Oberwil in Waldkirch, St. Gallen, Switzerland is an example of a hamlet

A hamlet is a type of settlement. The definition of hamlet varies by country. It usually refers to a small settlement in a rural area, or a component of a larger settlement or municipality. Hamlets are typically unincorporated communities.

Etymology[link]

The word comes from Anglo-Norman hamelet(t)e; Old French hamelet, the diminutive of Old French hamel. Another diminutive of Old French ham is possibly a cognate with similar words of Germanic origin. Compare with Dutch heem, German Heim, Swiss German cham or -kon, Old English hām and Modern English home, all derived from the Proto-Germanic *kham-.^[1]

Hamlets by country[link]

Canada[link]

In Canada's three territories, hamlets are officially designated municipalities.^[2] As of January 1, 2010:

• Northwest Territories had 10 hamlets,^[2] which had a population of less than 1,000 people as of the 2006 census;^[3][4]
• Nunavut had 24 hamlets,^[2] all of which had a population of less than 2,500 people as of the 2006 census;^[5] and
• Yukon had two hamlets,^[2] both of which had a population of less than 400 people as of the 2006 census.^[6]

In Canada's provinces, hamlets are usually small unincorporated communities within a larger municipality, such as many communities within the single-tier municipalities of Ontario^{[citation needed]} or within Alberta's specialized and rural municipalities.^[7]

Canada's two largest hamlets – Fort McMurray (formerly incorporated as a city)^[8] and Sherwood Park – are located in Alberta. They both have populations well in excess of the 10,000-person threshold to incorporate as a city.^[9][10] As such, these two hamlets have been further designated by the Province of Alberta as urban service areas.^[11] An urban service area is recognized as equivalent to a city for the purposes of program delivery and grant eligibility.^[12][13]

Germany[link]

In Germany hamlets are called "Weiler" (German: [ˈva͡ɪlɐ]) or Heim. They are often part of bigger villages and municipalities. Most German hamlets are situated in Bavaria, Rhineland-Palatinate and Hesse.^{[citation needed]}

Romania[link]

In Romania hamlets are called cătunuri (singular: cătun), and they represent villages that contain several houses at most. They are legally considered villages, and statistically, they are placed in the same category. Like villages, they do not have a separate administration, and thus are not an administrative division, but are part of a parent commune. Their locations are always marked by road signs.

United Kingdom[link]

In the United Kingdom, the word 'hamlet' has no defined legal meaning, although hamlets are recognised as part of land use planning policies and administration. A hamlet is traditionally defined ecclesiastically as a village or settlement that usually does not have its own church,^[14] belonging to a parish of another village or town. In modern usage it generally refers to a secondary settlement in a civil parish, after the main settlement (if any). Hamlets may have been formed around a single source of economic activity such as a farm, mill, mine or harbour that employed its working population. Some hamlets, particularly those that have a medieval church, may be the result of the depopulation of a village.

The term hamlet was used in some parts of the country^{[clarification needed]} for a geographical subdivision of a parish (which might or might not contain a settlement). Elsewhere, these subdivisions were called "townships" or "tithings".^[15][16]

In Scotland the term clachan, of Gaelic derivation, may be preferred to the term "hamlet".^[17] Also found in that country is 'Fermtoun' used in the specific case of a settlement of agricultural workers' homes.

In Northern Ireland the common Irish place name element baile is sometimes considered equivalent to the term "hamlet" in English, although baile would actually have referred to what is known in English today as a townland that is a geographical locality, not a small village.

United States[link]

New York[link]

In New York, hamlets are unincorporated settlements within towns. Hamlets are usually not legal entities and have no local government or official boundaries. Their approximate locations will often be noted on road signs, however.

A hamlet usually depends upon the town that contains it for municipal services and government. A hamlet could be described as the rural or suburban equivalent of a neighborhood in a city or village. The area of a hamlet may not be exactly defined and may simply be contained within the ZIP code of its post office, or may be defined by its school or fire district. Some hamlets proximate to urban areas are sometimes continuous with their cities and appear to be neighborhoods, but they still are under the jurisdiction of the town. Some hamlets, such as Hauppauge with a population of over 20,000, are more populous than some incorporated cities in the state.

Oregon[link]

In Oregon, specifically in Clackamas County, a hamlet is a form of local government for small communities, which allows the citizens therein to organize and co-ordinate community activities. Hamlets do not provide services such as utilities or fire protection, and do not have the authority to levy taxes or fees. There are four hamlets: Beavercreek, Mulino, Molalla Prairie, and Stafford.

See also[link]

• Clachan
• Developed Environments
• Dhani and villages
• Frazione
• Manorialism
• Types of settlements in Russia
• Khirba

References[link]

External links[link]

Look up hamlet in Wiktionary, the free dictionary.

• Wolfhampcote: A hamlet formed by depopulation
• Low Mill: A mill hamlet
• "Hamlet" – A typical French hamlet with mill

The American actor Edwin Booth as Hamlet, ca. 1870

The Tragedy of Hamlet, Prince of Denmark is a tragedy by William Shakespeare. Set in the Kingdom of Denmark, the play dramatizes the revenge Prince Hamlet exacts on his uncle Claudius for murdering King Hamlet, Claudius's brother and Prince Hamlet's father, and then succeeding to the throne and taking as his wife Gertrude, the old king's widow and Prince Hamlet's mother. The play vividly portrays both true and feigned madness – from overwhelming grief to seething rage – and explores themes of treachery, revenge, incest, and moral corruption.

Hamlet is Shakespeare's longest play and among the most powerful and influential tragedies in the English language, with a story capable of "seemingly endless retelling and adaptation by others."^[1] The play was one of Shakespeare's most popular works during his lifetime^[2] and still ranks among his most-performed, topping the Royal Shakespeare Company's performance list since 1879.^[3] It has inspired writers from Goethe and Dickens to Joyce and Murdoch, and has been described as "the world's most filmed story after Cinderella".^[4]

Shakespeare based Hamlet on the legend of Amleth, preserved by 13th-century chronicler Saxo Grammaticus in his Gesta Danorum as subsequently retold by 16th-century scholar François de Belleforest. He may also have drawn on or perhaps written an earlier (hypothetical) Elizabethan play known today as the Ur-Hamlet. He almost certainly created the title role for Richard Burbage, the leading tragedian of Shakespeare's time.^[5] In the 400 years since, the role has been performed by highly acclaimed actors and actresses from each successive age.

