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PowerpointShakespeare’sHamlet,,,,Hamlet–executivesummary,Hamlet–executivesummary,1Hamletmeetshisfather’sghost,Hamlet–executivesummary,2HamletlearnsthathisfatherwaskilledbyhisbrotherClaudiusandQueenGertrude.,Hamlet–executivesummary,2Claudiushasquicklybecomeking.,Hamlet–executivesummary,3Thisisratherupsetting,Hamlet–executivesummary,4Theghostdemandsrevenge,,Hamlet–executivesummary,5Hamletagrees,Hamlet–executivesummary,6Hisfriendssweartokeepwhattheyhaveseenasecret,Hamlet–executivesummary,7Meanwhile…theKing’sadvisorPoloniusmeetshisdaughterOphelia.Hamlethasupsether.,Hamlet–executivesummary,8Hamletisactingmad,Hamlet–executivesummary,9Atroupeofplayersarrive,,,Hamlet,Playwithinplay,Hamlet–executivesummary,10Atroupeofplayersarrive,,,Hamlet,Playwithinplay,,ThemurderofGonzago,,Hamlet–executivesummary,11PlaycontainslineswhichHamletwritestoexposeClaudiusandGertrude,Hamlet–executivesummary,12HamletragesathisinabilitytokillClaudius,Hamlet–executivesummary,13PoloniusaccidentallykilledbyHamlet,Hamlet–executivesummary,14ClaudiuswantsHamlettogotoEngland,,Hamlet–executivesummary,15…wherehewillbeexecuted,Hamlet–executivesummary,16.HamletplayedatrickandRosencrantzandGuildersternarekilled,Hamlet–executivesummary,17Opheliahasbeendrivenmadbyherfather’sdeathandHamlet’srejectionofher.Shegotdrowned.,,Hamlet–executivesummary,18HamletmusesonherdeathatYorick’sgrave,Hamlet–executivesummary,19Laertes,Ophelia’sbrother,swearsrevengeonHamlet,,Hamlet–executivesummary,20HamletreturnstoDanishcourt:ClaudiussuggestsaduelbetweenLaertesandHamlet…,Hamlet–executivesummary,21…wheretheKingwillofferHamletapoisonedgoblet,,Hamlet–executivesummary,22Queenaccidentallypoisonsherself,Hamlet–executivesummary,23Bothduellistswoundedbypoisonedsword:LaertesrevealsplotandHamletkillsking,Hamlet–executivesummary,24Laertesdies,Hamlet–executivesummary,25Hamletdies,Whatapieceofworkisaman,InreasonInfacultyInformandmovingInactionInapprehension,Whatapieceofworkisaman,Inreasonnoble?InfacultyInformandmovingInactionInapprehension,Whatapieceofworkisaman,Inreasonnoble?Infacultyinfinite?InformandmovingInactionInapprehension,Whatapieceofworkisaman,Inreasonnoble?Infacultyinfinite?Informandmovingexpress,admirable?InactionInapprehension,Whatapieceofworkisaman,Inreasonnoble?Infacultyinfinite?Informandmovingexpress,admirable?Inactionlikeangel?Inapprehension,Whatapieceofworkisaman,Inreasonnoble?Infacultyinfinite?Informandmovingexpressive,admirable?Inactionlikeangel?Inapprehensionlikeagod?,Whatapieceofworkisaman,Inreasonnoble?Infacultyinfinite?Informandmovingexpress,admirable?Inactionlikeangel?Inapprehensionlikeagod?,Whatapieceofworkisaman,Inreasonnoble?Infacultyinfinite?Informandmovingexpress,admirable?Inactionlikeangel?Inapprehensionlikeagod?,Whatisthisquintessenceofdust?,IssomethingrotteninthestateofDenmark?,IssomethingrotteninthestateofDenmark?,SWOTanalysis,IssomethingrotteninthestateofDenmark?,SWOTanalysis,,StrengthsQuicksmoothroyalsuccessionBrightyoungprince,IssomethingrotteninthestateofDenmark?,SWOTanalysis,,WeaknessesBrightyoungprinceismentallyunstableFoolishroyaladvisersAmbitiousFortinbrasonborderwitharmyClumsinesswithpoisonedobjectsPoloniushasneglectedswimminglessons,IssomethingrotteninthestateofDenmark?,SWOTanalysis,,OpportunitiesPlentyofopportunitiestokillkingClaudiusLotsofbusinessforundertakersDittoforpoisonmakers,IssomethingrotteninthestateofDenmark?,SWOTanalysis,,ThreatsFortinbrasTendencyofDanisharistocracytosuicideSinswillbringnemesisandslaughteruponroyalhousehold,Tobe,ornottobe:thatisthequestion:,生存還是毀滅,這是一個(gè)值得考慮的問(wèn)題（朱生豪）是生存還是消亡,問(wèn)題的所在（孫大雨）死后是存在,還是不存在----這是問(wèn)題（梁實(shí)秋）活下去還是不活,這是問(wèn)題（卞之琳）是生,是死,這是問(wèn)題（許國(guó)璋）生或死,這就是問(wèn)題所在（王佐良）活著好,還是死了好,這是個(gè)問(wèn)題（方平）,生存或毀滅--（朱生豪）,生存還是毀滅,這是個(gè)值得考慮的問(wèn)題:是否應(yīng)默默的忍受坎苛命運(yùn)之無(wú)情打擊,還是應(yīng)與深如大海之無(wú)涯苦難奮然為敵,并將其克服此二抉擇,究竟是哪個(gè)較崇高?死即睡眠,它不過(guò)如此!倘若一眠能了結(jié)心靈之苦楚與肉體之百患,那么,此結(jié)局是可盼的!,死去,睡去...但在睡眠中可能有夢(mèng),啊,這就是個(gè)阻礙:當(dāng)我們擺脫了此垂死之皮囊,在死之長(zhǎng)眠中會(huì)有何夢(mèng)來(lái)臨?它令我們躊躇使我們心甘情愿的承受長(zhǎng)年之災(zāi),否則誰(shuí)肯容忍人間之百般折磨,如暴君之政、驕者之傲、失戀之痛、法章之慢、貪官之侮、或庸民之辱,,假如他能簡(jiǎn)單的一刃了之?還有誰(shuí)會(huì)肯去做牛做馬,終生疲於操勞,默默的忍受其苦其難,而不遠(yuǎn)走高飛,飄於渺茫之境,倘若他不是因恐懼身後之事而使他猶豫不前?