Paul Adrian Fried / HAMLET'S BIBLE

An idea central to the Protestant Reformation was salvation by “faith alone,” not works [1]. This may help to understand why Marjorie Garber says the drinking game of Claudius approaches blasphemy [2]. Claudius’s drinking game is a celebration of works: Can the king drink the whole flagon without stopping? Fire the cannon! Best king? Claudius! To his health! Long live Claudius! Fire the cannon! The works of Claudius result in “earthly thunder” that the heavens “re-speak” [3] (echo). This is deeply ironic: the work of Claudius by which he obtained the throne was a work of poisoning, fratricide, regicide, usurpation, and lying to cover it up. Celebrate, fire the cannon: He got away with it? When Hamlet tries to conspire – to force his “works” to achieve revenge for his father’s death – he makes mistakes, and innocent people (like Polonius) are killed (3.4). Only late in the play does he articulate his new faith: “There's a divinity that shapes our ends, Rough-hew them how we will” ...

Marjorie Garber of Harvard University thinks the drinking games of Claudius, with cannon fire and “earthly thunder,” are blasphemous, adding yet another sin to his list. Claudius breaks a number of the Ten Commandments: Thou shalt not kill (Deuteronomy 5:17, Genesis 4:3-15) [1], nor covet thy neighbor’s house or wife (etc.) (Exodus 20:17) [2], nor bear false witness (Exodus 20:16) [3]. But more essentially, Claudius breaks the first commandment, which is to love God and have no other gods (Exodus 20:3-5). Garber notes the blasphemy implied in his drinking game: No jocund health that Denmark drinks today But the great cannon to the clouds shall tell, And the King’s rouse the heaven shall bruit again, Respeaking earthly thunder. (1.2.129-132) Garber writes, “It even approaches blasphemy, when we hear [...] that every time the King drinks, the cannons will blaze away, and ‘The King’s Rouse the heavens shall bruit again, / respeaking earthly thunder’.... Properly, thunder is heavenly, not ...

The name Yorick [1] may come from the same root as St. George [2], patron saint of England since 1348 : from the Greek “Georgios”: from ge (γῆ)  - 'earth, soil' - and ergon (ἔργον), 'work' [3]. Yorick, as “earth worker.”   The gravedigger in Shakespeare’s Hamlet is called “Goodman Delver” by his friend (5.1.14). So the gravedigger and Yorick echo one another in more ways than foolery… This relates also to my series on the Emmaus echo in 5.1, the graveyard scene: the story of Jesus’ appearance to the disciples on the road to Emmaus [4] was a gospel read in church on the first Monday after Easter every year of Shakespeare’s life [5]. In that gospel, two disciples on the road are mourning the death of Jesus. They meet a stranger (somehow a real or figurative Jesus, unrecognized [6]) who shows them compassion, listens, scolds them for their flawed thinking, and gives them hope, explaining the scriptures to them. These are all things Jesus had done for them. The disciples ...

Shakespeare’s Hamlet could have unfolded differently from Gertrude’s closet scene onward (3.4): Instead of following the Danish tale, it could have followed Nero’s story [1]. Shakespeare makes the tales overlap, grafting on references to Claudius and Nero; then he rejects that potential plot line and what such historical characters represent. To be a play based on an old Danish tale, or not? To be a play based on Rome’s Claudius I, Julia Agrippina, and her son Nero – or not? (Or in modern productions: To have Hamlet played by Ringo Starr, Nero’s doppelganger – or not? [See collage images….]) In Shakespeare’s time, what were Nero and Agrippina famous for? - Agrippina poisoned her husband, Claudius I, so that her son Nero could be emperor. - Nero later arranged for his mother’s death and attended her autopsy. - In Shakespeare’s 1 Henry VI , Lord Talbot claims that Nero played a lute while Rome burned, and Shakespeare refers to the Claudius-Agrippina-Nero tale in two other plays [...