text:
Hot cross bun
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This article is about the food. For the nursery rhyme, see Hot Cross Buns.
Hot cross bun
Homemade hot cross buns
Type
Spiced bun
Place of origin
United Kingdom
Main ingredients
currants or raisins
Cookbook: Hot cross bun Media: Hot cross bun
A hot cross bun is a spiced sweet bun made with currants or raisins, marked with a cross on the top, and traditionally eaten on Good Friday in the British Isles, Australia, Canada, Ireland, New Zealand, South Africa and some parts of the Americas. The buns mark the end of Lent and different parts of the hot cross bun have a certain meaning, including the cross representing the crucifixion of Jesus, and the spices inside signifying the spices used to embalm him at his burial.[1][2] They are now available all year round in some places.[3] Hot cross buns may go on sale in the United Kingdom, Australia and New Zealand as early as New Year's Day[4] or after Christmas.[5]
Contents
[hide]
1 History
2 Traditions
3 Other versions
4 The cross
5 See also
6 References
History[edit]
In many historically Christian countries, plain buns made without dairy products (forbidden in Lent until Palm Sunday) are traditionally eaten hot or toasted during Lent, beginning with the evening of Shrove Tuesday (the evening before Ash Wednesday) to midday Good Friday.
The ancient Greeks may have marked cakes with a cross.[6]
One theory is that the Hot Cross Bun originates from St Albans, where Brother Thomas Rocliffe, a 14th Century monk at St Albans Abbey, developed a similar recipe called an 'Alban Bun' and distributed the bun to the local poor on Good Friday, starting in 1361.[7]
In the time of Elizabeth I of England (1592), the London Clerk of Markets issued a decree forbidding the sale of hot cross buns and other spiced breads, except at burials, on Good Friday, or at Christmas. The punishment for transgressing the decree was forfeiture of all the forbidden product to the poor. As a result of this decree, hot cross buns at the time were primarily made in home kitchens. Further attempts to suppress the sale of these items took place during the reign of James I of England/James VI of Scotland (1603–1625).[8] The first definite record of hot cross buns comes from a London street cry: "Good Friday comes this month, the old woman runs. With one or two a penny hot cross buns", which appeared in Poor Robin's Almanack for 1733.[9] Food historian Ivan Day states, "The buns were made in London during the 18th century. But when you start looking for records or recipes earlier than that, you hit nothing."[3]
Traditions[edit]
An 1884 advertisement announcing the sale of hot cross buns for Good Friday in a Hawaiian newspaper.
English folklore includes many superstitions surrounding hot cross buns. One of them says that buns baked and served on Good Friday will not spoil or grow mouldy during the subsequent year. Another encourages keeping such a bun for medicinal purposes. A piece of it given to someone ill is said to help them recover.[10] If taken on a sea voyage, hot cross buns are said to protect against shipwreck. If hung in the kitchen, they are said to protect against fires and ensure that all breads turn out perfectly. The hanging bun is replaced each year.[10]
Other versions[edit]
In the United Kingdom, the major supermarkets produce variations on the traditional recipe such as toffee, orange-cranberry, and apple-cinnamon.[3]
In Australia and New Zealand, a chocolate version of the bun has become popular; coffee-flavoured buns are also sold in some Australian bakeries.[11] They generally contain the same mixture of spices, but chocolate chips are used instead of currants. There are also sticky date and caramel versions, as well as mini versions of the chocolate and traditional bun.[12]
The not cross bun is a variation on the hot cross bun. It uses the same ingredients but instead of having a "cross" on top, it has a smiley face in reference to it being "not cross" or "angry". The not cross bun was first sold commercially in 2014 by an Australian bakery, Ferguson Plarre Bakehouses, in response to supermarkets selling hot cross buns as early as Boxing Day (26 December).[13]
In the Czech Republic, mazanec is a similar cake or sweet bread eaten at Easter. It often has a cross marked on top.[14]
In the Bremen area in northern Germany, a "Hedwig" (lower Saxon: heet week) was an ancient Shrove Tuesday meal. On Shrove Tuesday, the top of a Hedwig was cut off and the Hedwig was filled with a tablespoon of hot butter and cinnamon-powder. The top was put back again and the Hedwig was served in a soup plate filled with hot milk or cream. Lastly, a tablespoon of cinnamon-sugar was mulled over the Hedwig, then eaten with a tablespoon. Today, a Hedwig is the sweet part of a Sunday breakfast in northern Germany.
