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Cultural references to Hamlet
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<h2 id="plays">Plays</h2> <p>The following list of plays including references to <i>Hamlet</i> is ordered alphabetically. </p> <ul><li>The <a href="/facts/Reduced_Shakespeare_Company/EnsKte57">Reduced Shakespeare Company</a>'s <i><a href="/facts/The_Complete_Works_of_William_Shakespeare_(Abridged)/acTsC9CD">The Compleat Wrks of Wllm Shkspr (Abridged)</a></i>, has been performed in versions where <i>Hamlet</i> is done in about 43 seconds.<a class="footnote-ref" id="fnref:2" href="#fn:2"><sup>2</sup></a></li> <li>James Ijames' play <a href="/facts/Fat_Ham/1WGMDIpf"><i>Fat Ham</i></a> is a modern adaptation of Hamlet set in the American South. Hamlet in this play is a young black gay man. The play won the <a href="/facts/Pulitzer_Prize_for_Drama/8v5PRzM0">Pulitzer Prize for Drama</a> in 2022.<a class="footnote-ref" id="fnref:3" href="#fn:3"><sup>3</sup></a></li> <li>The comedy <i><a href="/facts/Fortinbras_(play)/lwhTGhSv">Fortinbras</a></i> covers the beginnings of the Norwegian Prince Fortinbras's reign in Denmark immediately following the events of <i>Hamlet</i>. Fortinbras is experiencing difficulty assuming the crown; Horatio attempts to get Fortinbras to tell Hamlet's story; other characters (Hamlet, Polonius, Ophelia, etc.) haunt Fortinbras as ghosts.<a class="footnote-ref" id="fnref:4" href="#fn:4"><sup>4</sup></a></li> <li>Paul Rudnick's <i><a href="/facts/I_Hate_Hamlet/HRN7SLJI">I Hate Hamlet</a></i> (1991), tells the story of a TV actor from Los Angeles who gets talked into doing <i>Hamlet</i> for <a href="/facts/Shakespeare_in_the_Park/BEftmCe4">Shakespeare in the Park</a> in New York. He rents Shakespearean actor <a href="/facts/John_Barrymore/TSRFAhAl">John Barrymore</a>'s old apartment, and is soon haunted by the ghost of Barrymore himself.<a class="footnote-ref" id="fnref:5" href="#fn:5"><sup>5</sup></a></li> <li><a href="/facts/W._S._Gilbert/6gylNGb0">W. S. Gilbert</a>'s <i><a href="/facts/Rosencrantz_and_Guildenstern_(play)/uq4tAIh5">Rosencrantz and Guildenstern</a></i> (1891) is a parody on <i>Hamlet</i>. Gilbert himself took the role of Claudius in a 1904 production of his play.<a class="footnote-ref" id="fnref:6" href="#fn:6"><sup>6</sup></a></li> <li><a href="/facts/Tom_Stoppard/yqXtPQBr">Tom Stoppard</a>'s <i><a href="/facts/Rosencrantz_and_Guildenstern_Are_Dead/KLLeQPMc">Rosencrantz and Guildenstern Are Dead</a></i> (1966), tells the story of <i>Hamlet</i> from the perspective of <a href="/facts/Rosencrantz_and_Guildenstern/TAAhxAmB">two minor characters</a> in Shakespeare's play.<a class="footnote-ref" id="fnref:7" href="#fn:7"><sup>7</sup></a> He has also written other <i>Hamlet</i>-inspired drama, including <i>Dogg's Hamlet</i> and <i>The Fifteen-Minute Hamlet.</i><a class="footnote-ref" id="fnref:8" href="#fn:8"><sup>8</sup></a></li> <li><a href="/facts/Anton_Chekhov/lyTc2YcI">Anton Chekhov</a>'s plays <i><a href="/facts/The_Seagull/CA5ATXdI">The Seagull</a></i> and <i><a href="/facts/The_Cherry_Orchard/rPvsrbu9">The Cherry Orchard</a></i> include elements from <i>Hamlet</i>.<a class="footnote-ref" id="fnref:9" href="#fn:9"><sup>9</sup></a><a class="footnote-ref" id="fnref:10" href="#fn:10"><sup>10</sup></a></li> <li>In <a href="/facts/Kate_Hamill/fkawq79q">Kate Hamill</a>'s adaptation of <a href="/facts/Jane_Austen/MUV6Dh33">Jane Austen</a>'s <a href="/facts/Sense_and_Sensibility/3nxABxu0">Sense and Sensibility</a>, <a href="/facts/Edward_Ferrars/yna9cI6E">Edward Ferrars</a> recites <a href="/facts/To_be%2c_or_not_to_be/QFYEB4Vv">"To be or not the be"</a> to the Dashwoods, instead of a <a href="/facts/William_Cowper/NqKQAAbw">William Cowper</a> poem like in the novel.<a class="footnote-ref" id="fnref:11" href="#fn:11"><sup>11</sup></a></li> <li><a href="/facts/Richard_Curtis/ERPyGNrR">Richard Curtis</a>'s parody <i><a href="/facts/Skinhead_Hamlet/gRlRaB8m">Skinhead Hamlet</a></i> (1982), consists of about 600, mostly rude, words. "To be or not to be" becomes "To fuck or be fucked".<a class="footnote-ref" id="fnref:12" href="#fn:12"><sup>12</sup></a></li> <li>In the musical <i><a href="/facts/Something_Rotten!/pKvw3cqL">Something Rotten!</a></i> <i>Hamlet</i> is the play that Nostradamus sees in the future as Shakespeare's biggest play, but instead of 'Hamlet', he misinterprets it to be called 'Omelette'.<a class="footnote-ref" id="fnref:13" href="#fn:13"><sup>13</sup></a></li> <li>Richard Nathan's <i>A Night In Elsinore</i> is a parody of Hamlet, if it had been performed by classic film comedians, such as <a href="/facts/The_Marx_Brothers/77nGXhmt">The Marx Brothers</a>, <a href="/facts/Laurel_and_Hardy/0PSSBXrC">Laurel and Hardy</a>, and <a href="/facts/The_Three_Stooges/3XmQc43w">The Three Stooges</a>.</li></ul> <h2 id="film-and-television">Film and television</h2> <p class="note">Main article: <a href="/facts/Hamlet_on_screen/vrI7CRHn">Hamlet on screen</a></p> <h3>Film</h3> <p>The following list is ordered alphabetically. </p> <ul><li>Egyptian director <a href="/facts/Youssef_Chahine/GvBSyY9M">Youssef Chahine</a> has included elements from <i>Hamlet</i> in his films. <i>Alexandria... Why?</i> (1978) feature performances of <a href="/facts/Soliloquy/mFQvXJD0">soliloquies</a> from the play. In <i>Alexandria Again and Forever</i> (1990), <i>Hamlet</i> appears as a film within the film.<a class="footnote-ref" id="fnref:14" href="#fn:14"><sup>14</sup></a></li> <li>Shakespeare has been used as a base for <a href="/facts/Pornographic_parody_film/Fn2nbnHf">pornographic parody film</a>. One example is <a href="/facts/Luca_Damiano/2vkdqzrU">Luca Damiano</a>'s <i>Hamlet: For the Love of Ophelia Parts 1 and 2</i> (1996).<a class="footnote-ref" id="fnref:15" href="#fn:15"><sup>15</sup></a><a class="footnote-ref" id="fnref:16" href="#fn:16"><sup>16</sup></a></li> <li>The 2006 Chinese film <i><a href="/facts/The_Banquet_(2006_film)/harzbf4L">The Banquet</a></i> (also known as <i>Legend of the Black Scorpion</i>) has a storyline loosely based on the story of Hamlet.<a class="footnote-ref" id="fnref:17" href="#fn:17"><sup>17</sup></a></li> <li>In the <a href="/facts/Star_Wars/9Y5j3IPP">Star Wars</a> film <i><a href="/facts/The_Empire_Strikes_Back/adwNrWTT">The Empire Strikes Back</a></i>, <a href="/facts/Chewbacca/k53zxlMk">Chewbacca</a> tries to reassemble the body of the robot <a href="/facts/C-3PO/IJ9VUQCG">C-3PO</a>. At one point, he holds C-3PO's head in much the same way that Hamlet is traditionally depicted as holding Yorick's skull. This reference was intentional on the part of the director.<a class="footnote-ref" id="fnref:18" href="#fn:18"><sup>18</sup></a><a class="footnote-ref" id="fnref:19" href="#fn:19"><sup>19</sup></a></li> <li>In <a href="/facts/Ingmar_Bergman/bg2u5Flu">Ingmar Bergman</a>'s <i><a href="/facts/Fanny_and_Alexander/wNLf1pML">Fanny and Alexander</a></i>, <i>Hamlet</i> is strongly alluded to. The children's father is rehearsing the part of <a href="/facts/Ghost_(Hamlet)/wqeRFxvT">the Ghost</a> for a production of the play when he dies, and then appears to Alexander later in the film as an actual ghost. The play's plot is also referenced in other ways, including Alexander's hatred for and confrontation with his new stepfather. A character explicitly tells Alexander that he is not Hamlet.<a class="footnote-ref" id="fnref:20" href="#fn:20"><sup>20</sup></a><a class="footnote-ref" id="fnref:21" href="#fn:21"><sup>21</sup></a></li> <li>In the 2008 comedy <i><a href="/facts/Hamlet_2/VG3jCFYq">Hamlet 2</a></i> a teacher creates a sequel to <i>Hamlet</i> in an effort to save his school's drama program. Apart from some of the names of his characters, there are very few similarities to the original.<a class="footnote-ref" id="fnref:22" href="#fn:22"><sup>22</sup></a></li> <li>The plot of the 2012 Indian <a href="/facts/Malayalam/YLuvDWd3">Malayalam</a> drama <i><a href="/facts/Karmayogi_(2012_film)/blBlopg5">Karmayogi</a></i> ("The Warrior") is adapted from <i>Hamlet</i>.<a class="footnote-ref" id="fnref:23" href="#fn:23"><sup>23</sup></a> According to Shakespeare scholar<a class="footnote-ref" id="fnref:24" href="#fn:24"><sup>24</sup></a> Poonam Trivedi, Shakespeare "has many affinities with an Indian 'classical vision of art'..."<a class="footnote-ref" id="fnref:25" href="#fn:25"><sup>25</sup></a></li> <li><i><a href="/facts/Last_Action_Hero/pqDUdzbf">Last Action Hero</a></i> (1993) includes elements from the play, with <a href="/facts/Arnold_Schwarzenegger/VwLVtykG">Arnold Schwarzenegger</a> appearing as an action-version of Hamlet.<a class="footnote-ref" id="fnref:26" href="#fn:26"><sup>26</sup></a></li> <li>Themes and plot elements from the <a href="/facts/Disney/R8kCbAVc">Disney</a>'s <i><a href="/facts/The_Lion_King/VCwjuv59">The Lion King</a></i> are inspired by <i>Hamlet</i>.<a class="footnote-ref" id="fnref:27" href="#fn:27"><sup>27</sup></a><a class="footnote-ref" id="fnref:28" href="#fn:28"><sup>28</sup></a></li> <li>The horror movie <i><a href="/facts/A_Nightmare_on_Elm_Street/9lmMugdh">A Nightmare on Elm Street</a></i> alludes to <i>Hamlet</i> in connection with the protagonist <a href="/facts/Nancy_Thompson_(A_Nightmare_on_Elm_Street)/25YxU8pE">Nancy</a>.