Everand Logo

Welcome to Everand!

  • Discover millions of ebooks, audiobooks, and so much more with a free trial

    Only $11.99/month after trial. Cancel anytime.

    Hamlet
    Hamlet
    Hamlet
    Ebook264 pages1 hour

    Hamlet

    By Paavo Emil Cajander and William Shakespeare

    4/5

    ()

    Read preview
    LanguageSuomi
    PublisherArchive Classics
    Release dateJan 1, 1
    Hamlet

    Read more from Paavo Emil Cajander

    Related to Hamlet

    Related ebooks

    Reviews for Hamlet

    4/5

    6,384 ratings97 reviews

    What did you think?

    Tap to rate

    Review must be at least 10 words

    • 5/5
      Classic Shakespeare tragedy.
    • 4/5
      Who am I to review Shakespeare?!
    • 4/5
      The only Shakespeare plays I had read before this were Romeo and Juliet and Macbeth, Macbeth being my favorite. Having now read Hamlet, I can honestly say that Macbeth is still my favorite.

      Let's discuss.

      So, Hamlet himself is an emo icon, and also a misogynist, who basically goes crazy, murders someone, and essentially ruins everything.

      The ending came a little too quickly for me, tbh. There wasn't enough time to really develop any other characters. It was pretty quotable, though. Really, it gave me more Romeo and Juliet feels than Macbeth feels.
    • 5/5
      The Penguin edition remains the best edition for highschool students, undergrad students and actors. Not as dense as the Arden nor as casual as the RSC, but the perfect in-between for people in those categories.
    • 4/5
      It amazes me how many people like Hamlet, no exception here, when it's really hard to relate to, but yet it's just one of those plays once you get into it, you come to love it. I read it for the first time in 12th grade and everyone would talk about it even when they didn't have to. The characters in Hamlet are amazingly complex and it doesn't just state how they are, you learn it through their actions and what they say. It's just so unique, I know everytime I read it I get a different opinion of the characters and the overall play.
    • 5/5
      Almost intriguing play, and not the easiest work to read. The tale of a young prince trying to come to terms with his father’s death is probably the best known of Shakespeare’s tragedies. There’s something for everyone here: high drama, low comedy, intriguing characters. I’d advise watching a video or move, or perhaps listening to an audio presentation either before or while reading this one. No matter how good your reading skills are, the enjoyment and understanding of any play is enhanced Psy seeing it performed. This time out I watched an old stage production starring Richard Burton. The highlight of that one is Hume Cronyn’s marvelously humorous take on Polonius.Highest recommendation possible.
    • 5/5
      My favorite, of all the histories and tragedies. I've seen it in performance at least 5 times--with Kevin Kline and Ralph Fiennes two of the most memorable.
    • 4/5
      Vertaling van Komrij. Uiteraard een tijdloos stuk met een ongelofelijke diepgang, maar geen gemakkelijke lectuur. Ligt me minder dan de iets eenduidiger stukken King Lear of Macbeth.
    • 5/5
      Forcing myself into reading Shakespeare as an adult, I started here. I'm not sorry. Excellent poetry. "What a piece of work is man" is one of my favorite bits of writing period, not just within Shakespeare's works. I believe this is also the longest of his plays? Partly my reason for tackling it first. If you only read one of his works, read Hamlet.
    • 5/5
      One of the best things I've ever read. Hamlet's got it all. Shakespeare at his best, filling so few pages with so much story.
    • 4/5
      The more I learn about the English language and literature in general, the richer Shakespeare's works become. Hamlet is no exception.

      When considered as a boundary/change marker in the landscape of literature, it makes an interesting mile-marker between earlier eras of the oral heroic, the epic and the blossoming of humanism. (Forgive me if I'm using any of these terminologies incorrectly; I will elaborate what I mean.) Which is to say, the oral heroic focused (in general terms) on family units, clans, tribes, etc. and the conflicts between them. These narratives usually dealt with inscribing some sort of expected behavior(s) that sorted out the violent chaos that accompanied the birthings of civilizations. As an example of a major trope in this early literature that's relevant to Hamlet: blood-feud violence.

