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FRANKLIN  CHAFFEE 

AND 

KATHARINE  CHAFFEE 


THB  GHOST  IN   HAMLET  (T.  R.  GOULD). 


SHAKESPEARE'S 


TRAGEDY  OF 


HAMLET,   PRINCE    OF    DENMARK, 


EDITED,  WITH  NOTES, 


WILLIAM  J.  ROLFE,  LITT.  D., 

iLY    HEAD   MASTER  OF   THE   HIGH    SCHOOL,  CAMBRIDGE,  MASS. 


WITH  ENGRA  VINGS. 


tfEW  YORK  •:•  CINCINNATI  •:•  CHICAGO 

AMERICAN     BOOK     COMPANY 


ENGLISH   CLASSICS. 

EDITED  BY  WM.  J.  ROLFE,  LITT.  D. 
Illustrated.    12mo,  Cloth,  66  cents  per  volume. 


The  Merchant  of  Venice. 

Othello. 

Julius  Csesar. 

A  Midsummer-Night's  Dream. 

Macbeth. 

Hamlet 

M  uch  Ado  about  Nothing. 

Romeo  and  Juliet 

As  You  Like  It. 

The  Tempest. 

Twelfth  Night. 

The  Winter's  Tale. 

King  John. 

Richard  II. 

Henry  IV.     Part  I. 

Henry  IV.     Part  II. 

Henry  V. 

Henry  VI.     Part  I. 

Henry  VI.     Part  II. 

Henry  VI.     Part  III 


Richard  III 

Henry  VII.. 

King  Lear. 

The  Taming  of  the  Shrew. 

All  's  Well  that  Ends  Well. 

Coriolanus. 

The  Comedy  of  Errors. 

Cymbeline. 

Antony  and  Cleopatra. 

Measure  for  Measure. 

Merry  Wives  of  Windsor. 

Love's  Labour  's  Lost. 

Two  Gentlemen  of  Verona. 

Timon  of  Athens. 

Troilus  and  Cressida. 

Pericles,  Prince  of  Tyre. 

The  Two  Noble  Kinsmen. 

Venus  and  Adonis,  Lucrece,  etc. 

Sonnets. 

Titus  Andronicus. 


GOLDSMITH'S  SELECT  POEMS.          BROWNING'S  SELECT  POEMS. 
GRAY'S  SELECT  POEMS.  BROWNING'S  SELECT  DRAMAS. 

MINOR  POEMS  OF  JOHN  MILTON.    MACAULAY'S  LAYS  OF  ANCIENT  ROME. 
WORDSWORTH'S  SELECT  POEMS. 

LAMBS'  TALES  FROM  SHAKESPEARE'S  COMEDIES. 
LAMBS'  TALES  FROM  SHAKESPEARE'S  TRAGEDIES 

EDITED  BY  WM.  J.  ROLFE,  LITT.  D. 
Illustrated.    Cloth,  12mo,  BO  cents  per  voluuia. 


Copyright,  1878  and  1808,  by  HARPER  &  BROTHI 
Copyright,  iyo6,  by  WILLIAM  J.   KOLFE. 


P  of  Denmark. 
94 


PREFACE. 


THE  text  of  this  edition  of  Hamlet  is  based  upon  a  careful  collation 
of  the  quarto  of  1604  and  the  folio  of  1623  with  the  other  early  editions 
and  the  leading  modern  ones.  All  the  important  variae  lectiones  are 
given  in  the  Notes;  so  that  the  reader,  if  he  considers  my  text  too 
"  conservative,"  has  all  the  materials  necessary  for  making  one  to  suit 
himself. 

In  the  Notes  my  indebtedness  to  Furness  is  acknowledged  on  almost 
every  page,  and  yet  is  by  no  means  fully  recorded.  His  edition  furnishes 
an  abstract  and  epitome  of  the  vast  literature  of  Hamlet,  and  is  indis- 
pensable to  the  teacher  and  the  critical  scholar.  He  found  it  no  easy 
task  to  condense  his  material  into  two  octavo  volumes;  and  in  carrying 
out  my  more  modest  plan  I  have  found  a  like  difficulty  in  keeping  within 
my  limited  space.  The  play  is  one  of  the  longest  (about  twice  as  long 
as  Macbetti),  and  the  amount  that  has  been  written  about  it  far  exceeds 
that  on  any  other  of  Shakespeare's  works.  Furness  does  not  exaggerate 
when  he  says :  "  No  one  of  mortal  mould  (save  Him  'whose  blessed  feet 
were  nailed  for  our  advantage  to  the  bitter  cross')  ever  trod  this  earth, 
commanding  such  absorbing  interest  as  this  Hamlet,  this  mere  creation 
of  a  poet's  brain.  No  syllable  that  he  whispers,  no  word  let  fall  by  any 
one  near  him,  but  is  caught  and  pondered  as  no  words  ever  have  been, 
except  of  Holy  Writ.  Upon  no  throne  built  by  mortal  hands  has  ever 
'beat  so  fierce  a  light'  as  upon  that  airy  fabric  reared  at  Elsinore." 


2023919 


THB  CLOPTON    MONUMBNT,  STRATFOKD   CHURCH, 


CONTENTS. 


PAGB 

INTRODUCTION  TO  HAMLET 9 

I.  THE  HISTORY  OF  THE  PLAY 9 

II.  THE  SOURCES  OF  THE  PLOT ....  12 

III.  CRITICAL  COMMENTS  ON  THE  PLAY 14 

HAMLET 39 

ACT  1 41 

«  II 70 

"HI , 93 

«  IV 122 

*   V 144 

NOTES ., 167 


INTRODUCTION    TO    HAMLET. 


I.    THE  HISTORY  OF  THE  PLAY. 

THE  earliest  known  edition  of  Hamlet  appeared  in  quarto 
form  in  1603,  with  the  following  title-page  : 

THE  |  Tragicall  Historic  of  |  HAMLET  |  Prince  of  Den- 
marke  \  By  William  Shake-speare.  |  As  it  hath  beene  diuerse 
times  acted  by  his  Highnesse  ser-  |  uants  in  the  Cittie  of 
London  :  as  also  in  the  two  V-  |  niuersities  of  Cambridge  and 
Oxford,  and  else-where  |  At  London  printed  for  N.  L.  and 
John  Trundell.  |  1603. 

9 


10  HAMLET. 

In  the  preceding  year  (July  26,  1602)  James  Roberts  the 
printer  had  entered  in  the  Stationers'  Register  "A  booke 
called  the  Revenge  of  HAMLETT Prince  of  Denmarke  as  yt 
was  latelie  acted  by  the  Lord  Chamberleyne  his  servantes"  The 
quarto  of  1603  may  have  been  printed  by  Roberts,  though 
his  name  does  not  appear  on  the  title-page.  He  certainly 
printed  the  second  quarto,  published  by  the  same  "  N.  L." 
(Nicholas  Ling)  in  1604,  with  the  following  title-page: 

THE  |  Tragicall  Historic  of  |  HAMLET,  |  Prince  of  Den- 
marke. |  By  William  Shakespeare.  |  Newly  imprinted  and  en- 
larged to  almost  as  much  |  againe  as  it  was,  according  to  the 
true  and  perfect  |  Coppie.  |  AT  LONDON,  |  Printed  by  I.  R. 
for  N.  L.  and  are  to  be  sold  at  his  |  shoppe  vnder  St.  Dun- 
stons  Church  in  |  Fleetstreet.  1604. 

The  relation  of  the  first  quarto  to  the  second  has  been 
much  disputed.  Collier,  White,  and  some  other  critics  be- 
lieve that  the  former  is  merely  an  imperfect  report  of  the 
play  as  published  in  the  latter;  that  it  was  printed,  either 
from  short-hand  notes  taken  at  the  theatre,  or  from  a  stage- 
copy  cut  down  for  representation  and  perhaps  corrupted 
by  the  insertion  of  stuff  from  an  earlier  play  on  the  same 
subject.  The  second  quarto,  on  the  other  hand,  was  an 
authorized  edition  of  the  play  from  "  the  true  .and  perfect 
copy." 

Other  critics — among  whom  are  Caldecott,  Knight,  Staun- 
ton,  and  Dyce — believe  that  the  first  quarto  represents, 
though  in  a  corrupt  form,  the  first  draught  of  the  play,  while 
the  second  gives  it  as  remodelled  and  enlarged  by  the  au- 
thor. It  is  not  necessary  to  suppose  that  the  former  was 
written  near  the  time  when  it  was  published;  it  was  more 
likely  an  early  production  of  the  poet  After  the  revision 
the  original  copy  could  be  more  easily  obtained  for  surrep- 
titious publication,  and  it  may  have  been  printed  in  haste  to 
"  head  off"  an  authorized  edition  of  the  remodelled  play. 

Another  theory,  and  a  very  plausible  one,  is  that  of  Messrs, 


INTRODUCTION.  II 

Clark  and  Wright,  brought  out  in  the  "Clarendon  Press" 
edition  of  the  play ;  namely,  "  that  there  was  an  old  play  on 
the  story  of  Hamlet,  some  portions  of  which  are  still  pre- 
served in  the  quarto  of  1603 ;  that  about  the  year  1602 
Shakespeare  took  this  and  began  to  remodel  it,  as  he  had 
done  with  other  plays ;  that  the  quarto  of  1603  represents 
the  play  after  it  had  been  retouched  by  him  to  a  certain  ex- 
tent, but  before  his  alterations  were  complete;  and  that 
in  the  quarto  of  1604  we  have  for  the  first  time  the  Hamlet  of 
Shakespeare." 

For  a  resume,  of  the  discussion  of  this  interesting  question 
(which  will  probably  never  be  settled)  see  Furness's  Hamlet, 
vol.  ii.  pp.  12-33. 

The  third  quarto,  published  in  1605,  is  a  reprint  of  the 
second;  the  title-page  being  identical  except  in  date,  and 
the  variations  in  the  text  slight  and  unimportant.  A  fourth 
quarto,  "Printed  for  lohn  Smethwicke"  and  "to  be  sold  at 
his  shoppe  in  Saint  Dunstons  church  yeard  in  Fleetstreet," 
appeared  in  1611 ;  and  a  fifth,  undated,  was  afterwards  issued 
by  the  same  publisher.*  No  other  editions  appeared  during 
the  lifetime  of  Shakespeare,  or  before  the  publication  of  the 
folio  of  1623.  The  text  of  the  latter  varies  considerably  from 
that  of  the  quartos,  as  will  be  seen  by  our  Notes,  in  which  the 
more  important  differences  are  recorded.  Collier  thinks  that 
"  if  the  Hamlet  in  the  first  folio  were  not  composed  from  some 
hitherto  unknown  quarto, f  it  was  derived  from  a  manuscript 


*  Malone  believes  that  this  edition  was  printed  in  1607,  and  Halliwell  is 
inclined  to  place  it  "before  1609;"  but,  as  the  Cambridge  editors  show,  its 
orthography  is  more  modern  than  that  of  the  quarto  of  1611,  from  which  it 
was  probably  printed. 

fit  is  not  impossible  that  there  may  have  been  such  a  quarto.  No 
copy  of  the  quarto  of  1603  was  known  until  1823,  when  one  was  found 
by  Sir  Henry  Bunbury.  A  second  was  picked  up  in  1856  by  a  Dublin 
bookseller,  who  paid  a  shilling  for  it.  The  former,  which  lacks  the  last 
page,  was  afterwards  sold  to  the  Duke  of  Devonshire  tor  £230;  the  lat- 
ter, which  wants  the  title-page,  was  bought  by  Mr.  Halliwell  for  £120,  and 


12  HAMLET. 

obtained  by  Heminge  and  Condell  from  the  theatre."  The 
standard  text  of  the  play  is  chiefly  made  up  by  a  collation 
of  the  second  quarto  and  the  first  folio. 

n.    THE  SOURCES  OF  THE  PLOT. 

There  was  certainly  an  old  play  on  the  subject  of  Hamlet, 
and  some  critics  believe  that  it  was  an  early  production  of 
Shakespeare's.  The  first  allusion  to  it  that  has  been  discov- 
ered is  in  an  Epistle  "To  the  Gentleman  Students  of  both 
Universities,"  by  Thomas  Nash,  prefixed  to  Greene's  Mena- 
phon,  printed  in  1589.  Referring  to  the  playwrights  of  that 
day,  Nash  says :  "  It  is  a  common  practice  now  a  daies 
amongst  a  sort  of  shifting  companions,*  that  runne  through 
every  arte  and  thrive  by  none  to  leave  the  trade  of  Noverint\ 
whereto  they  were  borne,  and  busie  themselves  with  the  in- 
devours  of  art,  that  could  scarcelie  latinize  their  necke-verse 
if  they  should  have  neede;  yet  English  Seneca  read  by 
candle-light  yeeldes  manie  good  sentences,  as  Bloud  is  a 
begger,  and  so  foorth :  and  if  you  intreate  him  faire  in  a 
frostie  morning,  he  will  affoord  you  whole  Hamlets^  I  should 
say  Handfulls  of  tragical  speaches." 

In  Henslowe's  Diary  the  following  entry  occurs : 
9  of  June  1594,  Rd  at  hamlet  .  .  .  viiij" 
Five  lines  above  the  entry  is  this  memorandum:  "In  the 
name  of  God  Amen,  beginninge  at  Newington,  my  Lordj 
Admeralle  and   my  Lorde   chamberlen  men,  as    foloweth, 
1594."    At  this  date,  Shakespeare  was  one  of  the  company 
of  actors  known  as  "  the  Lord  Chamberlain's  men." 

Again,  in  Lodge's  Wits  mtserie,  and  the  Worlds  madnesse% 

is  now  in  the  British  Museum.  These  are  the  only  copies  of  the  first 
quarto  that  have  come  down  to  our  day. 

*For  the  contemptuous  use  of  companion  (  =  fellow),  cf.  J.  C.'vt.  3. 
138:  «  Companion,  hence !"  and  see  Temp.  p.  131,  or  M.N.  D.  p.  125. 

t  That  is,  of  attorney;  from  the  Latin  formula  with  which  deeds  be- 
gan:  "  Nwerint  universi  "=our  "  Know  all  men,"  etc. 


INTRODUCTION.  13 

published  in  1596,  we  have  an  allusion  to  "  y*  ghost  which 
cried  so  miserally  [stf]  at  ye  theater,  like  an  oisterwife,  Ham- 
let reuengt" 

There  is  also  an  old  German  play  on  the  story  of  Hamlet, 
Der  Bestrafte  Brudermord,  which  some  critics  suppose  to 
have  been  acted  by  English  players  in  Germany  as  early  as 
1603  (though  there  seems  to  be  no  authentic  record  of  any 
performance  earlier  than  1626,  and  the  text  that  has  come 
down  to  us  cannot  be  traced  farther  back  than  1710),  and 
which  may  have  been  based  on  the  pre-Shakespearian  play. 
In  the  quarto  of  1603  Polonius  appears  as  "Corambis,"  and 
in  the  German  play  as  "Corambus."  As  there  is  no  evi- 
dence that  the  German  writer  made  any  use  of  the  quarto,  it 
is  not  improbable  that  he  drew  from  the  earlier  drama.* 

It  is  impossible  to  say  what  use  Shakespeare  made  of 
this  old  English  play  (we  do  not  believe  that  it  was  a 
youthful  production  of  his  own),  as  it  seems  to  be  hope- 
lessly lost,  and  we  cannot  guess  ho\v  much  of  it,  if  any- 
thing, survives  in  diluted  form  in  the  German  play  just  men- 
tioned. Of  another  source  from  which  he  probably  derived 
his  material  we  have  better  knowledge  :  namely,  The  Hystone 
of  Hamblet,  translated  from  the  Histoires  Tragiques  of  Fran- 
cis de  Belleforest.  The  story  of  Hamlet  is  found  in  the  fifth 
volume,  which  was  printed  at  Paris  in  1570.  The  English 
version  was  probably  made  soon  after,  though  the  only  edi 
tion  now  extant  is  that  of  i6o8.f 

The  poet  has  followed  the  Hystorie  in  some  of  its  main  in- 
cidents— the  murder  of  Hamlet's  father  by  his  uncle,  the 
marriage  of  his  mother  with  the  murderer,  his  feigned  mad- 
ness, his  killing  of  Polonius,  his  interview  with  his  mother, 
his  voyage  to  England,  his  return,  and  his  revenge — but  not 

*  For  a  translation  of  the  German  play  and  a  discussion  of  its  relations 
to  the  history  of  Shakespeare's  Hamlet,  see  Furness,  vol.  ii.  pp.  114-142. 

f  Reprinted  (with  the  exception  of  the  last  two  chapters,  of  which  S, 
made  no  use)  by  Furness,  vol.  ii.  pp.  91-113. 


I4  HAMLET. 

in  the  denouement.  In  the  Hystorie  Hamlet,  after  his  uncle's 
death,  becomes  king  of  Denmark,  visits  England  again,  mar- 
ries two  wives,  by  one  of  whom  he  is  betrayed  into  the  power 
of  his  maternal  uncle  Wiglerus,  and  is  finally  slain  in  battle.* 
It  may  be  added  that  Belleforest  got  the  story  from  the 
Historia  Danica  of  Saxo  Grammaticus,  written  about  the 
close  of  the  i2th  century,  though  the  earliest  existing  edition 
of  it  is  that  of  Paris,  1514. 

HI.    CRITICAL  COMMENTS  ON  THE   PLAY. 
\From  Goethe's  "  Wilhelm  Meistcr»\} 

I  sought  for  every  indication  of  what  the  character  of 
Hamlet  was  before  the  death  of  his  father ;  I  took  note 
of  all  that  this  interesting  youth  had  been,  independently 
of  that  sad  event,  independently  of  the  subsequent  terrible 
occurrences,  and  I  imagined  what  he  might  have  been  with- 
out them. 

Tender  and  nobly  descended,  this  royal  flower  grew  up 
under  the  direct  influences  of  majesty ;  the  idea  of  the  right 
and  of  princely  dignity,  the  feeling  for  the  good  and  the  grace- 
ful, with  the  consciousness  of  his  high  birth,  were  unfolded 
in  him  together.  He  was  a  prince,  a  born  prince.  Pleasing 
in  figure,  polished  by  nature,  courteous  from  the  heart,  he  was 
to  be  the  model  of  youth  and  the  delight  of  the  world.  .  .  . 

Figure  to  yourself  this  youth,  this  son  of  princes,  conceive 
him  vividly,  bring  his  condition  before  your  eyes,  and  then 
observe  him  when  he  learns  that  his  father's  spirit  walks  ; 
stand  by  him  in  the  terrible  night  when  the  venerable  Ghost 
itself  appears  before  him.  A  horrid  shudder  seizes  him  ;  he 
speaks  to  the  mysterious  form ;  he  sees  it  beckon  him ;  he 

*  Elze  (see  Furness,  vol.  ii.  p.  89)  gives  some  very  plausible  reasons 
for  supposing  that  the  Hystorie  is  of  later  date  than  the  old  play  of 
Hamlet. 

t  Carlyle's  translation,  as  quoted  with  slight  variations  by  Furness  in 
bis  Hamlet,  vcl.  ii.  p.  272  foL 


INTRODUCTION.  f5 

follows  it  and  hearkens.  The  fearful  accusation  of  his  uncle 
rings  in  his  ears  ;  the  summons  to  revenge  and  the  piercing 
reiterated  prayer,  "  Remember  me." 

And  when  the  Ghost  has  vanished,  who  is  it  we  see  stand- 
ing before  us?  A  young  hero  panting  for  vengeance?  A 
,born  prince,  feeling  himself  favoured  in  being  summoned 
to  punish  the  usurper  of  his  crown  ?  No  !  Amazement  and 
sorrow  overwhelm  the  solitary  young  man  :  HP  frfrnmpg  h^- 
jer  against  smiling  villains,  swears  never  to  fcrcrt  thr  dft 

with  the  signifirant  p 


"The  time  is  out  of  joint;  O  cursed  spite, 
That  ever  I  was  born  to  set  it  right  !  " 

In  these  words,  I  imagine,  is  the  key  to  Hamlet's  whole  pro- 
cedure, and  to  me  it  is  clear  that  Shakespeare  sought  to  de- 
pict a  great  deed  laid  upon  a  soul  unequal  to  the  performance 
of  it.  In  this  view  I  find  the  piece  composed  throughout. 
Here  is  an  oak-tree  planted  in  a  costly  vase,  which  should 
have  received  into  its  bosom  only  lovely  flowers  ;  the  roots 
spread  out,  the  vase  is  shivered  to  pieces. 

A  beautiful,  pure,  and  most  moral  nature,  without  the 
strength  of  nerve  which  makes  the  hero,  sinks  beneath  a 
burden  which  it  can  neither  bear  nor  throw  off;  every  duty 
is  holy  to  him  —  this  too  hard.  The  impossible  is  required 
of  him,  —  not  the  impossible  in  itself,  but  the  impossible  to 
him.  How  he  winds,  turns,  agonizes,  advances,  and  recoils, 
ever  reminded,  ever  reminding  himself,  and  at  last  almost 
loses  his  purpose  from  his  thoughts,  without  ever  again  re- 
covering his  peace  of  mind.  .  .  . 

It  pleases,  it  flatters  us  greatly,  to  see  a  hero  who  acts  of 
himself,  who  loves  and  hates  us  as  his  heart  prompts,  under- 
taking and  executing,  thrusting  aside  all  hindrances,  and  ac- 
complishing a  great  purpose.  Historians  and  poets  would 
fain  persuade  us  that  so  proud  a  lot  may  fall  to  man.  In 
Hamlet  we  are  taught  otherwise  ;  the  hero  has  no  plan,  but 


1 6  HAMLET. 

:he  piece  is  full  of  plan.  Here  is  no  villain  upon  whom 
vengeance  is  inflicted  according  to  a  certain  scheme,  rigidly 
and  in  a  peculiar  manner  carried  out.  No,  a  horrid  deed 
occurs ;  it  sweeps  on  in  its  consequences,  dragging  the  guilt- 
less along  with  it ;  the  perpetrator  appears  as  if  he  would 
avoid  the  abyss  to  which  he  is  destined,  and  he  plunges  in 
just  then  when  he  thinks  happily  to  fulfil  his  career.  For 
it  is  the  property  of  a  deed  of  horror  that  the  evil  spreads 
out  over  the  innocent,  as  it  is  of  a  good  action  to  extend  its 
benefits  to  the  undeserving,  while  frequently  the  author  of 
one  or  of  the  other  is  neither  punished  nor  rewarded.  Here 
in  this  play  of  ours,  how  strange  !  Purgatory  sends  its  spirit, 
and  demands  revenge ;  in  vain  !  Neither  earthly  nor  infer- 
nal thing  may  bring  about  what  is  reserved  for  Fate  alone. 
The  hour  of  judgment  comes.  The  bad  falls  with  the  good. 
One  race  is  mowed  away,  and  another  springs  up.  ... 

Hamlet  is  endowed  more  properly  with  sentiment  than 
with  a  character ;  it  is  events  alone  that  push  him  on ;  and 
accordingly  the  piece  has  somewhat  the  amplification  of  a 
novel.  But  as  it  is  Fate  that  draws  the  plan,  as  the  piece 
proceeds  from  a  deed  of  terror,  and  the  hero  is  steadily  driven 
on  to  a  deed  of  terror,  the  work  is  tragic  in  its  highest  sense, 
and  admits  of  no  other  than  a  tragic  end. 

\_From  SchlegeFs  " Dramatic  Literature"  *] 
Hamlet  is  singular  in  its  kind  :  a  tragedy  of  thought  in- 
spired by  continual  and  never-satisfied  meditation  on  human 
destiny  and  the  dark  perplexity  of  the  events  of  this  world, 
and  calculated  to  call  forth  the  very  same  meditation  in  the 
minds  of  the  spectators.  This  enigmatical  work  resembles 
those  irrational  equations  in  which  a  fraction  of  unknown 
magnitude  always  remains,  that  will  in  no  way  admit  of  so- 
lution. Much  has  been  said,  much  written,  on  this  piece,  and 

*  Lectures  on  Dramatic  Art  and  Literature,  by  A.  W.  Schlegel  • 
Black's  translation,  revised  by  Morrison  (London  :  1846),  p.  404  fol.  ' 


INTRODUCTION.  \j 

yet  no  thinking  man  who  anew  expresses  himself  on  it  will 
(in  his  view  of  the  connection  and  the  signification  of  all  the 
parts)  entirely  coincide  with  his  predecessors.  .  .  . 

The  only  circumstance  from  which  this  piece  might  be 
judged  to  be  less  suited  to  the  stage  than  other  tragedies  of 
Shakespeare  is  that  in  the  last  scenes  the  main  action  either 
stands  still  or  appears  to  retrograde.  This,  however,  was 
inevitable,  and  lay  in  the  nature  of  the  subject.  The  whole 
is  intended  to  show  that  a  calculating  consideration,  which 
exhausts  all  the  relations  and  possible  consequences  of  a 
deed,  must  cripple  the  power  of  acting ;  as  Hamlet  himself 
expresses  it : 

*  And  thus  the  native  hue  of  resolution 
Is  sicklied  o'er  with  the  pale  cast  of  thought; 
And  enterprises  of  great  pith  and  moment, 
With  this  regard,  their  currents  turn  awry, 
And  lose  the  name  of  action." 

With  respect  to  Hamlet's  character,  I  cannot,  as  I  under- 
stand the  poet's  views,  pronounce  altogether  so  favourable  a 
sentence  upon  it  as  Goethe  does.  He  is,  it  is  true,  of  a  highly 
cultivated  mind,  a  prince  of  royal  manners,  endowed  with 
the  finest  sense  of  propriety,  susceptible  of  noble  ambition, 
and  open  in  the  highest  degree  to  an  enthusiastic  admira- 
tion of  that  excellence  in  others  of  which  he  himself  is  defi- 
cient. He  acts  the  part  of  madness  with  unrivalled  power.; 
convincing  the  persons  who  are  sent  to  examine  into  his 
supposed  loss  of  reason  merely  by  telling  them  unwelcome 
truths  and  rallying  them  with  the  most  caustic  wit.  But  in 
the  resolutions  which  he  so  often  embraces  and  always  leaves 
unexecuted,  his  weakness  is  too  apparent:  he  does  himself 
only  justice  when  he  implies  that  there  is  no  greater  dissimi- 
larity than  between  himself  and  Hercules.  He  is  not  solely 
impelled  by  necessity  to  artifice  and  dissimulation :  he  has 
a  natural  inclination  for  crooked  ways ;  he  is  a  hypocrite 
towards  himself;  his  far-fetched  scruples  are  often  mere  pre- 
B 


,g  HAMLET. 

texts  to  cover  his  want  of  determination :  thoughts,  as  he 
says,  on  a  different  occasion,  which  have 

"  but  one  part  wisdom 

And  ever  three  parts  coward." 

He  has  been  chiefly  condemned  both  for  his  harshness  in  re 
pulsing  the  love  of  Ophelia,  which  he  himself  had  cherished, 
and  for  his  insensibility  at  her  death.  But  he  is  too  much 
overwhelmed  with  his  own  sorrow  to  have  any  compassion 
to  spare  for  others;  besides,  his  outward  indifference  gives 
us  by  no  means  the  measure  of  his  internal  perturbation. 
On  the  other  hand,  we  evidently  perceive  in  him  a  malicious 
joy,  when  he  has  succeeded  in  getting  rid  of  his  enemies, 
more  through  necessity  and  accident,  which  alone  are  able 
to  impel  him  to  quick  and  decisive  measures,  than  by  the 
merit  of  his  own  courage,  as  he  himself  confesses  after  the 
murder  of  Polonius,  and  with  respect  to  Rosencrantz  and 
Guildenstern.  Hamlet  has  no  firm  belief  either  in  himself 
or  in  anything  else :  from  expressions  of  religious  confidence 
he  passes  over  to  sceptical  doubts ;  he  believes  in  the  ghost 
of  his  father,  as  long  as  he  sees  it,  but  as  soon  as  it  has  dis- 
appeared, it  appears  to  him  almost  in  the  light  of  a  decep- 
tion. He  has  even  gone  so  far  as  to  say,  "  There  is  nothing 
either  good  or  bad,  but  thinking  makes  it  so ;"  with  him  the 
poet  loses  himself  here  in  labyrinths  of  thought,  in  which 
neither  end  nor  beginning  is  discoverable.  The  stars  them- 
selves, from  the  course  of  events,  afford  no  answer  to  the 
question  so  urgently  proposed  to  them.  A  voice  from  an- 
other world,  commissioned,  it  would  appear,  by  Heaven,  de- 
mands vengeance  for  a  monstrous  enormity,  and  the  demand 
remains  without  effect  j  the  criminals  are  at  last  punished, 
but,  as  it  were,  by  an  accidental  blow,  and  not  in  the  solemn 
way  requisite  to  convey  to  the  world  a  warning  example  of 
justice;  irresolute  foresight,  cunning  treachery,  and  impetu- 
ous rage  hurry  on  to  a  common  destruction;  the  less  guilty 


INTRODUCTION.  19 

and  the  innocent  are  equally  involved  in  the  general  ruin. 
The  destiny  of  humanity  is  there  exhibited  as  a  gigantic 
Sphinx,  which  threatens  to  precipitate  into  the  abyss  of 
scepticism  all  who  are  unable  to  solve  her  dreadful  enigmas. 

[From  Coleridge's  "  Notes  and  Lectures  upon  Shakespeare?  »] 
I  believe  the  character  of  Hamlet  may  be  traced  to  Shake- 
speare's deep  and  accurate  science  in  mental  philosophy.  In- 
deed, that  this  character  must  have  some  connection  with 
the  common  fundamental  laws  of  our  nature  may  be  assumed 
from  the  fact  that  Hamlet  has  been  the  darling  of  every 
country  in  which  the  literature  of  England  has  been  fostered. 
In  order  to  understand  him,  it  is  essential  that  we  should 
reflect  on  the  constitution  of  our  own  minds-  Man  is  dis- 
tinguished from  the  brute  animals  in  proportion  as  thought 
prevails  over  sense  :  but  in  the  healthy  processes  of  the  mind, 
a  balance  is  constantly  maintained  between  the  impressions 
from  outward  objects  and  the  inward  operations  of  the  in- 
tellect : — for  if  there  be  an  overbalance  in  the  contemplative 
faculty,  man  thereby  becomes  the  creature  of  mere  medita- 
tion, and  loses  his  natural  power  of  action.  Now  one  of 
Shakespeare's  modes  of  creating  characters  is,  to  conceive 
any  one  intellectual  or  moral  faculty  in  morbid  excess,  and 
then  to  place  himself,  Shakespeare,  thus  mutilated  or  dis- 
eased, under  given  circumstances.  In  Hamlet  he  seems  to 
have  wished  to  exemplify  the  moral  necessity  of  a  due  bal- 
ance between  our  attention  to  the  objects  of  our  senses,  and 
our  meditation  on  the  workings  of  our  minds, — an  equilibrium 
between  the  real  and  the  imaginary  worlds.  In  Hamlet  this 
balance  is  disturbed  :  his  thoughts,  and  the  images  of  his 
fancy,  are  far  more  vivid  than  his  actual  perceptions,  and  his 
very  perceptions,  instantly  passing  through  the  medium  of 
his  contemplations,  acquire,  as  they  pass,  a  form  and  a  color 
not  naturally  their  own.  Hence  we  see  a  great,  an  almost 
*  Coleridge's  Works  (Harper's  ed.),  voL  iv.  p.  145  foL 


2O  HAMLET. 

enormous,  intellectual  activity,  and  a  proportionate  aversion 
to  real  action,  consequent  upon  it,  with  all  its  symptoms  and 
accompanying  qualities.  This  character  Shakespeare  places 
in  circumstances  under  which  it  is  obliged  to  act  on  the  spur 
of  the  moment: — Hamlet  is  brave  and  careless  of  death; 
but  he  vacillates  from  sensibility,  and  procrastinates  from 
thought,  and  loses  the  power  of  action  in  the  energy  of 
resolve.  Thus  it  is  that  this  tragedy  presents  a  direr » 
contrast  to  that  of  Macbeth;  the  one  proceeds  with  the 
utmost  slowness,  the  other  with  a  crowded  and  breathless 
rapidity. 

The  effect  of  this  overbalance  of  the  imaginative  power  is 
beautifully  illustrated  in  the  everlasting  broodings  and  su- 
perfluous activities  of  Hamlet's  mind,  which,  unseated  from 
its  healthy  relation,  is  constantly  occupied  with  the  world 
within,  and  abstracted  from  the  world  without, — giving 
substance  to  shadows,  and  throwing  a  mist  over  all  common- 
place actualities.  It  is  the  nature  of  thought  to  be  in- 
definite;— definiteness  belongs  to  external  imagery  alone. 
Hence  it  is  that  the  sense  of  sublimity  arises,  not  from  the 
sight  of  an  outward  object,  but  from  the  beholder's  reflection 
upon  it; — not  from  the  sensuous  impression,  but  from  the 
imaginative  reflex.  Few  have  seen  a  celebrated  waterfall 
without  feeling  something  akin  to  disappointment :  it  is  only 
subsequently  that  the  image  comes  back  full  into  the  mind, 
and  brings  with  it  a  train  of  grand  or  beautiful  associations. 
Hamlet  feels  this;  his  senses  are  in  a  state  of  trance,  and 
he  looks  upon  external  things  as  hieroglyphics.  His  solil- 
oquy— 

•Oh  that  th»  too,  too  «olid  flesh  would  melt,"  etc., 

springs  from  that  craving  after  the  indefinite— for  that  which 
is  not— which  most  easily  besets  men  of  genius;  and  the 
self-delusion  common  to  this  temper  of  mind  is  finely  exem- 
plified in  the  character  which  Hamlet  gives  of  himself-.— 


UtTRODVCUOtt.  21 

••It  cannot  be 

Bat  1  am  pigeon-liverM,  and  lack  gaO 
To  make  oppression  bitter" 

He  mistakes  the  seeing  his  chains  for  the  breaking  of  them, 
delays  action  till  action  is  of  no  use,  and  dies  the  victim  of 
mere  circumstance  and  accident 

[Front  u  Letters  on  Shakespeare?  Btackwood'i  Magav™ .  &*•  »8l8.»] 

There  is  in  the  ebb  and  flow  of  Shakespeare's  soul  afl  the 
grandeur  of  a  mighty  operation  of  nature;  and  when  we 
think  or  speak  of  him,  it  should  be  with  humility  where  we 
do  not  understand,  and  a  conviction  that  it  is  rather  to  the 
narrowness  of  our  own  ken  than  to  any  failing  in  the  art  of 
the  great  magician,  that  we  ought  to  attribute  any  sense  of 
imperfection  and  of  weakness  which  may  assail  ua  during 
the  contemplation  of  his  created  worlds.  .  .  . 

Shakespeare  himself,  had  he  even  been  as  great  a  critic 
as  a  poet,  could  not  have  written  a  regular  dissertation  upon 
Hamlet.  So  ideal,  and  yet  so  real  an  existence  could  have 
been  shadowed  out  only  in  the  colours  of  poetry.  When  a 
character  deals  solely  or  chiefly  with  this  world  and  its 
events,  when  it  acts  and  is  acted  upon  by  objects  that  have 
a  palpable  existence,  we  see  it  distinctly,  as  if  it  were  cast 
in  a  material  mould,  as  if  it  partook  of  the  fixed  and  settled 
lineaments  of  the  things  on  which  it  lavishes  its  sensibilities 
and  its  passions.  We  see  in  such  eases  the  vision  of  an  in- 
dividual soul,  as  we  see  the  vision  of  an  individual  counte- 
nance. We  can  describe  both,  and  can  let  a  stranger  into 
our  knowledge.  But  how  tell  in  words,  so  pure,  so  fine,  so 
ideal  an  abstraction  as  Hamlet?  We  can,  indeed,  figure  to 
ourselves  generally  his  princely  form,  that  outshone  all  oth- 
ers in  manly  beauty,  and  adorn  it  with  the  consummation  of 

*  These  "  Letters  on  Shakespeare  "  are  signed  "  T.  C^w  and  are  prob- 
ably, as  Furness  surmises,  by  the  poet  Campbell. 


22  HAMLET. 

all  liberal  accomplishment.     We  can  behold  in  every  look, 
every  gesture,  every  motion,  the  future  king, — 

"The  courtier's,  soldier's,  scholar's  eye,  tongue,  sword, 
Th'  expectancy  and  rose  of  the  fair  state; 
The  glass  of  fashion,  and  the  mould  of  form, 
Th'  observed  of  all  observers." 

But  when  we  would  penetrate  into  his  spirit,  meditate  on 
those  things  on  which  he  meditates,  accompany  him  even 
untosthe  brink  of  eternity,  fluctuate  with  him  on  the  ghastly 
sea  of  despair,  soar  with  him  into  the  purest  and  serenest  re- 
gions of  human  thought,  feel  with  him  the  curse  of  beholding 
iniquity,  and  the  troubled  delight  of  thinking  on  innocence, 
and  gentleness,  and  beauty;  come  with  him  from  all  the 
glorious  dreams  cherished  by  a  noble  spirit  in  the  halls  of 
wisdom  and  philosophy,  of  a  sudden  into  the  gloomy  courts 
of  sin,  and  incest,  and  murder ;  shudder  with  him  over  the 
broken  and  shattered  fragments  of  all  the  fairest  creations 
of  his  fancy, — be  borne  with  him  at  once,  from  calm,  and 
lofty,  and  delighted  speculations,  into  the  very  heart  of  fear, 
and  horror,  anu  tribulations — have  the  agonies  and  the  guilt 
of  our  mortal  world  brought  into  immediate  contact  with 
the  world  beyond  the  grave,  and  the  influence  of  an  awful 
shadow  hanging  forever  on  our  thoughts, — be  present  at  a 
fearful  combat  between  all  the  stirred-up  passions  of  humanity 
in  the  soul  of  one  man,  a  combat  in  which  one  and  ail  of  these 
passions  are  alternately  victorious  and  overcome ;  I  say,  that 
when  we  are  thus  placed  and  acted  upon,  how  is  it  possible 
to  draw  a  character  of  this  sublime  drama,  or  of  the  myste- 
rious being  who  is  its  moving  spirit?  In  him,  his  character 
and  his  situation,  there  is  a  concentration  of  all  the  interests 
that  belong  to  humanity.  There  is  scarcely  a  trait  of  frailty 
or  of  grandeur,  which  may  have  endeared  to  us  our  most  be- 
loved friends  in  real  life,  that  is  not  to  be  found  in  Hamkt. 
Undoubtedly  Shakespeare  loved  him  beyond  all  his  othef 


INTRODUCTION.  2$ 

creations.  Soon  as  he  appears  on  the  stage  we  are  satis- 
fied ;  when  absent  we  long  for  his  return.  This  is  the  only 
play  which  exists  almost  altogether  in  the  character  of  one 
single  person.  Who  ever  knew  a  Hamlet  in  real  life?  yet 
who,  ideal  as  the  character  is,  feels  not  its  reality  ?  This  is 
the  wonder.  We  love  him  not,  we  think  of  him  not,  because  he 
was  witty,  because  he  was  melancholy,  because  he  was  filial ; 
but  we  love  him  because  he  existed,  and  was  himself.  This 
is  the  sum  total  of  the  impression.  I  believe  that,  of  every 
other  character,  either  in  tragic  or  epic  poetry,  the  story 
makes  part  of  the  conception ;  but  of  Hamlet,  the  deep  and 
permanent  interest  is  the  conception  of  himself.  This  seems 
to  belong,  not  to  the  character  being  more  perfectly  drawn, 
but  to  there  being  a  more  intense  conception  of  individual 
human  life  than  perhaps  in  any  other  human  composition ; 
that  is,  a  being  with  springs  of  thought,  and  feeling,  and  ac- 
tion, deeper  than  we  can  search.  These  springs  rise  from 
an  unknown  depth,  and  in  that  depth  there  seems  to  be  a 
oneness  of  being  which  we  cannot  distinctly  behold,  but 
which  we  believe  to  be  there:  and  thus  irreconcilable  cir- 
cumstances, floating  on  the  surface  of  his  actions,  have  not 
the  effect  of  making  us  doubt  the  truth  of  the  general 
picture. 

[From  Mrs.  Jameson's  "  Characteristics  of  Women?  *] 
Ophelia — poor  Ophelia !  Oh,  far  too  soft,  too  good,  too 
fair  to  be  cast  among  the  briers  of  this  working-day  world, 
and  fall  and  bleed  upon  the  thorns  of  life  !  What  shall  be 
said  of  her?  for  eloquence  is  mute  before  her  !  Like  a  strain 
of  sad,  sweet  music  which  comes  floating  by  us  on  the  wings 
of  night  and  silence,  and  which  we  rather  feel  than  hear — 
like  the  exhalation  of  the  violet  dying  even  upon  the  sense 
it  charms — like  the  snow-flake  dissolved  in  air  before  it  has 
caught  a  stain  of  earth — like  the  light  surf  severed  from  the 
•American  ed.  (Boston,  1857),  p.  189  foL 


24  HAMLET. 

billow,  which  a  breath  disperses— such  is  the  cnaracter  oi 
Ophelia  :  so  exquisitely  delicate,  it  seems  as  if  a  touch  would 
profane  it;  so  sanctified  in  our  thoughts  by  the  last  and 
worst  of  human  woes,  that  we  scarcely  dare  to  consider  it  too 
deeply.  The  love  of  Ophelia,  which  she  never  once  con- 
fesses,  is  like  a  secret  which  we  have  stolen  from  her,  and 
which  ought  to  die  upon  our  hearts  as  upon  her  own.  Her 
sorrows  ask  not  words,  but  tears ;  and  her  madness  has  pre- 
cisely the  same  effect  that  would  be  produced  by  the  spec- 
tacle of  real  insanity,  if  brought  before  us :  we  feel  inclined 
to  turn  away,  and  veil  our  eyes  in  reverential  pity  and  toe 
painful  sympathy. 

Beyond  every  character  that  Shakespeare  has  drawn  (Ham- 
let alone  excepted),  that  of  Ophelia  makes  us  forget  the  poet 
in  his  own  creation.  Whenever  we  bring  her  to  mind,  it  is 
with  the  same  exclusive  sense  of  her  real  existence,  without 
reference  to  the  wondrous  power  which  called  her  into  life. 
The  effect  (and  what  an  effect!)  is  produced  by  means  sc 
simple,  by  strokes  so  few  and  so  unobtrusive,  that  we  take 
no  thought  of  them.  It  is  so  purely  natural  and  unsophisti- 
cated, yet  so  profound  in  its  pathos,  that,  as  Hazlitt  observes, 
it  takes  us  back  to  the  old  ballads ;  we  forget  that,  in  its  per- 
fect artlessness,  it  is  the  supreme  and  consummate  triumph 
of  art. 

The  situation  of  Ophelia  in  the  story  is  that  of  a  young 
girl  who,  at  an  early  age,  is  brought  from  a  life  of  privacy 
into  the  circle  of  a  court — a  court  such  as  we  read  of  in  those 
early  times,  at  once  rude,  magnificent,  and  corrupted.  She 
is  placed  immediately  about  the  person  of  the  queen,  and 
is  apparently  her  favourite  attendant.  The  affection  of  the 
wicked  queen  for  this  gentle  and  innocent  creature  is  one 
of  those  beautiful  redeeming  touches,  one  of  those  penetrat- 
ing glances  into  the  secret  springs  of  natural  and  feminine 
feeling  which  we  find  only  in  Shakespeare.  Gertrude,  who 
is  not  so  wholly  abandoned  but  that  there  remains  within 


INTRODUCTION.  2$ 

her  heart  some  sense  of  the  virtue  she  has  forfeited,  seems 
to  look  with  a  kind  yet  melancholy  complacency  on  the  lovely 
being  she  has  destined  for  the  bride  of  her  son;  and  the 
scene  in  which  she  is  introduced  as  scattering  flowers  on  the 
grave  of  Ophelia  is  one  of  those  effects  of  contrast  in  poetry, 
in  character,  and  in  feeling,  at  once  natural  and  unexpected ; 
which  fill  the  eye,  and  make  the  heart  swell  and  tremble 
within  itself — like  the  nightingales  singing  in  the  grove  of 
the  Furies  in  Sophocles.* 

It  is  the  helplessness  of  Ophelia,  arising  merely  from  her 
innocence,  and  pictured  without  any  indication  of  weakness, 
which  melts  us  with  such  profound  pity.  She  is  so  young, 
that  neither  her  mind  nor  her  person  has  attained  maturity ; 
she  is  not  aware  of  the  nature  of  her  own  feelings ;  they  are 
prematurely  developed  in  their  full  force  before  she  has 
strength  to  bear  them;  and  Jove__snd  grief  together  rend 
and  shatter  the  frail  texture  of  her  existence,  like  the  burn- 
ing fluid  poured  into  a  crystal  vase.  She  says  very  little, 
and  what  she  does  say  seems  rather  intended  to  hide  than 
to  reveal  the  emotions  of  her  heart ;  yet  in  those  few  words 
we  are  made  as  perfectly  acquainted  with  her  character,  and 
with  what  is  passing  in  her  mind,  as  if  she  had  thrown  forth 
her  soul  with  all  the  glowing  eloquence  of  Juliet.  Passion 
with  Juliet  seems  innate,  a  part  of  her  being,  "  as  dwells  the 
gathered  lightning  in  the  cloud;"  and  we  never  fancy  her 
but  with  the  dark,  splendid  eyes  and  Titian-like  complexion 
of  the  South.  While  in  Ophelia  we  recognize  as  distinctly 
the  pensive,  fair-haired,  blue-eyed  daughter  of  the  North, 
whose  heart  seems  to  vibrate  to  the  passion  she  has  inspired, 
more  conscious  of  being  loved  than  of  loving  ;  and  yet,  alas  ! 
loving  in  the  silent  depths  of  her  young  heart  far  more  than 
she  is  loved. 

When  her  brother  warns  her  against  Hamlet's  impor- 
tunities— 

«  In  the  CEdipus  Coloneus. 


26  HAMLET. 

*  For  Hamlet  and  the  trifling  of  his  favour, 
Hold  it  a  fashion  and  a  toy  in  blood, 
A  violet  in  the  youth  of  primy  nature, 
Forward,  not  permanent,  sweet,  not  lasting, 
The  perfume  and  suppliance  of  a  minute — 
No  more ! " 

she  replies  with  a  kind  of  half  consciousness— 

"No  more  but  so? 
Laertes.  Think  it  no  more." 

He  concludes  his  admonition  with  that  most  beautiful 
passage,  in  which  the  soundest  sense,  the  most  excellent 
advice,  is  convejed  in  a  strain  of  the  most  exquisite  poetry  : 

"The  chariest  maid  is  prodigal  enough, 
If  she  unmask  her  beauty  to  the  moon; 
Virtue  itself  scapes  not  calumnious  strokes. 
The  canker  galls  the  infants  of  the  spring, 
Too  oft  before  their  buttons  be  disclos'd; 
And  in  the  morn  and  liquid  dew  of  youth 
Contagious  blastments  are  most  imminent." 

When  her  father,  immediately  afterwards,  catechises  her 
on  the  same  subject,  he  extorts  from  her,  in  short  sentences, 
uttered  with  bashful  reluctance,  the  confession  of  Hamlet's 
love  for  her,  but  not  a  word  of  her  love  for  him.  The  whole 
scene  is  managed  with  inexpressible  delicacy :  it  is  one  of 
those  instances,  common  in  Shakespeare,  in  which  we  are 
allowed  to  perceive  what  is  passing  in  the  mind  of  a  person 
without  any  consciousness  on  his  part.  Only  Ophelia  her- 
self is  unaware  that  while  she  is  admitting  the  extent  of 
Hamlet's  courtship,  she  is  also  betraying  how  deep  is  the 
impression  it  has  made,  how  entire  the  love  with  which  it  is 
returned.  .  .  . 

We  do  not  see  him  as  a  lover,  nor  as  Ophelia  first  beheld 
him  ;  for  the  days  when  he  importuned  her  with  love  were 
before  the  opening  of  the  drama — before  his  father's  spirit 


INTRODUCTION.  27 

revisited  the  earth ;  but  we  behold  him  at  once  in  a  sea  of 
troubles,  of  perplexities,  of  agonies,  of  terrors.  Without  re- 
morse, he  endures  all  its  horrors ;  without  guilt,  he  endures 
all  its  shame.  A  loathing  of  the  crime  he  is  called  on  to 
revenge,  which  revenge  is  again  abhorrent  to  his  nature,  has 
set  him  at  strife  with  himself;  the  supernatural  visitation 
has  perturbed  his  soul  to  its  inmost  depths;  all  things  else, 
all  interests,  all  hopes,  all  affections,  appear  as  futile,  when 
the  majestic  shadow  comes  lamenting  from  its  place  of  tor- 
ment "  to  shake  him  with  thoughts  beyond  the  reaches  of  his 
soul ! "  His  love  for  Ophelia  is  then  ranked  by  himself 
among  those  trivial,  fond  records  which  he  has  deeply  sworn 
to  erase  from  his  heart  and  brain.  He  has  no  thought  to 
link  his  terrible  destiny  with  hers :  he  cannot  marry  her : 
he  cannot  reveal  to  her,  young,  gentle,  innocent  as  she  is,  the 
terrific  influences  which  have  changed  the  whole  current  of 
his  life  and  purposes.  In  his  distraction  he  overacts  the 
painful  part  to  which  he  had  tasked  himself;  he  is  like  that 
judge  of  the  Areopagus  who,  being  occupied  with  graver 
matters,  flung  from  him  the  little  bird  which  had  sought 
refuge  in  his  bosom,  and  with  such  angry  violence  that  un- 
wittingly he  killed  it. 

In  the  scene  with  Hamlet  (iii.  i),  in  which  he  madly  out- 
rages her  and  upbraids  himself,  Ophelia  says  very  little : 
there  are  two  short  sentences  in  which  she  replies  to  his 
wild,  abrupt  discourse : 

"  Hamlet.   I  did  love  you  once. 

"  Ophelia.   Indeed,  my  lord,  you  made  me  believe  so. 
"Hamlet.   You  should  not  have  believed  me;    for  virtue  cannot  ao 
inoculate  our  old  stock,  but  we  shall  relish  of  it.     I  loved  you  not. 
"  Ophelia.   I  was  the  more  deceiv'd." 

Those  who  ever  heard  Mrs.  Siddons  read  the  play  of  Ham- 
let cannot  forget  the  world  of  meaning,  of  love,  of  sorrow,  of 
despair  conveyed  in  these  two  simple  phrases.  Here,  and 
in  the  soliloquy  afterwards,  where  she  says — 


2g  HAMLET. 

*  And  I  of  ladies  most  deject  and  wretched. 
That  suck'd  the  honey  of  his  music  vows," 

are  the  only  allusions  to  herself  and  her  own  feelings  in  the 
course  of  the  play ;  and  these,  uttered  almost  without  con- 
sciousness on  her  own  part,  contain  the  revelation  of  a  life 
of  love,,  and  disclose  the  secret  burden  of  a  heart  bursting 
with  its  own  unuttered  grief.  She  believes  Hamlet  crazed ; 
she  is  repulsed,  she  is  forsaken,  she  is  outraged,  where  she 
had  bestowed  her  young  heart,  with  all  its  hopes  and  wishes ; 
her  father  is  slain  .by  the  hand  of  .hex  lover,  as  it  is  supposed, 
in  a  paroxysm  of  insanity :  she  is  entangled  inextricably  in 
a  web  of  horrors  which  she  cannot  even  comprehend,  and 
the  result  seems  inevitable. 

Of  her  subsequent  madness,  what  can  be  said  ?  What  an 
affecting — what  an  astonishing  picture  of  a  mind  utterly, 
hopelessly  wrecked  ! — past  hope — past  cure  !  There  is  the 
frenzy  of  excited  passion — there  is  the  madness  caused  by 
intense  and  continued  thought — there  is  the  delirium  of  fe- 
vered nerves ;  but  Ophelia's  madness  is  distinct  from  these  : 
it  is  not  the  suspension,  but  the  utter  destruction  of  the  rea- 
soning powers ;  it  is  the  total  imbecility  which,  as  medi- 
cal people  well  know,  frequently  follows  some  terrible  shock 
to  the  spirits.  Constance  is  frantic ;  Lear  is  mad ;  Ophelia 
is  insane.  Her  sweet  mind  lies  in  fragments  before  us — a 
pitiful  spectacle  !  Her  wild,  rambling  fancies  ;  her  aimless, 
broken  speeches;  her  quick  transitions  from  gayety  to  sad- 
ness—each equally  purposeless  and  causeless ;  her  snatches 
of  old  ballads,  such  as  perhaps  her  nurse  sung  her  to  sleep 
with  in  her  infancy — are  all  so  true  to  the  life  that  we  forget 
to  wonder,  and  can  only  weep.  It  belonged  to  Shakespeare 
alone  so  to  tempei  such  a  picture  that  we  can  endure  tp 
dwell  upon  it : 

"Thought  and  affliction,  passion,  hell  itself, 
She  turns  to  favour  and  to  prettiness." 


INTRODUCTION.  29 

[From  the  London  "Quarterly  Review?] 

The  universality  of  Shakespeare's  genius  is  in  some  sort 
reflected  in  Hamlet.  He  has  a  mind  wise  and  witty,  ab- 
stract and  practical ;  the  utmost  reach  of  philosophical  con- 
templation is  mingled  with  the  most  penetrating  sagacity  in 
the  affairs  of  life ;  playful  jest,  biting  satire,  sparkling  repar- 
tee, with  the  darkest  and  deepest  thoughts  that  can  agitate 
man.  He  exercises  ail  his  various  faculties  with  surprising 
readiness.  He  passes  without  an  effort  "  from  grave  to  gay, 
from  lively  to  severe," — from  his  every-day  character  to  per- 
sonated lunacy.  He  divines,  with  the  rapidity  of  lightning, 
the  nature  and  motives  of  those  who  are  brought  into  contact 
with  him,  fits  in  a  moment  his  bearing  and  retorts  to  their 
individual  peculiarities;  is  equally  at  home  whether  he  is 
mocking  Polonius  with  hidden  raillery,  or  dissipating  Ophe- 
lia's dream  of  love,  or  crushing  the  sponges  with  sarcasm 
and  invective,  or  talking  euphuism  with  Osric,  and  satirizing 
while  he  talks  it ;  whether  he  is  uttering  wise  maxims,  or 
welcoming  the  players  with  facetious  graciousness — probing 
the  inmost  souls  of  others,  or  sounding  the  mysteries  of  his 
own.  His  philosophy  stands  out  conspicuous  among  the 
brilliant  faculties  which  contend  for  the  mastery.  It  is  the 
quality  which  gives  weight  and  dignity  to  the  rest.  It  inter- 
mingles with  all  his  actions.  He  traces  the  most  trifling  in-' 
cidents  up  to  their  general  laws.  His  natural  disposition  is 
to  lose  himself  in  contemplation.  He  goes  thinking  out  of 
the  world.  The  commonest  ideas  that  pass  through  his  mind 
are  invested  with  a  wonderful  freshness  and  originality.  His 
meditations  in  the  church -yard  are  on  the  trite  notion  that 
all  ambition  leads  but  to  the  grave.  But  what  condensation, 
what  variety,  what  picturesqueness,  what  intense  unmitigated 
gloom  !  It  is  the  finest  sermon  that  was  ever  preached 
against  the  vanities  of  life. 

•Vol.  Ixxix.  (1847).  p.  333  W. 


jO  HAMLET. 

So  far,  we  imagine,  all  are  agreed.  But  the  motives  which 
induce  Hamlet  to  defer  his  revenge  are  still,  and  perhaps 
will  ever  remain,  debatable  ground.  The  favourite  doctrine 
of  late  is,  that  the  thinking  part  of  Hamlet  predominated 
over  the  active— that  he  was  as  weak  and  vacillating  in  per- 
formance as  he  was  great  in  speculation.  If  this  theory  were 
borne  out  by  his  general  conduct,  it  would  no  doubt  amply 
account  for  his  procrastination  ;  but  there  is  nothing  to  coun- 
tenance and  much  to  refute  the  idea.  Shakespeare  has  en- 
dowed him  with  a  vast  energy  of  will.  There  could  be  no 
sterner  resolve  than  to  abandon  every  purpose  of  existence 
that  he  might  devote  himself  unfettered  to  his  revenge  ;  nor 
was  ever  resolution  better  observed.  He  breaks  through 
his  passion  for  Ophelia,  and  keeps  it  down,  under  the  most 
trying  circumstances,  with  such  inflexible  firmness  that  an 
eloquent  critic  has  seriously  questioned  whether  his  attach- 
ment was  real.  The  determination  of  his  character  appears 
again  at  the  death  of  Polonius.  An  indecisive  mind  would 
have  been  shocked,  if  not  terrified,  at  the  deed.  Hamlet  dis- 
misses him  with  a  few  contemptuous  words  as  a  man  would 
brush  away  a  fly.  He  talks  with  even  greater  indifference  of 
Rosencrantz  and  Guildenstern,  whom  he  sends  "  to  sudden 
death,  not  shriving-time  allowed."  He  has  on  these,  and,  in- 
deed, on  all  occasions,  a  short  and  absolute  way  which  only 
belongs  to  resolute  souls.  The  features  developed  in  his  very 
hesitation  to  kill  the  King  are  inconsistent  with  the  notion' 
that  his  hand  refuses  to  perform  what  his  head  contrives. 
He  is  always  trying  to  persuade  himself  into  a  conviction 
that  it  is  his  duty,  instead  of  seeking  for  evasions.*  He  is 

*  His  reasons  for  not  killing  the  King  when  he  is  praying  have  been 
held  to  be  an  excuse.  But  if  Shakespeare  had  anticipated  the  criticism, 
he  could  not  have  guarded  against  it  more  effectually.  Hamlet  has  jus', 
ottered  the  soliloquy  — 

"  Now  could  I  drink  hot  blood. 
And  do  such  bitter  business  as  the  day 
Would  quake  to  look  on." 


INTROD  UCTION.  3 1 

seized  with  a  savage  joy  when  the  play  supplies  him  with 
indubitable  proof  of  his  uncle's  guilt.  His  language  then 
to  Horatio  is — 

"  Is  't  not  perfect  conscience 
To  quit  him  with  this  arm?" 

*He  wants,  it  is  clear,  neither  will  nor  nerve  to  strike  the 
blow.  There  is  perhaps  one  supposition  that  will  satisfy  all 
the  phenomena,  and  it  has,  to  us,  the  recommendation  that 
we  think  it  is  the  solution  suggested  by  Shakespeare  him- 
self. Hamlet,  in  a  soliloquy,  charges  the  delay  on — 

"  Bestial  obliv'on,  or  some  craven  scruple 
Of  thinking  too  precisely  on  th'  event." 

The  oblivion  is  merely  the  effect  of  the  primary  cause — "  the 
craven  scruple  " — the  conscience  which  renders  him  a  cow- 
ard. His  uncle,  after  all,  is  king ;  he  is  the  brother  of  his 
father,  and  the  husband  of  his  mother,  and  it  was  inevitable 
that  he  should  shrink,  in  his  cooler  moments,  from  becoming 
his  assassin.  His  hatred  to  his  uncle,  who  has  disgraced  his 
family  and  disappointed  his  ambition,  gives  him  personal  in- 
ducements to  revenge,  which  further  blunt  his  purpose  by 
leading  him  to  doubt  the  purity  of  his  motives.  The  admo- 
nition of  the  Ghost  to  him  is,  not  to  taint  his  mind  in  the 
prosecution  of  his  end ;  and  no  sooner  has  the  Ghost  van- 
ished than  Hamlet,  invoking  the  aid  of  supernatural  powers, 
exclaims — 

"  O  all  you  host  of  heaven !     O  earth  I     What  else? 
And  shall  I  couple  hell  ?— O  fie !  " 

In  this  frame  he  passes  his  uncle's  closet,  and  is  for  once,  at  least,  equal 
to  any  emergency.  His  first  thought  is  to  kill  him  at  his  devotions;  his 
second,  that  in  that  case  Claudius  will  go  to  heaven.  Instantly  his 
father's  sufferings  rise  into  his  mind;  he  contrasts  the  happy  future  of  the 
criminal  with  the  purgatory  of  the  victim,  and  the  contemplation  exas- 
perates him  into  a  genuine  desire  for  a  fuller  revenge.  The  threat  re- 
lieves him  from  the  reproach  of  inactivity,  and  he  falls  back  into  his 
former  self. 


32  HAMLET. 

But  the  hell,  whose  support  he  rejects,  is  forever  returning 
to  his  mind  and  startling  his  conscience.  It  is  this  that 
makes  him  wish  for  the  confirmation  of  the  play,  for  evil 
spirits  may  have  abused  him.  It  is  this  which  begets  the 
apathy  he  terms  oblivion,  for  inaction  affords  relief  to  doubt. 
It  is  this  which  produces  his  inconsistencies,  for  conscience 
calls  him  different  ways,  and  when  he  obeys  in  one  direction 
he  is  haunted  by  the  feeling  that  he  should  have  gone  in  the 
other.  If  he  contemplated  the  performance  of  a  deed  which 
looks  outwardly  more  like  murder  than  judicial  retribution, 
he  trembles  lest,  after  all,  he  should  be  perpetrating  an  un- 
natural crime ;  or  if,  on  the  other  hand,  he  turns  to  view  his 
uncle's  misdeeds,  he  fancies  there  is  more  of  cowardly  scru- 
pulosity than  justice  in  his  backwardness,  and  he  abounds 
in  self-reproaches  at  the  weakness  of  his  hesitation.  And 
thus  he  might  forever  have  halted  between  two  opinions,  if 
the  King  himself,  by  filling  up  the  measure  of  his  iniquities, 
had  not  swept  away  his  scruples. 

[From  Dowdeits  u  Shakspere.n  *] 

When  Hamlet  was  written,  Shakspere  had  passed  through 
his  years  of  apprenticeship,  and  become  a  master-dramatist. 
In  point  of  style  the  play  stands  midway  between  his  early 
and  his  latest  works.  The  studious  superintendence  of  the 
poet  over  the  development  of  his  thought  and  imaginings, 
very  apparent  in  Shakspere's  early  writings,  now  conceals 
itself;  but  the  action  of  imagination  and  thought  has  not 
yet  become  embarrassing  in  its  swiftness  and  multiplicity 
of  direction.f  Rapid  dialogue  in  verse,  admirable  for  its 

«  Shakspere  :  a  Critical  Study  of  his  Mind  and  Art,  by  Edward  Dow- 
den  (2d  ed.  London,  1876),  p.  125  fol.  (by  permission). 

fThe  characteristics  of  Shakspere's  latest  style  are  described  by  Mr. 
Spedding  in  the  following  masterly  piece  of  criticism :  "  The  opening 
of  [ffenry  VIII.'}  .  .  .  seemed  to  have  the  full  stamp  of  Shakspere,  in 
his  latest  manner :  the  same  life,  and  reality,  and  freshness;  the  same 


INTRODUCTION.  33 

combination  of  verisimilitude  with  artistic  metrical  effects, 
occurs  in  the  scene  in  which  Hamlet  questions  his  friends 
respecting  the  appearance  of  the  ghost  (i.  2)  ;  the  soliloquies 
of  Hamlet  are  excellent  examples  of  the  slow,  dwelling  verse 
which  Shakspere  appropriates  to  the  utterance  of  thought  in 
solitude;  and  nowhere  did  Shakspere  write  a  nobler  piece 
of  prose  than  the  speech  in  which  Hamlet  describes  to  Ro- 
sencrantz  and  Guildenstern  his  melancholy.  But  such  par- 
ticulars as  these  do  not  constitute  the  chief  evidence  which 
proves  that  the  poet  had  now  attained  maturity.  The  mys- 
tery, the  baffling,  vital  obscurity  of  the  play,  and  in  particular 
of  the  character  of  its  chief  person,  make  it  evident  that 
Shakspere  had  left  far  behind  him  that  early  stage  of  devel- 
opment when  an  artist  obtrudes  his  intentions,  or,  distrusting 
his  own  ability  to  keep  sight  of  one  uniform  design,  deliber- 
ately and  with  effort  holds  that  design  persistently  before 
him.  When  Shakspere  completed  Hamlet,  he  must  have 
trusted  himself  and  trusted  his  audience ;  he  trusts  himself 
to  enter  into  relation  with  his  subject,  highly  complex  as  that 
subject  was,  in  a  pure,  emotional  manner.  Hamlet  might  so 
easily  have  been  manufactured  into  an  enigma,  or  a  puzzle ; 
and  then  the  puzzle,  if  sufficient  pains  were  bestowed,  could 
be  completely  taken  to  pieces  and  explained.  But  Shak- 
spere created  it  a  mystery,  and  therefore  it  is  forever  sug- 
gestive ;  forever  suggestive,  and  never  wholly  explicable. 

It  must  not  be  supposed,  then,  that  any  idea,  any  magic 
phrase,  will  solve  the  difficulties  presented  by  the   play,  or 

rapid  and  abrupt  turns  of  thought,  so  quick  that  language  can  hardly 
follow  fast  enough;  the  same  impatient  activity  of  intellect  and  fancy, 
which,  having  once  disclosed  an  idea,  cannot  wait  to  work  it  orderly 
out;  the  same  daring  confidence  in  the  resources  of  language,  which 
plunges  headlong  into  a  sentence  without  knowing  how  it  is  to  come 
forth;  the  same  careless  metre,  which  disdains  to  produce  its  harmoni- 
ous effects  by  the  ordinary  devices,  yet  is  evidently  subject  to  a  maste* 
of  harmony;  the  same  entire  freedom  from  book-language  and  common- 
place." 

c 


34 


HAMLET. 


suddenly  illuminate  everything  in  it  which  is  obscure.  The 
obscurity  itself  is  a  vital  part  of  the  work  of  art  which  deals 
not  with  a  problem  but  with  a  life ;  and  in  that  life,  the  his- 
tory of  a  soul  which  moved  through  shadowy  borderlands 
between  the  night  and  day,  there  is  much  (as  in  many  a  life 
that  is  real)  to  elude  and  baffle  inquiry.  It  is  a  remarkable 
circumstance  that  while  the  length  of  the  play  in  the  second 
quarto  considerably  exceeds  its  length  in  the  earlier  form 
of  1603,  and  thus  materials  for  the  interpretation  of  Shak- 
spere's  purpose  in  the  play  are  offered  in  greater  abundance, 
the  obscurity  does  not  diminish,  but,  on  the  contrary,  deep- 
ens, and  if  some  questions  appear  to  be  solved,  other  ques- 
tions in  greater  number  spring  into  existence.  .  .  . 

Goethe,  in  the  celebrated  criticism  upon  this  play  in  his 
Wilhelm  Meister,  has  only  offered  a  half  interpretation  of  its 
difficulties;  and  subsequent  criticism,  under  the  influence 
of  Goethe,  has  exhibited  a  tendency  too  exclusively  subjec- 
tive. "  To  me,"  wrote  Goethe,  "  it  is  clear  that  Shakspere 
meant  ...  to  represent  the  effects  of  a  great  action  laid  upon 
a  soul  unfit  for  the  performance  of  it,"  etc.  [see  p.  15  above]. 

This  is  one  half  of  the  truth  j  but  only  one  half.  In  sev- 
eral of  the  tragedies  of  Shakspere  the  tragic  disturbance  of 
character  and  life  is  caused  by  the  subjection  of  the  chief 
person  of  the  drama  to  some  dominant  passion  essentially 
antipathetic  to  his  nature,  though  proceeding  from  some  in- 
herent weakness  or  imperfection, — a  passion  from  which  the 
victim  cannot  deliver  himself,  and  which  finally  works  out 
his  destruction.  Thus  Othello,  whose  nature  is  instinctively 
trustful,  and  confiding  with  a  noble  childlike  trust,  a  man 

"  Of  a  free  and  open  nature 
That  thinks  men  honest  that  but  seem  so," 

a  man  "  not  easily  jealous  "—Othello  is  inoculated  with  th* 
poison  of  jealousy  and  suspicion,  and  the  poison  maddens 
and  destroys  him.  Macbeth,  made  for  subordination,  is  the 


INTRODUCTION.  35 

victim  of  a  terrible  and  unnatural  ambition.  Lear,  ignorant 
of  true  love,  yet  with  a  supreme  need  of  loving  and  being 
loved,  is  compelled  to  hatred,  and  drives  from  his  presence 
the  one  being  who  could  have  satisfied  the  hunger  of  his 
heart.  .  .  .  We  may  reasonably  conjecture  that  the  Hamlet 
of  the  old  play — a  play  at  least  as  old  as  that  group  of  bloody 
tragedies  inspired  by  the  earlier  works  of  Marlowe — was 
actually  what  Shakspere's  Hamlet,  with  a  bitter  pleasure  in 
misrepresenting  his  own  nature,  describes  himself  as  being 
"  very  proud,  revengeful,  ambitious."  .  .  .  But  Shakspere,  in 
accordance  with  his  dramatic  method,  and  his  interest  as 
artist  in  complex  rather  than  simple  phenomena  of  human 
passion  and  experience,  when  re-creating  the  character  of 
the  Danish  Prince,  fashions  him  as  a  man  to  whom  persist- 
ent action,  and  in  an  especial  degree  the  duty  of  deliberate 
revenge,  is  peculiarly  antipathetic.  Under  the  pitiless  bur- 
den imposed  upon  him  Hamlet  trembles,  totters,  falls.  Thus 
far  Goethe  is  right. 

But  the  tragic  nodus  in  Shakspere's  first  tragedy — Romeo 
and  Juliet — was  not  wholly  of  a  subjective  character.  The 
two  lovers  are  in  harmony  with  one  another,  and  with  the 
purest  and  highest  impulses  of  their  own  hearts.  The  dis- 
cord comes  from  the  outer  world;  they  are  a  pair  of  "star- 
crossed  lovers."  .  .  .  The  world  fought  against  Romeo  and 
Juliet,  and  they  fell  in  the  unequal  strife.  Now  Goethe 
failed  to  observe,  or  did  not  observe  sufficiently,  that  this  is'' 
also  the  case  with  Hamlet ; 

"The  time  is  out  of  joint;  O  cursed  spite* 
1  hat  ever  I  was  born  to  set  it  right  I  " 

Hamlet  is  called  upon  to  assert  moral  order  in  a  world  of 
moral  confusion  and  obscurity.  ...  All  the  strength  which 
he  possesses  would  have  become  organized  and  available 
had  his  world  been  one  of  honesty,  of  happiness,  of  human 
love.  But  a  world  of  deceit,  of  espionage,  of  selfishness,  sur- 


36  HAMLET. 

rounds  him ;  his  idealism,  at  thirty  years  of  age,  almost  takes 
the  form  of  pessimism ;  his  life  and  his  heart  become  sterile ; 
he  loses  the  energy  which  sound  and  joyous  feeling  supplies  ; 
and  in  the  wide-spreading  waste  of  corruption  which  lies 
around  him,  he  is  tempted  to  understand  and  detest  things 
rather  than  accomplish  some  limited  practical  service.  .  .  . 

If  Goethe's  study  of  the  play,  admirable  as  it  was,  misled 
criticism  in  one  way  by  directing  attention  too  exclusively 
upon  the  inner  nature  of  Hamlet,  the  studies  by  Schlegel  and 
by  Coleridge  tended  to  mislead  criticism  in  another  by  at- 
taching an  exaggerated  importance  to  one  element  of  Ham- 
let's character.  "The  whole,"  wrote  Schlegel,  "is  intended 
to  show  that  a  calculating  consideration,  which  exhausts  all 
the  relations  and  possible  consequences  of  a  deed,  must  crip- 
ple the  power  of  acting."  It  is  true  that  Hamlet's  power  of 
acting  was  crippled  by  his  habit  of  "  thinking  too  precisely 
on  the  event  \ "  and  it  is  true,  as  Coleridge  said,  that  in  Ham- 
let we  see  "  a  great,  an  almost  enormous  intellectual  activ- 
ity, and  a  proportionate  aversion  to  real  action  consequent 
upon  it."  But  Hamlet  is  not  merely  or  chiefly  intellectual ; 
the  emotional  side  of  his  character  is  quite  as  important  as 
the  intellectual;  his  malady  is  as  deep-seated  in  his  sensi- 
bilities and  in  his  heart  as  it  is  in  the  brain.  If  all  his  feel- 
ings translate  themselves  into  thoughts,  it  is  no  less  true  that 
all  his  thoughts  are  impregnated  with  feeling.  To  represent 
Hamlet  as  a  man  of  preponderating  power  of  reflection,  and 
to  disregard  his  craving,  sensitive  heart,  is  to  make  the  whole 
play  incoherent  and  unintelligible. 

It  is  Hamlet's  intellect,  however,  together  with  his  deep 
and  abiding  sense  of  the  moral  qualities  of  things,  which  dis- 
tinguishes him,  upon  the  glance  of  a  moment,  from  the  hero 
of  Shakspere's  first  tragedy,  Romeo.  If  Romeo  fail  to  re- 
tain a  sense  of  fact  and  of  the  real  world  because  the  fact, 
as  it  were,  melts  away  and  disappears  in  a  solvent  of  deli- 
cious emotion,  Hamlet  equally  loses  a  sense  of  fact  because 


INTRODUCTION.  37 

with  him  each  object  and  event  transforms  and  expands 
itself  into  an  idea.  When  the  play  opens  he  has  reached  the 
age  of  thirty  years — the  age,  it  has  been  said,  when  the 
ideality  of  youth  ought  to  become  one  with  and  inform  the 
practical  tendencies  of  manhood — and  he  has  received  cul- 
ture of  every  kind  except  the  culture  of  active  life.  During 
the  reign  of  the  strong-willed  elder  Hamlet  there  was  no  call 
to  action  for  his  meditative  son.  He  has  slipped  on  into 
years  of  full  manhood  still  a  haunter  of  the  university,  a  stu- 
dent of  philosophies,  an  amateur  in  art,  a  ponderer  on  the 
things  of  life  and  death,  who  has  never  formed  a  resolution 
or  executed  a  deed. 

This  long  course  of  thinking,  apart  from  action,  has  de- 
stroyed Hamlet's  very  capacity  for  belief;  since  in  belief 
there  exists  a  certain  element  contributed  by  the  will.  Ham- 
let cannot  adjust  the  infinite  part  of  him  to  the  finite ;  the 
one  invades  the  other  and  infects  it ;  or  rather  the  finite  dis- 
limns  and  dissolves,  and  leaves  him  only  the  presence  of  the 
idea.  He  cannot  make  real  to  himself  the  actual  world,  even 
while  he  supposes  himself  a  materialist;  he  cannot  steadily 
keep  alive  within  himself  a  sense  of  the  importance  of  any 
positive,  limited  thing, — a  deed,  for  example.  Things  in  their 
actual,  phenomenal  aspect  flit  before  him  as  transitory,  acci- 
dental, and  unreal.  And  the  absolute  truth  of  things  is  so 
hard  to  attain,  and  only,  if  at  all,  is  to  be  attained  in  the 
mind.  Accordingly  Hamlet  can  lay  hold  of  nothing  with 
calm,  resolved  energy;  he  cannot  even  retain  a  thought  in 
indefeasible  possession.  Thus  all  through  the  play  he  wavers 
between  materialism  and  spiritualism,  between  belief  in  im- 
mortality and  disbelief,  between  reliance  upon  Providence 
and  a  bowing  under  fate.  .  .  . 

Yet  it  has  been  truly  said  that  only  one  who  feels  Ham- 
let's strength  should  venture  to  speak  of  Hamlet's  weakness. 
That  in  spite  of  difficulties  without,  and  inward  difficulties, 
he  still  clings  to  his  terrible  d'Jiy — letting  it  go  indeed  for  9 


3g  HAMLET. 

time,  but  returning  to  it  again,  and  in  the  end  accomplishing 
it— implies  strength.  He  is  not  incapable  of  vigorous  ac- 
tion,—if  only  he  be  allowed  no  chance  of  thinking  the  fact 
away  into  an  idea.  He  is  the  first  to  board  the  pirate ;  he 
stabs  Polonius  through  the  arras;  he  suddenly  alters  the 
sealed  commission,  and  sends  his  schoolfellows  to  the  Eng- 
lish headsman;  he  finally  executes  justice  upon  the  king. 
But  all  his  action  is  sudden  and  fragmentary ;  it  is  not  con- 
tinuous and  coherent.  .  .  . 

Does  Hamlet  finally  attain  deliverance  from  his  disease 
of  will?  Shakspere  has  left  the  answer  to  that  question 
doubtful.  Probably  if  anything  could  supply  the  link  which 
was  wanting  between  the  purpose  and  the  deed,  it  was  the 
achievement  of  some  supreme  action.  The  last  moments  of 
Hamlet's  life  are  well  spent,  and  for  energy  and  foresight  are 
the  noblest  moments  of  his  existence ;  he  snatches  the  poi- 
soned bowl  from  Horatio,  and  saves  his  friend ;  he  gives  his 
dying  voice  for  Fortinbras,  and  saves  his  country.  The  rest 
is  silence : — 

«  Had  I  but  time— as  this  fell  sergeant,  death, 
Is  strict  in  his  arrest — O,  I  could  tell  you !  " 

But  he  has  not  told.  Let  us  not  too  readily  assume  that  we 
"  know  the  stops  "  of  Hamlet,  that  we  can  "  pluck  out  the 
heart  of  his  mystery." 

One  thing,  however,  we  do  know — that  the  man  who  wrote 
the  play  of  Hamlet  had  obtained  a  thorough  comprehension 
of  Hamlet's  malady.  And  assured,  as  we  are  by  abundant 
evidence,  that  Shakspere  transformed  with  energetic  will  his 
knowledge  into  fact,  we  may  be  confident  that  when  Hamlet 
was  written  Shakspere  had  gained  a  further  stage  in  his  cul- 
ture of  self-control,  and  that  he  had  become  not  only  adult 
as  an  author,  but  had  entered  upon  the  full  maturity  of  his 
manhood. 


HAMLET,  PRINCE    OF    DENMARK, 


PLATFORM    AT    ELSINORB 


ACT  I. 

SCENE  I.     Elsinorc.    A  Platform  before  the  Castle. 
FRANCISCO  at  his  post.     Enter  to  him  BERNARDO. 

Bernardo.  Who's  there? 

Francisco.  Nay,  answer  me ;  stand,  and  unfold  yourself. 

Bernardo.  Long  live  the  king  1 

Francisco.  Bernardo? 


42  HAMLET. 

Bernardo.   He. 

Francisco.   You  come  most  carefully  upon  your  hour. 

Bernardo.   'T  is  now  struck  twelve ;  get  thee  to  bed,  Fran- 
cisco. 

Francisco.   For  this  relief  much  thanks ;  't  is  bitter  cold, 
And  I  am  sick  at  heart. 

Bernardo.     Have  you  had  quiet  guard? 

Francisco.  Not  a  mouse  stirring.  «> 

Bernardo.   Well,  good  night. 
If  you  do  meet  Horatio  and  Marcellus, 
The  rivals  of  my  watch,  bid  them  make  haste. 

Francisco.   I  think  I  hear  them.— Stand,  ho  !  Who  is  there? 

Enter  HORATIO  and  MARCELLUS. 

Horatio.   Friends  to  this  ground. 

Marcellus.  And  liegemen  to  the  Dane. 

Francisco.    Give  you  good  night. 

Marcellus.  O,  farewell,  honest  soldier  : 

Who  hath  reliev'd  you? 

Francisco.  Bernardo  has  my  place. 

Give  you  good  night.  [Exit. 

Marcellus.  Holla  !  Bernardo  ! 

Bernardo.  Say, — 

What,  is  Horatio  there? 

Horatio.  A  piece  of  him.  19 

Bernardo.   Welcome,  Horatio ;  welcome,  good  Marcellus. 

Marcellus.   What,  has  this  thing  appear'd  again  to-night? 

Bernardo.    I  have  seen  nothing. 

Marcellus.    Horatio  says  't  is  but  our  fantasy, 
And  will  not  let  belief  take  hold  of  him 
Touching  this  dreaded  sight,  twice  seen  of  us; 
Therefore  I  have  entreated  him  along 
With  us  to  watch  the  minutes  of  this  night, 
That  if  again  this  apparition  come, 
He  may  approve  our  eyes  and  speak  to  it 


ACT  1.     SCENE  I.  43 

Horatio.   Tush,  tush,  't  will  not  appear. 

Bernardo.  Sit  down  awhile ;  30 

And  let  us  once  again  assail  your  ears, 
That  are  so  fortified  against  our  story, 
What  we  two  nights  have  seen. 

Horatio.  Well,  sit  we  down, 

And  let  us  hear  Bernardo  speak  of  this. 

Bernardo.    Last  night  of  all, 

When  yond  same  star  that  's  westward  from  the  pole 
Had  made  his  course  to  illume  that  part  of  heaven 
Where  now  it  burns,  Marcellus  and  myself, 
The  bell  then  beating  one, — 

Enter  GHOST. 

Marcellus.   Peace,  break  thee  off;  look,  where  it  comes 
again  !  40 

Bernardo.    In  the  same  figure,  like  the  king  that  's  dead. 

Marcellus.   Thou  art  a  scholar  ;  speak  to  it,  Horatio. 

Bernardo.    Looks  it  not  like  the  king?  mark  it,  Horatio. 

Horatio.    Most  like ;  it  harrows  me  with  fear  and  wonder. 

Bernardo.    It  would  be  spoke  to. 

Marcellus.  Question  it,  Horatio. 

Horatio     What  art  thou  that  usurp'st  this  time  of  night, 
Together  with  that  fair  and  warlike  form 
In  which  the  majesty  of  buried  Denmark 
Did  sometimes  march  ?  by  heaven  I  charge  thee,  speak  ! 

Marcellus.    It  is  offended. 

Bernardo.  See,  it  stalks  away !  50 

Horatio.   Stay  !  speak,  speak  !  I  charge  thee,  speak  ! 

[Exit  Ghost. 

Marcellus.    'T  is  gone,  and  will  not  answer. 

Bernardo.    How  now,  Horatio  !  you  tremble  and  look  pale  ; 
Is  not  this  something  more  than  fantasy? 
What  think  you  on  't? 

Horatio.    Before  my  God,  I  might  not  this  believe 


44 


HAMLET. 


Without  the  sensible  and  true  avouch 
Of  mine  own  eyes. 

Marcellus.  Is  it  not  like  the  king? 

Horatio.   As  thou  art  to  thyself: 

Such  was  the  very  armour  he  had  on  •» 

When  he  the  ambitious  Norway  combated  ; 
So  frown'd  he  once,  when,  in  an  angry  parle, 
He  smote  the  sledded  Polacks  on  the  ice. 
T  is  strange. 

Marcellus.   Thus  twice  before,  and  jump  at  this  dead  hour, 
With  martial  stalk  hath  he  gone  by  our  watch. 

Horatio.   In  what  particular  thought  to  work  I  know  not ; 
But  in  the  gross  and  scope  of  my  opinion, 
This  bodes  some  strange  eruption  to  our  state. 

Marcellus.   Good  now,  sit  down,  and  tell  me,  he  that  knows, 
Why  this  same  strict  and  most  observant  watch  71 

So  nightly  toils  the  subject  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  might  be  toward,  that  this  sweaty  haste 
Doth  make  the  night  joint-labourer  with  the  day : 
Who  is  't  that  can  inform  me  ? 

Horatio.  That  can  I ; 

At  least,  the  whisper  goes  so.     Our  last  king,  & 

Whose  image  even  but  now  appear'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  his  life,  all  those  his  lands 
Which  he  stood  seiz'd  of,  to  the  conqueror : 


ACT  L     SCENE   .  45 

Against  tne  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  lawless  resolutes, 

For  food  and  diet,  to  some  enterprise 

That  hath  a  stomach  in  't ;  which  is  no  other—  <«» 

As  it  doth  well  appear  unto  our  state — 

But  to  recover  of  us,  by  strong  hand 

And  terms  compulsative,  those  foresaid  lands 

So  by  his  father  lost :  and  this,  I  take  it, 

Is  the  main  motive  of  our  preparations, 

The  source  of  this  our  watch,  and  the  chief  head 

Of  this  post-haste  and  rornage  in  the  land. 

Bernardo.     I  think  it  be  no  other  but  e'en  so. 
Well  may  it  sort  that  this  portentous  figure 
Comes  armed  through  our  watch,  so  like  the  king  no 

That  was  and  is  the  question  of  these  wars. 

Horatio.     A  mote  it  is  to  trouble  the  mind's  eye. 
In  the  most  high  and  palmy  state  of  Rome, 
A  little  ere  the  mightiest  Julius  fell, 
The  graves  stood  tenantless,  and  the  sheeted  dead 
Did  squeak  and  gibber  in  the  Roman  streets : 
As  stars  with  trains  of  fire  and  dews  of  blood, 
Disasters  in  the  sun  j  and  the  moist  star 
Upon  whose  influence  Neptune's  empire  stands 
Was  sick  almost  to  doomsday  with  eclipse :  •*> 

And  even  the  like  precurse  of  fierce  events, 
As  harbingers  preceding  still  the  fates 
And  prologue  to  the  omen  coming  on, 
Have  heaven  and  earth  together  demonstrated 


,g  HAMLET. 

Unto  our  climatures  and  countrymen. — 
But  soft,  behold !    lo,  where  it  comes  again ! 

Re-enter  GHOST. 

I  '11  cross  it,  though  it  blast  me.— Stay,  illusion ! 

If  thou  hast  any  sound,  or  use  of  voice, 

Speak  to  me ; 

If  there  be  any  good  thing  to  be  done,  130 

That  may  to  thee  do  ease  and  grace  to  me, 

Speak  to  me ; 

If  thou  art  privy  to  thy  country's  fate, 

Which,  happily,  foreknowing  may  avoid, 

O,  speak ! 

Or  if  thou  hast  uphoarded  in  thy  life 

Extorted  treasure  in  the  womb  of  earth, 

For  which,  they  say,  you  spirits  oft  walk  in  death, 

[The  cock  crows. 

Speak  of  it ;  stay,  and  speak !— Stop  it,  Marcellus. 
Marcellus.     Shall  I  strike  at  it  with  my  partisan?        140 
Horatio.     Do,  if  it  will  not  stand. 
Bernardo.  T  is  here ! 

Horatio.  'T  is  here ! 

Marcellus.     'T  is  gone !  [Exit  Ghost. 

We  do  it  wrong,  being  so  majestical, 
To  offer  it  the  show  of  violence ; 
For  it  is,  as  the  air,  invulnerable, 
And  our  vain  blows  malicious  mockery. 

Bernardo.    It  was  about  to  speak,  when  the  cock  crew. 
Horatio.     And  then  it  started  like  a  guilty  thing 
Upon  a  fearful  summons.     I  have  heard, 
The  cock,  that  is  the  trumpet  to  the  morn,  15° 

Doth  with  his  lofty  and  shrill-sounding  throat 
Awake  the  god  of  day ;  and  at  his  warning, 
Whether  in  sea  cr  fire,  in  earth  or  air, 
The  extravagant  and  erring  spirit  hies 


ACT  I.     SCENE  II.  47 

To  his  confine  :  and  of  the  truth  herein 
This  present  object  made  probation. 

Mar^ellus.     It  faded  on  the  crowing  of  the  cock. 
Some  say  that  ever  'gainst  that  season  comes 
Wherein  our  Saviour's  birth  is  celebrated, 
The  bird  of  dawning  singeth  all  night  long;  i& 

And  then,  they  say,  no  spirit  can  walk  abroad, 
The  night?  are  wholesome,  then  no  planets  strike, 
No  fairy  takes,  nor  witch  hath  power  to  charm, 
So  hallow'd  and  so  gracious  is  the  time. 

Horatio.     So  have  I  heard  and  do  in  part  believe  it. 
But,  look,  the  morn,  in  russet  mantle  clad, 
Walks  o'er  the  dew  of  yon  high  eastern  hill. 
Break  we  our  watch  up ;  and,  by  my  advice, 
Let  us  impart  what  we  have  seen  to-night 
Unto  young  Hamlet ;  for,  upon  my  life,  i?o 

This  spirit,  dumb  to  us,  will  speak  to  him. 
Do  you  consent  we  shall  acquaint  him  with  it, 
As  needful  in  our  loves,  fitting  our  duty? 

Marcellus.     Let  's  do  't,  I  pray ;  and  I  this  morning  know 
Where  we  shall  find  him  most  conveniently.  [Exeunt. 

SCENE  II.     A  Room  of  State  in  the  Castle. 

Enter  the  KING,  QUEEN,  HAMLET,  POLONIUS,  LAERTES,  VOL 

TIMAND,  CORNELIUS,  Lords,  and  Attendants. 

King.     Though  yet  of  Hamlet  our  dear  brother's  death 
The  memory  be  green,  and  that  it  us  befitted 
To  bear  our  hearts  in  grief,  and  our  whole  kingdom 
To  be  contracted  in  one  brow  of  woe, 
Yet  so  far  hath  discretion  fought  with  nature 
That  we  with  wisest  sorrow  think  on  him, 
Together  with  remembrance  of  ourselves. 
Therefore  our  sometime  sister,  now  our  queen, 
The  imperial  jointress  of  this  warlike  state, 


4g  HAMLET. 

Have  we,  as  't  were  with  a  defeated  joy,—  10 

With  one  auspicious  and  one  dropping  eye, 

With  mirth  in  funeral  and  with  dirge  in  marriage, 

In  equal  scale  weighing  delight  and  dole, — • 

Taken  to  wife ;  nor  have  we  herein  barr'd 

Your  better  wisdoms,  which  have  freely  gone 

With  this  affair  along.     For  all,  our  thanks. 

Now  follows,  that  you  know,  young  Fortinbras, 

Holding  a  weak  supposal  of  our  worth, 

Or  thinking  by  our  late  dear  brother's  death 

Our  state  to  be  disjoint  and  out  of  frame,  20 

Colleagued  with  the  dream  of  his  advantage, 

He  hath  not  fail'd  to  pester  us  with  message, 

Importing  the  surrender  of  those  lands 

Lost  by  his  father,  with  all  bonds  of  law, 

To  our  most  valiant  brother.     So  much  for  him. 

Now  for  ourself,  and  for  this  time  of  meeting. 

Thus  much  the  business  is :  we  have  here  writ 

To  Norway,  uncle  of  young  Fortinbras, — • 

Who,  impotent  and  bed-rid,  scarcely  hears 

Of  this  his  nephew's  purpose, — to  suppress  30 

His  further  gait  herein ;  in  that  the  levies, 

The  lists,  and  full  proportions,  are  all  made 

Out  of  his  subjects ;  and  we  here  dispatch 

You,  good  Cornelius,  and  you,  Voltimand, 

For  bearers  of  this  greeting  to  old  Norway 

Giving  to  you  no  further  personal  power 

To  business  with  the  king  more  than  the  scope 

Of  these  dilated  articles  allow. 

Farewell,  and  let  your  haste  commend  your  duty.  39 

Voltim  nd  \     ^"n  tnat  anc^ a^  tmnSs  wiM  we  show  our  duty. 
King.    We  doubt  it  nothing ;  heartily  farewell. — 

[Exeunt  Voltimand  and  Cornelius. 
And  now,  Laertes,  what 's  the  news  with  you  ? 


ACT  I.     SCENE  II. 


49 


You  told  us  of  some  suit ;  what  is  't,  Laertes  ? 

You  cannot  speak  of  reason  to  the  Dane, 

And  lose  your  voice ;  what  wouldst  thou  beg,  Laertes, 

That  shall  not  be  my  offer,  not  thy  asking  ? 

The  head  is  not  more  native  to  the  heart,  :    • 

The  hand  more  instrumental  to  the  mouth, 

Than  is  the  throne  of  Denmark  to  thy  father. 

What  wouldst  thou  have,  Laertes? 

Laertes.  Dread  my  lord,         50 

Your  leave  and  favour  to  return  to  France ; 
From  whence  though  willingly  I  came  to  Denmark, 
To  show  my  duty  in  your  coronation, 
Yet  now,  I  must  confess,  that  duty  done, 
My  thoughts  and  wishes  bend  again  toward  France 
And  bow  them  to  your  gracious  leave  and  pardon. 

King.     Have  you  your  father's  leave  ? — What  says  Polo- 
nius? 

Polonius.  He  hath,  my  lord,  wrung  from  me  my  slow  leave 
By  laboursome  petition,  and  at  last 

Upon  his  will  I  seal'd  my  hard  consent ;  60 

I  do  beseech  you,  give  him  leave  to  go. 

King.     Take  thy  fair  hour,  Laertes ;  time  be  thine, 
And  thy  best  graces  spend  it  at  thy  will ! — • 
But  now,  my  cousin  Hamlet,  and  my  son, — 

Hamlet.     [Aside]  A  little  more  than  kin,  and  less  than 
kind. 

King.     How  is  it  that  the  clouds  still  hang  on  you  ? 

Hamlet.     Not  so,  my  lord ;  I  am  too  much  i'  the  sun. 

Queen.     Good  Hamlet,  cast  thy  nighted  colour  off, 
And  let  thine  eye  look  like  a  friend  on  Denmark. 
Do  not  for  ever  with  thy  vailed  lids  70 

Seek  for  thy  noble  father  in  the  dust. 
Thou  know'st  't  is  common ;  all  that  lives  must  die, 
Passing  through  nature  to  eternity. 

Hamlet.    Ay,  madam,  it  is  common. 
D 


jO  HAMLET. 

Queen.  If  it  be. 

Why  seems  it  so  particular  with  thee? 

Hamlet.   Seems,  madam  !  nay,  it  is  ;  I  know  not  '  seems. 
T  is  not  alone  my  inky  cloak,  good  mother, 
Nor  customary  suits  of  solemn  black, 
Nor  windy  suspiration  of  forc'd  breath, 

No,  nor  the  fruitful  river  in  the  eye,  * 

Nor  the  dejected  haviour  of  the  visage, 
Together  with  all  forms,  moods,  shows  of  grief, 
That  can  denote  me  truly ;  these  indeed  seem, 
For  they  are  actions  that  a  man  might  play  : 
But  I  have  that  within  which  passeth  show; 
These  but  the  trappings  and  the  suits  of  woe. 

King.   ST  is  sweet  and  commendable  in  your  nature,  Ham 

let, 

To  give  these  mourning  duties  to  your  father : 
But,  you  must  know,  your  father  lost  a  father  j 
That  father  lost,  lost  his ;  and  the  survivor  bound  * 

In  filial  obligation  for  some  term 
To  do  obsequious  sorrow  :  but  to  persever 
In  obstinate  condolement  is  a  course 
Of  impious  stubbornness ;  't  is  unmanly  grief; 
It  shows  a  will  most  incorrect  to  heaven, 
A  heart  unfortified,  a  mind  impatient, 
An  understanding  simple  and  unschool'd : 
For  what  we  know  must  be  and  is  as  common 
As  any  the  most  vulgar  thing  to  sense, 

Why  should  we  in  our  peevish  opposition  «x 

Take  it  to  heart?     Fie  !  't  is  a  fault  to  heaven, 
A  fault  against  the  dead,  a  fault  to  nature, 
To  reason  most  absurd ;  whose  common  theme 
Is  death  of  fathers,  and  who  still  hath  cried, 
From  the  first  corse  till  he  that  died  to-day, 
'  This  must  be  so.'     We  pray  you,  throw  to  earth 
This  unprevailing  woe,  and  think  of  us 


ACT  I.     SCENE  IT.  5 1 

As  of  a  father ;  for  let  the  world  take  note, 

You  are  the  most  immediate  to  our  throne, 

And  with  no  less  nobility  of  love  no 

Than  that  which  dearest  father  bears  his  son 

Do  I  impart  toward  you.     For  your  intent 

In  going  back  to  school  in  Wittenberg, 

It  is  most  retrograde  to  our  desire ; 

And  we  beseech  you,  bend  you  to  remain 

Here,  in  the  cheer  and  comfort  of  our  eye, 

Our  chiefest  courtier,  cousin,  and  our  son. 

Queen.    Let  not  thy  mother  lose  her  prayers,  Hamlet : 
I  pray  thee,  stay  with  us ;  go  not  to  Wittenberg. 

Hamlet.     I  shall  in  all  my  best  obey  you,  madam.         120 

King.    Why,  't  is  a  loving  and  a  fair  reply ; 
Be  as  ourself  in  Denmark. — Madam,  come; 
This  gentle  and  unforc'd  accord  of  Hamlet 
Sits  smiling  to  my  heart :  in  grace  whereof, 
No  jocund  health  that  Denmark  drinks  to-day, 
But  the  great  cannon  to  the  clouds  shall  tell, 
And  the  king's  rouse  the  heavens  shall  bruit  again, 
Respeaking  earthly  thunder. — Come  away. 

[Exeunt  all  but  Hamlet. 

Hamlet.    O  that  this  too,  too  solid  flesh  would  melt, 
Thaw,  and  resolve  itself  into  a  dew !  130 

Or  that  the  Everlasting  had  not  fix'd 
His  canon  'gainst  self -slaughter !    O  God !  0  God ! 
How  weary,  stale,  flat,  and  unprofitable 
Seem  to  me  all  the  uses  of  this  world ! 
Fie  on  't !  O  fie !  't  is  an  unweeded  garden, 
That  grows  to  seed ;  things  rank  and  gross  in  nature 
Possess  it  merely.     That  it  should  come  to  this ! 
But  two  months  dead !  nay,  not  so  much,  not  two : 
So  excellent  a  king ;  that  was,  to  this, 
Hyperion  to  a  satyr ;  so  loving  to  my  mother  140 

That  he  might  not  beteem  the  winds  of  heaven 


(2  HAMLET. 

Visit  her  face  too  roughly.     Heaven  and  earth  ! 

Must  I  remember?  why,  she  would  hang  on  him, 

As  if  increase  of  appetite  had  grown 

By  what  it  fed  on ;  and  yet,  within  a  month — 

1  et  me  not  think  on  't— Frailty,  thy  name  is  woman  !  — 

A  little  month,  or  ere  those  shoes  were  old 

With  which  she  follow'd  my  poor  father's  body, 

Like  Niobe,  all  tears,— why  she,  even  she — 

O  God  !  a  beast,  that  wants  discourse  of  reason,  150 

Would  have  mourn'd  longer — married  with  my  uncle, 

My  father's  brother,  but  no  more  like  my  father 

Than  I  to  Hercules.     Within  a  month  ? 

Ere  yet  the  salt  of  most  unrighteous  tears 

Had  left  the  flushing  in  her  galled  eyes, 

She  married.     O  most  wicked  speed,  to  post 

With  such  dexterity  to  incestuous  sheets  ! 

It  is  not,  nor  it  cannot  come  to  good  ; — 

But  break  my  heart,  for  I  must  hold  my  tongue. 

Enter  HORATIO,  MARCELLUS,  and  BERNARDO. 

Horatio.   Hail  to  your  lordship  ! 

Hamlet.  I  am  glad  to  see  you  well : 

Horatio, — or  I  do  forget  myself.  161 

Horatio.   The  same,  my  lord,  and  your  poor  servant  ever. 

Hamlet.   Sir,  my  good  friend  ;  I  '11  change  that  name  with 

you : 

And  what  make  you  from  Wittenberg,  Horatio? — 
Marcellus  ? 

Mareellus.    My  good  lord — 

Hamlet.   I    am  very  glad   to  see  you.— [7^  Bernardo.] 

Good  even,  sir. — 
But  what,  in  faith,  make  you  from  Wittenberg? 

Horatio.   A  truant  disposition,  good  my  lord. 

Hamlet.    I  would  not  hear  your  enemy  say  so,  xw 

Nor  shall  you  do  mine  ear  that  violence, 


ACT  7.     SCENE  77.  53 

To  make  it  truster  of  your  own  report 
Against  yourself;  I  know  you  are  no  truant. 
But  what  is  your  affair  in  Elsinore? 
We  '11  teach  you  to  drink  deep  ere  you  depart. 

Horatio.   My  lord,  I  came  to  see  your  father's  funeral. 

Hamlet.   I  pray  thee,  do  not  mock  me,  fellow-student ; 
I  think  it  was  to  see  my  mother's  wedding. 

Horatio.    Indeed,  my  lord,  it  follow'd  hard  upon. 

Hamlet.  Thrift,  thrift,  Horatio  !  the  funeral  bak'd  meats 
Did  coldly  furnish  forth  the  marriage  tables.  181 

Would  I  had  met  my  dearest  foe  in  heaven 
Or  ever  I  had  seen  that  day,  Horatio  ! 
My  father ! — methinks  I  see  my  father. 

Horatio.   O  where,  my  lord? 

Hamlet.  In  my  mind's  eye,  Horatio. 

Horatio.    I  saw  him  once  ;  he  was  a  goodly  king. 

Hamlet.   He  was  a  man,  take  him  for  all  in  all, 
I  shall  not  look  upon  his  like  again. 

Horatio.   My  lord,  I  think  I  saw  him  yesternight. 

Hamlet.    Saw?  who?  too 

Horatio.   My  lord,  the  king  your  father. 

Hamlet.  The  king  my  father  ! 

Horatio.   Season  your  admiration  for  a  while 
With  an  attent  ear,  till  I  may  deliver, 
Upon  the  witness  of  these  gentlemen, 
This  marvel  to  you. 

Hamlet.  For  God's  love,  let  me  hear. 

