статья о Гамлете Шекспира, некоторым образом сопоставляющая, сравнивающая его с другими героями "античной" истории и литературы, такими как Нерон, Луций Юний Брут, Эдип, Орест и некоторыми другими:
http://www.people.fas.harvard.edu/~mshell/Shell.%20Children.%20Chapter%205.pdf Marc Shell. Hoodman-Blind; or, Hamlet and the End of Siblinghood.
http://www.people.fas.harvard.edu/~mshell/Shell.%20Children.%20Chapter%205%20Notes.pdf Notes.

некоторые фрагментарные выдержки:
INTRODUCTION
...Ignoring or misinterpreting the ambiguity of nonconsanguineous kinship relationships in Hamlet has often meant seeing in this tragedy mainly the destruction of the ordinary consanguineous nuclear or extended family through the consequences of incest and kin murder, as if Hamlet were a morality play that bolsters the incest taboo by threatening perpetrators with disaster. (That is precisely how Oedipus the King is often interpreted.)
THE INDETERMINABILITY OF FATHERHOOD
...What does this paternal adoption entail? In imperial Rome, which provides Hamlet with much of its historical backdrop, the Roman Emperor Augustus Caesar adopted the future emperor Tiberius, the son of his wife, Livia, when he married her. In the same way the Emperor Claudius of Rome, a namesake for Claudius in Hamlet, adopted the future emperor Nero, the son of his wife Agrippina. (This is the Nero Hamlet invokes in 3.2.385.) Similarly, the emperor Antoninus Pius adopted as his sons the future rival coemperors Marcus Aurelius (the Stoic writer) and Lucius Aurelius Verus. For these future rulers - Tiberius, Nero, Marcus Aurelius, and Lucius Aurelius Verus - their stepfathers' adoptions, or adrogations, were essential to their eventual successions (as we shall see in chapter 6).
INCEST AND MATRICIDE IN ROME
Soft, now to my mother.
O heart, lose not thy nature; let not ever
The soul of Nero enter this firm bosom;
Let me be cruel, not unnatural. - Hamlet, 3.2.383-86
The history of imperial Rome pervades the story of Hamlet's Denmark. There are the figures of Aeneas, the Trojan founder of Rome in the wake of the Trojan War; Marcus Junius Brutus who killed Julius Caesar - Brutus' natural father, perhaps, and his mother's lover; Lucius Junius Brutus, whose name means “dim-witted” and is connected by Belleforest with the Danish Amleth; Seneca, philosopher and author of tragedies; and Roscius, the well-known actor.49 Among other links between Hamlet's Denmark and ancient Rome is the analogy between Hamlet and Nero, nephew-son of the Roman Emperor Claudius. Claudius was the first Roman Emperor to set foot in Britain. (The nurse in the Senecan play Octavia has it that Claudius was "the man who first made British necks to bow,"50 which is one theme of Cymbeline.) And together with the Emperor Claudius “Gothicus”- who was called both “uncle” and “father” by Emperor Constantine the Great (the probably illegitimate son who “Christianized” Rome in the fourth century and thus founded Roman Catholicism) - Claudius helped to provide Hamlet with its villain's name."51
Certainly when it comes to their actual or potential relations with their mothers, Hamlet's situation is like that of Claudius' eventual successor, Nero. Consider, for example, the role of Agrippina, Nero's mother, as imperial jointress of the state during a period when imperial Roman mothers played a key role in choosing or making successors." The powerful Agrippina was in Roman history what Gertrude is in Hamlet's Denmark and what the Virgin Mary is in Roman Catholicism: "the daughter, sister, wife and mother of an Emperor," as Tacitus says." (In Racine's Britannicus, Agrippina arrogantly and aptly calls herself "the daughter, wife, sister, and mother of masters.")54 Agrippina was the daughter of Germanicus, the sister of Caligula, the wife and niece of Claudius, and the mother of Nero. In order to become ruler and become a free man (liber) in his own right, Nero had to unite carnally with this matrilineal jointress - just like the hero of the Oedipus of Seneca (Nero's actual tutor) when he marries his mother Jocasta. Tacitus and Suetonius, both influential writers in the Renaissance, stressed this incest,55 and English Renaissance writers refer to Nero as one who "ripp up the womb / Of dear mother" and gained thus advancement into the womb of his mother just as he gained advancement to the throne of the Empire.56
After this union with his mother Agrippina, Nero had to separate entirely from her by such means as filial matricide or maternal suicide - as perhaps does Oedipus from Jocasta.57 Tacitus draws attention to the suicidal aspect of Agrippina's death when he tells how Agrippina had been warned by astrologers that a son of hers would become Emperor if he were to kill his mother. The ambitious Agrippina thus has to choose between killing her infant son now or being killed by him eventually. With suicidal courage and with eyes on the imperial prize, Agrippina - unlike Laius and Jocasta when confronted with a similar dilemma - chose her own death in order that her son might rule. "Let him kill me," Tacitus reports that she responded to the oracle, "provided he becomes Emperor.”58
Gertrude in Hamlet plays a similar role in this context to that of Agrippina in imperial Rome. For so long as Gertrude lives, Hamlet can come to life politically only through incest with her or through her death. But Hamlet wants - or he strives to want - neither to marry nor to kill Gertrude. He wants merely to outlive her in order to succeed to the throne. Hamlet indirectly expresses his hope for Gertrude's death in his delight at the story of Pyrrhus the matricide, which is told from the Trojan/Roman perspective to the Carthaginian widow Dido. The name "Pyrrhus" should be understood here not only as Pyrrhus the father, that is, the Greek Achilles, who killed Priam as Hecuba watched. (That is the usual interpretation.) It should also be understood as Pyrrhus the son, that is, Neoptolemus, who was the son of Achilles and who killed his mother, or stepmother, Polyxena at the bidding of Achilles' ghost?'59 Pyrrhus's matricidal murder of Polyxena is like the murder that Hamlet the son fears he wants to commit and that Hamlet the father warns his son against committing: "Taint not thy mind nor let thy soul contrive / Against thy mother aught" (1.5.85-86).
