At the beginning of the foliloquy which concludes the second act, Hamlet gives himself additional force and reality, by alluding to the Player's fictitious feelings, compared with his own fubftantial cause of grief; the defign of roufing conscious guilt in his uncle, by a reprefentation fimilar to the murder of his Father, is politic and well introduced; for a million of instances furnish indubitable proof That murder, tho' it have no tongue, will speak his remarks that the fpirit he has feen may be a devil, and that the devil may have power to affume a pleasing shape, favour very ftrongly of a weak fuperftitious mind; and give us no exalted idea of the prince's head, however favourably we may judge of his heart. In the first scene of the third act, we find the King eager to get at the caufe of his Nephew's fuppofed frenzy; the Play being mentioned, and an invitation for the court to fee it, his Majefty from political reasons agrees; and Ophelia is left to try what explanation fhe can bring her lover to-the celebrated foliloquy to be, or not to be—is here introduced, and exhibits a beautiful chain of moral reafoning; the objection thrown in against suicide, - The dread of fomething after death, is concife, perfuafive, and highly confonant with the true principles of moral philofophy; Critics have with juftice pointed out the inconfiftence of that parenthesis which stiles the future world An undifcovered country, from whose bourne living Notwithanding Notwithstanding the mafter-spring of this very play is such a traveller; therefore a palpable, flat contradiction to the above affertion; the author no doubt meant a corporeal traveller, but it is ftretching indulgence very far to admit such a latitude of expres fion. The converfation between Hamlet and Ophelia is finely imagined to puzzle the fpies who watch his words and actions; and though it exhibits madness, yet as Polonius remarks of a former fcene-there is method in it; Shakespeare, in all his pieces, seems to have had great regard to the capital characters both as to ftrength and variety; the feigned madnefs in this piece tends greatly to the latter, and gives much scope, particularly in this fcene, for powerful action-the King's propofition of fending the prince to England, though a ftrange fcheme, fhews the apprehenfion which confcious guilt fixes on his mind. Hamlet's advice to the Players is as just and fenfible a lecture upon feveral theatrical excellencies and errors as ever was penned; but few who perform the part have a right to deliver it; being in many inftances guilty themfelves of thofe very abfurdities which they recommend a reformation of. Hamlet's behaviour in the fcene of the play is extremely characteristic; his fportive replies to Ophelia, and his fatirical taunts to the King, fuit the state of things happily : Indeed the mock reprefentation and every other circumftance are very well conducted towards the grand point; and his majefty's abrupt retreat fufficiently evinces his guilt; the the enfuing converfation with Rofencraus and Guildenstern plainly fhews the juft opinion Hamlet entertains of court fycophants, and his playing upon Polonius is pleasant, as well as poignant. The King's foliloquy is a moft finished piece of argumentative, pathetic contrition; and fur+ nishes a very inftructive picture of a guilty mind: of Hamlet's, which immediately fucceeds, we can not fpeak favourably, as it greatly derogates not only from an amiable but even a common moral character. Revenge, when moft provoked, rather violates human feelings; however, as in fome in ftances, the heart cannot decline it, and what more provoking than the death of a father? Yet life for life is the utmost that can be required; for a mortal vice or failing premeditately to plunge the perpetrator into a ftate of infinite mifery, had we power, would be giving nature a diabolical bent; therefore when Hamlet refolves upon taking his Uncle in fome peculiar act of fin, that his heels may kick at heaven, he certainly forms a defign, and utters fentiments more fuitable to an affaffin of the bafest kind, than a virtuous prince and a feeling man. In that excellent fcene of the clofet where the Prince fo beautifully and fo powerfully remonstrates to his mother upon her guilty and fhameful situation there appears an incident which rather cafts another fhide upon our hero's character; that is the death of Polonius: It happens evidently through a mistake, fuppofing him the King: Yet when the mistake mistake is discovered, he has not common humanity enough to regret taking the life of an innocent inoffenfive old man, nay the Father of a Lady too for whom he profeffes a regard; but by the following lines feems to hold the matter light: Thou wretched, rafh, intruding fool, farewel, In the conclufive speech of the act, 'tis true he seems to feel, but we apprehend too flightly; and making himfelf the vindictive minifter of heaven, is arraigning providence, for influencing punishment where no guilt has appeared; by the fame mode of argument every rafh, or bad man may palliate the most inordinate actions. Indeed why Polonius fhould be killed, in flat contradiction to every degree of poetical juftice, is rather mysterious; if meant merely as a caufe for Laertes's refentment, and Ophelia's madness, I muft confefs that both might have been brought about on a better principle, as I hope will appear from fome general ftrictures on the plot. The Ghost's, appearance gives great force to, and raises a very beautiful climax of paffion in this scene; and it is impoffible to form an idea of any thing better calculated for actors to ftrike, or an audience to feel in; the circumftances and expreffion are fo highly deferving of each other; that the performance must be languid indeed, and feelings totally benumbed, if both eyes and hearts are not much interested. VOL. I. E The The King's refolution of fending Hamlet to England feems juftly precipitated by the unjuftifiable event of Polonius's death; the fcene in which the King enquires for the body contains fome pointed expreffions, and the Prince's departure is of that unaffecting nature, that I doubt whether one fpectator out of a thousand ever faid I hope he will come again, though from such a voyage fo late in the piece it seems very doubtful. Ophelia's distraction is an extreme pretty variation of action; and is defcribed with a forceable delicacy, worthy of Shakespeare's pen; Laertes is ufhered in with a ftrange infinuation importing no lefs than a propofition to chufe him King; how this became neceffary, or is reconcileable I cannot fee as in a preceding fcene the King says, that he cannot enforce any law against Hamlet on account of the murder committed, because. He's loved of the diftracted multitude, Who like not in their judgement, but their eyes; Nay fpeaking of the matter afterwards to Laertes, the king delivers himfelf thus Why to a public court I might not go, Is the great love the people bear him; Would like the spring that turneth wood to stone, Now if Hamlet was fo extremely popular, how is it poffible to fuppofe that Laertes by complaining of a private injury, fhould fuperfede him in the people's favours, and gain their voices to the prejudice |