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they not real? They are as real as our own thoughts. Their reality is in the reader's mind. It is we who are Hamlet. This play has a prophetick truth, which is above that of history. Whoever has become thoughtful and melancholy, through his own mishaps or those of others; whoever has borne about with him the clouded brow of reflection, and thought himself “ too much i'th'sun;" whoever has seen the golden lamp of day dimmed by envious mists rising in his own breast, and could find in the world before him only a dull blank with nothing left remarkable in it; whoever has known“ the pangs of despised love, the insolence of office, or the spurns which patient merit of the unworthy takes;" he who has felt his mind sink within him, and sadness cling to his heart like a malady, who has had his hopes blighted and his youth staggered by the apparitions of strange things; who cannot be well at ease, while he sees evil hovering near him like a spectre ; whose powers of action have been eaten up by thought, he to whom the universe seems infinite, and himself nothing ; whose bitterness of soul makes him careless of consequences, and who goes to a play as his best resource to shove off, to a second remove, the evils of life by a mock representation of them—this is the true Hamlet.
We have been so used to this tragedy that we hardly know how to criticise it any more than we should know how to describe our own faces. But we must make such observations as we can. It is the one of Shakspeare's plays that we think of
oftenest, because it abounds most in striking reflections on human life, and because the distresses of Hamlet are transferred, by the turn of his mind, to the general account of humanity. Whatever happens to him, we apply to ourselves, because he applies it so himself as a means of general reasoning. He is a great moralizer; and what makes bim worth attending to is, that he moralizes on his own feelings and experience. He is not a commonplace pedant. If Lear shews the greatest depth of passion, Hamlet is the most remarkable for the ingenuity, originality, and unstudied development of character. Shakspeare had more magnanimity than any other poet, and he has shewn more of it in this play than in any other. There is no attempt to force an interest: every thing is left for time and circumstances to unfold. The attention is excited without effort, the incidents succeed each other as matters of course, the characters think, and speak, and act, just as they might do, if left entirely to themselves. There is no set purpose, no straining at a point. The observations are suggested by the passing scene-the gusts of passion come and go like sounds of musick borne on the wipd. The whole play is an exact transcript of what might be supposed to have taken place at the court of Denmark, at the remote period of time fixed upon, before the modern refinements in morals and manners were heard of. It would have been interesting enough to have been admitted as a by-stander in such a scene, at such a time, to have heard and seen something of what was going on. But here we are more than
spectators. We have not only " the outward pageants and the signs of grief;" but " we have that within which passes shew." We read the thoughts of the heart, we catch the passions living as they rise. Other dramatick writers give us very fine versions and paraphrases of 'nature: but Shakspeare, together with his own comments, gives us the original text, that we may judge for ourselves. This is a very great advantage.
The character of Hamlet is itself a pure effusion of genius. It is not a character marked by strength of will or even of passion, but by refinement of thought and sentiment. Hamlet is as little of the hero as a man can well be : but he is a young and princely novice, full of high enthusiasm and quick sensibility-the sport of circumstances, questioning with fortune and refining on his own feelings, and forced from the natural bias of his disposition by the strangeness of his situation. He seems incapable of deliberate action, and is only hurried into extremities on the spur of the occasion, when he has no time to reflect, as in the scene where he kills Polonius, ‘and again, where he alters the letters which Rosencraus and Guildenstern are taking with them to England, purporting his death. At other times, when he is most bound to act, he remains puzzled, undecided, and skeptical, dallies with his purposes, till the occasion is lost, and always finds some pretence to relapse into indolence and thoughtfulness again. For this reason he refuses to kill the King when he is at his prayers, and by a refinement in malice, which is in truth only an excuse for his own want of
resolution, defers his revenge to some more fatal opportunity, when he shall be engaged in some act " that has no relish of salvation in it."
" He kneels and prays,
He is the prince of philosophical speculators, and because he cannot have his revenge perfect, according to the most refined idea his wish can form, he misses it altogether. So he scruples to trust the suggestions of the Ghost, contrives the scene of the play to have surer proof of his uncle's guilt, and then rests satisfied with this confirmation of his suspicions, and the success of his experiment, instead of acting upon it.
Yet he is sensible of his own weakness, taxes himself with it, and tries to reason himself out of it.
“ How all cccasiops do inform against me,
Why yet I live to say, this thing's to do;
Still he does pothing; and this very speculation on his own infirmity only affords him another occasion for indulging it. It is not for any want of attachment to his father or abhorrence of his murder that Hamlet is thus dilatory, but it is more to his taste to indulge his imagination in reflecting upon the enormity of the crime and refining on his schemes of vengeance, than to put them into immediate practice. His ruling passion is to think, not to act: and any vague pretence that flatters this propensity instantly diverts him from his previous purposes.