But the tragedy of "Hamlet" includes more than this. It is not merely the doom of suffering on a soul above a certain strain, still less is it the accidental death of a sluggard in revenge; it is the implication of a noble mind in the intrigues and malignities of a world it has renounced. In vain Hamlet contracts his ambition till it is bounded by a nutshell; he is ordered to strike for a throne. No abnegation clears him from entanglement. The world permits not his escape, but drags him back with those crooked hands of which Dante speaks, which pierce while they hold. This is the tragedy in all its fulness, the involution of the inward and outward drama to the immense advantage of both. For while the spiritual agony of Hamlet gives an incomparable dignity to the ghost-story, yet by the very interruptions and checkings and crossings of it through the accidents and oppositions of the plot, its physiognomy is more distinctly and delicately revealed. Instead of the majestic but monotonous declamation of Timon, we have every variety of that ironical humour (indicating some yet unconquered province of the soul) that guards and embalms the purer strength of feeling, keeps it airy and spiritual, and frees it from moan and heaviness. Here we have no insistance on suffering, no literary heart-breaks, no dilettante pessimism; but those indefinable harmonies of freedom and law, of the ascendency of the soul and the sovereignty of fate, of Nature and the spaces of the mind, that in the works of the great masters represent, if they do not explain, the mystery of life.
The religion of Hamlet is that faith in God which survives after the extinction of the faith in man. Losing the light of human worth and dignity through which, alone the soul can reach to the idea of what is truly divine, and with it the link between earth and heaven, Hamlet's religion is reduced to its elements again; to the vague and fragmentary hints of Nature, and instincts of the spirit; to intimations of limitless power, of mysterious destiny, of a "something after death," of a "divinity that shapes our ends;" and with these, gleams of a transcendent religion of humanity, for devotion to which he was suffering; and on the other side, binding him to the stage-plot, relics of childish superstition, half-beliefs, inherited opinions, "our circumstance and course of thought," which he adopted when he pleased,—as, for instance, when he feared lest he should dismiss the murderer to heaven, or half-believed that his blameless father was tormented in sulphurous flames for having endured a horrible death. But however obscure and indefinite the religion of Hamlet may be, and partly because it is so, and hence of universal experience, it adds reach and depth to his struggle with the world. His soul flies out of bounds and away in airy liberty on these excursions to the vast unknown, and escapes at last victorious with the light through the darkness of conscious immortality, and the lamp in his hand of "the readiness is all." There is always a certain vacuity in the positive or realistic treatment of passion, in which it is confined to the area of mortality, and after a sultry strife delivered over to the mercy of its enemies. But the world cannot so beset and beleaguer the soul as to block up the access and passage of invisible allies, or intercept the communications of infinite strength and infinite charity, or follow to its distant haunts and inaccessible refuges the migrations of thought—
"In the hoar deep to colonize."
Franklin Leifchild.
FOOTNOTES:
[3] "To see Lear acted, to see an old man tottering about the stage with a walking-stick, turned out of doors by his daughters in a rainy night, has nothing in it but what is painful and disgusting."—Lamb's Essays.
[4] "Shakspere: His Mind and Art," p. 96.
[5] "A Study of Shakespeare," p. 166.