Contents
Introduction
I.1 The Life and works of Charles and Mary Lamb
I.2 Literature in the Early Victorian Times (1800-1850)
II. „Hamlet, Prince of Denmark“ and the Victorian Influence
II.1 The Structure of the Book and the Authors’ Intention
II.2 The Language
II.3 The Dramatis Personae and the Plot
Conclusion
Bibliography
Introduction
to adapt: to make or become suitable for new needs, different conditions, etc. (DCE, p. 10.)1
In the Victorian times, William Shakespeare’s works were more and more read instead of watched in the theatre. His plays were not only very popular for emphasising the moral tone, but were also considered as timeless poetry. By several adaptations and revisions of his works, Shakespeare was soon embedded in the ‘middle class sentimental movement’.2
As a consequence drawn out of this, in what way does a 19th century adaptation make Hamlet suitable for its requirements? Are there any Victorian virtues or stereotypes visible? Is there a tendency to emphasise the positive and didactic elements, or was Shakespeare’s play only used to entertain on a rainy afternoon?
The following term paper analyses the Victorian influences on Shakespeare’s Hamlet in the adaptation “Hamlet, Prince of Denmark”, written by Charles and Mary Lamb in 1807. By way of introduction, a brief review of the life and works of Charles and Mary Lamb and a short presentation of literature in the Victorian times will be given. The central part of this paper is an analysis of the influences of the early Victorian times on Lambs’ Shakespeare adaptation. Hence, the structure of the book, the authors’ intention, the language, the Dramatis Personae and the plot will be treated in more detail.
I.1 The Life and Works of Charles and Mary Lamb
Charles Lamb (1775-1834) and Mary Lamb (1764-1847) were both born in London. When Charles was educated at the charitable school Christ’s Hospital, he became friend with the older student Samuel Taylor Coleridge. Through their friendship to Coleridge, Charles and Mary got to know the Wordsworths and other major figures of that time.
The Lambs’ life was stricken by personal tragedy. In 1795-6, Charles was mentally deranged and therefore confined to a mental institution where he stayed for a short period of time. Thereafter, he suffered from a shadow of madness and of alcoholism for his whole life. Members of the Lamb family were prone to mental instability, and so in 1796, Mary stabbed both their parents in a fit of insanity. After spending a year in an asylum she was released into her brother’s care. Neither Charles nor Mary ever married.3
Charles Lamb’s best work is found in his criticism and essays, taking here as an example his famous Specimens of English Dramatic Poets Who Lived about the Time of Shakespeare (1808). Additionally, he wrote commentary on Shakespeare’s plays and was also quite popular in writing stories for children, for e.g. The Adventures of Ulysses (1808) and Beauty and the Beast (1811).4
Mary Lamb collaborated with her brother on Tales from Shakespeare (1807) and wrote also the greater part of Mrs Leicester ’ s School (1809).5
I.2 Literature in the Early Victorian Times (1800-1850)
In the early Victorian Times, most of the well-known authors tried to write their novels suitable to the wishes of their readership consisting mainly of members from the middle-class. These people wanted to be diverted by amusing or heart-rending stories and were willing to follow a thrilling story line in order to relax from their daily stress.6
Especially on the countryside, it was common to read stories out in the family circle, and therefore most of the novels had a highly didactic function and a moral tone. Additionally, the average Victorian reader can be considered as oversensitive to any offending of his religious and moral feelings, and consequently behaving in a prude way concerning any mentioning of sexuality. Hence, the novels contained no obvious depictions of sexuality, and the author very often changed his work according to the taste of his readers. Many readers even turned away from writers who hurt sexual taboos; for e.g. Elizabeth Gaskell’s novel Ruth in 1853 created a public uproar.7
Thomas Bowdler, for example, fits completely into the demands of the Victorian readers. In 1818, he published his Family Shakespeare, an expurgated, cut version of Shakespeare’s original text. Admiring Shakespeare highly, he nevertheless held the opinion that nothing “can afford an excuse for profanenes [sic] or obscenity...”8 Bowdler’s method was to cut rather than to substitute, adding almost nothing except prepositions and conjunctions.
