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The Tragedy of Hamlet, Prince of Denmark, or more simply Hamlet, is a tragedy by William Shakespeare, believed to be written between 1599 and 1601. The play, set in Denmark, recounts how Prince Hamlet exacts revenge on his uncle Claudius, who has murdered Hamlet's father, the King, and then taken the throne and married Gertrude, Hamlet's mother.
The play vividly charts the course of real and feigned madness — from overwhelming grief to seething rage — and explores themes of treachery, revenge, incest, and moral corruption. Despite much literary detective work, the exact year of writing remains in dispute. Three different early versions of the play have survived: these are known as the First Quarto (Q1), the Second Quarto (Q2) and the First Folio (F1). Each has lines, and even scenes, that are missing from the others. Shakespeare probably based Hamlet on the legend of Amleth, preserved by 13th-century chronicler Saxo Grammaticus in his Gesta Danorum and subsequently retold by 16th-century scholar Francois de Belleforest, and a supposedly lost Elizabethan play known today as the Ur-Hamlet.
Given the play's dramatic structure and depth of characterization, Hamlet can be analyzed, interpreted and argued about from many perspectives: For example, scholars have debated for centuries about Hamlet's hesitation in killing his uncle. Some see it as a plot device to prolong the action, and others see it as the result of pressure exerted by the complex philosophical and ethical issues that surround cold-blooded murder, calculated revenge and thwarted desire.
More recently, psychoanalytic critics have examined Hamlet's unconscious desires, and feminist critics have re-evaluated and rehabilitated the often maligned characters of Ophelia and Gertrude.
Hamlet is Shakespeare's longest play and among the most powerful and influential tragedies in the English language. It provides a storyline capable of "seemingly endless retelling and adaptation by others". During Shakespeare's lifetime, the play was one of his most popular works, and it still ranks high among his most-performed, topping, for example, the Royal Shakespeare Company's list since 1879. It has inspired writers from Goethe and Dickens to Joyce and Murdoch and has been described as "the world's most filmed story after Cinderella". The title role was almost certainly created for Richard Burbage, the leading tragedian of Shakespeare's time. In the four hundred years since, it has been played by highly acclaimed actors, and sometimes actresses, of each successive age.
Hamlet was the only son of the King of Denmark. He loved his father and mother dearly—and was happy in the love of a sweet lady named Ophelia. Her father, Polonius, was the King's Chamberlain.
While Hamlet was away studying at Wittenberg, his father died. Young Hamlet hastened home in great grief to hear that a serpent had stung the King, and that he was dead. The young Prince had loved his father so tenderly that you may judge what he felt when he found that the Queen, before yet the King had been laid in the ground a month, had determined to marry again—and to marry the dead King's brother.
Hamlet refused to put off mourning for the wedding.
"It is not only the black I wear on my body," he said, "that proves my loss. I wear mourning in my heart for my dead father. His son at least remembers him, and grieves still."
Then said Claudius the King's brother, "This grief is unreasonable. Of course you must sorrow at the loss of your father, but—"
"Ah," said Hamlet, bitterly, "I cannot in one little month forget those I love."
With that the Queen and Claudius left him, to make merry over their wedding, forgetting the poor good King who had been so kind to them both.
And Hamlet, left alone, began to wonder and to question as to what he ought to do. For he could not believe the story about the snake-bite. It seemed to him all too plain that the wicked Claudius had killed the King, so as to get the crown and marry the Queen. Yet he had no proof, and could not accuse Claudius.
And while he was thus thinking came Horatio, a fellow student of his, from Wittenberg.
"What brought you here?" asked Hamlet, when he had greeted his friend kindly.
"I came, my lord, to see your father's funeral."
"I think it was to see my mother's wedding," said Hamlet, bitterly. "My father! We shall not look upon his like again."
"My lord," answered Horatio, "I think I saw him
Then, while Hamlet listened in surprise, Horatio told how he, with two gentlemen of the guard, had seen the King's ghost on the battlements. Hamlet went that night, and true enough, at midnight, the ghost of the King, in the armor he had been wont to wear, appeared on the battlements in the chill moonlight. Hamlet was a brave youth. Instead of running away from the ghost he spoke to it—and when it beckoned him he followed it to a quiet place, and there the ghost told him that what he had suspected was true.
The wicked Claudius had indeed killed his good brother the King, by dropping poison into his ear as he slept in his orchard in the afternoon.
