"shattering air raid upon Warsaw right after a sequence of farce or the spectacle of Mr. Benny playing a comedy scene with a Gestapo corpse. Mr. Lubitsch had an odd sense of humor—and a tangled script—when he made this film."" ""The Philadelphia Inquirer"" agreed, calling the film ""a callous, tasteless effort to find fun in the bombing of Warsaw."" Some critics were especially offended by Colonel Ehrhardt's line: ""Oh, yes I saw him [Tura] in 'Hamlet' once. What he did to Shakespeare we are doing now to Poland."" However, other reviews were positive. ""Variety"" called it one of Lubitsch's ""best"
"To be, or not to be ""To be, or not to be"" is the opening phrase of a soliloquy spoken by Prince Hamlet in the so-called ""nunnery scene"" of William Shakespeare's play ""Hamlet"". Act III, Scene I. In the speech, Hamlet contemplates death and suicide, bemoaning the pain and unfairness of life but acknowledging that the alternative might be worse. 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:<br> Whether 'tis nobler in the mind to"
"du min moder"" was described by the poet and literary historian Oscar Levertin as ""the to-be-or-not-to-be of Swedish literature"". To be, or not to be ""To be, or not to be"" is the opening phrase of a soliloquy spoken by Prince Hamlet in the so-called ""nunnery scene"" of William Shakespeare's play ""Hamlet"". Act III, Scene I. In the speech, Hamlet contemplates death and suicide, bemoaning the pain and unfairness of life but acknowledging that the alternative might be worse. This version preserves most of the First Folio text with updated spelling and five common emendations introduced from the Second (""Good"")"
"2: Act III, Scene 4: Act III, Scene 4: Act IV, Scene 4: Act V, Scene 1: Act V, Scene 2: ""Major links:"" ""Minor links:"" Phrases from Hamlet in common English William Shakespeare's play ""Hamlet"" has contributed many phrases to common English, from the famous ""To be, or not to be"" to a few less known, but still in everyday English. Also, some occur elsewhere, such as the Bible, or are proverbial. A few, listed out (""Note: all are second quarto except as noted""): Act I, scene 1: Act I, scene 2: Act I, scene 3: Act I, scene 4:"
"Phrases from Hamlet in common English William Shakespeare's play ""Hamlet"" has contributed many phrases to common English, from the famous ""To be, or not to be"" to a few less known, but still in everyday English. Also, some occur elsewhere, such as the Bible, or are proverbial. A few, listed out (""Note: all are second quarto except as noted""): Act I, scene 1: Act I, scene 2: Act I, scene 3: Act I, scene 4: Act I, scene 5: Act II, scene 2: ""Caviar to the general"" Hamlet Act 2, scene 2, 431–440 Act III, scene 1: Act III, scene"
"Hoping to change Mr. Hecuba's mind, Gilligan suggests that they perform a play for Mr. Hecuba so that he might reconsider Ginger's talent and ultimately decide to use her in a movie. From the limited resources available on the island, they create a musical version of William Shakespeare's ""Hamlet."" The cast performs three songs for their show. These parody the ""To be or not to be"" speech of Act III, Scene 1; the ""Get thee to a nunnery"" exchange between Hamlet and Ophelia later in the same scene, and Polonius's ""Neither a borrower nor a lender be"" speech from Act"
"whether suicide is legitimate and forgivable according to religious law. This is not the first time, however, that this question has been raised in the play. Hamlet has the very same discussion with himself during his ""To be, or not to be"" soliloquy in Act 3 scene 1. The characters in Act 5 scene 1 approach the topic this time with dark comedy, and in doing so bring up an entirely different theme. The parody of legal jargon used by the pair of clowns continues the theme of the corruption of politics, as seen in the usurpation of the throne"
"for other groups that are purportedly targeted for unequal treatment, as in the examples ""flying while Muslim"" and ""breathing while Republican"". ""To or not to "" is a template based on the line ""To be, or not to be"", spoken by the titular character in William Shakespeare's play ""Hamlet"" ( 1600). This template appears to have existed even prior to ""Hamlet"", and had previously been used specifically in a religious context to discuss ""actions that are at once contradictory and indifferent—actions that, because they are neither commanded nor prohibited by Scripture, good nor evil in themselves, Christians are free to"
"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. 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"
"apparent ontological paradox by inspiring Shakespeare to borrow phrases that the Doctor quotes from his plays. Examples of this include the Doctor telling Shakespeare that ""all the world's a stage"" (from ""As You Like It"") and ""the play's the thing"" (from ""Hamlet""), as well as the name Sycorax from ""The Tempest"". However, when Shakespeare himself coins the phrase ""To be, or not to be"", the Doctor suggests he write it down, but Shakespeare considers it ""too pretentious"". In a different version of the joke, the Doctor exclaims ""Once more unto the breach"", and Shakespeare initially likes the phrase, before realising"
"to others that we know not of.<br> Aye that, O this conscience makes cowards of us all,<br> Lady in thy orizons, be all my sins remembered. 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 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,"
"best film. Before or after each death in the film, Lionheart recites passages of Shakespeare, giving Price a chance to deliver choice speeches such as ""Hamlet's"" famous third soliloquy (""To be, or not to be, that is the question...""); Mark Antony's self-serving eulogy for Caesar from ""Julius Caesar"" (""Friends, Romans, Countrymen, lend me your ears...""); ""Now is the winter of our discontent..."" from the beginning of ""Richard III""; and finally, the raving of the mad ""King Lear"" at the loss of his faithful daughter. The film is sometimes considered to be a spoof or homage of ""The Abominable Dr. Phibes""."
