HAMLET by simona_russo

Shakespeare

simonella2001 — 2018-10-26 16:10:56 UTC

Shakespeare was born at Stratford on Avon on St.George's Day,which is also said to be the day of his death.
He married Anna Hathaway when he was only eighteen and she was twenty-six and pregnant with their daughter.
He left Stratford and went to London.
he was received into one of the companies and his admirable wit soon distinguished him,if not as a great actor,as an excellent writer.
In 1593 the London theatres were closed because of the plague, and he had a support of a young nobleman, the Earl Of Southampton.
When the theatres reopened, Shakespeare became the main playwright of the most successful company of actors in London, the Lord Chamberlain's Men.

simonella2001 — 2018-10-26 16:28:39 UTC

PLOT

simonella2001 — 2018-10-26 16:31:22 UTC

FIRST ACT: THE PROLOGUE
Hamlet's father, the King of Denmark, has been dead only two months, but his mother, Queen Gertrude, has married her brother-in-law, Claudius, who has now become king.
A Ghost, reseambling the late king of Denmark, has appeared to the sentries at the castle of Elsinore.
Hamlet and his friends Horatio arrange to meet at night to see if the ghost will appear, which he does.
He tells Hamlet he has murdered by Claudius who poured poison in his ear while he was sleeping in his orchard.
He asks Hamlet to avenge him, but to leave his mother's punishment to heaven.

SECOND ACT: DEVELOPMENT
Hamlet pretends that he is mad so that he can carry out his plans more easly. Polonius, the King's counsellor, thinks Hamlet's madness is caused by his love for his daughter Ophelia.
Hamlet arranges for a troupe of actors,who have come to court, to perform ''The Murder of Gonzago'', a play whose story is similar to the one reveled by the ghost.

THIRD ACT: CRISIS OR THE TURNING POINT
The King rises and rushes away.
While going to his mother's bedroom Hamlet sees th King at prayer, but he doesn't kill him because he want to punish him both in this world and the next.
During an argument with his mother, Hamlet kills Polonius who is hiding behind a curtain to overhear their conversation.
The King decides to send Hamlet to England to get rid of him.

FOURTH ACT: COMPLICATIONS
Hamlet is sent to England to be killed.
Ophelia goes mad and killed herself. Her brother Laertes wants revange and the King plots Hamlet's death in a duel with Laertes.

FIFTH ACT: EPILOGUE
The duel follows.
Hamlet is urged to drink poisoned wine but he doesn't.
The Queen drinks some, Laertes wounds Hamlet with the poisoned tip of his sword, then the swords are exchanged and Hamlet wounds Laertes.
The Queen dies, Laertes falls and denounces the King who is stabbed by Hamlet.
Both the King and Laertes die.
Hamlet asks Horatio to tell his story, recommending that Fortinbras be elected King and then he dies.
Fortnibas enters and takes possession of the kingdom after giving military honours to Hamlet.

Curiosities

simonella2001 — 2018-10-26 16:37:02 UTC

Hamlet is based on a Danish legend that Saxo Grammaticus recorded in his Gesta Danorum.
Shakespeare is thought to have borrowed much of his plot from a now-lost Elizabethan play that is referred to today as the Ur-Hamlet, which is the first version of the story known to have a ghost in it.
Shakespeare's Hamlet also brings many similarities to Belleforest's French translation, but whether he took these elements directly from the French, or indirectly through the Ur-Hamlet or some other source, is unknown.
Shakespeare wrote his play sometime between 1599 and 1601.
Three different versions of Shakespeare's play have survived, which are known as the First Quarto, Second Quarto, and First Folio, each of which have lines—and even scenes—missing from the others.
Hamlet was one of Shakespeare's most popular plays during his lifetime.
Richard Burbage, the leading tragedian of The Lord Chamberlain's Men, first performed the role.
It was revived during the Restoration period and has been popular ever since.

Shakespeare and Hamlet

simonella2001 — 2018-10-26 17:26:12 UTC

Act 3 Scene 1 Hamlet's Soliloquy

simonella2001 — 2018-10-26 17:28:30 UTC

SIMPSON

simonella2001 — 2018-10-26 17:29:26 UTC

simonella2001 — 2018-10-26 17:37:08 UTC

simonella2001 — 2018-10-26 17:38:30 UTC

simonella2001 — 2018-10-26 17:43:07 UTC

"To be, or not to be" is a phrase from William Shakespeare's Hamlet.

The joke is pronounced by Prince Hamlet at the beginning of the soliloquy in the first scene of the third act of the tragedy. It is one of the most famous phrases of literature of all time, and has been the subject of numerous studies and different interpretations. The existential question of living (being) or dying (not being) is at the root of the indecision that prevents Hamlet from acting (the famous "Hamlet doubt"). He was often associated with the idea of suicide.

