第43章 学会做人（5）
2.3 Appreciation of the play
1603年，《哈姆莱特》第一四开本出版。同年，3月24日，伊丽莎白一世女王逝世，终年70岁。她的表侄、有权即位的苏格兰王詹姆斯六世（37岁）即动身南下，7月25日进驻伦敦，加冕为“英格兰、苏格兰、爱尔兰和法兰西国王詹姆斯一世”。王后安妮为丹麦人。当时，君主（封建统治者）与议会（或叫资产阶级）之间的合作，在16世纪后期还相当可以，此时却变得越来越紧张，特别是詹姆斯一世即位后，他相信君权神授，而资产阶级随着财富的积累和贸易的扩大想要的自由越来越多。另外，詹姆斯一世的奢侈和骑士们的放荡生活导致了贵族们的进一步堕落，进而扩散到了市民之中。随着资本主义的发展，资产阶级和宫廷侍臣们越来越贪婪、自私、虚伪和背信弃义。在伟大悲剧《哈姆莱特》中，莎士比亚把背景安排成外国的，但他并没有试图再创造一个丹麦王宫，而是通过邪恶势力克劳狄斯（丹麦国王）与理想主义者——主人公哈姆莱特之间的生死斗争，现实地反映那已激化的政治和社会舞台上的矛盾。这样真实地反映当时社会现实的要求，正是莎翁通过哈姆莱特之口所说：“从古至今，演戏的目的不过是好像把一面镜子举起来映照人性，使得美德显示她的本相，丑态露出她的原形，时代的形形色色一齐呈现在我们眼前。”
The first quarto of Hamlet was published in 1603. This year， Queen Elizabeth I died at the age of 70on March 24. Her cousin James VI of Scotland， who was 37， travelled southward， and on July 25 enteredLondon and was crowned James I，“King of England， Scotland， Ireland， and France， God’s Anointed， andDefender of the Faith”. James’ wife Queen Anne was of Denmark. At that time， the co-operation betweenthe monarch (the feudal ruler) and the parliament (or the bourgeoisie) which had worked quite nicely inthe late 16thcentury was becoming more and more strained， especially after the accession of James I whobelieved in the divine right of kings whereas the bourgeoisie wanted more and still more freedom with theirgreater accumulation of wealth and expansion of trade. Also， the luxury of James I and the dissolute livingof the cavaliers led to further moral degeneracy among the aristocrats which also spread to the townspeople，and with the development of capitalism， there were more greed and selfishness and hypocrisy and treacheryamong the bourgeoisie as well as among the courtiers. In the great tragedy Hamlet， Shakespeare set a foreignsetting， but he made no attempt to recreate a real Danish court. The sharpened contradictions in the politicaland social arena were realistically reflected through the life-and-death struggle between the evil forcesrepresented by Claudius (King of Denmark) and the idealist hero Hamlet. And this faithful reflection of thesocial reality of the time was claimed by Shakespeare himself through the mouth of Hamlet：“...the purposeof playing， whose end， both at first and now， was and is， to hold， as it were， the mirror up to nature； to showvirtue her own feature， scorn her own image， and the very age and body of the time his form and pressure.”
《哈姆莱特》是莎士比亚最负盛名的着作，是“世界艺术的高峰之一”。自从1600年在伦敦公演以来，已有400多年了，在英国和世界许多国家演出过不计其数的场次，被译成了多种不同的语言，在世界许多国家产生了很大的影响。世人对《哈姆莱特》历久不衰的兴趣已经从文学批评的范畴外溢至其他的知识领域，使哈姆莱特得到了前所未有的多元化诠释——不同的人（演员、观众、听众、读者、研究人员、师生等）从弗洛伊德心理学、存在主义哲学、现象学、新批评主义、结构主义、女权主义理论、马克思主义、新历史主义、文化唯物主义或后殖民理论等不同的视角，对哈姆莱特作出不同的解释，结果，使“哈姆莱特学”变成了一项实际上是多学科交叉的研究课题。关于传统的对《哈姆莱特》的批评，批评家大都把重点放在作者身上，放在背景上，放在作者生活以及写作的那个时代上。其他一些更注重文本导向的评论家从事出处研究，探究新作出于的旧文本。这些研究都是传统方法，基本上是走史学路子。直到20世纪才出现了新的批评方法。这种新批评把研究重点放在了文本上。于是，人们开始探讨诸如“人物”“主题”“情节”“意象”等这类东西。而今，让咱们根据文本从人文主义视角来探讨《哈姆莱特》的主题吧，以便继续保持莎士比亚和他笔下最深邃难解的人物——哈姆莱特之间一贯的关联性。
Hamlet， the most famous play by Shakespeare， is“one of the peaks of the world arts”. Since the firstpublic performance of Hamlet in London in 1600， more than four hundred years have elapsed. Hamlet hasbeen performed countless times in Britain and many other countries all over the world and translated intomany different languages， and has consequently exerted great influence upon many people in many countries.
