Showing papers on "Hamlet (place) published in 1978"

Antonio's revenge

Abstract: This edition seeks to evaluate Antonio's Revenge not merely as a literary text but as a drama for a particular company, in a specific theatre. The scholarly introduction explores the high degree of originality in Marston's dramatic techniques and establishes him as a leading innovator in both the language and the dramaturgy of his day. Ostensibly the second part of Antonio and Mellida, a satiric romance published in 1599, Antonio's Revenge differs in both theme and linguistic style. Reavley Gair offers an insightful analysis of the play's relationship with Shakespeare's Hamlet -- written at about the same time -- and a new interpretation of the relations between dramatic companies at the Globe and the Paul's Theatre.

The Woman in Hamlet: An Interpersonal View

Abstract: "Who's there?" Bernardo's anxious shout, which begins Shakespeare's most problematic play, raises the fundamental question of Hamlet's identity. Various male authority figures advance simple answers. For the Ghost, Hamlet is a dutiful son who should sweep to his revenge and forget about his mother. For Claudius, Hamlet is a possible rebel who should be either made tractable or banished and killed. For Polonius, Hamlet is the heir gone mad through frustrated love of Ophelia, whom Polonius has denied him partly for reasons of state. But for Hamlet, the roles of dutiful son, ambitious rebel, or mad lovesick heir are just that: roles, to be played for others but not felt for himself. The "Who" remains unsettled within and without, "the heart of my mystery" (3.2.351).1 The mixed and contradictory expectations of these father figures reflect their own divided image of dutiful reason and bestial lust. At times their power seems to be defined by their ability to order women and children around. Hamlet sees Gertrude give way to Claudius, Ophelia give way to Polonius, and himself at last yield to the Ghost. But Hamlet also sees duplicity and falseness in all the fathers, except perhaps his own, and even there his famous delay may well indicate unconscious perception, rather than the unconscious guilt ascribed to him by a strict Freudian interpretation. Hamlet resists his father's commands to obey. Despite his illusory idealization of the senior Hamlet as pure and angelic, he senses the Ghost's complicity in the paternal double-speak that bends Gertrude and Ophelia, indeed bends feelings and the body itself, to

Nineteenth-century Shakespeare burlesques

Abstract: Volume I: John Poole and his Imitators Preface & Introduction Hamlet Travestie, in Three Acts with Annotations Romeo and Juliet Travesty, in Three Acts Richard III Travesties, in Three Acts, with Annotations King Richard III Travesties, A Burlesque, Operatic, Mock Terrific Tragedy, in Two Acts Volume II: Maurice Dowling (1834) to Charles Beckington (1847) Introduction Othello Travestie / Romeo and Juliet: 'As the Law Directs' King John (with the Benefit of the Act) Macbeth Modernised, A Most Illegitimate Drama Rummio and Juddy or, Oh, This Love! This Love! This Love! King Richard Ye Third Hamlet the Dane A Burlesque Burletta Volume III: The High Period: Francis Talfourd (1849) to Andrew Halliday (1859) Introduction Macbeth, Somewhat removed from the Text of Shakespeare Additional Songs and Choruses for Talfourd's Macbeth Hamlet Travestie Shylock or The Merchant of Venice Preserved Perdita or the Royal Milkmaid, being The Legend upon which Shakespeare is supposed to have founded his Winter's Tale Romeo and Juliet Buresque or, The Cup of Cold Poison Volume IV: The Fourth Phase: F. C. Burnand, W. S. Gilbert and others (1860-1882) Introduction Julius Caesar Travestie A Thin Slice of Ham Let!! Antony and Cleopatra or His-tory and Her-story in a Modern Nilo-metre The Rise and Fall of Richard III Rosencrantz and Guildenstern, A Tragic Episode Orlando Ye Brave and Ye Fayre Rosalynd Or 'As You Lump Hamlet, or Not Such a Fool as He Looks Volume V: American Shakespeare Travesties (1852-1888) Introduction Hamlet, Prince of Denmark, An Old Play in a New Garb Ye Comedie of Errours, Glorious, Uproarous Burlesque, Not Indecorous nor Censorous, with Many a Chorus, Warranted not to Bore us, now for the First Time Set Before Us Much Ado About a Merchant of Venice, from the Original Text - A Long Way Hamlet the Dainty, An Ethiopian Burlesque on Shakespeare's Hamlet Othello A Burlesque, as performed by Griffin and Christy's Minstrels Hamlet Revamped, Modernized and Set to Music, A Travesty Without a Pun! Katharine: A Travesty

Hamlet's Absent Father

Abstract: Avi Erlich finds that "Hamlet" deals not with repressed patricidal impulses but with a complex search, partially unconscious, for a strong father Much more than he wants to have killed his father, Hamlet wants his father back and seeks a strong man with whom to identify The playwright presents one ambivalent father figure after another, each an imitation or parody of the seemingly titanic king Polonius, Osrick, Yorick, Old Fortinbras, Priam, Achilles, Horatio--these are a few versions ofthe father who bequeathed to his son his own ambivalenceOriginally published in 1978The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905