In the popular imagination, the famous soliloquy is often confused with another scene of the work, that of Hamlet who discovers the skull of the court jester Yorick. This confusion has given rise to the various representations of Hamlet who pronounces "to be or not to be" while holding a skull in his hand.

PROTAGONIST

simonella2001 — 2018-10-26 17:46:03 UTC

HAMLET: Protagonist. The Prince of Denmark.
Most of the action centers around him.

THE GHOST:The specter of Hamlet’s recently deceased father. The ghost, who claims to have been murdered by Claudius, calls upon Hamlet to avenge him. However, it is not entirely certain whether the ghost is what it appears to be, or whether it is something else. Hamlet speculates that the ghost might be a devil sent to deceive him and tempt him into murder, and the question of what the ghost is or where it comes from is never definitively resolved.

QUEEN GERTRUDE: The Queen of Denmark.
Hamlet's mother, recently married to Claudius.

CLADIUS: The King of Denmark, Hamlet’s uncle, and the play’s antagonist.
Kills Hamlet's father and then makes repeated efforts to murder Hamlet himself.The villain of the play.

HORATIO: He is Hamlet's only real friend and a constant source of advice and support.

POLONIUS:The Lord Chamberlain of Claudius’s court, he is the father of Laertes and Ophelia.

OPHELIA:Polonius’s daughter, a beautiful young woman with whom Hamlet has been in love.

LAERTES :Polonius’s son and Ophelia’s brother, a young man who spends much of the play in France. Laertes is clearly a foil for the reflective Hamlet.

FORTINBRAS:The young Prince of Norway, whose father the king was killed by Hamlet’s father. Now Fortinbras wishes to attack Denmark to avenge his father’s honor, making him another foil for Prince Hamlet.

ROSENCRANTZ AND GUILDENSTERN: Two slightly bumbling courtiers, former friends of Hamlet from Wittenberg, who are summoned by Claudius and Gertrude to discover the cause of Hamlet’s strange behavior.

The Play Scene in ‘Hamlet’

simonella2001 — 2018-10-27 11:50:39 UTC

simonella2001 — 2018-10-27 11:54:31 UTC

The details of Maclise's painting suggest interesting assumptions about the play and give the scene some ironic touches. The play of Gonzago dominates the painting, but just beneath the scene is the figure of Hamlet, tense, crouched like an animal about to spring, and intently watching Claudius's reactions to the play and the murder of a brother.
Claudius clutches his knee and looks away, unable to confront the action before him. Gertrude, however, sits with her hands folded serenely and watches the play, apparently unaware of Claudius's crime or the significance of what the scene she beholds might be. Ophelia sits vacantly looking down at Hamlet. Her demeanor and her expression were negatively commented on by several critics, but there may be an aspect of the scene they have overlooked. Suppose that the bawdy and embarrassing punning by Hamlet that precedes the play was spoken loudly enough to be overheard by the entire assembled court; her humiliation, like that of the scene where Hamlet rejects her and tells her to get herself to a nunnery, might well account for her dazed, dejected, almost vacant stare.
The background of the painting is as interesting as the foreground. First there is the sinister shadow on the back wall of the little stage, looking, as Thackeray says, like some kind of gloating, evil demon [see the detail of the painting]. Along the walls are four tapestries depicting scenes from Genesis; they are the temptation, the expulsion from the garden, the sacrifice of Abel, and, most significant, the murder of Abel by Cain. The statue above the head of Ophelia is a figure representing Prayer, and the statue above the head of the king and queen is Justice.
. Along the walls are four tapestries depicting scenes from Genesis; they are the temptation, the expulsion from the garden, the sacrifice of Abel, and, most significant, the murder of Abel by Cain. The statue above the head of Ophelia is a figure representing Prayer, and the statue above the head of the king and queen is Justice.

A PLAY WITHIN THE PLAY

simonella2001 — 2018-10-27 12:33:19 UTC

The play-within-the-play is the only true thing in the play, since it is wanted by Hamlet to expose his father's murder.
This expedient turns the actors into audience: there is a real audience, then there is an audience on the stage composed of the actors in the play, who see a play, ''The Murder of Gonzago'' dealing with the background to the tragedy.
Where, it may occur to us to ask, does the playing end

Hamlet as cartoon

jasmine1991 — 2018-10-27 15:58:37 UTC

http://learnenglishkids.britishcouncil.org/en/short-stories/hamlet

Kahoot!

