on suicide; and he finds that what
stands in the way of it, and counterbalances its infinite attraction, is
not any thought of a sacred unaccomplished duty, but the doubt, quite
irrelevant to that issue, whether it is not ignoble in the mind to end
its misery, and, still more, whether death _would_ end it. Hamlet, that
is to say, is here, in effect, precisely where he was at the time of his
first soliloquy ('O that this too too solid flesh would melt') two
months ago, before ever he heard of his father's murder.[55] His
reflections have no reference to this particular moment; they represent
that habitual weariness of life with which his passing outbursts of
emotion or energy are contrasted. What can be more significant than the
fact that he is sunk in these reflections on the very day which is to
determine for him the truthfulness of the Ghost? And how is it possible
for us to hope that, if that truthfulness should be established, Hamlet
will be any nearer to his revenge?[56]

His interview with Ophelia follows; and its result shows that his delay
is becoming most dangerous to himself. The King is satisfied that,
whatever else may be the hidden cause of Hamlet's madness, it is not
love. He is by no means certain even that Hamlet is mad at all. He has
heard that infuriated threat, 'I say, we will have no more marriages;
those that are married, all but one, shall live; the rest shall keep as
they are.' He is thoroughly alarmed. He at any rate will not delay. On
the spot he determines to send Hamlet to England. But, as Polonius is
present, we do not learn at once the meaning of this purpose.

Evening comes. The approach of the play-scene raises Hamlet's spirits.
He is in his element. He feels that he is doing _something_ towards his
end, striking a stroke, but a stroke of intellect. In his instructions
to the actor on the delivery of the inserted speech, and again in his
conversation with Horatio just before the entry of the Court, we see the
true Hamlet, the Hamlet of the days before his father's death. But how
characteristic it is that he appears quite as anxious that his speech
should not be ranted as that Horatio should observe its effect upon the
King! This trait appears again even at that thrilling moment when the
actor is just going to deliver the speech. Hamlet sees him beginning to
frown and glare like the conventional stage-murderer, and calls to him
impatiently, 'Leave thy damnable faces and begin!'[57]

Hamle