II. „Hamlet, Prince of Denmark“ and the Victorian Influence
II.1 The Structure of the Book and the Authors’ Intention
It has been wished to make these Tales easy reading for very young children For young ladies too, it has been the intention chiefly to write; ... (Lamb, p. 6)
In Tales from Shakespeare, the authors Charles and Mary Lamb have chosen to present twenty of Shakespeare’s best-known tragedies and comedies but omitted the history plays completely.
Prose is used to simplify the plot and the language, but nonetheless “diligent care has been taken to select such words as might least interrupt the effect of the beautiful English tongue in which he wrote ”(Lamb, p. 5). Hence, some of the original speeches are incorporated in order “to give as much of Shakespeare’s own words as possible.” (Lamb, p. 5.)
Taking into account the efforts to increase the readability of the language, the authors’ intention becomes quite clear. The Lambs wrote the book in order to make the stories understandable for children and young ladies not having any access to the original book. After the young girls have used the tales as a helpful preface to the original plays, it is up to their brothers to help them to understand difficult parts of the story. The boys ought to select certain passages from Shakespeare which they should read out and explain carefully to their sisters.
II.2 The Language
Sie klingen als kämen sie aus dem warmen und redlichen Herzen einer Großmutter. (Keck, German translator of Tales from Shakespeare, 1888)9
The Lambs tried to stick close to the Shakespearian text by taking the dialogues and putting them into prose. But it cannot be denied that they had to mix up different speeches and simplify the language.
To illustrate the truth of this, one has only to consider an extract of Lambs’ description of Hamlet’s melancholy. It becomes clear that several original speeches are combined and a more plain language is used:
...this young prince was overclouded with a deep melancholy, and lost all his mirth and all his good looks; all his customary pleasure in books forsook him, his princely exercises and sports, proper to his youth, were no longer acceptable; he grew weary of the world, which seemed to him an unweeded garden... (Lamb, pp. 264-265.)
Comparing this to Shakespeare’s language, the original speeches were not only more complex but also mainly written in blank verse:
I have of late, but wherefore I know not, lost all my mirth, forgone all custom of exercises; (Hamlet, Act II, Sc. II, ll. 295-297.)
How weary, stale, flat, and unprofitable Seem to me all the uses of this world! Fie on’t, ah fie, ‘tis an unweeded garden
(Hamlet, Act I, Sc. II, ll. 133-135.)
In this adaptation, the moral influence of the Victorian times can be found in the language as well. It is quite obvious that allusions to sexuality or Shakespeare’s famous puns are left out. Taking here as an example the songs Ophelia is singing when she is mad. In the Shakespearian play, Ophelia sings: “By Cock, they are to blame. Quoth she, ‘Before you tumbled me, You promis’d me to wed.’” (Act IV, Scene V, ll. 61-63.) In this case, “cock” can either stand for “God” or “penis”, and “tumbled me” means “took my virginity”. The Lamb text describes Ophelia’s lyrics as “songs about love and about death, and sometimes such as had no meaning at all.” (Lamb, pp. 277-278.). This act of using a more virtue choice of words goes on through the whole text.
Furthermore, direct speech is only used twice. The Lambs have chosen to insert some of Hamlet’s and Gertrude’s speeches into the closet scene. These speeches are abridged and have an easier sentence structure and a more simple choice of words, too. In the Shakespearian play, Hamlet says for example: “ A bloody deed. Almost as bad, good mother, as kill a king and marry with his brother.” (Act III, Scene IV, ll. 27-28.); whereas the Lambs’ text goes as follows: “ A bloody deed, mother,” replied Hamlet, “but not so bad as yours, who killed a king, and married his brother.” (Lamb, p. 274). The Lambs simplified not only the language, but by their choice of words they took the vagueness of Hamlet’s speech away, expressing it now more clearly that Gertrude as well has committed a crime.
The second time direct speech is used consists only of one single statement by the queen: “Sweets to the sweet! I thought to have decked thy bride-bed, sweet maid, not to have stewed thy grave. Thou shouldst have been my Hamlet’s wife.” (Lamb, p. 278) Although sticking close to the original text, the language is once again less complicated. The purpose for using the direct speech on these two occasions is probably to let the scenes appear more lively and dramatic.