      The Odyssey comes from the beginning of this and in its ending tries to address the ending of such tit-for-tat retribution.

      In this way, Hamlet might be considered (and I'm happy to do so) the ending of this particular literary tradition as a major trope. Instead of focusing on the blood feud (the plot going on with Fortinbras & Norway), it turns a bit more inward. Instead of Hamlet marching off to claim what is his by rights from Norway, there's a more humanistic struggle at play.

      I feel that most Shakespeare could benefit from a little extra knowledge and context than most of us get upon our first exposure. Hamlet's definitely gotten 'better' for me over time.
    • 4/5
      One of the bard's all time classics, so frequently performed that it occasionally needs to be re-read to experience it the way he wrote it, without all the directorial impulses to pretty it up or modernize it. It had been a long time since my last read, and I was somewhat surprised to realize that this play comes with very few stage directions outside of entrances and exits; there are so many things that directors do exactly the same, you forget they weren't mentioned in the stage directions, and have simply become habit. Anyway, this play, about ambition and revenge, still holds up well through the centuries, though many of the actions seem outdated to us now. The poetry of the language and the rich texturing of the characters, even the most minor of characters, creates a complex story that successfully holds many balls in the air at once. Shakespeare's frequent use of ghosts is noteworthy, since that is something that modern day playwrights are told to be very careful about, and avoid if at all possible. A satisfying story, and a satisfying re-read.
    • 5/5
      Great classic
    • 4/5
      Vertaling van Komrij. Uiteraard een tijdloos stuk met een ongelofelijke diepgang, maar geen gemakkelijke lectuur. Ligt me minder dan de iets eenduidiger stukken King Lear of Macbeth.
    • 5/5
      My fav editions of the Bard.
    • 5/5
      Hamlet is a phenomenal play. Just spectacular.
    • 5/5
      Critics have varied in their enthusiasm for this play over the centuries. In many ways Hamlet is a typical "modern" - a relativist, caught in perpetual indecision, uncertain of his place in the world, frozen by his anxieties. It also contains some of the best-known lines and soliloquies in all of Shakespeare. It can be, and has been, read and performed from a religious perspective, an existential perspective, a Freudian perspective, or a feminist perspective.
    • 5/5
      This is truly an amazing work, and is a very well-known story. Even if you haven't read the play, or seen any of the film versions, you probably have heard enough to know much of what happens, and are likely familiar with several very famous lines. This was my first time reading the play, and I truly loved it, because it does go far beyond just the famous lines and core story. There is true depth here, with layers of meaning that really strike at the soul of the audience. As to the edition itself, I found it to be greatly helpful in understanding the action in the play. It has a layout which places each page of the play opposite a page of notes, definitions, explanations, and other things needed to understand that page more thoroughly. While I didn't always need it, I was certainly glad to have it whenever I ran into a turn of language that was unfamiliar, and I definitely appreciated the scene-by-scene summaries. Really, if you want to or need to read Shakespeare, an edition such as this is really the way to go, especially until you get more accustomed to it.
    • 4/5
      It was a very interesting story. It wasn't boring as I thought it would be.
    • 5/5
      I don't think I've ever enjoyed a Shakespearean work more than this play. Its riddled with ghost, revenge, crazy people, deaths, politics and psychological drama. Reading it along with the BBC's 2009's Hamlet does help in understanding the text, but its quite obvious how Hamlet's popularity survived half a millenia.

