第一篇：Hamlet(哈姆雷特)教學課案

The tragedy of Hamlet/ Prince of Hamlet/(more simply)

Hamlet

Plot:

The play, set in Denmark, recounted the story of Prince Hamlet’s revenge.Young Hamlet, prince of Denmark, came home from boarding school to find his father, King Hamlet, dead.To make matters worse, he did not get the throne as his uncle, Claudius, had married Hamlet’s mother Gertrude and taken the kingship.Hamlet was invited by his father’s ghost, who told him it was Claudius did the murder and that Hamlet must revenge for him.The rest of the play involved Hamlet’s pursuit of evidence and of an opportunity to kill the new king.And finally he succeeded.Background information:

In that time, bourgeois democratic thought won support among many people.The advanced idea was in great contrast with the old feudal system.The play Hamlet reflected the social reality of that time.What’s more, Shakespeare expressed his humanism idea and his concern for the future of the people.In fact, during that time, because of the distant between ideal and reality, Shakespeare’s writings had transferred from glorifying humanism into criticizing the reality.Now, let’s analyze the play in detail.Hamlet had a tragic life.In fact, his life is not to be like that.It was he who chose his own life.In other words, he can live his life without sorrow and anxiety;however, he chose to explode the truth of his father’s death.When the truth was exposed, the only thing filling his mind was revenge.So what are the leading factors forcing him to revenge? I think the first thing was love and loyalty.As a matter of fact, love and loyalty ran through the play from the beginning to the end.That is to say all what happened are connected with love and loyalty.Details:

Love:

1.between Hamlet and Ophelia

2.between the dead king and his Queen

Disloyalty:

1.Ophelia betrayed Hamlet

2.the Queen betrayed the dead King

Loyalty:

1.Hamlet to his father

2.Horatio to Hamlet

Analysis of major characters

Hamlet:

Melancholy – Father’s death

His disappoint with his mother

Impulsive – When he stabs Polonius through a curtain without even checking

who he is

No premeditating through the whole pay

Looking down upon women – His words often indicate his disgust with all

distrust of women in general

Hesitation – He thinks a lot before action

To be or not to be

On finding out the murder

Claudius:

Shrewd – kill he brother and get the throne

Lustful

Corrupt politician – always have parties

Skillful at language speech – persuading to kill Hamlet

Gertrude:

Desire for station and affection

Use a man to fulfill her instinct for self-preservation

Fragile/ brave – former king’s death

Hamlet’s madness

Becoming the wife of Claudius

To know the plot and understand the characters better, we rehearsed a fragment of the play.The script is on the last page of the plan paper

The play Hamlet reflected a lot of themes.We mainly analyzed two themes: madness and gender discrimination.Madness:

In Hamlet, Shakespeare incorporates a theme of madness with two characters: Ophelia & Hamlet.Ophelia is definitely mad, while Hamlet is frequently disputed.Some think his madness is all an act, but some think over the course of the play, his mental state deteriorates to a point where it is accurate to call him truly mad.Different people hold different view upon this issue.And the different understanding of Hamlet’s madness stems from different plots of two important plots in the play.One is(act 3 scene1), after he say he did love Ophelia, and he reverses and resists not, even insults his lovely girl.Another is(act3 scene4)his murder of his uncle in his mother’s bedroom even without knowing who it is hiking there.Some people think those impulsive actions prove to be true mad, here, I want to share my understanding.In my opinion, it is all an act.First, after his pretending of madness, Hamlet becomes a very alert man, watchful to everybody.He always doubted somebody is tempting him, so he behaves like this.Second, his murder of his uncle is really very impulsive, but this can not prove his true madness.He shows his sadness and regrets after he knows what he actually does.There is also much textual evidence in this play.One is after he sees Ophelia’s suicide;he shows his sorrow, if he is actually mad,how can explain those painful words.Another is in the last part, he killed his uncle, if he is actually mad, and how can he recognize his enemy.Above those, I can safely draw a conclusion that hamlet’s madness is all an act.Gender discrimination

“frailty, the name is woman,” so said Hamlet in this play.This attitude stems from his disgust to his mother’s sexuality and seeming unfaithfulness to his dead father.When Claudius warns Hamlet that his grief is “unmanly”, Hamlet refers to himself as a promiscuous woman but not a promiscuous man.This shows that Hamlet is a pure sexist.This outlook eventually spills over include all women, especially the hapless Ophelia, who has virtually no power to control any thing, even over her own body.At the same time, Hamlet’s association between women and deception also shows that he is a hesitative person.Hamlet’s attitude towards women also shows that at that time women’s social status was very low.Evaluation of the play of Hamlet

The play vividly charts the course of real and feigned madness – from overwhelming grief to seething rage – and explores themes of treachery, revenge, incest and moral corruption.Hamlet is one of the most quoted works in the English language.There is a story of some people who read Hamlet for the first time and said,” I don’t see why people admire that play so.It is nothing but a bunch of quotations strung together.” From that we can see how frequently quoted and widely spread it is in the modern world.And it is often included on lists of the world’s greatest literature.It also reverberate through the writing of later centuries.Adapted movies:

王子復仇記

1948, 1990, 1996, 2000, 2009

The 1948 version was recognized as the most classical version

In contrast with other versions, most of us will like the 1990 version.Though highly commercialized, it sticks the most closely to the original work of Shakespeare.

第二篇：Hamlet 哈姆雷特 中英對照劇本

Hamlet 第一幕

scene 1

艾爾西諾，城堡前的露臺

人物：Francisco、Bernardo、Horatio Francisco at his post, enter to him Bernardo.（弗蘭西斯科立臺上守望，勃那多自對面上）B：Who’s there? F: Long live the king!B: Bernardo? F: Yes.B: It’s twelve o’clock now.Get to bed, Francisco.F: For this relief much thanks, It’s bitter cold, and I am sick at heart.謝謝你來替我，天冷得厲害，我心里也老不舒服。B: Have you had quiet guard? 你守在這兒，一切都很安靜嗎？ F: Not a mouse stirring.一只小老鼠也不見走動。

B: Well, Say, What, is Horatio there? 喂，——啊！霍拉旭也來了。

Horatio: A piece of him.有這么一個他。

B: What, has this thing appeared again? 什么！這東西今晚又出現過了嗎？ F：What are you talking about？

Horatio： Keep silence!Look, where it come again!（鬼混上）B: Look it not like the dead king? Mark it, Horatio.他不是很像已故的國王嗎？ 你看，霍拉旭。（雞叫，鬼混退）

Horatio：Most like，it makes me feel wonder and scare.I think we should tell our young Hamlet.好像啊！它讓我感動恐懼和害怕。我認為我們應該告訴我們年輕的哈姆雷特。F&B: Yes.（退下）

Scene 2 城堡中的大廳

The old king Hamlet’s the memory be green , the King Claudius was took over his right, and then married with the Queen.Horatio: My lord, I came to see your father’s funeral.殿下，我是來參加您的父王的葬禮的。

Hamlet: Please don’t mock me, I think it was to see my mother’s wedding.Would I had met my dearest foe in heaven or ever I had seen that day, Horatio!My father!—— I think I seem to see my father.請你不要取笑，我想你是來參加我的母后的婚禮的。我寧愿在天上看見我最痛恨的仇人，也不愿看到那樣的一天！我的父親，我仿佛看見我的父親。Horatio: Where, my lord? Hamlet: In my mind’s eye, Horatio.在我心靈的眼睛里。

Horatio: My lord, I think I saw him yester night.Hamlet: The king my father!Where did you see him? Horatio: My lord, upon the platform where we watched.Hamlet: I will watch the platform tonight, I think he will appear again.Scene3 露臺

