Hamlet

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David Garrick as Hamlet

Hamlet ( Early Modern English The Tragicall Historie of Hamlet, Prince of Denmarke ) is a tragedy by William Shakespeare . Claudius, the king's brother, murders the ruler, takes the crown and marries Gertrude, the king's widow. Prince Hamlet strives to avenge his father and plunges everyone involved into misfortune. The subject matter of the piece goes back to a medieval Nordic tale. The text of Hamlet in the version available today was completed by Shakespeare between February 1601 and summer 1602 at the latest and probably first performed at the Globe Theater during these years . Hamlet was first published as pirated print in 1603 and was printed in an authorized, slightly censored version in 1604. An early variant, the so-called Ur-Hamlet , could have been known in London from 1594. The work was already a successful stage play when it was published, because the material, which was basically known through various traditions, enjoyed a certain popularity even before Shakespeare's work. The popularity of the piece soon became evident in the continuous and dense stage presence of the work, the large number of printed editions, the early translation into German and the large number of adaptations of the material since its existence. Cues from Hamlet's monologues, such as to be or not to be or the rest is silence , have become idioms in everyday language. The story of the Danish prince, dressed in an ink-black doublet and carrying a book with him, is considered to be one of Shakespeare's most important works and, as Tennyson said, is sometimes considered the "greatest of all literary works".

Overview

Storylines

The story of Hamlet consists of the three narrative strands to be named “Prince Hamlet's Revenge”, “Prince Fortinbras' War” and “Hamlet and Ophelia”. These narrative threads are inserted into a political situation that revolves around a long-ago conflict between the old King Hamlet and "old Norway". They are also part of a constellation of several families, namely the family of King Hamlets as well as that of King Fortinbras and that of the adviser Polonius. Hamlet's story is also told against the background of a number of events that the viewer or reader learns about in passing, namely Hamlet's studies in Wittenberg, the relationship with his friends Horatio and the actors, and with his schoolmates Rosencrantz and Guildenstern. The events before the beginning of the drama also include the death of King Hamlet, his funeral, the marriage of Gertrude and Claudius, but also the secret love affair between Hamlet and Ophelia.

The main narrative is about Prince Hamlet's revenge. Through the appearance of King Hamlet's ghost, Hamlet learns that his father was murdered by his brother Claudius. Together with his confidante Horatio, he seeks revenge. He plans to convict the new king and uses a public staging of the crime he suspects. Hamlet hesitates to kill Claudius while praying. After Hamlet's murder of Polonius, Claudius banishes his nephew to England, accompanied by his childhood friends Rosencrantz and Guildenstern. They receive a letter from Claudius to the English king, in which Claudius asks him to behead Hamlet. Hamlet discovers this, rewrites the letter to a death sentence for Rosencrantz and Guildenstern and returns to Denmark after a pirate attack during the crossing. Instigated by King Claudius, he engages in a duel, manipulated by Claudius, with Laertes, his lover's brother. The royal couple and the two opponents are killed.

The secondary narrative thread about the war of Prince Fortinbras is based on events long ago and on the other hand relates to a current political conflict. The political tensions between Denmark and Norway are due to a long-ago dispute between the two former rulers of these countries, who have now died. The old Fortinbras, King of Norway, had challenged the Danish king to a duel and bet whole lands on victory or defeat. When Hamlet slain Fortinbras, he had come into possession of part of the Norwegian kingdom. Now the son of old Fortinbras (Jung-Fortinbras or Prince Fortinbras) has demanded the return of the lands of Claudius after the death of King Hamlet and at the same time recruited mercenaries to recapture what he believed to be illegally acquired territories in case of doubt. Faced with the threat of a military conflict, Claudius is preparing for war and at the same time striving for a diplomatic solution. His intervention with Prince Fortinbras' uncle is successful. The "old Norway" orders the prince to stop his war preparations. After receiving a substantial pension, he agrees to lead the raised troops to armed forces in Poland, for which Claudius assures him safe passage through Danish territory. During his trip to England, Hamlet meets the troops of Fortinbras, who are moving through Denmark to Poland. After his victory, Fortinbras arrives at the end of the play on the way back home in Helsingör, where after the death of the heir to the throne, the crown of Denmark falls to him without a fight.

The second sub-narrative is about Hamlet and Ophelia as lovers. When Polonius forbids his daughter to interact with Hamlet and Ophelia abuses Hamlet to spy on Hamlet, Hamlet forces him to separate from his beloved. When Hamlet accidentally kills Polonius and is banished to England by Claudius, Ophelia becomes desperate and dies (either by suicide or by accident).

main characters

Shakespeare tells the story of a generation of five young adults. Prince Hamlet is a half-orphan due to the death of his father, his mother, Queen Gertrude, has married her brother-in-law Claudius. Prince Fortinbras of Norway is also a half-orphan due to the death of his father, old Fortinbras. Nothing is known about the mother's fate. Laertes and Ophelia also appear to be half-orphans. They are the children of the royal advisor Polonius. Nothing is known about her mother's fate either. Horatio is Hamlet's friend and fellow student from Wittenberg. The family constellation also includes the princes 'two uncles: Claudius, Prince Hamlet's uncle, and old Norway, Prince Fortinbras' uncle. The family constellations of the royal children are symmetrical. The surviving people are Horatio and Fortinbras, both the Danish ruling family and their adviser family are completely destroyed.

Events just before the beginning of the story

The spirit of King Hamlet languishes in purgatory, for death overtaken him in his sleep, with no previous forgiveness of his sins. The cause was by no means, as everyone believes, a snakebite, but a devious murder, committed by his brother Claudius. The latter killed the king without leaving a trace by dropping a cursed poison ( Hebenon ) into his ear. By this shameful act, the king was "brought to life, crown and wife at the same time" and therefore demands vengeance from Hamlet. Hamlet and Horatio study together in Wittenberg. After the king's death, Hamlet returns to Elsinore and is persuaded by Claudius and Gertrude not to resume his studies.

action

Act I.

[Scene 1] The ghost of the late King Hamlet appears to the guards at Elsinore Castle at night . [Scene 2] At court the new King Claudius celebrates his marriage to Gertrude, the widow of the old king. Claudius sends the two ambassadors Voltemand and Cornelius to Norway on a diplomatic note, bids Laertes, the son of the royal advisor Polonius, farewell to France and asks Prince Hamlet not to return to his studies in Wittenberg, which had been interrupted by recent events . After the celebration, Hamlet admits his desperation in a monologue and comments on his mother's behavior with contempt. [Scene 3] Before leaving, Laertes warns his younger sister Ophelia about her love affair with Hamlet. When Polonius found out about this, he forbade his daughter to have contact with Hamlet. [Scene 4] After Hamlet has been informed of the apparition by his college friend Horatio, he accompanies his friends at the midnight watch and meets his father's ghost. [Scene 5] In conversation with him, he learns about the murder of the old king by his brother Claudius. The ghost calls for vengeance on Hamlet . Hamlet and his friends swear secrecy about their experiences and Hamlet decides to adopt a strange being in order to hide his plans for revenge.

Act II

[Scene 1] Polonius distrusts his son and therefore sends his servant Reynaldo to spy on Laertes in France. Ophelia tells him about the change in the prince. Polonius suspects the dismissive behavior of Ophelias as the cause of Hamlet's madness and decides to inform the king of it. [Scene 2] Claudius is concerned about Hamlet's transformation and assigns his childhood friends Rosencrantz and Guildenstern to find out the cause. Meanwhile, the ambassadors return from Norway and announce the news of their successful diplomatic efforts. Polonius joins the plan to spy on Hamlet and suggests arranging a meeting between his daughter and the prince. At the very first meeting between Hamlet and his school friends Rosencrantz and Guildenstern, they admit the commission they received from the king. Polonius announces the arrival of the actors to Hamlet, Hamlet greets them effusively and agrees with them that the play "The Murder of Gonzago" should be performed before the king with the intention of showing Claudius his murderous act.

Act III

[Scene 1] Rosencrantz and Guildenstern tell the king of their unsuccessful efforts to find out the cause of Hamlet's transformation, and Polonius brings his invitation to the performance of the planned play. Polonius takes the initiative, he uses his daughter Ophelia with her consent as a decoy and hides together with Claudius to eavesdrop on the couple. During this encounter with Ophelia, which begins with the “To be or not to be monologue”, Hamlet tries to force separation from his beloved and so offends her immensely. Claudius sees through the matter and decides to send Hamlet to England as Denmark's official envoy to collect the missing tribute and in the hope that the trip will throw his nephew on other thoughts. Polonius also suggests another eavesdropping operation, in which Hamlet's mother should serve as an involuntary agent. [Scene 2] In the meantime, preparations for the play begin, Hamlet instructs the actors and agrees with Horatio to watch the king closely during the performance. Then the whole court gathers. At the scene in which the murderer, like Claudius, drips poison into his victim's ear, the king breaks off the festivities, disturbed. Hamlet and Horatio are now convinced of his guilt. Rosencrantz and Guildenstern convey Gertrude's wish to see Hamlet, and when this does not immediately follow, Polonius urges Hamlet to come immediately into his mother's audience rooms. [Scene 3] Claudius has understood how great the danger is Hamlet. He therefore orders Rosencrantz and Guildenstern to immediately make preparations for their joint departure to England with Hamlet. While Polonius is hiding behind a curtain in Gertrude's cabinet, Hamlet meets Claudius on the way to his mother, who asks for forgiveness for his sins in prayer. But Hamlet resists the opportunity to kill Claudius. [Scene 4] In her private room, Gertrude confronts her son on behalf of Polonius and threatens him when he does not immediately obey. The situation escalates, and when Gertrude believes Hamlet is trying to murder her, she calls for help. Startled, Polonius calls for help from behind the carpet and is killed by Hamlet, who thinks he is the king, with a stab through the carpet. From the interrogation planned by Polonius and Gertrude, Hamlet made a heavy charge against his mother. As he intensifies his accusations against her more and more, the ghost appears, calls on Hamlet for moderation and renews his demand for revenge. Since it is only perceptible to Hamlet, Gertrude considers this to be an expression of Hamlet's madness. Hamlet manages to convince Gertrude and to reconcile with his mother. She promises to keep the content of her conversation confidential.

