The idea that different texts produces different characters is valid and important because they provide a range of performance possibilities. How can we authorize both sets of characters (acknowledge both constructed characters as viable options) without pushing for a revisionist narrative for Hamlet?

How do the different Q1 and F1 characters interact with the character subtleties of F1 and Q1 Hamlet? How might this affect an editor's abilty to emphasize particular aspects of other characters?