"And you," said the ghost, "must avenge this cruel murder—on my wicked brother. But do nothing against the Queen—for I have loved her, and she is your mother. Remember me."
Then seeing the morning approach, the ghost vanished.
"Now," said Hamlet, "there is nothing left but revenge. Remember thee — I will remember nothing else — books, pleasure, youth—let all go and your commands alone live on my brain."
So when his friends came back he made them swear to keep the secret of the ghost, and then went in from the battlements, now gray with mingled dawn and moonlight, to think how he might best avenge his murdered father.
The shock of seeing and hearing his father's ghost made him feel almost mad, and for fear that his uncle might notice that he was not himself, he determined to hide his mad longing for revenge under a pretended madness in other matters.
And when he met Ophelia, who loved him—and to whom he had given gifts, and letters, and many loving words—he behaved so wildly to her, that she could not but think him mad.
For she loved him so that she could not believe he would be as cruel as this, unless he were quite mad. So she told her father, and showed him a pretty letter from Hamlet. And in the letter was much folly, and this pretty verse—
"Doubt that the stars are fire;
Doubt that the sun doth move;
Doubt truth to be a liar;
But never doubt I love."
And from that time everyone believed that the cause of Hamlet's supposed madness was love.
Poor Hamlet was very unhappy. He longed to obey his father's ghost—and yet he was too gentle and kindly to wish to kill another man, even his father's murderer. And sometimes he wondered whether, after all, the ghost spoke truly.
Just at this time some actors came to the Court, and Hamlet ordered them to perform a certain play before the King and Queen. Now, this play was the story of a man who had been murdered in his garden by a near relation, who afterward married the dead man's wife.
You may imagine the feelings of the wicked King, as he sat on his throne, with the Queen beside him and all his Court around, and saw, acted on the stage, the very wickedness that he had himself done. And when, in the play, the wicked relation poured poison into the ear of the sleeping man, the wicked Claudius suddenly rose, and staggered from the room—the Queen and others following. Then said Hamlet to his friends—
"Now I am sure the ghost spoke true. For if Claudius had not done this murder, he could not have been so distressed to see it in a play."
Now the Queen sent for Hamlet, by the King's desire, to scold him for his conduct during the play, and for other matters; and Claudius, wishing to know exactly what happened, told old Polonius to hide himself behind the hangings in the Queen's room. And as they talked, the Queen got frightened at Hamlet's rough, strange words, and cried for help, and Polonius behind the curtain cried out too. Hamlet, thinking it was the King who was hidden there, thrust with his sword at the hangings, and killed, not the King, but poor old Polonius.
So now Hamlet had offended his uncle and his mother, and by bad hap killed his true love's father. "Oh! what a rash and bloody deed is this," cried the Queen.
And Hamlet answered bitterly, "Almost as bad as to kill a king, and marry his brother." Then Hamlet told the Queen plainly all his thoughts and how he knew of the murder, and begged her, at least, to have no more friendship or kindness of the base Claudius, who had killed the good King. And as they spoke the King's ghost again appeared before Hamlet, but the Queen could not see it So when the ghost had gone, they parted.
When the Queen told Claudius what had passed, and how Polonius was dead, he said, "This shows plainly that Hamlet is mad, and since he has killed the Chancellor, it is for his own safety that we must carry out our plan, and send him away to England."
So Hamlet was sent, under charge of two courtiers who served the King, and these bore letters to the English Court, requiring that Hamlet should be put to death. But Hamlet had the good sense to get at these letters, and put in others instead, with the names of the two courtiers who were so ready to betray him. Then, as the vessel went to England, Hamlet escaped on board a pirate ship, and the two wicked courtiers left him to his fate, and went on to meet theirs.
Hamlet hurried home, but in the meantime, a dreadful thing had happened. Poor pretty Ophelia, having lost her lover and her father, lost her wits too, and went in sad madness about the Court, with straws, and weeds, and flowers in her hair, singing strange scraps of songs, and talking poor, foolish, pretty talk with no heart of meaning to it.
And one day, coming to a stream where willows grew, she tried to hang a flowery garland on a willow, and fell into the water with all her flowers, and so died.
And Hamlet had loved her, though his plan of seeming madness had made him hide it; and when he came back, he found the King and Queen, and the Court, weeping at the funeral of his dear love and lady.
