SHAKESPEARE Aims of the Paper

RL.05-06.I.5 PART I: PAPER 5 SET TEXT ‘HAMLET’ SHAKESPEARE Aims of the Paper

Shakespeare is manifestly a great writer, perhaps the greatest ever to work with the English language, and his influence on subsequent generations of poets, dramatists and novelists—in England and abroad—has been immense. But the scale and quality of this achievement, and the merits of particular parts of it, have been continuously debated by critics ever since Francis Meres, in 1598, praised Shakespeare for 'mightily' enriching the English language, and called him one of the best writers for lyric poetry, comedy and tragedy, as well as one of 'the most passionate among us to bewaile and bemoane the perplexities of Love'. When his friend Ben Jonson proclaimed that Shakespeare was 'not of an age but for all time', he cannot have foreseen the wealth of criticism that would be built up as each succeeding 'age' interpreted and re-assessed the play for itself. In the theatre too, discovery, re-thinking—and argument—have been continuous.

The Part I paper gives students an opportunity to think both in detail and in broader terms about the full range of Shakespeare's output, both as the product of a distinctive intellect at work in a rich literary and historical context, and as that of a writer whose influence has been enormous. In order to give students the chance to explore one work in depth, with particular attention to its language, the Faculty identifies a set play (Hamlet) for close study in small groups. But it also encourages examination of the entire canon, including the less well-known plays rarely encountered in school, and the non-dramatic poems. Shakespeare's relation to other 16th- and 17th- century writers is also an issue. (Here, the paper overlaps provocatively with the Part I 1500-1700 paper, with the compulsory Tragedy paper in Part II, and with various Part II options.)

The Examination

In the examination itself, students are asked to answer three questions. In the first, they gloss difficult or problematic words and phrases in passages taken from the set play, and write an essay linked to one of these passages, either in the form of a commentary on it, or as a point of departure. They then answer two other questions broader in scope.

Teaching for the Paper

Various kinds of teaching are offered for this paper: formal lectures, seminars, faculty classes on the set play in which students from different colleges meet and exchange approaches, and college supervisions. For help with the Hamlet glossing exercise see Exegesis on the Faculty website http://www.english.cam.ac.uk/

The following Faculty teaching will be on offer in the year 2005-2006:

IN THE LENT TERM Dr. J.P. Casey Shakespeare: Roman and Tragic Themes (6L)

IN THE EASTER TERM Dr C J Burrow Glossing Hamlet (1L) Dr J L Fleming Shakespeare’s Language (3L) The Ladies Shakespeare (2L) Dr E P Griffiths Hamlet: a rehearsal (8L) Dr J R Harvey Shakespeare in Time (3L) Dr D A Hillman Shakeapeare Critisicm (4L) Dr M D Long Shakespeare and Tragedy (5L), Shakespeare (2L)

Dr A G Milne & Others Hamlet Circus (4L) Dr G F Parker Shakespeare (4L) Faculty Classes Hamlet Classes

2 Using the List

The quantity of Shakespearean scholarship and criticism is phenomenal. This reading list can only begin to suggest the variety of approaches that have been applied to this writer, helping students to orient themselves in an exceptionally large field of secondary material. Essentially, students must make up their own minds which issues they want to address—whether kingship, gender, tragi- comedy, adaptation, textual problems, or theatricality, to name a few—and what criticism is most helpful. The plays, however, very much remain the thing.

