Shakespearean Tragedy/Lecture 4
LECTURE IV
HAMLET
The only way, if there is any way, in which a conception of Hamlet's character could be proved true, would be to show that it, and it alone, explains all the relevant facts presented by the text of the drama. To attempt such a demonstration here would obviously be impossible, even if I felt certain of the interpretation of all the facts. But I propose now to follow rapidly the course of the action in so far as it specially illustrates the character, reserving for separate consideration one important but particularly doubtful point.
1
We left Hamlet, at the close of the First Act, when he had just received his charge from the spirit of his father; and his condition was vividly depicted in the fact that, within an hour of receiving this charge, he had relapsed into that weariness of life or longing for death which is the immediate cause of his later inaction. When next we meet him, at the opening of the Second Act, a considerable time has elapsed, apparently as much as two months.[1] The ambassadors sent to the King of Norway (I. ii. 27) are just returning. Laertes, whom we saw leaving Elsinore (I. iii.), has been in Paris long enough to be in want of fresh supplies, Ophelia has obeyed her father's command (given in I. iii.), and has refused to receive Hamlet's visits or letters. What has Hamlet done? He has put on an 'antic disposition' and established a reputation for lunacy, with the result that his mother has become deeply anxious about him, and with the further result that the King, who was formerly so entirely at ease regarding him that he wished him to stay on at Court, is now extremely uneasy and very desirous to discover the cause of his 'transformation.' Hence Rosencrantz and Guildenstern have been sent for, to cheer him by their company and to worm his secret out of him; and they are just about to arrive. Beyond exciting thus the apprehensions of his enemy Hamlet has done absolutely nothing; and, as we have seen, we must imagine him during this long period sunk for the most part in 'bestial oblivion' or fruitless broodings, and falling deeper and deeper into the slough of despond.
Now he takes a further step. He suddenly appears unannounced in Ophelia's chamber; and his appearance and behaviour are such as to suggest both to Ophelia and to her father that his brain is turned by disappointment in love. How far this step was due to the design of creating a false impression as to the origin of his lunacy, how far to other causes, is a difficult question; but such a design seems certainly present. It succeeds, however, only in part; for, although Polonius is fully convinced, the King is not so, and it is therefore arranged that the two shall secretly witness a meeting between Ophelia and Hamlet. Meanwhile Rosencrantz and Guildenstern arrive, and at the King's request begin their attempts, easily foiled by Hamlet, to pluck out the heart of his mystery. Then the players come to Court, and for a little while one of Hamlet's old interests revives, and he is almost happy. But only for a little while. The emotion shown by the player in reciting the speech which tells of Hecuba's grief for her slaughtered husband awakes into burning life the slumbering sense of duty and shame. He must act. With the extreme rapidity which always distinguishes him in his healthier moments, he conceives and arranges the plan of having the 'Murder of Gonzago' played before the King and Queen, with the addition of a speech written by himself for the occasion. Then longing to be alone, he abruptly dismisses his guests, and pours out a passion of self-reproach for his delay, asks himself in bewilderment what can be its cause, lashes himself into a fury of hatred against his foe, checks himself in disgust at his futile emotion, and quiets his conscience for the moment by trying to convince himself that he has doubts about the Ghost, and by assuring himself that, if the King's behaviour at the play-scene shows but a sign of guilt, he 'knows his course.'
Nothing, surely, can be clearer than the meaning of this famous soliloquy. The doubt which appears at its close, instead of being the natural conclusion of the preceding thoughts, is totally inconsistent with them. For Hamlet's self-reproaches, his curses on his enemy, and his perplexity about his own inaction, one and all imply his faith in the identity and truthfulness of the Ghost. Evidently this sudden doubt, of which there has hot been the slightest trace before, is no genuine doubt; it is an unconscious fiction, an excuse for his delay—and for its continuance.
A night passes, and the day that follows it brings the crisis. First takes place that interview from which the King is to learn whether disappointed love is really the cause of his nephew's lunacy. Hamlet is sent for; poor Ophelia is told to walk up and down, reading her prayer-book; Polonius and the King conceal themselves behind the arras. And Hamlet enters, so deeply absorbed in thought that for some time he supposes himself to be alone. What is he thinking of? 'The Murder of Gonzago' which is to be played in a few hours, and on which everything depends? Not at all. He is meditating on suicide; and he finds that what stands in the way of it, and counterbalances its infinite attraction, is not any thought of a sacred unaccomplished duty, but the doubt, quite irrelevant to that issue, whether it is not ignoble in the mind to end its misery, and, still more, whether death would end it. Hamlet, that is to say, is here, in effect, precisely where he was at the time of his first soliloquy ('O that this too too solid flesh would melt') two months ago, before ever he heard of his father's murder.[2] His reflections have no reference to this particular moment; they represent that habitual weariness of life with which his passing outbursts of emotion or energy are contrasted. What can be more significant than the fact that he is sunk in these reflections on the very day which is to determine for him the truthfulness of the Ghost? And how is it possible for us to hope that, if that truthfulness should be established, Hamlet will be any nearer to his revenge?[3]
His interview with Ophelia follows; and its result shows that his delay is becoming most dangerous to himself. The King is satisfied that, whatever else may be the hidden cause of Hamlet's madness, it is not love. He is by no means certain even that Hamlet is mad at all. He has heard that infuriated threat, 'I say, we will have no more marriages; those that are married, all but one, shall live; the rest shall keep as they are.' He is thoroughly alarmed. He at any rate will not delay. On the spot he determines to send Hamlet to England. But, as Polonius is present, we do not learn at once the meaning of this purpose.
Evening comes. The approach of the play-scene raises Hamlets spirits. He is in his element. He feels that he is doing something towards his end, striking a stroke, but a stroke of intellect. In his instructions to the actor on the delivery of the inserted speech, and again in his conversation with Horatio just before the entry of the Court, we see the true Hamlet, the Hamlet of the days before his father's death. But how characteristic it is that he appears quite as anxious that his speech should not be ranted as that Horatio should observe its effect upon the King! This trait appears again even at that thrilling moment when the actor is just going to deliver the speech. Hamlet sees him beginning to frown and glare like the conventional stage-murderer, and calls to him impatiently, 'Leave thy damnable faces and begin!'[4]
Hamlet's device proves a triumph far more complete than he had dared to expect. He had thought the King might 'blench,' but he does much more. When only six of the 'dozen or sixteen lines' have been spoken he starts to his feet and rushes from the hall, followed by the whole dismayed Court. In the elation of success —an elation at first almost hysterical—Hamlet treats Rosencrantz and Guildenstern, who are sent to him, with undisguised contempt. Left to himself, he declares that now he could
drink hot blood,
And do such bitter business as the day
Would quake to look on.
He has been sent for by his mother, and is going to her chamber; and so vehement and revengeful is his mood that he actually fancies himself in danger of using daggers to her as well as speaking them.[5]
In this mood, on his way to his mother's chamber, he comes upon the King, alone, kneeling, conscience-stricken and attempting to pray. His enemy is delivered into his hands.
Now might I do it pat, now he is praying:
And now I'll do it: and so he goes to heaven:
And so am I revenged.[6] That would be scanned.
He scans it; and the sword that he drew at the words, 'And now I'll do it,' is thrust back into its sheath. If he killed the villain now he would send his soul to heaven; and he would fain kill soul as well as body.
That this again is an unconscious excuse for delay is now pretty generally agreed, and it is needless to describe again the state of mind which, on the view explained in our last lecture, is the real cause of Hamlet's failure here. The first five words he utters, 'Now might I do it,' show that he has no effective desire to 'do it'; and in the little sentences that follow, and the long pauses between them, the endeavour at a resolution, and the sickening return of melancholic paralysis, however difficult a task they set to the actor, are plain enough to a reader. And any reader who may retain a doubt should observe the fact that, when the Ghost reappears, Hamlet does not think of justifying his delay by the plea that he was waiting for a more perfect vengeance. But in one point the great majority of critics, I think, go astray. The feeling of intense hatred which Hamlet expresses is not the cause of his sparing the King, and in his heart he knows this; but it does not at all follow that this feeling is unreal. All the evidence afforded by the play goes to show that it is perfectly genuine, and I see no reason whatever to doubt that Hamlet would have been very sorry to send his father's murderer to heaven, nor much to doubt that he would have been glad to send him to perdition. The reason for refusing to accept his own version of his motive in sparing Claudius is not that his sentiments are horrible, but that elsewhere, and also in the opening of his speech here, we can see that his reluctance to act is due to other causes.
