專業(yè)課課件文學hamlet

Alltheworld’sastageAndallthemenandwomenmerelyplayersTheyhavetheirexitsandtheirentrancesAndonemaninhistimeplaysmanyparts…--WilliamShakespeareAsYouLikeIt(II,vii)TwomanifestationsofaplayItisaliterarywork,anorderofwordsonapagetoberead.作為文學文本的戲劇(2)Itisaperformance,anorderofspeechesandvisualeffectspresentedonastage.作為舞臺表演的戲劇TheoriginofwesterndramaTheWesterndramatictraditionhasitsoriginsinancientGreece.

Greektragedy,originatedinthedithyrambattheDionysia(酒神節(jié))of534BC,theleadsingerofthedithyramb(酒神的贊美歌),amannamedThespis(泰斯庇斯),addedtothechorusanactorwithwhomhecarriedonadialogue.DramatictermsrelatedtoplotForeshadowing預示，鋪墊Conflict戲劇沖突Risingaction動作上行Climax戲劇高潮Fallingaction動作下行Anticlimax突降，反高潮Catastrophe悲劇結尾Subplot/doubleplot次要情節(jié)/雙重情節(jié)Character:anypersonappearinginadramaornarrativeProtagonist主角Antagonist反角Foil陪襯人物Stockcharacter/typecharacter類型化人物Theroundedorthreedimensionalcharacterswhoareneitherwhollygoodnorwhollyevil,butwhollyhumanarecertainlythemostconvincingandrichcharacters.Protagonist--themaincharacterinadram.Thischaracterisusuallythemostinterestingandsympatheticandisthepersoninvolvedintheconflictdrivingtheplot.Antagonist--acharacterorforceinconflictwiththeprotagonist.Theantagonistisoftenanothercharacterbutmayalsobeaintangibleforcesuchasnatureorsociety.Thedramaticconflictcanalsotaketheformofastrugglewiththeprotagonist’sowncharacter.Foilacharacterwho,throughdifferenceorsimilarity,bringsoutaparticularaspectofanothercharacter.Laertes,reactingtothedeathofhisfather,actsasafoilforHamlet.Stockcharacter---astereotypicalcharactertypewhosebehavior,qualities,orbeliefsconformstofamiliardramaticconventions.Suchasthecleverservantorthebraggart(吹牛的)soldier.GenresofDrama戲劇類型TragedyComedyedyMelodramaProblemplayFarce……TragedyAristotledefinedtragedyas"theimitationofanactionthatisseriousandalso,ashavingmagnitude,completeinitself,"inthemediumofpoeticlanguageandinthemannerofdramaticratherthanofnarrativepresentation,involving"incidentsarousingpityandfear,wherewithtoplishthecatharsisofsuchemotions.“(“對一個嚴肅行動的模仿，由于這一行動具有一定的長度，所以自身是完整的”，其媒介是詩的語言，表現(xiàn)方式是戲劇性的，而非敘事性的，涉及“引起憐憫與恐懼的事件，并以此達到情感上的陶冶?！?(Seeimitation.)Catharsis(情感陶冶/宣泄)Aristotle’scatharsis(inGreeksignifies“purgation,”or“purification,”orboth).Aristotleinthefirstplacesetsouttoaccountfortheundeniablefactthatmanytragicrepresentationsofsufferinganddefeatleaveanaudiencefeelingnotdepressed,butrelieved,orevenexalted.(許多表現(xiàn)苦難和失敗的悲劇表演給觀眾留下的并不是情緒上的壓抑，而是情感的宣泄甚至是情感的升華。)Inthesecondplace,Aristotleusesthisdistinctiveeffectonthereader,whichhecalls"thepleasureofpityandfear,”asthebasicwaytodistinguishthetragicfromcomicorotherforms,andheregardsthedramatist'saimtoproducethiseffectinthehighestdegreeastheprinciplethatdeterminesthechoiceandmoralqualitiesofatragicprotagonistandtheorganizationofthetragicplot.(亞里士多德把他所謂的“憐憫與恐懼的愉悅”這一作用于觀眾的獨特效果作為區(qū)分悲劇與喜劇或其他形式的基本方式，并把劇作家旨在最大限度地創(chuàng)造這種效果的努力，看做是決定悲劇主人公的選擇和道德品質、決定悲劇情節(jié)組織結構的原則。)Tragedyispositiveandoptimisticinitsviewoftheheightsthehumanbeingcanreach.Theprotagonistmusthavewithinhimthetragicflaw,themakingofhisowndestruction.Whetheryoucallitpride,arrogance,vanityorwhatever,withinthehumanpsychemustresttheseedsofdoom.Tragedyisanassertionofthegreatnessofman.Itshowsman’sabilitytorisetotheheightofhumandignityinthefaceofanopposingforcewhichhehimselfknowswillfinallydestroyhim.Tearsthatmaybeshedatthefinalcatastrophearenottearsofsadness,butofcompassion.bytheend,whentranquilityhasbeenrestored,theaudiencehasgonethroughakindofspiritualpurgation,intherealizationofhowgreatthehumanbeingcanbeuponoccasion.Comedy喜劇Comedyisatermbroadlyappliedtoalight,humorousplaythatendshappily.Comedyisaplaythathasahappyending.Comedyoftenpictureslifeaccuratelyandwithshrewdinsightbutitdoesnotpictureitprofoundly.Itmightshowhowamusing,howfoolish,howillogical,peoplearebutitdoesnotgobeyondthis,andtry,astragedydoes,toexplainthingsbasicandprofoundaboutthenatureofman.Weshouldnotsaythatcomedyisinferiortotragedy.Itisadifferentgenreandeachgenrehasitsownvalueandshouldbeappreciatedforwhatitis.ThetimelessappealofHamlet:A“blood-and-thunder”(緊張激烈的)thrillerAphilosophicalexplorationoflifeanddeathItscombinationofintrigue,emotionalconflictandsearchingphilosophicmelancholy

