How is the story told, and what are the main themes? Why do the characters behave as they do? Study Questions: Questions that guide students as they study for a test or write a paper. Quotes by Theme: Quotes organized by Shakespeare's main themes, such as love, death, tyranny, honor, and fate.
Quotes by Character: Quotes organized by the play's main characters, along with interpretations of their meaning. Read Shakespeare's plays in all their brilliance-and understand what every word means! Don't be intimidated by Shakespeare! These popular guides make the Bard's plays accessible and enjoyable. Each No Fear guide contains: The complete text of the original playA line-by-line translation that puts Shakespeare into everyday languageA complete list of characters with descriptionsPlenty of helpful commentar.
For use in schools and libraries only. Presents the original text of Shakespeare's play side by side with a modern version, with marginal notes and explanations and full descriptions of each character. Romeo and Juliet is a tragedy written by William Shakespeare early in his career about two young star-crossed lovers whose deaths ultimately reconcile their feuding families.
It was among Shakespeare's most popular plays during his lifetime and, along with Hamlet, is one of his most frequently performed plays. Today, the title characters are regarded as archetypal young lovers. Undoubtedly the greatest love story ever written, Romeo and Juliet has spawned a host of imitators on stage and screen and been adapted countless times. A young man and woman meet by chance and instantly fall in love.
But their families are bitter enemies, and in order to be together the two lovers must be prepared to risk everything. Set in a city torn apart by feuds and gang warfare, Romeo and Juliet is a dazzling combination of passion and hatred, bawdy comedy and high tragedy.
Romeo and Juliet is a tragic play written early in the career of William Shakespeare about two teenage "star-cross'd lovers" whose untimely deaths ultimately unite their feuding households.
Today, the title characters are regarded as archetypal "young lovers". This book explores the appropriation of Shakespeare by youth culture and the expropriation of youth culture in the manufacture and marketing of 'Shakespeare'. Considering the reduction, translation and referencing of the plays and the man, the volume examines the confluence between Shakepop and rock, rap, graphic novels, teen films and pop psychology.
No Fear Shakespeare gives you the complete text of Hamlet on the left-hand page, side-by-side with an easy-to-understand translation on the right.
Each No Fear Shakespeare contains, the complete text of the original play, a line-by-line translation that puts Shakespeare into everyday language, a complete list of characters with descriptions, and helpful commentary. The search to find engaging and inspiring ways to introduce children and young adults to Shakespeare has resulted in a wide variety of approaches to producing and adapting Shakespeare's plays and the stories and characters at their heart.
This book explores the range of productions, versions, and adaptations of Shakespeare aimed particularly at children or young people. It is the only comprehensive overview of its kind, engaging with a range of genres - drama, prose narrative, television and film - and including both British and international examples. Abigail Rokison covers stage and screen productions, shortened versions, prose narratives and picture books including Manga , animations and original novels, plays and films rewriting Shakespeare.
The book combines an informative guide to the productions and adaptations discussed with critical analysis of their relative strengths.
It also has a practical focus including quotes from directors, actors, writers, teachers and young people who worked on or experienced the projects discussed. What do students think about Shakespeare? Classic, timeless and full of rich ideas; or difficult, impenetrable and completely uninteresting?
We want young people to develop a real interest in Shakespeare, based on their understanding and engagement with the texts. This highly practical book enables teachers to organise, stimulate and support group discussions that will help students to relate to the characters, and develop their own ideas about the language and meaning.
Drawing on four of the most commonly taught Shakespeare plays, the book provides a broad range of exciting tried and tested resources, taking the reader through key parts of the text, along with suggestions for further activities involving writing, drama and electronic media. Schajer Publisher: David B. William Shakespeare's most famous play is solved for the first time. By presenting the play as it would have been originally performed on stage at the Globe Theatre, we may understand what the play really says, and finally discover the identity of Hamlet.
As an instructor of English , First-Year Composition, for more than eighty-six times, I have read and taught Hamlet repeatedly. I have come to know the play extensively and, as a result, when we read the play aloud in class I have to stop the students repeatedly to explain various arcane references that are not explained in any single version of the play.
For several years I have threatened to do my own complete version of Hamlet; finally, I have. It has taken me years of study and application. Francisco Not a mouse stirring. Bernardo Well, good night. If you do meet Horatio and Marcellus, The rivals of my watch, bid them make haste.
