Jest
2322:
2318:
2314:
2313:
2308:
2304:
2300:
2299:
2298:Wise Children
2294:
2293:Angela Carter
2290:
2286:
2285:
2280:
2276:
2275:
2270:
2266:
2261:
2258:
2254:
2253:L. Frank Baum
2250:
2248:
2247:
2242:
2238:
2234:
2230:
2229:Miss Havisham
2226:
2222:
2221:
2217:
2213:
2209:
2208:
2203:
2199:
2198:
2194:
2193:Bildungsroman
2191:
2187:
2183:
2182:
2177:
2173:
2171:
2170:Paradise Lost
2167:
2163:
2156:
2155:Paradise Lost
2152:
2148:
2147:
2146:Paradise Lost
2142:
2139:English poet
2135:
2131:
2127:
2123:
2119:
2115:
2112:
2107:
2103:
2098:
2088:
2086:
2081:
2079:
2065:
2060:
2056:
2053:
2049:
2045:
2041:
2037:
2036:gender system
2033:
2029:
2025:
2017:
2013:
2004:
2002:
1998:
1994:
1990:
1986:
1982:
1978:
1977:
1972:
1968:
1964:
1960:
1956:
1952:
1948:
1947:structuralist
1944:
1940:
1939:Jacques Lacan
1933:Jacques Lacan
1930:
1928:
1924:
1920:
1919:
1913:
1911:
1907:
1903:
1898:
1893:
1891:
1887:
1883:
1879:
1875:
1874:
1869:
1864:
1862:
1858:
1854:
1851:
1846:
1842:
1838:
1835:
1831:
1827:
1823:
1819:
1814:
1811:
1806:
1804:
1800:
1796:
1791:
1789:
1784:
1780:
1779:
1774:
1770:
1769:Sigmund Freud
1764:Sigmund Freud
1758:
1754:
1751:
1747:
1743:
1734:
1732:
1728:
1727:
1722:
1718:
1715:
1711:
1707:
1703:
1701:
1697:
1693:
1689:
1685:
1677:
1676:Thomas de Leu
1673:
1669:
1664:
1658:Philosophical
1655:
1653:
1652:
1647:
1646:Martin Luther
1644:
1640:
1634:
1631:
1627:
1623:
1619:
1615:
1611:
1603:
1602:
1597:
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1524:
1522:
1518:
1514:
1510:
1506:
1499:
1491:
1486:
1477:
1473:
1471:
1470:Western canon
1467:
1462:
1457:
1447:
1443:
1439:
1435:
1432:
1428:
1417:
1415:
1410:
1406:
1401:
1399:
1395:
1390:
1386:
1385:psychological
1382:
1377:
1375:
1371:
1367:
1363:
1359:
1355:
1351:
1347:
1336:
1326:
1324:
1320:
1319:Jonathan Bate
1316:
1311:
1306:
1304:
1296:
1292:
1287:
1283:
1281:
1276:
1274:
1273:Francis Bacon
1269:
1265:
1261:
1257:
1252:
1248:
1244:
1243:Nicholas Rowe
1240:
1232:
1228:
1223:
1217:
1213:
1209:
1205:
1203:
1195:
1191:
1187:
1183:
1182:Edward Blount
1179:
1175:
1172:
1169:
1165:
1161:
1157:
1154:
1150:
1146:
1142:
1141:Nicholas Ling
1138:
1134:
1131:
1130:
1129:
1121:
1119:
1115:
1111:
1107:
1102:
1097:
1093:
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1080:
1078:
1074:
1073:
1068:
1064:
1060:
1056:
1052:
1048:
1044:
1040:
1035:
1033:
1029:
1025:
1021:
1017:
1016:Francis Meres
1012:
1010:
1006:
1002:
998:
994:
990:
989:
988:Julius Caesar
981:
977:
972:
970:
969:
963:
959:
955:
951:
950:New Cambridge
947:
939:
935:
926:
924:
920:
919:John Rainolds
916:
915:Robert Pullen
912:
907:
902:
898:
894:
890:
886:
882:
878:
877:William Cecil
874:
867:
862:
859:
855:
851:
847:
843:
838:
836:
832:
831:
826:
821:
819:
814:
810:
806:
802:
798:
794:
790:
786:
782:
778:
777:
769:by Thomas Kyd
768:
767:
761:
757:
755:
751:
747:
743:
742:
741:Gesta Danorum
737:
733:
728:
726:
722:
721:
716:
712:
708:
704:
700:
696:
692:
691:
686:
682:
681:Indo-European
678:
671:
667:
666:
665:Gesta Danorum
660:
655:
654:
642:
640:
634:
631:
627:
623:
619:
611:
606:
597:
593:
584:
580:
578:
568:
564:
562:
558:
547:
545:
541:
537:
533:
529:
523:
521:
517:
506:
504:
496:
491:
487:
485:
481:
476:
474:
470:
466:
462:
457:
455:
451:
447:
