He knows that the choice he makes will ultimately mean his own destruction. Hamlet is full of faults.
The destiny of humanity is here exhibited as a gigantic Sphinx, which threatens to precipitate into the abyss of skepticism all who are unable to solve her dread enigmas. But, as Hamlet observes, "conscience doth make cowards of us all.
To die; to sleep, No more, and by a sleep to say we end The heart-ache, and the thousand natural shocks That flesh is heir to; 'tis a consummation Devoutly to be wish'd.
But their incredulity is at once subdued, and a resolution is taken by Horatio upon the conviction that what he once held as "fantasy" is a dreadful being, of whose existence there can be no doubt.
It will be sufficient to dwell very briefly on a few of its most striking features, and first as to the question of Hamlet's madness. The mystery which surrounds the play centres in the character of Hamlet himself. Lying down at Ophelia's feet.
Laertes even uses poisoned rapier as his weapon. He will have the players perform a scene closely resembling the sequence by which Hamlet imagines his uncle to have murdered his father, so that if Claudius is guilty, he will surely react.
Coleridge attributes what he consider's Hamlet's assumed eccentricity, after the ghost scene, to "the disposition to escape from his own feelings of the overwhelming and supernatural by a wild transition to the ludicrous, a sort of cunning bravado, bordering on delirium.