FLYINGJOHNNY
Hamlet Hamlet has fascinated audiences and readers for centuries, and the first thing to point out about him is that he is enigmatic. There is always more to him than the other characters in the play can figure out; even the most careful and clever readers come away with the sense that they don’t know everything there is to know about this character. Hamlet actually tells other characters that there is more to him than meets the eye—notably, his mother, and Rosencrantz and Guildenstern—but his fascination involves much more than this. When he speaks, he sounds as if there’s something important he’s not saying, maybe something even he is not aware of. The ability to write soliloquies and dialogues that create this effect is one of Shakespeare’s most impressive achievements. A university student whose studies are interrupted by his father’s death, Hamlet is extremely philosophical and contemplative. He is particularly drawn to difficult questions or questions that cannot be answered with any certainty. Faced with evidence that his uncle murdered his father, evidence that any other character in a play would believe, Hamlet becomes obsessed with proving his uncle’s guilt before trying to act. The standard of “beyond a reasonable doubt” is simply unacceptable to him. He is equally plagued with questions about the afterlife, about the wisdom of suicide, about what happens to bodies after they die—the list is extensive. But even though he is thoughtful to the point of obsession, Hamlet also behaves rashly and impulsively. When he does act, it is with surprising swiftness and little or no premeditation, as when he stabs Polonius through a curtain without even checking to see who he is. He seems to step very easily into the role of a madman, behaving erratically and upsetting the other characters with his wild speech and pointed innuendos. It is also important to note that Hamlet is extremely melancholy and discontented with the state of affairs in Denmark and in his own family—indeed, in the world at large. He is extremely disappointed with his mother for marrying his uncle so quickly, and he repudiates Ophelia, a woman he once claimed to love, in the harshest terms. His words often indicate his disgust with and distrust of women in general. At a number of points in the play, he contemplates his own death and even the option of suicide. But, despite all of the things with which Hamlet professes dissatisfaction, it is remarkable that the prince and heir apparent of Denmark should think about these problems only in personal and philosophical terms. He spends relatively little time thinking about the threats to Denmark’s national security from without or the threats to its stability from within (some of which he helps to create through his own carelessness).
淡蓝色的蝎子
ACT I Hamlet, Prince of Denmark, is advised by the sentinels of the royal castle of Kronborg, at Elsinore, that an apparition strongly resembling his dead father had appeared on the battlements. Hamlet therefore resolves to encounter the spirit and learn from it, if possible, the true cause of his father's taking-off, about which the Prince has had many suspicions. He meets the Ghost at its next nightly visitation, and in an interview with it his worst fears are confirmed. The late King's brother Claudius, who has ascended the throne and wedded the widowed Queen, had poisoned the King while he slept. Hamlet is enjoined to secrecy and revenge, and the Ghost vanishes. Hamlet's