The never-waning interest in Hamlet has spilled over to fields of intellectual endeavour beyond that ofliterary criticism， causing Hamlet to be interpreted more variously than before—different people (actors andactresses， audience， listeners， readers， researchers， teachers and students， etc.) interpret Hamlet differentlyfrom different perspectives of Freudian psychology or of existentialist philosophy or of phenomenology or ofnew criticism or of structuralism or of feminist theory or of Marxism or of new historicism\/cultural materialismor of post-colonial theory， etc.—with the result that“Hamletology”has practically become a multidisciplineresearch challenge. About the traditional criticism on Hamlet， critics mostly focused on the author， on thebackground， and on the times when the author lived and wrote. Others who were more text-oriented wouldengage in source studies， delving into old texts wherefrom the new play sprang. All such studies belong tothe traditional approach， basically historical. It was not until the 20thcentury that the new criticism began totake place. This new criticism focuses on the text itself. So people started to discuss， among other things， thecharacters， the theme， the plot， the imagery and so on. Nowadays， let’s discuss the theme of Hamlet from thehumanistic perspective according to the text so as to ensure the continued relevance of Shakespeare and ofhis most enigmatic character Hamlet.
我们似乎不难看出伟大悲剧《哈姆莱特》的表层主题：弑君，王子大义复仇，篡位者与昔日是兄嫂、今朝变为新皇后的双双惨死——从美学欣赏角度说，是易受欢迎的，恰恰合乎儒家要求孝亲、忠君、贞节的纲常以及佛家业缘报应的教义。因此，就不难解释像《哈姆莱特》这样一部有相当广度和深度的文艺复兴悲剧，为何又如何能在被改编成中国300余地方戏之一的川剧时得以顺利归化了。为了让土生土长的地方观众喜闻乐见，这个改编本，正如其题目“杀兄夺嫂”所暗示的，将原作中会激发义愤的内容加以戏剧化渲染，很大程度上就像是一部地道的中国道德说教剧。
It seems easy to see the surface theme of the great tragedy Hamlet： the murder of a king revenged by hisdutiful prince and the violent death of the usurper together with his sometime sister-in-law now his queen—was aesthetically welcome， being conveniently in compliance with the Confucian ethical code demandingfilial piety， unquestioning allegiance to the monarch， and constant chastity， and with Buddhist tenets ofKarma. In this context it is not difficult to explain why and how a Renaissance tragedy of considerable scopeand depth like Hamlet could be easily naturalized when adapted to Sichuan opera， one of China’s 300 oddlocal operatic varieties. To tickle the fancy of an indigenous provincial audience， the adaptation， just as itstitle“Murder of a Brother and Taking a Sister-in-Law to Wife”might suggest， dramatized what is morallyobjectionable in the original and smacked in large measure of a didactic stage production of an authenticChinese brand.
什么是《哈姆莱特》的深层次主题呢？让我们来研究文本并一步步地分析男女主人公的言行及他们之间的关系以便找出该剧的深层次主题。
What is the deep theme of Hamlet？ Let’s study the text and analyze the speeches and actions of theheroes and heroines and their relationships step by step so that we can find out the deep theme of the play.
