Hamlet (Annotated) E-Book

William Shakespeare

• Herausgeber: BookRix
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2014

Beschreibung

Hamlet by William Shakespeare. The Tragedy of Hamlet, Prince of Denmark is a tragedy by William Shakespeare. Set in the Kingdom of Denmark, the play dramatizes the revenge Prince Hamlet exacts on his uncle Claudius for murdering King Hamlet, Claudius's brother and Prince Hamlet's father, and then succeeding to the throne and taking as his wife Gertrude, the old king's widow and Prince Hamlet's mother. The play vividly portrays both true and feigned madness – from overwhelming grief to seething rage – and explores themes of treachery, revenge, incest, and moral corruption. William Shakespeare (1564–1616) was an English poet and playwright, regarded as the greatest writer in the English language and the world's dramatist. He is often called England's national poet and the "Bard of Avon". His surviving works, consist of about 38 plays, 154 sonnets, two long narrative poems. His plays have been translated and performed more than any other playwright.

Leseprobe

William Shakespeare

Hamlet (Annotated)

BookRix GmbH & Co. KG80331 Munich

Hamlet

by William Shakespeare

Illustration by W. G Simmonds

HAMLET

Dramatis Personae

Claudius,King of Denmark.

Hamlet,Son to the late, and nephew to the present king.

Polonius,Lord Chamberlain.

Horatio,Friend to Hamlet.

Laertes,Son to Polonius.

Gertrude,Queen of Denmark,and mother to Hamlet.

Ophelia,Daughter to Polonius.

Courtiers

Voltimand, Cornelius, Rosencrantz,

Guildenstern, Osric, A Gentleman.

Officers

Marcellus,Bernardo.

Francisco,A soldier.

Reynaldo,Servant to Polonius.

Two Clowns,Grave-diggers.

Fortinbras,Prince of Norway.

A Priest.

Players.

A Captain.

Ghost of Hamlets Father.

English Ambassadors.

Lords,Ladies,Sailors,Messengers and Other Attendants.

Introduction

Introduction

 A young prince meets with his father's ghost, who claims that his own brother, now married to his widow, murdered him. The prince devises a plan to test the truth of the spirit accusation, feigning wild madness while plotting a brutal revenge. But his apparent insanity soon begins to wreak havoc on innocent and guilty alike.

The story of Hamlet derives from the legend of Amleth obtained from chroniclers from the 13th century Saxo Grammaticus in his Gesta Danorum, as retold by later scholars from the 16th century François de Belle Forest.

Since the early 17th century, the game was for its ghost and vivid staging of melancholy and insanity, leading a procession of mad courtiers and ladies in Jacobean and Caroline drama. In the 18th century, critics regarded Hamlet as a hero, a pure, brilliant young man thrust into unfortunate circumstances. From the mid-18th century, however, the advent of Gothic literature brought psychological and mystical readings, returning madness and the Ghost to the forefront. Only in the 18th and last reviewed century artist has start seeing Hamlet as confusing and contradictory. Previously, he was either mad, or not; either a hero or not; no intermediaries. This development represents a fundamental change in literary criticism, which came more on character and less on action. In the 19th century, Romantic critics valued Hamlet for its internal, individual conflict reflecting the strong contemporary emphasis on internal struggles and inner character in general. Then critics began to delays Hamlet as a character trait, but as a focus frame. This focus on character and internal struggle continued into the 20th century, when reviewed in several directions, discussed in context and interpretation below branches.

In Shakespeare's time, it was expected that usually plays to follow the advice of Aristotle in his Poetics: that a drama should focus on measures that the characters, no. In Hamlet, Shakespeare reverses this so. Because the soliloquies, not the action, the audience learns Hamlet's motives and thoughts The game is full of seeming discontinuities and irregularities of action, except for the "bad" four. At one point, as in the Gravedigger scene time, Hamlet seems resolved to kill Claudius: in the next scene, however, when Claudius appears suddenly is tame. Scientists still debate whether these twists are mistakes or intentional additions to the theme of confusion and duality of the piece of complement.