（哈姆雷特、霍拉旭上）

Hamlet： It’s very cold.(搓手)What time is it now? Horatio: I think it lacks of twelve.(東張西望)Look, my lord, it comes!(鬼混出現,向哈姆雷特招手)Hamlet：Where will you lead me? Tell me!I’ll go no further.(跟上前)Horatio: No, do not go with it.(停在原地)Ghost ：Listen to me.Hamlet: I will.Ghost: I’m your father’s spirit.Thou noble youth, the snake that did poisoned your father is now wears his crown.And he was married with my dear wife.我是你父親的亡魂。好孩子，那毒害你父親的蛇，頭上戴著王冠呢。他現在還和我親愛的妻子結婚了。Hamlet： My uncle!Ghost: Yes, you should take revenge for me.是的，正是他，你要為我報仇。

Hamlet: I swore I will revenge against the men who murdered you.我發誓我會為你報仇的。

Ghost： It was getting light and shapes were more distinguishable，I’m leaving.Remember me.(下)天亮了，我要走了。要記得我。Hamlet: Rest, rest, poor spirit.安息吧，可憐的靈魂。

第二幕

Scene 1 波格涅斯家中 One day, Ophelia saw Hamlet with his doublet all unbraced, no hat upon his head, his stocking fouled, ungarter’d ,and down-gyved to his ancle, pale as his shirt, his knees knocking each other, and with a look so piteous in purportas if he had been loosed out of hell to speak of horrors.She was frightened，and she told her father Polonius.一天，奧菲利亞看見哈姆萊特的上身的衣服完全沒有扣上扣子，頭上也不帶帽子，他的襪子上沾著污泥，沒有鞋帶，一直垂到腳踝上，他的臉色像他的襯衫一樣白，他的膝蓋互相碰撞，他的神氣是那樣凄慘，好像他剛從地獄里逃了出來。她被嚇壞了，然后告訴了她的父親。

Polonius: Mad for your love? Ophelia: My lord, I don’t know, but truly, I do fear it.父親，我不知道，可是我想也許是的。

Polonius: Come, go with me, I will tell the king, it must be a crazy love.Have you given him any hard words? 跟我來，我要告訴王上，這一定是一場瘋狂的戀愛，你最近和他說過什么讓他難堪的話沒有？

Ophelia: No, my good lord, but, as you did command, I did refuse his inviting and denied his access to me.沒有，父親，可是我已經遵從您的命令，拒絕他的邀請，并且不允許他來見我。Polonius: That had made him mad.Come, go we to the king.（同下）

Scene 2 王后寢宮前

Polonius told the king that Hamlet was mad, the king plans to arrange Hamlet’s friends and Ophelia to probe if he is mad.At last, they told the king that Hamlet was a mad man.Then the king ask the queen to educate Hamlet.波洛涅斯把一切告訴了國王，國王決定派哈姆雷特的朋友們以及奧菲利亞去試探他是否瘋了。最后，他們告訴國王，哈姆雷特瘋了。國王要求王后去教育哈姆雷特。

King Claudius: I don’t like him.I pray you , bring him to England.His existence will threat my crown.我不喜歡他，請你們和他一起去英國吧，他的存在會威脅我的王位。

Guildenstern: We will package our luggage as soon as possible, most holy and religious fear it is to keep those many bodies safe that live and feed upon your majesty.（下）

我們就去準備起來，許多人的安危都寄托在陛下身上，這種顧慮是最圣明不過的。Polonius: My lord, Hamlet is going to his mother’s closet;I’ll convey myself behind the curtain to hear the process.Fare you well, my lord, I’ll call upon you before you go to bed, and tell you what I know.陛下，哈姆雷特去了王后的寢宮，我現在就去躲在帷幕后面，聽他們怎么說。再會，陛下，在您未睡以前，我還要來看您一次，把我所探聽到的事情告訴您。King Claudius: Thanks, dear my lord.(下)（王后及波格涅斯上）Polonius: He’s coming.I’ll stood behind the curtain, pray you, be round with him.Hamlet：（上）Mother, mother, mother.Queen: I’ll warrant you, fear me not, withdraw, I hear him corning.（波格涅斯下，躲在帷幕后。）

包在我身上，你放心吧，快躲起來，我聽見他來了。Hamlet: Now, mother, what’s the matter.Queen： Hamlet, you have your father offended.哈姆雷特，你已經大大得罪你父親啦。Hamlet: Mother, you have my father offended.母親，你已經大大得罪我母親啦。

Queen: Come, come, you answer with a wicked tongue.來，來，不要用這種胡說八道的話回答我。

Hamlet: Go, go, you question with a wicked tongue.去，去，不要用這種胡說八道的話問我。Queen: Oh, Hamlet, have you forgot me? Hamlet: No, I didn’t forget you.You’re the queen, your husband’s brother’s wife;and would it were not so!You’re my mother.不，我怎么會忘記你，你是王后，你的丈夫的兄弟的妻子，你又是我母親，但愿你不是。

Queen： What you said is so cruel for me, you’re my son forever.Hamlet: Come，come, sit down, I will set you up a glass where you may see the inmost part of you.（與王后拉拉扯扯）

來來來，坐下來不要動，我要把一面鏡子放在你面前，讓你看一看你自己的靈魂。Queen: What will you do? You will not murder me? Help, help!Polonius（站起身大喊）What!Help, help!Hamlet:（拔劍）Who’s there!A rat? I’ll kill you!（刺向波格涅斯）（波格涅斯倒地）

Queen: Dear me!What are you doing? Hamlet: I don’t know.Is it the king? Queen: Oh.How cruel you are!

旁白：After Polonius’s death, Hamlet was send to England, and Ophelia was affected by the stimulus.One day, she walked along the river, and was so sad that she didn’t keep her eyes on her the road, and was dropped into the river accidentally.At the same time, Hamlet was escape from England and attended her funeral.During the funeral, Hamlet met Ophelia’s brother, Laertes.Laertes was angry with Hamlet, he think his father and sister’s death was caused by Hamlet, he want to revenge for them, so he challenged his rival to a duel with Hamlet.波格涅斯死后，哈姆雷特被遣送至英國，而奧菲利亞為她父親的死受到了刺激，有一天，她走在河邊，因為太過悲傷而沒有留意腳下，不慎墜河身亡。在那時，哈姆雷特剛好秘密回到丹麥，剛好遇上奧菲利亞的葬禮。在葬禮上，他看見了奧菲利亞的哥哥雷歐提斯。雷歐提斯認為父親和妹妹的死都是哈姆雷特造成的，因此，要求和哈姆雷特決斗。

第三幕

（一張桌子被侍從們排開, 鼓號齊響后一隊軍官持墊魚貫而入。）

Enter KING CLAUDIUS, QUEEN GERTRUDE, LAERTES, Lords, OSRIC, and Attendants with foils, & c 國王、皇后、雷爾提、奧斯力克、與眾朝臣入。眾侍從持劍入。

KING CLAUDIUS：Come, Hamlet, come, and take this hand from me.來, 哈姆雷特,來握這支手。

（KING CLAUDIUS puts LAERTES' hand into HAMLET's）（把雷爾提的手放在哈姆雷特的手中）

HAMLET：Give me your pardon, sir: I've done you wrong;who killed you father? Hamlet, his madness.請原諒我，是我做錯了。是誰殺了你父親呢？是哈姆雷特的瘋癥干的。