Three different early versions of the play are extant, the First Quarto (Q1, 1603), the Second Quarto (Q2, 1604), and the First Folio (F1, 1623). Each version includes lines, and even entire scenes, missing from the others. The play's structure and depth of characterisation have inspired much critical scrutiny. One such example is the centuries-old debate about Hamlet's hesitation to kill his uncle, which some see as a mere plot device to prolong the action, but which others argue is a dramatization of the complex philosophical and ethical issues that surround cold-blooded murder, calculated revenge, and thwarted desire. More recently, psychoanalytic critics have examined Hamlet's unconscious desires, and feminist critics have re-evaluated and rehabilitated the often maligned characters of Ophelia and Gertrude.

Characters[link]

Plot[link]

Horatio, Marcellus, Hamlet, and the Ghost (Artist: Henry Fuseli 1798)^[6]

The protagonist of Hamlet is Prince Hamlet of Denmark, son of deceased King Hamlet and his wife, Queen Gertrude.

The story opens on a chilly night at Elsinore, the Danish royal castle. Francisco, one of the sentinels, is relieved of his watch by Bernardo, another sentinel, and exits while Bernardo remains. A third sentinel, Marcellus, enters with Horatio, Hamlet's best friend. The sentinels inform Horatio that they have seen a ghost that looks like the dead King Hamlet. After hearing from Horatio of the Ghost's appearance, Hamlet resolves to see the Ghost himself. That night, the Ghost appears again. It leads Hamlet to a secluded place, claims that it is the actual spirit of his father, and discloses that he—the elder Hamlet—was murdered by his brother Claudius pouring poison in his ear. The Ghost demands that Hamlet avenge him; Hamlet agrees, swears his companions to secrecy, and tells them he intends to "put an antic disposition on"^[7] (presumably to avert suspicion). Hamlet initially attests to the ghost's reliability, calling him both an "honest ghost" and "truepenny." Later, however, he expresses doubts about the ghost's nature and intent, claiming these as reasons for his inaction.

Polonius is Claudius's trusted chief counsellor; Polonius's son, Laertes, is returning to France, and Polonius's daughter, Ophelia, is courted by Hamlet. Both Polonius and Laertes warn Ophelia that Hamlet is surely not serious about her. Shortly afterward, Ophelia is alarmed by Hamlet's strange behaviour, reporting to her father that Hamlet rushed into her room, stared at her, and said nothing. Polonius assumes that the "ecstasy of love"^[8] is responsible for Hamlet's "mad" behaviour, and he informs Claudius and Gertrude.

Perturbed by Hamlet's continuing deep mourning for his father and his increasingly erratic behaviour, Claudius sends for two of Hamlet's acquaintances—Rosencrantz and Guildenstern—to find out the cause of Hamlet's changed behaviour. Hamlet greets his friends warmly but quickly discerns that they have been sent to spy on him.

Together, Claudius and Polonius convince Ophelia to speak with Hamlet while they secretly listen. Hamlet enters, contemplating suicide (To be or not to be). Ophelia greets him, and offers to return his remembrances, upon which Hamlet questions her honesty and furiously rants at her to "get thee to a nunnery."^[9]

The "gravedigger scene"^[10] (Artist: Eugène Delacroix 1839)

Hamlet remains uncertain whether the Ghost has told him the truth, but the arrival of a troupe of actors at Elsinore presents him with a solution. He will have them stage a play, The Murder of Gonzago, re-enacting his father's murder and determine Claudius's guilt or innocence by studying his reaction to it. The court assembles to watch the play; Hamlet provides an agitated running commentary throughout. When the murder scene is presented, Claudius abruptly rises and leaves the room, which Hamlet sees as proof of his uncle's guilt.

Gertrude summons Hamlet to her closet to demand an explanation. On his way, Hamlet passes Claudius in prayer, but hesitates to kill him, reasoning that death in prayer would send him to heaven. However, it is revealed that the King is not truly praying, remarking that "words" never made it to heaven without "thoughts."^[11] An argument erupts between Hamlet and Gertrude. Polonius, spying on the scene from behind an arras and convinced that the prince's madness is indeed real, panics when it seems as if Hamlet is about to murder the Queen and cries out for help. Hamlet, believing it is Claudius hiding behind the arras, stabs wildly through the cloth, killing Polonius. When he realises that he has killed Ophelia's father, he is not remorseful, but calls Polonius "Thou wretched, rash, intruding fool."^[12] The Ghost appears, urging Hamlet to treat Gertrude gently, but reminding him to kill Claudius. Unable to see or hear the Ghost herself, Gertrude takes Hamlet's conversation with it as further evidence of madness.

Claudius, now fearing for his life, finds a legitimate excuse to get rid of the prince: he sends Hamlet to England on a diplomatic pretext, accompanied (and closely watched) by Rosencrantz and Guildenstern. Alone, Claudius discloses that he is actually sending Hamlet to his death. Prior to embarking for England, Hamlet hides Polonius's body, ultimately revealing its location to the King. Upon leaving Elsinore, Hamlet encounters the army of Prince Fortinbras en route to do battle in Poland. Upon witnessing so many men going to their death on the brash whim of an impulsive prince, Hamlet declares, "O, from this time forth, / My thoughts be bloody, or be nothing worth!"^[13]

At Elsinore, further demented by grief at her father Polonius's death, Ophelia wanders the castle, acting erratically and singing bawdy songs. Her brother, Laertes, returns from France, horrified by his father's death and his sister's madness. She appears briefly to give out herbs and flowers. Claudius convinces Laertes that Hamlet is solely responsible; then news arrives that Hamlet is still alive—a story is spread that his ship was attacked by pirates on the way to England, and he has returned to Denmark. Claudius swiftly concocts a plot to kill his nephew but make it appear to be an accident, taking all of the blame off his shoulders. Knowing of Hamlet's jealousy of Laertes' prowess with a sword, he proposes a fencing match between the two. Laertes, enraged at the murder of his father, informs the king that he will further poison the tip of his sword so that a mere scratch would mean certain death. Claudius, unsure that capable Hamlet could receive even a scratch, plans to offer Hamlet poisoned wine if that fails. Gertrude enters to report that Ophelia has drowned.

Hamlet avenged his father by killing his uncle^[14] (Artist: Gustave Moreau date unknown)

In the Elsinore churchyard, two "clowns", typically represented as "gravediggers," enter to prepare Ophelia's grave, and, although the coroner has ruled her death accidental so that she may receive Christian burial, they argue about its being a case of suicide. Hamlet arrives with Horatio and banters with one of them, who unearths the skull of a jester whom Hamlet once knew, Yorick ("Alas, Poor Yorick; I knew him, Horatio."). Ophelia's funeral procession approaches, led by her mournful brother Laertes. Distraught at the lack of ceremony (due to the actually-deemed suicide) and overcome by emotion, Laertes leaps into the grave, cursing Hamlet as the cause of her death. Hamlet interrupts, professing his own love and grief for Ophelia. He and Laertes grapple, but the fight is broken up by Claudius and Gertrude. Claudius reminds Laertes of the planned fencing match.

