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 'tis seen, the wicked"prize itself purse
Buys out the law: But 'tis 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 27
O wretched state! O bosom, black as death!
O limed soul; that struggling to be free,
Art more engag'd! Help, angels, make assay!
Bow, stubborn knees! and, heart, with strings of steel,
Be soft as sinews of the new-born babe;

All may be well!

[Retires, and kneels.

Enter HAMLET. [his Sword drawn Ham. Now might I do it, pat, now he is praying;9 And now I'll do 't;-and so he goes to heaven: And so am I reveng'd? That would be scann'd:1 A villain kills my father; and, for that,

I, his sole son, do this same villain send2

6 May one be pardon'd, and retain the offence?] He that does not amend what can be amended, retains his offence. The King kept the crown from the right heir. Johnson.

A similar passage occurs in Philaster, where the King, who had usurped the crown of Sicily, and is praying to heaven for forgiveness, says:

But how can I

"Look to be heard of gods, that must be just,

Praying upon the ground I hold by wrong?" M. Mason. Yet what can it, when one can not repent?] What can repentance do for a man that cannot be penitent, for a man who has only part of penitence, distress of conscience, without the other part, resolution of amendment? Johnson.

8 Olimed soul;] This alludes to bird-lime. Shakspeare uses the same word again, in King Henry VI, P. II:

"Madam, myself have lim'd a bush for her." Steevens. 9 pat, now he is praying;] Thus the folio. The quartos read-but now, &c. Steevens.

1 That would be scann'd:] i. e. that should be considered, estimated. Steevens.

2 I, his sole son, do this same villain send -] The folio reads

To heaven.

Why, this is hire and salary,3 not revenge.

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?s
But, in our circumstance and course of thought,
'Tis 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:6
When he is drunk, asleep, or in his rage;
Or in the incestuous pleasures of his bed;7
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:9

-foule son, a reading apparently corrupted from the quarto. The meaning is plain. I, his only son, who am bound to punish his murderer. Johnson.

3 hire and salary,] Thus the folio. The quartos readbase and silly. Steevens.

4 He took my father grossly, full of bread;

With all his crimes broad blown,] The uncommon expression, full of bread, our poet borrowed from the sacred writings: "Behold, this was the iniquity of thy sister Sodom; pride, fullness of bread, and abundance of idleness was in her and in her daughters, neither did she strengthen the hand of the poor and needy." Ezekiel, xvi, 49. Malone.

5 And, how his audit stands, who knows, save heaven?] As it appears from the Ghost's own relation that he was in purgatory, Hamlet's doubt could only be how long he had to continue there.

Ritson.

6 Up, sword; and know thou a more horrid hent:] To hent is used by Shakspeare for to seize, to catch, to lay hold on. Hent is, therefore, hold, or seizure. Lay hold on him, sword, at a more horrid time. Johnson.

7 When he is drunk, asleep, or in his rage;

Or in the incestuous pleasures of his bed;] So, in Marston's Insatiate Countess, 1603:

"Didst thou not kill him drunk?

"Thou shouldst, or in th' embraces of his lust." Steevens. At gaming, swearing;] Thus the folio. The quarto, 1604, reads-At game, a swearing; &c. Malone.

9

that his heels may kick at heaven;] So, in Heywood's Silver Age, 1613:

And that his soul may be as damn'd, and black,
As hell, whereto it goes.1 My mother stays:
This physick but prolongs thy sickly days.

The King rises, and advances.

[Exit.

King. My words fly up, my thoughts remain below: Words, without thoughts, never to heaven go.

[Exit.

"Whose heels tript up, kick'd gainst the firmament.”

Steevens.

1 As hell, whereto it goes.] This speech, in which Hamlet, represented as a virtuous character, is not content with taking blood for blood, but contrives damnation for the man that he would punish, is too horrible to be read or to be uttered. Johnson.

This speech of Hamlet's, as Johnson observes, is horrible indeed; yet some moral may be extracted from it, as all his subsequent calamities were owing to this savage refinement of revenge. M. Mason.

That a sentiment so infernal should have met with imitators, may excite surprize; and yet the same fiend-like disposition is shown by Lodowick, in Webster's White Devil, or Vittoria Corombona, 1612:

66

to have poison'd

"The handle of his racket. O, that, that!-
"That while he had been bandying at tennis,

"He might have sworn himself to hell, and struck
"His soul into the hazard!"

Again, in The Honest Lawyer, by S. S. 1616:

"I then should strike his body with his soul,

"And sink them both together."

Again, in the third of Beaumont and Fletcher's Four Plays in One: "No; take him dead drunk now,

without repentance."