jasmine1991 — 2018-10-27 21:58:30 UTC

https://play.kahoot.it/#/k/1878481a-0d45-44e8-be3d-384cf2b016d4

Memes

jasmine1991 — 2018-10-27 22:01:16 UTC

jasmine1991 — 2018-10-27 22:03:27 UTC

HAMLET MEETS THE GHOST

simonella2001 — 2018-10-28 09:08:32 UTC

[Enter GHOST and HAMLET]
HAMLET | Where wilt thou lead me? speak; I'll go no further.
Ghost | Mark me.
HAMLET | I will.
Ghost | My hour is almost come,
When I to sulphurous and tormenting flames
Must render up myself.
HAMLET | Alas, poor ghost!
Ghost | Pity me not, but lend thy serious hearing
To what I shall unfold.
HAMLET | Speak; I am bound to hear.
Ghost | So art thou to revenge, when thou shalt hear.
HAMLET | What?
Ghost | I am thy father's spirit,
Doom'd for a certain term to walk the night, | 10
And for the day confined to fast in fires,
Till the foul crimes done in my days of nature
Are burnt and purged away. But that I am forbid
To tell the secrets of my prison-house,
I could a tale unfold whose lightest word
Would harrow up thy soul, freeze thy young blood,
Make thy two eyes, like stars, start from their spheres,
Thy knotted and combined locks to part
And each particular hair to stand on end,
Like quills upon the fretful porpentine: | 20
But this eternal blazon must not be
To ears of flesh and blood. List, list, O, list!
If thou didst ever thy dear father love--
HAMLET | O God!
Ghost | Revenge his foul and most unnatural murder.
HAMLET | Murder!
Ghost | Murder most foul, as in the best it is;
But this most foul, strange and unnatural.
HAMLET | Haste me to know't, that I, with wings as swift
As meditation or the thoughts of love, | 30
May sweep to my revenge.
Ghost | I find thee apt;
And duller shouldst thou be than the fat weed
That roots itself in ease on Lethe wharf,
Wouldst thou not stir in this. Now, Hamlet, hear:'Tis given out that, sleeping in my orchard,
A serpent stung me; so the whole ear of Denmark
Is by a forged process of my death
Rankly abused: but know, thou noble youth,
The serpent that did sting thy father's life
Now wears his crown.
HAMLET | O my prophetic soul! My uncle! | 40
Ghost | Ay, that incestuous, that adulterate beast,
With witchcraft of his wit, with traitorous gifts,--
O wicked wit and gifts, that have the power
So to seduce!--won to his shameful lust
The will of my most seeming-virtuous queen:
O Hamlet, what a falling-off was there!
From me, whose love was of that dignity
That it went hand in hand even with the vow
I made to her in marriage, and to decline | 50
Upon a wretch whose natural gifts were poor
To those of mine!
But virtue, as it never will be moved,
Though lewdness court it in a shape of heaven,
So lust, though to a radiant angel link'd,
Will sate itself in a celestial bed,
And prey on garbage.
But, soft! methinks I scent the morning air;
Brief let me be. Sleeping within my orchard,
My custom always of the afternoon, | 60
Upon my secure hour thy uncle stole,
With juice of cursed hebenon in a vial,
And in the porches of my ears did pour
The leperous distilment; whose effect
Holds such an enmity with blood of man
That swift as quicksilver it courses through
The natural gates and alleys of the body,
And with a sudden vigour doth posset
And curd, like eager droppings into milk,
The thin and wholesome blood: so did it mine; | 70
And a most instant tetter bark'd about,
Most lazar-like, with vile and loathsome crust,
All my smooth body.
Thus was I, sleeping, by a brother's hand
Of life, of crown, of queen, at once dispatch'd:
Cut off even in the blossoms of my sin,
Unhousel'd, disappointed, unanel'd,
No reckoning made, but sent to my account
With all my imperfections on my head:
O, horrible! O, horrible! most horrible! | 80
If thou hast nature in thee, bear it not;
Let not the royal bed of Denmark be
A couch for luxury and damned incest.
But, howsoever thou pursuest this act,
Taint not thy mind, nor let thy soul contrive
Against thy mother aught: leave her to heaven
And to those thorns that in her bosom lodge,
To prick and sting her. Fare thee well at once!
The glow-worm shows the matin to be near,
And 'gins to pale his uneffectual fire: | 90
Adieu, adieu! Hamlet, remember me.

VIDEO

simonella2001 — 2018-10-28 09:25:38 UTC

jasmine1991 — 2018-10-28 10:50:22 UTC

jasmine1991 — 2018-10-28 10:51:47 UTC

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jasmine1991 — 2018-10-28 10:57:54 UTC

jasmine1991 — 2018-10-28 11:00:48 UTC

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jasmine1991 — 2018-10-28 11:04:40 UTC

Hamlet summary

alessandra_raio — 2019-11-14 18:31:14 UTC

Hamlet BBC

alessandra_raio — 2019-11-14 18:32:54 UTC

Essere o non essere

alessandra_raio — 2021-04-25 11:08:38 UTC

Mel Gibson