The Skinhead Hamlet - Shakespeare's play translated into modern English. By Richard Curtis. Yes, that Richard Curtis!

Note : those offended by the F word - LOOK AWAY NOW! And Georgia, if you've stumbled on this review by your funny old dad - this is ANOTHER Paul Bryant. Not me!

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ACT I

SCENE I

The Battlements of Elsinore Castle.

[Enter HAMLET, followed by GHOST:]

GHOST: Oi! Mush!

HAMLET: Yer?

GHOST: I was fucked!

[Exit GHOST:]

HAMLET: O Fuck.

[Exit HAMLET:]

SCENE II

The Throneroom.

[Enter KING CLAUDIUS, GERTRUDE, HAMLET and COURT:]

CLAUDIUS: Oi! You, Hamlet, give over!

HAMLET: Fuck off, won't you?

[Exit CLAUDIUS, GERTRUDE, COURT:]

HAMLET: (Alone) They could have fucking waited.

[Enter HORATIO:]

HORATIO: Oi! Watcha cock!

HAMLET: Weeeeey!

[Exeunt:]

SCENE III

Ophelia's Bedroom.

[Enter OPHELIA and LAERTES:]

LAERTES: I'm fucking off now. Watch Hamlet doesn't slip you one while I'm gone.

OPHELIA: I'll be fucked if he does.

[Exeunt:]

SCENE IV

The Battlements.

[Enter HORATIO, HAMLET and GHOST.:]

GHOST: Oi! Mush, get on with it!

HAMLET: Who did it then?

GHOST: That wanker Claudius. He poured fucking poison in my fucking ear!

HAMLET: Fuck me!

[Exeunt.:]

ACT II

SCENE I

A corridor in the castle.

[Enter HAMLET reading. Enter POLONIUS.:]

POLONIUS: Oi! You!

HAMLET: Fuck off, grandad!

[Exit POLONIUS. Enter ROSENCRANZ and GUILDENSTERN.:]

ROS & GUILD: Oi! Oi! Mucca!

HAMLET: Fuck off, the pair of you!

[Exit ROS & GUILD.:]

HAMLET: (Alone) To fuck or be fucked.

[Enter OPHELIA.:]

OPHELIA: My Lord!

HAMLET: Fuck off to a nunnery!

[They exit in different directions.:]

ACT III

SCENE I

The Throne Room.

[Enter PLAYERS and all COURT.:]

FIRST PLAYER: Full thirty times hath Phoebus cart...

CLAUDIUS: I'll be fucked if I watch any more of this crap.

[Exeunt.:]

SCENE II

Gertrude's Bedchamber.

[Enter GERTRUDE and POLONIUS, who hides behind an arras.:]

[Enter HAMLET.:]

HAMLET: Oi! Slag!

GERTRUDE: Watch your fucking mouth, kid!

POLONIUS: (From behind the curtain) Too right.

HAMLET: Who the fuck was that?

[He stabs POLONIUS through the arras.:]

POLONIUS: Fuck!

[POLONIUS dies.:]

HAMLET: Fuck! I thought it was that other wanker.

[Exeunt.:]

ACT IV

SCENE I

A Court Room.

[Enter HAMLET, CLAUDIUS.:]

CLAUDIUS: Fuck off to England then!

HAMLET: Delighted, mush.

SCENE II

The Throne Room.

[Enter OPHELIA, GERTRUDE and CLAUDIUS.:]

OPHELIA: Here, cop a whack of this.

[She hands GERTRUDE some rosemary and exits.:]

CLAUDIUS: She's fucking round the twist, isn't she?

GERTRUDE: (Looking out the window.) There is a willow grows aslant the brook.

CLAUDIUS: Get on with it, slag.

GERTRUDE: Ophelia's gone and fucking drowned!

CLAUDIUS: Fuck! Laertes isn't half going to be browned off.

[Exeunt.:]

SCENE III

A Corridor.

[Enter LAERTES.:]

LAERTES: (Alone) I'm going to fucking do this lot.

