Hamlet

GET THEE TO A NUNNERY!!!

TO BE OR NOT TO BE, THAT IS NOT THE QUESTION!! THE QUESTION IS, DO YOU WANT FRIES WITH THAT??

I AM THE EGG.

source of such studies, notably by Sigmund Freud, Ernest Jones, and Jacques Lacan, which have influenced theatrical productions.

In his The Interpretation of Dreams (1900), Freud's analysis starts from the premise that "the play is built up on Hamlet's hesitations over fulfilling the task of revenge that is assigned to him; but its text offers no reasons or motives for these hesitations". After reviewing various literary theories, Freud concludes that Hamlet has an "Oedipal desire for his mother and the subsequent guilt [is] preventing him from murdering the man [Claudius] who has done what he unconsciously wanted to do". Confronted with his repressed desires, Hamlet realises that "he himself is literally no better than the sinner whom he is to punish". Freud suggests that Hamlet's apparent "distaste for sexuality"—articulated in his "nunnery" conversation with Ophelia—accords with this interpretation. John Barrymore introduced Freudian overtones into his landmark 1922 production in New York, which ran for a record-breaking 101 nights.

In the 1940s, Ernest Jones—a psychoanalyst and Freud's biographer—developed Freud's ideas into a series of essays that culminated in his book Hamlet and Oedipus (1949). Influenced by Jones' 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. She is overwhelmed by having her unfulfilled love for him so abruptly terminated and drifts into the oblivion of insanity. In 1937, Tyrone Guthrie directed Laurence Olivier in a Jones-inspired Hamlet at the Old Vic.

In the 1950s, Lacan's structuralist theories about Hamlet were first presented in a series of seminars given in Paris and later published in "Desire and the Interpretation of Desire in Hamlet". Lacan postulated that the human psyche is determined by structures of language and that the linguistic structures of Hamlet shed light on human desire. His point of departure is Freud's Oedipal theories, and the central theme of mourning that runs through Hamlet. In Lacan's analysis, Hamlet unconsciously assumes the role of phallus—the cause of his inaction—and is increasingly distanced from reality "by mourning, fantasy, narcissism and psychosis", which create holes (or "lacks") in the real, imaginary, and symbolic aspects of his psyche. Lacan's theories influenced literary criticism of Hamlet because of his alternative vision of the play and his use of semantics to explore the play's psychological landscape.

Feminist

Ophelia is distracted by grief. Feminist critics have explored her descent into madness. (Artist: Henrietta Rae 1890).

In the 20th century feminist critics opened up new approaches to Gertrude and Ophelia. New Historicist and cultural materialist critics examined the play in its historical context, attempting to piece together its original cultural environment. They focused on the gender system of early modern England, pointing to the common trinity of maid, wife, or widow, with whores alone outside of the stereotype. In this analysis, the essence of Hamlet is the central character's changed perception of his mother as a whore because of her failure to remain faithful to Old Hamlet. In consequence, Hamlet loses his faith in all women, treating Ophelia as if she too were a whore and dishonest with Hamlet. Ophelia, by some critics, can be honest and fair, however; it is virtually impossible to link these two traits, since 'fairness' is an outward trait, while 'honesty' is an inward trait.

Carolyn Heilbrun's 1957 essay "Hamlet's Mother" defends Gertrude, arguing that the text never hints that Gertrude knew of Claudius poisoning King Hamlet. This analysis has been championed by many feminist critics. Heilbrun argued that men have for centuries completely misinterpreted Gertrude, accepting at face value Hamlet's view of her instead of following the actual text of the play. By this account, no clear evidence suggests that Gertrude is an adulteress: she is merely adapting to the circumstances of her husband's death for the good of the kingdom.

Ophelia has also been defended by feminist critics, most notably Elaine Showalter. 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—inaccurately and inappropriately—the symbol of the distraught and hysterical woman in modern culture.

Influence

See also Stage and screen adaptations (below), and Literary influence of Hamlet

Hamlet is one of the most quoted 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 Hamlet in numerous modern narratives, and divides them into four main categories: fictional accounts of the play's composition, simplifications of the story for young readers, stories expanding the role of one or more characters, and narratives featuring performances of the play.

Henry Fielding's Tom Jones, published about 1749, describes a visit to Hamlet by Tom Jones and Mr Partridge, with similarities to the "play within a play". In contrast, Goethe's Bildungsroman Wilhelm Meister's Apprenticeship, written between 1776 and 1796, not only has a production of Hamlet at its core but also creates parallels between the Ghost and Wilhelm Meister's dead father. In the early 1850s, in Pierre, Herman Melville focuses on a Hamlet-like character's long development as a writer. Ten years later, Dickens' Great Expectations contains many Hamlet-like plot elements: it is driven by revenge-motivated actions, contains ghost-like characters (Abel Magwich and Miss Havisham), and focuses on the hero's guilt. Academic Alexander Welsh notes that Great Expectations is an "autobiographical novel" and "anticipates psychoanalytic readings of Hamlet itself". About the same time, George Eliot's The Mill on the Floss was published, introducing Maggie Tulliver "who is explicitly compared with Hamlet" though "with a reputation for sanity".

