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Hamlet ( Folger Library Shakespeare) Mass Market Paperback – July 1, 1992
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Hamlet is Shakespeare's most popular, and most puzzling, play. It follows the form of a "revenge tragedy," in which the hero, Hamlet, seeks vengeance against his father's murderer, his uncle Claudius, now the king of Denmark. Much of its fascination, however, lies in its uncertainties.
Among them: What is the Ghost--Hamlet's father demanding justice, a tempting demon, an angelic messenger? Does Hamlet go mad, or merely pretend to? Once he is sure that Claudius is a murderer, why does he not act? Was his mother, Gertrude, unfaithful to her husband or complicit in his murder?
The authoritative edition of Hamlet from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes:
-Freshly edited text based on the best early printed version of the play
-Newly revised explanatory notes conveniently placed on pages facing the text of the play
-Scene-by-scene plot summaries
-A key to the play's famous lines and phrases
-An introduction to reading Shakespeare's language
-An essay by a leading Shakespeare scholar providing a modern perspective on the play
-Fresh images from the Folger Shakespeare Library's vast holdings of rare books
-An up-to-date annotated guide to further reading
Essay by Michael Neill
Enjoy this updated Folger edition of Hamlet in either the handy pocket-sized mass market paperback (ISBN 978-0743477123), elegant trade paperback featuring finer paper and wider margins (ISBN 978-1451669411), or Kindle edition (ASIN B00IWTWDA6).
- Reading age12 - 17 years
- Print length342 pages
- LanguageEnglish
- Lexile measureNP
- Dimensions4.19 x 1 x 6.75 inches
- PublisherSimon & Schuster
- Publication dateJuly 1, 1992
- ISBN-109780743477123
- ISBN-13978-0743477123
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From the Back Cover
About the Author
Barbara A. Mowat is Director of Research emerita at the Folger Shakespeare Library, Consulting Editor of Shakespeare Quarterly, and author of The Dramaturgy of Shakespeare's Romances and of essays on Shakespeare's plays and their editing.
Paul Werstine is Professor of English at the Graduate School and at King's University College at Western University. He is a general editor of the New Variorum Shakespeare and author of Early Modern Playhouse Manuscripts and the Editing of Shakespeare and of many papers and articles on the printing and editing of Shakespeare's plays.
Product details
- ASIN : 074347712X
- Publisher : Simon & Schuster; 1st edition (July 1, 1992)
- Language : English
- Mass Market Paperback : 342 pages
- ISBN-10 : 9780743477123
- ISBN-13 : 978-0743477123
- Reading age : 12 - 17 years
- Lexile measure : NP
- Item Weight : 7.2 ounces
- Dimensions : 4.19 x 1 x 6.75 inches
- Best Sellers Rank: #62,947 in Books (See Top 100 in Books)
- #54 in Shakespeare Dramas & Plays
- #59 in British & Irish Dramas & Plays
- #2,092 in Classic Literature & Fiction
- Customer Reviews:
About the authors
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William Shakespeare was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's preeminent dramatist. He is often called England's national poet and the "Bard of Avon". His surviving works, including some collaborations, consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright.
Shakespeare was born in Stratford-upon-Avon in Warwickshire and was baptised on 26 April 1564. Thought to have been educated at the local grammar school, he married Anne Hathaway, with whom he went on to have three children, at the age of eighteen, before moving to London to work in the theatre. Two erotic poems, Venus and Adonis and The Rape of Lucrece were published in 1593 and 1594 and records of his plays begin to appear in 1594 for Richard III and the three parts of Henry VI. Shakespeare's tragic period lasted from around 1600 to 1608, during which period he wrote plays including Hamlet and Othello. The first editions of the sonnets were published in 1609 but evidence suggests that Shakespeare had been writing them for years for a private readership.
Shakespeare spent the last five years of his life in Stratford, by now a wealthy man. He died on 23 April 1616 and was buried in Holy Trinity Church in Stratford. The first collected edition of his works was published in 1623.
(The portrait details: The Chandos portrait, artist and authenticity unconfirmed. NPG1, © National Portrait Gallery, London)
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Prince Hamlet devotes himself to avenging his father’s death, but, because he is contemplative and thoughtful by nature, he delays, entering into a deep melancholy and even apparent madness. Claudius and Gertrude worry about the prince’s erratic behavior and attempt to discover its cause. They employ a pair of Hamlet’s friends, Rosencrantz and Guildenstern, to watch him. When Polonius, the pompous Lord Chamberlain, suggests that Hamlet may be mad with love for his daughter, Ophelia, Claudius agrees to spy on Hamlet in conversation with the girl. But though Hamlet certainly seems mad, he does not seem to love Ophelia: he orders her to enter a nunnery and declares that he wishes to ban marriages.
A group of traveling actors comes to Elsinore, and Hamlet seizes upon an idea to test his uncle’s guilt. He will have the players perform a scene closely resembling the sequence by which Hamlet imagines his uncle to have murdered his father, so that if Claudius is guilty, he will surely react. When the moment of the murder arrives in the theater, Claudius leaps up and leaves the room. Hamlet and Horatio agree that this proves his guilt. Hamlet goes to kill Claudius but finds him praying. Since he believes that killing Claudius while in prayer would send Claudius’s soul to heaven, Hamlet considers that it would be an inadequate revenge and decides to wait. Claudius, now frightened of Hamlet’s madness and fearing for his own safety, orders that Hamlet be sent to England at once.