      Full review to come.
    • 5/5
      This is, I believe, my absolute favorite of Shakespeare's tragedies. Primarily because Hamlet is a thinker throughout most of the play. When we first meet him, he is thinking of the inevitability of death and the loss of his father. Then he is tasked to dispatch his uncle when he learns from his father's ghost that Claudius poisoned him for his crown, and he spends the rest of the story considering the logistics of actually doing the deed.Many of my favorite Shakespeare lines also come from Hamlet, not only the brilliant soliloquies, but also little bits like "neither a borrower nor a lender be," "sweets for the sweet," and "goodnight, sweet prince." Also, Hamlet provided the inspiration for one of my favorite modern plays, "Rosencrantz and Guildenstern are Dead."This particular edition also includes a series of essays on the play and Shakespeare's writing, my favorite of which is an in-depth look at Gertrude by Carolyn Heilbrun in a piece titled "The Character of Hamlet's Mother." It also ends with a look at Hamlet on stage and screen, breaking down the various and varied performances of Hamlet through the years, ending with the Laurence Olivier film version (fitting since that is what inspired me to reread the play this time around).I'm pretty sure this exact copy was my sister's in high school, it is also filled with several notes written by her hand, in pencil, in the margins.
    • 5/5
      Perfection. Not one false word. Not one false moment. A play in which every part makes the whole stronger. A more perfect play I've never read. Genius.
    • 4/5
      Possibly one of the only tragedies Shakespeare wrote that I can really, truly say I enjoyed. I really can't say much about it without ruining it though, so I'll just say READ IT (avoid the movie until you've done so though. I really like Kenneth Branagh, but it's just a little overkill.)
    • 5/5
      After King Lear, this is one of my favorites. Hamlet, in short, is the Lion King. Rather, I should say The Lion King is Hamlet. My reassurance of Shakespeare's credibility and talent is purely unnecessary so a review is kind of pointless. But if you liked the Lion King, attempt Shakespeare's version. It has more blood and wit.
    • 4/5
      I finally read this tale for the first time and I wasn't disappointed. Hamlet wasn't a character to read about lightly, giving a perplexing feeling every time he spoke. The emotions of most of characters are what carry the story, and what will be the effects of their actions. In the beginning of the book, the Ghost's words were the most interesting to read. Near the end of the play, Hamlet's hilarious comments to Ophelia were so funny because they were out of nowhere, before the tragic ending of the play.
    • 4/5
      My favorite of Shakespeare's plays(that I've read). Is there a more interesting character than Hamlet? The amazing this about this play is that I know the end from the very beginning, but I'm always compelled to read on.
    • 4/5
      I've had this hanging around since I think senior year of high school when I started to read it and never finished, but I was inspired to pick it up and re-do it because Crash Course on YouTube covered it and I wanted to know the play before watching the video. This is kind of a must-read because there are so many quotes (beyond just "To be or not to be"), and it's one of those things you need to read to be culturally literate (admittedly, I now feel bad waiting so long). It wasn't the most exciting story to me- Hamlet is upset from the start with his uncle marrying his mother, but he kind of bides his time and bides it some more and some more... I get that he wants to verify what his uncle has done, but he dithers and even when he is certain goes to England rather than take action. Meanwhile I remembered that Ophelia committed suicide, so I was curious about her role. Was she completely freaked out by her father's death or was she upset about Hamlet being kind of obnoxious (he blames his mother, but then he takes it out on Ophelia) and he's very back and forth with her. I can understand why he has to go emo and muse about life and death constantly, but he dragged everyone else in it with him. Horatio's about the only guy who can get away with knowing Hamlet and living. I don't feel like I get to appreciate justice being served with Claudius dying when every other character dies with him and Denmark is given over to some foreign prince. The ambiguity is part of what makes this play famous and studied (What's Queen Gertrude's role? Was she beguiled by Claudius or a partner in his crimes?), but it's also a bit unsettling. It is not a very restful play.
    • 5/5
      Magnificent.Like nearly all plays, it has to be acted. Just reading won't bring out the emotions. I played Rosencrantz (or was it Guildenstern, better toss a coin!!) I also saw Hamlet at the Exchange Theatre in Manchester. This modern theatre built as a square inside the old Victorian building gave me a tremendous insight. It is theatre in the round. Sitting on the top tier looking almost vertically down I noticed that when Hamlet spoke his soliloquoys he was not actually speaking to anyone in the audience. He was speaking as if to an empty space in front of him and his speech turned inwards to himself. Then I noticed the dialogues. The two actors were not speaking one to the other: each was speaking as if to an empty space between them. This is the magic power of Theatre altogether. The Empty Space between the actors and the audience. Wonderful.
    • 4/5
      It feels odd to be giving Shakespeare a rating in stars - who am I to judge?After many many years, I re-read Hamlet in a fine edition by Signature Shakespeare. This is a beautifully produced book and has a helpful layout with the original text supplemented with meanings of obscure words and suggested explanations for passages. It was a treat to read, and improved my appreciation of the text.I can't see it making it big in prime time - all the lead characters end up dead, but it is a tragedy!Read February 2015.
    • 4/5
      This was the first time that I've read Hamlet, I've heard it quoted so many times and I thought it was about time I read it.Hamlet's mother is married to her dead husband's brother. And after seeing his father's ghost Hamlet decides to take revenge on his uncle/step-dad who apparently murdered his father. It's a kind of crazy story with lots of death, and there were some places where I didn't really understand what was going on, but I still got the overall jist of the story.I enjoyed reading this but when reading a play as a book I find it a bit hard to keep track of the characters and the settings, I think I would like to see it performed so that I can really get a feel for the story.