"the poet, who is crying because he will never be a writer. Bugs finds out that he is not William Shakespeare, but is actually called Sam Crubish. The witch hears this and it appears that the two know each other but have not seen each other in a while because Crubish had the wrong apartment number (2B). Sam and Witch Hazel leave talking about who made the mistake of saying ""2B"" and the cartoon closes with Bugs Bunny quoting the famous line from ""Hamlet"" - ""To be, or not to be-that is the question."" A Witch's Tangled Hare A Witch's"
"example of one way in which productions can resolve the problem, in Act 1, Scene 1 of the 1981 ""BBC Shakespeare"" adaptation, Montague is not present in either the persona of Salisbury or that of John Neville. As such, his first two lines, ""Good brother, as thou lov'st and honour'st arms,/Let's fight it out and not stand cavilling thus"" (ll.117–118), are reassigned to Clarence and altered to ""Set it on your head good father/If thou lov'st and honour'st arms,/Let's fight it out and not stand cavilling thus."" Montague's second line, ""And I unto the sea from when I came"" (l.210),"
"Guildenstern tell the Queen that they will have Hamlet play a leading part in some court theatricals to distract him. Hamlet enters, and she begs them to prevent him from soliloquising. Hamlet begins, ""To be – or not to be,"" but they interrupt him, turning the soliloquy into a trio, and urging him to commit suicide. Hamlet responds: ""It must be patent to the merest dunce/Three persons can't soliloquize at once!"" Ophelia is terrified by the ghosts from ""five thousand plays"" that haunt her father's study, ""chattering forth the scenes [that her] poor father wisely had cut out."" But she"
"be or not to be', as our great German poet said."" The idea had also already been used by Vladimir Nabokov in his novel ""Pnin"", the eponymous hero of which taught his American college class that Shakespeare was much more moving ""in the original Russian."" The English version of the play appears alongside its ""original Klingon"" text. The ""original Klingon"" version differs from the English version in ways that reflect the play's history as supposedly originating from Klingon culture. Reference sections in the book show how literal translations of the Klingon body text have had to be ""adapted"" to make"
"1, Scene 4; Warwick's pause to get his breath during the Battle of Barnet (2.3.1–5); all of Act 2, Scene 5 (including dialogue from Henry, the father and the son) up to the entry of Prince Edward at line 125; all of Henry's monologue in Act 3, Scene 1, prior to his arrest (ll.13–54); Richard's entire soliloquy in Act 3, Scene 2 (ll.124–195); Margaret's ""Ay, now begins a second storm to rise,/For this is he that moves both wind and tide"" (3.3.47–48); Warwick's soliloquy at the end of the Act 3, Scene 3 (ll.257–268); Richard's ""I hear, yet say not"
"means act 3, scene 1, line 55. References to the First Quarto and First Folio are marked ""Hamlet ""Q1"""" and ""Hamlet ""F1"""", respectively, and are taken from the Arden Shakespeare ""Hamlet: the texts of 1603 and 1623"" (Thompson and Taylor, 2006b). Their referencing system for ""Q1"" has no act breaks, so 7.115 means scene 7, line 115. Characters in Hamlet What follows is an overview of the main characters in William Shakespeare's ""Hamlet"", followed by a list and summary of the minor characters from the play. Three different early versions of the play survive: known as the First Quarto (""Q1""),"
