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- 莎士比亚: 哈姆雷特 / SHAKESPEARE: Hamlet Prince of Denmark
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专辑号：NA412412 发行时间：12/06/1997 所属厂牌：Naxos Audiobook 所属分类： 莎士比亚 -
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- William ShakespeareHamlet Prince of DenmarkHamlet, which dates from 1600-1601, is the first inShakespeare’s great series of four tragedies, the others being Othello (1603),King Lear (1605) and Macbeth (1606). In writing this extraordinary play, Shakespeareeffectively re-invented tragedy after an interval of roughly two thousand years—we have to go back to the Greek dramatists of 5th century Athens to findanything of comparable depth and maturity. Certainly Shakespeare had already dealt with tragic themesand situations in plays such as Romeo and Juliet, Richard II and Julius Caesar,but in Hamlet he found himself able to fuse with complete artistic success theconflicting concerns of the private individual and the public state of which heis a member, or for which he may indeed be responsible—Hamlet is, after all,Prince of Denmark. This is a quintessentially Renaissance theme: it is nolonger enough to appeal to an accepted moral or religious system, but insteadeach man must find out for himself a moral path through the ‘unweeded garden’of life. Sources The first known version of the Hamlet story is found in the12th century Historia Danica by Saxo Grammaticus. Most of the main ingredientsof the story are already present, albeit in primitive form, and some of thenames, too—‘Amlethus ’ for Hamlet. In 1576 Francois de Belleforest retold thestory in his Histoires Tragiques, translated into English in 1608 and hence toolate for Shakespeare to have read—but someone, perhaps Thomas Kyd, came across thestory in the 1580’s and turned it into a play which must have beenShakespeare’s immediate source, however radically different Shakespeare’sversion turned out to be. We know, incidentally, that the idea of a ghostseeking revenge comes from this lost play: Thomas Lodge in 1596 writes of the‘ghost, which cried so miserably at The Theater, like an oyster wife, “Hamlet,revenge.”’ Synopsis of the Play Act 1, Scene 1: Sentinels at the castle of Elsinore haveseen the ghost of ‘the king that’s dead’—Hamlet’s father—walking theramparts. Horatio, Hamlet’s closest friend, then sees it too, and decides totell the Prince. Act 1, Scene 2: The new king, Claudius—Hamlet’suncle—addresses the court. Laertes, son of the king’s chief minister Polonius,is given leave to return to France. Hamlet bitterly resents his mother’s recentmarriage to Claudius and only reluctantly agrees to stay in Denmark rather thanreturn to his studies in Wittenberg. Horatio tells Hamlet about his father’sghost and they agree to watch for it at midnight. Act 1, Scene 3: Laertes bids farewell to his sister Opheliaand warns her to take no notice of the advances Hamlet has been making to her.Polonius in turn offers some worldly counsel to Laertes, and then reinforcesLaertes’ advice to Ophelia. Act 1, Scene 4: The ghost beckons Hamlet to follow, which hedoes. Act 1, Scene 5: The ghost tells Hamlet how he was poisonedby Claudius while he slept, and orders his son to avenge the murder. Act 2, Scene 1: Polonius sets Reynaldo to spy in Paris onLaertes. Ophelia enters in distress to tell her father that Hamlet has come toher in a disturbed state; Polonius decides that Hamlet must be madand resolves to tell the king. Act 2, Scene 2: Rosencrantz and Guildenstern, old friends ofHamlet, are welcomed by the king, who wishes them to spy on Hamlet to discoverwhat is upsetting him. News arrives of a peace with Norway. Polonius informsthe king that he believes Hamlet to be mad with unrequited love for hisdaughter Ophelia. Hamlet greets Rosencrantz and Guildenstern but clearlysuspects that they are working for the king. They tell him that a company ofactors are about to arrive at Elsinore; Hamlet then welcomes the players andconceives the idea of getting them to put on a play at court which will imitatethe events of his father’s murder and thus, he hopes, expose Claudius’ guilt. Act 3, Scene 1: The king and Polonius eavesdrop on aconversation between Ophelia and Hamlet in which the former returns to Hamletall love-tokens. Hamlet reacts with angry contempt. Claudius is not convincedeither that Hamlet is mad or that he is suffering from unrequited love;Polonius suggests that the Queen should speak privately with her son to try andascertain the cause of his grief. Act 3, Scene 2: The actors perform the play, as instructedby Hamlet, and Claudius reacts with violent horror to what he sees. Poloniusasks Hamlet to see his mother in her chamber. Act 3, Scene 3: The king decides to send Hamlet to England.Hamlet, on the way to his mother’s room, sees Claudius at prayer and is onlyprevented from killing him by the thought that he might have repented andtherefore escapes the damnation he deserves. Act 3, Scene 4: Polonius, with the Queen’s consent, hidesbehind