In Frisia, the northern part of the Netherlands, there are "Hite wigge". They are very close to the original hot cross bun and Bremen's Hedwig. The Netherlands also has "krentenbollen", which are similar but do not have the cross on top.
The cross[edit]
Hot cross buns with the cross made with cuts
The traditional method for making the cross on top of the bun is to use shortcrust pastry;[15][16] however, more recently recipes have recommended a paste consisting of flour and water.[17]
See also[edit]
Wikibooks has a book on the topic of: Cookbook:Hot Cross Bun
Wikimedia Commons has media related to Hot cross buns.
Bath bun
Fruit bun
Sally Lunn bun
List of British breads
List of buns
List of foods with religious symbolism
References[edit]
Jump up ^ Turner, Ina; Taylor, Ina (1999). Christianity. Nelson Thornes. p. 50. ISBN 9780748740871. To mark the end of the Lent fast Christians eat hot cross buns. These have a special meaning. The cross in the middle shows how Jesus died. Spices inside remind Christians of the spices put on the body of Jesus. Sweet fruits in the bun show that Christians no longer have to eat plain foods.
Jump up ^ Fakes, Dennis R. (1 January 1994). Exploring Our Lutheran Liturgy. CSS Publishing. p. 33. ISBN 9781556735967. Since people often gave up meat during Lent, bread became one of the staples of Lent. Bakers even began making dough pretzels--a knotted length of dough that represented a Christian praying, with arms crossed and hands placed on opposite shoulders. Hot cross buns are popular during Lent. The cross of course reminds the eater of Christ's cross.
^ Jump up to: a b c Rohrer, Finlo (1 April 2010). "BBC - How did hot cross buns become two a penny?". BBC News. Retrieved 26 April 2014.
Jump up ^ "Hot Cross Buns on sale already". au.tv.yahoo.com. 4 January 2012. Archived from the original on 16 October 2014. Retrieved 28 December 2013.
Jump up ^ Dodd, Kate (3 January 2014). "Easter's come early: hot cross buns already on shelves". The Toowoomba Chronicle. Retrieved 30 April 2014.
Jump up ^ "Who Were The First To Cry "Hot Cross Buns?"". The New York Times. 31 March 1912. Retrieved 4 May 2010.
Jump up ^ "The City of St Albans Claims the Original Hot Cross Bun". St Albans Cathedral.
Jump up ^ David, Elizabeth (1980). "Yeast Buns and Small Tea Cakes". English Bread and Yeast Cookery. New York: The Viking Press. pp. 473–474. ISBN 0670296538.
Jump up ^ Charles Hindley (2011). "A History of the Cries of London: Ancient and Modern". p. 218. Cambridge University Press,
^ Jump up to: a b "Hot Cross Buns". Practically Edible: The Web's Biggest Food Encyclopedia. Practically Edible. Archived from the original on 3 April 2009. Retrieved 9 March 2009.
Jump up ^ "Easter Baking: Hot Cross Buns". jeanniebayb.livejournal.com. 24 March 2008. Archived from the original on 5 April 2010. Retrieved 26 March 2008.
Jump up ^ "Yummy Hot Cross Buns". Woolworths (Australia). Retrieved 30 April 2014.
Jump up ^ "Baker launches war on supermarkets' early hot cross bun sales". Good Food. Retrieved 15 March 2016.
Jump up ^ "Easter in Czech Republic". iloveindia.com. Retrieved 7 December 2007.
Jump up ^ Berry, Mary (1996). Mary Berry's Complete Cookbook (First edition (2nd reprint) ed.). Godalming, Surrey: Dorling Kindersley. p. 386. ISBN 1858335671.
Jump up ^ Smith, Delia (1986). Delia Smith's Cookery Course (First edition (8th reprint) ed.). London: British Broadcasting Corporation. p. 62. ISBN 0563162619.
