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1
Hamlet is perhaps the most notoriously enigmatic character in all of Western literature: we want to like him, we want him to find peace, and yet there are always the facts that he callously destroys Ophelia without reason -- certainly, antagonizing Polonius's daughter does not fall under the umbrella of his "antic disposition" -- and that he remorselessly murders Polonius, and even later gratuitously orders the deaths of his former school-friends, Rosencrantz and Guildenstern. We therefore cannot connect with him in the same way that we connect with other tragic heroes like Brutus. But along the same lines, Hamlet is certainly no hero-villain: he is no Macbeth, for instance.

So how should we think about Hamlet? Perhaps the best advice is to give up trying to categorize him and instead just listen to him: he thinks so well that our own thinking can only improve from exposure to his. Many people fuss over Hamlet's inaction, his inability to follow through with his vengeance against Claudius, but the more you listen to Hamlet, the more you begin to realize that perhaps fulfilling his dead father's revenge-wish is not what he wants, and THAT is why he does not act. I firmly follow Nietzsche in his observation that Hamlet does not think too much, but rather thinks too well.

Like all of the Folger Library editions of Shakespeare, this text includes useful notes on every left-hand page and a reasonable consolidation of all versions of the play on every right-hand page. Thus, the book is ideal for any classroom- or individual-based study of Shakespeare's most engimatic personage. Highly recommended.

4
His interactions with the other characters in the play, and his ability know in advance the corrupt plans of so many of his enemies at Elsinore, demonstrate Hamlet's sensible thoughts that would not go through his mind had he gone mad. There are also considerable distinctions between the actions of Hamlet in his "mad" state of mind and the few other characters that undoubtedly lost sanity. Hamlet is a smart, scholarly man, and faking a mental disability could certainly a part of his plot to revenge his father's death, which was a command of his father. Hamlet gives a warning to Horatio and others that he might act strangely at times, which would put whatever "mad" tendencies other may he displays into perspective. He unmistakably informs his mother, the queen Gertrude, that she was not to reveal to Claudius that he was "not in madness, but mad in craft" (3:4:9). She is not convinced that her son is okay, however he is clear in his point. A mad man would certainly not care about the other's thoughts and opinions of him. Horatio would probably have notice if his friend was acting out of the ordinary without a reason, and brought it to someone's attention, had it been serious enough. The first time the king and queen become aware of his "madness" is when Polonius announces it to them and tells them of Hamlets love for his daughter, Ophelia. Your noble son is mad: Mad call I it; for, to define true madness, What is't but to be nothing else but mad? But let that go...At such a time I'll loose my daughter to him..."(2:2:99).
If any of Hamlet's 'madness' is based on his talk of ghosts, the accusation is a blunder. Hamlet did not do a bad thing by frightening his uncle, but it certainly did make an impact. Claudius's startled state after the player's performance is proof that Hamlet is correct in his accusations. The Ghost of his father was the one that informed Hamlet of this ill deed. If the spirit were simply a fabrication of his imagination, than there would be no explanation for Hamlet's knowledge of his father's murder. He was the one that instructed the players to put on the show; therefore he must have gotten the information about the characters from some source, namely his dead father. If the ghost were there in the beginning, what would keep him from checking on his son from time to time? Young Hamlet was asked to seek revenge on his uncle, and the ghost is depending on him to do that. The spirit would have no choice but to be frequently watching his son, to know that he intends to do the job. There is so much evidence the specter is not just in Hamlets mind, that it is certain that the Ghost can not be considered when deciding that Hamlet is insane. Most of the "trustworthy" characters in the play recognize the ghost. Hamlet informs Horatio and Marcellus (1:5:190) that he will "put an antic disposition on", and might mutter strange phrases and demonstrate other acts of insanity. There is no doubt that others think he is unwell, but it could just be a statement used to back up the idea of sending the prince away. Claudius is opposed to Hamlets presence from the beginning, but chooses to let him stay for his own purposes. Though Prince Hamlets insanity is the main focus of distress for most, other individuals are mad as well, and for the first time quite genuinely. When Ophelia is seen as mad for the first time (4:5:28) she is openly singing and chanting- things that Hamlet never did. He talks of Polonius as a "fishmonger", and often makes reference to other seemingly ridiculous things, which could, and do at times, have deeper meaning. He was generally just talking sharply about some of his enemies. The strange behavior is probably a way to distract Polonius, Claudius, and perhaps the Queen, while Hamlet seeks revenge for his lifeless father. The most suspicious aspect of the "madness" is that his moments of visible mental uneasiness go on and off. One moment he will be talking nonsense to the King and his advisor, and within minutes he is talking in a perfectly understandable tone to his old childhood friends.
He questions issues of humanity often, especially towards the close of the play, which would explain his hasty choice to fence with this dangerous rival, that is plotting to take away the only thing Hamlet has, his life. Much unlike a truly insane person Hamlet does not act spontaneously. There is never a significant doing on his part that was not well thought out in advance The "madness" that Hamlet portrays in the tragedy, though believed to be true my many, is false. It possibly allowed Hamlet more time to plot the revenge for his father's death by Claudius, or was just an example of the young prince's love of drama. Either way, their were many flaws in his "act" that go unnoticed by the other characters, but can be picked up on by the reader. Hamlets frequent switching from sanity to madness, are obvious clues that he is pretending. The ghost of his dead father, and the play that proved his existence outside of Hamlet's mind are convincing confirmation that he was not hallucinating. All the characters that used Hamlets "disability" as a tool could be merely forcing themselves to believe that Hamlet is mad. He could just be going along with their unfortunate thoughts to convince them he is mad. Shakespeare's Masterpiece, Hamlet draws in so many people because of these debatable arguments. The question of Hamlets madness is reasonable, and after re-reading all the textual evidence, one must lean towards the fact that Hamlet is sane, for whatever reasons he chooses. It is a marvelous plan on his part, and should be noted as such.

