As early as 1916, Carl Schmitt underscored the centrality of myth and religion in his analysis of the expressionist Theodor Däubler. He celebrated Däubler as a Christian poet and radical critic of modernity. This critique of modernity was then articulated in more systematic terms his 1919 essay Political Romanticism, which opposed the Romantic approach to life and art as ironic escapism and relativism. During the 1920s and 1930s, a personal search for new ground led Schmitt to the Catholic author Konrad Weiss, and subsequently to Herman Melville’s story Benito Cereno as a private allegory of Carl Schmitt as persecuted intellectual. His late literary criticism focused on William Shakespeare’s Hamlet. His interpretation emphasizes the tragic nature of the play, explicitly taking issue with Walter Benjamin’s reading of Hamlet as a Christian Trauerspiel (mourning play). For Schmitt, the central issue is the presence of contemporary history as a force that deeply impacts the drama. This argument is directed against the notion of play and the idea of aesthetic autonomy. Instead, for Schmitt, the older concept of representation defines the place and relevance of art and the aesthetic within a broader cultural and religious configuration.