446:King Claudius
443:
439:
438:Prince Hamlet
427:
423:
410:
408:
404:
401:
398:
395:
392:
389:
386:
383:
380:
376:
373:
370:
367:
364:
362:
358:
355:
352:
349:
346:
343:
340:
337:
334:
331:
328:
325:
322:
319:
316:
315:
312:
302:
300:
296:
292:
288:
287:
286:Gesta Danorum
282:
278:
274:
270:
266:
261:
259:
255:
251:
246:
242:
238:
234:
230:
229:Prince Hamlet
226:
222:
218:
214:
208:
178:
177:
172:
171:
162:
159:
155:
152:
149:
145:
142:
139:
135:
129:
126:
124:
121:
119:
116:
114:
111:
109:
106:
104:
101:
99:
96:
95:
93:
89:
86:
83:
79:
67:
64:portrayed by
63:
58:
53:
48:
45:
41:
37:
33:
32:Prince Hamlet
19:
18:Hamlet (play)
15213:
15196:
15184:from Commons
15179:
15158:
15096:
15088:
15080:
15069:
15061:
15053:
15045:
15037:
15029:
15021:
15013:
15005:
14997:
14989:
14981:
14973:
14967:The Crucible
14965:
14959:Hedda Gabler
14957:
14950:
14949:
14941:
14933:
14927:
14921:2001–present
14908:
14900:
14892:
14886:Hedda Gabler
14884:
14876:
14817:
14808:
14799:
14790:
14781:
14763:
14754:
14731:
14722:
14702:
14693:
14687:(Waterhouse)
14684:
14674:
14665:
14655:
14630:
14621:
14612:
14591:
14581:
14571:
14550:
14516:The Producer
14493:
14483:
14473:
14456:
14446:
14425:
14415:
14405:
14395:
14374:
14364:
14354:
14344:
14334:
14324:
14314:
14304:
14294:
14284:
14274:
14264:
14234:
14224:
14214:
14196:
14187:
14128:
14110:
14092:
14083:
14074:
14065:
14056:
14031:
14021:
14011:
14001:
13991:
13970:
13949:
13939:
13929:
13908:
13898:
13888:
13878:
13868:
13858:
13848:
13838:
13817:
13807:
13797:
13787:
13777:
13767:
13757:
13747:
13737:
13727:
13717:
13709:Strange Brew
13707:
13697:
13687:
13677:
13667:
13657:
13647:
13464:Performances
13430:
13420:
13396:
13359:
13350:
13313:Substitution
13100:
13099:
13016:(son-in-law)
13010:(son-in-law)
12948:Susanna Hall
12889:
12878:Institutions
12857:
12702:Coat of arms
12695:Translations
12687:
12683:Bibliography
12650:To the Queen
12648:
12641:
12623:
12616:
12608:
12601:
12594:
12587:
12579:
12572:
12565:
12558:
12551:
12544:
12537:
12528:
12520:
12513:
12506:
12499:
12492:
12484:
12477:
12470:
12443:
12436:
12429:
12422:
12408:
12370:Performances
12314:Second Folio
12282:
12275:
12266:
12259:
12251:
12244:
12237:
12228:
12221:
12216:
12209:
12201:
12194:
12174:
12167:
12160:
12153:
12146:
12139:
12132:
12125:
12119:
12118:
12111:
12104:
12084:
12076:
12069:
12062:
12055:
12048:
12040:
12033:
12026:
12019:
12012:
12005:
11998:
11991:
11984:
11977:
11970:
11906:
11897:
11882:
11869:
11841:
11832:
11829:based on Q2.
11826:
11820:
11805:
11792:
11778:
11768:
11753:
11723:
11706:
11696:
11681:
11592:
11557:
11526:
11502:. New York:
11498:
11474:
11459:. Retrieved
11455:the original
11448:
11421:
11397:
11366:
11360:
11335:
11300:
11274:
11270:
11246:
11231:
11225:
11199:
11174:
11158:. Retrieved
11154:the original
11108:
11102:
11075:
11052:
11026:
11000:
10977:
10962:. Retrieved
10958:the original
10951:
10948:"Wittenberg"
10923:
10890:
10866:
10850:Taylor, Gary
10827:
10824:Taylor, Gary
10801:
10777:
10761:. Retrieved
10755:
10749:
10733:
10702:
10696:
10682:. Retrieved
10671:
10664:
10633:. Retrieved
10627:
10595:
10579:. Retrieved
10573:
10566:
10544:
10518:
10503:. Retrieved
10497:
10491:
10453:
10427:
10407:. New York:
10404:
10401:Rowse, A. L.
