Hamlet – His UniversalityShakespeare's tragic play Hamlet is an excellent example, perhaps the best in English literature, of a work which has universal appeal. This essay will analyze the incredible universality of this drama, with the contribution of literary critics. Robert B. Heilman in “The Role We Give Shakespeare” connects Shakespeare's universality to the “innumerability of parts”: But Shakespeare's completeness seems graspable. and possessed by many men at odds with each other, due to the innumerability of the parts: these parts can be seen as incompletenesses, partial perspectives, and as such they correspond to modes of seeing and understanding imperfect (but not necessarily invalid) practiced by imperfect (but not necessarily misguided) interpreters and theorists from different camps. Each performer sees a part of the whole that, one might say, reflects him, and then magnifies the mirror until it becomes the work as a whole (10). Indeed, the reader finds a wide variety of “parts” from the beginning to the end of Hamlet. This is evident in the fact that there are over 20 characters with speaking roles; and in their various occupations, from king to gravedigger; and in the 20 different scene changes; and in the differentiation of speech, actions, etc. between each individual character. Observe the countless roles in the opening scenes: The play begins with the changing of sentries on a guard platform in the grounds of Elsinore Castle. Recently, the spectral likeness of the late King Hamlet appeared to the sentinels. This evening, the ghost appears again to Barnardo, Marcellus and Horatio, a very close friend of Hamlet. Horatio and Marcellus emerge from the walls of Elsinore with the intention of seeking help from Hamlet, who returns from school, dejected by the "hasty marriage" of his mother to his uncle. There is a court meeting, where Claudius pays homage to the memory of his deceased brother, the former king, and then handles some affairs. Hamlet is there dressed in black, the color of mourning, for his deceased father. His first words say that Claudius is "little more than a kinsman and less than kind", indicating a dissimilarity in values ​​between the new king and himself. Heilmann's "innumerable number of parts" is abundantly attested in the first two scenes described in this paragraph. The remaining 18 scenes are also full of variety.