the Ground-work of
his Plot, _Shakespeare_ makes the young Prince feign himself mad. I
cannot but think this to be injudicious; for so far from Securing
himself from any Violence which fear'd from the Usurper, which was his
Design in so doing, it seems to have been the most likely Way of getting
himself confin'd, and consequently, debarr'd from an Opportunity of
Revenging his Father's Death, which now seem'd to be his only Aim; and
accordingly it was the Occasion of his being sent away to _England_.
Which Design, had it taken effect upon his Life, he never could have
revenged his Father's Murder. To speak Truth, our Poet, by keeping too
close to the Ground-work of his Plot, has fallen into an Absurdity; for
there appears no Reason at all in Nature, why the young Prince did not
put the Usurper to Death as soon as possible, especially as _Hamlet_ is
represented as a Youth so brave, and so careless of his own Life.

The Case indeed is this: Had _Hamlet_ gone naturally to work, as we
could suppose such a Prince to do in parallel Circumstances, there would
have been an End of our Play. The Poet therefore was obliged to delay
his Hero's Revenge; but then he should have contrived some good Reason
for it.

His Beginning his Scenes of Madness by his Behaviour to _Ophelia_ was
judicious, because by this Means he might be thought to be mad for her,
and not that his Brain was disturb'd about State Affairs, which would
have been dangerous.

Page 263.

_Enter King, Queen_, Rosincrantz, Guildenstern, &c.

The King in this Scene, seems to be but half perswaded that _Hamlet_ is
really mad; had he thoroughly believed it, it was to no Purpose to
endeavour to sound his Mind; and the shortest and best Way, and what,
methinks, the King ought most to have wished for, was to have had him
confin'd; and this was an excellent Reason to give the People for so
doing.

The Queen seems to have no Design or Artifice in relation to her Son,
but mere Affection; which, considering all Things, one would little
expect from her.

The Account of the Embassy to _Norway_, was necessary towards the
Introduction of _Fortinbrass_, in the Sequel, whose coming in at the
Close of the Play winds up all very naturally.

_Polonius's_ Character, (p. 267, 268.) is admirably well kept up in that
Scene, where he pretends to have discovered the Cause of the Prince's
Madness, and would much deserve Applause, were such a Character
allowable in such a Piece as t