In the 1920s, James Joyce managed "a more upbeat version" of Hamlet—stripped of obsession and revenge—in Ulysses, though its main parallels are with Homer's Odyssey. In the 1990s, two women novelists were explicitly influenced by Hamlet. In Angela Carter's Wise Children, To be or not to be is reworked as a song and dance routine, and Iris Murdoch's The Black Prince has Oedipal themes and murder intertwined with a love affair between a Hamlet-obsessed writer, Bradley Pearson, and the daughter of his rival.

Performance history

Thomas Betterton as Hamlet during the Restoration (Artist: unknown; Nicholas Rowe edition of 1709)

Main articles: Hamlet in performance and Shakespeare in performance

Shakespeare's day to the Interregnum

Shakespeare almost certainly wrote the role of Hamlet for Richard Burbage. He was the chief tragedian of the Lord Chamberlain's Men, with a capacious memory for lines and a wide emotional range. Judging by the number of reprints, Hamlet appears to have been Shakespeare's fourth most popular play during his lifetime—only Henry VI Part 1, Richard III and Pericles eclipsed it. Shakespeare provides no clear indication of when his play is set; however, as Elizabethan actors performed at the Globe in contemporary dress on minimal sets, this would not have affected the staging.

Firm evidence for specific early performances of the play is scant. What is known is that the crew of the ship Red Dragon, anchored off Sierra Leone, performed Hamlet in September 1607; that the play toured in Germany within five years of Shakespeare's death; and that it was performed before James I in 1619 and Charles I in 1637. Oxford editor George Hibbard argues that, since the contemporary literature contains many allusions and references to Hamlet (only Falstaff is mentioned more, from Shakespeare), the play was surely performed with a frequency that the historical record misses.

All theatres were closed down by the Puritan government during the Interregnum. Even during this time, however, playlets known as drolls were often performed illegally, including one called The Grave-Makers based on Act 5, Scene 1 of Hamlet.

Restoration and 18th century

The play was revived early in the Restoration. When the existing stock of pre-civil war plays was divided between the two newly created patent theatre companies, Hamlet was the only Shakespearean favourite that Sir William Davenant's Duke's Company secured. It became the first of Shakespeare's plays to be presented with movable flats painted with generic scenery behind the proscenium arch of Lincoln's Inn Fields Theatre. This new stage convention highlighted the frequency with which Shakespeare shifts dramatic location, encouraging the recurrent criticisms of his violation of the neoclassical principle of maintaining a unity of place. Davenant cast Thomas Betterton in the eponymous role, and he continued to play the Dane until he was 74. David Garrick at Drury Lane produced a version that adapted Shakespeare heavily; he declared: "I had sworn I would not leave the stage till I had rescued that noble play from all the rubbish of the fifth act. I have brought it forth without the grave-digger's trick, Osrick, & the fencing match". The first actor known to have played Hamlet in North America is Lewis Hallam. Jr., in the American Company's production in Philadelphia in 1759.

David Garrick's iconic hand gesture expresses Hamlet's shock at the first sight of the Ghost. (Artist: unknown).

John Philip Kemble 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 that "music should be played between the words". Sarah Siddons was the first actress known to play Hamlet; many women have since played him as a breeches role, to great acclaim. In 1748, Alexander Sumarokov wrote a Russian adaptation that focused on Prince Hamlet as the embodiment of an opposition to Claudius' tyranny—a treatment that would recur in Eastern European versions into the 20th century. In the years following America's independence, Thomas Abthorpe Cooper, the young nation's leading tragedian, performed Hamlet among other plays at the Chestnut Street Theatre in Philadelphia, and at the Park Theatre in New York. Although chided for "acknowledging acquaintances in the audience" and "inadequate memorisation of his lines", he became a national celebrity.

19th century

From around 1810 to 1840, the best-known Shakespearean performances in the United States were tours by leading London actors—including George Frederick Cooke, Junius Brutus Booth, Edmund Kean, William Charles Macready, and Charles Kemble. Of these, Booth remained to make his career in the States, fathering the nation's most notorious actor, John Wilkes Booth (who later assassinated Abraham Lincoln), and its most famous Hamlet, Edwin Booth. Edwin Booth's Hamlet was described as "like the dark, mad, dreamy, mysterious hero of a poem ... [acted] in an ideal manner, as far removed as possible from the plane of actual life". Booth played Hamlet for 100 nights in the 1864/5 season at The Winter Garden Theatre, inaugurating the era of long-run Shakespeare in America.

