The seeming inconsistencies in the conduct and character of Hamlet have long exercised the conjectural ingenuity of critics; and, as we are always both to suppose that the cause of defective apprehension is in ourselves, the mystery has been too commonly explained by the very easy process of setting it down as in fact inexplicable, and by resolving the phenomenon into a misgrowth or 'lusus' of the capricious and irregular genius of Shakspeare. The shallow and stupid arrogance of these vulgar and indolent decisions I would fain do my best to expose. I believe the character of Hamlet may be traced to Shakspeare's deep and accurate science in mental philosophy. Indeed, that this character must have some connection with the common fundamental laws of our nature may be assumed from the fact, that Hamlet has been the darling of every country in which the literature of England has been fostered. In order to understand him, it is essential that we should reflect on the constitution of our own minds. Man is distinguished from the brute animals in proportion as thought prevails over sense: but in the healthy processes of the mind, a balance is constantly maintained between the impressions from outward objects and the inward operations of the intellect;--for if there be an overbalance in the contemplative faculty, man thereby becomes the creature of mere meditation, and loses his natural power of action. Now one of Shakspeare's modes of creating characters is, to conceive any one intellectual or moral faculty in morbid excess, and then to place himself, Shakspeare, thus mutilated or diseased, under given circumstances. In Hamlet he seems to have wished to exemplify the moral necessity of a due balance between our attention to the objects of our senses, and our meditation on the workings of our minds,--an 'equilibrium' between the real and the imaginary worlds. In Hamlet this balance is disturbed: his thoughts, and the images of his fancy, are far more vivid than his actual perceptions, and his very perceptions, instantly passing through the 'medium' of his contemplations, acquire, as they pass, a form and a colour not naturally their own. Hence we see a great, an almost enormous, intellectual activity, and a proportionate aversion to real action consequent upon it, with all its symptoms and accompanying qualities. This character Shakspeare places in circumstances, under which it is obliged to act on the spur of the moment:--Hamlet is brave and careless of death; but he vacillates from sensibility, and procrastinates from thought, and loses the power of action in the energy of resolve. Thus it is that this tragedy presents a direct contrast to that of Macbeth; the one proceeds with the utmost slowness, the other with a crowded and breathless rapidity.