Gertrude in Hamlet may understand that her continued existence bars Hamlet from succeeding to the throne in chaste and nonmurderous fashion, that is, that only her death would free Hamlet to succeed to the throne without incest."60 (Agrippina and Jocasta, each in her own way, has this understanding.) Does Gertrude, as loving mother, have an inkling that the cup that Claudius gives to Hamlet with its awful "union" (5.2.269, 331) is poisoned? Does she overhear perhaps the conspiratorial conversation between Laertes and Claudius? (She interrupts them just as Claudius describes how he will supply Hamlet with a poison drink - 4.7.161.) Apparently testing the drink on behalf of Hamlet and thus saving Hamlet for the throne, Gertrude commits a suicide that allows Hamlet his momentous "advancement" from womb to throne (cf. 3.2.331). Hamlet thus manages, in fact, to outdo the rule that he who would be ruler must marry or kill his mother. He outlives Gertrude for a few moments. His political triumph, a Pyrrhic victory, resides in the few moments that he enjoys as dying king apparent.
Notes
50. Seneca, Octavia, in Four Tragedies, p. 258.
51. Claudius was the Roman emperor who undertook the conquest of Britain in A.D. 43, a few years after the philo-Roman British prince Cunobelin (= Shakespeare's Cymbeline) was succeeded by his two sons. In Krantz's Chronica (1545), p. 619, Ambletus = Hamlet and the Emperor Claudius are referred to on the same page (Hamlet, ed. Jenkins, p. 432). Claudius is cited as the type of bad ruler by Erasmus, Institutio (Hamlet, ed. Jenkins, p. 163). Skeat, Shakespeare's Plutarch, p. xviii, says that the name "Claudius" in Hamlet may come from "Clodius" in North's translation of Plutarch's "Antony and Cleopatra," but Montgomerie, "English Seneca," says that the Senecan play Octavia was one source for the name "Claudius" (cf. Montgomerie, "More an Antique Roman than a Dane"). Constantine the Great, born in A.D. 288, was the illegitimate son of Constantius I and Flavia Helena, whom Saint Ambrose describes as an innkeeper. "Since Constantine's legal right to the Empire of the West rested on his recognition of Maximus, he now had to seek for a new ground of legitimacy, and found it in the assertion of his descent from Claudius Gothicus, who was represented as the father of Constantius Chlorus. . . . Such is the primary version of the story, implied in the Seventh Panegyric of Eunenius, delivered at Trier in A.D. 310. It would seem that when Christian sentiment was offended by the illegitimate origin ascribed to Constantius, the story was modified and Claudius became his uncle" (Ency. Brit. <11th ed.> 6:988).
52. Fowler, "Incest Regulations," esp. pp. 70-80.
53. Tacitus, Annals 12.42.
54. Racine, Britannicus, 1.2.
55. "Agrippina through a burning desire of continuing her authorite and greatness grew to that shamelesnes that in the midst of the day, when Nero was well tippled and full of good cheer, she offered herselfe to him drunk as he was, trimly decked and readie to commit incest: and the slanders by noted her lascivious kisses and other allurements, messengers of her unchast meaning" (Tacitus, Annals, trans. Grenewey, 14.2). The Annals were translated by R. Grenewey in 1598 (Bullough, ed., Narrative and Dramatic Sources 5, 12). For the publication history of Tacitus' work, see Mendell, Tacitus, esp. pp. 363-65. Berry ("Hamlet") juxtaposes Suetonius' Claudius with Shakespeare's Hamlet: both are kept from power by murderous uncles, both are "wild and whirling" in speech, and both are apparently inactive before their uncles.
56. In Shakespeare's King John, the rebels are called "you degenerate, you ingrate revolts / You bloody Neroes ripping up the womb / Of your dear mother England" (5.2.152). King John tells the story of John, who occupied the throne in defiance of the right of his nephew Arthur, who was the son of John's elder brother Geoffrey. Of Nero, Lydgate says in his Falls of Princes (1494) that "He mysusid his moodir Agripyne," and Marsden, in his Scourge of Villanie (1599), describes how "Nero keepes his mother Agrippine" (Lydgate, Falls, Bk. 8.1.728; Marsden, Scourge, quoted by Montgomerie, "More an Antique Roman," p. 76). Dowden, in his note to the Nero passage in Hamlet 3.2, writes that Nero "was the murderer of his mother Agrippina. . . . Perhaps the coincidences are accidental, that Agrippina was the wife of Claudius, was accused of poisoning a husband <Passienus Crispus, her second husband>; and of living in incest with a brother <the Emperor Caligula>."
57. Sophocles' Oedipus says: "Give me a sword, /to find this wife no wife, this mother's womb, / this field of double sowing whence I sprang / and where I sowed my children" (Oedipus the King, trans. Grene, 11.1255-58). It is unclear whether Oedipus somehow intends to kill Jocasta. A similar matricidal impulse plays a crucial role in the Oresteia.
58. Tacitus, Annals, 14.9.
59. Neoptolemus is called Pyrrhus in Cooper's Achilleus (1565); cf. Marlowe and Nashe's Tragedy of Dido (1594), probably one source of the "Aeneas speech" in Hamlet (see Hillebrand's note to his edition of Shakespeare's Troilus and Cressida, pp. 451-52).
60. Dusinberre writes that, for Hamlet "to cast out a belief in the indivisibility of man and wife is to justify Gertrude's faithlessness. Hamlet can obey the ghost when Gertrude's death leaves Claudius unprotected, and gives Hamlet a motive for revenge which seems to reunite his parents against the intruder on their marriage" (Shakespeare and the Nature of Women, pp. 99-100).