第一步，先分别看看他们的人性吧！在《哈姆莱特》第一幕的第一场，哈姆莱特父亲的鬼魂出现了三次。值班站岗的官兵和哈姆莱特的朋友霍拉旭都看见了。卫兵军官马西勒斯问：“为什么我们要有这样森严的戒备，使全国的军民每夜不得安息？为什么每天都在制造铜炮，还要向国外购买战具？为什么赶造这许多船只，连星期日也不停止工作？这样夜以继日地辛苦忙碌，究竟将要有什么事情要发生呢？谁能够告诉我？”霍拉旭：“我能。至少大家都这样说。你们知道，方才还显示圣容的先王，当他在世的时候，挪威王福丁布拉斯一时好胜，要和他决斗。我们的英勇的哈姆莱特——我们这半边世界谁不钦仰他的威名——把福丁布拉斯杀死了。按照双方根据法律和骑士精神所订立的协定，福丁布拉斯要是战败了，除了他自己的生命以外，必须把他所有的一切土地拨归胜利的一方；同时我们的王上也提出相当的土地作为赌注，要是福丁布拉斯得胜了，就归他没收占有，正像在同一协定上所规定的，他失败了，哈姆莱特可以把他的土地没收占有一样。现在要说起那位福丁布拉斯的儿子，他生得一副烈火似的性格，已在挪威边境招集了一群亡命之徒，供给他们衣食，鼓动他们大胆妄为。他的用意，我们朝廷早已明白——无非是要用武力和强迫性的条件，夺回他父亲所丧失的土地。我想这就是，我们积极备战的主要动机，我们严重警戒的根由，也是全国慌忙纷扰的主要原因。”卫兵军官勃那多说：“我想一定就是这个缘故。几次战争均由先王而起，所以在我们值班站岗的时候他要全身戎装出现向我们示警。”在第一幕的第五场，鬼魂告诉哈姆莱特：“我是你父亲的灵魂，因为生前孽障未尽，被判在晚间游行地上，白昼忍受火焰的烧灼，必须经过相当的时期，等生前的过失被火焰净化以后，方才可以脱罪……要是你曾经爱过你的亲爱的父亲——你必须替他报复那逆伦惨恶的杀身的仇恨……杀人是重大的罪恶；可是这一件谋杀的惨案，更是最骇人听闻而逆天害理的罪行……一般人都以为我在花园里睡觉的时候，一条蛇来把我螫死，这一个虚构的死状，把丹麦全国的人都骗过了。可是你要知道，好孩子，那毒害你父亲的蛇，头上戴着王冠呢……可怕啊，可怕！惨极了！要是你有天性之情，不可隐忍；不要让丹麦的御寝变成了藏奸养逆的卧榻。但是，无论你怎样进行复仇，你的行事必须光明磊落，更不可对你的母亲有什么不利的图谋，她自会受到上天的审判和她自己内心中的荆棘的刺戳。”从上述的引文可见，哈姆莱特的父亲对他母亲是多么的善良啊！尽管他说过，“啊，哈姆莱特，那是一个多么卑鄙无耻的背叛！我对她的爱情是和结婚时我向她发的誓约一样忠贞庄严，而她却会嫁给那个天赋才德远不如我的坏蛋！”
但他教导他儿子哈姆莱特是多么大义凛然：“无论你怎样进行复仇，你的行事必须光明磊落，更不可对你的母亲有什么不利的图谋！”他在被谋害前对他的国家作出了多么大的贡献！这些都表明了他人性“善”的一面。然而，“我们的英勇的哈姆莱特——我们这半边世界谁不钦仰他的威名——把福丁布拉斯杀死了”；“那位福丁布拉斯的儿子……无非是要用武力和强迫性的条件，夺回他父亲所丧失的土地。我想这就是，我们积极备战的主要动机，我们严重警戒的根由，也是全国慌忙纷扰的主要原因”；“几次战争均由先王而起”；“杀人是重大的罪恶”；这些也表明了他人性“恶”的一面。
The first step， let’s see their human nature respectively. In Act Ⅰ， Scene Ⅰ of Hamlet， Ghost ofHamlet’s Father appeared thrice. All the soldier and officers at their post and Hamlet’s friend Horatio saw it.
Marcellus， one of the officers， asked：“Why this same strict and most observant watch \/ So nightly toils thesubject of the land； \/ And why such daily cast of brazen cannon， \/ And foreign mart for implements of war； \/Why such impress of shipwrights， whose sore task \/ Does not divide the Sunday from the week； \/ What mightbe toward， that this sweaty haste \/ Doth make the night joint-labourer with the day： \/ Who is’t that can informme？”
Horatio：“That can I； \/ At least， the whisper goes so. Our last king， \/ Whose image even but nowappear’d to us， \/ Was， as you know， by Fortinbras of Norway， \/ Thereto prick’d on by a most emulate pride， \/Dar’d to the combat； in which our valiant Hamlet— \/ For so this side of our known world esteem’d him— \/Did slay this Fortinbras； who， by a seal’d compact， \/ Well ratified by law and heraldry， \/ Did forfeit with hislife all those his lands \/ Which he stood seiz’d of， to the conqueror； \/ Against the which， a moiety competent \/Was gaged by our king； which had return’d \/ To the inheritance of Fortinbras， \/ Had he been vanquisher； as，by the same covenant， \/ And carriage of the article design’d， \/ His fell to Hamlet. Now， sir， young Fortinbras， \/Of unimproved mettle hot and full， \/ Hath in the skirts of Norway here and there \/ Shark’d up a list of lawlessresolutes， \/ For food and diet， to some enterprise \/ That hath a stomach in’t； which is no other— \/ As it dothwell appear unto our state— \/ But to recover of us， by strong hand \/ And terms compulsative， those foresaidlands \/ So by his father lost. And this， I take it， \/ Is the main motive of our preparations， \/ The source of thisour watch and the chief head \/ Of this post-haste and romage in the land.”