Aspects of the Incest Problem In Hamlet

Abstract: T HE MORE OR LESS CURRENT STATUS of some non-theological interpretations of the incest prohibition in Hamlet attests to the ingenuity with which guilt can be assigned. Sophisticated ethical systems are always interesting, and critical emphasis has shifted accordingly from Claudius' sinfulness in marrying his murdered brother's widow to Hamlet's more obscurely sullied nature. Ernest Jones, taking a Freudian, Oedipal approach, stresses Hamlet's incestuous desire to supplant his father in his mother's affection: Hamlet's hatred of Claudius thereby becomes "the jealous detestation of one evil-doer towards his successful fellow."' Roy W. Battenhouse stipulates a definition of incest as narcissism ("a love which circles about the self")2 and then applies it to Hamlet. Dover Wilson refers to Scripture in adducing evidence of Hamlet's "sullied flesh," but even he misapplies the relevant verse. The Prince "is, wishing that his 'sullied flesh' might melt as snow does. For his blood is tainted, his very flesh corrupted, by what his mother has done, since he is bone of her bone and flesh of her flesh."3 The verse Wilson quotes actually refers, of course, to the relation of wife to husband rather than to that of son to mother: "Then the man said, This now is bone of my bones, and flesh of my flesh. She shalbe called woman, because she was taken out of man. Therefore shal man leave his father and his mother, and shal cleave to his wife, and they shalbe one flesh" (Genesis ii. 23-24; see also Matthew xix. 4-6 and Mark x. 6-8).4 Hamlet is so familiar with these verses that he can sport with them at the King's expense. He correctly applies them to the conjugal relation when he bids farewell to Claudius as his "dear mother":

Shakespeare in the Theatre

Abstract: Preface 1. The art of the theatre 2. Drama as opera 3. New lamps for old 4. What has happened: now read on 5. The problem of Hamlet 6. The parties themselves, the actors 7. A pair of star-crossed lovers 8. Reality and artifice 9. Antike Romans 10. The director clarifies 11. Falstaff and the House of Lancaster 12. Two comedies translated 13. Conclusions.

‘To say one’: An Essay on Hamlet

Abstract: The beginning of Act v, Scene 2 finds Hamlet in a trough between action, released for once from the immediate stimuli of events. He is merely discussing his affairs with Horatio. It is a still moment, not with the felt danger of the moment that follows the acceptance of Laertes’ challenge, but freer, less constrained. Horatio reminds him gently that the English authorities must shortly report on the death of Rosencrantz and Guildenstern. And Hamlet responds with these words: It will be short, The interim’s mine, and a mans life’s no more Then to say one.

Hamlet: Scourge and Minister

Abstract: 'Scourge and minister': the phrase is another example of Hamlet's vision of inner self-contradiction, for the terms are mutually exclusive. Both refer to agents of God's vengeance, but the minister is righteous and in overthrowing evil directly establishes good in its place, while the scourge is evil: although he may destroy the sinful, he is already irretrievably caught up in sin himself and damned in the very act of vengeance.6

Hamlet: Revenge and the Critical Mirror

Abstract: A M L E T is a highly personal play. We bring to it all that we are. As L. C. Knights has observed, “more than with any other play, critics are in danger of finding reflected what they bring with them.”l The gratifications of interpretation may turn out to be gratifications of another sort; instead of serving the play, we are likely to make it serve us. Kenneth Muir, commenting on C. S . Lewis’ view of Hamlet, emphasizes this danger: “It was inevitable, Lewis thinks, that Coleridge should ascribe to Hamlet his own weaknesses; it was equally inevitable that the pacifists should regard Hamlet as a pacifist, and that the Freudians should diagnose their favourite complex. To Lewis, the explanation is that Hamlet is not an individual at all, but Everyman, haunted by the fear of being dead, and burdened by original sin. But Lewis’s theory, ingenious as it is, invites the retort that he too, the amateur theologian, has saddled Hamlet with his own prepossessions.’’2 Both protagonist and play, one may add, have appealed to one of our current prepossessions. Valuing multiplicity of meaning as we do, we hold Hamlet in our heart of hearts. It is a play in which many meanings dance. And, of course, since Hamlet has so much in it, critics are encouraged to find more -something overlooked, misconstrued, or imperfectly sensed by previous writers. Contemplating the vast outpouring of heterogeneous commentary, Elder Olson began a discussion of Hamlet with the melancholy observation: In the present condition of Hamlet studies, it is almost useless to offer one more interpretation of the play.”3 Yet the play persists; like its por6 6

‘Second front in 1942’—a strategic controversy revisited

Abstract: In his Lees-Knowles lectures on the Mediterranean strategy in 1966, Professor Michael Howard largely disposed of the concept of a British politically motivated “Balkan Strategy” and went some way towards disposing of the larger and more general concept of a “Mediterranean Strategy” itself. In so doing he may be thought to have presented Hamlet without the Prince of Denmark. However, those four lectures on the subject indicate that even after this rigorous scrutiny something is still left of the concept - the smile on the face of the Cheshire cat perhaps.

Gothic Armaments and King Hamlet’s Poleaxe

Abstract: H OW "SLEADED POLLAX" was interpreted in the seventeenth century does not appear from contemporary texts of Hamlet, although the meaning of Horatio's cryptic line seems even then to have been in dispute. No editorial attempt to clarify the phrase, however, was made until Pope, deciding that King Hamlet's blow was aimed at Polish opponents, printed "sledded Polack" (1725). Malone pluralized this to "sledded Polacks." Before Pope's emendation, at least some of Shakespeare's readers understood by "sleaded pollax" a weapon the King struck into the ice. A glance at the New Variorum edition will show that Pope's conjecture has not satisfied those commentators, chiefly Continental, who, think that some kind of implement used in the fight with "Norway" would be more natural here than the sudden vision of new foes characterized by their sleds. The present note offers evidence suggesting that Shakespeare, meeting with a studded pollax in a contemporary author, transferred this duelling weapon to King Hamlet. One cannot prove by analysis of the First Quarto, which provides the only substantive text for

Shakespeare and the Story: Aspects of Creation

Abstract: 1 The Work of Creation 2 Growth and Change (i) 3 Growth and Change (ii) 4 Doing without Events or the Art of Conversation 5 Good Husbandry 6 More Patterns and Variants: Crimes and Consequences 7 Hamlet: The Triumph of a Programme 8 King Lear Conclusion Index