THE PLAY-WITHIN-THE-PLAY
So you mis-take your husbands - Hamlet, 3.2.246
Hamlet hesitates to kill Claudius not only because this would mean killing a kinsperson but also because he fears that a newly widowed Gertrude would want to marry him according to the imperative of the Player Queen: "None wed the second but who kill'd the first" (3.2.175). By this imperative the Player Queen, like widow Dido, seems to condemn outright all remarriage.61
...In earlier versions of the Hamlet story, the Danish people believe that Geruthe murdered Old Hamlet in order that she might live in adulterous incest without restraint. In Hamlet there is no clear-cut evidence that Gertrude is a regicide like Clytemnestra or the husband-poisoner Agrippina. But the figures of the wife-killing King Henry VIII, father of Queen Elizabeth, and the husband-killing Mary Stuart, Queen of Scots, mother of King James, hover uncertainly about this play.63
...Hamlet identifies with his father and his uncle. So he fears that if he were to kill Claudius, Gertrude would marry and then kill him. Remarkably, the counterpart to Hamlet in both Saxo's and Belleforest's versions of the story is killed by his wife Hermetrude = Gertrude, who conspired with Hamlet's uncle Wigelunde in the murder of Hamlet and eventually marries Wigelunde.
...Cain was Abel's and Claudius Old Hamlet's.

