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For women fear too much, even as they love ;
0, confound the rest !
Ham. That's wormwood.
Are base respects of thrift, but none of love;
P. King. I do believe you think what now you speak;
1 This line is omitted in the folio. There appears to have been a line omitted in the quarto which should have rhymed to this.
2 j. e. active.
Where joy most revels, grief doth most lament j
P. Queen. Nor earth to me give food, nor heaven
Sport and repose lock from me, day and night!
here a while ; My spirits grow dull, and fain I would beguile The tedious day with sleep.
[Sleeps. P. Queen.
Sleep rock thy brain; And never come mischance between us twain! [Exit.
Ham. Madam, how like you this play?
King. Have you heard the argument? Is there no offence in't ?
1 Anchor's for anchoret's.
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HAMLET, PRINCE OF DENMARK.
Ham. No, no, they do but jest, poison in jest; no offence i’ the world.
King. What do you call the play?
Ham. The mouse-trap. Marry, how? Tropically. " This play is the image of a murder done in Vienna ; Gonzago is the duke's name; 2 his wife, Baptista ; you shall see anon; 'tis a knavish piece of work. But what of that? your majesty, and we that have free souls, it touches us not. Let the galled jade wince, our withers are unwrung:
Oph. You are as good as a chorus, my lord.
Ham. I could interpret between you and your love, if I could see the puppets dallying.
Oph. You are keen, my lord, you are keen.
Ham. It would cost you a groaning to take off my edge.
Oph. Still better, and worse.
Ham. So you mistake 4 your husbands.---Begin, murderer ;-leave thy damnable faces, and begin.
The croaking raven Doth bellow for revenge. Luc. Thoughts black, hands apt, drugs fit, and time
agreeing; Confederate season, else no creature seeing;
1 First quarto-trapically. It is evident that a pun was intended.
2 « Gonzago is the duke's name; his wife, Baptistn; all the old copies read thus. Yet in the dumb show we have“ Enter a King and Queen;" and at the end of this speech, “ Lucianus, nephew to the King.” This seeming inconsistency, however, may be reconciled. Though the interlude is the image of the murder of the duke of Vienna, or, in other words, founded upon that story, the Poet might make the principal person in his fable a king. Baptista is never used singly by the Italians, being uniformly compounded with Giam for Giovanni. It is needless to remark that it is always the name of a man.
3 The use to which Shakspeare put the chorus may be seen in King Henry V. Every motion or puppet-show was accompanied by an inter preter or showman.
4 The first quarto--“So you must take your husband.” Hamlet puns upon the word mistake; “So you mis-take or take your husbands amiss for better and worse."
Thou mixture rank, of midnight weeds collected,
[Pours the poison into the sleeper's ears. Ham. He poisons him i' the garden for his estate. His name's Gonzago; the story is extant, and written in very choice Italian: you shall
see, anon, how the murderer gets the love of Gonzago's wife.
Oph. The king rises.
[Exeunt all but Hamlet and HORATIO Ham. Why, let the strucken deer go weep,
The hart ungalled play ;
Thus runs the world away.-Would not this, sir, and a forest of feathers, (if the rest of my fortunes turn Turk' with me,) with two Provincial roses on my razed? shoes, get me a fellowship in a cry of players, sir ?
Hor. Half a share.4
This realm dismantled was
A very, very---peacock."
1 To turn Turk was a familiar phrase for any violent change in condition or character.
2 “ Provincial roses on my razed shoes.” Provincial roses took their name from Provins, in Lower Brie, and not from Provence. Razed shoes are most probably embroidered shoes. The quarto reads raced. To race, or rase, was to stripe.
3 It was usual to call a pack of hounds a cry; it is here humorously applied to a troop or company of players.
4 The players were paid not by salaries, but by shares or portions of the profit, according to merit.
55 A very, very--peacock.” The old copies read paiock, and paiocke. The peacock was as proverbially used for a proud fool as the lapwing for å silly one.
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Hor. You might have rhymed.
Ham. O good Horatio, I'll take the ghost's word for a thousand pound. Didst perceive ?
Hor. Very well, my lord.
Ham. Ah, ha !--come, some music; come, the recorders.
For if the king like not the comedy,
Enter ROSENCRANTZ and GUILDENSTERN.
Come, some music.
Guil. Good my lord, vouchsafe me a word with you.
Ham. Sir, a whole history.
Ham. Your wisdom should show itself more richer, to signify this to the doctor; for, for me to put him to his purgation, would, perhaps, plunge him into more choler.
Guil. Good my lord, put your discourse into some frame, and start not so wildly from my affair.
Ham. I am tame, sir ;--pronounce.
Guil. The queen, your mother, in most great affliction of spirit, hath sent me to you.
Ham. You are welcome.
Guil. Nay, good my lord, this courtesy is not of the right breed.
If it shall please you to make me a wholesome answer, I will do your mother's command
1 « The recorders.” It is difficult to settle exactly the form of this instrument; old writers, in general, make no distinction between a flute, a pipe, and a recorder; but Hawkins has shown clearly, that the flute and the recorder were distinct instruments.
2 Perdy is a corruption of the French par Dieu.
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