Texts

Early editions are reproduced in Shakespeare's Plays in Quarto (1981), ed. M.J.B. Allen and Kenneth Muir, and Charlton Hinman, ed., The First Folio Shakespeare. The Norton Facsimile (1968). The quarto and Folio texts can also be found on Early English Books Online (available via the University Library website). Among one-volume texts, Peter Alexander's (1951) is the plain text supplied in Tripos exams. The Riverside Shakespeare, ed. G. Blakemore Evans et al. (1974), now available in a revised, slightly enlarged edition (1997), has some valuable introductions and notes. It is the basis of The Harvard Concordance to Shakespeare, ed. Marvin Spevack (1973). William Shakespeare: The Complete Works, ed. Stanley Wells and Gary Taylor (1986), diverged from traditional practice—most spectacularly by providing two distinct texts of King Lear. The Oxford text has been largely absorbed into The Norton Shakespeare, ed. Stephen Greenblatt et al. (1997), a convenient one-volume paperback with up-to-date introductions and notes. No series of individually edited plays and poems is uniformly commendable, though the Oxford, New Penguin, New Cambridge and Arden 3rd series (all in progress) contain much of the best work. Students focussing on particular texts should accustom themselves to comparing editions, some of which will have better notes, others stronger introductions, and others again better stage histories and accounts of performance. Those most interested in theatre and film should consult the editions in the Shakespeare in Production series, published by Cambridge University Press.

Contexts, Sources, Language, Performance

John F. Andrews, William Shakespeare: His World, His Work, His Influence 3 vols (1985) Jonathan Bate and Shakespeare: An Illustrated Stage History (1996) Russell Jackson, eds, Leeds Barroll, Politics, Plague, and Shakespeare's Theatre (1991) Harry Berger, Jr., Imaginary Audition: Shakespeare on Stage and Page (1989) Norman Blake, A Grammar of Shakespeare's Language (2001) Lynda E. Boose and Shakespeare the Movie: Popularising the Plays on Film, TV and Video Richard Burt, eds, (1997) Tucker Brooke, ed. The Shakespeare Apocrypha (1908) Douglas A. Brooks, From Playhouse to Printing House: Drama and Authorship in Early Modern England (2000) Douglas Bruster, Drama and the Market in the Age of Shakespeare (1992) Geoffrey Bullough ed., Narrative and Dramatic Sources of Shakespeare, 8 vols (1957-75) Anthony Davies, Filming Shakespeare's Plays (1988) Margreta de Grazia The Cambridge Companion to Shakespeare (2001) and Stanley Wells, eds. Allan C. Dessen, Recovering Shakespeare's Theatrical Vocabulary (1996) Allan C. Dessen and A Dictionary of Stage Directions in English Drama, 1580-1642 (1999) Leslie Thomson, eds., Janette Dillon, Theatre, Court and City, 1595-1610: Drama and Social Space in London (2000) Michael Dobson, The Making of the National Poet: Shakespeare, Adaptation and Authorship 1660-1769 (1992) Juliet Dusinberre, Shakespeare and the Nature of Women, 2nd edn., (1996)

