THE TRAGEDY OF HAMLET

THE WORKS
OF

SHAKESPEARE
THE TRAGEDY OF HAMLET
EDITED BY

EDWARD DOWDEN

METHUEN AND
36

CO.

ESSEX STREET: STRAND

LONDON
1899

9 5 7 7

95

CONTENTS
PAGE

Introduction

ix

The Tragedy of Hamlet

Appendix
I.

The "Travelling" of the Players.

229

Appendix II. Some Passages from the Quarto of

1603
231
III.

Appendix

Addenda

235

INTRODUCTION
This
edition of

Hamlet aims

in the first place at

giving

a trustworthy text.

Secondly,

it

attempts to exhibit the variations from

that text which are found in the primary sources

Quarto of 1604 and the Folio of 1623

the text.

the

in so far as

those

variations are of importance towards the ascertainment of

Every variation

is

not recorded, but

have

chosen to err on the side of excess rather than on that of

defect.

Readings from the Quarto of 1603 are occa-

sionally given,

and

also from the later Quartos

is

and

Folios,

but to record such readings

this edition.

not a part of the design of

1

The

letter

means Quarto

604 F means
;

Folio 1623.

The
1605
;

dates of the later Quartos are as follows:

4,

Q
it

3,

161

5,

undated

Q
I

6,

1637.

For

my

few references to these later Quartos

have trusted the

Cambridge Shakespeare and Furness's edition of Hamlet.

Thirdly,
it

gives

explanatory notes.

Here
after

is

inevitable that
selection

my

task should in the main be that of

But,

and condensation.
I

gleaning

the

gleaners,
sheaf.

have perhaps
I

brought
I

together a slender

Thus,

am

not aware that

have been

antici-

X
pated
in

INTRODUCTION
my
explanation of

Hamlet's question about

(v.
i.

Alexander's body, in the Churchyard scene

of his swearing by St. Patrick
(i. v.

218);

136); of the
eale " crux

name
(l. iv.

Lamord

(iv. vii. 93).

hope

may have done something

dram of
'tween their amities"
parallel

towards the solution of the

"

26 38), and
(v.
ii.

of "stand a
I

comma

42).

have noted a curious

between

Jonson and Shakespeare (ll. ii. 210214). With the aid of the New English Dictionary I have perhaps removed

any doubt
and given

as to the
its

meaning of
231).
"

"

mortal

coil " (ill.

is

i.

6^^,

correct sense (though this

(ill.
ii.

doubtful) to

"anchor's cheer"

have perhaps explained

suppose to be new

why

Folonius
(II.
i.

classes "
I

fencing

with drinking and drabI

bing

25).

have made what

perhaps erroneous
(II.
ii.

suggestions

as to "

Take
(l. iii.

this

from
If

this"

ingenuities are

156) and "tender me a fool" anywhere pardonable, it is

109).

in

conjecturing
;

the meaning of Hamlet's riddling speeches

his

it

was not
I

cue ever to talk sheer nonsense

accordingly

have

ventured to throw out, doubtfully, suggestions

darkening counsel with words

174),

on
ii.

possibly
" (ll.
ii.

"

fishmonger

"mad
(ill.
is

handsaw"
(IV.
I,

(ll.

sables"

ii.

139), "soul of Nero"

ii.

401-403), "suit of (ill. ii. 413), "the

eisel,

body

with the king"

"

30),

"drink up

eat

a crocodile

(V.

i.

298).

very doubtfully, suggest a

(i.
iii.

new reading
crux
(v.
i.

of " select and generous "

74),

and a
"

modification of Mr. Tovey's emendation of the"Yaughan

6']').

Occasionally, as in the
(ill.
i.),

"Nunnery"

scene

with Ophelia

have

tried

to explain

Hamlet's
is

thoughts rather than verbal

worthless

difficulties.

When what
that
is

has

been

sifted

away,

little

INTRODUCTION
real

xi

addition

to

our

knowledge of Shakespeare
references to the legendary

may

remain.

For the
the

earliest

Hamlet
in

reader

should
in

consult

Mr.

Gollancz's

interesting
date,

volume Hamlet
he
tells

Iceland (1898).
in

The

first

us,

is

found

the

second section of Snorri

Sturlason's

Prose
" in

Edda

(about

1230):

"The

Nine
the

Maids of the
Ocean-god)

Island

Mill "

(daughters of ^gir,

ages past ground Hamlet's meal."

quotation of Snorri from Snaebjorn,

words occur

in a

The who

was probably an Arctic adventurer of the tenth century.

The name Amhlaide is found yet earlier. of Ireland by the Four Masters, under
(

In the Ajinals
the

year 9

919), in a fragment of song (having reference to the

battle of Ath-Cliath
Irish) attributed to

between the Northerners and the

Queen Gormflaith, appear the words Glundubh [was slain] by Amhlaide." Mr. Gollancz identifies this Amhlaide with Sitric, a Northerner, who first came to Dublin in 888, and hazards the conjecture that " Gaile," a cognomen applied to Sitric, may mean mad, and that Amhlaide may be a synonym of " Gaile." He believes that in the Scandinavian kingdom of Ireland was developed, in the eleventh century, the Northern tale of Hamlet as we know it from Saxo.^
" Niall

Probably about the opening of the thirteenth century

the Danish writer
"

Saxo Grammaticus

told in
is

Latin the
form

The Ainbales Saga, which Mr. Gollancz

prints,

in its present

production belonging to the sixteenth, or perhaps early seventeenth century," preserving possibly some elements of the pre-Saxo Ilamlet legend. The Icelandic folk-talc of Brjam (first written down from oral tradition in 1705) is "nothing but a levelling down of the story of Ilamlet, cleverly blended with another folk-tale of the Clever Hans type " (Gollancz,
' '

"a modern

Introduction, Ixiv and

Ixviii).

xii

INTRODUCTION
Amlethus
in the

story of

third

and fourth books of

his

History of the Dajies.

The

reader will find an English

version in Mr. Elton's translation of Saxo.

Hamlet

legends, oral or written, are mingled

The Northern by Saxo

Feng
rule

with borrowings from the old

Junius Brutus.

Roman

story of Lucius

Horwendil and

his brother

Jutland under King Rorik of Denmark.

slays Roll, king of

Horwendil
Feng,

Norway, and marries Gerutha, the

;

daughter of King Rorik

their son

is

Amleth.

jealous of his brother, slays Horwendil, and takes Gerutha

to wife.

Amleth

feigns to be dull of wits

and

little

better

than a beast, while secretly planning vengeance.

baffles the courtiers

He
them
his

by riddling words, which

are
really
significant.

for

are

nonsense, but

A
;

girl,

foster-sister, is

placed in his way, in the hope that his betray his true state of mind
his
foster-

conduct

may

brother warns

him of the

snare,

and

he
an

baffles

his

enemies.

friend of Feng, "

more confident than

wise,"

proposes to act as

eavesdropper during
his

interview
like

between Amleth and

mother.

Amleth, crowing

a cock, flapping his arms like wings, and leaping hither

and

thither,

discovers

the eavesdropper

hidden under

straw, stabs

him and brutally disposes of the body. He explains to his mother that his madness is feigned and that he plans revenge, and he gains her over to his side. His uncle sends Amleth to Britain, with two companions,
bear a letter graven on wood, requesting the king to

who

slay Amleth.

The

letter

is

altered

by Amleth, and
returns,

his

companions are put

to death.

His adventures

in Britain

do not

affect

Shakespeare's play.

courtiers drunk, nets

them

in

makes the hangings knitted by his

He

INTRODUCTION
mother, sets
the sword.
fire

xiii
his
is

to the palace,

and slays

uncle with
hailed as

He

harangues the people, and

Feng's successor.

After other adventures of crafty device

Had he lived, and daring deed, Amleth dies in battle. favoured by nature and fortune, he would have surpassed
Hercules.
Sa:>co's

forest

History was printed in 15 14.

In

freely rendering Saxo's Latin

in

1570
his

Belle-

told the story of

Amleth

French

in

the

fifth

volume of

Histoires

tragiques.

The English

translation of Belleforest's story.

The Historic of Hamblet, is dated 1608, and may have been called forth by the popularity of Shakespeare's
play.^

Here the eavesdropper hides behind the hangings of Geruthe's chamber, and Hamblet cries, " A
rat
!

rat

"

circumstances

probably

borrowed

from

Shakespeare.

As early as 1589 an English drama on the subject Hamlet was in existence. It is referred to in that year by Thomas Nash in a printed letter accompanying
of Greene's MenapJion.

VVe know from

it

other allusions, that

influence of

this passage, and was a drama written under the

in
it

Seneca, and that a ghost appeared

"
!

crying

"

Revenge

Henslowe's diary informs us that

it

was

acted, not as a

June 1594.
author

new play, at Newington Butts in The suggestion that Thomas Kyd was the made long since was supported with sub-

stantial evidence

by Mr. Fleay
891), and, in
in

in his

Chronicle of the

English

Drama

(i

my

opinion, was decisively

proved by Gregor Sarrazin

^

the section entitled "

ii.,

Der

It

may be found
i.

in

Furness's Hamlet, vol.

or in Collier's Shake-

speare's Libra)y, vol.

xiv

INTRODUCTION
Thomas Kyd und sein Kreis (1892). not improbable that Nash, in the passage where he
his

Ur-Hamlet" of
It is

speaks of Hamlet, puns upon the

fairly

name Kyd.

We may
to

assume that
for

it

Spanish Tragedy
revenge
a

was a companion piece

a play of
son,

Kyd's

itself

revenge (a father's
the

murdered
passion

inverting

Hamlet

theme)

of violent

bordering

on
the

distraction

including
senting,

among
like

the dramatis personce a ghost, and prewithin

play.

Hamlet, a play

Kyd

translated Garnier's Cornelia from the French, and could

read the story of Hamlet

in Belleforest.

English actors

had

visited Elsinore,

and had

lately returned to

London,

bringing their tidings of Denmark.

Mr. Corbin,

in

a very ingenious study. The Elizabethan

Hamlet (1895), has conjectured that the lost play by Kyd exhibited a Hamlet resembling the Amleth of Saxo
in his

being rather a

man

of resolute action than a

man

of contemplation, and that his assumption of madness was the occasion of vulgar comedy the affliction of
;

insanity was, as

we know,

often regarded

by Elizabethan

dramatists
jecture
is

from the

comic

point of view.

The

con-

well worthy of consideration.

In developing

his theory Mr.

Corbin makes use, however, of one piece

of evidence, which must be held as of doubtful value.

rude German drama, Der Bestrafte Bj-iidermord, found

in a

manuscript dated 17 10,

is

taken by Mr. Corbin and

others as based on Kyd's Hamlet.

This

is

possible

more probable that the German play is a debased adaptation of Shakespeare's Hamlet in its earliest form. Perhaps, as Tanger has suggested
but
it

seems to

me

far

{Shakespeare Jahrbuch,

xxiii.),

a few recollections of the


INTRODUCTION
later

xv
in

form of Shakespeare's play were woven

by actors

who

arrived in Germany at a later date.^ Under the date July 26, 1602, was entered in the Stationers' Registers for the printer James Roberts, " A booke called The Revenge of Hamlet Prince [of] Denmarke, as yt was latelie Acted by the Lord Chamberleyne
his servantes."

There are no grounds

for

supposing that
In the

Shakespeare wrote the play

following
Historie

earlier than 1602,"

appeared in quarto, The Tragicall Hamlet Prince of Denmarke By William As it hath beene diverse times acted by Shake- speare. as also in his Highnesse servants in the Cittie of London the two Vniversities of Cambridge and Oxford, and elsewhere. At London printed for N. L. and John Trundell. 1603." The Lord Chamberlain's servants of 1602 Shakespeare's company had, since the accession of James I., become his Highness' servants. It is conjectured that the play was acted at the Universities " at some enteryear
of
:

tainment

in

honour of the king's accession," the subject

"

being connected
In
1

with the native country of his queen."

:

604 appeared a second Quarto " The Tragicall Historie of Hamlet, Prince of Denmarke. By William Shakespeare. Newly imprinted and enlarged to almost as much againe as it was, according to the true and perfect Coppie. At London, Printed by I. R. for N. L.,
^

See Cohn's Shakespeare in Germany (1865)

Latham's

Two

Disserta-

tions on the

Hamlet of Saxo Grammaticus and of Shakespear (1872); and Furness's Hamlet, vol. ii. A Hamlet was performed by English actors at
above, is of great value. a copy of Spcght's Chancer (1598), mentioning Hamlet, was seen by Steevens, Bisliop I'crcy, and Malonc, but its date was a matter of conjecture. Harvey lived for many years after the publication of Shakespeare's Hamlet.
in 1626.

Dresden
*

Tanger's

article, referred to

The note by Gabriel Harvey

in

xvi

INTRODUCTION
to be sold at his
in Fleetstreet.

and are
Church
sure, for
It is

shoppe under Saint Dunstons

I,

1604,"

R, stands,

we may be

James Roberts.
unquestionable that the copy for the Quarto of
surreptitiously obtained.

1603 was
to

Errors which seem

be rather errors of hearing than of sight, or of a

compositor's

memory

in

setting

up a group of words,

indicate that, according to a practice of the time, a short-

hand writer was employed

which look
like errors of a in writing

to take notes of the speeches

during a theatrical performance.

copyist

There are
;

also errors

some of these may

have occurred
printer,

out the shorthand notes for the

T. Bright's system of shorthand, moreover, gave

scope for

many

errors in interpreting the characters of

the stenographer.^

But the conjecture of the

"

editors of

the Cambridge Shakespeare that the defects of the

script derived

manu-

from shorthand

were supplemented by a
the library of the

reference to the authentic copy in

theatre,"

seems to deserve consideration.

is

The
later
;

earlier

portion of the Quarto

both

fuller

and

less inaccurate as
;

compared with the true text than the the shorthand writer scamped his work
theatrical underling,

perhaps
the

perhaps

whom we may

suppose as assisting

him by reference to the copy in the theatre, was discovered, or had no opportunity of completing his dishonest labours. In some instances it looks as if only
a hasty and partly incorrect note of the substance of a

speech was made, and this was expanded into several

feeble or incoherent lines.
^ See on this subject a remarkable paper, "Shakespeare und die Stenographie," by Curt Dewischeit, in the Shakespsare Jahrbuch, xxxiv. (1898).

INTRODUCTION

xvii

The Quarto of 1603, containing 2143 lines, is shorter by some seventeen or eighteen hundred lines than the play as we construct it from the second Quarto
and the Folio
differ
;

yet

it

gives substantially the whole action

of the complete play.

The names
to

from

those

familiar
is
;

us

of two characters

Polonius
Osric

is
is

here here
as

Corambis, and Reynaldo

"

Montano.
is

a Bragart Gentleman
Centinel.
"

"

Francisco

known only
of the
"

first

The King and Queen

;

Mouse-

trap
is

tragedy are a duke and duchess

the duke's

name

Albertus, not

Gonzago
in

the duke and duchess have

thirty.

been forty years married, not been twelve years

Yorick's skull has

the ground, not three-and-twenty.

Laertes has come from Paris to the late King's funeral,

not to the coronation of

King

Claudius.
" is

Hamlet's

in-

dignant

" 'Tis

not alone

my

inky cloak

addressed to

Claudius, not to the Queen.

The
"

soliloquy "

To

be or

not to be

"

and the

"

nunnery
"

dialogue with Ophelia

occur

in

the

same scene with the reading of Hamlet's

fishmonger
"

love-letter,

and before the

lines

dialogue with

Polonius

spoken to Hamlet by the Ghost on the

to a
is

platform are here spoken by Hamlet to his mother in her closet

;

Hamlet's comparison of Rosencrantz

in

sponge appears here

King, not Laertes,

another connection.

It

the

who proposes

to anoint the

rapier-

point with venom. Gertrude, in the Closet scene, expressly

declares that she

was ignorant of her husband's murder,

to assist her son in his revenge.

and she promises

is

There

a scene in which Horatio and the

Queen confer about

side.

Hamlet's return to Denmark from shipboard, the Queen

appearing as a confederate on Hamlet's
b


INTRODUCTION
differences as these can be accounted for only

xviii

Such
in

one of two ways

either,

as the Clarendon Press

is

editors maintain, a considerable portion of the old play

included in the Quarto of 1603, or that Quarto imperfectly

in

and often erroneously exhibits Shakespeare's work a form which he subsequently revised and altered.
careful

When
own

and judicious investigators

have
satisfied

fail

to agree,

the matter must be admitted to be doubtful.

part, repeated perusals

For

my

me

that Shake-

speare's

hand can be discerned throughout the whole of The Shakethe truncated and travestied play of 1603.
spearian irony of

many
88-1

passages
5 89.

find in plays of 15

is unlike anything we With the exception of the

following lines

Look you now, here is your husband, With a face like Vulcan,

A A

fit for a murder and a rape, dead hanging looke, and a hell-bred To affright children and amaze the world

looke
dull

eie.

see nothing that looks pre-Shakespearian,

that
is

and

see
is

much
before

entirely unlike the

work of Kyd.

It

possible, indeed, that

Kyd's work may have been revised

effect.

1600, but we have no evidence to that

Here and there echoes of a phrase, or a line, or a rhyme Jeronimo, or The Spanish Tragedy, or Solyman and Perseda may be heard in the Quarto of 1603, as echoes
in

of
it

Marlowe and of Lyly may be heard elsewhere.

But
a

has been aptly pointed out by Sarrazin that remin-

iscences of Shakespeare's

own Henry
in this first

V. are found

"in

passage which appears only

Quarto.

Compare

from the Ouarto

;; ;

INTRODUCTION
Well Sonne

xix

Hamht we
*

in care of

you

but specially
*

In tender preservation of your health,

The winde

sits faire,

you

shall

aboorde to-night,
V.,
II.
ii.

with the following from Henry

12 and

57

59:
Now
*
sits

the

wind

fair,

and we

will aboard. # in their dear care

Though Cambridge, Scroop and Grey,

And

tender preservation of our person.

The
more

general style of the

Ham/ei of 1603

is

much

like that of

an ill-reported play of that date than

like the style of a play of

Kyd's and Marlowe's time

but the actor's speech about Hecuba and Priam, though

much reduced
Folio,

in length,
it

stands out from the rest of the

play in this form as

does in the second Quarto and the

reproduction of a style which was

by

virtue of

its

out of date at the opening of the seventeenth century.

The Quarto
it

of

1604

is

carelessly printed

and

ill

punctuated as compared with Hamlet of the Folio, yet

represents

more

faithfully

and

fully

what Shakespeare

wrote.

The

Folio, counting only passages of

one

line,

omits 218 lines; the Quarto, 85.

considerable omissions in the Quarto are three

lines
this

more than The most

thirteen
ii.

immediately before the entrance of Osric

in V.

seems to be due to accident

in
II. ii.
;

secondly, the passage

about the boy actors

be unbecoming
to the children,

the omission was probably

made, as Professor Hall

in the

Griffin suggests,

because

it

would

King's servants to show hostility

servants of the

who were
in

Queen

thirdly,

part of the dialogue between

Hamlet and Rosencrantz

and Guildenstern

an earlier passage of the same scene

XX

INTRODUCTION
me
obvious

the reason for the omission seems to

Den-

mark

is

spoken

of as a prison, or as one of the worst

dungeons

in the prison

of the world, and

Denmark was

the native country of the

Enghsh Queen.
it

The
as

Folio text was evidently cut for the purpose of

stage representation, and generally

may

be described

more

theatrical,

but

less

literary,
iv.,
;

than the text of

1604.

The

greater part of iv.

is

including Hamlet's
so are his meditain
I.

very important soliloquy,

deleted

tions before the entrance of the

Ghost

iv.

Horatio's
fall

description of the prodigies in

Caesar,
IV. vii.,
I.
i.
;

Rome

before the

of

Claudius's remarkable words to Laertes, in

effect of

on the wearing

time on passion
III. iv.
;

Ham-

let's reflections

on the monster Custom,

his
III.

Hamlet's
hoist the
his

lines

about the courtiers and

resolve to
;

enginer with his

own

petar.
ii.^

iv.

and much of

mockery of
actors'
"
"

Osric, V.

Oaths and sacred words are

altered to avoid the legal offence of profanity.

Some

additions are introduced, such as the

unhappy

O,

o, o,

"
is

of the dying Hamlet, following his words

silence."

The

rest

And

there

is

a desire evident in

the editors of the Folio text to modernise certain words

which were regarded as old-fashioned.

The
sentinels.

duration
It

of

the

action

in

the

play presents

difficulties.

opens at midnight with the change of

Next day Horatio and Marcellus, with Bernardo, inform Hamlet of the appearance of the Ghost it cannot be the forenoon, for Hamlet salutes Bernardo On the night of this day Hamlet with " Good even, sir."
;

^ See Dr. Fumivall's Griggs's facsimile.

Introduction

to

the

second Quarto, prefixed

to

INTRODUCTION
watches and meets his father's ghost.
year
is

xxi
of the

The season

perhaps March

the nights are bitter cold.

;

The

second Act occupies part of one day

Polonius despatches

Reynaldo to
visit,

Paris,

Ophelia enters alarmed by Hamlet's

letter,

her father reads Hamlet's

the players arrive

and, when Hamlet

parts from them, his words are, "

I '11

But before this day arrives, leave you till to-night." two months have elapsed since Hamlet was enjoined to
revenge the murder

it

was two months since

his father's
" twice

death when the play opened, and

months."

now

it

is

two

Next day Hamlet

utters his soliloquy, "

To

be or not to be," encounters Ophelia as arranged by

Polonius, gives his advice to the players,
is

present at

the performance of the play

and, night having come, he

spirit.

pleads with his mother, and again sees his father's

Here the
out

third

Act
;

closes,

but the action proceeds with-

interruption

Polonius, and

tells

him

to

England.

the King inquires for the body of Hamlet that the bark is ready to bear We must suppose that it is morning

when Hamlet meets the troops of Fortinbras. Two days previously the ambassadors from Norway had returned,
with a request that Claudius would permit Fortinbras to

march through Denmark against the Poles

sadors,
IV.
v.

Fortinbras

himself must have arrived almost as soon as the ambas-

and obtained the Danish King's permission.

In

Ophelia appears distracted, and Laertes has reof time

turned from Paris to be revenged for Polonius's death.

An

interval
for

must have passed since Hamlet

interval
sufficient

sailed

England
Elsinore.

an
In

to

permit

Laertes to receive tidings of the death of Polonius and

to

reach

the

next scene

letters

arrive

xxii

INTRODUCTION
is

announcing that Hamlet

he was two days at
sea,

again in

Denmark
is

before

he became the

pirates' prisoner.

On

the day of the arrival of letters Ophelia

indicate that the time
is

drowned.
Ophelia's

Her flowers
burial

early June.

and Hamlet's death take place on the next day. Yet the time has been sufficient for Fortinbras to win his Polish victory and be again at Elsinore, and for ambassadors to return from England announcing the We might execution of Rosencrantz and Guildenstern. imagine that the pirate ship conveying Hamlet obligingly
to

Denmark was delayed by

companions as holding
truth
is,

baffling

winds

but his

letters are written after

he has landed, and they describe

their

his

course for

England.

The

as stated

by Professor Hall

Griffin

(whose

record of the notes of time has aided

me

here), "

Shake-

speare

is
.

at
. .

fault "

he

"

did

not trouble himself to

reconcile

inconsistencies which practical experience

tell

as an actor

would

him do not trouble the

spectator."
is

The division made without the

III. is

of the last three Acts of the play authority of any early edition.

certainly opens aright.

But the division

the
unfortunate.

Act V. between II. and

division

matter of doubt, and

III.

received

between
players

and

iv.

is

Mr. E. Rose pro-

posed that
(ill.

III,
ii.

should open with Hamlet's advice to the

of the received arrangement), and that IV.

should open with the march of Fortinbras (our present

IV.
iv.).

As
in

regards

iv.,

this

is

the

division

of Mr.
for the

Hudson

his

Harvard Shakespeare; and but

in lexicons

inconvenience of disturbing an accepted arrangement, to

which references are made

I

and concordances,

should

in this edition follow

Mr. Hudson.


INTRODUCTION
The names
North with
trude
" is

xxiii

of the dramatis personcs incongruously

mingle forms derived from the Hamlet tradition of the

classical, Italian,

and German forms.

"

Ger-

a modification of Saxo's "Gerutha."

" Horatio,"

in the old

play Jeronimo,
reappears
in

is

the

name

of Andrea's faithful

friend,

who
the

The Spanish Tragedy.

"

Both
"

" Ofelia,"

name

of a shepherd, and

Montano

(the

name
dated

of Reynaldo in the Quarto of 1603), are found in

the Arcadia of Sannazaro.

i

577

The autograph

signatures

of Jorgen Rossenkrantz and P. Guldenstern

in

appear on the same page of an old German album

of which had resided for

the Royal Public Library at Stuttgart, the original owner

Copenhagen ^ it does not follow that these individuals were in any sense the originals of Shakespeare's courtiers an ambassador named Rosencrantz was sent to England at the accession of James the First, and there were other Guildensterns.
at
;

some time

Shakespeare probably obtained the names from actors

who had
"
is

returned from the Continent

" Fortinbras,"

wrote Mr. Elliot Browne {Athenc^um, July 26, 1876),

evidently Fortebras, or Strongarm of the family of
directly

Ferumbras of the romances, or may have come

from
Niccolo
Fortebraccio,

the famous

leader

of the

condottieri."
It is

not proposed here to notice the stage-history of

Hamlet, the interpretations by eminent actors, nor the

vast
critical
I

library

that

has grown around the play.

in

Critics,

think, have

sometimes erred
the

not keeping

vividly
^

before their imagination

for facsimile

nature of Shake;"

See

Shakespeare Jakrbuch, xxv.

and, for letters on the

subject, xxvi.

xxiv
speare's task.

INTRODUCTION
They
often speak as
if

the poet started

with some central idea of which Hamlet was to be the

exponent.
depict

"

Shakespeare," wrote

Goethe, "sought

to

a great deed laid

of
it."

upon a soul unequal

Hamlet,"
wrote

to the

performance
"

"

In

Coleridge,

Shakespeare seems to have wished to exemplify the

moral necessity of a due balance between our attention

to the objects of our senses

and our meditation on the

prefer to think of Shake-

working of our minds

an

equilibrium between the real

I

and the imaginary worlds."

speare as setting to work with the intention of rehandling

the subject of an old play, so as to give
it

fresh interest

on the stage
traditional

as following the subject given to him,

and

as following the instinctive leadings of his genius.

The

subtlety,
bafifling

truth.

Hamlet was distinguished by intellectual by riddling speech, by a power of ingeniously his pursuers, and, at the same time, by a love of But the subtlety of Saxo's Amleth and we may

was what Burke happily describes, in a different connection, as a " clumsy subtlety." If he would be taken to be mad,
is

be sure the same

true of

Kyd's Hamlet

he affects unclean and brutal habits, or crows like a

cock, or rides a horse with his head towards the
tail.

Shakespeare was attracted by the

subtlety,

intellectual subtlety of

Hamlet, and was inevitably led by his genius to refine

this

and
in

to diversify

its

manifestations.

He
keep

was caught

the

web

of his

own

imaginings, and
to

became so absorbed
it

in his

work that he forgot

within the limits suitable for theatrical representation

the tragedy has, perhaps, never

been presented

in
its

its

entirety on the English stage in consequence of

in-

INTRODUCTION
ordinate length.

xxv

play at the

The swift and subtle wit that had its Mermaid Tavern was now incarnated in one
is

of the creatures of Shakespeare's imagination.

Hamlet
is

not the exponent of a philosophy; he has,

it

true, a

remarkable power of reflection and a tendency

to generalise, but

he

is

not a philosophical thinker

ideas
in

who

seeks

to

co-ordinate

his

a coherent system.

Perhaps Ulysses, perhaps Prospero approaches nearer to

the philosopher, but neither Ulysses
wit
is
;

nor Prospero

is

and Hamlet

is

a wit inspired by melancholy.

;

He
also

swift, ingenious, versatile, penetrative

and he

is

sad.

And when
it

Shakespeare proceeded to follow the

it

story in the main as he had probably received

from
itself

which
true

Kyd,

turned out that such subtlety overreached

Shakespeare recognised
the
facts

as wholly right,
is
it

and
not
were,

to

of
;

life.

Hamlet's madness
is,

deliberately

assumed

an antic disposition

as

imposed upon him by the almost hysterical excitement which follows his interview with the Ghost, and he
ingeniously justifies
it

to himself

by discovering

that

it

may

hereafter serve a purpose.

But

in truth his subtlety

does not produce direct and effective action.

neither a boisterous Laertes,

Hamlet

is

who

with small resources

almost effects a rebellion

father,

in

revenge for a murdered

nor a resolute Fortinbras, who, mindful of his

father's

dead
of

honour, can

march through
too
precisely

danger

to

victory.

Hamlet's intellectual subtlety sees every side

every question, thinks

all

on the event,

considers

things

too curiously, studies

anew every

conviction, doubts of the past, interrogates the future

it

delights in ironically adopting the mental attitudes of

xxvi
other minds
it
;

INTRODUCTION
it

refines

contempt

into
;

an ingenious

art

puts on and puts off a disguise

;

it

assumes and lays

a concealment, as
letter.

aside the antic disposition

as a veil,

it

can even use frankness

is

for

sometimes display

happened with Edgar Poe's purloined

the subtle
critic
is

pre-eminently a

critic

Hamlet
art,
life,

a critic of

a a

of character, a critic of society, a critic of

critic

of himself.
intellectual dexterity

The

and

versatility of

Hamlet

are united with a moral nature essentially honest.

He

will not hire a couple of assassins to despatch his father's

murderer.

He

will

not himself take action until he has

guilt.

evidence of the King's

Like the Amleth of Saxo,

in craft.

he

is

a lover of truth concealed

His emotional
mother's
lapse
is

nature, though deeply disturbed

by

his

from loyalty, and

liable

to

passionate fluctuations,

sound at
father, a

heart.

He

reverences the

memory

of his great

whom Hamlet resembles as little Hercules. He is bound to Horatio by resembles as he He is kind to ties of the deepest esteem and affection. He expends his utmost energy in an the poor actors.
man
of action,
effort to uplift

and redeem

his

mother's faltering

spirit.

He
is

is

over-generous in his estimate of Laertes.

He

has

loved Ophelia as a vision of beauty and innocence, and

proportionately embittered

when he supposes
But

that he
all

has deceived himself and been deceived.

inclinations

his

are

toward those who are unlike himself

He

is

simplicity

complex and self-tormenting; Ophelia seems all and innocence he is oppressed by melancholy
; ;

thought
sorrow."

she

is "

something afar from the sphere of

is

his

Horatio

man whose

blood and judgment,

INTRODUCTION
unlike Hamlet's own, are well
;

xxvii

see the evil of the world, yet

commingled one who can not grow world-weary

For
of

more of the antique Roman Stoic than a Dane.

Fortinbras Hamlet has the admiration which the
ideas feels for the

man

man

of resolute action.

In Claudius
intellectual

he might have perceived some of his

subtlety

own

and

reflective habit,

but conjoined with grosser

;

senses and an evil moral nature

and him Hamlet loathes

and such a moral

with an impatient aversion.

Together with such an

nature,

intellectual

him something dangerous a will capable of being roused to sudden and desperate activity.
in
It
is

Hamlet has

a will which

is

determined to action by the flash

and flame of an excitable temperament, or by those

sudden
impulses or inspirations, leaping forth from a
self,

sub-conscious

which come almost

It is

like the revelation

and the decree of Providence.

on the accidental
arrival

thus that he suddenly

conceives the possibility of unmasking the King's guilt,

of the players, and proceeds

test,

without delay to put the matter to the

suddenly

overwhelms Ophelia with

suddenly stabs
suddenly, as
his
if

his reproaches of

womanhood,
the
arras,

the

eavesdropper

behind

under some

irresistible inspiration,

sends

companions on shipboard to
suddenly does
execution

their death,

suddenly
in

boards the pirate, suddenly grapples with Laertes

grave,

the

on

the

guilty

King,

plucks the poison from

Horatio's hand, and gives his

dying voice

for a successor to the throne.

for
;

Hamlet's love
in

Ophelia
she
is

is

the wonder and delight

a celestial vision

hardly a creature of earth,

and he has poured

into her ear almost all the holy

vows

xxviii
of heaven.

INTRODUCTION
The
ruin

of an

ideal

leaves

him
It

cruellyis

unjust to the

creature

of flesh

and blood.

the

strangest love-story on record.

Never throughout the

play

is

there one simple and sincere

lover to lover.

word uttered by The only true meeting of Hamlet and

takes a
silent

Ophelia
soul,

is

the speechless interview in which he reads her

despairs,

and

and

final

farewell.

Even

in the letter, written prior to the terrible

is

announce-

ments of the Ghost, there

a baffling conclusion.

a conventional address and

After the silent parting, no true

word, except when passion carries him away to undeserved reproach,

love has for the
is

uttered

by Hamlet
its

to Ophelia.
at her

His
grave,

first
it

time

outbreak

when the
Never
utter the

pity of

for a

moment

restores his lost ideal.

to Horatio, never to himself in soliloquy, does

he

name

of Ophelia.

Whether Shakespeare's choice and treatment of the Hamlet story was in any way connected with the history
of Leicester, Essex, and the mother of Essex, or with
the history of

Mary Queen
I

of Scots and Darnley, cannot

be considered here.
has been

do not think that a good case

made

out for either hypothesis.

The

references to other plays of Shakespeare than

to
act,

Hamlet are
I

scene,

and

line

as

found

in

the

Globe Shakespeare.

have to thank two learned students of Elizabethan literature, Mr. W. J. Craig, editor of The Oxford Shakespeare,

and Mr. H. C. Hart,

for aid kindly given to

me

in

the preparation of this

volume.

THE TRAGEDY

HAMLET, PRINCE OF DENMARK

DRAMATIS PERSONS
Claudius, King of Denmark. Hamlet, Son to the late, and Nepheiv FoRTiNBRAS, FHnce of Norway. Horatio, Friend to Hamlet. PoLONius, Lord Chamberlain. Laertes, his Son.
to the prese7it

King.

voltimand, Cornelius, rosencrantz, Guildenstern,

OSRIC,

>^

Courtiers.

A A

Gentleman,
Priest.
I

Marcellus, T, Bernardo,

>
J

Officers.
-^

^^

Francisco, a Soldier. Reynaldo, Servant to Polonius.

Captain.

English Ambassadors.
Players.

Two

Clowns, Grave-diggers.
atid

Gertrude, Queen of Denmark,

Ophelia, Daughter
to Polonius.

Mother

to

Hamlet.

Lords, Ladies, Officers, Soldiers, Sailors, Messengers,

ants.

and Attend-

Ghost of Hamlefs Father.

Scene:

Elsinore.

THE TRAGEDY
HAMLET, PRINCE OF DENMARK
ACT
SCENE
I.

Ehinore.
at his post.

Platform before

the Castle.

Francisco
Ber.

Enter

to

him Bernardo.

Who
Long

's

there

Fran. Nay, answer

Ber.
live the
?

me

stand,
!

and unfold

yourself.

king

Fran. Bernardo
Ber. He.

Fran.
Ber.

You come most 'Tis now struck

cisco.

carefully

upon your hour.

get

twelve

thee to

bed, Fran-

Act
far as
first

Acts and scenes are not marked in Q; in F only as Many editors follow Capell in printing as verse, the line ending with unfold. 7. iicnv struck] Steevens conj. iicw-stnic/:.
I.

Scene

/.]

11. ii.

1-5]

vie] Ale emphatic, Francisco 2. being the sentinel on guard. 3. king] Perhaps the watchword,
3

Horatio and Marcelhis answer the challenge otherwise, but Francisco is not (line 15) at his post.


HAMLET
relief

4
Fran. For this

[acti.
bitter cold,

much thanks
?

'tis

And
Ber.

am

sick at heart.

Have you had

quiet guard

Fran.
Ber. Well, good night.
If

Not a mouse

stirring.

lo

The
Fran.
I

you do meet Horatio and Marcellus, rivals of my watch, bid them make
think
I

haste.
is

hear them.

Stand, ho

Who

there

Enter HORATIO and MARCELLUS.

Hor. Friends to
this

ground.

Mar. Mar.

And

liegemen to the Dane,

Fran. Give you good night.

O, farewell, honest soldier
:

Who
Fran.

hath relieved you

Bernardo has
Give you good night.
Holla

my
!

place.

\Exit.
!

Mar.
Ber.

Bernardo

Say,

What,
Hor.

is

Horatio there?

A
;

piece of him.

Ber. Welcome, Horatio

welcome, good Marcellus.

?

20

Mar. What, has

14.

this

thing appear'd again to-night

i6.
;

hot

Who

is]

(^,

who^s Y.

soldier] F, soiildiers (^.

7.

has]

F, hath Q.

21. Mar.]

i,

Hora. Q.

13. rivals] partners, which is the reading of Q I. Compare " rivality" in Ant. atid Chop. III. v. 8, meaning "partnership," and The Tragedy of

Compare Romeo and

59.

Juliet,

I.

ii.

Hoff?nafi (i6t,i) " ile seat thee

:

by

my

throne of

state

19. A piece of him] Warburton supposed that Horatio gives his hand Ingleby, night, adds and it is Horatio is hardly visible to Bernardo. Shakespeare's intention seems to be

And make
16.

thee rivall in those gov-

ernments."
(J/Vf] Ellipsis for

" God give."

to show that Horatio, the sceptical, can answer jestingly. 21. Mar.] The agreement of Q i


PRINCE OF DENMARK
I

SCI]
Ber.

have seen nothing.

'tis

Mar. Horatio says

but our fantasy,

take hold of him
:

And

will

not
this
I

let belief

Touching
Therefore

dreaded sight, twice seen of us

25

have entreated him along

night,

With us to watch the minutes of this That if again this apparition come,

He may
Ber.

approve our eyes and speak to

'twill

it.

Hor. Tush, tush,

not appear,
Sit

down awhile

30

And
That
Hor.

let

us once again assail your ears.

are so fortified against our story.

What we two

nights have seen.

Well,

sit

we down.