At a time when most games ran for two hours or so, then, assumes the full text of Hamlet-Shakespeare's longest play, with 4042 lines, totaling 29,551 to provide over four hours. Even today the play is rarely performed in its entirety and is only once dramatized on film completely with Kenneth Branagh of the 1996 version. Hamlet also contains a favorite Shakespearean device, a play within a play, a literary device or conceit in which one story is told during the action of another story.

It still works well in the theater: audiences at the reconstruction of 'Shakespeare's Globe in London, many of whom have never been to the theater, let alone to a play by Shakespeare, seem to have little difficulty grasping have the game of action.

Act One

Act One, Scene one

Denmark.

Elsinore. A platform before the castle.

FRANCISCO at his post. Enter to him BERNARDO

BERNARDO . Who's there?

FRANCISCO . Nay, answer me: stand, and unfold yourself.

BERNARDO . Long live the king!

FRANCISCO . Bernardo?

BERNARDO . He.

FRANCISCO .You come most carefully upon your hour.

BERNARDO . 'Tis now struck twelve; get thee to bed, Francisco.

FRANCISCO . For this relief much thanks: 'tis bitter cold, And I am sick at heart.

BERNARDO . Have you had quiet guard?

FRANCISCO . Not a mouse stirring.

BERNARDO . Well, good night. If you do meet Horatio and Marcellus, The rivals of my watch, bid them make haste.

FRANCISCO . I think I hear them. Stand, ho! Who's there?

Enter HORATIO and MARCELLUS

HORATIO . Friends to this ground.

MARCELLUS . And liegemen to the Dane.

FRANCISCO . Give you good night.

MARCELLUS . O, farewell, honest soldier: Who hath relieved you?

FRANCISCO . Bernardo has my place. Give you good night.

Exit

MARCELLUS . Holla! Bernardo!

BERNARDO . Say, What, is Horatio there?

HORATIO . A piece of him.

BERNARDO . Welcome, Horatio: welcome, good Marcellus.

MARCELLUS . What, has this thing appear'd again to-night?

BERNARDO . I have seen nothing.

MARCELLUS . Horatio says 'tis but our fantasy, And will not let belief take hold of him Touching this dreaded sight, twice seen of us: Therefore I have entreated him along With us to watch the minutes of this night; That if again this apparition come, He may approve our eyes and speak to it.

HORATIO . Tush, tush, 'twill not appear.

BERNARDO . Sit down awhile; And let us once again assail your ears, That are so fortified against our story What we have two nights seen.

HORATIO . Well, sit we down, And let us hear Bernardo speak of this.

BERNARDO . Last night of all, When yond same star that's westward from the pole Had made his course to illume that part of heaven Where now it burns, Marcellus and myself, The bell then beating one,--

Enter Ghost

MARCELLUS . Peace, break thee off; look, where it comes again!

BERNARDO . In the same figure, like the king that's dead.

MARCELLUS . Thou art a scholar; speak to it, Horatio.

BERNARDO . Looks it not like the king? mark it, Horatio.

HORATIO . Most like: it harrows me with fear and wonder.

BERNARDO . It would be spoke to.

MARCELLUS . Question it, Horatio.

HORATIO . What art thou that usurp'st this time of night, Together with that fair and warlike form In which the majesty of buried Denmark Did sometimes march? by heaven I charge thee, speak!

MARCELLUS . It is offended.

BERNARDO . See, it stalks away!

HORATIO . Stay! speak, speak! I charge thee, speak!

Exit Ghost

MARCELLUS . 'Tis gone, and will not answer.

BERNARDO . How now, Horatio! you tremble and look pale: Is not this something more than fantasy? What think you on't?

HORATIO . Before my God, I might not this believe Without the sensible and true avouch Of mine own eyes.

MARCELLUS . Is it not like the king?

HORATIO . As thou art to thyself: Such was the very armour he had on When he the ambitious Norway combated; So frown'd he once, when, in an angry parle, He smote the sledded Polacks on the ice. 'Tis strange.

MARCELLUS . Thus twice before, and jump at this dead hour, With martial stalk hath he gone by our watch.

HORATIO . In what particular thought to work I know not; But in the gross and scope of my opinion, This bodes some strange eruption to our state.

