I. Discussion of the film.

1. Is the film up to your expectations?

2. Do you think the cast is well chosen?

3. Does the scenery deserve your praise?

4. What is your impression of the costumes?

5. What is the work of the artistic director aimed at?

6. What contemporary ideas are foregrounded in the screen version?

7. What are the advantages of the screen version in comparison with a stage presentation?

П. Discussion of the play.

1. «The time is out of joint! Oh, cursed spite, that ever I was born to set it right!» Do you see the message of the play in these words, pronounced by Hamlet?

2. Different epochs saw different approaches to the tragedy: S. Coleridge saw Hamlet as a philosopher and a poet, having no bonds with reality. I. Turgenev believed that Hamlet's passive beha­vior is the result of his egocentrism and disillusionment. A. Anikst emphasizes the tragic substitution of a revenge motive by a task of «taking arms against a sea of troubles». How is the problem of Ham­let's dramatic indecision tackled in the film?

3. What do you think of the «ghost scene»? Is a mystic element in keeping with the general trend of the genre of the tragedy?

4. What was «rotten in the state of Denmark»?

5. What makes you think that the Prince of Denmark was a ma­ture person, seeing all the schemes of his enemies? What scenes from 'he tragedy show that Hamlet knew no «seems»?

6. «Frailty, thy name is woman». What are Hamlet's feelings towards Ophelia? Why is he so merciless to Gertrude, the Queen, his mother? Must he really «be cruel only to be kind»?

7. Monologues were very efficient means of expressing the au­thor's thoughts in the tragedy. What monologues in Hamlet seem most impressive and appealing to you? What ideas do they convey? Try to interpret «To be or not to be» in the paradigm of the Renais­sance philosophy.

8. Insanity was often used in classical pieces as a device of mask­ing real feelings and voicing otherwise hidden ideas. What do you think of Hamlet's madness? Compare it with Ophelia's tragic end.

9. One of the most fundamental ideas of the Renaissance was the idea of kinship with life. Did Hamlet realize that human nature showed the shaping touch of divinity? How can his speculations on putting an end to all sufferings with «a mere bodkin» be considered in this context? How are people of action (Laertes, Fortinbras) op­posed to people of thought (Hamlet, Horatio)?

10. The principle of duality, so characteristic of the Renaissance culture is easily traceable in Hamlet. It is revealed in character draw­ing, in presentation of ideas and in the very construction of the plot. Analyze some examples and state the function of the device.

11. Shakespeare is said to hold the mirror up to nature, employ­ing various styles for his characters. Prove it, using the text of the tragedy.

III. Discussion of the language.

Certain models of thought in Hamlet have crystallized in phrases. What are your favourite expressions you can instance from Hamlet?

A. Recall the situations in which the following quotations are used.

1. All that lives must die, passing / through nature to eternity.

2. The meals that had been served for the funeral table, were still good enough to serve the marriage feast.

3. Adieu, adieu, remember me!

4. There I will inscribe that a man can smile and yet remain a villain. At least it may be so in Denmark.

5. Denmark is a prison.

6. There's nothing either good or bad, / but thinking makes it so.

7. О shame! Where is thy blush?

8. We know what we are, but we know not what we may be.

9. When sorrows come, they come / not single spies, But in bat­talions.

10. Brevity is the soul of wit.

B. Find the English equivalents for the following pieces trans­lated by M. Losinsky.

1. Он человек был, человек во всем;

Ему подобных мне уже не встретить.

Act I, S.2

2. Бренность, ты зовешься женщина.

Act I, S.2

3. Держи подальше мысль от языка,

А необдуманную мысль от действий.

Будь прост с другими, но отнюдь

Не пошл.

Act I, S.3

4. Что за мастерское создание - человек!

Как благороден разумом!

Краса вселенной!

Венец всего живущего!

Act II, S.2

5. Что он Гекубе? Что ему Гекуба,

Чтобы о ней рыдать?

Зрелище - петля,

Чтоб заарканить короля.

Act II, S. 2

6. Назовите меня каким угодно

инструментом - вы хоть и можете

меня терзать, но играть на мне вы не

можете.

Act III, S.2

7. Из жалости я должен быть жесток;

Плох первый шаг, но худший недалек

Act III, S.4

8. Ее любил я, сорок тысяч братьев

Всем множеством своей любви со мною

Не уравнялись бы.

9. Я умираю;

Могучий яд затмил мой дух;

Дальше - тишина.

Act V,S.I

10. Отлично, ей-же-ей, живу на

хамелеоновой пище, питаюсь воздухом,

Пичкаюсь обещаниями; так не откармливают

и каплунов.

Act III, S.2

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