3 R.M. Frye, Shakespeare and Christian Doctrine (1963) Andrew Gurr, The Shakespearean Stage, 1574-1642, 3rd edn (1992) Andrew Gurr, Playgoing in Shakespeare's London, 2nd edn (1996) Kim Hall, Things of Darkness: Economies of Race and Gender in Early Modern England (1995) Peter Holland, English Shakespeares: Shakespeare on the English Stage in the 1990s (1997) Park Honan, Shakespeare: A Life (1998) S.S. Hussey, The Literary Language of Shakespeare (1982) Grace Ioppolo, Revising Shakespeare (1991) Russell Jackson, ed., The Cambridge Companion to Shakespeare on Film (2000) Simon Jarvis, Scholars and Gentlemen: Shakespearian and Textual Criticism and Representations of Scholarly Labour, 1725-1765 (1995) Ann Rosalind Jones Renaissance Clothing and the Materials of Memory (2000) and Peter Stallybrass, John Jones, Shakespeare at Work (Oxford, 1995) Sister Miriam Joseph, Shakespeare's Use of the Arts of Language (1947) David Scott Kastan, ed., A Companion to Shakespeare (1999) David Scott Kastan, Shakespeare and the Book (2001) Dennis Kennedy, Looking at Shakespeare: A Visual History of Twentieth-Century Performance, 2nd edn (2001) John Kerrigan (ed.), Motives of Woe: Shakespeare and 'Female Complaint'. A Critical Anthology (1991) Francois Laroque, Shakespeare’s Festive World (1991) Jeffrey Masten, Textual Intercourse: Collaboration, Authorship, and Sexuality in Renaissance Drama (1997) Steven Mullaney, The Place of the Stage: License, Play, and Power in Renaissance England (1988) Gail Kern Paster, The Idea of the City in the Age of Shakespeare (1986) Kenneth S. Rothwell, A History of Shakespeare on Screen: A Century of Film and Television (1999) V. Salmon and Reader in the Language of Shakespearean Drama (1987) E. Burness, eds., Samuel Schoenbaum, William Shakespeare: A Compact Documentary Life, rev. edn (1987) James Shapiro, Shakespeare and the Jews (1996) Bruce R. Smith, The Acoustic World of Early Modern England (1999) Bruce R. Smith, Homosexual Desire in Shakespeare's England: A Cultural Poetics (1991) Gary Taylor, 'General Introduction', in Stanley Wells et al., William Shakespeare: A Textual Companion (1987) Peter Thomson, Shakespeare's Professional Career (1992) Peter Thomson, Shakespeare's Theatre (2nd ed. 1992) Marion Trousdale, Shakespeare and the Rhetoricians (1982) Stanley Wells, ed., Shakespeare in the Theatre: An Anthology of Criticism (1997)

Also recommended are the accounts of performance given by actors in the Cambridge University Press Players of Shakespeare series. Students particularly interested in performance should consult the Part II Shakespeare in Performance paper reading list for further suggestions.

4 Critical Approaches

Brian Vickers, ed. Shakespeare: The Critical Heritage, 1623-1801, 6 vols (1974-81) recovers material of value. There are various scholarly selections from Dr Johnson (e.g., ed. Woudhuysen) and Coleridge (e.g., ed. Raysor). Hazlitt’s The Characters of Shakespeare's Plays (1817) is usually worth consulting. Some of the following are works of high quality (e.g. Bradley on tragedy), whatever you make of the method. Others are patchy, but might suggest lines of thought worth pursuing. Much illuminating, essay-length work can also be found in volumes of the Casebook series, the Longman Critical Readers series, and in the journals Shakespeare Quarterly, Shakespeare Survey and Shakespeare Studies. Also recommended are the short book-length introductions in the Oxford Shakespeare Topics series - one or two of which are picked out below.

