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Rh heart with words, and exhausting in useless emotion the force which should be stored up in his will. And, next, in doing this he is agonising his mother to no purpose, and in despite of her piteous and repeated appeals for mercy. But the Ghost, when it gave him his charge, had expressly warned him to spare her; and here again the dead husband shows the same tender regard for his weak unfaithful wife. The object of his return is to repeat his charge:

but, having uttered this reminder, he immediately bids the son to help the mother and 'step between her and her fighting soul.'

And, whether intentionally or not, another purpose is served by Shakespeare's choice of this particular moment. It is a moment when the state of Hamlet's mind is such that we cannot suppose the Ghost to be meant for an hallucination; and it is of great importance here that the spectator or reader should not suppose any such thing. He is further guarded by the fact that the Ghost proves, so to speak, his identity by showing the same traits as were visible on his first appearance—the same insistence on the duty of remembering, and the same concern for the Queen. And the result is that we construe the Ghost's interpretation of Hamlet's delay ('almost blunted purpose') as the truth, the dramatist's own interpretation. Let me add that probably no one in Shakespeare's audience had any doubt of his meaning here. The idea of later critics and readers that the Ghost is an hallucination is due partly to failure to follow the indications just noticed, but partly also to two mistakes, the substitution of our present intellectual atmosphere for the Elizabethan, and the notion that, because the