This chapter examines the relations between the performance of emotion and the experience of self in Shakespeare’s Hamlet from a gender perspective. It argues that the revenge tragedy contrasts two different models of the relation between the outward performance of emotion and the inward experience of it. On the one hand, the prince makes an often-quoted distinction between the external signs of grief and the inner self. On the other hand, the play also problematizes the effeminizing effects that the performance of emotion and the imitation of signs of anger have on the self. This chapter relates the play’s representation of the relation between the performance of emotion and the self both to early modern debates about the effects of acted passion and to current (cultural-historical) theory on the transmission and effects of emotion.