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哈姆雷特读
沙翁所作品《哈姆雷特》或许受争议受注目16岁或许《罗米欧与朱丽叶》却觉《暴风雨》知所云;60岁能深深者所带神秘主义色彩所打前者却已经激起波澜……阶段经历场丰富深刻精神提升重新发现全新自我〈哈姆雷特〉似乎应该属于永恒与东西抉择特定历史与环境独特于全普遍命运面前所积累经验凭借与依托情况所选择某种意义经验代表经验所面命运阶段所要面绝望矛盾摸索真理迷雾找寻真相两难问题标准与衡量标准尺度世界重建价值体系与精神厦……
哈姆雷特完美抉择非理性激怒剑刺死波洛涅斯或许理智抉择弱点表现让我接受认同艺术形象看见……

哈姆雷特极其珍视装疯躲避迫害抑制奥菲丽亚思念由于自装疯痛苦冒着受王怀疑风险给诗:'Doubt thou the stars are fire;Doubt that thesun doth move ;Doubt truth to be a liar;But never doubt I love. 哈姆雷特命运抉择构造悲剧完全屈服于自命运探询父王死真相哈姆雷特性格允许带着疑问庸庸碌碌找寻真相道路所做任何抉择稍命运都改变经验促使实际致命抉择哈姆雷特并没抉择遗憾希望霍拉旭能"in this harsh world draw thybreath in pain to tell my story." 抉择都特定历史情况重复假设哈姆雷特能重新作抉择种情景意义;我哈姆雷特所做抉择都替代直接影响命运标准衡量我抉择要接受自抉择所引起象哈姆雷特所说"Thingsstanding thus unknown shall live behind me " 或许我要面问题象"to be or not to be"严重要想充满风险混沌世界????每抉择都容易目标任何尺度衡量其善恶世界勇敢抉择接受自命运……哈姆雷特永恒魅力

