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Fortinbras
Fortinbras
Fortinbras
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Prince Fortinbras
Hamlet character
Created byWilliam Shakespeare
In-universe information
AffiliationHamlet (by the end)
FamilyKing Fortinbras (father)

Fortinbras /ˈfɔːrtɪnbræs/ is a minor fictional character from William Shakespeare's tragedy Hamlet. A Norwegian crown prince with a few brief scenes in the play, he delivers the final lines that represent a hopeful future for the monarchy of Denmark and its subjects. His father, the fictional former king of Norway, is also named Fortinbras and was slain in the play's antecedent action in a duel with King Hamlet.[1][2] The duel between the two is described by Horatio in Act One, Scene One (I,i) of the play.

His name is not Norwegian in origin, but is a French–English hybrid (fort in bras) meaning "strong in arm."[3][4]

Role in the play

[edit]

Although Fortinbras makes only two brief appearances in the latter half of the play, he is referred to throughout: King Claudius sends ambassadors to Norway in the hopes of staving off his invasion, and they return with the news that Fortinbras will attack Poland but leave Denmark alone. At the end—after all the major characters except Horatio are dead—Fortinbras and his army enter, accompanied by ambassadors from England who have come to announce that Claudius' supposed orders to execute Rosencrantz and Guildenstern have been carried out. With the throne of Denmark now vacant, Fortinbras may be crowned ruler. This may be an allusion to the political situation of the day: at the time the play was written, Denmark and Norway were united under a single crown; also, England itself was to be ruled by King James I of England and James VI of Scotland, who claimed the throne by virtue of his blood relation to Elizabeth I (the play was written before Elizabeth I's death).

Fortinbras also serves as a parallel to Hamlet in many ways: like the latter, he is motivated largely by the death of his father, whose name he also bears (as Hamlet does his), and both serve as princes of their respective countries. In other respects, Fortinbras serves as a foil for Hamlet: while the Danish prince is deliberate and given to long-winded soliloquies, the Norwegian is impulsive and hot-headed, determined to avenge his slain father at any cost.

Fortinbras orders that Prince Hamlet be given a soldier's funeral, describing him as "likely, had he been put on, to have proved most royally."

Screen adaptations

[edit]

Hamlet, with a running time in the range of four hours, is seldom performed in its entirety. Consequently, the role of Fortinbras is sometimes omitted, as it was in the 1948 film starring Laurence Olivier, in the 1969 film starring Nicol Williamson, and the 1990 film starring Mel Gibson. He was included, however, in the 1921 Svend Gade and Heinz Schall directed German silent film Hamlet and portrayed by Fritz Achterberg, in the 1964 Broadway revival, which was later filmed as Richard Burton's Hamlet, in the 1980 BBC Shakespeare television production starring Derek Jacobi, in the 1996 film starring Kenneth Branagh and the 2000 film starring Ethan Hawke, although in the 2000 film, he is an enemy of business. In these films he was played by Michael Ebert, Ian Charleson, Rufus Sewell and Casey Affleck, respectively.

Fortinbras also appears in the 1964 BBC television Hamlet, starring Christopher Plummer, and here he was played by Donald Sutherland, in what was his first important role.

Other stage adaptations

[edit]

Fortinbras is the protagonist of the 1992 play Fortinbras by Lee Blessing.[5] The plot of Fortinbras follows that of Hamlet; the first scene is the death of Hamlet in the original Shakespearean text. The rest of the play is in a vernacular, modern English. Major characters from Hamlet appear as ghosts in this sequel.[6]

References

[edit]

Sources

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Fortinbras

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from Grokipedia
Fortinbras is a fictional character in William Shakespeare's tragedy , portrayed as the Prince of and a man of decisive action who contrasts with the titular protagonist's introspection and delay. The son of the elder King Fortinbras, who was slain in by King and whose lands were forfeited to as a result, young Fortinbras initially raises an army to reclaim those territories but is dissuaded by his uncle, the King of , who redirects his forces toward a campaign in . In Act 4, Scene 4 of the play, Fortinbras leads his troops across en route to , an encounter that inspires to reflect on his own inaction in avenging his father's murder, viewing Fortinbras as a model of bold resolve despite the seemingly futile nature of his enterprise. Though he appears only briefly onstage, Fortinbras embodies themes of ambition, honor, and political , serving as a foil to both 's philosophical hesitation and Horatio's loyalty. At the play's conclusion in Act 5, Scene 2, following the deaths of , Queen Gertrude, Laertes, and , Fortinbras returns from and, with Hamlet's dying endorsement, assumes the throne of , ordering military honors for Hamlet's burial as he restores order to the fractured kingdom.

