Page:American Journal of Psychology Volume 21.djvu/121

Rh in the saga whole-heartedly devoted himself. The actual mode of operation of his simulation here is very instructive to observe, for it gives us the clue to a deeper psychological interpretation of the process. His conduct in this respect has three characteristics, first the obscure and disguised manner of speech just referred to, secondly a demeanour of indolent inertia and purposelessness, and thirdly conduct of childish and at times almost imbecillic foolishness (Dummstellen); the third of these is well exemplified by the way he rides into the palace seated backwards on a donkey. His motive in so acting was, by playing the part of a harmless fool, to deceive the king and court as to his projects of revenge, and unobserved to get to know their plans and intentions; in this he admirably succeeded. It has been maintained that even in the play this motive of spying on the king and disarming his suspicions was at work, but even if this was the case, and there are grave reasons for doubting it, it is certainly more evident in the saga. Now, in observing the kind of foolishness simulated by Hamlet in the saga, we cannot help being impressed by the childish characteristics it throughout manifests, and Freud points out how accurately it resembles a certain type of demeanour adopted at times by some children. The motive with these children is further a like one, namely to simulate innocence and an exaggerated childishness, even foolishness, in order to delude their elders into regarding them as being "too young to understand" and even into altogether ignoring their presence. The reason for the artifice with such children most frequently is that by this means they may view and overhear various private things which they are not supposed to. It need hardly be said that the curiosity thus indulged in is in most cases concerned with matters of a directly sexual nature; even marital embraces are in this way investigated by quite young children far more frequently than is generally supposed. The subject is one that would bear much exposition, but it would be too far from the main theme of this essay to render justifiable its inclusion here. It is highly instructive now to note the respects in which Shakspere's plot deviates from that of the original saga; we are, of course, not here concerned with the poetic and literary representation, which not merely revivified an old story, but created an entirely new work of genius. The changes are mainly two in number. The first is as follows: in the saga Claudius