An Overview of Hamlet Studies
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Poison and Revenge in Seventeenth Century English Drama
"Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Woodring, Catherine. 2015. "Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463987 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama A dissertation presented by Catherine L. Reedy Woodring to The Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of English Harvard University Cambridge, Massachusetts May 2015 © 2015 – Catherine L. Reedy Woodring All rights reserved. Professor Stephen Greenblatt Catherine L. Reedy Woodring “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama Abstract The revenge- and poison- filled tragedies of seventeenth century England astound audiences with their language of contagion and disease. Understanding poison as the force behind epidemic disease, this dissertation considers the often-overlooked connections between stage revenge and poison. Poison was not only a material substance bought from a foreign market. It was the subject of countless revisions and debates in early modern England. Above all, writers argued about poison’s role in the most harrowing epidemic disease of the period, the pestilence, as both the cause and possible cure of this seemingly contagious disease. -
C Entro De E Studios De Postgrado
UNIVERSIDAD DE JAÉN Centro de Estudios de Postgrado Master’s Dissertation/ Trabajo Fin de Máster EDITING HAMLET. AN ANALYSIS OF Q1 AND ITS STATUS Student: Jara Bonache, Fabio Tutor: Dr. Luciano García García Dpt.: English Philology Centro de deCentro Estudios Postgrado July, 2020 “Cor. What doe you reade my Lord? Ham. Wordes, Wordes.” (Q1 Hamlet, lines 1229-30, in The Three-Text Hamlet) 1 EDITING HAMLET. AN ANALYSIS OF Q1 AND ITS STATUS TABLE OF CONTENTS: 0. ABSTRACT - RESUMEN page 3 1. INTRODUCTION page 4 2. OBJECTIVES page 5 3. SOME CONSIDERATIONS ON THE EDITORIAL PROBLEM IN SHAKESPEARE’S PLAYS AND IN HAMLET page 6 3.1. Editorial problems in Shakespeare’s plays page 6 3.2. Editorial problems in Hamlet page 9 4. THE 1603 QUARTO page 10 4.1. Origin and main peculiarities page 10 4.2. Length page 12 4.3. Stage directions page 15 4.4. Characters page 16 4.5. Structure page 20 5. Q1 PRESENCE IN MODERN EDITIONS page 23 5.1. Hamlet publications from 1603 to 1703 page 23 5.2. Combiners and revisionists page 24 5.3. Q1 only editions page 27 6. CONCLUSIONS page 33 7. BIBLIOGRAPHY page 34 2 ABSTRACT Shakespeare’s Hamlet has been for centuries a challenge for editors and scholars as it is, together with Romeo and Juliet, his only play for which there are three early printed texts, Q1, Q2 and F1. Orthodoxy has placed Q1 in an inferior position, being dismissed for centuries as incomplete and pirated. Nevertheless, new approaches to bibliographical studies have concluded that some of Q1’s traditional hypotheses are not supported by consistent evidence. -
Hamlet and His (Linguistic) Problems
DOI: 10.9744/kata.20.1.1-8 ISSN 1411-2639 (Print), ISSN 2302-6294 (Online) OPEN ACCESS http://kata.petra.ac.id “More than kin and less than kind”: Hamlet and His (Linguistic) Problems Alireza Mahdipour1, Pyeaam Abbasi2 1,2 University of Isfahan, IRAN e-mails: [email protected]; [email protected] ABSTRACT T.S. Eliot's "Hamlet and His Problems" (1921) seems to be a pretext to add another erudite concept to the lexis of literary criticism. He charged both Hamlet and Hamlet of lacking "objective correlative." Eliot's own problem with the play, however, seems to arise from his particular epistemological perspective, his formalism, and even his implicit structuralism, and moreover, from his traditional, classic Cartesian modernity that suffers him to hold the notion of subject-object dichotomy in his literary speculations. Hamlet's problem, however, surpasses T. S. Eliot's structuralist view and anticipates the poststructuralist linguistic enigma. Hamlet and Hamlet's problems are, together with the other characters that are caught in the maze of language, linguistic. Hamlet's epistemological/ontological quest for the meaning or the truth are checked, patterned, done and ultimately undone by the language. He cannot find any "objective correlative" for his "particular emotion," for, in the signifying system of the language, all he can think or feel is restrained by "words". He cannot escape from the symbolic order of the language until his death, and "the rest is silence". Keywords: Hamlet; Hamlet; T.S. Eliot; objective correlative; structuralism; post-structuralism. “My language! heavens! I am the best of them that speak this speech, Were I but where 'tis spoken.” Ferdinand, The Tempest (I. -