Background and Etymology

Name Origin

The name "Fortinbras" is derived from French linguistic elements, specifically a compound of "fort" (meaning "strong") and "bras" (meaning "arm"), translating to "strong in arm" or "strong-arm." This etymology underscores the character's association with strength and prowess, aligning with his portrayal as a resolute leader in the play. Shakespeare coined the name as a hybrid of French and English words, a technique he frequently employed for foreign or exotic characters to evoke a sense of otherness while remaining accessible to English audiences. The use of "fort," which has roots in both languages, combined with the distinctly French "bras," creates a phonetic and semantic blend that emphasizes physical might without adhering strictly to Norwegian nomenclature, despite the character's Scandinavian origins. While no direct historical figures bear the exact name, it draws from broader medieval literary traditions where warrior epithets often highlighted arm strength as a symbol of valor, such as in French romances depicting chivalric combatants. This invention by Shakespeare serves to symbolically reinforce Fortinbras's role in advancing themes of action and fortitude.

Familial and Historical Context

Fortinbras, the Prince of , is the son of the elder Fortinbras, who served as King of Norway and was defeated and killed by King Hamlet of in a over disputed territories. This duel, rooted in the play's fictionalized Scandinavian history, involved the elder Fortinbras staking his Norwegian lands against King Hamlet's Danish holdings, resulting in the forfeiture of those territories to upon his defeat. The elder Fortinbras's death left his son as heir to a diminished kingdom, with the young Fortinbras inheriting not only the throne but also a legacy of honor tied to his father's reputation. The disputes stemming from this conflict center on the elder Fortinbras's original claims to parts of , which were ceded as following the and further formalized in a between and . These territorial losses fueled ongoing tensions, positioning the young Fortinbras to pursue reclamation through military means, thereby echoing broader themes of for paternal dishonor and the precarious nature of royal succession in divided realms. The elder Fortinbras's forfeiture disrupted traditional lines of , compelling his son to navigate diplomatic rebukes from his uncle, the Norwegian king, before redirecting ambitions elsewhere, all while underscoring the interplay between personal vendetta and dynastic legitimacy. Shakespeare's depiction of Fortinbras draws on 16th-century historical parallels, particularly the geopolitical strains between and amid shifting alliances and royal ambitions. Anglo-Danish relations in the late involved trade disputes and diplomatic maneuvers, including England's cautious engagement with Denmark's Lutheran court, which mirrored the play's portrayal of Norway-Denmark rivalries as backdrops for princely assertiveness. Furthermore, Fortinbras's eventual ascension to the Danish throne parallels the succession of James VI of to the English in 1603, reflecting contemporary anxieties over foreign heirs and unified rule in a context of dynastic uncertainty. This resonance highlights Shakespeare's engagement with the era's royal ambitions, where figures like James embodied the potential for external princes to resolve internal fractures through inheritance claims.

