Hamlet - Knowledge

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. 3768: 605: 2059: 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, 1313:

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

1592: 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. 490: 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. 1742: 1286: 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." 2118: 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, 422: 12394: 1222: 15122: 2509: 15134: 934: 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, 2630: 2012: 2957: 567: 1663: 13040: 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 760: 15208: 11742: 3575: 2579: 659: 15191: 57: 11648: 11719: 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 1845:

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 596:

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 1208: 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 3034:

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. 2259:

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". 815:

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 575:

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. 11722: 2877:

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

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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 1392:

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 632:

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.

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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. 11638: 2608:

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. 3060:

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 2692:

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. 2108:

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. 583:

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". 903:

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

4044:

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. 1485: 1424:

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

1813:

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 11223: 2455:

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

616:

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". 11637: 9288: 10677: 1434:

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.

2903:

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 3794:

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

3767: 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. 3903:

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. 1550:

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

899:

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 816:

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

4159:

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.

2983:

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

526:

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 1446:

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. 14275: 2592:

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

501:

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,

2865:

progression. The production attracted enthusiastic and unprecedented worldwide attention for the theatre and placed it "on the cultural map for Western Europe".

1723:

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.

1929:

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. 9815: 2143:

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 620:

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

10729: 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 14066: 12694: 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. 2621:

in New York. Although chided for "acknowledging acquaintances in the audience" and "inadequate memorisation of his lines", he became a national celebrity.

11444: 11336:

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

14694: 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." 10623: 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 10947: 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 2055:

and fair; however, it is virtually impossible to link these two traits, since 'fairness' is an outward trait, while 'honesty' is an inward trait.

1442:

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

563:

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.

9106: 13698: 12850: 10662: 10593:(1985). "Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism". In Parker, Patricia; Hartman, Geoffrey (eds.). 3976: 3838:

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

1271:

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

15293: 9313: 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 10229: 9664: 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 2034:

critics examined the play in its historical context, attempting to piece together its original cultural environment. They focused on the

8645:

English Prose, Selections with Critical Introductions by Various Writers and General Introductions to Each Period; edited by Henry Craik

1289:

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, 3846:

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

1128:

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."

1969:

shed light on human desire. His point of departure is Freud's Oedipal theories, and the central theme of mourning that runs through

13263: 11145: 1429:, who in his plays, regularized the way ancient Greek tragedies contain five episodes, which are separated by four choral odes. In 11707: 795:

has survived, and it is impossible to compare its language and style with the known works of any of its putative authors. In 1936

15298: 14862: 14365: 14012: 13472: 13028: 12706: 11757: 11393: 4128: 2847: 2058: 2031: 8774: 1995:) in the real, imaginary, and symbolic aspects of his psyche. Lacan's theories influenced some subsequent literary criticism of 14846: 12868: 12767: 2467:

in 1637. Oxford editor George Hibbard argues that, since the contemporary literature contains many allusions and references to

2434:

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. 15333: 14542: 14396: 13940: 13418: 12863: 12295: 11859: 11542: 11486: 11212: 10989: 10903: 10790: 10318: 10272: 10168: 9893: 9853: 9569: 9252: 9150: 9021: 8826: 8764: 8728: 8677: 8575: 8447: 8347: 8324: 8269: 8244: 8196: 8105: 7836: 7800: 7768: 7742: 3790: 2180: 2105: 1488:

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 15162: 14982: 14075: 12941: 12444: 12303: 3997: 3814: 3777: 2196: 1866:

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

2475:

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. 837:

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 3049:

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 1095: 15338: 15263: 15253: 14839: 14683: 14149: 13053: 12807: 12777: 11929: 11570: 11511: 11433: 11347: 11282: 11259: 11187: 11087: 11064: 11041: 11012: 10936: 10878: 10839: 10813: 10718: 10612: 10552: 10530: 10465: 10416: 10364: 10341: 10219: 10111: 9739: 9714: 9636: 9609: 9424: 9399: 9376: 9178: 8995: 8866: 8705: 8631: 8608: 8474: 8366: 8222: 8128: 8080: 8037: 8003: 7976: 7949: 7922: 7892: 7865: 4003: 2941: 2441:

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: 11875: 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 15318: 15248: 15014: 13086: 12845: 12840: 12772: 11521:

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 15258: 13648: 12820: 12815: 12735: 11587: 9917: 9484:

Hirrel, Michael J. (2010). "Duration of Performances and Lengths of Plays: How Shall We Beguile the Lazy Time?".

3963: 3456:'s five-minute film of the fencing scene, which was produced in 1900. The film was an early attempt at combining 617: 3950:

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. 2780:

Apart from some western troupes' 19th-century visits, the first professional performance of Hamlet in Japan was

15328: 14613: 14285: 14265: 13543: 13438: 12787: 12559: 12374: 12334: 11712: 10023: 9754: 6148: 3894:

reviewed the play, saying, "Mr. Davalos has molded a daft campus comedy out of this unlikely convergence", and

3879: 3681:, built in the early 18th century, became Elsinore Castle in the external scenes. The film is structured as an 3483: 922: 11819: 8484:

Burnett, Mark Thornton (2003). "'To Hear and See the Matter': Communicating Technology in Michael Almereyda's

15313: 15308: 15303: 14572: 14335: 14305: 14248: 13428: 13368: 13331: 13234: 12688: 10356: 7828: 7760: 4205:

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).