Horatio.   Two  nights  together  had  these  gentlemen, 
Marcellus  and  Bernardo,  on  their  watch, 
In  the  dead  vast  and  middle  of  the  night, 
Been  thus  encounter'd.     A  figure  like  your  father, 
Armed  at  point  exactly,  cap-a-pe,  *» 

Appears  before  them,  and  with  solemn  march 
Goes  slow  and  stately  by  them :  thrice  he  walk'd 
By  their  oppress'd  and  fear-surprised  eyes, 


54  HAMLET. 

Within  his  truncheon's  length ;  whilst  they,  distill'd 

Almost  to  jelly  with  the  act  of  fear, 

Stand  dumb,  and  speak  not  to  him.     This  to  me 

In  dreadful  secrecy  impart  they  did  ; 

And  I  with  them  the  third  night  kept  the  watch : 

Where,  as  they  had  deliver'd,  both  in  time, 

Form  of  the  thing,  each  word  made  true  and  good,  sic 

The  apparition  comes.     I  knew  your  father ; 

These  hands  are  not  more  like. 

Hamkt.  But  where  was  this? 

Marcellus.    My  lord,  upon  the  platform  where  we  watch'd. 

Hamlet.   Did  you  not  speak  to  it  ? 

Horatio.  My  lord,  I  did ; 

But  answer  made  it  none  :  yet  once  methought 
It  lifted  up  its  head  and  did  address 
Itself  to  motion,  like  as  it  would  speak  ; 
But  even  then  the  morning  cock  crew  loud, 
And  at  the  sound  it  shrunk  in  haste  away, 
And  vanish'd  from  our  sight. 

Hamlet.  'T  is  very  strange.  SM 

Horatio.   As  I  do  live,  my  honour'd  lord,  't  is  true ; 
And  we  did  think  it  writ  down  in  our  duty 
To  let  you  know  of  it. 

Hamlet.   Indeed,  indeed,  sirs,  but  this  troubles  me. 
Hold  you  the  watch  to-night? 

Marcellus.  \ 

Bernardo.  ]  We  do>  m7  lord- 

Hamlet.   Arm'd,  say  you? 

Marcellus.  \ 

Bernardo.}    Arm'd,  my  lord. 

Hamlet.    From  top  to  toe  ? 

Marcellus.  \ 

Bernardo.  \  M>"  lord>  from  nead  to  f°Ot. 

Hamlet.   Then  saw  you  not  his  face  ? 

Horatio.   O,  yes,  my  lord ;  he  wore  his  beaver  up.  230 


ACT  I.    SCENE  II.  55 

Hamlet.   What,  look'd  he  frowningly? 

Horatio.    A  countenance  more  in  sorrow  than  in  anger. 

Hamlet.    Pale,  or  red  ? 

Horatio.    Nay,  very  pale. 

Hamlet.  And  fix'd  his  eyes  upon  you  ? 

Horatio.    Most  constantly. 

Hamlet.  I  would  I  had  been  there. 

Horatio.    It  would  have  much  amaz'd  you. 

Hamlet.   Very  like,  very  like.     Stay'd  it  long? 

Horatio.   While   one   with   moderate   haste   might   tell    a 
hundred. 

Marccllus.  \    . 

Bernardo.  \    LonSer'  lonSer' 

Horatio.   Not  when  I  saw  't. 

Hamlet.  His  beard  was  grizzled?  no? 

Horatio.    It  was,  as  I  have  seen  it  in  his  life,  241 

A  sable  silver'd. 

Hamlet.  I  '11  watch  to-night ; 

Perchance  't  will  walk  again. 

Horatio.  I  warrant  it  will. 

Hamlet.   If  it  assume  my  noble  father's  person, 
I  '11  speak  to  it,  though  hell  itself  should  gape 
And  bid  me  hold  my  peace.     I  pray  you  all, 
If  you  have  hitherto  conceaPd  this  sight, 
Let  it  be  tenable  in  your  silence  still  j 
And  whatsoever  else  shall  hap  to-night, 

Give  it  an  understanding,  but  no  tongue  :  ay. 

I  will  requite  your  loves.  So,  fare  you  well ; 
Upon  the  platform,  'twixt  eleven  and  twelve, 
I  '11  visit  you. 

AIL  Our  duty  to  your  honour. 

Hamlet.   Your  loves,  as  mine  to  you  ;  farewell. — 

[Exeunt  all  but  Hamlet. 
My  father's  spirit  in  arms  !  all  is  not  well ; 
T  doubt  some  foul  play :  would  the  night  were  come  ! 


0  HAMLET. 

Till  then  sit  still,  my  soul ;  foul  deeds  will  rise, 

Though  all  the  earth  o'erwhelm  them,  to  men's  eyes.     [Exit. 

SCENE  III.     A  Room  in  Polonius's  House. 
Enter  LAERTES  and  OPHELIA. 

Laertes.   My  necessaries  are  embark'd  ;  farewell ; 
And,  sister,  as  the  winds  give  benefit 
And  convoy  is  assistant,  do  not  sleep, 
But  let  me  hear  from  you. 

Ophelia.  Do  you  doubt  that? 

Laertes.    For  Hamlet  and  the  trifling  of  his  favour, 
Hold  it  a  fashion  and  a  toy  in  blood, 
A  violet  in  the  youth  of  primy  nature, 
Forward,  not  permanent,  sweet,  not  lasting, 
The  perfume  and  suppliance  of  a  minute ; 
No  more. 

Ophelia.   No  more  but  so  ? 

Laertes.  Think  it  no  more ;  M 

For  nature  crescent  does  not  grow  alone 
In  thews  and  bulk,  but,  as  this  temple  waxes, 
The  inward  service  of  the  mind  and  soul 
Grows  wide  withal.     Perhaps  he  loves  you  now, 
And  now  no  soil  nor  cautel  doth  besmirch 
The  virtue  of  his  will ;  but  you  must  fear, 
His  greatness  weigh'd,  his  will  is  not  his  own ; 
For  he  himself  is  subject  to  his  birth. 
He  may  not,  as  unvalued  persons  do, 

Carve  for  himself,  for  on  his  choice  depends  M 

The  safety  and  health  of  this  whole  state  ; 
And  therefore  must  his  choice  be  circumscrib'd 
Unto  the  voice  and  yielding  of  that  body 
Whereof  he  is  the  head.     Then  if  he  says  he  loves  you, 
It  fits  your  wisdom  so  far  to  believe  it 
As  he  in  his  particular  act  and  place 


ACT  L    SCENE  III.  57 

May  give  his  saying  deed  ;  which  is  no  further 

Than  the  main  voice  of  Denmark  goes  withal. 

Then  weigh  what  loss  your  honour  may  sustain, 

If  with  too  credent  ear  you  list  his  songs,  30 

Or  lose  your  heart,  or  your  chaste  treasure  open 

To  his  unmaster'd  importunity. 

Fear  it,  Ophelia,  fear  it,  my  dear  sister, 

And  keep  you  in  the  rear  of  your  affection, 

Out  of  the  shot  and  danger  of  desire. 

The  chariest  maid  is  prodigal  enough, 

If  she  unmask  her  beauty  to  the  moon. 

Virtue  itself  scapes  not  calumnious  strokes; 

The  canker  galls  the  infants  of  the  spring, 

Too  oft  before  their  buttons  be  disclos'd ;  «« 

And  in  the  morn  and  liquid  dew  of  youth 

Contagious  blastments  are  most  imminent. 

Be  wary  then ;  best  safety  lies  in  fear : 

Youth  to  itself  rebels,  though  none  else  near. 

Ophelia,    I  shall  the  effect  of  this  good  lesson  keep, 
As  watchman  to  my  heart.     But,  good  my  brother, 
Do  not,  as  some  ungracious  pastors  do, 
Show  me  the  steep  and  thorny  way  to  heaven, 
Whiles,  like  a  puffd  and  reckless  libertine, 
Himself  the  primrose  path  of  dalliance  treads,  v. 

And  recks  not  his  own  rede. 

Laertes.  O,  fear  me  not. 

I  stay  too  long ;  but  here  my  father  comes. 

Enter  POLONIUS. 

A  double  blessing  is  a  double  grace ; 
Occasion  smiles  upon  a  second  leave. 

Polonius.   Yet  here,  Laertes  !  aboard,  aboard,  for  shame  ! 
The  wind  sits  in  the  shoulder  of  your  sail, 
And  you  are  stay'd  for.     There ;  my  blessing  with  thee  ! 
And  these  few  precepts  in  thy  memory 


58  HAMLET. 

See  thou  chaiacter.     Give  thy  thoughts  no  tongue, 

Nor  any  unproportion'd  thought  his  act.  be 

Be  thou  familiar,  but  by  no  means  vulgar. 

Those  friends  thou  hast,  and  their  adoption  tried, 

Grapple  them  to  thy  soul  with  hoops  of  steel ; 

But  do  not  dull  thy  palm  with  entertainment 

Of  each  new-hatch'd,  unfledg'd  comrade.     Beware 

Of  entrance  to  a  quarrel,  but,  being  in, 

Bear  't  that  the  opposed  may  beware  of  thee. 

Give  every  man  thy  ear,  but  few  thy  voice ; 

Take  each  man's  censure,  but  reserve  thy  judgment. 

Costly  thy  habit  as  thy  purse  can  buy,  TC 

But  not  express'd  in  fancy  ;  rich,  not  gaudy  ; 

For  the  apparel  oft  proclaims  the  man, 

And  they  in  France  of  the  best  rank  and  station 

Are  most  select  and  generous,  chief  in  that. 

Neither  a  borrower  nor  a  lender  be  ; 

For  loan  oft  loses  both  itself  and  friend, 

And  borrowing  dulls  the  edge  of  husbandry. 

This  above  all :  to  thine  own  self  be  true, 

And  it  must  follow,  as  the  night  the  day, 

Thou  canst  not  then  be  false  to  any  man.  8« 

Farewell ;  my  blessing  season  this  in  thee  ! 

Laertes.    Most  humbly  do  I  take  my  leave,  my  lord. 

Polonius.   The  time  invites  you  ;  go,  your  servants  tend. 

Laertes.    Farewell,  Ophelia  ;  and  remember  well 
What  I  have  said  to  you. 

Ophelia.  T  is  in  my  memory  lock'd, 

And  you  yourself  shall  keep  the  key  of  it. 

Laertes.  Farewell.  \Exit. 

Polonius.   What  is  't,  Ophelia,  he  hath  said  to  you? 

Ophelia.     So   please   you,   something   touching   the   Lord 
Hamlet. 

Polonius.   Marry,  well  bethought :  90 

T  is  told  me,  he  hath  very  oft  of  late 


ACT  I.     SCENE  III.  59 

Given  private  time  to  you,  and  you  yourself 

Have  of  your  audience  been  most  free  and  bounteous ; 

If  it  be  so — as  so  't  is  put  on  me, 

And  that  in  way  of  caution — I  must  tell  you, 

You  do  not  understand  yourself  so  clearly 

As  it  behoves  my  daughter  and  your  honour. 

What  is  between  you?  give  me  up  the  truth. 

Ophelia.   He  hath,  my  lord,  of  late  made  many  tenders 
Of  his  affection  to  me.  100 

Polonius.   Affection  !  pooh  !  you  speak  like  a  green  girl, 
Unsifted  in  such  perilous  circumstance. 
Do  you  believe  his  tenders,  as  you  call  them? 

Ophelia.    I  do  not  know,  my  lord,  what  I  should  think. 

Polonius.   Marry,  I  '11  teach  you ;  think  yourself  a  baby, 
That  you  have  ta'en  these  tenders  for  true  pay, 
Which  are  not  sterling.     Tender  yourself  more  dearly  ; 
Or — not  to  crack  the  wind  of  the  poor  phrase, 
Running  it  thus — you  '11  tender  me  a  fool. 

Ophelia.    My  lord,  he  hath  importun'd  me  with  love         no 
In  honourable  fashion. 

Polonius.    Ay,  fashion  you  may  call  it ;  go  to,  go  to. 

Ophelia.   And  hath  given  countenance  to  his  speech,  my 

lord, 
With  almost  all  the  holy  vows  of  heaven. 

Polonius.   Ay,  springes  to  catch  woodcocks.     I  do  know, 
When  the  blood  burns,  how  prodigal  the  soul 
Lends  the  tongue  vows ;  these  blazes,  daughter, 
Giving  more  light  than  heat,  extinct  in  both, 
Even  in  their  promise,  as  it  is  a- making, 
You  must  not  take  for  fire.     From  this  time  **> 

Be  somewhat  scanter  of  your  maiden  presence; 
Set  your  entreatments  at  a  higher  rate 
Than  a  command  to  parley.     For  Lord  Hamlet, 
Believe  so  much  in  him,  thac  he  is  young, 
And  with  a  larger  tether  may  he  walk 


60  HAMLET. 

Than  may  be  given  you :  in  few,  Ophelia, 

Do  not  believe  his  vows ;   for  they  are  brokers. 

Not  of  that  dye  which  their  investments  show, 

But  mere  implorators  of  unholy  suits, 

Breathing  like  sanctified  and  pious  bawds,  130 

The  better  to  beguile.    This  is  for  all ; 

I  would  not,  in  plain  terms,  from  this  time  forth, 

Have  you  so  slander  any  moment's  leisure, 

As  to  give  words  or  talk  with  the  Lord  Hamlet. 

Look  to  %  I  charge  you  ;  come  your  ways. 

Ophelia.   I  shall  obey,  my  lord.  [Exeunt* 

SCENE  IV.     The  Platform. 
Enter  HAMLET,  HORATIO,  and  MARCELLUS. 

Hamlet.   The  air  bites  shrewdly ;  it  is  very  cold. 

Horatio.   It  is  a  nipping  and  an  eager  air. 

Hamlet.   What  hour  now? 

Horatio.  I  think  it  lacks  of  twelve. 

Hamlet.   No,  it  is  struck. 

Horatio.   Indeed?    I  heard  it  not :  it  then  draws  near  the 

season 
Wherein  the  spirit  held  his  wont  to  walk. 

[A  flourish  of  trumpets  and  ordnance  shot  off  within. 
What  does  this  mean,  my  lord  ? 

Hamlet.     The   king  doth    wake   to-night  and   takes  his 

rouse, 

Keeps  wassail,  and  the  swaggering  upspring  reels ; 
And  as  he  drains  his  draughts  of  Rhenish  down,  M 

The  kettle-drum  and  trumpet  thus  bray  out 
The  triumph  of  his  pledge. 

Horatio.  Is  it  a  custom? 

Hamlet.   Ay,  marry  is  't ; 
But  to  my  mind,  though  I  am  native  here 
And  to  the  manner  born,  it  is  a  custom 


ACT  I.     SCENE  IV.  6 1 

More  honour'd  in  the  breach  than  the  observance. 

This  heavy-headed  revel  east  and  west 

Makes  us  traduc'd  and  tax'd  of  other  nations : 

They  clepe  us  drunkards,  and  with  swinish  phrase 

Soil  our  addition ;  and  indeed  it  takes  20 

From  our  achievements,  though  perform'd  at  height, 

The  pith  and  marrow  of  our  attribute. 

So,  oft  it  chances  in  particular  men, 

That  for  some  vicious  mole  of  nature  in  them, 

As,  in  their  birth — wherein  they  are  not  guilty, 

Since  nature  cannot  choose  his  origin — • 

By  the  o'ergrowth  of  some  complexion, 

OJFt  breaking  down  the  pales  and  forts  of  reason. 

Or  by  some  habit  that  too  much  o'er-leavens 

The  form  of  plausive  manners,  that  these  men,  30 

Carrying,  I  say,  the  stamp  of  one  defect, 

Being  nature's  livery,  or  fortune's  star, — • 

Their  virtues  else — be  they  as  pure  as  grace, 

As  infinite  as  man  may  undergo — 

Shall  in  the  general  censure  take  corruption 

From  that  particular  fault :  the  dram  of  eale 

Doth  all  the  noble  substance  of  a  doubt 

To  his  own  scandal. 

Horatio.  Look,  my  lord,  it  comes! 

Enter  GHOST. 

Hamlet.  Angels  and  ministers  of  grace  defend  us ! — 
Be  thou  a  spirit  of  health  or  goblin  damn'd,  4^ 

Bring  with  thee  airs  from  heaven  or  blasts  from  hell, 
Be  thy  intents  wicked  or  charitable, 
Thou  comest  in  such  a  questionable  shape 
That  I  will  speak  to  thee :  I  '11  call  thee  Hamlet, 
King,  father ;  royal  Dane,  O,  answer  me ! 
Let  me  not  burst  in  ignorance ;  but  tell 
Why  thy  canoniz'd  bones,  hearsed  in  death, 


52  HAMLET. 

Have  burst  their  cerements  ;  why  the  sepulchre, 

Wherein  we  saw  thee  quietly  inurn'd, 

Hath  op'd  his  ponderous  and  marble  jaws,  *» 

To  cast  thee  up  again.     What  may  this  mean, 

That  thou,  dead  corse,  again  in  complete  steel 

Revisit'st  thus  the  glimpses  of  the  moon, 

Making  night  hideous  ;  and  we  fools  of  nature 

So  horridly  to  shake  our  disposition 

With  thoughts  beyond  the  reaches  of  our  souls? 

Say,  why  is  this?  wherefore?  what  should  we  do? 

[Ghost  beckons  Hamlet. 

Horatio.   It  beckons  you  to  go  away  with  it, 
As  if  it  some  impartment  did  desire 
To  you  alone. 

Marcellus.     Look,  with  what  courteous  action  60 

It  waves  you  to  a  more  removed  ground : 
But  do  not  go  with  it. 

Horatio.  No,  by  no  means. 

Hamlet.    It  will  not  speak ;  then  I  will  follow  it. 

Horatio.   Do  not,  my  lord. 

Hamlet.  Why,  what  should  be  the  fear? 

I  do  not  set  my  life  at  a  pin's  fee ; 
And  for  my  soul,  what  can  it  do  to  that, 
Being  a  thing  immortal  as  itself  ? 
It  waves  me  forth  again  ;  I  '11  follow  it. 

Horatio.   What  if  it  tempt  you  toward  the  flood,  my  lord, 
Or  to  the  dreadful  summit  of  the  cliff  r\ 

That  beetles  o'er  his  base  into  the  sea, 
And  there  assume  some  other  horrible  form, 
Which  might  deprive  your  sovereignty  of  reason 
And  draw  you  into  madness?  think  of  it; 
The  very  place  puts  toys  of  desperation, 
Without  more  motive,  into  every  brain 
That  looks  so  many  fathoms  to  the  sea 
And  hears  it  roar  beneath. 


ACT  I.     SCENE    V.  63 

Hamlet.  It  waves  me  still. — 

Go  on  ;  I  '11  follow  thee. 

Marcellus.    You  shall  not  go,  my  lord.  80 

Hamlet.  Hold  off  your  hands  ! 

Horatio.   Be  rul'd ;  you  shall  not  go. 

Hamkt.  My  fate  cries  out 

And  makes  each  petty  artery  in  this  body 
As  hardy  as  the  Nemean  lion's  nerve. 
Still  am  I  call'd. — Unhand  me,  gentlemen. 
By  heaven,  I  '11  make  a  ghost  of  him  that  lets  me  ! 
I  say,  away  ! — Go  on  ;  I  '11  follow  thee. 

\_Excunt  Ghost  and  Hamlet. 

Horatio.    He  waxes  desperate  with  imagination. 

Marcellus.    Let  's  follow ;  't  is  not  fit  thus  to  obey  him. 

Horatio.    Have  after. — To  what  issue  will  this  come?         89 

Marcelhis.    Something  is  rotten  in  the  state  of  Denmark. 

Horatio.   Heaven  will  direct  it. 

Marcellus.  Nay,  let  's  follow  him.     [Exeunt. 

SCENE  V.     Another  Part  of  the  Platform. 
Enter  GHOST  and  HAMLET. 

Hamlet.   Where  wilt   thou  lead    me?   speak;  I  '11  go  no 
further. 

Ghost.   Mark  me. 

Hamlet.  I  will. 

Ghost.  My  hour  is  almost  come, 

When  I  to  sulphurous  and  tormenting  flames 
Must  render  up  myself. 

Hamlet.  Alas,  poor  ghost ! 

Ghost.   Pity  me  not,  but  lend  thy  serious  hearing 
To  what  I  shall  unfold. 

Hamlet.  Speak  ;  I  am  bound  to  hear. 

Ghost.   So  art  thou  to  revenge,  when  thou  shalt  hear. 

Hamlet.   What? 


64 


HAMLET. 


Ghost.   I  am  thy  father's  spirit, 
Doom'd  for  a  certain  term  to  walk  the  night, 
And  for  the  day  confin'd  to  fast  in  fires, 
Till  the  foul  crimes  done  in  my  days  of  nature 
Are  burnt  and  purg'd  away.     But  that  I  am  forbid 
To  tell  the  secrets  of  my  prison-house, 
I  could  a  tale  unfold  whose  lightest  word 
Would  harrow  up  thy  soul,  freeze  thy  young  blood, 
Make  thy  two  eyes,  like  stars,  start  from  their  spheres, 
Thy  knotted  and  combined  locks  to  part, 
And  each  particular  hair  to  stand  an  end, 
Like  quills  upon  the  fretful  porpentine ; 
But  this  eternal  blazon  must  not  be 
To  ears  of  flesh  and  blood.     List,  list,  O,  list ! 
If  thou  didst  ever  thy  dear  father  love — 

Hamlet.   O  God ! 

Ghost.   Revenge  his  foul  and  most  unnatural  murther. 

Hamlet.   Murther  1 

Ghost.   Murther  most  foul,  as  in  the  best  it  is ; 
But  this  most  foul,  strange,  and  unnatural. 

Hamlet.   Haste  me  to  know  't,  that  I,  with  wings  as  swift 
As  meditation  or  the  thoughts  of  love, 
May  sweep  to  my  revenge. 

Ghost.  I  find  thee  apt ; 

And  duller  shouldst  thou  be  than  the  fat  weed 
That  roots  itself  in  ease  on  Lethe  wharf, 
Wouldst  thou  not  stir  in  this.     Now,  Hamlet,  hear : 
T  is  given  out  that,  sleeping  in  my  orchard, 
A  serpent  stung  me  ;  so  the  whole  ear  of  Denmark 
Is  by  a  forged  process  of  my  death 
Rankly  abus'd  ;  but  know,  thou  noble  youth, 
The  serpent  that  did  sting  thy  father's  life 
Now  wears  his  crown. 

Hamlet.  O  my  prophetic  soul ' 

My  uncle  1 


ACT  A    SCENE    V  65 

Ghost.  Ay,  that  incestuous,  that  adulterate  beast, 
With  witchcraft  of  his  wit,  with  traitorous  gifts, — 
O  wicked  wit  and  gifts,  that  have  the  power 
So  to  seduce  ! — won  to  his  shameful  lust 
The  will  of  my  most  seeming-virtuous  queen ; 

0  Hamlet,  what  a  falling-off  was  there  ! 
From  me,  whose  love  was  of  that  dignity 
That  it  went  hand  in  hand  even  with  the  vow 

1  made  to  her  in  marriage,  and  to  decline  so 
Upon  a  wretch  whose  natural  gifts  were  poor 

To  those  of  mine  ! 
But  virtue,  as  it  never  will  be  mov'd, 
Though  lewdness  court  it  in  a  shape  of  heaven, 
So  lust,  though  to  a  radiant  angel  link'd, 
Will  sate  itself  in  a  celestial  bed, 
And  prey  on  garbage. 

But,  soft !  methinks  I  scent  the  morning  air; 
Brief  let  me  be.     Sleeping  within  my  orchard, 
My  custom  always  in  the  afternoon,  <o 

Upon  my  secure  hour  thy  uncle  stole, 
With  juice  of  cursed  hebenon  in  a  vial, 
And  in  the  porches  of  my  ears  did  pour 
The  leperous  distilment ;  whose  effect 
Holds  such  an  enmity  with  blood  of  man 
That  swift  as  quicksilver  it  courses  through 
The  natural  gates  and  alleys  of  the  body, 
And  with  a  sudden  vigour  it  doth  posset 
And  curd,  like  eager  droppings  into  milk, 
The  thin  and  wholesome  blood  :  so  did  it  mine ;  *> 

And  a  most  instant  tetter  bark'd  about, 
Most  lazar-like,  with  vile  and  loathsome  crust, 
All  my  smooth  body. 
Thus  was  I,  sleeping,  by  a  brother's  hand 
Of  life,  of  crown,  of  queen,  at  once  dispatch'd  j 
Cut  off  even  in  the  blossoms  of  my  sin, 
E 


66  HAMLET. 

Unhousel'd,  disappointed,  unanel'd, 
No  reckoning  made,  but  sent  to  my  account 
With  all  my  imperfections  on  my  head  : 

O,  horrible  !  O,  horrible  !  most  horrible  !  > 

If  thou  hast  nature  in  thee,  bear  it  not; 
Let  not  the  royal  bed  of  Denmark  be 
A  couch  for  luxury  and  damned  incest. 
But,  howsoever  thou  pursues!  this  act, 
Taint  not  thy  mind,  nor  let  thy  soul  contrive 
Against  thy  mother  aught ;  leave  her  to  heaven 
And  to  those  thorns  that  in  her  bosom  lodge, 
To  prick  and  sting  her.     Fare  thee  well  at  once  ! 
The  glow-worm  shows  the  matin  to  be  near, 
And  gins  to  pale  his  uneffectual  fire ;  90 

Adien,  adieu  !     Hamlet,  remember  me.  [Exit. 

Hamlet.    O   all   you    host   of    heaven !     O    earth !    what 

else? 

And  shall  I  couple  hell?     O,  fie  !     Hold,  hold,  my  heart ; 
And  you,  my  sinews,  grow  not  instant  old, 
But  bear  me  stiffly  up.     Remember  thee  ! 
Ay,  thou  poor  ghost,  while  memory  holds  a  seat 
In  this  distracted  globe.     Remember  thee  ! 
Yea,  from  the  table  of  my  memory 
I  Ml  wipe  away  all  trivial  fond  records, 

All  saws  of  books,  all  forms,  all  pressures  past,  «x> 

That  youth  and  observation  copied  there  j 
And  thy  commandment  all  alone  shall  live 
Within  the  book  and  volume  of  my  brain, 
Unmix'd  with  baser  matter  :  yes,  by  heaven  i 
O  most  pernicious  woman  ! 
O  villain,  villain,  smiling,  damned  villain ! 
My  tables, — meet  it  is  I  set  it  down, 
That  one  may  smile,  and  smile,  and  be  a  villain ; 
At  least  I  'm  sure  it  may  oe  so  in  Denmark. —          [  Writing. 
So,  uncle,  there  you  are. — Now  to  my  word  ;  no 


ACT  I.     SCENE    V.  67 

It  is  'Adieu,  adieu !  remember  me.' 
I  have  sworn  't. 

Marcellus.  }  P  ,I7..  .  -,  ,,    ,     ,          ,     ,  , 

Horatio.     \  ^  Wt***i  M?  lord'  my  lord  ! 

Marcellus.  [  Wthin]  Lord  Hamlet ! 

Horatio.  [  Within']  Heaven  secure  him  ! 

Hamlet   So  be  it ! 

Horatio.    [  Within}  Hillo,  ho,  ho,  my  lord  ! 

Hamlet.    Hillo,  ho,  ho,  boy !  come,  bird,  come. 

Enter  HORATIO  and  MARCELLUS. 
Marcellus.   How  is  't,  my  noble  lord? 
Horatio.  What  news,  my  lord  ? 

Hamlet.    O,  wonderful ! 
Horatio.    Good  my  lord,  tell  it. 

Hamlet.  No ;  you  will  reveal  it. 

Horatio.   Not  I,  my  lord,  by  heaven. 

Marcellus.  Nor  I,  my  lord.     120 

Hamlet.    How  say  you,  then;  would  heart  of  man   once 

think  it  ? 

But  you  '11  be  secret  ? 
Horatio.      ) 
Marcellus.]  Ay,  by  heaven,  my  lord. 

Hamlet.   There  's  ne'er  a  villain  dwelling  in  all  Denmark 
But  he  's  an  arrant  knave. 

Horatio.   There  needs  no  ghost,  my  lord,  come  from  the 

grave 
To  tell  us  this. 

Hamlet.  Why,  right:  you  are  i'  the  right; 

And  so,  without  more  circumstance  at  all, 
I  hold  it  fit  that  we  shake  hands  and  part : 
You,  as  your  business  and  desire  shall  point  you,— 
For  every  man  has  business  and  desire,  «ac 

Such  as  it  is ; — and  for  mine  own  poor  part, 
Look  you,  I  '11  go  pray. 


Oft  HAMLET. 

Horafa     rhese    are    but  wild   and  whming  words,   my 
lord. 

Hamlet.   I  ;m  sorry  the*  o**"'!  you.  heartily  j 
Ves,  faith,  heartily. 

Horatio.  There  's  no  offence,  my  lord. 

Hamlet.  Yes,  by  Saint  Patrick,  but  there  is,  Horatio, 
And  much  offence  too.     Touching  this  vision  here, 
It  is  an  honest  ghost,  that  let  me  tell  you ; 
For  your  desire  to  know  what  is  between  us, 
O'ermaster  t  as  you  may.     And  now,  good  friends,  140 

As  you  are  friends,  scholars,  and  soldiers, 
Give  me  one  poor  request. 

Horatio.   What  is  't,  my  lord?  we  will. 

Hamlet.   Never  make  known  what  you  have  seen  to-night 


±S;,}Mylord>wewillnot 


Hamlet.  Nay,  but  swear 't. 

Horatio.  In  faitn, 

My  lord,  not  I. 

Marcellus.        Nor  I,  my  lord,  in  faith. 

Hamlet,  Upon  my  sword. 

Marcellus.  We  have  sworn,  my  lord,  already. 

Hamlet.   Indeed,  upon  my  sword,  indeed. 

Ghost.   [Beneath]  Swear. 

Hamlet.   Ah,  ha,  boy  !  say'st  thou  so?  art  thou  there,  true 
penny  ? —  150 

Come  on — you  hear  this  fellow  in  the  cellarage — 
Consent  to  swear. 

Horatio.  Propose  the  oath,  my  lord. 

Hamlet.   Never  to  speak  of  this  that  you  have  seen. 
Swear  by  my  sword. 

Ghost.    [Beneath]  Swear. 

Hamlet.    Hie  et  ubique?  then  we  '11  shift  our  ground.— 
Come  hither,  gentlemen, 
And  lay  your  hands  again  upon  my  sword, 


ACT  I.     SCENE   V.  69 

Never  to  speak  of  this  that  you  have  heard. 

Swear  by  my  sword.  160 

Ghost.   [Beneath]  Swear. 

Hamlet.   Well  said,  old  mole !  canst  work  i'  the  earth  so 

fast? 
A  worthy  pioner ! — Once  more  remove,  good  friends. 

Horatio.   O  day  and  night,  but  this  is  wondrous  strange ! 

Hamlet.   And  therefore  as  a  stranger  give  it  welcome. 
There  are  more  things  in  heaven  and  earth,  Horatio, 
Than  are  dreamt  of  in  your  philosophy. 
But  come ; 

Here,  as  before,  never,  so  help  you  mercy, 
How  strange  or  odd  soe'er  I  bear  myself, — •  170 

As  I  perchance  hereafter  shall  think  meet 
To  put  an  antic  disposition  on, — 
That  you,  at  such  times  seeing  me,  never  shall, 
With  arms  encumber'd  thus,  or  this  head-shake, 
Or  by  pronouncing  of  some  doubtful  phrase, 
As  'Well,  well,  we  know,'  or  'We  could,  and  if  we  would,' 
Or  'If  we  list  to  speak/  or  'There  be,  an  if  they  might,' 
Or  such  ambiguous  giving-out,  to  note 
That  you  know  aught  of  me :  this  not  to  do, 
So  grace  and  mercy  at  your  most  need  help  you,  180 

Swear. 

Ghost.   [Beneath]   Swear. 

Hamlet.   Rest,  rest,  perturbed  spirit ! — So,  gentlemen, 
With  all  my  love  I  do  commend  me  to  you ; 
And  what  so  poor  a  man  as  Hamlet  is 
May  do,  to  express  his  love  and  friending  to  you, 
God  willing,  shall  not  lack.     Let  us  go  in  together ; 
And  still  your  fingers  on  your  lips,  I  pray. 
The  time  is  out  of  joint ; — O  cursed  spite, 
That  ever  I  was  born  to  set  it  right ! —  190 

Nay,  come,  let 's  go  together.  [Exeunt 


ACT  II. 

SCENE  I.    A  Room  in  Polonius's  House. 
Enter  POLONIUS  and  REYNALDO. 

Polonius.   Give  him  this  money  and  these  notes,  Reynaldo. 

Reynaldo.   I  will,  my  lord. 

Polonius.   You  shall  do  marvellous  wisely,  good  ReynaldOj 
Before  you  visit  him,  to  make  inquire 
Of  his  behaviour. 

Reynaldo.  My  lord,  I  did  intend  it. 

Polonius.   Marry,   well   said,    very  well   said.     Look   you, 

sir, 

Inquire  me  first  what  Danskers  are  in  Paris, 
And  how,  and  who  ;  what  means,  and  where  they  keep  j 
What  company,  at  what  expense  ;  and  finding 


ACT  II.    SCENE  I.  71 

By  this  encompassment  and  drift  of  question  -^. 

That  they  do  know  my  son,  come  you  more  nearer 

Than  your  particular  demands  will  touch  it : 

Take  you,  as  't  were,  some  distant  knowledge  of  him, 

As  thus,  '  I  know  his  father  and  his  friends, 

And  in  part  him,' — do  you  mark  this,  Reynaldo? 

Reynaldo.   Ay,  very  well,  my  lord. 

Polonius.    '  And  in  part  him ;  but '  you  may  say  *  not  well  , 
But,  if 't  be  he  I  mean,  he  's  very  wild, 
Addicted '  so  and  so  :  and  there  put  on  him 
What  forgeries  you  please  ;  marry,  none  so  rank  * 

As  may  dishonour  him  ;  take  heed  of  that; 
But,  sir,  such  wanton,  wild,  and  usual  slips 
As  are  companions  noted  and  most  known 
To  youth  and  liberty. 

Reynaldo.  As  gaming,  my  lord. 

Polonius.    Ay,  or  drinking,  fencing,  swearing,  quarrelling. 
Drabbing  ;  you  may  go  so  far. 

Reynaldo.    My  lord,  that  would  dishonour  him. 

Polonius.   Faith,  no  ;  as  you  may  season  it  in  the  charge. 
You  must  not  put  another  scandal  on  him, 
That  he  is  open  to  incontinency  ;  y 

That  "s  not  my  meaning  :  but  breathe  his  faults  so  quaintly 
That  they  may  seem  the  taints  of  liberty, 
The  flash  and  outbreak  of  a  fiery  mind, 
A  savageness  in  unreclaimed  blood, 
Of  general  assault. 

Reynaldo.  But,  my  g<  od  lord, — 

Polonius.   Wherefore  should  you  do  this? 

Reynaldo.  Ay,  my  lord, 

v.  would  know  that. 

Polonius.  Marry,  sir,  here  's  my  drift ; 

And,  I  believe,  it  is  a  fetch  of  warrant. 
You  laying  these  slight  sullies  on  my  son, 
As  't  were  a  thing  a  little  soil'd  i'  the  working,  40 


72  HAMLET. 

Mark  you, 

Your  party  in  converse,  him  you  would  sound 
Having  ever  seen  in  the  prenominate  crimes 
The  youth  you  breathe  of  guilty,  be  assur'd 
He  closes  with  you  in  this  consequence  : 
'  Good  sir,'  or  so,  or  '  friend,'  or  '  gentleman.' 
According  to  the  phrase  or  the  addition 
Of  man  and  country. 

Reynaldo.  Very  good,  my  lord. 

Polonius.  And  then,  sir,  does  he  this — he  does — what  was 
I  about  to  say?  By  the  mass,  I  was  about  to  say  something ; 
where  did  I  leave?  5* 

Reynaldo.  At  *  closes  in  the  consequence,'  at '  friend  or  so,' 
and  '  gentleman.' 

Polonius.   At  '  closes  in  the  consequence,'  ay,  marry ; 
He  closes  thus  :  '  I  know  the  gentleman ; 
I  saw  him  yesterday,  or  't  other  day, 
Or  then,  or  then,  with  such,  or  such,  and,  as  you  say, 
There  was  he  gaming,  there  o'ertook  in  's  rouse, 
There  falling  out  at  tennis  ; '  or  perchance, 
'  I  saw  him  enter  such  a  house  of  sale,'  to 

Videlicet,  a  brothel,  or  so  forth. 
See  you  now ; 

Your  bait  of  falsehood  takes  this  carp  of  truth  j 
And  thus  do  we  of  wisdom  and  of  reach, 
With  windlasses  and  with  assays  of  bias, 
By  indirections  find  directions  out : 
So,  by  my  former  lecture  and  advice, 
Shall  you  my  son.     You  have  me,  have  you  not? 

Reynaldo.    My  lord,  I  have. 

Polonius.  God  be  wi'  you ;  fare  you  well. 

Reynaldo.    Good  my  lord  !  TO 

Polonius.    Observe  his  inclination  in  yourself. 

Reynaldo.    I  shall,  my  lord. 

Polonius.    And  let  him  ply  his  music. 


ACT  II.    SCENE  7.  73 

Reynaldo.  •      Well,  my  lord. 

Polonius.   Farewell !  [Exit  Reynaldo. 

Enter  OPHELIA. 
How  now,  Ophelia  !  what 's  the  matter? 

Ophelia.   O,  my  lord,  my  lord,  I  have  been  so  affrighted  ! 

Polonius.    With  what,  i'  the  name  of  God  ? 

Ophelia.   My  lord,  as  I  was  sewing  in  my  closet, 
Lord  Hamlet,  with  his  doublet  all  unbrac'd ; 
No  hat  upon  his  head ;  his  stockings  foul'd, 
Ungarter'd,  and  down-gyved  to  his  ankle  ;  60 

Pale  as  his  shirt;  his  knees  knocking  each  other; 
And  with  a  look  so  piteous  in  purport 
As  if  he  had  been  loosed  out  of  hell 
To  speak  of  horrors, — he  comes  before  me. 

Polonius.   Mad  for  thy  love? 

Ophelia.  My  lord,  I  do  not  know ; 

But  truly,  I  do  fear  it. 

Polonius.  What  said  he? 

Ophelia.    He  took  me  by  the  wrist  and  held  me  hard ; 
Then  goes  he  to  the  length  of  all  his  arm,  90 

And,  with  his  other  hand  thus  o'er  his  brow, 
He  falls  to  such  perusal  of  my  face 
As  he  would  draw  it.     Long  stay'd  he  so; 
At  last,  a  little  shaking  of  mine  arm, 
And  thrice  his  head  thus  waving  up  and  down, 
He  rais'd  a  sigh  so  piteous  and  profound 
As  it  did  seem  to  shatter  all  his  bulk 
And  end  his  being  :  that  done,  he  lets  me  go  ; 
And,  with  his  head  over  his  shoulder  turn'd, 
He  seem'd  to  find  his  way  without  his  eyes ; 
For  out  o'  doors  he  went  without  their  help, 
And,  to  the  last,  bended  their  light  on  me.  100 

Polonius.   Come,  go  with  me ;  I  will  go  seek  the  king. 
This  is  the  very  ecstasy  of  love, 


74 


HAMLET, 


Whose  violent  property  fordoes  itself 

And  leads  the  will  to  desperate  undertakings, 

As  oft  as  any  passion  under  heaven 

That  does  afflict  our  natures.     I  am  sorry, — 

What,  have  you  given  him  any  hard  words  of  late? 

Ophelia.   No,  my  good  lord,  but,  as  you  did  command, 
I  did  repel  his  letters,  and  denied 
His  access  to  me. 

Polonius.  That  hath  made  him  mad.  m 

I  am  sorry  that  with  better  heed  and  judgment 
I  had  not  quoted  him.     I  fear'd  he  did  but  trifle, 
And  meant  to  wrack  thee ;  but  beshrew  my  jealousy  1 
By  heaven,  it  is  as  proper  to  our  age 
To  cast  beyond  ourselves  in  our  opinions 
As  it  is  common  for  the  younger  sort 
To  lack  discretion.     Come,  go  we  to  the  king : 
This  must  be  known  ;  which,  being  kept  close,  might  move 
More  grief  to  hide  than  hate  to  utter  love.  [Exeunt, 

SCENE  II.     A  Room  in  the  Castle. 

Enter  KING,  QUEEN,  ROSENCRANTZ,  GUILDENSTERN,  and 

Attendants. 

King.   Welcome,  dear  Rosencrantz  and  Guildenstern  1 
Moreover  that  we  much  did  long  to  see  you, 
The  need  we  have  to  use  you  did  provoke 
Our  hasty  sending.     Something  have  you  heard 
Of  Hamlet's  transformation  ;  so  I  call  it, 
Sith  nor  the  exterior  nor  the  inward  man 
Resembles  that  it  was.     What  it  should  be, 
More  than  his  father's  death,  that  thus  hath  put  him 
So  much  from  the  understanding  of  himself, 
j  cannot  dream  of.     I  entreat  you  both,  to 

That,  being  of  so  young  days  brought  up  with  him, 
And  sith  so  neighbour'd  to  his  youth  and  humour, 


ACT  IL    SCENE  77.  75 

That  you  vouchsafe  your  rest  here  in  our  court 
Some  little  time ;  so  by  your  companies 
To  draw  him  on  to  pleasures,  and  to  gather, 
So  much  as  from  occasion  you  may  glean, 
Whether  aught  to  us  unknown  afflicts  him  thus, 
That,  open'd,  lies  within  our  remedy. 

Queen.   Good  gentlemen,  he  hath  much  talk'd  of  you, 
And  sure  I  am  two  men  there  are  not  living  w 

To  whom  he  more  adheres.     If  it  will  please  you 
To  show  us  so  much  gentry  and  good  will 
As  to  expend  your  time  with  us  awhile, 
For  the  supply  and  profit  of  our  hope, 
Your  visitation  shall  receive  such  thanks 
As  fits  a  king's  remembrance. 

Rosencrantz.  Both  your  majesties 

Might,  by  the  sovereign  power  you  have  of  us, 
Put  your  dread  pleasures  more  into  command 
Than  to  entreaty. 

Guildenstern.        But  we  both  obey, 

And  here  give  up  ourselves,  in  the  full  bent  30 

To  lay  our  service  freely  at  your  feet, 
To  be  commanded. 

King.     Thanks,  Rosencrantz  and  gentle  Guildenstern. 

Queen.   Thanks,  Guildenstern  and  gentle  Rosencrant?  ; 
And  I  beseech  you  instantly  to  visit 
My  too  much  changed  son. — Go,  some  of  you, 
And  bring  these  gentlemen  where  Hamlet  is. 

Guildenstern.    Heavens  make  our  presence  and  our  prac 

tices 
Pleasant  and  helpful  to  him  ! 

Queen.  Ay,  amen  ! 

**f.ncranfat  Guildenstern ,  and  some  Attendants 


7(5  HAMLET. 

Enter  POLONIUS. 

Pbknius.  The  ambassadors  from  Norway,  my  good  lord, 
Are  joyfully  return'd.  •** 

King.   Thou  still  hast  been  the  father  of  good  news. 

Polonius.   Have  I,  my  lord  ?    Assure  you,  my  good  liege, 
I  hold  my  duty,  as  I  hold  my  soul, 
Both  to  my  God  and  to  my  gracious  king ; 
And  I  do  think,  or  else  this  brain  of  mine 
Hunts  not  the  trail  of  policy  so  sure 
As  it  hath  us'd  to  do,  that  I  have  found 
The  very  cause  of  Hamlet's  lunacy. 

King.   O,  speak  of  that ;  that  do  I  long  to  hear.  90 

Polonius.   Give  first  admittance  to  the  ambassadors; 
My  news  shall  be  the  fruit  to  that  great  feast. 

King.  Thyself  do  grace  to  them,  and  bring  them  in. — 

[Exit  Polonius. 

He  tells  me,  my  sweet  queen,  that  he  hath  found 
The  head  and  source  of  all  your  son's  distemper. 

Queen.   I  doubt  it  is  no  other  but  the  main,— 
His  father's  death,  and  our  o'erhasty  marriage. 

King.  Well,  we  shall  sift  him.— 

Re-enter  POLONIUS,  with  VOLTIMAND  and  CORNELIUS. 

Welcome,  my  good  friends  I 
Say,  Voltimand,  what  from  our  brother  Norway? 

Voltimand.   Most  fair  return  of  greetings  and  desires.        «c 
Upon  our  first,  he  sent  out  to  suppress 
His  nephew's  levies,  which  to  him  appear'd 
To  be  a  preparation  'gainst  the  Polack, 
But,  better  look'd  into,  he  truly  found 
It  was  against  your  highness  :  whereat  grieved, 
That  so  his  sickness,  age,  and  impotence 
Was  falsely  borne  in  hand,  sends  out  arrests 
On  Fortinbras ;  which  he,  in  brief,  obeys, 


ACT  II.    SCENE  II.  77 

Receives  rebuke  from  Norway,  and  in  fine 

Makes  vow  before  his  uncle  never  more  10 

To  give  the  assay  of  arms  against  your  majesty. 

Whereon  old  Norway,  overcome  with  joy, 

Gives  him  three  thousand  crowns  in  annual  fee, 

And  his  commission  to  employ  those  soldiers, 

So  levied  as  before,  against  the  Polack ; 

With  an  entreaty,  herein  further  shown,          [  Giving  a  papert 

That  it  might  please  you  to  give  quiet  pass 

Through  your  dominions  for  this  enterprise, 

On  such  regards  of  safety  and  allowance 

As  therein  are  set  down. 

King.  It  likes  us  well ;  80 

And  at  our  more  consider'd  time  we  '11  read, 
Answer,  and  think  upon  this  business. 
Meantime  we  thank  you  for  your  well-took  labour. 
Go  to  your  rest ;  at  night  we'll  feast  together  : 
Most  welcome  home  1        \Exeunt  Voltimand  and  Cornelius. 

Polonius.  This  business  is  well  ended. — 

My  liege,  and  madam,  to  expostulate 
What  majesty  should  be,  what  duty  is, 
Why  day  is  day,  night  night,  and  time  is  time, 
Were  nothing  but  to  waste  night,  day,  and  time. 
Therefore,  since  brevity  is  the  soul  of  wi\  90 

And  tediousness  the  limbs  and  outward  flourishes, 
I  will  be  brief.     Your  noble  son  is  mad  : 
Mad  call  I  it ;  for,  to  define  true  madness, 
What  is  't  but  to  be  nothing  else  but  mad? 
But  let  that  go. 

Queen.  More  matter,  with  less  art. 

Polonius.    Madam,  I  swear  I  use  no  art  at  all. 
That  he  is  mad,  't  is  true ;  't  is  true  't  is  pity, 
And  pity  't  is  't  is  true  :  a  foolish  figure ; 
But  farewell  it,  for  I  will  use  no  art. 
Mad  let  us  grant  him,  then  ;  and  now  remains  no 


fS  HAMLET. 

That  we  find  out  the  cause  of  this  effect, 

Or  rather  say,  the  cause  of  this  defect, 

For  this  effect  defective  comes  by  cause : 

Thus  it  remains,  and  the  remainder  thus. 

Perpend. 

I  have  a  daughter — have  while  she  is  mine — • 

Who,  in  her  duty  and  obedience,  mark, 

Hath  given  me  this  ;  now  gather,  and  surmise. 

[Reads]  '  To  the  celestial  and  my  soul's  idol,  the  most  beautifiea 

Ophelia,' —  no 

That  's   an  ill  phrase,  a  vile  phrase;  'beautified*  is  a  vile 

phrase  :  but  you  shall  hear.     Thus  : 

[Reads]  '  In  her  excellent  white  bosom,  these,  etc.' 

Queen.    Came  this  from  Hamlet  to  her? 

Polonius.   Good  madam,  stay  awhile  ;  I  will  be  faithful 
[Reads]     'Doubt  thou  the  stars  are  fire  ; 

Doubt  that  the  sun  doth  move  f 
Dotibt  truth  to  be  a  liar; 

But  never  doubt  I  love.  119 

'  O  dear  Ophelia,  I  am  ill  at  these  numbers.  1  have  not 
art  to  reckon  my  groans ;  but  that  I  love  thee  best,  O  most 
best,  believe  it.  Adieu. 

'  Thine  evermore,  most  dear  lady,  •whilst  this 
machine  is  to  him,  HAMLET.' 
This  in  obedience  hath  my  daughter  shown  me, 
And  more  above,  hath  his  solicitings, 
As  they  fell  out  by  time,  by  means,  and  place, 
All  given  to  mine  ear. 

King.  But  how  hath  she 

Receiv'd  his  love? 

Polonius.  What  do  you  think  of  me? 

King.   As  of  a  man  faithful  and  honourable.  130 

Polonius.     I  would  fain  prove  so.     But  what  might   you 

think, 
When  I  had  seen  this  hot  love  on  the  wing — 


ACT  II.     SCENE    U.  79 

As  I  perceivM  it,  I  must  tell  you  that, 

Before  my  daughter  told  me — what  might  you, 

Or  my  dear  majesty  your  queen  here,  think, 

If  I  had  play'd  the  desk  or  table-book, 

Or  given  my  heart  a  winking,  mute  and  dumb, 

Or  look'd  upon  this  love  with  idle  sight ; 

What  might  you  think?     No,  I  went  round  to  work, 

And  my  young  mistress  thus  I  did  bespeak :  m 

*  Lord  Hamlet  is  a  prince,  out  of  thy  star ; 

This  must  not  be  : '  and  then  I  precepts  gave  her, 

That  she  should  lock  herself  from  his  resort, 

Admit  no  messengers,  receive  no  tokens. 

Which  done,  she  took  the  fruits  of  my  advice ; 

And  he,  repulsed — a  short  tale  to  make — 

Fell  into  a  sadness,  then  into  a  fast, 

Thence  to  a  watch,  thence  into  a  weakness, 

Thence  to  a  lightness,  and  by  this  declension 

Into  the  madness  wherein  now  he  raves,  »»w 

And  all  we  mourn  for. 

King.  Do  you  think  't  is  this? 

Queen.    It  may  be,  very  likely. 

Polonius.    Hath  there   been   such  a  time — I'd  fain  know 

that — 

That  I  have  positively  said  '  'T  is  so,1 
When  it  prov'd  otherwise  ? 

Xing.  Not  that  I  know. 

Polonius.    [Pointing  to  his  head  and  shoulder]  Take  this 

from  this,  if  this  be  otherwise. 
If  circumstances  lead  me,  I  will  find 
Where  truth  is  hid,  though  it  were  hid  indeed 
Within  the  centre. 

King.  How  may  we  try  it  further  ? 

Polonius.   You  know,  sometimes  he  walks  four  hours  to 
gether  160 

Here  in  the  lobby. 


gO  HAMLET. 

Queen.  So  he  does  indeed. 

Polonius.  At  such  a  time  I  '11  loose  my  daughter  to  him. 
Be  you  and  I  behind  an  arras  then ; 
Mark  the  encounter :  if  he  love  her  not, 
And  be  not  from  his  reason  fallen  thereon, 
Let  me  be  no  assistant  for  a  state, 
But  keep  a  farm  and  carters. 

King.  We  will  try  it. 

Queen.   But,  look,  where  sadly  the  poor  wretch  comes 
reading. 

Polonius.  Away,  I  do  beseech  you,  both  away ; 
I  '11  board  him  presently. — 

[Exeunt  King,  Queen,  and  Attendants 

Enter  HAMLET,  reading. 

O,  give  me  leave  ;  IT« 

How  does  my  good  Lord  Hamlet? 

Hamlet.   Well,  God-a-mercy. 

Polonius.   Do  you  know  me,  my  lord  ? 

Hamlet.   Excellent  well ;  you  are  a  fishmonger. 

Polonius.   Not  I,  my  lord. 

Hamlet.  Then  I  would  you  were  so  honest  a  man. 

Polonius.   Honest,  my  lord  ! 

Hamlet.  Ay,  sir ;  to  be  honest,  as  this  world  goes,  is  to  be 
one  man  picked  out  of  ten  thousand. 

Polonius.   That  's  very  true,  my  lord.  i8c 

Hamlet.  For  if  the  sun  breed  maggots  in  a  dead  dog, 
being  a  good  kissing  carrion, — Have  you  a  daughter? 

Polonius.    I  have,  my  lord. 

Hamlet.  Let  her  not  walk  i'  the  sun  :  conception  is  a  bless- 
ing; but  not  as  your  daughter  may  conceive. — Friend,  look 
to  't. 

Polonius.  [Aside"}  How  say  you  by  that?  Still  harping  on 
my  daughter ;  yet  he  knew  me  not  at  first ;  he  said  I  was  a 
fishmonger ;  he  is  far  gone,  far  gone ;  and  truly  in  my  youth 


ACT  II.     SCENE  IT.  8 1 

i  suffered  much  extremity  for  love ;  very  near  this.  I  '11 
speak  to  him  again. — What  do  you  read,  my  lord?  191 

Hamlet.   Words,  words,  words. 

Polonius.   What  is  the  matter,  my  lord? 

Hamlet.   Between  who  ? 

Polonius.   I  mean,  the  matter  that  you  read,  my  lord. 

Hamlet.  Slanders,  sir;  for  the  satirical  rogue  says  here 
that  old  men  have  grey  beards,  that  their  faces  are  wrinkled, 
their  eyes  purging  thick  amber  and  plum-tree  gum,  and  that 
they  have  a  plentiful  lack  of  wit,  together  with  most  weak 
hams  :  all  which,  sir,  though  I  most  powerfully  and  potently 
believe,  yet  I  hold  it  not  honesty  to  have  it  thus  set  down  ; 
for  you  yourself,  sir,  should  be  old  as  I  am,  if  like  a  crab  you 
could  go  backward.  203 

Polonius.     \_Aslde~\    TjlOUgh    thJS     Kp    marlnpgg      ypj-    fl^r^    ic- 

rngt-K^fi  i'n  j± — Will  you  walk  out  of  the  air,  my  lord  ? 

Hamlet.    Into  my  grave  ? 

Polonius.  Indeed,  that  is  out  o'  the  air. — [Aside]  How 
pregnant  sometimes  his  replies  are  !  a  happiness  that  often 
madness  hits  on,  which  reason  and  sanity  could  not  so  pros- 
perously be  delivered  of.  I  will  leave  him,  and  suddenly 
contrive  the  means  of  meeting  between  him  and  my  daugh- 
ter.— My  honourable  lord,  I  will  most  humbly  take  my  leave 
of  you. 

Hamlet.  You  cannot,  sir,  take  from  me  any  thing  that  I 
will  more  willingly  part  withal ;  except  my  life,  except  my 
life,  except  my  life.  216 

Polonius.   Fare  you  well,  my  lord. 

Hamlet.   These  tedious  old  fools  ! 

Enter  ROSENCRANTZ  and  GUILDENSTERN. 

Polonius.   You  go  to  seek  the  Lord  Hamlet;  there  he  is. 
Rosencrantz.    [To  Polonius\  God  save  you,  sir  !  220 

[Exit  Polonius. 

Guildenstern.   My  honoured  lordl 
F 
\ 


32  HAMLET. 

Rosencrantz.   My  most  dear  lord  ! 

Hamlet.  My  excellent  good  friends !  How  dost  thou, 
Guildenstern?— Ah,  Rosencrantz!  Good  lads,  how  do  ye 
both? 

Rosencrantz.    As  the  indifferent  children  of  the  earth. 

Guildenstern.    Happy,  in  that  we  are  not  over-happy ; 
On  Fortune's  cap  we  are  not  the  very  button. 

Hamlet.    Nor  the  soles  of  her  shoe  ? 

Rosencrantz.    Neither,  my  lord.  230 

Hamlet.  Then  you  live  about  her  waist,  or  in  the  middle 
of  her  favours?  What 's  the  news? 

Rosencrantz.  None,  my  lord,  but  that  the  world  's  grown 
honest. 

Hamlet.  Then  is  doomsday  near;  but  your  news  is  not 
true.  Let  me  question  more  in  particular ;  what  have  you, 
my  good  friends,  deserved  at  the  hands  of  Fortune,  that  she 
sends  you  to  prison  hither? 

Guildenstern.   Prison,  my  lord  ! 

Hamlet.    Denmark  's  a  prison.  240 

Rosencrantz.  Then  is  the  world  one. 

Hamlet.  A  goodly  one  ;  in  which  there  are  many  confines, 
wards,  and  dungeons,  Denmark  being  one  o'  the  worst. 

Rosencrantz.    We  think  not  so,  my  lord. 

Hamlet.  Why,  then  't  is  none  to  you  ;  forjhere  is  npthing- 
either  good  or  had,  hut  thinking  makes  it  so.:  to  me  it  is  a 
prison. 

Rosencrantz.  Why,  then  your  ambition  makes  it  one ;  't  is 
too  narrow  for  your  mind.  249 

Hamlet.  O  God,  I  could  be  bounded  in  a  nut-shell,  and 
count  myself  a  king  of  infinite  space,  were  it  not  that  I  have 
bad  dreams. 

Guildenstern.  Which  dreams  indeed  are  ambition,  for  the 
very  substance  of  the  ambitious  is  merely  the  shadow  of  a 
dream. 

Hamlet.   A  dream  itself  is  but  a  shadow. 


ACT  U.    SCENE  II.  83 

Rosencrantz.  Truly,  and  I  hold  ambition  of  so  airy  and 
light  a  quality  that  it  is  but  a  shadow's  shadow. 

Hamlet.  Then  are  our  beggars  bodies,  and  our  monaichs 
and  outstretched  heroes  the  beggars'  shadows.  Shall  we  to 
the  court?  for,  by  my  fay,  I  cannot  reason.  261 

Rosencrantz.    \  .. 

Guildenstern.\^  'H  wait  upon  you. 

Hamlet.  No  such  matter :  I  will  not  sort  you  with  the  rest 
of  my  servants;  for,  to  speak  to  you  like  an  honest  man,  I 
am  most  dreadfully  attended.  But,  in  the  beaten  way  of 
friendship,  what  make  you  at  Elsinore? 

Rosencrantz.  To  visit  you,  my  lord ;  no  other  occasion. 

Hamlet.  Beggar  that  I  am,  I  am  even  poor  in  thanks ;  but 
I  thank  you :  and  sure,  dear  friends,  my  thanks  are  too  dear 
a  halfpenny.  Were  you  not  sent  for?  Is  it  your  own  in- 
clining? Is  it  a  free  visitation?  Come,  deal  justly  with  me  : 
come,  come  ;  nay,  speak.  272 

Guildenstern.   What  should  we  say,  my  lord? 

Hamlet.  Why,  any  thing,  but  to  the  purpose.  You  were 
sent  for;  and  there  is  a  kind  of  confession  .n  your  looks 
which  your  modesties  have  not  craft  enough  to  colour.  I 
know  the  good  king  and  queen  have  sent  for  you. 

Rosencrantz.   To  what  end,  my  lord? 

Hamlet.  That  you  must  teach  me.  But  let  me  conjure 
you,  by  the  rights  of  our  fellowship,  by  the  consonancy  of  our 
youth,  by  the  obligation  of  our  ever-preserved  love,  and  by 
what  more  dear  a  better  proposer  could  charge  you  withal, 
be  even  and  direct  with  me,  whether  you  were  sent  for,  or 
no  ?  284 

Rosencrantz.   \Aside  to  Guildenstern\  What  say  you  ? 

Hamlet.  \_Aside~\  Nay,  then  I  have  an  eye  of  you. — If 
you  love  me,  hold  not  off. 

Guildenstern.   My  lord,  we  were  sent  for. 

Hamlet.  I  will  tell  you  why  ;  so  shall  my  anticipation  pre- 
vent your  discovery,  and  your  secrecy  to  the  king  and  queen 


84  HAMLET. 

moult  no  leather.  I  have  of  late — but  wherefore  I  know  not 
— lost  all  my  mirth,  forgone  all  custom  of  exercises ;  and  in- 
deed it  goes  so  heavily  with  my  disposition  that  this  goodly 
frame,  the  earth,  seems  to  me  a  sterile  promontory;  this 
most  excellent  canopy,  the  air,  look  you,  this  brave  o'erhang- 
ing  firmament,  this  majestical  roof  fretted  with  golden  fire, — 
why,  it  appears  no  other  thing  to  me  than  a  foul  and  pesti- 
lent congregation  of  vapours.  What  a  piece  of  work  is  man  I 
how  noble  in  reason  !  how  infinite  in  faculty  !  in  form  and 
moving  how  express  and  admirable  !  in  action  how  like  an 
angel !  in  apprehension  how  like  a  god  !  the  beauty  of  the 
world  !  the  paragon  of  animals !  And  yet,  to  me,  what  is  this 
quintessence  of  dust  ?  man  delights  not  me  ;  no,  nor  woman 
neither,  though  by  your  smiling  you  seem  to  say  so.  304 

Rosencrantz.  My  lord,  there  was  no  such  stuff  in  my 
thoughts. 

Hamlet.  Why  did  you  laugh  then,  when  I  said  '  man  de- 
lights not  me? ' 

Rosencrantz.  To  th;nk,  my  lord,  if  you  delight  not  in  man, 
what  lenten  entertainment  the  players  shall  receive  from 
you ;  we  coted  them  on  the  way,  and  hither  are  they  com- 
ing to  offer  you  service.  3i2 

Hamlet.  He  that  plays  the  king  shall  be  welcome;  his 
majesty  shall  have  tribute  of  me  ;  the  adventurous  knight 
shall  use  his  foil  and  target ;  the  lover  shall  not  sigh  gratis  ; 
the  humorous  man  shall  end  his  part  in  peace ;  the  clown 
shall  make  those  laugh  whose  lungs  are  tickle  o'  the  sere ; 
and  the  lady  shall  say  her  mind  freely,  or  the  blank  verse 
shall  halt  for  't.  What  players  are  they? 

Rosmcrantz.  Even  those  you  were  wont  to  take  delight 
in,  the  tragedians  of  the  city.  321 

Hamlet.  How  chances  it  they  travel?  their  residence,  both 
in  reputation  and  profit,  was  better  both  ways. 

Rosencrantz.  I  think  their  inhibition  comes  by  the  means 
of  the  late  innovation. 


ACT  21.    SCENE  //.  8$ 

Hamlet.  Do  they  hold  the  same  estimation  they  did  when 
1  was  in  the  city?  are  they  so  followed? 

Rosencrantz.    No,  indeed,  are  they  not. 

Hamlet.   How  comes  it?  do  they  grow  rusty?  329 

Rosencrantz.  Nay,  their  endeavour  keeps  in  the  wonted 
pace ;  but  there  is,  sir,  an  aery  of  children,  little  eyases,  that 
cry  out  on  the  top  of  question,  and  are  most  tyrannically 
clapped  for  't :  these  are  now  the  fashion,  and  so  berattle 
the  common  stages — so  they  call  them — that  many  wearing 
rapiers  are  afraid  of  goose-quills,  and  dare  scarce  come 
thither.  336 

Hamlet.  What,  are  they  children?  who  maintains  'em? 
how  are  they  escoted?  Will  they  pursue  the  quality  no 
longer  than  they  can  sing?  will  they  not  say  afterwards,  if 
they  should  grow  themselves  to  common  players — as  it  is 
most  like,  if  their  means  are  no  better — their  writers  do 
them  wrong,  to  make  them  exclaim  against  their  own  suc- 
cession ? 

Rosencrantz.  Faith,  there  has  been  much  to-do  on  both 
sides,  and  the  nation  holds  it  no  sin  to  tarre  them  to  contro- 
versy ;  there  was  for  a  while  no  money  bid  for  argument, 
unless  the  poet  and  the  player  went  to  cuffs  in  the  ques- 
tion. 

Hamlet.   Is  't  possible  ?  349 

Guildenstern.  O,  there  has  been  much  throwing  about  of 
brains. 

Hamlet.   Do  the  boys  carry  it  away? 

Rosencrantz.  Ay,  that  they  do,  my  lord  j  Hercules  and  his 
load  too. 

Hamlet.  It  is  not  very  strange ;  for  mine  uncle  is  king  of 
Denmark,  and  those  that  would  make  mows  at  him  while 
my  father  lived  give  twenty,  forty,  fifty,  an  hundred  ducats 
apiece  for  his  picture  in  little.  'Sblood,  there  is  something 
in  this  more  than  natural,  if  philosophy  could  find  it  out.  359 
[Flourish  of  trumpets  within. 


86  HAMLET. 

Guildenstern.  There  are  the  players. 

Hamlet.  Gentlemen,  you  are  welcome  to  Elsinore.  Your 
hands,  come  ;  the  appurtenance  of  welcome  is  fashion  and 
ceremony :  let  me  comply  with  you  in  this  garb,  lest  my  ex- 
tent to  the  players,  which,  I  tell  you,  must  show  fairly  out- 
ward, should  more  appear  like  entertainment  than  yours. 
You  are  welcome  ;  but  my  uncle-father  and  aunt-mother  are 
deceived. 

Guildenstern.   In  what,  my  dear  lord  ? 

Hamlet.  I  am  but  mad  north-north-west ;  when  the  wind 
is  southerly  I  know  a  hawk  from  a  handsaw.  370 

Enter  POLONIUS. 

Polonius.  Well  be  with  you,  gentlemen  ! 

Hamlet.  Hark  you,  Guildenstern  ;  —  and  you  too ;  —  at 
each  ear  a  hearer:  that  great  baby  you  see  there  is  not 
yet  out  of  his  swadclling-clouts. 

Rosencrantz.  Happily  he  's  the  second  time  come  to  them ; 
for  they  say  an  old  man  is  twice  a  child. 

Hamlet.  I  will  prophesy  he  comes  to  tell  me  of  the  play- 
ers;  mark  it.  —  You  say  right,  sir :  o'  Monday  morning; 
't  was  so  indeed. 

Polonius.  My  lord,  I  have  news  to  tell  you. 

Hamlet.  My  lord,  I  have  news  to  tell  you.  When  Roscius 
was  an  actor  in  Rome, —  38o 

Polonius.  The  actors  are  come  hither,  my  lord. 

Hamlet.  Buz,  buz  ! 

Polonius.  Upon  mine  honour, — 

Hamlet.  Then  came  each  actor  on  his  ass, — 

Polonius.  The  best  actors  in  the  world,  either  for  tragedy, 
comedy,  history,  pastoral,  pastoral -comical,  historical -pas- 
toral, tragical-historical,  tragical-comical-historical-pastoral, 
scene  indiviclable,  or  poem  unlimited  ;  Seneca  cannot  be  too 
heavy,  nor  Plautus  too  light.  For  the  law  of  writ  and  the 
liberty,  these  are  the  only  men.  390 


ACT  II.     SCENE  II.  87 

Hamlet.  O  Jephthah,  judge  of  Israel,  what  a  treasure  hadst 
thou  ! 

Polonius.  What  treasure  had  he,  my  lord? 
Hamlet.  Why, 

'  One  fair  daughter,  and  no  more, 

The  which  he  loved  passing  well.' 
Polonius.   [Aside]  Still  on  my  daughter. 
Hamlet.     Am  I  not  i'  the  right,  old  Jephthah? 
Polonius.  If  you  call  me  Jephthah,  my  lord,  I  have  a  daugh- 
ter that  I  love  passing  well.  400 
Hamlet.  Nay,  that  follows  not. 
Polonius.  What  follows,  then,  my  lord? 
Hamlet.  Why, 

'  As  by  lot,  God  wot,' 
and  then,  you  know, 

*  It  came  to  pass,  as  most  like  it  was,' — 
the  first  row  of  the  pious  chanson  will  show  you  more ;   for 
look,  where  my  abridgments  come. —  408 

Enter  four  or  five  Players. 

You  are  welcome,  masters ;  welcome,  all.  I  am  glad  to  see 
ye  well.  Welcome,  good  friends. — O,  my  old  friend  !  thy  face 
is  valanced  since  I  saw  thee  last ;  comest  thou  to  beard  me 
in  Denmark? — What,  my  young  lady  and  mistress  !  By'r 
lady,  your  ladyship  is  nearer  to  heaven  than  when  I  saw  you 
last,  by  the  altitude  of  a  chopine.  Pray  God,  your  voice,  like 
a  piece  of  uncurrent  gold,  be  not  cracked  within  the  ring. — 
Masters,  you  are  all  welcome.  We  '11  e'en  to  't  like  French 
falconers,  fly  at  any  thing  we  see ;  we  '11  have  a  speech 
straight.  Come,  give  us  a  taste  of  your  quality ;  come,  a 
passionate  speech. 

i  Player.  What  speech,  my  lord?  420 

Hamlet.  I  heard  thee  speak  me  a  speech  once,  but  it  was 
never  acted  ;  or,  if  it  was,  not  above  once,  for  the  play,  I  re- 
member, pleased  not  the  million ;  't  was  caviare  to  the  gen- 


88  HAMLET. 

eral;  but  it  was — as  I  received  it,  and  others,  whose  judg- 
ments in  such  matters  cried  in  the  top  of  mine — an  excellent 
play,  well  digested  in  the  scenes,  set  down  with  as  much 
modesty  as  cunning.  I  remember,  one  said  there  were  no 
allets  in  the  lines  to  make  the  matter  savoury,  nor  no  mat- 
far  in  the  phrase  that  might  indict  the  author  of  affectation ; 
but  called  it  an  honest  method,  as  wholesome  as  sweet,  and 
by  very  much  more  handsome  than  fine.  One  speech  in  it  I 
chiefly  loved  :  't  was  ^Eneas'  tale  to  Dido  ;  and  thereabout 
of  it  especially,  where  he  speaks  of  Priam's  slaughter.  If  it 
live  in  your  memory,  begin  at  this  line ;  let  me  see,  let  me 
see—  435 

The  rugged  Pyrrhus,  like  the  Hyrcanian  beast, — 
't  is  not  so : — it  begins  with  '  Pyrrhus.' 

The  rugged  Pyrrhus,  he  whose  sable  arms, 

Black  as  his  purpose,  did  the  night  resemble 

When  he  lay  couched  in  the  ominous  horse, 

Hath  now  this  dread  and  black  complexion  smear'd 

With  heraldry  more  dismal :  head  to  foot 

Now  is  he  total  gules  ;  horridly  trick'd 

With  blood  of  fathers,  mothers,  daughters,  sons, 

Bak'd  and  impasted  with  the  parching  streets, 

That  lend  a  tyrannous  and  damned  light 

To  their  lord's  murther.     Roasted  in  wrath  and  fire, 

And  thus  o'er-sized  with  coagulate  gore, 

With  eyes  like  carbuncles,  the  hellish  Pyrrhus 

Old  grandsire  Priam  seeks.  450 

So,  proceed  you. 

Polonius.  Fore  God,  my  lord,  well  spoken,  with  good  ac- 
cent and  good  discretion. 

I  Player.  Anon  he  finds  him 

Striking  too  short  at  Greeks ;  his  antique  sword, 

Rebellious  to  his  arm,  lies  where  it  falls, 

Repugnant  to  command  :  unequal  match'd, 

Pyrrhus  at  Priam  drives  ;  in  rage  strikes  wide  ; 

But  with  the  whiff  and  wind  of  his  fell  sword 


ACT  77.    SCENE  J.  89 

Hie  unnerv'd  father  falls.    Then  senseless  Iliiuu..  460 

Seeming  to  feel  this  blow,  with  flaming  top 

Stoops  to  his  base,  and  with  a  hideous  crash 

Takes  prisoner  Pyrrhus'  ear;  for,  lo  !  his  sword, 

Which  was  declining  on  the  milky  head 

Of  reverend  Priam,  seem'd  i'  the  air  to  stick : 

So,  as  a  painted  tyrant,  Pyrrhus  stood, 

And,  like  a  neutral  to  his  will  and  matter, 

Did  nothing. 

But,  as  we  often  see,  against  some  storm, 

A  silence  in  the  heavens,  the  rack  stand  still,  470 

The  bold  winds  speechless,  and  the  orb  below 

As  hush  as  death,  anon  the  dreadful  thunder 

Doth  rend  the  region;  so,  after  Pyrrhus'  pause 

Aroused  vengeance  sets  him  new  a-work, 

And  never  did  the  Cyclops'  hammers  fall 

On  Mars's  armour  forg'd  for  proof  eterne 

With  less  remorse  than  Pyrrhus'  bleeding  sword 

Now  falls  on  Priam. 

Out,  out,  thou  strumpet,  Fortune !     All  you  gods, 

In  general  synod,  take  away  her  power;  4>c 

Break  all  the  spokes  and  fellies  from  her  wheel, 

And  bowl  the  round  nave  down  the  hill  of  heaven 

As  low  as  to  the  fiends ! 

Polonius.   This  is  too  long. 

Hamlet.  It  shall  to  the  barber's,  with  your  beard. — Prithee, 
say  on : — he  's  for  a  jig  or  a  tale  of  bawdry,  or  he  sleeps. — 
Say  on ;  come  to  Hecuba. 

I  Player.    But  who,  O,  who  had  seen  the  mobled  queen — 

Hamlet.   •  The  mobled  queen  ? ' 

Polonius.  That  's  good ;  '  mobled  queen  '  is  good.  490 

I  Player.    Run  barefoot  up  and  down,  threatening  the  flames 
With  bisson  rheum;   a  clout  about  that  head 
Where  late  the  diadem  stood;  and  for  a  robe, 
About  her  lank  and  all  o'er-teemed  loins, 
A  blanket,  in  the  alarm  of  fear  caught  upt 


QO  HAMLET. 

Who  this  had  seen,  with  tongue  in  venom  steep'd, 

'Gainst  Fortune's  stat'e  would  treason  have  pronouncM: 

But  if  the  gods  themselves  did  see  her  then, 

When  she  saw  Pyrrhus  make  malicious  sport 

In  mincing  with  his  sword  her  husband's  limbs,  500 

The  instant  burst  of  clamour  that  she  made— 

Unless  things  mortal  move  them  not  at  all — 

Would  have  made  milch  the  burning  eyes  of  heaven 

And  passion  in  the  gods. 

Polonius.  Look,  whether  he  has  not  turned  his  colour  and 
has  tears  in  's  eyes. — Pray  you,  no  more. 

Hamlet.  'T  is  well,  I  '11  have  thee  speak  out  the  rest  soon. 
— Good  my  lord,  will  you  see  the  players  well  bestowed? 
Do  you  hear,  let  them  be  well  used,  for  they  are  the  abstract 
and  brief  chronicles  of  the  time ;  after  your  death  you  were 
better  have  a  bad  epitaph  than  their  ill  report  while  you  live. 

Polonius.  My  lord,  I  will  use  them  according  to  their 
desert.  513 

Hamlet.  God's  bodykins,  man,  much  better  !  Use  every 
man  after  his  desert,  and  who  should  scape  whipping?  Use 
them  after  your  own  honour  and  dignity ;  the  less  they  de- 
serve, the  more  merit  is  in  your  bounty.  Take  them  in. 

Polonius.    Come,  sirs. 

Hamlet.  Follow  him,  friends ;  we  '11  hear  a  play  to-mor- 
row. [Exit  Polonius  with  all  the  Players  but  the  First.'] 
Dost  thou  hear  me,  old  friend ;  can  you  play  the  Murther 
ofGonzago?  522 

i  Player.    Ay,  my  lord. 

Hamlet.  We  '11  ha  't  to-morrow  night.  You  could,  for  a 
need,  study  a  speech  of  some  dozen  or  sixteen  lines,  which  I 
would  set  down  and  insert  in  't,  could  you  not? 

I  Player.    Ay,  my  lord. 

Hamlet.  Very  well.  Follow  that  lord  ;  and  look  you  mock 
him  not. —  [Exit  Player.~\  My  good  friends,  I  11  leave  you 
till  night ;  you  are  welcome  to  Elsinore.  530 


ACT  II.     SCEAE  II.  91 

Rosencrantz.   Good  my  lord  ! 

Hamlet.   Ay,  so,  God  be  wi'  ye ! — [Exeunt  Rosencrantz 
and  Guildenstern.]     Now  I  am  alone. 
O,  what  a  rogue  and  peasant  slave  am  I ! 
Is  it  not  monstrous  that  this  player  here, 
But  in  a  fiction,  in  a  dream  of  passion, 
Could  force  his  soul  so  to  his  own  conceit 
That  from  her  working  all  his  visage  wann'd, 
Tears  in  his  eyes,  distraction  in 's  aspect, 
A  broken  voice,  and  his  whole  function  suiting  540 

With  forms  to  his  conceit !  and  all  for  nothing ! 
For  Hecuba ! 

What 's  Hecuba  to  him,  or  he  to  Hecuba, 
That  he  should  weep  for  her?    What  would  he  do, 
Had  he  the  motive  and  the  cue  for  passion 
That  I  have  ?     He  would  drown  the  stage  with  tears 
And  cleave  the  general  ear  with  horrid  speech, 
Make  mad  the  guilty  and  appal  the  free, 
Confound  the  ignorant,  and  amaze  indeed 
The  very  faculties  of  eyes  and  ears.  550 

Yet  I, 

A  dull  and  muddy-mettled  rascal,  peak, 
Like  John-a-dreams,  unpregnant  of  my  cause, 
And  can  say  nothing ;  no,  not  for  a  king, 
Upon  whose  property  and  most  dear  Me 
A  damn'd  defeat  was  made.     Am  I  a  coward  ? 
Who  calls  me  villain  ?    breaks  my  pate  across  ? 
Plucks  off  my  beard,  and  blows  it  in  my  face? 
Tweaks  me  by  the  nose  ?    gives  me  the  lie  i'  the  throat, 
As  deep  as  to  the  lungs?    who  does  me  this?  560 

Ha! 

'Swounds,  I  should  take  it ;  for  it  cannot  be 
But  I  am  pigeon-liver'd  and  lack  gall 
To  make  oppression  bitter,  or  ere  this 
I  should  have  fatted  all  the  region  kites 


g2  HAMLET. 

With  this  slave's  offal.     Bloody,  bawdy  villain ! 
Remorseless,  treacherous,  lecherous,  kindless  villain ! 

0  vengeance ! 

Why,  what  an  ass  am  I !    This  is  most  brave, 

That  I,  the  son  of  a  dear  father  murther'd,  570 

Prompted  to  my  revenge  by  heaven  and  hell, 

Must,  like  a  whore,  unpack  my  heart  with  words, 

And  fall  a-cursing,  like  a  very  drab, 

A  scullion ! 

Fie  upon  't !  foh !    About,  my  brain !    I  have  heard 

That  guilty  creatures  sitting  at  a  play 

Have  by  the  very  cunning  of  the  scene 

Been  struck  so  to  the  soul  that  presently 

They  have  proclaim'd  their  malefactions ; 

For  murther,  though  it  have  no  tongue,  will  speak  580 

With  most  miraculous  organ.     I  11  have  these  players 

Play  something  like  the  murther  of  my  father 

Before  mine  uncle :  I  11  observe  his  looks ; 

I'll  tent  him  to  the  quick :  if  he  but  blench, 

1  know  my  course.     The  spirit  that  I  have  seen 
May  be  the  devil ;  and  the  devil  hath  power 
To  assume  a  pleasing  shape ;  yea,  and  perhaps 
Out  of  my  weakness  and  my  melancholy, 

As  he  is  very  potent  with  such  spirits, 

Abuses  me  to  damn  me.     I  11  have  grounds  590 

More  relative  than  this ;  the  play  's  the  thing 

Wherein  I  11  catch  the  conscience  of  the  king. '  [Exit. 


ACT  III. 

SCENE  I.   A  Room  in  the  Castle. 
Enter  KING,  QUEEN,  POLONIUS,  OPHELIA,  ROSENCRANTZ, 

and  GUILDENSTERN. 

King.   And  can  you,  by  no  drift  of  circumstance, 
Get  from  him  why  he  puts  on  this  confusion, 
Grating  so  harshly  all  his  days  of  quiet 
With  turbulent  and  dangerous  lunacy? 


94 


HAMLET. 


Rosencrantz.   He  does  confess  he  feels  himself  distracted, 
But  from  what  cause  he  will  by  no  means  speak. 

Guildenstern.  Nor  do  we  find  him  forward  to  be  sounded, 
But,  with  a  crafty  madness,  keeps  aloof, 
When  we  would  bring  him  on  to  some  confession 
Of  his  true  state. 

Queen.  Did  he  receive  you  well?  10 

Rosencrantz.    Most  like  a  gentleman. 

Guildenstern.    But  with  much  forcing  of  his  disposition. 

Rosencrantz.   Niggard  of  question,  but  of  our  demands 
Most  free  in  his  reply. 

Queen.  Did  you  assay  him 

To  any  pastime? 

Rosencrantz.   Madam,  it  so  fell  out  that  certain  players 
We  o'er-raught  on  the  way  ;  of  these  we  told  him, 
And  there  did  seem  in  him  a  kind  of  joy 
To  hear  of  it.    They  are  about  the  court, 
And,  as  I  think,  they  have  already  order  ao 

This  night  to  play  before  him. 

Polonius.  'T  is  most  true ; 

And  he  beseech'd  me  to  entreat  your  majesties 
To  hear  and  see  the  matter. 

King.   With  all  my  heart ;  and  it  doth  much  content  me 
To  hear  him  so  inclin'd. — 
Good  gentlemen,  give  him  a  further  edge, 
And  drive  his  purpose  on  to  these  delights. 

Rosencrantz.    We  shall,  my  lord. 

\_Exeunt  Rosencrantz  and  Guildenstem. 

King.  Sweet  Gertrude,  leave  us  too  ; 

For  we  have  closely  sent  for  Hamlet  hither, 
That  he,  as  't  were  by  accident,  may  here  30 

Affront  Ophelia. 

Her  father  and  myself,  lawful  espials, 
Will  so  bestow  ourselves  that,  seeing  unseen, 
We  may  of  their  encounter  frankly  judge, 


ACT  TIL     SCENE  /.  95 

And  gather  by  him,  as  he  is  behav'd, 
If 't  be  the  affliction  of  his  love  or  no 
That  thus  he  suffers  for. 

Queen.  I  shall  obey  you.— 

And  for  your  part,  Ophelia,  I  do  wish 
That  your  good  beauties  be  the  happy  cause 
Of  Hamlet's  wildness  ;  so  shall  I  hope  your  virtues  40 

Will  bring  him  to  his  wonted  way  again, 
To  both  your  honours. 

Ophelia.  Madam,  I  wish  it  may.     [Exit  Queen. 

Polonius.    Ophelia,  walk  you  here. — Gracious,  so  please  you, 
We  will  bestow  ourselves.     \_To  Ophelia}  Read  on  this  book ; 
That  show  of  such  an  exercise  may  colour 
Your  loneliness.     We  are  oft  to  blame  in  this — 
'T  is  too  much  prov'd — that  with  devotion's  visage 
And  pious  action  we  do  sugar  o'er 
The  devil  himself. 

King.    \_Aside~\     O,  't  is  too  true  ! 

How  smart  a  lash  that  speech  doth  give  my  conscience  I       50 
The  harlot's  cheek,  beautied  with  plastering  art, 
Is  not  more  ugly  to  the  thing  that  helps  it 
Than  is  my  deed  to  my  most  painted  word. 
0  heavy  burthen ! 

Polonius.   I  hear  him  coming ;  let  's  withdraw,  my  lord. 

\_Exeunt  King  and  Polonius. 

Enter  HAMLET. 

Hamlet.  To  be,  or  not  to  be, — that  is  the  question : 
Whether  't  is  nobler  in  the  mind  to  suffer 
The  slings  and  arrows  of  outrageous  fortune, 
Or  to  take  arms  against  a  sea  of  troubles, 
And  by  opposing  end  them  ?     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, — 't  is  a  consummation 


^5  HAMLET. 

Devoutly  to  be  wish'd.    To  die, — to  sleep, — 

To  sleep !  perchance  to  dream !  ay,  there  's  the  rub : 

For  in  that  sleep  of  death  what  dreams  may  come 

When  we  have  shuffled  off  this  mortal  coil, 

Must  give  us  pause :  there's  the  respect 

That  makes  calamity  of  so  long  life ; 

For  who  would  bear  the  whips  and  scorns  of  time,  70 

The  oppressor's  wrong,  the  proud  man's  contumely, 

The  pangs  of  dispriz'd  love,  the  law's  delay, 

The  insolence  of  office,  and  the  spurns 

That  patient  merit  of  the  unworthy  takes, 

When  he  himself  might  his  quietus  make 

With  a  bare  bodkin  ?  who  would  fardels  bear, 

To  grunt  and  sweat  under  a  weary  life, 

But  that  the  dread  of  something  after  death, 

The  undiscover'd  country  from  whose  bourn 

No  traveller  returns,  puzzles  the  will,  80 

And  makes  us  rather  bear  those  ills  we  have 

Than  fly  to  others  that  we  know  not  of ; 

Thus  conscience  does  make  cowards  of  us  all ; 

And  thus  the  native  hue  of  resolution 

Is  sicklied  o'er  with  the  pale  cast  of  thought, 

And  enterprises  of  great  pith  and  moment 

With  this  regard  their  currents  turn  awry, 

And  lose  the  name  of  action. — Soft  you  now ! 

The  fair  Ophelia ! — Nymph,  in  thy  orisons 

Be  all  my  sins  remember'd. 

Ophelia.  Good  my  lord,  go 

How  does  your  honour  for  this  many  a  day  ? 

Hamlet.   I  humbly  thank  you ;  well,  well,  well. 

Ophelia.   My  lord,  I  have  remembrances  of  yours, 
That  I  have  longed  long  to  re-deliver ; 
I  pray  you,  now  receive  them. 

Hamlet.  No,  not  I : 

I  never  gave  you  aught. 


ACT  III.    SCENE  I.  97 

Ophelia.    My  honour'd  lord,  I  know  right  well  you  did ; 
And  with  them  words  of  so  sweet  breath  compos'd 
As  made  the  things  more  rich  :  their  perfume  lost, 
Take  these  again  ;  for  to  the  noble  mind  TOO 

"Rich  gifts  wax  poor  when  givers  prove  unkind. 
There,  my  lord. 

Hamlet.   Ha,  ha  !  are  you  honest? 

Ophelia.    My  lord? 

Hamlet.   Are  you  fair? 

Ophelia.    What  means  your  lordship? 

Hamlet.  That  if  you  be  honest  and  fair,  your  honesty 
should  admit  no  discourse  to  your  beauty. 

Ophelia.  Could  beauty,  my  lord,  have  better  commerce 
than  with  honesty?  no 

Hamlet.  Ay,  truly;  for  the  power  of  beauty  will  sooner 
transform  honesty  from  what  it  is  to  a  bawd  than  the  force 
of  honesty  can  translate  beauty  into  his  likeness  :  this  was 
sometime  a  paradox,  but  now  the  time  gives  it  proof.  I  did 
love  you  once. 

Ophelia.   Indeed,  my  lord,  you  made  me  believe  so. 

Hamlet.  You  should  not  have  believed  me;  for  virtue 
cannot  so  inoculate  our  old  stock  but  we  shall  relish  of  it : 
I  loved  you  not. 

Ophelia.   I  was  the  more  deceived.  120 

Hamlet.  Get  thee  to  a  nunnery ;  why  wouldst  thou  be  a 
breeder  of  sinners?  I  am  myself  indifferent  honest;  but  yet 
I  could  accuse  me  of  such  things  that  it  were  better  my 
mother  had  not  borne  me :  I  am  very  proud,  revengeful,  am- 
bitious, with  more  offences  at  my  beck  than  I  have  thoughts 
to  put  them  in,  imagination  to  give  them  shape,  or  time  to 
act  them  in.  What  should  such  fellows  as  I  do  crawling 
between  earth  and  heaven?  We  are  arrant  knaves  all;  be- 
lieve none  of  us.  Go  thy  ways  to  a  nunnery.  Where  's  your 
father?  130 

Ophelia.   At  home,  my  lord. 
G 


9g  HAMLET. 

Hamlet.  Let  the  doors  be  shut  upon  him,  that  he  may 
play  the  fool  no  where  but  in  's  own  house.  Farewell. 

Ophelia.    [Asu/e~\  O,  help  him,  you  sweet  heavens  ! 

Hamlet.  If  thou  dost  marry,  I'll  give  thee  this  plague  for 
thy  dowry :  be  thou  as  chaste  as  ice,  as  pure  as  snow,  thou 
shalt  not  escape  calumny.  Get  thee  to  a  nunnery,  go  ;  fare- 
well. Or,  if  thou  wilt  needs  marry,  marry  a  fool ;  for  wise 
men  know  well  enough  what  monsters  you  make  of  them. 
To  a  nunnery,  go ;  and  quickly  too.  Farewell.  140 

Ophelia.    [Aside']  O  heavenly  powers,  restore  him  ! 

Hamlet.  I  have  heard  of  your  paintings  too,  well  enough ; 
God  has  given  you  one  face,  and  you  make  yourselves  an- 
other :  you  jig,  you  amble,  and  you  lisp,  and  nickname  God's 
creatures,  and  make  your  wantonness  your  ignorance.  Go 
to,  I  '11  no  more  on  't ;  it  hath  made  me  mad.  I  say,  we  will 
have  no  more  marriages  :  those  that  are  married  already,  all 
but  one,  shall  live ;  the  rest  shall  keep  as  they  are.  To  a 
nunnery,  go.  [Exit. 

Ophelia.   O,  what  a  noble  mind  is  here  o'erthrown  !          150 
The  courtier's,  scholar's,  soldier's,  eye,  tongue,  sword ; 
The  expectancy  and  rose  of  the  fair  state, 
The  glass  of  fashion  and  the  mould  of  form, 
The  observ'd  of  all  observers,  quite,  quite  down  J 
And  I,  of  ladies  most  deject  and  wretched, 
That  suck'd  the  honey  of  his  music  vows, 
Now  see  that  noble  and  most  sovereign  reason, 
Like  sweet  bells  jangled  out  of  tune,  and  harsh  ; 
That  unmatch'd  form  and  feature  of  blown  youth 
Blasted  with  ecstasy :  O,  woe  is  me,  160 

To  have  seen  what  I  have  seen,  see  what  I  see  ! 

Enter  KING  and  POLONIUS. 

Xing.    Love  I  his  affections  do  not  that  way  tend ; 
Nor  what  he  spake,  though  it  lack'd  form  a  little, 
Was  not  like  madness.     There  's  something  in  his  soul 


AC7    111.    bCENE  It  C# 

O'er  which  nis  melancholy  sits  on  brood, 

And  I  do  doubt  the  hatch  and  the  disclose 

Will  be  some  danger ;  which  for  to  prevent, 

I  have  in  quick  determination 

Thus  set  it  down  :  he  shall  with  speed  to  England, 

For  the  demand  of  our  neglected  tribute.  170 

Haply  the  seas  and  countries  different 

With  variable  objects  shall  expel 

This  something-settled  matter  in  his  heart, 

Whereon  his  brains  still  beating  puts  him  thus 

From  fashion  of  himself.     What  think  you  on  't? 

Polonius.    It  shall  do  well ;  but  yet  do  I  believe 
The  origin  and  commencement  of  his  grief 
Sprung  from  neglected  love. — How  now,  Ophelia  1 
You  need  not  tell  us  what  Lord  Hamlet  said j 
We  heard  it  all. — My  lord,  do  as  you  please;  «8o 

But,  if  you  hold  it  fit,  after  the  play 
Let  his  queen  mother  all  alone  entreat  him 
To  show  his  grief :  let  her  be  round  with  him ; 
And  I  '11  be  plac'd,  so  please  you,  in  the  ear 
Of  all  their  conference.     If  she  find  him  not, 
To  England  send  him,  or  confine  him  where 
Your  wisdom  best  shall  think. 

King.  It  shall  be  so ; 

Madness  in  great  ones  must  not  unwa.tch'd  go.          [Exeunt. 

SCENE  II.     A  Hall  in  the  Castle. 
Enter  HAMLET  and  Players. 

Hamlet.  Speak  the  speech,  I  pray  you,  as  I  pronounced  it 
to  you,  trippingly  on  the  tongue ;  but  if  you  mouth  it,  as 
many  of  your  players  do,  I  had  as  lief  the  town-crier  spoke 
my  lines.  Nor  do  not  saw  the  air  too  much  with  your  hand, 
thus,  but  use  all  gently ;  for  in  the  very  torrent,  tempest,  and, 
as  I  may  say,  the  whirlwind  of  passion,  you  must  acquire  and 


I00  HAMLET. 

beget  a  temperance  that  may  give  it  smoothness.  O,  it 
offends  me  to  the  soul  to  hear  a  robustious  periwig-pated 
fellow  tear  a  passion  to  tatters,  to  very  rags,  to  split  the  ears 
of  the  groundlings,  who  for  the  most  part  are  capable  of 
nothing  but  inexplicable  dumb-shows  and  noise.  I  couldi 
have  such  a  fellow  whipped  for  o'erdoing  Termagant;  it 
out-herods  Herod  :  pray  you,  avoid  it.  13 

I  Player.   I  warrant  your  honour. 

Hamlet.  Be  not  too  tame  neither,  but  let  your  own  discre- 
tion be  your  tutor  :  suit  the  action  to  the  word,  the  word  to 
the  action;  with  this  special  observance,  that  you  o'erstep 
not  the  modesty  of  nature  ;  for  any  thine;  so  overdone  is  from 
th/  purpose  of  playing,  whose  end,  both  at  the  first  and  nowT 
was  andis,  to  hold,  as  7t  were,  ~ 


show  virtue  her  own  feature,  scorn  her  own:  image,  and  the 
very  age  and  body  of  the  time  his  form  and  pressure.  Now 
this  overdone,  or  come  tardy  off,  though  it  make  the  unskil- 
ful laugh,  cannot  but  make  the  judicious  grieve  ;  the  censure 
of  the  which  one  must  in  your  allowance  o'erweigh  a  whole 
theatre  of  others.  O,  there  be  players  that  I  have  seen  play, 
and  heard  others  praise,  and  that  highly,  not  to  speak  it  pro- 
fanely, that,  neither  having  the  accent  of  Christians  nor  the 
gait  of  Christian,  pagan,  nor  man,  have  so  strutted  and  bel- 
lowed that  I  have  thought  some  of  nature's  journeymen  had 
made  men  and  not  made  them  well,  they  imitated  humanity 
so  abominably.  32 

i  Player.  I  hope  we  have  reformed  that  Jndifferently  with 
us,  sir. 

Hamlet.  O,  reform  it  altogether.  And  let  those  that  play 
your  clowns  speak  no  more  than  is  set  down  for  them  ;  for 
there  be  of  them  that  will  themselves  laugh,  to  set  on  some 
quantity  of  barren  spectators  to  laugh  too,  though  in  the 
mean  time  some  necessary  question  of  the  play  be  then  to 
be  considered  :  that  's  villanous,  and  shows  a  most  pitiful 
ambition  in  the  fool  that  uses  it.  Go,  make  you  ready.  41 

^Exeunt  Players. 


ACT  III.     SCENE  //  IOI 

Enter  POLONIUS,  ROSENCRANTZ,  and  GUII.DENSTERN. 

How  now,  my  lord  !  will  the  king  hear  this  piece  of  work  ? 

Polonius.    And  the  queen  too,  and  that  presently. 

Hamlet.    Bid  the  players  make  haste. — \_Exit  Polonius^ 
Will  you  two  help  to  hasten  them? 

Rosencrantz.   1  We  will          lord> 

G  uiliten  stern.] 

\_Exeunt  Rosencrantz  and  Guildenstern. 

Hatnlet.  What  ho  !  Horatio  1 

Enter  HORATIO. 

Horatio.   Here,  sweet  lord,  at  your  service. 

Hamlet.    Horatio,  thou  art  e'en  as  just  a  man 
As  e'er  my  conversation  cop'd  withal.  5° 

Horatio.    O,  my  dear  lord, — 

Hamlet.  Nay,  do  not  think  I  flatter ; 

For  what  advancement  may  I  hope  from  thee 
That  no  revenue  hast  but  thy  good  spirits, 
To  feed  and  clothe  thee?     Why  should  the  poor  be  flatterV,  r 
No,  let  the  candied  tongue  lick  absurd  pomp, 
And  crook  the  pregnant  hinges  of  the  knee 
Where  thrift  may  follow  fawning.     Dost  thou  hear? 
Since  my  dear  soul  was  mistress  of  her  choice 
And  could  of  men  distinguish,  her  election 
Hath  seal'd  thee  for  herself;  for  thou  hast  been  <fc 

As  one,  in  suffering  all,  that  suffers  nothing, 
A  man  that  fortune's  buffets  and  rewards 
Hath  ta'en  with  equal  thanks  :  and  blest  are  those 
Whose  blood  and  judgment  are  so  well  commingled 
That  they  are  not  a  pipe  for  Fortune's  finger 
To  sound  what  stop  she  please.     Give  me  that  man 
That  is  not  passion's  slave,  and  I  will  wear  him 
In  my  heart's  core,  ay,  in  my  heart  of  heart, 
As  I  do  thee. — Something  too  much  of  this, 


I02  HAMLET. 

There  is  a  play  to-night  before  the  king ;  to 

One  scene  of  it  comes  near  the  circumstance 

Which  I  have  told  thee  of  my  father's  death. 

I  prithee,  when  thou  seest  that  act  afoot, 

Even  with  the  very  comment  of  thy  soul 

Observe  mine  uncle  ;  if  his  occulted  guilt 

Do  not  itself  unkennel  in  one  speech, 

It  is  a  damned  ghost  that  we  have  seen, 

And  my  imaginations  are  as  foul 

As  Vulcan's  stithy.     Give  him  heedful  note  ; 

For  I  mine  eyes  will  rivet  to  his  face,  *> 

And  after  we  will  both  our  judgments  join 

In  censure  of  his  seeming. 

Horatio.  Well,  my  lord ; 

If  he  steal  aught  the  whilst  this  play  is  playing, 
And  scape  detecting,  I  will  pay  the  theft. 

Hamlet.  They  are  coming  to  the  play ;  I  must  be  idle : 
Get  you  a  place. 

Danish  march.  A  flourish.  Enter  KING,  QUEEN,  POLONIUS, 
OPHELIA,  ROSENCRANTZ,  GUILDENSTERN,  and  others. 

King.    How  fares  our  cousin  Hamlet? 

Hamlet.  Excellent,  i'  faith ;  of  the  chameleon's  dish  :  I  eat 
the  air,  promise-crammed ;  you  cannot  feed  capons  so. 

King.  I  have  nothing  with  this  answer,  Hamlet;  these 
words  are  not  mine.  91 

Hamlet.  No,  nor  mine  now. -*-\To  Polonius\  My  lord,  you 
played  once  i'  the  university,  you  say? 

Polonius.  That  did  I,  my  lord,  and  was  accounted  a  good 
actor. 

Hamlet.   What  did  you  enact? 

Polonius.  I  did  enact  Julius  Caesar:  I  was  killed  i'  th? 
Capitol ;  Brutus  killed  me. 

Hamlet.  It  was  a  brute  part  of  him  to  kill  so  capital  a 
calf  there.— Be  the  players  ready  ?  wo 


ACT  III.    SCENE  11.  103 

Rosenerantz.    Ay,  my  lord ;  they  stay  upon  your  patience. 

Queen.   Come  hither,  my  dear  Hamlet,  sit  by  me. 

hamlet.   No,  good  mother,  here  's  metal  more  attractive. 
\_Lying  down  at  Ophelia1  s  feet. 

Polonius.    \To  the  King]  O,  ho  !  do  you  mark  that? 

Ophelia.   You  are  merry,  my  lord. 

Hamlet.   Who,  I? 

Ophelia.   Ay,  my  lord. 

Hamlet.  O  God,  your  only  jig-maker.  What  should  a  man 
do  but  be  merry?  for,  look  you,  how  cheerfully  my  mother 
looks,  and  my  father  died  within  's  two  hours.  no 

Ophelia.    Nay,  't  is  twice  two  months,  my  lord. 

Hamlet.  So  long  ?  Nay  then,  let  the  devil  wear  black,  for 
I  '11  have  a  suit  of  sables.  O  heavens  !  die  two  months  ago, 
and  not  forgotten  yet?  Then  there  's  hope  a  great  man's 
memory  may  outlive  his  life  half  a  year :  but,  by  'r  lady,  he 
must  build  churches,  then  ;  or  else  shall  he  suffer  not  think- 
ing on,  with  the  hobby-horse,  whose  epitaph  is  '  For,  O,  for, 
O,  the  hobby-horse  is  forgot ! ' 

Hautboys  play.     The  dumb-show  enters. 

Enter  a  King  and  a  Queen  very  lovingly ;  the  Queen  em- 
bracing him,  and  he  her.  She  kneels,  and  makes  show  of 
protestation  unto  him.  He  takes  her  up,  and  declines  his 
head  upon  her  neck  ;  lays  him  down  upon  a  bank  of  flowers: 
she,  seeing  him  asleep,  leaves  him.  Anon  comes  in  a  fellow, 
takes  off  his  crown,  kisses  it,  and  pours  poison  in  the  King's 
ears,  and  exit.  The  Queen  returns,  finds  the  King  dead,  and 
makes  passionate  action.  The  Poisoner,  with  some  two  or 
three  Mutes,  comes  in  again,  seeming  to  lament  with  her.  The 
dead  body  is  carried  away.  The  Poisoner  wooes  the  Queen 
with  gifts  ;  she  seems  loath  and  unwilling  awhile,  but  in  the 
end  accepts  his  love.  \_Exeunt. 