Role in Hamlet

Appearances in the Play

Fortinbras is first referenced in Act 1, Scene 1, where Horatio informs Marcellus and Bernardo of the historical context behind Denmark's military preparations. He explains that the late defeated old Fortinbras of in , leading the latter to forfeit his lands to through a formal compact; now, young Fortinbras has assembled a band of lawless resolutes in to reclaim those territories, contributing to the kingdom's state of alert. In Act 1, Scene 2, elaborates on this threat during his address to the court, describing how young Fortinbras, presuming weakened by the elder king's death, has sent messages demanding the return of the lands lost by his father. reveals that he has dispatched ambassadors, including Cornelius and Voltemand, to the bedridden King of —Fortinbras's uncle—to suppress his nephew's mobilization, as the levies for the army are drawn from Norwegian subjects without the uncle's full awareness. Fortinbras remains offstage through much of the play, but his actions are reported in Act 4, Scene 4, where he briefly appears onstage leading his army on a through en route to invade over a seemingly worthless plot of land. A dispatched by Fortinbras encounters and explains that the prince seeks permission from to convey his forces across Danish territory, as previously agreed upon by the Norwegian after compensating Denmark for the passage. Fortinbras himself enters at the scene's outset with his army, instructing the : "Go, , from me greet the Danish . / Tell him that by his Fortinbras / Craves the conveyance of a promised / Over his kingdom." This display of purposeful military action prompts 's , in which he contrasts Fortinbras's resolve with his own hesitation in avenging his father. Fortinbras's sole extended onstage appearance occurs in Act 5, Scene 2, following the fatal duel between , Laertes, and the poisoned and queen. As the English ambassadors arrive bearing news of the executions ordered by , an offstage volley signals Fortinbras's return victorious from . He enters with drums, colors, and attendants, inquiring, "Where is this sight?" Upon learning of the carnage, Horatio recounts the events and endorses Fortinbras's claim to the , noting 's that the prince succeed him. Fortinbras accepts the succession, stating, "For me, with sorrow I embrace my fortune. / I have some rights of memory in this kingdom, / Which now to claim my vantage doth invite me," and commands that receive a 's : "Let four captains / Bear like a to , / For he was likely, had he been put on, / To have proved most royally. / And for his passage / The soldiers’ music and the rites of war / Speak loudly for him." The scene concludes with the bodies carried off amid a peal of ordnance.

Narrative and Dramatic Function

Fortinbras functions as a structural foil to , embodying decisive action and military resolve in stark contrast to the protagonist's and , thereby illuminating 's tragic flaw of indecision. This opposition is evident in Fortinbras's prompt mobilization of forces to reclaim lost territories, which prompts Hamlet's self-reproach in Act 4, Scene 4, where he envies the Norwegian prince's willingness to risk all . Scholars note that this contrast not only heightens the but also reinforces the play's exploration of delayed by overthinking. In the play's frame narrative, Fortinbras bookends the action with persistent military threats, opening with his army's encroachment on and concluding with his triumphant entry in Act 5 to claim the throne, thus providing closure to the ensuing chaos. This bracketing device underscores the vulnerability of the Danish court amid internal strife, transforming personal vendettas into a broader geopolitical crisis that resolves only through foreign intervention. By ascending as , Fortinbras restores order, symbolizing the restoration of political stability after Hamlet's demise. Dramatic irony permeates Fortinbras's role through his offstage presence during pivotal events, such as the court's obliviousness to his advancing forces while consumed by domestic intrigue, which amplifies Denmark's precarious position and the audience's . This unseen progression builds tension, as the characters' focus on internal betrayals blinds them to the external peril Fortinbras represents, culminating in his unchallenged takeover. For Elizabethan audiences, Fortinbras's narrative evoked contemporary anxieties about royal succession and foreign invasions, mirroring fears of Spanish aggression following the 1588 Armada and uncertainties surrounding Elizabeth I's heirless reign. His successful claim to the Danish throne highlighted the fragility of monarchical continuity, serving as a cautionary reflection on the perils of dynastic instability and external threats to national sovereignty.