Francisco I think I hear them. Stand, ho! Who's there? Marcellus And liegemen to the Dane. Francisco Give you good night. Marcellus O, farewell, honest soldier: Who hath relieved you? Francisco Bernardo has my place.
Give you good night. Exit Marcellus Holla! Bernardo Say, What, is Horatio there? Horatio A piece of him. Bernardo Welcome, Horatio: welcome, good Marcellus. Marcellus What, has this thing appear'd again to-night? Bernardo I have seen nothing. Marcellus Horatio says 'tis but our fantasy, And will not let belief take hold of him Touching this dreaded sight, twice seen of us: Therefore I have entreated him along With us to watch the minutes of this night; That if again this apparition come, He may approve our eyes and speak to it.
Horatio Tush, tush, 'twill not appear. Stand and unfold yourself. No, who are you? Stop and identify yourself. Get thee to bed, Francisco. Go home to bed, Francisco. If you do meet Horatio and Marcellus, 10 The rivals of my watch, bid them make haste.
If you happen to see Horatio and Marcellus, who are supposed to stand guard with me tonight, tell them to hurry. Who hath relieved you? Good night. Is Horatio here too? Welcome, Marcellus. Therefore I have entreated him along 25 With us to watch the minutes of this night, That if again this apparition come He may approve our eyes and speak to it. Look where it comes again! Speak to it, Horatio. GHOST enters. Say something to it. Mark it, Horatio.
It harrows me with fear and wonder. By heaven, I charge thee, speak. By God, I order you to speak. Speak, speak!
I charge thee, speak! I order you, speak! You tremble and look pale. Is not this something more than fantasy? What do you think about it? Such was the very armour he had on 60 When he the ambitious Norway combated.
So frowned he once when, in an angry parle, He smote the sledded Polacks on the ice. The king was wearing exactly this armor when he fought the king of Norway. And the ghost frowned just like the king did once when he attacked the Poles, traveling on the ice in sleds.
He stalks by us at our post like a warrior. Somebody tell me why this strict schedule of guards has been imposed, and why so many bronze cannons are being manufactured in Denmark, and so many weapons bought from Original Text Why such impress of shipwrights, whose sore task 75 Does not divide the Sunday from the week.
What might be toward, that this sweaty haste Doth make the night joint laborer with the day? Is something about to happen that warrants working this night and day? Who can explain this to me? Or at least I can describe the rumors. As you weFortinbras, just now saw as aknow, ghost,our waslate theking, greatwhom rival of king of Norway.
Fortinbras dared him to battle. If our king had lost, he would have had to do the same. Of this posthaste and rummage in the land. In the high and mighty Roman Empire, just before the emperor Julius Caesar was assassinated, corpses rose out of their graves and ran through the streets of Rome speaking gibberish.
There were shooting stars, and blood mixed in with the morning dew, and threatening signs on the face of the sun. The moon, which controls the tides of the sea, was so eclipsed it almost went completely out. Lo, where it comes again. Wait, look! It has come again. If you have a voice or can make sounds, speak to me. Act 1, Scene 1, Page 7 If there be any good thing to be done That may to thee do ease and grace to me, Speak to me.
Stay and speak! The cock crows —Stop it, Marcellus. A rooster crows. Keep it from leaving, Marcellus. We do it wrong, being so majestical, To offer it the show of violence, For it is, as the air, invulnerable, And our vain blows malicious mockery. We were wrong to threaten it with violence, since it looks so much like a king. Our attack was stupid, futile, and wicked. I have heard The cock, that is the trumpet to the morn, Doth with his lofty and shrill-sounding throat Awake the god of day, and, at his warning, Whether in sea or fire, in earth or air, HORATIO And then it acted startled, like a guilty person caught by the law.
Original Text Modern Text Th' extravagant and erring spirit hies To his confine, and of the truth herein This present object made probation. Some people say that just before Christmas the rooster crows all night long, so that no ghost dawning singeth night The And bird then,ofthey say, no spirit all dare stir long.
The nights are wholesome. Then no planets strike, No fairy takes, nor witch hath power to charm, So hallowed and so gracious is that time. Break we our watch up, and by my advice, Let us impart what we have seen tonight Unto young Hamlet, for, upon my life, This spirit, dumb to us, will speak to him.