HamletPrinceHamletGertrudeClaudiusOpheliaLoverPrinceFortinbrasPolonius

FatherSonHoratioRosencrantzGuildernstern

KingHamlet(Ghost)Uncle

MotherSuccessorLaertesFriendsFatherPrinceHamletGertrudeClaudiusOpheliaLoverPrinceFortinbrasPolonius

FatherSonHoratioRosencrantzGuildernstern

KingHamlet(Ghost)Uncle

MotherSuccessorLaertesFriendsFatherTheBanquet,ataleoffateandrevengesetin10thcenturyChina,

hasbeendescribedasalooseadaptationof“Hamlet”.五代十國時期，先帝離奇暴崩，其弟(葛優(yōu)飾)篡位，將年輕貌美的皇后(章子怡飾)、太子(吳彥祖飾)的繼母據(jù)為己有，并將太子發(fā)配邊疆。太子決意復仇。

心懷不軌的大臣(馬精武飾)想要篡位奪權。大臣之女(周迅飾)眷戀太子，為他付出所有而義無反顧。大臣之子(黃曉明飾)為了維護妹妹與家族，也陷入了爭斗的旋渦。ClaudiusHamlet'suncle,andtheplay'santagonist(villain).MachiavellianRuler.Claudiusisacalculating,ambitiouspolitician,drivenbyhissexualappetitesandhislustforpower,butheoccasionallyshowssignsofguiltandhumanfeeling—hisloveforGertrude,forinstance,seemssincere.Gertrude—QueenofDenmarkAshallow,weakwomanwhoseeksaffectionandstatusmoreurgentlythanmoralrectitude(正直)ortruth?Gertrude's"o'erhasty"andincestuousmarriagetoClaudiushasshakenupHamlet'sworld,leavinghimwithasensethattheworldiscontaminated,likean"unweededgarden"that's"rankandgrossinnature"(1.2.6)."Frailty,thynameiswoman!".WasGertrudesteppingoutwithClaudiuswhileOldHamletwasstillalive?TheGhostcallshernewhusband,Claudius,"thatincestuousandadulteratebeast"(1.5.9).DidGertrudeknowherlatehusbandwasmurderedbyhernewman?GertrudeseemsprettysurprisedwhenHamletaccusesherof"kill[ing]akingandmarry[ing]withhisbrother"(3.4.10).Ontheotherhand,youcanalsoarguethatGertrudeissurprisedbecause,well,she'sbeencaught.Self-sacrificingMother?DoesGertrudeknowshe'schuggingpoisonedwineintheplay'sfinalact?Theanswercangoeitherway.PoloniusTheLordChamberlainofClaudius'scourt,fatherofLaertesandOphelia,heisapompous,conniving(陰謀)oldman.He'salsocompletelyhilarious.Asourceof

comicrelieftoaweightyplayHelikestogivethe"whenIwasyourage"speeches,asweseewhenhetellsHamletthathewasinloveonce,too,backintheday.Healsodisheslameadvicelikeit'sgoingoutofstyle.He'slikeanover-eagerparentwhogivesunwantedopinions.Ophelia--Polonius'sdaughter,Hamlet’slove.