Bernardo (another officer)：“I think it be no other but e’en so； \/ Well may it sort that this portentousfigure \/ Comes armed through our watch， so like the king \/ That was and is the question of these wars.”
In Act Ⅰ， Scene Ⅴ， Ghost told Hamlet：“I am thy father’s spirit； \/ Doom’d for a certain term to walkthe night， \/ And for the day confin’d to fast in fires， \/ Till the foul crimes done in my days of nature \/ Are burntand purg’d away... \/ If thou didst ever thy dear father love— \/ Revenge his foul and most unnatural murder.
\/ Murder most foul， as in the best it is； \/ But this most foul， strange， and unnatural... \/’Tis given out that，sleeping in mine orchard， \/ A serpent stung me； so the whole ear of Denmark \/ Is by a forged process of mydeath \/ Rankly abus’d； but know， thou noble youth， \/ The serpent that did sting thy father’s life \/ Now wearshis crown... \/ O， horrible！ Most horrible！ \/ If thou hast nature in thee， bear it not； \/ Let not the royal bed ofDenmark be \/ A couch for luxury and damned incest. \/ But， howsoever thou pursu’st this act， \/ Taint not thymind， nor let thy soul contrive \/ Against thy mother aught； leave her to heaven， \/ And to those thorns that inher bosom lodge， \/ To prick and sting her.”
From what is quoted from the text， we can see how kind Hamlet’s father was to his mother although hesaid“O Hamlet！ what a falling-off was there； \/ From me， whose love was of that dignity \/ That it went hand inhand even with the vow \/ I made to her in marriage； and to decline \/ Upon a wretch whose natural gifts werepoor \/ To those of mine！”
With what a strong sense of righteousness did he instruct his son Hamlet by saying“howsoever thoupursu’st this act， \/ Taint not thy mind， nor let thy soul contrive \/ Against thy mother aught”！ What greatcontributions he had made to his country before he was murdered！ All these demonstrate his kind side of hishuman nature. However，“Our valiant Hamlet—For so this side of our known world esteem’d him—Did slaythis Fortinbras”；“young Fortinbras... But to recover of us， by strong hand \/ And terms compulsative， thoseforesaid lands \/ So by his father lost. And this， I take it， \/ Is the main motive of our preparations， \/ The sourceof this our watch and the chief head \/ Of this post-haste and romage in the land”；“so like the king \/ Thatwas and is the question of these wars”；“Murder most foul”； all these also show his evil side of his humannature.
