ACCESS TO SHAKESPEARE. The Tragedy of. Hamlet. Prince of Denmark. A Facing-pages Translation into Contemporary English. Edited by

Transcription

1 ACCESS TO SHAKESPEARE The Tragedy of Hamlet Prince of Denmark A Facing-pages Translation into Contemporary English Edited by Jonnie Patricia Mobley, Ph.D. Drama Department Cuesta College San Luis Obispo, California Lorenz Educational Publishers P.O. Box 802, Dayton, Ohio

2 The Tragedy of Hamlet Prince of Denmark Contents Introduction iv Characters 1 Act One 2 Act Two 62 Act Three 108 Act Four 168 Act Five 216 Glossary 262

3 Introduction Stage Directions In drama written for the modern stage, the playwright usually provides detailed directions for the actors how to move and speak, what emotions to convey to an audience. In the plays of Shakespeare, stage directions are sparse. One reason for this could be that Shakespeare was a member and an owner of the company for which he wrote these plays. He was on hand to tell the other actors how to say a line or what gesture to use. Even so, the dialogue itself offers clues to actions or gestures. For example, Horatio, in Act One, tells Hamlet that he has seen his father's ghost. He says, I knew your father, These hands are not more like. And he probably extends his hands, meaning that one hand is as like the other as the ghost was to Hamlet's father. Again, in Act Two, Polonius says, Take this from this, if this be otherwise. One critic thought that Polonius first pointed to his head, then his shoulders, suggesting that he be beheaded if he were wrong about Hamlet's problem. Another critic has suggested that Polonius raised his hand holding the baton of his office. In either case the line must be accompanied by a gesture, but, lacking a stage direction, one can't be sure exactly what it is. Reading the printed play, you must be alert to whom a line of dialogue is addressed. For example, Hamlet is talking to Rosencrantz and vii

4 Introduction Guildenstern when a trumpet blast announces the arrival of the players. Guildenstern says, There are the players. Hamlet continues, Gentlemen, you are welcome to Elsinore. Hamlet is still talking to Rosencrantz and Guildenstern, not to the players, who have yet to come on stage. But there is no stage direction to show this. You have to try to picture the characters in your mind. Solo Speeches There is another difference between the plays of Shakespeare and most modern ones the solo speeches. These are the asides and the soliloquies in which a character reveals what is on his or her mind. Modern dramatists seem to feel that the solo speech is artificial and unrealistic. Oddly enough, modern novelists frequently use a variety of the solo speech, and some critics feel that this convention has given the novel extra power and depth, allowing it to probe deeply into the motives of its characters. One thing is certain Shakespeare's plays without the solo speeches would not be as powerful as they are. viii

5 Characters HAMLET, Prince of Denmark, son of the late King Hamlet and Queen Gertrude HORATIO, friend of Hamlet CLAUDIUS, King of Denmark, Hamlet's uncle GERTRUDE, Queen of Denmark, mother of Hamlet POLONIUS, councillor to King Claudius, father of Ophelia and Laertes LAERTES, son of Polonius OPHELIA, daughter of Polonius VOLTEMAND } Danish courtiers CORNELIUS } OSRIC } GENTLEMAN } ROSENCRANTZ } former fellow students of Hamlet GUILDENSTERN } PRIEST MARCELLUS } officers BARNARDO } FRANCISCO, Danish soldier REYNALDO, servant of Polonius PLAYERS, members of a touring acting company GRAVEDIGGERS (two clowns) FORTINBRAS, Prince of Norway CAPTAIN in the army of Fortinbras ENGLISH AMBASSADORS GHOST of Hamlet's father Lords, Ladies, Soldiers, Sailors, Messengers, and other Attendants 1

6 Act One Scene 1 [Royal castle of Elsinore, Denmark] Enter BARNARDO and FRANCISCO, two sentinels BARNARDO Who's there? FRANCISCO Nay, answer me. Stand and unfold yourself. BARNARDO Long live the king! FRANSCICO Barnardo? BARNARDO He. 5 FRANCISCO You come most carefully upon your hour. BARNARDO 'Tis now struck twelve; get thee to bed, Francisco. FRANCISCO For this relief much thanks. 'Tis bitter cold, And I am sick at heart. BARNARDO Have you had quiet guard? 10 FRANCISCO Not a mouse stirring. BARNARDO Well, good night. If you do meet Horatio and Marcellus, The rivals of my watch, bid them make haste. FRANCISCO I think I hear them. 15 Enter HORATIO and MARCELLUS Stand, ho! Who is there? HORATIO Friends to this ground. MARCELLUS And liegemen to the Dane. FRANCISCO Give you good night. MARCELLUS O, farewell, honest soldier. 20 Who hath relieved you? FRANCISCO Barnardo hath my place. Give you good night. Exit FRANCISCO MARCELLUS Holla, Barnardo! BARNARDO Say 25 What, is Horatio there? HORATIO A piece of him. 2

7 Act One Scene 1 [Royal castle of Elsinore, Denmark] Enter BARNARDO and FRANCISCO, two sentinels BARNARDO Who's there? FRANCISCO No, you answer me. Stand and identify yourself! BARNARDO Long live the king! FRANCISCO Barnardo? BARNARDO Yes. 5 FRANCISCO You're right on time. BARNARDO It just struck twelve. Get off to bed, Francisco. FRANCISCO For this relief, much thanks. It's bitter cold, And I have had enough. BARNARDO Have you had a quiet watch? 10 FRANCISCO Not a mouse stirring. BARNARDO Well, good night. Should you meet Horatio and Marcellus, The others on the watch, tell them to hurry. FRANCISCO I think I hear them. 15 Enter HORATIO and MARCELLUS Halt! Who goes there? HORATIO Friends to this land. MARCELLUS And loyal subjects of the king. FRANCISCO Good night to you. MARCELLUS Oh, farewell, good soldier. 20 Who has relieved you? FRANCISCO Barnardo took my place. Good night to you. Exit FRANCISCO MARCELLUS Hello, Barnardo! BARNARDO Say, 25 What, is Horatio there? HORATIO A part of him. 3