Do you consent we shall acquaint him with it, As needful in our loves, fitting our duty? But look, morning is breaking beyond that hill in the east, turning the sky red. Exeunt They exit. Nor have we herein barred 15 Your better wisdoms, which have freely gone With this affair along. For all, our thanks. Now, down to business. Young Fortinbras, underestimating my strength or imagining that the death of the king has thrown my country into turmoil, dreams of getting the better of me, and never stops pestering me with demands that I surrender the territory his father lost to the elder Now follows that you know.
So much for Fortinbras. So much for him. Your business in Norway will be limited to this task. Show your loyalty by leaving quickly, rather than with elaborate speeches. Heartily farewell. You told us of some suit.
You cannot speak of reason to the Dane 45 And lose your voice. What wouldst thou beg, Laertes, That shall not be my offer, not thy asking? The head is not more native to the heart, And now, Laertes, what do you have to tell me? You have a favor you to ask of me. What is it, Laertes? Your father and the Danish throne are as close as the mind The hand more instrumental to the mouth, Than is the throne of Denmark to thy father.
What would you like, Laertes? I confess, my thoughts are on France, now that my duty is done. Please, let me go. What says Polonius? What does Polonius say? I do beseech you, give him leave to go. In the end I grudgingly consented. I beg you, let him go. I hereby grant your request, andhowever hope you have a good time. I am too much i' the sun. Your son is out in the sun. All that lives must die, Passing through nature to eternity.
It happens all the time, what lives must die eventually, passing to eternity. If it be, 75 Why seems it so particular with thee? Nay, it is. No, it is. These clothes are just a hint of it. But you have to remember, that your father lost his father, who lost his father before him, and every time, each In obligation for some But termto persever Tofilial do obsequious sorrow. In obstinate condolement is a course son hasBut hadoverdoing to mourn ithis for a certain period.
For what we know must be and is as common As any the most vulgar thing to sense, Why should we in our peevish opposition Take it to heart? For let the world take note, You are the most immediate to our throne, Modern Text vulnerable heart and an ignorant and weak mind. Since we know that everyone must die sooner or later, why should we take it to heart? Please give up this useless mourning of yours and start thinking of me as your new father.
Act 1, Scene 2, Page 5 And with no less nobility of love Than that which dearest father bears his son Do I impart toward you. For your intent Because everyone knows that you are the man closest to this throne, and I love you just as much as any father loves his son. And your plans for In going back to school in Wittenberg, It is most retrograde to our desire.
I pray thee, stay with us. Go not to Wittenberg. Be as ourself in Denmark. Come away. Stay in Denmark like us. My drinking will be echoed in the heavens. O God, God! How weary, stale, flat, and unprofitable Seem to me all the uses of this world! Things rank and gross in nature Possess it merely. That it should come to this. But two months dead—nay, not so much, not two.
So excellent a king, that was to this Trumpets play. Oh God, God! How tired, stale, and pointless life is to me. Damn it! Only nasty weeds grow in it now. Such an excellent king, as superior to my uncle as a god is to a beast, and so loving toward my mother that he kept the wind from blowing too hard on Original Text Modern Text Hyperion to a satyr. So loving to my mother her face.
Act 1, Scene 2, Page 6 That he might not beteem the winds of heaven Visit her face too roughly. Why, she would hang on him Oh God, do I have to remember that? Frailty, thy name is woman! Why she, even she— O God, a beast that wants discourse of reason Would have mourned longer! O most wicked speed, to post With such dexterity to incestuous sheets!
Oh women! You are so weak! Oh, so quick to jump into a bed of incest! It is not nor it cannot come to good, But break, my heart, for I must hold my tongue. Or I do forget myself? Still your respectful servant. And what make you from Wittenberg, Horatio?
But what are you doing so far from Marcellus! Wittenberg, Horatio? What are you doing here in Elsinore? I know you are no truant. But what is your affair in Elsinore? Modern Text teach you to drink hard by the time you leave. The funeral baked meats Did coldly furnish forth the marriage tables.
Would I had met my dearest foe in heaven Or ever I had seen that day, Horatio. My father—methinks I see my father. The leftovers from the funeral dinner made a convenient wedding banquet. My father—I think I see my father.
He was a goodly king. Take him for all in all. I shall not look upon his like again. He was an admirable king. He was perfect in everything. The dead king. Just listen carefully while I tell you the amazing thing I saw, with these gentlemen as witnesses.
