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    Shakespeare's Hamlet
    Shakespeare's Hamlet
    Shakespeare's Hamlet
    Ebook128 pages2 hours

    Shakespeare's Hamlet

    By Leland Ryken

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    About this ebook

    Weve all heard about the classicsand assume theyre great. Some of us have even read them on our own. But for those of us who remain a bit intimidated or simply want to get more out of our reading, Crossways Christian Guides to the Classics are here to help.

    In these short guidebooks, popular professor, author, and literary expert Leland Ryken takes you through some of the greatest literature in history while answering your questions along the way.

    Each book:

    • Includes an introduction to the author and work

    • Explains the cultural context

    • Incorporates published criticism

    • Defines key literary terms

    • Contains discussion questions at the end of each unit of the text

    • Lists resources for further study

    • Evaluates the classic text from a Christian worldview

    This volume guides readers through Shakespeares greatest tragedy,Hamlet, exploring the plays historical context, key themes, and overarching message.

    LanguageEnglish
    PublisherCrossway Books
    Release dateAug 31, 2014
    ISBN9781433541254
    Shakespeare's Hamlet
    Author

    Leland Ryken

    Leland Ryken (PhD, University of Oregon) served as professor of English at Wheaton College for nearly fifty years. He served as literary stylist for the English Standard Version Bible and has authored or edited over sixty books, including The Word of God in English and A Complete Handbook of Literary Forms in the Bible.

    Read more from Leland Ryken

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      Book preview

      Shakespeare's Hamlet - Leland Ryken

      Book

      The Nature and Function of Literature

      We need to approach any piece of writing with the right expectations, based on the kind of writing that it is. The expectations that we should bring to any work of literature are the following:

      The subject of literature. The subject of literature is human experience, rendered as concretely as possible. Literature should thus be contrasted to expository writing of the type we use to conduct the ordinary business of life. Literature does not aim to impart facts and information. It exists to make us share a series of experiences. Literature appeals to our image-making and image-perceiving capacity. A famous novelist said that his purpose was to make his readers see, by which he meant to see life.

      The universality of literature. To take that one step further, the subject of literature is universal human experience—what is true for all people at all times in all places. This does not contradict the fact that literature is first of all filled with concrete particulars. The particulars of literature are a net whereby the author captures and expresses the universal. History and the daily news tell us what happened; literature tells us what happens. The task that this imposes on us is to recognize and name the familiar experiences that we vicariously live as we read a work of literature. The truth that literature imparts is truthfulness to life—knowledge in the form of seeing things accurately. As readers we not only look at the world of the text but through it to everyday life.

      An interpretation of life. In addition to portraying human experiences, authors give us their interpretation of those experiences. There is a persuasive aspect to literature, as authors attempt to get us to share their views of life. These interpretations of life can be phrased as ideas or themes. An important part of assimilating imaginative literature is thus determining and evaluating an author’s angle of vision and belief system.

      The importance of literary form. A further aspect of literature arises from the fact that authors are artists. They write in distinctly literary genres such as narrative and poetry. Additionally, literary authors want us to share their love of technique and beauty, all the way from skill with words to an ability to structure a work carefully and artistically.

      Summary. A work of imaginative literature aims to make us see life accurately, to get us to think about important ideas, and to enjoy an artistic performance.

      Why the Classics Matter

      This book belongs to a series of guides to the literary classics of Western literature. We live at a time when the concept of a literary classic is often misunderstood and when the classics themselves are often undervalued or even attacked. The very concept of a classic will rise in our estimation if we simply understand what it is.

      What is a classic? To begin, the term classic implies the best in its class. The first hurdle that a classic needs to pass is excellence. Excellent according to whom? This brings us to a second part of our definition: classics have stood the test of time through the centuries. The human race itself determines what works rise to the status of classics. That needs to be qualified slightly: the classics are especially known and valued by people who have received a formal education, alerting us that the classics form an important part of the education that takes place within a culture.

      This leads us to yet another aspect of classics: classics are known to us not only in themselves but also in terms of their interpretation and reinterpretation through the ages. We know a classic partly in terms of the attitudes and interpretations that have become attached to it through the centuries.

      Why read the classics? The first good reason to read the classics is that they represent the best. The fact that they are difficult to read is a mark in their favor; within certain limits, of course, works of literature that demand a lot from us will always yield more than works that demand little of us. If we have a taste for what is excellent, we will automatically want some contact with classics. They offer more enjoyment, more understanding about human experience, and more richness of ideas and thought than lesser works (which we can also legitimately read). We finish reading or rereading a classic with a sense of having risen higher than we would otherwise have risen.

      Additionally, to know the classics is to know the past, and with that knowledge comes a type of power and mastery. If we know the past, we are in some measure protected from the limitations that come when all we know is the contemporary. Finally, to know the classics is to be an educated person. Not to know them is, intellectually and culturally speaking, like walking around without an arm or leg.

      Summary. Here are four definitions of a literary classic from literary experts; each one provides an angle on why the classics matter. (1) The best that has been thought and said (Matthew Arnold). (2) A literary classic ranks with the best of its kind that have been produced (Harper Handbook to Literature). (3) A classic lays its images permanently on the mind [and] is entirely irreplaceable in the sense that no other book whatever comes anywhere near reminding you of it or being even a momentary substitute for it (C. S. Lewis). (4) Classics are works to which we return time and again in our minds, even if we do not reread them frequently, as touchstones by which we interpret the world around us (Nina Baym).

      How to Read a Story

      Hamlet, like the other classics discussed in this series, is a narrative or story. To read it with enjoyment and understanding, we need to know how stories work and why people write and read them.

      Why do people tell and read stories? To tell a story is to (a) entertain and (b) make a statement. As for the entertainment value of stories, it is a fact that one of the most universal human impulses can be summed up in the four words tell me a story. The appeal of stories is universal, and all of us are incessant storytellers during the course of a typical day. As for making a statement, a novelist hit the nail on the head when he said that in order for storytellers to tell a story they must have some picture of the world and of what is right and wrong in that world.

      The things that make up a story. All stories are comprised of three things that claim our attention—setting, character, and plot. A good story is a balance among these three. In one sense, storytellers tell us about these things, but in another sense, as fiction writer Flannery O’Connor put it, storytellers don’t speak about plot, setting, and character but with them. About what does the storyteller tell us by means of these things? About life, human experience, and the ideas that the storyteller believes to be true.

      World making as part of storytelling. To read a story is to enter a whole world of the imagination. Storytellers construct their narrative world carefully. World making is a central part of the storyteller’s enterprise. On the one hand, this is part of what makes stories entertaining. We love to be trans- ported from mundane reality to faraway places with strange-sounding names. But storytellers also intend their imagined worlds as accurate pictures of reality. In other words, world making is an important part of the truth claims that they intend to make. Accordingly, we need to pay attention to the details of the world that a storyteller creates, viewing that world as a picture of what the author believes to exist.

      The need to be discerning. The first demand that a story makes on us is surrender—surrender to the delights of being transported, of encountering experiences, characters, and settings, of considering the truth claims that an author makes by means of his or her story. But we must not be morally and intellectually passive in the face of what an author puts before us. We need to be true to our own convictions as we weigh the morality and truth

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