1954: 1730: 1334: 527: 464: 17: 15273: 14533: 14120: 13409: 13174: 13043: 12910: 12726: 12379: 12027: 11971: 11922: 11685: 11454: 11296: 10657: 10564: 10457: 9763: 9339: 9197: 8981: 8818: 8639: 4172:, giving the illusion of a single, unified mass of bodies. In the dark, shadowy foreground, separated by a 3487: 2873: 2694: 2096: 1837:

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 515: 475:

as a witness. After the ghost appears again, the three vow to tell Prince Hamlet what they have witnessed.

365: 301:

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. 11746: 8280: 5184: 2672:. Of these, Booth remained to make his career in the States, fathering the nation's most notorious actor, 2125: 15038: 13909: 12716: 12677: 12664: 12538: 12070: 11149: 10264: 8160: 8138: 3795: 2206: 2023: 1641:

where Hamlet, Horatio, and Rosencrantz and Guildenstern attend university, implying where the Protestant

5268: 3864:. The play is a series of scenes and songs, and was first staged at a public swimming pool in Brooklyn. 1921:

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 15112: 14524: 14225: 13480: 12884: 12602: 12430: 12369: 12329: 12020: 11999: 11773: 11701: 11534: 11251: 11204: 11179: 10957: 10870: 10306: 10211: 9731: 9702: 9628: 9561: 9495: 9142: 9078: 8466: 8339: 8072: 7884: 7853: 7792: 7137: 3555: 3149: 3110: 2892: 2369: 2189: 2063: 706: 560: 9035: 8142: 5380: 5324: 1591: 773:

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,

1117: 1076: 1058: 1008: 953: 788: 702: 8717:

The Theater of Trauma: American modernist drama and the psychological struggle for the American Mind

5212: 15089: 14942: 14877: 14703: 13889: 13738: 13397: 12762: 12711: 12701: 12682: 12669: 12409: 12041: 11099:"Big Leagues: Specters of Milton and Republican International Justice between Shakespeare and Marx" 10981: 10072: 9279: 8801: 8743: 8623: 4096: 3122: 2665: 2618: 2430: 2412:, with a capacious memory for lines and a wide emotional range. Judging by the number of reprints, 2311: 1709: 1682:

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

852:

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

8932: 8669: 8596: 8562: 8458: 7857: 5240: 4246: 4135: 3722:) became the CEO of "Denmark Corporation", having taken over the company by killing his brother. 3098: 2831: 2551: 2255:'s first published short story was "They Played a New Hamlet" (1895). When Baum had been touring 2129: 1309: 996: 638: 39: 10282:

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 489: 471:

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.

579:, calls for help as Gertrude, believing Hamlet wants to kill her, calls out for help herself. 15081: 14990: 14592: 13879: 13859: 13768: 13463: 13452: 13375: 13312: 13007: 12921: 12890: 12792: 12455: 12186: 12096: 12077: 11401: 10849: 10823: 10431: 10160: 10014: 9967: 9486: 9439: 8653: 8017: 3960: 3686: 3567:

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,

2980: 2761: 2365: 2245: 961: 212: 150: 11497: 8909: 8310: 8164: 2319:-obsessed writer, Bradley Pearson, and the daughter of his rival. In the late 20th century, 820:

is Shakespeare's Q1 text, and that this derived directly from Belleforest's French version.

15238: 15180: 14206: 13849: 13718: 13109: 13079: 12830: 12617: 12595: 12175: 12126: 12105: 12085: 11985: 11962: 11668: 10644:

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,

1980: 1820:", and, at one point, he considered calling it the "Hamlet complex". Freud considered that 1720: 1713: 1595: 1109: 1071: 987: 910: 680: 310: 272: 140: 14831: 14755: 1344:

From the early 17th century, the play was famous for its ghost and vivid dramatisation of

1321:

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 "

1716: 1699: 1671: 1609: 1516: 1361: 1302: 1204:'s Q3, Q4, and Q5 (1611–37), which are regarded as reprints of Q2 with some alterations. 1046: 829: 765: 556: 502: 263:

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,

609: 14893: 14723: 14654: 14551: 14093: 14032: 14002: 13992: 13899: 13658: 13620: 13613: 13606: 13599: 13592: 13585: 13578: 13571: 13564: 13557: 13536: 13529: 13522: 13515: 13508: 13501: 12995: 12953: 12835: 12573: 12471: 12276: 11653: 11556: 11530: 11449: 11198: 11132: 11103: 10922: 10889: 10756: 10600: 10257: 10097: 10051: 10043: 10035: 10000: 9992: 9953: 9945: 9929: 9799: 9791: 9775: 9752:(1910). "The Œdipus-Complex as an Explanation of Hamlet's Mystery: A Study in Motive". 9673: 9651: 9621: 9531: 9523: 9507: 9472: 9456: 9344: 9322: 9293: 9212: 9188: 9160: 8965: 8957: 8914: 8851: 8691: 8580: 8548: 8523: 8515: 8316: 8120: 8091: 8066: 7914: 7810: 7782: 4221:. Their referencing system for Q1 has no act breaks, so 7.115 means scene 7, line 115. 4181: 3878:

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

629: 11752: 9070: 3627:, whose Shakespeare films have been described as "sensual rather than cerebral", cast 3504:

performed the play in 15-minute segments over two weeks in the short-lived late night

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Hortmann, Wilhelm. "Shakespeare on the Political Stage in the Twentieth Century". In

9565: 9535: 9515: 9464: 9420: 9395: 9372: 9248: 9228: 9174: 9146: 9017: 9010: 8991: 8969: 8949: 8862: 8858: 8822: 8760: 8756: 8724: 8701: 8673: 8604: 8527: 8507: 8470: 8443: 8362: 8343: 8320: 8293: 8265: 8255: 8240: 8218: 8192: 8186: 8124: 8101: 8076: 8033: 7999: 7991: 7972: 7964: 7945: 7918: 7910: 7888: 7861: 7832: 7814: 7796: 7764: 7738: 7712: 4202: 4152: 3980: 3939: 3826: 3701: 3624: 3536: 3510: 3252: 3070: 2968: 2673: 2555: 2539: 2524: 2443: 2416:

appears to have been Shakespeare's fourth most popular play during his lifetime—only

2390: 1369: 892: 796: 650: 329: 293:. It has a number of plot elements and major characters in common with Shakespeare's 268: 240: 107: 9803: 9164: 8930:

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". 421: 15062: 14465: 14447: 14315: 14057: 13492: 13389: 13382: 13298: 13243: 13188: 13167: 13153: 12989: 12977: 12971: 12566: 12493: 12393: 12267: 12260: 12252: 12229: 12222: 12195: 12168: 12154: 11902: 11301: 11116: 10590: 10514: 10449: 10146: 10027: 9976: 9965:

Kliman, Bernice W. (Summer 2011). "At Sea about Hamlet at Sea: A Detective Story".

9921: 9908: 9767: 9499: 9448: 9434: 8941: 8499: 8261: 7995: 7968: 7824: 4177: 4173: 4148: 4008: 3653: 3613: 3473: 3437: 3387: 3275: 3171: 3078: 3074: 3010: 2997: 2984: 2976: 2967:

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 2600:

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

15233: 15126: 14818: 14345: 14186: 14167: 14129: 13971: 13688: 13072: 12745: 12357: 12245: 12161: 11784: 11761: 11689: 11241: 11004: 10973: 10895: 10782: 10522: 10154: 10103: 9845: 8986:. The Penguin Freud Library. Vol. 4. Translated by Strachey, James. London: 8697: 8214: 8029: 4109: 3943: 3719: 3678: 3664: 3609: 3586: 3578: 3532: 3453: 3413: 3391: 3365: 3350: 3321: 3283: 3207:

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

2438:

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: 264: 9556:

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

15150: 15121: 14909: 14494: 13798: 13550: 13139: 12238: 11978: 11880: 11470: 10828:

Reinventing Shakespeare: A Cultural History from the Restoration to the Present

10772: 10454:

Saxo Grammaticus and the Life of Hamlet: A Translation, History, and Commentary

10384: 9360: 8687: 8661: 8490: 4475: 3551: 3490: 3402: 3383: 3354: 3224: 3220: 3093:'s Osric. Sam Waterston later played the role himself at the Delacorte for the 3082: 3030: 3003: 2904: 2817: 2669: 2528: 2256: 2175: 1917: 1877: 1856: 1832:

incest and murder are brought into the light as might occur in a dream, but in

1687: 1380: 1246: 1201: 1113: 1105: 1083: 956:. MacCary suggests 1599 or 1600; James Shapiro offers late 1600 or early 1601; 937: 884: 468: 390: 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

10121:

Marsden, Jean I. "Improving Shakespeare: from the Restoration to Garrick". In

3671:

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

1412:

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.

3305: 3294: 3256: 3248: 3216: 3159: 3086: 3053: 3042: 2960: 2765: 2705: 2701: 2617:

among other plays at the Chestnut Street Theatre in Philadelphia, and at the

2601: 2597: 2582: 2563: 2508: 2435: 2377: 2325: 2297: 2292: 2252: 2228: 2192: 2161: 2145: 1992: 1946: 1938: 1860: 1768: 1745: 1675: 1645: 1617: 1469: 1318: 1272: 1181: 1140: 1066: 1015: 957: 933: 918: 914: 887:

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

11417: 11326: 10134: 10077: 9824: 9749: 9660: 9044: 8905: 8779: 8649: 8429: 8406: 8232: 8206: 8182: 8173: 8151: 8097: 4066: 4020: 3821: 3743: 3690: 3467: 3421: 3313: 3260: 3240: 3236: 3185: 3179: 3163: 3141: 3125: 3118: 3102: 3018: 2972: 2933: 2729: 2709: 2629: 2448: 2346: 2306: 2240: 2235:

is an "autobiographical novel" and "anticipates psychoanalytic readings of

1867: 1629: 1527: 1357: 1353: 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: 56: 15097: 14934: 14622: 14406: 13272: 13223: 12740: 12552: 12308: 12056: 10400: 9244: 9031: 8503: 6981: 4206: 4012: 3909:

by Canadian playwright Michael O'Brien is a dark comedy loosely based on

3715: 3648: 3425: 3417: 3369: 3244: 3228: 3212: 3066: 3062: 2992: 2956: 2925: 2741: 2681: 2661: 2264: 2164:

internationalist project. The poem also reworks theatrical language from

2140: 2035: 1889: 1787: 1642: 1613: 1404: 1360:

drama. Though it remained popular with mass audiences, late 17th-century

1345: 1294: 1226: 1173: 1038: 896: 880: 857: 753: 714: 441: 257: 219:

sometime between 1599 and 1601. It is Shakespeare's longest play. Set in

65: 11840: 9996: 9527: 9192: 2231:), and focuses on the hero's guilt. Academic Alexander Welsh notes that 1662: 566: 13181: 12825: 12112: 11896: 10150: 10067: 10047: 9795: 9503: 9476: 9309: 8961: 8558:"Benedict Cumberbatch as 'Hamlet' Opens Next Year, And Is Now Sold Out" 8519: 5385: 5357: 5329: 5301: 5273: 5245: 5217: 5189: 4046: 3914: 3628: 3457: 3140:(fiercely) at Stratford, Connecticut, have all played the role, as has 3133: 3090: 3046: 2929: 2862: 2547: 2315:

has Oedipal themes and murder intertwined with a love affair between a

1984: 1691: 1683: 1638: 1625: 1384: 1290: 1211: 1148: 780: 539: 483: 453: 396: 11914: 11833: 9949: 8643: 6249: 6247: 6222: 6220: 6218: 6216: 6214: 759: 694: 14747: 14084: 13360: 12757: 12609: 12545: 12133: 11992: 11079: 11056: 11033: 10928: 10706: 10574: 9649:(26 March 1995). "Middle-Aged, Yet a Prince, Slouching but Haunted". 9391: 8543: 4169: 4156: 3882:), where he is torn between the conflicting teachings of his mentors 3726: 3711: 3682: 3358: 3298: 2908: 2858: 2062:

Hamlet tries to show his mother Gertrude his father's ghost (artist:

2000: 1988: 1782: 1621: 1574: 1554: 1531: 1503:

s language is courtly: elaborate, witty discourse, as recommended by

1388: 1132: 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: 6244: 6211: 5755: 5454: 5452: 3785:

This section is limited to derivative works written for the stage.

3694: 3271: 3193: 3175: 3113:

in 1992 received mixed reviews and ran for sixty-one performances.

2472: 1520: 1393: 1349: 1026:

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. 11741: 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: 6502: 6418: 6367: 5767: 3736: 3633: 2937: 2479: 2283: 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 341: 220: 160: 117: 11680: 8402:"Sherlock star Andrew Scott to play Hamlet in new UK production" 5476: 5449: 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: 4748: 4276: 4057:

the groundlings". See also Thomson on the first player's beard.

3946:

is the F1 text with additional Q2 passages in an appendix. The

3582: 2896: 2804: 2786: 2133: 1608:

Written at a time of religious upheaval and in the wake of the

625: 621: 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: 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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: 4941: 4935: 4929: 4923: 4914: 4908: 4902: 4896: 4887: 4881: 4872: 4866: 4860: 4854: 4848: 4842: 4833: 4827: 4818: 4812: 4806: 4800: 4794: 4788: 4782: 4776: 4770: 4764: 4758: 4752: 4746: 4740: 4734: 4728: 4722: 4716: 4710: 4704: 4698: 4692: 4686: 4680: 4669: 4663: 4657: 4651: 4645: 4639: 4633: 4627: 4621: 4615: 4609: 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: 4442: 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: 14663: 14653: 14638: 14629: 14620: 14611: 14600: 14590: 14580: 14570: 14559: 14549: 14540: 14534:Born to Be King 14531: 14522: 14513: 14502: 14492: 14482: 14472: 14463: 14455: 14445: 14434: 14424: 14414: 14404: 14394: 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: 14055: 14040: 14030: 14020: 14010: 14000: 13990: 13979: 13972:Rockabye Hamlet 13969: 13958: 13948: 13938: 13928: 13917: 13907: 13900:Hamlet's Father 13897: 13887: 13877: 13867: 13857: 13847: 13837: 13826: 13816: 13806: 13796: 13786: 13776: 13766: 13756: 13746: 13736: 13726: 13716: 13706: 13696: 13689:One Hamlet Less 13686: 13676: 13666: 13656: 13646: 13626: 13619: 13612: 13605: 13598: 13591: 13584: 13577: 13570: 13563: 13556: 13549: 13542: 13535: 13528: 13521: 13514: 13507: 13500: 13487: 13479: 13471: 13458: 13451: 13444: 13437: 13427: 13417: 13404: 13395: 13388: 13381: 13374: 13367: 13358: 13349: 13342: 13336: 13318: 13311: 13304: 13297: 13290: 13279: 13270: 13261: 13250: 13241: 13232: 13221: 13212: 13201: 13194: 13187: 13180: 13173: 13166: 13159: 13152: 13145: 13138: 13131: 13124: 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: 11644: 11634: 11631: 11625: 11621: 11620: 11616: 11613: 11612: 11611: 11596: 11595: 11591: 11584: 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: 8388: 8369: 8350: 8327: 8299: 8297: 8272: 8247: 8225: 8199: 8131: 8108: 8083: 8060: 8055: 8040: 8030:Clarendon Press 8020:, eds. (1988). 8006: 7979: 7952: 7925: 7903:Jenkins, Harold 7895: 7868: 7839: 7803: 7771: 7745: 7719: 7699: 7691: 7686: 7678: 7674: 7666: 7662: 7654: 7650: 7642: 7638: 7630: 7626: 7618: 7614: 7606: 7602: 7594: 7590: 7582: 7578: 7570: 7566: 7558: 7554: 7546: 7542: 7534: 7530: 7522: 7518: 7510: 7506: 7498: 7494: 7486: 7482: 7474: 7470: 7462: 7458: 7450: 7443: 7435: 7431: 7423: 7419: 7411: 7407: 7399: 7395: 7387: 7383: 7375: 7371: 7363: 7359: 7351: 7347: 7339: 7335: 7327: 7323: 7315: 7311: 7303: 7299: 7291: 7287: 7279: 7275: 7267: 7263: 7255: 7251: 7243: 7239: 7231: 7227: 7221:Billington 2008 7219: 7215: 7207: 7203: 7197:Billington 2001 7195: 7191: 7183: 7179: 7171: 7167: 7159: 7155: 7147: 7143: 7130: 7126: 7118: 7114: 7106: 7102: 7094: 7090: 7082: 7078: 7070: 7066: 7058: 7054: 7046: 7042: 7034: 7030: 7022: 7018: 7010: 7006: 6998: 6994: 6986: 6982: 6974: 6967: 6959: 6955: 6947: 6943: 6935: 6931: 6923: 6919: 6908: 6904: 6893: 6886: 6878: 6874: 6866: 6862: 6854: 6850: 6842: 6838: 6830: 6826: 6818: 6814: 6806: 6799: 6791: 6787: 6779: 6775: 6767: 6763: 6755: 6751: 6743: 6734: 6726: 6722: 6714: 6710: 6702: 6698: 6690: 6686: 6678: 6674: 6666: 6662: 6654: 6650: 6642: 6638: 6630: 6623: 6615: 6611: 6603: 6599: 6591: 6587: 6579: 6575: 6567: 6563: 6555: 6551: 6543: 6539: 6531: 6527: 6519: 6515: 6507: 6503: 6495: 6491: 6483: 6479: 6471: 6467: 6459: 6455: 6447: 6443: 6435: 6431: 6423: 6419: 6411: 6407: 6399: 6392: 6384: 6380: 6372: 6368: 6360: 6356: 6348: 6344: 6336: 6332: 6324: 6320: 6312: 6308: 6300: 6296: 6288: 6284: 6276: 6272: 6264: 6260: 6252: 6245: 6237: 6233: 6225: 6212: 6204: 6200: 6192: 6188: 6180: 6176: 6168: 6164: 6154: 6152: 6147: 6146: 6142: 6134: 6130: 6122: 6118: 6110: 6106: 6098: 6094: 6086: 6082: 6074: 6070: 6062: 6058: 6050: 6046: 6038: 6034: 6026: 6022: 6014: 6005: 5997: 5993: 5985: 5978: 5970: 5966: 5958: 5954: 5946: 5942: 5934: 5930: 5922: 5918: 5910: 5906: 5898: 5894: 5886: 5882: 5874: 5870: 5862: 5858: 5850: 5843: 5835: 5831: 5823: 5819: 5811: 5804: 5796: 5792: 5784: 5780: 5772: 5768: 5760: 5756: 5748: 5741: 5733: 5729: 5721: 5717: 5709: 5705: 5697: 5693: 5685: 5681: 5673: 5669: 5661: 5657: 5649: 5645: 5637: 5633: 5625: 5621: 5613: 5609: 5601: 5597: 5589: 5585: 5577: 5573: 5565: 5561: 5553: 5549: 5541: 5537: 5529: 5525: 5517: 5513: 5505: 5501: 5493: 