[Enter CLAUDIUS.:]

CLAUDIUS: I didn't fucking do it, mate. It was that wanker Hamlet.

LAERTES: Well, fuck him.

[Exeunt.:]

ACT V

SCENE I

Hamlet's Bedchamber.

[Enter HAMLET and HORATIO.:]

HAMLET: I got this feeling I'm going to cop it, Horatio, and you know, I couldn't give a flying fuck.

[Exeunt.:]

SCENE II

Large Hall.

[Enter HAMLET, LAERTES, COURT, GERTRUDE, CLAUDIUS.:]

LAERTES: Oi, wanker: let's get on with it.

HAMLET: Delighted, fuckface.

[They fight and both are poisoned by the poisoned sword.:]

LAERTES: Fuck!

HAMLET: Fuck!

[The QUEEN drinks.:]

GERTRUDE: Fucking odd wine!

CLAUDIUS: You drunk the wrong fucking cup, you stupid cow!

[GERTRUDE dies.:]

HAMLET: (Pouring the poison down CLAUDIUS'S throat) Well, fuck you!

CLAUDIUS: I'm fair and squarely fucked.

[CLAUDIUS dies.:]

LAERTES: Oi, mush: no hard feelings, eh?

HAMLET: Yer.

[LAERTES dies.:]

HAMLET: Oi! Horatio!

HORATIO: Yer?

HAMLET: I'm fucked. The rest is fucking silence.

[HAMLET dies.:]

HORATIO: Fuck: that was no ordinary wanker, you know.

[Enter FORTINBRAS.:]

FORTINBRAS: What the fuck's going on here?

HORATIO: A fucking mess, that's for sure.

FORTINBRAS: No kidding. I see Hamlet's fucked.

HORATIO: Yer.

FORTINBRAS: Fucking shame: fucking good bloke.

HORATIO: Too fucking right.

FORTINBRAS: Fuck this for a lark then. Let's piss off.

[Exeunt with alarums.:]

Hamlet

Once the mightiest emperors are now just a little dust, and what causes tremors now suffers from the pain of the simplest things, the pain of blocking a hole so that the winter wind doesn't enter! To be, or not to be, that is the question. Whether it is nobler to suffer the slings and arrows of outrageous fortune, or to take arms against a sea of troubles and end them? We die, we sleep - and that's all. And in this sleep we may find that the sufferings and the thousands of stabs that this earthly body takes have come to an end. This is the end that we should all long for. Men go to sleep, go to sleep, and perhaps see dreams...

But here lies the problem; because the thought that in this sleep of death, after being released from this fleeting life, what dreams may come terrifies us; and this is the very consideration that adds to the miseries of life. Otherwise, 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 spurns that patient merit of the unworthy takes, when he himself might his quietus make with a bare bodkin? Who would fardels bear, to grunt and sweat under a weary life, but that the dread of something after death, the undiscovered country from whose bourn no traveller returns, puzzles the will and makes us rather bear those ills we have than fly to others that we know not of?

And this awareness has made us all cowards, and this ambiguous role of thought has blanched the natural hue of resolution. And thus the native hue of resolution is sicklied o'er with the pale cast of thought, and enterprises of great pitch and moment with this regard their currents turn awry, and lose the name of action. Ah, be silent again, gentle Ophelia! O fair spirit, remember me in your prayers.

