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William Shakespeare 's ' Hamlet '

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Life. Death. Existence. Oblivion.
Good evening ladies and gentleman. It is my absolute pleasure to have been granted the opportunity to present my fellow Shakespeare fanatics with the ramblings of an ambitious and budding theatre critic. I implore you to bear with me as I pose the question, to be or not to be… an existentialist? There truly is no contest; to be human is, in fact, to be. “You have always been playing Existentialism. Up until now, you were very good at the game. You are now playing Existentialism. You are about to be very bad at the game. You will always be playing Existentialism.” As I’m sure you’re all aware, Shakespeare is renowned for his unorthodox presentation of ideas, challenging beliefs, controversial commentary and social critiques. Though it would be inaccurate to label Shakespeare an existentialist, his works heavily involve recurring themes and characteristics of an existential nature, and Hamlet was no exception. Hamlet as a revenge tragedy was unconventionally brilliant in its multifaceted portrayal of moral, intellectual and obligatory confliction, resulting in significant psychological consequences. I would now like to acknowledge the reception of Hamlet by esteemed German writer and politician Johan Wolfgang von Goethe. You might be familiar with Goethe’s old gem likening Hamlet’s characterisation to a delicate pot struggling to contain a tremendous tree. Goethe describes an almost comical fragility in his analysis, deeming Shakespeare’s

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