10389:. Retrieved
10383:
10377:
10352:
10329:
10301:
10296:
10258:
10244:. Retrieved
10240:the original
10233:
10206:
10155:
10098:
10085:. Retrieved
10078:Charlie Rose
10073:Charlie Rose
10071:
10019:
10013:
9972:
9966:
9913:
9907:
9881:
9864:
9841:
9829:. Retrieved
9825:The Guardian
9823:
9817:
9759:
9753:
9726:
9698:
9680:10 September
9678:. Retrieved
9672:
9671:. ArtsBeat.
9666:
9650:
9622:
9597:
9557:
9491:
9485:
9444:
9438:
9411:
9387:
9364:
9349:. Retrieved
9343:
9327:. Retrieved
9321:
9315:
9298:. Retrieved
9292:
9271:
9267:
9263:
9236:
9217:. Retrieved
9211:
9196:
9169:. New York:
9165:
9138:
9135:
9123:. Retrieved
9119:the original
9110:
9082:. Retrieved
9074:
9045:The Guardian
9043:
9037:
9032:Gardner, Lyn
9011:
8982:
8937:
8931:
8921:14 September
8919:. Retrieved
8913:
8894:. Retrieved
8888:
8882:
8852:
8814:
8810:
8785:. Retrieved
8778:
8752:
8719:. New York:
8716:
8692:
8665:
8650:Bartleby.com
8644:
8640:Craik, Henry
8600:
8585:. Retrieved
8579:
8561:
8542:
8498:(3): 48–69.
8495:
8489:
8485:
8462:
8439:
8430:The Guardian
8428:
8412:. Retrieved
8407:The Guardian
8405:
8389:. Retrieved
8384:
8378:
8358:
8335:
8311:
8298:. Retrieved
8292:
8286:
8282:
8256:
8236:
8210:
8187:
8174:The Guardian
8172:
8166:
8152:The Guardian
8150:
8144:
8116:
8098:Virgin Books
8092:
8067:
8048:
8021:
8018:Taylor, Gary
7987:
7960:
7933:
7906:
7876:
7848:
7815:
7783:
7756:
7730:
7708:
7695:
7694:Editions of
7680:Brandes 2001
7675:
7663:
7651:
7644:Schultz 2008
7639:
7632:Gussow 1992b
7627:
7620:Gilbert 1892
7615:
7603:
7591:
7584:Burnett 2003
7579:
7567:
7555:
7543:
7536:Guntner 2000
7531:
7519:
7507:
7500:Guntner 2000
7495:
7483:
7471:
7459:
7439:5.2.203–387.
7436:
7432:
7420:
7408:
7396:
7384:
7372:
7360:
7353:Stewart 2014
7348:
7336:
7324:
7312:
7305:Spencer 2011
7300:
7293:Itzkoff 2009
7288:
7276:
7264:
7252:
7245:Shenton 2007
7240:
7228:
7216:
7209:Gardner 2002
7204:
7192:
7180:
7173:Davison 1999
7168:
7161:Barratt 2005
7156:
7144:
7132:
7127:
7115:
7108:Gussow 1992a
7103:
7091:
7079:
7067:
7060:Tanitch 1985
7055:
7043:
7031:
7019:
7007:
6995:
6983:
6956:
6944:
6932:
6920:
6911:
6905:
6896:
6875:
6863:
6851:
6839:
6831:
6827:
6820:Taxidou 1998
6815:
6793:Taxidou 1998
6788:
6776:
6764:
6752:
6723:
6711:
6704:Holland 2002
6699:
6687:
6675:
6663:
6651:
6639:
6612:
6600:
6588:
6576:
6564:
6552:
6540:
6528:
6516:
6504:
6492:
6480:
6473:Marsden 2002
6468:
6461:Holland 2007
6456:
6449:Marsden 2002
6444:
6437:Hibbard 1987
6432:
6420:
6408:
6381:
6369:
6357:
6345:
6338:Thomson 1983
6333:
6326:Thomson 1983
6321:
6309:
6297:
6292:, p. 4.
6285:
6273:
6261:
6234:
6201:
6189:
6177:
6170:Osborne 2007
6165:
6153:. Retrieved
6143:
6136:MacCary 1998
6131:
6119:
6107:
6102:, p. 4.
6095:
6083:
6071:
6059:
6052:Wofford 1994
6047:
6039:
6035:
6028:Britton 1995
6023:
6016:Britton 1995
5999:Rothman 2013
5994:
5967:
5955:
5948:MacCary 1998
5943:
5935:
5931:
5919:
5912:Cotsell 2005
5907:
5895:
5883:
5871:
5863:
5859:
5832:
5820:
5793:
5781:
5769:
5762:Knowles 1999
5757:
5750:MacCary 1998
5734:
5730:
5723:MacCary 1998
5718:
5713:2.2.247–248.