Later that day, Hamlet tells Horatio how he escaped death on his journey, disclosing that Rosencrantz and Guildenstern have been sent to their deaths instead. A courtier, Osric, interrupts to invite Hamlet to fence with Laertes. Despite Horatio's warnings, Hamlet accepts and the match begins. After several rounds, Gertrude toasts Hamlet—against the urgent warning of Claudius—accidentally drinking the wine he poisoned. Between bouts, Laertes attacks and pierces Hamlet with his poisoned blade; in the ensuing scuffle, Hamlet is able to use Laertes's own poisoned sword against him. Gertrude falls and, in her dying breath, announces that she has been poisoned.

In his dying moments, Laertes is reconciled with Hamlet and reveals Claudius's murderous plot. Hamlet stabs Claudius with the poisoned sword, and then forces him to drink from his own poisoned cup to make sure he dies. In his final moments, Hamlet names Prince Fortinbras of Norway as the probable heir to the throne, since the Danish kingship is an elected position, with the country's nobles having the final say. Horatio attempts to kill himself with the same poisoned wine but is stopped by Hamlet, as he will be the only one left alive who can give a full account of the story.

When Fortinbras arrives to greet King Claudius, he encounters the deadly scene: Gertrude, Claudius, Laertes, and Hamlet are all dead. Horatio asks to be allowed to recount the tale to "the yet unknowing world," and Fortinbras orders Hamlet's body borne off in honour.

Sources[link]

A facsimile of Gesta Danorum by Saxo Grammaticus, which contains the legend of Amleth

Hamlet-like legends are so widely found (for example in Italy, Spain, Scandinavia, Byzantium, and Arabia) that the core "hero-as-fool" theme is possibly Indo-European in origin.^[15] Several ancient written precursors to Hamlet can be identified. The first is the anonymous Scandinavian Saga of Hrolf Kraki. In this, the murdered king has two sons—Hroar and Helgi—who spend most of the story in disguise, under false names, rather than feigning madness, in a sequence of events that differs from Shakespeare's.^[16] The second is the Roman legend of Brutus, recorded in two separate Latin works. Its hero, Lucius ("shining, light"), changes his name and persona to Brutus ("dull, stupid"), playing the role of a fool to avoid the fate of his father and brothers, and eventually slaying his family's killer, King Tarquinius. A 17th-century Nordic scholar, Torfaeus, compared the Icelandic hero Amlodi and the Spanish hero Prince Ambales (from the Ambales Saga) to Shakespeare's Hamlet. Similarities include the prince's feigned madness, his accidental killing of the king's counsellor in his mother's bedroom, and the eventual slaying of his uncle.^[17]

Many of the earlier legendary elements are interwoven in the 13th-century Vita Amlethi ("The Life of Amleth")^[18] by Saxo Grammaticus, part of Gesta Danorum.^[19] Written in Latin, it reflects classical Roman concepts of virtue and heroism, and was widely available in Shakespeare's day.^[20] Significant parallels include the prince feigning madness, his mother's hasty marriage to the usurper, the prince killing a hidden spy, and the prince substituting the execution of two retainers for his own. A reasonably faithful version of Saxo's story was translated into French in 1570 by François de Belleforest, in his Histoires tragiques.^[21] Belleforest embellished Saxo's text substantially, almost doubling its length, and introduced the hero's melancholy.^[22]

Title page of The Spanish Tragedy, by Thomas Kyd.

According to a popular theory, Shakespeare's main source is believed to be an earlier play—now lost—known today as the Ur-Hamlet. Possibly written by Thomas Kyd or even William Shakespeare himself, the Ur-Hamlet would have been in performance by 1589 and the first version of the story known to incorporate a ghost.^[23] Shakespeare's company, the Chamberlain's Men, may have purchased that play and performed a version for some time, which Shakespeare reworked.^[24] Since no copy of the Ur-Hamlet has survived, however, it is impossible to compare its language and style with the known works of any of its putative authors. Consequently, there is no direct evidence that Kyd wrote it, nor any evidence that the play was not an early version of Hamlet by Shakespeare himself. This latter idea—placing Hamlet far earlier than the generally accepted date, with a much longer period of development—has attracted some support, though others dismiss it as speculation.^[25]

The upshot is that scholars cannot assert with any confidence how much material Shakespeare took from the Ur-Hamlet (if it even existed), how much from Belleforest or Saxo, and how much from other contemporary sources (such as Kyd's The Spanish Tragedy). No clear evidence exists that Shakespeare made any direct references to Saxo's version. However, elements of Belleforest's version which are not in Saxo's story do appear in Shakespeare's play. Whether Shakespeare took these from Belleforest directly or through the Ur-Hamlet remains unclear.^[26]

Most scholars reject the idea that Hamlet is in any way connected with Shakespeare's only son, Hamnet Shakespeare, who died in 1596 at age eleven. Conventional wisdom holds that Hamlet is too obviously connected to legend, and the name Hamnet was quite popular at the time.^[27] However, Stephen Greenblatt has argued that the coincidence of the names and Shakespeare's grief for the loss of his son may lie at the heart of the tragedy. He notes that the name of Hamnet Sadler, the Stratford neighbour after whom Hamnet was named, was often written as Hamlet Sadler and that, in the loose orthography of the time, the names were virtually interchangeable.^[28] Sadler's first name is spelled "Hamlett" in Shakespeare's will.^[29]

Scholars have often speculated that Hamlet's Polonius might have been inspired by William Cecil (Lord Burghley)—Lord High Treasurer and chief counsellor to Queen Elizabeth I. E. K. Chambers suggested Polonius's advice to Laertes may have echoed Burghley's to his son Robert Cecil. John Dover Wilson thought it almost certain that the figure of Polonius caricatured Burleigh, while A. L. Rowse speculated that Polonius's tedious verbosity might have resembled Burghley's.^[30] Lilian Winstanley thought the name Corambis (in the First Quarto) did suggest Cecil and Burghley.^[31] Harold Jenkins criticised the idea of any direct personal satire as "unlikely" and "uncharacteristic of Shakespeare",^[32] while G.R.Hibbard hypothesized that differences in names (Corambis/Polonius:Montano/Raynoldo) between the First Quarto and other editions might reflect a desire not to offend scholars at Oxford University.^[33]

Date[link]

John Barrymore as Hamlet (1922)

"Any dating of Hamlet must be tentative", cautions the New Cambridge editor, Phillip Edwards.^[34] The earliest date estimate relies on Hamlet's frequent allusions to Shakespeare's Julius Caesar, itself dated to mid-1599.^[35] The latest date estimate is based on an entry, of 26 July 1602, in the Register of the Stationers' Company, indicating that Hamlet was "latelie Acted by the Lo: Chamberleyne his servantes".