Janet Adelman, Suffocating Mothers: Fantasies of Maternal Origin in Shakespeare's Plays, 'Hamlet' to 'The Tempest' (1992) Catherine Alexander Shakespeare and Race (2000) & Stanley Wells, eds, Linda Bamber Comic Women, Tragic Men: A Study of Gender and Genre in Shakespeare (1982) C.L. Barber Shakespeare's Festive Comedy (1959) Anne Barton Essays, Mainly Shakespearean (1994) Jonathan Bate, The Genius of Shakespeare (1997) John Bayley The Characters of Love (1960), Shakespeare and Tragedy (1981) Harry Berger, Jr., Making Trifles of Terrors: Redistributing Complicities in Shakespeare, ed. and intr. Peter Erickson (1997) Philippa Berry Shakespeare's Feminine Endings: Disfiguring Death in the Tragedies (1999) A.C. Bradley Shakespearean Tragedy (1904) Graham Bradshaw Shakespeare's Scepticism (1987); Misrepresentations: Shakespeare and the Materialists (1993) Stanley Cavell Disowning Knowledge in Six Plays of Shakespeare (1987) Lawrence Danson, Shakespeare's Dramatic Genres (2000) Philip Davis Sudden Shakespeare: The Shaping of Shakespeare’s Creative Thought (1996) Ian Donaldson, The Rapes of Lucretia: A Myth and its Transformations (1982) Heather Dubrow, Captive Victors: Shakespeare's Narrative Poems and Sonnets (1987) Terry Eagleton, William Shakespeare (1986) T.S. Eliot, ‘Hamlet' ,'Shakespeare and the Stoicism of Seneca', in Selected Essays 1917-1932 (1932) William Empson Essays on Shakespeare (1986) ed. David B. Pirie Barbara Everett Young Hamlet: Essays on Shakespeare's Tragedies (1989) Sigmund Freud 'The Theme of the Three Caskets' (1913), in Art and Literature, vol. 14 of The Pelican Freud Library (1985) Northrop Frye A Natural Perspective: The Development of Shakespearean Comedy (1965) Marjorie Garber, Shakespeare's Ghost Writers: Literature as Uncanny Causality (1987) John Gillies Shakespeare and the Geography of Difference (Cambridge, 1994) H. Granville-Barker Prefaces to Shakespeare (1927-48) Stephen Greenblatt Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England (1988) Terence Hawkes, That Shakespeherian Rag: Essays on a Critical Process (1986) Terence Hawkes, Meaning by Shakespeare (1992) Jean Howard and Engendering a Nation: A Feminist Account of Shakespeare's English Phyllis Rackin Histories (1997) G.K. Hunter Dramatic Identities and Cultural Tradition (1978) Lisa Jardine, Reading Shakespeare Historically (1996) Emrys Jones Scenic Form in Shakespeare (1971) Coppélia Kahn Man's Estate: Masculine Identity in Shakespeare (1981)

5 Coppélia Kahn, Roman Shakespeare: Warriors, Wounds, and Women (1997) Frank Kermode, Shakespeare's Language (2000) John Kerrigan, On Shakespeare and Early Modern Literature (2001) G. Wilson Knight The Wheel of Fire: Interpretations of Shakespearian Tragedy (1930); The Imperial Theme (1931) L.C. Knights Some Shakespearean Themes (1959); 'Hamlet' and other Shakespearean Essays (1980) F.R. Leavis The Common Pursuit (1952) Michael Long, The Unnatural Scene: A Study in Shakespearean Tragedy (1976) Ania Loomba and Post-colonial Shakespeares (1998) Martin Orkin, eds, M.M. Mahood, Shakespeare's Wordplay (1957) M.M. Mahood, Bit Parts in Shakespeare's Plays (1992) Philip McGuire Speechless Dialect: Shakespeare's Open Silences (1985) R.S. Miola Shakespeare and Classical Tragedy (1992) Louis Montrose, The Purpose of Playing: Shakespeare and the Cultural Politics of the Elizabethan Theatre (1996) Michael Neill Issues of Death: Mortality and Identity in English Renaissance Tragedy (Oxford 1997) Winifred Nowottny 'Lear's Questions', 'Some Aspects of the Style of King Lear', Shakespeare Survey 10 (1957) and 12 (1960) Stephen Orgel Impersonations: The Performance of Gender in Shakespeare's England (1996) Patricia Parker, Shakespeare from the Margins: Language, Culture, Context (1996) Patricia Parker and Geoffrey Hartman, eds. Shakespeare and the Question of Theory (1985) Annabel Patterson Shakespeare and the Popular Voice (1989) Norman Rabkin, Shakespeare and the Problem of Meaning (1981) A.P. Rossiter Angel with Horns (1961) Kiernan Ryan Shakespeare (3rd edn., 2001) L.G. Salingar Shakespeare and the Traditions of Comedy (1974) Wilbur Sanders and Howard Jacobson Shakespeare's Magnanimity (1978) Bruce R. Smith, Shakespeare and Masculinity (2000) Valerie Traub, Desire and Anxiety: Circulations of Sexuality in Shakespearean Drama (1992) Helen Vendler The Art of Shakespeare’s Sonnets (1997) Robert Weimann, Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's Theatre (2000)

6 SET TEXT FOR 2004-2005

HAMLET

For help with the Hamlet glossing exercise see Exegesis on the Faculty website http://www.english.cam.ac.uk/

Editions and textual criticism:

For the glossing exercise you will need to familiarise yourself with the details of the text and for Hamlet this means knowing about differences between quarto and folio texts. There is no standard edition from which you can guarantee that passages for comment will be set.