5710:
5706:
5699:MacCary 1998
5694:
5687:MacCary 1998
5682:
5675:MacCary 1998
5670:
5663:MacCary 1998
5658:
5650:
5646:
5638:
5634:
5626:
5622:
5610:
5603:Jenkins 1982
5598:
5591:Kiernan 2007
5586:
5578:
5574:
5567:MacCary 1998
5562:
5554:
5550:
5542:
5538:
5531:MacCary 1998
5526:
5514:
5502:
5490:
5478:
5466:
5444:MacCary 1998
5439:
5431:
5427:
5419:
5415:
5403:
5391:. Retrieved
5384:
5375:
5363:. Retrieved
5356:
5347:
5335:. Retrieved
5328:
5319:
5307:. Retrieved
5300:
5291:
5279:. Retrieved
5272:
5263:
5251:. Retrieved
5244:
5235:
5223:. Retrieved
5216:
5207:
5195:. Retrieved
5188:
5179:
5172:Wofford 1994
5157:Wofford 1994
5152:
5147:, p. 5.
5140:
5133:Wofford 1994
5128:
5116:
5104:
5092:
5085:Wofford 1994
5080:
5068:
5056:
5044:
5032:
5020:
5013:Jackson 1986
5008:
4996:
4988:
4984:
4977:Jenkins 1982
4972:
4960:
4955:3.4 and 4.1.
4952:
4949:
4945:
4933:
4906:
4864:
4857:Hibbard 1987
4852:
4810:
4798:
4786:
4774:
4769:, p. 5.
4767:Edwards 1985
4762:
4750:
4742:
4738:
4730:
4726:
4719:Edwards 1985
4714:
4707:MacCary 1998
4702:
4690:
4668:, p. 8.
4666:Edwards 1985
4661:
4649:
4642:Shapiro 2005
4637:
4630:MacCary 1998
4625:
4618:Hibbard 1987
4613:
4606:Jenkins 1982
4601:
4589:
4577:
4565:
4553:
4541:
4529:
4517:
4512:, p. 6.
4505:
4493:
4484:
4470:
4463:Jenkins 1982
4458:
4446:
4434:
4422:
4415:Jenkins 1982
4410:
4398:
4391:Edwards 1985
4386:
4374:
4362:
4350:
4338:
4326:
4318:
4314:
4309:, p. 8.
4302:
4294:
4290:
4278:
4266:
4254:. Retrieved
4250:
4240:
4228:
4218:
4214:
4210:
4198:
4196:
4164:
4143:
4136:Stanislavski
4130:
4123:
4113:
4105:
4095:
4087:
4078:
4070:
4067:Samuel Pepys
4062:
4054:
4050:
4040:
4024:
4021:Harold Bloom
4002:
3996:
3992:
3988:
3983:for details.
3971:
3955:
3934:
3910:
3906:
3905:
3895:
3891:
3884:John Faustus
3875:
3871:
3866:
3861:
3857:
3853:
3848:
3843:
3839:
3835:
3831:
3825:
3822:Lee Blessing
3820:
3813:
3808:
3803:
3799:
3789:
3787:
3784:
3776:
3756:
3744:The Northman
3742:
3741:
3730:
3724:
3705:
3699:
3691:Kate Winslet
3673:
3668:
3663:
3652:
3645:1990 version
3638:
3632:
3622:
3620:as Ophelia.
3608:directed by
3601:
3599:
3563:
3549:
3522:
3520:
3515:
3509:
3502:Jack Manning
3499:
3484:Best Picture
3477:
3472:
3468:Asta Nielsen
3461:
3449:
3447:
3422:Niamh Cusack
3411:
3396:
3382:
3374:Andrew Scott
3363:
3345:
3340:
3336:
3330:
3314:modern dress
3309:
3303:
3292:
3270:opened with
3267:
3265:
3261:Michael Urie
3241:Rory Kinnear
3237:Maxine Peake
3204:
3203:
3200:21st century
3186:Keanu Reeves
3184:
3170:, replacing
3164:Richard Eyre
3158:
3153:
3142:Diane Venora
3126:off-Broadway
3119:William Hurt
3115:David Warner
3106:
3103:Stephen Lang
3057:
3050:
3038:
3036:
3029:
3022:
3019:John Osborne
3008:
2996:
2988:
2973:John Gielgud
2966:
2949:
2921:
2917:
2913:
2900:
2884:
2883:
2878:
2869:
2867:
2830:
2821:
2813:
2803:
2799:
2795:
2785:
2779:
2776:20th century
2769:
2757:
2749:
2739:
2730:William Poel
2726:
2724:coming to?"