In the United Kingdom, the actor-managers of the Victorian era (including Kean, Samuel Phelps, Macready, and Henry Irving) staged Shakespeare in a grand manner, with elaborate scenery and costumes. The tendency of actor-managers to emphasise the importance of their own central character did not always meet with the critics' approval. George Bernard Shaw's praise for Johnston Forbes-Robertson's performance ends with a sideswipe at Irving: "The story of the play was perfectly intelligible, and quite took the attention of the audience off the principal actor at moments. What is the Lyceum coming to?"

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, William Poel's 1881 production of the Q1 text was an early attempt at reconstructing the Elizabethan theatre's austerity; his only backdrop was a set of red curtains. Sarah Bernhardt played the prince in her popular 1899 London production. In contrast to the "effeminate" view of the central character that usually accompanied a female casting, she described her character as "manly and resolute, but nonetheless thoughtful ... [he] thinks before he acts, a trait indicative of great strength and great spiritual power".

In France, Charles Kemble initiated an enthusiasm for Shakespeare; and leading members of the Romantic movement such as Victor Hugo and Alexandre Dumas saw his 1827 Paris performance of Hamlet, particularly admiring the madness of Harriet Smithson's Ophelia. In Germany, Hamlet had become so assimilated by the mid-19th century that Ferdinand Freiligrath declared that "Germany is Hamlet". From the 1850s, the Parsi theatre tradition in India transformed Hamlet into folk performances, with dozens of songs added.

20th century

Apart from some western troupes' 19th-century visits, the first professional performance of Hamlet in Japan was Otojiro Kawakami's 1903 Shimpa ("new school theatre") adaptation. Shoyo Tsubouchi translated Hamlet and produced a performance in 1911 that blended Shingeki ("new drama") and Kabuki styles. This hybrid-genre reached its peak in Fukuda Tsuneari's 1955 Hamlet. In 1998, Yukio Ninagawa produced an acclaimed version of Hamlet in the style of Nō theatre, which he took to London.

File:Craig's design (1908) for Hamlet 1-2 at Moscow Art Theatre.jpg

In 1908, Edward Gordon Craig designed the MAT production of Hamlet (1911–12). The isolated figure of Hamlet reclines in the dark foreground, while behind a gauze the rest of the court are absorbed in a bright, unified golden pyramid emanating from Claudius. Craig's famous screens are flat against the back in this scene.

Constantin Stanislavski and Edward Gordon Craig—two of the 20th century's most influential theatre practitioners—collaborated on the Moscow Art Theatre's seminal production of 1911–12. While Craig favoured stylised abstraction, Stanislavski, armed with his "system", explored psychological motivation. Craig conceived of the play as a symbolist monodrama, 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 dramaturgical progression. The production attracted enthusiastic and unprecedented worldwide attention for the theatre and placed it "on the cultural map for Western Europe".

Hamlet is often played with contemporary political overtones. Leopold Jessner's 1926 production at the Berlin Staatstheater portrayed Claudius' court as a parody of the corrupt and fawning court of Kaiser Wilhelm. In Poland, the number of productions of Hamlet has tended to increase at times of political unrest, since its political themes (suspected crimes, coups, surveillance) can be used to comment on a contemporary situation. Similarly, Czech directors have used the play at times of occupation: a 1941 Vinohrady Theatre production "emphasised, with due caution, the helpless situation of an intellectual attempting to endure in a ruthless environment". In China, performances of Hamlet often have political significance: Gu Wuwei's 1916 The Usurper of State Power, an amalgam of Hamlet and Macbeth, was an attack on Yuan Shikai's attempt to overthrow the republic. In 1942, Jiao Juyin directed the play in a Confucian temple in Sichuan Province, to which the government had retreated from the advancing Japanese. In the immediate aftermath of the collapse of the protests at Tiananmen Square, Lin Zhaohua staged a 1990 Hamlet in which the prince was an ordinary individual tortured by a loss of meaning. In this production, the actors playing Hamlet, Claudius and Polonius exchanged roles at crucial moments in the performance, including the moment of Claudius' death, at which point the actor mainly associated with Hamlet fell to the ground.

Notable stagings in London and New York include Barrymore's 1925 production at the Haymarket; it influenced subsequent performances by John Gielgud and Laurence Olivier. Gielgud played the central role many times: his 1936 New York production ran for 136 performances, leading to the accolade that he was "the finest interpreter of the role since Barrymore". Although "posterity has treated Maurice Evans less kindly", throughout the 1930s and 1940s he was regarded by many as the leading interpreter of Shakespeare in the United States and in the 1938/9 season he presented Broadway's first uncut Hamlet, running four and a half hours. Olivier's 1937 performancee at the Old Vic Theatre was popular with audiences but not with critics, with James Agate writing in a famous review in The Sunday Times, "Mr. Olivier does not speak poetry badly. He does not speak it at all." In 1963, Olivier directed Peter O'Toole as Hamlet in the inaugural performance of the newly formed National Theatre; critics found resonance between O'Toole's Hamlet and John Osborne's hero, Jimmy Porter, from Look Back in Anger.

