Hamlet

Content:

Introduction .. 2 Plot of the story .........3 Sources .. ... 6 Texts ...... 8 Analysis and criticism ... ..10 Language .. ... 11 Characters ..12 Conclusion .... 13 Literature ....... 14

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Introduction
The Tragedy of Hamlet, Prince of Denmark is a tragedy by William Shakespeare. Set in the Kingdom of Denmark, the play dramatizes the revengePrince 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. Hamlet is Shakespeare's longest play and among the most powerful and influential tragedies in the English language, with a story capable of "seemingly endless retelling and adaptation by others."[1] The play was one of Shakespeare's most popular works during his lifetime[2] and still ranks among his most-performed, topping the Royal Shakespeare Company's performance list since 1879.[3] It has inspired writers from Goethe and Dickens to Joyceand Murdoch, and has been described as "the world's most filmed story after Cinderella".[4] Shakespeare based Hamlet on the legend of Amleth, preserved by 13th-century chronicler Saxo Grammaticus in his Gesta Danorum as subsequently retold by 16th-century scholar Franois de Belleforest. He may also have drawn on or perhaps written an earlier (hypothetical) Elizabethan play known today as the Ur-Hamlet. He almost certainly created the title role for Richard Burbage, the leading tragedian of Shakespeare's time.[5] In the 400 years since, the role has been performed by highly acclaimed actors and actresses from each successive age. Three different early versions of the play are extant, the First Quarto (Q1, 1603), the Second Quarto (Q2, 1604), and the First Folio (F1, 1623). Each version includes lines, and even entire scenes, missing from the others. The play's structure and depth of characterisation have inspired much critical scrutiny. One such example is the centuries-old debate about Hamlet's hesitation to kill his uncle, which some see as a mere plot device to prolong the action, but which others argue is a dramatization of the complex philosophical and ethical issues that surround cold-blooded murder, calculated revenge, and thwarted desire. More recently, psychoanalytic critics have examined Hamlet's unconscious desires, and feminist critics have re-evaluated and rehabilitated the often maligned characters of Ophelia and Gertrude.

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Plot of the story

The story opens on a chilly night at Elsinore, the Danish royal castle. Francisco, one of the sentinels, is relieved of his watch by Bernardo, another sentinel, and exits while Bernardo remains. A third sentinel, Marcellus, enters with Horatio, Hamlet's best friend. The sentinels inform Horatio that they have seen a ghost that looks like the dead King Hamlet. After hearing from Horatio of the Ghost's appearance, Hamlet resolves to see the Ghost himself. That night, the Ghost appears again. It leads Hamlet to a secluded place, claims that it is the actual spirit of his father, and discloses that hethe elder Hamletwas murdered by his brother Claudius pouring poison in his ear. The Ghost demands that Hamlet avenge him; Hamlet agrees, swears his companions to secrecy, and tells them he intends to "put an antic disposition on"[7] (presumably to avert suspicion). Hamlet initially attests to the ghost's reliability, calling him both an "honest ghost" and "truepenny." Later, however, he expresses doubts about the ghost's nature and intent, claiming these as reasons for his inaction. Polonius is Claudius's trusted chief counsellor; Polonius's son, Laertes, is returning to France, and Polonius's daughter, Ophelia, is courted by Hamlet. Both Polonius and Laertes warn Ophelia that Hamlet is surely not serious about her. Shortly afterward, Ophelia is alarmed by Hamlet's strange behaviour, reporting to her father that Hamlet rushed into her room, stared at her, and said nothing. Polonius assumes that the "ecstasy of love"[8] is responsible for Hamlet's "mad" behaviour, and he informs Claudius and Gertrude. Perturbed by Hamlet's continuing deep mourning for his father and his increasingly erratic behaviour, Claudius sends for two of Hamlet's acquaintancesRosencrantz and Guildensternto find out the cause of Hamlet's changed behaviour. Hamlet greets his friends warmly but quickly discerns that they have been sent to spy on him. Together, Claudius and Polonius convince Ophelia to speak with Hamlet while they secretly listen. When Hamlet enters, she offers to return his remembrances, upon which Hamlet questions her honesty and furiously rants at her to "get thee to a nunnery."[9] Hamlet remains uncertain whether the Ghost has told him the truth, but the arrival of a troupe of actors at Elsinore presents him with a solution. He will have them stage a play, The Murder of Gonzago, re-enacting his father's murder and determine Claudius's guilt or innocence by studying his reaction to it. The court assembles to watch the play; Hamlet provides an agitated running commentary throughout. When the murder scene is presented, Claudius abruptly rises and leaves the room, which Hamlet sees as proof of his uncle's guilt. Gertrude summons Hamlet to her closet to demand an explanation. On his way, Hamlet passes Claudius in prayer, but hesitates to kill him, reasoning that death in prayer would send him to heaven. However, it is revealed that the King is not truly praying, remarking that "words" never made it to heaven without "thoughts." An argument erupts between Hamlet and Gertrude.

