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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 ?3
Eyes without feeling, 4 feeling without sight,
Ears without hands or eyes, smelling sans all,
Or but a sickly part of one true sense
Could not so mope.5
O shame! where is thy blush? Rebellious hell,
If thou canst mutine in a matron's bones,

Sense is sometimes used by Shakspeare for sensation or sensual appetite; as motion is the effect produced by the impulse of nature. Such, I think, is the signification of these words here. So, in Measure for Measure:

she speaks, and 'tis “ Such sense, that my sense breeds with it.” Again, more appositely in the same play, where both the words

occur :

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One who never feels “ The wanton stings and motions of the sense." So, in Braithwaite's Survey of Histories, 1614: “ These continent relations will reduce the straggling motions to a more settled and retired harbour." Sense has already been used in this scene, for sensation :

“ That it be proof and bulwark against sense.' Malone.

at hoodman-blind?] This is, I suppose, the same as blindman's-buff. So, in The Wise Woman of Hogsden, 1638:

“Why should I play at hood-man blind Ž» Again, in Two Lamentable Tragedies in One, the One a Murder of Master Beech, &c. 1601 :

“ Pick out men's eyes, and tell them that's the sport

Of hood-man blind.Steevens. Eyes without feeling, &c.] This and the three following lines are omitted in the folio. Steevens.

5:Could not-so mope.] i. e. could not exhibit such marks of stupidity. The same word is used in The Tempest, sc. ult:

“ And were brought moping hither.” Steevens.

Rebellious hell, If thou canst mutine in a matron's bones, &c.] Thus the old copies. Shakspeare calls mutineers, mutines, in a subsequent

So, in Othello:

this hand of yours requires
A sequester from liberty, fasting and prayer,
“ Much castigation, exercise devout;
“ For here's a young and sweating devil here,
" That commonly rebels."







To flaming youth 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.7

O Hamlet, speak no more:
Thou turn'st mine eyes into my very soul;
And there I see such black and graineds spots,
As will not leave their tinct.

Nay, but to live In the rank sweat of an enseamed bed;1


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To mutine, for which the modern editors have substituted mutiny, was the ancient term, signifying to rise in mutiny. So, in Knolles's History of the Turks, 1603: “ The Janisaries-became wonderfully discontented, and began to mutine in diverse places of the citie.” Malone.

- reason panders will.] So the folio, I think, rightly; but the reading of the quarto is defensible :

reason pardons will. Fohnson. Panders was certainly Shakspeare's word. So, in Venus and Adonis :

“ When reason is the bawd to lust's abuse." Malone.

-grained -] Died in grain. Fohnson. I am not quite certain that the epithet-grained, is justly in. terpreted. Our author employs the same adjective in The Comedy of Errors:

Though now this grained face of mine be hid,” &c. and in this instance the allusion is most certainly to the furrows in the grain of wood.

Shakspeare might therefore design the Queen to say, that her spots of guilt were not merely superficial, but indented. A pas. sage, however, in Twelfth Night, will sufficiently authorize Dr. Johnson's explanation: “ 'Tis in grain, sir, 'twill endure wind and weather.” Steevens.

9 As will not leave their tinct.] To leave is to part with, give up, resign. So, in The Two Gentlemen of Verona:

It seems, you lov'd her not, to leave her token." The quartos read:

As will leave there their tinct. Steevens.
enseamed bed;] Thus the folio: i. e. greasy bed.

Fohnson.. Thus also the quarto, 1604. Beaumont and Fletcher use the word inseamed in the same sense, in the third of their Four Plays in One : “ His leachery inseam'd upon

him." In The Book of Haukyng, &c. bl. l. no date, we are told that Ensayme of a hauke is the grece."



Stew'd ín corruptions; honeying, and making love
Over the nasty stye;

O, speak to me no more;
These words, like daggers enter in mine ears;
No more, sweet Hamlet.

A murderer, and a villain:-
A slave, that is not twentieth part the tythe
Of your precedent lord:-a vice of kings::
A cutpurse of the empire and the rule;
That from a shelf the precious diadem stole,3
And put it in his pocket!

No more.

Enter Ghost. Ham.

A king Of shreds and patches:4 Save me, and hover o'er me with your wings, You heavenly guards. What would your gracious

figure? Queen. Alas, he's mad. Ham. Do you not come your tardy son to chide,

In Randle Holme's Academy of Armory and Blazon, B. II, ch. ii, p. 238, we are told that “ Enseame is the purging of a hawk from her glut and grease.” From the next page in the same work, we learn that the glut is “ a slimy substance in the belly, of the hawk.”

