An Argument for Hamlet.
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AN ARGUMENT FOR HAMLET. BY MARY E. CARDWIU,.
QHAKESPEARE has offered us in HamO let a profound psychological study. To do this he has used the instruments so com monly found in his hands, which from his pre-eminently skilful, almost perfect handling should be regarded as peculiarly his own,— soliloquy and supernaturalism? With the scalpel of soliloquy he here lays bare the anguish of a distracted soul, the workings of a grand intellect in distress, and the writhings of a noble, sensitive spirit on the rack of the cruellest circumstances and most hopelessly untoward events. With the magic wand of the supernatural he, for our better understanding, embodies in the ghost the more spiritual elements of the prince's character—imagination and in tuitive reasoning. If we were left to the revelations of these two instruments alone, we would perhaps more easily come to a positive, indisputable decision in regard to Hamlet's condition. But his actions and his words to others must also be taken into account. Some of these acts and words are so inexplicable we are forced either to permit them to go largely unexplained or to accept the theory of in sanity, real or feigned. Yet if we admit that there are some things in this complex creation for which no wholly adequate reason can be offered, other than the ever mysterious complexity of human character, we can still discover many strong proofs of Hamlet's soundness of mind; nor need we take even temporary refuge in the theory of feigned insanity. First in order is the universal sympathy which readers, students and theatre-goers have for Hamlet. This may be thought a sentimental and extrinsic reason, but a slight investigation will show it to be sound and logical. In some measure we judge all men
most satisfactorily by the impression they leave upon our minds. The character of Hamlet has always proved a most fascinating study to lovers of the plays of Shakespeare. What is more important to our argument, every student feels himself able to enter into the peculiar emotions of the Dane, to feel the reality of his sufferings, the righteousness of his anger and the pardonableness of his faults : though each has a somewhat differ ent solution of the perplexities arising from the character. In the make-up of most men there is a superstitious element, and not a few have permitted themselves to speculate upon the mystery of their connection with the. here and the hereafter. Strength of intellect and sensibility lead almost inevitably to periods of doubt, despondency and despair, periods when it seems a serious question whether it is better to '• Bear those ills we have Than fly to others that we know not of."
Again most men of a high moral sense, and capable of a deep affection have felt the cruel sting of disappointment from the injus tice, unkindness, or, worse than all, the sins of those united to them by the closest ties of blood or friendship. Indignation is one of the surest signs of true feeling, but under some circumstances it becomes that fierce anger which Coleridge refers to in his fine, much quoted lines "For to be wroth with those we love Doth work like madness in the brain."
Moreover, aside from this sympathy founded on personal experience, many stu dents of Hamlet have a peculiar appreciation of the Prince's intellectual philosophy, and sar castic wit : others have a heart understand ing of his weakness of will, or, it may be, they have, by reason of their greater sensi