The incident of the sparing of the King is contrived with extraordinary dramatic insight. On the one side we feel that the opportunity was perfect. Hamlet could not possibly any longer tell himself that he had no certainty as to his uncle's guilt. And the external conditions were most favourable; for the King's remarkable behaviour at the play-scene would have supplied a damning confirmation of the story Hamlet had to tell about the Ghost. Even now, probably, in a Court so corrupt as that of Elsinore, he could not with perfect security have begun by charging the King with the murder; but he could quite safely have killed him first and given his justification afterwards, especially as he would certainly have had on his side the people, who loved him and despised Claudius. On the other hand, Shakespeare has taken care to give this perfect opportunity so repulsive a character that we can hardly bring ourselves to wish that the hero should accept it. One of his minor difficulties, we have seen, probably was that he seemed to be required to attack a defenceless man: and here this difficulty is at its maximum.
This incident is, again, the turning-point of the tragedy. So far, Hamlet's delay, though it is endangering his freedom and his life, has done no irreparable harm; but his failure here is the cause of all the disasters that follow. In sparing the King, he sacrifice's Polonius, Ophelia, Rosencrantz and Guildenstern, Laertes, the Queen and himself. This central significance of the passage is dramatically indicated in the following scene by the reappearance of the Ghost and the repetition of its charge.
Polonius is the first to fall. The old courtier, whose vanity would not allow him to confess that his diagnosis of Hamlet's lunacy was mistaken, had suggested that, after the theatricals, the Queen should endeavour in a private interview with her son to penetrate the mystery, while he himself would repeat his favourite part of eaves-dropper (III. i. 184 ff). It has now become quite imperative that the Prince should be brought to disclose his secret; for his choice of the 'Murder of Gonzago,' and perhaps his conduct during the performance, have shown a spirit of exaggerated hostility against the King which has excited general alarm. Rosencrantz and Guildenstern discourse to Claudius on the extreme importance of his preserving his invaluable life, as though Hamlet's insanity had now clearly shown itself to be homicidal.[7] When, then, at the opening of the interview between Hamlet and his mother, the son, instead of listening to her remonstrances, roughly assumes the offensive, she becomes alarmed; and when, on her attempting to leave the room, he takes her by the arm and forces her to sit down, she is terrified, cries out, 'Thou wilt not murder me?' and screams for help. Polonius, behind the arras, echoes her call; and in a moment Hamlet, hoping the concealed person is the King, runs the old man through the body.
Evidently this act is intended to stand in sharp contrast with Hamlet's sparing of his enemy. The King would have been just as defenceless behind the arras as he had been on his knees; but here Hamlet is already excited and in action, and the chance comes to him so suddenly that he has no time to 'scan' it. It is a minor consideration, but still for the dramatist not unimportant, that the audience, would wholly sympathise with Hamle's attempt here, as directed against an enemy who is lurking to entrap him, instead of being engaged in a business which perhaps to the bulk of the audience then, as now, seemed to have a 'relish of salvation in't.'
We notice in Hamlet, at the opening of this interview, something of the excited levity which followed the dénouement of the play-scene. The death of Polonius sobers him; and in the remainder of the interview he shows, together with some traces of his morbid state, the peculiar beauty and nobility of his nature. His chief desire, is not by any means to ensure his mother's silent acquiescence in his design of revenge; it is to save her soul. And while the rough work of vengeance is repugnant to him, he is at home in this higher work. Here that fatal feeling, 'it is no matter,' never shows itself. No father-confessor could be more selflessly set upon his end of redeeming a fellow-creature from degradation, more stern or pitiless in denouncing the sin, or more eager to welcome the first token of repentance. There is something infinitely beautiful in that sudden sunshine of faith and love which breaks out when, at the Queen's surrender,
O Hamlet, thou hast cleft my heart in twain,
he answers,
O throw away the worser part of it,
And live the purer with the other half.
The truth is that, though Hamlet hates his uncle and acknowleges the duty of vengeance, his whole heart is never in this feeling or this task; but his whole heart is in his horror at his mother's fall and in his longing to raise her. The former of these feelings was the inspiration of his first soliloquy; it combines with the second to form the inspiration of his eloquence here. And Shakespeare never wrote more eloquently than here.
I have already alluded to the significance of the reappearance of the Ghost in this scene; but why does Shakespeare choose for the particular moment of its reappearance the middle of a speech in which Hamlet is raving against his uncle? There seems to be more than one reason. In the first place, Hamlet has already attained his object of stirring shame and contrition in his mother's breast, and is now yielding to the old temptation of unpacking his heart with words, and exhausting in useless emotion the force which should be stored up in his will. And, next, in doing this he is agonising his mother to no purpose, and in despite of her piteous and repeated appeals for mercy. But the Ghost, when it gave him his charge, had expressly warned him to spare her; and here again the dead husband shows the same tender regard for his weak unfaithful wife. The object of his return is to repeat his charge:
Do not forget: this visitation
Is but to whet thy almost blunted purpose;
but, having uttered this reminder, he immediately bids the son to help the mother and 'step between her and her fighting soul.'
And, whether intentionally or not, another purpose is served by Shakespeare's choice of this particular moment. It is a moment when the state of Hamlet's mind is such that we cannot suppose the Ghost to be meant for an hallucination; and it is of great importance here that the spectator or reader should not suppose any such thing. He is further guarded by the fact that the Ghost proves, so to speak, his identity by showing the same traits as were visible on his first appearance—the same insistence on the duty of remembering, and the same concern for the Queen. And the result is that we construe the Ghost's interpretation of Hamlet's delay ('almost blunted purpose') as the truth, the dramatist's own interpretation. Let me add that probably no one in Shakespeare's audience had any doubt of his meaning here. The idea of later critics and readers that the Ghost is an hallucination is due partly to failure to follow the indications just noticed, but partly also to two mistakes, the substitution of our present intellectual atmosphere for the Elizabethan, and the notion that, because the Queen does not see and hear the Ghost, it is meant to be unreal. But a ghost, in Shakespeare's day, was able for any sufficient reason to confine its manifestation to a single person in a company; and here the sufficient reason, that of sparing the Queen, is obvious.[8]
At the close of this scene it appears that Hamlet has somehow learned of the King's design of sending him to England in charge of his two 'school-fellows.' He has no doubt that this design covers some villainous plot against himself, but neither does he doubt that he will succeed in defeating it; and, as we saw, he looks forward with pleasure to this conflict of wits. The idea of refusing to go appears not to occur to him. Perhaps (for here we are left to conjecture) he feels that he could not refuse unless at the same time he openly accused the King of his father's murder (a course which he seems at no time to contemplate); for by the slaughter of Polonius he has supplied his enemy with the best possible excuse for getting him out of the country. Besides, he has so effectually warned this enemy that, after the death of Polonius is discovered, he is kept under guard (IV. iii. 14). He consents, then, to go. But on his way to the shore he meets the army of Fortinbras on its march to Poland; and the sight of these men going cheerfully to risk death 'for an egg-shell,' and 'making mouths at the invisible event,' strikes him with shame as he remembers how he, with so much greater cause for action, 'lets all sleep;' and he breaks out into the soliloquy, 'How all occasions do inform against me!' This great speech, in itself not inferior to the famous 'To be or not to be,' is absent not only from the First Quarto but from the Folio. It is therefore probable that, at any rate by the time when the Folio appeared (1623), it had become customary to omit it in theatrical representation; and this is still the custom. But, while no doubt it is dramatically the least indispensable of the soliloquies, it has a direct dramatic value, and a great value for the interpretation of Hamlet's character. It shows that Hamlet, though he is leaving Denmark, has not reliquished the idea of obeying the Ghost. It exhibits very strikingly his inability to understand why he has delayed so long. It contains that assertion which so many critics forget, that he has 'cause and will and strength and means to do it.' On the other hand—and this was perhaps the principal purpose of the speech—it convinces us that he has learnt little or nothing from his delay, or from his failure to seize the opportunity presented to him after the play-scene. For, we find, both the motive and the gist of the speech are precisely the same as those of the soliloquy at the end of the Second Act ('O what a rogue'). There too he was stirred to shame when he saw a passionate emotion awakened by a cause which, compared with his, was a mere egg-shell. There too he stood bewildered at the sight of his own dulness, and was almost ready to believe—what was justly incredible to him—that it was the mask of mere cowardice. There too he determined to delay no longer: if the King should but blench, he knew his course. Yet this determination led to nothing then; and why, we ask ourselves in despair, should the bloody thoughts he now resolves to cherish ever pass beyond the realm of thought?
