is some way from this condition. It is a totally different thing from
the madness which he feigns; and he never, when alone or in company with
Horatio alone, exhibits the signs of that madness. Nor is the dramatic
use of this melancholy, again, open to the objections which would justly
be made to the portrayal of an insanity which brought the hero to a
tragic end. The man who suffers as Hamlet suffers--and thousands go
about their business suffering thus in greater or less degree--is
considered irresponsible neither by other people nor by himself: he is
only too keenly conscious of his responsibility. He is therefore, so
far, quite capable of being a tragic agent, which an insane person, at
any rate according to Shakespeare's practice, is not.[47] And, finally,
Hamlet's state is not one which a healthy mind is unable sufficiently to
imagine. It is probably not further from average experience, nor more
difficult to realise, than the great tragic passions of Othello, Antony
or Macbeth.

Let me try to show now, briefly, how much this melancholy accounts for.

It accounts for the main fact, Hamlet's inaction. For the _immediate_
cause of that is simply that his habitual feeling is one of disgust at
life and everything in it, himself included,--a disgust which varies in
intensity, rising at times into a longing for death, sinking often into
weary apathy, but is never dispelled for more than brief intervals. Such
a state of feeling is inevitably adverse to _any_ kind of decided
action; the body is inert, the mind indifferent or worse; its response
is, 'it does not matter,' 'it is not worth while,' 'it is no good.' And
the action required of Hamlet is very exceptional. It is violent,
dangerous, difficult to accomplish perfectly, on one side repulsive to a
man of honour and sensitive feeling, on another side involved in a
certain mystery (here come in thus, in their subordinate place, various