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<H1 id="firstHeading" class="firstHeading" lang="en"><I>Hamlet</I></H1>			<DIV id="bodyContent" class="mw-body-content">
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				<DIV id="mw-content-text" lang="en" dir="ltr" class="mw-content-ltr"><DIV class="mw-parser-output"><DIV role="note" class="hatnote navigation-not-searchable">This article is about the play by William Shakespeare. For other uses, see <A href="/wiki/Hamlet_(disambiguation)" class="mw-disambig" title="Hamlet (disambiguation)">Hamlet (disambiguation)</A>.</DIV>
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The American actor <A href="/wiki/Edwin_Booth" title="Edwin Booth">Edwin Booth</A> as <A href="/wiki/Prince_Hamlet" title="Prince Hamlet">Hamlet</A>, ca. 1870</DIV>
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<P><I><B>The Tragedy of Hamlet, Prince of Denmark</B></I>, often shortened to <I><B>Hamlet</B></I> (<SPAN class="nowrap"><SPAN class="IPA nopopups noexcerpt"><A href="/wiki/Help:IPA/English" title="Help:IPA/English">/<SPAN style="border-bottom:1px dotted"><SPAN title="/ˈ/: primary stress follows">ˈ</SPAN><SPAN title="'h' in 'hi'">h</SPAN><SPAN title="/æ/: 'a' in 'bad'">æ</SPAN><SPAN title="'m' in 'my'">m</SPAN><SPAN title="'l' in 'lie'">l</SPAN><SPAN title="/ɪ/: 'i' in 'kit'">ɪ</SPAN><SPAN title="'t' in 'tie'">t</SPAN></SPAN>/</A></SPAN></SPAN>), is a <A href="/wiki/Shakespearean_tragedy" title="Shakespearean tragedy">tragedy</A> written by <A href="/wiki/William_Shakespeare" title="William Shakespeare">William Shakespeare</A> at an uncertain date between 1599 and 1602. Set in <A href="/wiki/Denmark" title="Denmark">Denmark</A>, the <A href="/wiki/Play_(theatre)" title="Play (theatre)">play</A> dramatises the revenge <A href="/wiki/Prince_Hamlet" title="Prince Hamlet">Prince Hamlet</A> is called to wreak upon his uncle, <A href="/wiki/King_Claudius" title="King Claudius">Claudius</A>, by the ghost of Hamlet's father, <A href="/wiki/King_Hamlet" class="mw-redirect" title="King Hamlet">King Hamlet</A>. Claudius had murdered his own brother and seized the <A href="/wiki/Throne" title="Throne">throne</A>, also marrying his deceased brother's widow.</P>
<P><I>Hamlet</I> is Shakespeare's longest play, and is considered among the most powerful and influential works of <A href="/wiki/World_literature" title="World literature">world literature</A>, with a story capable of "seemingly endless retelling and adaptation by others".<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a74_1-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a74-1">[1]</A></SUP> It was probably one of Shakespeare's most popular works during his lifetime,<SUP id="cite_ref-FOOTNOTETaylor200218_2-0" class="reference"><A href="#cite_note-FOOTNOTETaylor200218-2">[2]</A></SUP> and still ranks among his most performed, topping the performance list of the <A href="/wiki/Royal_Shakespeare_Company" title="Royal Shakespeare Company">Royal Shakespeare Company</A> and its predecessors in Stratford-upon-Avon since 1879.<SUP id="cite_ref-FOOTNOTECrystalCrystal200566_3-0" class="reference"><A href="#cite_note-FOOTNOTECrystalCrystal200566-3">[3]</A></SUP> It has inspired many other writers—from <A href="/wiki/Johann_Wolfgang_von_Goethe" title="Johann Wolfgang von Goethe">Johann Wolfgang von Goethe</A> and <A href="/wiki/Charles_Dickens" title="Charles Dickens">Charles Dickens</A> to <A href="/wiki/James_Joyce" title="James Joyce">James Joyce</A> and <A href="/wiki/Iris_Murdoch" title="Iris Murdoch">Iris Murdoch</A>—and has been described as "the world's most filmed story after <I><A href="/wiki/Cinderella" title="Cinderella">Cinderella</A></I>".<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a17_4-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a17-4">[4]</A></SUP></P>
<P>The story of Shakespeare's <I>Hamlet</I> was derived from the legend of <A href="/wiki/Amleth" title="Amleth">Amleth</A>, preserved by 13th-century chronicler <A href="/wiki/Saxo_Grammaticus" title="Saxo Grammaticus">Saxo Grammaticus</A> in his <I><A href="/wiki/Gesta_Danorum" title="Gesta Danorum">Gesta Danorum</A></I>, as subsequently retold by the 16th-century scholar <A href="/wiki/Fran%C3%A7ois_de_Belleforest" title="François de Belleforest">François de Belleforest</A>. Shakespeare may also have drawn on an earlier <A href="/wiki/Elizabethan_era" title="Elizabethan era">Elizabethan</A> play known today as the <I><A href="/wiki/Ur-Hamlet" title="Ur-Hamlet">Ur-Hamlet</A></I>, though some scholars believe he himself wrote the <I>Ur-Hamlet</I>, later revising it to create the version of <I>Hamlet</I> we now have. He almost certainly wrote his version of the title role for his fellow actor, <A href="/wiki/Richard_Burbage" title="Richard Burbage">Richard Burbage</A>, the leading tragedian of Shakespeare's time. In the 400 years since its inception, the role has been performed by numerous highly acclaimed actors in each successive century.</P>
<P>Three different early versions of the play are extant: the <A href="/wiki/Hamlet_Q1" title="Hamlet Q1">First Quarto</A> (Q1, 1603); the Second <A href="/wiki/Quarto" title="Quarto">Quarto</A> (Q2, 1604); and the <A href="/wiki/First_Folio" title="First Folio">First Folio</A> (F1, 1623). Each version includes lines and 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 merely a <A href="/wiki/Plot_device" title="Plot device">plot device</A> to prolong the action, but which others argue is a dramatisation of the complex philosophical and ethical issues that surround cold-blooded murder, calculated revenge, and thwarted desire. More recently, <A href="/wiki/Psychoanalytic_literary_criticism" title="Psychoanalytic literary criticism">psychoanalytic critics</A> have examined Hamlet's <A href="/wiki/Unconscious_mind" title="Unconscious mind">unconscious desires</A>, while <A href="/wiki/Feminist_literary_criticism" title="Feminist literary criticism">feminist critics</A> have re-evaluated and attempted to rehabilitate the often maligned characters of <A href="/wiki/Ophelia_(character)" class="mw-redirect" title="Ophelia (character)">Ophelia</A> and <A href="/wiki/Gertrude_(Hamlet)" title="Gertrude (Hamlet)">Gertrude</A>.</P>
<P></P>
<DIV id="toc" class="toc">
<DIV class="toctitle" lang="en" dir="ltr">
<H2>Contents</H2>
<SPAN class="toctoggle"> [<A role="button" tabindex="0" class="togglelink">hide</A>] </SPAN></DIV>
<UL>
<LI class="toclevel-1 tocsection-1"><A href="#Characters"><SPAN class="tocnumber">1</SPAN> <SPAN class="toctext">Characters</SPAN></A></LI>
<LI class="toclevel-1 tocsection-2"><A href="#Plot"><SPAN class="tocnumber">2</SPAN> <SPAN class="toctext">Plot</SPAN></A>
<UL>
<LI class="toclevel-2 tocsection-3"><A href="#Act_I"><SPAN class="tocnumber">2.1</SPAN> <SPAN class="toctext">Act I</SPAN></A></LI>
<LI class="toclevel-2 tocsection-4"><A href="#Act_II"><SPAN class="tocnumber">2.2</SPAN> <SPAN class="toctext">Act II</SPAN></A></LI>
<LI class="toclevel-2 tocsection-5"><A href="#Act_III"><SPAN class="tocnumber">2.3</SPAN> <SPAN class="toctext">Act III</SPAN></A></LI>
<LI class="toclevel-2 tocsection-6"><A href="#Act_IV"><SPAN class="tocnumber">2.4</SPAN> <SPAN class="toctext">Act IV</SPAN></A></LI>
<LI class="toclevel-2 tocsection-7"><A href="#Act_V"><SPAN class="tocnumber">2.5</SPAN> <SPAN class="toctext">Act V</SPAN></A></LI>
</UL>
</LI>
<LI class="toclevel-1 tocsection-8"><A href="#Sources"><SPAN class="tocnumber">3</SPAN> <SPAN class="toctext">Sources</SPAN></A></LI>
<LI class="toclevel-1 tocsection-9"><A href="#Date"><SPAN class="tocnumber">4</SPAN> <SPAN class="toctext">Date</SPAN></A></LI>
<LI class="toclevel-1 tocsection-10"><A href="#Texts"><SPAN class="tocnumber">5</SPAN> <SPAN class="toctext">Texts</SPAN></A></LI>
<LI class="toclevel-1 tocsection-11"><A href="#Analysis_and_criticism"><SPAN class="tocnumber">6</SPAN> <SPAN class="toctext">Analysis and criticism</SPAN></A>
<UL>
<LI class="toclevel-2 tocsection-12"><A href="#Critical_history"><SPAN class="tocnumber">6.1</SPAN> <SPAN class="toctext">Critical history</SPAN></A></LI>
<LI class="toclevel-2 tocsection-13"><A href="#Dramatic_structure"><SPAN class="tocnumber">6.2</SPAN> <SPAN class="toctext">Dramatic structure</SPAN></A></LI>
<LI class="toclevel-2 tocsection-14"><A href="#Length"><SPAN class="tocnumber">6.3</SPAN> <SPAN class="toctext">Length</SPAN></A></LI>
<LI class="toclevel-2 tocsection-15"><A href="#Language"><SPAN class="tocnumber">6.4</SPAN> <SPAN class="toctext">Language</SPAN></A></LI>
</UL>
</LI>
<LI class="toclevel-1 tocsection-16"><A href="#Context_and_interpretation"><SPAN class="tocnumber">7</SPAN> <SPAN class="toctext">Context and interpretation</SPAN></A>
<UL>
<LI class="toclevel-2 tocsection-17"><A href="#Religious"><SPAN class="tocnumber">7.1</SPAN> <SPAN class="toctext">Religious</SPAN></A></LI>
<LI class="toclevel-2 tocsection-18"><A href="#Philosophical"><SPAN class="tocnumber">7.2</SPAN> <SPAN class="toctext">Philosophical</SPAN></A></LI>
<LI class="toclevel-2 tocsection-19"><A href="#Psychoanalytic"><SPAN class="tocnumber">7.3</SPAN> <SPAN class="toctext">Psychoanalytic</SPAN></A></LI>
<LI class="toclevel-2 tocsection-20"><A href="#Feminist"><SPAN class="tocnumber">7.4</SPAN> <SPAN class="toctext">Feminist</SPAN></A></LI>
</UL>
</LI>
<LI class="toclevel-1 tocsection-21"><A href="#Influence"><SPAN class="tocnumber">8</SPAN> <SPAN class="toctext">Influence</SPAN></A></LI>
<LI class="toclevel-1 tocsection-22"><A href="#Performance_history"><SPAN class="tocnumber">9</SPAN> <SPAN class="toctext">Performance history</SPAN></A>
<UL>
<LI class="toclevel-2 tocsection-23"><A href="#Shakespeare's_day_to_the_Interregnum"><SPAN class="tocnumber">9.1</SPAN> <SPAN class="toctext">Shakespeare's day to the Interregnum</SPAN></A></LI>
<LI class="toclevel-2 tocsection-24"><A href="#Restoration_and_18th_century"><SPAN class="tocnumber">9.2</SPAN> <SPAN class="toctext">Restoration and 18th century</SPAN></A></LI>
<LI class="toclevel-2 tocsection-25"><A href="#19th_century"><SPAN class="tocnumber">9.3</SPAN> <SPAN class="toctext">19th century</SPAN></A></LI>
<LI class="toclevel-2 tocsection-26"><A href="#20th_century"><SPAN class="tocnumber">9.4</SPAN> <SPAN class="toctext">20th century</SPAN></A></LI>
<LI class="toclevel-2 tocsection-27"><A href="#21st_century"><SPAN class="tocnumber">9.5</SPAN> <SPAN class="toctext">21st century</SPAN></A></LI>
<LI class="toclevel-2 tocsection-28"><A href="#Film_and_TV_performances"><SPAN class="tocnumber">9.6</SPAN> <SPAN class="toctext">Film and TV performances</SPAN></A></LI>
<LI class="toclevel-2 tocsection-29"><A href="#Stage_pastiches"><SPAN class="tocnumber">9.7</SPAN> <SPAN class="toctext">Stage pastiches</SPAN></A></LI>
</UL>
</LI>
<LI class="toclevel-1 tocsection-30"><A href="#Notes_and_references"><SPAN class="tocnumber">10</SPAN> <SPAN class="toctext">Notes and references</SPAN></A>
<UL>
<LI class="toclevel-2 tocsection-31"><A href="#Notes"><SPAN class="tocnumber">10.1</SPAN> <SPAN class="toctext">Notes</SPAN></A></LI>
<LI class="toclevel-2 tocsection-32"><A href="#References"><SPAN class="tocnumber">10.2</SPAN> <SPAN class="toctext">References</SPAN></A></LI>
</UL>
</LI>
<LI class="toclevel-1 tocsection-33"><A href="#Sources_2"><SPAN class="tocnumber">11</SPAN> <SPAN class="toctext">Sources</SPAN></A>
<UL>
<LI class="toclevel-2 tocsection-34"><A href="#Editions_of_Hamlet"><SPAN class="tocnumber">11.1</SPAN> <SPAN class="toctext">Editions of <I>Hamlet</I></SPAN></A></LI>
<LI class="toclevel-2 tocsection-35"><A href="#Secondary_sources"><SPAN class="tocnumber">11.2</SPAN> <SPAN class="toctext">Secondary sources</SPAN></A></LI>
</UL>
</LI>
<LI class="toclevel-1 tocsection-36"><A href="#External_links"><SPAN class="tocnumber">12</SPAN> <SPAN class="toctext">External links</SPAN></A>
<UL>
<LI class="toclevel-2 tocsection-37"><A href="#Texts_2"><SPAN class="tocnumber">12.1</SPAN> <SPAN class="toctext">Texts</SPAN></A></LI>
<LI class="toclevel-2 tocsection-38"><A href="#Analysis"><SPAN class="tocnumber">12.2</SPAN> <SPAN class="toctext">Analysis</SPAN></A></LI>
<LI class="toclevel-2 tocsection-39"><A href="#Related_works"><SPAN class="tocnumber">12.3</SPAN> <SPAN class="toctext">Related works</SPAN></A></LI>
</UL>
</LI>
</UL>
</DIV>
<P></P>
<H2><SPAN class="mw-headline" id="Characters">Characters</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=1" title="Edit section: Characters">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<DIV role="note" class="hatnote navigation-not-searchable">Main article: <A href="/wiki/Characters_in_Hamlet" title="Characters in Hamlet">Characters in Hamlet</A></DIV>
<DIV class="div-col columns column-width" style="-moz-column-width: 20em; -webkit-column-width: 20em; column-width: 20em; -moz-column-rule: 1px solid #AAA; -webkit-column-rule: 1px solid #AAA; column-rule: 1px solid #AAA;">
<UL>
<LI><A href="/wiki/Prince_Hamlet" title="Prince Hamlet">Hamlet</A>—Son of the late King and nephew of the present King, Claudius.</LI>
<LI><A href="/wiki/King_Claudius" title="King Claudius">Claudius</A>—King of Denmark, Hamlet's uncle and brother to the former King</LI>
<LI><A href="/wiki/Gertrude_(Hamlet)" title="Gertrude (Hamlet)">Gertrude</A>—Queen of Denmark and Hamlet's mother</LI>
<LI><A href="/wiki/Polonius" title="Polonius">Polonius</A>—Chief counsellor to the king</LI>
<LI><A href="/wiki/Ophelia" title="Ophelia">Ophelia</A>—Polonius's daughter</LI>
<LI><A href="/wiki/Horatio_(Hamlet)" title="Horatio (Hamlet)">Horatio</A>—Friend to Hamlet</LI>
<LI><A href="/wiki/Laertes_(Hamlet)" title="Laertes (Hamlet)">Laertes</A>—Polonius's son</LI>
<LI>Voltimand and Cornelius—Courtiers</LI>
<LI><A href="/wiki/Rosencrantz_and_Guildenstern" title="Rosencrantz and Guildenstern">Rosencrantz and Guildenstern</A>—Courtiers, friends of Hamlet</LI>
<LI>Osric—a Courtier</LI>
<LI>Marcellus—an Officer</LI>
<LI>Barnardo—an Officer</LI>
<LI>Francisco—a Soldier</LI>
<LI>Reynaldo—Polonius's servant</LI>
<LI><A href="/wiki/Ghost_(Hamlet)" title="Ghost (Hamlet)">Ghost of Hamlet's Father</A></LI>
<LI><A href="/wiki/Fortinbras" title="Fortinbras">Fortinbras</A>—Prince of Norway</LI>
<LI><A href="/wiki/The_Gravediggers" title="The Gravediggers">Gravediggers</A>—a <A href="/wiki/Sexton_(office)" title="Sexton (office)">Sexton</A></LI>
<LI>Player King, Player Queen, Lucianus etc.—Players</LI>
</UL>
</DIV>
<H2><SPAN class="mw-headline" id="Plot">Plot</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=2" title="Edit section: Plot">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<H3><SPAN class="mw-headline" id="Act_I">Act I</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=3" title="Edit section: Act I">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>The protagonist of <I>Hamlet</I> is <A href="/wiki/Prince_Hamlet" title="Prince Hamlet">Prince Hamlet</A> of Denmark, son of the recently deceased <A href="/wiki/King_Hamlet" class="mw-redirect" title="King Hamlet">King Hamlet</A>, and nephew of <A href="/wiki/King_Claudius" title="King Claudius">King Claudius</A>, his father's brother and successor. Claudius hastily married King Hamlet's widow, <A href="/wiki/Gertrude_(Hamlet)" title="Gertrude (Hamlet)">Gertrude</A>, Hamlet's mother, and took the throne for himself. Denmark has a long-standing feud with neighbouring Norway, in which King Hamlet slew King Fortinbras of Norway in a battle some years ago. Although Denmark defeated Norway, and the Norwegian throne fell to King Fortinbras's infirm brother, Denmark fears that an invasion led by the dead Norwegian king's son, Prince <A href="/wiki/Fortinbras" title="Fortinbras">Fortinbras</A>, is imminent.</P>
<P>On a cold night on the ramparts of <A href="/wiki/Kronborg_Slot" class="mw-redirect" title="Kronborg Slot">Elsinore</A>, the Danish royal castle, the <A href="/wiki/Characters_in_Hamlet#Elsinore_sentries" title="Characters in Hamlet">sentries</A> Bernardo and Marcellus discuss a <A href="/wiki/Ghost_(Hamlet)" title="Ghost (Hamlet)">ghost</A> resembling the late King Hamlet which they have recently seen, and bring Prince Hamlet's friend <A href="/wiki/Horatio_(Hamlet)" title="Horatio (Hamlet)">Horatio</A> as a witness. After the ghost appears again, the three vow to tell Prince Hamlet what they have witnessed.</P>
<P>As the court gathers the next day, while King Claudius and Queen Gertrude discuss affairs of state with their elderly adviser <A href="/wiki/Polonius" title="Polonius">Polonius</A>, Hamlet looks on glumly. During the court, Claudius grants permission for Polonius's son Laertes to return to school in France, and sends envoys to inform the King of Norway about Fortinbras. Claudius also scolds Hamlet for continuing to grieve over his father, and forbids him from returning to his schooling in <A href="/wiki/Wittenberg" title="Wittenberg">Wittenberg</A>. After the court exits, Hamlet despairs of his father's death and his mother's hasty remarriage. Learning of the ghost from Horatio, Hamlet resolves to see it himself.</P>
<DIV class="thumb tright">
<DIV class="thumbinner" style="width:222px;"><A href="/wiki/File:File-Hamlet,_Prince_of_Demark_Act_I_Scene_IV.png" class="image"><IMG alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/6/65/File-Hamlet%2C_Prince_of_Demark_Act_I_Scene_IV.png/220px-File-Hamlet%2C_Prince_of_Demark_Act_I_Scene_IV.png" width="220" height="177" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/65/File-Hamlet%2C_Prince_of_Demark_Act_I_Scene_IV.png/330px-File-Hamlet%2C_Prince_of_Demark_Act_I_Scene_IV.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/65/File-Hamlet%2C_Prince_of_Demark_Act_I_Scene_IV.png/440px-File-Hamlet%2C_Prince_of_Demark_Act_I_Scene_IV.png 2x" data-file-width="3389" data-file-height="2732" /></A>
<DIV class="thumbcaption">
<DIV class="magnify"><A href="/wiki/File:File-Hamlet,_Prince_of_Demark_Act_I_Scene_IV.png" class="internal" title="Enlarge"></A></DIV>
Horatio, Hamlet, and the ghost (Artist: <A href="/wiki/Henry_Fuseli" title="Henry Fuseli">Henry Fuseli</A>, 1789)<SUP id="cite_ref-5" class="reference"><A href="#cite_note-5">[5]</A></SUP></DIV>
</DIV>
</DIV>
<P>As Polonius's son Laertes prepares to depart for a visit to France, Polonius gives him contradictory advice that culminates in the ironic maxim "to thine own self be true."<SUP id="cite_ref-FOOTNOTETrilling20098_6-0" class="reference"><A href="#cite_note-FOOTNOTETrilling20098-6">[6]</A></SUP> Polonius's daughter, <A href="/wiki/Ophelia_(character)" class="mw-redirect" title="Ophelia (character)">Ophelia</A>, admits her interest in Hamlet, but Laertes warns her against seeking the prince's attention, and Polonius orders her to reject his advances. That night on the rampart, the ghost appears to Hamlet, telling the prince that he has been condemned to <A href="/wiki/Purgatory" title="Purgatory">Purgatory</A> due to his inability to receive his <A href="/wiki/Last_rites" title="Last rites">last rites</A>. He further explains that he was murdered by Claudius and demands that Hamlet avenge him. Hamlet agrees and the ghost vanishes. The prince confides to Horatio and the sentries that from now on he plans to "put an antic disposition on", or act as though he has gone mad, and forces them to swear to keep his plans for revenge secret. Privately, however, he remains uncertain of the ghost's reliability.</P>
<H3><SPAN class="mw-headline" id="Act_II">Act II</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=4" title="Edit section: Act II">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>After the departure of Laertes, Polonius sends his servant Reynaldo to Paris to spy on his son. Soon thereafter, Ophelia rushes to her father, telling him that Hamlet arrived at her door the prior night half-undressed and behaving erratically. Polonius blames love for Hamlet's madness and resolves to inform Claudius and Gertrude. As he enters to do so, the king and queen finish welcoming <A href="/wiki/Rosencrantz_and_Guildenstern" title="Rosencrantz and Guildenstern">Rosencrantz and Guildenstern</A>, two student acquaintances of Hamlet, to Elsinore. The royal couple has requested that the students investigate the cause of Hamlet's mood and behaviour. Additional news requires that Polonius wait to be heard: messengers from Norway inform Claudius that the King of Norway has rebuked Prince Fortinbras for attempting to re-fight his father's battles. The forces that Fortinbras had conscripted to march against Denmark will instead be sent against Poland, though they will pass through Danish territory to get there.</P>
<P>Polonius tells Claudius and Gertrude his theory regarding Hamlet's behaviour, and speaks to Hamlet in a hall of the castle to try to uncover more information. Hamlet feigns madness but subtly insults Polonius all the while. When Rosencrantz and Guildenstern arrive, Hamlet greets his "friends" warmly, but quickly discerns that they are spies. Hamlet becomes bitter, admitting that he is upset at his situation but refusing to give the true reason why, instead commenting on "<A href="/wiki/What_a_piece_of_work_is_a_man" title="What a piece of work is a man">what a piece of work</A>" humanity is. Rosencrantz and Guildenstern tell Hamlet that they have brought along a troupe of actors that they met while traveling to Elsinore. Hamlet, after welcoming the actors and dismissing his friends-turned-spies, asks them to deliver a soliloquy about the death of <A href="/wiki/King_Priam" title="King Priam">King Priam</A> and <A href="/wiki/Hecuba" title="Hecuba">Queen Hecuba</A> at the climax of the <A href="/wiki/Trojan_War" title="Trojan War">Trojan War</A>. Impressed by their delivery of the speech, he plots to stage <I>The Murder of Gonzago</I>, a play featuring a death in the style of his father's murder, and to determine the truth of the ghost's story, as well as Claudius's guilt or innocence, by studying Claudius's reaction.</P>
<H3><SPAN class="mw-headline" id="Act_III">Act III</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=5" title="Edit section: Act III">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>Polonius forces Ophelia to return Hamlet's love letters and tokens of affection to the prince while he and Claudius watch from afar to evaluate Hamlet's reaction. Hamlet is walking alone in the hall as the King and Polonius await Ophelia's entrance, musing whether "<A href="/wiki/To_be,_or_not_to_be" title="To be, or not to be">to be or not to be</A>". When Ophelia enters and tries to return Hamlet's things, Hamlet accuses her of immodesty and cries "get thee to a nunnery", though it is unclear whether this, too, is a show of madness or genuine distress. His reaction convinces Claudius that Hamlet is not mad for love. Shortly thereafter, the court assembles to watch the play Hamlet has commissioned. After seeing the <A href="/wiki/Characters_in_Hamlet#the_Players" title="Characters in Hamlet">Player King</A> murdered by his rival pouring poison in his ear, Claudius abruptly rises and runs from the room: for Hamlet, proof positive of his uncle's guilt.</P>
<DIV class="thumb tright">
<DIV class="thumbinner" style="width:222px;"><A href="/wiki/File:Hamlet_stabs_Polonius.jpg" class="image"><IMG alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/22/Hamlet_stabs_Polonius.jpg/220px-Hamlet_stabs_Polonius.jpg" width="220" height="159" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/22/Hamlet_stabs_Polonius.jpg/330px-Hamlet_stabs_Polonius.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/22/Hamlet_stabs_Polonius.jpg/440px-Hamlet_stabs_Polonius.jpg 2x" data-file-width="1482" data-file-height="1068" /></A>
<DIV class="thumbcaption">
<DIV class="magnify"><A href="/wiki/File:Hamlet_stabs_Polonius.jpg" class="internal" title="Enlarge"></A></DIV>
Hamlet mistakenly stabs Polonius (Artist: Coke Smyth, 19th century).</DIV>
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<P>Gertrude summons Hamlet to her room to demand an explanation. Meanwhile, Claudius soliloquizes about the impossibility of repenting, since he still has possession of his ill-gotten goods: his brother's crown and wife. He sinks to his knees. Hamlet, on his way to visit his mother, sneaks up behind him, but does not kill him, reasoning that killing Claudius while he is praying will send him straight to heaven while his father's ghost is stuck in purgatory. In the queen's bedchamber, Hamlet and Gertrude fight bitterly. Polonius, spying on the conversation from behind a <A href="/wiki/Tapestry" title="Tapestry">tapestry</A>, makes a noise.</P>
<P>Hamlet, believing it is Claudius, stabs wildly, killing Polonius, but pulls aside the curtain and sees his mistake. In a rage, Hamlet brutally insults his mother for her apparent ignorance of Claudius's villainy, but the ghost enters and reprimands Hamlet for his inaction and harsh words. Unable to see or hear the ghost herself, Gertrude takes Hamlet's conversation with it as further evidence of madness. After begging the queen to stop sleeping with Claudius, Hamlet leaves, dragging Polonius's corpse away.</P>
<H3><SPAN class="mw-headline" id="Act_IV">Act IV</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=6" title="Edit section: Act IV">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>Hamlet jokes with Claudius about where he has hidden Polonius's body, and the king, fearing for his life, sends Rosencrantz and Guildenstern to accompany Hamlet to <A href="/wiki/England" title="England">England</A> with a sealed letter to the English king requesting that Hamlet be executed immediately.</P>
<P>Demented by grief at Polonius's death, Ophelia wanders Elsinore. Laertes arrives back from France, enraged by his father's death and his sister's madness. Claudius convinces Laertes that Hamlet is solely responsible, but a letter soon arrives indicating that Hamlet has returned to Denmark, foiling Claudius' plan. Claudius switches tactics, proposing a fencing match between Laertes and Hamlet to settle their differences. Laertes will be given a poison-tipped foil, and Claudius will offer Hamlet poisoned wine as a congratulation if that fails. Gertrude interrupts to report that Ophelia has drowned, though it is unclear whether it was suicide or an accident exacerbated by her madness.</P>
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The gravedigger scene<SUP id="cite_ref-gravedigger_8-0" class="reference"><A href="#cite_note-gravedigger-8">[a]</A></SUP> (Artist: <A href="/wiki/Eug%C3%A8ne_Delacroix" title="Eugène Delacroix">Eugène Delacroix</A>, 1839)</DIV>
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<H3><SPAN class="mw-headline" id="Act_V">Act V</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=7" title="Edit section: Act V">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>Horatio has received a letter from Hamlet, explaining that the prince escaped by negotiating with pirates who attempted to attack his England-bound ship, and the friends reunite offstage. Two <A href="/wiki/Characters_in_Hamlet#Ophelia's_funeral" title="Characters in Hamlet">gravediggers</A> discuss Ophelia's apparent suicide while digging her grave. Hamlet arrives with Horatio and banters with one of the gravediggers, who unearths the skull of a <A href="/wiki/Jester" title="Jester">jester</A> from Hamlet's childhood, <A href="/wiki/Yorick_(Hamlet)" class="mw-redirect" title="Yorick (Hamlet)">Yorick</A>. Hamlet picks up the skull, saying "alas, poor Yorick" as he contemplates mortality. Ophelia's <A href="/wiki/Funeral_procession" title="Funeral procession">funeral procession</A> approaches, led by Laertes. Hamlet and Horatio initially hide, but when Hamlet realizes that Ophelia is the one being buried, he reveals himself, proclaiming his love for her. Laertes and Hamlet fight by Ophelia's graveside, but the brawl is broken up.</P>
<P>Back at Elsinore, Hamlet explains to Horatio that he had discovered Claudius's letter with Rosencrantz and Guildenstern's belongings and replaced it with a forged copy indicating that his former friends should be killed instead. A foppish courtier, <A href="/wiki/Characters_in_Hamlet#Osric" title="Characters in Hamlet">Osric</A>, interrupts the conversation to deliver the <A href="/wiki/Fencing" title="Fencing">fencing</A> challenge to Hamlet. Hamlet, despite Horatio's pleas, accepts it. Hamlet does well at first, leading the match by two hits to none, and Gertrude raises a toast to him using the poisoned glass of <A href="/wiki/Wine" title="Wine">wine</A> Claudius had set aside for Hamlet. Claudius tries to stop her, but is too late: she drinks, and Laertes realizes the plot will be revealed. Laertes slashes Hamlet with his poisoned blade. In the ensuing scuffle, they switch weapons and Hamlet wounds Laertes with his own poisoned sword. Gertrude collapses and, claiming she has been poisoned, dies. In his dying moments, Laertes reconciles with Hamlet and reveals Claudius's plan. Hamlet rushes at Claudius and kills him. As the poison takes effect, Hamlet, hearing that Fortinbras is marching through the area, names the Norwegian prince as his successor. Horatio, distraught at the thought of being the last survivor and living whilst Hamlet does not, says he will commit <A href="/wiki/Suicide" title="Suicide">suicide</A> by drinking the dregs of Gertrude's poisoned wine, but Hamlet begs him to live on and tell his story. Hamlet dies in Horatio's arms, proclaiming "the rest is silence". Fortinbras, who was ostensibly marching towards Poland with his army, arrives at the palace, along with an English ambassador bringing news of Rosencrantz and Guildenstern's deaths. Horatio promises to recount the full story of what happened, and Fortinbras, seeing the entire Danish royal family dead, takes the crown for himself, and orders a military funeral to honour Hamlet.</P>
<H2><SPAN class="mw-headline" id="Sources">Sources</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=8" title="Edit section: Sources">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<DIV role="note" class="hatnote navigation-not-searchable">Main article: <A href="/wiki/Sources_of_Hamlet" title="Sources of Hamlet">Sources of Hamlet</A></DIV>
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<DIV class="thumbinner" style="width:172px;"><A href="/wiki/File:Saxo_original_001.jpg" class="image"><IMG alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Saxo_original_001.jpg/170px-Saxo_original_001.jpg" width="170" height="210" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Saxo_original_001.jpg/255px-Saxo_original_001.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Saxo_original_001.jpg/340px-Saxo_original_001.jpg 2x" data-file-width="744" data-file-height="917" /></A>
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A facsimile of <I><A href="/wiki/Gesta_Danorum" title="Gesta Danorum">Gesta Danorum</A></I> by <A href="/wiki/Saxo_Grammaticus" title="Saxo Grammaticus">Saxo Grammaticus</A>, which contains the legend of Amleth</DIV>
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<P><I>Hamlet</I>-like legends are so widely found (for example in Italy, Spain, Scandinavia, Byzantium, and Arabia) that the core "hero-as-fool" theme is possibly <A href="/wiki/Proto-Indo-Europeans" title="Proto-Indo-Europeans">Indo-European</A> in origin.<SUP id="cite_ref-FOOTNOTESaxoHansen198336–7_9-0" class="reference"><A href="#cite_note-FOOTNOTESaxoHansen198336–7-9">[8]</A></SUP> Several ancient written precursors to <I>Hamlet</I> can be identified. The first is the anonymous Scandinavian <I><A href="/wiki/Hr%C3%B3lfs_saga_kraka" title="Hrólfs saga kraka">Saga of Hrolf Kraki</A></I>. In this, the murdered king has two sons—<A href="/wiki/Hro%C3%B0gar" class="mw-redirect" title="Hroðgar">Hroar</A> and <A href="/wiki/Halga" title="Halga">Helgi</A>—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.<SUP id="cite_ref-FOOTNOTESaxoHansen198316–25_10-0" class="reference"><A href="#cite_note-FOOTNOTESaxoHansen198316–25-10">[9]</A></SUP> The second is the Roman legend of <A href="/wiki/Lucius_Junius_Brutus#Biography" title="Lucius Junius Brutus">Brutus</A>, recorded in two separate Latin works. Its hero, Lucius ("shining, light"), changes his name and <A href="/wiki/Persona" title="Persona">persona</A> 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, <A href="/wiki/Lucius_Tarquinius_Superbus" title="Lucius Tarquinius Superbus">King Tarquinius</A>. A 17th-century Nordic scholar, <A href="/w/index.php?title=Torfaeus&action=edit&redlink=1" class="new" title="Torfaeus (page does not exist)">Torfaeus</A>, compared the Icelandic hero Amlodi and the Spanish hero Prince Ambales (from the <I><A href="/w/index.php?title=Ambales_Saga&action=edit&redlink=1" class="new" title="Ambales Saga (page does not exist)">Ambales Saga</A></I>) to Shakespeare's <I>Hamlet</I>. 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.<SUP id="cite_ref-FOOTNOTESaxoHansen19835–15_11-0" class="reference"><A href="#cite_note-FOOTNOTESaxoHansen19835–15-11">[10]</A></SUP></P>
<P>Many of the earlier legendary elements are interwoven in the 13th-century "Life of Amleth" (<A href="/wiki/Latin_language" class="mw-redirect" title="Latin language">Latin</A>: <I><SPAN lang="la">Vita Amlethi</SPAN></I>) by <A href="/wiki/Saxo_Grammaticus" title="Saxo Grammaticus">Saxo Grammaticus</A>, part of <I><A href="/wiki/Gesta_Danorum" title="Gesta Danorum">Gesta Danorum</A></I>.<SUP id="cite_ref-FOOTNOTESaxoHansen19831–5_12-0" class="reference"><A href="#cite_note-FOOTNOTESaxoHansen19831–5-12">[11]</A></SUP> Written in Latin, it reflects classical Roman concepts of virtue and heroism, and was widely available in Shakespeare's day.<SUP id="cite_ref-FOOTNOTESaxoHansen198325–37_13-0" class="reference"><A href="#cite_note-FOOTNOTESaxoHansen198325–37-13">[12]</A></SUP> 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 <A href="/wiki/Fran%C3%A7ois_de_Belleforest" title="François de Belleforest">François de Belleforest</A>, in his <I>Histoires tragiques</I>.<SUP id="cite_ref-FOOTNOTEEdwards19851–2_14-0" class="reference"><A href="#cite_note-FOOTNOTEEdwards19851–2-14">[13]</A></SUP> Belleforest embellished Saxo's text substantially, almost doubling its length, and introduced the hero's <A href="/wiki/Melancholia" title="Melancholia">melancholy</A>.<SUP id="cite_ref-FOOTNOTESaxoHansen198366–7_15-0" class="reference"><A href="#cite_note-FOOTNOTESaxoHansen198366–7-15">[14]</A></SUP></P>
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Title page of <I><A href="/wiki/The_Spanish_Tragedy" title="The Spanish Tragedy">The Spanish Tragedy</A></I> by Thomas Kyd</DIV>
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<P>According to one theory, Shakespeare's main source is an earlier play—now lost—known today as the <I><A href="/wiki/Ur-Hamlet" title="Ur-Hamlet">Ur-Hamlet</A></I>. Possibly written by <A href="/wiki/Thomas_Kyd" title="Thomas Kyd">Thomas Kyd</A> or even William Shakespeare, the <I>Ur-Hamlet</I> would have existed by 1589, and would have incorporated a ghost.<SUP id="cite_ref-FOOTNOTEJenkins198282–5_16-0" class="reference"><A href="#cite_note-FOOTNOTEJenkins198282–5-16">[15]</A></SUP> Shakespeare's company, <A href="/wiki/Lord_Chamberlain%27s_Men" title="Lord Chamberlain's Men">the Chamberlain's Men</A>, may have purchased that play and performed a version for some time, which Shakespeare reworked.<SUP id="cite_ref-FOOTNOTESaxoHansen198367_17-0" class="reference"><A href="#cite_note-FOOTNOTESaxoHansen198367-17">[16]</A></SUP> However, since no copy of the <I>Ur-Hamlet</I> has survived, 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 <I>Hamlet</I> by Shakespeare himself. This latter idea—placing <I>Hamlet</I> far earlier than the generally accepted date, with a much longer period of development—has attracted some support.<SUP id="cite_ref-24" class="reference"><A href="#cite_note-24">[b]</A></SUP></P>
<P>The upshot is that scholars cannot assert with any confidence how much material Shakespeare took from the <I>Ur-Hamlet</I> (if it even existed), how much from Belleforest or Saxo, and how much from other contemporary sources (such as Kyd's <I><A href="/wiki/The_Spanish_Tragedy" title="The Spanish Tragedy">The Spanish Tragedy</A></I>). 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 from the hypothetical <I>Ur-Hamlet</I> remains unclear.<SUP id="cite_ref-FOOTNOTESaxoHansen198366–8_25-0" class="reference"><A href="#cite_note-FOOTNOTESaxoHansen198366–8-25">[23]</A></SUP></P>
<P>Most scholars reject the idea that <I>Hamlet</I> is in any way connected with Shakespeare's only son, <A href="/wiki/Hamnet_Shakespeare" title="Hamnet Shakespeare">Hamnet Shakespeare</A>, who died in 1596 at age eleven. Conventional wisdom holds that <I>Hamlet</I> is too obviously connected to legend, and the name Hamnet was quite popular at the time.<SUP id="cite_ref-FOOTNOTESaxoHansen19836_26-0" class="reference"><A href="#cite_note-FOOTNOTESaxoHansen19836-26">[24]</A></SUP> However, <A href="/wiki/Stephen_Greenblatt" title="Stephen Greenblatt">Stephen Greenblatt</A> has argued that the <A href="/wiki/Coincidence" title="Coincidence">coincidence</A> 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.<SUP id="cite_ref-FOOTNOTEGreenblatt2004a311_27-0" class="reference"><A href="#cite_note-FOOTNOTEGreenblatt2004a311-27">[25]</A></SUP><SUP id="cite_ref-FOOTNOTEGreenblatt2004b_28-0" class="reference"><A href="#cite_note-FOOTNOTEGreenblatt2004b-28">[26]</A></SUP></P>
<P>Scholars have often speculated that <I>Hamlet</I><SPAN class="nowrap" style="padding-left:0.1em;">'</SPAN>s <A href="/wiki/Polonius" title="Polonius">Polonius</A> might have been inspired by <A href="/wiki/William_Cecil,_1st_Baron_Burghley" title="William Cecil, 1st Baron Burghley">William Cecil</A> (Lord Burghley)—Lord High Treasurer and chief counsellor to Queen <A href="/wiki/Elizabeth_I_of_England" title="Elizabeth I of England">Elizabeth I</A>. <A href="/wiki/E._K._Chambers" title="E. K. Chambers">E. K. Chambers</A> suggested Polonius's advice to Laertes may have echoed Burghley's to his son <A href="/wiki/Robert_Cecil,_1st_Earl_of_Salisbury" title="Robert Cecil, 1st Earl of Salisbury">Robert Cecil</A>.<SUP id="cite_ref-FOOTNOTEChambers1930418_29-0" class="reference"><A href="#cite_note-FOOTNOTEChambers1930418-29">[27]</A></SUP> <A href="/wiki/John_Dover_Wilson" class="mw-redirect" title="John Dover Wilson">John Dover Wilson</A> thought it almost certain that the figure of Polonius caricatured Burghley.<SUP id="cite_ref-FOOTNOTEWilson1932104_30-0" class="reference"><A href="#cite_note-FOOTNOTEWilson1932104-30">[28]</A></SUP> <A href="/wiki/A._L._Rowse" title="A. L. Rowse">A. L. Rowse</A> speculated that Polonius's tedious <A href="/wiki/Verbosity" title="Verbosity">verbosity</A> might have resembled Burghley's.<SUP id="cite_ref-FOOTNOTERowse1963323_31-0" class="reference"><A href="#cite_note-FOOTNOTERowse1963323-31">[29]</A></SUP> Lilian Winstanley thought the name Corambis (in the First Quarto) did suggest Cecil and Burghley.<SUP id="cite_ref-FOOTNOTEWinstanley1977114_32-0" class="reference"><A href="#cite_note-FOOTNOTEWinstanley1977114-32">[30]</A></SUP> <A href="/wiki/Harold_Jenkins_(Shakespeare_scholar)" title="Harold Jenkins (Shakespeare scholar)">Harold Jenkins</A> considers the idea that Polonius might be a caricature of Burghley is a conjecture, and may be based on the similar role they each played at court, and also on the fact that Burghley addressed his <I>Ten Precepts</I> to his son, as in the play Polonius offers "precepts" to Laertes, his son.<SUP id="cite_ref-FOOTNOTECecil2012_33-0" class="reference"><A href="#cite_note-FOOTNOTECecil2012-33">[31]</A></SUP> Jenkins suggests that any personal satire may be found in the name "Polonius", which might point to a Polish or Polonian connection.<SUP id="cite_ref-FOOTNOTEJenkins198235_34-0" class="reference"><A href="#cite_note-FOOTNOTEJenkins198235-34">[32]</A></SUP> G. R. Hibbard hypothesised 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.<SUP id="cite_ref-36" class="reference"><A href="#cite_note-36">[c]</A></SUP></P>
<H2><SPAN class="mw-headline" id="Date">Date</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=9" title="Edit section: Date">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
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<A href="/wiki/John_Barrymore" title="John Barrymore">John Barrymore</A> as Hamlet (1922)</DIV>
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<P>"Any dating of <I>Hamlet</I> must be tentative", cautions the <I>New Cambridge</I> editor, Phillip Edwards.<SUP id="cite_ref-43" class="reference"><A href="#cite_note-43">[d]</A></SUP> The <A href="/wiki/Terminus_post_quem" title="Terminus post quem">earliest date estimate</A> relies on <I>Hamlet</I><SPAN class="nowrap" style="padding-left:0.1em;">'</SPAN>s frequent allusions to Shakespeare's <I><A href="/wiki/Julius_Caesar_(play)" title="Julius Caesar (play)">Julius Caesar</A></I>, itself dated to mid-1599.<SUP id="cite_ref-FOOTNOTEMacCary199812–13_44-0" class="reference"><A href="#cite_note-FOOTNOTEMacCary199812–13-44">[40]</A></SUP><SUP id="cite_ref-FOOTNOTEEdwards19855–6_45-0" class="reference"><A href="#cite_note-FOOTNOTEEdwards19855–6-45">[41]</A></SUP> The <A href="/wiki/Terminus_post_quem" title="Terminus post quem">latest date estimate</A> is based on an entry, of 26 July 1602, in the <A href="/wiki/Stationers%27_Register" title="Stationers' Register">Register</A> of the <A href="/wiki/Worshipful_Company_of_Stationers_and_Newspaper_Makers" title="Worshipful Company of Stationers and Newspaper Makers">Stationers' Company</A>, indicating that <I>Hamlet</I> was "latelie Acted by the <A href="/wiki/Lord_Chamberlain%27s_Men" title="Lord Chamberlain's Men">Lo: Chamberleyne his servantes</A>".</P>
<P>In 1598, <A href="/wiki/Francis_Meres" title="Francis Meres">Francis Meres</A> published his <I>Palladis Tamia</I>, a survey of English literature from Chaucer to its present day, within which twelve of Shakespeare's plays are named. <I>Hamlet</I> is not among them, suggesting that it had not yet been written. As <I>Hamlet</I> was very popular, Bernard Lott, the series editor of <I>New Swan</I>, believes it "unlikely that he [Meres] would have overlooked ... so significant a piece".<SUP id="cite_ref-FOOTNOTELott1970xlvi_41-1" class="reference"><A href="#cite_note-FOOTNOTELott1970xlvi-41">[38]</A></SUP></P>
<P>The phrase "little eyases"<SUP id="cite_ref-46" class="reference"><A href="#cite_note-46">[42]</A></SUP> in the <A href="/wiki/First_Folio" title="First Folio">First Folio</A> (F1) may allude to the <A href="/wiki/Children_of_the_Chapel" title="Children of the Chapel">Children of the Chapel</A>, whose popularity in London forced the Globe company into provincial touring.<SUP id="cite_ref-48" class="reference"><A href="#cite_note-48">[e]</A></SUP> This became known as the <A href="/wiki/War_of_the_Theatres" title="War of the Theatres">War of the Theatres</A>, and supports a 1601 dating.<SUP id="cite_ref-FOOTNOTELott1970xlvi_41-2" class="reference"><A href="#cite_note-FOOTNOTELott1970xlvi-41">[38]</A></SUP> <A href="/wiki/Katherine_Duncan-Jones" title="Katherine Duncan-Jones">Katherine Duncan-Jones</A> accepts a 1600–1 attribution for the date <I>Hamlet</I> was written, but notes that the <A href="/wiki/Lord_Chamberlain%27s_Men" title="Lord Chamberlain's Men">Lord Chamberlain's Men</A>, playing <I>Hamlet</I> in the 3000-capacity <A href="/wiki/Globe_Theatre" title="Globe Theatre">Globe</A>, were unlikely to be put to any disadvantage by an audience of "barely one hundred" for the Children of the Chapel's equivalent play, <I><A href="/wiki/Antonio%27s_Revenge" title="Antonio's Revenge">Antonio's Revenge</A></I>; she believes that Shakespeare, confident in the superiority of his own work, was making a playful and charitable allusion to his friend <A href="/wiki/John_Marston_(poet)" title="John Marston (poet)">John Marston's</A> very similar piece.<SUP id="cite_ref-FOOTNOTEDuncan-Jones2001143–9_49-0" class="reference"><A href="#cite_note-FOOTNOTEDuncan-Jones2001143–9-49">[44]</A></SUP></P>
<P>A contemporary of Shakespeare's, <A href="/wiki/Gabriel_Harvey" title="Gabriel Harvey">Gabriel Harvey</A>, wrote a marginal note in his copy of the 1598 edition of <A href="/wiki/Geoffrey_Chaucer" title="Geoffrey Chaucer">Chaucer's</A> works, which some scholars use as dating evidence. Harvey's note says that "the wiser sort" enjoy <I>Hamlet</I>, and implies that <A href="/wiki/Robert_Devereux,_2nd_Earl_of_Essex" title="Robert Devereux, 2nd Earl of Essex">the Earl of Essex</A>—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 <SPAN style="padding-right:0.1em;"><I>Hamlet</I></SPAN>". This is because the same note also refers to <A href="/wiki/Edmund_Spenser" title="Edmund Spenser">Spenser</A> and <A href="/wiki/Thomas_Watson_(poet)" title="Thomas Watson (poet)">Watson</A> as if they were still alive ("our flourishing <A href="/wiki/Meter_(poetry)" class="mw-redirect" title="Meter (poetry)">metricians</A>"), but also mentions "<A href="/wiki/John_Owen_(epigrammatist)" title="John Owen (epigrammatist)">Owen's</A> new epigrams", published in 1607.<SUP id="cite_ref-FOOTNOTEEdwards19855_50-0" class="reference"><A href="#cite_note-FOOTNOTEEdwards19855-50">[45]</A></SUP></P>
<H2><SPAN class="mw-headline" id="Texts">Texts</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=10" title="Edit section: Texts">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
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<DIV class="thumbinner" style="width:172px;"><A href="/wiki/File:Hamlet.jpg" class="image"><IMG alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Hamlet.jpg/170px-Hamlet.jpg" width="170" height="265" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Hamlet.jpg/255px-Hamlet.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/df/Hamlet.jpg/340px-Hamlet.jpg 2x" data-file-width="641" data-file-height="1000" /></A>
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<A href="/wiki/Title_page" title="Title page">Title page</A> of the 1605 printing (Q2) of <I>Hamlet</I></DIV>
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<P>Three early editions of the text have survived, making attempts to establish a single "authentic" text problematic and inconclusive.<SUP id="cite_ref-FOOTNOTEHattaway198713–20_51-0" class="reference"><A href="#cite_note-FOOTNOTEHattaway198713–20-51">[46]</A></SUP> Each surviving edition differs from the others:<SUP id="cite_ref-FOOTNOTEChambers1923b486–7_52-0" class="reference"><A href="#cite_note-FOOTNOTEChambers1923b486–7-52">[47]</A></SUP><SUP id="cite_ref-FOOTNOTEHalliday1964204–5_53-0" class="reference"><A href="#cite_note-FOOTNOTEHalliday1964204–5-53">[48]</A></SUP></P>
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<LI><A href="/wiki/Hamlet_Q1" title="Hamlet Q1">First Quarto</A> (<B>Q1</B>): In 1603 the booksellers <A href="/wiki/Nicholas_Ling" title="Nicholas Ling">Nicholas Ling</A> and John Trundell published, and <A href="/wiki/Valentine_Simmes" title="Valentine Simmes">Valentine Simmes</A> printed, the so-called "<A href="/wiki/Bad_quarto" title="Bad quarto">bad</A>" first quarto. Q1 contains just over half of the text of the later second quarto.</LI>
<LI>Second Quarto (<B>Q2</B>): 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 about 77 lines found in F1<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a465_54-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a465-54">[49]</A></SUP> (most likely to avoid offending <A href="/wiki/James_I_of_England" class="mw-redirect" title="James I of England">James I's</A> queen, <A href="/wiki/Anne_of_Denmark" title="Anne of Denmark">Anne of Denmark</A>).<SUP id="cite_ref-FOOTNOTEHalliday1964204_55-0" class="reference"><A href="#cite_note-FOOTNOTEHalliday1964204-55">[50]</A></SUP></LI>
<LI><A href="/wiki/First_Folio" title="First Folio">First Folio</A> (<B>F1</B>): In 1623 <A href="/wiki/Edward_Blount" title="Edward Blount">Edward Blount</A> and <A href="/wiki/William_Jaggard" title="William Jaggard">William and Isaac Jaggard</A> published the First Folio, the first edition of Shakespeare's <I>Complete Works</I>.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a78_56-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a78-56">[51]</A></SUP></LI>
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<P>Other <A href="/wiki/Folios_and_Quartos_(Shakespeare)" class="mw-redirect" title="Folios and Quartos (Shakespeare)">folios and quartos</A> were subsequently published—including <A href="/wiki/John_Smethwick" title="John Smethwick">John Smethwick</A>'s Q3, Q4, and Q5 (1611–37)—but these are regarded as derivatives of the first three editions.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a78_56-1" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a78-56">[51]</A></SUP></P>
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<DIV class="thumbinner" style="width:222px;"><A href="/wiki/File:First-page-first-folio-Hamlet.jpg" class="image"><IMG alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/b/be/First-page-first-folio-Hamlet.jpg/220px-First-page-first-folio-Hamlet.jpg" width="220" height="158" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/be/First-page-first-folio-Hamlet.jpg/330px-First-page-first-folio-Hamlet.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/be/First-page-first-folio-Hamlet.jpg/440px-First-page-first-folio-Hamlet.jpg 2x" data-file-width="1536" data-file-height="1106" /></A>
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The first page of the <A href="/wiki/First_Folio" title="First Folio">First Folio</A> printing of <I>Hamlet</I>, 1623</DIV>