<a class="footnote-ref" id="fnref:29" href="#fn:29"><sup>29</sup></a><a class="footnote-ref" id="fnref:30" href="#fn:30"><sup>30</sup></a></li> <li>In the psychological drama <i><a href="/facts/The_Ninth_Configuration/VVYCAguY">The Ninth Configuration</a></i>, characters discuss <i>Hamlet</i> at length, and asylum-inmates intends to do a production of the play with dogs.<a class="footnote-ref" id="fnref:31" href="#fn:31"><sup>31</sup></a></li> <li>In both the <a href="/facts/The_Producers_(musical)/cuNyQeF6">musical</a> and the <a href="/facts/The_Producers_(2005_film)/JsauxLX8">2005 film adaptation</a> of <i>The Producers</i>, Max Bialystock's musical version of <i>Hamlet</i>, <i>Funny Boy</i>, closes on opening night, one of his many failures.<a class="footnote-ref" id="fnref:32" href="#fn:32"><sup>32</sup></a></li> <li><i>Hamlet</i> features prominently in <i><a href="/facts/Renaissance_Man_(film)/TthDF7EA">Renaissance Man</a></i>, in which a reluctant teacher uses its plot and characters to introduce a group of under-achieving soldiers to critical thinking.<a class="footnote-ref" id="fnref:33" href="#fn:33"><sup>33</sup></a><a class="footnote-ref" id="fnref:34" href="#fn:34"><sup>34</sup></a></li> <li><i><a href="/facts/Rosencrantz_and_Guildenstern_Are_Undead/nxuduKfF">Rosencrantz and Guildenstern Are Undead</a></i> is a 2009 American independent vampire film. The film's title refers to a play-within-the-movie, which is a comic reinterpretation of Shakespeare's <i>Hamlet</i> and its aftermath.<a class="footnote-ref" id="fnref:35" href="#fn:35"><sup>35</sup></a><a class="footnote-ref" id="fnref:36" href="#fn:36"><sup>36</sup></a></li> <li>In <i><a href="/facts/Soapdish/ERVBLXGz">Soapdish</a></i>, Jeffrey Anderson (<a href="/facts/Kevin_Kline/v0n7EwGC">Kevin Kline</a>) expresses his desire to perform a One-Man <i>Hamlet</i>, which he justifies by saying the whole thing is happening in Hamlet's head, so you only need one actor.<a class="footnote-ref" id="fnref:37" href="#fn:37"><sup>37</sup></a></li> <li>The title for <i><a href="/facts/Star_Trek_VI%3a_The_Undiscovered_Country/WGuzwkIG">Star Trek VI: The Undiscovered Country</a></i> (1991) is a reference to the soliloquy in Act 3, Scene 1. The <a href="/facts/Klingon/7afEWUEq">Klingons</a> Gorkon and <a href="/facts/Chang_(Star_Trek)/x3al8355">Chang</a> are Shakespeare aficionados, and opines that Shakespearian works are best experienced in the 'original' <a href="/facts/Klingon_language/AHwNd68d">Klingon</a>. Shakespeare's plays are liberally quoted throughout the film.<a class="footnote-ref" id="fnref:38" href="#fn:38"><sup>38</sup></a><a class="footnote-ref" id="fnref:39" href="#fn:39"><sup>39</sup></a> In 1996, <i><a href="/facts/The_Klingon_Hamlet/agzX4RQn">The Klingon Hamlet</a></i>, a translation of the play into the constructed Klingon language was published, and parts of it have been performed by the <a href="/facts/WSC_Avant_Bard/qleQaYPE">Washington Shakespeare Company</a>.<a class="footnote-ref" id="fnref:40" href="#fn:40"><sup>40</sup></a></li> <li>The 1983 comedy <i><a href="/facts/Strange_Brew/tkDFSPhH">Strange Brew</a></i> is loosely based on <i>Hamlet</i>. Prince Hamlet is represented by Pam, daughter of a murdered brewery-owner whose spirit haunts the brewery's electrical system.<a class="footnote-ref" id="fnref:41" href="#fn:41"><sup>41</sup></a></li> <li>In the 1995 comedy <i><a href="/facts/Billy_Madison/9yGN9Nrr">Billy Madison</a></i>, Billy Madison and Eric reenact <a href="/facts/To_be%2c_or_not_to_be/QFYEB4Vv">To be, or not to be</a> to settle their feud with the winner getting to take over Madison Hotels.<a class="footnote-ref" id="fnref:42" href="#fn:42"><sup>42</sup></a></li> <li>Both film versions of <i>To Be or Not to Be</i> (<a href="/facts/Ernst_Lubitsch/hHfWF4aM">Ernst Lubitsch</a>'s in <a href="/facts/To_Be_or_Not_to_Be_(1942_film)/gLzoS3Au">1942</a> and <a href="/facts/Mel_Brooks/nYvoWDPV">Mel Brooks</a>' in <a href="/facts/To_Be_or_Not_to_Be_(1983_film)/VTecFISm">1983</a>) heavily alludes to the play.<a class="footnote-ref" id="fnref:43" href="#fn:43"><sup>43</sup></a></li> <li>The cult British comedy <i><a href="/facts/Withnail_and_I/pK4yQnnF">Withnail and I</a></i> quotes and alludes to the play.<a class="footnote-ref" id="fnref:44" href="#fn:44"><sup>44</sup></a></li> <li>The title and elements in <a href="/facts/Alfred_Hitchcock/LqkmpImQ">Alfred Hitchcock</a>'s 1959 <i><a href="/facts/North_by_Northwest/REafduTW">North by Northwest</a></i> has been seen as references to the play.<a class="footnote-ref" id="fnref:45" href="#fn:45"><sup>45</sup></a><a class="footnote-ref" id="fnref:46" href="#fn:46"><sup>46</sup></a></li> <li><i>Hamlet Goes Business</i> (Hamlet liikemaailmassa) (1987), written and directed by <a href="/facts/Aki_Kaurism%25C3%25A4ki/yxrfpB4D">Aki Kaurismäki</a>, is a comic reworking of the story as a power struggle in a rubber duck factory.<a class="footnote-ref" id="fnref:47" href="#fn:47"><sup>47</sup></a></li> <li>In the 2009 children's film <i>"<a href="/facts/Coraline_(film)/gkFg5yRz">Coraline</a>"</i> Hamlet's "What a piece of work is man" soliloquy is recited as part of a circus act.<a class="footnote-ref" id="fnref:48" href="#fn:48"><sup>48</sup></a><a class="footnote-ref" id="fnref:49" href="#fn:49"><sup>49</sup></a></li> <li><a href="/facts/Tony_Olmos/U72KE17l">Tony Olmos</a>' 2023 film <i><a href="/facts/Hemet%2c_or_the_Landlady_Don%2527t_Drink_Tea/BVA5jDbH">Hemet, or the Landlady Don't Drink Tea</a></i> was said to be like <i>Hamlet</i> set in <a href="/facts/California/zLW2vdQJ">California</a>.<a class="footnote-ref" id="fnref:50" href="#fn:50"><sup>50</sup></a></li> <li>In the 2024 <a href="/facts/Francis_Ford_Coppola/c3h1RwhH">Francis Ford Coppola</a>'s film <i>"<a href="/facts/Megalopolis_(film)/RCkWqMB8">Meagalopolis</a>"</i> Hamlet's <a href="/facts/To_be_or_not_to_be/QFYEB4Vv">to be or not to be</a> soliloquy is recited in a <a href="/facts/Public_forum_debate/cT2LfQTL">public forum debate</a> by <a href="/facts/Adam_Driver/XwXe69no">Adam Driver</a>'s character Caesar Catilina.</li></ul> <h3>Television</h3> <h4>Comedy and cartoons</h4> <p>Sitcoms alluding to <i>Hamlet</i> include <i><a href="/facts/Gilligan%2527s_Island/SvIvEjDW">Gilligan's Island</a></i>,<a class="footnote-ref" id="fnref:51" href="#fn:51"><sup>51</sup></a> <i><a href="/facts/Happy_Days/K1wGrbxI">Happy Days</a></i>,<a class="footnote-ref" id="fnref:52" href="#fn:52"><sup>52</sup></a> <i><a href="/facts/Skins_(2007_TV_Series)/Q6RqpWFv">Skins</a></i>,<a class="footnote-ref" id="fnref:53" href="#fn:53"><sup>53</sup></a> <i><a href="/facts/Mystery_Science_Theater_3000/us79U0Jw">Mystery Science Theater 3000</a>,</i><a class="footnote-ref" id="fnref:54" href="#fn:54"><sup>54</sup></a> <i><a href="/facts/Frasier/VBEd6I7T">Frasier</a></i><a class="footnote-ref" id="fnref:55" href="#fn:55"><sup>55</sup></a> and <i><a href="/facts/Upstart_Crow/FnVKCf51">Upstart Crow</a></i>.<a class="footnote-ref" id="fnref:56" href="#fn:56"><sup>56</sup></a> </p><p>Cartoons include <i><a href="/facts/Tales_from_the_Public_Domain/8Wrol6IV">The Simpsons</a></i>,<a class="footnote-ref" id="fnref:57" href="#fn:57"><sup>57</sup></a><a class="footnote-ref" id="fnref:58" href="#fn:58"><sup>58</sup></a> <i><a href="/facts/Terrance_and_Phillip%3a_Behind_the_Blow/9WCQBFrd">South Park</a></i>,<a class="footnote-ref" id="fnref:59" href="#fn:59"><sup>59</sup></a> <i><a href="/facts/Animaniacs/DxyaqKMh">Animaniacs</a></i><a class="footnote-ref" id="fnref:60" href="#fn:60"><sup>60</sup></a> and <i><a href="/facts/The_Brak_Show/ndjqR616">The Brak Show</a></i>,<a class="footnote-ref" id="fnref:61" href="#fn:61"><sup>61</sup></a> <a href="/facts/Looney_Tunes/GA22TKT4">Looney Tunes</a> shorts <a href="/facts/A_Ham_in_a_Role/jaojmLr8">A Ham in a Role</a> and <a href="/facts/A_Witch%2527s_Tangled_Hare/flBfVf0M">A Witch's Tangled Hare</a>.<a class="footnote-ref" id="fnref:62" href="#fn:62"><sup>62</sup></a><a class="footnote-ref" id="fnref:63" href="#fn:63"><sup>63</sup></a><a class="footnote-ref" id="fnref:64" href="#fn:64"><sup>64</sup></a> </p> <h4>Drama</h4> <ul><li>The Canadian series <i><a href="/facts/Slings_and_Arrows/aVL8hsrQ">Slings and Arrows</a>'</i> title is from <i>Hamlet</i>, and the first season follows a production of the play. The play's artistic director is haunted by the ghost of his predecessor.<a class="footnote-ref" id="fnref:65" href="#fn:65"><sup>65</sup></a></li> <li><i><a href="/facts/The_Royals_(TV_series)/2YUoEJB2">The Royals</a></i> television series uses the Hamlet story as its basis for the soap opera for its royal family, and infighting to gain the crown.</li> <li><i>The <a href="/facts/Sons_of_Anarchy/m9SjCIWh">Sons of Anarchy</a></i> series draws <a href="/facts/Sons_of_Anarchy/m9SjCIWh">many elements from the play</a> and has been described as "<i>Hamlet</i> on motorcycles".<a class="footnote-ref" id="fnref:66" href="#fn:66"><sup>66</sup></a></li> <li>The Pakistani television series <i><a href="/facts/Sang-e-Mah/sDKYvWVG">Sang-e-Mah</a></i> is loosely based on the play, with some additional subplots.