Introduction The state of Hamlet’s melancholy, or the nature of depression, was simply observed or recognized by Elizabethan viewers than by contemporary viewers. Additionally, the critic claims that as Hamlet is expressively unsteady, he is not mad and critics continue to say that hamlet is a play that produces high logical energy. However, probably more significantly reveals an experience of deep pain and distress for the protagonist. As expressed by Hamlet, this paper discusses that Shakespeare makes sense of the depression/melancholia through presenting Hamlet’s particular signs that act as a demonstration of depression/melancholia. The paper will not attempt and sketch the way the signs or symptoms of depression/melancholia play a part in the way Shakespeare’s period or culture concerning depression/melancholia, but in its place portrays the way particular outlooks concerning depression/melancholia of Klein and Freud provide logic, or significance to Hamlets depression/melancholia. The paper will also portray that various parts of characterization of Freud regarding subject topic provide logic to Hamlet’s depression/melancholia, as provided by Shakespeare. However, in other instances, the Klein’s signs of depression/melancholia provide dissimilar significance or sense, for example pinning and reparation and will be portrayed that Klein draws the signs that Feud does not outlines. Through the combination of both characterization of Klein and Freud, an effective knowledge of the way Shakespeare creates sense of depression/melancholia of Hamlet can be demonstrated. Additionally, the discussion portrays that depression/melancholia, according to Klein and Freud, is brought about by his loss of an item, which is his father. Shakespeare also points out that this loss may have brought about Hamlet’s depression/melancholia and both Klein and Freud pointed out that self-deprecation are considered a sign of depression/melancholia (Radden, 2009, p. 153). Self-deprecation is applied by Shakespeare to make sense to Hamlet’s depression/melancholia, and idealization and sorrow are approaches that Shakespeare likewise makes sense to Hamlet’s depression/melancholia. Confusions of Definitions and Symptoms The greatest area where most studies focus on the way Shakespeare makes sense to Hamlet’s depression/melancholia is to what extent Shakespeare is supporting, or opposing, English renaissance notions concerning the association between melancholy and witchcraft, and the notions of Italians concerning melancholy and genius. Most people are surprised by the way viewers of Shakespeare considered what brought about the depression or melancholy in the novel and groundbreaking approaches that were at variance with his viewers’ thoughts, or if he was only strengthening his viewers’ already defined thoughts. If Shakespeare was initiating radical and new ideas concerning what brought about Hamlet’s melancholy, then there was probability that the audience did not understand this and possessed a fully dissimilar knowledge to what Shakespeare and probably other people understood it. However, it has to be pointed out that in the time of Shakespeare, there was misunderstanding concerning only what made up melancholia. In ‘the Anatomy of Melancholy,’ the classic 1632 work of the period, Burton criticizes a