The Tragedy of Hamlet, Prince of Denmark is a tragedy written by William Shakespeare between 1599 and 1602. Set in the Kingdom of Denmark, the play dramatizes the revenge Prince Hamlet exacts on his uncle Claudius for murdering King Hamlet, who is Claudius's brother and Prince Hamlet's father, and then succeeding to the throne and taking as his wife Gertrude, the old king's widow and Prince Hamlet's mother. The play vividly portrays both true and feigned madness—from overwhelming grief to seething rage—and explores themes of treachery, revenge, incest, and moral corruption.
Hamlet is Shakespeare's longest play and among the most powerful and influential tragedies in English literature, with a story capable of "seemingly endless retelling and adaptation by others." The play was one of Shakespeare's most popular works during his lifetime and still ranks among his most-performed, topping the Royal Shakespeare Company's performance list since 1879. It has inspired writers from Goethe and Dickens to Joyce and Murdoch, and has been described as "the world's most filmed story after Cinderella".
Shakespeare based Hamlet on the legend of Amleth, preserved by 13th-century chronicler Saxo Grammaticus in his Gesta Danorum as subsequently retold by 16th-century scholar François de Belleforest. He may also have drawn on or perhaps written an earlier (hypothetical) Elizabethan play known today as the Ur-Hamlet. He almost certainly created the title role for Richard Burbage, the leading tragedian of Shakespeare's time. In the 400 years since, the role has been performed by highly acclaimed actors from each successive age.
Three different early versions of the play are extant, the First Quarto (Q1, 1603), the Second Quarto (Q2, 1604), and the First Folio (F1, 1623). Each version includes lines, and even entire scenes, missing from the others. The play's structure and depth of characterisation have inspired much critical scrutiny. One such example is the centuries-old debate about Hamlet's hesitation to kill his uncle, which some see as a mere plot device to prolong the action, but which others argue is a dramatization of the complex philosophical and ethical issues that surround cold-blooded murder, calculated revenge, and thwarted desire. More recently, psychoanalytic critics have examined Hamlet's unconscious desires, and feminist critics have re-evaluated and rehabilitated the often maligned characters of Ophelia and Gertrude.
- 1 Characters
- 2 Synopsis
- 3 Sources
- 4 Date
- 5 Texts
- 6 Analysis and criticism
- 7 Context and interpretation
- 8 Influence
- 9 Performance history
- 10 Stage pastiches
- 11 See also
- 12 References
- 13 External links
The protagonist of Hamlet is Prince Hamlet of Denmark, son of the recently deceased King Hamlet, and nephew of King Claudius, his father's brother and successor. Claudius hastily married King Hamlet's widow, Gertrude, Hamlet's mother. Denmark has a long-standing feud with neighbouring Norway, and an invasion led by the Norwegian prince, Fortinbras, is expected.
The play opens on a cold winter midnight on "platform before the castle" of Elsinore, the Danish royal castle. The sentry Francisco is keeping trusty guard when two figures appear in the darkness. He calls out, "Who's there?" and receives answer that it is the other sentry Bernardo come to relieve him. As Francisco retires to bed, he encounters Horatio and Marcellus who are coming to visit Bernardo. Bernardo and Marcellus discuss the recent appearance of a curious intruder which they describe as a "dreaded sight" which they have already bumped into twice on the battlements, but which Horatio is inclined to dismiss as "but our fantasy." Marcellus has brought Horatio along to "watch the minutes of this night" in case the scary ghost appears again to fright. The ghost appears, and is described by the three witnesses as looking like the late King Hamlet. They endeavour to open a conversation with it, but "it is offended" and "stalks away." The three men take this opportunity to discuss Danish politics, noting that Denmark has begun military preparation because Fortinbras has "shark'd up a list of lawless resolutes / For food and diet." The ghost of Hamlet wanders back. When it declines to talk to them they attack it with daggers, but it escapes. Marcellus admits that this was a bad idea: "We do it wrong... to offer it the show of violence / For it is... invulnerable." They decide to tell prince Hamlet that his father's ghost is up and about.
The scene shifts to "room of state in the castle." Various royal figures come in. Claudius and Gertrude talk with Laertes about his upcoming trip to France. His father Polonius admits that he has signed off on this jaunt. The King and Queen then turn to Hamlet. Perturbed by Hamlet's continuing deep mourning for his father and his increasingly erratic behaviour, Claudius and Gertrude try to persuade him to lighten up. They tell him that fathers die all the time, but he does not appear comforted by this. When they leave, he soliloquizes that his mother jumped into a new marriage too quickly after the death of Hamlet's father. Marcellus, Horatio and the sentry come in and tell Hamlet about the castle Ghost. Hearing the news, Hamlet resolves to see the Ghost himself.
Claudius and Gertrude send two student friends of his—Rosencrantz and Guildenstern—to discover the cause of Hamlet's mood and behavior. Hamlet greets his friends warmly, but quickly discerns that they are spies. That night, the Ghost appears to Hamlet and tells him that Claudius murdered him by pouring poison in his ear. The Ghost demands that Hamlet avenge him; Hamlet agrees and decides to feign madness to avert suspicion. He is, however, uncertain of the Ghost's reliability.
Polonius is Claudius's trusted chief counsellor; his son, Laertes, is about to resume studies in France, and his daughter, Ophelia, is courting Hamlet. Neither Polonius nor Laertes approves of the match, and both warn her off. Shortly afterwards, Ophelia meets Hamlet secretly but is so alarmed by his strange antics that she tells her father of Hamlet's state. Polonius blames an "ecstasy of love" for Hamlet's madness and informs Claudius and Gertrude. At their next tryst, Hamlet rants at Ophelia, accusing her of immodesty and dismissing her to a nunnery.
Hamlet remains unconvinced that the Ghost has told him the truth, but the arrival of a troupe of actors at Elsinore presents him with a solution. He will stage a play, re-enacting his father's murder, and determine Claudius's guilt or innocence by studying his reaction. The court assembles to watch the play; Hamlet provides a running commentary throughout. After seeing the Player King murdered with poison in the ears, Claudius abruptly rises and leaves the room: proof positive for Hamlet of his uncle's guilt.
Gertrude summons Hamlet to her bedchamber to demand an explanation. On his way, Hamlet passes Claudius in prayer but hesitates to kill him, reasoning that death in prayer would send him to heaven rather than hell. In the bedchamber, a furious row erupts between Hamlet and Gertrude. Polonius, spying hidden behind a tapestry, makes a noise; and Hamlet, believing it is Claudius, stabs wildly, killing Polonius. The Ghost appears, urging Hamlet to treat Gertrude gently but reminding him to kill Claudius. Strangely unable to see or hear the Ghost herself (even though Francisco, Bernardo, Marcellus and Horatio all had no trouble at all seeing him in Act I, Scenes 1, 4 & 5), Gertrude takes Hamlet's conversation with it as further evidence of madness. Hamlet hides Polonius's corpse; and Claudius, fearing for his life, banishes Hamlet to England on a pretext, closely watched by Rosencrantz and Guildenstern.
Demented by grief at Polonius's death, Ophelia wanders Elsinore singing bawdy songs. Her brother, Laertes, arrives back from France, enraged by his father's death and his sister's madness. Claudius convinces Laertes that Hamlet is solely responsible; then news arrives that Hamlet is still at large. Claudius swiftly concocts a plot. He proposes a fencing match between Laertes and Hamlet with poison-tipped rapiers, but tacitly plans to offer Hamlet poisoned wine if that fails. Gertrude interrupts to report that Ophelia has drowned.
Two gravediggers discuss Ophelia's apparent suicide, while digging her grave. Hamlet arrives with Horatio and banters with a gravedigger, who unearths the skull of a jester from Hamlet's childhood, Yorick. Ophelia's funeral procession approaches, led by Laertes. He and Hamlet grapple, but the brawl is broken up.
Back at Elsinore, Hamlet tells Horatio how he escaped and that Rosencrantz and Guildenstern are dead. A courtier, Osric, interrupts to invite Hamlet to fence with Laertes. With Fortinbras' army closing on Elsinore, the match begins. Laertes pierces Hamlet with a poisoned blade but is fatally wounded by it himself. Gertrude accidentally drinks poisoned wine intended for Hamlet and dies. In his dying moments, Laertes is reconciled with Hamlet and reveals Claudius's murderous plot. In his own last moments, Hamlet manages to kill Claudius and names Fortinbras as his heir. When Fortinbras arrives, Horatio recounts the tale and Fortinbras orders Hamlet's body borne off in honour.
Hamlet-like legends are so widely found (for example in Italy, Spain, Scandinavia, Byzantium, and Arabia) that the core "hero-as-fool" theme is possibly Indo-European in origin. Several ancient written precursors to Hamlet can be identified. The first is the anonymous Scandinavian Saga of Hrolf Kraki. In this, the murdered king has two sons—Hroar and Helgi—who spend most of the story in disguise, under false names, rather than feigning madness, in a sequence of events that differs from Shakespeare's. The second is the Roman legend of Brutus, recorded in two separate Latin works. Its hero, Lucius ("shining, light"), changes his name and persona to Brutus ("dull, stupid"), playing the role of a fool to avoid the fate of his father and brothers, and eventually slaying his family's killer, King Tarquinius. A 17th-century Nordic scholar, Torfaeus, compared the Icelandic hero Amlodi and the Spanish hero Prince Ambales (from the Ambales Saga) to Shakespeare's Hamlet. Similarities include the prince's feigned madness, his accidental killing of the king's counsellor in his mother's bedroom, and the eventual slaying of his uncle.
Many of the earlier legendary elements are interwoven in the 13th-century Vita Amlethi ("The Life of Amleth") by Saxo Grammaticus, part of Gesta Danorum. Written in Latin, it reflects classical Roman concepts of virtue and heroism, and was widely available in Shakespeare's day. Significant parallels include the prince feigning madness, his mother's hasty marriage to the usurper, the prince killing a hidden spy, and the prince substituting the execution of two retainers for his own. A reasonably faithful version of Saxo's story was translated into French in 1570 by François de Belleforest, in his Histoires tragiques. Belleforest embellished Saxo's text substantially, almost doubling its length, and introduced the hero's melancholy.
According to a popular theory, Shakespeare's main source is believed to be an earlier play—now lost—known today as the Ur-Hamlet. Possibly written by Thomas Kyd or even William Shakespeare himself, the Ur-Hamlet would have been in performance by 1589 and the first version of the story known to incorporate a ghost. Shakespeare's company, the Chamberlain's Men, may have purchased that play and performed a version for some time, which Shakespeare reworked. Since no copy of the Ur-Hamlet has survived, however, it is impossible to compare its language and style with the known works of any of its putative authors. Consequently, there is no direct evidence that Kyd wrote it, nor any evidence that the play was not an early version of Hamlet by Shakespeare himself. This latter idea—placing Hamlet far earlier than the generally accepted date, with a much longer period of development—has attracted some support, though others dismiss it as speculation.