Other New York portrayals of Hamlet of note include that of Ralph Fiennes's in 1995 (for which he won the Tony Award for Best Actor) - which ran, from first preview to closing night, a total of one hundred performances. About the Feinnes Hamlet Vincent Canby wrote in The New York Times that it was "...not one for literary sleuths and Shakespeare scholars. It respects the play, but it doesn't provide any new material for arcane debates on what it all means. Instead it's an intelligent, beautifully read..." Stephen Lang's Hamlet for the Roundabout Theatre Company in 1992 received positive reviews, and ran for sixty-one performances; and Sam Waterston's for the New York Shakespeare Festival at the Vivian Beaumont Theatre in 1975 (for which Lang played Bernardo and other roles) was well-received. Off Broadway, the Riverside Shakespeare Company mounted an uncut first folio Hamlet in 1978 at Columbia University, with a playing time of under three hours. In fact, Hamlet is the most produced Shakespeare play in New York theatre history, with sixty-four recorded productions on Broadway, and an untold number Off Broadway.

Screen performances

Sarah Bernhardt as Hamlet, with Yorick's skull (Photographer: James Lafayette, c. 1885–1900)

Main article: Hamlet on screen

The earliest screen success for Hamlet was Sarah Bernhardt's five-minute film of the fencing scene, produced in 1900. The film was a crude talkie, in that music and words were recorded on phonograph records, to be played along with the film. Silent versions were released in 1907, 1908, 1910, 1913, and 1917. In 1920, Asta Nielsen played Hamlet as a woman who spends her life disguised as a man. Laurence Olivier's 1948 film noir Hamlet won best picture and best actor Oscars. His interpretation stressed the Oedipal overtones of the play, to the extent of casting the 28-year-old Eileen Herlie as Hamlet's mother, opposite himself, at 41, as Hamlet. Gamlet ([Гамлет] Error: {{Lang-xx}}: text has italic markup (help)) is a 1964 film adaptation in Russian, based on a translation by Boris Pasternak and directed by Grigori Kozintsev, with a score by Dmitri Shostakovich. Innokenty Smoktunovsky was cast in the role of Hamlet, which won him a praise from Sir Laurence Olivier. Shakespeare experts Sir John Gielgud and Kenneth Branagh consider this work the definitive rendition of the Bard's tragic tale. John Gielgud directed Richard Burton at the Lunt-Fontanne Theatre in 1964–5, and a film of a live performance was produced, in ELECTRONOVISION. Tony Richardson directed Nicol Williamson as Hamlet and Marianne Faithfull as Ophelia in his 1969 version. Franco Zeffirelli's Shakespeare films have been described as "sensual rather than cerebral": his aim to make Shakespeare "even more popular". To this end, he cast the Australian actor Mel Gibson—then famous for the Mad Max and Lethal Weapon movies—in the title role of his 1990 version, and Glenn Close—then famous as the psychotic other woman in Fatal Attraction—as Gertrude.

In contrast to Zeffirelli, whose Hamlet was heavily cut, Kenneth Branagh adapted, directed, and starred in a 1996 version containing every word of Shakespeare's play, combining the material from the F1 and Q2 texts. Branagh's Hamlet runs for around four hours. Branagh set the film with late 19th-century costuming and furnishings; and Blenheim Palace, built in the early 18th century, became Elsinore Castle in the external scenes. The film is structured as an epic and makes frequent use of flashbacks to highlight elements not made explicit in the play: Hamlet's sexual relationship with Kate Winslet's Ophelia, for example, or his childhood affection for Yorick (played by Ken Dodd). In 2000, Michael Almereyda's Hamlet set the story in contemporary Manhattan, with Ethan Hawke playing Hamlet as a film student. Claudius became the CEO of "Denmark Corporation", having taken over the company by killing his brother.

Stage and screen adaptations

Further information: References to Hamlet

Hamlet has been adapted into stories that deal with civil corruption by the West German director Helmut Käutner in Der Rest ist Schweigen (The Rest is Silence) and by the Japanese director Akira Kurosawa in Warui Yatsu Hodo Yoku Nemuru (The Bad Sleep Well). In Claude Chabrol's Ophélia (France, 1962) the central character, Yvan, watches Olivier's Hamlet and convinces himself—wrongly and with tragic results—that he is in Hamlet's situation.

Tom Stoppard's play, Rosencrantz & Guildenstern Are Dead (which has a 1990 film version), portrays the events of Hamlet from the perspective of Hamlet's two school friends, recasting it as the tragedy of two minor characters who must die to fulfil their role in a drama that they do not understand. A parody of Hamlet called Rosencrantz and Guildenstern had been written by W. S. Gilbert in 1874. In 1977, East German playwright Heiner Müller wrote Die Hamletmaschine (Hamletmachine) a postmodernist, condensed version of Hamlet; this adaptation was subsequently incorporated into his translation of Shakespeare's play in his 1989/1990 production Hamlet/Maschine (Hamlet/Machine). The highest-grossing Hamlet adaptation to date is Disney's Academy Award-winning animated feature The Lion King, which enacts a loose version of the plot among a pride of African lions.