This to me In dreadful secrecy impart they did, And I with them the third night kept the watch, Where—as they had delivered, both in time, Form of the thing, each word made true and good— The apparition comes.
I knew your father. These hands are not more like. Modern Text too shocked to speak. They told me all about this, so on the third night I agreed to come stand guard with them, to see for myself. It happened again, just as they had described. This ghost looked as much like him as my two hands are like each other. Yet once methought It lifted up its head and did address Itself to motion, like as it would speak. But even then the morning cock crew loud, And at the sound it shrunk in haste away And vanished from our sight.
It raised its head once as if it was about to speak, but just then the rooster started crowing, and the ghost vanished from sight. And we did think it writ down in our duty To let you know of it. We thought you ought to know about it. Are you on duty again tonight? From top to toe? He wore his beaver up. Oh, yes, we could, sir. He had his helmet visor up. A countenance more In sorrow than in anger.
Stayed it long? Did it stay a long time? Perchance 'Twill walk again. I pray you all, If you have hitherto concealed this sight, Let it be tenable in your silence still. And whatsoever else shall hap tonight, Give it an understanding, but no tongue. So fare you well. So good-bye for now. All is not well. I I doubt some foul play. Would the night were come! Till then sit still, my soul. I wish the night were here already! Until then, I have to remain calm.
Bad deeds will be revealed, no matter how people try to hide them. And, sister, as the winds give benefit And convey is assistant, do not sleep, But let me hear from you. And, my dear sister, as long as the winds are blowing and ships are sailing, let me hear from you—write. Not a second more. Perhaps he loves you now, 15 And now no soil nor cautel doth besmirch The virtue of his will, but you must fear. His greatness weighed, his will is not his own, For he himself is subject to his birth.
He may not, as unvalued persons do, 20 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, body—his responsibilities grow too. He may love you now, and may have only the best intentions, but you have to be on your guard.
His choice has to agree with what the nation wants. Act 1, Scene 3, Page 2 25 It fits your wisdom so far to believe it So if he says he loves you, you should be wise Original Text Modern Text 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 honor may sustain 30 If with too credent ear you list his songs, Or lose your heart, or your chaste treasure open To his unmastered importunity. Fear it, Ophelia. Fear it, my dear sister, And keep you in the rear of your affection, 35 Out of the shot and danger of desire.
The chariest maid is prodigal enough If she unmask her beauty to the moon. The canker galls the infants of the spring 40 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. Then think about how shameful it would be for you to give in to his seductive talk and surrender your treasure chest to his greedy hands.
Watch out, Ophelia. Even good girls sometimes get a bad reputation. Worms ruin flowers before they blossom. Baby blooms are most susceptible to disease.
So be careful. Fear will keep you safe. Young people often lose their self-control even without any help from others. But here my father comes. A double blessing is a double grace. Occasion smiles upon a second leave. And here comes father. What good luck, to have him bless my leaving not once but twice. Aboard, aboard, for shame! The wind sits in the shoulder of your sail And you are stayed for.
There, my blessing with thee. And these few precepts in thy memory Look thou character. Give thy thoughts no tongue, 60 Nor any unproportioned thought his act. Be thou familiar but by no means vulgar. Those friends thou hast, and their adoption tried, Grapple them unto thy soul with hoops of steel, But do not dull thy palm with entertainment 65 Of each new-hatched, unfledged comrade.
Give every man thy ear but few thy voice. Shame on you—get on board! Here, I give you my blessing again. And just try to remember a few rules of life. Listen to many people, but talk to few. This above all: to thine own self be true, And it must follow, as the night the day, 80 Thou canst not then be false to any man.
My blessing season this in thee. And, above all, be true to yourself. Good-bye, son. Your servants tend. Your servants are waiting. If things are the way people tell bounteous. What is between you? Give me up the truth.
Tell me the truth. Pooh, you speak like a green girl, Unsifted in such perilous circumstance. Think yourself a baby That you have ta'en these tenders for true pay, Which are not sterling. Go to, go to.
Go on. I do know, When the blood burns, how prodigal the soul Lends the tongue vows. These blazes, daughter, Giving more light than heat, extinct in both Even in their promise as it is a-making, You must not take for fire.
From this time Be somewhat scanter of your maiden presence. Set your entreatments at a higher rate Than a command to parley. For Lord Hamlet, Believe so much in him that he is young, And with a larger tether may he walk Than may be given you. In few, Ophelia, Do not believe his vows, for they are brokers Not of that dye which their investments show, But mere implorators of unholy suits, Breathing like sanctified and pious bawds, The better to beguile.