2710:Henry Irving
2699:
2685:
2651:
2641:
2625:19th century
2619:Park Theatre
2614:
2588:
2532:
2518:
2513:
2497:
2493:
2487:
2477:
2468:
2463:in 1619 and
2452:
2451:, performed
2449:Sierra Leone
2442:
2440:
2429:
2423:
2417:
2413:
2403:
2389:
2383:
2375:
2350:
2347:Isaac Asimov
2344:
2339:
2337:
2330:
2324:
2316:
2310:
2307:Iris Murdoch
2302:
2296:
2288:
2282:
2272:
2268:
2262:
2251:
2244:
2241:George Eliot
2236:
2232:
2224:
2218:
2205:
2201:
2195:
2185:
2179:
2174:
2169:
2165:
2154:
2150:
2144:
2138:
2121:
2110:
2101:
2100:
2082:
2076:
2051:
2047:
2043:
2040:early modern
2021:
1996:
1975:
1970:
1966:
1958:
1950:
1942:
1936:
1926:
1922:
1916:
1914:
1909:
1905:
1901:
1896:
1894:
1885:
1871:
1868:Ernest Jones
1865:
1855:
1849:
1847:
1843:
1839:
1833:
1829:
1825:
1821:
1815:
1809:
1807:
1802:
1798:
1794:
1786:
1776:
1772:
1767:
1724:
1705:
1704:
1681:
1667:
1649:
1635:
1607:
1599:
1572:
1566:
1562:
1558:
1552:
1549:
1544:
1539:
1528:stichomythia
1525:
1509:The Courtier
1508:
1497:
1495:
1474:
1465:
1460:
1455:
1453:
1444:
1440:
1436:
1430:
1423:
1408:
1402:
1397:
1378:
1365:
1364:critics saw
1343:
1322:
1314:
1307:
1299:
1279:
1277:
1267:
1263:
1259:
1255:
1250:
1236:
1230:
1229:printing of
1215:
1199:
1193:
1189:
1177:
1159:
1152:
1136:
1133:First Quarto
1127:
1100:
1091:
1081:
1070:
1062:
1054:
1036:
1031:
1027:
1023:
1019:
1013:
1004:
986:
979:
973:
966:
949:
945:
943:
906:Ten Precepts
905:
889:Robert Cecil
865:
863:
849:
841:
839:
834:
828:
824:
822:
817:
812:
800:
792:
784:
774:
772:
764:
749:
739:
732:Vita Amlethi
729:
724:
720:Ambales Saga
718:
688:
684:
676:
675:
663:
652:
635:
618:gravediggers
615:
594:
590:
581:
573:
553:
543:
536:Queen Hecuba
524:
512:
500:
495:Henry Fuseli
477:
458:
436:
403:Gravediggers
298:
294:
284:
262:
250:First Quarto
244:
175:
174:
169:
168:
167:
44:
15239:1600s plays
14935:Uncle Vanya
14623:The Seagull
14564:Video games
14407:Stage Blood
14016:(BBC, 1980)
14006:(BBC, 1964)
13749:The Banquet
13632:Adaptations
13475:(1911–1912)
13284:Terminology
13273:Thy name is
13224:Mortal coil
13206:Soliloquies
13054:WikiProject
12741:The Theatre
12727:Handwriting
12553:The Puritan
12344:Characters
12309:First Folio
12277:Richard III
12057:The Tempest
11115:: 365–389.
11030:(1623–1692)
10763:21 December
10754:. Theater.
10709:. pp.
10648:, pp.
10635:26 November
10603:. pp.
10581:19 November
10492:12 Ophelias
10479:, pp.
10456:. Lincoln:
10309:. pp.
10286:, pp.
10195:, pp.
10182:, pp.
10151:Bates, Alan
10125:, pp.
9920:: 256–261.
9871:, pp.
9705:. pp.
9583:, pp.
9547:, pp.
9498:: 159–182.
9342:. Theater.
9310:Gussow, Mel
9300:10 February
9278:, pp.
9245:Hal Leonard
9219:10 December
9097:, pp.
9057:, pp.
9042:. Theatre.
8912:. Theater.
8887:. Onstage.
8840:, pp.
8800:, pp.
8742:, pp.
8622:, pp.
8427:. Theatre.
8404:. Theatre.
8391:18 February
8300:20 December
8171:. Theatre.
8149:. Theatre.
7560:Starks 1999
7476:Davies 2000
7389:Sulcas 2017
6949:Burian 2004
6757:Dawson 2002
6728:Dawson 2002
6716:Dawson 2002
6644:Schoch 2002
6617:Winter 1875
6581:Dawson 2002
6497:Taylor 1989
6413:Kliman 2011
6401:Dawson 2002
6362:Taylor 2002
6350:Taylor 2002
6302:Banham 1998
6290:Taylor 2002
6206:Warren 2016
6194:Warren 2016
6064:Howard 2003
5866:3.1.87–160.
5581:3.1.87–160.