References

Notes

All references to Hamlet, unless otherwise specified, are taken from the Arden Shakespeare Q2 (Thompson and Taylor, 2006a). Under their referencing system, 3.1.55 means act 3, scene 1, line 55. References to the First Quarto and First Folio are marked Hamlet Q1 and Hamlet F1, respectively, and are taken from the Arden Shakespeare "Hamlet: the texts of 1603 and 1623" (Thompson and Taylor, 2006b). Their referencing system for Q1 has no act breaks, so 7.115 means scene 7, line 115.

Editions of Hamlet

• Bate, Jonathan, and Eric Rasmussen, eds. 2007. Complete Works. By William Shakespeare. The RSC Shakespeare. New York: Modern Library. ISBN 0679642951.
• Edwards, Phillip, ed. 1985. Hamlet, Prince of Denmark. New Cambridge Shakespeare ser. Cambridge: Cambridge University Press. ISBN 0521293669.
• Hibbard, G. R., ed. 1987. Hamlet. Oxford World's Classics ser. Oxford. ISBN 0192834169.
• Hoy, Cyrus, ed. 1992. Hamlet. Norton Critical Edition ser. 2nd ed. New York: Norton. ISBN 9780393956634.
• Irace, Kathleen O. 1998. The First Quarto of Hamlet. New Cambridge Shakespeare ser. Cambridge: Cambridge University Press. ISBN 0521653908.
• Jenkins, Harold, ed. 1982. Hamlet. The Arden Shakespeare, second ser. London: Methuen. ISBN 1903436672.
• Lott, Bernard, ed. 1970. Hamlet. New Swan Shakespeare Advanced ser. New ed. London: Longman. ISBN 0582527422.
• Spencer, T. J. B., ed. 1980 Hamlet. New Penguin Shakespeare ser. London: Penguin. ISBN 0140707344.
• Thompson, Ann and Neil Taylor, eds. 2006a. Hamlet. The Arden Shakespeare, third ser. Volume one. London: Arden. ISBN 1904271332.
• ———. 2006b. Hamlet: The Texts of 1603 and 1623. The Arden Shakespeare, third ser. Volume two. London: Arden. ISBN 1904271804.
• Wells, Stanley, and Gary Taylor, eds. 1988. The Complete Works. By William Shakespeare. The Oxford Shakespeare. Compact ed. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0198711905.