II.3 The Dramatis Personae and the Plot
What these Tales shall have been to the young readers, that and much more it is the writers’ wish that the true Plays of Shakespeare may prove to them in older years—enrichers of the fancy, strenghteners of virtue, a withdrawing from all selfish and mercenary thoughts, a lesson of all sweet and honourable thoughts and actions, to teach courtesy, benignity, generosity, humanity: for of examples, teaching these virtues, his pages are full. (Lamb, p. 7)
In order to make the story easier to understand some of the minor characters and scenes are cut out. The story concentrates now mainly on the conflict of Hamlet trying to take revenge on his uncle Claudius, who had killed Hamlet’s father and married his mother, Gertrude.
The characters of Hamlet and Claudius are drawn in black and white. Hamlet, the prince of Denmark, is the personification of the hero when he is introduced as “a loving and gentle prince, and greatly beloved for his noble and princelike qualities...” (Lamb, p. 280.). Furthermore, he has a “noble mind and excellent understanding” (Lamb, p. 269.). Claudius, on the contrary, is referred to as “Hamlet’s wicked uncle”, and “the treacherous king” (Lamb, p. 279.). His character can best be described as static; he is evil right from the beginning and never seems to regret anything.
The highly dramatic scene in which the king prays for forgiveness and Hamlet wonders whether he should kill him or not is cut out. Consequently, Hamlet appears less hesitating in taking revenge than he does in the original play. The two contrasting figures Hamlet and Claudius—embodying good and evil—make the story easier to follow, because the reader knows from the start who is the admirable hero.
Interestingly, Hamlet is very soon distrustful of Claudius. The prince already suspects his uncle of having something to do with the strange death of his father before the ghost appears to reveal him the truth about the regicide.
As for the depiction of Gertrude, one may observe that she is presented as a very passive woman being inferior to men. She had married in an “indecent haste” (Lamb, p. 265.) a man who “did in no ways resemble her late husband in the qualities of his person or his mind, but was as contemptible in outward appearance” (Lamb, p. 264.). The queen is even told by the king to send for Hamlet in order to signify to her son how much his disturbing behaviour displeases the king and therefore her. Inasmuch Claudius thinks her to be incapable of being able to report the whole conversation to him, he sends Polonius for eavesdropping. The language used by the Lambs to describe the closet scene marks the difference between the two sexes according to the common stereotypes of the Victorian time: “this virtuous prince did in moving terms represent to the queen the heinousness of her offence” (Lamb, p. 275.), whereas she needs him to “turn her eyes inward upon her soul, which she saw so black and deformed” (Lamb, p. 275.). Women in that time were not only considered to be inferior to man, but were also seen as incapable of any high thinking and lacking in strength character, courage, and perceptibility.10 Presented as a Victorian lady, Gertrude needs the protection and guidance of a man, which is in that case given to her by her son Hamlet.
The sub-plot of the Shakespearian Hamlet —offering a less intense and less elaborate version of the main plot by presenting the struggling of Polonius and his two children Laertes and Ophelia—does not appear in the Lambs’ version. Polonius, for example, is mentioned for the first time when Ophelia is introduced, and Laertes does not come into view until Ophelia’s burial. Laertes and Polonius instructions on Ophelia to reject Hamlet’s love are left out, neither does the Lambs’ version include Polonius’ amusing list of precepts for his son to follow in France. The two men are sketched with a few strokes; they are very simply depicted characters.
Although Ophelia is portrayed a little more in detail, her character traits are presented as one-sided, too. Probably due to the influence of the time of the adaptation, Ophelia is introduced as the embodiment of a Victorian lady, having “good beauties” (Lamb, p. 270.) and behaving passive and full of respect towards men. Her obedience towards her father is obvious when she shows him Hamlet’s love letter “dutifully” (Lamb, p. 270.). Further, she does not reproach Hamlet “with being false to her” when the prince suddenly treats her harshly but instead persuades herself that “it was nothing but the disease in his mind, and not settled unkindness” (Lamb, p. 269.). Presenting herself entirely as the victim of Hamlet’s rough treatment, Ophelia is incapable of living without the protection of a man. As a result of this, after Hamlet’s departure and her father’s death she goes mad.