MARCELLUS . Good now, sit down, and tell me, he that knows, Why this same strict and most observant watch So nightly toils the subject of the land, And why such daily cast of brazen cannon, And foreign mart for implements of war; Why such impress of shipwrights, whose sore task Does not divide the Sunday from the week; What might be toward, that this sweaty haste Doth make the night joint-labourer with the day: Who is't that can inform me?

HORATIO . That can I; At least, the whisper goes so. Our last king, Whose image even but now appear'd to us, Was, as you know, by Fortinbras of Norway, Thereto prick'd on by a most emulate pride, Dared to the combat; in which our valiant Hamlet-- For so this side of our known world esteem'd him-- Did slay this Fortinbras; who by a seal'd compact, Well ratified by law and heraldry, Did forfeit, with his life, all those his lands Which he stood seized of, to the conqueror: Against the which, a moiety competent Was gaged by our king; which had return'd To the inheritance of Fortinbras, Had he been vanquisher; as, by the same covenant, And carriage of the article design'd, His fell to Hamlet. Now, sir, young Fortinbras, Of unimproved mettle hot and full, Hath in the skirts of Norway here and there Shark'd up a list of lawless resolutes, For food and diet, to some enterprise That hath a stomach in't; which is no other-- As it doth well appear unto our state-- But to recover of us, by strong hand And terms compulsatory, those foresaid lands So by his father lost: and this, I take it, Is the main motive of our preparations, The source of this our watch and the chief head Of this post-haste and romage in the land.

BERNARDO . I think it be no other but e'en so: Well may it sort that this portentous figure Comes armed through our watch; so like the king That was and is the question of these wars.

HORATIO . A mote it is to trouble the mind's eye. In the most high and palmy state of Rome, A little ere the mightiest Julius fell, The graves stood tenantless and the sheeted dead Did squeak and gibber in the Roman streets: As stars with trains of fire and dews of blood, Disasters in the sun; and the moist star Upon whose influence Neptune's empire stands Was sick almost to doomsday with eclipse: And even the like precurse of fierce events, As harbingers preceding still the fates And prologue to the omen coming on, Have heaven and earth together demonstrated Unto our climatures and countrymen.-- But soft, behold! lo, where it comes again!

Re-enter Ghost.

I'll cross it, though it blast me. Stay, illusion! If thou hast any sound, or use of voice, Speak to me: If there be any good thing to be done, That may to thee do ease and grace to me, Speak to me:

Cock crows.

If thou art privy to thy country's fate, Which, happily, foreknowing may avoid, O, speak! Or if thou hast uphoarded in thy life Extorted treasure in the womb of earth, For which, they say, you spirits oft walk in death, Speak of it: stay, and speak! Stop it, Marcellus.

MARCELLUS . Shall I strike at it with my partisan?

HORATIO . Do, if it will not stand.

BERNARDO . 'Tis here!

HORATIO . 'Tis here!

MARCELLUS . 'Tis gone!

Exit Ghost.

We do it wrong, being so majestical, To offer it the show of violence; For it is, as the air, invulnerable, And our vain blows malicious mockery.

BERNARDO . It was about to speak, when the cock crew.

HORATIO . And then it started like a guilty thing Upon a fearful summons. I have heard, The cock, that is the trumpet to the morn, Doth with his lofty and shrill-sounding throat Awake the god of day; and, at his warning, Whether in sea or fire, in earth or air, The extravagant and erring spirit hies To his confine: and of the truth herein This present object made probation.

MARCELLUS . It faded on the crowing of the cock. Some say that ever 'gainst that season comes Wherein our Saviour's birth is celebrated, The bird of dawning singeth all night long: And then, they say, no spirit dares stir abroad; The nights are wholesome; then no planets strike, No fairy takes, nor witch hath power to charm, So hallow'd and so gracious is the time.

HORATIO. So have I heard and do in part believe it. But, look, the morn, in russet mantle clad, Walks o'er the dew of yon high eastward hill: Break we our watch up; and by my advice, Let us impart what we have seen to-night Unto young Hamlet; for, upon my life, This spirit, dumb to us, will speak to him. Do you consent we shall acquaint him with it, As needful in our loves, fitting our duty?

MARCELLUS. Let's do't, I pray; and I this morning know Where we shall find him most conveniently.

Exeunt

Act One, Scene two

A room of state in the castle.