Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth
Hamlet's silence may be that Shakespeare, having already a very
difficult task to perform in the soliloquies--that of showing the state
of mind which caused Hamlet to delay his vengeance--did not choose to
make his task more difficult by introducing matter which would not only
add to the complexity of the subject but might, from its 'sentimental'
interest, distract attention from the main point; while, from his
theatrical experience, he knew that the audience would not observe how
unnatural it was that a man deeply in love, and forced not only to
renounce but to wound the woman he loved, should not think of her when
he was alone. But, as this explanation is no more completely convincing
to me than the other, I am driven to suspend judgment, and also to
suspect that the text admits of no sure interpretation. [This paragraph
states my view imperfectly.]
This result may seem to imply a serious accusation against Shakespeare.
But it must be remembered that if we could see a contemporary
representation of _Hamlet_, our doubts would probably disappear. The
actor, instructed by the author, would make it clear to us by looks,
tones, gestures, and by-play how far Hamlet's feigned harshness to
Ophelia was mingled with real bitterness, and again how far his
melancholy had deadened his love.
4
As we have seen, all the persons in _Hamlet_ except the hero are minor
characters, who fail to rise to the tragic level. They are not less
interesting on that account, but the hero has occupied us so long that I
shall refer only to those in regard to whom Shakespeare's intention
appears to be not seldom misunderstood or overlooked.
It may seem strange that Ophelia should be one of these; and yet
Shakespearean literature and the experience of teachers show that there
is much difference of opinion regarding her, and in particular that a
large number of readers feel a kind of personal irritation against her.
They seem unable to forgive her for not having been a heroine, and they
fancy her much weaker than she was. They think she ought to have been
able to help Hamlet to fulfil his task. And they betray, it appears to
me, the strangest misconceptions as to what she actually did.
Now it was essential to Shakespeare's purpose that too great an interest
should not be aroused in the love-story; essential, therefore, that
Ophelia should be merely one of the subordinate characters; and
necessary, accordingly, that she should not be the equal, in spirit,
power or intelligence, of his famous heroines. If she had been an
Imogen, a Cordelia, even a Portia or a Juliet, the story must have taken
another shape. Hamlet would either have been stimulated to do his duty,
or (which is more likely) he would have gone mad, or (which is
likeliest) he would have killed himself in despair. Ophelia, therefore,
was made a character who could not help Hamlet, and for whom on the
other hand he would not naturally feel a passion so vehement or profound
as to interfere with the main motive of the play.[76] And in the love
and the fate of Ophelia herself there was introduced an element, not of
deep tragedy but of pathetic beauty, which makes the analysis of her
character seem almost a desecration.
Ophelia is plainly quite young and inexperienced. She has lost her
mother, and has only a father and a brother, affectionate but worldly,
to take care of her. Everyone in the drama who has any heart is drawn to
her. To the persons in the play, as to the readers of it, she brings the
thought of flowers. 'Rose of May' Laertes names her.
Lay her in the earth,
And from her fair and unpolluted flesh
May violets spring!
--so he prays at her burial. 'Sweets to the sweet' the Queen murmurs, as
she scatters flowers on the grave; and the flowers which Ophelia herself
gathered--those which she gave to others, and those which floated about
her in the brook--glimmer in the picture of the mind. Her affection for
her brother is shown in two or three delicate strokes. Her love for her
father is deep, though mingled with fear. For Hamlet she has, some say,
no deep love--and perhaps she is so near childhood that old affections
have still the strongest hold; but certainly she has given to Hamlet all
the love of which her nature is as yet capable. Beyond these three
beloved ones she seems to have eyes and ears for no one. The Queen is
fond of her, but there is no sign of her returning the Queen's
affection. Her existence is wrapped up in these three.
On this childlike nature and on Ophelia's inexperience everything
depends. The knowledge that 'there's tricks in the world' has reached
her only as a vague report. Her father and brother are jealously anxious
for her because of her ignorance and innocence; and we resent their
anxiety chiefly because we know Hamlet better than they. Her whole
character is that of simple unselfish affection. Naturally she is
incapable of understanding Hamlet's mind, though she can feel its
beauty. Naturally, too, she obeys her father when she is forbidden to
receive Hamlet's visits and letters. If we remember not what _we_ know
but what _she_ knows of her lover and her father; if we remember that
she had not, like Juliet, confessed her love; and if we remember that
she was much below her suitor in station, her compliance surely must
seem perfectly natural, apart from the fact that the standard of
obedience to a father was in Shakespeare's day higher than in ours.
'But she does more than obey,' we are told; 'she runs off frightened to
report to her father Hamlet's strange visit and behaviour; she shows to
her father one of Hamlet's letters, and tells him[77] the whole story of
the courtship; and she joins in a plot to win Hamlet's secret from him.'
One must remember, however, that she had never read the tragedy.
Consider for a moment how matters looked to _her_. She knows nothing
about the Ghost and its disclosures. She has undergone for some time the
pain of repelling her lover and appearing to have turned against him.