<a class="footnote-ref" id="fnref:67" href="#fn:67"><sup>67</sup></a></li></ul> <h4>Horror</h4> <ul><li>In the 1991 <i><a href="/facts/Tales_from_the_Crypt_(TV_series)/fPltXPJp">Tales from the Crypt</a></i> episode "Top Billing", a struggling actor commits murder for the role of Hamlet, only to realize he was actually auditioning for the role of <a href="/facts/Yorick/Uj7aUuw4">Yorick</a>.<a class="footnote-ref" id="fnref:68" href="#fn:68"><sup>68</sup></a><a class="footnote-ref" id="fnref:69" href="#fn:69"><sup>69</sup></a></li></ul> <h4>Mystery and detective shows</h4> <ul><li>The British detective drama<i> <a href="/facts/Lewis_(TV_series)/nkEdEdLl">Lewis</a></i> has referenced Shakespeare, including <i>Hamlet</i>, more than once.<a class="footnote-ref" id="fnref:70" href="#fn:70"><sup>70</sup></a><a class="footnote-ref" id="fnref:71" href="#fn:71"><sup>71</sup></a></li> <li>A 2008 episode of the anime-series <i><a href="/facts/List_of_Black_Butler_episodes/HjBlyKGa">Black Butler</a></i> features a production of <i>Hamlet</i>.<a class="footnote-ref" id="fnref:72" href="#fn:72"><sup>72</sup></a><a class="footnote-ref" id="fnref:73" href="#fn:73"><sup>73</sup></a></li></ul> <h4>Science fiction</h4> <p class="note">See also: <a href="/facts/Shakespeare_and_Star_Trek/w2PQxngl">Shakespeare and Star Trek</a></p> <ul><li>An episode of the original <i><a href="/facts/Star_Trek%3a_The_Original_Series/BtLu8Sgu">Star Trek</a></i> series, entitled "<a href="/facts/The_Conscience_of_the_King_(TOS_episode)/F8flB3sk">The Conscience of the King</a>" (1966) features a production of <i>Hamlet</i>, and alludes to the play in other aspects.<a class="footnote-ref" id="fnref:74" href="#fn:74"><sup>74</sup></a></li> <li>In an episode of <i><a href="/facts/Star_Trek%3a_The_Next_Generation/r3RxzQBF">Star Trek: The Next Generation</a></i> entitled "<a href="/facts/Hide_and_Q_(TNG_episode)/dCISHH2w">Hide and Q</a>" (1987), the <a href="/facts/Q_(Star_Trek)/gPmtmINH">god-like entity Q</a> is quoting Shakespeare to <a href="/facts/Captain_Picard/xznQ743H">Captain Picard</a> to justify his tormenting of humanity, and Picard counters him with an earnest quotation of Hamlet's "What a piece of work is man" speech.<a class="footnote-ref" id="fnref:75" href="#fn:75"><sup>75</sup></a></li> <li><i>Hamlet</i> has been referenced in <i><a href="/facts/Doctor_Who/R7X9rdLc">Doctor Who</a></i>. In <i><a href="/facts/The_Chase_(Doctor_Who)/b1PTk2p7">The Chase</a> (1965),</i> the Doctor and his companions watch as <a href="/facts/Francis_Bacon/qMJoNMRB">Francis Bacon</a> gives Shakespeare the idea to write a play about Hamlet.<a class="footnote-ref" id="fnref:76" href="#fn:76"><sup>76</sup></a> In <i><a href="/facts/City_of_Death/Q8JMIrRL">City of Death</a></i> (1979), the Doctor claims to have written down Shakespeare's original draft of <i>Hamlet</i> due to the Bard's sprained wrist, but criticises the mixed metaphor "To take arms against a sea of troubles."<a class="footnote-ref" id="fnref:77" href="#fn:77"><sup>77</sup></a> In <a href="/facts/The_Shakespeare_Code/EHHGvyzA">The Shakespeare Code</a> (2007), the Doctor meets Shakespeare and quotes the play, saying "the play's the thing." Later on, Shakespeare coins the phrase "to be or not to be." The Doctor suggests he write it down, but Shakespeare remarks that it is "too pretentious."<a class="footnote-ref" id="fnref:78" href="#fn:78"><sup>78</sup></a></li></ul> <h2 id="radio">Radio</h2> <ul><li><a href="/facts/Alan_Bennett/eAJ83UuR">Alan Bennett</a> wrote a play for television called <i>Denmark Hill</i>, which sets <i>Hamlet</i> in "<a href="/facts/Denmark_Hill/exlLkvru">a leafy south London suburb</a>" in the 1980s. The TV-play was unproduced, but later broadcast as a radio-play.<a class="footnote-ref" id="fnref:79" href="#fn:79"><sup>79</sup></a></li> <li><a href="/facts/Kenneth_Branagh/U61CnYN4">Kenneth Brannagh</a> directed and recorded for a radio drama adaptation for <i>Hamlet</i>, for <a href="/facts/BBC_Radio/xGSYXsyQ">BBC Radio</a>.<a class="footnote-ref" id="fnref:80" href="#fn:80"><sup>80</sup></a></li></ul> <h2 id="literature">Literature</h2> <p class="note">Main article: <a href="/facts/Literary_influence_of_Hamlet/GanD5R4F">Literary influence of Hamlet</a></p> <h3>Books</h3> <ul><li>In Chapter XXI of the <a href="/facts/Adventures_of_Huckleberry_Finn/wBhHkIqN">Adventures of Huckleberry Finn</a> by <a href="/facts/Mark_Twain/W0Pezv3l">Mark Twain</a>, a parody of the soliloquy is recited by the Duke, one of <a href="/facts/Adventures_of_Huckleberry_Finn/wBhHkIqN">a pair of con artists</a> encountered by Huck and Jim, albeit with other Shakespearean references as well ("Birnam Wood", "Wake Duncan" and others).<a class="footnote-ref" id="fnref:81" href="#fn:81"><sup>81</sup></a></li> <li>The ninth chapter of <a href="/facts/James_Joyce/Ty6qh67s">James Joyce</a>'s <i><a href="/facts/Ulysses_(novel)/Nmsv06fs">Ulysses</a></i>, commonly referred to as <a href="/facts/Ulysses_(novel)/Nmsv06fs">Scylla and Charybdis</a>, is almost entirely devoted to a rambling discourse by Stephen Daedalus on Shakespeare, centering on the character Hamlet. As a character predicts more or less accurately in the very first chapter, "[Daedalus] proves by algebra that Hamlet's grandson is Shakespeare's grandfather and that he himself is the ghost of his own father."<a class="footnote-ref" id="fnref:82" href="#fn:82"><sup>82</sup></a></li> <li><i><a href="/facts/Gertrude_and_Claudius/oMC6YBIk">Gertrude and Claudius</a></i>, a <a href="/facts/John_Updike/7A6JG9W8">John Updike</a> novel, serves as a prequel to the events of the play. It follows Gertrude from her wedding to King Hamlet, through an affair with Claudius, and its murderous results, up until the very beginning of the play.<a class="footnote-ref" id="fnref:83" href="#fn:83"><sup>83</sup></a></li> <li><i><a href="/facts/The_Dead_Fathers_Club/y9jBce9y">The Dead Fathers Club</a></i>, a novel by <a href="/facts/Matt_Haig/NCC65vlE">Matt Haig</a>, retells the story of <i>Hamlet</i> from the point of view of an 11-year-old boy in modern England.<a class="footnote-ref" id="fnref:84" href="#fn:84"><sup>84</sup></a></li> <li><a href="/facts/Anton_Chekhov/lyTc2YcI">Anton Chekhov</a> wrote a <a href="/facts/Feuilleton/yrIxvvlr">feuilleton</a> titled <i>I am a Moscow Hamlet</i> (1891), the mutterings of a gossip-mongering actor who contemplates suicide out of sheer boredom.<a class="footnote-ref" id="fnref:85" href="#fn:85"><sup>85</sup></a></li> <li>Brazilian author <a href="/facts/Oswald_de_Andrade/mF89PLCd">Oswald de Andrade</a> wrote <i><a href="/facts/Tupi_or_not_Tupi%2c_that_is_the_question/jzHoT3S4">Tupi or not Tupi, that is the question</a></i> in 1928.<a class="footnote-ref" id="fnref:86" href="#fn:86"><sup>86</sup></a></li> <li><a href="/facts/Jasper_Fforde/PJz8SwM7">Jasper Fforde</a>'s novel <i><a href="/facts/Something_Rotten_(Fforde)/EQSL9ok5">Something Rotten</a></i> includes Hamlet – transplanted from the <a href="/facts/BookWorld/2eCYfBYq">BookWorld</a> into reality – as a major character. This version of Hamlet frets about how audiences perceive him, complains about the performances of actors who have portrayed him, and at one point resolves to go back and change the play by killing Claudius in the beginning and marrying Ophelia.<a class="footnote-ref" id="fnref:87" href="#fn:87"><sup>87</sup></a></li> <li>In <a href="/facts/Kurt_Vonnegut/sPmWap62">Kurt Vonnegut</a>'s 1965 novel, <i><a href="/facts/God_Bless_You%2c_Mr._Rosewater/qL79YapM">God Bless You, Mr. Rosewater</a></i>, the protagonist, Eliot Rosewater, writes a letter to his wife while pretending to be Hamlet.<a class="footnote-ref" id="fnref:88" href="#fn:88"><sup>88</sup></a></li> <li>David Bergantino's novel <i>Hamlet II: Ophelia's Revenge</i>, set in modern Denmark, portrays Ophelia rising from the dead to get revenge on Hamlet.<a class="footnote-ref" id="fnref:89" href="#fn:89"><sup>89</sup></a></li> <li>Nick O'Donohoe's 1989 science fiction novel <i>Too Too Solid Flesh</i> portrays a troupe of <a href="/facts/Android_(robot)/JcEneeP9">android</a> actors designed specifically to perform <i>Hamlet</i>; when the androids' designer is murdered, the Hamlet android decides to investigate.<a class="footnote-ref" id="fnref:90" href="#fn:90"><sup>90</sup></a></li> <li>In <a href="/facts/Kyle_Baker/rrrVlu1P">Kyle Baker</a>'s 1996 graphic novel <i>The Cowboy Wally Show</i>, Cowboy Wally's masterpiece is the film <i>Cowboy Wally's HAMLET</i>, a modernized version produced in secret while Wally is in prison. Wally plans to film <i>Hamlet</i> professionally, but is jailed for an unspecified offense before he can cast actors, and so uses his cellmates as the cast.<a class="footnote-ref" id="fnref:91" href="#fn:91"><sup>91</sup></a></li> <li><a href="/facts/David_Foster_Wallace/5qNGP8J7">David Foster Wallace</a>'s novel <i><a href="/facts/Infinite_Jest/tquM5CBg">Infinite Jest</a></i> takes its name from Hamlet's speech about Yorick, and features a main character struggling with his uncle's influence following the suspicious death of his father.