a slave,” “a vice of kings, a cutpurse of the empire and the rule,” “a king of shreds and patches,” “a toad,” “a bat, a gib,”—all this verifies his own sneer on himself, that while he cannot act he can curse “like a very drab.” Although he succeeds in his purpose of turning the Queen's eyes into her very soul, and shewing black and grained spots there, it must be admitted that this excessive vehemence is not merely so
much out of the belt of rule as might be justified by the circumstances, but that it indicates a mind unhinged; and
never does Hamlet appear less sane than when he is declaring “That I essentially am not in madness, But mad in craft.”
Hamlet's behaviour in the second ghost scene is more excited and terrified than in the former one. The apparition comes upon him when in a less firm and prepared mood. The first interview is expected, and each petty artery is knit to hardi hood. The second is wholly unexpected, and comes upon him at a time when his mind is wrought to passionate excitement; and it is far easier for the mind to pass from one state of emotional excitement to the opposite, than from a state of self-possessed tranquillity to one of excitement. It is thus with Hamlet's rapid transition from passionate vehemence,
with which he is describing his uncle's crimes and qualities, to the ecstasy of fear, which seizes him when his father's shade once more stands before him. The sting of conscience also adds force to the emotion of awe. He has neglected the dread
command, the sacred behest, of the buried majesty of Denmark. With unworthy doubts and laggard procrastina tion, his purpose has become almost blunted. His doubts, however, have now vanished ; he no longer entertains the thought that “the spirit he has seen may be the devil;” he no longer questions whether it is “a spirit of health, or goblin damned ;” but accepts the appearance implicitly as the gra
cious figure of his father.
Since the first appearance of the