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<P>Early <A href="/wiki/Shakespeare%27s_editors" title="Shakespeare's editors">editors of Shakespeare's works</A>, beginning with <A href="/wiki/Nicholas_Rowe_(dramatist)" class="mw-redirect" title="Nicholas Rowe (dramatist)">Nicholas Rowe</A> (1709) and <A href="/wiki/Lewis_Theobald" title="Lewis Theobald">Lewis Theobald</A> (1733), combined material from the two earliest sources of <I>Hamlet</I> 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,<SUP id="cite_ref-FOOTNOTEHibbard198722–3_57-0" class="reference"><A href="#cite_note-FOOTNOTEHibbard198722–3-57">[52]</A></SUP> 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 <I>Hamlet</I> an unrealisable ideal. ... there are <I>texts</I> of this play but no <I>text</I>".<SUP id="cite_ref-FOOTNOTEHattaway198716_58-0" class="reference"><A href="#cite_note-FOOTNOTEHattaway198716-58">[53]</A></SUP> The 2006 publication by Arden Shakespeare of different <I>Hamlet</I> texts in different volumes is perhaps evidence of this shifting focus and emphasis.<SUP id="cite_ref-63" class="reference"><A href="#cite_note-63">[f]</A></SUP> Other editors have continued to argue the need for well-edited editions taking material from all versions of the play. Colin Burrow has argued that "most of us should read a text that is made up by conflating all three versions ... it's about as likely that Shakespeare wrote: "To be or not to be, ay, there's the point" [in Q1], as that he wrote the works of <A href="/wiki/Francis_Bacon" title="Francis Bacon">Francis Bacon</A>. I suspect most people just won't want to read a three-text play ... [multi-text editions are] a version of the play that is out of touch with the needs of a wider public."<SUP id="cite_ref-FOOTNOTEBurrow2002_64-0" class="reference"><A href="#cite_note-FOOTNOTEBurrow2002-64">[58]</A></SUP></P>
<P>Traditionally, editors of Shakespeare's plays have divided them into five <A href="/wiki/Act_(theater)" class="mw-redirect" title="Act (theater)">acts</A>. None of the early texts of <I>Hamlet</I>, 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<SUP id="cite_ref-65" class="reference"><A href="#cite_note-65">[59]</A></SUP> after which the action appears to continue uninterrupted.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a543–52_66-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a543–52-66">[60]</A></SUP></P>
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<DIV class="thumbinner" style="width:222px;"><A href="/wiki/File:Bad_quarto,_good_quarto,_first_folio.png" class="image"><IMG alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/0/05/Bad_quarto%2C_good_quarto%2C_first_folio.png/220px-Bad_quarto%2C_good_quarto%2C_first_folio.png" width="220" height="153" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/05/Bad_quarto%2C_good_quarto%2C_first_folio.png/330px-Bad_quarto%2C_good_quarto%2C_first_folio.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/05/Bad_quarto%2C_good_quarto%2C_first_folio.png/440px-Bad_quarto%2C_good_quarto%2C_first_folio.png 2x" data-file-width="1465" data-file-height="1019" /></A>
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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 <A href="/wiki/Bad_Quarto" class="mw-redirect" title="Bad Quarto">Bad Quarto</A>, the Good Quarto and the <A href="/wiki/First_Folio" title="First Folio">First Folio</A></DIV>
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<P>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 "<A href="/wiki/Bad_quarto" title="Bad quarto">bad quarto</A>".<SUP id="cite_ref-FOOTNOTEJenkins198214_67-0" class="reference"><A href="#cite_note-FOOTNOTEJenkins198214-67">[61]</A></SUP> Yet Q1 has value: it contains stage directions (such as Ophelia entering with a lute and her hair down) that reveal actual stage practices in a way that Q2 and F1 do not; it contains an entire scene (usually labelled 4.6)<SUP id="cite_ref-68" class="reference"><A href="#cite_note-68">[62]</A></SUP> that does not appear in either Q2 or F1; and it is useful for comparison with the later editions. The major deficiency of Q1 is in the language: particularly noticeable in the opening lines of the famous "<A href="/wiki/To_be,_or_not_to_be" title="To be, or not to be">To be, or not to be</A>" 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." However, 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. New Cambridge editor Kathleen Irace has noted that "Q1's more linear plot design is certainly easier […] to follow […] but the simplicity of the Q1 plot arrangement eliminates the alternating plot elements that correspond to Hamlet's shifts in mood."<SUP id="cite_ref-FOOTNOTEIrace19981–34_69-0" class="reference"><A href="#cite_note-FOOTNOTEIrace19981–34-69">[63]</A></SUP></P>
<P>Q1 is considerably shorter than Q2 or F1 and may be a <A href="/wiki/Memorial_reconstruction" title="Memorial reconstruction">memorial reconstruction</A> of the play as Shakespeare's company performed it, by an actor who played a minor role (most likely Marcellus).<SUP id="cite_ref-FOOTNOTEJackson1986171_70-0" class="reference"><A href="#cite_note-FOOTNOTEJackson1986171-70">[64]</A></SUP> Scholars disagree whether the reconstruction was pirated or authorised. It is suggested by Irace that Q1 is an abridged version intended especially for travelling productions, thus the question of length may be considered as separate from issues of poor textual quality.<SUP id="cite_ref-FOOTNOTEIrace1998_62-1" class="reference"><A href="#cite_note-FOOTNOTEIrace1998-62">[57]</A></SUP><SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a85–6_71-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a85–6-71">[65]</A></SUP> Editing Q1 thus poses problems in whether or not to "correct" differences from Q2 and F. Irace, in her introduction to Q1, wrote that "I have avoided as many other alterations as possible, because the differences...are especially intriguing...I have recorded a selection of Q2/F readings in the collation." 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.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006b36–9_72-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006b36–9-72">[66]</A></SUP> Other productions have used the probably superior Q2 and Folio texts, but used Q1's running order, in particular moving the <I>to be or not to be</I> soliloquy earlier.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a18–19_73-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a18–19-73">[67]</A></SUP> Developing this, some editors such as <A href="/wiki/Jonathan_Bate" title="Jonathan Bate">Jonathan Bate</A> have argued that Q2 may represent "a 'reading' text as opposed to a 'performance' one" of <I>Hamlet</I>, analogous to how modern films released on disc may include deleted scenes: an edition containing all of Shakespeare's material for the play for the pleasure of readers, so not representing the play as it would have been staged.<SUP id="cite_ref-FOOTNOTEBateRasmussen200811_74-0" class="reference"><A href="#cite_note-FOOTNOTEBateRasmussen200811-74">[68]</A></SUP><SUP id="cite_ref-FOOTNOTECrowl20145–6_75-0" class="reference"><A href="#cite_note-FOOTNOTECrowl20145–6-75">[69]</A></SUP></P>
<H2><SPAN class="mw-headline" id="Analysis_and_criticism">Analysis and criticism</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=11" title="Edit section: Analysis and criticism">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<DIV role="note" class="hatnote navigation-not-searchable">Main article: <A href="/wiki/Critical_approaches_to_Hamlet" title="Critical approaches to Hamlet">Critical approaches to Hamlet</A></DIV>
<H3><SPAN class="mw-headline" id="Critical_history">Critical history</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=12" title="Edit section: Critical history">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>From the early 17th century, the play was famous for its ghost and vivid dramatisation of <A href="/wiki/Melancholia" title="Melancholia">melancholy</A> and <A href="/wiki/Insanity" title="Insanity">insanity</A>, leading to a procession of mad courtiers and ladies in <A href="/wiki/Jacobean_era" title="Jacobean era">Jacobean</A> and <A href="/wiki/Caroline_era" title="Caroline era">Caroline</A> drama.<SUP id="cite_ref-FOOTNOTEWofford1994_76-0" class="reference"><A href="#cite_note-FOOTNOTEWofford1994-76">[70]</A></SUP><SUP id="cite_ref-FOOTNOTEKirsch1969_77-0" class="reference"><A href="#cite_note-FOOTNOTEKirsch1969-77">[71]</A></SUP> Though it remained popular with mass audiences, late 17th-century <A href="/wiki/English_Restoration" class="mw-redirect" title="English Restoration">Restoration</A> critics saw <I>Hamlet</I> as primitive and disapproved of its lack of <A href="/wiki/Classical_unities" title="Classical unities">unity</A> and <A href="/wiki/Decorum" title="Decorum">decorum</A>.<SUP id="cite_ref-FOOTNOTEVickers1974a447_78-0" class="reference"><A href="#cite_note-FOOTNOTEVickers1974a447-78">[72]</A></SUP><SUP id="cite_ref-FOOTNOTEVickers1974b92_79-0" class="reference"><A href="#cite_note-FOOTNOTEVickers1974b92-79">[73]</A></SUP> This view changed drastically in the 18th century, when critics regarded Hamlet as a hero—a pure, brilliant young man thrust into unfortunate circumstances.<SUP id="cite_ref-FOOTNOTEWofford1994184–5_80-0" class="reference"><A href="#cite_note-FOOTNOTEWofford1994184–5-80">[74]</A></SUP> By the mid-18th century, however, the advent of <A href="/wiki/Gothic_fiction" title="Gothic fiction">Gothic literature</A> brought <A href="/wiki/Psychology" title="Psychology">psychological</A> and <A href="/wiki/Mysticism" title="Mysticism">mystical</A> readings, returning madness and the ghost to the forefront.<SUP id="cite_ref-FOOTNOTEVickers1974c5_81-0" class="reference"><A href="#cite_note-FOOTNOTEVickers1974c5-81">[75]</A></SUP> 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.<SUP id="cite_ref-FOOTNOTEWofford1994185_82-0" class="reference"><A href="#cite_note-FOOTNOTEWofford1994185-82">[76]</A></SUP> These developments represented a fundamental change in literary criticism, which came to focus more on character and less on plot.<SUP id="cite_ref-FOOTNOTEWofford1994186_83-0" class="reference"><A href="#cite_note-FOOTNOTEWofford1994186-83">[77]</A></SUP> By the 19th century, <A href="/wiki/Romanticism" title="Romanticism">Romantic</A> critics valued <I>Hamlet</I> for its internal, individual conflict reflecting the strong contemporary emphasis on internal struggles and inner character in general.<SUP id="cite_ref-FOOTNOTERosenberg1992179_84-0" class="reference"><A href="#cite_note-FOOTNOTERosenberg1992179-84">[78]</A></SUP> Then too, critics started to focus on Hamlet's delay as a character trait, rather than a plot device.<SUP id="cite_ref-FOOTNOTEWofford1994186_83-1" class="reference"><A href="#cite_note-FOOTNOTEWofford1994186-83">[77]</A></SUP> This focus on character and internal struggle continued into the 20th century, when criticism branched in several directions, discussed in <A href="#Context_and_interpretation">context and interpretation</A> below.</P>
<H3><SPAN class="mw-headline" id="Dramatic_structure">Dramatic structure</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=13" title="Edit section: Dramatic structure">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P><I>Hamlet</I> departed from contemporary dramatic convention in several ways. For example, in Shakespeare's day, plays were usually expected to follow the advice of <A href="/wiki/Aristotle" title="Aristotle">Aristotle</A> in his <I><A href="/wiki/Poetics_(Aristotle)" title="Poetics (Aristotle)">Poetics</A></I>: that a drama should focus on action, not character. In <I>Hamlet</I>, Shakespeare reverses this so that it is through the <A href="/wiki/Monologue" title="Monologue">soliloquies</A>, 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,<SUP id="cite_ref-gravedigger_8-1" class="reference"><A href="#cite_note-gravedigger-8">[a]</A></SUP> 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 themes of confusion and duality.<SUP id="cite_ref-FOOTNOTEMacCary199867–72,_84_85-0" class="reference"><A href="#cite_note-FOOTNOTEMacCary199867–72,_84-85">[79]</A></SUP> <I>Hamlet</I> also contains a recurrent Shakespearean device, a <A href="/wiki/Play_within_a_play" class="mw-redirect" title="Play within a play">play within the play</A>, a literary device or conceit in which one story is told during the action of another story.<SUP id="cite_ref-87" class="reference"><A href="#cite_note-87">[g]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Length">Length</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=14" title="Edit section: Length">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P><I>Hamlet</I> is Shakespeare's longest play. The <A href="/wiki/The_Riverside_Shakespeare" class="mw-redirect" title="The Riverside Shakespeare">Riverside edition</A> constitutes 4,042 lines totaling 29,551 words, typically requiring over four hours to stage.<SUP id="cite_ref-FOOTNOTEEvans1974_88-0" class="reference"><A href="#cite_note-FOOTNOTEEvans1974-88">[81]</A></SUP><SUP id="cite_ref-90" class="reference"><A href="#cite_note-90">[h]</A></SUP> It is rare that the play is performed without some abridgments, and only one film adaptation has used a full-text conflation: <A href="/wiki/Kenneth_Branagh" title="Kenneth Branagh">Kenneth Branagh</A>'s <A href="/wiki/Hamlet_(1996_film)" title="Hamlet (1996 film)">1996 version</A>, which runs slightly more than four hours.</P>
<H3><SPAN class="mw-headline" id="Language">Language</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=15" title="Edit section: Language">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
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Hamlet's statement that his dark clothes are the outer sign of his inner grief demonstrates strong rhetorical skill (artist: <A href="/wiki/Eug%C3%A8ne_Delacroix" title="Eugène Delacroix">Eugène Delacroix</A> 1834).</DIV>
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<P>Much of <I>Hamlet'</I>s language is courtly: elaborate, witty discourse, as recommended by <A href="/wiki/Baldassare_Castiglione" title="Baldassare Castiglione">Baldassare Castiglione</A>'s 1528 etiquette guide, <I>The Courtier</I>. 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 <A href="/wiki/Majestic_plural" class="mw-redirect" title="Majestic plural">royal first person plural</A> ("we" or "us"), and <A href="/wiki/Anaphora_(rhetoric)" title="Anaphora (rhetoric)">anaphora</A> mixed with <A href="/wiki/Metaphor" title="Metaphor">metaphor</A> to resonate with Greek political speeches.<SUP id="cite_ref-FOOTNOTEMacCary199884–5_91-0" class="reference"><A href="#cite_note-FOOTNOTEMacCary199884–5-91">[83]</A></SUP></P>
<P>Of all the characters, Hamlet has the greatest rhetorical skill. He uses highly developed metaphors, <A href="/wiki/Stichomythia" title="Stichomythia">stichomythia</A>, and in nine memorable words deploys both anaphora and <A href="/wiki/Asyndeton" title="Asyndeton">asyndeton</A>: "to die: to sleep— / To sleep, perchance to dream".<SUP id="cite_ref-92" class="reference"><A href="#cite_note-92">[84]</A></SUP> 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".<SUP id="cite_ref-93" class="reference"><A href="#cite_note-93">[85]</A></SUP> At times, he relies heavily on <A href="/wiki/Pun" title="Pun">puns</A> to express his true thoughts while simultaneously concealing them.<SUP id="cite_ref-FOOTNOTEMacCary199889–90_94-0" class="reference"><A href="#cite_note-FOOTNOTEMacCary199889–90-94">[86]</A></SUP> His "nunnery" remarks<SUP id="cite_ref-nunnery_96-0" class="reference"><A href="#cite_note-nunnery-96">[i]</A></SUP> to Ophelia are an example of a cruel <A href="/wiki/Double_entendre" title="Double entendre">double meaning</A> as <I>nunnery</I> was <A href="/wiki/Elizabethan_era" title="Elizabethan era">Elizabethan</A> slang for <I>brothel</I>.<SUP id="cite_ref-FOOTNOTEOED2005_97-0" class="reference"><A href="#cite_note-FOOTNOTEOED2005-97">[88]</A></SUP><SUP id="cite_ref-100" class="reference"><A href="#cite_note-100">[j]</A></SUP> 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."<SUP id="cite_ref-101" class="reference"><A href="#cite_note-101">[91]</A></SUP></P>
<P>An unusual rhetorical device, <A href="/wiki/Hendiadys" title="Hendiadys">hendiadys</A>, appears in several places in the play. Examples are found in Ophelia's speech at the end of the nunnery scene: "Th'<I>expectancy and rose</I> of the fair state"<SUP id="cite_ref-102" class="reference"><A href="#cite_note-102">[92]</A></SUP> and "And I, of ladies most <I>deject and wretched</I>".<SUP id="cite_ref-103" class="reference"><A href="#cite_note-103">[93]</A></SUP> Many scholars have found it odd that Shakespeare would, seemingly arbitrarily, use this rhetorical form throughout the play. One explanation may be that <I>Hamlet</I> 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.<SUP id="cite_ref-FOOTNOTEMacCary199887–8_104-0" class="reference"><A href="#cite_note-FOOTNOTEMacCary199887–8-104">[94]</A></SUP> Pauline Kiernan argues that Shakespeare changed English drama forever in <I>Hamlet</I> 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.<SUP id="cite_ref-FOOTNOTEKiernan200734_98-1" class="reference"><A href="#cite_note-FOOTNOTEKiernan200734-98">[89]</A></SUP></P>
<P>Hamlet's <A href="/wiki/Monologue" title="Monologue">soliloquies</A> have also captured the attention of scholars. Hamlet interrupts himself, vocalising either disgust or agreement with himself, and embellishing his own words. He has difficulty expressing himself directly and instead blunts the thrust of his thought with wordplay. It is not until late in the play, after his experience with the pirates, that Hamlet is able to articulate his feelings freely.<SUP id="cite_ref-FOOTNOTEMacCary199891–3_105-0" class="reference"><A href="#cite_note-FOOTNOTEMacCary199891–3-105">[95]</A></SUP></P>
<H2><SPAN class="mw-headline" id="Context_and_interpretation">Context and interpretation</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=16" title="Edit section: Context and interpretation">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<H3><SPAN class="mw-headline" id="Religious">Religious</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=17" title="Edit section: Religious">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
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<A href="/wiki/John_Everett_Millais" title="John Everett Millais">John Everett Millais</A>' <I><A href="/wiki/Ophelia_(painting)" title="Ophelia (painting)">Ophelia</A></I> (1852) depicts Lady Ophelia's mysterious death by drowning. In the play, the gravediggers discuss whether Ophelia's death was a suicide and whether she merits a Christian burial.</DIV>
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<P>Written at a time of religious upheaval, and in the wake of the <A href="/wiki/English_Reformation" title="English Reformation">English Reformation</A>, the play is alternately <A href="/wiki/Catholicism" class="mw-redirect" title="Catholicism">Catholic</A> (or piously medieval) and <A href="/wiki/Protestantism" title="Protestantism">Protestant</A> (or consciously modern). The ghost describes himself as being in <A href="/wiki/Purgatory" title="Purgatory">purgatory</A>, and as dying without <A href="/wiki/Last_rites" title="Last rites">last rites</A>. This and Ophelia's burial ceremony, which is characteristically Catholic, make up most of the play's Catholic connections. Some scholars have observed that <A href="/wiki/Revenge_play" title="Revenge play">revenge tragedies</A> come from Catholic countries like Italy and Spain, where the revenge tragedies present contradictions of motives, since according to Catholic doctrine the duty to God and family precedes civil justice. Hamlet's conundrum, then, is whether to avenge his father and kill Claudius, or to leave the vengeance to God, as his religion requires.<SUP id="cite_ref-FOOTNOTEMacCary199837–8_106-0" class="reference"><A href="#cite_note-FOOTNOTEMacCary199837–8-106">[96]</A></SUP><SUP id="cite_ref-107" class="reference"><A href="#cite_note-107">[k]</A></SUP></P>
<P>Much of the play's Protestant tones derive from its setting in Denmark—both then and now a predominantly Protestant country,<SUP id="cite_ref-108" class="reference"><A href="#cite_note-108">[l]</A></SUP> though it is unclear whether the fictional Denmark of the play is intended to portray this implicit fact. Dialog refers explicitly to <A href="/wiki/Wittenberg" title="Wittenberg">Wittenberg</A>, where Hamlet, Horatio, and Rosencrantz and Guildenstern attend university, implying where <A href="/wiki/Martin_Luther" title="Martin Luther">Martin Luther</A> in 1517 first proposed his <A href="/wiki/The_Ninety-Five_Theses" class="mw-redirect" title="The Ninety-Five Theses">95 theses</A> and thereby initiated the <A href="/wiki/Protestant_Reformation" class="mw-redirect" title="Protestant Reformation">Protestant Reformation</A>.<SUP id="cite_ref-FOOTNOTEMacCary199838_109-0" class="reference"><A href="#cite_note-FOOTNOTEMacCary199838-109">[97]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Philosophical">Philosophical</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=18" title="Edit section: Philosophical">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
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Philosophical ideas in <I>Hamlet</I> are similar to those of the French writer <A href="/wiki/Michel_de_Montaigne" title="Michel de Montaigne">Michel de Montaigne</A>, a contemporary of Shakespeare's (artist: <A href="/wiki/Thomas_de_Leu" title="Thomas de Leu">Thomas de Leu</A>, fl. 1560–1612).</DIV>
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<P>Hamlet is often perceived as a philosophical character, expounding ideas that are now described as <A href="/wiki/Relativism" title="Relativism">relativist</A>, <A href="/wiki/Existentialism" title="Existentialism">existentialist</A>, and <A href="/wiki/Scepticism" class="mw-redirect" title="Scepticism">sceptical</A>. For example, he expresses a subjectivistic idea when he says to Rosencrantz: "there is nothing either good or bad, but thinking makes it so".<SUP id="cite_ref-110" class="reference"><A href="#cite_note-110">[98]</A></SUP> The idea that nothing is real except in the mind of the individual finds its roots in the Greek <A href="/wiki/Sophism" class="mw-redirect" title="Sophism">Sophists</A>, 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, but rather only relative truth.<SUP id="cite_ref-FOOTNOTEMacCary199847–8_111-0" class="reference"><A href="#cite_note-FOOTNOTEMacCary199847–8-111">[99]</A></SUP> The clearest alleged instance of existentialism is in the "<A href="/wiki/To_be,_or_not_to_be" title="To be, or not to be">to be, or not to be</A>"<SUP id="cite_ref-112" class="reference"><A href="#cite_note-112">[100]</A></SUP> speech, where Hamlet is thought by some to use "being" to allude to life and action, and "not being" to death and inaction.</P>
<P><I>Hamlet</I> reflects the contemporary <A href="/wiki/Philosophical_scepticism" class="mw-redirect" title="Philosophical scepticism">scepticism</A> promoted by the French <A href="/wiki/Renaissance_humanism" title="Renaissance humanism">Renaissance humanist</A> <A href="/wiki/Michel_de_Montaigne" title="Michel de Montaigne">Michel de Montaigne</A>.<SUP id="cite_ref-FOOTNOTEMacCary199849_113-0" class="reference"><A href="#cite_note-FOOTNOTEMacCary199849-113">[101]</A></SUP> Prior to Montaigne's time, humanists such as <A href="/wiki/Pico_della_Mirandola" class="mw-redirect" title="Pico della Mirandola">Pico della Mirandola</A> 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 Montaigne's <I><A href="/wiki/Essays_(Montaigne)" title="Essays (Montaigne)">Essais</A></I> of 1580. Hamlet's "<A href="/wiki/What_a_piece_of_work_is_a_man" title="What a piece of work is a man">What a piece of work is a man</A>" seems to echo many of Montaigne's ideas, and many scholars have discussed whether Shakespeare drew directly from Montaigne or whether both men were simply reacting similarly to the spirit of the times.<SUP id="cite_ref-FOOTNOTEKnowles19991049,_1052–3_114-0" class="reference"><A href="#cite_note-FOOTNOTEKnowles19991049,_1052–3-114">[102]</A></SUP><SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a73–4_115-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a73–4-115">[103]</A></SUP><SUP id="cite_ref-FOOTNOTEMacCary199849_113-1" class="reference"><A href="#cite_note-FOOTNOTEMacCary199849-113">[101]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Psychoanalytic">Psychoanalytic</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=19" title="Edit section: Psychoanalytic">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
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<A href="/wiki/Sigmund_Freud" title="Sigmund Freud">Freud</A> suggested that an <A href="/wiki/Unconscious_mind" title="Unconscious mind">unconscious</A> <A href="/wiki/Oedipus_complex" title="Oedipus complex">Oedipal conflict</A> caused Hamlet's hesitations (artist: <A href="/wiki/Eug%C3%A8ne_Delacroix" title="Eugène Delacroix">Eugène Delacroix</A> 1844).</DIV>
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<P>In the first half of the 20th century, when <A href="/wiki/Psychoanalysis" title="Psychoanalysis">psychoanalysis</A> was at the height of its influence, its concepts were applied to <I>Hamlet</I>, notably by <A href="/wiki/Sigmund_Freud" title="Sigmund Freud">Sigmund Freud</A>, <A href="/wiki/Ernest_Jones" title="Ernest Jones">Ernest Jones</A>, and <A href="/wiki/Jacques_Lacan" title="Jacques Lacan">Jacques Lacan</A>, and these studies influenced theatrical productions. In his <I><A href="/wiki/The_Interpretation_of_Dreams" title="The Interpretation of Dreams">The Interpretation of Dreams</A></I> (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".<SUP id="cite_ref-FOOTNOTEFreud1900367–8_116-0" class="reference"><A href="#cite_note-FOOTNOTEFreud1900367–8-116">[104]</A></SUP> After reviewing various literary theories, Freud concludes that Hamlet has an "<A href="/wiki/Oedipus_complex" title="Oedipus complex">Oedipal desire</A> for his mother and the subsequent guilt [is] preventing him from murdering the man [Claudius] who has done what he unconsciously wanted to do".<SUP id="cite_ref-FOOTNOTEBritton1995207–11_117-0" class="reference"><A href="#cite_note-FOOTNOTEBritton1995207–11-117">[105]</A></SUP> Confronted with his <A href="/wiki/Psychological_repression" title="Psychological repression">repressed desires</A>, Hamlet realises that "he himself is literally no better than the sinner whom he is to punish".<SUP id="cite_ref-FOOTNOTEFreud1900367–8_116-1" class="reference"><A href="#cite_note-FOOTNOTEFreud1900367–8-116">[104]</A></SUP> Freud suggests that Hamlet's apparent "distaste for sexuality"—articulated in his "nunnery" conversation with Ophelia—accords with this interpretation.<SUP id="cite_ref-FOOTNOTEFreud1900367–8_116-2" class="reference"><A href="#cite_note-FOOTNOTEFreud1900367–8-116">[104]</A></SUP><SUP id="cite_ref-nunnery_96-1" class="reference"><A href="#cite_note-nunnery-96">[i]</A></SUP> <A href="/wiki/John_Barrymore" title="John Barrymore">John Barrymore</A>'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.<SUP id="cite_ref-FOOTNOTEMorrison19974,_129–30_118-0" class="reference"><A href="#cite_note-FOOTNOTEMorrison19974,_129–30-118">[106]</A></SUP> He had a "blunter intention" than presenting the genteel, sweet prince of 19th-century tradition, imbuing his character with virility and lust.<SUP id="cite_ref-FOOTNOTECotsell2005191_119-0" class="reference"><A href="#cite_note-FOOTNOTECotsell2005191-119">[107]</A></SUP></P>
<P>Beginning in 1910, with the publication of "The Œdipus-Complex as an Explanation of Hamlet's Mystery: A Study in Motive"<SUP id="cite_ref-FOOTNOTEJones1910_120-0" class="reference"><A href="#cite_note-FOOTNOTEJones1910-120">[108]</A></SUP> <A href="/wiki/Ernest_Jones" title="Ernest Jones">Ernest Jones</A>—a psychoanalyst and Freud's biographer—developed Freud's ideas into a series of essays that culminated in his book <I><A href="/wiki/Hamlet_and_Oedipus" title="Hamlet and Oedipus">Hamlet and Oedipus</A></I> (1949). Influenced by Jones's psychoanalytic approach, several productions have portrayed the "closet scene", where Hamlet confronts his mother in her private quarters, in a sexual light.<SUP id="cite_ref-122" class="reference"><A href="#cite_note-122">[m]</A></SUP> 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. Ophelia is overwhelmed by having her unfulfilled love for him so abruptly terminated and drifts into the oblivion of insanity.<SUP id="cite_ref-FOOTNOTEMacCary1998104–7,_113–16_123-0" class="reference"><A href="#cite_note-FOOTNOTEMacCary1998104–7,_113–16-123">[110]</A></SUP><SUP id="cite_ref-FOOTNOTEde_Grazia2007168–70_124-0" class="reference"><A href="#cite_note-FOOTNOTEde_Grazia2007168–70-124">[111]</A></SUP> In 1937, <A href="/wiki/Tyrone_Guthrie" title="Tyrone Guthrie">Tyrone Guthrie</A> directed <A href="/wiki/Laurence_Olivier" title="Laurence Olivier">Laurence Olivier</A> in a Jones-inspired <I>Hamlet</I> at <A href="/wiki/The_Old_Vic" title="The Old Vic">The Old Vic</A>.<SUP id="cite_ref-FOOTNOTESmallwood2002102_125-0" class="reference"><A href="#cite_note-FOOTNOTESmallwood2002102-125">[112]</A></SUP> Olivier later used some of these same ideas in his 1948 film version of the play.</P>
<P>In the 1950s, Lacan's <A href="/wiki/Structuralism" title="Structuralism">structuralist</A> theories about <I>Hamlet</I> were first presented in a series of <A href="/wiki/The_Seminars_of_Jacques_Lacan" class="mw-redirect" title="The Seminars of Jacques Lacan">seminars</A> given in Paris and later published in "Desire and the Interpretation of Desire in <I>Hamlet</I>". Lacan postulated that the human <A href="/wiki/Psyche_(psychology)" title="Psyche (psychology)">psyche</A> is determined by structures of language and that the linguistic structures of <I>Hamlet</I> shed light on human desire.<SUP id="cite_ref-FOOTNOTEBritton1995207–11_117-1" class="reference"><A href="#cite_note-FOOTNOTEBritton1995207–11-117">[105]</A></SUP> His point of departure is Freud's Oedipal theories, and the central theme of mourning that runs through <I>Hamlet</I>.<SUP id="cite_ref-FOOTNOTEBritton1995207–11_117-2" class="reference"><A href="#cite_note-FOOTNOTEBritton1995207–11-117">[105]</A></SUP> In Lacan's analysis, Hamlet unconsciously assumes the role of <A href="/wiki/Phallus#Psychoanalysis" title="Phallus"><I>phallus</I></A>—the cause of his inaction—and is increasingly distanced from reality "by mourning, <A href="/wiki/Fantasy_(psychology)" title="Fantasy (psychology)">fantasy</A>, <A href="/wiki/Narcissism" title="Narcissism">narcissism</A> and <A href="/wiki/Psychosis" title="Psychosis">psychosis</A>", which create holes (or <A href="/wiki/Lack_(manque)" title="Lack (manque)">lack</A>) in the real, imaginary, and symbolic aspects of his psyche.<SUP id="cite_ref-FOOTNOTEBritton1995207–11_117-3" class="reference"><A href="#cite_note-FOOTNOTEBritton1995207–11-117">[105]</A></SUP> Lacan's theories influenced literary criticism of <I>Hamlet</I> because of his alternative vision of the play and his use of <A href="/wiki/Semantics" title="Semantics">semantics</A> to explore the play's psychological landscape.<SUP id="cite_ref-FOOTNOTEBritton1995207–11_117-4" class="reference"><A href="#cite_note-FOOTNOTEBritton1995207–11-117">[105]</A></SUP></P>
<P>In the <I>Bloom's Shakespeare Through the Ages</I> volume on Hamlet, editors Bloom and Foster express a conviction that the intentions of Shakespeare in portraying the character of Hamlet in the play exceeded the capacity of the Freudian Oedipus complex to completely encompass the extent of characteristics depicted in Hamlet throughout the tragedy: "For once, Freud regressed in attempting to fasten the Oedipus Complex upon Hamlet: it will not stick, and merely showed that Freud did better than T.S. Eliot, who preferred <I>Coriolanus</I> to <I>Hamlet</I>, or so he said. Who can believe Eliot, when he exposes his own Hamlet Complex by declaring the play to be an aesthetic failure?"<SUP id="cite_ref-FOOTNOTEBloomFoster2008xii_126-0" class="reference"><A href="#cite_note-FOOTNOTEBloomFoster2008xii-126">[113]</A></SUP> The book also notes James Joyce's interpretation, stating that he "did far better in the Library Scene of <I>Ulysses</I>, where Stephen marvelously credits Shakespeare, in this play, with universal fatherhood while accurately implying that Hamlet is fatherless, thus opening a pragmatic gap between Shakespeare and Hamlet."<SUP id="cite_ref-FOOTNOTEBloomFoster2008xii_126-1" class="reference"><A href="#cite_note-FOOTNOTEBloomFoster2008xii-126">[113]</A></SUP></P>
<P>Joshua Rothman has written in <I><A href="/wiki/The_New_Yorker" title="The New Yorker">The New Yorker</A></I> that "we tell the story wrong when we say that Freud used the idea of the Oedipus complex to understand <I>Hamlet</I>". Rothman suggests that "it was the other way around: <I>Hamlet</I> helped Freud understand, and perhaps even invent, psychoanalysis". He concludes, "The Oedipus complex is a misnomer. It should be called the 'Hamlet complex'."<SUP id="cite_ref-FOOTNOTERothman2013_127-0" class="reference"><A href="#cite_note-FOOTNOTERothman2013-127">[114]</A></SUP></P>
<P>In the essay "Hamlet Made Simple", David P. Gontar turns the tables on the psychoanalysts by suggesting that Claudius is not a symbolic father figure but actually Prince Hamlet's biological father. The hesitation in killing Claudius results from an unwillingness on Hamlet's part to slay his real father. If Hamlet is the biological son of Claudius, that explains many things. Hamlet does not become King of Denmark on the occasion of the King's death inasmuch as it is an open secret in court that he is Claudius's biological son, and as such he is merely a court bastard not in the line of succession. He is angry with his mother because of her long standing affair with a man Hamlet hates, and Hamlet must face the fact that he has been sired by the man he loathes. That point overturns T. S. Eliot's complaint that the play is a failure for not furnishing an "objective correlative" to account for Hamlet's rage at his mother. Gontar suggests that if the reader assumes that Hamlet is not who he seems to be, the objective correlative becomes apparent. Hamlet is suicidal in the first soliloquy not because his mother quickly remarries but because of her adulterous affair with the despised Claudius which makes Hamlet his son. Finally, the ghost's confirmation of an alternative fatherhood for Hamlet is a fabrication that gives the prince a motive for revenge.<SUP id="cite_ref-FOOTNOTEGontar2013_128-0" class="reference"><A href="#cite_note-FOOTNOTEGontar2013-128">[115]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Feminist">Feminist</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=20" title="Edit section: Feminist">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
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<A href="/wiki/Ophelia_(character)" class="mw-redirect" title="Ophelia (character)">Ophelia</A> is distracted by grief.<SUP id="cite_ref-129" class="reference"><A href="#cite_note-129">[116]</A></SUP> Feminist critics have explored her descent into madness (artist: Henrietta Rae 1890).</DIV>
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<P>In the 20th century, <A href="/wiki/Feminist_literary_criticism" title="Feminist literary criticism">feminist critics</A> opened up new approaches to Gertrude and Ophelia. <A href="/wiki/New_Historicism" title="New Historicism">New Historicist</A> and <A href="/wiki/Cultural_materialism_(cultural_studies)" title="Cultural materialism (cultural studies)">cultural materialist</A> critics examined the play in its historical context, attempting to piece together its original cultural environment.<SUP id="cite_ref-FOOTNOTEWofford1994199–202_130-0" class="reference"><A href="#cite_note-FOOTNOTEWofford1994199–202-130">[117]</A></SUP> They focused on the <A href="/wiki/Gender_role" title="Gender role">gender system</A> of <A href="/wiki/Early_modern_period" title="Early modern period">early modern</A> England, pointing to the common trinity of <I>maid, wife, or widow</I>, with <I>whores</I> outside of that stereotype. In this analysis, the essence of <I>Hamlet</I> 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 seen as 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.<SUP id="cite_ref-FOOTNOTEHoward2003411–15_131-0" class="reference"><A href="#cite_note-FOOTNOTEHoward2003411–15-131">[118]</A></SUP></P>
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Hamlet tries to show his mother Gertrude his father's ghost (artist: <A href="/wiki/Nicolai_Abraham_Abildgaard" class="mw-redirect" title="Nicolai Abraham Abildgaard">Nicolai A. Abildgaard</A>, ca. 1778).</DIV>
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<P><A href="/wiki/Carolyn_Heilbrun" class="mw-redirect" title="Carolyn Heilbrun">Carolyn Heilbrun</A>'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 praised by many feminist critics, combating what is, by Heilbrun's argument, centuries' worth of misinterpretation. By this account, Gertrude's worst crime is of pragmatically marrying her brother-in-law in order to avoid a power vacuum. This is borne out by the fact that King Hamlet's ghost tells Hamlet to leave Gertrude out of Hamlet's revenge, to leave her to heaven, an arbitrary mercy to grant to a conspirator to murder.<SUP id="cite_ref-FOOTNOTEHeilbrun1957_132-0" class="reference"><A href="#cite_note-FOOTNOTEHeilbrun1957-132">[119]</A></SUP><SUP id="cite_ref-FOOTNOTEBloom200358–9_133-0" class="reference"><A href="#cite_note-FOOTNOTEBloom200358–9-133">[120]</A></SUP><SUP id="cite_ref-FOOTNOTEThompson20014_134-0" class="reference"><A href="#cite_note-FOOTNOTEThompson20014-134">[121]</A></SUP> This view has not been without objection from some critics.<SUP id="cite_ref-136" class="reference"><A href="#cite_note-136">[n]</A></SUP></P>
<P>Ophelia has also been defended by feminist critics, most notably <A href="/wiki/Elaine_Showalter" title="Elaine Showalter">Elaine Showalter</A>.<SUP id="cite_ref-FOOTNOTEShowalter1985_137-0" class="reference"><A href="#cite_note-FOOTNOTEShowalter1985-137">[123]</A></SUP> 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.<SUP id="cite_ref-FOOTNOTEBloom200357_138-0" class="reference"><A href="#cite_note-FOOTNOTEBloom200357-138">[124]</A></SUP> 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.<SUP id="cite_ref-FOOTNOTEMacCary1998111–13_139-0" class="reference"><A href="#cite_note-FOOTNOTEMacCary1998111–13-139">[125]</A></SUP></P>
<H2><SPAN class="mw-headline" id="Influence">Influence</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=21" title="Edit section: Influence">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<DIV role="note" class="hatnote navigation-not-searchable">See also: <A href="/wiki/Literary_influence_of_Hamlet" title="Literary influence of Hamlet">Literary influence of Hamlet</A></DIV>
<P><I>Hamlet</I> is one of the <A href="/wiki/Phrases_from_Hamlet_in_common_English" title="Phrases from Hamlet in common English">most quoted</A> works in the English language, and is often included on lists of the world's greatest literature.<SUP id="cite_ref-140" class="reference"><A href="#cite_note-140">[o]</A></SUP> As such, it reverberates through the writing of later centuries. Academic Laurie Osborne identifies the direct influence of <I>Hamlet</I> 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.<SUP id="cite_ref-FOOTNOTEOsborne2007114–33_141-0" class="reference"><A href="#cite_note-FOOTNOTEOsborne2007114–33-141">[126]</A></SUP></P>
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<I>Actors before Hamlet</I> by <A href="/wiki/W%C5%82adys%C5%82aw_Czach%C3%B3rski" title="Władysław Czachórski">Władysław Czachórski</A> (1875), <A href="/wiki/National_Museum,_Warsaw" title="National Museum, Warsaw">National Museum</A> in <A href="/wiki/Warsaw" title="Warsaw">Warsaw</A>.</DIV>
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<P>English poet <A href="/wiki/John_Milton" title="John Milton">John Milton</A> was an early admirer of Shakespeare, and took evident inspiration from his work. As John Kerrigan discusses, Milton originally considered writing his epic poem <I><A href="/wiki/Paradise_Lost" title="Paradise Lost">Paradise Lost</A></I> (1667) as a tragedy.<SUP id="cite_ref-FOOTNOTEKerrigan1996122_142-0" class="reference"><A href="#cite_note-FOOTNOTEKerrigan1996122-142">[127]</A></SUP> While Milton did not ultimately go that route, the poem still shows distinct echoes of Shakespearean revenge tragedy, and of <I>Hamlet</I> in particular. As scholar Christopher N. Warren argues, <I>Paradise Lost</I>’s Satan “undergoes a transformation in the poem from a Hamlet-like avenger into a Claudius-like usurper,” a plot device that supports Milton’s larger <A href="/wiki/Republicanism" title="Republicanism">Republican</A> internationalist project.<SUP id="cite_ref-FOOTNOTEWarren2016367_143-0" class="reference"><A href="#cite_note-FOOTNOTEWarren2016367-143">[128]</A></SUP> The poem also reworks theatrical language from <I>Hamlet</I>, especially around the idea of “putting on” certain dispositions, as when Hamlet puts on “an antic disposition,” similarly to the Son in <I>Paradise Lost</I> who “can put on / [God’s] terrors.”<SUP id="cite_ref-FOOTNOTEWarren2016379_144-0" class="reference"><A href="#cite_note-FOOTNOTEWarren2016379-144">[129]</A></SUP></P>
<P><A href="/wiki/Henry_Fielding" title="Henry Fielding">Henry Fielding</A>'s <I><A href="/wiki/The_History_of_Tom_Jones,_a_Foundling" title="The History of Tom Jones, a Foundling">Tom Jones</A></I>, published about 1749, describes a visit to <I>Hamlet</I> by Tom Jones and Mr Partridge, with similarities to the "play within a play".<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a123–6_145-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a123–6-145">[130]</A></SUP> In contrast, <A href="/wiki/Johann_Wolfgang_von_Goethe" title="Johann Wolfgang von Goethe">Goethe's</A> <A href="/wiki/Bildungsroman" title="Bildungsroman">Bildungsroman</A> <I><A href="/wiki/Wilhelm_Meister%27s_Apprenticeship" title="Wilhelm Meister's Apprenticeship">Wilhelm Meister's Apprenticeship</A></I>, written between 1776 and 1796, not only has a production of <I>Hamlet</I> at its core but also creates parallels between the ghost and Wilhelm Meister's dead father.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a123–6_145-1" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a123–6-145">[130]</A></SUP> In the early 1850s, in <I><A href="/wiki/Pierre:_or,_The_Ambiguities" class="mw-redirect" title="Pierre: or, The Ambiguities">Pierre</A></I>, <A href="/wiki/Herman_Melville" title="Herman Melville">Herman Melville</A> focuses on a Hamlet-like character's long development as a writer.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a123–6_145-2" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a123–6-145">[130]</A></SUP> Ten years later, <A href="/wiki/Charles_Dickens" title="Charles Dickens">Dickens's</A> <I><A href="/wiki/Great_Expectations" title="Great Expectations">Great Expectations</A></I> contains many Hamlet-like plot elements: it is driven by revenge-motivated actions, contains ghost-like characters (Abel Magwitch and <A href="/wiki/Miss_Havisham" title="Miss Havisham">Miss Havisham</A>), and focuses on the hero's guilt.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a123–6_145-3" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a123–6-145">[130]</A></SUP> Academic Alexander Welsh notes that <I>Great Expectations</I> is an "autobiographical novel" and "anticipates psychoanalytic readings of <I>Hamlet</I> itself".<SUP id="cite_ref-FOOTNOTEWelsh2001131_146-0" class="reference"><A href="#cite_note-FOOTNOTEWelsh2001131-146">[131]</A></SUP> About the same time, <A href="/wiki/George_Eliot" title="George Eliot">George Eliot</A>'s <I><A href="/wiki/The_Mill_on_the_Floss" title="The Mill on the Floss">The Mill on the Floss</A></I> was published, introducing Maggie Tulliver "who is explicitly compared with Hamlet"<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a126–31_147-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a126–31-147">[132]</A></SUP> though "with a reputation for sanity".<SUP id="cite_ref-FOOTNOTENovy199462,_77–8_148-0" class="reference"><A href="#cite_note-FOOTNOTENovy199462,_77–8-148">[133]</A></SUP></P>
<P><A href="/wiki/L._Frank_Baum" title="L. Frank Baum">L. Frank Baum</A>'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.</P>
<P>In the 1920s, <A href="/wiki/James_Joyce" title="James Joyce">James Joyce</A> managed "a more upbeat version" of <I>Hamlet</I>—stripped of obsession and revenge—in <I><A href="/wiki/Ulysses_(novel)" title="Ulysses (novel)">Ulysses</A></I>, though its main parallels are with <A href="/wiki/Homer" title="Homer">Homer</A>'s <I><A href="/wiki/Odyssey" title="Odyssey">Odyssey</A></I>.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a123–6_145-4" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a123–6-145">[130]</A></SUP> In the 1990s, two novelists were explicitly influenced by <I>Hamlet</I>. In <A href="/wiki/Angela_Carter" title="Angela Carter">Angela Carter</A>'s <I><A href="/wiki/Wise_Children" title="Wise Children">Wise Children</A></I>, <I>To be or not to be</I><SUP id="cite_ref-149" class="reference"><A href="#cite_note-149">[134]</A></SUP> is reworked as a song and dance routine, and <A href="/wiki/Iris_Murdoch" title="Iris Murdoch">Iris Murdoch</A>'s <I><A href="/wiki/The_Black_Prince_(novel)" title="The Black Prince (novel)">The Black Prince</A></I> has Oedipal themes and murder intertwined with a love affair between a <I>Hamlet</I>-obsessed writer, Bradley Pearson, and the daughter of his rival.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a126–31_147-1" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a126–31-147">[132]</A></SUP></P>
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<P>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."</P>
<P>—<A href="/wiki/Isaac_Asimov" title="Isaac Asimov">Isaac Asimov</A>, <I><A href="/wiki/Asimov%27s_Guide_to_Shakespeare" title="Asimov's Guide to Shakespeare">Asimov's Guide to Shakespeare</A></I>, pg vii, Avenal Books, 1970</P>
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<H2><SPAN class="mw-headline" id="Performance_history">Performance history</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=22" title="Edit section: Performance history">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<DIV role="note" class="hatnote navigation-not-searchable">Main articles: <A href="/wiki/Hamlet_in_performance" title="Hamlet in performance">Hamlet in performance</A> and <A href="/wiki/Shakespeare_in_performance" title="Shakespeare in performance">Shakespeare in performance</A></DIV>
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<DIV>The day we see <A href="/wiki/Prince_Hamlet" title="Prince Hamlet">Hamlet</A> die in the theatre, something of him dies for us. He is dethroned by the spectre of an actor, and we shall never be able to keep the usurper out of our dreams.</DIV>
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<P><CITE style="display: block; text-align: right;"><A href="/wiki/Maurice_Maeterlinck" title="Maurice Maeterlinck">Maurice Maeterlinck</A> in <I><A href="/wiki/La_Jeune_Belgique" title="La Jeune Belgique">La Jeune Belgique</A></I> (1890).<SUP id="cite_ref-FOOTNOTEBraun198240_150-0" class="reference"><A href="#cite_note-FOOTNOTEBraun198240-150">[135]</A></SUP></CITE></P>
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<H3><SPAN id="Shakespeare.27s_day_to_the_Interregnum"></SPAN><SPAN class="mw-headline" id="Shakespeare's_day_to_the_Interregnum">Shakespeare's day to the Interregnum</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=23" title="Edit section: Shakespeare's day to the Interregnum">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>Shakespeare almost certainly wrote the role of Hamlet for <A href="/wiki/Richard_Burbage" title="Richard Burbage">Richard Burbage</A>. He was the chief tragedian of the <A href="/wiki/Lord_Chamberlain%27s_Men" title="Lord Chamberlain's Men">Lord Chamberlain's Men</A>, with a capacious memory for lines and a wide emotional range.<SUP id="cite_ref-FOOTNOTETaylor20024_151-0" class="reference"><A href="#cite_note-FOOTNOTETaylor20024-151">[136]</A></SUP><SUP id="cite_ref-FOOTNOTEBanham1998141_152-0" class="reference"><A href="#cite_note-FOOTNOTEBanham1998141-152">[137]</A></SUP><SUP id="cite_ref-156" class="reference"><A href="#cite_note-156">[p]</A></SUP> Judging by the number of reprints, <I>Hamlet</I> appears to have been Shakespeare's fourth most popular play during his lifetime—only <I><A href="/wiki/Henry_IV,_Part_1" title="Henry IV, Part 1">Henry IV Part 1</A></I>, <I><A href="/wiki/Richard_III_(play)" title="Richard III (play)">Richard III</A></I> and <I><A href="/wiki/Pericles,_Prince_of_Tyre" title="Pericles, Prince of Tyre">Pericles</A></I> eclipsed it.<SUP id="cite_ref-FOOTNOTETaylor200218_2-1" class="reference"><A href="#cite_note-FOOTNOTETaylor200218-2">[2]</A></SUP> Shakespeare provides no clear indication of when his play is set; however, as Elizabethan actors performed at the <A href="/wiki/Globe_Theatre" title="Globe Theatre">Globe</A> in contemporary dress on minimal sets, this would not have affected the staging.<SUP id="cite_ref-FOOTNOTETaylor200213_157-0" class="reference"><A href="#cite_note-FOOTNOTETaylor200213-157">[141]</A></SUP></P>