<a class="footnote-ref" id="fnref:92" href="#fn:92"><sup>92</sup></a><a class="footnote-ref" id="fnref:93" href="#fn:93"><sup>93</sup></a></li> <li>The plot of <a href="/facts/David_Wroblewski/GJSWmKg5">David Wroblewski</a>'s novel <i><a href="/facts/The_Story_of_Edgar_Sawtelle/t0lC9ht8">The Story of Edgar Sawtelle</a></i> closely follows the story line of <i>Hamlet</i>, and several of the novel's main characters have names similar to their corresponding characters in the play.<a class="footnote-ref" id="fnref:94" href="#fn:94"><sup>94</sup></a></li> <li><a href="/facts/John_Marsden_(writer)/yHEllBl7">John Marsden</a>'s <i>Hamlet: A Novel</i> is a reinterpretation of the original for young adults. It is set in Denmark and the characters keep their names, their personalities and their functions in the story.<a class="footnote-ref" id="fnref:95" href="#fn:95"><sup>95</sup></a></li> <li>In <i><a href="/facts/A_Christmas_Carol/hhN8RuH0">A Christmas Carol</a></i>, <a href="/facts/Charles_Dickens/B54mQHJs">Charles Dickens</a> underscores <a href="/facts/Jacob_Marley/6r5WP4zj">Jacob Marley</a>'s death by an analogy to <i>Hamlet</i>: <blockquote><p>There is no doubt that Marley was dead. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate. If we were not perfectly convinced that Hamlet's Father died before the play began, there would be nothing more remarkable in his taking a stroll at night, in an easterly wind, upon his own ramparts, than there would be in any other middle-aged gentleman rashly turning out after dark in a breezy spot … literally to astonish his son's weak mind.</p>— <a href="/facts/Charles_Dickens/B54mQHJs">Charles Dickens</a>, <i><a href="/facts/A_Christmas_Carol/hhN8RuH0">A Christmas Carol</a></i><a class="footnote-ref" id="fnref:96" href="#fn:96"><sup>96</sup></a><a class="footnote-ref" id="fnref:97" href="#fn:97"><sup>97</sup></a></blockquote></li> <li><a href="/facts/Ngaio_Marsh/p99YM5ds">Ngaio Marsh</a>'s detective <a href="/facts/Roderick_Alleyn/K6X2sHgA">Roderick Alleyn</a> often talks and thinks of <i>Hamlet</i> in her novels.<a class="footnote-ref" id="fnref:98" href="#fn:98"><sup>98</sup></a><a class="footnote-ref" id="fnref:99" href="#fn:99"><sup>99</sup></a></li> <li><a href="/facts/Pamela_Dean/v65K920g">Pamela Dean</a>'s novel <i><a href="/facts/Tam_Lin_(novel)/0PQaPMXW">Tam Lin</a></i> prominently features a production of the play which her characters attend and discuss.<a class="footnote-ref" id="fnref:100" href="#fn:100"><sup>100</sup></a></li> <li>The book <i><a href="/facts/To_Be_or_Not_to_Be_(book)/TMAbDh7q">To Be or Not to Be</a></i> by <a href="/facts/Ryan_North/nYjQu5mr">Ryan North</a> uses the play as its core, rendering it as a branching narrative based on the <i><a href="/facts/Choose_Your_Own_Adventure/UJXJMxTL">Choose Your Own Adventure</a></i> series and other <a href="/facts/Gamebook/Xn9X6jm2">gamebooks</a>. The reader is able to follow the play's plot by following the "Yorick Skulls", or to take it in wildly different directions, including bypassing the story altogether.<a class="footnote-ref" id="fnref:101" href="#fn:101"><sup>101</sup></a></li> <li><a href="/facts/Ian_McEwan/PXGkrqgT">Ian McEwan</a>'s novel <i><a href="/facts/Nutshell_(novel)/XmB2VcPA">Nutshell</a></i> (2016) retells the play from the point of view of an unborn child.<a class="footnote-ref" id="fnref:102" href="#fn:102"><sup>102</sup></a></li> <li>Prince Hamlet is the main character in the 2010 comic book <i><a href="/facts/Kill_Shakespeare/B503AMxR">Kill Shakespeare</a></i>.<a class="footnote-ref" id="fnref:103" href="#fn:103"><sup>103</sup></a></li> <li><i>Hamlet: Manga Classics</i>, written by Crystal Chan and illustrated by Julien Choy, adapts the story of the play into a Manga format.<a class="footnote-ref" id="fnref:104" href="#fn:104"><sup>104</sup></a></li> <li><i><a href="/facts/What_Dreams_May_Come_(Matheson_novel)/WRjmDIsC">What Dreams May Come</a></i>, the 1978 novel by <a href="/facts/Richard_Matheson/GCM24SuX">Richard Matheson</a> and its <a href="/facts/What_Dreams_May_Come_(film)/omA4g55d">1998 film adaptation</a> derive their name from a line from Hamlet's <a href="/facts/To_be%2c_or_not_to_be/QFYEB4Vv">famous soliloquy</a>.</li></ul> <h3>Poetry</h3> <ul><li>The line, "Good night, ladies, good night, sweet ladies, good night, good night," ends the second part of <a href="/facts/T._S._Eliot/7GTE9As8">T. S. Eliot</a>'s <i><a href="/facts/The_Waste_Land/SHraETMW">The Waste Land</a></i>.<a class="footnote-ref" id="fnref:105" href="#fn:105"><sup>105</sup></a></li> <li>T.S. Eliot's poem, "<a href="/facts/The_Love_Song_of_J._Alfred_Prufrock/uStj18Th">The Love Song of J. Alfred Prufrock</a>", includes the line, "No! I am not Prince Hamlet, nor was I meant to be".<a class="footnote-ref" id="fnref:106" href="#fn:106"><sup>106</sup></a></li> <li>The poem <i><a href="/facts/The_Night_Before_Christmas/lwbd8Nlx">The Night Before Christmas</a></i> includes the line "Not a creature was stirring, not even a mouse." This may derive from Act 1 Scene 1's "Not a mouse stirring."<a class="footnote-ref" id="fnref:107" href="#fn:107"><sup>107</sup></a></li> <li>The poem "Hamlet" by <a href="/facts/Boris_Pasternak/EQVyJRU6">Boris Pasternak</a> opens the collection of poetry in the novel <i><a href="/facts/Dr_Zhivago/YfU7krJQ">Dr Zhivago</a></i> attributed to the title character.<a class="footnote-ref" id="fnref:108" href="#fn:108"><sup>108</sup></a><a class="footnote-ref" id="fnref:109" href="#fn:109"><sup>109</sup></a></li> <li><a href="/facts/Zbigniew_Herbert/o9jpPApb">Zbigniew Herbert</a>’s "Tren Fortynbrasa", or “Elegy of Fortinbras” in English, is a poem written in the perspective of Prince <a href="/facts/Fortinbras/Vjr7P6ds">Fortinbras</a>, who is examining the destructive aftermath of the play's final act.<a class="footnote-ref" id="fnref:110" href="#fn:110"><sup>110</sup></a></li></ul> <h3>Short stories</h3> <ul><li>In the short story "Much Ado About (Censored)" by <a href="/facts/Connie_Willis/PYJg0fPj">Connie Willis</a>, a pair of high school students volunteer to help their teacher edit the play in a satire on <a href="/facts/Political_correctness/HGNd0J4b">political correctness</a>.<a class="footnote-ref" id="fnref:111" href="#fn:111"><sup>111</sup></a></li> <li>"In the Halls of Elsinore", a short story by Brad C. Hodson, takes place in an Elsinore occupied by Fortinbras. Told from Horatio's point of view, the story is about a malignant presence that resides in Elsinore – the same presence that appeared to young Hamlet as his father.<a class="footnote-ref" id="fnref:112" href="#fn:112"><sup>112</sup></a></li> <li><a href="/facts/Margaret_Atwood/jUdYMItN">Margaret Atwood</a>'s 1992 collection <i><a href="/facts/Good_Bones_and_Simple_Murders/a2dQyooe">Good Bones and Simple Murders</a></i> includes "Gertrude Talks Back," in which <a href="/facts/Gertrude_(Hamlet)/F5EFl66s">Hamlet's mother</a> responds to Hamlet's harsh criticism during Act III, Scene 4, and reveals that it wasn't Claudius who killed his father: "It was me."<a class="footnote-ref" id="fnref:113" href="#fn:113"><sup>113</sup></a></li></ul> <h2 id="music">Music</h2> <h3>Opera</h3> <p>Several operas have been written based on <i>Hamlet</i>, including: </p> <ul><li><i><a href="/facts/Ambleto/cMDVtNIW">Ambleto</a></i> by <a href="/facts/Francesco_Gasparini/gnPht4vW">Francesco Gasparini</a> (1706). Though the creators probably were aware of Shakespeare's work, this opera is based on <i><a href="/facts/Gesta_Danorum/zCHy0ERH">Gesta Danorum</a></i>.<a class="footnote-ref" id="fnref:114" href="#fn:114"><sup>114</sup></a><a class="footnote-ref" id="fnref:115" href="#fn:115"><sup>115</sup></a></li> <li><i>Amleto</i> by <a href="/facts/Domenico_Scarlatti/uEf4lkkA">Domenico Scarlatti</a> (1715)<a class="footnote-ref" id="fnref:116" href="#fn:116"><sup>116</sup></a></li> <li><i>Amleto</i> by Gaetano Andreozzi (1792)<a class="footnote-ref" id="fnref:117" href="#fn:117"><sup>117</sup></a></li> <li><i><a href="/facts/Amleto/dzWEeqGn">Amleto</a></i> by <a href="/facts/Franco_Faccio/EETmBEpo">Franco Faccio</a> (libretto by <a href="/facts/Arrigo_Boito/Rc3qyIe3">Arrigo Boito</a>) (1865)<a class="footnote-ref" id="fnref:118" href="#fn:118"><sup>118</sup></a></li> <li><i><a href="/facts/Hamlet_(opera)/JL09qjI1">Hamlet</a></i> by <a href="/facts/Ambroise_Thomas/zCWWHSsm">Ambroise Thomas</a> (1868)<a class="footnote-ref" id="fnref:119" href="#fn:119"><sup>119</sup></a></li> <li><i>Hamlet</i> by <a href="/facts/Humphrey_Searle/SYLJUSoC">Humphrey Searle</a> (1968)<a class="footnote-ref" id="fnref:120" href="#fn:120"><sup>120</sup></a></li> <li><i>Hamlet</i> by <a href="/facts/S%25C3%25A1ndor_Szokolay/zoWSfpwf">Sándor Szokolay</a> (1968)<a class="footnote-ref" id="fnref:121" href="#fn:121"><sup>121</sup></a></li> <li><i>Hamlet</i> by <a href="/facts/Sergei_Slonimsky/YufzbvhF">Sergei Slonimsky</a> (1990)<a class="footnote-ref" id="fnref:122" href="#fn:122"><sup>122</sup></a></li> <li><i><a href="/facts/Hamlet_(Dean)/1U2p369r">Hamlet</a></i> by <a href="/facts/Brett_Dean/mrSgfguN">Brett Dean</a> (2017)<a class="footnote-ref" id="fnref:123" href="#fn:123"><sup>123</sup></a></li></ul> <h3>Instrumental</h3> <p>Instrumental works based on <i>Hamlet</i> include: </p> <ul><li><a href="/facts/Hector_Berlioz/Sv3c5tX5">Hector Berlioz</a> – <i>Funeral March for Hamlet</i> (orchestra) and <i>Mort d'Ophélie</i> (chorus). Berlioz did several other Shakespeare-inspired works.