Ophelia's brother, Laertes, had also just come to Court to ask justice for the death of his father, old Polonius; and now, wild with grief, he leaped into his sister's grave, to clasp her in his arms once more.
"I loved her more than forty thousand brothers," cried Hamlet, and leaped into the grave after him, and they fought till they were parted.
Afterward, Hamlet begged Laertes to forgive him. "I could not bear" he said, "that any, even a brother, should seem to love her more than I."
But the wicked Claudius would not let them be friends. He told Laertes how Hamlet had killed old Polonius, and between them they made a plot to slay Hamlet by treachery.
Laertes challenged him to a fencing match, and all the Court were present. Hamlet had the blunt foil always used in fencing, but Laertes had prepared for himself a sword, sharp, and tipped with poison. And the wicked King had made ready a bowl of poisoned wine, which he meant to give poor Hamlet when he should grow warm with the sword play, and should call for drink.
So Laertes and Hamlet fought, and Laertes, after some fencing, gave Hamlet a sharp sword thrust. Hamlet, angry at this treachery—for they had been fencing, not as men fight, but as they play—closed with Laertes in a struggle; both dropped their swords, and when they picked them up again, Hamlet, without noticing it, had exchanged his own blunt sword for Laertes' sharp and poisoned one. And with one thrust of it he pierced Laertes, who fell dead by his own treachery.
At this moment the Queen cried out, "The drink, the drink! Oh, my dear Hamlet! I am poisoned!"
She had drunk of the poisoned bowl the King had prepared for Hamlet, and the King saw the Queen, whom, wicked as he was, he really loved, fall dead by his means.
Then Ophelia being dead, and Polonius, and the Queen, and Laertes, and the two courtiers who had been sent to England, Hamlet at last found courage to do the ghost's bidding and avenge his father's murder—which, if he had braced up his heart to do long before, all these lives had been spared, and none had suffered but the wicked King, who well deserved to die.
Hamlet, his heart at last being great enough to do the deed he ought, turned the poisoned sword on the false King.
"Then—venom — do thy work!" he cried, and the King died.
So Hamlet in the end kept the promise he had made his father. And all being now accomplished, he himself died. And those who stood by saw him die, with prayers and tears, for his friends and his people loved him with their whole hearts. Thus ends the tragic tale of Hamlet, Prince of Denmark.
Hamlet is one of the most quoted works in the English language, and is often included on lists of the world's greatest literature. As such, it reverberates through the writing of later centuries. Academic Laurie Osborne identifies the direct influence of Hamlet in numerous modern narratives, and divides them into four main categories: fictional accounts of the play's composition, simplifications of the story for young readers, stories expanding the role of one or more characters, and narratives featuring performances of the play.
Henry Fielding's Tom Jones, published about 1749, describes a visit to Hamlet by Tom Jones and Mr. Partridge, with similarities to the "play within a play". In contrast, Goethe's Bildungsroman Wilhelm Meister's Apprenticeship, written between 1776 and 1796, not only has a production of Hamlet at its core but also creates parallels between the Ghost and Wilhelm Meister's dead father. In the early 1850s, in Pierre, Herman Melville focuses on a Hamlet-like character's long development as a writer. Ten years later, Dickens's Great Expectations contains many Hamlet-like plot elements: it is driven by revenge-motivated actions, contains ghost-like characters (Abel Magwich and Miss Havisham), and focuses on the hero's guilt. Academic Alexander Welsh notes that Great Expectations is an "autobiographical novel" and "anticipates psychoanalytic readings of Hamlet itself". About the same time, George Eliot's The Mill on the Floss was published, introducing Maggie Tulliver "who is explicitly compared with Hamlet" though "with a reputation for sanity" The Count of Monte Cristo by Alexandre Dumas, pere makes mention of Hamlet numerous times and deals with the same revenge theme.
In the 1920s, James Joyce managed "a more upbeat version" of Hamlet-stripped of obsession and revenge in Ulysses, though its main parallels are with Homer's Odyssey. In the 1990s, two women novelists were explicitly influenced by Hamlet. In Angela Carter's Wise Children, To be or not to be is reworked as a song and dance routine, and Iris Murdoch's The Black Prince has Oedipal themes and murder intertwined with a love affair between a Hamlet-obsessed writer, Bradley Pearson, and the daughter of his rival.