Ophelia.    \Vhat  means  this,  my  lord  ? 

Hamlet.  Marry,  this  is  miching  mallecho ;  it  means  mis- 
chief, w 


I04  HAMLET. 

Ophelia.   Belike  this  show  imports  tne  argument  of  the 

play? 

Enter  Prologue. 

Hamlet.  We  shall  know  by  this  fellow :  the  players  cannot 
keep  counsel ;  they  '11  tell  all. 

Ophelia.   Will  he  tell  us  what  this  show  meant? 

Hamlet.  Ay,  or  any  show  that  you  '11  show  him ;  be  not 
you  ashamed  to  show,  he  '11  not  shame  to  tell  you  what  it 
means. 

Ophelia.  You  are  naught,  you  are  naught ;  I  '11  mark  the 
play.  13I 

Prologue.          For  us,  and  for  our  tragedy, 

Here  stooping  to  your  clemency, 

We  beg  your  hearing  patiently.  \_Exit. 

Hamlet.   Is  this  a  prologue,  or  the  posy  of  a  ring? 
Ophelia.    'T  is  brief,  my  lord. 
Hamlet.    As  woman's  love. 

Enter  two  Players,  King  and  Queen. 

Player  King.    Full  thirty  times  hath  Phoebus'  cart  gone  round 
Neptune's  salt  wash  and  Tellus'  orbed  ground, 

And  thirty  dozen  moons  with  borrow'd  sheen  '4* 

About  the  world  have  times  twelve  thirties  been, 
Since  love  our  hearts  and  Hymen  did  our  hands 
Unite  commutual  in  most  sacred  bands. 

Player  Queen.    So  many  journeys  may  the  sun  and  moon 
Make  us  again  count  o'er  ere  love  be  done  ! 
But,  woe  is  me,  you  are  so  sick  of  late, 
So  far  from  cheer  and  from  your  former  state, 
That  I  distrust  you.     Yet,  though  I  distrust, 
Discomfort  you,  my  lord,  it  nothing  must ; 

For  women's  fear  and  love  holds  quantity,  J5° 

In  neither  aught,  or  in  extremity. 
Now,  what  my  love  is,  proof  hath  made  you  know, 
And  as  my  love  is  siz'd,  my  fear  is  so; 
Where  love  is  great,  the  littlest  doubts  are  fear; 
Where  little  fears  grow  great,  great  love  grows  there. 

Player  King.    Faith,  I  must  leave  thee,  love,  and  shortly  too; 


ACT  III.    SCENE  II.  105 

My  operant  powers  their  functions  leave  to  do : 
And  thou  shalt  live  in  this  fair  world  behind, 
Honour'd,  belov'd;   and  haply  one  as  kind 
For  husband  shalt  thou — 

Player  Queen.  O,  confound  the  rest  I  ifo 

Such  love  must  needs  be  treason  in  my  breast; 
In  second  husband  let  me  be  accurst ! 
None  wed  the  second  but  who  kill'd  the  first. 

Hamlet.    [Aside]  Wormwood,  wormwood  ! 

Player  Queen.    The  instances  that  second  marriage  move 
Are  base  respects  of  thrift,  but  none  of  love  ; 
A  second  time  I  kill  my  husband  dead, 
When  second  husband  kisses  me  in  bed. 

Player  King.    I  do  believe  you  think  what  now  you  speak, 
But  what  we  do  determine  oft  we  break.  170 

Purpose  is  but  the  slave  to  memory, 
Of  violent  birth,  but  poor  validity  ; 
Which  now,  like  fruit  unripe,  sticks  on  the  tree, 
But  fall  unshaken  when  they  mellow  be. 
Most  necessary  't  is  that  we  forget 
To  pay  ourselves  what  to  ourselves  is  debt  ; 
What  to  ourselves  in  passion  we  propose, 
The  passion  ending,  doth  the  purpose  lose. 
The  violence  of  either  grief  or  joy 

Their  own  enactures  with  themselves  destroy:  rfo 

Where  joy  most  revels,  grief  doth  most  lament ; 
Grief  joys,  joy  grieves,  on  slender  accident. 
This  world  is  not  for  aye,  nor  't  is  not  strange 
That  even  our  loves  should  with  our  fortunes  change; 
For  't  is  a  question  left  us  yet  to  prove, 
Whether  love  lead  fortune  or  else  fortune  love. 
The  great  man  down,  you  mark  his  favourites  flies: 
The  poor  advanc'd  makes  friends  of  enemies. 
And  hitherto  doth  love  on  fortune  tend  ; 

For  who  not  needs  shall  never  lack  a  friend,  tgo 

And  who  in  want  a  hollow  friend  doth  try 
Directly  seasons  him  his  enemy. 
But,  orderly  to  end  where  I  begun, 
Our  wills  and  fates  do  so  contrary  run 
That  our  devices  still  are  overthrown, 
Our  thoughts  are  ours,  their  ends  none  of  our  own; 


Io6  HAMLET. 

So  think  thou  wilt  no  second  husband  wed, 
But  die  thy  thoughts  when  thy  first  lord  is  dead. 

Player  Queen.    Nor  earth  to  me  give  food,  nor  heaven  light ! 
Sport  and  repose  lock  from  me  day  and  night ! 
To  desperation  turn  my  trust  and  hope! 
An  anchor's  cheer  in  prison  be  my  scope ! 
Each  opposite  that  blanks  the  face  of  joy 
Meet  what  I  would  have  well  and  it  destroy ! 
Both  here  and  hence  pursue  me  lasting  strife, 
If,  once  a  widow,  ever  I  be  wife ! 

Hamlet.    If  she  should  break  it  now  ! 

Player  King.    'T  is  deeply  sworn.     Sweet,  leave  me  here  a  while  ; 
My  spirits  grow  dull,  and  fain  I  would  beguile 
The  tedious  day  with  sleep.  [Sleeps. 

Player  Queen.  Sleep  rock  thy  brain;  «<> 

And  never  come  mischance  between  us  twain  I  \Extt. 

Hamlet.   Madam,  how  like  you  this  play? 

Queen.   The  lady  protests  too  much,  methinks. 

Hamlet.   O,  but  she  '11  keep  her  word. 

King.  Have  you  heard  the  argument?  Is  there  no 
offence  in  't ! 

Hamlet.  No,  no,  they  do  but  jest,  poison  in  jest ;  no  of- 
fence i'  the  world. 

King.   What  do  you  call  the  play  ?  «9 

Hamlet.  The  Mouse-trap.  Marry,  how?  Tropically.  This 
play  is  the  image  of  a  murther  done  in  Vienna :  Gonzago 
is  the  duke's  name ;  his  wife,  Baptista :  you  shall  see  anon  ; 
't  is  a  knavish  piece  of  work :  but  what  o'  that?  your  maj- 
esty and  we  that  have  free  souls,  it  touches  us  not;  let  the 
galled  jade  wince,  our  withers  are  unwrung. — 

Enter  LUCIANUS. 
This  is  one  Lucianus,  nephew  to  the  king. 

Ophelia.   You  are  as  good  as  a  chorus,  my  lord. 

Hamlet.  I  could  interpret  between  you  and  your  love,  if 
I  could  see  the  puppets  dallying. 

Ophelia.   You  are  keen,  my  lord,  you  are  keen.  930 


ACT  IJI.     SCENE  II.  lO/ 

Hamlet.  Begin,  murtherer  ;  pox,  leave  thy  damnable  faces, 
and  begin.  Come :  the  croaking  raven  doth  bellow  for  re- 
venge. 

Lucianus.    Thoughts  black,  hands  apt,  drugs  fit,  and  time  agreeing; 
Confederate  season,  else  no  creature  seeing; 
Thou  mixture  rank,  of  midnight  weeds  collected, 
With  Hecate's  ban  thrice  blasted,  thrice  infected, 
Thy  natural  magic  and  dire  property, 

On  wholesome  life  usurp  immediately.  239 

\_Pours  the  poison  into  the  sleeper's  ear. 
Hamlet.   He  poisons  him  i'  the  garden  for  's  estate.     His 
name  's  Gonzago ;   the  story  is  extant,  and  writ  in  choice 
Italian.     You  shall  see  anon  how  the   murtherer  gets  the 
love  of  Gonzago's  wife. 
Ophelia.   The  king  rises  ! 
Hamlet.   What,  frighted  with  false  fire  I 
Queen.    How  fares  my  lord  ? 
Polonius.   Give  o'er  the  play  1 
King.   Give  me  some  light ! — away ! 
All.   Lights,  lights,  lights  ! 

\Exeunt  all  but  Hamlet  and  Horatio. 
Hamlet.    Why,  let  the  strucken  deer  go  weep,  250 

The  hart  ungalled  play; 
For  some  must  watch,  while  some  must  sleep : 

So  runs  the  world  away. 

Would  not  this,  sir,  and  a  forest  of  feathers — if  the  rest  ol 
my  fortunes  turn  Turk  with  me — with  two  Provincial  roses 
on  my  razed  shoes,  get  me  a  fellowship  in  a  cry  of  players, 
sir? 

Horatio.   Half  a  share. 
Hamlet.   A  whole  one,  I. 

For  thou  dost  know,  O  Damon  dear,  fe 

This  realm  dismantled  was 
Of  Jove  himself;  and  now  reigns  here 

A  very,  very — pajock. 
Horatio.   You  might  have  rhymed. 


I0g  HAMLET 

Hamlet.  O  good  Horatio,  I  '11  take  the  ghost's  word  for  a 
thousand  pound.  Didst  perceive  ? 

Horatio.  Very  well,  my  lord. 

Hamlet.   Upon  the  talk  of  the  poisoning? 

Horatio.  I  did  very  well  note  him. 

Hamlet.  Ah,  ha  1  Come,  some  music !  come,  the  record- 
ers 1—  a" 
For  if  the  king  like  not  the  comedy, 
Why  then,  belike, — he  likes  it  not,  perdy. — 
Come,  some  music  1 

Re-enter  ROSENCRANTZ  and  GUILDENSTERN. 

Guildenstern.  Good  my  lord,  vouchsafe  me  a  word  with 
you. 

Hamlet.   Sir,  a  whole  history. 

Guildenstern.   The  king,  sir, — 

Hamlet.   Ay,  sir,  what  of  him? 

Guildenstern.  Is  in  his  retirement  marvellous  distempered. 

Hamlet.   With  drink,  sir?  281 

Guildenstern.    No,  my  lord,  rather  with  choler. 

Hamlet.  Your  wisdom  should  show  itself  more  richer  to 
signify  this  to  his  doctor ;  for,  for  me  to  put  him  to  his  pur- 
gation would  perhaps  plunge  him  into  far  more  choler. 

Guildenstern.  Good  my  lord,  put  your  discourse  into  some 
frame,  and  start  not  so  wildly  from  my  affair. 

Hamlet.   I  am  tame,  sir ;   pronounce. 

Guildenstern.  The  queen,  your  mother,  in  most  great  af- 
fliction of  spirit,  hath  sent  me  to  you.  290 

Hamlet.   You  are  welcome. 

Guildenstern.  Nay,  good  my  lord,  this  courtesy  is  not  of 
the  right  breed.  If  it  shall  please  you  to  make  me  a  whole- 
some answer,  I  will  do  your  mother's  commandment ;  if  not 
your  pardon  and  my  return  shall  be  the  end  of  my  business. 

Hamlet.   Sir,  I  cannot. 

Guildenstern.  What,  my  lord  • 


ACT  III.    SCENE  It.  109 

Hamlet.  Make  you  a  wholesome  answer ;  my  wit  's  dis- 
eased :  but,  sir,  such  answer  as  I  can  make,  you  shall  com- 
mand,—  or,  rather,  as  you  say,  my  mother;  therefore  no 
more,  but  to  the  matter  :  my  mother,  you  say, —  301 

Rosencrantz.  Then  thus  she  says :  your  behaviour  hath 
struck  her  into  amazement  and  admiration. 

Hamlet.  O  wonderful  son,  that  can  so  astonish  a  mother ! 
But  is  there  no  sequel  at  the  heels  of  this  mother's  admira- 
tion ?  Impart. 

Rosencrantz.  She  desires  to  speak  with  you  in  her  closet, 
ere  you  go  to  bed. 

Hamlet.  We  shall  obey,  were  she  ten  times  our  mother. 
Have  you  any  further  trade  with  us?  31° 

Rosencrantz.  My  lord,  you  once  did  love  me. 

Hamlet.  So  I  do  still,  by  these  pickers  and  stealers. 

Rosencrantz.  Good  my  lord,  what  is  your  cause  of  distem- 
per? you  do,  surely,  bar  the  door  upon  your  own  liberty,  if 
you  deny  your  griefs  to  your  friend. 

Hamlet.  Sir,  I  lack  advancement. 

Rosencrantz.  How  can  that  be,  when  you  have  the  voice 
of  t'he  king  himself  for  your  succession  in  Denmark  ? 

Hamlet.  Ay,  sir,  but '  while  the  grass  grows,' — the  proverb 
is  something  musty. —  320 

Re-enter  Players  with  recorders. 

O,  the  recorders  !  let  me  see  one.— To  withdraw  with  you, — 
why  do  you  go  about  to  recover  the  wind  of  me,  as  if  you 
would  drive  me  into  a  toil? 

Guildenstern.  O,  my  lord,  if  my  duty  be  too  bold,  my  love 
is  too  unmannerly. 

Hamlet.  I  do  not  well  understand  that.  Will  you  play 
upon  this  pipe  ? 

Guildenstern.  My  lord,  I  cannot. 

Hamlet.  I  pray  you. 

Guildenstern.  Believe  me,  I  cannot.  330 


IIO  HAMLET. 

Hamtei.   1  do  beseech  you. 

Guildenstern.    I  know  no  touch  of  it,  my  lord. 

Hamlet.  T  is  as  easy  as  lying;  govern  these  ventages 
with  your  ringers  and  thumb,  give  it  breath  with  your  mouth, 
and  it  will  discourse  most  eloquent  music.  Look  you,  these 
are  the  stops. 

Guildenstern.  But  these  cannot  I  command  to  any  utter- 
ance of  harmony ;  I  have  not  the  skill.  338 
'  Hamlet.  Why,  look  you  now,  how  unworthy  a  thing  you 
make  of  me !  You  would  play  upon  me ;  you  would  seem 
to  know  my  stops ;  you  would  pluck  out  the  heart  of  my 
mystery ;  you  would  sound  me  from  my  lowest  note  to  the 
top  of  my  compass :  and  there  is  much  music,  excellent 
voice,  in  this  little  organ;  yet  cannot  you  make  it  speak. 
'Sblood,  do  you  think  I  am  easier  to  be  played  on  than  a 
pipe?  Call  me  what  instrument  you  will,  though  you  can 
fret  me,  you  cannot  play  upon  me. — 


Enter  POLONIUS. 
God  bless  you,  sir ! 

Polonius.  My  lord,  the  queen  would  speak  with  you,  and 
presently.  3So 

Hamlet.  Do  you  see  yonder  cloud  that  's  almost  in  shape 
of  a  camel? 

Dolonius.   By  the  mass,  and  't  is  like  a  camel,  indeed. 

Hamlet.   Methinks  it  is  like  a  weasel. 

Polonius.   It  is  backed  like  a  weasel. 

Hamlet.    Or  like  a  whale? 

Polonius.   Very  like  a  whale. 

Hamlet.  Then  will  I  come  to  my  mother  by  and  by. — 
Aside]  They  fool  me  to  the  top  of  my  bent. — I  will  come 
by  and  by.  36o 

Polonius.   I  will  say  so.  [Exit  Polonius. 

Hamlet.   By  and  by  is  easily  said. — Leave  me,  friends. 

[Exeunt  all  but  Hamlet. 


ACT  III.     SCENE  HI.  Ill 

'T  is  now  the  very  witching  time  of  night, 

When  churchyards  yawn,  and  hell  itself  breathes  out 

Contagion  to  this  world ;  now  could  I  drink  hot  blood, 

And  do  such  bitter  business  as  the  day 

Would  quake  to  look  on.     Soft !  now  to  my  mother. 

0  heart,  lose  not  thy  nature ;  let  not  ever 
The  soul  of  Nero  enter  this  firm  bosom ; 

Let  me  be  cruel,  not  unnatural.  370 

1  will  speak  daggers  to  her,  but  use  none ; 
My  tongue  and  soul  in  this  be  hypocrites : 
How  in  my  words  soever  she  be  shent, 

To  give  them  seals  never,  my  soul,  consent !  [Exit. 

SCENE  III.    A  Room  in  the  Castle. 
Enter  KING,  ROSENCRANTZ,  and  GUILDENSTERN. 

King.   I  like  him  not,  nor  stands  it  safe  with  us 
To  let  his  madness  range.     Therefore  prepare  you ; 
I  your  commission  will  forthwith  dispatch, 
And  he  to  England  shall  along  with  you. 
The  terms  of  our  estate  may  not  endure 
Hazard  so  near  us  as  doth  hourly  grow 
Out  of  his  lunacies. 

Guildenstern.  We  will  ourselves  provide ; 

Most  holy  and  religious  fear  it  is 
To  keep  those  many  many  bodies  safe 
That  live  and  feed  upon  your  majesty.  10 

Rosencrantz.     The  single  and  peculiar  life  is  bound 
With  all  the  strength  and  armour  of  the  mind 
To  keep  itself  from  noyance ;  but  much  more 
That  spirit  upon  whose  weal  depends  and  rests 
The  lives  of  many.     The  cease  of  majesty 
Dies  not  alone,  but  like  a  gulf  doth  draw 
What  's  near  it  with  it :  it  is  a  massy  wheel, 
Fix'd  on  the  summit  of  the  highest  mount, 


112  HAMLET. 

To  whose  huge  spokes  ten  thousand  lesser  things 

Are  mortis'd  and  adjoin'd ;  which,  when  it  falls,  20 

Each  small  annexment,  petty  consequence, 

Attends  the  boisterous  ruin.     Never  alone 

Did  the  king  sigh,  but  with  a  general  groan. 
King.   Arm  you,  I  pray  you,  to  this  speedy  voyage; 

For  we  will  fetters  put  upon  this  fear, 

Which  now  goes  too  free-footed. 

Rosencrantz.  \  „,       .„  , 

GuUdenstern]  We  will  haste  us. 

[Exeunt  Rosencrantz  and  GuUdenstern. 

Enter  POLONIUS. 

Polonius.   My  lord,  he  's  going  to  his  mother's  closet. 
Behind  the  arras  I  '11  convey  myself, 
To  hear  the  process ;  I  '11  warrant  she  '11  tax  him  home : 
And,  as  you  said,  and  wisely  was  it  said,  3o 

'T  is  meet  that  some  more  audience  than  a  mother, 
Since  nature  makes  them  partial,  should  o'erhear 
The  speech,  of  vantage.     Fare  you  well,  my  liege ; 
I  '11  call  upon  you  ere  you  go  to  bed, 
And  tell  you  what  I  know. 

King.  Thanks,  dear  my  lord. 

[Exit  Polonius. 

O,  my  offence  is  rank,  it  smells  to  heaven ; 
It  hath  the  primal  eldest  curse  upon't, 
A  brother's  murther !     Pray  can  I  not, 
Though  inclination  be  as  sharp  as  will ; 
My  stronger  guilt  defeats  my  strong  intent,  40 

And,  like  a  man  to  double  business  bound, 
I  stand  in  pause  where  I  shall  first  begin, 
And  both  neglect.    What  if  this  cursed  hand 
Were  thicker  than  itself  with  brother's  blood, 
Is  there  not  rain  enough  in  the  sweet  heavens 
To  wash  it  white  as  snow?    Whereto  serves  mercy 


ACT  III.    SCENE  111.  113 

But  to  confront  the  visage  of  offence? 

And  what 's  in  prayer  but  this  twofold  force, — 

To  be  forestalled  ere  we  come  to  fall, 

Or  pardon'd  being  down?    Then  I  '11  look  up;  so 

My  fault  is  past.     But,  O,  what  form  of  prayer 

Can  serve  my  turn  ?     *  Forgive  me  my  foul  murther? ' 

That  cannot  be  ;  since  I  am  still  possess'd 

Of  those  effects  for  which  I  did  the  murther, 

My  crown,  mine  own  ambition,  and  my  queen. 

May  one  be  pardon'd  and  retain  the  offence? 

In  the  corrupted  currents  of  this  world 

Offence's  gilded  hand  may  shove  by  justice, 

And  oft  't  is  seen  the  wicked  prize  itself 

Buys  out  the  law ;  but  't  is  not  so  above :  *> 

There  is  no  shuffling,  there  the  action  lies 

In  his  true  nature,  and  we  ourselves  compell'd 

Even  to  the  teeth  and  forehead  of  our  faults 

To  give  in  evidence.     What  then?  what  rests? 

Try  what  repentance  can  :  what  can  it  not? 

Yet  what  can  it  when  one  can  not  repent? 

O  wretched  state  !     O  bosom  black  as  death ! 

O  limed  soul,  that  struggling  to  be  free 

Art  more  engag'd  1     Help,  angels  !     Make  assay ! 

Bow,  stubborn  knees ;  and,  heart  with  strings  of  steel,          70 

Be  soft  as  sinews  of  the  new-born  babe  1 

All  may  be  welL  \Rctircs  and  kneels, 

Enter  HAMLET. 

Hamlet.    Now  might  I  do  it  pat,  now  he  is  praying 
And  now  I  '11  do  't. — And  so  he  goes  to  heaven ; 
And  so  am  I  reveng'd.     That  would  be  scann'd; 
A  villain  kills  my  father ;  and  for  that, 
I,  his  sole  son,  do  this  same  villain  send 
To  heaven. 

O,  this  is  hire  and  salary,  not  revenge 
H 


I14  HAMLET. 

He  took  my  father  grossly,  full  of  bread,  * 

With  all  his  crimes  broad  blown,  as  flush  as  May ; 
And  how  his  audit  stands  who  knows  save  heaven  ? 
But  in  our  circumstance  and  course  of  thought, 
'T  is  heavy  with  him ;  and  am  I  then  reveng'd, 
To  take  him  in  the  purging  of  his  soul, 
When  he  is  fit  and  season'd  for  his  passage? 
No! 

Up,  sword,  and  know  thou  a  more  horrid  hent : 
When  he  is  drunk  asleep,  or  in  his  rage, 
Or  in  the  incestuous  pleasure  of  his  bed ;  go 

At  gaming,  swearing,  or  about  some  act 
That  has  no  relish  of  salvation  in  't ; 
Then  trip  him,  that  his  heels  may  kick  at  heaven, 
And  that  his  soul  may  be  as  damn'd  and  black 
As  hell,  whereto  it  goes.     My  mother  stays. — 
This  physic  but  prolongs  thy  sickly  days.  [Exit. 

King.   [Rising]  My  words  fly  up,  my  thoughts  remain  be- 
low; 

jWords  without  thoughts  never  to  heaven  go.  [Exit. 

\ 
\  SCENE  IV.   TTie  Queen's  Closet 

Enter  QUEEN  and  POLONIUS. 

Poknius.  He  will  come  straight     Look  you  lay  home  to 

him; 

Tell  him  his  pranks  have  been  too  broad  to  bear  with, 
And  that  your  grace  hath  screen'd  and  stood  between 
Much  heat  and  him.     I  Ml  silence  me  even  here. 
Pray  you,  be  round  with  him. 

Hamlet.   [Within]  Mother!  mother!  mother! 

Queen.  I  >n  warrant  you. 

Fear  me  not.     Withdraw,  I  hear  him  coming. 

\Polonius  hides  behind  the  arras. 


ACT  ///.     SCENE  IV  115 

Enter  HAMLET. 

Hamlet.    Now,  mother,  what's  the  matter? 

Queen.    Hamlet,  thou  hast  thy  father  much  offended. 

Hamlet.    Mother,  you  have  my  father  much  offended. 

Queen.    Come,  come,  you  answer  with  an  idle  tongue. 

Hamlet.   Go,  go,  you  question  with  a  wicked  tongue. 

Queen.    Why,  how  now,  Hamlet ! 

Hamkt.  What  's  the  matter  now  ? 

Queen.    Have  you  forgot  me? 

Hamlet.  No,  by  the  rood,  not  so : 

You  are  the  queen,  your  husband's  brother's  wife  ; 
And — would  it  were  not  so  ! — you  are  my  mother. 

Queen.    Nay,  then,  I  Ml  set  those  to  you  that  can  speak. 

Hamlet.    Come,  come,  and   sit  you  down ;   you  shall  not 

budge : 

You  go  not  till  1  set  you  up  a  glass 
Where  you  may  see  the  inmost  part  of  you.  20 

Queen.    What  wilt  thou  do?  thou  wilt  not  murther  me? 
Help,  help,  ho  ! 

Polonius.    [Behind'']  What,  ho  !  help,  help,  help  ! 

Hamlet.    [Drawing}  How  now  !  a  rat?     Dead,  for  a  dtic.it, 
dead  !  [Makes  a  pass  through  the  arras. 

Polonius.    [Behind]  O,  I  am  slain  !  [Falls  and  dies. 

Queen.    O  me,  what  hast  thou  done? 

Hamlet.  Nay,  I  know  not ; 

Is  it  the  king? 

Queen.    O,  what  a  rash  and  bloody  deed  is  this  ! 

Hamlet.    A  bloody  deed  !  almost  as  bad,  good  mother, 
As  kill  a  king,  and  marry  with  his  brother. 

Queen.    As  kill  a  king  ! 

Hamlet.  Ay,  lady,  't  was  my  word. —         30 

[Lifts  up  the  arras  and  discovers  Polonius. 
Thou  wretched,  rash,  intruding  fool,  farewell ! 
I  took  thee  for  thy  better :  take  thy  fortune ; 


j  !g  HAMLET. 

Thou  find'st  to  be  too  busy  is  some  danger. — 

Leave  wringing  of  your  hands  :  peace  !  sit  you  down, 

And  let  me  wring  your  heart ;  for  so  I  shall, 

If  it  be  made  of  penetrable  stuff, 

If  damned  custom  have  not  braz'd  it  so 

That  it  is  proof  and  bulwark  against  sense. 

Queen.   What    have   I   done,   that  thou  darest  wag   thy 

tongue 
In  noise  so  rude  against  me? 

Hamlet.  Such  an  act  40 

That  blurs  the  grace  and  blush  of  modesty, 
Calls  virtue  hypocrite,  takes  -off  the  rose 
From  the  fair  forehead  of  an  innocent  love 
And  sets  a  blister  there,  makes  marriage-vows 
As  false  as  dicers'  oaths ;  O,  such  a  deed 
As  from  the  body  of  contraction  plucks 
The  very  soul,  and  sweet  religion  makes 
A  rhapsody  of  words  :    heaven's  face  doth  glow, 
Yea,  this  solidity  and  compound  mass, 

With  tristful  visage,  as  against  the  doom,  50 

Is  thought-sick  at  the  act. 

Queen.  Ay  me,  what  act, 

That  roars  so  loud  and  thunders  in  the  index  ? 

Hamlet.   Look  here,  upon  this  picture,  and  on  this, 
The  counterfeit  presentment  of  two  brothers. 
See,  what  a  grace  was  seated  on  this  brow : 
Hyperion's  curls;  the  front  of  Jove  himself; 
An  eye  like  Mars,  to  threaten  and  command  \ 
A  station  like  the  herald  Mercury 
New-lighted  on  a  heaven-kissing  hill ; 

A  combination  and  a  form  indeed,  60 

Where  every  god  did  seem  to  set  his  seal, 
To  give  the  world  assurance  of  a  man. 
This  was  your  husband.     Look  you  now,  what  follows: 
Here  is  your  husband ;  like  a  mildew'd  ear, 


ACT  HI.    SCENE  IV.  II / 

Blasting  his  wholesome  brother.     Have  you  eyes? 

Could  you  on  this  fair  mountain  leave  to  feed, 

And  batten  on  this  moor?     Ha  !  have  you  eyes? 

You  cannot  call  it  love,  for  at  your  age 

The  hey-day  in  the  blood  is  tame,  it 's  humble, 

And  waits  upon  the  judgment ;  and  what  judgment  70 

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  some  quantity  of  choice, 

To  serve  in  such  a  difference.     What  devil  was  *t 

That  thus  hath  cozen'd  you  at  hoodman-blind? 

Eyes  without  feeling,  feeling  without  sight, 

Ears  without  hands  or  eyes,  smelling  sans  all, 

Or  but  a  sickly  part  of  one  true  sense  Bo 

Could  not  so  mope. 

O  shame  !  where  is  thy  blush?     Rebellious  hell, 

If  thou  canst  mutine  in  a  matron's  bones, 

To  flaming  yoiith  let  virtue  be  as  wax, 

And  melt  in  her  own  fire ;  proclaim  no  shame 

When  the  compulsive  ardour  gives  the  charge, 

Since  frost  itself  as  actively  doth  burn, 

And  reason  panders  will. 

Queen,  O  Hamlet,  speak  no  more : 

Thou  turn'st  mine  eyes  into  my  very  soul, 
And  there  I  see  such  black  and  grained  spots  90 

As  will  not  leave  their  tinct. 

Hamlet.  Nay,  but  to  live 

Stew'd  in  corruption, — 

Queen.  O,  speak  to  me  no  more ; 

These  words  like  daggers  enter  in  mine  ears : 
No  more,  sweet  Hamlet ! 

Hamlet.  A  murtherer  and  a  villain.- 

A  slave  that  is  not  twentieth  part  the  tithe 


,13  HAMLET. 

Of  your  precedent  lord ;  a  vice  of  kings ; 
A  cutpurse  of  the  empire  and  the  rule, 
That  from  a  shelf  the  precious  diadem  stole, 
And  put  il  in  his  pocket ! 

Queen.  No  more ! 

Hamlet.   A  king  of  shreds  and  patches,—  »c 

Enter  Ghost. 

Save  me,  and  hover  o'er  me  with  your  wings, 
You  heavenly  guards  ! — What  would  your  gracious  figure? 

Queen.   Alas  !  he  's  mad  ! 

Hamlet.   Do  you  not  come  your  tardy  son  to  chide, 
That,  laps'd  in  time  and  passion,  lets  go  by 
The  important  acting  of  your  dread  command? 
O,  say ! 

Ghost.   Do  not  forget.     This  visitation 
Is  but  to  whet  thy  almost  blunted  purpose. 
But,  look,  amazement  on  thy  mother  sits :  MO 

O,  step  between  her  and  her  fighting  soul ; 
Conceit  in  weakest  bodies  strongest  works. 
Speak  to  her,  Hamlet. 

Hamlet.  How  is  it  with  you,  lady? 

Queen.   Alas,  how  is  't  with  you, 
That  you  do  bend  your  eye  on  vacancy 
And  with  the  incorporal  air  do  hold  discourse  ? 
Forth  at  your  eyes  your  spirits  wildly  peep ; 
And,  as  the  sleeping  soldiers  in  the  alarm, 
Your  bedded  hair,  like  life  in  excrements, 
Starts  up,  and  stands  an  end.     O  gentle  son,  MO 

Upon  the  heat  and  flame  of  thy  distemper 
Sprinkle  cool  patience.  Whereon  do  you  look  ? 

Hamlet.   On  him,  on  him  !     Look  you,  how  pale  he  glares  ! 
His  form  and  cause  conjoin'd,  preaching  to  stones, 
Would  make  them  capable. — Do  not  look  upon  me ; 
Lest  with  this  piteous  action  you  convert 


ACT  ///.    SCENE  IV.  119 

My  stern  effects :  then  what  I  have  to  do 

Will  want  true  colour ;  tears  perchance  for  blood. 

Queen.  To  whom  do  you  speak  this  ? 

Hamlet.  Do  you  see  nothing  there  ? 

Queen.  Nothing  at  all ;  yet  all  that  is  I  see.  no 

Hamlet.  Nor  did  you  nothing  hear? 

Queen.  No,  nothing  but  ourselves. 

Hamlet.  Why,  look  you  there !  look,  how  it  steals  away  1 
My  father,  in  his  habit  as  he  liv?d ! 
Look,  where  he  goes,  even  now,  out  at  the  portal ! 

[Exit  Ghost. 

Queen.  This  is  the  very  coinage  of  your  brain; 
This  bodiless  creation  ecstasy 
Js  very  cunning  in. 

Hamlet.  Ecstasy ! 

My  pulse,  as  yours,  doth  temperately  keep  time, 
And  makes  as  healthful  music  :  it  is  not  madness 
That  I  have  utter'd  ;  bring  me  to  the  test,  u° 

And  I  the  matter  will  re-word,  which  madness 
Would  gambol  from.     Mother,  for  love  of  grace, 
Lay  not  that  flattering  unction  to  your  soul,  _» 
That  not  your  trespass  but  my"  rn'aclness  speaks ; 
It  will  but  skin  and  film  the  ulcerous  place, 
Whilst  rank  corruption,  mining  all  within, 
Infects  unseen.     Confess  yourself  to  heaven  ; 
Repent  what  's  past,  avoid  what  is  to  come  ; 
And  do  not  spread  the  compost  on  the  weeds, 
To  make  them  ranker.     Forgive  me  this  my  virtue ;  nc 

For  in  the  fatness  of  these  pursy  times 
Virtue  itself  of  vice  must  pardon  beg, 
Vea,  curb  and  woo  for  leave  to  do  him  good. 

Queen.  O  Hamlet,  thou  hast  cleft  my  heart  in  twain. 

Hamlet.  O,  throw  away  the  worser  part  of  it, 
And  live  the  purer  with  the  other  half. 
Good  night :  but  go  not  to  mine  uncle's  bed  ; 


,ao  HAMLET. 

Assume  a  virtue,  if  you  have  it  not. 
That  monster,  custom,  who  all  sense  doth  eat, 
Of  habits  devil,  is  angel  yet  in  this,  <** 

That  to  the  use  of  actions  fair  and  good 
He  likewise  gives  a  frock  or  livery, 
That  aptly  is  put  on.     Refrain  to-night, 
And  that  shall  lend  a  kind  of  easiness 
To  the  next  abstinence :  the  next  more  easy ; 
For  use  almost  can  change  the  stamp  of  nature, 
And  either  master  the  devil,  or  throw  hi.n  out 
With  wondrous  potency.     Once  more,  good  night : 
And  when  you  are  desirous  to  be  blest, 
I  '11  blessing  beg  of  you. — For  this  same  lord,  170 

\Pointing  to  Polonius. 

I  do  repent ;  but  heaven  hath  pleas'd  it  so, 
To  punish  me  with  this  and  this  with  me, 
That  I  must  be  their  scourge  and  minister. 
I  will  bestow  him,  and  will  answer  well 
The  death  I  gave  him. — So,  again,  good  night. 
I  must  be  cruel,  only  to  be  kind; 
Thus  bad  begins,  and  worse  remains  behind. 
One  word  more,  good  lady. 

Queen.     '  What  shall  I  do? 

Hamlet.  Not  this,  by  no  means,  that  I  bid  you  do : 
Let  the  bloat  king  tempt  you  again  to  bed,  '&> 

Pinch  wanton  on  your  cheek,  call  you  his  mouse ; 
And  let  him,  for  a  pair  of  reechy  kisses, 
Oi  paddling  in  your  neck  with  his  damn'd  fingers, 
Make  you  to  ravel  all  this  matter  out, 
That  I  essentially  am  not  in  madness, 
But  mad  in  craft.     T  were  good  you  let  him  know ; 
For  who,  that 's  but  a  queen,  fair,  sober,  wise, 
Would  from  a  paddock,  from  a  bat,  a  gib, 
Such  dear  concernings  hide  ?  who  would  do  so  ? 
No,  in  despite  of  sense  and  secrecy,  190 


ACT  III.    SCENE  IV.  12 1 

Unpeg  the  basket  on  the  house's  top, 
Let  the  birds  fly,  and,  like  the  famous  ape, 
To  try  conclusions,  in  the  basket  creep, 
And  break  your  own  neck  down. 

Queen.  Be  thou  assur'd,  if  words  be  made  of  breath, 
And  breath  of  life,  I  have  no  life  to  breathe 
What  thou  hast  said  to  me. 

Hamlet.  I  must  to  England ;  you  know  that  ? 

Queen.  Alack, 

I  had  forgot ;  't  is  so  concluded  on. 

Hamlet.  There  's  letters  seaFd,  and  my  two  schoolfellows — 
Whom  I  will  trust  as  I  will  adders  fang'd —  aoJ 

They  bear  the  mandate  ;  they  must  sweep  my  way, 
And  marshal  me  to  knavery.     Let  it  work ; 
For  't  is  the  sport  to  have  the  enginer 
Hoist  with  his  own  petar :  and  't  shall  go  hard 
But  I  will  delve  one  yard  below  their  mines, 
And  blow  them  at  the  moon.     O,  't  is  most  sweet, 
When  in  one  line  two  crafts  directly  meet  1 
This  man  shall  set  me  packing; 

I  '11  lug  the  guts  into  the  neighbour  room.  aw 

Mother,  good  night.     Indeed  this  counsellor 
Is  now  most  still,  most  secret,  and  most  grave, 
Who  was  in  life  a  foolish  prating  knave. — 
Come,  sir,  to  draw  toward  an  end  with  you. — 
Good  night,  mother. 

\Exeunt  severally  ;  Hamlet  dragging  in  Polonius. 


DANISH    SHIPS. 


ACT  IV. 

SCENE  I.     A  Room  in  the  Castle. 
Enter  KING,  QUEEN,  ROSENCRANTZ,  and  GUILDENSTERN. 

King.   There   's   matter   in   these  sighs :    these  profound 

heaves 

You  must  translate  ;  't  is  fit  we  understand  them. 
Where  is  your  son? 

Queen.   Bestow  this  place  on  us  a  little  while. — 

[Exeunt  Rosencrantz  and  Guildenstern. 
Ah,  my  good  lord,  what  have  I  seen  to-night ! 

King.    What,  Gertrude?     How  does  Hamlet? 

Queen.   Mad  as  the  sea  and  wind,  when  both  contend 
Which  is  the  mightier ;  in  his  lawless  fit, 
Behind  the  arras  hearing  something  stir, 
Whips  out  his  rapier,  cries,  '  A  rat,  a  rat ! '  10 


ACT  IV.    SCENE  /.  123 

And  in  this  brainish  apprehension  kills 
The  unseen  good  old  man. 

King.  O  heavy  deed  ! 

It  had  been  so  with  us,  had  we  been  there; 
His  liberty  is  full  of  threats  to  all, 
To  you  yourself,  to  us,  to  every  one. 
Alas,  how  shall  this  bloody  deed  be  answer'd  ? 
It  will  be  laid  to  us,  whose  providence 
Should  have  kept  short,  restrain'd,  and  out  of  haunt, 
This  mad  young  man  ;  but  so  much  was  our  love, 
We  would  not  understand  what  was  most  fit,  m 

But,  like  the  owner  of  a  foul  disease, 
To  keep  it  from  divulging,  let  it  feed 
Even  on  the  pith  of  life.  Where  is  he  gone  ? 

Queen.   To  draw  apart  the  body  he  hath  kill'd ; 
O'er  whom  his  very  madness,  like  some  ore 
Among  a  mineral  of  metals  base, 
Shows  itself  pure.     He  weeps  for  what  is  done. 

King.    O  Gertrude,  come  away  ! 
The  sun  no  sooner  shall  the  mountains  touch, 
But  we  will  ship  him  hence  ;  and  this  vile  deed  30 

We  must,  with  all  our  majesty  and  skill, 
Both  countenance  and  excuse. — Ho,  Guildenstern  ! 

Re-enter  ROSENCRANTZ  and  GUILDENSTERN. 
Friends  both,  go  join  you  with  some  further  aid  5 
Hamlet  in  madness  hath  Polonius  slain, 
And  from  his  mother's  closet  hath  he  dragg'd  him. 
Go  seek  him  out ;  speak  fair,  and  bring  the  body 
Into  the  chapel.     I  pray  you   haste  in  this. — 

\_Exeunt  Rosencrantz  and  Guildenstern. 
Come,  Gertrude,  we  '11  call  up  our  wisest  friends, 
And  let  them  know  both  what  we  mean  to  do 
And  what  's  untimely  done  ;  so,  haply,  slander — 
Whose  whisper  o'er  the  world's  diameter, 


I24  HAMLET. 

As  level  as  the  cannon  to  his  blank, 

Transports  his  poison'd  shot— may  miss  our  name, 

And  hit  the  woundless  air.    O,  come  away ! 

My  soul  is  full  of  discord  and  dismay.  [Exeunt. 

SCENE  II.  Another  Room  in  the  Castle. 

Enter  HAMLET. 
Hamlet.   Safely  stowed. 

Rosencrantz.   j    [wuhin]  Hamlet !  Lord  Hamlet ! 

Guildenstern.  }    l 

Hamlet.  What  noise?  who  calls  on  Hamlet?  O,  here 
they  come. 

Enter  ROSENCRANTZ  and  GUILDENSTERN. 

Rosencrantz.  What  have  you  done,  my  lord,  with  the 
dead  body? 

Hamlet.   Compounded  it  with  dust,  whereto  't  is  kin. 

Rosencrantz.  Tell  us  where  't  is,  that  we  may  take  it 

thence 
And  bear  it  to  the  chapel. 

Hamlet.   Do  not  believe  it. 

Rosencrantz.   Believe  what  ?  10 

Hamlet.  That  I  can  keep  your  counsel  and  not  mine  own. 
Besides,  to  be  demanded  of  a  sponge,  what  replication 
should  be  made  by  the  son  of  a  king  ? 

Rosencrantz.  Take  you  me  for  a  sponge,  my  lord? 

Hamlet.  Ay,  sir,  that  soaks  up  the  king's  countenance, 
his  rewards,  his  authorities.  But  such  officers  do  the  king 
best  service  in  the  end;  he  keeps  them,  as  an  ape  doth 
nuts,  in  the  corner  of  his  jaw,  first  mouthed,  to  be  last 
swallowed :  when  he  needs  what  you  have  gleaned,  it  is 
but  squeezing  you,  and,  sponge,  you  shall  be  dry  again.  20 

Rosencrantz.   I  understand  you  not,  my  lord. 

Hamlet.  I  am  glad  of  it;  a  knavish  speech  sleeps  in  a 
foolish  ear. 


ACT  IV.    SCENE  III.  125 

Rosencrantz.  My  lord,  you  must  tell  us  where  the  body  is, 
and  go  with  us  to  the  king. 

Hamlet.  The  body  is  with  the  king,  but  the  king  is  not 
with  the  body.  The  king  is  a  thing — 

Guildenstern.    A  thing,  my  lord  ! 

Hamlet.  Of  nothing ;  bring  me  to  him.  Hide  fox,  and 
all  after.  [Exeunt. 

SCENE  III.     Another  Room  in  the  Castle. 
Enter  KING,  attended. 

King.   I  have  sent  to  seek  him,  and  to  find  the  body. 
How  dangerous  is  it  that  this  man  goes  loose  ! 
Yet  must  not  we  put  the  strong  law  on  him : 
He  's  lov'd  of  the  distracted  multitude, 
Who  like  not  in  their  judgment,  but  their  eyes ; 
And  where  't  is  so,  the  offender's  scourge  is  weigh'd, 
But  never  the  offence.     To  bear  all  smooth  and  even, 
This  sudden  sending  him  away  must  seem 
Deliberate  pause ;  diseases  desperate  grown 
By  desperate  appliance  are  reliev'd,  w 

Or  not  at  all. — 

Enter  ROSENCRANTZ. 

How  now  !  what  hath  befallen  ?  ( 

Roscncrantz.  Where  the  dead  body  is  bestow'd,  my  lord, 
We  cannot  get  from  him. 

King.  But  where  is  he  ? 

Rosencrantz.   Without,  my  lord;    guarded,  to  know  your 

pleasure. 

King.    Bring  him  before  us. 
Rosencrantz.    Ho,  Guildenstern  !  bring  in  my  lord. 

Enter  HAMLET  and  GUILDENSTERN. 
King.   Now,  Hamlet,  where  's  Polonius? 


I26  HAMLET. 

Hamlet.   At  supper. 

King.   At  supper !  where  ?  *9 

Hamlet.  Not  where  he  eats,  but  where  he  is  eaten ;  a  cer- 
tain convocation  of  politic  worms  are  e'en  at  him.  Your 
worm  is  your  only  emperor  for  diet ;  we  fat  all  creatures  else 
to  fat  us,  and  we  fat  ourselves  for  maggots.  Your  fat  king 
and  your  lean  beggar  is  but  variable  service,  two  dishes,  but 
to  one  table ;  that 's  the  end. 

King.   Alas,  alas! 

Hamlet.  A  man  may  fish  with  the  worm  that  hath  eat  of 
a  king,  and  eat  of  the  fish  that  hath  fed  of  that  worm. 

King.  What  dost  thou  mean  by  this? 

Hamlet.  Nothing  but  to  show  you  how  a  king  may  go  a 
progress  through  the  guts  of  a  beggar.  31 

King.   Where  is  Polonius? 

Hamlet.  In  heaven  ;  send  thither  to  see  :  if  your  messen- 
ger find  him  not  there,  seek  him  i'  the  other  place  yourself. 
But  indeed,  if  you  find  him  not  within  this  month,  you  shall 
nose  him  as  you  go  up  the  stairs  into  the  lobby. 

King.   Go  seek  him  there.  [To  some  Attendants. 

Hamlet.    He  will  stay  till  ye  come.       [Exeunt  Attendants. 

King.   Hamlet,  this  deed,  for  thine  especial  safety, — 
Which  we  do  tender,  as  we  dearly  grieve  40 

For  that  which  thou  hast  done, — must  send  thee  hence 
With  fiery  quickness  ;  therefore  prepare  thyself. 
The  bark  is  ready,  and  the  wind  at  help, 
The  associates  tend,  and  every  thing  is  bent 
For  England. 

Hamlet.        For  England  I 

King.  Ay,  Hamlet. 

Hamlet.  Good. 

King.   So  is  it,  if  thou  knew'st  our  purposes. 

Hamlet.  I  see  a  cherub  that  sees  them.— But,  come ;  fol 
England  !— Farewell,  dear  mother. 

King.   Thy  loving  father,  Hamlet  49 


ACT  IV.     SCENE  IV.  12  J 

Hamlet.  My  mother ;  father  and  mother  is  man  and  wife  ; 
man  and  wife  is  one  flesh  ;  and  so,  my  mother. — Come,  for 
England.  [Exit. 

King.   Follow  him  at  foot ;  tempt  him  with  speed  aboard : 
Delay  it  not;  I  '11  have  him  hence  to-night. 
Away  1  for  every  thing  is  seal'd  and  done 
That  else  leans  on  the  affair ;  pray  you,  make  haste. — 

[Exeunt  Rosencrantz  and  Guildenstern. 
And,  England,  if  my  love  thou  hold'st  at  aught — 
As  my  great  power  thereof  may  give  thee  sense, 
Since  yet  thy  cicatrice  looks  raw  and  red 
After  the  Danish  sword,  and  thy  free  awe  60 

Pays  homage  to  us — thou  may'st  not  coldly  set 
Our  sovereign  process ;  which  imports  at  full, 
By  letters  conjuring  to  that  effect, 
The  present  death  of  Hamlet.     Do  it,  England ; 
For  like  the  hectic  in  my  blood  he  rages, 
And  thou  must  cure  me  :  till  I  know  't  is  done, 
Howe'er  my  haps,  my  joys  were  ne'er  begun.  [Exit. 

SCENE  IV.     A  Plain  in  Denmark. 
Enter  FORTINBRAS,  a  Captain,  and  Soldiers,  marching. 

Fortinbras.   Go,  captain,  from  me  greet  the  Danish  king  \ 
Tell  him  that  by  his  license  Fortinbras 
Claims  the  conveyance  of  a  promis'd  march 
Over  his  kingdom.     You  know  the  rendezvous. 
If  that  his  majesty  would  aught  with  us, 
We  shall  express  our  duty  in  his  eye ; 
And  let  him  know  so. 

Captain.   I  will  do  't,  my  lord. 

Fortinbras.   Go  softly  on. 

[Exeunt  Fortinbras  and  Soldiers 


I28  HAMLET. 

Enter  HAMLET,  ROSENCRANTZ,  GUILDENSTERN,  and  others. 

Hamlet.   Good  sir,  whose  powers  are  these? 

Captain.  They  are  of  Norway,  sir.  » 

Hamlet.   How  purpos'd,  sir,  I  pray  you? 

Captain.   Against  some  part  of  Poland. 

Hamlet.   Who  commands  them,  sir? 

Captain.  The  nephew  to  old  Norway,  Fortinbras. 

Hamlet.   Goes  it  against  the  main  of  Poland,  sir, 
Or  for  some  frontier? 

Captain.   Truly  to  speak,  and  with  no  addition, 
We  go  to  gain  a  little  patch  of  ground 
That  hath  in  it  no  profit  but  the  name. 
To  pay  five  ducats,  five,  I  would  not  farm  it ;  *> 

Nor  will  it  yield  to  Norway  or  the  Pole 
A  ranker  rate,  should  it  be  sold  in  fee. 

Hamlet.   Why,  then  the  Polack  never  will  defend  it 

Captain.   Yes,  't  is  already  garrison'd. 

Hamlet.  Two  thousand  souls  and  twenty  thousand  ducats 
Will  not  debate  the  question  of  this  straw ; 
This  is  the  imposthume  of  much  wealth  and  peace, 
That  inward  breaks,  and  shows  no  cause  without 
Why  the  man  dies. — I  humbly  thank  you,  sir. 

Captain.   God  be  wi'  you,  sir.  \_Exit. 

Rosencrantz.  Will  't  please  you  go,  my  lord  ? 

Hamlet.   I  '11  be  with  you  straight.     Go  a  little  before,     y 
\_Exeunt  all  except  Hamlet. 
How  all  occasions  do  inform  against  me, 
And  spur  my  dull  revenge  !     What  is  a  man, 
If  his  chief  good  and  market  of  his  time 
Be  but  to  sleep  and  feed  ?  a  beast,  no  more. 
Sure,  He  that  made  us  with  such  large  discourse, 
Looking  before  and  after,  gave  us  not 
That  capability  and  godlike  reason 
To  fust  in  us  unus'd.     Now,  whether  it  be 


ACT  IV.    SCENE    P.  I2Q 

Bestial  oblivion,  or  some  craven  scruple  40 

Of  thinking  too  precisely  on  the  event, — 

A  thought  which,  quarter'd,  hath  but  one  part  wisdom 

And  ever  three  parts  coward, — I  do  not  know 

Why  yet  I  live  to  say  '  This  thing  's  to  do,' 

Sith  I  have  cause  and  will  and  strength  and  means 

To  do  't.     Examples  gross  as  earth  exhort  me ; 

Witness  this  army  of  such  mass  and  charge, 

Led  by  a  delicate  and  tender  prince, 

Whose  spirit  with  divine  ambition  puff  d 

Makes  mouths  at  the  invisible  event,  *> 

Exposing  what  is  mortal  and  unsure 

To  all  that  fortune,  death,  and  danger  dare, 

Even  for  an  egg-shell.     Rightly  to  be  great 

Is  not  to  stir  without  great  argument, 

But  greatly  to  find  quarrel  in  a  straw 

When  honour  's  at  the  stake.     How  stand  I  then. 

That  have  a  father  kill'd,  a  mother  stain'd, 

Excitements  of  my  reason  and  my  blood, 

And  let  all  sleep,  while  to  my  shame  I  see 

The  imminent  death  of  twenty  thousand  men,  6* 

That  for  a  fantasy  and  trick  of  fame 

Go  to  their  graves  like  beds,  fight  for  a  plot 

Whereon  the  numbers  cannot  try  the  cause, 

Which  is  not  tomb  enough  and  continent 

To  hide  the  slain?    O,  from  this  time  forth, 

My  thoughts  be  bloody,  or  be  nothing  worth  ! 

SCENE  V.     Elsinore.     A  Room  in  the  Castle. 
Enter  QUEEN,  HORATIO,  and  a  Gentleman. 

Queen.   I  will  not  speak  with  her. 
Gentleman.   She  is  importunate,  indeed  distract ; 
Her  mood  will  needs  be  pitied. 

Queen.  What  would  she  have? 


130  HAMLET. 

Gentleman.  She  speaks  much  of  her  father ;  says  she  hears 
There  's  tricks  i'  the  world ;  and  hems,  and  beats  her  heart ; 
Spurns  enviously  at  straws ;  speaks  things  in  doubt, 
That  carry  but  half  sense  :  her  speech  is  nothing, 
Yet  the  unshaped  use  of  it  doth  move 
The  hearers  to  collection  ;  they  aim  at  it, 
And  botch  the  words  up  fit  to  their  own  thoughts ;  M 

Which,  as  her  winks  and  nods  and  gestures  yield  them, 
Indeed  would  make  one  think  there  might  be  thought, 
Though  nothing  sure,  yet  much  unhappily. 
Horatio.   'T  were  good  she  were  spoken  with,  for  she  jmay 

strew 
Dangerous  conjectures  in  ill-breeding  minds. 

Queen.    Let  her  come  in.  [Exit  Horatio. 

[Aside]  To  my  sick  soul,  as  sin's  true  nature  is, 
Each  toy  seems  prologue  to  some  great  amiss ; 
So  full  of  artless  jealousy  is  guilt, 
It  spills  itself  in  fearing  to  be  spilt.  *> 

Re-enter  HORATIO,  -with  OPHELIA. 
Ophelia.  Where  is  the  beauteous  majesty  of  Denmark? 
Queen.  How  now,  Ophelia  ! 

Ophelia.  [Sings]  How  should  I  your  true  love  know  y 

From  another  one  ?  V 

By  his  cockle  hat  and  sta/t  ' 

And  his  sandal  shoo n. 

Queen.  Alas,  sweet  lady,  what  imports  this  song? 
Ophelia.   Say  you  ?  nay,  pray  you,  mark. 

[Sings]  He  is  dead  and  gone,  lady, 

He  is  dead  and  gone  ; 
At  his  head  a  grass-grsen  turft 

At  his  heels  a  stone. 
Queen.  Nay,  but,  Ophelia,— 
Ophelia.   Pray  you,  mark. 
[Sings]  White  his  shroud  as  the  mountain  snow, — 


ACT  IV.    SCENE   V.  131 

Enter  KING. 

Queen.   Alas,  look  here,  my  lord. 

Ophelia.    [Sings]   Larded  with  sweet  flowers ; 

Which  bewept  to  the  grave  did  go 

With  true-love  shower** 

King.    How  do  you,  pretty  lady  ?  «o 

Ophelia.  Well,  God  Meld  you  !    They  say  the  owl  was  a 

baker's  daughter.     Lord,  we  know  what  we  are,  but  know  not 

what  we  may  be.     God  be  at  your  table  \ 

King.    [Aside]   Conceit  upon  her  father! 

Ophelia.   Pray  you,  let  's  have  no  words  of  this ;  but  when 

they  ask  you  what  it  means,  say  you  this  : 

fSings]    To-morrow  is  Saint  Valentine's  dayt 

All  in  the  morning  betimet 
And  I  a  maid  at  your  window. 

To  be  your  Valentine.  y> 

King.   How  long  hath  she  been  thus? 

Ophelia.   I  hope  all  will  be  well.     We  must  be  patient; 

but  I  cannot  choose  but  weep,  to  think  they  should  lay  him 

i'  the  cold  ground.     My  brother  shall  know  of  it ;  and  so  I 

thank  you  for  your  good  counsel. — Come,  my  coach  ! — Good 

night,  ladies;  good  night,  sweet  ladies;  good   night,  good 

night.  [Exit. 

King.   Follow  her  close ;  give  her  good  watch,  I  pray  you.  — 

[Exit  Horatio. 

O,  this  is  the  poison  of  deep  grief;  it  springs 
All  from  her  father's  death.     O  Gertrude,  Gertrude,  60 

When  sorrows_cpnie>Jh_ey-  .come  not  single  spies, 
But  in  battalions.     FirsVhej-iather-gfain ; 
Next,  your  son  gone  ;  and  he  most  violent  author 
Of  his  own  just  remove  :  the  people  muddied, 
Thick  and  unwholesome  in  their  thoughts  and  whispers, 
For  good  Polonius'  death ;  and  we  have  done  but  greenly. 
In  hugger-mugger  to  inter  him :  poor  Ophelia 


132 


HAMLET. 


Divided  from  herself  and  her  fair  judgment, 

Without  the  which  we  are  pictures,  or  mere  beasts : 

Last,  and  as  much  containing  as  all  these,  70 

Her  brother  is  in  secret  come  from  France, 

Feeds  on  his  wonder,  keeps  himself  in  clouds, 

And  wants  not  buzzers  to  infect  his  ear 

With  pestilent  speeches  of  his  father's  death  ; 

Wherein  necessity,  of  matter  beggar'd, 

Will  nothing  stick  our  person  to  arraign 

In  ear  and  ear.     O  my  dear  Gertrude,  this, 

Like  to  a  murthering-piece,  in  many  places 

Gives  me  superfluous  death,  [A  noise  within. 

Queen.  Alack,  what  noise  is  this?  79 

King.  Where  are  my  Switzers?  Let  them  guard  the 
door.— 

Enter  another  Gentleman. 

What  is  the  matter? 

Gentleman.  Save  yourself,  my  lord ; 

The  ocean,  overpeering  of  his  list, 
Eats  not  the  flats  with  more  impetuous  haste 
Than  young  Laertes,  in  a  riotous  head, 
O'erbears  your  officers.     The  rabble  call  him  lord; 
And,  as  the  world  were  now  but  to  begin, 
Antiquity  forgot,  custom  not  known, 
The  ratifiers  and  props  of  every  word, 
They  cry  '  Choose  we  ;  Laertes  shall  be  king  I ' 
Caps,  hands,  and  tongues,  applaud  it  to  the  clouds,  90 

'  Laertes  shall  be  king,  Laertes  king  ! ' 

Queen.   How  cheerfully  on  the  false  trail  they  cry  ! 
O,  this  is  counter,  you  false  Danish  dogs  ! 

King.  The  doors  are  broke.  \Noise  within. 

Enter  LAERTES,  anned;  Danes  following. 
Laertes.  Where  is  this  king? — Sirs,  stand  you  all  without. 


ACT  IV,    SCENE    V.  133 

Danes.   No,  let  *s  come  in. 

Laertes.  I  pray  you,  give  me  leave. 

Danes.    We  will,  we  will.         \_They  retire  without  the  door. 

Laertes.   I  thank  you :  keep  the  door. — O  thou  vile  king, 
Give  me  my  father  I 

Queen.  Calmly,  good  Laertes. 

Laertes.  That  drop  of  blood   that  *s  calm  proclaims  me 
bastard,  100 

Cries  cuckold  to  my  father,  brands  the  harlot 
Even  here,  between  the  chaste  unsmirched  brows 
Of  my  true  mother. 

King.  What  is  the  cause,  Laertes, 

That  thy  rebellion  looks  so  giant-like? — 
Let  him  go,  Gertrude ;  do  not  fear  our  person : 
There  's  such  divinity  doth  hedge  a  king, 
That  treason  can  but  peep  to  what  it  would, 
Acts  little  of  his  will. — Tell  me,  Laertes, 
Why  thou  art  thus  incens'd. — Let  him  go,  Gertrude*— 
Speak,  man.  no 

Laertes.  Where  is  my  father? 

King.  Dead. 

Queen.  But  not  by  him. 

King*   Let  him  demand  his  fill. 

Laertes.    How  came  he  dead?    I '11  not  be  juggled  with: 
To  hell,  allegiance  1  vows,  to  the  blackest  devil  1 
Conscience  and  grace,  to  the  profoundest  pit  1 
I  dare  damnation.    To  this  point  I  stand : 
That  both  the  worlds  I  give  to  negligence, 
Let  come  what  comes ;  only  I  '11  be  reveng'd 
Most  throughly  for  my  father. 

King.  Who  shall  stay  you  ? 

Laertes.    My  will,  not  all  the  world ;  MO 

And  for  my  means,  I  '11  husband  them  so  well, 
They  shall  go  far  with  little. 

King.  Good  Laertes, 


134 


HAMLET. 


li  you  desire  to  know  the  certainty 
Of  your  dear  father's  death,  is  't  writ  in  your  revenge, 
That,  swoopstake,  you  will  draw  both  friend  and  foe, 
Winner  and  loser? 

Laertes.   None  but  his  enemies. 

King.  Will  you  know  them  then? 

Laertes.   To  his  good  friends  thus  wide  I  '11  ope  my  arms ; 
And  like  the  kind  life-rendering  pelican, 
Repast  them  with  my  blood. 

King.  Why,  now  you  speak  130 

Like  a  good  child  and  a  true  gentleman. 
That  I  am  guiltless  of  your  father's  death, 
And  am  most  sensibly  in  grief  for  it, 
It  shall  as  level  to  your  judgment  pierce 
As  day  does  to  your  eye. 

Danes.   [  Within\  Let  her  come  in. 

Laertes.    How  now  1  what  noise  is  that?— 

Re-enter  OPHELIA. 

O  heat,  dry  up  my  brains  !  tears  seven  times  salt, 

Burn  out  the  sense  and  virtue  of  mine  eye  ! — • 

By  heaven,  thy  madness  shall  be  paid  by  weight, 

Till  our  scale  turn  the  beam.     O  rose  of  May  I  no 

Dear  maid,  kind  sister,  sweet  Ophelia  ! — 

O  heavens  !  is  't  possible,  a  young  maid's  wits 

Should  be  as  mortal  as  an  old  man's  life? 

Nature  is  fine  in  love,  and  where  't  is  fine 

It  sends  some  precious  instance  of  itself 

After  the  thing  it  loves. 

Ophelia.    [Sings]    They  bore  him  barefaced  on  the  bier; 
Hey  non  nonny,  nonny,  hey  nonny; 
And  on  his  grave  rains  many  a  tear. — 
Fare  you  well,  my  dove  !  I5a 

Laertes.    Hadst  thou  thy  wits,  and  didst  persuade  revenge, 
It  could  not  move  thus. 


ACT  If.    SCENE   V.  135 

Ophelia.  You  must  sing,  Down  a-down>  and  you  call  him 
a-down-a.    O,  how  the  wheel   becomes  itl     It  is  the  false 
steward,  that  stole  his  master's  daughter. 
Laertes.  This  nothing  's  more  than  matter. 
Ophelia.   There   's  rosemary,  that   's  for   remembrance; 
pray  you,  love,  remember :  and  there  is  pansies,  that 's  for 
thoughts. 

Laertes.  A  document  in  madness,  thoughts  and  remem- 
brance fitted.  160 
Ophelia.  There  's  fennel  for  you,  and  columbines ;  there  's 
rue  for  you ;  and  here  's  some  for  me  ;  we  may  call  it  herb 
of  grace  o'  Sundays ;  O,  you  must  wear  your  rue  with  a  dif- 
ference. There  's  a  daisy :  I  would  give  you  some  violets, 
but  they  withered  all  when  my  father  died;  they  say  he 
made  a  good  end, — 

[Sings]  For  bonny  sweet  Robin  is  all  my  joy. 
Laertes.  Thought  and  affliction,  passion,  hell  itself, 
She  turns  to  favour  and  to  prettiness. 

Ophelia.  [Sings]   And  will  he  not  come  again?  *to 

And  will  he  not  come  again  t 
No,  no,  he  is  dead; 
Go  to  thy  death-bed, 
He  never  will  come  again. 
His  beard  was  white  assnowt 
All  flaxen  was  his  poll; 
He  is  gone,  he  is  gone, 
And  we  cast  away  moan  : 
God  ha'  mercy  on  his  soul!  179 

And  of  all  Christian  souls,  I  pray  God. — God  be  wi'  ye. 

[Exit. 

Laertes.  Do  you  see  this,  O  God  ? 
King.  Laertes,  I  must  commune  with  your  grief, 
Or  you  deny  me  right.     Go  but  apart, 
Make  choice  of  whom  your  wisest  friends  you  will, 
And  they  shall  hear  and  judge  'twixt  you  and  me. 


,36  HAMLET. 

If  by  direct  or  by  collateral  hand 

They  find  us  touch'd,  we  will  our  kingdom  givt, 

Our  crown,  our  life,  and  all  that  we  call  ours, 

To  you  in  satisfaction  ;  but  if  not, 

Be  you  content  to  lend  your  patience  to  us, 

And  we  shall  jointly  labour  with  your  soul 

To  give  it  due  content. 

Laertes.  Let  this  be  so ; 

His  means  of  death,  his  obscure  burial — 
No  trophy,  sword,  nor  hatchment  o'er  his  bones, 
No  noble  rite  nor  formal  ostentation — 
Cry  to  be  heard,  as  't  were  from  heaven  to  earth, 
That  I  must  call 't  in  question. 

King.  So  you  shall ; 

And  where  the  offence  is  let  the  great  axe  fall. 
I  pray  you,  go  with  me.  [Exeunt. 

SCENE  VI.     Another  Room  in  the  Castie. 
Enter  HORATIO  and  a  Servant. 

Horatio.  What  are  they  that  would  speak  with  me? 

Servant.   Sailors,  sir ;  they  say  they  have  letters  for  you. 

Horatio.    Let  them  come  in. —  [Exit  Servant. 

I  do  not  know  from  what  part  of  the  world 
I  should  be  greeted,  if  not  from  Lord  Hamlet 

Enter  Sailors. 

i  Sailor.  God  bless  you,  sir. 
Horatio.   Let  him  bless  thee  too. 

i  Sailor.  He  shall,  sir,  an  't  please  him.  There  's  a  letter 
for  you,  sir — it  comes  from  the  ambassador  that  was  bound 
for  England — if  your  name  be  Horatio,  as  I  am  let  to  know 
it  is. 

I      Horatio.  [Reads]  'Horatio,  when  thou  shalt  have  overlooked 
\  this,  give  these  fellows  some  means  to  the  king;  they  have  letters. 


ACT  IV.    SCENE    VII.  137 

for  him.  Ere  we  were  two  days  old  at  sea,  a  pirate  of  very 
warlike  appointment  gave  us  chase.  Finding  ourselves  too  slow 
of  sail,  we  put  on  a  compelled  valour;  in  the  grapple  I  boarded 
them:  on  the  instant  they  got  clear  of  our  ship;  so  I  alone 
became  their  prisoner.  They  have  dealt  with  me  like  thieves  of 
mercy:  but  they  knew  what  they  did ;  I  am  to  do  a  good  turn 
for  them.  Let  the  king  have  the  letters  I  have  sent ;  and  repair 
thou  to  me  with  as  much  speed  as  thou  wouldst  fly  death.  I 
have  words  to  speak  in  thine  ear  will  make  thee  dtimb  /  yet  are 
they  much  too  light  for  the  bore  of  the  matter.  These  good  fel- 
lows will  bring  thee  where  I  am.  Rosencrantz  and  Guilden- 
stern  hold  their  course  for  England ;  of  them  I  have  much  to  tell 
thee.  Farewell.  He  that  thou  knowest  thine,  HAMLET.' 
Come,  I  will  make  you  way  for  these  your  letters ;  27 

And  do  't  the  speedier,  that  you  may  direct  me 
To  him  from  whom  you  brought  them.  ^Exeunt. 

<ijUtV^<j^ 

vv  \KA^5cEJte  Vn.     Another  Room  in  the  Castle. 

\$J*^jS^\ 

NWf-     *>r*)i  „  Enter  KING  and  LAERTES. 

y~  *f**    *Y* ' 

\v        King.    Now  must  your  conscience  my  acquittance  seal, 
And  you  must  put  me  in  your  heart  for  friend, 
Sith  you  have  heard,  and  with  a  knowing  ear, 
That  he  which  hath  your  noble  father  slain 
Pursued  my  life. 

Laertes.  It  well  appears  ;  but  tell  me 

Why  you  proceeded  not  against  these  feats, 
So  crimeful  and  so  capital  in  nature, 
As  by  your  safety,  wisdom,  all  things  else, 
You  mainly  were  stirr'd  up. 

King.  O,  for  two  special  reasons, 

Which  may  to  you  perhaps  seem  much  unsinevv'd, 
But  yet  to  me  they  are  strong.     The  queen  his  mother 
Lives  almost  by  his  looks  ;  and  for  myself — 
My  virtue  or  my  plague,  be  it  either  which — 


1 38  HAMLET. 

She's  so  conjunctive  to  my  life  and  soul, 

That,  as  the  star  moves  not  but  in  his  sphere, 

I  could  not  but  by  her.     The  other  motive, 

Why  to  a  public  count  I  might  not  go, 

Is  the  great  love  the  general  gender  bear  him ; 

Who,  dipping  all  his  faults  in  their  affection, 

Would,  like  the  spring  that  turneth  wood  to  stone,  * 

Convert  his  gyves  to  graces :  so  that  my  arrows, 

Too  slightly  timber'd  for  so  loud  a  wind, 

Would  have  reverted  to  my  bow  again, 

And  not  where  I  had  aim'd  them. 

Laertes.   And  so  have  I  a  noble  father  lost ; 
A  sister  driven  into  desperate  terms, 
Whose  worth,  if  praises  may  go  back  again, 
Stood  challenger  on  mount  of  all  the  age 
For  her  perfections :  but  my  revenge  will  come. 

King.  Break  not  your  sleeps  for  that  j  you  must  not  think 
That  we  are  made  of  stuff  so  flat  and  dull  31 

That  we  can  let  our  beard  be  shook  with  danger, 
And  think  it  pastime.     You  shortly  shall  hear  more : 
I  lov'd  your  father,  and  we  love  ourself ; 
And  that,  I  hope,  will  teach  you  to  imagine — 

Enter  a  Messenger. 
How  now!  what  news? 

Messenger.  Letters,  my  lord,  from  Hamlet : 

This  to  your  majesty  j  this  to  the  queen. 

King.   From  Hamlet  1  who  brought  them  ? 

Messenger.   Sailors,  my  lord,  they  say ;  I  saw  them  not : 
They  were  given  to  me  by  Claudio ;  he  receiv'd  them  <c 

Of  him  that  brought  them. 

King'  Laertes,  you  shall  hear  them. — 

Leave  us.  [Exit  Messenger. 

[Reads]  « High  and  mighty,  You  sJiall  know  I  am  set  naked 
on  your  kingdom.     To-morrow  shall  I  beg  leave  to  see  your 


ACT  IV.     SC£.AA   VI,  139 

kingty  eyes  ;  when  I  shall,  first  asking  yout  paraon  thereunto, 
recount  the  occasion  of  my  sudden  and  more  strange  return. 

HAMLET.' 

What  should  this  mean?    Are  all  the  rest  come  back? 
Or  is  it  some  abuse,  and  no  such  thing? 

Laertes.    Know  you  the  hand? 

King.  T  is  Hamlet's  character.     *  Naked  I ' 

And  in  a  postscript  here,  he  says  '  alone.'  51 

Can  you  advise  me? 

Laertes.   I  'm  lost  in  it,  my  lord.     But  let  him  come ; 
It  warms  the  very  sickness  in  my  heart, 
That  I  shall  live  and  tell  him  to  his  teeth, 
'  Thus  didest  thou.' 

King.  If  it  be  so,  Laertes — 

As  how  should  it  be  so?  how  otherwise?— 
Will  you  be  rul'd  by  me? 

Laertes.  Ay,  my  lord  ; 

So  you  will  not  o'errule  me  to  a  peace. 

King.  To  thine  own  peace.     If  he  be  now  return'd,          60 
As  checking  at  his  voyage,  and  that  he  means 
No  more  to  undertake  it,  I  will  work  him 
To  an  exploit  now  ripe  in  my  device, 
Under  the  which  he  shall  not  choose  but  fall ; 
And  for  his  death  no  wind  of  blame  shall  breathe, 
But  even  his  mother  shall  uncharge  the  practice 
And  call  it  accident. 

Laertes.  My  lord,  I  will  be  rul'd ; 

The  rather,  if  you  could  devise  it  so 
That  I  might  be  the  organ. 

King.  It  falls  right. 

You  have  been  talk'd  of  since  your  travel  much,  j» 

And  that  in  Hamlet's  hearing,  for  a  quality 
Wherein,  they  say,  you  shine  ;  your  sum  of  parts 
Did  not  together  pluck  such  envy  from  him 
As  did  that  one,  and  that,  in  my  regard. 
Of  the  unworthiest  siege. 


1 40  HAMLET. 

Laertes.  What  part  is  that,  my  lord  ? 

King.  A  very  riband  in  the  cap  of  youth, 
Yet  needful  too ;  for  youth  no  less  becomes 
The  light  and  careless  livery  that  it  wears 
Than  settled  age  his  sables  and  his  weeds, 
Importing  health  and  graveness.    Two  months  since,  to 

Here  was  a  gentleman  of  Normandy  : — 
I  've  seen  myself,  and  serv'd  against,  the  French, 
And  they  can  well  on  horseback ;  but  this  gallant 
Had  witchcraft  in  't :  he  grew  into  his  seat, 
And  to  such  wondrous  doing  brought  his  horse, 
As  he  had  been  incorps'd  and  demi-natur'd 
With  the  brave  beast.     So  far  he  topp'd  my  thought 
That  I,  in  forgery  of  shapes  and  tricks, 
Come  short  of  what  he  did. 

Laertes.  A  Norman  was  't? 

King.   A  Norman.  go 

Laertes.   Upon  my  life,  Lamond. 

King.  The  very  same. 

Laertes.   I  know  him  well ;  he  is  the  brooch  indeed 
And  gem  of  all  the  nation. 

King.   He  made  confession  of  you, 
And  gave  you  such  a  masterly  report 
For  art  and  exercise  in  your  defence, 
And  for  your  rapier  most  especially, 
That  he  cried  out,  't  would  be  a  sight  indeed, 
If  one  could  match  you ;  the  scrimers  of  their  nation, 
He  swore,  had  neither  motion,  guard,  nor  eye,  100 

If  you  oppos'd  them.     Sir,  this  report  of  his 
Did  Hamlet  so  envenom  with  his  envy 
That  he  could  nothing  do  but  wish  and  beg 
Your  sudden  coming  o'er,  to  play  with  him. 
Now,  out  of  this — 

Laertes.  What  out  of  this,  my  lord  ? 

King.   Laertes,  was  your  father  <fcar  to  you? 


ACT  IV.    SCENE   VII. 

Or  are  you  like  the  painting  of  a  sorrow, 
A  face  without  a  heart? 

Laertes.  Why  ask  you  this? 

King.  Not  that  I  think  you  did  not  love  your  father; 
But  that  I  know  love  is  begun  by  time, 
And  that  I  see,  in  passages  of  proof, 
Time  qualifies  the  spark  and  fire  of  it. 
There  lives  within  the  very  flame  of  love 
A  kind  of  wick  or  snuff  that  will  abate  it ; 
And  nothing  is  at  a  like  goodness  still, 
For  goodness,  growing  to  a  plurisy, 
Dies  in  his  own  too-much.     That  we  would  do, 
We  should  do  when  we  would  :  for  this  '  would '  changes 
And  hath  abatements  and  delays  as  many 
As  there  are  tongues,  are  hands,  are  accidents ; 
And  then  this  '  should  '  is  like  a  spendthrift  sigh, 
That  hurts  by  easing.     But,  to  the  quick  o'  the  ulcer : 
Hamlet  comes  back  ;  what  would  you  undertake, 
To  show  yourself  your  father's  son  in  deed 
More  than  in  words? 

Laertes.  To  cut  his  throat  i'  the  church. 

King.    No  place,  indeed,  should  murther  sanctuarize ; 
Revenge  should  have  no  bounds.     But,  good  Laertes, 
Will  you  do  this,  keep  close  within  your  chamber. 
Hamlet  return'd  shall  know  you  are  come  home  : 
We  '11  put  on  those  shall  praise  your  excellence 
And  set  a  double  varnish  on  the  fame 
The  Frenchman  gave  you ;  bring  you,  in  fine,  together 
\nd  wager  on  your  heads.     He,  being  remiss, 
Most  generous  and  free  from  all  contriving, 
Will  not  peruse  the  foils;  so  that,  with  ease 
Or  with  a  little  shuffling,  you  may  choose 
A  sword  unbated,  and  in  a  pass  of  practice 
Requite  him  for  your  father. 

Laertes  I  will  do  't ; 


142 


HAMLET. 


And,  for  that  purpose,  I  '11  anoint  my  sword. 

I  bought  an  unction  of  a  mountebank,  « 

So  mortal  that,  but  dip  a  knife  in  it, 

Where  it  draws  blood  no  cataplasm  so  rare, 

Collected  from  all  simples  that  have  virtue 

Under  the  moon,  can  save  the  thing  from  death 

That  is  but  scratch'd  withal ;  I  '11  touch  my  point 

With  this  contagion,  that,  if  I  gall  him  slightly, 

It  may  be  death. 

King.  Let 's  further  think  of  this ; 

Weigh  what  convenience  both  of  time  and  means 
May  fit  us  to  our  shape.     If  this  should  fail, 
And  that  our  drift  look  through  our  bad  performance.          i 
T  were  better  not  assay'd  ;  therefore  this  project 
Should  have  a  back  or  second,  that  might  hold 
If  this  should  blast  in  proof.     Soft ! — let  me  see  :— 
We  '11  make  a  solemn  wager  on  your  cunnings, — 
I  ha  't : 

When  in  your  motion  you  are  hot  and  dry — 
As  make  your  bouts  more  Solent  to  that  end— 
And  that  he  calls  for  drink,  I  '11  have  prepar'd  him 
A  chalice  for  the  nonce,  whereon  but  sipping, 
If  he  by  chance  escape  your  venom'd  stuck,  i 

Our  purpose  may  hold  there. — 

Enter  QUEEN. 

How  now,  sweet  queen  ! 

Queen.  One  woe  doth  tread  upon  another's  heel, 
So  fast  they  follow. — Your  sister  's  drown'd,  Laertes. 

Laertes.    Drown'd  1     O,  where  ? 

Queen.  There  is  a  willow  grows  aslant  a  brook, 
That  shows  his  hoar  leaves  in  the  glassy  stream ; 
There  with  fantastic  garlands  did  she  come 
Of  crow-flowers,  nettles,  daisies,  and  long  purples, 
That  liberal  shepherds  give  a  grosser  name. 


ACT  IV.     SCENE   VII.  143 

But  our  cold  maids  do  dead  men's  fingers  call  them  :        170 

There,  on  the  pendent  boughs  her  coronet  weeds 

Clambering  to  hang,  an  envious  sliver  broke, 

When  down  her  weedy  trophies  and  herself 

Fell  in  the  weeping  brook.     Her  clothes  spread  wide, 

And,  mermaid-like,  a  while  they  bore  her  up; 

Which  time  she  chanted  snatches  of  old  tunes, 

As  one  incapable  of  her  own  distress, 

Or  like  a  creature  native  and  indued 

Unto  that  element :  but  long  it  could  not  be 

Till  that  her  garments,  heavy  with  their  drink,  i&o 

Pull'd  the  poor  wretch  from  her  melodious  lay 

To  muddy  death. 

Laertes.  Alas,  then,  is  she  drown'd  ? 

Queen.    Drown'd,  drown'd. 

Laertes.   Too  much  of  water  hast  thou,  poor  Ophelia, 
And  therefore  I  forbid  my  tears.     But  yet 
It  is  our  trick ;  nature  her  custom 
Let  shame  say  what  it  will :  wb«fthese 
The  woman  will  be  out. — Acfieu,  my  lord ; 
I  have  a  speech  of  hre,  that  fain  would  blaze, 
But  that  this  folly  douts  it. 

King.  Let  's  follow,  Gertrude ;      190 

How  much  I  had  to  do  to  calm  his  rage ! 
Now  fear  I  this  will  give  it  start  again ; 
Therefore  let  's  follow.  [Exeunt. 


ACTV. 

SCENE  I.    A  Churchyard. 
Enter  two  Clowns,  with  spades,  etc. 

1  Clown.  Is  she  to  be  buried  in  Christian  burial  that  wiK 
fully  seeks  her  own  salvation  ? 

2  Clown.  I  tell  thee  she  is ;  and  therefore  make  her  grave 
straight :  the  crowner  hath  sat  on  her,  and  finds  it  Christian 
burial. 

1  Clown.  How  can  that  be,  unless  she  drowned  herself  in 
her  own  defence  ? 

2  Clown.  Why,  't  5s  found  so. 

I  Clown.  It  must  be  se  ojfendendo;  it  cannot  be  else.    Fot 


ACT  V.    SCENE  /.  145 

here  lies  the  point :  if  I  drown  myself  wittingly,  it  argues  an 
act,  and  an  act  hath  three  branches  ;  it  is,  to  act,  to  do,  and 
to  perform  :  argal,  she  drowned  herself  wittingly.  , 

2  Clown.  Nay,  but  hear  you,  goodman  delver, — 

1  Clown.  Give  me  leave.      Here  lies  the  water;  good: 
here  stands  the  man  ;  good  :  if  the  man  go  to  this  water, 
and  drown  himself,  it  is,  will  he  nill  he,  he  goes, — mark  you 
that ;  but  if  the  water  come  to  him  and  drown   him,  he 
drowns  not  himself:  argal,  he  that  is  not  guilty  of  his  own 
death  shortens  not  his  own  life. 

2  Clown.  But  is  this  law?  20 

1  Clown.  Ay,  marry,  is  't ;  crowner's  quest  law. 

2  Clown.  Will  you  ha'  the  truth  on  't?     If  this  had  not 
been  a  gentlewoman,  she  should  have  been  buried  out  o' 
Christian  burial. 

1  Clown.  Why,  there  thou  say'st ;  and  the  more  pity  that 
great  folk  should  have  countenance  in  this  world  to  drown 
or  hang  themselves,  more  than  their  even-Christian. — Come, 
my  spade.     There  is  no  ancient  gentlemen  but  gardeners, 
ditchers,  and  grave -makers;  they  hold  up  Adam's  profes- 
sion. 30 

2  Clown.  Was  he  a  gentleman  ? 

1  Clown.  He  was  the  first  that  ever  bore  arms. 

2  Clown.  Why,  he  had  none. 

1  Clown.  What,  art  a  heathen  ?     How  dost  thou  under- 
stand the  Scripture?    The  Scripture  says  'Adam  digged;' 
could  he  dig  without  arms  ?     I  '11  put  another  question  to 
thee ;  if  thou  answerest  me  not  to  the  purpose,  confess  thy- 
self— 

2  Clown.  Go  to. 

1  Clown.  What  is  he  that  builds  stronger  than  either  the 
mason,  the  shipwright,  or  the  carpenter?  4» 

2  Cloum.  The  gallows  -  maker ;  for  that  frame  outlives  a 
thousand  tenants. 

I  Clown.  I  like  thy  wit  well,  in  good  faith:  the  gallows 
K 


I46  HAMLET. 

does  well;  but  how  does  it  well?  it  does  well  to  those  that 
do  ill ;  now  thou  dost  ill  to  say  the  gallows  is  built  stronger 
than  the  church  :  argal,  the  gallows  may  do  well  to  thee. 
To  't  again,  come. 

2   Clown.    Who  builds   stronger   than   a   mason,   a   ship- 
wright, or  a  carpenter?  & 

1  Clown.   Ay,  tell  me  that,  and  unyoke. 

2  Clown.   Marry,  now  I  can  tell. 

1  Clown.  To  't. 

2  Clown.   Mass,  I  cannot  tell. 

Enter  HAMLET  and  HORATIO,  at  a  distance. 
I  Clown.  Cudgel  thy  brains  no  more  about  it,  for  your 
dull  ass  will  not  mend  his  pace  with  beating  ;  and  when  you 
are  asked  this  question  next,  say  *  a  grave-maker :'  the  houses 
that  he  makes  last  till  doomsday.  Go,  get  thee  to  Yaughan ; 
fetch  me  a  stoup  of  liquor.  \_Exit  2  Clown. 

\He  digs,  and  sings. 
In  youth,  when  I  did  love,  did  love ,  60 

Methought  it  was  very  sweet, 
To  contract — O  ! — the  time,  for — ah  ! — my  behove, 

Oy  methought,  there  was  nothing  meet. 
Hamlet.   Has  this  fellow   no  feeling  of  his  business,  that 
he  sings  at  grave-making? 

Horatio.    Custom  hath  made  it  in  him  a  property  of  easi- 
ness. 

Hamlet.   T  is  e'en  so ;  the  hand  of  little  employment  hath 
the  daintier  sense. 
I   Clown.   [Sings] 

But  age,  with  his  stealing  steps,  70 

Hath  claw'd  me  in  his  clutch, 
And  hath  shipped  me  intil  the  land, 
As  if  I  had  never  been  such. 

[Throws  up  a  skull. 
Hamlet.  That  skull  had  a  tongue  in  it,  and  could  sing 


ACT  V.    SCENE  /.  147 

once ;  how  the  knave  jowls  it  to  the  ground,  as  if  it  were 
Cain's  jaw-bone,  that  did  the  first  murther  !  It  might  be 
the  pate  of  a  politician,  which  this  ass  now  o'er-reaches ; 
one  that  would  circumvent  God,  might  it  not? 

Horatio.    It  might,  my  lord.  79 

Hamlet.  Or  of  a  courtier,  which  could  say  '  Good  morrow, 
sweet  lord  !  How  dost  thou,  good  lord?'  This  might  be 
my  lord  such-a-one,  that  praised  my  lord  -such-a-one's  horse, 
when  he  meant  to  beg  it,  might  it  not  ? 

Horatio.   Ay,  my  lord. 

Hamlet.  Why,  e'en  so  ;  and  now  my  Lady  Worm's,  chap- 
less,  and  knocked  about  the  mazzard  with  a  sexton's  spade : 
here's  fine  revolution,  an  we  had  the  trick  to  see  't.  Did 
these  bones  cost  no  more  the  breeding,  but  to  play  at  log- 
gats  with  'em  ?  mine  ache  to  think  on  't 

I   Clown.   [Sings] 

A  pick-axe,  and  a  spade,  a  spadet  »» 

For  and  a  shrouding  sheet ; 
O,  a  pit  of  clay  for  to  be  made 
For  such  a  guest  is  tneet. 

[  Throws  up  another  skua. 

Hamlet.  There  's  another;  why  may  not  that  be  the  skull 
of  a  lawyer?  Where  be  his  quiddits  now,  his  quillets,  his 
cases,  his  tenures,  and  his  tricks  ?  why  does  he  suffer  this 
rude  knave  now  to  knock  him  about  the  sconce  with  a  dirty, 
shovel,  and  will  not  tell  him  of  his  action  of  battery?  Hum  ! 
This  fellow  might  be  in  's  time  a  great  buyer  of  land,  with  his 
statutes,  his  recognizances,  his  fines,  his  double  vouchers, 
his  recoveries ;  is  this  the  fine  of  his  fines,  and  the  recovery 
of  his  recoveries,  to  have  his  fine  pate  full  of  fine  dirt  ?  will 
his  vouchers  vouch  him  no  more  of  his  purchases,  and  double 
ones  too,  than  the  length  and  breadth  of  a  pair  of  indent- 
ures? The  very  conveyances  of  his  lands  will  hardly  lie  in 
this  box;  and  must  the  inheritor  himself  have  no  more,  ha? 

Horatio.   Not  a  jot  more,  my  lord. 


I48  HAMLET. 

Hamlet.   Is  not  parchment  made  of  sheep-skins? 

Horatio.  Ay,  my  lord,  and  of  calf-skins  too.  109 

Hamlet.  They  are  sheep  and  calves  which  seek  wit  as- 
surance in  that.  I  will  speak  to  this  fellow.— Whose  grave  's 
this,  sirrah? 

\  Clown.   Mine,  sir. — 

[Sings]  O,  a  pit  of  clay  for  to  be  made 
'  For  such  a  guest  is  meet. 

Hamlet.  I  think  it  be  thine,  indeed,  for  thou  liest  in  't. 

i  Clown.  You  lie  out  on  't,  sir,  and  therefore  it  is  not 
yours ;  for  my  part,  I  do  not  lie  in  't,  and  yet  it  is  mine. 

•Hamlet.  Thou  dost  lie  in  't,  to  be  in  't  and  say  it  is  thine  : 
't  is  for  the  dead,  not  for  the  quick :  therefore  thou  liest. 

i  Clown.  T  is  a  quick  lie,  sir ;  't  will  away  again,  from 
me  to  you.  "• 

Hamlet.   What  man  dost  thou  dig  it  for? 

i  Clown.   For  no  man,  sir. 

Hamlet.    What  woman,  then? 

i  Clown.    For  none,  neither. 

Hamlet.   Who  is  to  be  buried  in  't? 

i  Clown.  One  that  was  a  woman,  sir ;  but,  rest  her  soul, 
she  's  dead.  129 

Hamlet.  How  absolute  the  knave  is  1  we  must  speak  by 
the  card,  or  equivocation  will  undo  us.  By  the  Lord,  Hora- 
tio, these  three  years  I  have  taken  a  note  of  it ;  the  age  is 
grown  so  picked  that  the  toe  of  the  peasant  comes  so  neai 
the  heel  of  the  courtier,  he  galls  his  kibe. — How  long  hast 
thou  been  a  grave-maker? 

:  Clown.  Of  all  the  days  i'  the  year,  I  came  to  't  that 
day  that  our  last  king  Hamlet  overcame  Fortinbras. 

Hamlet.   How  long  is  that  since? 

i  Clown.  Cannot  you  tell  that?  every  fool  can  tell  that : 
it  was  the  very  day  that  young  Hamlet  was  born  ;  be  that 
is  mad,  and  sent  into  England.  u< 

Hamlet.  Ay,  marry,  why  was  he  sent  into  England  ? 


ACT   V.    SCENE  /.  149 

I  Clown.  Why,  because  he  was  mad :  he  shall  recover  his 
wits  there  ;  or,  if  he  do  not,  it 's  no  great  matter  there. 

Hamlet.   Why? 

i  Clown.  T  will  not  be  seen  in  him  there ;  there  the  men 
are  as  mad  as  he. 

Hamlet.    How  came  he  mad  ? 

i    Clown.  Very  strangely,  they  say. 

Hamlet.    How  strangely?  150 

i    Clown.    Faith,  e'en  with  losing  his  wits. 

Hamlet.   Upon  what  ground? 

i  Clown.  Why,  here  in  Denmark;  I  have  been  sexton 
here,  man  and  boy,  thirty  years. 

Hamlet.    How  long  will  a  man  lie  i'  the  earth  ere  he  rot? 

i  Clown.  I'  faith,  if  he  be  not  rotten  before  he  die — as 
we  have  many  pocky  corses  now-a-days,  that  will  scarce 
hold  the  laying  in — he  will  last  you  some  eight  year  or 
nine  year ;  a  tanner  will  last  you  nine  year. 

Hamlet.    Why  he  more  than  another?  160 

i  Clown.  Why,  sir,  his  hide  is  so  tanned  with  his  trade, 
that  he  will  keep  out  water  a  great  while  ;  and  your  water  is  a 
sore  decayer  of  your  whoreson  dead  body.  Here  's  a  skull 
now ;  this  skull  has  lain  in  the  earth  three  and  twenty  years. 

Hamlet.   Whose  was  it? 

i  Clown.  A  whoreson  mad  fellow's  it  was ;  whose  do  you 
think  it  was? 

Hamlet.   Nay,  I  know  not. 

i  Clown.  A  pestilence  on  him  for  a  mad  rogue  1  a'  poured 
a  flagon  of  Rhenish  on  my  head  once.  This  same  skull,  sir, 
was  Yorick's  skull,  the  king's  jester.  171 

Hamlet.   This? 

I   Clown.   E'en  that. 

Hamlet.  Let  me  see. — [Takes  the  skit!?."]  Alas,  poor  Yor- 
ick  ! — I  knew  him,  Horatio ;  a  fellow  of  infinite  jest,  of 
most  excellent  fancy :  he  hath  borne  me  on  his  back  a 
thousand  times ;  and  now,  how  abhorred  in  my  imagination 


,50  HAMLET. 

it  is  I  my  gorge  rises  at  it  Here  hung  those  lips  that  1  have 
kissed  I  know  not  how  oft. — Where  be  your  gibes  now? 
your  gambols?  your  songs?  your  flashes  of  merriment,  that 
were  wont  to  set  the  table  on  a  roar?  Not  one  now,  to  mock 
your  own  grinning?  quite  chop-fallen?  Now  get  you  to  my 
lady's  chamber,  and  tell  her,  let  her  paint  an  inch  thick,  to 
this  favour  she  must  come;  make  her  laugh  at  that.— Prithee, 
Horatio,  tell  me  one  thing.  185 

Horatio.   What 's  that,  my  lord? 

Hamlet.  Dost  thou  think  Alexander  looked  o*  this  fashion 
i'  the  earth? 

Horatio.   E'en  so. 

Hamlet.  And  smelt  so?  pah  1  \Puts  down  the  skull. 

Horatio.   E'en  so,  my  lord.  19* 

Hamlet.  To  what  base  uses  we  may  return,  Horatio  !  Why 
may  not  imagination  trace  the  noble  dust  of  Alexander,  till 
he  find  it  stopping  a  bung-hole? 

Horatio.   T  were  to  consider  too  curiously,  to  consider  so. 

Hamlet  No,  faith,  not  a  jot ;  but  to  follow  him  thither 
with  modesty  enough,  and  likelihood  to  lead  it ;  as  thus : 
Alexander  died,  Alexander  was  buried,  Alexander  returneth 
into  dust ;  the  dust  is  earth  ;  of  earth  we  make  loam ;  and 
why  of  that  loam,  whereto  he  was  converted,  might  they  not 
stop  a  beer-barrel?  *» 

Imperious  Caesar,  dead  and  turn'd  to  clay, 
Might  stop  a  hole  to  keep  the  wind  away ; 
O,  that  that  earth,  which  kept  the  world  in  awe, 
Should  patch  a  wall  to  expel  the  winter's  flaw  ! 
But  soft !  but  soft !  aside  !  here  comes  the  king, 

Enter  Priests,  etc.,  in  procession  ;  the  Corpse  of  OPHELIA, 
LAERTES  and  Mourners  following;  KING,  QUEEN,  theit 
trains,  etc. 

The  queen,  the  courtiers;  who  is  that  they  follow? 
And  with  such  maimed  rites?    This  doth  betoken 


ACT  r.    SCENE  I.  151 

The  corse  they  follow  did  with  desperate  hand 

Fordo  it  own  life ;  't  was  of  some  estate.  aio 

Couch  we  awhile,  and  mark.  \Retiring  with  Horatio, 

Laertes.    What  ceremony  else? 

Hamlet.    That  is  Laertes,  a  very  noble  youth  ;  mark. 

Laertes.   What  ceremony  else? 

i  Priest.   Her  obsequies  have  been  as  far  enlarg'd 
As  we  have  warrantise  :  her  death  was  doubtful  j 
And,  but  that  great  command  o'ersways  the  order, 
She  should  in  ground  unsanctified  have  lodg'd 
Till  the  last  trumpet ;  for  charitable  prayers, 
Shards,  flints,  and  pebbles  should  be  thrown  on  her :  «• 

Yet  here  she  is  allow'd  her  virgin  crants, 
Her  maiden  strewments,  and  the  bringing  home 
Of  bell  and  burial. 

Laertes.   Must  there  no  more  be  done? 

i  Priest.  No  more  be  done ; 

We  should  profane  the  service  of  the  dead 
To  sing  a  requiem  and  such  rest  to  her 
As  to  peace-parted  souls. 

Laertes.  Lay  her  'i  the  earth  ;— 

And  from  her  fair  and  unpolluted  flesh 
May  violets  spring  ! — I  tell  thee,  churlish  priest, 
A  ministering  angel  shall  my  sister  be,  »> 

When  thou  liest  howling. 

Hamlet.  What,  the  fair  Ophelia  ! 

Queen.   Sweets  to  the  sweet ;  farewell !  [Scattering  flowers, 
I  hop'd  thou  shouldst  have  been  my  Hamlet's  wife ; 
I  thought  thy  bride-bed  to  have  deck'd,  sweet  maid, 
And  not  t*  have  strew'd  thy  grave. 

Laertes.  O,  treble  woe 

Fall  ten  times  treble  on  that  cursed  head 
Whose  wicked  deed  thy  most  ingenious  sense 
Depriv'd  thee  of ! — Hold  off  the  earth  awhile, 
Till  I  have  caught  her  once  more  in  mine  arms. 

[Leaps  into  the  grave. 


152 


HAMLET. 


Now  pile  your  dust  upon  the  quick  and  dead,  240 

Till  of  this  flat  a  mountain  you  have  made 
To  o'ertop  old  Pelion  or  the  skyish  head 
Of  blue  Olympus. 

Hamlet.   [Advancing]    What  is  he  whose  grief 
Bears  such  an  emphasis  ?  whose  phrase  of  sorrow 
Conjures  the  wandering  stars,  and  makes  them  stand 
Like  wonder-wounded  hearers  ?     This  is  I, 
Hamlet  the  Dane !  [Leaps  into  the  grave. 

Laertes.  The  devil  take  thy  soul ! 

[Grappling  with  him. 

Hamlet.   Thou  pray'st  not  well. 

I  prithee,  take  thy  fingers  from  my  throat ;  250 

For,  though  I  am  not  splenitive  and  rash, 
Yet  have  I  something  in  me  dangerous, 
Which  let  thy  wisdom  fear.     Hold  off  thy  hand ! 

King.   Pluck  them  asunder. 

Queen.  Hamlet,  Hamlet ! 

All.   Gentlemen,— 

Horatio.  Good  my  lord,  be  quiet. 

[The  Attendants  part  them,  and  they  come  out  of  the  grave. 

Hamlet.   Why,  I  will  fight  with  him  upon  this  theme 
Until  my  eyelids  will  no  longer  wag. 

Queen.   0  my  son,  what  theme? 

Hamlet.   I  lov'd  Ophelia ;  forty  thousand  brothers 
Could  not,  with  all  their  quantity  of  love,  260 

Make  up  my  sum. — What  wilt  thou  do  for  her? 

King.  0,  he  is  mad",  Laertes. 

Queen.   For  love  of  God,' forbear  him. 

Hamlet.   'Swounds,  show  me  what  thou  'It  do  : 
Woo't  weep?  woo't  fight?  woo't  fast?  woo't  tear  thyself? 
Woo't  drink  up  eisel?  eat  a  crocodile? 
I  '11  do  't.     Dost  thou  come  here  to  whine  ? 
To  outface  me  with  leaping  in  her  grave  ? 
Be  buried  quick  with  her,  and  so  will  I  j 


ACT   V.    SCENE  //.  153 

And,  if  them  prate  of  mountains,  let  them  throw  970 

Millions  of  acres  on  us,  till  our  ground, 
Singeing  his  pate  against  the  burning  zone, 
Make  Ossa  like  a  wart !     Nay,  an  thou  'It  mouth, 
I  '11  rant  as  well  as  thou. 

.    Queen.  This  is  mere  madness : 

And  thus  awhile  the  fit  will  work  on  him ; 
Anon,  as  patient  as  the  female  dove, 
When  that  her  golden  couplets  are  disclos'd, 
His  silence  will  sit  drooping. 

Hamlet.  Hear  you,  sir ; 

What  is  the  reason  that  you  use  me  thus? 
I  lov'd  you  ever. — But  it  is  no  matter ;  «8o 

Let  Hercules  himself  do  what  he  may, 
The  cat  will  mew,  and  dog  will  have  his  day.  [Exit. 

King.    I  pray  you,  good  Horatio,  wait  upon  him. — 

\_Exit  Horatio. 
[To  Laettes~\  Strengthen  your   patience  in  our  last  night's 

speech  j 

We  '11  put  the  matter  to  the  present  push. — 
Good  Gertrude,  set  some  watch  over  your  son. 
This  grave  shall  have  a  living  monument : 
An  hour  of  quiet  shortly  shall  we  see ; 
Till  then,  in  patience  our  proceeding  be.  [Exeuni 

SCENE  II.     A  Hall  in  the  Castle. 
Enter  HAMLKT  and  HORATIO. 

Hamlet.   So  much  for  this,  sir;  now  let  me  see  the  other; 
You  do  remember  all  the  circumstance? 

Horatio.    Remember  it,  my  lord  ! 

Hamlet.    Sir,  in  my  heart  there  was  a  kind  of  fighting, 
That  would  not  let  me  sleep ;  methought  I  lay 
Worse  than  the  mutines  in  the  bilboes.     Rashly, — 
And  prais'd  be  rashness  for  it,  let  us  know, 


.54 


HAMLET. 


Our  indiscretion  sometimes  serves  us  well, 
When  our  deep  plots  do  fail ;  and  that  should  teach  us 
There  's  a  divinity  that  shapes  our  ends,  K 

Rough-hew  them  how  we  will, — 

Horatio.  That  is  most  certain. 

Hamlet.   Up  from  my  cabin, 
My  sea-gown  scarfd  about  me,  in  the  dark 
Grop'd  I  to  find  out  them ;  had  my  desire, 
Finger'd  their  packet,  and  in  find  withdrew 
To  mine  own  room  again ;  making  so  bold, 
My  fears  forgetting  manners,  to  unseal 
Their  grand  commission ;  where  I  found,  Horatio,— 

0  royal  knavery  ! — an  exact  command, 

Larded  with  many  several  sorts  of  reasons  ao 

Importing  Denmark's  health  and  England's  too, 

With,  ho!  such  bugs  and  goblins  in  my  life, 

That,  on  th<  supervise,  no  leisure  bated, 

No,  not  to  stay  the  grinding  of  the  axe, 

My  head  should  be  struck  off. 