哈姆雷特 读二:
命运种东西种存?既像影形影离,似阳光温暖,候,,像梦魇深邃意旨支配(霍拉旭幕、第五场 露台精辟
创作于1600~1601剧本《哈姆雷特》整整推崇世纪震撼情节仅仅所体现问题层面描写种极其原始悲剧悲剧性格鲜明都遭受东西摧残摆布自欲望命运囚笼情形许自便曾消失
公哈姆雷特首先面原先理想世界破灭哈姆雷特处于某种意义经历挫折环境比较单纯习西统思想杰作高贵理性力量优美仪表文雅使智慧宇宙精华万物高贵崇拜父亲死贞洁母亲改嫁篡夺王位叔父使世界产怀疑种怀疑直接促彷徨叔父杀死父亲加重现实社失望原先真进行否定使信任我所见幽灵魔鬼化身戏发现叔父恶极终止彷徨哈姆雷特并种高喊口号怀疑使思索原先完美东西原贞洁抵欲望道德战胜贪念许应该复仇道德败坏母亲杀死父亲叔父思想算复仇说:毁灭思考问题种痛苦怀恐惧难题逃避
哈姆雷特情形并细细发现
王横死并没关系面临着两种选择道德或者欲望做寡妇保护自名声嫁给新王满足自需求理解精神欲望物质欲望选择哈姆雷特蔑视批评道德空虚带给痛苦,其实王善良道德败坏灵魂些污点前没初选择道德幸福王死瞬间决定力改变选择哪种选择自命运
篡夺王位叔父反派道德败坏者想要王位并且怀欲望注定王位种命运绝给予东西称作失面临着自理想世界消失努力争取其实表现英雄气概勇敢争取绝属于自东西悲剧代价沾满鲜血忏悔发现哈姆雷特真相始拯救自辛苦幸福徘徊罪孽理性终都没
勒替斯莪菲莉霞命运哈姆雷特惊相似父亲杀死毁灭选择莪菲莉霞选择逃避选择自杀复仇与否选择勒替斯完全哈姆雷特完全相反复仇者尽管面哈姆雷特丹麦民拥戴斗志昂扬难道我高贵父亲白白死妹妹白白疯……我报仇呼声代表种斗争精神终死哈姆雷特设计陷阱哈姆雷特补充复仇件事情避免死亡件事情选择都指向终点
发现物都面临着势力外部世界原本都像孩比较快乐安排温床发现襁褓实际深渊沼泽颠倒混乱倒霉我却要负起重整乾坤责任哈姆雷特早发现仅仅复仇于复仇种行本身篡夺王位改嫁同意义共同全都没想要达陷入另外困境
剧本名叫做《王复仇记》实际并没王复仇尽管刺死意义复仇失败彷徨憎恨世界憎恨自冷嘲热讽责备尝试着些事情形象英雄般鲁莽相比更像位痛苦智者进行精神抗争
与哈姆雷特停滞进行抗争王杀死并且尝试着忏悔洗清自罪孽并且妄图通杀死哈姆雷特保住王位勒替斯起实施计划企图让哈姆雷特父亲死付代价莪菲莉霞投湖指示自报仇鬼魂悲痛态度坚决
王死复仇勒替斯死计划失败哈姆雷特死复仇鬼魂依
说哈姆雷特剧情太于牵强能所都死恰恰现实所向我表现抗命运结局尝试着改变命运解救尝试着挽依存于每本身《哈姆雷特》式悲剧伴随着每并且