Asweetandinnocentyounggirl,whoobeysherfatherandherbrotherLaertes.Dependentonmentotellherhowtobehave,shegivesintoPolonius'sschemestospyonHamlet.InActILaertesdispensesadvicetoOpheliaonthepitfallsofpre-maritalsexinalengthyspeech.Infact,hetellsOphelianolessthanthreetimesthatsheshould"fear"intimacywithHamlet.

There’salotofpressureonsuchayoungwomanandsheeventuallycracks.shesingsabawdysongaboutamaidenwhoistrickedintolosinghervirginitywithafalsepromiseofmarriage(4.5.7).Herdrowningoccursoff-stageandwe'regivenanaccountbyGertrude,whomayormaynothavebeenpresentatthetime.Opheliaisdescribedasbeing"mermaid-like"withher"clothesspreadwide."Evenindeath,Opheliaisfiguredasaneroticcreature.Laertes--Polonius'ssonandOphelia'sbrotherPassionateandquicktoaction,LaertesisclearlyafoilforthereflectiveHamlet.Laertesisalsonotableforhisexcessive"love"forOphelia.Laertesfightswithhisdeadsister'sex-boyfriendaboutwholovedOpheliathemost.Therearetracesofincestuousdesireatworkhere.FortinbrasTheyoungPrinceofNorway,whosefathertheking(alsonamedFortinbras)waskilledbyHamlet'sfather(alsonamedHamlet).FortinbraswishestoattackDenmarktoavengehisfather'shonor,makinghimanotherfoilforPrinceHamlet.TheGhostThespecter(幽靈)

ofHamlet'sdeceasedfather.TheghostcallsuponHamlettoavengehim.Itisnotentirelycertainwhethertheghostiswhatitappearstobe,orwhetheritissthelse.Hamletspeculatesthattheghostmightbeadevilsenttodeceivehimandtempthimintomurder.HamletActIII,Scene1Tobe,ornottobe:thatisthequestion:

Whether’tisnoblerinthemindtosufferTheslingsandarrowsofoutrageousfortuneOrtotakearmsagainstaseaoftroubles,

Andbyopposingendthem?Todie—tosleep—Nomore;andbyasleeptosayweendTheheartache,andthethousandnaturalshocks

Thatfleshisheirto.’tisaconsummationDevoutlytobewished.Todie—tosleep.

Tosleep-perchancetodream:ay,there’stherub!Forinthatsleepofdeathwhatdreamsmaycome

Whenwehaveshuffledoffthismortalcoil,

Mustgiveuspause.There’stherespectThatmakescalamityofsolonglife.Forwhowouldbearthewhipsandscornsoftime,Theoppressor’swrong,theproudman’scontumely,Thepangsofdespisedlove,thelaw’sdelay,Theinsolenceofoffice,andthespurnsThatpatientmeritoftheunworthytakes,活下去還是不活，這是個問題；哪種行為更高貴?是默然忍受狂暴命運矢石的攻擊還是挺身反抗人世無涯的苦難

通過斗爭把它們掃清?

死,

就是睡眠如此而已。而如果睡眠就等于了結了心頭的創(chuàng)痛及千百種身體要承受的

皮肉之苦,那正是我們求之不得的結局。正求之不得??！死，就是睡眠；睡眠也許要做夢,這就麻煩了！我們一旦擺脫了塵世的牽纏,在死的睡眠里還會做些什么夢

卻未免使我們躊躇。正是為了這個緣故,

人們甘心久困于患難之中誰甘心忍受人世的鞭撻和嘲弄壓迫者的凌辱、傲慢者的冷眼失戀的痛苦、法庭的拖延官吏的橫暴,忍讓的有德才者受小人的排擠WhenhehimselfmighthisquietusmakeWithabarebodkin?Whowouldfardelsbear,

Togruntandsweatunderawearylife,ButthatthedreadofsomethingafterdeathTheundiscover’dcountry,fromwhosebournNotravellerreturns—puzzlesthewill,Andmakesusratherbearthoseillwehave

Thanflytoothersthatweknownotof?