In 1598, Francis Meres published his Palladis Tamia, a survey of English literature from Chaucer to its present day, within which twelve of Shakespeare's plays are named. Hamlet is not among them, suggesting that it had not yet been written. As Hamlet was very popular, Bernard Lott, the series editor of New Swan, believes it "unlikely that he [Meres] would have overlooked ... so significant a piece".^[36]

The phrase "little eyases"^[37] in the First Folio (F1) may allude to the Children of the Chapel, whose popularity in London forced the Globe company into provincial touring. This became known as the War of the Theatres, and supports a 1601 dating.^[36]

A contemporary of Shakespere's, Gabriel Harvey, wrote a marginal note in his copy of the 1598 edition of Chaucer's works, which some scholars use as dating evidence. Harvey's note says that "the wiser sort" enjoy Hamlet, and implies that the Earl of Essex—executed in February 1601 for rebellion—was still alive. Other scholars consider this inconclusive. Edwards, for example, concludes that the "sense of time is so confused in Harvey's note that it is really of little use in trying to date Hamlet". This is because the same note also refers to Spenser and Watson as if they were still alive ("our flourishing metricians"), but also mentions "Owen's new epigrams", published in 1607.^[38]

Texts[link]

Title page of the 1605 printing (Q2) of Hamlet

Three early editions of the text have survived, making attempts to establish a single "authentic" text problematic.^[39] Each is different from the others:^[40]

• First Quarto (Q1) In 1603 the booksellers Nicholas Ling and John Trundell published, and Valentine Simmes printed the so-called "bad" first quarto. Q1 contains just over half of the text of the later second quarto.
• Second Quarto (Q2) In 1604 Nicholas Ling published, and James Roberts printed, the second quarto. Some copies are dated 1605, which may indicate a second impression; consequently, Q2 is often dated "1604/5". Q2 is the longest early edition, although it omits 85 lines found in F1 (most likely to avoid offending James I's queen, Anne of Denmark).^[41]
• First Folio (F1) In 1623 Edward Blount and William and Isaac Jaggard published the First Folio, the first edition of Shakespeare's Complete Works.^[42]

Other folios and quartos were subsequently published—including John Smethwick's Q3, Q4, and Q5 (1611–37)—but these are regarded as derivatives of the first three editions.^[42]

Early editors of Shakespeare's works, beginning with Nicholas Rowe (1709) and Lewis Theobald (1733), combined material from the two earliest sources of Hamlet available at the time, Q2 and F1. Each text contains material that the other lacks, with many minor differences in wording: scarcely 200 lines are identical in the two. Editors have combined them in an effort to create one "inclusive" text that reflects an imagined "ideal" of Shakespeare's original. Theobald's version became standard for a long time,^[43] and his "full text" approach continues to influence editorial practice to the present day. Some contemporary scholarship, however, discounts this approach, instead considering "an authentic Hamlet an unrealisable ideal. ... there are texts of this play but no text".^[44] The 2006 publication by Arden Shakespeare of different Hamlet texts in different volumes is perhaps the best evidence of this shifting focus and emphasis.^[45]

Traditionally, editors of Shakespeare's plays have divided them into five acts. None of the early texts of Hamlet, however, were arranged this way, and the play's division into acts and scenes derives from a 1676 quarto. Modern editors generally follow this traditional division, but consider it unsatisfactory; for example, after Hamlet drags Polonius's body out of Gertrude's bedchamber, there is an act-break^[46] after which the action appears to continue uninterrupted.^[47]

Comparison of the 'To be, or not to be' soliloquy 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

The discovery in 1823 of Q1—whose existence had been quite unsuspected—caused considerable interest and excitement, raising many questions of editorial practice and interpretation. Scholars immediately identified apparent deficiencies in Q1, which was instrumental in the development of the concept of a Shakespearean "bad quarto".^[48] Yet Q1 has value: it contains stage directions that reveal actual stage practices in a way that Q2 and F1 do not; it contains an entire scene (usually labelled 4.6)^[49] that does not appear in either Q2 or F1; and it is useful for comparison with the later editions. The scene order is more coherent, without the problems of Q2 and F1 of Hamlet seeming to resolve something in one scene and enter the next drowning in indecision. The major deficiency of Q1 is in the language: particularly noticeable in the opening lines of the famous "To be, or not to be" soliloquy: "To be, or not to be, aye there's the point. / To die, to sleep, is that all? Aye all: / No, to sleep, to dream, aye marry there it goes."

Q1 is considerably shorter than Q2 or F1 and may be a memorial reconstruction of the play as Shakespeare's company performed it, by an actor who played a minor role (most likely Marcellus).^[50] Scholars disagree whether the reconstruction was pirated or authorised. Another theory, considered by New Cambridge editor Kathleen Irace, holds that Q1 is an abridged version intended especially for travelling productions.^[51] The idea that Q1 is not riddled with error but is instead eminently fit for the stage has led to at least 28 different Q1 productions since 1881.^[52]

Analysis and criticism[link]

Critical history[link]

From the early 17th century, the play was famous for its ghost and vivid dramatisation of melancholy and insanity, leading to a procession of mad courtiers and ladies in Jacobean and Caroline drama.^[53] Though it remained popular with mass audiences, late 17th-century Restoration critics saw Hamlet as primitive and disapproved of its lack of unity and decorum.^[54] This view changed drastically in the 18th century, when critics regarded Hamlet as a hero—a pure, brilliant young man thrust into unfortunate circumstances.^[55] By the mid-18th century, however, the advent of Gothic literature brought psychological and mystical readings, returning madness and the Ghost to the forefront.^[56] Not until the late 18th century did critics and performers begin to view Hamlet as confusing and inconsistent. Before then, he was either mad, or not; either a hero, or not; with no in-betweens.^[57] These developments represented a fundamental change in literary criticism, which came to focus more on character and less on plot.^[58] By the 19th century, Romantic critics valued Hamlet for its internal, individual conflict reflecting the strong contemporary emphasis on internal struggles and inner character in general.^[59] Then too, critics started to focus on Hamlet's delay as a character trait, rather than a plot device.^[58] This focus on character and internal struggle continued into the 20th century, when criticism branched in several directions, discussed in context and interpretation below.