Horatio.  Is  't  possible? 

Hamlet.   Here  's  the  commission ;  read  it  at  more  leisure. 
But  wilt  thou  hear  me  how  I  did  proceed? 

Horatio.   I  beseech  you. 

Hamlet.   Being  thus  be-netted  round  with  villanies— 
Ere  I  could  make  a  prologue  to  my  brains,  30 

They  had  begun  the  play — I  sat  me  down, 
Devis'd  a  new  commission,  wrote  it  fair ; 

1  once  did  hold  it,  as  our  statists  do, 

A  baseness  to  write  fair,  and  labour'd  much 
How  to  forget  that  learning,  but,  sir,  now 
It  did  me  yeoman's  service.     Wilt  thou  know 
The  effect  of  what  I  wrote? 

Horatio.  Ay,  good  my  lord. 

Hamlet.   An  earnest  conjuration  from  the  king 
As  England  was  his  faithful  tributary, 


ACT   V.     SCENE  77. 

As  love  between  them  like  the  palm  might  flourish,  «t 

As  peace  should  still  her  wheaten  garland  wear 

And  stand  a  comma  'tween  their  amities, 

And  many  such-like  as's  of  great  charge, 

That,  on  the  view  and  knowing  of  these  contents, 

Without  debatement  further,  more  or  less, 

He  should  the  bearers  put  to  sudden  death, 

Not  shriving-time  allow'd. 

Horatio.  How  was  this  seaPd? 

Hamlet.   Why,  even  in  that  was  heaven  ordinant. 
I  had  my  father's  signet  in  my  purse, 

Which  was  the  model  of  that  Danish  seal ;  j» 

Folded  the  writ  up  in  form  of  the  other, 
Subscrib'd  it,  gave  't  the  impression,  plac'd  it  safely, 
The  changeling  never  known.     Now,  the  next  day 
Was  our  sea-fight ;  and  what  to  this  was  sequent 
Thou  know'st  already. 

Horatio.    So  Guildenstern  and  Rosencrantz  go  to  't. 

Hamlet.  Why,  man,  they  did  make  love  to  this  employment : 
They  are  not  near  my  conscience  ;  their  defeat 
Does  by  their  own  insinuation  grow. 

'T  is  dangerous  when  the  baser  nature  comes  60 

Between  the  pass  and  fell  incensed  points 
Of  mighty  opposites. 

Horatio.  Why,  what  a  king  is  this  ! 

Hamlet.    Does  it  not,  thinks  't  thee,  stand  me  now  upon— 
(He  that  hath  kill'd  my  king  and  whor'd  my  mother, 
Popp'd  in  between  the  election  and  my  hopes, 
Thrown  out  his  angle  for  my  proper  life, 
And  with  such  cozenage — is  't  not  perfect  conscience, 
To  quit  him  with  this  arm  ?  and  is  't  not  to  be  damn'd, 
To  let  this  canker  of  our  nature  come 
In  further  evil  ?  70 

Horatio.  It  must  be  shortly  known  to  him  from  England 
What  is  the  issue  of  the  business  there. 


j^6  HAMLET. 

Hamlet.    It  will  be  short :  the  interim  is  mine ; 
And  a  man's  life  's  no  more  than  to  say  *  One.' 
But  I  am  very  sorry,  good  Horatio, 
That  to  Laertes  I  forgot  myself ; 
For,  by  the  image  of  my  cause,  I  see 
The  portraiture  of  his.     I  Ml  court  his  favours  ; 
But,  sure,  the  bravery  of  his  grief  did  put  me 
Into  a  towering  passion. 

Horatio.  Peace  I  who  comes  here  ?  & 

Enter  OSRIC. 

Osric.   Your  lordship  is  right  welcome  back  to  Denmark. 

Hamlet.  I  humbly  thank  you,  sir. — \_Aside  to  Horatio]  Dost 
know  this  water-fly  ? 

Horatio.    [Aside  to  Hamlet]  No,  my  good  lord. 

Hamlet.  \_Aside  to  Horatio]  Thy  state  is  the  more  gracious  ; 
for  't  is  a  vice  to  know  him.  He  hath  much  land,  and  fer- 
tile ;  let  a  beast  be  lord  of  beasts,  and  his  crib  shall  stand  at 
the  king's  mess.  'T  is  a  chough,  but,  as  I  say,  spacious  in 
the  possession  of  dirt. 

Osric.  Sweet  lord,  if  your  lordship  were  at  leisure,  I  should 
impart  a  thing  to  you  from  his  majesty.  9* 

Hamlet.  I  will  receive  it,  sir,  with  all  diligence  of  spirit. 
Put  your  bonnet  to  his  right  use  ;  't  is  for  the  head. 

Osric.    I  thank  your  lordship,  it  is  very  hot. 

Hamlet.  No,  believe  me,  't  is  very  cold;  the  wind  is  north-1 
erly. 

Osric.    It  is  indifferent  cold,  my  lord,  indeed. 

Hamlet.  But  yet  methinks  it  is  very  sultry  and  hot  for  my 
complexion. 

Osric.  Exceedingly,  my  lord  •  it  is  very  sultry, — as  't 
were,— I  cannot  tell  how.  But,  my  lord,  his  majesty  bade 
me  signify  to  you  that  he  has  laid  a  great  wager  on  your 
bead.  Sir,  mis  is  the  matter, —  103 

Hamlet.   I  beseech  you,  remember— 

\_Hamlet  moves  him  to  put  on  his  hat. 


ACT   V.    SCENE  II.  157 

Osric.  Nay,  in  good  faith;  for  mine  ease,  in  good  faith. 
Sir,  here  is  newly  come  to  court  Laertes ;  believe  me,  an  ab- 
solute gentleman,  full  of  most  excellent  differences,  of  very 
soft  society  and  great  showing:  indeed,  to  speak  feelingly  of 
him,  he  is  the  card  or  calendar  of  gentry,  for  you  shall  find  in 
him  the  continent  of  what  part  a  gentleman  would  see.  no 

Hamlet.  Sir,  his  definement  suffers  no  perdition  in  you  ; 
though,  I  know,  to  divide  him  inventorially  would  dizzy  the 
arithmetic  of  memory,  and  yet  but  yaw  neither,  in  respect  of 
his  quick  sail.  But,  in  the  verity  of  extolment,  I  take  him  to 
be  a  soul  of  great  article,  and  his  infusion  of  such  dearth  and 
rareness,  as,  to  make  true  diction  of  him,  his  semblable  is  his 
mirror,  and  who  else  would  trace  him,  his  umbrage,  nothing 
more. 

Osric.   Your  lordship  speaks  most  infallibly  of  him. 

Hamlet.  The  concernancy,  sir?  why  do  we  wrap  the  gen- 
tleman in  our  more  rawer  breath  ?  121 

Osric.   Sir? 

Horatio.  Is  't  not  possible  to  understand  in  another 
tongue  ?  You  will  do  't,  sir,  really. 

Hamlet.   What  imports  the  nomination  of  this  gentleman? 

Osric.    Of  Laertes  ? 

Horatio.  [Aside  to  Hamlei\  His  purse  is  empty  already ; 
all 's  golden  words  are  spent. 

Hamlet.    Of  him,  sir. 

Osric.    I  know  you  are  not  ignorant —  130 

Hamlet.  I  would  you  did,  sir ;  yet,  in  faith,  if  you  did,  it 
would  not  much  approve  me.  Well,  sir? 

Osric.  You  are  not  ignorant  of  what  excellence  Laertes 
is— 

Hamlet.  I  dare  not  confess  that,  lest  I  should  compare 
with  him  in  excellence ;  but,  to  know  a  man  well,  were  to 
know  himself. 

Osric.  I  mean,  sir,  for  his  weapon  ;  but  in  the  imputation 
laid  on  him  by  them,  in  his  meed  he  's  unfellowed. 


I58  HAMLET. 

Hamlet.  What 's  his  weapon?  M» 

Osric.   Rapier  and  dagger. 

Hamlet.  That  's  two  of  his  weapons ;  but,  well. 

Osric.  The  king,  sir,  hath  wagered  with  him  six  Barbary 
horses;  against  the  which  he  has  imponed,  as  I  take  it,  six 
French  rapiers  and  poniards,  with  their  assigns,  as  girdle, 
hangers,  and  so.  Three  of  the  carriages,  in  faith,  are  very 
dear  to  fancy,  very  responsive  to  the  hilts,  most  delicate 
carriages,  and  of  very  liberal  conceit. 

Hamlet.   What  call  you  the  carriages? 

Horatio.  [Aside  to  Hamlef\  I  knew  you  must  be  edified 
by  the  margent  ere  you  had  done.  151 

Osric.  The  carriages,  sir,  are  the  hangers. 

Hamlet.  The  phrase  would  be  more  germane  to  the  mat- 
ter, if  we  could  carry  cannon  by  our  sides ;  I  would  it  might 
be  hangers  till  then.  But,  on :  six  Barbary  horses  against 
six  French  swords,  their  assigns,  and  three  liberal-conceited 
carriages ;  that  's  the  French  bet  against  the  Danish.  Why 
is  this  '  imponed,'  as  you  call  it  ? 

Osric.  The  king,  sir,  hath  laid  that  in  a  dozen  passes  be- 
tween yourself  and  him,  he  shall  not  exceed  you  three  hits : 
he  hath  laid  on  twelve  for  nine ;  and  it  would  come  to  im- 
mediate trial,  if  your  lordship  would  vouchsafe  the  answer. 

Hamlet.    How  if  I  answer  no  ?  163 

Osric.  I  mean,  my  lord,  the  opposition  of  your  person  in 
trial. 

Hamlet.  Sir,  I  will  walk  here  in  the  hall :  if  it  please  hi. 
majesty,  't  is  the  breathing  ume  of  day  with  me  ;  let  the 
foils  be  brought,  the  gentleman  willing,  and  the  king  hold 
his  purpose,  I  will  win  for  him  if  I  can ;  if  not,  I  will  gain 
nothing  but  my  shame  and  the  odd  hits.  i?o 

Osric.   Shall  I  re-deliver  you  e'en  so? 

Hamlet.  To  this  effect,  sir,  after  what  flourish  your  nature 
will. 

Osric.   I  commend  my  duty  to  your  lordship- 


ACT   V.    SCENE  It.  159 

Hamlet.  Yours,  yours. — \_Exit  Osric.]  He  does  well  to 
commend  it  himself;  there  are  no  tongues  else  for  's  turn. 

Horatio.  This  lapwing  runs  away  with  the  shell  on  his 
head. 

Hamlet.  He  did  comply  with  his  dug,  before  he  sucked  it. 
Thus  has  he — and  many  more  of  the  same  bevy  that  I  know 
the  drossy  age  dotes  on — only  got  the  tune  of  the  time  and 
outward  habit  of  encounter ;  a  kind  of  yesty  collection,  which 
carries  them  through  and  through  the  most  fond  and  win- 
nowed opinion;  and  do  but  blow  them  to  their  trial,  the 
bubbles  are  out.  185 

Enter  a  Lord. 

Lord.  My  lord,  his  majesty  commended  him  to  you  by 
young  Osric,  who  brings  back  to  him,  that  you  attend  him 
in  the  hall ;  he  sends  to  know  if  your  pleasure  hold  to  play 
with  Laertes,  or  that  you  will  take  longer  time. 

Hamlet.  I  am  constant  to  my  purposes;  they  follow  the 
king's  pleasure  :  if  his  fitness  speaks,  mine  is  ready ;  now  or 
whensoever,  provided  I  be  so  able  as  now.  192 

Lord.   The  king  and  queen  and  all  are  coming  down. 

Hamkt.   In  happy  time. 

Lord.   The  queen  desires  you  to  use  some  gentle  enter- 
Jtainment  to  Laertes  before  you  fall  to  play. 
^y       Hamlet.   She  well  instructs  me.  [Exit  Lord. 

Horatio.   You  will  lose  this  wager,  my  lord. 

Hdmlet.   I  do  not  think  so :  since  he  went  into  France,  I 
•e  been  in  continual  practice;  I  shall   win  at  the  odds. 

t  thou  wouldst  not  think  how  ill  all's  here  about  my 
heart ;  but  it  is  no  matter.  202 

o.   Nay,  good  my  lord, — 

Hamlet.  It  is  but  foolery ;  but  it  is  such  a  kind  of  gain- 
giving,  as  would  perhaps  trouble  a  woman. 

Horatio.  If  your  mind  dislike  any  thing,  obey  it.  I  will 
forestall  their  repair  hither,  and  say  you  are  not  fit. 


!60  HAMLET. 

Hamlet.  Not  a  whit ;  we  defy  augury :  there  's  a  special 
providence  in  the  fall  of  a  sparrow.  If  it  be  now,  't  is  not  to 
come  :  if  it  be  not  to  come,  it  will  be  now ;  if  it  be  not  now, 
yet  it  will  come :  the  readiness  is  all.  Since  no  man  knows 
aught  of  what  he  leaves,  what  is  't  to  leave  betimes?  Let  be. 

Enter  KING,  QUEEN,  LAERTES,   Lords,   OSRIC,  and  Attend- 
ants with  foils,  etc. 

King.  Come,  Hamlet,  come,  and  take  this  hand  from  me. 
\_The  King  puts  Laertes's  hand  into  Hamlefs. 

Hamlet.  Give  me  your  pardon,  sir :  I've  done  you  wrong  ; 
But  pardon  't,  as  you  are  a  gentleman.  «s 

This  presence  knows, 

And  you  must  needs  have  heard,  how  I  am  punish'd 
With  sore  distraction.     What  I  have  done, 
That  might  your  nature,  honour,  and  exception 
Roughly  awake,  I  here  proclaim  was  madness.  »* 

Was  't  Hamlet  wrong'd  Laertes?     Never  Hamlet: 
If  Hamlet  from  himself  be  ta'en  away, 
And  when  he  's  not  himself  does  wrong  Laertes, 
Then  Hamlet  does  it  not ;  Hamlet  denies  it. 
Who  does  it,  then  ?    His  madness :  if 't  be  so, 
Hamlet  is  of  the  faction  that  is  wrong'd ; 
His  madness  is  poor  Hamlet's  enemy. 
Sir,  in  this  audience, 
Let  my  disclaiming  from  a  purpos'd  evil 
Free  me  so  far  in  your  most  generous  thoughts, 
That  I  have  shot  mine  arrow  o'er  the  house, 
And  hurt  my  brother. 

Laertes.  I  am  satisfied  in  nature, 

Whose  motive,  in  this  case,  should  stir  me  most 
To  my  revenge ;  but  in  my  terms  of  honour 
I  stand  aloof,  and  will  no  reconcilement 
Till  by  some  elder  masters  of  known  honour 
I  have  a  voice  and  precedent  of  peace, 


ACT    V.     SCENE  If.  :6i 

To  keep  my  name  ungor'd.     But  till  that  time, 
I  do  receive  your  offer'd  love  like  love, 
And  will  not  wrong  it. 

Hamlet.  I  embrace  it  freely,  040 

And  will  this  brother's  wager  frankly  play. — 
Give  us  the  foils. — Come  on. 

Laertes.  Come,  one  for  me. 

Hamlet.    I  '11  be  your  foil,  Laertes  ;  in  mine  ignorance. 
Your  skill  shall,  like  a  star  i'  the  darkest  night, 
Stick  fiery  off  indeed. 

Laertes.  You  mock  me,  sir. 

Hamlet.   No,  by  this  hand. 

King.    Give  them  the  foils,  young  Osric,— Cousin  Hamlet, 
You  know  the  wager? 

Hamlet.  Very  well,  my  lord  ; 

Your  grace  hath  laid  the  odds  o'  the  weaker  side. 

King.   I  do  not  fear  it ;  I  have  seen  you  both  :  2SO 

But  since  he  is  better 'd,  we  have  therefore  odds. 
Laertes.    This  is  too  heavy,  let  me  see  another. 
Hamlet.   This    likes    me   well.— These    foils    have   all    a 

length? 

Osric.   Ay,  my  good  lord.  \Theyprcparetoplay. 

King.   Set  me  the  stoups  of  wine  upon  that  table. — 
If  Hamlet  give  the  first  or  second  hit, 
Or  quit  in  answer  of  the  third  exchange, 
Let  all  the  battlements  their  ordnance  fire  : 
The  king  shall  drink  to  Hamlet's  better  breath; 
And  in  the  cup  an  union  shall  he  throw,  ^ 

Richer  than  that  which  four  successive  kings 
In  Denmark's  crown  have  worn.     Give  me  the  cups  j 
And  let  the  kettle  to  the  trumpet  speak, 
The  trumpet  to  the  cannoneer  without, 
The  cannons  to  the  heavens,  the  heavens  to  earth, 
•  Now  the  king  drinks  to  Hamlet ! ' — Come,  begin : — 
And  you,  the  judges,  bear  a  wary  eye. 


!62  HAMLET. 

Hamlet.   Come  on,  sir. 

Laertes.  Come,  my  lord.  [They  play 

Hamlet.  One. 

Laertes.  No. 

Hamlet.  Judgment. 

Osric.   A  hit,  a  very  palpable  hit. 

Laertes.  Well;  again. 

King.   Stay  j  give  me  drink. — Hamlet,  this  pearl  is  thine  ; 
Here  's  to  thy  health.— 

[Trumpets  sound,  and  cannon  shot  off  within. 
Give  him  the  cup.  «7* 

Hamlet.   I  '11  play  this  bout  first ;  set  it  by  awhile. — 
Come.   [They  play. ~\     Another  hit ;  what  say  you  ? 

Laertes.   A  touch,  a  touch,  I  do  confess. 

King.    Our  son  shall  win. 

Queen.  He  's  fat  and  scant  of  breath.— 

Here,  Hamlet,  take  my  napkin,  rub  thy  brows ; 
The  queen  carouses  to  thy  fortune,  Hamlet. 

Hamlet.   Good  madam, — 

King.  Gertrude,  do  not  drink. 

Queen.    I  will,  my  lord  ;  I  pray  you,  pardon  me. 

King.   [Aside~\    It  is  the  poison'd  cup  ;  it  is  too  late.       280 

Hamlet.   I  dare  not  drink  yet,  madam ;  by  and  by. 

Queen.   Come,  let  me  wipe  thy  face. 

Laertes.    My  lord,  I  '11  hit  him  now. 

King.  I  do  not  think  *t 

Laertes.  [Aside]  And  yet  't  is  almost  'gainst  my  conscience. 

Hamlet.   Come,  for  the  third,  Laertes.     You  but  dally ; 
I  pray  you,  pass  with  your  best  violence ; 
I  am  afeard  you  make  a  wanton  of  me. 

Laertes.   Say  you  so?  come  on.  [They play. 

Osric.    Nothing,  neither  way.  489 

Laertes.   Have  at  you  now  ! 

[Laertes  wounds  Hamlet;  then,  in  scuffling,  they 
change  rapiers,  and  Hamlet  wounds  Laertes. 


ACT  V.    SCENE  IT. 


163 


j?*       „  Part  them;    they  are  incens'd. 

Hamlet.   Nay,  come,  again.  ^The  Queenfalls. 

J7      *•      TU      vi  L°ok  to  the  queen  there,  ho  ! 

Horatio    They  bleed  on  both  sides.-How  is  it,  my  lord? 
Osnc.   How  is  't,  Laertes? 

Laertes    Why,  as  a  woodcock  to  mine  own  springe,  Osric  : 
I  am  justly  kill'd  with  mine  own  treachery. 


treachery. 
Hamlet.   How  does  the  queen  ? 


She  swoons  to  see  them  bleed. 

Queen.   No,  no,  the  drink,  the  drink,-O  my  dear  Ham- 
let,  — 

The  drink,  the  drink  !—  I  am  poison'd.  {Dies 

Hamlet.   O  villany  !—  Ho  !  let  the  door  be  lock'd  I 
Treachery  !     Seek  it  out  ! 

Laertes.   It  is  here,  Hamlet.     Hamlet,  thou  art  slain  : 
No  medicine  in  the  world  can  do  thee  good, 
In  thee  there  is  not  half  an  hour  of  life  : 
The  treacherous  instrument  is  in  thy  hand, 
Unbated  and  envenom  'd.     The  foul  practice 
Hath  turn'd  itself  on  me  ;  lo,  here  I  lie, 
Never  to  rise  again.     Thy  mother  's  poison'd  : 
I  can  no  more,—  the  king—  the  king  's  to  blame. 

Hamlet.   The  point  envenom'd  too  !  _ 
Then  venom,  to  thy  work  |  [Sfa&s  fhg  K{ 

All.   Treason  !  treason  ! 

King.    O,  yet  defend  me,  friends  ;  I  am  but  hurt 
Hamlet.  Here,  thou  incestuous,  murtherous,  damned  Dane 
Drink  off  this  potion  !     Is  thy  union  here? 
Follow  my  mother  !  fKin    d' 

Laertes.  He  is  justly  serv'd  ; 

It  is  a  poison  temper'd  by  himself.  _ 
Exchange  forgiveness  with  me,  noble  Hamlet; 
Mine  and  my  father's  death  come  not  upon  thee 
Nor  thine  on  me  !  r/5. 

Hamlet.   Heaven  make  thee  free  of  it  !     I  follow  thee  —  "' 


T64  HAMLET. 

I  am  dead,  Horatio.— Wretched  queen,  adieu !  321 

You  that  look  pale  and  tremble  at  this  chance, 

That  are  but  mutes  or  audience  to  this  act, 

Had  I  but  time— as  this  fell  sergeant,  death, 

Is  strict  in  his  arrest— O,  I  could  tell  you — 

But  let  it  be. — Horatio,  I  am  dead ; 

Thou  livest ;  report  me  and  my  cause  aright 

To  the  unsatisfied. 

Horatio.  Never  believe  it ; 

I  am  more  an  antique  Roman  than  a  Dane : 
Here  's  yet  some  liquor  left. 

Hamlet.  As  thou  'rt  a  man,  330 

Give  me  the  cup :  let  go ;  by  heaven,  I  '11  have 't. — 

0  God  \- — Horatio,  what  a  wounded  name, 

Things  standing  thus  unknown,  shall  live  behind  me ! 
If  thou  didst  ever  hold  me  in  thy  heart, 
Absent  thee  from  felicity  awhile, 
And  in  this  harsh  world  draw  thy  breath  in  pain, 
To  tell  my  story. — •  [March  afar  of,  and  shot  within. 

What  warlike  noise  is  this? 

Osric.  Young   Fortinbras,   with    conquest   come   from 

Poland, 

To  the  ambassadors  of  England  gives 
This  warlike  volley. 

Hamlet.  0,  I  die,  Horatio ;  340 

The  potent  poison  quite  o'er-crows  my  spirit. 

1  cannot  live  to  hear  the  news  from  England ; 
But  I  do  prophesy  the  election  lights 

On  Fortinbras :  he  has  my  dying  voice ; 
So  tell  him,  with  the  occurrents,  more  and  less, 
Which  have  solicited— the  rest  is  silence.  [Dies. 

Horatio.   Now  cracks  a  noble  heart, — Good  night,  sweet 

prince, 

And  flights  of  angels  sing  thee  to  thy  rest ! 
Why  does  the  drum  come  hither  ?  [March  within. 


ACT   V.    SCENE  II.  165 

Enter  FORTINBRAS,  the  English  Ambassadors,  and  others. 

Fortinbras.    Where  is  this  sight  ? 

Horatio.  What  is  it  ye  would  see  ? 

If  ought  of  woe  or  wonder,  cease  your  search.  351 

Fortinbras.   This  quarry  cries  on  havoc. — O  proud  death, 
What  feast  is  toward  in  thine  eternal  cell, 
That  thou  so  many  princes  at  a  shot 
So  bloodily  hast  struck? 

i  Ambassador.  The  sight  is  dismal  \ 

And  our  affairs  from  England  come  too  late : 
The  ears  are  senseless  that  should  give  us  hearing, 
To  tell  him  his  commandment  is  ftilfill'd, 
That  Rozencrantz  and  Guildenstern  are  dead. 
Where  should  we  have  our  thanks  ? 

Horatio.  Not  from  his  mouth, 

Had  it  the  ability  of  life  to  thank  you  ;  361 

He  never  gave  commandment  for  their  death. 
But  since,  so  jump  upon  this  bloody  question, 
You  from  the  Polack  wars,  and  you  from  England, 
Are  here  arriv'd,  give  order  that  these  bodies 
High  on  a  stage  be  placed  to  the  view ; 
And  let  me  speak  to  the  yet  unknowing  world 
How  these  things  came  about :  so  shall  you  hear 
Of  carnal,  bloody,  and  unnatural  acts, 

Of  accidental  judgments,  casual  slaughters,  370 

Of  deaths  put  on  by  cunning  and  forc'd  cause, 
And,  in  this  upshot,  purposes  mistook 
Fallen  on  the  inventors  heads.     All  this  can  I 
Truly  deliver. 

Fortinbras.     Let  us  haste  to  hear  it, 
And  call  the  noblest  to  the  audience. 
For  me,  with  sorrow  I  embrace  my  fortune  ; 
I  have  some  rights  of  memory  in  this  kingdom, 
Which  now  to  claim  my  vantage  doth  invite  me. 


1 66  HAMLET. 

Horatio.   Of  that  I  shall  have  also  cause  to  speak, 
And  from  his  mouth  whose  voice  will  draw  on  more ;  380 

But  let  this  same  be  presently  perform'd, 
Even  while  men's  minds  are  wild,  lest  more  mischance, 
On  plots  and  errors,  happen. 

Fortinbras.  Let  four  captains 

Bear  Hamlet,  like  a  soldier,  to  the  stage ; 
For  he  was  likely,  had  he  been  put  on, 
To  have  prov'd  most  royally  :  and,  for  his  passage, 
The  soldiers'  music  and  the  rites  of  war 
Speak  loudly  for  him. — 
Take  up  the  bodies. — Such  a  sight  as  this 
Becomes  the  field,  but  here  shows  much  amiss. —  390 

Go,  bid  the  soldiers  shoot. 

[A  dead  march.     Exeunt,  bearing  off  the  dead  bodies  ; 
after  which  a  peal  of  ordnance  is  shot  off. 


NOTES. 


ABBREVIATIONS  USED  IN  THE  NOTES. 

Abbott  (or  Gr.),  Abbott's  Shakespearian  Grammar  (third  edition). 

A.  S.,  Anglo-Saxon. 

A.  V.,  Authorized  Version  of  the  Bible  (1611). 

A.  Y.  L.  (followed  by  reference  to  page),  Rolfe's  edition  of  As  You  Ltkt  It. 

B.  and  F.,  Beaumont  and  Fletcher. 
B.  J.,  Ben  Jonson. 

Caldecott,  T.  Caldecott's  edition  of  Hamlet  (London,  1819). 

Camb.  ed.,  "Cambridge  edition"  of  Shakespeare,  edited  by  Clark  and  Wright 

Cf.  (confer),  compare. 

Coll.,  Collier  (second  edition). 

Coll.  MS.,  Manuscript  Corrections  of  Second  Folio,  edited  by  Collier. 

D.,  Dyce  (second  edition). 

F.,  Furness's  "  New  Variorum"  edition  of  Hamlet  (Philadelphia,  1877). 

H.,  Hudson  (first  edition). 

Hen.  V.  (followed  by  reference  \.opage~),  Rolfe's  edition  of  Henry  V. 

Hen.  VIII.  ("followed  by  reference  to  page),  Rolfe's  edition  of  Henry  VIH. 

Id.  (idem),  the  same. 

J.  C.  (followed  by  reference  \opage"),  Rolfe's  edition  of  Julius  Casar 

J.  H.,  John  Hunter's  edition  of  Hamlet  (London,  1865). 

K.,  Knight  (second  edition). 

M.,  Rev.  C.  E.  Moberly's  "  Rugby"  edition  of  Hamlet  (London,  1873). 

Macb.  (followed  by  reference  to  page),  Rolfe's  edition  of  Macbeth. 

Mer.,  Rolfe's  edition  of  The  Merchant  of  Venice. 

M.  N.  D.  (followed  by  reference  topage),  Rolfe's  edition  of  A  Midsummer-Night'* 

Nares,  Glossary,  edited  by  Halliwell  and  Wright  (London,  1859). 

Prol.,  Prologue. 

Rich  II.  (followed  by  reference  to  page),  Rolfe's  edition  of  Richard  II. 

S.f  Shakespeare. 

Schmidt,  A.  Schmidt's  S  hakes f  ear  t- Lexicon  (Berlin,  1874). 

Sr.,  Singer. 

St.,  Staunton. 

Temp,  (followed  by  reference  \ofage).  Rolfe's  edition  of  The  Temfest. 

Theo.,  Theobald. 

V.,  Verplanck. 

W.,  White. 

Walker,  Wm.  Sidney  Walker's  Critical  Examination  of  the  Text  of  Shakespeare 
(London,  1860}. 

Warb.,  Warburton. 

Wb.,  Webster's  Dictionary  (revised  quarto  edition  of  1864). 

Wore.,  Worcester's  Dictionary  (quarto  edition). 

Wr.,  Clark  and  Wright's  "  Clarendon  Press"  edition  of  Hamlet  (Oxford,  1872). 

The  abbreviations  of  the  names  of  Shakespeare's  Plays  will  be  readily  understood;  as 
T.  N.  for  Twelfth  Night,  Cor.  for  Coriolanus,  3  Hen.  VI.  for  The  Third  Part  of 
King  Henry  the  Sixth,  etc.  P.  P.  refers  to  The  Passionate  Pilgrim  ;  V.  and  A .  to 
Venus  and  Adonis;  L.  C.  to  Lover's  Complaint;  and  Sonn.  to  the  Sonnets. 

JKf  The  numbers  of  the  lines  (except  for  Hamlet)  are  those  of  the  "  Globe  "  edition. 


NOTES. 


"  He  smote  the  sledded  Polacks  on  the  ice  "  (i.  i.  63). 

ACT  I. 

SCENE  I. — In  the  quartos  the  acts  and  scenes  are  not  marked;  in  the 
folios  they  are  indicated  only  as  far  as  ii.  2. 

Ehinore.  "  The  scene  is  at  the  celebrated  castle  of  Kronborg,  com- 
manding the  entrance  of  the  Sound.  In  its  vaults  the  mythic  Danish 
champion  Holger  was  thought  to  be  seated  at  the  board,  asleep  for  age 
after  age,  till  the  day  of  fate  awakens  him"  (M.).  The  cut  on  p.  41  is 
taken  from  this  castle. 


I/O 


NOTES. 


1.  Who  '5  there  ?    For  the  "  interjectional  line,"  see  Gr.  512. 
Coleridge  says :   "  That  S.  meant  to  put  an  effect  in  the  actor's  power 

in  these  very  first  words  is  evident  from  the  impatience  expressed  by 
the  startled  Francisco  in  the  line  that  follows.  A  brave  man  is  never 
so  peremptory  as  when  he  fears  that  he  is  afraid." 

2 .  Me.     Emphatic ;   as  the  measure  shows. 

3.  Long  live  the  king  !    Commonly  explained  as  the  watchword  of  the 
night;    but,  as  Delius  points  out,  Horatio  and  Marcellus  in  15  below 
give  a  different  response  to  the  same  challenge.     Pye  believes  that  it 
corresponds  to  the  old  French  usage  of  replying  Vive  le  rot  !  to  the  chal- 
lenge Qui  vive  ? 

6.  Upon  your  hour.     Just  at  your  hour.     Wr.  compares  Rich.  III.  iii. 
2.  5  :  "upon  the  stroke  of  four;"  M.for  M.  iv.  I.  17:  "much  upon  this 
time,"  etc.     See  also  Gr.  191.     Cf.  the  modern  "on  time." 

7.  Now  struck.     Steevens  conjectured  "  new  struck;"  as  in  R.  and  F 
i.  i.  167:  "But  new  struck  nine." 

8.  Much  thanks.    Thanks  is  a  quasi-singular.    Cf.  Luke,  xii.  19 :  "  much 
goods,"  etc.     For  the  old  use  of  much  =  great,  see  Gr.  51;   and  for  the 
adverbial  use  of  bitter,  Gr.  i. 

9.  Sick  at  heart.     F.  quotes  Strachey :  "  The  key-note  of  the  tragedy 
is  struck  in  the  simple  preludings  of  this  common  sentry's  midnight 
guard,  to  sound  afterwards  in  ever-spreading  vibrations   through    the 
complicated  though  harmonious  strains  of  Hamlet's  own  watch  through 
a  darker  and  colder  night  than  the  senses  can  feel." 

10.  Not  a  mouse  stirring.     Coleridge  remarks:    "The  attention  to 
minute  sounds — naturally  associated  with  the  recollection  of  minute  ob- 
jects, and  the  more  familiar  and  trifling,  the  more  impressive  from  the 
unusualness  of  their  producing  any  impression  at  all — gives  a  philosophic 
pertinency  to  this  last  image;   but  it  has  likewise  its  dramatic  use  and 
purpose.     For  its  commonness  in  ordinary  conversation  tends  to  produce 
the  sense  of  reality,  and  at  once  hides  the  poet,  and  yet  approximates  the 
reader  or  spectator  to  that  state  in  which  the  highest  poetry  will  appear, 
and  in  its  component  parts,  though  not  in  the  whole  composition,  really 
is,  the  language  of  nature.     If  I  should  not  speak  it,  I  feel  that  I  should 
be  thinking  it;  the  voice  only  is  the  poet's,  the  words  are  my  own." 

13.  Rivals.  Partners,  companions.  The  1st  quarto  has  "partners." 
S.  does  not  use  the  word  again  in  this  sense;  unless,  with  Schmidt,  we 
see  it  in  M.  N.  D.  iii.  2.  156:  "  And  now  both  rivals  to  mock  Helena." 
We  find,  however,  corrival  =  companion  in  2  Hen.  IV.  iv.  4.  31,  and 
rivality  =  partnership  in  A.  and  C.  iii.  5.  8.  For  the  origin  of  the  word, 
see  Wb. 

15.  Dane.     King  of  Denmark;   as  in  i.  2.  44  below. 

16.  Give  you  good  night.    That  is,  God  give,  etc.     For  other  contrac- 
tions of  like  greetings,  cf.  A.  F.  Z.  v.  I.  16:  "God  ye  good  even;"  R.  and 
F.  i.  2.  58:   "God  gi'  good-den;  "  Hen.  V.  iii.  2.  89:   "God-den,"  etc. 
We  have  the  full  form  in  L.  L.  L.  iv.  2.  84 :   "  God  give  you  good  mor- 
row," etc.     Wr.  quotes  B.  and  F.,  Knt.  of  Burning  Pestle,  epil.:  "God 
give  you  good  night." 

19.   A  piece  of  him.     "As  we  say,  'something  like  him.'     The  phrase 


ACT  /.    SCENE  /.  I7f 

has  none  of  the  deep  meaning  which  some  of  the  German  editors  find  in 
it"  (M.).  For  these  German  comments,  see  F. 

21.  Has  this  thing,  etc.  Coleridge  remarks  that  "  even  the  word  again 
has  its  credibilizing  effect ;"  and  he  points  out  how  Marcellus  from  this 
thing  rises  to  this  dreaded  sight,  and  then  to  this  apparition,  "an  intelli- 
gent spirit,  that  is,  to  be  spoken  to." 

23.  Fantasy.  Imagination  ;  as  in  54  below.  Cf.  I  Hen.  IV.  v.  4.  138 : 
"  Or  is  it  fantasy  that  plays  upon  our  eyesight  ?"  See  also  M.  N.  D.  v. 
I.  5,  M.  W.  v.  5.  55,  etc.  For  another  sense  see  iv.  4.  62  below ;  and  for 
another  (=love),  M.  N.  D.  i.  I.  32,  A.  Y.  L.  ii.  4.  31,  v.  2.  100,  etc. 

25.  Seen  of  us.  The  1st  quarto  has  "scene  by  vs."  O/=by  is  very 
common  in  S.  Cf.  iv.  2.  12  below  ;  also  Macb.  iii.  6.  27,  etc.  Gr.  170. 

27.  The  minutes  of  this  night.  "Through  this  night,  minute  by  min- 
ute "  (M.).  Steevens  quotes  Ford,  Fancies  Chaste  and  Aroblet  v.  I :  "  Ere 
vhe  minutes  of  the  night  warn  us  to  rest." 

29.  Approve.  Prove, confirm.  Cf.  M.  ofV.  iii.  2.  79:  "approve  it  with 
a  text,"  etc. 

33.  What,  etc.  "  What  depends  on  a  verb  of  speech,  implied  either  in 
assail  your  ears  or  in  story  ;  that  is,  'let  us  tell  you  what  we  have  seen,' 
or  'our  story  describing  what  we  have  seen'  "  (Gr.  252). 

Sit  we.  First  person  imperative  ;  or,  as  Abbott  calls  it  (Gr.  361), 
subjunctive  = suppose  we  sit.  Cf.  168  below:  "Break  we  our  watch 
up,"  etc. 

35.  Last  night,  etc.     Coleridge  observes  :  "  In  the  deep  feeling  which 
Bernardo  has  of  the  solemn  nature  of  what  he  is  about  to  relate,  he 
makes  an  effort  to  master  his  own  imaginative  terrors  by  an  elevation 
of  style — itself  a  continuation  of  the  effort — by  turning  off  from  the 
apparition,  as  from  something  which  would  force  him  too  deeply  into 
himself,  to  the  outward  objects,  the  realities  of  nature,  which  had  accom- 
panied it." 

36.  Yond.     See  J.  C.  p.  134  or  Temp.  p.  121. 

Pole.     Pole-star  ;  as  in  Oth.  ii.  i.  15  :  "the  ever-fixed  pole." 
Clarke  remarks  :  "  Nothing  more  natural  than  for  a  sentinel  to  watch 
the  course  of  a  particular  star  while  on  his  lonely  midnight  watch  ;  and 
what  a  radiance  of  poetry  is  shed  on  the  passage  by  the  casual  allusion  !" 

37.  Illume.     Used  nowhere  else  by  S.     He  has  illuminate  twice,  and 
illumine  three  times. 

39.  Beating.  The  1st  quarto  has  "towling,"  and  the  Coll.  MS. "tolling." 
.  40.  Thee.  Apparently  -thou,  as  often  after  imperatives.  See  Macb. 
p.  170  (note  on  Hie  thee),  or  Gr.  212. 

Coleridge  remarks  :  "  Note  the  judgment  displayed  in  having  the  two 
persons  present,  who,  as  having  seen  the  Ghost  before,  are  naturally 
eager  in  confirming  their  former  opinions,  whilst  the  skeptic  is  silent, 
and  after  having  been  twice  addressed  by  his  friends,  answers  with  two 
nasty  syllables — '  Most  like ' — and  a  confession  of  horror — 

*  It  harrows  me  with  fear  and  wonder.' 

O  heaven  !  words  are  wasted  on  those  who  feel,  and  to  those  who  do  not 
feel  the  exquisite  judgment  of  Shakspeare  in  this  scene,  what  can  be  said' 


1?2  NOTES. 

—Hume  himself  could  not  but  have  had  faith  in  this  Ghost  dramatically, 
let  his  anti-ghostism  have  been  as  strong  as  Samson  against  other  ghosts 
less  powerfully  raised." 

42  Scholar.  Alluding  to  the  use  of  Latin  in  exorcisms.  Cf.  Much 
Ado,  ii.  I.  264 :  "  I  would  to  God  some  scholar  would  conjure  her  !" 
Reed  quotes  B.  and  F.,  Night  Walker,  ii.  I  : 

"Let  's  call  the  butler  up,  for  he  speaks  Latin, 
And  that  will  daunt  the  devil." 

In  like  manner  the  honest  butler  in  Addison's  Drummer  recommends 
the  steward  to  speak  Latin  to  the  ghost. 

44.  Harrows.    Steevens  quotes  Milton,  Comus,  565:  "  A maz'cl  I  stood, 
harrow'd  with  grief  and  fear."     Cf.  i.  5.  16  below. 

45.  It  -would  be  spoke  to.     For  -would,  see  Gr.  329 ;  and  for  spoke,  Gr.  343. 
"  There  was,  and  is,  a  notion  that  a  ghost  cannot  speak  until  it  is  spoken 
to  "  (Wr.). 

46.  Usurp'' st.     "Zeugma:  the  Ghost  invades  the  night  and  assumes 
the  form  of  the  king"  (M.). 

49.  Sometimes.  Used  by  S.  interchangeably  with  sometime— formerly. 
Cf.  Rich.  II.  i.  2.  54,  Hen.  VIII.  ii.  4.  181,  etc. 

55.  On  '(.     Of  it.     See  Gr.  181.    M.  thinks  it  is  used  here  in  its  ordi- 
nary sense. 

56.  Might.     Could.     See  Gr.  312. 

57.  Sensible.     For  adjectives  used  like  this  in  both  an  active  and  a 
passive  sense,  see  Gr.  3. 

Avouch  is  not  elsewhere  made  a  noun  by  S.  For  other  examples  of 
verbs  used  as  nouns  (Gr.  451),  see  73  (" cast "),  iii.  i.  166  ("hatch"  and 
"  disclose  "),  iv.  5.  64  ("  remove  "),  v.  2.  23  ("  supervise  "),  v.  2.  207  ("  re- 
pair "),  etc. 

60.  Armour.    F.  asks :  "  Was  this  the  very  armour  that  he  wore  thirty 
years  before,  on  the  day  Hamlet  was  born  (see  v.  I.  136-141)  ?    How  old 
is  Horatio?" 

61.  Norway.    The  King  of  Norway.    See  Macb.  p.  239,  note  on  England. 

62.  Parle.     Parley.     See  Hen.  V.  p.  164. 

63.  Sledded  Polacks.     Polanders  on  sleds,  or  sledges.     The  1st  quarto 
has  "sleaded  pollax,"  the  1st  and  2d  folios  "sledded  Pollax"  (changed 
to  "Polax"  inthe3d  and  "Poleaxe"  in  the 4th  folio).    Rowe  has  "Pole- 
axe,"  and  Pope  (followed  by  Capell,  Steevens,  and  Sr.)  "  Polack."     The 
Germans,  who  have  been  much  troubled  by  the  passage,  generally  adopt 
"Pole-axe."     Schmidt  explains  sledded  as' "probably  — having  a  sled  or 
sledge,  that  is,  a  heavy  hammer  to  it,  or  similar  to  a  heavy  hammer."     He 
adds,  "  Hamlet,  provoked  to  anger  in  a  conference  with  the  king  of 
Norway,  struck  the  ice  with  his  pole-axe  as  with  a  heavy  hammer."     F. 
gives  nearly  two  pages  of  comical  German  comments  on  the  passage,  with 
some  English  ones  equally  amusing. 

For  /Wdr£  =  Polander  'or  Polish,  cf.  ii.  2.  63,  75,  iv.  4.  23,  and  v.  2.  364 
below;  also  Webster,  White  Devil:  "Like  a  shav'd  Polack."  S.  uses 
the  word  in  no  other  play,  and  sledded  only  here. 

65.  Jump.    The  quarto  reading  ;  the  folios  have  "just,"  which  means 


ACT  I.    SCENE  J.  173 

the  same.  Cf.  v.  2.  363  below  :  "jump  upon  this  bloody  question."  See 
also  Oth.  ii.  3.  392. 

Dead.  Cf.  i.  2.  198  below  :  "the  dead  vast  and  middle  of  the  night." 
See  also  Sonn.  43.  n,  Hen.  V.  iii.  chor.  19,  Rich.  III.  v.  3.  180,  etc. 

67,  68.  In  what,  etc.  I  know  not  what  particular  line  of  thought  to 
follow,  but  in  a  general  way  my  opinion  is,  etc. 

70.  Good  now.  For  this  "  vocative  use  "  of  good  (with  or  without  now), 
cf.  Temp.  i.  i.  3,  16,  20,  C.  of  E.  iv.  4.  22,  T.  and  C.  iii.  I.  122,  A.  and  C.  i. 
2.  25,  etc.  Johnson  makes  it  here ="  in  good  time,  a  la  bonne  heure." 
See  Gr.  13. 

72.  Toils.  For  the  transitive  use,  cf.  M.  N.  D.  v.  I.  74:  "have  toiled 
:heir  memories  ;"  2  Hen.  VI.  i.  I.  83  :  "  toil  his  wits,"  etc.  Abbott  refers 
to  Gr.  290  (verbs  formed  from  nouns,  etc),  but  291  (intransitive  verbs 
used  transitively)  would  be  better.* 

Subject.  Used  collectively  (—-people)  as  in  i.  2.  33  below.  Cf.  M.for 
M.  iii.  2.  145,  v.  i.  14,  W.  T.  i.  i.  43,  etc. 

74.  Mart.     Marketing,  buying.     The  word  is  also  used  as  a  verb 
'=buy  or  sell) ;  as  in  W.  T.  iv.  4.  363,  J.  C.  iv.  3.  n,  etc. 

75.  Impress.     Impressment ;  as  in  T.  and  C.  ii.  I.  107  and  A.  and  C. 
iii.  7.  37.     Lord  Campbell  remarks  :   "  Such  confidence  has  there  been 
in  Shakespeare's  accuracy  that  this  passage  has  been  quoted  both  by 
text-writers  and  by  judges  on  the  bench  as  an  authority  upon  the  legality 
of  the  press-gang,  and  upon  the  debated  question  whether  shipwrights,  as 
well  as  common  seamen,  are  liable  to  be  pressed  into  the  service  of  the 
loyal  navy." 

77.  Toward.  At  hand,  forthcoming.  Cf.  M.  N.  D.  iii.  l.  8l :  "a  play 
toward,"  etc.  See  also  v.  2.  353  below. 


81.  Even  but  now.     See  Gr.  130. 

to  Latham  (quoted  by  F.),  a  corrupt  French 
form,  equivalent  to  Fierumbras  or  Fierabras,  which  is  a  derivative  from 


82.  Fortinbras.    According  i 


ferri  brachinm  (arm  of  iron). 

83.  Emulate.     Emulous.     Used  by  S.  only  here.     Cf.  adulterate,  i.  5. 
42  below.    Gr.  342. 

84.  The  combat.    "  That  is,  the  combat  that  ends  all  dispute  "  (Gr.  92). 

86.  Wr.  makes  this  line  an  Alexandrine ;  Abbott  (Gr.  469)  counts  this 
Fortinbras  as  one  foot.     It  might  be  scanned  thus :   "  Did  slay  |  this 
Fort  |  inbras,  who  |  by  a  seal'd  |  compact."     For  compact,  see  Gr.  490. 

87.  Law  and  heraldry.     Wr.  and  Schmidt  explain  this  as  =  "  heraldic 
law,"  or  "law  of  heraldry."     M.  says  :  "  Law  would  be  wanted  to  draw 
up  accurately  the  contract,  heraldry  to  give  it  a  binding  force  in  honour ; 
as  the  court  of  chivalry  '  has  cognizance  of  contracts  touching  deeds  of 
arms  or  of  war  out  of  the  realm.'  " 

88.  Those  his  lands.     See  Macb.  p.  179  (note  on  That  their  fitness},  and 
Hen.  V.  p.  169  (note  on  This  your  air).     Gr.  239. 

89.  Seiz'd of.     Possessed  of;  still  a  legal  term. 

*  In  quoting  the  passage  he  gives  the  preceding  line,  "  Why  this  same  toil  and  most 
observant  watch,"  which  would  favour  his  explanation ;  but  I  do  not  know  where  ht 
gets  that  reading.  It  is  given  neither  in  the  collation  of  the  Camb.  ed.  nor  in  that  of  F. 
S.  has  the  intransitive  /W/ nine  times. 


I74  NOTES. 

90.  Moiety.    Strictly  a  half  (as  in  A.  W.  iii.  2.  69,  /&».  V.  v.  2.  229,  etc.), 
but  often  used  by  S.  for  any  portion  (Schmidt).     Cf.  M.  of  V.  iv.  i.  26, 
I  Hen.  IV.  iii.  i.  96,  etc. 

91.  Had  return1  d.     Would  have  returned.     Gr.  361. 

93.  Covenant.     The  folio  has  "  cou'nant,"  the  quartos  "  comart."     D. 
and  Wr.  think  that  S.  may  have  coined  the  latter  word  ( =  joint  bargain), 
and  afterwards  changed  it  to  covenant. 

94.  Carriage,  etc.     "  By  the  tenor  of  the  article  as  drawn  up  "  (M.). 

96.  Unimproved.     "Not  regulated  or  guided  by  knowledge  or  expe- 
rience" (Johnson);  "untutored"  (Wr.)  ;  "undisciplined"  (M.) ;  "not 
yet  turned  to  account,  unemployed"  (Schmidt).     Nares  and  D.,  on  the 
other  hand,  explain  it  as  =  "unreproved,  unimpeached,"  and  St.  as  =  "un- 
governable."    The  1st  quarto  has  "inapproved."     On  mettle,  see  Macb. 
p.  181  or  Rich.  II.  p.  157. 

97.  Skirts.    Cf.  A.  Y.  L.  iii.  2.  354 :  "  here  in  the  skirts  of  the  forest, 
like  fringe  upon  a  petticoat." 

98.  Shark' 'd  up.     Picked  up  without  distinction  (Steevens)  or  illegally 
(Schmidt).     List—  muster-roll,  as  in  i.  2.  32  below.     On  resolutes,  see 
Gr.  433. 

99.  For  food  and  diet.     "For  no  pay  but  their  keep.     Being  landless 
they  have  nothing  to  lose,  and  the  war  would  at  the  worst  feed  them"  (M.). 

100.  Stomach.     Courage  ;  with  possibly  a  play  on  the  other  sense,  as 
in  T.  G.  ofV.  i.  2.  68  and  Hen.  V.  iii.  7.  166.     For  some  of  the  meanings 
of  the  word  in  S.  see  Temp.  p.  115. 

102.  But.     In  the  sense  of  except,  where  we  should  use  than  (Gr.  127). 
See  also  108  below. 

103.  Compulsative.     The  folio  reading  ;  the  quartos  have  "  compulsa- 
tory."     S.  uses  neither  word  elsewhere,  but  he  has  "  compulsive  "  in  iii. 
4.  86  below  and  in  Oth.  iii.  3.  454. 

107.  Romage.     "  Bustle,  turmoil  "  (Schmidt).     S.  uses  the  word  only 
here.     For  its  origin  see  Wb.     Wedgwood  gives  a  less  probable  deriva- 
tion. 

108.  Lines  108-125  are  omitted  in  the  folio.    K.  suggests  that  S.  prob- 
ably suppressed  the  passage  after  he  had  written  J.  C. 

Be.  The  word  "  expresses  more  doubt  than  is  after  a  verb  of  think- 
ing" (Gr.  299,  where  some  striking  examples  are  given). 

109.  Sort.    Suit,  accord.    Schmidt  wavers  between  this  sense  and  "  fall 
out,  have  an  issue  "  (as  in  Much  Ado,  v.  4.  7,  M.  N  D.  iii.  2.  352,  etc.). 

112.  Mote.  In  three  of  the  quartos  it  is  spelt  "moth,"  which  probably 
had  the  same  pronunciation.  See  A.  Y.  L.  p.  179,  note  on  Goats. 

114.  Mightiest.  Used  like  the  Latin  superlative— very  mighty  (Gr.  8). 
On  the  passage,  cf.  J.  C.  ii.  2.  18  fol. 

117.  As  stars,  etc.  There  is  some  corruption  here,  and  perhaps  a  line 
has  dropped  out.  The  attempts  to  mend  the  passage  have  not  been 
satisfactory.  As  M.  suggests,  "if  a  line  is  supposed  to  be  omitted,  it 
would  be  better  to  borrow  from  J.  C.  ii.  2,  and  read 

'[Fierce  fiery  warriors  fought  upon  the  clouds,] 
As  stars  with  trains  of  fire  and  dews  of  blood ; 
Disaster  hid  the  sun,*  etc.. 


ACT  I.     SCENE  I.  175 

rather  than  indulge  the  genius,  as  some  editors  have  done,  by  coining  a 
line." 

Disaster  (like  influence,  aspect,  retrograde,  etc.)  was  an  astrological  term. 
It  is  used  as  a  verb  in  A.  and  C.  ii.  7.  18. 

118.  The  moist  star.  The  moon.  Cf.  W.  T.  i.  2.  I  :  "  the  watery  star  ;' 
and  M.  M  D.  ii.  I.  162 :  "  the  watery  moon."  On  the  next  line  Wr.  quotes 
W.  T.  i.  2.  427  : 

"You  may  as  well 
Forbid  the  sea  for  to  obey  the  moon;" 

and  M.  misquotes  Coleridge,  Anc.  Mariner : 

"Still  as  a  slave  before  his  lord, 

The  ocean  hath  no  blast ; 
His  great  bright  eye  most  silently 

Up  to  the  moon  is  cast, 
If  he  may  know  which  way  to  go, 

For  she  guides  him  smooth  or  grim- 
See,  brother,  see,  how  graciously 

She  looketh  down  on  him  1" 

120.  Voss  refers  to  Matt.  xxiv.  29. 

121.  Precurse.     Used  by  S.  only  here  ;  and  precursor  only  in  Temp.  \. 
2.  201.     Wr.  says  that  "  precurser  "  occurs  in  Phainix  and  Turtle,  6,  but 
the  eds.  generally  have  "precurrer." 

Fierce.  Wild,  terrible.  It  means  "immoderate,  excessive "  (Schmidt) 
in  T.  of  A.  iv.  2.  30  and  Hen.  VIII.  i.  i.  54  ;  and  Steevens  would  give  it  a 
similar  sense  ("conspicuous,  glaring  ")  here. 

122.  Still.     Constantly,  always ;  as  often.     Gr.  69.     On  harbingers,  see 
Macb.  p.  1 68. 

123.  Omen.     The  event  portended  by  the  omen.     S.  uses  the  word 
nowhere  else.     Upton  cites  Virgil,  sEn.  I.  346,  where  ominibus,  literally 
—  the  omens  of  the  marriage  rite,  is  put  for  the  rite  itself;  and  Farmer 
quotes  Heywood,  Life  of  Merlin  : 

"  Merlin,  well  vers'd  in  many  a  hidden  spell, 
His  countries  omen  did  long  since  foretell." 

124.  Demonstrated.     Accented  on  first  syllable,  as  in  Hen.  V.  iv.  2.  54; 
but  on  the  second  in  T.  of  A.  i.  1.91,  Oth.  i.  I.  61,  etc. 

125.  Climatures.     Regions  ;  used  by  S.  only  here.     For  climate  in  the 
same  sense,  see  Rich.  II.  iv.  I.  130  and  J.  C.  i.  3.  32. 

127.  Cross  it.  According  to  Blakeway,  whoever  crossed  the  spot  on 
which  a  spectre  was  seen  became  subject  to  its  malignant  influence. 
Among  the  reasons  for  supposing  the  young  Earl  of  Derby  (who  died  in 
1594)  to  have  been  bewitched,  Lodge  states  that  a  figure  of  a  tall  man 
appeared  in  his  chamber  "  who  twice  crossed  him  swiftly,"  and  when  the 
earl  came  to  the  place  where  he  saw  the  apparition  "he  fell  sick." 

129.  For  the  short  line  here  and  below,  see  Gr.  512. 

130,  131.   Alluding,  as  Simrock  suggests,  to  the  idea  that  a  ghost  may 
often  be  "  laid  "  when  a  living  person  does  for  him  what  he  himself  ought 
to  have  done  when  alive. 

134.  Happily.  According  to  Nares  and  Schmidt  —haply,  as  often; 
but  it  may  be=luckily,  as  some  critics  make  it.  H.  points  out  that  the 


iy6  NOTES. 

structure  of  this  solemn  appeal  is  almost  identical  with  that  of  a  very  dif- 
ferent strain  in  A.  Y.  L.  ii.  4.  33~42- 

136.  Or  ifthou  hast,  etc.  Steevens  quotes  Dekker,  Knight's  Conjuring: 
"  If  any  of  them  had  bound  the  spirit  of  gold  by  any  charmes  in  caves,  or 
in  iron  fetters  under  the  ground,  they  should  for  their  own  soules  quiet 
(which  questionlesse  else  would  whine  up  and  down)  if  not  for  the  good 
of  their  children,  release  it." 

138.  They  say.  Clarke  notes  the  propriety  of  these  words  in  the 
'mouth  of  Horatio,  "the  scholar  and  the  unbeliever  in  ghosts." 

140.  Partisan.  A  kind  of  halberd.  Cf.  R.  and  y.  i.  I.  80,  101,  A.  and  C. 
ii.  7.  14,  etc. 

143.  Majestical.  Used  by  S.  oftener  than  majestic.  Cf.  Hen.  V.  iii. 
chor.  1 6,  iv.  i.  284,  etc. 

145.  As  the  air,  invulnerable.  Malone  compares  Macb.  v.  8.  9  and  K. 
John,  ii.  i.  252. 

149.  /  have  heard,  etc.    Cf.  M.  N.  D.  iii.  2.  381  fok,  and  Milton,  Hymn 
on  Nativ.  229-234,  etc.     Farmer  quotes  Prudentius,  Ad  Gallicinium  : 

"  Ferunt,  vagantes  daemonas, 
Laetos  tenebris  noctium, 
Gallo  canente  exterritos 
Sparsim  timere  et  cedere." 

150.  The  trumpet,  etc.     For  trumpet—  trumpeter,  cf.  Hen.  V.  iv.  2.  6l  : 
"  I  will  the  banner  from  a  trumpet  take,"  etc.     Malone  quotes  from 
England's  Parnassus,  1600  :  "And  now  the  cocke,  the  morning's  trum 
peter."     Coleridge  remarks  that  "  how  to  elevate  a  thing  almost  mean 
by  its  familiarity,  young  poets  may  learn  in  this  treatment  of  the  cock- 
crow." 

153.  Whether  in  sea,  etc.     "According  to  the  pneumatology  of  that 
time,  every  element  was  inhabited  by  its  peculiar  order  of  spirits  "  (John- 
son).    Cf.  Milton,  //  Pens.  93  : 

"  And  of  those  demons  that  are  found 
In  fire,  air,  flood,  or  under  ground, 
Whose  power  hath  a  true  consent 
With  planet  or  with  element." 

154.  Extravagant.     In  its  etymological  sense  of  wandering  beyond  its 
confine,  or  limit.     Cf.  L.  L.  L.  iv.  2.  68  :  "a  foolish  extravagant  spirit ;" 
and  Oth.  i.  I.  137  :  "  an  extravagant  and  wheeling  stranger."     S.  uses  the 
word  only  in  these  passages,  and  extravagancy  ( ^vagrancy)  only  in  T.  N. 
ii.  i.  12.     So  erring  is  used  in  its  literal  sense ;  as  in  A.  Y.  L.  iii.  2.  138 
and  Oth.  i.  3.  362.     Cf.  Gr.  p.  13. 

155.  For  the  accent  of  confine,  cf.  Temp.  iv.  I.  121,  Sonn.  84.  3,  etc. ;  for 
the  other  one,  see  Kick.  II.  i.  3.  137,  Rich.  III.  iv.  4.  3,  etc. 

156.  Probation.    Proof;  as  4n  Macb.  iii.  i.  80,  Cymb.  v.  5.  362,  etc.    The 
word  is  here  a  quadrisyllable.     Gr.  479. 

158.  'Gainst.  Used  metaphorically  of  time  (Gr.  142),  as  in  M.  N.  D.  iii. 
2.  99  :  "  against  he  do  appear,"  etc.  Cf.  iii.  4.  50  below. 

161.  Spirit.     Monosyllabic  (=sprite),  as  often.     6^463. 

Can  walk.  The  folio  reading ;  the  1st  quarto  has  "  dare  walke,"  the 
later  quartos  "  dare  sturre." 


ACT  I.     SCENE  II. 


177 


162.  Strike.     Exert  a  malign  influence.     Cf.  T.  A.  ii.  4.  14  :  "  If  I  do 
wake,  some  planet  strike  me  down."     See  also  Cor.  ii.  2.  117  and  IV.  T. 
i.  2.  201.     As  Wr.  remarks,  we  still  have  "  moonstruck." 

163.  Takes.    Bewitches,  blasts.    F.  quotes  Florio  :  "Assiderare:  to  blast 
or  strike  with  a  planet,  to  be  taken."     Cf.  M.  W.  iv.  4.  32  :  "blasts  the 
tree  and  takes  the  cattle  ;"  Lear,  ii.  4.  166  :  "  taking  airs  ;"  Id.  iii.  4.  61  : 
"  Bless  thee  from  whirlwinds,  star-blasting,  and  taking!"  and  A.  and  C. 
iv.  2.  37  :  "  Now  the  witch  take  me,  if  I  meant  it  thus  !" 

164.  Gracious.     Blessed,  benign  ;  "partaking  of  the  nature  of  the  epi- 
thet with  which  it  is  associated  "  (Caldecott). 

165.  And  do  in  part  believe  it.    "  A  happy  expression  of  the  half-scepti- 
cal, half-complying  spirit  of  Shakespeare's  time,  when  witchcraft  was  be- 
lieved, antipodes  doubted ''  (M.). 

166.  167.  As  Hunter  suggests,  Milton  must  have  had  this  beautiful 
personification  in  mind  when  he  wrote  P.  L.  v.  I  : 

"Now  mom,  her  rosy  steps  in  tli'  eastern  clime 
Advancing,  sow'd  the  earth  with  orient  pearls." 

173.  Loves.  For  the  plural,  see  Macb.  p.  209  or  Rich.  II.  p.  206  (note 
on  Sights). 

175.  Conveniently.  The  folio  reading;  the  quartos  have  "convenient" 
(Gr.  i). 

SCENE  II.— i.  "  In  the  King's  speech,  observe  the  set  and  pedantically 
antithetic  form  of  the  sentences  when  touching  that  which  galled  the  heels 
of  conscience, — the  strain  of  undignified  rhetoric, — and  yet  in  what  fol- 
lows concerning  the  public  weal,  a  certain  appropriate  majesty.  Indeed, 
was  he  not  a  royal  brother  ?"  (Coleridge). 

2.  That.     See  Gr.  284. 

4.  Brow  of  woe.  "  Mourning  brow"  (L.L.L.  v.  2.  754).  Wr.  compares 
iv.  6.  19  :  "  thieves  of  mercy  ;"  M.  of  V.  ii.  8.  42  :  "  mind  of  love  ;"  Lear, 
i  4.  306  :  "  brow  of  youth,"  etc. 

6.  With  wisest  sorrow.     "  With  the  due  proportion  of  sorrow  "  (M.). 

8.  Sometime.     The  folio  has  "sometimes."     S.  uses  both  forms  adjec- 
tively.     Cf.  Rich.  II.  i.  2.  54:  "thy  sometimes  brother's  wife;"  Id.  v.  i. 
37  :  "good  sometime  queen,"  etc.     See  on  i.  i.  49  above. 

9.  Of.     The  quartos  have  "  to." 

10.  Defeated.     Marred,  disfigured.     Cf.  Oth.  i.  3.  346  :  "defeat  thy  fa- 
vour with  an  usurped  beard."    So  defeature  —  disfigurement  in  V.  and  A. 
736,  C.  of  E.  ii.  I.  98  and  v.  I.  299. 

11.  One... one.     So  in  the  folio;  the  quartos  have  "an...  a."'     Stee- 
vens  quotes  W.  T.  v.  2.  80:  "She  had  one  eye  declined  for  the  loss  of  her 
husband,  another  elevated  that  the  oracle  was  fulfilled." 

Malone  explains  dropping  as  "depressed  or  fast  downwards,"  and  W. 
substitutes  "  drooping." 

14.  To  wife.     Cf.  Temp.  ii.  I.  75:   "Such  a  paragon  to  their  queen," 
etc.     Gr.  189. 

Barr'd.  Excluded,  acted  without  the  concurrence  of.  Cf.  Hen.  V.  i.  z 
12,  92,  Lear,  v.  3.  85,  etc. 

15.  Wisdoms.     See  on  loves,  i.  I.  173  above. 

M 


:78 


NOTES. 


1 7.  TKat  you  know.  What  you  already  know.  See  Gr.  244.  Theo. 
points  it  thus :  "  Now  follows  that  you  know,  young  Fortinbras,"  etc. 
(so  Walker,  with  colon  instead  of  comma). 

1 8    Supposal.     Opinion  ;  used  by  S.  only  here. 

20.  Disjoint.     For  the  form  cf.  iii.  I.  155:  "most  deject."     See  also 
Hi.  4.  180,  205,  and  iv.  5.  2.     Gr.  342. 

21.  Colleagued,  QIC.     With  no  ally  but  this  imaginary  advantage.     Ihe 
quartos  have  "  this  dream." 

22.  Pester.    The  word  originally  meant  to  crowd,  as  in  Milton,  Comus, 
7 :  "  Confin'd  and  pester'd  in  this  pinfold  here."    Cf.  Cor.  iv.  6.  7 :  "  Dis- 
sentious  numbers  pestering  (that  is,  infesting)  streets,"  etc.     See  also 
Webster,  Malcontent,  v.  2  :  "  the  hall  will  be  so  pestered  anon." 

23.  Importing.     Abbott  (Gr.  p.  16)  thinks  this  is  used  for  "  importun- 
ing ;"  but  cf.  T.  of  A.  v.  2.  n  : 

"  With  letters  of  entreaty,  which  imported 

His  fellowship  i'  the  cause ;" 

Oth.  ii.  2.  3  :  "  tidings  now  arrived,  importing  the  mere  perdition  of  the 
Turkish  fleet,"  etc.     See  also  iv.  7.  80  and  v.  2.  21  below. 

24.  Bonds.     The  folio  reading  ;   the  quartos  have  "  bands,"  which 
means  the  same. 

27.  Writ.  For  the  past  tense  S.  uses  writ  oftener  than  wrote  ;  for  the 
participle  he  has  usually  writ  or  written,  sometimes  wrote.  Gr.  343. 

31.  Gait.    "  Used  metaphorically  for  proceeding  in  a  business"  (Nares). 
In.  that  =  inasmuch  as. 

32.  Proportions.    Contingents,  quotas  ;  as  in  Hen.  F.  i.  2.  137,  304,  etc. 

33.  Subject.     See  on  i.  i.  72  above. 

38.  Dilated.    "  Detailed"  (Schmidt).    Cf.  A.  W.  ii.  i.  59  :  "a  more  di- 
lated farewell."     The  1st  quarto  has  "related,"  the  later  quartos  "de- 
lated."    Greene  has  the  word  in  the  sense  of  delayed,  in  A  Maiden's 
Dream:  "Nor  might  the  pleas  be  over-long  dilated." 

For  the  "confusion  of  construction"  in  allow,  see  Gr.  412.  On  this 
point  K.  remarks :  "  We  find  in  all  the  old  dramatists  many  such  lines 
as  this  in  Marlowe :  'The  outside  of  her  garments  were  of  lawn.'  And 
too  many  such  lines  have  been  corrected  by  the  editors  of  Shakespeare 
who  have  thus  obliterated  the  traces  of  our  tongue's  history.  It  is  re- 
markable that  the  very  commentators  who  were  always  ready  to  fix  the 
charge  of  ignorance  of  the.  rudiments  of  grammar  upon  Shakespeare, 
have  admitted  the  following  passage  in  a  note  to  2  Hen.  IV.  by  that  ele- 
gant modern  scholar,  T.  Warton :  '  Beaumont  and  Fletcher's  play  con- 
tains many  satirical  strokes  against  Heywood's  comedy,  the  force  of 
which  are  entirely  lost  to  those  who  have  not  seen  that  comedy.'  " 

39.  Let  your  haste,  etc.     "  Let  your  haste  show  that  you  perform  your 
duty  well "  (Wr.). 

41.  Nothing.     Adverbially  =  not  at  all ;  as  often  in  S.     Cf.  M.  of  V.  i, 
I.  165  :  "nothing  undervalued  to  Cato's  daughter,"  etc.     Gr.  55. 

42.  You.     For  the  change  to  thou  in  45  fol.,  see  Gr.  235. 

45.  Lose  your  voice.     Waste  your  words.     Cf.  118  below:  "lose  her 
prayers." 
47.  Native.     Naturally  related.     Cf.  A.  W.  i.  i.  238  :  "  native  things  " 


ACT  I.    SCENE  II.  I79 

(that  is,  kindred  things).  Delius  remarks  that  native  expresses  a  con- 
nection that  is  congenital,  instrumental  one  that  is  mechanical. 

51.  Leave  and  favour.     "  Kind  permission  "  (Caldecott). 

56.  Pardon.  "  Almost  =  leave,  permission  "  (Schmidt).  Cf.  A.  and  C. 
in.  6.  60  :  "  His  pardon  for  return." 

59.  Laboursome.  Cf.  Cymb.  iii.  4.  167  :  "laboursome  (^elaborate)  and 
dainty  trims.  S.  uses  the  word  only  twice,  laborious  not  at  all 

Lines  58-60  are  not  in  the  folio. 

63.  And  thy  best  graces,  etc.     "  May  the  fairest  graces  that  you  are 
master  of  help  you  to  spend  the  time  at  your  will  "  (M.). 

64.  Cousin.     Nephew.     Elsewhere  it  means  niece  (as  in  A   Y.  L  i  2 
164,  i.  3.  44,  etc.)  uncle  ( T  N  i.  5.  131,  v.  i.  313),  brother-in-law  (i  'lien. 
IV. i  in.  i.  51),  and  grandchild  (K.  John,  iii.  3.  17,  Oth.  \.  i.  113,  etc.)      It 
is  also  used  as  a  mere  complimentary  form  of  address  between  princes, 
etc.  (aat.  V.  v.  2.  4,  Rich.  III.  in.  4.  37,  etc.). 

_  65.  A  little  more  than  kin,  etc.  If  Hamlet  refers  to  himself,  the  mean- 
ing seems  to  be  :  more  than  a  mere  kinsman  (being  step-son  as  well  as 
nephew)  and  less  than  kind  (because  I  hate  you).  If  he  applies  them  to 
the  king,  we  may  accept  the  paraphrase  of  W. :  "  In  marrying  my  mother 
you  have  made  yourself  something  more  than  my  kinsman;  and  at  the 


•e  nearer  in  kindness."    Steevens  compares  Lyly,  Mother  Bombie  I?o4  • 
the  nearer  we  are  in  blood,  the  further  we  must  be  from  love  •  the 
greater  the  kindred  is,  the  less  the  kindness  must  be ;"  and  Gorboduc 
1561  :  "  In  kmde  a  father,  but  not  kindelynesse." 

K  ty.J^  m^h  C  !he  sun-  "  More  careless  and  idle  than  I  ought  to 
be  (Schmidt)  Johnson,  Caldecott,  and-others  see  here  an  allusion  to 
the  old  proverb,  "  Out  of  heaven's  blessing  into  the  warm  sun,"  that  is 
out  of  house  and  home,"— in  Hamlet's  case,  deprived  of  his  right  or 
the  succession  to  the  throne.  For  a  summary  of  other  interpretations, 

68.  Nighted.  Black  as  night  (Or.  294).  S.  uses  the  word  again  in 
Lear,  iv.  5.  13  .-  "his  mghted  life." 

Scarlet  was  the  colour  then  worn  by  the  kings,  queens,  and  princes  of 
IJenmark.  K.  says  :  "  It  thus  happens,  curiously  enough,  that  the  ob- 
jections of  the  queen  and  Claudius  to  the  appearance  of  Hamlet  in  black 
are  authorized,  not  only  by  the  well-known  custom  of  the  earlv  Danes 
never  to  mourn  for  their  nearest  and  dearest  relatives  and  friends,  but 
also  by  the  fact  that,  although  black  was  at  least  their  favourite  if  not 
indeed,  their  national  colour,  Hamlet,  as  a  prince  of  the  blood,  should 
have  been  attired  in  the  royal  scarlet." 


7r^  V<$e*JMt'  Downcast  eyes.  Cf.  V.  and  A.  956  :  "  She  vail'd  her 
eyelids  ;"  M  of  V. ,  i.  28  :  "Vailing  her  high  top  lower  than  her  ribs," 
etc.  SteMer.  p.  128.  We  have  a  play  on  the  word  in  Marlowe's  Hero 
and  Leander:  "  Vail'd  to  the  ground,  veiling  her  eyelids  close." 

72.  Lives.  The  2d  and  later  folios  have  "live,"  which  is  adopted  bv 
Coll.,  D.,  and  H. 


180  NOTES. 

74.  Ay,  madam,  etc.  Coleridge  says  :  "  Here  observe  Hamlet's  deli- 
cacy to  his  mother,  and  how  the  suppression  prepares  him  for  the  over- 
flow in  the  next  speech,  in  which  his  character  is  more  developed  by 
bringing  forward  his  aversion  to  externals,  and  which  betrays  his  habit 
of  brooding  over  the  world  within  him,  coupled  with  a  prodigality  of 
beautiful  words,  which  are  the  half-embodyings  of  thought,  and  are  more 
than  thought,  and  have  an  outness,  a  reality  sui  generis,  and  yet  contain 
their  correspondence  and  shadowy  affinity  to  the  images  and  movements 
within.  Note  also  Hamlet's  silence  to  the  long  speech  of  the  king  which 
follows,  and  his  respectful,  but  general,  answer  to  his  mother." 

M.  quotes  Tennyson,  In  Memoriam,  vi.  : 

"  That  loss  is  common  would  not  make 
My  own  less  bitter;  rather  more: 
Too  common  !   never  morning  wore 
To  evening,  but  some  heart  did  break." 

77.  Inky.  Again  used  metaphorically  in  A.  Y.  L.  iii.  5.  46:  "your 
inky  brows." 

81     Haviour.     Often  printed  "  'haviour,"  but  see  Rich.  II.  p.  162. 

82.  Shows.     The  quartos  have  "  chapes  "  or  "  shapes." 

83.  Denote.     Indicate,  mark.     Cf.  Sonn.  148.  7,  Oth.  iii.  3.  428,  iv.  t 
290,  etc. 

85.  Passeth.  As  Corson  remarks,  the  older  form  suits  the  tone  of  the 
passage  better,  and  avoids  the  concurrence  of  sibilants. 

M.  quotes  Rich.  II.  iv  i.  295-298:  "  Tis  very  true,  my  grief  lies  all 
within,"  etc. 

87.  Commendable.  Accented  on  the  first  syllable,  as  regularly  in  S. 
(cf.  Much  Ado,  iii.  I.  71, 73,  etc.),  with  the  single  exception  (which  Schmidt 
considers  doubtful)  of  M.  ofV.  i.  I.  1 1 1  Abbott  (Gr.  490)  would  give  the 
latter  accent  here. 

90.  That  father,  etc.  That  lost  father  lost  his;  or  (Gr.  246)  that  father 
(who  was)  lost  lost  his. 

Bound.   Was  bound.    For  the  ellipsis,  cf.  iii.  3.  62  (Wr.).    See  Gr  403. 

92.  Obsequious.    Funereal ;  from  obsequies  (Johnson)  ;  as  in  T.  A.  v.  3. 
152  and  Sonn.  31.  5.     Cf.  the  adverb  obsequiously  in  Rich.  III.  i.  2.  3. 

Persever.  The  regular  spelling  and  accent  in  S.  Cf.  A.  W.  iv.  2.  36, 
37,  where  it  rhymes  with  ever.  Gr.  492. 

93.  Condolement.    Sorrow,  mourning.    Used  by  S.  only  here  and  (blun- 
deringly) in  Per.  ii.  i    156. 

95.  Incorrect.  Contumacious,  unsubmissive;  used  by  S.  only  here, 
like  unfortified  (=  weak)  in  the  next  line. 

97.    Simple.     Foolish. 

99.   Any  the  most.     Cf.  Cymb.  i.  4.  65:  "any  the  rarest." 

Tp  sense.  Depending  on  vulgar,  and  =  "  anything  the  most  commonly 
perceived"  (Gr.  419,2). 

104.  Who.    For  who"  personifying  irrational  antecedents,"  see  Gr.  264. 

105.  Till  he.     SeeGr.  184,206. 

107.  Unprevailing.  Unavailing.  So  prevail  =  avail  in  R.  andj.  iii.  3. 
60 :  "It  helps  not,  it  prevails  not."  Cf.  Peele,  Sir  Clyomon,  1599  :  "  pur- 
suit  prevaileth  nought;"  Marlowe,  Dido,  v.  2:  "What  can  my  tears  or 


ACT  L    SCENE  II.  I«l 

cries  prevail  me  now?"  Malone  quotes  Dryden,  Essay  on  Dramatit 
Poetry:  "He  may  often  prevail  himself  of  the  same  advantages;"  and 
Absalom  and  Achitophd,  461  (ist  ed.) :  "  Prevail*  yourself  of  what  occa- 
sion gives." 

109.  Immediate.     Cf.  2  Hen.  IV.  iv.  5.  42 : 

"  My  due  from  thee  is  this  imperial  crown, 
Which,  as  immediate  from  thy  place  and  blood, 
Derives  itself  to  me." 

I  ip.  Nobility.  "  Dignity,  greatness  "  (Schmidt),  or  "  eminence  and  dis- 
tinction "  (Heath). 

112.  Impart.     As  the  verb  has  no  object,  various  emendations,  not 
worth  mentioning,  have  been  suggested.     It  is  probably  one  of  the  many 
instances  of  "  confusion  of  construction  "  in  S.    Cf.  i.  3.  50  below,  and  see 
Gr.  415.     As  Delius  suggests,  the  poet  probably  regarded  no  less  nobility 
of  love  as  the  object  of  impart,  and  forgot,  owing  to  the  intermediate 
clause,  that  he  had  written  with  no  less.     On  for— as  for,  as  regards,  see 
Gr.  149. 

113.  The  university  of  Wittenberg  was  founded  in  1502,  and  is  men- 
tioned in  Marlowe's  Doctor  Faustus  and  other  English  books  of  the  time. 
For  school—  university,  cf.  A.  Y.  L.\.  I.  6. 

114.  Retrograde.    Contrary  ;  an  astrological  term.     Cf.  A.  IV.  i.  I.  212, 
where  Parolles  says  he  was  born  "  under  Mars,"  and  Helena  sarcastical- 
ly remarks,  "  When  he  was  retrograde,  I  think."     See  on  i.  I.  117  above. 

115.  Bend  you.     Bend  yourself  (Gr.  223),  be  inclined.     Cf.  I  Hen.  IV. 
v.  5.  36  :  "  bend  you  with  your  dearest  speed." 

I2O.  In  all  my  best.  Cf.  Oth.  iii.  4.  127  :  "I  have  spoken  for  you  all 
my  best."  In  i.  5.  27  below  we  have  "  in  the  best "  where  we  should  say 
"at  the  best" 

124.  Sits  smiling  to  my  heart.     The  meaning  is  clear,  but  the  expres- 
sion is  peculiar.     Cf.  Cor.  iv.  2.  48  : 

"it  would  unclog  my  heart 
Of  what  lies  heavy  to  't ;" 

M.for.  M.  v.  i.  394 :  "  Your  brother's  death,  I  know,  sits  at  your  heart." 
Delius  would  connect  to  with  smiling.    Ritson  proposed  "on  my  heart" 
In  grace.     In  honour;  as  in  M.  N.  D.  iv.  i.  139:  "in  grace  of  our  so- 
lemnity." 

125.  Denmark.     That  is,  the  king  of  Denmark.    Johnson  says:  "The 
king's  intemperance  is  very  strongly  impressed;  everything  that  happens 
to  him  gives  him  occasion  to  drink." 

127.  Rouse.  Bumper;  as  in  Oth.  ii.  3.  66.  The  word  is  of  Danish 
origin  (see  Wb.),  and  not  connected  with  carouse.  It  is  now  used  only 
in  the  sense  of  a  drinking  bout  or  carousal.  Cf.  i.  4.  8  and  ii.  I.  58  below. 
See  also  Marlowe,  Dr.  Faustus,  iii.  4 :  "  He  took  his  rouse  with  stoups 

»  The  change  to  "  Avail "  in  later  eds.  is  due  to  Derrick,  and  not,  as  Malone  states,  to 
Dryden  himself.  There  is  another  instance  in  the  Introduction  to  the  A  nnus  Mirabilis : 
"  I  could  not  prevail  myself  of  it  in  the  English"  (here  also  changed  to  "avail"  by  Der- 
rick). It  is  an  imitation  of  the  French  idiom,  se  frtvaloir  de. 


Ig2  NOTES. 

of  Rhenish  wine  ;"  Massinger,  Duke  of  Milan,  i.  I :  "  Stands  bound  to 
take  his  rouse  ;"  Bondman,  ii.  3  :  "another  rouse  !"  etc. 

The  Danish  court  in  the  time  of  S.  was  known  throughout  Europe  for 
its  intemperance.  Sir  John  Harrington  in  1606  refers  as  follows  to  the 
visit  of  Christian  IV.  of  Denmark  (uncle  of  Anne,  queen  of  James  I.)  to 
England :  "  From  the  day  the  Danish  king  came,  until  this  hour,  I  have 
been  well  nigh  overwhelmed  with  carousal,  and  sports  of  all  kinds.  .  .  . 
I  think  the  Dane  hath  strangely  wrought  on  our  good  English  nobles ; 
for  those  whom  I  could  never  get  to  taste  good  liquor,  now  follow  the 
fashion,  and  wallow  in  beastly  delights.  The  ladies  abandon  their  sobri- 
ety, and  are  seen  to  roll  about  in  intoxication.  I  do  often  say  (but  not 
aloud)  that  the  Danes  have  again  conquered  the  Britains  ;  for  I  see  no 
man,  or  woman  either,  that  can  now  command  himseTf  or  herself." 

Bruit.     Noise  abroad.     Cf.  Macb.  v.  7.  22,  etc. 

129.  Too,  too.    A  common  reduplication.    Cf.  J?.  of  L.  174,  2".  G.  of  V. 
ii.  4.  205,  M.  W.  ii.  2.  260,  M.  ofV.  ii.  6.  42,  etc.     See  Mer.  p.  143. 

On  the  passage  Coleridge  remarks  :  "This  tczdium  vitcz  is  a  common 
oppression  on  minds  cast  in  the  Hamlet  mould,  and  is  caused  by  dispro- 
portionate mental  exertion,  which  necessitates  exhaustion  of  bodily  feel- 
ing. Where  there  is  a  just  coincidence  of  external  and  internal  action, 
pleasure  is  always  the  result ;  but  where  the  former  is  deficient,  and  the 
mind's  appetency  of  the  ideal  is  unchecked,  realities  will  seem  cold  and 
unmoving.  In  such  cases,  passion  combines  itself  with  the  indefinite 
alone.  In  this  mood  of  his  mind  the  relation  of  the  appearance  of  his 
father's  spirit  in  arms  is  made  all  at  once  to  Hamlet :  it  is — Horatio's 
speech,  in  particular — a  perfect  model  of  the  true  style  of  dramatic  nar- 
rative ;  the  purest  poetry,  and  yet  in  the  most  natural  language,  equal- 
ly remote  from  the  ink-horn  and  the  plough." 

M.  says :  "  The  base  affinities  of  our  nature  are  ever  present  to  Ham- 
let's mind.  Here  he  thinks  of  the  body  as  hiding  from  us  the  freshness, 
life,  and  nobleness  of  God's  creation.  If  it  were  to  pass  away,  silently 
and  spontaneously,  like  the  mist  on  a  mountain-side,  or  if,  curtain-like, 
we  might  tear  it  down  by  an  act  of  violence,  it  may  be  that  we  should  see 
quite  another  prospect ;  at  any  rate,  the  vile  things  now  before  us  would 
be  gone  forever." 

130.  Resolve.     Cf.  L.  C.  296:  "resolv'd  my  reason  into  tears;"  T.  of 

'       "The  sea  's  a  thief,  whose  liquid  surge  resolves 
The  moon  into  salt  tears." 

Nares  quotes  Lyly,  Euphues:  "  I  could  be  content  to  resolve  myself  into 
tears." 

132.  Canon.  "Theo.  first  pointed  out  that  this  did  not  refer  to  a  piece 
of  artillery,  but  to  a  divine  decree  "  (F.).  Wordsworth  (Shakespeare's 
Knowledge  and  Use  of  the  Bible]  says :  "  Unless  it  be  the  Sixth  Com- 
mandment, the  canon  must  be  one  of  natural  religion."  Cf.  Cymb.  iii.  4. 

"Against  self-slaughter 
There  is  a  prohibition  so  divine 
That  cravens  my  weak  hand." 

137.  Merely.     Absolutely.     See  Temp.  p.  1 1 1  or  J.  C.  p.  129. 


ACT  I.    SCENL  IL  183 

140.  Hyperion.  Apollo.  Cf.  Hen.  V.  iv.  i.  292,  T.  and  C.  ii.  3.  207, 
etc.  The  accent  is  properly  on  the  penult,  but  the  general  usage  of  Eng- 
lish poets  has  thrown  it  back.  See  Wore.  Even  an  accomplished  clas- 
sical scholar  like  Gray  could  write :  "  Hyperion's  march  and  glittering 
shafts  of  war." 

To  is  often  thus  used  in  comparisons.  Cf.  Temp.  \.  2.  480,  C.  of  E.  i.  2. 
35,  etc.  See  also  i.  5.  52  and  Hi.  I.  52  below. 

A  satyr,  Warb.  says  :  "  By  the  satyr  is  meant  Pan,  as  by  Hyperion 
Apollo.  Pan  and  Apollo  were  brothers  ;  and  the  allusion  is  to  the  con- 
tention between  those  gods  for  the  preference  in  music."  But  more 
probably,  as  Steevens  suggests,  the  beauty  of  Apollo  is  contrasted  with 
the  deformity  of  a  satyr. 


HEAD  OF  A  SATYR. 


141.  Might  not  beteem.     Could  not  allow.     Gr.  312.     S.  uses  beteem 
again  in  M.  IV.  D,  i.  I.  131.     See  note  in  our  ed.  p.  128. 

142.  Visit.     For  the  omission  of  to,  see  Gr.  349. 

147.  Or  ere.     A  reduplication,  or  being  =  before.     See  Temp.  p.  112. 

149.  Ntobe.     Again  alluded  to  in  T.  and  C.  v.  10.  19:    "Make  wells 
and  Niobes  of  the  maids  and  wives." 

150.  Discourse  of  reason.    "The  reasoning  faculty  "  (Wr.).    The  phrase 
occurs  again  in  T.  and  C.  ii.  2.  1 1 6,  and  "  discourse  of  thought "  in  Oth.  iv. 
2.  153.     Cf.  "reason  and  discourse"  in  M.  for  M.  i.  2.  190,  and  "dis- 
course "  in  iv.  4.  37  below. 

153.  Hercules.  Cf.  ii.  2.  353  below.  Allusions  to  Hercules  are  very 
common  in  S. 

155.  Left  the  flushing.  Ceased  to  produce  redness.  Cf.  iii.  4.  34  below  : 
"  Leave  wringing  of  your  hands,"  etc.  Schmidt  suggests  doubtfully, 


1 84 


NOTES. 


"ere  her  tears  had  had  time  to  redden  her  eyes  ?"  Wr.  refers  to  the 
transitive  use  of  flush  =  to  fill  with  water;  but  the  word  here  is  proba- 
bly used  in  the  other  sense.  On  galled  eyes,  cf.  Rich.  III.  iv.  4.  53  and 
T.  and  C.  v.  3.  55. 

157.  Dexterity.     "Nimbleness"  (Schmidt).     Walker  suspects  that  S. 
wrote  "  celerity;"  but  elsewhere  the  idea  of  adroitness  in  the  word  seems 
to  have  suggested  to  S.  that  of  quickness.     Cf.  R.  of  L.  1389,  M.  W.  iv. 
5.  121  and  I  Hen.  IV.  ii.  4.  286. 

158.  Nor  it  cannot.     Cf.  iii.  2. 183  below :  "nor  't  is  not  strange,"  etc. 
Gr.  406. 

156.    Break.     Subjunctive  (Gr.  364)  or  3d  person  imperative;  not  2d 
person  imperative,  as  many  eds.  make  it  by  putting  a  comma  after  it. 
13.    Change.     Exchange.     Johnson  explains  the   passage:  "I'll  be 


II.  185 

your  servant,  you  shall  be  my  friend ;"  but  it  may  mean  simply,  "  I  '11 
exchange  the  name  of 'friend  with  you." 

164.  What  make  you?  What  are  you  doing?  Cf.  Oth.  iii.  4.  169: 
"  What  make  you  from  home  ?"  The  phrase  is  common  in  S.  and  is 
quibbled  upon  in  L.  L.  L.  iv.  3.  190  fol.  and  Kick.  III.  i.  3.  164  fol.  See 
ii.  2.  266  below. 

167.  Good  even,  sir.  Addressed  to  Bernardo,  whom  Hamlet  does  not 
recognize  (W.). 

170.  Hear.    The  quarto  reading;  that  of  the  folios  is  "have,"  adopted 
by  K.,  Sr.,  and  W. 

171.  That.     Such.     See  Gr.  277,  and  cf.  i.  v.  48  below. 

172.  Truster.    Cf.  T.  of  A.  iv.  I.  10  :  "And  cut  your  trusters'  throats." 
Gr.  443. 

177.  I  pray  thee.  As  Corson  remarks,  this  reading  of  the  folio  is  bet- 
ter than  "  I  prithee,"  an  earnest  entreaty  being  meant 

179.  Upon.     For  the  adverbial  use,  see  Gr.  192. 

180.  BaKd  meats.    We  have  "bakemeats"  in  Gen.  xl.  17  (printed  with 
a  hyphen  in  the  ed.  of  1611,  as  Wr.  states)  and  "bake  mete"  in  Chau- 
cer, C.  T.  343.     It  was  an  old  custom  to  furnish  a  cold  entertainment 
for  the  mourners  at  a  funeral.     Collins  quotes  the  old  romance  of  Syr 
Degore : 

"A  great  feaste  would  he  holde 
Upon  his  queries  mornynge  day, 
That  was  buryed  in  an  abbay ; 

and  Malone  adds  from  Hayward's  Life  and  Ratgne  of  King  Henrie  the 
Fourth,  1599:  "Then  hee  [Richard  II.]  was  .  .  .  obscurely  interred, — 
without  the  charge  of  a  dinner  for  celebrating  the  funeral."  For  further 
information  on  the  subject,  see  Brande's  Popular  Antiquities  (Bohn's  ed.) 
vol.  ii.  pp.  237-245.  The  custom  did  not  continue  long  after  the  time  of 
S.,  for  Flecknoe,  in  his  ^Enigmatical  Characters,  1665,  says  of  "  a  curious 
glutton"  that  when  he  dies  he  "onely  regrets  that  funeral  feasts  are 
cuite  left  off,  else  he  should  have  the  pleasure  of  one  feast  more  (in  im- 
a'gination  at  least)  even  after  death." 

182.  Dearest  foe.     Cf.  A.  Y.  L.  \.  3.  34:  "my  father  hated  his  father 
dearly,"  etc.    See  Temp.  p.  124  (note  on  The  dearest  ofth1  loss]  or  Rich.  II. 
p.  151. 

183.  Or  ever  I  had.     The  folio  has  "Ere  I  had  ever,"  which  some  edi- 
tors prefer.     See  on  147  above. 

185.  O  where.     The  quartos  omit  the  O. 

In  my  mind's  eye.  Cf.  R.  of  L.  1426:  "unseen,  save  to  the  eye  of 
mind  ;"  Chaucer,  C.  T.  4972  :  "  with  eyen  of  his  mynde.  See  also  Much 
Ado,\v.  1.231. 

190.  Saw  ?  who  ?  Some  eds.  print  "  Saw  who  ?"  and  D.  says  that  the 
Kembles,  Kean,  and  Macready  gave  the  words  as  a  single  question.  For 
the  -who^whom,  see  Gr.  274. 

192.  Season.     "Qualify,  temper"  (Schmidt),  as  in  ii.  I.  28  below.     Cf. 
M.  of  V.  iv.  i.  197  :  "  When  mercy  seasons  justice." 

193.  Attent.     Attentive  ;  used  again  in  Per,  iii.  prol.  II  :  "Be  attent." 
Spenser  uses  it  as  a  noun  in  F.  Q.  iii.  9.  52  :  "  With  vigilant  regard  and 


I»6  NOTES. 

dew  attent ;"  and  Id.  vi.  9.  37  :  "  And  kept  her  sneepe  with  diligent  at 
tent." 
Deliver^ relate,  as  in  209  and  v.  2.  374  below.     Cf.  Temp.  ii.  I.  45,  v. 

'  198.'  Vast.  The  reading  of  1st  quarto  ;  the  later  quartos  and  the  folic 
have  "  waste. r  Malone  and  Steevens  read  "  waist  "= middle.  Marston, 
in  his  MaleconMit,  1604,  has  "waist  of  night."  Vast,  like  waste,=vo\d 
'emptiness.  Cf.  Tump.  \.  2.  327  :  "  that  vast  of  night." 

200.  At  point.  The  folio  has  "at  all  points."  Cf.  Rich.  If.  i.  3.  2: 
"  Yea,  at  all  points  ;"  Spenser,  F.  Q.  i.  1. 16  :  "  Armed  to  point ;"  Id.  i.  2. 
12 :  "all  armde  to  point,"  etc.  See  also  Macb.  p.  241,  note  on  At  a  point. 

Cap-a-pe.  Cap-^-pied,  from  head  to  foot ;  used  again  in  W.  T.  iv.  4. 
761  :  "  I  am  courtier  cap-a-pe."  Cf.  228  below. 

202.  Thrice.     In  the  folio  joined  to  by  them. 

204.  Distiltd.    The  folio  has  " bestil'd," and  the  Coll.  MS.  "bechill'd." 
Sr.  quotes  Sylvester,  Du  Bartas:  "  Melt  thee,  distill  thee,  turne  to  wax 
or  snow." 

205.  Act.    Action,  operation.    Ct  Oth.  iii.  3. 328 : 

"Dangerous  conceits  are  in  their  natures  poisons, 
Which  at  the  first  are  scarce  found  to  distaste, 
But  with  a  little  act  upon  the  blood 
Burn  like  the  mines  of  sulphur." 

207.  Dreadful.  Filled  with  dread ;  as  in  R.  of  L.  450,  Rich.  III.  i  I. 
8,  etc.  See  on  i.  I.  57  above. 

216.  It  head.    Cf.  Temp.  ii.  I.  163  :  "  of  it  own  kind ;"  Hen.  V.  v.  2.  40: 
"in  it  own  fertility;"  Ltart  i.  4.  236:  "it  's  had  it  head  bit  off  by  it 
young,"  etc.     See  Gr.  228  or  Temp.  p.  120.     This  possessive  it  occuis 
fourteen  times  in  the  folio  (not  counting  a  doubtful  case  in  T.  G.  ofV.  v. 
2.  21),  it's  nine  times,  and  its  only  once  (M.for  M.  i.  2.  4).     Milton  has 
its  three  times  (P.  L.  i.  254,  iv.  813,  and  Hymn  on  Nativ.  106).     Its  does 
not  occur  in  the  A.  V.  of  1611,  and  the  possessive  it  is  found  only  in  Lev. 
xxv.  5  ("its"  in  modern  eds.). 

217.  Like  as.    Cf.  Sonn.  60.  I :  "  Like  as  the  waves  make  towards  the 
pebbled  shore ;"  T.  and  C.  i.  2.  7 :  "  like  as  there  were  husbandry  in 
war,"  etc.    C£  Gr.  107  and  116. 

218.  But  even.    See  on  i.  i.  8l  above. 
222.  Writ.    See  on  27  above. 

226.  Arm'd,  say  you?  This  refers  to  the  ghost,  not  to  Horatio  and 
Marcellus  as  some  have  understood  it. 

230.  Beaver.  The  movable  front  of  the  helmet.  Cf.  2  Hen.  IV.  iv.  i. 
120  :  "  their  beavers  down,"  etc.  It  is  sometimes  put  for  the  helmet,  as 
in  i  Hen.  IV.  iv.  i.  104:  "with  his  beaver  on,"  etc.  Hunter  quotes 
Spenser,  F.  Q.  iv.  6.  25 :  "they  their  bevers  up  did  reare."  For  the  deri- 
vation of  the  word,  see  Wb. 

^  237.  Like.    Likely  ;  as  often.    Cf.  ii.  2.  341  below.     See  also  M.ofV. 
ii.  7.  49  :  "  Is  't  like  that  lead  contains  her  ?"  etc. 

238.  Tell.  Count.  Cf.  Rich.  III.  i.  4.  122  :  "  while  one  would  tell 
twenty,"  etc.  The  word  is  now  obsolete  in  this  sense,  except  in  the 


ACT  I.    SCENE  III.  lg 

rd  "te"ing  one's  bMds-"  cc  **•=«  »>«> 


been  mo?t  exL^  •     h          ^tWCen  ^'/23W  and  "'^  ^^^     He  had 


251.  Loves.     See  on  i.  i.  173  above. 

^r£  ^^o     Say  rather  >'our  loves-     Cf-  163  above. 

256.  Doubt.     Suspect.     Cf.  Cor.  Hi.  i.  153  CV/,  jfj  ,   IQ  etc 

258.  7b  »«,',  eyes.     The  foli  ' 


omits  the  comma  afte  -  and 

as  good  sense  to  con"ect  *  - 


e 

^M 

2to   '^.'"H""'.-     *  caPri«.  »"  impulsive  fancy.     Wr.  quotes  <M  i  j 
Sow,  a'nfseTrK  2      ?ea"":r'd  CU"id       F°'  «S  «t  HI  * 


,  anse  9 

7.  ^v»fy.     Early,  vernal  ;  perhaps  peculiar  to  this  passage  (Nares) 
e'asute^Gr.  4*™™'  ^  ^^  'iable  l°  «"?  "^     °" 
?o  SK"CfA  /Graptifi'rttl'°n'  ?3Stime  <Schmidt)  !  «sed  by  S.  only  here. 
is  due  to  Swe        "         ^  ^^  edS'  haVC  3  Peri°d  after  *'  the  cha»S 


a 

"Ihe  mother  of  three  daughters,  well  upbroueht 
In  goodly  thewes,  and  godly  exercise;* 

''        °r  '  for  worth  and    e»tl 


sum  incr  in' 

havJ   ^"/f'      ?"?',  deCeit'      UsCd  Olll>'  here  and  in  L.  C.  303  •   but  we 
have -.  cautelous  (-false,  deceitful)  in  Cor.  iv.  i.  33  and   7  C  ii    i 
Rushton  suggests  that  S.  had  in  mind  Swinburn,  Treatise  on  mils  i 
1  here  is  no  cautele  under  heaven,  whereby  the  libertie  nf  «,K* 


1 88  NOTES. 

revoking  his  testament  can  be  utterly  taken  away."     Besmirch  is  used 
literally  in  Hen.  V.  iv.  3..iio. 

16.    The  virtue  of  his  will.     "  His  virtuous  intentions  "  (Mason). 

1 8.  This  line  is  not  in  the  quartos. 

19.  Unvalued.     Of  low  birth,  mean.     In  the  only  other  instance  in  S. 
(Rich.  III.  i.  4.  27)  it  means  invaluable.    Cf.  Marlowe,  Tamburlane,  i.  2  : 
"  loss  unvalued  "  (that  is,  inestimable).     Here  again  Rushton  cites  Swin- 
burn ;   "  it  is  not  lawful  for  legetaries  to  carve  for  themselves,  taking  their 
legacies  at  their  own  pleasure." 

21.  Safety.  A  trisyllable.  Cf.  Gr.  477  and  488.  The  folio  has  "  sanc- 
tity," andTheo.  substituted  "sanity,"  which  W.  adopts  and  Abbott  (Gr. 
484)  favours.  D.,  H.,  and  St.  read  "the  health,"  which  is  perhaps  the 
best  emendation,  if  any  be  required. 

26.  Particular  act  and  place .  "The  peculiar  line  of  conduct  prescribed 
to  him  by  his  rank  "  (Schmidt).  The  folio  has  "  peculiar  Sect  and  force." 
W.  reads  "  peculiar  sect  and  place;"  making  sect  =  class,  rank. 

28.    Withal.    An  emphatic  form  otwith  (Gr.  196). 

30.    Credent.    Credulous.     Cf.  L.  C.  279: 

"  Lending  soft  audience  to  my  sweet  design 
And  credent  soul  to  that  strong-bonded  oath 
That  shall  prefer  and  undertake  my  troth." 
It  means  credible  in  M.  for  M.  iv.  4.  29  and  W.  T.  i.  2.  142. 

32.    Unmaster'd.     "  Uncontrolled,  unbridled  "  (Schmidt). 

36.  Chariest.  "  Most  scrupulous"  (D.).  So  chariness  =  scrupulous- 
ness in  M.  W.  ii.  I.  102. 

38.  Scapes.     Not  "  'scapes,"  being  used  in  prose  by  Bacon  and  others. 
See  Macb.  p.  214  or  Wb.  s.  v. 

39.  Canker.     Canker-worm.     See  M.  N.  D.  p.  150. 

40.  Buttons.     Buds  (Fr.  bouton). 

42.  Blastments.    Blights;  used  by  S.  only  here.    Wr.  quotes  Coleridge, 
Zapolya :  "  Shall  shoot  his  blastments  on  the  land." 