Concerning the Interpretations of William Shakespeare's “Hamlet” К
DOI 10.24249/2309-9917-2018-29-3-9-15 A.A. Lipgart (Moscow, Russia) Concerning the Interpretations of William Shakespeare’s “Hamlet” Abstract: In Shakespearology there are no generally accepted interpretations of “Hamlet” either conceptually or textologically. Many interpretations of this tragedy make a demoralizing reading, for they ignore the obvious solutions to the “Hamlet enig- ma”: accepting the early dating of the first drafts of Shakespeare’s play, treating the so-called “Bad Quarto” of 1603 as an early variant of Shakespeare’s celebrated text and explaining the intricacies and the possible inconsistences of the plot within the context of the religious conflicts of the Elizabethan England. Key-words: William Shakespeare, “Hamlet”, “Bad Quarto”, Catholicism, Protestantism А.А. Липгарт (Москва, Россия) К проблеме интерпретации трагедии «Гамлет» Уильяма Шекспира Аннотация: В шекспироведении не существует общепринятых интерпретаций «Гамлета» ни в текстологическом, ни в концептуальном плане. Однако эту тупи- ковую ситуацию можно преодолеть, если принять во внимание доказательства создания первых вариантов «Гамлета» в ранний период творчества Шекспира, признать принадлежность перу Шекспира так называемого «Плохого Кварто» 1603 года и рассмотреть «загадки» содержания пьесы в контексте религиозных конфликтов елизаветинской Англии. Ключевые слова: Уильям Шекспир, «Гамлет», «Плохое Кварто», католичество, протестантство We have all heard about “the Hamlet enigma”. So enigmatic is the main character that interpretations here are of necessity multiple and endless. Every generation will see in the play and in its main character something unique, every soul will find in him and in it some- thing relevant to that soul’s particular experience. Every actor will play Hamlet the man – and, in fact, does play him – differently (cf. -
Oxford and Onions
<http://nbn-resolving.de/urn:nbn:de:bsz:21-opus-46739> | <https://doi.org/10.25623/conn001.2-sams-1> Connotations Vo!. 1.2 (1991) ''If you have tears ". Oxford and Onions ERIC SAMS The Oxford editors1 Gary Taylor and Stanley Wells have spent seven years disintegrating Shakespeare and distributing the pieces among "pirates,,2 and "collaborators,,3. Not even his vocabulary has escaped attack. From the latest edition4 of the Oxford Shakespeare Glossary, all its eight hundred specific Shakespeare references have been silently excised. The Glossary was originally conceived as the brain-child of the distinguished grammarian and lexicographer C. T. Onions, who served for fifteen years as an editor of the Oxford English Dictionary. His declared intentions were to show how far Shakespeare's use of vocabulary was idiosyncratic, what special senses it exemplified, and what new usages it introduced into the language. For these purposes, Onions adapted the QED system of illustrative quotations, which avowedly aimed to show the age as well as the source of each usage by citing its first known occurrence. In this exacting task the QED had been aided by teams of specialist researchers. Of course their results were neither exhaustive nor infallible, and several antedatings have since been discovered. An Oxford monographS has been devoted to counselling caution about the validity of QED first citations, especially in such disputable categories as hyphenated compounds and participial adjectives. Nevertheless, there is no doubt that Shakespeare was a linguistic innovator of the highest and most prolific order, whose immense contribution to the growth and development of English included thousands of new-minted words and expressions, most of which will have been duly documented in the QED in accordance with its explicit intention. -
Brilliant Minds Wiki Spring 2016 Contents
Brilliant Minds Wiki Spring 2016 Contents 1 Rigveda 1 1.1 Text .................................................... 1 1.1.1 Organization ........................................... 2 1.1.2 Recensions ............................................ 2 1.1.3 Rishis ............................................... 3 1.1.4 Manuscripts ............................................ 3 1.1.5 Analytics ............................................. 3 1.2 Contents .................................................. 4 1.2.1 Rigveda Brahmanas ........................................ 5 1.2.2 Rigveda Aranyakas and Upanishads ............................... 5 1.3 Dating and historical context ....................................... 5 1.4 Medieval Hindu scholarship ........................................ 