<P>Firm evidence for specific early performances of the play is scant. What is known is that the crew of the ship <I><A href="/wiki/Red_Dragon_(1595)" title="Red Dragon (1595)">Red Dragon</A></I>, anchored off <A href="/wiki/Sierra_Leone" title="Sierra Leone">Sierra Leone</A>, performed <I>Hamlet</I> in September 1607;<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a53–5_158-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a53–5-158">[142]</A></SUP><SUP id="cite_ref-FOOTNOTEChambers1930334_159-0" class="reference"><A href="#cite_note-FOOTNOTEChambers1930334-159">[143]</A></SUP><SUP id="cite_ref-FOOTNOTEDawson2002176_160-0" class="reference"><A href="#cite_note-FOOTNOTEDawson2002176-160">[144]</A></SUP> that the play toured in Germany within five years of Shakespeare's death;<SUP id="cite_ref-FOOTNOTEDawson2002176_160-1" class="reference"><A href="#cite_note-FOOTNOTEDawson2002176-160">[144]</A></SUP> and that it was performed before <A href="/wiki/James_I_of_England" class="mw-redirect" title="James I of England">James I</A> in 1619 and <A href="/wiki/Charles_I_of_England" title="Charles I of England">Charles I</A> in 1637.<SUP id="cite_ref-FOOTNOTEPitcherWoudhuysen1969204_161-0" class="reference"><A href="#cite_note-FOOTNOTEPitcherWoudhuysen1969204-161">[145]</A></SUP> Oxford editor George Hibbard argues that, since the contemporary literature contains many allusions and references to <I>Hamlet</I> (only <A href="/wiki/Falstaff" title="Falstaff">Falstaff</A> is mentioned more, from Shakespeare), the play was surely performed with a frequency that the historical record misses.<SUP id="cite_ref-FOOTNOTEHibbard198717_162-0" class="reference"><A href="#cite_note-FOOTNOTEHibbard198717-162">[146]</A></SUP></P>
<P>All theatres were closed down by the <A href="/wiki/Puritan" class="mw-redirect" title="Puritan">Puritan</A> government during the <A href="/wiki/English_Interregnum" class="mw-redirect" title="English Interregnum">Interregnum</A>.<SUP id="cite_ref-FOOTNOTEMarsden200221_163-0" class="reference"><A href="#cite_note-FOOTNOTEMarsden200221-163">[147]</A></SUP> Even during this time, however, playlets known as <I><A href="/wiki/Droll" title="Droll">drolls</A></I> were often performed illegally, including one called <I>The Grave-Makers</I> based on Act 5, Scene 1 of <I>Hamlet</I>.<SUP id="cite_ref-FOOTNOTEHolland200734_164-0" class="reference"><A href="#cite_note-FOOTNOTEHolland200734-164">[148]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Restoration_and_18th_century">Restoration and 18th century</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=24" title="Edit section: Restoration and 18th century">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
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<DIV class="thumbinner" style="width:222px;"><A href="/wiki/File:Hamlet,_Drury_Lane_Edition.jpg" class="image"><IMG alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Hamlet%2C_Drury_Lane_Edition.jpg/220px-Hamlet%2C_Drury_Lane_Edition.jpg" width="220" height="206" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Hamlet%2C_Drury_Lane_Edition.jpg/330px-Hamlet%2C_Drury_Lane_Edition.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Hamlet%2C_Drury_Lane_Edition.jpg/440px-Hamlet%2C_Drury_Lane_Edition.jpg 2x" data-file-width="1536" data-file-height="1436" /></A>
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Title page and frontispiece for <I>Hamlet, Prince of Denmark: A Tragedy. As it is now acted at the Theatres-Royal in Drury-Lane and Covent-Garden. London, 1776</I></DIV>
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<P>The play was revived early in the <A href="/wiki/English_Restoration" class="mw-redirect" title="English Restoration">Restoration</A>. When the existing stock of pre-<A href="/wiki/English_Civil_War" title="English Civil War">civil war</A> plays was divided between the two newly created <A href="/wiki/Patent_theatre" title="Patent theatre">patent theatre companies</A>, <I>Hamlet</I> was the only Shakespearean favourite that <A href="/wiki/William_Davenant" title="William Davenant">Sir William Davenant's</A> <A href="/wiki/Duke%27s_Company" title="Duke's Company">Duke's Company</A> secured.<SUP id="cite_ref-FOOTNOTEMarsden200221–2_165-0" class="reference"><A href="#cite_note-FOOTNOTEMarsden200221–2-165">[149]</A></SUP> It became the first of Shakespeare's plays to be presented with movable <A href="/wiki/Flats_(theatre)" class="mw-redirect" title="Flats (theatre)">flats</A> painted with generic scenery behind the <A href="/wiki/Proscenium" title="Proscenium">proscenium arch</A> of <A href="/wiki/Lincoln%27s_Inn_Fields" title="Lincoln's Inn Fields">Lincoln's Inn Fields Theatre</A>.<SUP id="cite_ref-167" class="reference"><A href="#cite_note-167">[q]</A></SUP> This new stage convention highlighted the frequency with which Shakespeare shifts dramatic location, encouraging the recurrent criticism of his failure to maintain <A href="/wiki/Classical_unities" title="Classical unities">unity of place</A>.<SUP id="cite_ref-FOOTNOTETaylor198916_168-0" class="reference"><A href="#cite_note-FOOTNOTETaylor198916-168">[151]</A></SUP> In the title role, Davenant cast <A href="/wiki/Thomas_Betterton" title="Thomas Betterton">Thomas Betterton</A>, who continued to play the Dane until he was 74.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a98–9_169-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a98–9-169">[152]</A></SUP> <A href="/wiki/David_Garrick" title="David Garrick">David Garrick</A> at <A href="/wiki/Theatre_Royal,_Drury_Lane" title="Theatre Royal, Drury Lane">Drury Lane</A> 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".<SUP id="cite_ref-171" class="reference"><A href="#cite_note-171">[r]</A></SUP> The first actor known to have played Hamlet in North America is Lewis Hallam. Jr., in the <A href="/wiki/American_Company" class="mw-redirect" title="American Company">American Company</A>'s production in Philadelphia in 1759.<SUP id="cite_ref-FOOTNOTEMorrison2002231_172-0" class="reference"><A href="#cite_note-FOOTNOTEMorrison2002231-172">[154]</A></SUP></P>
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<A href="/wiki/David_Garrick" title="David Garrick">David Garrick</A>'s iconic hand gesture expresses Hamlet's shock at the first sight of the ghost (artist: unknown).</DIV>
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<P><A href="/wiki/John_Philip_Kemble" title="John Philip Kemble">John Philip Kemble</A> made his Drury Lane debut as Hamlet in 1783.<SUP id="cite_ref-FOOTNOTEMoody200241_173-0" class="reference"><A href="#cite_note-FOOTNOTEMoody200241-173">[155]</A></SUP> His performance was said to be 20 minutes longer than anyone else's, and his lengthy pauses provoked the suggestion by <A href="/wiki/Richard_Brinsley_Sheridan" title="Richard Brinsley Sheridan">Richard Brinsley Sheridan</A> that "music should be played between the words".<SUP id="cite_ref-FOOTNOTEMoody200244_174-0" class="reference"><A href="#cite_note-FOOTNOTEMoody200244-174">[156]</A></SUP> <A href="/wiki/Sarah_Siddons" title="Sarah Siddons">Sarah Siddons</A> was the first actress known to play Hamlet; many women have since played him as a <A href="/wiki/Breeches_role" title="Breeches role">breeches role</A>, to great acclaim.<SUP id="cite_ref-FOOTNOTEGay2002159_175-0" class="reference"><A href="#cite_note-FOOTNOTEGay2002159-175">[157]</A></SUP> In 1748, <A href="/wiki/Alexander_Sumarokov" title="Alexander Sumarokov">Alexander Sumarokov</A> 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.<SUP id="cite_ref-FOOTNOTEDawson2002185–7_176-0" class="reference"><A href="#cite_note-FOOTNOTEDawson2002185–7-176">[158]</A></SUP> In the years following America's independence, <A href="/wiki/Thomas_Apthorpe_Cooper" title="Thomas Apthorpe Cooper">Thomas Apthorpe Cooper</A>, the young nation's leading tragedian, performed <I>Hamlet</I> among other plays at the Chestnut Street Theatre in Philadelphia, and at the <A href="/wiki/Park_Theatre_(Manhattan)" title="Park Theatre (Manhattan)">Park Theatre</A> in New York. Although chided for "acknowledging acquaintances in the audience" and "inadequate memorisation of his lines", he became a national celebrity.<SUP id="cite_ref-FOOTNOTEMorrison2002232–3_177-0" class="reference"><A href="#cite_note-FOOTNOTEMorrison2002232–3-177">[159]</A></SUP></P>
<H3><SPAN class="mw-headline" id="19th_century">19th century</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=25" title="Edit section: 19th century">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
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<DIV class="thumbinner" style="width:172px;"><A href="/wiki/File:Thos._W._Keene_in_Hamlet.png" class="image"><IMG alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Thos._W._Keene_in_Hamlet.png/170px-Thos._W._Keene_in_Hamlet.png" width="170" height="258" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Thos._W._Keene_in_Hamlet.png/255px-Thos._W._Keene_in_Hamlet.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Thos._W._Keene_in_Hamlet.png/340px-Thos._W._Keene_in_Hamlet.png 2x" data-file-width="1756" data-file-height="2670" /></A>
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A poster, ca. 1884, for an American production of <I>Hamlet</I> (starring Thomas W. Keene), showing several of the key scenes</DIV>
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<P>From around 1810 to 1840, the best-known Shakespearean performances in the United States were tours by leading London actors—including <A href="/wiki/George_Frederick_Cooke" title="George Frederick Cooke">George Frederick Cooke</A>, <A href="/wiki/Junius_Brutus_Booth" title="Junius Brutus Booth">Junius Brutus Booth</A>, <A href="/wiki/Edmund_Kean" title="Edmund Kean">Edmund Kean</A>, <A href="/wiki/William_Charles_Macready" class="mw-redirect" title="William Charles Macready">William Charles Macready</A>, and <A href="/wiki/Charles_Kemble" title="Charles Kemble">Charles Kemble</A>. Of these, Booth remained to make his career in the States, fathering the nation's most notorious actor, <A href="/wiki/John_Wilkes_Booth" title="John Wilkes Booth">John Wilkes Booth</A> (who later assassinated <A href="/wiki/Abraham_Lincoln" title="Abraham Lincoln">Abraham Lincoln</A>), and its most famous Hamlet, <A href="/wiki/Edwin_Booth" title="Edwin Booth">Edwin Booth</A>.<SUP id="cite_ref-FOOTNOTEMorrison2002235–7_178-0" class="reference"><A href="#cite_note-FOOTNOTEMorrison2002235–7-178">[160]</A></SUP> Edwin Booth's <I>Hamlet</I> at the <A href="/wiki/Fifth_Avenue_Theatre" title="Fifth Avenue Theatre">Fifth Avenue Theatre</A> in 1875 was described as "… the dark, sad, dreamy, mysterious hero of a poem. … [acted] in an ideal manner, as far removed as possible from the plane of actual life".<SUP id="cite_ref-FOOTNOTEWinter1875_179-0" class="reference"><A href="#cite_note-FOOTNOTEWinter1875-179">[161]</A></SUP><SUP id="cite_ref-FOOTNOTEMorrison2002241_180-0" class="reference"><A href="#cite_note-FOOTNOTEMorrison2002241-180">[162]</A></SUP> Booth played Hamlet for 100 nights in the 1864/5 season at <A href="/wiki/The_Winter_Garden_Theatre_(1850)" class="mw-redirect" title="The Winter Garden Theatre (1850)">The Winter Garden Theatre</A>, inaugurating the era of long-run Shakespeare in America.<SUP id="cite_ref-FOOTNOTEMorrison2002241_180-1" class="reference"><A href="#cite_note-FOOTNOTEMorrison2002241-180">[162]</A></SUP></P>
<P>In the United Kingdom, the actor-managers of the <A href="/wiki/Victorian_era" title="Victorian era">Victorian era</A> (including Kean, <A href="/wiki/Samuel_Phelps" title="Samuel Phelps">Samuel Phelps</A>, Macready, and <A href="/wiki/Henry_Irving" title="Henry Irving">Henry Irving</A>) staged Shakespeare in a grand manner, with elaborate scenery and costumes.<SUP id="cite_ref-FOOTNOTESchoch200258–75_181-0" class="reference"><A href="#cite_note-FOOTNOTESchoch200258–75-181">[163]</A></SUP> The tendency of actor-managers to emphasise the importance of their own central character did not always meet with the critics' approval. <A href="/wiki/George_Bernard_Shaw" title="George Bernard Shaw">George Bernard Shaw</A>'s praise for <A href="/wiki/Johnston_Forbes-Robertson" title="Johnston Forbes-Robertson">Johnston Forbes-Robertson</A>'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 <A href="/wiki/Lyceum_Theatre,_London" title="Lyceum Theatre, London">Lyceum</A> coming to?"<SUP id="cite_ref-183" class="reference"><A href="#cite_note-183">[s]</A></SUP></P>
<P>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.<SUP id="cite_ref-FOOTNOTEMoody200254_184-0" class="reference"><A href="#cite_note-FOOTNOTEMoody200254-184">[165]</A></SUP> In stark contrast to earlier opulence, <A href="/wiki/William_Poel" title="William Poel">William Poel</A>'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.<SUP id="cite_ref-FOOTNOTEHalliday1964204_55-1" class="reference"><A href="#cite_note-FOOTNOTEHalliday1964204-55">[50]</A></SUP><SUP id="cite_ref-FOOTNOTEO'Connor200277_185-0" class="reference"><A href="#cite_note-FOOTNOTEO'Connor200277-185">[166]</A></SUP> <A href="/wiki/Sarah_Bernhardt" title="Sarah Bernhardt">Sarah Bernhardt</A> 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".<SUP id="cite_ref-187" class="reference"><A href="#cite_note-187">[t]</A></SUP></P>
<P>In France, Charles Kemble initiated an enthusiasm for Shakespeare; and leading members of the Romantic movement such as <A href="/wiki/Victor_Hugo" title="Victor Hugo">Victor Hugo</A> and <A href="/wiki/Alexandre_Dumas,_p%C3%A8re" class="mw-redirect" title="Alexandre Dumas, père">Alexandre Dumas</A> saw his 1827 Paris performance of <I>Hamlet</I>, particularly admiring the madness of <A href="/wiki/Harriet_Smithson" title="Harriet Smithson">Harriet Smithson</A>'s Ophelia.<SUP id="cite_ref-FOOTNOTEHolland2002203–5_188-0" class="reference"><A href="#cite_note-FOOTNOTEHolland2002203–5-188">[168]</A></SUP> In Germany, <I>Hamlet</I> had become so assimilated by the mid-19th century that <A href="/wiki/Ferdinand_Freiligrath" title="Ferdinand Freiligrath">Ferdinand Freiligrath</A> declared that "Germany is Hamlet".<SUP id="cite_ref-FOOTNOTEDawson2002184_189-0" class="reference"><A href="#cite_note-FOOTNOTEDawson2002184-189">[169]</A></SUP> From the 1850s, the <A href="/wiki/Parsi_theatre" title="Parsi theatre">Parsi theatre</A> tradition in India transformed <I>Hamlet</I> into folk performances, with dozens of songs added.<SUP id="cite_ref-FOOTNOTEDawson2002188_190-0" class="reference"><A href="#cite_note-FOOTNOTEDawson2002188-190">[170]</A></SUP></P>
<H3><SPAN class="mw-headline" id="20th_century">20th century</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=26" title="Edit section: 20th century">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>Apart from some western troupes' 19th-century visits, the first professional performance of Hamlet in Japan was <A href="/wiki/Otojir%C5%8D_Kawakami" title="Otojirō Kawakami">Otojirō Kawakami</A>'s 1903 <I><A href="/wiki/Shimpa" class="mw-redirect" title="Shimpa">Shimpa</A></I> ("new school theatre") adaptation.<SUP id="cite_ref-FOOTNOTEGilliesMinamiLiTrivedi2002259–62_191-0" class="reference"><A href="#cite_note-FOOTNOTEGilliesMinamiLiTrivedi2002259–62-191">[171]</A></SUP> <A href="/wiki/Tsubouchi_Sh%C5%8Dy%C5%8D" title="Tsubouchi Shōyō">Tsubouchi Shōyō</A> translated <I>Hamlet</I> and produced a performance in 1911 that blended <I>Shingeki</I> ("new drama") and <I><A href="/wiki/Kabuki" title="Kabuki">Kabuki</A></I> styles.<SUP id="cite_ref-FOOTNOTEGilliesMinamiLiTrivedi2002259–62_191-1" class="reference"><A href="#cite_note-FOOTNOTEGilliesMinamiLiTrivedi2002259–62-191">[171]</A></SUP> This hybrid-genre reached its peak in <A href="/wiki/Tsuneari_Fukuda" title="Tsuneari Fukuda">Tsuneari Fukuda</A>'s 1955 <I>Hamlet</I>.<SUP id="cite_ref-FOOTNOTEGilliesMinamiLiTrivedi2002259–62_191-2" class="reference"><A href="#cite_note-FOOTNOTEGilliesMinamiLiTrivedi2002259–62-191">[171]</A></SUP> In 1998, <A href="/wiki/Yukio_Ninagawa" title="Yukio Ninagawa">Yukio Ninagawa</A> produced an acclaimed version of <I>Hamlet</I> in the style of <A href="/wiki/Noh" title="Noh">Nō</A> theatre, which he took to London.<SUP id="cite_ref-FOOTNOTEDawson2002180_192-0" class="reference"><A href="#cite_note-FOOTNOTEDawson2002180-192">[172]</A></SUP></P>
<P><A href="/wiki/Konstantin_Stanislavski" title="Konstantin Stanislavski">Konstantin Stanislavski</A> and <A href="/wiki/Edward_Gordon_Craig" title="Edward Gordon Craig">Edward Gordon Craig</A>—two of the 20th century's most influential <A href="/wiki/Theatre_practitioner" title="Theatre practitioner">theatre practitioners</A>—collaborated on the <A href="/wiki/Moscow_Art_Theatre" title="Moscow Art Theatre">Moscow Art Theatre</A>'s seminal <A href="/wiki/Moscow_Art_Theatre_production_of_Hamlet" title="Moscow Art Theatre production of Hamlet">production of 1911–12</A>.<SUP id="cite_ref-194" class="reference"><A href="#cite_note-194">[u]</A></SUP> While Craig favoured stylised abstraction, Stanislavski, armed with his <A href="/wiki/Stanislavski%27s_%27system%27" class="mw-redirect" title="Stanislavski's 'system'">'system,'</A> explored psychological motivation.<SUP id="cite_ref-FOOTNOTEBenedetti1999189,_195_195-0" class="reference"><A href="#cite_note-FOOTNOTEBenedetti1999189,_195-195">[174]</A></SUP> Craig conceived of the play as a <A href="/wiki/Symbolism_(arts)" title="Symbolism (arts)">symbolist</A> <A href="/wiki/Monodrama" title="Monodrama">monodrama</A>, offering a dream-like vision as seen through Hamlet's eyes alone.<SUP id="cite_ref-199" class="reference"><A href="#cite_note-199">[v]</A></SUP> This was most evident in the staging of the first court scene.<SUP id="cite_ref-201" class="reference"><A href="#cite_note-201">[w]</A></SUP><SUP id="cite_ref-203" class="reference"><A href="#cite_note-203">[x]</A></SUP> 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 <A href="/wiki/Dramaturgy" title="Dramaturgy">dramaturgical</A> progression.<SUP id="cite_ref-FOOTNOTEInnes1983165–7_204-0" class="reference"><A href="#cite_note-FOOTNOTEInnes1983165–7-204">[180]</A></SUP> The production attracted enthusiastic and unprecedented worldwide attention for the theatre and placed it "on the cultural map for Western Europe".<SUP id="cite_ref-FOOTNOTEInnes1983172_205-0" class="reference"><A href="#cite_note-FOOTNOTEInnes1983172-205">[181]</A></SUP><SUP id="cite_ref-FOOTNOTEInnes1983140–75_206-0" class="reference"><A href="#cite_note-FOOTNOTEInnes1983140–75-206">[182]</A></SUP></P>
<P><I>Hamlet</I> is often played with contemporary political overtones. <A href="/wiki/Leopold_Jessner" title="Leopold Jessner">Leopold Jessner</A>'s 1926 production at the Berlin Staatstheater portrayed Claudius's court as a parody of the corrupt and fawning court of <A href="/wiki/William_II,_German_Emperor" class="mw-redirect" title="William II, German Emperor">Kaiser Wilhelm</A>.<SUP id="cite_ref-FOOTNOTEHortmann2002214_207-0" class="reference"><A href="#cite_note-FOOTNOTEHortmann2002214-207">[183]</A></SUP> In <A href="/wiki/Poland" title="Poland">Poland</A>, the number of productions of <I>Hamlet</I> 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.<SUP id="cite_ref-FOOTNOTEHortmann2002223_208-0" class="reference"><A href="#cite_note-FOOTNOTEHortmann2002223-208">[184]</A></SUP> Similarly, <A href="/wiki/Czech_Republic" title="Czech Republic">Czech</A> directors have used the play at times of occupation: a 1941 <A href="/wiki/Vinohrady" title="Vinohrady">Vinohrady Theatre</A> production "emphasised, with due caution, the helpless situation of an intellectual attempting to endure in a ruthless environment".<SUP id="cite_ref-FOOTNOTEBurian2004_209-0" class="reference"><A href="#cite_note-FOOTNOTEBurian2004-209">[185]</A></SUP><SUP id="cite_ref-FOOTNOTEHortmann2002224–5_210-0" class="reference"><A href="#cite_note-FOOTNOTEHortmann2002224–5-210">[186]</A></SUP> In China, performances of Hamlet often have political significance: Gu Wuwei's 1916 <I>The Usurper of State Power</I>, an amalgam of <I>Hamlet</I> and <I>Macbeth</I>, was an attack on <A href="/wiki/Yuan_Shikai" title="Yuan Shikai">Yuan Shikai</A>'s attempt to overthrow the republic.<SUP id="cite_ref-FOOTNOTEGilliesMinamiLiTrivedi2002267–9_211-0" class="reference"><A href="#cite_note-FOOTNOTEGilliesMinamiLiTrivedi2002267–9-211">[187]</A></SUP> In 1942, <A href="/wiki/Jiao_Juyin" title="Jiao Juyin">Jiao Juyin</A> directed the play in a <A href="/wiki/Confucianism" title="Confucianism">Confucian</A> temple in <A href="/wiki/Sichuan" title="Sichuan">Sichuan Province</A>, to which the government had retreated from the advancing Japanese.<SUP id="cite_ref-FOOTNOTEGilliesMinamiLiTrivedi2002267–9_211-1" class="reference"><A href="#cite_note-FOOTNOTEGilliesMinamiLiTrivedi2002267–9-211">[187]</A></SUP> In the immediate aftermath of the collapse of the <A href="/wiki/Tiananmen_Square_protests_of_1989" title="Tiananmen Square protests of 1989">protests</A> at <A href="/wiki/Tiananmen_Square" title="Tiananmen Square">Tiananmen Square</A>, Lin Zhaohua staged a 1990 <I>Hamlet</I> 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.<SUP id="cite_ref-FOOTNOTEGilliesMinamiLiTrivedi2002267–9_211-2" class="reference"><A href="#cite_note-FOOTNOTEGilliesMinamiLiTrivedi2002267–9-211">[187]</A></SUP></P>
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<DIV class="thumbinner" style="width:172px;"><A href="/wiki/File:Mignon_Nevada_Ophelia2.jpg" class="image"><IMG alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/88/Mignon_Nevada_Ophelia2.jpg/170px-Mignon_Nevada_Ophelia2.jpg" width="170" height="267" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/88/Mignon_Nevada_Ophelia2.jpg/255px-Mignon_Nevada_Ophelia2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/88/Mignon_Nevada_Ophelia2.jpg/340px-Mignon_Nevada_Ophelia2.jpg 2x" data-file-width="3213" data-file-height="5050" /></A>
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<A href="/wiki/Mignon_Nevada" title="Mignon Nevada">Mignon Nevada</A> as Ophelia, 1910</DIV>
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<P>Notable stagings in London and New York include Barrymore's 1925 production at the <A href="/wiki/Haymarket_Theatre" class="mw-redirect" title="Haymarket Theatre">Haymarket</A>; it influenced subsequent performances by <A href="/wiki/John_Gielgud" title="John Gielgud">John Gielgud</A> and <A href="/wiki/Laurence_Olivier" title="Laurence Olivier">Laurence Olivier</A>.<SUP id="cite_ref-FOOTNOTEMorrison2002247–8_212-0" class="reference"><A href="#cite_note-FOOTNOTEMorrison2002247–8-212">[188]</A></SUP><SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a109_213-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a109-213">[189]</A></SUP> Gielgud played the central role many times: his 1936 New York production ran for 132 performances, leading to the accolade that he was "the finest interpreter of the role since Barrymore".<SUP id="cite_ref-FOOTNOTEMorrison2002249_214-0" class="reference"><A href="#cite_note-FOOTNOTEMorrison2002249-214">[190]</A></SUP> Although "posterity has treated <A href="/wiki/Maurice_Evans_(actor)" title="Maurice Evans (actor)">Maurice Evans</A> 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 <I>Hamlet</I>, running four and a half hours.<SUP id="cite_ref-FOOTNOTEMorrison2002249–50_215-0" class="reference"><A href="#cite_note-FOOTNOTEMorrison2002249–50-215">[191]</A></SUP> Evans later performed a highly truncated version of the play that he played for South Pacific war zones during World War II which made the prince a more decisive character. The staging, known as the "G.I. Hamlet", was produced on Broadway for 131 performances in 1945/46.<SUP id="cite_ref-FOOTNOTEBlum1981307_216-0" class="reference"><A href="#cite_note-FOOTNOTEBlum1981307-216">[192]</A></SUP> Olivier's 1937 performance at The Old Vic was popular with audiences but not with critics, with <A href="/wiki/James_Agate" title="James Agate">James Agate</A> writing in a famous review in <I><A href="/wiki/The_Sunday_Times" title="The Sunday Times">The Sunday Times</A>,</I> "Mr. Olivier does not speak poetry badly. He does not speak it at all."<SUP id="cite_ref-FOOTNOTETanitch1985_217-0" class="reference"><A href="#cite_note-FOOTNOTETanitch1985-217">[193]</A></SUP> In 1937 <A href="/wiki/Tyrone_Guthrie" title="Tyrone Guthrie">Tyrone Guthrie</A> directed the play at Elsinore, Denmark with Laurence Olivier as Hamlet and Vivien Leigh as Ophelia.</P>
<P>In 1963, Olivier directed <A href="/wiki/Peter_O%27Toole" title="Peter O'Toole">Peter O'Toole</A> as Hamlet in the inaugural performance of the newly formed <A href="/wiki/Royal_National_Theatre" title="Royal National Theatre">National Theatre</A>; critics found resonance between O'Toole's Hamlet and <A href="/wiki/John_Osborne" title="John Osborne">John Osborne</A>'s hero, Jimmy Porter, from <I><A href="/wiki/Look_Back_in_Anger" title="Look Back in Anger">Look Back in Anger</A></I>.<SUP id="cite_ref-FOOTNOTESmallwood2002108_218-0" class="reference"><A href="#cite_note-FOOTNOTESmallwood2002108-218">[194]</A></SUP><SUP id="cite_ref-FOOTNOTENational_Theatren.d._219-0" class="reference"><A href="#cite_note-FOOTNOTENational_Theatren.d.-219">[195]</A></SUP></P>
<P><A href="/wiki/Richard_Burton" title="Richard Burton">Richard Burton</A> 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 (137 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.</P>
<P>Other New York portrayals of <I>Hamlet</I> of note include that of <A href="/wiki/Ralph_Fiennes" title="Ralph Fiennes">Ralph Fiennes</A>'s in 1995 (for which he won the <A href="/wiki/Tony_Award" title="Tony Award">Tony Award</A> for Best Actor) – which ran, from first preview to closing night, a total of one hundred performances. About the Fiennes <I>Hamlet</I> Vincent Canby wrote in <I>The New York Times</I> 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 …"<SUP id="cite_ref-FOOTNOTECanby1995_220-0" class="reference"><A href="#cite_note-FOOTNOTECanby1995-220">[196]</A></SUP> <A href="/wiki/Stacy_Keach" title="Stacy Keach">Stacy Keach</A> played the role with an all-star cast at <A href="/wiki/Joseph_Papp" title="Joseph Papp">Joseph Papp</A>'s <A href="/wiki/Delacorte_Theatre" class="mw-redirect" title="Delacorte Theatre">Delacorte Theatre</A> in the early 70s, with <A href="/wiki/Colleen_Dewhurst" title="Colleen Dewhurst">Colleen Dewhurst</A>'s Gertrude, <A href="/wiki/James_Earl_Jones" title="James Earl Jones">James Earl Jones</A>'s King, <A href="/wiki/Barnard_Hughes" title="Barnard Hughes">Barnard Hughes</A>'s Polonius, <A href="/wiki/Sam_Waterston" title="Sam Waterston">Sam Waterston</A>'s Laertes and <A href="/wiki/Ra%C3%BAl_Juli%C3%A1" title="Raúl Juliá">Raúl Juliá</A>'s Osric. <A href="/wiki/Sam_Waterston" title="Sam Waterston">Sam Waterston</A> later played the role himself at the <A href="/wiki/Delacorte_Theater" title="Delacorte Theater">Delacorte</A> for the <A href="/wiki/New_York_Shakespeare_Festival" class="mw-redirect" title="New York Shakespeare Festival">New York Shakespeare Festival</A>, and the show transferred to the <A href="/wiki/Vivian_Beaumont_Theatre" class="mw-redirect" title="Vivian Beaumont Theatre">Vivian Beaumont Theatre</A> in 1975 (Stephen Lang played Bernardo and other roles). <A href="/wiki/Stephen_Lang_(actor)" class="mw-redirect" title="Stephen Lang (actor)">Stephen Lang</A>'s <I>Hamlet</I> for the <A href="/wiki/Roundabout_Theatre_Company" title="Roundabout Theatre Company">Roundabout Theatre Company</A> in 1992 received mixed reviews<SUP id="cite_ref-FOOTNOTEGussow1992_221-0" class="reference"><A href="#cite_note-FOOTNOTEGussow1992-221">[197]</A></SUP><SUP id="cite_ref-FOOTNOTEGuernseySweet200043_222-0" class="reference"><A href="#cite_note-FOOTNOTEGuernseySweet200043-222">[198]</A></SUP> and ran for sixty-one performances. <A href="/wiki/David_Warner_(actor)" title="David Warner (actor)">David Warner</A> played the role with the Royal Shakespeare Theatre in 1965. <A href="/wiki/William_Hurt" title="William Hurt">William Hurt</A> (at Circle Rep Off-Broadway, memorably performing "To Be Or Not to Be" while lying on the floor), <A href="/wiki/Jon_Voight" title="Jon Voight">Jon Voight</A> at Rutgers, and <A href="/wiki/Christopher_Walken" title="Christopher Walken">Christopher Walken</A> (fiercely) at Stratford CT have all played the role, as has <A href="/wiki/Diane_Venora" title="Diane Venora">Diane Venora</A> at the Public Theatre. <A href="/wiki/Off_Broadway" class="mw-redirect" title="Off Broadway">Off Broadway</A>, the <A href="/wiki/Riverside_Shakespeare_Company" title="Riverside Shakespeare Company">Riverside Shakespeare Company</A> mounted an uncut <A href="/wiki/First_folio" class="mw-redirect" title="First folio">first folio</A> <I>Hamlet</I> in 1978 at <A href="/wiki/Columbia_University" title="Columbia University">Columbia University</A>, with a playing time of under three hours.<SUP id="cite_ref-FOOTNOTEPanagako1978_223-0" class="reference"><A href="#cite_note-FOOTNOTEPanagako1978-223">[199]</A></SUP> In fact, <I>Hamlet</I> is the most produced Shakespeare play in New York theatre history, with sixty-four recorded productions on Broadway, and an untold number <A href="/wiki/Off_Broadway" class="mw-redirect" title="Off Broadway">Off Broadway</A>.<SUP id="cite_ref-224" class="reference"><A href="#cite_note-224">[y]</A></SUP></P>
<P><A href="/wiki/Ian_Charleson" title="Ian Charleson">Ian Charleson</A> performed Hamlet from 9 October to 13 November 1989, in <A href="/wiki/Richard_Eyre" title="Richard Eyre">Richard Eyre</A>'s production at the <A href="/wiki/Royal_National_Theatre" title="Royal National Theatre">Olivier Theatre</A>, replacing <A href="/wiki/Daniel_Day-Lewis" title="Daniel Day-Lewis">Daniel Day-Lewis</A>, who had abandoned the production. Seriously ill from AIDS at the time, Charleson died eight weeks after his last performance. Fellow actor and friend, <A href="/wiki/Ian_McKellen" title="Ian McKellen">Sir Ian McKellen</A>, said that Charleson played Hamlet so well it was as if he had rehearsed the role all his life; McKellen called it "the perfect Hamlet".<SUP id="cite_ref-FOOTNOTEMcKellenPuttnamWaxRedgrave1990124_225-0" class="reference"><A href="#cite_note-FOOTNOTEMcKellenPuttnamWaxRedgrave1990124-225">[200]</A></SUP><SUP id="cite_ref-FOOTNOTEBarratt200563_226-0" class="reference"><A href="#cite_note-FOOTNOTEBarratt200563-226">[201]</A></SUP> The performance garnered other major accolades as well, some critics echoing McKellen in calling it the definitive Hamlet performance.<SUP id="cite_ref-FOOTNOTEDavison1999170–82_227-0" class="reference"><A href="#cite_note-FOOTNOTEDavison1999170–82-227">[202]</A></SUP></P>
<P>In <A href="/wiki/Australia" title="Australia">Australia</A>, a production of Hamlet was staged at the <A href="/wiki/Belvoir_St_Theatre" title="Belvoir St Theatre">Belvoir Street Theatre</A> in <A href="/wiki/Sydney" title="Sydney">Sydney</A> in 1994 starring notable names including <A href="/wiki/Richard_Roxburgh" title="Richard Roxburgh">Richard Roxburgh</A> as Hamlet, <A href="/wiki/Geoffrey_Rush" title="Geoffrey Rush">Geoffrey Rush</A> as Horatio, <A href="/wiki/Jacqueline_McKenzie" title="Jacqueline McKenzie">Jacqueline McKenzie</A> as Ophelia and <A href="/wiki/David_Wenham" title="David Wenham">David Wenham</A> as Laertes. The critically acclaimed production was directed by <A href="/wiki/Neil_Armfield" title="Neil Armfield">Niel Armfield</A>.<SUP id="cite_ref-228" class="reference"><A href="#cite_note-228">[203]</A></SUP></P>
<H3><SPAN class="mw-headline" id="21st_century">21st century</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=27" title="Edit section: 21st century">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
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Benedict Cumberbatch began playing Hamlet at the <A href="/wiki/Barbican_Centre" title="Barbican Centre">Barbican Theatre</A> in August 2015.</DIV>
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<P><I>Hamlet</I> continues to be staged regularly, with actors such as <A href="/wiki/Simon_Russell_Beale" title="Simon Russell Beale">Simon Russell Beale</A>, <A href="/wiki/Ben_Whishaw" title="Ben Whishaw">Ben Whishaw</A>, <A href="/wiki/David_Tennant" title="David Tennant">David Tennant</A>, <A href="/wiki/Angela_Winkler" title="Angela Winkler">Angela Winkler</A>, <A href="/wiki/Samuel_West" title="Samuel West">Samuel West</A>, <A href="/wiki/Christopher_Eccleston" title="Christopher Eccleston">Christopher Eccleston</A>, <A href="/wiki/Maxine_Peake" title="Maxine Peake">Maxine Peake</A>, <A href="/wiki/Rory_Kinnear" title="Rory Kinnear">Rory Kinnear</A>, <A href="/wiki/Oscar_Isaac" title="Oscar Isaac">Oscar Isaac</A>, <A href="/wiki/Christian_Camargo" title="Christian Camargo">Christian Camargo</A>, <A href="/wiki/Andrew_Scott_(actor)" title="Andrew Scott (actor)">Andrew Scott</A>, <A href="/wiki/Paapa_Essiedu" title="Paapa Essiedu">Paapa Essiedu</A> and <A href="/wiki/Michael_Urie" title="Michael Urie">Michael Urie</A> performing the lead role.<SUP id="cite_ref-FOOTNOTEBillington2001_229-0" class="reference"><A href="#cite_note-FOOTNOTEBillington2001-229">[204]</A></SUP><SUP id="cite_ref-FOOTNOTEGardner2002_230-0" class="reference"><A href="#cite_note-FOOTNOTEGardner2002-230">[205]</A></SUP><SUP id="cite_ref-FOOTNOTEBillington2008_231-0" class="reference"><A href="#cite_note-FOOTNOTEBillington2008-231">[206]</A></SUP><SUP id="cite_ref-FOOTNOTEBrown2016_232-0" class="reference"><A href="#cite_note-FOOTNOTEBrown2016-232">[207]</A></SUP></P>
<P>In May 2009, <I>Hamlet</I> opened with <A href="/wiki/Jude_Law" title="Jude Law">Jude Law</A> in the title role at the <A href="/wiki/Donmar_Warehouse" title="Donmar Warehouse">Donmar Warehouse</A> West End season at <A href="/wiki/Wyndham%27s_Theatre" title="Wyndham's Theatre">Wyndham's Theatre</A>. The production officially opened on 3 June and ran through 22 August 2009.<SUP id="cite_ref-FOOTNOTEShenton2007_233-0" class="reference"><A href="#cite_note-FOOTNOTEShenton2007-233">[208]</A></SUP><SUP id="cite_ref-FOOTNOTEBroadwayworld2009_234-0" class="reference"><A href="#cite_note-FOOTNOTEBroadwayworld2009-234">[209]</A></SUP> A further production of the play ran at <A href="/wiki/Elsinore_Castle" class="mw-redirect" title="Elsinore Castle">Elsinore Castle</A> in Denmark from 25–30 August 2009.<SUP id="cite_ref-FOOTNOTEDaily_Mirror2009_235-0" class="reference"><A href="#cite_note-FOOTNOTEDaily_Mirror2009-235">[210]</A></SUP> The Jude Law <I>Hamlet</I> then moved to Broadway, and ran for 12 weeks at the <A href="/wiki/Broadhurst_Theatre" title="Broadhurst Theatre">Broadhurst Theatre</A> in New York.<SUP id="cite_ref-FOOTNOTELaw200953:55_236-0" class="reference"><A href="#cite_note-FOOTNOTELaw200953:55-236">[211]</A></SUP><SUP id="cite_ref-FOOTNOTEItzkoff2009_237-0" class="reference"><A href="#cite_note-FOOTNOTEItzkoff2009-237">[212]</A></SUP></P>
<P>In 2013, American actor <A href="/wiki/Paul_Giamatti" title="Paul Giamatti">Paul Giamatti</A> won critical acclaim for his performance on stage in the title role of <I>Hamlet</I>, performed in <A href="/wiki/Modern_dress" title="Modern dress">modern dress</A>, at the <A href="/wiki/Yale_Repertory_Theater" class="mw-redirect" title="Yale Repertory Theater">Yale Repertory Theater</A>, at <A href="/wiki/Yale_University" title="Yale University">Yale University</A> in <A href="/wiki/New_Haven,_Connecticut" title="New Haven, Connecticut">New Haven, Connecticut</A>.<SUP id="cite_ref-FOOTNOTEFine2013_238-0" class="reference"><A href="#cite_note-FOOTNOTEFine2013-238">[213]</A></SUP></P>
<P>The <A href="/wiki/Shakespeare%27s_Globe" title="Shakespeare's Globe">Globe Theatre</A> of London initiated a project in 2014 to perform <I>Hamlet</I> in every country in the world in the space of two years. Titled <I>Globe to Globe Hamlet</I>, it began its tour on 23 April 2014, the 450th anniversary of Shakespeare's birth. As of 23 February 2016, the project had performed in 170 countries.<SUP id="cite_ref-FOOTNOTEGlobe_to_Globe_Hamletn.d._239-0" class="reference"><A href="#cite_note-FOOTNOTEGlobe_to_Globe_Hamletn.d.-239">[214]</A></SUP></P>
<P><A href="/wiki/Benedict_Cumberbatch" title="Benedict Cumberbatch">Benedict Cumberbatch</A> played the role for a 12-week run in a production at the <A href="/wiki/Barbican_Centre" title="Barbican Centre">Barbican Theatre</A>, opening on 25 August 2015. The play was produced by <A href="/wiki/Sonia_Friedman" title="Sonia Friedman">Sonia Friedman</A>, and directed by <A href="/w/index.php?title=Lyndsey_Turner&action=edit&redlink=1" class="new" title="Lyndsey Turner (page does not exist)">Lyndsey Turner</A>, with set design by <A href="/wiki/Es_Devlin" title="Es Devlin">Es Devlin</A>. It was called the "most in-demand theatre production of all time" and sold out in seven hours after tickets went on sale 11 August 2014, more than a year before the play opened.<SUP id="cite_ref-FOOTNOTEStewart2014_240-0" class="reference"><A href="#cite_note-FOOTNOTEStewart2014-240">[215]</A></SUP><SUP id="cite_ref-FOOTNOTECalia2014_241-0" class="reference"><A href="#cite_note-FOOTNOTECalia2014-241">[216]</A></SUP></P>
<P><A href="/wiki/Tom_Hiddleston" title="Tom Hiddleston">Tom Hiddleston</A> played the role for a three-week run at <A href="/wiki/Vanbrugh_Theatre" class="mw-redirect" title="Vanbrugh Theatre">Vanbrugh Theatre</A> that opened on September 1, 2017 and was directed by <A href="/wiki/Kenneth_Branagh" title="Kenneth Branagh">Kenneth Branagh</A>.<SUP id="cite_ref-FOOTNOTESulcas2017_242-0" class="reference"><A href="#cite_note-FOOTNOTESulcas2017-242">[217]</A></SUP><SUP id="cite_ref-243" class="reference"><A href="#cite_note-243">[218]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Film_and_TV_performances">Film and TV performances</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=28" title="Edit section: Film and TV performances">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<DIV role="note" class="hatnote navigation-not-searchable">Main article: <A href="/wiki/Hamlet_on_screen" title="Hamlet on screen">Hamlet on screen</A></DIV>
<DIV role="note" class="hatnote navigation-not-searchable">See also: <A href="/wiki/Hamlet_in_popular_culture" title="Hamlet in popular culture">Hamlet in popular culture</A></DIV>
<P>The earliest screen success for <I>Hamlet</I> was <A href="/wiki/Sarah_Bernhardt" title="Sarah Bernhardt">Sarah Bernhardt</A>'s five-minute film of the fencing scene,<SUP id="cite_ref-245" class="reference"><A href="#cite_note-245">[z]</A></SUP> which was produced in 1900. The film was an early attempt at combining <A href="/wiki/Sound_film" title="Sound film">sound and film</A>, music and words were recorded on phonograph records, to be played along with the film.<SUP id="cite_ref-FOOTNOTEBrode2001117–18_246-0" class="reference"><A href="#cite_note-FOOTNOTEBrode2001117–18-246">[220]</A></SUP> Silent versions were released in 1907, 1908, 1910, 1913, 1917, and 1920.<SUP id="cite_ref-FOOTNOTEBrode2001117–18_246-1" class="reference"><A href="#cite_note-FOOTNOTEBrode2001117–18-246">[220]</A></SUP> In the 1921 film <I><A href="/wiki/Hamlet_(1921_film)" title="Hamlet (1921 film)">Hamlet</A></I>, Danish actress <A href="/wiki/Asta_Nielsen" title="Asta Nielsen">Asta Nielsen</A> played the role of Hamlet as a woman who spends her life disguised as a man.<SUP id="cite_ref-FOOTNOTEBrode2001117–18_246-2" class="reference"><A href="#cite_note-FOOTNOTEBrode2001117–18-246">[220]</A></SUP></P>
<P>In 1942 <A href="/wiki/Ernst_Lubitsch" title="Ernst Lubitsch">Ernst Lubitsch</A> directed a motion picture titled <I><A href="/wiki/To_Be_or_Not_to_Be_(1942_film)" title="To Be or Not to Be (1942 film)">To Be or Not To Be</A></I>. The story is a comedy about a troupe of Polish actors in the Nazi era. A key plot point revolves around the famous soliloquy. The story was remade in 1983 in a film starring (and produced by) <A href="/wiki/Mel_Brooks" title="Mel Brooks">Mel Brooks</A>.</P>
<P><A href="/wiki/Laurence_Olivier" title="Laurence Olivier">Laurence Olivier</A>'s 1948 moody black-and-white <I><A href="/wiki/Hamlet_(1948_film)" title="Hamlet (1948 film)">Hamlet</A></I> won <A href="/wiki/Academy_Award_for_Best_Picture" title="Academy Award for Best Picture">Best Picture</A> and <A href="/wiki/Academy_Award_for_Best_Actor" title="Academy Award for Best Actor">Best Actor</A> <A href="/wiki/Academy_Award" class="mw-redirect" title="Academy Award">Oscars</A>, and is still, as of 2017<SUP class="plainlinks noexcerpt noprint asof-tag update" style="display:none;"><A class="external text" href="//en.wikipedia.org/w/index.php?title=Hamlet&action=edit">[update]</A></SUP>, the only Shakespeare film to have done so. His interpretation stressed the Oedipal overtones of the play, and cast 28-year-old <A href="/wiki/Eileen_Herlie" title="Eileen Herlie">Eileen Herlie</A> as Hamlet's mother, opposite himself, at 41, as Hamlet.<SUP id="cite_ref-FOOTNOTEDavies2000171_247-0" class="reference"><A href="#cite_note-FOOTNOTEDavies2000171-247">[221]</A></SUP></P>
<P>In 1953, actor <A href="/wiki/Jack_Manning_(actor)" title="Jack Manning (actor)">Jack Manning</A> performed the play in 15-minute segments over two weeks in the short-lived late night <A href="/wiki/DuMont_Television_Network" title="DuMont Television Network">DuMont</A> series <I><A href="/wiki/Monodrama_Theater" title="Monodrama Theater">Monodrama Theater</A></I>. <I>New York Times</I> TV critic Jack Gould praised Manning's performance as Hamlet.<SUP id="cite_ref-FOOTNOTEFox2009_248-0" class="reference"><A href="#cite_note-FOOTNOTEFox2009-248">[222]</A></SUP></P>
<P>Renowned Shakespearean actor-directors Sir <A href="/wiki/John_Gielgud" title="John Gielgud">John Gielgud</A>, Sir <A href="/wiki/Laurence_Olivier" title="Laurence Olivier">Laurence Olivier</A> and Sir <A href="/wiki/Kenneth_Branagh" title="Kenneth Branagh">Kenneth Branagh</A> consider the definitive rendition of the play<SUP id="cite_ref-FOOTNOTEBrennann.d._249-0" class="reference"><A href="#cite_note-FOOTNOTEBrennann.d.-249">[223]</A></SUP> to be the 1964 Soviet film <I><A href="/wiki/Hamlet_(1964_film)" title="Hamlet (1964 film)">Gamlet</A></I> (Russian: <I><SPAN lang="ru">Гамлет</SPAN></I>) based on a translation by <A href="/wiki/Boris_Pasternak" title="Boris Pasternak">Boris Pasternak</A> and directed by <A href="/wiki/Grigori_Kozintsev" title="Grigori Kozintsev">Grigori Kozintsev</A>, with a score by <A href="/wiki/Dmitri_Shostakovich" title="Dmitri Shostakovich">Dmitri Shostakovich</A>.<SUP id="cite_ref-FOOTNOTEGuntner2000120–1_250-0" class="reference"><A href="#cite_note-FOOTNOTEGuntner2000120–1-250">[224]</A></SUP> <A href="/wiki/Innokenty_Smoktunovsky" title="Innokenty Smoktunovsky">Innokenty Smoktunovsky</A> was cast in the role of Hamlet.</P>
<P>John Gielgud directed <A href="/wiki/Richard_Burton" title="Richard Burton">Richard Burton</A> in a <A href="/wiki/Richard_Burton%27s_Hamlet" title="Richard Burton's Hamlet">Broadway production</A> at the <A href="/wiki/Lunt-Fontanne_Theatre" title="Lunt-Fontanne Theatre">Lunt-Fontanne Theatre</A> in 1964–5, the longest-running <I>Hamlet</I> in the U.S. to date. A live film of the production was produced using "Electronovision", a method of recording a live performance with multiple video cameras and converting the image to film.<SUP id="cite_ref-FOOTNOTEBrode2001125–7_251-0" class="reference"><A href="#cite_note-FOOTNOTEBrode2001125–7-251">[225]</A></SUP> Eileen Herlie repeated her role from Olivier's film version as the Queen, and the voice of Gielgud was heard as the ghost. The Gielgud/Burton production was also recorded complete and released on LP by <A href="/wiki/Columbia_Masterworks" class="mw-redirect" title="Columbia Masterworks">Columbia Masterworks</A>.</P>
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<A href="/wiki/Sarah_Bernhardt" title="Sarah Bernhardt">Sarah Bernhardt</A> as Hamlet, with <A href="/wiki/Yorick" title="Yorick">Yorick</A>'s skull (photographer: <A href="/wiki/James_Lafayette" title="James Lafayette">James Lafayette</A>, c. 1885–1900).</DIV>
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<P>The first <I>Hamlet</I> in color was a <A href="/wiki/Hamlet_(1969_film)" title="Hamlet (1969 film)">1969 film</A> directed by <A href="/wiki/Tony_Richardson" title="Tony Richardson">Tony Richardson</A> with <A href="/wiki/Nicol_Williamson" title="Nicol Williamson">Nicol Williamson</A> as Hamlet and <A href="/wiki/Marianne_Faithfull" title="Marianne Faithfull">Marianne Faithfull</A> as Ophelia.</P>
<P>In 1990 <A href="/wiki/Franco_Zeffirelli" title="Franco Zeffirelli">Franco Zeffirelli</A>, whose Shakespeare films have been described as "sensual rather than cerebral",<SUP id="cite_ref-FOOTNOTECartmell2000212_252-0" class="reference"><A href="#cite_note-FOOTNOTECartmell2000212-252">[226]</A></SUP> cast <A href="/wiki/Mel_Gibson" title="Mel Gibson">Mel Gibson</A>—then famous for the <I><A href="/wiki/Mad_Max" title="Mad Max">Mad Max</A></I> and <I><A href="/wiki/Lethal_Weapon" title="Lethal Weapon">Lethal Weapon</A></I> movies—in the title role of his <A href="/wiki/Hamlet_(1990_film)" title="Hamlet (1990 film)">1990 version</A>; <A href="/wiki/Glenn_Close" title="Glenn Close">Glenn Close</A>—then famous as the psychotic "other woman" in <I><A href="/wiki/Fatal_Attraction" title="Fatal Attraction">Fatal Attraction</A></I>—played Gertrude,<SUP id="cite_ref-FOOTNOTEGuntner2000121–2_253-0" class="reference"><A href="#cite_note-FOOTNOTEGuntner2000121–2-253">[227]</A></SUP> and <A href="/wiki/Paul_Scofield" title="Paul Scofield">Paul Scofield</A> played Hamlet's father.</P>
<P>In contrast to Zeffirelli, whose <I>Hamlet</I> was heavily cut, <A href="/wiki/Kenneth_Branagh" title="Kenneth Branagh">Kenneth Branagh</A> adapted, directed, and starred in a 1996 version containing every word of Shakespeare's play, combining the material from the F1 and Q2 texts. Branagh's <A href="/wiki/Hamlet_(1996_film)" title="Hamlet (1996 film)"><I>Hamlet</I></A> runs for just over four hours.<SUP id="cite_ref-FOOTNOTECrowl2000232_254-0" class="reference"><A href="#cite_note-FOOTNOTECrowl2000232-254">[228]</A></SUP> Branagh set the film with late 19th-century costuming and furnishings, a production in many ways reminiscent of a Russian novel of the time;<SUP id="cite_ref-FOOTNOTEStarks1999272_255-0" class="reference"><A href="#cite_note-FOOTNOTEStarks1999272-255">[229]</A></SUP> and <A href="/wiki/Blenheim_Palace" title="Blenheim Palace">Blenheim Palace</A>, built in the early 18th century, became Elsinore Castle in the external scenes. The film is structured as an <A href="/wiki/Epic_film" title="Epic film">epic</A> and makes frequent use of <A href="/wiki/Flashback_(narrative)" title="Flashback (narrative)">flashbacks</A> to highlight elements not made explicit in the play: Hamlet's sexual relationship with <A href="/wiki/Kate_Winslet" title="Kate Winslet">Kate Winslet</A>'s Ophelia, for example, or his childhood affection for Yorick (played by <A href="/wiki/Ken_Dodd" title="Ken Dodd">Ken Dodd</A>).<SUP id="cite_ref-FOOTNOTEKeyishian200078–9_256-0" class="reference"><A href="#cite_note-FOOTNOTEKeyishian200078–9-256">[230]</A></SUP></P>
<P>In 2000, <A href="/wiki/Michael_Almereyda" title="Michael Almereyda">Michael Almereyda</A>'s <I><A href="/wiki/Hamlet_(2000_film)" title="Hamlet (2000 film)">Hamlet</A></I> set the story in contemporary <A href="/wiki/Manhattan" title="Manhattan">Manhattan</A>, with <A href="/wiki/Ethan_Hawke" title="Ethan Hawke">Ethan Hawke</A> playing Hamlet as a film student. Claudius (played by <A href="/wiki/Kyle_MacLachlan" title="Kyle MacLachlan">Kyle MacLachlan</A>) became the CEO of "Denmark Corporation", having taken over the company by killing his brother.<SUP id="cite_ref-FOOTNOTEBurnett2003_257-0" class="reference"><A href="#cite_note-FOOTNOTEBurnett2003-257">[231]</A></SUP></P>
<P>The 2002 <I><A href="/wiki/The_Simpsons" title="The Simpsons">The Simpsons</A></I> episode "<A href="/wiki/Tales_from_the_Public_Domain" title="Tales from the Public Domain">Tales from the Public Domain</A>" features a retelling of the play.</P>
<P>There have also been several films that transposed the general storyline of <I>Hamlet</I> or elements thereof to other settings. For example, the 2014 <A href="/wiki/Bollywood" title="Bollywood">Bollywood</A> film <I><A href="/wiki/Haider_(film)" title="Haider (film)">Haider</A></I> is an adaptation set in <A href="/wiki/Kashmir" title="Kashmir">Kashmir</A>.<SUP id="cite_ref-FOOTNOTEGupta2014_258-0" class="reference"><A href="#cite_note-FOOTNOTEGupta2014-258">[232]</A></SUP> There have also been many films which included performances of scenes from <I>Hamlet</I> as a <A href="/wiki/Story_within_a_story" title="Story within a story">play-within-a-film</A>.</P>
<H3><SPAN class="mw-headline" id="Stage_pastiches">Stage pastiches</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=29" title="Edit section: Stage pastiches">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>There have been various "derivative works" of <I>Hamlet</I> which recast the story from the point of view of other characters, or transpose the story into a new setting or act as sequels or prequels to <I>Hamlet</I>. This section is limited to those written for the stage.</P>
<P>The best-known is Tom Stoppard's 1966 play <I><A href="/wiki/Rosencrantz_and_Guildenstern_Are_Dead" title="Rosencrantz and Guildenstern Are Dead">Rosencrantz and Guildenstern Are Dead</A></I>, which retells many of the events of the story from the point of view of the characters Rosencrantz and Guildenstern and gives them a backstory of their own. Several times since 1995, the <A href="/wiki/American_Shakespeare_Center" title="American Shakespeare Center">American Shakespeare Center</A> has mounted repertories that included both <I>Hamlet</I> and <I>Rosencrantz and Guildenstern</I>, with the same actors performing the same roles in each; in their 2001 and 2009 seasons the two plays were "directed, designed, and rehearsed together to make the most out of the shared scenes and situations".<SUP id="cite_ref-FOOTNOTEWarrenn.d._259-0" class="reference"><A href="#cite_note-FOOTNOTEWarrenn.d.-259">[233]</A></SUP></P>