43.  Best  safety,  etc.    Cf.  Macb.  iii.  5.  32,  and  see  note  in  our  ed.  p.  223. 

44.  Youth,  etc.     "  In  the  absence  of  any  tempter,  youth  rebels  against 
itself,  that  is,  the  passions  of  youth  revolt  from  the  power  of  self-restraint; 
there  is  a  traitor  in  the  camp"  (Wr.). 

None  else  near.     For  the  omission  of  is,  see  Gr.  403. 

46.  Good  my  brother.     See  Gr.  13. 

47.  Ungracious.     "  Graceless  "  (Wr.).     Cf.  Rich.  II.  ii.  3.  89, 1  Hen. 
IV.  ii.  4.  490,  etc. 

49.  Whiles.   Used  by  S.  interchangeably  with  -while  and  -whilst.    The 
folio  has  "  Whilst  "  here.     Puffed  =  bloated. 

50.  Primrose.     Cf.  Macb.  ii.  3.  21 :  "the  primrose  way  to  the  ever- 
lasting bonfire."     Note  the  change  of  person  in  Himself. 

5 1 .  Recks  not  his  own  rede.     Cares  not  for  his  own  counsel.     Cf.  Spen- 
ser, F.  Q.  vi.  2.  30:  "To  whose  wise  read  she  hearkning,"  etc.     So  the 
verb  rede  or  read—  advise,  as  in  F.  Q.  i.  i.  13:  "Therefore  I  read  be- 
ware," etc. 

Fear  me  not.  Fear  not  for  me.  Cf.  iii.  4.  7  and  iv.  5.  105  below. 
See  also  M.  for  M.  iv.  I.  70,  Much  Ado,  iii.  i .  31,  etc.  Gr.  200. 


ACT  1.    SCENE  III.  189 

52.  I  stay  too  long.     "  Laertes  seems  to  think  that  Ophelia's  spirited 
reply  is  giving  the  conversation  a  needless  and  inconvenient  turn  ;  for 
that  for  sisters  to  lecture  brothers  is  an  inversion  of  the  natural  order  of 
things  "(M.). 

53.  Double.     Laertes  had  already  taken  leave  of  his  father. 

56.  Sits.  Often  used  of  the  wind.  Cf.  M.  of  V.  i.  i.  18,  Rich.  II.  ii.  I. 
265,  Hen.  V.  ii.  2.  12,  etc. 

59.  Character.    Write,  inscribe.    S.  accents  the  verb  either  on  the  first 
or  the  second  syllable  ;  the  noun  on  the. first,  except  in  Rich.  III.  iii.  I. 
81  (Schmidt). 

Dowden  remarks  on  the  passage  :  "  The  advice  of  Polonius  is  a  cento 
of  quotations  from  Lyly's  Euphues*  Its  significance  must  be  looked 
for  less  in  the  matter  than  in  the  sententious  manner.  Polonius  has  been 
wise  with  the  little  wisdom  of  worldly  prudence.  He  has  been  a  master 
of  indirect  means  of  getting  at  the  truth,  'windlaces  and  assays  ot  bias.' 
In  the  shallow  lore  of  life  he  has  been  learned.  Of  true  wisdom  he  has 
never  had  a  gleam.  And  what  Shakspere  wishes  to  signify  in  this  speech 
is  that  wisdom  of  Polonius'  kind  consists  in  a  set  of  maxims  ;  all  such 
wisdom  might  be  set  down  for  the  head-lines  of  copy-books.  That  is  to 
say,  his  wisdom  is  not  the  outflow  of  a  rich  or  deep  nature,  but  the  little, 
accumulated  hoard  of  a  long  and  superficial  experience.  This  is  what 
the  sententious  manner  signifies.  And  very  rightly  Shakspere  has  put 
into  Polonius'  mouth  the  noble  lines, 

'To  thine  own  self  be  true, 
And  it  must  follow,  as  the  night  the  day, 
Thou  canst  not  then  be  false  to  any  man.' 

Yes ;  Polonius  has  got  one  great  truth  among  his  copy-book  maxims, 
but  it  comes  in  as  a  little  bit  of  hard,  unvital  wisdom  like  the  rest.  ''Dress 
well,  don't  lend  or  borrow  money  ;  to  thine  own  self  be  true.' " 

60.  Unproportion 'd.     "  Disorderly,  unsuitable  "  (Schmidt). 

61.  Vulgar.    The  word  denotes  the  extreme  of  familiar,  or  "free-and- 
easy"  with  everybody.     Cf.  I  Hen.  IV.  iii.  2.  41  : 

"So  common-hackney'd  in  the  eyes  of  men, 
So  stale  and  cheap  to  vulgar  company." 

62.  And  their  adoption  tried.     "And  whose  adoption  thou  hast  tried" 
(Wr.) ;  or,  perhaps,  "  their  adoption  having  been  tried,"  as  Delius  and 
others  explain  it  (Gr.  376, 377). 

63.  Grapple.     Cf.  Macb.  iii.  i.  106 :  "  Grapples  you  to  the  heart  and 
love  of  us."     For  hoops  Pope  substituted  "hooks." 

64.  Do  not  dull,  etc.      "  Do  not  make  thy  palm  callous  by  shaking 
every  man  by  the  hand  "  (Johnson).     Wr.  quotes  Cymb.  i.  6.  106  : 

*  Mr.  W.  L.  Rushton,  in  his  Shakespeare's  Euphuism,  pp.  44-47.  places  side  by  side 
the  precepts  cf  Polonius  and  Euphues.  "Pol.  Give  thy  thoughts  no  tongue.  Euph.  Be 
not  lavish  of  thy  tongue.  Pol.  Do  not  dull  thy  palm,  etc.  Euph.  Every  one  that  shaketh 
thee  by  the  hand  is  not  joined  to  thee  in  heart.  Pol.  Beware  of  entrance  to  a  quarrel, 
etc.  Euph.  Be  not  quarrelous  for  every  light  occasion.  Pol.  Give  every  man  thine  ear, 
but  few  thy  voice.  Euph.  It  shall  be  thrice  better  to  hear  what  they  say,  than  to  speak 
what  thou  thinkest."  Both  Polonius  and  Euphues  speak  of  the  advice  given  as  "  these 
few  precepts." 


£90 


NOTES. 


"join  gripes  with  hands 
Made  hard  with  hourly  falsehood." 


65.  Comrade.  Accented  on  the  last  syllable,  as  in  i  Hen.  IV*  iv.  I.  96; 
on  the  first  in  Lear,  ii.  4.  213.  S.  uses  the  word  only  three  times.  The 
quartos  have  "  courage  "  here. 

69.  Censure.     Opinion;  as  often.     Cf.  Macb.  v.  4.  14:  "our  just  cen- 
sures;" and  see  note  in  our  ed.  p.  251.     See  also  i.  4.  35  and  iii.  2.  24 
below. 

70.  Costly.     Tschischwitz  makes  the  construction  "costly  thy  habit 
buy  as  thy  purse  can ;"  but  it  is  simpler  to  make  it  "  as  costly  be  thy 
habit  as,"  etc.     Cf.  Gr.  276. 

71.  Express1  d  in  fancy.     "Marked  or  singular  in  device"  (M.),  or,  in 
modern  slang,  "loud." 

74.  A  corrupt  line.  The  ist  quarto  reads  :  "  Are  of  a  most  select  and 
general!  chiefe  in  that ;"  the  2d  and  3d  :  "Or  of  a  most  select  and  gen- 
erous, chiefe  in  that,"  the  "Or"  being  changed  to  " Ar"  and  "Are"  in 
the  4th  and  5th.  The  folio  has  "  Are  of  a  most  select  and  generous 
cheff  in  that,"  which  is  followed  (reading  "chief")  by  K.,  V.,  M.,  and 
others  ;  Me/being  explained  as  "eminence,  superiority,"  or  as  "  the  up- 
per part  of  a  heraldic  shield."  The  Coll.  MS.  changes  chief  to  "choice." 
W.  reads,  very  plausibly,  "  Are  most  select  and  generous  in  that."  The 
reading  in  the  text  is  due  to  Rowe,  and  is  followed  by  D.  (ad  ed.).  H., 
F.,  and  others.  Chief—  chiefly,  especially. 

77-  Husbandry.  Thrift,  economy.  Cf.  Macb.  ii.  1.4:  "  There  's  hus- 
bandry in  heaven  ;  Their  candles  are  all  out,"  etc. 

81.  Season.     "  Mature,  ripen  "  (Schmidt).     Cf.  iii.  3.  86  below. 

83.  Tend.  Attend,  are  waiting ;  as  in  iv.  3.  44  below.  Cf.  the  transi- 
tive use  in  Temp.  i.  2.  47,  Lear,  ii.  4.  266,  etc. 

86.  And  you,  etc.  That  is,  I  will  remember  it  till  you  give  me  leave 
to  forget  it. 

90.  Bethought.  Thought  of.  Ci.Per.v.  1.44:  "'T  is  well  bethought." 
The  verb  is  often  used  reflectively,  as  in  M.  ofV.  i.  i.  31,  M.  N.  D.  iv.  i. 
155,  etc.  On  marry,  see  Mer.  p.  138. 

94.  Put  on  me.  Told  me  (Schmidt) ;  or  possibly  a  little  stronger  than 
that,  and=impressed  upon  me.  Cf.  A.  Y.  L.  \.  2.  99,  M.  for  M.  ii.  2.  m 
T.  N.V.I.  70,  etc. 

98.  Give  me  up  the  truth.  Cf.  Rich.  III.  i.  4.  189  :  "  have  given  their 
verdict  up  Unto  the  frowning  judge." 

101.  Green.     Still  used  colloquially  in  this  sense- inexperienced,  un- 
sophisticated.    Cf.  V.  and  A.  806,  W.  T.  iii.  2.  182,  K.  John.  ii.  i.  472,  iii. 
4.  145,  etc.     See  also  "greenly,"  iv.  5.  66  below. 

102.  Unsifted.     Untried;  used  by  S.  only  here.     Cf.  Luke,  xxii.  31. 
Circumstance  is  used  collectively  (Delius). 

106.  Tenders.  That  is,  promises  to  pay.  Cf.  M.  N.  D.  iii.  2.  87  and 
Sonn.  83.  4. 

109.  Running.  The  quartos  have  "Wrong,"  the  folios  "Roaming;" 
the  emendation  is  due  to  Coll.  "Wronging"  and  "  Wringing "  have 
also  been  suggested. 

HO.  Importun'd.     Accent  on  the  second  syllable,  as  regularly  in  S. 


ACT  J.    SCENE  IV.  I9, 

A/  f'fZf'  iV5"-19  :  7,1  here  }mP°rtu»e  death  awhile,  until  ;"  M.fo, 
"''  A 


might  wfbfspaid^  3re  n0t  "  thC  f°li0'  and  eXCeP<  for  the  —  e 
115.  Springes.    Snares.    Cf.  v.  2.  294  below  and 
ck 


.  .  .        .  v.  2.  294    eow  and  W  T  iv 

cock  was  proverbial  for  a  simpleton  (Nares)      Cf.  Ttff 
this  woodcock,  what  an  ass  it  is  '"  J    W  \l    i    »;«     n  w    u  • 

1  1  6.  Prodigal.     Used  adverbially.     Gr  i 

w?-iS3!5r  SL1^,^;,,""1  —*»«"  also  ^  -  ^  «•  3- 

daighte^     Adissy]lable'     Gr.473.     The  folio  reads,  «  For  this  time 
121.  Somewhat.     The  quartos  have  "something." 

Cf.7S»AL2.  m,H<».r.\.  2. 


cc 
used  by  s- 


,  ,,,  -  ]aw  ,JapCTS  headed  with  reli  jous  fonn|)]     „ 

?       -k  DlyacS  (J?1"180".  Schmidt),  or  misuse  (M.). 

The  2C|  and  3<i  quartos  and  the  folios  have  "moment 

r-  43o)  sives  " 


human  nature.     It  is  a  well-established  fact,  that  on  the  brink 


anj 


,92  NOTES. 

serious  enterprise,  or  event  of  moment,  men  almost  invariably  endeavom 
to  elude  the  pressure  of  their  own  thoughts  by  turning  aside  to  trivia) 
objects  and  familiar  circumstances :  thus  this  dialogue  on  the  platform 
begins  with  remarks  on  the  coldness  of  the  air,  and  inquiries,  obliquely 
connected,  indeed,  with  the  expected  hour  of  the  visitation,  but  thrown 
out  in  a  seeming  vacuity  of  topics,  as  to  the  striking  of  the  clock  and  so 
forth.  The  same  desire  to  escape  from  the  impending  thought  is  carried 
on  in  Hamlet's  account  of,  and  moralizing  on,  the  Danish  custom  of  was- 
sailing :  he  runs  off  from  the  particular  to  the  universal,  and  in  his  re- 
pugnance to  personal  and  individual  concerns,  escapes,  as  it  were,  from 
himself  in  generalizations,  and  smothers  the  impatience  and  uneasy  feel- 
ings of  the  moment  in  abstract  reasoning.  Besides  this,  another  purpose 
is  answered ;  for  by  thus  entangling  the  attention  of  the  audience  in  the 
nice  distinctions  and  parenthetical  sentences  of  this  speech  of  Hamlet's, 
Shakspeare  takes  them  completely  by  surprise  on  the  appearance  of  the 
Ghost,  which  comes  upon  them  in  all  the  suddenness  of  its  visionary 
character.  Indeed,  no  modern  writer  would  have  dared,  like  Shak- 
speare, to  have  preceded  this  last  visitation  by  two  distinct  appearances, 
—or  could  have  contrived  that  the  third  should  rise  upon  the  former  two 
in  impressiveness  and  solemnity  of  interest." 

1.  Shrewdly.    Sharply,  keenly.    See  Hen.  F.p.  1 70,  and  cf.  J.  C.  p.  145. 
The  folio  reads,  "  is  it  very  cold  ?" 

2.  Eager.     Sharp,  biting  (Fr.  aigre).     Cf.  i.  5.  69  below. 
5.  It  then.     The  folio  reads  "then  it." 

8.  Rouse.     See  on  i.  2.  127. 

9.  Wassail.      Drinking  -  bout,  carousal.      Cf.  L.  L.  L.  v.  2.  318 :  "  At 
wakes  and  wassails,"  etc.     See  Macb.  p.  180. 

Upspring.     Probably  a  wild  German  dance.     Steevens  quotes  Chap- 
man's AlphonsMS,  Emperor  of  Germany  : 

"We  Germans  have  no  changes  in  our  dances 

An  Almain  and  an  up-spring,  that  is  all." 

According  to  Elze,  the  word  is  a  translation  of  the  German  Hupfauf,  the 
last  and  wildest  dance  at  the  old  German  merry-makings ;  but  Schmidt 
says  that  "ffupjauf\s,  an  apochryphal  dance  and  may  as  well  be  trans- 
lated from  upspring"  Pope  substituted  " upstart,"  and  some  make  «/- 
spring=  upstart. 

Reels  is  a  verb  with  upspring  for  its  object,  as  Schmidt  and  F.  explain 
it ;  not  a  noun,  as  St.  makes  it. 

10.  Rhenish.     Cf.  M.  off.  i.  2.  104  :  "  a  deep  glass  of  Rhenish  wine ;" 
Id.  iii.  i.  44 :  "red  wine  and  Rhenish."     See  also  v.  I.  170  below. 

11.  Kettle-drums.     Douce  quotes  Cleaveland,  Fuscara:  "As  Danes 
carowse  by  kettle-drums." 

12.  The  triumph,  etc.    "The  universal  acceptance  of  his  pledge"  (M.); 
or  the  expression  may  be  "bitterest  irony"  (Delius). 

15.  Manner.     Custom,  fashion  ;  with  perhaps  a  reference  to  man*-. 
Cf.  the  play  on  the  words  in  L.  L.  L.  i.  i.  207  fol. 

16.  D.  quotes  from  an  old  play :  "  He  keeps  his  promise  best  that 
breaks  with  hell." 

17.  This  heavy-headed  revel,  etc.    Lines  17-38  are  omitted  in  the  folios. 


ACT  I.    SCENE  IV.  193 

East  and  west.  As  Johnson  points  out,  these  words  modify  traduc'a, 
»ot  revel 

1 8.  Ttufd.    Censured.     Cf-  A.  Y.  L.  ii.  7.  71: 

"  Why,  who  cries  out  on  pride, 
That  can  therein  tax  ar.y  private  party,"  etc. 

See  also  A.  Y.  L.  p.  142,  note  on  Taxation;  and  cf.  Webster,  Cure  for  a 
Cuckold,  i.  i :  "She  is  without  taxation." 

19.  Clepe.     Call.     Cf.  Macb.  iii.  i.  94,  and  see  note  in  our  eel.  p.  209. 
Drunkards.     Steevens  says  that  in  Queen  Elizabeth's  time  there  was  a 

Dane  in  London  who  is  referred  to  in  Rowland's  Looke  to  It  as  follows  : 

"You  that  will  drinke  Reynaldo  vnto  death: 
The  Dane,  that  would  carowse  out  of  his  Boote." 

Cf.  Oth.  »i.  2.  84:  "Why,  he  drinks  you,  with  facility,   your   Dane  dead 
drunk. " 

With  swinish  phrase,  etc.  S;ain  our  name  by  calling  us  swine.  Ad- 
dition=t\\\e,  as  in  Macb.  i.  3.  106,  etc.  Hunter  thinks  there  maybe  an 
allusion  to  "some  parody  on  the  style  of  the  kings  of  Denmark,"  and 
Wr.  suggests  the  possibility  of  a  pun  on  Sweyn,  a  common  name  of  those 
kings. 

21.  At  height.     "To  the  utmost"  (Caldecott).     Cf.  Sonn.  15.  9:  "at 
height  decrease,"  etc. 

22.  The  pith,  etc.     "  The  best   and   most  valuable  part  of  the  praise 
that  would  otherwise  be  attributed  to  us  "  (Johnson) ;   or,  more  concisely, 
the  best  part  of  our   reputation.     For  attribute-^ reputation,   Schmidt 
compares  T.  and  C.  ii.  3.  125  and  Per.  iv.  3.  18. 

24.  Mole  of  nature.     Natural  blemish. 

25.  Malone  quotes  J?.  of  L.  538: 

•'  For  marks  descried  in  men's  nativity 
Are  nature's  faults,  not  their  own  infamy." 

On  as= namely,  see  Gr.  113. 

26.  His.    Its.     Gr.  228. 

27.  Complexion.    "Temperament,   natural  disposition"   (Schmidt). 
3f.  M.  of  V.  iii.  I.  32  and  v.  2.  99  below. 

30.  Plaitsive.     Plausible,  pleasing.     Cf.  A.  W.  i.  2.  53   and  iv.  I.  29 

32.  Nature's  livery,  etc.    A  defect  either  natural  (cf.  "  mole  of  nature  " 
above)  or  accidental.     Star  —  z.  mark  like  a  star.      Cf.  Cymb.v.  5.  364- 
"  Upon  his  neck  a  mole,  a  sanguine  star."      Ritson  says  it  is  a  term  in 
ferriery.     Theo.  substituted  "  scar." 

33.  Their.    The  quartos  have  "  His,"  which  S.  may  have  written.    Cf. 
the  change  from  singular  to  plural  in  iii.  2.  173,  174  below,   and  see  Gr. 

4I5- 

34.  Undergo.     Experience,  enjoy  (Schmidt).     Cf.  M.for  M.  i.  I    24: 
*  To  undergo  such  ample  grace  and  honour." 

35.  Censure.    Opinion,  judgment.     See  on  i.  3.  69  above. 

36.  37.  A  corrupt  passage,  not  satisfactorily  mended  by  any  of  the 
countless  attempts  to  do  it.     F.  fills  six  closely  printed  pages  with  a 

Xmmary  of  these,  and  they  are  more  amusing  than   edifying.     Some  of 


I94  NOTES. 

the  changes  proposed  are  comparatively  simple  and  plausible,  while 
others  are  of  the  wildest  and  most  preposterous  sort.  The  genera!  mean- 
ing cf  the  passage  is  obvious  from  the  preceding  statement,  of  which  it 
is  evidently  a  figurative  repetition.  The  idea  is  that  of  a  little  leaven  of 
evil  leavening  the  whole  lump  of  "  noble  substance  ;"  and  it  seems  prob- 
able that  "evil,"  or  some  word  of  the  same  sense  ("ill,"  "vile,"  "base," 
etc.,  have  been  suggested)  is  disguised  in  eale.  It  is  a  significant  fact 
that,  in  ii.  2.  586  below,  the  2d  quarto  has  "deale"  for  devil.  D.  says 
that  eale  itself  is  used  in  the  western  counties  of  England  in  the  sense  of 
"reproach  ;"  and  "eale,  to  reproach,"  is  given  in  Halliwell  and  Wright's 
Archaic  Diet,  as  a  Devonshire  word.  Of  a  doubt  has  been  changed  to 
"  often  dout "  ( =do  out,  efface),  "  ever  dout,"  "  oft  corrupt,"  etc.  These 
are  samples  of  the  better  sort  of  emendations ;  for  such  absurdities  as 
"dram  of  ale,"  "dram  of  eel,"  "bran  of  meal,"  "often  daub,"  "over- 
clout,"  etc.,  we  must  refer  the  reader  to  F, 

38.  His.     Its ;  as  in  26  above. 

40.  A  spirit  of  health.     "A  healed  or  saved  spirit "  (Wr.). 

42.  Intents.     The  folio  has  "  events,"  which  some  critics  defend. 

43.  Questionable.     "Inviting  question"  (Theo.).     Cf.  unquestionable  — 
averse  to  conversation,  in  A.  Y.  L.  iii.  2.  393.    S.  uses  the  word  only  here. 

45.  Royal  Dane.  We  follow  F.  in  adopting  the  punctuation  proposed 
anonymously  in  a  London  journal  in  1761.  The  modern  eds.  generally, 
with  the  folio,  join  Royal  Dane  to  Father,  but  the  climax  naturally  ends 
with  the  latter  word.  F.  says:  "Mr.  Edwin  Booth  has  informed  me 
that  his  father  always  spoke  the  line  thus,  and  that  he  himself  has  al- 
ways so  spoken  it." 

47.  Canonized.  The  regular  accent  in  S.  Cf.  K.  John,  iii.  I.  177,  iii. 
4.  52,  T.  and  C.  ii.  2.  202,  etc. 

Hearsed.  Coffined.  Cf.  M.  ofV.  iii.  I.  93  :  "  Would  she  were  hearsed 
at  my  foot." 

49.  Inurrfd.    The  quartos  have  "  interr'd." 

2.  Complete.  Accented  by  S.  on  either  syllable,  as  suits  the  measure, 
midt  says  that  "  c6mplete  always  precedes  a  noun  accented  on  the 
first  syllable,  complete  is  always  in  the  predicate."  Cf.  M.forM.  i.  3.  3, 
L.  L.  L.  i.  i.  137,  Rich.  III.  iv.  4.  189,  etc.,  with  T.  G.  of  Y.  ii.  4.  73,  K. 
John,  ii.  i.  433,  Hen.  VIII.  iii.  2.  49,  etc. 

53.  Glimpses.  That  is,  glimmering  through  the  clouds  or  through  the 
openings  among  the  battlements  (Hunter). 

54-  We.     See  Gr.  216. 

Fools  of  nature.  Of  whom  nature  makes  fools.  Cf.  R.  and  J.  iii.  I. 
141 :  "  O  I  am  fortune's  fool !"  See  also  Lear,  iv.  6.  195,  Macb.  ii.  I. 
44,  etc. 

55.  Disposition.     Constitution,  nature.     See  Macb.  p.  220. 

56.  Reaches.     "The  plural  is  here  used  as  in  i.  i.  173  "  (Wr.). 

57.  Why.     For  the  use  of  the  word,  see  Gr.  75. 

59.  Impartment.     Communication  ;  used  by  S.  nowhere  else. 

OI.  Waves.  The  folio  has  "wafts,"  which  S.  uses  in  the  same  sensd 
C£  C.  of  E.  ii.  2.  1 1 1  :  "  who  wafts  us  yonder  ?"  See  also  M.  of  V.  v.  I. 
II,  T.  of  A.  i.  i.  70,  etc. 


Sch 


ACT  I.     SCENE   V.  1 95 

Removed.     Remote.     See  A.  Y.  L.  p.  177. 

64.    Should.     See  Gr.  328. 

73.    Deprive.     Take  away;   as  in  R.  of  L.  1 186  and  1752  (Schmidt). 

Your  sovereignty  of  reason.  The  sovereignty  of  your  reason,  the  com- 
mand of  your  reason.  Gr.  423. 

75.    Toys.     Freaks.    Cf.  R.  and  J.  iv.  I.  119:  "  no  inconstant  toy,"  etc. 

Lines  75-78  are  omitted  in  the  folio. 

83.  The  Nemean  lion's.  We  have  this  mythic  beast  again  in  L.  L.  L. 
iv.  I.  90,  where  Nemean  is  accented  as  here. 

Nerve.  Sinew;  the  only  meaning  that  Schmidt  recognizes.  Cf.  Sonn. 
ico.  4,  Temp.  i.  2.  484,  Macb.  iii.  4.  102,  etc. 

85.  Lets.  Hinders.  Cf.  T.  N.  v.  i.  256:  "If  nothing  lets  to  make  us 
happy,"  etc.  So  the  noun  =  hindrance,  as  in  f/en.  V.  v.  2.  65,  etc. 

89.  Haveafter.  Let 's after  him  !  Cf. havewithyou  =  I  'llgo  with  you; 
as  in  A.  Y.  L.  \.  2.  268,  Oth.  i.  2.  53,  etc.  So  have  at  it  (  W.  T.  iv.  4.  302), 
have  at  you  (v.  2.  290  below),  have  to  it  (  T.  of  S.  i.  I.  143),  etc. 

91.    It.     Referring  to  issue. 

Nay.  "  That  is,  let  us  not  leave  it  to  heaven,  but  do  something  our- 
selves"  (Wr.). 

SCENE  V.— 6.  Bound.  The  adjective  =  ready  (Schmidt).  The  Ghost 
uses  it  as  the  participle  of  bind. 

II.  To  fast.  Cf.  Chaucer,  Persones  Tale:"  And  moreover  the  misese 
of  helle  shall  be  in  defaute  of  mete  and  drink." 

19.  An  end.     The  ist  quarto  and  most  modern  eds.  have  "on  end." 
See  Gr.  24. 

20.  Porpentine.     Porcupine;  the  only  name  by  which  S.  knows  the 
animal.     Cf.  Ascham,  Toxophilus  :    "  nature  geve  example  of  shootinge 
first  by  the  porpentine,"  etc.     Topsell,  in  his  Hist,  of  Beasts,  1607,  haa 
"  porcuspine." 

21.  Eternal  blazon.     "This  promulgation  of  the  mysteries  of  eternity  " 
(M.).    Abbott  (Gr.  p.  16)  thinks  it  is  —  in/ernathere;  also  in  /.  C.  i.  2.  160 
and  Oth.  iv.  2.  130.     In  these  passages  Schmidt  defines  it  as  "  used  to 
express  extreme  abhorrence."     Cf.  the  use  of  eternal  in  the  provincial 
dialects  of  the  east  of  England,  and  in  Yankee  slang  ("'tarnal  "). 

29 .  Haste.  For  the  transitive  use,  cf.  M.  of  V.  ii.  2. 1 2 1 ,  T.  and  C.  iv.  3. 
5,  Cor.  v.  i .  74,  etc. 

32.  Shouldst.     Wouldst.     Gr.  322. 

33.  Roots.     The  folio  has  "  rots,"  which  is  preferred  by  many  editors. 
Lethe  wharf.    Lethe's  bank.     See  Gr.  22.     Cf.  A.  and  C.  ii.  2.  218  :   "  the 
adjacent  wharfs  "  (that  is,  banks) .     For  the  allusion  to  Lethe,  cf.  T.  N.  iv. 
I.  66,  2  Hen.  IV.  v.  2.  72,  Rich.  III.  iv.  4.  250,  and  A.  and  C.  ii.  7.  114. 

37.  Forged  process.  A  false  account  of  the  manner.  Wr.  thinks  that 
process  may  mean  "  an  official  narrative." 

40.  O  my  prophetic  soul !  "  My  very  soul  abhorred  the  murderer  even 
when  I  knew  not  his  crime"  (M.).  Cf.  i.  2.  255-258  above. 

42.  Adulterate.  Used  by  S.  oftener  than  adulterous.  Cf.  JR.  of  L.  1645, 
C.  ofE.  ii.  2.  142,  Rich.  III.  iv.  4.  79,  etc. 

46.    Seeming-virtuous.     See  Gr.  2. 


ig6  NOTES. 

48.  That.    Such.     Gr.  277.     Cf.  i.  2.  171  above. 

50.  Decline  upon.  Sink  down  to.  Cf.  T.  and  C.  iv.  5.  189 :  "  Not  letting 
it  decline  on  the  declin'd,"  etc.  Wr.  quotes  Tennyson,  Locksley  Hall: 

"  Having  known  me,  to  decline 
On  a  range  of  lower, feelings  and  a  narrower  heart  than  mine." 

52.  To.    Compared  to.     See  on  i.  2.  140  above. 

53.  Virtue.    For  the  "absolute"  or  pleonastic  construction,  see  Gr.  417. 
56.  Sate.     The  ist  quarto  has  "fate,"  the  other  quartos  "sort." 

58.  Soft.    "  Hold,  stop  "  (Schmidt).     See  M.  N.  D.  p.  176. 

60.  In.    The  quartos  have  "of"  (cf.  M.  N.  D.  ii.  i.  253,  etc.). 

61.  Secure.    Careless,  unsuspicious  (Latin  securus).    Cf.  Rich.  II.  v.  3. 
13,  Hen.  V.  iv.  chor.  17,  T.  and  C.  ii.  2.  15,  etc.     S.  accents  the  word  on 
either  syllable.     Cf.  52  above.     Cf.  complete  in  i.  4.  52  above. 

62.  Hebenon.    The  folio  reading  ;  the  quartos  have  "  Hebona."    Prob- 
ably henbane  is  meant,  but  Schmidt  and  some  others  think  it  may  be 
<i>onyt  the  juice  of  which  was  supposed  to  be  poisonous. 

63.  Ears.     It  was  a  belief  even  among  medical  men  in  that  day  that 
poison  might  be  thus  introduced  into  the  system.    The  eminent  surgeon, 
Ambroise  Pare,  the  contemporary  of  S.,  was  suspected  uf  having  infused 
poison  into  the  ear  of  Francis  II.  while  dressing  it  (Caldecott). 

68.  Vigour.     Power,  activity.     St.  reads  "rigour." 
Posset.     Coagulate,  curdle.     See  Macb.  p.  189. 

69.  Eager.     Sour  (Fr.  aigre).     See  on  i.  4.  2  above. 

71.  Instant.    Instantaneous.    Cf.  ii.  2.  501  below.    It  is  used  adverbially 
in  94  below. 

72.  Lazar-like.     Like  a  leper.    Cf.  Hen.  V.  \.  i.  15,  T.  and  C.  ii.  3.  36,  v. 
I.  72,  eta 

75.  Dispatched.     "Deprived  by  death"  (Schmidt).     The  ist  quarto 
has  "depriued,"  and  the  Coll.  MS.  "despoil'd." 

76.  Blossoms.     W.  reads  "  blossom ;"  perhaps  a  misprint     Cf.  W.  T. 
v.  2.  135  :  "  in  the  blossoms  of  their  fortune." 

77.  Unhouserd.    Not  having  received  the  eucharist  (Old  English  housel 
or  husel).    Cf.  Chaucer,  Persones  Tale:  "And  certes  ones  a  yere  at  the 
lest  way  it  is  lawful  to  be  houseled ;"  Romaunt  of  the  Rose,  6386  :  "  Ere 
any  wight  his  housel  tooke,"  etc.     Spenser  (F.  Q.  i.  12.  37)  has  "The 
housling  fire  "  (sacramental  or  sacrificial  fire). 

Disappointed.  "Unappointed"  (which  Theo.  substituted),  unprepared; 
ased  by  S.  only  here. 

UnaneVd.  Not  having  received  extreme  unction.  Nares  quotes  Sii 
Thomas  More  :  "  The  extreme  vnccion  or  anelynge." 

80.  O  horrible,  etc.     This  line  is  given  to  Hamlet  by  Rann,  V.,  H., 
and  some  others ;  and  W.,  St.,  and  D.  think  that  it  probably  belongs  to 
him,  as  perhaps  it  does. 

81.  Nature.     Natural  feeling.     Cf.  Temp.  v.  i.  76  :  "  Expell'd  remorse 
and  nature,"  etc. 

83.  Luxury.  Lust ;  its  only  meaning  in  S.  Cf.  Hen.  V.  iii.  5.  6,  M.  W. 
v.  5.  98,  etc. 

88.  Fare  thee  well.     On  thee~  thou,  see  Gr.  212.     Cf.  i.  I.  40  above. 

89.  Matin.     Matin  hour,  morning ;  used  by  S.  only  here.     Elze  is  in- 


ACT  f.     SCENE  K  197 

clined  to  change  it  to  "  matins  ;"  but  the  noun  is  used  in  the  singular  by 
Milton,  L'All.  114:  "  Ere  the  first  cock  his  matin  rings." 

90.  Gins.     Not  "  'gins,"  as  usually  printed.     See  Macb.  p.  153. 
(Ineffectual.     Either  "shining  without  heat"  (Warb.),  or  lost  in  the 

light  of  the  morning  (Steevens,  Schmidt).  For  the  use  of  un-  and  *'»-, 
see  Gr.  442. 

91.  Adieu,  etc.     The  quartos  have  "Adiew,  adiew,  adiew;"  the  folio, 
"  Adue,  adue,  Hamlet:  remember  me." 

97.  This  distracted  globe.    "  Here  Hamlet  puts  his  hand  upon  his  head" 
(Wr.);  but  Schmidt  thinks  that  globe  "  perhaps  =  world." 

98.  Table.    Tablet.     Cf.  T.  G.  of  V.  ii.  7.  3  : 

"Who  art  the  table  wherein  all  my  thoughts 
Are  visibly  character1  d  and  engravM." 

99.  Fond.     Foolish.     See  M.  N.  D.  p.  163,  or  M.  of  V.  p.  152. 
Records.    Walker  (quoted  by  F.)  says  that  the  accent  of  the  noun  is  on 

the  last  syllable  in  S. ;  but  cf.  Rich.  II.  i.  I.  29  :  "  First, — heaven  be  the 
record  to  my  speech  ;"  A.  and  C.  v.  2.  1 17  :  "  The  record  of  what  injuries 
you  did  us,  etc.  In  recorder  it  is  on  the  first  syllable  in  the  only  passage 
in  which  S.  uses  the  word  in  verse  (Rich.  III.  iii.  7.  30). 

lop.  Saws.  Maxims,  sayings.  Cf.  A.  Y.  L.  ii.  7.  156:  "wise  saws;" 
Id.  iii.  5.  82  :  "  now  I  find  thy  saw  of  might ;"  Lear,  ii.  2.  167  :  "  the  com- 
mon saw,"  etc, 

Pressures.  Impressions.  S.  uses  the  word  only  here  and  in  iii.  2.  22 
txslow.  He  has  impressure  in  the  same  sense  in  A.  Y.  L.  iii.  5.  23,  T.  N. 
ii.  5.  103  (=seal),  and  T.  and  C.  iv.  5.  131. 

107.  Tables.  Memorandum-book.  Cf.  2  Hen.  IV.  ii.  4.  289  :  "  his  mas- 
ter's old  tables,  his  note-book,"  etc.  Cf.  table-book  in  ii.  2.  136  below  and 
W.  T.  iv.  4.  610. 

no.  Word.  Watchword.  Cf.  Rich.  III.  v.  3. 349 :  "  Our  ancient  word 
of  courage,  fair  Saint  George,"  etc. 

115.  Hillo,  etc.  "  A  falconer's  cry  to  recall  his  hawk  "  (M.).  Hence 
the  come,  bird,  come. 

121.  Once.     Ever.     Cf.  Macb.  iv.  3.  167,  Rich.  II.  ii.  3.  91,  etc.      . 
125.  Come.     For  the  omitted  to,  see  Gr.  349. 

127.  Circumstance.  Ceremony  (Schmidt),  or  circumlocution  (Wr.). 
Cf.  M.  of  V.\.\.  154,  2  Hen.  VI.  f.  I.  105,  etc. 

129.  You.     "  To  go,"  or  something  of  the  sort,  is  understood. 
132.  Go  pray.     A  very  common  ellipsis  with  go.     Cf.  ii.  I.  101  below, 
etc.     Gr.  349. 

136.  Saint  Patrick.  "  The  patron  saint  of  all  blunders  and  confusions" 
(M.). 

Horatio.  The  folio  has  "  my  lord,"  which  Corson  takes  to  be  a  retort 
to  the  same  words  in  Horatio's  speech. 

141.  Soldiers.  A  trisyllable ;  as  in  J.  C.  iv.  I.  28 :  "  But  he's  a  tried 
and  valiant  soldier;"  and  Lear,  iv.  5.  3:  "Your  sister  is  the  better 
soldier."  Gr.  479. 

147.  Upon  my  sword.  The  sword  was  often  used  in  oaths  because  the 
nilt  was  in  the  form  of  a  cross  (and,  as  Hallhvell  shows,  sometimes  had 
a  cross  inscribed  upon  it) ;  and  this  swearing  by  the  sword  was,  more* 


i98 


NOTES. 


over,  an  old  Scandinavian  custom.  Cf.  W.  T.  Ji.  3. 168,  Ki.  2. 125,  A/A  // 
i.  3.  179,  Hen.  V.  ii.  I.  105,  etc. 

Already.     Referring  to  in  faith  above  (H.). 

150.  Truepenny.  "  Honest  fellow  "  (Johnson,  Schmidt).  Forhy  gives 
it  in  his  Vocabulary  of  East  Anglia  as  =  "  hearty  old  fellow;  stanch  and 
trusty  ;  true  to  his  purpose  or  pledge." 

161.  In  the  quartos  the  ghost  says  "  Sweare  by  his  sword." 

163.  Pioner.  Pioneer.  Cf.  Hen.  V.  iii.  2.  92  and  Oth.  iii.  3.  146.  In 
R.  ofL.  1380  it  rhymes  with  "  appear."  Gr.  492. 

165.  As  a  stranger,  etc.  "  Receive  it  without  doubt  or  question  "  (Wr.). 
Mason  makes  it  =  " seem  not  to  know  it;"  but  this  is  not  so  mucn  in 
keeping  with  what  follows. 

167.  Your.  The  folio  has  "our,"  which  is  preferred  by  Walker,  K.f 
W.,  and  D.  Your  is  probably  used  colloquially  as  in  iii.  2.  3,  108,  iv.  3. 
21  fol.,  etc.  Gr.  221. 

172.  Antic.  "Disguised"  (Wr.)  ;  "fantastic,  foolish"  (Schmidt).  C£ 
R.  and '  J.  i.  5.  58:  "cover'd  with  an  antic  face;"  Id.  ii.  4.  29:  "antic 
fantasticoes,"  etc.  See  Macb.  p.  130. 

174.  Encumbered.     "Folded  thus  in  sign  of  wisdom"  (M.). 

This  head-shake.  The  quartos  have  "  this  head  shake,"  the  folio 
"  thus,  head  shake."  Theo.  inserted  the  hyphen. 

175.  Of.     See  Gr.  178. 

176.  177.  An  if.     The  folio  has  "and  if."     Gr.  101,  103.     For  there  bet 
cf.  iii.  2.  26,  and  see  Gr.  300. 

178.  Giving-ottt.  Indication,  intimation.  Cf.  M.for  M.  i.  4.  54,  Oth.  iv. 
i.  131,  etc. 

To  note.  Caldecott  points  out  the  grammatical  irregularity  in  never 
shall  ...to  note.  Cf.  A.  Y.  L.  v.  4.  2 1  : 

"  Keep  your  word,  Phebe,  that  you  '11  marry  me, 

Or  else,  refusing  me,  to  wed  this  shepherd." 
See  Gr.  416. 

1 80.  Most.     Greatest.     Gr.  17. 

186.  Friending.    Friendliness;  used  by  S.  only  here.     Friend  is  found 
as  a  verb  in  M.for  M.  iv.  2.  1 16,  Hen.  V.  iv.  5.  17,  Hen.  VIII.  i.  2.  140,  etc. 

187.  Lack.     Be  wanting  ;  as  in  T.  A.  iv.  2.  44.     Cf.  i.  4.  3  above. 

189.  O  cursed  spite!  Cf.  C.  of  E.  ii.  2.  191  :  "  O  spite  of  spites  !"  M. 
V.  D.  i.  1. 138 :  "O  spite !"  Id.  iii.  2.  145 :  "O  spite  1  O  hell  J"  3  Hen.  VI 
i.  I. 18 :  "  O  unbid  spite  1"  etc. 


ACT  II. 

SCENE  I.— 3.  Shall.    Will.    Gr.  315. 

4.  Inquire.    The  folio  has  "  inquiry,"  which  some  editors  prefer.    Cf 
Per.  iii.  prol.  22. 

5.  Of.     About,  concerning  (Gr.  174).     Cf.  Rick.  II.  iii.  2.  186:  "In 
quire  of  him,"  etc. 


ACT  IT.    SCENE  /. 


199 


7.  Danskers.      Danes ;   used  by  S.  only  here.      Cf.  Webster,  White 
l)*vil:  "Like  a  Dansk  drummer."    Danske,  for  Denmark,  occurs  often 
in  Warner's  Albion's  England.    On  me,  see  Gr.  22O. 

8.  Keep.    Live,  dwell.    Cf.  M.  forM.  iii.  I.  10 :  "this  habitation  where 
thou  keep'st,"  etc. 

10.  Encompassment  and  drift.  "Winding  and  circuitous  course" 
.  (Caldecott). 

1      1 1.  More  nearer.     For  the  double  comparative,  cf.  iii.  2.  283,  iii.  4.  155, 
and  v.  2.  121  below.     Gr.  11. 

The  meaning  is,  "  By  these  natural  and  circuitous  inquiries  you  will 
get  nearer  to  the  point  than  you  possibly  could  by  a  direct  question  "  (M.). 

12.  It.     For  the  indefinite  use  of  it,  see  Gr.  226. 

13.  Take  you,  tic.     Assume  the  appearance  of  having,  etc. 

22.  Slips.  Offences.  Cf.  T.  A.  ii.  3.  86  :  "  these  slips  have  made  him 
noted  long  ;"  Oth.  iv.  i.  9  :  "a  venial  slip,"  etc. 

28.  Season.     See  on  i.  2.  192. 

29.  Another  scandal.     "  A  deeper  kind  of  scandal ;  much  as  oXXwc 
means  particularly,  and  aXXof  ucirqt;,  in  the  Odyssey,  an  out-of-the-way 
(or  foreign)  traveller"  (M.). 

31.  Breathe.     Utter,  speak;  as  in  44  below.     Quaintly  —  artfully,  in- 
geniously.    Cf.  T.  G.  of  V.  iii.  i.  117:  "a  ladder   quaintly  made  with 
cords,"  etc. 

32.  Taints.     Cf.  Macb.  iv.  3.  124 :  "The  taints  and  blames  I  laid  upon 
myself,"  etc. 

^.Unreclaimed.  Untamed  (Schmidt).  So  reclaim^  tame,  in  R.  andj. 
iv.  2.  47,  etc. 

The  passage  means  "  A  wildness  in  untamed  blood  to  which  all  young 
men  are  liable"  (D.). 

36.  Ay.     Metrically  a  dissyllable.     Gr.  482. 

38.  Fetch  of  warrant.  A  warranted  or  justifiable  artifice.  The  quar- 
tos have  "fetch  of  wit"  — cunning  device.  Cf.  Lear,  ii.  4.  90:  "Mere 
fetches." 

40.  As  ''twere,  etc.  "Just  as  you  might  speak  of  an  article  slightly 
soiled  "  (M.). 

42.  Converse.     Conversation.     Cf.  Z.  Z.  Z.  v.  2.  745  and  Oth.  iii.  i.  40. 
S.  uses  the  noun  only  three  times,  and  with  the  accent  as  here. 

For  him  =he,  see  A.  Y.  L.  p.  136  or  Gr.  208. 

43.  Predominate.     Aforesaid.     Cf.  T.  and  C.  iv.  5.  250:  "to  prenom- 
in  nice  conjecture."     For  the  form  of  the  participle  here,  see  Gr. 


342,  and  cf.  deject  in  iii.  i.  155  below. 
45-  Zw  this  consequence.    "In  i 


i  thus  following  up  your  remark"  (Schmidt). 
47.  Addition.     Title.     See  on  i.  4.  20  above. 

50.  By  the  mass.     Omitted  in  the  folios,  because  it  is  an  oath  (Coll.). 

51.  Leave.     Leave  off.     Cf.  V.  and  A.  715  :  "Whete  did  I  leave?" 
T.  ofS.  iii.  i.  26  :  "  Where  left  we  last  ?"  etc. 

58.  Overtook.  For  the  form,  cf  Macb.  iv.  i.  145  :  "  never  is  o'ertook." 
For  rouse,  see  on  i.  2.  127  above. 

64.  Of  wisdom  and  of  reach.  Schmidt  takes  g/"to  be  "used  to  denote 
a  quality,"  as  in  "thieves  of  mercy,"  iv.  6.  18  below.  The  expression 


tOO  AIUTJOS. 

would  then  be = wise  and  shrewd.    Abbott  (Gr.  168)  makes  0/=by  means 
of.     Wr.  compares  L.  L.  L.  iv.  2.  30  :  "  we  of  taste  and  feeling." 

65.  Windlasses.     Windings,  roundabout  ways ;  used  nowhere  else  by 
S.     Cf.  Golding,  Ccesar:  "bidding  them  fetche  a  windlasse  a  great  waye 
about." 

Assays  of  bias.  "Indirect  ways"  (Schmidt) ;  a  figure  taken  from  the 
game  of  bowls,  in  which  the  player  sends  the  ball  in  a  curved  line  instead 
of  a  straight  one. 

66.  Indirections.    Cf.  K.  John,  iii.  I.  276 :  "  Yet  indirection  thereby 
grows  direct." 

71.  In  yourself.  Perhaps =in  your  own  person,  for  yourself,  as  John- 
son and  Capell  explain  it.  Caldecott  says,  "  The  temptations  you  feel, 
suspect  in  him."  Wr.  thinks  it  may  mean  "  Conform  your  own  conduct 
to  his  inclinations." 

73.  Ply  his  music.  It  is  doubtful  whether  this  is  to  be  taken  figura. 
tively  ("  Let  him  go  on,  to  what  tune  he  pleases,"  as  Clarke  explains  it) 
or  literally  (^attend  to  his  music-lessons),  as  Schmidt  supposes. 

76.  God.     Changed  in  the  folio  to  "  Heaven,"  probably  on  account  of 
•  the  act  of  parliament  in  the  time  of  James  I.  forbidding  the  use  of  the 

name  of  God  on  the  stage. 

77.  Closet.    Chamber.     Cf.  iii.  2.  307  below. 

78.  Doublet.     See  A.  Y.  L.  p.  158.     For  unbraced = unfastened,  cf.  jf.  C. 
i.  3.  48  and  ii.  I.  262. 

Ungarter'd.     Cf.  the  description  of  a  lover  in  A.  Y.  L.  iii.  2.  398 : 


ivn-gyr 

as  "  rolled  down."     The  1st  folio  has  "  downe  giued,"  changed  in  the  2d 
to  "  downe-gyved." 

82.  Purport.  Accented  on  the  last  syllable  ;  used  by  S.  nowhere  else, 
either  as  noun  or  as  verb. 

On  so  . .  .  as,  see  Gr.  275 ;  and  for  the  repetition  of  he,  Gr.  242. 

84.  Horrors.  Abbott  (Gr.  478)  makes  the  word  a  trisyllable  ;  but,  as 
F.  suggests,  "why  not  let  Ophelia's  strong  emotion  shudderingly  fill  the 
gap  ?" 

90.  Perusal.     Study.     Cf.  iv.  7.  135  :  "  peruse  (that  is,  carefully  exam- 
ine) the  foils."     See  also  Rich.  II.  p.  194,  note  on  Perns'1  d. 

91.  As.     As  if.     Cf.  i.  2.  217  above.     Gr.  107.     On  the  measure,  see 
Gr.  507. 

92.  Shaking  of.     See  Gr.  178.     Tschischwitz  thinks  that  "is  made  "  is 
understood. 

95.  As.     The  quarto  reading  ;  the  folio  has  "  That." 

Bulk.     Explained  by  some  as  Abreast.     Sr.  quotes  Baret,  Alvearte . 

"The  Bulke  or  breast  of  a  man  ;"  and  Malone  cites  R.  of  L.  467  :  "her 

leart .  .  .  Beating  her  bulk." 

99.  Help.   The  folio  has  "helpe;"  the  later  quartos  "helps"  or  "helpes."1 

100.  Bended.     S.  uses  bended  and  bent  interchangeably,  both  as  past 
tense  and  as  participle. 

F.  here  quotes  Miles,  Review  of  Hamht:  "We  are  not  permitted  to 
Hamlet  in  this  ecstasy  of  iove,  but  what  a  picture !     How  he  mus* 


ACT  II.    SCENE  //.  201 

have  loved  her,  that  love  should  bring  him  to  such  a  pass ! — his  knees 
knocking  each  other!  —  knees  that  had  firmly  followed  a  beckoning 
ghost !  There  is  more  than  the  love  of  forty  thousand  brothers  in  that 
hard  grasp  of  the  wrist, — in  that  long  gaze  at  arm's  length, — in  the  force 
that  might)  but  will  not,  draw  her  nearer !  And  never  a  word  from  this 
king  of  words  !  His  first  great  silence, — the  second  is  death  !" 

102.  Ecstasy.    Madness.    Cf.  iii.  1. 160,  iii.  4.  74, 136, 137,  below.     See 
Macb.  p.  2H. 

103.  Fordoes.    Undoes,  destroys.    Ct  v.  I.  210  below.     See  M.  N.  D. 
p.  1 88,  note  on  Fordone. 

112.  Quoted.    Noted,  marked ;  formerly  pronounced  and  often  written 
"  coted,"  which  is  the  quarto  reading  here.    Cf.  R.  and  J.  i.  4.  31,  T.  and 
C.  iv.  5.  233,  etc 

113.  Wrack.     Wreck,  ruin.     The  word  was  spelt  and  pronounced 
wrack  in  the  time  of  S.     It  rhymes  with  alack  in  Per.  iv.  prol.  12,  and 
with  back  in  V.  aitd  A.  558,  R.  of  L.  841,  965,  Sonn.  126.  5,  and  Macb.  v. 

Beshrew.  A  mild  form  of  imprecation  (Schmidt).  See  M.  N.  D. 
p.  152. 

114.  Proper.     Appropriate.     C£  J.  C.  L  2.  41 :    "Conceptions  only 
proper  to  myself,"  etc. 

115.  Cast.     Schmidt  puts  this  passage  under  cast= compute,  calculate 
(a  common  meaning  in  S.)  and  explains  it  as  =  "to  be  mistaken."     M. 
takes  it  to  mean,  "to  forecast  more  than  we  ought  for  our  own  interests." 
Wr.  makes  au/=contrive,  design,  plan.     Johnson  says:  "The  vice  of 
age  is  too  much  suspicion.     Men  long  accustomed  to  the  wiles  of  life 
cast  commonly  beyond  themselves,  let  their  cunning  go  farther  than  reason 
can  attend  it." 

118.  Which,  being  kept  close,  etc.  "The  king  may  be  angry  at  my  tell- 
ing of  Hamlet's  love  ;  but  more  grief  would  come  from  hiding  it "  (M.). 

SCENE  II. — 2.  Moreover  that.  Over  and  above  that  On  the  othei 
hand,  more  above  in  126  below  =  moreover  (M.). 

5.  So  I  call  it.     The  quartos  omit  /. 

6.  Sith.     The  quarto   reading —since,  which  is  derived  from  it  (see 
Wb.).     The  folio  has  "  Since  not." 

8.  Put  him  .  .  .from,  etc.  Cf.  iii.  I.  174  below  :  "  puts  him  thus  Frorr 
fashion  of  himself."  See  also  R.  and  J.  iii.  5.  109,  T.  of  A.  iii.  4.  104, 
Lear,  ii.  4.  293,  etc. 

10.  Dream  of.     The  folio  has  "  deeme  of,"  which  some  editors  prefer. 

11.  Of.     From.     We  still  say  "  of  late  "  (Gr.  167).     Cf.  Acts,  viii.  n. 

12.  Sith.     The  folio  has  "since,"  as  in  6  above. 

Neighboured  to.  Associated  or  intimate  with.  Cf.  Lear,  \.  I.  121. 
Hen.  V.  i.  I.  62,  etc. 

Humour.  Disposition.  The  quartos  have  "  hauior,"  and  some  mod 
rrn  eds.  give  "  havio'\r." 

13-  That.     Redundant,  as  Delius  points  out. 

Vouchsafe  your  rest.     "  Please  to  reside  "  (Caldecott). 

14.  Companies.    See  on  loves,  i.  i.  173  above. 


202 

17.  Whether.    Monosyllabic,  as  often  (Gr.  466).    This  line  is  not  in 

the  folio. 

18.  Opened.     Disclosed.     Cf.  IV.  T.  iv.  4.  764,  Hen.  V.  i.  I.  78,  etc. 

22.  Gentry.    Courtesy  ;  as  in  v.  2.  109  below  (Schmidt).    It  is=gentle 
birth  in  R.  of  L.  569,  Cor.  iii.  I.  144,  etc. 

23.  Expend  your  time.     Cf.  Oth.  i.  3.  391 :  "If  I  would  time  expend 
~vith  such  a  snipe." 

24.  Supply  and  profit.     "  Aid  and  furtherance  "  (Caldecott). 
27.  Of.     Over.     See  Gr.  174. 

29.  But.     Omitted  in  the  folio. 

30.  Bent.    Endeavour,  straining ;  a  metaphor  from  the  bending  of  a 
bow  (Johnson,  Schmidt).     Cf.  iii.  2.  359  below ;  also  Much  Ado,  ii.  3.  232 
and  T.  N.  ii.  4.  38. 

38.  Heavens.  The  plural  is  often  thus  used  by  S.  Cf.  Temp.  \.  2.  175  : 
"  Heavens  thank  you  for  't !"  Id.  ii.  I.  324 :  "  Heavens  keep  him  from 
these  beasts !"  (see  also  iii.  I.  75  and  iii.  3.  20) ;  M.  N.  D.  iii.  2.  447  : 
"  Heavens  shield  Lysander,"  etc. 

42.  Still.    Ever.     See  on  i.  I.  122  above. 

43.  Assure  you.     Be  assured.     Cf.  Lear,  ii.  i.  106 :  "Nor  I,  assuro 
thee,  Regan ;"  Oth.  iii.  3.  20 :  "  assure  thee,  If  I  do  vow  a  friendship," 
etc.     The  quartos  have  "  I  assure  you." 

45.  And.    The  folio  has  "one,"  which  K.  and  Coll.  retain. 

52.  Fruit.    The  dessert.     The  folio  has  "  newes." 

54.  My  sweet  queen.  The  folio  reading  ;  the  2d  and  3d  quartos  have 
" my  deere  Gertrard"  which,  as  W.  remarks,  " smacks  less  of  the  honey- 
moon." 

56.  Doubt.  Suspect.  See  on  i.  2.  256  above,  and  cf.  iii.  t  166  below : 
"  I  do  doubt  the  hatch,"  etc. 

No  other  but.     See  on  i.  i.  102  above. 

The  main.  The  main  point  or  cause ;  as  in  2  Hen.  VI.  i.  I.  208  :  "look 
unto  the  main"  (Schmidt). 

60.  Desires.    Good  wishes. 

61.  First.    That  is,  first  audience  or  opening  of  our  business  (Calde- 
cott). 

64.  Truly.  Modifying  "was,  not  found  (Wr.).  For  similar  transposi- 
tions, see  Gr.  420. 

67.  Borne  in  hand.     Deceived,  deluded.     See  Macb.  p.  208. 
Sends.     For  ellipsis  of  subject,  see  Gr.  399,  and  cf.  iii.  I.  8  below. 
71.  Assay.     Proof,  trial.     Cf.  iii.  3.  69  below. 
73.  Three.     The  quartos  have  "  threescore." 

79.  Such  regards,  etc.     Such  conditions  as  are  safe  and  allowable. 

80.  Likes.     Pleases.     Cf.  Hen.  V.  iii.  prol.  32  :  "  The  offer  likes  not ;" 
Id.  iv.  3.  77  :  "  Which  likes  me  better,"  etc.     Gr.  297. 

81.  Our  more  considered  time.     "  When  we  have  more  time  for  consid- 
ering" (Caldecott).     See  Gr.  374. 

83.  Well-took.     For  the  form  of  the  participle,  see  Gr.  343.     S.  alse 
uses  taken  (i.  2.  14  above)  and  ttfen  (i.  3.  106  above). 

84.  Feast.     "  The  king's  intemperance  is  never  suffered  to  be  forgot 
ten"  (Johnson). 


ACT  77.    SCENE  77. 


203 


86.  Expostulate.  Discuss.  Hunter  quotes  Capt.  John  Smith's  book 
on  Virginia  :  "  How  these  isles  came  by  the  name  of  the  Bermudas  . . . 
I  will  not  expostulate." 

90.  Wit.     Wisdom  ;  as  often  in  S.     See  Mer.  p.  137. 

95.  More  matter,  etc.    More  matter  with  less  mannerism.    See  A.Y.L. 
p.  155,  note  on  Matter. 

96.  Art.    "  The  Queen  uses  art  in  reference  to  Polonius's  stilted  style; 
he  uses  it  as  opposed  to  truth  and  nature  "  (Delius). 

98.  Figure.  "  A  figure  in  rhetoric,"  as  Touchstone  says  [A.  Y.  Z.  v.  i. 
«).  Cf.  L.  L.  L.  \.  2.  58. 

ico.  Remains.     For  the  ellipsis  of  it,  see  Gr.  404. 

105.  Perpend.  Ponder,  consider  ;  "  a  word  used  only  by  Pistol,  Polo- 
nius,  and  the  clowns  "  (Schmidt).  Cf.  M.  W.  1.1.1  19,  A.  Y.  L.  iii.  2.  69, 
etc 

109.  Beautified.  Theo.  substituted  "  beatified  "  on  the  ground  that  S. 
would  not  call  beautified  "a  vile  phrase  "  when  he  had  used  it  in  T.G.ofV. 
iv.  i.  55  :  "seeing  you  are  beautified  With  goodly  shape  ;"  but  it  is  not 
there  used  adjectively. 

113.  In.     Into.     Gr.  159.     Wr.  quotes  T.  G.  of  V.  iii.  i.  250-252. 

116-119.  Doubt.  In  the  first  three  lines  doubt =  have  a  misgiving, 
have  a  half-belief;  in  the  fourth  line  =  disbelieve  (Clarke). 

121.  Reckon.  Count,  number  (Schmidt) ;  or  perhaps  =  express  in  num- 
bers or  verse,  as  Delius  explains  it. 

124,  Whilst  this  machine  is  to  him.  Whilst  this  body  is  his  ;  "the  af- 
fected language  of  euphuism  "  (Wr.).  S.  uses  machine  nowhere  else. 

126.  More  above.     Moreover.     See  on  2  above. 

127.  By.     See  Gr.  145. 

133.  As  I  perceived  it.  "  There  is  much  humour  in  the  old  man's  in- 
veterate foible  for  omniscience.  He  absurdly  imagines  that  he  had  dis- 
cerned for  himself  all  the  steps  of  Hamlet's  love  and  madness ;  while 
of  the  former  he  had  been  unaware  till  warned  by  some  friends,  and  the 
latter  did  not  exist  at  all  "  (M.). 

136.  If  I  had  play'd,  etc.     "  If  I  had  just  minuted  the  matter  down  in 
my  own  mind  "  (M.) ;  or,  as  Warb.  and  Wr.  explain  it,  "  if  I  had  been 
the  agent  of  their  correspondence,"  or  their  confidant.     See  on  tables,  i. 
5.  107  above. 

137.  Or  given,  etc.     Or  had  connived  at  it.     For  winking  the  quartos 
have  "working." 

139.  Round.     Directly,  without  ceremony.     See  Hen.  V.  p.  175,  and  cf. 
iii.  I.  183  and  iii.  4,  5  below.     As  Caldecott  remarks,  it  has  "the  reverse 
of  its  literal  meaning,  that  is,  -without  circuity."     For  the  adverbial  use, 
see  Gr.  60. 

140.  Bespeak.     Speak  to.     Cf.  Rich.  II.  v.  2.  20,  etc. 

141.  Out  of  thy  star.     "Out  of  thy  sphere  "  (ad  folio) ;  "above  thee  in 
fortune"  (Schmidt).    Sr.  quotes  T. N.  ii.  5.  156:  "  In  my  stars  I  am  above 
thee." 

142.  Precepts.    The  folio  reading  ;  the  quartos  have  "  prescripts  "  (cf. 
4.  and  C.  iii.  8.  5). 

145.  Took  the  fruits,  etc.     "  Profited  by  my  advice  "  (Schmidt).     "  She 


2O4 


NOTES. 


took  the  fruits  of  advice  when  she  obeyed  advice;   the  advice  was  then 
made /r«i#»/"  (Johnson). 

148.  Watch.     "A  sleepless  state"  (Caldecott).     Cf.  Cymb.  m.  4. 43 : 
" To  lie  in  watch  there  and  to  think  on  him."     For  the  measure,  see  Gr. 
483. 

149.  Lightness.     Light headedness.     Schmidt  compares  C.  ofE.  v.  i. 
72  and  Oth.  iv.  i.  280. 

151.    /4//o*.  We  all  (Gr.240).  The  object  of  for  is  implied .in  wherein. 

159.  The  centre.     That  is,  of  the  earth.     Cf.  M.  N.  D.  iii.  2.  54: 

"  I  '11  believe  as  soon 

The  whole  earth  may  be  bor'd,  and  that  the  moon 
May  through  the  centre  creep,"  etc. 

In  W.  T.  ii.  i .  102  and  T.  and  C.  i.  3.  85  centre  =  the  earth,  the  centre 

of  the  Ptolemaic  universe. 

160.  Four.     Hanmer  substituted  "for,"  as  does  the  Coll.  MS.;  but, 
as  Malone  notes,  "  four  hours  together,"  "  two  hours  together,"  etc.,  were 
common  phrases.     Cf.  Lear,\.  2.  170,  W-  T.  v.  2.  148,  etc.     So  in  Web- 
ster, Duchess  of  Malfi  :  "She  will  muse  four  hours  together." 

162.  Loose.  He  had  forbidden  her  to  have  any  intercourse  with  Hamlet. 

163.  Arras.     Tapestry  hangings;  so  called  from  Arras,  where  they 
were  largely  made. 

1 68.  Wretch.  Sometimes  used  as  a  term  of  endearment,  mingled 
with  pity.  Cf.  K.  and  J.  \.  3.  44  :  "The  pretty  wretch  left  crying  ;" 
Oth.  iii.  3.  90 :  "  Excellent  wretch  !  "  etc. 

170.  Board.  Accost,  address  ;  as  often.  Cf.  T.  N.  i.  3.  60,  M.  W. 
ii.  i.  92,  L.  L.  L.  ii.  I.  218,  etc. 

Presently  =  immediately  ;  its  usual  meaning  in  S.  Cf.  578  below  ; 
also  iii.  2.  43,  350,  v.  2.  381,  etc. 

172.    God-a-mercy.     God  have  mercy.     Cf.  iv.  5.  179  below. 

182.  A  good  kissing  carrion.  The  reading  of  all  the  early  eds.,  as  of 
Pope,  Theo.,  K.,  Coll.,  F.,  and  others.  Good  kissing,  as  Caldecott  and 
Corson  have  explained,  is  =  good  for  kissing,  or  to  be  kissed,  by  the  sun. 
See  J.  C.  p.  126,  note  on  A  labouring  day.  Warb.  substituted  "God  " 
ior  good,  and  has  been  followed  by  many  editors.  He  compares  M.  for 
M.  ii.  2.  163-168  and  Cymb.  iii.  4.  164.  Malone  adds  I  Hen.  IV.  ii.  4. 
113  and  King  Edward  III.;  1596 : 

"  The  freshest  summer's  day  doth  soonest  taint 
The  loathed  carrion,  that  it  seems  to  kiss." 

184.  Conception,  etc.  "  Understanding  is  a  blessing;  but  if  you  leave 
your  daughter  unrestrained,  she  will  understand  what  you  will  not  like  " 
(M.).  There  is  probably  a  play  on  conception,  as  in  Lear,  i.  I.  12. 

187.  How  say  you  by  that  ?  Cf.  M.  of  V.  i.  2.  58 :  "  How  say  you  by 
the  French  lord?"  and  see  note  in  our  ed.  p.  132.  Gr.  145. 

190.  I  suffered,  etc.  "  It  may  have  been  so  ;  but  one  rather  suspects 
that  Polonius's  love-reminiscences  are  like  those  of  Touchstone  in  A.  Y. 
L.  ii.4»(M.). 

193.  Matter.  Subject-matter.  Cf.  95  above.  "  Hamlet  purposely  misun- 
derstands the  word  to  mean  « cause  of  dispute,'  asin7n../V.  iii. 4.  i72"(\Vr.). 

194.  Who.   Whom.     Cf.  Macb.  iii.  4.  42,  Oth.  i.  2.  52,  etc.    Gr.  274. 


ACT  II.     SCENE  II.  205 

196.  Rogue.  The  folio  has  "slave."  Warb.  sees  here  a  reference  to 
Juvenal,  Sat.  x.  188. 

202.  For  you  yourself,  etc.  "The  natural  reason  would  have  been 
'  For  some  time  I  shall  be  as  old  as  you  are  now  '  (and  therefore  I  take 
such  remarks  as  proleptically  personal)  ;  but  Hamlet  turns  it  to  the  op- 
posite "  (M.).  For  should '=  would,  see  Gr.  322. 

204.    There  is  method  in  V.     Cf.  M.  for  M.v.  1 .  60 : 

"  If  she  be  mad — as  I  believe  no  other — 
Her  madness  hath  the  oddest  frame  of  sense, 
Such  a  dependency  of  thing  on  thing, 
As  e'er  I  heard  in  "madness." 

208.  Pregnant.  Ready,  apt,  clever.  Cf.  iii.  2.  56  below.  So  preg- 
nancy =  cleverness  in  2  Hen.  IV.  i.  2.  192. 

215.    Withal.     The  emphatic  form  of  with  (Gr.  196). 
226.    Indifferent.     Middling,  average.     Cf.  T.  G.  of  V.  iii.  2.  44,  etc. 
236-265.    Let  me  .  .  .  attended.     All  this  is  omitted  in  the  quartos. 
242.    Confines.     Places  of  confinement.     See  on  i.  I.  155  above. 
246.    Thinking  makes  it  so.     M.  quotes  Lovelace: 

"  Stone  walls  do  not  a  prison  make, 

Nor  iron  bars  a  cage; 
Minds  innocent  and  quiet  take 
These  for  a  hermitage." 

259.  Then  are  our  beggars,  etc.  "  If  ambition  is  the  shadow  of  pomp, 
and  pomp  the  shadow  of  a  man,  then  the  only  true  substantial  men  are 
beggars,  who  are  stript  of  all  pomp  and  all  ambition  "  (M. ). 

Outstretch 'd=  strained,  exaggerated ;  "  strutting  stage  heroes  "  (Delius). 

261.   Fay.     "  Faith"  (Schmidt).     Cf.  T.  of  S.  ind.  2.  83,  etc. 

265.   Beaten.    Familiar,  unceremonious.  Yormake,  see  on  i.  2. 164  above. 

269.  Dear  a  halfpenny.  "  Dear  of  "  and  "  dear  at"1  have  been  pro- 
posed, but  no  change  is  called  for. .  Cf.  A.  Y.  L.  ii.  3.  74:  "too  late  a 
week."  Wr.  quotes  Chaucer,  C.  T,  8875 :  "  dere  y-nough  a  jane  "  (a 
small  coin  of  Genoa) ;  and  Id.  12723:  "deere  y-nough  a  leeke." 

276.   Modesties.     See  on  lo-ces,  \.  I.  173. 

280.    Consonancy,  etc.     Cf.  1 1  above. 

282.  .•/    better  proposer.     A  more  eloquent  speaker.     Cf.  propose  = 
speak,  in  Murh  Ado,  iii.  I.  3,  Oth.  i.  i.  25,  etc. 

283.  Even.     Plain,  honest.     Cf.  Hen.  V.  iv.  8.  114. 

286.    Of  you.     Upon  you  (Caldecott).     Cf.  Lear,  i.  5.  22,  and  see  Gr. 

'74,  175- 

289.  Prwent  your  discovery.  Anticipate  your  disclosure.  Gr.  439. 
Cf./.  C.  v.  i.  105:  "to  prevent  The  time  of  life,"  etc. 

294.  A  sterile  promontory.     "  Thrust  out  into  the  dread  ocean  of  the 
unknown,  and  as  barren  as  the  waves  themselves"  (M.). 

295.  Brave.     Beautiful,  grand.     Cf.  Sonn.  12.  2:  "  And  see  the  brave 
day  sunk  in  hideous  night,"  etc.     For  majestical,  see  on  i.  I.  143* 

296.  Fretted.    Embossed,  adorned.     Cf.  Cymb.  ii.  4.  88 : 

"  The,  roof  o'  the  chamber 
With  golden  cherubins  is  fretted;" 
Milton,  P.  L.  i.  717 :  "  The  roof  was  fretted  gold,"  etc. 


job  NOTES. 

298.  A  congregation  of  vapours.    "  Veiling  the  true  sunlight    Cf.  Sonn. 

Man.  The  early  eds.  have  "a  man,"  which  is  followed  by  the  mod- 
ern editors  except  D.  and  F.  As  Walker  suggests,  the  a  is  probably 
an  accidental  interpolation. 

299.  Faculty.     The  folio  reading ;  the  quartos  have  "  faculties. 

300.  Express.    "  Expressive  "  (Schmidt) ;  or,  perhaps, "  exact,  fitted  to 
Its  purpose  "  ( Wr.).     Cf.  Heb.  \.  3. 

3°3-  Quintessence.  The  fifth  or  highest  essence  of  the  alchemists.  S. 
uses  the  word  only  here  and  in  A.  Y.  L.  iii.  2.  147. 

310.  Lenten.     Meagre,  poor.    Cf.  T.  N.  i.  5.  9 :  "A  good  lenten  an- 
swer." 

311.  Coted.     Passed  by,  outstripped,  "  o'er  -  raught "  (iii.  I.  17  below). 
Steevens  quotes  The  Return  from  Parnassus,  1606  :  "  we  presently  coted 
and  outstrip!  them  ;"  Golding,  Ovid:  "  With  that  Hippomenes  coted 
[Latin,  praeterit]  her  ;"  Warner,  Albiorfs  England:  "  Gods  and  goddess- 
es for  wantonness  out-coted,"  etc.    See  also  Greene,  Friar  Bacon:  "  Cote 
him,  and  court  her  to  control  the  clown."     It  was  a  term  in  hunting. 
Turbervile  says :  "A  Cote  is  when  a  Greyhound  goeth  endwayes  by  his 
fellow  and  giveth  the  Hare  a  turn,"  etc.     It  is  not  simply  to  come  up 
with  (as  Wr.  explains  it),  but  to  go  beyond.     Thus,  in  this  case,  Rosen- 
crantz  and  Guildenstern,  having  "  coted  "  the  players,  reach  the  palace 
first  and  tell  Hamlet  that  they  are  coming. 

316.  Humorous.     Capricious.     See  A.  Y.  L.  p.  146. 

317.  The  clown  . . .  sere.     Omitted  in  the  quartos. 

Tickle  o'  the  sere.  This  expression,  long  a  stumbling-block  to  the 
critics,  appears  to  have  been  correctly  explained  by  Mr.  Nicholson  in 
Notes  and  Queries,  July  22,  1871  :  "The  sere,  or,  as  it  is  now  spelt,  sear 
(or  scear)  of  a  gun-lock  is  the  bar  or  balance-lever  interposed  between 
the  trigger  on  the  one  side,  and  the  tumbler  and  other  mechanism  on  the 
other,  and  is  so  called  from  its  acting  the  part  of  a  serre,  or  talon,  in  grip- 
ping the  mechanism  and  preventing  its  action.  .  .  .  Now  if  the  lock  be  so 
made  on  purpose,  or  be  worn,  or  be  faulty  in  construction,  this  sear,  or 
grip,  may  be  so  tickle  or  ticklish  in  its  adjustment  that  a  slight  touch  or 
even  jar  may  displace  it,  and  then  of  course  the  gun  goes  off.  Hence 
'light'  or  'tickle  of  the  sear'  (equivalent  to,  like  a  hair-trigger),  applied 
metaphorically,  means  that  which  can  be  started  into  action  at  a  mere 
touch,  or  on  the  slightest  provocation,  or  on  what  ought  to  be  no  provo- 
cation at  all."  Lungs  tickle  o1  the  sere,  then,  are  lungs  easily  moved  to 
laughter.  For  tickle-  ticklish,  cf.  M.for  M.  i.  2.  177  :  "thy  head  stands 
so  tickle  on  thy  shoulders  that  a  milk-maid,  if  she  be  in  love,  may  sigh  it 
off;"  and  2  Hen.  VI.  i.  i.  216 : 

"  the  state  of  Normandy 
Stands  on  a  tickle  point." 

On  the  passage,  cf.  Temp.  ii.  t.  174:  "who  are  of  such  sensible  [that  is, 
sensitive]  and  nimble  lungs  that  they  always  use  to  laugh  at  nothing." 

319.  The  lady,  etc.  The  lady  shall  mar  the  measure  rather  than  not 
express  herself  freely  (Henderson)  ;  or,  if  through  delicacy  she  omit  any- 
thing, the  lameness  of  the  metre  will  show  it  (Seymour). 


ACT  If.    SCENE  //.  207 

322.    Their  residence.    Their  remaining  in  the  city. 

324.  Inhibition.  Prohibition.  ColL  thinks  this  probably  refers  to  the 
limiting  of  public  theatrical  performances  to  two  theatres,  the  Globe  and 
the  Fortune,  in  1600  and  1601.  The  players,  by  a  late  innovation,  were 
inhibited,  or  forbidden  to  act  in  or  near  the  city,  and  therefore  travelled,  or 
strolled,  into  the  country.  Wr.  is  disposed  to  think  that  the  innovation 
was  the  license  given  Jan.  30,  1603-4,  to  tne  Children  of  the  Queen's 
Revels  to  play  at  the  Black  friars  Theatre  and  other  'convenient  places. 
The  popularity  of  the  children  may  well  have  driven  the  older  actors 
into  the  country,  and  so  have  operated  as  an  inhibition,  though  no  formal 
inhibition  was  issued.  For  other  explanations  of  the  passage,  see  F.  vol. 
i.  pp.  162-164. 

331.  Aery.    A  brood  of  nestlings  (literally,  an  eagle's  or  hawk's  nest). 
Cf.  K.  John,  v.  2.  149,  Rich.  III.  i.  3.  264,  270. 

Eyases.    Unfledged  hawks,  nestlings. 

332.  Top  of  question.    At  the  top  of  their  voices.     Cf.question  =  speech, 
talk;   as  in  Macb.  iii.  4.  118,  A.  Y.  L.  iii.  4.  39,  v.  4.  167,  etc.      See  also 
iii.  i.  13  belcw. 

M.  paraphrases  the  whole  passage  thus :  "  What  brings  down  the  pro- 
fessional actors  is  the  competition  of  a  nest  of  young  hawks  (the  boys  of 
the  Chapel  Royal,  etc.)  who  carry  on  the  whole  dialogue  without  modu- 
lation at  the  top  of  their  voices,  get  absurdly  applauded  for  it,  and  make 
such  a  noise  on  the  common  stage,  that  true  dramatists,  whose  wit  is  as 
strong  and  keen  as  a  rapier,  are  afraid  to  encounter  these  chits,  who 
fight,  as  it  were,  with  a  goose-quill." 

Tyranically.  Vehemently,  extravagantly;  probably  alluding  to  what 
Bottom  calls  "a  tyrant's  vein,"  or  "a  part  to  make  all  split."  See 
M.  N.  D.  p.  133. 

338.  Escoled.  Paid;  used  by  S.  nowhere  else.  D.  quotes  Cotgrave, 
Fr.  Diet.:  "  Escotter.  Euery  one  to  pay  his  shot,"  etc. 

Witt  they  pursue,  etc.  "  Will  they  follow  the  profession  of  players  no 
longer  than  they  can  keep  the  voices  of  boys?"  (Johnson).  For  quality •  = 
profession,  cf.  418  below;  also  Hen.  V.  iii.  6.  146:  "  What  is  thy  name? 
I  know  thy  quality?" 

342.  Succession.  Futurity  (Schmidt).  Cf.  C.  of  E.  iii.  I.  105  :  "  For 
slander  lives  upon  succession"  (that  is,  feeds  on  futurity,  makes  all  that 
is  to  come  its  prey). 

344.  To-do.     Equivalent  to  ado  (Schmidt). 

345.  Tarre.     Set  on  (to  fight);   used  literally  of  dogs.     Cf.  K.  John 
iv.  i.  117: 

"*  And  like  a  dog  that  b  compcll'd  to  fight, 
Snatch  at  his  master  that  doth  tarre  him  on;  " 

and  T.  and  C.  L  3.  392 : 

"  pride  alone 
Must  tarre  the  mastiffs  on,  as  't  were  their  bone.  " 

346.  Argument.    The   plot  of  the   play.     Cf.    I  Hen.  IV.  ii.  4.  310: 
"  the  argument  shall  be  thy  running  away, "  etc. 

Unless  the  poet,  etc.  Schmidt  calls  this  an  "  obscure  passage,"  and  so 
k  is.  Jt  probably  does  not  mean,  as  Delius  makes  it,  "  unless  the  dia- 


808  NOTES. 

logue  (the  question)  is  well  seasoned  with  warfare  (cuffs)."  M.  saysi 
•'  See  iii.  2  l35-4i]>  where  the  same  contest  between  actor  and  dramatist 
is  spoken  of." 

352.  Carry  it  away.     Carry  off  the  palm,  gain  the  day. 

353.  Hercules.    Perhaps,  as  Steevens  suggests,  an  allusion  to  the  Globe 
Theatre,  the  sign  of  which  was  Hercules  carrying  the  globe. 

355.  It  is  not  very  strange,  etc.    "  I  do  not  wonder  that  the  new  play- 
ers  have  so  suddenly  risen  to  reputation ;  my  uncle  supplies  another 
example  of  the  facility  with  which  honour  is  conferred  on  new  claimants" 

356.  Mows.  Grimaces.  The  folio  reading;  the  quartos  have  "mouths.* 
CfT  Temp.  iv.  I.  47  :  "  with  mop  and  mow  ;"  Cymb.  i.  6.  41  :  "  Contemn 
with  mows."    We  have  the  word  as  a  verb  in  Temp.  ii.  2.  9  and  Lear,  iv. 
1.64. 

358.  In  little.  In  miniature.  Cf.  A.  Y.  L.  iii.  2.  148 :  "  Heaven  would 
in  little  show ;"  and  L.  C.  90 :  "  in  little  drawn." 

'Sblood.  An  abbreviation  of  "  God's  blood,"  a  mode  of  swearing  by 
the  eucharist  Cf.  iii.  2.  345  below.  In  the  folio  it  is  generally  omitted 
(as  here)  or  replaced  by  other  words  (as  "I'  faith"  in  I  Hen,  IV.  ii.  4.  488). 

362.  Appurtenance.     "  Proper  accompaniment "  {  Wr. ) ;   used  by  S. 
only  here. 

363.  Comply  with  you,  etc.    "  Use  ceremony  with  you  in  this  fashion  " 
(Wr.).    Cf.  v.  2.  179  below. 

Extent.  "  Behaviour,  deportment "  (Schmidt).  Cf.  T.  N.  iv.  I.  57 : 
"this  uncivil  and  unjust  extent." 

369.  North-north-west.     For  a  genuine  German  gloss,  take  that  of 
Francke  (apud  F.) :  "  Perhaps  the  meaning  is  :  Great  powerful  tempests 
in  the  moral  world,  apparitions  from  the  mysterious  Hereafter,  can  make 
me  mad,  can  crush  my  reason ;  but  such  people  as  you  are,  who  come 
around  me  with  sweet  phrases  and  mock  friendship,  I  have  yet  wit 
enough  to  elude."     "A  Daniel  come  to  judgment,  yea,  a  Daniel !" 

370.  Handsaw.    The  word  in  this  proverb  is  probably  a  corruption  of 
hernshaw,  a  heron ;  but  the  old  "  saw  "  is  always  found  in  this  form,  and, 
as  Schmidt  says,  "  S.  undoubtedly  thought  of  a  real  saw."    A  writer  in 
Notes  and  Queries,  with  evident  "fellow-feeling,"  suggests  "anser,  the  ge- 
neric name  for  our  domestic  water-fowl" — which  in  the  vulgar,  as  Touch- 
stone would  say,  is  goose.    F.  thinks  he  has  heard  "  handschuh,  the  Ger- 
man for  glove"  proposed  as  an  emendation,  but  let  us  hope  that  he  is 
mistaken.    W.,  on  the  other  hand,  suspects  that  hawk  is  "  the  tool  called 
a  hawk."    For  more  of  this  admirable  fooling  of  the  commentators,  see  F. 

371.  Well  be  with  you.     Cf.  A.  W.  i.  I.  190:  "God  send  him  well !" 
See  also  2  Hen.  IV.  iv.  4.  19.     Wr.  quotes  Psa.  cxxviii.  2  [Prayer-book 
version]  :  "  Well  is  thee  ;"  and  Chaucer,  C.  T.  16362 :  "  He  loved  hir  so 
that  well  him  was  therwith." 

375.  Happily.     Haply.     See  on  i.  I.  134  above.     Gr.  42. 

378.  You  are  right,  etc.  This  is  said  merely  that  Polonius  may  not 
suspect  what  they  have  been  talking  about. 

382.  Buz,  buz  !  Blackstone  says  that  buz  was  an  interjection  used  at 
Oxford  when  one  began  a  story  already  well  known.  See  Macb.  p.  243, 


ACT  II.    SCENE  II.  2dg 

!i«    ^  %"$  Ct^  ,Probably  a  line  from  an  old  ballad  (Johnson). 
388.  Indnndablc.     Delius  thinks  this  refers  to  dramas  in  which  the 
unity  of  place  was  observed,  poem  unlimited  to  those  that  disregarded 
uch  restrictions.     Schmidt  (better,  we  think)  makes  ?t  =  »  Lt  tTbe  dfs 
»a  Partlcu/lar.aPP^^tion  (that  is,  not  to  be  called  tragedy, 
,    and  unlimited  =  undefined. 

acled  "  the  "*""•• 


" 


quotes  may 


"  liruea<J  that  many  years  ag°s> 

When  Jepha  Judge  of  Jsrael, 

K  one.  fair  Daughter  and  no  more, 

whom  he  loved  so  passing  well. 
And  as  by  lot  God  wot, 
It  came  to  passe  most  like  it  was, 
Great  warrs  there  thould  be 

and  who  should  be  the  chiefe,  but  he,  but  he." 


gests,  the  a  is  probably  an  interpolation. 
407.  Row.     Properly  =  line,  but  perhaps  here=stanza. 

whtrHume^ef'  H^^^  r,eadinS5  the  ™°  has  "Pons  Chanson, 
wnicn  Hunter  defended  as  =  "  chanson  du  Pont-Neuf"    As  K  rpmarL-« 

"S 


hat  hfa  S  CanSO"S  -e  maadd 

The  Pnnf  M     f  '     P    •  French  exPression  dates  back  to  the  time  of  S. 
1578.  m  WaS  "Ot  6nished  Until  l62^  though  begun  in 

T^-T'-    The[ol''°  reading;  the  quartos  give  «  abridge- 
In  either  case,  the  meaning  seems  to  be  that  the  nlave^ 
b    cornmg  shorten  P 

my  pas 
f««rf 
r-  39  • 


.  ,      e  meanng  seems  to    e  that  the  nlave 

by  cornmg  shorten  his  talk.  Schmidt  elplains  abrfj^ent  •  %P«  Jh 
wh  ch  is  my  past.me  and  makes  me  be  brief."  Wr.  saVs  that  »  techni 
cally  f««rf  means  a  dramatic  performance,"  and  relers  to  M.  N*D 

what  abridgment  have  you  for  this  evening  ?"     But  there  it 

eans  s.rn 


-  •  ave  you  or  ts  evening  ?"  But  there  it 

probably  means  s.rnpy  pastime  ;  here  it  may  be  explained  by  509  below. 

VI.  glanced  Fringed  with  a  beard.  The  folio  has  "valiant;"  which 
Rowe,  K  and  St.  retain.  We  find  the  noun  valance  in  T.  of  S.  ii.  i.  356 

412.  My  young  lady.     In  the  time  of  S.  female  parts  were  played  bv 

ILorA°T-g  me  A  ^  A;  v  f  p-  20I>  note  on  V***  a  ™™"»- 

414^  Lhopine.  A  kind  of  high  shoe.  Coryat.  in  his  Crudities  1611 
describes  it  as  "a  thing  made  of  wood  and  covered  with  leather  of  sundry 
co  ours,  some  with  white,  some  redde,  some  yellow."  He  adds-  -It  is 
cabled  a  chapiney,  which  they  wear  under  their  shoes.  .  .  There  are  many 


2io  NOTES. 

of  these  chapineys  of  a  great  height,  even  half  a  yard  high."  F.  says: 
"  At  a  Jewish  wedding  in  Jerusalem  at  which  I  was  present,  in  1856,  the 
'young  bride,  aged  twelve,  wore  chopines  at  least  ten  inches  high." 

415.  Cracked  within  the  ring.     "There  was  a  ring  on  the  coin  within 
which  the  sovereign's  head  was  placed;  if  the  crack  extended  from  the 
edge  beyond  this   ring,   the   coin  was    rendered   unfit   for   currency" 
(Douce). 

416.  Like  French  falconers.     According  to  some  critics  this  is  meant 
to  be  contemptuous;  but  Toilet  quotes  Sir  Thomas  Browne,  who  says 
that  "  the  French  seem  to  have  been  the  first  and  noblest  falconers  in 
the  western  part  of  Europe." 

418.  Straight.     Straightway;  as  in  iii.  4.  I  below,  etc. 

Quality.     See  on  338  above. 

421.  Me.     "  Ethical  dative."     See  Gr.  220. 

423.  Caviare.  A  Russian  condiment  made  from  the  roe  of  the  stur- 
geon; at  that  time  a  new  and  fashionable  delicacy,  not  obtained  nor 
relished  by  the  vulgar,  and  therefore  used  by  S.  to  signify  anything  above 
their  comprehension  (Nares).  Steevens  cites  many  references  to  it  in 
contemporaneous  writers. 

For  the  general^,  people  in  general,  the  public,  cf.  J.  C.  ii.  1 .  1 2 : 
"But  for  the  general;  "  and  see  note  in  our  ed.  p.  142. 

425.  Cried  in  the  top  of  mine.  "Were  higher  than  mine  "  (Johnson 
and  Schmidt).  In  hunting,  a  dog  is  said  to  over-top  "  when  he  gives 
more  tongue  than  the  rest"  (Henley),  and  to  this  Hamlet  probably  re- 
fers here.  The  phrase  is  then  =  proclaimed  with  a  tone  of  authority  that 
my  voice  could  not  give. 

427.  No  sallets,  etc.  "Nothing  that  gave  a  relish  to  the  lines  as  salads 
do  to  meat"  (Schmidt).  Cf.  A.  W.  iv.  5.  18:  "  She  was  the  sweet  mar- 
joram of  the  salad"  ("sallet"  in  the  folio).  See  also  2  Hen.  VI.  iv.  10. 
9  fol.  where  there  is  a  play  upon  5<?//^=salad  and  sallet=a.  kind  of  hel- 
met. Pope  substituted  "  salts  "  and  later  "  salt "  here.  The  Coll.  MS. 
also  has  "  salt, "  which  Sr.  approves. 

429.  Indict.  Accuse;  as  in  Oth.  iii.  4.  154,  the  only  other  instance  of 
the  word  in  S. 

Affectation.  The  folio  reading;  the  quartos  have  "  affection,"  which 
S.  uses  in  the  same  sense  in  L.  I..  L.  v.  I.  4  (where  the  later  folios  have 
"  affectation  ").  So  affectioned=  affected  in  T.  N.  ii.  3.  160. 

43'-  Handsome  denotes  genuine,  natural  beauty;  fine,  artificial,  la- 
boured beauty  (Delius). 

432.  Thereabout.  Possibly  a  noun,  as  Wr.  makes  it;  but  thereabout 
of  it  seems  to  be  merely  =  there.  We  might  now  say  colloquially:  "  I 
liked  that  speech — there  especially  where,"  etc. 

436.  The  rugged  Pyrrhus,  etc.  Whether  this  speech  was  meant  to  be 
admired  or  to  be  laughed  at  has  been  much  disputed.  See  F.  vol.  i. 
pp.  180-185.  Pope  thought  it  "purely  ironical;"  Warb.,  Ritson,  Cal- 
decott,  Coleridge,  and  ethers  have  taken  the  opposite  ground.  What 
Hamlet  has  said  just  before  shows  that  the  latter  are  right.  Coleridge 
says:  "The  fancy  that  a  burlesque  was  intended  sinks  below  criticism; 
the  lines,  as  epic  narrative,  are  superb. " 


ACT  II.    SCENE  II.  2r, 

'-^"'-4-  -• 


new  Turned' oath^^xru  Cf'  /?£  V'  "''  6'  8o:  "wl»ch  they  trick  up  with 
lirthTcolout-l  '"7/4"  5£*  i?*.  ddfaifi  of°Uarms  £ 

448*  'Sashed.     Cohere'"'0  *  ^^  *  ^  "^  by  S-  nowhere  else- 


.500:  "and  car- 
452.  Fore.     See  Hen.  V.  p.  155. 

455.  Striking  too  short,  etc.     Cf.  Vircil  ^£rc  ii    C.AA  fnl 
458.  ZV/W*     Followed  by  ^  in  f:^^.  64^ 

Should  drive  upon  thy  new-tra'lisfor^ed^'imljs.'' 
459-  But     According  to  Delius,  here  =  merely. 
464-  Declining.     Cf.  T.  and  C.  iv.  5.  189: 

=  white,  but  Schmidt  makes  it  =  "weak,"  as  in  T 


tha4t  o7n  whSts  wint'^b":  Sd^ST"  ^™^'    '*""  = 

469.  Against     Cf.  i   i.  ,58  above,  and  iii. '4.  50  below.     Gr   142 

470.  Rack.     Massrf cloud,  especially  in  motion.      Cf.  Sonn.  33.  6: 

"Anon  permit  the  basest  clouds  to  ride 

With  ugly  rack  on  his  celestial  face,"  etc. 
See  also  Temp.  p.  137. 

IS  St   ^fH^^.^^.^jectivebyS.     Gr.  22. 

y   marked    out    by   the 


171. 


212 


NOTES. 


479.  Fortune.    See  A.  Y.  L.  p.  141. 

480.  Synod.     For  the  use  of  the  word  in  S.  see  A.  Y.  L.  p.  173. 

486.  7*£.  The  word  sometimes  meant  a  facetious  bahad  (Schmidt). 
Cf.  jig-maker,  iii.  2.  108  below. 

488.  Mobled.  The  reading  of  the  2d  folio;  the  1st  has  "inobled," 
evidently  a  misprint.  The  word  means  veiled  or  muffled,  of  which  it  may 
be  a  corruption.  Farmer  quotes  Shirley,  Gent,  of  Venice:  "  The  moon 
does  mobble  up  herself;"  and  Holt  White  adds  from  Ogilby's  Fables: 
"  Mobbled  nine  days  in  my  considering  cap."  Mabled  (which  Malone 
substitutes)  is  another  form  of  the  word.  Nares  cites  Sandys,  Travels: 
"Their  heads  and  faces  are  mabled  in  fine  linen,  that  no  more  is  seen  of 
them  than  their  eyes." 

490.  That 's  good.  "  Polonius  praises  the  epithet  to  make  up  for  his 
blunder  in  objecting  to  the  length  "  (M.) ;  or,  perhaps,  because  it  is  a 
"quaint  and  fantastical  word"  (Warb.). 

492.  Bisson  rheum.  "  Blinding  tears "  (Schmidt).  WefindW«Wl  = 
purblind,  in  Cor.  ii.  i.  70,  and  some  modern  eds.  give  it  in  Cor.  iii.  I.  131. 
For  rheum  =  tears,  cf.  Much  Ado,  v.  2. 85,  K.  John,  iii.  I.  22,  iv.  I.  33,  iv.  3. 
108,  etc. 

494.   Verteemed.     "  Exhausted  by  child-bearing  "  (Wr.). 

500.  Mincing.     Cutting  in  pieces.    Cf.  T.  of  A.  iv.  3. 1 22 :  "  And  mince 
it  [the  babe]  sans  remorse." 

501.  Instant.     See  on  i.  5.  71  above. 

503.  Milch.     Milk-giving;   a  metaphor  for  tearful.     For  the  literal  use 
of  the  word,  see  M.  W.  iv.  4.  33,  T.  of  S.  ii.  I.  359,  etc.     Steevens  quotes 
Drayton,  Polyolbion,  xiii. :  "  Exhaling  the  milch  dew." 

504.  Passion.     Sorrow  (Schmidt),  or  compassion  (Sr.).     Cf.  536  and 
545  below.     See  also  L.  L.  L.  v.  2.  1 18,  M.  N.  D.  v.  I.  293,  321,  etc.     For 
passion  in  the  Coll.  MS.  gives  "  passionate." 

505.  Whether.    The  early  eds.  have  "where,"  and  some  modern  ones 
print  "  whe'r  "  or  "  whSr."    See  J.  C.  p.  128  or  Gr.  466.     For  in  's,  see 
Gr.  461. 

508.  Bestowed.     Lodged,  taken  care  of.     Cf.  iii.  4.  1 74  and  iv.  3.  1 2  be- 
low.    It  is  used  refle*xively  (  =  hide)  in  iii.  I.  33  and  44  below. 

509.  Abstract.     The  folio  has  "  abstracts." 

510.  You  -were  better.     See  A.  Y.  L.  p.  180  (note  on  Bui  f  were  better) 
or  Gr.  230,  352. 

514.  Bodykins.     A  diminutive  of  body.    "The  reference  was  originally 
to  the  sacramental  bread"  (Wr.).    Cf.  M.  W.  ii.  3.  46;  and  see  on  358 
above. 

515.  Scape.    See  on  i.  3.  38  above. 

525.  Some  dozen  or  sixteen  lines.  Many  attempts  have  been  made  to 
find  these  added  lines  in  the  play  (iii.  2  below),  but  we  are  disposed  to 
agree  with  Dr.  Ingleby  in  the  view  that  Hamlet  writes  no  speech  at  all. 
The  poet  simply  represents  him  as  doing  so  in  order  to  adapt  the  old  play 
to  his  purpose.  As  F.  remarks,  "  it  would  tax  the  credulity  of  an  audi- 
ence too  severely  to  represent  the  possibility  of  Hamlet's  finding  an  old 
play  exactly  fitted  to  Claudius's  crime,  not  only  in  the  plot,  but  in  all  the 
accessories,  even  to  a  single  speech  which  should  tent  the  criminal  to  tbc 


ACT  II.    SCENE  K.  213 

very  quick  .  .  .  The  discussion,  therefore,  that  has  arisen  over  these 
'dozen  or  sixteen  lines '  is  a  tribute  to  Shakespeare's  consummate  art." 

533-  Alone.  "The  eagerness  shown  by  Hamlet  to  be  left  in  peace  by 
himself  appears  to  be  amain  evidence  of  his  merely  acting  a  part  and 
assuming  madness  ;  he  longs  to  get  rid  of  the  presence  of  persons  before 
whom  he  has  resolved  to  wear  a  show  of  insanity.  Alone,  he  is  collected, 
coherent,  full  of  introspection.  That  he  is  neither  dispassionate  nor  cool 
appears  to  be  the  result  of  his  unhappy  source  of  thought,  not  the  result 
of  derangement;  he  is  morally  afflicted,  not  mentally  affected  "  (Clarke). 

534.  Peasant  slave.  Mr.  Furnivall  has  shown  (Notes  and  Queries  for 
Apr.  12  and  May  3,  1873)  that  S.  might  possibly  have  seen  in  the  flesh 
some  of  the  bondmen  o*  peasant  slaves  of  England. 

538.  Her  working.     Wr.  says  :  "  Soul  when  personified  is  feminine  in 
S."     Cf.,  However,  Rich.  II.  v.  5.  6 : 

"  My  brain  I  11  prove  the  female  to  my  soul. 

My  soul  the  father." 

Milton  also  personifies  the  soul  as  feminine.  See  II  Pens.  92,  Comus,  4  CA 
fol.,  P.  L.  v.  486,  etc. 

Wattii'd.  The  quartos  have  "  wand,"  the  folio  "  warm'd,"  which  Rowe, 
Pope,  Theo.,  and  some  others  retain.  S.  does  not  elsewhere  use  wan  as 
a  verb. 

539.  Aspect.^    Always  accented  on  the  last  syllable  by  S.    Gr.  40. 

540.  Function.    Action;  the  whole  energies  of  soul  and  body"  (Cal- 
decott). 

541.  Conceit.    Conception  (that  is,  of  the  character).     See  A.  Y.  L.  p. 
162  and  cf.p.  194. 

545.  Cue.  Still  used  as  a  stage  term.  For  its  literal  use,  cf.  M.  W.  iii. 
3.  39,  M.  N.  D.  iii.  I.  78, 102,  etc.;  and  for  the  figurative,  as  here,  Hen.  V, 
iii.  6.  130,  OtJi.  i.  2.  83,  etc. 

548.  Free.     Free  from  guilt,  innocent.     Cf.  iii.  2.  224  below,  and  see 
A.  Y.  L.  p.  165. 

549.  Amaze.    Confuse,  confound.    See  A.  Y.  L.  p.  143. 

552.  Muddy-mettled.  "Heavy,  irresolute  "(Schmidt).  For  the  literal 
meaning  of  rascal  sw  A.  Y.  L.  p.  179. 

Peak.  Literally = grow  lean,  pine,  as  in  Afacb.  i.  3.  23  ;  figuratively  =: 
"sneak,  play  a  contemptible  part "  (Schmidt),  as  here  and  in  M.  W.  iii. 
5-  71- 

553-  John-a-Dreams.  That  is,  John  of  Dreams,  or  John  the  Dreamer 
=a  dreamy,  idle  fellow.  Cf.fack-a-lent  (a  puppet  thrown  atduringLent) 
in  M.  W.\\\.  3-27,v.  5.  i^Jack-a-lanthorn  (the  ignis  fatuus),  and  similar 
forms.  Coll.  quotes  fomin,  Nest  of  Ninnies,  1608  :  "His  name  is  John, 
indeede,  saies  the  cinnick,  but  neither  John  a  nods  nor  John  a  dreames, 
yet  either  as  you  take  it." 

Unpregnant  of.  Not  quickened  by,  not  inspired  with.  Cf.M.forM. 
iv.  4.  23  :  "  unpregnant  And  dull  to  all  proceedings." 

555.  Property.  Wr.  thinks  this  may  be  =  "ovvn  person"  or  perhaps 
•'kingly  right,"  and  doubts  whether  it  can  have  its  ordinary  modern 
sense.  Schmidt,  however,  gives  it  the  latter  meaning  here  ;  and  F.  says, 
"  I  suppose  jt  refers  to  his  crown,  his  wife,  everything,  in  short,  which  he 


214 


NOTES. 


might  be  said  to  be  possessed  of,  except  his  life."     He  compares  M.  IV. 
iii.  4.  10,  to  which  may  be  added  J.  C.  iv.  i.  40. 

556.  Defeat.  Ruin,  destruction  ;  as  in  v.  2.  58  below.  See  also  Hen.  V. 
i.  2.  107  :  "  Making  defeat  on  the  full  power  of  France."  Steevens  quotes 
Chapman,  Revenge  for  Honour: 

"  That  he  might  meantime  make  a  sure  defeat 
On  our  good  aged  father's  life." 

559.  The  lie,  etc.    Cf.  Rich.  II.  i.  1. 124: 

"  as  low  as  to  thy  heart 
Through  the  false  passage  of  thy  throat,  thou  liest." 

560.  Me.  For  me.     See  Gr.  220. 

562.  'Swounds.     A  contraction  of  "God's  wounds  ;  w  used  again  in  v. 
1. 264  below.     Here  the  folio  substitutes  "  Why,"  there  " Come."     Zounds 
is  a  corruption  of  the  same  oath,  and  is  either  omitted  or  changed  in  the 
folio.     See  on  ii.  I.  76  and  on  358  above. 