You are advised to consult The First Folio of Shakespeare, Norton Facsimilie, ed. Charlton Hinman (New York: 1968) This text lacks some 222 lines printed in the Second Quarto of the play (1604/5), while adding approximately 83 found nowhere else. It incorporates various minor blunders of the sort that tended to happen in Elizabethan and Jacobean printing houses when type was being set up, most of which have been spotted and corrected by later editors. There are also hundreds of variant readings (often of single words) between Q2 and F, for which the compositors are unlikely to have been responsible, but which may reflect the hand of Shakespeare as reviser of his own play.

You will, however, need to work primarily from a good, annotated modern edition. What immediately follows (apart from the Furness Variorum) is a list of the major 20th century editions, most of them editorial conflations (i.e. an amalgam of Q2 and F) but the most recent ones tending to separate these two texts – in various ways, and for different reasons. ed. H.H. Furness, Hamlet, 2 vols., New Variorum Edition (London, 1877). Most useful now for its assemblage of early critical and editorial commentary in the foot-notes. ed. T. J. B. Spencer, Hamlet, New Penguin Shakespeare (Harmondsworth: Penguin, 1980), with introduction by Anne Barton ed. Harold Jenkins, Hamlet, Arden Shakespeare (London: Methuen, 1982) ed. Philip Edwards, Hamlet, The New Cambridge Shakespeare (Cambridge: CUP, 1985). A conflated text which however signals all Q2 passages cut in Folio by square brackets. ed. George Hibbard, Hamlet, The Oxford Shakespeare (Oxford. OUP, 1987). A Folio based text which relegates Q2 only passages to an Appendix – as does the one volume Oxford Complete Shakespeare, gen. eds. G. Taylor and S. W. Wells (1986). ed. C. Hoy, Hamlet, Norton Critical Edition (London: Norton, 1992), 2nd ed, includes useful critical anthology eds. Paul Bertram and Bernice W. Kliman, The Three-text 'Hamlet' (New York: AMS Press, 1992) ed. G. B. Evans, in The Riverside Shakespeare, 2nd revised edn. (Boston: Houghton Mifflin, 1997), with introduction by Frank Kermode. It is important to use the revised edition, because the 'Note on the Text' (pp. 1234-5) reflects a significant modification of Evans's editorial position since the first edition of 1974, the result of intervening scholarship.

The First or 'Bad' Quarto (1603) of the play is now generally agreed to be a reconstruction from memory (probably by the man who played Marcellus, and other small parts) of a drastically cut- down acting version. Abbreviated and garbled though it is ('To be or not to be; ay, there's the point. / To die, to sleep, is that all? Ay, all.'), it nonetheless sheds some light on original staging. And it will (as demonstrated by the recent production in London) still work in the theatre. Q1 can most conveniently be read in the edition (modernized) by Kathleen 0. Irace, The First Quarto of Hamlet, New Cambridge Shakespeare (Cambridge: CUP, 1998)

See also: ed. Thomas Clayton, The Hamlet First Published (Q1], 1603): Origins, Form, Intertextualities (London, 1992) eds. G.Holderness & B. Loughrey, The Tragicall Historie of Hamlet (Hemel Hempstead: Harvester, 1992)