Between this scene (IV. iv.) and the remainder of the play we must again suppose an interval, though not a very long one. When the action recommences, the death of Polonius has led to the insanity of Ophelia and the secret return of Laertes from France. The young man comes back breathing slaughter. For the King, afraid to put Hamlet on his trial (a course likely to raise the question of his own behaviour at the play, and perhaps to provoke an open accusation),[9] has attempted to hush up the circumstances of Polonius’s death, and has given him a hurried and inglorious burial. The fury of Laertes, therefore, is directed in the first instance against the King: and the ease with which he raises the people, like the King’s fear of a judicial enquiry, shows us how purely internal were the obstacles which the hero had to overcome. This impression is intensified by the broad contrast between Hamlet and Laertes, who rushes headlong to his revenge, and is determined to have it though allegiance, conscience, grace and damnation stand in his way (iv. v. 130). But the King, though he has been hard put to it, is now in his element and feels safe. Knowing that he will very soon hear of Hamlet’s execution in England, he tells Laertes that his father died by Hamlet’s hand, and expresses his willingness to let the friends of Laertes judge whether he himself has any responsibility for the deed. And when, to his astonishment and dismay, news comes that Hamlet has returned to Denmark, he acts with admirable promptitude and address, turns Laertes round his finger, and arranges with him for the murder of their common enemy. If there were any risk of the young man’s resolution faltering, it is removed by the death of Ophelia. And now the King has but one anxiety,—to prevent the young men from meeting before the fencing-match. For who can tell what Hamlet might say in his defence, or how enchanting his tongue might prove?[10]
Hamlet’s return to Denmark is due partly to his own action, partly to accident. On the voyage he secretly possesses himself of the royal commission, and substitutes for it another, which he himself writes and seals, and in which the King of England is ordered to put to death, not Hamlet, but Rosencrantz and Guildenstern. Then the ship is attacked by a pirate, which, apparently, finds its intended prize too strong for it, and makes off. But as Hamlet ‘in the grapple,’ eager for fighting, has boarded the assailant, he is carried off in it, and by promises induces the pirates to put him ashore in Denmark.
In what spirit does he return? Unquestionably, I think, we can observe a certain change, though it is not great. First, we notice here and there what seems to be a consciousness of power, due probably to his success in counter-mining Claudius and blowing the courtiers to the moon, and to his vigorous action in the sea-fight. But I doubt if this sense of power is more marked than it was in the scenes following the success of the ‘Murder of Gonzago.’ Secondly, we nowhere find any direct expression of that weariness of life and that longing for death which were so marked in the first soliloquy and in the speech ‘To be or not to be.’
This may be a mere accident, and it must be remembered that in the Fifth Act we have no soliloquy. But in the earlier Acts the feelings referred to do not appear merely in soliloquy, and I incline to think that Shakespeare means to show in the Hamlet of the Fifth Act a slight thinning of the dark cloud of melancholy, and means us to feel it tragic that this change comes too late. And, in the third place, there is a trait about which doubt is impossible,—a sense in Hamlet that he is in the hands of Providence. This had, indeed, already shown itself at the death of Polonius,[11] and perhaps at Hamlet’s farewell to the King,[12] but the idea seems now to be constantly present in his mind. ‘There’s a divinity that shapes our ends,’ he declares to Horatio in speaking of the fighting in his heart that would not let him sleep, and of his rashness in groping his way to the courtiers to find their commission. How was he able, Horatio asks, to seal the substituted commission?
Hamlet answers; he had his father’s signet in his purse. And though he has a presentiment of evil about the fencing-match he refuses to yield to it: ‘we defy augury: there is special providence in the fall of a sparrow . . the readiness is all.’
Though these passages strike us more when put together thus than when they come upon us at intervals in reading the play, they have a marked effect on our feeling about Hamlet’s character and still more about the events of the action. But I find it impossible to believe, with some critics, that they indicate any material change in his general condition, or the formation of any effective resolution to fulfil the appointed duty. On the contrary, they seem to express that kind of religious; resignation which, however beautiful in one aspect, really deserves the name of fatalism rather than that of faith in Providence, because it is not united to any determination to do what is believed to be the will of Providence. In place of this determination, the Hamlet of the Fifth Act shows a kind of sad or indifferent self-abandonment, as if he secretly despaired of forcing himself to action, and were ready to leave his duty to some other power than his own. This is really the main change which appears in him after his return to Denmark, and which had begun to show itself before he went,—this, and not a determination to act, nor even an anxiety to do so.
For when he returns he stands in a most perilous position. On one side of him is the King, whose safety depends on his death, and who has done his best to murder him; on the other, Laertes, whose father and sister he has sent to their graves, and of whose behaviour and probable attitude he must surely be informed by Horatio. What is required of him, therefore, if he is not to perish with his duty undone, is the utmost wariness and the swiftest resolution. Yet it is not too much to say that, except when Horatio forces the matter on his attention, he shows no consciousness of this position. He muses in the graveyard on the nothingness of life and fame, and the base uses to which our dust returns, whether it be a court-jester’s or a world-conqueror’s. He learns that the open grave over which he muses has been dug for the woman he loved; and he suffers one terrible pang, from which he gains relief in frenzied words and frenzied action,—action which must needs intensify, if that were possible, the fury of the man whom he has, however unwittingly, so cruelly injured. Yet he appears absolutely unconscious that he has injured Laertes at all, and asks him:
And as the sharpness of the first pang passes, the old weary misery returns, and he might almost say to Ophelia, as he does to her brother:
‘It is no matter’: nothing matters.
The last scene opens. He narrates to Horatio the events of the voyage and his uncle’s attempt to murder him. But the conclusion of the story is no plan of action, but the old fatal question, ‘Ought I not to act?’[13] And, while he asks it, his enemies have acted. Osric enters with an invitation to him to take part in a fencing-match with Laertes. This match—he is expressly told so—has been arranged by his deadly enemy the King; and his antagonist is a man whose hands but a few hours ago were at his throat, and whose voice he had heard shouting ‘The devil take thy soul!’ But he does not think of that. To fence is to show a courtesy, and to himself it is a relief,—action, and not the one hateful action. There is something noble in his carelessness, and also in his refusal to attend to the presentiment which he suddenly feels (and of which he says, not only ‘the readiness is all,’ but also ‘it is no matter’). Something noble; and yet, when a sacred duty is still undone, ought one to be so ready to die? With the same carelessness, and with that trustfulness which makes us love him, but which is here so fatally misplaced, he picks up the first foil that comes to his hand, asks indifferently,‘These foils have all a length?’ and begins. And Fate descends upon his enemies, and his mother, and himself.
But he is not left in utter defeat. Not only is his task at last accomplished, but Shakespeare seems to have determined that his hero should exhibit in his latest hour all the glorious power and all the nobility and sweetness of his nature. Of the first, the power, I spoke before, but there is a wonderful beauty in the revelation of the second. His body already labouring in the pangs of death, his mind soars above them. He forgives Laertes; he remembers his wretched mother and bids her adieu, ignorant that she has preceded him. We hear now no word of lamentation or self-reproach. He has will, and just in time, to think, not of the past or of what might have been, but of the future; to forbid his friend’s death in words more pathetic in their sadness than even his agony of spirit had been; and to take care, so far as in him lies, for the welfare of the State which he himself should have guided. Then in spite of shipwreck he reaches the haven of silence where he would be. What else could his world-wearied flesh desire?
But we desire more; and we receive it. As those mysterious words, ‘The rest is silence,’ die upon Hamlet’s lips, Horatio answers:
And flights of angels sing thee to thy rest.
Why did Shakespeare here, so much against his custom, introduce this reference to another life? Did he remember that Hamlet is the only one of his tragic heroes whom he has not allowed us to see in the days when this life smiled on him? Did he feel that, while for the others we might be content to imagine after life’s fitful fever nothing more than release and silence, we must ask more for one whose ‘godlike reason’ and passionate love of goodness have only gleamed upon us through the heavy clouds of melancholy, and yet have left us murmuring, as we bow our heads, ‘This was the noblest spirit of them all’?
2
How many things still remain to say of Hamlet! Before I touch on his relation to Ophelia, I will choose but two. Neither of them, compared with the matters so far considered, is of great consequence, but both are interesting, and the first seems to have quite escaped observation.
(1) Most people have, beside their more essential traits of character, little peculiarities which, for their intimates, form an indissoluble part of their personality. In comedy, and in other humorous works of fiction, such peculiarities often figure prominently, but they rarely do so, I think, in tragedy. Shakespeare, however, seems to have given one such idiosyncrasy to Hamlet.
It is a trick of speech, a habit of repetition. And these are simple examples of it from the first soliloquy:
How weary, stale, flat and unprofitable
Seem to me all the uses of this world!
Fie on’t! ah fie!
Now I ask your patience. You will say: ‘There is nothing individual here. Everybody repeats words thus. And the tendency, in particular, to use such repetitions in moments of great emotion is well-known, and frequently illustrated in literature—for example, in David’s cry of lament for Absalom.’