followers are sworn to say nothing of the occurrence. ACT II Because of the news and of the dread task to which he is commissioned, Hamlet is seized with a species of madness, perhaps largely feigned, whereby he may cloak his designs. He writes incoherent and passionate letters to his lady-love, Ophelia, daughter of Polonius, a court dignitary. At this juncture a company of strolling players arrives at the castle and at Hamlet's suggestion a certain play is given before the King and Queen and members of the court. ACT III The play deals with the murder of a Venetian duke, whose wife afterwards weds the murderer. The story closely resembles the circumstances of the King of Denmark's demise. During the play Hamlet is intent not upon the players but upon the countenance and actions of his uncle. The latter, as if struck with a realising sense of his own crime, as Hamlet suspected, hurriedly leaves. Hamlet no longer doubts the truth of the Ghost's communications, and turns with energy to seek the vengeance which he has sworn to execute. The queen mother is also much disturbed by the purport of the play, and sends for Hamlet in order to upbraid him. Hamlet answers reproach with reproach, and leaves his mother overwhelmed with shame and self-convicted. But for the opportune arrival of the dead King's spirit, Hamlet might have adopted even more violent measures. Ophelia's father, Polonius, who is spying upon this interview, is slain by Hamlet, who mistakes him for the King. ACT IV Hamlet's banishment is decided upon. Two former school comrades of his are entrusted with a commission to leave him in England, where sealed orders are to bring about the Prince's death. But by a combination of plot and accident the execution is visited instead upon the heads of the two accomplices. Hamlet returns to Denmark. There he is greeted by a strange spectacle—the funeral of a young girl, honored by the presence of the King, Queen, and persons of the court. Hamlet has in fact arrived home just at the time of Ophelia's interment. That unfortunate maiden, through incessant brooding over the madness of her lover, the untimely end of her father, and the continued absence of her brother, Laertes, had become insane. For some days she had wandered about the court singing and strewing flowers, then had strayed to the banks of a stream and been drowned. ACT V When Hamlet discovers that it is Ophelia's funeral, he is beside himself with grief. He leaps into the grave and angrily contests with Laertes, who also has just returned, the place of chief mourner. Laertes in turn desires to kill Hamlet, for he regards the Prince as the cause of all the woes that have fallen upon his house. Seeing the animosity of Laertes, King Claudius thinks he may make use of it to work Hamlet's undoing. He secretly advises Laertes to engage Hamlet in a fencing-match—supposedly friendly. Laertes' foil, however, is to be naked and envenomed. Hamlet, unsuspecting, consents to a trial of skill before the court. The King prepares a poisoned drink for Hamlet, if perchance he shall escape the tipped foil. Laertes and Hamlet fence. After a touch or two for Hamlet, the Queen, to do him honour, toasts him, unwittingly, with the poisoned cup. Laertes wounds Hamlet. In the scuffle they change rapiers, and Hamlet in turn wounds Laertes with the latter's treacherous blade. The Queen dies from the drug while Laertes falls, but before he dies he confesses his guilty design and craves pardon of the Prince. Hamlet turns upon the King with his own dying strength and stabs the usurping monarch to the heart.