5489: 5481: 5477: 5473:, p. lxiv. 5469: 5465: 5457: 5450: 5442: 5438: 5430: 5426: 5418: 5414: 5406: 5402: 5392: 5390: 5379: 5378: 5374: 5364: 5362: 5351: 5350: 5346: 5336: 5334: 5323: 5322: 5318: 5308: 5306: 5295: 5294: 5290: 5280: 5278: 5267: 5266: 5262: 5252: 5250: 5239: 5238: 5234: 5224: 5222: 5211: 5210: 5206: 5196: 5194: 5183: 5182: 5178: 5170: 5163: 5155: 5151: 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: 15346: 15341: 15336: 15331: 15326: 15321: 15316: 15311: 15306: 15301: 15296: 15291: 15286: 15281: 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: 14301: 14291: 14281: 14271: 14260: 14258: 14251: 14245: 14244: 14242: 14241: 14231: 14221: 14211: 14203: 14193: 14182: 14180: 14176: 14175: 14173: 14172: 14163: 14154: 14144: 14142: 14138: 14137: 14135: 14134: 14125: 14116: 14107: 14098: 14089: 14080: 14071: 14062: 14052: 14050: 14046: 14045: 14042: 14041: 14039: 14038: 14028: 14018: 14008: 13998: 13987: 13985: 13981: 13980: 13978: 13977: 13966: 13964: 13960: 13959: 13957: 13956: 13946: 13936: 13925: 13923: 13919: 13918: 13916: 13915: 13905: 13895: 13885: 13875: 13865: 13855: 13845: 13834: 13832: 13828: 13827: 13825: 13824: 13814: 13804: 13794: 13784: 13774: 13764: 13754: 13744: 13734: 13724: 13714: 13704: 13694: 13684: 13674: 13664: 13654: 13643: 13641: 13634: 13628: 13627: 13625: 13624: 13617: 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: 13316: 13309: 13302: 13295: 13287: 13285: 13281: 13280: 13278: 13277: 13268: 13258: 13256: 13252: 13251: 13249: 13248: 13239: 13230: 13229: 13228: 13209: 13207: 13203: 13202: 13200: 13199: 13192: 13185: 13178: 13171: 13164: 13157: 13150: 13143: 13136: 13129: 13122: 13114: 13112: 13106: 13105: 13092: 13091: 13084: 13077: 13069: 13060: 13059: 13057: 13056: 13046: 13035: 13034: 13031: 13024: 13021: 13020: 13018: 13017: 13011: 13005: 12999: 12993: 12987: 12981: 12975: 12969: 12963: 12957: 12951: 12945: 12938: 12936: 12932: 12931: 12928: 12927: 12925: 12924: 12919: 12913: 12908: 12907: 12906: 12896: 12895: 12894: 12881: 12879: 12872: 12871: 12866: 12861: 12853: 12848: 12843: 12838: 12833: 12828: 12823: 12818: 12812: 12810: 12804: 12803: 12801: 12800: 12795: 12790: 12785: 12780: 12775: 12770: 12765: 12760: 12755: 12750: 12749: 12748: 12743: 12729: 12724: 12719: 12714: 12709: 12707:Collaborations 12704: 12699: 12698: 12697: 12692: 12680: 12674: 12672: 12661: 12660: 12657: 12656: 12654: 12653: 12646: 12638: 12636: 12632: 12631: 12629: 12628: 12621: 12614: 12606: 12599: 12592: 12585: 12577: 12570: 12563: 12556: 12549: 12542: 12535: 12525: 12518: 12511: 12504: 12497: 12490: 12482: 12475: 12467: 12465: 12458: 12452: 12451: 12449: 12448: 12441: 12434: 12427: 12420: 12419: 12418: 12405: 12403: 12399: 12398: 12391: 12389: 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: 12233: 12226: 12214: 12207: 12199: 12191: 12189: 12183: 12182: 12180: 12179: 12172: 12165: 12158: 12151: 12144: 12137: 12130: 12123: 12116: 12109: 12101: 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: 11847: 11846: 11838: 11830: 11817: 11811: 11802: 11789: 11787: 11776: 11765: 11750: 11736: 11733: 11732: 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: 14925: 14923: 14919: 14912: 14911: 14907: 14904: 14903: 14899: 14896: 14895: 14891: 14888: 14887: 14883: 14880: 14879: 14875: 14874: 14872: 14868: 14864: 14857: 14852: 14850: 14845: 14843: 14838: 14837: 14834: 14821: 14820: 14815: 14812: 14811: 14806: 14803: 14802: 14801:Poor Murderer 14797: 14794: 14793: 14788: 14785: 14784: 14779: 14775: 14770: 14767: 14766: 14761: 14758: 14757: 14752: 14749: 14745: 14742: 14738: 14735: 14734: 14729: 14726: 14725: 14720: 14719: 14717: 14713: 14706: 14705: 14700: 14697: 14696: 14691: 14688: 14686: 14681: 14678: 14677: 14672: 14669: 14667: 14662: 14659: 14657: 14652: 14651: 14649: 14645: 14634: 14633: 14628: 14625: 14624: 14619: 14616: 14615: 14610: 14609: 14607: 14603: 14595: 14594: 14589: 14585: 14584: 14579: 14575: 14574: 14569: 14568: 14566: 14562: 14554: 14553: 14548: 14544: 14539: 14535: 14530: 14526: 14521: 14517: 14512: 14511: 14509: 14505: 14497: 14496: 14491: 14487: 14486: 14481: 14477: 14476: 14471: 14467: 14462: 14458: 14454: 14450: 14449: 14444: 14443: 14441: 14437: 14429: 14428: 14423: 14419: 14418: 14417:I Hate Hamlet 14413: 14409: 14408: 14403: 14399: 14398: 14393: 14392: 14390: 14386: 14378: 14377: 14372: 14368: 14367: 14362: 14358: 14357: 14352: 14348: 