Act IV

[Scene 1] Claudius realizes that Polonius was accidentally killed, so he sends Rosencrantz and Guildenstern to arrest Hamlet. [Scene 2] While the courtiers are looking for Hamlet, the latter hides the body of Polonius and allows himself to be brought to the king without resistance. [Scene 3] Claudius interrogates Hamlet and suddenly sends him to England with Rosencrantz and Guildenstern. He gives them a letter requesting the King of England to execute Hamlet as soon as he arrives. [Scene 4] In an interlude, Hamlet meets the troops of the Norwegian Prince Fortinbras on his way to England, who is marching through Denmark in accordance with the diplomatic agreement with Claudius in order to wage war with Poland. The encounter strengthens Hamlet's determination to seek revenge. [Scene 5] After Polonius' death and Hamlet's departure, Ophelia goes mad. Laertes returns to Denmark, storms the castle with the support of the people who want to proclaim him king and threatens Claudius, whom he blames for the death of his father. [Scene 6] On his voyage to England, Hamlet met pirates and vice versa. His companions are traveling to England alone. He sends a message to Horatio, who is traveling to meet him. [Scene 7] Claudius learns that Hamlet is on his way back to Denmark and persuades Laertes to duel with Hamlet on the pretext of a sporting bet and secretly using a sharp and poisoned weapon. The Queen brings Laertes the news of the death of Ophelias, who has drowned in a stream.

Act V

[Scene 1] A farm worker and his assistant prepare the grave for Ophelia's burial. They talk about the circumstances of their death. Hamlet and Horatio arrive and hide as the mourners approach. When he realizes that the preparations are for Ophelia's funeral, Hamlet reveals himself in despair and gets into a wild argument with Laertes. Claudius persuades both of them to participate in the sporting competition he has planned. [Scene 2] Before the duel, Hamlet tells his companion about the fate of his childhood friends, who were executed in his place in England because he had falsified a royal letter. The courtier Osric informs Hamlet of the content of Claudius' bet and the terms of the duel. At a party in the throne room, Laertes and Hamlet duel in front of the royal couple. In the event that Laertes is defeated, Claudius has prepared a poisoned victory drink for Hamlet. When Gertrude unexpectedly drinks this wine, Claudius becomes aware of the impending failure of all his plans. Laertes meets Hamlet with the prepared weapon, they exchange rapiers in a scuffle and Hamlet in turn wounds Laertes. When Gertrude falls, poisoned, the dying Laertes reveals the king's intentions to Hamlet. In extreme anger, Hamlet forces the king to empty the poisoned chalice. While Claudius dies, Hamlet and Laertes are reconciled. Meanwhile, the Fortinbras troops approached, accompanied by English ambassadors. As he dies, Hamlet appoints his companion Horatio to be the administrator of his memory and gives his voice to Fortinbras as his successor. The Norwegian prince orders Hamlet to be buried with military honors.

Literary templates and cultural references

There are a large number of studies on the sources of Hamlet. Most authors discuss three different forms of influences on the text: The main features of the story come from ancient and medieval narratives, especially the Amlethus story by Saxo Grammaticus ; individual elements may come from contemporary theater plays and certain motifs seem to be taken from philosophical literature. In many cases there is no certainty as to whether it is actually a source in the sense that Shakespeare knew and used it consciously, or whether there are coincidences between different works.

Dating

In the latest critical edition of Hamlet, the Arden³ edition, the authors critically evaluate all available data on the time Hamlet was written. First the statements of the most important recent editions are summarized. Honigmann and Jenkins limit the dating time between the publication date of "Julius Cesar" and "Antonios Revenge" at the turn of the year 1599/1600 and the death of the Earl of Essex at the end of February 1601. Edwards and Hibbard also prefer the publication time of Julius Cesar around 1600 and the year 1601 in relation to the internal reference to the "Childrens Chapter" as the latest point in time. In contrast, the critical reflection of all the references by Thompson and Taylor in the third Arden edition leads to the completion of work on Hamlet for the time between the execution of the Earl of Essex in February 1601, the entry in the Stationers' Register in July 1602 and the printing of Q1 to be assumed in 1603. When asked when drafting began, the authors limit themselves to guesswork and agree with some other scholars (Harold Bloom, Peter Alexander) that Shakespeare may have worked on Hamlet for a long time.

Text history

There are three relevant text witnesses of Shakespeare's Hamlet: two early quartos, the short version Quarto 1 (Q1) from 1603, the significantly longer version Quarto 2 (Q2) from 1604/05 and the folio version (F1) from 1623 in the first edition of Shakespeare's collected works.

Translations

Christoph Martin Wieland in the 1760s
August Wilhelm von Schlegel, around 1800

Translations into German

Hamlet was received early on in Germany (cf. the performance of the play Der punishede Brudermord or Prince Hamlet from Dännemarck , Dresden 1624). But it was only with the translation of Shakespeare's works by Christoph Martin Wieland from 1762–1766 that the British national poet began to triumphantly become the “third German classic”. The Shakespeare criticism of the 18th century was an important prerequisite for the transmission of Shakespeare's works free of convention. The attitude of Alexander Pope was characteristic of this . He published Shakespeare's works in 1725. In the foreword of his edition he compared the dramas with medieval buildings and praised their author as a natural genius, precisely because of his mistakes. He was very liberal with the text, emphasized certain sections with asterisks (*) and, in his opinion, banished ugly parts to the footnotes. Pope's criticism is of great importance for the Shakespeare reception in Germany. Wieland established Pope's judgment of Shakespeare as a "beautiful monster". It was precisely the "raw and incorrecte" expression and a work that showed "all the beauties and defects of wild nature" that reinforced the idea of ​​a poet whose essence includes wildness, malpractice, weirdness and irregularity.

Between 1775 and 1782 Eschenburg completed the edition of Wieland, which had only transmitted about half of the dramas. He used the opportunity to correct numerous mistakes by Wieland on the basis of the sources, and achieved a high quality, but at the expense of a language that was soon perceived as "dry and bloodless".

As early as 1797 August Wilhelm von Schlegel began work on a new Shakespeare edition. By 1810 he translated about half of the plays, and Ludwig Tieck completed the task with Wolf Graf Baudissin and Dorothea Tieck , so that by 1833 all Shakespeare dramas were available in a new translation. Schlegel's version is a verse translation, in contrast to that of Wieland and Eschenburg, which Shakespeare reproduces in prose for the sake of faithfulness to the work. One can say without exaggeration that the "Schlegel-Tieck Shakespeare" is the one that German readers still have in their ears today:

 Original:
 Wieland:
 Eschenburg:
 Schlegel:

 The rest is silence.
 It's over.
 The rest is silence.
 The rest is silence.

Translations into European languages

The first French print edition of Hamlet was obtained from Pierre-Antoine de La Place in 1745. The first French complete edition is by Pierre Letourneur (1776 to 1783). Alexander Sumarokov wrote a Russian adaptation of Hamlet in 1748 and the first Spanish translation of Hamlet was published by Ramón de la Cruz in 1772. In 1786, Ambrosius Justus Zubli translated Hamlet into Dutch. Like Ramón de la Cruz, he used the French version of Hamlet by Jean-François Ducis from 1769. A Polish translation of the German edition by Friedrich Ludwig Schröder from 1776 was published by Wojciech Bogusławski in 1797.

The first Italian edition dates from 1831 in a complete edition of the works of Carlo Rusconi. Hamlet was first performed in Brazil in 1835 in a translation by Oliveira Silva into Portuguese. Pavol Dobšinský translated Hamlet into Slovak in 1850 and a year later Carl August Hagberg began a Swedish complete edition of Shakespeare's works. The Hamlet had already been translated in a separate edition by Olof Bjurbäck in 1820 . In 1866 János Arany translated Hamlet into Hungarian and Valeri Petrov translated Shakespeare's tragedies into Bulgarian from 1973–1974.

Tian Han

Translations into non-European languages

In 1902 the first translation of Hamlet into Arabic by Tanyus Abduh took place. Tsubouchi Shoyo began translating all of Shakespeare's works into Japanese in 1909 while working on Hamlet. The first complete translation of a work by Shakespeare into the modern Chinese standard language Baihua comes from the Chinese writer Tian Han , who in 1922 published the complete text of Hamlet in its dramatic form by the publishing house "China Publishing House".

Genre and historical context

Already in the First Folio of 1623 the publishers divided Shakespeare's plays into three groups: "Comedies, Histories & Tragedies". According to modern subdivisions of the works of Shakespeare, Hamlet is counted together with Lear, Othello and Macbeth to the so-called "Great Tragedies".

The conception of tragedy in Shakespeare's time

In Elizabethan times, tragedy is usually associated with the theme of the Fall of Princes. This goes back to the classic definition at Chaucer in The Monk's Tale :

 Tragedie is to seyn a certeyn storie,
 As olde bookes maken us memorie,
 Of hym that stood in greet prosperitee,
 And is yfallen out of heigh degree
 into myserie, and endeth wrecchedly.

 Tragedy is the name of a certain story,
 as old books tell us,
 of someone who lived in great prosperity
 and who fell from high rank
 into misery, and had a bad end.

The wheel of Fortuna in an edition of Boccaccio's De casibus virorum illustrium , 1467

The life stories of Adam, Lucifer, Samson and Julius Caesar are seen as prototypes of such events. The cause of their fall is the work of the goddess Fortuna. Their tool is the wheel - Rota Fortunae , which carries some up and topples others:

 Fortunae rota volvitur descendo minoratus;
 age in altum tollitur nimis exaltatus.
 Rex sedet in vertice - caveat ruinam!
 Nam sub ax legimus Hekubam reginam.

