uite imperative that the Prince should be
brought to disclose his secret; for his choice of the 'Murder of
Gonzago,' and perhaps his conduct during the performance, have shown a
spirit of exaggerated hostility against the King which has excited
general alarm. Rosencrantz and Guildenstern discourse to Claudius on the
extreme importance of his preserving his invaluable life, as though
Hamlet's insanity had now clearly shown itself to be homicidal.[60]
When, then, at the opening of the interview between Hamlet and his
mother, the son, instead of listening to her remonstrances, roughly
assumes the offensive, she becomes alarmed; and when, on her attempting
to leave the room, he takes her by the arm and forces her to sit down,
she is terrified, cries out, 'Thou wilt not murder me?' and screams for
help. Polonius, behind the arras, echoes her call; and in a moment
Hamlet, hoping the concealed person is the King, runs the old man
through the body.

Evidently this act is intended to stand in sharp contrast with Hamlet's
sparing of his enemy. The King would have been just as defenceless
behind the arras as he had been on his knees; but here Hamlet is already
excited and in action, and the chance comes to him so suddenly that he
has no time to 'scan' it. It is a minor consideration, but still for the
dramatist not unimportant, that the audience would wholly sympathise
with Hamlet's attempt here, as directed against an enemy who is lurking
to entrap him, instead of being engaged in a business which perhaps to
the bulk of the audience then, as now, seemed to have a 'relish of
salvation in't.'

We notice in Hamlet, at the opening of this interview, something of the
excited levity which followed the _denouement_ of the play-scene. The
death of Polonius sobers him; and in the remainder of the interview he
shows, together with some traces of his morbid state, the peculiar
beauty and nobility of his nature. His chief desire is not by any means
to ensure his mother's silent acquiescence in his design of revenge; it
is to save her soul. And while the rough work of vengeance is repugnant
to him, he is at home in this higher work. Here that fatal feeling, 'it
is no matter,' never shows itself. No father-confessor could be more
selflessly set upon his end of redeeming a fellow-creature from
degradation, more stern or pitiless in denouncing the sin, or more eager
to welcome the first token of repentance. There is something infinitely
beauti