This is perfectly true, and plenty of examples could be drawn from Shakespeare himself. But what we find in Hamlets case is, I believe, not common. In the first place, this repetition is a habit with him. Here are some more instances: ‘Thrift, thrift, Horatio’; ‘Indeed, indeed, sirs, but this troubles me’; ‘Come, deal justly with me: come, come’; ‘Wormwood, wormwood!’ I do not profess to have made an exhaustive search, but I am much mistaken if this habit is to be found in any other serious character of Shakespeare.[14]
And, in the second place—and here I appeal with confidence to lovers of Hamlet—some of these repetitions strike us as intensely characteristic. Some even of those already quoted strike one thus, and still more do the following:
| (a) | Horatio. | It would have much amazed you. |
| Hamlet. | Very like, very like. Stay’d it long? | |
| (b) | Polonius. | What do you read, my lord? |
| Hamlet. | Words, words, words. | |
| (c) | Polonius. | My honourable lord, I will most humbly take my leave of you. |
| Hamlet. | You cannot, sir, take from me anything that I will more willingly part withal: except my life, except my life, except my life. | |
| (d) | Ophelia. | Good my lord, |
| How does your honour for this many a day? | ||
| Hamlet. | I humbly thank you, well, well, well. |
Is there anything that Hamlet says or does in the whole play more unmistakably individual than these replies?[15]
(2) Hamlet, everyone has noticed, is fond of quibbles and word-play, and of ‘conceits’ and turns of thought such as are common in the poets whom Johnson called Metaphysical. Sometimes, no doubt, he plays with words and ideas chiefly in order to mystify, thwart and annoy. To some extent, again, as we may see from the conversation where Rosencrantz and Guildenstern first present themselves (II. ii. 227), he is merely following the fashion of the young courtiers about him, just as in his love-letter to Ophelia[16] he uses for the most part the fantastic language of Court Euphuism. Nevertheless in this trait there is something very characteristic. We should be greatly surprised to find it marked in Othello or Lear or Timon, in Macbeth or Antony or Coriolanus; and, in fact, we find it in them hardly at all. One reason of this may perhaps be that these characters are all later creations than Hamlet, and that Shakespeare’s own fondness for this kind of play, like the fondness of the theatrical audience for it, diminished with time. But the main reason is surely that this tendency, as we see it in Hamlet, betokens a nimbleness and flexibility of mind which is characteristic of him and not of the later less many-sided heroes. Macbeth, for instance, has an imagination quite as sensitive as Hamlet’s to certain impressions, but he has none of Hamlet’s delight in freaks and twists of thought, or of his tendency to perceive and play with resemblances in the most diverse objects and ideas. Though Romeo shows this tendency, the only tragic hero who approaches Hamlet here is Richard II., who indeed in several ways recalls the emasculated Hamlet of some critics, and may, like the real Hamlet, have owed his existence in part to Shakespeare’s personal familiarity with the weaknesses and dangers of an imaginative temperament.
That Shakespeare meant this trait to be characteristic of Hamlet is beyond question. The very first line the hero speaks contains a play on words:
The fact is significant, though the pun itself is not specially characteristic. Much more so, and indeed absolutely individual, are the uses of wordplay in moments of extreme excitement. Remember the awe and terror of the scene where the Ghost beckons Hamlet to leave his friends and follow him into the darkness, and then consider this dialogue:
Go on; I’ll follow thee.
Marcellus. You shall not go, my lord.
Hamlet. Hold off your hands.
Horatio. Be ruled; you shall not go.
Hamlet. My fate cries out,
And makes each petty artery in this body
As hardy as the Nemean lion’s nerve.
Still am I called. Unhand me, gentlemen.
By heaven I’ll make a ghost of him that lets me.
Would any other character in Shakespeare have used those words? And, again, where is Hamlet more Hamlet than when he accompanies with a pun the furious action by which he compels his enemy to drink the ‘poison tempered by himself’?
Drink off this potion. Is thy union here?
Follow my mother.
The ‘union’ was the pearl which Claudius professed to throw into the cup, and in place of which (as Hamlet supposes) he dropped poison in. But the ‘union’ is also that incestuous marriage which must not be broken by his remaining alive now that his partner is dead. What rage there is in the words, and what a strange lightning of the mind!
Much of Hamlet’s play with words and ideas is imaginatively humorous. That of Richard II. is fanciful, but rarely, if ever, humorous. Antony has touches of humour, and Richard III. has more; but Hamlet, we may safely assert, is the only one of the tragic heroes who can be called a humorist, his humour being first cousin to that speculative tendency which keeps his mental world in perpetual movement. Some of his quips are, of course, poor enough, and many are not distinctive. Those of his retorts which strike one as perfectly individual do so, I think, chiefly because they suddenly reveal the misery and bitterness below the surface; as when, to Rosencrantz’s message from his mother, ‘She desires to speak with you in her closet, ere you go to bed,’ he answers, ‘We shall obey, were she ten times our mother’; or as when he replies to Polonius’s invitation, ‘Will you walk out of the air, my lord?’ with words that suddenly turn one cold, ‘Into my grave. Otherwise, what we justly call Hamlet’s characteristic humour is not his exclusive property, but appears in passages spoken by persons as different as Mercutio, Falstaff and Rosalind. The truth probably is that it was the kind of humour most natural to Shakespeare himself, and that here, as in some other traits of the poet’s greatest creation, we come into close contact with Shakespeare the man.
3
The actor who plays the part of Hamlet must make up his mind as to the interpretation of every word and deed of the character. Even if at some point he feels no certainty as to which of two interpretations is right, he must still choose one or the other. The mere critic is not obliged to do this. Where he remains in doubt he may say so, and, if the matter is of importance, he ought to say so.
This is the position in which I find myself in regard to Hamlet’s love for Ophelia. I am unable to arrive at a conviction as to the meaning of some of his words and deeds, and I question whether from the mere text of the play a sure interpretation of them can be drawn. For this reason I have reserved the subject for separate treatment, and have, so far as possible, kept it out of the general discussion of Hamlet’s character.
On two points no reasonable doubt can, I think, be felt. (1) Hamlet was at one time ardently in love with Ophelia. For she herself says that he had importuned her with love in honourable fashion, and had given countenance to his speech with almost all the holy vows of heaven (I. iii. 110 f.). (2) When, at Ophelia’s grave, he declared,
Could not, with all their quantity of love,
Make up my sum,
he must have spoken sincerely; and, further, we may take it for granted that he used the past tense, ‘loved,’ merely because Ophelia was dead, and not to imply that he had once loved her but no longer did so.
So much being assumed, we come to what is doubtful, and I will begin by stating what is probably the most popular view. According to this view, Hamlet’s love for Ophelia never changed. On the revelation made by the Ghost, however, he felt that he must put aside all thoughts of it; and it also seemed to him necessary to convince Ophelia, as well as others, that he was insane, and so to destroy her hopes of any happy issue to their love. This was the purpose of his appearance in her chamber, though he was probably influenced also by a longing to see her and bid her a silent farewell, and possibly by a faint hope that he might safely entrust his secret to her. If he entertained any such hope his study of her face dispelled it; and thereafter, as in the Nunnery-scene (III. i.) and again at the play-scene, he not only feigned madness, but, to convince her that he had quite lost his love for her, he also addressed her in bitter and insulting language. In all this he was acting a part intensely painful to himself; the very violence of his language in the Nunnery-scene arose from this pain; and so the actor should make him show, in that scene, occasional signs of a tenderness which with all his efforts he cannot wholly conceal. Finally, over her grave the truth bursts from him in the declaration quoted just now, though it is still impossible for him to explain to others why he who loved her so profoundly was forced to wring her heart.
Now this theory, if the view of Hamlet’s character which I have taken is anywhere near the truth, is certainly wrong at one point, viz, in so far as it supposes that Hamlet’s bitterness to Ophelia was a mere pretence forced on by his design of feigning to be insane; and proceed to call attention to certain facts and considerations, of which the theory seems to take no account.
1. How is it that in his first soliloquy Hamlet makes no reference whatever to Ophelia?
2. How is it that in his second soliloquy, on the departure of the Ghost, he again says nothing about her? When the lover is feeling that he must make a complete break with his past, why does it not occur to him at once that he must give up his hopes of happiness in love?
3. Hamlet does not, as the popular theory supposes, break with Ophelia directly after the Ghost appears to him; on the contrary, he tries to see her and sends letters to her (II. i. 109). What really happens is that Ophelia suddenly repels his visits and letters. Now, we know that she is simply obeying her father’s order; but how would her action appear to Hamlet, already sick at heart because of his mother’s frailty,[17] and now finding that, the moment fortune has turned against him, the woman who had welcomed his love turns against him too? Even if he divined (as his insults to Polonius suggest) that her father was concerned in this change, would he not still, in that morbid condition of mind, certainly suspect her of being less simple than she had appeared to him?[18] Even if he remained free from this suspicion, and merely thought her deplorably weak, would he not probably feel anger against her, an anger like that of the hero of Locksley Hall against his Amy?