 Fortuna's wheel, it turns around, I'm sinking, getting less,
 the other is carried up, raised too high.
 If the king sits on the ridge - beware of the trap!
 Because under the wheel we read: Queen Hecuba.

Although the work of Fortuna in some cases (example would be Caesar or Alexander the Great) can be regarded as purely arbitrary, in the understanding of tragedy of the Renaissance the idea prevails that Fortuna avenges guilt. Examples of this can be found in Giovanni Boccaccio 's De casibus virorum illustrium , in John Lydgate's Fall of Princes and in Lydgard's follow-up compilation The Mirror for Magistrates . Shakespeare uses the whole spectrum of culpable entanglement of the protagonists in his tragedies. They can be free from guilt like Romeo and Juliet or Desdemona or become victims of their crimes like Macbeth. The English translation of the tragedies of Seneca familiarizes the Elizabethan authors with the poetic processing of crimes such as incest and child murder. The first English tragedy The Tragedie of Gorboduc by Thomas Norton and Thomas Sackville was influenced by Seneca as well as Thomas Kyd's "The Spanish Tragedy" and Shakespeare's Hamlet.

Hamlet in the context of Shakespeare's "Great Tragedies"

If you compare the great tragedies with Hamlet, there are clear differences. Macbeth is considered a world drama and a classic representative of the De-casibus tragedy with the elements of "fall - rise - fall" and a restoration of order at the end. In contrast, Othello is a so-called domestic tragedy , whose hero is not a ruler, but a middle-class man and whose fate is not associated with a threat to the political order. Due to its special structure of a double drama, King Lear is considered an unusually complicated and much-discussed work. In this series, Hamlet is often seen as a typical revenge tragedy. Applying the criteria for a tragedy to Hamlet, many elements of the genre can be identified (the unfortunate fate of an heir to the throne, the death of innocent people, the fall of a usurper , the threat and restoration of state order).

Hamlet as a revenge tragedy

In contrast, the characterization of Hamlet as a revenge tragedy has repeatedly been discussed controversially. There are numerous reasons for this: in his monologues Hamlet does not deal with plans for revenge, but with his mother's incest, he condemns himself, thinks about suicide or compares himself to Fortinbras; Hamlet nowhere prepares a specific murder plan, which is in contrast to the determination with which Claudius and Laertes prepare and carry out the murder of Hamlet; In contrast to Hieronimo, Hamlet does not use the piece in the play to kill Claudius, but to gain certainty about his guilt.

Criticism and interpretation

“I am convinced that were I told that my closest friend was laying at the point of death, and that his life could be saved by permitting him to divulge his theory of Hamlet, I would instantly say: 'Let him die! Let him die! Let him die! '”

“I'm sure that if I were told that my closest friend was dying and that his life could be saved by allowing him to explain his Hamlet theory, I would immediately say, 'Let him die! Let him die! Let him die! '"

- Horace Howard Furness

Shakespeare's Hamlet is one of the most examined texts in literary and theater studies. Almost 400 scientific publications dealing with the piece are currently published annually. Any presentation of Hamlet's criticism can therefore only be fragmentary and must necessarily concentrate on the most important criticism attested to in the secondary literature.

History of the work criticism

England

Samuel Johnson, painting by Sir Joshua Reynolds (around 1772)
Samuel Taylor Coleridge, 1795

The earliest reviews of Hamlet are from the 17th century. John Evelyn wrote in 1661 about “the old play that disgusts the cultivated present”, on the other hand George Farquhar declared in 1702 that Hamlet was very popular (“ had long been the Darling of the English Audience […] ” - “was long the favorite of the English Audience ”), and a few years later (1710) the Earl of Shaftsbury, Antony Ashley Cooper, summed up his impressions with the conviction that the play consists almost entirely of the deep thoughts of the main character. Samuel Johnson criticized the workmanship of the piece, he complained about Hamlet's "senseless and arbitrary cruelty" towards Ophelia and found it terrifying to read that Hamlet had hesitated to kill Claudius while praying because his soul could then go to heaven. Coleridge shaped the image of Hamlet as a reasoning, hesitant person. Hamlet's character is " the prevalence of the abstracting and generalizing habit over the practical [...] every incident sets him thinking " ("an expression of the predominance of abstraction over the practical ... every opportunity puts him in thought"). Hamlet knows exactly what to do, always promises to act, but is constantly prevented from doing so by thinking. His passion is the infinite: " Hence, great, enormous, intellectual activity, and a consequent proportionate aversion to real action ". (“An overwhelming intellectual ability and just as great an aversion to action”.) William Hazlitt finally found the formula in 1817: “ It is we who are Hamlet ” (“We are Hamlet”).

Germany

In 1808 Schlegel gave his lectures on "Dramatic Art and Literature" in Vienna. He took the view that the poets of the early modern period were the models of the modern. Schlegel assumes that Hamlet has no faith, neither in himself nor in anything else. He called the play a "thought tragedy" and explained that Hamlet's thoughts were not contemplation that hindered the plot, as with Coleridge, they were an expression of deep skepticism, the prince not a dreamer, but a doubter.

Schlegel's translation of Shakespeare's works into verse met with prominent opposition. Goethe vehemently advocated preserving the "wild naturalness of Wieland's version". And he insisted, in agreement with Hazlitt, that reading versions of Shakespeare's plays should be given preference over a performance on a wooden stage: “It is through the living word that Shakespeare works, and this is best conveyed through reading; the listener is not distracted, neither by proper nor improper presentation ”. Similarly, Hazlitt says: “We do not like to see our author's plays acted, and least of all, Hamlet”. There is no play that suffers so much in being transferred to the stage. Hamlet himself seems hardly capable of being acted. ”In this sense, Goethe's characterization of Hamlet is to be understood:“ […] a great deed placed on a soul that is not up to the deed ”. Edwards points out that Goethe in no way shares the assumption that Hamlet did not do enough to rebel against his fate, or that his weakness was a lack of commitment. The assumption that Goethe represented a Pelagianism that enforces such a position is wrong. In fact, Goethe rejected the idea that “it is man's proud task to achieve great goals” and nothing can prevent him from doing so. Rather, Hamlet teaches , according to Goethe, that "an incomprehensible fate overthrows good and bad and throws one gender down when the next one just gets up". Thus Hamlet's weakness is only an expression of the fundamental impotence of man.

In his study of Shakespeare's works from 1839, the philosopher and former rector of the University of Halle Hermann Ulrici first considered the question of the morality of vengeance in Hamlet's case. He criticizes Goethe's interpretation and explains: “Göthe unconsciously turns him into a medieval Werther: as in Werther, here the subjective weakness is supposed to be in conflict with the objective powers of unhappy relationships that conflict with the character of the hero; in terms of value an over-great abundance of feeling, here the burden of an over-great deed placed on a vessel that breaks beneath it; here as there melancholy and melancholy about the depraved, disastrous state of the world ”. He also accuses Schlegel of updating Hamlet uncritically: "Schlegel, on the other hand, sees Hamlet as a hero of the 19th century, where intent, desire and passion are hidden behind beautiful words and external polish, where will and deed are drowned in theories and speculative thinking, where history has become the spirit of history ”. On the other hand, he makes his own judgment and states: "Hamlet is, I believe, by nature an artistic or, if you will, a philosophical spirit". He could not decide on the act imposed on him because he "did not know how to make it an internal, free act". Hamlet has "moral reservations" to follow the spirit's desire for vengeance, because in the "Christian sense it always remains a sin to kill him (Claudius) without judgment or right, of a free fist". Not brooding, "but his conscience [...] rightly hampers his activity".

In The Birth of Tragedy , Nietzsche explicitly opposes Coleridge's assessment that Hamlet was a hesitant whose mistake it was to have thought too much. Nietzsche says that the Dionysian man has similarities with Hamlet, that both had a true look into the essence of things: “[...] they have recognized , and they are disgusted to act; for their action cannot change anything in the eternal nature of things; they find it ridiculous or shameful that they are expected to restore the world that is out of joint. Knowledge kills action, action includes being veiled by illusion - that is the Hamlet doctrine, not that cheap wisdom of Hans the dreamer, who does not come to action from too much reflection, as it were from an excess of possibilities [...] " This view is expressly shared by Philip Edwards in his interpretation of the “to be or not to be” monologue.

Interpretations

Hamlet's personal identity

Hamlet's traditional character images have already been mentioned in the Historical Criticism section with reference to Goethe's notion of a sensitive hero, Coleridge's model of exaggerated inwardness, and AC Bradley's and Dover Wilson's emphasis on Hamlet's melancholy. In the twentieth century, as a result of Freud's preoccupation with Hamlet, a psychoanalytically guided perspective became the focus of preoccupation with drama. Following Freud , Ernest Jones tried to explain Hamlet's delay in revenge as an expression of the hero's Oedipus complex . Hamlet unconsciously identifies with Claudius, who realizes oedipal parricide and incest, which the hero himself suppresses . Other authors have relativized the father-son relationship in the play in favor of the mother-son relationship; Theodore Lidz turns critically against Freud's Oedipus- oriented interpretation and sees Orestes , the murderer of the mother, as a mythical reference whose matricidal impulse is the basis of Hamlet's behavior and melancholy. Jacques Lacan points out the symbolic meaning of the spirit of Hamlet's father. A number of authors have pointed to Shakespeare's reinterpretation of the Amlethus story as the cause of the ambiguity (ambiguity in the sense of William Empson ). Occasionally this consideration was radicalized to such an extent that it was assumed that it was the cause of “complete arbitrariness in the reception process”. Empson himself finally puts the admission of the helplessness of the reader / viewer in the mouth of the stage character: "The motivation of this play is just as blank to me as it is to you". (The meaning of the play is just as puzzling to me as it is to you.) Individual authors have used language to examine the change in Hamlet's character in the course of the play. At the beginning of the drama he describes himself as an authentic person. After meeting his father's spirit, he appears first as changed and then as a broken person. Later he seems to be no longer able to distinguish his fake madness from a real one and perceives it as alien. In the so-called "Closet Scene" in his mother's room (III.4), there is reconciliation between the two of them and thus, apparently, Hamlet's crisis is overcome. In the fifth act he gives up his pretended madness. It is noteworthy that Hamlet speaks almost all of the monologues before this scene. This is occasionally interpreted to mean that Hamlet's monologues are an expression of his identity crisis. Hamlet uses his own style in his monologues, irony and jokes are absent. When comparing the structure of the drama with the language of the stage character, it becomes clear that the contradictions, tensions and the constant change of moods throughout the play are reflected in Hamlet's linguistic expression. His monologues can now be understood as an (imagined) thought process and the conclusion that Hamlet's melancholy is the result of his inability to no longer grasp a world that has gone out of joint.