哈姆莱特父亲的鬼魂是剧中人物的最后一个，但绝不是最不重要的一个。是父亲的鬼魂作为媒介揭露了剧中阴谋；是鬼魂体现了过去，一再出现颠覆了现世的虚假和平。在写《哈姆莱特》时，莎士比亚不仅审慎地全神贯注地采用了一套观众会理解是传统英语塞内加式的复仇悲剧的惯用手法，还进一步利用整个塞内加式传统中诙谐可笑的古老而着名的剧情来重写，进行认真积极地创新式的创作，深化思想内容，深入探询世间万物的核心属性。莎士比亚继承了宗教的二元论传统观念，即肉体生命的死亡一点儿也不能解脱灵魂对人生的责任，充分利用他所处时代宗教和哲学发展的最新成果来探究世上所有人都非常关心的最重大的问题——人性、人的生死和人生意义。作为戏剧家，莎士比亚在他发展的较早时期就学会了建构戏剧的技艺，他所写的戏剧会向不同的受众提供不同的东西。这就是为什么《哈姆莱特》人人都喜欢，包括没有受过教育的人。斯克勒克明确指出，1600年前后，《哈姆莱特》就是“雅俗共赏”的戏剧。我们甚至能通过16世纪早期取名为“哈姆莱特”的男孩子数量来推测该剧受欢迎的程度。这也是为什么《哈姆莱特》成了如此丰富、如此复杂并具有如此不断有挑战性的剧本，以至于世世代代的读者和受众、演员和批评家，都要把它作为世界上最伟大的文艺作品来珍藏。
Ghost of Hamlet’s Father is the last one of the Dramatis Personae. Last but not least， It is the Ghostas a medium that disclose the foul play in Hamlet. It is the Ghost that represents the past， rising through tooverturn the false peace of the present. In writing Hamlet， Shakespeare was not only embracing， deliberatelyand wholeheartedly， a set of theatrical conventions which his audience would understand as being in thetradition of English Senecan revenge drama； he was going a step further by taking an old and well-knownplay which is a jokey byword for the whole Senecan tradition and rewriting that， by carrying on his intenselyactive and inventive creation， deepening his profound thinking contents， enquiring deeply into the heart ofnature. Having inherited the religious dualist assumption that the death of the body does nothing to relievethe soul of its responsibilities， Shakespeare was making full use of the latest achievements of the religiousand philosophical development in his time to explore the most important questions—human nature， thequestion“to be or not to be”and the significance of life which are very much concerned with all peoples onearth. As a dramatist， Shakespeare learned comparatively early in his development the skill of constructinga play so that it would offer different things to different audience. This is why Hamlet can be enjoyed byeveryone， including the uneducated. Scoloker made it clear that around 1600 Hamlet could“please all”.
We can even trace how popular it was， from the number of boys who were given the name“Hamlet”inthe early 1600s. This is also why Hamlet is so rich， so complex and so continually challenging text whichgenerations of readers and audiences， actors and critics have enshrined as one of the greatest works ofliterature in the world.
现在，让咱们看看哈姆莱特母亲的人性吧！在《哈姆莱特》的第三幕第四场，哈姆莱特对他母亲说：“来，来，坐下来，不要动。我要把一面镜子放在你的面前，让你看一看你自己的灵魂……瞧这一幅图画，再瞧这一幅，这是两个兄弟的肖像。你看看这一位眉宇之间何等的光辉……这是你从前的丈夫。你再看看这个，这是你现在的丈夫，像一株霉烂的禾穗，毒害了他健康的哥哥。你有眼睛吗？你甘心离开这座大好高山，靠着这酸沼洼地养肥自己？……什么判断力会从这么高的地方，降到这么低的所在呢？感觉你当然是有的，否则你就不会有行动，可是你那感觉也一定已经麻木了；因为就是疯人也不会犯那样的错误，无论怎样丧心病狂，总不会连这样悬殊的差异都分辨不出来。那么是什么魔鬼蒙住了你的眼睛，把你这样欺骗呢？”王后：“啊，哈姆莱特！不要说下去了！你使我的眼睛看进了我自己灵魂的深处，看见我灵魂里那些洗拭不去的黑色的污点。”从他们母子的对话，我们可见哈姆莱特母亲人性“恶”的一面。但她也有善的一面。如王后在第三幕第一场说：“奥菲利娅，但愿你的美貌是哈姆莱特疯狂的原因；更愿你的美德能够帮助他恢复原状，使你们两人都能安享尊荣。”在第五幕第一场她说：“好花是应当撒在美人身上的。永别了！（散花）我本来希望你做我哈姆莱特的妻子；这些鲜花本来要铺在你的新床上，亲爱的女郎，谁想得到我会把它们撒在你的坟上！”这些表明了她对奥菲利娅的慈爱。很多例子表明她对她儿子的热爱。在第四幕第七场国王说：“王后，他的母亲，差不多一天看不见他就不能生活。”在第三幕第四场，哈姆莱特对他母亲说“告诉他（国王）我实在是装疯，不是真疯”，王后却说：“你放心吧，要是言语是从呼吸里吐出来的，我决不会让我的呼吸泄露了你对我所说的话。”她临终遗言就是向她儿子呼喊——“啊，我亲爱的哈姆莱特！那酒，那酒！我中毒了。”所有上述例子都说明了哈姆莱特的母亲有着人性“善”的一面。
Now， let’s see the human nature of Hamlet’s mother. In Act Ⅲ， Scene Ⅳ of Hamlet， Hamlet said tohis mother，“Come， come， and sit you down； you shall not budge； \/ You go not， till I set you up a glass \/Where you may see the inmost part of you. ... \/ Look here， upon this picture， and on this； \/ The counterfeitpresentment of two brothers. \/ See， what a grace was seated on this brow； ... \/ This was your husband： lookyou now， what follows. \/ Here is your husband； like a mildew’d ear， \/ Blasting his wholesome brother. Haveyou eyes？ \/ Could you on this fair mountain leave to feed， \/ And batten on d this moor？ ... and what judgment\/ Would step from this to this？ Sense， sure， you have， \/ Else could you not have motion； but sure， that sense\/ Is apoplex’d； for madness would not err， \/ Nor sense to ecstasy was ne’er so thrall’d \/ But it reserv’d somequantity of choice， \/ To serve in such a difference. What devil was’t \/ That thus hath cozen’d you at hoodman-blind？”“Queen： O Hamlet！ speak no more； \/ Thou turn’st mine eyes into my very soul； \/ And there I seemuch black and grained spots \/ As will not leave their tinct.”
