CONTENTS
WILLIAM SHAKESPEARE - A BIOGRAPHY
2
HE MYSTERY OF SHAKESPEARE'S IDENTITY
(FROM THE TIMES MAGAZIN)
3
LONDON AROUND 1600
5
WHAT IS ‘’HAMLET’’ ABOUT ?
6
‘’HAMLET’S’’ MOST IMPORTANT QUOTATIONS
7
A THEATER REVIEW
8
‘’HAMLET’’ AS A MODERN MOVIE
9
‘’A LIFE ON STAGE’’ - MODERN RELEVANCE
10
CROSSWORD
11
QUESTIONNAIRE AND STATISTICS ABOUT ‘’HAMLET’’
12
THE MOST IMPORTANT SCENES - PHOTOS
13
THE CHARACTER HAMLET - DRAWN BY US
16
‘’HAMLET’’ PRESENTED BY ‘’THE SIMPSONS’’
17
THE LEISTUNGSKURS ENGLISH 2008/2010
18
FLAG:
CHRISTIANE ANBUHL
CHRISTIANE BRÜCKLMAYER
JULIA ENDRÖS
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WILLIAM SHAKESPEARE - BIOGRAPHICAL DATA
Considered as the world’s greatest poet and playwright who had ever lived, William Shakespeare is
beloved and admired for his lasting impact on the English literature. Although the actual date is not
recorded which was not common with births in the sixteenth century, Shakespeare is supposed to
be born on April 23rd 1564 in Stratford-upon-Avon. He was the first of eight children of John and
Mary Shakespeare.
Shakespeare married Anne Hathaway in 1582, and fathered three children; a daughter, Susanna
and twins, Hamnet and Judith, who were named after two of Shakespeare’s lifelong friends. Only
little information is available on his life between the years 1585 and 1592. Some have speculated
that Shakespeare left Stratford to pursue the entertainment business in London and to better support his family. Others claim he was engaged in law or was a ‘horse holder’ outside London theatres. Besides, he might also have visited Italy.
In 1592, Robert Greene, a contemporary playwright of Shakespeare, referred to him as an ‘upstart
crow’, an attack which is the first evidence of his rise in London theatre. By this time it is thought
that he had already written Taming of the Shrew, The Comedy of Errors and parts of Henry VI,
among others. The highlight years for Shakespeare were 1594-1599. During this time, he produced
a wide array of notable plays, sonnets and narrative poems including A Midsummer Night’s Dream
and Romeo and Juliet. Shakespeare’s popular acting company, The Chamberlain’s Men, also performed for the entertainment of Queen Elizabeth I and her court. After her death and the takeover of
the crown by James I they continued to perform under the company name The King’s Men. Most of
the plays were shown in the great Globe, where Shakespeare himself was part-owner and which is
nowadays commonly known as “Shakespeare’s theatre”.
In 1611 Shakespeare left the stage and went back to Stratford, where he died on April 23rd, 1616
from an undocumented illness.
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THE MYSTERY OF SHAKESPEARE'S IDENTITY
By JUMANA FAROUKY/LONDON Times,Thursday, Sep. 13, 2007
Like alien autopsies and the second gunman, the belief that someone other than a glover's son from
Stratford wrote William Shakespeare's plays is a conspiracy theory that refuses to die. Doubters started
questioning the true identity of the writer in the late 19th century. Ever since then, the theory of an alternate author has flirted with the mainstream as some scholars and researchers have tried to get the
broader academic community to treat the question as a legitimate debate, instead of the ramblings of
crackpots. Now, almost 300 Shakespeare skeptics have made a very public plea to be taken seriously.
On Sept. 10, Shakespearian actor Derek Jacobi and Mark Rylance, former artistic director of Shakespeare's Globe Theatre (a working modern replica of the London theater Will co-owned and acted at),
unveiled a "Declaration of Reasonable Doubt." Created by the California-based Shakespeare Authorship Coalition, an educational charity dedicated to raising awareness of the Shakespeare identity question, the document asks the world of academia to accept that there is "room for reasonable doubt about
the identity of William Shakespeare" and to start taking the research into who is really responsible for
his works seriously. Along with Jacobi and Rylance, signatories include Charles Champlin, the former
L.A. Times arts editor; Michael Delahoyde, an English professor at Washington State University; and
Robin Fox, professor of social theory at Rutgers University in New Jersey. Some more famous names,
like Mark Twain, Charles Dickens and Orson Welles, also lent their posthumous support in a list of
people who expressed their own doubts about the Bard when they were alive.