This is for all: I would not, in plain terms, from this time forth, Have you so slander any moment leisure, As to give words or talk with the Lord Hamlet. Come your ways. From now on, spend a little less time with him and talk to him less. Make yourself a precious commodity. Remember that Hamlet is young and has a lot more freedom to fool around than you do. Do as I say. Now come along. It is very cold. Original Text Modern Text I think it lacks of twelve.
A little before twelve, I think. I heard it not. It then draws near the season Wherein the spirit held his wont to walk. Trumpets play offstage and two cannons are goes off What does this mean, my lord? What does that mean, sir? HAMLET The king doth wake tonight and takes his rouse, 10 Keeps wassail and the swaggering upspring reels, And, as he drains his draughts of Rhenish down, The kettle-drum and trumpet thus bray out The triumph of his pledge.
As he guzzles down his German wine, the musicians make a ruckus to celebrate his draining another cup. But though I was born here and should consider that tradition part of my own heritage, I think it would be better to ignore it than practice it.
More honored in the breach than the observance. This heavy-headed revel east and west 20 Makes us traduced and taxed of other nations. Other countries criticize us for our loud partying. Act 1, Scene 4, Page 2 25 30 35 40 They clepe us drunkards and with swinish phrase Soil our addition. And indeed it takes From our achievements, though performed at height, The pith and marrow of our attribute.
The dram of evil Doth all the noble substance of a doubt To his own scandal. They call us drunks and insult our noble titles. And our drunkenness does detract from our achievements, as great as they are, and lessens our reputations. It happens sometimes that one little defect in these people, as wonderful and talented as they may be, will make them look completely bad to other people. A tiny spot of evil casts doubt on their good qualities and ruins their reputations.
Let me not burst in ignorance, but tell 50 Why thy canonized bones, hearsed in death, Have burst their cerements; why the sepulcher, heavenly breezes or blasts of hell fire, whether your intentions are good or evil, you look so strange I want to talk to you. What may this mean, 55 That thou, dead corse, again in complete steel Revisits thus the glimpses of the moon, Making night hideous and we fools of nature, So horridly to shake our disposition With thoughts beyond the reaches of our souls?
What should we do? What could it mean that you have put on your armor again, you corpse, and have come back to look at the moon, making the night terrifying and stirring us humans with supernatural fears? What do you want from us? Then I will follow it. It waves me forth again. Or to the terrifying cliff that overhangs the water, Act 1, Scene 4, Page 4 75 And there assume some other horrible form, Which might deprive your sovereignty of reason And draw you into madness?
Think of it. The very place puts toys of desperation, where it takes on some other horrible form that drives you insane. Think about it. The edge of the sea makes people feel despair even at the best of times. All they have to do is look into its depths Original Text Modern Text Without more motive, into every brain 80 That looks so many fathoms to the sea And hears it roar beneath. You shall not go. Still am I called. Every nerve in my body is now as tough as steel. The ghost is still waving me over.
Let me go, gentlemen. I say, get away! To what issue will this come? But what does all this mean, where will it all end? It means that something is rotten in the state of Denmark. Ah, poor ghost! Just listen carefully to what I have to tell you. I am bound to hear. But this eternal blazon must not be To ears of flesh and blood. List, list, O, list! Listen, listen! But this most foul, strange and unnatural. Original Text Modern Text May sweep to my revenge.
Now, Hamlet, hear. My uncle? Now listen, Hamlet. Everyone was told that a poisonous snake bit me when I was sleeping in the orchard. O Hamlet, what a falling off was there! From me, whose love was of that dignity That it went hand in hand even with the vow I made to her in marriage, and to decline Upon a wretch whose natural gifts were poor To those of mine. But virtue, as it never will be moved, Though lewdness court it in a shape of heaven, So lust, though to a radiant angel linked, Will sate itself in a celestial bed And prey on garbage.
But soft! Methinks I scent the morning air. Brief let me be. Sleeping within my orchard, My custom always of the afternoon, Upon my secure hour thy uncle stole With juice of cursed hebenon in a vial, And in the porches of my ears did pour The leperous distilment, whose effect 65 Holds such an enmity with blood of man That swift as quicksilver it courses through The natural gates and alleys of the body And with a sudden vigor doth posset And curd, like eager droppings into milk, 70 The thin and wholesome blood.