Literary Analysis

Symbolism and Themes

Fortinbras serves as a potent of legitimate and renewal, standing in stark contrast to the pervasive within the Danish court. Under Claudius's rule, is depicted as a diseased state, riddled with moral decay, intrigue, and usurpation that undermines its stability. Fortinbras, as the Norwegian prince, enters this vacuum not as a mere opportunist but as a figure of rightful succession, claiming the throne through "some of in this kingdom" (5.2.432-33) after Hamlet's endorsement on his deathbed. His prowess and decisive leadership facilitate a restoration of order, transforming the chaotic, poisoned realm into one capable of renewed . In embodying the play's central revenge theme, Fortinbras mirrors Hamlet's father-son vendetta—his father, Old Fortinbras, having lost lands to King Hamlet in single combat—yet resolves it through honorable conquest rather than the personal tragedies that befall the Danish protagonists. While Hamlet's quest devolves into procrastination and collateral destruction, Fortinbras channels his grievance into a disciplined campaign, ultimately seizing Denmark amid its royal downfall and honoring Hamlet with a soldier's rites. This parallel underscores the theme's exploration of vengeance's consequences, highlighting how Fortinbras's action-oriented approach yields triumph without the self-annihilation that consumes Hamlet. Fortinbras's arc further symbolizes the interplay of fate and fortune, as his ascension fulfills ominous prophecies of Denmark's collapse, such as the Ghost's warnings of a kingdom on the brink. By aggressively assaulting "Fortune's state" through calculated risks, Fortinbras capitalizes on the temporal windows of opportunity that Hamlet's caution allows to close, illustrating fate's capricious nature where bold emulation of leads to restoration of ancestral prerogatives. His unforeseen dominance over Elsinore, emerging from the ruins of Danish infighting, reinforces the motif that favors the audacious amid providential disorder. Twentieth-century scholars have interpreted Fortinbras as a harbinger of political stability in the wake of Hamlet's chaos, viewing his rule as a corrective force that imposes peace and order on a fractured . G. Wilson Knight, in his seminal analysis, posits Fortinbras as the agent who "brings peace and order to Denmark," signaling a purged, stable emerging from tragedy's devastation. This perspective aligns with broader critical emphasis on Fortinbras's role in resolving the play's political turmoil, offering a vision of renewal through external intervention.

Comparisons to Other Characters

Fortinbras serves as the primary foil to Hamlet, embodying decisive action in stark contrast to 's contemplative hesitation. Both characters are young princes driven by of their fathers—Fortinbras seeking to reclaim lands lost by his father in a with King Hamlet, while Hamlet grapples with his father's —yet Fortinbras channels his into strategic military mobilization, raising an to pursue honor through conquest, whereas Hamlet delays amid philosophical introspection. This underscores Hamlet's internal paralysis, as he explicitly admires Fortinbras's resolve in the "How all occasions do inform against me" (Act 4, Scene 4), viewing the Norwegian prince's willingness to risk lives for a "fantasy" as a model of purposeful vigor. Ultimately, their differing outcomes highlight the play's exploration of inaction's consequences: Fortinbras achieves political success by inheriting Denmark's throne, while Hamlet perishes without fully restoring order. Fortinbras also parallels Laertes in their shared pursuit of revenge for paternal deaths, but their approaches diverge in execution, revealing nuances in impulsivity and strategy. Like Laertes, who returns from France in a "rage" to avenge Polonius's death through direct confrontation (Act 4, Scene 5), Fortinbras acts on familial honor, mobilizing forces against Denmark shortly after his father's defeat. However, while Laertes's revenge is intensely personal and emotionally volatile—leading to a poisoned duel without broader consideration—Fortinbras's is collective and calculated, involving national troops to reclaim territory and assert sovereignty, prioritizing long-term gain over immediate outburst. This contrast emphasizes Fortinbras's disciplined ambition, as he negotiates treaties and avoids rash traps, succeeding where Laertes's haste contributes to his downfall. In opposition to Claudius, Fortinbras represents legitimate succession against the king's illicit usurpation, illuminating themes of moral and political authority. Claudius ascends the throne through and hasty marriage to Gertrude, embodying corrupt ambition that undermines Denmark's stability, as evidenced by his manipulative handling of the Fortinbras threat (Act 1, Scene 2). Fortinbras, as the heir to a rightful claim on Danish lands via his father's , embodies external legitimacy; his eventual of the crown restores order, contrasting Claudius's tainted rule and affirming hereditary justice over intrigue.