61. Dido does not quite keep her word. She is seduced by Aeneas with such speeches as the one that the Player recites in Hamlet; Virgil's Aeneid is ambiguous both as to whether Dido and Aeneas are properly married and as to whether Aeneas has a sexual liaison with Dido's sister Anna. (On the love affair between Anna and Aeneas, see Servius' commentary on Varro's remarks about Virgil, Aeneid 5.4.)
63. For the sources, see Belleforest, Cinquiesme Tome, in Gollancz, Sources, pp. 186-89. The comparisons between Hamlet and James and between Gertrude and Mary are worth pursuing. King James VI's mother was Mary, initially the hope of the English recusant Catholics, as Carl Schmitt stresses in his book on Hamlet. Widow Mary married her cousin Henry Darnley (1565). She probably then conspired with her lover James Bothwell in killing Darnley (1567). She finally married Bothwell in Gertrude-like haste, within three months, thus becoming, like Gertrude, the wife of her husband's murderer and the conferrer on her husband of the title of king.
Her story raises questions about the legitimacy of James VI that match in certain respects those about the legitimacy of Queen Elizabeth. First, although papal dispensation was needed for the cousins Mary and Henry Darnley to marry, the dispensation was never granted. Second, Bothwell may well have been not only James' stepfather but also his adulterous genitor: Bothwell was known as an adventurous libertine and at James' baptism, which Darnley refused to attend, Bothwell stood in for the father. (Incidentally, Bothwell had divorced a previous wife on the dubious grounds of kinship by carnal contagion.) Third, Mary eventually consented to divorce Bothwell only on condition that the divorce not impeach her son James' legitimacy.

71. Belleforest, Cinquiesme Tome, in Gollancz, Sources, pp. 287-89. Defeating the Amazon was the greatest of Theseus' Herculean and Stoic tasks. "And when it became known in Greece that <the Greeks> would have peace with the Amazons, never had there been a greater joy, for there was nothing <the Athenians> feared as much as the Amazons" writes Christine de Pisan in City of Ladies (p. 47). But what Theseus can do in the comedic Athens of Shakespeare's A Midsummer Night's Dream, Hamlet cannot accomplish in tragic Denmark. Hamlet is no Hercules. Hamlet is like Hippolytus, the antisexual son of Theseus and the Amazon Queen Hippolyta: As in the Roman Seneca's and the French Racine's plays on the subject, he is also called upon during his father's adventures in the realm of death to reject the incestuous advances of a mother (for Hippolytus, his stepmother Phaedra, for Hamlet his auntmother Gertrude). Queen Elizabeth herself, according to much literature of the period, was the Amazon queen incarnate. Cf. Schleiner, "Divina virago: Queen Elizabeth as an Amazon."

