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CRITICAL OPINIONS ON HAMLET.

“The seeming inconsistencies in the conduct and character of Hamlet have long exercised the conjectural ingenuity of critics; and, as we are always loth to suppose that the cause of defective apprehension is in ourselves, the mystery has been too commonly explained by the very easy process of setting it down as in fact inexplicable, and by resolving the phenomenon into a misgrowth, or lusus, of the capricious and irregular genius of Shakspeare. The shallow and stupid arrogance of these vulgar and indolent decisions, I would fain do my best to expose. I believe the character of Hamlet may be traced to Shakspeare's deep and accurate science in mental philosophy. Indeed, that this character must have some connexion 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 Shakspeare's modes of creating characters is, to conceive any one intellectual or moral faculty in morbid excess, and theu to place himself, Shakspeare, 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 man 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 colour not naturally their own. Hence we see a great, an almost enormous, intellectual activity, and a proportionate aversion to real action consequent upon it, with all its symptoms and accompanying qualities. This character Shakspeare 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 common-place 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 from 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,

0! that this too too solid flesh would melt,' &c.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-livered, and lack gall
To make oppression bitter.'

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

“Hamlet' is singular in its kind; a tragedy of thought, inspired by continual and never-satisfied meditation on human destiny and the dark perplexity of the events of this world, and calculated to call forth the very same meditation in the minds of the spectators. This enigmatical work resembles those irrational equations in which a fraction of unknown magnitude always remains, that will in no way admit of solution. Much has been said, much written, on this piece, and yet no thinking head, who anew expresses himself on it, will (in his view of the connexion and the signification of all the parts) entirely coincide with his predecessors. What naturally most astonishes us is, the fact that with such hidden purposes—with a foundation laid in such unfathomable depth, the whole should, at a first view, exhibit an extremely popular appearance. The dread appearance of the Ghost takes possession of the mind and the imagination almost at the very commencement; then the play within the play, in which, as in a glass, we see reflected the crime, whose fruitlessly attempted punishment constitutes the subject-matter of the piece ; the alarm with which it fills the King ; Hamlet's pretended, and Ophelia's real madness ; her death and burial ; the meeting of Hamlet and Laertes at her grave; their combat, and the grand determination ; lastly, the appearance of the young hero Fortinbras, who, with warlike pomp, pays the last honours to an extinct family of kings; the interspersion of comic cbaracteristic scenes with Polonius, the courtiers, and the gravediggers, which have all of them their signification, all this fills the stage with an animated and varied movement. The only circumstance from which this piece might be judged to be less theatrical than other tragedies of Shakspeare is, that in the last scenes the main action either stands still or appears to retrograde. This, however, was inevitable, and lay in the nature of the subject. The whole is intended to show that a calculating consideration, which exhausts all the relations and possible consequences of a deed, must cripple the power of acting ; as Hamlet himself expresses it,

And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought;
And enterprises of great pith and moment,
With this regard, their currents turn awry,
And lose the name of action.'

With respect to Hamlet's character: I cannot, as I understand the poet's views, pronounce altogether so favourable a sentence upon it as Goethe does. He is, it is true, of a highly cultivated mind, a prince of royal manners, endowed with the finest sense of propriety, susceptible of noble ambition, and open in the highest degree to an enthusiastic admiration of that excellence in others of which he himself is deficient. He acts the part of madness with unrivalled power, convincing the persons who are sent to examine into his supposed loss of reason, merely by telling them unwelcome truths, and rallying them with the most caustic wit. But in the resolutions which he so often embraces and always leaves unexecuted, his weakness is too apparent: he does himself only justice when he implies that there is no greater dissimilarity than between bimself and Hercules. He is not solely impelled by necessity to artifice and dissimulation, he has a natural inclination for crooked ways; he is a hypocrite towards himself; his far-fetched scruples are often mere pretexts to cover his want of determination : thoughts, as he says on a different occasion, which have

. but one part wisdom And ever three parts coward.'