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Polonius, spying on the scene from behind an arras and convinced that the prince's madness is indeed real, panics when it seems as if Hamlet is about to murder the Queen and cries out for help. Hamlet, believing it is Claudius hiding behind the arras, stabs wildly through the cloth, killing Polonius. When he realises that he has killed Ophelia's father, he is not remorseful, but calls Polonius "Thou wretched, rash, intruding fool."[12] The Ghost appears, urging Hamlet to treat Gertrude gently, but reminding him to kill Claudius. Unable to see or hear the Ghost herself, Gertrude takes Hamlet's conversation with it as further evidence of madness. Claudius, now fearing for his life, finds a legitimate excuse to get rid of the prince: he sends Hamlet to England on a diplomatic pretext, accompanied (and closely watched) by Rosencrantz and Guildenstern. Alone, Claudius discloses that he is actually sending Hamlet to his death. Prior to embarking for England, Hamlet hides Polonius's body, ultimately revealing its location to the King. Upon leaving Elsinore, Hamlet encounters the army of Prince Fortinbras en route to do battle in Poland. Upon witnessing so many men going to their death on the brash whim of an impulsive prince, Hamlet declares, "O, from this time forth, / My thoughts be bloody, or be nothing worth!"[13] At Elsinore, further demented by grief at her father Polonius's death, Ophelia wanders the castle, acting erratically and singing bawdy songs. Her brother, Laertes, returns from France, horrified by his father's death and his sister's madness. She appears briefly to give out herbs and flowers. Claudius convinces Laertes that Hamlet is solely responsible; then news arrives that Hamlet is still alivea story is spread that his ship was attacked by pirates on the way to England, and he has returned to Denmark. Claudius swiftly concocts a plot to kill his nephew but make it appear to be an accident, taking all of the blame off his shoulders. Knowing of Hamlet's jealousy of Laertes' prowess with a sword, he proposes a fencing match between the two. Laertes, enraged at the murder of his father, informs the king that he will further poison the tip of his sword so that a mere scratch would mean certain death. Claudius, unsure that capable Hamlet could receive even a scratch, plans to offer Hamlet poisoned wine if that fails. Gertrude enters to report that Ophelia has drowned. In the Elsinore churchyard, two "clowns", typically represented as "gravediggers," enter to prepare Ophelia's grave, and, although the coroner has ruled her death accidental so that she may receive Christian burial, they argue about its being a case of suicide. Hamlet arrives with Horatio and banters with one of them, who unearths the skull of a jester whom Hamlet once knew, Yorick ("Alas, Poor Yorick; I knew him, Horatio."). Ophelia's funeral procession approaches, led by her mournful brother Laertes. Distraught at the lack of ceremony (due to the actually-deemed suicide) and overcome by emotion, Laertes leaps into the grave, cursing Hamlet as the cause of her death. Hamlet interrupts, professing his own love and grief for Ophelia. He and Laertes grapple, but the fight is broken up by Claudius and Gertrude. Claudius reminds Laertes of the planned fencing match. Later that day, Hamlet tells Horatio how he escaped death on his journey, disclosing that Rosencrantz and Guildenstern have been sent to their deaths instead.

