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Any critical approach to the character of Hamlet will display how for any age it is easy to relate to the greater questions that Hamlet poses in the concern for humanity.His feelings of alienation are not just culmination of the Elizabethan quandary with the findings of new sciences and existential questions, but these are issues that have transcended time and age and still plagued humanity.
Critics disparaged the indecorous range of Shakespeare's language, with Polonius's fondness for puns and Hamlet's use of "mean" (i.e., low) expressions such as "there's the rub" receiving particular attention.
Even more important was the question of decorum, which in the case of Hamlet focused on the play's violation of tragic unity of time and place, and on the characters.
There are seeming inconsistence and constant debilitation of Hamlet’s character and conduct along with extensive pondering of the variant suppositions to conjectural ingenuity that take shape within his mind.
Some of the processes that work with Hamlet’s psyche are inexplicable but it also shows Shakespeare’s deeper understanding and rooting for the mental sciences along with the combination of the philosophical questions that have traced scholars and students of his time and age.
On the other, Shakespeare remained popular not just with mass audiences but even with the very critics made uncomfortable by his ignorance of Aristotle's unities and decorum.
Thus, critics considered Hamlet in a milieu which abundantly demonstrated the play's dramatic viability.
Jeremy Collier attacked the play on both counts in his Short View of the Immorality and Profaneness of the English Stage, published in 1698.
Comparing Ophelia to Electra, he condemns Shakespeare for allowing his heroine to become "immodest" in her insanity, particularly in the "Flower Scene".
These allusions suggest that by the early Jacobean period the play was famous for the ghost and for its dramatization of melancholy and insanity.
The procession of mad courtiers and ladies in Jacobean and Caroline drama frequently appears indebted to Hamlet. Looking back on Renaissance drama in 1655, Abraham Wright lauds the humor of the gravedigger's scene, although he suggests that Shakespeare was outdone by Thomas Randolph, whose farcical comedy The Jealous Lovers features both a travesty of Ophelia and a graveyard scene.