563.  Pigeon-liver 'd.     "  It  was  supposed  that  pigeons  and  doves  owed 
their  gentleness  of  disposition  to  the  absence  of  gall "  (W.).     Cf.  Dray- 
ton,  Eclogue  ix. : 

"  A  Milk-white  Doue  upon  her  hand  shee  brought. 
So  tame  't  would  goe  returning  at  her  call, 
About  whose  Necke  was  in  a  Choller  wJtought 
*  Only  like  me  my  Mistress  hath  no  gall.' " 

564.  Tomake,ztc.    To  make  me  feel  the  bitterness  of  oppression  (D.). 

565.  Region.  See  on  473  above. 

567.  Kindless.  Unnatural  (Johnson).  So  kindty=. natural;  as  in  A. 
Y.  Z.ii.  3.  53,  Much  Ado,  iv.  i.  75,  etc. 

570.  A  dear  father murlher'd.  The  reading  of  the  4th  and  5th  quartos. 
The  earlier  quartos  have  "  a  deere  murthered,"  and  the  folio  "  the  Deere 
murthered,"  which  K.  and  W.  prefer. 

573.  A-cursing.     See  on  i.  3.  119  above.     Gr.  24. 

574.  Scullion.    The  1st  quarto  has  '{ scalion,"  the  later  quartos  have 
"stallyon"or  **  stallion."    Theo.  substituted  "  cullion  "  (cf.  Lear,  ii.  2. 
3,  etc.). 

576.  About.  "To  your  work  I  "(Johnson).  Steevens  quotes  Heywood, 
Iron  Age: 

"  My  brain  about  again  !  for  thou  hast  found 
New  projects  now  to  work  on," 

557-580.  Guilty  creatures,  etc.  Todd  quotes  A  Warning  for  Fait 
Women,  1599: 

"  He  tell  you,  sir,  one  more  to  quite  your  tale. 
A  woman  that  had  made  away  her  husband, 
And  sitting  to  behold  a  tragedy 
At  Linne  a  towne  in  Norffolke, 
Acted  by  players  trauelling  that  way, 
Wherein  a  woman  that  had  murtherd  hers 
Was  euer  haunted  with  her  husbands  ghost: 
The  passion  written  by  a  feeling  pen, 
And  acted  by  a  good  tragedian, 
She  was  so  mooued  with  the  sight  thereof, 


As  she  cryed  out,  the  play  was  made  by  her, 
snly  confesst  her  husbands  murder." 


,  And  open! 


A  CT  IIL    SCENE  I.  2 1 5 

Cf.  Massinger,  Roman  Actor,  ii.  I : 

"  I  once  observed, 

In  a  tragedy  of  ours,  in  which  a  murder 
Was  acted  to  the  life,  a  guilty  hearer, 
Forc'd  by  the  terror  of  a  wounded  conscience, 
To  make  discovery  of  that  which  torture 
Could  not  wring  from  him." 

578.   Presently.     Immediately.     Cf.  170  above. 

580.  For  murther,  etc.  Cf.  Macb.  iii.  4.  122-126  and  Rich,  II.  i.  I.  104. 
M.  quotes  Wordsworth : 

"  Beliefs  coiled  serpent-like  about 
The  adage  on  all  tongues,  '  Murder  will  out.'  " 

584.  Tent.  Probe;  as  in  Cymb.  iii.  4.  118:  "tent  to  bottom."  We 
have  the  noun  in  T.  and  C.  ii.  2.  16: 

"  the  tent  that  searches 
To  the  bottom  of  the  worst ;  " 

and  again,  with  a  play  on  the  word,  in  Id.  v.  1. 1 1. 
Blench.     Flinch,  start.     Cf.  T.  and  C.\.  i.  28: 

"  Patience  herself,  what  goddess  e'er  she  be, 
Doth  lesser  blench  at  sufferance  than  I  do." 

Steevens  quotes  Fletcher,  Night-  Walker:  "  Blench  at  no  danger,  though 
it  be  a  gallows." 

586.    The  devil  hath  power,  etc.     Cf.  2  Cor.  xi.  14. 

Sir  Thomas  Browne  (quoted  by  M.)  says:  "I  believe  that  these  ap- 
paritions and  ghosts  of  departed  persons  are  not  the  wandering  souls  of 
men,  but  the  unquiet  walks  of  devils,  prompting  and  insinuating  to  us  ... 
that  the  blessed  spirits  are  not  at  rest  in  their  graves,  but  wander  solici- 
tous of  the  affairs  of  the  world." 

590.  Abuses.      Deceives.     Cf.  Much  Ado,  v.  2.  100 :  "  Hero  hath  been 
falsely  accused,  the  prince  and  Claudio  mightily  abused,"  etc. 

591.  Relative.   "To  the  purpose,  conclusive"  (Schmidt).    S.  uses  the 
word  nowhere  else. 

"  Shall  we,"  says  Dr.  Bucknill,  "  think  the  less  nobly  of  him  because 
his  hand  is  not  ready  to  shed  kindred  blood;  because,  gifted  with  godlike 
discourse  of  reason,  he  does  look  before  and  after;  because  he  does  not 
take  the  law  in  his  own  hands  upon  his  oppressor,  until  he  has  obtained 
conclusive  evidence  of  his  guilt;  that  he  seeks  to  make  sure  he  is  the 
natural  justiciar  of  his  murdered  father,  and  not  an  assassin  instigated  by 
hatred  and  selfish  revenge?" 


ACT  III. 

SCENE  I. — I.  Drift  of  circumstance.  "  Roundabout  method"  (Wr.). 
Cf.  ii.  i.  10:  "By  this  encompassment  and  drift  of  question;  "  also  i.  5. 
127 :  "  without  more  circumstance  at  all."  Drift  =  scheme  in  T.G.  of  V. 
ii.  6.  43,  iii.  i.  18,  iv.  2.  83,  etc.  The  quartos  have  "  conference  "  for  cir- 
cumstance. 


216  MUTES. 

3.  Grating.    Vexing.    Cf.  A.  and  C.  i.  I.  1  8  :  "Grates  me."     So  with 
on  in  2  Hen.  IV.  iv.  i.  90  :  "  suborn'd  to  grate  on  you,"  etc. 

7.  Forward.     Disposed,  inclined. 

8.  Keeps.     For  the  ellipsis  of  the  subject,  see  Gr.  399.     C£  ii.  2.  67 
above  and  iv.  i.  10  below. 

On  crafty  madness,  cf.  iii.  4.  186  :  "mad  in  craft. 


12.  With  much  forcing,  etc.     With  apparent  unwillingness  (M.). 

13.  Niggard  of  question,  etc.    Warb.  transposed  Niggard  and  Mas 
Malone  (so  also  Schmidt)  makes  question  —  talk,  and  explains  the  passage 

' 


thus:  "Slow  to  begin  conversation,  but  free  enough  in  his  answers  'to 
our  demands."  Wr.  says  :  "  Rosencrantz  and  Guildenstern  were  com- 
pletely baffled,  and  Hamlet  had  the  talk  almost  to  himself.  Perhaps 
they  did  not  intend  to  give  a  correct  account  of  the  interview." 

Of  our  demands.     The  Coll.  MS.  has  "  to  "  for  of.     See  Gr.  173. 

14.  Assay  him  to.     "  Try  his  disposition  towards  "  (Caldecott). 

17.  O'er-raught.  "Over-reached,  that  is,  overtook"  (Johnson).  Cf. 
C.  of  E.  i.  2.  96  :  "o'er-raught  of  all  my  money."  We  find  raught  both 
as  the  past  tense  and  participle  of  reach.  See  Hen.  V.  p.  180. 

20.  Order.  S.  regularly  .uses  the  singular  in  this  sense.  Cf.  v.  2.  365 
below. 

22.  Beseech1  d.  The  only  instance  of  the  past  tense  in  S.  ;  and  the  only 
one  of  the  participle  is  in  L.  C.  207,  where  he  also  has  "  beseech'd."  In 
Hen.  V.  iii.  2.  115  "beseeched"  =  besieged. 

24.  Content.  Gratify,  please  ;  as  often  in  S.  Cf.  T.G.ofV.  iii.  i.  93  : 
"  A  woman  sometimes  scorns  what  best  contents  her,"  etc. 

26.  ^Edge.  Incitement,  setting-on.  It  is  a  slight  modification  of  edge 
=desire,  appetite,  as  in  Sonn.  56.  2,  M.for  M.  i.  4.  60,  T.  of  S.  i.  2.  73,  etc. 

29.  Closely.     Secretly  ;  as  in  1C.  John,  iv.  I.  133,  etc. 

31.  Affront.     Meet  directly,  encounter.     Cf.  W.  T.  v.  I.  75:  "Affront 
his  eye."     See  also  T.  and  C.  iii.  2.  174  and  Cymb.  iv.  3.  29.     J.  H.  quotes 
Cook,  Green's  Tit  Quoque,  1614:  "This  I  must  caution  you  of,  in  your 
affront  or  salute,  never  to  move  your  hat." 

32.  Lawful  espials.    "  Spies  justifiably  inquisitive  "  (Caldecott).     We 
find  espials  in  the  same  sense  in  I  Hen.  VI.  i.  4.  8  and  iv.  3.  6.    Sr.  quotes 
Baret,  Alvearie  :  "  An  espial!  in  warres,  a  scoutwatch." 

33.  Bestow  ourselves.     See  on  ii.  2.  508  above. 

39.  Beauties.     F.  adopts  Walker's  suggestion  of  "  beauty  ;"  also  "  vir- 
tue "  in  next  line. 

40.  Wildness.     Distraction,  madness  ;  as  in  Cymb.  iii.  4.  9  (Schmidt). 
43.  Gracious.     Addressed  to  the  king.     Cf.  "  High  and  mighty,"  iv.  7 

43  below. 
47.  Too  much  prov'd.     Found  by  too  frequent  experience  (Johnson). 

51.  aeautied.     Not  elsewhere  used  by  S.  as  a  verb. 

52.  To.     Compared  to.     See  on  i.  2.  140  above. 


53.  Painted.    Falsely  coloured,  unreal.    Cf.  K.  John,  iii.  I.  icx  :  "  paint- 
ace  ;"  T.  A.  ii.  3.  126  :  "  painted  hope,"  etc 


, 

56.  To  be,  etc.  "In  ii.  2.  Hamlet  has  spoken  of  suicide  as  being  agai 
the  canon  of  the  Everlasting.'  Here  he  considers  it  as  viewed  by  phil 
ophy  ...»  Doubtless  it  might  be  more  entirely  desirable  to  turn  the  fl 


ACT  111.     SCENE   t. 


217 


of  all  sorrows  by  self-slaughter ;  and  this  might  be  the  course  which  a 
man  of  quick  decision  would  take.  But  reflection,  if  allowed,  must  needs 
make  us  think  that  if  death  is  a  sleep,  it  still  may  have  dreams ;  while 
conscience  warns  us  what  we  have  deserved  that  these  dreams  should 
be.  Thus,  instead  of  condensing  into  strong  purpose,  thought  melts  into 
mere  dreaming  meditation  ;  the  will  is  puzzled,  the  moment  of  action 
passes,  and  we  end  by  inertly  bearing  our  present  evils  rather  than  dar- 
ing to  fly  to  others  of  whose  nature  we  are  ignorant;  giving  up  our  de- 
liverance as  we  should,  from  the  same  weakness,  give  up  any  other  enter- 
prise of  pith  and  moment ' "  (M.). 

59.  Take  arms  against  a  sea,  etc.  For  a  sea  of  Pope  suggested  "  a  siege 
of,"  Theo.  "  th'  assay  of,"  Warb.  "  assail  of,"  etc. ;  but  no  change  is  called 
for.  There  are  worse  cases  of  "  mixed  metaphor  "  in  S.  than  this,  which, 
as  Wr.  remarks,  is  "  rather  two  metaphors  blended  into  one."  The  ex- 
pression is  =  "take  arms  against  a  host  of  troubles  which  break  in  upon 
us  like  a  sea,"  Cf.  156  below :  "  That  suck'd  the  honey  of  his  music 
vows,"  which,  if  a  "  mixed  metaphor,"  is  a  very  beautiful  one — better 
than  many  of  the  "faultily  faultless  "  figures  of  inferior  poets.  Keight- 
ley,  who  favours  Pope's  conjecture,  says  that  this  is  "almost  a  solitary 
instance  of  the  figurative  use  of  sea  by  S."  On  the  contrary,  it  is  a  com- 
mon metaphor  with  him.  See  R.  of  L.  I  loo,  T.  G.  of  V.  iii.  i.  224,  I  Hen. 
VI.  iv.  7.  14,  3  Hen.  VI.  ii.  5.  106,  Hen.  VIII.  ii.  4.  200,  iii.  2.  360,  T.  and  C. 
iii.  2.  84.  T.  of  A.  i.  I.  47,  iv.  2.  22,  Per.  v.  I.  194,  etc. 

61.  No  more.     Nothing  more. 

65.  Rub.  A  metaphor  taken  from  the  game  of  bowls.  See  Rich.  II. 
p.  197  or  Hen.  V.  p.  157. 

67.  Coil.     Turmoil.     Cf.  Temp.  \.  2.  207,  C.  of  E.  iii.  I.  48,  M.  N.  D.  iii. 
2.  339,  etc.     S.  never  uses  the  word  in  the  familiar  modern  sense. 

68.  Give  us  pause.     That  is,  for  reflection.     Cf.  iii.  3.  42  and  iv.  3.  9  be- 
low.    Respect  =  consideration,  motive  ;  as  in  Sonn.  49.  4,  Much  Ado,  ii.  3. 
176,  A.  W.  ii.  5.  71,  etc.     See  also  iii.  2.  166  below. 

70.  Of  time.  Of  the  times,  of  the  world.  Warb.  wished  to  read  "of 
th'  time  ;"  but  cf.  K.  John,  v.  2.  12  :  "such  a  sore  of  time  ;"  I  Hen.  IV. 
iv.  I.  25  :  "  the  state  of  time,"  etc.  S.  generally  uses  the  article,  as  in  i.  5. 
189  above. 

72.  Disprirfd.  Misprized,  undervalued  ;  the  folio  reading.  The  2d 
and  3d  quartos  have  "  despiz'd,"  which  most  modern  eds.  adopt.  As  F. 
remarks,  "  a  love  that  is  disprized  falls  more  frequently  to  the  lot  of  man, 
and  is  perhaps  more  hopeless  in  its  misery,  than  a  love  that  is  despised." 
Disprize  occurs,  again  in  T.  and  C.  iv.  5.  74. 

75.  Quietus.    The  law  term  for  the  final  settlement  of  an  account.    Cf. 
Sonn.  126.  12:  "And  her  quietus  is  to  render  thee."     Steevens  quotes 
Webster,  Duchess  of  Malfi,  i.  I :  "I  sign  your  quietus  exf." 

76.  Bare.    Mere,  as  Schmidt  explains  it,  not  "  unsheathed,"  as  Malone 
says  ;  though  S.  may  have  had  the  latter  meaning  also  in  mind. 

A  bodkin  was  a  small  dagger.  Cf.  L.  L.  L.  v.  2.  615  and  IV.  T.  iii.  3.  87 
Steevens  quotes  B.  and  F., Custom  of  the  Country,  ii.  3  : 

"Out  with  your  bodkin, 
Your  pocket-dagger,  your,  stiletto." 


See  also  Chaucer,  C.  T.  3958:  "with  knyf  or  boydekyn ;"  and  Id.  16193 

"  stiked  him  with  boydekyns  anoon." 

Fardels.  Burdens  ;  literally,  packs,  bundles.  Cf.  W.  T.  iv.  4.  728,  739, 
781,  783,  etc.  The  folio  reads  "  these  Fardles,"  which  is  preferred  by  K.. 
W.,  H.,  and  others. 

77.  Grunt.  Groan.  Steevens  quotes  many  contemporaneous  exam- 
pies;  as  from  Stanyhurst's  Virgil,  1582:  "sighing  it  grunts"  (congemuit)-. 
Turbervile's  Ovid:  "greefe  forst  me  grunt ;"  and  again  :  "  Of  dying  men 
the  grunts,"  etc.  The  quarto  of  1676  has  "groan,"  which  is  adopted  by 
Pope,  Capell,  and  others.  Cf.  J.  C.  iv.  i.  22  :  "  To  groan  and  sweat  under 
the  business."  Armin  (Nest  of  Ninnies)  has  "gronte  and  sweat  under 
this  massie  burden." 

79.  Bourn.     Limit,  boundary.    Cf.  Temp.  ii.  I.  152  :  "  Bourn,  bound  of 
land ;"  A.  and  C.  i.  I.  16 :  "I  '11  set  a  bourn,"  etc. 

80.  No  traveller  returns.     This  has  been  foolishly  criticised,  because 
the  Ghost  was  such  a  returned  traveller ;  and  as  foolishly  defended  by 
Theo.  (on  the  ground  that  the  Ghost  came  only  from  the  intermediate 
state  of  Purgatory)  and  others.     A  child  ought  to  see,  and  probably 
would  see — having  no  critical  spectacles  to  dim  its  vision — that  the 
meaning  is,  does  not  come  back  to  live  here,  as  he  returns  from  a  visit 
to  a  foreign  land;  or,  as  Coleridge  puts  it,  "no  traveller  returns  to  this 
world  as  to  his  home  or  abiding-place." 

83.  Thus  conscience,  etc.     Blakeway  compares  Rich.  III.  i.  4.  138  fol. 

84.  Native  hue.    Natural  colour.    Wr.  quotes  L.L.L.  iv.  3.  263  :  "Foi 
native  blood  is  counted  painting  now." 

85.  Thought.    Anxiety.     See  J.  C.  p.  146,  and  cf.  iv.  5.  168  below. 

86.  Pith.     The  folio  reading;  the  quartos  have  "pitch,"  which  the 
Camb.  editors  prefer.     In  either  case,  as  Wr.  notes,  there  is  a  change  of 
metaphor  in  currents.     See  on  59  above. 

88.  Soft  you  now.    "  Hold,  stop  "  (Schmidt).    Cf.  Oth.  v.  2.  338 :  "  Soft 
you ;  a  word  before  you  go."     See  also  M.  N.  D.  p.  176. 

89.  Orisons.    Prayers.'   Cf.  Hen.  V.  ii.  2.  53,  3  Hen.  VI.  i.  4.  no,  R.  and 
J.  iv.  3.  3,  etc. 

Johnson  remarks  :  "  This  is  a  touch  of  nature.  Hamlet,  at  the  sight 
of  Ophelia,  does  not  immediately  recollect  that  he  is  to  personate  mad- 
ness, but  makes  her  an  address  grave  and  solemn,  such  as  the  foregoing 
meditation  excited  in  his  thoughts." 

97.  I  know.  So  in  the  folio  ;  the  quartos  have  "you  know."  Ophelia 
means,  they  may  have  been  trifles  to  you  and  you  forgot  that  you  gave 
them,  but  /did  not,  for  they  were  most  precious  to  me. 

103.  Honest.  Virtuous.  See  A.  Y.  L.  p.  141.  So  honesty  =  virtue  in 
107  below. 

107.  Should  admit,  etc.  Your  honesty  should  be  so  chary  of  your 
beauty  as  not  to  suffer  it  to  entertain  discourse,  or  to  be  parleyed  with 
(Caldecott). 

109.  Commerce.     Intercourse.     Cf.  T.  N.  iii.  4.  191,  T.  and  C.  iii.  3.  205, 

1 14.  Sometime.     See  on  i.  2.  8  above. 
1 1 6.  Indeed,  etc.     See  p.  27  abovef 


ACT  III.    SCENE  /.  jig 

Ii8.  Relish  of  it.     Have  a  flavour  of  it,  retain  a  trace  of  it. 

121.  Get  thee.     A  common  reflexive  use  of  get  in  S.,  but  never  with  the 
full  form  of  the  pronouns,  thyself,  etc.  (Schmidt).     Cf.  Hen.  V.  iv.  i.  287 : 
"gets  him  to  rest ;"  J.  C.  ii.  4.  37 :  "I  '11  get  me  to  a  place  more  void," 
etc. 

122.  Indifferent.    "  Fairly,  ordinarily  "  ( Wr.).    Cf.  v.  2.  Q7  below ;  also 
T.  ofS.  \.  2.  181,  T.  N.  \.  3.  143,  i-  5-  265,  etc.    Gr.  I. 

125.  At  my  beck.  "Always  ready  to  come  about  me"  (Steevens).  The 
Coll.  MS.  has  "back"  for  beck. 

129.  Go  thy  ways.     See  on  i.  3.  135  above. 

134.  O,  help  him,  etc.  This  speech  and  that  in  141  below  were  firsv 
marked  aside  by  F. 

136.  Chaste  as  ice.     Cf.  A.  Y.  L.  iii.  4.  18 :  "  the  very  ice  of  chastity." 

139.  Monsters.     Delius  compares  Oth.  iv.  I.  63. 

142.  Your  paintings.  The  your  refers  to  women  generally,  as  the 
plural  yourselves  shows.  The  folio  has  "your  pratlings,"  and  "pace" 
for  face. 

144.  Jig.     Walk  as  if  dancing  a  jig.     In  L.  L.  L.  iii.  I.  n  it  means  to 
sing  a  jig  or  in  the  manner  of  a  jig.     See  on  ii.  2.  486  above.     For  the 
contemptuous  use  of  amble,  cf.  I  Hen.  IV.  iii.  2.  60,  Rich.  III.  i.  I.  17,  and 
R.  and  J.  i.  4.  1 1. 

Nickname.  Misname,  miscall.  Cf.  L.L.  L.  v.  2.  349:  "You  nickname 
virtue ;  vice  you  should  have  spoke." 

145.  Make  your  wantonness,  etc.     You  mistake  wantonly,  and  pretend 
that  you  do  it  through  ignorance  (Johnson)  ;  or,  perhaps,  affect  an  inno- 
cent ignorance  as  a  mask  for  wantonness  (W.). 

151.  Scholar's,  soldier's.     The  early  eds.  have  "soldier's,  scholar's," 
except  the  1st  quarto,  in  which  the  passage  reads-: 

"The  Courtier,  Scholler,  Souldier,  all  in  him, 
All  dasht  and  splintered  thence,  O  woe  is  me,"  etc. 

The  correction  is  Hanmer's,  and  is  generally  adopted  ;  but  the  early  text 
may  be  what  S.  wrote.     Cf.  R.  of  L.  615,  616  : 

"  For  princes  are  the  glass,  the  school,  the  book, 
Where  subjects'  eyes  do  learn,  do  read,  do  look." 

See  also  A.  and  C.  iv.  15.  25. 

152.  Fair.     That  is,  because  Hamlet  adorns  it  as  the  rose.     For  the 
prolepsis,  cf.  Macb.  i.  3.  84:  "the  insane  root ;"  and  see  also  Id.  i. 6. 3  and 
iii.  4.  76. 

153.  The  glass  of  fashion.     Cf.  2  Hen.  IV.  ii.  3.  21 : 


Wherein  the  noble 


"he  was  indeed  the  glass 
youth  did  dress  themselves;" 


and  B.  J.,  Cynthia's  Rei'els,  dedic. :  "  in  thee  the  whole  kingdom  dresseth 
itself,  and  is  ambitious  to  use  thee  as  her  glass." 

The  mould  of  form.     "  The  model  by  whom  all  endeavoured  to  form 
themselves  "  (Johnson). 

155.  Deject.     See  on  i.  2.  20.    Gr.  342. 

156.  Music  vows.    See  on  59  above.    F.  prints  "music-vows."    Gr.  22. 
The  quartos  have  "musickt." 


220  NOTES. 

158.  Jangled  out  of  tune.     Most  modern  eds.  print  "jangled,  out  of 
tune,"  hut  the  comma  is  not  in  the  folio.     "The  two  ideas  attached  to 
bells  are :   i.  jangled  out  of  tune ;  2.  harsh,  which  expresses  to  what  extent 
jangled  out  of  tune"  (Corson). 

159.  Feature.     Figure,  form.     Cf.  Sonn.  113.  12,  K.John,  iv.  2.  264, 
I  Hen.  VI.  v.  5.  68,  etc.     See  also  iii.  2.  21  below. 

£/own  =  " in  its  bloom "  (Capell).     Cf.  iii.  3.  81  below. 

160.  Ecstacy.     Madness:   as  in  ii.  i.  102  above. 

162.  Affections.     Feelings,  inclinations. 

163.  Nor  .  .  .  not.     See  on  i.  2.  158. 

165.  On  brood.     Brooding.     Gr.  24,  180. 

1 66.  Doubt.     Suspect.     See  on  i.  2.  256  above.     For  disclose,  see  on  i. 
I.  57.     The  word  was  regularly  used  of  the  hatching  of  birds.     Cf.  v.  I. 
277  below.     Malone  quotes  Massinger,  Maid  of  Honour,  i.  2: 

"  One  aerie  with  proportion  ne'er  discloses 
The  eagle  and  the  wren." 

167.  For  to.     Cf.  v.  i.  92  below,  and  see  Gr.  152. 

169.  Shall.  For  shall=  will, see  Gr.  315  (cf.  176  below);  and  for  the 
ellipsis  of  the  verb  of  motion,  see  Gr.  405.  Cf.  ii.  2.  485  above. 

173.  Something-settled.     See  Gr.  68,  and  cf.  2. 

174.  Puts.     M.  says  that  brains  is  singular;  but  S.  elsewhere  makes 
it  plural.     Cf.  A.  W.  iv.  3.  216:   "his  brains  are  forfeit,"  etc.     The  real 
subject  is  "  the  beating  of  his  brains  on  this  "  (Gr.  337). 

175.  Fashion  of  himself.     His  usual  bearing  or  behaviour.     For  on't, 
see  on  i.  I.  55  above. 

183.  Round.     See  on  ii.  2.  139  above. 

184.  So  please  you.     If  it  so  please  you.     See  A.  V.  L.  p.  138  or  Mer. 
pp.  134,  136.     Gr.  133. 

In  the  ear  —  "within  hearing  "  (Schmidt). 

185.  Find.    "  Detect,  unmask  "  (Schmidt).     Cf.  A.  W.  ii.  3.  216,  ii.  4. 
32,  v.  2.  46,  I  Hen.  IV.  i.  3.  3,  etc. 

SCENE  II. — 3.  Your.  See  on  i.  5.  167  above,  or  Gr.  221 ;  and  for  had 
as  lief,  A.  Y.  L.  p.  139. 

8.    Hear.    The  folio  has  "  see."    Robustious  occurs  again  in  Hen.  V.  iii. 

7-  '59- 

Peri-wig-pated.  In  the  time  of  S.  wigs  were  worn  only  by  actors;  they 
did  not  come  into  general  use  until  the  time  of  Charles  II  (Steevens). 
Cf.  '/'.  G.  ofV.  iv.  4.  196  and  C.  of  E.  ii.  2.  76.  In  Every  Woman  in  her 
Humour,  1609,  it  is  said  that  "  none  wear  hoods  but  monks  and  ladies, 
.  .  .  none  periwigs  but  players  and  pictures." 

10.  Groundlings.     The  rabble  in  the  pit,  whicli  in  the  theatres  of  that 
day  had  neither  floor  nor  benches.     Steevens  quotes  Ben  Jonson,  Bar- 
tholomew Fair:  "the  understanding  gentlemen   of  the   ground;"  also 
Lady  Alimony:   "Be  your  stage-curtains  artificially  drawn,  and  so  cov- 
ertly shrowded  that  the  squint-eyed  groundling  may  not  peep  in."    Ac- 
cording to  Nares,  these  gentry  paid  only  a  penny  for  admission. 

11.  Inexplicable.    "  Unintelligible  "  (Schmidt).      Johnson  explains  it 
as  "  without  words  to  explain  them." 


ACT  III.    SCENE  12.  221 

12.  Termagant.  An  imaginary  god  of  the  Saracens,  often  introduced 
into  the  old  mystery- pi  ays,  and  represented  as  a  most  violent  character 
(Nares).  Cf.  Spenser,  F.  Q.  vi.  7.  47  :  "  And  oftentimes  by  Turmagant 
and  Mahound  swore  ;"  Chaucer,  C.  T.  15221  :  "He  swar,  'Child,  by 
Termagaunt,'  "  etc.  S.  uses  the  word  only  here  and  in  i  Hen.  IV.  v.  4. 
114,  where  it  is  an  adjective. 

Herod  was  also  a  common  character  in  the  old  mysteries,  and  always 
a  violent  one.  Steevens  quotes  Chaucer,  C.  T.  3384  :  "  He  pleyeth 
Herod  on  a  scaffold  hye."  Douce  gives  a  long  extract  from  a  pageant 
performed  at  Canterbury  in  1534,  in  which  this  stage-direction  occurs: 
"  Here  Erode  ragis  in  thys  pagond,  and  in  the  strete  also." 

1 8.  From  the  purpose.    That  is,  away  from,  or  contrary  to  it     Gr.  158. 

22.  His.     Its.     Gr.228. 

Pressure.     Imprint,  character.     Cf.  i.  5.  loo  above. 

23.  Come  tardy  off.    The  reading  of  the  early  eds.    The  quarto  of  1676 
has  "of"  for  off,  and  is  followed  by  Theo.,  Warb.,  F.,  and  others.     The 
emendation  is  plausible  (cf.  came  short  of,  iv.  7.  89  below) ;  but  no  change 
seems  really  required.     Cf.  T.  G.  of  V.  ii.  I.  115  :  "it  came  hardly  off," 
etc. ;  and  for  come—  having  come,  R.  of  L.  1784  :  "  Weak  words,  so  thick 
come  in  his  poor  heart's  aid.'"     See  Gr.  165. 

24.  Censure.     Judgment.     See  on  i.  3.  69  above.     Of  the  which  one  — 
of  which  one  class  of  persons  (Caldecott) ;  or,  possibly,  as  Delius  and 
Wr.  explain  it,  "of  the  judicious  man  singly."     Hanmer  substituted  "of 
one  of  which." 

26.  There  be.     For  this  use  of*?,  see  Gr.  300. 

27.  Profanely.     "The  profanity  consists  in  alluding  to  Christians" 
(F.). 

29.  Nor  man.  Nor  even  man  (Wr.).  The  1st  quarto  has  "  Nor 
Turke,"  the  folio  "or  Norman."  Farmer  conjectured  "nor  Mussul- 
man." W.  ard  H.  read  "or  Turk."  The  Coll.  MS.  has  "nor  man." 

31.  Had  made  men.  The  reading  of  the  early  eds.  Theo.  suggested 
"made  them,"  which  F.  adopts.  Farmer  (followed  by  H.)  conjectured 
"the  men."  These  emendations  are  plausible,  but  S.  may  have  written 
had  made  men  ;  that  is,  had  been  making  men,  had  tried  their  hand  at 
making  men  (instead  of  sticking  to  their  regular  work  on  inferior  creat* 
ures).  This  seems  in  keeping  with  "imitated  humanity." 

33.  Indifferently.     Tolerably  well.     Cf.  indifferent,  iii.  I.  122  above. 

36.  Your  clowns,  etc.  The  clowns  were  given  to  this  extemporizing. 
Stowe  (quoted  by  Steevens)  informs  us  that  among  the  twelve  players 
who  were  sworn  the  queen's  servants  in  1583  "were  two  rare  men,  viz. 
Thomas  Wilson,  for  a  quick  delicate  refined  extemporall  witte  ;  and 
Richard  Tarleton,  for  a  wondrous  plentiful!,  pleasant  extemporall  witt," 
etc.  Cfl  Tarleton'' s  Newes  out  of  Purgatory:  "that  merrye  Roscius  of 
plaiers  that  famosed  all  comedies  so  with  his  pleasant  and  extemporali 
invention  ;"  and,  even  earlier,  The  Contention  Betwyxte  Churchyard  and 
Cornell,  1560: 

"  But  Vices  in  stage  plaies, 

When  theyr  matter  is  gon, 
They  laugh  out  the  reste 
To  the  lookers  on,"  etc. 


2a2  NOTES. 

fa  the  1st  quarto  this  passage  reads  as  follows  t 

"Ham.  And  doe  you  heare?  let  not  your  Clowne  speak* 
More  then  is  set  downe,  there  be  of  them  I  can  tell  JOB 
That  will  laugh  themselues,  to  set  on  some 
Ouantitie  of  barren  spectators  to  laugh  with  them, 
Albeit  there  is  some  necessary  point  in  the  Play 
Then  to  be  obserued;  O  t'is  vile,  and  shewes 
A  pittiful  ambition  in  the  foole  that  vseth  it. 
And  then  you  haue  some  agen,  that  keepes  one  sut8 
Of  leasts,  as  a  man  is  knowne  by  one  sute  of 
Apparell,  and  Gentlemen  quotes  his  ieasts  downe 
In  their  tables,  before  they  come  to  the  play,  as  thus: 
Cannot  you  stay  till  I  eate  my  porrig^.?  and,  you  owe  me 
A  quarters  wages:  and,  my  coate  wants  a  culhson  :*  _ 
And,  your  beere  is  sowre:  and,  blabbering  with  his  lips. 
And  thus  keeping  in  his  cinkapase  t  of  leasts, 
When,  God  knows,  the  warme  Clowne  cannot  make  a  iest 
Vnlesse  by  chance,  as  the  blinde  man  catcheth  a  hare: 
Maisters  tell  him  of  it. 

players  We  will  my  Lord. 

Warn.  Well,  goe  make  you  ready.  exeunt  players!* 

Hunter  and  Halliwell  are  inclined  to  think  that  this  should  be  retained! 
but,  as  W.  remarks,  "  it  was  probably  an  extemporaneous  addition  to  th« 
text  by  the  actor." 

37.  There  be  of  them.     Cf.  Gr.  399  fol. 

38.  Barren.    Barren  of  wit,  dull.    Cf.  M.  N.  D.  iii.  2. 13 :  "  that  barren 
sort;"  T.N.  i.  5.  90:  "  a  barren  rascal,"  etc. 

42.  Piece  of  work.    In  M.  N.  D.  i.  2. 14,  Bottom  calls  the  play  "a  very 
good  piece  of  work."    Cf.  T.  of  S.  i.  I.  258. 

43.  Presently.     See  on  ii.  2.  170  above. 

50.  Coped  withal.  Met  with,  encountered.  Cf.  A.  Y.  L.  ii.  1. 67  :  "I 
love  to  ccpe  him  in  these  sullen  fits ;"  W.  T.  iv.  4.  435  :  "  The  royal  fool 
thou  copest  with,"  etc. 

53.  Revenue.  Accented  by  S.  either  on  the  first  or  on  the  second 
syllable,  as  suits  the  measure.  Cf.  M.  N.  D.  i.  I.  7  :  "  Long  withering 
out  a  young  man's  revenue  ;"  and  158  in  the  same  scene :  "  Of  great 
revenue,  and  she  hath  no  child."  Gr.  490. 

55.  Candied.    Sugared,  flattering  (D.).    Elsewhere  it  means  congealed. 
See  Temp.  ii.  I.  279  and  T.  of  A.  iv.  3.  226. 

Absurd.     The  only  instance  of  this  accent  in  S.    Gr.  490. 

56.  Crook.    The  subject  of  this  verb  is  tongue,  unless  with  Tschischwitz 
we  consider  it  a  3d  person  imperative.     It  is  probably  an  instance  of 
"construction  according  to  sense,"  the  real  subject  being  the  person  im- 
plied in  tongue.     Cf.  Gr.  415. 

Pregnant.    Quick,  ready  (Johnson  and  Schmidt) ;  or  "  because  untold 
thrift  is  born  from  a  cunning  use  of  the  knee  "  (F.). 
On  hinges  of  the  knee,  cf.  T.  of  A.  iv.  3.  211 :  "  hinge  thy  knee." 

*  A  corruption  of  cognizance,  or  badge  of  arms  (Nares).  Cf.  The  Owles  Almanack, 
1618:  "A  blew  coat  without  a  cullizan."  P.  Hentzner,  in  his  Travels,  1598,  says  that 
in  England  servants  "  wear  their  masters'  arms  in  silver,  fastened  to  their  left  arms." 

t  That  is,  cinque-pare,  a  kind  of  dance.  Cf.  Much  A  do,  ii.  1.77:"  falls  into  the  cinque- 
pace  faster  and  taster,"  etc, 


ACT  III.     SCENE  11.  323 

57.  Fawning.     The  folio  has  "faining." 

58.  Dear.     See  on  i.  2.  182. 

59.  Of  men  distinguish.     Cf.  2  Hen.  VI.  ii.  i.  130 :  "distinguish  of  col 
jurs."     The  2d  and  3d  quartos  have 

"distinguish  her  election, 
S'  hath  [=she  hath]  seal'd,"  etc., 

and  some  editors  have  preferred  this  reading. 

64.  Blood  and  ^judgment.  "Passions  and  reason"  (Caldecott).  Cf, 
Much  Ado,  ii.  3.  70  :  "  wisdom  and  blood  combating,"  etc. 

For  commingled  the  quartos  have  "  comedled,"  which  means  the  same. 
For  meddle  —  mingle,  cf.  Temp.  i.  2.  22,  and  see  note  in  our  ed.  p.  112* 
.  On  the  passage  cf.  J.  C.  v.  5.  73  : 

"  His  life  was  gentle,  and  the  elements 
So  mix'd  in  him  that  Nature  might  stand  up 
And  say  to  all  the  world  'This  was  a  man!"' 

and  see  note  in  our  ed.  p.  185. 

69.  Something  too  much,  etc.  "The  genuine  manliness  of  this  little 
sentence,  where  Hamlet  checks  himself  when  conscious  that  he  has  been 
carried  away  by  fervour  of  affectionate  friendship  into  stronger  protesta- 
tion than  mayhap  becomes  the  truth  and  simplicity  of  sentiment  between 
man  and  man,  is  precisely  one  of  Shakespeare's  exquisite  touches  of  in- 
nate propriety  in  questions  of  feeling.  Let  any  one  who  doubts  for  a 
moment  whether  Shakespeare  intended  that  Hamlet  should  merely  feign 
madness,  read  carefully  over  the  present  speech,  marking  its  sobriety  of 
expression  even  amid  all  its  ardour,  its  singleness  and  purity  of  sentiment 
amid  its  most  forcible  utterance,  and  then  decide  whether  it  could  be 
possible  that  he  should  mean  Hamlet's  wits  to  be  touched.  That  his 
heart  is  shaken  to  its  core,  that  he  is  even  afflicted  with  melancholia  and 
hypochondria,  we  admit ;  but  that  his  intellects  are  in  the  very  slightest 
degree  disordered,  we  cannot  for  one  instant  believe"  (Clarke). 

73.  Afoot.     Being  performed.     Cf.  M.  for  M.  iv.  5.  3  :  "  The  matter 
being  afoot,"  etc. 

74.  With  the  very  comment  of  thy  soul.     "  With  all  thy  powers  of  ob- 
servation "  (Wr.).    The  folio  has  "  my  soul,"  which  K.  and  Corson  defend. 

Occulted.     Hidden  ;  used  by  S.  nowhere  else. 

One  speech.     The  one  prepared  by  Hamlet  (ii.  2.  525).     For  the 
metaphor  in  unkennel,  cf.  M.  W.  iii.  3.  174. 

77.  Damned  ghost.  A  "  goblin  damned  "  (i.  4.  40),  and  therefore  not  to 
be  believed.  Cf.  ii.  2.  585  fol.  Douce  quotes  Spenser,  F.  Q.  i.  2.  32 : 

"  What  voice  of  damned  Ghost  from  Limbo  lake, 
Or  gtiiletull  spright  wandring  i;i  empty  aire, 
Both  which  fraile  men  doe  ofientimes  mistake,"  etc. 

79.  Stithy.  Smithy,  forge..  The  1st  folio  has  "  Stythe,"  the  later  folios 
"styth."  Stith  was  properly  the  anvil ;  as  in  C.  T.  2028  :  "  That  forgeth 
scharpe  swerdes  on  his  stith."  The  two  words  seem,  however,  to  have 
been  sometimes  confounded.  S.  has  stithy  again  in  T.  and  C.  iv.  5.  255, 
where  it  is  a  verb. 

Wote  =  attention  ;  as  in  A.  IV.  iii.  5.  104 :  "  Worthy  the  note,"  eta 


75. 
76. 


»M 

82  /«  censure  oj  his  seeming.     In  forming  an  opinion  of  his  appear- 
ance.    See  on  i.  3.  69  above,  and  cf.  W.  T.  iv.  4.  667,  Cymb.  v.  5.  65,  etc. 

83  //  he  steal,  etc.     Caldecott  understands  this  to  refer  directly  to 
possible  manifestation  of  guilt  on  the  part  of  the  King  ;  but  of  course  all 
that  Horatio  means  is,  I  '11  watch  him  so  closely  that  if  he  were  trying  to 
steal  something  I  would  pledge  myself  to  detect  him  or  else  to  pay  for 
the  stolen  property. 

On  the  -whilst,  cf.  K.  John,  iv.  2.  194 :  "  The  whilst  his  iron  did  on  the 
anvil  cool,"  etc. 

84.  On  ///<?#=  the  thing  stolen,  cf.  Exod.  xxn.  4  (Wr.). 

85.  Idle.     Delius,  St.,  Wr.,  and  Schmidt  make  this  refer  to  his  feigned 
madness.    Cf.  iii.  4,  II  below  and  Lear,  i.  3.  16.     But  though  idle  is  often 
used  in  this  sense,  we  are  inclined  here  to  agree  with  M.,  who  explains 
the  passage  "  I  must  appear  to  have  nothing  to  do  with  the  matter." 

87.  Fares.     In  his  reply  Hamlet  plays  upon  the  word ;  as  Sly  does  in 
T.ofS.  ind.  2.  102:  "Marry,  I  fare  well;  for  here  is  cheer  enough." 
Cf.  P.  P.  186 : 

"'Farewell,'  quoth  she,  'and  come  again  to-morrow.' 
Fare  well  I  could  not,  for  I  supp'd  with  sorrow." 

88.  Of  the  chameleon's  dish.     For  another  allusion  to  the  popular  be- 
lief  that  the  chameleon  fed  on  air,  see  T.  G.  of  V.  ii.  I.  1 78  ;  and  for  refer- 
ences to  its  supposed  changes  of  colour,  Id.  ii.  4.  26  and  3  Hen.  VI.  iii.  2. 
191.     For  of,  see  Gr.  177. 

90.  /  have  nothing,  etc.  I  have  nothing  to  do  with  it.  Cf.  Cor.  ii.  3. 
8l :  "I  have  no  further  with  you." 

93.  The  university.  "The  practice  of  acting  Latin  plays  in  the  uni- 
versities of  Oxford  and  Cambridge  is  very  ancient,  and  continued  to 
near  the  middle  of  the  last  century.  They  were  performed  occasionally 
for  the  entertainment  of  princes  and  other  great  personages  ;  and  regu- 
larly at  Christmas,  at.  which  time  a  Lord  of  Misrule  was  appointed  at 
Oxford  to  regulate  the  exhibitions,  and  a  similar  officer  with  the  title  of 
Imperator  at  Cambridge"  (Malone).  English  plays  were  also  sometimes 
performed;  this  very  one  of  Hamlet  among  the  number.  See  the  title- 
page  of  ist  quarto  on  p.  9  above. 

96.  Enact.     Act,  play.     Cf.  Temp.  iv.  I.  121  : 

.   "  Spirits,  which  by  mine  art 
I  have  from  their  confines  call'd  to  enact 
My  present  fancies,"  etc. 

97.  Cersar.    A  Latin  play  on  the  subject  of  Caesar's  death  was  per- 
formed at  Oxford  in  1582  (Malone). 

On  the  erroneous  notion  that  Caesar  was  killed  "  i'  the  Capitol,"  see 
J.  C.  p.  155.  Cf.  A.  and  C.  ii.  6.  18. 

99.  A  brute  part.  Steevens  quotes  Sir  John  Harrington,  Metamorphosis 
ofAjax,  1596  :  "O  brave-minded  Brutus  !  but  this  I  must  truly  say,  they 
were  two  brutish  parts  both  of  him  and  you  ;  one  to  kill  his  sons  for 
treason,  the  other  to  kill  his  father  in  treason." 

101.  Stay  upon.  Await.  Cf.  "stay  upon  your  leisure"  (A.  W.  iii.  5. 
48,  Macb.  i.  3.  148),  "  stays  upon  your  will "  (A.  and  C.  i.  2.  1 19),  etc. 

Patience = permission ;  as  in  "  by  your  patience  "  ( Temp.  iii.  3.  3,  A.  Y, 


ACT  III.     SCENE  IT.  22$ 

L.  v.  4.  1 86,  Hen.  V.  iii.  6.  31,  etc.),  "  with  your  patience  "  (i  Hen.  VI.  ii.  3. 
78),  etc. 

108.  Jig-maker.     See  on  ii.  2.  486  above. 

1 10.  Within 's.  Within  this  (Delius) .  Cf.  /?.  andj.  v.  2.  25  :  "  Within 
this  three  hours,"  etc. 

113.  For  Pit  have  a  suit  of  sables.  Warb.  (followed  by  W.  and  H.) 
changed  for  to  "  'fore."  Capell  and  others  take  iables  to  mean  the  fur  of 
the  sable,  which  was  used  only  in  rich  and  splendid  apparel.  Malone 
says  that  by  a  statute  of  Henry  VIII.  no  one  under  the  rank  of  an  earl 
could  wear  sables.  Wr.  sees  here  "an  intended  contrast  combined  with 
a  play  upon  words,"  and  Schmidt  takes  the  same  view  of  the  passage. 
Cf.  iv.  7.  79  below,  where  "  sables  "  are  mentioned,  not  as  badges  of  mourn- 
ing, but  as  "  importing  health  and  graveness" — the  dignified  apparel  of 
age  as  opposed  to  "the  light  and  careless  livery"  of  youth. 

117.  Not  thinking  on.     That  is,  being  forgotten  (K.). 

118.  The  hobby-horse.     A  figure  in  the  rural  May-games  and  morris- 
dances,  probably  referred  to  in  ballads  of  the  time  as  "  forgot,"  either 
because  it  came  to  be  omitted  from  the  games  or  because  of  the  attempts 
of  the  Puritans  to  put  down  these  sports.     Cf.  L.  L.  L.  iii.  i.  30.     Steevens 
quotes  B.  and  F.,  Women  Pleased,  iv.  i  :  "  Shall  the  hobby-horse  be  forgot 
then?"  also  Ben  Jonson,  Entertainment  at  Althorpe  :  "  But  see  the  hobby- 
horse is  forgot,"  etc. 

The  dumb-show.  This  stage-direction  is  as  Steevens  gives  it,  and  agrees 
substantially  with  that  in  the  folio.  Why  the  "  dumb-show  "  should  have 
been  introduced  is  a  question  that  has  been  much  discussed  but  not  satis- 
factorily settled.  See  Furness,  vol.  i.  pp.  241-243. 

I2O.  Miching  mallecho.  "  Probably  =  secret  and  insidious  mischief" 
(Schmidt).  Florio,  in  his  Ital.  Diet.,  1598,  defines  acciapinare  as  "To 
miche,  to  shrug  or  sneake  in  some  corner."  Micher— truant,  occurs  in 
i  Hen.  IV.  ii.  4.  450.  Minsheu  gives  "To  Miche,  or  secretly  to  hide 
himselfe  out  of  the  way,  as  Truants  doe  from  schoole."  Mallecho  is  the 
Spanish  malhecho  (literally,  ill-done).  D.  quotes  Connelly's  Spanish  Diet.  : 
"  Malhecho  .  .  .  An  evil  action,  an  indecent  and  indecorous  behaviour; 
malefaction."  Cf.  Shirley,  Gent,  of  Venice :  "  Be  humble,  Thou  man  of 
mallecho,  or  thou  diest." 

122.  Belike.  "  As  it  seems,  I  suppose  "  (Schmidt).  Cf.  M.  N.  D.  i.  I. 
130,  Hen.  V.  iii.  7.  55,  etc.  It  is  followed  by  that  in  T.  G.  of  V.  ii.  4.  90. 

Argument=v\o\.;   as  in  ii.  2.  346  above. 

135.  Posy.  Motto.  See  Mer.  p.  164.  Hamlet  refers  to  the  brevity  of 
the  prologue,  as  Ophelia  evidently  understands. 

138.  Cart.     Chariot;  but  obsolete  in  that  sense  in  the  time  of  S.     Wr. 
quotes  Chaucer,  C.  T.  2043 :  "  The  statue  of  Mars  upon  a  carte  stood." 

139.  Wash.     The  sea.     In  K.  John,  v.  6.  41  and  v.  7.  63,  it  means  the 
"  flats,"  or  land  overflowed  by  the  tide. 

140.  Sheen.     Shine,  light.     Used  by  S.  only  here  and  in  M.  N.  D.  ii.  I. 
29,  where  also  it  is  a  rhyming  word. 

143.    Commutual.    "An  intensified  form  of  mutual"  (Wr.). 
146.    Woe  is  me.    The  old  form  was  "woe  is  to  me"=is  mine.     See 
Gr.  230. 


aa6  NOTES. 

147.  Cheer.    Cheerfulness.     For  its  original  meaning,  see  Mer.  p.  152 
or  M.  N.  D.  p.  163. 

148.  Distrust  you.     "Am  solicitous  about  you"  (Schmidt). 

150.  For  women's,  etc.     The  quartos  have  an  extra  line  here  : 

"  For  women  feare  too  much,  euen  as  they  love, 

And  womens,"  etc. 

Some  editors  believe  that  a  line,  rhyming  with  love,  has  been  lost ;  others, 
that  the  extra  line  was  superseded  by  150,  but  accidentally  retained  at  first 
in  printing.  The  latter  is  the  more  probable  explanation. 

Holds  quantity  -  are  proportioned  to  each  other.  Cf.  M.  N.  D.  i.  I. 
232  :  "  Things  base  and  vile,  holding  no  quantity,"  etc.  For  holds,  see 
Gr.  336. 

151.  In  neither,  etc.     "  They  either  contain  nothing,  or  what  they  con- 
tain is  in  extremes  "  (Gr.  3880). 

153.  Sized.    Used  by  S.  only  here  ;  but  we  find  great-sized  (large-sized, 
small-sized,  etc.  are  still  in  colloquial  use)  in  T.  and  C.  iii.  3.  147  and  v.  10. 
26.     Theo.  quotes  A.  and  C.  iv.  15.  4. 

154.  Littlest.    Walker  quotes  B.  and  F.,  Queen  of  Corinth,  iv.  I :  "  The 
poorest  littlest  page."     He  also  gives  examples  of  gooder  and  goodest, 
badder  and  baddcst,  from  writers  of  the  time.    Chaucer  has  badder  in  C.  T. 
10538. 

157.  Operant.  Active  ;  used  by  S.  only  here  and  in  T.  of  A.  iv.  3.  25  : 
"  most  operant  poison."  For  leave,  see  on  i.  2.  155  ;  and  for  the  infinitive 
in  to  do,  Gr.  355. 

164.  Wormwood.     For  the  figure,  cf.  R.  of  L.  893  and  L.  L.  L.  v.  2.  857. 

165.  Instances.     Inducements,  motives.     Cf.  A.  W.  iv.  i.  44  :  "  What's 
the  instance  ?"  Rich.  III.  3.  2.  25  :  "  wanting  instance,"  etc. 

166.  Respects.     Considerations.     Cf.  iii.  I.  68  above. 

167.  Kill. . .  dead.    Elze  compares  T.  A.  iii.  I.  92 :  "  he  kill'd  me  dead." 
He  might  have  added  M.  N.  D.  iii.  2.  269  :  "  kill  her  dead  ?" 

171-196.  Mr.  and  Mrs.  Cowden  Clarke  believe  that  these  are  the 
"  dozen  or  sixteen  lines  "  of  ii.  2.  525,  because  the  diction  is  different 
from  the  rest  of  the  dialogue  and  is  signally  like  Hamlet's  own  argu- 
mentative mood.  Sievers,  who  was  the  first  to  try  to  point  out  the  sup- 
posed insertion,  had  fixed  upon  234-239.  See  on  ii.  2.  525  above. 

171.  Purpose,  etc.     "Purposes  last  only  so  long  as  they  are  remem- 
bered "  (M.). 

172.  Validity.     Value,  efficacy.     Cf.  A.  W.  v.  3.  192,  T.  N.  \.  \.  12,  etc. 
174.  Fall.     For  the  "confusion  of  construction," see  Gr.  415.     Cf.  de- 
stroy in  180  just  below. 

176.  Most  necessary,  etc.  "The  performance  of  a  resolution  in  which 
only  the  resolver  is  interested  is  a  debt  only  to  himself,  which  he  may 
therefore  remit  at  pleasure  "  (Johnson). 

180.  Enactures.    Action  (Schmidt);  or, perhaps,  resolutions  (Johnson). 

181.  Where  joy,  etc.     "The  very  temper  that  is  most  cast  down  with 
grief  is  also  most  capable  of  joy,  and  passes  from  one  to  the  other  with 
slenderest  cause  "  (M.). 

184.  Our  loves.     The  love  which  others  feel  for  us. 
186.  Whether.     See  on  ii.  2.  17  above,  or  Gr.  466. 


ACT  III.     SCENE  If.  227 

187.  Favourites  flies.  The  quartos  have  "  favourite,"  a  reading  which, 
as  Abbott  says  (Gr.  333),  "completely  misses  the  intention  to  describe 
the  crowd of  favourites  scattering  in  flight  from  the  fallen  patron."  Cf. 
V.andA.  1128: 

"  She  lifts  the  coffer-lids  that  close  his  eyes 
Where,  lo!  two  lamps  burnt  out  in  darkness  lies." 

There,  as  here,  the  form  seems  to  be  due  to  the  rhyme.     See  also  Sonn. 

41.  3- 

190.  Not  needs.  Cf.  Temp.  v.  I.  38:  "Whereof  the  ewe  not  bites," 
etc.  Gr.  305. 

192.    Seasons.     Matures,  ripens  (Schmidt).     Cf.  i.  3.  81  above. 

194.  Contrary.  The  accent  on  the  penult,  as  in  "  Mary,  Mary,  quite 
contrary,"  etc.  Cf.  K.John,  iv.  2.  198,  and  T.  of  A.\\.  3.  144.  Schmidt 
adds  W.  T.  v.  1.45  :  "  My  lord  should  to  the  heavens  be  contrary  ;"  but 
there  it  seems  to  have  the  other  accent,  as  in  R.  and J.  iii.  2.  04 :  "  What 
storm  is  this  that  blows  so  contrary  ?  "  etc. 

198.  Die.  The  3d  person  imperative,  or  "subjunctive  used  impera- 
tively "  (Gr.  364).  See  other  examples  in  the  speech  that  follows,  and  in 
210,  211,  etc. 

202.  An  anchor's  cheer.     An  anchorite's  fare.    Steevens  quotes  the  old 
Romance  of  Robert  the  Devil,  printed  by  Wynkyn  de  Worde :   "  We  have 
robbed  and  killed  nonnes,  holy  aunkers,  preestes;  "  and  again  :  "  the  foxe 
will  be  an  aunker,  for  he  begynneth  to  preche  ;  "  and  The  Vision  of  Piers 
Plowman:  "As  ancres  an<l  heremites,"  etc. 

203.  Opposite.     Contrary  thing  ;  as  in  A.  and  C.  i.  2.  130.     Oftener  in 
S.  it  is=opponent,  adversary  ;  as  in  v.  2.  62  below.     Cf.  Lear,  v.  3.  42: 

"  you  have  the  captives 
That  were  the  opposites  of  this  day's  strife;" 

and  Id.  v.  3.  153:  "An  unknown  opposite." 

Blanks.     Blanches,  make  pale  ;   the  only  instance  of  the  verb  in  S. 

208.  Deeply  sworn.  Cf.  Rich.  III.  iii.  I.  158  :  "Thou  art  sworn  as 
deeply  to  effect,"  etc.  Wr.  quotes  K.  John,  iii.  i.  231  :  "deep-sworn 
faith." 

215.    Argument.     See  on  122  above. 

The  king  could  hardly  be  in  doubt  as  to  the  plot  of  the  play  after 
seeing  the  "  dumb-show  "  Halliwell  asks:  "Is  it  allowable  to  direct 
that  the  king  and  queen  should  be  whispering  confidentially  to  each  other 
during  the  dumb-show,  and  so  escape  a  sight  of  it?"  If  the  dumb-show 
is  to  be  introduced  on  the  stage,  that  would  not  be  a  bad  way  out  of  the 
difficulty  (see  on  1 18  above).  If  S.  is  responsible  for  the  dumb-show,  we 
may  consider  it  a  piece  of  carelessness  like  making  Philostrate  in  M.  /V. 
D.  speak  of  shedding  "  merry  tears"  at  the  rehearsal  of  the  clowns'  play 
when  he  certainly  could  not  have  been  present  at  the  rehearsal  —  to  say 
nothing  of  the  fact  that  the  play  as  rehearsed  in  iii.  I.  is  entirely  different 
from  the  play  as  acted  in  v.  I.  (see  M.  N.  D.  p.  122). 

220.  Tropically.     By  a  trope,  or  " a  figure  in  rhetoric "  (A.  Y.  L.\.\. 
45);   used  by  S.  nowhere  else. 

221.  Image.    Representation  ;  as  in  Macb.  ii.  3. 83,  Lear,  v.  3.  264,  etc. 


228  NOTES. 

Cf.  21  above.  For  Vienna  the  ist  quarto  has  "  Guiana,"  perhaps  due  to 
the  short-hand  writer's  mishearing  the  name  (Coll.). 

222.  Duke's.  Elsewhere  he  is  a  king.  Walker  shows  that  king,  duke, 
and  count  were  often  confounded  in  sense.  In  the  months  of  Dbll,  Ar- 
mado,  and  Dogberry,  duke  may  have  been  intended  as  a  blunder,  but 
hardly  so  in  the  case  of  the  princess  in  L.  I..  L.  ii.  I.  38.  Cf.  Viola's  use 
of  count  in  T.  A7,  v.  \.  263  with  Id.  i.  2.  25. 

Baptista.  Properly  a  man's  name,  as  in  T.  of  S.  Hunter  says  that  he 
has  known  it  to  be  a  female  name  in  England;  and  it  is  sometimes  SG 
used  even  in  Italy. 

224.  Free.     See  on  ii.  2.  548  above. 

225.  Let  the  galfd  jade.     Apparently   a  proverb.     Steevens   quotes* 
Edwards,  Damon   and  Pythias,  1582:  "I  know   the  gall'd  horse  will 
soonest   wince;"  and    Wr.  adds  from    Lyly's    Euphues :    "For  well    I 
know  none  will  winch  except  she  bee  gawlded."     On  jade,  see  Hen.  V. 
p.  170. 

227.  Chorus.   Explaining  the  action  of  the  play,  as  in  W.  T.,  R.  and  J., 
and  Hen.  V.  (Delius). 

228.  /  could  interpret,  etc.   Alluding  to  the  interpreter  who  used  to  sit 
on  the  stage  at  puppet-shows  and  explain  them  to  the  audience.     Cf.  T. 
G.of  V.  ii.  i.  101  and  T.  of  A.  i.  I.  34.    Steevens  quotes  Greene,  Groats- 
worth  of  Wit :  "  It  was  I  that  ...  for  seven  years'  space  was  absolute 
interpreter  of  the  puppets."     In  the  present  passage  some  of  the  critics 
see  an  indirect  meaning;  but,  as  Schmidt  remarks,  it  is  more  probable 
that  the  allusion  is  simply  "  to  a  puppet-show  in  which  Ophelia  and  her 
lover  were  to  play  a  part." 

232.  The  croaking  raven,  etc.  Mr.  Simpson  (in  the  London  Academy, 
Dec.  19,  1874)  says :  "  Hamlet  rolls  into  one  two  lines  of  an  old  familiar 
play,  The  True  Tragedie  of  Richard  the  Third: 

"  The  screeking  raven  sits  croking  for  revenge, 
Whole  herds  of  beasts  comes  bellowing  for  revenge." 

235.  Confederate.     Conspiring,  favouring,  assisting. 

236.  Midnight  weeds.     Steevens  compares  Macb.  iv.  i.  25:  "Root  or 
hemlock  digg'd  i'  the  dark." 

237.  Hecate.     For  the  pronunciation,  see  Macb.  p.  187. 

239.  On  wholesome  life  usurp.  Wr.  compares  Per.  iii.  2.  82  .  "  Death 
may  usurp  on  nature  many  hours."  Add  T.  A.  iii.  i.  269. 

250.  Strucken.  The  folio  reading;  the  quartos  have  "strooken''  or 
"stroken."  See/.  C.  p.  145  or  Gr.  344. 

The  stanza  is  probably  a  quotation  from  some  ballad  (D.). 

254.  Feathers.     Much  worn  on  the  stage  in  the  time  of  S.  (Malone). 

255.  Turn  Turk.     Proverbially  =  to  undergo  a  complete  change  for 
the  worse  (Schmidt).     Cf.  Much  Ado,  iii.  4.  57.     Steevens  quotes  Cook, 
Green's  Tu  Quoque :  "  This  it  is  to  turn  Turk,  from  an  absolute  and  most 
compleat  gentleman,  to  a  most  absurd,  ridiculous,  and  fond  lover." 

Provincial.  Some  make  this  refer  to  Provence,  others  to  Provins  near 
Paris.  Roth  were  famous  for  their  roses.  The  reference  is  to  rosettes 
of  ribbun  worn  on  shoes.  Fairholt  quotes  Friar  Bacon's  r>'othety, 
1604: 


ACT  III.     SCENE  II.  229 

"When  roses  in  the  gardens  grew, 
And  not  in  ribbons  on  a  shoe; 
Now  ribbon-roses  take  such  place, 
That  garden-roses  want  their  grace." 

Tschischwitz  (who  is  much  given  to  these  fantastic  tricks  of  emendation 
— God  save  the  mark  !)  is  sure  that  S.  wrote  "  provisional  roses  !" 

256.  Razed.  Slashed;  that  is,  with  cuts  or  openings  in  them  (Steevens). 
Stuiibes,  in  his  Anatomie  of  Abuses,  1585,  has  a  chapter  on  corked  shoes, 
which,  he  says,  are  "  some  of  black  veluet,  some  of  white,  some  of  red, 
some  of  greene,  razed,  carued,  cut,  and  stitched  all  ouer  with  Silke." 
Theo.  conjectured  "  rais'd,"  that  is,  with  high  heels.  Schmidt  wavers 
between  these  two  explanations. 

Cry.  Company;  literally,  a  pack  of  hounds.  Cf.  Cor.  iii.  3.  120:  "You 
common  cry  of  curs!  "  (see  also  iv.  6.  148);  Oth.  ii.  3.  370:  "not  like  a 
hound  that  hunts,  but  one  that  fills  up  the  cry,"  etc. 

258.  Share.    "The  actors  in  our  author's  time  had  not  annual  salaries 
as  at  present.     The  whole  receipts  of  each  theatre  were  divided  into 
shares,  of  which  the  proprietors  of  the  theatre,  or  house-keepers,  as  they 
were  called,  had  some;   and  each  actor  had  one  or  more  shares,  or  part 
of  a  share,  according  to  his  merit  "  (Malone). 

259.  A  whole  one,  I.     Malone's  conjecture  of  "ay"  for  /  has  been 
adopted  by  Sr.,  W.,  and  H.     The  meaning,  as  it  stands,  is  "  A  whole  one, 
say  I "  (Caldecott).     Ay  is  always  printed  "  I "  in  the  old  eds. 

263.  Pajock.     Peacock;   which  is  substituted  by  Pope,  Warb.,  Coll., 
Sr.,  H.,  and  others.     The  quartos  have  "  paiock,"  the  1st  folio  "  Paiocke," 
the  2d  "  Pajocke,"  etc.     D.  says :  "  I  have  often  heard  the  lower  classes 
in  the  north  of  Scotland  call  the  peacock  the  'pea-jock;'  and  their  al- 
most invariable  name  for  the  turkey-cock  is  '  bubbly-jock.'  "    Among  the 
changes  suggested,  where  none  is  needed,  are  "paddock,"  "hedjocke" 
(  =  hedgehog),  "patchock"  (  =  a  clown),  "Polack,"  etc. 

264.  Rhymed.    "  The  natural  rhyme,  of  course,  is  easily  discerned,  and 
expresses  his  contempt  for  his  uncle,  who  has  shown,  as  he  intimates, 
consummate  weakness  in  allowing  himself  to  be  so  easily  unmasked" 
(M.). 

266.  Pound.  Cf. Rich.  //. ii.  2.91 :  "a thousand  pound; "and  see  note 
in  our  ed.  p.  182. 

270.    Recorders.     A  kind  of  flageolet.     See  M.  N.  D.  p.  183. 

273.    Perdy.     A  corruption  of  par  Dieu.     Cf.  Hen.  V.  ii.  i.  52,  etc. 

280.    Marvellous.     For  the  adverbial  use,  cf.  ii.  1.3  above. 

Distempered.  Discomposed, disturbed.  CLTemp.'w.  I.  145:  "touch'd 
with  anger  so  distemper'd,"  etc.  The  word  was  also  used  of  bodily  dis- 
order (as  in  2  Hen.  IV.  iii.  I.  41),  and  so  Hamlet  pretends  to  understand 
it  (Wr.). 

283.  Should.    Would.    Seeonii.  2.  202  above;  and  for  more  richer  on 
ii.  i.  II. 

284.  Put  him  to  his  purgation.    "A  play  upon  the  legal  and  medical 
senses  of  the  word  "  (Wr.).    Cf.  A.  Y.  Z.  v.  4. 45,  Hen.  VIII.  v.  3.  152,  etc. 

286.  Into  some  frame.  That  is,  "  frame  of  sense"  {M.  for  M.  v.  1. 61). 
Cf.  Z.  Z.  Z.  iii.  I.  193  :  "  out  of  frame  "  (that  is,  disordered). 


230 


NOTES. 


288.  Pronounce.  Speak  out,  say  on.  Cf.  T^cmp.  iii.  3.  76,  Macb.  iii. 
4.  7,  etc. 

295.    Pardon.     Leave  to  go.     See  on  i.  2.  56,  above. 
298.    Wholesome.    Reasonable  (Schmidt) ;  or  sane,  sensible  (Wr.).  C£ 
Cor.  ii.  3.  66 : 

"  Speak  to  'em,  I  pray  you, 
In  wholesome  manner." 

303.   Admiration.     Wonder;   as  in  i.  2.  192  above. 
307.    Closet.     Chamber;   as  in  ii.  i.  77,  iii.  3.  27,  etc.    Cf.  Matt.  vi.  6. 
310.    Trade.    Business.    Cf.  T.  N  iii.  I.  83 :  "  if  your  trade  be  to  her," 
etc. 

312.  Pickers  and stealers.     Hands;   which  the  church  catechism  ad- 
monishes us  to  keep  from  "  picking  and  stealing"  (Whalley). 

313.  Your  cause  of  distemper.    The  cause  of  your  distemper.    Cf.  i.  4. 
73  :  "  your  sovereignty  of  reason  ;  "  and  see  Gr.  423  for  other  examples. 

317.    The  -voice,  etc.     Cf.  i.  2.  109  (Malone). 

319.  While  the  grass  grows,  Malone  quotes  the  whole  proverb  from 
Whetstone's  Promos  and  Cassandra,  1578:  "  Whylst  grass  doth  growe; 
oft  sterves  the  seely  steede ; "  and  again  in  the  Paradise  of  Daintie  Devises, 
1578  :  "  While  grass  doth  grovve,  the  silly  horse  he  starves." 

321.  To  withdraw  with  you.     "A  much-vexed  passage,  probably  =  to 
speak  a  word  in  private  with  you"  (Schmidt).    M.  Mason  proposed  "So, 
withdraw  you  "  or  "  So  withdraw,  will  you  ?  "    St.  takes  it  to  be  addressed 
to  the  players,  and  would  read  "  So,  (taking  a  recorder}  withdraw  with 
you."     Tschischwitz  conjectures  "  Go,  withdraw  with  you." 

322.  Go  about.     Undertake,  attempt.    See  M.  N.  D.  p.  177  or  Hen.  V. 
p.  174. 

To  recover  the  wind  of  me.  A  hunting  term,  meaning  to  get  to  wind- 
ward of  the  game,  so  that  it  may  not  scent  the  toil  or  its  pursuers  (Sr.). 
Cf  Gentleman's  Recreation :  "  Observe  how  the  wind  is,  that  you  may  set 
the  net  so  as  the  hare  and  wind  may  come  together  ;  if  the  wind  be  side- 
ways it  may  do  well  enough,  but  never  if  it  blow  over  the  net  into  the 
hare's  face,  for  he  will  scent  both  it  and  you  at  a  distance;  "  also  Church- 
yard, Worthiness  of  Wales : 

"Their  cunning  can  with  craft  so  cloke  a  troeth 
That  hardly  we  shall  have  them  in  the  winde, 
To  smell  them  forth  or  yet  their  fineness  node." 

324.  If  my  duty,  etc.  If  my  sense  of  duty  makes  me  too  bold,  it  is  my 
love  for  you  that  causes  it.  Bold  and  unmannerly  have  essentially  the 
same  meaning.  Tyrwhitt  wanted  to  read  "  not  unmannerly." 

333.    Ventages.     Vents,  holes. 

345.  'Sblood.  See  on  ii.  2.  358  above.  These  oaths  were  extremely 
common  in  that  day,  and  indeed  much  earlier.  Chaucer  ( C.  T.  13886) 
makes  the  Pardoner  say  : 

"  Her  othes  been  so  greet  and  so  dampnable, 
That  it  is  grisly  for  to  hiere  hem  swere. 
Our  blisful  Lordes  body  thay  to-tere  ; 
Hem  thoughte  Jewes  rent  him  nought  y-nough." 
347.    Fret.     Douce  no*es  the  play  upon  the  word  :  "  though  you  can 


ACT  III.    SCENE  [ II.  231 

vex  me,  you  cannuc  impose  upon  me;  though  you  can  stop  the  instru- 
ment, you  cannot  play  on  it.  "  Frets  are  stops,  or  "  small  lengths  of  wire 
•m.  which  the  fingers  press  the  strings  in  playing  the  guitar  "  (Busby's 
Diet,  of  Musical  '1  trms) .  Cf.  North,  Plutarch  (Pericles')  :  "  Rhetoric  and 
eloquence  (as  Plato  saith)  is  an  art  which  quickeneth  men's  spirits  at 
her  pleasure;  and  her  chiefest  skill  is  to  know  how  to  move  passions 
and  affections  thoroughly,  which  are  as  stops  and  sounds  of  the  soul, 
that  would  be  played  upon  with  a  fine-fingered  hand  of  a  cunning  mas- 
ter. " 

358.  By  and  by.     Presently,  soon ;  as  often  in  S.     See  Hen.  V.  p.  155. 

359.  70  the  top  of  my  bent.     To  the  utmost,  as  much  as  I  could  wish. 
For  bent,  see  on  ii.  2.  30  above. 

363.  Ti's  now,  etc.     Cf.  Macb.  ii.  I.  49  fol. 

366.  Bitter  business.  The  folio  reading;  the  quartos  have  "such busi- 
ness as  the  bitter  day." 

369.  Nero.  For  another  allusion  to  his  murder  of  his  mother,  see  K. 
John,  v.  2.  152. 

371.  Speak  daggers.  Cf.  iii.  4. 93 :  "Those  words  like  daggers  enter  in 
mine  ears;"  and  Much.  Ado,  ii.  I.  255  :  "  She  speaks  poniards,  and  every 
word  stabs."  See  also  Prov.  xii.  18  (Wr.). 

Use  none.  Hunter  says:  "To  be  sure  not;  and  strange  it  is  that  the 
Poet  should  have  thought  it  necessary  to  put  such  a  remark  into  the 
mouth  of  Hamlet,  "  etc.  It  is  not  necessary  to  suppose  that  Hamlet  had 
seriously  thought  of  killing  his  mother.  He  may  be  recalling  the  injunc- 
tion of  the  Ghost:  Revenge  my  murder,  but  only  on  your  uncle,  not  on 
your  mother.  And  yet  he  must  speak  daggers  to  her,  though  he  is  to  use 
none  against  her. 

373.  Ho-a  ...  soever.    For  the  tmesis,  cf.  5.  5.  170  above;  alsoJ/.  W. 
iv.  2,  25,  etc.     How  is  sometimes=however;  as  in  Muck  Ado,  iii.  I.  60: 

"  I  never  yet  saw  man, 

How  wise,  how  noble,  young,  how  rarely  featur*d, 
But  she  would  spell  him  backward, "  etc. 

Shent.  "Put  to  the  blush,  shamed,  reproached"  (Schmidt).  Cf.  M. 
W.'\.^.  38:  "We  shall  all  be  shent;"  Cor.v.  2.  104:  "Do  you  hear 
how  we  are  shent?"  etc.  It  is  the  participle  of  shend,  which  is  found 
(  =  destroy)  in  Fairfax's  Tasso,  vi.  4:  "  But  we  must  yield  whom  hunger 
soon  will  shend."  Cf.  Spenser,  F.  Q.  ii.  8.  12: 

"Thou  dotard  vile, 
That  with  thy  brutenesse  shendst  thy  comely  ags,"  etc, 

374.  Give  them  seals.     Confirm  them  by  action.     Cf.  Cor.  ii.  3. 115  :  "1 
will  not  seal  your  knowledge  with  showing  them;"  2  Hen.  IV.  iv.  5.  104: 
"  Thou  hast  seal'd  up  my  expectation,"  etc. 

SCENE  III. — 3.  Your  commission.  "  Rosencrantz  and  Guildenstern 
are  therefore  privy  to  the  traitorous  scheme  for  killing  Hamlet  in  Eng- 
land" (M.). 

4.  Shall  along.     For  the  omission  of  the  verb,  see  Gr.  30  and  cf.  405. 

6.  So  near  us.  The  quarto  reading;  the  folio  has  "so  dangerous," 
which  does  not  suit  the  context  so  welL 


232 


NOTES. 


7.  Lunacies.  The  folio  reading;  that  of  the  quartos  is"browes," 
which  Theo.  took  to  be  a  misprint  of  "  lunes"  =  lunacies. 

9.  Many  many.  Cf.  K.  John,  i.  I.  183 :  "  many  a  many  foot."  Wr. 
compares  Hen.  V.  iv.  2.  33  :  "A  very  little  little  let  us  do."  The  Coll. 
MS.  reads  "  very  many." 

1 1.    The  single  and  peculiar  life.     That  is,  the  private  individual  (Wr. ). 

13.  Noyance.     Injury;  not  to  be  printed  "'noyance,"  as  it  often  is. 
Cf.  Spenser,  F.  Q.  iii.  12.  2: 

"  A  direfull  stench  of  smoke  and  sulphure  mixt 
Ensewd,  whose  noyaunce  fild  the  fearefnl  sted 
From  the  fourth  howre  of  night  untill  the  sixt." 

14.  Depends  and  rests.     For  the  singular  form,  see  Gr.  335. 

15.  Cease.     Decease.    The  only  other  instance  of  cease   as   a  noun 
noted  by  Schmidt  is  in  Lear,  v.  3.  264,  where  he  thinks  it  may  be  a  verb. 

•  16.  Gulf.  Whirlpool;  as  often.  Cf.  R.  of  L.  557,  Hen.  V.  ii.  4.  10, 
iv.  3.  82,  etc. 

17.  Massy.  S.  uses  the  word  five  times  (cf.  Temp.  iii.  3.  67,  Much 
Ado,ii\.  3.  147,  T.  and  C.  prol.  17,  ii.  3.  18),  massive  not  at  all.  See 
quotation  in  note  on  iii.  I.  77  above. 

21.  Annexment.  A  word  not  found  elsewhere  (Wr.).  Annexion 
occurs  in  L.  C.  208. 

24.  Arm  you.    Prepare  yourselves.    Cf.  M.  N.  D.  i.  I.  117: 

"  For  you,  fair  Hermia,  look  you  arm  yourself 
To  fit  your  fancies  to  your  father's  will." 

25.  Fear.     Object  of  fear;  as  in  M.  N.  D.  v.  i.  21 : 

"  Or  in  the  night,  imagining  some  fear, 
How  easy  is  a  bush  suppos'd  a  bear!  " 

26.  We  will  haste  us.     See  Gr.  212. 

Elze  gives  this  speech  to  Rosencrantz  alone,  on  the  ground  that  he  is 
regularly  the  spokesman,  while  Guildenstern  seems  to  be  a  subordinate 
attendant;  but  the  king  and  queen  treat  them  both  alike  as  "gentle- 
men" (see  ii.  2.  1-26,  33,  34,  etc.),  and  so  does  Hamlet  (ii.  2.  224,  etc.). 
Elze  cites  iv.  3.  16,  which  is  sufficiently  explained  by  the  context. 

29.  Tax  him  home.     Reprove  him  soundly.     See  on  i.  4.  18  above. 
Cf.  iii.  4.  i  below;   also  M.  for  M.  iv.  3.  148:  "Accuse  him  home  and 
home,"  etc. 

30.  As  you  said.     "  Polonius's  own  suggestion,  which,  courtier-like, 
he  ascribes  to  the  king"  (M.). 

32.    Them.     That  is,  mothers. 

33-  Of  vantage.  By  some  opportunity  of  secret  observation  (Warb.). 
Cf.  Gr.  165. 

37.  Eldest.  Used  now  only  in  the  sense  of  eldest-born.  Cf.  Temp. 
v.  I.  186:  "your  eld'st  acquaintance  cannot  be  three  hours." 

39.  Will.  Hanmer  substituted  "'twill"  and  Warb.  "  th'  ill;"  but 
inclination  and  wzV/are  not  identical.  As  Bosvvell  says,  "I  may  -will 'to 
do  a  thing  because  my  understanding  points  it  out  to  me  as  right,  though 
I  am  not  inclined  to  it." 

42.   In  pause.     In  doubt  or  consideration.     Cf.  iii.  i.  68  above. 


ACT  III.     SCENE  IV.  233 

47.    Confront.     To  face,  or  rather  outface. 

49.  To  be  forestalled,  etc.  "  What  is  the  very  meaning  of  prayer,  ex- 
cept that  we  pray  first  not  to  be  led  into  temptation,  and  then  to  be  de- 
livered from  evil?"  (M.).  On  forestall  =  prevent,  cf.  v.  2.  207  below. 

55.  Ambition.  The  realization  of  my  ambition;  the  cause  for  the  effect, 
like  offence  in  the  next  line  (Delius).  Cf.  theft  in  Hi.  2.84. 

57.  Currents.  Courses  (Schmidt).  D.  and  F.  adopt  Walker's  con- 
jecture of  "  'currents"  =  "  occurrents  "  (see  v.  2.  345  below);  but  the 
mixing  or  blending  of  metaphors  is  no  worse  than  in  the  use  of  the  very 
same  word  in  iii.  i.  87  abuve;  and  though,  as  F.  pleads,  it  is  easily 
avoided  here  by  the  apostrophe,  we  prefer  to  stick  to  the  old  text. 

59.  Prize.  The  Coll.  MS.  has  "purse;"  but  the  meaning  obviously 
is  that  the  guilty  gain  itself  (or  a  part  of  it)  is  used  to  bribe  the  officers 
of  the  law;  as  has  often  happened  in  these  latter  days. 

61.  Lies.     Used  in  the  legal  sense  (Wr.). 

62.  His.     Its.     See  Gr.  228;    and  for  the  ellipsis  of  the  auxiliary  with 
compeird,  Gr.  403  (cf.  95). 

64.  Rests.     Remains.     See  A.   Y.  L.  p.  146. 

65.  Can.     Can  do.     Cf.   Temp.  iv.  I.  27:  "Our  worser  genius  can," 
etc.     Gr.  307. 

68.  Limed.    Caught  (as  with  bird-lime).    Cf.  ft.  of  L.  88:  "  Birds  never 
lim'd  no  secret  bushes  fear."     See  also  3  Hen.  VI.  v.  6.  13,  17,  Macb.  iv. 
2.  34,  etc. 

69.  Engaged.     Entangled.      It  is  curious  that  neither  Wore,  nor  Wb. 
recognizes  this  meaning,  though  both  give  "  disentangle  "  as  one  of  the 
meanings  of  disengage.     Cf.  Milton,    Comus,   193:  "They  had  engag'd 
their  wandering  steps  too  far;"  and  P.  R.  iii.  347  (where  Satan  is  trying 
to  ensnare  Christ)  : 

"  That  them  mayst  know  I  seek  not  to  engage 

Thy  virtue,"  etc. 

In  architecture,  engaged  columns  are  probably  so  called  because  they  are 
caught  or  entangled,  as  it  were,  in  the  wall. 

Make  assay.  According  to  Brae  (quoted  by  F.),  assay  here  =  charge, 
onset,  and  make  assay  =  "throng  to  the  rescue.''  Cf.  Hen.  V.  \.  2.  151 : 
"Galling  the  gleaned  land  with  hot  assays;"  and  ii.  2.  71  above:  "the 
assay  of  arms."  This  meaning  is  not  recognized  by  Wore,  or  Wb.,  but 
Schmidt  gives  it  for  the  two  passages  just  quoted.  Here  he  makes  assay 
=  trial;  but  the  other  meaning  would  be  at  once  more  forcible  and  more 
poetical.  J.  H.  thinks  that  make  assay  is  addressed  to  himself,  not  to 
the  angels. 

73.  Pat.  now.  The  quartos  have  "  but  now."  For  pat,  cf.  M.  N.  D. 
iii.  I.  2,  v.  i.  188,  and  Lear,  i.  2.  146. 

This  speech  has  been  considered  inhuman  and  unworthy  of  Hamlet. 
According  to  Coleridge,  it  is  rather  his  way  of  excusing  himself  for  putting 
off  the  act  of  vengeance.  It  seems  better,  however,  with  M.,  to  regard 
this  notion  of  killing  soul  and  body  at  once  as  the  natural  impulse  of  his 
mind.  It  does  not  strike  us  as  unnatural  that  the  sight  of  the  king  at 
prayer  should  suggest  the  idea  that  killing  him  then  and  there  would  be 
sending  him  straight  to  heaven,  and  that  for  the  moment  Hamlet  should 


234 


NOTES. 


shrink  from  doing  this.  His  first  thought  is  not  so  much  of  sending  him 
to  hell  as  of  not  sending  him  to  heaven;  but  he  dwells  upon  it  in  his 
usual  meditative  fashion  until  it  leads  him  logically  to  that  "  damn'd  and 
black  "  conclusion. 

Caldecott  says :  "  Shakespeare  had  a  full  justification  in  the  practice 
of  the  age  in  which  he  lived  .  .  .  With  our  ruder  Northern  ancestors,  re- 
.venge,  in  general,  was  handed  down  in  families  as  a  duty,  and  the  more 
refined  and  exquisite,  the  more  honourable  it  was."  He  also  refers  to  iv. 
7.  127  below,  where  the  king  says  "Revenge  should  have  no  bounds;" 
and  adds  that  "  even  the  philosophizing  and  moralizing  Squire  of  Kent, 
in  his  beloved  retirement  from  the  turmoils  of  the  world,  exclaims  on 
killing  Cade  (2  Hen.  VI.  iv.  10.  83)  : 

'  Die,  damned  wretch,  the  curse  of  her  that  bear  thee; 

And  as  I  thrust  thy  body  in  with  my  sword, 

So  wish  I,  I  might  thrust  thy  soul  to  hell.'" 

Wordsworth  {Shakespeare's  Knowledge  of  (he  Bible)  excuses  Hamlet  in 
much  the  same  way.  See  also  p.  30  above. 

75.    That  would  be  scanned.     That  should  be  carefully  considered.     Gr. 

329- 

77.  Sole.  The  folio  has  "  foule."  Warb.  conjectured  "  fal'n  "  (=  dis- 
inherited), and  Capell  "fool."  Cf.  A.  W.  i.  I.  44:  "  His  sole  child,"  etc. 

79.  Hire  and  salary.    The  quartos  have  "  base  and  silly." 

80.  Grossly.     The  word  refers  to  father,  not  to  took.     Full  of  bread,  as 
Malone  notes,  is  suggested  by  Ezekiel,  xvi.  49 :  "  pride,  fulness  of  bread," 
etc. 

81.  Broad  blown.     Cf.  i.  5.  76 :  "  in  the  blossoms  of  my  sin."     Flush  = 
in  its  prime,  in  full  vigour  (Schmidt).     Cf.  A.  and  C.  i.  4.  52:  "flush 
youth."     The  folio  has  "  fresh." 

82.  And  how,  etc.     Warb.  says  that  the  Ghost  had  told  him  how  his 
audit  stood;  but  Ritson  replies  that,  the  Ghost  being  in  purgatory,  it 
was  doubtful  how  long  he  might  have  to  stay  there. 

83.  In  our  circumstance  and  course  of  thought.    From  our  human  point 
of  view  and  according  to  our  line  of  thought;   or  "according  to  human 
relations  and  thoughts"  (Delius).     For  circumstance  =  condition,  state 
of  things,  cf.   T.  G.  of  V.  \.  \.  37:  "So,  by  your  circumstance,  I  fear 


you  '11  prove."     See  also  i.  3.  102  above. 
84.   'Tishec 


;  heavy  with  him.  It  goes  hard  with  him,  or  he  "  hath  a  heavy 
reckoning  to  make"  (Hen.  V.  iv.  I.  141). 

85.  To  take.  For  the  "  indefinite  "  use  of  the  infinitive,  see  Gr.  356. 
On  purging,  cf.  i.  5.  13  above;  and  on  seasoned,  iii.  2.  192. 

88.  Hent.  Hold,  seizure  (Johnson and  Schmidt).  No  other  example 
of  the  noun  has  been  found,  but  the  verb  (  =  take)  occurs  in  W.  T.  iv.  3. 
133  and  M.  for  M.  iv.  6.  14.  Cf.  Chaucer,  C.  T.  700 :  "  till  Jhesu  Crist 
him  hente,"  etc.  A  more  horrid hent  =  "  a  more  fell  grasp  on  the  villain  " 
(M.),  or  "  a  more  terrible  occasion  to  be  grasped  "  (VVr.). 

95.  Stays.     Is  waiting  for  me.     Cf.  T.  G.  of  V.  i.  2.  131  :  "  Dinner  is 
ready,  and  your  father  stays,"  etc. 

96.  This  physic.    That  is,  this  temporary  forbearance  of  mine  is  like  a 
medicine  that  merely  delays  the  fatal  end  of  the  disease. 


ACT  III.    SCENE  IV. 


235 


SCENE  IV.— I.  Straight.    See  on  ii.  2. 418  above  ;  and  for  home,  on  in 
3-29. 
2.  Broad.     Free,  unrestrained.     Cf.  Macb.  iii.  4.  23  and  iii.  6.  21. 

4.  Silence.    The  reading  of  the  early  eds.     Sr.,  Coll.,  D.,  H.,  and  Wr. 
adopc  Hanmer's  emendation,  "  Sconce  me  even  here,"  which  is  plausible, 
but  not  really  called  for.     /  '//  silence  me  e'en  here—\  '11  say  no  more. 

5.  Round.     See  on  ii.  2.  139  above.  •( 
7.  Fear  me  not.     See  on  i.  3.  51  above. 

12.  Wicked.  The  folio  has  "idle,"  probably  repeated  by  accident  from 
the  preceding  line. 

14.  Rood.  Cross,  crucifix.  Cf.  2  Hen.  IV.  iii.  2. 3,  Ruh.  III.  iii.  2.  77, 
iv.  4.  165,  etc.  We  have  it  in  the  name  of  Holyrood  Palace,  Edinburgh. 
See  also  I  Hen.  IV.  \.  I.  52. 

19.  Set  you  zip  a  glass.  Cf.  iii.  2.  20  above :  "  hold,  as  't  were,  the 
mirror  up  to  nature." 

29.  Kill  a  king?  According  to  the  Hystorie  of  Hamblet  (see  p.  13 
above)  the  queen  was  not  privy  to  the  murder  of  her  husband.  Cf.  the 
1st  quarto : 

•'But  as  I  haue  a  soule,  I  sweare  by  heauen. 
I  neuer  knew  of  this  most  horride  murder." 

34.  Wringing  of.     Cf.  i-5- 175:  "pronouncing  of,"  etc.     Gr.  178. 

38.  Proof.     Q,\.W.  7.  iv.  4.  872  :  "I  am  proof  against  that  title,"  etc. 
Bu\  the  word  in  this  sense  was  also  a  noun,  as  in  Rich.  II.  1.3.  73  :  "Add 
proof  unto  mine  armour,"  etc.     Cf.  ii.  2.  476  above:  "forg'd  lor  proof 
eterne/'     Schmidt  makes  it  an  adjective  here,  but  its  association  with 
'ntiwark  suggests  that  it  may  be  a  noun.    Cf.  V.  and  A.  626 ; 

"His  brawny  sides,  with  hairy  bristles  arm'd, 
Are  better  proof  than  thy  spear's  point  can  enter." 

This  seems  better  than  to  say  that  bulwark  is  "  used  for  an  adjective,"  as 
Wr.  does. 

Sense.  "  Feeling,"  as  Caldecott  explains  it,  rather  than  "  reason,"  as 
Schmidt  makes  it. 

39.  Wag  thy  tongue.     Wr.  quotes  Hen.  VIII.  5.  I.  33  :  "  Durst  wag  his 
:ongue  in  censure."     He  might  have  added  Id.  v.  3.  127:  "And  think 
with  wagging  o'  your  tongue  to  win  me.''     In  the  same  speech  (131),  we 
aave  "wag  his  finger  at  thee." 

41.  That.  For  such  .  .  .  that,  see  Gr.  279.  Just  below  we  have  such 
...as.  Cf.  Sonn.  73-  5-  9-  „  „ 

43.  The  rose.     "The  ornament,  the  grace,  of  an  innocent  love     (.DOS- 
well).     Cf.  iii.  I.  152  above. 

44.  Sets  a  blister  there.     Wr.  explains  this,  "brands  as  a  harlot,"  and 
refers  to  C.  of  E.  ii.  2.  138.     Cf.  iv.  5.  101  below. 

46.  Contraction.  The  ma:.:age  contract  (Warb.  and  Schmidt).  S.  use* 
the  word  nowhere  else. 

48.  Rhapsody.     Wr.  well  illustrates  the  meaning  of  the  word  here  by 
quoting  Florio,  Montaigne:  "This  conce.rneth  not  those  mingle-mangles 
01  many  kindes  of  stuffe,  or  as  the  Grec;ans  call  them  Rapsodies." 

49.  This  solidity,  etc.     The  earth  iK.). 


236  NOTES. 

5<X  Tristful.  Sorrowful  (Fr.  triste\  Cf.  I  Hen.  IV.  ii.  4.  434:  "Mj 
tristful  queen  "  ("  trustful "  in  the  early  eds.). 

As  against  the  doom.  As  if  doomsday  were  coming.  For  against,  see 
on  i.  i.  158. 

51.  Thought-sick.     Cf.  iii.  I.  85  :  "  Sicklied  o'er  with  the  pale  cast  or 
thought."     Tschischwitz  ("  O  dear  discretion !  how  his  words  are  suit- 
ed !")  omits  the  hyphen,  and  explains  the  passage,  "  Is  thought  to  be 
sick !" 

52.  Index.     Prologue.     The  index  was  forme/ly  placed  at  the  begin- 
ning of  a  book  (Edwards).     Cf.  Rich.  III.  ii.  2.  149,  iv.  4.  85,  T.  and  C.  L 
3.  343,  and  Oth.  ii.  I.  263. 

53.  Look  here,  etc.     The  original  practice  of  the  stage  seems  to  have 
been  to  have  the  two  pictures  hanging  in  the  queen's  closet.     They  are 
so  represented  in  a  print  prefixed  to  Rowe's  Hamlet,  published  in  1709. 
Afterwards  it  became  the  fashion  for  Hamlet  to  take  two  miniatures  from 
his  pocket ;  but  as  Hamlet  would  not  be  likely  to  carry  his  uncle's  pict- 
ure in  that  way,  a  Bath  actor  suggested  snatching  it  from  his  mother's 
neck.    Another  arrangement  was  to  have  the  new  king's  portrait  hanging 
on  the  wall,  while  Hamlet  took  his  father's  from  his  bosom.     Fitzgerald, 
in  his  Life  of  Gar  rick,  suggested  that  the  pictures  be  seen  with  the  mind's 
eye  only ;  and  this  is  followed  by  Irving  and  Salvini.     Fechter  tears  the 
miniature  from  the  queen's  neck  and  throws  it  away.     Edwin  Booth 
makes  use  of  two  miniatures,  taking  one  from  his  own  neck  and  the  other 
from  the  queen's  (F.). 

54.  Counterfeit.    Cf.  the  use  of  the  noun  in  Sorn.  16.  8:  "your  painted 
counterfeit ;"  and  see  also  M.  of  V.  iii.  2.  116  and  T.  of  A.  v.  i.  83. 

Presentment.  Representation.  In  the  only  other  instance  of  the  word 
in  S.  (71  of  A.  i.  1. 27)  it  means  presentation.  Wr.  quotes  Milton,  Comus, 
156: 

"Of  power  to  cheat  the  eye  with  blear  illusion, 
And  give  it  false  presentments." 

55.  This  brow.    The  4th  and  5th  quarto  and  the  folios  have  "  his." 
50.  Hyperion's.    See  on  i.  2.  140  above. 

The  front  of  Jove.  That  is,  the  forehead  ;  as  in  Rich.  III.  i.  I.  9 :  "  his 
wrinkled  front,"  etc.  See  cut  on  p.  166. 

58.  Station.    Attitude  in  standing  (Theo.).     Cf.  Macb.  v.  8.  42  and 
A.  and  C.  iii.  3.  22. 

59.  New-lighted.    Cf.  I  Hen.  IV.  \.  1. 63 :  "  new-lighted  from  his  horse. * 
S.  is  fond  of  compounds  with  new;  as  "new-added"  (J.  C.  iv.  3.  109), 
*  new-apparelled  "  (C.  of  E.  iv.  3.  14),  "  new-built  "  (T.  of  S.  v.  2.  118, 
Cymb.  i.  5.  59),  "new-crowned"  (M.  of  V.  iii.  2.  50,  K.  John,  iv.  2.  35), 
'  new-fallen  "  ( V.  and  A.  354,  A.  Y.  L.  v.  4.  182,  I  Hen.  IV.  v.  1. 44),  and 
so  on. 

Heaven-kissing.    Cf.  R.  of  L.  1370:  "cloud-kissing  Ilion." 

66.  Leave.     See  on  i.  2.  155  above. 

67.  Batten.    Fatten.    Cf.  Cor.  iv.  5.  35 :  "  batten  on  cold  bits ;"  Milton, 
Lycidas,  29 :  "  battening  our  flocks,"  etc. 

69.  Hey-day.  "  Frolicsome  wildness  "  (Schmidt).  Steevens  quotes 
Ford,  T  is  Pity,  etc. :  "The  hey-day  of  your  luxury."  S.  does  not  use 


ACT  III.    SCENE  IV.  237 

it  elsewhere  as  a  noun.  We  have  it  as  an  exclamation  in  Temp.  ii.  2 
190  ("  highday  "  in  the  old  eds.),  Rich.  II 7.  iv.  4.  460,  T.  and  C.  v.  I 
73,  and  T.  of  A.  i.  2.  137  (in  these  last  three  passages  "hoyday"  in 
most  of  the  early  eds.).  Highday  in  M.  of  V.  ii.  9.  98  is  another  word= 
holiday. 

71-76.  Sense  .  .  .  difference.  This  passage  is  omitted  in  the  folio. 
Sense— sensibility,  sensation  ;  and  motion  =  impulse,  desire  (as  in  M.for 
M.\.^.  59 :  "  The  wanton  stings  and  motions  of  the  sense,"  etc.) .  "  You 
must  have  perception,  else  how  could  you  still  have  desire?"  (M.). 

73.  Apoplex'd,  Affected  as  with  apoplexy. 
Would  not  err.  That  is,  err  so  (Wr.). 

74.  Ecstasy.     Insanity  ;   as  in  ii.  I.  102  and  iii.  I.  160  above. 

75.  Quantity.     Measure,  degree.     "  Sense  was  never  so  dominated  by 
the  delusions  of  insanity  but  that  it  retained  some  power  of  choice  "(H.) . 
Quantity  is  sometimes  used  contemptuously  (  =  an  insignificant  portion), 
ts  in  C.  of  E.  iv.  3.  112,  K.  John,  v.  4.  23,  and  2  Hen.  IV.  v.  I.  70. 

76.  To  serve,  etc.     "  To  help  your  decision  where  the  difference  is  so 
complete"  (M.). 

77.  Hoodman-blind.     Blind-man's-buff.     Cf.  A.  IV.  iv.  3. 136  :  "Hood- 
man  comes  !  "     Sr.  quotes  Baret,  Alvearie  :  "  The  Hoodwinke  play,  or 
hoodmanblinde,  in  some  places  called  the  blindmanbuf." 


Sans.     See  A.  Y.  L.  p.  163  or  Temp.  p.  114. 

Cf.  Temp.  v.  i.  239  :  "  j 
moping  hither  "  (that  is,  bewildered)  ;  and  Hen.  V.  iii,  7.  143  :  to  mope 


!i.  So  mope.     Be  so  stupid.     Cf.  Temp.  v.  I.  239  :  "And  were  brought 


with  his  fat-brained  followers.' 

83.  Mutine.  The  same  as  mutiny  (= rebel),  which  S.  elsewhere  uses. 
We  find  mating  as  a  noun  (=  a  rebel)  in  v.  2.  6  below,  and  also  in  K. 
John,  ii.  I.  378.  Mutineer  occurs  once  (  Temp.  iii.  2.  40),  and  so  does 
mutiner  {Cor.  i.  i.  254). 

86.  Compulsive.  Cf.  compulsative,  \.  I.  103  above.  Compulsive  occurs 
again  in  Oth.  iii.  3.  454.  On  gives  tfie  charge,  cf.  R.  of  L.  434. 

88.  Panders  will.     Panders  to  appetite. 

90.  Grained.    Dyed  in  grain.    Marsh  (Led.  on  Eng.  Lang.")  shows  that 
grain  originally  meant  the  dye  kermes,  obtained  from  the  coccus  insect;  ( 
but  as  this  sense  grew  less  familiar,  and  the  word  came  to  be  used  chiefly 
as  expressive  of  fastness  of  colour,  an  idea  which  was  associated  with 
dyeing  in  the  wool,  or  other  raw  material,  dyed  in  grain  got  this  latter 
meaning.     Wr.  quotes  Cotgrave,  Fr.  Diet. :  "  Graine  :  .  .  .  graine  where- 
with cloth  is  dyed  in  graine  ;   scarlet  dye,  scarlet  in  graine." 

91.  Leave  their  tinct.     Part  with  or  give  up  their  dye.     On  leave,  cf. 
M.  of  V.  v.  I.  172,  196,  Cor.  ii.  3.  180,  etc.;  and  on  tinct,  cf.  Cymb.  ii.  2. 
23.     The  latter  word  =  tincture  in  A.  W.  v.  3.  102  and  A.  and  C.  i.  5.  37. 

94.  In.     Into.     See  Gr.  159. 

97.  Precedent.  Former  ;  used  also  in  T.  of  A.  i.  I.  133  and  A.  and  C. 
iv.  14.  83,  and  with  the  same  accent  as  here.  The  noun  is  always  ac- 
cented on  the  first  syllable.  See  v.  2.  237  below  ;  also  M.  of  V.  iv.  I. 
320,  etc. 

A  vice  of  kings.  A  clown  of  a  kin?  ;  alluding  to  the  Vice  in  the  old 
moralities  or  moral-plays.  Cf.  T.  N.  iv.  2.  134: 


•  Like  to  the  old  Vice, 

Who,  with  dagger  of  lath, 
In  his  rage  and  his  wrath, 

Cries,  ah,  hat  to  the  devil,"  etc. 

The  Vice  was  equipped  with  a  wooden  sword  or  dagger,  with  which  he 
used  to  beat  the  devil  and  sometimes  tried  to  pare  his  nails.    Cf.  2  Hen. 
IV.  iii.  2.  343  and  Hen.  V.  iv.  4.  76. 
98.  Cutpurse.    "  Purses  were  usually  worn  outside  attached  to  the  gir 

101.  A  king  of  shreds  and  patches.     Referring  to  the  motley  dress 
worn  by  the  professional  fool  (see  A.  Y.  L.  p.  162)  and  generally  by  the 
Vice. 

102.  The  stage-direction  in  the  1st  quarto  is  "Enter  the  Ghost  in  his 
night  gawne  ;"  that  is,  in  his  dressing-gown.     See  Macb.  p.  194.     The 
Coll.  MS.  has  "Enter  Ghost  unarmed." 

Save  me,  etc.  M.  remarks  here  ;  "Just  when  Hamlet's  rage  is  on  the 
verge  of  becoming  impotent  and  verbose,  it  is  restored  to  overpowering 
grandeur  by  the  ghost's  reappearance,  .  .  .  who  with  divine  compassion 
interferes  to  save  his  erring  wife  from  distraction.  Cf.  the  splendid  pas- 
sage in  Tennyson's  Guinevere,  where  Arthur  says  to  his  false  queen  : 

•I  did  not  come  to  curse  thee,  Guinevere, 
I  whose  vast  pity  almost  makes  me  die 
To  see  thee  laving  there  thy  golden  head  .  .  . 
Lo,  I  forgive  thee,  as  Eternal  God 
Forgives  ;  do  thou  for  thine  own  soul  the  rest  .  •  • 
no  man  dream  but  that  I  love  t 


Ferchance,  and  so  thoi-  purify  thy  soul,  > 
And  so  thou  lean  on  our  fair  father  Christ, 
Hereafter,  in  that  world  where  all  are  pure, 
We  too  may  meet  before  high  God,  and  thou 
Wilt  spring  to  me,  and  claim  me  thine,  and  know 
I  ant  thine  husband.'" 