Jump up ^ "The Great British Bake-off: Paul Holywood's Hot Cross Bun", Easy Cook (magazine) (60), p. 38, April 2013
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text:
To be, or not to be
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see To Be or Not to Be (disambiguation).
"Perchance to Dream" redirects here. For other uses, see Perchance to Dream (disambiguation).
Wikisource has original text related to this article:
Hamlet, Act 3
"To be, or not to be" is the opening phrase of a soliloquy spoken by Prince Hamlet in the so-called "nunnery scene"[1] of William Shakespeare's play Hamlet. Act III, Scene I.
Though it is called a soliloquy Hamlet is not alone when he makes this speech because Ophelia is on stage pretending to read while waiting for Hamlet to notice her, and Claudius and Polonius, who have placed Ophelia in Hamlet's way in order to overhear their conversation and find out if Hamlet is really mad or only pretending, have concealed themselves. Even so, Hamlet seems to consider himself alone and there is no indication that the others on stage hear him before he addresses Ophelia. In the speech, Hamlet contemplates death and suicide, bemoaning the pain and unfairness of life but acknowledging that the alternative might be worse. The meaning of the speech is heavily debated but seems clearly concerned with Hamlet's hesitation to avenge his father's murder (discovered in Act I) by his uncle Claudius.
Contents
[hide]
1 Text
1.1 First Quarto (1603)
1.2 Second Quarto (1604)
1.3 First Folio (1623)
2 Cultural impact
3 References
4 External links
Text[edit]
This version preserves most of the First Folio text with updated spelling and five common emendations introduced from the Second ("Good") Quarto (italicized).
To be, or not to be, that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take Arms against a Sea of troubles,
And by opposing end them: to die, to sleep
No more; and by a sleep, to say we end
the heart-ache, and the thousand natural shocks
that Flesh is heir to? 'Tis a consummation
devoutly to be wished. To die, to sleep,
To sleep, perchance to Dream; aye, there's the rub,
for in that sleep of death, what dreams may come,
when we have shuffled off this mortal coil,
must give us pause. There's the respect
that makes Calamity of so long life:
For who would bear the Whips and Scorns of time,
the Oppressor's wrong, the proud man's Contumely,
the pangs of despised Love, the Law’s delay,
the insolence of Office, and the spurns
that patient merit of the unworthy takes,
when he himself might his Quietus make
with a bare Bodkin? Who would Fardels bear, [F: these Fardels]
to grunt and sweat under a weary life,
but that the dread of something after death,
the undiscovered country, from whose bourn
no traveller returns, puzzles the will,
and makes us rather bear those ills we have,
than fly to others that we know not of.
Thus conscience does make cowards of us all,
and thus the native hue of Resolution
Is sicklied o'er, with the pale cast of Thought,
And enterprises of great pitch and moment, [F: pith]
with this regard their Currents turn awry, [F: away]
And lose the name of Action. Soft you now,
The fair Ophelia? Nymph, in thy Orisons
Be all my sins remember'd.[2]
First Quarto (1603)[edit]
The "First Quarto" (Q1) is the earliest edition of Hamlet but is considered a bad quarto (essentially a theatrical knock-off) rather than a first or earlier draft, and although some parts of Q1 reflect the received text of Hamlet well, its version of 'To be' does not. 'Hope' in place of 'dread', for example, considerably changes the meaning. For ease of comparison the spelling here is updated as above.
To be, or not to be, Ay there's the point,
To Die, to sleep, is that all? Aye all:
No, to sleep, to dream, aye marry there it goes,
For in that dream of death, when we awake,
And borne before an everlasting Judge,
From whence no passenger ever returned,
The undiscovered country, at whose sight
The happy smile, and the accursed damn'd.
But for this, the joyful hope of this,
Who'd bear the scorns and flattery of the world,
Scorned by the right rich, the rich cursed of the poor?
The widow being oppressed, the orphan wrong'd,
The taste of hunger, or a tyrants reign,
And thousand more calamities besides,
To grunt and sweat under this weary life,
When that he may his full Quietus make,
With a bare bodkin, who would this endure,
But for a hope of something after death?
