Hamlet Ghost Quotes

I am haunted by the ghost of my father, I think that should allow me to quote Hamlet as much as I please.

Digression is the soul of wit. Take the philosophic asides away from Dante, Milton or Hamlet's father's ghost and what stays is dry bones.

The study of mathematics is apt to commence in disappointment... We are told that by its aid the stars are weighed and the billions of molecules in a drop of water are counted. Yet, like the ghost of Hamlet's father, this great science eludes the efforts of our mental weapons to grasp it.

It's always seemed a little preposterous that Hamlet, for all his paralyzing doubt about everything, never once doubts the reality of the ghost. Never questions his own madness might not in fact be unfeigned.

By heaven, I'll make a ghost of him that lets me.

For, let's face it, digression is the soul of wit. Take philosophic asides away from Dante, Milton or Hamlet's father's ghost and what stays is dry bones.

Remember thee? Ay, thou poor ghost, while memory holds a seat in this distracted globe. Remember thee?

The problem with a lot of people who read only literary fiction is that they assume fantasy is just books about orcs and goblins and dragons and wizards and bullshit. And to be fair, a lot of fantasy is about that stuff. The problem with people in fantasy is they believe that literary fiction is just stories about a guy drinking tea and staring out the window at the rain while he thinks about his mother. And the truth is a lot of literary fiction is just that. Like, kind of pointless, angsty, emo, masturbatory bullshit. However, we should not be judged by our lowest common denominators. And also you should not fall prey to the fallacious thinking that literary fiction is literary and all other genres are genre. Literary fiction is a genre, and I will fight to the death anyone who denies this very self-evident truth. So, is there a lot of fantasy that is raw shit out there? Absolutely, absolutely, it’s popcorn reading at best. But you can’t deny that a lot of lit fic is also shit. 85% of everything in the world is shit. We judge by the best. And there is some truly excellent fantasy out there. For example, Midsummer Night’s Dream; Hamlet with the ghost; Macbeth, ghosts and witches; I’m also fond of the Odyessey; Most of the Pentateuch in the Old Testament, Gargantua and Pantagruel. Honestly, fantasy existed before lit fic, and if you deny those roots you’re pruning yourself so closely that you can’t help but wither and die.

O all you host of heaven!O Earth! waht else? And shall i couple hell? O Fie! Hold, hold, my heart And you, my sinews, grow not instant old, But bear me stiffly up. Remember thee? Ay, thou poor ghost, while memmory holds a seat In this distracted globe. Remember thee? Yea, from the table of my memory I'll wipe away all trivial fond records, All saws of books, all forms, all pressures past That youth and observation copied there, And thy commandment all alone shall live Within the book and volume of my brain, Unmixed with baser matter; yes, by heaven!

Scholars don't have blood flowing in their veins," said Hamlet. "When they're wounded, they bleed logic, and when all of it is gone, their brains die, and they become ... soldiers.

It’s always seemed a little preposterous that Hamlet, for all his paralyzing doubt about everything, never once doubts the reality of the ghost. Never

There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy,' Celia quotes at him. 'Please, no Shakespeare.' 'I am haunted by the ghost of my father, I think that should allow me to quote Hamlet as much as I please. You used to be quite fond of Shakespeare, Prospero.

They waited, none of them entirely convinced that the old man wouldn't appear before them again like the ghost of Hamlet's father or Jacob Marley or some other...

Yes, a ghost, thought the Count, as he moved silently down the hall. Like Hamlet’s father roaming the ramparts of Elsinore after the midnight watch . . . Or like Akaky Akakievich, that forsaken spirit of Gogol’s who in the wee hours haunted the Kalinkin Bridge in search of his stolen coat . . . Why

He was the meekest of his sex, the mildest of little men. He sidled in and out of a room, to take up the less space. He walked as softly as the Ghost in Hamlet, and more slowly.

He proves by algebra that Shakespeare’s ghost is Hamlet’s grandfather.