Hamlet goes to confront his mother, in whose bedchamber Polonius has hidden behind a tapestry. Hearing a noise from behind the tapestry, Hamlet believes the king is hiding there. He draws his sword and stabs through the fabric, killing Polonius. For this crime, he is immediately dispatched to England with Rosencrantz and Guildenstern. However, Claudius’s plan for Hamlet includes more than banishment, as he has given Rosencrantz and Guildenstern sealed orders for the King of England demanding that Hamlet be put to death.
In the aftermath of her father’s death, Ophelia goes mad with grief and drowns in the river. Polonius’s son, Laertes, who has been staying in France, returns to Denmark in a rage. Claudius convinces him that Hamlet is to blame for his father’s and sister’s deaths. When Horatio and the king receive letters from Hamlet indicating that the prince has returned to Denmark after pirates attacked his ship en route to England, Claudius concocts a plan to use Laertes’ desire for revenge to secure Hamlet’s death. Laertes will fence with Hamlet in innocent sport, but Claudius will poison Laertes’ blade so that if he draws blood, Hamlet will die. As a backup plan, the king decides to poison a goblet, which he will give Hamlet to drink should Hamlet score the first or second hits of the match. Hamlet returns to the vicinity of Elsinore just as Ophelia’s funeral is taking place. Stricken with grief, he attacks Laertes and declares that he had in fact always loved Ophelia. Back at the castle, he tells Horatio that he believes one must be prepared to die, since death can come at any moment. A foolish courtier named Osric arrives on Claudius’s orders to arrange the fencing match between Hamlet and Laertes.
The sword-fighting begins. Hamlet scores the first hit, but declines to drink from the king’s proffered goblet. Instead, Gertrude takes a drink from it and is swiftly killed by the poison. Laertes succeeds in wounding Hamlet, though Hamlet does not die of the poison immediately. First, Laertes is cut by his own sword’s blade, and, after revealing to Hamlet that Claudius is responsible for the queen’s death, he dies from the blade’s poison. Hamlet then stabs Claudius through with the poisoned sword and forces him to drink down the rest of the poisoned wine. Claudius dies, and Hamlet dies immediately after achieving his revenge.
At this moment, a Norwegian prince named Fortinbras, who has led an army to Denmark and attacked Poland earlier in the play, enters with ambassadors from England, who report that Rosencrantz and Guildenstern are dead. Fortinbras is stunned by the gruesome sight of the entire royal family lying sprawled on the floor dead. He moves to take power of the kingdom. Horatio, fulfilling Hamlet’s last request, tells him Hamlet’s tragic story. Fortinbras orders that Hamlet be carried away in a manner befitting a fallen soldier.
And like those aforementioned generations of students, I was once one myself, though now I am "way past school." And like the vast majority of students, those Shakespearean school reading assignments rather perversely instilled a desire never to read Shakespeare again. At a very real level, one is just too young in high school to "get it." And the "stilted" language of the English of the Middle Ages only makes it harder. Perhaps the only way to instill a desire to read him in school would be to forbid it.
I've been re-reading a number of works that I had to read in school, to see how the work and my perception of it have aged. "Hamlet" is a re-read. Now I've been able to observe, over several decades, the "craziness" that seems to come to people with power, as well as those who desire it. I now have known those who have died, and might call out for vengeance from beyond the grave. And I have observed the angst and indecisiveness in others, as so well depicted in the character of Hamlet. Ophelia, the young woman who Hamlet may have loved, has become a symbol for troubled young women, and she has lent her name to the title to a book or two. And there were some very famous women who followed her path, such as Virginia Woolf. I also know a few very real Danes, but they are far from angst-ridden.
The most famous soliloquy, "To Be...," I mentioned earlier. It has been decades since I thought of that famous contemplation of death: "Alas, poor Yorick!- I knew him well..." Also, for decades, I've made references to getting something done "before we shake off this mortal coil" thinking it was probably somewhere in the Bible - but it turns out it was from Hamlet. And I thought Ben Franklin had said: "Neither a borrower or a lender be," so I was surprised to also find it in Hamlet. And then there were those I hadn't remembered or attributed, correctly or not, such as: "What is a man, If his chief good and market of his time Be but to sleep and feed? A beast, no more..."
Overall, the re-read was a great experience. And it is now so easy to download the plays, one at a time, for under a buck, unto the Kindle. I've set myself a goal of trying to read one a month, starting with the re-reads of the major tragedies, and then on to some of the comedies and histories which I had not read before. For Hamlet, 5-stars.
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Pregi:
Copertina rigida, bel disegno in sovracopertina.
Piccolo libro, tascabile e leggero, facile da trasportare.
Doratura nel filo delle pagine.
Arricchito da piccole illustrazioni.
Presente segnalibro con classica stringa di tessuto.
Per certi versi sembra un libro d’altri tempi, per la cura di alcuni dettagli.
Difetti:
Piccolo libro, piccole pagine, piccoli i caratteri.
Pagine di buona fattura ma sottili, si nota leggermente la stampa dell’altra facciata.
Rilegatura buona, ma forse un pò ballerina.