mode of oratory ridicules the practice of Shakspeare's times, of prefaces that made no introduction, and of method that embarrassed rather than explained.” ·

As a prototype of "the most beautified Ophelia," must be quoted "the fair and beautiful woman employed to discover the intent and meaning of the young prince, by flattering speeches, and all the craftiest means she could. The lady, from her infancy, had loved and favoured Hamblet, who was himself wholly in affection for her." The skill with which Shakspeare has availed himself of this hint for the introduction of a female character is eminently deserving of notice. A young, delicate, and accomplished lady, tenderly loved by a prince who commanded the admiration of all hearts, but whose exalted station forbad even a hope that his vows could be listened to with honour, excites an interest which ripens into the deepest sympathy, when the preservation of his life forces on Hamlet the necessity of taunting, insulting, and upbraiding her. It was an additionally refined stroke of art to make Ophelia the daughter of Polonius. He who lately bowed in adoration to her charms, had just abjured his faith; the lips that had ever previously flowed with "words of sweetest breath,"

had scarcely ceased from the utterance of a torrent of cruel mockery, when the hand that had proffered her "remembrances" was violently and fatally raised against the bosom of her father. In the madness naturally resulting from the pressure of such accumulated misfortunes, Ophelia is still distinguished by her artlessness of thought and tenderness of feeling: with a beautiful attention to nature, the griefs of her heart are betrayed in the simple and affecting airs which she chants of the perjuries of lovers and of images of death. All that renders Ophelia interesting was the work of Shakspeare, and it is to be wished that he had dismissed her from the scene

"When down her weedy trophies, and herself,

Fell in the weeping brook. Her clothes spread wide;
And, mermaid like, a while they bore her

up:

Which time, she chanted snatches of old tunes;
As one incapable of her own distress,

Or like a creature native and indu'd

Unto that element: but long it could not be,
Till that her garments, heavy with their drink,
Pull'd the poor wretch from her melodious lay
To muddy death." *

It is difficult to imagine any mòtive that could subsequently induce the poet to degrade this

* Act IV. sc. 7.

interesting maniac into a suicide narrowly escaping interment in " ground unsanctified,” with "shards, flints, and pebbles," heaped on her, in lieu of the prayers of the charitable and the pity of the good. *

Hamlet's animating eulogy on the manly virtue of Horatiot exalts him above all praise; otherwise it might have been said, that he exhibits few qualities not readily suggested by the description of the "gentleman who had been nourished with Hamblet, and showed himself more affectioned to the bringing up he had received with him, than desirous to please the tyrant."

It scarcely requires to be mentioned, that Rosencrantz and Guildenstern are "the two faithful ministers of Fengon, who bore Hamblet company to England."

Laertes, unknown to the original novel, necessarily sprung out of the alteration which the poet made in the story. In his desire of bringing the tragedy to a conclusion, Shakspeare appears to have lost sight of the idea he originally

+ "Horatio, thou art e'en as just a man
As e'er my conversation cop'd withal.

Since my dear soul, &c." Act. III. sc. 2.

entertained of creating an impression highly favourable to Laertes, or he never could have imputed to him an act so treacherous and cowardly as that by which Hamlet is deprived of life. Never were professions of friendship more vilely prostituted than by Laertes; never a more iniquitous falsehood uttered than his declaration

"I am satisfied in nature,

Whose motive, in this case, should stir me most
To my revenge: but in my terms of honour,

I stand aloof; and will no reconcilement,
Till by some elder masters, of known honour,
I have a voice and precedent of peace,

To keep my name ungor'd: But tiil that time,
I do receive your offer'd love like love,
And will not wrong it." *

Hamlet, indeed, is not himself free from the imputation of falsehood: he apologises for his violence on Laertes on the plea of madness: † this is a meanness; but the lie of Laertes is a crime of the blackest dye, inconsistent with any sense of honour, or acknowledgement of moral obligation.

Scarcely a play can be mentioned, in which there are not insipid personages who walk through the scene, with no other view than that + Act V. sc. 2.

* Act V. sc. 2.

of keeping the plot in motion. Shakspeare is the parent of many such insignificant, though necessary beings; but it is delightful to contemplate the extent and variety of his observ ation, in the numerous short parts which he has dashed off with all the vividness of colouring which distinguishes many of his more extended efforts. Such is the portrait of the light, frivolous, and contemptible "water-fly," Osric, who boasts a distinctness of individuality, which effectually distinguishes him from every other creation of his author's imagination.

Not even the gravity of Hamlet, the most sublime and high-toned of the bard's performances, could secure it against the introduction of characters, which debase its dignity by their meanness, and detract from its simplicity, since they contribute nothing to the progress of the plot. Notwithstanding all that may be urged in favour of the inimitable humour displayed in their delineation, the grave-diggers are unsightly excrescences on a surface exquisitely beautiful and polished.

In the black letter history of Hamlet, Fengon's murder of his brother is openly avowed; and justified on the plea that the king would have slain his wife but for the interposition of Fengon, who was obliged to sacrifice his brother