Hamlet critics and interpretations REVISION

AJ Waldock

AJ Waldock

“‘Hamlet’ is a palimpsest of ‘Amleth’”

Hester Glass

“‘Hamlet’ is not primarily a revenge tragedy but an early psycho-analytic study.”

Sean McEvoy

Claudius has a “measured rationality”

Olivias

Like a “master commanding his dog”.

Lee Edwards

“we can imagine Hamlet’s story without Ophelia, but without Hamlet Ophelia literally has no story.”

Sean Mathias 2024

After Polonius’ death, Ophelia comes on wearing his clothes. Reflects that Ophelia’s identity is made up of the men around her.

Elaine Showalter (Ophelia)

“Ophelia is an insignificant and minor character.”

Minnie Hampton

“Ophelia’s descent into madness is inevitable.”

G Wilson Knight (ghost)

Hamlet is a “super-human” as he has conversed with death.

Knox

“All characters have a hamartia”

Stoll

Hamlet is a revenge tragedy because Hamlet does fulfil his revenge. He is just thoughtful.

Stephen Greenblatt

“the Ghost in Hamlet represents a common fear among the living of being completely forgotten after death.”

Alexander

“The desire for revenge is seen as part of a continuing pattern of human conduct.”

G Wilson Knight (death)

Hamlet is “the ambassador of death”

G Wilson Knight (play)

“the theme of ‘Hamlet’ is death”

Rob Worrell

“Shakespeare makes no attempt to present his character’ anguish as being repugnant.”

Amy License

“It is the fear of the ‘unknown’ country from which no traveller returns, rather than any religious prohibition, which deters Hamler from his own thoughts of “self-murder”.”

Brian Gibbons

“it was the honour code […] that held extra marital sex, to be cleansed by death”.

Swinburne

“The single characteristic of Hamlet’s innermost nature is by no means irresolution or hesitation… but rather the strong conflux of contending forces.”

Rebecca Smith (virtues)

“female virtue is identical with chastity.”

Elaine Showalter (misogyny)

“Hamlet’s disgust at the feminine passivity in himself is translated into violent revulsion against women.”

Tassi

Gertrude’s self-sacrifice  is an “extraordinary act that gave Hamlet motive and cue to kill the King.”

Adelman

“as an avenger, Hamlet seems more motivated by his mother than father.”

Wofford

“Gertrude’s betrayal of her [first] husband is what caused Hamlet’s anxiety.

Rebecca Smith (Polonius)

“Polonius seems to love his children. He seems to have the welfare of the country in mind. His means of action, however, are totally corrupt.”

Myron Taylor

“foolish and ineffectual”

Branagh 1996 (Polonius)

Crafty - has a secret door in his bedroom which Reynaldo escapes out of.

Has a mistress on his bed - not a weak, foolish old man!

Branagh 1996 (Claudius, Rosencrantz + Guildenstern)

This scene is set in Claudius’ bedroom - emphasises the sexual behaviour in the court.

Makes the audience focus on their married life, just like Hamlet does.

Zeffirelli 1990 (Hamlet and Gertrude)

Leans heavily into the Freudian interpretation.

Gertrude kisses Hamlet on the lips at the start - the actress is also very young and attractive.

Hamlet sexually harasses his mother when confronting her about her hasty marriage.

Branagh 1996 (costumes)

Hamlet wears all black - melancholy, depressed.

Branagh 1996 (madness)

She wears a straight jacket and is locked in a padded room.

Zeffirelli 1990 (clothes)

She is always in white with perfect plaits which reflects the patriarchal times.

White emphasises the expectations of purity, chastity and virtue.

Johnson

Hamlet is an instrument rather than an agent

Bacon

Revenge is a kind of wild justice

Goddard

The ghost is the spirit of war and symbol of the devil

Prosser

Laertes is a “hurricane”

Rebecca Smith (Claudius and Gertrude)

Although he clearly loves her - Claudius shares Hamlet’s conception of Gertrude as an object.

Atlick

The cunning and lecherousness of Claudius’ evil has corrupted the whole kingdom of Denmark.

G Wilson Knight (Claudius)

Claudius is a “good and gentle king”

Dawson

Hamlet is the only protagonist in any Elizabethan revenge play who can be considered a hero, aware of the moral implications.

Olivier 1948 (Opening)

Opening speech: This is a tragedy of a man who could not make up his mind