In some places it means hogs' lard, in others, the grease or oil with which clothiers besmear their wool to make it draw out in spinning

Incestuous is the reading of the quarto, 1611. Steevers.

In the West of England, the inside fat of a goose, when dissolved by heat, is called its seam; and Shakspeare has used the word in the same sense in his Troilus and Cressida:

shall the proud lord,
“ That bastes his arrogance with his own seam.

vice of kings :] A low mimick of kings. The vice is the fool of a farce; from whence the modern punch is descended.

Fohnson. 3 That from a shelf &c.] This is said not unmeaningly, but to show, that the usurper came not to the crown by any glorious villany, that carried danger with it, but by the low cowardly theft of a common pilferer. Warburton.



4. A king

Of shreds and patches:] This is said, pursuing the idea of the : sice of kings. The vice was dressed as a fool, in a coat of party. coloured patches. Fohnson.

That, lap'sd 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:
O, step between her and her fighting soul;
Conceit in weakest bodies strongest works ;6
Speak to her, 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 on end. O gentle son,
Upon the heat and flame of thy distemper
Sprinkle cool patience. Whereon do you look?



laps'd in time and passion, ] That, having suffered time to slip, and passion to cool, lets go &c. Johnson.

6 Conceit in weakest bodies strongest works;] Conceit for imagination. So, in The Rape of Lucrece :

“ And the conceited painter was so nice. Malone. See Romeo and Juliet, Act II, sc. vi. Steevens.

like life in excrements,] The hairs are excrementitious, that is, without life or sensation ; yet those very hairs, as if they had life, start up, &c. Pope. So, in Macbeth: " The time has been

my fell of hair,
“ Would at a dismal treatise rouse and stir,

As life were in t.” Malone. Not only the hair of animals having neither life nor sensation was called an excrement, but the feathers of birds had the same appellation. Thus, in Izaac Walton's Complete Angler, P. I, c. i, p. 9, edit. 1766: “I will not undertake to mention the several kinds of fowl by which this is done, and his curious palate pleased by day; and which, with their very excrements, afford him a soft lodging at night.” Whalley.

Upon the heat and flame of thy distemper

Sprinkle cool patience.) This metaphor seems to have been suggested by an old black letter novel, (already quoted in a note on The Merchant of Venice, Act III, sc. ii,) Green's History of the fair Bellora: "Therefore slake the burning heate of thy flamitig affections, with some drops of cooling moderation.” Steevens:

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Ham. 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
My stern effects:- then what I have to do
Will want true colour; tears, perchance, for blood.

Queen. To whom do you speak this?

Do you see nothing there?
Queen. Nothing at all; yet all, that is, I see.
Ham. Nor did you nothing hear?

No, nothing, but ourselves. Ham. Why, look you there! look, how it steals away! My father, in his habit as he liv'd !3 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 Is very cunning in.4

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preaching to stones – ] Thus, in Sidney's Arcadia, Lib. V: “ Their passions then so swelling in them, they would have made auditors of stones, rather than” &c. Steevens. * His form and cause conjoin'd, preaching to stones,

Would make them capable. ] Cupable here signifies intelligents endued with understanding. So, in Xing Richard III:

O, 'tis a parlous boy, “ Bold, quick, ingenious, forward, capable.We yet use capacity in this sense. See also Vol. XI, p. 334, n. 9.

Malone. My stern effects : ] Effects for actions ; deeds effected. Malone. 3 My father, in his habit as he liv'd!] If the poet means by this expression, that his father appeared in his own familiar habit, he has either forgot that he had originally introduced him in armour, or must have meant to vary his dress at this his last appearance. Shakspeare's difficulty might perhaps be a little obviated by pointing the line thus :

My father-in his habit-as he liv'd! Steevens. A man's armour, who is used to wear it, may be called his habit, as well as any other kind of clothing. As he lived, probably means- as if he were alive-as if he lived." M. Mason.

As if is frequently so used in these plays; but this interpretation does not entirely remove the difficulty which has been stated.

Malone. 4 This is the very coinage of your brain :

This bodiless creation ecstacy
is very cunning in.] So, in The Rape of Lucrece :

"Such shadows are the weak brain's forgeries." Malane,

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