7 1.5 Contemporary Hinduism ......................................... 7 1.5.1 Atheism, Monotheism, Monism, Polytheism debate ....................... 7 1.5.2 Mistranslations, misinterpretations debate ............................ 8 1.5.3 “Indigenous Aryans” debate .................................... 8 1.5.4 Arya Samaj and Aurobindo movements .............................. 8 1.6 Translations ................................................ 8 1.7 See also .................................................. 8 1.8 Notes ................................................... 8 1.9 References ................................................. 9 1.10 Bibliography ................................................ 12 1.11 External links .............................................. -
Hamlets and His Problems T.S
Hamlets and His Problems T.S. Eliot Assignment: restate thesis, evaluate argument, select three pieces of supporting evidence and settle upon two logical challenges of your own to the argument. T.S. Eliot (1888–1965). The Sacred Wood: Essays on Poetry and Criticism. 1922. Hamlet and His Problems FEW critics have even admitted that Hamlet the play is the primary problem, and Hamlet the 1 character only secondary. And Hamlet the character has had an especial temptation for that most dangerous type of critic: the critic with a mind which is naturally of the creative order, but which through some weakness in creative power exercises itself in criticism instead. These minds often find in Hamlet a vicarious existence for their own artistic realization. Such a mind had Goethe, who made of Hamlet a Werther; and such had Coleridge, who made of Hamlet a Coleridge; and probably neither of these men in writing about Hamlet remembered that his first business was to study a work of art. The kind of criticism that Goethe and Coleridge produced, in writing of Hamlet, is the most misleading kind possible. For they both possessed unquestionable critical insight, and both make their critical aberrations the more plausible by the substitution—of their own Hamlet for Shakespeare's—which their creative gift effects. We should be thankful that Walter Pater did not fix his attention on this play. Two recent writers, Mr. J. M. Robertson and Professor Stoll of the University of Minnesota, have 2 issued small books which can be praised for moving in the other direction. -
Unit V - Criticism
Unit V - Criticism Hamlet and His Problems by T. S. Eliot T. S. Eliot commences his critical essay, Hamlet and his problems by stating, “few critics have even admitted that Hamlet the play is the primary problem, and Hamlet the character only secondary. And Hamlet the character has had an especial temptation for that most dangerous type of critic: the critic with a mind which is naturally of the creative order, but which through some weakness in creative power exercises itself in criticism instead.” Eliot asserts that the critics like Coleridge and Goethe often find in Hamlet a vicarious existence for their own artistic realization. He adds that they seem to have forgotten their main role as the critic, i.e. to study the play. Hence, their approach sounds misleading. In fact, they have produced their own version of Hamlet. At the same time, Eliot is very much appreciative of Robertson and Prof. Stoll who have made a right attempt to turn their critical observation in the right direction which has forced him to say, “Shakespeare’s Hamlet, so far as it is Shakespeare’s, is a play dealing with the effect of a mother’s guilt upon her son, and that Shakespeare was unable to impose this motive successfully upon the “intractable” material of the old play.” It is clear, at this juncture, that Eliot is finding fault with Shakespeare and is also supportive of the critics like Robertson. Eliot strongly asserts that the noted critics had much more to focus their attention on the Hamlet the character than on the play Hamlet . -
T. S. Eliot's Theory of Objective Correlative