4. When Hamlet made his way into Ophelia’s room, why did he go in the garb, the conventionally recognised garb, of the distracted lover? If it was necessary to convince Ophelia of his insanity, how was it necessary to convince her that disappointment in love was the cause of his insanity? His main object in the visit appears to have been to convince others, through her, that his insanity was not due to any mysterious unknown cause, but to this disappointment, and so to allay the suspicions of the King. But if his feeling for her had been simply that of love, however unhappy, and had not been in any degree that of suspicion or resentment, would he have adopted a plan which must involve her in so much suffering?[19]
5. In what way are Hamlet’s insults to Ophelia at the play-scene necessary either to his purpose of convincing her of his insanity or to his purpose of revenge? And, even if he did regard them as somehow means to these ends, is it conceivable that he would have uttered them, if his feeling for her were one of hopeless but unmingled love?
6. How is it that neither when he kills Polonius, nor afterwards, does he appear to reflect that he has killed Ophelia’s father, or what the effect on Ophelia is likely to be?
7. We have seen that there is no reference to Ophelia in the soliloquies of the First Act. Neither is there the faintest allusion to her in any one of the soliloquies of the subsequent Acts, unless possibly in the words (III. i. 72) ‘the pangs of despised love.’[20] If the popular theory is true, is not this an astounding fact?
8. Considering this fact, is there no significance in the further fact (which, by itself, would present no difficulty) that in speaking to Horatio Hamlet never alludes to Ophelia, and that at his death he says nothing of her?
8. If the popular theory is true, how is it that neither in the Nunnery-scene nor at the play-scene does Shakespeare insert anything to make the truth plain? Four words like Othello’s ‘O hardness to dissemble’ would have sufficed.
These considerations, coupled with others as to Hamlet’s state of mind, seem to point to two conclusions. They suggest, first, that Hamlet’s love, though never lost, was, after Ophelia’s apparent rejection of him, mingled with suspicion and resentment, and that his treatment of her was due in part to this cause. And I find it impossible to resist this conclusion. But the question how much of his harshness is meant to be real, and how much assumed, seems to me impossible in some places to answer. For example, his behaviour at the play-scene seems to me to show an intention to hurt and insult; but in the Nunnery-scene (which cannot be discussed briefly) he is evidently acting a part and suffering acutely, while at the same time his invective, however exaggerated, seems to spring from real feelings; and what is pretence, and what sincerity, appears to me an insoluble problem. Something depends here on the further question whether or no Hamlet suspects or detects the presence of listeners; but, in the absence of an authentic stage tradition, this question too seems to be unanswerable.
But something further seems to follow from the considerations adduced. Hamlet’s love, they seem to show, was not only mingled with bitterness, it was also, like all his healthy feelings, weakened and deadened by his melancholy.[21] It was far from being extinguished; probably it was one of the causes which drove him to force his way to Ophelia; whenever he saw Ophelia, it awoke and, the circumstances being what they were, tormented him. But it was not an absorbing passion; it did not habitually occupy his thoughts; and when he declared that it was such a love as forty thousand brothers could not equal, he spoke sincerely indeed but not truly. What he said was true, if I may put it thus, of the inner healthy self which doubtless in time would have fully reasserted itself; but it was only partly true of the Hamlet whom we see in the play. And the morbid influence of his melancholy on his love is the cause of those strange facts, that he never alludes to her in his soliloquies, and that he appears not to realise how the death of her father must affect her.
The facts seem almost to force this idea on us. That it is less ‘romantic’ than the popular view is no argument against it. And psychologically it is quite sound, for a frequent symptom of such melancholy as Hamlet’s is a more or less complete paralysis, or even perversion, of the emotion of love. And yet, while feeling no doubt that up to a certain point it is true, I confess | am not satisfied that the explanation of Hamlet’s silence regarding Ophelia lies in it. And the reason of this uncertainty is that scarcely any spectators or readers of Hamlet notice this silence at all; that I never noticed it myself till I began to try to solve the problem of Hamlet’s relation to Ophelia; and that even now, when I read the play through without pausing to consider particular questions, it scarcely strikes me. Now Shakespeare wrote primarily for the theatre and not for students, and therefore great weight should be attached to the immediate impressions made by his works. And so it seems at least possible that the explanation of Hamlet’s silence may be that Shakespeare, having already a very difficult task to perform in the soliloquies—that of showing the state of mind which caused Hamlet to delay his vengeance—did not choose to make his task more difficult by introducing matter which would not only add to the complexity of the subject but might, from its ‘sentimental’ interest, distract attention from the main point; while, from his theatrical experience, he knew that the audience would not observe how unnatural it was that a man deeply in love, and forced not only to renounce but to wound the woman he loved, should not think of her when he was alone. But, as this explanation is no more completely convincing to me than the other, I am driven to suspend judgment, and also to suspect that the text admits of no sure interpretation. [This paragraph states my view imperfectly.]
This result may seem to imply a serious accusation against Shakespeare. But it must be remembered that if we could see a contemporary representation of Hamlet, our doubts would probably disappear. The actor, instructed by the author, would make it clear to us by looks, tones, gestures, and by-play how far Hamlet’s feigned harshness to Ophelia was mingled with real bitterness, and again how far his melancholy had deadened his love.
4
As we have seen, all the persons in Hamlet except the hero are minor characters, who fail to rise to the tragic level. They are not less interesting on that account, but the hero has occupied us so long that I shall refer only to those in regard to whom Shakespeare’s intention appears to be not seldom misunderstood or overlooked.
It may seem strange that Ophelia should be one of these; and yet Shakespearean literature and the experience of teachers show that there is much difference of opinion regarding her, and in particular that a large number of readers feel a kind of personal irritation against her. They seem unable to forgive her for not having been a heroine, and they fancy her much weaker than she was. They think she ought to have been able to help Hamlet to fulfil his task. And they betray, it appears to me, the strangest misconceptions as to what she actually did.
Now it was essential to Shakespeare’s purpose that too great an interest should not be aroused in the love-story; essential, therefore, that Ophelia should be merely one of the subordinate characters; and necessary, accordingly, that she should not be the equal, in spirit, power or intelligence, of his famous heroines. If she had been an Imogen, a Cordelia, even a Portia or a Juliet, the story must have taken another shape. Hamlet would either have been stimulated to do his duty, or (which is more likely) he would have gone mad, or (which is likeliest) he would have killed himself in despair. Ophelia, therefore, was made a character who could not help Hamlet, and for whom on the other hand he would not naturally feel a passion so vehement or profound as to interfere with the main motive of the play.[22] And in the love and the fate of Ophelia herself there was introduced an element, not of deep tragedy but of pathetic beauty, which makes the analysis of her character seem almost a desecration.
Ophelia is plainly quite young and inexperienced. She has lost her mother, and has only a father and a brother, affectionate but worldly, to take care of her. Everyone in the drama who has any heart is drawn to her. To the persons in the play, as to the readers of it, she brings the thought of flowers. ‘Rose of May’ Laertes names her.
And from her fair and unpolluted flesh
May violets spring!
—so he prays at her burial. ‘Sweets to the sweet’ the Queen murmurs, as she scatters flowers on the grave; and the flowers which Ophelia herself gathered—those which she gave to others, and those which floated about her in the brook—glimmer in the picture of the mind. Her affection for her brother is shown in two or three delicate strokes. Her love for her father is deep, though mingled with fear. For Hamlet she has, some say, no deep love—and perhaps she is so near childhood that old affections have still the strongest hold; but certainly she has given to Hamlet all the love of which her nature is as yet capable. Beyond these three beloved ones she seems to have eyes and ears for no one. The Queen is fond of her, but there is no sign of her returning the Queen’s affection. Her existence is wrapped up in these three.
On this childlike nature and on Ophelia’s inexperience everything depends. The knowledge that ‘there’s tricks in the world’ has reached her only as a vague report. Her father and brother are jealously anxious for her because of her ignorance and innocence; and we resent their anxiety chiefly because we know Hamlet better than they. Her whole character is that of simple unselfish affection. Naturally she is incapable of understanding Hamlet’s mind, though she can feel its beauty. Naturally, too, she obeys her father when she is forbidden to receive Hamlet’s visits and letters. If we remember not what we know but what she knows of her lover and her father; if we remember that she had not, like Juliet, confessed her love; and if we remember that she was much below her suitor in station, her compliance surely must seem perfectly natural, apart from the fact that the standard of obedience to a father was in Shakespeare’s day higher than in ours.