Thusconsciencedoesmakecowardsofusall,Andthusthenativehueofresolution

Issickliedo’erwiththepalecastofthought,AndenterprisesofgreatpitchandmomentWiththisregardtheircurrentsturnawryAndlosethenameofaction.Softyounow!ThefairOphelia!Nymph,inthyorisonsBeallmysinsremembered.要是他只要用一柄小小的刀子，就可以清算他自己的一生?誰愿意負著這樣的重擔在煩勞的生活的重壓下呻吟流汗倘不是因為懼怕不可知的死后，懼怕那從來不曾有一個旅人回來過的神秘之國是它迷惑了我們的意志使我們寧愿忍受目前的磨折

不敢向我們所不知道的痛苦飛去？

這樣,重重的顧慮使我們全變成了懦夫,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也因此偏離方向，失去了行動的意義。且慢！美麗的奧菲利婭!—女神,在你的祈禱之中不要忘記替我懺悔我的罪孽HamletActIII,Scene1Tobe,ornottobe:thatisthequestion:

Whether’tisnoblerinthemindtosuffer

TheslingsandarrowsofoutrageousfortuneOrtotakearmsagainstaseaoftroubles,

Andbyopposingendthem?Todie—tosleep—Nomore;andbyasleeptosayweendTheheartache,andthethousandnaturalshocks

Thatfleshisheirto.’tisaconsummationDevoutlytobewished.Todie—tosleep.

Tosleep-perchancetodream:ay,there’stherub!Forinthatsleepofdeathwhatdreamsmaycome

Whenwehaveshuffledoffthismortalcoil,

Mustgiveuspause.There’stherespectThatmakescalamityofsolonglife.Forwhowouldbearthewhipsandscornsoftime,Theoppressor’swrong,theproudman’scontumely,Thepangsofdespisedlove,thelaw’sdelay,Theinsolenceofoffice,andthespurnsThatpatientmeritoftheunworthytakes,活下去還是不活，這是個問題；哪種行為更高貴?是默然忍受狂暴命運矢石的攻擊還是挺身反抗人世無涯的苦難

通過斗爭把它們掃清?

死,

就是睡眠如此而已。而如果睡眠就等于了結了心頭的創(chuàng)痛及千百種身體要承受的

皮肉之苦,那正是我們求之不得的結局。正求之不得??！死，就是睡眠；睡眠也許要做夢,這就麻煩了！我們一旦擺脫了塵世的牽纏,在死的睡眠里還會做些什么夢

卻未免使我們躊躇。正是為了這個緣故,

人們甘心久困于患難之中誰甘心忍受人世的鞭撻和嘲弄壓迫者的凌辱、傲慢者的冷眼失戀的痛苦、法庭的拖延官吏的橫暴,忍讓的有德才者受小人的排擠WhenhehimselfmighthisquietusmakeWithabarebodkin?Whowouldfardelsbear,

Togruntandsweatunderawearylife,ButthatthedreadofsomethingafterdeathTheundiscover’dcountry,fromwhosebournNotravellerreturns—puzzlesthewill,Andmakesusratherbearthoseillwehave

Thanflytoothersthatweknownotof?

Thusconsciencedoesmakecowardsofusall,Andthusthenativehueofresolution

Issickliedo’erwiththepalecastofthought,AndenterprisesofgreatpitchandmomentWiththisregardtheircurrentsturnawryAndlosethenameofaction.Softyounow!ThefairOphelia!Nymph,inthyorisonsBeallmysinsremembered.要是他只要用一柄小小的刀子，就可以清算他自己的一生?誰愿意負著這樣的重擔在煩勞的生活的重壓下呻吟流汗倘不是因為懼怕不可知的死后，懼怕那從來不曾有一個旅人回來過的神秘之國是它迷惑了我們的意志使我們寧愿忍受目前的磨折