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A courtier, Osric, interrupts to invite Hamlet to fence with Laertes. Despite Horatio's warnings, Hamlet accepts and the match begins. After several rounds, Gertrude toasts Hamletagainst the urgent warning of Claudiusaccidentally drinking the wine he poisoned. Between bouts, Laertes attacks and pierces Hamlet with his poisoned blade; in the ensuing scuffle, Hamlet is able to use Laertes's own poisoned sword against him. Gertrude falls and, in her dying breath, announces that she has been poisoned. In his dying moments, Laertes is reconciled with Hamlet and reveals Claudius's murderous plot. Hamlet stabs Claudius with the poisoned sword, and then forces him to drink from his own poisoned cup to make sure he dies. In his final moments, Hamlet names Prince Fortinbras of Norway as the probable heir to the throne, since the Danish kingship is an elected position, with the country's nobles having the final say. Horatio attempts to kill himself with the same poisoned wine but is stopped by Hamlet, as he will be the only one left alive who can give a full account of the story. When Fortinbras arrives to greet King Claudius, he encounters the deadly scene: Gertrude, Claudius, Laertes, and Hamlet are all dead. Horatio asks to be allowed to recount the tale to "the yet unknowing world," and Fortinbras orders Hamlet's body borne off in honour.

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Sources
Hamlet-like legends are so widely found (for example in Italy, Spain, Scandinavia, Byzantium, and Arabia) that the core "hero-as-fool" theme is possibly Indo-European in origin.[15] Several ancient written precursors to Hamlet can be identified. The first is the anonymous Scandinavian Saga of Hrolf Kraki. In this, the murdered king has two sons Hroar and Helgiwho spend most of the story in disguise, under false names, rather than feigning madness, in a sequence of events that differs from Shakespeare's.[16] The second is the Roman legend of Brutus, recorded in two separate Latin works. Its hero, Lucius ("shining, light"), changes his name and persona to Brutus ("dull, stupid"), playing the role of a fool to avoid the fate of his father and brothers, and eventually slaying his family's killer, King Tarquinius. A 17th-century Nordic scholar, Torfaeus, compared the Icelandic hero Amlodi and the Spanish hero Prince Ambales (from the Ambales Saga) to Shakespeare's Hamlet. 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. Many of the earlier legendary elements are interwoven in the 13th-century Vita Amlethi ("The Life of Amleth")[18] by Saxo Grammaticus, part of Gesta Danorum.[19] Written in Latin, it reflects classical Roman concepts of virtue and heroism, and was widely available in Shakespeare's day.[20] 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 Franois de Belleforest, in his Histoires tragiques.[21]Belleforest embellished Saxo's text substantially, almost doubling its length, and introduced the hero's melancholy. According to a popular theory, Shakespeare's main source is believed to be an earlier play now lostknown today as the Ur-Hamlet. Possibly written by Thomas Kyd or even William Shakespeare himself, the Ur-Hamlet would have been in performance by 1589 and the first version of the story known to incorporate a ghost.[23] Shakespeare's company, the Chamberlain's Men, may have purchased that play and performed a version for some time, which Shakespeare reworked.[24] Since no copy of the Ur-Hamlet has survived, however, it is impossible to compare its language and style with the known works of any of its putative authors. Consequently, there is no direct evidence that Kyd wrote it, nor any evidence that the play was not an early version of Hamlet by Shakespeare himself. This latter idea placing Hamlet far earlier than the generally accepted date, with a much longer period of developmenthas attracted some support, though others dismiss it as speculation. The upshot is that scholars cannot assert with any confidence how much material Shakespeare took from the Ur-Hamlet (if it even existed), how much from Belleforest or Saxo, and how much from other contemporary sources (such as Kyd's The Spanish Tragedy). No clear evidence exists that Shakespeare made any direct references to Saxo's version.

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However, elements of Belleforest's version which are not in Saxo's story do appear in Shakespeare's play. Whether Shakespeare took these from Belleforest directly or through the Ur-Hamlet remains unclear. Most scholars reject the idea that Hamlet is in any way connected with Shakespeare's only son, Hamnet Shakespeare, who died in 1596 at age eleven. Conventional wisdom holds that Hamlet is too obviously connected to legend, and the name Hamnet was quite popular at the time.[27] However, Stephen Greenblatt has argued that the coincidence 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 interchangeable.[28] Sadler's first name is spelled "Hamlett" in Shakespeare's will. Scholars have often speculated that Hamlet's Polonius might have been inspired by William Cecil (Lord Burghley)Lord High Treasurer and chief counsellor to Queen Elizabeth I. E. K. Chambers suggested Polonius's advice to Laertes may have echoed Burghley's to his son Robert Cecil. John Dover Wilson thought it almost certain that the figure of Polonius caricatured Burleigh, while A. L. Rowse speculated that Polonius's tedious verbosity might have resembled Burghley's.[30] Lilian Winstanley thought the name Corambis (in the First Quarto) did suggest Cecil and Burghley. Harold Jenkins criticised the idea of any direct personal satire as "unlikely" and "uncharacteristic of Shakespeare", while G.R.Hibbard hypothesized that differences in names (Corambis/Polonius:Montano/Raynoldo) between the First Quarto and other editions might reflect a desire not to offend scholars at Oxford University.