<a class="footnote-ref" id="fnref:124" href="#fn:124"><sup>124</sup></a></li> <li><a href="/facts/Frank_Bridge/xDz2hXgj">Frank Bridge</a> – <i>There is a willow</i>, impression for orchestra<a class="footnote-ref" id="fnref:125" href="#fn:125"><sup>125</sup></a></li> <li><a href="/facts/Fr%25C3%25A9d%25C3%25A9ric_Chopin/xWo0soVB">Frédéric Chopin</a> – <a href="/facts/Nocturne/KIKc6Pdo">Nocturne</a> in G minor, Op. 15, No. 3, said to have been inspired by <i>Hamlet</i><a class="footnote-ref" id="fnref:126" href="#fn:126"><sup>126</sup></a></li> <li><a href="/facts/Joseph_Joachim/plthXxHJ">Joseph Joachim</a> – <i>Hamlet</i> Ouverture (1853)<a class="footnote-ref" id="fnref:127" href="#fn:127"><sup>127</sup></a></li> <li><a href="/facts/Guillaume_Lekeu/D306h8Ux">Guillaume Lekeu</a> – <i>Hamlet</i> symphonic study,<a class="footnote-ref" id="fnref:128" href="#fn:128"><sup>128</sup></a> <i>Marche d'Ophélie</i><a class="footnote-ref" id="fnref:129" href="#fn:129"><sup>129</sup></a></li> <li><a href="/facts/Franz_Liszt/Ihep88h9">Franz Liszt</a> – <i><a href="/facts/Hamlet_(Liszt)/xo0tBdBT">Hamlet</a></i> (1858), symphonic poem<a class="footnote-ref" id="fnref:130" href="#fn:130"><sup>130</sup></a></li> <li><a href="/facts/Edward_MacDowell/at3mxNx5">Edward MacDowell</a> – <i>Hamlet and Ophelia</i>, symphonic poem<a class="footnote-ref" id="fnref:131" href="#fn:131"><sup>131</sup></a></li> <li><a href="/facts/Pyotr_Ilyich_Tchaikovsky/IhyaS2Q8">Pyotr Ilyich Tchaikovsky</a> – <i><a href="/facts/Hamlet_(Tchaikovsky)/jjvzJ8fE">Hamlet</a></i>, Overture-Fantasy in F minor, Op. 67a (1888)<a class="footnote-ref" id="fnref:132" href="#fn:132"><sup>132</sup></a></li></ul> <h3>Contemporary</h3> <p>Contemporary popular music mentions include: </p> <ul><li><i><a href="/facts/Hair_(musical)/tdr4K7Eb">Hair: The Tribal Love-Rock Musical</a></i> (1967) by James Rado and Jerome Ragni, contains the song "What A Piece of Work Is Man", which is taken completely from <i>Hamlet</i> and set to music by Galt MacDermot.<a class="footnote-ref" id="fnref:133" href="#fn:133"><sup>133</sup></a></li> <li>"<a href="/facts/Cruel_to_Be_Kind/tDNHtM3h">Cruel to Be Kind</a>" is a 1979 single by <a href="/facts/Nick_Lowe/mNAhtjfK">Nick Lowe</a>. The title of the song is taken from <i>Hamlet</i>, Act III, Scene 4: "I must be cruel only to be kind. Thus bad begins and worse remains behind."<a class="footnote-ref" id="fnref:134" href="#fn:134"><sup>134</sup></a></li> <li><a href="/facts/Steampunk/fdTN4sDB">Steampunk</a> band <a href="/facts/Abney_Park_(band)/PBQHXnW2">Abney Park</a> recorded a song entitled "Dear Ophelia", in which the vocalist sings as Prince Hamlet, and apologizes to Ophelia for all the things he had done, even telling the story of his father, who died when "his brother crept out, and poured poison in his ear"<a class="footnote-ref" id="fnref:135" href="#fn:135"><sup>135</sup></a></li> <li>The title track of the album Elsinore by Swedish musician <a href="/facts/Bj%25C3%25B6rn_Afzelius/RPUNSjvv">Björn Afzelius</a> is about a prince locked up in the castle of <a href="/facts/Elsinore/32kTY1XA">Elsinore</a>.<a class="footnote-ref" id="fnref:136" href="#fn:136"><sup>136</sup></a></li> <li>The title track off of the 2017 album <i>To Kill a King</i>, by American heavy metal band Manilla Road is based on Hamlet.</li> <li><a href="/facts/The_Birthday_Party_(band)/gfBrUnjy">The Birthday Party</a> recorded a song called "Hamlet (Pow Pow Pow)" on the <i><a href="/facts/Junkyard_(album)/sjeEhW4P">Junkyard</a></i> album.<a class="footnote-ref" id="fnref:137" href="#fn:137"><sup>137</sup></a></li> <li>The <a href="/facts/Dream_Theater/vQLcP09A">Dream Theater</a> song "<a href="/facts/Pull_Me_Under/8wMElacb">Pull Me Under</a>" is influenced by, and makes reference to, <i>Hamlet</i>.<a class="footnote-ref" id="fnref:138" href="#fn:138"><sup>138</sup></a></li> <li>"Hey There Ophelia" is the thirteenth track off the album, <i><a href="/facts/This_Gigantic_Robot_Kills/u35DufXW">This Gigantic Robot Kills</a></i> by <a href="/facts/MC_Lars/p9y9fmf8">MC Lars</a>. It features lyrics about Ophelia, Claudius, and Hamlet's father's ghost from Hamlet's point of view.<a class="footnote-ref" id="fnref:139" href="#fn:139"><sup>139</sup></a></li> <li>The <a href="/facts/Serbia/U0LVzPdI">Serbian</a> <a href="/facts/Hard_rock/yC1FkQcC">hard rock</a> band, <a href="/facts/Riblja_%25C4%258Corba/pJG6JAJb">Riblja Čorba</a>, released an album entitled <i><a href="/facts/Ostalo_je_%25C4%2587utanje/L96ztPnf">Ostalo je ćutanje</a></i> (trans. "The Rest Is Silence") in 1996. Album features a track entitled "Nešto je trulo u državi Danskoj" (trans. "Something's Rotten in the State of Denmark"), the song itself referring to Serbia. Album cover features band's frontman <a href="/facts/Bora_%25C4%2590or%25C4%2591evi%25C4%2587/0hW5Hwy4">Bora Đorđević</a> holding a skull.</li> <li><a href="/facts/Richard_Thompson_(musician)/UJsD5ElY">Richard Thompson</a>, British singer/songwriter, sings a live version of the story of <i>Hamlet</i> on "The Life And Music Of – CD 4 – The Songs Pour Down Like Silver". The interpretation is not terribly serious ("Like a hole in the head, Denmark needed that prince").</li> <li><a href="/facts/Suicide_is_Painless/2gg8z1P6">Suicide is Painless</a> from the <a href="/facts/MASH_(film)/w0Fo6St6">film</a> and <a href="/facts/M*A*S*H_(TV_series)/y2xqNz2T">TV-series</a> <i>M*A*S*H</i>, written by Mike Altman, contains the line "Is it <a href="/facts/To_be%2c_or_not_to_be/QFYEB4Vv">to be, or not to be</a>?"<a class="footnote-ref" id="fnref:140" href="#fn:140"><sup>140</sup></a></li> <li><a href="/facts/This_Mortal_Coil/cyjvVt8S">This Mortal Coil</a> were a British <a href="/facts/Musical_collective/2bUGnbJv">music collective</a> led by <a href="/facts/Ivo_Watts-Russell/N2uaa7aM">Ivo Watts-Russell</a>, founder of the British record label <a href="/facts/4AD/UF54Shjd">4AD</a>.<a class="footnote-ref" id="fnref:141" href="#fn:141"><sup>141</sup></a> Whose name is a reference to a line in the <i>To be, or not to be</i> soliloquy.</li></ul> <h2 id="video-games">Video games</h2> <ul><li><i>Hamlet</i>, a 2003 interactive text game by Robin Johnson<a class="footnote-ref" id="fnref:142" href="#fn:142"><sup>142</sup></a><a class="footnote-ref" id="fnref:143" href="#fn:143"><sup>143</sup></a></li> <li><i><a href="/facts/Hamlet_(video_game)/qa5TKotv">Hamlet</a>,</i> a 2010 point-and-click adventure game by <a href="/facts/Denis_Galanin/ASGyCg5j">Denis Galanin</a><a class="footnote-ref" id="fnref:144" href="#fn:144"><sup>144</sup></a></li> <li><i>To Be or Not to Be</i>, a 2015 video game adaptation of the <a href="/facts/To_Be_or_Not_to_Be_(book)/TMAbDh7q">book of the same name</a><a class="footnote-ref" id="fnref:145" href="#fn:145"><sup>145</sup></a></li> <li><i><a href="/facts/Elsinore_(video_game)/HXAWdwND">Elsinore</a></i>, a 2019 time travel game by Golden Glitch<a class="footnote-ref" id="fnref:146" href="#fn:146"><sup>146</sup></a></li></ul> <h2 id="other">Other</h2> <p class="note">Main article: <a href="/facts/Hamlet_in_common_English/SQbECSKc">Hamlet in common English</a></p> <p>The play has contributed many phrases to common English vernacular, including the famous "<a href="/facts/To_be%2c_or_not_to_be/QFYEB4Vv">To be, or not to be</a>". </p><p>It (as well as the Shakespearean canon as a whole) is frequently given as an example of a text which would be reproduced under the conditions of the <a href="/facts/Infinite_monkey_theorem/rE8Rchab">infinite monkey theorem</a>.<a class="footnote-ref" id="fnref:147" href="#fn:147"><sup>147</sup></a> </p> <h2 id="gallery">Gallery</h2> <p>Artworks inspired by the play includes works by <a href="/facts/Eug%25C3%25A8ne_Delacroix/5kSvQgNP">Eugène Delacroix</a>, <a href="/facts/Henrietta_Rae/9uYGJWXr">Henrietta Rae</a> and <a href="/facts/William_Blake/YQMnyh0G">William Blake</a>. </p> <h2 id="further-reading">Further reading</h2> <ul><li>Smith, Kay H. (2004). ""Hamlet, Part Eight, the Revenge" or, Sampling Shakespeare in a Postmodern World". <i>College Literature</i>. 31 (4): 135–149. <a href="/facts/ISSN_(identifier)/DPAflDvU">ISSN</a> <a href="https://search.worldcat.org/issn/0093-3139">0093-3139</a>. <a href="/facts/JSTOR_(identifier)/YTeVmaJ7">JSTOR</a> <a href="https://www.jstor.org/stable/25115232">25115232</a>.</li></ul> <h2 id="external-links">External links</h2> <ul><li> Works related to The Tragedy of Hamlet, Prince of Denmark at Wikisource</li> <li> Media related to Hamlet at Wikimedia Commons</li></ul> <h2 id="references">References</h2> <ol> <li id="fn:1"><p>(Crystal, David, & Ben Crystal, The Shakespeare Miscellany. New York, 2005) <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>"3 actors, all 37 Shakespeare plays, 97 minutes". 