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126 purpose or of love. Surely what all this points to is not a condition of excessive but useless mental activity (indeed there is, in reality, curiously little about that in the text), but rather one of dull, apathetic, brooding gloom, in which Hamlet, so far from analysing his duty, is not thinking of it at all, but for the time literally forgets it. It seems to me we are driven to think of Hamlet chiefly thus during the long time which elapsed between the appearance of the Ghost and the events presented in the Second Act. The Ghost, in fact, had more reason than we suppose at first for leaving with Hamlet as his parting injunction the command, 'Remember me,' and for greeting him, on re-appearing, with the command, 'Do not forget.' These little things in Shakespeare are not accidents.

The second trait which is fully explained only by Hamlet's melancholy is his own inability to understand why he delays. This emerges in a marked degree when an occasion like the player's emotion or the sight of Fortinbras's army stings Hamlet into shame at his inaction. 'Why,' he asks himself in genuine bewilderment, 'do I linger? Can the cause be cowardice? Can it be sloth? Can it be thinking too precisely of the event? And does that again mean cowardice? What is it that makes me sit idle when I feel it is shameful to do so, and when I have cause and will, and strength, and means, to act?' A man irresolute merely because he was considering a proposed action too minutely would not feel this bewilderment. A man might feel it whose conscience