‘But she does more than obey,’ we are told; ‘she runs off frightened to report to her father Hamlet’s strange visit and behaviour; she shows to her father one of Hamlet’s letters, and tells him[23] the whole story of the courtship; and she joins in a plot to win Hamlet’s secret from him.’ One must remember, however, that she had never read the tragedy. Consider for a moment how matters looked to her. She knows nothing about the Ghost and its disclosures. She has undergone for some time the pain of repelling her lover and appearing to have turned against him. She sees him, or hears of him, sinking daily into deeper gloom, and so transformed from what he was that he is considered to be out of his mind. She hears the question constantly discussed what the cause of this sad change can be; and her heart tells her—how can it fail to tell her?—that her unkindness is the chief cause. Suddenly Hamlet forces his way into her chamber; and his appearance and his behaviour are those of a man crazed with love. She is frightened—why not? She is not Lady Macbeth. Rosalind would have been frightened. Which of her censors would be wholly unmoved if his room were invaded by a lunatic? She is frightened, then; frightened, if you will, like a child. Yes, but, observe, her one idea is to help Hamlet. She goes, therefore, at once to her father. To whom else should she go? Her brother is away. Her father, whom she saw with her own eyes and not with Shakespeare’s, is kind, and the wisest of men, and concerned about Hamlet’s state. Her father finds, in her report, the solution of the mystery: Hamlet is mad because she has repulsed him. Why should she not tell her father the whole story and give him an old letter which may help to convince the King and the Queen? Nay, why should she not allow herself to be used as a ‘decoy’ to settle the question why Hamlet is mad? It is all-important that it should be settled, in order that he may be cured; all her seniors are simply and solely anxious for his welfare; and, if her unkindness is the cause of his sad state, they will permit her to restore him by kindness (III. i. 40). Was she to refuse to play a part just because it would be painful to her to do so? I find in her joining the ‘plot’ (as it is absurdly called) a sign not of weakness, but of unselfishness and strength.
‘But she practised deception; she even told a lie. Hamlet asked her where her father was, and she said he was at home, when he was really listening behind a curtain.’ Poor Ophelia! It is considered angelic in Desdemona to say untruly that she killed herself, but most immoral or pusillanimous in Ophelia to tell her lie. I will not discuss these casuistical problems; but, if ever an angry lunatic asks me a question which I cannot answer truly without great danger to him and to one of my relations, I hope that grace may be given me to imitate Ophelia. Seriously, at such a terrible moment was it weak, was it not rather heroic, in a simple girl not to lose her presence of mind and not to flinch, but to go through her task for Hamlet’s sake and her father’s? And, finally, is it really a thing to be taken as matter of course, and no matter for admiration, in this girl that, from beginning to end, and after a storm of utterly unjust reproach, not a thought of resentment should even cross her mind?
Still, we are told, it was ridiculously weak in her to lose her reason. And here again her critics seem hardly to realise the situation, hardly to put themselves in the place of a girl whose lover, estranged from her, goes mad and kills her father. They seem to forget also that Ophelia must have believed that these frightful calamities were not mere calamities, but followed from her action in repelling her lover. Nor do they realise the utter loneliness that must have fallen on her. Of the three persons who were all the world to her, her father has been killed, Hamlet has been sent out of the country insane, and her brother is abroad. Horatio, when her mind gives way, tries to befriend her, but there is no sign of any previous relation between them, or of Hamlet’s having commended her to his friend’s care. What support she can gain from the Queen we can guess from the Queen’s character, and from the fact that, when Ophelia is most helpless, the Queen shrinks from the very sight of her (IV. v. 1). She was left, thus, absolutely alone, and if she looked for her brother’s return (as she did, IV. v. 70), she might reflect that it would mean danger to Hamlet.
Whether this idea occurred to her we cannot tell. In any case it was well for her that her mind gave way before Laertes reached Elsinore; and pathetic as Ophelia’s madness is, it is also, we feel, the kindest stroke that now could fall on her. It is evident, I think, that this was the effect Shakespeare intended to produce. In her madness Ophelia continues sweet and lovable.
She turns to favour and to prettiness.
In her wanderings we hear from time to time an undertone of the deepest sorrow, but never the agonised cry of fear or horror which makes madness dreadful or shocking.[24] And the picture of her death, if our eyes grow dim in watching it, is still purely beautiful. Coleridge was true to Shakespeare when he wrote of ‘the affecting death of Ophelia,—who in the beginning lay like a little projection of land into a lake or stream, covered with spray-flowers quietly reflected in the quiet waters, but at length is undermined or loosened, and becomes a fairy isle, and after a brief vagrancy sinks almost without an eddy.’[25]
I reluctantly pass by Polonius, Laertes and the beautiful character of Horatio, to say something in conclusion of the Queen and the King.
The answers to two questions asked about the Queen are, it seems to me, practically certain. (1) She did not merely marry a second time with indecent haste; she was false to her husband while he lived. This is surely the most natural interpretation of the words of the Ghost (I. v. 41 f.), coming, as they do, before his account of the murder. And against this testimony what force has the objection that the queen in the ‘Murder of Gonzago’ is not represented as an adulteress? Hamlet’s mark in arranging the play-scene was not his mother, whom besides he had been expressly ordered to spare (I. v. 84 f.).
(2) On the other hand, she was not privy to the murder of her husband, either before the deed or after it. There is no sign of her being so, and there are clear signs that she was not. The representation of the murder in the play-scene does not move her; and when her husband starts from his throne, she innocently asks him, ‘How fares my lord?’ In the interview with Hamlet, when her son says of his slaughter of Polonius,
As kill a king and marry with his brother,
the astonishment of her repetition ‘As kill a king!’ is evidently genuine; and, if it had not been so, she would never have had the hardihood to exclaim:
In noise so rude against me?
Further, it is most significant that when she and the King speak together alone, nothing that is said by her or to her implies her knowledge of the secret.
The Queen was not a bad-hearted woman, not at all the woman to think little of murder. But she had a soft animal nature, and was very dull and very shallow. She loved to be happy, like a sheep in the sun; and, to do her justice, it pleased her to see others happy, like more sheep in the sun. She never saw that drunkenness is disgusting till Hamlet told her so; and, though she knew that he considered her marriage ‘o’erhasty’ (II. ii. 57), she was untroubled by any shame at the feelings which had led to it. It was pleasant to sit upon her throne and see smiling faces round her, and foolish and unkind in Hamlet to persist in grieving for his father instead of marrying Ophelia and making everything comfortable. She was fond of Ophelia and genuinely attached to her son (though willing to see her lover exclude him from the throne); and, no doubt, she considered equality of rank a mere trifle compared with the claims of love. The belief at the bottom of her heart was that the world is a place constructed simply that people may be happy in it in a good-humoured sensual fashion.
Her only chance was to be made unhappy. When affliction comes to her, the good in her nature struggles to the surface through the heavy mass of sloth. Like other faulty characters in Shakespeare’s tragedies, she dies a better woman than she had lived. When Hamlet shows her what she has done she feels genuine remorse. It is true, Hamlet fears it will not last, and so at the end of the interview (III. iv. 180 ff.) he adds a warning that, if she betrays him, she will ruin herself as well.[26] It is true too that there is no sign of her obeying Hamlet in breaking off her most intimate connection with the King. Still she does feel remorse; and she loves her son, and does not betray him. She gives her husband a false account of Polonius’s death, and is silent about the appearance of the Ghost. She becomes miserable;
Each toy seems prologue to some great amiss.
She shows spirit when Laertes raises the mob, and one respects her for standing up for her husband when she can do nothing to help her son. If she had sense to realise Hamlet’s purpose, or the probability of the King’s taking some desperate step to foil it, she must have suffered torture in those days. But perhaps she was too dull.
The last we see of her, at the fencing-match, is most characteristic. She is perfectly serene. Things have slipped back into their groove, and she has no apprehensions. She is, however, disturbed and full of sympathy for her son, who is out of condition and pants and perspires. These are afflictions she can thoroughly feel for, though they are even more common than the death of a father. But then she meets her death because she cannot resist the wish to please her son by drinking to his success. And more: when she falls dying, and the King tries to make out that she is merely swooning at the sight of blood, she collects her energies to deny it and to warn Hamlet:
The drink, the drink! I am poison’d. [ Dies.
Was ever any other writer at once so pitiless and so just as Shakespeare? Did ever any other mingle the grotesque and the pathetic with a realism so daring and yet so true to ‘the modesty of nature’?
King Claudius rarely gets from the reader the attention he deserves. But he is very interesting, both psychologically and dramatically. On the one hand, he is not without respectable qualities. As a king he is courteous and never undignified; he performs his ceremonial duties efficiently; and he takes good care of the national interests. He nowhere shows cowardice, and when Laertes and the mob force their way into the palace, he confronts a dangerous situation with coolness and address. His love for his ill-gotten wife seems to be quite genuine, and there is no ground for suspecting him of having used her as a mere means to the crown.[27] His conscience, though ineffective, is far from being dead. In spite of its reproaches he plots new crimes to ensure the prize of the old one; but still it makes him unhappy (III. 1. 49 f., III. iii. 35 f.). Nor is he cruel or malevolent.