At the heart of the problem is the fact that, for a man who was so prolific with his pen, Shakespeare
didn't leave much evidence of his life behind. Most scholars accept that there is enough to prove that a
William Shakespeare was born in Stratford-upon-Avon, became an actor in London and retired back in
Stratford until his death in 1616. But that's where the agreement ends. Stratfordians, as they are
known, believe that this William Shakespeare is the same man who wrote what would become known
as the greatest body of literary works in the history of the English language. The Anti-Stratfordians say
that there is, in fact, nothing solid linking Shakespeare with the plays, poems and sonnets attributed to
him.
And so begins the game of tit-for-tat. Stratfordians note that Shakespeare's name is printed on the title
pages of many of the plays published during his lifetime. The Anti-Stratfordians point out that nobody
even knows if that's how Shakespeare spelled his name: the only surviving examples of his handwriting are six scraggly signatures spelled several different ways. Those pro-Will say that some of Shakespeare's contemporaries mention him in their writings; the naysayers counter that they only refer to him
as an actor, never explicitly as a playwright.
Then there's the apparent disconnect between the life that William Shakespeare lived and the ones he
wrote about. Anti-Stratfordians claim that Shakespeare's plays show a keen grasp of literature, language, court life and foreign travel — not the kinds of things that a small-town actor without a university
education would be familiar with. As the Declaration says, "scholars know nothing about how he acquired the breadth and depth of knowledge displayed in the works." And so doubting scholars look to welltraveled writers and aristocrats — essayist Francis Bacon; poet and playwright Christopher Marlowe;
theater patron Edward de Vere, the 17th Earl of Oxford — as the more likely candidates.
But Shakespeare advocates dismiss this as snobbery, saying that even a basic education at the time
would have been enough for Will to write his plays. And, if you emphasize — as Stratfordians do —
that most of Shakespeare's plays were adapted from older works, what he lacked in experience he
could have made up for in imagination. "The problem is that argument presupposes that plays from the
period consisted of this hidden autobiography," says leading Shakespeare scholar Jonathan Bate.
"That's a modern image of the writer as someone who puts his own experiences into his plays, a very
romantic idea of writing. But it's just not how plays were written back then."
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The Coalition's "Declaration of Reasonable Doubt" doesn't claim to know who wrote Shakespeare's
plays, but it asks that the question "should, henceforth, be regarded in academia as a legitimate issue
for research and publication." Hoping to start the trend is William Leahy, head of English at Brunel University who, later this month, will teach the first ever M.A. course dedicated to the authorship question.
"Shakespeare studies already look at his work from so many angles — feminist, post-colonialist, historical," he says. "And I think it's important that the authorship question is one of them." This could be much
ado about nothing. Or maybe, one day, the truth will out.
As Shakespeare (or maybe Bacon or possibly De Vere) asked, "What's in a name?" The star-crossed
lovers still die, there will always be something rotten in the state of Denmark, no matter who wrote the
plays. So why all the fuss? Both sides argue that knowing the identity of the man behind Hamlet, King
Lear and The Tempest is essential to understanding them. "Our interpretation of Shakespeare's works
would be entirely different if we knew who wrote them," says Bill Rubinstein, history professor at the University of Wales, Aberystwyth, and an academic adviser for the Shakespeare Authorship Coalition. "If he
was heavily involved in politics, for example, every line in every play would have a different motivation."
The Coalition's "Declaration of Reasonable Doubt" doesn't claim to know who wrote Shakespeare's
plays, but it asks that the question "should, henceforth, be regarded in academia as a legitimate issue
for research and publication." Hoping to start the trend is William Leahy, head of English at Brunel University who, later this month, will teach the first ever M.A. course dedicated to the authorship question.
