acts on no higher principle than that of being true to himself will fail, because to be true to himself, a man must make it a matter of conscience to be true to something higher than himself. Love of rectitude is the only thing that will serve. How low and futile appears the code of Polonius when compared with the noble, unselfish counsel given by another chancellor of Shakespeare:

"Love thyself last; cherish those hearts that hate thee;
Corruption wins not more than honesty.

Be just and fear not;

Let all the ends thou aimst at, be thy country's,
Thy God's and truth's."

It has been observed that nothing shows more clearly the shallowness of Polonius, than his address to Laertes. He evinces no real parental feeling at the departure of his son, but is satisfied with the utterance of a sum of commonplace aphorisms, which might "serve for headlines for a copy book and be continued ad infinitum." There is no word of religion nor appeal to religious motives, which form the only firm base of true morality. There is nothing higher than thoughts of personal comforts and good form, look after yourself first. It pays to be honest. His code of life, Chesterfieldian in scope, utilitarian in nature, and devoid of any Christian principle of morality, is based purely on selfish interests, and might naturally be the dictates of a pagan rather than of a Christian father; nay it does not even rise to the ethical heights of cultured pagans of olden times. They deemed virtue to be its own reward, and inculcated the practice of natural virtue for virtue's sake. This was the highest code of morality, until the advent of Christianity, which superadded the supernatural element to purely natural virtue. Any ethical code constructed on self-interest is a house built on shifting sands; for self-interest ever subject to change, and

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always diversified in individuals, can form no common and permanent basis for moral conduct. Virtue, and right, and justice are such, not because they serve personal interests, but on the contrary, no matter how much soever they stand opposed to such interests, still virtue is virtue, and right is right, and justice is justice. They are universal and unchangeable, and upon them is constructed the one true code of morality, which must also be, independently of personal interests, unchangeable and universal.

MISTRUSTED LOVE

Unfortunately for Ophelia, Laertes on departing, reminded her of his counsel in the presence of her father. His words sufficed to rouse the old courtier's prying instinct. Overmastered by curiosity, he insists on knowing the import of his son's advice. He approves the judgment of Laertes, and goes even further, by condemning her for being too free and bounteous of her time with the Prince, and for not understanding what behooves his daughter and her honor. His severe arraignment, while chargeable to solicitude, most commendable in a father, was due more to the low estimate which he entertained of Hamlet's honor and his motives. Like Laertes he could not imagine that the Prince was truly and genuinely in love with Ophelia; because, not being intimately acquainted with him, he knew neither his nobility of character nor his refined moral nature, and, therefore, measured him according to his own low standard.

Learning of the cause of Hamlet's frequent visits, Polonius in excitement catechises his daughter. His impassioned words "extort from her in short sentences, uttered with a bashful reluctance, the confession of Hamlet's love for her, but not a word of her own love for him. The whole scene is managed with inexpressible delicacy; it is one of those in

stances common in Shakespeare in which we are allowed to perceive what is passing in the mind of a person without any consciousness on their part. Only Ophelia herself is unaware that while she is admitting the extent of Hamlet's courtship, she is also betraying how deep an impression it has made, and how entire is the love with which it is returned." Her father's earnestness had impelled her to speak in self-defense; but her attempt to correct his false notions concerning the nature of Hamlet's love, instead of allaying, only irritated more the old chancellor, who, always infallible in his judg ments, could neither brook contradiction, nor tolerate any hesitating acceptance of his oracles.

Poor Ophelia, bewildered by his onslaught, knows neither what to say nor think. He will teach her: she must consider herself an inexperienced girl, and not accept Hamlet's words of love as legal tenders of sterling silver, when they are naught but counterfeit; she must look upon his "holy vows" as snares to entrap simpletons who have no more circumspection than a senseless woodcock. Appealing to his own experience, he assures her that love is prodigal of vows, which scarce survive their making. She must, therefore, not believe the Prince's vows, which are brokers, clothed in pious form the better to deceive. In conclusion, he forbids her, henceforth, to meet and speak more with the Lord Hamlet. Her father's words confirming those of Laertes, and blasting even worse the fair name of her lover, make him nothing less than a deceiver and seducer. They affect Ophelia's heart most painfully; for in her ignorance and inexperience she has the greatest confidence in the wisdom of her father and her brother, and, therefore, feels inclined, against her own good judgment, to distrust her lover. This disloyalty reveals a weakness of character, which shall 3 Mrs. Jameson: "Characteristics of Women in Shakespeare".

later lead her into other fatal errors. Without making further defense, Ophelia bows in silence, and with filial respect utters the laconic reply, "I shall obey, my lord." Amid conflicting doubts and in painful heart, she accepts the command to break off her relations with Hamlet; in fact, "to lock herself from his resort, to admit no messengers, and receive no tokens."

In this scene, in which for the first time we are introduced to the old courtier, the dramatist evidently intends to lay the foundation for Hamlet's fixed judgment that he is "a foolish prating knave." Notwithstanding his boasted keenness of perception and ambition to play the wily diplomat, Polonius discloses invariably on every occasion his fatal weakness of stumbling upon the wrong scent, and of blunderingly pursuing it with an obstinacy that leads to his own final ruin.

SCENE FOURTH

SOME VICIOUS MOLE OF NATURE

Our curiosity already highly excited is in fine gratified, when we see Hamlet face to face with his father's spirit. The object of the present scene seems to be to familiarize him sufficiently with the ghost, in order that perceiving its human element, he may lose all terror and amazement, and be prepared to hear with sufficient calm of mind the terrible revelations which in the following scene shall fall upon his astounded ears.

It is the midnight hour. Hamlet is keeping the nightwatch with Horatio and the sentinels on duty before the fortified castle of Elsinore. All are awaiting with keenest expectancy the appearance of the nightly walking apparition. Filled with awe of the preternatural, they feel the oppressive silence of the gloom, and seek mutual relief in conversation with the hope of easing their mental strain, as well as their strange sense of fear and expectation.*

But the sudden clang of trumpets at the dead of night startles all save Hamlet; in surprise Horatio asks the cause of the alarming noise at that strange hour. The Poet, who more than once alludes to the King's vices of gluttony and drunkenness, emphasizes them more than usual in the present scene. Claudius and his court are shown engaged in one of their frequent midnight drinking frolics, which are usually divers

Of this circumstance, Coleridge writes: "The unimportant conversation with which the scene opens, is a proof of Shakespeare's minute knowledge of human nature. It is a well established fact, that on the brink of any serious enterprise or event of moment, men almost invariably endeavor to elude the pressure of their own thoughts by turning aside to trivial objects and familiar circumstances; thus, this dialogue on the platform begins with remarks on the coldness of the air, the time of night, and the strik ing of the clock".