On the other hand, he is no tragic character. He had a small nature. If Hamlet may be trusted, he was a man of mean appearance—a mildewed ear, a toad, a bat; and he was also bloated by excess in drinking. People made mouths at him in contempt while his brother lived; and though, when he came to the throne, they spent large sums in buying his portrait, he evidently put little reliance on their loyalty. He was no villain of force, who thought of winning his brother’s crown by a bold and open stroke, but a cut-purse who stole the diadem from a shelf and put it in his pocket. He had the inclination of natures physically weak and morally small towards intrigue and crooked dealing. His instinctive predilection was for poison: this was the means he used in his first murder, and he at once recurred to it when he had failed to get Hamlet executed by deputy. Though in danger he showed no cowardice, his first thought was always for himself.
To let his madness range,
—these are the first words we hear him speak after the play-scene. His first comment on the death of Polonius is,
and his second is,
It will be laid to us.
He was not, however, stupid, but rather quick-witted and adroit. He won the Queen partly indeed by presents (how pitifully characteristic of her!), but also by ‘witch-craft of his wit’ or intellect. He seems to have been soft-spoken, ingratiating in manner, and given to smiling on the person he addressed (‘that one may smile, and smile, and be a villain’). We see this in his speech to Laertes about the young man’s desire to return to Paris (I. ii. 42 f.). Hamlet scarcely ever speaks to him without an insult, but he never shows resentment, hardly even annoyance. He makes use of Laertes with great dexterity. He had evidently found that a clear head, a general complaisance, a willingness to bend and oblige where he could not overawe, would lead him to his objects,—that he could trick men and manage them. Unfortunately he imagined he could trick something more than men.
This error, together with a decided trait of temperament, leads him to his ruin. He has a sanguine disposition. When first we see him, all has fallen out to his wishes, and he confidently looks forward to a happy life. He believes his secret to be absolutely safe, and he is quite ready to be kind to Hamlet, in whose melancholy he sees only excess of grief. He has no desire to see him leave the court; he promises him his voice for the succession (I. ii. 108, III. ii. 355); he will be a father to him. Before long, indeed, he becomes very uneasy, and then more and more alarmed; but when, much later, he has contrived Hamlet’s death in England, he has still no suspicion that he need not hope for happiness:
Howe’er my haps, my joys were ne’er begun.
Nay, his very last words show that he goes to death unchanged:
he cries, although in half a minute he is dead. That his crime has failed, and that it could do nothing else, never once comes home to him. He thinks he can over-reach Heaven. When he is praying for pardon, he is all the while perfectly determined to keep his crown; and he knows it. More—it is one of the grimmest things in Shakespeare, but he puts such things so quietly that we are apt to miss them—when the King is praying for pardon for his first murder he has just made his final arrangements for a second, the murder of Hamlet, But he—does not allude to that fact in his prayer. If Hamlet had really wished to kill him at a moment that had mo relish of salvation in it, he had no need to wait.[28] So we are inclined to say; and yet it was not so. For this was the crisis for Claudius as well as Hamlet. He had better have died at once, before he had added to his guilt a share in the responsibility for all the woe and death that followed. And so, we may allow ourselves to say, here also Hamlet’s indiscretion served him well. The power that shaped his end shaped the King’s no less.
For—to return in conclusion to the action of the play—in all that happens or is done we seem to apprehend some vaster power. We do not define it, or even name it, or perhaps even say to ourselves that it is there; but our imagination is haunted by the sense of it, as it works its way through the deeds or the delays of men to its inevitable end. And most of all do we feel this in regard to Hamlet and the King. For these two, the one by his shrinking from his appointed task, and the other by efforts growing ever more feverish to rid himself of his enemy, seem to be bent on avoiding each other. But they cannot. Through devious paths, the very paths they take in order to escape, something is pushing them silently step by step towards one another, until they meet and it puts the sword into Hamlet’s hand. He himself must die, for he needed this compulsion before he could fulfil the demand of destiny; but he must fulfil it. And the King too, turn and twist as he may, must reach the appointed goal, and is only hastening to it by the windings which seem to lead elsewhere. Concentration on the character of the hero is apt to withdraw our attention from this aspect of the drama; but in no other tragedy of Shakespeare’s, not even in Macbeth, is this aspect so impressive.[29]
I mention Macbeth for a further reason. In Macbeth and Hamlet not only is the feeling of a supreme power or destiny peculiarly marked, but it has also at times a peculiar tone, which may be called, in a sense, religious. I cannot make my meaning clear without using language too definite to describe truly the imaginative impression produced; but it is roughly true that, while we do not imagine the supreme power as a divine being who avenges crime, or as a providence which supernaturally interferes, our sense of it is influenced by the fact that Shakespeare uses current religious ideas here much more decidedly than in Othello or King Lear. The horror in Macbeth’s soul is more than once represented as desperation, at the thought that he is eternally ‘lost’; the same idea appears in the attempt of Claudius at repentance; and as Hamlet nears its close the ‘religious’ tone of the tragedy is deepened in two ways. In the first place, ‘accident’ is introduced into the plot in its barest and least dramatic form, when Hamlet is brought back to Denmark by the chance of the meeting with the pirate ship. This incident has been therefore severely criticised as a lame expedient,[30] but it appears probable that the ‘accident’ is meant to impress the imagination as the very reverse of accidental, and with many readers it certainly does so. And that this was the intention is made the more likely by a second fact, the fact that in connection with the events of the voyage Shakespeare introduces that feeling, on Hamlet’s part, of his being in the hands of Providence. The repeated expressions of this feeling are not, I have maintained, a sign that Hamlet has now formed a fixed resolution to do his duty forthwith; but their effect is to strengthen in the spectator the feeling that, whatever may become of Hamlet, and whether he wills it or not, his task will surely be accomplished, because it is the purpose of a power against which both he and his enemy are impotent, and which makes of them the instruments of its own will.
Observing this, we may remember another significant point of resemblance between Hamlet and Macbeth, the appearance in each play of a Ghost,—a figure which seems quite in place in either, whereas it would seem utterly out of place in Othello or King Lear. Much might be said of the Ghost in Hamlet, but I confine myself to the matter which we are now considering. What is the effect of the appearance of the Ghost? And, in particular, why does Shakespeare make this Ghost so majestical a phantom, giving it that measured and solemn utterance, and that air of impersonal abstraction which forbids, for example, all expression of affection for Hamlet and checks in Hamlet the outburst of pity for his father? Whatever the intention may have been, the result is that the Ghost affects imagination not simply as the apparition of a dead king who desires the accomplishment of his purposes, but also as the representative of that hidden ultimate power, the messenger of divine justice set upon the expiation of offences which it appeared impossible for man to discover and avenge, a reminder or a symbol of the connexion of the limited world of ordinary experience with the vaster life of which it is but a partial appearance. And as, at the beginning of the play, we have this intimation, conveyed through the medium of the received religious idea of a soul come from purgatory, so at the end, conveyed through the similar idea of a soul carried by angels to its rest, we have an intimation of the same character, and a reminder that the apparent failure of Hamlet’s life is not the ultimate truth concerning him.
If these various peculiarities of the tragedy are considered, it will be agreed that, while Hamlet certainly cannot be called in the specific sense a ‘religious drama,’ there is in it nevertheless both a freer use of popular religious ideas, and a more decided, though always imaginative, intimation of a supreme power concerned in human evil and good, than can be found in any other of Shakespeare’s tragedies. And this is probably one of the causes of the special popularity of this play, just as Macbeth, the tragedy which in these respects most nearly approaches it, has also the place next to it in generai esteem.
- ↑ In the First Act (I. ii. 138) Hamlet says that his father has been dead not quite two months. In the Third Act (III. ii. 135) Ophelia says King Hamlet has been dead 'twice two months.' The events of the Third Act are separated from those of the Second by one night (II. ii. 565).
- ↑ The only difference is that in the 'To be or not to be' soliloquy there is no reference to the idea that suicide is forbidden by 'the Everlasting.' Even this, however, seems to have been present in the original form of the speech, for the version in the First Quarto has a line about our being 'borne before an everlasting Judge.'
- ↑ The present position of the 'To be or not to be' soliloquy, and of the interview with Ophelia, appears to have been due to an afterthought of Shakespeare's; for in the First Quarto they precede, instead of following, the arrival of the players, and consequently the arrangement for the play-scene. This is a notable instance of the truth that 'inspiration' is by no means confined to a poet's first conceptions.
- ↑ Cf. again the scene at Ophelia's grave, where a strong strain of aesthetic disgust is traceable in Hamlet's 'towering passion' with Laertes: 'Nay, an thou'lt mouth, I'll rant as well as thou' (V. i. 306).
