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Ref. I think, their ' inhibition comes by the means of the late 'innovation.

Ham. Do " they hold the same estimation they did when
I was in the city ? are they fo followed ?

Rof. No indeed o are they not.
Hain. P How comes it? do they grow rusly?

Rof. Nay, their endeavour keeps in the wonted pace; but there is, sir, an 9 aiery of children, little 9 cyases, that cry out on the top of it question; and are most tyrannically clapt for 't: these are now the fashion, and so o berattle the common ftages (as they call them) that many wearing rapiers are afraid of goose-quills, and dare scarce come thither.

Ham. What, ure they children? who maintains ''em? how are they "efceted? will they pursue the quality no longer than they can kng? will they not say afterwards? If they should grow themselves to common players (as it is w moji like, if their

no better) their writers do them wrong to make them exclaim against their own succesion,

Rof. 'Faith there has been much to do on both sides; and the nation holds it no fin, y to tar them an to controversy. There was,

means are

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17. thinks inbibition and innovatian playhouses then contending, the Banks should change places.

fidle, the Fortune, &c.— play'd by the m J. omits the.

children of his majesty's chapel, ^ The 2d q. tbe for bey.

I C. ebe question, &c. So thę ist and 2d qu's and C. All $ The ift f. reads berartled, the reit read, ibey are not,

t C. tbem. p What is printed in italics is not in Ejcored, penfioned : from the Frencb the qu's,

Eject, a shot or reckoning. H. 9 The fo's, R. and P,read Yales; which w The fo's and R, read, like moft. P. seems to be no Engah word. T. corrects corrects it, most like. it, eyales. An aiery or ryery is a hawk's * Second f. not, or eagle's nest; and eyases are young neft y Pi's duodecimo, T, and those that lings, creatures just out of the ega. P. come after, except C, read, 19 tarry te jafarms us that this passage relates to the on to controversy.

for

for a while, no nwoney bid for argument, unless the poet and the player went to cuffs in the question.

Ham. Is it possible?
Guil. Oh, there has been much throwing about of brains.
Ham. Do the boys carry it away?
Ros. Ay, that they do, my lord, Hercules and his load toe.

Ham. It is not a very strange; for * my uncle is king of Denmark, and those that would make binouths at him while my father lived, give twenty, forty, fifty, an hundred ducats a-piece for his picture in little : • s'blood there is something in this more than natural, if philosophy could find it out.

Guil. There are the players. *[Flourish for the players.

Ham. Gentlemen, you are welcome to Ellinoor. Your hands. Coine & then: the appurtenance of welcome is fashion and ceremony; let me " comply with you in i this garb, « left my extent to the players, which I tell you must shew fairly outward, should more appear like entertainment than yours. You are welcome; but my uncle-father and aunt-mother are deceived

Guil. In what, my dear lord ?

Ham. I am but mad north-north-wcft : when the wind is southerly, I know a hawk from a ' hand-law.

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omit very

z The fo's, R. and all editions after, f Direction in qu's, A florish.

g The fo's and R. omit i ben, a All but qu's and C. mine.

h H. reads complemeni. 6 All but the qu's and C. read mowes. i The fo's, R. and C. read the for ? c The fo's and R. omit fifty.

this. , Qu's, a.

* The ist q. reads, let me; the 2d q. * This word is omitted in all editions let my. but the qu's and C.

1 H. reads bernsbane.

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SCENE VII.

Enter Polonius.

Pol. Well be with you, gentlemen.

Ham. Hark you, Guildenfiern; and you too, at each car a hearer. That great baby you fee there is not yet out of his swadling-clouts.

Ref. p Haply, he's the second time come to them; for they say, an old man is twice a child.

Ham. I will prophesy, ? he comes to tell me of the players, Mark it. You say right, fir, ' o' Monday morning, 'twas . then indeed.

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

Ham. My lord, I have news to tell you. When Rofcius i was an actor in Rome--,

Pol. The actors are coine hitherg. my lord.
Ham. Buz, buz.
Pol. Upon “ my honour.
Ham. Then w came cach actor on his ass.

m The 2d q. reads #re.