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Texts
Three early editions of the text have survived, making attempts to establish a single "authentic" text problematic.Each is different from the others:

First Quarto (Q1) In 1603 the booksellers Nicholas Ling and John Trundell published, and Valentine Simmes printed the so-called "bad" first quarto. Q1 contains just over half of the text of the later second quarto. Second Quarto (Q2) In 1604 Nicholas Ling published, and James Roberts printed, the second quarto. 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 85 lines found in F1 (most likely to avoid offending James I's queen, Anne of Denmark).[41] First Folio (F1) In 1623 Edward Blount and William and Isaac Jaggard published the First Folio, the first edition of Shakespeare's Complete Works.[42]

Other folios and quartos were subsequently publishedincluding John Smethwick's Q3, Q4, and Q5 (161137)but these are regarded as derivatives of the first three editions.[42] Early editors of Shakespeare's works, beginning with Nicholas Rowe (1709) and Lewis Theobald (1733), combined material from the two earliest sources ofHamlet 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. Theobald's version became standard for a long time,[43] 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 Hamlet an unrealisable ideal. ... there are texts of this play but no text".[44] The 2006 publication by Arden Shakespeare of different Hamlet texts in different volumes is perhaps the best evidence of this shifting focus and emphasis. Traditionally, editors of Shakespeare's plays have divided them into five acts. None of the early texts of Hamlet, 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. The discovery in 1823 of Q1whose existence had been quite unsuspectedcaused considerable interest and excitement, raising many questions of editorial practice and interpretation. Scholars immediately identified apparent deficiencies in Q1, which was instrumental in the development of the concept of a Shakespearean "bad quarto". Yet Q1 has value: it contains stage directions that reveal actual stage practices in a way that Q2 and F1 do not; it contains an entire scene (usually labelled 4.6)[49] that does not appear in either Q2 or F1; and it is useful for comparison with the later editions.

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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. The major deficiency of Q1 is in the language: particularly noticeable in the opening lines of the famous "To be, or not to be" 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." Q1 is considerably shorter than Q2 or F1 and may be a memorial reconstruction of the play as Shakespeare's company performed it, by an actor who played a minor role (most likely Marcellus).[50] Scholars disagree whether the reconstruction was pirated or authorised. Another theory, considered by New Cambridge editor Kathleen Irace, holds that Q1 is an abridged version intended especially for travelling productions.[51] 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.

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Analysis and criticism

Critical history
From the early 17th century, the play was famous for its ghost and vivid dramatisation of melancholy and insanity, leading to a procession of mad courtiers and ladies in Jacobean and Carolinedrama.[53] Though it remained popular with mass audiences, late 17th-century Restoration critics saw Hamlet as primitive and disapproved of its lack of unity and decorum.[54] This view changed drastically in the 18th century, when critics regarded Hamlet as a heroa pure, brilliant young man thrust into unfortunate circumstances.[55] By the mid-18th century, however, the advent ofGothic literature brought psychological and mystical readings, returning madness and the Ghost to the forefront.[56] 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.[57] These developments represented a fundamental change in literary criticism, which came to focus more on character and less on plot.[58] By 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.[59] Then too, critics started to focus on Hamlet's delay as a character trait, rather than a plot device.[58] This focus on character and internal struggle continued into the 20th century, when criticism branched in several directions, discussed in context and interpretation below.