5 June 2014. Retrieved 11 November 2018. <a href="https://www.arkansasonline.com/news/2014/jun/05/3-actors-all-37-shakespeare-plays-97-mi/" target="_blank">https://www.arkansasonline.com/news/2014/jun/05/3-actors-all-37-shakespeare-plays-97-mi/</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>Pengelly, Martin; Lee, Benjamin (2022-05-09). "Washington Post wins public service Pulitzer for Capitol attack coverage". The Guardian. ISSN 0261-3077. Retrieved 2025-04-01. <a href="https://www.theguardian.com/media/2022/may/09/washington-post-pulitzer-prize-2022-capitol-attack-coverage" target="_blank">https://www.theguardian.com/media/2022/may/09/washington-post-pulitzer-prize-2022-capitol-attack-coverage</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>DRAKE, SYLVIE (25 June 1991). "STAGE REVIEW : La Jolla 'Fortinbras' Played for Laughs". Los Angeles Times. Retrieved 11 November 2018. <a href="https://www.latimes.com/archives/la-xpm-1991-06-25-ca-1282-story.html" target="_blank">https://www.latimes.com/archives/la-xpm-1991-06-25-ca-1282-story.html</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>Stephenson, Andrea. "BWW Review: I HATE HAMLET at Oyster Mill Playhouse". Retrieved 11 November 2018. <a href="https://www.broadwayworld.com/central-pa/article/BWW-Review-I-HATE-HAMLET-at-Oyster-Mill-Playhouse-20180818" target="_blank">https://www.broadwayworld.com/central-pa/article/BWW-Review-I-HATE-HAMLET-at-Oyster-Mill-Playhouse-20180818</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Gilbert, William Schwenck (1982). Plays by W. S. Gilbert: The Palace of the Truth, Sweethearts, Princess Toto, Engaged, Rosencrantz and Guildenstern. CUP Archive. ISBN 978-0-521-28056-3. Retrieved 2 December 2019. <a href="978-0-521-28056-3" target="_blank">978-0-521-28056-3</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>"Daniel Radcliffe to play Rosencrantz". BBC News. 6 October 2016. Retrieved 11 November 2018. <a href="https://www.bbc.com/news/entertainment-arts-37572546" target="_blank">https://www.bbc.com/news/entertainment-arts-37572546</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></p></li> <li id="fn:8"><p>Witt, Mary Ann Frese (26 October 2012). Metatheater and Modernity: Baroque and Neobaroque. Fairleigh Dickinson. p. 139. ISBN 9781611475395. Retrieved 12 November 2018 – via Google Books. <a href="9781611475395" target="_blank">9781611475395</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></p></li> <li id="fn:9"><p>Stroud, T. A. (11 November 2018). "Hamlet and The Seagull". Shakespeare Quarterly. 9 (3): 367–372. doi:10.2307/2867341. JSTOR 2867341. <a href="/wiki/Doi_(identifier)" target="_blank">/wiki/Doi_(identifier)</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></p></li> <li id="fn:10"><p>Chekhov, Anton (2016). The Cherry Orchard: A Comedy in Four Acts. Bloomsbury Publishing. p. 83. ISBN 9781350013605. <a href="9781350013605" target="_blank">9781350013605</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></p></li> <li id="fn:11"><p>Hamill, Kate (2016). Sense and sensibility. Internet Archive. New York, NY : Dramatists Play Service, Inc. ISBN 978-0-8222-3324-4. <a href="978-0-8222-3324-4" target="_blank">978-0-8222-3324-4</a> <a href="#fnref:11" class="footnote-back-ref">↩</a></p></li> <li id="fn:12"><p>Burnett, Mark Thornton (12 October 2011). Edinburgh Companion to Shakespeare and the Arts. Edinburgh University Press. pp. 242–243. ISBN 9780748649341. Retrieved 11 November 2018 – via Google Books. <a href="9780748649341" target="_blank">9780748649341</a> <a href="#fnref:12" class="footnote-back-ref">↩</a></p></li> <li id="fn:13"><p>"Review | What if 'Hamlet' had showgirls? 'Something Rotten!' hits and misses". Washington Post. Retrieved 1 April 2019. <a href="https://www.washingtonpost.com/entertainment/theater_dance/what-if-hamlet-had-showgirls-something-rotten-hits-and-misses/2018/02/07/eccd8508-0c12-11e8-8b0d-891602206fb7_story.html?noredirect=on" target="_blank">https://www.washingtonpost.com/entertainment/theater_dance/what-if-hamlet-had-showgirls-something-rotten-hits-and-misses/2018/02/07/eccd8508-0c12-11e8-8b0d-891602206fb7_story.html?noredirect=on</a> <a href="#fnref:13" class="footnote-back-ref">↩</a></p></li> <li id="fn:14"><p>Litvin, Margaret (3 October 2011). Hamlet's Arab Journey: Shakespeare's Prince and Nasser's Ghost. Princeton University Press. p. 56. ISBN 978-1400840106. Retrieved 11 November 2018 – via Google Books. <a href="978-1400840106" target="_blank">978-1400840106</a> <a href="#fnref:14" class="footnote-back-ref">↩</a></p></li> <li id="fn:15"><p>Shakespeare, William (2006). Hamlet: Third Series. Cengage Learning EMEA. p. 121. ISBN 9781904271321. <a href="9781904271321" target="_blank">9781904271321</a> <a href="#fnref:15" class="footnote-back-ref">↩</a></p></li> <li id="fn:16"><p>NA, NA (2016). Unspeakable ShaXXXspeares, Revised Edition: Queer Theory and American Kiddie Culture. Springer. pp. 79–80. ISBN 9781137078674. <a href="9781137078674" target="_blank">9781137078674</a> <a href="#fnref:16" class="footnote-back-ref">↩</a></p></li> <li id="fn:17"><p>"The Banquet". <a href="https://globalshakespeares.mit.edu/the-banquet-feng-xiaogang-2006/#video=original-trailer" target="_blank">https://globalshakespeares.mit.edu/the-banquet-feng-xiaogang-2006/#video=original-trailer</a> <a href="#fnref:17" class="footnote-back-ref">↩</a></p></li> <li id="fn:18"><p>Irvin Kershner, Star Wars: The Empire Strikes Back DVD Commentary. <a href="#fnref:18" class="footnote-back-ref">↩</a></p></li> <li id="fn:19"><p>Hutcheon, Linda (11 November 2018). A Theory of Parody: The Teachings of Twentieth-century Art Forms. University of Illinois Press. p. 27. ISBN 9780252069383 – via Google Books. <a href="9780252069383" target="_blank">9780252069383</a> <a href="#fnref:19" class="footnote-back-ref">↩</a></p></li> <li id="fn:20"><p>Burt, Richard; Boose, Lynda E. (24 February 2004). Shakespeare, The Movie II: Popularizing the Plays on Film, TV, Video and DVD. Routledge. p. 256. ISBN 9781134457007. Retrieved 12 November 2018 – via Google Books. <a href="9781134457007" target="_blank">9781134457007</a> <a href="#fnref:20" class="footnote-back-ref">↩</a></p></li> <li id="fn:21"><p>"Fanny & Alexander, review: Penelope Wilton is superb as the grandmother". Independent.co.uk. 5 March 2018. Retrieved 12 November 2018. <a href="https://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/fanny-and-alexander-old-vic-review-penelope-wilton-a8240441.html" target="_blank">https://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/fanny-and-alexander-old-vic-review-penelope-wilton-a8240441.html</a> <a href="#fnref:21" class="footnote-back-ref">↩</a></p></li> <li id="fn:22"><p>Ebert, Roger. "Hamlet 2 Movie Review & Film Summary (2008) - Roger Ebert". www.rogerebert.com. Retrieved 14 November 2018. <a href="https://www.rogerebert.com/reviews/hamlet-2-2008" target="_blank">https://www.rogerebert.com/reviews/hamlet-2-2008</a> <a href="#fnref:22" class="footnote-back-ref">↩</a></p></li> <li id="fn:23"><p>"Hamlets of India". 4 October 2014. Retrieved 21 November 2018. <a href="https://indianexpress.com/article/opinion/columns/hamlets-of-india/" target="_blank">https://indianexpress.com/article/opinion/columns/hamlets-of-india/</a> <a href="#fnref:23" class="footnote-back-ref">↩</a></p></li> <li id="fn:24"><p>"Shakespeare and India - OUPblog". 13 March 2016. Retrieved 21 November 2018. <a href="https://blog.oup.com/2016/03/shakespeare-and-india/" target="_blank">https://blog.oup.com/2016/03/shakespeare-and-india/</a> <a href="#fnref:24" class="footnote-back-ref">↩</a></p></li> <li id="fn:25"><p>Keilen, Sean; Moschovakis, Nick (31 March 2017). The Routledge Research Companion to Shakespeare and Classical Literature. Taylor & Francis. p. 268. ISBN 9781317041689. Retrieved 21 November 2018 – via Google Books. <a href="9781317041689" target="_blank">9781317041689</a> <a href="#fnref:25" class="footnote-back-ref">↩</a></p></li> <li id="fn:26"><p>Smith, Kay H. (14 October 2004). ""Hamlet, Part Eight, The Revenge" or, Sampling Shakespeare in a Postmodern World". College Literature. 31 (4): 135–149. doi:10.1353/lit.2004.0063. ISSN 1542-4286. S2CID 170289006. Retrieved 30 April 2020. <a href="https://muse.jhu.edu/article/174177" target="_blank">https://muse.jhu.edu/article/174177</a> <a href="#fnref:26" class="footnote-back-ref">↩</a></p></li> <li id="fn:27"><p>"An ode to the Bard: How Shakespeare's iconic works resonate subtly in cinema today". 23 April 2018. 