HYPOCRISY AND ACTING
...Like Hamlet, Nero was a playactor, playwright, and spectator. While Rome burned, he dressed for the stage and sang the "Sack of Ilium," the tale that Hamlet asks the Player to recite (2.2). While watching tragedies, Nero would weep real tears over such fearful and pitiable sufferings on stage as he himself inflicted on others in real life: "What's Hecuba to him, or he to her, / That he should weep for her?" (2.2.553-54).73 Nero's favorite plays included Orestes the Matricide and Oedipus Blinded, articulating themes which have drawn the attention of Shakespearian scholar.74 A third play, equally relevant to Hamlet and to Nero's stagecraft but overlooked by the critics - they generally focus only on problems of intergenerational incest - is Canace parturiens <Canace Giving Birth>. In the Renaissance version of this play, by the Italian Speroni (1546), a sister gives birth on stage to the child of her incestuous union with her twin brother Macareus, on the twin siblings' common birthday. Canace parturiens thus argues against generational difference and succession in a more radical manner than do the other two plays. It levels all differentiation along lines of both kinship (where homogenization means incest) and gender (where it means androgyny).75 It is surmised by his biographers that Nero delighted to act in such plays as the Orestes, Oedipus, and Canace because he committed incest with his mother, killed her, and committed both crimes against his adoptive and step- siblings.
Hamlet, confronted with situations similar to those facing his Greek and Roman counterparts, denies himself the way of Oedipus - that is, to unknowingly commit maternal incest and patricide - the way of Nero - that is, to knowingly commit maternal incest and matricide - and the way of Orestes - that is, to knowingly commit matricide. Equally important, Hamlet denies the method of Macareus - that is, to knowingly commit sibling incest. Hence not wanting to commit the acts that Nero performed both on stage and in life, Hamlet must play the scene in his mother's bedroom as though Gertrude both were and were not his mother ("would it were not so..."). He becomes an actor in life-literally, in Greek, a hypocrite ("My tongue and soul in this be hypocrites"). In the first scene at the Danish court, Hamlet excoriated hypocrisy as a vice ("I know not 'seems' " - 1.2.76). But now, fearing that he sincerely wants to commit matricide, Hamlet wants to be other than he is. He wants to keep his acts inadequate to his wants.
...Hamlet is thus like the Roman Coriolanus, who wants to divorce his mother Volumnia,85 or the Christian Jesus, who tells Mary that she is not His parent. ...Hamlet's wish to alienate Gertrude from himself as son thus expresses a cosmopolitan and universalist - Christian - love of liberty like that of the stoics.86
...No place should incest sanctuarize unless, as in the Christian church - with its adoration of the spiritually incestuous Holy Family and credo of universal siblinghood - it is every place.

73. Suetonius, Nero, 52 and 38. Nero claimed that, should he ever be deposed, he would become a great actor in Alexandria. Cf. Hamlet's jest about getting "a fellowship in a cry of players" (3.2.271-72). On Hamlet's singing and dancing like Nero, see Montgomerie, "Folkplay" and Charlesworth, "Nero."
74. See, for example, Gilbert Murray, "Hamlet and Orestes," and Kott, "Hamlet and Orestes." Scholars have noted similarities between the theme of Hamlet and both the Orestes theme - as it appears in such works as Aeschylus' Oresteia and Heywood's Iron Age and Seneca's Agamemnon - and the Oedipus theme - as it appears in such works as Sophocles' Oedipus the King and Seneca's Oedipus. Another Orestes play sometimes considered in this light is Pikerung's Horestes (see Prosser, Revenge, pp. 41-42). In Seneca's Agamemnon, as in Hamlet, the ghost ofAgamemnon urges his kin to avenge his having been murdered by his brother Atreus.
75. The story of the sibling love between Macareus and Canace was well known from its Roman source in Ovid. On the Canace story in the English tradition, which takes Ovid's Heroides as its locus classicus, see Gower, Confessio Amantis, 3. 142; Chaucer, Squire's Tale, 667-69; and Spenser, Faerie Queen, 4.3. Cf. Nohrnberg, Analogy of the Faerie Queene, pp. 662-63; and Goldberg, Endlesse Works, pp. 114-16.
86. Compare the views of Diogenes of Sinope: "Asked where he came from, said, 'I am a citizen of the world (kosmopolites)'" (Diogenes Laertius, Lives, VII, 63). Diogenes "preferred liberty to everything else" (Diogenes Laertius, Lives, VII, 71). For him this liberty meant overcoming parentarchy through a rejection of particularized consanguinity. ("The only true commonwealth was, said, that which is as wide as the universe. He advocated community of wives, recognizing no other marriage than a union of the man who persuades with the woman who consents. And for this reason he thought sons too should be held in common"; Diogenes Laertius, Lives, VI, 72.) Diogenes of Sinope also "assert<ed> that the manner of life he lived was the same as that of Hercules" (Diogenes Laertius, Lives, Vll, 71; cf. VI, 50), the Stoics' favorite hero and apparently Hamlet's.

CHRISTIANITY AND STOICISM
... Or it may lead to religious celibacy of the kind that Brother Martin Luther had practiced in pre-Reformation Wittenberg. But as I have argued, such Brotherhoods as Luther's old order always involve problems of incest, Thomas More thus following the great Catholic tradition when he insists, in his attack on Luther's marriage to Sister Catherine, that membership in a Catholic Brotherhood makes any sexual intercourse incestuous.
...The Stoic basis for the Christian conjunction of saintliness and shamelessness is worth pursuing here because Hamlet is as much a Stoic tragedy, with its emphasis on "cosmic" kinship and "shamelessness," as it is a Sophoclean or Aeschylean classical tragedy. The Stoic thinkers invoked the Pythagorean notion of a "union of friends" (haetery) to hypothesize a republic transcending consanguinity, where people would share all things sexual and propertal and be fully equal. The Stoic "union of friends" was thus both political and familial - or it was neither.104 According to the "cosmopolitan" theorist Epictetus, man in this transcendentally fraternal association is essentially neither Athenian nor Corinthian; man is kosmos and huios theou.105

104. Cf. Aristotle, Ethics, 115a. 1168b. Diogenes said that "Friends have all things in common" and "Friendship is equality" (Laertius, Lives, VIll.10). See Hutter, Politics as Friendship, p. 34; cf. pp. 49-51, 126, 455.
105. Barth and Goedeckemeyer, Stoa, pp. 25-27; Zeller, Philosophic der Griechen 3, 299-303.

FROM NUN TO NONE
...Some people have said that Hamlet is a domestic tragedy of incest like Sophocles' Oedipus the King. But I am here arguing that Hamlet is a tragedy of incest denied, in which the liberal, or fraternal/sororal, community - the only community that offers hope for comedic liberty - is destroyed by an inherent contradiction within itself.
...Consider in this context of autochthony the Roman historian Livy's story about the brutish (i.e., "mad") Lucius Junius Brutus - the Roman political hero who was Saxo's and Belleforest's model for the Danish hero Hamlet.121 Brutus, son of Tarquina, was the indigenous liberator of Rome from his uncle, the tyrannical Tarquin. Tarquin had murdered Brutus' father just as Claudius in Hamlet has murdered Hamlet's father. Brutus succeeded in liberating Rome from patriarchal and avuncular tyranny principally by acknowledging a universal siblinghood with all human beings and downplaying so-called blood kinship. Thus Livy writes that Brutus went with a group of aristocratic young men, including two sons of Tarquin, to the oracle at Delphi - literally, to the womb of the earth. The oracle spoke these words to them: "Which of you (O yong men) shal first kisse your mother, he shal beare chiefe and soveraigne rule in Rome." All but one of the young Roman bluebloods raced home to kiss his consanguineous mother - all but Brutus. He "touched the ground with his mouth and kissed the earth, thinking this with himself, that she was the common mother of all mortal men."122 By thus denying particularized consanguineous kinship and embracing national autochthonous siblinghood Brutus liberated himself and politicized Rome.123 He turned Roman society from one governed by a pseudopatriarchal tyranny into a society of free brothers, or "liberi" - a democratic republic of "liberty."

