ABSTRACT In this essay, Jeffrey Knapp questions the recent critical orthodoxy that treats authorship as a menacing latecomer to the popular and collaborative Elizabethan stage. Demonstrating that a literary paradigm of single authorship dominated Elizabethan thinking about playwriting, Knapp presents Hamlet as Shakespeare's attempt to develop a more theatrically inflected model of authorship through the dramatization of his own hybrid professional identity as an actor and a playwright.
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