I am haunted by the ghost of my father, I think that should allow me to quote Hamlet as much as I please. You used to be quite fond of Shakespeare, Prospero.

In my nervous frame of mind I expected to see the ghost of Hamlet wandering on the legendary castle terrace.

It is quite simple. He proves by algebra that Hamlet’s grandson is Shakespeare’s grandfather and that he himself is the ghost of his own father.

just as vivid—I slowly let go of my prejudices and came to accept, like Hamlet after seeing his father’s ghost, that there are more things in heaven and earth than are dreamt of in our philosophy. Since then, I have helped or watched literally thousands of people go through similar experiences—life-changing journeys into psychic memory that help illuminate—and heal—the traumas of the present.

What are you reading?" Polonius asked. "Words, words, words," said Hamlet. "And what's the subject?" "Lesser than the king, but still not nothing." It took Polonius a moment to realize he had answered another meaning of 'subject.' "I mean what do you read about?" "All in a line, back and forth." said Hamlet. "I go from left to right with my mind full, and then must drop it there and head back empty-headed to the left side again, and take up another load to carry forward. It's a most tedious job, and when I'm done, there are all the letters where I found them, unchanged despite my having carried them all into my head.

Amanda raised her glass in a toast. “Here’s a wet one to Saint Iris of the Hummocks!” Then she winced and scowled at Riker, who had kicked her under the table. Polly raised her glass and quoted from Hamlet: “And flights of angels sing thee to thy rest.

It should also be remembered that the Ghost sees things differently from every other character in the play. He has the eyes of eternity. He sees things as they are and not merely as they seem from the perspective of those trapped in the tunneled vision of time.

Hamlet, here, on this stage, is two people, the young man, alive, and the father, dead. He is both alive and dead. Her husband has brought him back to life, in the only way he can. As the ghost talks, she sees that her husband, in writing this, in taking the role of the ghost, has changed places with his son. He has taken his son’s death and made it his own; he has put himself in death’s clutches, resurrecting the boy in his place. “O horrible! O horrible! Most horrible!” murmurs her husband’s ghoulish voice, recalling the agony of his death.

Maybe I flatter myself when I think that I have things in common with Hamlet, that I have an important mission, that I'm temporarily mixed up about how it should be done. Hamlet had one big edge on me. His father's ghost told him exactly what he had to do, while I am operating without instructions. But from somewhere something is trying to tell me where to go, what to do there, and why to do it. Don't worry, I don't hear voices. But there is this feeling that I have a destiny far away from the shallow and preposterous posing that is our life in New York. And I roam. And I roam.

Imagine the same scene in HAMLET if Pullman had written it. Hamlet, using a mystic pearl, places the poison in the cup to kill Claudius. We are all told Claudius will die by drinking the cup. Then Claudius dies choking on a chicken bone at lunch. Then the Queen dies when Horatio shows her the magical Mirror of Death. This mirror appears in no previous scene, nor is it explained why it exists. Then Ophelia summons up the Ghost from Act One and kills it, while she makes a speech denouncing the evils of religion. Ophelia and Hamlet are parted, as it is revealed in the last act that a curse will befall them if they do not part ways.

Mark me." HAMLET: "I will." GHOST: "My hour is almost come, when I to sulph’uous and tormenting flames must render up myself." (...) I am thy father’s spirit, doom’d for a certain term to walk the night and for the day confin’d to waste in fires, till the foul crimes done in my days of nature are burnt and purg’d away.

What ghost will visit our Hamlet tonight on the castle walls of his dreams? Surely not Robert Brownburn; even if there is a heaven where all animals and men are brought together in a mad reunion, atheists such as Robert will not return to us in phantom form—not because they reside in some celestial detention but out of pure stubbornness.

Alexander emerges as an almost Hamlet-like figure, more sinned against than sinning. In a sense Alexander, too, was haunted and motivated by his father’s ghost... He may well have saved more lives than he destroyed and was rarely gratuitous in the use of violence... his legacy is enormous. He was the founder of the Hellenistic Age, which in turn has bequeathed us the foundations of our modern art, science and culture.