7 Maxwell E. Foster et al., The Play Behind the Play: Hamlet and Quarto One (London: Heinemann, 1998)

8 And more generally: J. Dover Wilson, The Manuscript of Shakespeare's 'Hamlet', 2 vols (Cambridge: CUP, 1934) W. W. Greg, The Shakespeare First Folio (Oxford: OUP, 1955) eds. S. W. Wells, Gary Taylor et al., William Shakespare: A Textual Companion (Oxford: OUP, 1987), pp. 396-420 Paul Werstine, 'The Textual Mystery of Hamlet', Shakespeare Quarterly 39 (1988), 1-26 Barbara Mowat, 'The Form of Hamlet's Fortunes', Renaissance Drama, n.s. 19 (1988), 97-126 Grace loppolo, Revising Shakespeare (London: Harvard University Press, 1991), pp. 134-46 Leah S. Marcus, 'Bad Taste and Bad Hamlet', Unediting the Renaissance (London: Routledge, 1996), pp. 132-176 John Jones, Shakespeare at Work (Oxford: OUP, 1995; repr. 1999), pp. 71-151 David Scott Kastan, Shakespeare After Theory (New York and London, 1999), ch. 3

Sources: Apart from discussions in individual editions, Geoffrey Bullough's, Narrative and Dramatic Sources of Shakespeare, vol. 7 (London: RKP, 1973) remains standard.

Anthologies of criticism: ed. John Jump, Shakespeare: 'Hamlet' (London: Macmillan, 1968) - Casebook series eds. John Russell Brown and Bernard Harris. Hamlet. Stratford-upon-Avon Studies 5 (London: E.Arnold, 1963) ed. David Bevington, Twentieth Century Interpretations of 'Hamlet' (Englewood Cliffs, NJ, 1968) eds. Kenneth Muir and Stanley Wells, Aspects of 'Hamlet' (Cambridge: CUP, 1979) See also Vols. 9 and 45 of Shakespeare Survey (Cambridge: CUP, 1956 and 1993), which are primarily devoted to Hamlet eds. Laurie Lanzen Harris and Mark W. Scott, Shakespearean Criticism (Detroit, Michigan: Gale, 1984), vol. 1 ed. Martin Coyle, Hamlet (London: Macmillan, 1992) - New Casebook series eds. Mark Thornton Burnett and John Manning, New Essays on Hamlet (New York: AMS Press, 1994) David Farley-Hills, Critical Responses to 'Hamlet' , 3 vols. (New York: AMS Press, 1996-)

Selected criticism: (nb. also, Shakespeare Studies, Shakespeare Quarterly & Shakespeare Survey) ed. W. K. Wimsatt, Dr. Johnson on Shakespeare (London, 1969) ed. Terence Hawkes, Coleridge on Shakespeare (London, 1969) William Hazlitt, in The Characters of Shakespeare's Plays (1817) – much reprinted A. C. Bradley, in Shakespearean Tragedy (1904) – also much reprinted G. Wilson Knight, The Wheel of Fire (London, 1930: rev. edn, 1947) T.S. Eliot, 'Hamlet', Selected Essays (London: Faber, 1932), pp. 141-6 John Dover Wilson, What Happens in Hamlet (Cambridge: CUP, 1935; repr. 1970) Ernest Jones, Hamlet and Oedipus (1949) Harry Levin, The Question of 'Hamlet' (New York, 1959) Helen Gardner, in The Business of Criticism (Oxford, 1959) Fredson Bowers, Elizabethan Revenge Tragedy, 1587-1642 (1959), chs. 1-3 Morris Weitz, Hamlet and the Philosophy of Literary Criticism (London: Faber, 1965) Brian Vickers, The Artistry of Shakespeare's Prose (London, 1968), pp. 248-71 Jacques Lacan, 'Desire and the Interpretation of Desire in Hamlet', Yale French Studies 55-56 (1977), 11-52 James L. Calderwood, To Be and Not To Be: Negation and Metadrama in 'Hamlet' (New York, 1983) Roland M. Frye, The Renaissance 'Hamlet': Issues and Responses in 1600 (Princeton: Princeton U.P., 1984) Jacqueline Rose, 'Sexuality in the reading of Shakespeare', Alternative Shakespeares, ed. J. Drakakis (London, 1985) Arthur McGee, The Elizabethan Hamlet (London: Yale University Press, 1987) R. A. Foakes, Hamlet versus Lear: Cultural Politics and Shakespeare's Art (Cambridge: CUP, 1993) Lisa Jardine, Reading Shakespeare Historically (London: Routledge, 1996), esp. chs. 2 & 9