And

let

us hear Bernardo speak of this,

all,

Ber. Last night of

3 5

When yond same

pole

star

that

's

westward from the

Had made his course to illume that part of heaven Where now it burns, Marcellus and myself.
The
bell

then beating one,

Enter Ghost,

Mar. Peace

break
!

thee

off;

look,

where

it

comes

again
26, 27. along

40
to]

With us

comma

after

along Q, after us F.

33. iwo
I.

nights have] F, have two nights Q. 39. beating'] totaling Ghost] Q ; Enter the Ghost after off, line 40, F.

Enter

with Ff in assigning this speech to Marcellus is strong against the Quartos, which assign it to Horatio, " Thing " need not imply doubt or
disrespect.
V. 122,

Aufidius, Coriolanus, iv. addresses Coriolanus as "Thou

"This thing" may noble thing!" be uttered with awe by Marcellus, or with an air of incredulity by Horatio. 29 approve] corroborate, justify, as in Ant. and Cleop. I. i. 60: "he approves the common liar."

6
Ber.

HAMLET
In the

[acti.

same

figure, like the

king that

's

dead.

Mar. Thou art a scholar; speak to it, Horatio. Ber. Looks it not like the king? mark it, Horatio. Hor. Most like it harrows me with fear and wonder.
;

Ber.

It

would be spoke

to.

Mar.
Hor.

Question

it,

Horatio.

45

What

art thou that usurp'st this time of night,

fair

Together with that

and warlike form

In which the majesty of buried

Denmark
I

Did sometimes march

speak
!

by heaven

charge thee,

Mar.
Ber.

It is

offended.
See,
!

it
I

stalks away.

50
!

Hor. Stay

speak, speak

charge thee, speak

{Exit Ghost.

Mar.
Ber.

'Tis gone,

and

will
?

not answer.

How
Is

now, Horatio

you tremble and look pale

?

not this something more than fantasy

What

think you on

't ?

5 5

Hor. Before

my

God,

might not

this believe

Without the sensible and true avouch

Of mine own
Mar.
ar\.

eyes.
Is
it

not like the king?

figure, '\Y, no

comma

Q.

44. !iarrows\}iorrors

i.

45.

Qiies-

fion\ F, Speake to Q. 42. ^r//^/;-] Latin

of exorcisms. and Fletcher,

IValke?; II. i "Let's call the butler up, for he speaks Latin, And that would daunt the devil."
:

Reed Night

was the language cites Beaumont

Boswell's 45. Compare fohnsoti (ed. Birkbeck Hill,

iii.

Life of 307)
:

44.

harro'ws'\

Compare

I.

v.

16;

once observed to me, 'Tom Tyers described me the best: "Sir (said he) you are like a ghost you never speak till you are spoken to."'"

"Johnson

and Milton, Co/nus, 565, "Amazed I stood, harrow'd with grief and fear."

as in

49. sometimes'] someiivne, formerly, Henry VIII. Ii. iv. 181.

sc. i]

PRINCE OF DENMARK
As thou
art to thyself:

Hor.

When

Such was the very armour he had on he the ambitious Norway combated

60
;

So frown'd he

once, when, in an angry parle.

ice.

He
A'lar.

smote the sledded Polacks on the

twice

'Tis strange.

Thus
hour,

before,

and

jump

at

this

dead 65

With
Hor. In
not

martial stalk hath he gone by our watch:

what

particular

thought

to

work
opinion.

know

But, in the gross and scope of

my

This bodes some strange eruption to our

state.

Mar. Good

now,

sit

down,

and

tell

me,

he

that

knows,

70
strict

Why

same So nightly toils the subject of the

this

and most observant watch

land,

And why such daily cast of brazen cannon, And foreign mart for implements of war
Polacks^ Mai., pollax Pole-axe F 4 ; Polack Pope and other editors (meaning the King of Poland). 65. juinp\ Q i, 68. r/iy'] V, 66. /la^A he gone by\ he passed through i. (2; jusf F. why] F, with mine Q. 73. Q.
61.
I,

he\ omitted in F.
2, 3,

63. sledded'] Y,
2,

Qq

Pollax Ff

i,

Qq

5,

shaded C) Polax F 3

60. Furness asks, "Was this the very armour that he wore thirty years before, on the day Hamlet was born

How old was i. 155-176)? Horatio?" But the armour would be remembered and be pointed out, when worn later. 62. parle"] parley. King John, II. 205: " this gentle parle."
(see V.

Boswell suggested that a person who carried the pole-axe was meant. "Sled" for sledge is found in Colgrave's P'rench Dutioiiary. Schmidt, reading " pollax," explains sledded " as having a sled or sledge, i.e. a heavy hammer.
pole-axe.
'
'

65.

/ww/]

just, exactly.

See

V.

ii.

386.
70. Good now,] Please you, as in Winter's Tale, v. i. 19 ; I places a comma after "good," connecting "now" with "sit down."

or

63. sledded Polacks] Poles in sleds sledges. See Polack in II. ii.
IV.
iv.

and of 23. Rochester, 1761, explained steaded as loaded with lead, and Polacks as
75,

The Earl

73. subject] subjects, as in

I.

ii.

33.


HAMLET
Why
task

8
such

[acti.

impress

of

shipwrights,

whose

sore
7
5

Does not divide the Sunday from the week What might be toward, that this sweaty haste Doth make the night joint - labourer with the
;

day;

Who
Hor.

is 't

that can inform

me ?
That can
I
;

At

least the

whisper goes
but

so.

Our

last king,
us.

8o

Whose image even

Was,
as

now

appear'd to

you know, by Fortinbras of Norway, Thereto prick'd on by a most emulate pride. Dared to the combat; in which our valiant

Hamlet
For so
this

side

of our

known world esteem'd

him 85 Did slay this Fortinbras who, by a seal'd compact Well ratified by law and heraldry. Did forfeit, with his life, all those his lands
;

Which he stood

seized

of,

to the conqueror

Against the which, a moiety competent

90

Was
To

gaged by our king

which had return'd

the inheritance of Fortinbras,

89.

88. those\ F, these Q.

ofl Q, on F.
in

91.

return d] F, returne Q.
Part of
a
herald's

75. impress'] impressment, as Troihis a7id Cressida, 11. i. 107.

77'

87.

heraldry']

toward] imminent, as

in

v.

ii.

376. 83. emulate]

duty was to regulate the forms connected with a challenge and combat of state importance.
89. seized
legal

emulous

not

else-

of]

possessed

of

the

where

in Shakespeare.

term

still

in use.

86. compact] Always accented by Shakespeare on the last syllable, with one exception 1 Henry VI. v. iv. 163
:

(Clar. Press).

moiety] a portion, not neces1 Henry I'F. in. i. 96 equals not one of "my moiety yours."
90.
sarily a half.
:


sc. i]

PRIXCE OF DENMARK
Had And
His

he been vanquisher

as,

by the same covenant

carriage of the article design'd,

fell

to

Hamlet.

Now,

sir,

young

Fortin-

bras,

95
mettle hot and
full.

Of unimproved
Hath
Shark'd up a

in the skirts of
list

Norway

here and there

of lawless resolutes.

For food and

diet, to

some enterprise
in
't
;

That hath a stomach

which

is

no other

oo

As
But

it

doth well appear unto our state

to recover of us,

by strong hand

And
Is

terms compulsative, those foresaid lands

his father lost.

So by

And

this, I

take

it,

the main motive of our preparations,

105

The source of this our watch and Of this post-haste and romage in
93. covenattt\

the chief head

the land.

6 and many editors, Counant F, coinart Qq 2-5, co-mart of 1676 reads compact. 94. article design'd] Ff 2, 3,4; article desseigne Qq 2, 3 ; articles deseigne 5 ; Article designe F I. 4 Articles desig7ie Singer, ed. 2 ; Keightley. 98. list] I 96. unimproved] inapproved loi. As] Q, And F. sight I lawless] Q, landlessc F and many editors. and many editors. 103. compulsative] F, compulsatory

93. covenant] The " co-mart " of the Qq, if not a misprint, is of Shakespeare's coinage, meaning joint bar-

gain.
94. carriage] process, or import. 96. unimproved] Clar. I'ress explains as "untutored, not chastened

but gives also an appropriate sense agrees with 2 in giving here i " lawless." 98. resolutes] braves.
;

99. food and diet,] Paid only by what they eat. Qq I, 2 have no comma after "diet"; may the meaning be

by experience." " Improve" is found in Chapman and Whitgift, meaning reprove (see Nares' Glossary), and

that the resolutes are to be the food

"unimproved" may

possibly

mean

and diet of a devouring enterprise, which has a stomach in it ("food for powder"), with a play on "stomach"
in its

unrebuked or unimpeachcd. 98. Shark'd up] I'erhaps gathered

or snatched as a sharker or swindler indiscriminately as a shark swallows food. "landless" 98. lawless] The F
;

second sense of stubborn resolu-

tion

107. romage] rummage, originally a nautical term for the stowage of a cargo (Skeat).

5
:

10
Ber.
I

HAMLET
think
it

[act

I.

be no other but e'en so

it

Well may

sort that this portentous figure

like the

Comes armed through our watch, so

That was and
Hor.
is

king

the question of these wars.

mote
little

it

is

to trouble the mind's eye.

In the most high and

palmy

state of
fell,

Rome,
the

ere the mightiest Julius

The graves
dead

stood

tenantless

and

sheeted
1 1

Did squeak and gibber

in the

Roman

streets:

As

stars with trains of fire

;

and dews of blood,

star,

Disasters in the sun

and the moist

Upon whose

influence Neptune's empire stands.

Was And
As

sick almost to

doomsday with
still

eclipse:

120

even the like precurse of

fierce events.

harbingers preceding I think

the fates
in F.

108-125. Ber.

ro!/nf>ymen]Q, omitted

I2I. fieyce\

4 {fearce),feare
109. sort\ suit,

Q,y^arV
as in

Collier's conjecture.

Midsu/nmer

Night's Dream, V. 55, "not sorting with a nuptial ceremony." Schmidt supposes it may mean "fall out,"' "have an issue," as in other passages of Shakespeare. 112. motel The ?>toth of Q is only an obsolete spelling of mote. 113. state'] Wilson (Christopher North) pleads for "State" meaning

ii6 has been lost; it may have mentioned prodigies in the heavens, or may have told of warriors fighting upon the clouds; in Julius Ccesar,
11.
ii.

we

read of such warriors

who

were "fiery," and from their encounters there " drizzled blood." Of many attempted emendations none
is

satisfactory.
. .

Malone conjectured
.

Reigning City.
15-120.] Plutarch describes the prodigies preceding and following Caisar's death fires in the elements. spirits running up and down in the
1

night, a pale sun, which gave little light or heat. Compare_/^///; Ccesar, l.iii.

Such prodigies are very impressively

described in Marlowe's Liiean's First Booke translated, published in 1600. 117, 118.] Perhaps a line following

" Astres with Disastrous dimm'd the sun " ; astre or aster is found in Florio's Jtal. Diet, under "Stella" and in his translation of Montaigne. New Eng. Diet, explains " disasters" here as unfavourable aspects. The " moist star " is the moon governess of floods; so in Winter's Tale, I. ii. I " Nine changes of the watery star." 122. still] constantly, as in Tew" the still vex'd pest, i. ii. 229

Bermoothes."

SCI]

PRINCE OF DENMARK
And
prologue to the

11

omen coming

on,

Have heaven and earth together demonstrated

Unto our climatures and countrymen.
Re-enter Ghost.
But, soft, behold
I
'11
!

125

lo,
it

where

it

comes again

cross

it,

though

blast me.

Stay, illusion

If

thou hast any sound, or use of voice,

to

me: If there be any good thing to be done, That may to thee do ease and grace to me,
Speak Speak
If

'

30

to

me
fate.

thou art privy to thy country's

Which, happily, foreknowing may avoid,

O, speak

135
in

Or

if

thou hast uphoarded

in the

thy

life

Extorted treasure

womb

of earth,

For which, they

say,

you

spirits oft

walk

in death, crozvs.

\The cock

Speak of
138.
}'oi('\

it

stay,

and speak

Stop

it,

Marcellus.

F,

your Q.

The cock crows] Q, omitted

in F.

and when the crossed him swiftly the ominous event, 123. oi>ieit'\ Farmer cites from Ileywood's Life of l)ewitched Earl came to the place Merlin: "Merlin liis country s where he saw this man, he first fell
;
. .

omen

did long since foretell." in which 125. climatures'] regions sense "climate" is commonly found, Dyce reads clit/iature. Clar. Press inhahilants suggests the of our
;

sick.

Opposite
direction
:

this

line (^

stage

"It

has the spreads his

armes."

See il. ii. 134. happily] haply. 408, and Measure for Measure, iv.
ii.

regions.

98 (Clar.
it

Press).

Hudson

ex-

127.
nie]

ril cross it, though il blast Blakeway cites from Lodge's

iii.

plains writes:

"fortunately."

Furness

" The structure of this solemn

Jllustratious of British History, 48, a story of I'erdinando, Karl

of

Derby (who died 1594): on Friday

a
tall

appeal is almost identical with that of a very different strain in As You Like It, 11. iv. 33-42."

man

appeared,

who

twice

12

HAMLET
I

[act

I.

Mar. Shall
Hor. Do,
Ber.

strike at

it

with

my

partisan?

140

if it will

not stand.
'Tis here 'Tis here

Hor.

Mar.

'Tis

gone
it

{Exit Ghost.

We
To
For

do

wrong, being so majestical,

it

offer
it is,

the

show of violence
air,

as the

invulnerable,

145

And
Ber. It

our vain blows malicious mockery.

to speak

was about

when
I

the cock crew.

Hor.

And then it started like a Upon a fearful summons.

guilty thing

have heard,

The cock, that is the trumpet to the morn, Doth with his lofty and shrill-sounding throat

150

Awake the god of day and, at his warning, Whether in sea or fire, in earth or air, The extravagant and erring spirit hies
;

To
Afar.
It

his confine

and of the truth herein

5 5

This present object made probation.

faded on the crowing of the cock.

Some
The
140.
at']

say that ever 'gainst that season comes

birth
is

Wherein our Saviour's

bird of

celebrated,

dawning singeth

all

night long;

160
158.

say} Q, sayes F.

F, omitted in Q. 150. mo>-n] Q, morning 160. The] Q i, F T/u's Q.

;

i,

day F.

140. partisan] a kind of halbert or pike.

50.

151.

lofty] like

"sounding";

"shrill," qualifies uplifted the unless

trumpet] Malone quotes from throat crowing cock is of the 1 England's Parnassus, 1600 (in a meant. passage assigned to Drayton): "the out 154. extravagant] wandering cocke, the morning's trumpeter." of bounds, vagrant. Othello. I. i. " Trumpet " for "trumpeter" occurs 137: "an extravagant and wheeling in several passages of Shakespeare, " Erring," straying. stranger." Henry F. iv. ii. 61 "I will the 1^6. prodation] proof, eis in Measure banner from a trumpet take." for Measure, v. 157.
:

SCI.]

PRINCE OF DENMARK
And
then,
;

13
walk

they

say,

no

spirit

can

abroad

The

nights are wholesome

then no planets

strike.

No

fairy

takes,

nor

witch

hath

power

to

charm,

So hallow'd and so gracious is the time. Hor. So have I heard and do in part believe it. 165 But look, the Morn, in russet mantle clad. Walks o'er the dew of yon high eastern
hill;

Break we our watch up

and by

my
my

advice,

Let us impart what we have seen to-night

Unto young Hamlet;

This
spirit,

for,

upon

life,

170

dumb

to us, will speak to him.

Do you
with
it.

consent

we

shall

acquaint

him

As

needful in our loves, fitting our duty

's

Mar. Let

do

't,

pray

and

this

morning
175
[Exeunt.

know Where we

shall find

him most conveniently.

talkes F.

161. can walk'] F, dare sturre 164. the] F, that

175. conveniently]

Q Q

i,

163. takes] Q, Q, dare walke Q i. I, Q. 167. eastern] F, eastward Q. convenient Q.

"stir" has not 161. walk] The the special ghostly significance of " walk," which is frequent in Shakespeare, e.g. Winter's Tale, v. i. 63 " were I the ghost that walk'd." 162. strike] blast, especially of planetary influence. Coriolaniis, 11. ii. 117: "struck Corioli like a planet." Fumess quotes Florio's Z'/V/. : ^* As:

siderare: to blast or strike with planet, to be taken."

takes]
affects

with malignant 163. influence. Merry Wives, IV. iv. 32 (of the Hunter)

Heme "And there

he blasts the tree and

in

takes the cattle."

So
166.

"taking airs"

Lear,

11.

iv.


14

HAMLET
[act

i.

SCENE
Flourish.

II.

Roo7?i

of State

in the Castle.

Efiter the

Laertes,
Attendants.

King, Queen, Hamlet, Polonius, Voltimand, Cornelius, Lords, and

King. Though yet of Hamlet our dear brother's death

The memory be

green,

and that

it

us befitted
king-

To bear our hearts in grief and our whole dom To be contracted in one brow of woe.
Yet so
far

hath discretion fought with nature

That we with wisest sorrow think on him, Together with remembrance of ourselves.
Therefore our sometime
sister,

now our

queen.

The imperial jointress of this warlike state. Have we, as 'twere with a defeated joy, 10 With one auspicious and one dropping eye. With mirth in funeral and with dirge in marriage,
In equal scale weighing delight and dole,

Taken to wife nor have we herein barr'd Your better wisdoms, which have freely gone With this affair along for all, our thanks.
:
:

Flourish] Q,

" Gertrad the Queene " has " Counsaile

present. one] , ail . . ,
9. Jointress]

the stage direction here is Malone's. after as Polonius " ; F names Ophelia as 8. sometvne'] Q, sotne times F. li. one 9. of^^ Y, to Q^,
;
:

omitted

...

a Q.
in Othello, I. iii. 346 or destroyed, undone, as in Othello, IV. ii. 160: "his unkindness may defeat my
;

Schmidt explains as
:

dowager.
sessor.

Clar.

Hudson

posjoint heiress " the Poet

Press:

herein follows the history, which represents the former King to have come to his throne by marriage." 10. defeated] disfigured, marred, as

life."

notes the same 11.] Steevens thought in IVinfe/'s Tale, V. ii. 80. Grant White reads " drooping."


sen] Now

PRINCE OF DENMARK
follows that

15

you know

young

Fortinbras,

Holding a weak supposal of our worth, Or thinking by our late dear brother's death Our state to be disjoint and out of frame, Colleagued with the dream of his advantage,

20

He

hath not

fail'd

to pester us with message,

Importing the surrender of those lands

Lost by his
father, with all

bonds of law.

To

our most valiant brother.

for ourself

So much

for him.

25

Now

and

for this
is
;

time of meeting:-

Thus much

the business

we have

here writ

To Norway,

uncle of young Fortinbras, Who, impotent and bed-rid, scarcely hears Of this his nephew's purpose, to suppress

30

His further gait herein

in that the levies,

all

The
Out

lists

and

full

proportions, are
:

made

of his subject

and we here dispatch Norway,

You, good Cornelius, and you, Voltimand,

For bearers of
this greeting to old

35

Giving to you no further personal power

To
17.

business with the king

yoinig]
21.

more than the scope

after kiiozv
bonds']

know:

Walker; no comma
F,
this

Q,

comma

after

follows F.
editors.

the']

Q.

24.

F,
;

bands

and many

25.] Enter

meeting, Q, meeting F.

Voltemand and Cornelius F. 26. meeting:] For bearing F. 35. For bearers] Q i, Q
22. pester]

4,

17, that you know,] that which you know. The pointing is that suggested by S. Walker commonly with commas after "follows" and " know." 21. Colleagued] Theobald suggested "collogued," flattered, cajoled. The "supposal," line 18, is colleagued,
;

annoy and especially by

in

crowding,

as

Coriolaniis,

iv.

vi.

7 : " Dissentious streets."

numbers pestering

23. Ifnportittg] having for import ; not, as Abbott explains, importuning, See Othello, 11. ii. 3.
t^z.

proportions]

number
ii.
:

of troops,

united, with the "dream." 21. his advantage] his superiority to us.

as in

Henry

V.

proportions for
collected."

"let our 304 these wars be soon

\.

16

HAMLET
Of
these delated articles allow.
let

[act

i.

Farewell, and
Cor.^

your haste
all

commend your
will

duty.

Vol.

In

that

and

things

we show our
40

duty.

King.

We

doubt

it

nothing

heartily farewell.

\Exeunt Voltiniand and Cornelius.

And You

now, Laertes, what

told us of

's

the news with you

some

suit

what

is

't,

Laertes

You cannot speak

of reason to the Dane,

:

And
That

lose

your
be

voice

what would'st thou beg,

45
not thy asking
the heart,
the mouth,
to thy father.
?

Laertes,
shall not

my

offer,

The head is not more native to The hand more instrumental to Than is the throne of Denmark

What
Laer.

would'st thou have, Laertes

Dread

my

lord,

50

Your

leave and favour to return to France,

willingly
I

From whence though

mark,

came

to

Den-

To show my duty
Yet now,
I

in

your coronation,

must

confess, that

duty done.

My

thoughts

and

wishes

bend

again

toward
5 5

France
38. ddaied] Q, dilated Y, related Q i. to]Q,F Exeunt] P\ omitted Q. 49. is editors. 50. Dread mj>] F, Afy dread Q.
.
.

Cor., Vol.] Q, Volt. F.

;

41.

to

is

Warburton and other

55.

toward] Q, towards F.

38. delated] Perhaps a different speUing of the F "dilated," meaning expressed at large. But it may mean conveyed, carried, as in Bacon, " Natural History: the time wherein

47. native] cognate, connected by nature or birth, as in All's Well, i.

i.

238: "

To

join like likes,

and

kiss

like native things."

sound
of light

is is

delated

the

delation

an instant."

53. -(?;wm/z^] In Q I Laertes asks permission to leave "Now that the funerall rites are all performed."

17

sen]

PRINCE OF DENMARK
to

And bow them

King. Have

your gracious leave and pardon.

father's

you
?

your

leave

What

says

Polonius
Pol.

He hath, my lord, wrung from me my slow By laboursome petition, and at last Upon his will I seal'd my hard consent
I

leave

60

do beseech you, give him leave

fair

to go.

King. Take thy

hour, Laertes
it

time be thine.
at thy will

And

thy best graces spend

But now,
Hani. [Aside.] King.

my

cousin Hamlet, and

my

son,

A little more than kin, and less than kind.

that the clouds
lord
;

65

How

is it

still

hang on you
i'

Ham. Not
.

so,

my
.

am

too

much

the sun.

Polonius .'] Q, two lines F. . 58. He hai/i] F, Hath Q. 57. Have consent\ Q, omitted in F. i. 64. 58-60. wrung 64.] Exit son'\ Sonne Q, sonne ? , son Rowe. 65. [Aside]] added by Theobald. z' ike sun] Capell, z" t/i' Sun Y, in ike sonne Q. 67. so^ F, so muck ;
.

56. pardon'] permission to depart, as

in III.

332. 64. cousin] parent, child,

ii.

kinsman (exclusive of brother, and sister);

for

or dishonour kindred. The play upon kin or kindred and kind or kindly is found in Gorboduc, in l^yWs Mother Boinbie,2LX\dmKo\\\e.y's
crate

used elsewhere in Shakespeare uncle, niece, grandchild.

Search

for Money. "Kind" "nature" occurs several times

for
in

be doubted 65.] It can hardly Hamlet's first word is that this spoken aside. Does it refer to the King or to himself? If to himself, it may mean a little more than a kinsman (for I am, incestuously, a stepson), and less than kind, for I hate the King. So Malone. Knight says "little of the same nature" with

Shakespeare,
67. /'/// j/^m.] Hamlet's delight in

ambiguous and double meanings makes it probable that a play is intended on "sun" and "son." He
is too much in the sunshine of the and too much in the relation of son son to a dead father, son to an incestuous mother, son to an unclefather. It was suggested by Johnson the that there is an allusion to proverbial expression (see Lear, n. ii. 168): "Out of heaven's blessing into the warm sun," which means to be out of house and home ; Hamlet Schmidt is deprived of the throne. lakes it to mean merely, " I am more idle and careless than I ought to be."

court,

Claudius. More probably it refers to the King, meaning My step-father (more than cousin), but in less than a natural relation. Compare il. ii. 619: "lecherous, kindless (i.e. unnatural) villain." To "go" or "grow out of kind" is found in Baret's Alvearie and Cotgrave's
:

French

Diet.,

meaning

to

degen-

18
Queen.

HAMLET
Good Hamlet,
cast thy nighted colour
off,

[act

i.

And let thine eye look like a friend on Denmark. Do not for ever with thy vailed lids 70
Seek
for

thy noble father

'tis

in the
;

dust
that lives must die,

Thou know'st

common

all

Passing through nature to eternity.

Ham, Ay, madam,

Queen.

it is

common.
If
it

be,

Why

seems

it

so particular with thee?

!

75
"

Ham. Seems, madam

'Tis not alone

nay,

it is

know

not

seems."

my

inky cloak, good mother.

Nor customary suits of solemn black. Nor windy suspiration of forced breath.
No, nor the
fruitful river in

the eye,

80

Nor

the dejected haviour of the visage.

all

Together with

forms, modes, shows of grief,

truly
;

That can denote me

But

these indeed " seem,"

For they are actions that a man might play

I

have that within which passeth show

sweet

85

These but the trappings and the

King. 'Tis

suits of woe.
in

and

commendable

your

nature,

Hamlet,
68. nighted]
3, 4.

Ff

2, 3,

common 4 and many

72.
Qc]^

veyled Ff I, 2; veiled Ff 70. vailed] Q Q, nightly F. lives] Q, F ; live ;] Theobald, com/non, , common Q. editors. coold mother Qq 2, 3 77- good mother] F
;
; ;

could smother

modes] Q 1695, Capell tnoodes Q; Moods F and many editors, shows] F ; chapes Qq 2, 3 ; shapes Qq 4-6. 83. denote] passeth] passes F, denote 85. F, 6 ; 87.] Q, two lines F. Q. Q.
^-6.
82.
;

68. nighted] black.

IV. V. 13:

"

So in Lear, his nighted life " (of the King

;

82.
right.

modes]

"Moods"

may

be

blind Gloster).
69. Denmark]\!a& way " in line 28.

so " Nor-

70. vailed] cast

down.

Merchant

82. shows] The "show" of line 85, as Furness observes, is an intentional and emphatic repetition of the "shows" of this line.

of Venice, i. i. 28: "Vailing her high-top lower than her ribs."

sen]
To

PRINCE OF DENMARK
give these

19

mourning duties
lost,

to

your father
lost a father,

But,

you must know, your father

lost

That father bound

In
filial

his

and

the

survivor

90 some term
;

obligation for

To do

obsequious sorrow

but to persever
is

In obstinate condolement

a course

Of impious stubbornness;
It

'tis

unmanly

grief;
,

shows a

will

most incorrect

to heaven,

95

heart unfortified, a

mind impatient.
:

An

understanding simple and unschool'd

is

For what we know must be and

as

common
1

As any

the most vulgar thing to sense.

in
?

Why
Take

should we
it

our peevish opposition

Fie
!

00

to heart

'tis

a fault to heaven,

A
To
Is

fault against the dead, a fault to nature.

reason most absurd, whose

common theme
hath cried,

death of fathers, and

the
first

who

still

From
"

corse
so."

till

he that died to-day,

105

This must be

We

pray you, throw to earth

This unprevailing woe, and think of us

As of a father for let the world take note, You are the most immediate to our throne
;

And

with no less nobility of love

96.

i i

90. lost, lost] dead, lost Q i. prevailing] unavailing, Hanmer.

tniiid] F,

or mindc Q.

107.

tin-

92. obsequious] Suitable to obsequies, as in Titus Aiidronicus, V.

iii. 152: "obsequious tears." See also Sontuts, xxxi. 5. 92. persever] Always accented by Shakespeare on the second syllable (Clar. Press).

iii.

"prevail" in Koiiico and Juliet, iii. 60. Drydcn, Essay on Dramatic

Poetry. "
self of the

Me may

often prevail him-

same advantages."

109.

immediate]

The
;

throne
see v.

of
ii.

Denmark was
65
;

elective

but

Hamlet was

the

probable

107. unprevailing] unavailing.

So

successor to Claudius.

20

HAMLET
Than
that which dearest father bears his son

[acti.

Do
It is

impart toward you.

For your intent

In going back to school in Wittenberg,

most retrograde
in the

to our desire
1 1

And we
Here

beseech you, bend you to remain

cheer and comfort of our eye,

Our
I

chiefest courtier, cousin,

and our son.

Queen. Let not thy mother lose her prayers, Hamlet:

pray thee, stay with us

I

go not to Wittenberg.

Ham.
King.

shall in all
'tis

my

best obey you,

fair

madam.

20

Why,

a loving

Be

as ourself in

and a Denmark.
heart

reply
;

Madam, come
in

This gentle and unforced accord of Hamlet

Sits smiling to

my

grace whereof.
drinks to-day,
shall
tell.
i

No jocund
And
119.

health that

Denmark

25

But the great cannon to the clouds

the king's rouse the heavens shall bruit again,

113.
iti

112. toward^ Q, towards F. pray thee] Q, pry thee] F.

Wittenberg]

to

Wittenberg,

Qq

4, 5.

120.] Q,

two

lines F.

127. heavens]

F, heaven Q.

ject

impart] The verb has no obperhaps it is a confused construction possibly it is a case of the absorption of "it" by the "t" of "impart." To obtain an object Badham suggests the reading "nobility no less" in line no. Johnson explains " impart " as impart
112.
; ;

Wittenberg was a foreign univerwhich he might go at any age, after his earlier education had been
let

sity, to

completed.
114.
in

retrograde] Prof. Hales notes

(vol.
ii.

Chapman's May-Day

p.

myself.

373, ed. 1873): "Be not retrograde to our desires." Originally an astrological term. See Atfs Well, i.
i.

Wittenberg] The university Luther had in 1502 made it famous. In The Tragedy of Hoffman (1602), the foolish lerom says, "I am not foole, I have bin to Wittenberg, where wit growes." Shakespeare may have heard of it in
113.

212.
127. rouse] bumper, as in I. iv. 8, Othello, \\. iii. 66; Swedish ras,

was founded

and

Marlowe's Doctor Faiistus, and in Nash's Life of lacke Wilton, 1594.

It

Dekker, in The G til's Procemium, enumerating national drinking customs, mentions "the Danish Rowsa." 127. bruit] noise abroad, as in Macbeth, V. vii. 22.
drunkenness.
iyi5';--.6'(7^X't',

must be remembered that

for

Ham-

sen]

PRINCE OF DENMARK
Come
Exeunt
away.
\^Flourish.

21

Re-speaking earthly thunder.

all but

Hamlet.

Hani.

that this too too soHd flesh

resolve itself into a

would melt, 130

Thaw and
Or

dew

that the Everlasting had not fix'd

His canon 'gainst self-slaughter!

O God
!

God!

How
Seem

weary,
to
't
!

stale, flat,
all
fie

and unprofitable

me

the uses of this world

!

Fie on

'tis
;

an unweeded garden
things rank and gross
it

35

That grows
Possess
it

to seed

in Yiature
!

merely.

That
!

should come to this

But two months dead

;

nay, not so much, not two

So excellent a king that was, to this, Hyperion to a satyr so loving to my mother 140 That he might not beteem the winds of heaven
;

conject.

Flourish] Q, omitled F. 132. O God!

135.
to this /]

129. solid\

F;

sallied

I,

Q;

sullied

God!] F,
(^l;

God,

God Q.
;

134. Seem]
a,.

Anon, Q,
137.

SeemesY.
come

Ofie!\ ah fie

Oh fie, fie Y

Oh fie Y 1 1,

F, eoine thus Q.

129. too
tion;
iv.

too]

Intensive
b}^

reduplica-

hyphened

some

editors.

Comil.

pare 'J'wo Gentlemen of Verona,

Compare which is frozen, regelo." Timon, iv. iii. 442. 132. canon 'gainst self-slaughter']
also Cymbeline, III. iv. 77-So. ''Unless it be the sixth commandcanon must be one of ment, the
' '

205. 129. W/VjT] .W/V/ and wf// are found in conjunction, as here, in 2 Henry IV. III. i. 48. The sallied of and is defended by Dr. Furnivall, I who cites Cotgrave's French Diet. saillie, a sallie, eruption, violent issue; also assaille, assaulted, assayled. If we were to icta.in sallied, I should explain it as sullied, comparing 11. i. 39, where Y reads sullyes sallies and and, seeing that 1 has here "this too much griev'd

So

natural religion" (Wordsworth, 6'//fl/rspearc's Knowledge and Use of the Bible, p. 149). 137. merely] completely. Compare are merely Tempest, i. i. 59:

"We

and

sallied

flesh,"

reason to think that sullied

right.

we have some may be

Atvearie:

130. resolve] Caldecott cites Baret's thaw or resolve that

"To

cheated of our lives." Gray, Spenser, 140. Hyperion] Keats, like Shakespeare, throw the accent on the second syllable. 141. fe/etv/'/] permit ;" beteene" in Ff i, 2. So Golding, Ovid's Metamorphoses (published 1587) : " Yet could he not beteeme The shape of any other bird then eagle for to seeme."

22

HAMLET
Visit her face too roughly.

[act

i.

Heaven and earth remember? why, she would hang on him, As if increase of appetite had grown By what it fed on and yet, within a month 145

Must

Let

me

not think

on^'t.

Frailty, thy

name

is

woman!

Httle

month

or ere those shoes were old

follow'd
tears
;

With which she

Like Niobe,
all

my

poor father's body,

she,

why

even she
i

O God

a beast, that wants discourse of reason,

longer,

Would have mourn'd

married

50

with

my uncle,

My father's brother,
Than
I

but no more like

my
?

father

to Hercules.
salt of

Within a month

Ere yet the

most unrighteous

tears

Had

left

the flushing in her galled eyes,

155

She married. O, most wicked speed, to post With such dexterity to incestuous sheets
!

It is

not nor

it

cannot come to good

heart, for
I

But break

my

must hold
??ionth

my

tongue

143. woitld] F, should Q. 145. 147. shoes] Q, F ; shoivs Ingleby conj. 150. O God!] Q, Heaven F. 151. month, Q. i ; in] Q, 155. the] their

] month, Q, month ? F. 149. evett she] F, omitted in Q. wj]Q, muie F. 153, month?] F,

o/Y.
Hamlet. The closing words are: "Hie Amlethi exitusfuit, qui si parem
atq. fortunae indulgentiam expertus fuisset, cequasset fulgore superos, lierculea virtutibus opera

147. or ere]

"ere"; so

in line

"Or," an old form of i83of this scene, "Or

ever." The reduplication is found in several other passages. 150. discourse of reaso7i] discursive power of reason. Found several times in Florio's Montaigne, 1 603.

naturae

transcendisset."
155. frisking] Hudson and Rolfe explain this as redness. Clar. Press: " The verb flush is still used transitively, meaning, to fill with water."
'

Johnson's

ZJ/iYz'iJwa;

" the act of the understanding by which it passes from premises to consequences." See IV. iv. 36, and 7>w7/

J defines i/nruwrj^:

'

157.

dexterity~\

adroitness.

Clar.

and

Cressida,

ii.

ii.

116.

153. //(?;-t/fj-] Perhaps a relic of the histoiy of Amlethus in Saxo Graminaticus,

whose Hamlet

is

in

some

re-

spects the opposite of Shakespeare's

Press compares 1 Henry IV. -W. iv. 286. 159. break] subjunctive, not an imperative, and heart is a subject, not a vocative " (Corson).

"A
'

'


sen]

PRINCE OF DENMARK

23

Enter HORATio, Marcellus, and Bernardo.

Hor. Hail to your lordship
!

^
1

Ham.
Horatio,

am

glad to see you well

60

or

do forget myself.

Hor. The same, my lord, and your poor servant ever. Ham. Sir, my good friend; I change that name with you And what make you from Wittenberg, Horatio ?
'11

Marcellus?

165
lord,

Mar.
Ha7n.

My
I

good

am
Good

very
even,

glad
sir.

to

see

you.

\^To

Bernardo.']

But what,
Hor.

in faith,

make you from Wittenberg?

A
I

truant disposition, good

my

lord.
so,
i

Ham.

would not hear your enemy say

70

Nor shall you do mine ear that violence. To make it truster of your own report Against yourself; I know you are no truant.
But what
Hor.
is

your

affair in

Elsinore

?
i

We My
I
I

'11

teach you to drink deep ere you depart.

I

lord,

came

to see your father's funeral.

Ham.

pray thee, do not mock me, fellow-student

it

think

was

to see

my
Q

mother's wedding.
i66.
;

F; lord? Cambridge.
ritine\

165. Marcelltisl'] Capell, Marcellus. 167. sir^sirs

F, nty

().

/or to drinke Q. omitted Q.

lord,] Rowe lord. (^, 171. Q, have F. 172. fiiake] take PT 2-4. 175. lo drink deep] Q I, F 17S. see\ Q I, F; l"]"]. pray thee] F, pre thee Q.

Q, Y.
I.

170. hear\

160, 161.] Sir II. Irving, as Ilamdelivers " I well "as a conventional greeting to unrecognised intruders; Hamlet then looks up and perceives his friend. 162. chafige that name] Exchange
let,
. .
.

Johnson exthe name "friend." plains: "I'll be your servant, you

shall

be

my

friend." as in
II.

164.
ii.

make you] do you,

280.

"

24
Hor. Indeed,

HAMLET
my
lord,
it

[act

i.

follow'd hard upon.

Ham.

Thrift, thrift, Horatio! the funeral

baked-meats i8o

Did coldly furnish

forth the marriage tables.

Would I had met my dearest foe in heaven Or ever I had seen that day, Horatio
!

Hor.

My father, methinks O where, my lord

?

see

my

father.

Ham,
Hor.
I

In

my

mind's eye, Horatio.

185

saw him once

shall not look

he was a goodly king.

Ham. He was
I

a man, take

him

for all in

all,

upon
I

his like again.

Hor.

My My

lord,

think
?

saw him yesternight.

Ham. Saw ? who

Hor.
Havi.

190
king your father,

lord, the

The king my
for a while

father

Hor. Season your admiration

With an

attent ear,

till

may

deliver.

