In Shakspere's world the supernatural sanctions have almost disappeared, but the moral law is still supreme. Yet in some ways it is a very unsatisfying world. In its deeper aspects woe predominates over joy. All phases of suffering and anguish find their language here; but of rapture there are only transient glimpses, of great and abiding happiness there is almost none, and there is scarcely a suggestion of "the peace that passeth understanding." We sometimes feel the sharpest pressure of the problems to which Christianity had addressed itself, unlightened by any solution. There is the echo of Paul's cry, "O wretched man that I am, who shall deliver me from this body of death!"--as in the king at prayer, in "Hamlet;" but nowhere is Paul's note of triumphant deliverance. We see men overwhelmed by temptation, as Macbeth and Angelo; we nowhere see men rising over conquered temptation to higher manhood. Man in Shakspere is generally the creature of Fate. Man's confrontal by the mystery of existence is the real theme of "Hamlet." The true unity of that drama is not in the action nor in the characters; it is the underlying and unanswered problem,--man, in his finest sensibilities and noblest aspirations, beset by a world of trouble, of confusion, of unfathomable mystery. The ghost from the other world is a mere piece of stage scenery; to the real sentiment belongs the frank paganism of Hamlet as he holds the skull,--_this_ is the end of Yorick, and that anything of Yorick may still live except these mouldering bones does not even occur to Hamlet as a question. Yet when he is tempted to take refuge in suicide, the possibility of "something after death" is sufficient to deter him. The thought suggests no hope, only a vague restraining fear. But to the guilty king there is a terrible reality in the divine law which he has broken; he struggles to reconcile himself with heaven, but his will seems paralyzed to retrace the path of wrong-doing. The incapable will, the baffled intellect, cast a gloom over the whole drama. It is not only a clew to man's relation with the unseen and eternal that we miss in Shakspere. He fails to show one trait which belongs to human nature as truly as Hotspur's courage or Falstaff's drollery. He nowhere depicts a life controlled by a moral ideal, deliberately chosen and resolutely pursued. His world is rich in passion, but deficient in clear and high purpose and soldierly resolve. The metal of mastery is lacking. He shows us life as a wonderful spectacle, but he does not directly aid us to live our own life. His amazing treasury of wisdom seldom lends a phrase that flashes comfort into our sorrow, hope into our dejection, or strength to our wavering will.