conduct. This is well seen, for instance, in a matter such as social reform, where a man's energy in carrying out minor philanthropic undertakings wanes in proportion to the amount of clear thought he devotes to the subject. But closer consideration will shew that this debilitation is a qualitative rather than a quantitative one. Scepticism leads to a simplification of motive in general, and to a reduction in the number of those motives that are efficacious; it brings about a lack of adherence to certain conventional ones rather than a general failure in the springs of action. Every student of clinical psychology knows that any such general weakening in energy is invariably due to another cause than intellectual scepticism, namely, to the functioning of abnormal unconscious complexes. This train of thought need not here be further developed, for it is really irrelevant to discuss the cause of Hamlet's general aboulia if, as will presently be maintained, this did not exist; the argument, then, must remain unconvincing except to those who already accept it. Attempts to attribute Hamlet's general aboulia to less constitutional causes, such as to grief due to the death of his father and adultery of his mother,[1] are similarly inefficacious, for psycho-pathology has clearly demonstrated that such grief is in itself quite inadequate as an explanation of this condition.
Unequivocal evidence of the inadequacy of the hypothesis under discussion may further be obtained from perusal of the play. In the first place there is every reason to believe that, apart from the task in question, Hamlet is a man capable of very decisive action. This could be not only impulsive, as in the killing of Polonius, but deliberate, as in the arranging for the death of Guildenstern and Rosencrantz. His biting scorn and mockery towards his enemies, and even towards Ophelia, his cutting denunciation of his mother, his lack of remorse after the death of Polonius, are not signs of a gentle, yielding or weak nature. His mind was as rapidly made up about the organisation of the drama to be acted before his uncle, as it was resolutely made up when the unpleasant task had to be performed of breaking with the uncongenial Ophelia. He shews no trace of hesitation when he stabs the listener behind the curtain,[2] when he makes his violent onslaught on the pirates, leaps into the grave with Laertes or accepts his challenge to the fencing match, or when he follows his father's ghost on to the battlements; nor is there any lack of determination in his resolution to meet the ghost;
