It is this sight he goes removes, so that people may see what we are, an evilsmelling and grinning skull. to see by Ophelia's grave. the gravedigger turns up; courtier's. He counts the skulls which this was a lawyer's, that a What bows, intrigues, pretensions, arrogance! And here now is a clown knocking it about with his spade, and playing "at loggats with 'em." Cæsar and Alexander have turned to clay and make the earth fat; the masters of the world have served to "patch a wall." "Now get you to my lady's chamber, and tell her, let her paint an inch thick, to this favour she must come; make her laugh at that."1 When a man has come to this, there is nothing left but to die. He On board ship he This heated imagination, which explains Hamlet's nervous disease and his moral poisoning, explains also his conduct. If he hesitates to kill his uncle, it is not from horror of blood or from our modern scruples. belongs to the sixteenth century. wrote the order to behead Rosencrantz and Guildenstern, and to do so without giving them "shriving-time." He killed Polonius, he caused Ophelia's death, and has no great remorse for it. If for once he spared his uncle, it was because he found him praying, and was afraid of sending him to heaven. He thought he was killing him, when he killed Polonius. What his imagination robs him of, is the coolness and strength to go quietly and with premeditation to plunge a sword into a breast. He can only do the thing on a sudden suggestion; he must have a moment of enthusiasm; he must think the king is behind the arras, or else, seeing that he himself is poisoned, he must find his victim under his foil's point. He is not master of his acts; 1 Hamlet, v. 1. opportunity dictates them; he cannot plan a murder, but must improvise it. A too lively imagination exhausts the will, by the strength of images which it heaps up, and by the fury of intentness which absorbs it. You recognise in him a poet's soul, made not to act, but to dream, which is lost in contemplating the phantoms of its creation, which sees the imaginary world too clearly to play a part in the real world; an artist whom evil chance has made a prince, whom worse chance has made an avenger of crime, and who, destined by nature for genius, is condemned by fortune to madness and unhappiness. Hamlet is Shakspeare, and, at the close of this gallery of portraits which have all some features of his own, Shakspeare has painted himself in the most striking of all. If Racine or Corneille had framed a psychology, they would have said, with Descartes: Man is an incorporeal soul, served by organs, endowed with reason and will, dwelling in palaces or porticos, made for conversation and society, whose harmonious and ideal action is developed by discourse and replies, in a world constructed by logic beyond the realms of time and place. If Shakspeare had framed a psychology, he would have said, with Esquirol:1 Man is a nervous machine, governed by a mood, disposed to hallucinations, carried away by unbridled passions, essentially unreasoning, a mixture of animal and poet, having instead of mind rapture, instead of virtue sensibility, imagination for prompter and guide, and led at random, by the most determinate and complex circumstances, to sorrow, crime, madness, and death. 1 A French physician (1772-1844), celebrated for his endeavours to improve the treatment of the insane.-TR. IX. Could such a poet always confine himself to the imitation of nature? Will this poetical world which is going on in his brain, never break loose from the laws of the world of reality? Is he not powerful enough to follow his own laws? He is; and the poetry of Shakspeare naturally finds an outlet in the fantastical. This is the highest grade of unreasoning and creative imagination. Despising ordinary logic, it creates another; it unites facts and ideas in a new order, apparently absurd, in reality regular; it lays open the land of dreams, and its dreams seem to us the truth. When we enter upon Shakspeare's comedies, and even his half-dramas, it is as though we met him on the threshold, like an actor to whom the prologue is committed, to prevent misunderstanding on the part of the public, and to tell them: "Do not take too seriously what you are about to hear: I am amusing myself. My brain, being full of fancies, desired to array them, and here they are. Palaces, distant landscapes, transparent clouds which blot in the morning the horizon with their grey mists, the red and glorious flames into which the evening sun descends, white cloisters in endless vista through the ambient air, grottos, cottages, the fantastic pageant of all human passions, the irregular sport of unlooked-for adventures,-this is the medley of forms, colours, sentiments, which I let become en tangled and confused in my presence, a many-tinted skein of glistening silks, a slender arabesque, whose 1 Twelfth Night, As you Like it, Tempest, Winter's Tale, etc., Cymbeline, Merchant of Venice, etc. sinuous curves, crossing and mingled, bewilder the mind by the whimsical variety of their infinite complications. Don't regard it as a picture. Don't look for a precise composition, a sole and increasing interest, the skilful management of a well-ordered and congruous plot. I have tales and novels before me which I am cutting up into scenes. Never mind the finis, I am amusing myself on the road. It is not the end of the journey which pleases me, but the journey itself. Is there any need in going so straight and quick? Do you only care to know whether the poor merchant of Venice will escape Shylock's knife? Here are two happy lovers, seated under the palace walls on a calm night; wouldn't you like to listen to the peaceful reverie which rises like a perfume from the bottom of their hearts? "How sweet the moonlight sleeps upon this bank! Sit, Jessica. Look how the floor of heaven Is thick inlaid with patines of bright gold: There's not the smallest orb which thou behold'st, Still quiring to the young-eyed cherubims; (Enter musicians.) Come, ho! and wake Diana with a hymn: Jessica. I am never merry when I hear sweet music." 1 1 Merchant of Venice, v. 1. "Have I not the right, when I see the big laughing face of a clownish servant, to stop near him, see him gesticulate, frolic, gossip, go through his hundred pranks and his hundred grimaces, and treat myself to the comedy of his spirit and gaiety? Two fine gentlemen pass by. I hear the rolling fire of their metaphors, and I follow their skirmish of wit. Here in a corner is the artless arch face of a young wench. Do you forbid me to linger by her, to watch her smiles, her sudden blushes, the childish pout of her rosy lips, the coquetry of her pretty motions? You are in a great hurry if the prattle of this fresh and musical voice can't stop you. Is it no pleasure to view this succession of sentiments and faces? Is your fancy so dull, that you must have the mighty mechanism of a geometrical plot to shake it? My sixteenth century playgoers were easier to move. A sunbeam that had lost its way on an old wall, a foolish song thrown into the middle of a drama, occupied their mind as well as the blackest of catastrophes. After the horrible scene in which Shylock brandished his butcher's knife before Antonio's bare breast, they saw just as willingly the petty household wrangle, and the amusing bit of raillery which ends the piece. Like soft moving water, their soul rose and sank in an instant to the level of the poet's emotion, and their sentiments readily flowed in the bed he had prepared for them. They let him stray here and there on his journey, and did not forbid him to make two voyages at once. They allowed several plots in one. If but the slightest thread united them it was sufficient. Lorenzo eloped with Jessica, Shylock was frustrated in his revenge, Portia's suitors failed in the test imposed upon them; Portia, disguised as a doctor of laws, took from her husband the ring |