The story of Fortinbras and Denmark’s conflict with Norway which occurred as a framework in the Shakespearian play is completely omitted, too. Therefore, the effect that the two different princes complement each other is lost, the contrast between the brave warrior Fortinbras and the melancholic, hesitating thinker Hamlet does not appear.
Besides, there is no personal relationship mentioned between the two courtiers and Hamlet; Rosencrantz and Guildenstern are neither called by their names nor are they sent to spy on Hamlet. Due to this, an important element of Shakespeare’s play is missed, the betrayed friendship. The deaths of two nameless courtiers have a less dramatic effect than the murder of two young men who were killed because they took part in a plot against their former friend.
Other minor characters who are mentioned in Tales from Shakespeare are Horatio, Marcellus and two players, but they do not appear very often.
Conclusion
In 1807, the siblings Charles and Mary Lamb succeeded in writing a short prose version of Shakespeare’s Hamlet containing the main important elements of the tragic revenge play.
The plot and the language are simplified by the use of prose to increase the readability of the text for children and “young ladies”. Allusions to sexuality are left out in favour of a more virtue choice of words. Trying to stick as close to the Shakespearian text as possible, the Lambs’ incorporated several of the original speeches.
The story of the Lambs’ version concentrates on the main plot, namely the conflict of Hamlet trying to take revenge on his uncle Claudius. Consequently, some minor characters and scenes as well as the sub plot are cut out. Only the main characters are presented in more detail, carrying stereotype features embodying vices and virtues of the Victorian times. By presenting the characters in black and white and abridging the plot to its main components, the story is now not only easier to follow but lays also more emphasis on the moral standard of the 19th century.
The conclusion we can come to now is that the adaptation of Shakespeare’s Hamlet by Charles and Mary Lamb evidently reflects the influence of the Victorian times.
Bibliography
Primary Literature
- Lamb, C.; Lamb, M.: Tales from Shakespeare, London: Penguin Books, 1995.
- Shakespeare, W.: Hamlet, Walton-on-Thames-Surrey: The Arden Shakespeare, 1982.
Secondary Literature
- Boyce, C. (ed.): The Wordsworth Dictionary of Shakespeare, Hertfordshire: Wordsworth Reference, 1990.
- Drabble, M.; Stringer, J. (eds.): The Concise Oxford Companion to English Literature, Oxford: Oxford University Press, 1996.
- Lohrichs, S.: The Unwomanly Woman in George Bernard Shaw ’ s Drama and Her Social and Political Background, Diss. Uppsala, 1973.
- Quirk, R. (ed. et al.): Dictionary of Contemporary English, Berlin: Langenscheidt, 1987.
- Reinhold, H.: Der englische Roman des 19. Jahrhunderts, Düsseldorf: August Bagel Verlag, 1976.
- Schabert, I. (ed.): Shakespeare-Handbuch. Die Zeit. Der Mensch. Das Werk. Die Nachwelt. Stuttgart: Alfred Kröner Verlag, 1992.
- Schwanitz, D.: Englische Kulturgeschichte 1, Tübingen: UTB, 1995.
[...]
1 Quirk, R. (ed. et al.): Dictionary of Contemporary English, Berlin: Langenscheidt, 1987.
2 Cf. Schabert, Ina (ed.): Shakespeare-Handbuch. Die Zeit. Der Mensch. Das Werk. Die Nachwelt. Stuttgart: Alfred Kröner Verlag, 1992, p. 697.
3 Cf. Drabble, M.; Stringer, J. (eds.): The Concise Oxford Companion to English Literature, Oxford: Oxford University Press, 1996, p. 324.
4 Cf. Boyce, Charles (ed.): The Wordsworth Dictionary of Shakespeare, Hertfordshire: Wordsworth Reference, 1990, p. 359.
5 Cf. Drabble; Stringer, Companion to English Literature, p. 324.
6 Cf. Reinhold, H.: „Die englischen Romanautoren des 19. Jahrhunderts und ihr Publikum“, in: Der englische Roman des 19. Jahrhunderts, Düsseldorf: August Bagel Verlag ,1976, pp. 7-12, pp. 7-8.
