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Rh But, before we come to our types of theory, it is necessary to touch on an idea, not unfrequently met with, which would make it vain labour to discuss or propose any theory at all. It is sometimes said that Hamlet’s character is not only intricate but unintelligible. Now this statement might mean something quite unobjectionable and even perhaps true and important. It might mean that the character cannot be wholly understood. As we saw, there may be questions which we cannot answer with certainty now, because we have nothing but the text to guide us, but which never arose for the spectators who saw Hamlet acted in Shakespeare’s day; and we shall have to refer to such questions in these lectures. Again, it may be held without any improbability that, from carelessness or because he was engaged on this play for several years, Shakespeare left inconsistencies in his exhibition of the character which must prevent us from being certain of his ultimate meaning. Or, possibly, we may be baffled because he has illustrated in it certain strange facts of human nature, which he had noticed but of which we are ignorant. But then all this would apply in some measure to other characters in Shakespeare, and it is not this that is meant by the statement that Hamlet is unintelligible. What is meant is that Shakespeare intended him to be so, because he himself was feeling strongly, and wished his audience to feel strongly, what a mystery life is, and how impossible it is for us to understand it. Now here, surely, we have mere confusion of mind. The mysteriousness of life is one thing, the psychological unintelligibility of a dramatic character is quite another; and the second does not show the first, it shows only the incapacity or folly of the dramatist. If it did show the first, it would be very easy to surpass Shakespeare in producing a sense of mystery: we should simply have to portray an absolutely nonsensical character. Of course Hamlet appeals powerfully