might be the duty of a young man to risk his own life, much against his own inclination, by drawing a sword and killing a tyrant, that is an idea instinctively avoided by this particular mood of modern times. That is why tyrants have such a good time in modern times. And in order to avoid this plain and obvious meaning, of war as a duty and peace as a temptation, the critic has to turn the whole play upside down, and seek its meaning in modern notions so remote as to be in this connexion meaningless. He has to make William Shakespeare of Stratford one of the pupils of Professor Freud. He has to make him a champion of psycho-analysis, which is like making him a champion of vaccination. He has to fit Hamlet's soul somehow into the classifications of Freud and Jung; which is just as if he had to fit Hamlet's father into the classifications of Sir Oliver Lodge and Sir Arthur Conan Doyle. He has to interpret the whole thing by a new morality that Shakespeare had never heard of, because he has an intense internal dislike of the old morality that Shakespeare could not help hearing of. And that morality, which some of us believe to be based on a much more realistic psychology, is that punishment as punishment is a perfectly healthy process, not merely because it is reform, but also because it is expiation. What the modern world means by proposing to substitute pity for punishment is really very simple. It is that the modern world dare not punish those who are punishable, but only those who are pitiable. It would never touch anyone so important as King Claudius—or Kaiser William.
Now this truth is highly topical just now. The point about Hamlet was that he wavered, very excus-
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