Haunted by a ghost and arguing with his girlfriend Ophelia, Hamlet struggles to take revenge, as delay and feigned insanity preoccupy him. Ben is a co-founder of LitCharts. He holds a BA in English Literature from Harvard University, where as an undergraduate he won the Winthrop Sargent prize for best undergraduate paper on a topic related to Shakespeare. A line-by-line translation. Table of Contents. Act 1, Scene 1.
Act 1, Scene 2. Act 1, Scene 3. Act 1, Scene 4. Act 1, Scene 5. Act 2, Scene 1. Act 2, Scene 2. Act 3, Scene 1. Act 3, Scene 2. Act 3, Scene 3. Act 3, Scene 4. Act 4, Scene 1. Act 4, Scene 2. Act 4, Scene 3. Act 4, Scene 4. Act 4, Scene 5. Act 4, Scene 6. Act 4, Scene 7. Act 5, Scene 1. Act 5, Scene 2. LitCharts Teacher Editions.Buy Paperback.Golang args
Buy Kindle Edition. With his translation of HamletKent Richmond provides another of his sly reworkings of the language of a Shakespeare play. To keep the feel of Shakespeare, he uses blank verse, prose, rhyme, or song whenever Shakespeare does. You will soon forget that you are reading a translation.
To see how close the translation keeps to the structure of the original, take a look at this translation of Hamlet's famous soliloquy from Act 3. The word count is almost the same as the originaland every line is iambic pentameter.
Buy the Paperback at Amazon. Translation of Hamlet's Soliloquy. Original Soliloquy. What is a verse translation? What is iambic pentameter? How does it work? Shakespeare translations and adaptations. Kent Richmond's Amazon Author Page. Home Order Contact. Hamlet and Ophelia. Read another excerpt Act 1, Scene 3. Interview with Kent Richmond What is a verse translation? Hamlet and the Players. Notes 1 The original is either despised love meaning unrequited or disprized love meaning unvalued.
Word Count in original.It is hard to imagine a world without Shakespeare. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds.Hasbro replacement parts
These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as Folger Digital Texts, we place a trusted resource in the hands of anyone who wants them.
Readers who want to know more about Shakespeare and his plays can follow the paths these distinguished scholars have tread by visiting the Folger either in-person or online, where a range of physical and digital resources exists to supplement the material in these texts. I commend to you these words, and hope that they inspire.
What is the difference? Many ordinary readers assume that there is a single text for the plays: what Shakespeare wrote. In some cases, the plays have come down to us in multiple published versions, represented by various Quartos Qq and by the great collection put together by his colleagues incalled the First Folio F.
Editors choose which version to use as their base text, and then amend that text with words, lines or speech prefixes from the other versions that, in their judgment, make for a better or more accurate text. See The Tempest1. All Shakespeare editors at the time took the speech away from her and gave it to her father, Prospero.
At any point in the text, you can hover your cursor over a bracket for more information. Events before the start of Hamlet set the stage for tragedy. Hamlet, now free to act, mistakenly kills Polonius, thinking he is Claudius. Claudius sends Hamlet away as part of a deadly plot. At the match, Claudius prepares poisoned wine for Hamlet, which Gertrude unknowingly drinks; as she dies, she accuses Claudius, whom Hamlet kills. From the Director of the Folger Shakespeare Library. Characters in the Play.
The Ghost. Queen Gertrudewidow of King Hamlet, now married to Claudius. King Claudiusbrother to the late King Hamlet. Poloniusfather of Ophelia and Laertes, councillor to King Claudius.
Danish soldiers. FortinbrasPrince of Norway. Ambassadors to Denmark from England.
Two Messengers. Scene 1 Scene 2 Scene 3 Scene 4 Scene 5. Scene 1 Scene 2. Scene 1 Scene 2 Scene 3 Scene 4.Toggle navigation. Laertes: I am packed and ready to leave. Instead of sleeping, write me letters if the ships continue to sail between Denmark and England. Ophelia: Don't doubt that I will. Laertes: All of these things Hamlet has done makes him immature. He is like a young violet and will overwhelm you now, but his love will not last long. Ophelia: Why?
