We are approaching the conclusion of the great drama. Here, again, in order to explain Hamlet's action, or rather his yielding to influences around him, we have to direct the attention of the reader to Essay (III. 10), in which Montaigne tells how easily he protects himself against the dangers of inward agitation by dropping the subject which threatens to become troublesome to him before he is drawn on and carried along by it. The doughty nobleman says that he has escaped from many difficulties by not staking frivolously, like others, happiness and honour, life and everything, on his 'rapier and his dagger.' [50]

There may be some truth in Montaigne's charge that the cause of not a few struggles he has seen, was often of truly pitiful origin, and that such struggles were only carried on from a mistaken feeling of self-respect. It may be true also that it is a bad habit—as he maintains—to proceed still further in affairs of this kind simply because one is implicated. But how strange a confession of a nobleman from whom we at all times expect bravery: 'For want of judgement our hearte fails us.' [51]

Hamlet is engaged in such a struggle with Laertes through the graveyard scene. The King, who has had good cause to study Hamlet's character more deeply than anyone else, reckons upon his vanity in order to decide him to the fencing-match. 'Rapier and dagger' are forced upon weak-willed Hamlet by Osric. [52] How subtle is this satire! For appearance' sake, in order to outshine Laertes, the Prince accepts the challenge. [53] Happiness and life, which he ought long ago to have risked for the purpose of avenging his father and his honour, are now staked from sheer vanity. The 'want of prudence' Hamlet displays in accepting a challenge which he must 'carry out from a (mistaken) feeling of self-respect,' has the 'intolerable' consequence that, shortly before he crosses swords with Laertes, he confesses to Horatio:—'But thou would'st not think how ill all's here about my heart.'

Again, Shakspere, very briefly, but not less pointedly, depicts the way in which Hamlet allows himself to be influenced and driven to a decision. This time the poet does so by bringing in a clearly expressed dogmatic tenet whereby Hamlet's fate is sealed. It is 'ill all about his heart.' He would prefer not going to meet Laertes. [54]

Horatio. If your mind dislike anything, obey it. I will forestal their repair hither, and say you are not fit.

The fatalist Hamlet, whom we have seen coming ever closer to the doctrine of Predestination, answers as follows:—

'Not a whit; we defy augury; there is special providence in the fall of a sparrow. [55] If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come; the readiness is all. Since no man has aught of what he leaves, what is't to leave betimes? Let be.'

This time it is a 'Let be!'—even as it was a 'Let it go' when he was sent to England.

Now let us read Montaigne's Essay, [56] 'To Philosophise is to Learn how to Die:'—

'Our religion has had no surer human foundation than the contempt of life. Not only does the course of our reason lead us that way; for, why should we fear to lose a thing which, when lost, cannot be regretted?—but also, seeing that we are threatened by so many kinds of death, is it not a greater inconvenience to fear them all than to endure one? What does it matter when Death comes, since it is inevitable?… Moreover, nobody dies before his hour. The time you leave behind was no more yours than that which was before your birth, and concerns you no more.'