ACT III.

Page 284.

_How smart a Lash, that Speech doth give my Conscience_, &c.

The Poet here is greatly to be commended for his Conduct. As consummate a Villain as this King of _Denmark_ is represented to be, yet we find him stung with the deepest Remorse, upon the least Sentence that can any ways be supposed to relate to his Crime. How Instructive this is to the Audience, how much it answers the End of all publick Representations by inculcating a good Moral, I leave to the Consideration of every Reader.

Hamlet's Conversation with _Ophelia_, we may observe, is in the Style of Madness; and it was proper that the Prince should conceal his Design from every one, which had he conversed with his Mistress in his natural Style could not have been.

I am perswaded, that our Author was pleas'd to have an Opportunity of raising a Laugh now and then, which he does in several Passages of _Hamlet's_ satirical Reflections on Women; but I have the same Objections to this Part of the Prince's Madness, that I have before mentioned, viz. that it wants Dignity. _Ophelia's_ melancholy Reflections upon _Hamlet's_ having lost his Sovereignty of Reason, is natural and very beautiful. As to the King's sending him to _England_, See Mr. _Theobald's_ Note. I purposely omit taking Notice of the famous Speech, _To be, or not to be_, &c. every _English_ Reader knows its Beauties.

The Prince's Directions to the Players are exceeding good, and are evidently brought in as Lessons for the Players, who were _Shakespeare's_ Companions, and he thought this a very proper Occasion to animadvert upon those Faults which were disagreeable to him. Whoever reads these Observations of his, if one may prove a Thing by a negative Argument, must believe _Shakespeare_ to have been an excellent Actor himself; for we can hardly imagine him to have been guilty of the Mistakes he is pointing out to his Brethren.

Notwithstanding all this, and that the Opportunity seems natural enough to introduce these Remarks, yet I cannot think them agreeable in such a Piece as this; they are not suitable to the Dignity of the Whole, and would be better plac'd in a Comedy.

Page 292, Act 3d.

Hamlet's Expression of his Friendship for _Horatio_, has great Beauties; it is with Simplicity and Strength, and the Diction has all the Graces of Poetry. It was well imagin'd, that he should let his Friend know the Secret of his Father's Murder, because, thus his Request to him, to observe the King's Behaviour at the Play, is very naturally introduc'd as a prudent Desire of the Prince's. The Friendship of _Eneas_ for _Achates_ in the _Eneid_, is found Fault with much for the same Reasons that some Criticks might carp at this of _Hamlet's_ for _Horatio_, viz. that neither of them are found to perform any great Acts of Friendship to their respective Friends. But, I think, that the Friendship of _Hamlet_ and _Horatio_ is far superior to that of _Eneas_ and _Achates_, as appears in the last Scene, where _Horatio's_ Behaviour is exceeding Tender, and his Affection for the Prince likely to prove very useful to his Memory.

Hamlet's whole Conduct, during the Play which is acted before the King, has, in my Opinion, too much Levity in it. His Madness is of too light a Kind, although I know he says, he must be idle; but among other Things, his Pun to _Polonius_ is not tolerable. I might also justly find Fault with the want of Decency in his Discourses to _Ophelia_, without being thought too severe. The Scene represented by the Players is in wretched Verse. This we may, without incurring the Denomination of an ill-natur'd Critick, venture to pronounce, that in almost every Place where _Shakespeare_ has attempted Rhime, either in the Body of his Plays, or at the Ends of Acts or Scenes, he falls far short of the Beauty and Force of his Blank Verse: One would think they were written by two different Persons. I believe we may justly take Notice, that Rhime never arrived at its true Beauty, never came to its Perfection in _England_, until long since _Shakespeare's_ Time.

The King's rising with such Precipitation, and quitting the Play upon seeing the Resemblance of his own foul Crime, is very much in Nature, and confirms the Penetration of our Author's Hero.

Page 302.

Hamlet's Pleasantry upon his being certified that his Uncle is Guilty, is not a-propos in my Opinion. We are to take Notice that the Poet has mix'd a Vein of Humour in the Prince's Character, which is to be seen in many Places of this Play. What was his Reason for so doing, I cannot say, unless it was to follow his Favourite _Foible_, viz. that of raising a Laugh.

Page 306.

The Prince's Resolution upon his going to his Mother, is beautifully express'd, and suitable to his Character.

Page 306, 307.

What _Rosincrantz_ says of the Importance of the King's Life, is express'd by a very just Image.

Page 307.

The King's seeming so very much touch'd with a Sense of his Crime, is supposed to be owing to the Representation he had been present at; but I do not well see how _Hamlet_ is introduced so as to find him at Prayers. It is not natural, that a King's Privacy should be so intruded on, not even by any of his Family, especially, that it should be done without his perceiving it.

Page 309.

