我心中的哈姆雷特

鲁迅曾经说过这样的一句话：悲剧就是把有价值的东西毁灭给人看。我想，沙翁四大悲剧之一的《哈姆雷特》就是这句话最好的见证。

丹麦王子哈姆雷特在德国威登堡大学求学。他是个乐观、充满理想的青年。但是，父王老哈姆雷特突然身亡，叔父克劳迪斯登上王位、母亲改嫁新王等一连串不幸的消息，沉重地打击了他。他对这个世界感到厌倦，更使他烦恼的是，他不清楚父亲的死因。故事就这样展开了……

后来他听了父亲鬼魂的话，他终于知道了父亲的死因，他开始走上了他的复仇之路。至少在我看来，他的心中已经充满了仇恨，那颗对理想渴望的热情的心已死了。他为了报仇而不惜装疯卖傻，不惜放弃了爱情，放弃了友情，一个人孤独的站在仇恨的道路上。在他的眼睛里，父亲的仇比什么都重要。我开始有点失望了。

我认为他是一个自私的人。为了达到自己的目的，把爱情看的那么一文不值。虽说后来奥菲利亚的死跟他没有直接关系，但我们都知道，无论奥菲利亚是因为失去哈姆雷特还是失去自己的父亲而选择自杀都是哈姆雷特间接酿成的恶果。

第二，我认为他是一个没有包容心的人。奥菲利亚的哥哥虽然看上去是个穷凶极恶的自负的家伙，可是他至少爱他的父亲，爱他的妹妹。他对哈姆雷特的憎恨只是因为哈姆雷特做了让他难以接受的事。为什么哈姆雷特为了替父报仇就可以不择手段，而他只是想以最直接，最明了的方式来解决。我们必须承认可能雷欧提斯有些愚蠢，听信了国王的谗言和诡计，可是终归他是善良的，他有一颗包容的心。这一点在他和哈姆雷特决战前哈姆雷特的坦白就可以看得出，他甚至在击中哈姆雷特时内心产生了重重的罪恶感。而哈姆雷特呢？面对雷欧提斯的包容，他是得寸进尺，不停的挑衅雷欧提斯，这才得以造成最终的恶果，更何况他在决战前的那段坦白全是谎言。还有就是他的两个伙伴，虽然他们出卖了哈姆雷特，可是哈姆雷特也没有给他们任何改过自新的机会就把两位玩伴害死了，这样的哈姆雷特实在让人反感。

我曾经也有思考过，哈姆雷特这样到底值不值得。为了一个已经死去的生命，他开始报仇，可是最后却死掉了那么多无辜的人。波洛涅斯，雷欧提斯，奥菲莉娅，罗生克兰和盖登思邓，包括他自己。他们都是这场报仇的牺牲品。我认为一点都不值得。但我依然认为，哈姆雷特是勇敢的，是不怕死的，他承担了不可推卸的报仇的重任，在这条路上一直前进着。我为他的精神感到振奋，感到钦佩！虽然结局不是完美，但是我想，这就是报仇的必然吧！这就是悲剧的必然吧！

第二篇：赏析《哈姆雷特》

The Tragical History of Hamlet, Prince of Denmark, or more simply Hamlet, is

a by , believed to have been written between 1599 and 1601. The play, set in the , recounts how exacts revenge on his uncle for murdering the old (Claudius's brother and Prince Hamlet's father) and then succeeding to the throne and marrying (the King Hamlet's widow and mother of Prince Hamlet). The play vividly portrays real and feigned madness – from

overwhelming grief to seething rage – and explores themes of treachery, revenge, incest, and moral corruption.

The play's structure and depth of characterisation have inspired much critical scrutiny, of which one example is the centuries-old debate about Hamlet's hesitation to kill his uncle. Some see it as a 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, have examined

Hamlet's , and have re-evaluated and rehabilitated the often maligned characters of and .

Hamlet is Shakespeare's longest play and among the most powerful and influential tragedies in the English language. It has a story 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, what eventually became the 's list since 1879. It has inspired writers

from and to and , and has been described as "the world's most filmed story after Cinderella".

The title role was almost certainly created for , the leading tragedian of Shakespeare's time.