The upshot is that scholars cannot assert with any confidence how much material Shakespeare took from the Ur-Hamlet (if it even existed), how much from Belleforest or Saxo, and how much from other contemporary sources (such as Kyd's The Spanish Tragedy). No clear evidence exists that Shakespeare made any direct references to Saxo's version. However, elements of Belleforest's version which are not in Saxo's story do appear in Shakespeare's play. Whether Shakespeare took these from Belleforest directly or through the Ur-Hamlet remains unclear.
Most scholars reject the idea that Hamlet is in any way connected with Shakespeare's only son, Hamnet Shakespeare, who died in 1596 at age eleven. Conventional wisdom holds that Hamlet is too obviously connected to legend, and the name Hamnet was quite popular at the time. However, Stephen Greenblatt has argued that the coincidence of the names and Shakespeare's grief for the loss of his son may lie at the heart of the tragedy. He notes that the name of Hamnet Sadler, the Stratford neighbour after whom Hamnet was named, was often written as Hamlet Sadler and that, in the loose orthography of the time, the names were virtually interchangeable. Sadler's first name is spelled "Hamlett" in Shakespeare's will.
Scholars have often speculated that Hamlet's Polonius might have been inspired by William Cecil (Lord Burghley)—Lord High Treasurer and chief counsellor to Queen Elizabeth I. E. K. Chambers suggested Polonius's advice to Laertes may have echoed Burghley's to his son Robert Cecil. John Dover Wilson thought it almost certain that the figure of Polonius caricatured Burleigh, while A. L. Rowse speculated that Polonius's tedious verbosity might have resembled Burghley's. Lilian Winstanley thought the name Corambis (in the First Quarto) did suggest Cecil and Burghley. Harold Jenkins criticised the idea of any direct personal satire as "unlikely" and "uncharacteristic of Shakespeare", while G.R.Hibbard hypothesized that differences in names (Corambis/Polonius:Montano/Raynoldo) between the First Quarto and other editions might reflect a desire not to offend scholars at Oxford University.
"Any dating of Hamlet must be tentative", cautions the New Cambridge editor, Phillip Edwards. The earliest date estimate relies on Hamlet's frequent allusions to Shakespeare's Julius Caesar, itself dated to mid-1599. The latest date estimate is based on an entry, of 26 July 1602, in the Register of the Stationers' Company, indicating that Hamlet was "latelie Acted by the Lo: Chamberleyne his servantes".
In 1598, Francis Meres published his Palladis Tamia, a survey of English literature from Chaucer to its present day, within which twelve of Shakespeare's plays are named. Hamlet is not among them, suggesting that it had not yet been written. As Hamlet was very popular, Bernard Lott, the series editor of New Swan, believes it "unlikely that he [Meres] would have overlooked ... so significant a piece".
The phrase "little eyases" in the First Folio (F1) may allude to the Children of the Chapel, whose popularity in London forced the Globe company into provincial touring. This became known as the War of the Theatres, and supports a 1601 dating. Katherine Duncan-Jones accepts a 1600–1 attribution for the date Hamlet was written, but notes that the Lord Chamberlain's Men, playing Hamlet in the 3000-capacity Globe, were unlikely to be put to any disadvantage by an audience of "barely one hundred" for the Children of the Chapel's equivalent play, Antonio's Revenge; she believes that Shakespeare, confident in the superiority of his own work, was making a playful and charitable allusion to his friend John Marston's very similar piece.
A contemporary of Shakespere's, Gabriel Harvey, wrote a marginal note in his copy of the 1598 edition of Chaucer's works, which some scholars use as dating evidence. Harvey's note says that "the wiser sort" enjoy Hamlet, and implies that the Earl of Essex—executed in February 1601 for rebellion—was still alive. Other scholars consider this inconclusive. Edwards, for example, concludes that the "sense of time is so confused in Harvey's note that it is really of little use in trying to date Hamlet". This is because the same note also refers to Spenser and Watson as if they were still alive ("our flourishing metricians"), but also mentions "Owen's new epigrams", published in 1607.
- First Quarto (Q1) In 1603 the booksellers Nicholas Ling and John Trundell published, and Valentine Simmes printed the so-called "bad" first quarto. Q1 contains just over half of the text of the later second quarto.
- Second Quarto (Q2) In 1604 Nicholas Ling published, and James Roberts printed, the second quarto. Some copies are dated 1605, which may indicate a second impression; consequently, Q2 is often dated "1604/5". Q2 is the longest early edition, although it omits 85 lines found in F1 (most likely to avoid offending James I's queen, Anne of Denmark).
- First Folio (F1) In 1623 Edward Blount and William and Isaac Jaggard published the First Folio, the first edition of Shakespeare's Complete Works.
Early editors of Shakespeare's works, beginning with Nicholas Rowe (1709) and Lewis Theobald (1733), combined material from the two earliest sources of Hamlet available at the time, Q2 and F1. Each text contains material that the other lacks, with many minor differences in wording: scarcely 200 lines are identical in the two. Editors have combined them in an effort to create one "inclusive" text that reflects an imagined "ideal" of Shakespeare's original. Theobald's version became standard for a long time, and his "full text" approach continues to influence editorial practice to the present day. Some contemporary scholarship, however, discounts this approach, instead considering "an authentic Hamlet an unrealisable ideal. ... there are texts of this play but no text". The 2006 publication by Arden Shakespeare of different Hamlet texts in different volumes is perhaps the best evidence of this shifting focus and emphasis.
Traditionally, editors of Shakespeare's plays have divided them into five acts. None of the early texts of Hamlet, however, were arranged this way, and the play's division into acts and scenes derives from a 1676 quarto. Modern editors generally follow this traditional division, but consider it unsatisfactory; for example, after Hamlet drags Polonius's body out of Gertrude's bedchamber, there is an act-break after which the action appears to continue uninterrupted.
The discovery in 1823 of Q1—whose existence had been quite unsuspected—caused considerable interest and excitement, raising many questions of editorial practice and interpretation. Scholars immediately identified apparent deficiencies in Q1, which was instrumental in the development of the concept of a Shakespearean "bad quarto". Yet Q1 has value: it contains stage directions that reveal actual stage practices in a way that Q2 and F1 do not; it contains an entire scene (usually labelled 4.6) that does not appear in either Q2 or F1; and it is useful for comparison with the later editions. The scene order is more coherent, without the problems of Q2 and F1 of Hamlet seeming to resolve something in one scene and enter the next drowning in indecision. The major deficiency of Q1 is in the language: particularly noticeable in the opening lines of the famous "To be, or not to be" soliloquy: "To be, or not to be, aye there's the point. / To die, to sleep, is that all? Aye all: / No, to sleep, to dream, aye marry there it goes."
Q1 is considerably shorter than Q2 or F1 and may be a memorial reconstruction of the play as Shakespeare's company performed it, by an actor who played a minor role (most likely Marcellus). Scholars disagree whether the reconstruction was pirated or authorised. Another theory, considered by New Cambridge editor Kathleen Irace, holds that Q1 is an abridged version intended especially for travelling productions. 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.
Analysis and criticism
From the early 17th century, the play was famous for its ghost and vivid dramatisation of melancholy and insanity, leading to a procession of mad courtiers and ladies in Jacobean and Caroline drama. Though it remained popular with mass audiences, late 17th-century Restoration critics saw Hamlet as primitive and disapproved of its lack of unity and decorum. This view changed drastically in the 18th century, when critics regarded Hamlet as a hero—a pure, brilliant young man thrust into unfortunate circumstances. By the mid-18th century, however, the advent of Gothic literature brought psychological and mystical readings, returning madness and the Ghost to the forefront. 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. These developments represented a fundamental change in literary criticism, which came to focus more on character and less on plot. By the 19th century, Romantic critics valued Hamlet for its internal, individual conflict reflecting the strong contemporary emphasis on internal struggles and inner character in general. Then too, critics started to focus on Hamlet's delay as a character trait, rather than a plot device. This focus on character and internal struggle continued into the 20th century, when criticism branched in several directions, discussed in context and interpretation below.
Hamlet departed from contemporary dramatic convention in several ways. For example, in Shakespeare's day, plays were usually expected to follow the advice of Aristotle in his Poetics: that a drama should focus on action, not character. In Hamlet, Shakespeare reverses this so that it is through the soliloquies, not the action, that the audience learns Hamlet's motives and thoughts. The play is full of seeming discontinuities and irregularities of action, except in the "bad" quarto. At one point, as in the Gravedigger scene, Hamlet seems resolved to kill Claudius: in the next scene, however, when Claudius appears, he is suddenly tame. Scholars still debate whether these twists are mistakes or intentional additions to add to the play's theme of confusion and duality. Finally, in a period when most plays ran for two hours or so, the full text of Hamlet—Shakespeare's longest play, with 4,042 lines, totalling 29,551 words—takes over four hours to deliver. Even today the play is rarely performed in its entirety, and has only once been dramatised on film completely, with Kenneth Branagh's 1996 version. Hamlet also contains a favourite Shakespearean device, a play within the play, a literary device or conceit in which one story is told during the action of another story.
Compared with language in a modern newspaper, magazine or popular novel, Shakespeare's language can strike contemporary readers as complex, elaborate and at times difficult to understand. Remarkably, it still works well enough in the theatre: audiences at the reconstruction of 'Shakespeare's Globe' in London, many of whom have never been to the theatre before, let alone to a play by Shakespeare, seem to have little difficulty grasping the play's action. Much of Hamlet's language is courtly: elaborate, witty discourse, as recommended by Baldassare Castiglione's 1528 etiquette guide, The Courtier. This work specifically advises royal retainers to amuse their masters with inventive language. Osric and Polonius, especially, seem to respect this injunction. Claudius's speech is rich with rhetorical figures—as is Hamlet's and, at times, Ophelia's—while the language of Horatio, the guards, and the gravediggers is simpler. Claudius's high status is reinforced by using the royal first person plural ("we" or "us"), and anaphora mixed with metaphor to resonate with Greek political speeches.
Hamlet is the most skilled of all at rhetoric. He uses highly developed metaphors, stichomythia, and in nine memorable words deploys both anaphora and asyndeton: "to die: to sleep— / To sleep, perchance to dream". 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". At times, he relies heavily on puns to express his true thoughts while simultaneously concealing them. His "nunnery" remarks to Ophelia are an example of a cruel double meaning as nunnery was Elizabethan slang for brothel. 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." An aside is a dramatic device in which a character speaks to the audience. By convention the audience realises that the character's speech is unheard by the other characters on stage. It may be addressed to the audience expressly (in character or out) or represent an unspoken thought.