Hamlet's Speech upon seeing the King at Prayers, has always given me great Offence. There is something so very Bloody in it, so inhuman, so unworthy of a Hero, that I wish our Poet had omitted it. To desire to destroy a Man's Soul, to make him eternally miserable, by cutting him off from all hopes of Repentance; this surely, in a Christian Prince, is such a Piece of Revenge, as no Tenderness for any Parent can justify. To put the Usurper to Death, to deprive him of the Fruits of his vile Crime, and to rescue the Throne of _Denmark_ from Pollution, was highly requisite: But there our young Prince's Desires should have stop'd, nor should he have wished to pursue the Criminal in the other World, but rather have hoped for his Conversion, before his putting him to Death; for even with his Repentance, there was at least Purgatory for him to pass through, as we find even in a virtuous Prince, the Father of _Hamlet_.

Page 310.

_Enter the Queen and_ Polonius, _and afterwards_ Hamlet.

We are now come to a Scene, which I have always much admired. I cannot think it possible, that such an Incident could have been managed better, nor more conformably to Reason and Nature. The Prince, conscious of his own good Intentions, and the Justness of the Cause he undertakes to plead, speaks with that Force and Assurance which Virtue always gives; and yet manages his Expressions so as not to treat his Mother in a disrespectful Manner. What can be expressed with more Beauty and more Dignity, than the Difference between his Uncle and Father! The Contrast in the Description of them both, is exquisitely fine: And his inforcing the Heinousness of his Mother's Crime with so much Vehemence, and her guilty half Confessions of her Wickedness, and at last her thorough Remorse, are all Strokes from the Hand of a great Master in the Imitation of Nature.

His being obliged to break off his Discourse by the coming in of his Father's Ghost once more, adds a certain Weight and Gravity to this Scene, which works up in the Minds of the Audience all the Passions which do the greatest Honour to human Nature. Add to this, the august and solemn Manner with which the Prince addresses the Spectre after his Invocation of the Celestial Ministers.

The Ghost's not being seen by the Queen, was very proper; for we could hardly suppose, that a Woman, and a guilty one especially, could be able to bear so terrible a Sight without the Loss of her Reason. Besides that, I believe, the Poet had also some Eye to a vulgar Notion, that Spirits are only seen by those with whom their Business is, let there be never so many Persons in Company. This Compliance with these popular Fancies, still gives an Air of Probability to the Whole. The Prince shews an extreme Tenderness for his Father in these Lines,

_On Him! on Him!_ &c. _His Form and Cause conjoin'd_, &c.

and really performs all the strictest Rules of Filial Piety thro' out the whole Play, both to Father and Mother; and particularly, to the Latter in this Scene, whilst he endeavours to bring her to Repentance. In a Word, We have in this important Scene, our Indignation raised against a vile Murderer, our Compassion caus'd for the inhuman Death of a virtuous Prince; our Affection is heighten'd for the Hero of the Play; and, not to enter into more Particulars, we are moved in the strongest Manner, by every Thing that can gain Access to our Hearts.

Hamlet's killing _Polonius_, was in Conformity to the Plan _Shakespeare_ built his Play upon; and the Prince behaves himself on that Occasion, as one who seems to have his Thoughts bent on Things of more Importance. I wish the Poet had omitted _Hamlet's_ last Reflection on the Occasion, _viz. This Counsellor, &c._ It has too much Levity in it; and his _tugging_ him away into another Room, is unbecoming the Gravity of the rest of the Scene, and is a Circumstance too much calculated to raise a Laugh, which it always does. We must observe, that _Polonius_ is far from a good Character, and that his Death is absolutely necessary towards the _Denoüement_ of the whole Piece. And our Hero had not put him to Death, had not he thought it to have been the Usurper hid behind the _Arras_; so that upon the Whole, this is no Blemish to his Character.

Hamlet's Behaviour to the King, &c. (Act _fourth_, p 320 and Sequel,) concerning _Polonius's_ Body, is too jocose and trivial.

Page 326. _Enter_ Fortinbrass _with an Army_.

This is a Conduct in most of our Author's Tragedies, and in many other of our Tragedy Writers, that is quite unnatural and absurd; I mean, introducing an Army on the Stage. Although our Imagination will bear a great Degree of Illusion, yet we can never so far impose on our Knowledge, and our Senses, as to imagine the Stage to contain an Army: Therefore in such a Case, the Recital of it, or seeing the Commander, and an Officer or Two of it, is the best Method of conducting such a Circumstance. _Fortinbrass's_ Troops are here brought in, I believe, to give Occasion for his appearing in the last Scene, and also to give Rise to _Hamlet's_ reflections thereon, (p. 327.) which tend to give some Reasons for his deferring the Punishment of the Usurper.

Laertes's Character is a very odd one; it is not easy to say, whether it is good or bad; but his consenting to the villainous Contrivance of the Usurper's to murder _Hamlet_, (p. 342.) makes him much more a bad Man than a good one. For surely Revenge for such an accidental Murder as was that of his Father's (which from the Queen, it is to be supposed he was acquainted with all the Circumstances of) could never justify him in any treacherous Practices. It is a very nice Conduct in the Poet to make the Usurper build his Scheme upon the generous unsuspicious Temper of the Person he intends to murder, and thus to raise the Prince's Character by the Confession of his Enemy, to make the Villain ten Times more odious from his own Mouth. The Contrivance of the Foil unbated (i.e. without a Button) is methinks too gross a Deceit to go down even with a Man of the most unsuspicious Nature.

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.