Which puzzles the brain, and doth confound the sense,
Which makes us rather bear those evils we have,
Than fly to others that we know not of.
Aye that, O this conscience makes cowards of us all,
Lady in thy orizons, be all my sins remembered.[3][4]
Second Quarto (1604)[edit]
The text of the Second Quarto (Q2) is considered the earliest version of the play. In Q2 the whole nunnery scene including 'To be' takes place later in the play than in Q1 where it occurs directly after Claudius and Polonius have planned it[5] and the addition of "Soft you now", suggesting that Hamlet has not (or is feigning having not) seen Ophelia thus far during his speech.
To be, or not to be, that is the question,
Whether tis nobler in the minde to ſuffer
The ſlings and arrowes of outragious fortune,
Or to take Armes again in a sea of troubles,
And by oppoſing, end them, to die to sleepe
No more, and by a sleepe, to ſay we end
The hart-ache, and the thouſand naturall ſhocks
That flesh is heire to; tis a conſumation
Deuoutly to be wiſht to die to ſleepe,
To ſleepe, perchance to dreame, I there's the rub,
For in that ſleepe of death what dreames may come
When we haue ſhuffled off this mortall coyle
Muſt giue vs pauſe, there's the reſpect
That makes calamitie of ſo long life:
For who would beare the whips and ſcorns of time,
Th'oppreſſors wrong, the proude mans contumly,
The pangs of deſpiz'd loue, the lawes delay,
The inſolence of office, and the ſpurnes
That patient merrit of the'vnworthy takes,
When he himſelfe might his quietas make
With a bare bodkin; who would fardels beare,
To grunt and ſweat vnder a wearie life,
But that the dread of ſomething after death,
The vndiſcouer'd country, from whose borne
No trauiler returnes, puzzels the will,
And makes vs rather beare thoſe ills we haue,
Then flie to others we know not of.
Thus conſcience dooes make cowards,
And thus the natiue hiew of reſolution
Is ſickled ore with the pale caſt of thought,
And enterpriſes of great pitch and moment,
With this regard theyr currents turne awry,
And loose the name of action. Soft you now,
The faire Ophelia, Nimph in thy orizons
Be all my ſinnes remembred.[6]
First Folio (1623)[edit]
Mr. William Shakespeares Comedies, Histories, & Tragedies, published by Isaac Jaggard and Ed Blount in 1623 and better known as the "First Folio", includes an edition of Hamlet largely similar to the Second Quarto. The differences in 'To be' are mostly typographic, with increased punctuation and capitalization.
To be, or not to be, that is the Question:
Whether ’tis Nobler in the mind to suffer
The Slings and Arrows of outragious Fortune,
Or to take Armes against a Sea of troubles,
And by opposing end them: to dye, to sleep
No more; and by a sleep, to say we end
The Heart-ake, and the thouſand Naturall ſhockes
That Flesh is heyre too? 'Tis a consummation
Deuoutly to be wiſh'd. To dye to sleepe,
To sleep, perchance to Dream; I, there's the rub,
For in that sleep of death, what dreams may come,
When we haue ſhufflel’d off this mortall coile,
Muſt giue us pause. There's the respect
That makes Calamity of long life:
For who would beare the Whips and Scornes of time,
The Oppreſſors wrong, the poore mans Contumely,
The pangs of diſpriz’d Loue, the Lawes delay,
The inſolence of Office, and the Spurnes
That patient merit of the unworthy takes,
When he himſelfe might his Quietus make
With a bare Bodkin? Who would theſe Fardles beare
To grunt and ſweat vnder a weary life,
But that the dread of ſomething after death,
The vndiſcouered Countrey, from whoſe Borne
No Traueller returnes, Puzels the will,
And makes vs rather beare those illes we haue,
Then flye to others that we know not of.