121. Belleforest, Cinquiesme Tome, in Gollancz, Sources, pp. 192-95. On this Brutus see especially Livy I.lvi.8.
122. Livy l.lvi. 10-12. On parallels between the Brutus and Hamlet stories, see Detter, "Hamletsage." Cf. the tale of Brutus as treated by Machiavelli: "It is very wise to pretend madness at the right time"; "In order to maintain newly gained liberty, Brutus' sons must be killed" (Discourses, 3.1.2-3).
123. Brown, Love's Body, p. 33, refers to Brutus as liberator from the tyranny of Tarquin.

если Гамлет действительно сопоставим с Нероном (Гертруда с Агриппиной и т.д.), то это может пролить более яркий свет на слой 16 века в истории Гамлета (об этом слое ФиН пишут кратко в "Шекспире...", наметив лишь схему соответствия), т. к. Нерон отождествляется с "Иваном Грозным", Агриппина с Еленой Глинской, Клавдий - также "Иван Грозный". Не несет ли в себе Нерон в свою очередь что-то от Христа (а Агриппина от девы Марии в скептической версии, очевидно)? К Нерону прилагали число зверя и верили в пришествие воскресшего Нерона как мстителя и спасителя, как пишет А. Донини.

в имени Клавдия "комментаторы видят аллюзию на римского императора Клавдия (10 до н.э. - 54 н.э.), женившегося на своей племяннице Агриппине, матери Нерона. В эпоху Ренессанса Клавдий считался примером плохого правителя, а его брак признавался кровосмесительным."

из википедии о Луции Юнии Бруте:
http://ru.wikipedia.org/wiki/Луций_Юний_Брут
"был племянником (сыном сестры) царя Тарквиния Гордого. Во время массовых репрессий Тарквиния сумел «спрятать природный ум под приятною личиной»<1>, и тем избежать участи родственников и влиятельных представителей знати. Само прозвище Брут (Brutus) означает Тупица." - - - сюжет, чем-то схожий с гамлетовским. Макиавелли пишет о Бруте, что "очень мудро вовремя притвориться безумным". Прозвище Тупица в чем-то аналогично имени Амлет (=сумасшедший).

"С именем Брута связывают предание. В Дельфы от царя Тарквиния было послано посольство для истолкования несчастливого знамения в доме царя. Послами были сыновья царя Тит и Аррунт, а сопровождающим с ними — Брут, который в дар Аполлону преподнес золотой жезл, скрытый внутри рогового, — иносказательный образ своего ума. После исполнения царского поручения юноши испросили оракула, кто будет следующим царем, на что получили ответ: «Верховную власть в Риме получит тот, кто первый поцелует мать». Брут верно истолковал пророчество и, сделав вид, что оступился, припал губами к земле." - - - "золотой жезл, скрытый внутри рогового" напоминает "трость" Гамлета, наполненную золотом (отражение тридцати сребренников Иуды, согласно ФиН). И опять странные отношения с матерью, как бы инцест, трагедия Эдипа. А через некоторое время после этих событий у Ливия следует история с обесчещением и самоубийством Лукреции (=девы Марии), восстанием и освобождением от тирании, изгнанием тиранов:

"Через некоторое время после этого посольства случилось так, что царевич Секст Тарквиний обесчестил жену своего родственника Тарквиния Коллатина Лукрецию, дочь Спурия Лукреция Триципитина. Лукреция рассказала о происшедшем мужу, отцу, а также их спутникам Юнию Бруту и Публию Валерию, после чего, не выдержав позора, покончила с собой. Это событие возмутило жителей Коллация, побудив их к бунту. Той же ночью волнение перекинулось в Рим, где побуждаемый пламенными речами Брута народ низложил царя, находившегося в это время при войске, осаждавшем рутульский город Ардеи. Войско тоже переметнулось к мятежникам и царь Тарквиний с сыновьями были изгнаны. Первыми консулами в 509 до н. э. были избраны Луций Юний Брут и Тарквиний Коллатин."

