Hence it may be
confidently predicted that no aesthetic criticisms upon this drama will
ever be entirely and universally accepted, and as certainly that there
will remain problems in connection with it which will be subjects for
discussion to the end of literary time. Among the latter the reason or
reasons which induced Hamlet to defer the fulfilment of his revenge may
perhaps continue to hold a prominent situation, although the solution of
that special mystery does not seem to be attended with difficulties equal
to those surrounding other cognate inquiries which arise in the study of
the tragedy.
In respect to this drama, as to many others by the same author, the
prophetic words of Leonard Digges may be usefully remembered--"Some
second Shakespeare must of Shakespeare write." Until this miracle occurs,
it is not likely that any aesthetic criticism on the tragedy will be
successful; and certainly at present, notwithstanding the numbers of
persons of high talent and genius who have discussed the subject, nothing
has been, nor is likely to be, produced which is altogether satisfactory.
The cause of this may perhaps to some extent arise from the latitude of
interpretation the dramatic form of composition allows, to the
appreciation of the minor details of a character, and the various
plausible reasons that can often be assigned for the same line of action;
something also may be due to the unconscious influence exercised by
individual temperament upon the exposition of that character, and again
much to the defective state of the text; but the reason of the general
failure in _Hamlet_ criticism is no doubt chiefly to be traced to the
want of ability to enter fully into the inspiration of the poet's genius.
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