The Turn of the Screw” has been turned and returned through a large number of critical approaches, perhaps only rivaled in this regard by Hamlet. The spectrum of critical approaches ranges from Freudian, to feminist, to gay, to materialist, partly because the complexity of the first-person narrative lends itself to analysis and partly because the tale also offers an engaging twist on the traditional genre of the ghost story.

The two friends went on and on toward the sierra, at times keeping the highway, at times. deviating from it. Whenever they passed through a town or a hamlet, the slow peal of bells tolling the death-knell announced to our hero that the Angel of Death was not losing his time; that his arm reached to every part of the world, and that, though Gil felt it now weighing upon his breast like a mountain of ice, none the less did it scatter ruin and desolation over the entire surface of the earth. As they went, the Angel of Death related many strange and wonderful things to his protege. The foe of history, he took pleasure in scoffing at its pretended utility, in disproof of which he narrated many facts as they had actually occurred, and not as they are recorded on monuments and in chronicles. The abysses of the past opened before the entranced imagination of Gil Gil, revealing to him facts of transcendent importance concerning the fate of man and of empires, disclosing to him the great mystery of the origin of life and the no less great and terrible mystery of the end to which we, wrongly called mortals, are progressing, and causing him, finally, to comprehend, by the light of this sublime philosophy, the laws which preside at the evolution of cosmic matter, and its various manifestations in those ephemeral and transitory forms which are called minerals, plants,animals, stars, constellations, nebula, and worlds. ("The Friend Of The Death")

answered, “No, no; I do not recollect any thing of what you tell me; but you were talking a little while ago of Hamlet and towers; now, if you want towers that would do honour to Hamlet, go to Warwick Castle, and if we reach it, as we hope, this night, you can walk from the inn while supper is preparing, and you will find, on the terrace or platform before the gates, towers frowning and majestic enough. If the moon is up, you will see them to perfection, and, as you are so fond of ghosts, you can hardly fail to make an assignation with one there.

Hamlet, here, on this stage, is two people, the young man, alive, and the father, dead. He is both alive and dead. Her husband has brought him back to life, in the only way he can. As the ghost talks, she sees that her husband, in writing this, in taking the role of the ghost, has changed places with his son. He has taken his son’s death and made it his own; he has put himself in death’s clutches, resurrecting the boy in his place. “O horrible! O horrible! Most horrible!” murmurs her husband’s ghoulish voice, recalling the agony of his death. He has, Agnes sees, done what any father would wish to do, to exchange his child’s suffering for his own, to take his place, to offer himself up in his child’s stead so that the boy might live.

Hamlet, here, on this stage, is two people, the young man, alive, and the father, dead. He is both alive and dead. Her husband has brought him back to life, in the only way he can. As the ghost talks, she sees that her husband, in writing this, in taking the role of the ghost, has changed places with his son. He has taken his son’s death and made it his own; he has put himself in death’s clutches, resurrecting the boy in his place. ‘O horrible! O horrible! Most horrible!’ murmurs her husband’s ghoulish voice, recalling the agony of his death. He has, Agnes sees, done what any father would wish to do, to exchange his child’s suffering for his own, to take his place, to offer himself up in his child’s stead so that the boy might live.