How to Teach Hamlet
Laertes: Don't think of it anymore. You will grow up and mature. Nothing will convince you that he doesn't love you, but you must fear him because he is a prince. Princes can do what ever they want. He is bound by status to do what a prince has to do. Denmark depends on his choices, and even his choices are restricted. If you believe Hamlet, he will betray you. Don't believe him just because he is the prince. Decide what is more important to you: losing your dignity and virginity or keeping your dignity and your virginity.
Even a naked woman dancing in the moonlight doesn't have virtues. You can't let him have sex with you before you are really ready. You can do what you want to, but it's youth's nature to rebel. Ophelia: I'm going to listen to you, my good brother, but don't be critical. Laertes: Of course, I will be good. I have to go, and here comes my father. Double graces are good. Polonius: Why aren't you on your ship yet? You need to go. Take my advice.Nikon d3500 kit
Don't say everything you think. Don't do everything you think. Be original: be yourself. Keep friends that you can trust. Be careful of new acquaintances. Don't fight with anyone, but if you have to fight, you had best win. Listen, and don't speak all the time.
Take their opinion, but don't judge them on their opinion. Don't overspend on accessories. Dress nicely, not richly. People judge you by what you wear. French are snotty with dress, so remember your stature. Neither a borrower nor a lender be.If you do meet Horatio and Marcellus, The rivals of my watch, bid them make haste. Stand, ho! Who's there? Therefore our sometime sister, now our queen, The imperial jointress to this warlike state, Have we, as 'twere with a defeated joy,-- With an auspicious and a dropping eye, With mirth in funeral and with dirge in marriage, In equal scale weighing delight and dole,-- Taken to wife: nor have we herein barr'd Your better wisdoms, which have freely gone With this affair along.
For all, our thanks. Now follows, that you know, young Fortinbras, Holding a weak supposal of our worth, Or thinking by our late dear brother's death Our state to be disjoint and out of frame, Colleagued with the dream of his advantage, He hath not fail'd to pester us with message, Importing the surrender of those lands Lost by his father, with all bonds of law, To our most valiant brother. So much for him. Now for ourself and for this time of meeting: Thus much the business is: we have here writ To Norway, uncle of young Fortinbras,-- Who, impotent and bed-rid, scarcely hears Of this his nephew's purpose,--to suppress His further gait herein; in that the levies, The lists and full proportions, are all made Out of his subject: and we here dispatch You, good Cornelius, and you, Voltimand, For bearers of this greeting to old Norway; Giving to you no further personal power To business with the king, more than the scope Of these delated articles allow.
Farewell, and let your haste commend your duty. Perhaps he loves you now, And now no soil nor cautel doth besmirch The virtue of his will: but you must fear, His greatness weigh'd, his will is not his own; For he himself is subject to his birth: He may not, as unvalued persons do, Carve for himself; for on his choice depends The safety and health of this whole state; And therefore must his choice be circumscribed Unto the voice and yielding of that body Whereof he is the head.
Then if he says he loves you, It fits your wisdom so far to believe it As he in his particular act and place May give his saying deed; which is no further Than the main voice of Denmark goes withal. Then weigh what loss your honour may sustain, If with too credent ear you list his songs, Or lose your heart, or your chaste treasure open To his unmaster'd importunity. Fear it, Ophelia, fear it, my dear sister, And keep you in the rear of your affection, Out of the shot and danger of desire.
The chariest maid is prodigal enough, If she unmask her beauty to the moon: Virtue itself 'scapes not calumnious strokes: The canker galls the infants of the spring, Too oft before their buttons be disclosed, And in the morn and liquid dew of youth Contagious blastments are most imminent. Be wary then; best safety lies in fear: Youth to itself rebels, though none else near. But, good my brother, Do not, as some ungracious pastors do, Show me the steep and thorny way to heaven; Whiles, like a puff'd and reckless libertine, Himself the primrose path of dalliance treads, And recks not his own rede.