<P><A href="/wiki/W._S._Gilbert" title="W. S. Gilbert">W. S. Gilbert</A> wrote a short comic play titled <I><A href="/wiki/Rosencrantz_and_Guildenstern_(play)" title="Rosencrantz and Guildenstern (play)">Rosencrantz and Guildenstern</A></I>, in which Hamlet's play is presented as a tragedy written by Claudius in his youth of which he is greatly embarrassed. Through the chaos triggered by Hamlet's staging of it, Guildenstern helps Rosencrantz vie with Hamlet to make Ophelia his bride.<SUP id="cite_ref-FOOTNOTEGilbert1892349–66_260-0" class="reference"><A href="#cite_note-FOOTNOTEGilbert1892349–66-260">[234]</A></SUP></P>
<P><A href="/wiki/Lee_Blessing" title="Lee Blessing">Lee Blessing</A>'s <I><A href="/wiki/Fortinbras_(play)" title="Fortinbras (play)">Fortinbras</A></I> is a comical sequel to <I>Hamlet</I> in which all the deceased characters come back as ghosts. The <I>New York Times</I> reviewed the play, saying it is "scarcely more than an extended comedy sketch, lacking the portent and linguistic complexity of Tom Stoppard's <I>Rosencrantz and Guildenstern Are Dead</I>. <I>Fortinbras</I> operates on a far less ambitious plane, but it is a ripping yarn and offers Keith Reddin a role in which he can commit comic mayhem".<SUP id="cite_ref-FOOTNOTEGussow1992_221-1" class="reference"><A href="#cite_note-FOOTNOTEGussow1992-221">[197]</A></SUP></P>
<P><A href="/wiki/Caridad_Svich" title="Caridad Svich">Caridad Svich</A>'s <I>12 Ophelias (a play with broken songs)</I> includes elements of the story of <I>Hamlet</I> but focuses on Ophelia. In Svich's play, Ophelia is resurrected and rises from a pool of water, after her death in <I>Hamlet</I>. The play is a series of scenes and songs, and was first staged at public swimming pool in Brooklyn.<SUP id="cite_ref-FOOTNOTESchultz2008_261-0" class="reference"><A href="#cite_note-FOOTNOTESchultz2008-261">[235]</A></SUP></P>
<P><A href="/wiki/David_Davalos" title="David Davalos">David Davalos</A>' <I>Wittenberg</I> is a "tragical-comical-historical" prequel to <I>Hamlet</I> that depicts the Danish prince as a student at Wittenberg University (now known as the <A href="/wiki/University_of_Halle-Wittenberg" class="mw-redirect" title="University of Halle-Wittenberg">University of Halle-Wittenberg</A>), where he is torn between the conflicting teachings of his mentors <A href="/wiki/Faust" title="Faust">John Faustus</A> and <A href="/wiki/Martin_Luther" title="Martin Luther">Martin Luther</A>. The <I>New York Times</I> reviewed the play, saying, "Mr. Davalos has molded a daft campus comedy out of this unlikely convergence,"<SUP id="cite_ref-FOOTNOTEGrode2011_262-0" class="reference"><A href="#cite_note-FOOTNOTEGrode2011-262">[236]</A></SUP> and <I><A href="/wiki/Nytheatre.com" title="Nytheatre.com">Nytheatre.com</A>'</I>s review said the playwright "has imagined a fascinating alternate reality, and quite possibly, given the fictional Hamlet a back story that will inform the role for the future."<SUP id="cite_ref-FOOTNOTETodoroff2011_263-0" class="reference"><A href="#cite_note-FOOTNOTETodoroff2011-263">[237]</A></SUP></P>
<P><I>Mad Boy Chronicle</I> by Canadian playwright Michael O'Brien is a dark comedy loosely based on <I>Hamlet</I>, set in Viking Denmark in 999 A.D.<SUP id="cite_ref-FOOTNOTEBrandes2001_264-0" class="reference"><A href="#cite_note-FOOTNOTEBrandes2001-264">[238]</A></SUP></P>
<H2><SPAN class="mw-headline" id="Notes_and_references">Notes and references</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=30" title="Edit section: Notes and references">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<H3><SPAN class="mw-headline" id="Notes">Notes</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=31" title="Edit section: Notes">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<DIV class="reflist columns references-column-width" style="-moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: lower-alpha;">
<OL class="references">
<LI id="cite_note-gravedigger-8"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-gravedigger_8-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-gravedigger_8-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">The gravedigger scene is in <I>Hamlet</I> 5.1.1–205.<SUP id="cite_ref-7" class="reference"><A href="#cite_note-7">[7]</A></SUP></SPAN></LI>
<LI id="cite_note-24"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-24"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">In his 1936 book <I>The Problem of Hamlet: A Solution</I> Andrew Cairncross asserted that the <I>Hamlet</I> referred to in 1589 was written by Shakespeare;<SUP id="cite_ref-FOOTNOTECairncross1975_18-0" class="reference"><A href="#cite_note-FOOTNOTECairncross1975-18">[17]</A></SUP> Peter Alexander,<SUP id="cite_ref-FOOTNOTEAlexander1964_19-0" class="reference"><A href="#cite_note-FOOTNOTEAlexander1964-19">[18]</A></SUP> <A href="/wiki/Eric_Sams" title="Eric Sams">Eric Sams</A><SUP id="cite_ref-FOOTNOTEJackson1991267_20-0" class="reference"><A href="#cite_note-FOOTNOTEJackson1991267-20">[19]</A></SUP> and, more recently, <A href="/wiki/Harold_Bloom" title="Harold Bloom">Harold Bloom</A><SUP id="cite_ref-FOOTNOTEBloom2001xiii,383_21-0" class="reference"><A href="#cite_note-FOOTNOTEBloom2001xiii,383-21">[20]</A></SUP><SUP id="cite_ref-FOOTNOTEBloom2003154_22-0" class="reference"><A href="#cite_note-FOOTNOTEBloom2003154-22">[21]</A></SUP> have agreed. However Harold Jenkins, the editor of the second series Arden edition of the play, considers that there are not grounds for thinking that the Ur-Hamlet is an early work by Shakespeare, which he then rewrote.<SUP id="cite_ref-FOOTNOTEJenkins198284_n4_23-0" class="reference"><A href="#cite_note-FOOTNOTEJenkins198284_n4-23">[22]</A></SUP></SPAN></LI>
<LI id="cite_note-36"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-36"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Polonius was close to the Latin name for <A href="/wiki/Robert_Pullen" title="Robert Pullen">Robert Pullen</A>, founder of Oxford University, and Reynaldo too close for safety to <A href="/wiki/John_Rainolds" title="John Rainolds">John Rainolds</A>, the President of <A href="/wiki/Corpus_Christi_College,_Oxford" title="Corpus Christi College, Oxford">Corpus Christi College</A>.<SUP id="cite_ref-FOOTNOTEHibbard198774–5_35-0" class="reference"><A href="#cite_note-FOOTNOTEHibbard198774–5-35">[33]</A></SUP></SPAN></LI>
<LI id="cite_note-43"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-43"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">MacCary suggests 1599 or 1600;<SUP id="cite_ref-FOOTNOTEMacCary199813_37-0" class="reference"><A href="#cite_note-FOOTNOTEMacCary199813-37">[34]</A></SUP> James Shapiro offers late 1600 or early 1601;<SUP id="cite_ref-FOOTNOTEShapiro2005341_38-0" class="reference"><A href="#cite_note-FOOTNOTEShapiro2005341-38">[35]</A></SUP> Wells and Taylor suggest that the play was written in 1600 and revised later;<SUP id="cite_ref-FOOTNOTEWellsTaylor1988653_39-0" class="reference"><A href="#cite_note-FOOTNOTEWellsTaylor1988653-39">[36]</A></SUP> the New Cambridge editor settles on mid-1601;<SUP id="cite_ref-FOOTNOTEEdwards19858_40-0" class="reference"><A href="#cite_note-FOOTNOTEEdwards19858-40">[37]</A></SUP> the New Swan Shakespeare Advanced Series editor agrees with 1601;<SUP id="cite_ref-FOOTNOTELott1970xlvi_41-0" class="reference"><A href="#cite_note-FOOTNOTELott1970xlvi-41">[38]</A></SUP> Thompson and Taylor, tentatively ("according to whether one is the more persuaded by Jenkins or by Honigmann") suggest a <I><A href="/wiki/Terminus_post_quem" title="Terminus post quem">terminus ad quem</A></I> of either Spring 1601 or sometime in 1600.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a58–9_42-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a58–9-42">[39]</A></SUP></SPAN></LI>
<LI id="cite_note-48"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-48"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">The whole conversation between Rozencrantz, Guildenstern and Hamlet concerning the touring players' departure from the city is at <I>Hamlet F1</I> 2.2.324–360.<SUP id="cite_ref-47" class="reference"><A href="#cite_note-47">[43]</A></SUP></SPAN></LI>
<LI id="cite_note-63"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-63"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">The <A href="/wiki/Arden_Shakespeare" title="Arden Shakespeare">Arden Shakespeare</A> third series published Q2, with appendices, in their first volume,<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a_59-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a-59">[54]</A></SUP> and the F1 and Q1 texts in their second volume.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006b_60-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006b-60">[55]</A></SUP> The <A href="/w/index.php?title=RSC_Shakespeare&action=edit&redlink=1" class="new" title="RSC Shakespeare (page does not exist)">RSC Shakespeare</A> is the F1 text with additional Q2 passages in an appendix.<SUP id="cite_ref-FOOTNOTEBateRasmussen20071923_61-0" class="reference"><A href="#cite_note-FOOTNOTEBateRasmussen20071923-61">[56]</A></SUP> The <A href="/wiki/New_Cambridge_Shakespeare" title="New Cambridge Shakespeare">New Cambridge Shakespeare</A> series has begun to publish separate volumes for the separate quarto versions that exist of Shakespeare's plays.<SUP id="cite_ref-FOOTNOTEIrace1998_62-0" class="reference"><A href="#cite_note-FOOTNOTEIrace1998-62">[57]</A></SUP></SPAN></LI>
<LI id="cite_note-87"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-87"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Also used in <I><A href="/wiki/Love%27s_Labour%27s_Lost" title="Love's Labour's Lost">Love's Labour's Lost</A></I> and <I><A href="/wiki/A_Midsummer_Night%27s_Dream" title="A Midsummer Night's Dream">A Midsummer Night's Dream</A></I>.<SUP id="cite_ref-FOOTNOTEKermode2000256_86-0" class="reference"><A href="#cite_note-FOOTNOTEKermode2000256-86">[80]</A></SUP></SPAN></LI>
<LI id="cite_note-90"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-90"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">This compares with about two to three hours for a typical Elizajacobean play.<SUP id="cite_ref-FOOTNOTEHirrel2010_89-0" class="reference"><A href="#cite_note-FOOTNOTEHirrel2010-89">[82]</A></SUP></SPAN></LI>
<LI id="cite_note-nunnery-96"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-nunnery_96-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-nunnery_96-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">The "Nunnery Scene" is <I>Hamlet</I> 3.1.87–160.<SUP id="cite_ref-95" class="reference"><A href="#cite_note-95">[87]</A></SUP></SPAN></LI>
<LI id="cite_note-100"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-100"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">This interpretation is widely held,<SUP id="cite_ref-FOOTNOTEKiernan200734_98-0" class="reference"><A href="#cite_note-FOOTNOTEKiernan200734-98">[89]</A></SUP> but has been challenged by, among others, Harold Jenkins.<SUP id="cite_ref-FOOTNOTEJenkins1982493–5_99-0" class="reference"><A href="#cite_note-FOOTNOTEJenkins1982493–5-99">[90]</A></SUP> He finds the evidence for a precedent for that interpretation to be insufficient and inconclusive, and considers the literal interpretation to be better suited to the dramatic context.<SUP id="cite_ref-FOOTNOTEJenkins1982493–5_99-1" class="reference"><A href="#cite_note-FOOTNOTEJenkins1982493–5-99">[90]</A></SUP></SPAN></LI>
<LI id="cite_note-107"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-107"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">In the <A href="/wiki/New_Testament" title="New Testament">New Testament</A>, see Romans 12:19: "'vengeance is mine, I will repay' sayeth the Lord".</SPAN></LI>
<LI id="cite_note-108"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-108"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">See the articles on the <A href="/wiki/Reformation_in_Denmark%E2%80%93Norway_and_Holstein" title="Reformation in Denmark–Norway and Holstein">Reformation in Denmark–Norway and Holstein</A> and <A href="/wiki/Church_of_Denmark" title="Church of Denmark">Church of Denmark</A> for details.</SPAN></LI>
<LI id="cite_note-122"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-122"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">The "Closet Scene" is <I>Hamlet</I> 3.4.<SUP id="cite_ref-121" class="reference"><A href="#cite_note-121">[109]</A></SUP></SPAN></LI>
<LI id="cite_note-136"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-136"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">"There is a recent 'Be kind to Gertrude' fashion among some feminist critics …"<SUP id="cite_ref-FOOTNOTEBloom2003_135-0" class="reference"><A href="#cite_note-FOOTNOTEBloom2003-135">[122]</A></SUP></SPAN></LI>
<LI id="cite_note-140"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-140"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> has 208 quotations in <I><A href="/wiki/The_Oxford_Dictionary_of_Quotations" title="The Oxford Dictionary of Quotations">The Oxford Dictionary of Quotations</A></I>; it takes up 10 of 85 pages dedicated to Shakespeare in the 1986 <I><A href="/wiki/Bartlett%27s_Familiar_Quotations" title="Bartlett's Familiar Quotations">Bartlett's Familiar Quotations (14th ed. 1968)</A></I>. For examples of lists of the greatest books, see <A href="/wiki/Harvard_Classics" title="Harvard Classics">Harvard Classics</A>, <A href="/wiki/Great_Books" class="mw-redirect" title="Great Books">Great Books</A>, <A href="/wiki/Great_Books_of_the_Western_World" title="Great Books of the Western World">Great Books of the Western World</A>, <A href="/wiki/Harold_Bloom" title="Harold Bloom">Harold Bloom</A>'s <I>The Western Canon</I>, <A href="/wiki/St._John%27s_College_(Annapolis/Santa_Fe)#The_Great_Books" title="St. John's College (Annapolis/Santa Fe)">St. John's College reading list</A>, and <A href="/wiki/Core_Curriculum_(Columbia_College)" title="Core Curriculum (Columbia College)">Columbia College Core Curriculum</A>.</SPAN></LI>
<LI id="cite_note-156"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-156"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Hattaway asserts that "Richard Burbage ... played Hieronimo and also Richard III but then was the first Hamlet, Lear, and Othello"<SUP id="cite_ref-FOOTNOTEHattaway198291_153-0" class="reference"><A href="#cite_note-FOOTNOTEHattaway198291-153">[138]</A></SUP> and Thomson argues that the identity of Hamlet as Burbage is built into the <A href="/wiki/Dramaturgy" title="Dramaturgy">dramaturgy</A> of several moments of the play: "we will profoundly misjudge the position if we do not recognise that, whilst this is Hamlet talking <I>about</I> the groundlings, it is also Burbage talking <I>to</I> the groundlings".<SUP id="cite_ref-FOOTNOTEThomson198324_154-0" class="reference"><A href="#cite_note-FOOTNOTEThomson198324-154">[139]</A></SUP> See also Thomson on the first player's beard.<SUP id="cite_ref-FOOTNOTEThomson1983110_155-0" class="reference"><A href="#cite_note-FOOTNOTEThomson1983110-155">[140]</A></SUP></SPAN></LI>
<LI id="cite_note-167"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-167"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="/wiki/Samuel_Pepys" title="Samuel Pepys">Samuel Pepys</A> records his delight at the novelty of <I>Hamlet</I> "done with scenes".<SUP id="cite_ref-FOOTNOTEThompsonTaylor199657_166-0" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor199657-166">[150]</A></SUP></SPAN></LI>
<LI id="cite_note-171"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-171"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Letter to Sir William Young, 10 January 1773, quoted by Uglow.<SUP id="cite_ref-FOOTNOTEUglow1977473_170-0" class="reference"><A href="#cite_note-FOOTNOTEUglow1977473-170">[153]</A></SUP></SPAN></LI>
<LI id="cite_note-183"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-183"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="/wiki/George_Bernard_Shaw" title="George Bernard Shaw">George Bernard Shaw</A> in <I><A href="/wiki/Saturday_Review_(London)" class="mw-redirect" title="Saturday Review (London)">The Saturday Review</A></I> on 2 October 1897.<SUP id="cite_ref-FOOTNOTEShaw196181_182-0" class="reference"><A href="#cite_note-FOOTNOTEShaw196181-182">[164]</A></SUP></SPAN></LI>
<LI id="cite_note-187"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-187"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="/wiki/Sarah_Bernhardt" title="Sarah Bernhardt">Sarah Bernhardt</A>, in a letter to the London <I><A href="/wiki/The_Daily_Telegraph" title="The Daily Telegraph">Daily Telegraph</A></I>.<SUP id="cite_ref-FOOTNOTEGay2002164_186-0" class="reference"><A href="#cite_note-FOOTNOTEGay2002164-186">[167]</A></SUP></SPAN></LI>
<LI id="cite_note-194"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-194"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">For more on this production, see the <A href="/wiki/Moscow_Art_Theatre_production_of_Hamlet" title="Moscow Art Theatre production of Hamlet">MAT production of <I>Hamlet</I></A> article. Craig and <A href="/wiki/Konstantin_Stanislavski" title="Konstantin Stanislavski">Stanislavski</A> began planning the production in 1908 but, due to a serious illness of Stanislavski's, it was delayed until December, 1911.<SUP id="cite_ref-FOOTNOTEBenedetti1999188–211_193-0" class="reference"><A href="#cite_note-FOOTNOTEBenedetti1999188–211-193">[173]</A></SUP></SPAN></LI>
<LI id="cite_note-199"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-199"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">On Craig's relationship to <A href="/wiki/Symbolism_(arts)" title="Symbolism (arts)">Symbolism</A>, <A href="/wiki/Russian_Symbolism" class="mw-redirect" title="Russian Symbolism">Russian symbolism</A>, and its principles of <A href="/wiki/Monodrama" title="Monodrama">monodrama</A> in particular, see Taxidou;<SUP id="cite_ref-FOOTNOTETaxidou199838–41_196-0" class="reference"><A href="#cite_note-FOOTNOTETaxidou199838–41-196">[175]</A></SUP> on Craig's staging proposals, see Innes;<SUP id="cite_ref-FOOTNOTEInnes1983153_197-0" class="reference"><A href="#cite_note-FOOTNOTEInnes1983153-197">[176]</A></SUP> on the centrality of the protagonist and his mirroring of the 'authorial self', see Taxidou<SUP id="cite_ref-FOOTNOTETaxidou1998181,_188_198-0" class="reference"><A href="#cite_note-FOOTNOTETaxidou1998181,_188-198">[177]</A></SUP> and Innes.<SUP id="cite_ref-FOOTNOTEInnes1983153_197-1" class="reference"><A href="#cite_note-FOOTNOTEInnes1983153-197">[176]</A></SUP></SPAN></LI>
<LI id="cite_note-201"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-201"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">The first court scene is <I>Hamlet</I> 1.2.1–128.<SUP id="cite_ref-200" class="reference"><A href="#cite_note-200">[178]</A></SUP></SPAN></LI>
<LI id="cite_note-203"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-203"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">A brightly lit, golden pyramid descended from Claudius's throne, representing the <A href="/wiki/Feudalism" title="Feudalism">feudal hierarchy</A>, giving the illusion of a single, unified mass of bodies. In the dark, shadowy foreground, separated by a <A href="/wiki/Scrim_(material)" title="Scrim (material)">gauze</A>, Hamlet lay, as if dreaming. On Claudius's exit-line the figures remained but the gauze was loosened, so that they appeared to melt away as if Hamlet's thoughts had turned elsewhere. For this effect, the scene received an <A href="/wiki/Standing_ovation" title="Standing ovation">ovation</A>, which was unheard of at the <A href="/wiki/Moscow_Art_Theatre" title="Moscow Art Theatre">MAT</A>.<SUP id="cite_ref-FOOTNOTEInnes1983152_202-0" class="reference"><A href="#cite_note-FOOTNOTEInnes1983152-202">[179]</A></SUP></SPAN></LI>
<LI id="cite_note-224"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-224"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">According to the <A href="/wiki/Internet_Broadway_Database" title="Internet Broadway Database">Internet Broadway Database</A> <I><A href="/wiki/Romeo_and_Juliet" title="Romeo and Juliet">Romeo and Juliet</A></I> is the second most-produced Shakespeare play on Broadway, with thirty-four different productions, followed by <I><A href="/wiki/Twelfth_Night" title="Twelfth Night">Twelfth Night</A></I>, with thirty.</SPAN></LI>
<LI id="cite_note-245"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-245"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">The "Fencing Scene" is <I>Hamlet</I> 5.2.203–387.<SUP id="cite_ref-244" class="reference"><A href="#cite_note-244">[219]</A></SUP></SPAN></LI>
</OL>
</DIV>
<H3><SPAN class="mw-headline" id="References">References</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=32" title="Edit section: References">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<DIV class="refbegin" style="">
<P>All references to <I>Hamlet</I>, unless otherwise specified, are taken from the <A href="/wiki/Arden_Shakespeare" title="Arden Shakespeare">Arden Shakespeare</A> Q2.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006a_59-1" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006a-59">[54]</A></SUP> Under their referencing system, 3.1.55 means act 3, scene 1, line 55. References to the First Quarto and <A href="/wiki/First_Folio" title="First Folio">First Folio</A> are marked <I>Hamlet Q1</I> and <I>Hamlet F1</I>, respectively, and are taken from the Arden Shakespeare <I>Hamlet: the texts of 1603 and 1623</I>.<SUP id="cite_ref-FOOTNOTEThompsonTaylor2006b_60-1" class="reference"><A href="#cite_note-FOOTNOTEThompsonTaylor2006b-60">[55]</A></SUP> Their referencing system for Q1 has no act breaks, so 7.115 means scene 7, line 115.</P>
</DIV>
<DIV class="reflist columns references-column-width" style="-moz-column-width: 15em; -webkit-column-width: 15em; column-width: 15em; list-style-type: decimal;">
<OL class="references">
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a74-1"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompsonTaylor2006a74_1-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, p. 74.</SPAN></LI>
<LI id="cite_note-FOOTNOTETaylor200218-2"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTETaylor200218_2-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTETaylor200218_2-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFTaylor2002">Taylor 2002</A>, p. 18.</SPAN></LI>
<LI id="cite_note-FOOTNOTECrystalCrystal200566-3"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTECrystalCrystal200566_3-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFCrystalCrystal2005">Crystal & Crystal 2005</A>, p. 66.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a17-4"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompsonTaylor2006a17_4-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, p. 17.</SPAN></LI>
<LI id="cite_note-5"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-5"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 1.4.</SPAN></LI>
<LI id="cite_note-FOOTNOTETrilling20098-6"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTETrilling20098_6-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFTrilling2009">Trilling 2009</A>, p. 8.</SPAN></LI>
<LI id="cite_note-7"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-7"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 5.1.1–205</SPAN></LI>
<LI id="cite_note-FOOTNOTESaxoHansen198336–7-9"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESaxoHansen198336–7_9-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSaxoHansen1983">Saxo & Hansen 1983</A>, pp. 36–7.</SPAN></LI>
<LI id="cite_note-FOOTNOTESaxoHansen198316–25-10"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESaxoHansen198316–25_10-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSaxoHansen1983">Saxo & Hansen 1983</A>, pp. 16–25.</SPAN></LI>
<LI id="cite_note-FOOTNOTESaxoHansen19835–15-11"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESaxoHansen19835–15_11-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSaxoHansen1983">Saxo & Hansen 1983</A>, pp. 5–15.</SPAN></LI>
<LI id="cite_note-FOOTNOTESaxoHansen19831–5-12"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESaxoHansen19831–5_12-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSaxoHansen1983">Saxo & Hansen 1983</A>, pp. 1–5.</SPAN></LI>
<LI id="cite_note-FOOTNOTESaxoHansen198325–37-13"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESaxoHansen198325–37_13-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSaxoHansen1983">Saxo & Hansen 1983</A>, pp. 25–37.</SPAN></LI>
<LI id="cite_note-FOOTNOTEEdwards19851–2-14"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEEdwards19851–2_14-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFEdwards1985">Edwards 1985</A>, pp. 1–2.</SPAN></LI>
<LI id="cite_note-FOOTNOTESaxoHansen198366–7-15"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESaxoHansen198366–7_15-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSaxoHansen1983">Saxo & Hansen 1983</A>, pp. 66–7.</SPAN></LI>
<LI id="cite_note-FOOTNOTEJenkins198282–5-16"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEJenkins198282–5_16-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFJenkins1982">Jenkins 1982</A>, pp. 82–5.</SPAN></LI>
<LI id="cite_note-FOOTNOTESaxoHansen198367-17"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESaxoHansen198367_17-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSaxoHansen1983">Saxo & Hansen 1983</A>, p. 67.</SPAN></LI>
<LI id="cite_note-FOOTNOTECairncross1975-18"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTECairncross1975_18-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFCairncross1975">Cairncross 1975</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEAlexander1964-19"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEAlexander1964_19-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFAlexander1964">Alexander 1964</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEJackson1991267-20"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEJackson1991267_20-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFJackson1991">Jackson 1991</A>, p. 267.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBloom2001xiii,383-21"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBloom2001xiii,383_21-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBloom2001">Bloom 2001</A>, pp. xiii,383.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBloom2003154-22"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBloom2003154_22-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBloom2003">Bloom 2003</A>, p. 154.</SPAN></LI>
<LI id="cite_note-FOOTNOTEJenkins198284_n4-23"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEJenkins198284_n4_23-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFJenkins1982">Jenkins 1982</A>, p. 84 n4.</SPAN></LI>
<LI id="cite_note-FOOTNOTESaxoHansen198366–8-25"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESaxoHansen198366–8_25-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSaxoHansen1983">Saxo & Hansen 1983</A>, pp. 66–8.</SPAN></LI>
<LI id="cite_note-FOOTNOTESaxoHansen19836-26"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESaxoHansen19836_26-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSaxoHansen1983">Saxo & Hansen 1983</A>, p. 6.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGreenblatt2004a311-27"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEGreenblatt2004a311_27-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFGreenblatt2004a">Greenblatt 2004a</A>, p. 311.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGreenblatt2004b-28"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEGreenblatt2004b_28-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFGreenblatt2004b">Greenblatt 2004b</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEChambers1930418-29"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEChambers1930418_29-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFChambers1930">Chambers 1930</A>, p. 418.</SPAN></LI>
<LI id="cite_note-FOOTNOTEWilson1932104-30"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEWilson1932104_30-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFWilson1932">Wilson 1932</A>, p. 104.</SPAN></LI>
<LI id="cite_note-FOOTNOTERowse1963323-31"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTERowse1963323_31-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFRowse1963">Rowse 1963</A>, p. 323.</SPAN></LI>
<LI id="cite_note-FOOTNOTEWinstanley1977114-32"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEWinstanley1977114_32-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFWinstanley1977">Winstanley 1977</A>, p. 114.</SPAN></LI>
<LI id="cite_note-FOOTNOTECecil2012-33"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTECecil2012_33-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFCecil2012">Cecil 2012</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEJenkins198235-34"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEJenkins198235_34-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFJenkins1982">Jenkins 1982</A>, p. 35.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHibbard198774–5-35"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHibbard198774–5_35-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHibbard1987">Hibbard 1987</A>, pp. 74–5.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMacCary199813-37"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMacCary199813_37-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMacCary1998">MacCary 1998</A>, p. 13.</SPAN></LI>
<LI id="cite_note-FOOTNOTEShapiro2005341-38"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEShapiro2005341_38-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFShapiro2005">Shapiro 2005</A>, p. 341.</SPAN></LI>
<LI id="cite_note-FOOTNOTEWellsTaylor1988653-39"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEWellsTaylor1988653_39-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFWellsTaylor1988">Wells & Taylor 1988</A>, p. 653.</SPAN></LI>
<LI id="cite_note-FOOTNOTEEdwards19858-40"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEEdwards19858_40-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFEdwards1985">Edwards 1985</A>, p. 8.</SPAN></LI>
<LI id="cite_note-FOOTNOTELott1970xlvi-41"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTELott1970xlvi_41-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTELott1970xlvi_41-1"><SUP><I><B>b</B></I></SUP></A> <A href="#cite_ref-FOOTNOTELott1970xlvi_41-2"><SUP><I><B>c</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFLott1970">Lott 1970</A>, p. xlvi.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a58–9-42"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompsonTaylor2006a58–9_42-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, p. 58–9.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMacCary199812–13-44"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMacCary199812–13_44-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMacCary1998">MacCary 1998</A>, pp. 12–13.</SPAN></LI>
<LI id="cite_note-FOOTNOTEEdwards19855–6-45"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEEdwards19855–6_45-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFEdwards1985">Edwards 1985</A>, pp. 5–6.</SPAN></LI>
<LI id="cite_note-46"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-46"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet F1</I> 2.2.337.</SPAN></LI>
<LI id="cite_note-47"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-47"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet F1</I> 2.2.324–360</SPAN></LI>
<LI id="cite_note-FOOTNOTEDuncan-Jones2001143–9-49"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEDuncan-Jones2001143–9_49-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFDuncan-Jones2001">Duncan-Jones 2001</A>, pp. 143–9.</SPAN></LI>
<LI id="cite_note-FOOTNOTEEdwards19855-50"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEEdwards19855_50-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFEdwards1985">Edwards 1985</A>, p. 5.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHattaway198713–20-51"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHattaway198713–20_51-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHattaway1987">Hattaway 1987</A>, pp. 13–20.</SPAN></LI>
<LI id="cite_note-FOOTNOTEChambers1923b486–7-52"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEChambers1923b486–7_52-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFChambers1923b">Chambers 1923b</A>, pp. 486–7.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHalliday1964204–5-53"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHalliday1964204–5_53-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHalliday1964">Halliday 1964</A>, pp. 204–5.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a465-54"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompsonTaylor2006a465_54-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, p. 465.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHalliday1964204-55"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEHalliday1964204_55-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEHalliday1964204_55-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFHalliday1964">Halliday 1964</A>, p. 204.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a78-56"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEThompsonTaylor2006a78_56-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEThompsonTaylor2006a78_56-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, p. 78.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHibbard198722–3-57"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHibbard198722–3_57-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHibbard1987">Hibbard 1987</A>, pp. 22–3.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHattaway198716-58"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHattaway198716_58-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHattaway1987">Hattaway 1987</A>, p. 16.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a-59"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEThompsonTaylor2006a_59-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEThompsonTaylor2006a_59-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006b-60"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEThompsonTaylor2006b_60-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEThompsonTaylor2006b_60-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006b">Thompson & Taylor 2006b</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBateRasmussen20071923-61"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBateRasmussen20071923_61-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBateRasmussen2007">Bate & Rasmussen 2007</A>, p. 1923.</SPAN></LI>
<LI id="cite_note-FOOTNOTEIrace1998-62"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEIrace1998_62-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEIrace1998_62-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFIrace1998">Irace 1998</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBurrow2002-64"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBurrow2002_64-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBurrow2002">Burrow 2002</A>.</SPAN></LI>
<LI id="cite_note-65"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-65"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 3.4 and 4.1.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a543–52-66"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompsonTaylor2006a543–52_66-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, pp. 543–52.</SPAN></LI>
<LI id="cite_note-FOOTNOTEJenkins198214-67"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEJenkins198214_67-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFJenkins1982">Jenkins 1982</A>, p. 14.</SPAN></LI>
<LI id="cite_note-68"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-68"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet Q1</I> 14.</SPAN></LI>
<LI id="cite_note-FOOTNOTEIrace19981–34-69"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEIrace19981–34_69-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFIrace1998">Irace 1998</A>, pp. 1–34.</SPAN></LI>
<LI id="cite_note-FOOTNOTEJackson1986171-70"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEJackson1986171_70-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFJackson1986">Jackson 1986</A>, p. 171.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a85–6-71"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompsonTaylor2006a85–6_71-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, pp. 85–6.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006b36–9-72"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompsonTaylor2006b36–9_72-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006b">Thompson & Taylor 2006b</A>, pp. 36–9.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a18–19-73"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompsonTaylor2006a18–19_73-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, pp. 18–19.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBateRasmussen200811-74"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBateRasmussen200811_74-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBateRasmussen2008">Bate & Rasmussen 2008</A>, p. 11.</SPAN></LI>
<LI id="cite_note-FOOTNOTECrowl20145–6-75"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTECrowl20145–6_75-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFCrowl2014">Crowl 2014</A>, pp. 5–6.</SPAN></LI>
<LI id="cite_note-FOOTNOTEWofford1994-76"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEWofford1994_76-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFWofford1994">Wofford 1994</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEKirsch1969-77"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEKirsch1969_77-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFKirsch1969">Kirsch 1969</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEVickers1974a447-78"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEVickers1974a447_78-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFVickers1974a">Vickers 1974a</A>, p. 447.</SPAN></LI>
<LI id="cite_note-FOOTNOTEVickers1974b92-79"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEVickers1974b92_79-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFVickers1974b">Vickers 1974b</A>, p. 92.</SPAN></LI>
<LI id="cite_note-FOOTNOTEWofford1994184–5-80"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEWofford1994184–5_80-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFWofford1994">Wofford 1994</A>, p. 184–5.</SPAN></LI>
<LI id="cite_note-FOOTNOTEVickers1974c5-81"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEVickers1974c5_81-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFVickers1974c">Vickers 1974c</A>, p. 5.</SPAN></LI>
<LI id="cite_note-FOOTNOTEWofford1994185-82"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEWofford1994185_82-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFWofford1994">Wofford 1994</A>, p. 185.</SPAN></LI>
<LI id="cite_note-FOOTNOTEWofford1994186-83"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEWofford1994186_83-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEWofford1994186_83-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFWofford1994">Wofford 1994</A>, p. 186.</SPAN></LI>
<LI id="cite_note-FOOTNOTERosenberg1992179-84"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTERosenberg1992179_84-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFRosenberg1992">Rosenberg 1992</A>, p. 179.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMacCary199867–72,_84-85"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMacCary199867–72,_84_85-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMacCary1998">MacCary 1998</A>, pp. 67–72, 84.</SPAN></LI>
<LI id="cite_note-FOOTNOTEKermode2000256-86"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEKermode2000256_86-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFKermode2000">Kermode 2000</A>, p. 256.</SPAN></LI>
<LI id="cite_note-FOOTNOTEEvans1974-88"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEEvans1974_88-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFEvans1974">Evans 1974</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHirrel2010-89"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHirrel2010_89-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHirrel2010">Hirrel 2010</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMacCary199884–5-91"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMacCary199884–5_91-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMacCary1998">MacCary 1998</A>, pp. 84–5.</SPAN></LI>
<LI id="cite_note-92"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-92"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 3.1.63–64.</SPAN></LI>
<LI id="cite_note-93"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-93"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 1.2.85–86.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMacCary199889–90-94"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMacCary199889–90_94-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMacCary1998">MacCary 1998</A>, pp. 89–90.</SPAN></LI>
<LI id="cite_note-95"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-95"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 3.1.87–160</SPAN></LI>
<LI id="cite_note-FOOTNOTEOED2005-97"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEOED2005_97-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFOED2005">OED 2005</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEKiernan200734-98"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEKiernan200734_98-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEKiernan200734_98-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFKiernan2007">Kiernan 2007</A>, p. 34.</SPAN></LI>
<LI id="cite_note-FOOTNOTEJenkins1982493–5-99"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEJenkins1982493–5_99-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEJenkins1982493–5_99-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFJenkins1982">Jenkins 1982</A>, pp. 493–5.</SPAN></LI>
<LI id="cite_note-101"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-101"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 2.1.63–65.</SPAN></LI>
<LI id="cite_note-102"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-102"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 3.1.151.</SPAN></LI>
<LI id="cite_note-103"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-103"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 3.1.154.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMacCary199887–8-104"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMacCary199887–8_104-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMacCary1998">MacCary 1998</A>, pp. 87–8.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMacCary199891–3-105"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMacCary199891–3_105-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMacCary1998">MacCary 1998</A>, pp. 91–3.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMacCary199837–8-106"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMacCary199837–8_106-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMacCary1998">MacCary 1998</A>, pp. 37–8.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMacCary199838-109"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMacCary199838_109-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMacCary1998">MacCary 1998</A>, p. 38.</SPAN></LI>
<LI id="cite_note-110"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-110"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet F1</I> 2.2.247–248.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMacCary199847–8-111"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMacCary199847–8_111-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMacCary1998">MacCary 1998</A>, pp. 47–8.</SPAN></LI>
<LI id="cite_note-112"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-112"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 3.1.55–87.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMacCary199849-113"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEMacCary199849_113-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEMacCary199849_113-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFMacCary1998">MacCary 1998</A>, p. 49.</SPAN></LI>
<LI id="cite_note-FOOTNOTEKnowles19991049,_1052–3-114"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEKnowles19991049,_1052–3_114-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFKnowles1999">Knowles 1999</A>, pp. 1049, 1052–3.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a73–4-115"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompsonTaylor2006a73–4_115-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, pp. 73–4.</SPAN></LI>
<LI id="cite_note-FOOTNOTEFreud1900367–8-116"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEFreud1900367–8_116-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEFreud1900367–8_116-1"><SUP><I><B>b</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEFreud1900367–8_116-2"><SUP><I><B>c</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFFreud1900">Freud 1900</A>, pp. 367–8.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBritton1995207–11-117"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEBritton1995207–11_117-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEBritton1995207–11_117-1"><SUP><I><B>b</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEBritton1995207–11_117-2"><SUP><I><B>c</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEBritton1995207–11_117-3"><SUP><I><B>d</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEBritton1995207–11_117-4"><SUP><I><B>e</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFBritton1995">Britton 1995</A>, pp. 207–11.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMorrison19974,_129–30-118"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMorrison19974,_129–30_118-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMorrison1997">Morrison 1997</A>, pp. 4, 129–30.</SPAN></LI>
<LI id="cite_note-FOOTNOTECotsell2005191-119"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTECotsell2005191_119-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFCotsell2005">Cotsell 2005</A>, p. 191.</SPAN></LI>
<LI id="cite_note-FOOTNOTEJones1910-120"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEJones1910_120-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFJones1910">Jones 1910</A>.</SPAN></LI>
<LI id="cite_note-121"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-121"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 3.4.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMacCary1998104–7,_113–16-123"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMacCary1998104–7,_113–16_123-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMacCary1998">MacCary 1998</A>, pp. 104–7, 113–16.</SPAN></LI>
<LI id="cite_note-FOOTNOTEde_Grazia2007168–70-124"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEde_Grazia2007168–70_124-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFde_Grazia2007">de Grazia 2007</A>, pp. 168–70.</SPAN></LI>
<LI id="cite_note-FOOTNOTESmallwood2002102-125"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESmallwood2002102_125-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSmallwood2002">Smallwood 2002</A>, p. 102.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBloomFoster2008xii-126"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEBloomFoster2008xii_126-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEBloomFoster2008xii_126-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFBloomFoster2008">Bloom & Foster 2008</A>, p. xii.</SPAN></LI>
<LI id="cite_note-FOOTNOTERothman2013-127"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTERothman2013_127-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFRothman2013">Rothman 2013</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGontar2013-128"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEGontar2013_128-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFGontar2013">Gontar 2013</A>.</SPAN></LI>
<LI id="cite_note-129"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-129"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 4.5.</SPAN></LI>
<LI id="cite_note-FOOTNOTEWofford1994199–202-130"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEWofford1994199–202_130-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFWofford1994">Wofford 1994</A>, pp. 199–202.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHoward2003411–15-131"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHoward2003411–15_131-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHoward2003">Howard 2003</A>, pp. 411–15.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHeilbrun1957-132"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHeilbrun1957_132-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHeilbrun1957">Heilbrun 1957</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBloom200358–9-133"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBloom200358–9_133-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBloom2003">Bloom 2003</A>, pp. 58–9.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompson20014-134"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompson20014_134-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompson2001">Thompson 2001</A>, p. 4.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBloom2003-135"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBloom2003_135-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBloom2003">Bloom 2003</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEShowalter1985-137"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEShowalter1985_137-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFShowalter1985">Showalter 1985</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBloom200357-138"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBloom200357_138-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBloom2003">Bloom 2003</A>, p. 57.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMacCary1998111–13-139"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMacCary1998111–13_139-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMacCary1998">MacCary 1998</A>, pp. 111–13.</SPAN></LI>