"Shakespeare studies already look at his work from so many angles — feminist, post-colonialist, historical," he says. "And I think it's important that the authorship question is one of them." This could be much
ado about nothing. Or maybe, one day, the truth will out.
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LONDON AND THE BRITISH EMPIRE AROUND 1600
During William Shakespeare’s lifetime Queen Elizabeth I. reigned over the British Empire. The daughter of
King Henry VIII was born in 1533 and became Queen in 1558.
During her regency, she defeated the spanish Armada in 1588 and firmly established the Church of England
and had her cousin Mary killed.
But her regency is also considered to be the golden age in English history. Contrary to her predecessor and
successor, she managed a short period of peace between the fights of the Protestants and Catholics, the parliament and the monarchy. The famous Francis Drake circumnavigated the globe between 1577 and 1581
and The British Empire expanded and increased all around the globe. Due to this, England began to benefit
greatly from the newe trans-Atlantic trade.
Furtheron, London was the heart of the Empire and its cultural centre. The most significant poets and
dramatist influenced style there and staged plays in the newly founded ‘’Globe’’ and ‘’The Theatre“ that are still
known nowadays. They also brought the Renaissance to England and the drama was flourishing after a long
period of miracle plays of the Middle Ages. Greek and Latin stories and epics were renewed and staged, for
example ‘’Julius Ceasar“ by William Shakespeare. Other famous and important figures in the Elizabethan
theatre were Christopher Marlowe, Thomas Dekker and John Fletcher.
Also well-know are the Chamberlain’s men, a playing company that William Shakespeare worked at as an
actor and playwright for most of his career in London. The group was patronized by James I. and other famous
and important persons such as Henry Carey and Lord Chamberlain.
Very important was also, that Elizabeth I. submitted the first real theatres in London because she disallowed
the actors to travel around anymore. That was the beginnig of the theatre as we know it today: In 1594 The
Theatre was built, a polygonal wooden building with three galeries that surrounded the open yard. On one side
there was the stage with a heaven upon it and only little furniture. For one penny entrance fee the London citizens could stand in the pit, for another penny they were allowed to stay in the galleries.
The Elizabethan era was also know for its music, that was very popular with the upper and middle classes.
The music was famous for its steady rhythm and its polyphony and for its refelction of moods and emotions.
Even theatre became increasingly popular when music was added especially wtih the rise of W. Shakespeare
in 1556.
In the Elizabethan age the view of the world changed from the mideval geocentric system to the heliocentric
system with the sun in the middle. The people realized that they can understand the world, that they can rule,
and invent. Rather they felt complete and self-confident.
The general belief was that everybody, from Jesus to a simple stone was included in a certain hierachy called
the chain of being and that everything on earth is connected with something unnatural. So they explained a
earth quake or a epidemic plague with campaigning or another human failure. This was called the conjunction
between macrocosm and microcosm.
Contrary to the wonderful art and the development in the thinking of the men, the sanitation in the big cities,
precisely in London caused many diseases endagering the lives of many people in England. So common
diseases included smallpox, measled, malaria, typhus and the plague. The overcoming of these problems was
very difficult, because advanced medicine did not exist at this time and the most people tried to heal themselves with homemade medicine and herbs. Besides seeing a doctor often was too expensive for a lot of people.
