task to perform in the soliloquies--that of showing the state
of mind which caused Hamlet to delay his vengeance--did not choose to
make his task more difficult by introducing matter which would not only
add to the complexity of the subject but might, from its 'sentimental'
interest, distract attention from the main point; while, from his
theatrical experience, he knew that the audience would not observe how
unnatural it was that a man deeply in love, and forced not only to
renounce but to wound the woman he loved, should not think of her when
he was alone. But, as this explanation is no more completely convincing
to me than the other, I am driven to suspend judgment, and also to
suspect that the text admits of no sure interpretation. [This paragraph
states my view imperfectly.]

This result may seem to imply a serious accusation against Shakespeare.
But it must be remembered that if we could see a contemporary
representation of _Hamlet_, our doubts would probably disappear. The
actor, instructed by the author, would make it clear to us by looks,
tones, gestures, and by-play how far Hamlet's feigned harshness to
Ophelia was mingled with real bitterness, and again how far his
melancholy had deadened his love.

4

As we have seen, all the persons in _Hamlet_ except the hero are minor
characters, who fail to rise to the tragic level. They are not less
interesting on that account, but the hero has occupied us so long that I
shall refer only to those in regard to whom Shakespeare's intention
appears to be not seldom misunderstood or overlooked.

It may seem strange that Ophelia should be one of these; and yet
Shakespearean literature and the experience of teachers show that there
is much difference of opinion regarding her, and in particular that a
large number of readers feel a kind of personal irritation against her.
They seem unable to forgive her for not having been a heroine, and they
fancy her much weaker than she was. They think she ought to have been
able to help Hamlet to fulfil his task. And they betray, it appears to
me, the strangest misconceptions as to what she actually did.

Now it was essential to Shakespeare's purpose that too great an interest
should not be aroused in the love-story; essential, therefore, that
Ophelia should be merely one of the subordinate characters; and
necessary, accordingly, that she should not be the equal, in spirit,
power or intelligence, of his famous heroines. If she had b