"works based on ""Hamlet"" include: Contemporary popular music mentions include: The play has contributed many phrases to common English vernacular, including the famous ""To be, or not to be"". Hamlet in popular culture Numerous references to ""Hamlet"" in popular culture (in film, literature, arts, etc.) reflect the continued influence of this play. ""Hamlet"" is one of the most popular of Shakespeare's plays, topping the list at the Royal Shakespeare since 1879. The following list of plays including references to ""Hamlet"" is ordered alphabetically. The following list is ordered alphabetically. Sitcoms alluding to ""Hamlet"" include ""Gilligan's Island"", ""Happy Days"", ""Skins"", ""Mystery"
"in the language: particularly noticeable in the opening lines of the famous ""To be, or not to be"" soliloquy: ""To be, or not to be, aye there's the point. / To die, to sleep, is that all? Aye all: / No, to sleep, to dream, aye marry there it goes."" However, the scene order is more coherent, without the problems of Q2 and F1 of Hamlet seeming to resolve something in one scene and enter the next drowning in indecision. New Cambridge editor Kathleen Irace has noted that ""Q1's more linear plot design is certainly easier [...] to follow [...]"
"phrase is the best known part of the speech, it and the later sea voyage and pirate attack are central to critical arguments regarding the play. The phrase, and its containing speech, exist in only one of three early printed versions of the play—the second quarto edition, and scholars are divided on whether this is indicative of authorial intent, or a mere artefact of playhouse practicalities. The phrase occurs in ""Hamlet"" Act 3, Scene 4, as a part of one of Hamlet's speeches in the Closet Scene. Hamlet has been acting mad to throw off suspicion that he is aware"
"do?""), and Marlowe's ""Edward II"" is paraphrased in Act 3, Scene 1 (Marlowe's ""The wild O'Neill, with swarms of Irish kerns,/Lives uncontrolled within the English pale"" (2.2.163–164) becomes ""The wild O'Neill, my lords, is up in arms,/With troops of Irish kerns that uncontrolled/Doth plant themselves within the English pale""). Even a line from ""3 Henry VI"" is used in Act 3, Scene 1 (""If our King Henry had shook hands with death"" (1.4.103)), all of which seems to suggest that, as is so often the case in the bad quartos, the reporter was filling in blanks (i.e. passages he could"
"to Be"" offers the reader the option to play as one of three characters: Hamlet, Ophelia, or Hamlet Sr., King of Denmark. From there the story branches frequently, with some options following the course of the original play and others providing the choice to give up on the quest to kill King Claudius, or to follow other pursuits (Ophelia, for example, is a keen scientist who can invent indoor heating, and King Hamlet, as a ghost, can choose to explore the ocean floor or tame the ghosts of dinosaurs). The choices that follow Shakespeare's play are marked with little ""Yorick"
"reacts in a grand septet with chorus. ""Closet Scene"" In the Queen's chambers Hamlet delivers the monologue ""To be or not to be"", then hides behind a tapestry. Claudius enters and prays aloud of his remorse. Hamlet, deciding Claudius' soul may be saved, if he is killed while praying, delays yet again. Polonius enters and in his conversation with Claudius reveals his own complicity. The King and Polonius leave, Hamlet emerges, and Gertrude enters with Ophélie. The Queen tries to persuade Hamlet to marry Ophélie, but Hamlet, realizing he can no longer marry the daughter of the guilty Polonius, refuses."