不敢向我們所不知道的痛苦飛去？

這樣,重重的顧慮使我們全變成了懦夫,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也因此偏離方向，失去了行動的意義。且慢！美麗的奧菲利婭!—女神,在你的祈禱之中不要忘記替我懺悔我的罪孽Whatisthemessage?ThissoliloquyshowsHamlet’ssolitarymeditationandfierceinnerstruggleandrepresentsaHamletinsearchofnobilityinlifeanddeath,unabletoliveateasewithlifeinthemidstofitscorruption.Hamletconcludesthatsuchcontemplationwillmakepeoplelosecourageandchangethecourseoftheiraction,whichshowsHamlet’sself-reproachforhisslownessandirresolutionintakingmeasurestorevengehisfather.Theform:

Iambicpentameterblank

VerseTobe,│ornot│tobe:│thatis│thequesltion:

Whether│’tisnobllerin│themind│tosuflfer

Theslings│andarlrowsof│outralgeousforltune

Orto│takearms│against│asea│oftroubles,

Andbyop│posing│endthem?│Todie—│tosleep—

Nomore;│andby│asleep│tosay│weend

Theheartlache,and│thethoulsandnalturalshocks

Thatflesh│isheir│to.’tis│aconlsummaltion(Theextrasyllablegivesaneffectofmeditation,melancholy,irresolution.)ThecharacterofHamletAreflectiveandthoughtfulyoungman,Hamletissometimesindecisiveandhesitant,butatothertimespronetorashandimpulsiveacts.ahumanist,freefrommedievalprejudicesandsuperstitionsHehasanunboundedlovefortheworldratherthanheaven.Hecherishesaprofoundreverenceformanandafirmbeliefinman’spoweroverdestiny.Whatapieceofworkisaman！Hownobleinreason！Howinfiniteinfaculty!Inform,inmoving,howexpressandadmirable!Inactionhowlikeanangel!Inapprehensionhowlikeagod!Thebeautyoftheworld!Theparagonofanimals!人類是一件多么了不起的杰作，多么高貴的理性，多么偉大的力量，多么優(yōu)美的儀表，行動象天使，智慧如神；宇宙之精華，萬物之靈長。WhydoesHamletdelaysolongincarryingouthisrevenge?TheoryNo.1:Hedoesn'tbelievetheghost.Fromwhattheghostsays,itsoundslikehe'scomingfromPurgatory,asortofwaitingroomwheresoulschilledoutbeforetheycouldgettoHeaven.ButProtestantsdeniedtheexistenceofPurgatory.Thismeanstheghostmaybeademonfromhell,whichiswhyHamletwondersifthespiritisa"goblindamned"(1.4.5).SowhatisHamlet—ProtestantorCatholic?Protestant.Hamlet'sinDenmark,whichisdefinitelyProtestantnation,andhegoestotheUniversityofWittenberg,whichwasMartinLuther'suniversity.Hamlet’sirresolutionTheoryNo.2:Hamlethassomescruples.[Romans,xii,19]:"Avengenotyourselves[…]vengeanceismine,Iwillreplay,saiththeLord."Translation:It'snotman'splacetotakevengeanceonanyone,period.That'sGod'sjob.Plus,everyoneknowsthatmurderisasin.Shakespeare'sinclusionofChristianmoralitydoesn'tnecessarilysquarewiththebasictenetsofrevengetragedy,whichcallsforbloodyvengeance.AtworkinHamletisalsothenotionoftheold,paganrevengecode,thatsayswhensomeonekillsyourfather,youhavetogetyourrevengeonwhich,ofcourse,meansthatperson'skidwilleventuallykillyou,andsoonandsoonadinfinitumuntileverybodydiesandentirefamiliesarewipedout.Hamlet’sirresolutionTheoryNo.3:Hamletstinks.Shakespearestinks.Youcan'tanswerthequestionofwhyHamletdelaysseekingrevengebecausethereisnoanswer.(Voltaire,T.S.Eliot.)Accordingtothisschoolofthought,Hamletisonly"mysterious"tousbecausehe'sapoorlydrawndramaticfigure.Shakespearedidn'tgivehimenoughofamotivetomakeanysenseofhisbehavior.Hamletisfullofcontradictions,inconsistencies,anduncertainties—justliketherestoftheworldatthetime.TheoryNo.4:HamletsuffersfromanOedipusComplexHamletasNationalHero

