The author claims that another archetype of Hamlet is the Ovidian hero Orpheus, most obviously by both heroes' loss of their lover at the mouth of hell--literally for Orpheus, figuratively for Hamlet, whose domestic situation has become a living hell.

This deals, obviously, with the significance of the flowers Ophelia mentions in her madness, but with a special emphasis on their significance for a contemporary Elizabethan audience.

This is a short news article which explores the similarities between Ophelia and the mermaid archetype. Cohen essentially says that she resembles the mermaid archetype in the fact that she is a woman rejected on the threshold of sexual experience.

A critical view of how film adaptations change the discourse, reflexivity and meta-theatrical aspects of Shakespeare's plays. Sarah Hatchuel discusses the use of cutting and framing in Branagh's film versions and how his choices may lead the audience; but that this process, though often problematic, can still be true to the play's discourse.

This is part of a back-and-forth conversation between the author and Professor Jack about whether Nash's reference to "whole Hamlets" is a reference to an earlier play; or whether it is simply a bit of imagery used by Nash in reference to the retold stories used by the playwrights of his day.