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The Age of Hamlets

Ghosts of Twisted and Tormented Souls,
of Blood and Deaths

Majid Ali, M.D.

This the age of Hamlits. Shakespeare's Hamlet means different things to different people, as all great literary works do. Literary critics and theatre professional addressing Hamlet  have been preoccupied largely with themselves or with their prince of Denmark. To me, Hamlet's story is altogether different. It is a story of ghosts of a twisted and tormented soul. It is a narrative of relentless fears and tortured imagination, of paranoia, doubt, uncertainty, and rage. The final scenes are of gore and blood. 

William Shakespeare wrote "The Tragedy of Hamlet, Prince of Denmark" (usually shortened to Hamlet (sometimes 599 and 1602). It is a play about the revenge of Prince Hamlet on his uncle Claudius who murdered his father, King Hamlet, and married his mother Gertrude. The play ends without surprise: with blood and death.

Sir Laurence' Hamlet

Here is a quote from Sir Laurence Olivier holding a human skull (pictured below): "Once you have played it, it will devour you and obsess you for the rest of your life. It has me. I think each day about it. I’ll never play him again, of course, but by God, I wish I could." The subject is Hamlet, a character Olivier referred to with both affection and awe as "the man in black." Sir Laurence and others who have played Hamlet were all occupied either with themselves or with their prince from Denmark Oliver

 

 

Age of American Hamlets

In teenagers and young men and women wearing suicide belts, I recognize Shakespeare ghosts of a twisted and tormented soul, of hate and rage. In images of explosions and death, I see Hamlets but with a difference. These are not ghosts created by the bard screaching pen but those sired by American drones, in Iraq, Afghanistan, Libya, Egypt, Gaza, and Israel. These are also narrative of incessantly recycled hate and rage. The curtains always fall with gore, blood, and death.

Here are some words from Sir Olivier about John Barrymore who played Hamlet on Broadway in 1922 and London in 1925): "It seemed to me that he breathed life into the character, which since Irving, had descended into arias and false inflections — all very beautiful and poetic, but castrated. Barrymore put back the balls." "And more words for the actor: "Mr. Olivier has as many voices as a ventriloquist, one for each facet of Hamlet’s nature."

And the words of Brooks Atkinson of The Times about John Gielgud (London1934; Broadway, 1936): "extraordinary grace and winged intelligence" but said he lacked "the command, power and storm of Elizabethan tragedy." Still, Gielgud was the toast of two continents, and on Broadway, he knocked Leslie Howard’s rival production right out of contention.

 

 

 

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The "gravedigger scene" by artist Eugene Delacroix, 1939.

 

 

vv

 

OHN GIELGUD (London, 1934; Broadway, 1936) For many, this melodious and intellectual interpretation constituted "the first Hamlet of our time," as W. A. Darlington wrote. Others found him a shade too lyrical and cerebral. In The Times, Brooks Atkinson admired Gielgud’s "extraordinary grace and winged intelligence" but said he lacked "the command, power and storm of Elizabethan tragedy." Still, Gielgud was the toast of two continents, and on Broadway, he knocked Leslie Howard’s rival production right out of contention.

JOHN GIELGUD (London, 1934; Broadway, 1936) For many, this melodious and intellectual interpretation constituted "the first Hamlet of our time," as W. A. Darlington wrote. Others found him a shade too lyrical and cerebral. In The Times, Brooks Atkinson admired Gielgud’s "extraordinary grace and winged intelligence" but said he lacked "the command, power and storm of Elizabethan tragedy." Still, Gielgud was the toast of two continents, and on Broadway, he knocked Leslie Howard’s rival production right out of contention.

 

 

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