Adaptations

Screen Versions

In early screen adaptations of Hamlet, Fortinbras was frequently omitted to condense the narrative and emphasize internal conflicts. Laurence Olivier's 1948 film, for instance, excises the character entirely along with other political elements like Rosencrantz and Guildenstern, prioritizing Hamlet's psychological depth over the play's broader geopolitical intrigue. This approach streamlined the runtime to about two and a half hours while winning Academy Awards for Best Picture and Best Actor. Later film versions restored Fortinbras for a more complete dramatic arc. Kenneth Branagh's 1996 adaptation, the first unabridged screen , casts in the role, portraying him through flashbacks and culminating in a dynamic of Elsinore that underscores themes of succession and . Sewell's Fortinbras commands the final scenes with military precision, delivering lines like "This quarry cries on havoc" amid the carnage, which heightens the play's sense of inevitable political turnover. Television adaptations have similarly varied in their treatment. The 1980 BBC production, directed by Rodney Bennett and starring as , includes Fortinbras as played by , who appears in the concluding act to claim the throne and frame Hamlet's death as a worthy warrior's end. In contrast, Michael Almereyda's 2000 modern-dress film with reduces Fortinbras to a peripheral figure portrayed by , manifesting mainly as a corporate media presence—such as news footage of his Denmark Corporation maneuvers—rather than a direct on-screen antagonist. This minimizes his physical role while symbolizing external ambition encroaching on Hamlet's personal crisis. Contemporary screen versions reflect a trend toward integrating Fortinbras more prominently via innovative visuals, often to amplify political undertones. Robert Icke's 2017-2018 production, filmed for television with Andrew Scott as , uses on-screen broadcasts to depict Fortinbras (Mark Desebrock) and the Norwegian threat, transforming his traditionally offstage army into a live-feed spectacle that builds tension through modern surveillance aesthetics. Such choices, echoed in other recent adaptations, leverage digital elements for visual impact without altering the core text, contrasting earlier cuts and enhancing Fortinbras's function as a foil to Hamlet's inaction. In Aneil Karia's 2025 modern adaptation set in contemporary , starring as , Fortinbras is reimagined as the leader of a against the corporate empire of Elsinore, emphasizing themes of corporate overreach and rebellion in the film's climax.

Stage and Other Productions

Fortinbras appears in numerous stage revivals of Shakespeare's Hamlet, often portrayed to underscore his role as a decisive foil to the introspective prince. In the Royal Shakespeare Company's 1965 production directed by Peter Hall, featuring David Warner as Hamlet, the modern-dress staging emphasized character contrasts, including Fortinbras's militaristic resolve amid the era's youthful, anti-establishment vibe. Lee Blessing's 1991 play Fortinbras, a comedic to , centers on the Norwegian prince as he assumes control of a chaotic following the Danish court's demise. In the work, Fortinbras, depicted as a pragmatic modern leader, grapples with the return of Hamlet and other characters as ghosts who disrupt his rule and force him to justify the previous regime's failures, blending with . The play premiered at the Crossroads Theatre Company and received production in 1992, highlighting Fortinbras's transformation from peripheral figure to beleaguered ruler. In operatic adaptations, Fortinbras is frequently omitted to streamline the narrative. Ambroise Thomas's 1868 grand opera Hamlet, with libretto by Jules Barbier and Michel Carré, excludes Fortinbras entirely alongside characters like , , shifting focus to Hamlet's survival and coronation in its original French version. This truncation alters the play's geopolitical closure, emphasizing domestic over conquest. Radio dramas of amplify Fortinbras's presence through and , leveraging audio to heighten his authoritative tone in key scenes. In the 1948 BBC adaptation starring as , voiced Fortinbras, delivering his final lines with commanding clarity to frame the prince's invasion and ascension. Similarly, the 2014 full-cast production, directed by Marc Beeby with as , featured Rik Warden as Fortinbras, using sound design to underscore his military resolve in the closing act. Contemporary stage trends in the have incorporated gender-swapped and multicultural casting for Fortinbras, exploring themes of power and identity beyond traditional portrayals. In gender-fluid productions, such as those flipping Hamlet's role to a female lead, Fortinbras is often retained as a male counterpart to preserve the foil dynamic, as seen in critiques of adaptations where his unaltered contrasts with altered central characters. Multicultural stagings, like Maja Kleczewska's 2019 Polish production at Teatr Polski in , integrate diverse performers and trans-cultural elements, reinterpreting Fortinbras within broader political and identity contexts thirty years . This trend continues in Robert O'Hara's 2025 noir adaptation at the , where portrays Fortinbras as a investigating the intrigue at Elsinore, blending aesthetics with themes of justice and moral ambiguity.