Dramatic structure
Hamlet departed from contemporary dramatic convention in several ways. For example, in Shakespeare's day, plays were usually expected to follow the advice of Aristotle in his Poetics: that a drama should focus on action, not character. In Hamlet, Shakespeare reverses this so that it is through the soliloquies, not the action, that the audience learns Hamlet's motives and thoughts. The play is full of seeming discontinuities and irregularities of action, except in the "bad" quarto. At one point, as in the Gravedigger scene,[10] Hamlet seems resolved to kill Claudius: in the next scene, however, when Claudius appears, he is suddenly tame. Scholars still debate whether these twists are mistakes or intentional additions to add to the play's theme of confusion and duality.[60] Finally, in a period when most plays ran for two hours or so, the full text of HamletShakespeare's longest play, with 4,042 lines, totalling 29,551 wordstakes over four hours to deliver.[61] Even today the play is rarely performed in its entirety, and has only once been dramatised on film completely, with Kenneth Branagh's 1996 version. Hamlet also contains a favourite Shakespearean device, a play within the play, a literary device or conceit in which one story is told during the action of another story.[62]

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Language
Compared with language in a modern newspaper, magazine or popular novel, Shakespeare's language can strike contemporary readers as complex, elaborate and at times difficult to understand. Remarkably, it still works well enough in the theatre: audiences at the reconstruction of 'Shakespeare's Globe' in London, many of whom have never been to the theatre before, let alone to a play by Shakespeare, seem to have little difficulty grasping the play's action. Much ofHamlet's language is courtly: elaborate, witty discourse, as recommended by Baldassare Castiglione's 1528 etiquette guide, The Courtier. 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 figuresas is Hamlet's and, at times, Ophelia'swhile the language of Horatio, the guards, and the gravediggers is simpler. Claudius's high status is reinforced by using the royal first person plural ("we" or "us"), and anaphora mixed with metaphor to resonate with Greek political speeches. Hamlet is the most skilled of all at rhetoric. He uses highly developed metaphors, stichomythia, and in nine memorable words deploys both anaphora andasyndeton: "to die: to sleep / To sleep, perchance to dream".[65] 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 onpuns to express his true thoughts while simultaneously concealing them. His "nunnery" remarks to Ophelia are an example of a cruel double meaning asnunnery was Elizabethan slang for brothel.His very 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." An aside is a dramatic device in which a character speaks to the audience. By convention the audience realises that the character's speech is unheard by the other characters on stage. It may be addressed to the audience expressly (in character or out) or represent an unspoken thought. An unusual rhetorical device, hendiadys, appears in several places in the play. Examples are found in Ophelia's speech at the end of the nunnery scene: "Th'expectancy and rose of the fair state"; "And I, of ladies most deject and wretched".Many scholars have found it odd that Shakespeare would, seemingly arbitrarily, use this rhetorical form throughout the play. One explanation may be that Hamlet 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. Pauline Kiernan argues that Shakespeare changed English drama forever in Hamlet 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 is simultaneously a reference to a place of chastity and a slang term for a brothel, reflecting Hamlet's confused feelings about female sexuality.

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Characters

HamletSon of the former king, and nephew of the present King ClaudiusKing of Denmark, Hamlet's uncle. GertrudeQueen of Denmark, and mother to Hamlet PoloniusLord Chamberlain OpheliaDaughter to Polonius HoratioFriend to Hamlet LaertesSon to Polonius Voltimand, CorneliusCourtiers Rosencrantz, GuildensternCourtiers, friends to Hamlet Osrica Courtier Marcellusan Officer Bernardoan Officer Franciscoa Soldier ReynaldoServant to Polonius Ghost of Hamlet's Father FortinbrasPrince of Norway GravediggersA sexton and a clown Player King, Player Queen, Lucianus, etc.Players

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Conclusion
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 Hamletat 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's Great Expectations contains many Hamlet-like plot elements: it is driven by revenge-motivated actions, contains ghost-like characters (Abel Magwitch 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". L. Frank Baum's first published short story was "They Played a New Hamlet" (1895). When Baum had been touring New York State 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 the point of view of the actor playing the Ghost. In the 1920s, James Joyce managed "a more upbeat version" of Hamletstripped of obsession and revengein Ulysses, though its main parallels are [103] 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 Princehas Oedipal themes and murder intertwined with a love affair between a Hamlet-obsessed writer, Bradley Pearson, and the daughter of his rival.

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Literature:

1. Hamlet, William Shakespeare, official book 2. Oxford Universitys library www.ox.ac.uk 3. The tragedy of Hamlet, prince of Denmark, Pavlivic M., Filoloski fakultet, Mladinska knjiga, 2003., str. 22,23,24,25

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