An unusual rhetorical device, hendiadys, appears in several places in the play. Examples are found in Ophelia's speech at the end of the nunnery scene: "Th'expectancy and rose of the fair state"; "And I, of ladies most deject and wretched". Many scholars have found it odd that Shakespeare would, seemingly arbitrarily, use this rhetorical form throughout the play. One explanation may be that Hamlet was written later in Shakespeare's life, when he was adept at matching rhetorical devices to characters and the plot. Linguist George T. Wright suggests that hendiadys had been used deliberately to heighten the play's sense of duality and dislocation. Pauline Kiernan argues that Shakespeare changed English drama forever in Hamlet because he "showed how a character's language can often be saying several things at once, and contradictory meanings at that, to reflect fragmented thoughts and disturbed feelings." She gives the example of Hamlet's advice to Ophelia, "get thee to a nunnery", which is simultaneously a reference to a place of chastity and a slang term for a brothel, reflecting Hamlet's confused feelings about female sexuality.
Context and interpretation
Written at a time of religious upheaval, and in the wake of the English Reformation, the play is alternately Catholic (or piously medieval) and Protestant (or consciously modern). The Ghost describes himself as being in purgatory, and as dying without last rites. This and Ophelia's burial ceremony, which is characteristically Catholic, make up most of the play's Catholic connections. Some scholars have observed that revenge tragedies come from traditionally Catholic countries, such as Spain and Italy; and they present a contradiction, since according to Catholic doctrine the strongest duty is to God and family. Hamlet's conundrum, then, is whether to avenge his father and kill Claudius, or to leave the vengeance to God, as his religion requires.
Much of the play's Protestantism derives from its location in Denmark—both then and now a predominantly Protestant country, though it is unclear whether the fictional Denmark of the play is intended to mirror this fact. The play does mention Wittenberg, where Hamlet, Horatio, and Rosencrantz and Guildenstern attend university, and where Martin Luther first proposed his 95 theses in 1517, effectively ushering in the Protestant Reformation. In Shakespeare's day Denmark, as the majority of Scandinavia, was Lutheran.
Hamlet is often perceived as a philosophical character, expounding ideas that are now described as relativist, existentialist, and sceptical. For example, he expresses a subjectivistic idea when he says to Rosencrantz: "there is nothing either good or bad, but thinking makes it so". The idea that nothing is real except in the mind of the individual finds its roots in the Greek Sophists, who argued that since nothing can be perceived except through the senses—and since all individuals sense, and therefore perceive, things differently—there is no absolute truth, only relative truth. The clearest alleged instance of existentialism is in the "to be, or not to be" speech, where Hamlet is thought by some to use "being" to allude to life and action, and "not being" to death and inaction.
Hamlet reflects the contemporary scepticism promoted by the French Renaissance humanist, Montaigne. Prior to Montaigne's time, humanists such as Pico della Mirandola had argued that man was God's greatest creation, made in God's image and able to choose his own nature, but this view was subsequently challenged in Michel de Montaigne's Essais of 1580. Hamlet's "What a piece of work is a man" echoes many of Montaigne's ideas, but scholars disagree whether Shakespeare drew directly from Montaigne or whether both men were simply reacting similarly to the spirit of the times.
In his openness to embrace the message of the ghost, Hamlet assuages Horatio's wonderment with the analytical assertion, "There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy."
In the first half of the 20th century, when psychoanalysis was at the height of its influence, its concepts were applied to Hamlet, notably by Sigmund Freud, Ernest Jones, and Jacques Lacan, and these studies influenced theatrical productions.
In his The Interpretation of Dreams (1900), Freud's analysis starts from the premise that "the play is built up on Hamlet's hesitations over fulfilling the task of revenge that is assigned to him; but its text offers no reasons or motives for these hesitations". After reviewing various literary theories, Freud concludes that Hamlet has an "Oedipal desire for his mother and the subsequent guilt [is] preventing him from murdering the man [Claudius] who has done what he unconsciously wanted to do". Confronted with his repressed desires, Hamlet realises that "he himself is literally no better than the sinner whom he is to punish". Freud suggests that Hamlet's apparent "distaste for sexuality"—articulated in his "nunnery" conversation with Ophelia—accords with this interpretation.
John Barrymore's long-running 1922 performance in New York, directed by Thomas Hopkins, "broke new ground in its Freudian approach to character", in keeping with the post-World War I rebellion against everything Victorian. He had a "blunter intention" than presenting the genteel, sweet prince of 19th-century tradition, imbuing his character with virility and lust.
Beginning in 1910, with the publication of "The Oedipus-Complex as An Explanation of Hamlet's Mystery: Study in Motive," Ernest Jones—a psychoanalyst and Freud's biographer—developed Freud's ideas into a series of essays that culminated in his book Hamlet and Oedipus (1949). Influenced by Jones's psychoanalytic approach, several productions have portrayed the "closet scene", where Hamlet confronts his mother in her private quarters, in a sexual light. In this reading, Hamlet is disgusted by his mother's "incestuous" relationship with Claudius while simultaneously fearful of killing him, as this would clear Hamlet's path to his mother's bed. Ophelia's madness after her father's death may also be read through the Freudian lens: as a reaction to the death of her hoped-for lover, her father. She is overwhelmed by having her unfulfilled love for him so abruptly terminated and drifts into the oblivion of insanity. In 1937, Tyrone Guthrie directed Laurence Olivier in a Jones-inspired Hamlet at the Old Vic. Olivier later used some of these same ideas in his 1948 film version of the play.
In the 1950s, Lacan's structuralist theories about Hamlet were first presented in a series of seminars given in Paris and later published in "Desire and the Interpretation of Desire in Hamlet". Lacan postulated that the human psyche is determined by structures of language and that the linguistic structures of Hamlet shed light on human desire. His point of departure is Freud's Oedipal theories, and the central theme of mourning that runs through Hamlet. In Lacan's analysis, Hamlet unconsciously assumes the role of phallus—the cause of his inaction—and is increasingly distanced from reality "by mourning, fantasy, narcissism and psychosis", which create holes (or lack (manque)) in the real, imaginary, and symbolic aspects of his psyche. Lacan's theories influenced literary criticism of Hamlet because of his alternative vision of the play and his use of semantics to explore the play's psychological landscape.
In the 20th century feminist critics opened up new approaches to Gertrude and Ophelia. New Historicist and cultural materialist critics examined the play in its historical context, attempting to piece together its original cultural environment. They focused on the gender system of early modern England, pointing to the common trinity of maid, wife, or widow, with whores alone outside of the stereotype. In this analysis, the essence of Hamlet is the central character's changed perception of his mother as a whore because of her failure to remain faithful to Old Hamlet. In consequence, Hamlet loses his faith in all women, treating Ophelia as if she too were a whore and dishonest with Hamlet. Ophelia, by some critics, can be honest and fair; however, it is virtually impossible to link these two traits, since 'fairness' is an outward trait, while 'honesty' is an inward trait.
Carolyn Heilbrun's 1957 essay "The Character of Hamlet's Mother" defends Gertrude, arguing that the text never hints that Gertrude knew of Claudius poisoning King Hamlet. This analysis has been praised by many feminist critics, despite that Gertrude remains incestuous and is found very guilty saying to Hamlet, "Thou turn'st mine eyes into my very soul; And there I see such black and grained spots, as will not leave their tinct." Yet Heilbrun argued that men have for centuries completely misinterpreted Gertrude. By this account, no clear evidence suggests that Gertrude is an adulteress but merely pervertedly adapting to the circumstances of her husband's death for the good of the kingdom.  This view has not been without objection from some critics. 
Ophelia has also been defended by feminist critics, most notably Elaine Showalter. 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. 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.
- See also Literary influence of Hamlet
Hamlet is one of the most quoted works in the English language, and is often included on lists of the world's greatest literature. As such, it reverberates through the writing of later centuries. Academic Laurie Osborne identifies the direct influence of Hamlet in numerous modern narratives, and divides them into four main categories: fictional accounts of the play's composition, simplifications of the story for young readers, stories expanding the role of one or more characters, and narratives featuring performances of the play.
Henry Fielding's Tom Jones, published about 1749, describes a visit to Hamlet by Tom Jones and Mr Partridge, with similarities to the "play within a play". In contrast, Goethe's Bildungsroman Wilhelm Meister's Apprenticeship, written between 1776 and 1796, not only has a production of Hamlet at its core but also creates parallels between the Ghost and Wilhelm Meister's dead father. In the early 1850s, in Pierre, Herman Melville focuses on a Hamlet-like character's long development as a writer. Ten years later, Dickens's Great Expectations contains many Hamlet-like plot elements: it is driven by revenge-motivated actions, contains ghost-like characters (Abel Magwitch and Miss Havisham), and focuses on the hero's guilt. Academic Alexander Welsh notes that Great Expectations is an "autobiographical novel" and "anticipates psychoanalytic readings of Hamlet itself". About the same time, George Eliot's The Mill on the Floss was published, introducing Maggie Tulliver "who is explicitly compared with Hamlet" though "with a reputation for sanity".
L. Frank Baum's first published short story was "They Played a New Hamlet" (1895). When Baum had been touring New York State in the title role, the actor playing the ghost fell through the floorboards, and the rural audience thought it was part of the show and demanded that the actor repeat the fall, because they thought it was funny. Baum would later recount the actual story in an article, but the short story is told from the point of view of the actor playing the Ghost.
In the 1920s, James Joyce managed "a more upbeat version" of Hamlet—stripped of obsession and revenge—in Ulysses, though its main parallels are with Homer's Odyssey. In the 1990s, two women novelists were explicitly influenced by Hamlet. In Angela Carter's Wise Children, To be or not to be is reworked as a song and dance routine, and Iris Murdoch's The Black Prince has Oedipal themes and murder intertwined with a love affair between a Hamlet-obsessed writer, Bradley Pearson, and the daughter of his rival.
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."
Shakespeare's day to the Interregnum
Shakespeare almost certainly wrote the role of Hamlet for Richard Burbage. He was the chief tragedian of the Lord Chamberlain's Men, with a capacious memory for lines and a wide emotional range. Judging by the number of reprints, Hamlet appears to have been Shakespeare's fourth most popular play during his lifetime—only Henry IV Part 1, Richard III and Pericles eclipsed it. Shakespeare provides no clear indication of when his play is set; however, as Elizabethan actors performed at the Globe in contemporary dress on minimal sets, this would not have affected the staging.
