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and the innocent are equally involved in the general ruin. The destiny of humanity is there exhibited as a gigantic Sphinx, which threatens to precipitate into the abyss of scepticism all who are unable to solve her dreadful enigmas.

[From Coleridge's Notes and Lectures upon Shakespeare."*] I believe the character of Hamlet may be traced to Shakespeare's deep and accurate science in mental philosophy. Indeed, that this character must have some connection with the common fundamental laws of our nature may be assumed from the fact that Hamlet has been the darling of every country in which the literature of England has been fostered. In order to understand him, it is essential that we should reflect on the constitution of our own minds. Man is distinguished from the brute animals in proportion as thought prevails over sense : but in the healthy processes of the mind, a balance is constantly maintained between the impressions from outward objects and the inward operations of the intellect :-for if there be an overbalance in the contemplative faculty, man thereby becomes the creature of mere meditation, and loses his natural power of action. Now one of Shakespeare's modes of creating characters is, to conceive any one intellectual or moral faculty in morbid excess, and then to place himself, Shakespeare, thus mutilated or diseased, under given circumstances. In Hamlet he seems to have wished to exemplify the moral necessity of a due balance between our attention to the objects of our senses, and our meditation on the workings of our minds,-an equilibrium between the real and the imaginary worlds. In Hamlet this balance is disturbed : his thoughts, and the images of his fancy, are far more vivid than his actual perceptions, and his very perceptions, instantly passing through the medium of his contemplations, acquire, as they pass, a form and a color not naturally their own. Hence we see a great, an almost

* Coleridge's Works (Harper's ed.), vol. iv. p. 145 fol.

enormous, intellectual activity, and a proportionate aversion to real action, consequent upon it, with all its symptoms and accompanying qualities. This character Shakespeare places in circumstances under which it is obliged to act on the spur of the moment:-Hamlet is brave and careless of death ; but he vacillates from sensibility, and procrastinates from thought, and loses the power of action in the energy of resolve. Thus it is that this tragedy presents a direct contrast to that of Macbeth; the one proceeds with the utmost slowness, the other with a crowded and breathless rapidity.

The effect of this overbalance of the imaginative power is beautifully illustrated in the everlasting broodings and superfluous activities of Hamlet's mind, which, unseated from its healthy relation, is constantly occupied with the world within, and abstracted from the world without,-giving substance to shadows, and throwing a mist over all commonplace actualities. It is the nature of thought to be indefinite ; - definiteness belongs to external imagery alone. Hence it is that the sense of sublimity arises, not from the sight of an outward object, but from the beholder's reflection upon it;—not from the sensuous impression, but froin the imaginative reflex. Few have seen a celebrated waterfall without feeling something akin to disappointment: it is only subsequently that the image comes back full into the mind, and brings with it a train of grand or beautiful associations. Hamlet feels this ; his senses are in a state of trance, and he looks upon external things as hieroglyphics. His soliloquy

“Oh that this too, too solid flesh would melt,” etc.,

springs from that craving after the indefinite—for that which is not—which most easily besets men of genius; and the self-delusion common to this temper of mind is finely exemplified in the character which Hamlet gives of himself :

It cannot be
But I am pigeon-liver’d, and lack gall
To make oppression bitter.”

He mistakes the seeing his chains for the breaking of them, delays action till action is of no use, and dies the victim of mere circumstance and accident.

[From Letters on Shakespeare,Blackwood's Magazine, Feb. 1818.*]

There is in the ebb and flow of Shakespeare's soul all the grandeur of a mighty operation of nature; and when we think or speak of him, it should be with humility where we do not understand, and a conviction that it is rather to the narrowness of our own ken than to any failing in the art of the great magician, that we ought to attribute any sense of imperfection and of weakness which may assail us during the contemplation of his created worlds...

