Hamlet

Influence

Hamlet is one of the most quoted works in the English language, and is often included on lists of the world's greatest literature.[d] As such, it reverberates through the writing of later centuries. Academic Laurie Osborne identifies the direct influence of Hamlet in numerous modern narratives, and divides them into four main categories: fictional accounts of the play's composition, simplifications of the story for young readers, stories expanding the role of one or more characters, and narratives featuring performances of the play.[145]

Actors before Hamlet by Władysław Czachórski (1875), National Museum in Warsaw

English poet John Milton was an early admirer of Shakespeare and took evident inspiration from his work. As John Kerrigan discusses, Milton originally considered writing his epic poem Paradise Lost (1667) as a tragedy.[146] While Milton did not ultimately go that route, the poem still shows distinct echoes of Shakespearean revenge tragedy, and of Hamlet in particular. As scholar Christopher N. Warren argues, Paradise Lost's Satan "undergoes a transformation in the poem from a Hamlet-like avenger into a Claudius-like usurper," a plot device that supports Milton's larger Republican internationalist project.[147] The poem also reworks theatrical language from Hamlet, especially around the idea of "putting on" certain dispositions, as when Hamlet puts on "an antic disposition," similarly to the Son in Paradise Lost who "can put on / [God's] terrors."[148]

Henry Fielding's Tom Jones, published about 1749, describes a visit to Hamlet by Tom Jones and Mr Partridge, with similarities to the "play within a play".[149] In contrast, Goethe's Bildungsroman Wilhelm Meister's Apprenticeship, written between 1776 and 1796, not only has a production of Hamlet at its core but also creates parallels between the ghost and Wilhelm Meister's dead father.[149] In the early 1850s, in Pierre, Herman Melville focuses on a Hamlet-like character's long development as a writer.[149] Ten years later, Dickens's Great Expectations contains many Hamlet-like plot elements: it is driven by revenge-motivated actions, contains ghost-like characters (Abel Magwitch and Miss Havisham), and focuses on the hero's guilt.[149] Academic Alexander Welsh notes that Great Expectations is an "autobiographical novel" and "anticipates psychoanalytic readings of Hamlet itself".[150] About the same time, George Eliot's The Mill on the Floss was published, introducing Maggie Tulliver "who is explicitly compared with Hamlet"[151] though "with a reputation for sanity".[152]

L. Frank Baum's first published short story was "They Played a New Hamlet" (1895). When Baum had been touring New York State in the title role, the actor playing the ghost fell through the floorboards, and the rural audience thought it was part of the show and demanded that the actor repeat the fall, because they thought it was funny. Baum would later recount the actual story in an article, but the short story is told from the point of view of the actor playing the ghost.

In the 1920s, James Joyce managed "a more upbeat version" of Hamlet—stripped of obsession and revenge—in Ulysses, though its main parallels are with Homer's Odyssey.[149] In the 1990s, two novelists were explicitly influenced by Hamlet. In Angela Carter's Wise Children, To be or not to be is reworked as a song and dance routine, and Iris Murdoch's The Black Prince has Oedipal themes and murder intertwined with a love affair between a Hamlet-obsessed writer, Bradley Pearson, and the daughter of his rival.[151] In the late 20th century, David Foster Wallace's novel Infinite Jest draws heavily from Hamlet and takes its title from the play's text; Wallace incorporates references to the gravedigger scene, the marriage of the main character's mother to his uncle, and the re-appearance of the main character's father as a ghost.

There is the story of the woman 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."

     — Isaac Asimov, Asimov's Guide to Shakespeare, p. vii, Avenal Books, 1970


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