Critical history

From the early 17th century, the play was famous for its ghost and vivid dramatisation of and , leading to a procession of mad courtiers and ladies

in and dramaThough it remained popular with mass audiences, late 17th-century critics saw Hamlet as primitive and disapproved of its lack

of and This view changed drastically in the 18th century, when critics regarded Hamlet as a hero—a pure, brilliant young man thrust into unfortunate circumstances. By the mid-18th century, however, the advent of brought and readings, returning madness and the Ghost to the forefront. Not until the late 18th century did critics and performers begin to view Hamlet as confusing and inconsistent. Before then, he was either mad, or not; either a hero, or not; with no in-betweens. These developments represented a fundamental change in literary criticism, which came to focus more on character and less on plot. By the 19th century, critics 。

valued Hamlet for its internal, individual conflict reflecting the strong contemporary emphasis on internal struggles and inner character in general. Then too, critics started to focus on Hamlet's delay as a character trait, rather than a plot device. This focus on character and

internal struggle continued into the 20th century, when criticism branched in several directions, discussed in below.

Language Hamlet's statement that his dark clothes are the outer sign of his inner grief demonstrates strong rhetorical skill.

Much of Hamlet's language is courtly: elaborate, witty discourse, as recommended

by 1528 etiquette guide, The Courtier. This work specifically advises royal retainers to amuse their masters with inventive language. Osric and Polonius, especially, seem to respect this injunction. Claudius's speech is rich with rhetorical figures—as is Hamlet's and, at times, Ophelia's—while the language of Horatio, the guards, and the gravediggers is simpler. Claudius's high status is reinforced by using the ("we" or "us"), and mixed with to resonate with Greek political speeches.

Hamlet is the most skilled of all at rhetoric. He uses highly developed

metaphors, , and in nine memorable words deploys both anaphora

and : "to die: to sleep— / To sleep, perchance to dream". In contrast, when occasion demands, he is precise and straightforward, as when he explains his inward emotion to his mother: "But I have that within which passes show, / These but the trappings and the suits of woe" At times, he relies heavily on to express his true thoughts while simultaneously concealing them. His "nunnery" remarks to Ophelia are an example of a cruel as nunnery was slang forbrothel. His very first words in the play are a pun; when Claudius addresses him as "my cousin Hamlet, and my son", Hamlet says as an aside: "A little more than kin, and less than kind." An is a dramatic device in which a character speaks to the audience. By convention the audience realises that the character's speech is unheard by the other characters on stage. It may be addressed to the audience expressly (in character or out) or represent an unspoken thought.

An unusual rhetorical device, , appears in several places in the play. Examples are found in Ophelia's speech at the end of the nunnery scene: "Th'expectancy and rose of the fair state"; "And I, of ladies most deject and wretched".Many scholars have found it odd that Shakespeare would, seemingly arbitrarily, use this rhetorical form throughout the play. One explanation may be that Hamlet was written later in Shakespeare's life, when he was adept at matching rhetorical devices to characters and the plot. Linguist George T. Wright suggests that hendiadys had been used deliberately to heighten the play's sense of duality and

dislocation. Pauline Kiernan argues that Shakespeare changed English drama forever ]

in Hamlet because he "showed how a character's language can often be saying several things at once, and contradictory meanings at that, to reflect fragmented thoughts and disturbed

feelings." She gives the example of Hamlet's advice to Ophelia, "get thee to a nunnery", which is simultaneously a reference to a place of chastity and a slang term for a brothel, reflecting Hamlet's confused feelings about female sexuality.

Religious Ophelia depicts lady Ophelia's mysterious death by drowning. In the play, the clowns discuss whether Ophelia's death was a suicide and whether or not she merits a Christian burial

Written at a time of religious upheaval, and in the wake of the , the play is alternately Catholic (or piously medieval) and (or consciously modern). The Ghost describes himself as being in , and as dying without . This and Ophelia's burial ceremony, which is characteristically Catholic, make up most of the play's Catholic connections. Some scholars have observed that come from traditionally Catholic countries, such as Spain and Italy; and they present a contradiction, since according to Catholic doctrine the strongest duty is to God and family. Hamlet's conundrum, then, is whether to avenge his father and kill Claudius, or to leave the vengeance to God, as his religion requires.