此境乃無(wú)人知曉之邦,自古無(wú)返者。所以,「理智」能使我們成為懦夫,而[顧慮]能使我們本來(lái)輝煌之心志變得黯然無(wú)光,像個(gè)病夫。再之,這些更能壞大事,亂大謀,使它們失去魄力,活下去還是不活--（卞之琳）,活下去還是不活，這是個(gè)問(wèn)題；要做到高貴，究竟該忍氣吞聲來(lái)容受狂暴的命運(yùn)矢石交攻擊呢，還是該挺身反抗無(wú)邊的苦惱，掃它個(gè)干凈？死，就是睡眠——就這樣；而如果睡眠就等于了結(jié)了心痛以及千百種身體要擔(dān)受的皮痛肉痛，那該是天大的好事，正求之不得??！死，就是睡眠；睡眠也許要做夢(mèng)，這就麻煩了！,我們一旦擺脫了塵世的牽纏在死的睡眠里還會(huì)做些什么夢(mèng)，一想到就不能不躊躇。這一點(diǎn)顧慮正好使災(zāi)難變成了長(zhǎng)期的折磨。誰(shuí)甘心忍受人世的鞭撻和嘲弄，忍受壓迫者虐待、傲慢者凌辱，忍受失戀的痛苦、法庭的拖延、衙門(mén)的橫暴、做埋頭苦干的大才受座位的小人一腳踢出去，如果他只消自己來(lái)使一下尖刀就可以得到解脫啊？,誰(shuí)甘心挑擔(dān)子，拖著疲累的生命，呻吟，流汗，要不是怕一死就去了沒(méi)有人回來(lái)的那個(gè)從未發(fā)現(xiàn)的國(guó)土，怕那邊還不知會(huì)怎樣，因此意志動(dòng)搖了，因此就寧愿忍受目前的災(zāi)殃，而不愿投奔另一些未知的苦難？這樣子，顧慮使我們都成了懦夫，也就這樣了，決斷決行的本色蒙上了慘白的一層思慮的病容；本可以轟轟烈烈的大作大為，由于這一點(diǎn)想不通，就出了別扭，失去了行動(dòng)的名份。,Act2，Scene2,Doubtthouthestarsarefire；Doubtthatthesundothmove；Doubttruthtobealiar；ButneverdoubtIlove.,Dramaticstructure,Poetics:thatadramashouldfocusonaction,notcharacter.InHamlet,Shakespearereversesthissothatitisthroughthesoliloquies,nottheaction,thattheaudiencelearnsHamletsmotivesandthoughts.Theplayisfullofseemingdiscontinuitiesandirregularitiesofaction.fourhourstodeliver.aplaywithintheplay.,Criticalhistory,Fromtheearly17thcentury,theplaywasfamousforitsghostandvividdramatizationofmelancholyandinsanity,leadingtoaprocessionofmadcourtiersandladiesinJacobeanandCarolinedrama.Thoughitremainedpopularwithmassaudiences,late17th-centuryRestorationcriticssawHamletasprimitiveanddisapprovedofitslackofunityanddecorum,Criticalhistory,Thisviewchangeddrasticallyinthe18thcentury,whencriticsregardedHamletasahero—apure,brilliantyoungmanthrustintounfortunatecircumstances.,Criticalhistory,Bythemid-18thcentury,however,theadventofGothicliteraturebroughtpsychologicalandmysticalreadings,returningmadnessandtheGhosttotheforefront.,Criticalhistory,Notuntilthelate18thcenturydidcriticsandperformersbegintoviewHamletasconfusingandinconsistent.Beforethen,hewaseithermad,ornot;eitherahero,ornot;withnoin-betweens.Thesedevelopmentsrepresentedafundamentalchangeinliterarycriticism,whichcametofocusmoreoncharacterandlessonplot.,Criticalhistory,Bythe19thcentury,RomanticcriticsvaluedHamletforitsinternal,individualconflictreflectingthestrongcontemporaryemphasisoninternalstrugglesandinnercharacteringeneral.Thentoo,criticsstartedtofocusonHamletsdelayasacharactertrait,ratherthanaplotdevice.Thisfocusoncharacterandinternalstrugglecontinuedintothe20thcentury,早期：復(fù)仇悲劇(revengetragedy),莎士比亞的早期歷史劇《亨利六世》三部(1,2瘋癲,常常表現(xiàn)在主人公,有時(shí)是裝瘋,有時(shí)則是真瘋;延宕復(fù)仇,或是因?yàn)闆](méi)有適當(dāng)?shù)臋C(jī)會(huì),或是因?yàn)閼岩墒欠駪?yīng)該復(fù)仇;主人公不是從道德判斷而往往從個(gè)人責(zé)任的角度看待復(fù)仇,等等,當(dāng)然還包括最終主人公英勇殞命。這些因素,我們?cè)凇稘h姆雷特》中均能看到。,18世紀(jì)后半葉：漢姆雷特的性格,“莎士比亞原意??描寫(xiě)一項(xiàng)偉大的行動(dòng)放置在不適合完成它的一個(gè)心靈上[所產(chǎn)生]的結(jié)果。??[漢姆雷特?fù)碛衇一個(gè)可愛(ài)的、純真的、高尚而且極其善良的本性,但是缺乏形成一位英雄的力量,因不堪重負(fù)但又不能脫卸而沉淪?！?--歌德，1795，《維廉麥斯特的學(xué)習(xí)時(shí)代》,“所有人性中善良的、優(yōu)秀的全都體現(xiàn)在漢姆雷特,只有一個(gè)特征例外。他是生活在思考中的人,每一個(gè)有動(dòng)力的人和神都召喚他行動(dòng),但是他生命的偉大目標(biāo)被不斷的行動(dòng)決心打敗,[他]什么也不做,只是決心。”---Coleridge，“OnLiterature”,Coleridge’sPoetryandProse.,19世紀(jì)初：叛逆者,漢姆雷特同浪漫主義者一樣,都是孤膽英雄,用個(gè)人的力量反抗不合理的政治制度和社會(huì)體制,他們所思考的都是在“顛倒混亂的時(shí)代”如何完成“扭轉(zhuǎn)乾坤的責(zé)任”并建立一個(gè)新世界。,柯勒律治對(duì)漢姆雷特的延宕已經(jīng)有了結(jié)論,即是他的性格決定的:漢姆雷特是一位哲學(xué)家,不是一個(gè)行動(dòng)者,他的哲學(xué)思考令他不能付諸行動(dòng),因?yàn)椤皼Q心的赤熱的光彩,被審慎的思維蓋上了一層灰色。,20世紀(jì)初：弗洛伊德夢(mèng)者/精神病患者,劇中的王子裝瘋來(lái)掩飾自己。他的行為正如現(xiàn)實(shí)中的夢(mèng)一樣。漢姆雷特所說(shuō)的關(guān)于自己的話(huà),我們會(huì)用來(lái)談?wù)搲?mèng):在一個(gè)機(jī)智和晦澀的外衣下隱藏著真實(shí)的情況:“我就像西北風(fēng)一樣地瘋?！?--《釋夢(mèng)》,弗洛伊德認(rèn)為,：漢姆雷特所掩飾的,并不是像他所說(shuō)的伺機(jī)復(fù)仇的動(dòng)機(jī),而是無(wú)意識(shí)領(lǐng)域延宕復(fù)仇的心理。無(wú)意識(shí)里不能殺死克勞迪斯的心理與意識(shí)中為父復(fù)仇完成作兒子的責(zé)任的念頭,構(gòu)成了漢姆雷特心理的沖突,造成神經(jīng)官能紊亂,所以,漢姆雷特有時(shí)是真的瘋了。,20世紀(jì)另一個(gè)傾向：把《漢姆雷特》置于伊麗莎白一世時(shí)代和社會(huì)的語(yǔ)境,《漢姆雷特》不是關(guān)于一個(gè)人,他的性格是要揭開(kāi)的謎,它是關(guān)于一個(gè)經(jīng)歷種種苦難的人,不是關(guān)于一個(gè)不能做出決定的人,而是關(guān)于一個(gè)有關(guān)生死的戲劇,是一個(gè)有關(guān)腐敗的戲劇。---C.S.劉易斯,《漢姆雷特》的主題是罪惡,罪惡之不可避免的自我毀滅:“罪惡醞釀罪惡,并且導(dǎo)向毀滅?！?漢姆雷特不能行動(dòng),原因也是強(qiáng)烈的罪惡感,罪惡不僅存在于克勞迪斯和他母親的亂倫,還存在于整個(gè)丹麥王國(guó):荒蕪不治的花園內(nèi)的莠草,不但令?yuàn)W菲利婭窒息而死,還窒息了漢姆雷特。漢姆雷特盡管品格高尚,但本質(zhì)柔弱,抵擋不住罪惡那毀滅性的力量的打擊。---H.D.F.