Let me sum up: Hamlet’s the prince of Denmark. His dad, the king, died and though it’s only been two months, his mom married his dad’s brother, Claudius. Now Claudius is king. Hamlet thinks that’s whack.” “Sounds just like Shakespeare.” “One night, three guards see a ghost and they tell Ham. Ham sees it too. It’s Dad. Dad says Claudius poured poison in his ear and killed him. Hamlet’s mind is blown. But hold up, he’s been dating Ophelia, daughter of Polonius. Polonius is Claudius’ right-hand man. Polonius tells Ophelia that Hamlet’s losing his marbles and she has to break up with him. “Ophelia and Hamlet are in love but, like, the fucking patriarchy, right? She caves to her dad’s pressure and agrees to break up with him. Ham’s devastated and rants that all women are traitorous bitches, and Ophelia should go to a nunnery and never reproduce. Then Ham confronts his mom while Polonius eavesdrops and—whoops!—Ham kills Polonius. “Ophelia, having lost her man and her dad, proceeds to lose her mind. She goes nuts, sings a bunch of dirty, sexy-time songs, and drowns herself in the river. Then a bunch of other shit happens until pretty much everyone else in the cast is dead. Curtain.

I know of no actor who is so pure onstage that he thinks only what his character thinks. If he did, he would presumably become the character: a form of madness. This may be of course what happens to Hamlet--he puts on an antic disposition, and gets stuck with it. [...] Acting is mostly a twin-track mental activity. In one track runs the role, requiring thoughts ranging from, say, gentle amusement to towering rage. Then there is the second track, which monitors the performance: executing the right moves, body language, and voice level; taking note of audience reaction and keeping an eye on fellow actors; coping with emergencies such as a missing prop or a faulty lighting cue. These two tracks run parallel, night by night. If one should go wrong, then it is likely that the other will misbehave too. [...] But there is a third and wholly subversive track that intrudes itself at intervals, full of phantom thoughts and feelings that come and go of their own volition. This ghost train of random musings is, of course, to be discouraged, but it can never be entirely denied. As Bohr and his wife, Margrethe, say in the play: "So many things we think about at the same time. Our lives and our physics...All the things that come into our heads out of nowhere.

I read Dickens and Shakespear without shame or stint; but their pregnant observations and demonstrations of life are not co-ordinated into any philosophy or religion: on the contrary, Dickens's sentimental assumptions are violently contradicted by his observations; and Shakespear's pessimism is only his wounded humanity. Both have the specific genius of the fictionist and the common sympathies of human feeling and thought in pre-eminent degree. They are often saner and shrewder than the philosophers just as Sancho-Panza was often saner and shrewder than Don Quixote. They clear away vast masses of oppressive gravity by their sense of the ridiculous, which is at bottom a combination of sound moral judgment with lighthearted good humor. But they are concerned with the diversities of the world instead of with its unities: they are so irreligious that they exploit popular religion for professional purposes without delicacy or scruple (for example, Sydney Carton and the ghost in Hamlet!): they are anarchical, and cannot balance their exposures of Angelo and Dogberry, Sir Leicester Dedlock and Mr Tite Barnacle, with any portrait of a prophet or a worthy leader: they have no constructive ideas: they regard those who have them as dangerous fanatics: in all their fictions there is no leading thought or inspiration for which any man could conceivably risk the spoiling of his hat in a shower, much less his life. Both are alike forced to borrow motives for the more strenuous actions of their personages from the common stockpot of melodramatic plots; so that Hamlet has to be stimulated by the prejudices of a policeman and Macbeth by the cupidities of a bushranger. Dickens, without the excuse of having to manufacture motives for Hamlets and Macbeths, superfluously punt his crew down the stream of his monthly parts by mechanical devices which I leave you to describe, my own memory being quite baffled by the simplest question as to Monks in Oliver Twist, or the long lost parentage of Smike, or the relations between the Dorrit and Clennam families so inopportunely discovered by Monsieur Rigaud Blandois. The truth is, the world was to Shakespear a great "stage of fools" on which he was utterly bewildered. He could see no sort of sense in living at all; and Dickens saved himself from the despair of the dream in The Chimes by taking the world for granted and busying himself with its details. Neither of them could do anything with a serious positive character: they could place a human figure before you with perfect verisimilitude; but when the moment came for making it live and move, they found, unless it made them laugh, that they had a puppet on their hands, and had to invent some artificial external stimulus to make it work.

