The censored satirical or "bad" version of the "Shakespeare" classic that features a homosexual affair between Hamlet and Horatio, and Ofelia's deflowering to feign heterosexual normalcy.

The standard summary of Hamlet describes it as a "tragedy" about a "mad" or "tormented" Prince of Denmark, who follows the solicitation of the Ghost of his assassinated father to revenge-murder his incestuous and homicidal uncle Claudius. The commentary that accompanies this never-before fully-modernized First Quarto of Hamlet explains how it was initially designed to be a satire that diverged from Saxo Grammaticus' Danish History where Amleth pretends to be mad not only to execute revenge but also to successfully win the crown from his uncle. The First Quarto subtracts any desire for the crown from Hamlet, and instead subversively explains that Hamlet is motivated to feign madness and to deflower Ofelia to disguise his outlawed homosexual love for Horatio. Hamlet makes no direct expressions of attraction towards Ofelia's beauty. And in the resolution, Horatio offers to poison himself to death when he learns Hamlet is dying. The satirical perspective of this history is especially apparent in the cemetery scene where the Clown 1 gravedigger sifts through a mass-grave to help Hamlet find a dried skull among those that are still decomposing. The heavy re-write between the 1603 and 1604 editions of Hamlet also help to show Percy's re-writing habit that confirms the attribution to him of diverging versions of anonymous and then "Shakespeare"-bylined versions of Leir/ Lear, and Tragedy of.../ Richard III.

William Percy (1567?-1648) is the dominant tragedian behind the "William Shakespeare" pseudonym according to the computational-linguistic study in The Re-Attribution of the British Renaissance Corpus. Percy was a younger son of the assassinated 8th Earl of Northumberland and the brother of the imprisoned in the Tower 9th Earl.

This series solves most of the previously critically discussed mysteries concerning the authorship of British Renaissance texts (including the "William Shakespeare" and 103 other bylines) by applying to 284 of them a newly invented for this study computational-linguistics method that uses a combination of 27 different tests to derive that six ghostwriters were their authors: Richard Verstegan, Josuah Sylvester, Gabriel Harvey, Benjamin Jonson, William Byrd and William Percy. This computational method as well as structural, biographical and various other attribution approaches that led to the attribution conclusions are discussed in Re-Attribution of the British Renaissance Corpus. A larger portion of this series is Modernization of the Inaccessible British Renaissance, which tests the quantitative attribution-conclusions by closely analyzing and explaining the contents of re-attributed texts that are uniquely significant for the revised history of this period, and yet have never been translated into Modern English before. Some of these texts were initially anonymous, others were self-attributed by the ghostwriters, and yet others were credited in bylines to pseudonyms or ghostwriting-contractors. The annotations to each of their translations provide thousands of new confirming clues of shared authorship within a given authorial-signature. These texts are polished for the first time to allow their superiority to shine so that readers can see how they rival the standard "Shakespeare" canon.