Political interpretations

In the academic literature, the political interpretations are derived, among other things, from references to other works and from the structure of the stage company of Hamlet. As already shown in the dating chapter, there are many allusions by Hamlet to other works of the Elizabethan period. The intertextual reference to Julius Caesar is particularly noteworthy : Polonius shows off his portrayal of Cesar on the occasion of a student theater performance and Hamlet acknowledges this with an ironic remark. This passage marks the fact that Hamlet - in the spirit of a De-casibus tragedy  - sees himself as responsible for restoring the order of the state through regicide. Indirect identification with Brutus creates a relationship with the contemporary political theory of the monarchists . The question of succession to the throne is significant for the political dimension of the drama. Denmark is presented as an elective monarchy. However, as the king's son, Hamlet would have had the first right of access. When it comes to evaluating King Claudius, most authors agree. Although Claudius can be seen as a legitimate ruler in the context of an elective monarchy, as the secret murderer of his brother he is a usurper. Although he successfully protects the country from a new war through clever diplomacy, he behaves like an unscrupulous tyrant towards Hamlet and employs a foreign mercenary troop as a ruler who is suspicious of his own people. In addition to the titular hero and King Claudius, two typical courtiers, Rosencrantz and Guildenstern, as representatives of the hierarchically organized stage company, were examined for their political significance in the drama. Hamlet despises their submissive demeanor by devaluing Claudius. The attitude of the courtiers is seen in literature as "blind crawling" and that of Hamlet in this context as "republican in sentiment". As in many of Shakespeare's dramas, Hamlet lacks members of the Elizabethan middle class. Instead, with the gravediggers, the representatives of the lower social classes are expressly honored. This scene has led to diverse interpretations by Marxist Shakespeare critics and representatives of cultural materialism. The carnival-like character of the scene, the diagnosis of time and the role of death as a leveler as well as the status of Hamlet as a representative of the social transition to the bourgeois individual were emphasized.

Gender-related interpretive approaches

Under this heading, three sets of questions are dealt with: Hamlet's misogyny and the peculiarities of the two female characters Gertrude and Ophelia.

Hamlet's misogynist attitude and disgust for sexuality is evident. Usually the cause of this attitude is seen as an expression of early modern subjectivity rather than a moral deficit. Hamlet's feminine self-description is striking in this context. Hamlet's assessment of this feminine component stands in clear contrast to the attitude of Laertes, who wants to banish the feminine parts of the character. The tendency to view one's own male weakness as an expression of femininity is in accordance with a stereotype widespread in the Renaissance that women were a “weaker vessel”, an inferior variant of the man.

While in Shakespeare's source, the Hamleter story in Belleforest, Gertrude is portrayed as an adulterous woman as a matter of course, Shakespeare leaves the question open whether Gertrude and Claudius were still having a relationship during King Hamlet's lifetime. Here, too, his portrayal is characterized by expressing ambiguity in the spirit of Empson. Feminist interpretations have taken two extreme positions on this issue. Some authors have rejected the adultery thesis, others are of the opinion that Gertrude promoted the murder of King Hamlet out of sexual interest in Claudius. In the relationship between Hamlet and Gertrude, the interpreters agree that Hamlet makes the incest accusation above all against his mother and not against his real enemy, his father's murderer. It is noteworthy that the portrayal of Gertrude is consistently free of negative features regardless of Hamlet's judgment.

The figure of Ophelia is conceived as a “victim of a patriarchal environment”. She is patronized by her father and brother and is obedient without resistance. Hamlet's attitude towards Ophelia changes after his attitude towards his mother has turned negative. In the first eavesdropping scene (Hamlet III, 1.) And during the "game within the game" (Hamlet III, 2.) He behaves in a dismissive and inconsiderate manner towards his beloved. Dover Wilson explained this attitude to Hamlet in such a way that he knew that Ophelia consented to the espionage campaign against him. Regardless of Ophelia's largely passive victim role and the negative reviews by Hamlet, Ophelia, like Gertrude, is portrayed as remarkably positive. She is very sensitive to her lover and, unlike everyone else, realizes the catastrophic degree of change that Hamlet has undergone. Their language is "characterized by the highest lyrical intensity". As a result, there is a powerful reception of this figure. Thus, Gaston Bachelard spoke in reference to the "phantasmagoric syndrome of femininity, madness, water and death" from a "Ophelia complex". The references to Ophelia range from the Gretchen figure in Goethe's Faust, via Eugène Delacroix, to Lacan's pseudo-etymological interpretations. Ophelia's madness and her death have given rise to a variety of interpretations: as an expression of “liberation from silence, obedience and coercion” or as a result of patriarchal oppression. The language of Ophelia has also become the subject of our own research. What is striking is Ophelias' so-called “quotation” in the delusion of fragmented language, which no longer finds its own words and constantly refers to foreign texts.

Performance history and cast

Little is known about the performances in the first half of the 17th century. Richard Burbage is believed to be the Hamlet cast of the premiere. It is true that the title of Quarto 1 says: “it hath beene diuerse times acted”, but there are no independent witnesses to these performances. The authenticity of the performance from 1607 (see: dating of the early performances ) is controversial and a performance in the Globe Theater is nowhere proven. The first performances at court date from 1619 and 1637.

Hamlet on English speaking stages

Thomas Betterton, painting by Godfrey Kneller

Immediately after the restoration began, the piece was performed again. From 1661 Thomas Betterton played the main role. He played Hamlet in numerous performances throughout his later life over a period of 48 years. Contemporary witnesses reported that he was able to portray the young prince convincingly even in old age. David Garrick played Hamlet between 1742 and 1776 over a period of 34 years. His portrayal is known for two specialties: at the first sight of the ghost, his hair stood up and when the ghost appeared in Gertrude's chamber, the chair on which he was sitting always collapsed. His defensive hand position in the first act when the ghost appeared was characteristic of his portrayal. Garrick's art of representation has found a humorous expression in Henry Fielding's novel "Tom Jones". Tom's companion Partridge comments attentively and quick-wittedly on David Garrick's portrayal of Hamlet and criticizes the famous actor with the disarming remark: “I am sure, if I had seen a ghost, I should have looked in the very same manner, and done just as he did ". The report by Georg Christoph Lichtenberg , who saw his Hamlet twice in 1775 and wrote enthusiastically about it in his letters to Heinrich Christian Boie , also proves the high, international reputation of Garrick's presentation at that time .

Sarah Bernhardt around 1864 (Photo by Nadar )

John Philip Kemble played Hamlet between 1783 and 1817 over a period of 34 years. He was known for a faithful and historicizing representation. A painting by Sir Thomas Lawrence shows him in the iconic representation with a black robe and Yorick's skull. Edmund Kean gave Hamlet for almost twenty years from 1814 to 1832. He was known for his sometimes exaggerated style of representation and invented the so-called "crawling", while playing in the game he crawled up to the king. In the second half of the 19th century, Henry Irving stood out as Hamlet. He convinced with a differentiated character portrait (Dieter Mehl) and the ability to let the monologues work like "heard thinking". Towards the end of the 19th century, two actors draw attention to themselves. Herbert Beerbohm Tree gave a sentimental prince in a production with very elaborate equipment and Sarah Bernhardt played Hamlet in a trouser role as a youth. She justified this with the fact that only an experienced actor can do justice to the role and a very young man can be portrayed more convincingly by a woman than by a man. The critics attested to her that she had contributed to correcting the image of a weak Hamlet, which was shaped by Goethe's interpretation. She spoke the role in French, which didn't bother the English audience familiar with the text, as did the portrayal of Tommaso Salvini , who gave Hamlet and Otello in London in 1875 and spoke the roles in Italian.

Hamlet on German-speaking stages

After the presumably first performance of a version of Hamlet in Dresden in June 1626, Wieland's prose transmission of Shakespeare's works made the prince known to a wide audience. The first performance of Hamlet in a version based on Wieland / Eschenburg dates from 1773 in Vienna. A few years later (1776) Friedrich Ludwig Schröder staged Hamlet in Hamburg with Johann Franz Brockmann as the main actor. Brockmann's portrayal contributed significantly to the play's popularity. A monograph, a series of engravings and a commemorative coin were published in his honor. After Brockmann moved to Vienna, Schröder himself took on the role of prince. He published the text of his Hamlet production, which gives an impression of how extensive his interventions were. So Hamlet "survives" and becomes ruler of Denmark. Schröder's text also served other stages for performances and was extremely influential by the end of the 18th century. In 1792 and 1801 (then with a “tragic” ending) Goethe performed Schröder's version in Weimar.

Horst Caspar as Hamlet in a performance at the Deutsches Theater , Berlin, 1945

Consistent with Goethe's understanding and interpretation of Hamlet in Wilhelm Meister as a failing person, Pius Alexander Wolff's Hamlet in Schlegel's translation became a great success from 1809 onwards . In the first half of the 19th century, Goethe shaped the understanding of the play and performance practice in Germany, which is reflected in comments in the biography of Goethe by the English literary critic George Henry Lewes , published in 1855 . In the second half of the 19th century, Emil Devrient became the most popular Hamlet actor. He gave the Prince over 150 times and was received by Queen Victoria after guest appearances in London and invited by the Garrick Club . The most important Hamlet actor at the turn of the 20th century was Josef Kainz . His portrayal of the prince emphasized Hamlet's intelligence and quick-wittedness rather than his indecision and thus marks the dwindling influence of Goethe. Kainz himself had a great influence on Max Reinhardt's directorial work . He tried out his new staging style, among other things, in the contrasting modes of representation of Hamlet with Alexander Moissi and Albert Bassermann . With Fritz Kortner in the lead role, Leopold Jessner staged a political Hamlet at the Schauspielhaus Berlin in 1926 . This performance takes place almost at the same time as the first non-historicizing (modern-dress) production by Barry Jackson and HK Ayliff with Colin Keith-Johnston in the lead role at the Kingsway Theater in London in 1925 and, in the case of the Hamlet performances, marks a break with traditional theater practice.

