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Comparison of the "To be, or not to be" speech in the first three editions of Hamlet, showing the varying quality of the text in the Bad Quarto, the Good Quarto, and the First Folio. "To be, or not to be" is a speech given by Prince Hamlet in the so-called "nunnery scene" of William Shakespeare's play Hamlet (Act 3, Scene 1).
William Shakespeare's play Hamlet has contributed many phrases to common English, from the famous "To be, or not to be" to a few less known, but still in everyday English. Some also occur elsewhere (e.g. in the Bible) or are proverbial. All quotations are second quarto except as noted:
The Tragedy of Hamlet, Prince of Denmark, often shortened to Hamlet (/ ˈ h æ m l ɪ t /), is a tragedy written by William Shakespeare sometime between 1599 and 1601. It is Shakespeare's longest play.
King Claudius is a fictional character and the main antagonist of William Shakespeare's tragedy Hamlet. He is the brother to King Hamlet, second husband to Gertrude and uncle and later stepfather to Prince Hamlet. He obtained the throne of Denmark by murdering his brother with poison and then marrying the late king's widow.
What follows is an overview of the main characters in William Shakespeare's Hamlet, followed by a list and summary of the minor characters from the play. [1] Three different early versions of the play survive: known as the First Quarto ("Q1"), Second Quarto ("Q2"), and First Folio ("F1"), each has lines—and even scenes—missing in the others, and some character names vary.
The physical image of Hamlet stabbing to death an unarmed man at prayer, from behind, would have been shocking to any theater audience. Similarly, the question of "delay" must be seen in the context of a stage play—Hamlet's "delay" between learning of the murder and avenging it would be about three hours at most—hardly a delay at all.
From the "Tomorrow and tomorrow and tomorrow" soliloquy (V.v; including "all our yesterdays have lighted fools the way to dusty death", "Out, out, brief candle!", "Life's but a walking shadow, a poor player that struts and frets his hour upon the stage" and "It is a tale told by an idiot, full of sound and fury, signifying nothing"):
In the discussion of Macbeth, it is Macbeth's unity of character that is significant. [302] In many chapters, he emphasises the dominant mood, a unifying theme, the "character" of the play as a whole. [303] In, again, Macbeth, the entire play "is done upon a stronger and more systematic principle of contrast than any other of Shakespear's plays."