I submit to Mr Harris that by ruling out this idolatry, and its possible effect in making Shakespear think that his public would stand anything from him, he has ruled out a far more plausible explanation of the faults ofsuch a play as Timon of Athens than his theory that Shakespear's passion for the Dark Lady "cankered and took on proud flesh in him, and tortured him to nervous breakdown and madness." In Timon the intellectual bankruptcy is obvious enough: Shakespear tried once too often to make a play out of the cheap pessimism which is thrown into despair by a comparison of actual human nature with theoretical morality, actual law and administration with abstract justice, and so forth. But Shakespear's perception of the fact that all men, judged by the moral standard which they apply to others and by which they justify their punishment of others, are fools and scoundrels, does not date from the Dark Lady complication: he seems to have been born with it. If in The Comedy of Errors and A Midsummer Night's Dream the persons of the drama are not quite so ready for treachery and murder as Laertes and even Hamlet himself (not to mention the procession of ruffians who pass through the latest plays) it is certainly not because they have any more regard for law or religion. There is only one place in Shakespear's plays where the sense of shame is used as a human attribute; and that is where Hamlet is ashamed, not of anything he himself has done, but of his mother's relations with his uncle. This scene is an unnatural one: the son's reproaches to his mother, even the fact of his being able to discuss the subject with her, is more repulsive than her relations with her deceased husband's brother.
Here, too, Shakespear betrays for once his religious sense by making Hamlet, in his agony of shame, declare that his mother's conduct makes "sweet religion a rhapsody of words." But for that passage we might almost suppose that the feeling of Sunday morning in the country which Orlando describes so perfectly in As You Like It was the beginning and end of Shakespear's notion of religion. I say almost, because Isabella in Measure for Measure has religious charm, in spite of the conventional theatrical assumption that female religion means an inhumanly ferocious chastity. But for the most part Shakespear differentiates his heroes from his villains much more by what they do than by what they are. Don John in Much Ado is a true villain: a man with a malicious will; but he is too dull a duffer to be of any use in a leading part; and when we come to the great villains like Macbeth, we find, as Mr Harris points out, that they areprecisely identical with the heroes: Macbeth is only Hamlet incongruously committing murders and engaging in hand-to-hand combats. And Hamlet, who does not dream of apologizing for the three murders he commits, is always apologizing because he has not yet committed a fourth, and finds, to his great bewilderment, that he does not want to commit it. "It cannot be," he says, "but I am pigeon-livered, and lack gall to make oppression bitter; else, ere this, I should have fatted all the region kites with this slave's offal." Really one is tempted to suspect that when Shylock asks "Hates any man the thing he would not kill?" he is expressing the natural and proper sentiments of the human race as Shakespear understood them, and not the vindictiveness of a stage Jew.
