The imminent death of twenty thousand men, Go to their graves like beds, fight for a plot Still he does nothing: and this very speculation on his own in firmity only affords him another occasion for indulging it./It is not for any want of attachment to his father or abhorrence of his murder that Hamlet is thus dilatory, but it is more to his taste to indulge his imagination in reflecting upon the enormity of the crime and refining on his schemes of vengeance, than to put them into immediate practice. His ruling passion is to think, not to act: and any vague pretence that flatters this propensity [ instantly diverts him from his previous purposes. The moral perfection of this character has been called in question by those, we think, who did not understand it. It is more natural than conformable to rules; and if not more amiable, is certainly more dramatic on that account. Hamlet is not, to be sure, a Sir Charles Grandison. In general the ethical delineations of "that noble and liberal casuist" (as Shakspeare has been well called) do not exhibit the drab-colored quakerism of morality. His plays are not copied either from The Whole Duty of Man, or from The Academy of Compliments! We confess, we are a little shocked at the want of refinement in those who are shocked at the want of refinement in Hamlet. The deficiency of punctilious exactness in his behavior either partakes of the "licence of the time," or belongs to the very excess of intellectual refinement in the character, which makes the common rules of life, as well as his own purposes, sit loose upon him. He may be said to be amenable only to the tribunal of his own thoughts, and is too much occupied with the airy world of contemplation to lay as much stress as he ought on the practical consequences of things. His habitual principles of action are unhinged and out of joint with the time. His conduct to Ophelia is quite natural in his circumstances. It is that of assumed severity only. It is the effect of disappointed hope, of bitter regrets, of affection suspended, not obliterated, by the distractions of the scene around him! Amidst the natural and preternatural horrors of his situation, he might be excused in delicacy from carrying on a regular courtship. When "his father's spirit was in arms," it was not a time for the son to make love in. He could neither marry Ophelia, nor wound her mind by explaining the cause of his alienation, which he durst hardly trust himself to think of. It would have taken him years to have come to a direct explanation on the point. In the harassed state of his mind, he could not have done otherwise than he did. His conduct does not contradict what he says when he sees her funeral "I lov'd Ophelia: forty thousand brothers Could not with all their quantity of love Make up my sum.” Nothing can be more affecting or beautiful than the Queen's apostrophe to Ophelia on throwing flowers into the grave: "Sweets to the sweet, farewell. I hop'd thou shouldst have been my Hamlet's wife: Shakspeare was thoroughly a master of the mixed motives of human character, and he here shows us the Queen, who was so criminal in some respects, not without sensibility and affection in other relations of life.-Ophelia is a character almost too exquisitely touching to be dwelt upon. Oh rose of May, oh flower too soon faded! Her love, her death, are described with the truest touches of tenderness and pathos. It is a character which nobody but Shakspeare could have drawn in the way that he has done, and to the conception of which there is not even the smallest approach, except in some of the old romantic ballads. Her brother, Laertes, is a character we do not like so well: he is too hot and choleric, and somewhat rhodomontade. Polonius is a perfect character in its kind; nor is there any foundation for the objections which have been made to the consistency of this part. It is said that he acts very foolishly and talks very sensibly. There is no inconsistency in that. Again, that he talks wisely at one time and foolishly at another; that his advice to Laertes is very sensible, and his advice to the King and Queen on the subject of Hamlet's madness very ridiculous. But he gives the one as a father, and is sincere in it; he gives the other as a mere courtier, a busy-body, and is accordingly officious, garrulous, and impertinent. In short, Shakspeare has been accused of inconsistency in this and other characters, only because he has kept up the distinction which there is in nature, between the understandings and the moral habits of men, between the absurdity of their ideas and the absurdity of their motives. Polonius is not a fool, but he makes himself appear one. His folly, whether in his actions or speeches, comes under ́the head of impropriety of intention. Hamlet is probably, of all other of Shakspeare's characters, the most difficult to personate on the stage. It is like the attempt to embody a shadow. "Come then, the colors and the ground prepare, Dip in the rainbow, trick her off in air! Chuse a firm cloud, before it falls, and in it Catch, ere she change, the Cynthia of a minute." Such, nearly, is the task which the actor imposes on himself in the part of Hamlet. It is quite remote from hardness and dry precision. The character is spun to the finest thread, yet never loses its continuity. It has the yielding flexibility of a wave of the sea! It is made up of undulating lines, without a single sharp angle. There is no set purpose, no straining at a point.//The observations are suggested by the passing scenethe gusts of passion come and go, like the sounds of music borne on the wind. The interest depends not on the action, but on the thoughts. THE TEMPEST. THERE can be little doubt that Shakspeare was the most universal genius that ever lived. "Either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, scene individable or poem unlimited, he is the only man. Seneca can not be too heavy, nor Plautus too light for him." He has not only the same absolute command over our laughter and our tears, all the resources of passion, of wit, of thought, of observation, but he has the most unbounded range of fanciful invention, whether terrible or playful, the same insight into the world of imagination that he has into the world of reality; and over all there presides the same truth of character and nature, and the same spirit of humanity. His ideal beings are as true and natural as his real characters; that is, as consistent with themselves, for if we supposed such beings to exist at all, they could not act, speak, or feel otherwise than as he makes them. He has invented for them a language, manners, and sentiments of their own, from the tremendous imprecations of the witches in Macbeth, when they do "a deed without a name," to the sylph-like expressions of Ariel, who "does his spiriting gently;" the mischievous tricks and gossipping of Robin Goodfellow, or the uncouth gabbling and emphatic gesticulations of Caliban in this play. The TEMPEST is one of the most original and perfect of Shakspeare's productions, and he has shown in it all the variety of his powers. It is full of grace and grandeur. The human and imaginary characters, the dramatic and the grotesque, are blended together with the greatest art and without any appear . ance of it. Though he has here given "to airy nothing a local habitation and a name," yet that part which is only the fantastic creation of his mind, has the same palpable texture, and coheres "semblably" with the rest. As the preternatural part has the air of reality, and almost haunts the imagination with a sense of truth, the real characters and events partake of the wildness of a dream. The stately magician, Prospero, driven from his dukedom, but around whom (so potent is his art) airy spirits throng numberless to do his bidding; his daughter Miranda ("worthy of that name"), to whom all the power of his art points, and who seems the goddess of the isle; the princely Ferdinand, cast by fate upon the haven of his happiness; the delicate Ariel; the savage Caliban, half brute, half demon; the drunken ship's crew-are all connected parts of the story, and could not be spared from the place they fill. Even the local scenery is of a piece and character with the subject. Prospero's enchanted island seems to have risen up out of the sea; the airy music, the tempest-tost vessel, the turbulent waves, all have the effect of the landscape back-ground of some fine picture. Shakspeare's pencil is (to use an allusion of his own) "like the dyer's hand, subdued to what it works in." Everything in him, though it partakes "of the liberty of wit," is also subjected to "the law" of the understanding. For instance, even the drunken sailors share, in the disorder of their minds and bodies, in the tumult of the elements, and seem on shore to be as much at the mercy of chance as they were before at the mercy of the winds and waves. These fellows, with their sea-wit, are the least to our taste of any part of the play but they are as like drunken sailors as they can be, and are an indirect foil to Caliban, whose figure acquires a classical dignity in the comparison. The character of Caliban is generally thought (and justly so) to be one of the author's masterpieces. It is not indeed pleasant to see this character on the stage any more than it is to see the god Pan personated there. But in itself it is one of the wildest and most abstracted of all Shakspeare's characters; whose deformity, whether of body or mind, is redeemed by the power and truth of the imagination displayed in it. It is the |