Hamlet – his universalityShakespeare's tragic play Hamlet is an excellent example, perhaps the best in English literature, of a play that 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” relates Shakespeare's universality to “the innumerability of parts”: But Shakespeare's completeness appears graspable and possessable by many men at odds with each other, because of innumerability of the parts: we can consider these parts incompletenesses, partial perspectives, and as such they correspond to the imperfect (but not necessarily invalid) ways of seeing and understanding practiced by imperfect (but not necessarily wrong) interpreters and theorists of different camps. Each interpreter sees a part of the whole which, so to speak, mirrors him, and then proceeds to magnify the mirror until it becomes the work as a whole (10). The reader finds, in fact, a great variety of "parts". from the beginning to the end of Hamlet. This is demonstrated by the fact of over 20 characters with speaking roles; and in the variety of their occupations, from the king to the undertaker; and in the 20 different scene changes; and in differentiation in language, actions, etc. between every single individual character. Observe the countless parts in the opening scenes: The show begins with the changing of sentries on a platform guarding the walls of Elsinore Castle. The ghostly likeness of the late King Hamlet recently appeared to the sentries. This night the ghost appears again to Barnardo, Marcellus and Horatio, a close friend of Hamlet. Horatio and Marcellus leave the ramparts of Elsinore with the intention of enlisting the help of Hamlet, who is home from school, dejected by his mother's "hasty marriage" to his uncle. There is a court meeting, where Claudius pays homage to the memory of his late brother, the former king, and then conducts some business. Hamlet is there dressed in black, the color of mourning, for his deceased father. His first words say that Claudius is "a little more than kin and less than kind", indicating a difference in values ​​between him and the new king. Heilmann's “innumerability of parts” is abundantly demonstrated in only the first two scenes described in this paragraph. The remaining 18 scenes are equally rich in variety.