tragedy has to desert the pure tragic form, and Hamlet remains the
beau-ideal of "the poetry of doubt." But what would a tragedy be in
which the actors were all Hamlets, or rather scraps of Hamlets? A
drama of Hamlet is only possible because the one sceptic is
surrounded by characters who have some positive faith, who do their
work for good or evil undoubtingly while he is speculating about his.
And both Ophelia, and Laertes, Fortinbras, the king, yea the very
grave-digger, know well enough what they want, whether Hamlet does or
not. The whole play is, in fact, Shakespeare's subtle reductio ad
absurdum of that very diseased type of mind which has been for the
last forty years identified with "genius"--with one difference,
namely, that Shakespeare, with his usual clearness of conception,
exhibits the said intellectual type pure and simple, while modern
poets degrade and confuse it, and all the questions dependent on it,
by mixing it up unnecessarily with all manner of moral weaknesses,
and very often moral crimes.

But the poet is to have a faith nowadays of course--a "faith in
nature." This article of Wordsworth's poetical creed is to be
assumed as the only necessary one, and we are to ignore altogether
the somewhat important fact that he had faith in a great deal besides
nature, and to make that faith in nature his sole differentia and
source of inspiration. Now we beg leave to express not merely our
want of faith in this same "faith in nature," but even our ignorance
of what it means. Nature is certain phenomena, appearances. Faith
in them is simply to believe that a red thing is red, and a square
thing square; a sine qua non doubtless in poetry, as in carpentry,
but which will produce no poetry, but only Dutch painting and
gardeners' catalogues--in a word, that lowest form of art, the merely
descriptive; and into this very style the modern naturalist poets,