Page:Wit, humor, and Shakspeare. Twelve essays (IA cu31924013161223).pdf/178

 So far the mocking spirit of his irony does not fail him. But the mood changes, for this was written just after the scene in Ophelia's chamber when he seemed to bid her an eternal farewell. Remembering this, he breaks the tone and adds, "O dear Ophelia! I am ill at these numbers: I have not art to reckon my groans; but that I love thee best, oh! most best, believe it." So with impetuous emphasis he confessed afterward upon Ophelia's grave. Nothing could more precisely convey to us his mental condition than this mixture of moods.

In the churchyard scene, we observe that Hamlet recurs unconsciously to his ordinary mental disposition, because he is alone there with Horatio, whose grave and silent friendship is congenial. It is the foil to Hamlet's restless speculation; it calls a truce to the civil war between his temper and his purpose. He is pacified in the society of Horatio, who gives him a chance to recur to his native mental habit. As he naively pours out his thoughts, how little does Horatio answer! as little as the ground beneath their feet, less laconic than the lawyer's skull. He is a continent upon which Hamlet finds that he can securely walk, the only domain in Denmark that is not honeycombed with pitfalls. Turning toward Horatio's loyal affection, he feels a response that is articulated without words. As little need the forest reply to her lover save in dumb show and in obscure reflex of feeling.

The artless nature solicits confidence: its still air disarms and dissipates the unrelenting irony. Then we see that Hamlet was naturally more inclined to that use