References

  1. https://www.folger.edu/explore/shakespeares-works/hamlet/read/characterList/
  2. https://www.shakespeare-online.com/plays/hamlet/fortinbras.html
  3. https://www.folger.edu/explore/shakespeares-works/hamlet/read/4/4/
  4. https://www.folger.edu/explore/shakespeares-works/hamlet/read/5/2/
  5. https://www.cambridge.org/core/journals/pmla/article/hamlet-and-fortinbras/1052016787984201119C7052CEEB3977
  6. https://publishing.cdlib.org/ucpressebooks/view?docId=ft3n39n8zm&chunk.id=d0e3176&toc.depth=1&toc.id=d0e3176&brand=ucpress
  7. https://www.jstor.org/stable/450902
  8. https://www.folger.edu/explore/shakespeares-works/hamlet/read/1/1/
  9. https://www.folger.edu/explore/shakespeares-works/hamlet/read/1/2/
  10. https://scholar.harvard.edu/files/jeffreywilson/files/jeffrey_r._wilson_22tragic_excess_in_hamlet22_2019.pdf
  11. https://www.folger.edu/explore/shakespeares-works/hamlet/further-reading/
  12. https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1183&context=englishdiss
  13. https://eppc.org/wp-content/uploads/2018/12/Lindquist2c-Denmark27s-Challenge-and-Hamlet27s-Task.pdf
  14. https://www.sciedupress.com/journal/index.php/wjel/article/viewFile/23294/14714
  15. https://www.academia.edu/89728395/Hamlet_Fortinbras_and_the_Time_Value_of_Risk_in_Shakespeare_s_Elsinore
  16. https://nick-mulgrew-7dg7.squarespace.com/s/Andrew-Foley-the-end-of-Hamlet.pdf
  17. https://digitalcommons.fiu.edu/etd/1859
  18. https://ivypanda.com/essays/hamlet-laertes-fortinbras-avenging-the-death-of-their-father/
  19. https://studycorgi.com/hamlet-laertes-and-fortinbras-the-theme-of-vendetta/
  20. https://www.ukessays.com/essays/english-literature/the-parallelism-in-hamlet-english-literature-essay.php
  21. https://blogs.uakron.edu/ovsc/issues/current-issue/hamlets-hard-boiled-ethics/
  22. https://www.sparknotes.com/shakespeare/hamlet/movie-adaptations/
  23. https://www.ebsco.com/research-starters/history/oliviers-hamlet-released-acclaim-and-controversy
  24. https://www.imdb.com/title/tt0116477/characters/nm0001722/
  25. http://bardfilm.blogspot.com/2009/11/branaghs-attention-to-fortinbras_23.html
  26. https://www.shakespeareances.com/willpower/onscreen/Hamlet-BBCTL80.html
  27. https://www.imdb.com/title/tt0171359/
  28. https://www.wired.com/story/hamlet-2000-has-never-made-more-sense/
  29. https://variety.com/2017/legit/reviews/hamlet-review-andrew-scott-1201999954/
  30. https://learningonscreen.ac.uk/shakespeare/search/index.php/title/av77852
  31. https://www.imdb.com/title/tt7798632/
  32. https://www.bbc.co.uk/hamlet/past_productions/rsc_stage_1965.shtml
  33. https://www.dramatists.com/cgi-bin/db/single.asp?key=925
  34. https://www.nytimes.com/1992/10/14/theater/theater-in-review-314092.html
  35. https://www.nytimes.com/2010/03/14/arts/music/14hamlet.html
  36. https://www.youtube.com/watch?v=AEQmfssMUNA
  37. https://www.bbc.co.uk/programmes/b03yqyzc
  38. https://www.reaction.life/p/gender-bending-productions-sell-hamlet-short
  39. https://www.academia.edu/70449901/Maja_Kleczewskas_2019_Hamlet_%25D0%2593%25D0%25B0%25D0%25BC%25D0%25BB%25D0%25B5%25D1%2582_a_case_of_trans_inter_cultural_Shakespeare_production_in_Poland_thirty_years_after_the_transition
  40. https://www.centertheatregroup.org/shows-tickets/taper/2024-25/hamlet/
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