LAERTES：I’m satisfied in nature, whose motive, in this case ,should stir me most to my revenge ,But now I’m very satisfied because you can duel with me.But till that time, I do receive your offered love like love, And will not wrong it.按理講這件事情我的感情應該是激動我復仇的主要力量，但是現在你能和我決斗我已經很滿足了，我接受你道歉的誠意。

HAMLET ：I embrace it freely.Give us the foils.Come on.我樂意的接受此言,取劍來罷!LAERTES：Come , one for me.（給我也來一把）

HAMLET ：I'll be your foil, Laertes, Your skill must make you like a star in the darkest night.雷歐提斯，我的劍術荒廢已，這一定會襯得你像最黑暗的夜里一顆耀眼的明星，相比之下，一定更顯得你的本領高強。

LAERTES You mock me, sir.先生取笑了!KING CLAUDIUS ： Give them the foils, young Orica.Cousin Hamlet, You know the wager?拿劍來給他們罷, 奧斯力克。哈姆雷特愛侄, 你懂得賭規嗎? HAMLET ：Very well, my lord.懂得, 主公。

KING CLAUDIUS：I do not fear it;I have seen you both, But since he is bettered, we have therefore odds.我并不為此憂慮;我曾領教過你們二位的劍技,既然他的實力近來大有進步, 所以他按賭規應讓你幾招。

LAERTES This is too heavy, let me see another.{發覺他拿的不是毒劍} 這柄太重了, 讓我試試另一把。

HAMLET：This adapt me well.These foils have all a length? They prepare to play（揮耍他的劍）這柄很適合我。這些劍都是一般長嗎? OSRIC ： Ay, my good lord.是的, 我的好殿下。

KING CLAUDIUS: Set me the stoops of wine upon that table.If Hamlet give the first or second hit, Or quit in answer of the third exchange, Let all the battlements their ordnance fire, and in the cup an union shall he throw, Richer than that which four successive kings.Come, begin.And you, the judges, bear a wary eye.請把這盅酒擺在那桌上，倘若哈姆雷特擊中第一或第二回, 或在第三回合里取得勝利而停賽, 那么, 炮臺之炮將一齊鳴放, 并將在杯中投入一顆珍珠,它比我國四位先王皇冠上所戴之珍珠還更名貴。來, 開始罷!裁判們, 請看好。HAMLET：Come on, sir.LAERTES：Come, my lord.They play(比劍開始)HAMLET : One.LAERTES: No.HAMLET: Judgment.OSRIC: A hit, a very palpable hit.LAERTES: Well;again.KING CLAUDIUS : Stay;give me drink.Hamlet, this pearl is yours;here’s to your health.Trumpets sound, and cannon shot off within, Give him the cup.稍候, 把酒給我。{自己先喝一大口}哈姆雷特, 這顆珍珠是屬于你的, 祝你建康!{投毒藥于杯中} HAMLET: I'll play this bout first;set it by a while.Come.(They play)Another hit;what say you? LAERTES:A touch, a touch, I do confess.輕微的碰了一下，我承認。KING CLAUDIUS: Our son shall win.QUEEN GERTRUDE : He's fat, and lack of breath.Here, Hamlet, take my napkin, rub you brows;The queen carouses to you fortune, Hamlet.(王后舉起酒杯，朝著哈姆萊特)他有點胖，缺少呼吸新鮮空氣。這里，哈姆雷特，拿上我的手帕，擦擦你的眉毛，王后為你的幸運痛飲。HAMLET：Good madam!KING CLAUDIUS：Gertrude, do not drink.QUEEN GERTRUDE：I will, my lord;I pray you, forgive me.KING CLAUDIUS ：It is the poisonous cup : it is too late.(悄悄說)HAMLET：I dare not drink yet, madam;by and by.QUEEN GERTRUDE：Come, let me wipe you face.LAERTES：My lord, I'll hit him now.KING CLAUDIUS：I do not think so.HAMLET：Come, for the third.LAERTES： come on.They play OSRIC ： Nothing, neither way.兩邊都沒擊中。LAERTES：Have at you now!表演：（雷爾提在亂中趁亂，刺哈姆雷特一劍，哈姆雷特因被雷爾提偷襲，哈姆萊特所以怒火填胸, 持劍猛攻。一陣混亂中, 雙方的劍都落在地上，然後各方把對方的劍撿起）

KING CLAUDIUS：Part them;they are angry.快把他們分開，他們都處于憤怒狀態。HAMLET：No, come, again.（QUEEN GERTRUDE falls）王后倒下 OSRIC ： Look to the queen there.HORATIO：They bleed on both sides.How is it, my lord? OSRIC ：What was happen Laertes? LAERTES： Osric;I am just killed with mine own treachery.HAMLET：How does the queen? KING CLAUDIUS：She swoons to see bleed.她見血就暈過去了

QUEEN GERTRUDE：No, no, the drink, the drink,--OH, my dear Hamlet, The drink, the drink!Dies（王后死）

HAMLET：close the door, and arrest the king.(然后哈姆萊特用毒箭刺向王上)All Treason!treason!（眾人起哄，叛國、叛國）KING CLAUDIUS:O, yet defend me, friends;I am hurt.HAMLET: You deserve it.KING CLAUDIUS, Dies（國王死）

LAERTES: Sorry my lord, it’s all my fault.Please forgive me.Dies（雷歐提斯死）

HAMLET : o ,I die, Horatio;tell the Fortinbras what happened here.(哈姆雷特死)Horatio: Yes, I will.Enter Fortinbras and others.旁白（Horatio told everything to Fortinbras, and the Fortinbra took over the crown，and control the country.音樂起

Ending

第三篇：Hamlet哈姆雷特讀后感

Hamlet

Soliloquy is a dramatic speech delivered by one character speaking aloud while under the impression of being alone.The soliloquist thus reveals his or her inner thoughts and feelings to the audience.The form was quite popular in the plays of Shakespeare.The soliloquy may also act simply as a vehicle for information about absent characters or events occurring at some other time or place.In the first monologue, Hamlet thinking life existence significance: “to be or not to be, this is a problem worth thinking about”.On the one hand , Hamlet has strong sense of responsibility and mission, on the other hand, he feels so isolated, the dream wake up to the pain of no way out.So we can understand the heaviness of Hamlet: “this is a reverse chaotic age, alas, unlucky but I will rise again reforming qiankun responsibility”.He make the humanistic ideal reconstruction reality as their bounden mission.Hamlet is one of ideal characters by Shakespeare, is the Renaissance humanist typical image.He was the new thought, the new culture influence, acura “person” strength.In his “love each other” instead of interpersonal honour low low level relations.He is regarded as a “courtier eyes, scholars contend of tongue, military sword, countries look forward to of a delicate flower.”.But a series of changes in the home , his mental was heavy blow.His love father sudden death that broke his beautiful fantasy about the world and the ugly appear.In the play, he become a Melancholy prince and live in reality and ideal contrast great contradiction.Playwright use a large number of “monologue”, to the survival significance of thinking, to the inequality indignation,is arranged in important moment, it become understand within characters and the thought development vein important way.