基多,20世紀(jì)的另一個(gè)傾向：形而上學(xué)的和認(rèn)識(shí)論的語(yǔ)境解讀,形而上學(xué)：這種方法強(qiáng)調(diào)人在宇宙中的位置,所以,漢姆雷特的問(wèn)題不是心理的,也不是智力的,而是人的必定死亡這一性質(zhì)（mortality)。,認(rèn)識(shí)論：人文主義者,以對(duì)古希臘古羅馬的思想和文藝的發(fā)掘?yàn)槠鯔C(jī),開(kāi)始了對(duì)人類(lèi)自身以及對(duì)人類(lèi)生存其中的自然宇宙的認(rèn)識(shí),這個(gè)認(rèn)識(shí)過(guò)程是漫長(zhǎng)的,會(huì)遇到種種問(wèn)題,有的問(wèn)題解決了(至少在當(dāng)時(shí)的認(rèn)識(shí)水平上是這樣),有的問(wèn)題沒(méi)有解決,尤其是自然世界的神秘莫測(cè)。當(dāng)一個(gè)人處于神秘莫測(cè)的世界的時(shí)候,他的首要問(wèn)題是如何才能確信事物的本質(zhì),如果他不能確信,那么他又怎能行動(dòng)?,巴赫金:狂歡化詩(shī)學(xué),狂歡的主要特點(diǎn)是顛覆等級(jí)、任意渲泄和大眾活動(dòng)。這些特點(diǎn)不僅表現(xiàn)在文學(xué)作品中的情節(jié)人物服裝動(dòng)作等,更重要的是狂歡的語(yǔ)言?？駳g的語(yǔ)言表現(xiàn)了平民百姓的價(jià)值和優(yōu)越,而且也是他們生存以及為了生存的再生產(chǎn)所必需的,所以,狂歡的語(yǔ)言從本質(zhì)上講與吃喝、軀體、死亡以及性密切相關(guān)?？駳g的語(yǔ)言與上流社會(huì)的權(quán)力語(yǔ)言和財(cái)富語(yǔ)言形成鮮明的對(duì)比,它以含混(ambivalence)和荒謬(grotesqueness)為主要特點(diǎn)。,女權(quán)主義批評(píng),女權(quán)主義批評(píng)所關(guān)心的是,在人類(lèi)文明發(fā)展過(guò)程中女性是如何被邊緣化的,如何被貶低到次要位置的,在父/夫權(quán)文化的統(tǒng)治下女性是如何被異化的,以及在整個(gè)邊緣化和異化的過(guò)程中女性又是如何有意識(shí)無(wú)意識(shí)地為自己的身份和權(quán)力進(jìn)行斗爭(zhēng)的。,神話(huà)/原型批評(píng),漢姆雷特與埃斯庫(kù)勒斯筆下的俄瑞斯忒斯(Orestes)以及索?？死账构P下的俄狄浦斯有許多相似之處,他認(rèn)為劇中的主人公都是被某種情結(jié)糾纏著的犧牲品形象(hauntedsacrificialfigure),漢姆雷特和俄瑞斯忒斯被復(fù)仇的責(zé)任糾纏著,因而導(dǎo)致悲劇的結(jié)果,俄狄浦斯不能忘懷的是要逃避弒父娶母的事情發(fā)生,最終還是走向悲劇的命運(yùn)。,Conclusion,漢姆雷特在論戲的時(shí)候說(shuō)道:“自有戲劇以來(lái),它的目的始終是反映人生,顯示善惡的本來(lái)面目,給它的時(shí)代看一看它自己演變發(fā)展的模型?！?戲劇是如此,批評(píng)亦復(fù)如此。批評(píng)也反映其時(shí)代的思想和風(fēng)貌,我們透過(guò)《漢姆雷特》的批評(píng),可以看到莎士比亞的批評(píng)軌跡,還可以窺見(jiàn)整個(gè)文學(xué)批評(píng)的一斑。當(dāng)然,這里沒(méi)有善惡的面目,卻有思想的犀利、觀察的深微,它自己演變發(fā)展的模型,折射出《漢姆雷特》的博大和深邃。,,,NowthatyouhavefinishedHamlet,itisimportantthatyouconsiderthethemesoftheplay.Duringthereading/viewingoftheplay,youhavebeenwritingdownexamplesofthefollowingthemesanddramaticelements:,IdentityandSenseofSelf(thequestionofmadness)HumanQualitiesandIdeals(theeffectsofpowerandthesearchforrevenge)HumanRelationships(theneedforloveandfamily)Joy&Inspiration/Doubt&Fear(theimpactthatidentity,ideals,andrelationshipscanhaveonourjoysandfears)Hamlet’ssoliloquy’s(thedemiseofahero),