    Book preview

    Hamlet - Paavo Emil Cajander

    The Project Gutenberg EBook of Hamlet, by William Shakespeare

    This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net

    Title: Hamlet

    Author: William Shakespeare

    Release Date: April 16, 2005 [EBook #15632]

    Language: Finnish

    *** START OF THIS PROJECT GUTENBERG EBOOK HAMLET ***

    Produced by Tapio Riikonen

    HAMLET

    Kirj.

    William Shakespeare

    Paavo Cajanderin suomennos ilmestyi 1879.

    Näytelmän henkilöt:

    CLAUDIUS, Tanskan kuningas.

    HAMLET, edellisen kuninkaan poika ja nykyisen veljenpoika.

    HORATIO, Hamletin ystävä.

    POLONIUS, ylimmäinen kamariherra.

    LAERTES, hänen poikansa.

    VOLTIMAND, |

    CORNELIUS, |

    ROSENCRANZ, | Hoviherroja.

    GYLDENSTERN, |

    OSRICK, |

    Aatelismies. |

    Pappi.

    MARCELLO, | Sotaherroja.

    BERNARDO |

    FRANSISCO, sotamies.

    REINHOLD, Poloniuksen palvelija.

    Sotaväen päällikkö.

    Englannin lähettiläitä.

    Hamletin isän haamu.

    FORTINBRAS, Norjan prinssi.

    Näyttelijöitä.

    Kaksi haudankaivajaa.

    GERTRUD, Tanskan kuningatar, Hamletin äiti.

    OPHELIA, Poloniuksen tytär.

    Hoviherroja ja hovinaisia, upseereja, sotamiehiä, merimiehiä,

    lähettiläitä ja seuralaisia.

    Tapahtumapaikka: Tanska.

    ENSIMMÄINEN NÄYTÖS.

    Ensimmäinen kohtaus.

        Helsingörissä. Terassi linnan edustalla.

        (Fransisco pitää vahtia. Bernardo tulee.)

    BERNARDO.

    Ken siellä?

    FRANSISCO.

    Ei, mulle vastatkaa! Seis! Ken se on?

    BERNARDO.

    Eläköön kuningas!

    FRANSISCO.

                      Bernardo?

    BERNARDO.

                                Sama mies.

    FRANSISCO.

    Tulette tunnokkaasti määräaikaan.

    BERNARDO.

    Kakstoista kello on; käy maata sinä.

    FRANSISCO.

    Päästöstä kiitän; onkin tuiman kylmä,

    Ja mieltä kourii.

    BERNARDO.

                      Onko kaikki ollut

    Rauhaista?

    FRANSISCO.

               On; ei hiiren hiiskausta.

    BERNARDO.

    Hyvä! Herran haltuun! Vahtikumppanini

    Jos kohtaatte, Horation ja Marcellon,

    Niin sanokaatte, että kiirehtivät.

    FRANSISCO.

    He tulevat jo, luulen. — Seis! ken siellä?

    (Horatio ja Marcello tulevat.)

    HORATIO.

    Maan ystäviä.

    MARCELLO.

                  Tanskan vasalleita.

    FRANSISCO.

    Jumalan haltuun!

    MARCELLO.

                     Hyväst', oiva poika!

    Ken vahtivuoross' on?

