INTRODUCTION As many critics have pointed out, Act 2 of Hamlet focuses on the efforts of both the “mighty opposites” - Hamlet and Claudius - to spy out the intentions and plans of the other. Thus begins the process of inserting various mediators between the two, all of whom end up dead . . . . Continue Reading »
Derek Jacobi wrote a foreword for a new Oxfordian biography of Edward de Vere, suggesting that de Vere wrote the plays because the plays were written by an actor and de Vere was an actor. Say what? The TLS reviewer notes that Shakespeare, alone among all the suggested authors of the plays, was an . . . . Continue Reading »
John Dover Wilson puzzles over Hamlet, Act 3, where Claudius is apparently unaffected by the dumb show that re-enacts his murder of Hamlet, Sr. Dover Wilson concludes that Claudius must have been distracted during the dumb show, and missed it. Dramatically, that may work. Thematically, the . . . . Continue Reading »
ACTIONS A MAN MIGHT PLAY As many critics have noted, Hamlet is a play consumed with the question of action, in all the various permutations of that term. Hamlet opens the play questioning whether he should take the action of suicide, and after the ghost’s appearance Hamlet questions whether . . . . Continue Reading »
A famous passage from Melville’s Pierre, when he discovers the existence of his previously unknown sister. “Ten million things were as yet uncovered to Pierre. The old mummy lies buried in cloth on cloth; it takes time to unwrap this Egyptian king. Yet now, forsooth, because Pierre . . . . Continue Reading »
One Edward Bok wrote in 1890, the year before Melville died, that “Mr. Melville is now an old man, but still vigorous. He is an employee of the Customs Revenue Service, and thus still lingers around the atmosphere which permeated his books. Forty-four years ago, when his most famous tale, . . . . Continue Reading »
Some background notes for a lecture on Melville. It’s a simplification, but a revealing one, to say that American literature has been dominated by two themes that at times become one theme: God and America. The earliest American literature is devotional, sermonic, hortatory, hagiographic, or . . . . Continue Reading »
Long before Greenblatt and the New Historicists, Shakespeare had been interpreted as a commentator on the religious or political circumstances of Elizabethan England. Among the interpretations of Hamlet summarized by Ernest Jones in his essay on Oedipus and Hamlet (first published in 1910!) are the . . . . Continue Reading »
Still more. ACT 1, SCENE 1 Several things about the first scene are worth examining. First, the play begins on a cold and bitter night on the ramparts of Elsinore. The darkness provides a fitting setting for the revelation that the world is out of joint, that something is rotten in the state of . . . . Continue Reading »
More notes toward a lecture. Shakespeare’s Hamlet exists in three significantly different forms. The earliest published text, the First Quarto or the “Bad Quarto,” appeared in 1603. Though recognizably Shakespeare’s play, it is different in many significant ways, and . . . . Continue Reading »
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