to him who, as a soldier,
“was likely, had he been put on, To have proved most royally,” than he is the good feeble young gentleman whom Goëthe describes, and whose “mind is too feeble for the accomplish ment” of “the great action imposed as a duty.” “Here is an oak planted in a vase ; proper only to receive the most delicate flowers. The roots strike out, the vessel flies to pieces. A pure, noble, highly moral disposition, but without that energy of soul which constitutes a hero, sinks under a load
which it can neither support nor abandon altogether.”
“Ob
serve how he shifts, hesitates, advances, and recedes!” Goëthe's
simile however, beautiful though it be, appears to halt on both feet, for the great action, which is the oak, does not strike out its roots, does not increase in magnitude or responsibility; nor does the Prince deserve to be compared to a vase, sense less and inert, which cannot expand or “shift;” and, moreover, it is not the greatness of the action which is above the energy of his soul, but the nature of it which is repulsive to its
nobility. If Hamlet must be compared to a vase, let it not be to a flower-pot, but to that kingly drinking cup, whose property it was to fly to pieces when poison was poured into it. In addition to the above, there are other causes of turmoil
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}
in Hamlet's mind less plainly stated, but traceable enough throughout the piece. One of these is the contention between his religious sentiments and his sceptical philosophy. His mind constantly wavers between belief and unbelief; between confidence in an overruling Providence, who shapes all our ends to wise purposes, and even permits its angels and ministers of grace to attend unseen on our hours of trial;
between this reverential faith and that scepticism which sees in man but so much animated dust, and looks upon death s annihilation. The pain of this same doubt has been finely xpressed by him, whom future centuries will regard as the