Secondary sources

• Alexander, Peter. 1964. Alexander's Introductions to Shakespeare. London: Collins.
• Banham, Martin, ed. 1998. The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. ISBN 0521434378.
• Baskerville, Charles Read. ed. 1934. Elizabethan and Stuart Plays. New York: Henry Holt and Company.
• Benedetti, Jean. 1999. Stanislavski: His Life and Art. Revised edition. Original edition published in 1988. London: Methuen. ISBN 0413525201.
• Blits, Jan H. 2001. Introduction. In Deadly Thought: "Hamlet" and the Human Soul: 3–22. Langham, MD: Lexington Books. ISBN 0739102141.
• Bloom, Harold. 2001. Shakespeare: The Invention of the Human. Open Market ed. Harlow, Essex: Longman. ISBN 157322751X.
• ———. 2003. Hamlet: Poem Unlimited. Edinburgh: Cannongate. ISBN 1841954616.
• Britton, Celia. 1995. "Structuralist and poststructuralist psychoanalytic and Marxist theories" in Cambridge History of Literary Criticism: From Formalism to Poststructuralism (Vol 8). Ed. Raman Seldon. Cambridge: Cambridge University Press 1995. ISBN 978-0521300131.
• Brode, Douglas. 2001. Shakespeare in the Movies: From the Silent Era to Today. New York: Berkley Boulevard Books. ISBN 0425181766.
• Brown, John Russell. 2006. Hamlet: A Guide to the Text and its Theatrical Life. Shakespeare Handbooks ser. Basingstoke, Hampshire and New York: Palgrave Macmillan. ISBN 1403920923.
• Burian, Jarka. 1993. "Hamlet in Postwar Czech Theatre". In Foreign Shakespeare: Contemporary Performance. Ed. Dennis Kennedy. New edition. Cambridge: Cambridge University Press, 2004. ISBN 0521617081.
• Burnett, Mark Thornton. 2000. " 'To Hear and See the Matter': Communicating Technology in Michael Almereyda's Hamlet (2000)". Cinema Journal 42.3: 48–69.
• Carincross, Andrew S. 1936. The Problem of Hamlet: A Solution. Reprint ed. Norwood, PA.: Norwood Editions, 1975. ISBN 0883051303.
• Cartmell, Deborah. 2000. "Franco Zeffirelli and Shakespeare". In Jackson (2000, 212–221).
• Chambers, Edmund Kerchever. 1923. The Elizabethan Stage. 4 volumes. Oxford: Oxford University Press. ISBN 0198115113.
• ———. 1930. William Shakespeare: A Study of Facts and Problems. Oxford: Clarendon Press, 1988. ISBN 0198117744.
• Crowl, Samuel. 2000. "Flamboyant Realist: Kenneth Branagh". In Jackson (2000, 222–240).
• Crystal, David, and Ben Crystal. 2005. The Shakespeare Miscellany. New York: Penguin. ISBN 0140515550.
• Davies, Anthony. 2000. "The Shakespeare films of Laurence Olivier". In Jackson (2000, 163–182).
• Dawson, Anthony B. 1995. Hamlet. Shakespeare in Performance ser. New ed. Manchester: Manchester University Press, 1997. ISBN 0719046254.
• ———. 2002. "International Shakespeare". In Wells and Stanton (2002, 174–193).
• Eliot, T. S. 1920. "Hamlet and his Problems". In The Sacred Wood: Essays in Poetry and Criticism. London: Faber & Gwyer. ISBN 0416374107.
• Foakes, R. A. 1993. Hamlet versus Lear: Cultural Politics and Shakespeare's Art. Cambridge: Cambridge University Press. ISBN 0521607051.
• French, George Russell. 1869. Shakspeareana Geologica. London: Macmillan. Reprinted New York: AMS, 1975. ISBN 0404025757.
• Freud, Sigmund. 1900. The Interpretation of Dreams. Trans. James Strachey. Ed. Angela Richards. The Penguin Freud Library, vol. 4. London: Penguin, 1991. ISBN 0140147947.
• Gay, Penny. 2002. "Women and Shakespearean Performance". In Wells and Stanton (2002, 155–173).
• Gillies, John, Ryuta Minami, Ruru Li, and Poonam Trivedi. 2002. "Shakespeare on the Stages of Asia". In Wells and Stanton (2002, 259–283).
• Greenblatt, Stephen. 2004a. Will in the World: How Shakespeare Became Shakespeare. New York: W.W. Norton & Co. ISBN 0393050572.
• ———. 2004b. "The Death of Hamnet and the Making of Hamlet". N.Y. Review of Books 51.16 (Oct. 21, 2004).
• Greg, Walter Wilson. 1955. The Shakespeare First Folio, its Bibliographical and Textual History. Oxford: Clarendon Press. ISBN 115185549X.
• Guntner, J. Lawrence. 2000. "Hamlet, Macbeth and King Lear on film". In Jackson (2000, 117–134).
• Halliday, F. E. 1964. A Shakespeare Companion 1564–1964. Shakespeare Library ser. Baltimore, Penguin, 1969. ISBN 0140530118.
• Hattaway, Michael. 1982. Elizabethan Popular Theatre: Plays in Performance. Theatre Production ser. London and Boston: Routledge and Kegan Paul. ISBN 0710090528.
• ———. 1987. Hamlet. The Critics Debate ser. Basingstoke, Hampshire: Macmillan. ISBN 0333385241.
• Holland, Peter. 2002. "Touring Shakespeare". In Wells and Stanton (2002, 194–211).
• ———. 2007. "Shakespeare Abbreviated". In Shaughnessy (2007, 26–45).
• Hortmann, Wilhelm. 2002. "Shakespeare on the Political Stage in the Twentieth Century". In Wells and Stanton (2002, 212–229).
• Howard, Jean E. 2003. "Feminist Criticism". In Shakespeare: An Oxford Guide: 411–423. Ed. Stanley Wells and Lena Orlin. Oxford: Oxford University Press. ISBN 0199245223.