<LI id="cite_note-FOOTNOTEOsborne2007114–33-141"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEOsborne2007114–33_141-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFOsborne2007">Osborne 2007</A>, pp. 114–33.</SPAN></LI>
<LI id="cite_note-FOOTNOTEKerrigan1996122-142"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEKerrigan1996122_142-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFKerrigan1996">Kerrigan 1996</A>, p. 122.</SPAN></LI>
<LI id="cite_note-FOOTNOTEWarren2016367-143"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEWarren2016367_143-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFWarren2016">Warren 2016</A>, p. 367.</SPAN></LI>
<LI id="cite_note-FOOTNOTEWarren2016379-144"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEWarren2016379_144-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFWarren2016">Warren 2016</A>, p. 379.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a123–6-145"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEThompsonTaylor2006a123–6_145-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEThompsonTaylor2006a123–6_145-1"><SUP><I><B>b</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEThompsonTaylor2006a123–6_145-2"><SUP><I><B>c</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEThompsonTaylor2006a123–6_145-3"><SUP><I><B>d</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEThompsonTaylor2006a123–6_145-4"><SUP><I><B>e</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, pp. 123–6.</SPAN></LI>
<LI id="cite_note-FOOTNOTEWelsh2001131-146"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEWelsh2001131_146-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFWelsh2001">Welsh 2001</A>, p. 131.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a126–31-147"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEThompsonTaylor2006a126–31_147-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEThompsonTaylor2006a126–31_147-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, pp. 126–31.</SPAN></LI>
<LI id="cite_note-FOOTNOTENovy199462,_77–8-148"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTENovy199462,_77–8_148-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFNovy1994">Novy 1994</A>, pp. 62, 77–8.</SPAN></LI>
<LI id="cite_note-149"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-149"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 3.1.55–87.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBraun198240-150"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBraun198240_150-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBraun1982">Braun 1982</A>, p. 40.</SPAN></LI>
<LI id="cite_note-FOOTNOTETaylor20024-151"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTETaylor20024_151-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFTaylor2002">Taylor 2002</A>, p. 4.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBanham1998141-152"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBanham1998141_152-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBanham1998">Banham 1998</A>, p. 141.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHattaway198291-153"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHattaway198291_153-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHattaway1982">Hattaway 1982</A>, p. 91.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThomson198324-154"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThomson198324_154-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThomson1983">Thomson 1983</A>, p. 24.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThomson1983110-155"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThomson1983110_155-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThomson1983">Thomson 1983</A>, p. 110.</SPAN></LI>
<LI id="cite_note-FOOTNOTETaylor200213-157"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTETaylor200213_157-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFTaylor2002">Taylor 2002</A>, p. 13.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a53–5-158"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompsonTaylor2006a53–5_158-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, pp. 53–5.</SPAN></LI>
<LI id="cite_note-FOOTNOTEChambers1930334-159"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEChambers1930334_159-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFChambers1930">Chambers 1930</A>, p. 334.</SPAN></LI>
<LI id="cite_note-FOOTNOTEDawson2002176-160"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEDawson2002176_160-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEDawson2002176_160-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFDawson2002">Dawson 2002</A>, p. 176.</SPAN></LI>
<LI id="cite_note-FOOTNOTEPitcherWoudhuysen1969204-161"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEPitcherWoudhuysen1969204_161-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFPitcherWoudhuysen1969">Pitcher & Woudhuysen 1969</A>, p. 204.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHibbard198717-162"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHibbard198717_162-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHibbard1987">Hibbard 1987</A>, p. 17.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMarsden200221-163"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMarsden200221_163-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMarsden2002">Marsden 2002</A>, p. 21.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHolland200734-164"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHolland200734_164-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHolland2007">Holland 2007</A>, p. 34.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMarsden200221–2-165"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMarsden200221–2_165-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMarsden2002">Marsden 2002</A>, pp. 21–2.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor199657-166"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompsonTaylor199657_166-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor1996">Thompson & Taylor 1996</A>, p. 57.</SPAN></LI>
<LI id="cite_note-FOOTNOTETaylor198916-168"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTETaylor198916_168-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFTaylor1989">Taylor 1989</A>, p. 16.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a98–9-169"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompsonTaylor2006a98–9_169-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, pp. 98–9.</SPAN></LI>
<LI id="cite_note-FOOTNOTEUglow1977473-170"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEUglow1977473_170-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFUglow1977">Uglow 1977</A>, p. 473.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMorrison2002231-172"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMorrison2002231_172-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMorrison2002">Morrison 2002</A>, p. 231.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMoody200241-173"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMoody200241_173-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMoody2002">Moody 2002</A>, p. 41.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMoody200244-174"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMoody200244_174-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMoody2002">Moody 2002</A>, p. 44.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGay2002159-175"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEGay2002159_175-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFGay2002">Gay 2002</A>, p. 159.</SPAN></LI>
<LI id="cite_note-FOOTNOTEDawson2002185–7-176"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEDawson2002185–7_176-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFDawson2002">Dawson 2002</A>, pp. 185–7.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMorrison2002232–3-177"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMorrison2002232–3_177-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMorrison2002">Morrison 2002</A>, pp. 232–3.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMorrison2002235–7-178"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMorrison2002235–7_178-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMorrison2002">Morrison 2002</A>, pp. 235–7.</SPAN></LI>
<LI id="cite_note-FOOTNOTEWinter1875-179"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEWinter1875_179-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFWinter1875">Winter 1875</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMorrison2002241-180"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEMorrison2002241_180-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEMorrison2002241_180-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFMorrison2002">Morrison 2002</A>, p. 241.</SPAN></LI>
<LI id="cite_note-FOOTNOTESchoch200258–75-181"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESchoch200258–75_181-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSchoch2002">Schoch 2002</A>, pp. 58–75.</SPAN></LI>
<LI id="cite_note-FOOTNOTEShaw196181-182"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEShaw196181_182-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFShaw1961">Shaw 1961</A>, p. 81.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMoody200254-184"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMoody200254_184-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMoody2002">Moody 2002</A>, p. 54.</SPAN></LI>
<LI id="cite_note-FOOTNOTEO'Connor200277-185"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEO'Connor200277_185-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFO'Connor2002">O'Connor 2002</A>, p. 77.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGay2002164-186"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEGay2002164_186-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFGay2002">Gay 2002</A>, p. 164.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHolland2002203–5-188"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHolland2002203–5_188-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHolland2002">Holland 2002</A>, pp. 203–5.</SPAN></LI>
<LI id="cite_note-FOOTNOTEDawson2002184-189"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEDawson2002184_189-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFDawson2002">Dawson 2002</A>, p. 184.</SPAN></LI>
<LI id="cite_note-FOOTNOTEDawson2002188-190"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEDawson2002188_190-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFDawson2002">Dawson 2002</A>, p. 188.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGilliesMinamiLiTrivedi2002259–62-191"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEGilliesMinamiLiTrivedi2002259–62_191-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEGilliesMinamiLiTrivedi2002259–62_191-1"><SUP><I><B>b</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEGilliesMinamiLiTrivedi2002259–62_191-2"><SUP><I><B>c</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFGilliesMinamiLiTrivedi2002">Gillies et al. 2002</A>, pp. 259–62.</SPAN></LI>
<LI id="cite_note-FOOTNOTEDawson2002180-192"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEDawson2002180_192-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFDawson2002">Dawson 2002</A>, p. 180.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBenedetti1999188–211-193"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBenedetti1999188–211_193-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBenedetti1999">Benedetti 1999</A>, pp. 188–211.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBenedetti1999189,_195-195"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBenedetti1999189,_195_195-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBenedetti1999">Benedetti 1999</A>, pp. 189, 195.</SPAN></LI>
<LI id="cite_note-FOOTNOTETaxidou199838–41-196"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTETaxidou199838–41_196-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFTaxidou1998">Taxidou 1998</A>, pp. 38–41.</SPAN></LI>
<LI id="cite_note-FOOTNOTEInnes1983153-197"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEInnes1983153_197-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEInnes1983153_197-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFInnes1983">Innes 1983</A>, p. 153.</SPAN></LI>
<LI id="cite_note-FOOTNOTETaxidou1998181,_188-198"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTETaxidou1998181,_188_198-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFTaxidou1998">Taxidou 1998</A>, p. 181, 188.</SPAN></LI>
<LI id="cite_note-200"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-200"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 1.2.1–128.</SPAN></LI>
<LI id="cite_note-FOOTNOTEInnes1983152-202"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEInnes1983152_202-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFInnes1983">Innes 1983</A>, p. 152.</SPAN></LI>
<LI id="cite_note-FOOTNOTEInnes1983165–7-204"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEInnes1983165–7_204-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFInnes1983">Innes 1983</A>, pp. 165–7.</SPAN></LI>
<LI id="cite_note-FOOTNOTEInnes1983172-205"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEInnes1983172_205-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFInnes1983">Innes 1983</A>, p. 172.</SPAN></LI>
<LI id="cite_note-FOOTNOTEInnes1983140–75-206"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEInnes1983140–75_206-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFInnes1983">Innes 1983</A>, pp. 140–75.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHortmann2002214-207"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHortmann2002214_207-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHortmann2002">Hortmann 2002</A>, p. 214.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHortmann2002223-208"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHortmann2002223_208-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHortmann2002">Hortmann 2002</A>, p. 223.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBurian2004-209"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBurian2004_209-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBurian2004">Burian 2004</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEHortmann2002224–5-210"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEHortmann2002224–5_210-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFHortmann2002">Hortmann 2002</A>, pp. 224–5.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGilliesMinamiLiTrivedi2002267–9-211"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEGilliesMinamiLiTrivedi2002267–9_211-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEGilliesMinamiLiTrivedi2002267–9_211-1"><SUP><I><B>b</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEGilliesMinamiLiTrivedi2002267–9_211-2"><SUP><I><B>c</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFGilliesMinamiLiTrivedi2002">Gillies et al. 2002</A>, pp. 267–9.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMorrison2002247–8-212"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMorrison2002247–8_212-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMorrison2002">Morrison 2002</A>, pp. 247–8.</SPAN></LI>
<LI id="cite_note-FOOTNOTEThompsonTaylor2006a109-213"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEThompsonTaylor2006a109_213-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFThompsonTaylor2006a">Thompson & Taylor 2006a</A>, p. 109.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMorrison2002249-214"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMorrison2002249_214-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMorrison2002">Morrison 2002</A>, p. 249.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMorrison2002249–50-215"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMorrison2002249–50_215-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMorrison2002">Morrison 2002</A>, pp. 249–50.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBlum1981307-216"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBlum1981307_216-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBlum1981">Blum 1981</A>, p. 307.</SPAN></LI>
<LI id="cite_note-FOOTNOTETanitch1985-217"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTETanitch1985_217-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFTanitch1985">Tanitch 1985</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTESmallwood2002108-218"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESmallwood2002108_218-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSmallwood2002">Smallwood 2002</A>, p. 108.</SPAN></LI>
<LI id="cite_note-FOOTNOTENational_Theatren.d.-219"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTENational_Theatren.d._219-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFNational_Theatren.d.">National Theatre n.d.</A></SPAN></LI>
<LI id="cite_note-FOOTNOTECanby1995-220"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTECanby1995_220-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFCanby1995">Canby 1995</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGussow1992-221"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEGussow1992_221-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEGussow1992_221-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFGussow1992">Gussow 1992</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGuernseySweet200043-222"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEGuernseySweet200043_222-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFGuernseySweet2000">Guernsey & Sweet 2000</A>, p. 43.</SPAN></LI>
<LI id="cite_note-FOOTNOTEPanagako1978-223"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEPanagako1978_223-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFPanagako1978">Panagako 1978</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEMcKellenPuttnamWaxRedgrave1990124-225"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEMcKellenPuttnamWaxRedgrave1990124_225-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFMcKellenPuttnamWaxRedgrave1990">McKellen et al. 1990</A>, p. 124.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBarratt200563-226"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBarratt200563_226-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBarratt2005">Barratt 2005</A>, p. 63.</SPAN></LI>
<LI id="cite_note-FOOTNOTEDavison1999170–82-227"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEDavison1999170–82_227-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFDavison1999">Davison 1999</A>, pp. 170–82.</SPAN></LI>
<LI id="cite_note-228"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-228"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation web"><A rel="nofollow" class="external text" href="https://www.ausstage.edu.au/pages/event/27533">"AusStage"</A>. <I>www.ausstage.edu.au</I>. <A rel="nofollow" class="external text" href="https://web.archive.org/web/20180213195439/https://www.ausstage.edu.au/pages/event/27533">Archived</A> from the original on 13 February 2018<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">13 February</SPAN> 2018</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.ausstage.edu.au&rft.atitle=AusStage&rft_id=https%3A%2F%2Fwww.ausstage.edu.au%2Fpages%2Fevent%2F27533&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-FOOTNOTEBillington2001-229"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBillington2001_229-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBillington2001">Billington 2001</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGardner2002-230"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEGardner2002_230-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFGardner2002">Gardner 2002</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBillington2008-231"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBillington2008_231-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBillington2008">Billington 2008</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBrown2016-232"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBrown2016_232-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBrown2016">Brown 2016</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEShenton2007-233"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEShenton2007_233-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFShenton2007">Shenton 2007</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBroadwayworld2009-234"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBroadwayworld2009_234-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBroadwayworld2009">Broadwayworld 2009</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEDaily_Mirror2009-235"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEDaily_Mirror2009_235-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFDaily_Mirror2009">Daily Mirror 2009</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTELaw200953:55-236"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTELaw200953:55_236-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFLaw2009">Law 2009</A>, 53:55.</SPAN></LI>
<LI id="cite_note-FOOTNOTEItzkoff2009-237"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEItzkoff2009_237-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFItzkoff2009">Itzkoff 2009</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEFine2013-238"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEFine2013_238-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFFine2013">Fine 2013</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGlobe_to_Globe_Hamletn.d.-239"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEGlobe_to_Globe_Hamletn.d._239-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFGlobe_to_Globe_Hamletn.d.">Globe to Globe Hamlet n.d.</A></SPAN></LI>
<LI id="cite_note-FOOTNOTEStewart2014-240"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEStewart2014_240-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFStewart2014">Stewart 2014</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTECalia2014-241"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTECalia2014_241-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFCalia2014">Calia 2014</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTESulcas2017-242"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESulcas2017_242-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSulcas2017">Sulcas 2017</A>.</SPAN></LI>
<LI id="cite_note-243"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-243"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation news"><A rel="nofollow" class="external text" href="https://www.telegraph.co.uk/theatre/what-to-see/tom-hiddleston-hamlet-supremely-self-assured-prince-radas/">"Tom Hiddleston in Hamlet review: a supremely self-assured Prince - Rada's Jerwood Vanbrugh Theatre"</A>. <I>The Telegraph</I>. 2017-09-02. <A href="/wiki/International_Standard_Serial_Number" title="International Standard Serial Number">ISSN</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/issn/0307-1235">0307-1235</A><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">2018-02-19</SPAN></SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Telegraph&rft.atitle=Tom+Hiddleston+in+Hamlet+review%3A+a+supremely+self-assured+Prince+-+Rada%27s+Jerwood+Vanbrugh+Theatre&rft.date=2017-09-02&rft.issn=0307-1235&rft_id=https%3A%2F%2Fwww.telegraph.co.uk%2Ftheatre%2Fwhat-to-see%2Ftom-hiddleston-hamlet-supremely-self-assured-prince-radas%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-244"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-244"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Hamlet</I> 5.2.203–387.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBrode2001117–18-246"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-FOOTNOTEBrode2001117–18_246-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEBrode2001117–18_246-1"><SUP><I><B>b</B></I></SUP></A> <A href="#cite_ref-FOOTNOTEBrode2001117–18_246-2"><SUP><I><B>c</B></I></SUP></A></SPAN> <SPAN class="reference-text"><A href="#CITEREFBrode2001">Brode 2001</A>, pp. 117–18.</SPAN></LI>
<LI id="cite_note-FOOTNOTEDavies2000171-247"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEDavies2000171_247-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFDavies2000">Davies 2000</A>, p. 171.</SPAN></LI>
<LI id="cite_note-FOOTNOTEFox2009-248"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEFox2009_248-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFFox2009">Fox 2009</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBrennann.d.-249"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBrennann.d._249-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBrennann.d.">Brennan n.d.</A></SPAN></LI>
<LI id="cite_note-FOOTNOTEGuntner2000120–1-250"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEGuntner2000120–1_250-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFGuntner2000">Guntner 2000</A>, pp. 120–1.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBrode2001125–7-251"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBrode2001125–7_251-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBrode2001">Brode 2001</A>, pp. 125–7.</SPAN></LI>
<LI id="cite_note-FOOTNOTECartmell2000212-252"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTECartmell2000212_252-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFCartmell2000">Cartmell 2000</A>, p. 212.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGuntner2000121–2-253"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEGuntner2000121–2_253-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFGuntner2000">Guntner 2000</A>, pp. 121–2.</SPAN></LI>
<LI id="cite_note-FOOTNOTECrowl2000232-254"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTECrowl2000232_254-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFCrowl2000">Crowl 2000</A>, p. 232.</SPAN></LI>
<LI id="cite_note-FOOTNOTEStarks1999272-255"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEStarks1999272_255-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFStarks1999">Starks 1999</A>, p. 272.</SPAN></LI>
<LI id="cite_note-FOOTNOTEKeyishian200078–9-256"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEKeyishian200078–9_256-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFKeyishian2000">Keyishian 2000</A>, pp. 78–9.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBurnett2003-257"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBurnett2003_257-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBurnett2003">Burnett 2003</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGupta2014-258"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEGupta2014_258-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFGupta2014">Gupta 2014</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEWarrenn.d.-259"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEWarrenn.d._259-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFWarrenn.d.">Warren n.d.</A></SPAN></LI>
<LI id="cite_note-FOOTNOTEGilbert1892349–66-260"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEGilbert1892349–66_260-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFGilbert1892">Gilbert 1892</A>, pp. 349–66.</SPAN></LI>
<LI id="cite_note-FOOTNOTESchultz2008-261"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTESchultz2008_261-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFSchultz2008">Schultz 2008</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEGrode2011-262"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEGrode2011_262-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFGrode2011">Grode 2011</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTETodoroff2011-263"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTETodoroff2011_263-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFTodoroff2011">Todoroff 2011</A>.</SPAN></LI>
<LI id="cite_note-FOOTNOTEBrandes2001-264"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-FOOTNOTEBrandes2001_264-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A href="#CITEREFBrandes2001">Brandes 2001</A>.</SPAN></LI>
</OL>
</DIV>
<H2><SPAN class="mw-headline" id="Sources_2">Sources</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=33" title="Edit section: Sources">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<H3><SPAN class="mw-headline" id="Editions_of_Hamlet">Editions of <I>Hamlet</I></SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=34" title="Edit section: Editions of Hamlet">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<DIV class="refbegin columns references-column-width" style="-moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em;">
<UL>
<LI><CITE id="CITEREFBateRasmussen2007" class="citation book"><A href="/wiki/Jonathan_Bate" title="Jonathan Bate">Bate, Jonathan</A>; Rasmussen, Eric, eds. (2007). <I>Complete Works</I>. <A href="/w/index.php?title=The_RSC_Shakespeare&action=edit&redlink=1" class="new" title="The RSC Shakespeare (page does not exist)">The RSC Shakespeare</A>. New York: <A href="/wiki/Royal_Shakespeare_Company" title="Royal Shakespeare Company">Royal Shakespeare Company</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-679-64295-1" title="Special:BookSources/0-679-64295-1">0-679-64295-1</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Complete+Works&rft.place=New+York&rft.series=The+RSC+Shakespeare&rft.pub=Royal+Shakespeare+Company&rft.date=2007&rft.isbn=0-679-64295-1&rft.aulast=Shakespeare&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBateRasmussen2008" class="citation book"><A href="/wiki/Jonathan_Bate" title="Jonathan Bate">Bate, Jonathan</A>; Rasmussen, Eric, eds. (2008). <I>Hamlet</I>. <A href="/w/index.php?title=The_RSC_Shakespeare&action=edit&redlink=1" class="new" title="The RSC Shakespeare (page does not exist)">The RSC Shakespeare</A>. <A href="/wiki/The_Royal_Shakespeare_Company" class="mw-redirect" title="The Royal Shakespeare Company">The Royal Shakespeare Company</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0230217867" title="Special:BookSources/978-0230217867">978-0230217867</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet&rft.series=The+RSC+Shakespeare&rft.pub=The+Royal+Shakespeare+Company&rft.date=2008&rft.isbn=978-0230217867&rft.aulast=Shakespeare&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFEdwards1985" class="citation book">Edwards, Phillip, ed. (1985). <I>Hamlet, Prince of Denmark</I>. <A href="/wiki/New_Cambridge_Shakespeare" title="New Cambridge Shakespeare">New Cambridge Shakespeare</A>. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0521293662" title="Special:BookSources/978-0521293662">978-0521293662</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet%2C+Prince+of+Denmark&rft.place=Cambridge&rft.series=New+Cambridge+Shakespeare&rft.pub=Cambridge+University+Press&rft.date=1985&rft.isbn=978-0521293662&rft.aulast=Shakespeare&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFEvans1974" class="citation book"><A href="/wiki/G._Blakemore_Evans" title="G. Blakemore Evans">Evans, G. Blakemore</A>, ed. (1974). <I>The Riverside Shakespeare</I>. <A href="/wiki/The_Riverside_Shakespeare" class="mw-redirect" title="The Riverside Shakespeare">The Riverside Shakespeare</A>. <A href="/wiki/Houghton_Mifflin" class="mw-redirect" title="Houghton Mifflin">Houghton Mifflin</A> for <A href="/wiki/Riverside_Shakespeare_Company" title="Riverside Shakespeare Company">Riverside Shakespeare Company</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9780395044025" title="Special:BookSources/9780395044025">9780395044025</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Riverside+Shakespeare&rft.series=The+Riverside+Shakespeare&rft.pub=Houghton+Mifflin+for+Riverside+Shakespeare+Company&rft.date=1974&rft.isbn=9780395044025&rft.aulast=Shakespeare&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFHibbard1987" class="citation book">Hibbard, G. R., ed. (1987). <I>Hamlet</I>. <A href="/wiki/Oxford_World%27s_Classics" title="Oxford World's Classics">Oxford World's Classics</A>. Oxford: <A href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-19-283416-9" title="Special:BookSources/0-19-283416-9">0-19-283416-9</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet&rft.place=Oxford&rft.series=Oxford+World%27s+Classics&rft.pub=Oxford+University+Press&rft.date=1987&rft.isbn=0-19-283416-9&rft.aulast=Shakespeare&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFIrace1998" class="citation book">Irace, Kathleen O., ed. (1998). <I>The First Quarto of Hamlet</I>. <A href="/wiki/New_Cambridge_Shakespeare" title="New Cambridge Shakespeare">New Cambridge Shakespeare</A>. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-65390-8" title="Special:BookSources/0-521-65390-8">0-521-65390-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+First+Quarto+of+Hamlet&rft.place=Cambridge&rft.series=New+Cambridge+Shakespeare&rft.pub=Cambridge+University+Press&rft.date=1998&rft.isbn=0-521-65390-8&rft.aulast=Shakespeare&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFJenkins1982" class="citation book">Jenkins, Harold, ed. (1982). <I>Hamlet</I>. <A href="/wiki/The_Arden_Shakespeare" class="mw-redirect" title="The Arden Shakespeare">The Arden Shakespeare</A>, second series. London: <A href="/wiki/Methuen_Publishing" title="Methuen Publishing">Methuen</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-903436-67-2" title="Special:BookSources/1-903436-67-2">1-903436-67-2</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet&rft.place=London&rft.series=The+Arden+Shakespeare%2C+second+series&rft.pub=Methuen&rft.date=1982&rft.isbn=1-903436-67-2&rft.aulast=Shakespeare&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFLott1970" class="citation book">Lott, Bernard, ed. (1970). <I>Hamlet</I>. <A href="/w/index.php?title=New_Swan_Shakespeare&action=edit&redlink=1" class="new" title="New Swan Shakespeare (page does not exist)">New Swan Shakespeare</A>, Advanced series (New ed.). London: <A href="/wiki/Longman" title="Longman">Longman</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-582-52742-2" title="Special:BookSources/0-582-52742-2">0-582-52742-2</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet&rft.place=London&rft.series=New+Swan+Shakespeare%2C+Advanced+series&rft.edition=New&rft.pub=Longman&rft.date=1970&rft.isbn=0-582-52742-2&rft.aulast=Shakespeare&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFThompsonTaylor2006a" class="citation book">Thompson, Ann; Taylor, Neil, eds. (2006). <I>Hamlet</I>. <A href="/wiki/The_Arden_Shakespeare" class="mw-redirect" title="The Arden Shakespeare">The Arden Shakespeare</A>, third series. <B>1</B>. London: <A href="/wiki/Cengage_Learning" class="mw-redirect" title="Cengage Learning">Cengage Learning</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-904271-33-2" title="Special:BookSources/1-904271-33-2">1-904271-33-2</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet&rft.place=London&rft.series=The+Arden+Shakespeare%2C+third+series&rft.pub=Cengage+Learning&rft.date=2006&rft.isbn=1-904271-33-2&rft.aulast=Shakespeare&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFThompsonTaylor2006b" class="citation book">Thompson, Ann; Taylor, Neil, eds. (2006). <I>Hamlet: The Texts of 1603 and 1623</I>. <A href="/wiki/The_Arden_Shakespeare" class="mw-redirect" title="The Arden Shakespeare">The Arden Shakespeare</A>, third series. <B>2</B>. London: <A href="/wiki/Cengage_Learning" class="mw-redirect" title="Cengage Learning">Cengage Learning</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-904271-80-4" title="Special:BookSources/1-904271-80-4">1-904271-80-4</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet%3A+The+Texts+of+1603+and+1623&rft.place=London&rft.series=The+Arden+Shakespeare%2C+third+series&rft.pub=Cengage+Learning&rft.date=2006&rft.isbn=1-904271-80-4&rft.aulast=Shakespeare&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFWellsTaylor1988" class="citation book">Wells, Stanley; Taylor, Gary, eds. (1988). <I>The Complete Works</I>. <A href="/wiki/The_Oxford_Shakespeare" title="The Oxford Shakespeare">The Oxford Shakespeare</A> (Compact ed.). Oxford: <A href="/wiki/Clarendon_Press" class="mw-redirect" title="Clarendon Press">Clarendon Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-19-871190-5" title="Special:BookSources/0-19-871190-5">0-19-871190-5</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Complete+Works&rft.place=Oxford&rft.series=The+Oxford+Shakespeare&rft.edition=Compact&rft.pub=Clarendon+Press&rft.date=1988&rft.isbn=0-19-871190-5&rft.aulast=Shakespeare&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
</UL>
</DIV>
<H3><SPAN class="mw-headline" id="Secondary_sources">Secondary sources</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=35" title="Edit section: Secondary sources">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<DIV class="refbegin columns references-column-width" style="-moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em;">
<UL>
<LI><CITE id="CITEREFAlexander1964" class="citation book"><A href="/wiki/Peter_Alexander_(Shakespearean_scholar)" title="Peter Alexander (Shakespearean scholar)">Alexander, Peter</A> (1964). <I>Alexander's Introductions to Shakespeare</I>. London: <A href="/wiki/William_Collins,_Sons" title="William Collins, Sons">Collins</A>. <A href="/wiki/OCLC" title="OCLC">OCLC</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/oclc/257743100">257743100</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Alexander%27s+Introductions+to+Shakespeare&rft.place=London&rft.pub=Collins&rft.date=1964&rft_id=info%3Aoclcnum%2F257743100&rft.aulast=Alexander&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBanham1998" class="citation book">Banham, Martin, ed. (1998). <I>The Cambridge Guide to Theatre</I>. Cambridge Guides. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-43437-8" title="Special:BookSources/0-521-43437-8">0-521-43437-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Cambridge+Guide+to+Theatre&rft.place=Cambridge&rft.series=Cambridge+Guides&rft.pub=Cambridge+University+Press&rft.date=1998&rft.isbn=0-521-43437-8&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBarratt2005" class="citation book">Barratt, Mark (2005). <I>Ian Mckellen: An Unofficial Biography</I>. <A href="/wiki/Virgin_Books" title="Virgin Books">Virgin Books</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-1852272517" title="Special:BookSources/978-1852272517">978-1852272517</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Ian+Mckellen%3A+An+Unofficial+Biography&rft.pub=Virgin+Books&rft.date=2005&rft.isbn=978-1852272517&rft.aulast=Barratt&rft.aufirst=Mark&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBenedetti1999" class="citation book">Benedetti, Jean (1999) [1988]. <I>Stanislavski: His Life and Art</I> (Revised ed.). London: <A href="/wiki/Methuen_Publishing" title="Methuen Publishing">Methuen</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-413-52520-1" title="Special:BookSources/0-413-52520-1">0-413-52520-1</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Stanislavski%3A+His+Life+and+Art&rft.place=London&rft.edition=Revised&rft.pub=Methuen&rft.date=1999&rft.isbn=0-413-52520-1&rft.aulast=Benedetti&rft.aufirst=Jean&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBillington2001" class="citation news"><A href="/wiki/Michael_Billington_(critic)" title="Michael Billington (critic)">Billington, Michael</A> (4 May 2001). <A rel="nofollow" class="external text" href="https://www.theguardian.com/stage/2001/may/04/theatre.artsfeatures1">"<I>Hamlet</I>—Royal Shakespeare Theatre, Stratford Upon Avon"</A>. Theatre. <I><A href="/wiki/The_Guardian" title="The Guardian">The Guardian</A></I>. London.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Hamlet%E2%80%94Royal+Shakespeare+Theatre%2C+Stratford+Upon+Avon&rft.date=2001-05-04&rft.aulast=Billington&rft.aufirst=Michael&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fstage%2F2001%2Fmay%2F04%2Ftheatre.artsfeatures1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBillington2008" class="citation news"><A href="/wiki/Michael_Billington_(critic)" title="Michael Billington (critic)">Billington, Michael</A> (6 August 2008). <A rel="nofollow" class="external text" href="https://www.theguardian.com/stage/2008/aug/06/theatre.rsc">"<I>Hamlet</I>—Courtyard, Stratford-upon-Avon"</A>. Theatre. <I><A href="/wiki/The_Guardian" title="The Guardian">The Guardian</A></I>. London.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Hamlet%E2%80%94Courtyard%2C+Stratford-upon-Avon&rft.date=2008-08-06&rft.aulast=Billington&rft.aufirst=Michael&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fstage%2F2008%2Faug%2F06%2Ftheatre.rsc&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBloom2001" class="citation book"><A href="/wiki/Harold_Bloom" title="Harold Bloom">Bloom, Harold</A> (2001). <I>Shakespeare: The Invention of the Human</I> (Open Market ed.). Harlow, Essex: <A href="/wiki/Longman" title="Longman">Longman</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-57322-751-X" title="Special:BookSources/1-57322-751-X">1-57322-751-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Shakespeare%3A+The+Invention+of+the+Human&rft.place=Harlow%2C+Essex&rft.edition=Open+Market&rft.pub=Longman&rft.date=2001&rft.isbn=1-57322-751-X&rft.aulast=Bloom&rft.aufirst=Harold&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBloom2003" class="citation book"><A href="/wiki/Harold_Bloom" title="Harold Bloom">Bloom, Harold</A> (2003). <I>Hamlet: Poem Unlimited</I>. Edinburgh: <A href="/wiki/Canongate_Books" title="Canongate Books">Canongate</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-84195-461-6" title="Special:BookSources/1-84195-461-6">1-84195-461-6</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet%3A+Poem+Unlimited&rft.place=Edinburgh&rft.pub=Canongate&rft.date=2003&rft.isbn=1-84195-461-6&rft.aulast=Bloom&rft.aufirst=Harold&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBloomFoster2008" class="citation book"><A href="/wiki/Harold_Bloom" title="Harold Bloom">Bloom, Harold</A>; Foster, Brett, eds. (2008). <I>Hamlet</I>. Bloom's Shakespeare through the ages. Bloom's Literary Criticism. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9780791095928" title="Special:BookSources/9780791095928">9780791095928</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet&rft.series=Bloom%27s+Shakespeare+through+the+ages&rft.pub=Bloom%27s+Literary+Criticism&rft.date=2008&rft.isbn=9780791095928&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBlum1981" class="citation book">Blum, Daniel C. (1981). <I>A Pictorial History of the American Theatre, 1860-1980</I> (5th ed.). <A href="/wiki/Crown_Publishers" class="mw-redirect" title="Crown Publishers">Crown Publishers</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0517542620" title="Special:BookSources/978-0517542620">978-0517542620</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+Pictorial+History+of+the+American+Theatre%2C+1860-1980&rft.edition=5th&rft.pub=Crown+Publishers&rft.date=1981&rft.isbn=978-0517542620&rft.aulast=Blum&rft.aufirst=Daniel+C.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBrandes2001" class="citation web">Brandes, Philip (5 July 2001). <A rel="nofollow" class="external text" href="http://articles.latimes.com/2001/jul/05/entertainment/ca-18763">"A Viking Helmet for <I>Hamlet</I> in Satirical <I>Mad Boy Chronicle</I>"</A>. <I><A href="/wiki/Los_Angeles_Times" title="Los Angeles Times">Los Angeles Times</A></I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">20 December</SPAN> 2017</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Los+Angeles+Times&rft.atitle=A+Viking+Helmet+for+Hamlet+in+Satirical+Mad+Boy+Chronicle&rft.date=2001-07-05&rft.aulast=Brandes&rft.aufirst=Philip&rft_id=http%3A%2F%2Farticles.latimes.com%2F2001%2Fjul%2F05%2Fentertainment%2Fca-18763&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBraun1982" class="citation book">Braun, Edward (1982). <I>The Director and the Stage: From Naturalism to Grotowski</I>. London: <A href="/wiki/Methuen_Publishing" title="Methuen Publishing">Methuen</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0-413-46300-5" title="Special:BookSources/978-0-413-46300-5">978-0-413-46300-5</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Director+and+the+Stage%3A+From+Naturalism+to+Grotowski&rft.place=London&rft.pub=Methuen&rft.date=1982&rft.isbn=978-0-413-46300-5&rft.aulast=Braun&rft.aufirst=Edward&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBrennann.d." class="citation web">Brennan, Sandra (n.d.). <A rel="nofollow" class="external text" href="https://web.archive.org/web/20150218212705/http://www.nytimes.com/movies/person/66625/Innokenti-Smoktunovsky/biography">"Innokenti Smoktunovsky"</A>. <I><A href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</A></I>. Archived from <A rel="nofollow" class="external text" href="https://movies.nytimes.com/person/66625/Innokenti-Smoktunovsky/biography">the original</A> on 18 February 2015<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">29 May</SPAN> 2010</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+New+York+Times&rft.atitle=Innokenti+Smoktunovsky&rft.chron=n.d.&rft.aulast=Brennan&rft.aufirst=Sandra&rft_id=https%3A%2F%2Fmovies.nytimes.com%2Fperson%2F66625%2FInnokenti-Smoktunovsky%2Fbiography&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBritton1995" class="citation book">Britton, Celia (1995). "Structuralist and poststructuralist psychoanalytic and Marxist theories". In Seldon, Raman. <I>From Formalism to Poststructuralism</I>. Cambridge History of Literary Criticism. <B>8</B>. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0-521-30013-1" title="Special:BookSources/978-0-521-30013-1">978-0-521-30013-1</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Structuralist+and+poststructuralist+psychoanalytic+and+Marxist+theories&rft.btitle=From+Formalism+to+Poststructuralism&rft.place=Cambridge&rft.series=Cambridge+History+of+Literary+Criticism&rft.pub=Cambridge+University+Press&rft.date=1995&rft.isbn=978-0-521-30013-1&rft.aulast=Britton&rft.aufirst=Celia&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBrode2001" class="citation book">Brode, Douglas (2001). <I>Shakespeare in the Movies: From the Silent Era to Today</I>. New York: Berkley Boulevard Books. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-425-18176-6" title="Special:BookSources/0-425-18176-6">0-425-18176-6</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Shakespeare+in+the+Movies%3A+From+the+Silent+Era+to+Today&rft.place=New+York&rft.pub=Berkley+Boulevard+Books&rft.date=2001&rft.isbn=0-425-18176-6&rft.aulast=Brode&rft.aufirst=Douglas&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBroadwayworld2009" class="citation web"><A rel="nofollow" class="external text" href="http://www.broadwayworld.com/westend/article/Cook-Eyre-Lee-And-More-Join-Jude-Law-In-Grandages-HAMLET-20090204">"Cook, Eyre, Lee And More Join Jude Law In Grandage's HAMLET"</A>. <I>Broadwayworld</I>. 4 February 2009<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">18 February</SPAN> 2009</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Broadwayworld&rft.atitle=Cook%2C+Eyre%2C+Lee+And+More+Join+Jude+Law+In+Grandage%27s+HAMLET&rft.date=2009-02-04&rft_id=http%3A%2F%2Fwww.broadwayworld.com%2Fwestend%2Farticle%2FCook-Eyre-Lee-And-More-Join-Jude-Law-In-Grandages-HAMLET-20090204&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBrown2016" class="citation news">Brown, Mark (1 April 2016). <A rel="nofollow" class="external text" href="https://www.theguardian.com/culture/2016/apr/01/sherlock-andrew-scott-moriarty-play-hamlet-almeida-theatre-cumberbatch">"Sherlock star Andrew Scott to play Hamlet in new UK production"</A>. Theatre. <I><A href="/wiki/The_Guardian" title="The Guardian">The Guardian</A></I>. London<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">22 July</SPAN> 2016</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Sherlock+star+Andrew+Scott+to+play+Hamlet+in+new+UK+production&rft.date=2016-04-01&rft.aulast=Brown&rft.aufirst=Mark&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fculture%2F2016%2Fapr%2F01%2Fsherlock-andrew-scott-moriarty-play-hamlet-almeida-theatre-cumberbatch&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBurian2004" class="citation book">Burian, Jarka (2004) [1993]. "Hamlet in Postwar Czech Theatre". In <A href="/wiki/Dennis_Kennedy_(author)" title="Dennis Kennedy (author)">Kennedy, Dennis</A>. <I>Foreign Shakespeare: Contemporary Performance</I> (New ed.). Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-61708-1" title="Special:BookSources/0-521-61708-1">0-521-61708-1</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Hamlet+in+Postwar+Czech+Theatre&rft.btitle=Foreign+Shakespeare%3A+Contemporary+Performance&rft.place=Cambridge&rft.edition=New&rft.pub=Cambridge+University+Press&rft.date=2004&rft.isbn=0-521-61708-1&rft.aulast=Burian&rft.aufirst=Jarka&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBurnett2003" class="citation journal">Burnett, Mark Thornton (2003). "<SPAN style="padding-left:0.2em;">"</SPAN>To Hear and See the Matter": Communicating Technology in Michael Almereyda's <I>Hamlet</I> (2000)". <I><A href="/wiki/Cinema_Journal" title="Cinema Journal">Cinema Journal</A></I>. <B>42</B> (3): 48–69. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.1353%2Fcj.2003.0007">10.1353/cj.2003.0007</A>. <A href="/wiki/International_Standard_Serial_Number" title="International Standard Serial Number">ISSN</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/issn/1527-2087">1527-2087</A>. <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A> <A rel="nofollow" class="external text" href="//www.jstor.org/stable/1225904">1225904</A> – via <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A>. <SPAN style="font-size:90%; color:#555">(Subscription required (<SPAN title="The site requires a paid subscription to access this page." style="border-bottom:1px dotted;cursor:help">help</SPAN>))</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Cinema+Journal&rft.atitle=%22To+Hear+and+See+the+Matter%22%3A+Communicating+Technology+in+Michael+Almereyda%27s+Hamlet+%282000%29&rft.volume=42&rft.issue=3&rft.pages=48-69&rft.date=2003&rft.issn=1527-2087&rft_id=%2F%2Fwww.jstor.org%2Fstable%2F1225904&rft_id=info%3Adoi%2F10.1353%2Fcj.2003.0007&rft.aulast=Burnett&rft.aufirst=Mark+Thornton&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFBurrow2002" class="citation web">Burrow, Colin (19 May 2002). <A rel="nofollow" class="external text" href="https://shine.unibas.ch/editinghamlet.html">"Will the real Hamlet please stand up?"</A>. <I>Shakespeare in Europe Project</I>. <A href="/wiki/University_of_Basel" title="University of Basel">University of Basel</A><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">28 June</SPAN> 2016</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Shakespeare+in+Europe+Project&rft.atitle=Will+the+real+Hamlet+please+stand+up%3F&rft.date=2002-05-19&rft.aulast=Burrow&rft.aufirst=Colin&rft_id=https%3A%2F%2Fshine.unibas.ch%2Feditinghamlet.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFCalia2014" class="citation news">Calia, Michael (11 August 2014). <A rel="nofollow" class="external text" href="https://blogs.wsj.com/speakeasy/2014/08/11/benedict-cumberbatch-as-hamlet-opens-next-year-and-is-now-sold-out/">"Benedict Cumberbatch as 'Hamlet' Opens Next Year, And Is Now Sold Out"</A>. Speakeasy. <I><A href="/wiki/The_Wall_Street_Journal" title="The Wall Street Journal">The Wall Street Journal</A></I>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Wall+Street+Journal&rft.atitle=Benedict+Cumberbatch+as+%E2%80%98Hamlet%E2%80%99+Opens+Next+Year%2C+And+Is+Now+Sold+Out&rft.date=2014-08-11&rft.aulast=Calia&rft.aufirst=Michael&rft_id=https%3A%2F%2Fblogs.wsj.com%2Fspeakeasy%2F2014%2F08%2F11%2Fbenedict-cumberbatch-as-hamlet-opens-next-year-and-is-now-sold-out%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFCanby1995" class="citation news">Canby, Vincent (3 May 1995). <A rel="nofollow" class="external text" href="https://www.nytimes.com/1995/05/03/theater/theater-review-ralph-fiennes-as-mod-hamlet.html">"Ralph Fiennes as Mod Hamlet"</A>. <I><A href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</A></I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">21 July</SPAN> 2016</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Ralph+Fiennes+as+Mod+Hamlet&rft.date=1995-05-03&rft.aulast=Canby&rft.aufirst=Vincent&rft_id=https%3A%2F%2Fwww.nytimes.com%2F1995%2F05%2F03%2Ftheater%2Ftheater-review-ralph-fiennes-as-mod-hamlet.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFCairncross1975" class="citation book"><A href="/wiki/Andrew_Cairncross" title="Andrew Cairncross">Cairncross, Andrew S.</A> (1975) [1936]. <I>The Problem of Hamlet: A Solution</I> (Reprint ed.). Norwood, PA: Norwood Editions. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-88305-130-3" title="Special:BookSources/0-88305-130-3">0-88305-130-3</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Problem+of+Hamlet%3A+A+Solution&rft.place=Norwood%2C+PA&rft.edition=Reprint&rft.pub=Norwood+Editions&rft.date=1975&rft.isbn=0-88305-130-3&rft.aulast=Cairncross&rft.aufirst=Andrew+S.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFCartmell2000" class="citation book">Cartmell, Deborah (2000). "Franco Zeffirelli and Shakespeare". In Jackson, Russell. <I>The Cambridge Companion to Shakespeare on Film</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 212–21. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-63975-1" title="Special:BookSources/0-521-63975-1">0-521-63975-1</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Franco+Zeffirelli+and+Shakespeare&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Film&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=212-21&rft.pub=Cambridge+University+Press&rft.date=2000&rft.isbn=0-521-63975-1&rft.aulast=Cartmell&rft.aufirst=Deborah&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFCecil2012" class="citation book"><A href="/wiki/William_Cecil,_1st_Baron_Burghley" title="William Cecil, 1st Baron Burghley">Cecil, William</A> (2012) [First published in 1916]. <A rel="nofollow" class="external text" href="http://bartleby.com/209/166.html">"Ten Precepts"</A>. In <A href="/wiki/Sir_Henry_Craik,_1st_Baronet" title="Sir Henry Craik, 1st Baronet">Craik, Henry</A>. <A rel="nofollow" class="external text" href="http://bartleby.com/209/index1.html"><I>English Prose, Selections with Critical Introductions by Various Writers and General Introductions to Each Period; edited by Henry Craik</I></A> (Online edition by <A href="/wiki/Bartleby.com" title="Bartleby.com">Bartleby.com</A> ed.). New York: <A href="/wiki/The_Macmillan_Company" class="mw-redirect" title="The Macmillan Company">The Macmillan Company</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Ten+Precepts&rft.btitle=English+Prose%2C+Selections+with+Critical+Introductions+by+Various+Writers+and+General+Introductions+to+Each+Period%3B+edited+by+Henry+Craik.&rft.place=New+York&rft.edition=Online+edition+by+Bartleby.com&rft.pub=The+Macmillan+Company&rft.date=2012&rft.aulast=Cecil&rft.aufirst=William&rft_id=http%3A%2F%2Fbartleby.com%2F209%2F166.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFChambers1923a" class="citation book"><A href="/wiki/E._K._Chambers" title="E. K. Chambers">Chambers, E. K.</A> (2009) [First published 1923]. <I>The Elizabethan Stage</I>. <B>1</B>. New York: <A href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9780199567485" title="Special:BookSources/9780199567485">9780199567485</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Elizabethan+Stage&rft.place=New+York&rft.pub=Oxford+University+Press&rft.date=2009&rft.isbn=9780199567485&rft.aulast=Chambers&rft.aufirst=E.+K.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFChambers1923b" class="citation book"><A href="/wiki/E._K._Chambers" title="E. K. Chambers">Chambers, E. K.</A> (2009) [First published 1923]. <I>The Elizabethan Stage</I>. <B>3</B>. New York: <A href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9780199567508" title="Special:BookSources/9780199567508">9780199567508</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Elizabethan+Stage&rft.place=New+York&rft.pub=Oxford+University+Press&rft.date=2009&rft.isbn=9780199567508&rft.aulast=Chambers&rft.aufirst=E.+K.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFChambers1930" class="citation book"><A href="/wiki/E._K._Chambers" title="E. K. Chambers">Chambers, E. K.</A> (1930). <I>William Shakespeare: A Study of Facts and Problems</I>. Oxford: <A href="/wiki/Clarendon_Press" class="mw-redirect" title="Clarendon Press">Clarendon Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-19-811774-4" title="Special:BookSources/0-19-811774-4">0-19-811774-4</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=William+Shakespeare%3A+A+Study+of+Facts+and+Problems&rft.place=Oxford&rft.pub=Clarendon+Press&rft.date=1930&rft.isbn=0-19-811774-4&rft.aulast=Chambers&rft.aufirst=E.+K.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFCotsell2005" class="citation book">Cotsell, Michael (2005). <I>The Theater of Trauma: American modernist drama and the psychological struggle for the American Mind</I>. New York: <A href="/wiki/Peter_Lang_(publisher)" title="Peter Lang (publisher)">Peter Lang</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0-8204-7466-3" title="Special:BookSources/978-0-8204-7466-3">978-0-8204-7466-3</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Theater+of+Trauma%3A+American+modernist+drama+and+the+psychological+struggle+for+the+American+Mind&rft.place=New+York&rft.pub=Peter+Lang&rft.date=2005&rft.isbn=978-0-8204-7466-3&rft.aulast=Cotsell&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFCrowl2000" class="citation book">Crowl, Samuel (2000). "Flamboyant Realist: Kenneth Branagh". In Jackson, Russell. <I>The Cambridge Companion to Shakespeare on Film</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 222–40. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-63975-1" title="Special:BookSources/0-521-63975-1">0-521-63975-1</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Flamboyant+Realist%3A+Kenneth+Branagh&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Film&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=222-40&rft.pub=Cambridge+University+Press&rft.date=2000&rft.isbn=0-521-63975-1&rft.aulast=Crowl&rft.aufirst=Samuel&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFCrowl2014" class="citation book">Crowl, Samuel (2014). <I>Shakespeare's Hamlet: The Relationship Between Text and Film</I>. Screen Adaptations. <A href="/wiki/Arden_Shakespeare" title="Arden Shakespeare">Arden Shakespeare</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-1-4725-3893-2" title="Special:BookSources/978-1-4725-3893-2">978-1-4725-3893-2</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Shakespeare%27s+Hamlet%3A+The+Relationship+Between+Text+and+Film&rft.series=Screen+Adaptations&rft.pub=Arden+Shakespeare&rft.date=2014&rft.isbn=978-1-4725-3893-2&rft.aulast=Crowl&rft.aufirst=Samuel&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFCrystalCrystal2005" class="citation book">Crystal, David; Crystal, Ben (2005). <I>The Shakespeare Miscellany</I>. New York: <A href="/wiki/Penguin_Books" title="Penguin Books">Penguin</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-14-051555-0" title="Special:BookSources/0-14-051555-0">0-14-051555-0</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Shakespeare+Miscellany&rft.place=New+York&rft.pub=Penguin&rft.date=2005&rft.isbn=0-14-051555-0&rft.aulast=Crystal&rft.aufirst=David&rft.au=Crystal%2C+Ben&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFDaily_Mirror2009" class="citation news"><A rel="nofollow" class="external text" href="https://www.mirror.co.uk/celebs/3am/2009/07/10/it-s-the-highest-accolade-for-115875-21508571/">"Jude Law to play Hamlet at 'home' Kronborg Castle"</A>. <I><A href="/wiki/Daily_Mirror" title="Daily Mirror">The Daily Mirror</A></I>. 10 July 2009<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">14 July</SPAN> 2009</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Daily+Mirror&rft.atitle=Jude+Law+to+play+Hamlet+at+%27home%27+Kronborg+Castle&rft.date=2009-07-10&rft_id=https%3A%2F%2Fwww.mirror.co.uk%2Fcelebs%2F3am%2F2009%2F07%2F10%2Fit-s-the-highest-accolade-for-115875-21508571%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFDavies2000" class="citation book">Davies, Anthony (2000). "The Shakespeare films of Laurence Olivier". In Jackson, Russell. <I>The Cambridge Companion to Shakespeare on Film</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 163–82. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-63975-1" title="Special:BookSources/0-521-63975-1">0-521-63975-1</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Shakespeare+films+of+Laurence+Olivier&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Film&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=163-82&rft.pub=Cambridge+University+Press&rft.date=2000&rft.isbn=0-521-63975-1&rft.aulast=Davies&rft.aufirst=Anthony&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFDavison1999" class="citation book">Davison, Richard Allan (1999). "The Readiness Was All: Ian Charleson and Richard Eyre's <I>Hamlet</I>". In Potter, Lois; Kinney, Arthur F. <I>Shakespeare, Text and Theater: Essays in Honor of Jay L. Halio</I>. Newark: <A href="/wiki/University_of_Delaware_Press" title="University of Delaware Press">University of Delaware Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9780874136999" title="Special:BookSources/9780874136999">9780874136999</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Readiness+Was+All%3A+Ian+Charleson+and+Richard+Eyre%27s+Hamlet&rft.btitle=Shakespeare%2C+Text+and+Theater%3A+Essays+in+Honor+of+Jay+L.+Halio&rft.place=Newark&rft.pub=University+of+Delaware+Press&rft.date=1999&rft.isbn=9780874136999&rft.aulast=Davison&rft.aufirst=Richard+Allan&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFDawson2002" class="citation book">Dawson, Anthony B. (2002). "International Shakespeare". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>; Stanton, Sarah. <I>The Cambridge Companion to Shakespeare on Stage</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 174–93. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-79711-X" title="Special:BookSources/0-521-79711-X">0-521-79711-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=International+Shakespeare&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Stage&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=174-93&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=0-521-79711-X&rft.aulast=Dawson&rft.aufirst=Anthony+B.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFDuncan-Jones2001" class="citation book">Duncan-Jones, Catherine (2001). <I>Ungentle Shakespeare: scenes from his life</I>. London: <A href="/wiki/Arden_Shakespeare" title="Arden Shakespeare">Arden Shakespeare</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-903436-26-5" title="Special:BookSources/1-903436-26-5">1-903436-26-5</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Ungentle+Shakespeare%3A+scenes+from+his+life&rft.place=London&rft.pub=Arden+Shakespeare&rft.date=2001&rft.isbn=1-903436-26-5&rft.aulast=Duncan-Jones&rft.aufirst=Catherine&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFFine2013" class="citation news"><A href="/wiki/Marshall_Fine" title="Marshall Fine">Fine, Marshall</A> (10 April 2013). <A rel="nofollow" class="external text" href="http://www.huffingtonpost.com/marshall-fine/onstage-paul-giamatti-in_b_3050973.html">"Paul Giamatti in <I>Hamlet</I>"</A>. Onstage. <I><A href="/wiki/The_Huffington_Post" class="mw-redirect" title="The Huffington Post">The Huffington Post</A></I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">11 July</SPAN> 2015</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Huffington+Post&rft.atitle=Paul+Giamatti+in+Hamlet&rft.date=2013-04-10&rft.aulast=Fine&rft.aufirst=Marshall&rft_id=http%3A%2F%2Fwww.huffingtonpost.com%2Fmarshall-fine%2Fonstage-paul-giamatti-in_b_3050973.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFFox2009" class="citation news">Fox, Margalit (18 September 2009). <A rel="nofollow" class="external text" href="https://www.nytimes.com/2009/09/18/theater/18manning.html">"Jack Manning, Character Actor, Dies at 93"</A>. Theater. <A href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</A><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">14 September</SPAN> 2013</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Jack+Manning%2C+Character+Actor%2C+Dies+at+93&rft.date=2009-09-18&rft.aulast=Fox&rft.aufirst=Margalit&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2009%2F09%2F18%2Ftheater%2F18manning.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFFreud1900" class="citation book"><A href="/wiki/Sigmund_Freud" title="Sigmund Freud">Freud, Sigmund</A> (1991) [1900]. Richards, Angela, ed. <I><A href="/wiki/The_Interpretation_of_Dreams" title="The Interpretation of Dreams">The Interpretation of Dreams</A></I>. The Penguin Freud Library. <B>4</B>. Translated by Strachey, James. London: <A href="/wiki/Penguin_Books" title="Penguin Books">Penguin</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-14-013794-7" title="Special:BookSources/0-14-013794-7">0-14-013794-7</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Interpretation+of+Dreams&rft.place=London&rft.series=The+Penguin+Freud+Library&rft.pub=Penguin&rft.date=1991&rft.isbn=0-14-013794-7&rft.aulast=Freud&rft.aufirst=Sigmund&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGardner2002" class="citation news"><A href="/wiki/Lyn_Gardner" title="Lyn Gardner">Gardner, Lyn</A> (8 November 2002). <A rel="nofollow" class="external text" href="https://www.theguardian.com/stage/2002/nov/08/theatre.artsfeatures2">"<I>Hamlet</I>—West Yorkshire Playhouse, Leeds"</A>. Theatre. <I><A href="/wiki/The_Guardian" title="The Guardian">The Guardian</A></I>. London.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Hamlet%E2%80%94West+Yorkshire+Playhouse%2C+Leeds&rft.date=2002-11-08&rft.aulast=Gardner&rft.aufirst=Lyn&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fstage%2F2002%2Fnov%2F08%2Ftheatre.artsfeatures2&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGay2002" class="citation book">Gay, Penny (2002). "Women and Shakespearean Performance". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>; Stanton, Sarah. <I>The Cambridge Companion to Shakespeare on Stage</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 155–73. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-79711-X" title="Special:BookSources/0-521-79711-X">0-521-79711-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Women+and+Shakespearean+Performance&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Stage&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=155-73&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=0-521-79711-X&rft.aulast=Gay&rft.aufirst=Penny&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGilbert1892" class="citation book"><A href="/wiki/W._S._Gilbert" title="W. S. Gilbert">Gilbert, W. S.</A> (1892). "Rosencrantz and Guildenstern". <A rel="nofollow" class="external text" href="https://archive.org/details/00189951.2023.emory.edu"><I>Foggerty's Fairy: and other tales</I></A>. London: <A href="/wiki/George_Routledge_%26_Sons" class="mw-redirect" title="George Routledge & Sons">George Routledge & Sons</A><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">27 June</SPAN> 2016</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Rosencrantz+and+Guildenstern&rft.btitle=Foggerty%27s+Fairy%3A+and+other+tales&rft.place=London&rft.pub=George+Routledge+%26+Sons&rft.date=1892&rft.aulast=Gilbert&rft.aufirst=W.+S.&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2F00189951.2023.emory.edu&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGilliesMinamiLiTrivedi2002" class="citation book">Gillies, John; Minami, Ryuta; Li, Ruru; Trivedi, Poonam (2002). "Shakespeare on the Stages of Asia". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>; Stanton, Sarah. <I>The Cambridge Companion to Shakespeare on Stage</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 259–83. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-79711-X" title="Special:BookSources/0-521-79711-X">0-521-79711-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Shakespeare+on+the+Stages+of+Asia&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Stage&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=259-83&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=0-521-79711-X&rft.aulast=Gillies&rft.aufirst=John&rft.au=Minami%2C+Ryuta&rft.au=Li%2C+Ruru&rft.au=Trivedi%2C+Poonam&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGlobe_to_Globe_Hamletn.d." class="citation web"><A rel="nofollow" class="external text" href="http://globetoglobe.shakespearesglobe.com/hamlet/about-the-project">"About the Project"</A>. <I>Globe to Globe</I> Hamlet. <A href="/wiki/Shakespeare%27s_Globe" title="Shakespeare's Globe">Shakespeare's Globe</A>. n.d<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">22 July</SPAN> 2016</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Globe+to+Globe+%27%27Hamlet%27%27&rft.atitle=About+the+Project&rft.chron=n.d.&rft_id=http%3A%2F%2Fglobetoglobe.shakespearesglobe.com%2Fhamlet%2Fabout-the-project&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGontar2013" class="citation book">Gontar, David P. (2013). "Hamlet Made Simple". <I>Hamlet Made Simple and Other Essays</I>. New English Review Press. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0985439491" title="Special:BookSources/978-0985439491">978-0985439491</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Hamlet+Made+Simple&rft.btitle=Hamlet+Made+Simple+and+Other+Essays&rft.pub=New+English+Review+Press&rft.date=2013&rft.isbn=978-0985439491&rft.aulast=Gontar&rft.aufirst=David+P.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFde_Grazia2007" class="citation book"><A href="/w/index.php?title=Margreta_de_Grazia&action=edit&redlink=1" class="new" title="Margreta de Grazia (page does not exist)">de Grazia, Margreta</A> (2007). Hamlet <I>without Hamlet</I>. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9780521690362" title="Special:BookSources/9780521690362">9780521690362</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet+without+Hamlet&rft.place=Cambridge&rft.pub=Cambridge+University+Press&rft.date=2007&rft.isbn=9780521690362&rft.aulast=de+Grazia&rft.aufirst=Margreta&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGreenblatt2004a" class="citation book"><A href="/wiki/Stephen_Greenblatt" title="Stephen Greenblatt">Greenblatt, Stephen</A> (2004). <I>Will in the World: How Shakespeare Became Shakespeare</I>. New York: <A href="/wiki/W.W._Norton_%26_Co." class="mw-redirect" title="W.W. Norton & Co.">W.W. Norton & Co.</A> <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-393-05057-2" title="Special:BookSources/0-393-05057-2">0-393-05057-2</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Will+in+the+World%3A+How+Shakespeare+Became+Shakespeare&rft.place=New+York&rft.pub=W.W.+Norton+%26+Co.&rft.date=2004&rft.isbn=0-393-05057-2&rft.aulast=Greenblatt&rft.aufirst=Stephen&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGreenblatt2004b" class="citation magazine"><A href="/wiki/Stephen_Greenblatt" title="Stephen Greenblatt">Greenblatt, Stephen</A> (21 October 2004). <A rel="nofollow" class="external text" href="http://www.nybooks.com/articles/17483">"The Death of Hamnet and the Making of Hamlet"</A>. <I><A href="/wiki/The_New_York_Review_of_Books" title="The New York Review of Books">The New York Review of Books</A></I>. Vol. 51 no. 16.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Death+of+Hamnet+and+the+Making+of+Hamlet&rft.date=2004-10-21&rft.aulast=Greenblatt&rft.aufirst=Stephen&rft_id=http%3A%2F%2Fwww.nybooks.com%2Farticles%2F17483&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGrode2011" class="citation news">Grode, Eric (30 March 2011). <A rel="nofollow" class="external text" href="http://theater.nytimes.com/2011/03/31/theater/reviews/wittenberg-at-the-pearl-theater-review.html">"Dueling Mentors Bedevil a Dithering Young Dane"</A>. Theater Reviews. <I><A href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</A></I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">10 December</SPAN> 2011</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Dueling+Mentors+Bedevil+a+Dithering+Young+Dane&rft.date=2011-03-30&rft.aulast=Grode&rft.aufirst=Eric&rft_id=http%3A%2F%2Ftheater.nytimes.com%2F2011%2F03%2F31%2Ftheater%2Freviews%2Fwittenberg-at-the-pearl-theater-review.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGuernseySweet2000" class="citation book"><A href="/wiki/Otis_Guernsey_Jr." title="Otis Guernsey Jr.">Guernsey, Otis L.</A>; <A href="/wiki/Jeffrey_Sweet" title="Jeffrey Sweet">Sweet, Jeffrey</A>, eds. (2000). <I>The Applause/Best Plays Theater Yearbook 1991-1992</I>. Best Plays. Illustrated by <A href="/wiki/Al_Hirschfeld" title="Al Hirschfeld">Al Hirschfeld</A> (illustrated ed.). <A href="/wiki/Hal_Leonard" class="mw-redirect" title="Hal Leonard">Hal Leonard</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9781557831477" title="Special:BookSources/9781557831477">9781557831477</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Applause%2FBest+Plays+Theater+Yearbook+1991-1992&rft.series=Best+Plays&rft.edition=illustrated&rft.pub=Hal+Leonard&rft.date=2000&rft.isbn=9781557831477&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGuntner2000" class="citation book">Guntner, J. Lawrence (2000). "<I>Hamlet</I>, <I>Macbeth</I> and <I>King Lear</I> on film". In Jackson, Russell. <I>The Cambridge Companion to Shakespeare on Film</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 117–34. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-63975-1" title="Special:BookSources/0-521-63975-1">0-521-63975-1</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Hamlet%2C+Macbeth+and+King+Lear+on+film&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Film&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=117-34&rft.pub=Cambridge+University+Press&rft.date=2000&rft.isbn=0-521-63975-1&rft.aulast=Guntner&rft.aufirst=J.+Lawrence&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGupta2014" class="citation web">Gupta, Priya (7 February 2014). <A rel="nofollow" class="external text" href="https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/Bollywood-returns-to-their-favourite-destination-Kashmir/articleshow/29954493.cms">"Bollywood returns to their favourite destination Kashmir"</A>. <I><A href="/wiki/The_Times_of_India" title="The Times of India">The Times of India</A></I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">10 February</SPAN> 2018</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Times+of+India&rft.atitle=Bollywood+returns+to+their+favourite+destination+Kashmir&rft.date=2014-02-07&rft.aulast=Gupta&rft.aufirst=Priya&rft_id=https%3A%2F%2Ftimesofindia.indiatimes.com%2Fentertainment%2Fhindi%2Fbollywood%2Fnews%2FBollywood-returns-to-their-favourite-destination-Kashmir%2Farticleshow%2F29954493.cms&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGussow1992" class="citation web">Gussow, Mel (3 April 1992). <A rel="nofollow" class="external text" href="https://www.nytimes.com/1992/04/03/theater/review-theater-a-high-keyed-hamlet-starring-stephen-lang.html">"A High-Keyed 'Hamlet' Starring Stephen Lang"</A>. <A href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</A><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">13 July</SPAN> 2016</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=A+High-Keyed+%27Hamlet%27+Starring+Stephen+Lang&rft.pub=The+New+York+Times&rft.date=1992-04-03&rft.aulast=Gussow&rft.aufirst=Mel&rft_id=https%3A%2F%2Fwww.nytimes.com%2F1992%2F04%2F03%2Ftheater%2Freview-theater-a-high-keyed-hamlet-starring-stephen-lang.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFGussow1992" class="citation news">Gussow, Mel (14 October 1992). <A rel="nofollow" class="external text" href="https://www.nytimes.com/1992/10/14/theater/theater-in-review-314092.html">"Theater in Review"</A>. Theater. <I><A href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</A></I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">26 June</SPAN> 2011</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Theater+in+Review&rft.date=1992-10-14&rft.aulast=Gussow&rft.aufirst=Mel&rft_id=https%3A%2F%2Fwww.nytimes.com%2F1992%2F10%2F14%2Ftheater%2Ftheater-in-review-314092.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFHalliday1964" class="citation book"><A href="/wiki/F._E._Halliday" title="F. E. Halliday">Halliday, F. E.</A> (1969) [first ed. 1964]. <I>A Shakespeare Companion 1564–1964</I>. Shakespeare Library. Baltimore: <A href="/wiki/Penguin_Books" title="Penguin Books">Penguin</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-14-053011-8" title="Special:BookSources/0-14-053011-8">0-14-053011-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+Shakespeare+Companion+1564%E2%80%931964&rft.place=Baltimore&rft.series=Shakespeare+Library&rft.pub=Penguin&rft.date=1969&rft.isbn=0-14-053011-8&rft.aulast=Halliday&rft.aufirst=F.+E.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFHattaway1982" class="citation book">Hattaway, Michael (1982). <I>Elizabethan Popular Theatre: Plays in Performance</I>. Theatre Production. London and Boston: <A href="/wiki/Routledge" title="Routledge">Routledge & Kegan Paul</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-7100-9052-8" title="Special:BookSources/0-7100-9052-8">0-7100-9052-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Elizabethan+Popular+Theatre%3A+Plays+in+Performance&rft.place=London+and+Boston&rft.series=Theatre+Production&rft.pub=Routledge+%26+Kegan+Paul&rft.date=1982&rft.isbn=0-7100-9052-8&rft.aulast=Hattaway&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFHattaway1987" class="citation book">Hattaway, Michael (1987). <I>Hamlet</I>. The Critics Debate. Basingstoke, Hampshire: <A href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-333-38524-1" title="Special:BookSources/0-333-38524-1">0-333-38524-1</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet&rft.place=Basingstoke%2C+Hampshire&rft.series=The+Critics+Debate&rft.pub=Macmillan&rft.date=1987&rft.isbn=0-333-38524-1&rft.aulast=Hattaway&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFHeilbrun1957" class="citation journal"><A href="/wiki/Carolyn_Heilbrun" class="mw-redirect" title="Carolyn Heilbrun">Heilbrun, Carolyn</A> (1957). "The Character of Hamlet's Mother". <I><A href="/wiki/Shakespeare_Quarterly" title="Shakespeare Quarterly">Shakespeare Quarterly</A></I>. <B>8</B> (2): 201–6. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.2307%2F2866964">10.2307/2866964</A>. <A href="/wiki/International_Standard_Serial_Number#Electronic_ISSN" title="International Standard Serial Number">eISSN</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/issn/1538-3555">1538-3555</A>. <A href="/wiki/International_Standard_Serial_Number" title="International Standard Serial Number">ISSN</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/issn/0037-3222">0037-3222</A>. <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A> <A rel="nofollow" class="external text" href="//www.jstor.org/stable/2866964">2866964</A> – via <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A>. <SPAN style="font-size:90%; color:#555">(Subscription required (<SPAN title="The site requires a paid subscription to access this page." style="border-bottom:1px dotted;cursor:help">help</SPAN>))</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Shakespeare+Quarterly&rft.atitle=The+Character+of+Hamlet%27s+Mother&rft.volume=8&rft.issue=2&rft.pages=201-6&rft.date=1957&rft_id=%2F%2Fwww.jstor.org%2Fstable%2F2866964&rft.issn=0037-3222&rft.eissn=15383555&rft_id=info%3Adoi%2F10.2307%2F2866964&rft.aulast=Heilbrun&rft.aufirst=Carolyn&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFHirrel2010" class="citation journal">Hirrel, Michael J. (2010). "Duration of Performances and Lengths of Plays: How Shall We Beguile the Lazy Time?". <I><A href="/wiki/Shakespeare_Quarterly" title="Shakespeare Quarterly">Shakespeare Quarterly</A></I>. <A href="/wiki/Folger_Shakespeare_Library" title="Folger Shakespeare Library">Folger Shakespeare Library</A>. <B>61</B> (2): 159–82. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.1353%2Fshq.0.0140">10.1353/shq.0.0140</A>. <A href="/wiki/International_Standard_Serial_Number#Electronic_ISSN" title="International Standard Serial Number">eISSN</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/issn/1538-3555">1538-3555</A>. <A href="/wiki/International_Standard_Serial_Number" title="International Standard Serial Number">ISSN</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/issn/0037-3222">0037-3222</A>. <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A> <A rel="nofollow" class="external text" href="//www.jstor.org/stable/40731154">40731154</A> – via <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A>. <SPAN style="font-size:90%; color:#555">(Registration required (<SPAN title="The site requires registration to access this page." style="border-bottom:1px dotted;cursor:help">help</SPAN>))</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Shakespeare+Quarterly&rft.atitle=Duration+of+Performances+and+Lengths+of+Plays%3A+How+Shall+We+Beguile+the+Lazy+Time%3F&rft.volume=61&rft.issue=2&rft.pages=159-82&rft.date=2010&rft_id=%2F%2Fwww.jstor.org%2Fstable%2F40731154&rft.issn=0037-3222&rft.eissn=1538-3555&rft_id=info%3Adoi%2F10.1353%2Fshq.0.0140&rft.aulast=Hirrel&rft.aufirst=Michael+J.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFHolland2002" class="citation book">Holland, Peter (2002). "Touring Shakespeare". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>; Stanton, Sarah. <I>The Cambridge Companion to Shakespeare on Stage</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 194–211. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-79711-X" title="Special:BookSources/0-521-79711-X">0-521-79711-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Touring+Shakespeare&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Stage&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=194-211&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=0-521-79711-X&rft.aulast=Holland&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFHolland2007" class="citation book">Holland, Peter (2007). "Shakespeare Abbreviated". In Shaughnessy, Robert. <I>The Cambridge Companion to Shakespeare and Popular Culture</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0-521-60580-9" title="Special:BookSources/978-0-521-60580-9">978-0-521-60580-9</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Shakespeare+Abbreviated&rft.btitle=The+Cambridge+Companion+to+Shakespeare+and+Popular+Culture&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pub=Cambridge+University+Press&rft.date=2007&rft.isbn=978-0-521-60580-9&rft.aulast=Holland&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFHortmann2002" class="citation book">Hortmann, Wilhelm (2002). "Shakespeare on the Political Stage in the Twentieth Century". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>; Stanton, Sarah. <I>The Cambridge Companion to Shakespeare on Stage</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 212–29. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-79711-X" title="Special:BookSources/0-521-79711-X">0-521-79711-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Shakespeare+on+the+Political+Stage+in+the+Twentieth+Century&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Stage&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=212-29&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=0-521-79711-X&rft.aulast=Hortmann&rft.aufirst=Wilhelm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFHoward2003" class="citation book">Howard, Jean E. (2003). "Feminist Criticism". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>; Orlin, Lena. <I>Shakespeare: An Oxford Guide</I>. Oxford Guides. Oxford: <A href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-19-924522-3" title="Special:BookSources/0-19-924522-3">0-19-924522-3</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Feminist+Criticism&rft.btitle=Shakespeare%3A+An+Oxford+Guide&rft.place=Oxford&rft.series=Oxford+Guides&rft.pub=Oxford+University+Press&rft.date=2003&rft.isbn=0-19-924522-3&rft.aulast=Howard&rft.aufirst=Jean+E.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFInnes1983" class="citation book">Innes, Christopher (1983). <I>Edward Gordon Craig</I>. Directors in Perspective. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-27383-8" title="Special:BookSources/0-521-27383-8">0-521-27383-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Edward+Gordon+Craig&rft.place=Cambridge&rft.series=Directors+in+Perspective&rft.pub=Cambridge+University+Press&rft.date=1983&rft.isbn=0-521-27383-8&rft.aulast=Innes&rft.aufirst=Christopher&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFItzkoff2009" class="citation web">Itzkoff, Dave (30 June 2009). <A rel="nofollow" class="external text" href="http://artsbeat.blogs.nytimes.com/2009/06/30/donmar-warehouses-hamlet-coming-to-broadway-with-jude-law/">"Donmar Warehouse's 'Hamlet' Coming to Broadway With Jude Law"</A>. <I>ArtsBeat</I>. <A href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</A><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">10 September</SPAN> 2009</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=ArtsBeat&rft.atitle=Donmar+Warehouse%E2%80%99s+%E2%80%98Hamlet%E2%80%99+Coming+to+Broadway+With+Jude+Law&rft.date=2009-06-30&rft.aulast=Itzkoff&rft.aufirst=Dave&rft_id=http%3A%2F%2Fartsbeat.blogs.nytimes.com%2F2009%2F06%2F30%2Fdonmar-warehouses-hamlet-coming-to-broadway-with-jude-law%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFJackson1986" class="citation book">Jackson, MacDonald (1986). "The Transmission of Shakespeare's Text". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>. <I>The Cambridge Companion to Shakespeare Studies</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 163–85. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-31841-6" title="Special:BookSources/0-521-31841-6">0-521-31841-6</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Transmission+of+Shakespeare%27s+Text&rft.btitle=The+Cambridge+Companion+to+Shakespeare+Studies&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=163-85&rft.pub=Cambridge+University+Press&rft.date=1986&rft.isbn=0-521-31841-6&rft.aulast=Jackson&rft.aufirst=MacDonald&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFJackson1991" class="citation book">Jackson, MacDonald (1991). "The Year's Contributions to Shakespeare Studies: 3 - Editions and Textual Studies". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>. <I>The Tempest and After</I>. <A href="/w/index.php?title=Shakespeare_Survey&action=edit&redlink=1" class="new" title="Shakespeare Survey (page does not exist)">Shakespeare Survey</A>. <B>43</B>. <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 255–70. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9781139053204" title="Special:BookSources/9781139053204">9781139053204</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Year%27s+Contributions+to+Shakespeare+Studies%3A+3+-+Editions+and+Textual+Studies&rft.btitle=The+Tempest+and+After&rft.series=Shakespeare+Survey&rft.pages=255-70&rft.pub=Cambridge+University+Press&rft.date=1991&rft.isbn=9781139053204&rft.aulast=Jackson&rft.aufirst=MacDonald&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFJones1910" class="citation journal">Jones, Ernest (1910). "The Œdipus-Complex as an Explanation of Hamlet's Mystery: A Study in Motive". <I><A href="/wiki/The_American_Journal_of_Psychology" class="mw-redirect" title="The American Journal of Psychology">The American Journal of Psychology</A></I>. <A href="/wiki/University_of_Illinois_Press" title="University of Illinois Press">University of Illinois Press</A>. <B>21</B> (1): 72–113. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.2307%2F1412950">10.2307/1412950</A>. <A href="/wiki/International_Standard_Serial_Number#Electronic_ISSN" title="International Standard Serial Number">eISSN</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/issn/1939-8298">1939-8298</A>. <A href="/wiki/International_Standard_Serial_Number" title="International Standard Serial Number">ISSN</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/issn/0002-9556">0002-9556</A>. <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A> <A rel="nofollow" class="external text" href="//www.jstor.org/stable/1412950">1412950</A> – via <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A>. <SPAN style="font-size:90%; color:#555">(Registration required (<SPAN title="The site requires registration to access this page." style="border-bottom:1px dotted;cursor:help">help</SPAN>))</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+American+Journal+of+Psychology&rft.atitle=The+%C5%92dipus-Complex+as+an+Explanation+of+Hamlet%27s+Mystery%3A+A+Study+in+Motive&rft.volume=21&rft.issue=1&rft.pages=72-113&rft.date=1910&rft_id=%2F%2Fwww.jstor.org%2Fstable%2F1412950&rft.issn=0002-9556&rft.eissn=1939-8298&rft_id=info%3Adoi%2F10.2307%2F1412950&rft.aulast=Jones&rft.aufirst=Ernest&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFKermode2000" class="citation book"><A href="/wiki/Frank_Kermode" title="Frank Kermode">Kermode, Frank</A> (2000). <I>Shakespeare's Language</I>. London: <A href="/wiki/Penguin_Books" title="Penguin Books">Penguin</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-14-028592-X" title="Special:BookSources/0-14-028592-X">0-14-028592-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Shakespeare%27s+Language&rft.place=London&rft.pub=Penguin&rft.date=2000&rft.isbn=0-14-028592-X&rft.aulast=Kermode&rft.aufirst=Frank&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFKerrigan1996" class="citation book">Kerrigan, John (1996). <I>Revenge Tragedy: Aeschylus to Armageddon</I>. Oxford: <A href="/wiki/Clarendon_Press" class="mw-redirect" title="Clarendon Press">Clarendon Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9780191591723" title="Special:BookSources/9780191591723">9780191591723</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Revenge+Tragedy%3A+Aeschylus+to+Armageddon&rft.place=Oxford&rft.pub=Clarendon+Press&rft.date=1996&rft.isbn=9780191591723&rft.aulast=Kerrigan&rft.aufirst=John&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFKeyishian2000" class="citation book">Keyishian, Harry (2000). "Shakespeare and Movie Genre: The Case of <I>Hamlet</I>". In Jackson, Russell. <I>The Cambridge Companion to Shakespeare on Film</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 72–84. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-63975-1" title="Special:BookSources/0-521-63975-1">0-521-63975-1</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Shakespeare+and+Movie+Genre%3A+The+Case+of+Hamlet&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Film&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=72-84&rft.pub=Cambridge+University+Press&rft.date=2000&rft.isbn=0-521-63975-1&rft.aulast=Keyishian&rft.aufirst=Harry&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFKiernan2007" class="citation book">Kiernan, Pauline (2007). <I>Filthy Shakespeare: Shakespeare's Most Outrageous Sexual Puns</I> (revised ed.). <A href="/wiki/Quercus" class="mw-redirect" title="Quercus">Quercus</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9781847240736" title="Special:BookSources/9781847240736">9781847240736</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Filthy+Shakespeare%3A+Shakespeare%27s+Most+Outrageous+Sexual+Puns&rft.edition=revised&rft.pub=Quercus&rft.date=2007&rft.isbn=9781847240736&rft.aulast=Kiernan&rft.aufirst=Pauline&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFKirsch1969" class="citation journal"><A href="/wiki/Arthur_Kirsch" title="Arthur Kirsch">Kirsch, Arthur C.</A> (1969). "A Caroline Commentary on the Drama". <I><A href="/wiki/Modern_Philology" title="Modern Philology">Modern Philology</A></I>. <A href="/wiki/The_University_of_Chicago_Press" class="mw-redirect" title="The University of Chicago Press">The University of Chicago Press</A>. <B>66</B> (3): 256–61. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.1086%2F390087">10.1086/390087</A>. <A href="/wiki/International_Standard_Serial_Number#Electronic_ISSN" title="International Standard Serial Number">eISSN</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/issn/1545-6951">1545-6951</A>. <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A> <A rel="nofollow" class="external text" href="//www.jstor.org/stable/436454">436454</A> – via <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A>. <SPAN style="font-size:90%; color:#555">(Registration required (<SPAN title="The site requires registration to access this page." style="border-bottom:1px dotted;cursor:help">help</SPAN>))</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Modern+Philology&rft.atitle=A+Caroline+Commentary+on+the+Drama&rft.volume=66&rft.issue=3&rft.pages=256-61&rft.date=1969&rft_id=%2F%2Fwww.jstor.org%2Fstable%2F436454&rft.eissn=15456951&rft_id=info%3Adoi%2F10.1086%2F390087&rft.aulast=Kirsch&rft.aufirst=Arthur+C.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFKnowles1999" class="citation journal">Knowles, Ronald (1999). "Hamlet and Counter-Humanism". <I><A href="/wiki/Renaissance_Quarterly" class="mw-redirect" title="Renaissance Quarterly">Renaissance Quarterly</A></I>. <A href="/wiki/Renaissance_Society_of_America" class="mw-redirect" title="Renaissance Society of America">Renaissance Society of America</A>. <B>52</B> (4): 1046–69. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.2307%2F2901835">10.2307/2901835</A>. <A href="/wiki/International_Standard_Serial_Number#Electronic_ISSN" title="International Standard Serial Number">eISSN</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/issn/1935-0236">1935-0236</A>. <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A> <A rel="nofollow" class="external text" href="//www.jstor.org/stable/2901835">2901835</A> – via <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A>. <SPAN style="font-size:90%; color:#555">(Registration required (<SPAN title="The site requires registration to access this page." style="border-bottom:1px dotted;cursor:help">help</SPAN>))</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Renaissance+Quarterly&rft.atitle=Hamlet+and+Counter-Humanism&rft.volume=52&rft.issue=4&rft.pages=1046-69&rft.date=1999&rft_id=%2F%2Fwww.jstor.org%2Fstable%2F2901835&rft.eissn=19350236&rft_id=info%3Adoi%2F10.2307%2F2901835&rft.aulast=Knowles&rft.aufirst=Ronald&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFLaw2009" class="citation interview"><A href="/wiki/Jude_Law" title="Jude Law">Law, Jude</A> (2 October 2009). <A rel="nofollow" class="external text" href="https://charlierose.com/videos/25839">"Shakespeare's Hamlet with Jude Law"</A>. <I><A href="/wiki/Charlie_Rose_(TV_series)" title="Charlie Rose (TV series)">Charlie Rose</A></I> (Interview). Interview with <A href="/wiki/Charlie_Rose" title="Charlie Rose">Charlie Rose</A>. <A href="/wiki/PBS" title="PBS">PBS</A><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">6 October</SPAN> 2009</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Charlie+Rose&rft.atitle=Shakespeare%27s+Hamlet+with+Jude+Law&rft.date=2009-10-02&rft.aulast=Law&rft.aufirst=Jude&rft_id=https%3A%2F%2Fcharlierose.com%2Fvideos%2F25839&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFMacCary1998" class="citation book">MacCary, W. Thomas (1998). <I>"Hamlet": A Guide to the Play</I>. Greenwood Guides to Shakespeare. Westport, CT: <A href="/wiki/Greenwood_Press" class="mw-redirect" title="Greenwood Press">Greenwood Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-313-30082-8" title="Special:BookSources/0-313-30082-8">0-313-30082-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=%22Hamlet%22%3A+A+Guide+to+the+Play&rft.place=Westport%2C+CT&rft.series=Greenwood+Guides+to+Shakespeare&rft.pub=Greenwood+Press&rft.date=1998&rft.isbn=0-313-30082-8&rft.aulast=MacCary&rft.aufirst=W.+Thomas&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFMarsden2002" class="citation book">Marsden, Jean I. (2002). "Improving Shakespeare: from the Restoration to Garrick". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>; Stanton, Sarah. <I>The Cambridge Companion to Shakespeare on Stage</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 21–36. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-79711-X" title="Special:BookSources/0-521-79711-X">0-521-79711-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Improving+Shakespeare%3A+from+the+Restoration+to+Garrick&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Stage&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=21-36&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=0-521-79711-X&rft.aulast=Marsden&rft.aufirst=Jean+I.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFMcKellenPuttnamWaxRedgrave1990" class="citation book"><A href="/wiki/Ian_McKellen" title="Ian McKellen">McKellen, Ian</A>; <A href="/wiki/David_Puttnam" title="David Puttnam">Puttnam, David</A>; <A href="/wiki/Ruby_Wax" title="Ruby Wax">Wax, Ruby</A>; <A href="/wiki/Vanessa_Redgrave" title="Vanessa Redgrave">Redgrave, Vanessa</A>; <A href="/wiki/Alan_Bates" title="Alan Bates">Bates, Alan</A> (1990). <I>For Ian Charleson: A Tribute</I>. London: <A href="/wiki/Constable_and_Company" class="mw-redirect" title="Constable and Company">Constable and Company</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0094702509" title="Special:BookSources/978-0094702509">978-0094702509</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=For+Ian+Charleson%3A+A+Tribute&rft.place=London&rft.pub=Constable+and+Company&rft.date=1990&rft.isbn=978-0094702509&rft.aulast=McKellen&rft.aufirst=Ian&rft.au=Puttnam%2C+David&rft.au=Wax%2C+Ruby&rft.au=Redgrave%2C+Vanessa&rft.au=Bates%2C+Alan&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFMoody2002" class="citation book">Moody, Jane (2002). "Romantic Shakespeare". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>; Stanton, Sarah. <I>The Cambridge Companion to Shakespeare on Stage</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 37–57. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-79711-X" title="Special:BookSources/0-521-79711-X">0-521-79711-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Romantic+Shakespeare&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Stage&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=37-57&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=0-521-79711-X&rft.aulast=Moody&rft.aufirst=Jane&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFMorrison2002" class="citation book">Morrison, Michael A. (2002). "Shakespeare in North America". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>; Stanton, Sarah. <I>The Cambridge Companion to Shakespeare on Stage</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 230–58. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-79711-X" title="Special:BookSources/0-521-79711-X">0-521-79711-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Shakespeare+in+North+America&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Stage&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=230-58&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=0-521-79711-X&rft.aulast=Morrison&rft.aufirst=Michael+A.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFMorrison1997" class="citation book">Morrison, Michael A. (1997). <I>John Barrymore, Shakespearean Actor</I>. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-62028-7" title="Special:BookSources/0-521-62028-7">0-521-62028-7</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=John+Barrymore%2C+Shakespearean+Actor&rft.place=Cambridge&rft.pub=Cambridge+University+Press&rft.date=1997&rft.isbn=0-521-62028-7&rft.aulast=Morrison&rft.aufirst=Michael+A.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFNational_Theatren.d." class="citation web"><A rel="nofollow" class="external text" href="https://web.archive.org/web/20100811065054/http://www.nationaltheatre.org.uk/?lid=2879&dspl=reviews">"Hamlet 1963"</A>. <I><A href="/wiki/Royal_National_Theatre" title="Royal National Theatre">Royal National Theatre</A></I>. n.d. Archived from <A rel="nofollow" class="external text" href="http://www.nationaltheatre.org.uk/?lid=2879&dspl=reviews">the original</A> on 11 August 2010<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">21 July</SPAN> 2016</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Royal+National+Theatre&rft.atitle=Hamlet+1963&rft.chron=n.d.&rft_id=http%3A%2F%2Fwww.nationaltheatre.org.uk%2F%3Flid%3D2879%26dspl%3Dreviews&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFNovy1994" class="citation book">Novy, Marianne L. (1994). <I>Engaging with Shakespeare: Responses of George Eliot and Other Women Novelists</I>. Athens, Georgia: <A href="/wiki/University_of_Georgia_Press" title="University of Georgia Press">University of Georgia Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9780820315966" title="Special:BookSources/9780820315966">9780820315966</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Engaging+with+Shakespeare%3A+Responses+of+George+Eliot+and+Other+Women+Novelists&rft.place=Athens%2C+Georgia&rft.pub=University+of+Georgia+Press&rft.date=1994&rft.isbn=9780820315966&rft.aulast=Novy&rft.aufirst=Marianne+L.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFO'Connor2002" class="citation book">O'Connor, Marion (2002). "Reconstructive Shakespeare: Reproducing Elizabethan and Jacobean Stages". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>; Stanton, Sarah. <I>The Cambridge Companion to Shakespeare on Stage</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 76–97. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-79711-X" title="Special:BookSources/0-521-79711-X">0-521-79711-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Reconstructive+Shakespeare%3A+Reproducing+Elizabethan+and+Jacobean+Stages&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Stage&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=76-97&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=0-521-79711-X&rft.aulast=O%27Connor&rft.aufirst=Marion&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFOsborne2007" class="citation book">Osborne, Laurie (2007). "Narration and Staging in <I>Hamlet</I> and its afternovels". In Shaughnessy, Robert. <I>The Cambridge Companion to Shakespeare and Popular Culture</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 114–33. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0-521-60580-9" title="Special:BookSources/978-0-521-60580-9">978-0-521-60580-9</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Narration+and+Staging+in+Hamlet+and+its+afternovels&rft.btitle=The+Cambridge+Companion+to+Shakespeare+and+Popular+Culture&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=114-33&rft.pub=Cambridge+University+Press&rft.date=2007&rft.isbn=978-0-521-60580-9&rft.aulast=Osborne&rft.aufirst=Laurie&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFOED2005" class="citation"><A rel="nofollow" class="external text" href="http://oed.com/search?searchType=dictionary&q=nunnery">"nunnery"</A>. <I><A href="/wiki/Oxford_English_Dictionary" title="Oxford English Dictionary">Oxford English Dictionary</A></I> (3rd ed.). <A href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</A>. September 2005.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=nunnery&rft.btitle=Oxford+English+Dictionary&rft.edition=3rd&rft.pub=Oxford+University+Press&rft.date=2005-09&rft_id=http%3A%2F%2Foed.com%2Fsearch%3FsearchType%3Ddictionary%26q%3Dnunnery&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN> <SPAN style="font-size:0.95em; font-size:90%; color:#555">(Subscription or <A rel="nofollow" class="external text" href="http://www.oxforddnb.com/help/subscribe#public">UK public library membership</A> required.)</SPAN></LI>