第四篇：hamlet 哈姆雷特 讀后感 英文

?To be, or not to be‘ is the object of this drama, this sentence reflects the contradiction and struggle of the young prince.After struggling with his own heart, finally, the young hamlet summoned up courage and fight with his evil uncle.Act I, scene i.On a dark winter night outside Ellsinore Castle in Denmark, an officer named Bernardo comes to relieve the watchman Francisco.Shakespeare uses a dark night as the first background to establish the dark tone.It leads people to a dim kingdom.Act I, scene iii.The morning after Horatio and the guardsmen see the ghost;King Claudius gives a speech to his courtiers, explaining his recent marriage to Gertrude, his brother‘s widow and the mother of Prince Hamlet.Having established a dark, ghostly atmosphere in the first scene, Shakespeare devotes the second to the seemingly jovial court of the recently crowned King Claudius.If the area outside the castle is murky with the aura of dread and anxiety, the rooms inside the castle are devoted to an energetic attempt to banish that aura, as the king, the queen, and the courtiers desperately pretend that nothing is out of the ordinary.It is difficult to imagine a more convoluted family dynamic or a more out-of-balance political situation, but Claudius nevertheless preaches an ethic of balance to his courtiers, pledging to sustain and combine the sorrow he feels for the king‘s death and the joy he feels for his wedding in equal parts.Act I, scene IV also continues the development of the motif of the ill health of Denmark.Hamlet views the king‘s carousing as a further sign of the state‘s corruption, commenting that alcohol makes the bad aspects of a person‘s character overwhelm all of his or her good qualities.And the appearance of the ghost is again seen as a sign of Denmark‘s decay, this time by Marcellus, who famously declares, ―Something is rotten in the state of Denmark‖(I.iv.67)

The short scene that begins Act II is divided into two parts, the first of which involves Polonius‘s conversation with Reynaldo about Laertes and the second of which involves Polonius‘s conversation with Ophelia about Hamlet.The scene serves to develop the character of Polonius, who is one of the most intriguing figures in Hamlet.Polonius can be interpreted as either a doddering fool or as a cunning manipulator, and he has been portrayed onstage as both.In this scene, as he carefully instructs Reynaldo in the art of snooping, he seems more the manipulator than the fool, though his obvious love of hearing his own voice leads him into some comical misprisions(―And then, sir, does a this — a does — / what was I about to say? By the mass, I was about to say some / thing.Where did I leave?‖(II.i.49–51]).In the first two scenes of Act III, Hamlet and Claudius both devise traps to catch one another‘s secrets: Claudius spies on Hamlet to discover the true nature of his madness, and Hamlet attempts to ―catch the conscience of the king‖ in the theater(III.i.582).The play-within-a-play tells the story of Gonzago, the Duke of Vienna, and his wife, Baptista, who marries his murdering nephew, Lucianus.Hamlet believes that the play is an opportunity to establish a more reliable basis for Claudius‘s guilt than the claims of the ghost.Since he has no way of knowing whether to believe a member of the spirit world, he tries to determine whether Claudius is guilty by reading his behavior for signs of a psychological state of guilt.In Act III, scene iii, Hamlet finally seems ready to put his desire for revenge into action.He is satisfied that the play has proven his uncle‘s guilt.When Claudius prays, the audience is given real certainty that Claudius murdered his brother: a full, spontaneous confession, even though nobody else hears it.This only heightens our sense that the climax of the play is due to arrive.But Hamlet waits.As we saw in Act IV, scene ii, the murder of Polonius and the subsequent traumatic encounter with

his mother seem to leave Hamlet in a frantic, unstable frame of mind, the mode in which his excitable nature seems very similar to actual madness.He taunts Claudius, toward whom his hostility is now barely disguised, and makes light of Polonius‘s murder with word games.He also pretends to be thrilled at the idea of sailing for England with Rosencrantz and Guildenstern.As befits a scene full of anger and dark thoughts, Act IV, scene v brings a repetition of the motif of insanity, this time through the character of Ophelia, who has truly been driven mad by the death of her father.Shakespeare has demonstrated Ophelia‘s chaste dependence on the men in her life;after Polonius‘s sudden death and Hamlet‘s subsequent exile, she finds herself abruptly without any of them.In the final scene, the violence, so long delayed, erupts with dizzying speed.Characters drop one after the other, poisoned, stabbed, and, in the case of Rosencrantz and Guildenstern, executed, as the theme of revenge and justice reaches its conclusion in the moment when Hamlet finally kills Claudius.In the moments before the duel, Hamlet seems peaceful, though also quite sad.Throughout this drama, maybe I do not have enough ability to appreciate it absolutely;I learn that people will feel at sea at times, but we must keep up our spirits to struggle and find a correct way to strive.

第五篇：《哈姆雷特》導讀案

《哈姆雷特》導讀案

【導讀】

《哈姆雷特》的作者威廉·莎士比亞(1564—1616)，是歐洲文藝復興時期英國的偉大戲劇家和詩人。是人文主義最杰出的代表。馬克思稱他為“人類最偉大的戲劇天才”，他的同行晚輩本·瓊生稱譽他是“時代的靈魂”，說他“不屬于一個時代，而屬于所有世紀”。

莎士比亞誕生于英國的英格蘭艾汶河上的斯特拉夫鎮。那兒風景如畫，有明凈的河流、蔥郁的森林、朗潤的山陵和肥沃的平原。他慶幸自己在那個“快樂的英格蘭”度過了自己寶貴的童年、少年時光。

少年時代的他，在當地的文法學校讀書，學習過拉丁文和希臘文，并接觸了一些古典文學作品，這對他一生的事業有著啟蒙的意義。青年時代，他加人倫敦的一個劇院，做過雜役，后來還相繼當過雇傭演員、股東演員并參加編劇工作。這期間，他廣泛接觸到社會各階層的生活，增加了人生閱歷，接受了人文主義思想。再后來，他又締識了斯桑普頓伯爵等戲劇愛好者，使他有機會熟悉宮廷和上流社會的生活，耳聞目睹了意大利文藝復興時期的繪畫和音樂，更增強了人文主義思想觀點。他以敏銳的目光，對社會對人生的各個方面進行了觀察、分析、研究，為他以后的文藝創作積累了豐富的創作素材并打下了堅實的思想基礎。

莎士比亞的創作成就主要在戲劇方面。他的歷史劇都取材于英國的歷史，且借此表達他的人文主義的政治理想，代表作有《亨利四世》。喜劇有濃厚的浪漫主義色彩，劇情多發生在南歐，主人公多是具有叛逆精神的貴族男女青年，突出表現他們爭取個人幸福生活權利的斗爭，鮮明地體現了作者主張個性解放、愛情自由、婚姻自主等人文主義的生活理想。代表作有《威尼斯商人》等。悲劇創作是莎士比亞最輝煌的成就，他的四大悲劇《哈姆雷特》、《奧瑟羅》、《麥克白》、《李爾王》都有很高的藝術價值和深遠影響。

莎士比亞的悲劇創作時期正是伊麗莎白統治的末期，新興的資產階級雖未成熟，但勢力都日顯強大，王權與資產階級之間產生矛盾，1603年詹姆士一世上臺后又極力推行封建特權，引起當時進步的資產階級的強烈不滿，于是聯盟開始破裂并一步步轉向公開對立。莎士比亞深感人文主義理想與黑暗的社會現實之間的不可調和有如鮮花插巖縫、清泉過淤潭。理想被壓抑、追求遭阻塞，他先前那種輕松愉快風趣浪漫的感情色彩便完全由沉郁悲愴的情調所取代。《哈姆雷特》集中再現了人文主義者在危難時期的思想狀況，并表達了作者對當時新舊兩個勢力較量局勢的主觀態度。

劇中主人公哈姆雷特是一個有頭腦又深受民眾愛戴的丹麥王子。在得知父王是被新王叔父篡位而殺后，王子決定復仇，但面對老謀深算的奸王，他只得裝瘋以偵察其言行。在一次由他自己導演的“戲中戲”時，奸王暴露了心中的隱秘，王子于是付諸果敢行動為國祛惡。他幾次避難得生，最后在一次比劍中將奸王刺死。自己以及母后和情人、如朋友一般的比劍對手雷歐提斯也一同成了這場宮廷變故的犧牲品。