So did it mine. And a most instant tetter barked about, Most lazar-like, with vile and loathsome crust All my smooth body. With his clever words and fancy gifts, he seduced my seemingly virtuous queen, persuading her to give in to his lust. They were evil words and gifts to seduce her like that! Oh, Hamlet, how far she fell! She went from me, who loved her with the dignity and devotion that suits a legitimate marriage, to a wretch whose natural gifts were poor compared to mine.
But hang on, I think I smell the morning air. So let me be brief here. Your uncle snuck up to me while I was sleeping in the orchard, as I always used to do in the afternoon, and poured a vial of henbane poison into my ear—that poison that moves like quicksilver through the veins and curdles the blood, which is just what it did to me. I broke out in a scaly rash that covered my smooth body with a revolting crust.
He cut me off in the middle of a sinful life. No reckoning made, but sent to my account With all my imperfections on my head. If thou hast nature in thee, bear it not. But howsoever thou pursuest this act, 85 Taint not thy mind, nor let thy soul contrive Against thy mother aught. Leave her to heaven And to those thorns that in her bosom lodge To prick and sting her.
Fare thee well at once. The glowworm shows the matin to be near, 90 And 'gins to pale his uneffectual fire. Adieu, adieu, adieu. Remember me. I had no chance to repent my sins or receive last rites. Leave her to God and her own guilt. Now, good-bye. Good-bye, good-bye, good-bye. O earth! What else? And shall I couple hell? Oh, fie!
Hold, hold, my heart, And you, my sinews, grow not instant old, 95 But bear me stiffly up. Remember thee! Ay, thou poor ghost, whiles memory holds a seat In this distracted globe. Yes, by heaven! My tables! And earth! Shall I include hell as well? Remember you! Yes, you poor ghost, as long as I have any power of memory in this distracted head. Yes, by God! Oh, you evil woman! Oh, you villain, villain, you damned, smiling villain! Now to my word.
Come, bird, come. Come here. It was incredible! Would heart of man once think it? But you promise you can keep a secret? So, without further ado, the best thing to do now is probably just to shake hands and go our separate ways.
Yes faith, heartily. No offense taken. Touching this vision here, It is an honest ghost, that let me tell you. And now, my friends, my courageous and Original Text As you are friends, scholars and soldiers, Give me one poor request.
Modern Text educated friends, do me one small favor. We will. Of course we will. Sayst thou so? Art thou there, truepenny? Come on, you hear this fellow in the cellarage. Consent to swear. Are you down there, my man? Agree to swear. Swear by my sword. Come hither, gentlemen, And lay your hands again upon my sword. Swear by my sword Never to speak of this that you have heard. Canst work i' th' earth so fast?
Once more remove, good friends. Maybe we should move. Come over here, gentlemen, and put your hands on my sword again. What a tunneler! There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy. But now listen to me. This not to do, So grace and mercy at your most need help you, Swear.
Let us go in together, And still your fingers on your lips, I pray. No talking about this. There is so much out of whack in these times. Look you, sir, Inquire me first what Danskers are in Paris, And how, and who, what means, and where they keep 10 What company at what expense; and finding POLONIUS It would be wonderfully wise of you, my dear Reynaldo, to ask around about his behavior a little before you visit him. Ask around and find out what Danish people are in Paris—who they are, where they live and how much money they have, who their friends are.
And if you find out in this general sort of questioning that they happen to Original Text By this encompassment and drift of question That they do know my son, come you more nearer Than your particular demands will touch it. Addicted so and so. Marry, none so rank As may dishonor him. Take heed of that. Then just make up whatever you want—of course, nothing so bad that it would shame him. I mean make up any stories that Act 2, Scene 1, Page 2 As are companions noted and most known To youth and liberty.
You must not put another scandal on him 30 That he is open to incontinency. Of general assault. I would know that. By the mass, I was about to say something. Where did I leave? Yes, sir. Good God, I was about to say something. What was I saying? See you now, Your bait of falsehood takes this carp of truth. And thus do we of wisdom and of reach, 65 With windlasses and with assays of bias, By indirections find directions out.
So by my former lecture and advice Shall you my son. You have me, have you not? Make sure your little lie brings out the truth. Fare you well. Have a safe trip. Thank you, sir. OPHELIA Father, I was up in my room sewing when Hamlet came in with no hat on his head, his shirt unbuttoned, and his stockings dirty, undone, and down around his ankles.