What we have here is a war—the war of matter and spirit. In the classical era, spirit was in harmony with matter. Matter used to condense spirit. What was unseen—the ghost of Hamlet’s father—was seen—in the conscience of the king. The spirit was trapped in the matter of theater. The theater made the unseen, seen. In the Romantic era, spirit overwhelms matter. The glass of champagne can’t contain the bubbles. But never in the history of humanity has spirit been at war with matter. And that is what we have today. The war of banks and religion. It’s what I wrote in Prayers of the Dawn, that in New York City, banks tower over cathedrals. Banks are the temples of America. This is a holy war. Our economy is our religion. When I came back to midtown a week after the attack—I mourned—but not in a personal way—it was a cosmic mourning—something that I could not specify because I didn’t know any of the dead. I felt grief without knowing its origin. Maybe it was the grief of being an immigrant and of not having roots. Not being able to participate in the whole affair as a family member but as a foreigner, as a stranger—estranged in myself and confused—I saw the windows of Bergdorf and Saks—what a theater of the unexpected—my mother would have cried—there were only black curtains, black drapes—showing the mourning of the stores—no mannequins, just veils—black veils. When the mannequins appeared again weeks later—none of them had blond hair. I don’t know if it was because of the mourning rituals or whether the mannequins were afraid to be blond—targets of terrorists. Even they didn’t want to look American. They were out of fashion after the Twin Towers fell. To the point, that even though I had just dyed my hair blond because I was writing Hamlet and Hamlet is blond, I went back to my coiffeur immediately and told him—dye my hair black. It was a matter of life and death, why look like an American. When naturally I look like an Arab and walk like an Egyptian.

Married a Frenchman, did you?” he asked. “I always did think you were a French spy. I trust your new husband keeps you in better order than …” The words died in his throat as he looked up to see the source of the footsteps that had just turned into the hall behind me. If I had wanted to discompose him, that urge was now fully gratified. No Hamlet on the stage had ever reacted to the appearance of a ghost with more convincing terror than I saw stamped on that aristocratic face.

Sitting at his side Stephen solved out the problem. He proves by algebra that Shakespeare's ghost is Hamlet's grandfather. Sargent peered askance through his slanted glasses. Hockeysticks rattled in the lumberroom: the hollow knock of a ball and calls from the field.

gentlemen who were desirous of going with us, we all started westward, and after a pleasant trip arrived at Fort McPherson." Before he arrived at Fort McPherson, Cody was interviewed by the local press. Cody allowed, surely with tongue in cheek, that We have played New York until we forced Edwin Booth to go West. He said it would not do for him to try to buck against us, and he was right. I propose to [be] ... playing Shakespeare right through, from beginning to end, with Ned Buntline and Texas Jack to support me. I shall do Hamlet in a buckskin suit and when my father's ghost appears "doomed for a certain time," &c., I shall say to Jack, "Rope the cuss in, Jack!!" and unless the lasso breaks, the ghost will have to come. As Richard the Third I shall fight with pistols and hunting knives. In "Romeo and Juliet" I will put a half-breed squaw on the balcony, and make various interpretations of Shakespeare's words to suit myself. Shakespeare has had to endure many indignities over the years: bowdlerizations, bizarre directorial concepts, and costume choices of all kinds, but theatergoers, fortunately, were spared Hamlet in buckskin or the balcony scene in a Western saloon. On the other hand, it is possible that Cody, with his genius for showmanship, might have won over a whole new audience to the plays. During the run of The Scouts of the Prairie, Cody had not only overcome his initial stage fright but had developed enough self-confidence to feel comfortable onstage. Moreover, he knew that audiences responded favorably to him. Although he still did not consider himself an actor, he had begun to wear the more becoming mantle of "showman." Ned Buntline had all kinds