這個故事是莎士比亞借用丹麥歷史事件來反映當時英國現實和矛盾的，正如作者借主人公表白所云“這是一個顛倒混亂的時代”：國政病人膏肓、國民怨聲載道，“倒霉的我卻要負起重整乾坤的責任”。哈姆雷特是劇中主人公，莎士比亞以他的經歷為線索向我們講述了一個內容豐富、情節生動的悲劇故事。此劇作的精湛藝術已成為世界戲劇創作的典范。下面從人物形象及藝術特點兩方面摭其幾點以析之：

(一)由熱情走向苦悶、由遲疑走向果敢的哈姆雷特。哈姆雷特是文藝復興末期人文主義者的形象。他生長在開明君主的宮廷，青年時代又到人文主義中心的德國威登堡大學接受教育，他理想崇高，目標遠大，善思多才，感情豐富。

他贊嘆“人是多么了不得的杰作!多么高貴的理性!多么偉大的力量!多么優美的儀表!多么文雅的舉動!在行為上多么像一個天使!在智慧上多么像一個天神!宇宙的精華!萬物的靈長!”然而就是這么一個對人生懷有美好愿望的善良、正直、才德兼備的優秀青年，卻連遭父亡母嫁、叔父篡位的三重打擊。宮變的罪惡及朝臣的助紂為虐使他一度對人世失去了興趣，精神也隨之陷入了極度的危機：認為原先那美好的人變成了泥塑物；原先美好的王國也成了“不毛的荒岬”，“一大堆污濁的瘴氣集合”。他苦悶、踟躕，延宕再三后意欲懲惡除奸，又怕打草驚蛇，便暫且佯狂以俟時機“重整乾坤”。

佯狂是哈姆雷特與克勞迪斯較量的第一步智謀，也是他后面交鋒的準備。他借瘋話揭露了王宮的顛、淫、亂，社會的假、丑、惡；在刺探與反刺探的智峙中，他憑著敏銳的目光和智慧的頭腦幾次反敗為勝。他出語鋒利，一針見血，雖語序顛倒，但蘊量十足，令蠢臣狼狽含恥，使奸王坐臥不安。他改編并導演的“戲中戲”是行動的第二步，巧妙的影射使老奸巨猾的克勞迪斯不打自招。剝下克勞迪斯偽善正襟的畫皮后，哈姆雷特不再畏葸，而是變優柔寡斷為果敢明快。他刺殺雌幕后偷聽的御臣、改寫國王的密信后只身折回、比劍刺死奸王、臨終遺囑福丁布拉斯繼立為王再不見他有須臾的延宕。

作為一個悲劇人物和一個人文主義者的典型，哈姆雷特的意義不單純是“重整乾坤”的成功與否、付出代價的多少之別，而在于他揭示了美好理想與黑暗現實的矛盾，并展示了解決矛盾的辦法。他面對矛盾，沒有放棄自己尋求解決途徑的責任，他不曾停止過探索和搏斗，以自己的行為甚至肉體的“融解、消散，化成一堆露水”，向世人昭示文藝復興時代的人文主義理想弱點和精髓。

（二）哈姆萊特經典臺詞

哈：（自言自語）生存或毀滅, 這是個必答之問題：是否應默默的忍受坎苛命運之無情打擊, 還是應與深如大海之無涯苦難奮然為敵, 并將其克服。

此二抉擇, 就竟是哪個較崇高? 死即睡眠, 它不過如此!倘若一眠能了結心靈之苦楚與肉體之百患, 那么, 此結局是可盼的!死去, 睡去，但在睡眠中可能有夢, 這就是個阻礙: 當我們擺脫了此垂死之皮囊, 在死之長眠中會有何夢來臨? 它令我們躊躇, 使我們心甘情愿的承受長年之災, 否則誰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, 假如他能簡單的一刃了之? 還有誰會肯去做牛做馬, 終生疲於操勞, 默默的忍受其苦其難, 而不遠走高飛, 飄于渺茫之境, 倘若他不是因恐懼身後之事而使他猶豫不前? 此境乃無人知曉之邦, 自古無返者。

所以，“理智”能使我們成為懦夫, 而“顧慮”能使我們本來輝煌之心志變得黯然無光, 像個病夫。再之, 這些更能壞大事, 亂大謀, 使它們失去魄力。

哈: 又來一個!這不會是個律師的頭顱吧? 他的鉆牛角尖式之弄法手段、他的分毫必爭之雄辯、他的訴訟案子、他的契據、他的巧妙詭計現在都到哪兒去了呢? 為什么他現在肯讓這位魯莽的家伙用柄骯臟的鏟子來敲他的腦殼子, 而不去控告他犯了毆打罪? 哼, 這位家伙在生前也可能是個地產的大買主, 整天就與他的抵押、他的債券、他的賠償、他的證人、他的收回權為伴。

現在, 他的上好腦袋里所裝的僅是些上好砂土, 難道這就是他的最後賠償、最後收回嗎? 他的證人們還肯不肯為他作證, 去買兩塊地契般大小的地皮呢? 現在, 他的棺材可是恰夠大小來存放這些證件嘍。難道這位買主就無法得到比此更多嗎? 哈!

（三）克勞狄斯

克勞狄斯在《哈》劇中是一位篡位娶嫂的無行之徒，他人面獸心，騙得了哈姆萊特母親的信任，使她甘心受他反指使。他還用自己的政治手腕騙得了一幫朝臣的擁戴，像波洛涅斯這樣的老臣對他是忠心不二。正像老王的鬼魂對他評價的那樣：“那個亂倫的、奸淫的畜生，他有的是過人的詭詐，天賦的奸惡，憑著他的陰險的手段，誘惑了我的外表上似乎非常貞淑 的王后，滿足他的無恥的獸欲。啊，哈姆萊特，那是一個多么卑鄙無恥的叛徒！”（第一幕，第五場）。但對他的道德譴責是無濟于事的。重要的是在他的篡位娶嫂的行為中，包含著將世界作為冷靜計算的對象的體驗結構。克勞狄斯在劇中一直處于占盡先機的地位。他一出場就以“不忘記我們自己的本分”為由來祛除大家對于老國王死去的哀傷，并修書給挪威老國王，勸其制止小福丁布拉斯的莽撞行為。在哈姆萊特誤殺波洛涅斯后，馬上將之譴往英國并密令處死哈姆萊特；最后利用萊阿替斯殺死了哈姆萊特。克勞狄斯非常清醒地知道“我的罪惡是臭氣熏天了”，他有過禱告，但始終占有著那些使他動了殺機的東西——王冠、野心和王后。克勞狄斯的性格明顯是勇于攫取與占有的資產階級形象，而不是九世紀的封建君王。在他身上體現出西美爾所說的現代人的生存樣式：“世界不再是真實的、有機的‘家園’，而是冷靜計算的對象和工作進取的對象，世界不再是愛和冥思的對象，而是計算和工作的對象。”

（四）波洛涅斯

圓滑而又瑣碎，愚蠢卻自認聰明家伙，后來死在哈姆萊特劍下。人們對他印象最深的恐怕要算他對兒子雷歐提斯去法國之前的一番告誡以及讓仆人去調查兒子的生活作風。在兒子臨行前，他說到：

還有幾句教訓，希望你銘刻在記憶之中：不要想到什么就說什么，凡事必須三思而行。對人要和氣，但不要過分狎昵。相知有素的朋友，應該用鋼圈箍在你的靈魂上，可是不要對每一個泛泛的新知濫施你的交情。