After Hitler came to power, actors and directors were also expelled. Jessner, Kortner and Reinhardt left Germany. The ideology of the Nazis promoted a heroic image of Hamlet and this was successfully served by Gustaf Gründgens in 1936 . In the same years Horst Caspar gave an “out of date” Hamlet, who was described as more authentic. Shortly after the end of the war, he played Hamlet again at the Deutsches Theater Berlin under Gustav von Wangenheim, together with actors who had returned from exile.

Of the modern productions, the Hamlet Maximilian Schell is particularly worth mentioning. Schell was dissatisfied with his first depiction from 1963 under Gründgens. From 1968 he therefore staged the prince as an unconventional daredevil (Dieter Mehl) in his own adaptation and described this in 1981 as a restoration of authentic Shakespeare and deliberate demarcation from Goethe, whom he accuses (based on Hermann Ulrici) of Shakespeare's Hamlet through the glasses of own work, especially Werther's. At the same time, theater people in the GDR were looking for a relationship to classical music that had been emancipated from tradition. A production by Adolf Dresen with a translation by Dresen and Maik Hamburger was officially canceled in Greifswald in 1964 . In the years that followed, there was less paternalism on the part of the authorities, and Hamburger's translation was acknowledged in a 1989 communication from the Weimar Shakespeare Society.

The long reception of Shakespeare in Germany has not only resulted in intensive work on the texts, but also in theater work that is keen to experiment. The unusual Hamlet productions of recent years are an example of this. The play was played twice on German stages in an uncut version, first in 1982 at the Berlin Schaubühne under Klaus Michael Grüber with Bruno Ganz in the leading role and in 1995 at the Schauspielhaus Bochum by Frank-Patrick Steckel . In February 1990 Heiner Müller attracted attention in Berlin with his double performance Hamlet / Die Hamletmaschine with Ulrich Mühe . In the middle of the process of the reunification of Germany, he addressed a "high-tech end-time spectacle" (Hortmann). Interest in the play continues unabated on German-speaking stages, with 15 to 20 Hamlet productions being staged annually until the recent past. But with Heiner Müller's Shakespeare deconstruction during the fall of the Berlin Wall, another turning point has occurred in the performance history of the play. One could say that his political mission has been fulfilled, that he has been relieved of the burden and severity of meaning, and that theatrical practice is given the opportunity to take a fresh approach to Shakespeare's sad prince.

Settings

Of the arrangements for the opera stage, only the French opera Hamlet by Ambroise Thomas from 1868 was able to achieve a certain position in the international repertoire of opera houses. Francesco Gasparini's opera, entitled Ambleto , was played all over Europe for a time and was presented in London in 1712 by the castrato soprano Nicolò Grimaldi , known as Nicolini, but then quickly disappeared from the repertoire. The setting Amleto by Franco Faccio from 1865 was long forgotten, but saw several productions in the 2010s. Franz Liszt created the symphonic poem Hamlet in 1858 , which was not premiered until 1876. In 1980 Hermann Reutter's Hamlet was premiered in Stuttgart. Wolfgang Rihm's music theater piece based on Heiner Müller's adaptation The Hamlet Machine (premiered in Mannheim 1987) was brought out as a rediscovery by the Zurich Opera House in 2016. The Komische Oper Berlin premiered Hamlet - 12 music-dramatic tableaux by Christian Jost in 2009 . The Theater an der Wien showed in 2016 the Hamlet of Anno Schreier . In February 2017, the material was premiered in the setting by Timo Jouko Herrmann at the Dortmund Opera . Also in 2017 at the Glyndebourne Festival, Brett Dean's opera Hamlet premiered with great success.

Richard Strauss set three songs by Ophelia to music (published in 1919 in the 6 songs collection as op. 67.1–3) in the translation by Ludwig Seeger .

Ballets

One of the first Hamlet ballets was created by Francesco Clerico in Venice with Amleto in 1788 . In 1816 the ballet Hamlet by Louis Henry was published in Paris based on the music of Count Wenzel Gallenberg . In 1934 Bronislava Nijinska and her company brought out a Hamlet ballet based on music by Franz Liszt in Paris . On May 19, 1942, the world premiere of a ballet of the same name based on the choreography by Robert Helpmann in London based on the music of Tchaikovsky. Victor Gsovsky's ballet on November 19, 1950 at the Bavarian State Opera in Munich was also a great success . Other Hamlet ballets were created by Helga Swedlund (Hamburg 1952), Tatjana Gsovsky (Berlin 1953, Stuttgart 1954), Yvonne Georgi (Hanover 1962), Konstantin Sergejew (Leningrad 1970), Wachtang Tschabukiani (Tblissi 1971) and with the title Hamlet: Connotations John Neumeier (New York 1976, based on music by Aaron Copland ).

Film adaptations

Shakespeare's works have often been made into films. An overview lists 400 titles. The entries in a census from 1990 are much more extensive. Up to this year alone, 184 films and videos for the three great tragedies (Hamlet, Lear and Macbeth) are listed there. Although there are more than 50 film adaptations and recordings of Hamlet, literary scholars in reviews usually only highlight a few films as independent and worth mentioning. In addition to the film adaptation of Svend Gade and Heinz Schall with Asta Nielsen as female Hamlet from 1920/21, Laurence Olivier's work from 1948 and Kosinzew’s film from 1964 are highlighted. Olivier's production was the only Shakespearean film to date to win an Oscar for Best Picture . Branagh's unabridged version from 1996 , like Almereyda's adaptation of Hamlet from 2000, is viewed rather critically. At most, Franco Zeffirelli's film from 1990 with Mel Gibson in the leading role is also mentioned. In the 2008/2009 season, the Royal Shakespeare Company (RSC), under the direction of Gregory Doran, turned to the subject again, the successful production with David Tennant (Prince Hamlet) and Patrick Stewart (Claudius / King Hamlet) in the leading roles Filmed with the same cast and with the support of the BBC . After being broadcast in the US by PBS the following year, Stewart was nominated for an Emmy Award for his portrayal of the ghost of King Hamlet .

swell

Text output

English

  • Charlton Hinman, Peter WM Blayney (Ed.): The Norton Facsimile. The First Folio of Shakespeare. Based on the Folios in the Folger Library Collection. 2nd Edition. WW Norton, New York 1996, ISBN 0-393-03985-4 .
  • Edmond Malone (Ed.): The Plays and Poems of William Shakespeare. Oxford 1790.
  • Edmund Kerchever Chambers (Ed.): William Shakespeare. Warwick Shakespeare 1894. Volume 2.
  • John Jowett, William Montgomery, Gary Taylor, Stanley Wells (Eds.): The Oxford Shakespeare. The Complete Works. 2nd Edition. Oxford University Press, Oxford 2005, ISBN 978-0-19-926718-7 .

German

  • Ernst Stadler (ed.): Wielands Collected Writings. II. Department: Translations. Vol. 1–3: Shakespeare's theatrical works , Vol. 3 Hamlet, Prince of Denmark. Berlin 1909–1911, reprinted Hildesheim 1987.
  • Johann Joachim Eschenburg: William Shakespeare's plays . 12 volumes, Zurich 1775–1777.

Bilingual edition English-German

  • William Shakespeare. Complete Works. English German. Zweiausendeins, Frankfurt 2010, ISBN 978-3-86150-838-0 .

Editions of the print versions of 1603, 1604 and 1623.

  • Albert Weiner (Ed.): Hamlet. The First Quarto 1603. 1962.
  • Kathleen O. Irace (Ed.): The First Quarto of Hamlet. Cambridge 1998.
  • Thomas Marc Parrott , Hardin Craig (eds.): The Tragedy of Hamlet: a critical edition of the second Quarto. 1938.
  • Paul Bertram, Bernice W. Kliman (Eds.): The Three-Text Hamlet. Parallel Texts of the First and Second Quartos and the First Folio. New York 1997.

Annotated single editions in English

  • William George Clark, J. Glover, William Aldis Wright (Eds.): Hamlet. Cambridge Shakespeare. (1863-6) Vol. 8 Cambridge 1866.
  • Horace H. Furness (Ed.): Hamlet. A New Variorum Edition. 2 vol. London 1877
  • Edward Dowden (Ed.): Hamlet. The Arden Shakespeare. London 1899.
  • Arthur Wilson Verity (Ed.): The Tragedy of Hamlet. The Student's Shakespeare. Cambridge 1904.
  • John Dover Wilson (Ed.): The Tragedy of Hamlet. The New Cambridge Shakespeare. Cambridge 1934.
  • George L. Kittredge (Ed.): Hamlet. Boston 1936.
  • Edward Hubler (Ed.): The Tragedy of Hamlet. Prince of Denmark. The Signet Classic Shakespeare. New York 1963.
  • Bernhard Lott (Ed.): Hamlet. The New Swan Shakespeare. London 1968.
  • G. Blakemore Evans (Ed.): The Tragedy of Hamlet. Prince of Denmark. The Riverside Shakespeare. Boston 1974.
  • Terence John Bew Spencer (Ed.): Hamlet. The New Penguin Shakespeare. Harmondsworth 1982.
  • Harold Jenkins (Ed.): Hamlet. The Arden Shakespeare. Second series. London 1982.
  • Philip Edwards (Ed.). Hamlet, Prince of Denmark. New Cambridge Shakespeare. Cambridge 1985, 2003, ISBN 978-0-521-53252-5 .
  • George Richard Hibbard (Ed.): Hamlet. The Oxford Shakespeare. Oxford University Press, Oxford 1987, 2008, ISBN 978-0-19-953581-1 .
  • Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006, ISBN 978-1-904271-33-8 .
  • Ann Thompson, Neil Taylor (Eds.): Hamlet. The Texts of 1603 and 1623. The Arden Shakespeare. Third Series. Volume 2, London 2006, ISBN 1-904271-80-4 .
  • Jonathan Bate, Eric Rasmussen (Eds.): Hamlet. The RSC Shakespeare. Houndmills 2008, ISBN 978-0-230-21787-4 .

