https://www.asiatimes.com/2020/01/article/huawei-fortinbras-and-xi-jinping/
TS Eliot’s summary judgment on Shakespeare’s Hamlet – “So far from being Shakespeare’s masterpiece, the play is most certainly an artistic failure” – brands the Nobel laureate as a ninny. Eliot propounded a cramped, Aristotelian, pettifogging, aestheticizing view of art, and crouched tight-jawed and squinty-eyed before Shakespeare’s sprawling genius. Hamlet is both a tragedy – a national tragedy as well as a personal one – and a sprawling comic romp. It is a tragicomedy in the mold of the first great dramatic work of the modern period, de Rojas’ 1499 play Celestina.
Hamlet is also a play for our times, an object lesson for the United States and a solemn warning to us all.
Here is the plot of Hamlet in a nutshell: The soldiers who meet the Ghost of Hamlet’s murdered father on the ramparts of Elsinore Castle were not posted there by accident: As they explain in the play’s opening lines, the King of Norway, young Fortinbras, will invade Denmark soon, and they are set as lookouts. The Ghost comes along and distracts them and young Hamlet, and the dramatis personae engage in various machinations until, at the end, all of them lay dead on the stage. Just as Hamlet expires, who should enter but Fortinbras, who asks: “Who’s in charge here? Uh, everybody’s dead. I guess I am.”
Shakespeare’s audience doubtless rolled in the aisles. Fortinbras, the play’s shadow protagonist, typically is cut from modern productions (for example, the 1948 Laurence Olivier film version), which makes the rest of the action meaningless. Such is the atrophy of the modern sense of humor.