небольшая параллель у Гамлета есть также с Беллерофонтом, последнему также дают письмо, содержащее в тексте угрозу-приговор ему самому, которое он должен доставить исполнителям приговора. Правда в мифе не говорится, что он сам распечатал и исправил письмо. Вместо этого он был послан на "грозящий неминуемой смертью подвиг", убийство Химеры. А предшествует всем этим событиям история с попыткой соблазнения Беллерофонта женой царя, приютившего его. Согласно ФиН, подмена письма Гамлетом отражает кесарево сечение.
http://en.wikipedia.org/wiki/Bellerophon
Proetus dared not satisfy his anger by killing a guest, so he sent Bellerophon to King Iobates his father-in-law, in the plain of the River Xanthus in Lycia, bearing a sealed message in a folded tablet: "Pray remove the bearer from this world: he attempted to violate my wife, your daughter."<12>
12 The tablets "on which he had traced a number of devices with a deadly meaning" constitute the only apparent reference to writing in the Iliad. Such a letter is termed a "bellerophontic" letter; one such figures in a subplot of Shakespeare's Hamlet, bringing offstage death to Rosencrantz and Guildenstern. Such a letter figures in the earlier story of Sargon of Akkad.
http://en.wikipedia.org/wiki/Sargon_of_Akkad

про Беллерофонта также известно, что в конце жизни он возгордился и решил взлететь на Олимп на крылатом коне Пегасе, но упал и от этого лишился разума, ослеп, охромел и долго скитался в таком виде по "долине блужданий", пока Танат не исторг его душу. Известны также изображения полета Александра Македонского, Кей-Кавуса, Икара. Гамлет в конце третьего акта также упоминает некую историю, якобы басню, не есть ли это скептическая версия того же сюжета?:

"...Взберитесь с клеткою на крышу, птиц Лететь пустите и, как та мартышка (like the famous ape), Для опыта залезьте в клетку сами Да и сломайте шею..." Комментарий: "по-видимому, ссылка на популярную в то время басню, которую ученым не удалось обнаружить. Предполагается, что в басне рассказывалось следующее: обезьяна выпустила птиц из корзины, стоявшей на крыше дома. Решив, что птицы могут летать, потому что они вылезли из корзины, обезьяна последовала их примеру и, упав с крыши, сломала себе шею."

в "Трагических историях" Бельфоре (1530-1583) история Гамлета имеет параллели с историей сына султана Сулеймана Мустафы, убитого в 1553 году (кстати в этом году один "Иван Грозный" сменяется другим). Убитого в результате интриг в том числе и Роксоланы ("русской Елены"? Эсфири?). Но где ж достать этого Бельфоре!?
http://citation.allacademic.com/#####/p_mla_apa_research_citation/4/8/2/0/1/p482019_index.html?phpsessid=68efaea70518551175c62ed6440b73fc
The parallel lives of Hamlet and Mustapha in Belleforest's Histoires tragiques
Abstract: What connections could possibly bring together Amlethus, the most famous protagonist of Saxo Grammaticus's Gesta Danorum, and Mustapha, a young prince who was assassinated on the order of his father, Sultan Soliman, in 1553? Many, according to François de Belleforest, who devoted a narrative to the tragic destiny of "Amleth, qui vengea la mort de son pere Horwendille" and another to "l'abominable meurtre de Sultan Solyman perpetré sur son fils Mustapha." Emulating Plutarch's Lives, the author of the 1572 Cinquiesme tome des histoires tragiques presents these stories as parallel exempla within his historic and epideictic collection of novellas. Belleforest also finds in these two narratives the very essence of Aristotelian tragedy, as they concern crimes committed onto protagonists by close family relatives. As I intend to show, these parallel histoires tragiques also constitute a twofold commentary on the political dissensions witnessed by Belleforest a few months before the Saint Bartholomew massacre.