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is, like the others, "great" in its embrace of universal issues: good and evil, temptation and sin, self-knowledge and betrayal.
The interweaving of author, character, reader, and viewer was seen as a fundamental quality of dramatic creation through which Shakespeare had become so intensely personal.
Shakespeare had become England's great national poet through whom the nation could celebrate its cultural and political greatness in the nineteenth century.
"Amazement and sorrow overwhelm the solitary young man," wrote Goethe in his Wilhelm Meister, 17.
Many critics have wondered if Goethe was not talking at least partly about the brooding melancholic protagonist of his own autobiographical meditation, , 1808, where the author frankly admitted that to understand Hamlet fully "it is essential that we should reflect on the constitution of our own minds." "I have a smack of Hamlet in myself," Coleridge wrote.
Instead of playing the part of the vengeful son, or dropping the issue entirely, he spends the entire act “slacking off';.
He avoids the decision he has to make and pretends to be mad.It is strange that Hamlet is comfortable with playing at this point, but the main concept is that he is not acting out the role that he established in act one.However, when the players come around, the resolved Hamlet returns.This is shown when he says to Rosencrantz and Guildenstern, "I know not-lost all my mirth, forgone all custom of exercises" (2.2.280-281).Later Hamlet tells Rosencrantz and Guildenstern that he is just faking his madness when he says, "I am but mad north-north-west. An unauthorized quarto, Q1, was published in 1603, so corrupt and abbrieviated that it prompted the publication in 1604 of a quarto (Q2) that was, according to its title page, "Newly imprinted and enlarged to almost as much again as it was, according to the true and perfect copy." Other quartos followed in 1611 and some time before 1623, suggesting a strong demand by the reading public.The classical scholar Gabriel Harvey lauded the play as having the capacity "to please the wisest sort." Anthony Scoloker, in 1604, described true literary excellence as something that "should please all, like Prince Hamlet." Ben Jonson, though he faulted Shakespeare for having "small Latin, and less Greek," and for too often ignoring the classical unities, generously allowed, in his commendatory tribute in the Shakespeare Folio edition of 1623, that Shakespeare was worthy of comparison as a tragic writer with Aeschylus, Sophocles, and Euripides, and without a rival as a comic dramatist even in "insolent Greece or haughty Rome." During the Restoration in 1660 and afterwards, was accorded the unusual respect of being performed without extensive adaptation, though it was substantially shortened.While one second Hamlet pretends to be under a strange spell of madness, seconds later he may become perfectly calm.He struggles with the issue of avenging his father’s death.As well as trying to be true to himself, Hamlet is an expert at acting out roles and making people falsely believe him.The roles he plays are ones in which he fakes madness to accomplish his goals.