哈姆雷特读 三:
莎士比亚著名悲剧我看《哈姆雷特》经典悲惨都聚集
父亲叔叔杀害母亲改嫁嫁给自轼父仇发疯幸死连同自朋友母亲都场悲剧完全吞噬连串悲剧都源自欲望仇恨叔叔贪婪欲望使违背理伦招致亲侄泯灭仇恨命运埋避免祸根直至家破父亲悲痛万父亲鬼魂复仇步步谋划想要力量替父亲报仇要想尽办保护自母亲曾想意外断发母亲、、朋友、自并失
莎士比亚仿佛文字像世揭示仇恨双刃剑锋利涂满毒药双刃剑运用灵魂卖给魔鬼理智再刺伤别难免使自遍体鳞伤血肉模糊仇恨诅咒与排斥停止仲马《基督山伯爵》同阐述仇恨比罪恶本身更罪恶理由举起仇恨切罪恶与道理类却曾摆脱幽灵仇恨害即使鲜血没能洗刷掉
《哈姆雷特》各种式各种形式演绎电影却百看源于《哈姆雷特》紧凑戏剧情节高潮迭起惊喜紧张气氛都要等故事缓解师作品演绎断给予我惊喜意外于仇恨解释莎士比亚解释即使些并太尽依旧充满莎士比亚戏剧作家作品角度演绎都部经典再体验《哈姆雷特》魅力所作家文字刻提行冷酷恐怖仇恨双刃剑舍弃比拿起捍卫自明智
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747297409 | 发布于2011-07-05
评论
哈姆雷特》是最令人觉得扑朔迷离的,或者说是最富于哲学意味的。其中如父王为恶叔所弑,王位被篡,母后与凶手乱伦而婚,王储试图复仇而装疯卖傻等情节,均可见于古老的北欧传说,特别是丹麦历史学家所著的《丹麦史》中。这些尘封已久的原始资料,本来只记载着一些粗略的情节和苍白的姓名,毫无性格于动作可言,但是在莎士比亚的笔下,读者却发现自己生活在一群鲜活的人群中间,几乎和他们休憩相关,祸福与共。特别不可思议的是,其中出现了一个几百年来令世人叹为观止而有莫测高深的光辉典型。围绕这个主人公,可以提出很多问题。例如哈姆雷特是真疯还是假疯?这个性格的典型意义在哪里?这些问题都不是单凭剧情就可以解决的。

要充分认识和正确评析本剧的中心人物,必须全面照顾他的性格和环境相矛盾的复杂性,认识他从“时代脱臼了,真糟糕,天生我要把它板正过来”这句豪言壮语,到“生存还是毁灭,这是一个值得考虑的问题”这句绝望的叹息的全部心里背景。实际上,哈姆雷特的尴尬在于以一个纤弱而又明达的心灵肩负着与其行为能力不相称的重任。用歌德的说法:“这是一株橡树给我栽在一个只应开放娇嫩的花朵的花瓶里。”哈姆雷特,一个纯洁,高尚,有道德,有知识,有决心,只能以思想代替行为,不可能成为英雄的人,就是那个“花瓶”;那项他承担不起,几乎连渺茫的希望都没有,但又决不可推卸的复仇重任,就是那株“橡树”。

一旦“橡树”的根须膨胀开来,“花瓶”就非给挤破不可,这就是悲剧。在哈姆雷特身上,人的脆弱性和环境的残暴性是如此的相反而又相成,以至这个独特的性格在内涵方面显得致密而厚重,在外延方面也显得博大而深广。正是这样,有的专家便声称,哈姆雷特并不是一个客观的过时的角色,而是我们每个人自己。

莎士比亚不属于一个时代而属于全世纪,他的戏剧就象灿烂星空中的北斗,为人们指引着方向。

“生存还是毁灭,这是一个值得考虑的问题”他提出这个问题正是哲学的基本命题。因为刚刚发生在他身上的这些事引发了他对人生哲理的思考,在他的人生中诸事顺逆的时候,他是不会考虑到这个问题的,那时他看到的只是人生的光亮面,那时的生活无疑是美好的,而现在,突如其来的这场悲剧迫使他正视生活阴暗的一面和人性丑陋的一面。

