Theatre aspect
The metaphysical and religious dimension of the Shakespeare's world takes spectator to complicated meditations; only ambiguous emissaries of the hereafter are on the stage, his empty heaven for his men is the residence of a hidden God whom can be God of Luther and Calvino or "anima mundi" or old Zeus, and really he is whom that everyone of his characters believes. But the world is full of mysterious strengths that we can call Providence or Divine Reward, Luck, Fate, Necessity. Not has sense to set Greek tragedy like of outside strengths against Shakespeare's one like tragedy of nature; in Greeks there are big natures, in Shakespeare there are big outside or inner strengths. The strengths aren't distinguished by nature, the Ego is the Devil, the Devil is the Ego. We should put back tragic greeks to Shakespeare neither to study them like sources, neither for those conventional comparisons which conclude with an admission of uselessness but to find again deep identity of tragic immagination, organizing material that the epoch puts at disposition of writer in the concrete situation of science of facts.