Firm evidence for specific early performances of the play is scant. What is known is that the crew of the ship Red Dragon, anchored off Sierra Leone, performed Hamlet in September 1607; that the play toured in Germany within five years of Shakespeare's death; and that it was performed before James I in 1619 and Charles I in 1637. Oxford editor George Hibbard argues that, since the contemporary literature contains many allusions and references to Hamlet (only Falstaff is mentioned more, from Shakespeare), the play was surely performed with a frequency that the historical record misses.
All theatres were closed down by the Puritan government during the Interregnum. Even during this time, however, playlets known as drolls were often performed illegally, including one called The Grave-Makers based on Act 5, Scene 1 of Hamlet.
Restoration and 18th century
The play was revived early in the Restoration. When the existing stock of pre-civil war plays was divided between the two newly created patent theatre companies, Hamlet was the only Shakespearean favourite that Sir William Davenant's Duke's Company secured. It became the first of Shakespeare's plays to be presented with movable flats painted with generic scenery behind the proscenium arch of Lincoln's Inn Fields Theatre. This new stage convention highlighted the frequency with which Shakespeare shifts dramatic location, encouraging the recurrent criticisms of his violation of the neoclassical principle of maintaining a unity of place. Davenant cast Thomas Betterton in the eponymous role, and he continued to play the Dane until he was 74. David Garrick at Drury Lane produced a version that adapted Shakespeare heavily; he declared: "I had sworn I would not leave the stage till I had rescued that noble play from all the rubbish of the fifth act. I have brought it forth without the grave-digger's trick, Osrick, & the fencing match". The first actor known to have played Hamlet in North America is Lewis Hallam. Jr., in the American Company's production in Philadelphia in 1759.
John Philip Kemble made his Drury Lane debut as Hamlet in 1783. His performance was said to be 20 minutes longer than anyone else's, and his lengthy pauses provoked the suggestion that "music should be played between the words". Sarah Siddons was the first actress known to play Hamlet; many women have since played him as a breeches role, to great acclaim. In 1748, Alexander Sumarokov wrote a Russian adaptation that focused on Prince Hamlet as the embodiment of an opposition to Claudius's tyranny—a treatment that would recur in Eastern European versions into the 20th century. In the years following America's independence, Thomas Apthorpe Cooper, the young nation's leading tragedian, performed Hamlet among other plays at the Chestnut Street Theatre in Philadelphia, and at the Park Theatre in New York. Although chided for "acknowledging acquaintances in the audience" and "inadequate memorisation of his lines", he became a national celebrity.
From around 1810 to 1840, the best-known Shakespearean performances in the United States were tours by leading London actors—including George Frederick Cooke, Junius Brutus Booth, Edmund Kean, William Charles Macready, and Charles Kemble. Of these, Booth remained to make his career in the States, fathering the nation's most notorious actor, John Wilkes Booth (who later assassinated Abraham Lincoln), and its most famous Hamlet, Edwin Booth. Edwin Booth's Hamlet was described as "like the dark, mad, dreamy, mysterious hero of a poem ... [acted] in an ideal manner, as far removed as possible from the plane of actual life". Booth played Hamlet for 100 nights in the 1864/5 season at The Winter Garden Theatre, inaugurating the era of long-run Shakespeare in America.
In the United Kingdom, the actor-managers of the Victorian era (including Kean, Samuel Phelps, Macready, and Henry Irving) staged Shakespeare in a grand manner, with elaborate scenery and costumes. The tendency of actor-managers to emphasise the importance of their own central character did not always meet with the critics' approval. George Bernard Shaw's praise for Johnston Forbes-Robertson's performance contains a sideswipe at Irving: "The story of the play was perfectly intelligible, and quite took the attention of the audience off the principal actor at moments. What is the Lyceum coming to?"
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. In stark contrast to earlier opulence, William Poel's 1881 production of the Q1 text was an early attempt at reconstructing the Elizabethan theatre's austerity; his only backdrop was a set of red curtains. Sarah Bernhardt played the prince in her popular 1899 London production. In contrast to the "effeminate" view of the central character that usually accompanied a female casting, she described her character as "manly and resolute, but nonetheless thoughtful ... [he] thinks before he acts, a trait indicative of great strength and great spiritual power".
In France, Charles Kemble initiated an enthusiasm for Shakespeare; and leading members of the Romantic movement such as Victor Hugo and Alexandre Dumas saw his 1827 Paris performance of Hamlet, particularly admiring the madness of Harriet Smithson's Ophelia. In Germany, Hamlet had become so assimilated by the mid-19th century that Ferdinand Freiligrath declared that "Germany is Hamlet". From the 1850s, the Parsi theatre tradition in India transformed Hamlet into folk performances, with dozens of songs added.
Apart from some western troupes' 19th-century visits, the first professional performance of Hamlet in Japan was Otojiro Kawakami's 1903 Shimpa ("new school theatre") adaptation. Shoyo Tsubouchi translated Hamlet and produced a performance in 1911 that blended Shingeki ("new drama") and Kabuki styles. This hybrid-genre reached its peak in Fukuda Tsuneari's 1955 Hamlet. In 1998, Yukio Ninagawa produced an acclaimed version of Hamlet in the style of Nō theatre, which he took to London.
Constantin Stanislavski and Edward Gordon Craig—two of the 20th century's most influential theatre practitioners—collaborated on the Moscow Art Theatre's seminal production of 1911–12. While Craig favoured stylised abstraction, Stanislavski, armed with his 'system,' explored psychological motivation. Craig conceived of the play as a symbolist monodrama, offering a dream-like vision as seen through Hamlet's eyes alone. This was most evident in the staging of the first court scene. The most famous aspect of the production is Craig's use of large, abstract screens that altered the size and shape of the acting area for each scene, representing the character's state of mind spatially or visualising a dramaturgical progression. The production attracted enthusiastic and unprecedented world-wide attention for the theatre and placed it "on the cultural map for Western Europe".
Hamlet is often played with contemporary political overtones. Leopold Jessner's 1926 production at the Berlin Staatstheater portrayed Claudius's court as a parody of the corrupt and fawning court of Kaiser Wilhelm. In Poland, the number of productions of Hamlet has tended to increase at times of political unrest, since its political themes (suspected crimes, coups, surveillance) can be used to comment on a contemporary situation. Similarly, Czech directors have used the play at times of occupation: a 1941 Vinohrady Theatre production "emphasised, with due caution, the helpless situation of an intellectual attempting to endure in a ruthless environment". In China, performances of Hamlet often have political significance: Gu Wuwei's 1916 The Usurper of State Power, an amalgam of Hamlet and Macbeth, was an attack on Yuan Shikai's attempt to overthrow the republic. In 1942, Jiao Juyin directed the play in a Confucian temple in Sichuan Province, to which the government had retreated from the advancing Japanese. In the immediate aftermath of the collapse of the protests at Tiananmen Square, Lin Zhaohua staged a 1990 Hamlet in which the prince was an ordinary individual tortured by a loss of meaning. In this production, the actors playing Hamlet, Claudius and Polonius exchanged roles at crucial moments in the performance, including the moment of Claudius's death, at which point the actor mainly associated with Hamlet fell to the ground.
Notable stagings in London and New York include Barrymore's 1925 production at the Haymarket; it influenced subsequent performances by John Gielgud and Laurence Olivier. 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". Although "posterity has treated Maurice Evans less kindly", throughout the 1930s and 1940s he was regarded by many as the leading interpreter of Shakespeare in the United States and in the 1938/9 season he presented Broadway's first uncut Hamlet, running four and a half hours. 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. Olivier's 1937 performance at the Old Vic Theatre was popular with audiences but not with critics, with James Agate writing in a famous review in The Sunday Times, "Mr. Olivier does not speak poetry badly. He does not speak it at all.". In 1937 Tyrone Guthrie directed the play at Elsinore, Denmark with Laurence Olivier as Hamlet and Vivien Leigh as Ophelia.
In 1963, Olivier directed Peter O'Toole as Hamlet in the inaugural performance of the newly formed National Theatre; critics found resonance between O'Toole's Hamlet and John Osborne's hero, Jimmy Porter, from Look Back in Anger.
Richard Burton received his third Tony Award nomination when he played his second Hamlet, his first under John Gielgud's direction, in 1964 in a production that holds the record for the longest run of the play in Broadway history (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. Other New York portrayals of Hamlet of note include that of Ralph Fiennes's in 1995 (for which he won the Tony Award for Best Actor) – which ran, from first preview to closing night, a total of one hundred performances. About the Fiennes Hamlet Vincent Canby wrote in The New York Times that it was "...not one for literary sleuths and Shakespeare scholars. It respects the play, but it doesn't provide any new material for arcane debates on what it all means. Instead it's an intelligent, beautifully read..." Stacy Keach played the role with an all-star cast at Joseph Papp's Delacorte Theatre in the early 70s, with Colleen Dewhurst's Gertrude, James Earl Jones's King, Barnard Hughes's Polonius, Sam Waterston's Laertes and Raul Julia's Osric. Sam Waterston later played the role himself at the Delacorte for the New York Shakespeare Festival, and the show transferred to the Vivian Beaumont Theatre in 1975 (Stephen Lang played Bernardo and other roles). Stephen Lang's Hamlet for the Roundabout Theatre Company in 1992 received positive reviews, and ran for sixty-one performances. David Warner played the role with the Royal Shakespeare Theatre in 1965. William Hurt (at Circle Rep Off-Broadway, memorably performing "To Be Or Not to Be" while lying on the floor), Jon Voight at Rutgers, and Christopher Walken (fiercely) at Stratford CT have all played the role, as has Diane Venora at the Public Theatre. Off Broadway, the Riverside Shakespeare Company mounted an uncut first folio Hamlet in 1978 at Columbia University, with a playing time of under three hours. In fact, Hamlet is the most produced Shakespeare play in New York theatre history, with sixty-four recorded productions on Broadway, and an untold number Off Broadway.
Ian Charleson performed Hamlet from 9 October to 13 November 1989, in Richard Eyre's production at the Olivier Theatre, replacing Daniel Day-Lewis, who had abandoned the production. Seriously ill from AIDS at the time, Charleson died eight weeks after his last performance. Fellow actor and friend, Sir Ian McKellen, 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". The performance garnered other major accolades as well, some critics echoing McKellen in calling it the definitive Hamlet performance.
Hamlet continues to be staged regularly, with actors such as Simon Russell Beale, David Tennant, Angela Winkler, Samuel West, Christopher Eccleston and Dave Randolph-Mayhem Davis performing the lead role.