留心避免和人家爭吵；可是萬一爭端已起，就應該讓對方知道你不是可以輕侮的。傾聽每一個人的意見，可是只對極少數人發表你的意見；接受每一個人 的批評，可是保留你的判斷。

盡你的財力購制貴重的衣服，可是不要炫新立異，必須富麗而不浮艷，因為服裝往往可以表現人格；法國的名流要人，就是在這一點上顯得最高尚，與眾不同。

不要向人告貸，也不要借錢給別人；因為債款放了出去，往往不但丟了本錢，而且還失去了朋友；向人告貸的結果，容易養成因循懶惰的習慣。

尤其要緊的，你必須對你自己忠實；正像有了白晝才有黑夜一樣，對自己忠實，才不會對別人欺詐。

以上臺詞充分體現出他的自私和狡猾。

（五）喬特魯德

喬特魯德并沒有參與謀殺老哈姆萊特，但老哈姆萊特的鬼魂告訴我們，這個女人在他活著時就經不住誘惑而滿足了克勞狄斯的獸欲，說“一個淫婦雖然和光明的天使為偶，也會有一天厭倦于天上的唱隨之樂，而寧愿摟抱人間的朽骨”。鬼魂的那一番死不瞑目的血淚控訴，尤其對她的背叛行為的譴責，無疑就是莎翁對這個女人的相貌品行的介紹。

果然，喬特魯德一出場就令人頓生厭惡。喪夫不足兩個月的她，以新娘的身份對兒子說，“不要老是垂下了眼皮，在泥土之中尋找你的高貴的父親”。這只會更加激起哈姆萊特對母親的憎恨：“一頭沒有理性的畜生也要悲傷的長久一些，她那流著虛偽之淚的眼睛還沒有消去紅腫，她就嫁了人了??這樣迫不及待地鉆進亂倫的裘被！”后來哈姆萊特干脆稱自己的母親為“最惡毒的婦人”。

但這個最惡毒的婦人，居然讓我產生了同情的傾向；確切地說，是在她呼喊“啊，親愛的哈姆萊特，那杯酒，那杯酒”的時候，——那是狡詐的克勞狄斯為比劍獲勝的哈姆萊特準備的毒酒——我，一個堅信自己的神思與幾百年前的莎翁的神思水乳交融的人，原諒了她。她才是個受害者，也許她自始至終都是個受害者。

如果沒有喬特魯德的死，《哈姆萊特》便不是世上最“完美的悲劇”。

值得注意的是，喬特魯德沒有參與十惡不赦的謀殺，而老哈姆萊特死后（她并不知道丈

夫是被惡叔毒死的），在有著“過人詭詐，天賦奸惡”的克勞狄斯的淫威之下，喬特魯德毫無選擇余地，她只有嫁給克勞狄斯。

“慈母孝子”，也是東西方文化共奉的準則。老哈姆萊特就告戒兒子說，“不可對你母親有什么不利的圖謀，她自會受到上天的裁判和她自己的荊棘的刺戳”。

于是，哈姆萊特便依計而行。他在王后的寢室里誤殺朝臣波洛涅斯之后，并未對喬特魯德采取措施，而是百般羞辱，以全世界最惡毒的語言，刺刀般地扎向自己的生身母親。他對自己說“要我扭你的心”，對母親卻說，“羞啊！要是地獄里的孽火可以在一個中年婦女的骨髓里煽起蠢動，那么在青春的烈焰中，讓貞操像蠟一樣融化吧”、“嘿，生活在汗臭垢膩的眠床上，讓淫邪熏沒了心竅，在污穢的豬圈里調情弄愛——”

喬特魯德受不了了，哀求道，“這些話像刀子一樣戳進我的耳朵，不要說了，親愛的哈姆萊特”。就連老哈姆萊特的鬼魂也忍不住勸兒子，“快去安慰安慰她的正在交戰中的靈魂吧”。但哈姆萊特不為所動，他繼續說，“不要自己安慰自己，以為我這一番說話，只是出于瘋狂，不是真的對您的過失而發；那樣的思想不過是騙人的油膏，只能使您潰爛的良心上結起一層薄膜，那內部的毒瘡卻在底下愈長愈大。向上天承認您的罪惡吧，懺悔過去，警戒未來??”可憐的喬特魯德終于崩潰了，“啊，哈姆萊特！你把我的心劈為兩半了”。

我們的王子仍沒有完，“我不能禁止您不再讓那肥豬似的僭王引誘您和他同床，讓他擰您的臉，叫您做他的小耗子；我也不能禁止您因為他給了您一兩個惡臭的吻，或是用他萬惡的手指撫摩您的頸項”，并刻意對母親挑釁道，“把您所知道的事情一起說了出來，告訴他我實在是裝瘋，不是真瘋”。

但喬特魯德沒向國王說出真情，而是對動了殺機的克勞狄斯說，王子真瘋了，竟把大臣當耗子殺了，并稱“他的純良的本性就從他的瘋狂里透露出來”了。這個謊言挽救了哈姆萊特。及至她喝下那杯國王為哈姆萊特準備的毒酒，在生命的最后一刻，她仍用那源自生命的母愛在呼喊，“啊，親愛的哈姆萊特??”喬特魯德——這位“最惡毒的，而且良心已經潰爛的淫婦”——又一次挽救了兒子！

作為王后喬特魯德，被安排首次出場在第一幕第二場。在前夫老哈姆萊特去世兩個多月后就同他的弟弟克勞狄斯結婚了，這時候她就在兒子哈姆萊特面前喬裝出一副賢妻的形象。“對丹麥王應該和顏悅色一點”，她對兒子說，本應該在失去丈夫后悲痛萬分的她竟然振振有辭地說教起兒子對做自己父親的叔叔要恭敬，并且對丈夫的死抱著這樣平靜的態度：“活著的人誰都要死去，從生活踏入永久的寧靜。”一開始就讓讀者百思不得其解。這個女人究竟是怎么一個形象呢？可以說她是一個典型的雙重性格的人。在兒子面前，他永遠是一個慈善和藹無微不至的母親形象。無論是剛一開始怕兒子沖撞新丈夫對他的教育引導還是后來哈姆萊特跟雷歐提斯的決斗中表現出來的擔心和害怕都能體現莎士比亞對王后喬特魯德雙重性格的塑造。她的死去，是作者對丑惡的否定，也算是對死去的國王的懺悔吧，不過作者安排她被自己愛的國王的弟弟的毒酒毒死應該是她作繭自縛的批判，帶有悲劇色彩。

（六）奧菲莉婭

莎士比亞筆下的女性，大多“優美絕倫”。她們天生麗質，有著“絕色的仙姿”。奧菲莉婭的美貌在《哈姆萊特》中是由他人描述的。王后為兒子哈姆萊特的瘋病傷心時，就把治愈的希望放在奧菲莉婭的美貌上。“奧菲莉婭，但愿你的美貌果然是哈姆萊特瘋狂的原因；更愿你的美貌能夠幫助他恢復原狀，使你們兩人都能安享尊榮。” 哈姆萊特也贊嘆“那天仙化人的，我的靈魂的偶像，最艷麗的奧菲莉婭”，連“發瘋”時也稱她為“迷人的東西”。

莎士比亞筆下的女性不僅天生麗質，而且感情純真，心地善良。但是女性的這種性格卻奠定了莎士比亞悲劇中女性角色的悲哀結局。因此，奧菲莉婭美麗而脆弱。她天真地認為哈姆萊特狂怒地咒罵她只是“瘋病”發作，因而痛心惋惜。而哈姆萊特全然沒有料到他自己發泄狂怒和失望，竟叫這可憐的少女感到那樣絕望的悲痛。父親被戀人所殺，奧菲莉婭最終承