14347: 14342: 14338: 14337: 14332: 14328: 14327: 14322: 14318: 14317: 14312: 14308: 14307: 14302: 14298: 14297: 14292: 14288: 14287: 14282: 14278: 14277: 14272: 14268: 14267: 14262: 14261: 14259: 14255: 14252: 14250: 14246: 14238: 14237: 14232: 14228: 14227: 14222: 14218: 14217: 14212: 14209:(Tchaikovsky) 14208: 14204: 14200: 14199: 14194: 14190: 14189: 14184: 14183: 14181: 14177: 14169: 14164: 14160: 14159:Pull Me Under 14155: 14151: 14146: 14145: 14143: 14139: 14132: 14131: 14126: 14122: 14117: 14114: 14113: 14108: 14104: 14099: 14096: 14095: 14090: 14087: 14086: 14081: 14078: 14077: 14072: 14069: 14068: 14063: 14060: 14059: 14054: 14053: 14051: 14047: 14036:(BBC 2, 2009) 14035: 14034: 14029: 14025: 14024: 14019: 14015: 14014: 14009: 14005: 14004: 13999: 13995: 13994: 13989: 13988: 13986: 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: 13740: 13735: 13731: 13730: 13729:The Lion King 13725: 13721: 13720: 13715: 13711: 13710: 13705: 13701: 13700: 13695: 13691: 13690: 13685: 13681: 13680: 13679:Johnny Hamlet 13675: 13671: 13670: 13665: 13661: 13660: 13655: 13651: 13650: 13645: 13644: 13642: 13638: 13635: 13633: 13629: 13622: 13618: 13615: 13611: 13608: 13604: 13601: 13597: 13594: 13590: 13587: 13583: 13580: 13576: 13573: 13569: 13566: 13562: 13559: 13555: 13552: 13548: 13545: 13541: 13538: 13534: 13531: 13527: 13524: 13520: 13517: 13513: 13510: 13506: 13503: 13499: 13498: 13496: 13494: 13490: 13482: 13478: 13474: 13470: 13469: 13467: 13465: 13461: 13454: 13450: 13447: 13443: 13440: 13436: 13433: 13432: 13426: 13423: 13422: 13416: 13415: 13413: 13411: 13407: 13400: 13399: 13394: 13391: 13387: 13384: 13380: 13377: 13373: 13370: 13366: 13363: 13362: 13357: 13354: 13353: 13348: 13345: 13341: 13340: 13338: 13333: 13330: 13328: 13325: 13324: 13321: 13314: 13310: 13307: 13303: 13300: 13296: 13293: 13289: 13288: 13286: 13282: 13274: 13269: 13265: 13260: 13259: 13257: 13253: 13245: 13240: 13236: 13231: 13225: 13220: 13219: 13216: 13211: 13210: 13208: 13204: 13197: 13193: 13190: 13186: 13183: 13179: 13176: 13172: 13169: 13165: 13162: 13158: 13155: 13151: 13148: 13144: 13141: 13137: 13134: 13130: 13127: 13123: 13120: 13116: 13115: 13113: 13111: 13107: 13103: 13102: 13097: 13090: 13085: 13083: 13078: 13076: 13071: 13070: 13067: 13055: 13047: 13045: 13037: 13036: 13032: 13030: 13026: 13025: 13022: 13015: 13014:Thomas Quiney 13012: 13009: 13006: 13004:(grandfather) 13003: 13000: 12997: 12994: 12991: 12988: 12985: 12982: 12979: 12976: 12973: 12970: 12967: 12964: 12961: 12960:Judith Quiney 12958: 12955: 12952: 12949: 12946: 12943: 12942:Anne Hathaway 12940: 12939: 12937: 12933: 12923: 12920: 12917: 12914: 12912: 12909: 12905: 12902: 12901: 12900: 12897: 12893: 12892: 12888: 12887: 12886: 12883: 12882: 12880: 12876: 12870: 12867: 12865: 12862: 12860: 12859: 12854: 12852: 12849: 12847: 12844: 12842: 12839: 12837: 12834: 12832: 12829: 12827: 12824: 12822: 12819: 12817: 12814: 12813: 12811: 12809: 12805: 12799: 12796: 12794: 12791: 12789: 12786: 12784: 12781: 12779: 12776: 12774: 12771: 12769: 12766: 12764: 12761: 12759: 12756: 12754: 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: 12686: 12685: 12684: 12681: 12679: 12676: 12675: 12673: 12671: 12666: 12662: 12652: 12651: 12647: 12645: 12644: 12640: 12639: 12637: 12633: 12627: 12626: 12622: 12620: 12619: 12615: 12612: 12611: 12607: 12605: 12604: 12600: 12598: 12597: 12593: 12591: 12590: 12586: 12583: 12582: 12578: 12576: 12575: 12571: 12569: 12568: 12564: 12562: 12561: 12557: 12555: 12554: 12550: 12548: 12547: 12543: 12541: 12540: 12536: 12532: 12531: 12526: 12524: 12523: 12519: 12517: 12516: 12512: 12510: 12509: 12505: 12503: 12502: 12498: 12496: 12495: 12491: 12488: 12487: 12483: 12481: 12480: 12476: 12474: 12473: 12469: 12468: 12466: 12462: 12459: 12457: 12453: 12447: 12446: 12442: 12440: 12439: 12435: 12433: 12432: 12428: 12426: 12425: 12421: 12417: 12414: 12413: 12412: 12411: 12407: 12406: 12404: 12400: 12395: 12381: 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: 12297: 12293: 12286: 12285: 12281: 12279: 12278: 12274: 12270: 12269: 12265: 12263: 12262: 12258: 12255: 12254: 12250: 12249: 12248: 12247: 12243: 12241: 12240: 12236: 12232: 12231: 12227: 12225: 12224: 12220: 12219: 12218: 12215: 12213: 12212: 12208: 12205: 12204: 12200: 12198: 12197: 12193: 12192: 12190: 12188: 12184: 12178: 12177: 12173: 12171: 12170: 12166: 12164: 