5507:Hirrel 2010
5471:Barnet 1998
5097:Kirsch 1969
4938:Burrow 2002
4745:2.2.324–360
4558:Wilson 1932
4271:Weiner 1962
4209:are marked
4207:First Folio
4013:Great Books
3716:Ethan Hawke
3649:Glenn Close
3426:Mirren Mack
3418:Billy Howle
3370:Robert Icke
3245:Oscar Isaac
3229:Samuel West
3213:Ben Whishaw
3067:Joseph Papp
3063:Stacy Keach
2993:James Agate
2926:Yuan Shikai
2846:'s seminal
2816:. In 1998,
2794:translated
2742:Victor Hugo
2682:Edwin Booth
2662:Edmund Kean
2638: 1884
2521:Restoration
2484:Interregnum
2425:Richard III
2265:James Joyce
2141:John Milton
2106:most quoted
2071: 1778
1890:The Old Vic
1830:Oedipus Rex
1826:Oedipus Rex
1810:Oedipus Rex
1803:Oedipus Rex
1788:Oedipus Rex
1785:’ tragedy,
1750:unconscious
1648:nailed the
1575:soliloquies
1519:mixed with
1362:Restoration
1295:First Folio
1245:(1709) and
1227:First Folio
1180:): In 1623
1174:First Folio
1039:First Folio
897:A. L. Rowse
858:coincidence
651:Sources of
561:Player King
442:King Hamlet
258:First Folio
215:written by
73: 1870
66:Edwin Booth
15228:Categories
15198:Quotations
15139:Literature
14975:Saint Joan
14507:Television
14376:Three Days
13984:Television
13951:Fortinbras
13182:Fortinbras
13110:Characters
12978:Mary Arden
12962:(daughter)
12950:(daughter)
12826:Bardolatry
12736:King's Men
12678:Birthplace
12365:Chronology
12284:Henry VIII
12211:Richard II
12203:Edward III
12113:Coriolanus
11669:Audio help
11660:2011-10-14
11561:. London:
11400:. London:
11338:. Boston:
11319:sn83030214
10964:23 October
10830:. London:
10521:. London:
10355:. London:
10332:. London:
10159:. London:
9844:. Oxford:
9831:4 November
9766:: 72–113.
9077:. London:
8857:. London:
8817:. Newark:
8721:Peter Lang
8696:. Oxford:
8315:. London:
7856:. Oxford:
7656:Grode 2011
7608:Warren n.d
7596:Gupta 2014
7548:Crowl 2000
7512:Brode 2001
7464:Brode 2001
7452:Brode 2001
7413:Brown 2018
7365:Calia 2014
7233:Brown 2016
7185:Small 2019
7096:Canby 1995
6880:Innes 1983
6868:Innes 1983
6856:Innes 1983
6844:Innes 1983
6834:1.2.1–128.
6808:Innes 1983
6668:Moody 2002
6557:Moody 2002
6545:Moody 2002
6521:Uglow 1977
6278:Braun 1982
6239:Welsh 2001
6124:Bloom 2003
6088:Bloom 2003
5924:Jones 1910
5852:Freud 1995
5837:Freud 1995
5813:Freud 1995
5798:Freud 1900
5786:Bloom 1994
5737:3.1.55–87.
5629:1.2.63–65.
5557:1.2.85–86.
5545:3.1.63–64.
5495:Evans 1974
5393:23 January
5386:Newspapers
5365:16 January
5358:Newspapers
5337:23 January
5330:Newspapers
5309:23 January
5302:Newspapers
5281:23 January
5274:Newspapers
5253:23 January
5246:Newspapers
5225:23 January
5218:Newspapers
5197:23 January
5190:Newspapers
5073:Crowl 2014
5001:Irace 1998
4926:Irace 1998
4594:Cecil 2012
4570:Rowse 1963
4192:References
4047:dramaturgy
3872:Wittenberg
3844:Fortinbras
3827:Fortinbras
3687:flashbacks
3629:Mel Gibson
3600:The first
3527:(Russian:
3488:Best Actor
3442:See also:
3134:Jon Voight
3091:Raul Julia
3047:Tony Award
2936:temple in
2930:Jiao Juyin
2644:(starring
2633:A poster,
2568:Drury Lane
2444:Red Dragon
2162:Republican
2095:See also:
1985:narcissism
1902:Coriolanus
1710:scepticism
1684:relativist
1639:Wittenberg
1626:last rites
1618:Protestant
1346:melancholy
1291:Bad Quarto
1212:Title page
1188:published
1114:metricians
1061:, playing
978:relies on
781:Thomas Kyd
754:melancholy
738:, part of
540:Trojan War
532:King Priam
484:Wittenberg
454:Fortinbras
397:Fortinbras
305:Characters
91:Characters
81:Written by
14870:1991–2000
14776:" (Haydn)
14748:Hamlet Q1
14668:(Cabanel)
14658:(Millais)
14219:(Berlioz)
14085:I, Hamlet
13769:Karmayogi
13493:On screen
13410:Influence
13361:Ur-Hamlet
13332:Criticism
13299:Induction
13008:John Hall
12998:(brother)
12986:(brother)
12918:(replica)
12858:Star Trek
12846:Memorials
12841:Influence
12831:Festivals
12773:Sexuality
12763:Portraits
12758:New Place
12610:Ur-Hamlet
12546:Mucedorus
12456:Apocrypha
12196:King John
12187:Histories
12134:King Lear
12097:Tragedies
11993:Cymbeline
11624:hour and
11473:(2009) .
