HAMLET DATE: First mentioned in 1602; four Quarto versions: in 1603, 1604, 1611, 1612.

Today we read a combination of the four, created by editors. SOURCES: Thomas Kyds Hamlet; Saxo Gramaticus Historia Danica; Franois de Belleforests Histoires Tragiques; real events: Mary Stuart killed her husband Darnley together with Bothwell, whom she married later; the Earl of Essex was killed by his wife and by Robert Dudley. THE PLOT: a detective story finding the murderer - a political play: tyranny and dictatorship; madness as a form of escaping an ideological prison and asserting ones freedom of expression, thought, movement; Polonius, Rosencranz and Guilderstern are spies, political apparatchiks, the kings instruments - a revenge tragedy: both Hamlet and Laertes seek to avenge the deaths of their fathers and are ready to lose their lives for this - a philosophical play: life and death, the relevance of human acts, the importance of action and meditation, the role of the intellectual in society, order and chaos, individual and collective responsibility, the existence of afterlife - a psychological play: Hamlets and Ophelias madness as a clinical description of causes, symptoms, manifestations of depression, hallucinations, schizophrenia, sexual frustration, hysterics, manias, dementia the exposition: Hamlets first soliloquy (I, ii) introduces the heros weariness of life; he returns from Wittemberg a scholar, different from his father, a typical medieval, military king

the conflict: Hamlet meets the ghost, plans to stage the story of the murder with professional actors, Claudius gives himself away, Hamlet is unable to kill him while he is praying, he kills Polonius by mistake and convinces Gertrude of his madness the climax: the graveyard scene, helping Hamlet to understand that death is only a natural transition towards a new form of existence

the dnouement: most characters die, Horatio, an intellectual like Hamlet, is left to tell the story and extract a lesson from it, and Fortinbras (fort, strong [Fr.]; bras, arm [Fr.]; brass an unyielding metal) remains to rule the country in an authoritarian, though not dictatorial manner, and to transform the chaos caused both by Claudius tyranny and by Hamlets weakness into order and a healthy body politic HAMLET: a young man with no name of his own and uncertain family identity (a son and a nephew to both Gertrude and Claudius); uncertain age a student, but one of the gravediggers remark in act V suggests he might be thirty (Shakespeare considers a very crude young man to be unlikely to undergo such a complexity of thoughts and emotions). - his family relations: Hamlet is often considered to be suffering from the Oedipus complex; a very tense relationship with his future in-laws; a problematic relationship with his fiancee: his rejection can be regarded as a sacrifice he makes in the name of his father or as selfishness - his madness: although Hamlet feigns madness to fulfill his plan, he undergoes a traumatic psychological evolution, from melancholy, disgust, misogyny, to cynicism, hatred, pessimism. At the beginning he is a typical Renaissance man, believing in the noble nature of humankind, but then he looks at humanity in a modern manner: What a piece of work is man! how noble in reason! how infinite in faculty! in form and moving how express and admirable! in action how like an angel! in apprehension how like a god! the beauty of the world! the paragon of animals! And yet, to me, what is this quintessence of dust? Man delights not me; no, nor woman neither, though by your smiling you seem to say so (II, ii).

his lack of action: Hamlets strong meditative inclinations, his intellectual side prevent him from taking arms against a sea of troubles; his dissatisfactions remain considered on a passive level; however, this passiveness has also been regarded in a positive manner: Goethe regards Hamlet as a typically romantic hero, an idealist afraid of failure; Coleridge believes his scholarly training prevent him from putting an end to the speculative habits of the mind; Jan Kott reads Hamlet in a political

context, regarding the hero as a representative of the intelligentsia victimized by the totalitarian political system. OPHELIA: a victim of her fathers authority and her fiances weakness. According to Alexandru Olaru, Ophelia is suffering from a severe depression, having a psychotic reaction to Hamlets rejection. This is manifested in her sickly appearance described by the courtiers, her confusion and delirium in her meaningless speech, her nervous gestures and her apparent desire to commit suicide, proved by the euphoria with which she meets her death. Artists regard her as the perfect embodiment of the victimized woman especially during the Victorian period, when romantic suffering was a common literary theme (Clara in Dickens David Copperfield, caroline Helstone in Charlotte Bronts Shirley): fragile, very youthful heroines whose victimization is announced by an extremely slim body with the signs of anorexia nervosa on it: the pre-Raphaelite painters, J.W Waterhouse, Ernest Hebert.