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William Shakespeare's play Hamlet has contributed many phrases to common English, from the famous "To be, or not to be" to a few less known, but still in everyday English. Some also occur elsewhere (e.g. in the Bible) or are proverbial. All quotations are second quarto except as noted:
The steampunk band Abney Park recorded a song called "Dear Ophelia" that is sung from the point of Hamlet, writing letters to Ophelia expressing that he does, in fact, love her. [47] The Band recorded a song titled "Ophelia" for the album Northern Lights – Southern Cross, in which some have interpreted Ophelia as a metaphor for race-mixing. [48]
Hair: The Tribal Love-Rock Musical (1967) by James Rado and Jerome Ragni, contains the song "What A Piece of Work Is Man", which is taken completely from Hamlet and set to music by Galt MacDermot. [130] "Cruel to Be Kind" is a 1979 single by Nick Lowe. The title of the song is taken from Hamlet, Act III, Scene 4: "I must be cruel only to be ...
Hamlet appears on the other side of the garden. (An English horn plays the Theme of Hamlet's Love.) Hamlet sees Ophélie and tarries. Again she reads aloud from her book (Ophélie: "En vous, cruel, j'avais foi! Je vous aimais, aimez moi!" – "'In you, O cruel one, I believed. I loved you! Love me too!'"), then looks at Hamlet.
The Dire Straits songs makes use of certain aspects of Shakespeare's play, as well as elements of some of the play's stage and screen adaptations. It also purposely diverges from the play's plot and characterizations in certain respects (such as Juliet's reaction to being approached by Romeo). [179] "Rusty James" ¡Uno! Green Day: Rumble Fish ...
Sonnet 116 is an English or Shakespearean sonnet.The English sonnet has three quatrains, followed by a final rhyming couplet.It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions.
The Hamlet of the supposed earlier play also uses his perceived madness as a guise to escape suspicion. Eliot believes that in Shakespeare's version, however, Hamlet is driven by a motive greater than revenge, his delay in exacting revenge is left unexplained, and that Hamlet's madness is meant to arouse the king's suspicion rather than avoid it.
This analysis points to a shift in the tone of the poem, in other words, a volta. The overall framing of the sonnet shines a light on the volta as well. Pairs of lines in the octave are parallel thematically: according to Vendler, "[c]areful parallels are drawn between [lines 1 & 2] and [ll 5 & 6] by fear and perfect ( unperfect ), between [ll ...