The story summary: In the 15th century, in Denmark, Hamlet, the prince of Denmark, hears the news of his father's death and comes to the royal palace. He sees his uncle Claudius sitting on the throne and has married his mother, Queen Gertrude, without the slightest respect for the customs and礼节. Hamlet is shocked and angry. One night, he dreams that the spirit of his father tells him that Claudius poisoned him in his ear while he was sleeping and asks for revenge. Hamlet promises to obey his order. When a group of actors come, Hamlet asks them to perform a play called "The Murder of Gonzago" in front of the king to confirm the truth of the spirit's words. The subject of this play is a reenactment of Claudius' crime, and the story is about the king being killed by his brother. The king is so embarrassed when watching the play that he has to leave the hall. This performance of Claudius proves his guilt. After this incident, Hamlet goes to his mother without hesitation. Soon, the sound of the argument between mother and son is heard, and Hamlet confesses to his mother how much he hates her. When he sees a shadow on the curtain of the room and thinks that the king is listening behind the curtain, he draws his sword and stabs it into the thick curtain, but Polonius (Ophelia's father), Hamlet's lover, who is hiding behind the curtain instead of Claudius, is accidentally killed. Claudius, who has decided to get rid of Hamlet but doesn't want to make it obvious, sends him to England. On this trip, two friends from his school days, Rosencrantz and Guildenstern, are also sent with Hamlet. They have letters with them based on the king's order to kill the prince, but after the letters are changed, these two people are killed instead of Hamlet. In this situation, Laertes, Polonius' son, is looking for Hamlet for revenge. Also, Ophelia, who has gone crazy from the grief of her father's death at the hands of her beloved, drowns herself after picking some flowers from the riverbank. After Hamlet realizes the plot to kill him, he returns to Denmark. Claudius, seemingly wanting to reconcile Hamlet and Laertes, asks them to participate in a symbolic duel to end the tragic story. But he gives Laertes a sword with a poisoned tip. During this hand-to-hand combat, Claudius gives Hamlet a poisoned cup, but Gertrude drinks the cup unknowingly and dies. Then Hamlet is wounded, but before he dies, he wounds Laertes fatally. Hamlet and Laertes are both wounded and know that their deaths are certain, so in the end, they both attack Claudius and bring him down.

Update: I've been messaging with an academic who wants to quote this review in a scholarly research article! They liked that this review was so "pithy," LOL. I'm kind of tickled.

My favorite Shakespeare play is truly a masterpiece. There's a murdering throne-usurping uncle, which sets the stage for a web of intrigue. Hamlet's ghost father demanding revenge adds an element of the supernatural and drives the plot forward. The themes of pretend insanity and real insanity are explored, creating a complex and fascinating character in Hamlet. Everyone is plotting against each other, leading to a series of deaths that keep the audience on the edge of their seats. The play within a play is a brilliant device that adds another layer of depth. And let's not forget the insanely good poetry that Shakespeare is renowned for. It all comes together in a tragic yet captivating story. But the revenge comes first, so it's all good in a strange and wonderful way.

“Though this be madness, yet there is method in't.” This famous line from Shakespeare's Hamlet truly encapsulates the essence of the play. I'm not entirely sure how many times I've delved into the pages or watched the stage adaptation of this masterpiece. The writing is simply superb. It astonishes me how a significant portion of this play has become part of the well-known quotes that we all recognize. In fact, it seems to have more famous lines than any other Shakespeare play that I'm familiar with. Despite its familiarity, and perhaps because of Shakespeare's remarkable talent, it always feels fresh and engaging. The story of Hamlet operates on multiple levels, making it a complex and captivating narrative. It's one of my absolute favorite Shakespeare plays, and I continue to be drawn to its timeless themes and powerful characters.

“Though this be madness, yet there is method in't.”

Not sure how many times I've read or watched William Shakespeare's Hamlet. The writing is fantastic! It's amazing to me how much of this play now exists in the realm of well-known quotes (more so than in any other Shakespeare play I'm aware of). Still, and I'm sure this is owing to Shakespeare's great talent, it feels fresh and I'm engaged in the story. And it is a story that works on so many levels. One of my favorite Shakespeare plays!

Shakespeare is an extremely adept poet and a true master of the language. He artfully layers jokes, puns, and references throughout his works. His output is truly massive, with a wide variety of different plots. When we compare him to other authors, it's often difficult to find anyone who can measure up. However, we're frequently comparing him to the wrong people.

Shakespeare didn't write books, pamphlets, or epics. Instead, he wrote plays – short pieces of drama designed to be fast-paced and exciting. The fact that they are mainly experienced today as bound books rather than theatrical productions doesn't change their origins. If one wants to truly assess the achievements of Shakespeare, he should be compared to those with a similar inclination.