105.  Lapsed  in  time  and  passion.    The  meaning  seems  to  be,  having  let 
time  slip  by  while  indulging  in  mere  passion.    Johnson  says  :  "  having 
suffered  time  to  slip  and  passion  to  cool  ;"  and  Schmidt  :  "  who,  sur- 
prised by  you  in  a  time  and  passion  fit  for  the  execution  of  your  com 
mand,  lets  them  go  by." 

106.  Important.    Momentous  ;  or,  perhaps,  urgent  (as  in  C.  of  E.  v.  I. 
138,  Much  Ado,  ii.  i.  74,  etc.). 

112.  Conceit.  Imagination.  Cf.  W.  T.  iii.  2.  145  :  "with  mere  conceit 
and  fear  ;"  Rick.  II.  ii.  2.  33  :  "  'T  is  nothing  but  conceit,"  etc. 

1  16.  Incorporal.  Immaterial.  Cf.  corporal  in  J.  C.  iv.  1.  33,  Macb.  \.  3 
8l,  etc.  S.  uses  neither  corporeal  nor  incorporeal. 

119.  Bedded.     Lying  flat  (Schmidt).     Wr.  explains  it  as  "matted." 

Hair.  The  quartos  and  1st  and  2d  folios  have  "  haire,"  and  are  fol- 
lowed by  most  of  the  modern  eds.  The  Camb.  and  W.  give  "  hairs." 
S.  uses  the  plural  very  often  in  this  way.  Cf.  M.  of  V.  iii.  2.  120,  J.  C, 
li.  I.  144,  A.  and  C.  ii/7.  123,  etc. 

Excrements.  Excrescences,  outgrowths  (as  if  from  excrescere,  like  it* 
-rement  from  increscere).  Cf.  C.  of  E.  ii.  2.  79,  Z.  £.  £.  v.  I. 


ACT  III.     SCENE  IV.  239 

iii.  2.  87,  and  IV.  T.  iv.  4.  734.     See  Mer.  p.  149.     S.  uses  the  word  only 
once  in  its  modern  sense  (  7.  of  A.  iv.  3.  445). 

120.  Start  .  .  .  stand.    The  reading  of  the  early  quartos  and  the  folio. 
For  an  end,  see  on  i.  5.  19  above. 

121.  Distemper.     Cf.  ii.  2.  55  and  iii.  2.  280  above. 

125.  Capable.  Capable  of  feeling,  susceptible.  Cf.  A.  Y.L.  iii.  5.  23: 
"the  capable  impressure."  See  also  iii.  2.  10  above,  and  cf.  incapable^ 
insensible,  in  iv.  7.  177  below. 

127.  Effects.    Action  (Schmidt).    Cf.  V.andA.  6o$,Lear,i.  I.  i88,etc. 
Convert  my  stern  effects—  change  my  stern  action,  or  the  execution  of  my 
stern  purpose. 

1 28.  Will  want  true  colour.    Will  lose  its  proper  character.    Caldecott 
compares  "  leave  their  tinct  "  in  91  above. 

133.    In  his  habit,  etc.     In  his  dress  as  when  alive.     See  on  102  above. 
136.    Ecstasy.     See  on  74  above.     The  meaning  here  is  evident  from 
Hamlet's  reply. 

141.  Re-word.     Repeat  in  the  same  words.     Cf.  L.  C.  I,  where  it  is 
applied  to  the  echo. 

142.  for  love.     For  the  omission  of  the,  see  Gr.  89. 

148.  What  is  to  come.  Seymour  would  read  "  what  else  will  come,"  as 
what  is  to  come  cannot  be  avoided ' ;  but  this  is  to  change  rhetoric  to  logic, 
poetry  to  prose.  Of  course  Hamlet  means  what  is  to  come  if  the  future 
is  to  be  like  the  past,  but  it  was  not  necessary  to  state  it  in  that  precise 
way. 

150.  Forgive,  etc.     Possibly  St.  is  right  in  taking  this  to  be  addressed 
to  his  own  virtue,  and  marking  it  "  aside."     Clarke  says :  "  Surely  the 
context  shows  that  Hamlet  asks  his  mother  to  pardon  the  candour  of  his 
virtuous  reproof,  emphasizing  it  by  line  151." 

151.  Pursy.    "Swelled  with  pampering"   (Schmidt).     Cf.  T.  of  A. 
v.  4.  12:  "pursy  insolence." 

153.  Curbandwoo.    " Bend  and  truckle  "  (Steevens)  ;  "bow  and  beg" 
(  Wr.).     Curb  is  the  Fr.  courier,  and  is  printed  "  courb  'Mn  the  folio.    Per- 
haps it  is  as  well  to  retain  that  spelling,  as  Theo.,  Warb.,  F.,  and  some 
others  do.     Cf.  Piers  Plowman  : 

"  Thanne  I  courbed  on  my  knees, 

And  cried  hire  of  grace." 
Schmidt  makes  curb  here  =  "keep  back,  refrain." 

154.  "Note  the  use  of  the  more  affectionate  thou"  (F.).     See  Gr.  231. 

155.  Worser.     Often  used  by  S.     See  R.  of  L.  249,  294,  453,  M.  N.  D. 
ii.  i.  208,  Rich.  III.  i.  3.  102,  etc. 

M.  remarks  here :  "The  manly  compassion  of  a  pure  heart  to  the  weak 
and  fallen  could  not  express  itself  with  more  happy  persuasiveness  than 
in  this  reply,  which  takes  the  unhappy  queen's  mere  wail  of  sorrow  and 
transmutes  it  to  a  soul-strengthening  resolve." 

159-163.  That monster  ...  pul  on.  This  is  omitted  in  the  folio.  Many 
attempts  have  been  made  to  emend  it,  but  without  really  amending  it.  As 
it  stands,  the  meaning  seems  to  be :  That  monster,  custom,  who  destroys 
all  sensibility  (or  sensitiveness),  the  evil  genius  of  our  habits  (that  is,  bad 
ones),  is  yet  an  angel  in  this  respect,  that  it  tends  to  give  to  our  good  ac- 


240 

tions  also  the  ease  and  readiness  of  habit.  M.  paraphrases  the  latter 
part  of  the  passage  thus:  "Just  as  a  new  dress  or  uniform  becomes  fa- 
miliar to  us  by  habit,  so  custom  enables  us  readily  to  execute  the  outward 
and  practical  part  of  the  good  and  fair  actions  which  we  inwardly  desire 
to  do."  No  doubt,  as  Wr.  remarks,  the  double  meaning  of  habits  sug- 
gested the  frock  or  livery. 

165-168.   The  next  more ...  potency.     Omitted  in  the  folio. 

167.  And  either  master  the,  etc.  The  ad  and  3d  quartos  have  "  And 
either  the  ;  "  the  4th,  "  And  Maister  the  ;  "  the  5th,  "And  master  the.' 
The  gap  in  the  earlier  text  has  been  filled  by  "  curb,"  "  quell,"  "  mate," 
"  lay,"  "  house,"  "  aid,"  "  mask,"  "  shame,"  etc.  Master  may  have  been 
a  mere  conjecture  of  the  editor  of  the  4th  quarto,  but  it  has  at  least  that 
much  of  authority  in  its  favour,  and  completes  the  sense  as  well  as  any 
other  word.  It  has  been  objected  that  it  mars  the  metre  ;  but  if  we  read 
it  "  master  th'  devil,"  it  is  like  a  hundred  other  lines  in  S.  This  reading 
is  adopted  by  Walker,  D.  (2d  ed.),  and  F.  "  Curb"  is  preferred  by  Sr., 
W.,  and  H.  Furnivall  suggests  "  tame." 

169.   To  be  blest.     By  God  ;  that  is,  when  you  are  repentant. 

i -jo.  For.    As  for.     Cf.  i.  5.  139  above.     Gr.  149. 

172.  To  punish  me,  etc.     "To  punish  me  by  making  me  the  instru- 
ment of  this  man's  death,  and  to  punish  this  man  by  my  hand"  (Ma- 
lone). 

1 73.  Their.     For  other  examples  of  the  plural  use  of  heaven,  see  Rich. 
II.  p.  157.     Cf.  heavens,  ii.  2.  38  above. 

174.  Bestow  him.     Dispose  of  him,  put  him  out  of  the  way.     Cf.  M.  W. 
iv.  2.  48 :  "  Which  way  should  he  go?  how  should  I  bestow  him?     Shall 
I  put  him  into  the  basket  again?  "     See  also  on  ii.  2.  508  above. 

Answer.  Account  for.  Cf.  T.  N.  iii.  3.  28 :  "  were  I  ta'en  here  it  would 
scarce  be  answer'd  ;  "  W.  T.  i.  2.  83 :  "  The  offences  we  have  made  you 
do  we  '11  answer,"  etc. 

1 80.  Bloat.     Bloated.     See  on  i.  2.  20  above,  or  Gr.  342. 

181.  Mouse.     For  its  use  as  a  term  of  endearment,  cf.  L.  L.  L.  v.  2.  19 
and  T.  N.  i.  5.  69*.     Steevens  quotes  Warner,  Albion's  England  :  "  God 
bless  thee,  mouse,  the  bridegroom  said  ;  "  and  Burton,  Anat.  of  Melan- 
choly :  "  pleasant  names  may  be  invented,  bird,  mouse,  lamb,  pus,  pigeons 
etc." 

182.  Reechy.  Dirty.  Cf.  Much  Ado,  iii.  3.  143:  "  the  reechy  painting;  " 
and  Cor.  ii.  I.  225  :  "  her  reechy  neck."     The  word  is  only  another  form 
of  reeky,  soiled  with  smoke  or  reek  (cf.  M.  W.  iii.  3.  86). 

183.  Paddling.    Cf.  W.  T.  i.  2.  115  and  Oth.  ii.  I.  259. 

184.  Ravel  out.     Unravel,  disentangle.     Cf.    Rich.   II.   iv.   I.    228: 
"  Must  I  ravel  out  My  weav'd-up  folly?  "     Ravel  =  tangle  in  T.  G.  of  V. 
iii.  2.  52  and  Macb.  ii.  2.  37. 

185.  Essentially  am  not.    Am  not  essentially  or  really.    Cf.  Gr.420, 421. 

187.  For  -who,  etc.     Spoken  ironically. 

1 88.  Paddock.    Toad.     See  Macb.  p.  152. 

Gib.  A  male  cat.  Nares  says  :  "  An  expression  exactly  analogous  to 
that  of  &Ja.ck-ass,  the  one  being  formerly  called  Gib,  or  Gilbert,  as  com- 
monly as  the  other  Jack.  Tom-cat  is  now  the  usual  term,  and  for  a  simi- 


ACT  III,     SCENE  IV.  241 

lar  reason.  Coles  has  'Git,  a  contraction  for  Gilbert}  and  •  a  Gib-cat,  ca- 
tus,felis  mas.'"  The  female  cat  was  called  Graymalkin  or  Grimalkin  , 
Malkin  being  originally  a  diminutive  of  Mall  (Moll)  or  Mary.  We  fine 
gib-cat  in  I  Hen.  IV.  i.  2.  83. 

189.   Concerning!.     Concerns;  as  in  AT .  for  M.  i.  i.  57. 

I9J-I93-  Tne  reference  is  to  some  old  story  that  has  not  come  dowr 
to  us  ;  perhaps,  as  Warner  suggests,  also  alluded  to  by  Sir  John  Suck- 
ling in  one  of  his  letters :  "  It  is  the  story  of  the  jackanapes  and  tht 
partridges  ;  thou  starest  after  a  beauty  till  it  be  lost  to  thee,  and  ther 
let'st  out  another,  and  starest  after  that  till  it  is  gone  too." 

193.  Conclusions.     Experiments.     Cf.  A',  of  L.  1160: 

"  That  mother  tries  a  merciless  conclusion 
Who,  having  two  sweet  babes,  when  death  takes  one. 
Will  slay  the  other  and  be  nurse  to  none." 
See  also  A.  and  C.  v.  2.  358,  Cymb.  i.  5.  18,  etc. 

195.  Be  thou  assured,  etc.  "The  queen  keeps  her  word,  and  is  re- 
warded  by  the  atoning  punishment  which  befalls  her  in  this  world 
Rue  is  herb  of  grace  to  her,  as  poor  Ophelia  says"  (M.). 

198.  /  must  to  Lngland.     We  are  not  told  how  Hamlet  came  to  know 
this.     Miles  says  that  on  his  way  to  his  mother  he  must  have  overhearc, 
the  interview  between  the  king  and  Rosencrantz  and  Guildenstern.     S 
does  not  always  take  the  trouble  to  make  these  little  matters  clear  in  thr 
play. 

199.  for  forgot,  see  Gr.  343  ;   and  for  There's  in  next  line,  Gr.  335. 
200-208.  Omitted  in  the  folio. 

201.  Fang'd.  Johnson  and  Schmidt  understand  this  to  mean  with 
their  fangs,  Seymour  and  Caldecott  without  them.  It  may  be  noted 
that  S.  expresses  the  latter  idea  by  fangless  in  2  Hen.  IV.  iv.  I.  218. 

204.  Enginer.     The  folio  has  the  word  also  in  T.  and  C.  ii.  3.  8  and 
Oth.  ii.  i.  65;   engineer  not  at  all.     Cf.  pioner  in  i.  5.  163  above,  nnitiner 
(see  on  83  above),  etc.     See  Gr.  443  ;  and  for  the  accent,  492. 

205.  Hoist.     Schmidt  makes  this  the  participle  of  hoise,  which  occurs 
in  2  Hen.  VI.  i.  i.  169  :  "  We  '11  quickly  hoise  Duke  Humphrey  from  his 
seat  ;  "  and  in  Rich.  III.  iv.  4.  529  :  "  Hoised  sail."     S.  also  uses  the  verb 
hoist;  as  in  Sonn.  117.  7 :  "I  have  hoisted  sail  ;  "  A.  and  C.  iii.  10.  15  . 
''  Hoists  sails,"  etc.    Cf.  Gr.  342. 

Petar.  The  same  as  petard.  Wr.  quotes  Cotgrave  Fr.  Diet. :  "  Pe- 
tart  :  A  Petard,  or  Petarre  ;  an  Engine  (made  like  a  Bell,  or  Morter) 
wherewith  strong  gates  are  burst  open." 

For  V  shall  go  hard,  cf.  'M.  of  V.  iii.  I.  75,  2  Hen.  IV.  iii.  2.  354,  etc. 

207.  At.     See  Gr.  143. 

209.  Packing.     Schmidt  makes  this  =  going  off  in  a  hurry.     Cf.  sena 
packing  in  i  Hen.  IV.  ii.  4.  328,  Rich.  III.  iii.  2.  63,  etc.     Wr.  explains  it 
as  "  contriving,  plotting  "  (with  a  play  on  the  other  sense)  ;  as  in  T.  of  S. 
v.  I.  121,  etc. 

210.  Guts.     Steevens  gives  examples  to  show  that  anciently  this  worri 
was  not  so  offensive  to  delicacy  as  at  present.     It  is  used  by  Lyly,  "  who 
made  the  first  attempt  to  polish  our  language  ;  "  also  by  Stonyhurst  in 
his  translation  of  Virgil,  and  by  Chapman  in  his  Iliad.     Halliwell  says : 


24a  NOTES. 

"  I  have  seen  a  letter,  written  about  a  century  ago,  in  which  a  lady  of 
rank,  addressing  a  gentleman,  speaks  of  her  guts  with  the  same  noncha- 
lance with  which  we  should  now  write  stomach."  St.  remarks  that  here 
"  it  really  signifies  no  more  than  lack-brain  or  shallow-pate.'1'' 

On  the  adjective  use  of  neighbour,  cf.  L.  L.  L.  v.  2.  94,  A.  Y.  L.  iv.  3.  79, 
etc. 

St.  considers  that  this  line  was  introduced  merely  to  afford  the  player 
an  excuse  for  removing  the  body.  In  the  time  of  S.  an  actor  was  obliged 
not  only  to  play  two  or  more  parts  in  the  same  drama,  but  to  perform  such 
servile  offices  as  are  now  done  by  attendants  of  the  stage.  This  explains 
Falstaff's  clumsy  and  unseemly  exploit  of  carrying  off  Harry  Percy's  body 
on  his  back.  See  also  R.  and  J.  iii.  I.  201,  Rich.  II.  v.  5.  1 18,  1 19,  I  Hen. 
IV.  v.  4.  160,  Rich.  III.  i.  4.  287,  288,  Lear,  iv.  6,  280-282,  J.  C.  iii.  2.  261, 
etc. 

214.  To  draw.    See  Gr.  356,  and  cf.  iii.  2. 321  above. 


ACT  IV. 

SCENE  I.  —  I.  Profound.  The  king  uses  profound  equivocally,  as  it 
may  mean  deep  literally  and  deep  in  significance,  and  upon  the  latter 
meaning  translate  bears  (Corson). 

7.  Mad.  "  The  queen  both  follows  her  son's  injunction  in  keeping  up 
the  belief  in  his  madness,  and,  with  maternal  ingenuity,  makes  it  the  ex- 
cuse for  his  rash  deed  "  (Clarke). 

10.  Whips.     For  the  omission  of  the  subject,  cf.  iii.  i.  8  above.     The 
folio  reads  :  "  He  whips  his  Rapier  out,  and  cries,"  etc. 

11.  Brainish.     "Brainsick"  (Schmidt) ;  used  by  S.  nowhere  else. 
16.  Answer 'd.     Explained,  accounted  for.     Cf.  iii.  4.  174  above. 

18.  Kept  short.     "  Kept,  as  it  were,  tethered,  under  control "  (Wr.). 
Out  of  haunt.     "  Out  of  company  "  (Steevens).     Cf.  A.  Y.  L.  ii.  I.  15 
and  A.  and  C.  iv.  14.  54, 
22.  Divulging.     Being  divulged,  becoming  known. 

24.  Apart.    Aside.    Cf.  Oth.  ii.  3. 391  :  "  to  draw  the  Moor  apart,"  etc. 
See  also  iv.  5. 183  below. 

25.  Ore.    Apparently  used  by  S.  only  of  gold.     Cf.  A.  W.  iii.  6.  40: 
'  this  counterfeit  lump  of  ore."    In  R.  of  L.  56,  some  eds.  read  "  ore," 

but  "oer     is  better.     In  the  English-French  appendix  to  Cotgrave's 
Diet,  ore  is  confined  to  gold  (Wr.). 

26.  Mineral.    Mine  (Steevens  and  Schmidt).    Cf.  Hall,  Satires,  vi.  148  : 
fired  brimstone  in  a  mineral!."     St.  says  it  is  "  rather  a  metallic  vein  in 

a  mine.       Elsewhere  in  S.  it  means  a  poisonous  mineral.     See  Oth  i  2. 
74,  ii.  i.  306,  and  Cymb.  v.  5.  50. 

27.  Weeps.     "Either  this  is  an  entire  invention  of  the  queen,  or  Ham- 
lets mockeries  had  been  succeeded  by  sorrow"  (M.) 

36.  Speak  fair.     Speak  gently  or  kindly.     Cf.  C.  of  E.  iii.  2.  ii,  Rich. 

*£  Ci&  «  £ai/°^'  -Peak  him  fair'"  "sPeak>"»  fair,"  etc. :  a« 
iv.  2.  16,  M.  N.  D.  n.  i.  199,  etc. 


ACT  IV.    SCENE  //.  243 

40.  Untimely.     Often  used  adverbially ;  as  in  Macb.  v.  8.  16,  R.  and  J. 
iii.  i.  1 23,  v.  3.  258,  etc. 

.S0,  haply,  slander.  The  text  of  both  quartos  and  folios  is  defective  here. 
Theo.  inserted  "  For,  haply, slander,"  and  Capell  changed  "For"  to  "  So." 
The  emendation  has  been  generally  adopted.  The  remainder  of  the  pas- 
sage, Whose  whisper .  .  .  woundless  air,  is  found  in  the  quartos,  but  not  in 
the  folios. 

41.  O'er  the  world's  diameter.     M.  explains  this,  "  Slander  can  pass  in 
direct  line  from  hence  to  the  antipodes  without  going  round  by  the  semi- 
circumference  of  the  earth  ;"  but  we  doubt  whether  S.  thought  of  it  in 
that  mathematical  way.     O'er  the  world's  diameter  probably  meant -to 
him  "  to  the  ends  of  the  earth." 

42.  Blank.     "  The  white  mark  at  which  shot  or  arrows  were  aimed '' 
(Steevens).     Cf.  W.  T.  ii.  3.  5,  Lear,  i.  i.  161,  etc. 

44.   Woundless  air.    Ct  i.  I.  145  above:  "as  the  air  invulnerable." 

SCENE  II. — 3.  The  early  quartos  and  some  modern  eds.  have  "  But 
soft,  what  noise  ?" 

7.  Compounded  if ,  etc.  Cf.Sonn.  71.  10:  "  When  I  perhaps  compound- 
ed am  with  clay."  See  also  2  Hen.  IV.  iv.  5.  1 16. 

12.  Demanded  of.     Questioned  by.      Cf.  Temp.  i.  2.  139  :   "  Well  de- 
manded ;"  Oth.  v.  2.  301  :  "  Will  you,  I  pray,  demand  that  demi-devil, 
Why,"  etc.     For  of,  see  Gr.  170. 

13.  Replication.     Reply.     Cf.  L.  L.  L.  iv.  2.  15,  J.  C.  \.  I.  51,  and  Z.  C. 
122. 

15.  Countenance.     Patronage,  favour.     Cf.  2  Hen.  IV.  iv.  2.  13  : 

"The  man  that  sits  within  a  monarch's  heart, 
And  ripens  in  tlie  sunshine  of  his  favour. 
Would  he  abuse  the  countenance  of  the  king,"  etc. 

Authorities.  Attiibutes  or  offices  of  authority.  Cf.  M.forM.  iv.  4.  6^ 
Lear,  \.  3.  17,  etc. 

17.  As  an  ape  doth  nuts.  The  reading  of  the  1st  quarto  ;  adopted  by 
Sr.,  St.,  and  H.  The  other  quartos  have  "like  an  apple;"  the  folio, 
"like  an  Ape, "which  is  followed  by  most  of  the  modern  eds.  F.  has 
"like  an  ape  doth  apples,"  a  construction  found  only  in  Per.  i.  I.  163 
where  the  folios  have  "as  ")  and  ii.  4.  36. 
19.  Squeezing  you,  etc.  Steevens  quotes  Marston,  Sat.  vii. : 

"  He  's  but  a  spunge,  and  shortly  needs  must  ieese 
His  wrong-got  juice,  when  greatnes'  fist  shall  squeese 
His  liquor  out." 

Caldecott  adds  from  Apology  for  Herodotus,  1608  :  "When  princes  (a; 
the  toy  takes  them  in  the  head)  have  used  courtiers  as  sponges  to  drinke 
what  juice  they  can  from  the  poore  people,  they  take  pleasure  afterwards 
to  wring  them  out  into  their  owne  cisternes." 

22.  A  knavish  speech,  etc.  A  proverb  since  the  time  of  S.,  but  not 
known  to  have  been  such  earlier  (Steevens). 

26.  The  body,  etc.  If  this  is  not  meant  to  be  nonsense,  the  commenta 
tors  have  made  nothing  else  of  it. 

29.  Of  nothing.      Steevens  gives  several  examples  of  the  phrase  "  a 


244  NOTES. 

thing  of  nothing;"  and  Whalley  adds  Ps.  cxliv.  4  (Prayer-book  version)  : 
"  Man  is  like  a  thing  of  nought."  Cf.  M.  N.  D.  iv.  2.  14 :  "A  thing  of 
naught,"  and  see  note  in  our  ed.  p.  178. 

Hide  fox,  etc.  "  There  is  a  play  among  children  thus  called  "  (  Han- 
mer).  M.  says:  "  Hamlet  sheathes  his  sword,  and,  as  if  he  were  playing 
hide-and-seek,  cries,  '  now  the  fox  is  hid:  let  all  go  after  him.'"  For 
fox= sword,  see  Hen.  V.  p.  179. 

SCENE  III.— 4.    Of.     See  on.iv.  2.  12  above. 

6.    Scourge.     Punishment;  as  in  Rich.  III.  i.  4.  50,  etc. 

9.  Deliberate  pause.  "  A  matter  of  deliberate  arrangement  "  (M.).  Cf. 
iii.  3.  42  above. 

Diseases  desperate,  etc.  Rushton  quotes  Lyly,  Euphues  :  "  But  I  feare 
me  wher  so  straunge  a  sicknesse  is  to  be  recured  of  so  vnskilfull  a  Phisi- 
tion,  that  either  thou  wilt  be  to  bold  to  practise,  or  my  body  too  weake 
to  purge.  But  seeing  a  desperate  disease  is  to  be  committed  to  a  des- 
perate Doctor,  I  wil  follow  thy  counsel,  and  become  thy  cure." 

21.  Convocation  of  politic  worms.  "  Holding  congress  over  the  great 
politician  "  (M.) ;  perhaps  alluding,  as  Sr.  suggests,  to  the  Imperial  Diets 
held  at  Worms. 

Your.  See  on  i.  5.  167,  and  cf.  iii.  2.  108  above.  See  also  v.  I.  161 
below  :  "  your  water,"  etc. 

27.  Eat.  For  the  form  of  the  participle,  see  Rich.  II.  p.  104  or  A.  Y. 
L.  p.  165.  Gr.  343. 

31.  Progress.  A  royal  journey  of  state  was  always  so  called  (Stee- 
vens).  Cf.  2  Hen.  VI.  i.  4.  76:  "The  king  is  now  in  progress  towards 
Saint  Alban's." 

33.  Send  thither  to  see.  For  you  cannot  go  yourself,  as  you  can  to  "  the 
other  place." 

40.  Tender.  Regard,  cherish.  Cf.  i.  3.  107  above.  According  to  De- 
lius  dearly  is  to  be  understood :  "  as  dearly  tender  as  we  grieve." 

42.  With  fiery  quickness.     "  In  hot  haste  "  (Wr.). 

43.  At.    Abbott  (Gr.  143)  explains  this  as  used  instead  of  the  obsoles- 
cent a  (as  in  "  a-cursing,"  ii.  2.  573  above)  governing  a  noun,  and  com- 
pares W.  T.V.I.  140 :  "  at  friend,"  etc.    Cf.  i.  3.  2  above :  "  as  the  winds 
give  benefit." 

44.  Tend.  Attend,  wait.     Cf.  i.  3.  83  above.     For  is  bent  the  folio  has 
"  at  bent." 

47.  A  cherub,  etc.  "The  cherubs  are  angels  of  love;  they  there- 
fore of  course  know  of  such  true  affection  as  the  king's  for  Hamlet  " 
(M.). 

53.  At  foot.  At  his  heels  (Gr.  143).  Schmidt  compares  A.  and  C.  \. 
5.  44  and  ii.  2.  160. 

56.  Leans  on.     Depends  on ;  as  in  2  Hen.  IV.  i.  1. 164,  T.  and  C.  iii.  3. 
85,  etc.     There  is  a  play  upon  the  expression  in  M.  for  M.  ii.  i.  49. 

57.  Holfst  at  aught.     Dost  value  at  all.     Gr.  143. 

58.  As.     For  so  (Gr.  no).     Cf.  iv.  7.  157  and  v.  2.  324  below. 

_  60.  Free.  Willing,  ready  (Schmidt) ;  no  longer  enforced  by  the  Dan- 
ish sword.  Or  we  may  say  that  free  awe  pays  homage  =  awe  pays  free 


ACT  2V.    SCENE 


245 


homage.    Cf  the  examples  of  the  "  transposition  of  epithets  w  in  Schmidt, 
Appendix,  p.  1423. 

61.  Coldly  set.  "Regard  with  indifference"  (Schmidt).  C£  "set  me 
light  "=esteem  me  lightly,  in  Sonn.  88. 1  and  "sets  it  light"  in  Rich.  H. 
i.3-293- 

63.  Conjuring.    The  folio  reading;  the  quartos  have  **congruing," 
which  Wr.  prefers.    On  the  accent  of  conjure  in  S.  see  M.  N.  D.  p.  164. 

64.  Present.     Instant.     Cf.  R.  of  L.  1263,  1307,  M.for  M.  ii.  4.  152, 
!v.  2.  171,  223,  etc.     See  on  presently,  ii.  2.  170  above. 

65.  Hectic.     Wr.  quotes  Cotgrave, />.  Diet.:  "Hectique:  Sicke  of  an 
Hectick,  or  continuall  Feauer."     S.  uses  the  word  only  here. 

67.  Haps.  Cf.  Much  Ado,  iii.  I.  105  :  "loving  goes  by  haps  ;"  T.  A. 
v.  3.  202:  "our  heavy  haps,"  etc.  The  Coll.  MS.  has  "hopes,"  which 
was  also  a  conjecture  of  Johnson's. 

Begun.  "Tschischwitz,  having  found  that  gin  is  used  for  begin,  sug- 
gests, reads,  and  defends  'my  joys  will  ne'er  be  gun ' "  (F.). 

SCENE  IV.— 3.  Claims.  The  folio  reading;  the  quartos  have  "Craues" 
(Craves)  which  some  editors  prefer. 

5.  If  that.     For  that  as  a  "conjunctional  affix,"  see  Gr.  287. 

6.  In  his  eye.     In  his  presence  ;  especially  used  of  the  royal  presence 
(Steevens).    Cf.  A  and  C.  ii.  2.  212  :  "  tended  her  i'  the  eyes,"  etc.    Stee- 
vens  quotes  The  Establishment  of  the  Household  of  Prince  Henry,  1610: 
"all  such  as  doe  service  in  the  Prince's  eye;"  and  The  Regulations  for 
the  Queen's  Household,  1627:  "Such  as  doe  service  in  the  Queen's  eye." 
F.  refers  to  iv.  7.  45  below. 

8.  Softly.    Slowly,  gently ;  probably  addressed  to  his  soldiers.    Cf.  y.  C. 
v.  I.  16:  "Octavius,  lead  your  battle  softly  on,"  etc.    The  folio  has  "safe- 
ly." 

The  remainder  of  this  scene  (9-66)  is  omitted  in  the  folio. 

9.  Powers.    Troops.    Both  the  singular  and  the  plural  are  used  in  this 
sense  (cf.  force  and  forces).     See  J.  C.  p.  168,  note  on  Are  levying  powers. 

1 1.  How  purpos  d?  Having  whdt  purpose  or  destination  ?  Cf.  Lear, 
ii.  4.  296  :  "  So  am  I  purpos'd,"  etc. 

14.  Norway.    The  King  of  Norway.     See  on  i.  2.  125  above. 

15.  The  main.    "The  chief  power     (Wr.) ;  or  the  country  as  a  whole 
(Schmidt).     Cf.  T.  and  C.  ii.  3.  273  :  "  all  our  main  of  power,"  etc. 

17.  To  mend  the  metre  Pope  read  "  speak  it "  and  Capell  "  speak,  sir." 
"  Speak  on  't "  and  "no  more  addition  "  have  also  been  suggested. 

20.  Five  ducats,  five.     "A  rent  of  five  ducats,  only  five"  (Wr.). 

Farm.  Take  on  lease.  S.  uses  the  verb  only  here  and  in  Rich.  II.  i. 
4.  45  :  "to  farm  our  royal  realm." 

22.  Ranker.     Greater.     See  A.  Y.  L.  p.  186. 

25,  26.  It  has  been  plausibly  suggested  that  these  lines  belong  to  the 
Captain,  not  to  Hamlet.  Debate  the  question^  decide  the  question. 

27.  Imposthume.  Inward  sore  or  abscess.  Cf.  V.  and  A.  743  and  T. 
and  C.  v.  I.  24.  Caldecott  quotes  I  Hen.  IV.  iv.  2.  32  :  "  the  cankers  of  a 
calm  world  and  long  peace."  For  the  origin  of  the  word,  see  Wb. 

34.  Market  of  his  time.    "  That  for  which  he  sells  his  time  "  (Johnson). 


24<J  NOTES. 

36.  Suck  large  discourse,  etc.  "  Such  latitude  of  comprehension,  such 
power  of  reviewing  the  past  and  anticipating  the  future  (Johnson). 
Theo.  remarks  that  looking  before  and  after  is  "  an  expression  purely 
Homeric,"  and  refers  to  Iliad,  iii.  109  and  xviii.  250. 

39.  Fust.  To  grow  mouldy  or  "fusty"  (T.  and  C.  \.  3.  IOI,  n.  I.  m, 
and  Cor.  i.  9.  7).  S.  uses  the  verb  nowhere  else. 

41.  Of.    In  consequence  of.    Gr.  168.  ,  . 

"  Hamlet  envies  every  one  who  has  quick  and  determined  resolution, 
tnd  whose  energy  does  not,  like  his  own,  evaporate  in  meditation,  and 
pass  by  opportunity  after  opportunity  for  action"  (M.). 

Event = issue  ;  as  in  50  below. 

44.  To  do     For  this  use  of  the  active  infinitive,  see  Gr.  359. 

45.  Sith.    See  on  ii.  2.  6.    Gr.  132. 

46.  Gross.    Palpable,  obvious.    Cf.  I  Hen.  IV.  n. 4. 250:  "gross  as  a 
mountain,  open,  palpable." 

47.  Charge.    Cost,  expense.    Cf.  K.  John,  \.  1. 49 :  "  This  expedition's 
charge,"  etc. 

49.  Puff'd.    Inspired. 

50.  Makes  mouths,  etc.    "  Utterly  scorns  the  dire  uncertainties  of  the 
war  "  (M.).    For  makes  mouths,  cf.  M.  N.  D.  iii.  2.  238  and  Lear,  iii.  2. 36. 

54.  Is  not,  etc.  The  not  modifies  is,  as  F.  notes:  "To  stir  without 
great  argument,  upon  every  trifling  occasion,  is  not  an  attribute  of  great- 
ness ;  ...  but  it  is  the  attribute  of  greatness  to  stir  instantly  and  at  a 
trifle  when  the  heart  is  touched." 

For  argument^ matter  in  dispute,  see  Hen.  V.  p.  163. 

58.  My  reason  and  my  blood.  Cf.  iii.  2.  64 :  "  blood  and  judgment," 
and  see  note. 

6l.  Trick  of  fame.  "  Point  of  honour"  (Caldecott).  Cf.  Cor.  iv.  4.  21 : 
"  Some  trick  [that  is,  trifle]  not  worth  an  egg."  Delius  considers  that 
of  fame  belongs  to  fantasy  also :  "  an  illusion  and  a  whim  that  promise 
lame."  On  the  passage,  cf.  A.  Y.  L.  ii.  7.  152  : 

"  Seeking  the  bubble  reputation 
Even  in  the  cannon's  mouth." 

63.  Whereon,  etc.    That  is,  not  large  enough  to  hold  the  armies  that 
fight  for  it. 

64.  Continent.    Receptacle,  that  which  contains.    C£  M.  N.  D.  ii.  1. 92: 

"  Have  every  pelting  river  made  so  proud 

That  they  have  overborne  their  continents;" 

4.  and  C.  iv.  14.  40:  "  Heart,  once  be  stronger  than  thy  continent,"  etc. 
Reed  quotes  Bacon,  Adv.  of  L. :  "and  if  there  be  no  fullness,  then  is  the 
continent  greater  than  the  content." 

SCENE  V. — The  stage-direction  in  the  quartos  is  "Enter  Horatio,  Ger- 
trard,  and  a  Gentleman  ;"  in  the  folio, u  Enter  Queene  and  Horatio.'"  The 
latter  gives  to  Horatio  the  speeches  of  the  Gentleman.  "Lines  11-13, 
so  cautiously  obscure,  seem  better  suited  to  an  ordinary  courtier  than  ta 
Horatio  "(Wr.). 

2.  Distract.     See  on  aeject,  iii.  I.  155,  or  Gr.  343. 

•\.  Will.    See  Gr.  319. 


ACT  SK    SCENE  V,  347 

c  Tkert  '*     See  on  iii.  4.  199  above. 

&  Spurns.  Kicks  (Schmidt).  Cf.  C.  of  '£.  ii.  1. 83 :  "That  like  a  foot- 
ball you  do  spurn  me  thus,"  etc. 

Enviously = angrily,  spitefully  (Nares).  So  envious  often =spiteful,  and 
envy— malice,  spite.  See  Rich.  II.  p.  172. 

8.  Unshaped.     Formless,  confused.     Cf.  M.  for  M.  iv.  4.  23:  "This 
deed  unshapes  me  quite ;"  that  is,  deranges  or  confuses  me. 

9.  To  collection.     "To  endeavour  to  collect  some  meaning  from  it" 
(Mason). 

For  aim  the  quartos  have  "yawne."  /f/m=gue88j  as  in  T.G.ofV. 
iii.  I.  45,  T.  ofS.  ii.  I.  237,  2  Hen.  VI.  ii.  4.  58,  etc. 

1 1-13.  "  The  general  sense  of  this  ill-expressed  sentence  is  more  easily 
understood  than  paraphrased.  The  speaker  is  afraid  of  committing  hinv 
self  to  any  definite  statement.  If  he  had  spoken  out  he  would  have  said, 
'  Her  words  and  gestures  lead  one  to  infer  that  some  great  misfortune  has 
happened  to  her'"  (Wr.). 

14-16.  The  quartos  give  all  three  lines  to  Horatio  ;  the  folio  to  the 
queen.  The  arrangement  in  the  text  was  suggested  by  Blacks  tone,  and 
is  adopted  by  Coll.,  St.,  the  Camb.  editors,  M.,  and  F. 

On  the  measure  of  14,  see  Gr.  461. 

///-£/•«<#«£•=  "hatching  mischief"  (Schmidt). 

18.  Toy.    Trifle.    Cf.  i  Hen.  VI.  iv.  i.  145 :  "a  toy,  a  thing  of  no  re- 
gard," etc. 

Amiss.  Misfortune,  disaster.  Also  used  as  a  noun  in  Sonn.  35.  7  and 
151.  3.  Steevens  quotes  The  Arraignment  of  Paris,  1584:  "Gracious 
forbearers  of  this  world's  amiss ;"  and  Lyly,  Woman  in  the  Moon :  "  to 
witness  my  amiss." 

19.  Jealousy.      Suspicion ;  as  in  ii.  I.  1 13  above.    The  meaning  is, 
"Guilt  is  so  full  of  suspicion  that  it  unskilfully  betrays  itself  in  fearing 
to  be  betrayed  "  (Wr.). 

21.  Sir  Joshua  Reynolds  says  :  "There  is  no  part  of  the  play  in  its 
representation  on  the  stage  more  pathetic  than  this  scene  ;  which,  I  sup- 
pose, proceeds  from  the  utter  insensibility  Ophelia  has  to  her  own  mis- 
fortunes. A  great  sensibility,  or  none  at  all,  seems  to  produce  the  same 
effect.  In  the  latter  the  audience  supply  what  she  wants,  and  with  the 
former  they  sympathize."  See  also  p.  28  above. 

25.  Cockle-hat.    The  cockle-shell  in  the  hat  was  the  badge  of  a  pilgrim. 

26.  Shoon.     As  Delius  remarks,  this  plural  was  archaic  in  the  time  of 
S.     He  puts  it  also  into  the  mouth  of  Cade,  2  Hen.  VI.  iv.  2.  195. 

37.  Larded.      Garnished  (Caldecott).      C£  v.  2.  2O  below.     See  also 
M.  W.  iv.  6.  14,  T.  and  C.  v.  i.  63,  etc. 

38.  Did  go.    All  the  early  eds.  have  "  did  not  go ;"  corrected  by  Pope. 
41.   God  '/'<?/</  you  !    God  yield  or  reward  you.     See  Macb.  p.  175,  or 

A.Y.L.  p.  1 80. 

The  owl,  etc.  According  to  Douce,  there  is  a  story  current  in  Glouces- 
tershire that  our  Saviour  went  into  a  baker's  shop  to  ask  for  bread.  The 
mistress  of  the  shop  would  have  given  him  all  he  wanted,  but  was  repri- 
manded by  her  daughter,  who  for  her  lack  of  charity  was  transformed 
into  an  owl 


248  NOTES. 

44.  Conceit.     Imagination;  as  in  iii.  4.  112  above. 

45.  Of.    About.     Gr.  174. 

49.  And  I,  etc.  The  first  girl  seen  by  a  man  on  the  morning  of  this 
day  was  considered  his  Valentine  or  true-love.  The  custom  continued 
until  the  last  century,  and  is  graphically  alluded  to  by  Gay  (Halliwell). 

59.  This  is.     Metrically  equivalent  to  one  syllable.     Gr.  461. 

60.  0  Gertrude,  Gertrude.     The  quartos  read  "  death,  and  now  behold, 
o,"  etc.     Stratmann  suggests  that  S.  first  wrote  "  And  now  behold,"  and 
then  substituted  "  O  Gertrude,  Gertrude." 

61.  When  sorrows  come,  etc.     That  is,  "  misfortunes  never  come  sin- 
gle." 

Spies.  Scouts  sent  in  advance  of  the  main  army. 

64.  Kemove.  See  on  avouch,  \.  \.  57;  and  cf.  Lear,  ii.  4.  4,  A.  and  C. 
i.  2.  203,  etc. 

Muddied ...  unwholesome.  These  refer  primarily  to  the  blood,  and 
then  to  the  mood  of  the  people  (Delius). 

66.  Greenly.     Foolishly.     Cf.  Hen.  Kv.  2. 149:  "look greenly."     See 
also  i.  3.  101  above. 

67.  In    hugger-mugger.     Secretly    and    hurriedly.     Steevens    quotes 
North's  Plutarch:  "Antonius  thinking  good  .  .  .  that  his  bodie  should 
be  honorably  buried,  and  not  in  hugger-mugger."     Malone  cites  Florio, 
Ital.  Diet. :  "  Dinascoso,  secretly,  hiddenly,  in  hugger-mugger."     Cf.  also 
Spenser,  Mother  Hubberds  Tale,  1 39 : 

"  Of  all  the  patrimonie,  which  a  few  _ 
Now  hold  in  hugger  mugger  in  their  hand." 

68.  Divided,  etc.     Cf.  v.  2.  112  below. 

72.  Feeds  on  his  wonder.     The  quartos  read  "  Feeds  on  this  wonder;" 
the  folio,   "  Keepes  on  his  wonder."     The  reading  in  the  text  is  John- 
son's.    "The  mysterious  death  of  Polonius  filled  his  son  with  doubt  and 
amazement"  (Wr.). 

Keeps  himself  in  clouds.  Is  reserved  and  mysterious  in  his  conduct 
(Theo.). 

73.  Buzzers.    Whisperers,  tale-bearers    (Schmidt);   used  by   S.  only 
here.     Cf.  the  verb  buzz  —  whisper,  in  Rich.  If.  ii.  i.  26,  3  Hen.  VI.  v.  6. 
86,  Hen.  VIII.  ii.  i.  148,  etc. 

75.  Wherein,  etc.     "  Wherein  (that  is,  in  which  pestilent  speeches)  ne- 
cessity, or  the  obligation  of  an  accuser  to  support  his  charge,  will  noth- 
ing stick,"  etc.  (Johnson). 

76.  Person.    The  quarto  reading;   the  folio  has  "  persons."     The  king 
is  speaking  of  himself  only  (D.). 

78.  A  murther ing-piece.  A  cannon  loaded  with  case-shot.  Steevens 
quotes  Smith's  Sea  Grammar,  1627:  "A  case  shot  is  any  kinde  of  small 
bullets,  nailes,  old  iron,  or  the  like,  to  put  into  the  case,  to  shoot  out  of 
the  ordinances  [see  Hen.  V.  p.  161]  or  murderers."  M.  defines  it  as  "a 
rude  mitrailleuse  of  the  day,  the  pevier  or  perrier,  which  discharged  stones 
so  that  they  shattered  into  many  fragments." 

80.  Switzers.  "  Swiss  guards  such  as  served  in  France,  Spain,  and 
Naples  — the  men  whose  fidelity  to  Louis  XVI.  on  the  terrible  ictli  of 
August  is  commemorated  by  the  Lucerne  lion"  (M.).  Reed  says:  "In 


ACT  IV.     SCENE  V.  249 

many  of  our  old  plays  the  guards  attendant  on  kings  are  called  Switzers, 
and  that  without  any  regard  to  the  country  where  the  scene  lies."  Ma- 
lone  quotes  Nash,  Chrisfs  Teares  over  Jerusalem,  1594:  "Law,  logicke, 
and  the  Switzers,  may  be  hired  to  fight  for  any  body. " 

82.  Overpeering  of  his  list.     Rising  above  (literally,  looking  over)  its 
boundary.     Cf.  M.  of  V.  \.  i.  12:  "Do  overpeer  the  petty  traffickers;" 
3  Hen.  VI.  v.  2.  14:  "Whose  top-branch   overpeer'd  Jove's  spreading 
tree,  "  etc.     For  list,  cf.  Hen.  V.  v.  2.  295  :  "  confined  within  the  weak 
list  of  a  country's  fashion;"  Oth.  iv.  i.  76:  "Confine   yourself  but  in  a 
patient  list,"  etc. 

83.  Eats  not,  etc.     Cf.  2  Hen.  IV.  i.  I.  47:  "He  seem'din  running  to 
devour  the  way.  " 

84.  Head.     Armed  force  (Schmidt)  ;   as  in  I  Hen.  IV.  \.  3.  284 :  "  To 
save  our  heads  by  raising  of  a  head;"  Id.  iv.  4.  25  :  "a  head  Of  gallant 
warriors, "  etc. 

86.  As.    As  if.     Cf.  iii.  4.  133  above. 

87.  Forgot.  For  the  form,  see  Gr.  343;  and  for  the  construction,  Gr.  376. 

88.  Of  every  word.     "  Of  everything  that  is  to  serve  as  a  watchword 
and  shibboleth  to  the  multitude  "  (Schmidt).  "  Ward,"  "  weal,"  "  work," 
etc.,  have  been  proposed  as  emendations,  but  none  is  necessary. 

93.  Counter.  Hounds  run  counter  when  they  trace  the  scent  back- 
wards. Turbervile,  in  his  Book  of  1  hinting,  says:  "  When  ahoundhunt- 
eth  backwards  the  same  way  that  the  chase  is  come,  then  we  say  he 
hunteth  counter. "  Cf.  C.  of  E.  iv.  2.  39  and  2  Hen.  IV.  i.  2.  102. 

99.  Calmly,  etc.  Johnson  inserts  here  the  stage-direction,  "  Laying 
hold  on  kirn.  "  Cf.  105  below. 

102.  Unsmirched.  Unstained,  unsullied.  Cf.  besmirch,  {.3.  15  above; 
and  smirched  in  lien.  V.  iii.  3.  17,  etc.  The  early  eds.  have  "brow"  or 
"  browe. " 

105.  Fear.     Fear  for.     See  on  i.  3.  51   above.     M.  remarks:  "The 
king  is  truly  royal  where  conscience  does  not  stand  in  his  way. " 

106.  There  's  such  divinity,  etc.     Boswell  quotes  from  Chettle's  Eng- 
landes  Mourning  Garment  the  following  anecdote  of  Queen  Elizabeth  : 
While  her  majesty  was  on  the  river  near  Greenwich,  a  shot  was  fired  by 
accident  which  struck  the  royal  barge,  and  hurt  a  waterman  near  her. 
"  The  French  ambassador  being  amazed,  and  all  crying  Treason,  Trea- 
son! yet  she,  with  an  undaunted  spirit,  came  to  the  open  place  of  the 
barge,  and  bad  them  never  feare,  for  if  the  shot  were  made  at  her,  they 
durst  not  shoote  againe :  such  majestic  had  her  presence,  and  such  bold- 
nesse  her  heart,  that  she  despised  all  feare,  and  was,  as  all  princes  are  or 
should  be,  so  full  of  divine  fullnesse,  that  guiltie  mortalitie  durst  not  be- 
holde  her  but  with  dazeled  eyes.  " 

Hedge.     Caldecott  refers  to  Job  i.  10  and  iii.  21. 

117.  Both  the  worlds.  This  world  and  the  next.  Cf.  Macb.  iii.  2.  16, 
where  the  expression  means  heaven  and  earth. 

119.  Throughly.    Thoroughly.     See  Mer.  p.  144,  note  en   Through- 
fares. 

1 20.  My  will.    That  is,  only  my  own  will  (Wr.).     The  quartos  have 
"  worlds, "  and  Pope  "  world's. " 


250 

124.  h  V  writ,  etc.     Wr.  compares  i.  2.  222  above. 

125.  S-woopstake.     "  Are  you  going  to  vent  your  rage  on  both  friend 
and  foe  ;  like  a  gambler  who  insists  on  sweeping  the  stakes  whether  the 
point  is  in  his  favour  or  not  ?"  (M.). 

128.  Thus  wide.     With  appropriate  gesture.     Cf.  T.  and  C.  3i.  3.  167 


129!  Pelican.  The  folio  has  "  Politician."  Caldecott  quotes  Dr.  Sher- 
wen  :  "  By  the  pelican's  dropping  upon  its  breast  its  lower  bill  to  ena- 
ble its  young  to  take  from  its  capacious  pouch,  lined  with  a  fine  flesh- 
coloured  skin,  this  appearance  is,  on  feeding  them,  given."  Rushton 
cites  Lyly,  Euphues:  "the  Pelicane,  who  stricketh  bloud  out  of  hir 
owne  bodye  to  do  others  good."  For  other  allusions  to  the  same  fable, 
see  Rich.  II.  ii.  I.  126  and  Lear,  iii.  4.  77. 

130.  Repast.    The  verb  is  used  by  S.  nowhere  else. 

133.  Sensibly.  The  reading  of  the  earlier  quartos  ;  the  folio  has 
"sensible,"  which  some  prefer.  Sensibly  -  feelingly,  as  in  L.  L.  L.  iii.  I. 
114. 

135.  Let  her  come  in.  Given  by  the  quartos  to  Laertes.  The  folio 
gives,  as  a  stage-direction  in  the  margin,  "  A  noise  within.  Let  her  come 
in."  As  Theo.  notes,  Laertes  could  not  know  that  it  was  his  sister  who 
caused  the  noise  ;  nor  would  he  command  the  guards  to  let  her  in,  and 
then  ask  what  the  noise  meant. 

137.  Virtue.  Power.  Cf.  V.  and  A.  1131:  "Their  virtue  lost"  (re- 
ferring to  eyes)  ;  and  L.  L.  L.  v.  2.  348  :  "  The  virtue  of  your  eye." 

139.  By  weight.     The  folio  reading  ;  "  with  weight"  in  the  quartos. 

144-146.  Omitted  in  the  quartos.  M.  paraphrases  the  passage  thus  : 
"  Nature  is  so  spiritualized  by  love  that  it  sends  its  most  precious  func- 
tions one  by  one  after  dear  ones  lost,  as  instances  or  samples  of  itself, 
till  none  remain." 

149.  Rains.     The  quartos  have  "  rain'd." 

154.  Wheel.  Malone  explains  this  as  the  spinning-wheel,  at  which  the 
singer  is  supposed  to  be  occupied.  Cf.  T.  N.  ii.  4.  45.  Steevens  makes 
the  word  =  burden,  or  chorus,  and  quotes  "  from  memory  "  a  passage  (but 
he  cannot  recollect  where  he  saw  it)  in  which  it  is  thus  used  ;  but,  as  F. 
remarks,  "when  Steevens  does  not  adduce  line,  page,  and  title,  his  illus- 
trations are  to  be  received  with  caution."  No  satisfactory  example  of 
the  w»rd  in  this  sense  has  been  found  by  anybody  else. 

The  story  of  the  false  steward  to  which  Ophelia  alludes  has  not  come 
down  to  our  day. 

156.  Matter.     Sense,  meaning.     Cf.  ii.  2.  95  above. 

157.  Rosemary.      The  symbol  of  remembrance,  particularly  used  at 
weddings  and  funerals  (Schmidt).     Cf.  W.  T.  iv.  3.  74  and  R.  and  J.  iv. 
5.  79.     Sir  Thomas  More  says  of  it  :  "I  lett  it  run  alle  over  my  garden 
walls,  not  onlie  because  my  bees  love  it,  but  because  tis  the  herbWred 
to  remembrance,  and  therefore  to  friendship  ;  whence  a  sprig  of  it  hath  a 
dumb  language  that  maketh  it  the  chosen  emblem  at  our  furoeiral  wakes 
and  in  our  buriall  grounds."     Cf.  Herrick,  The  Rosemarie  Branch: 

"Grow  for  two  ends,  it  matters  not  at  all, 
Be  't  for  my  bridall  or  my  buriall  :" 


ACT  IV.    SCENE  V. 


251 


and  Dekker,  Wonderful  Year  :  "  The  rosemary  that  was  washed  in  sweet 
water  to  set  out  the  bridal,  is  now  wet  in  tears  to  furnish  her  burial." 

158.  For  thoughts.     Because  the  name  is  from  the  ¥r,pensee,  thought 
The  flower  is  the  love-in-idleness  of  M.  N.  D.  ii.  I.  168  and  71  of  S.  i.  I. 
156.     Spenser  calls  it  by  the  old  name  pounce.    Cf.  F.  Q.  in.  1. 36 : 

"  Sweet  Rosemaryes 
And  fragrant  violets,  and  Paunces  trim  ;" 

(d.  Hi.  II.  37 :  "  The  one  a  Paunce,  the  other  a  Sweet-breare ;"  and  Shep. 
Kal.Apr.:  "The  pretie  Pawnee, 

And  the  Chevisaunce." 

Milton  (Lycidas,  144)  speaks  of  it  as  "  the  pansy  freak'd  with  jet"  C£ 
P.  L.  ix.  1040  and  Comus,  851. 

159.  Document.    Lesson,  precept ;  used  by  S.  nowhere  else.    Cf.  Spen- 
ser, F.  Q.  i.  10.  19 :  "And  heavenly  documents  thereout  did  preach." 

161.  Fennel.    Malone  says  :  "  Ophelia  gives  her  fennel  and  columbines 
to  the  king.     In  A  Handfull  of  Pleasant  Deities,  1584,  the  former  is  thus 
mentioned:  'Fennel  is  for  flatterers,'  etc.     See  also  Florio,  Ital.  Diet. 
1598  :  '  Dare  finocchio,  to  give  fennel, ...  to  flatter,  to  dissemble.'  "    The 
plant  was  supposed  to  have  many  virtues,  which  are  well  stated  by  Long- 
fellow in  The  Goblet  of  Life: 

"Above  the  lowly  plants  it  towers, 
The  fennel,  with  Us  yellow  flowers, 
And  in  an  earlier  age  than  ours 
Was  gifted  with  the  wondrous  powers, 

Lost  vision  to  restore. 
It  gave  new  strength  and  fearless  mood; 
And  gladiators,  fierce  and  rude, 
Mingled  it  in  their  daiiy  food; 
And  he  who  battled  and  subdued 
A  wreath  of  fennel  wore." 

Cf.  2  Hen.  TV.  ii.  4.  267 :  "and  a'  plays  at  quoits  well,  and  eats  conger 
and  fennel."  * 

Columbines.     Cf.  L.  L.  L.  v.  2.  661  :   "  That  columbine."     Steevens 
quotes  Chapman,  All  Fools,  1605  : 

"What  's  that?-a  columbine? 
No:  that  thankless  flower  grows  not  in  rny  garden  " 

It  was  the  emblem  of  cuckoldom  on  account  of  the  horns  of  its  nectani', 
The  Caltha  Poetarum,  1599,  speaks  of  it  as  "the  blue  cornuted  colum- 
bine." It  was  also  emblematic  of  forsaken  lovers.  Holt  White  quotes 
Browne,  Brit.  Past.  \.  2  : 

"  The  columbine  in  tawny  often  taken 
Is  then  ascribed  to  such  as  are  forsaken." 

162.  Rue.    This  she  gives  to  the  queen.     It  was  "the  symbol  of  sorry 
remembrance  "  (Schmidt).    Cf.  W.  T.  iv.  4.  74  and  Rick.  II.  iii.  4.  105.    It 
was  also  called  herb  of  grace,  a  name  appropriate  on  Sunday,  as  Ophelia 

*  Our  younger  readers  may  be  interested  in  the  fact  that  ferule  is  derived  from  th« 
Latin  ferula^  the  name  of  the  giant  fennel,  the  stalks  of  which  were  us»d  a 
by  the  Roman  schoolmaster. 


252  NOTES. 

says.  Cf.  A.  W.  iv.  5.  18.  It  was  specially  in  repute  as  an  eye-salve 
Cf.  Milton,  P.  L.  xi.  414  : 

"then  purged  with  euphrasy  and  rue 
The  visual  nerve,  for  he  had  much  to  see." 

Ellacombe  quotes  the  old  lines  of  the  Schola  Salerrii:  "Nobilis  est  ruta 
quia  lumina  reddit  acuta,"  etc. 

163.  With  a  difference.    "  The  difference  between  the  ruth  and  wretch- 
edness of  guilt,  and  the  ruth  and  sorrows  of  misfortune  "  (CaldecottJ. 
Skeat  explains  the  passage  thus  :  "  I  offer  you  rue,  which  has  two  mean- 
ings :  it  is  sometimes  called  herb  of  grace,  and  in  that  sense  I  take  some 
for  myself;  but  with  a  slight  difference  of  spelling  it  means  ruth,  and  in 
that  respect  it  will  do  for  you."    He  adds  that  the  explanation  is  Shake- 
speare's own,  and  refers  to  Rich.  II.  iii.  4.  105.     For  a  different  explana- 
tion, see  Schmidt,  s.  v. 

164.  Daisy.     Cf.  iv.  7.  168  below ;  also  L.  L.  L.  v.  2.  904  and  R.  of  L. 
395.    Daisied  occurs  in  Cymb.  iv.  2.  398.     It  was  the  favourite  flower  of 
Chaucer.    Cf.  Legends  of  Goode  Women,  40  : 

"Now  have  I  thanne  suche  a  condition, 
That  of  al  the  floures  in  the  mede, 
Thanne  love  I  most  these  floures  white  and  rede, 
Suche  as  men  callen  daysyes  in  our  toune." 

It  does  not  appear  to  whom  Ophelia  gives  the  daisy  ;  probably  either  to 
the  king  or  queen  (Wr.).  Henley  quotes  Greene,  who  calls  it  "  the  des- 
sembling  daisie." 

Violets,  Malone  quotes  a  sonnet  printed  in  1584 :  "  Violet  is  for  faith- 
fulnesse."  Cf.  i.  3.  7  above  and  v.  i.  229  below. 

167.  The  song  of  Bonny  Sweet  Robin  is  found  in  Anthony  Holborne's 
Cittharn  Schoole,  1597,  in  William  Ballet's  Lute  Book,  and  in  many  other 
books  and  manuscripts  of  the  time.     In  Fletcher's  Two  Noble  Kinsmen, 
iL  i,  the  jailer's  daughter,  when  mad,  says  :  "  I  can  sing  The  Broom  and 
Bonny  Robin  "  (Chappell). 

168.  Thought.     Anxiety,  trouble.    Cf.  iii.  I.  85  above.    Passion  -  "  vio- 
lent sorrow  "  (Schmidt) ;  as  in  T.  A.  \.  i.  106 :  "  A  mother's  tears  in  pas- 
sion for  her  son,"  etc.     Cf.  ii.  2.  504  above. 

169.  Favour.     Attractiveness.    Cf.  Oth.  iv.  3.  21  :  "  even  his  stubborn- 
ness, his  checks,  his  frowns  .  .  .  have  grace  and  favour  in  them."     See 
p.  28  above. 

179.  God  ka1  mercy.    The  folio  has  "Gramercy ;"  perhaps  to  avoid 
the  introduction  of  the  name  of  God.     See  on  ii.  i.  76  above. 

1 80.  Of  all.     On  all.     See  Gr.  181. 

182.  Commune.  Accented  on  the  first  syllable  by  S.,  except,  perhaps. 
in  W.  T.  ii.  i.  162  (Schmidt).  The  folio  has  "  common." 

184.  Of  whom,  etc.  That  is,  "of  your  wisest  friends,  whom  you  will" 
(Wr.).  Cf.Gr.426. 

187.  Touched.    That  is,  accessary  to  the  deed  (Schmidt). 

193.  His  means  of  death.     The  means  of  his  death  (Gr.  423). 

Obscure.  The  usual  accent  in  S.,  but  we  have  the  modern  one  in 
V.  and  A.  237  and  2  Hen.  VI.  iv.  i.  50  (Schmidt).  The  verb  is  always 
obscure.  See  Gr.  490  and  492. 


ACT  IV.    SCENES  VL  AMD  VII.  253 

Burial.     The  quartos  and  some  modern  eds.  have  "  funeral.** 

194.  Hatchment.     An  armorial  escutcheon  used  at  funerals. 

195.  Ostentation.     Also  used  of  funeral  pomp  in  Muck  Ado,  iv.  I.  207 : 
"a  mourning  ostentation." 

197.   That.    For  the  omission  of  so,  see  Gr.  283,  and  cf.  iv.  7.  146  below. 

SCENE  VI. — i.  What.  Equivalent,  as  often,  to  who,  but  only  in  the 
predicate  (Schmidt).  Cf.  Temp.  v.  i.  85,  M.for  M.  ii.  I.  62,  iv.  2.  132,  iv 
3.  27,  v.  i.  472,  etc. 

10.  Let  to  know.  Caused  or  made  to  know  (Schmidt).  For  the  to,  see 
Gr.  349. 

12.  Overlooked.     Looked  over,  perused.    Cf.  Hen.  V.  ii.  4.  90 :  "  Will- 
ing you  overlook  this  pedigree." 

13.  Means.     Means  of  access,  introduction  (Caldecott). 

14.  Two  days  old  at  sea.    Cf.  M.  for  M.  iv.  2.  135  :  "  one  that  is  a  pris- 
oner nine  years  old  ;"  C.  of  E.  i.  I.  45  :  "my  absence  was  not  six  months 
old ;"  Id.  ii.  2.  150  :  "  In  Ephesus  I  am  but  two  hours  old,"  etc. 

15.  Appointment.     Equipment ;  as  in  K.  John,  ii.  i.  296,  etc. 

16.  Compelled.    Enforced,  involuntary.    Cf.  R.  of  L.  1708  :  "this  com- 
pelled stain  ;"  M.for  M.  ii.  4.  57  :  "  our  compell'd  sins,"  etc. 

1 8.  Thieves  of  mercy.     Merciful  thieves.     Cf.  i.  2. 4  above  :  "brow  of 
woe,"  etc. 

19.  But  they  knew  what  they  did.    This  has  been  thought  to  prove  that 
the  capture  of  Hamlet  was  not  accidental,  but  a  prearranged  plan  of  his 
own.    Clearly,  however,  it  does  not  refer  to  the  capture,  but  to  the  "  mer- 
cy" shown  him  afterwards,  and  it  is  explained  by  what  follows  :  "  I  am 
to  do  a  good  turn  for  them."     Hamlet  saw  how  he  could  turn  the  acci- 
dent to  account,  and  had  persuaded  the  pirates  to  assist  him  in  the  plan. 
What  Hamlet  says  in  iii.  4.  202-207  ^as  Deen  quoted  in  proof  of  this 
supposed  counterplot ;  but  all  that  he  meant  there  was  that  he  would 
find  some  way  to  circumvent  his  enemies.     He  had  no  plan  formed,  but 
felt  that  he  was  a  match  for  them  in  craft.     "  Let  it  work,"  he  says,  "  for 
it  shall  go  hard  but  I  will  manage  to  countermine  them."     As  Snider 
has  said,  his  own  account  (in  v.  2)  of  the  adventure  with  the  pirates  re- 
futes the  notion  that  it  was  a  device  of  his  own. 

21.  As  than  wouldst  fly  death.     That  is,  wouldst  fly  death  with.     For 
similar  ellipses  with  as,  see  Gr.  384. 

22.  Will  make.     For  the  omission  of  the  relative,  see  Gr.  244. 

23.  For  the  bore,  etc.     "  For  the  calibre  of  the  facts  "  (M.). 

27.  Make.  The  reading  of  the  4th  quarto,  the  word  being  omitted  in 
the  earlier  quartos  ;  the  folio  has  "give." 

SCENE  VII.— 3.  Sith.    See  on  ii.  2. 6  above. 
4.  Which.     See  Gr.  265. 

7.  Crimeful.     The  quartos  have  "criminall."     Wr.  says  that  S.  does 
not  use  crimeful  elsewhere  ;  but  cf.  R.  of  L.  970  :  "To  make  him  curse 
this  cursed  crimeful  night." 

8.  Safety.     Some  modern  eds.  follow  the  quartos  in  reading  "safety 
greatness." 


254 

1C.  Unsine<J>&.    Weak.    Cf.  j*««w^/(=strengtrieAidf)  in  A:  y^w,  v.  f. 
88,  and  insinewed  (^joined  in  sinews,  allied)  in  2  Hun.  IV.  iv.  i.  172. 
II.  But.     The  quarto  reading  ;  the  folio  has  "  And." 

13.  Be  it  either  -which.     Whichever  it  be.     See  Gr.  273. 

14.  Conjunctive.    Conjoined,  closely  united ;  as  in  Oth.  i.  3. 374 :  "  con. 
junctive  in  our  revenge." 

15.  Sphere.     Alluding  to  the  old  Ptolemaic  theory  that  the  heavenly 
oodies  were  set  in  crystal  spheres,  by  the  revolution  of  which  they  were 
carried  round.    Cf.  Temp.  ii.  i.  183,  M.  N.  D.  ii.  I.  7, 153>  «"'•  2-  6l»  K-  John> 
v.  7.  74,  T.  and  C.  i.  3. 90,  etc.    See  also  Milton,  Hymn  on  Nativ.  125  fol.  : 
"  Ring  out,  ye  crystal  spheres,"  etc. 

17.  Count.     Account,  trial.     It  is  the  same  as  compt.     Cf.  Oth,  v.  2. 
273  :  "  when  we  shall  meet  at  compt "  ("  count "  in  the  1st  quarto) ;  that 
is,  at  the  judgment-day.     Abbott  (Gr.  460)  gives  it  as  a  contraction  of 
account,  but  we  find  both  compt  and  count  in  this  sense  in  prose.    See  on 
scape,  i.  3.  38  above. 

18.  General  gender.    "  The  common  race  of  the  people  "  (Johnson).    S. 
uses  the  word  also  in  Oth.  i.  3.  326 .-   "  one  gender  of  herbs  ;"   and  in 
The  Phoenix  and  the  Turtle,  18 :  "  thy  sable  gender."    Cf.  "  the  general," 
ii.  2.  423  above. 

20.  The  spring,  etc.     Reed  says  that  the  allusion  is  to  the  dropping- 
well  at  Knaresborough  in  Yorkshire,  which  is  described  by  Camden  in 
his  Britannia,  1590.     Wr.  quotes  Lyly,  E 'up hues :  "  Would  I  had  sipped 
of  that  ryuer  in  Caria,  which  turneth  those  that  drinke  of  it  to  stones." 

21.  Convert  his  gyves,  etc.     "  Were  I  to  put  him  in  fetters,  the  bonds 
would  only  give  him  more  general  favour  "  (M.).    Schmidt  calls  this  "  an 
obscure  passage  not  yet  satisfactorily  explained  or  amended,"  but  per- 
haps having  the  meaning  just  given. 

22.  Loud  a  wind.   The  quartos  have  "loued  Arm'd  "  or  "  loued  armes." 
Steevens  quotes  Ascham,  Toxophilits:  "  Weake  bowes,and  lyghte  shaftes 
can  not  stande  in  a  rough  wynde." 

24.  And  not  where.     For  the  ellipsis,  cf.  Gr.  382. 

25.  Have.     Here  used  in  its  original  sense  =  find,  as  the  next  line 
shows  (Gr.  425). 

27.  If  praises,  etc.    "  If  I  may  praise  what  has  been,  but  is  now  to  be 
found  no  more  "  (Johnson). 

28.  Stood  challenger,  etc.    "  Challenged  all  the  age  to  deny  her  perfec- 
tion "  (F.).     M.  thinks  there  is  an  allusion  to  the  coronation  of  the  Em- 
peror of  Austria  as  King  of  Hungary,  "  when  on  the  Mount  of  Defi- 
ance at  Presburg,  he  unsheathes  the  ancient  sword  of  state,  and  shaking 
it  towards  north,  south,  east,  and  west,  challenges  the  four  corners  of  the 
world  to  dispute  his  rights." 

30.  Sleeps.     See  on  loves,  i.  1. 173. 

32.  Shook.  S.  generally  has  shook  for  both  past  tense  and  participle, 
but  sometimes  shaked  (cf.  Temp.  ii.  I.  319,  Hen.  V.  ii.  i.  124,  etc.).  Shaken 
occurs  five  times.  Gr.  343.  For  witA=by,  see  Gr.  193. 

45.  Your  kingly  eyes.     See  on  iv.  4.  6  above. 

46.  Sudden,etc.    "  Sudden,  and  even  more  strange  than  sudden"  (Gr.6), 
48.  Should.     See  Gr.  325. 


ACT  /y.    SCENE  VH.  255 

49.  Abuse.    Deception,  delusion.     Cf.  M.for  M.  v.  I.  205  ••  "a  strange 
abuse  :"  also  the  use  of  the  verb  in  ii.  2.  590  above. 

50.  Character.    Handwriting.    Cf.  W.  T.  v.  2. 38  :  "  the  letters  of  Antig- 
onus  found  with  it  which  they  know  to  be  his  character,"  etc.     For  the 
accent,  see  on  i.  3.  59  above. 

56.  Didest.     The  folio  has  "diddest,"  the  quartos  "didst."     The  1st 
quarto,  in  the  corresponding  passage,  reads:  "That  I  shall  liue  to  tell 
him,  thus  he  dies."     Didest  is  not  found  elsewhere  in  S. 

57.  As  how,  etc.     We  should  expect  "  How  should  it  not  be  so  ?"  but 
S.  is  elsewhere  inexact  in  repeating  and  omitting  the  negative  (Deli us). 
See  A.  Y.  L.  p.  156,  note  on  No  more  do  yours.    Perhaps,  as  Wr.  suggests, 
the  first  clause  refers  to  Hamlet's  return,  the  second  to  Laertes's  feel- 
ings. 

58.  RuFd.     So  in  the  folio,  which  makes  one  line  of  how  otherwise  .  . . 
by  me?  and  omits  Ay,  my  lord.     Walker,  to  fill  out  the  measure,  suggests 
"my£»0</lord."     Abbott  (Gr.  482)  makes  Ay  a  dissyllable,  as  in  ii.  I.  36 
above.     Cf.  T.  ofS.  iv.  4.  2,  Cor.  v.  3.  125,  and  Lear,  ii.  I.  in. 

59.  So.     Provided  that.     Gr.  133. 

61.  Checking  at.  The  earlier  quartos  have  "  the  King  at,"  the  latei 
ones  "liking  not."  To  check  at  was  a  term  in  falconry,  applied  to  a 
hawk  when  she  forsakes  her  proper  game  and  follows  some  other  (D.). 
Cf.  T.  N.  ii.  5.  124  and  iii.  I.  71. 

66.  Uncharge.  "  Acquit  of  blame,  not  accuse  "  (Schmidt).  So  unbles* 
=not  bless,  neglect  to  bless,  in  Soim.  3.  4. 

Practice  —  artifice,  plot ;  as  in  137  and  v.  2.  305  below.  Cf.  M.  for  M. 
v.  I.  123  :  "This  needs  must  be  a  practice,"  etc. 

67-80.  My  lord .  .  .  graveness.     Omitted  in  the  folio. 

69.  Falls.  Happens.  Cf.  M.  N.  D.  v.  I.  188:  "it  will  fall  pat  as  I 
told  you,"  etc. 

72.  Your  sum  of  parts.     All  your  "qualities"  or  gifts.     Ct  v.  2.  1 10 
below  :  "  the  continent  of  what  part  a  gentleman  would  see." 

73.  Pluck.     A  favourite  word  with  S.     For  pluck  from—draw  from, 
cf.  Sonn.  14.  i,  M.  ofV.  iv,  i.  30,  Hen.  V.  iv.  chor.  42,  Cor.  ii.  3.  200,  etc. 

75.  Siege.  Rank  ;  literally,  seat  (M.for  M.  iv.  2.  101).  Cf.  Oth.  i.  2. 
22  :  "  From  men  of  royal  siege." 

79.  Sables.     See  on  iii.  2.  113  above  ;  and  for  weeds  =  robes,  dress,  see 
M.  N.  D.  p.  149.     Cf.  Milton,  VAIL  120  :  "  In  weeds  of  peace,"  etc. 

80.  Health.    Malone,  Wr.,  and  others  explain  this  as -care  for  health, 
such  as  characterizes  elderly  men  ;  but  it  seems  better,  with  Schmidt,  to 
make  it  =  prosperity.     Cf.  i.  3.  21  above  and  v.  2.  21  below  ;  also  L.  L.  L. 
ii.  i.  178,  etc.    F.  thinks  that  health  may  refer  to  careless  livery,  and  grave- 
ness  to  sables  and  weeds.     Cf.  iii.  I.  151  above  and  Macb.  i.  3.  60.     Warb. 
proposed  "  wealth." 

83.  Can.     The  folio  has  "  ran,"  an  obvious  misprint,  but  followed  by 
Rowe  and  Caldecott.     For  this  absolute  use  of  can,  cf.  v.  2.  308  below  : 
"I  can  no  more."     See  Gr.  307. 

84.  Into.     The  quartos  and  many  modern  eds.  have  "  unto." 

86.  As  he  had.  The  early  eds.,  except  the  quarto  of  1676,  bare  *  M 
had  he."  For  <w,  see  Gr.  109. 


256  NOTES. 

Incorps'd.  Made  one  body,  "  incorporate  "  (C.  of  E.  ii.  2.  124,  M.  .V.  A 
iii.  2.  208,  etc.).  Steevens  quotes  Sidney,  Arcadia  :  "  As  if,  Centaur-like, 
he  had  been  one  peece  with  the  horse." 

87.  Topped.    Overtopped,  surpassed;    as  in  Macb.  iv.  3,  57:   "to  top 
Macbeth,"  etc. 

88.  Forgery.     Invention  (Schmidt).     "I  could  not  contrive  so  many 
proofs  of  dexterity  as  he  could  perform  "  (Johnson). 

91.  Lamond.     The  quartos  have  "Lamord,"  the  folio  "  Lamound." 
Mr.  C.  E.  Brown  (quoted  by  F.)  thinks  there  may  be  an  allusion  to  Pi- 
etro  Monte  (whose  name  is  given  in  English  of  the  time  as  "Peter 
Mount"),  a  famous  cavalier  and  swordsman,  the  instructor  of  Louis  the 
Seventh's  Master  of  Horse. 

92.  Brooch.     An  ornamental  buckle  for  the  hat.     See  Rich.  If.  p.  219. 

94.  Confession.     Implying  that  Lamond  would  not  willingly  acknowl- 
edge the  superiority  of  Laertes  (Delius). 

95.  Such  a  masterly  report.     "  Such  a  report  of  mastership,  an  account 
of  your  consummate  skill"  (Schmidt). 

96.  Defence.    That  is,  the  science  of  defence  (Johnson). 

99.  Scrimers.  Fencers  (Fr.  escrimeur}  ;  a  word  not  found  elsewhere. 
W.  prints  "  th'  escrimeurs." 

101.  Sir,  etc.  "Note  how  the  king  first  awakens  Laertes's  vanity  by 
praising  the  reporter,  and  then  gratifies  it  by  the  report  itself,  and  finally 
points  it  by  these  lines"  (Coleridge). 

no.  Love  is  begun,  etc.  "  As  love  begins  at  some  given  point  of  time, 
so  I  see  by  passages  of  experience  that  time  also  abates  it"  (M.);  in 
other  words,  love  is  nojt  innate,  and  experience  shows  that  it  is  not  im- 
mutable. 

On  proof,  cf./.  C.  ii.  I.  21 :  "  't  is  a  common  proof,"  etc.  See  also  iii. 
2.  152  above. 

113-122.    There  lives  ...  the  ulcer.     Omitted  in  the  folio. 

115.  A  like.    A  uniform,  the  same.     Still  =  always,  constantly;  as  in 
ii.  2.  42  above. 

116.  Plurisy.    Plethora.    "  The  dramatic  writers  of  that  time  frequently 
call  a  fulness  of  blood  a  plurisy,  as  it  came,  not  from  ir\evpd,  but  from 
plus,  pluris  "  (Warb.).     Cf.  Massinger,  The  Picture,  iv.  2 :  "  A  plurisy  of 
ill  blood  you  must  let  out;"  and  Unnatural  Combat,  iv.  I  :  "  Thy  plurisy 
of  goodness  is  thy  ill,"  etc. 

117.  Too-much.    Schmidt  compares  Lear,  v.  3.  206 :  "  To  amplify  too- 
much  would  make  much  more."    On  compounds  in  S.  see  Gr.  429  fol. 

118.  On  should  and  would,  see  Gr.  323,  329. 

121.  Spendthrift  sigh.     The  reading  of  the  quarto  of  1676;   the  earlier 
quartos  have  "  spend  thirfts  sigh  "  and  "  spend-thrifts  sigh."    It  probably 
means  a  wasting  sigh,  alluding  to  the  old  notion  that  every  sigh  caused 
the  loss  of  a  drop  of  blood  from  the  heart.    Cf.  M.  N.  D.  iii.  2.  97  :  "  With 
sighs  of  love  that  costs  the  fresh  blood  dear;"  and  see  note  in  our  ed. 
p.  163.     M.  explains  the  passage  thus:   "he  who  vainly  acknowledges 
that  he  'should'  have  done  a  thing  is  like  a  spendthrift  sighing  for  his 
squandered  estate." 

122.  To  the  quick.     Cf.  ii.  2.  584  above. 


ACT  IV.     SCENE   VII.  257 

iz6.  Sanctuarizc.  Be  a  sanctuary  to,  or  protect  from  punishment 
(Schmidt).  Cf.  C.  of  E.  v.  i.  94: 

"  he  took  this  place  for  sanctuary, 
And  it  shall  privilege  him  from  your  hands." 

For  similar  allusions,  see  3  Hen.  VI.  iv.  4.  31,  Rich.  III.  ii.  4.  66,  iii.  I.  28, 
42,  iv.  I.  94,  etc. 

130.  Put  on  those  shall,  etc.  For  put  on  —  instigate,  cf.  v.  2.  371  below: 
"deaths  put  on  by  cunning,"  etc.;  and  for  the  omission  of  the  relative, 
Gr.  244. 

133.  Remiss.     Careless.     As  Wr.  notes,  the  word  is  "seldom  if  ever 
used  now  except  with  reference  to  some  particular  act  of  negligence." 
Cf.  I  Hen.  VI.  iv.  3.  29:  "while  remiss  traitors  sleep." 

134.  Contriving.     In  a  bad  sense  =  plotting;  as  in  J.  C.  ii-3-  \£>,Rich.II. 
i.  3.  189,  Hen.  V.  iv.  i.  171,  etc. 

135.  Peruse.     Examine  closely.     CL  perusal,  ii.  i.  90  above. 

137.  Unbated.     Not  blunted,  as  foils  are  by  a  button  fixed  to  the  end 
(Malone).     In  M.  of  V.  ii.  6.  1 1,  it  means  unabated.     For  bate  =  \.o  blunt, 
see  Z.  Z.  L.  i.   I.  6;   and  for  bateless  =  not  to  be  blunted,  K.  of  L.  9. 
Steevens  quotes  North's  Plutarch:  "the  cruel  fight  of  fencers  at  unre- 
bated   swords."     Cf.  M.  for  M.  i.  4.  60 :  "  rebate  and  blunt  his  natural 
edge."     So  abate  =\A\xf\\.,  in  2  flen.  IV.  i.  I.  117  and  Rich.  III.  v.  5.  35. 

A  pass  of  practice.  A  treacherous  thrust;  or,  possibly,  a  pass  in 
which  you  are  well  practised.  For  practice  in  the  former  sense,  cf.  66 
above. 

138.  I  will  do  V,  etc.      "  Laertes  shows  by  his  horrid  suggestion  of  the 
poison  how  little  need  there  was  for  the  king  to  prepare  the  temptation 
as  carefully  as  he  had  done"  (M.). 

140.  Mountebank.     Quack  (Schmidt).      Cf.  Oth.  i.  3.  6l  :  "medicines 
bought  of  mountebanks,"  etc.     Wr.  quotes  Bacon,  Adv.  of  L.  \.  10.  2 : 
"  Nay,  we  see  the  weakness  and  credulity  of  man  is  such,  as  they  will 
often  prefer  a  mountebank  or  witch  before  a  learned  physician;"  and 
Cotgrave,  Fr.  Diet,  (under  charlatan)  :   "A  Mountebanke,  a  cousening 
drug-seller,  a  pratling  quack-saluer." 

141.  Mortal.     Deadly;  as  often.     See  Rich.  II.  p.  189  or  Macb.  p.  171. 

143.  Simples.     Herbs  (as  the  ingredients  of  a  compound).     Cf.A'.ofL. 
530,  A.  Y.  L.  iv.  i.  16,  A',  and  J.  v.  I.  40,  etc. 

144.  Under  the  moon.     Probably  =  on  the  earth.     Cf.  Lear,  iv.  6.  26, 
A.  and  C.  iv.  15.  68,  etc.     J.  H.  explains  it :  "plants  that  have  magic  vir- 
tue when  gathered  by  moonlight." 

146.  Contagion.  Poison;  the  abstract  for  the  concrete,  like  unction=. 
ointment  (Wr.).  That=so  that,  as  in  iv.  5.  197  above. 

149.  At  ay  Jit  us,  etc.     May  enable  us  to  act  our  part  (Johnson). 

150.  And  that.     And  if.     Gr.  285.     So  and  that-  and  when,  in  158  be- 
low.    Look  througk  =  shovi  itself  through,  appear  through. 

152.  A  back.     "  A  support  in  reserve,"  (Schmidt). 

153.  Ff  this,  etc      "A  metaphor  taken  from  the  trying  or  proving  of 
fire-arms  or  cannon,  which  blast  or  burst  in  the  proof"  (Steevens). 

154.  Your  cunnings.     Your  respective  skill      Cf.  ii.  2.  427,  577  above. 
The  folio  has  "  commings,"  which  Caldecott  (followed  by  K.)  explains 

R 


258  NOTES. 

as = bouts  at  fence.    Cotgrave  has  "Venue,  f.  A  comming ;  also,  a  ven 
nie  in  fencing." 

157.  As.    For  so.    See  on  iv.  3.  58  above. 

158.  Prepared.    The  quartos  have  "  prefard  "  or  "preferd." 

159.  For  the  nonce.     For  the  occasion  ;  a  corruption  of  for  then  onct 
(Wb.).     C£  I  Hen.  IV.  L  2.  201 :  "cases  of  buckram  for  the  nonce,'* 
etc. 

160.  Stuck.    Thrust;  "more  properly  stock,  an  abbreviation  of  staccato1 
(D.).    Cf.  71 N.  iii.  4.  303  :  "  he  gives  me  the  stuck." 

162.  One  woe,  etc.  Cf.  iv.  5.  61  above  :  "  When  sorrows  come,"  etc. 
Wr.  quotes  Per.  i.  4.  63  ;  and  Ritson  cites  Locrine  (one  of  the  plays  that 
have  been  ascribed  to  S.),  v.  5,  where  Sabren  drowns  herself  and  Queen 
Gwendoline  exclaims:  "One  mischief  follows  [on]  another's  neck." 

165.  There  is,  etc.     Wr.  considers  this  speech,  with  its  enumeration  of 
flowers, "  unworthy  of  its  author  and  the  occasion."    F.  quotes  Campbell 
(see  p.  21,  foot-note),  Blackwood^s  Mag. :  "The  queen  was  affected  after 
a  fashion  by  the  picturesque  mode  of  Ophelia's  death,  and  takes  more 
pleasure  in  describing  it  than  any  one  would  who  really  had  a  heart. 
Gertrude  was  a  gossip,— and  she  is  gross  even  in  her  grief." 

Aslant.  Beisley  says :  "  This  willow,  the  Salix  alba,  grows  on  the 
banks  of  most  of  our  small  streams,  particularly  the  Avon,  near  Strat- 
ford, and  from  the  looseness  of  the  soil  the  trees  partly  lose  their  hold, 
and  bend  'aslant'  the  stream." 

166.  Hoar.    "  Willow  leaves  are  green  on  the  upper  side,  but  silvery- 
grey,  or  hoary,  on  the  under  side,  which  it  shows  in  the  glassy  stream  " 
(Clarke).    Cf.  Lowell,  Among  My  Books,  p.  185  (though  he  misquotes  the 
passage). 

167.  Come.    The  quartos  have  "make,"  and  the  2d  and  3d  quartos 
"Therewith." 

168.  Crow-flowers.    According  to  Beisley,  the  crowfoot  (Ranunculus 
bulbosus  and  acris] ;  but  Ellacombe  says  that  in  the  time  of  S.  the  name 
was  applied  to  the  "  Ragged  Robin  "  (Lychnis  floscuculi}. 

Long  purples.  "  The  early  purple  orchis  (Orchis  mascula)  which  blos- 
soms in  April  and  May  "  (Beisley).  According  to  the  same  authority, 
the  name  dead-men' s-fingers  was  given  to  other  species  having  palmated 
roots  (Orchis  maculata  and  latifolia). 

169.  Liberal.     Free-spoken;   as  in  Kick.  II.  ii.  \.  229:  "a  liberal 
tongue  ;"  and  Oth.  v.  2.  220  :  ••  No,  I  will  speak  as  liberal  as  the  north." 
Elsewhere,  it  means  wanton,  licentious  ;  as  in  Much  Ado,  iv.  r.  93,  M.  of 
V.  ii.  2.  194,  etc.     It  may  have  that  sense  here.     The  old  Herbals  give 
more  than  one  "  grosser  name  "  for  the  flower. 

170.  Cold.     Chaste;  as  in  Temp.  iv.  I.  66:  "To  make  cold  nymphs 
chaste  crowns,"  etc. 

172.  Sliver.     Here  -  a  small  branch.     See  Macb.  p.  229. 

176.  Which  time.     For  the  omission  of  the  preposition,  see  Gr.  202, 
For  tunes  the  quartos  have  "laudes"  or  "lauds"  (  =  psalms). 

177.  Incapable.     Insensible.     See  on  iii.  4.  125  above. 

i7&  Native.  Cf.  i.  2. 47  above.  /«</w^=fitted,  suited  Cf.  Oth.  iii 
V  I4o: 


ACT  V.     SCENE  I.  259 

nger  ac 

Our  other  healthful  members  even  to  that  sense 
Of  pain :  " 

that  is,  imparts  to  them  the  feeling  of  the  same  pain.     In  Hen,  V.  ii.  2. 
139,  "  best  indued  "  =  best  endowed. 
181.    Poor  wretch.     Cf.  ii.  2.  1 68  above. 

186.    Trick.     Habit.     Cf.  A.  and  C.  v.  2.  75  :  "  Is  't  not  your  trick?  " 
2  Hen.  IV.  i.  2.  240 :  "  the  trick  of  our  English  nation,"  etc. 
1 88.    The  woman.     Steevens  quotes  Hen,  V.  iv.  6.  31 : 
"  But  I  had  not  so  much  of  man  in  me, 
And  all  the  mother  came  into  mine  eyes, 
And  gave  me  up  to  tears." 

Wr.  adds  T.  N.  ii.  I.  41.  Cf.  Hen.  VIII.  iii.  2.  431 :  "  to  play  the  woman." 
190.  Douts.  That  is,  does  out,  extinguishes.  The  quartos  and  later 
folios  have  "  drownes  "  or  "drowns;"  the  ist  folio  "doubts,"  as  in  the 
only  other  passage  in  which  S.  uses  the  word,  Hen.  V.  iv.  2.  n  :  "And 
dout  them  with  superfluous  courage."  Cf.  note  on  i.  4.  36,  37  above. 


ACT  V. 

SCENE  I.— 4.  Straight.  Probably  ^immediately;  as  in  ii.  2.  418  above. 
Johnson  says:  "  Make  her  grave  from  east  to  west,  in  a  direct  line,  par- 
allel with  the  church;  not  from  north  to  south,  athwart  the  regular  line;" 
and  M.  :  "  Not  the  mere  hole  in  which  a  person  should  be  buried  on 
whom  a  felo  de  se  verdict  has  been  found." 

9.  Offendendo.  The  clown's  blunder  for  defendendo ;  as  jfrgai  in  12  is 
his.  corruption  of  ergo.  J.  H.  thinks  he  uses  it  intentional^:  "by  offend- 
ing herself;  that  is,  it  cannot  be  in  defence  of  herself,  but  by  offence  to 
herself." 

13.  Delver.  "  Hence  it  would  appear  that  the  Second  Clown  is  not  a 
grave-digger "  (Walker). 

1 6.  Nill.  Will  not.  Cf.  P.  P.iSS:  "  In  scorn  or  friendship,  nill  I  con- 
strue whether;"  and  Per.  iii.  prol.  55:  "I  nill  relate."  J.  H.  quotes 
Latimer,  Sermons  :  "  Such  men  should  be  witnesses — will  they  nill  they;" 
and  Edwards,  Damon  and  Pythias  :  "  Will. I  or  nill  I.  it  must  be  done." 

21.  Crowner's  quest  law.  Sir  John  Hawkins  suspects  that  S.  here 
meant  to  ridicule  a  case  reported  by  Plowden.  Sir  James  Hales  had 
drowned  himself  in  a  fit  of  insanity,  and  the  legal  question  was  whether 
his  lease  was  thereby  forfeited  to  the  Crown.  Much  subtlety  was  ex- 
pended in  finding  out  whether  Sir  James  was  the  agent  or  the  patient, 
that  is,  whether  he  went  to  the  water  or  the  water  came  to  him.  The  fol- 
lowing is  part  of  the  argument :  "  Sir  James  Hales  was  dead,  and  how 
came  he  to  his  death?  It  may  be  answered,  by  drowning;  and  who 
drowned  him?  Sir  James  Hales  ;  and  when  did  he  drown  him?  In  his 
lifetime.  So  that  Sir  James  Hales  being  alive  caused  Sir  James  Hales 
to  die,  and  the  act  of  the  living  man  was  the  death  of  the  dead  man. 
And  then  for  this  offence  it  is  reasonable  to  punish  the  living  man  who 


,$0  NOTES. 

committed  the  offence,  and  not  the  dead  man.  But  how  can  he  be  said 
to  be  punished  alive  when  the  punishment  comes  after  death  ?"  etc.,  etc. 

25.  Say'st.  That  is,  well,  or  to  the  purpose  (Schmidt).  Cf.  T.G.ofV. 
ii.  4.  29 :  "  You  have  said,  sir."  See  also  T.  M  iii.  I.  12,  Oth.  iv.  2.  204, 
and  A.  and  C.  ii.  6.  113. 

27.  Even-Christian.  Fellow-Christian.  The  quartos  have  "theyreuen 
Christen;"  and  Capell  and  F.  read  "their  even -Christen."  Steevens 
quotes  Chaucer,  Persones  Tale :  "  his  neighebour,  that  is  to  say,  of  his 
even  Christen  "  (Morris  prints  "  evencristen  ").  Nares  cites  Sir  Thomas 
More  :  "to  fighte  against  their  even  Christen."  Caldecott  and  Wr.  add 
other  examples  of  this  and  similar  expressions  ;  as  "euen-seruant  "  (fel 
low-servant),  "euene-caytif"  (fellow-prisoner),  etc. 

29.  Hold  up.    Follow  up,  continue  (Schmidt).    Cf.  M.  N.  D.  iii.  2.  239 : 
"  hold  the  sweet  jest  up ;"  2  Hen.  IV.  iv.  2.  48 :  "  And  heir  from  heir 
shall  hold  this  quarrel  up,"  etc. 

30.  A  gentleman.     Douce  says  that  Gerard  Leigh,  one  of  the  oldest 
writers  on  heraldry,  speaks  of  "Jesus  Christ,  a  gentleman  of  great  lin- 
eage, and  King  of  the  Jews ;"  and  again  :  "  the  second  man  that  was 
born  was  a  gentleman,  whose  name  was  Abell.     I  say  a  gentleman  both 
of  vertue  and  lignage,  with  whose  sacrifice  God  was  much  pleased.     His 
brother  Cain  was  ungentle,  for  he  offered  God  the  worst  of  his  fruites." 
Adam's  spade  is  mentioned  in  some  of  the  books  of  heraldry  as  the  most 
ancient  form  of  escutcheon. 

39.  Go  to.    Come !  a  common  phrase  of  exhortation  or  reproof.    Cf. 
Temp.  v.  I.  297,  etc. 

40.  What.    Who.    See  on  iv.  6.  I  above. 

51.  Unyoke.    That  is,  your  day's  work  is  done  (Caldecott).    J.  H.  sees 
an  allusion  to  Judges^  xiv.  18. 
54.  Mass.     "  By  the  mass  "  (ii.  I.  50  above). 

58.  Yaughan.     The  folio  reading  (in  italics,  as  if  a  proper  name) ;  the 
quartos  have  "get  thee  in."    The  word  is  apparently  meant  as  the  name 
of  an  alehouse-keeper,  and  has  been  suspected  to  be  a  corruption  of 
Johan,  the  Danish  John.     Mr.  C.  E.  Browne  (quoted  by  F.)  says  that 
it  is  a  common  Welsh  name,  and  may  have  been  that  of  some  Welsh 
tavern-keeper  near  the  theatre. 

59.  Stoup.     A  drinking-cup.     Cf.  v.  2.  255  below ;  also  T.  N.  ii.  3.  14, 
129,  and  Otk.  ii.  3.  30. 

60.  In  youth,  etc.     The  clown  sings  some  disjointed  lines  of  a  song  by 
Lord  Vaux,  entitled  "The  aged  lover  renounceth  love."     It  was  printed 
in  a  collection  of  "  Songes  and  Sonnettes,"  published  by  Tottel  in  1557 
The  following  are  the  stanzas  that  are  of  interest  here ; 

"  I  lothe  that  I  did  loue, 
In  youth  that  I  thought  swete: 
As  time  requires  for  my  behoue 
Me  thinkes  they  are  not  mete. 

For  age  with  stelytig  steppes, 

Hath  clawed  me  with  his  cowche  [crowch], 

And  lusty  life  away  she  leapes, 

4s  there  had  bene  none  such. 


ACT  V,     SCENE  I.  26 1 

A  pikeax  and  a  spade 
And  eke  a  shrowdyng  shete, 
A  house  of  claye  for  to  be  made, 
For  such  a  gest  most  mete. 

For  beauty  with  her  bande 
These  croked  cares  hath  wrought: 
And  shipped  me  into  the  lande, 
From  whence  I  first  was  brought." 

62.  The  O !  and  ah  !  form  no  part  of  the  song,  but  are  "  only  the 
breath  forced  out  by  the  strokes  of  the  mattock"  (Jennens). 

66.  Easiness.  "  Freedom  from  emotion,  unconcernedness"  (Schmidt). 
Perhaps  property  of  easiness  is  simply  =  an  easy  property,  an  easy  thing 
for  him.  Cf.  iv.  6.  19  above:  "thieves  of  mercy." 

69.   Daintier.     Nicer,  more  delicate.     Cf.  L.  L.  L.  iv.  3.  339,  etc. 

72.  Intil.  Into.  Wr.  quotes  Chaucer,  C.  7'.  2064 :  "  Ther  saugh  I 
Dyane  turned  intil  a  tree." 

75.  Jowls.  Knocks.  Cf.  A.  IV.  i.  3.  58:  "They  may  jowl  horns  to- 
gether." Clarke  remarks  here  :  "  If  proof  were  wanted  of  the  exquisite 
propriety  and  force  of  effect  with  which  S.  uses  words,  and  words  of  even 
homely  fashion,  there  could  hardly  be  a  more  pointed  instance  than  the 
verb  jowls  here.  "  What  strength  it  gives  to  the  impression  of  the  head 
and  cheek-bone  smiting  against  the  earth  !  and  how  it  makes  the  imag- 
ination feel  the  bruise  in  sympathy  !  " 

77.  Politician.  "  A  plotter,  a  schemer  for  his  own  advantage ;  as  in 
I  Hen.  IV.  i.  3.  241,  and  T.  N.  iii.  2.  34"  (St.).  ' 

O'er-reaches.  Apparently  =  has  the  better  of.  The  folio  has  "  o're 
Offices,"  and  some  modern  eds.  read  "o'er-offices"  =  is  higher  in  office. 

82.    That  praised,  etc.     Steevens  compares  T.  of  A.  i.  2.  216  fol. 

86.  Mazzard.     The  head  (contemptuous).     Cf.  Oth.  ii.  3.  155:   "I  '11 
knock  you  over  the  mazzard." 

87.  Revolution.     Change  of  fortune.     Cf.  A.  and  C.  i.  2.  129: 

"  the  present  pleasure, 
By  revolution  lowering,  does  become 
The  opposite  of  itself." 

Trick^"  knack,  faculty"  (Caldecott). 

88.  Loggats.     A  game  in  which  loggats,  or  small  logs,  are  thrown  at  a 
mark.     We  have  seen  a  similar  game  played  in  some  parts  of  New  Eng- 
land under  the  name  of  "  loggerheads."    Wr.  quotes  B.  J.,  Tale  of  a  Tub, 
iv.  6: 

"  Now  are  they  tossing  of  his  legs  and  arms 
Like  loggats  at  a  pear-tree." 

Halliwell  gives  the  following  from  a  poem  of  1611 : 
"  To  wrastle,  play  at  stooleball,  or  to  runne, 
To  pich  the  Barre,  or  to  shoote  off  a  Gunne, 
To  play  at  Loggats,  Nine-holes,  or  Ten-pinnes; 
To  try  it  out  at  Foot-ball  by  the  shinnes." 

91.  For  and.  Equivalent  to  "And  eke"  in  the  song  as  given  above. 
D.  quotes  B.  and  F.,  Knt.  of  Burning  Pescle,  ii.  3 : 

"  and  with  him  comes  the  lady 
For  and  the  Squire  of  Damsels,"  etc. 


NOTES. 


92.  For  to.     See  on  iii.  I.  167  above. 

95.  Quiddits.  The  folio  reading;  the  quartos  have  *  quiddities,"  ol 
which  quiddits  is  a  contraction.  It  was  applied  to  the  subtleties  or  nice 
distinctions  of  logic  and  law  Overbury,  in  his  Characters,  speaks  of  thf 
pettifogger  who  "makes  his  will  in  form  of  a  law-case,  full  of  quiddits." 
Quillets  means  much  the  same.  Cf.  L.  L.  L.  iv.  3.  288  :  "  Some  tricks, 
some  quillets,  how  to  cheat  the  devil;"  i  Hen.  VI.  ii.  4.  17  :  "these  nict 
sharp  quillets  of  the  law,"  etc. 

On  the  law  terms  which  follow,  Lord  Campbell  remarks  that  they  are 
"all  used  seemingly  with  a  full  knowledge  of  their  import  ;  and  it  would 
puzzle  some  practising  barristers  ...  to  go  over  the  whole  seriatim,  and 
to  define  each  of  them  satisfactorily." 

IOI.  The  fine  of  his  fines.  The  end  of  all  his  fines;  a  play  upon  the 
word.  We  have^/?«*=end  in  ii."2.  69  and  iv.  7.  132  above. 

104.  A  pair  of  indentures.  "Indentures  were  agreements  made  out  in 
duplicate,  of  which  each  party  kept  one.  Both  were  written  on  the  same 
sheet,  which  was  cut  in  two  in  a  crooked  or  indented  line,  in  order  that 
the  fitting  of  the  two  parts  might  prove  the  genuineness  of  both  in  case 
of  dispute  "(Wr.). 

106.  Box.  Alluding  to  the  boxes  in  which  attorneys  keep  their  deeds 
(Rushton). 

inheritor  here  Downer,  possessor  ;  as  in  L.  L  L.  ii.  I.  5  and  Rich.  III. 
iv.  3.  34  (Schmidt). 

no.  Assurance.  Safety,  security;  with  a  play  on  the  legal  sense  of 
"conveyance  of  lands  by  deed." 

Ii6.  Thine.  "Note  that  throughout  this  dialogue  Hamlet  addresses 
the  Clown  in  the  second  person  singular,  while  the  Clown  replies  in  the 
second  person  plural  "  (R).  See  Gr.  231,  232. 

120.  Quick.  Opposed  to  dead,  as  in  240  below.  Cf.  Acts.  x.  42,  etc. 
See  Hen.  V.  p.  156. 

130.  Absolute.  Positive,  certain  ;  as  in  Macb.  iii.  6.  40,  Cor.  iii.  1.  90,  iii. 
2.  39,  etc. 

Speak  by  the  card.  That  is,  with  the  utmost  precision.  The  card 
is  probably  the  chart  of  the  navigator,  though  some  take  it  to  be  the 
compass-card.  St.  thinks  the  allusion  is  to  the  card  and  calendar  of  eti- 
quette, or  book  of  manners.  See  A.  Y.  L.  p.  198,  and  cf.  v.  2.  109  below. 