Steevens. The same horrid thought has been adopted by Lewis Machin, in The Dumb Knight, 1633:

Nay, but be patient, smooth your brow a little, "And you shall take them as they clip each other; "Even in the height of sin; then damn them both, "And let them stink before they ask God pardon, "That your revenge may stretch unto their souls." Malone. I think it not improbable, that when Shakspeare put this horrid sentiment into the mouth of Hamlet, he might have recollected the following story: "One of these monsters meeting his enemie unarmed, threatened to kill him, if he denied not God, his power, and essential properties, viz. his mercy, suffrance, &c. the which, when the other, desiring life, pronounced with great horror, kneeling upon his knees; the bravo cried out, nowe will I kill thy body and soule, and at that instant thrust him through with his rapier." Brief Discourse of the Spanish State, with a Dialogue annexed intitled Philobasilis, 4to. 1590, p. 24. Reed.

A similar story is told in The Turkish Spy, Vol. III, p. 243.

Malape.

SCENE IV.

Another Room in the same.

Enter Queen and POLONIUS.

Pol. 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 'll'silence" me e'en here.2
Pray you, be round with him.'

Queen.
I'll warrant you;
Fear me not-withdraw, I hear him coming.

Enter HAMLET.

Sconce

[POL. hides himself.

Ham. Now, mother; what 's the matter?

Queen. Hamlet, thou hast thy father much offended.
Ham. Mother, you have my father much offended.
Queen. Come, come, you answer with an idle tongue.
Ham. Go, go, you question with a wicked tongue.
Queen. Why, how now, Hamlet?
Ham.

Queen. Have you forgot me?
Ham.

What's the matter now?

No, by the rood, not so:

You are the queen, your husband's brother's wife;

2 I'll silence me e'en here.] I'll silence me even here, is, I'll use no more words. Johnson.

3 be round with him.] Here the folio interposes, improperly, I think, the following speech:

"Ham. [Within.] Mother, mother, mother." Steevens. 4 Polonius hides himself.] The concealment of Polonius in the Queen's chamber, during the conversation between Hamlet and his mother, and the manner of his death, were suggested by the following passage in The Hystory of Hamblett, bl. 1. sig. D1: "The counsellour entered secretly into the queene's chamber, and there hid himselfe behinde the arras, and long before the queene and Hamlet came thither; who being craftie and politique, as soone as hee was within the chamber, doubting some treason, and fearing if he should speake severely and wisely to his mother, touching his secret practices, hee should be understood, and by that means intercepted, used his ordinary manner of dissimulation, and began to come [r. crow] like a cocke, beating with his arms (in such manner as cockes use to strike with their wings) upon the hangings of the chamber; whereby feeling something stirring under them, he cried, a rat, a rat, and pre

And,-'would it were not so!5-you are my mother. Queen. Nay, then I'll set those to you that can speak. Ham. Come, come, and sit you down; you shall not budge;

You go not, till I set you up a glass

Where you may see the inmost part of you.

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

Pol. [behind] What, ho! help!

Ham.

Dead, for a ducat, dead.

How now! a rat?6 [Draws.

[HAMLET makes a pass through the Arras. O, I am slain. [Falls, and dies.

Pol. [behind]

Queen. O me, what hast thou done?

Ham.

Nay, I know not: Is it the king? [Lifts up the Arras, and draws forth PoL. Queen. O, what a rash and bloody deed is this! Ham. A bloody deed;-almost as bad, good mother, As kill a king, and marry with his brother.

Queen. As kill a king!"

sently drawing his sworde, thrust it into the hangings; which done; pulled the counsellour (half-deade) out by the heeles, made an ende of killing him; and, being slaine, cut his body in pieces, which he caused to be boyled, and then cast it into an open vault or privie." Malone.

And would it were not so !] The folio reads

But would you were not so. Henderson.

• How now! a rat?] This (as Dr. Farmer has observed) is an expression borrowed from The History of Hamblet, a translation from the French of Belleforest. Steevens.

7 Queen. As kill a king!] This exclamation may be considered as some hint that the Queen had no hand in the murder of Hamlet's father. Steevens.

It has been doubted whether Shakspeare intended to represent the Queen as accessary to the murder of her husband. The surprize she here expresses at the charge seems to tend to her exculpation. Where the variation is not particularly marked, we may presume, I think, that the poet intended to tell his story as it had been told before. The following extract, therefore, from The Hystory of Hamblett, bl. 1. relative to this point, will probably not be unacceptable to the reader: "Fengon [the king in the present play] boldened and encouraged by such impunitie, durst venture to couple himself in marriage with her, whom he used as his concubine during good Horvendille's life; in that sort