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“HAMLET”- CONTENT AND CHARACTERS
Characters
“Old Hamlet“
(Hamlet's father- ghost)
Gertrude
(Hamlet's mother &
Queen of Denmark)
Laertes
( Polonius’s son)
Hamlet
(Main character/
prince of Denmark)
Claudius
(Uncle of Hamlet &
brother of the “Old
King Hamlet“)
Horatio
(best friend of Hamlet)
Polonius
(King Claudius’s chief
counsellor)
Ophelia
(Hamlet’s big love,
Polonius’s daughter)
Rosencrantz & Guildenstern
(Spies of Claudius for Hamlet)
Content
Hamlet- the prince of Denmark- is a student at the University of Wittemberg when he got the
message of his father’s death and the wedding of his mother Gertrude with his uncle / his father’s
brother Claudius who became King of Denmark. Because of this Hamlet returns to Denmark where
Horatio, Hamlet‘s friend, tells him that he and Bernado, a guard, witnessed the appearance of Old
Hamlet as a ghost on the tower of the Helsingoer castle where the royal family lives. In the
following night Hamlet follows Horatio to see the ghost himself. When the ghost appears he tells
Hamlet that Claudius murdered him as King Hamlet with poison which he dumped into the ear of
the king. Hamlet promises to revenge the murder but to spare Gertrude. To prepare the idea of
revenge Hamlet decides to simulate madness. Ophelia, the daughter of the chief counsellor
Polonius, suffers because of Hamlet’s behaviour. He rejects her now although she was very
romanced by him before.
After an arrival of a troupe of actors Hamlet gets the idea of re-enacting his father’s murder and
finding out if the ghost told the truth by Claudius’ behaviour. When the murder scene is presented,
Claudius abruptly leaves the room which is the proof that he is guilty for the death of Hamlet's
father.Because of his fear Claudius wants Hamlet to go to England (where he should be killed by
Rosencrantz & Guildenstern) so that he can feel save.
After the play Gertrude summons Hamlet to come to her room. On the way Hamlet sees Claudius
while he's praying because he know that his murder was exposed but Hamlet doesn't want to take
revenge in this situation because he wants to kill him when he's unprepared for death. So Hamlet
comes to Gertrude's room and an argument erupts. Polonius who is spying behind the curtain
makes a noise. Hamlet thinks it is Claudius and kills the chief counsellor with a knife. Because of
the death of her father, Ophelia becomes mad and Laertes ( Polonius' son) decides to take
revenge against Hamlet because Claudius told him that he's guilty for the death. The king arranges
a match between Laertes and Hamlet in which Laertes will fight wit a poisen-tipped sword. After
that Gertrude tells the other persons that Ophelia has drowned. At Ophelia's funeral procession
Hamlet admits that he has loved Ophelia much more than everybody else. Back at Elsinore the
fight between Hamlet and Laertes begins. Gertrude drinks the poisoned cup and dies, Laertes
wounds himself with the noxious knife because he and Hamlet changed the arms. In his dying
moment Laertes tells Hamlet about the murderous plot of Claudius. In his own last moments
Hamlet kills his uncle with a knife and Fortinbras ( prince of Norway) becomes his successor.
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"
HAMLET’S MOST IMPORTANT QUOTATIONS
‘’To be, or not to be: that is the question". (Hamlet Act III, Sc. I).
"Though this be madness, yet there is method in 't." (Claudius, Act II, Scene II).
"That it should come to this!". (Hamlet Act I, Scene II).
"There is nothing either good or bad, but thinking makes it so" (Hamlet Act II, Sc. II).
"What a piece of work is man! how noble in reason! how infinite in faculty! in form and moving how express and admirable! in action how like an angel! in apprehension how like a god! the beauty of the
world, the paragon of animals! " (Hamlet Act II, Sc. II).
"The lady doth protest too much, methinks".( Hamlet Act III, Sc. II).
"In my mind's eye". ( Hamlet Act I, Scene II).
"A little more than kin, and less than kind". (Hamlet Act I, Scene II).
"The play 's the thing wherein I'll catch the conscience of the king".( Hamlet Act II, Scene II).
"This is the very ecstasy of love". - ( Hamlet Act II, Sc I).
"Doubt that the sun doth move, doubt truth to be a liar, but never doubt I love".
(Hamlet Act II, Sc. II).
"Rich gifts wax poor when givers prove unkind". - (Ophelia Act III, Scene I).
"Do you think I am easier to be played on than a pipe?" (Hamlet Act III, Sc. II).
‘’To be, or not to be: that is the question: Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune Or to take arms against a sea of troubles,
And by opposing end them?’’ - (Hamlet Act III,Scene I)
‘’Frailty thy name is woman“ (Hamlet Act I, Sc. II)
‘’There is something rotten in the state of Denmark’’ (Marcellus, Act I, Sc. IV)
Polonius: ‘’What do you read, my lord?’’