133.  Picked.     "  Refined  "  (Schmidt)  ;  "  smart,  sharp  "  (Hanmer).     Cf. 
L.  L.  L.  v.  i.  14:  "  He  is  too  picked,  too  spruce,  too  affected,  too  odd  ;" 
and  K.  John,  i.  I.  193  :  "  My  picked  man  of  countries." 

134.  Kibe.    Chilblain.     Cf.  Temp.  ii.  i.  276,  M.  W.  L  3.  35,  and  Lear,  \. 

136.  Of  all  the  days,  etc.     Wr.  quotes  R.  and  J.  i.  3.  16  : 
"  Even  or  odd,  of  all  days  in  the  year, 

Come  Lammas-eve  at  night  shall  she  be  fourteen." 

140.  Hamlet  was  born.  This,  in  connection  with  what  follows,  makes 
Hamlet  thirty  years  old.  which  Blackstone  thought  to  be  inconsistent 
with  his  going  back  to  Wittenberg  (i.  2.  113).  Tschischwitz  replies  that 
this  is  now  no  unusual  age  for  a  student  at  a  German  university;  but, 
according  to  Minto  and  others,  it  would  have  been  unusual  in  the  time 


ACT  v.  SCE^EJ,  263 

of  S.,  when  young  men  generally  left  the  university  at  the  age  of  seven- 
teen  or  eighteen.  Besides,  many  other  things  in  the  early  part  of  the 
play  seem  to  show  that  Hamlet  was  "  nearer  twenty  than  thirty."  Dow. 
den,  on  the  other  hand,  argues  that  these  allusions  to  youth  are  not  in- 
consistent with  the  theory  that  Hamlet  was  thirty.  The  age  at  which  S. 
conceives  "  that  boyhood  is  blooming  into  adult  strength  and  beauty  "  is 
"from  twenty -one  to  twenty -five."  Henry  V.  when  he  ascended  the 
throne  was  twenty-six,  yet  the  Bishop  of  Ely  speaks  of  him  as  "  in  the 
very  May-morn  of  his  youth."  "  The  stolen  sons  of  Cymbeline,  boys  just 
ready  to  be  men,  are  aged  twenty-three  and  twenty-two,"  etc.  Cf.  Muck 
Ado,  in.  3.  141  :  "all  the  hot  bloods  between  fourteen  and  five-and-thir- 
ty."  The  grave-digger  himself  speaks  of  "young  Hamlet."  On  the 
whole,  we  may  make  Hamlet  at  least  twenty-five,  even  if  we  hesitate  to 
call  him  thirty.  Perhaps,  as  Furnivall  suggests, "  when  S.  began  the  play 
he  conceived  Hamlet  as  quite  a  young  man ;  but  as  the  play  grew,  as 
greater  weight  of  reflection,  of  insight  into  character,  of  knowledge  of 
life,  etc.  were  wanted,  he  necessarily  and  naturally  made  Hamlet  a  formed 
man ;  and  by  the  time  that  he  got  to  the  grave-diggers'  scene,  told  us 
the  Prince  was  thirty — the  right  age  for  him  then."  For  a  resume  of 
the  interesting  discussion  on  this  subject,  see  F.  vol.  i.  pp.  391-394,  and 
cf.  preface,  pp.  xiv.-xvii. 

146.  There  the  men,  etc.  Wr.  quotes  Marston,  Malcontent,  iii.  I :  "  Your 
lordship  shall  ever  finde .  .  .  amongst  a  hundred  Englishmen  fourscore 
and  ten  madmen." 

158.  You,     See  on  me,  ii.  2.  421  above,  or  Gr.  220. 

Eight  year.     See  on  a  thousand  pound,  iii.  2.  266  above. 

171.  Yorick.  Perhaps  the  Danish  Jdrg  (George).  F.  notes  that  "Jer 
ick  "  is  the  name  of  a  "Dutch  Bowr"  in  Chapman's  Alphonsus. 

178.  It  is.  That  is,  this  skull  which  is  all  that  is  left  of  him.  W.  says : 
"  What  he  abhors,  what  his  gorge  rises  at,  is  his  imagination  that  here 
hung  the  lips,  that  he  has  kissed.'"  Gorge  =  throat,  swallow,  stomach 
(Schmidt).  Cf.  V.  and  A.  58,  W.  T.  ii.  I.  44,  Oth.  ii.  i.  236,  etc. 

181.  On  a  roar.     For  on,  see  Gr.  180. 

184.  Favotir.  Look,  appearance;  as  often.  Cf.  M.  for  M.  iv.  2.  34: 
"  Pray,  sir,  by  your  good  favour, — for  surely,  sir,  a  good  favour  you  have, 
but  that  you  have  a  hanging  look,"  etc.  See  also  M.  N.  D.  p.  130. 

195.  Curiously.  Fancifully,  ingeniously.  Cf.  T.  of  S.  iv.  3.  144:  "the 
sleeves  curiously  cut."  Horatio  anticipates  some  fanciful  or  far-fetched 
reasoning  here,  to  which  Hamlet  replies  that  he  will  "  follow  him  thither 
with  modesty  enough  and  likelihood"  that  is,  not  overstepping  "the  mod- 
esty of  nature"  (iii.  2.  18)  and  probability — naturally,  not  sophistically. 

199.  Loam.  The  word  seems  to  mean  clay,  or  something  more  tena- 
cious'than  what  we  call  loam;  and  so  in  the  three  other  instances  in 
which  S.  uses  the  word:  M.N.D.  iii.  I.  70,  v.  I.  162,  and  Rich.  //.  i.  I.  179. 

202-205.  These  lines  are  marked  in  the  Coll.  MS.  as  a  quotation  ;  but 
probably,  as  Clarke  remarks,  "  Hamlet  is  merely  putting  into  rhyming 
form  the  fancy  that  for  the  moment  passes  through  his  mind."  On  this 
'•  tendency  to  doggerelize  when  he  is  speaking  lightly  or  excitedly,"  cf.  iii 
2.  272,  etc. 


264  NOTES. 

Imperious  is  the  quarto  reading,  the  folio  has  "  Imperiall."  Cf.  T.  and 
C.  iv.  5.  172:  "most  imperious  Agamemnon;"  T.  A,  iv.  4.  8l :  "be  thy 
thoughts  imperious,  like  thy  name  "  (cf.  Id.  v.  i.  6),  etc. 

Flaw.  Gust.  D.  quotes  Smith's  Sea  Grammar,  1627:  "A  flaw  of 
wind  is  a  gust,  which  is  very  violent  upon  a  sudden,  but  quickly  endeth." 
It  is  still  used  by  sailors  in  the  same  sense;  and  so  flawy= gusty.  Cf. 
F.  and  A.  456,  Cor.  v.  3.  74,  etc. 

M.  remarks  that  "the  passage  of  the  living  body  into  the  state  of  inan- 
imate beings  has  often  been  seriously  illustrated  in  a  somewhat  similar 
way;"  and  he  quotes  Wordsworth: 

'"No  motion  has  she  now,  no  force- 
She  neither  hears  nor  sees, 
Rolled  round  in  earth's  diurnal  course 
With  rocks,  and  stones,  and  trees." 

Still  more  similar  is  In  Memoridm,  Iv.     "  Shall  man,"  the  poet  asks, 

"  Who  loved,  who  suffered  countless  ills, 
Who  battled  for  the  true,  the  just, 
Be  blown  about  the  desert  dust, 
Or  sealed  within  the  iron  hills  ? " 

208.  Maimed.  Imperfect,  defective;  as  in  Oth.  i.  3.  99,  etc.  By  the 
English  law,  a  suicide  was  formerly  buried  at  the  meeting  of  cross-roads 
with  a  stake  driven  through  his  body  and  without  any  form  of  burial 
service  (Wr.). 

210.  Fordo.     See  on  ii.  I.  103  above;    and  for  it  =  its,  on  i.  2.  216. 
Estate.     Rank.     Cf.  R.  of  L.  92,  M.  of  F.  ii.g.  41,  etc. 

211.  Couch.    Hide;  perhaps,  literally,  lie  down.    Cf.M.  W.  v.  2. 1,  etc. 

216.  Warrantise.    The  folio  has  "  warrantis,"  the  quartos  "  warrantie." 
For  ivarrantise,  cf.  Sonn.  150.  7  and  I  Hen.  VI.  i.  3.  13. 

Doubtful.  "  Only  so  far  as  that  she  was  a  lunatic,  and  had  died  by  her 
own  act;  the  presumption  in  such  a  case  being  held  to  be  that  the  act 
was  wilful,  and  there  being  always  a  doubt  whether  Christian  burial  could 
then  be  demanded  ;  although,  as  Burn's  Ecclesiastical  Law  states,  there 
is  no  record  of  its  having  been  actually  refused  in  any  instance"  (M.). 
The  queen  has  said  that  the  death  was  accidental  (iv.  7.  171  fol.).  The 
context  implies  that  a  kind  of  "  maimed  "  burial-service  had  been  secured 
for  Ophelia  by  the  "great  command"  of  the  king. 

217.  Order.     That  is,  the  course  which  ecclesiastical  rules  prescribe 
(Caldecott). 

219.  For.     Instead  of.     See  Gr.  148. 

220.  Shards.     Potsherds,  fragments  of  pottery.     In  the  only  other  in- 
stance of  the  word  in  S.  it  means  the  wing-cases  of  beetles.    See  A.  and  C, 
iii.  2.  20,  and  cf.  Macb.  iii.  2.  42  and  Cymb.  iii.  3.  20. 

221.  Crants.     The  quarto  reading;   the  folio  has  "  rites,"  which  Rowe, 
K.,  W.,  H.,  and  some  others  prefer.     D.  and  Schmidt  define  crants  as 
"garland"  (German  Kranz).     According  to  Jamieson's  Scottish  Diet., 
crance  is  used  in  Lowland  Scotch  in  the  same  sense.     Nares  says  that 
no  other  example  of  crants  has  been  found  in  English;  but  Elze  has  dis- 
covered corancc,  which  is  evidently  the  same  word,  in  a  stage-direct'or 
of  Chapman's  Alphonsus :  "with  Corances  on  their  heads;"  and  again 


ACT  V.     SCENE  I.  265 

in  a  line  of  the  same  play :  "  When  thou  hast  stolen  her  dainty  rose- 
corance."  Johnson  suggests  that  S.  wrote  crants,  and  then  finding  tha 
the  word  was  provincial,  and  perhaps  not  understood,  changed  it  to  rites, 
"  a  term  more  intelligible,  but  less  proper." 

222.  Strewments.     Not  used  elsewhere  by  S.,  but  we  have  sire-wings  in 
the  same  sense  in  Cymb.  iv.  2.  285 :  "strewings  fitt'st  for  graves."     For 
the  custom,  Wr.  refers  to  R.  andj.'w.  5.79,89^.3.281,^.  T.  iv-4.  128, 
and  Cymb.  iv.  2.  218. 

Bringing  home.  "  As  the  bride  was  brought  home  to  her  husband's 
house  with  bell  and  festivity,  so  the  dead  maiden  is  brought  to  her  last 
home  with  bell  and  burial"  (Wr.). 

223.  Of.     With.     Gr.  193. 

227.  Peace-parted.  Having  parted  in  peace.  ¥orfart=  depart  or  die, 
cf.  Hen.  V.  ii.  3. 1 2,  Macb.  v.  8.  52,  etc.  So  timely-parted—  having  died  in 
time,  or  by  a  natural  death,  in  2  lien.  VI.  iii.  2.  161. 

229.    May  violets  spring.     Steevens  quotes  Persius,  Sat.  I : 

"  e  tumulo  fortunataque  favilla 
Nascentur  violae?" 

and  M.  compares  Tennyson,  In  Memoriam,  xviii. : 

"  'T  is  well;   't  is  something;  we  may  stand 
Where  he  in  English  earth  is  laid, 
And  from  his  ashes  may  be  made 
The  violet  of  his  native  land." 

233,  234.  For  shouldst  have  been  and  to  have  decked,  now  commonly 
considered  ungrammatical  when  used  as  here,  see  Gr.  360. 

237-    Ingenious  sense.     Keen  intellect.     Wr.  compares  Lear,  iv.  6. 287. 
242.    Skyish.     "Sky-aspiring"  (A'u/i.  II.  \.  3.  130). 

245.  Wandering  stars.     Wr.  explains  this  as  =  planets,  but  it  may  mean 
simply  the  stars  moving  through  the  heavens. 

246.  Wonder-wounded.     Wonderstruck. 

249.  Thou  pray'st  not  well.  "  A  litotes  marking  the  perfect  self- 
possession  of  Hamlet  at  first,  and  his  real  love  for  Laertes"  (M.). 

251.  Splenitive.  Passionate.  Cf.  j//«v/^  in  //£«.  F7/7.  iii.  2.  99,  and 
spleenful  vn  2  Hen.  VI.  iii.  2.  128  and  T.  A.  ii.  3.  191.  So  spleen  often  = 
passion,  impetuosity;  as  in  K.  John,  ii.  I.  68, 448,  iv.  3.  97,  v.  7.  50,  Kich. 
III.  v.  3.  50,  etc.  See  also  Af.  N.  D.  p.  129,  note  on  Spleen. 

253.  Wisdom.  The  folio  has  "  wisenesse,"  and  is  followed  by  K.,  St., 
M.,  and  others. 

257.  Wag.  Move.  Cf.iii.4.  39 above;  also/I/. ofV.  iv.  I.  76,  Cymb.  iv. 
2.  1 73,  etc.  As  Wr  remarks,  the  word  had  not  then  the  grotesque  signifi- 
cation which  it  now  has. 

260.   Quantity.     See  on  iii.  4.  75  above. 

264.  'Swounds.     See  on  ii.  2.  562  above. 

265.  Woo't.     A  provincial  contraction  for  wouldst  thou  or  wilt  thou, 
perhaps  used  here  contemptuously.     Cf.  A.  and  C.  iv.  2.  7  and  iv.  15.  59, 
where  it  "denotes  affectionate  familiarity"  (Wr.). 

266.  Eisel.     "  With  the  exception  of  the  dram  of  eale,  no  word  or 
phrase  in  this  tragedy  has  occasioned  more  discussion  than  this  Esill  [in 
the  quartos]  or  Esile  [in  the  folio],  which,  as  it  stands,  represents  nothing 


866  NOTES. 

in  the  heavens  above,  or  the  earth  beneath,  or  the  waters  under  the  earth" 
(F.).  Theo.  suggested  that  the  word  either  represents  the  name  of  a  river 
(as  the  Yssel)  or  is  an  old  word  meaning  vinegar.  The  latter  is  the  more 
probable,  as  the  A.  S.  aisil— vinegar.  Cf.  also  Sonn.  1 1 1.  10 : 

"  I  will  drink 

Potions  of  eisel  'gainst  my  strong  infection ;" 

vinegar  being  esteemed  a  protection  against  contagion.  Wr.  finds  "vyn- 
egre  or  aysel"  in  a  MS.  in  the  Library  of  Trinity  College,  Cambridge. 
There  is,  however,  something  to  be  said  in  favour  of  the  river,  for  which, 
as  well  as  for  other  explanations,  see  F.  vol.  i.  pp.  405-409. 

Eat  a  crocodile.  Referring,  as  some  suppose,  to  the  dried  or  pickled 
crocodile  of  the  apothecary  (cf.  R.  and  J.  v.  i.  43) ;  or  more  probably,  as 
others  believe,  to  the  toughness  of  the  creature's  hide. 

268.  In.     Equivalent  to  into,  as  often.     See  Gr.  159. 

273.  Mouth.     Brag,  rant.     Cf.  iii.  2.  2  above. 

277.  When  that.     See  Gr.  287,  and  cf.  iv.  4.  5  above. 

Golden  couplets.  The  pigeon  generally  sits  on  two  eggs,  and  her  young 
when  first  disclosed,  or  hatched  (see  on  iii.  i.  166  above),  are  covered  with 
a  yellow  down/ 

282.  The  cat  will  mew,  etc.  That  is,  things  have  their  appointed  course, 
nor  have  we  power  to  divert  it  (Caldecott).  "  Bay  "  has  been  proposed 
instead  of  day,  but  the  expression  was  a  common  one.  The  Princess 
Elizabeth,  in  a  letter  to  her  sister,  Queen  Mary,  says  :  "  As  a  doge  hathe 
a  day,  so  may  I."  Mr.  Daniel  quotes  New  Ctistom,  1573:  "Well  if  it 
chaunce  that  a  dogge  hath  a  day;"  and  B.  J.  Tale  of  a  Tub,  ii.  I  :  "A 
man  hath  his  hour,  and  a  dog  his  day." 

284.  Strengthen  yotir  patience.     Cf.  J.  C.  ii.  I.  248:    "Fearing    to 
strengthen  that  impatience,"  etc.     7«  =  in  the  thought  of  (Gr.  162). 

285.  We  '//  put,  etc.      "Let  us   push  on  the   matter   immediately" 
(Schmidt) ;  we  will  go  to  work  at  once.     For  present,  see  on  iv.  3.  64 
above ;  and  for  push,  cf.  W.  T.  v.  3.  129. 

287.  A  living  monument.    A  lasting  one  (Schmidt).    M.  makesit  =  "a 
statue  like  life  itself."     Wr.  suggests  that  the  expression  may  be  used  in 
a  double  sense :  that  of  enduring,  as  the  queen  would  understand  ;  and 
the  deeper  meaning,  which  Laertes  would  see,  by  which  the  life  of  Ham- 
let is  menaced. 

288.  Shortly.    The  folio  reading;  the  2d  quarto  has  "thirtie,"  the  later 
ones  "thereby." 

SCENE  II. — 6.  Mittines.     See  on  iii.  4.  83  above. 

Bilboes.  A  kind  of  fetters  by  which  mutinous  sailors  were  linked  to- 
gether ;  so  called  from  Bilboa,  in  Spain,  which  was  famous  from  Roman 
times  for  manufactures  of  iron  and  steel.  The  sword  known  as  the  bilbo 
(see  M.  W.  i.  i.  165  and  iii.  5.  112)  gets  its  name  from  the  same  place. 
As  the  prisoners  in  the  bilboes  were  fastened  close  together,  every  motion 
of  the  one  must  disturb  the  sleep  of  the  other. 

Rashly.  Hastily ;  as  in  Rich.  III.  iii.  5.  43  (Schmidt).  Hamlet  begins 
the  account  of  his  escape,  "and  then  is  carried  into  a  reflection  upon  the 
weakness  of  human  wisdom.  I  rashly — praised  be  rashness  for  it — let  us 


ACT  V.    SCENE  II,  tf-j 

not  think  these  events  casual,  but  let  us  know,  that  is,  take  notice  and 
rsmember,  that  we  sometimes  succeed  by  indiscretion  when  we  fail  by- 
deep  plots,  and  infer  the  perpetual  superintendence  and  agency  of  the 
Divinity  "  (Johnson). 

9.  Deep.    The  folio  has  "  deare,"  and  is  followed  by  Rowe,  K.,  St.,  and 
others.     Fail  is  Pope's  emendation  for  the  "  fall "  of  the  later  quartos. 
The  folio  has  "paule"  and  the  2d  quarto  "pall."    For  teach  the  quartos 
have  "  learne,"  which  S.  uses  in  the  same  sense ;  as  in  Temp.  i.  2.  365, 
2tc. 

10.  Shapes  our  ends,  etc.     Steevens  says  :  "  Dr.  Farmer  informed  me 
that  these  words  are  merely  technical.     A  wool-man,  butcher,  and  dealer 
in  skewers,  lately  observed  to  him  that  his  nephew  (an  idle  lad)  could 
only  assist  him  in  making  them  :— 'he  could  rough-hew  them,  but  I  was 
obliged  to  shape  their  ends.1    Whoever  recollects  the  profession  of  Shakes- 
peare's father  [see  Mer.  p.  9]  will  admit  that  his  son  might  be  no  stranger 
to  such  terms.     I  have  frequently  seen  packages  of  wool  pinned  up  with 
skewers."     Rough-hew,  however,  is  not  limited  to  skewer-making,  but  is 
a  general  word  in  carpentry  (and  metaphorically  in  other  connections)  for 
such  work  as  the  word  naturally  suggests — the  first  rough  hewing-cut  of 
the  material,  which  a  common  workman  can  do,  as  distinguished  from 
the  subsequent  shaping  and  finishing,  which   require  a  master  hand. 
Hunter  quotes  Palsgrave,  Table  of  Verbs,  1530:   "I  rough-heve  a  pece 
of  tymber  to  make  an  ymage  of;"  and  Florio,  Ital.  Diet.  1598  :  "  Abboz- 
zare,  to  rough  hew  any  first  draught,  to  bungle  ill-favouredly." 

1 1.  That  is  most  certain.     "  Horatio  for  once  expresses  a  slight  impa- 
tience, which  cuts  short  Hamlet's  generalization"  (M.). 

13.  Sea-gown.     Sr.  quotes  Cotgrave,  Fr.  Diet. :  "  Esclavine, ...  a  sea- 
gowne;  or  a  course  high-collered,  and  short-sleeued  govvne,  reaching 
downe  to  the  mid-leg,  and  vsecl  most  by  sea-men,  and  Saylors."    Scarf 'a 
=  "put  on  loosely  like  a  scarf"  (Schmidt). 

14.  Find  out  them.     Cf.  y.  C.  i.  3.  134:  "To  find  out  you;"  and  see 
Gr.  240. 

15.  Finger1  d.     Cf.  3  Hen.  VI.  v.  I.  44:   "The  king  was  slily  finger'd 
from  the  deck." 

17.  To  unseal.    For  the  omission  of  as,  see  Gr.  281.    Cf.  Macb.  ii.  3.  55, 
etc. 

20.  Larded.     See  on  iv.  5.  37  above. 

Several.     Separate,  different.     Cf.  L.  C.  206 :  "  I  have  received  from 
many  a  several  fair,"  etc.     For  reasons  the  folio  has  "  reason." 

21.  Importing.     Concerning.     Cf.  L.  L.  L.  iv.  1.57:   "This  letter  i:- 
mistook,  it  importeth  none  here  ;"  and  Olh.  i.  3.  284 :  "As  doth  impor< 
vou "  (where  the  quarto  has  "concern").    For  other  meanings  offtnport, 

ee  i.  2.  23,  iv.  3.  62,  and  iv.  7.  80  above. 

22.  Bugs.     Bugbears.     Cf.  T.  of  S.  i.  2.  211 :  "Tush  !  tush  !  fear  boys 
#ith  bugs  ;"  3  Hen.  VI.  v.  2.  2  :  "  For  Warwick  was  a  bug  that  fear'd  us 
all,"  etc.     In  both  passages  fear—  frighten.     Wr.  quotes  Coverdale's 
translation  of  the  Psalms  (xci.  5) :  "thou  shalt  not  nede  to  be  afrayed  foi 
eny  bugges  by  night  ner  for  arowe  that  flyeth  by  claye." 

23.  On  the  supervise.     That  is,  at  sight,  on  the  looking-over  o«-  reading 


268  NOTES. 

of  the  document.      So  the  verb  =  look  over,  inspect,  in  Z.  Z.  Z.  iv.  2.  124. 
Gr.  451.     Bated  =  excepted,  allowed. 

24.  Stay.  Stay  for,  wait  for  ;  as  in  A .  Y.L.  iii.  2.  221,  etc.  Cf.  the  in- 
transitive use  in  iii.  3.  95  above. 

29.  Be-netted.     For  verbs  compounded  with  be-,  see  Gr.  438. 
Villanies.     The  quartos  have  "villaines,"  the  folio  "Villaines;"  buf. 

the  sense  and  the  measure  both  require  villanies,  and  Walker  shows  that 
the  two  words  have  been  several  times  confounded  in  the  folio. 

30.  Ere  I  could  make,  etc.     "Before  I  formed  my  real  plan,  my  brains 
had  done  the  work.     This  line  should  be  carefully  remarked.     Hamlet 
writes  the  commission  under  a  strong  impulse  rather  of  imagination  than 
will,  the  ingenuity  of  the  trick  captivating  him.     Then  the  encounter  with 
the  pirate  puts  an  end  to  the  chance  of  undoing  it  ;  and  thus  he  is  driven, 
somewhat  uneasily,  to  justify  his  action  to  Horatio.     As  the  latter  receives 
his  narrative  with  something  like  surprise,  and  even  with  a  touch  of  com- 
passion, we  may  conclude  with  safety  that  Hamlet's  kindly  nature  would 
have  cancelled  the  letters  but  for  the  accident  which  hindered  his  doing 
so"(M.). 

31.  Sat  me  down.     For  the  reflexive  use,  cf.  iii.  4.  18  above  ;    also  2 
Hen.  IV.  iii.  i.  56,  3  Hen.   VI.  ii.  5.  14,  etc.     We  find  it  sometimes  in 
modern  writers  ;   as  in  Goldsmith,  Traveller,  32 :  "I  sit  me  down  a  pen- 
sive hour  to  spend;"   Tennyson,  Lotos- Eater  s :  "They  sat  them  down 
upon  the  yellow  sand,"  etc. 

33.  Statists.  Statesmen  ;  as  in  Cytnb. ii.  4.  16:  "Statist  though  I  am 
none."  Wr.  quotes  Milton,  P.  R.  iv.  354  :  "statists  indeed,  And  lovers 
of  their  country."  Blackstone  says:  "Most  of  the  great  men  of  Shake- 
speare's time,  whose  autographs  have  been  preserved,  wrote  very  bad 
hands  ;  their  secretaries  very  neat  ones." 

36.  Yeoman's  service.  The  ancient  yeomen  were  famous  for  their 
military  valour  (Steevens).  Cf.  Hen.  V.  iii.  i.  25  and  Rich.  III.  v.  3.  338. 

42.  A  comma.     "  So  as  to  separate  them  as  little  as  possible  "  (M.). 
Schmidt  says,  "  keep  their  amities  from  falling  together  by  the  ears." 
Hanmer,  followed  by  W.  and  H.,  reads  "  cement."     For  the  many  other 
attempts  at  emendation,  see  F. 

43.  As's.     A  quibble  is  intended  between  as  and  ass  (Johnson).   Ma- 
lone  remarks  that  in  the  midland  counties  the  s  in  as  is  usually  pro- 
nounced as  in  us.     Charge  =  \oa.d,  weight;   as  in  W.   T.  iv.  4.  261,  R. 
andj.  v.  2.  1 8,  etc. 

44.  Knowing.     The  folio  has  "know,"  which  many  eds.  follow.     Cf. 
Gr.  451.     For  knowing  as  a  noun,  cf.  T.  of  A.  iii.  2.  74,  Macb.  ii.  4.  4, 
Cymb.  i.  4.  30  and  ii.  3.  102. 

45.  Debatement.     Debate,  consideration;    as  in  M.  for  M.  v.  I.  99: 
"after  much  debatement." 

47. .  Shriving-time.  "  A  term  in  common  use  for  any  short  period  " 
(Hunter). 

48.    Ordinant.     Ordaining,  ruling.     The  folio  has  "  ordinate." 

50.  Model.     Copy,  counterpart.    Cf.  Rich.  //.  i.  2.  28,  iii.  2.  153,  etc. 

51.  Writ.     Commission,  mandate.     Cf.  Cymb.  iii.  7.   i:  "the  em- 
peror's writ." 


ACT  V.     SCENE  II.  269 

53.  Changeling.    Alluding  to  fairy  changelings.     See  M.  N.  D.  p.  138. 

54.  Seqtient.     Cf.  A,  IV.  ii.  2.  56 :   "  Indeed  your  '  O  Lord,  sir  !'  is  very 
sequent  to  your  whipping,"  etc.     The  folio  misprints  "sement." 

57.  Make  love  to.     Court,  seek.     Cf.  Macb.  iii.  i .  1 24 :   "I  to  your  as- 
sistance do  make  love,"  etc. 

58.  Near  my  conscience.     Cf.  A.  Y.  L.  v.  2.  68 :  "  near  the  heart;"  Hen. 
VIII.  iii.  I.  71 :  "so  near  mine  honour,"  etc.     For  defeat  the  folio  mis- 
prints "debate."     See  on  ii.  2.  556  above. 

59.  Insinuation.    Meddling;  insinuating  themselves  into  the  business. 
So  insinuate^ intermeddle  in  W.  T.  iv.  4.  760,  etc. 

61.  Pass.     Thrust;   as  in  159  below.     Cf.  the  stage-direction  at  iii.  4. 
23  above. 

62.  Opposites.     Opponents.     See  on  iii.  2.  203  above. 

63.  Thinks  Y  thee.    That  is,  thinks  it  thee  =  seems  it  to  thee:    In  Rich. 
II f.  iii.  I.  63,  the  folio  has  "  Where  it  think'st  best  vnto  your  Royall 
selfe;"  the  1st  and  2d  quartos  "seems  best."     This  think  is  the  same 
verb  that  we  have  in  met/links  (  =it  seems  to  me),  from  the  A.  S.  thincan, 
to  seem,  not  from  thencan,  to  think.    See  Gr.  297  (cf.  212).    The  folio  has 
"  meethink'st "  in  L.  L.  L.  ii.  3.  269. 

Stand  me  now  upon.  Be  incumbent  on  me.  Cf.  Rich.  IT.  ii.  3.  138; 
"  It  stands  your  grace  upon  to  do  him  right;"  and  A.  and  C.  ii.  i.  50 : 

"  It  only  stands 

Our  lives  upon  to  use  our  strongest  hands." 
See  Gr.  204. 

66.  Angle.     Angling-line;   used  literally  in  A.  and  C.  ii.  5.  10;   and 
again  figuratively,  as  here,  in  W.  T.  iv.  2.  52.     On  proper,  cf.  Temp.  iii.  3. 
60 :   "  their  proper  selves,"  etc. 

67.  Is  't  not  perfect  conscience.    That  is,  perfectly  consistent  with  a  good 
conscience.     We  should  not  use  such  an  expression  now,  nor  "  Made  it 
no  conscience  to  destroy  a  prince  "  {K.  John,  iv.  2.  229).     Cf.  Hen.  VI If. 
v.  3.  67. 

68.  Quit.     Requite;  as  in  257  below.     See  Rich.  II.  p.  208.     Lines 
68-80  are  omitted  in  the  quartos. 

70.  In.  Into;  as  in  v.  I.  268  above.  Come  in  further  evil=  commit 
further  crimes  (M.). 

73.  It  will  be  short,  etc.  "  You  never  suspect  the  errand  Hamlet  is  on 
until  you  happen  to  hear  that  little  word, '  the  interim  is  mine! '  It  means 
more  mischief  than  all  the  monologues !  No  threats,  no  imprecations, 
no  more  mention  of  smiling,  damned  villain;  no  more  self-accusal ;  but 
solely  and  briefly, '  It  will  be  short ;  the  interim  is  mine  ! '  Then,  for  the 
first  time,  we  recognize  the  extent  of  the  change  that  has  been  wrought 
in  Hamlet;  then,  for  the  first  time,  we  perfectly  comprehend  his  quiet 
jesting  with  the  Clown,  his  tranquil  musings  with  Horatio.  The  man  is 
transformed  by  a  great  resolve;  his  mind  is  made  up!  The  return  of  the 
vessel  from  England  will  be  the  signal  for  his  own  execution,  and  there- 
fore the  moral  problem  is  solved :  the  only  chance  of  saving  his  life  from 
a  lawless  murderer  is  to  slay  him;  it  has  become  an  act  of  self-defence; 
he  can  do  it  with  perfect  conscience.  He  has  calculated  the  return  voy- 
age; he  has  allowed  the  longest  duration  to  his  own  existence  and  the 


king's.    At  the  very  moment  he  encounters  the  Clown  in  the  churchyard 
he  is  on  his  death-march  to  the  palace  at  Elsinore  "  (Miles). 

78.  Court.    The  folio  has  "count;"  corrected  by  Rowe.     "Count" 
has,  however,  been  defended  as  =  make  account  of,  reckon  up,  value. 

79.  Bravery.    Bravado  (D.).    Cf.  J.  C.  v.  I.  IO:  "  With  fearful  bravery  ;" 
and  see  note  in  our  ed.  p.  175. 

83.  Water-fly-    '*  A  water-fly  skips  up  and  down  upon  the  surface  of 

the  water  without  any  apparent  purpose  or  reason,  and  is  thence  the 

proper  emblem  of  a  busy  trifler"  (Johnson).    Cf.  T.  and  C.  v.  1.  38  :  "  how- 

the  poor  world  -is  pestered  with  such  water-flies,  diminutives  of  nature  !'; 

85.  Gracious.    Cf.  i.  I.  164  above. 

88.  Chough.  See  Macb.  p.  221,  or  Temp.  p.  127.  F.  favours  Calde- 
cott's  suggestion  that  the  word  here  is—  chuff,  a  wealthy  boor  or  clown. 
Cf.  Cotgrave,  Fr.  Diet.  :  "  Franc-gontier.  A  substantiall  yonker,  wealthie 
chuffe  ;"  and  again  :  "  Maschefouyn.  A  chuffe,  boore,  lobcocke,  lozell  ; 
one  that  is  fitter  to  feed  with  cattell,  then  to  conuerse  with  men."  See 
also  Massinger,  Duke  of  Milan,  iii.  I  : 

"To  see  these  chuffs,  that  every  day  may  spend 
A  soldier's  entertainment  for  a  year, 
Yet  make  a  third  meal  of  a  bunch  of  raisins." 

90.  Sweet.    A  common  form  of  address  in  the  Elizabethan  court  Ian* 
guage  (Mommsen  apud  F.).     Cf.  iii.  2.  48  above. 

91.  Bonnet.     Cap.     See  Rich.  II.  p.  169. 

94.  Lordship.    The  folio  has  'friendship,"  which  K.  adopts. 

97.  Indifferent.    See  on  iii.  I.  122  above.    On  the  dialogue  here,  cf.  iil 
2.  351  fol.  t 

98.  For  'my,  etc.    The  quartos  have  "or  my  complection."  (or  "com- 
plexion."), and  some  modern  eds.  read  "  or  my  complexion—"     Cf.  i.  4. 
27  above. 

104.  /  beseech  you,  remember  —  .    The  full  expression  is  found  in  L.  L.  L. 
v.  i.  103  :  "  I  do  beseech  thee,  remember  thy  courtesy  ;  I  beseech  thee, 
apparel  thy  head."     Malone  thought  it  should  read  "  remember  not  thy 
courtesy  ;"  but  St.  shows  that  the  old  text  is  right.    He  cites  Lusty  Juven- 

and  cover  your  head  ;"  and  Every  Man 
,  remember  your  courts'y  .  .  .  Nay,  pray 

xplained  the  phrase  ;  but  probably,  a? 

W.  suggests,  remember  is  used  in  some  peculiar  and  perhaps  elliptical 
way.  It  is  curious  that  "leave  your  courtesy  "  is  used  in  the  same  senst 
in  M.  N.  D.  iv.  I.  21. 

105.  For  mine  ease.     Farmer  quotes  Marston,  Malcontent,  ind.  : 

"Citn.  I  beseech  you,  sir,  be  coverd. 
Sly.  No,  in  good  faith,  for  mine  ease." 

Malone  adds  from  Massinger,  New  Way  to  Pay  Old  Debts,  1L  3  ; 

"  Is  't  for  your  ease 
You  keep  your  hat  off?" 

and  from  Florio.  Second  Frutes  : 

"Why  do  you  stand  hareheddedi"  .  .  , 
Pardon  me,  good  sir,  I  doe  it  for  mine  ease." 


tus  :  "  I  pray  you  be  remembred,  and  cover  your  head  ;"  and  Every  Man 
in  His  Humour,  i.  I  :  "  Pray  you,  remember  your  courts'y  .  .  .  Nay,  pray 
you  be  cover'd."  No  one  has  explained  the  phrase  ;  but  probably,  a? 


ACT  V.     SCENE  77.  2? I 

106-139.  Sir,  here  .  .  .  unfellowed.  This  is  omitted  in  the  folio,  which 
has  only  "  Sir,  you  are  not  ignorant  of  what  excellence  Laertes  is  at  his 
weapon." 

1 06.  Absolute.     Complete,  perfect.     See  Hen.  V.  p.  170. 

107..  Excellent  differences,  "  Different  excellencies,"  as  Schmidt  ex- 
plains it  (p.  1416),  adding  many  similar  examples;  as  "murderous 
shame"  (Sonn.  9.  I4)=shameful  murder;  "aged  honour"  {A.W.\.  3. 
216)  =  honourable  age  ;  "expert  allowance"  (Oth.  ii.  i.  49)=  allowed  or 
acknowledged  expertness  ;  "negligent  danger"  (A.  and  C.  iii.  6.  8i)  = 
dangerous  negligence,  etc.  Caldecott  makes  it="  every  nice  punctilio 
of  good  breeding  ;  "  and  Wr.,  "distinctions  marking  him  ou*  from  the 
rest  of  men." 

108.  Feelingly.     So  as  to  hit  it  exactly  (Schmidt).    Cf.  M.forM.  i.  2. 
36  :  "Do  I  speak  feelingly  now  ?"     See  also  T.  JV.  ii.  3.   172. 

109.  Card  or  calendar  of  gentry.     "  The  general  preceptor  of  elegance  ; 
the  card  [see  on  v.  I.  131  above]  by  which  a  gentleman  is  to  direct  his 
course  ;   the  calendar  by  which  he  is  to  choose  his  time,  that  what  he  does 
may  be  both  excellent  and  seasonable  "  (Johnson).     Gentry= courtesy, 
gentlemanliness.     Cf.  ii.  2.  22  above. 

1 10.  The  continent,  etc.     The  sum  total  of  all  gentlemanly  qualities. 
See  on  iv.  4.  64  and  iv.  7.  72  above. 

in.  Definement.  Definition,  description.  The  sense  of  this  affected 
jargon  seems  to  be  :  You  describe  him  justly  ;  though  to  do  it  minutely 
and  thoroughly  would  overtask  one's  memory  and  yet  not  come  up  to  his 
deserts.  Verily,  he  is  a  man  of  manifold  virtues,  and  of  so  rare  a  nature 
that  none  but  himself  can  be  his  parallel,  while  those  who  would  imitate 
him  are  at  best  only  his  shadow. 

113.  Yaw,  A  vessel  yaws  when  she  falls  off  for  the  moment  from  her 
true  course.  The  term  is  still  in  use  among  sailors  ;  we  have  heard  it 
often.  D.  quotes  Coles, Diet.:  "To  yaw  (as  a  ship),  hue  illuc  vacillare, 
capite  nutare."  The  noun  occurs  in  Massinger,  Very  Woman,  iii.  5  :  "O, 
the  yaws  that  she  will  make !  "  where  Gifford  remarks  :  "  A.  yaw  is  that 
unsteady  motion  which  a  ship  makes  in  a  great  swell,  when,  in  steering, 
she  inclines  to  the  right  or  left  of  her  course." 

115.  Of  great  article.    That  is,  of  many  items. 

Infusion.  Endowments,  qualities  (Schmidt).  Dearth— :high  value 
(Johnson  and  Schmidt). 

116.  Semblable.     Cf.  T.  of  A.  iv.  3.  22  :  "  His  semblable,  yea,  himself, 
Timon  disdains,"  etc. 

117.  Trace.     Follow.     Cf.  Macb.  iv.  I.  153  :  "That  trace  him  in  his 
line,"  etc. 

Umbrage.     Shadow  ;   used  by  S.  only  here. 

1 20.  The    concernancy,  sir?    The  meaning,  sir  ?     What   does  this 
mean  ? 

121.  More  rawer.     See  on  ii.  I.  ii  above. 

123.  Is  '/  not  possible,  etc.  "The  meaning  may  be,' Can  l  you  under- 
stand your  own  absurd  language  on  another  man's  tongue  ?  Use  your 
v  its,  sir,  and  you  '11  soon  be  at  the  bottom  of  it ' "  (M.). 

12J.   Nomination.    Naming,  mentioning  by  name.  Cf.  I..L.  L.  iv.  2, 1  ^8. 


2/2 


NOTES. 


132.  Approve.     Make  approved,  commend  (Schmidt). 

135.   Compare  with.     Assume  to  rival. 

138.  Imputation.     Reputation,  opinion.     Cf.  M.  of  V.  i.  3.  13,  7'.  and 

'  1 39.'  Meed.  Merit.  Cf.  3  Hen.  VI.  iv.  8.  38  :  "  my  meed  hath  got  me 
fame,"  etc. 

144.  Imponed.     Staked  (Schmidt).     The  quartos  have  "  hee  has  im- 
paund  ;  "  the  folio  has  "  he  impon'd."     The  text  is  due  to  Theo. 

145.  Assigns.    Appendages;   an  "  affected  expression  "  (Schmidt). 

146.  Hangers.     The  straps  by  which  the  sword  was  hung  to  the  belt. 
Steevens   quotes  Chapman,  Iliad,  xi.  27  :    "  The  scaberd  was  of  silver 
plate,  with  golden  hangers  grac'd." 

148.  Liberal  conceit.     Tasteful  design.     Cf.  R.  of  L.  1423: 
"  For  much  imaginary  work  was  there  ; 

Conceit  deceitful,  so  compact,  so  kind,"  etc. 

150.  Edified  by  the  margent.  Instructed  by  the  explanation  in  the 
margin  ;  a  very  common  thing  in  old  books.  See  M.  N.  D.  p.  142. 
This  speech  of  Horatio  is  omitted  in  the  folio. 

153.  Germane.  Akin,  pertinent.  Cf.  W.  T.  iv.  4.  802  and  T.  of  A. 
iv.  3.  344. 

161.  Twelve  for  nine.     Johnson  says  :  "This  wager  I  do  not  under- 
stand.    In  a  dozen  passes  one  must  exceed  the  other  more  or  less  than 
three  hits.    Nor  can  I  comprehend  how  in  a  dozen  there  can  be  twelve 
for  nine."     Various  attempts  have  been  made  to  "  figure  it  out,"  but  they 
are  not  very  satisfactory.     We  venture  to  suggest  that  S.  wrote  the  "three 
hits  "  at  random,  and  added  the  "  twelve  for  nine  "  without  stopping  to 
think  whether  subtracting  the  three  from  twelve  made  the  arithmetic  all 
right.     Cf.  Hen.  V.\.  2.  57  fol.,  where  he  subtracts 426  from  805  and  gets 
a  remainder  of  421.  The  error  is  copied  from  Holinshed,  but  the  fact 
that  S.  did  not  see  and  correct  it  shows  his  carelessness  in  regard  to  such 
matters. 

162.  Answer.     Acceptance  of  the  challenge.     Cf.7".  and  C.  i.  3.  332: 
"  And  wake  him  to  the  answer"   (referring  to  the  challenge  of  Hector). 

167.  Breathing  time.    Time  for  exercise  (Schmidt).    Cf.  A.  IV.  i.  2.  17  : 
"  For  breathing  and  exploit ;  "  Id,  ii.  3.  271  :  "  thou  wast  created  for  men 
to  breathe  themselves  upon  thee  ;  "  Per.  ii.  i.  101  :  "  Here  is  a  lady  that 
wants  breathing  too"  (where  the  exercise  is  dancing),  etc. 

168.  Hold.     Changed  by  Capell  to  "  holding."     For  similiar  "  confu- 
sion of  two  constructions,"  see  Gr.  41 1  fol. 

169.  Will  gain.     For  the  -will,  see  Gr.  319. 

171.  Re-deliver.  Report  (Schmidt).  Cf.  iii.  I.  94,  where  it  is  used  in 
a  less  affected  way. 

177.  This  lapwing,  etc.  Steevens  quotes  Greene,  Never  too  Late:  "Are 
you  no  sooner  hatched,  with  the  lapwing,  but  you  will  run  away  with  the 
shell  on  your  head  ?"  Malone  adds  from  Meres,  Wifs  Treasury  :  "As 
the  lapwing  runneth  away  with  the  shell  on  her  head  as  soon  as  she  is 
hatched."  So  Webster,  White  Devil,  ii. :  "Forward  lapwing,  he  flies 
with  the  shell  on  's  head."  Hence  the  bird  was  the  symbol  of  a  forward 
fellow  ;  and  also  of  insincerity,  from  its  habit  of  alluring  intruders  from 


ACT  V,    SCENE  II.  27J 

its  nest  by  crying  far  away  from  it  (Wr.).  Cf.  M,  for  M.  i.  4.  33  ana 
C.  ofE.  iv.  2.  27. 

179.  Comply.     Use  compliment.play  the  courtier.    Cf.  ii.  2.  363  above. 

Bevy.    The  folio  has  "  Beauy,"  the  quartos  "breede"  or  "  breed." 

181.  Outward  habit,  etc.    "  Exterior  politeness  of  address"  (Henley). 

Yesty.  Frothy.  The  quartos  have  "  histy"  or  "  misty."  Cf.  Macb.  iv. 
1.  53 :  "  the  yesty  waves." 

183.  Fond  and  winnowed.  The  folio  reading  ;  the  quartos  have  "  pro- 
phane  (or  "  profane")  and  trennowed"  (or  "  trennowned  ").  "  Fanned  " 
and  "profound"  have  been  suggested  in  place  oifond.  If  any  change  is 
called  for,  the  former  is  very  plausible  ;  but  fond 'and 'winnowed  may  be  = 
foolish  and  over-refined  (cf.  picked  in  v.  I.  133  above). 

185-197.  Enter  a  Lord  .  .  .  instructs  me.    Omitted  in  the  folio. 

1 86.  Commended  him.  Cf.  T.  and  C.  iii.  I.  73  :  "Commends  himself 
most  affectionately  to  you  ;  "  M.of  V.  iii.  2.  235  :  "Antonio  commend* 
him  to  you,"  etc. 

189.  Or  that.    Or  if.    Cf.  iv.  7,  61,  150,  and  158  above.    Gt.  285. 

191.  Fitness.    Convenience  (Schmidt). 

194.  In  happy  time.    Just  in  time  ;  "  like  the  Fr.  it  la  bonne  heure  " 
(Wr.).     Cf.  T.  ofS.  ind.  i.  90,  A.  IV.  v.  i.  6,  F.  C  ii.  2.  60,  etc. 

195.  Gentle  entertainment.     "  Conciliating  behavior  "  (Caldecott). 

200.  At  the  odds.     "  With  the  advantage  that  I  am  allowed  "  (Malone). 

201.  But  thou  wouldst  not  think,  etc.     Coleridge  remarks  :  "Shakes- 
peare seems  to  mean  all  Hamlet's  character  to  be  brought  together  be- 
fore his  final  disappearance  from  the  scene  :  his  meditative  excess  in  the 
grave-digging,  his  yielding  to  passion  with  Laertes,  his  love  for  Ophelia 
blazing  out,  his  tendency  to  generalize  on  all  occasions  in  the  dialogue 
with  Horatio,  his  fine  gentlemanly  manners  with  Osric,  and  his  and 
Shakespeare's  own  fondness  for  presentiment." 

204.  Gain-giving.     Misgiving.     Cf.  gainsay  (gain  =  against,    A.   S. 


in).  So  gainstand-=  withstand,  gainstrtve=strive  against  (Spenser, 
~f.  Q.  ii.  4.  14:  "  Who  him  gainstriving  nought  at  all  prevaild"),  etc. 

207.  Repair.  Cf.  M.for  M.  iv.  I.  43,  L.  L.  L.  ii.  I.  240,  and  3  Hen. 
VI.  v.  i.  20.  Fit= ready  ;  as  in  Cor.  L  3.  47  :  "We  are  fit  to  bid  her 
welcome,"  etc. 

211.  Since  no  man,  etc.  The  quartos  have  "since  no  man  of  ought 
he  leaues,  knowes  what  ist  to  leaue  betimes,  let  be  ;"  the  folio,  "  since  no 
man  ha's  ought  of  what  he  leaues.  What  is't  to  leaue  betimes  ?  "  Warb., 
followed  by  Coll.,  Sr.,  Halliwell,  H.,  and  others,  reads,  "  Since  no  man, 
of  aught  he  leaves,  knows,  what  is  't  to  leave  betimes  ?  "  Rowe,  Pope, 
Theo.,  K.,  D.,  St.,  W.,  and  others,  have  "  Since  no  man  has  aught  of 
what  he  leaves,  what  is  't,"  etc.  The  reading  in  the  text  was  suggested 
by  Johnson,  who  assumed  that  the  "  knows"  of  the  quartos  was  right,  but 
was  misprinted  "  ha's  "  in  the  revised  form  of  the  passage  in  the  folio. 
Johnson  paraphrases  the  passage  thus  :  "  Since  no  man  knows  aught  of 
the  state  of  life  which  he  leaves,  since  he  cannot  judge  what  other  years 
may  produce,  why  should  he  be  afraid  of  leaving  life  betimes  ?  Why 
should  he  dread  an  early  death,  of  which  he  cannot  tell  whether  it  is  an 
exclusion  of  happiness  or  an  interception  of  calamity  ?  I  despise  the 


274  NOTES. 

superstition  of  augury  and  omens,  which  has  no  ground  in  reason  ™ 
piety  ;  my  comfort  is,  that  I  cannot  fall  but  by  the  direction  of  Provi 
dence."  Caldecott  explains  the  re-pointed  folio  reading  as  follows: 
"  Since  no  man  has  (that  is,  has  any  secure  hold,  or  can  properly  be  de- 
nominated the  possessor,  of)  any  portion  of  that  which  he  leaves,  or  must 
leave,  behind  him,  of  what  moment  is  it  that  this  leave-taking,  or  parting 
with  a  possession  so  frail,  should  be  made  thus  early  ?  "  Clarke  and  F. 
prefer  the  quarto  reading,  as  we  do,  on  the  ground  that  "  it  is  more  char- 
acteristic of  Hamlet  to  think  little  of  leaving  life,  because  he  cannot  solve 
its  many  mysteries,  than  because  he  cannot  carry  with  him  life's  goods." 

214.  Give  me  your  pardon,  etc.  Johnson  says:  "  I  wish  Hamlet  had 
made  some  other  defence  ;  it  is  unsuitable  to  the  character  of  a  brave  or 
a  good  man  to  shelter  himself  in  falsehood."  Seymour  believes  that  the 
passage  from  This  presence  to  enemy  in  227  below  is  an  interpolation, 
as  "the  falsehood  contained  in  it  is  too  ignoble." 

2l6.  This  presence.  The  abstract  for  the  concrete  ( Wr.).  Cf.  Z.  Z.  /. 
T.  2.  102,  K.John,  ii.  i.  196,  Rich.  II,  i.  I.  34,  etc. 

219.  Exception.  Disapprobation,  objection.  Cf.  Hen.  V.  ii.  4.341 
"modest  in  exception,"  etc. 

228.  Sir,  in  this  audience.     Omitted  in  the  quartos. 

232.  Brother.    The  folio  has  "  Mother." 

In  nature.  "  A  piece  of  satire  on  fantastical  honour.  Though  nature 
is  satisfied,  yet  he  will  ask  advice  of  older  men  of  the  sword  whether 
artificial  hop  «ur  ought  to  be  contented  with  Hamlet's  submission" 
(Steevens). 

238.  Ungor'a.  Un wounded,  unhurt.  The  folio  has  "  ungorg'd." 
Wr.  quotes  T.  and  C.  iii.  3.  228 :  "  My  fame  is  shrewdly  gor'd." 

245.  Stick  fiery  off.    Be  brilliantly  set  off,  «  stand  in  brilliant  relief* 

249.  Your  grace,  etc.  "I  understand  that  your  grace  has  taken  care 
that  points  shall  be  given  me  ;  but  for  all  that  I  fear  that  I  shall  be  the 
weaker.  No,  replies  the  king,  I  have  seen  you  both,  and  the  points  given 
will  counterbalance  his  Paris  improvement"  (M.).  According  to  Jen- 
nens,  the  odds ^  those  that  were  laid  in  the  wager,  namely,  the  greater 
value  of  the  king's  stake  as  compared  with  that  of  Laertes  (Ritson  com- 
putes the  values  as  twenty  to  one),  and  not  to  the  number  of  hits,  which 
is  what  the  king  refers  to  in  his  reply. 

251.  Since  he  is  better 'd.  "  Since  he  has  perfected  himself  in  his  art " 
(Schmidt).  The  quartos  have  "better." 

253.  Likes.    Pleases,  suits.     See  on  ii.  2.  80  above.     ,4=one  (Gr.  8l). 

257.  Quit,  etc.  Pay  him  off  in  meeting  him  at  the  third  encounter 
(Wr.).  Cf.  68  above. 


258.  Ordnance.    The  folio  has  "Ordinance."     See  Hen.  V.  p.  161. 

260.  Union.  A  fine  pearl.  Malone  quotes  Florio,  Ital.  Diet.: 
"Vmone,  ...  a  faire,  great,  orient  pearle."  Steevens  cites  Holland's 
Pliny:  "our  dainties  and  delicates  here  at  Rome,  haue  deuised  thk 
name  for  them,  and  call  them  Vnions ;  as  a  man  would  say,  Singular 
and  by  themselues  alone." 

263.  Kettle.    That  is,  kettle-drum.    Cf.  i.  4.  u  above. 


ACT  r.  SCENE  //  275 

270.  This  pearl,  etc.  "Under  pretence  of  throwing  a  pearl  into  the 
cup,  the  king  may  be  supposed  to  drop  some  poisonous  drug  into  the 
wine.  Hamlet  seems  to  suspect  this,  when  he  afterwards  discovers  the 
effects  of  the  poison,  and  tauntingly  asks  him, 'Is  thy  union  here?'" 
(Steevens). 

275.  He  'sfat,  etc.  Coll.  has  shown  that  Richard  Burbadge  was  the 
original  Hamlet,  and  that  these  words  were  inserted  because  he  was 
corpulent.  This  is  evident  from  an  elegy  upon  the  actor,  which  says: 


1  No  more 
Shall 


ore  young  Hamlet,  though  but  scant  of  breath, 
cry  '  Revenge ! '  for  his  dear  father's  death." 


276.  Napkin.      Handkerchief;  the  only  meaning  of  the  word  *n  S. 
See  A.  Y.  L.  p.  190;  or  cf.  L.  C.  15,  Otk.  iii.  3.  290,  306,  etc. 

277.  Carouses.    Drinks  a  health.    Cf.  Oik.  ii.  3.  55 : 

"  Now  my  sick  fool  Roderigo, 
Whom  love  hath  turn'd  almost  the  wrong  side  out, 
To  Desdemona  hath  to-night  carous'd 
Potations  pottle-deep, ''  etc. 

284.  And  yet,  etc.  "This  symptom  of  relenting  is  not  only  a  redeem- 
ing touch  in  the  character  of  Laertes  (and  Shakespeare,  in  his  large 
tolerance  and  true  knowledge  of  human  nature,  is  fond  of  giving  these 
redeeming  touches  even  to  his  worst  characters),  but  it  forms  a  judi- 
ciously interposed  link  between  the  young  man's  previous  determination 
to  take  the  Prince's  life  treacherously  and  his  subsequent  revealment  of 
the  treachery.  From  the  deliberate  malice  of  becoming  the  agent  in 
such  a  plot,  to  the  remorseful  candour  which  confesses  it,  would  have 
been  too  violent  and  too  abrupt  a  moral  change,  had  not  the  dramatist, 
with  his  usual  skill,  introduced  this  connecting  point  of  half  compunc- 
tion" (Clarke). 

287.  Afeard.  Used  by  S.  interchangeably  with  afraid.  See  M.  N.  D. 
p.  156  or  Macb.  p.  163. 

Make  a  wanton  of  me.  "  Trifle  with  me  as  if  you  were  playing  with  a 
child"  (Ritson).  Cf.  Rich.  II.  iii.  3.  164.  Schmidtmakes  it=treat  me 
like  an  effeminate  boy.  Cf.  K.  John,  v.  i.  70  and  Rich.  II.  v.  3.  10.  H. 
remarks  here:  "This  is  a  quiet  but  very  significant  stroke  of  delineation. 
Laertes  is  not  playing  his  best,  and  it  is  the  conscience  of  what  is  at  the 
point  of  his  foil  that  keeps  him  from  doing  so;  and  the  effects  are  per- 
ceptible to  Hamlet,  though  he  dreams  not  of  the  reason." 

290.  Much  has  been  written  on  the  change  of  rapiers  in  the  stage- 
direction,  for  an  abstract  of  which,  and  also  for  the  practice  of  celebrated 
actors,  see  F. 

294.  As  a  woodcock.  F.  quotes  a  writer  in  Notes  and  Queries  (Aug.  8, 
1874)  who.  says:  "This  bird  is  trained  to  decoy  other  birds,  and  some- 
times, while  strutting  incautiously  too  near  the  springe,  it  becomes  itseli 
entangled.  "  Cf.  i.  3.  115  above. 

296.  How  does  the  queen?    That  is,  what  is  the  matter  with  the  queen  i 

Swoons.  The  quartos  and  1st  and  2d  folios  have  "  sounds,"  the  latei 
folios  "swounds"  (  =  swoons),  a  pet  word  with  Mrs.  Browning. 

305.   Unbated.    See  on  iv.  7.  137  above;  and  for  practice,  iv.  7.  66, 137 

309.  Envenom1  d  too.    That  is,  envenomed  as  well  as  unbated. 


2?6  NOTES. 

314.  A  My  union  here  f    See  on  270  above. 

^6.  Tempered.    Mixed,  compounded  (Schmidt).    Ct  tf.  «»d  f.  HL  £ 

qS  and  Cymb.  v.  5.  250. 

319.  Laertes,  who  was  not  wounded  till  after  Hamlet,  dies  first  of  the 
poison  ;  but  possibly,  as  F.  suggests,  Hamlet  gave  Laertes  a  mortal 
thrust  in  return  for  the  "scratch,"  which  was  all  that  Laertes  was  aiming 
\t, — so  that  Laertes  dies  of  the  wound,  Hamlet  of  the  poison. 

323.  Mutes.     "  That  are  either  auditors  of  this  catastrophe,  or  at  rnos* 
only  mute  performers,  that  fill  the  stage  without  any  part  in  the  action  ** 
Johnson). 

324.  As.    See  Gr.  1 10,  and  cf.  iv.  3.  58  above. 

Sergeant.  Ritson,  Schmidt,  and  others  explain  this  as  =  "  bailiff,  or 
sheriff's  officer ;"  but  Mr.  J.  F.  Marsh,  in  Notes  and  Queries  (March  16, 
1878),  says  that  a  sheriff's  officer  was  not  called  a  sergeant,  and  that  the 
allusion  is  probably  to  the  sergeants-at-arms,  the  executive  officers  of  the 
two  Houses  of  Parliament  and  the  High  Court  of  Chancery.  Malone 
quotes  Silvester's  Du  Bartas :  "  And  Death,  drad  Seriant  of  th'  eternal! 
ludge."  Cf.  C.  of  E.  iv.  2.  56,  61,  iv.  3.  30,  40,  and  Hen.  VIII.  i.  i.  198. 

329.  Antique.  For  the  accent,  cf.  ii.  2. 455  above,  and  see  Macb.  p.  234, 
Wr.  quotes  here  A.  and  C.  iv.  15.  87. 

332.  O  God!    The  quartos  have  "  O  god  Horatio"  or  "  O  God  Hora- 
tio/      The  folio  has  "Oh  good  Horatio"  which  is  followed  by  many 
modern  eds. 

333.  Live  behind.    St.  quotes  Muck  Ado,  iii.  I.  lie :  "No  glory  lives 
behind  the  back  of  such."    For  live  the  quartos  have  "  I  leave ;"  and  W. 
reads  "  leave." 

335.  Felicity.    The  joys  of  heaven  (Delius). 

341.  Cfer-crows.  "As  a  victorious  cock  crows  over  his  defeated  an- 
tagonist "  (JennensX  Steevens  quotes  Chapman,  Odyssey: 

"and  told  his  foe 

It  was  not  fair  nor  equal  t'  overcrow 
The  poorest  guest;" 

and  Malone  adds  from  the  epistle  prefixed  to  Nash's  Pierce  PennUesse, 
1593 !  "and  overcrowe  me  with  comparative  terms." 

345.  Occurrents.    Occurrences,  incidents.     Steevens  quotes  Drayton, 
Barons*  Wars,  i.  12 :  "  As  our  occurrents  happen  in  degree ;"  and  Wr. 
adds  from  Holland's  Pliny,  xxv.  2 :  "  This  occurrent  fell  out  in  Lacetania." 

346.  Which  have  solicited.    "  Which  have  induced  me  to  act  as  I  have 
done  "  (M.X    Cf.  Rich.  II.  i.  2.  2. 

The  rest  is  silence.  "  To  Hamlet  silence  would  come  as  the  most  wel 
come  and  most  gracious  of  friends,  as  relief  to  the  action-wearied  soul, 
freedom  from  conflicting  motives,  leisure  for  searching  out  all  problems, 
release  from  the  toil  of  finding  words  for  thought ;  as  the  one  sole  Ian 
guage  of  immortality,  the  only  true  utterance  of  the  infinite  "  (M.). 

347.  Cracks.    Breaks.     Cf.  M.  W.  ii.  2.  301  :  "My  heart  is  ready  tt 
crack ;"  K.  John,  v.  7.  52 :  "  The  tackle  of  my  heart  is  crack'd  ;"  Cor.  -. 
3.  9 :  "  with  a  crack'd  heart,"  etc. 

,   3S2-. 7%/j  quarry  cries  on  havoc.     "This  heap  of  dead  proclaims  a» 
indiscriminate  slaughter  "  (W.).    Qnarry-the  game  killed  ;  as  in  Macb 


ADDENDA. 


277 


iv.  3.  206,  etc.  Johnson  makes  cries  on  =  exclaims  against;  but  it  is 
rather,  as  Schmidt  gives  it,— cries  out.  Cf.  Oth.  v.  i.  48:  "whose  noise 
is  this  that  cries  on  murther  ?"  For  havoc,  see  J.  C.  p.  160. 

353.  Toward.  See  on  i.  i.  77  above,  and  cf.  A.  and  C.  ii.  6.  75  :  "  Four 
feasts  are  toward."  For  eternal,  see  on  i.  5.  21  above. 

360.  His  mouth.  That  is,  the  king's  (Warb.).  Theo.  strangely  re« 
ferred  it  to  Hamlet. 

363.  Jump.     See  on  i.  i.  65  above. 

369.  Carnal.    Sensual  (Schmidt) ;  as  in  Oth.  i.  3.  335.    The  allusion  is 
'  .o  the  murder  of  the  elder  Hamlet  by  Claudius  previous  to  his  incestuous 

union  with  Gertrude  (Malone). 

370.  This  line  refers  to  Polonius,  and  the  next  to  Rosencrantz  and 
Guildenstern,  whose  deaths  were  forced  on  Hamlet  (Delius). 

371.  Put  on.     See  on  iv.  7.  130  above. 

372.  Upshot.    Conclusion,  final  issue.    Cf.  T.  N.  iv.  2.  76.    "  In  archery 
the  upshot  was  the  final  shot,  which  decided  the  match"  (Wr.).     For 
mistook,  see  Gr.  343. 

374.  Deliver.     Report,  relate.     See  on  i.  2.  193  above. 
377.  Rights  of  memory.     Rights  which  are  remembered  (Malone). 
380.  Will  draw  on  more.     Will  be  seconded  by  others  (Theo.). 
383.  On.     In  consequence  of  vGr.  180). 

385.  Put  on.     Put  to  the  proof,  tried  (Caldecott). 

386.  Passage.     Departure,  death  ;  as  in  iii.  3.  86  above. 

391.  "  Hamlet  has  gained  the  haven  for  which  he  longed  so  often  ;  yet 
without  bringing  guilt  on  himself  by  his  death  :  no  fear  that  his  sleep 
should  have  bad  dreams  in  it  now.  Those  whom  he  loved,  his  mother, 
Laertes,  Ophelia,  have  all  died  guiltless  or  forgiven.  Late,  and  under 
the  strong  compulsion  of  approaching  death,  he  has  done,  and  well  done, 
the  inevitable  task  from  which  his  gentle  nature  shrank.  Why  then  any 
further  thought,  in  the  awful  presence  of  death,  of  crimes,  conspiracies, 
vengeance?  Think  that  he  has  been  slain  in  battle,  like  his  Sea-King 
forefathers  ;  and  let  the  booming  cannon  be  his  mourners  "  (M.), 


ADDENDA. 

THE  "TIME-ANALYSIS"  OF  THE  PLAY.— This  is  summed  up  by  Mr 
P.  A.  Daniel  ( Trans,  of  New  Shaks.  Soc.  1877-79,  P-  2  '4>  as  follows : 

"  The  time  of  the  Play  is  seven  clays  represented  on  the  stage — or  eight 
if  the  reader  prefers  to  assign  a  separate  day  to  the  last  scene — with  two 
intervals. 

Day  i.  Act  I.  sc.  i.  to  iii. 
"     2.  Act  I.  sc.  iv.  and  v. 

An  interval  of  rather  more  than  two  months. 

3.  Act  II.  sc.  i.  and  ii. 

4.  Act  III.  sc.  i.  to  iv.,  Act  IV,  sc.  i.  to  iii. 

5.  Act  IV.  sc.  iv. 

An  interval — a  week? 

6.  Act  IV.  sc.  v.  to  vii. 

7.  Act  V.  sc.  i.  and  ii." 


278  ADDENDA. 

LIST  OF  CHARACTERS  IN  THE  PLAY,  WITH  THE  SCENES  IN  WHICH 
THEY  APPEAR. — The  numbers  in  parentheses  indicate  the  lines  the 
characters  have  in  each  scene. 

King:  i.  2(93);  ii.  2(39);  iii.  1(40),  2(7),  3(50);  iv.  1(34),  3(44), 
5(67),  7(140;  v-  i (9)i  2(27).  Whole  no.  551. 

Hamlet:  i.  2(iO3),4(68),  5(99);  «•  2(302);  iii.  1(84),  2(245),  3(24), 
4(176);  iv.  2(23),  3(26), 4(47);  v.  1(142),  2(230).  Whole  no.  1569. 

Polonius:  i.  2(4),  3(68);  ii.  1(87),  2(146);  iii.  1(23),  2(13),  3(9), 
4(7).  Whole  no.  357. 

Horatio:  i.  1(100),  2(50),  4(26),  5(17);  iii.  2(9);  iv.  5(2),  6(28); 
v.  1(12),  2(54).  Whole  no.  298. 

Laertes:  i.  2(7),  3(53);  iv.  5(48),  7(47);  v.  1(18),  2(35).  Whole 
no.  208. 

Voltimand:  i.  2(1);   ii.  2(21).     Whole  no.  22. 

Cornelius:  i.  2(0-     Whole  no.  I. 

Rosencrantz:  ii.  2(50);  iii.  1(12),  2(15),  3(14);  iv.  2(9),  3(4),  4(i). 
Whole  no.  105. 

Guildenstern .  ii.2(2i);  iii.  1(5),  2(24),  3(5)  ;  iv.  2(2).  Whole  no.  57. 

Osric:  v.  2(56).     Whole  no.  56. 

1st  Gentleman  :  iv.  5(12).     Whole  no.  12. 

zd  Gentleman:  iv.  5(11).     Whole  no.  n. 

1st  Priest :  v.  1(13).     Whole  no.  13. 

Marcellus:  i.  1(46),  2(6),  4(7),  5(8).     Whole  no.  67. 

Bernardo:  i.  1(34),  2(4).     Whole  no.  38. 

Francisco:  i.  1(10).     Whole  no.  10. 

Reynaldo  :   ii.  1(15).     Whole  no.  15. 

1st  Player :  ii.  2(48) ;   iii.  2(3).     Whole  no.  51. 

Player  King:  iii.  2(44).     Whole  no.  44. 

Lucianus :  iii.  2(6).     Whole  no.  6. 

Fortinbras:  iv.  4(8);  v.  2(19).     Whole  no.  27. 

Captain:  iv.  4(12).     Whole  no.  12. 

1st  Sailor  :  iv.  6(5).     Whole  no.  5. 

1st  Clown:  v.  1(107).     Whole  no.  107. 

zd  Clown:  v.  1(19).     Whole  no.  19. 

1st.  Ambassador:  v.  2(6).     Whole  no.  6. 

Lord:  v.  2(10).     Whole  no.  10. 

Servant:  iv.  6(1).     Whole  no.  I. 

Messenger:  iv.  7(5).     Whole  no.  5. 

Ghost:  i.  5(89);  iii.  4(6).     Whole  no.  95. 

Queen:  i.  2(10);.  ii.  2(20);  iii.  1(9),  2(4),  4(47);  iv.  1(12),  5(16), 
7(20;  v.  i  (12),  2(7).  Whole  no.  158. 

Ophelia  :  i.  3(20);  ii.  1(28);  iii.  1(33),  2(18);  iv.  5(76).     Whole  no. 


lyer  Queen;  iii.  2(30).     Whole  no.  30. 
^rologue  "  :  iii.  2(3).     Whole  no.  3. 
"":i.2(0;  i".  2(0;   iv.  5(3);  v.i(0,2(i).     Whole  no.  7. 


"  Prologue 

«Air    • 


ADDENDA. 


27? 


In  the  above  enumeration,  parts  of  lines  are  counted  as  whole  lines, 
making  the  total  in  the  play  greater  than  it  is.  The  actual  numher  of 
lines  in  each  scene  (Globe  edition  numbering)  is  as  follows:  i.  1(175), 
2(258),  3(136).  4(9X),  5(190  5  »•  I(U9).  2(633)  I  i".  1(196),  2(417),  3(98), 
4(217) ;  iv.  1(45),  2(33),  3(70),  4(66),  5(220),  6(34),  7(195) ;  v.  1(322), 
2(414).  Whole  number  in  the  play,  3930. 

Hamlet  is  the  longest  of  the  plays.  Richard  II.  comes  next,  with 
3618  lines  ;  then  Tivilus  and  Cressida,  with  3496  ;  2  Henry  IV.,  with 
3446;  Coriolanus,  with  3410;  and  Henry  V.  with  3380.  The  Comedy 
of  Errors  is  the  shortest,  with  1778  lines ;  next.  The  Tempest,  with 
2065  ;  and  Macbeth,  with  2109  (much  the  shortest  of  the  great  tragedies). 

Hamlet  speaks  more  lines  (1569)  than  any  other  character  in  any  one 
play.  Richard  III.  comes  next,  with  1161  lines  ;  then  lago,  with  in^, 
and  Henry  V.  with  1063.  Of  the  characters  who  appear  in  more  than 
one  play,  Henry  V.,  as  prince  and  king,  has  the  most  lines  (including 
616  in  1  Henry  IV.  and  308  in  2  Henry  IV.},  or  1987  in  all.  FalstafJ 
comes  next  with  1895  in  all  (719  in  1  Henry  IV.,  688  in  2  Henry  IV., 
and  488  in  the  Merry  Wives). 


AVON,  NEAR    LUDDINGTON. 


RICHARD   BURBADGE  (p.  2J5> 


INDEX  OF    WORDS    AND    PHRASES 
EXPLAINED. 


*  (-one),  274. 

as  (=namely),  193. 

bettered,  374. 

about,  214. 

as's,  268. 

bilboes,  266. 

abridgment,  209. 
absolute,  262,  271. 
absurd  (accent),  222, 

aspect  (accent),  2x3. 
assay  (=  proof),  202,  233. 
assay  (verb),  216. 

bisson,  212. 
blank  (  =  target),  243. 
blanks  (=blanches),  327. 

abuse  (  =  deceive),  215. 

assays  of  bias,  200, 

blastments,  188. 

abuse  (noun),  255. 

assigns,  272. 

blench,  215. 

act  (=  action),  186. 

assurance,  262. 

bloat,  240. 

addition  (  =  title),  193,  199. 

assure  you,  202. 

blood,  187,  223,  246. 

admiration,  230, 

at,  244. 

blown,  220. 

adulterate,  195. 

at  foot,  244. 

board  (  =  accost),  204., 

aery,  207. 

at  height,  193. 

bodkin,  217. 

afeard,  274. 

at  point,  186. 

bodykins,  212. 

affection,  210. 

attent,  185. 

bonnet  (  =  cap),  270. 

affections,  220. 
affront  (=meet),  axfi, 
afoot,  223. 
against  (of  time),  176,211, 

attribute,  193. 
authorities,  243. 
avouch  (noun),  172, 
a-work,  211. 

Bonny  Sweet  Robin,  232. 
bore  of  the  matter,  253. 
borne  in  hand,  202. 
bound,  195. 

236. 

ay  (dissyllable),  199. 

bourn,  218. 

aim  f=  guess),  247. 
a-making,  191. 

back  (  =  reserve),  357. 

brainish,  242. 
brave,  205. 

amaze,  2x3. 
ambition,  233. 

bak'd  meats,  185. 
Baptista,  228. 

bravery  (  =  bravado),  270. 
breathe  (  =  speak),  199. 

amble,  219. 

bare  (=mere),  217. 

breathing  time,  272. 

amiss  (noun),  247. 

barred,  177. 

broad  (  =  free),  235. 

an  end,  195. 

barren,  222. 

brokers,  191. 

anchor  (  =  anchorite).  337. 
angle  (  =  fish-line),  369. 

bate  (  =  blunt),  257. 
bated  (=excepted),  268. 

brooch,  256. 
bruit,  182. 

annexment,  232, 

batten,  236. 

brute  (play  upon),  224. 

another,  199. 

be,  x74\ 

bugs  (=  bugbears),  t(rf. 

answer,  240,  242,  272 

be  it  either  which,  234. 

bulk  (=  breast)  ,  200. 

antic,  198. 

beaten,  205. 

but  (  =  except',  174. 

antique,  275. 

beautied,  216. 

buttons  (=buds),  x88. 

any  the  most,  180. 

beautified,  203. 

buz,  buz  !  208. 

apart  (  =  aside),  242. 

beaver,  186. 

buzzers,  248. 

apopkxed,  237. 

beck,  at  my,  219. 

by  and  by,  231. 

appointment,  253. 

bedded,  238. 

by  (=  with),  250. 

approve  (  =  commend),  271. 

belike,  225. 

approve  (  =  prove),  171. 

bended,  200. 

can  (  =  can  do),  233,  255. 

appurtenance,  208. 

be-netted,  268. 

candied,  222. 

argal,  259. 

bent,  202. 

canker,  188. 

argument,  207,  225,  227,  246. 

beseeched,  216. 

canonized  (accent),  194. 

arm  you,  232. 

beshrew,  201. 

capable,  239. 

arras,  204. 
art,  203. 
article,  of  great,  271. 
as  (  =  as  if),  200,  249,  255. 

bespeak,  203. 
bestow,  212,  240. 
beteem,  183. 
bethought,  190. 

cap-a-pe,  186. 
card  or  calendar  of  gentry. 
271. 
card,  speak  by  the,  262. 

as  (=for  so),  244,  258,275. 

better,  you  were,  212. 

carouses,  275. 

282   INDEX  OF  WORDS  AND  PHRASES  EXPLAINED. 


carnal,  277. 
carry  it  away,  208. 
cart  (^chariot),  225. 
cast,  201. 

condolement,  180. 
confederate,  228. 
confine  (accent),  176. 
confines,  203. 

deliver  (-relate),  186,  277. 
demanded  of,  243. 
demonstrated  (accent),  173. 
Denmark  (=King  of  Den 

cat  will  mew,  etc.,  266. 

confront,  233. 

mark),  181. 

cautel,  187. 

conjunctive,  234. 

denote,  180. 

caviare,  210. 

conscience,  perfect,  269. 

deprive,  195. 

cease  (noun),  232. 

contagion,  257. 

desires  (=good  wishes),  2«" 

censure    (  =  opinion),   190, 

content  (  =;  please),  216. 

dexterity,  184. 

193,  221,  224. 

continent,  246,  271. 

didest,  255. 

centre,  204. 

contraction,  235. 

difference,  with  a,  252. 

chameleon's  dish,  the,  224. 
change  (—exchange),  184. 
changeling,  269. 
chanson,  pious,  209. 
character  (accent),  189,  255. 

Contrary  (accent),  227. 
contrive  (=plot),  257. 
converse,  199. 
convert  my  stern  effects,  237. 
convoy,  187. 

differences,  271. 
dilated,  178. 
disappointed,  196. 
disaster,  173. 
disclose  (=hatch),  220,  266 

charge  (=cost),  246. 
charge  (=load),  268. 
chariest,  188. 

coped  withal,  222. 
corrival,  170. 
coted,  206. 

discourse  of  reason,  '83. 
discourse,  such  large,  246. 
discovery,  203. 

check  at,  253. 

couch  (verb),  264. 

disjoint,  173. 

cheer,  226,  227. 

count  (--account),  234. 

dispatched,  196. 

chief  (adverb),  190. 

countenance,  243. 

disposition,  194. 

chopine,  209. 

counter,  249. 

disprized,  217. 

chorus,  228. 
chough,  270. 
cinkapase,  222. 

counterfeit,  236. 
couplets,  golden,  266. 
cousin  (=nephew),  179. 

distempered,  229. 
distract,  246. 
distrust,  226. 

circumstance,  197,  234. 

cracks,  276. 

divulging,  242. 

clepe,  193. 

crants,  264. 

document,  251. 

climature,  173. 

credent,  188. 

dog  will  have  his  day,  tn- 

closely  (=secretly),  216. 
closet,  200,  230. 

crescent,  187. 
cried  in  the  top  of,  210. 

266. 
doom  (=doomsday),  236. 

coagulate,  211. 

crimeful,  233. 

doublet,  200. 

cockle-hat,  247. 

crocodile,  eat  a,  266. 

doubt  (=  disbelieve),  203. 

coil  (^turmoil),  217. 

crow-flowers,  258. 

doubt  (=suspect),  187,  202 

cold  (=chaste),  258. 

crowner's  quest  law,  239. 

220. 

coldly  set,  245. 

cry  (=company),  220, 

douts,  259. 

colour,  will  want  true,  239. 
columbines,  251. 

cue,  213. 
cullison,  222. 

down-gyved,  200. 
dram  of  eale,  193. 

come  in  further  evil,  269. 

cunnings,  237. 

dreadful,  186. 

come  tardy  off,  221. 

curb,  239. 

drift  of  circumstance,  215, 

come  your  ways,  191. 

curiously,  263. 

drive  upon,  211. 

comma,  268. 

currents  (=courses),  233. 

duke  (=king),  228. 

commendable  (accent),  180. 

cutpurse,  238. 

comment  of  thy  soul,  223. 
commerce.  218. 

daintier,  261. 

eager,  192,  196. 
eale,  193. 

commune  (accent),  252. 

daisy,  252. 

easiness,  261. 

commutual,  225. 

Dane  (=King  of  Denmark), 

eat  (=eaten),  244. 

compact  (accent),  173. 

170. 

ecstasy,  20:,  237,  239. 

compare  with,  272. 

Danskers,  199. 

edge,  216. 

compelled,  253. 
complete  (accent),  194. 

dead-men'  s-fingers,  258. 
dear,  185,  223. 

effects  (—  action),  239. 
eisel,  265. 

<»mplexion,  193. 
comply  with,  208,  273. 
compulsative,  174. 

dear  a  halfpenny,  205. 
debate  (=decide),  243. 
debatement,  268. 

eldest,  232. 
Elsinore,  169. 
emulate  (=envious),  173. 

compulsive,  237. 

decline  upon,  196. 

enact  (=act),  224. 

comrade  (accent),  190. 
conceit  (^conception),  213. 

declining,  211. 
deeply-sworn,  227. 

enactures,  226. 
encompassment    and    drif) 

conceit  (=  imagination),  238, 
248. 

defeat  (=ruin),  214. 
defeated  (=marred),  177. 

199. 
encumbered,  198. 

Conceit,  liberal,  272. 

defeature,  177. 

engaged,  233. 

concernancy,27i. 

defence,  236.            . 

enginer,  241. 

loncernings,  241. 

definement,  271. 

entreatments,  191. 

;onclusions,  241. 

deject,  219. 

enviously,  247. 

INDEX  OF  WORDS  AND  PHRASES  EXPLAINED.  283 


erring  (=  wandering),  176. 

free  (=willing),  244. 

heavens,  202. 

escoted,  207. 

French  falconers,  210. 

hebenon,  196. 

espials,  216. 
estate  (  =  rank),  264. 

fret,  230. 
fretted,  205. 

Hecate(pronunciation)  ,228. 
hectic,  245. 

eternal  blazon,  195. 

friending,  198. 

hent,  234. 

even  (  =  honest),  205. 

from  (  =  away  from),  221. 

Hercules,  183,  208. 

even-Christian,  260 

front  (=forehead),  236. 

hernshaw,  208. 

event  (  =  issue),  246. 
exception,  274. 

fruit  (=  dessert),  202. 
full  of  bread,  234. 

Herod,  221. 
hey-day,  236. 

excrements,  238. 

function,  213. 

hide  fox,  etc.,  244. 

expostulate,  203. 

fust,  246. 

hillo,  ho,  ho,  197. 

express,  206. 

him  (  =  he),  199. 

expressed  in  fancy,  190. 

gain-giving,  273. 

his  (=its),  193,  194,  233. 

extent,  208. 

gait,  178. 

hoar,  .58. 

extravagant,  176. 

galled  eyes,  184. 

hobby-horse,  225. 

eyases,  207. 

general  (  =  people),  210. 

hoist,  241. 

general  gender,  254. 

hold  up,  260. 

fair  (proleptic),  219. 
falls  (  =  happens),  255. 

gentle  entertainment,  273. 
gentry,  202. 

holds  quantity,  226. 
hold's!  at  aught,  244. 

fanged,  241. 

germane,  272, 

honest  (  =  virtuous),  218. 

fantasy,  171. 

get  thee,  219. 

hoodman-blind,  237. 

fardels,  218. 

gib,  240. 

how  (=however),  231. 

fares  (play  upon),  224, 
farm  (  =  lease),  245. 
fashion,  187,  220. 

gins,  197. 
giving-out,  198. 
globe  (  =  head),  197. 

how  purposed?  245. 
how  say  you  by  that?  204. 
hugger-mugger,  in,  248. 

favour,  252,  263. 

go  about,  230. 

humorous,  206. 

fay,  205. 

go  to,  191,  260. 

humour,  201. 

fear  (=fear  for),i88,23s,  249. 
fear(=object  of  fear),  232. 
feature,  220. 

God-a-mercy,  204. 
God  'ield  you  !  247. 
good  kissing  carrion,  204. 

husbandry,  190. 
hush  (noun),  211. 
Hyperion,  183,  236. 

feeds  on  his  wonder,  248. 

good  now,  173. 

Hyrcanian  beast,  211. 

feelingly,  271. 
felicity,  276. 

gorge,  263. 
race  (  =  honour),  181. 

idle,  224. 

fennel,  251. 
fetch  of  warrant,  199. 

racious  (  =  blessed),  177. 
rained,  237. 

ill-breeding,  247. 
illume,  171. 

fierce,  175. 

rating,  216. 

image,  227. 

figure,  203. 

reen,  190. 

immediate,  181. 

find  (  =  detect),  220. 

reenly,  248. 

impartment,  194. 

fine,  210,  262. 

ross,  246. 

impasted,  211. 

fingered,  267. 

rossly,  234. 

imperious,  264. 

fire  (dissyllable),  191. 
first,  202. 

roundlings,  220. 
runt  (=groan),  218. 

implorators,  191. 
imponed,  272. 

fit  (  =  ready),  273. 

ules,  2ii. 

important,  238.                        , 

fitness,  273. 

ulf,  232. 

importing,  178,  267. 

flaw  (  =  gust),  264, 

guts,  241. 

importuned  (accent),  190. 

flush,  234. 

imposthume,  245. 

flushing,  183. 

hairs  (=hair),  238. 

impress,  173. 

fond  (=foolish),  197. 
fond  and  winnowed,  273. 
for  (=as  for),i8i,  187,  240. 
for  (  =  instead  of),  264. 
for  and,  261. 

handsaw,  208. 
handsome,  210. 
hangers,  272. 
happily  (  =  haply),  175,  208. 
haps,  245. 

imputation,  272. 
in  (  =  into),  203,  237,  266. 
in  (  =  in    the    thought  of), 
266. 
in  all  my  best,  181. 

for  to,  220. 

haste  (transitive),  195. 

in  few,  191. 

fordo,  201,  264. 
fore,  2ii. 

hatchment,  253. 
haunt,  out  of,  242. 

in  happy  time,  273. 
in  little,  208. 

forestall,  233. 
forged  process,  195. 

have  (  =  find),  254. 
have  after,  195. 

in  pause,  232. 
in  that,  178. 

forgery,  256. 

haviour,  180. 

in  the  ear,  220. 

Fortinbras,  173. 

havoc,  276. 

in  this  consequence,  199. 

forward,  187,  216. 

head  (  =  armed  force),  749. 

incapable,  258. 

fox  (  =  sword),  244. 

health,  255. 

incorporal,  238. 

rame,  229. 

hearsed,  194. 

incorpsed,  256. 

«ree  (  =guiltless>  ,  213,  228. 

heaven  (plural),  240. 

incorrect,  180. 

284    INDEX  OF  WORDS  AND  PHRASES  EXPLAINED. 


indentures,  262. 

lies,  233. 

mouse,  240. 

index,  236. 

lightness,  204. 

mouth  (verb),  266. 

indict,  210. 

like  (  =  likely),  186. 

mows,  208. 

indifferent,  205. 

like  (  =  uniform),  256. 

much  (  =  great),  170. 

indifferent  (adverb),  219. 

like  as,  1  86. 

muddy-mettled,  213. 

indifferently,  221. 

likes  (  =  pleases),  202,  274. 

murthering-piece,  248. 

indirections,  200. 
individable,  209. 

limed,  233. 
list  (=boundary),  249. 

mutes,  276. 
mutine  (verb),  237. 

indued,  258. 

list  (  =  roll),  174. 

mutines  (noun),  266 

inexplicable,  220. 

littlest,  226. 

infusion,  271. 

loam,  263. 

napkin      (=handkerchiel> 

ingenious  sense,  265. 

loggats,  261. 

275- 

inheritor,  262. 

long  purples,  258. 

native,  178,  258. 

inhibition,  207. 

look  through,  257. 

nature,  196. 

inky,  180. 

loves  (  =  love),  177,  187. 

near  my  conscience,  269. 

insinuation,  269. 
instances  (  =  motives),  226. 

luxury  (  =  lust),  196. 

neighbour  (adjective),   242. 
neighboured  to,  201. 

instant,  196. 

machine,  203. 

Nemean  (accent),  195. 

interpret,  228. 

maimed,  264. 

Nero,  231. 

intil,  261. 

main,  the,  202,  245. 

nerve  (  =  sinew),  195. 

investments,  191. 

majestioal,  176. 

neutral,  211. 

it  (-its),  186,  264. 

make  (=do),  185,  205. 
make  assay,  233. 

new-lighted,  236. 
nickname  (=  misname),  219, 

jade,  228. 

make  love  to,  269. 

nighted,  179. 

jangled  out  of  tune,  220. 

make  mouths,  246. 

nill,  259. 

jealousy,  247. 

manner,  192. 

Niobe,  183. 

jig,  212,  219. 

many  many,  232. 

nobility,  181. 

jig-maker,  225. 
John-a-dreams,  213. 

margent,  edified  by  the,  272. 
market  of  his  time,  245. 

nomination,  271. 
nonce,  for  the,  258. 

jowls,  261. 
jump  (=jiist),  172,277. 

mart,  173. 
marvellous,  229. 

Norway    (  =  King    of  Nor 
way),  172,  245. 

mass,  260. 

not  (transposed),  227. 

keep  (=dwell),  199. 
keeps  himself  in  clouds,  248. 

massy,232. 
masterly  report,  250. 

note  (  =  attention),  223. 
nothing  (adverb),  178. 

kept  short,  242. 

matin,  196. 

noyance,  232. 

kettle  (  =  drum),  274. 

matter,  204,  250. 

kibe,  262. 

mazzard,  261. 

obscure  (accent),  252. 

kill  dead,  226. 

me  (  =  for  me),  214. 

obsequious,  180. 

kindless,  214. 

means,  253. 

occulted,  223. 

knowing  (noun),  268. 

meddle  (  =  mingle),  223. 

occurrents,  276. 

meed  (  =  merit),  272. 

o'er-crows,  276. 

laboursome,  179. 
lack,  198. 
Lamond,  256. 
lapsed  in  time  and  passion, 

merely,  182. 
miching  mallecho,  225. 
might  (=could),  172. 
milch,  212. 

o'er-raught,  216. 
o'er-reaches,  261. 
o'ersized,  211. 
o'erteemed,  212. 

238. 

milky,  211. 

o'ertook,  199. 

lapwing,  272. 

mincing,  212. 

of  (  =  about),  198,  248. 

larded,  247,  267. 

mineral,  242. 

of  (  =  because  of),  246. 

law  and  heraldry.  173. 
law  of  writ  and  liberty,  209. 
lazar-like,  196. 
leans  on,  244. 
leave  (=cease),    183,    226, 

mobled,  212. 
model  (  =  copy),  268. 
moiety,  174. 
moist  star,  the,  175. 
mole  of  nature,  193. 

of(  =  by),  171. 
of  (  =  from),  201. 
of  (=on),  252. 
of  (  =  over),  202. 
of  (  =  upon),  205. 

236. 
leave  (=leave  off),  199. 
leave  (  =  part  with),  237. 

monument,  living,  266. 
mope,  237. 
more  above,  201,  203. 

of  (  =  with),  265. 
of  wisdom    and  of   reach 
199. 

lenten,  206. 

more  considered  time,  202. 

offendendo,  259. 

let  (  =  hinder),  195. 
let  the  galled  jade  wince, 

more  nearer,  199. 
moreover  that,  201. 

omen,  175. 
on   (  =  in   consequence  of) 

228. 
let  to  know^253. 
Lethe  wharf,  195. 
liberal,  258. 

mortal  (  =  deadly),  257 
most  (  =  greatest),  iy8. 
motion  (  =  impulse),  237. 
mountebank,  257. 

on  (=of),  172. 
on  a  roar,  263. 
on  brood,  220. 

INDEX  OF   WORDS  AND  PHRASES  EXPLAINED.   285 


once  (=ever),  197. 

prenominate,  199. 

replication,  243. 

opened,  202. 

presence,  274. 

residence,  207. 

operant,  226. 

present,  245. 

resolve,  182. 

opposite,  227. 

presently,  204,  222. 

respect  (  =  motive),  217. 

or  (  =  before),  j83,  165. 

presentment,  236. 

respects  (=considerations) 

ordinant,  268. 

pressure,  197,  221. 

226. 

ore,  242. 

prevail  (  =  avail),  180.            i  rests  (  =  remains),  233. 

orisons,  218. 

prevent  (  =  anticipate),  205.  |  retrograde,  181. 

ostentation,  253. 

primy,  187. 

revenue  (accent),  222. 

outstretched,  205. 

probation  (  =  proof),  176. 

revolution,  261. 

overlooked,  253. 

prodigal  (adverb),  191. 

re-word,  239. 

overpeering,  249. 

profound,  242. 

rhapsody,  235. 

over-top,  210. 

progress,  244. 

Rhenish,  192. 

pronounce,  230 

rheum,  212. 

packing,  241. 

proof,  235,  256,  257. 

rights  of  memory,  277. 

paddling,  240. 

proper,  201. 

rivality,  170. 

paddock,  240. 

property,  213. 

rivals  (  =  partners),  170 

painted  (  =  unreal),  216. 
panders  (transitive),  237. 

proposer,  205. 
Provincial,  228 

romage,  174. 
rood,  235. 

pajock,  229. 

puffed,  188,  246 

rosemary,  250. 

pansy,  251. 
pardon  (  =  leave),  179,  230. 

purgation,  229 
purport  (accent),  200. 

rough-hew,  267. 
round  (  =  directly),  203. 

parle,  172. 

pursy,  239. 

round  (  =  plain  ,  220,  235. 

partisan,  176. 

put  on  (  =  mcite),  257,  277. 

rouse,  181,  192. 

pass  (  =  thrust),  269. 
passage  (=  death),  277. 

put  on  (  =  tried),  277. 
put  on  me,  190. 

row  (  =  stanza),  209. 
rub,  217. 

passion,  212. 

rue,  251. 

pat,  233. 

quaintly,  199. 

patience,  224. 

quality,  207. 

sables,  225,  255. 

pause,  244. 

quantity,  237,  265. 

gallet,  210. 

pause,  give  us,  217. 

quarry,  276. 

sans,  237. 

peace-parted,  265. 

question,  207. 

sat  me  down,  268. 

peak,  213. 

questionable,   194. 

satyr,  183. 

pelican,  250. 

quick  (  =  living),  262. 

saw(  =  maxim),,97. 

perdy,  229. 

quiddits,  262. 

sayest  (  =  sayest  well),  260 

periwig-pated,  220. 

quietus,  217. 

'sblood,  208,  230. 

perpend,  203. 

quillets,  262. 

scape,  1  88. 

persever,  180. 

quintessence,  206. 

scarfed,  267. 

perusal,  200. 

quit  (  =  requite),  269. 

school  (  =  university),  181. 

peruse,  257. 

quoted,  201. 

scourge,  244. 

pester,  178. 

petar,  241. 
picked  (=refined),  262. 
pickers  and  stealers,  230. 

rack  (  =  clouds),  211. 
ranker,  245. 
rashly,  266. 

sea-gown,  267. 
season,  185,  190,  199.  227. 
secure  (  =  careless),  196. 

pigeon-livered,  214. 

ravel  out,  240. 

seeming,  224. 

pioner,  198. 

razed,  229. 

seeming-virtuous,  195. 

plausive,  193. 

reckon,  203. 

seized  of,  173. 

pluck,  255. 

record  (accent),  197. 

semblable,  271. 

plurisy,  256. 

recorder  (accent),  197. 

sense,  235,  237. 

ply  his  music,  200. 
Polack,  172. 

recorders,  229. 
recover  the  wind  of,  230. 

sensible,  172. 
sensibly,  250. 

pole  (  =  pole-star),  171. 

rede,  188. 

sequent,  269. 

politician,  361. 
porpentine,  195. 
posset,  196. 

re-deliver,  272. 
reechyj  240. 
region  (  =  air),  an,  214. 

sergeant,  276. 
several  (  =  separate),  267. 
shall  (  =  will),  198,  220. 

posy,  225. 
pound  (singular),  229. 

relative,  215. 
relish  of,  219. 

shapes  our  ends,  267. 
shards,  264. 

powers(=troops),  245 
practice  (=plot),  255,  257, 

remember    your    courtesy, 
270. 

share,  229. 
sharked  up,  174. 

275. 

remiss,  257. 

sheen,  225. 

precedent,  837. 

remorse  (  =  pity),  21  1. 

shent,  231. 

precurse,  175. 

removed  (  =  remote),  195. 

shook,  254. 

Viregnant.  30^.  732. 

repast  (verb),  250. 

bhoon.  -A.  • 

286  INDEX  OF  WORDS  AND  PHRASES  EXPLAINED. 


should  (=  would)  ,igs,  205, 
229. 

supervise,  on  the,  267. 
suppliance,  187. 

trick  (=knack),  261. 
trick  of  fame,  246. 

shrewdly,  r  J2. 

supply  and  profit,  203. 

tricked,  211. 

shriving-time,  268. 

sweet,  270. 

tristful,  236. 

siege  (  =  rank),  255. 

Switzers,  248. 

tropically,  227. 

silence,  235. 
simple  (=foolish),  180. 

swoopstake,  250. 
sword,  upon  my,  197. 

truepenny,  198. 
trumpet  (=  trumpeter),  176 

simples,  257. 

'swounds,  214,  265. 

truster,  185. 

sith,  201,  246,  253. 
sits  (of  the  wind),  189. 
sized,  226. 

synod,  212. 
table  (=tablet),  197. 

turn  Turk,  228. 
two  days  old  at  sea,  253. 
tyrannically,  207. 

skyish,  265. 

tables  (  =  note-book),  197. 

slander,  191. 

taints,  199. 

umbrage,  271. 

sledded,  172. 

take  (  =  bewitch>,  177. 

unaneled,  196. 

slips,  199. 

take    arms    against   a  sea, 

unbated,  257,  275. 

sliver,  258. 

etc.,  217. 

unbraced,  200. 

so  (  =  ip,  255. 
so  (omitted),  253,  257. 

tarre,  207. 
tax  him  home,  232. 

uncharge,  255. 
undergo,  193. 

so  please  you,  220. 
soft  (=hold,  stop),  196,  218. 

tell  (  =  count),  186. 
tempered,  276. 

uneffectual,  197. 
unfortified,  180. 

softly  (=slowly),  245. 
soldiers  (trisyllable),  197. 

temple  (of  the  body),  187. 
tenable  in  your  silence,  187. 

ungartered,  200. 
ungored,  274. 

sole,  234. 
solicited,  276. 

tend  (  =  attend),  190,  244. 
tender  (=  regard),  244. 

ungracious,  188. 
unhouseled,  196. 

solidity,  235. 
something-settled,  220. 
sometime  (adjective),    177, 

tenders,  190. 
tent  (  =  probe),  215. 
Termagant,  221. 

unimproved,  174. 
union  (=pearl),  274, 
unlimited,  209. 

218. 

that  (=such),  185,  196. 

unmastered,  188. 

sometimes    (  =  formerly), 

thee  (  =  thou),  171,  196. 

unpregnant  of,  213. 

172. 

theft,  224. 

unprevailing,  180. 

sort  (=suit),  174. 

thereabout,  210. 

unproportioned,  189. 

soul  (gender),  213. 

thews,  187. 

unreclaimed,  199. 

speak  fair,  242. 
spendthrift  sigh,  256. 

thieves  of  mercy,  253. 
thinks't  thee,  269. 

unshaped,  247. 
unsifted,  190. 

sphere,  254. 

thou,  239. 

unsinewed,  254. 

spi;s  (  =  scouts),  248. 

thought    (=anxiety),    218, 

unsmirched,  249 

spirit  (monosyllable),  176. 
spite,  198. 

252. 
thought-sick,  236. 

untimely  (adverb),  243. 
unyoke,  260. 

spleuitive,  265. 
spnnges,  191. 
spurns,  247. 

throughly,  249. 
tickle  o'  the  sere,  206. 
time  (  =  the  times),  217. 

upon  (adverbial1*,  183. 
upon  (=just  at),  170, 
upshot,  277. 

stand  me  upon,  369. 

tinct,  237. 

upspring,  192. 

star,  193. 

to  (  =  for),  177.  ^ 

star,  out  of  thy,  203. 

to  (in    comparisons),    183, 

vailed,  179. 

station,  236. 

196,  216. 

valanced,  209. 

statists,  268. 

to-do,  207. 

validity,  226. 

stay  (=  wait  for),  234,  268. 
stay  upon,  224. 
stick  fiery  off,  274. 
still  (=always),    175,  202, 

toils  (transitive),  173. 
too  much,  256. 
too  much  i'  the  sun,  179. 
too  much  proved,  216. 

vantage,  of,  232. 
vast,  186. 
ventages.  230. 
vice  (=  clown),  237. 

256. 

too,  too,  182. 

vigour,  196.             ' 

stithy,  223. 
stomach  (  =  courage),  174. 
stoup,  260. 
straight  (adverb),  210,  233, 

top  of  my  bent,  to  the,  231. 
top  of  question,  207. 
topped,  256. 
touched,  252. 

virtue  (  =  power),  250, 
vouchsafe  your  rest,  aot 
vulgar,  189. 

toward    (  =  at    hand),    173, 

wag,  235,  265. 

strewments,  265. 

277. 

wanned,  213. 

strike  (of  planets),  177. 

toy  (  =  trifle),  247. 

wanton,  275. 

strucken,  228. 
stuck  (  =  thrust),  258. 
subject  (  =  people),  173,  178. 

toy  in  blood,  a,  187. 
toys  (  =  freaks),  195. 
trace  (  =  follow),  271. 

warrantise,  264. 
wash  (=the  sea),  a«s 
wassail,  192. 

succession,  207. 
sum  of  parts,  255. 

trade,  230. 
trick  (-habit),  259. 

watch.  204. 
water-fly,  370. 

INDEX  OF    WORDS  AND  PHRASES  EXPLAINED.   287 


well  be  with  you,  208. 
well-took,  202. 
wharf  (  =  bank),  1  95. 
what  (  =  who),  253,  260. 
what  make  you  ?  185. 
wheel,  250. 
whether    (  monosyllable  )  , 

202. 

whiles,  188. 
who  (  =  which),  180. 
who  (  =  whom),  185,  204. 
wholesome,  230. 
wildness.  216. 

will,  237. 
windlasses,  200. 
wit  (  =  wisdom),  203. 
withal,  188,  205. 
withdraw  with  you,  to,  230. 
within  's,  225. 
woe  is  me,  225. 
wonder-wounded,  265. 
woodcock,  191,  275. 
woo't,  265. 
word  (=  watchword),    197, 
249. 
worser,  239. 

would,  172,  234. 
wrack,  201. 
wretch,  204,  259. 
writ,  178,  186. 
writ  (  =  commission),  2 

Vaughan,  260. 
yaw,  271. 
yeoman's  service,  260. 
yesty,  273. 
yond,  171. 
Yorick,  263. 
your,  198,  230,  344. 

TUB  INFANT  SHAKBSPBARB. 


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