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To her sick soul, as sin's true nature is,
Each toy seems prologue to some great amiss.
She shows spirit when Laertes raises the mob, and one respects her for standing up for her husband when she can do nothing to help her son. If she had sense to realise Hamlet's purpose, or the probability of the King's taking some desperate step to foil it, she must have suffered torture in those days. But perhaps she was too dull.
The last we see of her, at the fencing-match, is most characteristic. She is perfectly serene. Things have slipped back into their groove, and she has no apprehensions. She is, however, disturbed and full of sympathy for her son, who is out of condition and pants and perspires. These are afflictions she can thoroughly feel for, though they are even more common than the death of a father. But then she meets her death because she cannot resist the wish to please her son by drinking to his success. And more: when she falls dying, and the King tries to make out that she is merely swooning at the sight of blood, she collects her energies to deny it and to warn Hamlet: