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For many years interest focused on both Hamlet's inability to avenge his father's death, claiming that "the native hue of resolution / Is sicklied o'er with the pale cast of thought", and, according to none other than Freud, his oedipal fixation with his mother. However, more recently critics have turned their attention to Hamlet's bold theatrical self-reflexivity (most famously reflected in the performance of "The Mousetrap"), its fascination with issues of theology and Renaissance humanism, and its dense, complex poetic language. What is so remarkable about the play is the way in which it tends to uncannily reflect the concerns of different epochs. As a result, Hamlet has been at different moments defined as a romantic rebel, an angst-ridden existentialist, a paralysed intellectual and an ambivalent New Man. Whatever subsequent generations make of Hamlet, they are unlikely to exhaust the possibilities of this most extraordinary play. --Jerry Brotton
"The editors' 168 pages of introduction and 103 pages worth of appendices provide an unprecedented level of contextualization on matters cultural, textual, and theatrical." - Studies in English Literature 1500-1900
"The scholarship ... remains at the high standard expected from the Arden Series ... Probably one of the most ambitious scholarly editions of the play to be published in the past century or so, if only for its attempt to present the textual complexities of the relationships between quartos and folio by printing all three early authoritative versions." - Sixteenth Century Journal
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