Upon Ham.
183.

the witness of these gentlemen,

This marvel to you.

For God's
Or
]

love, let

me

hear.

195

father,
185.

Saw?

F, Ere ever I had Q i. 184. father! Cambridge, O my father, my father, Q i. wherel F, Where Q. 187. in a//,] in all Q, in all: F. 190. who?} F ; Saw, zvho Q i, Q. 193. attent} Q, F; attentive Q I, (^q
ever

I had] Q, Ere I had ever

Rowe,

My

My

4-6, Ff 3, 4.
180.

195.

God's] Gods Q,

Heavens F.
187.

baked-meats'] pastry.

Collins

man,]
this

Edwin Booth,

in

"
to

It

was anciently the general custom

give

delivering

speech, paused after

cold entertainment to a funeral. In distant counties this practice is continued among the yeomanry. 182. dearest foe] Cla.r. Tresf^: "Dear is used of whatever touches us nearly either in love or hate, joy or sorrow." In 1 Henry IV. iii. ii. 123, we find " near'st and dearest enemy."

mourners

at

"man," giving it as if something higher than " king." ig2. Season your admiration] Temper your astonishment. Compare, for "season,"' 11. i. 28, and for "admiration," in. ii. 342. So in "Massinger's

The A'ene^ado, "Season your admiration."

iii.

iii.,

sen]
Hor.

PRINCE OF DENMARK
nights together had these gentlemen,

25

Two

Marcellus and Bernardo, on their watch,

In the dead vast

and middle of the

:

night.

Been thus encounter'd

a figure Hke your father.

Armed

at point exactly, cap-a-pe,

200
thrice

Appears before them, and with solemn march

Goes slow and
stately

by them

he walk'd

By

their oppress'd

and fear-surprised
;

eyes,

Within

his truncheon's length

whilst they, distill'd

'

Almost

to jelly with the act of fear, to him.

205

Stand dumb, and speak not

This to

me
;

In dreadful secrecy impart they did

And
Form
The

with them the third night kept the watch

deliver'd,

Where, as they had

of the

both

in time,

thing,

each

word made

true

and
2 10

good,
apparition comes.
I

knew your
like.

father

These hands are not more

Ham.
Mar.

But where was

this

My

lord,

upon the platform where we watch'd.

;

ivast Qq 2-4, F 198. vasl'\ Q I, Qq 5, 6 waste Ff 2-4 and many editors waist Malone, Steevens, Variorum. 200. Armed at /ohitl Q, Armed to poynt Q I, Arm^d at all points F. 202. stately by thetn ; thrice'] (^,
; ;

stataly

: By them thrice F. distil fcf] Q, 204. his] F, this Qq 4-6. bestiFd F I hestiird Y 2 be stilPd Ff 3, 4 ; bcchilPd Collier (MS.). the act of] th'' effect of '^^xhwxX.'^w. 213. watch\i] F, zvatch Q.
; ;

205.

198. vast] vacancy, ness, as in Tempest, i.

void,
ii.

empti-

of night."

" Waste

327, "vast " of Ff has the

.same sense. Malone, supporting " waist," quotes from Marston's Maicontent: "the immodest waist of night." 200. at point exactly] Clar. Press explains "at all points," and (juotes

'^Mar. Is Harry Hereford arm'd ? Aum. Yea, at all points." 204. distill d]mG\\.e^. Dyce quotes from Sylvester's Du Bartas "Melt
:

thee, distill thee, turn to

Jelly
its

is

wax or snow." probably named because of

like

quivering,
205. act]

the quivering of
as
in

fear,

action, operation,
iii.

Richard

II,

1.

iii.

2:

Othello, ni.

328.

"

26

HAMLET
not speak to
it ?

[act

i.

Ham. Did you

Hor.

My
But answer made
It lifted
it

lord,

did

none

yet once methought 2

up

it

head and did address

it

Itself to

motion, like as

would speak
in haste

But even then the morning cock crew loud,

And And Ham.

Hor. As
I

at the

sound

it

shrunk

away
220

vanish'd from our sight.

'Tis very strange.

do

live,

my

honour'd lord,

'tis

true

And we did think it writ down in our duty To let you know of it. Ham. Indeed, indeed, sirs, but this troubles me.
Hold you the watch to-night
Mar., Ber.
?

We
say you
?

do,

my

lord.

225

Ham. Arm'd,
Mar., Ber.

Arm'd,

my

lord.

Ha7n.
Mar., Ber.

From

top to toe

My

lord,

from head to
not his face
;

foot.

Ham. Then saw you

Hor. O, yes,

my
5, 6,

lord

he wore his beaver up.

?

Ham. What,
216. 2-4. 230.
it\

look'd he frowningly
Ff
3,

230
221. honour'd] honourable Ff 228. face /*] Y,face. O.

i^s

I, F 224. Indeed, indeed] What, look'd he] How look't he,

Qq

4;

/u's
;

i.

Indeede Q.

i.

Did you] Actors commonly emphasise "you"; Marcellus and

214.

Bernardo had been silent. Steevens argues for emphasis on " speak." 216. it head] "The possessive zV occurs fourteen times in the Folio (net counting a doubtful case in Two Gent/emen of Verona, V. ii. 21), it's nine times,and /Aonly once" (Rolfe). The usual form of the possessive of it in Elizabethan writers is his.

226. Anu'cP^ Refers, of course, to the Ghost. 228. face?] The face, may be right, uttered with a tone of disappointed expectation, 229. beai'er] " In ihe i6th century the beaver became confounded vvith the visor, and could be pushed up entirely over the top of the helmet, pleasure at and drawn down

(Planche).

sen.]
Hor.

PRINCE OF DENMARK
countenance more
?

27

in

sorrow than

in anger.

Ham.

Pale, or red

Hor. Nay, very

pale.

Ham.
Hor. Most constantly.

And
I

fix'd his

eyes upon you

Ham.
Hor.
It

would

had been
long

there.

would have much amazed you.

like,

235
?

Ham. Very
Hor. While

very

like.

Stay'd

it

one

with

moderate

haste

might

tell

hundred.
Mar., Ber. Longer, longer.

Hor. Not when

saw

't.

Ham.
Hor.
Hain.
It

His beard was grizzled

was, as
I

no?

have seen

it

in his

life,

240

sable silver'd.
I

will

watch to-night
warrant

Perchance

'twill

walk again.
I

Hor.
Ha7n.
I

it will.

If
'11

it

assume

my
it,

noble father's person,

hell itself
I

speak to
bid

though

should gape
all,

And
If

me

hold

my
in

peace.

pray you

245

you have hitherto conceal'd

it

this sight,
still

Let

be tenable

your silence

And
F;
Very
like

whatsoever else shall hap to-night

F
;

Pale or Qq 4-6. 236. Very like, very like] I, 239. grizzled i no?] grissFd, no. Q, grisly? no. F, tio? Dyce. grisly? i 2-0,, grizzled, 241. /will] Q, Jle V. walk] 242. Q, wake F; warraul] Q 1, Q ; warrant you F. 247. tenable] Q i, Q ; treble F.
232. Pale, or] Q,

Q.

suggests that perhaps "gape" signifies yell, howl, /^ar, rather than jaTfw or ci/f, citing

236. like] likely. 244. gape] Staunton

defended
threefold

by Caldecott, meaning a obligatidn of silence. G.

Macdonaldsays,

"The

actor, in utter-

Henry VIII.

V. iv. 3.

248. tenable]

The "

treble " of

is

ing it, must point to each of the three" witnesses. Clar. Press, "/rt-Z'/f, a mere misprint."


HAMLET
Give
I it

28

[act

i.

an understanding, but no tongue

will requite

your

loves.

So

fare

you

well

250

Upon
All.

the platform, 'twixt eleven and twelve,

I '11 visit

you.

Our duty
loves, as

to

your honour.
:

Ham. Your

mine to you arms

farewell,

\Exeunt Horatio, Marcellus, and Bernardo.

My
I

father's spirit in

all is

not well

doubt some

foul

play:

would the night were

255
foul

come!
Till

then

sit still,

my

soul

deeds

will rise,

Though

all

the earth o'erwhelm them, to men's eyes.

\Exit.

SCENE
Laer.

III.

A Room

in Polonius's House.

Enter LAERTES a?id OPHELIA.

My
And,

necessaries are embark'd

sister,

farewell

as the winds give benefit

And convoy is assistant, do But let me hear from you.

Oph.

not sleep,

Do you

doubt that

Laer. For Hamlet, and the trifling of his favour,

i. 252. duty} duties 253. loves] Q, love F 250. yott] Q, ye F. 256. foul] F 254. arms /] F 4, armes ? Ff 1-3, {in amies) in parenthesis Q. them in parenthesis . 257. them, to] Pope included 77io' fonde Q. no comma after them in Q, F.

Scene
3.
5.

ill.

convoy

is assistant']

(semicolon after assistant), convay, in assistant Q.

editors.

favour] Q, favours

F and many

255. doubt] suspect, fear.

S^-^^'^

Compare AlPs
Press).

Well, iv.
it

iv.

10 (Clar.
escort

Perhaps

means an

"t-

of ships of war.

3.

convoy] means of

conveyance.

sc. Ill]

PRINCE OF DENMARK
it

29

Hold

a fashion, and a toy in blood,

violet in the

youth of primy nature,

lasting.
;

Forward, not permanent, sweet, not

The perfume and suppliance

of a minute

No
OpJi.

more.

No more

but so

Laer.

Think
In thews and bulk
but, as this

it

no more

For nature crescent does not grow alone

;

temple waxes,_

The inward service of the mind and soul Grows wide withal. Perhaps he loves you now And now no soil nor cautel doth besmirch The virtue of his will but you must fear. His greatness weigh'd, his will is not his own
;

For he himself

is

subject to his birth

He may
Carve

not, as

unvalued persons do,

for himself, for

on

his choice

depends

20

8. Fonnard] Q, Ff 3, 4 ; Froward Y ; sweet, not'\ tho sweet, not Rowe, swict, but not Capell. 9. perfume and] Q, omitted F. 10. so ?] Rowe, so. Q, F. 12. 6ulA] V, du/iesQ ; tA/'s] Q, /us F. 16. wii'/] Q,/eare F. 18.] Omitted in Q. 20. Cai-ve] Crave Qq 4-6.

6.

mode
a

mistress,

fashion, and a toy in h/oO(i] a of youth, that he should serve and a play of amorous

13.

sense

in senuLel Suggested, religious of service,

tlic

by

"temple."

temperament.
7.

8.

primy] of the spring-time. No metrical emendation

;

is

ne-

cessary

the

speaker
to
slightly.

dwells
its

"sweet," as if ing, and pauses

9.

draw out

on mean-

Used by 15. Shakespeare only here and in A Lover^s Complaint, 303. Cotgrave's /"Viewt/i Z'/dV'. gives " Cautelle, a wile,
cautel] craft, deceit.
cautell, deceit."

J7c////a;/a']

amusement
ment."

to

Mason explains " an fill up a vacant mo-

10. so?] Corson prefers the "so." of (2, F; Ophelia does not question but submits.

20. Carve for himself] Rushton quotes from Swinburn's Treatise on IVills, 1590: "it is not lawful for legataries to carve for themselves, taking their legacies at their own

pleasure."

30

HAMLET
The
safety and health of this whole state
therefore

[act

i.

And

must

his choice

be circumscribed

Unto the voice and yielding of that body Whereof he is the head. Then if he says he If fits your wisdom so far to believe it

loves you,

25

As he

in his particular act

;

and place
which
is

May

give his saying deed

no further

Than the main voice of Denmark goes withal. Then weigh what loss your honour may sustain,
If with too credent ear

you

list

his songs,

30

Or

lose
his
it,

your heart, or your chaste treasure open

unmaster'd importunity.
Ophelia, fear
it,

To

Fear

my

dear

sister,

And
Out The
If

keep you
chariest

in the rear of your affection.

of the shot and danger of desire.

35

maid

is

prodigal enough
to the

she

unmask her beauty

itself 'scapes

moon

Virtue

not calumnious strokes

The canker galls the infants of the spring Too oft before their buttons be disclosed, And in the morn and liquid dew of youth
21. safety\ Q, sanctity conj.); health'] the health 26. particular act

40

F and many
39. infants]

editors,

sanity

Hanmer (Theobald
this]

Warburton and many editors;

Sect

Q, the F.
keep

and place] Q, peculiar

and force

F.

34.

you

in] Q, keepe witfiin F. 40. their] Q, the F.

Qq

2, 3,

infant

Qq

4-6, Ff 2-4.

21. safety] "Sanity," as conjeetured by Theoliald, may be right. Safety is a trisyllable in Spenser's

binations from

" pecuhar standing "

36.

sect

and F. White reads and place," underreads " Th' the least remeans entirely

sect " as class, rank.

" Where he Fcurie Queene,V. if, ifi himself did rest in safety "; but in line 43 of this scene it has the usual pronunciation, and so elsewhere in Shakespeare. 26. particular act andplace]'Ediio\s make new readings by various com:

chariest]

Hudson

unchariest," that is served. " Chariest "

modest. 39. canker] the canker-worm.

40. buttons]
in 7\vo

buds

(Fr.

bouton), as
i.

Noble Kinsmen,

ill.

6.

sc. Ill]

PRINCE OF DENMARK
;

31

Contagious blastments are most imminent.

Be wary then Youth to itself

OpJi.
I

best safety lies in fear

rebels,

though none

else near,

shall the effect of this

good lesson keep,

But, good
do,
to heaven,

45
brother.

As watchman

to

my

heart.

my

Do

not, as

some ungracious pastors

Show me

the steep and thorny

way

Whilst, like a puff'd and reckless libertine,

Himself the primrose path of dalliance treads

50

And
Laer.
I

recks not his

own

rede.

O, fear
stay too long
;

me

not.

but here

my

father comes.

Enter POLONIUS.

A
Pol.

double blessing

is

a double grace

Occasion smiles upon a second leave.

Yet

here, Laertes
sits in

Aboard, aboard,

for

shame
sail.

5 5

The wind

the shoulder of your

And you are stay'd for. There; my blessing with thee! And these few precepts in thy memory
Look thou
Q
;

character.

Give thy thoughts no tongue,

watchiucn C^q 4-6, F. 46. watchman'X 49. Whilst^ F, Whiles Q, Enter Polwhich omits like. 51. redc\ Singer (cd. 2), reed Q^, reade F. oititis] Capell, after reed Q. after >to/ F. There ;] Theobald ; for, 57. /or. there you F. I, (}; for there: F. thee'\ i, 59. Look] Q, See F ;

and many
47.
est thou,

editors.

ungraciou si gx3ice\e?,%. "Swearungracious boy?" 1 Henry '

iv.

IV. n.

490.

59. Parallels for several of these precepts have been pointed out by Rushton {Shakespeare s Euphuism p.
,

^q. pufTil] bloated. Wives, V. V. 160. 50. primrose beth, \\. iii. 21.

Sec Merry

path] Compare Mac.

rede] cares not for 51. recks . . his own counsel. Clar. I'ress cites

46) in Lyly'syS"/c//^wf, and by Hunter Lord Burghley's ten precepts for his son Robert. 59. character] Shakespeare accents the verb either, as here, on the second syllable, or on the first, as in Sonnets,
in
c.Kxii. 2.

Hums, Epistle to a Vounj^ Friend: " And may yc better reck the rede."

32

HAMLET

[acti.

Nor any unproportion'd thought his act. 60 Be thou famihar, but by no means vulgar The friends thou hast, and their adoption tried, Grapple them to thy soul with hoops of steel,
But do not
dull thy

palm with entertainment

unfledged

Of each
ware

new-hatch'd,

comrade.

Be-

65
to a quarrel
;

Of entrance
Bear
't

but, being

in.

that the opposed

may beware

of thee.

Give every

man

thine ear, but few thy voice

censure, but reserve thy judgment.

Take each man's

Costly thy habit as thy purse can buy,

70

But not express'd For the apparel

in

fancy;

rich,

not gaudy;

oft

proclaims the

man
in that.

And

they

in

France of the best rank and station

Are most
62. The^^ hooks, Fope
;

select

and generous, chief

Q.
d^.

Those

Q
.

i,

and several

editors.

rade] F courage F, thy Q. 74.

Q I, Q.
.

chicfe in that i ; Or of a most select and of a most select generous, chiefe in that : Qq 2, 3 Ar of a most select and generous, chcefe in that : 4 Are of a most select and generous, chiefe in that : Qq 5, 6 ; Are
.

Arc and gencrall

them to]Cl i, F ; /hem untoCl ; hoops'] 65. new-hatch'd] Q, unhatch't F ; com68. thine] 67. opposed] Q, F opposcr Qq 4-6. that] Rowe, followed by many editors ; Are .
;

a most

select

and generous

cheff iii that, Ff.

See note below.

61. vulgar] common; be easy in your manners but do not make yourself cheap.

63. hoops] Clar. Press remarks in opposition to Pope's hooks: " grappling with hooks is the act of an enemy and not of a friend." 65. ccwrart'i?] Accented on the second
syllable, as in
ihe.

69. censure]o\t\\\iox\, z.%\w Macbeth, " our just censures." 74. Are . . . that] If we read "Are of a most select and generous chief in that," c/^ze/ may be taken to
V. iv. 14:

mean
in

ij%;;;j/K
(^

IV.
it

i.

96.

If

courage oi

be

right,

must be

understood as bravery, frequent in our old drama in the sense of a gallant, Examples of courage used of a person are cited in New Eng. Diet, from

were meant as alternatives for best and "in," line 73, and got by mistake
into line 74.

eminotce, as in Ilorman (quoted Eng. Diet.), " He wanne the the chieffe at every game." If we read as here, f/^z'^/means chiefly. TheCambridge editors suggest that "chiefe" and "of" in the margin of the MS. " "

New

They, therefore, favour

select

Hoby

(1561) and

W. Browne

(1647).

White's

"Are most

and gener-

sc.iii.]

PRINCE OF DENMARK
oft loses

33
75

Neither a borrower nor a lender be;

For loan

both

itself

and
self

friend,

And
And
Thou
Laer.
Pol.

borrowing dulls the edge of husbandry.

all
:

This above
it

to thine

own

be true,

must

follow, as the night the day,

canst not then be false to any man.

:

80
!

Farewell

my

blessing season this in thee

Most humbly do I take my leave, my lord. The time invites you go, your servants tend.
;

Laer. Farewell, Ophelia, and remember well

What
Oph.

have said to you.

'Tis in

my memory

lock'd,
it.

85

And you
Pol.
OpJi.

yourself shall keep the key of

Laer. Farewell.

\Exit.

What

is

't,

Ophelia, he hath said to you

So please
Hamlet.

you,

something

touching

the

Lord

Pol.

Marry, well bethought

'Tis told

90
oft of late

me, he hath very

77. dulls the edge\ F, dulleth edge Q, 75. lender fe] F, Under boy Q. dulleth the edge Qq 4, 5. 83. invites'] F, inuests Q.

ous in that." Staunton, reading " of a most," suggests sheaf, meaning class
or set, for which lie (|uotes examples from Jonson's plays. Malonc, noting the heraldic meaning of </!?/', the upper third part of the shield, explains "approve themselves to be of a most
select

Q, and emend and, reading "Or of a most select, arc generous chief in that" J'olonius adding to " best rank and station " those who, though not

of the rank.
77.
bcth,
11.

"best," are yet of a select

husbandry']
i.

thrift,

as in

Mac-

generous escutcheon by their dress." Steevens conjectures "Select and generous, are most choice

and

4.

81. season] Singer

quotes
. .
.

I^arct's

Spence {Notes and Queries, 1875) proposes "Are, of a most, select and generous, chief in that "(<?/" a w/oj-^ meaning mostly). Collier (MS.) reads: "Are of a most select and generous choice in that." throw out the I suggestion that we may retain Or from
in that."

To season to temper wisely, to make more pleasant and acceptable." Schmidt explains it " mature, ripen." Clar. Press coin^?iX&% Merchant of Venice, V. i. 107. 83. invites] Theobald follows Q " be.sieges, invests, explaining it presses upon you on every side."
Alvearic:
^''

34

HAMLET
Given private time to you, and you yourself

[act

i.

Have
If
it

of your audience been most free and boun:

teous

be so

as so

'tis

put on me,

And

that in

way

of caution

must

tell

you,

95

Oph.

You do not understand yourself so clearly As it behoves my daughter and your honour. What is between you ? give me up the truth. He hath, my lord, of late made many tenders Of his affection to me.
!

00

Pol. Affection

pooh

you speak

like a

green

girl,

Unsifted

in

such perilous circumstance.

Do you
Oph.
Pol.
I

believe his tenders, as

you
I

call

them

do not know,
I '11

my

lord,
:

what

should think.

Marry,

teach you

think yourself a baby,

105

That you have

ta'en these tenders for true pay,

sterling.

Which

are not
;

Tender yourself more

dearly

Or not Running
Oph.

to crack the
it

wind of the poor phrase.

'11

thus

My

lord,

he hath

me a fool. importuned me with love

you
tender

10

In honourable fashion.
105. / 7/] F, / will Q. 106. these] Q, his F. 109. Running] Collier conj., Dyce, Cambridge, Furness IVrong Q^; Roaming Y Wro7tging Pope and several editors Wringing^ Warburton, Theobald and others
;
;

Under] render
94.

4.
to,

put on] communicated

99. Unsifted] untried.
I.
ii.

as in

As You Like

It,

102. 103. tefiders]

ing this reading proposed by Collier, observes its accordance with the figure in the previous line.
109. fool]

Compare Middleton,
I.
ii.
:

Does

this

mean. You

will

JVomen Beware IVomen,

now

this

me come
107. 109.

to

daughter so tendered your own phrase, sir."

" If
let

7'ender] regard, take care of,

hold dear

frequent in Shakespeare.
I'ress,

present yourself to me as a fool? or, present me (to the public) as a fool ? or, can " fool " mean an innocent, a baby? for Polonius is not over-delicate in his warnings. See Romeo and

Rui!ning]Q\:ix.

accept-

Juliet,

I.

iii.

31 and 48.

sc. Ill]

PRINCE OF DENMARK
call
it
;

35

Pol.

Ay, fashion you may

go

to,

go
his

to.

Oph.

And

hath

given

countenance to

speech,

my

lord,

With almost
Pol.

all

the holy vows of heaven.

Ay, springes

to catch

woodcocks,

do know,

When

the blood burns,

how
:

prodigal the soul

Lends the tongue vows these blazes, daughter. Giving more light than heat, extinct in both.

Even

in their

promise, as

it is

a-making,
this

You must

not take for

fire.

From

time

20

Be somewhat scanter of your maiden presence

Set your entreatments at a higher rate

Than

command to parley. For Lord Hamlet, much in him, that he is young. And with a larger tether may he walk Than may be given you in i^'^, Ophelia,
a

Believe so

25

Do
Not

not believe his vows

for

they are brokers.

of that dye which their investments show.

suits,
Lends]
()

But mere implorators of unholy

. 114. almoit 118. I'olh] birth,
. .

holy}

^l, all

Badham

conj.

the y. 120.

1 1

7.

I,

Q;

Civcs F.

From

this time]

Daughter F.
128.' that dye]

121. somewhat] F, something Q. O, the eye F.

Q, For this time 1 23. parley] F, park Q.

115.

woodeoeks]
Clar.

Ijirds

supposed to
s]3ringes or

entretien

',

Clar.

Press, solicitations;
;

be witless, easily taken

snares.
I'ress

in

Schmidt, invitations received

New

from Gosson's Apologie for the Sehoole of

quotes
Abiise: " Cupid sets up a springe for woodcocks.'" 117.] To amend the verse J'ope read "Oh, my davighter " ; Capell,

Eng.

Diet., conversation, interview,

from the commoner meaning of negotiation, discussion,

127.
/i;-tf/!r;T]

middlemen

in

making
:

"gentle daughter"; Nicholson conj. " Ijavin blazes"; S. T. Coleridge, 'Go lo, these," or "daughter, mark you." 122. <'/>rrt/;///j'] Johnson explains as company, conversatiim, I'rench

bargains; used specially of panders, procurers. Furness quotes Cotgrave ^^ Maipiiiionner, To play the Broker, also to play the bawd." 128. dye show] colour shown l)y their vesture or garb. F " the eye" may mean tint or hue, as in
.

'J'cinpest, II.

i.

55.

36
Breathing

HAMLET
like sanctified

[act

i.

and pious bawds,

This
is

130
forth,

The
I

better to beguile.

for all
this

would

not, in plain terms,

from

time

Have you so slander any moment's leisure, As to give words or talk with the Lord Hamlet. Look to 't, I charge you come your ways, 135
;

Oph.

shall obey,

my

lord.

\Exetmt.

SCENE

V<f.The Platform.

Enter Hamlet, Horatio, and Marcellus.

Ham. The
Hor.
Hor.
It is

air bites

shrewdly

it

is

very cold.

a nipping and an eager

? I

air.

Ham. What hour now

Mar. No,
it is
?

think

it

lacks of twelve.

struck.
I

Hor. Indeed

heard

it

not

it

then draws near the

5

season

Wherein the

spirit

held his wont to walk.

ordna?ice

\A Jlourish of trumpets, and

shot

off,

within.

What
130.

does this mean,

my
;

lord

bawds^ Theobald, Pope

(ed. 2),

Hanmer, Cambridge, Funiess, Hud133. sla7ider'\ squander. Collier (MS.) moment, Qq 2, 3, F. 135. waj's]

son ; bonds Q, F and many editors. moment'' s\ Pope ; moments Qq 4-6

way Yi

2-4.

Scene iv.
i. it is very coId\ Q, is it very cold? F. Scene iv.] Capell, omitted F. 5. Indeed? /] Capell ; Indeed : I Q ; Indeed / Q i, F ; it t/ten] i), then it F. flourish, etc.] Miilone after Capell, A florish of trumpets and 2 peaces 6. goes of i), omitted F.

130. tia^vds] "Bonds" of Q, F is explained as vows or (Moberly) as law papers headed with religious formula. 133.

ing

"moment,"

regards

it

as.

an

adjective,
Sre/ie
2.
v.

n.
I.

eager} sharp (Fr. aigrc), as in

moment' si Clar. Press, read-

69.

sc. IV.]

PRINCE OF DENMARK
wassail,

37

Ham. The
Keeps

king doth wake to-night and takes his rouse,

and the swaggering up-spring

thus bray out

reels

And

as he drains his

draughts of Rhenish down, lo

The kettle-drum and trumpet The triumph of his pledge.

Hor.
Is

it

a custom

Ham. Ay,
But

marry,

is 't
I

to

my

mind, though

am

native here

And

to the

manner

born,

it is

a custom

More honour'd

in the

breach than the observance.

This heavy-headed revel east and west

Makes us traduced and tax'd of other nations They clepe us drunkards, and with swinish phrase
Soil our addition
;

and indeed

it

takes

20
at height,

From our achievements, though perform'd The pith and marrow of our attribute.
So, oft
9.

it

chances

in particular

men,
is

AitdV.
8.

wassail^ 12. Is it] li l Q; "wassels, F. scandal] <^ ; omillcd . 17-38. This

. .

F
i,

2.

14.

Buf] Q,

V.

wa/;e] hold a lale revel; "so, poets of a much earlier dale, wc find the words ivatch and ivatchiiig employed as etjuivalent to 'debaucii at night' " (Dyce, Glossary).
in
8.
roiise?[

see

I.

ii.

127.

Pope read " upstart," meaning the King. In Chapman's Alphonsus up-spring is named as a German dance. Flze shows that it was the Hilpfaiif, " the last and consequenlly wildest dance at the old German merrymakings." The verb "reels" is taken by Staunton as a
9.

iip-spri)ig\

12. triimiph of his pledge] his glorious achievement as drinker, Ilowell in his Letters tells of the Danish King Christian iv. (15S81649) beginning thirty-five healths during a feast " the King was taken away at last in his chair." 18. taxd] censured ; frequent in Sliakespeare. 19. depc] call, as in Macbeth, \\\. i.

94. 20. addition] something added by way of distinction, slyle t)f address, as
in /,t(7r,
i. i.

138

" The name and

all

plural noun.

Cleveland in II. kettle-drum] Fuscara, or The Bee Errant, has the line "As Danes carowse liy kettle-

the additions to a King." 22. attribute] what is attributed: hence reputation, ns in Troilus and Cressida, 11. iii. 125: "Much attri-

drums."

bute he hath."


HAMLET
That
As,
for
in

38
some
their

[acti.
in

vicious
birth,

mole of nature

them,
are

wherein

they

not

guilty,

25

Since nature cannot choose his origin,

some complexion, Oft breaking down the pales and forts of reason. Or by some habit that too much o'er-leavens

By

the o'ergrowth of

The

form

of

plausive

manners

that

these

men,
Carrying,
I

30
say, the

stamp of one

defect,

Being nature's

livery, or fortune's star,

Their virtues else

be they
:

as pure as grace,

As

infinite as

man may undergo

35
the

Shall in the general censure take corruption

From
Doth

that particular fault

all

dram of

evil

the noble substance of a doubt

scandal.
star] Q,
;

To
27. the]

his

own

33.

Pope, their Q. 32. Their] Theobald, Pope (ed. 2)

scar,

Theobald, Pope

(ed.

2).

His O.

36, 37.] See note below.

Theobald suggested "mould."

24. mole of nature] natural blemish. Prof.

:

Hales notes in Greene's Pandosto "One mole staineth the whole face."
26. his]
its.

34. undergo] support. Measure for Measure, I. i. 24: "To undergo such ample grace and honour." 35. censure] opinion, judgment, as
in
i.
iii.

69.

27. complexion] temperament, resuiting from the supposed combination of the four "humours" in the body
in

This

the comvarious proportions ; plexions were sanguine, melancholic, phlegmatic. choleric, and pleasing, popular, 30. plausive]
All's
32.
star.

scandai] and perhaps corrupt in printed as passage is here Qq 2, 3, except that for e7.'il these Qq read The later Qq read ease. In n. eale. "May be a devil; and the ii. 638:

36-38. the

dram

difficult

IVell,

I.

ii.

53:

"plausive

dcale;

words."
star]

perhaps a mark like a

t,6j^:

Cyjuheline, \. V.

"Upon
be gram-

his neck a mole, a sanguine star."

33. Their] Shakespeare's

His
word,

of

Q may

though

matically incorrect.

Qq 2, 3 have frequently a monoI can syllable in Elizabethan poetry. hardly regard evil as an emendation open to reasonable doubt. Thejetters vi of a JNIS. might easily be mistaken for an Elizabethan manuscript a; the second /in "evill," " devill" might be taken for an e, or the
devil

hath power,"
evil
is


sc. IV.]

PRINCE OF DENMARK
Enter GllOST.

Hor.

Look,

my

lord,

it

comes
!

Ham. Angels and

Be thou a

ministers of grace defend us

spirit of

health or goblin damn'd,

40
hell,

Bring with thee

airs

from heaven or blasts from

Be thy intents wicked or charitable. Thou comest in such a questionable shape

That
Let
I

will

speak to thee

I '11

call

thee Hamlet,

King, father; Royal Dane, O, answer me!

45

me

not burst in ignorance

but

tell

Why
42.

thy canoniz'd bones, hearsed in death,

^$. falher ;
;

iittentslQ^, events F.

Royal Dane, C] Anon.

conj. St.

lames' s Chronicle, 15th Oct. 1761 Dane : Oh, oh Y,

father, royal Dane, 6

Q;
it,

Father, Koyal

MS. may have

It is possible, as

had
is

evile,

devile.

should understand

like

"sick

to

Keightley suggests,

doomsday"
to its

interrupted before its completion by the Ghost's entrance. Most commentators regard it as complete, and attempt to emend " of a doubt." About eighty proposals are recorded in the Caibridi;e Shakespeare. Perhaps " often dout," meaning do out, efface, is the best of these. " Oft devote" (consign to evil) seems not to have been proposed. I would suggest what I suppose to be a new line of consideration. "Scandal" is commonly regarded as a noun although doth " is separated from "scandal" by one of those suspensions, by qualifying clauses, characteristic of this speech, may not " doth scandal " be the verb ? have in " Sinon's Cymbeline, HI. iv. 62: weeping did scandal many a holy tear." Here "the dram of evil doth scandal all the noble substance." The idea is that required ; the language is
; '
'

that the sentence

evil scandals all the

own
used

of noble substance (substance) "his" being

(i.
i.

120).

The dram

the modern "its." "Of" is frequent in the sense of out of, by virtue of, e.t^. Love's Labour^ Lost, II. 28: "bold of your worthiness," and we still say "of your charity." Out of a mere doubt or suspicion the dram of evil degrades the noble subin reputation all "Scandal" may stance to its own.

here

for

have been meant

to

precede " to his

own."
40. spirit of health'] Clar. Press " a healed or saved spirit." explains 43. questionable] inviting question.
:

We

In As Vou Like It, ill. ii. 393, "unquestionable," averse to conversation,

occurs.

pointing

Shakespearean.
often
*'

To in Shakespeare means as far as if we met

;

45. father ; Royal Dane, 0,] The leads to "father" as the completion of the climax. This reading is adopted by Furness. The accent, as 47. canonizd]
is

am

scandal'd to ignominy,"

we

always in Shakespeare, second svllable.

on the

40

HAMLET
Have
burst their cerements
;

[acti
the sepulchre,

why

Wherein we saw thee quietly inurn'd, Hath oped his ponderous and marble jaws,

50

To

cast thee

up again.

What may

this

mean.
steel,

That thou, dead

corse, again, in

complete

Revisit'st thus the glimpses of the

;

moon.

Making night hideous and we fools of nature So horridly to shake our disposition With thoughts beyond the reaches of our souls
Say,

5 5
?

why

is

this

wherefore

what should we do
{^Ghost beckons

Hamlet.

Hoy.

It

beckons you to go away with

it.

As if it some impartment To you alone.

Mar.
It

did desire

Look, with what courteous action

60

waves you

to a

more removed ground

it.

But do not go with

Ho7\

No, by no means.
It will

Ham.
Ho7'.

not speak

then

will follow

it.

Do
I

not,

my
set

lord.

Ham.
do not

Why, what

should be the fear

;

my

life

at a pin's fee

65
that.

And
It

for my soul, what can it do to Being a thing immortal as itself?

waves

me

forth again

I '11

follow

it.

49.

Reuisits F. wafts F.
52.

imtrfi'd] F, interr''d i, Q. 53. Rcidsif sf] F 4, Reitisites Q, 56. the reaches'] Q, thee ; reaches F. i, 61. waves] ; 63. / will] Q, will I F.

complete] Accented here on the So in Massinger, The Emperor of the East, iv. iv. march ten leagues a day in complete
first

syllable.

"To

54. fools of nature] The presence of the supernatural shows how the limitations of nature cheat and befool
us,

armour,"


sc. IV.]

PRINCE OF DENMARK
if
it

41
flood,

Hor.

What
lord,

tempt

you

toward

the

my
70

Or

to the dreadful

summit of the
some other
madness

cliff

That

beetles o'er his base into the sea,

And

there assume

horrible form.

Which might

deprive your sovereignty of reason

into
?

And draw you

The very

think of

it

place puts toys of desperation,

into every brain to the sea

Without more motive,

That looks so many fathoms

And hears Ham. Go on I Mar. You shall Ham.

;

it

roar beneath.
It

waves

me

still.

'11

follow thee.

not go,

my

lord.

Hold
you
shall not go.

off

your hands

80

Hor. Be ruled

Ham.

My
makes each petty artery
as the

fate cries out.

And

in this

body
l^Ghost beckons.

As hardy
Still

Nemean

lion's nerve.

am

call'd ?

Unhand me, gentlemen {^Breaking from

;

thefu.

72. assume']

very

beticath']

q,hand.

Q, assumes F. Q, omitted F. 84. call'd ?], cald

I. 74. draw\ drive 78. wares'] Q, wafts F.

75~7S.

The

80. hands]

C).

sovereignly of lines were omitted from tlic F because 73. deprive your followed by their substance, enlarged and elaborreason] Warljurton, Hanmer, reads deprave. For deprive atcd, had been introduced into King Lear. see Rape of Liicrece, 1 186 and 1752. See Romeo and Caldecott explains: " Uisposesss the 75. toys'] freaks. In the Juliet, iv. i. 119: " inconstant to}'."' sovereignty of your reason." Ilistorie of Haniblet, IV., "depiive 83. Nemean] So accented also in himself" means lose the right to the Love's Labotcr's Lost, iv. i. 90. throne. 83. nerve] muscle or sinew ; so " nervy arm," Coriolanus^ \\. i. 177. 75-78.] Delius suggests that these


42

HAMLET
By
I

[acti.

heaven,

I'll

make

ghost of him

that

lets

me:
say,

away

Go on
;

85
;

I'll

follow thee.

[^Exeunt Ghost

and Hamlet.

Hor.

He

waxes desperate with imagination.

's

Mar. Let

follow
after.

'tis

not

fit

Hor. Have

To what
is
it.

thus to obey him.

issue will this

Mar. Something
Hor. Heaven

rotten in the state

come ? of Denmark.
follow him.

90

will direct

Mar.

Nay,

let

's

\_Exeimt,

SCENE
Ham. Whither
further.

V.

Another Part of the Platform.

Enter
wilt

GHOST

a}id

Hamlet.
speak
;

thou lead

me ?

I '11

go no

Ghost.

Mark me.
I

Ham.
Ghost.

will.

My
I

hour

is

almost come,

When
Ham.
Ghost.

to sulphurous

and tormenting flames

Alas, poor ghost

Must render up
Pity

myself.

me
I

not, but lend thy serious hearing

shall unfold.

To what
Ham.
Scene v.] Capell.

Speak
Scene
i.

am bound
F.

to hear.

V.
i,

IVhithe?']

Where

85. /^/j] hinders. 91. ?/] the issue of line 89.

c\i&x'sTheWoman-Haier{zboviii6o'j), 11. i. (vol. i. p. 37, ed. Dyce). bound\ Delius supposes that 6.

Scene
6, 7.

V.

Hamlet
These
Fletin
it

uses this

word

in the sense of

Speak

shalt hear']

ready addressed, while the Ghost takes

as

words are playfully quoted

meaning bound

in duty.

sc. v.]

PKINCE OF DENMARK
So
art thou to revenge,

43

Ghost.

when thou

shalt hear.

