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Rh more than once represented as desperation, at the thought that he is eternally ‘lost’; the same idea appears in the attempt of Claudius at repentance; and as Hamlet nears its close the ‘religious’ tone of the tragedy is deepened in two ways. In the first place, ‘accident’ is introduced into the plot in its barest and least dramatic form, when Hamlet is brought back to Denmark by the chance of the meeting with the pirate ship. This incident has been therefore severely criticised as a lame expedient, but it appears probable that the ‘accident’ is meant to impress the imagination as the very reverse of accidental, and with many readers it certainly does so. And that this was the intention is made the more likely by a second fact, the fact that in connection with the events of the voyage Shakespeare introduces that feeling, on Hamlet’s part, of his being in the hands of Providence. The repeated expressions of this feeling are not, I have maintained, a sign that Hamlet has now formed a fixed resolution to do his duty forthwith; but their effect is to strengthen in the spectator the feeling that, whatever may become of Hamlet, and whether he wills it or not, his task will surely be accomplished, because it is the purpose of a power against which both he and his enemy are impotent, and which makes of them the instruments of its own will.

Observing this, we may remember another significant point of resemblance between Hamlet and Macbeth, the appearance in each play of a Ghost,—a figure which seems quite in place in either, whereas it would seem utterly out of place in Othello or King Lear. Much might be said of the Ghost in Hamlet, but I confine myself to the matter which we are now considering. What is the effect of the appearance of the Ghost? And, in