I stay too long: but here my father comes. I heard it not: then it draws near the season Wherein the spirit held his wont to walk. A flourish of trumpets, and ordnance shot off, within.
Hamlet’s Soliloquy, “To Be Or Not To Be,” a Modern English Translation
Ghost Mark me. Ghost My hour is almost come, When I to sulphurous and tormenting flames Must render up myself. Ghost Pity me not, but lend thy serious hearing To what I shall unfold. Ghost So art thou to revenge, when thou shalt hear.
Ghost I am thy father's spirit, Doom'd for a certain term to walk the night, And for the day confined to fast in fires, Till the foul crimes done in my days of nature Are burnt and purged away. But that I am forbid To tell the secrets of my prison-house, I could a tale unfold whose lightest word Would harrow up thy soul, freeze thy young blood, Make thy two eyes, like stars, start from their spheres, Thy knotted and combined locks to part And each particular hair to stand on end, Like quills upon the fretful porpentine: But this eternal blazon must not be To ears of flesh and blood.
List, list, O, list! Ghost Revenge his foul and most unnatural murder. Ghost Murder most foul, as in the best it is; But this most foul, strange and unnatural.HAMLET Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue; but if you mouth it, as many of our players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use all gently; 5 for in the very torrent, tempest, and, as I may say, whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness.
O, it offends me to the soul to hear a robustious, periwig-pated fellow tear a passion to tatters, to very 10 rags, to split the ears of the groundlings, who for the most part are capable of nothing but inexplicable dumb shows and noise. It out-Herods Herod. Pray you, avoid it.Convert ps4 save to pc
Hamlet, in director mode, tells the actors how he wants them to perform the play. He'd like it to come off naturally, which means they shouldn't be too loud, or gesticulate make gestures too much, as bad actors often do.Hamlet Summary (Act 1 Scene 1) - Nerdstudy
Instead, they should use their discretion to build up suspense with their actions. Note that Hamlet gives directions as though he has some familiarity with acting himself And let those that play 40 your clowns speak no more than is set down for them, for there be of them that will themselves laugh, to set on some quantity of barren spectators to laugh too, though in the meantime some necessary question of the play be then to be considered.
Go make you ready.
Hamlet’s Soliloquy, “To Be Or Not To Be,” a Modern English Translation
Polonius exits. Will you two help to hasten them? Hamlet gives the players one last piece of advice: don't be tempted to get a cheap laugh, since the audience's laughter might drown out the important parts. With that, he sends the players off to get ready, then tells Polonius, Rosencrantz, and Guildenstern to keep them on schedule.
It's showtime! Why should the poor be flattered? No, let the candied tongue lick absurd pomp And crook the pregnant hinges of the knee 65 Where thrift may follow fawning. Dost thou hear? Since my dear soul was mistress of her choice And could of men distinguish, her election Hath sealed thee for herself. I prithee, when thou seest that act afoot, Even with the very comment of thy soul Observe my uncle.Toggle navigation.
Bernardo: Who's there? Francisco: No, stand and show yourself. Bernardo: Long live the king! Francisco: Bernardo? Bernardo: Yes. Francisco: You are right on time. Bernardo: It's midnight; go to bed, Francisco.Senda de vida biblia
Francisco: Thank you. Its very cold, and I'm upset. Bernardo: Has it been quiet out? Francisco: I have seen nothing. Bernardo: Goodnight! If you do meet Horatio and Marcellus, which come after my watch, tell them to hurry. Francisco: I think I hear them.
Who's there? Horatio: I am a friend. Marcellus: And royal to the Dane. Francisco: I give you goodnight. Marcellus: Goodbye, honest soldier. Who has relieved you? Francisco: Bernardo takes my place. Marcellus: Hello! Bernardo: Say- Is Horatio there? Horatio: Some of him.
Bernardo: Hello, Horatio. Hello, good Marcellus. Marcellus: Has this thing appeared tonight? Bernardo: I have seen nothing.
Marcellus: Horatio says it's not true. We've seen it twice, but he has not.
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