Philosophical Philosophical ideas inHamlet are similar to those of the French writer Michel de Montaigne, a contemporary of Shakespeare's.

Hamlet is often perceived as a philosophical character, expounding ideas that are now

described as , , and . For example, he expresses a subjectivistic idea when he says to Rosencrantz: "there is nothing either good or bad, but thinking makes it so" The idea that nothing is real except in the mind of the individual finds its roots in the Greek , who argued that since nothing can be perceived except through the

senses—and since all individuals sense, and therefore perceive, things differently—there is no absolute truth, only relative truth. The clearest example of existentialism is found in the ""speech, where Hamlet uses "being" to allude to both life and action, and "not

being" to death and inaction. Hamlet's contemplation of suicide in this scene, however, is less philosophical than religious as he believes that he will continue to exist after death. Scholars agree that Hamlet reflects the contemporary that prevailed

in . Prior to Shakespeare's time, humanists had argued that man was God's greatest creation, made in God's image and able to choose his own nature, but this view was challenged, notably in of 1590. Hamlet's "" echoes many of Montaigne's ideas, but scholars disagree whether

Shakespeare drew directly from Montaigne or whether both men were simply reacting similarly to the spirit of the times. Hamlet's scepticism is juxtaposed in the play with Horatio's more

traditional Christian worldview. Despite the friends' close bond, Hamlet counters Horatio's faith with the seemingly agnostic comment, "There are more things in heaven and earth than are dreamt of in your philosophy."

Psychoanalytic

In the first half of the 20th century, when was at the height of its influence, its concepts were applied to Hamlet, notably by , , and , and these studies influenced theatrical productions.

In his (1900), Freud's analysis starts from the premise that "the play is built up on Hamlet's hesitations over fulfilling the task of revenge that is assigned to him; but its text offers no reasons or motives for these hesitations".After reviewing various literary theories, Freud concludes that Hamlet has an " for his mother and the

subsequent guilt [is] preventing him from murdering the man [Claudius] who has done what he unconsciously wanted to do".Confronted with his , Hamlet realises that "he himself is literally no better than the sinner whom he is to punish". Freud suggests that Hamlet's apparent "distaste for sexuality"—articulated in his "nunnery" conversation with

Ophelia—accords with this interpretation. introduced Freudian overtones into his landmark 1922 production in New York, which ran for a record-breaking 101 nights. Beginning in 1910, with the publication of "The Oedipus-Complex as An Explanation of Hamlet's Mystery: A Study in Motive," —a psychoanalyst and Freud's

biographer—developed Freud's ideas into a series of essays that culminated in his

book (1949). Influenced by Jones's psychoanalytic approach, several productions have portrayed the "closet scene",where Hamlet confronts his mother in her private quarters, in a sexual light. In this reading, Hamlet is disgusted by his mother's "incestuous" relationship with Claudius while simultaneously fearful of killing him, as this would clear Hamlet's path to his mother's bed. Ophelia's madness after her father's death may also be read through the Freudian lens: as a reaction to the death of her hoped-for lover, her father. She is overwhelmed by having her unfulfilled love for him so abruptly terminated and drifts into the oblivion of insanity. In 1937, directed in a

Jones-inspired Hamlet at the . Olivier later used some of these same ideas in his 1948 film version of the play.

In the 1950s, - theories about Hamlet were first presented in a series of given in Paris and later published in "Desire and the Interpretation of Desire

in Hamlet". Lacan postulated that the human is determined by structures of language and that the linguistic structures of Hamlet shed light on human desire. His point of departure is Freud's Oedipal theories, and the central theme of mourning that runs through Hamlet. In Lacan's analysis, Hamlet unconsciously assumes the role of —the cause of his

inaction—and is increasingly distanced from reality "by

mourning, , and ", which create holes (or ) in the real, imaginary, and symbolic aspects of his psyche. Lacan's theories influenced literary criticism of Hamlet because of his alternative vision of the play and his use of to explore the play's psychological landscape. Feminist

Ophelia is distracted by grief. Feminist critics have explored her descent into madness.