Thus Conſcience does make Cowards of vs all,
And thus the Natiue hew of Resolution
Is ſicklied o’re, with the pale caſt of Thought,
And enterprizes of great pith and moment,
With this regard their Currants turne away,
And looſe the name of Action. Soft you now,
The faire Ophelia? Nimph, in thy Orizons
Be all my ſinnes remembred.[7]
Cultural impact[edit]
"To be, or not to be" is one of the most widely known and quoted lines in modern English, and the soliloquy has been referenced in innumerable works of theatre, literature and music. Hamlet is commonly depicted as reciting the first line while holding a skull, although both occur at separate times—the soliloquy is done in Act III, Scene I; while the contemplation of the skull is done in Act V, Scene I.[8]
Much of the plot of 1942 sophisticated comedy To Be or Not to Be, by Ernst Lubitsch, is focused on the monologue of Hamlet; in 1957 comedy film A King in New York, Charlie Chaplin recites the famous monologue in the shoes of the ambiguous king Shahdov.
Hamlet's famous line inspired the title of Kurt Vonnegut's 1962 short story "2 B R 0 2 B" (The zero is pronounced "naught"). The narrative takes place in a dystopian future where the United States government, through scientific advancement, has achieved a “cure” for both aging and overpopulation. The alphabetical/numerical reformulation of Shakespeare's lines serves in the story as the phone number for the Federal Bureau of Termination's assisted suicide request line.[9]
In 1963 at a debate in Oxford, Black liberation leader Malcolm X quoted the first few lines of the soliloquy to make a point about "extremism in defense of liberty."[10]
P.D. James' dystopian novel The Children of Men (1992) refers to expected or forced mass suicides of the elderly as "Quietus". The film adaptation Children of Men (2006) portrays a self-administered home suicide kit, labelled "Quietus".
Star Trek's sixth film was named after the "Undiscovered Country" line from this soliloquy. References are made to Shakespeare during the film including Klingon translations of his works and the use of the phrase "taH pagh, taHbe' ", roughly meaning "whether to continue, or not to continue [existence]."
The book (and later film) What Dreams May Come also derives its name from a line from this soliloquy. A shorter Hindi version of "To be, or not to be" was recited by Shahid Kapoor in the 2014 Bollywood film Haider.
Stargate Atlantis, the Season 4 Episode 10 named "This Mortal Coil" (2008) after the soliloquy, as well as Season 4 Episode 11 named "Be All My Sins Remember'd" (2008). These episodes involved learning about and fighting the artificial intelligence species Replicator.
There are numerous snowclones based the phrase, such as "To hack or not to hack", etc.
References[edit]
Jump up ^ Act III, Scene i
Jump up ^ Perseus Project. "Perseus:image:1998.04.0773 Image:1998.04.0773". Tufts University. Accessed 24 August 2013.
Jump up ^ Shakespeare, William. The Tragicall Historie of Hamlet Prince of Denmarke. As it hath beene diuerse times acted by his Highnesse seruants in the Cittie of London : as also in the two Vniuersities of Cambridge and Oxford, and else-where [The "First Quarto"], pp. 35 ff. Nicholas Ling & J. Trundell (London), 1603. Reprinted as The First Edition of the Tragedy of Hamlet: London, 1603. The Shakespeare Press, 1825.
Jump up ^ Shakespeare, William. [The "First Quarto"]. Hosted at The Shakespeare Quartos Archive as Hamlet, 1603. Copy 1. Huntington Library, image 17. Accessed 13 December 2013.
Jump up ^ Tronch Pérez, Jesús. "Dramaturgy of the Acting Version of the First Quarto of Hamlet". SEDERI VII (1996), p. 219.
Jump up ^ Shakespeare, William. The Tragicall Historie of Hamlet, Prince of Denmarke. Newly imprinted and enlarged to almost as much againe as it was, according to the true and perfect Coppie [The "Second Quarto"]. Nicholas Ling, 1604. Hosted at The Shakespeare Quartos Archive as Hamlet, 1604. Copy 1. Folger Library, images 27 & 28. Accessed 13 December 2013.
Jump up ^ Shakespeare, William. The Tragedie of Hamlet, Prince of Denmarke in Mr. William Shakespeares Comedies, Histories, & Tragedies Published according to the True Originall Copies [The "First Folio"], p. 265. Isaac Jaggard & Ed Blount (London), 1623. Hosted at the Internet Shakespeare Editions as First Folio, Page 773. Brandeis University. Accessed 13 Dec 2013.
