Ghosts, Murder, and More Murder - Hamlet Part 1: Crash Course Literature 203 - YouTube (1)

Hi I'm John Green, this is CrashCourse Literature and today we're going to talk about the

greatest Dane of all, Scooby-Doo. No, it's Hamlet.

So Hamlet is either a 16h or 17th century play, we're not positive. The Tragedy of

Hamlet, Prince of Denmark was written by William Shakespeare sometime between 1599 and 1602

and it's considered by many to be Shakespeare's best work, even better than Timon of Athens

or Cymbeline. Mr. Green, Mr. Green, I know Hamlet's like

super famous and important and everything, but isn't it basically just like a super

long play about a guy who never makes up his mind?

Well, Me From The Past, some argue that Hamlet doesn't have trouble making up his mind

so much as he has trouble executing his vision. More specifically, executing his uncle.

Then again, Me From The Past, many of us would argue that Hamlet does struggle to make decisions,

but the decisions he has to make are quite difficult. I mean this is a play about justice

and revenge and your conscience, and your place in the social order, and once again

deeply uncomfortable feelings about mothers.

[Theme Music]

So, Shakespeare based Hamlet on a medieval Scandinavian tale chronicled by everyone's

favorite Danish historian Saxo Grammaticus, pictured here, depending on your world view

as either Santa Claus or God. But shakespeare probably knew the tale from

contemporary plays rather than like actual Danish history because up to that point had

been mostly about Vikings and pastries. Actually, that's still mostly what it is.

So Saxo tells the story of Prince Amleth, a kid who he sees his uncle murder his father.

And then young Amleth bides his time and pretends to be crazy in order to lull his uncle into

a false sense of security. And then, as soon as he's grown up, Amleth slaughters his

uncle with his father's sword. Amleth by the way, 80% of the way to being

Pig Latin for Hamlet. Anyway, it's interesting to know that background

because it makes you think about the changes that Shakespeare makes to that story which

indicates something about what's really important to Shakespeare.

For instance, Hamlet isn't unable to kill his uncle because he's young. And he doesn't

actually see his uncle murder his father. So basically, Shakespeare was introducing

ambiguity into the story which is kind of Shakespeare's specialty.

So Hamlet is Shakespeare's most popular play, in fact, it's perhaps the only one

to have been consistently performed since it debuted. It's also, very long.

Like when Kenneth Branagh attempted to film every line the movie lasted more than four

hours. Some theatrical productions have gone on as long as six.

The general consensus is that Shakespeare wrote the play so long to satisfy himself,

and he knew that theatre troupes would just like make it shorter any way they wanted.

But it's also possible that he thought that by keeping the audience at the theater for

longer, would help him to sell more mutton pies at the concession stand.

We have to remember art is also commerce. But this whole link thing brings us to the

fact that there are actually three different versions of Hamlet. There are two quartos,

one from 1603 and another from 1604, and then the Folio edition from 1623

The second quarto and the folio are somewhat similar, although the first was probably based

on Shakespeare's notes and the second based on seeing the play in performance.

But the first quarto is known as the “bad quarto,” and not in the sense that it's

evil, but in the sense that it's kind of terrible.

Historians believe that an actor probably transcribed the first quarto his memory and

that that actor probably only played really small parts. Like Marcellus.

Basically, the scenes he was onstage for he remembered pretty well, but the other ones not so much.

He was probably that actor who's always mouthing other peoples' lines. For example,

here's the bad quarto's “To be or not to be” speech: “To be, or not to be, that's the point,

to die, to sleepe, is that all?” Yeah, that's fantastic. Anyway, in all the versions, the plot is the same:

Hamlet is a grad student who returns home to Elsinore when his father dies and

then his mother Gertrude suddenly marries his uncle Claudius. Claudius takes over as

king even though technically Hamlet should inherit the throne.

So a grieving Hamlet deals with this as any grad student would by wearing black, listening

to sad music, and making long speeches about how he wishes his flesh would melt. Which

spoiler: It eventually will. But then, his father's ghost appears to

him and begs Hamlet to revenge his murder by that aforementioned uncle Claudius. Hamlet

isn't sure about this. So he pretends to be insane, you know as you do.

He then hires a troupe of players to put on a show that will make Claudius to

reveal his guilt, Claudius is indeed overwhelmed with emotion,

flees the play, Gertrude summons Hamlet to her bedchamber where they have a weirdly intimate

discussion, until Hamlet hears a noise and in a rare decisive moment stabs the curtain.

Oh, but it's not my uncle, it's Polonius.

Polonius, who was never brief despite saying that, “brevity is the soul of wit.”

And then also famously said, “to thine own self be true” and you know, proceeded to

not be terribly true to himself. So Gertrude decides that Hamlet should get

out of town for a while and he sails away and there's a writ of death and storms and

pirates, and then Hamlet returns only to find that Polonius's daughter Ophelia has committed

suicide and that her brother Laertes is kind of mad at Hamlet.

So Claudius schedules a fencing match between Laertes and Hamlet, poisoning Laertes's

sword and Hamlet's wine. Hamlet is stabbed, but manages to wound Laertes

while Gertrude downs the fatal wine. And then, once everyone is dead or dying Hamlet decides

that, now, is finally a good time to stab Claudius.