In the 20th century opened up new approaches to Gertrude and Ophelia. and critics examined the play in its historical context, attempting to piece together its original cultural environment. They focused on the of England, pointing to the common trinity of maid, wife, or widow, with whores alone outside of the stereotype. In this analysis, the essence of Hamlet is the central character's changed perception of his mother as a whore because of her failure to remain faithful to Old Hamlet. In consequence, Hamlet loses his faith in all women, treating Ophelia as if she too were a whore and dishonest with Hamlet. Ophelia, by some critics, can be honest and fair; however, it is virtually impossible to link these two traits, since 'fairness' is an outward trait, while 'honesty' is an inward trait. 's 1957 essay "The Character of Hamlet's Mother" defends Gertrude, arguing that the text never hints that Gertrude knew of Claudius poisoning King Hamlet. This analysis has been championed by many feminist critics. Heilbrun argued that men have for centuries completely misinterpreted Gertrude, accepting at face value Hamlet's view of her instead of following the actual text of the play. By this account, no clear evidence suggests that Gertrude is an adulteress: she is merely adapting to the circumstances of her husband's death for the good of the kingdom.

Ophelia has also been defended by feminist critics, most notably . Ophelia is surrounded by powerful men: her father, brother, and Hamlet. All three disappear: Laertes leaves, Hamlet abandons her, and Polonius dies. Conventional theories had argued that without these three powerful men making decisions for her, Ophelia is driven into madness. Feminist theorists argue that she goes mad with guilt because, when Hamlet kills her father, he has fulfilled her sexual desire to have Hamlet kill her father so they can be together. Showalter points out that Ophelia has become the symbol of the distraught and hysterical woman in modern culture.

Others

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.

Misogyny

Shattered by his mother’s decision to marry Claudius so soon after her husband’s death,

Hamlet becomes cynical about women in general, showing a particular obsession with what he perceives to be a connection between female sexuality and moral corruption. This motif of misogyny, or hatred of women, occurs sporadically throughout the play, but it is an important inhibiting factor in Hamlet’s relationships with Ophelia and Gertrude. He urges Ophelia to go to a nunnery rather than experience the corruptions of sexuality and exclaims of Gertrude, ―Frailty, thy name is woman‖ (I.ii.146).

The Mystery of Death

In the aftermath of his father’s murder, Hamlet is obsessed with the idea of death, and over the course of the play he considers death from a great many perspectives. He ponders both the spiritual aftermath of death, embodied in the ghost, and the physical remainders of the dead, such as by Yorick’s skull and the decaying corpses in the cemetery. Throughout, the idea of death is closely tied to the themes of spirituality, truth, and uncertainty in that death may bring the answers to Hamlet’s deepest questions, ending once and for all the problem of trying to determine truth in an ambiguous world. And, since death is both the cause and the

consequence of revenge, it is intimately tied to the theme of revenge and justice—Claudius’s murder of King Hamlet initiates Hamlet’s quest for revenge, and Claudius’s death is the end of that quest.

The question of his own death plagues Hamlet as well, as he repeatedly contemplates whether or not suicide is a morally legitimate action in an unbearably painful world. Hamlet’s grief and misery is such that he frequently longs for death to end his suffering, but he fears that if he commits suicide, he will be consigned to eternal suffering in hell because of the Christian religion’s prohibition of suicide. In his famous ―To be or not to be‖ soliloquy (III.i), Hamlet

philosophically concludes that no one would choose to endure the pain of life if he or she were not afraid of what will come after death, and that it is this fear which causes complex moral considerations to interfere with the capacity for action.

This quotation, Hamlet’s first important soliloquy, occurs in Act I, scene ii (129–158). Hamlet speaks these lines after enduring the unpleasant scene at Claudius and Gertrude’s court, then being asked by his mother and stepfather not to return to his studies at Wittenberg but to

remain in Denmark, presumably against his wishes. Here, Hamlet thinks for the first time about suicide (desiring his flesh to ―melt,‖ and wishing that God had not made ―self-slaughter‖ a sin), saying that the world is ―weary, stale, flat, and unprofitable.‖ In other words, suicide seems like a desirable alternative to life in a painful world, but Hamlet feels that the option of suicide is closed to him because it is forbidden by religion. Hamlet then goes on to describe the causes of his pain, specifically his intense disgust at his mother’s marriage to Claudius. He describes the haste of their marriage, noting that the shoes his mother wore to his father’s funeral were