7 Cf. Reinhold, „Die englischen Romanautoren“, p. 8-9.
8 Bowdler, quoted in: Drabble; Stringer, Companion to English Literature, p. 69.
9 Keck quoted in: Schabert, Shakespeare-Handbuch, p. 698.
Frequently asked questions
What is "Hamlet, Prince of Denmark" (Lamb Adaptation) about?
This document provides a comprehensive overview of an adaptation of Shakespeare's "Hamlet, Prince of Denmark" by Charles and Mary Lamb. It includes the title, table of contents, objectives, key themes, chapter summaries, and keywords, aiming for academic use in analyzing themes.
What does the table of contents cover?
The table of contents outlines the following sections: Introduction, I.1 The Life and works of Charles and Mary Lamb, I.2 Literature in the Early Victorian Times (1800-1850), II. „Hamlet, Prince of Denmark“ and the Victorian Influence, II.1 The Structure of the Book and the Authors’ Intention, II.2 The Language, II.3 The Dramatis Personae and the Plot, Conclusion, and Bibliography.
What are the key objectives of the analysis?
The analysis aims to understand how a 19th-century adaptation makes "Hamlet" suitable for its requirements, identifies Victorian virtues or stereotypes, and explores whether there's a tendency to emphasize positive and didactic elements or if the play solely served entertainment purposes.
What is covered in the introduction?
The introduction defines "to adapt" and discusses the increasing popularity of reading Shakespeare in the Victorian era, the moral tone emphasized in his plays, and how adaptations embedded Shakespeare in the 'middle class sentimental movement'. It poses questions regarding the influence of Victorian times on the adaptation of Hamlet.
What information is provided about Charles and Mary Lamb?
The document gives a brief overview of the lives and works of Charles and Mary Lamb, including their birth in London, Charles' education, their friendship with Samuel Taylor Coleridge, and their acquaintance with the Wordsworths and other major figures. It also addresses the tragedies in their personal lives, including Charles' mental derangement and Mary's mental instability.
What does the document say about literature in the early Victorian times (1800-1850)?
The document explains that Victorian authors tried to write novels suitable for their middle-class readership, focusing on amusing or heart-rending stories with a strong didactic function and moral tone. It also highlights the oversensitivity of Victorian readers to religious and moral offenses and the avoidance of depictions of sexuality.
What is the focus of the analysis of "Hamlet, Prince of Denmark" and the Victorian Influence?
This section analyzes the Victorian influences on the Lambs' adaptation of Shakespeare's "Hamlet," focusing on the structure of the book, the authors' intention, the language used, the Dramatis Personae, and the plot.
What does the document say about the structure of the book and the author’s intention?
The document states that the authors wrote the book so children and young ladies could have access to the original book, using Prose to simplify the plot and the language, and incorporating some of the original speeches.
How is the language analyzed in the adaptation?
The document analyzes how the Lambs adapted Shakespeare's language, simplifying it and omitting allusions to sexuality and puns. It also examines the use of direct speech and its impact on the dramatic effect of certain scenes.
How are the characters and plot analyzed in the Lamb adaptation?
The analysis explores how the Lambs streamlined the plot, focusing on Hamlet's revenge against Claudius. It also examines the portrayal of characters like Hamlet, Claudius, and Gertrude, highlighting the influence of Victorian stereotypes and moral standards.
What is included in the conclusion?
The conclusion summarizes the key findings of the analysis, emphasizing how the Lambs simplified the plot and language, omitted allusions to sexuality, and incorporated original speeches. It concludes that the Lambs' adaptation of Shakespeare's "Hamlet" reflects the influence of the Victorian times.
What primary and secondary literature is listed?
The document includes a bibliography listing both primary literature (Lamb's "Tales from Shakespeare" and Shakespeare's "Hamlet") and secondary literature (dictionaries, companions to English literature, and other academic sources). It includes the full citation of the dictionary of contemporary English and other reference materials used in the analysis.
- Quote paper
- Anja Kalinowsky (Author), 1999, "Hamlet, Prince of Denmark"-- A Hamlet Adaptation Reflecting the Victorian Times, Munich, GRIN Verlag, https://www.grin.com/document/94695