Hamlet: ‘’Words, words, words. ‘’
(Act III, Sc. II)
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A THEATRE REVIEW
By Felix Löffler
On the 21st of November in 2008 the advanced English course of the Hans-Carossa- Gymnasium visited the
perfomance of Shakespeare’s play ‘’Hamlet“ in Munich at the America House.
This play, that was directed by Paul Stebbings and staged by the Amderican Drama Group Europe deals with
the tragic story of the Danish royal family. After old King Hamlet was murdered by his brother, his son Hamlet starts his revenge, which leads to the death of all main characters.
Two parts in the performance were really outstanding, namely Martin Christopher as Hamlet and Suzanne
Marston as Ophelia. Both had such a profundity in their words, that you really could hear their mood and
their feelings by means of the volume of the voice and the tempo. Eventually everybody knew exactly, when
sadness or fury dominated. The movement and the gesture of the two protagonists were very different. Ophelia really embodied the cliche of a young, nice lady, whereas the ambivalent behaviour of Hamlet showed his
mental confusion, inconclusiveness and
suffering. The emotions of both were very authentic, too. It was not very difficult to feel with them, when their
mood was really sad.
Noticeable were the similarities of clothes between some people. Claudius and Gertrude almost wore the same, whereas the Hamlet ‘’fraction“ mostly wore dark suits
(Horatio and the guards). An ingenious move by the director to show the apparent differences between ‘’the
good“ and ‘’the bad“ concerning their attitude in the play.
The acting in general succeded in getting the story of ‘’Hamlet“ across to the audience in a special, but very
interesting and effective way. Maybe the stage design with just a small wooden bridge looked a bit ‘’naked“ ,
but this fitted very well with the
different scenes of the play, so it always seemed very adequate.
The light-show was not very spectacular as well, but that was not necessary. Dark lights show dark mood,
which is a easy, but effective way of underlining situations.
In contrast to some modern interpretations/performances of ‘’Hamlet“, this play just used costumes, that really looked authentic. The make-up punctuated the roles in a very clever way, e.g. the curly hair of Hamlet really fitted to his crazy, mad and emotional role.
One thing, that always returned, was the music. It was mostly sad and with its
characteristic sentence ‘’He will not come again“. Very, very creditable was the fact, that the protagonists
played the instruments (guitar, drum and a cymbal) themselves. In fact, this kind of music and especially the
presenting was just perfect.
I personally think, that this performance was a really, really great one. From the acting to the costumes, the
music and the make-up, nothing failed and created a nice Friday-evenning-entertainment. It also helped us
to understand the book better, because perfect and emotional plays can tell any story better than a book.
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HAMLET AS A MODERN MOVIE
SOMETHING IS ROTTEN IN DENMARK CORPORATION
by PHILIPP HEIDER
William Shakespeare’s “Hamlet”, one of his most famous plays, has already been filmed quite a
few times and performed on almost all stages of this world. Director Michael Almeyreda’s version
of the year 2000 may perhaps be the most modern adaptation.
Set in contemporary New York City, the president of the “Denmark Corporation” has died. Shortly
after that, his brother Claudius (Kyle MacLachlan) marries the widow and takes over the company. The late president’s son and filmmaker Hamlet (Ethan Hawke), though, still mourns his father’s death and is disgusted by his mother’s new marriage.
Then, one night after his father’s ghost appeared to Horatio (Karl Geary), Hamlet’s best friend
from university, the ghost tells Hamlet the next night that he was killed by Claudius and wants
him to revenge his unnatural death. As a consequence, Hamlet is confused by whether this was
really his father’s ghost or the devil who tries to do harm.
Also, the spurned love to Ophelia (Julia Stiles) causes Hamlet headaches. Her father Polonius
(Bill Murray) forbid her to contact Hamlet in any way, worrying her virginity and doubting Hamlet’s
sincereness.
Trying to prove Claudius’s guilt, Hamlet produces a short film by the name “The Mousetrap”
which shows the way his father was killed. If Claudius shows reaction, he is guilty. In fact, he leaves the room during the presentation and Hamlet is sure of the truth of the ghost’s words. He
now will have to take revenge for his father’s death.