可以说,哈姆雷特对人生中阴暗的那一面还是有比较深刻的了解的。过去他对这一切只是视而不见而已。如今残酷的现实迫使他面对这一切。他预感到,自己已经被不可避免的拖入到一个悲剧的命运中。如果他父亲真是被害死的,那么为父报仇就成了他一生中不可推卸的使命。而他的敌人又是当今的国王,要想杀死他,肯定不是一件容易的事,但无论多么困难,杀父之仇是不能不报的,而他当前的任务是要想出一个巧妙的办法来核实他的叔父是否杀害了他的父亲。阴谋,暗算与残杀,这些是违背哈姆雷特善良纯真的本性的,但又是他复仇的使命所必须的。处在人生中花样年华的哈姆雷特背上了沉重的复仇使命,心中整日充满仇恨,使他内心阴暗而沉重,他陷入了无法自拔的痛苦的深渊。
文艺复兴后期的英国乃至整个欧洲,一方面是思想解放,另一方面则是私欲泛滥、社会混乱,人们在“个性解放”的旗帜下为所欲为。
莎士比亚在剧中说:“这是一个颠倒的时代”。不错,彼时丹麦国的状况是——婚礼紧接着葬礼;敌军压境,宫中却仍在纵欲狂欢;朝廷里众大臣尔虞我诈,互相倾轧;社会上民众群情激奋。
这就是我们的主人公哈姆莱特生活的时代与环境,这一切造就了他的性格与一系列看似怪异的行为。
比如哈姆莱特的装疯。该怎样诠释呢?我认为,他一方面是为了迷惑敌人,另一方面则可以畅所欲言,以暴露现实的黑暗,还能惊醒敌人,使其自我暴露。
再如哈姆莱特的延宕。歌德说这表现了他内心的感伤。柯勒律治说他这是思想过剩。卡尔?魏尔德认为这是他为了证明自己的正义。布拉雷德则认为这表现了他厌世的心理。琼斯从心理学的角度分析,把哈姆莱特的延宕归为俄狄浦斯情节(恋母情结)。马克思主义文艺学从社会学的角度来看,认为这是社会恶势力过于强大,哈姆莱特一个人难以胜任改造社会的历史重任造成的。真可谓仁者见仁,智者见智,一千个读者眼里就有一千个哈姆雷特,究竟孰是孰非呢?还要观众自己去分析、评判。我个人认为,以上观点都有一定的道理,都有其合理性,但若仅以其中一两点来解释显然又是片面的。所以,正是如此丰富多样的理由形成了我们的主人公哈姆莱特丰富多彩的性格,鲜明生动,历经数百年仍在世界戏剧舞台上散发着灼灼的光芒。
又如哈姆莱特的忧郁。从家庭来讲,发生了意料不到的突变——父死母嫁,王位被夺。可我们的忧郁王子又无力承担复仇的责任,这使他形成了非常强烈的心理压力。残酷而又黑暗的现实使他原本信仰的人文主义理想破灭了,他发现了自然和人类社会的病态,产生了“生存还是死亡”这类对人的终极拷问。
本剧的一大亮点是对哈姆雷特内心冲突的表现。他追求理想,又失望于现实。他向往人性之善,又深信人性本恶。他想重整乾坤,又深感自己无能为力。他厌倦人生,又恐惧死亡。他爱恋人和母亲,又恨她们脆弱。
古希腊时期的戏剧主要表现人与外部世界自然力之间的冲突,而莎士比亚则着力于表现人与人及人自身的理智、信念与情感、欲望之间的冲突,是为心灵悲剧。外在冲突起因于内在精神、心理的差异,最终是为展示心灵服务的。莎士比亚在剧中对哈姆莱特心灵悲剧的成功表现,显示了文艺复兴文学的最高成就。该剧充分展示了人的内心世界、情感特征和欲望要求,反映了文艺复兴时期追求人本主义、反对禁欲主义、要求个性解放的文艺思潮。
哈姆莱特是什么人?
毫无疑问,我们的主人公是一个封建王朝的王子。但他同时又是威赛克斯的化身,他是疯子、是死神,是思想者、是实干家,他是厌世者、是伤感派才子,是替罪羊。
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林峰牛牛 | 发布于2011-07-05
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有些老师会看百度知道的 要慎重啊。。。
失落的三千世界 | 发布于2011-07-05
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