From their dialogue between Mother and Son we can see the evil side of her human nature of Hamlet’smother. But she has the kind side of her human nature. For instance， in Act Ⅲ， Scene Ⅰ she said，“And foryour part， Ophelia， I do wish \/ That your good beauties be the happy cause \/ Of Hamlet’s wildness； so shallI hope your virtues \/ Will bring him to his wonted way again， \/ To both your honours.”In Act Ⅴ， Scene Ⅰshe said：“Sweets to the sweet： farewell！ (Scattering flowers.) \/ I hop’d thou shouldst have been my Hamlet’swife； \/ I thought thy bride-bed to have deck’d， sweet maid， \/ And not have strew’d thy grave.”All these haveshown her affection for Ophelia. Many examples have demonstrated her love for her son. In Act Ⅳ， Scene ⅦKing observed，“The Queen his mother， Lives almost by his looks.”In Act Ⅲ， Scene Ⅳ Hamlet said to hismother“That I essentially am not in madness， But mad in craft.’Twere good you let him (King) know”.
But Queen replied：“Be thou assur’d， if words be made of breath， \/ And breath of life， I have no life to breathe\/ What you had said to me.”Her dying words are a cry to her son—“O my dear Hamlet！ The drink， thedrink； I am poisoned. All the examples cited above can demonstrate that Hamlet’s mother has her kind sideof her human nature.
哈姆莱特的叔叔真是恶贯满盈。他杀兄娶嫂，篡夺王位，当了国王，此后，他又千方百计地要杀害其侄儿哈姆莱特，妄图斩草除根。他是引起《哈姆莱特》悲剧的根源。他充分表现了人性“恶”的一面。但他的人性既不是简单的“极恶”，也不是简单的“尽善”。它有“善”和“恶”的两面。他对自己所作所为确实感到悔恨和内疚。正如他在第三幕第三场所说：“啊！我罪恶的戾气已经上达于天；我的灵魂上负着一个元始以来最初的诅咒，杀害兄弟的暴行！……要是这一只诅咒的手上染满了一层比它本身还厚的兄弟的血，难道天上所有的甘霖都不能把它洗涤得像雪一样洁白吗？慈悲的使命，不就是宽宥罪恶吗？祈祷的目的，不是一方面预防我们的堕落，一方面救拔我们于堕落之后吗？那么我要仰望上天；我的过失已经犯下了。可是唉！哪一种祈祷才是我所适用的呢？‘求上帝赦免我的杀人重罪’吗？那不能，因为我现在还占有着那些引起我的犯罪动机的目的物，我的王冠、我的野心和我的王后。……啊，像死亡一样黑暗的心胸！啊，越是挣扎，越是不能脱身的胶住了的灵魂！救救我，天使们！”在第四幕第五场，国王看见奥菲利娅疯了，同情地说：“啊！深心的忧伤把她害成了这样子；这完全是为了她父亲的死。……可怜的奥非利娅也因此而悲伤得失去了她正常的理智。”在第四幕第七场，国王对雷欧提斯说：“王后，他的母亲，差不多一天不看见他就不能生活；至于我自己，那么不管它是我的好处或是我的致命的弱点，我的生命和灵魂是这样跟她联结在一起，正像星球不能跳出轨道一样，我也不能没有她而生活。”这些都表明了国王也有他人性“善”的一面。
Hamlet’s uncle has committed his full share of crimes. He murdered his elder brother and married hissister-in-law. He usurped the throne and became the king. Hereafter， he also made every attempt to killhis nephew Hamlet， vainly attempted to eradicate the source of trouble. He is the person who is the causeof the play’s tragedy. He fully demonstrated his evil side of his human nature. But his human nature isneither“all virtue”nor“all vice”simplistically. It has both evil side and kind side. For instance， he didfeel remorse and guilt for what he had done. Just as he said in Act Ⅲ， Scene Ⅲ，“O！ my offence is rank， itsmells to heaven； \/ It hath the primal eldest curse upon’t； \/ A bother’s murder！ ... What if this cursed hand \/Were thicker than itself with bother’s blood， \/ Is there not rain enough in the sweet heavens \/ To wash it whiteas snow？ Whereto serves mercy \/ But to confront the visage of offence？ \/ And what’s in prayer but this two-fold force， \/ To be forestalled， ere we come to fall， \/ Or pardon’d， being down？ Then， I’ll look up； \/ My faultis past. But， O！ what form of prayer \/ Can serve my turn？‘Foreign me my foul murder？’\/ That cannot be；since I am still possess’d \/ Of those effects for which I did the murder， \/ My crown， mine own ambition， andmy queen. ... \/ O bosom black as death！ \/ O limed soul， that struggling to be free \/ Art more engaged！ Help，angels！”In Act Ⅳ， Scene Ⅴ， King saw Ophelia being in real madness and said sympathetically，“O！ thisis the poison of deep grief； it springs \/ All from her father’s death. ... poor Ophelia \/ Divided from herself andher fair judgment”. In Act Ⅳ， Scene Ⅶ， King said to Laertes，“The queen his mother \/ Lives almost by hislooks， and for myself，— \/ My virtue or my plague， be it either which，— \/ She’s so conjunctive to my life andsoul， \/ That， as the star moves not but in his sphere， \/ I could not but by her.”These demonstrate the kindside of King’s human nature.
哈姆莱特与奥菲利娅相互恋爱。奥菲利娅美丽、仁慈、温柔，是个尽责、可爱的女儿。
她愿意遵照她父亲的意愿办事，但一见到哈姆莱特她又深深地爱他。如在第二幕第二场，她父亲波洛涅斯告诉国王和王后说：“这封信（哈姆莱特写的）是我的女儿出于孝顺之心拿给我看的；此外，她又把他（哈姆莱特）一次次求爱的情形，在什么时候、什么地点、用什么方式，所说的情话全都讲给我听了。”由此可见奥菲利娅是多么天真清纯！她的人性是多么善良！又如第三幕第一场，国王说：“亲爱的葛特露，你也暂时离开我们。因为我们已经暗中差人去唤哈姆莱特到这儿来，让他和奥菲利娅见见面，就像是他们偶然相遇的一般。她（奥菲利娅）的父亲跟我两人将权充一下密探，躲在可以看见他们却不能被他们看见的地方，注意他们会面的情形，从他的行为上判断他的疯病究竟是不是因为恋爱的苦闷。”王后：“奥菲利娅，但愿你的美貌果然是哈姆莱特疯狂的原因；更愿你的美德能够帮助他恢复原状，使你们两人都能安享尊荣。”奥菲利娅：“娘娘，但愿如此。”波洛涅斯：
“（向奥菲利娅）你拿这本书去读，他看见你这样用功，就不会疑心你为什么一个人在这儿了。”……哈姆莱特：“嗯，真的，因为美丽可以使真洁变成淫荡，真洁却未必能使美丽受它的感化；这句话从前像是怪诞之谈，可是现在的时世已经把它证实了。我的确曾经爱过你。”奥菲利娅：“真的，殿下，你曾经使我相信你爱我。”哈姆莱特：“你当初就不应该相信我，因为美德不能熏陶我们罪恶的本性。我没有爱过你。”从上述引证，我们可见奥菲利娅作了国王和他父亲的特务；同时，我们可见奥菲利娅把哈姆莱特写给她的情书交给她父亲并把哈姆莱特一次次求爱的情形，在什么时间、用什么方式、在什么地点都告诉她父亲，所有这些都表明她虽然对她父亲孝顺，但是辜负了哈姆莱特的信任。这也表明了奥菲利娅人性“恶”的一面。
奥菲利娅的父亲正如天下父母一样非常爱他的子女，对国王和王后也很忠诚，充分表现了他人性“善”的一面。但他不光明磊落，甚至对他的子女也一样。如在第二幕第一场，他对他家仆说：“把这些钱和这封信交给他，雷奈尔多。……最好先探听探听他的行为。你先给我调查调查有些什么丹麦人在巴黎，他们是干什么的，叫什么名字，有没有钱，住在什么地方，跟哪些人做伴，用度大不大；用这种转弯抹角的方法，要是你打听到他们也认识我的儿子，你就可以更进一步：你可以说，‘不怎么熟悉，不过假如果然是他的话，那么他是个很放浪的人，有些怎么怎么的坏习惯。’说到这里，你就可以随便捏造一些关于他的坏话；但只可说些青年人最容易犯的荒唐放肆及其他寻常难免的过错……你用说谎的钓饵，就可以把事实的真相诱上你的钓钩；我们有智慧有见识的人，往往用这种旁敲侧击的方法，间接达到我们的目的；你也可以照着我上面所说的那一番话，探听出我儿子的行为。”由此可见他人性“恶”的一面。
Hamlet and Ophelia loved each other. Ophelia was beautiful， kind and gentle. She’s a dutiful and lovingdaughter， who’s willing to follow her father’s advice. When， however， she met Hamlet there’s no doubt thatshe loved him deeply. For instance， in ActⅡ， SceneⅡ， her father Polonus told King and Queen：“This(letter Hamlet wrote to my daughter) in obedience hath my daughter shown me； \/ And more above， hath hissolicitings， \/ As they fell out by time， by means， and place， \/ All given to mine ear.”From here we can seehow have and innocent Ophelia is. How kind her human nature is. Another instance， in Act Ⅲ， SceneⅠ，King