With Hamlet in New York City of the twenty-first century, director Almeyreda tries to polish Shakespeare’s tragedy in the same way as “Romeo and Juliet”. The characters are hip and cool and
the old verses are underlined with modern music. Nobody seems to be bothered, though, that the
story does not convince thoroughly in this version. The sequence is chronologically incorrect at
some points and the actors sometimes seem to be overstrained by Shakespeare’s verses. The
new sequence of scenes is just confusing and does not contribute to the mood.
Bill Murray is not really a bad actor and he does give his best in the role as Polonius but as a viewer, you always have a feeling he does not fit into the overall picture. The same is for Julia Stiles
who does not convince as Ophelia and also Liev Schreiber as Laertes acts not the way he
should. Only Karl Geary as Horatio and Kyle MacLachlan as Claudius act convincingly.
To transfer Hamlet into the modern world brings a lot of new things: Hamlet walks through New
York City with his video camera, Ophelia takes Polaroids instead of painting. Also, Hamlet speaks
his famous soliloquy “To be or not to be” in a Blockbuster video store with an older adaptation of
Hamlet in the background and the duel between Laertes and Hamlet takes place in an electronic
fencing arena, Claudius’s orders are written on computers and given to others on disks and so
on.
Positively, a dark mood is created by the skillful arrangement of music and dialogues. Even if the
story fails to convince the viewer, he can still enjoy the movie and doesn’t get bored at any time.
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‘’A LIFE ON STAGE’’ - THE PLAY’S MODERN RELEVANCE
Yasmin Alibhai-Brown from Uganda wrote in the ‘’Time’’ about ‘’Hamlet’s’’ modern relevance nowadays in the
third world.
She represents many people of colour all over the world, but especially those in Africa, the Arab states and
South Asia.
According to her essay, there are relations between those people and the figures in Shakespeare’s ‘’Hamlet’’.
In several countries prevail still conditions that existed already over 400 years ago in the Elizabethan age:
Children are seen as parental possessions, there are no weddings because of love, but because of arrangments
and there is no personal autonomy at all.
Because of these circumstances, the people have to suffer from nearly the same problems as the figures in
Shakespeare’s plays.
Unfortunately it is real and while we live our every day lifes, thousands of men take heart from those ancient
old plays.
Years ago Yasmin staged with her class ‘’Romeo and Juliet’’ to show her classmates’ parents and their families
that even if you are from different tribes and countries, you can live together without any problems or fights
and violence. Mrs Alibhai-Brown mentions also some ‘’real-life tragedies’’ she had witnessed herself.
So she knew girls who had to kill themselves because of tribal law and its consequences, and because they
were so afraid of their brutal husbands or leaders. And precisely these problems and cruel situations are dealt
with in several Shakespearan plays, such as ‘’Romeo and Juliet’’ or ‘’Hamlet’’. The characters are also forced to
obey even if they are concerned or get mad and die.
And the plots raise the people’s hope that the system can change, that they can change and that there always is
a progress. Furtheron they realize that there would be an option to oppression and cruelity if they acted and
dealt with their problems.
The people should understand that they can’t bear their situations any longer, above all in conflict areas and
war zones.
Whenever Shakespearan plays are staged, the offering is sold out, everybody wants to visit it. One might ask, if
the absolut dictators are not afraid of the effects of such a play. Indeed, Shakespeare is considered as ‘’classical’’, the plays and themes are too old, even oldfashioned and not dangerous, but irrelevant. Maybe and hopefully, they delude themselves.
But not only the citizens love Shakespeare: Certain politicans had his plays translated to show their citizens the
danger of overwhelming power by staging ‘’Julius Ceasar’’. So you could just hope, that there will be a change,
with or without Shakespeare.
To conclude, a quotation of Yasmin Alibhai-Brown:
‘’And in places where censorship reigns,
Shakespeare can say what others cannot.’’
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CROSSWORD ABOUT HAMLET
DOWN
1. category of literature of Hamlet
2. alternative writer of Shakespeare’s plays
3. who killed old Hamlet in Claudius’s story?