Ham. What? Ghost. I am thy father's spirit Doom'd for a certain term to walk the night, And for the day confined to fast in fires,
Till the foul

lo

crimes done

in

my

days of nature

Are burnt and

forbid

purged

away.

But that

am

To
I

tell

the secrets of

my

prison-house,
'

could a tale unfold whose lightest word

soul, freeze
like
stars,

Would harrow up thy Make thy two eyes,

spheres.

thy young blood.

start

from their

Thy And
Like

knotted and combined locks to part

each particular hair to stand an end.

quills

upon the

fretful

porpentine

20
O,

But

this eternal

blazon must not be

To
If

ears of flesh

and blood.

List,

list,

list

thou didst ever thy dear father love

!

Ham. O God
iS.

kmtted\
V.

I,

knoily F.

19.

an end] on end
22.
24.
List,

and many

editors.

Hamlet
II.
to

20. fretful] 23. l(n'e\

Rowe
i,

;
;

fearefull Q.
love,
'('l,

Y.

Q, Ij^t God!] Q, Heaven F.

list,]

fast in] Chaucer, Persones writes: "And moreover the miseise of helle shal been in defame of mete and drinke" (Skeat's ed. iv. In Dekker his Dreaine [1620) 577). one of tlie souls burning in hell roars " for cookcs to give him meate." "confined Theobald conjectured fast"; Warburton read " too fast in" Ileath proposed "to lasting"; Steevens

ni.

ii.

318:

"Mine

hair be fix'd an

7 ale,

end" F ("on end" Qq).

porcupine, as in " PorHI. i. 116. cupine," given here by many editors, 1676. first appeared in promulgation 21. eternal blazon] " eternal" was used But of eternity. adjective exas an by Shakespeare "eternal devil," pressing abhorrence
20. porpentine^

Comedy of Errors

"to waste
19.

in."
en(f\

Julius Ccvsar,

i.

ii.

an

So

in

.'

Henry

VI.

villain," Othello, \\.\\.

it

160; "eternal 130; possibly

has a like sense here.

44
Ghost.

HAMLET
Revenge
his foul

[acti.

and most unnatural murder. 25

the best

Ham. Murder ?
Ghost.

Murder most
this

foul, as in

it

is,

But

most

foul, strange,

and unnatural.
as swift

Ham. Haste me to know 't, that I, with wings As meditation or the thoughts of love,

30

May sweep
Ghost.

to

my

revenge.
I

find thee apt

duller shouldst thou be than the fat weed That roots itself in ease on Lethe wharf, Wouldst thou not stir in this. Now, Hamlet, hear
'Tis given out that, sleeping in

And

mine orchard,

35

A
Is

serpent stung

me

so the whole ear of

Denmark

by a forged process of my death Rankly abused but know, thou noble youth,
;

The

serpent that did sting thy father's

life

Now
Ham.

wears

his

crown.

O my
uncle
?

prophetic soul

40

My
Ghost.

Ay, that incestuous, that adulterate

beast.

With
26.
least

witchcraft of his wit, with traitorous gifts,

Murder?] F, Murther. Q, Murder !

I.

Q6

and many

editors.
I,

27. best]

29. Haste me] Q, Hast, hast 7ite F. 33. roots] (^ and many editors. 35. '7iV]Q, Jt'sF; tnine] F, my Q. Q, Mine F. uncle ?] Q, F ; Uncle 4 ; Uncle. 5 ; Uncle !
.

rots

41.
4.

My]

editors.

43. wit]
. .

Pope
.

wits Q,

Q6

and man)'

with] Q, hath F,

and V

love] Hamlet's 30. meditation comparisons are appropriate to him

those of a thinker
33.
roots]

and a
r(7A-

lover.

Clar. Press suggests "official narralive," comparing the French /roci's verbal.
40.
in

receives support from Ant. and Cleop.

The F

some
I.

soul] This occurs also

;

iv.

47

"

rot itself."

33.

wharf] seems used

for

bank of
ii.

a river. 218.

See Ant. and Cleop. n.

The Double Marriage, 11. iv. (vol. vi. 351, ed. Dyce) in Massinger's The Bondman, \X. i., and his Emperor of the East (near end of Act i.).
Fletcher's

37. forgedprocess] falsified account.

; :

sc.v.]

TRINCE OF DENMARK
wicked wit and
will of
gifts,

45

that have the power

So to seduce!

won

to his shameful lust

45

The

my

most seeming-virtuous queen

falling-off

Hamlet, what a

was there

F'rom me, whose love was of that dignity

That
1

it

went hand
to her in

in

hand even with the vow

50
natural gifts were poor

made

marriage; and to decline

Upon a wretch, whose To those of mine

!

But

virtue, as

it

never will be moved,

Though lewdness court it in a shape of heaven. So lust, though to a radiant angel link'd, 55
Will sate
itself in

a celestial bed.

And

prey on garbage.
!

But, soft
Brief let

methinks
be.

scent the

morning

air

me

Sleeping within mine orchard,

in the afternoon,

My

custom always

60

Upon my
With

secure hour thy uncle stole.

juice of cursed
in the

hebenon

in

vial.

And
except

porches of mine ears did pour

Ff 3, 4 ; /^ to this to this F 2. ; 47. a\ omillcd in (\\ 56. sate\ F, sort Q, seat Ff 3, 4 (Q i fate, a misprinl). 60. iii\ (^ i, 1'" 58. iiionting] i), nioniiiigs F. 59. minc'\ F, Q. 62. hebenon] F ; Hebona I, O. 63. mine'] F, of(}^. Q.
45. to his\ Q,

6.

my

my

61. secure]

careless,

unsuspeclin^^,
:

" To accented as in Othello, iv, i. 72 lip a wanton in a secure couch."

Merry
fool."

(fives,

li.

i.

241:

"a

secure

Transactions, 18S0-82) shows thai the yew was considered a most deadly ]:)()is<jn ; that Ebenus was niediivvally applied lo different trees, including
lliat Marlowe, Spenser, and lie yew l\e)nulds use lleben for the yew; and he maintains that in the words " cursed " and "at enmity with blood of man" Shakespeare was adopting the description of the yew found in Holland's Pliny, 1600.
I
;

62. hebenon]

fliey

conjectured

henebon, meaning henbane. Douce, having found an exanii>le oi E/>ein>, ebony, suggested that this was meant, Klze conjectured hemlock; lieisly, cneron, one of the names for deadly nightshade. Nicholson (A''. Sh. Soc.

"

; :

46

HAMLET
The
That
leperous distilment
;

[acti.
effect

whose

Holds such an enmity with blood of

swift as quicksilver
it

man

65

courses through

The

natural gates and alleys of the

body

And And
The

with a sudden vigour

it

doth posset

curd, like eager droppings into milk,

thin

and wholesome blood

with

so did

it

mine

70

And
Most
All

a most instant tetter bark'd about,

lazar-like,
vile

and loathsome

crust.

my

smooth body.

Thus was I, sleeping, by a brother's hand Of life, of crown, of queen, at once dispatch'd Cut off even in the blossoms of my sin,
Unhousel'd, disappointed, unaneled

75

No

reckoning made, but sent to

all

With
If
67.
71.

my
!

imperfections on

my account my head
!

Oh, horrible

Oh, horrible

most horrible
bear
it

80

thou hast nature

Hanmer;
I,

in thee,
i,

not

alleys]

allies

bark'd]

Q; bak'dY.
Staunlon

75.

6^. posse/] F, posscsse Q. Q, Y. of queen] Q, and Queene F.

77. disappointed]

68. vigour] rigour.

proposed

Pope read

tin-

anointed

Theobald,

unappointed,

Cotgrave has 69. eager] Ff aygre. "Aigre: Eagre, sharpe, tart, biting,
sower.
71.
ii.

instant] instantaneous, as in
wliich

II.

comparing Aleasure for Measure, in. i. 60. Boucher conjectures unassoiled, unabsolved. The meaning is, without equipment for the last
journey.
77.

54S.
75. dispatcli d] deprived,
is

unaneled] unanoinled with ex-

the reading of 76. blossoms]

White reads
ii.

blossotn,

which Dyce had suggested

pare IVinter's Tale, V.
77.

but com; 135: " tlie

Ijlossoms of their fortune.''

UnhouseV d] without receiving

treme unction. See quotation from Morte Darthur ^mve. Pope mistook it for having no knell rung. 80.] Given to Hamlet by several editors. Garrick, as Hamlet, pronounced this line so does -Sir H.
;

(Old English husel). Tyrwhitt compares ]\Iorte Darthnr, xxi. 12 (Lancelot dying): " So when he was liowselyd and anelyd.'
the
eucharist

Clarke observes that triple iteration is characteristic of the Ghost's

Irving.
diction.

sc. v.]

TRINCE OF DEiSMAllK
couch
for

47

Let not the royal bed of Denmark be

luxury and damned

incest.

But, howsoever thou pursuest this act,

Taint not thy mind, nor

let
;

thy soul contrive

leave her to heaven,

S5

Against thy mother aught

And to those To prick and

And

thorns that in her

sting her.

bosom

lodge.
!

Fare thee well at once

the matin to be near.

The glow-worm shows

Adieu, adieu, adieu
!

'gins to pale his uneffectual fire

90
[Exit.
!

remember me.
!

Ham. O all you host of heaven O earth what else ? Hold, hold, my And shall I couple hell ? Oh, fie
!

heart

And

you,

my

sinews,
stiffly

grow not instant

old.

But bear me

up.

Remember

thee?
seat

95

Ay, thou poor ghost, while memory holds a

In this distracted globe.

Yea, from the table of

I '11

Remember my memory
all

thee

wipe away

all trivial

fond records,
pressures past,

All saws of books,

91.

all

forms,

100

Adieu, adieu, adieu!] Q, Adue, adue, Hamlet: F and many Hold, hold,] Q; hold Qq 4-6, F. 95. stiffly] F, swiftly Q. 96. while] F, whiles Q. 95, 97. thee?] Y, thee, Q.
editors.

93.

83.

luxury]'DycQ {Gloss.):
sense
in

lascivi-

men of
v.,

Verona,

ousness, its only speare. 90. uneffectual]

Shake(ap-

singer, I'he

In Mas11. vii. 3. Entpcror of the East, \\\

in the table of

we
<)^.

find

"Writ

my

Warburton

memory."
fond]
fnolish.

proved by Dyce) explains: "shining

without heat."
Steevens, " lost in the

morning
43. 93.

light."

See Pericles,

II. iii.

records] The accent in Shakespeare is variable, on the first, or

99.

(as

probably here)

on

the
in

second

Oh, fie] Capell, Steevens, Milford, Dyce regard these words as probably an interpolation. 97. globe] Hamlet's hand is upon
his forehead.

syllable,

100.

saws] maxims, as

As You
See

Like

It, 11. vii. 156. 100. pressures] impressions.

98. table] tablet, as in

Two

Gentle-

Elsewhere Shakespeare in. ii. 29. uses iiuprcssure in the same sense.

48

HAMLET
That youth and observation copied there

[acti.

And

thy

commandment

all

alone shall live

Within the book and volume of

my

brain,
!

Unmix'd with baser matter

yes,

by heaven
villain

most pernicious woman

villain, villain, smiling,

105
!

My
At

tables,

meet
'm sure

damned
set
it

it is

down,

That one may

least
I

smile,
it

and

smile,

and be a
in

villain

may

be so

Denmark.
[

Writing-.
;

So, uncle, there you are.

It is
1

Now
lord
!

to

my

word

10

"

Adieu, adieu
't.

remember me."

have sworn
Within.']

Hor.

[ [ [

My

Lord,

my

Mar.
Hor.

Within.] Within.]

Lord Hamlet Heaven secure him

Ham. So
fables,

be

it

107. 104. yes\ Q, yes, yes F. Tables ; F. Tables, Q, 113. Hor. Rowe ; omitted Q, F.

My
F
;

tables,

Pope,

[My

tables)

My

My

Q i,

J\fy

Writing.] [Within.]] Hor. and Mar. within F,

109.

/'w] F, I am Q.

be ill

Hora. Q(see note below). Heaveii] Q, given to MarceUus in F.

107.

Heavens

i,

Q.

114.

Ham. So

in

tables'] memorandum-book, as J Henry IV. II. iv. 289, and

i.

Sonnets, cxxii.
relief for

Hamlet's writing
scholar's
fantastic

in his tables is a

gested
IIO.

over-wrought feelings, sugto him by "table of my

the transference by Capell of the entrance of Horatio and MarcelUis to follow line 116 unnecessary; they lord, my lord!" may enter at but, in the darkness, may be unseen

"My

by Hamlet,
II4']

memory."
word] Steevens explains as " watch -word " perhaps order, word of command, as in /hIIks Cicsar, v. iii. 5: "Brutus gave the word too
;

signing

Many editors follow F in as"So be it!" to Marcellus.

early."
113. Within] Capell first marked thus the speech of Marcellus and that Wright of Horatio which follows it. {^Cambridge Sh. vii. p. 600) thinks

"There is something highly solemn and proper," observes Capell, "in making Hamlet say the Amen to a lienediction pronounced on himself."

"May it not rSfer to the conclusion of flamlet's writing in

Furness asks,
his tables "
?

sc.v.l

PRINCE OF
Illo,

DENMARK
my
lord
!

49
115

Hor. \_WitJun.\

ho, ho,

Ham.

Hillo, ho, ho,

boy

come, bird, come.

Enter

HORATiO and Marcellus.

noble lord
?

Mar.
Hor.

How

is 't,

my

What
O, wonderful

news,

my

lord

Ham.

Hor. Good

my my

lord, tell

it.

Ham.
Hor. Not
I,

No
lord,

you

will reveal

it.

by heaven.

Mar.

Nor
say you, then
;

I,

my

lord.

120

Ham. How

would heart of man once

think it?

But you
Hor.^

'11

be secret

Mar.
's
's

Ay, by heaven,
ne'er a villain dwelling in all

my

lord.

Hani. There

Denmark

But he

an arrant knave.

Hor. There needs no ghost,

grave

my

lord,

come from the

125

ii6. bird] F, and Q, boy Q i. Enter 115. Hor.] Q I, F; Mar. Q. Horatio and ]\Ia7-cclhis\ Capell placed after Hamlet's / have sworuH in 1 Hor. What news, my lord''\ Q, after My lord, my lord! in F. 1 7. omitted Qq 4-6. 118. Ham.] Hora. Qq 4, 5. 119. yon wilf] Q, yotiUY. 121. it?'] Q I, F; it. Q. 122. secret?] F, secret. Q; my lord.] Q I, P'; omitted Q. 123. ne'er] F, never Q^.
;

115. Illo] Capell considered this speech "too light for Horatio," and assigned it with Q to Marcellus.

from Tyro's JRoarins; "He go see the kyte bird, come."

121.

Hfcg-ge,
:

1598:

Come, come
in

The

call,

answered
fashion,
is

by
not

falconer's

Hamlet meant

in

once] ever,
ii.

as

Ant.

ana

as

Cleop. v.

50.

such by the speaker, whether he be Marcellus or Horatio. In The Birth of Merlin, Prince Uter's "So ho, boy, so, ho, illo ho!" is a mere
halloo.
116.

123
that
his

Denmark] Seymour suggests Hamlet at this word breaks off

Hillo

r^Jw^]

falconer to his birds.

The cry of a Steevens quotes

intended disclosure, pauses, and it a jesting turn. Sir H. Irving adopts this rendering, glancing at Marcellus, as if his presence rendered the confidence unwise.
gives

50

HAMLET
To
tell

[acti.

us this.

Ham.

Why,

right;

you are

i'

the right

And
I

so,

without more circumstance at

that

all,

hold

it fit

we shake hands and

part

You, as your business and desire

shall point
desire,

you

For every man hath business and

130

Such as

it

is
I

and, for mine

own poor

part.

Look

you,

'11

go pray.

Hor. These are but wild and whirling words,

my

lord.

Ham.
Hor.

'm sorry they offend you, heartily

faith, heartily.

Yes,

There's no offence,

my

lord.

135

Ham. Yes, by Saint Patrick, but there is, Horatio, And much offence too. Touching this vision
here.
It is

an honest ghost, that

desire to
I
;

let

me
is

tell

you

For your
desires

know what
Q,
131.

between
F. F,

us,

126. us\yoit i, F.

?'

the\ Capell, in the

z'

tli'

129. desife\

130. hatli]

Q, ha^s F.

you, I'll] F, /wi//Q. 133. w/iir/i7tg] 136. Horatio\ Q i, Q ; my 134. / ';] F, I am Q. Q, hurling F. Lo)-d F. Touching] Rowe, too, touching Q i, F to, touching Q 137. too. too : touching Q 6.
;

Look TheohaAd, wherling(^\,whurling

7>iine'\

wy Q.

132.

127. circumstance\ beating about the bnsh, circumlocution, as in Aler-

chant of Venice, i. i. 154. 136. Saint Patrick] In connection with "the offence" there is special propriety in the oath. It was given out that a serpent stung Hamlet's father; the serpent now wears his crown. St. Patrick was the proper saint to take cognisance of such an offence, having banished serpents from Ireland. In Richard II. W. i. 157, Shakespeare alludes to the freedom of Ireland from venomous creatures, Campion in his History of Ireland, written in 1571, mentions the legend,

InShixley's Saiiit Patrick for Ireland, serpents come on the stage, are banned by the saint, and creep away. Tschischwitz supposes that the oath alludes to St. Patrick's Purgatory, and I find mention of this place of torment in Dekker's Okie Fortunatus (Pearson's Z)<,'/('/v;', vol. i. p. 155)136. //^ra/w] Corson defends the F lord," as a retort to Horatio's " my lord," line 135. 138. honest] Hudson supposes that this means a real ghost, just what it appears to be, not "the Devil" in " a pleasing shape."

"my


PRINCE OF DENMARK
as

sc.v.]

51

O'ermaster't
friends,

you

may.

And

now,

good

140

As you
Give

are friends, scholars and soldiers,

Hor.

me one poor request. What is my lord ? we will.

't,

Ham. Never make known what you have

Hor.y Mar.

seen to-night.

My

lord,

we

will not.

Ham.
Hor.

Nay, but swear

't.

In

faith,

145

My
Mar.

lord,

not

I.

Nor
sword.

I,

my

lord, in faith.

Ham. Upon my
Mar.

We
Indeed, upon

have sworn,

my

lord, already.

Ham.
Gliost.

my

sword, indeed.

{Beneath^ Swear.
ha, boy penny ?
;
!

Ham. Ah,

say'st thou so

art thou there, trueI

Come on
Hor.
149.

you hear

this fellow in the cellarage

Consent to swear.
Propose the oath,
Beneath] Capcll
;

my

lord.

Ghost

cries

under the Stage Q, F.

150.

Alii

Ha

(I.

147. sword.'\ The hilt, having the form of a cross, is sworn on. See 1 Henry IV. ii. iv. 371. Dyce quotes from Mallet's Northern Antii/uitics
(i.

is

to

be found. scene:

content, 1604,
this

iii. iii.,

Marston, The Maihas an echo of

216, ed. 1770) to

show

that

"the

ho, ho ho! arte old true-penny." Middleton, in Blurt, Master-Constable, names a

Illo,

"

there,

custom of swearing on a sword prevailed even among the barbarous

worshippers of (^din."

page Truepenny. Hamlet's recoil from horror to half-liysterical jesting

is

justified to his

own

consciousness

Vorhy (Vocah. of East Anglia): Hearty old fellow, Collier says he has learnt, from Sheffield authorities, that it is a min150. trtie-/^enny
'\

ing term, signifying an indication in the soil of the direction in which ore

as intended to divert the ct)njectures of his companions from the dreadful nature of the Gliost's disclosure, which he cannot reveal to Horatio in the presence of Marccllus.

HAMLET

52

[actt.
seen.

Ham. Never

to speak of this that

you have

Swear by

my

sword.
r

Ghost. [Beneat/i.] Swear.

5 5

Ham. Hie

et

ubique ? then

we

'11

shift

our ground.

Come hither, gentlemen, And lay your hands again upon my sword
Never to speak of
this that

you have heard

Swear by

my

sword.

160
canst work
the earth so

Ghost. [^Beneath.'] Swear.

Ham. Well
fast?

said, old

mole

i'

Hor.

A worthy pioner Once more remove, good friends. O day and night, but this is wondrous strange
!

Ham. And
There

therefore as a stranger give

it

welcome.

165
earth,

are

more

things

in

heaven

and

Horatio,

Than are dreamt But come

of in your philosophy.

Here, as before, never, so help you mercy.

How

strange or odd soe'er

bear myself,

170

As I perchance hereafter shall think meet To put an antic disposition on,

157-160.] 156. oiu-l ^t for F. Qq 4-6. has a comnia after sword, line 158, and transposes lines 159, 160, witli no point between sivo}-d kci^l never; F. as here, but with comma after sword, line 158, and colon after heard, line 159; later Ff put full stop after j-rwra', 16 1. Swear] Q i, F; Sweare by line 158. 159. heard] scene Q i. hissword.Q^. 162. ea7-th'](^i,(^; ground V. 167. ^owrJQ i, Q ; ourF.
153. seeu.'\ F, scene Q, scene,

163. pioner] pioneer, and accented, as in Othello, ill. iii. 346. zvelconte] Being a 165. as . . stranger, take it in. Mason needlessly suggests seem not to know it. Middleton, fVomen Beware Women, 11. ii. : "She's a stranger, madam. The
.

our VL
is

167. your] Several editors prefer In either case, the emphasis Compare probably on philosophy.
is

for this use oi your iv.

worm

." Your iii. 22 your only emperor for diet,"

:
;

172. a/zV] bizarre, fantastic

Romeo
. .

and Juliet,

II.

iv.

29, "antic

more should be her welcome."

fantasticoes,"

sc. v.]

PRINCE OF DENMARK
at such times seeing

53
shall,

That you,

me, never

With arms encumber'd thus, or this head-shake, Or by pronouncing of some doubtful phrase, 175 " " As Well, well, we know," or We could, an if we
would,"

Or

" If

we

list

to speak," or "

There

be,

an

if

they

might,"

Or such ambiguous giving out, to note That you know aught of me this not to do, So grace and mercy at your most need help you,
:

80

Swear.
Ghost. [^Beneath.']

Swear.
perturbed
spirit

Hani. Rest,

rest,

\TJiey sivear.

So, gentlemen,
all my love I do commend me to you And what so poor a man as Hamlet is May do, to express his love and friending to

With

185
you,

God

willing, shall not lack.

still

Let us go
lips, I

in

together

And

your fingers on your

is
I

pray.
spite,
1

The time
That ever

out of joint

O cursed
set
it

was born to
let
's

right

90

Nay, come,
173.
liiiies\

go together.
V.
\~iG.
.

\Exeiint.

I,

(I;

{iiiie

174. ///n hcad-iliakc^

i,

(), (williout

\\^'^\\(tx\),

thus,

head shake Y.
.

?/] Hanmer ; and if . F. . 179-181. this . this doe swe.are, So . . yon. Q.

7/.

.an

there

Well, well,]Q^, well V. 176, 177. // i, i); and if Q, F. 177. ihcj] Swca7-'\ Knight's punctuation of F text, 2-4. omitted Ff 1S4. I do']
.

174. enciiviberd] |)iained as " folded."

commonly
Perhaps

exinter-

178. t^it'ing out] intimation, as in

Measure for Measure,

Othello, iv. i. 131. 178. to note] Theobald

1.

iv.

54,

twined, Hamlet taking the arm of Horatio or Marcellus as he speaks.

In I'enlon's Monophylo,
lind '
li.
ii.

and other

12,

editors

correct

encimihred lahorinth."'

irregularity

grammatical the hy reading denote.


HAMLET
ACT
SCENE
Pol.
I.

; ;

54

[actii.

II
in Polonius's

A Room

House.

Enter POLONIUS and Reynaldo.

Give him
I

this

money and

these notes, Reynaldo.

Rey.
Pol.

will,

my

lord.

You
Of

shall

do marvellous wisely, good Reynaldo,

visit

Before you

him, to

make
lord,
I

inquire

his behaviour.

Rey.

My
Inquire

did intend

it.

5
sir.

Pol. Marry, well said, very well said.

Look you,
in Paris

me

first

what Danskers are

And

how, and who, what means, and where they

keep,

What company, at what expense and finding By this encompassment and drift of question
;

That they do know

come you more nearer will touch it demands Than your particular Take you, as 'twere, some distant knowledge of him, As thus, " I know his father and his friends, And in part him." Do you mark this, Reyson,

my

naldo?
I.

15

Enter Poloniiis and Reynaldo'\ Enter old Polonius with his man or two Q. this\ (), his E; these\ Q, these two (^q 4-6, those Ef 2-4. 3. iiiai-velIos'\ Qq 4-6, meniiles (\\ 2, 3, marvels E. 4. to fitake inquire'] (), you ncere '1 han make imjuiryV. 11, 12. nearer T/ian~\ C^, E (spelling Then) E 2 72ear Then E 3 ; near. Then E 4. 14. As] Q, And E.
; ;

4.

inquire'] so

" strange

inquire

""
:

Pericles, III.
7.

Prologue 22. Danskers] Danes.

10.]

9,

The

opposition

is

not be-

tween

particular

(which

perhaps

means /tf/'j'ijwa/) demands and any other incjuiries, but between demands or

and the profession of acleave questioning, and quaintance come nearer by throwing out a-bait of Jennens and imperfect knowledge. Keightley read "nearer; Then"; but in what follows there are no
ciuestions
:

"

particular

demands."

SCI.]

PRINCE OF DENMARK
my
;

55

Rey. Ay, very well,

Pol.
"

lord.

And

in part

him
I

but,"

you may

say, " not well

But

if't

be he
"

mean, he's very

;

wild,

Addicted

so

and so

and there put on him

please
;

What
rank

forgeries

you

marry,

none

so

20
;

As may dishonour him

But,
sir,

take heed of that

such wanton, wild and usual slips

I^ej'.

As are companions noted and most known To youth and liberty. As gaming, my lord.
Ay, or drinking, fencing, swearing, quarrelling,
25

Po/.

Drabbing
Rey.

you may go so
as

far.

My

lord, that

would dishonour him.

Po/. Faith,

no

you may season

it

in the charge.

You must
That he
is

not put another scandal on him.

open to incontinency

30
his faults so

That's not
quaintly
26.
Drabbin,::f\

my

meaning; but breathe

Or Grabbing
Perhaps

C) i.

28.
to

no] F, omitted Q.

25. fenchig\

named

the other supposed outbreaks of his son as to be classed with addiction to the fencing-school. Fencers, however, had a like legal disrepute with players. In Middleton's Spanish Gipsy, n. ii. Sancho comes in "from playing with fencers," having lost cloak, band, and rapier at dice. The ill repute of fencers appears from

show how Polonius regards

Theobald conjectured which was adopted by Ilanmcr and some other editors but Theobald himself withdrew the
29. another]
titter,

an

other passages in Elizabethan drama, In Dekker's GiiPs Horn-Booke he speaks of the danger to a rich young man of being " set upon" by fencers and cony-catchers (Dekker, ed. Cirosart, vol.
ii. p. 213). 28. season] (jualify
;

suggestion. Malone explains "a very different and more scandalous failing Hudson incontinency." habitual reads "open of incontinency,"' that he indulges his passions openly. Perhaps Malone is right ; Polonius, who loves nice distinctions, sees a difterence between occasional "drabbing" and lying wide open to the access of
:

vice.

delicately, 31. quaintly] ously, as in Merchant of

II.

ingeniVenice,

iv. 6.

see

I.

ii.

92.

56

HAMLET
That they may seem the
taints of Hberty,
fiery

[acth.

The

flash

and outbreak of a
in

mind,

A
Of
Rey.
Pol.

savageness

unreclaimed blood,

general assault,
But,

my
this

good
?

lord,

35

Wherefore should you do

Rey.
I

Ay,

my
's

lord,

would know

that.

Pol.

Marry,

sir,

here

my

drift,

And,

believe,

it is

a fetch of warrant

You laying As 'twere

ing,

these slight sullies on

my

son.
i'

thing

little

soil'd

the

work-

40
in converse,

Mark you. Your party

him you would sound.

prenominate crimes
consequence;
" friend,"

Having ever seen

in the

The youth you breathe

of guilty, be assured

He
"

closes with
sir,"

you
or

in this

45
" gentle-

Good

so,

or

or

man," According to the phrase or the addition

Of man and
Rey.
38.

country.

Very good,
warranf^ F, wit Q. F, with Q.

my

lord.

40. i' ihe] a7id F.

39. sullies'] F, Qq 4, 5, 6 ; sallies Qq 2, 3. 42. converse,'] Q, converse; F. 47. or](^,

34. iinrcclaij/ied]

untamed.

Clar.

Press
:

quotes

tiquer gentle."
35.

To

Cotgrave. " Adomestame, reclaim, make

of general assault] which assails youth almost universally. 38. fetch of wai-rant] a warranted
device.

42. converse] "Shakespeare uses the noun only three times, and with the accent as here" (Rolfe). consegteence] " H.^ (a.\h 45. He. '' in with you into this conclusion (Caldecott) ; "in thus following up your remark" (Schmidt), 47. addition] title, as in I. iv. 20.
. .

SCI]

PRINCE OF DENMARK
then,
I

57

PoL And
was
Rey.

sir,

does he

this,

he

does what
I

about to say?
;

By

the mass,
I

was
?

50

about to say something

where did

leave

At
so,"

" closes in

the consequence," at " friend or

and

"

gentleman."
the consequence," ay, marry

PoL At

" closes in

He
I

closes
;

with you

thus

" I

know

the

gentle5 5

man
Or

saw him yesterday, or

t'

other day.

then, or then, with such, or such, and, as

you

say.

There was

he gaming, there o'ertook in

;

's

rouse.

There
" I

falling out at tennis

"

or perchance,
sale,"

saw him enter such a house of

60

Videlicet^ a brothel, or so forth.

See you now

Your

bait of falsehood takes this carp of truth

And

thus do

we

of

wisdom and of

reach.
bias,

With windlasses and with assays of

49.
50.

65

does he this,

the mass] Q, 52, 53. at '^ friend .

.

By

Y, closes thus (), 58. he,] Y, a Q.

He does : V, doos a this, a doos Q. 51. something] tiothiitg I-'f 2-4. gent/eman"] om'iticd Q. 55. e/oses with you tints] doseth with him thus I. 57. or stich] Q, and such Y. 60. such] Q, F ; such or such Qq 4, 5 ; siich and such ( ) 6.
]

he does,
.

does he this ?
in

omitted

63. takes] Y, take Q.

49-51.] And then Prose first by Malone.

leave?]

58.

overtook]
for

Clar. Press:
;

a
it

The attempts

phemism
see
I.

drink"

perhaps

" eumeans
rouse,

and F by' constructing to justify verse miss the point that Polonius's wits have failed him, and he topples from verse to incoherency in prose,

only surprised, caught.

ii.

For

127.

sovieThree lines, ending say? thing. leave? Q; ending this? say? leave? F.
. .
.

64. (j/T-rar//] Clar. Press: far-sighted ; compare " we of taste and feeling," Love's Labour's Lost, iv. ii.

we who are

30.
in

i has " being men of reacli." So 65. TivW/axi-^rj-] winding turns.

52. 53-] Prose first in Globe Shakespeare. Reynaldo steps down from

GoUhng's

0~'id,

15.

vii.

"like a wily fox he

verse to enable I'olonius to recover Two lines ending his train of ideas. consei/uence" "gentleman'' Y.
.
.

Nor makes

runs not forth directly out, a windlasse over all the cliampion licld-^ about "'

58

HAMLET
By
So,
indirections find directions out

[actii.

Shall

by my former lecture and advice, you my son. You have me, have you not
lord,
I

Rej.
Pol.

My

have.

God be
Good my
Observe
I

wi'

you

fare

you

well.

Rey.
Pol.

lord

yo

his inclination in yourself.

Rey.
Pol.

shall,
let

my

lord.

And

him ply

his music.

Rey.
Pol.

Well,

my

lord.

Farewell

{Exit Reynaldo.

Enter Ophelia.

Oph. Oh,
Pol.

How my lord, my
i'

now, Ophelia
lord,
I

what

's

the matter
!

have been so affrighted

of

75

With what,

the
I

name

God
in

Oph.

My

lord, as

was sewing
F.

my

closet,
76.
closet]

69. ye well} Q, the] Capell, j' th

you well

Q, ? the F;

75. O/i, niy lord] Q, Alas F. God\ Q, Heaven F. 77.

Q,

chamber F.

and in Apollo Shroving: "See how fortune came with a windlace about again." 65. assays of bias] a metaphor from bowls, the player sending his bowl towards the jack in a curve, knowing that the bias the oblique line of motion will bring it right.

66. By out] By indirect find out direct indications.

. . .

means
Johnyour

71.

Observe

yourself]

son:

"Perhaps

this

means

in

own

person, not by spies." Clar. Press: "Possibly it means conform

own conduct to his inclinations." Hanmer and Warburton read "e'en yourself." "In yourself" may possibly mean in regard to yourself. "His 73. music] \'ischer explains
your
:

son may gamble, drink, swear, quarrel, drab, only let him ply his "' music true cavalier - breeding Clarke: "Let him go on to what tune he pleases," which would agree well with the explanation of line 71 suggested by Clar. Press. 77. closet] a private chamber, as in in. ii. 346. This is the only entirely sincere meeting of Hamlet with Ophelia in the play; and it is entirely silent the hopeless farewell of Hamlet. Can her love discover him through his disguise of distraction? He reads nothing in her face but fright; he cannot utter a word, and feels that the estranging sea has flowed between them. In no true
.

sense do they ever meet again.

;;

SCI]

PRINCE OF DENMAllK
Lord Hamlet, with his doublet all unbraced No hat upon his head his stockings foul'd,
;

51)

Ungarter'd, and down-gyved to his ancle

80

Pale as his shirt

his

knees knocking each other

in

And
As
Pol.
if

with a look so piteous

purport
hell

he had been loosed out of

horrors, he

To speak of Mad for thy

But truly
I

comes before me.

lord,

love

Oph.

My
do
fear
it.

do not know,
said he

85

Pol.
OpJi.

What

He

took

me by

the wrist and held

me

hard

Then goes he
And, with

to the length of all his

arryi,

his other

hand thus

o'er his

brow,

He

falls

to such perusal of

my

face

90
so

As he would draw it. Long stay'd he At last, a little shaking of mine arm.

And thrice his head thus waving up and down. He raised a sigh so piteous and profound
That
it

did seem to shatter

;

all his

bulk

95

And end his being that done, he lets me go. And with his head over his shoulder turn'd He seem'd to find his way without his eyes
87.

and

/lard] oinittcd

95.

Tlial'\

!",

As Q.
I.

Kf 2-4. 94. piieous\ (>, 97. s/ioii/der] (), shoulders V.

as
in

hideous

l-'f

2-4.

78.

mi/iraeed]

unfaslencd,
iii.

Julius Cesa/;
80.
Jt, III.

48.

ceiilcd on last syllal)le. But no otlicr example of tlie word occms in Sliako-

lional lover described in

ii.

Uu^arlerd'\ Sec the cunvenAs Yoit Like

398.

sptaie.
90. fenisal]
IV. vii. 137.
sUul\'.

See

peruse,

dowu-i^yved] fallen t<i llie ancle, like gyves or fetters. Tlieoljald read, w ith (^rj 4, 5, down -^qy red, explaining it " rolled down Id the ancle." 82. purport] Clar. I'ress says uc80.

91.

Long] Pope read L.oug time.

Florio (161
1)

95. /w/i] frame.

has

" JVltorata, a shock against the breasi ur l)iill<." Sec A'ape of Luerece, 467:
'
lier

heart

healing her bulk.

"

60
For out
Pol.
o'

HAMLET
doors he went without their help,

[acth.

And to the last bended their light on me. Come, go with me I will go seek the king.
;

lOO

This

is

the very ecstasy of love

Whose violent property fordoes itself And leads the will to desperate undertakings. As oft as any passion under heaven That does afflict our natures. I am sorry,
What, have you given him any hard words of Oph. No, my good lord, but, as you did command,
I

105

late

did repel his letters and denied

His access to me.

Pol.
I

That hath made him mad.

fear'd
;

10

am

sorry that with better heed and judgement

:

had not quoted him

he did but

trifle
!

And meant to wreck thee but beshrew my jealousy By heaven, it is as proper to our age To cast beyond ourselves in our opinions 5 As it is common for the younger sort
i i

To
99. helps

lack discretion.

Come, go we

to the king:

d
i^.

105. passion] F, pass/ous Q. 106. sorry, sorrie ;)-, sorry. Globe. heed] (^, speed fear'd] (^,feare F. 114. By heaveti] i,

dooys\ Theobald, adoors (with various spellings) Q, F ; Jielp\ loi. Coine,^ Q; omitted F. 103. fordoes'] forgoes ] Capell ; sorry, Q,

m.

Y
;

Q i, F Qq 4-6. F (Q 6
<Cl;

112.

quoted]Y coted
,

// see vies F.

102. ecstasy]
i.

madness, as in
in this play.

in.
is is

168,

and elsewhere

RoDieo and Juliet, i. iv. 31 "What curious eye doth quote deformities?"
:

XQ'i,. fordoes] destroys; the _/i7r here negative, as in v. i. 2 ? it

:

intensive in "fordone,"

Midsutnmcr

Night^s Drea7n, V. 381.

106.

ing Polonius takes it up again in line in. ll i. heed] Theobald preferred the

sorry, ] Capell's pointindicates a broken sentence.

/ av?

j/fft/,

meaning success. 112. quoted] noted, observed, as in

W^. jealousy] suspicion, as frequently in Shakespeare. 114. z> aj/ri^/fr] belongs as much, zsm Julius Ccesar, I. ii. 41 " Conceptions only proper to myself." Clar. 115. cast beyond] oxQxshooi. Press explains cast: to contrive, design, plan, quoting Spenser, Faerie Qucene, i. v. 12, "he cast avenged to be."
:


sen]
This

PRINCE OF DENMARK
must be known
;

Gl
close,

which,

being

kept

might move

More
Come.

grief to hide than hate to utter love.

[Exetmt.

20

SCENE
Flourish.

II.