The fo's read, for a Munday mista. a The 2d and 3. qu's read, as you fee ing, &c. R. and all after him, exis not yet oul, &c.

cept C. for on Monday morning, &c. o Fo's and R. Swatbing, &c.

• All but the gu's and Co sead lo for P Twoit qu's, and three ft fo's, bas- tben.

The fo's om it was. & The ad and 3d qu's read, thar be u Fo's, mine. emies, Sic

# The fo's read car.

Pol.

Pol. The best actors in the world, either for tragedy, comedy, history, pastoral, * paftoral-comical, historical-pastoral, y scene 2 individeable, 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.

Ham. O Jephtha, judge of Israel, what a treasure hadft thou !

Pol. What a treasure had he, my lord?

Ham. Why, one fair daughter, and no more,
The which he loved passing well.

Pol. Still on my daughter.
Ham. Am I not i' th' right, old Jephtha!

Pol. If thou call me Jephtha, my lord, I have a daughter that I love passing well.

Ham. Nay, that follows not.
Pol. What follows then, my lord ?

Ham. 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 thew you more; for look where my abridgment comes.

Enter the players. ? You are welcome, masters, welcome, all. I am glad to see

* The fo’s and R, read, Paftorical-, c So the ift and ad qu'a. The sft f. Comical- Hiftorical- Paftoral : Tragical. reads, pons chansın; the other fo's and Historical: Tragical-Comical- Hiftorical the third q. pans chanson ; H. and C. Paftoral: Scene, &c.

read pont-chansons. R. is the first wha y The 2d q. reads seeme.

reads rubrick, followed by the reft. z Fo's, indivible.

d The fo's and all after, except C. a The qu': and fo's all read writ, read, my abridgments come. which R. alters to wie; and is followed • The fo’s, and all editions after, read, by all the editors after him, except J. Enter four or five players ; except C. who and C.

reads, Enter certain players ufbereda The two speeches in italic are not in í Fo's, r' arc. the 20 and 3d gu's.

& thec

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& thee well. Welcome, good friends. h Oh old friend,

why, thy face is * valanc'd fince I saw thee laft: Com'ft : thou to beard me in Denmark? What! my young lady and mistress? By ’r lady, your ladythip is nearer » to heaven than when I saw you last by the altitude of a n chapin. Pray God, your voice, like a piece of uncurrent gold, be not crack'd within the ring. ---Masters, you are all welcame; we'll e’en to 't like " friendly falconers, fly at any thing we see; we'll have a speech straight. Come, give us a taste of your quality; come, a passionate speech.

i Play. What speech, my good lord?

Ham. I heard thee speak me a speech once, but it was never acted; or if it was, not above once; for the play, I

& H. reads you.

term wled to this day in the northern h The fo's and R. read, Ob! my old parts of our island, for half their pint, friend, &c.

which contains two Engifo quarts; and i All but the qu's and C, omit wby. these are slike many other Srots words)

k The fo's and R, read valiant; it g. nothing more than the two Freneb words: valanér.

(cbopine and pienie) adopted. The sense I The 1st and 2d qu’s read by lady; the of this pafiage leems more heightened by 3d q. my lady; the ift f. byrlady; all the Hamlet's telling the player, she is near other editions berlarly, which last is a heaven by the altitude of a quart measure, false contra&tion of by our lad;.

than by that of a clag. Dr. T. Grey's • m All but qu's and C. omit to. notes, vol. ii. p. 291.

» Cbapin; Span, a thick piece of cork o The foos, R. and H. French faul." bound about with tin, thin iron or filver, coners; but y. (who seems not to have worn by the women in Spain at the bot- met with this reading any where but in tom of their shoes to make them appear H. although he tells us he has the third taller. The qu's and C. read chopine; f.) wonders that H. should give no reathe fo's and R. choppine ; P. and the rest fon for this correction, as he calls it, cbioppine. Dr. Tatbwel, in Grey's notes Qu's, fuukners. on Shakespeare, would have cboppine to be p The fo's and R. omit good the true reading, which, he says, is a

remeinber,

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