12163: 12159: 12157: 12156: 12152: 12150: 12149: 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: 11988: 11987: 11983: 11981: 11980: 11976: 11974: 11973: 11969: 11968: 11966: 11964: 11960: 11957: 11955: 11951: 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: 11867: 11864: 11861: 11857: 11854: 11853: 11844: 11843: 11839: 11836: 11835: 11831: 11828: 11824: 11822: 11818: 11815: 11812: 11809: 11807: 11803: 11800: 11796: 11795: 11790: 11788: 11786: 11782: 11781: 11777: 11775: 11771: 11770: 11766: 11763: 11759: 11756: 11755: 11751: 11748: 11743: 11739: 11738: 11730: 11726: 11725: 11716: 11714: 11710: 11709: 11705: 11703: 11699: 11698: 11694: 11691: 11687: 11684: 11683: 11679: 11678: 11674: 11670: 11655: 11608: 11605: 11603: 11600: 11599: 11594: 11589: 11574: 11572:0-14-028592-X 11568: 11564: 11560: 11559: 11554: 11550: 11546: 11540: 11536: 11532: 11528: 11524: 11519: 11515: 11513:0-14-051555-0 11509: 11505: 11501: 11500: 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: 11181: 11177: 11176: 11171: 11167: 11155: 11151: 11147: 11142: 11138: 11134: 11130: 11126: 11122: 11118: 11114: 11110: 11106: 11105: 11100: 11095: 11091: 11089:0-415-13408-0 11085: 11081: 11077: 11072: 11068: 11066:0-415-13407-2 11062: 11058: 11054: 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: 10919: 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: 10807: 10803: 10798: 10794: 10788: 10784: 10780: 10779: 10774: 10770: 10759: 10758: 10753: 10751: 10745: 10741: 10737: 10736: 10731: 10726: 10722: 10720:0-415-20725-8 10716: 10712: 10708: 10704: 10700: 10698: 10691: 10679: 10675: 10674: 10668: 10666: 10659: 10655: 10651: 10647: 10642: 10631: 10630: 10625: 10620: 10616: 10614:0-416-36930-8 10610: 10606: 10602: 10598: 10597: 10592: 10588: 10577: 10576: 10570: 10568: 10560: 10556: 10554:1-55783-561-6 10550: 10546: 10542: 10538: 10534: 10532:0-571-21481-9 10528: 10524: 10520: 10516: 10512: 10501: 10500: 10495: 10493: 10486: 10482: 10478: 10473: 10469: 10467:0-8032-2318-8 10463: 10459: 10455: 10451: 10447: 10443: 10437: 10433: 10429: 10424: 10420: 10418:1-56619-804-6 10414: 10410: 10406: 10402: 10398: 10387: 10386: 10381: 10379: 10372: 10368: 10366:0-87413-480-3 10362: 10358: 10354: 10349: 10345: 10343:0-14-053011-8 10339: 10335: 10331: 10326: 10322: 10316: 10312: 10308: 10304: 10303: 10298: 10293: 10289: 10285: 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: 10208: 10202: 10198: 10194: 10189: 10185: 10181: 10176: 10172: 10166: 10162: 10158: 10157: 10152: 10148: 10144: 10140: 10136: 10135:McKellen, Ian 10132: 10128: 10124: 10119: 10115: 10113:0-313-30082-8 10109: 10105: 10101: 10100: 10094: 10083: 10079: 10075: 10074: 10069: 10065: 10061: 10057: 10053: 10049: 10045: 10041: 10037: 10033: 10029: 10026:: 1046–1069. 10025: 10021: 10017: 10016: 10010: 10006: 10002: 9998: 9994: 9990: 9986: 9982: 9978: 9974: 9970: 9969: 9963: 9959: 9955: 9951: 9947: 9943: 9939: 9935: 9931: 9927: 9923: 9919: 9915: 9911: 9910: 9905: 9901: 9897: 9891: 9887: 9883: 9878: 9874: 9870: 9866: 9861: 9857: 9851: 9847: 9843: 9838: 9827: 9826: 9821: 9819: 9813: 9809: 9805: 9801: 9797: 9793: 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: 2886: 2882: 2880: 2875: 2871: 2866: 2864: 2863:dramaturgical 2860: 2857: 2853: 2849: 2845: 2841: 2837: 2833: 2829: 2827: 2823: 2819: 2815: 2811: 2807: 2806: 2801: 2797: 2793: 2789: 2788: 2783: 2773: 2771: 2767: 2766:Parsi theatre 2763: 2759: 2755: 2751: 2747: 2743: 2738: 2735: 2731: 2725: 2723: 2719: 2715: 2711: 2707: 2706:Samuel Phelps 2703: 2702:Victorian era 2698: 2696: 2691: 2687: 2683: 2679: 2675: 2671: 2667: 2663: 2659: 2655: 2647: 2643: 2631: 2622: 2620: 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: 2553: 2549: 2545: 2541: 2538: 2534: 2530: 2526: 2522: 2515: 2510: 2501: 2499: 2495: 2491: 2490: 2485: 2481: 2476: 2474: 2470: 2466: 2462: 2458: 2454: 2450: 2446: 2445: 2439: 2437: 2433: 2432: 2427: 2426: 2421: 2420: 2415: 2411: 2407: 2396: 2394: (1890). 2393: 2392: 2387: 2381: 2379: 2371: 2367: 2356: 2354: 2353: 2348: 2343: 2341: 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: 1593: 1579: 1576: 1571: 1568: 1564: 1560: 1556: 1551: 1548: 1546: 1541: 1537: 1533: 1529: 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 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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:. 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