11410:257743100
11377:0307-1235
11311:1941-0646
11137:159721222
11129:2151-4372
11080:Routledge
11057:Routledge
11034:Routledge
10914:954440601
10738:. London.
10707:Routledge
10575:The Stage
10403:(1995) .
10143:Wax, Ruby
10087:6 October
10064:Law, Jude
10056:170767175
10040:1935-0236
10005:192187966
9989:0037-3222
9958:162049086
9942:0026-8232
9934:1545-6951
9788:0002-9556
9780:1939-8298
9536:191661049
9520:0037-3222
9512:1538-3555
9469:0037-3222
9461:1538-3555
9417:Macmillan
9363:(1969) .
9272:King Lear
9163:(2004a).
9048:. London.
8970:149658226
8954:0886-800X
8664:(2009) .
8634:(2012) .
8599:(1975) .
8544:The Times
8528:191444329
8512:1527-2087
8488:(2000)".
8433:. London.
8215:Canongate
8177:. London.
8155:. London.
7425:Wild 2022
7401:Zhuk 2017
7317:Fine 2013
7048:Blum 1981
6656:Shaw 1961
6266:Novy 1994
5825:Budd 2005
5422:5.1.1–205
4989:Hamlet Q1
4743:Hamlet F1
4731:Hamlet F1
4683:Lott 1970
4451:Sams 1995
4321:5.1.1–205
4256:6 January
4215:Hamlet F1
4211:Hamlet Q1
4157:monodrama
4149:Symbolism
3913:, set in
3727:Bollywood
3725:The 2014
3712:Manhattan
3700:In 2000,
3606:1969 film
3416:starring
3397:In 2018,
3359:Es Devlin
3316:, at the
3299:Young Vic
3101:in 1975 (
3081:'s King,
3056:wrote in
2969:Haymarket
2934:Confucian
2859:monodrama
2856:symbolist
2852:'system,'
2525:civil war
2465:Charles I
2323:'s novel
2216:Dickens's
2181:Tom Jones
2091:Influence
2001:semantics
1989:psychosis
1941:analyzed
1880:directed
1783:Sophocles
1692:sceptical
1622:purgatory
1587:Religious
1573:Hamlet's
1555:hendiadys
1532:asyndeton
1164:James I's
1088:Chaucer's
1014:In 1598,
825:Ur-Hamlet
818:Ur-Hamlet
813:Ur-Hamlet
805:Eric Sams
801:Ur-Hamlet
793:Ur-Hamlet
785:Ur-Hamlet
776:Ur-Hamlet
748:, in his
361:courtiers
15344:Kronborg
15127:The arts
14902:Machinal
14878:Pericles
14593:Elsinore
14545:" (2001)
14536:" (1983)
14527:" (1966)
14518:" (1966)
14468:" (1997)
14356:Hamlet 2
14201:(Faccio)
14191:(Thomas)
14170:" (1997)
14161:" (1992)
14049:Parodies
13963:Musicals
13306:Quiddity
13292:Dumbshow
13147:Polonius
13133:Gertrude
13126:Claudius
13044:Category
12992:(sister)
12980:(mother)
12974:(father)
12486:Cardenio
12375:Settings
12323:See also
12246:Henry VI
12217:Henry IV
11963:Comedies
11850:Analysis
11758:Archived
11729:LibriVox
11686:Archived
11671: ·
11555:(2000).
11420:(2001).
11396:(1964).
11244:(1932).
11104:Humanity
10976:(2009).
10865:(eds.).
10826:(1989).
10775:(1985).
10684:18 March
10678:Archived
10517:(2005).
10153:(1990).
9997:23025627
9804:46623868
9528:40731154
9069:(1892).
8690:(1930).
8410:. London
8209:(2003).
8185:(1994).
7488:Fox 2009
7283:, 53:55.
7281:Law 2009
6692:Gay 2002
6569:Gay 2002
5653:3.1.154.
5641:3.1.151.
4733:2.2.337.