A Room

in the Castle.

Enter KING, Queen, Rosencrantz, GuiLDENSTERN, and Attendajits.

!

King. Welcome, dear Rosencrantz and Guildenstern

Moreover that we much did long to see you, The need we have to use you did provoke

Our hasty sending. Something have you heard Of Hamlet's transformation so call it, 5 Since not the exterior nor the inward man Resembles that it was. What it should be. More than his father's death, that thus hath put him So much from the understanding of himself,
;

cannot dream of:

entreat

you both,

10

That, being of so young days brought up with him.

And

since so neighbour'd to his

youth and humour.

That you vouchsafe your

rest here in our court

Some little time To draw him on

120. Conie.^
(),

so

to pleasures,

by your companies and to gather

If.

omiltcd F.
Sce/ie
6.

5.

calf]

Q,

/
12.

cal/ V.

Since

tiof]

deeme F.
1 1

since\ F, sith
. . .

humour]

F, Silh nor Q. F, havior^.).

lo.

(iit:ain'\

(^,

8, 119.

which
;

love]

" The
Scene
2.
II.

king may hie angry al my telling of Hamlet's love but more grief winild come from hiding it" (Moberly). Ilanmer read " to hide hate, than,"'

Moreover that] Over and above

that,

62

HAMLET
So much as from occasion you may glean, Whether aught to us unknown afflicts him
That, open'd, Has within our remedy.

[actii.

thus,

Queen.

Good gentlemen, he hath much talk'd of you, And sure I am two men there are not living 20

To whom he more adheres. If it will please you To show us so much gentry and good will As to expend your time with us awhile
For the supply and
profit of our hope,

Your visitation shall receive such thanks As fits a king's remembrance.

Ros.

25

Both your majesties

Might, by the sovereign power you have of
us,

Put your dread pleasures more into

command

Than
Giiil.

to entreaty.

But we both obey,

And here give up ourselves, in the full To lay our service freely at your feet, To be commanded.

bent

30

King. Thanks, Rosencrantz and gentle Guildenstern.

Queen. Thanks, Guildenstern and gentle Rosencrantz
;

And

beseech you instantly to

visit

My
And

too

much changed

son.

Go, some
.

35
of you,
is.

bring these gentlemen where Hamlet

thus] Q, omitted F. . 16. occasion^ Q, occasions . 17. Whether . F. 23. expend] extend Qq 4, 5. 20. are] F, zs Q. 29. But we] Q, To be cointnandcd] omitted Qq 4-6. 32. 31. service] Q, se>-vices F. 37. these] Q, the F. 36. yoti] Q, ye F.

We

17.

Whether]

To

be

pronounced

as

a monosyllable, as often elsewhere. 22. gentry] courtesy. Singer quotes " Gentlemanlinesse "Baret's Alvearie
:

or gentry, kindlinesse, naturall goodnesse. Generositas." meta30. bent] limit of capacity phor from the extent to which a bow
;

may be drawn.


sen]
Giiil.

PRINCE OF DENMARK
Heavens make our presence and our
practices
!

63

Pleasant and helpful to him

Queen.

Ay, amen

[Exeunt Rosencrantz, Guildensteni, and some Attendants.

Enter POLONIUS.
Pol.

The ambassadors from Norway, my good

Are
joyfully return'd.

lord,

40

King:
Pol.

Thou still Have I, my

I

hast been the father of good news.

lord
?

Assure you,

my

good

liege,

hold

Both

to
I

my duty as I hold my soul, my God and to my gracious

do
think, or else this brain of
trail

king;

45

And

mine

Hunts not the

of policy so sure
I

As it hath used The very cause

Pol. Give
first

to do, that

have found
long to hear.

of Hamlet's lunacy.
;

King. Oh, speak of that

that do

admittance to the ambassadors

shall

My

news

be the

fruit to

that great feast.

in.

King. Thyself do grace to them, and bring them

{Exit Polonius.

He
Queen.
I

tells

me,

my
is

dear Gertrude, he hath found

5 5

The head and

doubt
it

source of all your son's distemper.

no other but the main,

,

43. Assure yoti\V I assure (I. 39. Ay'\Cl, omitted F. 45. amr\0, one F, Caldecott, Knight, Collier. 47. siire'\ be sure Ff 2, 3. 48. it hath] Q, / have V. 50. do /] Q, / do F. 52. fruit] Q, newes F. I'^xil Polonius] omitted Q, F. 54. tiiy dear Gertrude] Q, my szveet Queen, that F and many editors.

42. 5////] constantly ; sec i. i. 122. 52. fruit] dessert. 56. the wain] the main cause, as in

5 Henry

VI. the main."

i.

i.

20S

"look unto


G4

HAMLET
sift

[actii.

His father's death, and our o'erhasty marriage.

King. Well, we shall
Re-enter POLONIUS,

him.

zvitJi

VOLIMAND and CORNELIUS.

Welcome,

my

good friends

Say, Voltimand, what from our brother

Volt.

Norway ?
60

Most

fair

return of greetings
first,

and

desires.

Upon To
It

our

he sent out to suppress

His nephew's

levies,

which to him appear'd

be a preparation 'gainst the Polack,

But, better look'd into, he truly found

was against your highness; whereat grieved

his sickness, age,

65

That so

and impotence

Was falsely borne in hand, sends out arrests On Fortinbras which he, in brief, obeys.
;

Receives rebuke from Norway, and, in

fine.

Makes vow

before his uncle never more

70

To

give the assay of arms against your majesty.

W^hereon old Norway, overcome with joy,

Gives him three thousand crowns in annual
fee,

And
So

his

commission to employ those

soldiers.
;

levied as before, against the Polack

With an
That
it

entreaty, herein further shown,

\Giving a paper.

might please you to give quiet pass

for this enterprise,
;

Through your dominions

57. o^erhasty\ F, hastie Q. Embassadors Q, after line 57.

threescore Q.

Re-enter] Theobald, after line 57 F 58. viy\ Q, omitted F. 73. three\ 78. ihis\ Q, that Q i, his F.
:

Enter i, F;

61. y^rj-^] Caldecott

"/'..

"Audience

or

opening of our business"; Clar. Press,

67.

greeting and desire." home in hand\ deluded, as in

like French III. i. 81 ; rnaintenir, trial. But perhaps 71. assay\ assatdt ; see in. iii. 69.

Macbeth,

sen]
On
As
King.

PRINCE OF DENMARK
such regards of safety and allowance
therein are set down.
It likes

G5

us well,
'11

80

And

at our

more consider'd time we

for

read,

Answer, and think upon

this business.

Meantime we thank you

your well-took labour

'11

Go

to your rest

at night

we

feast together

Most welcome home

\Exeunt Voltimand and Cornelius.
Pol.

This business

is

well ended.

85

My

liege,

and madam,

to expostulate
is,

What

majesty should be, what duty

Why

day

is

day, night night, and time

to waste night, day,
is

is

time,

Were nothing but

and time.

Therefore, since brevity

the soul of wit,

90

And
I

tediousness the limbs and outward flourishes,

will

be

brief.
;

Your noble son

for,

is

mad

Mad call I it What is 't but

But
Queen.
let

to define true

madness.

to be nothing else but

mad ?
art.

that go.

More

matter, with less

95

83. weU-took'\well-look'tYl2-i,. oniilted Q. 94. mad?] Qq 4-6,

mad, Q,

85. weir\(^, very well V. f?iad. F.

90. sincc'IY,

allowance] safe and 79. regards Clar. Press allowable conditions. "terms securing the safety of the country, and regulating the passage of the troops through it.' 81. consider d time] time for con.

of the Bermudas ... I will not expostulate." Staunton 90. wil] understanding. explains it as wisdom ; Clar. Press, knowledge, as in Merchant of Venice, n. i. 18.
93, 94. for
. . .

sideration. 86. expostulate] discuss, as in

mad]

to

attempt

Two
251.

Gentlemen
\\\.\v\K.(tx

of Verona,

III.

i.

(\\\Q\.iz'iUox\\

Brief Relation

a definition of madness were to be mad oneself. Or does Polonius give "to be mad" as his definition of

of the Shipwreck of Henry May, 1593: " How these isles came by the name

madness?

66
Pol.

HAMLET
Madam,
That he
I

[acth.
all. 'tis

swear

use no art at
true
:

is

mad,

'tis

'tis

true

pity

And

pity

'tis 'tis
it,

true
I

a foolish figure

But farewell

for

will use

no

art.

Mad
Or

let us grant

him then; and now remains

lOO

That we
For

find out the cause of this effect,

rather say, the cause of this defect,

this effect defective
it

comes by cause

Thus
I

remains, and the remainder thus.

1

Perpend:
have a daughter,

05

have, while she

is

mine,

Who, in her duty and obedience, mark, Hath given me this; now gather and surmise. \Reads. To the celestial, and my soul's idol, the most
beautified Ophelia,

i i

o
is

That 's an

ill

phrase, a vile phrase

;

" beautified "

a vile phrase

but you shall hear.

Thus

[Reads.] In her excellent white bosom, these, &c.

97. he
is']

F, hee
\oi,.

Anon.conj.

These to Rowe; hear ing Jennens); hcare: thus in Q; heare these in F; hea7113. &c.] omitted P\ These in Q,'i.^&'i\. ; hear. These. ///Knight.
dedicated Chrisfs Tears over Je)-usaletn,

1676,

The

98. 'tis 'tis] Q, it is F. 99. farervell it\farewell wit. Q. io8. Reads] 106. while'\(^l,i^;whiPst. thus.]'?, thus Ql. 112,1 13. hear. Thus: In] Malone (followLetter F, omitted Q.
's
,

96. art] Delius suggests that Polonius in replying to the Queen understands " art" as opposed to truth and nature. ()^. fgure] a figure in rhetoric. consider, 105. Perpend] ponder, Schmidt observes: "a word only used by Pistol, Polonius, and the clowns." iio. beautified] used by Shakespeare in J^wo Gentle/nen of Verona,

1594,

"To

the most beautified

Carey "; and H. Olney dedicated R. L.'s Bulla, 1596, "To the most worthily Honoured and vertuous beautified Ladie." Greene described Shakespeare in a vile phrase as an upstart crow " beaulady, the lady Elizabeth

In Henry tified with our feathers." Wotton's tale (1578), on which Soly-

Theobald read beatified, IV. i. 55. which Capell approved as agreeing with " celestial " and "idol." Dyce takes "beautified" as meaning (^f^r;^Nash ti/ul and not accomplished.

man and

Te?-seda is founded, I- find: " Persida, seeing a stranger beautified

in his feathers."

bosom] Clar. Press 113. In compares Tzvo Gentlemeti of Verona^

.

sen].
Queoi.
Pol.

PRINCE OF DENMARK
Came
this

67

from Hamlet to her

stay awhile
;

Good madam,

will

be

faithful.

\^Reads^

Doubt thou

the stars are fire ;

Doubt

that the sun doth

to

move

Doubt truth

be a liar;

But

tiever

doubt

love.

dear Ophelia^ I
Jiot

am

ill

at these numbers ;

20

/ have

art

to

reckon

my groans ;
it.

but that

love thee best,

most

best, believe

Adieu.
zuhilst this

Thine evermore, most dear lady,

machine
This
in

is to

him,

HAMLET.
me;
i

obedience hath

my daughter shown

25

And more
As they
King-.

above, hath his solicitings.

fell

out by time, by means, and place.

All given to mine ear.

But how hath she

Received his love
?

Pol.
116. Reads] Letter

What do you
Q
;

think of

me ?
126. above]

F, aboiti

solicitings]

125. shown'] Q, shew'dV. Q, omitted F. Q, soliciting F.

writer.

III. i. 250: letters delivered " Even in the milk-white bosom of thy love." There was a pocket in the breast of a lady's dress, but there may be no reference to it here. I16-119. Doubt] In the first two lines and the fourth "doubt" means (^1? (/(j(5//"/ Mrt/ in the third it means suspect. Hamlet's letter begins in the conventional lover's style, which perhaps was what Ophelia would expect from a courtly admirer ; then there is a real outbreak of passion and selfpity ; finally, in the wcjrd " machine,"
;

manner, his own intellectuality, though it may baffle the reader the letter is no more
indulges,
after
his
;

Hamlet

Bright, in Treatise of (1586), explains the nature of the body as that of a machine, connected with the " soul " by the intermediate "spirit." He compares (p. 66) its action to that of a clock, 121. reckon] Delius suggests that this may mean "to number metrically." 124. machine is to iiim] whilst this body is attached to liim. See Cymbclinc, V. v. 383, for use of " to." 126. solicitings] Solicit was sometimes but perhaps not here used of immoral proposals. Heywood, 'I'he
yl/e/aw^/^i^/j/

T.

i.

Wise
visit

Woman of Hogsdcn, my little rascall

t.

"I

'11

and

soli-

simple

or

homogeneous

than

the

cite,"

68
King,
Pol.
I

HAMLET
As
of a

[acth.

man

faithful
so.

and honourable. But what might you

hot love on the wing,
tell

130
think,

would
I

fain

prove

When
As
I

had seen
it,

this
I

perceived

must

Before

my

daughter told me,

what might

you

that,

you.

Or my dear
If
I

majesty, your queen here, think,

135

had play'd the desk or table-book. Or given my heart a winking, mute and dumb, Or look'd upon this love with idle sight

What might you think? No, And my young mistress thus

"
;

I
I

went round

to work.

did bespeak;

140
her,

Lord Hamlet is a prince, out of thy star This must not be " and then I prescripts gave
That she should lock herself from his resort, Admit no messengers, receive no tokens.

Which done, she took

the fruits of

my

advice;

145

And

he, repulsed, a short tale to

make,

Fell into a sadness, then into a fast.

Thence Thence
132. this\ his this Qq 4, 5.

to a watch, thence into a weakness. to a lightness,

and by
F

this declension

140. thtis] 137. a winking] F, a working (^. 3, 4. I out of thy 141. out of thy sta7-\ Q, ; otit ofyour starre sphere Ff 2-4, 6. 142. prescripts] Q, precepts F. 143. his] F, her Q. 146. repulsed] F, repelTd Q. 149. a] omitted Q.

Ff

136. desk or table-book] silent lecipient. Clar. Press explains : " If I had been the agent of their corre-

156

"In my

stars I

am

above thee."

Nash,

in Pierce Pennilesse, speaks of

spondence."

See

tables,

i.

v. 107.

137. wittking] closed the eyes of did not necesmy heart. sarily mean, as now, " a brief closure

"Wink"

of the eyes."
is

In Sonnets, xliii. i, it used for sleep. that is plainly. round] roundly, 139. See round \\\ III. i. 191. 141. out of thy star] above thee in fortune. See Twelfth Night, 11. v.

the strict division of ranks in Denreference to marriage " It is death there for anie but a husbandman to marry a husbandman's daughter, or a gentleman's child to joyne with any but the sonne of a

mark with

gentleman." 148. watch] a sleepless state,"as

Cymbeliiie, Hi.
149.
iv.

in

43.

lightness] lightheadedness,

sen]

PRINCE OF DENMARK
now he
raves
for.

69
150

Into the madness wherein

And all we mourn King. Do you think 'tis

Queen.
Pol.

this

It

may
I 'd

be, very likely.

Hath That

there been such a time,

I

fain

know

that,

have positively said

it

" 'tis so,"

When
King.
Pol.

proved otherwise

Not
this

that

know.

5 5

Take
If

from

this, if this
I

be otherwise.
will find
it

circumstances lead me,

truth
is

Where
King.
Pol.

hid,

though

were hid indeed

Within the

centre.

How may we You know, sometimes he walks

gether

try

it

further

four

hours
1

to-

60

Here
Queen.
Pol.

in

the lobby.

So he does, indeed. At such a time I '11 loose my daughter to him Be you and I behind an arras then
;

7)ioiini^()> i^'<^il 1' ^T-nJ many editors. 150. -vhcrciii] i), whereon V. 1 51. 152. V/.f this] F, this (^; likely'] V, like Q. 153. I'd] F, / would K}. 161. does] (^, 160. /our] Ilanmer, followed by other editions, rcada /or. Aas F. 163. arras then ;] arras then, Q, F ; arras ; thett Staunton.

156.

Tahe

this /roil! this]T\\toh3.\{i

/or

here added a stage direction, " Pointing to his head and shoulders"; he has been followed i)y many editors, Stage tradition may have guided

specious. But Elze [ShakeJahrbtieh, B. xi.) has shown the use by Klizahethan writers of four, forty, forty thousand to express an iniMalune cites Webdefmite number.
is

sfieare

Theobald. But see lines 166, 167. May not "this from this" mean the
chamberlain's staff or wand and the hand which bears it ? 159. autre] that is, of the earth, and so, according to Ptolemaic astronomy, of the universe. Compare Midntntiitcr Nij:;ht''s Dream, \\\.\\.^/\. xdo. /our] llunmer's emendation

ster,

Duchess 0/ Malft:
four hours together "

"She
;

will

muse

and Clar. Press, Patlenham, Arte 0/ English "laughing and gibing Poesie .
:

foure houres by the cloclce." 1C2. loose] The word reminds the King and (^Hieen that he has restrained

Ophelia from Hamlet.

communication

with

70

HAMLET
Mark
the encounter
;

[actii.

if

he love her not,

fall'n

And
Let
King.

be not from his reason

thereon,

165

me

be no assistant for a
carters.

state,

But keep a farm and

We
reading.

will try

it.

Queen. But look where sadly the

poor

wretch

comes

Pol,

Away,
I'll

do beseech you, both away

\Exeunt King, Queen, and Attendatits.

board him presently.

Enter HAjNILET

\^readi7ig'\.

Oh, give

me

leave;

170

How
Pol.

does

my

good Lord Hamlet?

me,
;

Hani. Well, God-a-mercy.

Do you know
Buf] Q,

my

lord

Hani. Excellent well

167.

you are a fishmonger.

it,

Q, F.

Enter Hamlet] placed after IVe will try 174. Excellent'] Q, Excellent, excellent .
Twelfth
I

And Y.

line 167.

Night,

170. lioard] accost, as in I. iii. 60.

IV.
i.

170. present ly] immediately, as in

have found no example. There are Elizabethan references to the smell of fishmongers, which here could be
easily

Romeo andJuliet,
170.
to

95.

Oh, give vie leave] addressed Hamlet. The. Exeunt oi\\.mg2X\d

is

Queen
169;

indicated in after line Capell, supposing the words to be addressed to the King
in

as here.

indicated by an actor, as if Polonius had brought an ill air with him. Presently, however, Hamlet discourses on procreation, connecting Ophelia with his talk. Perhaps the following from Piatt's Jewell House,

Queen, placed Exeunt after "leave." "FishiT^. fishmonger] Malone monger was a cant term for wencher" he cites B. Rich's Irish Htihbiib

and

1594

(p. 97, ed. 1653),

"And some hold females ... do

licking of salt.
beautiful."
loxiioxv s

may be cited opinion that the conceive only by

:

And

this

maketh the
in

Fishmongers' wives so wanton and

"him they call Senex fornicator and old fishmonger." Farmer and Henley's Slang Dictionary gives obscene meanings under "fish" and "fishmarket," which suggest that fishmonger may have meant bawd, but

Whiter notices that

Masque of Christinas, ^.exms, as a tire woman, says, "I am a fishmonger's daughter." Does Jonson only mean sea-born, or mean wanton
and
beautiful?

Joubert

{Seconde

SC.

II.

PRINCE OF DENMARK
so honest a man.

71
175

Not I, my lord. HavL Then I would you were

Pol.
Pol.

Honest,
sir

my
;

lord

Ham. Ay,
Pol.

to be honest, as this world goes,

is

to be one

man

picked out of ten thousand.

That's very
if

true,

my

lord.

180

Ham. For

the sun breed maggots in a dead dog,

kissing carrion,

being a good

Have

you a

daughter ?
Pol.
I

have,

my
;

lord.
i'

Ham. Let
ceive
:

her not walk

the sun: conception

is

185

blessing

but not as your daughter

't.

may

con-

friend, look to

Pol. [Aside.]

How

say you by that?

Still

harping
;

179. man'] omitted in Ff 3, 4 ten] Q, 177. lord?'] F, lord. Q, lord! Dyce. two F. 182. good kissing carrioii\ Q, F ; god kissing carrion Warburton and many editors god-kissing carrion Malone. 186. not] F, omitted in Q. 188. [Aside]] Capell'; placed by Steevens before Still.
;

partie des errcurs

1 600, popular opinion "que I'usage du poisson engendre beaucoup de semence." See Apuleius' curious defence against the charge that he had made a magical use of fish in his courtship of a widow. 176. honest] Ben Jonson's "Town

popttlaires,

Edward
freshest
taint

p. 169) considers the

we have: "The summer's day doth soonest The loathed carrion that it seems
III. (1596)
cites

to kiss."

Malone

In support of god-kissing Lear, n. i. 9: "ear-

gull." in his

Master Mathew {Every Man Humour, i. iii.) is a citizen's

son: Mis father's an honest man, aworshipful fishmonger, and so forth." daughter] Re181, 183. For taining the good of Q, F, good kissing (which might be hyphened) must be explained, with Caldecott, Corson, Furncss, good for kissing. But much might be said on behalf of Warburton's emendation, which Johnson accepted with an outbreak of admiration god kissing; compare "common-kissing Titan," Cymbeline, \\\. iv. 166, and sec 1 Henry /F. II. i v. 113. In h'ing
.
,

kissing ajguments." Hamlet ironically justifies the severance by Bolonius of Ophelia from himself all the world is evil, even the sun has the basest propensities if a dead dog is corrupted by the sun, how
;

much more your daughter by me.

Staunton supposes that Hamlet reads,
or pretends to read, these words. See a parallel from St. Augustine quoted by Ingleby, Shakespeare Hermencii159. 185. conception] Steevens supposed that there is a quibble, as in Lear, \. i.
1

tics, p.

2, between

' '

conception, " ttnderstandto be

ing,

and "conceive,"
I.
ii.

pregnant.

188. by] concerning, as in

Merchant

of Venice,

58.

72
on

HAMLET
my
:

[acth
at first

daughter
I

yet he

knew me not
is

he said

was a fishmonger: he
in

far

gone, far

190

gone

and truly
for

my
;

youth
very

suffered
this.

much
I '11

extremity

love

near

speak

to
?

him

again.

What
lord
?

do you

read,

my

lord

Ham. Words, words, words. Pol. What is the matter, my Ham. Between who?
Pol.
I

195

mean

the matter that

sir
:

you

read,

my

lord.

Ham.

Slanders,

for the satirical

rogue says here

that old

men have grey

beards, that their faces

200

are wrinkled, their eyes purging thick

amber

and plum-tree gum, and that they have a

plentiful lack of wit, together with

most weak

hams

all

which,

sir,

though
I
;

most powerfully
it

and potently
to have
it

believe, yet

hold
for

not honesty 205

yourself,
sir,

thus set
I

down
am,
if

you

should be old as

like a crab

you could

go backward.
Pol. [Aside.]

Though
in
?
't.

method

this

be madness, yet there

is

Will you walk out of the

air,

my
Ham.
190,

lord

Into
\<^\.

my

grave

far gone, far gone\Y,farre gone

(^.

197.

w/w] Q,

whomYi

199. rogue'] Q, slave F. Q, yoti viea72c F. 203. most] Q, omitted F. 206. you yourself] F, vour selfe Q. shotild be old] 207. F, shall grow old Q. 209. Aside] Johnson. 212. grave?] Y, grave. Q.
a7tcr\

2-4. 202.

198. that yo7i read'X

Q, or F.

197. Between who?] Clar. Press: " Hamlet purposely misunderstands the word to mean cause of dispute,'
'

199. the

satirical

rogue]

War-

2,'i\Vi.

Tzvelfth Night,

m.'w.

\-]2."

burton refers to Juvenal, ^a/. x. 188. 210-214.] Several editors prefer the Q grave. Compare Jonson's

sen]
Pol.

PRINCE OF DENMARK
is

73

Indeed, that

out

o'

the

air.

[Aside.]
!

How
2
i

pregnant sometimes his replies are

a happi5

ness that often madness hits on, which reason

and sanity could not so prosperously be delivered

of.
I

contrive the

will leave him, and suddenly means of meeting between him

and

my

daughter.

My honourable
my
take from
;

lord,

will

most humbly take

leave of you.

220
thing that

Ham. You
I

cannot,

sir,

me any

will

more

willingly part withal

except

my

life,

except

my

life,

except
lord.

my

life.

Pol.

Fare you

well,

my

Ham. These

tedious old fools!

225

Enter Rosencrantz and Guildenstern.

Pol.

You go

to seek the

Lord Hamlet
save you,
sir!

there he

is.

Ros. [To Polo7iius.'\

God
lord lord
!

[Exit Polojiius.

My honoured Ros. My most dear Ham. My excellent

Guil.

good friends!

How
?

dost thou,

230

Guildenstern

Ah,
My

Rosencrantz

Good

lads,

how do ye both ?
Aside] Capell. ihe\ E, that's out of the Q; 213. tltat is out o him\ E, 216. sanity'l E, sanctity Q. 217, 2 1 8. and suddenly . lord, I -will (J. humbly'] E, omitted in Q. 219, 220. except my life] three 221. sir] F, omitted in Q. 222 niill] E, will not ; Marked aside by \Vliite, times as here, in except viy life, tny life. F. ; Hudson. 226. the Loi-d] Q, my Lord E. 227. To Polonius] Malone. 228. My] Q, Mine E. 232. ye] E, you Q. 231. Ah,] Q, Oh, E,
. . . . .

My

Eveiy
'^^

Man in His Humour, Dame Kitely For love's

:
!

n.

i.:

.sake,

air.

sweetheart, come in out of the Kitely: JIow simple, and how subtle are This her answers "

curious parallel is found in Jonson's Folio 1616, and in the Quarto 1601. Shakespeare acted in Jonson's play

perhaps

this

is

an echo that lived

in

his brain.

74
Ros.

HAMLET
;

[acth.

As the indifferent children of the earth. Happy in that we are not over-happy On Fortune's cap we are not the very button. Ham. Nor the soles of her shoe ?
Guil.

235

Ros. Neither,

my

lord.
live

Ham. Then you

Guil.

about her waist, or

?

in

the

middle of her favours

Faith, her privates we.

240
Oh, most
?

Ham.
Ros.

In the secret parts of Fortune?

;

true

she

is

a strumpet.
lord,

What 's

the news
's

None,
honest.

my
is

but that the world

grown

Ham. Then
not true.

doomsday near; but your news is 245 Let me question more in particular

what have you,

prison hither?
Guil. Prison,

my

good

friends, deserved

at

the hands of Fortune, that she sends you to

my

lord

250

Ham. Denmark
Ros.

's

a prison.

Then

is

the world one.

;

Ham.

goodly one

in

which there are

;

many
255

confines, wards,

and dungeons

Denmark being

one
Ros.

o'

the worst.

We

think not so,

my

lord.

Haul.

Why,

then

'tis

none

to

you

for

there

is

234> 235- overhappy ; On Forttmes cap] F, ever happy on Fortune's lap, IVe Q. 2 :ig. favours:''] Q, favoztr? F. 242. What's the] , What t^. 243. that] V, omitted in Q. 246-278. Let me attended] F, omitted
. .
.

inQ.
233. indifferent] average, as in

Two

44. 241. In . Fortune]'Do&%\\-A.\w\Q\. already suspect them, and hint that

ii.
.
.

Gentlemen of Verona, ni.

they are seeking fortune by dishonour able means? 254. confines] places of confine-

menl.

sen]

PRINCE OF DENMARK
so
;

75

nothing either good or bad, but thinking makes

it

to

me

it is

a prison.
it

Ros.

Why,

then your ambition makes

one;

'tis

260

too narrow for your mind.

Ham. O God,
it

could be bounded in a nut-shell,

infinite space,

and count myself a king of

not that
I

were

have bad dreams.

are ambition; for the
is

Guil.

Which dreams indeed

shadow of a dream.

265

very substance of the ambitious

merely the

Hani.

dream Ros. Truly, and

itself is
I

but a shadow.

hold ambition of so airy and light

it is

a quality that

but a shadow's shadow.

270
our

Ham. Then

are

our

beggars

bodies,

and

shadows.
fay,
I

monarchs and outstretched heroes the beggars' Shall we to the court? for, by my
cannot reason.

Ros., Guil.

We'll wait upon you.

such matter
;

275
speak to you
like

Ham. No

will
;

not sort you with the

to

rest of

my

servants
I

for,

an honest man,
liy

am most
its

dreadfully attended.

264. had dreams'] Malonc perhaps a prinlcr's error read "had dreams," a " noljlc emendation," as Johnson might have called it, attained proi)ably by accident.

willi a lieggar for lie purposely loses substance. himself in his riddles, and, being incapable of reasoning, will to the court, where just thinking is out of

a mockery king

271. beggars bodies] The monarcli a is an outstretched shadow shadow is thrown by a body body is the op|)osile of sh.idow ; therefore the opposite of monarch, and heroes, namely, beggars, are bodies. Whether at one or two removes shadow, or shadow's shadow it is a beggar who

place,

or hero

274. fay] faith, 278. dreadfully attended] Hamlet speaks like an honest man, but knows his meaning will not be understood ; he ?V dreadfully attended, by Memory

and Horror, and wronged Love, and Let the tlie duty of Revenge.
courtiers suppose he has a madman's suspicions of dangerous followers,

produces
J

an

ambitious

numarch.

lamlct's private meaning may possibly be that his uncle is a shadow

7&
But,
in

HAMLET
the
at

[actii.

beaten

way
;

of friendship, what

make you

Elsinore?

280

Ros. To visit you, my lord no other occasion. Ham. Beggar that I am, I am even poor in thanks

but

thank you

and

sure, dear friends,

my
Is

thanks are too dear a halfpenny.

not sent for?
it

Were you
285
justly with

Is

it
?

your own inclining?

a free visitation
; ;

Come, deal

me come, come nay, speak. Giiil. What should we say, my lord Ham. Why, any thing, but to the
were sent
in

purpose.

You

for

and there
to colour

is

a kind of confession 290

your looks, which your modesties have not

craft

enough

know

the good king

and queen have sent

Ros. To what end, my Ham. That you must
jure you,

for you.
?

lord

teach me.

But

let

me

con- 295

by the

rights of our fellowship,

by

the consonancyof our youth, by the obligation of our ever-preserved love, and by what more

dear a better proposer could charge you withal,

be even and direct with me, whether you were 300

sent
for,

or no.

Ros. \Aside to Guildenstern.']

282. evett]

What

say you

F
;

ever O.

omitted in
290.

any

fhing,

c/"] Q, omitted in Guildenstern] Globe ed. ;

2S9. Ji'hy'] 286,287. Co/ne']V,cor>!e,cofiieQ. Q 6, any thing but Q, a7zy thing. But F. F. 302. Aside to 299. couhf] F, can Q. To Guilden. Theobald To Hamlet Delius conhttt]
;

ject.

2S0. make'] do, as in l. ii. 164. 2S4. a halfpenny] at a halfpenny. Clarke thinks it 289. but] only. also includes the effect of "except" a covert sarcasm.

299. proposer] speaker. pose," speak, in Mitch

i.

So "
Ado,

proin.

3.

300. even] plain, honest.


sen]
Ham.
Gut/.
N'a7Ji.

PRINCE OF DENMARK
[Aside.]

77

Nay, then

have an eye of you.

off.

If

you love me, hold not

lord,

My
I

we were

sent
;

for.

305

will tell

you why

so shall

my

anticipation

prevent your discovery, and your secrecy to

the king and queen moult no feather.
of late,
I

have

but wherefore
all
it

know

not,

lost all
;

my

mirth, forgone

custom of exercises

and 310

indeed

goes so heavily with

my

disposition

that this goodly frame, the earth, seems to

me

sterile

promontory
air,

this

most excellent
this

canopy, the

look

you,

brave

o'er3
i

hanging firmament,
with golden
to
fire,

this majestical roof fretted

it

why,

appears no other thing

me

than a foul and pestilent congregation

of vapours.

What
in

a piece of work
!

is

man

how

noble

reason

how

infinite in

faculty

303. Aside] Slcevcns. 307. discovery, ami] Q, discovciy of F, with colon after queen, line 308. 310. exercises'] (j, exercise Y. 311, heavily] i), heavenly V. 315. 314, 315- overhanging] ore-hanged Qq 4-6. firmament] Q, omitted in F. 316. appears] P", appeareth Q, appeared lhan]Y nothing to )ne hut i^. Ff2-4. ^,1%. a piece] 316, 317. ;w Y, peece Q a man] man Q 6, Dyce (ed. 2), Furness. 319. facility] Y, faculties Q. 319-322. Q points with commas after moving, action, apprehension, and colon after God.
. . .

303. of yoii\ on )'ou.

So "

of " for

" on

" in

II.

ii.

27.

lean hardly doubt that dreams. Shakespeare was acquainted with

ful

307. prevent your discovery] anticipate your disclosure. 310. custom of exercises] In T. Treatise of Melancholy Bright's the words 126, occur (1586), p. " custom of exercise." It is a passage in which Bright describes melancholy men as sometimes very witty ; as " exact and curi(jus in pondering the very moments of things " ; as deliberating long " because of doubt and distrust" ; and as troubled with fear-

Bright's Treatise, 315. fretted] Clar. Press compares Cymbelitte, ii. iv. 88: " The roof o' the chamber With golden cherubins is fretted." Fret is an architectural term, used here loosely for emboss, or adorn,

318. a

man] Dyce

(ed.

2)

thinks

"a"
its

Qq. 2-5 was shuffled out of place before piece, and that I'f,
in

of transposing another before piece.

instead

"a,"' addeil

78
in

HAMLET
able
! !

[actii.

form and moving how express and admir- 320 in action how Hke an angel in appre-

hension

how
is

like

god

the beauty of the

!

world

the paragon of animals

And

yet, to

me, what

this quintessence of

dust?

man

delights not

me

no, nor

woman

neither,
so.

though 325
in

by your smiling you seem to say Ros. My lord, there was no such
thoughts.

stuff

my
man
330
man,
shall

Ham. Why
Ros.

did you laugh then,

when

said "

delights not

me

" ?
if

To

think,

my

lord,

you delight not

in

what lenten entertainment the players

receive

from

you

we coted them on
offer

the

way

and hither are they coming, to

that plays the king shall be

you
335
his

service.

Ham. He

welcome
;

majesty shall have tribute of

turous knight shall use his
lover shall not sigh gratis
shall
;

me

the adven;

foil

and target

the

the humorous
;

man
340
Q
.

end

his

part in peace
;

the clown shall

325. iiol omitted in then] Q, omitted in F.

sere]

337. of me] F, on

woman'] F, -women Q. me Q.

329. yoii\ F, yee 340-342. the clown

;
.

omitted in Q.
exact.

320. express]

Clar.

Press

(Lat. praterit)-,

used specially as a

quote Hebrews i. 3: "express image." Schmidt, " expressive." 325,326.] to follow such a confession with laughter, from any cause, is a measure of the courtiers' intelligent sympathy. 332. lenten] meagre, as in Twelfth Night, I. V. 9. 333. coted] overtook and passed beyond. GoMSm^s Ovid Met. V>. y^.: "With that liippomenes coted her"

term

in coursing,

and so explained by

Turbervile. "Not the 339. humorous man] funny man or jester . . but the actor who personated the fantastic characters for the most part represented as capricious and quarrel" some" (Staunton). Such characters as Faulconbridge, Jaques, and Mercutio" (Delius). The characters of the stock company suit the present play
. . . .

sen]

PRINCE

OP^

DENMARK
o'

79
the

make
sere;

those laugh whose lungs are tickle

and the lady

verse
?

shall

say her mind

halt
for
't.

freely,

or

the blank

shall

What
345

players are they

Ros.

Even those you were wont

in,

to take such delight

the tragedians of the city.

Havi.

How

chances

it

they travel

their residence,

both
ways.
Ros.
I

in reputation

and

profit,

was better both

think their inhibition comes by the means of 350

the late innovation.

Ham. Do
when

they hold the same estimation they did

I

was

in the city ?

are they so followed

Ros. No, indeed, they are not.

Ham. How comes

Ros.

it ?

do they grow rusty

keeps
in

.?

355

Nay,
pace
;

their

endeavour
is,

the wonted

but there

sir,

an eyrie of children,

341. iicldc\ Staunton conject., Clar. Press, tickled F. 343, blaiik'\ F, black Q. 345. sucli\ Q, omitted in F. 354. they are] F, are they Q. 355-383. Ho-tv . . . load too] omitted in Q.

Claudius, who receives such he deserves from Hamlet Laertes, the fencer; Hamlet, the lover, who sighs gratis Polonius, who ends his part as "most secret and most grave"; the grave-digger; and Ophelia, who speaks her mind in madness somewhat loo freely.
tribute as
;

King

words

to utter if she omits them, the halting blank verse will betray her delicacy, 347. residence] i.e. in the city,
;

350, 351.] See Appendix, p. 229. 357, 358. ey7-ie of children, little eyases] eyrie or aerie, biood of nestlings; eyases, unfledged hawks. "Cry out " carries on the metaphor. In 77ie Geiitlenia>Cs Recreation, Part \\. p.

341 342. tickle d the sere] Explained by Nicholson, and independently by Clar. Press: sere, the bar or balance-lever of a gun-lock (from "serre," a talon), a stop-catch; if "tickle," ticklish, loose, unsteady, the gun goes oft" at a tt)uch lungs tickle o' the sere, lungs that move to laughter at a touch.
,

first

21

(ed.

1686),

we

find

"the name

long as she is in the Eyrie. These are very troublesome in their feeding, do cry very iiitich.^^ Middleton, in Father Hubbard's Tales, 1604, speaks of "a nest of
lasts as

Eyess

342. lady] Hamlet lady, of course, will

is

ironical

have

the indecent
;

l)oys" at the lilackfriars "able to ravish a man" (noted by Prof, Hales).