Hamletunderstoodhistaskasmorethantakingthelifeoftheking.WiththerebellionofFortinbrasthreatening,andonthe"backgroundofgeneralcorruption"whichtheruleofClaudiushadinduced,hesawhistasktobeagiganticnationalundertaking.Hewasnotcalledmerelytothephysicallaborofthehangman,buttothemoraltaskoftherestorerofrighteousness.Hewellknewthathecouldnotpurgehiscountrywithanassassin'sdagger,norpurifyitbytheking'sblood.UnlikeFortinbrasandLaertes,hispassionwasnotvindictiveness(報復性的),andcouldnotbesatisfiedbyavengingaguiltykingonaninnocentnation.Animmediateattackuponthekingmighthavebeencourageous,butitwouldhavebeenfoolhardy(魯莽的,有勇無謀的),andwouldhavefrustratedHamlet'slargerdesigns.HamletisextremelydiscontentedwiththestateofaffairsinDenmarkandinhisownfamily—indeed,intheworldatlarge.Heisextremelydisappointedwithhismother,andherepudiates(批判)Ophelia,awomanheonceclaimedtolove,intheharshestterms.Hiswordsindicatehisdistrustofwomeningeneral.Hecontemplateshisowndeathandeventheoptionofsuicide.Buttheprinceandheirapparent(當然繼承人)ofDenmarkspendslittletimethinkingaboutthethreatstoDenmark’snationalsecurityfromwithoutorthethreatstoitsstabilityfromwithin.Hamlet’smelancholyThemes?WhatseparatesHamletfromotherrevengeplaysisthattheactioniscontinuallypostponedwhileHamlettriestoobtainmorecertainknowledgeaboutwhatheisdoing.Theplayshowsushowmanyuncertaintiesourlivesarebuiltupon,howmanyunknownquantitiesaretakenforgrantedwhenpeopleactorwhentheyevaluateoneanother'sactions.Certainty&UncertaintyinLifeProfessorRoss’sviewThisisaplayaboutnotknowing,orbeingcertain,howtobehave.Customsseemtodeterminewhatisrightandwrong,nottheotherwayaround.HamletwondersaboutPurgatory,mourning,dating,fencing,remarriage,succession,action,acting,drinking,customitself,believingaghost.ThemeofActionHowisitpossibletotakereasonable,effective,purposefulaction?InHamlet,thequestionofhowtoactisaffectednotonlybyrationalconsiderations,suchastheneedforcertainty,butalsobyemotional,ethical,andpsychologicalfactors.ActingRecklesslyHamlethimselfappearstodistrusttheideathatit'sevenpossibletoactinacontrolled,purposefulway.Othercharactersobviouslythinkmuchlessabout"action"thanHamletdoes.InasensetheyprovethatHamletisright,becausealloftheiractionsmiscarry(e.g.Polonius,Laertes,Claudius).ActingFoolishlyClaudiuspossesseshimselfofqueenandcrownthroughboldaction,buthisconsciencetormentshim,andheisbeset(困擾)

bythreatstohisauthority(and,ofcourse,hedies).LaertesiseasilyinfluencedandmanipulatedintoservingClaudius'sends,andhispoisonedswordisturnedbackuponhimself.PoloniusiskilledbyHamletwhenheoverhearsthetalkingbetweenGertrudeandHamlet.AftermathofDeathHamletpondersboththespiritualaftermathofdeath,embodiedintheghost,andthephysicalremaindersofthedead,suchasbyYorick'sskullandthedecayingcorpsesinthecemetery.Throughout,theideaofdeathiscloselytiedtothethemesofspirituality,truth,anduncertainty.SuicideHamletrepeatedlycontemplateswhetherornotsuicideisamorallylegitimateactioninanunbearablypainfulworld.Hamletlongsfordeathtoendtohissuffering,buthefearsthatifhecommitssuicide,hewillbeconsigned(托管)toeternalsufferinginhellbecauseoftheChristianreligion'sprohibitionofsuicide.Motifs(母題)Motifsarerecurringstructures,contrasts,orliterarydevicesthatcanhelptodevelopandinformthetext'smajorthemes.

藝術或文學作品中反復出現(xiàn)、揭示主題的部分MotifofMisogyny(hatredofwomen)Shatteredbyhismother'shasteremarriage,Hamletesextremelycynical,evenneurotic,aboutwomeningeneral,showingaparticularobsessionwithaconnectionbetweenfemalesexualityandmoralcorruption.HeurgesOpheliatogotoanunneryratherthanexperiencet