(c) Again, why does Shakespeare exhibit Laertes quite easily raising the people against the King? Why but to show how much more easily Hamlet, whom the people loved, could have done the same thing, if that was the plan he preferred?
(d) Again, Hamlet did not plan the play-scene in the hope that the King would betray his guilt to the court. He planned it, according to his own account, in order to convince himself by the King's agitation that the Ghost had spoken the truth. This is perfectly clear from ii. ii. 625 ff. and from iii. ii. 80 ff. Some readers are misled by the words in the latter passage:
if his occulted guilt
Do not itself unkennel in one speech,
It is a damned ghost that we have seen.
The meaning obviously is, as the context shows, 'if his hidden guilt do not betray itself on occasion of one speech,' viz., the 'dozen or sixteen lines' with which Hamlet has furnished the player, and of which only six are delivered, because the King does not merely show his guilt in his face (which was all Hamlet had hoped, iii. ii. 90) but rushes from the room.
It may be as well to add that, although Hamlet's own account of his reason for arranging the play-scene may be questioned, it is impossible to suppose that, if his real design had been to provoke an open confession of guilt, he could have been unconscious of this design.
(e) Again, Hamlet never once talks, or shows a sign of thinking, of the plan of bringing the King to public justice; he always talks of using his 'sword' or his 'arm.' And this is so just as much after he has returned to Denmark with the commission in his pocket as it was before this event. When he has told Horatio the story of the voyage, he does not say, 'Now I can convict him': he says, 'Now am I not justified in using this arm?'
This class of theory, then, we must simply reject. But it suggests two remarks. It is of course quite probable that, when Hamlet was 'thinking too precisely on the event,' he was considering, among other things, the question how he could avenge his father without sacrificing his own life or freedom. And assuredly, also, he was anxious that his act of vengeance should not be misconstrued, and would never have been content to leave a 'wounded name' behind him. His dying words prove that.
(2) Assuming, now, that Hamlet's main difficulty—almost the whole of his difficulty—was internal, I pass to views which, acknowledging this, are still unsatisfactory because they isolate one element in his character and situation and treat it as the whole.
According to the first of these typical views, Hamlet was restrained by conscience or a moral scruple; he could not satisfy himself that it was right to avenge his father.
This idea, like the first, can easily be made to look very plausible if we vaguely imagine the circumstances without attending to the text. But attention to the text is fatal to it. For, on the one hand, scarcely anything can be produced in support of it, and, on the other hand, a great deal can be produced in its disproof. To take the latter point first, Hamlet, it is impossible to deny, habitually assumes, without any questioning, that he ought to avenge his father. Even when he doubts, or thinks that he doubts, the honesty of the Ghost, he expresses no doubt as to what his duty will be if the Ghost turns out honest: 'If he but blench I know my course.' In the two soliloquies where he reviews his position (ii. ii., 'O what a rogue and peasant slave am I,' and iv. iv., 'How all occasions do inform against me') he reproaches himself bitterly for the neglect of his duty. When he reflects on the possible causes of this neglect he never mentions among them a moral scruple. When the Ghost appears in the Queen's chamber he confesses, conscience-stricken, that, lapsed in time and passion, he has let go by the acting of its command; but he does not plead that his conscience stood in his way. The Ghost itself says that it comes to whet his 'almost blunted purpose'; and conscience may unsettle a purpose but does not blunt it. What natural explanation of all this can be given on the conscience theory?
And now what can be set against this evidence? One solitary passage.35 Quite late, after Hamlet has narrated to Horatio the events of his voyage, he asks him (v. ii. 63):
Does it not, thinks't thee, stand me now upon—
He that hath kill'd my king and whored my mother,
Popp'd in between the election and my hopes,
Thrown out his angle for my proper life,
And with such cozenage—is't not perfect conscience
To quit him with this arm? and is't not to be damn'd
To let this canker of our nature come
In further evil?
Here, certainly, is a question of conscience in the usual present sense of the word; and, it may be said, does not this show that all along Hamlet really has been deterred by moral scruples? But I ask first how, in that case, the facts just adduced are to be explained: for they must be explained, not ignored. Next, let the reader observe that even if this passage did show that one hindrance to Hamlet's action was his conscience, it by no means follows that this was the sole or the chief hindrance. And, thirdly, let him observe, and let him ask himself whether the coincidence is a mere accident, that Hamlet is here almost repeating the words he used in vain self-reproach some time before (iv. iv. 56):
How stand I then,
That have a father kill'd, a mother stain'd,
Excitements of my reason and my blood,
And let all sleep?
Is it not clear that he is speculating just as vainly now, and that this question of conscience is but one of his many unconscious excuses for delay? And, lastly, is it not so that Horatio takes it? He declines to discuss that unreal question, and answers simply,
It must be shortly known to him from England
What is the issue of the business there.
In other words, 'Enough of this endless procrastination. What is wanted is not reasons for the deed, but the deed itself.' What can be more significant?
Perhaps, however, it may be answered: 'Your explanation of this passage may be correct, and the facts you have mentioned do seem to be fatal to the theory of conscience in its usual form. But there is another and subtler theory of conscience. According to it, Hamlet, so far as his explicit consciousness went, was sure that he ought to obey the Ghost; but in the depths of his nature, and unknown to himself, there was a moral repulsion to the deed. The conventional moral ideas of his time, which he shared with the Ghost, told him plainly that he ought to avenge his father; but a deeper conscience in him, which was in advance of his time, contended with these explicit conventional ideas. It is because this deeper conscience remains below the surface that he fails to recognise it, and fancies he is hindered by cowardice or sloth or passion or what not; but it emerges into light in that speech to Horatio. And it is just because he has this nobler moral nature in him that we admire and love him.'
Now I at once admit not only that this view is much more attractive and more truly tragic than the ordinary conscience theory, but that it has more verisimilitude. But I feel no doubt that it does not answer to Shakespeare's meaning, and I will simply mention, out of many objections to it, three which seem to be fatal. (a) If it answers to Shakespeare's meaning, why in the world did he conceal that meaning until the last Act? The facts adduced above seem to show beyond question that, on the hypothesis, he did so. That he did so is surely next door to incredible. In any case, it certainly requires an explanation, and certainly has not received one. (b) Let us test the theory by reference to a single important passage, that where Hamlet finds the King at prayer and spares him. The reason Hamlet gives himself for sparing the King is that, if he kills him now, he will send him to heaven, whereas he desires to send him to hell. Now, this reason may be an unconscious excuse, but is it believable that, if the real reason had been the stirrings of his deeper conscience, that could have masked itself in the form of a desire to send his enemy's soul to hell? Is not the idea quite ludicrous? (c) The