In May 2009, Hamlet opened with Jude Law in the title role at the Donmar Warehouse West End season at Wyndham's Theatre. The production officially opened on 3 June and ran through 22 August 2009. A further production of the play ran at Elsinore Castle in Denmark from 25–30 August 2009. The Jude Law Hamlet then moved to Broadway, and ran for 12 weeks at the Broadhurst Theatre in New York.
Film and TV performances
The earliest screen success for Hamlet was Sarah Bernhardt's five-minute film of the fencing scene, produced in 1900. The film was a crude talkie, in that music and words were recorded on phonograph records, to be played along with the film. Silent versions were released in 1907, 1908, 1910, 1913, 1917, and 1920. In the 1920 version, Asta Nielsen played Hamlet as a woman who spends her life disguised as a man.
Laurence Olivier's 1948 moody black-and-white Hamlet won best picture and best actor Oscars, and is still, as of 2013, the only Shakespeare film to have done so. His interpretation stressed the Oedipal overtones of the play, and cast 28-year-old Eileen Herlie as Hamlet's mother, opposite himself, at 41, as Hamlet. In 1953, actor Jack Manning performed the play in 15-minute segments over two weeks in the short-lived late night DuMont series Monodrama Theater. New York Times TV critic Jack Gould praised Manning's performance as Hamlet.
Shakespeare experts Sir John Gielgud and Kenneth Branagh consider the definitive rendition of the Bard's tragic tale to be the 1964 Russian film Gamlet (Russian: Гамлет) based on a translation by Boris Pasternak and directed by Grigori Kozintsev, with a score by Dmitri Shostakovich. Innokenty Smoktunovsky was cast in the role of Hamlet; he was particularly praised by Sir Laurence Olivier.
John Gielgud directed Richard Burton in a Broadway production at the Lunt-Fontanne Theatre in 1964–5, the longest-running Hamlet 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. 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 Columbia Masterworks.
In 1990 Franco Zeffirelli, whose Shakespeare films have been described as "sensual rather than cerebral", cast Mel Gibson—then famous for the Mad Max and Lethal Weapon movies—in the title role of his 1990 version, and Glenn Close—then famous as the psychotic "other woman" in Fatal Attraction—as Gertrude. In contrast to Zeffirelli, whose Hamlet was heavily cut, Kenneth Branagh 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 Hamlet runs for around four hours. Branagh set the film with late 19th-century costuming and furnishings; and Blenheim Palace, built in the early 18th century, became Elsinore Castle in the external scenes. The film is structured as an epic and makes frequent use of flashbacks to highlight elements not made explicit in the play: Hamlet's sexual relationship with Kate Winslet's Ophelia, for example, or his childhood affection for Yorick (played by Ken Dodd).
In 2000, Michael Almereyda's Hamlet set the story in contemporary Manhattan, with Ethan Hawke playing Hamlet as a film student. Claudius (played by Kyle MacLachlan) became the CEO of "Denmark Corporation", having taken over the company by killing his brother.
Notable made-for-television productions of Hamlet include those starring Christopher Plummer (1964), Richard Chamberlain (1970; Hallmark Hall of Fame), Derek Jacobi (1980; Royal Shakespeare Company, BBC), Kevin Kline (1990), Campbell Scott (2000) and David Tennant (2009; Royal Shakespeare Company, BBC).
There have also been several films that transposed the general storyline of Hamlet or elements thereof to other settings. There have also been many films which included performances of scenes from Hamlet as a play-within-a-film. See Hamlet on screen for further details.
There have been various "derivative works" of Hamlet 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 Hamlet. This section is limited to those written for the stage.
The best-known is Tom Stoppard's 1966 play Rosencrantz and Guildenstern Are Dead which retells many of the events of the story from the point of view of the characters Rosencrantz and Guildenstern as well as giving them a backstory of their own. The play was nominated for eight Tony Awards, and won four: Best Play, Scenic and Costume Design, and Producer; the director and the three leading actors were nominated but did not win. It also won Best Play from the New York Drama Critics Circle in 1968, and Outstanding Production from the Outer Critics Circle in 1969. Several times since 1995, the American Shakespeare Center has mounted repertories that included both Hamlet and Rosencrantz and Guildenstern, 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".
Lee Blessing's Fortinbras is a comical sequel to Hamlet in which all the deceased characters come back as ghosts. The New York Times reviewed the play saying it is "scarcely more than an extended comedy sketch, lacking the portent and linguistic complexity of Tom Stoppard's Rosencrantz and Guildenstern Are Dead. Fortinbras 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."
Heiner Müller's cutting-edge drama "The Hamletmachine" was first produced in Paris by director Jean Jourdheuil in 1979 and swiftly became a classic of postmodern drama. This play in turn inspired Giannina Braschi's dramatic novel "United States of Banana," which takes place at the Statue of Liberty in post-9/11 New York City. In it, Hamlet, Zarathustra, and Giannina are on a quest to free the Puerto Rican prisoner Segismundo from the dungeon of Liberty, where Segismundo's father, Basilio, the King of the United States of Banana, imprisoned him for the crime of having been born. The work intertwines the plots and characters of Calderon de la Barca's Life is a Dream with Shakespeare's Hamlet.
Caridad Svich's 12 Ophelias (a play with Broken Songs) includes elements of the story of Hamlet but focuses on Ophelia. In Svich's play, Ophelia is resurrected and rises from a pool of water, after her death in Hamlet. The play is a series of scenes and songs, and was first staged at public swimming pool in Brooklyn. Heidi Weiss of the Chicago Sun-Times said of the play "Far more surreal and twisted than Tom Stoppard's Rosencrantz and Guildenstern are Dead, 12 Ophelias is a reminder of just how morphable and mysterious Shakespeare's original remains." Other characters are renamed: Hamlet is Rude Boy, Rosencrantz and Guildenstern are androgynous helpers known simply as R and G, Gertrude is the madam of a brothel, Horatio becomes H and continues to be Hamlet's best friend/confidante, and a chorus of Ophelias serves as guide. A new character, Mina, is introduced, and she is a whore in Gertrude's brothel.
David Davalos' Wittenberg is a "tragical-comical-historical" prequel to Hamlet that depicts the Danish prince as a student at Wittenberg University (now known as the University of Halle-Wittenberg), where he is torn between the conflicting teachings of his mentors John Faustus and Martin Luther. The New York Times reviewed the play saying "Mr. Davalos has molded a daft campus comedy out of this unlikely convergence,"  and nytheatre'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."
All references to Hamlet, unless otherwise specified, are taken from the Arden Shakespeare Q2 (Thompson and Taylor, 2006a). Under their referencing system, 3.1.55 means act 3, scene 1, line 55. References to the First Quarto and First Folio are marked Hamlet Q1 and Hamlet F1, respectively, and are taken from the Arden Shakespeare "Hamlet: the texts of 1603 and 1623" (Thompson and Taylor, 2006b). Their referencing system for Q1 has no act breaks, so 7.115 means scene 7, line 115.
- Thompson and Taylor (2006a, 74).
- Taylor (2002, 18).
- Crystal and Crystal (2005, 66).
- Thompson and Taylor (2006a, 17).
- See Taylor (2002, 4); Banham (1998, 141); Hattaway asserts that "Richard Burbage ... played Hieronimo and also Richard III but then was the first Hamlet, Lear, and Othello" (1982, 91); Peter Thomson argues that the identity of Hamlet as Burbage is built into the dramaturgy of several moments of the play: "we will profoundly misjudge the position if we do not recognise that, whilst this is Hamlet talking about the groundlings, it is also Burbage talking to the groundlings" (1983, 24); see also Thomson on the first player's beard (1983, 110).
- Hamlet 1.4.
- Hamlet 2.1.99.
- The Gravedigger Scene: Hamlet 5.1.1–205.
- Saxo and Hansen (1983, 36–37).
- Saxo and Hansen (1983, 16–25).
- Saxo and Hansen (1983, 5–15).
- Books 3 & 4 – see online text
- Saxo and Hansen (1983, 1–5).
- Saxo and Hansen (1983, 25–37).
- Edwards (1985, 1–2).
- Saxo and Hansen (1983, 66–67).
- Jenkins (1982, 82–85).
- Saxo and Hansen (1983, 67).
- In his 1936 book The Problem of Hamlet: A Solution Andrew Cairncross asserted that the Hamlet referred to in 1589 was written by Shakespeare; Peter Alexander (1964), Eric Sams (according to Jackson 1991, 267) and, more recently, Harold Bloom (2001, xiii and 383; 2003, 154) have agreed. Harold Jenkins, the editor of the second series Arden edition of the play, dismisses the idea as groundless (1982, 84 n4).
- Saxo and Hansen (1983, 66–68).
- Saxo and Hansen (1983, 6).
- Greenblatt (2004a, 311); Greenblatt (2004b).
- Shakespeare's Last Will and Testament.
- Chambers (1930) 418: J.D. Wilson (1932) 104: Rowse (1963) 323.
- Lilian Winstanley, Hamlet and the Scottish Succession, Cambridge University Press, 1921, 114.
- H.Jenkins (ed.) Hamlet, Methuen, 1982, p.142.
- Polonius was close to the Latin name for Robert Pullen, founder of Oxford University, and Reynaldo too close for safety to John Rainolds, the President of Corpus Christi College. G.R.Hibbard (ed.) Hamlet, Oxford University Press, 1987, pp.74–5.
- MacCary suggests 1599 or 1600 (1998, 13); James Shapiro offers late 1600 or early 1601 (2005, 341); Wells and Taylor suggest that the play was written in 1600 and revised later (1988, 653); the New Cambridge editor settles on mid-1601 (Edwards 1985, 8); the New Swan Shakespeare Advanced Series editor agrees with 1601 (Lott 1970, xlvi); Thompson and Taylor, tentatively ("according to whether one is the more persuaded by Jenkins or by Honigmann") suggest a terminus ad quem of either Spring 1601 or sometime in 1600 (2001a, 58–59).
- MacCary (1998, 12–13) and Edwards (1985, 5–6).
- Lott (1970, xlvi).
- Hamlet F1 2.2.337. The whole conversation between Rozencrantz, Guildenstern and Hamlet concerning the touring players' departure from the city is at Hamlet "F1" 2.2.324–360.
- Duncan-Jones, Catherine (2001). "Do the boys carry it away?". Ungentle Shakespeare: scenes from his life. London: Arden Shakespeare. pp. 143–9. ISBN 1-903436-26-5.
- Edwards (1985, 5).
- Hattaway (1987, 13–20).
- Chambers (1923, vol. 3, 486–487) and Halliday (1964, 204–205).
- Halliday (1964, 204).
- Thompson and Taylor (2006a, 78).
- Hibbard (1987, 22–23).
- Hattaway (1987, 16).
