Ham. A rhapsody of words: Heaven's face doth glow; Ah me, what act, Queen. That roars so loud, and thunders in the index ?° Ham. Look here, upon this picture, and on this; 4 The counterfeit presentment of two brothers. Here is your husband; like a mildew'à ear, ment 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; To serve in such a difference.] What devil was 't, That thus hath cozen'd you at hoodman-blind ?? Sets, in the quarto (B); in folio, makes. The repetition of makes is certainly inelegant. bThis solidity-this earth. Heaven and earth are ashamed of your act. c The index, is here used as in Othello:-"An index and abscure prologue to the history." a Station-manner of standing, attitude. The lines in brackets are found in quarto (B), but are not in the folio. So also the four lines below. 1 Hoodman-blind-the game which we call blind-man's buff. Hon. A king of snreds and patches:Save me, and hover o'er me with your wings, You heavenly guards!-What would you, gracious figure? Queen. Alas! he's mad. Ham. Do you not come your tardy son to That, laps'd in time and passion, lets Ghost. Do not forget: This visitation Ham. That I have uttered: bring me to the test, Ilam. O throw away the worser part of it, a Excrements-hair, nails, feathers, were called excrements. Isaac Walton, speaking of fowls, says, " "their very excrements afford him a soft lodging at night." Rank, in the folio; in quartus, ranker. • Curb to bend-courber. Of habits devil,-is angel yet in this,— Thus bad begins, and worse remains behind.[One word more, good lady.] Queen. What shall I do? Ham. 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, Or padling in your neck with his damn'd fingers, For who, that's but a queen, fair, sober, wise, 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. Ham. I must to England; you know that? • This passage is generally printed thus: "That monster, custom, who all sense doth eat The commentators, who have, contrary to the text of the quarto, made habits the genitive case, cannot explain their own reading. As we have printed the passage, we understand it to mean, that custom, who destroys all nicety of feeling-sense-sensibility,-who is the devil that governs our habits-is yet an angel in this, &c. b The lines in brackets, and the four subsequent lines, are not in the 'folio, but are found in the quarto (B). c Master-so the quarto (C); it has been changed to either curb, either without curb being the reading of quarto (B). d I. as your son, will ask your blessing, when, by your altered life, you evince your desire to be bless'd. Paddock-toad. f Gib-a cat. I had forgot; 't is so concluded on. Whom I will trust, as I will adders fang'd,— When in one line two crafts directly meet."] I'll lug the guts into the neighbour room :-- [Exeunt severally; HAMLET dragging These lines in brackets are not in the folio. ILLUSTRATIONS OF ACT III. 'SCENE II. "I'll have a suit of sables." Sir Thomas Hanmer turned "I'll have a suit of sables," into "I'll have a suit of ermine;" and Warburton thinks it extremely absurd that Hamlet and the devil should both go into mourning. Neither Hanmer nor Warburton perceived the latent irony of Hamlet's reply. Ophelia says his father has been dead "twice two months;" he replies, "So long? nay, then let the devil wear black, for I'll have a suit of sables." Robes of sable were amongst the most costly articles of dress; and by the Statute of Apparel, 24 Hen. VIII., it was ordained that none under the degree of an earl should use sables. This fur, as is well known, is not black; and it is difficult to know how it became connected with mournful associations, as in Spenser "Grief all in sable sorrowfully clad." In heraldry, sable means black; and, according to Peacham, the name thus used is derived from the fur. Sables, then, were costly and magnificent; but not essentially the habiliments of sorrow, though they had some slight association with mournful ideas. If Hamlet had said, "Nay, let the devil wear black, for I'll have a suit of ermine," he would merely have said, Let the devil be in mourning, for I'll be fine. But as it is he says, Let the devil wear the real colours of grief, but I'll be magnificent in a garb that only has a facing of something like grief. Hamlet would wear the suit as Ben Jonson's haberdasher wore it: "Would you not laugh to meet a great counsellor of state, in a flat cap, with his trunk-hose, and a hobby-horse cloak; and yond haberdasher in a velvet gown trimmed with sables?" 2 SCENE II. The dumb show enters." Hamlet has previously described the bad player as "capable of nothing but inexplicable dumb shows." Mute exhibitions, during the time of Shakspere, and before and after, were often introduced to exhibit such circumstances as the limits of a play would not admit to be represented. In some plays the order of these dumb shows is minutely described; and they generally represent scenes which are not offered to the understanding in the dialogue. We presume, however, that Shakspere, in the instance before us, had some stage authority for making the dumb show represent the same action that is indicated in the dialogue. His dramatic object here is evident: he wanted completely to catch the conscience of the king; and thus, before the actors come to the murder of Gonzago, the king is alarmed, and asks, "Have you heard the argument? is there no offence in it?" Mr. Collier's History of the Stage, vol. iii. p. 427 we find many curious details on the payment of actors, showing that the performers at our earlier theatres were divided into whole-sharers, threequarter-sharers, half-sharers, and hired men. 'SCENE IV.-"Look here, upon this picture, and on this." In a volume of Essays, written by Dr. Armstrong, under the assumed name of Lancelot Temple, we have the following observations on the common stage action which accompanies this passage,"As I feel it, there is a kind of tame impropriety, or even absurdity, in that action of Hamlet producing the two miniatures of his father and uncle out of his pocket. It seems more natural to suppose, that Hamlet was struck with the comparison he makes between the two brothers, upon casting his eyes on their pictures, as they hang up in the apartment where this conference passes with the queen. There is not only more nature, more elegance, and dignity in supposing it thus; but it gives occasion to more passionate and more graceful action; and is of consequence likelier to be as Shakspere's imagination had conceived it." It is remarkable that this stage practice, which involved the improbability that Hamlet should have carried his uncle's picture about with him, should have been a modern innovation. In a print pretixed to Rowe's Shakspere, 1709, of which the following is a copy, we see Hamlet pointing to the large pictures on the arras. Our readers will smile at the costume, and will observe that the stage trick of kicking down the chair upon the entrance of the ghost is more than a century old. King. There's matter in these sighs; these profound heaves; You must translate: 't is fit we understand them: Where is your son? Queen. Ah, my good lord, what have I seen to-night! King. What, Gertrude? How does Hamlet? Queen. Mad as the seas, and wind, when both contend Which is the mightier: In his lawless fit, The unseen good old ran. King. O heavy deed! It had been so with us, had we been there : a In the quartos, Rosencrantz and Guildenstern enter with the King and Queen, and are sent away, for a short space, by this line of the Queen : "Bestow this place on us a little while." In the folio this line is omitted: and Rosencrantz and Guil. Censtern come in when Guildenstern is called by the King. b In the quartos, "Whips out his rapier cries, A rat a rat!" To you yourself, to us, to every one. Alas! how shall this bloody deed be answer'd haunt, This mad young man: but, so much was our love, Queen. To draw apart the body he hath kill'd: O'er whom his very madness, like some ore, Among a mineral of metals hase, a Shows itself pure; he weeps for what is done. King. O, Gertrude, come away! The sun no sooner shall the mountains touch, Enter ROSENCRANTZ and GUILDENSTERN. a Mineral-mine; a compound mass of metals. |