The Scenes of Ophelia's Madness are to me very shocking, in so noble a Piece as this. I am not against her having been represented mad; but surely, it might have been done with less Levity and more Decency. Mistakes are less tolerable from such a Genius as Shakespeare's and especially in the very Pieces which give us such strong Proofs of his exalted Capacity. Mr. Warburton's Note (in Mr. Theobalds) on Laertes's Rebellion, is very judicious, (as indeed are all those of that Gentleman) only I cannot think Laertes (for the Reasons I have given) a good Character.
ACT V.
The Scene of the Grave-Diggers. (p. 344.) I know is much applauded, but in my humble Opinion, is very unbecoming such a Piece as this, and is only pardonable as it gives Rise to Hamlet's fine moral Reflections upon the Infirmity of human Nature.
Page 354.
Hamlet's Return to Denmark is not ill contriv'd; but I cannot think that his Stratagem is natural or easy, by which he brings that Destruction upon the Heads of his Enemies, which was to have fallen upon himself. It was possible, but not very probable; because methinks, their Commission was kept in a very negligent Manner, to be thus got from them without their knowing it. Their Punishment was just, because they had devoted themselves to the Service of the Usurper in whatever he should command, as appears in several Passages.
It does not appear whether Ophelia's Madness was chiefly for her Father's Death, or for the Loss of Hamlet. It is not often that young Women run mad for the Loss of their Fathers. It is more natural to suppose, that like Chimene in the Cid, her great Sorrow proceeded from her Father's being kill'd by the Man she lov'd, and thereby making it indecent for her ever to marry him.
Page 351.
In Hamlet's leaping into Ophelia's Grave, (which is express'd with great Energy and Force of Passion) we have the first real Proof of his Love for her, which during this whole Piece has been forced to submit to Passions of greater Weight and Force, and here is suffered to break out chiefly, as it is necessary towards the Winding up of the Piece. It is but an Under-Passion in the Play, and seems to be introduced more to conform to the Plan our Poet built upon, than for any Thing else; tho' as the whole Play is managed, it conduces towards the Conclusion, as well as it diversifies, and adds Beauties to the whole Piece.
Page 357.
The Scene of the Fop Osrick is certainly intended as a Satire upon the young Courtiers of those Days, and is humourously express'd, but is, I think, improper for Tragedy.