9 John Kerrigan, 'Remember Me! Horestes, Hieronymo and Hamlet', ch. 7 in Revenge Tragedy: Aeschylus to Armageddon (Oxford: OUP, 1996) Michael Neill, Issues of Death: (Oxford: OUP, 1997), esp. chs. 6 and 7 Graham Bradshaw, 'State of Play', in The Shakespearean International Yearbook , vol. 1 ('Where Are We Now in Shakespearean Studies?'), eds. Elton and Mucciolo (Ashgate, 1999) Michael Pennington, Hamlet: A User's Guide (London: Nick Hern Books, 1996; repr. 2000) John Lee, Shakespeare's Hamlet and the Controversies of Self (Oxford: OUP, 2000) Stephen Greenblatt, Hamlet in Purgatory (2001) Margreta de Grazia, 'Hamlet the Intellectual' in Helen Small, ed. The Public Intellectual (Oxford: Blackwell, 2002)

HAMLET in performance: ed. Gamini Salgado, Eyewitnesses of Shakespeare: First Hand Accounts of Performances 1590- 1890 (Sussex University Press, 1975), pp. 233-56 ed. Stanley Wells, Shakespeare in the Theatre: An Anthology of Criticism (Oxford, 2000). Reprints 12 accounts of productions from Betterton to a 1985 Q1 Hamlet.

Harley Granville-Barker, Prefaces to Shakespeare, vol. 1, Hamlet (London, 1930) ed. Alan Dent, Hamlet: The Film and the Play (London: World Film Publications, 1948) - on Olivier's version ed. Herbert Marshall, Hamlet through the ages: A Pictorial Record from 1709 (London: 1952) L. Senelick, Gordon Craig's Moscow 'Hamlet': A Reconstruction (London: Greenwood Press, 1982) Peter Davison, Hamlet: Text and Performance (London, 1983) Alan C. Dessen, Elizabethan Stage Conventions and Modern Interpreters (Cambridge: CUP, 1984), esp. pp. 150-5 John A. Mills, 'Hamlet' on Stage: The Great Tradition (London: Greenwood Press. 1985) Marvin Rosenberg, The Masks of Hamlet (Newark: University of Delaware Press, 1993) eds. H. Klein & D. Daphinoff, Shakespeare Yearbook vol. 7: Hamlet on Screen (Lewiston: Mellen Press, 1998) Robert Hapgood, Hamlet, Prince of Denmark , Shakespeare in Production series (Cambridge: CUP, 1999). An edition of the play (conflated) with foot-notes recording particular theatre productions.

Some relevant non-Shakespearean plays: John Pickering, Horestes (1567) Thomas Kyd, The Spanish Tragedy (1587) John Marston, Antonio's Revenge (1600) Henry Chettle, Hoffman, or A Revenge for a Father (1602) Thomas Middleton, The Revenger's Tragedy (1606) – sometimes attributed to Tourneur Cyril Tourneur, The Atheist's Tragedy, or The Honest Man's Revenge (1609) George Chapman, The Revenge of Bussy d'Ambois (1610)

Anton Chekhov, Ivanov (1887-9), The Seagull (1896) Tom Stoppard, Rosencrantz and Guildenstern Are Dead (1966/7)

Most of the books on this list are available in the Faculty Library or on order. If you experience difficulty in finding them please ask at the Library Issue Desk.

Subject Group Committee Convenor for 2005-2006: Dr A D B Poole, Trinity College June 2005