    FRANSISCO.

                          Bernardon vuoro.

    Jumalan haltuun!

                     (Menee.)

    MARCELLO.

    Hoi! Bernardo!

    BERNARDO.

                   Mitä?

    Horatioko?

    HORATIO.

               Samaa sorttia.

    BERNARDO.

    Horatio, terve! Terve, Marcello!

    MARCELLO.

    Tän' yönä onko taas se nähty, mitä?

    BERNARDO.

    En mitään ole minä nähnyt.

    MARCELLO.

    Horatio sen mielenhoureeks väittää,

    Eik' usko sitä, vaikka kahdesti

    Me olemme tuon hirmunäyn nähneet;

    Sen vuoksi häntä vaadin tämän yösen

    Kanssamme valvomaan, niin että, taas

    Jos näky ilmaantuu, hän havaintomme

    Sais vahvistaa ja sitä puhutella.

    HORATIO.

    Pah, joutavia!

    BERNARDO.

                   Istukaahan hetki;

    Ahdistan vielä kerran korvianne,

    Jotk' ovat kuurot tälle ilmiölle,

    Min kahten' yönä näimme.

    HORATIO.

                             Istukaamme

    Ja kuulkaamme, mit' ilmi tuo Bernardo.

    BERNARDO.

    Menneenä yönä,

    Kun tähti tuo, mi länsi-ilmall' on,

    Valaisi retkellään sen taivaankulman,

    Miss' säteilee se nyt, me näimme, minä

    Ja Marcello, kun kello juur' löi yksi — —

    MARCELLO.

    Vait! Hiljaa! Kah, se tuossa taasen tulee!

    (Haamu ilmestyy.)

    BERNARDO.

    Kuningas-vainaan muoto aivan.

    MARCELLO.

                                  Sinä,

    Lukenut mies, Horatio, puhu sille.

    BERNARDO.

    Ilmetty kuningas, vai kuin, Horatio?

    HORATIO.

    Niin on; — mun valtaa hämmästys ja kauhu.

    BERNARDO.

    Puhetta vartoo se.

    MARCELLO.

                       Horatio, puhu!

    HORATIO.

    Ken olet sa, jok' anastat yön vallan

    Ja sota-asun kirkkaan, jossa Tanskan

    Kuningas-vainaa täällä ennen kulki?

    Nimessä taivaan vaadin sua, puhu!

    MARCELLO.

    Se vihoissaan on.

    BERNARDO.

                      Kah, se astuu pois!

    HORATIO.

    Seis! puhu! Puhu, sua vaadin, puhu!

    (Haamu katoaa.)

    MARCELLO.

    Se katosi, ei vastata se tahdo.

    BERNARDO.

    Horatio, mitä? Kalvas oletten

    Ja vapisette; eikö muuta tuo

    Kuin mielenhouretta? Mit' arvelette?

    HORATIO.

    En, Jumal' auta, tuot' ois uskonut,

    Jos sit' ei selvään takais omat silmät.

    MARCELLO.

    Kuninkaan muotoinen se eikö ollut?

    HORATIO.

    Kuin sinä itsesi.

    Juur' tuommoinen häll' oli sota-asu,

    Kun taistellen hän korskan Norjan voitti;

    Noin tuima näkönsä, kun vihapäissään

    Hän jäällä Puolan rekijoukot löi.

    Se kummallista on.

    MARCELLO.

    Noin, kahdesti, juur' tähän aave-aikaan

    Hän ryhdill' uljaall' ohi vahdin astui.

    HORATIO.

    Mit' erittäin tuo merkitsee, en tiedä,

    Mut ylipäin sen ennustavan luulen

    Murrosta suurta valtakunnassamme.

    MARCELLO.

    Niin, istukaa, ja sanokoon ken tietää,

    Miks tähän kovaan, tarkkaan vahdinpitoon

    Yöt kaiket alamaista kiusataan?

    Miks vaskitykkej' aamust' iltaan tehdään

    Ja tuodaan sotatarpeit' ulkomailta?

