“He was likely Had he been put on, to have proved most royally.”[146:1]

His moral nature is equally praiseworthy. Ordinarily strong of will, “most generous and free from all contriving,”[146:2] though probably at times inclined to be passionate and on occasions headstrong to excess, he was certainly not the man to procrastinate through “losing himself in labyrinths of thought” as Schlegel asserts him to have done.

Elizabethan Drama and Its Mad Folk — Part 72

If we would find the key to this mystery, Hamlet himself will give it us in his first soliloquy. He meditates suicide, from which he is only kept by the fact that “the Everlasting” has “fix’d His canon ’gainst self-slaughter.”[146:3] Then he explains why everything to him is “weary, stale, flat and unprofitable”—it is the terrible shock of his mother’s incestuous marriage following that of the death of his father, and the suspicious circumstances which attended it, that has given rise to this abnormal state of mind. His melancholy is augmented by the nature of the command laid on him by the Ghost and the consequent secrecy which he must put upon himself:

Elizabethan Drama and Its Mad Folk — Part 72

“But break, my heart, for I must hold my tongue.”[146:4]

Elizabethan Drama and Its Mad Folk — Part 72

This is Melancholy True—a state of mind which cannot be thrown off like a cloak, yet which is abnormal. It is an excellent case for the pathologist. Truly conceived, it furnishes the only satisfying explanation of the strange phases of Hamlet’s so-called “character”—the depression, the self-weariness, the irritability, the violence, the satisfaction at the smallest thing achieved, the impossibility of carrying out the original purpose—all these things are the natural outcome of melancholia.

A two-fold objection to this view has to be met. It will be said that such a conception of Hamlet destroys the moral lesson of the play. And would that it did! It is unfortunate that certain critics are unable to pick up a play without looking at once for the moral. Those who have done this with “Hamlet” have succeeded in shifting the centre of gravity from the author to themselves. They say that the play shews how wrong it is to procrastinate, and how by procrastination we lose far more than we gain. It is, according to these critics, a mere sermon preached on the text