EVERY HERO IS LOOKING FOR A GUIDE When I talk about a guide, I’m talking about our mother and father when they sat us down to talk about integrity, or a football coach who helped us understand the importance of working hard and believing we could accomplish more than we ever thought possible. Guides might include the authors of poems we’ve read, leaders who moved the world into new territory, therapists who helped us make sense of our problems, and yes, even brands that offered us encouragement and tools to help us overcome a challenge. If a hero solves her own problem in a story, the audience will tune out. Why? Because we intuitively know if she could solve her own problem, she wouldn’t have gotten into trouble in the first place. Storytellers use the guide character to encourage the hero and equip them to win the day. You’ve seen the guide in nearly every story you’ve read, listened to, or watched: Frodo has Gandalf, Katniss has Haymitch, and Luke Skywalker has Yoda. Hamlet was “guided” by his father’s ghost, and Romeo was taught the ways of love by Juliet. Just like in stories, human beings wake up every morning self-identifying as a hero. They are troubled by internal, external, and philosophical conflicts, and they know they can’t solve these problems on their own. The fatal mistake some brands make, especially young brands who believe they need to prove themselves, is they position themselves as the hero in the story instead of the guide. As I’ve already mentioned, a brand that positions itself as the hero is destined to lose.

In his book, Last Years of British India, Michael Edwards, an imperialist historian, says: ‘The British had not feared Gandhi the reducer of the violence, they no longer feared Nehru, who was rapidly assuming the lineaments of statesmanship… but the ghost of Subhas Bose like Hamlet’s father, walked the battlement of Red Fort and his suddenly amplified figure overawed the conferences that were to lead to independence.

I sometimes think that what civilized serenity the British people possess, and small but real ability to smile at themselves, is chiefly due to their good luck in having had William Shakespeare born one of their company.

Thoughts at a Café Table Between the Kazan and the Iron Gates Progress has now placed the whole of this landscape underwater. A traveller sitting at my old table on the quay at Orsova would have to peer at the scenery through a thick brass-hinged disc of glass; this would frame a prospect of murk and slime [...] Moving a couple of miles downstream, he would fumble his way on to the waterlogged island and among the drowned Turkish houses; or, upstream, flounder among the weeds and rubble choking Count Széchenyi's road and peer across the dark gulf at the vestiges of Trajan on the other side; and all round him, above and below, the dark abyss would yawn and the narrows where currents once rushed and cataracts shuddered from bank to bank and echoes zigzagged along the vertiginous clefts would be sunk in diluvian since. [...] He could toil many days up these cheerless soundings, for Rumania and Yugoslavia have built one of the world's biggest ferro-concrete dams and hydro-electric power plants across the Iron Gates. This has turned a hundred and thirty miles of the Danube into a vast pond which has swollen and blurred the course of the river beyond recognition. It has abolished cayons, turned beetling crags into mild hills and ascended the beautiful Cerna valley almost to the Baths of Hercules. Many thousands of the inhabitabnts of Orşova and the riparian hamlets had to be uprooted and transplanted elsewhere. The islanders of Ada Kaleh have been moved to another islet downstream and their old home has vanished under the still surface as though it has never been. Let us hope that the power generated by the dam has spread well-being on either bank and lit up Rumanian and Yugoslav towns brighter than ever before because, in everything but economics, the damage is irreparrable. [... M]yths, lost voices, history and hearsay have all been put to rout, leaving nothing but this valley of shadow. Goethe's advice, 'Bewahre Dich vor Räuber und Ritter und Gespenstergeschichten',* has been taken literally, and everything has fled. _____________ * Beware of the robber, the cavalier, and ghost stories.

What Walks By Night by Stewart Stafford Jealous looks at earthly prowl, Or unbound by fleshly form, Seen under darkness’ cowl: Agitated ghost or hellspawn? Violence torments it from sleep, Or trapped inside by exorcist bait, Hexed glances corrupted, weep, As redress or perdition state. Jinxed trails of ashen flame, Unheard wails for living aid, Or gatecrash our human frame, As night and sunrise trade. © Stewart Stafford, 2023. All rights reserved.

