Hamlet (Penguin) (Shakespeare, Penguin) [Paperback]

William Shakespeare (Author), T. J. B. Spencer (Editor), Anne Barton (Introduction)

Book Description

ISBN-10: 0140707344 | ISBN-13: 978-0140707342 | Publication Date: December 17, 1981 | Edition: Revised

Part of "The New Penguin Shakespeare" series, this text looks at "Hamlet" with an introduction, a list of further reading, commentary and a short account of the textual problems of the play. The series is used and recommended by the Royal Shakespeare Company.

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The big H comes to Penguin's great revamped "Pelican Shakespeare" line. What else do you need to know? Buy it!
Copyright 2002 Cahners Business Information, Inc. --This text refers to an alternate Paperback edition.

Review

- The Annotated Shakespeare General Editor: Burton Raffel --This text refers to an alternate Paperback edition.

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Product Details

• Paperback: 384 pages
• Publisher: Penguin Classics; Revised edition (December 17, 1981)
• Language: English
• ISBN-10: 0140707344
• ISBN-13: 978-0140707342
• Product Dimensions: 7.1 x 4.3 x 0.8 inches
• Shipping Weight: 7.2 ounces
• Average Customer Review: 4.3 out of 5 stars  See all reviews (211 customer reviews)
• Amazon Best Sellers Rank: #148,110 in Books (See Top 100 in Books)

Customer Reviews

Most Helpful Customer Reviews

44 of 57 people found the following review helpful:

5.0 out of 5 stars Golden Gate to Shakespeare, January 24, 2006

By 

Night Owl - See all my reviews

This review is from: Hamlet (No Fear Shakespeare) (Paperback)

Bravo to the writers, editors, and publishers of the entire No Fear Shakespeare series. Rendering Shakespeare into prosaic, colloquial American English not only explains what Shakespeare was saying, but reveals how much better he said it! Here's a few examples from HAMLET:

Hamlet sees the Ghost, but his mother doesn't. In modern lingo, she says, "This is only a figment of your imagination." That's a cliche. In the original, she says, "This is the very coinage of your brain." That's vivid.

Rosencrantz tells Hamlet in modern lingo, "You're not doing yourself any good by refusing to tell your friends what's bothering you." Sounds like a reprimand. The original line sounds like a threat: "You do surely bar the door upon your own liberty if you deny your griefs to your friend."

Hamlet remembers his mother's relationship with his father: "She would hang on to him, and the more she was with him the more she wanted to be with him; she couldn't get enough of him." Sounds good, but the original sounds disturbing: "Why, she would hang on him / As if increase of appetitite had grown / By what it fed on . . ." Change the word "she" to "it" and you have the image of a parasite. That alone says a lot about Hamlet's view of women and sex.

I know of no better guide to reading, understanding, and appreciating Shakespeare than Spark Notes' No Fear Shakespeare series.

13 of 16 people found the following review helpful:

5.0 out of 5 stars To thine own self be true ..., March 27, 2006

By 

Themis-Athena (from somewhere between California and Germany) - See all my reviews

This review is from: Hamlet (Folger Shakespeare Library) (Paperback)

William Shakespeare's "Hamlet" is arguably the most famous play ever written in the English language; it presents the world with questions and characters that have been the subject of thespian and scholarly debate ever since the Prince of Denmark's first appearance on the stage of London's Globe Theatre. Probably written and first performed in 1601 (estimates vary between 1600 and 1602), the play draws on Saxo Grammaticus's late 12th/early 13th century chronicle "Gesta Danorum," which includes a popular legend with a similar plot centering around a prince named Amleth; as well as several more contemporaneous sources, primarily Francois de Belleforest's "Histoires Tragiques, Extraicts des Oeuvres Italiennes de Bandel" (1559-1580), which expands on the story told in the "Gesta Danorum," and a lost play known as the "Ur-Hamlet" (i.e., original "Hamlet"), sometimes also attributed to Shakespeare, but equally likely written by a different author a few decades earlier. Another work frequently cited in this context is 16th century playwright Thomas Kyd's "Spanish Tragedie."

Pursuant to Shakespeare's wishes and like all of his works, "Hamlet" was not immediately published, and the original manuscript did not survive. However, in the absence of copyright laws or other forms of protection of what today would be called the playwright's intellectual property rights, first bootleg copies (so-called quartos) based on transcripts made during or after performances began to appear in 1603. Yet, it would not be until 1623 - seven years after Shakespeare's 1616 death - that his former fellow actors John Hemmings and Henry Condell published 36 of his plays (including this one) in a collection known as the First Folio.

As no print version of any of Shakespeare's plays has a bona fide claim to its author's first-hand blessings, ever since the Bard's death the world is left with numerous questions about his characters' motivations and psychological makeup; first and foremost, in this particular case: who is this Prince of Denmark anyway, and what's driving him - is he a reluctant suicide or reluctant avenger? A Renaissance man? Wrecked by Freudian guilt? Genuinely mad, or merely putting on a clever act of deception? Or is he someone else entirely? - Indeed, we're even left in doubt as to what exactly it was that Shakespeare meant his characters to say, with all attendant interpretative consequences: Does the Prince wish for his "too too sullied" or his "too too solid" flesh to "melt, thaw, and resolve itself into a dew" in his first major soliloquy (Act I, Scene 2)? Does he really contemplate "the stamp of [that] one defect" which may fatally taint the perception of a man's other virtues, "be they as pure as grace," before meeting his father's ghost (I, 4)? Does Polonius, when sending Reynaldo on a spying mission after Laertes, refer to his scheme as "a fetch of wit" or "a fetch of warrant" (II, 1)? Do Hamlet's musings in "To be, or not to be" (III, 1) concern "enterprises of great pith and moment" or "of great pitch and moment," whose "currents turn awry and lose the name of action" by his doubts? Does or doesn't the sight of the Norwegian army while Hamlet is on his way to England (IV, 4) prompt him, who has so far failed to carry out his purpose, to reflect "How all occasions do inform against me," and conclude his soliloquy with the vow "from this time forth my thoughts be bloody or be nothing worth"?