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Retrieved 11 January 2019. <a href="https://www.washingtonpost.com/wp-dyn/content/article/2008/06/05/AR2008060504378.html??noredirect=on" target="_blank">https://www.washingtonpost.com/wp-dyn/content/article/2008/06/05/AR2008060504378.html??noredirect=on</a> <a href="#fnref:94" class="footnote-back-ref">↩</a></p></li> <li id="fn:95"><p>reviewer, Oscar Kettle (5 September 2008). "Hamlet: A Novel". The Sydney Morning Herald. The Sydney Morning Herald. Retrieved 11 January 2019. <a href="https://www.smh.com.au/entertainment/books/hamlet-a-novel-20080906-gdstuj.html" target="_blank">https://www.smh.com.au/entertainment/books/hamlet-a-novel-20080906-gdstuj.html</a> <a href="#fnref:95" class="footnote-back-ref">↩</a></p></li> <li id="fn:96"><p>Dickens, Charles (2004). Hearn, Michael Patrick (ed.). The Annotated Christmas Carol: A Christmas Carol in Prose. W. W. Norton. pp. 4–5. ISBN 9780393051582. <a href="9780393051582" target="_blank">9780393051582</a> <a href="#fnref:96" class="footnote-back-ref">↩</a></p></li> <li id="fn:97"><p>Edmondson, Paul (20 December 2010). "Shakespeare and A Christmas Carol". Blogging Shakespeare. Shakespeare Birthplace Trust. Retrieved 11 January 2019. <a href="http://bloggingshakespeare.com/shakespeare-and-a-christmas-carol" target="_blank">http://bloggingshakespeare.com/shakespeare-and-a-christmas-carol</a> <a href="#fnref:97" class="footnote-back-ref">↩</a></p></li> <li id="fn:98"><p>DuBose, Martha Hailey (2000). Women of Mystery: The Lives and Works of Notable Women Crime Novelists. St. Martin's Press. ISBN 9780312276553. Retrieved 11 January 2019. <a href="9780312276553" target="_blank">9780312276553</a> <a href="#fnref:98" class="footnote-back-ref">↩</a></p></li> <li id="fn:99"><p>"Ngaio Marsh". www.ngaio-marsh.org.nz. NGAIO MARSH HOUSE & HERITAGE TRUST. Archived from the original on 12 January 2019. Retrieved 11 January 2019. Alleyn thinks very frequently of Hamlet, perhaps his favourite Shakespearean play. When eaves-dropping on one occasion he observed wryly to Inspector Fox, "next stop, with Polonius behind the arras in a bedroom" (False Scent, Ch. VI), and when asked to give advice by one Miss Meade, Alleyn thinks of himself as "a mature Hamlet" (Killer Dolphin. Ch.9). <a href="https://web.archive.org/web/20190112095032/http://www.ngaio-marsh.org.nz/bh_art2.html" target="_blank">https://web.archive.org/web/20190112095032/http://www.ngaio-marsh.org.nz/bh_art2.html</a> <a href="#fnref:99" class="footnote-back-ref">↩</a></p></li> <li id="fn:100"><p>Altmann, Anna E.; Vos, Gail De (2001). Tales, Then and Now: More Folktales as Literary Fictions for Young Adults. Libraries Unlimited. p. 132. ISBN 9781563088315. <a href="9781563088315" target="_blank">9781563088315</a> <a href="#fnref:100" class="footnote-back-ref">↩</a></p></li> <li id="fn:101"><p>Flood, Alison (27 November 2012). "Hamlet rewritten as choose-your-own-adventure game book". The Guardian. Retrieved 11 January 2019. <a href="https://www.theguardian.com/books/2012/nov/27/hamlet-rewritten-choose-your-own-adventure" target="_blank">https://www.theguardian.com/books/2012/nov/27/hamlet-rewritten-choose-your-own-adventure</a> <a href="#fnref:101" class="footnote-back-ref">↩</a></p></li> <li id="fn:102"><p>Clanchy, Kate (27 August 2016). "Nutshell by Ian McEwan review – an elegiac masterpiece". The Guardian. Retrieved 11 January 2019. <a href="https://www.theguardian.com/books/2016/aug/27/nutshell-by-ian-mcewan-review" target="_blank">https://www.theguardian.com/books/2016/aug/27/nutshell-by-ian-mcewan-review</a> <a href="#fnref:102" class="footnote-back-ref">↩</a></p></li> <li id="fn:103"><p>Desmet, Christy; Loper, Natalie; Casey, Jim (2017). Shakespeare / Not Shakespeare. Springer. p. 154. ISBN 9783319633008. Retrieved 1 July 2019. <a href="9783319633008" target="_blank">9783319633008</a> <a href="#fnref:103" class="footnote-back-ref">↩</a></p></li> <li id="fn:104"><p>"Graphic Novel Adaptations of Regular Books", Using Graphic Novels in the English Language Arts Classroom, Bloomsbury Academic, 2020, doi:10.5040/9781350112728.0015, ISBN 978-1-3501-1269-8, S2CID 242977569, retrieved 2023-04-14 <a href="978-1-3501-1269-8" target="_blank">978-1-3501-1269-8</a> <a href="#fnref:104" class="footnote-back-ref">↩</a></p></li> <li id="fn:105"><p>Booth, A. (2015). Reading The Waste Land from the Bottom Up. Springer. pp. Chapter "Line 172". ISBN 9781137482846. Retrieved 11 January 2019. <a href="9781137482846" target="_blank">9781137482846</a> <a href="#fnref:105" class="footnote-back-ref">↩</a></p></li> <li id="fn:106"><p>Crawford, Robert (10 January 2015). "TS Eliot: the poet who conquered the world, 50 years on". The Guardian. Retrieved 11 January 2019. <a href="https://www.theguardian.com/books/2015/jan/10/from-tom-to-ts-eliot-world-poet" target="_blank">https://www.theguardian.com/books/2015/jan/10/from-tom-to-ts-eliot-world-poet</a> <a href="#fnref:106" class="footnote-back-ref">↩</a></p></li> <li id="fn:107"><p>Newey, Vincent; Thompson, Ann (1991). Literature and Nationalism. Rowman & Littlefield. p. 52. ISBN 9780389209546. <a href="9780389209546" target="_blank">9780389209546</a> <a href="#fnref:107" class="footnote-back-ref">↩</a></p></li> <li id="fn:108"><p>"Hamlet by Boris Pasternak, 1958, translated by Ann Pasternak Slater". TheGuardian.com. 6 November 2010. <a href="https://www.theguardian.com/books/2010/nov/06/saturday-poem-hamlet-boris-pasternak" target="_blank">https://www.theguardian.com/books/2010/nov/06/saturday-poem-hamlet-boris-pasternak</a> <a href="#fnref:108" class="footnote-back-ref">↩</a></p></li> <li id="fn:109"><p>"An alternate translation of B. Pasternak's Hamlet by G. Veles". <a href="https://gugoveles.wixsite.com/transpositions/hamlet" target="_blank">https://gugoveles.wixsite.com/transpositions/hamlet</a> <a href="#fnref:109" class="footnote-back-ref">↩</a></p></li> <li id="fn:110"><p>Burzyńska, Katarzyna (2012-01-01). "A Polish Hamlet: Zbigniew Herbert's 'Elegy of Fortinbras'". New Readings. 12: 35. doi:10.18573/newreadings.84. ISSN 1359-7485. <a href="https://newreadings.cardiffuniversitypress.org/article/10.18573/newreadings.84/" target="_blank">https://newreadings.cardiffuniversitypress.org/article/10.18573/newreadings.84/</a> <a href="#fnref:110" class="footnote-back-ref">↩</a></p></li> <li id="fn:111"><p>Marx, Peter (2016). Hamlet-Handbuch: Stoffe, Aneignungen, Deutungen (in German). Springer-Verlag. p. 448. ISBN 9783476005168. <a href="9783476005168" target="_blank">9783476005168</a> <a href="#fnref:111" class="footnote-back-ref">↩</a></p></li> <li id="fn:112"><p>Kabatchnik, Amnon (2014). Blood on the Stage, 480 B.C. to 1600 A.D.: Milestone Plays of Murder, Mystery, and Mayhem. Rowman & Littlefield. p. 323. ISBN 9781442235489. <a href="9781442235489" target="_blank">9781442235489</a> <a href="#fnref:112" class="footnote-back-ref">↩</a></p></li> <li id="fn:113"><p>Kabatchnik, Amnon (2014). Blood on the Stage, 480 B.C. to 1600 A.D.: Milestone Plays of Murder, Mystery, and Mayhem. Rowman & Littlefield. p. 322. ISBN 9781442235489. <a href="9781442235489" target="_blank">9781442235489</a> <a href="#fnref:113" class="footnote-back-ref">↩</a></p></li> <li id="fn:114"><p>Neill, Michael; Schalkwyk, David (2016). The Oxford Handbook of Shakespearean Tragedy. Oxford University Press. p. 676. ISBN 9780198724193. <a href="9780198724193" target="_blank">9780198724193</a> <a href="#fnref:114" class="footnote-back-ref">↩</a></p></li> <li id="fn:115"><p>Saunders, Harris S. (2002). "Ambleto | Grove Music". www.oxfordmusiconline.com. doi:10.1093/gmo/9781561592630.article.O900112. ISBN 978-1-56159-263-0. Retrieved 8 February 2019. <a href="978-1-56159-263-0" target="_blank">978-1-56159-263-0</a> <a href="#fnref:115" class="footnote-back-ref">↩</a></p></li> <li id="fn:116"><p>Champlin, John Denison; Apthorp, William Foster (1899). Cyclopedia of Music and Musicians: Easter-Mystères. C. Scribner's Sons. p. 219. Retrieved 8 February 2019. Hamlet had been previously set to music, as Amleto, by Gasparini, Rome, 1705 ; Domenico Scarlatti, ib., 1715 <a href="https://books.google.com/books?id=UyhhAAAAIAAJ&q=%22Domenico+Scarlatti%22+amleto" target="_blank">https://books.google.com/books?id=UyhhAAAAIAAJ&q=%22Domenico+Scarlatti%22+amleto</a> <a href="#fnref:116" class="footnote-back-ref">↩</a></p></li> <li id="fn:117"><p>McClymonds, Marita P. (2002). "Amleto (i) | Grove Music". www.oxfordmusiconline.com. doi:10.1093/gmo/9781561592630.article.O900296. ISBN 978-1-56159-263-0. Retrieved 8 February 2019. <a href="978-1-56159-263-0" target="_blank">978-1-56159-263-0</a> <a href="#fnref:117" class="footnote-back-ref">↩</a></p></li> <li id="fn:118"><p>"A forgotten 'Hamlet' opera reappears in Baltimore". Washington Post. Retrieved 8 February 2019. <a href="https://www.washingtonpost.com/entertainment/music/forgotten-hamlet-at-bco-shows-missing-link-in-19th-century-italian-opera/2014/10/03/7ae1a8a2-4b27-11e4-b72e-d60a9229cc10_story.html?noredirect=on" target="_blank">https://www.washingtonpost.com/entertainment/music/forgotten-hamlet-at-bco-shows-missing-link-in-19th-century-italian-opera/2014/10/03/7ae1a8a2-4b27-11e4-b72e-d60a9229cc10_story.html?noredirect=on</a> <a href="#fnref:118" class="footnote-back-ref">↩</a></p></li> <li id="fn:119"><p>Davis, Peter G. (12 March 2010). "In Defense of Ambroise Thomas's 'Hamlet'". The New York Times. Retrieved 8 February 2019. <a href="https://www.nytimes.com/2010/03/14/arts/music/14hamlet.html" target="_blank">https://www.nytimes.com/2010/03/14/arts/music/14hamlet.html</a> <a href="#fnref:119" class="footnote-back-ref">↩</a></p></li> <li id="fn:120"><p>"Classical Music: Music on Radio". The Independent. 