杜拉拉candy
When hamlet was studying in Wittenburg university in Germany, hamlet suddenly received the news of his father's death. when he returned to Funerals, he met his uncle I Claudius and his mother Qiao telude hastily married a month after his father's funeral. Then, the ghost of the father's old hamlet appeared at Horatio and bona, explaining that he was poisoned by I Claudius and asked hamlet to avenge himself. Later, hamlet used crazy like a fox to cover himself and confirmed that his uncle was indeed shafuchouren. By mistakenly killing the father of the beloved Ophelia, I Claudius tried to take off hamlet by the king, but hamlet took the opportunity to return to Denmark, but learned that Ophelia had committed suicide and had to fight against his xionglei. The duel hamlet's mother, Joe telude, died of the poisonous wine for hamlet, and hamlet and ophelia, both sword, learned that the poisoning hamlet had killed I Claudius before his death, and entrust, Friend, told his story to ophelia.
越狱找食吃
Shakspere (wrong spelling) created Hamlet--a man with wisdom and courage .In order to revenge on his uncle for killing his father, he pretented (spelling mistake) to be mad and suffered a series of misery. On the contrary, we can also say that Hamlet is rude and selfish for he did not think twice before his revenge . if (Capitalize "If" since it is the beginning word of the sentence.) a country has no king, how can a country keep alive (You need a question mark here since it is a question.) So, every thing has two sides, the bright side and adumbral side. Every time we make a decision we have to think twice.Comment:Be careful with your spelling, grammar, and punctuation. Too many uncessary mistakes.It is good that you looked at both the dark and bright sides of Hamlet. Thats quite objective and convincing.以下是这三段经典独白：哈姆雷特独白(1)Hamlet:To be, or not to be- that is the question:Whether 'tis nobler in the mind to sufferThe slings and arrows of outrageous fortuneOr to take arms against a sea of troubles,And by opposing end them. To die- to sleep-No more; and by a sleep to say we endThe heartache, and the thousand natural shocksThat flesh is heir to. 'Tis a consummationDevoutly to be wish'd. To die- to sleep.To sleep- perchance to dream: ay, there's the rub!For in that sleep of death what dreams may comeWhen we have shuffled off this mortal coil,Must give us pause. There's the respectThat makes calamity of so long life.For who would bear the whips and scorns of time,Th' oppressor's wrong, the proud man's contumely,The pangs of despis'd love, the law's delay,The insolence of office, and the spurnsThat patient merit of th' unworthy takes,When he himself might his quietus makeWith a bare bodkin? Who would these fardels bear,To grunt and sweat under a weary life,But that the dread of something after death-The undiscover'd country, from whose bournNo traveller returns- puzzles the will,And makes us rather bear those ills we haveThan fly to others that we know not of?Thus conscience does make cowards of us all,And thus the native hue of resolutionIs sicklied o'er with the pale cast of thought,And enterprises of great pith and momentWith this regard their currents turn awryAnd lose the name of action.生存还是毁灭？这是个问题。究竟哪样更高贵，去忍受那狂暴的命运无情的摧残 还是挺身去反抗那无边的烦恼，把它扫一个干净。去死，去睡就结束了，如果睡眠能结束我们心灵的创伤和肉体所承受的千百种痛苦，那真是生存求之不得的天大的好事。去死，去睡，去睡，也许会做梦！唉，这就麻烦了，即使摆脱了这尘世 可在这死的睡眠里又会做些什么梦呢？