- ↑
O heart, lose not thy nature; let not ever
The soul of Nero enter this firm bosom:Nero, who put to death his mother who had poisoned her husband. This passage is surely remarkable. And so are the later words (III. iv. 28):
A bloody deed! almost as bad, good mother,
As kill a king, and marry with his brother.Are we to understand that at this time he really suspected her of complicity in the murder? We must remember that the Ghost had not told him she was innocent of that.
- ↑ I am inclined to think that the note of interrogation put after 'revenged' in a late Quarto is right.
- ↑ III. iii. 1–26. The state of affairs at Court at this time, though I have not seen it noticed by critics, seems to me puzzling. It is quite clear from III. ii. 310 ff., from the passage just cited, and from IV. vii. 1–5 and 30 ff., that everyone sees in the play-scene a gross and menacing insult to the King. Yet no one shows any sign of perceiving in it also an accusation of murder. Surely that is strange. Are we perhaps meant to understand that they do perceive this, but out of subservience choose to ignore the fact? If that were Shakespeare's meaning, the actors could easily indicate it by their looks. And if it were so, any sympathy we may feel for Rosencrantz and Guildenstern in their fate would be much diminished. But the mere text does not suffice to decide either this question or the question whether the two courtiers were aware of the contents of the commission they bore to England.
- ↑ This passage in Hamlet seems to have been in Heywood's mind when, in The Second Part of the Iron Age (Pearson's reprint, vol. iii., p. 423), he makes the Ghost of Agamemnon appear in order to satisfy the doubts of Orestes as to his mother's guilt. No reader could possibly think that this Ghost was meant to be an hallucination; yet Clytemnestra cannot see it. The Ghost of King Hamlet, I may add, goes further than that of Agamemnon, for he is audible, as well as visible, to the privileged person.
- ↑ I think it is clear that it is this fear which stands in the way of the obvious plan of bringing Hamlet to trial and getting him shut up or executed. It is much safer to hurry him off to his doom in England before he can say anything about the murder which he has somehow discovered. Perhaps the Queen’s resistance, and probably Hamlet’s great popularity with the people, are additional reasons. (It should be observed that as early as iii. i. 194 we hear of the idea of ‘confining’ Hamlet as an alternative to sending him to England.)
- ↑ I am inferring from iv. vii., 129, 130, and the last words of the scene.
- ↑ iii. iv. 172:
For this same lord,
I do repent: but heaven hath pleased it so,
To punish me with this and this with me,
That I must be their scourge and minister:i.e. the scourge and minister of ‘heaven,’ which has a plural sense elsewhere also in Shakespeare.
- ↑ iv. iii. 48:
Ham. For England!
King. Ay, Hamlet.
Ham. Good.
King. So is it, if thou knew’st our purposes,
Ham. I see a cherub that sees them. - ↑ On this passage see p. 98. Hamlet’s reply to Horatio’s warning sounds, no doubt, determined; but so did ‘I know my course.’ And is it not significant that, having given it, he abruptly changes the subject?
- ↑ It should be observed also that many of Hamlet’s repetitions can hardly be said to occur at moments of great emotion, like Cordelia’s ‘And so I am, I am,’ and ‘No cause, no cause.’
Of course, a habit of repetition quite as marked as Hamlet’s may be found in comic persons, e.g. Justice Shallow in 2 Henry IV. - ↑ Perhaps it is from noticing this trait that I find something characteristic too in this coincidence of phrase: ‘Alas, poor ghost!’ (I. v. 4), ‘Alas, poor Yorick!’ (v. i. 202).
- ↑ This letter, of course, was written before the time when the action of the drama begins, for we know that Ophelia, after her father’s commands in I. iii., received no more letters (II. i. 109).
- ↑ ‘Frailty, thy name is woman!’ he had exclaimed in the first soliloquy. Cf. what he says of his mother’s act (III. iv. 40):
Such an act
That blurs the grace and blush of modesty,
Calls virtue hypocrite, takes off the rose
From the fair forehead of an innocent love
And sets a blister there. - ↑
There are signs that Hamlet was haunted by the horrible idea that he had been deceived in Ophelia as he had been in his mother; that she was shallow and artificial, and even that what had seemed simple and affectionate love might really have been something very different. The grossness of his language at the play-scene, and some lines in the Nunnery-scene, suggest this; and, considering the state of his mind, there is nothing unnatural in his suffering from such a suspicion. I do not suggest that he believed in it, and in the Nunnery-scene it is clear that his healthy perception of her innocence is in conflict with it.
He seems to have divined that Polonius suspected him of dishonourable intentions towards Ophelia; and there are also traces of the idea that Polonius had been quite ready to let his daughter run the risk as long as Hamlet was prosperous. But it is dangerous, of course, to lay stress on inferences drawn from his conversations with Polonius.
- ↑ Many readers and critics imagine that Hamlet went straight to Ophelia’s room after his interview with the Ghost. But we have just seen that on the contrary he tried to visit her and was repelled, and it is absolutely certain that a long interval separates the events of I. v. and II. 1. They think also, of course, that Hamlet’s visit to Ophelia was the first announcement of his madness. But the text flatly contradicts that idea also. Hamlet has for some time appeared totally changed (II. ii. 1–10); the King is very uneasy at his ‘transformation,’ and has sent for his school-fellows in order to discover its cause. Polonius now, after Ophelia has told him of the interview, comes to announce his discovery, not of Hamlet’s madness, but of its cause (II. ii. 49). That, it would seem, was the effect Hamlet aimed at in his interview. I may add that Ophelia’s description of his intent examination of her face suggests doubt rather as to her ‘honesty’ or sincerity than as to her strength of mind. I cannot believe that he ever dreamed of confiding his secret to her.
- ↑ If this is an allusion to his own love, the adjective ‘despised’ is significant. But I doubt the allusion. The other calamities mentioned by Hamlet, ‘the oppressor’s wrong, the proud man’s contumely, the law’s delay, the insolence of office, and the spurns that patient merit of the unworthy takes,’ are not at all specially his own.
- ↑ It should be noticed that it was not apparently of long standing. See the words ‘of late’ in I. iii. 91, 99.
- ↑ This, I think, may be said on almost any sane view of Hamlet’s love.
- ↑ Polonius says so, and it may be true.
- ↑ I have heard an actress in this part utter such a cry as is described above, but there is absolutely nothing in the text to justify her rendering. Even the exclamation ‘O, ho!’ found in the Quartos at IV. v. 33, but omitted in the Folios and by almost all modern editors, coming as it does after the stanza, ‘He is dead and gone, lady,’ evidently expresses grief, not terror.
- ↑
In the remarks above I have not attempted, of course, a complete view of the character, which has often been well described; but I cannot forbear a reference to one point which I do not remember to have seen noticed. In the Nunnery-scene Ophelia’s first words pathetically betray her own feeling:
Good my lord,
How does your honour for this many a day?She then offers to return Hamlet’s presents. This has not been suggested to her by her father: it is her own thought. And the next lines, in which she refers to the sweet words which accompanied those gifts, and to the unkindness which has succeeded that kindness, imply a reproach. So again do those most touching little speeches:
Hamlet.1 did love you once.
Ophelia. Indeed, my lord, you made me believe so.
Hamlet. You should not have believed me . . . I loved you not.
Ophelia. 1 was the more deceived.Now the obvious surface fact was not that Hamlet had forsaken her, but that she had repulsed him; and here, with his usual unobtrusive subtlety, Shakespeare shows how Ophelia, even though she may have accepted from her elders the theory that her unkindness has driven Hamlet mad, knows within herself that she is forsaken, and cannot repress the timid attempt to win her lover back by showing that her own heart is unchanged.
I will add one note. There are critics who, after all the help given them in different ways by Goethe and Coleridge and Mrs. Jameson, still shake their heads over Ophelia’s song, ‘To-morrow is Saint Valentine’s day.’ Probably they are incurable, but they may be asked to consider that Shakespeare makes Desdemona, ‘as chaste as ice, as pure as snow,’ sing an old song containing the line,
If I court moe women, you’ll couch with moe men. - ↑ I.e. the King will kill her to make all sure.
- ↑ I do not rely so much on his own statement to Laertes (IV. vii. 12 f.) as on the absence of contrary indications, on his tone in speaking to her, and on such signs as his mention of her in soliloquy (III. iii. 55).
- ↑ This also is quietly indicated. Hamlet spares the King, he says, because if the King is killed praying he will go to heaven. On Hamlet’s departure, the King rises from his knees, and mutters:
My words fly up, my thoughts remain below:
Words without thoughts never to heaven go. - ↑ I am indebted to Werder in this paragraph.
- ↑ The attempt to explain this meeting as pre-arranged by Hamlet is scarcely worth mention.