在几个世纪的文艺复兴和智力创作流露之后，剧作家很难调和Aristotelean的观念与基督教的道德悲剧。“基督教拯救反对悲剧知识”，Karl Jasper说：[ 1 ]基督教价值观提出死亡不是结束，而是过渡到一个永恒的公共奖励。悲剧的结构，但是，要求死亡的英雄，以希望决议发生。对于基督教来说，个人的生命不是由死亡终结的，个体生命在永恒的基督教共同体的共同愿景之外没有价值。这种奖励依赖于个人坚持地球上共同生活规则的方式。批评有两种思想对莎士比亚悲剧神学的影响。布拉德利认为基督教神学与莎士比亚的戏剧不相关，他写道：“基督教信仰的不断存在会混淆甚至破坏悲剧的印象”[ 2 ]近年来，宗教与悲剧形式的关系重新审视。G. Wilson Knight认为，基督教是莎士比亚戏剧元素的一部分，耶稣基督死在他的悲剧定位为中心的图像。“[该]最后的戏剧庆祝胜利和荣耀的复活和更新，在基督教的故事，其反映在基督教仪式成功牺牲。”[ 3 ]评论家继续探讨莎士比亚戏剧神学的影响，认为通过阶段他制定自己拒绝他家庭的天主教在英国圣公会的支持。无论莎士比亚的个人宗教信仰，他探索在他的悲剧世界观建立在基本基督教教义。
In the centuries leading up the Renaissance and the intellectual and creative outpouring which followed, dramatists had a difficult time reconciling Aristotelean notions of tragedy with Christian morality. “Christian salvation opposes tragic knowledge”, Karl Jasper says. Christian values proposed that death is not the end, but rather a transition to an eternal communal reward. Tragic structure, however, demands the death of the hero in order for the hope of resolution to take place. For Christianity, the life of the individual is not ended by death, and the individual life has no value outside of the shared vision of eternal Christian community. This reward is dependent on the way in which the individual adheres to rules of communal living on earth. Critics are of two minds regarding the influence of theology in Shakespearean tragedy. A.C. Bradley, arguing that Christian theology is not relevant to Shakespeare’s plays, writes: “The constant presence of Christian beliefs [would] confuse or even destroy the tragic impression.” Recent years have seen a re-examination of the relationship between religion and tragic form. G. Wilson Knight argues that Christianity is an elemental part of Shakespearean drama, positioning the death of Christ as a central image in his tragedies. “[The] final plays celebrate the victory and glory, the resurrection and renewal, that in the Christian story and in its reflection in the Christian ritual succeed the sacrifice.” Contemporary critics have continued to explore the theological influence in Shakespearean drama, arguing that through the stage he is enacting his own rejection of his family’s Catholicism in favour of the Anglican Church. Regardless of Shakespeare’s personal religious beliefs, he explores within his tragedies a worldview founded on fundamental Christian doctrine.