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The "original Klingon" version differs from the English version in ways that reflect the play's history as supposedly originating from Klingon culture. Reference sections in the book show how literal translations of the Klingon body text have had to be "adapted" to make it intelligible for human readers in the supposedly "translated" English ...
[1]: 178 [31] The translations are put in a framing story where Shakespeare (Wil'yam Shex'pir) actually was a Klingon, and characters like Hamlet (Khamlet), Benedick and Beatrice (B'enerdik and B'eterirsh) are discussed in the context of Klingon culture. In this setting, the English versions are the actual translations, and have acquired the ...
Many scholars have found it odd that Shakespeare would, seemingly arbitrarily, use this rhetorical form throughout the play. Hamlet was written later in his life, when he was better at matching rhetorical figures with the characters and the plot than early in his career. Wright, however, has proposed that hendiadys is used to heighten the sense ...
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[37] [38] In 1996, The Klingon Hamlet, a translation of the play into the constructed Klingon language was published, and parts of it have been performed by the Washington Shakespeare Company. [39] The 1983 comedy Strange Brew is loosely based on Hamlet. Prince Hamlet is represented by Pam, daughter of a murdered brewery-owner who's spirit ...
Helping define the objective correlative, Eliot's essay "Hamlet and His Problems", [1] republished in his book The Sacred Wood: Essays on Poetry and Criticism discusses his view of Shakespeare's incomplete development of Hamlet's emotions in the play Hamlet. Eliot uses Lady Macbeth's state of mind as an example of the successful objective ...
Skeptics puzzling over the logic of watching 82-year-old Ian McKellen playing student prince Hamlet need only look as far as the play’s second scene in which Hamlet rebukes his mother. “I have ...
Academic Laurie Osborne identifies the direct influence of Hamlet in numerous modern narratives, and divides them into four main categories: fictional accounts of the play's composition, simplifications of the story for young readers, stories expanding the role of one or more characters, and narratives featuring performances of the play.