rified at the underground voice, which provokes but mocking retorts from the Prince.
Horatio exclaims :
“Oh, day and night, but this is wondrous strange
"
That Hamlet's mockery was the unreal opposite to this true feeling, like the hysteric laughter of acute grief, is evident from his last earnest adjuration: “Rest, rest, perturbed spirit !” How it is that the resolution of Hamlet to put on the guise of madness follows so quick upon the appearance of the Ghost to him, (indeed, while the spirit is yet present, though unseen, for the resolution is expressed before the final unearthly adjuration to swear) we are unable to explain. His
resolutions are not usually taken with such quick speed ; and indeed the wings of his meditation, which he refers to as swift, commonly beat the air with long and slow strokes, the very reverse of Macbeth's vehement action, framed upon the principle, “that the flighty purpose never is o'ertook, except the act goes with it.” It may, however, be said that the word , “perchance" shews that Hamlet has not yet decided to act the madman, when he swears his friends to secrecy. “Never, so help you mercy ſ How strange or odd soe'er I bear myself, As I, perchance, hereafter shall think meet To put an antic disposition on.” And yet the intention must have substance in it, even at this time, or he would not swear his friends in so solemn
a manner to maintain inviolate the secret of his craft.
‘purport of
The
Hamlet's feigned madness is not very obvious. It does not appear to have been needful to protect him, like that of the elder Brutus. It may be that under this dis guise he hopes better to obtain proof of his uncle's guilt, and to conceal his real state of suspicion and vengeful gloom. Still more probable is it that Shakespeare adopted the feigned E”