80
little

HAMLET
and are most tyrannically clapped
for
't
;

[act n.

eyases, that cry out on the top of question

these
the

now the common stages

are

fashion,

and

so

berattle

so they call

them

360

that

many

wearing rapiers are afraid of goose-quills, and

dare scarce come thither. Ham. What, are they children ? who maintains 'em ? how are they escoted ? Will they pursue the 365
quality no longer than they can

sing

will

they not say afterwards,

themselves to
like if their

if

they should grow

common

players,

means

are no better,

no

as

it

is

most

their writers

do them wrong, to make them exclaim against 370

their

own

succession

Ros. 'Faith, there has

sides,

been much to-do on both

it

and the nation holds

2,

sin

to tarre

360. hcraftlc] Y 369. no'] not V 2.

be-mtkd F.

368, 369. most like] Pope, like most F.

358. cry . . . question] clamour fortH the height of controversy, utter

shrilly the

prcibaMy alluding to what

calls

Bottom

"a

tyrant's vein," or

"a

part

"Cry

extreme matter of debate, out" may be regarded as a

;

to

verb; to "cry on" is frequent in Shakespeare " cry out on " may be a combination of the two "question" is -a matter in dispute; the "top of question" is the matter in dispute pushed to extremity. Other explanaClar. tions have been proposed. Press: "Probably, to speak in a high key, dominating conversation."
;

public, as distinguished from the private, theatres. 362. rapiers] fashionable gallants are afraid to visit the "common"
theatres, so unfashionable have the writers for the children made them. Dyce quotes 365. escoted] paid.

make all split" (Rolfe). 361. common stages] the

Cotgrave, "
his shot."

.fi'jTt'/'/ijr,

Every one

to

pay

For "question" in Merckant of Venice,

this
iv.

sense,
i.

see

70.

In

p. 55 (Sh. Soc. reprint) occurs: "Cry it up in the top of question." Prof. Hales* notes from Adam Bede "Mrs. Poyser keeps at the top o' the talk like a fife." outrageously ; 359. tyrannically]
:

Armin's Nest of Ninnies,

366. quality] profession, and speciso Massinger, The ; Picture, 11. i.: " do you like the quality ? You had a foolish itch to b^ an actor."
ally of players

How

373. tarre] set on to fight, used specially of dogs, as in Troilus and Cressida, i. iii. 392,

sen]

PRINCE OF DENMARK
to controversy
for
;

81

them

there was, for a while,

no money bid
tion.

argument, unless the poet 375

cuffs
in

and the player went to

the ques-

Ham.
Guil.

Is

't

possible

Oh, there has been much throwing about of

brains.

380
it

Ham. Do

the boys carry

away
lord
;

Ros. Ay, that they do,

load too.

my

Hercules and hi

Ham.

It is

not very strange

for

my
that

uncle

of

mows

Denmark, and those, at him while my

fifty,
little.

King would make 385

is

father

lived,

give

twenty, forty,

an hundred ducats a-piece,

'Sblood, there
if is

for his picture in

some-

thing in this more than natural, could find

it

philosophy

out.
\_FlotcnsJi

390
of t7'umpets
ivithin.

Guil.

There are the players.

are welcome to Elsinore. Your hands, come the appurtenance of welcome is fashion and ceremony: let me comply
;

Ham, Gentlemen, you

384.

iny'\

Q, mine F.

3S6.

iiioivs]

F,

mouths

C^.

387.
;

fifty'\

Q,

omitted F ; aii] F, a (^. 388. 'Sblood\ Q, omitted F. come ;\ Y hands come then, Qcj 2, 3 ; hands, come then Qq 4, 5
;

393. hands,

hands

come

/hen, () 6.

375' ar^nmen/] plot o{ a. p\a.y, as in ni. ii. 244. 376, 377. question] Perhaps means dialogue; perhaps controversy, dehate ; the poet for the ciiildren attacks the common players. 381. cany it away] win the day. 382. Hercules] An allusion to the Glol)e Theatre, the sign of which was Hercules carrying the globe.

386. mows'] grimzce?,, Fr. monc. 388. picture in. little] miniature. The children miniature actors now carry away Hercules; so too have fashions changed with respect to kings. 393. appurtenance] adjuncts. 394. comply] observe the formalities of courtesy, as in V. ii. 192; ^''ar/i, fashion.

82
with you
in this

HAMLET
garb, lest
I

[actii.

my

extent to the 395

fairly

players, which,

tell

you,

must show

outwards, should more appear like entertain-

ment than
Guil.

yours.

You
?

are

welcome

but

my
400

uncle-father and aunt-mother are deceived.

In what,
I

my

dear lord

Ham.

am
is

but

mad

north-north-west
I

wind

southerly,

know

when the hawk from a

;

handsaw.
Re-enter POLONIUS.
Pol.

Well be with you, gentlemen

you, Guildenstern
;

Ham. Hark
there
is

and

you too;

at

405

each ear a hearer: that great baby you see

not yet out of his swaddling-clouts,
;

/et 6 395. tins'] Q, fhe lest my] F, 406, 407. 397. outwards] Q, outward Y. 4-6. 407. swaddli7ig] Q, swathing F.
;

mc Qq 2, 3 let iny Qq you see there is] as you see

;

4, 5.
is

Qq

395. extent] behaviour, deportment, as in Twelfth Night, iv. i. 57. Collier

proposed ostent. handsaw] I 401-403. / at?i am mad only in one point of the compass. T. Bn^i/ixi A Treatise of Melancholy (1586), mentions the south and south-east winds as the most suitable for sufferers from melanBurton gives choly (chap, xxxix. ).
. . .

other

opinions.

southerly

wind

would, according to Bright, favour Hamlet's sanity. North and northwest, we may infer, would be the most

The word hawh was and is used for a plasterer's tool, but no example has been found earlier than
unfavourable.

Hack, however, is an Eliza1700. bethan name for a tool for breaking or chopping up, and for agricultural tools of the mattock, hoe, and pickaxe type {Aew Eng. Diet.). Handsaw might suggest hack, for we find in 1 Henry IV. II. iv. 187, " My sword hackt like a hand-saw." It is,

that generally assumed here is a corruption of heronshaiv or kernsew; "no other instances of the phrase (except as quotations from Shakespeare) have hetniownd" [New Eng. Diet.). J. C. Heath (quoted in Clar. Press) exthe heron flying down the plains north wind is ill seen, the spectator looking south towards the sun flying north, on a south wind, it can be easily distinguished from the hawk. Does Hamlet imagine the two courtiers Elseas hawks loosed to pursue him ? where he compares them to hunters The driving him unto the toils. Gentlcriian's Recreation gives directions for the pursuit of a hern by a The south wind is pair of hawks. generally represented by Shakespeare Does as a wind of evil contagion. Hamlet mean that he can recognise the King's birds of chase flying on an

however,

"handsaw"

ill

wind?


sen]
Ros.

PRINCE OF DENMxVRK
's

83
;

Happily he
for,

the second time

come
is

to

them

they

say,

an

old

man

twice

child.

410
prophesy he comes to
;

Ham.

will

tell

me

of the
;

players

mark
I

it.

You

say

right,

sir

o'

Monday morning
Pol.

'twas so, indeed.

My lord, have news to tell you. Ham. My lord, I have news to tell
Roscius was an actor
Pol.
in

you.

When

Rome,

The

actors are
!

come

hither,

my

lord.

Ham. Buz, buz Pol. Upon my honour Ham. Then came each
Pol.

actor on his ass,

420

The

best actors in the world, either for tragedy,

history,

comedy,

pastoral,

pastoral-comical,
tragical-

historical-pastoral,

tragical-historical,

comical-historical-pastoral,

scene

individable,

or
408. that he

poem

unlimited;

Seneca cannot be too 425

F, he is Q. 411. pivplicsy ]ie\ proplitcy, lie Q(j 2, l, prophecy Hce F, Prophesie, He Ff 2-4. 412. <?'] Capell, 4-6, rrophesic. a (^,for a F. 413. inoniing i\ nwrniug, Qq 2, 3, morning Qcj 4-6 F .w] 419. my'] (), mine F ; 416. was'] omitted in F. (^ I, F ; then Q. honour ] Rowe ; hononr. Q, F. 420. came] Q, can F. 422, 423. pastoral-comical, historical-pastoral, ] Pastoricall- Comicall-Historicall-Pastorall F, omits the classes of drama which follow historical-pastoral.
///.''j]

Qq

408. Happily] Haply, as in i.i. 134. 412, You say] Hamlet would mislead Polonius as to the subject of their conversation. 418. /)//c] Blackstone says, " It was

424. scene indiTidalile]:s.\A^y which observes imity of place ; " poem vinlimited," a play which disregards the
unities.

an interjection used at Oxford when anyone began a st(jry that was generally known before." Schmidt: "An
interjection to

Plautns] . 425, 426. Seneca. Seneca's tragedies had been trans.

lated by Newton and others, influenced the English drama.

Cunlift'e,

and See

command
.

silence."

7'hen seems to be

420.

Johnson: "This the line of a ballad."

. .

rtyj]

Klze supposes

that

Hamlet makes

InjUunce of Seneca on Shakespeare'sC""^wr</)'(3/'A;r^;'.f is founded on Warner's translation of the il/fV/r<'< 7//;//

'Phe

Elizabetlian Tragedy (1S93).

"on

his

ass" ec(uivalent to I'olonius's

honour."'

of I'lautus.

" ujjon

my

84

HAMLET
heavy, nor Plautus too
writ
light.

[actii.

For the law of

only men.

and the

liberty, these are the

Israel,

Ham. O
Pol.

Jephthah, judge of
treasure had he,

what a treasure

hadst thou

What a Ham. Why,

my

lord?

430

One fair dangJiter, and no more, The which he loved passing well.
Pol.

[Aside.] Still on

my

daughter.

Ham.

Am
you

not
call

i'

the right, old Jephthah?

435
have a

Pol. If

me
I

Jephthah,

my

lord,

daughter that

love passing well.

Ham. Nay, that follows not. Pol. What follows then, my lord ? Ham. Why, As dj lot, God zvot,
and
then,
It

440

you know.
to

came
For
.

pass, as most like

.

it ivas,

426, 427. light.

these

liberty, these\

Q,
.
.

light,

treasure S.

Libeiiy. These F. for Walker, conject. Dyce(ed. 2).

. .

liberty Theobald, light for 430. What a treasitrc\ What Aside] Capell. 436-438. 434.
. .

If

not'\

omitted in

Qq

4-6.

^26, ^2'j. hnv of writ and the liberty^ Capell: "This means pieces written Corin rule and pieces out of rule." son suggests that Seneca exemplified the law and Plautus the liberty of Probably, however, the writing.
reference
is

to written plays

and ex-

In Middleton's temporised parts. Tlie Spanish Gipsy, the gipsy-actors can perform in "a way which the
Italians

" That

and the Frenchmen use" is, on a word given, or some

:

slight plot,

Rowe and other editors read "law of wit." 428. Jephthali\ Steevens communicated the "pious chanson" to Percy a reprint from a blackletter copy will be found in Child's English and Scottisli Ballads. Hamlet quotes from the first stanza. Jephthah sacrificed his daughter before her death she went into the wilderness to bewail her virginity. In So with Ophelia. lines 444, 445 Hamlet says " the first row of the pious chanson will
; ;

The actors
out

will

extempore fashion

show you more,"

to the line
'
'

perhaps he refers Great wars there should

Scenes neat and wittv."

be."

sen]
the

PTIINCE OF DEXMxVRK
first

85

row of the pious chanson

for

will

show

you more;
comes.

look where

my

abridgement 445

Enter four or Jive Players.

You

are welcome, masters

:

welcome,

all,

am

glad to see thee well

welcome, good friends.

O,
is

my

old
I

friend

Why, thy
last;
?

face

is

valanced since
to beard

saw thee

me

in

Denmark
!

What, my young
lady, your ladyship
I

comest thou 450

lady and mistress

By 'r

nearer to heaven than

when

saw you

last,

by the

altitude of a chopine.

Fray God, your

be not 455
all

voice, like a piece of uncurrent gold,

cracked within the ring.

444. pious chansoii\

Masters, you are

S;odly Ballet

2-5; Potis Chanson F; Pans Chanson Ff 2-4, Q 6 ; ; abridgements 445, 446. abridgement comes~\ Q i, come F. 448. thee'\^l, F; ye Dycc (ed. 2). 447. Yon arc\ Q, Y^are Y. Why, thy'] (J, Thy F. 450. valanced] C), valiant 449, i}iy'\ F, omitted Q F. 452. By ';- lady] F, Q^ i; by lady Qq 2-4 ; /;// Lady Qcj 5, 6; ladyship] Lordship Ff 3, 4. 453. to heaven] Q, heaven F.

Qq

i.

^^^. pious chanson] Tlic "godly Ballet" of Q i confirms the reading

high cork shoe.

161
1,

Qoiy&im

Crtidities,

ofQ.

Attempts have

l)een

made by

reference to the French " Chanson du Pont Ncuf " to justify the Folio misprint. The ballad is "pious" as having a scriptural subject. perhaps means stanza, or perhaps colunm of a broadside ballad.

"Row"

445. abridgement] See A/idsummer Night' sD ream, \. i. 39, whiixc abridge;^^ means an entertainment, which shortens the lime. Here it has both
this

meaning and

that of cutting short

the talk.

450. valanced] beard).

fringed

(wilh

Italian ciopinno, 454. chopine] Minshcu defines Spanish chapin "u

describes the Venetian " chapineys" as worn by ladies under the shoes, sometimes half a yard high. The bo\' who plays the lady has grown since I lamlet saw him last, 456. cracked within the ring] coins cracked within the circle which surrounded the sovereign's head were unlit for currency. Usurers, Lodge tells us in ll'^its J/iserie, 1596, bought up " crackt angels "" at nine shillings Is there a play on "ring" a piece. a voice that rings clear and true? In Beaumont's Keme.dy of Love (xi. 477, Dyce) we find the same expression " If her voice be bad, crack'd in the ring."'
:

86
welcome.
fly at

HAMLET
We
'11

[act n.
falconers,

e'en to

't

like

French
'11

any thing we see

;

we

have a speech

straight

come, give us a taste of your quality;

come, a passionate speech,

First Play.

460
?

What

speech,

my
or,
I

good lord
was,

Ham.
it

heard thee

speak
;

me
if

a speech once, but

it

was never acted

;

not above

once

for the play,

remember, pleased not

the million; 'twas caviare to the general; but 465

it

was,

judgments
of mine,

an
as

received

it,

and

others,

whose

in

such

matters cried in the top

excellent play, well digested in

the scenes, set

as cunning.
I

down with
the lines to
in

as

much modesty
the matter

remember, one said there were 470

no

sallets

in

make
the

savoury, nor no matter

phrase
;

that

might indict the author of affection

it

but called

an honest method, as wholesome as sweet,

fine.

and by very much more handsome than

457. French'] (^

475

i, Q; omitted in F. 461. good] 470. were](^; was(^\,Y. 473. in/^^J. Judgments] (^, judgement Y dict] Collier ; indite Q, F ; affection'] Q, affectation F. 474, 475. as wholesome . . fine] Q, omitted in F.
;
. .

i, friendly Q.

457. French falconers] "It was the

fashion of our ancestors to sneer at the French as falconers. They did not regard the rigour of the game, but condescended to any quarry that came in their way " (D. H. Madden,

467, 468. cried in the top of mine] sounded with authority above mine, Perhaps a metaphor from a dog's "over-topping" (baying more loudly

than the rest of the

471. sallets]

cry),

salads,

The Diary of Master William

p.

Silence,

savoury herbs;
prieties.

here,

containing spicy impro-

146).

Pope read

salts (ed. i)

and

459. quality] see line 366. 465. caviare] The spelling of Q i "caviary" and of F i "caviarie"' indicates the pronunciation here. 465. the general] the multitude. Malone notes that Lord Clarendon uses the word in this sense.

salt (ed. 2).

Y affectation.
i.
:

473. affection] means the same as Love's Labotn-'s Lost, \ 4 " witty without affection."

475. 7nore handsome than fine]moxe becoming and graceful than showy.


sen.]

d
87

PRIXCE OF DENMARK
in
;

One speech
tale to

it I

chiefly loved

'twas
it

Eneas'
If
:

Dido

and thereabout of

especially,
it

where he speaks of Priam's slaughter.

live in

your memory, begin at

this

line

let

me
'tis

see, let

me
it

see;
like tJC

The rugged Pyrrhus,

not so
;

Hyrcaniati beast,
:

480

begins with Pyrrhus

The rugged Pyrrhus,

he

ivJiose sable

arms,

Black as his purpose, did the

flight reseinble

When
Hatli

he lay couched iu the ominous horse,

nozv
this

485

dread

and

black

complexion

smear d
IVith heraldry

more dismal ; head

to

foot

Noiv

is

he total gules ; horridly

trick'

With blood of fathers, mothers, daughters,

sons.

Baked and impasted

To
their lords'

zuith the

parching

streets,

490

TJiat lend a tyrannous

and a damned

light

murder ; roasted

in zvrath

and fire,

And thus
476.
I,

o'er-sized zvith coagulate gore,

i, F ; taike Q. 478. where'l 477. talel not so ;] Qq 2, 3 (later Qq omit so) ; It is fiot so: F. i, 6. 486. this] his 487. dismal ; head to foot] F, dismall head to foote, Q. 492. their lords' murder] 491. and a] Q, and F. Capell, their Lords murther Q, their vilde murthers F, their lord's murder Steevens.

speec}i\
;

Q, cheefe speech F.
482.
'tis

when Q.

481. The rugged Pyrrhus] This tale of /Itneas to Dido is made to stand out from the general movement of the play by being written in the tragic style of Shakespeare's early contemporaries. Dido, Queen of Carthage, says Fleay, was written by Marlowe and Nash. The narrative of Priam's death he ascribed to Nash (and after-

about 1601 into the first draught of This is conjecture what is Hat/ilet. certain is that Shakespeare reproduces, without any intention of burlesque, a style which he had left far behind him.
;

481. Ilyrcanian beast] the tiger; see Macbeth, Hi. iv. lOl. 488. gules] heraldic for red, as in
Titnoti ofAthens, \v.\\\.'^(). "Trick'd" may also be the heraldic term, mean

wards

to

that this

supposed scene was written by Shake-

Marlowe).

He

speare in 1594, in competition with the scene in Dido, and was introduced

ing to dcscrilie in drawing,

88

HAMLET
Wzt/i eyes like carbuncles, the hellish

[acth.

Pyrrhus

Old grands ij-e Priam

So, proceed you.
Pol. 'Fore

seeks.

495
spoken, with good

God,

my

lord, well

accent and good discretion.

First Play.

Anon
too short at

he finds him
5

Striking

Greeks
lies

his antique sivord,

it

00

Rebellious to his arm,

where

falls,

Repugnafit

to

command ; unequal

match' d,

Pyrrhus at Priam drives ;

Btit with the whiff
TJie

in rage strikes

wide

and wi)id of his fell

sivord

unnerved father falls.

to

The7i senseless Ilium,

505

Seeming
Stoops
to

feel this blozv, with fiaming top

his base,

and

zvith

a hideous crash
lo !

Takes prisoner Pyrrhus' ear ; for,

his szuord.

Which was declining on

the milky
i'

head

Of reverend Priam,

seemed

the air to stick ;

^\0

So, as a painted tyrant, Pyrrhus stood,

A nd like
Did

a neutral

to his zvill

afid matter.

nothing.
see,

But, as zve often

against some storm,

silence in the heavens, the rack

stand

still,

The bold winds

speechless ajtd the orb beloiu

502. match'd] Q, 506. this] Q, his F.

496. So, proceed yon'] Q, omilted F. 505. Then senseless Ilium] F, omitted Q.
like] F,

match F.
512.

And

Like Q.
. . .

504, 505. But

falls]
:

Compare

512. a neutral] one indifferent

his purpose

to

Dido, Queen of Carthage

"Which

he disdaining whiskt his sword about, And with the wind thereof the king fell down."

515.

and its rack] Dyce

object.
(G/oss.)
:

"amass

511. painted tyrant]

beth, V. viii. 25-27.

Compare

J/at-

" The winds in of vapoury clouds." the upper region, which move the clouds above (which we call the 7-ar/^)" {Bacon, Sy/va Sylvariit?i,\i. %
115).

sen.]

PRINCE OF DENMARK
hiisli

89

As

as death, anon the dreadful thunder

the region ;
so,

Doth rend
Aroused

after Pyrrhus' pause,

neiv a-zvork

vengeatice sets

him

And
With

never did the Cyclops'

hammers fall

20

On Mars ^s armour, forged for proof eterne,

less

remorse than Pyrrhus' bleeding szuord

Now

falls on

Priam.
!

Out, out, thou strumpet. Fortune

All you gods,

In general synod take away her power;

525
ivheel.

Break

all the spokes

and fellies from her

the hill
!

And bowl
As low
Pol. This
is

the

round nave doivn

fiends

of heaven

as

to tJie

too long.
the barber's, with your beard.

Ham.

It

shall to

of
to

530

Prithee, say

on; he's
he

for a jig or a tale

:

bawdry, or

sleeps

say

on

come
the

Hecuba.
First riay.

queen

's

But

luho,

O,

who had
"
?

seen

moblcd

535
"

Ham.
Pol.

"

The mobled queen

good
;

That

mobled queen

" is

good.

A rowsed (^, F. 521. Mars's armour] Capell, 519. Aroused] Collier Marses Armor Q, Mars his Armours Y. 524. strumpet, Fortune] hyphened in F. 534. who, O, who] F, who, a woe Q, who, ah woe Q 6. 534, ennobl'd Capell. inobled F 536. mobled] Q, Ff 2-4 536. queen .*] F, Qiteeiie. Q. ^ood'\ omitted in (^. 537. mobled .
; ; ; .
.

518. region] Clar. Press: "Origin-

says,

"

at

the end of an Enterlude,

sky marked out by the Roman augurs. In later times the atmosphere was divided into three regions upper, middle, and lower." Used by Shakespeare for the space of
ally a division of the

wherein
acted."

some

pretie

Knaverie

is

534. moljled] muftled.

cjuotes

Warburton

from Sandys' Travels: "Their [Turkish women's] heads and faces

arc so mabled in fine linen."

as in Roiiico and Juliet, 11. ii. 21. 531. jig\ a ludicrous metrical composition, sometimes given on stages i)y the clown, sometimes, as Cotgravc
air,

Farmer
:

quotes Shirley, Gentleman of Venice " The moon does mobble ui> herself."

90

HAMLET
and
dozvn,

[actii.

First Play. Rti7i barefoot up

tJireatening the

flames

With

bisson rlieuni ; a clout upon that

late the

head
robe,

Where

diadem stood ; and for a

540

Abo2it her lattk

and

all

d er-teemed

loins,

bla7iket,

i?i

the

Who

this

had

seen, zvith tongue in

alarm of fear caught up; venom steefd,

state

'Gainst

Fortune's

ivoidd

treason

have

pro-

nounced :

But

if the gods tJiemselves did see her then,

545

When

she

saw Pyrrhus make

malicious sport

In mincing with his sword her husbands limbs.

The instant burst of clamour that she made, Unless tilings mortal move them not at all,

Would have
heaven

made

milch

the

burning

eyes

of

550
in the gods, his

Aftd passion

Pol. Look, whether he has not turned

colour

and has

tears in
;

's

eyes.

Prithee,

no more.

Ham.

'Tis well

I '11

have thee speak out the rest

lord, will

of this soon.
players

Good my
bestowed
?

you see the 555

hear,
let

well

Do you
;

them be well used, for they are the abstracts after your and brief chronicles of the time
53S. flames] Q, flame F. 539. upon] Q, about F. 551. passion in] passioned Hanmer, passionate Collier ]\IS. 553. Prithee] Q, Pray you F. 556. bestowed'-] Theobald, bestowed ; Q, 555. of this] Q, omitted F. bestow' d. F ; you hear] Q, ye heare P\ 557. abstracts] F, abstract Q.

More com539. bisson] blinding. "blind" or "purblind," as in Coriglantis, ii. i. 70544. state] perhaps, as often, power, majesty but possibly seat or chair of dignity, as in Macbeth, ni. iv. 5. 550. milch] moist, as in Drayton,
monly
;

Polyolbion,

xiii.

171,

"exhaling the

milch dew." 55 1] Marston,

in The Insatiate Countess, I. i., refers to "a player's passion " weeping for " old Priam "

evidently pointing to this scene.

sen]

PinXCE OF DENMARK
ill

91

death you were better have a bad epitaph than

their

report while
I

you

live.

560

Po!.

My

lord,

will

use them according to their

desert.

J fain. God's bodykins,

man, much
his desert,

better

Use

every
'scape

man

after

and who should

after

whipping?
merit

Use them
;

your own 565

honour and dignity

the more
is

the

less

they deserve,

in

your

bount)-.

Take

Pol.

them in. Come, sirs.

a play to-

Hani. Follow him, friends: we'll hear

570

morrow.
\^Exit Polonius, zvith ail the Players, but

the First.

Dost thou hear me, old friend

TJie

can you play

Murder of Gonzago ?

First Play. Ay,

my

lord.

Ham. We'll
sixteen
insert in

ha't to-morrow

night.

You
set

could,

575

for a need,

study a speech of some dozen or

lines,
't,

which

would
?

down and

could you not

First Play. Ay,

my

lord.

Ham. Very well. Follow mock him not.

that lord;

and look you 580

\Exit First Player.

much] (^,farre i. 560. livc\ Q, lived F. 563. bodykins] F, bodkin ; Exit, &c.] Dyce, Exit Polon. !' 564. should] F, shall Q. " after line 569 ; Exeunt Pol. and Players (^ after Klsinore," line 5S3. dosen lines (\). I, F; for need Q; dozen] i, F; 576. for a need] '/ .? F" you] Q, ye F. Exit First Player] Dyce, omitted Q, !'. 578. in V,] Q, in ;

omitted Y.

563. bodykins] dear

live of

body

diminii-

576,

577.
ii.

dozen or sixteen lines]

(iiute).

endearmcnl.

Sec UI.

200

92

HAMLET

[act

ii.

My good
Kos.

friends,

'11

leave

you

till

night

you are welcome

to Elsinore.

Good

my
so,

lord

Ham. Ay,

God be

wi'

ye

{^Exeunt Rosencrantz

Now

and
I

Guildenstern.
alone,
I
!

Oh, what a rogue and peasant

Is
it

am slave am

585

not monstrous that this player here,

in

But

fiction, in

a dream of passion,

Could force

his soul so to his

all his

own
's

conceit
;

That from her working

visage wann'd
aspect,

590

Tears in his eyes, distraction in

broken

voice,

and

his

whole function suiting

With forms to his conceit ? And all for nothing For Hecuba ? What's Hecuba to him, or he to Hecuba, 595 would What her? for should weep That he
he do

Had
That

he the motive and the cue for passion

I

have?

He would drown

the stage with tears, horrid speech.

And cleave the general ear with Make mad the guilty and appal

the free,

600
. .

Exeunt .] 5S5. God be wi' ye] God buy to yon Q, God buy 'ye F. ^Sg. owii]Q^,wJioleY. 590. ///^ C/^^e^//.; Exeunt after line 584 Q,F. 591. in's\ F, in visage] Y, the visage Q; wa7m''d\ wand Q, warnCd Y. 594. Hecuba?] hist^. 593. nothing !] CzY>e\\,nothing, Q, 7wthiii?Y. 1, Y ; to her Q. F, Hecuba. Q, Hecuba! Capell. 595. to Hecuba] 597. the cue for] F, that for Q.

is

^^d. peasant slave] Y\ixn(t%%: "It shown by Furnivall in Notes and Queries, 12th April and 3rd May 1873, that it was possible for Shakespeare to have seen in the flesh some of the bondmen or 'peasant slaves'

faculties,

operation of the y)2. function] as in Macbeth, i. iii. 140 conceit, conception. 600. f-ee] innocent, as in Hi. ii.
254.

of England."

sen.]

PRINCE OF DENMARK
faculties of eyes

93

Confound the ignorant, and amaze indeed

The very
Yet
I,

and

ears.

dull

and muddy-mettled

rascal, peak,

Like John-a-dreams, unpregnant of

;

my

cause,

605

And can say nothing no, not for a king. Upon whose property and most dear life

damn'd defeat was made.

calls

Am
my
it

a coward

? ?

Who

me

villain

breaks

pate across
in

Plucks off

my

beard, and blows

my

face"?
lie
i'

61o
the

Tweaks me by
throat,

the nose

gives

me

the

As deep Ha!
But

as to the lungs

Who
;

does

me

this

'Swounds,
I am To make
I

should take

it

for

it

cannot be
gall

pigeon-liver'd,

and lack
;

oppression bitter
all
;

or ere this

should have fatted

the region kites

With
line

this slave's offal

bloody,

bawdy

villain

bloody,'] offalI, bloody,

602. faculties} Q,facul/yV. 613. I/a!} separate line Sleevcns ; begins 614. 'Swojinds} (), Why F. 618. offal; 614 Q, F; Ha? V. blojidy : a F. Q, Offall, 6or.
aiiiaze'[

confound, as in
;

J\^iii^

tion,

as

in

v.

ii.
:

58.

Chapman,

John,

137. 604. peak} to dwindle, pine to play a mean part, as in

ii.

\\.

hence

Revenge for Honour "That he might meantime make a

sure defeat

Merry
615.

IVii'es, III. V.
(iO<).

71.

On

John-a-dreams\ found also in Armin, A'^.v/<?/'A'i!';//t.i-, 1608. "Johna-droynes" is found in Nash, Have
io Saffron IValden, 1596. 605. unpre<^uant\ unimpregnated, unfjuickened hy my cause. See Mca^tt re

//>(W/-//r'(.v-V!'J

our good aged father's life." The pigeon was

with yon

supposed to secrete no gall. So Dckker, The HoJiesl IVhore {Pcarson'a Dehher, ii. p. 20), "Sure hee's a pigeon, for he has no gall." Gall,
the physical cause of rancour, bilterness.

for Measure,
wife).

iv. iv. 23.

607. property}

proprietorship

(of

crown and

617. region kites} kites of the air see line 518.

608. defeat} undoing, act of deslruc-

94

HAMLET
O, vengeance

[acth.

Remorseless, treacherous, lecherous, kindless villain

620
ass

Why, what an
That
Must,
I,

am

This

is

most brave.
hell,

the son of a dear father murder'd,

to

Prompted

my

revenge by heaven and

like a

whore, unpack

my

heart with words,

And

fall

a-cursing, like a very drab,

!

625
I

scullion

Fie

upon

't

foh

About,

my

brain

have

heard

That guilty

creatures, sitting at a play,

Have, by the very cunning of the scene,

Been struck so

to the soul that presently

;

630
will

They have
For
speak

proclaim'd their malefactions

murder,

though

it

have
organ,

no

tongue,

With most miraculous

players

I '11

have

these

Play something

like the
I'll

murder of

my

father

Before mine uncle,

observe his looks;

635

620. vengeance!'] omitted in Q. 621. Why,'] IVhy Q, Who? F; This] O, / [i.e. Ay] sjcre, this F. 622. a dear father innrdet^d] Q 4, a deere viurthcrcd Q, the Deere 7>tnrthered F. 626. sciiUioii] F, stallyon 627. brain] Y, braincs Q ; /] F, hum, / Q. Q, cullion Theobald.

619. hind/ess] unnatural. 622. dear father murder d] Halliwell supports the reading, "a dear murdered " by comparing the phrase *' the dear departed." 627. About, my brain !] Wits, to

interjection, retained by Cantbridgc Sh. and by I'^urness. 628. play] Massinger had this passage probably in his mind in writing The Roman Actor, \\.\. \t\ A Warn-

you work

Heywood,
II.
:

Steevens quotes The Iron Age,

!

from
Part

"

My

brain about again hast found

projects of

for

thou

ingfor Fair lP'oi>ien, 1599, the tale is told of a woman led by a play to confess her husband's murder. Heywood, in his Apology for Actors, tells of this case, and of another at Amsterdam.
630. presently] immediately, as in
line 170.

New

now
is

to

work on."
meditative

The IJum


sen]
I '11

PRINCE OF DEXMxVllK
tent

95

him

to the quick

if

he but blench
I

know my

course.
;

The

spirit that

have seen

May

be the devil

and the

devil hath
;

power

To assume
Out of

a pleasing shape

yea,

and perhaps

my
is

weakness and
to

my

melancholy,
spirits,

640

As he

very potent with such

Abuses me

damn

me.

I '11

have grounds

More relative than this. The play 's the thing Wherein I '11 catch the conscience of the king.^
{Exit.

ACT
SCENE
I.

III

A Room

in the Castle.

Enter King, Queen, Polonius, Ophelia, Rosen-

CRANTZ, mid GUILDENSTERN.

King.

And

can you, by no

drift

of circumstance,
this confusion,
be a deale (^

Get from him why he puts on

636. he biti\ F, a doc (^). 63S. repeated again in this line in Q).

May

be the deviV] V,

[deak

Aet
I.

III. Scene

I.

tirciims/aiiee^ F, conference.

Q.
tlie purpose, conclusive here by Shakespeare.
;

636. Av//] probe, as in Cymbclinc,

III. iv.

used

onl\-

118.

quail ; used 636. blench'] flinch, specially of the eyes. 638. dcvir\ Coleridge quotes from Browne's Keligio Medici, Part I. 37, to show that he held the belief that ghosts are often devils abusing men to damn them. See on this subject 'i^zXdm^?, ElirMbethan Dewono/oi^y. 642. Abttses] deceives, deludes, as in Tempest, v. i. 112. 643. relative] closely related, to

^^^ ^^^I.
:

^'''"^

'

drift of circuvistance'\(Z\jcx.VxQ?,'>

explain "roundabout method," referring to "circumstance" in I. v. 127,

"drift" in II. i. 10, and both words not in connection) in Troi/ii^ and Cressida, ill. in. 113,114. May it mean tendency or significance of
(but
incidental facts?

96

HAMLET
Grating so harshly
all his

[actiii.

days of quiet

With turbulent and dangerous lunacy ?

Ros.

He

does confess he

feels

himself distracted,
will

But from what cause he

Guil.

by no means speak,
to be sounded,

Nor do we

find

him forward

But, with a crafty madness, keeps aloof,

When we
Of
Queen.

would bring him on to some confession

his true state.

Did he receive you well

his disposition.

Ros. Most like a gentleman.

GuiL But with much forcing of

Ros. Niggard of question, but of our

demands

Most
Queen.

free in his reply.

Did you assay him

i

Ros.

To any pastime ? Madam, it so fell

out that certain players

We

o'er-raught

on

the

way

of these

we

told

him.

And there did seem To hear of it they

;

in

him a kind of joy

20

are about the court

And,

as

think, they

have already order

This night to play before him.

ig.

ahoitt\

F, heere about Q.
reply'\ War"Niggard" and Malone explains
. .

13,

14.

Niggard
free."

burton transposed

"Most

would

" Niggard of question," slow to begin conversation. Clarke over-ingeniously "Sparing of speech when questioned, but of demands respecting ourselves he was very free in return." Clar. Press :" Perhaps they did not intend to give a correct account of the interview." The courtiers between them try to piece out an account,

which will not discredit them, of an unsuccessful interview; Rosencrantz suggest that they have not wholly failed ; Guildenstern that this was in spite of much difficulty. They wish to turn off any inquiry as to Hamlet's sharp examination of them and his discovery that they were sent
for.
1

7.

er-raitghtA^

over-reached, over-

took,


SCI.]
Pol.

PRINCE OF DENMARK
'Tis

97
;

most true

And he beseech'd me to entreat To hear and see the matter.

King. With
tent
all

your majesties

my

heart

and

it

doth

much

con-

me
25
further edge,

To

hear him so inclined.

give

Good gentlemen,

him a

And
Ros.

drive his purpose on to these delights.

shall,

We

my

lord.

\Exeunt Rosencrantz mid Guildensteni.

King:

Sweet Gertrude, leave us too

for

For we have closely sent

Hamlet

hither,

That

he, as 'twere

by

accident,

may

here

30

Affront Ophelia.

Her

father

and myself, lawful

espials,

Will so bestow ourselves that, seeing unseen.

We may
And
If
't

of their encounter frankly judge,

is

gather by him, as he

behaved,

35

be the

affliction of his love or

no

That thus he
Queen.

suffers for.
I

shall
I

obey you.

And

for

your

part, Ophelia,

do wish
your

That your good beauties be the happy cause Of Hamlet's wildness so shall I hope
;

virtues
28. too'] F, two Q. 27. on to] V, into Q. 32. /aw/a/ ^y//a/j] F, omitted in Q. 33. IFi'/f] (), F ; Qq 4-6, Pupc and others. Exit Queen] 30.
,
'

40
/lere]
te

Q, there F.

F Wee

my

^8. j'ot/r] Q. Theobald, omitted Q, F.

29.

liosely]

secretly,

.is

in

King

32. espials] spies,

as in

Henry

John,

IV.

i.

133.

VI.

I.

iv. 8.
. . .

31. Affront] confront, encounter, as in Jointer's Tale, v. i. 75.

virtues] S. Walker proposed beauty and virtue, which l'"urness adopts.

39, 40. beauties

98

HAMLET
Will bring him to his wonted

[actiii.

way
I

again,

To
Oph.

both your honours.

Madam,
Ophelia, walk you here.

wish

it

may.

\Exit Queen.
Pol.

Gracious, so please you,

We

will

bestow ourselves.

\To

Ophelia.']

Read on
45

this book,

Your

That show of such an exercise may colour loneliness. We are oft to blame in this,

'Tis too

much

proved,

that with devotion's visage

o'er

And
The

pious action
devil himself

we do sugar
Oh,
'tis

King. [Aside.]

too true

How
The
Is

smart a lash that speech doth give

my

con-

science
harlot's cheek, beautied with plastering art.
it

50

not more ugly to the thing that helps

is

Than

my

deed to
!

my
let
's

most painted word.

withdraw,

O
Pol.
I

heavy burden

hear him coming

my

lord.

5 5

[Exeunt King and

Polo?tius.

Enter Hamlet.

Ham. To

be, or not to

be

that

is

the question
sugar']
'tis

46. loneUness'\ F, lowliiiesCl. 48. 43. phase yoii\ (^, please ye F. 49. Aside] Capell, at line 50 Pope ; 'tis too] Q, Q, surge F. let's] F, omitted Enter Hamlet] F, after burden, line 54, Q. Q, 55.

F.

43.