<LI><CITE id="CITEREFPanagako1978" class="citation news">Panagako, Ari (14 June 1978). "Dandy Hamlet Bows Uptown". <I><A href="/w/index.php?title=Heights/Inwood_Press_of_North_Manhattan&action=edit&redlink=1" class="new" title="Heights/Inwood Press of North Manhattan (page does not exist)">Heights/Inwood Press of North Manhattan</A></I>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Heights%2FInwood+Press+of+North+Manhattan&rft.atitle=Dandy+Hamlet+Bows+Uptown&rft.date=1978-06-14&rft.aulast=Panagako&rft.aufirst=Ari&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFPitcherWoudhuysen1969" class="citation book">Pitcher, John; Woudhuysen, Henry (1969). <I>Shakespeare Companion, 1564–1964</I>. London: <A href="/wiki/Penguin_Books" title="Penguin Books">Penguin</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-14-053011-8" title="Special:BookSources/0-14-053011-8">0-14-053011-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Shakespeare+Companion%2C+1564%E2%80%931964&rft.place=London&rft.pub=Penguin&rft.date=1969&rft.isbn=0-14-053011-8&rft.aulast=Pitcher&rft.aufirst=John&rft.au=Woudhuysen%2C+Henry&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFRosenberg1992" class="citation book">Rosenberg, Marvin (1992). <I>The Masks of Hamlet</I>. London: <A href="/wiki/Associated_University_Presses" title="Associated University Presses">Associated University Presses</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-87413-480-3" title="Special:BookSources/0-87413-480-3">0-87413-480-3</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Masks+of+Hamlet&rft.place=London&rft.pub=Associated+University+Presses&rft.date=1992&rft.isbn=0-87413-480-3&rft.aulast=Rosenberg&rft.aufirst=Marvin&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFRothman2013" class="citation web">Rothman, Joshua (14 August 2013). <A rel="nofollow" class="external text" href="http://www.newyorker.com/books/page-turner/hamlet-a-love-story">"Hamlet: A Love Story"</A>. <I><A href="/wiki/The_New_Yorker" title="The New Yorker">The New Yorker</A></I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">20 July</SPAN> 2016</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+New+Yorker&rft.atitle=Hamlet%3A+A+Love+Story&rft.date=2013-08-14&rft.aulast=Rothman&rft.aufirst=Joshua&rft_id=http%3A%2F%2Fwww.newyorker.com%2Fbooks%2Fpage-turner%2Fhamlet-a-love-story&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFRowse1963" class="citation book"><A href="/wiki/A._L._Rowse" title="A. L. Rowse">Rowse, A. L.</A> (1995) [1963]. <I>William Shakespeare: A Biography</I>. New York: <A href="/wiki/Barnes_%26_Noble" title="Barnes & Noble">Barnes & Noble Books</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-56619-804-6" title="Special:BookSources/1-56619-804-6">1-56619-804-6</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=William+Shakespeare%3A+A+Biography&rft.place=New+York&rft.pub=Barnes+%26+Noble+Books&rft.date=1995&rft.isbn=1-56619-804-6&rft.aulast=Rowse&rft.aufirst=A.+L.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFSaxoHansen1983" class="citation book"><A href="/wiki/Saxo_Grammaticus" title="Saxo Grammaticus">Saxo Grammaticus</A> (1983). Hansen, William, ed. <I>Saxo Grammaticus and the Life of Hamlet: A Translation, History, and Commentary</I>. Lincoln: <A href="/wiki/University_of_Nebraska_Press" title="University of Nebraska Press">University of Nebraska Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-8032-2318-8" title="Special:BookSources/0-8032-2318-8">0-8032-2318-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Saxo+Grammaticus+and+the+Life+of+Hamlet%3A+A+Translation%2C+History%2C+and+Commentary&rft.place=Lincoln&rft.pub=University+of+Nebraska+Press&rft.date=1983&rft.isbn=0-8032-2318-8&rft.au=Saxo+Grammaticus&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFSchoch2002" class="citation book">Schoch, Richard W. (2002). "Pictorial Shakespeare". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>; Stanton, Sarah. <I>The Cambridge Companion to Shakespeare on Stage</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 58–75. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-79711-X" title="Special:BookSources/0-521-79711-X">0-521-79711-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Pictorial+Shakespeare&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Stage&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=58-75&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=0-521-79711-X&rft.aulast=Schoch&rft.aufirst=Richard+W.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFSchultz2008" class="citation web">Schultz, David G. (16 July 2008). <A rel="nofollow" class="external text" href="http://www.brooklynrail.org/2008/07/theater/a-play-at-poolside-caridad-svichs-12-ophelias">"A Play at Poolside: Caridad Svich's <I>12 Ophelias</I>"</A>. <I><A href="/wiki/The_Brooklyn_Rail" title="The Brooklyn Rail">The Brooklyn Rail</A></I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">26 June</SPAN> 2011</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Brooklyn+Rail&rft.atitle=A+Play+at+Poolside%3A+Caridad+Svich%27s+12+Ophelias&rft.date=2008-07-16&rft.aulast=Schultz&rft.aufirst=David+G.&rft_id=http%3A%2F%2Fwww.brooklynrail.org%2F2008%2F07%2Ftheater%2Fa-play-at-poolside-caridad-svichs-12-ophelias&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFShapiro2005" class="citation book"><A href="/wiki/James_S._Shapiro" title="James S. Shapiro">Shapiro, James</A> (2005). <I>1599: A Year in the Life of William Shakespeare</I>. London: <A href="/wiki/Faber_and_Faber" title="Faber and Faber">Faber</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-571-21481-9" title="Special:BookSources/0-571-21481-9">0-571-21481-9</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=1599%3A+A+Year+in+the+Life+of+William+Shakespeare&rft.place=London&rft.pub=Faber&rft.date=2005&rft.isbn=0-571-21481-9&rft.aulast=Shapiro&rft.aufirst=James&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFShaw1961" class="citation book"><A href="/wiki/George_Bernard_Shaw" title="George Bernard Shaw">Shaw, George Bernard</A> (1961). Wilson, Edwin, ed. <I>Shaw on Shakespeare</I>. New York: Applause. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-55783-561-6" title="Special:BookSources/1-55783-561-6">1-55783-561-6</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Shaw+on+Shakespeare&rft.place=New+York&rft.pub=Applause&rft.date=1961&rft.isbn=1-55783-561-6&rft.aulast=Shaw&rft.aufirst=George+Bernard&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFShenton2007" class="citation news">Shenton, Mark (10 September 2007). <A rel="nofollow" class="external text" href="https://www.thestage.co.uk/news/2007/jude-law-to-star-in-donmars-hamlet/">"Jude Law to star in Donmar's <I>Hamlet</I>"</A>. <I><A href="/wiki/The_Stage" title="The Stage">The Stage</A></I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">19 November</SPAN> 2007</SPAN>. <SPAN style="font-size:90%; color:#555">(Subscription required (<SPAN title="The site requires a paid subscription to access this page." style="border-bottom:1px dotted;cursor:help">help</SPAN>))</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Stage&rft.atitle=Jude+Law+to+star+in+Donmar%E2%80%99s+Hamlet&rft.date=2007-09-10&rft.aulast=Shenton&rft.aufirst=Mark&rft_id=https%3A%2F%2Fwww.thestage.co.uk%2Fnews%2F2007%2Fjude-law-to-star-in-donmars-hamlet%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFShowalter1985" class="citation book"><A href="/wiki/Elaine_Showalter" title="Elaine Showalter">Showalter, Elaine</A> (1985). "Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism". In Parker, Patricia; Hartman, Geoffrey. <I>Shakespeare and the Question of Theory</I>. New York and London: <A href="/wiki/Methuen_Publishing" title="Methuen Publishing">Methuen</A>. pp. 77–94. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-416-36930-8" title="Special:BookSources/0-416-36930-8">0-416-36930-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Representing+Ophelia%3A+Women%2C+Madness%2C+and+the+Responsibilities+of+Feminist+Criticism&rft.btitle=Shakespeare+and+the+Question+of+Theory&rft.place=New+York+and+London&rft.pages=77-94&rft.pub=Methuen&rft.date=1985&rft.isbn=0-416-36930-8&rft.aulast=Showalter&rft.aufirst=Elaine&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFSmallwood2002" class="citation book">Smallwood, Robert (2002). "Twentieth-century Performance: The Stratford and London Companies". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>; Stanton, Sarah. <I>The Cambridge Companion to Shakespeare on Stage</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 98–117. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-79711-X" title="Special:BookSources/0-521-79711-X">0-521-79711-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Twentieth-century+Performance%3A+The+Stratford+and+London+Companies&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Stage&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pages=98-117&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=0-521-79711-X&rft.aulast=Smallwood&rft.aufirst=Robert&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFStarks1999" class="citation book">Starks, Lisa S. (1999). "The Displaced Body of Desire: Sexuality in Kenneth Branagh's <I>Hamlet</I>". In Desmet, Christy; Sawyer, Robert. <I>Shakespeare and Appropriation</I>. Accents on Shakespeare. London: <A href="/wiki/Routledge" title="Routledge">Routledge</A>. pp. 160–78. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-415-20725-8" title="Special:BookSources/0-415-20725-8">0-415-20725-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Displaced+Body+of+Desire%3A+Sexuality+in+Kenneth+Branagh%27s+Hamlet&rft.btitle=Shakespeare+and+Appropriation&rft.place=London&rft.series=Accents+on+Shakespeare&rft.pages=160-78&rft.pub=Routledge&rft.date=1999&rft.isbn=0-415-20725-8&rft.aulast=Starks&rft.aufirst=Lisa+S.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFStewart2014" class="citation news">Stewart, Rachel (11 August 2014). <A rel="nofollow" class="external text" href="https://www.telegraph.co.uk/culture/theatre/theatre-news/11025625/Cumberbatchs-Hamlet-most-in-demand-show-of-all-time.html">"Cumberbatch's Hamlet most in-demand show of all time"</A>. <I><A href="/wiki/The_Daily_Telegraph" title="The Daily Telegraph">The Daily Telegraph</A></I>. London.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Daily+Telegraph&rft.atitle=Cumberbatch%27s+Hamlet+most+in-demand+show+of+all+time&rft.date=2014-08-11&rft.aulast=Stewart&rft.aufirst=Rachel&rft_id=https%3A%2F%2Fwww.telegraph.co.uk%2Fculture%2Ftheatre%2Ftheatre-news%2F11025625%2FCumberbatchs-Hamlet-most-in-demand-show-of-all-time.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFSulcas2017" class="citation news">Sulcas, Roslyn (1 August 2017). <A rel="nofollow" class="external text" href="https://www.nytimes.com/2017/08/01/theater/kenneth-branagh-tom-hiddleston-hamlet.html">"Kenneth Branagh to Direct Tom Hiddleston in 'Hamlet<SPAN style="padding-right:0.2em;">'</SPAN>"</A>. Theater. <I><A href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</A></I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">21 December</SPAN> 2017</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Kenneth+Branagh+to+Direct+Tom+Hiddleston+in+%E2%80%98Hamlet%E2%80%99&rft.date=2017-08-01&rft.aulast=Sulcas&rft.aufirst=Roslyn&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2017%2F08%2F01%2Ftheater%2Fkenneth-branagh-tom-hiddleston-hamlet.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFTanitch1985" class="citation book"><A href="/wiki/Robert_Tanitch" title="Robert Tanitch">Tanitch, Robert</A> (1985). <I>Olivier: The complete career</I>. <A href="/wiki/Abbeville_Press" class="mw-redirect" title="Abbeville Press">Abbeville Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0896595903" title="Special:BookSources/978-0896595903">978-0896595903</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Olivier%3A+The+complete+career&rft.pub=Abbeville+Press&rft.date=1985&rft.isbn=978-0896595903&rft.aulast=Tanitch&rft.aufirst=Robert&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFTaxidou1998" class="citation book">Taxidou, Olga (1998). <I>The Mask: A Periodical Performance by Edward Gordon Craig</I>. Contemporary Theatre Studies. <B>30</B>. Amsterdam: <A href="/wiki/Taylor_%26_Francis" title="Taylor & Francis">Harwood Academic Publishers</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/90-5755-046-6" title="Special:BookSources/90-5755-046-6">90-5755-046-6</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Mask%3A+A+Periodical+Performance+by+Edward+Gordon+Craig&rft.place=Amsterdam&rft.series=Contemporary+Theatre+Studies&rft.pub=Harwood+Academic+Publishers&rft.date=1998&rft.isbn=90-5755-046-6&rft.aulast=Taxidou&rft.aufirst=Olga&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFTaylor1989" class="citation book"><A href="/wiki/Gary_Taylor_(scholar)" title="Gary Taylor (scholar)">Taylor, Gary</A> (1989). <I>Reinventing Shakespeare: A Cultural History from the Restoration to the Present</I>. London: <A href="/wiki/Hogarth_Press" title="Hogarth Press">Hogarth Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-7012-0888-0" title="Special:BookSources/0-7012-0888-0">0-7012-0888-0</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Reinventing+Shakespeare%3A+A+Cultural+History+from+the+Restoration+to+the+Present&rft.place=London&rft.pub=Hogarth+Press&rft.date=1989&rft.isbn=0-7012-0888-0&rft.aulast=Taylor&rft.aufirst=Gary&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFTaylor2002" class="citation book"><A href="/wiki/Gary_Taylor_(scholar)" title="Gary Taylor (scholar)">Taylor, Gary</A> (2002). "Shakespeare Plays on Renaissance Stages". In <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>; Stanton, Sarah. <I>The Cambridge Companion to Shakespeare on Stage</I>. Cambridge Companions to Literature. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-79711-X" title="Special:BookSources/0-521-79711-X">0-521-79711-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Shakespeare+Plays+on+Renaissance+Stages&rft.btitle=The+Cambridge+Companion+to+Shakespeare+on+Stage&rft.place=Cambridge&rft.series=Cambridge+Companions+to+Literature&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=0-521-79711-X&rft.aulast=Taylor&rft.aufirst=Gary&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFThompson2001" class="citation book">Thompson, Ann (2001). "Shakespeare and sexuality". In Alexander, Catherine M.S.; <A href="/wiki/Stanley_Wells" title="Stanley Wells">Wells, Stanley</A>. <I>Shakespeare and Sexuality</I>. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>. pp. 1–13. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-521-80475-2" title="Special:BookSources/0-521-80475-2">0-521-80475-2</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Shakespeare+and+sexuality&rft.btitle=Shakespeare+and+Sexuality&rft.place=Cambridge&rft.pages=1-13&rft.pub=Cambridge+University+Press&rft.date=2001&rft.isbn=0-521-80475-2&rft.aulast=Thompson&rft.aufirst=Ann&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFThompsonTaylor1996" class="citation book">Thompson, Ann; Taylor, Neil (1996). <I>William Shakespeare, "Hamlet"</I>. Plymouth, UK: <A href="/w/index.php?title=Northcote_House&action=edit&redlink=1" class="new" title="Northcote House (page does not exist)">Northcote House</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-7463-0765-9" title="Special:BookSources/0-7463-0765-9">0-7463-0765-9</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=William+Shakespeare%2C+%22Hamlet%22&rft.place=Plymouth%2C+UK&rft.pub=Northcote+House&rft.date=1996&rft.isbn=0-7463-0765-9&rft.aulast=Thompson&rft.aufirst=Ann&rft.au=Taylor%2C+Neil&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFThomson1983" class="citation book">Thomson, Peter (1983). <I>Shakespeare's Theatre</I>. Theatre Production. London and Boston: <A href="/wiki/Routledge" title="Routledge">Routledge and Kegan Paul</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-7100-9480-9" title="Special:BookSources/0-7100-9480-9">0-7100-9480-9</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Shakespeare%27s+Theatre&rft.place=London+and+Boston&rft.series=Theatre+Production&rft.pub=Routledge+and+Kegan+Paul&rft.date=1983&rft.isbn=0-7100-9480-9&rft.aulast=Thomson&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFTodoroff2011" class="citation web">Todoroff, Aimee (19 March 2011). <A rel="nofollow" class="external text" href="http://www.nytheatre.com/Content/aimee-todoroff-2011-3-19-wittenberg">"Wittenberg"</A>. <I><A href="/wiki/Nytheatre.com" title="Nytheatre.com">Nytheatre.com</A></I>. <A rel="nofollow" class="external text" href="https://web.archive.org/web/20171023063707/http://www.nytheatre.com/Content/aimee-todoroff-2011-3-19-wittenberg">Archived</A> from the original on 23 October 2017<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">23 October</SPAN> 2017</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Nytheatre.com&rft.atitle=Wittenberg&rft.date=2011-03-19&rft.aulast=Todoroff&rft.aufirst=Aimee&rft_id=http%3A%2F%2Fwww.nytheatre.com%2FContent%2Faimee-todoroff-2011-3-19-wittenberg&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFTrilling2009" class="citation book"><A href="/wiki/Lionel_Trilling" title="Lionel Trilling">Trilling, Lionel</A> (2009). <I>Sincerity and Authenticity</I>. The Charles Eliot Norton Lectures. <A href="/wiki/Harvard_University_Press" title="Harvard University Press">Harvard University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9780674504196" title="Special:BookSources/9780674504196">9780674504196</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Sincerity+and+Authenticity&rft.series=The+Charles+Eliot+Norton+Lectures&rft.pub=Harvard+University+Press&rft.date=2009&rft.isbn=9780674504196&rft.aulast=Trilling&rft.aufirst=Lionel&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFUglow1977" class="citation book">Uglow, Jenny (2002) [1977]. <I>Hogarth: A Life and a World</I> (New ed.). London: <A href="/wiki/Faber_and_Faber" title="Faber and Faber">Faber and Faber</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-571-19376-5" title="Special:BookSources/0-571-19376-5">0-571-19376-5</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hogarth%3A+A+Life+and+a+World&rft.place=London&rft.edition=New&rft.pub=Faber+and+Faber&rft.date=2002&rft.isbn=0-571-19376-5&rft.aulast=Uglow&rft.aufirst=Jenny&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFVickers1974a" class="citation book"><A href="/wiki/Brian_Vickers_(literary_scholar)" title="Brian Vickers (literary scholar)">Vickers, Brian</A>, ed. (1995) [1974]. <I>Shakespeare: The Critical Heritage (1623–1692)</I>. <B>1</B> (New ed.). London: <A href="/wiki/Routledge" title="Routledge">Routledge</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-415-13404-8" title="Special:BookSources/0-415-13404-8">0-415-13404-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Shakespeare%3A+The+Critical+Heritage+%281623%E2%80%931692%29&rft.place=London&rft.edition=New&rft.pub=Routledge&rft.date=1995&rft.isbn=0-415-13404-8&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFVickers1974b" class="citation book"><A href="/wiki/Brian_Vickers_(literary_scholar)" title="Brian Vickers (literary scholar)">Vickers, Brian</A>, ed. (1995) [1974]. <I>Shakespeare: The Critical Heritage (1753–1765)</I>. <B>4</B> (New ed.). London: <A href="/wiki/Routledge" title="Routledge">Routledge</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-415-13407-2" title="Special:BookSources/0-415-13407-2">0-415-13407-2</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Shakespeare%3A+The+Critical+Heritage+%281753%E2%80%931765%29&rft.place=London&rft.edition=New&rft.pub=Routledge&rft.date=1995&rft.isbn=0-415-13407-2&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFVickers1974c" class="citation book"><A href="/wiki/Brian_Vickers_(literary_scholar)" title="Brian Vickers (literary scholar)">Vickers, Brian</A>, ed. (1995) [1974]. <I>Shakespeare: The Critical Heritage (1765–1774)</I>. <B>5</B> (New ed.). London: <A href="/wiki/Routledge" title="Routledge">Routledge</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-415-13408-0" title="Special:BookSources/0-415-13408-0">0-415-13408-0</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Shakespeare%3A+The+Critical+Heritage+%281765%E2%80%931774%29&rft.place=London&rft.edition=New&rft.pub=Routledge&rft.date=1995&rft.isbn=0-415-13408-0&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFWarren2016" class="citation journal">Warren, Christopher N. (2016). <A rel="nofollow" class="external text" href="https://dx.doi.org/10.17613/M6VW8W">"Big Leagues: Specters of Milton and Republican International Justice between Shakespeare and Marx"</A>. <I><A href="/wiki/Humanity_(journal)" title="Humanity (journal)">Humanity</A></I>. <A href="/wiki/University_of_Pennsylvania_Press" title="University of Pennsylvania Press">University of Pennsylvania Press</A>. <B>7</B> (3): 365–89. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.1353%2Fhum.2016.0020">10.1353/hum.2016.0020</A>. <A href="/wiki/International_Standard_Serial_Number" title="International Standard Serial Number">ISSN</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/issn/2151-4372">2151-4372</A> – via <A href="/wiki/Project_MUSE" title="Project MUSE">Project MUSE</A>. <SPAN style="font-size:90%; color:#555">(Subscription required (<SPAN title="The site requires a paid subscription to access this page." style="border-bottom:1px dotted;cursor:help">help</SPAN>))</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Humanity&rft.atitle=Big+Leagues%3A+Specters+of+Milton+and+Republican+International+Justice+between+Shakespeare+and+Marx&rft.volume=7&rft.issue=3&rft.pages=365-89&rft.date=2016&rft_id=info%3Adoi%2F10.1353%2Fhum.2016.0020&rft.issn=2151-4372&rft.aulast=Warren&rft.aufirst=Christopher+N.&rft_id=https%3A%2F%2Fdx.doi.org%2F10.17613%2FM6VW8W&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFWarrenn.d." class="citation web">Warren, Jim (n.d.). <A rel="nofollow" class="external text" href="https://web.archive.org/web/20151222152045/http://www.americanshakespearecenter.com/v.php?pg=153">"Every Exit is an Entrance Someplace Else"</A>. Director's Notes. <A href="/wiki/American_Shakespeare_Center" title="American Shakespeare Center">American Shakespeare Center</A>. Archived from <A rel="nofollow" class="external text" href="http://www.americanshakespearecenter.com/v.php?pg=153">the original</A> on 22 December 2015<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">20 June</SPAN> 2009</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Every+Exit+is+an+Entrance+Someplace+Else&rft.pub=American+Shakespeare+Center&rft.aulast=Warren&rft.aufirst=Jim&rft_id=http%3A%2F%2Fwww.americanshakespearecenter.com%2Fv.php%3Fpg%3D153&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFWilson1932" class="citation book"><A href="/wiki/J._Dover_Wilson" title="J. Dover Wilson">Wilson, J. Dover</A> (1932). <I>The Essential Shakespeare: A Biographical Adventure</I>. Cambridge: <A href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Essential+Shakespeare%3A+A+Biographical+Adventure&rft.place=Cambridge&rft.pub=Cambridge+University+Press&rft.date=1932&rft.aulast=Wilson&rft.aufirst=J.+Dover&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFWelsh2001" class="citation book">Welsh, Alexander (2001). <I>Hamlet in his Modern Guises</I>. <A href="/wiki/Princeton_University_Press" title="Princeton University Press">Princeton University Press</A>. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9780691050935" title="Special:BookSources/9780691050935">9780691050935</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet+in+his+Modern+Guises&rft.pub=Princeton+University+Press&rft.date=2001&rft.isbn=9780691050935&rft.aulast=Welsh&rft.aufirst=Alexander&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFWinstanley1977" class="citation book">Winstanley, Lilian (1977) [1921]. <I>Hamlet and the Scottish succession, Being an Examination of the Relations of the Play of</I> Hamlet <I>to the Scottish Succession and the Essex Conspiracy</I>. Philadelphia: R. West. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-8492-2912-X" title="Special:BookSources/0-8492-2912-X">0-8492-2912-X</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hamlet+and+the+Scottish+succession%2C+Being+an+Examination+of+the+Relations+of+the+Play+of+Hamlet+to+the+Scottish+Succession+and+the+Essex+Conspiracy&rft.place=Philadelphia&rft.pub=R.+West&rft.date=1977&rft.isbn=0-8492-2912-X&rft.aulast=Winstanley&rft.aufirst=Lilian&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFWinter1875" class="citation magazine"><A href="/wiki/William_Winter_(author)" title="William Winter (author)">Winter, William</A> (26 October 1875). <A rel="nofollow" class="external text" href="http://chroniclingamerica.loc.gov/lccn/sn83030214/1875-10-26/ed-1/seq-5/">"Fifth Avenue Theater—Edwin Booth as Hamlet"</A>. The Drama. <I><A href="/wiki/New-York_Tribune" title="New-York Tribune">New-York Tribune</A></I>. p. 5. <A href="/wiki/International_Standard_Serial_Number" title="International Standard Serial Number">ISSN</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/issn/1941-0646">1941-0646</A>. <A href="/wiki/Library_of_Congress_Control_Number" title="Library of Congress Control Number">LCCN</A> <A rel="nofollow" class="external text" href="//lccn.loc.gov/sn83030214">sn83030214</A>. <A href="/wiki/OCLC" title="OCLC">OCLC</A> <A rel="nofollow" class="external text" href="//www.worldcat.org/oclc/9405688">9405688</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Fifth+Avenue+Theater%E2%80%94Edwin+Booth+as+Hamlet&rft.pages=5&rft.date=1875-10-26&rft_id=info%3Aoclcnum%2F9405688&rft.issn=1941-0646&rft_id=info%3Alccn%2Fsn83030214&rft.aulast=Winter&rft.aufirst=William&rft_id=http%3A%2F%2Fchroniclingamerica.loc.gov%2Flccn%2Fsn83030214%2F1875-10-26%2Fed-1%2Fseq-5%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
<LI><CITE id="CITEREFWofford1994" class="citation book">Wofford, Susanne L. (1994). "A Critical History of Hamlet". <I>Hamlet: Complete, Authoritative Text with Biographical and Historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives</I>. Boston: <A href="/wiki/Bedford_Books" class="mw-redirect" title="Bedford Books">Bedford Books</A>. pp. 181–207. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-312-08986-4" title="Special:BookSources/0-312-08986-4">0-312-08986-4</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=A+Critical+History+of+Hamlet&rft.btitle=Hamlet%3A+Complete%2C+Authoritative+Text+with+Biographical+and+Historical+Contexts%2C+Critical+History%2C+and+Essays+from+Five+Contemporary+Critical+Perspectives&rft.place=Boston&rft.pages=181-207&rft.pub=Bedford+Books&rft.date=1994&rft.isbn=0-312-08986-4&rft.aulast=Wofford&rft.aufirst=Susanne+L.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHamlet" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></LI>
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<H2><SPAN class="mw-headline" id="External_links">External links</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=36" title="Edit section: External links">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
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<TD style="padding-top:0.4em;line-height:1.2em"><A href="/wiki/Wikipedia:LIBRARY" class="mw-redirect" title="Wikipedia:LIBRARY">Library resources</A> about<BR />
<B>Hamlet</B>
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<DIV style="font-size: xx-small; line-height: 1.6em; margin-left: 60px;">This audio file was created from a revision of the article "<SPAN class="fn">Hamlet</SPAN>" dated 2011-10-14, and does not reflect subsequent edits to the article. (<A href="/wiki/Wikipedia:Media_help" class="mw-redirect" title="Wikipedia:Media help">Audio help</A>)</DIV>
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<UL>
<LI><A rel="nofollow" class="external text" href="http://www.bl.uk/works/hamlet"><I>Hamlet</I></A> at the British Library</LI>
<LI><I><A rel="nofollow" class="external text" href="https://www.ibdb.com/Show/View/4172">Hamlet</A></I> at the <A href="/wiki/Internet_Broadway_Database" title="Internet Broadway Database">Internet Broadway Database</A></LI>
<LI><I><A rel="nofollow" class="external text" href="http://www.lortel.org/Archives/Search?searchText=Hamlet&searchDomain=Production">Hamlet</A></I> at the <A href="/wiki/Lortel_Archives" title="Lortel Archives">Internet Off-Broadway Database</A></LI>
<LI><IMG alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/15px-Speaker_Icon.svg.png" width="15" height="15" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/23px-Speaker_Icon.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/30px-Speaker_Icon.svg.png 2x" data-file-width="500" data-file-height="500" /> <A rel="nofollow" class="external text" href="https://librivox.org/search?title=Hamlet&author=Shakespeare&reader=&keywords=&genre_id=0&status=all&project_type=either&recorded_language=&sort_order=catalog_date&search_page=1&search_form=advanced"><I>Hamlet</I></A> public domain audiobook at <A href="/wiki/LibriVox" title="LibriVox">LibriVox</A></LI>
</UL>
<H3><SPAN class="mw-headline" id="Texts_2">Texts</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=37" title="Edit section: Texts">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<UL>
<LI><A rel="nofollow" class="external text" href="http://shakespearestudyguide.com/Hamlet%20Text.html">Hamlet</A> Complete text on one page with definitions of difficult words and explanations of difficult passages.</LI>
<LI><A rel="nofollow" class="external text" href="http://www.folgerdigitaltexts.org/?chapter=5&play=Ham&loc=p7"><I>Hamlet</I></A>—Digital text by the <A href="/wiki/Folger_Shakespeare_Library" title="Folger Shakespeare Library">Folger Shakespeare Library</A></LI>
<LI><A rel="nofollow" class="external text" href="http://internetshakespeare.uvic.ca/Library/Texts/Ham/"><I>Hamlet</I> at the Internet Shakespeare Editions</A>—Transcripts and facsimiles of Q1, Q2 and F1.</LI>
<LI><A rel="nofollow" class="external text" href="http://www.quartos.org">Shakespeare Quartos Archive</A>—Transcriptions and facsimiles of thirty-two copies of the five pre-1642 quarto editions.</LI>
<LI><A rel="nofollow" class="external text" href="http://www.opensourceshakespeare.org/views/plays/playmenu.php?WorkID=hamlet"><I>Hamlet</I> at Open Source Shakespeare</A>—A complete text of <I>Hamlet</I> based on Q2.</LI>
<LI><I><A rel="nofollow" class="external text" href="https://www.owleyes.org/text/hamlet">Hamlet</A></I>—Annotated text aligned to Common Core standards.</LI>
</UL>
<UL>
<LI><A rel="nofollow" class="external text" href="http://www.gutenberg.org/ebooks/56454"><I>Hamlet</I></A>—Etext in Spanish available in many formats at Gutenberg.org.</LI>
</UL>
<H3><SPAN class="mw-headline" id="Analysis">Analysis</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=38" title="Edit section: Analysis">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<UL>
<LI><A rel="nofollow" class="external text" href="http://shea.mit.edu/ramparts">Hamlet on the Ramparts</A>—The <A href="/wiki/Massachusetts_Institute_of_Technology" title="Massachusetts Institute of Technology">MIT</A>'s Shakespeare Electronic Archive.</LI>
<LI><A rel="nofollow" class="external text" href="http://www.hamletworks.org">Hamletworks.org</A>—Scholarly resource with multiple versions of <I>Hamlet</I>, commentaries, concordances, and more.</LI>
<LI><A rel="nofollow" class="external text" href="http://www.english.emory.edu/classes/Shakespeare_Illustrated/HamletPaintings.html">Depictions and commentary of Hamlet paintings</A></LI>
<LI><A rel="nofollow" class="external text" href="http://clearshakespeare.com/category/hamlet/">Clear Shakespeare <I>Hamlet</I></A>—A word-by-word audio guide through the play.</LI>
</UL>
<H3><SPAN class="mw-headline" id="Related_works">Related works</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Hamlet&action=edit&section=39" title="Edit section: Related works">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<UL>
<LI><A rel="nofollow" class="external text" href="http://omacl.org/DanishHistory/">The Danish History (Books I-IX)</A> by <A href="/wiki/Saxo_Grammaticus" title="Saxo Grammaticus">Saxo Grammaticus</A> at <A href="/w/index.php?title=The_Online_Medieval_%26_Classical_Library&action=edit&redlink=1" class="new" title="The Online Medieval & Classical Library (page does not exist)">The Online Medieval & Classical Library</A> (<A href="/wiki/Public_domain" title="Public domain">public domain</A> translation into English of the <I><A href="/wiki/Gesta_Danorum" title="Gesta Danorum">Gesta Danorum</A></I>).</LI>
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<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Shakespearean_tragedy" title="Shakespearean tragedy">Tragedies</A></TH>
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<LI><I><A href="/wiki/Antony_and_Cleopatra" title="Antony and Cleopatra">Antony and Cleopatra</A></I></LI>
<LI><I><A href="/wiki/Coriolanus" title="Coriolanus">Coriolanus</A></I></LI>
<LI><I><A class="mw-selflink selflink">Hamlet</A></I></LI>
<LI><I><A href="/wiki/Julius_Caesar_(play)" title="Julius Caesar (play)">Julius Caesar</A></I></LI>
<LI><I><A href="/wiki/King_Lear" title="King Lear">King Lear</A></I></LI>
<LI><I><A href="/wiki/Macbeth" title="Macbeth">Macbeth</A></I></LI>
<LI><I><A href="/wiki/Othello" title="Othello">Othello</A></I></LI>
<LI><I><A href="/wiki/Romeo_and_Juliet" title="Romeo and Juliet">Romeo and Juliet</A></I></LI>
<LI><I><A href="/wiki/Timon_of_Athens" title="Timon of Athens">Timon of Athens</A></I></LI>
<LI><I><A href="/wiki/Titus_Andronicus" title="Titus Andronicus">Titus Andronicus</A></I></LI>
<LI><I><A href="/wiki/Troilus_and_Cressida" title="Troilus and Cressida">Troilus and Cressida</A></I></LI>
</UL>
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<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Shakespearean_comedy" title="Shakespearean comedy">Comedies</A></TH>
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<UL>
<LI><I><A href="/wiki/All%27s_Well_That_Ends_Well" title="All's Well That Ends Well">All's Well That Ends Well</A></I></LI>
<LI><I><A href="/wiki/As_You_Like_It" title="As You Like It">As You Like It</A></I></LI>
<LI><I><A href="/wiki/The_Comedy_of_Errors" title="The Comedy of Errors">The Comedy of Errors</A></I></LI>
<LI><I><A href="/wiki/Cymbeline" title="Cymbeline">Cymbeline</A></I></LI>
<LI><I><A href="/wiki/Love%27s_Labour%27s_Lost" title="Love's Labour's Lost">Love's Labour's Lost</A></I></LI>
<LI><I><A href="/wiki/Measure_for_Measure" title="Measure for Measure">Measure for Measure</A></I></LI>
<LI><I><A href="/wiki/The_Merchant_of_Venice" title="The Merchant of Venice">The Merchant of Venice</A></I></LI>
<LI><I><A href="/wiki/The_Merry_Wives_of_Windsor" title="The Merry Wives of Windsor">The Merry Wives of Windsor</A></I></LI>
<LI><I><A href="/wiki/A_Midsummer_Night%27s_Dream" title="A Midsummer Night's Dream">A Midsummer Night's Dream</A></I></LI>
<LI><I><A href="/wiki/Much_Ado_About_Nothing" title="Much Ado About Nothing">Much Ado About Nothing</A></I></LI>
<LI><I><A href="/wiki/Pericles,_Prince_of_Tyre" title="Pericles, Prince of Tyre">Pericles, Prince of Tyre</A></I>*</LI>
<LI><I><A href="/wiki/The_Taming_of_the_Shrew" title="The Taming of the Shrew">The Taming of the Shrew</A></I></LI>
<LI><I><A href="/wiki/The_Tempest" title="The Tempest">The Tempest</A></I></LI>
<LI><I><A href="/wiki/Twelfth_Night" title="Twelfth Night">Twelfth Night</A></I></LI>
<LI><I><A href="/wiki/The_Two_Gentlemen_of_Verona" title="The Two Gentlemen of Verona">The Two Gentlemen of Verona</A></I></LI>
<LI><I><A href="/wiki/The_Two_Noble_Kinsmen" title="The Two Noble Kinsmen">The Two Noble Kinsmen</A></I>*</LI>
<LI><I><A href="/wiki/The_Winter%27s_Tale" title="The Winter's Tale">The Winter's Tale</A></I></LI>
</UL>
</DIV>
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<TR>
<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Shakespearean_history" title="Shakespearean history">Histories</A></TH>
<TD class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/King_John_(play)" title="King John (play)">King John</A></I></LI>
<LI><I><A href="/wiki/Edward_III_(play)" title="Edward III (play)">Edward III</A></I>*</LI>
<LI><I><A href="/wiki/Richard_II_(play)" title="Richard II (play)">Richard II</A></I></LI>
<LI><I>Henry IV</I>
<UL>
<LI><I><A href="/wiki/Henry_IV,_Part_1" title="Henry IV, Part 1">1</A></I></LI>
<LI><I><A href="/wiki/Henry_IV,_Part_2" title="Henry IV, Part 2">2</A></I></LI>
</UL>
</LI>
<LI><I><A href="/wiki/Henry_V_(play)" title="Henry V (play)">Henry V</A></I></LI>
<LI><I><A href="/wiki/Henry_VI_(play)" title="Henry VI (play)">Henry VI</A></I>
<UL>
<LI><I><A href="/wiki/Henry_VI,_Part_1" title="Henry VI, Part 1">1</A></I>*</LI>
<LI><I><A href="/wiki/Henry_VI,_Part_2" title="Henry VI, Part 2">2</A></I></LI>
<LI><I><A href="/wiki/Henry_VI,_Part_3" title="Henry VI, Part 3">3</A></I></LI>
</UL>
</LI>
<LI><I><A href="/wiki/Richard_III_(play)" title="Richard III (play)">Richard III</A></I></LI>
<LI><I><A href="/wiki/Henry_VIII_(play)" title="Henry VIII (play)">Henry VIII</A></I>*</LI>
</UL>
</DIV>
</TD>
</TR>
<TR>
<TH scope="row" class="navbox-group" style="width:1%">See also</TH>
<TD class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><A href="/wiki/Shakespearean_problem_play" title="Shakespearean problem play">Problem plays</A></LI>
<LI><A href="/wiki/Shakespeare%27s_late_romances" title="Shakespeare's late romances">Late romances</A></LI>
<LI>Characters
<UL>
<LI><A href="/wiki/List_of_Shakespearean_characters_(A%E2%80%93K)" title="List of Shakespearean characters (A–K)">A–K</A></LI>
<LI><A href="/wiki/List_of_Shakespearean_characters_(L%E2%80%93Z)" title="List of Shakespearean characters (L–Z)">L–Z</A></LI>
<LI><A href="/wiki/Ghost_character" title="Ghost character">Ghost character</A></LI>
</UL>
</LI>
<LI><A href="/wiki/Chronology_of_Shakespeare%27s_plays" title="Chronology of Shakespeare's plays">Chronology</A></LI>
<LI><A href="/wiki/Shakespeare_in_performance" title="Shakespeare in performance">Performances</A></LI>
<LI><A href="/wiki/List_of_Shakespearean_settings" title="List of Shakespearean settings">Settings</A></LI>
<LI><A href="/wiki/List_of_Shakespeare_plays_in_quarto" title="List of Shakespeare plays in quarto">Quarto publications</A></LI>
<LI><A href="/wiki/First_Folio" title="First Folio">First Folio</A></LI>
<LI><A href="/wiki/Second_Folio" title="Second Folio">Second Folio</A></LI>
</UL>
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<DIV><A href="/wiki/File:Shakespeare_(oval-cropped).png" class="image"><IMG alt="Shakespeare (oval-cropped).png" src="//upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Shakespeare_%28oval-cropped%29.png/75px-Shakespeare_%28oval-cropped%29.png" width="75" height="107" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Shakespeare_%28oval-cropped%29.png/113px-Shakespeare_%28oval-cropped%29.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Shakespeare_%28oval-cropped%29.png/150px-Shakespeare_%28oval-cropped%29.png 2x" data-file-width="420" data-file-height="600" /></A></DIV>
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<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Category:Poetry_by_William_Shakespeare" title="Category:Poetry by William Shakespeare">Poems</A></TH>
<TD class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Shakespeare%27s_sonnets" title="Shakespeare's sonnets">Shakespeare's sonnets</A></I>
<UL>
<LI><A href="/wiki/Petrarch%27s_and_Shakespeare%27s_sonnets" title="Petrarch's and Shakespeare's sonnets">comparison to Petrarch</A></LI>
</UL>
</LI>
<LI><I><A href="/wiki/A_Lover%27s_Complaint" title="A Lover's Complaint">A Lover's Complaint</A></I></LI>
<LI><I><A href="/wiki/The_Phoenix_and_the_Turtle" title="The Phoenix and the Turtle">The Phoenix and the Turtle</A></I></LI>
<LI><I><A href="/wiki/The_Rape_of_Lucrece" title="The Rape of Lucrece">The Rape of Lucrece</A></I></LI>
<LI><I><A href="/wiki/Venus_and_Adonis_(Shakespeare_poem)" title="Venus and Adonis (Shakespeare poem)">Venus and Adonis</A></I></LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Shakespeare_Apocrypha" class="mw-redirect" title="Shakespeare Apocrypha">Apocrypha</A></TH>
<TD class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em"></DIV>
<TABLE class="nowraplinks navbox-subgroup" style="border-spacing:0">
<TBODY><TR>
<TH scope="row" class="navbox-group" style="width:1%">Plays</TH>
<TD class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Arden_of_Faversham" title="Arden of Faversham">Arden of Faversham</A></I></LI>
<LI><I><A href="/wiki/The_Birth_of_Merlin" title="The Birth of Merlin">The Birth of Merlin</A></I></LI>
<LI><I><A href="/wiki/The_History_of_Cardenio" title="The History of Cardenio">Cardenio</A></I>*<IMG alt="dagger" src="//upload.wikimedia.org/wikipedia/commons/3/37/Dagger-14-plain.png" width="9" height="14" data-file-width="9" data-file-height="14" /></LI>
<LI><I><A href="/wiki/Double_Falsehood" title="Double Falsehood">Double Falsehood</A></I></LI>
<LI><I><A href="/wiki/Edmund_Ironside_(play)" title="Edmund Ironside (play)">Edmund Ironside</A></I></LI>
<LI><I><A href="/wiki/Fair_Em" title="Fair Em">Fair Em</A></I></LI>
<LI><I><A href="/wiki/Locrine" title="Locrine">Locrine</A></I></LI>
<LI><I><A href="/wiki/The_London_Prodigal" title="The London Prodigal">The London Prodigal</A></I></LI>
<LI><I><A href="/wiki/Love%27s_Labour%27s_Won" title="Love's Labour's Won">Love's Labour's Won</A></I><IMG alt="dagger" src="//upload.wikimedia.org/wikipedia/commons/3/37/Dagger-14-plain.png" width="9" height="14" data-file-width="9" data-file-height="14" /></LI>
<LI><I><A href="/wiki/The_Merry_Devil_of_Edmonton" title="The Merry Devil of Edmonton">The Merry Devil of Edmonton</A></I></LI>
<LI><I><A href="/wiki/Mucedorus" title="Mucedorus">Mucedorus</A></I></LI>
<LI><I><A href="/wiki/The_Puritan" title="The Puritan">The Puritan</A></I></LI>
<LI><I><A href="/wiki/The_Second_Maiden%27s_Tragedy" title="The Second Maiden's Tragedy">The Second Maiden's Tragedy</A></I></LI>
<LI><I><A href="/wiki/Sejanus_His_Fall" title="Sejanus His Fall">Sejanus His Fall</A></I></LI>
<LI><I><A href="/wiki/Sir_John_Oldcastle" title="Sir John Oldcastle">Sir John Oldcastle</A></I></LI>
<LI><I><A href="/wiki/Sir_Thomas_More_(play)" title="Sir Thomas More (play)">Sir Thomas More</A></I>*</LI>
<LI><I><A href="/wiki/The_Spanish_Tragedy" title="The Spanish Tragedy">The Spanish Tragedy</A></I></LI>
<LI><I><A href="/wiki/Thomas_Lord_Cromwell" title="Thomas Lord Cromwell">Thomas Lord Cromwell</A></I></LI>
<LI><I><A href="/wiki/Thomas_of_Woodstock_(play)" title="Thomas of Woodstock (play)">Thomas of Woodstock</A></I></LI>
<LI><I><A href="/wiki/Vortigern_and_Rowena" title="Vortigern and Rowena">Vortigern and Rowena</A></I></LI>
<LI><I><A href="/wiki/A_Yorkshire_Tragedy" title="A Yorkshire Tragedy">A Yorkshire Tragedy</A></I></LI>
</UL>
</DIV>
</TD>
</TR>
<TR>
<TH scope="row" class="navbox-group" style="width:1%">Poems</TH>
<TD class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/The_Passionate_Pilgrim" title="The Passionate Pilgrim">The Passionate Pilgrim</A></I></LI>
<LI><I><A href="/wiki/To_the_Queen" title="To the Queen">To the Queen</A></I></LI>
</UL>
</DIV>
</TD>
</TR>
</TBODY></TABLE>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Shakespeare%27s_life" title="Shakespeare's life">Life</A><BR />
and <A href="/wiki/Shakespeare_bibliography" title="Shakespeare bibliography">works</A></TH>
<TD class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><A href="/wiki/Shakespeare%27s_Birthplace" title="Shakespeare's Birthplace">Birthplace and childhood home</A></LI>
<LI><A href="/wiki/Shakespeare_bibliography" title="Shakespeare bibliography">Bibliography</A>
<UL>
<LI><I><A href="/wiki/Complete_Works_of_Shakespeare" title="Complete Works of Shakespeare">Complete Works of William Shakespeare</A></I></LI>
<LI><A href="/wiki/List_of_translations_of_works_by_William_Shakespeare" title="List of translations of works by William Shakespeare">Translations</A></LI>
</UL>
</LI>
<LI><A href="/wiki/Early_texts_of_Shakespeare%27s_works" title="Early texts of Shakespeare's works">Early editions</A></LI>
<LI><A href="/wiki/Shakespeare%27s_editors" title="Shakespeare's editors">Editors</A></LI>