Basically, all the Danes die. Except Horatio of course because you need someone to say,

“Good night sweet prince: And flights of angels sing thee to thy rest!”

What kind of place is this Denmark where people have stunningly un-Danish names like Claudius

and Polonius. Well, let's go to the Thought Bubble.

So, throughout the play, Claudius is building up an army to take on Norway and Denmark is

caught in a strange limbo between war and not war. As often happens, the specter of

external enemies leads the ruling powers to search for enemies within, and we see a lot

of examples of Elsinore as a surveillance society. Like, Hamlet's not wrong when he

tells Rosencrantz and Guildenstern “Denmark's a prison.”

The characters are closely watching each other; I mean Gertrude and Claudius are watching

Hamlet, so is Polonius, though he's awfully bad at it. Hamlet's schoolmates, Rosencrantz

and Guildenstern are watching him closely as Claudius is encouraging them to spy while

they throw back Danish grog and talk about girls. Ophelia is watching Hamlet, too, but

Hamlet isn't watching her, because he's too busy staring at Claudius, trying to figure

out if he really did murder his father and of course Hamlet also spends a lot of time

watching himself and then reciting anguished soliloquies about it.

Personally, in the end, I'm more struck my Hamlet's narcissism than by his indecisiveness.

Anyway, all of this is probably less a criticism

of Denmark, which is a perfectly nice place full of herring sandwiches and competitive

handball, than it is a commentary on Elizabethan England, a place notorious for spying and

also the place where Shakespeare actually lived. There were all sorts of anti-royal,

anti-Catholic conspiracies going and Elizabeth I ran a whole network of spies to help discover

them — sort of like M in James Bond, but with more tiaras. Even Christopher Marlowe, Shakespeare's

rival and one of the most badass playwright's ever, was a spy. So the court of Elsinore

can be read as a commentary on Shakespeare's own environment, in which being tried and

beheaded for secret treason was kind of a national pastime.

Thanks, Thought Bubble. So Hamlet is a play about watching and being watched. Something

that we're all pretty familiar with these days, but it's also a play about doubling

and mirroring. This is a common Shakespearian thing but it

gets to some really core questions about being a person.

Like are people really capable of change, can they become different people over time,

and when you look in the mirror are you seeing the person that is actually you? Are you the

person you imagine yourself to be? So, there are at least two Hamlets in this

play, right, there is the old dead King Hamlet who goes around haunting the Elsinore battlements

and our hero who is supposed to avenge that old Hamlet .

But the living Hamlet is also split into two people: the one who wants to kill Claudius

and the one who's like, “You know maybe not. Maybe I should just be a grad student.”

And some critics argue that the Hamlet who returns home from the pirate adventure is

yet another person, because he is a very different guy from the one who left.

And you can even see Ophelia as a kind of extreme, subversive double for Hamlet, like

what Hamlet might be like if he were robbed of all of his power and agency.

And then obviously when the actors perform their play The Murder of Gonzago, they're

mirroring all the recent events in Elsinore. But it's not a regular mirror right. It's

kind of a funhouse mirror. But ultimately, it's not just…. oh no!

My desk is moving! That must mean it's time for the open letter!

An open letter to Simba. Hey there Simba, let's take a look at the 1990s adaptation

of Hamlet that DIDN'T star Mel Gibson. The one starring you - The Lion King.

Simba? Hamlet Mufasa? Recently murdered king.

Scar? Claudius Mufasa in the sky and smoke? Oviously, Ghost.

Nala? Ophelia The Elephant Graveyard? England. Or maybe

the actual graveyard with the last poor Yorick whom I knew well.

The point is: YOU MUST NEVER GO THERE, SIMBA. Sorry, I don't have a good James Earl Jones.

Best wishes, John Green. So anyway, it's not just one mirror, but

many, that reflect Hamlet's trouble figuring out what kind of a man he is and how he should act.

These mirrors also underscore the perpetual cycle of violence at the heart of the revenge

tragedy which you'll no doubt remember from our talk of ancient Greek stories.

Like in these tragedies the desire for vengeance

ultimately corrupts the revenger and he or she has to die, too. Each murder has to be

answered for with another murder until we are out of people who can die.

A good example of this unending violence is old Hamlet's ghost, who can't rest in

this grave until he's avenged. Now, the critics Andrew Bennett and Nicholas Royle

describe ghosts as “the very embodiment of strange repetition or recurrence: it is

a revenant, it comes back” Okay, but it comes back from where? Like ghosts

don't really fit into Hamlet's understanding of death. He describes death as “The undiscover'd

country, from whose born / No traveller returns.” Except his dad, apparently.

In fact, one way to read it is that the ghost's fate is in some ways aligned with Catholic

purgatory, “confin'd to fast in fires / till the foul crimes done in my days of

nature / are burnt and purg'd away.” And Hamlet seems to fear something similar, “For

in that sleep of death what dreams may come.” Though it's also worth nothing that Hamlet

wonders if the ghost really is his father. Hamlet has to ask if the ghost is a “spirit

of health or goblin damn'd.” Regardless, the ghost makes Hamlet wonder