Rocket

Sources

The history of Hamlet is in the Gesta Danorum (about 1200) of the writer Saxo Grammaticus. François de Belleforest adapts it in 1570, in his tragic stories . The most direct source is probably a not preserved part, allotted to Thomas Kyd which would have the first introduced the character of the spectrum. The majority of the events are the product of the imagination of Shakespeare.

Main characters

The prince Hamlet is the son of the last king of the Denmark, also named “Hamlet”. It is student with the Université of Wittenberg. The spectrum of his/her father charges it with avenging his murder. It there arrives finally, but only after the royal family was évincée and that itself was mortally wounded by Laërte of a blow of poisoned sword.

Claudius , uncle of prince Hamlet, is the current car-proclaimed king of Denmark. He succeeded his brother, king Hamlet. The spectrum of this last shows Claudius to have assassinated it during its sleep. At the end of the part, Claudius is killed by Prince Hamlet.

The king Hamlet (indicated like " the spectrum ") : at the beginning of the part, the spectrum of king Hamlet appears with his son and presses it to avenge its poisoning by Claudius. Hamlet is questioned: it is about the Fantôme of his/her father or is it the object of a Démon. It will not have an definitive answer.

Gertrude , mother of prince Hamlet and widow of the late king, remarie shortly after with the brother of the latter, which prince Hamlet, and all the time of Shakespeare, regard as a Inceste. She dies accidentally by drinking the poisoned wine intended for Hamlet.

Polonius , chamberlain of king Claudius. It worries about the love affair of prince Hamlet and Ophélie, his daughter. It fears that Hamlet takes its Virginité and does not marry it. It prohibits this relation with his daughter. It is killed by Hamlet which it espionnait behind a tapestry.

Laërtes , wire of Polonius, is deeply attached to his/her Ophélie sister. It is in France during the major portion of a piece. At the end of this one, because of the implication of Hamlet in the death of his sister, it foments with Claudius a duel in which it kills Hamlet. Hamlet kills it out of the same sword of which he is unaware of that it is poisoned.

Ophélie , girl of Polonius, it and Hamlet divide a idylle although having been implicitly warned against the impossibility of a marriage. Hamlet gets rid of it to accredit its own madness. The death of his/her father will make it insane and it will give itself death while drowning in a brook.

Horatio , friend of Hamlet, is not implied in the intrigues of the court. He will be the only character important to survive per hour of the outcome and being able to carry the history of Hamlet to the posterity.

Rosencrantz and Guildenstern , friends of Hamlet, turned over by Claudius to supervise it. Hamlet suspects them quickly. They will be carried out in England.

Fortinbras , Norwegian prince, is the son of the of the same king name killed with the battle field by the father of Hamlet. Prince Fortinbras hopes for a revenge.

Adaptations

Hamlet was adapted to the opera by Ambroise Thomas, on a booklet of Michel Carré and Jules Barbier (1868).
Hamlet was carried to the cinema of tens of time. The first film is French, it is entitled the Duel of Hamlet , realized by Clément Maurice with Sarah Bernhardt in the role of Hamlet. The most known adaptations of the part remain:

Hamlet of Svend Gade and Heinz Schall in 1920, with still a woman, Asta Nielsen in the role titrates.
Hamlet of Laurence Olivier in 1948
Hamlet of Tony Richardson in 1969
Hamlet of Franco Zeffirelli in 1990
Hamlet of Kenneth Branagh in 1996
Hamlet of Michael Almereyda in 2000

Of very many literary works refer to Hamlet, some by their title even, in particular:

Hamlet-machine of Heiner Müller.
Rosencrantz and Guilderstern are dead of Tom Stoppard.
Investigation into Hamlet. The dialog of the deaf of Pierre Bayard.

In addition, in a more comic register, the authors of Cartoon French Marcel Gotlib and Alexis parodied the part in one of the episodes in their Cinémastock , published at Pilote in 1972.

Famous passages

The monolog of Hamlet is perhaps the most famous passage of all the English literature:

Psychocritique

In the right wire of the interpretation of Freud, the analysis Psychocritique is based on a tight comment of work, in particular, monolog III, 1

Key Passage in which the Héros éponyme reveals us and probes itself his major duality: the tragic source of its procrastination. Two paradoxical desires paralyze it literally. We are in the middle of the Tragédie oedipienne and the ambivalence of each of the two desires becomes ingérable in objective reality. From where this evocation of dead ironically associated with the sleep: this moment when the activity Psychique is not régentée any more by the same laws and the same taboos. The dreams allow an indirect realization and symbolic system, just like artistic creation: in fact, the only action of which Hamlet will be able will be the setting in scene of the fratricide that it thus takes again indirectly on its account, dramatizing the parricidal Tabou. One better then includes/understands the sadism whose east immediately impresses the dialog with Ophélie after, the range of the triangular situation in the apartment of the queen (III, 4): new dramatization of the impossible act: “I took thee for thy better” (I took to you for another who would be higher to you), Hamlett had taken Polonius for a rat, it acts of an insult. The depth of the relation mother-wire shows through in the long-drawn-out metaphor of the ear, associated with the fratricidal/parricidal poison but also with the power of the Verb: “Thesis words like daggers enter in my ears” (These words are as daggers which enters my ears).

The structure even of the tragedy reflects the Obsession impossible ambivalent desire: the relations between the various characters, including the supporting characters are as many projections of the same essential topic: a setting in abyme of the nodal tragedy: Hamlet/Ophélie, Polonius/Ophélie, Ophélie/Laertes, Hamlet/Claudius/Polonius/the phantom of the father/Horatio/Rosencrantz-Guildenstern, then Fortinbras. The setting in abyme acts as the mirror in which Macbeth will recognize the appalling revelation!

The Surnaturel is not a simple convention giving the starting point of the tragedy: it concerns a psychical reality. Like a Symptom nevrotic, it is the objectivation of a driven back Obsession. I, 2: Horatio seems to confirm the existence of the phantom but its experiment there too brings back for us to the process of the dream: to the moment even where it seems about to communicate with this appearance, the song of the cock brings back it to the reality of the diurnal world!

The study of various works clarifies the obsessional nature of this triangular situation which becomes truly poignant in the Sonnets . The psychocritic Analyze makes it possible to show the unconscious mechanisms of the process of artistic creation (sublimation), to better perceive the close relation between the poet and his work, here, between Shakespeare and various the misadventures of sound Double.

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