We know that there was an older play by Thomas Kyd, that extraordinary dramatic (if not poetic) genius who was in all probability the author of two plays so dissimilar as the _Spanish Tragedy_ and _Arden of Feversham_; and what this play was like we can guess from three clues: from the _Spanish Tragedy_ itself, from the tale of Belleforest upon which Kyd’s _Hamlet_ must have been based, and from a version acted in Germany in Shakespeare’s lifetime which bears strong evidence of having been adapted from the earlier, not from the later, play. From these three sources it is clear that in the earlier play the motive was a revenge-motive simply; that the action or delay is caused, as in the _Spanish Tragedy_, solely by the difficulty of assassinating a monarch surrounded by guards; and that the “madness” of Hamlet was feigned in order to escape suspicion, and successfully. In the final play of Shakespeare, on the other hand, there is a motive which is more important than that of revenge, and which explicitly “blunts” the latter; the delay in revenge is unexplained on grounds of necessity or expediency; and the effect of the “madness” is not to lull but to arouse the king’s suspicion. The alteration is not complete enough, however, to be convincing. Furthermore, there are verbal parallels so close to the _Spanish Tragedy_ as to leave no doubt that in places Shakespeare was merely _revising_ the text of Kyd. And finally there are unexplained scenes—the Polonius-Laertes and the Polonius-Reynaldo scenes—for which there is little excuse; these scenes are not in the verse style of Kyd, and not beyond doubt in the style of Shakespeare. These Mr. Robertson believes to be scenes in the original play of Kyd reworked by a third hand, perhaps Chapman, before Shakespeare touched the play. And he concludes, with very strong show of reason, that the original play of Kyd was, like certain other revenge plays, in two parts of five acts each. The upshot of Mr. Robertson’s examination is, we believe, irrefragable: that Shakespeare’s _Hamlet_, so far as it is Shakespeare’s, is a play dealing with the effect of a mother’s guilt upon her son, and that Shakespeare was unable to impose this motive successfully upon the “intractable” material of the old play. Of the intractability there can be no doubt. So far from being Shakespeare’s masterpiece, the play is most certainly an artistic failure. In several ways the play is puzzling, and disquieting as is none of the others. Of all the plays it is the longest and is possibly the one on which Shakespeare spent most pains; and yet he has left in it superfluous and inconsistent scenes which even hasty revision should have noticed. The versification is variable. Lines like Look, the morn, in russet mantle clad, Walks o’er the dew of yon high eastern hill, are of the Shakespeare of _Romeo and Juliet_. The lines in Act V. sc. ii.,