He should be compared with prolific writers known for their catchy jokes and phrases. Writers who reuse old plots, playfully making fun of their traditions. Writers of work meant to be performed. Writers who aim for the lowest common denominator while still including the occasional high-minded political commentary. He should be compared to the writers of South Park, or the Simpsons, or MAD Magazine.

Shakespeare was intended to be both lowbrow and political, but now it only appears that way to those who are well-educated enough to understand his language, references, and the political scene of the time. If you do know the period lingo, then his plays can be just as filthy as any episode of South Park.

For example, the word 'wit' often refers to a fellow's manhood, as seen in this example from 'Much Ado About Nothing':

Don Pedro: I said that thou hadst a great wit. Yay, said she, a great gross one. Nay, say I, a fine wit. Yay, said she, a fine little one. Nay, said I, a good wit. Just, said she, it hurts nobody.

Plus, there's the title of that play, which references the fact that 'nothing' was slang for a woman's maidenhead, a usage that also occurs in Hamlet:

Hamlet: That's a fair thought to lie between a maid's legs.
Ophelia: What is, my lord?
Hamlet: Nothing.

He was also not one to pass up a good cunt joke.

Shakespeare often refers to mythology because that was the standard pool of reference for authors at the time, just as Family Guy references 1980's pop culture. How esoteric will Mr. T be after 400 years? Additionally, all of Shakespeare's magnificent plots were often lifted, sometimes entirely, from other books and histories, similar to how sitcoms reuse 'episode types' or borrow plots from popular movies. Shakespeare was not quite as visionary or deep as he is often credited. Rather, he was always so indistinct with the motives and thoughts of his characters that two critics could assign two completely different and conflicting motives, yet find both equally well-supported.

Is Shylock evil because he's a Jew, evil despite the fact, or evil because of the effects of racism on him? You can make a case for all three. Marlowe, the more practiced and precise writer, never left interpretation to chance, and look where that's gotten him.

Shakespeare was an inspired and prolific author, and his impact on writing and talent for aphorism cannot be overemphasized. I think he probably wrote the King James version because it is so beautiful. However, he is not the be-all and end-all of writing.

His popularity and central position in the canon mainly stem from the fact that you can write anything you like about his plays. Critics and professors don't have to struggle or even leave their comfort zone. Shakespeare's work is opaque enough that it accepts no particular interpretation. No matter your opinions, you can find them reflected in Shakespeare, or at least, not outright refuted.

His is a grey world, and his lack of a clear agenda leaves us wondering what he could possibly have been like as a person. His indirect approach makes his writing the perfect representation of an unsure, unjust world. No one is really right or wrong, and even if they were, there would be no way to prove it.

I don't know whether this makes him the most or least poignant of writers. Is the author's absence from the stories the most rarefied example of the craft, or is it just lighthearted pandering? Either way, he's still a clever, amusing, insightful, and helplessly dirty fellow.

\\n  \\n    Book Review\\n  \\n

4 out of 5 stars are awarded to Hamlet, a remarkable tragedy that was published in 1600 by the renowned William Shakespeare. Buckle up, as I have an extensive review to share. However, don't worry, it won't be a 38-page monstrosity! I do have a detailed review from a previous course on Shakespeare, but I won't include it here. Chances are, you've already read the play or seen some film adaption, maybe even a staged version. I've witnessed numerous adaptations and have read the play four times - once in high school, twice in college, and once just for the sheer pleasure of it. Here's the fascinating thing about this play: there is an overwhelming amount of depth and complexity that cannot be fully absorbed in just one or two readings. Each time you pick up the play, you discover new interpretations, meanings, and thought patterns. Similarly, each new performance offers a different perspective, as the actors and directors choose their own unique approach. Hamlet represents all of us, and we will always extract something from it that we want to believe, likely influenced by what's happening in our own lives at that moment. If you're dealing with relationship issues, you'll probably focus on that aspect of Hamlet's life. If you're feeling depressed, you'll question "to be or not to be." And if you're happy, you'll cheer for him to make the right choices. I'm not certain if this is how Shakespeare intended it, but he definitely left it open-ended on purpose. Maybe not to allow for completely unrestricted views and interpretations, but enough for us to select the key elements that we want to focus on. I think I might need to read it again this summer!