真得想一想，就这点顾虑使人受着终身的折磨，谁甘心忍受那鞭打和嘲弄，受人压迫，受尽侮蔑和轻视，忍受那失恋的痛苦，法庭的拖延，衙门的横征暴敛，默默无闻的劳碌却只换来多少凌辱。但他自己只要用把尖刀就能解脱了。谁也不甘心，呻吟、流汗拖着这残生，可是对死后又感觉到恐惧，又从来没有任何人从死亡的国土里回来，因此动摇了，宁愿忍受着目前的苦难 而不愿投奔向另一种苦难。顾虑就使我们都变成了懦夫，使得那果断的本色蒙上了一层思虑的惨白的容颜，本来可以做出伟大的事业，由于思虑就化为乌有了，丧失了行动的能力。哈姆雷特独白[2]哈姆雷特：念台词要念地跟我一样，很顺当的从舌尖上吐出来。有许多演员他们爱直着嗓子喊，那我宁可找个叫街的来。哦，不。千万不要这样地用手在空中乱劈一气，要做的自然些，即使感情激动爆发，甚至在狂风般的冲动里，你们都一定要懂得有节制，做到雍容大方。哦，我最讨厌有些个人戴着假头发在台上乱叫乱嚷，龇牙咧嘴的做戏，把观众的耳朵都震聋了，而这些观众大多数什么也不懂就喜欢看个热闹劲，这种演戏的该打，演戏火上加油一定要避免。伶人甲：殿下尽管放心。哈姆雷特：可也别太温了，一定要非常细心的来掌握你自己。要用动作配合话，用话配合动作。特别注意一点，千万别超出生活的分寸，因为过分了就违背了演戏的意义，演戏，不论过去或是现在，都像是一面镜子用它来反映人生，显示出什么是善的什么是恶的，显示出时代和社会的形象和印记。演得太过火了，虽然能叫外行人发笑，可只能叫明眼人痛心，这种行家的看法，你们一定要比满座看得更重。哦，我看到过一些演员演戏，也听到过别人捧过他们，说句不好听的话，他们说话简直不像人在说话，他们走路也不像人在走路，大摇大摆地乱吼乱叫，简直就像是什么笨手艺人捏出来的，而且捏得那样子的叫人恶心。伶人乙：我相信我们已经把这一点改正了。哈姆雷特：哦？要彻底改正。那些演丑角的，我只许他们念剧本上的词，他们往往爱自己先笑，逗的少数没有头脑的观众也哄笑一番，全不管那时候戏里正好有紧要的问题要大家注意，这太可恶了，同时也说明这些傻瓜可鄙的用意，去准备吧。哈姆雷特与母亲[3]哈姆雷特：母亲，有什么事情？王后：哈姆雷特，你把你父亲大大得罪了哈姆雷特：母亲，你把我父亲大大的得罪了王后：好了，好了，你的回答真是瞎扯哈姆雷特：得了得了，你的问话别有居心王后：怎么了，哈姆雷特哈姆雷特：什么又怎么了王后：你忘了是我_哈姆雷特：我没有忘，没有！你是皇后，你丈夫弟弟的妻子。我真但愿你不是我的母亲。王后：好，我去叫会说话的跟你说哈姆雷特：来来，你坐下来，你不许动。我要在你面前竖一面镜子叫你看一看你的内心的最深处。（哈姆雷特早就疑心幕布后面有耳朵，他一剑刺了进去）王后：救命，救命（波洛纽斯：救命，救命～）哈姆雷特：什么？耗子，死吧，我叫你死王后：啊～哈姆雷特：死吧王后：你干了什么了？（可他不知道是波洛纽斯老头，谁叫他多管闲事，自己找上门来，这下不仅没有了耳朵，连命也搭上了，活该！）王后：哦～好一桩鲁莽血腥的行为哈姆雷特：血腥的行为？好母亲，这跟杀死一位国王再嫁给他的兄弟一样狠了王后：杀死国王？哈姆雷特：对，母亲，正是这句话（不管母亲怎么哭个不停，哈姆雷特决心要伤透她的心）哈姆雷特：别老拧着你的手，你坐下来，让我拧拧你的心，我一定拧，只消你的心不是石头做成的王后：到底什么事，你敢这么粗声粗气的哈姆雷特：干的好事啊，你沾污了贤惠的美德，把贞操变成伪善，从真诚的爱情的熔岩上夺去了玫瑰色的光彩画上道伤痕，把婚约都变成了赌鬼的誓言王后：到底什么事哈姆雷特：请你看看这幅画像，你再看这一幅。这就是他们兄弟俩的画像。这一幅面貌是多么的风采啊，一对叱咤风云的眼睛，那体态不活象一位英勇的神灵刚刚落到摩天山顶，这副十全十美的仪表仿佛天神特为选出来向全世界恭推这样一位完人－－这就是你的丈夫。你再看这一个－－你现在的丈夫像颗烂谷子就会危害他的同胞，你看看这绝不是爱情啊。像你这样岁数情欲该不是太旺，该驯服了，该理智了，而什么样的理智会叫你这么挑的，是什么魔鬼迷了你的心呢？羞耻啊，你不感到羞耻么？如果半老女人还要思春，那少女何必再讲贞操呢？王后：哦，哈姆雷特，别说了，你使我看清我自己的灵魂，看见里面许多黑点，洗都洗不干净哈姆雷特：嘿，在床上淋漓的臭汗里过日子，整个儿糜烂呐！守着肮脏的猪圈无休止的淫乱王后：哦，哈姆雷特，别再说了，这些话就像一把把尖刀，别说了，好哈姆雷特哈姆雷特：一个凶犯，一个恶棍－－奴才，不及你先夫万分之一的奴才，一个窃国盗位的扒手，从衣服架子上偷下了王冠装进了他自己的腰包王后：别说了哈姆雷特：一个耍无赖的－－国王回答者：城市守夜人 - 高级魔法师 七级 3-23 19:15提问者对于答案的评价：啊 太感谢了评价已经被关闭 目前有 0 个人评价好50% （0） 不好50% （0）其他回答共 1 条你看看吧，或参考资料内网站。HAMLETTo be, or not to be: that is the question:Whether 'tis nobler in the mind to sufferThe slings and arrows of outrageous fortune,Or to take arms against a sea of troubles,And by opposing end them? To die: to sleep;No more; and by a sleep to say we endThe heart-ache and the thousand natural shocksThat flesh is heir to, 'tis a consummationDevoutly to be wish'd. To die, to sleep;To sleep: perchance to dream: ay, there's the rub;For in that sleep of death what dreams may comeWhen we have shuffled off this mortal coil,Must give us pause: there's the respectThat makes calamity of so long life;For who would bear the whips and scorns of time,The oppressor's wrong, the proud man's contumely,The pangs of despised love, the law's delay,The insolence of office and the spurnsThat patient merit of the unworthy takes,When he himself might his quietus makeWith a bare bodkin? who would fardels bear,To grunt and sweat under a weary life,But that the dread of something after death,The undiscover'd country from whose bournNo traveller returns, puzzles the willAnd makes us rather bear those ills we haveThan fly to others that we know not of?Thus conscience does make cowards of us all;And thus the native hue of resolutionIs sicklied o'er with the pale cast of thought,And enterprises of great pith and momentWith this regard their currents turn awry,And lose the name of action.--Soft you now!The fair Ophelia! Nymph, in thy orisonsBe all my sins remember'd.在给你一个网站上面也有你的答案