    Miks pakkotyöllä laivanveistäjöitä

    Niin kiusataan, ett' areks muuttuu pyhä,

    Mi syynä, että tuskalloinen kiire

    Yön tekee päivän apukumppaniksi?

    Ken siihen vastaa?

    HORATIO.

                       Minä. Ainakin

    On huhu tämä: viime kuninkaamme,

    Sen, jonka haamun juuri äsken näimme,

    Tuo Norjan Fortinbras, kuin tiedätten,

    Kopean vallanhimon yllykkeestä,

    Sotahan vaati; uljas Hamletimme

    — Tää puoli mailmaa hänet siksi tiesi —

    Löi Fortinbrasin, joka sinetöidyn

    Ja lain ja heraldiikan vahvistaman

    Sovinnon mukaan, henkens' ohessa,

    Menetti voittajalle kaikki maansa.

    Vastikkeeks kuninkaamme oli pannut

    Maan yhtä suuren, jonka Fortinbras,

    Jos voitti hän, ois omaksensa saanut,

    Juur' niinkuin nyt, sen saman sovinnon

    Ja säädöskirjan mukaan, hänen maansa

    Sai Hamlet. Nytpä nuori Fortinbras,

    Tulista, hurjaa kiivautta täynnä,

    On sieltä, täältä, Norjan rantamailta

    Kokoillut maattomia huimapäitä,

    Ravinnon, leivän palkast', yritykseen,

    Mi kysyy mieltä: tarkoitus ei muu,

    — Jonk' aivan hyvin valtiomme tuntee, —

    Kuin miekka kädessä ja väkivoimin

    Taas voittaa meiltä maat nuo mainitut,

    Jotk' isä kadotti. Ja se, ma luulen,

    Pääperustus on meidän varustuksiin,

    Syy vahdinpitoomme, ja tämän kiireen

    Ja hälinän ja homman alkujuuri.

    BERNARDO.

    Ma luulen aivan samaa; senvuoks kai

    Tuo aavenäky aseiss' ohi vahdin

    Noin kulkee, hahmossa sen kuninkaan,

    Jok' on ja oli näihin sotiin syypää.

    HORATIO.

    Se tolmaa on, mi sokaa hengen silmät.

    Vähäistä ennen suuren Julion surmaa,

    Kun Rooma voittons' oli kukkuloilla,

    Tyhjentyi haudat, ruumiit liinoissaan

    Kaduilla Rooman parkuin vaikeroivat;

    Veristä kaste, pilkkuj' auringossa,

    Tähdillä tulipyrstöt, ja tuo tähti,[1]

    Tuo kostea, Neptunin vallan perus,

    Kuin tuomiopäivän pimeyttä kitui.

    Ja yhtäläiset kauhun ajan enteet —

    Ikäänkuin sallimuksen airuina

    Ja johdantona siihen, mitä seuraa —

    Nyt vuoroin maassa, taivaass' ilmestynnä

    On meidän maallemme ja kansallemme. —

    Mut vaiti! hiljaa! kas, se palajaa!

    (Haamu palajaa.)

    Sen puhki astun, vaikka se mun nielis. —

    Seis, aave! Jos sull' ääntä on tai kieli,

    Niin puhu!

    Jos tehtäviss' on joku hyvä työ,

    Mi rauhan sulle tois ja armon mulle,

    Niin puhu!

    Jos tiedossas on maasi kohtalo,

    Jonk' ennalt' arvaamalla välttää vois,

    Niin puhu!

    Tai maan jos helmaan kätkenyt sä olet

    Eläissäs ryöstetyitä aarteita

    Ja senvuoks aaveena nyt kummittelet, (Kukko laulaa.)

    Niin puhu! Seis ja puhu! — Marcello,

    Sit' estä.

    MARCELLO.

    Iskenko ma pertuskalla?

    HORATIO.

    Tee se, jos ei se jää.

    BERNARDO.

                           Se tääll' on.

    HORATIO.

                                         Täällä!

    (Haamu katoaa.)

    MARCELLO.

    Se poissa on!

    Se on niin juhlallinen, vääryytt' oisi

    Vähääkään sille väkivaltaa tehdä;

    Se on, kuin ilma, haavoittumaton,

    Ja tyhjät iskumme vaan häijyint' ivaa.