受不了而發瘋，正如她哥哥說道：“啊，五月的玫瑰！親愛的女郎，好妹妹，奧菲莉婭！天啊！一個少女的理智，也會像一個老人的生命一樣受不起打擊嗎？人類的天性由于愛情而格外敏感，因為是敏感的，所以會把自己最珍貴的部分舍棄給所愛的事物。” 最終，美貌又天真善良的奧菲莉婭，因愛情而耀眼，因愛情而隕落。

奧菲莉婭是一名中世紀丹麥宮廷中的美麗少女，她身上有著歐洲封建社會帶給女性的巨大影響。奧菲莉婭堅守歐洲封建道德，保守而軟弱。她以家庭、父兄為中心，不會主動追求本可以得到的幸福。奧菲莉婭雖然愛慕哈姆萊特，相信他合乎一套理想的標準，但是在父親波洛涅斯和兄長雷歐提斯卑劣地懷疑和誹謗下，遵從他們的意愿，不與哈姆萊特接近，卻又在“適當”的時候出現，成為刺探王子的工具。奧菲莉婭所受的宗法家庭的教養和管束決定她絕對馴服和無知。她被這樣的教訓壓制著自己的青春、激情和愛：“留心，奧菲莉婭，留心，我的親愛的妹妹，不要放縱你的愛情，不要讓欲望的利箭把你射中。一個自愛的女郎，若是向月亮顯露她的美貌就算是極端放蕩了”。在父親對自己理想的哈姆萊特作這樣的誹謗——“奧菲莉婭，不要相信他的盟誓它們不過是淫媒，內心的顏色和服裝完全不一樣，只曉得誘人干一些齷齪的勾當，正像道貌岸然大放闕辭的鴇母，只求達到騙人的目的”時，奧菲莉婭只是“一定聽從您的話，父親”。這就足以證明她是絕對馴服的。絕對馴服和無知的少女在當時社會并非少見，封建道德觀念無情地壓制了婦女的意愿。而奧菲莉婭僅是她們中的一員，莎士比亞僅是把她當作中世紀歐洲女性的典型。奧菲莉婭在劇中的出場次數僅有5次，直接對白有56次，間接描寫有5次。相對而言，對她的描寫較少。但無可否認，她的存在豐富了《哈姆萊特》的故事情節，使得充滿男性剛強氣味的《哈姆萊特》有了女性柔情的滋潤。奧菲莉婭在該劇中的地位至關重要，她極大地推動了情節的發展，并為結局添上了濃重的一筆，她因愛情而脆弱，因歐洲封建宗法制而馴服與無知。最終她因劇情的發展而美麗的逝去。

《哈姆萊特》的藝術特色：

（1）廣泛地反映社會生活。《哈姆萊特》雖是一個宮廷復仇故事，但所涉及的生活內容卻遠遠突破了宮內的限制。

（2）情節波瀾起伏，曲折動人，其間的起伏變化不是外加的，而是哈姆萊特與克勞炙斯的性格沖突所決定的。在曲折復雜的戲劇沖突中人物有充分的機會來表現自己的性格。打破了古代戲劇的框框，在一個劇本中把悲劇因素和喜劇結合在一起，加強了情節的生動性，使“崇高和卑賤、恐怖和滑稽、豪邁和詼諧離奇古怪地混合在一起”。

（3）人物的個性化。為了塑造好人物的性格，莎士比亞一是把人物放在內外兩重的矛盾沖突之中，一方面是主人公與客觀環境的沖突，另一方面是主人公的內心沖突。二是善于在對比中突出主人公的性格。三是充分發揮獨白的作用，通過獨白，有力地提示了哈姆萊特的內心活動和他思想性格發展的過程。

（4）語言豐富多彩。一是語言的高度形象化，特別善于運用比喻和隱喻。二是語言的個性化，人物的語言符合其身份地位及其所處的情境。如哈姆萊特的語言有時富于哲理，有時則是充滿市井俚語，因場合、心境不同而不同。

作品鑒賞

“一千個讀者，就有一千個哈姆萊特。”從這句經典的名言中，可以看出，哈姆萊特這個人物形象在讀者心目中的地位。哈姆萊特作為一個深受廣大群眾愛戴的王子，他身上具備整頓局勢、治理國家、報仇雪恨的能力。然而面對著以陰險奸詐的新王為代表的強大的封建勢力，作為一個資產階級人文主義者，他始終把這種和人民緊密相連的事業看做個人的仇恨而孤軍奮戰，因此，他的悲劇既是真善美與邪惡力量相沖突的悲劇，也是一個人文主義者時

代的悲劇。

哈姆萊特形象之所以具有強烈的悲劇美，關鍵在于構成這一切的矛盾沖突，悲劇正是通過對沖突必然性的揭示，通過對有價值東西的毀滅，表達了對真善美的肯定。哈姆萊特以自己的死贏得了對舊制度、舊勢力道義上的勝利，悲壯而不悲觀，使人們透過悲劇，從主人公的身上感受到一種新的生命，看到了黑暗王國的一線光明。

劇中除了描寫哈姆萊特的復仇情節線索之外，還安排了雷歐提斯和挪威王子福丁布拉斯的兩條復仇線索，以相互聯系和襯托。（復仇故事

它有三條線索：哈姆雷特為父被謀殺篡權復仇，雷歐提斯為被哈姆雷特無意殺死的父親波洛紐斯復仇，福丁布拉斯為其在戰場上比武喪生的父親復仇。流血復仇的情緒籠罩全篇。三條線索以哈姆雷特的復仇為主線，其他兩條為副線，交錯發展而又主次分明。其中尤其重點寫了哈姆雷特一家和奧菲莉婭一家的種種糾葛。）在復仇情節之外，莎士比亞還寫了哈姆萊特和奧菲莉婭之間的愛情，哈姆萊特和霍拉旭之間的真誠友誼，哈姆萊特和背叛自己父王的母親復雜的關系等。在突出悲劇的陰郁、灰暗、緊張的氛圍的同時，作者又穿插進嘲諷的詩句和插科打諢的幽默場面，使得戲劇達到“崇高和卑下、可怕和可笑、英雄和丑角的奇妙的混合”，顯示出豐富的人物性格和五光十色的社會畫面。

浪漫主義和現實主義相結合的創作手法。鬼魂出現，超出自然段力量，類似于中國的十大悲劇之一——《竇娥冤》的手法相類似。這一手法固然是因為情節的需要，同時也顯示出悲怨之重，僅僅靠人的力量無法懲惡揚善。

【可能考到的問題】

⑴請寫出哈姆雷特這個人物的主要性格特點，并舉出一處情節簡要說明。

答：優柔寡斷，憂郁多疑。謹慎有謀略。機智、果敢、勇敢與軟弱、妥協、魯莽交織。例：聽了父親的鬼魂告白，叔父祈禱時，他本可輕麗易舉復仇，可他放棄了，說明他優柔寡斷、軟弱；和母親談話；發現有人偷聽，一劍錯殺了情人的父親，說明他多疑、魯莽；他裝瘋躲避國王，借演戲試探叔父的反應，說明他機智、謹慎；新父王要殺他，他識破奸計，調換詔書，處死兇手，回國復仇，說明他勇敢、機智、果敢。

