rich expectation which cannot fail to precede the rise of any curtain
upon any Hamlet passed through my eager frame. There is, indeed, no
scene of drama which is of a finer horror (eighteenth-century horror)
than that which opens the great tragedy. The sentry pacing up and down
upon the platform at Elsinore under the winter night; the greeting
between him and the comrade arriving to relieve him, with its hints of
the bitter cold; the entrance of Horatio and Marcellus to these before
they can part; the mention of the ghost, and, while the soldiers are in
the act of protesting it a veridical phantom, the apparition of the
ghost, taking the word from their lips and hushing all into a pulseless
awe: what could be more simply and sublimely real, more naturally
supernatural? What promise of high mystical things to come there is in
the mere syllabling of the noble verse, and how it enlarges us from
ourselves, for that time at least, to a disembodied unity with the
troubled soul whose martyry seems foreboded in the solemn accents!
As the many Hamlets on which the curtain had risen in my time passed in
long procession through my memory, I seemed to myself so much of their
world, and so little of the world that arrogantly calls itself the actual
one, that I should hardly have been surprised to find myself one of the
less considered persons of the drama who were seen but not heard in its
course.




I.

The trouble in judging anything is that if you have the materials for an
intelligent criticism, the case is already prejudiced in your hands.
You do not bring a free mind to it, and all your efforts to free your