In suggesting that these three worlds—the world of Hamlet's mind and imagination; the physical, political, and “historical” world of Denmark; and the world of dramatic fiction and play—are parallel to and superimposed upon one another, I am suggesting, also, that the play is about the whole question of boundaries, thresholds, and liminality or border crossing: boundary disputes between Norway and Denmark, boundaries between youth and age, boundaries between reality and imagination, between audience and actor.