3695:Ken Dodd
3623:In 1990
3272:Jude Law
3194:Winnipeg
3109:for the
2985:Broadway
2942:protests
2812:'s 1955
2800:Shingeki
2784:'s 1903
2473:Falstaff
2431:Pericles
2190:Goethe's
2128:(1875),
2007:Feminist
1955:seminars
1861:New York
1696:Sophists
1643:reformer
1614:Catholic
1545:breeding
1521:metaphor
1517:anaphora
1496:Much of
1480:Language
1405:Romantic
1394:Voltaire
1389:mystical
1383:brought
1358:Caroline
1354:Jacobean
1350:insanity
1032:New Swan
997:Register
952:editor,
873:Polonius
711:Torfaeus
577:tapestry
480:Polonius
465:sentries
461:Elsinore
336:Polonius
330:Gertrude
324:Claudius
233:Claudius
227:depicts
211:), is a
113:Polonius
108:Gertrude
103:Claudius
15151:Theatre
15113:Portals
14741:Hebenon
14715:Related
14685:Ophelia
14666:Ophelia
14656:Ophelia
14216:Tristia
13809:Ophelia
13799:Hemanta
13669:Ophelia
13327:Sources
13168:Horatio
13161:Ophelia
13154:Laertes
12836:Gardens
12712:Editors
12515:Locrine
12508:Fair Em
12340:Henriad
12239:Henry V
12148:Othello
12141:Macbeth
11711:at the
11700:at the
11658: (
11628:minutes
11563:Penguin
11525:(ed.).
11504:Penguin
11426:Longman
11402:Collins
11327:9405688
11160:20 June
10711:160–178
10601:Methuen
10505:26 June
10391:20 July
10334:Penguin
10246:21 July
10048:2901835
9886:Quercus
9796:1412950
9707:163–185
9697:(ed.).
9477:2866964
9369:Penguin
9351:26 June
9329:13 July
9268:Macbeth
9125:25 July
9084:27 June
8988:Penguin
8962:1124852
8896:11 July
8787:14 July
8642:(ed.).
8587:21 July
8520:1225904
8461:(ed.).
8414:22 July
8317:Methuen
8121:Methuen
7942:Longman
7915:Methuen
7689:Sources
7136:at the
4178:ovation
3737:Kashmir
3714:, with
3634:Mad Max
3558:at the
3508:series
3364:A 2017
2922:Macbeth
2688:at the
2480:Puritan
2461:James I
2284:Odyssey
2274:Ulysses
2046:, with
2016:Ophelia
1981:fantasy
1976:phallus
1910:Ulysses
1895:In the
1601:Ophelia
1416:below.
1374:decorum
1166:queen,
1106:Spenser
999:of the
645:Sources
612:, 1839)
550:Act III
503:Ophelia
497:, 1789)
473:Horatio
407:sextons
354:Laertes
348:Horatio
342:Ophelia
283:in his
221:Denmark
213:tragedy
161:Denmark
157:Setting
128:Horatio
123:Laertes
118:Ophelia
15234:Hamlet
15159:Hamlet
15101:(2024)
15093:(2023)
15085:(2022)
15074:(2020)
15066:(2019)
15058:(2018)
15050:(2017)
15042:(2016)
15034:(2015)
15026:(2014)
15023:Ghosts
15018:(2013)
15010:(2012)
15002:(2011)
14994:(2010)
14986:(2009)
14978:(2008)
14970:(2007)
14962:(2006)
14954:(2005)
14951:Hamlet
14946:(2004)
14938:(2003)
14913:(1995)
14905:(1994)
14897:(1993)
14889:(1992)
14881:(1991)
14596:(2019)
14586:(2010)
14583:Hamlet
14576:(1993)
14555:(2003)
14498:(2020)
14495:Hamnet
14488:(2007)
14478:(1998)
14459:(1994)
14451:(1937)
14439:Novels
14430:(2008)
14420:(1991)
14410:(1974)
14400:(1966)
14379:(2012)
14369:(2009)
14359:(2008)
14349:(2002)
14339:(1995)
14329:(1994)
14319:(1993)
14309:(1991)
14299:(1990)
14289:(1983)
14279:(1973)
14269:(1942)
14239:(Dean)
14236:Hamlet
14229:(Rihm)
14207:Hamlet
14198:Amleto
14188:Hamlet
14033:Hamlet
14023:Hamlet
13993:Hamlet
13975:(1973)
13954:(1991)
13944:(1979)
13934:(1977)
13913:(2008)
13903:(2008)
13893:(2007)
13883:(2006)
13873:(2002)
13863:(2000)
13853:(1989)
13843:(1940)
13831:Novels
13822:(2019)
13812:(2018)
13802:(2016)
13792:(2014)
13782:(2014)
13779:Haider
13772:(2012)
13762:(2009)
13752:(2006)
13742:(1999)
13732:(1994)
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13712:(1983)
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