\\n  \\n    About Me\\n  \\n

For those who are new to me or my reviews, here's the lowdown: I'm an avid reader, a prolific writer, and now a frequent blogger. First, the book review is posted on Goodreads, and then it makes its way to my WordPress blog at https://thisismytruthnow.com. There, you'll also find reviews of TV and films, the revealing and introspective 365 Daily Challenge, and plenty of blogging about the various places I've visited around the world. You can find all my social media profiles to get the full scoop on who I am, what I do, when and where I do it, and to see my pictures. Please leave a comment and let me know what you think. Vote in the poll and rate my review. Thanks for stopping by!

The reason why Hamlet remains a subject of discussion today is that it continues to elude and confound us. This captivating aspect of the play has ensured its longevity for centuries. Hamlet's doubts, questions, and hesitation to act enhance his allure in our eyes. Everything he grapples with is deeply relatable, and it resonates with us, to varying degrees and in different contexts, even in the present day. For example, the six words "to be or not to be" haunt Hamlet throughout the play, and this dilemma is all too familiar to us, as we face it constantly. No one is immune to it.

The plot of Hamlet is straightforward. His father, the king, is slain by Hamlet's uncle, who then marries the widowed queen, Hamlet's mother. The true nature of the king's death is revealed to Hamlet by his father's ghost. More than his father's death, it is the mystery and intrigue surrounding it that thrust him into a whirlpool of doubts and shatter his very existence.

What occurs to Hamlet in the play is not uncommon. Even more terrible incidents take place in real life, yet not all young men or women react to death and crime in the same way he does. His very being is violated. He is consumed by what he now knows, and this "knowing" compels him to act, which means he must expose and punish his father's murderer.

When the young Hamlet discovers his uncle's heinous act, he suffers internal damage. He loses control of his life. His lover, Ophelia, is unable to soothe or distract him, nor does he seem capable of responding to her pleas. Strangely enough, he is more preoccupied with the thoughts of his uncle and mother's immoral union. However, he is not angry with his mother because his father's ghost holds no grudge against her, as "she is blessedly unaware of the darker sides of the world."

Psychologically dissecting Hamlet leads us nowhere. He is a complex character that resists easy categorization. T. S. Eliot, in his critique of Hamlet, coined the term "objective correlative" and asserted that Hamlet's emotions are disproportionate to the situation he faces. This appears to be a valid observation. For instance, one wonders why the queen never pauses to reflect or question the sudden death of the king. How can she be so naïve? Not only that, shortly after the king's death, she agrees to marry her brother. Hamlet, on the other hand, ceases to live his life and stops loving his beloved Ophelia. He is left with only one purpose; his entire life is reduced to one thing – avenging his father's murder.

One can continuously analyze Hamlet and still not fully understand him. Like truth and life, Hamlet is eternal, elusive, and only partially comprehensible. Therefore, we are so captivated by him.

One of the most beautiful lines ever written is:

Doubt thou the stars are fire;

Doubt that the sun doth move;

Doubt truth to be a liar;

But never doubt I love.

It expresses the depth and certainty of love in a most profound way.

It’s a cliché, I know, but Hamlet's Soliloquy in Act III Scene I is also a favourite.

To be, or not to be: that is the question:

Whether 'tis nobler in the mind to suffer

The slings and arrows of outrageous fortune,

Or to take arms against a sea of troubles,

And by opposing end them? This soliloquy delves deep into the human psyche, exploring the dilemmas and uncertainties of life.

Hamlet contemplates the meaning of existence, the nature of suffering, and the courage to face one's problems.

It is a powerful and thought-provoking piece of literature that has endured through the ages.

The language is rich and vivid, painting a vivid picture of the turmoil in Hamlet's mind.

It makes us question our own lives and the choices we make.