She thinks, The boy has issues. He’s no longer a surly, grumpy, malicious adolescent, rude to his elders, “fat, and scant of breath.” Now he’s a surly, grumpy, malicious adult, rude to his elders, “fat, and scant of breath.” As a mother she finds this hard to admit, but she thinks her son is not quite right in the head. As a boy he played with imaginary friends; now he sees ghosts and dreams of dark plots and weird conspiracies.

Version of Hamlet in which there appear on the ramparts two ghosts, the true ghost and the false ghost. Each ghost speaks his lines simultaneously with the other, the true ghost saying the opposite of what the false ghost proclaims. When the prince asks “Murder?” it is unclear to which ghost he is responding. Throughout the remainder of the play, as Hamlet vacillates and kills, it is impossible to know which ghost’s command he has heard and is carrying out.

A good way of introducing you to my experience of it will be to tell you the exact point at which anyone else’s criticism of it begins to lose my allegiance. It is a fairly definite point. As soon as I find anyone treating the ghost merely as the means whereby Hamlet learns of his father’s murder—as soon as a critic leaves us with the impression that some other method of disclosure (the finding of a letter or a conversation with a servant) would have done very nearly as well—I part company with that critic. After that, he may be as learned and sensitive as you please; but his outlook on literature is so remote from mine that he can teach me nothing. Hamlet for me is no more separable from his ghost than Macbeth from his witches, Una from her lion, or Dick Whittington from his cat. The Hamlet formula, so to speak, is not ‘a man who has to avenge his father’ but ‘a man who has been given a task by a ghost’. Everything else about him is less important than that. If the play did not begin with the cold and darkness and sickening suspense of the ghost scenes it would be a radically different play. If, on the other hand, only the first act had survived, we should have a very tolerable notion of the play’s peculiar quality. I

The maneless male lions—eventually shot by a railroad engineer, Colonel John H. Patterson (portrayed by Val Kilmer, Boulder’s Hamlet, in the 1996 movie The Ghost and the Darkness)—now reside, stuffed, at Chicago’s Field Museum, where one can purchase souvenir mugs, posters, and T-shirts displaying the killers in an innocuous, colorful, Lion King–style graphic. Leopards,

William pondered what his next discovery might be. He knew that readers were vexed by the possibility that their Bard might have been Catholic. There is, after all, that suspicious reference to Purgatory by the ghost of Hamlet’s father. In an era when anti-Catholic legislation was favorably viewed by many, such papist skullduggery was improper in a national literary hero. And so, on Christmas Day of 1794, William presented his nation with a fine gift—Shakespeare’s Profession of Faith, in which he disowns any Catholic sympathies. His father was awed by the import of this, so much so that he could no longer keep the discoveries secret. All holiday frivolity was to be set aside now. —

He [Hamlet] sees ghosts and listens to dreams. And when his ghost father tells him that he (Hamlet Senior) was killed by his brother and asks Hamlet Junior to avenge his death, in the right, honorable way, Hamlet says yes, yes, yes, he'll do it. But somehow he never gets round to it. Not like the other two young men in the play. The Norwegian Prince Fortinbras(...) has made his life [!!] pursuing the honor that his father lost when Hamlet Senior beat him in single combat. (...). When the lord chamberlain,Polonius, is killed, his son, Laertes, returns to the court immediately, demanding restitution, (...). So there is no shortage of examples of how young men are expected to and do act in this world where honor demands an eye for an eye, a tooth for a tooth, a life for a life. But Hamlet doesn't do it. Instead, he beats up on his girlfriend and he's cruel to his mother.

My Lord, the tale begins with a ghost... - Prince of Sorrows

GHOST I find thee apt, And duller shouldst thou be than the fat weed That roots itself in ease on Lethe wharf, Wouldst thou not stir in this. Now, Hamlet, hear. ’Tis given out that, sleeping in my orchard, A serpent stung me. So the whole ear of Denmark Is by a forged process of my death Rankly abused. But know, thou noble youth, The serpent that did sting thy father’s life Now wears his crown.