Dramatic structure[link]

Hamlet departed from contemporary dramatic convention in several ways. For example, in Shakespeare's day, plays were usually expected to follow the advice of Aristotle in his Poetics: that a drama should focus on action, not character. In Hamlet, Shakespeare reverses this so that it is through the soliloquies, not the action, that the audience learns Hamlet's motives and thoughts. The play is full of seeming discontinuities and irregularities of action, except in the "bad" quarto. At one point, as in the Gravedigger scene,^[10] Hamlet seems resolved to kill Claudius: in the next scene, however, when Claudius appears, he is suddenly tame. Scholars still debate whether these twists are mistakes or intentional additions to add to the play's theme of confusion and duality.^[60] Finally, in a period when most plays ran for two hours or so, the full text of Hamlet—Shakespeare's longest play, with 4,042 lines, totalling 29,551 words—takes over four hours to deliver.^[61] Even today the play is rarely performed in its entirety, and has only once been dramatised on film completely, with Kenneth Branagh's 1996 version. Hamlet also contains a favourite Shakespearean device, a play within the play, a literary device or conceit in which one story is told during the action of another story.^[62]

Language[link]

Hamlet's statement that his dark clothes are the outer sign of his inner grief demonstrates strong rhetorical skill. (Artist: Eugène Delacroix 1834).

Compared with language in a modern newspaper, magazine or popular novel, Shakespeare's language can strike contemporary readers as complex, elaborate and at times difficult to understand. Remarkably, it still works well enough in the theatre: audiences at the reconstruction of 'Shakespeare's Globe' in London, many of whom have never been to the theatre before, let alone to a play by Shakespeare, seem to have little difficulty grasping the play's action.^[63] Much of Hamlet's language is courtly: elaborate, witty discourse, as recommended by Baldassare Castiglione's 1528 etiquette guide, The Courtier. This work specifically advises royal retainers to amuse their masters with inventive language. Osric and Polonius, especially, seem to respect this injunction. Claudius's speech is rich with rhetorical figures—as is Hamlet's and, at times, Ophelia's—while the language of Horatio, the guards, and the gravediggers is simpler. Claudius's high status is reinforced by using the royal first person plural ("we" or "us"), and anaphora mixed with metaphor to resonate with Greek political speeches.^[64]

Hamlet is the most skilled of all at rhetoric. He uses highly developed metaphors, stichomythia, and in nine memorable words deploys both anaphora and asyndeton: "to die: to sleep— / To sleep, perchance to dream".^[65] In contrast, when occasion demands, he is precise and straightforward, as when he explains his inward emotion to his mother: "But I have that within which passes show, / These but the trappings and the suits of woe".^[66] At times, he relies heavily on puns to express his true thoughts while simultaneously concealing them.^[67] His "nunnery" remarks^[68] to Ophelia are an example of a cruel double meaning as nunnery was Elizabethan slang for brothel.^[9][69] His very first words in the play are a pun; when Claudius addresses him as "my cousin Hamlet, and my son", Hamlet says as an aside: "A little more than kin, and less than kind."^[70] An aside is a dramatic device in which a character speaks to the audience. By convention the audience realises that the character's speech is unheard by the other characters on stage. It may be addressed to the audience expressly (in character or out) or represent an unspoken thought.

An unusual rhetorical device, hendiadys, appears in several places in the play. Examples are found in Ophelia's speech at the end of the nunnery scene: "Th'expectancy and rose of the fair state"; "And I, of ladies most deject and wretched".^[71] Many scholars have found it odd that Shakespeare would, seemingly arbitrarily, use this rhetorical form throughout the play. One explanation may be that Hamlet was written later in Shakespeare's life, when he was adept at matching rhetorical devices to characters and the plot. Linguist George T. Wright suggests that hendiadys had been used deliberately to heighten the play's sense of duality and dislocation.^[72] Pauline Kiernan argues that Shakespeare changed English drama forever in Hamlet because he "showed how a character's language can often be saying several things at once, and contradictory meanings at that, to reflect fragmented thoughts and disturbed feelings." She gives the example of Hamlet's advice to Ophelia, "get thee to a nunnery", which is simultaneously a reference to a place of chastity and a slang term for a brothel, reflecting Hamlet's confused feelings about female sexuality.^[73]

Context and interpretation[link]

Religious[link]

Ophelia depicts lady Ophelia's mysterious death by drowning. In the play, the clowns discuss whether Ophelia's death was a suicide and whether or not she merits a Christian burial. (Artist: John Everett Millais 1852).

Written at a time of religious upheaval, and in the wake of the English Reformation, the play is alternately Catholic (or piously medieval) and Protestant (or consciously modern). The Ghost describes himself as being in purgatory, and as dying without last rites. This and Ophelia's burial ceremony, which is characteristically Catholic, make up most of the play's Catholic connections. Some scholars have observed that revenge tragedies come from traditionally Catholic countries, such as Spain and Italy; and they present a contradiction, since according to Catholic doctrine the strongest duty is to God and family. Hamlet's conundrum, then, is whether to avenge his father and kill Claudius, or to leave the vengeance to God, as his religion requires.^[74]

Much of the play's Protestantism derives from its location in Denmark—both then and now a predominantly Protestant country, though it is unclear whether the fictional Denmark of the play is intended to mirror this fact. The play does mention Wittenberg, where Hamlet, Horatio, and Rosencrantz and Guildenstern attend university, and where Martin Luther first proposed his 95 theses in 1517, effectively ushering in the Protestant Reformation.^[75] In Shakespeare's day Denmark, as the majority of Scandinavia, was Lutheran.^[76]

Philosophical[link]

Philosophical ideas in Hamlet are similar to those of the French writer Michel de Montaigne, a contemporary of Shakespeare's. (Artist: Thomas de Leu, fl. 1560–1612).

Hamlet is often perceived as a philosophical character, expounding ideas that are now described as relativist, existentialist, and sceptical. For example, he expresses a subjectivistic idea when he says to Rosencrantz: "there is nothing either good or bad, but thinking makes it so".^[77] The idea that nothing is real except in the mind of the individual finds its roots in the Greek Sophists, who argued that since nothing can be perceived except through the senses—and since all individuals sense, and therefore perceive, things differently—there is no absolute truth, only relative truth.^[78] The clearest example of existentialism is found in the "to be, or not to be"^[79] speech, where Hamlet uses "being" to allude to both life and action, and "not being" to death and inaction. Hamlet's contemplation of suicide in this scene, however, is less philosophical than religious as he believes that he will continue to exist after death.^[80]

Hamlet reflects the contemporary scepticism promoted by the French Renaissance humanist, Montaigne.^[81] Prior to Montaigne's time, humanists such as Pico della Mirandola had argued that man was God's greatest creation, made in God's image and able to choose his own nature, but this view was subsequently challenged in Michel de Montaigne's Essais of 1590. Hamlet's "What a piece of work is a man" echoes many of Montaigne's ideas, but scholars disagree whether Shakespeare drew directly from Montaigne or whether both men were simply reacting similarly to the spirit of the times.^[82]

In his openness to embrace the message of the ghost, Hamlet assuages Horatio's wonderment with the analytical assertion, "There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy."