"it has a number of unique characteristics. There are many oddities and unexplained bits of action, consistent with crude cutting of the text (how Hamlet escapes from the ship to England is unexplained, as is the arrival of the English ambassadors). Some scenes take place at a different point in the story – for example Hamlet's ""To be, or not to be"" speech occurs in Act Two, immediately after Polonius proposes to set up an ""accidental"" meeting between Hamlet and Ophelia. Strikingly, the role of Gertrude is significantly different, since she becomes an accomplice of Hamlet in his plot against"
"""Oxford Shakespeare"" (Martin), based on the First Folio text of 1623. Under its referencing system, 4.3.15 means act 4, scene 3, line 15. Henry VI, Part 3 Henry VI, Part 3 (often written as 3 Henry VI) is a history play by William Shakespeare believed to have been written in 1591 and set during the lifetime of King Henry VI of England. Whereas ""1 Henry VI"" deals with the and the political machinations leading up to the Wars of the Roses and ""2 Henry VI"" focuses on the King's inability to quell the bickering of his nobles, and the inevitability"
"reference to the famous ""To be, or not to be"" soliloquy in William Shakespeare's ""Hamlet"". The setting is Warsaw, Poland, just before the 1939 Nazi Germany invasion. The well-known stars of a Warsaw theater company, ""ham"" actor Josef Tura (Jack Benny) and his beautiful wife, Maria (Carole Lombard), along with the rest of the company, are rehearsing ""Gestapo"", a play satirizing the Nazis. One of the actors, Bronski (Tom Dugan), even proves that he can pass for Hitler in the street. That night, when the company is performing Shakespeare's ""Hamlet"", with Tura in the title role, Bronski commiserates with friend"
"is our life? A game!"") a quote from Act 3 of the opera, became a proverb in Russian. ""What? Where? When?"", a trivia game and one of the most popular TV-shows in Russia and former Soviet countries, starts with a musical quotation from the opera, Herman singing the phrase ""Life is but a game."" The Queen of Spades (opera) The Queen of Spades, Op. 68 (, ""Pikovaya dama"", ) is an opera in 3 acts (7 scenes) by Pyotr Ilyich Tchaikovsky to a Russian libretto by the composer's brother Modest Tchaikovsky, based on a short story of the same name"
"of a play by Nashe (Act 1) and an unknown playwright (Acts 2–5) and that it was the original, non-Shakespearean, play that was first performed on 3 March 1592. Shakespeare's work in the play, which was most likely composed in 1594, can be found in Act 2 (scene 4) and Act 4 (scenes 2–5 and the first 32 lines of scene 7). In 2007, Vincent's authorship findings, especially with regard to Nashe's authorship of Act 1, were supported overall by Brian Vickers, who agrees with the theory of co-authorship and differs only slightly over the extent of Shakespeare's contribution to"
"on the chronology of history. In Letter 18, Voltaire talks about British tragedy, specifically in the hands of William Shakespeare. Voltaire presents his readers with the famous ""To be, or not to be"" soliloquy in ""Hamlet"" along with a translation into French rhyming verse. He also cites a passage from John Dryden and gives a translation. In Letter 19, Voltaire addresses British comedy, citing William Wycherley, John Vanbrugh, and William Congreve. Letter 20 speaks briefly of the ""belles lettres"" of the nobility, including the Earl of Rochester and Edmund Waller. Letter 22 references the poetry of Jonathan Swift and Alexander"
"Charles asks, a line that Pigott-Smith, with an agonised sigh, makes as existentially heart-wrenching as Hamlet's To be, or not to be"". Lawson finished his review by acknowledging that, """"King Charles III"", on TV, is two different things: an outrage for those who believe the monarchy should always be reverenced, especially by the BBC, but also a drama with the highest quality of acting, writing and filming. Strangely, those versions sometimes co-exist: a paper whose front page railed against the BBC for questioning Prince Harry’s DNA gave the play a five-star preview on its TV pages on the same day."""
"Arden Shakespeare of different ""Hamlet"" texts in different volumes is perhaps evidence of this shifting focus and emphasis. Other editors have continued to argue the need for well-edited editions taking material from all versions of the play. Colin Burrow has argued that ""most of us should read a text that is made up by conflating all three versions ... it's about as likely that Shakespeare wrote: ""To be or not to be, ay, there's the point"" [in Q1], as that he wrote the works of Francis Bacon. I suspect most people just won't want to read a three-text play ..."
"To Be or Not to Be (book) To Be or Not to Be: A Chooseable-Path Adventure, also referred to as To Be or Not to Be: That Is the Adventure, is a 2013 novel by Ryan North, retelling the story of Shakespeare's ""Hamlet"" in a choose your own adventure format and mostly contemporary language. The initial run of the book was crowd funded through Kickstarter and published by charitable ""uncorporation"" Breadpig. North posted ""To Be Or Not To Be: That Is The Adventure"" to Kickstarter on November 21, 2012, with a fundraising goal of $20,000, which was reached in three"