He has been chiefly condemned both for his harshness in repulsing the love of Ophelia, which he himself had cherished, and for his insensibility at her death. But he is too much overwhelmed with his own sorrow to have any compassion to spare for others; besides, his outward indifference gives us by no means the measure of his internal perturbation. On the other hand, we evidently perceive in him a malicious joy, when he has succeeded in getting rid of his enemies, more through necessity and accident, which alone are able to impel him to quick and decisive measures, than by the merit of his own courage, as he himself confesses after the murder of Polonius, and with respect to Rosencrantz and Guildenstern. Hamlet has no firm belief either in himself or in anything else : from expressions of religious confidence he passes over to sceptical doubts ; he believes in the Ghost of his father as long as he sees it, but as soon as it has disappeared, it appears to him almost in the light of a deception.* He has even gone so far as to say, 'there is nothing either good or bad, but thinking makes it so ;' with him the poet loses bimself here in labyrinths of thought, in which neither end nor beginning is discoverable. The stars themselves, from the course of events, afford no answer to the question so urgently proposed to them. A voice from another world, commissioned, it would appear, by heaven, demands vengeance for a monstrous enormity, and the demand remains without effect; the criminals are at last punished, but, as it were, by an accidental blow, and not in the solemn way requisite to convey to the world a warning example of justice ; irresolute foresight, cunning treachery, and impetuous rage, hurry on to a common destruction; the less guilty 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.

“As one example of the many niceties of Shakspeare which have never been understood, I may allude to the style in which the player's speech about Hecuba is conceived. It has been the subject of much controversy among the commentators, whether this was borrowed by Shakspeare from himself or from another, and whether, in the praise of the piece of which it is supposed to be a part, he was speaking seriously, or merely meant to ridicule the tragical bombast of his contemporaries. It seems never to have occurred to them that this speech must not be judged of by itself, but in connexion with the place where it is introduced. To distinguish it in the play itself as dramatic poetry, it was necessary that it should rise above the dignified poetry of the former in the same proportion that generally theatrical elevation soars above simple nature. Hence Shakspeare has composed the play in

Hamlet' altogether in sententious rhymes full of antitheses. But this solemn and measured tone did not suit a speech in which violent emotion ought to prevail, and the poet had no other expedient than the one of which he made choice-overcharging the pathos. The language of the speech in question is certainly falsely emphatical; but yet this fault is so mixed up with true grandeur, that a player practised in artificially calling forth in himself the emotion he is imitating, may certainly be carried away by it. Besides, it will hardly be believed that Shakspeare knew so little of his art, as not to be aware that a tragedy in which Æneas had to make a lengthy epic relation of a transaction that happened so long before as the destruction of Troy, could neither be dramatical nor theatrical.” — SCHLEGEL.

“Conceive a prince, such as is here painted, and that his father suddenly dies. Ambition and the love of rule are not the passions that inspire him. As a king's son he would have been contented ; but now he is first constrained to consider the difference which separates a sovereign from a subject. The crown was not hereditary ; yet a longer possession of it by his father would have strengthened the pretensions of an only son, and secured his hopes of the succession. In place of this, he now beholds himself excluded by his uncle, in spite of specious promises, most probably for ever. He is now poor in goods and favour, and a stranger in the scene which from youth he had looked upon as his inheritance. His temper here assumes its first mournful tinge. He feels that now he is not more—that he is less—than a private nobleman ; he offers himself as the servant of every one ; he is not courteous and condescending, he is needy and degraded.

His past condition he remembers as a vanished dream. It is in vain that his uncle strives to cheer him,—to present his situation in another point of view. The feeling of his nothingness will not leave him.

"The second stroke that came upon him wounded deeper, bowed still more. It was the marriage of his mother. The faithful tender son had yet a mother, when his father passed away. He hoped, in the company of his surviving noble-minded parent, to reverence the heroic form of the departed; but his mother too he loses, and it is something worse than death that robs him of her. The trustful image, which a good child loves to form of its parents, is gone. With the dead there is no help; on the living no hold. She also is a woman, and her name is Frailty, like that of all her sex.

