banquet scene, are placed in very similar circumstances: they both refer these appearances to a morbid state of the brain, by which the son of the one and the husband of the other are so terribly moved ; they both, but in very different degrees, are endeavouring to conceal remorse. But the Danish Queen is affrighted at the behaviour of her son ; the Scottish Queen, incapable of fear, is mainly anxious about the effect which her husband's conduct will have upon the bystanders. The one gives free expression to her alarm,
she allows amazement to
sit visible in her expression and attitude ; the other, firm and self-possessed, is the ruling spirit of the hour. The one is a middle-aged voluptuary who, incestuously married to a drunkard of degraded appearance, has feelings so little refined that, until her son holds up the mirror to her soul, she is barely sensible of her own shameless position; the other, a great criminal, is as conscious as she is outwardly confident. The one is animated with the spirit of Belial ; the other with that of Satan.
Hamlet finds that his assumed madness, which he puts on and off rather capriciously, is likely to become an impediment to a right understanding with his mother. He sees her ready to deny the reality of her own trespass, because it is mirrored with the demeanour, and, in some sort, with the words of
ecstasy. He therefore offers as tests of his sanity, that his pulse is temperate, that his attention is under command, and his memory faithful; tests which we are bound to pronounce about as fallacious as could well be offered, and which could only apply to febrile delirium and mania. The pulse in mania averages about fifteen beats above that of health ; that of the insane generally, including maniacs, only averages nine beats above the healthy standard: the pulse of melancholia and monomania is not above the average. That a maniac would gambol from reproducing in the same words any state ment he had made, is true enough in the acute forms of the