- Thompson and Taylor published Q2, with appendices, in their first volume (2006a) and the F1 and Q1 texts in their second volume (2006b). Bate and Rasmussen (2007) is the F1 text with additional Q2 passages in an appendix. The New Cambridge series has begun to publish separate volumes for the separate quarto versions that exist of Shakespeare's plays (Irace 1998).
- Hamlet 3.4 and 4.1.
- Thompson and Taylor (2006a, 543–552).
- Jenkins (1982, 14).
- Hamlet Q1 14.
- Jackson (1986, 171).
- Irace (1998); Thompson and Taylor (2006a, 85–86).
- Thompson and Taylor (2006b, 36–37) and Checklist of Q1 Productions in Thompson and Taylor (2006b, 38–39).
- Wofford (1994) and Kirsch (1968).
- Vickers (1974a, 447) and (1974b, 92).
- Wofford (1994, 184–185).
- Vickers (1974c, 5).
- Wofford (1994, 185).
- Wofford (1994, 186).
- Rosenberg (1992, 179).
- MacCary (1998, 67–72, 84).
- Based on the length of the first edition of The Riverside Shakespeare (1974).
- Also used in Love's Labour's Lost and A Midsummer Night's Dream. Kermode (2000, 256).
- Adamson, Sylvia; Hunter, Lynette; Magnusson, Lynne; Thompson, Ann; Wales, Katie (1 Oct 2010). Arden Shakespeare: Reading Shakespeare's Dramatic Language. Los Angeles: Arden. ISBN 978-1-903436-29-5.
- MacCary (1998, 84–85).
- Hamlet 3.1.63–64.
- Hamlet 1.2.85–86.
- MacCary (1998, 89–90).
- Hamlet 3.1.87–148 especially lines 120, 129, 136, 139 and 148.
- This is widely interpreted as having a double meaning, since 'nunnery' was slang for a brothel. Pauline Kiernan, Filthy Shakespeare, Quercus, 2006, p. 34. This interpretation has been challenged by Jenkins (1982, 493–495; also H. D. F. Kitto) on the grounds of insufficient and inconclusive evidence of a precedent for this meaning; Jenkins states that the literal meaning is better suited to the dramatic context.
- Oxford English Dictionary (2004, CD).
- Hamlet 2.1.63–65.
- Hamlet 3.1.151 and 3.1.154. The Nunnery Scene: Hamlet 3.1.87–160.
- MacCary (1998, 87–88).
- Pauline Kiernan, Filthy Shakespeare: Shakespeare's Most Outrageous Sexual Puns, Quercus, 2006, p.34
- MacCary (1998, 37–38); in the New Testament, see Romans 12:19: " 'vengeance is mine, I will repay' sayeth the Lord".
- MacCary (1998, 38).
- Asimov, Asimov's Guide to Shakespeare(1970, 92)
- Hamlet F1 2.2.247–248.
- MacCary (1998, 47–48).
- Hamlet 3.1.55–87 especially line 55.
- MacCary (1998, 49).
- Knowles (1999, 1049 and 1052–1053) cited by Thompson and Taylor (2006a, 73–74); MacCary (1998, 49).
- Freud (1900, 367).
- Britton (1995, 207–211).
- Freud (1900, 368).
- The nunnery conversation referred to in this sentence is Hamlet 3.1.87–160.
- Morrison (1997: 4; 129–30)
- Cotsell (2005: 191)
- The American Journal of Psychology 21.1 (January, 1910): 72–113.
- The Closet Scene: Hamlet 3.4.
- MacCary (1998, 104–107, 113–116) and de Grazia (2007, 168–170).
- Smallwood (2002, 102).
- Hamlet 4.5.
- Wofford (1994, 199–202).
- Howard (2003, 411–415).
- Heilbrun (1957)
- Bloom (2003, 58–59); Thompson (2001, 4).
- Bloom, Harold. Hamlet: Poem Unlimited. "There is a recent 'Be kind to Gertrude' fashion among some feminist critics..."
- Showalter (1985).
- Bloom (2003, 57).
- MacCary (1998, 111–113).
- Hamlet has 208 quotations in The Oxford Dictionary of Quotations; it takes up 10 of 85 pages dedicated to Shakespeare in the 1986 Bartlett's Familiar Quotations (14th ed. 1968). For examples of lists of the greatest books, see Harvard Classics, Great Books, Great Books of the Western World, Harold Bloom's The Western Canon, St. John's College reading list, and Columbia College Core Curriculum.
- Osborne (2007, 114–133 especially 115 and 120).
- Thompson and Taylor (2006a, 123–126).
- Welsh (2001, 131).
- Thompson and Taylor (2006a, 126–131).
- Novy (1994, 62, 77–78).
- Hamlet 3.1.55–87.
- Writing in La Jeune Belgique in 1890; quoted by Braun (1982, 40).
- Taylor (2002, 13).
- Thompson and Taylor (2006a; 53–55); Chambers (1930, vol. 1, 334), cited by Dawson (2002, 176).
- Dawson (2002, 176).
- Pitcher and Woudhuysen (1969, 204).
- Hibbard (1987, 17).
- Marsden (2002, 21).
- Holland (2007, 34).
- Marsden (2002, 21–22).
- Samuel Pepys records his delight at the novelty of Hamlet "done with scenes"; see Thompson and Taylor (1996, 57).
- Taylor (1989, 16).
- Thompson and Taylor (2006a, 98–99).
- Letter to Sir William Young, 10 January 1773, quoted by Uglow (1977, 473).
- Morrison (2002, 231).
- Moody (2002, 41).
- Moody (2002, 44), quoting Sheridan.
- Gay (2002, 159).
- Dawson (2002, 185–187).
- Morrison (2002, 232–233).
- Morrison (2002, 235–237).
- William Winter, New York Tribune 26 October 1875, quoted by Morrison (2002, 241).
- Morrison (2002, 241).
- Schoch (2002, 58–75).
- George Bernard Shaw in The Saturday Review 2 October 1897, quoted in Shaw (1961, 81).
- Moody (2002, 54).
- Halliday (1964, 204) and O'Connor (2002, 77).
- Sarah Bernhardt, in a letter to the London Daily Telegraph, quoted by Gay (2002, 164).
- Holland (2002, 203–205).
- Dawson (2002, 184).
- Dawson (2002, 188).
- Gillies et al. (2002, 259–262).
- Dawson (2002, 180).
- For more on this production, see the MAT production of Hamlet article. Craig and Stanislavski began planning the production in 1908 but, due to a serious illness of Stanislavski's, it was delayed until December, 1911. See Benedetti (1998, 188–211).
- Benedetti (1999, 189, 195).
- On Craig's relationship to Symbolism, Russian symbolism, and its principles of monodrama in particular, see Taxidou (1998, 38–41); on Craig's staging proposals, see Innes (1983, 153); on the centrality of the protagonist and his mirroring of the 'authorial self', see Taxidou (1998, 181, 188) and Innes (1983, 153).
- The First Court Scene: Hamlet 1.2.1–128. A brightly lit, golden pyramid descended from Claudius's throne, representing the feudal hierarchy, giving the illusion of a single, unified mass of bodies. In the dark, shadowy foreground, separated by a gauze, 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 ovation, which was unheard of at the MAT. See Innes (1983, 152).
- See Innes (1983, 140–175; esp. 165–167 on the use of the screens).
- Innes (1983, 172).
- Hortmann (2002, 214).
- Hortmann (2002, 223).
- Burian (1993), quoted by Hortmann (2002, 224–225).
- Gillies et al. (2002, 267–269).
- Morrison (2002, 247–248); Thompson and Taylor (2006a, 109).
- Morrison (2002, 249).
- Morrison (2002, 249–250).
- "A Pictorial History of the American Stage" by Daniel Blum, Crown Publishers, Inc. 1981, pp.307
- "Olivier" by Robert Tanitch, Abbeville Press, 1985
- Smallwood (2002, 108); National Theatre reviews Retrieved: 4 December 2007.
- Vincent Canby, "Theatre Review: Ralph Fiennes as Mod Hamlet," The New York Times 3 May 1995.
- Ari Panagako, "Dandy Hamlet Bows Uptown", Heights/Inwood Press of North Manhattan, 14 June 1978.
- According to the Internet Broadway Database "show". Romeo and Juliet is the second most-produced Shakespeare play on Broadway, with thirty-four different productions, followed by Twelfth Night, with thirty.
- Ian McKellen, Alan Bates, Hugh Hudson, et al. For Ian Charleson: A Tribute. London: Constable and Company, 1990. p. 124.
- Barratt, Mark. Ian McKellen: An Unofficial Biography. Virgin Books, 2005. p. 63.
- "The Readiness Was All: Ian Charleson and Richard Eyre's Hamlet," by Richard Allan Davison. In Shakespeare: Text and Theater, Lois Potter and Arthur F. Kinney, eds. Newark: University of Delaware Press, 1999. pp. 170–182
- Billington, Michael (6 August 2008). "From Time Lord to antic prince: David Tennant is the best Hamlet in years". The Guardian (London).
- Billington, Michael (4 May 2001). "Theatre: Hamlet". The Guardian (London).
- Gardner, Lyn (8 November 2002). "Hamlet, West Yorkshire Playhouse, Leeds". The Guardian (London).
- John B. Barrois/New Orleans Shakespeare Festival (2012-06-28). "Summer action hero? Tulane Shakespeare Fest opens with a Hamlet out for revenge". NOLA.com. Retrieved 2013-09-14.
- Mark Shenton, "Jude Law to Star in Donmar's Hamlet." The Stage. 10 September 2007. Retrieved 19 November 2007.
- "Cook, Eyre, Lee And More Join Jude Law In Grandage's HAMLET." broadwayworld.com. 4 February 2009. Retrieved 18 February 2009.
- "Jude Law to play Hamlet at 'home' Kronborg Castle." The Daily Mirror. 10 July 2009. Retrieved 14 July 2009.
- "Shakespeare's Hamlet with Jude Law". Charlie Rose Show. video 53:55, 2 October 2009. Retrieved 6 October 2009.
- Dave Itzkoff, "Donmar Warehouse's 'Hamlet' Coming to Broadway With Jude Law." New York Times. 30 June 2009. Retrieved 10 September 2009.
- The Fencing Scene: Hamlet 5.2.203–387.
- Brode (2001, 117–118).
- Davies (2000, 171).
- Fox, Margalit (2009-09-20). "Jack Manning obituary". New York Times. Retrieved 2013-09-14.
- "Innokenti Smoktunovsky – Biography – Movies & TV". Movies.nytimes.com. Retrieved 29 May 2010.
- Guntner (2000, 120–121).
- Brode (2001, 125–127).
- From Cartmell (2000, 212), Zeffirelli says he is trying to make Shakespeare "even more popular" in an interview quoted here given to The South Bank Show in December 1997.