================================================================== Language in India www.languageinindia.com ISSN 1930-2940 Vol. 20:10 October 2020 ================================================================ T. S. Eliot’s Theory of Objective Correlative Dr. Poonam Sinha, Ph.D. (English) PG Diploma Mass Communication, IIMC, New Delhi ===================================================================== An objective correlative is a literary term referring to a symbolic article used to provide explicit, rather than implicit, access to such traditionally inexplicable concepts as emotion or colour. Popularised by T.S. Eliot in his essay, Hamlet and His Problems 1 (1919), its subsequent vogue in literary criticism, Eliot has confessed, astonished its inventor. The term "objective correlative" was first used by Washington Allston, a poet and painter who was singularly influential in the Romantic movement of American landscape painting, around 1840 in the “Introductory Discourse” of his Lectures on Art2 : “Will any one assert that the surrounding inorganic elements of air, earth, heat, and water produce its peculiar form? Though some, or all, of these may be essential to its development, they are so only as its predetermined correlatives, without which its existence could not be manifested; and in like manner must the peculiar form of the vegetable preexist in its life, – in its idea, – in order to evolve these assimilants its own proper organism. “No possible modification in the degrees or proportion of these elements can change the specific form of a plant, – for instance, a cabbage into a cauliflower; it must ever remain a cabbage, smaller or large, good or bad. So, too, is the external world to the mind; which needs, also, as the condition of its manifestations, its objective correlative. -
Hamlet and Revenge Tragedy: a Reappraisal ALAN URQUHART
SYDNEY STUDIES Hamlet and Revenge Tragedy: A Reappraisal ALAN URQUHART Literary critics were not the first to speculate on the nature of Hamlet's problems and the reasons for his delayed revenge. Their various rewritings of Hamlet generally continue processes begun in the play itself. The reflections of Coleridge, for example, begin, and largely end, by concentrating on the Hamlet of the soliloquies, privileging one of his own pet theories as to the cause of his delayed revenge: that is, what Hamlet calls his 'craven scuple/ Of thinking too precisely on th' event'.l In this commonly accepted theory, an original Hamlet is postulated who is given to inaction and philosophy, and the unwelcome role of active revenger, thrust upon him by the Ghost, is perceived as somehow extra, or supplementary, to this 'real' Hamlet, causing him angst and tragedy. Yet even the Hamlet of the soliloquies is not always so convinced of this theory. He also suggests that the 'native hue' (presumably the 'real' self) consists in 'resolution', and it is only a superimposed 'pale cast of thought' (III. i. 90-91) which gets in the way of action. From this and other evidence, such as Hamlet's gleeful relish in the dispatch of Rosencrantz and Guildenstern, one could argue that the 'real' or original Hamlet is a man of action, a typical stage revenger, such as Vindice in The Revenger's Tragedy. Here, Hamlet the procrastinator would be regarded as the extra or supplementary personality, a tragic flaw, as suggested by Bradley, threatening the expression of his 'real' heroic virtues. -
Durham Research Online
Durham Research Online Deposited in DRO: 25 January 2017 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Harding, J. (2014) 'Changing our way of being wrong : T. S. Eliot's Shakespeare.', in Will the modernist : Shakespeare and the European historical Avant-Gardes. Oxford: Peter Lang, pp. 39-57. Cultural interactions : studies in the relationship between the arts. (32). Further information on publisher's website: https://doi.org/10.3726/978-3-0353-0637-8 Publisher's copyright statement: This is an Accepted Manuscript that has been published in Will the Modernist: Shakespeare and the European Historical Avant-Gardes / edited by Giovanni Cianci and Caroline M. Patey in the series Cultural Interactions: Studies in the Relationship between the Arts. The original work can be found at: https://doi.org/10.3726/978-3-0353-0637-8. c Peter Lang AG, 2014. All rights reserved. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Changing Our Way of Being Wrong: T. -
What Doesn't Happen in Hamlet
Kent Academic Repository Full text document (pdf) Citation for published version Loughnane, Rory (2019) Studied Speech and The Duchess of Malfi: The Lost Arts of Rhetoric, Memory, and Death. Sillages Critiques, 26 . ISSN 1272-3819. DOI Link to record in KAR https://kar.kent.ac.uk/75402/ Document Version Pre-print Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html What Doesn’t Happen in Hamlet Rory Loughnane Abstract W.W. Greg first identified the dumb show in Hamlet as problematic: if Claudius sees the dumb show, which replicates his murder of Old Hamlet in mime, then why does he not react until much later? Many explanations have been offered, and this article responds to (in title and argument) John Dover Wilson’s influ- ential account in What Happens in Hamlet (1935) which inspired much further debate.