4. central theme of the plot
5. officer of the watch
6. Shakespeares’s father
7. Shakespeares’s daughter
8. To be ...
9. another central theme
10. ‘’weakest“ person
11. ambassador to Norway
12. ‘’ere“ in modern English
13. possible name of ‘’Shakespeare“
ACROSS
1. TELL THE STORY
(Arrange the following sentences chronologically -> the letters do not form a word
- Ophelia is afraid of Hamlet’s crazy words (TV)
- Polonius tells the King and the Queen the reason for Hamlet’s madness (L)
- Rosencrantz and Guildenstern arrive at Hamlet’s castle (I)
- Polonius, Gertrude and Ophelia decide to watch Ophelia and Hamlet talk (F)
- Hamlet decides to think of a plan (D)
- Hamlet does not know if the ghost is telling him the truth (GO)
- Hamlet decides to ask the actors to play a story similar to the murder of his own father (S)
- Rosencrantz and Guildenstern tell Hamlet that a group of actors has arrived (H)
- Gertrude asks Rosencrantz and Guildenstern to help her son (E)
2. was killed in England
3. birthplace of Shakespeare
4. theatre group of Shakespeare
5. alternative writer of Shakespeare’s plays
6. ‘’ to suffer the slings and ... of outrageous fortune“
7. ‘’doth“ in modern English
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THE MOST IMPORTANT SCENES - FOTOS
After old Hamlet's death a ghost appeares and tells Hamlet that he is his father
and must be revenged because he was murdered by Claudius before he could
confess his sins. Horatio followed him.
- 13 -
Hamlet considers to kill Claudius while he is praying, but he scraps his plans because he
is afraid of Claudius not going to hell. Hamlet decides to wait until his uncle is confessing
a sin, so that he has to suffer after death like old Hamlet.
Hamlet kills Polonius who stood behind a curtain and listened while Hamlet told his mother that her new husband Cllaudius had killed her former husband old Hamlet.
- 14 -
Gravedigger scene, the comic relief after lots of tragic moments and events
The final showdown: Hamlet and Laertes fought a duell and killed each other,Before
Hamlet died, he finally killed Claudius, Gertrude drinks the poisoned whine and Hamlet tells Horatio what to do after his death. He wants Fortinbras to be the new king.
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THE CHARACTER HAMLET - DRAWN BY US
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‘’HAMLET“ - PRESENTED BY ‘’THE SIMPSONS“
- 17 -
Pictures:
SOURCES
Cover: http://www.nprlibrary.org/file/images/hamlet_skull_400.jpg
Hamlet Movie, http://thisdistractedglobe.com/wp-content/uploads/2007/09/Hamlet%20DVD.jpg
William Shakespeare,
http://www.william-shakespeare.us/Shakespeare-Blog/wpcontent/uplo ads/2008/09/william-shakespeare-photo.jpg and http://etc.usf.edu/
cli part/700/794/shakespeare_2_lg.gif
Theatres, The Globe: http://nmbunker.googlepages.com/TheGlobe2.bmp/TheGlobe2-full.jpg
http://media-2.web.britannica.com/eb-media/34/22934-004-414840B1.gif
Elizabeth I. : http://englishhistory.net/tudor/eliz1-ermine.jpg
Graveyard: http://www.electricscotland.com/travel/pitlochry/usa/images/clans1%20020.jpg
The Simpsons: Taken from an episode of ‘’The Simpsons“ "Tales from the Public Domain" 1314 DABF08
Original Airdate: 3/17/02
Articles:
‘’The Mystery of Shakespeare's Identity“ taken from ‘’The Times“
By JUMANA FAROUKY/LONDON, Thursday, Sep. 13, 2007
Referring to Yasmin Alibhai-Brown’s article ‘‘Shakespeare - A life on stage“ in the Time magazine on
Wednesday, Apr. 16, 2008
http://www.time.com/time/magazine/article/0,9171,1731320,00.html
(also picture)
-This magazine was made by students as a project and not for any commercial purpose. -