- Guntner (2000, 121–122).
- Crowl (2000, 232).
- Starks (1999, 272).
- Keyishian (2000, 78–79).
- Burnett (2000).
- Hamlet Great Performances, PBS
- Warren, Jim. "Director's Notes". American Shakespeare Center. Retrieved 20 June 2009.
- Gussow, Mel (14 October 1992). "Theater in Review". New York Times. Retrieved 26 June 2011.
- David G. Schultz (July 2008). "A Play at Poolside: Caridad Svich's 12 Ophelias". The Brooklyn Rail. Retrieved 26 June 2011.
- Quoted in promotional material of "The Magdalena Project:international network of women in contemporary theatre" at 
- Grode, Eric (30 March 2011). "Theater in Review". New York Times. Retrieved 10 December 2011.
- "Wittenberg". Nytheatre.com. 2011-03-19. Retrieved 2013-09-14.
Editions of Hamlet
- Bate, Jonathan, and Eric Rasmussen, eds. 2007. Complete Works. By William Shakespeare. The RSC Shakespeare. New York: Modern Library. ISBN 0-679-64295-1.
- Edwards, Phillip, ed. 1985. Hamlet, Prince of Denmark. New Cambridge Shakespeare ser. Cambridge: Cambridge University Press. ISBN 0-521-29366-9.
- Hibbard, G. R., ed. 1987. Hamlet. Oxford World's Classics ser. Oxford. ISBN 0-19-283416-9.
- Hoy, Cyrus, ed. 1992. Hamlet. Norton Critical Edition ser. 2nd ed. New York: Norton. ISBN 978-0-393-95663-4.
- Irace, Kathleen O. 1998. The First Quarto of Hamlet. New Cambridge Shakespeare ser. Cambridge: Cambridge University Press. ISBN 0-521-65390-8.
- Jenkins, Harold, ed. 1982. Hamlet. The Arden Shakespeare, second ser. London: Methuen. ISBN 1-903436-67-2.
- Lott, Bernard, ed. 1970. Hamlet. New Swan Shakespeare Advanced ser. New ed. London: Longman. ISBN 0-582-52742-2.
- Spencer, T. J. B., ed. 1980 Hamlet. New Penguin Shakespeare ser. London: Penguin. ISBN 0-14-070734-4.
- Thompson, Ann and Neil Taylor, eds. 2006a. Hamlet. The Arden Shakespeare, third ser. Volume one. London: Arden. ISBN 1-904271-33-2.
- ———. 2006b. Hamlet: The Texts of 1603 and 1623. The Arden Shakespeare, third ser. Volume two. London: Arden. ISBN 1-904271-80-4.
- Wells, Stanley, and Gary Taylor, eds. 1988. The Complete Works. By William Shakespeare. The Oxford Shakespeare. Compact ed. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0-19-871190-5.
- Alexander, Peter. 1964. Alexander's Introductions to Shakespeare. London: Collins.
- Banham, Martin, ed. 1998. The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. ISBN 0-521-43437-8.
- Baskerville, Charles Read. ed. 1934. Elizabethan and Stuart Plays. New York: Henry Holt and Company.
- Benedetti, Jean. 1999. Stanislavski: His Life and Art. Revised edition. Original edition published in 1988. London: Methuen. ISBN 0-413-52520-1.
- Blits, Jan H. 2001. Introduction. In Deadly Thought: "Hamlet" and the Human Soul: 3–22. Langham, MD: Lexington Books. ISBN 0-7391-0214-1.
- Bloom, Harold. 2001. Shakespeare: The Invention of the Human. Open Market ed. Harlow, Essex: Longman. ISBN 1-57322-751-X.
- ———. 2003. Hamlet: Poem Unlimited. Edinburgh: Cannongate. ISBN 1-84195-461-6.
- Braun, Edward. 1982. The Director and the Stage: From Naturalism to Grotowski. London: Methuen. ISBN 978-0-413-46300-5.
- Britton, Celia. 1995. "Structuralist and poststructuralist psychoanalytic and Marxist theories" in Cambridge History of Literary Criticism: From Formalism to Poststructuralism (Vol 8). Ed. Raman Seldon. Cambridge: Cambridge University Press 1995. ISBN 978-0-521-30013-1.
- Brode, Douglas. 2001. Shakespeare in the Movies: From the Silent Era to Today. New York: Berkley Boulevard Books. ISBN 0-425-18176-6.
- Brown, John Russell. 2006. Hamlet: A Guide to the Text and its Theatrical Life. Shakespeare Handbooks ser. Basingstoke, Hampshire and New York: Palgrave Macmillan. ISBN 1-4039-2092-3.
- Buchanan, Judith. 2005. Shakespeare on Film. Harlow: Pearson. ISBN 0-582-43716-4.
- Buchanan, Judith. 2009. Shakespeare on Silent Film: An Excellent Dumb Discourse. Cambridge: Cambridge University Press. ISBN 0-521-87199-9.
- Burian, Jarka. 1993. "Hamlet in Postwar Czech Theatre". In Foreign Shakespeare: Contemporary Performance. Ed. Dennis Kennedy. New edition. Cambridge: Cambridge University Press, 2004. ISBN 0-521-61708-1.
- Burnett, Mark Thornton. 2000. " 'To Hear and See the Matter': Communicating Technology in Michael Almereyda's Hamlet (2000)". Cinema Journal 42.3: 48–69.
- Carincross, Andrew S. 1936. The Problem of Hamlet: A Solution. Reprint ed. Norwood, PA.: Norwood Editions, 1975. ISBN 0-88305-130-3.
- Cartmell, Deborah. 2000. "Franco Zeffirelli and Shakespeare". In Jackson (2000, 212–221).
- Chambers, Edmund Kerchever. 1923. The Elizabethan Stage. 4 volumes. Oxford: Oxford University Press. ISBN 0-19-811511-3.
- ———. 1930. William Shakespeare: A Study of Facts and Problems. Oxford: Clarendon Press, 1988. ISBN 0-19-811774-4.
- Cotsell, Michael (2005). "The Matriarchal Offense". The theater of trauma: American modernist drama and the psychological struggle for the American Mind. New York: Peter Lang. ISBN 978-0-8204-7466-3.
- Crowl, Samuel. 2000. "Flamboyant Realist: Kenneth Branagh". In Jackson (2000, 222–240).
- Crystal, David, and Ben Crystal. 2005. The Shakespeare Miscellany. New York: Penguin. ISBN 0-14-051555-0.
- Davies, Anthony. 2000. "The Shakespeare films of Laurence Olivier". In Jackson (2000, 163–182).
- Dawson, Anthony B. 1995. Hamlet. Shakespeare in Performance ser. New ed. Manchester: Manchester University Press, 1997. ISBN 0-7190-4625-4.
- ———. 2002. "International Shakespeare". In Wells and Stanton (2002, 174–193).
- Eliot, T. S. 1920. "Hamlet and his Problems". In The Sacred Wood: Essays in Poetry and Criticism. London: Faber & Gwyer. ISBN 0-416-37410-7.
- Foakes, R. A. 1993. Hamlet versus Lear: Cultural Politics and Shakespeare's Art. Cambridge: Cambridge University Press. ISBN 0-521-60705-1.
- French, George Russell. 1869. Shakspeareana Geologica. London: Macmillan. Reprinted New York: AMS, 1975. ISBN 0-404-02575-7.
- Freud, Sigmund. 1900. The Interpretation of Dreams. Trans. James Strachey. Ed. Angela Richards. The Penguin Freud Library, vol. 4. London: Penguin, 1991. ISBN 0-14-013794-7.
- Gay, Penny. 2002. "Women and Shakespearean Performance". In Wells and Stanton (2002, 155–173).
- Gillies, John, Ryuta Minami, Ruru Li, and Poonam Trivedi. 2002. "Shakespeare on the Stages of Asia". In Wells and Stanton (2002, 259–283).
- Greenblatt, Stephen. 2004a. Will in the World: How Shakespeare Became Shakespeare. New York: W.W. Norton & Co. ISBN 0-393-05057-2.
- ———. 2004b. "The Death of Hamnet and the Making of Hamlet". N.Y. Review of Books 51.16 (21 Oct. 2004).
- Greg, Walter Wilson. 1955. The Shakespeare First Folio, its Bibliographical and Textual History. Oxford: Clarendon Press. ASIN B0000CHBCM.
- Guntner, J. Lawrence. 2000. "Hamlet, Macbeth and King Lear on film". In Jackson (2000, 117–134).
- Halliday, F. E. 1964. A Shakespeare Companion 1564–1964. Shakespeare Library ser. Baltimore, Penguin, 1969. ISBN 0-14-053011-8.
- Hattaway, Michael. 1982. Elizabethan Popular Theatre: Plays in Performance. Theatre Production ser. London and Boston: Routledge and Kegan Paul. ISBN 0-7100-9052-8.
- ———. 1987. Hamlet. The Critics Debate ser. Basingstoke, Hampshire: Macmillan. ISBN 0-333-38524-1.
- Heilbrun, Carolyn. 1957. "The Character of Hamlet's Mother". Shakespeare Quarterly 8.2: 201–206.
- Holland, Peter. 2002. "Touring Shakespeare". In Wells and Stanton (2002, 194–211).
- ———. 2007. "Shakespeare Abbreviated". In Shaughnessy (2007, 26–45).
- Hortmann, Wilhelm. 2002. "Shakespeare on the Political Stage in the Twentieth Century". In Wells and Stanton (2002, 212–229).
- Howard, Jean E. 2003. "Feminist Criticism". In Shakespeare: An Oxford Guide: 411–423. Ed. Stanley Wells and Lena Orlin. Oxford: Oxford University Press. ISBN 0-19-924522-3.
- Howard, Tony. 2000. "Shakespeare's Cinematic Offshoots". In Jackson (2000, 303–323).
- Hurstfield, Joel, and James Sutherland. 1964. Shakespeare's World. New York: St. Martin's Press.
- Innes, Christopher. 1983. Edward Gordon Craig. Directors in Perspective ser. Cambridge: Cambridge University Press. ISBN 0-521-27383-8.
- Jackson, MacDonald P. 1986. "The Transmission of Shakespeare's Text". In The Cambridge Companion to Shakespeare Studies Ed. Stanley Wells. Cambridge: Cambridge University Press. ISBN 0-521-31841-6. 163–185.
- ———. 1991. "Editions and Textual Studies Reviewed". In Shakespeare Survey 43, The Tempest and After: 255–270. Ed. Stanley Wells. Cambridge: Cambridge University Press. ISBN 0-521-39529-1.