Single editions German (read versions)

  • Dietrich Klose (ed.): August Wilhelm Schlegel: Hamlet, Prince of Denmark. Stuttgart 1969.
  • Joachim Krueger (Ed.): Theodor Fontane W. Shakespeare's Hamlet. Berlin 1842, 1966.
  • Friedrich Bodenstedt (Ed.): Hamlet, Prince of Denmark. Leipzig 1870.
  • Gerhart Hauptmann (Ed.): The tragic story of Hamlet, Prince of Denmark in German. Weimar 1928.
  • Rudolf Schaller (Ed.): Hamlet, Prince of Denmark. Berlin 1964.
  • Erich Fried (Ed.): Shakespeare Translations: Hamlet - Othello. Berlin 1972.

Bilingual annotated single editions English-German

  • Frank Günther (Ed.): Hamlet. Bilingual edition. With an essay and references by Manfred Pfister. Deutscher Taschenbuch Verlag, Munich 2010, ISBN 978-3-423-12483-6 .
  • Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008, ISBN 978-3-86057-567-3 .

literature

English secondary literature

German-language secondary literature

Edition comments

  • Jonathan Bate, Eric Rasmussen (Eds.): William Shakespeare: Hamlet. MacMillan, London 2008, ISBN 978-0-230-21787-4 , pp. 1-25 and 153-233.
  • Philip Edwards: (Ed.): William Shakespeare: Hamlet, Prince of Denmark. The New Cambridge Shakespeare. Cambridge University Press, Cambridge 2003, ISBN 978-0-521-53252-5 , pp. 1-82.
  • Norbert Greiner, Wolfgang G. Müller (Eds.): William Shakespeare: Hamlet. English-German study edition. Stauffenberg Verlag, Tübingen 2008, ISBN 978-3-86057-567-3 , pp. 15-74 and 419-535.
  • GR Hibbard (Ed.): William Shakespeare: Hamlet. The Oxford Shakespeare. Oxford University Press, Oxford 1987, ISBN 978-0-19-953581-1 , pp. 1-130.
  • Harold Jenkins (Ed.): William Shakespeare: Hamlet. The Arden Shakespeare. Second series. Methuen, London 1982, ISBN 978-0-17-443469-6 , pp. 1-159.
  • Barbara Mowat, Paul Werstine (Eds.): William Shakespeare: Hamlet. Simon & Schuster, New York 2012, ISBN 978-0-7434-7712-3 pp. XIII-LV and 319–338.
  • Manfred Pfister: Hamlet and no end. In: Frank Günther (Ed.): William Shakespeare: Hamlet. Bilingual edition. dtv, Munich 2010, ISBN 978-3-423-12483-6 , pp. 364-391.
  • Ann Thompson, Neil Taylor (Eds.): William Shakespeare: Hamlet. The Arden Shakespeare. Third Series. Volume 1, Thompson Learning, London 2006, ISBN 978-1-904271-33-8 , pp. 1-137.
  • Ann Thompson, Neil Taylor (Eds.): William Shakespeare: Hamlet. The Texts of 1603 and 1623. The Arden Shakespeare. Third Series. Volume 2, Bloomsbury, London 2006, ISBN 978-1-904271-80-2 , pp. 1-37.

Web links

Wikisource: Hamlet  - Sources and full texts
Wikiquote: William Shakespeare: Hamlet - The Tragedy of Hamlet  - Quotes
Commons : Hamlet  - collection of pictures, videos and audio files
  • Hamlet Works Homepage of the editor of the "New Variorum" around Bernice W. Kliman with the experimental edition "Enfolded Hamlet".

supporting documents

Note on the citation style and the abbreviations of the literature used.

Due to the discrepancies between folio and quarto-based editions, the text of Shakespeare's "Hamlet" is quoted after the annotated bilingual edition by Norbert Greiner and, in parallel, after the third Arden edition. Wherever it appeared sensible or was referred to, the page number of the detailed commentary by Wolfgang G. Müller is also given. The text of the English-German study edition is based on the popular Penguin Classics published by TJB Spencer and, in the case of the Hamlet, is F1-based. The first volume of the Arden³ edition reproduces the Q2 text. The numbers "I, 1, 118" mean: 1st act, 1st scene, line 118.