He was pale as his undershirt, and his knees were knocking together. He came up to me. But truly, I do fear it. Then goes he to the length of all his arm, And, with his other hand thus o'er his brow, 90 He falls to such perusal of my face As he would draw it. Long stayed he so. He stayed like that a long time. Act 2, Scene 1, Page 5 At last, a little shaking of mine arm And thrice his head thus waving up and down, He raised a sigh so piteous and profound Finally, after shaking my arm a little, and jerking his head up and down three times, he sighed like it was his last breath.
After that he let me go. He 95 As it did seem to shatter all his bulk And end his being. That done, he lets me go, And, with his head over his shoulder turned, He seemed to find his way without his eyes, For out o' doors he went without their helps, And to the last bended their light on me. I will go seek the king. This is the very ecstasy of love, Whose violent property fordoes itself And leads the will to desperate undertakings As oft as any passion under heaven That does afflict our natures.
I am sorry. What, have you given him any hard words of late? This is definitely love-craziness. Love is such a violent emotion that it makes people self-destruct, as much as any strong emotion. Did you tell him anything that might have hurt his feelings lately? But as you did command I did repel his fetters and denied His access to me. I am sorry that with better heed and judgment I had not quoted him.
I feared he did but trifle And meant to wreck thee. But beshrew my jealousy! By heaven, it is as proper to our age To cast beyond ourselves in our opinions As it is common for the younger sort To lack discretion.
Come, go we to the king. This must be known, which, being kept close, might move More grief to hide than hate to utter love. I regret not observing him more closely before I told you to do that. I thought he was just toying with you and meant to ruin your reputation. Damn my suspicious thoughts! Act 2, Scene 2 Flourish.
Moreover that we much did long to see you, The need we have to use you did provoke Our hasty sending. I entreat you both That, being of so young days brought up with him And since so neighbored to his youth and 'havior, That you vouchsafe your rest here in our court Some little time so by your companies 15 To draw him on to pleasures and to gather, CLAUDIUS Welcome, dear Rosencrantz and Guildenstern.
See if you can get Hamlet to have some fun, So much as from occasion you may glean, Whether aught, to us unknown, afflicts him thus That, opened, lies within our remedy. Our services are entirely at your command.
To be commanded. Go, some of you, And bring these gentlemen where Hamlet is. Servants, take these gentlemen to see Hamlet. I assure my good liege, I hold my duty as I hold my soul, 45 Both to my God and to my gracious king. That do I long to hear. I want very much to find out.
My news shall be the fruit to that great feast. Then you can hear my news, as dessert. Say, Voltemand, what from our brother Norway? Whereat grieved— That so his sickness, age, and impotence Was falsely borne in hand—sends out arrests On Fortinbras, which he, in brief, obeys, Receives rebuke from Norway, and in fine 70 Makes vow before his uncle never more To give th' assay of arms against your majesty.
Welcome, my good friends. Fortinbras swore never to threaten Denmark again. Act 2, Scene 2, Page 4 Gives him three thousand crowns in annual fee 75 And his commission to employ those soldiers, So levied as before, against the Polack, With an entreaty, herein further shown, That it might please you to give quiet pass Through your dominions for this enterprise, 80 On such regards of safety and allowance As therein are set down.
Meantime we thank you for your well-took labor. Most welcome home! My liege and madam, to expostulate What majesty should be, what duty is, 90 Why day is day, night night, and time is time, Were nothing but to waste night, day, and time. Therefore, since brevity is the soul of wit And tediousness the limbs and outward flourishes, I will be brief: your noble son is mad.
Meanwhile, thank you for your efforts. Go relax now. Welcome back! Sir and madam, to make grand speeches about what majesty is, what service is, or why day is day, night is night, and time is time is just a waste of a lot of day, night, and time. Your son is crazy. But let that go. Mad let us grant him then. And now remains Modern Text Please, stick to the point.
Act 2, Scene 2, Page 5 That we find out the cause of this effect, Or rather say, the cause of this defect, For this effect defective comes by cause. Thus it remains, and the remainder thus. I have a daughter—have while she is mine— Who in her duty and obedience, mark, Hath given me this. Now gather and surmise. But you shall hear. I will be faithful. O dear Ophelia, I am ill at these numbers.
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