under this shock, any possible action being denied to him, he began to sink into melancholy; then, no doubt, his imaginative and generalising habit of mind might extend the effects of this shock through his whole being and mental world. And if, the state of melancholy being thus deepened and fixed, a sudden demand for difficult and decisive action in a matter connected with the melancholy arose, this state might well have for one of its symptoms an endless and futile mental dissection of the required deed. And, finally, the futility of this process, and the shame of his delay, would further weaken him and enslave him to his melancholy still more. Thus the speculative habit would be one indirect cause of the morbid state which hindered action; and it would also reappear in a degenerate form as one of the symptoms of this morbid state.
Now this is what actually happens in the play. Turn to the first words Hamlet utters when he is alone; turn, that is to say, to the place where the author is likely to indicate his meaning most plainly. What do you hear?
O, that this too too solid flesh would melt, Thaw and resolve itself into a dew! Or that the Everlasting had not fix'd His canon 'gainst self-slaughter! O God! God! How weary, stale, flat and unprofitable, Seem to me all the uses of this world! Fie on't! ah fie! 'tis an unweeded garden, That grows to seed; things rank and gross in nature Possess it merely.
Here are a sickness of life, and even a longing for death, so intense that nothing stands between Hamlet and suicide except religious awe. And what has caused them? The rest of the soliloquy so thrusts the answer upon us that it might seem impossible to miss it. It was not his father's death; that doubtless brought deep grief, but mere grief for some one loved and lost does not make a noble spirit loathe the world as a place full only of things rank and gross. It was not the vague suspicion that we know Hamlet felt. Still less was it the loss of the crown; for though the subserviency of the electors might well disgust him, there is not a reference to the subject in the soliloquy, nor any sign elsewhere that it greatly occupied his mind. It was the moral shock of the sudden ghastly disclosure of his mother's true nature, falling on him when his heart was aching with love, and his body doubtless was weakened by sorrow. And it is essential, however disagreeable, to realise the nature of this shock. It matters little here whether Hamlet's age was twenty or thirty: in either case his mother was a matron of mature years. All his life he had believed in her, we may be sure, as such a son would. He had seen her not merely devoted to his father, but hanging on him like a newly-wedded bride, hanging on him
As if increase of appetite had grown By what it fed on.
He had seen her following his body 'like Niobe, all tears.' And then within a month – 'O God! a beast would have mourned longer' – she married again, and married Hamlet's uncle, a man utterly contemptible and loathsome in his eyes; married him in what to Hamlet was incestuous wedlock;[43] married him not for any reason of state, nor even out of old family affection, but in such a way that her son was forced to see in her action not only an astounding shallowness of feeling but an eruption of coarse sensuality, 'rank and gross,'[44] speeding post-haste to its horrible delight. Is it possible to conceive an experience more desolating to a man such as we have seen Hamlet to be; and is its result anything but perfectly natural? It brings bewildered horror, then loathing, then despair of human nature. His whole mind is poisoned. He can never see Ophelia in the same light again: she is a woman, and his mother is a woman: if she mentions the word 'brief' to him, the answer drops from his lips like venom, 'as woman's love.' The last words of the soliloquy, which is wholly concerned with this subject, are, But break, my heart, for I must hold my tongue!
He can do nothing. He must lock in his heart, not any suspicion of his uncle that moves obscurely there, but that horror and loathing; and if his heart ever found relief, it was when those feelings, mingled with the love that never died out in him, poured themselves forth in a flood as he stood in his mother's chamber beside his father's marriage-bed.[45]
If we still wonder, and ask why the effect of this shock should be so tremendous, let us observe that now the conditions have arisen under which Hamlet's highest endowments, his moral sensibility and his genius, become his enemies. A nature morally blunter would have felt even so dreadful a revelation less keenly. A slower and more limited and positive mind might not have extended so widely through its world the disgust and disbelief that have entered it. But Hamlet has the imagination which, for evil as well as good, feels and sees all things in one. Thought is the element of his life, and his thought is infected. He cannot prevent himself from probing and lacerating the wound in his soul. One idea, full of peril, holds him fast, and he cries out in agony at it, but is impotent to free himself ('Must I remember?' 'Let me not think on't'). And when, with the fading of his passion, the vividness of this idea abates, it does so only to leave behind a boundless weariness and a sick longing for death.
And this is the time which his fate chooses. In this hour of uttermost weakness, this sinking of his whole being towards annihilation, there comes on him, bursting the bounds of the natural world with a shock of astonishment and terror, the revelation of his mother's adultery and his father's murder, and, with this, the demand on him, in the name of everything dearest and most sacred, to arise and act. And for a moment, though his brain reels and totters,[46] his soul leaps up in passion to answer this demand. But it comes too late. It does but strike home the last rivet in the melancholy which holds him bound.
The time is out of joint! O cursed spite That ever I was born to set it right, – so he mutters within an hour of the moment when he vowed to give his life to the duty of revenge; and the rest of the story exhibits his vain efforts to fulfil this duty, his unconscious self-excuses and unavailing self-reproaches, and the tragic results of his delay.
4
'Melancholy,' I said, not dejection, nor yet insanity. That Hamlet was not far from insanity is very probable. His adoption of the pretence of madness may well have been due in part to fear of the reality; to an instinct of self-preservation, a fore-feeling that the pretence would enable him to give some utterance to the load that pressed on his heart and brain, and a fear that he would be unable altogether to repress such utterance. And if the pathologist calls his state melancholia, and even proceeds to determine its species, I see nothing to object to in that; I am grateful to him for emphasising the fact that Hamlet's melancholy was no mere common depression of spirits; and I have no doubt that many readers of the play would understand it better if they read an account of melancholia in a work on mental diseases. If we like to use the word 'disease' loosely, Hamlet's condition may truly be called diseased. No exertion of will could have dispelled it. Even if he had been able at once to do the bidding of the Ghost he would doubtless have still remained for some time under the cloud. It would be absurdly unjust to call Hamlet a study of melancholy, but it contains such a study.
But this melancholy is something very different from insanity, in anything like the usual meaning of that word. No doubt it might develop into insanity. The longing for death might become an irresistible impulse to self-destruction; the disorder of feeling and will might extend to sense and intellect; delusions might arise; and the man might become, as we say, incapable and irresponsible. But Hamlet's melancholy is some way from this condition. It is a totally different thing from the madness which he feigns; and he never, when alone or in company with Horatio alone, exhibits the signs of that madness. Nor is the dramatic use of this melancholy, again, open to the objections which would justly be made to the portrayal of an insanity which brought the hero to a tragic end. The man who suffers as Hamlet suffers – and thousands go about their business suffering thus in greater or less degree – is considered irresponsible neither by other people nor by himself: he is only too keenly conscious of his responsibility. He is therefore, so far, quite capable of being a tragic agent, which an insane person, at any rate according to Shakespeare's practice, is not. And, finally, Hamlet's state is not one which a healthy mind is unable sufficiently to imagine. It is probably not further from average experience, nor more difficult to realise, than the great tragic passions of Othello, Antony or Macbeth.
Let me try to show now, briefly, how much this melancholy accounts for.
It
