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Analysis Of William Shakespeare 's ' Hamlet ' And ' Macbeth '

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The work of William Shakespeare is, to many, the purest representation of theatricality there is. He is the most instantly and internationally recognizable playwright, and so works like Hamlet and Macbeth have come to be seen as staples of the dramatic genre, expected to be studied and performed, with critical acclaim, on a massive scale. However, as with so many forms of art, Shakespeare 's work was not necessarily appreciated as such in his own time, specifically by certain critics of the theatre, and the theatrical form, itself. This was perhaps most fascinatingly articulated by Charles Lamb in his essay On the Tragedies of Shakespeare, Considered with Reference to their Fitness for Stage Representation”: “The things aimed at in theatrical representation are to arrest the spectator 's eye upon the form and the gesture, and so to gain a more favourable hearing to what is spoken : it is not what the character is, but how he looks; not what he says, but how he speaks it.”1 I believe what Lamb is saying is that he has a problem with the way “theatricality”, or perhaps more accurately staging, can serve as a distraction to the spectator from the actual writing, possibly implying that the writing is too weak to stand on its own. As Jonas A. Barish put it in his book The Antitheatrical Prejudice, “Where Shakespeare is concerned Lamb recoils from the very essence of theater, from its neccesity to externalize, in which he finds intolerable coarseness. Plays themselves may be

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