• Howard, Tony. 2000. "Shakespeare's Cinematic Offshoots". In Jackson (2000, 303–323).
• Hurstfield, Joel, and James Sutherland. 1964. Shakespeare's World. New York: St. Martin's Press.
• Innes, Christopher. 1983. Edward Gordon Craig. Directors in Perspective ser. Cambridge: Cambridge University Press. ISBN 0521273838.
• Jackson, MacDonald P. 1986. "The Transmission of Shakespeare's Text". In The Cambridge Companion to Shakespeare Studies Ed. Stanley Wells. Cambridge: Cambridge University Press. ISBN 0521318416. 163–185.
• ———. 1991. "Editions and Textual Studies Reviewed". In Shakespeare Survey 43, The Tempest and After: 255–270. Ed. Stanley Wells. Cambridge: Cambridge University Press. ISBN 0521395291.
• Jackson, Russell, ed. 2000. The Cambridge Companion to Shakespeare on Film. Cambridge Companions to Literature ser. Cambridge: Cambridge University Press. ISBN 0521639751.
• Jenkins, Harold. 1955. "The Relation Between the Second Quarto and the Folio Text of Hamlet". Studies in Bibliography 7: 69–83.
• Jones, Gwilym. 2007. Thomas Middleton at the Globe. London: Globe Theatre education resource centre. Retrieved: 30 December 2007.
• Kermode, Frank. 2000. Shakespeare's Language. London: Penguin. ISBN 0-14-028592-X.
• Keyishian, Harry. 2000. "Shakespeare and Movie Genre: The Case of Hamlet". In Jackson (2000, 72–84).
• Kirsch, A. C. 1968. "A Caroline Commentary on the Drama". Modern Philology 66: 256–261.
• Knowles, Ronald. 1999. "Hamlet and Counter-Humanism" Renaissance Quarterly 52.4: 1046–1069.
• Lacan, Jacques. 1959. "Desire and the Interpretation of Desire in Hamlet". In Literature and Psychoanalysis: The Question of Reading Otherwise. Ed. Shoshana Felman. Baltimore: Johns Hopkins University Press, 1982. Originally appeared as a double issue of Yale French Studies, nos. 55/56 (1977). ISBN 080182754X.
• Lennard, John. 2007. William Shakespeare: Hamlet. Literature Insights ser. Humanities-Ebooks, 2007. ISBN 184760028X.
• MacCary, W. Thomas. 1998. "Hamlet": A Guide to the Play. Greenwood Guides to Shakespeare ser. Westport, CT: Greenwood Press. ISBN 0313300828.
• Marsden, Jean I. 2002. "Improving Shakespeare: from the Restoration to Garrick". In Wells and Stanton (2002, 21–36).
• Matheson, Mark. 1995. "Hamlet and 'A Matter Tender and Dangerous' ". Shakespeare Quarterly 46.4: 383–397.
• Matus, Irvin Leigh. 1994. Shakespeare, in Fact. New ed. New York: Continuum International Publishing, 1999. ISBN 0826409288.
• Moody, Jane. 2002. "Romantic Shakespeare". In Wells and Stanton (2002, 37–57).
• Morrison, Michael A. 2002. "Shakespeare in North America". In Wells and Stanton (2002, 230–258).
• Novy, Marianne. 1994. Engaging with Shakespeare: Responses of George Eliot and Other Women Novelists. (Athens, Georgia) in Thompson and Taylor (2006a, 127).
• O'Connor, Marion. 2002. "Reconstructive Shakespeare: Reproducing Elizabethan and Jacobean Stages". In Wells and Stanton (2002, 76–97).
• Osborne, Laurie. 2007. "Narration and Staging in Hamlet and its afternovels" in Shaughnessy (2007, 114–133).
• Oxford English Dictionary (Second Edition) on CD-ROM version 3.1. 2004. Oxford: Oxford University Press. ISBN 978-0-19-861016-8.
• Ogburn, Charlton. 1984. The Mystery of William Shakespeare. New York: Dodd, Mead & Co. ISBN 0396084419.
• Ogburn, Charlton. 1988. The Mystery of William Shakespeare. London : Cardinal. ISBN 0747402558.
• Pennington, Michael. 1996. "Hamlet": A User's Guide. London: Nick Hern. ISBN 185459284X.
• Pitcher, John, and Woudhuysen, Henry. 1969. Shakespeare Companion, 1564–1964. London: Penguin. ISBN 0140530118.
• Quillian, William H. Hamlet and the New Poetic: James Joyce and T. S. Eliot. Ann Arbor, MI:UMI Research Press, 1983.
• Rosenberg, Marvin. 1992. The Masks of Hamlet. London: Associated University Presses. ISBN 0874134803.
• Rowse, Alfred Leslie. 1963. William Shakespeare: A Biography. New York: Harper & Row. Reprinted New York: Barnes & Noble Books, 1995. ISBN 1566198046.
• Saxo, and Hansen, William. 1983. Saxo Grammaticus & the Life of Hamlet. Lincoln: University of Nebraska Press. ISBN 0803223188.
• Schoch, Richard W. 2002. "Pictorial Shakespeare". In Wells and Stanton (2002, 58–75).
• Shapiro, James. 2005. 1599: A Year in the Life of William Shakespeare. London: Faber, 2006. ISBN 0571214819.
• Shaughnessy, Robert. 2007. The Cambridge Companion to Shakespeare and Popular Culture. Cambridge Companions to Literature ser. Cambridge: Cambridge University Press. ISBN 9780521605809.
• Shaw, George Bernard. 1961. Shaw on Shakespeare. Ed. Edwin Wilson. New York: Applause. ISBN 1557835616.
• Showalter, Elaine. 1985. "Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism" In Shakespeare and the Question of Theory: 77–94. Ed. Patricia Parker and Geoffrey Hartman. New York and London: Methuen. ISBN 0416369308.
