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Rh no one has the courage to say (as in Hans Andersen's story) that the King is naked— i.e., that it is as clear as day that Shakespeare did not succeed and did not even wish to give any character to Hamlet, did not even understand that this was necessary. And learned critics continue to investigate and extol this puzzling production, which reminds one of the famous stone with an inscription which Pickwick found near a cottage doorstep, and which divided the scientific world into two hostile camps.

So that neither do the characters of Lear nor Othello nor Falstaff nor yet Hamlet in any way confirm the existing opinion that Shakespeare's power consists in the delineation of character.

If in Shakespeare's dramas one does meet figures having certain characteristic features, for the most part secondary figures, such as Polonius in "Hamlet" and Portia in "The Merchant of Venice," these few lifelike characters among five hundred or more other secondary figures, with the complete absence of character in the principal figures, do not at all prove that the merit of Shakespeare's