14 June 1996. Retrieved 8 February 2019. <a href="https://www.independent.co.uk/arts-entertainment/music/classical-music-music-on-radio-1336958.html" target="_blank">https://www.independent.co.uk/arts-entertainment/music/classical-music-music-on-radio-1336958.html</a> <a href="#fnref:120" class="footnote-back-ref">↩</a></p></li> <li id="fn:121"><p>Senior, Evan (1968). Music and Musicians. Hansom Books. p. 24. <a href="https://books.google.com/books?id=wc8JAQAAMAAJ&q=%22S%C3%A1ndor+Szokolay%22+hamlet" target="_blank">https://books.google.com/books?id=wc8JAQAAMAAJ&q=%22S%C3%A1ndor+Szokolay%22+hamlet</a> <a href="#fnref:121" class="footnote-back-ref">↩</a></p></li> <li id="fn:122"><p>Official Site of composer Sergei Slonimsky | Saint Petersburg Contemporary Music Center reMusik.org <a href="https://en.remusik.org/resources/composers/slonimsky/" target="_blank">https://en.remusik.org/resources/composers/slonimsky/</a> <a href="#fnref:122" class="footnote-back-ref">↩</a></p></li> <li id="fn:123"><p>Christiansen, Rupert (12 June 2017). "Brilliant music, rapturously received - Hamlet, Glyndebourne, review". The Telegraph. Retrieved 8 February 2019. <a href="https://www.telegraph.co.uk/opera/what-to-see/brilliant-music-rapturously-received-hamlet-glyndebourne-review/" target="_blank">https://www.telegraph.co.uk/opera/what-to-see/brilliant-music-rapturously-received-hamlet-glyndebourne-review/</a> <a href="#fnref:123" class="footnote-back-ref">↩</a></p></li> <li id="fn:124"><p>Wells, Stanley; Shaw, James (2005). A Dictionary of Shakespeare. Oxford University Press. p. 17. ISBN 9780192806383. <a href="9780192806383" target="_blank">9780192806383</a> <a href="#fnref:124" class="footnote-back-ref">↩</a></p></li> <li id="fn:125"><p>Huss, Fabian (2015). The Music of Frank Bridge. Boydell & Brewer. p. 167. ISBN 9781783270590. <a href="9781783270590" target="_blank">9781783270590</a> <a href="#fnref:125" class="footnote-back-ref">↩</a></p></li> <li id="fn:126"><p>Shakespeare, William (2014). Hamlet: Third Series. Bloomsbury Publishing. p. 567. ISBN 9781408142882. <a href="9781408142882" target="_blank">9781408142882</a> <a href="#fnref:126" class="footnote-back-ref">↩</a></p></li> <li id="fn:127"><p>Hamilton, Katy; Loges, Natasha (2014). Brahms in the Home and the Concert Hall. Cambridge University Press. p. 166. ISBN 9781107042704. <a href="9781107042704" target="_blank">9781107042704</a> <a href="#fnref:127" class="footnote-back-ref">↩</a></p></li> <li id="fn:128"><p>Le Guide Musical: Revue Internationale de la Musique Et de Theâtres Lyriques (in French). 1897. p. 99. <a href="https://books.google.com/books?id=j90EAAAAMAAJ&q=%22Guillaume+Lekeu%22+Hamlet" target="_blank">https://books.google.com/books?id=j90EAAAAMAAJ&q=%22Guillaume+Lekeu%22+Hamlet</a> <a href="#fnref:128" class="footnote-back-ref">↩</a></p></li> <li id="fn:129"><p>Sadie, Stanley (1980). The New Grove Dictionary of Music and Musicians. Macmillan Publishers. p. 650. ISBN 9780333231111. <a href="9780333231111" target="_blank">9780333231111</a> <a href="#fnref:129" class="footnote-back-ref">↩</a></p></li> <li id="fn:130"><p>"Hamlet, symphonic poem for… | Details". AllMusic. Retrieved 6 March 2019. <a href="https://www.allmusic.com/composition/hamlet-symphonic-poem-for-orchestra-s-104-lw-g22-mc0002388000" target="_blank">https://www.allmusic.com/composition/hamlet-symphonic-poem-for-orchestra-s-104-lw-g22-mc0002388000</a> <a href="#fnref:130" class="footnote-back-ref">↩</a></p></li> <li id="fn:131"><p>Porte, John F. (2018). Edward MacDowell. Seltzer Books. ISBN 9781455313464. <a href="9781455313464" target="_blank">9781455313464</a> <a href="#fnref:131" class="footnote-back-ref">↩</a></p></li> <li id="fn:132"><p>Russell, Peter (2018). Delphi Masterworks of Pyotr Ilyich Tchaikovsky (Illustrated). Delphi Classics. ISBN 9781786561237. Retrieved 6 March 2019. <a href="9781786561237" target="_blank">9781786561237</a> <a href="#fnref:132" class="footnote-back-ref">↩</a></p></li> <li id="fn:133"><p>"Review: 'Hair: The American Tribal Love-Rock Musical' at City Theater Company in WiImington, DE". 3 April 2016. Retrieved 19 March 2019. <a href="https://dcmetrotheaterarts.com/2016/04/03/191729/" target="_blank">https://dcmetrotheaterarts.com/2016/04/03/191729/</a> <a href="#fnref:133" class="footnote-back-ref">↩</a></p></li> <li id="fn:134"><p>"21 Everyday Phrases You'd Never Believe Were Invented By Shakespeare". Reader's Digest. Retrieved 19 March 2019. <a href="https://www.rd.com/culture/words-shakespeare-invented/" target="_blank">https://www.rd.com/culture/words-shakespeare-invented/</a> <a href="#fnref:134" class="footnote-back-ref">↩</a></p></li> <li id="fn:135"><p>Icons of Beauty: Art, Culture, and the Image of Women. ABC-CLIO. 22 December 2009. ISBN 9780313081569. Retrieved 19 March 2019. Gothic band Abney Park has a song titled Dear Ophelia (2006), which is an imagined letter of apology from Hamlet to Ophelia. <a href="9780313081569" target="_blank">9780313081569</a> <a href="#fnref:135" class="footnote-back-ref">↩</a></p></li> <li id="fn:136"><p>"Min tro är något vackert – något jag står för". Dagen. Retrieved 19 March 2019. I den absolut sista text som min hjälte Björn Afzelius skrev, sjunger han om Elsinore, slottet från Hamlet. <a href="https://www.dagen.se/livsstil/min-tro-ar-nagot-vackert-nagot-jag-star-for-1.272204?paywall=true" target="_blank">https://www.dagen.se/livsstil/min-tro-ar-nagot-vackert-nagot-jag-star-for-1.272204?paywall=true</a> <a href="#fnref:136" class="footnote-back-ref">↩</a></p></li> <li id="fn:137"><p>Shakespeare and Popular Music. Bloomsbury Publishing. 23 September 2010. pp. 106–107. ISBN 9781441134257. Retrieved 19 March 2019. <a href="9781441134257" target="_blank">9781441134257</a> <a href="#fnref:137" class="footnote-back-ref">↩</a></p></li> <li id="fn:138"><p>"Complete Guide to Dream Theater 'Pull Me Under'". Ultimate Guitar. Retrieved 19 March 2019. <a href="https://www.ultimate-guitar.com/articles/features/complete_guide_to_dream_theater_pull_me_under-49251" target="_blank">https://www.ultimate-guitar.com/articles/features/complete_guide_to_dream_theater_pull_me_under-49251</a> <a href="#fnref:138" class="footnote-back-ref">↩</a></p></li> <li id="fn:139"><p>Singer-Songwriters: Music and Poetry in Language Teaching. Narr Francke Attempto Verlag. 16 July 2018. p. 94. ISBN 9783823392385. <a href="9783823392385" target="_blank">9783823392385</a> <a href="#fnref:139" class="footnote-back-ref">↩</a></p></li> <li id="fn:140"><p>Avant-Garde Hamlet: Text, Stage, Screen. Rowman & Littlefield. 10 September 2015. p. 82. ISBN 9781611478563. Retrieved 19 March 2019. <a href="9781611478563" target="_blank">9781611478563</a> <a href="#fnref:140" class="footnote-back-ref">↩</a></p></li> <li id="fn:141"><p>"This Mortal Coil". 4AD. Retrieved 9 September 2019. <a href="http://www.4ad.com/artists/thismortalcoil" target="_blank">http://www.4ad.com/artists/thismortalcoil</a> <a href="#fnref:141" class="footnote-back-ref">↩</a></p></li> <li id="fn:142"><p>Fazel, Valerie M.; Geddes, Louise (2017). The Shakespeare User: Critical and Creative Appropriations in a Networked Culture. Springer. p. 38. ISBN 9783319610153. Retrieved 21 October 2019. <a href="9783319610153" target="_blank">9783319610153</a> <a href="#fnref:142" class="footnote-back-ref">↩</a></p></li> <li id="fn:143"><p>Lien, Tracey (10 October 2012). "Shakespeare meets video games in 'Hamlet: The Text Adventure'". Polygon. Retrieved 21 October 2019. <a href="https://www.polygon.com/2012/10/10/3482546/shakespeare-meets-video-games-in-hamlet-the-text-adventure" target="_blank">https://www.polygon.com/2012/10/10/3482546/shakespeare-meets-video-games-in-hamlet-the-text-adventure</a> <a href="#fnref:143" class="footnote-back-ref">↩</a></p></li> <li id="fn:144"><p>""To Play, or Not to Play?" Alawar Entertainment Releases Hamlet Video Game for PC - IGN". IGN. 8 April 2010. Retrieved 21 October 2019. <a href="https://www.ign.com/articles/2010/04/08/to-play-or-not-to-play-alawar-entertainment-releases-hamlet-video-game-for-pc" target="_blank">https://www.ign.com/articles/2010/04/08/to-play-or-not-to-play-alawar-entertainment-releases-hamlet-video-game-for-pc</a> <a href="#fnref:144" class="footnote-back-ref">↩</a></p></li> <li id="fn:145"><p>"Ryan North's To Be Or Not To Be". www.pocketgamer.com. Pocket Gamer. Retrieved 21 October 2019. <a href="https://www.pocketgamer.com/articles/064444/ryan-norths-to-be-or-not-to-be/" target="_blank">https://www.pocketgamer.com/articles/064444/ryan-norths-to-be-or-not-to-be/</a> <a href="#fnref:145" class="footnote-back-ref">↩</a></p></li> <li id="fn:146"><p>"What to play: In the 'Hamlet' remix 'Elsinore,' Ophelia is caught in a time loop". Los Angeles Times. 9 August 2019. Retrieved 21 October 2019. <a href="https://www.latimes.com/entertainment-arts/story/2019-08-09/recommended-game-elsinore-remixes-hamlet-ophelia" target="_blank">https://www.latimes.com/entertainment-arts/story/2019-08-09/recommended-game-elsinore-remixes-hamlet-ophelia</a> <a href="#fnref:146" class="footnote-back-ref">↩</a></p></li> <li id="fn:147"><p>Owen, Ruth J. (2013). The Hamlet Zone: Reworking Hamlet for European Cultures. Cambridge Scholars Publishing. p. 182. ISBN 9781443845069. <a href="9781443845069" target="_blank">9781443845069</a> <a href="#fnref:147" class="footnote-back-ref">↩</a></p></li> </ol>