  1. ^ B. Tandon: Victorian Shakespeare. In: M. Bevis: The Oxford Handbook of Victorian Poetry . OUP 2013. p. 201. Quoted from: Dympna Callaghan: Hamlet. Language and Writing . London 2015. p. 1.
  2. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 5, 74-79. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 5, 74-79. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Commentary I.5) pp. 442–445.
  3. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 2, 72-74. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 2, 71-73. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.2) pp. 483–485.
  4. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 3, 88. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 3, 88. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.3) pp. 487-490.
  5. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: IV, 3, 53f. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: IV, 3, 52-54. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment IV.3) pp. 498–500.
  6. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: IV, 6, 13–32. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: IV, 6, 13-31. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment IV.6) p. 508f.
  7. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: V, 2, 255–347. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: V, 2, 243-342. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment V.2) pp. 531-534.
  8. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 1, 79-95. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 1, 78-94. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.1) p. 422.
  9. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 2, 17–39. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 2, 17-39. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.2) p. 425f.
  10. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 1, 95-107. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 1, 94-106. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.1) p. 422.
  11. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 1, 105-107. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 1, Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.1) p. 422.
  12. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 2, 28-39. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 2, 28-39. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.2) p. 426.
  13. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: II, 2, 60–80. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: II, 2, 60-80. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment II.2) p. 455.
  14. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: IV, 4, 1-7. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: IV, 4, 1-7. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment IV.4) pp. 500–502.
  15. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: V, 2, 365f. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: V, 2, 365f. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment V.2) p. 534.
  16. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 3, 99f. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 3, 98f. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.3) pp. 435–437.
  17. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 1, 43–161. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006: 42-160. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.1) pp. 467–476.
  18. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: IV, 7, 162-182. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: IV, 7, 162-181. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment IV.7) pp. 512-514.
  19. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 5, 9–13. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 5, 9-13. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.5) p. 441.
  20. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 5, 74-79. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 5, 74-79. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.5) p. 444.
  21. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 5, 34–40. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 5, 34-40. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.5) p. 442.
  22. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 5, 59–73. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 5, 59-73. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.5) p. 444.
  23. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 5, 25. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 5, 25. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.5) p. 442.
  24. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 2, 163f. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 2, 163f. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.2) p. 434.
  25. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 2,112-120. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 2,112-120. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.2) p. 429.
  26. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 1, 21. Ann Thompson, Neil Taylor (eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 1, 20. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.1) pp. 419-424.
  27. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 2, 1-14. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 2, 1-14. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.2) pp. 424–435.
  28. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 2, 17–39. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 2, 17-39. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.2) p. 425f.
  29. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 2, 42–63. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006: 42-63. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.2) p. 426f.
  30. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 2, 112–117. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 2, 112-17. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.2) p. 429.
  31. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 2, 129–159. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 2, 129-159. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.2) pp. 430–433.
  32. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 3, 1-51. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 3, 1-51. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.3) pp. 435–437.
  33. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 3, 88-136. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006: 87-135. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.3) pp. 435–437.
  34. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 2, 189. Ann Thompson, Neil Taylor (eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 2, 188. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.2) pp. 433-435.
  35. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 4, 1-4 and 38. Ann Thompson, Neil Taylor (eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 4, 1-4 and 38. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.4) pp. 438–440.
  36. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 5, 38-40. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 5, 38-40. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.5) p. 442.
  37. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 5, 25. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 5, 25. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.5) p. 444f.
  38. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 5, 144-146. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 5, 143-144. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.5) p. 449.
  39. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 5, 171f. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: I, 5, 169f. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment I.5) p. 448f.
  40. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: II, 1, 1-73. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: II, 1, 1-71. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (commentary) p. 451f.
  41. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: II, 1, 74–119. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: II, 1, 71-116. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment II.1) p. 452f.
  42. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: II, 2, 1-18. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: II, 2, 1-18. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment II.2) p. 454.
  43. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: II, 2, 60–85. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: II, 2, 60-85. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment II.2) p. 455f.
  44. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: II, 2, 162f. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: II, 2, 159f. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment II.2) p. 457.
  45. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: II, 2, 289. Ann Thompson, Neil Taylor (eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: II, 2, 258. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment II.2) p. 460.
  46. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: II, 2, 380–383; 411-421; 521-523 and 590f. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: II, 2, 326-329; 359-370; 472-474 and 539f. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment II.2) pp. 462–466.
  47. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: II, 1, 5-10 and 22f. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 1, 5-10 and 22f. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.1) p. 466f.
  48. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 1, 28–55. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 1, 28-54. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.1) p. 467f.
  49. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 1, 56–90. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 1, 55-89. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.1) pp. 468–472.
  50. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 1, 91–149. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 1, 89-148. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.1) pp. 472–476.
  51. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 1, 162–175 and 176–188. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 1, 161-174 and 175-187. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.1) p. 476f.
  52. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 2, 1-43; 75-81 and 86. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 2, 1-43; 74-83 and 86. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.2) pp. 477–479.
  53. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 2, 245-260. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 2, 248-262. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.2) pp. 479–486.
  54. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 2, 319 and 360. Ann Thompson, Neil Taylor (eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 2, 323f and 365. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.2) p. 486f.
  55. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 3, 1–7; 27f; 36-72 and 73-96. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 3, 1-7; 27f; 36-72 and 73-96. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.3) pp. 487-490.
  56. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 4, 1f; 8 and 16. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 4, 1f; 8 and 16. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.4) pp. 491–495.
  57. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 4, 17–24. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 4, 17-24. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.4) p. 491f.
  58. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 4, 91-94; 110-115 and 139-141. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 4, 89-92; 106-111 and 135f. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.4) p. 493.
  59. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 4, 146–148 and 199–201. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: III, 4, 142-144 and 195-197. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment III.4) p. 494.
  60. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: IV, 1, 13 and 36. Ann Thompson, Neil Taylor (eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: IV, 1, 13 and 36. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment IV.1) p. 496.
  61. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: IV, 2, 1 and 28. Ann Thompson, Neil Taylor (eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: IV, 2, 1 and 28. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment IV.2) p. 497f.
  62. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: IV, 3, 53f and 64. Ann Thompson, Neil Taylor (eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: IV, 3, 51-53 and 62f. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment IV.3) pp. 498–500.
  63. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: IV, 4, 65f. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: IV, 4, 64f. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment IV.4) pp. 500–502.
  64. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: IV, 5, 2f and 112f. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: IV, 5, 2f and 112f. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment IV.5) pp. 502–508.
  65. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: IV, 6, 13–32. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: IV, 6, 13-31. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment IV.6) p. 508f.
  66. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: IV, 7, 42–45; 132-137 and 162. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: IV, 7, 43-46; 132-137 and 162. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment IV.7) pp. 509–5014.
  67. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: V, 1, 1–27; 209; 229 and 246. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: V, 1, 1-29; 211; 231 and 247. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment V.1) pp. 514-523.
  68. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: V, 2, 56f; 141-149; 269f; 298f; 302-316; 317-321; 328-338; 345 and 384f. Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: V, 2, 56; 127-136; 257f; 294f; 298-311; 313-316; 323-333; 340 and 380. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment V.2) pp. 523-535.
  69. ↑ Geoffrey Bullough (Ed.): Narrative and Dramatic Sources of Shakespeare. 8 vols. London and New York 1957-1975.
  70. ↑ Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: p. 61.
  71. ↑ Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: p. 59.
  72. ↑ Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: p. 59. Quote: Once it is conceded […] that we are not looking for just one "precise date" but a process of production […] it becomes possible to admit that a Version of Hamlet by Shakespeare may date back to 1589, or even earlier [...]
  73. ^ Ulrich Suerbaum: Shakespeare's dramas. Basel 2001. p. 283.
  74. ↑ Michael Dobson, Stanley Wells: The Oxford Companion to Shakespeare. Oxford University Press, Oxford 2001. P. 350.
  75. ^ Ulrich Suerbaum: Shakespeare's dramas. Basel 2001. p. 287.