not worn out before her marriage to Claudius. He compares Claudius to his father (his father was ―so excellent a king‖ while Claudius is a bestial ―satyr‖). As he runs through his description of their marriage, he touches upon the important motifs of misogyny, crying, ―Frailty, thy name is woman‖; incest, commenting that his mother moved ―[w]ith such dexterity to incestuous sheets‖; and the ominous omen the marriage represents for Denmark, that ―[i]t is not nor it cannot come to good.‖ Each of these motifs recurs throughout the play.

In these lines, Hamlet speaks to Rosencrantz and Guildenstern in Act II, scene ii (287–298), explaining the melancholy that has afflicted him since his father’s death. Perhaps moved by the presence of his former university companions, Hamlet essentially engages in a rhetorical exercise, building up an elaborate and glorified picture of the earth and humanity before declaring it all merely a ―quintessence of dust.‖ He examines the earth, the air, and the sun, and rejects them as ―a sterile promontory‖ and ―a foul and pestilent congregation of vapors.‖ He then describes human beings from several perspectives, each one adding to his

glorification of them. Human beings’ reason is noble, their faculties infinite, their forms and movements fast and admirable, their actions angelic, and their understanding godlike. But, to Hamlet, humankind is merely dust. This motif, an expression of his obsession with the

physicality of death, recurs throughout the play, reaching its height in his speech over Yorick’s skull. Finally, it is also telling that Hamlet makes humankind more impressive in

―apprehension‖ (meaning understanding) than in ―action.‖ Hamlet himself is more prone to apprehension than to action, which is why he delays so long before seeking his revenge on Claudius.

This soliloquy, probably the most famous speech in the English language, is spoken by Hamlet in Act III, scene i (58–90). His most logical and powerful examination of the theme of the moral legitimacy of suicide in an unbearably painful world, it touches on several of the other

important themes of the play. Hamlet poses the problem of whether to commit suicide as a logical question: ―To be, or not to be,‖ that is, to live or not to live. He then weighs the moral ramifications of living and dying. Is it nobler to suffer life, ―[t]he slings and arrows of outrageous fortune,‖ passively or to actively seek to end one’s suffering? He compares death to sleep and thinks of the end to suffering, pain, and uncertainty it might bring, ―[t]he heartache, and the thousand natural shocks / That flesh is heir to.‖ Based on this metaphor, he decides that

suicide is a desirable course of action, ―a consummation / Devoutly to be wished.‖ But, as the religious word ―devoutly‖ signifies, there is more to the question, namely, what will happen in the afterlife. Hamlet immediately realizes as much, and he reconfigures his metaphor of sleep to include the possibility of dreaming; he says that the dreams that may come in the sleep of death are daunting, that they ―must give us pause.‖

He then decides that the uncertainty of the afterlife, which is intimately related to the theme of the difficulty of attaining truth in a spiritually ambiguous world, is essentially what prevents all of humanity from committing suicide to end the pain of life. He outlines a long list of the miseries of experience, ranging from lovesickness to hard work to political oppression, and asks who would choose to bear those miseries if he could bring himself peace with a knife, ―[w]hen he himself might his quietus make / With a bare bodkin?‖ He answers himself again, saying no one would choose to live, except that ―the dread of something after death‖ makes people submit to the suffering of their lives rather than go to another state of existence which

might be even more miserable. The dread of the afterlife, Hamlet concludes, leads to

excessive moral sensitivity that makes action impossible: ―conscience does make cowards of us all . . . thus the native hue of resolution / Is sicklied o’er with the pale cast of thought.‖ On the other hand, Hamlet finds himself in a unique and traumatic situation, one which calls into question the basic truths and ideals of his life. He can no longer believe in religion, which has failed his father and doomed him to life amid miserable experience. He can no longer trust society, which is full of hypocrisy and violence, nor love, which has been poisoned by his mother’s betrayal of his father’s memory. And, finally, he cannot turn to philosophy, which cannot explain ghosts or answer his moral questions and lead him to action.