⑵決心為父復仇并要“負起重整乾坤責任”的哈姆雷特，為什么要裝瘋? 答：保護自我，避免受到迫害(對手克勞狄斯是國家的最高統治者。強大而又陰險；哈姆雷特怕不小心泄漏了心事，反遭敵人的毒手)；迷惑對方，尋找復仇時機(借裝瘋既可以躲過對方的耳目，也可借此試探對方)；借瘋言瘋語，發泄對當前黑暗現實的不滿。

⑶“一千個讀者眼中有一千個哈姆雷特”，請簡要概括你眼中的哈姆雷特的形象。答：有崇高的理想，對人類與世界有新穎的看法。目光敏銳，思考深刻，又有高度的社會責任感。但過于內向，過于審慎，加上勢單力薄的處境，造成行動上的延宕。他的性格決定了他的悲劇命運。

⑷請簡要分析莎士比亞《哈姆雷特》中主人公哈姆雷特的主要性格特征。

答：哈姆雷特是一個人文主義知識分子的典型，在為父報仇過程中優柔寡斷，由于復仇任務的艱巨和自身力量的不足，同時出于道德、愛情的種種思考，他找不到復仇和變革的途徑，這使得他長于思考，行動遲緩。

（5）克勞狄斯是《《哈姆雷特》中的一個“反派”角色，請說出他的兩個“惡行”。答：克勞狄斯以最卑鄙的手段殺死了兄長，奪取王位，霸占嫂嫂，還試圖以奸詐的手段置王子于死地。

（6）《哈姆雷特》中，國王看戲后有何表現？說明了什么？

答：國王臉色陰沉、坐立不安，不等戲演完就騰地站起來，并大聲吩咐人點起火把來。回去以后“非常不舒服”“發脾氣”。這一切反常的表現都表現了罪惡被人揭穿時煩躁、害怕的復雜的心理狀態。

（7）哈姆雷特和雷歐提斯比劍是全劇的高潮，請簡述比劍中三個回合的重要情節。（150字左右）

答：第一回合哈姆雷特擊中了雷歐提斯，國王用毒酒為他祝賀，讓他喝下去，他拒絕了。第二回合仍是哈姆雷特取勝。讀者的心里稍感寬慰。可是風云突變，王后喝下了那杯有毒的酒。接下來事情的發展急速而混亂，出乎所有人的意料：在第三回合里，雷歐提斯刺中了哈姆雷特，哈姆雷特隨即奪過劍來也刺中了他，王后倒地。雷歐提斯倒地，揭穿了克勞狄斯的陰謀。哈姆雷特用有毒的劍刺克勞狄斯，并用毒酒灌他，克勞狄斯死去。

（8）哈姆雷特是世界文學畫廊中最鮮明獨特的形象之一，請簡要說明其性格特點，并舉一個情節加以說明。（100字左右）

答：哈姆雷特是一個處于理想和現實矛盾中的人文主義者形象。他本來將父親看成理想的化身，將母親看成愛的化身，是樂觀的王子。可是嚴酷的現實，擊碎了他昔日的夢幻，夢幻的破滅意味著他的人文主義理想信念的破滅。如劇本一開頭哈姆雷特就面對父死母嫁的晴天霹靂，他一方面激憤地詛咒這個“冷酷的人間”，一方面又深入地思考與研究生活在其間的人，他對世界的看法有了根本改變。

（9）劇本在寫克勞迪斯謀殺老國王之后，還寫了四重誤殺。請說出是哪四重？這樣安排情節有何作用？

答： 四重誤殺是：哈姆雷特誤殺波洛涅斯、英國國王誤殺克勞迪斯的兩位使者、克勞迪斯誤殺王后葛露特、哈姆雷特誤殺雷歐提斯。四重誤殺顯示了人和命運之間無奈而尷尬的局面。伴隨著謀殺和誤殺而來的是殘酷的復仇。在丹麥宮廷之內，哈姆雷特由于父親被毒殺而立志復仇，雷歐提斯由于父親波洛涅斯被誤殺而匆匆從法國趕回來雪恨；另外在丹麥宮廷之外，挪威王子福丁布拉斯積極練兵，是為了替在戰場上喪生的父親報仇。復仇使劇本中充滿著血腥的味道，且多線交錯的情節最終都走向悲劇性結局。

（10）獨白這種獨特的戲劇手段的運用，為《哈姆雷特》增色不少。請以劇中“生存還是毀滅”的著名獨白為例，說說它對刻畫主人公形象有什么作用？（150字左右）

答：為了更深入地把握哈姆雷特人物的性格特質，獨白這一揭示人物內心活動最為直接的形式，成了莎士比亞塑造典型的一種重要藝術手段。“生存還是毀滅”這段獨白出現在第三幕哈姆雷特裝瘋呵斥奧菲利亞之前。與后面故意的瘋話相比，這段心理獨白極為真切地揭示出哈姆雷特的內心活動，內心的矛盾沖突得到了淋漓盡致的表現。生與死，夢幻與現實，壓迫與反抗，情與仇，愛與恨，這些充滿人文色彩的話題借助獨白得到充分體現。

（11）下面是《哈姆雷特》中老大臣波洛涅斯教導兒子的一番話，請從中任選一句，談談你的見解。

①不要想到什么就說什么，凡事必須三思而行。②對人要和氣，可是不要過于狎昵。③相知有素的朋友，應該用鋼圈箍在你的靈魂上，可是不要對每一個泛泛的新知濫施你的交情。④留心避免和人家爭吵，可是萬一爭端已起，就應該讓對方知道你不是可以輕侮的。⑤傾聽每一個人的意見，可是只對極少數人發表你的意見。⑥接受每一個人的批評，可是保留你自己的判斷。

答：我對第________句的見解是：

答：示例：第2句，這一句話談與人交往要有適當的距離感，待人要友善，既不要冷淡傲慢，也不可喧賓奪主。（此題只要言之成理即可）

（12）有人說王后喬特魯德是一個典型的雙重性格的人，請你舉出情節加以說明。

答：在前夫老哈姆萊特去世兩個多月后就同他的弟弟克勞狄斯結婚了，本應該在失去丈夫后悲痛萬分的她，竟然振振有辭地說教起兒子對做自己父親的叔叔要恭敬，可見其無情；而在兒子面前，他永遠是一個慈善和藹無微不至的母親形象，如沒有向克勞狄斯告密，對哈姆萊特跟雷歐提斯的決斗中表現出來的擔心和害怕。

（13）老哈姆萊特告戒兒子說，“不可對你母親有什么不利的圖謀??”，你覺得他為什么這樣告誡兒子？

（14）哈姆萊特善于思考的特征也暴露了他優柔寡斷、生性軟弱、過于謹慎而不善于行動的特點，請你舉出情節說明。

答：在接受父親亡魂的托付時，他的決心很大，立即想到了初步的行動是裝瘋。但是，在兩個月后，他還在裝瘋，并沒有完成任務，甚至在他叔父克勞狄斯的面目完全暴露后，哈姆萊特還放棄了復仇的最佳機會。）

（15）奧菲莉婭在劇中的出場次數僅有5次，直接對白有56次，間接描寫有5次。并不是一個主要人物，在這樣鐵血復仇的情節中，你認為美麗柔弱的奧菲莉婭形象在劇中有何作用？（5分）

答：一方面推動了戲劇情節的發展，如她的死引起了哈姆萊特跟她哥哥雷歐提斯的決斗；另一方面，她的死加重的本劇的悲劇性，第三方面，她的出現使得充滿男性剛強氣味的《哈姆萊特》有了女性柔情的滋潤。）答：老哈姆萊特對喬特魯德很有感情。②“慈母孝子”，也是東西方文化共奉的準則。