  76. ^ Ulrich Suerbaum: Shakespeare's dramas. Basel 2001. p. 289.
  77. ^ Wieland to Sulzer, 1758; Stadler, Wielands Shakespeare, p. 9. Quoted from Ulrich Suerbaum: Shakespeares Dramen. Basel 2001. p. 287.
  78. ^ Ulrich Suerbaum: Shakespeare's dramas. Basel 2001. p. 287.
  79. ^ Ulrich Suerbaum: Shakespeare's dramas. Basel 2001. p. 290.
  80. ↑ Ulrich Suerbaum: Shakespeare's Dramen , Basel 2001, p. 292.
  81. ^ The Cambridge History of English and American Literature in 18 Volumes (1907–1921). Volume V. The Drama to 1642, Part One. XII. Shakespeare on the Continent § 11. The Translations of La Place, and their effect on Voltaire and French Criticism.
  82. ↑ Bernice W. Kliman (Ed.): Latin American Shakespeares. 2005. p. 29.
  83. ↑ Michael Dobson, Stanley Wells: The Oxford Companion to Shakespeare. Oxford University Press, Oxford 2001. p. 20.
  84. ^ Margareta de Grazia, Stanley Wells (ed.): The Cambridge Companion to Shakespeare. Cambridge University Press, Cambridge 2001. p. 261.
  85. ^ Yanna Sun Shakespeare in China . P. 18f. English-language dissertation from 2008 at the University of Dresden.
  86. ^ Ulrich Suerbaum: Shakespeare's dramas. Basel 2001. p. 174.
  87. ↑ Geoffrey Chaucer. Works. Ed. FN Robinson. 2nd Ed. P. 189. Quoted from Suerbaum p. 171.
  88. ↑ Carmina Burana. No. 16, "Fortune plango vulnera", line 17.
  89. ^ Ulrich Suerbaum: Shakespeare's dramas. Basel 2001. p. 173.
  90. ^ Ulrich Suerbaum: Shakespeare's dramas. Basel 2001. pp. 175f.
  91. ↑ Jonathan Bate, Eric Rasmussen (Ed.): Hamlet. The RSC Shakespeare. Houndmills 2008. p. 6.
  92. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008. S. 37f.
  93. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008. S. 37f.
  94. ^ Horace Howard Furness 1908, in: Ann Thompson, Neil Taylor (eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006. p. 1.
  95. ↑ Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006. p. 2.
  96. ↑ Philip Edwards (Ed.). Hamlet, Prince of Denmark. New Cambridge Shakespeare. Cambridge 1985, 2003. p. 32.
  97. ^ John D. Jump: Shakespeare "Hamlet": Selection of Critical Essays. (Casebook Series), London 1968. Quoted from Dieter Mehl: Hamlet. P. 71.
  98. ↑ Philip Edwards (Ed.): Hamlet, Prince of Denmark. New Cambridge Shakespeare. Cambridge 1985, 2003. p. 32.
  99. ↑ Philip Edwards (Ed.). Hamlet, Prince of Denmark. New Cambridge Shakespeare. Cambridge 1985, 2003. p. 33.
  100. ↑ Brown Handbook, pp. 160 f.
  101. ↑ Philip Edwards (Ed.): Hamlet, Prince of Denmark. New Cambridge Shakespeare. Cambridge 1985, 2003, p. 34.
  102. ^ Ulrich Suerbaum: Shakespeare's dramas. Basel 2001. p. 291.
  103. ^ Johann Wolfgang Goethe: Shakespeare and no end. In: Hamburger Ausgabe, Vol. 12, p. 296. Quoted from Suerbaum, p. 293.
  104. ^ William Hazlitt: Characters of Shakespear's Plays. Second edition. Taylor and Hessey, London 1818. p. 113.
  105. ^ Johann Wolfgang von Goethe: Wilhelm Meisters apprenticeship years. IV, 13th p. 263.
  106. ^ Rebecca West: The Court and the Castle. 1958. p. 64 f.
  107. ↑ Philip Edwards (Ed.): Hamlet, Prince of Denmark. New Cambridge Shakespeare. Cambridge 1985, 2003, p. 33.
  108. ↑ Philip Edwards (Ed.): Hamlet, Prince of Denmark. New Cambridge Shakespeare. Cambridge 1985, 2003, p. 34.
  109. ^ Hermann Ulrici: About Shakspeare's dramatic art (1839). Pp. 227-248.
  110. ^ Hermann Ulrici: About Shakspeare's dramatic art (1839). P. 228.
  111. ^ Hermann Ulrici: About Shakspeare's dramatic art (1839). P. 229.
  112. ^ Hermann Ulrici: About Shakspeare's dramatic art (1839). Pp. 231-234.
  113. ↑ Philip Edwards (Ed.): Hamlet, Prince of Denmark. New Cambridge Shakespeare. Cambridge 1985, 2003, p. 35.
  114. ↑ Friedrich Nietzsche: The Birth of Tragedy . P. 50.
  115. ↑ Philip Edwards (Ed.): Hamlet, Prince of Denmark. New Cambridge Shakespeare. Cambridge 1985, 2003, p. 48: “ Whether Hamlet kills the king or not, Denmark will continue to be a prison […] ”.
  116. ^ Johann Wolfgang von Goethe: Wilhelm Meisters apprenticeship years. IV, 14th
  117. ^ Samuel Taylor Coleridge, Shakespeare Criticism . Everyman Ed. 2 vols. London 1960, I, p. 34.
  118. ^ AC Bradley, Shakespearean Tragedy (London 1904) p. 127 and John Dover Wilson What happens in Hamlet. P. 226. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: (Interpretation 5.2) p. 41f.
  119. ↑ Sigmund Freud: Die Traumdeutung p. 224. "The piece is based on Hamlet's hesitation to fulfill the task of revenge assigned to him [...]"
  120. ↑ Ernest Jones. Hamlet and Oedipus. (London 1949). Horst Breuer. On the methodology of the Hamlet interpretation by Ernest Jones. Shakespeare Yearbook (West) 1973 pp. 144–171.
  121. ^ Theodor Lidz. Hamlets Enemy. Madness and Myth in Hamlet. London 1975.
  122. ↑ Jacques Lacan. Desire an the Interpretation of Desire in Hamlet. In: Literature and Psychoanalysis. 1982 pp. 11-52. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: (Interpretation 5.2) p. 43f.
  123. ↑ Arthur JA Waldock. Hamlet. A study in Critical Method. Cambridge 1931. JM Robertson. Hamlet once more. London 1923. Levin Ludwig Schücking . The sense of Hamlet. Leipzig 1935. EE Stoll. Hamlet the Man. London 1935.
  124. ^ LC Knights. Exploration. Harmondsworth 1964 p. 85.
  125. ^ William Empson. Hamlet when New. Sewanee Review 61 (1953) pp. 15-42. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: (Interpretation 5.2) p. 44.
  126. ↑ "I have that within wich passeth show." Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 2, 85. (Introduction 5.2) p. 45.
  127. ↑ "To put an antic disposition on." Norbert Greiner, Wolfgang G. Müller (ed.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 5, 172. “O, what a noble mind is here o'erthrown.” Norbert Greiner, Wolfgang G. Müller (ed.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: III, 1, 150–154. (Introduction 5.2) p. 45.
  128. ^ "His madness is poor Hamlet's enemy." Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: V, 2, 222-228. (Introduction 5.2) p. 45.
  129. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Introduction 5.2) p. 46.
  130. ↑ The only monologue in the second half of the piece (IV.4) has been deleted in the F1 version.
  131. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Introduction 5.2) p. 46.
  132. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Introduction 5.2) p. 47. Maurice Charney. Style in Hamlet . Princeton 1969.
  133. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Introduction 5.2) p. 48. K. Ludwig Pfeiffer. “Hamlet's way of thinking. Theory and Practice of the Historicity of a Drama. ”ShJb West (1982) pp. 99–118.
  134. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: II, 2, 101f. (Interpretation 5.4) p. 56.
  135. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: (Interpretation 5.4) p. 56f. Roland Mushat Frye: The Renaissance Hamlet. Princeton 1984. p. 42.
  136. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: I, 2, 14f: “Nor have we in barred Your better wisdom.” (Interpretation 5.4) p. 57.
  137. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: V, 2, 64f: "He that hath killed my king, and whored my mother, Popped in between th'election and my hopes." (Interpretation 5.4) p. 57.
  138. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: II, 2, 60–85. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Comment II.2) p. 455f .: "The king [...] is certified here as a success in foreign policy that impressively documents his competence as ruler [...]."
  139. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: IV, 5, 97. “Where are my Switzers? Let them guard the door. ”Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 (Introduction 5.4) p. 58.
  140. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: IV, 2, 27f. (Interpretation 5.4) p. 58.
  141. ↑ Juliet McLaughlin, "The Prince of Denmark and Claudius Court". in: “Aspects of Hamlet. Articles reprinted from Shakespeare Survey. “Ed. Kenneth Muir and Stanley Wells. Cambridge 1979. pp. 49-63. Here p. 53.
  142. ↑ Christopher Morris: "Political Thought in England". Tyndale to Hooker. London 1953. p. 101. Norbert Greiner, Wolfgang G. Müller (Eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008: (Interpretation 5.4) p. 58.
  143. ↑ Bristol, Michael D. "Funeral bak'd-meats": Carnival and the Carnivalesque in Hamlet. " William Shakespeare, Hamlet. Ed. Susanne L. Wofford. Case Studies in Contemporary Criticism. Boston: St. Martin's, 1994. 348-67.
  144. ↑ Wolfgang G. Müller: "The presence of death in life." In: Death-in Life. Ed. Günther Blaicher. Trier 1998. pp. 79-96. Here 89–95.
  145. ^ Terry Eagleton, "Reading Literature: William Shakespeare." Blackwell 1986. pp. 72-74.
  146. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008. Introduction p. 49. Linda Bamber: Comic Women… Stanford 1982. p. 70.
  147. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008. Introduction p. 49.
  148. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 Introduction p. 49. II, 2, 568-573: must like a whore unpack my heart.
  149. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 IV, 7, 186-187: When these are gone, the women will be out.
  150. ^ Ina Schabert : English literary history. A new presentation from the perspective of gender research (= Kröner's pocket edition . Volume 387). Kröner, Stuttgart 1997, ISBN 3-520-38701-8 , pp. 24-25. Quoted from Norbert Greiner, Wolfgang G. Müller (ed.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008 p. 50. cf. also: LLL Günther. I, 1, 255–267: "[...] with a child of our grandmother Eve, a female, or, for your more sweet understanding, a woman [...] For Jaquenetta - so the weaker vessel is called - wich i apprehend with the aforesaid swain, i keep her as a vessel of thy law's fury [...] "
  151. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008. Introduction p. 51.
  152. ↑ Carolyn Heilbrun: The Character of Hamlets Mother. In: Shakespeare Quartely 8 (1957) pp. 201-206. Likewise Tom Stoppard in Rosencrantz and Guildenstern Are Dead.
  153. ↑ Janet Adelman: Man and Wife is one Flesh. Hamlet and the Confrontation with the Maternal Body. In: Susanne L. Wofford (ed.). William Shakespeare. Hamlet. Case Studies in Contemporary Criticism. New York 1994.
  154. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008. Introduction. P. 53.
  155. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008. Introduction p. 53.
  156. ^ John Dover Wilson: What happens in Hamlet. Pp. 101-114.
  157. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008. Introduction p. 54.
  158. ↑ Hamlet Günther. Essay by Manfred Pfister p. 390f.
  159. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008. Introduction p. 55.
  160. ↑ Carol Thomas Neely: "Documents in Madness." In: Susanne L. Wofford (ed.). William Shakespeare. Hamlet. Case Studies in Contemporary Criticism. New York 1994. pp. 75-104, especially p. 80.
  161. ↑ Ina Schabert: Shakespeare Handbook. Sabine Schälting, The Late Tragedies. P. 534: "It is not given its own vote."
  162. ↑ Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: p. 97. William Shakespeare: Hamlet. Edited by GR Hibbard. The Oxford Shakespeare. Oxford University Press 1987. Reissued as an Oxford World's Classic Paperback 2008 .: p. 14.
  163. ↑ Brown Handbook. P. 134.
  164. ^ "The grave-digging scene next engaged the attention of Partridge, who expressed much surprize at the number of skulls thrown upon the stage."
  165. ^ Henry Fielding: The History of Tom Jones, a Foundling. Book XVI, Chpt. 5. Note from: Dieter Dieter Mehl: Shakespeare's Hamlet. Munich 2007. p. 77.
  166. ^ Heinrich Christian Boie: German Museum July-Dec. 1776 p. 985. (there under “Letters from England”) Quoted from: Dieter Mehl: Shakespeare's Hamlet. Munich 2007. p. 73.
  167. ↑ Dieter Mehl: Shakespeare's Hamlet. Munich 2007. p. 78f.
  168. ↑ Dieter Mehl: Shakespeare's Hamlet. Munich 2007. pp. 79f.
  169. ↑ Dieter Mehl: Shakespeare's Hamlet. Munich 2007. pp. 83-85.
  170. ↑ Peter W. Marx. Challenging the Ghosts: Leopold Jessner's Hamlet . in: Theater Research International / Volume / Issue 01 / March 2005, pp. 72-87.
  171. ↑ Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: p. 110.
  172. ↑ Dieter Mehl: Shakespeare's Hamlet. Munich 2007. pp. 85-89.
  173. ↑ Dieter Mehl: Shakespeare's Hamlet. Beck, Munich 2007, p. 88: "Shakespeare's Hamlet was affected to the extent that the prevailing ideology demanded a prince who did not follow the romantic melancholy of German tradition, but radiated energy and determination. This Hamlet saw the criticism embodied in Gustaf Gründgens who appeared on the stage of the Staatstheater Berlin for several years from January 1936 as a Hamlet, who was seen and admired by the audience as a fascinating reinterpretation, but for some seemed a bit too calculated and intent on making an impact. "
  174. ↑ William Hortmann : Shakespeare and the German theater in XX. Century. Edit again German edition Henschel, Berlin 2001, ISBN 3-89487-374-4 , pp. 174 and 394 f.
  175. ↑ Maximilian Schell: Germany is not Hamlet. Problems of translation and interpretation from the perspective of the practitioner. German Shakespeare Society West. Yearbook 1982. pp. 9-26. Quote: "No wonder that Werther suppressed the true picture of Hamlet."
  176. ↑ Dieter Mehl: Shakespeare's Hamlet. Munich 2007. P. 90 f.
  177. ↑ Dieter Mehl: Shakespeare's Hamlet. Munich 2007. pp. 92-95.
  178. ↑ a b Chantal Schütz: Shakespeare and Opera , Encyclopædia Britannica , accessed on August 4, 2016.
  179. ↑ Operabase
  180. ↑ Amleto program of the Bregenz Festival , July 2016
  181. ^ Humphrey Searle: Liszts Hamlet, full score, Edition Eulenburg No. 456, foreword .
  182. ^ Piper's Encyclopedia of Music Theater, Vol. 5, 1995
  183. ^ Piper's Encyclopedia of Music Theater, Vol. 5, 1995
  184. ↑ oper-aktuell.de ( Memento of the original from July 28, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.oper-aktuell.info
  185. ↑ Description of the piece on the homepage of the Komische Oper Berlin ( memento of the original from January 13, 2017 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.komische-oper-berlin.de
  186. ↑ piece description on the website of the Theater an der Wien
  187. ↑ Description of the work on the website of the Dortmund Opera
  188. ↑ Gina Thomas: "Hamlet" in Glyndebourne: Shakespeare, freshly squeezed, without seeds. Review of the world premiere production. In: FAZ , June 15, 2017, accessed on October 23, 2017.
  189. ^ IMSLP
  190. ↑ Horst Koegler, Helmut Günther: Reclams Balettlexikon, Stuttgart 1984, p. 196
  191. ^ Margareta de Grazia, Stanley Wells (ed.): The Cambridge Companion to Shakespeare. Cambridge University Press, Cambridge 2001. p. 217.
  192. ↑ Russell Jackson (Ed.): The Cambridge Companion to Shakespeare on Film. Cambridge University Press, Cambridge 2007. p. 120.
  193. ↑ Ann Thompson, Neil Taylor (Eds.): Hamlet. The Arden Shakespeare. Third Series. Volume 1, London 2006 .: p. 108.
  194. ↑ Dieter Mehl: Shakespeare's Hamlet. Munich 2007. pp. 95-101.
  195. ^ Norbert Greiner, Wolfgang G. Müller (eds.): Hamlet, Prince of Denmark. English-German study edition. Stauffenburg Verlag, Tübingen 2008. pp. 72-74. Russell Jackson: Shakespeare and the cinema. In: Margareta de Grazia, Stanley Wells (Ed.): The Cambridge Companion to Shakespeare. Cambridge University Press, Cambridge 2001. pp. 217-233.