(or Fengo, as he is here called) had murdered his brother in public, so that the deed was generally known, and further had with lies and false witnesses sought to justify it in that he pretended it was done to save the Queen from the threats of her husband.[1] This view he successfully imposed on the nation so that, as Belleforest[2] has it, "son peché trouva excuse à 1'endroit du peuple et fut reputé comme justice envers la noblesse–et qu'au reste, en lieu de le poursuyvre comme parricide[3] et incestueux, chacun des courtisans luy applaudissoit et le flattoit en sa fortune prospere." When Shakspere altered this to a secret murder known only to Hamlet it would seem as though it was done, consciously or unconsciously, to minimise the external difficulties of Hamlet's task, for it is obviously harder to rouse a nation to condemn a crime that has been openly explained and universally forgiven than one which has been guiltily concealed. If Shakspere had retained the original plot in this respect there would have been more excuse for the Klein-Werder hypothesis, though it is to be observed that even in the saga Hamlet unhesitatingly executed his task, herculean as it was. Shakspere' s rendering makes still more conspicuous Hamlet's recalcitrancy, in that it disposes of the only justifiable plea for non-action.
The second and all-important respect in which Shakspere changed the story, and thus revolutionised the tragedy, is the vacillation and hesitancy he introduced into Hamlet's attitude towards his task, with the consequent paralysis of his action. In all the previous versions Hamlet was throughout a man of rapid decision and action, not–as with Shakspere' s version–in everything except in the task of vengeance. He had, as Shakspere' s Hamlet felt he should have, swept to his revenge unimpeded by any doubts or scruples, and had never flinched from the straightforward path of duty. With him duty and natural inclination went hand in hand; from his heart he wanted to do that which he believed he ought to do, and was thus harmoniously impelled by both the summons of his conscience and the cry of his blood. There was none of the deep-reaching conflict that was so disastrous to Shakspere's Hamlet. It
- ↑ Those who are acquainted with Freud's work will have no difficulty in discerning the sadistic origin of this pretext. (See Sammlung kleiner Schriften, Zweite Folge, 1909, S. 169.) The interpretation of an overheard coitus as an act of violence offered to the mother is frequently an aggravating cause of hostility towards the father.
- ↑ Quoted after lyoening, Op. cit., S. 248.
- ↑ This should of course be fratricide, though the word parricide was occasionally used in old French to denote a murder of any elder relative. It is conceivable that the mistake is a "Verschreiben," unconsciously motived in Freud's sense. (See Psychopathologie des Alltagslebens, 1907, Cap. VI.)