Psychoanalytic[link]

In the first half of the 20th century, when psychoanalysis was at the height of its influence, its concepts were applied to Hamlet, notably by Sigmund Freud, Ernest Jones, and Jacques Lacan, and these studies influenced theatrical productions.

Freud suggested that an unconscious oedipal conflict caused Hamlet's hesitations. (Artist: Eugène Delacroix 1844).

In his The Interpretation of Dreams (1900), Freud's analysis starts from the premise that "the play is built up on Hamlet's hesitations over fulfilling the task of revenge that is assigned to him; but its text offers no reasons or motives for these hesitations".^[83] After reviewing various literary theories, Freud concludes that Hamlet has an "Oedipal desire for his mother and the subsequent guilt [is] preventing him from murdering the man [Claudius] who has done what he unconsciously wanted to do".^[84] Confronted with his repressed desires, Hamlet realises that "he himself is literally no better than the sinner whom he is to punish".^[83] Freud suggests that Hamlet's apparent "distaste for sexuality"—articulated in his "nunnery" conversation with Ophelia—accords with this interpretation.^[85][86]

John Barrymore's long-running 1922 performance in New York, directed by Thomas Hopkins, "broke new ground in its Freudian approach to character", in keeping with the post-World War I rebellion against everything Victorian.^[87] He had a "blunter intention" than presenting the genteel, sweet prince of 19th-century tradition, imbuing his character with virility and lust.^[88]

Beginning in 1910, with the publication of "The Oedipus-Complex as An Explanation of Hamlet's Mystery: Study in Motive,"^[89] Ernest Jones—a psychoanalyst and Freud's biographer—developed Freud's ideas into a series of essays that culminated in his book Hamlet and Oedipus (1949). Influenced by Jones's psychoanalytic approach, several productions have portrayed the "closet scene",^[90] where Hamlet confronts his mother in her private quarters, in a sexual light. In this reading, Hamlet is disgusted by his mother's "incestuous" relationship with Claudius while simultaneously fearful of killing him, as this would clear Hamlet's path to his mother's bed. Ophelia's madness after her father's death may also be read through the Freudian lens: as a reaction to the death of her hoped-for lover, her father. She is overwhelmed by having her unfulfilled love for him so abruptly terminated and drifts into the oblivion of insanity.^[91] In 1937, Tyrone Guthrie directed Laurence Olivier in a Jones-inspired Hamlet at the Old Vic.^[92] Olivier later used some of these same ideas in his 1948 film version of the play.

In the 1950s, Lacan's structuralist theories about Hamlet were first presented in a series of seminars given in Paris and later published in "Desire and the Interpretation of Desire in Hamlet". Lacan postulated that the human psyche is determined by structures of language and that the linguistic structures of Hamlet shed light on human desire.^[84] His point of departure is Freud's Oedipal theories, and the central theme of mourning that runs through Hamlet.^[84] In Lacan's analysis, Hamlet unconsciously assumes the role of phallus—the cause of his inaction—and is increasingly distanced from reality "by mourning, fantasy, narcissism and psychosis", which create holes (or lack (manque)) in the real, imaginary, and symbolic aspects of his psyche.^[84] Lacan's theories influenced literary criticism of Hamlet because of his alternative vision of the play and his use of semantics to explore the play's psychological landscape.^[84]

Feminist[link]

Ophelia is distracted by grief.^[93] Feminist critics have explored her descent into madness. (Artist: Henrietta Rae 1890).

In the 20th century feminist critics opened up new approaches to Gertrude and Ophelia. New Historicist and cultural materialist critics examined the play in its historical context, attempting to piece together its original cultural environment.^[94] They focused on the gender system of early modern England, pointing to the common trinity of maid, wife, or widow, with whores alone outside of the stereotype. In this analysis, the essence of Hamlet is the central character's changed perception of his mother as a whore because of her failure to remain faithful to Old Hamlet. In consequence, Hamlet loses his faith in all women, treating Ophelia as if she too were a whore and dishonest with Hamlet. Ophelia, by some critics, can be honest and fair; however, it is virtually impossible to link these two traits, since 'fairness' is an outward trait, while 'honesty' is an inward trait.^[95]

Hamlet tries to show his mother Gertrude his father's ghost (artist: Nicolai A. Abildgaard ca. 1778).

Carolyn Heilbrun's 1957 essay "The Character of Hamlet's Mother" defends Gertrude, arguing that the text never hints that Gertrude knew of Claudius poisoning King Hamlet. This analysis has been championed by many feminist critics. Heilbrun argued that men have for centuries completely misinterpreted Gertrude, accepting at face value Hamlet's view of her instead of following the actual text of the play. By this account, no clear evidence suggests that Gertrude is an adulteress: she is merely adapting to the circumstances of her husband's death for the good of the kingdom.^[96][97]

Ophelia has also been defended by feminist critics, most notably Elaine Showalter.^[98] Ophelia is surrounded by powerful men: her father, brother, and Hamlet. All three disappear: Laertes leaves, Hamlet abandons her, and Polonius dies. Conventional theories had argued that without these three powerful men making decisions for her, Ophelia is driven into madness.^[99] Feminist theorists argue that she goes mad with guilt because, when Hamlet kills her father, he has fulfilled her sexual desire to have Hamlet kill her father so they can be together. Showalter points out that Ophelia has become the symbol of the distraught and hysterical woman in modern culture.^[100]

Influence[link]

See also Literary influence of Hamlet

Hamlet is one of the most quoted works in the English language, and is often included on lists of the world's greatest literature.^[101] As such, it reverberates through the writing of later centuries. 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.^[102]

Henry Fielding's Tom Jones, published about 1749, describes a visit to Hamlet by Tom Jones and Mr Partridge, with similarities to the "play within a play".^[103] In contrast, Goethe's Bildungsroman Wilhelm Meister's Apprenticeship, written between 1776 and 1796, not only has a production of Hamlet at its core but also creates parallels between the Ghost and Wilhelm Meister's dead father.^[103] In the early 1850s, in Pierre, Herman Melville focuses on a Hamlet-like character's long development as a writer.^[103] Ten years later, Dickens's Great Expectations contains many Hamlet-like plot elements: it is driven by revenge-motivated actions, contains ghost-like characters (Abel Magwitch and Miss Havisham), and focuses on the hero's guilt.^[103] Academic Alexander Welsh notes that Great Expectations is an "autobiographical novel" and "anticipates psychoanalytic readings of Hamlet itself".^[104] About the same time, George Eliot's The Mill on the Floss was published, introducing Maggie Tulliver "who is explicitly compared with Hamlet"^[105] though "with a reputation for sanity".^[106]

L. Frank Baum's first published short story was "They Played a New Hamlet" (1895). When Baum had been touring New York State in the title role, the actor playing the ghost fell through the floorboards, and the rural audience thought it was part of the show and demanded that the actor repeat the fall, because they thought it was funny. Baum would later recount the actual story in an article, but the short story is told from the point of view of the actor playing the Ghost.