Shakespeare himself, had he even been as great a critic as a poet, could not have written a regular dissertation upon Hamlet. So ideal, and yet so real an existence could have been shadowed out only in the colours of poetry. When a character deals solely or chiefly with this world and its events, when it acts and is acted upon by objects that have a palpable existence, we see it distinctly, as if it were cast in a material mould, as if it partook of the fixed and settled lineaments of the things on which it lavishes its sensibilities and its passions. We see in such cases the vision of an individual soul, as we see the vision of an individual counte

We can describe both, and can let a stranger into our knowledge. But how tell in words, so .pure, so fine, so ideal an abstraction as Hamlet? We can, indeed, figure to ourselves generally his princely form, that outshone all others in manly beauty, and adorn it with the consummation of

* These “ Letters on Shakespeare” are signed “T. C..” and are probably, as Furness surmises, by the poet Campbell.


all liberal accomplishment. We can behold in every look, every gesture, every motion, the future king,

“The courtier's, soldier's, scholar's eye, tongue, sword,

Th' expectancy and rose of the fair state ;
The glass of fashion, and the mould of form,
Th' observ'd of all observers.”

But when we would penetrate into his spirit, meditate on those things on which he meditates, accompany him even unto the brink of eternity, fluctuate with him on the ghastly sea of despair; soar with him into the purest and serenest regions of human thought, feel with him the curse of beholding iniquity, and the troubled delight of thinking on innocence, and gentleness, and beauty ; come with him from all the glorious dreams cherished by a noble spirit in the halls of wisdom and philosophy, of a sudden into the gloomy courts of sin, and incest, and murder; shudder with him over the broken and shattered fragments of all the fairest creations of his fancy,-be borne with him at once, from calm, and lofty, and delighted speculations, into the very heart of fear, and horror, and tribulations—have the agonies and the guilt of our mortal world brought into immediate contact with the world beyond the grave, and the influence of an awful shadow hanging forever on our thoughts,-be present at a fearful combat between all the stirred-up passions of humanity in the soul of one man, a combat in which one and all of these passions are alternately victorious and overcome; I say, that when we are thus placed and acted upon, how is it possible to draw a character of this sublime drama, or of the mysterious being who is its moving spirit? In him, his character and his situation, there is a concentration of all the interests that belong to humanity. There is scarcely a trait of frailty or of grandeur, which may have endeared to us our most beloved friends in real life, that is not to be found in Hamlet. Undoubtedly Shakespeare loved him beyond all his other

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creations. Soon as he appears on the stage we are satisfied; when absent we long for his return. This is the only play which exists almost altogether in the character of one single person. Who ever knew a Hamlet in real life? yet who, ideal as the character is, feels not its reality? This is the wonder. We love him not, we think of him not, because he was witty, because he was melancholy, because he was filial; but we love him because he existed, and was himself. This is the sum total of the impression. I believe that, of every other character, either in tragic or epic poetry, the story makes part of the conception; but of Hamlet, the deep and permanent interest is the conception of himself. This seems to belong, not to the character being more perfectly drawn, but to there being a more intense conception of individual human life than perhaps in any other human composition; that is, a being with springs of thought, and feeling, and action, deeper than we can search. These springs rise from an unknown depth, and in that depth there seems to be a oneness of being which we cannot distinctly behold, but which we believe to be there ; and thus irreconcilable circumstances, floating on the surface of his actions, have not the effect of making us doubt the truth of the general picture.

[From Mrs. Jameson's "Characteristics of Women."*] Ophelia-poor Ophelia! Oh, far too soft, too good, too fair to be cast among the briers of this working-day world, and fall and bleed upon the thorns of life! What shall be said of her? for eloquence is mute before her! Like a strain of sad, sweet music which comes floating by us on the wings of night and silence, and which we rather feel than hearlike the exhalation of the violet dying even upon the sense it charms—like the snow-flake dissolved in air before it has caught a stain of earth—like the light surf severed from the

* American ed. (Boston, 1857), p. 189 fol.

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