Gracious]

addressed

to

the

King.
45, exer-cise] act of devotion (the prayers), as in King Richaj-d III. ill. vii. 64 : "his hoi)' exercise."

book being one of

56. To be, or not to be :] Explained by Johnson as a future life, or nonexistence after death by Malone, to live, or to commit suicide. G. M^cdonald regards the words as the close
;

52. /'(?]conipared to, as in

I. ii.

140.

of a preceding train of thought, not lo be connected with what follows.


SCI]

PRINCE OF DENMARK
Whether
'tis

99

nobler in the mind to suffer

The sUngs and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them ? To die,
sleep,

to

60
;

No more and by
The
That
heart-ache,
flesh
is

a sleep to say

we end

and the thousand natural shocks

'tis

heir to,

a consummation

Devoutly to be wish'd.

To
to

die

to sleep
ay,

;.

To
For

sleep

perchance

dream

there

's

the

rub;
in that sleep of

65
death what dreams

may come.
to sleepe
sleep!']

When we

have shuffled off

.
,

this mortal coil.

60, 61. To die, . 63. to,] too; Q, too? die to sleepe. To sleepe,

No] Pope,
64,
F.

die to sleepe

E
Q,
place

65.

die;

No

to sleep

Q, dye, To

No F. Capell,

Hunter,
supposes

who would

the sol-

iloquy, with
it

Q
is

Act 11. sc. ii. suggested by the book

I,

in

combats with the sea, which Shakespeare might have found in Abraham
Fleming's translation oi yElian, 1576. But elsewhere Shakespeare has "sea of joys," "sea of glory," "sea of
care." Here the central metaphor is that of a battle ("slings and arrows") the "sea of troubles," billows of the war, merely develops the metaphor of battle, as in Scott, Mannion,
VI. xxvi.
:

which Hamlet

there represented as reading. Perhaps, the explanation lying in what immediately follows, it means, Is my present project of active resistance against wrong to be, or not to be? Hamlet anticipates his own death as a probable consequence. 57. in the mind] This is to be connected with "suffer," not with
is

" Then

"nobler."
58. slings and arrows] Walker, with an anonymous writer of 1752, would read "stings." "Slings and arrows" is found in Fletcher's Valen-

mark'd they, dashing broad and far, The broken billows of the war.

And plumed
brave.

crests of chieftains

Floating

like

foam

upon

the

tinian,

I.

iii.

wave."
63.
consitDiinalion']
:

emendations have 59. been suggested Theobald, "siege"; also, " th' assay" or "a 'say"; Hanmer, "assailing"; Warburton, "assail of" Bailey, " llie seat." It has been shown from Aristotle, Strabo, /Elian, and Nicolas of Damascus that ihiKelts, Gauls, and Cimbri exhibited their intrepidity by armed
sea] Various
:

Compare Cyin:

bcline, IV.

"

ii. 280 consummation have And renowned be thy grave "

(^uiet

C5. rub] impediment, as in King Henry V. II. ii. 18S. 67. mortal coil] trouble or turmoil of mortal life. In tliis sense coil occurs several times in Shakespeare,

100

HAMLET
:

[acthi.

Must give us pause there 's the respect That makes calamity of so long life For who would bear the whips and scorns
time,

of

70
wrong,
the

The

oppressor's

proud

man's

con-

tumely,

The pangs of disprized love, the law's delay, The insolence of office, and the spurns
That patient merit of the unworthy
takes,

When

he himself might his quietus make With a bare bodkin ? who would fardels bear. To grunt and sweat under a weary life,

75

But that the dread of something

after death.

The

undiscover'd country from whose bourn

traveller returns, puzzles the will,
72. disprized^Y, despiz'd Q, poore F. Q, f/iese Fardles F.
76.

No
"jl.

80
and many
editors.

/>roud'\

76. farde/s]

as in 7Vw/^j/, I. ii. 207. He nowhere uses it in the sense of concentric rings, r\or does ihc Ne'u English Dntio7iaiy give an example earlier than 1627. The notion that mortal coil means the body, encircling the soul, may be set
aside.
. . .

/^arf? i(?rf/7;;]

unsheathed dagger
.

or bat-e

may mean "mere." Sidney, Arcadia: "I doe defie thee in

.

li/e] There 's 68, 69. there 's the consideration that makes calamity so long-lived. C<esar, IV. i. 22: "To 70. tiine'\ the times, the world, as Julius in King John, V. ii. 12, "a sore of groan and sweat under the busitime." But perhaps it may mean ness." time as opposed to eternity. 80. returns'\ The Ghost has not disprized^ undervalued, mis- crossed the bourn or boundary of 72. prised. Tj'oiliis and Cressida (Folio death, or returned to mortal life ; " disprising the cock-crow and day-dawn startle him text), IV. V. 74: knight opposed." The despised away. Perhaps, however, Hamlet at love is preferred by many editors. the present time, doubtful as to whether the devil may not have been abusing 75. tjjiieiiisl acquittance ; the lawterm, "quietus est," for the settle- him (close of Act li.), will not let ment of an account ; as in Sonnets, the apparition enter into his calculacxxvi. 12. tions.

a mortal affray from the bodkin to the pike upward." 76. fardeh'\ packs, burdens, as in Winter'' s Tale, iv. iv. 728. 77. gnent] groan. Steevens quotes Turbervile, Ovid Epist. xiv. : "of Compare dying men the grunts."

SCI]

PRIXCE OF DENMARK
us rather bear those
ills

101

we have Than fly to others that we know not of? Thus conscience does make cowards of us all,

And makes

And
And
With

thus the native hue of resolution

Is sicklied o'er

with the pale cast of thought,

enterprises of great pitch

this

and moment
Soft you

regard their currents turn awry

And

lose the

name

of action.
in

now

The fair Ophelia? Nymph, Be all my sins remember'd.

Oph.

thy orisons.

Good my

lord,
?

90

How
away

does your honour for this

many

a day

S3, of lis a//] F. 89.

I, F ; omitted Q. 86. fitchi (^,pith F. Ophelia F] F, Op/ieha, Q, Ophelia I Hanmer.

87. awry'\

Q,

85. thoiight\ often used of anxious or melancholy thought, as in Julius Cccsar, II. i. 187: " take thought and die for Caesar." See iv. v. 187. 86. pitch'\ height, as in A'lng /Richard///, in. vii. 188; used of a falcon's soaring, 1 Kin}:; Henry VI. II. iv. II. The Folio///// is preferred

taigne (sea of troubles, death a desirable "consummation," conscience makes cowards), Cornelius Agrippa (country of the dead irremeable),

Marlowe's

Edward

II.

(Mortimer

many editors, and appears in late Quartos from 1676 onwards. 88. action'X With the thought of action this soliloquy opens and closes.
liy

The

train

of ideas
is

is

as

Active resistance to
fortitude

which

evil

more

follows or passive worthy of

:

goes as a traveller to discover countries yet unknown). It seems probable, as Professor Skeat notices, that there are reminiscences here of the translation ascribed to Chaucer of The Roniaitnt of the Rose, lines 56375696 ; the word fardels is perhaps one of the echoes from this passage.
It
is

worth

noting

that

Mr.

G.

Macdonald eliminates the thought of

suicide from the soliloquy, supposing that the bare bodkin is imagined as directed against an enemy. Suicide, indeed, is not the theme of the soliloquy, but it incidentally enters into it. "Clelia" in his God in Shakespeare construes llie opening sentence " Whether 'tis nobler to bear thus evil or to resist it the question is To be, or not to be, i.e. Is there a life after death ? " The note of interrogation after "end them," line 60, was
:

me ?
one's

To end troubles perhaps by own death? Well, the sleep

of death will be most welcome ; but what if there be terril)le dreams? The fear of the hereafter is universal, else men would not endure the ills of life and thus it is that, perplexed by calculating consequences, we drop away from heroic action. Parallels, as possible sources for parts of this soliloquy, have been pointed out in Catullus (no traveller returns), Cardan (death a sleep), Seneca (no traveller
;

first

introduced by Pope.

returns,

and

fear of futurity),

Mon-

102

HAMLET
I

[act m.

Ham.
Oph.

humbly thank you

lord,
I I

well, well, well.

.

My
I

have remembrances of yours,

That
Ha)n.
I

have longed long to re-deliver

pray you now, receive them.

No, not
never gave you aught.

95

Op/i.

My

honour'd lord, you

know
more

right well

you did

And, with them, words of so sweet breath composed

As made
lost.

the

things

rich

their

perfume

Take these again

Rich
gifts

for to the noble

mind

00

wax poor when

lord.

givers prove unkind.

There,

my
!

Ham. Ha, ha
Oph.

are

you honest

My

lord

Havi. Are you fair?

Oph.
92.

105
lordship
?

What means your

you
; zuell, well,

weH.] ,yoii well. Q.

;

95.

you now,] F,
not
99.
7]
l/ie

yoit

now

Q, yon,
97.

now Theobald and other editors N'o, you /enow] Q, / /enow F and many editors.

Q, No,
:

no F.

things] F, these

things

rich

their perfume lost] Q, rich, then

perfume

left

F, rich, than

perfune

left

4.

96. aught] For a moment Hamlet has been touched by the sight of Ophelia with her book of prayers, Yet there is estrangement in the word

99. their perfume] the

the

gifts,

derived

from

perfume of the sweet

words.
loi.
air

She inquires for his health (having seen him yesterday)

lie

" Nymph."

eralisation,

unkind] The sententious gencouched in rhyme, has an And of having been prepared.

answers as to a stranger formally, as he does to Osric, v. ii. 82; and with some impatience; he will tell her nothing. She produces his gifts ; he has been sent for by the King; Ophelia, like Rosencrantz and Guildenstern, has doubtless also been sent for he falls back on his accus; ;

tomed method of baffling half-truths. These toys were the gift of another Hamlet to another Ophelia not his.

whence this false accusation of unkindness? Has she not rehearsed her part to Polonius 103. honest] a word which covers both truthfulness and chastity. For the meaning "chaste" Staunton Cjuotes an apt example from Shirley, The Royal Master, IV. i. Withals' Dictionarie (l6o8), p. 73: "She is est alma faire, honest that is
:

sancta."

sc. I]

PRINCE OF DENMAKK
if

103

Hatn. That

you be honest and

fair,

your honesty

should admit no discourse to your beauty.

Oph. Could beauty,

my

lord,
?

have better commerce

i i

than with honesty

Ham. Ay,

truly

for the

power of beauty
it

will

sooner

transform honesty from what

is

to a

bawd

than the force of honesty can translate beauty

into his likeness
;

this

was sometime a paradox,

it

but

now

the time gives

proof.

did love

you once,
Oph. Indeed,

my

lord,

you made me believe

so.

Ham. You

should not have believed

me

for virtue

cannot so inoculate our old stock but we shall

relish of
it
;

loved you not.

20

Oph.

was the more deceived.

thee to a nunnery
?
;

Ham. Get

why

wouldst thou be

a breeder of sinners
lOT
.

am

myself indifferent
119.

your honesiy'XY

yoii

<^.

no.

F, eiioaUat Q, evacuate

Qq

4-6.

luithlQl, yotirY . 122. to\ F, omitted Q.

inoculaie\

107, 108.] Hamlet had ironically baffled Polonius by commending his

restraining and secluding Ophelia the same irony will serve Your father and brother were again. right; your virtue should permit no one to hold converse with your beauty, Ophelia replies as if Hamlet had said
in
;

wisdom

paradox true; Hamlet thinks of his mother of hisown honesty represented of as a wanton passion for beauty Ophelia's virtue, which cannot be trusted by Polonius to act as guardian
; ;

and honesty should not hold converse with each other, and he accepts her reading of his words.
that beauty
109. commerce']

intercourse,

as in

Twelfth Night, III. iv. 191. 111-116.] I loved you once in the days when it was a paradox an absurdity to say that beauty could sooner transform virtue into a procuress for lust than virtue could translate beauty

of her beauty, but will rather corrupt and her lionesty. 1 19. inoculate] used in the botanical sense, to graft by the insertion of a bud; virtue cannot so graft love in our old evil stock but that we shall have a So Bishop flavour of this evil stock. Hall: "That Palatine vine, late inoculated with a precious bud of our royal
his

stem."
120.

1 loved you

not]

love, for the taint of evil

to

its

own

likeness.

But now,

the

your father has told acted in accordance with his orders,

123.

was not true was in it so you, and you have

it
;

world,

the present time,

proves the

///i//^rw/J fairly.asin v. ii.97.

104
honest
;

HAMLET
but yet
it
I

[acthi.

could accuse

me

of such
i

things that

were better

my

mother had not

25

borne me.
bitious
I
;

am

very proud, revengeful, am-

with more offences at

my
in,

beck than

have thoughts to put them

imagination

to give

them shape,

or time to act
I

them

in.

What
knaves

should such fellows as

?

do crawling 130
are arrant

between heaven and earth

all
;

We

believe

none of
's

us.

Go
?

thy ways

to a nunnery.

Where
lord.

your father

Oph.

At home,

my

Hani. Let the doors be shut upon him, that he

play the fool no where but
Farewell.
in
's

may

3 5

own

house.

Oph. Oh, help him, you sweet heavens

Hani.

If

thou dost marry,

I '11

give thee this plague

ice,

for

thy dowry: be thou as chaste as

as

140

pure as snow, thou shalt not escape calumny.

Get thee to a nunnery, go

127.
heck'\

farewell.

Or,
;

if

heaven Q.

131. heaven and eartli] Q i, F omitted Q. 136. no ivhere'\ Q, 142. go\ F, omitted Q. 138, 147.] marked Aside, Furness.

Q,

hacke

i.

earth

and
F.

132.

a//]

i,

noway

bilious]

126,12^. very proud, revengeful, amHamlet brings general accusations against manhood and womanhood ; but these particular vices are ironically named as those of which he has been suspected or calumniously accused very proud, he who honours the poor Horatio, and hails the actor as a friend, yet he is suspected of treating Ophelia lightly, as an inferior who may be basely used ; revengeful, he who groans under the duty of vengeance, yet who is doubtless suspected of revenge by the King ambitious, he who would go back to Wittenberg, and could be contented
:

whose disappointed ambition has been a subject for the probing of Rosencrantz and Guildenin a nutshell, yet

stern.

133. Whereas your fatherl Verhiips an arrow shot at a venture or perhaps he has caught sight of the King and It is to be Polonius as they retire. considered as a possibility that Ophelia may not have been aware of her
;

father's espionage,

141. caliunny'] Is this

promise of

dowry half meant for Polonius's ear ? His calumnies of Hamlet will come

home

to roost

on

his

own

house.

SCI]

PRINCE OF DENMARK
thou wilt needs marry, marry a fool
;

105
wise

for

men know well enough what monsters you To a nunnery, go; and 145 make of them.
quickly too.
Oph.
Farewell.
!

O
I

heavenly powers, restore him

Ham.

have heard of your paintings

;

too,

well

God has given you one face, and you make yourselves another; you jig, you 150 amble, and you lisp, and nickname God's
enough
creatures,

and

make your wantonness your

to,
I
I '11

ignorance.

Go
;

no more on
will

't

it

hath

made me mad.
marriages

say we

have no more
all

those that are married already,

live
;

155

but one, shall

are.

the rest shall keep as they

\Exit.
is

To

a nunnery, go.

Oph. Oh, what a noble mind

here o'erthrown

The courtier's, soldier's, scholar's, The expectancy and rose of the

147.

eye, tongue,
fair state,

sword
1

60

praflings F pratliiig 148. paii!fiit^i[s'\ Q l, Q 0] F, omitted Q. too'] F, omitted Q. 149. has] F, hath Q face] Q I, Q pace F. 150. yourselves] Q, your selfe F; jig] Q 1676, gig Q, ^'v'^''^; F, fig Q i. a7id nickname] 151. lisp] F, list Q 150, 151. you amble] F, and amble Q. V, you nickname Q. 152, 153. your ignorance] Q I, F; ignorance i). 159. soldier's, 154, 155. no more marriages] O I, F; no mo marriage (^. scholar's] Q, F ; scholler, souldier Q I. 160. expectancy] F, expectation (\.
;

Ff 2-4

Delias refers to 144. monsters] Othello, IV. i. 63: " a horned man's
a

monster."

So Fletcher,

J\ule

by things call 151. 7tickitamc] names of immodest suggestion, and Compare profess childish ignorance.
/Borneo

IVife and have a Wife, U.'i.: ^'' Though he [a wronged husband] see himself

and Juliet,
fruit

il.

i.

35:

"that

kind of

become a

Hamlet monster." proaches Ophelia only through

re-

when

as maids call medlars they laugh alone."

the

general evil of womanhood. The F "prat148. paintings] tlings"and " pace " are possibly not misprints ;" pace" referring to "jig" and "amble"; "prattlings" to

155,156. a/7 (^//^ 0;?^] a shaft meant eves-dropping King. 159. soldier's, scholar's] The order "scholar's, soldier's" corresponding to "tongue, sword" may be more rhetorically, but not therefore dramto strike the
atically, correct.

"

lisp "

and "nickname."

106

HAMLET
The glass of fashion, and The observed of all down
!

[actih.

the mould of form,

observers,
quite,

quite

And I, of ladies most deject and wretched, That suck'd the honey of his music vows,

Now
Like

see that noble

sweet

bells

and most sovereign reason, 165 jangled out of tune, and

form

harsh

That

unmatch'd

and

feature

of

blown

youth
Blasted with ecstasy; Oh, woe
is

me.
I

To have

seen what

have seen, see what

see

Re-enter

King and POLONIUS.

way tend;
lack'd

King. Love? his affections do not that

170
a

Nor what he
little.

spake,

though

it

form

Was

not like madness.

There

's

something

in

his

soul

O'er which his melancholy

sits

on brood

And
163.
itoble\

do doubt the hatch and the disclose

And /] Q, Have I F. 164. imisic\ F, musickt Q. 165. f/ia^ F, what jioblei^. \(i(}. jangled out of tune,'\Y , jangled out of time, Q, jatiglcd, out of tune. Capell and many editors. feature'] F, stattire 167. Q. 169. ^ife /] Q marks Exit here. So Elze. 170. Love?]Y, Loz'e,<Jl.
162. obsei-ved of all obsen'ers] Perhaps meaning honoured by all who pay the marks of honour, a common

meaning oi obsei'ver.
166. tune] The misprint time occurs in F, Macbeth, I v. iii. 235. 1 6j. feature] the whole shape or cast of the body, as frequently in Shakespeare. 168. ecstasy] see
II.
i.

Ophelia withdraws to seek her father, returns at line 186, and is immediately sent away. 170. affections'] emotions or passions.

174. disclose] Steevens quotes

The

Booke of Huntynge, Hawkyng, Fishing: " First they ben eges, and after they ben disclosed haukes." See v.
i.

102. that

309.

169. see!]

Elze

supposes

;;

SCI]

PRINCE OF DENIMARK
Will be
I

107
175

some danger; which

in
it

for to prevent,

have

quick determination

Thus

set

down

he

shall

with

speed

to

England,

For the demand of our neglected

tribute

Haply the seas and countries different With variable objects shall expel
This something-settled matter
in his heart,

80

Whereon

his brains

still

beating puts him thu^

From
Pol.

fashion of himself.

What
I

think you on

't ?

It shall

do well

but yet do

believe
his grief

The

origin

and commencement of

You need
But,
if

How now, Ophelia? Sprung from neglected love. not tell us what Lord Hamlet said We heard it all. My lord, do as you please

185

you hold

it fit,

after the play.

all

Let

his

queen mother

alone entreat him

;

90

To show his grief; let her be round with him And I '11 be placed, so please you, in the ear Of all their conference. If she find him not, To England send him, or confine him where
Your wisdom
King.
best shall think.
It shall

be so

195

Madness

in

great ones must not unwatch'd go.

\Exeutit.
hyphened by Warburton. marks Enter OpheHa. 191. grief] Q, Greefes F. 192. parentheses, //a^W so, please you V.
i86.

\']i^.

for to\0,

lo v.

iSi. something-settled]
this greefe

185. his grief] 1S8.] Theobald

Q,

marks

F. Exit Ophelia.
. .
.

Elze

placed, so please yon,] (so you) in 196. unwatch'd] V, ttnmatcht Q.

191.

;w^//r/] sec 11.

ii.

139.

V.

193. f'ld] detect, as in All's Well, ii. 4G.

108

HAMLET
SCENE U.^A
Enter

[actih.

Hallin

the Castle.

Hamlet and
the
it

tivo
I

or three of the Players.

Ham. Speak
nounced
but
do,
if
I

speech,

pray you, as

pro-

to you, trippingly on the

tongue

you mouth it, as many of your players had as lief the town-crier spoke my

lines.

Nor do not saw the

;

air too
all

much with
;

your hand, thus

but use

gently
I

for in

the very torrent, tempest, and, as the

may

say,

whirlwind of passion, you must acquire

it

and beget a temperance that may give

smoothness.

Oh,

it

offends

me

to

the soul

10

to hear a robustious periwig-pated fellow tear

a passion to tatters, to very rags, to split the

ears

of the

groundlings,

who, for the most

part, are capable of

nothing but inexplicable

;

dumb-shows and noise I would have such a fellow whipped for o'er-doing Termagant it out-herods Herod pray you, avoid it.
;

yottr players'] i, F; oit?' players Q. 4. spoke] Q, had spoke F. 8. the 5, 6. ffuuh with your] Q, much your F, tntuh, your Caldecott. whirlwimi ofpassion] F, whirlwind ofyour passion Q. 1 1, hear] Q, see F. could F. I, 15. would] ;
3.

8, 9.

acquire

and

beget]

acquire,
;

through training and practice beget, through a native artistic impulse.

II.

16. Termagant] the god of the Saracens, as represented in old ro-

mances and mystery

1611:

Henry

robustious] sturdy, as in V. in. vii. 159.

King

plays. Florio, 7'crmigisto, a great boaster, quarreller, killer, tamer or ruler of

"

II. periwig-pated]

Steevens quotes
. . .

from Ejiery Woman in her Humour, 1609: "as none wear periwigs but players and pictures."
groundlings] spectators of the stood in the pit, paying, as we learn from Jonson, a penny for admission capable, receptive, appre13.

play

who

hensive,

the universe; the child of the earthquake and of the thunder, the brother of death." 17. Herod] the violent Herod of old sacred plays. In the Coventry play of the Nativity a braggart speech is followed by the stage direction, " Here Erode ragis in thys pagond and in the strete also."

sc.

II.]

PRINCE OF DENMARK
I

109

First Play.

warrant your honour.

let

Ham. Be

not too tame neither, but

;

your own

discretion be your tutor

suit the action to the

;

20

word, the word to the action

with this special

observance, that you o'erstep not the modesty

any thing so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as to show 'twere, the mirror up to nature
of nature
;

for

25

virtue her

own

feature, scorn her

own

image',
his

and the very age and body of the time

form and pressure.

Now
it

this overdone, or

come tardy

off,

though

make

the unskilful

30

laugh, cannot but

make

the judicious grieve

the censure of the which one must in your

allowance o'erweigh a whole theatre of others.

and heard others

to

Oh, there be players that I have seen play, praise, and that highly, not
speak
accent
it

35

profanely,

that

neither

having
gait

the

of

Christians

nor

the

of

23.

18, 43. First Player] Capell ; Player ove7-done\ F, ore-doone Q. 27.

30. off] F, of Q 6, Theobald, which one] F, which one Q. 35. praise] F, praysd Q.

22. oerstep] Q, ore-stop F. (2, F. her own feature'] F, her feature t^. Furness ; make] F, makes Q. 32. the 33. o'erweigh] Q, Y ; ore-sway Ff 2-4.

23. frotn]
2i%'\x\

away

from, contrary to,

Julius Cccsar, i. iii. 35. 28. very age^ actual generation. Bailey proposes " visage," comparing 2 Henry IV. II. iii. 3: "visage of
the times." 29. pressure] impress.
V. 100.

Two Gentlemen of Verona, 11. i. 116 "it came hardly off"; Timon of Athens, \. \. 2<^: " this comes off well
:

and excellent."
32. censure]
iii.

judgment,
refers

as

in

1.

Compare
as
to

I.

69. 36. profanely]

to

what

fol-

30. come

tardy
fire";

off]

we

say

lows about the creation of men, not l)y God, but by nature's journey-

" hanging

coming

an issue

men.

slowly and ineffectively.

Compare

"

110
Christian,

HAMLET
and bellowed that
nature's
I

[act

III.

pagan, nor man, have so strutted

have thought some of

journeymen had made men and not made them well, they imitated humanity so
hope we have reformed that
sir.

40

abominably.
First Play.
I

in-

differently with us,

Ham. Oh,

reform

it

altogether.

And

let

those

45

more than is set down for them for there be of them that will themselves laugh, to set on some quantity
that play your clowns speak no
;

of barren

spectators to laugh too, though in

the

mean time some necessary

to

question
;

of
's

50

the play be then

villanous,
in

be considered
pitiful

that

and shows a most

it.

ambition
ready.

the fool that uses

Go,

make you

\Exeunt Players.

Enter POLONIUS, ROSENCRANTZ, ajld GUILDENSTEKN.

How
Pol.

now,

my
?

lord

will

the king hear this

piece of

work

55

And the queen too, and that presently. Ham. Bid the players make haste.
\Exit Poloniiis.
38. nor f/ian] Q, or Norman F, fior Turke Q i. 40. men'\ Q, Theobald conj., Rann, Furness the men, Farmer conj., Hudson.
;

F them
;

44.

sir']

F, omitted Q.
38.

56. Exit Polonius] F, omitted Q.

nor

ma??']

Farmer needlessly

conjectured "nor I reading.

Mussulman";
i.

see

44. 46.

indiffe7-ently] see III.

f/?TO;/5]

123.

Collier supposed that the passage in i might have been levelled at Kemp, "who about the date quitted the company of players to which

The " extemporall

is

of Wilson

and of Tarlton

by Stowe.

In i clown's jests are given by

wit praised examples of the

Shakespeare had always belonged." See p. 232.

56. presently]
II. ii.

immediately,

as

in

Hamlet.

170.


sen]

PRINCE OF DENMARK
?

111

Will you two help to hasten them

Ros., Guil.

We

will,

my

lord.

\Exeunt Rosencrantz and Guildenstern.

Ham. What ho

Horatio

60

Enter HORATIO.
Hor. Here, sweet lord, at your service.

Ham.

Horatio, thou art e'en as just a

e'er

man

As
Hor. O,

my

conversation coped withal.

my

dear lord,

Ham.

Nay, do not think

flatter

For what advancement may

hope from

thee,

65

That no revenue hast but thy good

spirits,

To
No,

feed

and clothe thee

Why

should the poor

be

flatter'd ?

let

the candied tongue lick absurd

pomp.
Dost
thou

And

crook the pregnant hinges of the knee

thrift

Where
hear?
Since

may

follow

fawning.

70
dear soul was mistress of her choice,

my

And
Hath

could of

men

distinguish, her election

for

seal'd thee for herself;

;

thou hast been

Dyce, Both F, Ros. O IVc will] F, Ii = Ay\ Q. 64. lord, 68. tongue lick^ Q, tongue, like F. 70. fawning\(^,faining? V. 72. distinguish, her e/ection^V, "Jl. he7-'\(), tnyY. distinguish her election (^. 73. Hath'] F, S'hath Q, She hath Malone.

59. Ros., fiuil.]

]

Rowe, Lord. Q, Y.

62.

/i/st']

Hamlet,

at this

moment,

needs before all else a man of sound judgment, unswayed by passion. The eulogy that follows has here a dramatic
propriety.
63. coped withal] as ever my intercourse with men encountered. So copest in Winter's Tale, \\. iv. 435. 66. revenue] accented hereon the

second syllalile. The accent varies in Shakespeare. 68. candied] sugared.

" disSchmidt: prompt." Perhaps, quick with meaning. Furness explains, " because untold thrift is born from a cunning use of the knee."
6g. />regf7anf]

posed,

ready,

71. dear] see

i.

ii.

182.

112

HAMLET
As
one, in suffering
all,

[actih.

that suffers nothing

A man
Hath

that fortune's buffets

and rewards
;

75

ta'en with equal thanks

and

bless'd are those

Whose blood and judgment

That they are not a pipe

are so well

commingled

for fortune's finger

To sound what
That
In
is

stop she please.

I

Give
will

me

that

man

not passion's slave, and

heart's core, ay, in
thee.

wear him 80

my
I

my

heart of heart.
this.

As

do
is

Something too much of

There

a play to-night before the king

One scene of it comes near the circumstance Which I have told thee of my father's death
when thou seest that act afoot, Even with the very comment of thy soul
I

prithee,

Observe mine uncle

if

his occulted guilt

in

Do

not a

itself

unkennel

one speech,

It is

damned ghost

that

we have

seen,

90

And my
As
For
I

imaginations are as foul

Vulcan's stithy.

Give him heedful note

mine eyes

will rivet to his face,

And
Hor.

after

we

will

both our judgments join

In censure of his seeming.

Well,

my

lord

95

76. Hath] F, Hast Q. 77. lo/niiiingled] Dyce, co-iningled F, coniedled Q. 85. thee of] Q, thee, of F. F. 88. mine] F, my Q. 87. thy] Q, 92. heedful] Q, needfull F. 95. In] Q, To F.

my

77. blood

and judgment]
see
I.
:

passion

and reason
80, 81.]

iii.

6.

Douce

" From
in his

this

speech

ward and sagacious criticism. The F my would make Hamlet's judgment the text, and Horatio's the comment.
89. one speech] Hamlet's dozen or sixteen lines: II. ii. 576. 92. stithy] possibly here a forge ; often an anvil. 95. censure] as in line 32.

Anthony Scoloker,
'

Z)a?///a/;;'//.s-,

1604, has stolen the following line:

Oh,
87.

would weare her

"

in

my

heart-

heart's-gore.'

comment of thy
is

soul] the

emin-

phasis

on soul

with the most


sen]
If

: ;

PRINCE OF DENMARK
he
steal

113

aught the whilst

I will

this

play

is

playing,

And 'scape detecting, Ham. They are coming to

Get you a
place.

pay the
;

theft.

the play

must be

idle

Danish

March.

POLONIUS,

A Flourish. Enter King, Oueen, OniELIA, ROSENCRANTZ, GUILDENthe

STERN, and Other Lords attendant, with

carrying torches.

Guard,

King.

How

fares our cousin

i'

Hamlet

oo

Ham.
I

Excellent,
eat the

faith

of the chameleon's dish

;

air,

promise-crammed
this

you cannot

feed capons so.

King.

have nothing with

nor

answer, Hamlet

these words are not mine.

105
Polonius.']

Ham. No,
lord,

mine now.
i'

YTo

My
you

you played once

the university,

say
Pol.

?
I,

That did
actor.

my

lord,

and was accounted a good

I

10

Ham. And what

did you enact?

.
.

Danish March torches] substantially 97. Q. from F. Enter Trumpets and Kettle Drummes, King, Queene, Polonius, Ophelia Q after line 97. 106. mine noiv. My /oro',] Johnson, mine now my lord. Q, mine. Now my lord, F. ill. And 109. did r\(^, IdidY. what} V, What Q.
deicc/iitg] F, detected
.

98.

idle] ci2i7.y.

In

Hamlet's

mother,
play,

in

the

bids
!

him

interview after the forget these " idle

loi. chameleon' sdish'lSo'RoviXznds, Lett. Humours Blood, 1600: "Can

men

iits"; he replies: " Idle no mother,

It

ayer?"

my pulse doth beate like yours ; is not madness that possesseth

Hamlet."

like camelions on the In Browne's Vulgar Errors the matter is discussed. 107. university] University plays. in Latin or in English, form an important group of our elder drama.

feede

Perhaps, however, it means here no more than unoccupied with any

affair.

The
that

Hamlet, Q i, states was acted "in the two Universities of Cambridge and Oxford."
title-page o{
it

"

114
Pol.
I

HAMLET
did enact Julius Caesar;
;

[actiii.

was

killed

i'

the

Capitol

Brutus killed me.

to kill so capital
?

Ham.

It

was a brute part of him

a calf there.
Ros. Ay,

Be
;

the players ready

115

my

lord

they stay upon your patience.

Queen.

Come

hither,

my

dear Hamlet,
's

sit

Ham. No, good

tractive.

mother, here

metal

by me. more at120

Pol.

[To the King?\ Oh, ho! do you mark that?

shall
I

Ham. Lady,
Oph. No,

lie in

your lap

\_Lying dozvn at Ophelias feet.

my

lord.

Ham.

mean,

my

head upon your lap

Oph. Ay,

my

lord.

Ham. Do you
Oph.
I

think

meant country matters?

125

think nothing,

my

lord.
lie

Ham. That 's a fair thought to Oph. What is, my lord ? Ham. Nothing. Oph. You are merry, my lord. Ham. Who, I ?
Oph. Ay,
117. dear'\ 121. Lying

between maids'

legs.

30

my
. . .

lord.
120.

Q, good Y.
feet]

To
;

the

King]

Capell

adding
. .

Rowe.

omitted Q.

125. coimtty'] Q,

123, 124. coii/ra>y

Ham. /

ineati

Aside. lord^

i.

113, Capitor\ The error as to the place of Cresar's death appears in

some
In
'
'

Chaucer, Monkes Tale, and in ShakeSo Fletcher, speare's Jiilitts Casar. The Noble Gentleman, v. i.
115. calf^ dolt, as in v. i. 126. 125. country inatteri\ rustic proconjectured ceedings. Johnson coiititry viajitters, as in Khtg John, suspect that there is i. I. 156. I

indelicate suggestion in ri5//;;/;j. West'wa7-d Hoe, V. i., I find: Though we lie all night out of the city, they shall not find country wenches of us," meaning we will not

wrong our husbands

ward Hoe,

III.

i.

and in North; (spoken of a harlot),

good commonwealthes woman For her country, and she was borne.
has borne her covmtry.

"a

sen]

PUINCE OF DENMARK
What
and
should
look you,

115

Ham. O God, your only jig-maker. a man do but be merry ? for,

cheerfully

how
1

my
's

mother

looks,

my

father

3 5

died within
Oph. Nay,
'tis

two hours.

twice two months,

?

my

lord.

Ham. So
for

long

Nay then, let

ago,

the devil wear black,

I '11

have a

suit of sables.

heavens

die

two

months
there
's

and

not

forgotten

yet

40

Then

hope a great man's memory

half a year
;

may
he

outlive his

life

but,
;

by

'r

lady, he

must build churches then

suffer not

or

else shall

thinking on, with the hobby-horse,

is "

whose epitaph
horse
is

For,

for,

the hobby-

145

forgot."

Hautboys play.
136.

The dumb-sJiow

enters.

within' s\ Q,

within these

I.

133. Jig-maker] see ii. ii. 531. 136. witAiu's] within this. read, Warburton 139. sa6/es] " 'fore I'll have a suit of sable." Johnson observed that the fur of sables is not black ; a suit trimmed with sables was magnificent, and not

144.

suffer not

thinking oit'\ under-

go oblivion.
144.

hobby-horse^ a figure of

Mayfigure

games and morris-dances, the

of a horse strapped round the actor's waist, his feet being concealed by a
foot-cloth.

" The

hobby-horse

is

a mourning garment. Hudson adopts a suggestion of Wightwick, and reads sabell, flame-colour. But Hamlet's jest lies in the ambiguity of the word sables, the fur and sable, the black of
;

forgot" occurs in Love's Labour's Lost,

in. i. 30, and in several Elizabethan dramas. Probably the Puritans had for a time succeeded in banishing him from May sports. See Beaumont

heraldry. See IV. vii. 81, whence it appears that sables were the livery of "settled age." What an age since my father died I am quite an old gentleman (with an amljiguily of a])parent self-contradiction in Hamlet's manner, on the meaning black) ; I
! !

and Fletcher, Women Pleased, iv. i., for an amusing scene of Puritan versus
hobby-horse.
146. dumb-show] The description of the diniib-show here varies only in unessential points from that of F. In the differences are not important. But Q i deserves to be quoted

mean

be rich and comfortable, and the devil must be the only personage who always wears black, his accusto

" Enter and the

in

Dumbe Shew,
:

the

King

louied garb.

(^)ueene, he sits down in an Arbor, she leaves him Then enters

116

HAMLET
;

[act
the

III.

Enter a King and a Queen, very lovingly

embracing him, and he
her.

Queen

She

kneels,

and

makes show of protestation unto hijn. He takes her up, and declines his head upon her neck :

him down upon a bank of floivers : she, him asleep, leaves him. Anon comes in a fellow, takes off his crown, kisses it, and pours The Queen poison in the King's ears, and exit.
lays

seeing

returns ;

finds

the

King

dead,

and

makes
tzvo
to

passionate action.

The Poisoner, with some

comes in

or

three

Mutes,
her.

again, seeming
is

lament with

The dead body

the

carried

away.
gifts ;

The Poisoner wooes

she seems loath
the

Queen

with

and umvilling

awhile^

but

i}i

end

accepts his love.

[Exeunt.

Lucianus with Poyson in a Viall, and powres it in his eares, and goes away Then the Queene commeth and finds him dead ; and goes away with the
:

The King, on the other hand, does not recognise in the dumb-show the
argument see line 244 ; his suspicions would doubtless be aroused, and he would watch the play with keener interest, but he might suppose
;

other."

In our elder drama dumbshow was employed occasionally to

indicate action not developed by subsequent dialogue, or in a kind of allegory to shadow forth what was to follow. Shakespeare's use of it here Hunter cited an example is singular. Danish of soldiers in England, 1688, presenting the action of a sacred

that

the

dumb-show

presented,

in

in Danish, in dumbshow before the play, and assumed Jamta Li)tguaruiii Qitadralingiiis; or, that this was a common practice of A JMessc of Tongues, 1617 [by J.

drama, given

English fashion, action which was not to be developed through dialogue. Hamlet would have thus a double opportunity of catching the conscience of the King. The following passage has perhaps not been quoted in connection with the use of dumb-show
:

the Danish theatre. Elze conjectured that English actors of Shakespeare's time on the Continent expounded the action of plays in this way. Ophelia suggests that the show may import the argument ; but, according to English practice, such a supposition was not warranted, except in so far that it might symbolically indicate the general tendency of the action.