said，“Sweet Gertrude， leave us too； \/ For we have closely sent for Hamlet hither， \/ That he， as ’twereby accident， may here \/ Affront Ophelia. \/ Her father and myself， lawful espials； \/ Will so bestow ourselves，that， seeing， unseen， \/ We may of their encounter frankly judge， \/ And gather by him， as he is behav’d， \/ If’tbe the affliction of his love or no \/ That thus he suffers for.”Queen：“And for your part， Ophelia， I do wish\/ That your good beauties be the happy cause \/ Of Hamlet’s mildness； so shall I hope your virtues \/ Willbring him to his wonted way again， \/ To both your honours.”Ophelia：“Madam， I wish it may.”Polonus(to Ophelia)：“Read on this book； \/ That show of such an exercise may colour \/ Your loneliness.”...
Hamlet：“Ay， truly； for the power of beauty will sooner transform honesty from what it is to a bawd thanthe force of honesty can translate beauty into his likeness； this was sometime a paradox， but now the timegives it proof. I did love thee once.”Ophelia：“Indeed， my lord， you made me believe so.”Hamlet：“Youshould not have believed me； for virtue cannot so inoculate our old stock but we shall relish of it： I loved younot.”From what is quoted above we can see Ophelia has played a role of a spy arranged by King and hisfather. Meanwhile， Ophelia has given her father the letter Hamlet had written to her and has told her fatherwhat Hamlet“had his solicitings as they fell out by time， by means， and place.”All these show not only herfilial obedience to her father but also her betrayal of Hamlet’s trust. This also shows Ophelia’s evil side of herhuman nature.
Ophelia’s father， just like all parents in the world， loved his sons and daughters very much and was veryloyal to King and Queen. These fully demonstrate his kind side of his human nature. But he was not perfectlyopen in all his actions； so was he， even to his son and daughter. For instance， in ActⅡ， SceneⅠ， he said tohis servant：“Give him this money and these notes， Reynaldo. ... Before you visit him， to make inquiry of hisbehaviour. ... Look you， sir， \/ Inquire me first what Danskers are in Paris； \/ And how， and who， what means，and where they keep， \/ What company， at what expense； and finding \/ By this encompassment and drift ofquestion \/ That they do know my son， come you more nearer \/ Than your particular demands will touch it：
... \/ you may say，‘not well： \/ But if’t be he I mean， he’s very wild， \/ Addicted so and so；’and there put onhim \/ What forgeries you please； ... \/ But， sir， such wanton， wild， and usual slips \/ As are companions notedand most known \/ To youth and liberty. ... \/ You bait of falsehood takes this carp of truth； \/ And thus do we ofwisdom and of reach， \/ With windlasses， and with assays of bias， \/ By indirections find directions out： \/ So bymy former lecture and advice \/ S