In the 1920s, James Joyce managed "a more upbeat version" of Hamlet—stripped of obsession and revenge—in Ulysses, though its main parallels are with Homer's Odyssey.^[103] In the 1990s, two women novelists were explicitly influenced by Hamlet. In Angela Carter's Wise Children, To be or not to be^[107] is reworked as a song and dance routine, and Iris Murdoch's The Black Prince has Oedipal themes and murder intertwined with a love affair between a Hamlet-obsessed writer, Bradley Pearson, and the daughter of his rival.^[105]

There is the story of the woman who read Hamlet for the first time and said, "I don't see why people admire that play so. It is nothing but a bunch of quotations strung together."

—Isaac Asimov, Asimov's Guide to Shakespeare, pg vii, Avenal Books, 1970

Performance history[link]

Shakespeare's day to the Interregnum[link]

Shakespeare almost certainly wrote the role of Hamlet for Richard Burbage. He was the chief tragedian of the Lord Chamberlain's Men, with a capacious memory for lines and a wide emotional range.^[5] Judging by the number of reprints, Hamlet appears to have been Shakespeare's fourth most popular play during his lifetime—only Henry IV Part 1, Richard III and Pericles eclipsed it.^[2] Shakespeare provides no clear indication of when his play is set; however, as Elizabethan actors performed at the Globe in contemporary dress on minimal sets, this would not have affected the staging.^[109]

Firm evidence for specific early performances of the play is scant. What is known is that the crew of the ship Red Dragon, anchored off Sierra Leone, performed Hamlet in September 1607;^[110] that the play toured in Germany within five years of Shakespeare's death;^[111] and that it was performed before James I in 1619 and Charles I in 1637.^[112] Oxford editor George Hibbard argues that, since the contemporary literature contains many allusions and references to Hamlet (only Falstaff is mentioned more, from Shakespeare), the play was surely performed with a frequency that the historical record misses.^[113]

All theatres were closed down by the Puritan government during the Interregnum.^[114] Even during this time, however, playlets known as drolls were often performed illegally, including one called The Grave-Makers based on Act 5, Scene 1 of Hamlet.^[115]

Restoration and 18th century[link]

The play was revived early in the Restoration. When the existing stock of pre-civil war plays was divided between the two newly created patent theatre companies, Hamlet was the only Shakespearean favourite that Sir William Davenant's Duke's Company secured.^[116] It became the first of Shakespeare's plays to be presented with movable flats painted with generic scenery behind the proscenium arch of Lincoln's Inn Fields Theatre.^[117] This new stage convention highlighted the frequency with which Shakespeare shifts dramatic location, encouraging the recurrent criticisms of his violation of the neoclassical principle of maintaining a unity of place.^[118] Davenant cast Thomas Betterton in the eponymous role, and he continued to play the Dane until he was 74.^[119] David Garrick at Drury Lane produced a version that adapted Shakespeare heavily; he declared: "I had sworn I would not leave the stage till I had rescued that noble play from all the rubbish of the fifth act. I have brought it forth without the grave-digger's trick, Osrick, & the fencing match".^[120] The first actor known to have played Hamlet in North America is Lewis Hallam. Jr., in the American Company's production in Philadelphia in 1759.^[121]

David Garrick's iconic hand gesture expresses Hamlet's shock at the first sight of the Ghost. (Artist: unknown).

John Philip Kemble made his Drury Lane debut as Hamlet in 1783.^[122] His performance was said to be 20 minutes longer than anyone else's, and his lengthy pauses provoked the suggestion that "music should be played between the words".^[123] Sarah Siddons was the first actress known to play Hamlet; many women have since played him as a breeches role, to great acclaim.^[124] In 1748, Alexander Sumarokov wrote a Russian adaptation that focused on Prince Hamlet as the embodiment of an opposition to Claudius's tyranny—a treatment that would recur in Eastern European versions into the 20th century.^[125] In the years following America's independence, Thomas Apthorpe Cooper, the young nation's leading tragedian, performed Hamlet among other plays at the Chestnut Street Theatre in Philadelphia, and at the Park Theatre in New York. Although chided for "acknowledging acquaintances in the audience" and "inadequate memorisation of his lines", he became a national celebrity.^[126]

19th century[link]

A poster, ca. 1884, for an American production of Hamlet (starring Thomas W. Keene), showing several of the key scenes

From around 1810 to 1840, the best-known Shakespearean performances in the United States were tours by leading London actors—including George Frederick Cooke, Junius Brutus Booth, Edmund Kean, William Charles Macready, and Charles Kemble. Of these, Booth remained to make his career in the States, fathering the nation's most notorious actor, John Wilkes Booth (who later assassinated Abraham Lincoln), and its most famous Hamlet, Edwin Booth.^[127] Edwin Booth's Hamlet was described as "like the dark, mad, dreamy, mysterious hero of a poem ... [acted] in an ideal manner, as far removed as possible from the plane of actual life".^[128] Booth played Hamlet for 100 nights in the 1864/5 season at The Winter Garden Theatre, inaugurating the era of long-run Shakespeare in America.^[129]

In the United Kingdom, the actor-managers of the Victorian era (including Kean, Samuel Phelps, Macready, and Henry Irving) staged Shakespeare in a grand manner, with elaborate scenery and costumes.^[130] The tendency of actor-managers to emphasise the importance of their own central character did not always meet with the critics' approval. George Bernard Shaw's praise for Johnston Forbes-Robertson's performance contains a sideswipe at Irving: "The story of the play was perfectly intelligible, and quite took the attention of the audience off the principal actor at moments. What is the Lyceum coming to?"^[131]

In London, Edmund Kean was the first Hamlet to abandon the regal finery usually associated with the role in favour of a plain costume, and he is said to have surprised his audience by playing Hamlet as serious and introspective.^[132] In stark contrast to earlier opulence, William Poel's 1881 production of the Q1 text was an early attempt at reconstructing the Elizabethan theatre's austerity; his only backdrop was a set of red curtains.^[133] Sarah Bernhardt played the prince in her popular 1899 London production. In contrast to the "effeminate" view of the central character that usually accompanied a female casting, she described her character as "manly and resolute, but nonetheless thoughtful ... [he] thinks before he acts, a trait indicative of great strength and great spiritual power".^[134]

In France, Charles Kemble initiated an enthusiasm for Shakespeare; and leading members of the Romantic movement such as Victor Hugo and Alexandre Dumas saw his 1827 Paris performance of Hamlet, particularly admiring the madness of Harriet Smithson's Ophelia.^[135] In Germany, Hamlet had become so assimilated by the mid-19th century that Ferdinand Freiligrath declared that "Germany is Hamlet".^[136] From the 1850s, the Parsi theatre tradition in India transformed Hamlet into folk performances, with dozens of songs added.^[137]

20th century[link]

In 1908, Edward Gordon Craig designed the MAT production of Hamlet (1911–12). The isolated figure of Hamlet reclines in the dark foreground, while behind a gauze the rest of the court are absorbed in a bright, unified golden pyramid emanating from Claudius. Craig's famous screens are flat against the back in this scene.