• Smallwood, Robert. 2002. "Twentieth-century Performance: The Stratford and London Companies". In Wells and Stanton (2002, 98–117).
• Starks, Lisa S. 1999. "The Displaced Body of Desire: Sexuality in Kenneth Branagh's Hamlet". In Shakespeare and Appropriation: 160–178. Ed. Christy Desmet and Robert Sawyer. Accents on Shakespeare ser. London: Routledge. ISBN 0415207258.
• Taxidou, Olga. 1998. The Mask: A Periodical Performance by Edward Gordon Craig. Contemporary Theatre Studies ser. volume 30. Amsterdam: Harwood Academic Publishers. ISBN 9057550466.
• Taylor, Gary. 1989. Reinventing Shakespeare: A Cultural History from the Restoration to the Present. London: Hogarth Press. ISBN 0701208880.
• ———. 2002. "Shakespeare Plays on Renaissance Stages". In Wells and Stanton (2002, 1–20).
• Teraoka, Arlene Akiko. 1985. The Silence of Entropy or Universal Discourse : the Postmodernist Poetics of Heiner Müller. New York: Peter Lang. ISBN 0820401900.
• Thompson, Ann. 2001. "Shakespeare and sexuality" in Catherine M S Alexander and Stanley Wells Shakespeare and Sexuality: 1–13. Cambridge: Cambridge University Press. ISBN 0521804752.
• Thompson, Ann and Taylor, Neil. 1996. William Shakespeare, "Hamlet". Plymouth, UK: Northcote House. ISBN 0746307659.
• Thomson, Peter. 1983. Shakespeare's Theatre. Theatre Production ser. London and Boston: Routledge and Kegan Paul. ISBN 0710094809.
• Uglow, Jenny. 1977. Hogarth: A Life and a World. New ed. London: Faber and Faber, 2002. ISBN 0571193765.
• Vickers, Brian, ed. 1974a. Shakespeare: The Critical Heritage. Volume one (1623–1692). New ed. London: Routledge, 1995. ISBN 0415134048.
• ———. 1974b. Shakespeare: The Critical Heritage. Volume four (1753–1765). New ed. London: Routledge, 1995. ISBN 0415134072.
• ———. 1974c. Shakespeare: The Critical Heritage. Volume five (1765–1774). New ed. London: Routledge, 1995. ISBN 0415134080.
• Vogler, Christopher. 1992. The Writer's Journey: Mythic Structure for Storytellers and Screenwriters. Second revised ed. London: Pan Books, 1999. ISBN 0330375911.
• Ward, David. 1992. "The King and 'Hamlet' ". Shakespeare Quarterly 43.3: 280–302.
• Weimann, Robert. 1985. "Mimesis in Hamlet". In Shakespeare and the Question of Theory: 275–291. Ed. Patricia Parker and Geoffrey Hartman. New York and London: Methuen. ISBN 0416369308.
• Wells, Stanley, and Stanton, Sarah, eds. 2002. The Cambridge Companion to Shakespeare on Stage. Cambridge Companions to Literature ser. Cambridge: Cambridge University Press. ISBN 052179711X.
• Wilson, John Dover. 1932. The Essential Shakespeare: A Biographical Adventure. Cambridge: Cambridge University Press.
• ———. 1934. The Manuscript of Shakespeare's "Hamlet" and the Problems of its Transmission: An Essay in Critical Bibliography. 2 volumes. Cambridge: The University Press.
• ———. 1935. What Happens in Hamlet. Cambridge: Cambridge University Press, 1959. ISBN 0521068355.
• Welsh, Alexander. 2001. Hamlet in his Modern Guises (New Jersey: Princeton) in Thompson and Taylor (2006a, 125).
• Winstanley, Lilian. 1921. Hamlet and the Scottish succession, Being an Examination of the Relations of the Play of Hamlet to the Scottish Succession and the Essex Conspiracy. London: Cambridge University Press. Reprinted Philadelphia: R. West, 1977. ISBN 084922912X.
• Wofford, Susanne L. 1994. "A Critical History of Hamlet" In Hamlet: Complete, Authoritative Text with Biographical and Historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives: 181–207. Boston: Bedford Books of St. Martins Press. ISBN 0312089864.

External links

• ​Hamlet​ at the Internet Broadway Database
• Hamlet at the Internet Off-Broadway Database

Texts

• Hamlet with Hypertext - The full text of the play with easy-to-use hypertext commentary for all readers. You can even add your own commentary.
• "HyperHamlet" — The Q2 text, with copious hyper-linked references and notes. Run by the University of Basel.
• Modern English Translation of Hamlet — A full modern English version of the play.
• ISE — Internet Shakespeare Editions: transcripts and facsimiles of Q1, Q2 and F1.
• MaximumEdge.com Shakespeare: Hamlet - Scene-indexed and searchable version of the full play.
• Open Source Shakespeare—Hamlet A complete text of Hamlet based on Q2.
• Hamlet (Regained) — Full play text, with a parallel modern English translation. Also includes notes and analysis.

Analysis

• Full summary of Hamlet
• Hamlet on the Ramparts — The MIT's Shakespeare Electronic Archive.
• Hamletworks.org A highly respected scholarly resource with multiple versions of Hamlet, numerous commentaries, concordances, facsimiles, and more.
• "Nine Hamlets" — An analysis of the play and nine film versions, at the Bright Lights Film Journal.
• "The Hamlet Weblog" — A weblog about the play.