ABSTRACT
This chapter focuses on dramatic literature and theatrical performance of Shakespearian play. Mallarm, don't you know, he said, has written those wonderful prose poems Stephen MacKenna used to read to me in Paris. A deathsman of the soul Robert Greene called him, Stephen said. Not for nothing was he a butcher's son wielding the sledded poleaxe and spitting in his palm. Khaki Hamlets don't hesitate to shoot. The bloodboltered shambles in act five is a forecast of the concentration camp sung by Mr. Swinburne. Ignatius Loyola, make haste to help me! The play begins. It is the ghost, the king, a king and no king, and the player is Shakespeare who has studied Hamlet all the years of his life which were not vanity in order to play the part of the spectre.