How you answer any of these questions, and how you consequently view the play's characters, depends in no small part on the text you read. Like all Folger Shakespeare editions, this one is based on what the editors have deemed the "best early printed version," while allowing the reader a unique direct comparison of the principal reliable versions by including a text essentially combining these versions, with unobtrusive markers characterizing those passages appearing only in one particular version. For "Hamlet," the editors eschewed the play's very first (1603) quarto, which was possibly compiled by a journeyman actor and whose inconsistencies with all subsequent versions (textually as well as plot-wise and even regarding character names) have caused it to be generally considered a "bad" quarto, in favor of the 1604 Second Quarto, which some even believe to be based on Shakespeare's own first draft of the play and which, in any event, while more extensive than the 1623 First Folio (in turn, thought to be closest to the version(s) actually produced on the Globe Theatre stage), boasts about as secure a claim of authenticity as the latter. In some instances, the text follows the Second Quarto (Q2) without visually alerting the reader to the differences vis-a-vis the First Folio (F1), thus compelling those more used to the latter version to seek out the extensive end notes to reassure themselves that (in the examples given above) it might indeed be "solid flesh," "warrant," and "pith and moment" (F1) instead of "sullied flesh," "wit," and "pitch and moment" (Q2). In other instances, however, the First Folio's language (clearly marked as such) is given preference over that of the Second Quarto; while crucially, the text also includes all those passages *only* contained in the latter, including the "stamp of one defect" and "bloody thoughts" monologues, whose interpretation has such a direct bearing on many a reader's understanding of Hamlet's character.

The text is amplified by illustrations and annotations for those unfamiliar with 16th century English, scene-by-scene plot summaries, a short biography of Shakespeare, and introductory and concluding essays on this and the Bard's other plays and on Shakespearean theatre, as well as extensive suggestions for further reading, and a key to the play's most famous lines. While it is unlikely that after 400 years of debate any one version, be it in print, on stage or on screen, will be able to generate unanimous acceptance as the "definitive" rendition of this complex play, this is an excellent starting point for an in-depth excursion into the Prince of Denmark's world.

Also recommended:
The Oxford Shakespeare: The Complete Works 2nd Edition
BBC Shakespeare Tragedies DVD Giftbox
Olivier's Shakespeare - Criterion Collection (Hamlet / Henry V / Richard III)
William Shakespeare's Hamlet (Two-Disc Special Edition)
Grigori Kozintsev's Hamlet
Hamlet
Rosencrantz & Guildenstern Are Dead
Peter Brook's King Lear
Richard III
Julius Caesar

47 of 65 people found the following review helpful:

5.0 out of 5 stars A Key Tool for Students and Teachers, January 4, 2000

By 

Dr. Patrick D. Enright (Tahlequah, OK, USA) - See all my reviews
(REAL NAME)   

This review is from: Hamlet (Shakespeare Made Easy) (Paperback)

All in all (not all and all, as one reviewer has it; people who write such things [and then place unnecessary commas between subjects and verbs] have no credibility), "Hamlet" is one of Shakespeare's greatest tragedies, a sophisticated play which, among many other things, casts an ironic eye on those tragedy-of- blood conventions which the Bard had embraced wholeheartedly in "Titus Andronicus." Its witty, urbane, generous hero, whose struggle to balance his father's demand for bloody revenge (one of those conventions) with his own humanistic sensibilities forms a major conflict of the play, has intrigued audiences and readers for four centuries. Unfortunately for Shakespeare and his creations, the English language has changed over the past four hundred years, and people have gotten out of the habit of reading and understanding poetry. This is where Alan Durband's edition of "Hamlet" in the Barron's Books "Shakespeare Made Easy" series comes to the rescue of the inexperienced reader. Its modern "translation" of Shakespeare's text is readable and clear, making this masterpiece approachable for those who find Elizabethan English too thorny. Having watched college freshmen struggle with "Hamlet" for some twelve years, and having discovered the Barron's edition during the summer, I strongly recommended the book this past fall as a supplement to the assigned literature anthology. About half the students in my Freshman Comp classes bought the book, either from the university book store or from amazon.com. (Amazon's price was better.) To my great pleasure, I found that more students than at any time before were asking questions in class, answering my own questions with knowledge and insight, and even debating points of interpretation among themselves. It was the most fun I have ever had teaching "Hamlet," outside of a Shakespeare course. So now my syllabus suggests this book as an important supplement, and now I look forward to teaching "Hamlet" with confidence that many of the students will be able to experience the enthusiasm for literature that educators so dearly love to communicate. Any book that can facilitate such enthusiasm is high on my list, and I hope it will be high on yours as well.