"Now first does he feel himself completely bent and orphaned ; and no happiness of life can repay what he has lost. Not reflective or sorrowful by nature, reflection and sorrow have become for him a

* " It has been censured as a contradiction, that Hamlet in the soliloquy on self-murder should say,

• The undiscover'd country, from whose boum
No traveller returns-

for was not the Ghost a returned traveller? Shakspeare, how.
ever, purposely wished to show, that Hamlet could not fix him-
self in any conviction of any kind whatever."

heavy obligation. It is thus that we see him first enter on the scene. Figure to yourselves this youth, this son of princes; conceive him vividly, bring his state before your eyes, and then observe him when he learns that his father's spirit walks ; stand by him in the terrors of the night, when the venerable ghost itself appears before him. A horrid shudder passes over him; he speaks to the mysterious form; he sees it beckon him ; he follows it and hears. The fearful accusation of his uncle rings in his ears; the summons to revenge, and the piercing, oft-repeated prayer, 'Remember me !'

“And when the ghost has vanished, who is it that stands before us ? A young hero panting for vengeance ? A prince by birth, rejoicing to be called to punish the usurper of his crown? No! trouble and astonishment take hold of the solitary young man: he grows bitter against smiling villains, swears that he will not forget the spirit, and concludes with the significant ejaculation,

• The time is out of joint: O cursed spite,
That ever I was born to set it right!!

In these words, I imagine, will be found the key to Hamlet's whole procedure. To me it is clear that Shakspeare meant, in the present case, to represent the effects of a great action laid upon a soul unfit for the performance of it. In this view the whole piece seems to me to be composed. There is an oak-tree planted in a costly jar, which should have borne only pleasant flowers in its bosom ;-the roots expand, the jar is shivered.

“A lovely, pure, noble, and most moral nature, without the strength of nerve which forms a hero, sinks beneath a burden which it cannot bear, and must not cast away. All duties are holy for him ; the present is too hard. Impossibilities have been required of him ;—not in themselves impossibilities, but such for him. He winds, and turns, and torments himself; he advances and recoils; is ever put in mind, ever puts himself in mind; at last does all but lose his purpose from his thoughts; yet still without recovering his peace of mind.”—GOETHE.

“ This is that Hamlet the Dane whom we read of in our youth, and whom we seem almost to remember in our after years ;-he who made that famous soliloquy on life, who gave the advice to the players, who thought this goodly frame, the earth, a sterile promontory, and this brave o'erhanging firmament, the air—this majestical roof fretted with golden fire, a foul and pestilent congregation of vapours ;' whom 'man delighted not, nor woman neither ;' he who talked with the gravediggers, and moralised on Yorick's skull; the schoolfellow of Rosencrantz and Guildenstern at Wittenberg; the friend of Horatio ; the lover of Ophelia ; he that was mad and sent to England; the slow avenger of his father's death ; who lived at the court of Horwendillus five hundred years before we were born, but all whose thoughts we seem to know as well as we do our own, because we have read them in Shakespeare.

“Hamlet is a name ; his speeches and sayings but the idle coinage of the poet's brain. What, then, are they not real ? They are as real as our own thoughts ; their reality is in the reader's mind. It is une who are Hamlet. This play has a prophetic truth, which is above that of history. Whoever has become thoughtful and melancholy through his own mishaps or those of others; whoever has borne about with him the clouded brow of reflection, and thought himself 'too much i’ the sun ;' whoever has seen the golden lamp of day dimmed by envious mists rising in his own breast, and could find in the world before him only a dull blank with nothing left remarkable in it; whoever has known the pangs of despised love, the insolence of office, or the spurns which patient merit of the unworthy takes ;' he who has felt his mind sink within him, and sadness cling to his heart like a malady, who has had his hopes blighted and his youth staggered by the apparitions of strange things; who cannot be well at easo while he sees evil hovering near him like a spectre; whose powers of action have been eaten up by thought,-he to whom the universe seems infinite, and himself nothing ; whose bitterness of soul makes him careless of consequences, and who goes to a play as his best resource to shove off, to a second remove, the evils of life, by a mock-representation of them—this is the true Hamlet."HAZLITT,

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