The wildest and most incongruous theories have been founded upon 'Hamlet'
--the drama richest in philosophical contents. Over and over again men
have hoped to be able to ascertain, from this tragedy, the great
master's ideas about religion. It is well-nigh impossible to say how
often such attempts have been made, but the reward of the exertions
has always remained unsatisfactory. On the feelings which this masterwork
of dramatic art still excites to-day--nearly three hundred years after
its conception--thousands have based the most different conclusions;
every one being convinced of the correctness of his own impressions.
There is a special literature, composed of such rendering of personal
impressions which that most enigmatical of all dramas has made upon
men of various disposition. Every hypothesis finds its adherents among
a small group, whilst those who feel differently smile at the
infatuation of their antagonists. Nothing that could give true and final
satisfaction has yet been reached in this direction.

It is our intention to regard 'Hamlet' from a new point of view, which
seems to promise more success than the critical endeavours hitherto
made. We propose to enter upon a close investigation of a series of
circumstances, events, and personal relations of the poet, as well
as of certain indications contained in other dramatic works--all of
the period in which 'Hamlet' was written and brought into publicity.
This valuable material, properly arranged and put in its true connection,
will, we believe, furnish us with such firm and solid stepping-stones
as to allow us, on a perfectly trustworthy path, to approach the real
intentions of this philosophical tragedy. It has long ago been felt
that, in it, Shakspere has laid down his religious views. By the means
alluded to we will now explain that _credo_.

We believe we can successfully show that the tendency of 'Hamlet' is of