V. The Human Being and its Expression in Greek Art

In contrast to this, Goethe turns to Shakespeare, who creates out of all the contradictions of nature. Therefore, Goethe finds that Shakespeare is something like the interpreter of the world spirit itself. Goethe feels this very deeply because he feels this incursion of intellectualism. I have often pointed out that Hamlet can be seen as a student of Faust. That Hamlet – Shakespeare's Hamlet, of course, not Saxo Grammaticus' – could have sat at the feet of Faust in Wittenberg during the ten years when Faust led his students around by the nose, that was immediately clear to Goethe. Of course, he did not spell out the details; but anyone who would now say, “Thank God I studied philosophy, law, medicine, and, for my own good, theology,” would naturally not be able to feel an intimate pleasure when he finds, say, the Dane Prince artistically shaped in front of him, speaking the monologue “To Be or Not to Be” and speaking of that land from which no traveler has returned from, despite the fact that the ghost of old Hamlet himself spoke shortly before, who must therefore have an awfully short memory if he cannot remember at the moment he speaks the monologue that he just spoke to his father, who returned from that unknown land!