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on THE jFabie AND Compogition of
T, E original story on which this play is built, may be found im Saxo Grammaticus, the Danish historian. From thence Belleforestadopted itin his collečtionofnovels, in seven volumes, which he began in 1564, and continued to publish through succeeding years. From this work, The Hystorie of Hamblett, quarto, bl. 1. was translated. I have hitherto met with no earlier edition of the play, than one in the year 1604, though it must have been performed before that time, as I have seen a copy of Speght's edition of Chaucer, which formerly belonged to Dr. Gabriel Harvey (the antagonist of Nash), who, in his own handwriting, has set down the play, as a performance with which he was well acquainted, in the year 1598. His words are these : “The younger sort take much delight in Shakspere's Venus “ and Adonis; but his Lucrece, and his tragedy of Hamlet “Prince of Denmarke, have it in them to please the wiser “sort, 1598.”
If the dramas of Shakspere were to be charaćterised, each by the particular excellence which distinguishes it from the rest, we must allow to the tragedy of Hamlet the praise of variety. The incidents are so numerous, that the argument of the play
would make a long tale. The scenes are interchangeably diA ij versified
versified with merriment and solemnity; with merriment that includes judicious and instructive observations; and solemnity, not strained by poetical violence above the natural sentiments of man. New chara&ters appear from time to time in continual succession, exhibiting various forms of life and particular modes of conversation. The pretended madness of Hamlet causes much mirth, the mournful distraćtion of Ophelia fills the heart with tenderness, and every personage produces the effect intended, from the apparition that in the first act chills the blood with horror, to the fop in the last, that exposes affectation to just contempt. The condućt is perhaps not wholly secure against obječtions. The action is indeed for the most part in continual progression, but there are some scenes which neither forward nor retard it. Of the feigned madness of Hamlet there appears no adequate. cause, for he does nothing which he might not have done with. the reputation of sanity. He plays the madman most, when he treats Ophelia with so much rudeness, which seems to be useless and wanton cruelty. Hamlet is, through the whole piece, rather an instrument than an agent. After he has, by the stratagem of the play, convicted the king, he makes no attempt to punish him ; and his death is at last effected by an incident which Hamlet had no part in producing. The catastrophe is not very happily produced; the exchange of weapons is rather an expedient of necessity, than a stroke of art. A scheme might easily be formed to kill Hamlet with the dagger, and Laertes with the bowl, The poet is accused of having shewn little regard to poetical justice, and may be charged with equal neglect of poetical probability. The apparition left the regions of the dead to little purpose ; the revenge which he demands is not obtained, but : - - by
by the death of him that was required to take it; and the gratification, which would arise from the destruction of an usurper and a murderer, is abated by the untimely death of Ophelia, the young, the beautiful, the harmless, and the pious. Johnson.