    BERNARDO.

    Puhua aikoi se, kun lauloi kukko.

    HORATIO.

    Mut säpsähti, kuin syntinen, kun kuulee

    Lain pelottavan haaston. Olen kuullut,

    Ett' aamun sotatorvi, kukko tuo,

    Kimeellä, rämäkällä kurkullaan

    Herättää päivän jumalan; sen ääni

    Vedestä, maasta, tulest', ilmast' ajaa

    Kaikk' eksyneet ja harhailevat henget

    Pois kunkin piiriinsä; ja todeks sen

    Tää seikka vahvistaa.

    MARCELLO.

                          Se katosi,

    Kun kukko laulaa alkoi. Kerrotaan,

    Ett' aina, kun se aika joutuu, jolloin

    Tuloa Vapahtajan vietetään,

    Niin laulaa kaiken yön tuo aamulintu.

    Nyt, kerrotaan, ei ykskään henki liiku,

    Yöt ovat raittihit, ei tähdet koske,

    Ei taiat tartu eikä noidat hurmaa,

    Niin armias ja pyhä on se aika.

    HORATIO.

    Sen olen kuullut ja sen osaks uskon.

    Vaan katso, koitar, punaviitta yllään,

    Tuoll' idäss' astuu vuoren kastehelle.

    Nyt matkahan; ja — se mun neuvoni —

    Nuorelle Hamletille kertokaamme

    Tään-öinen näky. Hengelläni vannon,

    Ett' aave, meille mykkä, hälle haastaa.

    Tuon suostutteko ilmoittamaan hälle,

    Kuin velvollisuus on ja rakkaus vaatii?

    MARCELLO.

    Se tehkäämme, ma pyydän; tiedän, missä

    Paraiten hänet kohtaa tähän aikaan.

    (Menevät.)

    Toinen kohtaus.

    Sama seutu. Juhlahuone.

        (Kuningas, kuningatar, Hamlet, Polonius, Laertes, Voltimand,

        Cornelius, hoviherroja ja seuralaisia tulee.)

    KUNINGAS.

    Vaikk' armaan Hamlet veljen kuolemasta

    On muisto veres ja siis meidän pitäis

    Suruissa huokailla, ja valtakunnan

    Yhdeksi murheen otsaks kurtistua,

    Niin sentään järki voittanut on luonnon.

    Ett' älyllä me häntä murhehdimme,

    Samalla muistellen myös itseämme.

    Olemme senvuoks entis-kälymme,

    Nykyisen meidän kuningattaremme,

    Tään uljaan vallan kruununperijän,

    Niin sanoaksen' iloll' ehkäistyllä, —

    Vesissä toinen silmä, toinen kirkas,

    Hääitkulla ja peijaisriemulla,

    Ja tasan ilot, murheet punniten, —

    Vihille vienyt, estämättä kuullen

    Viisaita neuvojanne, jotka vapaast'

    On tähän taipunehet. Kiitos siitä!

    Nyt, tietäkää, on nuori Fortinbras, —

    Halveksuin arvoamme, taikka luullen,

    Ett' armaan veli-vainaan kuolon kautta

    Valtamme liitteistään on höltynyt, —

    Perustuin tähän voiton unelmaan,

    Hyväksi nähnyt meiltä kiristää

    Lähetin kautta takaisin ne maat,

    Jotk' isäns' uljahalle veljellemme

    Lain mukaan kadotti. — Sen verran siitä.

    Nyt itseemme ja tähän istuntoon!

    On laita tämä: tässä kirjoittanna

    Olemme Fortinbrasin sedälle, —

    Mi heikko sairas on ja tuskin kuullut

    On veljenpojan vehkeistä, — ett' esteen

    Hän panis niille, vallankin kun pestaus

    Ja väen-otto, kulungit ja kaikki

    Kohtaapi Norjan kansaa. Lähetämme

    Siis teidät, Cornelius ja Voltimand,

    Tään tervehdyksen vanhaan Norjaan viemään;

    Enjoying the preview?
    Page 1 of 1