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The story of the prince who plots revenge on his uncle (the current king) for killing his father (the former king) is an old one. Many of the story elements—the prince feigning madness and his testing by a young woman, the prince talking to his mother and her hasty marriage to the usurper, the prince killing a hidden spy and substituting the execution of two retainers for his own—are found ...
Hamlet-like legends are so widely found (for example in Italy, Spain, Scandinavia, Byzantium, and Arabia) that the core "hero-as-fool" theme is possibly Indo-European in origin. [8] Several ancient written precursors to Hamlet can be identified. The first is the anonymous Scandinavian Saga of Hrolf Kraki.
Amblett in a 17th-century Danish manuscript illustration. Amleth (Old Norse: Amlóði; Latinized as Amlethus) is a figure in a medieval Scandinavian legend, the direct inspiration of the character of Prince Hamlet, the hero of William Shakespeare's tragedy Hamlet, Prince of Denmark.
The name Hamlet occurs in the form Amleth in a 13th-century book of Danish History written by Saxo Grammaticus, popularised by François de Belleforest as L'histoire tragique d'Hamlet, and appearing in the English translation as "Hamblet". The story of Amleth is assumed to originate in Old Norse or Icelandic poetry from several centuries earlier.
Hamlet has played "a relatively small role" [7] in the appropriation of Shakespeare's plays by women writers, ranging from Ophelia, The Fair Rose of Elsinore in Mary Cowden Clarke's 1852 The Girlhood of Shakespeare's Heroines, to Margaret Atwood's 1994 Gertrude Talks Back—in her 1994 collection of short stories Good Bones and Simple Murders ...
A hamlet in Spain is a human settlement, usually located in rural areas, and typically smaller in size and population than a village (called in Spain, pueblo Spanish:). The hamlet is a common territorial organisation in the North West of Spain (Asturias, Cantabria and Galicia) dependent on a larger entity (e.g. parish or municipality).
"Hoist with his own petard" is a phrase from a speech in William Shakespeare's play Hamlet that has become proverbial. The phrase's meaning is that a bomb-maker is blown ("hoist", the past tense of "hoise") off the ground by his own bomb ("petard"), and indicates an ironic reversal or poetic justice. [1]
In Hamlet, Rosencrantz and Guildenstern always appear as a pair, except in editions following the First Folio text, where Guildenstern enters four lines after Rosencrantz in Act IV, Scene 3. [ 1 ] The two courtiers first appear in Act II , Scene 2, where they attempt to place themselves in the confidence of Prince Hamlet , their childhood friend.