- Jackson, Russell, ed. 2000. The Cambridge Companion to Shakespeare on Film. Cambridge Companions to Literature ser. Cambridge: Cambridge University Press. ISBN 0-521-63975-1.
- Jenkins, Harold. 1955. "The Relation Between the Second Quarto and the Folio Text of Hamlet". Studies in Bibliography 7: 69–83.
- Jones, Gwilym. 2007. Thomas Middleton at the Globe. London: Globe Theatre education resource centre. Retrieved: 30 December 2007.
- Kermode, Frank. 2000. Shakespeare's Language. London: Penguin. ISBN 0-14-028592-X.
- Keyishian, Harry. 2000. "Shakespeare and Movie Genre: The Case of Hamlet". In Jackson (2000, 72–84).
- Kirsch, A. C. 1968. "A Caroline Commentary on the Drama". Modern Philology 66: 256–261.
- Knowles, Ronald. 1999. "Hamlet and Counter-Humanism" Renaissance Quarterly 52.4: 1046–1069.
- Lacan, Jacques. 1959. "Desire and the Interpretation of Desire in Hamlet". In Literature and Psychoanalysis: The Question of Reading Otherwise. Ed. Shoshana Felman. Baltimore: Johns Hopkins University Press, 1982. Originally appeared as a double issue of Yale French Studies, nos. 55/56 (1977). ISBN 0-8018-2754-X.
- Lennard, John. 2007. William Shakespeare: Hamlet. Literature Insights ser. Humanities-Ebooks, 2007. ISBN 1-84760-028-X.
- MacCary, W. Thomas. 1998. "Hamlet": A Guide to the Play. Greenwood Guides to Shakespeare ser. Westport, CT: Greenwood Press. ISBN 0-313-30082-8.
- Marsden, Jean I. 2002. "Improving Shakespeare: from the Restoration to Garrick". In Wells and Stanton (2002, 21–36).
- Matheson, Mark. 1995. "Hamlet and 'A Matter Tender and Dangerous' ". Shakespeare Quarterly 46.4: 383–397.
- Moody, Jane. 2002. "Romantic Shakespeare". In Wells and Stanton (2002, 37–57).
- Morrison, Michael A. 2002. "Shakespeare in North America". In Wells and Stanton (2002, 230–258).
- ——— 1997. John Barrymore, Shakespearean Actor. Cambridge University Press, ISBN=0-521-62028-7.
- Novy, Marianne. 1994. Engaging with Shakespeare: Responses of George Eliot and Other Women Novelists. (Athens, Georgia) in Thompson and Taylor (2006a, 127).
- O'Connor, Marion. 2002. "Reconstructive Shakespeare: Reproducing Elizabethan and Jacobean Stages". In Wells and Stanton (2002, 76–97).
- Osborne, Laurie. 2007. "Narration and Staging in Hamlet and its afternovels" in Shaughnessy (2007, 114–133).
- Oxford English Dictionary (Second Edition) on CD-ROM version 3.1. 2004. Oxford: Oxford University Press. ISBN 978-0-19-861016-8.
- Pennington, Michael. 1996. "Hamlet": A User's Guide. London: Nick Hern. ISBN 1-85459-284-X.
- Pitcher, John, and Woudhuysen, Henry. 1969. Shakespeare Companion, 1564–1964. London: Penguin. ISBN 0-14-053011-8.
- Quillian, William H. Hamlet and the New Poetic: James Joyce and T. S. Eliot. Ann Arbor, MI:UMI Research Press, 1983.
- Rosenberg, Marvin. 1992. The Masks of Hamlet. London: Associated University Presses. ISBN 0-87413-480-3.
- Rowse, Alfred Leslie. 1963. William Shakespeare: A Biography. New York: Harper & Row. Reprinted New York: Barnes & Noble Books, 1995. ISBN 1-56619-804-6.
- Saxo, and Hansen, William. 1983. Saxo Grammaticus & the Life of Hamlet. Lincoln: University of Nebraska Press. ISBN 0-8032-2318-8.
- Schoch, Richard W. 2002. "Pictorial Shakespeare". In Wells and Stanton (2002, 58–75).
- Shapiro, James. 2005. 1599: A Year in the Life of William Shakespeare. London: Faber, 2006. ISBN 0-571-21481-9.
- Shaughnessy, Robert. 2007. The Cambridge Companion to Shakespeare and Popular Culture. Cambridge Companions to Literature ser. Cambridge: Cambridge University Press. ISBN 978-0-521-60580-9.
- Shaw, George Bernard. 1961. Shaw on Shakespeare. Ed. Edwin Wilson. New York: Applause. ISBN 1-55783-561-6.
- Showalter, Elaine. 1985. "Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism" In Shakespeare and the Question of Theory: 77–94. Ed. Patricia Parker and Geoffrey Hartman. New York and London: Methuen. ISBN 0-416-36930-8.
- Smallwood, Robert. 2002. "Twentieth-century Performance: The Stratford and London Companies". In Wells and Stanton (2002, 98–117).
- Starks, Lisa S. 1999. "The Displaced Body of Desire: Sexuality in Kenneth Branagh's Hamlet". In Shakespeare and Appropriation: 160–178. Ed. Christy Desmet and Robert Sawyer. Accents on Shakespeare ser. London: Routledge. ISBN 0-415-20725-8.
- Taxidou, Olga. 1998. The Mask: A Periodical Performance by Edward Gordon Craig. Contemporary Theatre Studies ser. volume 30. Amsterdam: Harwood Academic Publishers. ISBN 90-5755-046-6.
- Taylor, Gary. 1989. Reinventing Shakespeare: A Cultural History from the Restoration to the Present. London: Hogarth Press. ISBN 0-7012-0888-0.
- ———. 2002. "Shakespeare Plays on Renaissance Stages". In Wells and Stanton (2002, 1–20).
- Teraoka, Arlene Akiko. 1985. The Silence of Entropy or Universal Discourse : the Postmodernist Poetics of Heiner Müller. New York: Peter Lang. ISBN 0-8204-0190-0.
- Thompson, Ann. 2001. "Shakespeare and sexuality" in Catherine M S Alexander and Stanley Wells Shakespeare and Sexuality: 1–13. Cambridge: Cambridge University Press. ISBN 0-521-80475-2.
- Thompson, Ann and Taylor, Neil. 1996. William Shakespeare, "Hamlet". Plymouth, UK: Northcote House. ISBN 0-7463-0765-9.
- Thomson, Peter. 1983. Shakespeare's Theatre. Theatre Production ser. London and Boston: Routledge and Kegan Paul. ISBN 0-7100-9480-9.
- Uglow, Jenny. 1977. Hogarth: A Life and a World. New ed. London: Faber and Faber, 2002. ISBN 0-571-19376-5.
- Vickers, Brian, ed. 1974a. Shakespeare: The Critical Heritage. Volume one (1623–1692). New ed. London: Routledge, 1995. ISBN 0-415-13404-8.
- ———. 1974b. Shakespeare: The Critical Heritage. Volume four (1753–1765). New ed. London: Routledge, 1995. ISBN 0-415-13407-2.
- ———. 1974c. Shakespeare: The Critical Heritage. Volume five (1765–1774). New ed. London: Routledge, 1995. ISBN 0-415-13408-0.
- Vogler, Christopher. 1992. The Writer's Journey: Mythic Structure for Storytellers and Screenwriters. Second revised ed. London: Pan Books, 1999. ISBN 0-330-37591-1.
- Ward, David. 1992. "The King and 'Hamlet' ". Shakespeare Quarterly 43.3: 280–302.
- Weimann, Robert. 1985. "Mimesis in Hamlet". In Shakespeare and the Question of Theory: 275–291. Ed. Patricia Parker and Geoffrey Hartman. New York and London: Methuen. ISBN 0-416-36930-8.
- Wells, Stanley, and Stanton, Sarah, eds. 2002. The Cambridge Companion to Shakespeare on Stage. Cambridge Companions to Literature ser. Cambridge: Cambridge University Press. ISBN 0-521-79711-X.
- Wilson, John Dover. 1932. The Essential Shakespeare: A Biographical Adventure. Cambridge: Cambridge University Press.
- ———. 1934. The Manuscript of Shakespeare's "Hamlet" and the Problems of its Transmission: An Essay in Critical Bibliography. 2 volumes. Cambridge: The University Press.
- ———. 1935. What Happens in Hamlet. Cambridge: Cambridge University Press, 1959. ISBN 0-521-06835-5.
- Welsh, Alexander. 2001. Hamlet in his Modern Guises (New Jersey: Princeton) in Thompson and Taylor (2006a, 125).
- Winstanley, Lilian. 1921. Hamlet and the Scottish succession, Being an Examination of the Relations of the Play of Hamlet to the Scottish Succession and the Essex Conspiracy. London: Cambridge University Press. Reprinted Philadelphia: R. West, 1977. ISBN 0-8492-2912-X.
- Wofford, Susanne L. 1994. "A Critical History of Hamlet" In Hamlet: Complete, Authoritative Text with Biographical and Historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives: 181–207. Boston: Bedford Books of St. Martins Press. ISBN 0-312-08986-4.
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- Hamlet at the Internet Broadway Database
- Hamlet at the Internet off-Broadway Database
- Hamlet, The Royal Shakespeare Company 2010 Complete video on PBS.org (not available outside the US).
- Hamlet Navigator — Includes an annotated text with line numbers and a search function.
- "HyperHamlet" — The Q2 text, with copious hyper-linked references and notes. Run by the University of Basel.
- ISE — Internet Shakespeare Editions: transcripts and facsimiles of Q1, Q2 and F1.
- Shakespeare Quartos Archive — Transcriptions and facsimiles of thirty-two copies of the five pre-1642 quarto editions.
- Open Source Shakespeare—Hamlet A complete text of Hamlet based on Q2.
- View all of Hamlet's lines in Open Source Shakespeare.
- Hamlet Read Online in Flash Version.
- Oxford Edition (1914)
- Project Gutenberg full text
- Monologues and Scenes from Hamlet Searchable list of monologues and scenes from the play with summary and text.
- Hamlet Guide – scholarly research site, includes photographs and academic analysis.
- Full summary of Hamlet
- Hamlet on the Ramparts — The MIT's Shakespeare Electronic Archive.
- Hamlet Analysis and Explanatory Notes – Shakespeare Online
- Hamletworks.net A highly respected scholarly resource with multiple versions of Hamlet, numerous commentaries, concordances, facsimiles, and more.
- "Nine Hamlets" — An analysis of the play and nine film versions, at the Bright Lights Film Journal.
- Depictions and commentary of Hamlet paintings
- Hamlet – Study guide, themes, quotes, summary, teachers guide
- "The Hamlet Enigma"