Hamlet

This idea is introduced in Act One. Queen Gertrude asks Hamlet why he is still so heavily mourning the death of his father, claiming that he seems to be grieving more than is necessary.

Hamlet, try to look happy and be nice to the new king.

Shakespeare specialists, directors and actors have been arguing hotly for years about just exactly why Hamlet does not, at the end of Act 1 Scene 5, make a dash for the room where "the king keeps his revels" and stab him then and there. AC Bradley, in 1906, listed 4 or 5 ideas of his contemporaries which he himself disagreed with, including the idea that Hamlet is a coward and abhors violence because it sickens him and the idea that Hamlet has his head in the clouds and does nothing as a result of "thinking too precisely on the event."

Therefore, the question, in suggesting that there are only two ways of looking at Hamlet's behaviour, makes a false assumption. It makes a false dichotomy between "cowardice" and "thoughtfulness", and suggests that there are no shades of grey between contemptible and "admirable and understandable".

Consider this possibility. Hamlet has a conflicted nature. Sometimes he thinks revenge is a good idea and sometimes he doesn't. Sometimes he thinks you have to take violent action and sometimes he thinks you have to stand back. Unfortunately the times when he thinks he should take violent action are the ones where he would be better served by standing back and vice versa.

Or how about this? Hamlet is a perfectionist. He wants to stage manage his revenge which is why he spends so much time getting ready for it. And then in the end he gives up and says, "If it be not now, yet it will come. The readiness is all." Only by becoming a fatalist can he actually start taking purposeful action, an ironic state of affairs.

When Hamlet accepts the invitation to a fencing match with Laertes, he says to Osric:

173 Sir, I will walk here in the hall: if it please his

174 majesty, 'tis the breathing time of day with me.

175 Let the foils be brought,

(Act 5, Scene 2, lines 173-175)

The "hall" mentioned by Hamlet would not be a hallway, but the great hall of the castle, where all of the court assembles for public events.

Hamlet's friends get him to watch out for his father's ghost, who he sees. The ghost tells him that he was murdered by Hamlet's uncle who has since married his former sister-in-law and become king. While Hamlet is deciding what to do, he runs into a travelling acting company, who he gets to put on a play which looks a lot like the murder the ghost describes. The King's reaction tells Hamlet that the ghost was telling the truth and he goes off to kill the King. He finds him, but does not want to kill him while he is praying. Instead he verbally abuses his mother and, hearing a noise in the curtains, kills who is behind it. Unfortunately it is not the king, but the king's advisor who also happens to be the father of Hamlet's girlfriend Ophelia. The king sends Hamlet away to England, and while he is gone, Ophelia goes crazy and dies, and her brother Laertes vows revenge on Hamlet. A fencing match is arranged at which Laertes is to murder Hamlet, but it does not turn out well: Hamlet is fatally poisoned all right, but he kills Laertes and the king while his mother dies after drinking a poisoned drink meant for Hamlet. At the end of the play the stage is covered in corpses.

We are informed of elder Hamlet's death by seeing his ghost appear.

hamlet switched the letters. so when the people of England opened it and read that they are to kill the person who gives them the letter. since hamlet switched the letters, rosencrantz and guildenstern die

The first is the play scene, which the King reveals himself as a murderer. The second is the present scene, in which Hamlet fails to kill Claudius. The third is the killing of Polonius in the next scene.

It's actually an arras that Polonius hides behind.

Both times Polonius hides behind an arras, he does so to eavesdrop on what Hamlet says to somebody else. First, Polonius hides to listen to Hamlet talk to Ophelia, then later, he hides to listen to Hamlet talk to Gertrude.

They both died, though Laertes died first. During the duel, Laertes cuts Hamlet with the sword that has poison on it, but when they accidently drop their swords they got mixed up and got each others sword. Hamlet then cuts Laertes with the sword that has poison on it.

Much of it is very superficial, but most of it boils down to this: "Be cautious." Polonius tells Laertes to keep his thoughts to himself, and not to act on them without consideration, to stick with friends he knows he can trust, avoid unnecessary fighting, to listen to others but (again), to keep his opinions to himself, to neither lend money or borrow it, but live within his means. All of these are different examples of living cautiously and prudently.

He does not have any. When he dies, the royal line in Denmark dies, and a foreigner is brought in to be the king.
If you're working on a crossword puzzle or cryptic puzzle, try "village" since, as noted, Hamlet had no cousins in the usual sense of the word.

Fortinbras son of Fortinbras has sharked up some soldiers in the skirts of Norway to invade Denmark with a view to taking back certain lands which Hamlet father of Hamlet had taken from him. Claudius the King of Denmark is on to him, however, and gets Fortinbras's uncle the king of Norway to stop the invasion. In the meantime, Denmark is ready for the invading army should it arrive.

Because it was so theatrical and overblown. Jumping into her grave, really!

Hamlet tells the audience that he does not want to give Claudius the opportunity to absolve himself of all his sins before he dies. He says that to kill Claudius then would mean that Claudius would die a guiltless death, which is exactly what Hamlet did not want. He wanted to avenge his father by killing Claudius in the same way in which Old Hamlet was killed: unprepared and unforgiven for all of his outstanding sins. This is what Hamlet tells the audience, but it is also probably an example of Hamlet's inability to take action. Hamlet is presented with a perfect opportunity to avenge his father, and he comes up with an excuse as to why it is not the right time. The question is whether or not Hamlet is ready to take his life, not whether or not Claudius is going to have a sinless death.

She went along with her father's plan to cut off all communication with him which was not very nice. She also went along with her father's plan to entice Hamlet into revealing why he is acting oddly, at least in part. This was a betrayal of confidence, and Hamlet was furious about it.

The king and queen want them to cozy up to Hamlet and find out what's troubling him.

He must have had a very loving relationship with his father because only months after his death while everyone in the kingdom was celebrating the marriage of Claudius and Gertrude, Hamlet was wearing all black & still lamenting the death of his father.

that king claudius has placed a bet for hamlet to win the fencing match. "has laid a great wager on your head"

The curtain went up, or the house lights went down. Anyway, something happened to tell the audience that the play had started. And of course Francisco has to be seen by Bernardo before Bernardo can say the opening line of the play.

He's witty, introspective, gracious, impulsive, intuitive, friendly, conflicted, violent, tolerant, forgiving, charismatic, handsome, fashionable, and an excellent swordsman. All of characteristics could be illustrated with quotations from the text.

That's the way the story goes. The Hamlet story was well-known before Shakespeare got hold of it, and it was a great one as an example of revenge tragedy, which generally end up with a pile of bleeding corpses at the end (compare Kyd's Spanish Tragedy and Shakespeare's Titus Andronicus). Of course, Shakespeare wrote only those two revenge tragedies, and on the other hand wrote piles of comedies: eighteen of his thirty-eight plays, or nearly half, were comedies and ended with a bunch of people getting married as opposed to dying.

"Thou hast been as one in suffering all, that suffers nothing, A man that Fortune's buffets and rewards hast taken with equal thanks . . . Give me that man who is not passion's slave, and I will wear him in my heart's core, ay, in my heart of heart, as I do thee."