Overall, both of these passages are examples of the beauty and power of language in literature.

**"The Complexity of Hamlet: Between Sanity and Madness"**

Hamlet is a play that explores the thin line between sanity and madness. Did Hamlet feign madness to avenge his father's death, or was he truly insane and his actions after that were the height of madness?

In a drama where no one escapes the sword, the sea, or drowning... Did everyone lose and the crowd win?

The story begins with the king's death and his son Hamlet's return to Denmark to claim the throne. He finds that his mother has married his uncle, who has taken the throne. Hamlet is overcome with deep melancholy, mourning his father, mother, and his lost throne. He imagines the ghost of his father, who tells him that he was killed by his wife and brother in a quick poisoning plot and demands that his son avenge him. The dramatic events then escalate with the characteristic philosophical flavor of the Elizabethan playwright William Shakespeare. In a powerful melodramatic scene at the end, Hamlet dies after avenging his father and shedding the blood of the innocent more than that of the guilty who deserve to be killed.

Does life deserve death for its sake? And what will remain after death? Is honor in the pleasure of living or in renouncing pleasures in the pursuit of self-fulfillment?

When Hamlet shouts his famous line "To be or not to be... that is the question." Does he take the path of awareness that leads to solving the problem, or does it become more complicated? What is the essence of life anyway, which is full of evil and desires and no one will escape from it, no matter how much good or evil they commit?

This play has been turned upside down in many ways for hundreds of years and is still fresh today. Even Hamlet's blood still drips and his voice trembles with questions that have no answers.

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**"A New Analysis of Hamlet from a Freudian Perspective"**

Sigmund Freud had an interesting view on art and myth based on his psychological theories. According to Freud, art and myth are the domain of neurotic individuals who cannot fully suppress the desires of their childhood. In the case of Hamlet, Freud considered him a neurotic hero who couldn't carry out his intentions. However, there are three key points in Freud's theory that can help us better analyze the psychological aspects of Hamlet.
First, the artist, not the hero, is the neurotic one. Shakespeare, not Hamlet, is the neurotic in this context. Hamlet is presented as completely healthy, having no hatred for his father and no sexual desire for his mother.
Second, the main hero of the literary work is the patricide, not the antagonist or secondary characters. Hamlet is the patricide, but when and where does he kill his father? This leads us to the third key point.
Third, the artist doesn't want or, if he does, can't violate the moral norms due to his neurosis. Shakespeare, being neurotic, had to find a way to make Hamlet kill his father and unite with his mother without violating moral norms. He does this by substituting "uncle" for "father" and by making Hamlet seem like he wants to take revenge on his father rather than kill him. Shakespeare also uses "displacement" to make Hamlet seem innocent of the incestuous desire that is actually in his mind. Additionally, there are some signs of the "closeness" between Hamlet and his mother in the play, but the main focus is on the "killing of the father-uncle" and not on the union with the mother. It should be noted that the content of this article, including the neurosis of Shakespeare, is not necessarily something I believe. I only looked at the play from a Freudian perspective and corrected Freud's analysis of Hamlet that I thought was inconsistent with his own view.

Hamlet is a complex and captivating play, but not all productions do it justice. If you see a Hamlet and you hate it, chances are you saw a terrible one. I used to despise this play, thinking it was boring and overrated, and Hamlet was a dick. But everything changed when I saw Santa Cruz Shakespeare's 2016 production with Kate Eastwood Norris as Hamlet. I loved it so much that my entire interpretation of the character changed.

Every character's pain should matter. Hamlet shouldn't be an asshole; he's a young man struggling with grief and anger. He should be a teenager, as per the first folio. Ophelia's character is about agency, and her inner turmoil should be emphasized. The scene between Hamlet and Ophelia in 3.1 should make you cry.

The villains also need proper characterization. Gertrude's pain should matter, and Claudius is a clever political player, not just a one-dimensional villain. In general, y'all suck at portraying Claudius.

Verdict: I love this show. Watch it before you read it to truly appreciate it. Skip Branagh and check out Tennant instead.

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