Before I conclude, I must point out another Beauty in the Tragedy of Hamlet, besides those already mentioned, which does indeed arise from our Author's conforming to a Rule which he followed, (probably, without knowing it,) only because it is agreeable to Nature; and this is, that there is not one Scene in this Play but what some way or other conduces towards the Denoueement of the Whole; and thus the Unity of Action is indisputably kept up by every Thing tending to what we may call the main Design, and it all hangs by Consequence so close together, that no Scene can be omitted, without Prejudice to the Whole. Even Laertes going to France, and Ophelia's Madness, however trivial they may seem (and how much soever I dislike the Method of that last mentioned) are Incidents absolutely necessary towards the concluding of all; as will appear to any one upon due Consideration. This all holds good, notwithstanding it is my Opinion, that several of the Scenes might have been altered by our Author for the better; but as they all stand, it is, as I said, quite impossible to separate them, without a visible Prejudice to the Whole. I must add, that I am much in Doubt, whether Scenes of Prose are allowable, according to Nature and Reason, in Tragedies which are composed chiefly of Blank Verse; the Objection to them seems to be this, that as all Verse is not really in Nature, but yet Blank Verse is necessary in Tragedies, to ennoble the Diction, and by Custom is become natural to us, Prose mixed with it serves only, methinks, to discover the Effects of Art, by the Contraste between Verse and Prose. Add to all this, That it is not suitable to the Dignity of such Performances.

In short, Vice is punished in this excellent Piece, and thereby the Moral Use of it is unquestionable. And if Hamlet's Virtue is not rewarded as we could wish, Mr. Addison's Maxim ought to satify us, which is this, "That no Man is so thoroughly Virtuous as to claim a Reward in Tragedy, or to have Reason to repine at the Dispensations of Providence; and it is besides more Instructive to the Audience, because it abates the Insolence of Human Nature, and teaches us not to judge of Men's Merit by their Successes. And he proceeds farther, and says, that though a virtuous Man may prove unfortunate, yet a vicious Man cannot be happy in a well wrought Tragedy." This last Rule is well observed here.

Another Reason why we ought to bear with more Patience the Sufferings of a virtuous Character, is the Reflection on the future Rewards prepared for such, which is more suitable to the Moral Maxims established in a Christian Country. Besides, had it pleased our Author to have spared Hamlet's Life, we had been deprived of that pleasing Sensation which always (as I have else where observed) accompanies a Consciousness that we are moved as we ought to be; which we most assuredly are, when we feel Compassion rise in us for the young Prince's Death in the last Scene. I shall just touch upon one Thing more, and then I shall end these Reflections.

I am very sensible that our Nation has long been censur'd for delighting in bloody Scenes on the Stage, and our Poets have been found fault with for complying with this vicious Taste. I cannot but own, that there is a great deal of Justice in these Complaints; and must needs be of Opinion, that such Sights should never be exhibited but in order, visibly, to conduce to the Beauty of the Piece. This is sometimes so much the Case, that Action is often absolutely necessary. And to come more particularly to the Subject now in hand, I desire any unprejudiced Man, of any Nation whatever, (if such can be found) who understands our Language, to consider whether the Appearance of the Ghost, and the Deaths of the several principal Personages, (with whatever else may offend the Delicacy I mention) could possibly have that great, that noble Effect, by being told to the Audience, as they most undoubtedly have, by being brought on the Stage. If this Matter be well examined with all possible Candour, I am well perswaded that it would be found in the End, that this Piece would, by the Method I speak of, loose half its Beauty.

The French, (as has been often observ'd) by their Rules of Criticism, have voluntarily imposed on themselves an unnecessary Slavery; and when little Genius's among them have written Tragedies with these Chains on, they have made most miserable work of it, and given Plays entirely void of Spirit. Even the great Genius's in that Nation, such as Corneille and Racine, and Mr. De Voltaire (which last being capacitated by having liv'd among us, and by learning our Language, to judge of the Defects and Merits of both Nations, is highly sensible of the Truth of what I now say, as appears in his Preface to his Brutus) even they have been forced to damp their Fire, and keep their Spirit from soaring in almost all their Pieces; and all this is owing to the false Notions of Decency, and a Refinement of Taste among our Neighbours, which is getting now to such a Height, that so far from being able to bear the Representation of Tragical Actions, they are hardly able to bear any Subjects which turn upon the weightier Passions; such as Ambition, Revenge, Jealousy, &c. The Form of their Government, indeed, is of such a Nature, that many Subjects cannot be treated as they ought, nor work'd up to that Height which they are here, and were formerly at Athens, &c. and Love, for that Reason among others is made to be the Basis of almost all their Tragedies. Nay, the Education of the People under such a Government, prevents their delighting in such Performances as pleased an Athenian or a Roman, and now delight us Britons. Thus every Thing conduces to debase Tragedy among them, as every Thing here contributes to form good Tragick Writers; yet how few have we! And what is very remarkable, each Nation takes Delight in that, which, in the Main, they the least excel in, and are the least fit for. The Audience in England is generally more crowded at a Comedy, and in France at a Tragedy; yet I will venture to affirm, (and I shall be ready upon Occasion to support my Assertion by good Reasons) that no Comick Writer has ever equal'd Moliere, nor no Tragick Writer ever came up to Shakespeare, Rowe, and Mr. Addison. Besides the many Reasons I have already given in Relation to the French, I might add, that their Language is less fit for Tragedy, and the Servitude of their Rhime enervates the Force of the Diction. And as for Our Comedies, they are so full of Lewdness, Impiety and Immorality, and of such complicated perplexed Plots, so stuffed with Comparisons and Similies, so replenished with Endeavours at Wit and Smartness, that I cannot forbear saying, that whoever sees or reads them for Improvement (I make some Exceptions in this Censure) will find a contrary Effect; and whatever Man of a True Taste expects to see Nature, either in the Sentiments or Characters, will (in general) find himself very much mistaken.

FINIS.

The Remarks was printed anonymously, in 1736, with the following title page:

Some / Remarks / on the / Tragedy / of / Hamlet Prince of Denmark, / Written by / Mr. William Shakespeare. / [double rule enclosing a printer's device] / London: / Printed for W. Wilkins, in Lombard-/ Street. M,DCC,XXXVI. price 1s.

The edition of 1736 was reprinted in London, 1864, for sale by John Russell Smith, with an identical title page. The reprint bore the following cover:

Reprints of Scarce Pieces of Shakespeare Criticism. No. 1. Remarks on Hamlet, 1736.

The usual ascription of the essay heretofore to Sir Thomas Hanmer derives from the statement by Sir Henry Bunbury, on page 80 of his The Correspondence of Sir Thomas Hanmer, Bart, London, 1838, that he had "reason to believe that he was the author ..."

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