<LI><A href="/wiki/English_Renaissance_theatre" title="English Renaissance theatre">English Renaissance theatre</A></LI>
<LI><A href="/wiki/Globe_Theatre" title="Globe Theatre">Globe Theatre</A></LI>
<LI><A href="/wiki/Shakespeare%27s_handwriting" title="Shakespeare's handwriting">Handwriting</A></LI>
<LI><A href="/wiki/Lord_Chamberlain%27s_Men" title="Lord Chamberlain's Men">Lord Chamberlain's Men</A>/<A href="/wiki/King%27s_Men_(playing_company)" title="King's Men (playing company)">King's Men</A>
<UL>
<LI><A href="/wiki/The_Theatre" title="The Theatre">The Theatre</A></LI>
<LI><A href="/wiki/Curtain_Theatre" title="Curtain Theatre">Curtain Theatre</A></LI>
</UL>
</LI>
<LI><A href="/wiki/New_Place" title="New Place">New Place</A></LI>
<LI><A href="/wiki/Portraits_of_Shakespeare" title="Portraits of Shakespeare">Portraits</A></LI>
<LI><A href="/wiki/Religious_views_of_William_Shakespeare" title="Religious views of William Shakespeare">Religious views</A></LI>
<LI><A href="/wiki/Sexuality_of_William_Shakespeare" title="Sexuality of William Shakespeare">Sexuality</A></LI>
<LI><A href="/wiki/Spelling_of_Shakespeare%27s_name" title="Spelling of Shakespeare's name">Spelling of his name</A></LI>
<LI><A href="/wiki/Stratford-upon-Avon" title="Stratford-upon-Avon">Stratford-upon-Avon</A></LI>
<LI><A href="/wiki/Shakespeare%27s_writing_style" title="Shakespeare's writing style">Style</A></LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Shakespeare%27s_reputation" title="Shakespeare's reputation">Legacy</A></TH>
<TD class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><A href="/wiki/Shakespeare_attribution_studies" title="Shakespeare attribution studies">Attribution studies</A></LI>
<LI><A href="/wiki/Shakespeare_authorship_question" title="Shakespeare authorship question">Authorship question</A></LI>
<LI><A href="/wiki/Shakespeare%27s_influence" title="Shakespeare's influence">Influence</A></LI>
<LI><A href="/wiki/Memorials_to_William_Shakespeare" title="Memorials to William Shakespeare">Memorials</A></LI>
<LI><A href="/wiki/List_of_William_Shakespeare_screen_adaptations" title="List of William Shakespeare screen adaptations">Screen adaptations</A></LI>
<LI><A href="/wiki/Shakespeare_Birthplace_Trust" title="Shakespeare Birthplace Trust">Shakespeare Birthplace Trust</A></LI>
<LI><A href="/wiki/Folger_Shakespeare_Library" title="Folger Shakespeare Library">Folger Shakespeare Library</A>
<UL>
<LI><I><A href="/wiki/Shakespeare_Quarterly" title="Shakespeare Quarterly">Shakespeare Quarterly</A></I></LI>
</UL>
</LI>
<LI><A href="/wiki/Shakespeare%27s_Globe" title="Shakespeare's Globe">Shakespeare's Globe</A> (replica)</LI>
<LI><A href="/wiki/Bardolatry" title="Bardolatry">Bardolatry</A></LI>
<LI><A href="/wiki/List_of_titles_of_works_taken_from_Shakespeare" title="List of titles of works taken from Shakespeare">Titles of works taken from Shakespeare</A></LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%">Family</TH>
<TD class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><A href="/wiki/Anne_Hathaway_(wife_of_Shakespeare)" title="Anne Hathaway (wife of Shakespeare)">Anne Hathaway</A> (wife)</LI>
<LI><A href="/wiki/Susanna_Hall" title="Susanna Hall">Susanna Hall</A> (daughter)</LI>
<LI><A href="/wiki/Hamnet_Shakespeare" title="Hamnet Shakespeare">Hamnet Shakespeare</A> (son)</LI>
<LI><A href="/wiki/Judith_Quiney" title="Judith Quiney">Judith Quiney</A> (daughter)</LI>
<LI><A href="/wiki/Elizabeth_Barnard" title="Elizabeth Barnard">Elizabeth Barnard</A> (granddaughter)</LI>
<LI><A href="/wiki/John_Shakespeare" title="John Shakespeare">John Shakespeare</A> (father)</LI>
<LI><A href="/wiki/Mary_Shakespeare" title="Mary Shakespeare">Mary Arden</A> (mother)</LI>
<LI><A href="/wiki/Gilbert_Shakespeare" title="Gilbert Shakespeare">Gilbert Shakespeare</A> (brother)</LI>
<LI><A href="/wiki/Joan_Shakespeare" title="Joan Shakespeare">Joan Shakespeare</A> (sister)</LI>
<LI><A href="/wiki/Edmund_Shakespeare" title="Edmund Shakespeare">Edmund Shakespeare</A> (brother)</LI>
<LI><A href="/wiki/Richard_Shakespeare" title="Richard Shakespeare">Richard Shakespeare</A> (grandfather)</LI>
<LI><A href="/wiki/John_Hall_(physician)" title="John Hall (physician)">John Hall</A> (son-in-law)</LI>
<LI><A href="/wiki/Thomas_Quiney" title="Thomas Quiney">Thomas Quiney</A> (son-in-law)</LI>
<LI><A href="/wiki/Thomas_Nash" title="Thomas Nash">Thomas Nash</A> (grandson-in-law)</LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TD class="navbox-abovebelow" colspan="3">
<DIV>
<UL>
<LI>* <A href="/wiki/William_Shakespeare%27s_collaborations" title="William Shakespeare's collaborations">Shakespeare and other authors</A></LI>
<LI><IMG alt="dagger" src="//upload.wikimedia.org/wikipedia/commons/3/37/Dagger-14-plain.png" width="9" height="14" data-file-width="9" data-file-height="14" /> Lost</LI>
</UL>
</DIV>
</TD>
</TR>
</TBODY></TABLE>
</DIV>
<DIV role="navigation" class="navbox" aria-labelledby="William_Shakespeare&#039;s_Hamlet" style="padding:3px">
<TABLE class="nowraplinks collapsible collapsed navbox-inner" style="border-spacing:0;background:transparent;color:inherit" id="collapsibleTable1">
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<TH scope="col" class="navbox-title" colspan="2"><SPAN class="collapseButton">[<A id="collapseButton1" href="#">show</A>]</SPAN>
<DIV class="plainlinks hlist navbar mini">
<UL>
<LI class="nv-view"><A href="/wiki/Template:Hamlet" title="Template:Hamlet"><ABBR title="View this template" style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none;">v</ABBR></A></LI>
<LI class="nv-talk"><A href="/wiki/Template_talk:Hamlet" title="Template talk:Hamlet"><ABBR title="Discuss this template" style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none;">t</ABBR></A></LI>
<LI class="nv-edit"><A class="external text" href="//en.wikipedia.org/w/index.php?title=Template:Hamlet&action=edit"><ABBR title="Edit this template" style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none;">e</ABBR></A></LI>
</UL>
</DIV>
<DIV id="William_Shakespeare&#039;s_Hamlet" style="font-size:114%;margin:0 4em"><A href="/wiki/William_Shakespeare" title="William Shakespeare">William Shakespeare</A>'s <I><A class="mw-selflink selflink">Hamlet</A></I></DIV>
</TH>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Characters_in_Hamlet" title="Characters in Hamlet">Characters</A></TH>
<TD class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><A href="/wiki/Prince_Hamlet" title="Prince Hamlet">Hamlet</A></LI>
<LI><A href="/wiki/King_Claudius" title="King Claudius">Claudius</A></LI>
<LI><A href="/wiki/Gertrude_(Hamlet)" title="Gertrude (Hamlet)">Gertrude</A></LI>
<LI><A href="/wiki/Ghost_(Hamlet)" title="Ghost (Hamlet)">Ghost</A></LI>
<LI><A href="/wiki/Polonius" title="Polonius">Polonius</A></LI>
<LI><A href="/wiki/Laertes_(Hamlet)" title="Laertes (Hamlet)">Laertes</A></LI>
<LI><A href="/wiki/Ophelia" title="Ophelia">Ophelia</A></LI>
<LI><A href="/wiki/Horatio_(Hamlet)" title="Horatio (Hamlet)">Horatio</A></LI>
<LI><A href="/wiki/Rosencrantz_and_Guildenstern" title="Rosencrantz and Guildenstern">Rosencrantz and Guildenstern</A></LI>
<LI><A href="/wiki/Fortinbras" title="Fortinbras">Fortinbras</A></LI>
<LI><A href="/wiki/The_Gravediggers" title="The Gravediggers">The Gravediggers</A></LI>
<LI><A href="/wiki/Yorick" title="Yorick">Yorick</A></LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%">Soliloquies</TH>
<TD class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI>"<A href="/wiki/To_be,_or_not_to_be" title="To be, or not to be">To be, or not to be</A>"
<UL>
<LI>"<A href="/wiki/Mortal_coil" title="Mortal coil">Mortal coil</A>"</LI>
</UL>
</LI>
<LI>"<A href="/wiki/What_a_piece_of_work_is_a_man" title="What a piece of work is a man">What a piece of work is a man</A>"</LI>
<LI>"<A href="/wiki/Speak_the_speech" title="Speak the speech">Speak the speech</A>"</LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%">Words and phrases</TH>
<TD class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI>"<A href="/wiki/The_lady_doth_protest_too_much,_methinks" title="The lady doth protest too much, methinks">The lady doth protest too much, methinks</A>"</LI>
<LI>"<A href="/wiki/Thy_name_is" title="Thy name is">Thy name is</A>"</LI>
<LI>"<A href="/wiki/Primrose_path" title="Primrose path">Primrose path</A>"</LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%">Terminology</TH>
<TD class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><A href="/wiki/Dumbshow" title="Dumbshow">Dumbshow</A></LI>
<LI><A href="/wiki/Induction_(play)" title="Induction (play)">Induction</A></LI>
<LI><A href="/wiki/Quiddity" title="Quiddity">Quiddity</A></LI>
<LI><A href="/wiki/Substitution_(poetry)" title="Substitution (poetry)">Substitution</A></LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%">
<DIV class="hlist hlist-separated">
<UL>
<LI><A href="/wiki/Sources_of_Hamlet" title="Sources of Hamlet">Sources</A></LI>
<LI><A href="/wiki/Critical_approaches_to_Hamlet" title="Critical approaches to Hamlet">Criticism</A></LI>
</UL>
</DIV>
</TH>
<TD class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><A href="/wiki/Amleth" title="Amleth">Legend of Hamlet</A></LI>
<LI><I><A href="/wiki/The_Spanish_Tragedy" title="The Spanish Tragedy">The Spanish Tragedy</A></I></LI>
<LI><I><A href="/wiki/Ur-Hamlet" title="Ur-Hamlet">Ur-Hamlet</A></I></LI>
<LI><A href="/wiki/Critical_approaches_to_Hamlet" title="Critical approaches to Hamlet">Critical approaches</A></LI>
<LI><A href="/wiki/Hamlet_bibliographies" title="Hamlet bibliographies">Bibliographies</A></LI>
<LI><A href="/wiki/Horwendill" title="Horwendill">Horwendill</A></LI>
<LI><A href="/wiki/Saxo_Grammaticus" title="Saxo Grammaticus">Saxo Grammaticus</A></LI>
<LI><A href="/wiki/House_of_Gonzaga" title="House of Gonzaga">House of Gonzaga</A></LI>
<LI><I><A href="/wiki/Damon_and_Pythias_(play)" title="Damon and Pythias (play)">Damon and Pythias</A></I></LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Literary_influence_of_Hamlet" title="Literary influence of Hamlet">Influence</A></TH>
<TD class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><A href="/wiki/Phrases_from_Hamlet_in_common_English" title="Phrases from Hamlet in common English">Common phrases from <I>Hamlet</I></A></LI>
<LI><A href="/wiki/Hamlet_in_popular_culture" title="Hamlet in popular culture"><I>Hamlet</I> in popular culture</A></LI>
<LI><A href="/wiki/References_to_Ophelia" title="References to Ophelia">References to Ophelia</A></LI>
<LI><A href="/wiki/Language_of_flowers" title="Language of flowers">Language of flowers</A></LI>
<LI><A href="/wiki/Human_skull_symbolism" title="Human skull symbolism">Human skull symbolism</A></LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Hamlet_in_performance" title="Hamlet in performance">Performances</A></TH>
<TD class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><A href="/wiki/Moscow_Art_Theatre_production_of_Hamlet" title="Moscow Art Theatre production of Hamlet">Moscow Art Theatre</A> (1911–1912)</LI>
<LI><A href="/wiki/Richard_Burton%27s_Hamlet" title="Richard Burton's Hamlet">Richard Burton</A> (1964)</LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Hamlet_on_screen" title="Hamlet on screen">On screen</A></TH>
<TD class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><A href="/wiki/Hamlet_(1900_film)" title="Hamlet (1900 film)">1900</A></LI>
<LI><A href="/wiki/Hamlet_(1907_film)" title="Hamlet (1907 film)">1907</A></LI>
<LI><A href="/wiki/Hamlet_(1908_film)" title="Hamlet (1908 film)">1908</A></LI>
<LI><A href="/wiki/Hamlet_(1912_film)" title="Hamlet (1912 film)">1912</A></LI>
<LI><A href="/wiki/Hamlet_(1913_film)" title="Hamlet (1913 film)">1913</A></LI>
<LI><A href="/wiki/Hamlet_(1917_film)" title="Hamlet (1917 film)">1917</A></LI>
<LI><A href="/wiki/Hamlet_(1921_film)" title="Hamlet (1921 film)">1921</A></LI>
<LI><A href="/wiki/Khoon_Ka_Khoon" title="Khoon Ka Khoon">1935</A></LI>
<LI><A href="/wiki/Hamlet_(1948_film)" title="Hamlet (1948 film)">1948</A></LI>
<LI><A href="/wiki/Hamlet_(1954_film)" title="Hamlet (1954 film)">1954</A></LI>
<LI><A href="/wiki/Hamlet_(1961_film)" title="Hamlet (1961 film)">1961</A></LI>
<LI><A href="/wiki/Hamlet_(1964_film)" title="Hamlet (1964 film)">1964</A></LI>
<LI><A href="/wiki/Hamlet_(1969_film)" title="Hamlet (1969 film)">1969</A></LI>
<LI><A href="/wiki/Hamlet_(1974_film)" title="Hamlet (1974 film)">1974</A></LI>
<LI><A href="/wiki/Hamlet_(1990_film)" title="Hamlet (1990 film)">1990</A></LI>
<LI><A href="/wiki/Hamlet_(1996_film)" title="Hamlet (1996 film)">1996</A></LI>
<LI><A href="/wiki/Hamlet_(2000_film)" title="Hamlet (2000 film)">2000</A></LI>
<LI><A href="/wiki/Hamlet_(2011_film)" title="Hamlet (2011 film)">2011</A></LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Hamlet#Stage_and_screen_adaptations" title="Hamlet">Adaptations</A></TH>
<TD class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em"></DIV>
<TABLE class="nowraplinks navbox-subgroup" style="border-spacing:0">
<TBODY><TR>
<TH scope="row" class="navbox-group" style="width:1%">Films</TH>
<TD class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/The_Rest_Is_Silence_(1959_film)" title="The Rest Is Silence (1959 film)">The Rest Is Silence</A></I> (1959)</LI>
<LI><I><A href="/wiki/The_Bad_Sleep_Well" title="The Bad Sleep Well">The Bad Sleep Well</A></I> (1960)</LI>
<LI><I><A href="/wiki/Ophelia_(1963_film)" title="Ophelia (1963 film)">Ophelia</A></I> (1963)</LI>
<LI><I><A href="/wiki/Johnny_Hamlet" title="Johnny Hamlet">Johnny Hamlet</A></I> (1968)</LI>
<LI><I><A href="/wiki/One_Hamlet_Less" title="One Hamlet Less">One Hamlet Less</A></I> (1973)</LI>
<LI><I><A href="/wiki/The_Angel_of_Vengeance_%E2%80%93_The_Female_Hamlet" title="The Angel of Vengeance – The Female Hamlet">The Angel of Vengeance – The Female Hamlet</A></I> (1977)</LI>
<LI><I><A href="/wiki/Strange_Brew" title="Strange Brew">Strange Brew</A></I> (1983)</LI>
<LI><I><A href="/wiki/Hamlet_Goes_Business" title="Hamlet Goes Business">Hamlet Goes Business</A></I> (1987)</LI>
<LI><I><A href="/wiki/The_Lion_King" title="The Lion King">The Lion King</A></I> (1994)</LI>
<LI><I><A href="/wiki/Let_the_Devil_Wear_Black" title="Let the Devil Wear Black">Let the Devil Wear Black</A></I> (1999)</LI>
<LI><I><A href="/wiki/The_Banquet_(2006_film)" title="The Banquet (2006 film)">The Banquet</A></I> (2006)</LI>
<LI><I><A href="/wiki/Tardid" title="Tardid">Tardid</A></I> (2009)</LI>
<LI><I><A href="/wiki/Karmayogi_(2012_film)" title="Karmayogi (2012 film)">Karmayogi</A></I> (2012)</LI>
<LI><I><A href="/wiki/Haider_(film)" title="Haider (film)">Haider</A></I> (2014)</LI>
<LI><I><A href="/wiki/Hamlet_A.D.D." title="Hamlet A.D.D.">Hamlet A.D.D.</A></I> (2014)</LI>
<LI><I><A href="/wiki/Ophelia_(2018_film)" title="Ophelia (2018 film)">Ophelia</A></I> (2018)</LI>
<LI><I><A href="/wiki/The_Lion_King_(2019_film)" title="The Lion King (2019 film)">The Lion King</A></I> (2019)</LI>
</UL>
</DIV>
</TD>
</TR>
<TR>
<TH scope="row" class="navbox-group" style="width:1%">Novels</TH>
<TD class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Gertrude_and_Claudius" title="Gertrude and Claudius">Gertrude and Claudius</A></I> (2000)</LI>
<LI><I><A href="/wiki/Dating_Hamlet" title="Dating Hamlet">Dating Hamlet</A></I> (2002)</LI>
<LI><I><A href="/wiki/Ophelia%27s_Revenge" title="Ophelia's Revenge">Ophelia's Revenge</A></I> (2003)</LI>
<LI><I><A href="/wiki/The_Dead_Fathers_Club" title="The Dead Fathers Club">The Dead Fathers Club</A></I> (2006)</LI>
<LI><I><A href="/wiki/Something_Rotten_(novel)" title="Something Rotten (novel)">Something Rotten</A></I> (2007)</LI>
<LI><I><A href="/wiki/Hamlet%27s_Father" title="Hamlet's Father">Hamlet's Father</A></I> (2008)</LI>
<LI><I><A href="/wiki/The_Story_of_Edgar_Sawtelle" title="The Story of Edgar Sawtelle">The Story of Edgar Sawtelle</A></I> (2008)</LI>
<LI><I><A href="/wiki/Hamlet_Had_an_Uncle" title="Hamlet Had an Uncle">Hamlet Had an Uncle</A></I></LI>
</UL>
</DIV>
</TD>
</TR>
<TR>
<TH scope="row" class="navbox-group" style="width:1%">Plays</TH>
<TD class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Hamletmachine" title="Hamletmachine">Hamletmachine</A></I> (1977)</LI>
<LI><I><A href="/wiki/Dogg%27s_Hamlet,_Cahoot%27s_Macbeth" title="Dogg's Hamlet, Cahoot's Macbeth">Dogg's Hamlet</A></I> (1979)</LI>
<LI><I><A href="/wiki/Fortinbras_(play)" title="Fortinbras (play)">Fortinbras</A></I> (1991)</LI>
</UL>
</DIV>
</TD>
</TR>
<TR>
<TH scope="row" class="navbox-group" style="width:1%">Musicals</TH>
<TD class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Rockabye_Hamlet" title="Rockabye Hamlet">Rockabye Hamlet</A></I> (1973)</LI>
<LI><I><A href="/wiki/The_Lion_King_(musical)" title="The Lion King (musical)">The Lion King</A></I> (1997)</LI>
</UL>
</DIV>
</TD>
</TR>
<TR>
<TH scope="row" class="navbox-group" style="width:1%">Television</TH>
<TD class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Hamlet_(1959_film)" title="Hamlet (1959 film)">Hamlet</A></I> (Australian TV, 1959)</LI>
<LI><I><A href="/wiki/Hamlet_at_Elsinore" title="Hamlet at Elsinore">Hamlet at Elsinore</A></I> (BBC, 1964)</LI>
<LI><I><A href="/wiki/BBC_Television_Shakespeare#Hamlet,_Prince_of_Denmark" title="BBC Television Shakespeare">Hamlet, Prince of Denmark</A></I> (BBC, 1980)</LI>
<LI><I><A href="/wiki/Shakespeare:_The_Animated_Tales#Hamlet" title="Shakespeare: The Animated Tales">Hamlet</A></I> (BBC 2, animated, 1992)</LI>
<LI><I><A href="/wiki/Hamlet_(2009_film)" title="Hamlet (2009 film)">Hamlet</A></I> (BBC 2, 2009)</LI>
</UL>
</DIV>
</TD>
</TR>
</TBODY></TABLE>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%">Parodies</TH>
<TD class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/15-Minute_Hamlet" title="15-Minute Hamlet">15-Minute Hamlet</A></I></LI>
<LI><I><A href="/wiki/The_Complete_Works_of_William_Shakespeare_(Abridged)" title="The Complete Works of William Shakespeare (Abridged)">The Complete Works of William Shakespeare (Abridged)</A></I></LI>
<LI><I><A href="/wiki/Rosencrantz_and_Guildenstern_(play)" title="Rosencrantz and Guildenstern (play)">Rosencrantz and Guildenstern</A></I></LI>
<LI><I><A href="/wiki/Io,_Amleto" title="Io, Amleto">Io, Amleto</A></I></LI>
<LI><I><A href="/wiki/The_Klingon_Hamlet" title="The Klingon Hamlet">The Klingon Hamlet</A></I></LI>
<LI>"<A href="/wiki/List_of_VeggieTales_videos#Lyle_the_Kindly_Viking_(2001)" title="List of VeggieTales videos">Lyle the Kindly Viking</A>"</LI>
<LI><I><A href="/wiki/To_Be_or_Not_to_Be_(book)" title="To Be or Not to Be (book)">To Be or Not to Be: That is the Adventure</A></I></LI>
<LI>"<A href="/wiki/Tales_from_the_Public_Domain" title="Tales from the Public Domain">Tales from the Public Domain</A>"</LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%">Songs</TH>
<TD class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI>"<A href="/wiki/My_Robin_is_to_the_Greenwood_Gone" title="My Robin is to the Greenwood Gone">My Robin is to the Greenwood Gone</A>" (16th century)</LI>
<LI>"<A href="/wiki/Pull_Me_Under" title="Pull Me Under">Pull Me Under</A>" (1992)</LI>
<LI>"<A href="/wiki/Song_for_Athene" title="Song for Athene">Song for Athene</A>" (1997)</LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%">Opera/classical</TH>
<TD class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><A href="/wiki/Hamlet_(opera)" title="Hamlet (opera)"><I>Hamlet</I></A> (Thomas)</LI>
<LI><I><A href="/wiki/Amleto" title="Amleto">Amleto</A></I> (Faccio)</LI>
<LI><A href="/wiki/Hamlet_(Tchaikovsky)" title="Hamlet (Tchaikovsky)">Hamlet</A> (Tchaikovsky)</LI>
<LI><I><A href="/wiki/Tristia_(Berlioz)" title="Tristia (Berlioz)">Tristia</A></I> (Berlioz)</LI>
<LI><I><A href="/wiki/Die_Hamletmaschine_(opera)" title="Die Hamletmaschine (opera)">Die Hamletmaschine</A></I> (Rihm)</LI>
<LI><I><A href="/wiki/Hamlet_(Dean)" title="Hamlet (Dean)">Hamlet</A></I> (Dean)</LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Story_within_a_story" title="Story within a story">Story within a story</A></TH>
<TD class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em"></DIV>
<TABLE class="nowraplinks navbox-subgroup" style="border-spacing:0">
<TBODY><TR>
<TH scope="row" class="navbox-group" style="width:1%">Films</TH>
<TD class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/To_Be_or_Not_to_Be_(1942_film)" title="To Be or Not to Be (1942 film)">To Be or Not to Be</A></I> (1942)</LI>
<LI><I><A href="/wiki/Acting_Hamlet_in_the_Village_of_Mrdusa_Donja" title="Acting Hamlet in the Village of Mrdusa Donja">Acting Hamlet in the Village of Mrdusa Donja</A></I> (1973)</LI>
<LI><I><A href="/wiki/To_Be_or_Not_to_Be_(1983_film)" title="To Be or Not to Be (1983 film)">To Be or Not to Be</A></I> (1983)</LI>
<LI><I><A href="/wiki/Rosencrantz_%26_Guildenstern_Are_Dead_(film)" title="Rosencrantz & Guildenstern Are Dead (film)">Rosencrantz & Guildenstern Are Dead</A></I> (1990)</LI>
<LI><I><A href="/wiki/Highlander_II:_The_Quickening" title="Highlander II: The Quickening">Highlander II: The Quickening</A></I> (1991)</LI>
<LI><I><A href="/wiki/Last_Action_Hero" title="Last Action Hero">Last Action Hero</A></I> (1993)</LI>
<LI><I><A href="/wiki/Renaissance_Man_(film)" title="Renaissance Man (film)">Renaissance Man</A></I> (1994)</LI>
<LI><I><A href="/wiki/In_the_Bleak_Midwinter_(film)" title="In the Bleak Midwinter (film)">In the Bleak Midwinter</A></I> (1995)</LI>
<LI><I><A href="/wiki/War_(2002_film)" title="War (2002 film)">War</A></I> (2002)</LI>
<LI><I><A href="/wiki/Hamlet_2" title="Hamlet 2">Hamlet 2</A></I> (2008)</LI>
<LI><I><A href="/wiki/Rosencrantz_and_Guildenstern_Are_Undead" title="Rosencrantz and Guildenstern Are Undead">Rosencrantz and Guildenstern Are Undead</A></I> (2009)</LI>
<LI><I><A href="/wiki/Three_Days_(of_Hamlet)" title="Three Days (of Hamlet)">Three Days</A></I> (2012)</LI>
</UL>
</DIV>
</TD>
</TR>
<TR>
<TH scope="row" class="navbox-group" style="width:1%">Plays</TH>
<TD class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Rosencrantz_and_Guildenstern_Are_Dead" title="Rosencrantz and Guildenstern Are Dead">Rosencrantz and Guildenstern Are Dead</A></I> (1966)</LI>
<LI><I><A href="/wiki/Stage_Blood" title="Stage Blood">Stage Blood</A></I> (1974)</LI>
<LI><I><A href="/wiki/I_Hate_Hamlet" title="I Hate Hamlet">I Hate Hamlet</A></I> (1991)</LI>
<LI><I><A href="/wiki/To_Be_or_Not_to_Be_(play)" title="To Be or Not to Be (play)">To Be or Not to Be</A></I> (2008)</LI>
</UL>
</DIV>
</TD>
</TR>
<TR>
<TH scope="row" class="navbox-group" style="width:1%">Novels</TH>
<TD class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Hamlet,_Revenge!" title="Hamlet, Revenge!">Hamlet, Revenge!</A></I> (1937)</LI>
<LI><I><A href="/wiki/Theatre_of_War_(novel)" title="Theatre of War (novel)">Theatre of War</A></I> (1994)</LI>
<LI>"<A href="/wiki/The_Undiscovered" title="The Undiscovered">The Undiscovered</A>" (1997)</LI>
<LI><I><A href="/wiki/The_Shakespeare_Stealer" title="The Shakespeare Stealer">The Shakespeare Stealer</A></I> (1998)</LI>
<LI><I><A href="/wiki/Interred_with_Their_Bones" title="Interred with Their Bones">Interred with Their Bones</A></I> (2007)</LI>
</UL>
</DIV>
</TD>
</TR>
<TR>
<TH scope="row" class="navbox-group" style="width:1%">Television</TH>
<TD class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI>"<A href="/wiki/The_Producer" title="The Producer">The Producer</A>" (1966)</LI>
<LI>"<A href="/wiki/The_Conscience_of_the_King" title="The Conscience of the King">The Conscience of the King</A>" (1966)</LI>
<LI>"<A href="/wiki/Born_to_Be_King_(Blackadder)" title="Born to Be King (Blackadder)">Born to Be King</A>" (1983)</LI>
<LI>"<A href="/wiki/Terrance_and_Phillip:_Behind_the_Blow" title="Terrance and Phillip: Behind the Blow">Terrance and Phillip: Behind the Blow</A>" (2001)</LI>
<LI><I><A href="/wiki/Slings_%26_Arrows" title="Slings & Arrows">Slings & Arrows</A></I> (2003)</LI>
</UL>
</DIV>
</TD>
</TR>
</TBODY></TABLE>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%">Art</TH>
<TD class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Ophelia_(painting)" title="Ophelia (painting)">Ophelia</A></I></LI>
<LI><I><A href="/wiki/Affe_mit_Sch%C3%A4del" title="Affe mit Schädel">Affe mit Schädel</A></I></LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%">Video game</TH>
<TD class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Last_Action_Hero_(video_game)" title="Last Action Hero (video game)">Last Action Hero</A></I> (1993)</LI>
<LI><I><A href="/wiki/Hamlet_(video_game)" title="Hamlet (video game)">Hamlet</A></I> (2010)</LI>
</UL>
</DIV>
</TD>
</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%"><A href="/wiki/Intertextuality" title="Intertextuality">Intertextuality</A></TH>
<TD class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Asterix_and_the_Great_Crossing" title="Asterix and the Great Crossing">Asterix and the Great Crossing</A></I></LI>
<LI><I><A href="/wiki/The_Seagull" title="The Seagull">The Seagull</A></I></LI>
<LI><I><A href="/wiki/Sharpe%27s_Havoc" title="Sharpe's Havoc">Sharpe's Havoc</A></I></LI>
</UL>
</DIV>
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</TR>
<TR style="display: none;">
<TH scope="row" class="navbox-group" style="width:1%">Related</TH>
<TD class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Hamlet_and_Oedipus" title="Hamlet and Oedipus">Hamlet and Oedipus</A></I></LI>
<LI><I><A href="/wiki/Hamlet_and_His_Problems" title="Hamlet and His Problems">Hamlet and His Problems</A></I></LI>
<LI><A href="/wiki/Hebenon" title="Hebenon">Hebenon</A></LI>
<LI><A href="/wiki/Hamlet_Q1" title="Hamlet Q1">Hamlet Q1</A></LI>
<LI><I><A href="/wiki/Ostalo_je_%C4%87utanje" title="Ostalo je ćutanje">Ostalo je ćutanje</A></I></LI>
<LI><I><A href="/wiki/The_Chronicles_of_Amber" title="The Chronicles of Amber">The Chronicles of Amber</A></I></LI>
<LI>"<A href="/wiki/Symphony_No._65_(Haydn)" title="Symphony No. 65 (Haydn)">Symphony No. 65</A>" (Haydn)</LI>
<LI><I><A href="/wiki/The_Hobart_Shakespeareans" title="The Hobart Shakespeareans">The Hobart Shakespeareans</A></I></LI>
<LI><I><A href="/wiki/Gertrude_%E2%80%93_The_Cry" title="Gertrude – The Cry">Gertrude – The Cry</A></I></LI>
<LI><I><A href="/wiki/Poor_Murderer" title="Poor Murderer">Poor Murderer</A></I></LI>
<LI><I><A href="/wiki/Something_Rotten!" title="Something Rotten!">Something Rotten!</A></I></LI>
</UL>
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<DIV id="Laurence_Olivier_Award_for_Best_Revival" style="font-size:114%;margin:0 4em"><A href="/wiki/Laurence_Olivier_Award_for_Best_Revival" title="Laurence Olivier Award for Best Revival">Laurence Olivier Award for Best Revival</A></DIV>
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<TR style="display: none;">
<TH scope="row" class="navbox-group" style="background: #E0E0E0;;width:1%">1991-2000</TH>
<TD class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Pericles,_Prince_of_Tyre" title="Pericles, Prince of Tyre">Pericles</A></I> (1991)</LI>
<LI><I><A href="/wiki/Hedda_Gabler" title="Hedda Gabler">Hedda Gabler</A></I> (1992)</LI>
<LI><I><A href="/wiki/An_Inspector_Calls" title="An Inspector Calls">An Inspector Calls</A></I> (1993)</LI>
<LI><I><A href="/wiki/Machinal" title="Machinal">Machinal</A></I> (1994)</LI>
<LI><I><A href="/wiki/As_You_Like_It" title="As You Like It">As You Like It</A></I> (1995)</LI>
</UL>
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</TD>
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<TR style="display: none;">
<TH scope="row" class="navbox-group" style="background: #E0E0E0;;width:1%">2001-present</TH>
<TD class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px">
<DIV style="padding:0em 0.25em">
<UL>
<LI><I><A href="/wiki/Twelfth_Night" title="Twelfth Night">Twelfth Night</A></I> / <I><A href="/wiki/Uncle_Vanya" title="Uncle Vanya">Uncle Vanya</A></I> (2003)</LI>
<LI><I><A href="/wiki/Mourning_Becomes_Electra" title="Mourning Becomes Electra">Mourning Becomes Electra</A></I> (2004)</LI>
<LI><I><A class="mw-selflink selflink">Hamlet</A></I> (2005)</LI>
<LI><I><A href="/wiki/Hedda_Gabler" title="Hedda Gabler">Hedda Gabler</A></I> (2006)</LI>
<LI><I><A href="/wiki/The_Crucible" title="The Crucible">The Crucible</A></I> (2007)</LI>
<LI><I><A href="/wiki/Saint_Joan_(play)" title="Saint Joan (play)">Saint Joan</A></I> (2008)</LI>
<LI><I><A href="/wiki/Shakespearean_history#The_.22Wars_of_the_Roses.22_cycle" title="Shakespearean history">The Histories</A></I> (2009)</LI>
<LI><I><A href="/wiki/Cat_on_a_Hot_Tin_Roof" title="Cat on a Hot Tin Roof">Cat on a Hot Tin Roof</A></I> (2010)</LI>
<LI><I><A href="/wiki/After_the_Dance_(play)" title="After the Dance (play)">After the Dance</A></I> (2011)</LI>
<LI><I><A href="/wiki/Anna_Christie" title="Anna Christie">Anna Christie</A></I> (2012)</LI>
<LI><I><A href="/wiki/Long_Day%27s_Journey_into_Night" title="Long Day's Journey into Night">Long Day's Journey into Night</A></I> (2013)</LI>
<LI><I><A href="/wiki/Ghosts_(play)" title="Ghosts (play)">Ghosts</A></I> (2014)</LI>
<LI><I><A href="/wiki/A_View_from_the_Bridge" title="A View from the Bridge">A View from the Bridge</A></I> (2015)</LI>
<LI><I><A href="/wiki/Ma_Rainey%27s_Black_Bottom" title="Ma Rainey's Black Bottom">Ma Rainey's Black Bottom</A></I> (2016)</LI>
<LI><I><A href="/wiki/Yerma" title="Yerma">Yerma</A></I> (2017)</LI>
<LI><I><A href="/wiki/Angels_in_America" title="Angels in America">Angels in America</A></I> (2018)</LI>
</UL>
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none;"><A href="https://bn.wikipedia.org/wiki/%E0%A6%B9%E0%A7%8D%E0%A6%AF%E0%A6%BE%E0%A6%AE%E0%A6%B2%E0%A7%87%E0%A6%9F" title="হ্যামলেট – Bangla" lang="bn" hreflang="bn" class="interlanguage-link-target">বাংলা</A></LI><LI class="interlanguage-link interwiki-ba" style="display: none;"><A href="https://ba.wikipedia.org/wiki/%D0%93%D0%B0%D0%BC%D0%BB%D0%B5%D1%82" title="Гамлет – Bashkir" lang="ba" hreflang="ba" class="interlanguage-link-target">Башҡортса</A></LI><LI class="interlanguage-link interwiki-be" style="display: none;"><A href="https://be.wikipedia.org/wiki/%D0%93%D0%B0%D0%BC%D0%BB%D0%B5%D1%82" title="Гамлет – Belarusian" lang="be" hreflang="be" class="interlanguage-link-target">Беларуская</A></LI><LI class="interlanguage-link interwiki-be-x-old" style="display: none;"><A href="https://be-x-old.wikipedia.org/wiki/%D0%93%D0%B0%D0%BC%D0%BB%D0%B5%D1%82" title="Гамлет – Belarusian (Taraškievica orthography)" lang="be-x-old" hreflang="be-x-old" class="interlanguage-link-target">Беларуская (тарашкевіца)</A></LI><LI class="interlanguage-link interwiki-bi" style="display: none;"><A href="https://bi.wikipedia.org/wiki/Hamlet" title="Hamlet – Bislama" lang="bi" hreflang="bi" class="interlanguage-link-target">Bislama</A></LI><LI class="interlanguage-link interwiki-bg" style="display: none;"><A href="https://bg.wikipedia.org/wiki/%D0%A5%D0%B0%D0%BC%D0%BB%D0%B5%D1%82" title="Хамлет – Bulgarian" lang="bg" hreflang="bg" class="interlanguage-link-target">Български</A></LI><LI class="interlanguage-link interwiki-bo" style="display: none;"><A href="https://bo.wikipedia.org/wiki/%E0%BC%84%E0%BC%85%E0%BC%8D%E0%BC%8D_%E0%BD%A7%E0%BD%98%E0%BC%8B%E0%BD%A3%E0%BD%BA%E0%BC%8B%E0%BD%90%E0%BE%B2%E0%BD%B2%E0%BC%8D" title="༄༅།། ཧམ་ལེ་ཐྲི། – Tibetan" lang="bo" hreflang="bo" class="interlanguage-link-target">བོད་ཡིག</A></LI><LI class="interlanguage-link interwiki-bs" style="display: none;"><A href="https://bs.wikipedia.org/wiki/Hamlet" title="Hamlet – Bosnian" lang="bs" hreflang="bs" class="interlanguage-link-target">Bosanski</A></LI><LI class="interlanguage-link interwiki-ca" style="display: none;"><A href="https://ca.wikipedia.org/wiki/Hamlet" title="Hamlet – Catalan" lang="ca" hreflang="ca" class="interlanguage-link-target">Català</A></LI><LI class="interlanguage-link interwiki-cs" style="display: none;"><A href="https://cs.wikipedia.org/wiki/Hamlet" title="Hamlet – Czech" lang="cs" hreflang="cs" class="interlanguage-link-target">Čeština</A></LI><LI class="interlanguage-link interwiki-cy" style="display: none;"><A href="https://cy.wikipedia.org/wiki/Hamlet" title="Hamlet – Welsh" lang="cy" hreflang="cy" class="interlanguage-link-target">Cymraeg</A></LI><LI class="interlanguage-link interwiki-da" style="display: none;"><A href="https://da.wikipedia.org/wiki/Hamlet" title="Hamlet – Danish" lang="da" hreflang="da" class="interlanguage-link-target">Dansk</A></LI><LI class="interlanguage-link interwiki-de" style="display: none;"><A href="https://de.wikipedia.org/wiki/Hamlet" title="Hamlet – German" lang="de" hreflang="de" class="interlanguage-link-target">Deutsch</A></LI><LI class="interlanguage-link interwiki-et" style="display: none;"><A href="https://et.wikipedia.org/wiki/Hamlet" title="Hamlet – Estonian" lang="et" hreflang="et" class="interlanguage-link-target">Eesti</A></LI><LI class="interlanguage-link interwiki-el" style="display: none;"><A href="https://el.wikipedia.org/wiki/%CE%86%CE%BC%CE%BB%CE%B5%CF%84" title="Άμλετ – Greek" lang="el" hreflang="el" class="interlanguage-link-target">Ελληνικά</A></LI><LI class="interlanguage-link interwiki-es"><A href="https://es.wikipedia.org/wiki/Hamlet" title="Hamlet – Spanish" lang="es" hreflang="es" class="interlanguage-link-target">Español</A></LI><LI class="interlanguage-link interwiki-eo" style="display: none;"><A href="https://eo.wikipedia.org/wiki/Hamleto" title="Hamleto – Esperanto" lang="eo" hreflang="eo" class="interlanguage-link-target">Esperanto</A></LI><LI class="interlanguage-link interwiki-eu" style="display: none;"><A href="https://eu.wikipedia.org/wiki/Hamlet" title="Hamlet – Basque" lang="eu" hreflang="eu" class="interlanguage-link-target">Euskara</A></LI><LI class="interlanguage-link interwiki-fa" style="display: none;"><A href="https://fa.wikipedia.org/wiki/%D9%87%D9%85%D9%84%D8%AA" title="هملت – Persian" lang="fa" hreflang="fa" class="interlanguage-link-target">فارسی</A></LI><LI class="interlanguage-link interwiki-fr" style="display: none;"><A href="https://fr.wikipedia.org/wiki/Hamlet" title="Hamlet – French" lang="fr" hreflang="fr" class="interlanguage-link-target">Français</A></LI><LI class="interlanguage-link interwiki-fy" style="display: none;"><A href="https://fy.wikipedia.org/wiki/Hamlet" title="Hamlet – Western Frisian" lang="fy" hreflang="fy" class="interlanguage-link-target">Frysk</A></LI><LI class="interlanguage-link interwiki-gl" style="display: none;"><A href="https://gl.wikipedia.org/wiki/Hamlet" title="Hamlet – Galician" lang="gl" hreflang="gl" class="interlanguage-link-target">Galego</A></LI><LI class="interlanguage-link interwiki-gan" style="display: none;"><A href="https://gan.wikipedia.org/wiki/%E5%92%B8%E5%8B%92" title="咸勒 – Gan Chinese" lang="gan" hreflang="gan" class="interlanguage-link-target">贛語</A></LI><LI class="interlanguage-link interwiki-ko" style="display: none;"><A href="https://ko.wikipedia.org/wiki/%ED%96%84%EB%A6%BF" title="햄릿 – Korean" lang="ko" hreflang="ko" class="interlanguage-link-target">한국어</A></LI><LI class="interlanguage-link interwiki-hy" style="display: none;"><A href="https://hy.wikipedia.org/wiki/%D5%80%D5%A1%D5%B4%D5%AC%D5%A5%D5%BF_(%D5%B8%D5%B2%D5%A2%D5%A5%D6%80%D5%A3%D5%B8%D6%82%D5%A9%D5%B5%D5%B8%D6%82%D5%B6)" title="Համլետ (ողբերգություն) – Armenian" lang="hy" hreflang="hy" class="interlanguage-link-target">Հայերեն</A></LI><LI class="interlanguage-link interwiki-hi"><A href="https://hi.wikipedia.org/wiki/%E0%A4%B9%E0%A5%88%E0%A4%AE%E0%A4%B2%E0%A5%87%E0%A4%9F" title="हैमलेट – Hindi" lang="hi" hreflang="hi" class="interlanguage-link-target">हिन्दी</A></LI><LI class="interlanguage-link interwiki-hr" style="display: none;"><A href="https://hr.wikipedia.org/wiki/Hamlet" title="Hamlet – Croatian" lang="hr" hreflang="hr" class="interlanguage-link-target">Hrvatski</A></LI><LI class="interlanguage-link interwiki-id" style="display: none;"><A href="https://id.wikipedia.org/wiki/Hamlet" title="Hamlet – Indonesian" lang="id" hreflang="id" class="interlanguage-link-target">Bahasa Indonesia</A></LI><LI class="interlanguage-link interwiki-ia" style="display: none;"><A href="https://ia.wikipedia.org/wiki/Hamlet" title="Hamlet – Interlingua" lang="ia" hreflang="ia" class="interlanguage-link-target">Interlingua</A></LI><LI class="interlanguage-link interwiki-is" style="display: none;"><A href="https://is.wikipedia.org/wiki/Hamlet" title="Hamlet – Icelandic" lang="is" hreflang="is" class="interlanguage-link-target">Íslenska</A></LI><LI class="interlanguage-link interwiki-it" style="display: none;"><A href="https://it.wikipedia.org/wiki/Amleto" title="Amleto – Italian" lang="it" hreflang="it" class="interlanguage-link-target">Italiano</A></LI><LI class="interlanguage-link interwiki-he" style="display: none;"><A href="https://he.wikipedia.org/wiki/%D7%94%D7%9E%D7%9C%D7%98" title="המלט – Hebrew" lang="he" hreflang="he" class="interlanguage-link-target">עברית</A></LI><LI class="interlanguage-link interwiki-kn" style="display: none;"><A href="https://kn.wikipedia.org/wiki/%E0%B2%B9%E0%B3%8D%E0%B2%AF%E0%B2%BE%E0%B2%AE%E0%B3%8D%E0%B2%B2%E0%B3%86%E0%B2%9F%E0%B3%8D" title="ಹ್ಯಾಮ್ಲೆಟ್ – Kannada" lang="kn" hreflang="kn" class="interlanguage-link-target">ಕನ್ನಡ</A></LI><LI class="interlanguage-link interwiki-ka" style="display: none;"><A href="https://ka.wikipedia.org/wiki/%E1%83%B0%E1%83%90%E1%83%9B%E1%83%9A%E1%83%94%E1%83%A2%E1%83%98" title="ჰამლეტი – Georgian" lang="ka" hreflang="ka" class="interlanguage-link-target">ქართული</A></LI><LI class="interlanguage-link interwiki-kk" style="display: none;"><A href="https://kk.wikipedia.org/wiki/%D0%93%D0%B0%D0%BC%D0%BB%D0%B5%D1%82" title="Гамлет – Kazakh" lang="kk" hreflang="kk" class="interlanguage-link-target">Қазақша</A></LI><LI class="interlanguage-link interwiki-lbe" style="display: none;"><A href="https://lbe.wikipedia.org/wiki/%D0%93%D1%8C%D0%B0%D0%BC%D0%BB%D0%B5%D1%82" title="Гьамлет – Lak" lang="lbe" hreflang="lbe" class="interlanguage-link-target">Лакку</A></LI><LI class="interlanguage-link interwiki-la"><A href="https://la.wikipedia.org/wiki/Hamlet_(Shakesperius)" title="Hamlet (Shakesperius) – Latin" lang="la" hreflang="la" class="interlanguage-link-target">Latina</A></LI><LI class="interlanguage-link interwiki-lv" style="display: none;"><A href="https://lv.wikipedia.org/wiki/Hamlets" title="Hamlets – Latvian" lang="lv" hreflang="lv" class="interlanguage-link-target">Latviešu</A></LI><LI class="interlanguage-link interwiki-lt" style="display: none;"><A href="https://lt.wikipedia.org/wiki/Hamletas" title="Hamletas – Lithuanian" lang="lt" hreflang="lt" class="interlanguage-link-target">Lietuvių</A></LI><LI class="interlanguage-link interwiki-hu" style="display: none;"><A href="https://hu.wikipedia.org/wiki/Hamlet,_d%C3%A1n_kir%C3%A1lyfi" title="Hamlet, dán királyfi – Hungarian" lang="hu" hreflang="hu" class="interlanguage-link-target">Magyar</A></LI><LI class="interlanguage-link interwiki-mk" style="display: none;"><A href="https://mk.wikipedia.org/wiki/%D0%A5%D0%B0%D0%BC%D0%BB%D0%B5%D1%82" title="Хамлет – Macedonian" lang="mk" hreflang="mk" class="interlanguage-link-target">Македонски</A></LI><LI class="interlanguage-link interwiki-ml" style="display: none;"><A href="https://ml.wikipedia.org/wiki/%E0%B4%B9%E0%B4%BE%E0%B4%82%E0%B4%B2%E0%B5%86%E0%B4%B1%E0%B5%8D%E0%B4%B1%E0%B5%8D" title="ഹാംലെറ്റ് – Malayalam" lang="ml" hreflang="ml" class="interlanguage-link-target">മലയാളം</A></LI><LI class="interlanguage-link interwiki-arz" style="display: none;"><A href="https://arz.wikipedia.org/wiki/%D9%87%D8%A7%D9%85%D9%84%D9%8A%D8%AA" title="هامليت – Egyptian Arabic" lang="arz" hreflang="arz" class="interlanguage-link-target">مصرى</A></LI><LI class="interlanguage-link interwiki-ms" style="display: none;"><A href="https://ms.wikipedia.org/wiki/Hamlet" title="Hamlet – Malay" lang="ms" hreflang="ms" class="interlanguage-link-target">Bahasa Melayu</A></LI><LI class="interlanguage-link interwiki-min" style="display: none;"><A href="https://min.wikipedia.org/wiki/Hamlet" title="Hamlet – Minangkabau" lang="min" hreflang="min" class="interlanguage-link-target">Baso Minangkabau</A></LI><LI class="interlanguage-link interwiki-cdo" style="display: none;"><A href="https://cdo.wikipedia.org/wiki/Hamlet" title="Hamlet – Min Dong Chinese" lang="cdo" hreflang="cdo" class="interlanguage-link-target">Mìng-dĕ̤ng-ngṳ̄</A></LI><LI class="interlanguage-link interwiki-mn" style="display: none;"><A href="https://mn.wikipedia.org/wiki/%D0%93%D0%B0%D0%BC%D0%BB%D0%B5%D1%82" title="Гамлет – Mongolian" lang="mn" hreflang="mn" class="interlanguage-link-target">Монгол</A></LI><LI class="interlanguage-link interwiki-nl" style="display: none;"><A href="https://nl.wikipedia.org/wiki/Hamlet" title="Hamlet – Dutch" lang="nl" hreflang="nl" class="interlanguage-link-target">Nederlands</A></LI><LI class="interlanguage-link interwiki-ne" style="display: none;"><A href="https://ne.wikipedia.org/wiki/%E0%A4%B9%E0%A5%8D%E0%A4%AF%E0%A4%BE%E0%A4%AE%E0%A5%8D%E0%A4%B2%E0%A5%87%E0%A4%9F" title="ह्याम्लेट – Nepali" lang="ne" hreflang="ne" class="interlanguage-link-target">नेपाली</A></LI><LI class="interlanguage-link interwiki-ja" style="display: none;"><A href="https://ja.wikipedia.org/wiki/%E3%83%8F%E3%83%A0%E3%83%AC%E3%83%83%E3%83%88" title="ハムレット – Japanese" lang="ja" hreflang="ja" class="interlanguage-link-target">日本語</A></LI><LI class="interlanguage-link interwiki-no badge-Q17437796 badge-featuredarticle" title="featured article"><A href="https://no.wikipedia.org/wiki/Hamlet" title="Hamlet – Norwegian" lang="no" hreflang="no" class="interlanguage-link-target">Norsk</A></LI><LI class="interlanguage-link interwiki-nn" style="display: none;"><A href="https://nn.wikipedia.org/wiki/Hamlet" title="Hamlet – Norwegian Nynorsk" lang="nn" hreflang="nn" class="interlanguage-link-target">Norsk nynorsk</A></LI><LI class="interlanguage-link interwiki-oc" style="display: none;"><A href="https://oc.wikipedia.org/wiki/Hamlet" title="Hamlet – Occitan" lang="oc" hreflang="oc" class="interlanguage-link-target">Occitan</A></LI><LI class="interlanguage-link interwiki-uz" style="display: none;"><A href="https://uz.wikipedia.org/wiki/Hamlet" title="Hamlet – Uzbek" lang="uz" hreflang="uz" class="interlanguage-link-target">Oʻzbekcha/ўзбекча</A></LI><LI class="interlanguage-link interwiki-pa" style="display: none;"><A href="https://pa.wikipedia.org/wiki/%E0%A8%B9%E0%A9%88%E0%A8%AE%E0%A8%B2%E0%A8%9F" title="ਹੈਮਲਟ – Punjabi" lang="pa" hreflang="pa" class="interlanguage-link-target">ਪੰਜਾਬੀ</A></LI><LI class="interlanguage-link interwiki-pl" style="display: none;"><A href="https://pl.wikipedia.org/wiki/Hamlet" title="Hamlet – Polish" lang="pl" hreflang="pl" class="interlanguage-link-target">Polski</A></LI><LI class="interlanguage-link interwiki-pt badge-Q17437796 badge-featuredarticle" title="featured article"><A href="https://pt.wikipedia.org/wiki/Hamlet" title="Hamlet – Portuguese" lang="pt" hreflang="pt" class="interlanguage-link-target">Português</A></LI><LI class="interlanguage-link interwiki-ro" style="display: none;"><A href="https://ro.wikipedia.org/wiki/Hamlet" title="Hamlet – Romanian" lang="ro" hreflang="ro" class="interlanguage-link-target">Română</A></LI><LI class="interlanguage-link interwiki-qu" style="display: none;"><A href="https://qu.wikipedia.org/wiki/Hamlet" title="Hamlet – Quechua" lang="qu" hreflang="qu" class="interlanguage-link-target">Runa Simi</A></LI><LI class="interlanguage-link interwiki-ru"><A href="https://ru.wikipedia.org/wiki/%D0%93%D0%B0%D0%BC%D0%BB%D0%B5%D1%82" title="Гамлет – Russian" lang="ru" hreflang="ru" class="interlanguage-link-target">Русский</A></LI><LI class="interlanguage-link interwiki-sco" style="display: none;"><A href="https://sco.wikipedia.org/wiki/Hamlet" title="Hamlet – Scots" lang="sco" hreflang="sco" class="interlanguage-link-target">Scots</A></LI><LI class="interlanguage-link interwiki-sq" style="display: none;"><A href="https://sq.wikipedia.org/wiki/Hamleti" title="Hamleti – Albanian" lang="sq" hreflang="sq" class="interlanguage-link-target">Shqip</A></LI><LI class="interlanguage-link interwiki-si" style="display: none;"><A href="https://si.wikipedia.org/wiki/%E0%B7%84%E0%B7%90%E0%B6%B8%E0%B7%8A%E0%B6%BD%E0%B6%A7%E0%B7%8A" title="හැම්ලට් – Sinhala" lang="si" hreflang="si" class="interlanguage-link-target">සිංහල</A></LI><LI class="interlanguage-link interwiki-simple" style="display: none;"><A href="https://simple.wikipedia.org/wiki/Hamlet" title="Hamlet – Simple English" lang="simple" hreflang="simple" class="interlanguage-link-target">Simple English</A></LI><LI class="interlanguage-link interwiki-sk" style="display: none;"><A href="https://sk.wikipedia.org/wiki/Hamlet" title="Hamlet – Slovak" lang="sk" hreflang="sk" class="interlanguage-link-target">Slovenčina</A></LI><LI class="interlanguage-link interwiki-sl" style="display: none;"><A href="https://sl.wikipedia.org/wiki/Hamlet" title="Hamlet – Slovenian" lang="sl" hreflang="sl" class="interlanguage-link-target">Slovenščina</A></LI><LI class="interlanguage-link interwiki-ckb" style="display: none;"><A href="https://ckb.wikipedia.org/wiki/%DA%BE%D8%A7%D9%85%D9%84%DB%8E%D8%AA" title="ھاملێت – Central Kurdish" lang="ckb" hreflang="ckb" class="interlanguage-link-target">کوردی</A></LI><LI class="interlanguage-link interwiki-sr" style="display: none;"><A href="https://sr.wikipedia.org/wiki/%D0%A5%D0%B0%D0%BC%D0%BB%D0%B5%D1%82" title="Хамлет – Serbian" lang="sr" hreflang="sr" class="interlanguage-link-target">Српски / srpski</A></LI><LI class="interlanguage-link interwiki-sh" style="display: none;"><A href="https://sh.wikipedia.org/wiki/Hamlet" title="Hamlet – Serbo-Croatian" lang="sh" hreflang="sh" class="interlanguage-link-target">Srpskohrvatski / српскохрватски</A></LI><LI class="interlanguage-link interwiki-fi" style="display: none;"><A href="https://fi.wikipedia.org/wiki/Hamlet" title="Hamlet – Finnish" lang="fi" hreflang="fi" class="interlanguage-link-target">Suomi</A></LI><LI class="interlanguage-link interwiki-sv badge-Q17559452 badge-recommendedarticle" title="recommended article"><A href="https://sv.wikipedia.org/wiki/Hamlet" title="Hamlet – Swedish" lang="sv" hreflang="sv" class="interlanguage-link-target">Svenska</A></LI><LI class="interlanguage-link interwiki-tl" style="display: none;"><A href="https://tl.wikipedia.org/wiki/Hamlet" title="Hamlet – Tagalog" lang="tl" hreflang="tl" class="interlanguage-link-target">Tagalog</A></LI><LI class="interlanguage-link interwiki-ta" style="display: none;"><A href="https://ta.wikipedia.org/wiki/%E0%AE%85%E0%AE%AE%E0%AF%8D%E0%AE%B2%E0%AF%86%E0%AE%9F%E0%AF%8D(Hamlet)" title="அம்லெட்(Hamlet) – Tamil" lang="ta" hreflang="ta" class="interlanguage-link-target">தமிழ்</A></LI><LI class="interlanguage-link interwiki-th" style="display: none;"><A href="https://th.wikipedia.org/wiki/%E0%B9%81%E0%B8%AE%E0%B8%A1%E0%B9%80%E0%B8%A5%E0%B8%95" title="แฮมเลต – Thai" lang="th" hreflang="th" class="interlanguage-link-target">ไทย</A></LI><LI class="interlanguage-link interwiki-tr" style="display: none;"><A href="https://tr.wikipedia.org/wiki/Hamlet" title="Hamlet – Turkish" lang="tr" hreflang="tr" class="interlanguage-link-target">Türkçe</A></LI><LI class="interlanguage-link interwiki-uk" style="display: none;"><A href="https://uk.wikipedia.org/wiki/%D0%93%D0%B0%D0%BC%D0%BB%D0%B5%D1%82" title="Гамлет – Ukrainian" lang="uk" hreflang="uk" class="interlanguage-link-target">Українська</A></LI><LI class="interlanguage-link interwiki-vi" style="display: none;"><A href="https://vi.wikipedia.org/wiki/Hamlet" title="Hamlet – Vietnamese" lang="vi" hreflang="vi" class="interlanguage-link-target">Tiếng Việt</A></LI><LI class="interlanguage-link interwiki-zh-classical" style="display: none;"><A href="https://zh-classical.wikipedia.org/wiki/%E5%A0%B1%E5%A4%A7%E4%BB%87%E9%9F%93%E5%88%A9%E5%BE%B7%E6%AE%BA%E5%8F%94" title="報大仇韓利德殺叔 – Classical Chinese" lang="zh-classical" hreflang="zh-classical" class="interlanguage-link-target">文言</A></LI><LI class="interlanguage-link interwiki-war" style="display: none;"><A href="https://war.wikipedia.org/wiki/Hamlet" title="Hamlet – Waray" lang="war" hreflang="war" class="interlanguage-link-target">Winaray</A></LI><LI class="interlanguage-link interwiki-yi" style="display: none;"><A href="https://yi.wikipedia.org/wiki/%D7%94%D7%90%D7%9E%D7%9C%D7%A2%D7%98" title="האמלעט – Yiddish" lang="yi" hreflang="yi" class="interlanguage-link-target">ייִדיש</A></LI><LI class="interlanguage-link interwiki-zh-yue" style="display: none;"><A href="https://zh-yue.wikipedia.org/wiki/%E5%93%88%E5%A7%86%E9%9B%B7%E7%89%B9" title="哈姆雷特 – Cantonese" lang="zh-yue" hreflang="zh-yue" class="interlanguage-link-target">粵語</A></LI><LI class="interlanguage-link interwiki-zh"><A href="https://zh.wikipedia.org/wiki/%E5%93%88%E5%A7%86%E9%9B%B7%E7%89%B9" title="哈姆雷特 – Chinese" lang="zh" hreflang="zh" class="interlanguage-link-target">中文</A></LI>				<BUTTON class="mw-interlanguage-selector mw-ui-button" title="All languages (initial selection from common choices by you and others)">77 more</BUTTON></UL>
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document_title: Hamlet

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token: search

token: This

token: article

token: is

token: about

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token: play

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token: Shakespeare

token: For

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token: The

token: American

token: actor

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token: ca

token: Tragedy

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token: ˈhæmlɪt

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token: upon

token: his

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token: Claudius

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token: murdered

token: own

token: brother

token: seized

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token: widow

token: српскохрватски

question_text: who did shakespeare write his play hamlet for