the identity and truthfulness of the Ghost. Evidently this sudden doubt,
of which there has not been the slightest trace before, is no genuine
doubt; it is an unconscious fiction, an excuse for his delay--and for
its continuance.

A night passes, and the day that follows it brings the crisis. First
takes place that interview from which the King is to learn whether
disappointed love is really the cause of his nephew's lunacy. Hamlet is
sent for; poor Ophelia is told to walk up and down, reading her
prayer-book; Polonius and the King conceal themselves behind the arras.
And Hamlet enters, so deeply absorbed in thought that for some time he
supposes himself to be alone. What is he thinking of? 'The Murder of
Gonzago,' which is to be played in a few hours, and on which everything
depends? Not at all. He is meditating on suicide; and he finds that what
stands in the way of it, and counterbalances its infinite attraction, is
not any thought of a sacred unaccomplished duty, but the doubt, quite
irrelevant to that issue, whether it is not ignoble in the mind to end
its misery, and, still more, whether death _would_ end it. Hamlet, that
is to say, is here, in effect, precisely where he was at the time of his
first soliloquy ('O that this too too solid flesh would melt') two
months ago, before ever he heard of his father's murder.[55] His
reflections have no reference to this particular moment; they represent
that habitual weariness of life with which his passing outbursts of
emotion or energy are contrasted. What can be more significant than the
fact that he is sunk in these reflections on the very day which is to
determine for him the truthfulness of the Ghost? And how is it possible
for us to hope that, if that truthfulness should be established, Hamlet
will be any nearer to his revenge?[56]

His interview with Ophelia follows; and its result shows that his delay