Apart from some western troupes' 19th-century visits, the first professional performance of Hamlet in Japan was Otojiro Kawakami's 1903 Shimpa ("new school theatre") adaptation.^[138] Shoyo Tsubouchi translated Hamlet and produced a performance in 1911 that blended Shingeki ("new drama") and Kabuki styles.^[138] This hybrid-genre reached its peak in Fukuda Tsuneari's 1955 Hamlet.^[138] In 1998, Yukio Ninagawa produced an acclaimed version of Hamlet in the style of Nō theatre, which he took to London.^[139]

Constantin Stanislavski and Edward Gordon Craig—two of the 20th century's most influential theatre practitioners—collaborated on the Moscow Art Theatre's seminal production of 1911–12.^[140] While Craig favoured stylised abstraction, Stanislavski, armed with his 'system,' explored psychological motivation.^[141] Craig conceived of the play as a symbolist monodrama, offering a dream-like vision as seen through Hamlet's eyes alone.^[142] This was most evident in the staging of the first court scene.^[143] The most famous aspect of the production is Craig's use of large, abstract screens that altered the size and shape of the acting area for each scene, representing the character's state of mind spatially or visualising a dramaturgical progression.^[144] The production attracted enthusiastic and unprecedented world-wide attention for the theatre and placed it "on the cultural map for Western Europe".^[145]

Hamlet is often played with contemporary political overtones. Leopold Jessner's 1926 production at the Berlin Staatstheater portrayed Claudius's court as a parody of the corrupt and fawning court of Kaiser Wilhelm.^[146] In Poland, the number of productions of Hamlet has tended to increase at times of political unrest, since its political themes (suspected crimes, coups, surveillance) can be used to comment on a contemporary situation.^[147] Similarly, Czech directors have used the play at times of occupation: a 1941 Vinohrady Theatre production "emphasised, with due caution, the helpless situation of an intellectual attempting to endure in a ruthless environment".^[148] In China, performances of Hamlet often have political significance: Gu Wuwei's 1916 The Usurper of State Power, an amalgam of Hamlet and Macbeth, was an attack on Yuan Shikai's attempt to overthrow the republic.^[149] In 1942, Jiao Juyin directed the play in a Confucian temple in Sichuan Province, to which the government had retreated from the advancing Japanese.^[149] In the immediate aftermath of the collapse of the protests at Tiananmen Square, Lin Zhaohua staged a 1990 Hamlet in which the prince was an ordinary individual tortured by a loss of meaning. In this production, the actors playing Hamlet, Claudius and Polonius exchanged roles at crucial moments in the performance, including the moment of Claudius's death, at which point the actor mainly associated with Hamlet fell to the ground.^[149]

Mignon Nevada as Ophelia, 1910

Notable stagings in London and New York include Barrymore's 1925 production at the Haymarket; it influenced subsequent performances by John Gielgud and Laurence Olivier.^[150] Gielgud played the central role many times: his 1936 New York production ran for 136 performances, leading to the accolade that he was "the finest interpreter of the role since Barrymore".^[151] Although "posterity has treated Maurice Evans less kindly", throughout the 1930s and 1940s he was regarded by many as the leading interpreter of Shakespeare in the United States and in the 1938/9 season he presented Broadway's first uncut Hamlet, running four and a half hours.^[152] Olivier's 1937 performance at the Old Vic Theatre was popular with audiences but not with critics, with James Agate writing in a famous review in The Sunday Times, "Mr. Olivier does not speak poetry badly. He does not speak it at all.".^[153] In 1937 Tyrone Guthrie directed the play at Elsinore, Denmark with Laurence Olivier as Hamlet and Vivien Leigh as Ophelia.

In 1963, Olivier directed Peter O'Toole as Hamlet in the inaugural performance of the newly formed National Theatre; critics found resonance between O'Toole's Hamlet and John Osborne's hero, Jimmy Porter, from Look Back in Anger.^[154]

Richard Burton received his third Tony Award nomination when he played his second Hamlet, his first under John Gielgud's direction, in 1964 in a production that holds the record for the longest run of the play in Broadway history (136 performances). The performance was set on a bare stage, conceived to appear like a dress rehearsal, with Burton in a black v-neck sweater, and Gielgud himself tape-recorded the voice for the Ghost (which appeared as a looming shadow). It was immortalised both on record and on a film that played in US theatres for a week in 1964 as well as being the subject of books written by cast members William Redfield and Richard L. Sterne. Other New York portrayals of Hamlet of note include that of Ralph Fiennes's in 1995 (for which he won the Tony Award for Best Actor) – which ran, from first preview to closing night, a total of one hundred performances. About the Fiennes Hamlet Vincent Canby wrote in The New York Times that it was "...not one for literary sleuths and Shakespeare scholars. It respects the play, but it doesn't provide any new material for arcane debates on what it all means. Instead it's an intelligent, beautifully read..."^[155] Stacy Keach played the role with an all-star cast at Joseph Papp's Delacorte Theatre in the early 70's, with Colleen Dewhurst's Gertrude, James Earl Jones's King, Barnard Hughes's Polonius, Sam Waterston's Laertes and Raul Julia's Osric. Sam Waterston later played the role himself at the Delacorte for the New York Shakespeare Festival, and the show transferred to the Vivian Beaumont Theatre in 1975 (Stephen Lang played Bernardo and other roles). Stephen Lang's Hamlet for the Roundabout Theatre Company in 1992 received positive reviews, and ran for sixty-one performances. David Warner played the role with the Royal Shakespeare Theatre in 1965. William Hurt (at Circle Rep Off-Broadway, memorably performing "To Be Or Not to Be" while lying on the floor), Jon Voight at Rutgers, and Christopher Walken (fiercely) at Stratford CT have all played the role, as has Diane Venora at the Public Theatre. Off Broadway, the Riverside Shakespeare Company mounted an uncut first folio Hamlet in 1978 at Columbia University, with a playing time of under three hours.^[156] In fact, Hamlet is the most produced Shakespeare play in New York theatre history, with sixty-four recorded productions on Broadway, and an untold number Off Broadway.^[157]