Jump up ^ Ghose, Indira (2010). "Jesting with Death: Hamlet in the Graveyard". Textual Practice. Routledge Publishing. 24 (6): 1003–18. doi:10.1080/0950236X.2010.521668. ISSN 0950-236X – via Taylor & Francis. (Subscription required (help)).
Jump up ^ Vonnegut, Kurt. ""2 B R 0 2 B"". gutenberg.org. The Project Gutenberg. Retrieved 29 April 2017.
Jump up ^ Colman, Dan (30 August 2009). "Watch Malcolm X Debate at Oxford, Quoting Lines from Shakespeare's Hamlet (1964)". Open Culture. Retrieved 3 December 2017.
External links[edit]
Hamlet's To Be Or Not To Be soliloquy translated into modern English
The Fishko Files: The Many Faces of Hamlet from WNYC's Sara Fishko, a radio piece and accompanying blog post about the many interpretations of the soliloquy.
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The Rest Is Silence (1959)
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One Hamlet Less (1973)
The Angel of Vengeance – The Female Hamlet (1977)
Strange Brew (1983)
Hamlet Goes Business (1987)
The Lion King (1994)
Let the Devil Wear Black (1999)
The Banquet (2006)
Tardid (2009)
Karmayogi (2012)
Haider (2014)
Hamlet A.D.D. (2014)
Ophelia (2018)
The Lion King (2019)
Novels
Gertrude and Claudius (2000)
Dating Hamlet (2002)
Ophelia's Revenge (2003)
The Dead Fathers Club (2006)
Something Rotten (2007)
Hamlet's Father (2008)
The Story of Edgar Sawtelle (2008)
Hamlet Had an Uncle
Plays
Hamletmachine (1977)
Dogg's Hamlet (1979)
Fortinbras (1991)
Musicals
Rockabye Hamlet (1973)
The Lion King (1997)
Television
Hamlet (Australian TV, 1959)
Hamlet at Elsinore (BBC, 1964)
Hamlet, Prince of Denmark (BBC, 1980)
Hamlet (BBC 2, animated, 1992)
Hamlet (BBC 2, 2009)
Parodies
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The Complete Works of William Shakespeare (Abridged)
Rosencrantz and Guildenstern
Io, Amleto
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"Lyle the Kindly Viking"
To Be or Not to Be: That is the Adventure
"Tales from the Public Domain"
Songs
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"Pull Me Under" (1992)
"Song for Athene" (1997)
Opera/classical
Hamlet (Thomas)
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Hamlet (Tchaikovsky)
Tristia (Berlioz)
Die Hamletmaschine (Rihm)
Hamlet (Dean)
Story within a story
Films
To Be or Not to Be (1942)
Acting Hamlet in the Village of Mrdusa Donja (1973)
To Be or Not to Be (1983)
Rosencrantz & Guildenstern Are Dead (1990)
Highlander II: The Quickening (1991)
Last Action Hero (1993)
Renaissance Man (1994)
In the Bleak Midwinter (1995)
War (2002)
Hamlet 2 (2008)
Rosencrantz and Guildenstern Are Undead (2009)
Three Days (2012)
Plays
Rosencrantz and Guildenstern Are Dead (1966)
Stage Blood (1974)
I Hate Hamlet (1991)
To Be or Not to Be (2008)
Novels
Hamlet, Revenge! (1937)
Theatre of War (1994)
"The Undiscovered" (1997)
The Shakespeare Stealer (1998)
Interred with Their Bones (2007)
Television
"The Producer" (1966)
"The Conscience of the King" (1966)
"Born to Be King" (1983)
"Terrance and Phillip: Behind the Blow" (2001)
Slings & Arrows (2003)
Art
Ophelia
Affe mit Schädel
Video game
Last Action Hero (1993)
Hamlet (2010)
Intertextuality
Asterix and the Great Crossing
The Seagull
Sharpe's Havoc
Related
Hamlet and Oedipus
Hamlet and His Problems
Hebenon
Hamlet Q1
Ostalo je ćutanje
The Chronicles of Amber
"Symphony No. 65" (Haydn)
The Hobart Shakespeareans
Gertrude – The Cry
Poor Murderer
Something Rotten!
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