She sees him, or hears of him, sinking daily into deeper gloom, and so
transformed from what he was that he is considered to be out of his
mind. She hears the question constantly discussed what the cause of this
sad change can be; and her heart tells her--how can it fail to tell
her?--that her unkindness is the chief cause. Suddenly Hamlet forces his
way into her chamber; and his appearance and his behaviour are those of
a man crazed with love. She is frightened--why not? She is not Lady
Macbeth. Rosalind would have been frightened. Which of her censors would
be wholly unmoved if his room were invaded by a lunatic? She is
frightened, then; frightened, if you will, like a child. Yes, but,
observe, her one idea is to help Hamlet. She goes, therefore, at once to
her father. To whom else should she go? Her brother is away. Her father,
whom she saw with her own eyes and not with Shakespeare's, is kind, and
the wisest of men, and concerned about Hamlet's state. Her father finds,
in her report, the solution of the mystery: Hamlet is mad because she
has repulsed him. Why should she not tell her father the whole story and
give him an old letter which may help to convince the King and the
Queen? Nay, why should she not allow herself to be used as a 'decoy' to
settle the question why Hamlet is mad? It is all-important that it
should be settled, in order that he may be cured; all her seniors are
simply and solely anxious for his welfare; and, if her unkindness _is_
the cause of his sad state, they will permit her to restore him by
kindness (III. i. 40). Was she to refuse to play a part just because it
would be painful to her to do so? I find in her joining the 'plot' (as
it is absurdly called) a sign not of weakness, but of unselfishness and
strength.
'But she practised deception; she even told a lie. Hamlet asked her
where her father was, and she said he was at home, when he was really
listening behind a curtain.' Poor Ophelia! It is considered angelic in
Desdemona to say untruly that she killed herself, but most immoral or
pusillanimous in Ophelia to tell _her_ lie. I will not discuss these
casuistical problems; but, if ever an angry lunatic asks me a question
which I cannot answer truly without great danger to him and to one of my
relations, I hope that grace may be given me to imitate Ophelia.
Seriously, at such a terrible moment was it weak, was it not rather
heroic, in a simple girl not to lose her presence of mind and not to
flinch, but to go through her task for Hamlet's sake and her father's?
And, finally, is it really a thing to be taken as matter of course, and
no matter for admiration, in this girl that, from beginning to end, and
after a storm of utterly unjust reproach, not a thought of resentment
should even cross her mind?
Still, we are told, it was ridiculously weak in her to lose her reason.
And here again her critics seem hardly to realise the situation, hardly
to put themselves in the place of a girl whose lover, estranged from
her, goes mad and kills her father. They seem to forget also that
Ophelia must have believed that these frightful calamities were not mere
calamities, but followed from _her_ action in repelling her lover. Nor
do they realise the utter loneliness that must have fallen on her. Of
the three persons who were all the world to her, her father has been
killed, Hamlet has been sent out of the country insane, and her brother
is abroad. Horatio, when her mind gives way, tries to befriend her, but
there is no sign of any previous relation between them, or of Hamlet's
having commended her to his friend's care. What support she can gain
from the Queen we can guess from the Queen's character, and from the
fact that, when Ophelia is most helpless, the Queen shrinks from the
very sight of her (IV. v. 1). She was left, thus, absolutely alone, and
if she looked for her brother's return (as she did, IV. v. 70), she
might reflect that it would mean danger to Hamlet.
Whether this idea occurred to her we cannot tell. In any case it was
well for her that her mind gave way before Laertes reached Elsinore; and
pathetic as Ophelia's madness is, it is also, we feel, the kindest
stroke that now could fall on her. It is evident, I think, that this was
the effect Shakespeare intended to produce. In her madness Ophelia
continues sweet and lovable.
Thought and affliction, passion, hell itself,
She turns to favour and to prettiness.
In her wanderings we hear from time to time an undertone of the deepest
sorrow, but never the agonised cry of fear or horror which makes madness
dreadful or shocking.[78] And the picture of her death, if our eyes grow
dim in watching it, is still purely beautiful. Coleridge was true to
Shakespeare when he wrote of 'the affecting death of Ophelia,--who in
the beginning lay like a little projection of land into a lake or
stream, covered with spray-flowers quietly reflected in the quiet
waters, but at length is undermined or loosened, and becomes a fairy
isle, and after a brief vagrancy sinks almost without an eddy.'[79]
5
I reluctantly pass by Polonius, Laertes and the beautiful character of
Horatio, to say something in conclusion of the Queen and the King.
The answers to two questions asked about the Queen are, it seems to me,
practically certain, (1) She did not merely marry a second time with
indecent haste; she was false to her husband while he lived. This is
surely the most natural interpretation of the words of the Ghost (I. v.
41 f.), coming, as they do, before his account of the murder. And
against this testimony what force has the objection that the queen in
the 'Murder of Gonzago' is not represented as an adulteress? Hamlet's
mark in arranging the play-scene was not his mother, whom besides he had