a curtain to overhear the conversation. Hamlet tells his mother thatClaudius is in fact the murderer of her first husband—old Hamlet—and bitterlyreproaches her for what he regards as her treacherous and incestuous behaviorin marrying Claudius. Polonius, fearing for the Queen’s safety, exclaims aloud,and is stabbed while hiding behind the curtain by Hamlet, who at first believedhim to be the king. The ghost reappears to warn Hamlet to treat his motherleniently, but not to forget the duty of vengeance. The Queen is remorseful andpromises to help her son. Act 4, Scene 1: The king confirms Hamlet’s instant exile toEngland. Act 4, Scene 2: Rosencrantz and Guildenstern fail todiscover from Hamlet the whereabouts of Polonius’ body. Act 4, Scene 3: Hamlet is dismissed to England by Claudius,who then in soliloquy tells us that Hamlet will be put to death by Denmark’sallies. Act 4, Scene 4: Hamlet, on his way to exile, sees theNorwegian army on its way to war and envies them their capacity for decisiveaction. Act 4, Scene 5: Ophelia has been driven mad by the death ofher father at the hand of her lover. Laertes, returning in rage, blamesClaudius. Act 4, Scene 6: Horatio receives a letter from Hamlet, whichtells him that he has escaped and is on his way back to Elsinore. Act 4, Scene 7: The king persuades Laertes that Hamlet ishis enemy. News arrives of Hamlet’s return, and Claudius outlines a treacherousmeans by which Laertes may avenge his father’s death and sister’s madness. TheQueen then brings more bad news: Ophelia has drowned herself. Act 5, Scene 1: Hamlet and Horatio come upon twogravediggers at work. They show him the skull of Yorick, the King’s jester.Hamlet realizes whose grave is being dug when Ophelia’s funeral processioncomes in sight. Hamlet and Laertes quarrel. Act 5, Scene 2: Hamlet tells Horatio the story of hisescape, and of how he has sent Rosencrantz and Guildenstern to their deaths.Osric brings a challenge from Laertes to a fencing bout. Hamlet and Laertesgreet each other courteously and the bout begins. Hamlet having scored twohits, Laertes takes the poison-tipped foil and wounds Hamlet, but in theensuing scuffle the rapiers are exchanged and Laertes, too, is fatally wounded.Meanwhile, the Queen has drunk of the poisoned chalice reserved for Hamlet butnames Claudius as the villain before she dies. Hamlet stabs the king and forceshim to drink off the rest of the poisoned chalice. Laertes apologizes to Hamletand dies. Hamlet names Fortinbras of Norway, whose arrival is imminent, as hissuccessor, and in turn dies himself. CommentaryThe above summary of the action conveys little of thesearching poetic intensity or profound characterization of the play, but itdoes suggest that Hamlet is a play rich in varied and exciting action. Truethough this is, the central enigma of Hamlet in fact rests on a question aboutinaction: why is the protagonist so slow to act on the ghost’s clearinstruction? To say that Hamlet’s fatal flaw (in Aristotelian terms) is‘indecisiveness’ solves nothing: why is he so indecisive? The most convincinganswer to this question, I believe, is that Hamlet’s capacity for decisiveaction has been disastrously blunted by the appalling shock to his moral systemadministered by his mother’s swift remarriage: even before Hamlet discoversthat his uncle is a murderer, he is in a state of profound depression, hisidealized concept of women utterly destroyed by the blind (and incestuous)passion his mother seems to feel for the unworthy Claudius. For Hamlet, theworld is like an ‘unweeded garden’ possessed only by ‘things rank and gross innature ’; sexuality is now repulsive rather than beautiful, so that even theinnocent Ophelia is corrupted in his eyes —‘frailty, thy name is woman!’ Only when Ophelia is dead and whenHamlet has had time to come to terms with mortality—witness the gravediggers’scene — is he able calmly to take the opportunity which providence puts in hisway: ‘the readiness is all.’ What makes Hamlet the memorable play it is, thequintessential tragedy in many people’s eyes? First there is the complex,loveable, infuriating character of Hamlet himself; then there is the extraordinarilypowerful sense of family and generational conflict around which the play isbuilt, of suffocating emotion clamoring for a release which is only achieved inthe last scene; the play is amazingly rich, too, in variety of tone andlanguage, ranging from the comic (Polonius being made a fool of by Hamlet) tothe sinister (Claudius offering silver-tongued friendship to the appalled hero)to the sublime (the great series of soliloquies given to Hamlet). Howwonderfully, too, Shakespeare is able to combine the comic with the tragic orprofound: the gravediggers jest about death, yet when Hamlet confronts theskull of his old friend Yorick the tone shifts effortlessly into pathos—‘Alas,poor Yorick!’—thence to physical disgust—‘my gorge rises at it’—and finallyinto searing cynicism at the treacherous falseness of appearances—‘Now get youto my lady’s chamber, and tell her, let her paint an inch thick, to this favorshe must come...’ The play’s range, then, is dazzling and immense: ourperception of mankind, like Hamlet’s, is compelled to the extremes ofadmiration and revulsion: ‘What a piece of work is a man...the beauty of theworld; and yet to me, what is this quintessence of dust?’ Notes by Perry Keenlyside The Cast of Hamlet: Prince of Denmark Hamlet,the Prince of Denmark AntonLesser Claudius,Hamlet’s uncle; the new King Edwardde Souza Gertrude,Hamlet’s mother; The Queen Susan Engel Ophelia,Laertes’ sister EmmaFielding Polonius,the King’s chief minister PeterJeffrey Horatio,Hamlet’s closet friend SeanBaker Laertes,Polonius’ son JamieGlover Ghost/PlayerKing Geoffrey Whitehead Rosecrantz/1stGravedigger GavinMuir Guildenstern/2ndGravedigger PeterYapp Marcellus/Cornelius/PlayerQueen BenjaminSoames Barnardo/Priest/Captain David Timson Osric/Francisco/Voltimand RichardPearce Fortinbras/Reynaldo PaulPanting ANTON LESSER (Hamlet) has played many of the principalShakespearean roles for the Royal Shakespeare Company, including Petruchio,Romeo and Richard III. His other theater credits include Wild Oats and Art.Appearances in major TV drama productions include The Mill on the Floss and ThePolitician’s Wife. EDWARD DE SOUZA (Claudius) is one of Britain’s leadingclassical actors and has worked many seasons for the Royal Shakespeare Company,Royal National Theatre and Old Vic. His film credits include The Thirty NineSteps and The Spy Who Loved Me. SUSAN ENGEL (Gertrude) has had a varied and accomplishedcareer in the theater, performing on many occasions for the Royal ShakespeareCompany, and Royal National Theatre. Among her West End credits are AnInspector Calls, Three Sisters and Hamlet. On TV she has been seen in KavanaghQC and Inspector Morse and her film credits include Damage and Peter Brook’sKing Lear. EMMA FIELDING (Ophelia) trained at RSAMD. She has worked forthe Royal National Theatre in Tom Stoppard’s Arcadia and the Royal ShakespeareCompany in Twelfth Night and John Ford’s The Broken Heart, for which she wonthe Dame Peggy Ashcroft Award for Best Actress. She also appeared in the worldpremière of Craig Raine’s 1953. Emma Fielding has appeared in numerous radioplays and is a frequent reader on Naxos AudioBooks. PETER JEFFREY (Polonius) has played Ulysses in Troilus andCressida and Falstaff in The Merry Wives of Windsor for the Royal ShakespeareCompany as well as numerous roles for the Royal National Theatre and the WestEnd. On TV he has appeared in The Prince and the Pauper, Our Friends in theNorth, Middlemarch and A Village Affair. SEAN BAKER (Horatio) has worked extensively for the RoyalShakespeare Company in Troilus and Cressida, Les Liaisons Dangereuses andJulius Caesar, as well as Galileo and The Oresteia for the Royal NationalTheatre and other plays across the UK and in the West End. JAMIE GLOVER (Laertes) trained at the Central School ofSpeech and Drama and has since played title roles in Hamlet and Henry V and anumber of other roles in, amongst others, Tartuffe and The Rose Tattoo for SirPeter Hall. His TV appearances include A Dance to the Music of Time andCadfael. GEOFFREY WHITEHEAD (Ghost/Player King) has played leadingroles in Revenger’s Tragedy, The Seagull, and in Wild Honey and Body Languagefor Alan Ayckbourn. His many TV credits include Z Cars, The Sweeney, War andRemembrance, Crossing the Floor and Lord of Misrule.GAVIN MUIR (Rosencrantz/1st Gravedigger) has worked forvarious theater companies including the Boulevard Theatre in Paris, and in theWest End. His TV credits include the BAFTA-winning Our Friends in the North andCracker, and his voice is familiar to listeners of radio drama. He was also amember of the singing group The Flying Pickets. PETER YAPP (Guildenstern/2nd Gravedigger) has appeared inplays and theaters across Britain and in the West End including Rosencrantz andGuildenstern are Dead and The Black Prince. His TV credits include House ofElliot, Martin Chuzzlewit and Poirot. BENJAMIN SOAMES (Marcellus/Cornelius/Player Queen) trainedat LAMDA. Since then he has appeared in the TV series Sharpe and AbsolutelyFabulous as well as the TV films Heavy Weather and England, My England. Histheater credits include Measure For Measure. DAVID TIMSON (Barnardo/Priest/Captain) has performed inmodern and classic plays across Great Britain and abroad, including Wild Honeyfor Alan Ayckbourn, Hamlet, The Man of Mode, and The Seagull. He has been seenon TV in Nelson’s Column and Swallows and Amazons, and in the film The Russia House. RICHARD PEARCE (Osric/Francisco/Voltimand) has extensiveexperience of radio drama, having been a member of the BBC Radio Drama Companyfor many years. His theater credits include Torch Song Trilogy, Conjugal Rites,Cider With Rosie and The Boyfriend. PAUL PANTING (Fortinbras/Reynaldo) has performed across theUK in plays such as Double Double, The Merchant of Venice, The Boys fromSyracuse and on TV in Wycliffe, The Bill and Sean’s Show.