Barbier] ; the writer explains why he puts his " Advertisement" at the end of the volume: "As in a Comedie the Prologue, or in a Tragedie the Chorus, is not for the most acute spectator, able (and more delighted) of himselfe to discerne the pretention of every Act presented, though intimated onely in a dumbe shew."

sen]

PRINCE OF DENMARK
this,
is

117

Oph. What means Ham. Marry, this

mischief.
OpJi.

my

lord

?
;

miching mallecho

it

means

Behke
play?

this

show imports the argument of the 150

Enter Prologue.

Ham.

We

shall

know by
;

this

fellow
'11

the players

cannot keep counsel

Oph. Will he
tell

they
this

tell all.

show meant ? Ham. Ay, or any show that you '11 show him be 155 not you ashamed to show, he'll not shame to
us

what

tell

you what

it

means.

Oph.

You

are naught,

you are naught

I '11

mark
1

the play.
Pro.

For us, and for our tragedy, Here stooping to your clemency,

60

We
Ham. Is nng
this

beg your hearing patiently.

a

{Exit.

prologue,

or

the

posy

of

miching 7naUecho\ Malone, iintuching Mallico Q 148. this is\ F, this Q 151. play?'] F, Miching Malicho F, myching Mallico Q i //] Q, that F. play. Q. Enter Prologue] Theobald; after /e/^w, line 152 Q after //rtj',
;

153. counsel] F, 152. this fellow'] Q, these felloiuesY. 159 F. omitted Q. 154. he] Pope, a Q, they F. 155. you'' II] F, you will Q. 162. Exit] Globe Sh. omitted Q, F.
line
;

skulking 148. miching mallecho] mischief. Minsheu gives "To miche,

orsecrctlytohidehim.self outoftheway, as Truants doe from schoole " ; Florio has "to miche, to shrug, or sneake in some corner." See "micher," truant, in 1 Henry TV. lI. iv. 452. " Mallecho," Sp;uiish wrtMci//^, mischief.

58.

naught] improper, licentious,

in Gi-ace Abounding declares that he never " so much as attempted So to be naught with women."

Bunyan

So

Shirley,

Gentleman

of
of

Dekker, The Honest WViori? (Pearson's Dehker, ii. p. 54). 163. posy] Sea Merchant oj 'Venice, Posies incised on V. i. 147-150. rings were necessarily brief.

Venice: "Be humble. Thou mallecho, or thou diest."

man

118
Oph. 'Tis
brief,

HAMLET
my
lord.

[ACTin.

165

Ham. As woman's

love.

Enter two Players, King and Queen.

P.

King. Full
round-

thirty

times

hath

Phcebus^

cart

gone

Neptune^ s salt wash

and

Tellus'
zvitJi

orbed ground,

And thirty
About

dozen moons

borrowed sheen

the zvorld

have times

tivelve thirties been,

170

Since love our hearts

and Hymen

did our hands

Unite commutual in most sacred bands.

P.

Queen. So many journeys may the sun and moon

Make

us again count o'er ere love be done

is

But, woe

me I you are so sick of late, So far from cheer and from your former state. Yet, though I distrust, That I distrust you.
Discomfort you,

ly $

my

lord, it

nothing must

For women's fear

a?id love holds quantity,

i

In neither aught, or in extremity.

80

Now,

ivliat

my
love

love

is,

proof hath made you knozu.

And
and

as
. .

my
.

is sized,

my fear

is

so ;

166. Enter Queen] Glolje, Enter King and Queene Q, Enter King i68. orbed] E, i. his Queene E, Enter the Duke and Dutchesse orb'd the Q. 176. your] F, our Q. 179. Eor] F, And Q, preceded by the following iinrhymed line: "For women feare too much, even as they love" ; holds] E, hold Q. 180. In neither aught] E (with spelling ought), 181. love] F, Lord Q. Eyther none, in neither ought Q.

167. cart] chariot. Qzieene, v. viii. 34

:

.Spenser, /rrfr/c;

"

On

every side
lines

179. holds quantity] keep proporSee Midsiiminer tion to each other.

of his embatteld cart."

These

resemble lines beginning "Thrice ten times Phoebus," near the opening of Act IV. of Greene's ^////(?/j. 178. must] Perhaps a line, rhyming with that given in Q, has been lost perhaps the Q line had been cancelled

Night's Dream, I. i. 232. 180. In neither aught] Ingleby proposed " In either naught." Hunter would punctuate "hold quantity In neither: aught." Capell explains: "They either feel none of these passions, or feel them both in ex-

and was printed by mistake.

tremity."

sen.]

PRINCE OF DENMARK
love is great
little
^

119

P.

fears grow great, great love groxvs there. King. Faith, I must leave thee, love, and shortly too; 8 5
^

Where Where

tlie littlest

doubts are fear.

My

opera7it poivers their fimctions leave to do;

And thou

shalt live in this fair zuorld behind,

Honoured, beloved ;

and

For husband
P.

shalt thou

haply

07ie

as kind

Queen.

Oh, confound the rest

love

Such

must needs
let

be treason hi vty breast

190

In second husbatid

me

be accurst

None

ived the second but zuho kilVd the first.

Ham.
P.

[Aside.]

Wormwood, wormwood

Queen. The instances that second marriage move

Are

base respects of thrift, but none of love ;

195

A
P.

second time I kill

my husband
me

dead.

When

second husband kisses

believe

in bed.

King. / do

you think what now you

deterinine oft
to

speak.

But what we do
Purpose
is

we

break.

but the slave

meinory,

200
my

Functions F. i86. their functions] Q, 183, 184.] Q, omitted F. 193. Aside] Capeil ; omitted Q, F ; Worviwood, tvornnvood] F, That^s ivorniwoodQ^, 2vo]-inwood, zvornnvood ! i. 19S. you think] Q, you. Think F.

194.
195.
III.
i.

185. leave] cease. instances] motives,

induce-

ments, as in A'/^'-/yf;7 F. n.

ii. 119. respects] considerations, as in 68.

196.

kill

band, he (though examples of the tautology "kill dead," meaning "kill," occur in Shakespeare). The reading of Q i "lord that 's dead " gives the sense.
gives a long discussion as to which lines are the dozen or sixteen written by Hamlel, or whether it is meant by .Shakespeare that any lines

dead] being dead

. . .

kill

my

hus-

should be Lines in the present speech, it is argued, are singularly in Hamlet's vein; they look like an they do not advance the insertion action they are meant to catch the conscience of Hamlet's mother ; the plot sufficiently convicts the King, On the other hand, it is argued, that the Poisoner's speech (perhaps interruptcd before its close) is meant ; that
actually

which

appear

identified as his.

200-225.]

I'urncss

Hamlet

clearly

indicates

this

to

summary of a longer

Horatio, and that he warns the player against mouthing a passionate speech, Perhaps all this is to inquire too curiously into a dramatic device of

120

HAMLET
Of violent
birth but poor validity ;
like

[actiii.

Which now,

fruit

U7iripe, sticks

on the

tree,

But fall unshaken when they mellow be. Most necessary 'tis that we forget To pay ourselves %vhat to ourselves is debt What to ourselves in passion we propose.
The passion ending, doth The
violence

205

the purpose lose.

of either grief or joy

;

Their

own

enactures zvith themselves destroy

revels grief doth

Where joy most

This world

most lament ;

210

Grief joys, joy grieves, on slender accident.

is

not for aye, nor

'tis

not strange

That even our

loves should with our fortunes change.

left

For

'tis

a question

us yet

to

prove,

Whether

love lead fortune or else fortune love.

215

The great man

files ;

dozvn,

you

mark

his

favourite

The poor advanced makes friends of enemies ;

And Jiitherto
For

doth love on fortune tend

zvho not needs shall never lack a friend ;

zvho in zvant a hollow friend doth try

And

220

202. like] F, the Q. 208. either] Q, other F. 209. enactures] Q, enactors F. 211. Grief grieves] F, Greefe ioy, icy griefes, Q. . 216. favourite] Q, fauourites F.
. .

Shakespeare's, designed to lessen the improbability of the "murder of Gonzago" so exactly fitting the occasion ; designed also to show Hamlet as a critic of theatrical art,

must needs point Lucianus. Sir H.

forced to identify Hamlet's lines, we to the speech of

Irving, as

Hamlet,

and

indirectly to instruct an Elizabethan audience in theatrical matters. Undoubtedly this speech reflects back on both the Queen and Hamlet himself, but this was Shakespeare's doing, and clearly intentional if we were
;

mutters the Poisoner's words with suppressed passion while they are being delivered by the actor, 204, 205.] Our resolves are debts to ourselves why embarrass ourselves by inconvenient payments? 209. enactures] fulfilments, carrying into act.
;

sen]

PRINCE OF DENMARK
to

121

Directly seasons

But, orderly

him his enemy. end wJiere I begun,

so contraiy

Our

tvills

and fates do

run

That our

devices still are overthrozvn,

225

Our thoughts are ours, their ends none of our oivn ; So think thou zvilt no second husband ived. But die thy thoughts zvhen thy first lord is dead.
P.

Queen. Nor earth

to

me

give food nor heaven light

I

Sport and repose lock from nie day and night

To desperation turn my

trust

and

hope

230

An

anchor's cheer in prison be

opposite, that

my

scope !

Each
Both

blanks the face of joy,

it

Meet zvhat I zvould have well and

liere

destroy !
strife.

and

hcftce

pursue me lasting

If, once

zvidozv, ever

be zvife !

235

Ham.
P.

If she

should break

it

now
Szveet, leave

King. 'Tis deeply szvorn.

me

Jiere

awhile

My
The
P.

spii'its

grozv dull,

and fain I

zvould beguile
[^Sleeps.

tedious

day

zvith sleep.

Queen.

Sleep rock thy brain

And 7iever
228. to

come mischance betzueen us twain!

240
[Exit.

me
. .

give]

Q,
P'.

to give

scope] Q,

omitted
. ;

231.

wife] i, F; 235. once 7207u. 236. iiow!'] Dyce Q, brain), omitted t^.

F. 230, 231. To desperation anchor's] Theobald, And anchors Q. once I be a widdow, ever I be a wife Q. ]'ope. F; itozu 239. Sleeps] F (after

me An

221. seasons] Schmidt and Clar. Press: "matures, ripens," see 1. iii. 81 ; but perhaps it means qualifies, tempers. anchoret's cheer] 231. anchor's
chair.
ii.

103

So Bishop MaW, Satires, " Sit seaven ycares pining

C/iecr
is

v.

in

an anchores cheyre."

ex-

perhaps rightly by Clar. plained Press and others "fare," but "scope" supports the meaning illustrated by Hall. 232. opposite, that blanks] contrary thing that makes pale. So Sylvester's " His brow was Dti Bar/as, 1605 never blankt with pallid fear."
:


HAMLET
'11

122

[actih.

Ham. Madam, how like you this play ? Queen. The lady doth protest too much, Ham. O, but she keep her word.
King. Have you heard the argument
offence in
't ?

methinks.

Is there

no 245 no

Ham. No, no
offence
i'

they do but
the world.
call

jest,

poison in jest

King.

What do you
is

the play

Ham. The

Mouse-trap.

Marry,

how ?

Tropically.

This play

the image of a murder done in

;

250

Gonzago is the duke's name his you shall see anon 'tis a knavish piece of work but what o' that ? your majesty, and we that have free souls, it
Vienna
wife,
:

Baptista

touches us not;

let

the galled jade wince, our 255

withers are unwrunsf.

242. doth protest] (^, protests F. 249. ^'] F, a Q I. 255. witice'] Q i
Tropic-all}'']
;

253.

^Q,

Q, F; trapical/y winch Q, F.

(^ 1.

249. Tropiially] called The Mousetrap (catching the conscience of the king) 1))' way of a trope or figure, The " trapically " of suggests l that a pun is intended. 251. Gonzago] In 1538 the Duke of

ever, true, as Walker and Elze point out, that "Duke" and "King" are not always differentiated by Eliza-

bethan

writers.

As

to

the
as

name
borne

" Baptista," Hunter says he has seen

a few instances of the

name

Urbano, married to a Gonzaga, was murdered by Luigi Gonzaga, who dropped poison into his ear. Shakespeare, it is suggested, might have found this writ in choice Italian, might have transferred the name Gonzaga to the murdered man, and formed " Lucianus " from Luigi. "The duke" seems to be an oversight. In Q I the murdered man and his wife are Duke and Dutchesse throughout, except in the dumb-show, where they are King and Queen in the altered form perhaps "duke" was here erroneously retained. It is, how;

"It had a feminine termination; that was enough,

by
in

women

England.

Shakespeare has given

it

to a

man

in

The Taming of the Shreiu." It has been shown by A. von Reumont (Allgemeine Zeitiing, October 21, 1870) that Baptista was used in
Italy

as

the

Christian

name

of a

woman.

169, for 254. free] see 11. ii. 600. 255. let the galled jade
;

See Sh. Jahrbiuh, xxxi. another Gonzaga-murder.

evince]

proverbial saying found in Edwards, Damon and Pythias, and Lyly, Eut>hiies.

sc.ii.J

PRINCE OF DENMARK
Enter Player, as LUCIANUS.

123

This
Oph.

is

one Lucianus, nephew to the king.

You
I

are as

good as a chorus,

my

lord.

Ham.
OpJi.

could interpret between you and your love, could see the puppets dallying.
are keen,

if I

260

You
It

my

lord,

you are keen.

to take off

Ham.
Oph.

would cost you a groaning

my

edge.
Still better,

and worse.
your husbands.

Ham. So you
murderer
begin.
;

mistake

Begin, 265

pox, leave thy damnable faces, and

:

Come

the croaking raven doth bellow

for revenge.

Luc. Thoughts

black,

hands

apt,

drugs

fit,

atid

time

agreeing ;
Confederate season,
else

no creature seeing

270

(a/ce

262. viy'], mine Q. 265. ww258. as good as a\<^\,0; agoodY. yoiir husbands'] Q, mistake husbands F, must take your husband Q. I. i, F; Con266. pox'\ F, omitted Q, a poxe I. 270. Confederate] siderat Q.

258. Choi-US'] which explains the action of a play, as in Winter'' s Tale, Komco andJuliet, Henry V. puppets] 259, 260. interpret an interpreter on the stage expounded the puppet-shows ; see 7 wo Gentlemen
. . .

service,

better,

0/ Verona, ii. i. loi. Steevens quotes GxQQwe, Croats-worth 0/ Wit: " It was I that ... for seven years' space was absolute interpreter of the puppets." " V'our love," your lover. 264. better, and ivorse] Caldecott " moie keen and less decorous." 265. mistake] Pope read "must take " with Q i, and has been followed
:

take tlieir hvisbands "for Hamlet means worse." that women do not take them hut mis-take them (as Capell prints it) in these words, for the words are not you all are faithless wives fulfilled with a thought of his mother. Simpson raven] 267. croaking (Academy, December 19, 1874) shows
for
;

that

Hamlet

rolls into

one two

lines

l)y

many

editors
insult

V)Ut

this

effaces

Ilamlet's
Iirides,

to
to

womanhood.
the

of The True Tragedie of Richard the Third ghosts of those whom Richard has slain in reaching for a crown come gaping for revenge " The screeking raven sits croking for revenge, Whole herds of beasts come bcllow-

according

marriage-

ing for revenge."'


HAMLET

124

[actht.

Thou 'mixture rank, of midnigJit weeds collected, With Hecate's ban thrice blasted, thrice infected, Thy natural magic and dire property,

On wholesome

life

usurp immediately.
poison into the Sleeper's ears.
's

[^Potirs the

Ham. He poisons him His name 's Gonzago

i'

the garden for

;

estate.

275

the story

is

extant, and

writ in choice ItaHan

you

shall see

anon how

the murderer gets the love of Gonzago's wife.

The king rises Ham. What, frighted

Oph.
!

with false
lord
?

fire!

280

Queen.

How

fares

my

Pol. Give o'er the play.

King. Give

me some

light.
!

Away
bjit

All. Lights, lights, lights

{^Exeunt all

Hamlet and Horatio,

285

Ham. Why,

let

the strucken deer go weep,

;

The hart ungalled play For some must watch, while some must sleep So runs the world away. Would not this, sir, and a forest of feathers,
272. ban] Q,
/lis

275. forks'] Q i. 274. usurp] ; usurps Q i, Q. 2yj.zunyni]F,ivr///ejiinzierj/Q. 280. M-'/ia/, . /;-.'] Theobald, IV/iai, fires? Q i. .fire. F, omitted Q, What, 284. All.] F, Tol. Q. 285. Why, lef] Theobald ; Why let Q, F ; stnickefi] F, strooken Q, stricken Q i. 288. So\ F ; 7 hits Q I, Q.

F; bane

F for
;

Qi, Q.

Com274. usurp] let them usurp. pare Pericles, in. ii. 82 " Death may usurp on nature many hours." 2%0. false fire'\ used of fire-works, blank-discharge of firearms, a fire or night - signal made to deceive an enemy. See A New Eng. Dictionary under False 14 /', and under Fii'e 8 a. 2S5-2S8. Why away] Dyce
:
.

" In all probability a quotation from some ballad." 2i<). forest of feat Iters'] So Chapman, IMonsietir D'' Olive, in. i. "I
:

carry a whole forest of feathers with

me."

Feathers were

much worn on

the stage ; in Randolph's The Muses' Lookitig-GIass, i. i., Bird, the featherman, has the custom of the players for
all their feathers.

sen]
if

PRINCE OF DENMARK
the rest of

125

my

fortunes turn

Turk with me

290

with two Provincial roses on

get

my

razed shoes,
sir ?

me

a fellowship in a cry of players,

Hor. Half a share.

Ham.

whole one,

I.

For thou dost know,

O Damon
now

dear,

295

This realm dismantled was

Of Jove

himself; and

reigns here

A
Ho7\
291. two\ omitted Q. Pajocke F 2.

very, very

pajock.

You might have rhymed.

razed\ raz'd Q, rac'd F. 292. F, omitted 298. pajock] Ff 3, 4; paiock Qq 2-5 ; Paiocke F
;

sii-]

F,

I,

Q
.

6;

290. turn Turk] prove renegade, or turn cruel. See Much Ado, iii.
iv.

57-

291. Provincial 7-oses\ rosettes of ribbon, like the roses of Provence, or else of Provins (forty miles from Paris), which was celebrated for its roses. " Cotgrave gives both ' Rose de Provence. The Province rose, the double Damaske Rose,' and ' Rose de Provins, the ordinarie double red Rose.' Gerarde, in his Herbal, says that the damask rose is called by some ' Rosa provincialis " (Clar. Press).
: '

of the theatre, or house-keepers . had some ; and each actor had one or more shares or part of a share, according to his merit." See Furness for
.

citation
well.

of

documents from

Halli-

291. razed] slashed, patterns. Stubbes, .^/5?<5^5, writes of shoes "razed, carved, cut, and stitched over with silk." Clar. Press quotes Randle Holme, Academy of Armory, III. i. p. 14, " Pinked or raised Shoocs have the over leathers grain part cut into Roses, or other devices." 292. cry] company; transferred from the meaning pack of hounds. Cotgrave, " Meute, a kenncll, or crie, of 161 1
:

say I. 294. /] A whole one, Malone conjectured "A whole one, ay," and several editors adopt the suggestion, "I" and "ay" being both represented in print by "I." 298. pajock] Hamlet again probably quotes from some ballad, substituting "pajock" for the rhyming "ass." or streaked in Q 1676 ga.ve pa icock Q 1695, p(cock Anatoviic of Pope and many editors, peacock. Dyce
;

says he has heard the lower classes of the north of Scotland call the peacock the pea-jock (cf. bubbly-jock, turkey).

The peacock had an unenviable

re-

hounds." Cleveland, London Lady, 35 "A small cry of tenants." " The whole 293. share] Malone receipts of each theatre were divided into shares, of which the pro ietors
:
:

putation in popular belief and current He was vain, loved natural history. not his young, was inordinately lustful, swallowed his own ordure, had " the voice of a feend, the head of a serpent, and the pace of a theefe." Theobald proposed paddock, a toad, and puttock, Spenser, ./ Vietu a ravenous kite. of the Present State of Ireland {^. 636, Globe ed.), usca patchocke for a clown,

and perhaps

this is

Hamlet's word.


HAMLET
O
good Horatio,
well,
I '11

126
Hani.

[actiii.

take the ghost's word

300

for a

thousand pound.

Didst perceive

Hor. Very
Hor.

my

lord.
?

Ham. Upon
I

the talk of the poisoning

did very well note him.

Ham. Ah, ha!

recorders
!

Come,

some music!

come,

the

305

For

if

the king like not the comedy,

Why

then, belike,
!

he

likes

it

not, perdy.

Come, some music

Re-enter
Giiil.

Rosencrantz and GuiLDENSTERN.

lord,

Good my
you.
Sir,

vouchsafe

me

a word with 3 1 o

Ham.
Guil.

a whole history.
king,
sir, sir,
?

The

Ham. Ay,
Guil.

what of him

Is in his retirement

marvellous distempered.

Ham. With
Guil.

drink, sir

No,

my

lord, rather

with choler.
itself

Ham. Your wisdom

him him
Guil.

should show
;

more

richer to put

to signify this to his doctor

for, for

me

to his purgation
into far

would perhaps plunge 320

your
discourse
into

more
lord,

choler.

Good
Q

my

put

305. Ah, ha] Q, Oh, ha? F. 303. poisoning?'\ Y,poy suing. Q. 309. Reenter] as here ; in F after 7iote him, line 304. 317. rather] F, omitted Q. doctor F, 321. far] omitted Q. Q. 319. his doctor] F, the 306. recorders] a kind of flageolet. 315, distempered] discomposed in mind. Hamlet takes it up as if 320. pirgation] medicinally purging the body, legally clearing from imputation of guilt, as in As Yoii Like It, V. iv, 45. Hamlet plays on the two senses.

meaning disordered in body senses occur in Shakespeare,

both


sen]

PRINCE OF DENMARK
start

127

some frame, and

affair.

not so wildly from

my
325

Hani.
Guil.

am

tame,

sir;

pronounce.
in

The queen, your mother,

tion of spirit, hath sent

most great

afflic-

me

to you.

Ham. You
Guil.

are welcome.

Nay, good
right breed.

my

lord, this courtesy is not of the

it

If

shall
I

please you to
will

make 330

me a wholesome commandment
;

answer,
if

do your mother's

not,

your pardon and

my

return shall be the end of

my

business.

Ham.
Guil.

Sir,

cannot.

What,

my
;

lord

335
answer
I
;

Ham. Make you

diseased

a wholesome
sir,

my
you

wit

's

but,

such answer as
;

can make,
say,

you

shall

command
;

or,

rather,

as

my
Ros.

mother

therefore

no more, but to the

matter;

my

mother, you say,

:

340

Then thus she says your behaviour hath struck her into amazement and admiration.

Ham.

wonderful
!

son,
is

that

can

so

astonish

mother

But

there no sequel at the heels

?

of this mother's admiration

Impart.

345

Ros. She desires to speak with you in her closet ere

you go

to bed.

323. start-] F, stare Q. 333. of my'\ F, of Q. 335. Guil.] F, Ros. Q. 337. answer'] Q, answers F. 338. as you] Q, you F. 343. astonish] F, stonish Q. mother's'] 345, Q, Mother Y ; Impart.] Q, omitted F. 323.
ally of

frame] order, and used specian arrangement of words T.

;
:

is

335. Guil.] Evidently this speech rightly assigned to Guildenstern by

Spencer, Logick, 162S "This frame contains a proposition negative universall,

F.

tries his

&c."
i.
ii.

then retires and Rosencrantz hand, 342. admiration] wonder, as in I.

192,

He

332. pardon'] see

56.

ii.


HAMLET
We My
shall

128

[actiii.

Ham.
Ros.

obey, were

she

ten

times

our

mother.
lord,
I

Have you any

still,

further trade with us?

you once did love me.

350

Ham. So

by these pickers and stealers. Ros. Good my lord, what is your cause of distemper ? you do surely bar the door upon your own liberty, if you deny your griefs to
do
your
friend.

35

Ham.
Ros.

Sir, I

lack advancement.

How
mark
?

can that be when you have the voice of

the king himself for your succession in Den-

Ham. Ay,

sir,

but "While the grass grows,"

the

360

proverb

is

something musty.

Re-enter Players with recorders.

Oh,

the

recorders

let
:

withdraw with you

me see one. why do you go

. . .

To
about
. .
.

upon] Q, /7'eel}' 351. So I do] F, And do Q. 353. sin-e/y o/F. 361. Re-enter] Dyce, Enter one with a 360. >] Q, omitted F. line 362. reRecorder F, Enter the Players with Recorders Q, after 359. corders] Q, 7-ecorder F ; see one] Q, see F ; a comma after one Q, after see F.
349. /rade] business, as in Twelfth

Night,

III.

i.

83.

"Whylst grass doth growe, oft sterves the seely steede."

362, 363. To withdraw with you] have a word in private with you. Steevens suggests that Guildenstern has indicated by a gesture his wish for privacy, and that Hamlet's words Mason proposed are interrogative. "So, withdraw you," or "So, withdraw will you ?" Staunton takes the words as addressed to the players, and suggests " So (/flyC'm^ a recorde?-) withdraw with you." For the use of
to

351. pickers

and

stealers]

hands,

which the Church Catechism admonishes us to keep from picking and stealing. A mild oath, found in Merchant of Venice, V. i. 161. Hamlet wishes to have done with professions of love, and swears "by
these rogueish hands."

Humouring 356. advancement] conceit that he is ambitious; see II. ii. 260. 360, 361. the pi-overb] Malone from Whetquotes the proverb stone, Promos and Cassandra, 1578:
their

the infinitive III. iv. 216.

compare "

to

draw

" in

sen]

PRINCE OF DENMARK
wind of me, as
if

129

to recover the

you would
365

drive
Giiil.

me

into a toil?

O,
is

my

lord, if

my

duty be too bold,

my

love

too unmannerly.
I

Ham.
Guil.

do not well understand

lord,

that.

Will you

play upon this pipe?

My
I

cannot.

370

Havi.
Guil.

pray you.
I

Believe me,
I I

cannot.

Ham.
Guil.

do beseech you.

know no touch

of

it,

my

lord.

Ham.

'Tis as

easy as lying; govern these ventages 375

it

with your finger and thumb, give

breath with

your mouth, and

music.
Guil.

it

will discourse

most eloquent

Look you,
I I

these are the stops.

But these cannot

of

command

to

any utterance

harmony;

have not the

skill.

380

Ham. Why, look you now, how unworthy a thing you make of me You would play upon me you would seem to know my stops you would
!

pluck out the heart of

my
is

mystery

you would

sound

me

from
;

my

lowest note to the top of 385

my

compass

and there

much

music, excel-

lent voice, in this little organ, yet

cannot you

and /humb] F, C^ the 376. fiiigcr\ Y, fingers ; 375. 'Tis\ F, It is Q. vtnber (^. 385. the top of F, omitted Q. 377. eloquent'lQ, excellent .

'\

364. to

recover the

wind of

ie]

Madden, The Diary of Master Wil-

Ham

Silence, p. 33, note: "In order to drive a deer into the toils, it was

unmannerly] a bold may have forced my love to express itself ill. Or perhaps as Clar. Press suggests
366, 367.
.

duty

perhaps

too

needful to get to the windward of him, so that, having you in the wind, he might break in the opposite direction."

" an unmeaning compliment."

375. ventages] vents, holes,


HAMLET
make
it

130
speak.

[actiii.

'Sblood, do

you think
?

easier to be played

on than a pipe
will,

Call

am me
fret

what instrument you

though you can

390

me, you cannot play upon me.

Re-enter POLONIUS.

God
Pol.

bless you, sir

lord, the

My

queen would speak with you, and

that's almost in

presently.

Ham. Do you
Pol.

see yonder cloud

?

395

shape of a camel

By the mass, and 'tis like a camel, Ham. Methinks it is like a weasel.
Pol.
It is

indeed.

backed
like a

like a weasel.
?

Ham. Or
Pol.

whale

400

Very

like a whale.
will

Ham. Then

[Aside.]

Pol.
I

will

come to my mother by and by. They fool me to the top of my bent. come by and by.
I

will "

say

so.
" is

[Exit.

Ha7n.

By and by

easily said.

Leave me,

405

friends.

[Exeunt
388. speaki Q, omitted i, F 391. can fret me]

all but

Hamlet.

; /] Q, that I F. 390, i, 391. yoii\ Q, F ; yet yoii y^i^. yonaer\Ql,thatY. 397- '^^'-f Globe, Cambridge. 396. 0/] Q, /z7'e P\ like] 399. dacked] Q, F ; blari Qq 4-6. 4, 'tis, like Q, it 's Hie F. omits 403-406.] Speeches distributed as in F ; 402. 7vill /], I will Q. the distribution, and the Exit of Polonius ; the Exeunt, line 406, is omitted Q, F. ;
'

SbIood'\

Q,

Why F

fret

me

not Q.

290. fret]
irritate

Playing on

"fret,"

to

backed,

substituted ouzle for weasel,

and "

fret," the piece of gut,

metal, or wood which regulates the fingering on certain stringed instru-

which Theobald approved, noting that "there is humour in comparing the same cloudtoabeast,abird, and afish."
402. by atid by] immediately, as often in Shakespeare. 403. bent] see 11. ii. 30. 406. Leave me, friends] follows by and by (line 404) in Q.

meats.
398, 399. weasel] Capell transposed the camel and the weasel, to provide a hump for the second animal. Pope, reading with the later Qq black for

sc. Ill]

PRINCE OF DENMARK
now
the very witching time of night,
hell
itself

131

'Tis

When
out

churchyards yawn, and

breathes

Contagion to
blood,

this

world

now could

drink hot

And do

such bitter business as the day

to

410
to

Would quake
mother,

look

on.

Soft

now
,

my

heart, lose not

thy nature

let

not ever

The
Let
1

soul of

Nero enter

this firm

bosom
415

me

be cruel, not unnatural

her,

will

speak daggers to

but use none;

My tongue and soul in this be hypocrites How in my words soever she be shent.
To
give

them

seals never,

my

soul,

consent
[Exit.

SCENE
King.
like
let

III.

A Room

in the Castle.

Enter King, Rosencrantz, and GuiLDENSTERN.

I

him
his

not, nor stands

it

safe with us

To
I

madness range.

Therefore

prepare

you;
your commission
will forthwith dispatch.
;

And

he to England shall along with you

of our estate
410.

The terms
bitter

may
hilte)'

not endure
. .

408. breathes\ F, breakes Q.

day Q, better rfoy Warburton. now, F. 415. daggers^ F, dagger Q^.

413. Nero] The murderer of his mother, Agrippina. See King John, Perhaps the coincidences V. ii. 152. are accidental, that Agrippina was the wife of Claudius, was accused of

F, btisines as the 411. Soft! 7iow\ soft, now Q, Soft 6, someverCl, F. 417. soever']
,

daj']

poisoning a husband, and of living in incest with a brother. 417. shent] rebuked, as in Merry Wives, I. iv. 38.

132

HAMLET
Hazard so near us
as

[actiii.

doth hourly grow

Out of
Guil.

his lunacies.

We
Most holy and

will ourselves provide.

it is

religious fear

To keep
That
Ros.
live

those

many many

bodies safe

and feed upon your majesty.

life is

lo

The single and peculiar With all the strength and armour

bound
of the

mind
rests
i

To keep
That

itself

from noyance

but

much more
5

spirit

upon whose weal depends and

many.
with

The

lives of

The
it

cease of majesty

Dies not alone, but like a gulf doth draw

What 's

near

it

it is

massy wheel,

Fix'd on the summit of the highest mount,

To whose huge spokes ten thousand lesser things Are mortised and adjoin'd which, when it falls, 20 Each small annexment, petty consequence. Never alone Attends the boisterous ruin.
;

Did the king

King.
6.

sigh,

but with a general groan.

this

Arm
Q

you,
1676,

pray you, to
;

speedy voyage
F and many editors.
14.
it

near us\

Pope

Jieer's

dangerous

7.

lunacies'] F,

browes Q, lunes Theobald, braves Anon. zv/iose spirit F. 17. 15. cease] F, cesse Q. 23. with] F, omitted Q. 22. ruin] F, raitie Q.
7.

is]

whose weal] Q, F, or it is Q.

lunacies]

right.

The Q brows may be The word brow is used in the

Rolfe compares KingJohn, i. i. 1S3 "many a many foot of land," and

:

sense of fronting aspect, countenance, and also in that of confidence, effrontery ; see A New English Dictionary, The choice of the brow, 5 c and d.

Clar.
1 1

Press,

Henry

V.

IV.

ii.

"A very
.

33:

little little let

and

single private,

and peculiar]

us do." individual

word may have been determined by the fixed gaze of Hamlet upon the King during the play-scene. It seems
strange that blows (in the sense of injuries, not uncommon in Shakespeare) has not been suggested as an emendation of i^rt'wi'. 9. many many] Ff 2-4 read many,

noyance] hurt, injury, cease of maPope subjesty, death of a king. stituted " decease" for " the cease." 16. gulf] whirlpool, as in King
13.
15.

cease] cessation;

Richard
24.

Arm

III. in. vii. 128. yoit] prepare yourselves,

I.
i.

as in

Mid. Night's Dream,

117.

sc.iii]

PRINCE OF DENMARK
will fetters

133
25

For we

put upon this

fear,

Which now goes

Ros., Guil.

too free-footed.

We
Entej'

will haste us.

\Exeunt Rosencrants and Guildenstern.

POLONIUS.

Pol.

My

lord,

he

's

going to his mother's closet

I '11

Behind the arras

convey myself
;

To hear home

the process

'11

warrant she

'11

tax him

And, as you

said,

and wisely was

it

said,

30

'Tis meet that some more audience than a mother,

Since nature makes them partial, should o'erhear

The
I '11

speech,
;

of

vantage.

Fare

you

well,

my

liege
call

upon you ere you go to bed,

And
King:

tell

you what

know.
Thanks, dear

my

lord

35

l^Exit Polonius.

Oh,
It

my

offence

is

rank,

it

smells to heaven
't,

hath the primal eldest curse upon

brother's

A
25.

murder

Pray can

not.

Though
,

inclination be as sharp as will

26. Ros., Guil.] inserted by Theobald.

upon^V ahouf C^.

Both F, Ros. Q.
39.

33. !;peck,

of vantai;c\

comma

will :'\ F,

luill,

Q.

33. of vantage] from a point or position of vantage. Many editors do not insert the comma before vantage. Hudson explains "speech of vantage," a speech having the advantage of such partiality as a mother bears to a son or a son to a mother. 38.] Ilanmer needlessly emends the metre by inserting "alas!" after

"Pray."
derer."
39. will\

Walker suggests

" mur-

An ingenious gentleman Theobald, "'twill" to which some editors have adopted, Warburton read " th' ill." The King means that his effort to pray was no reluctant resolve; his desire accompanied his act of will.
suggested

134

HAMLET
My
I

[acthi.

stronger guilt defeats

like a

my

strong intent,

40

And,

man

to double business bound,

I

stand in pause where

shall first begin,

if this

And
Were
Is

both neglect.

What

cursed hand,

thicker than itself with brother's blood.

not there rain enough in the sweet heavens

45

To

wash

it

white

as

snow?

Whereto
?

serves

mercy
But to confront the visage of offence

And what 's in prayer but this two-fold To be forestalled ere we come to fall,
Or pardon'd being down?

force.

Then
"

I'll

look up;

50
foul

My
Can

fault

is

past.

But, oh, what form of prayer

turn
?

serve
"

my

Forgive

me my

murder ?

That cannot

be, since

am
I

still

possess'd

Of

those effects for which

did the murder,

My

crown, mine

own

ambition, and

my

queen.
?

55

May

one be pardon'd and retain the offence

In the corrupted currents of this world

Offence's gilded

hand may shove by

but
;

justice,

And

oft

'tis

seen the wicked prize

;

itself

Buys out the law

There,
is

'tis

not so above

60

no shuffling

there, the action lies

In his true nature, and

we

ourselves compell'd
faults
inwiher,

Even

to the teeth
F,

and forehead of our

52.

50. pardon! d'Y viiirther: F.

pardon Q.
by'\

nnirdcr?^

Caldecott,

Q,

58. shove

F, showe by Q.
ii.

57. currents] courses.

Dyce and

368.
61.

Occurrents had been

Press:

su"g-

Furness accept Walker's suggestion '"currents" for occurrents; see v.

gested in 1752,
lies] Clar.

"used

in its

legal sense."

sc.iii]

miNCE OF DENMARK
give in evidence.

135
rests
?

To

What

then

what

Try what repentance can: what can it not? it when one can not repent? O wretched state O bosom black as death
Yet what can
!

65

limed soul, that struggling to be free

!

Art more engaged

Help, angels
;

make

assay

Bow, stubborn knees

steel,

and, heart with

strings of

70
sinews of the new-born babe
\Retires

Be
All

soft as

may

be well.

and

kneels.

Enter Hamlet.

Ham. Now might I do it pat, now he is praying And now I '11 do 't and so he goes to heaven And so am I revenged. That would be scann'd
;

A
I,

villain kills

my
do

father
this

and

for that,

his sole son,

same

villain

send

To
Oh,

heaven.
this
is

hire

and

salary, not revenge.

He

took

my

father grossly, full of Dread,

80

With

all his

crimes broad blown, as flush as

May
?

And how
72,
,

his audit stands

who knows
Q

save heaven

l. 73. it pat, Retires .] Malonc, omitted Q, F; hee kneeles he is praying] F, it, but notu a is praying- Q. 77. sole] Q,/oule, /lire and salary] F, base ; F, foot, Capell conject. 79. O/i] F, IV/iy F. and silly Q. 81. With all] F, Withall ; fitish] Q, fresh
.

vow

68. limed] lime.

caught,

as

with

bird-

be addressed not

69. engaged] entangled. So Florio, Montaigne: "The Barbie fishes, if one of them chance to be engaged."
69. assay]\.x\^X; but assay
is

to the angels but to the King's own soul. 75. -would be scannd] ought to be

examined.
80. bread]
xvi.

Malone

refers to Ezekiel
_

used

by Shakespeare, King Henry V. i. ii. 151, for an onset, attack, and perhaps that is the meaning here. It is
suggested that

49: "pride, fulness of bread." 81. broad blown] sec the Ghost's

words, I. v. 'jG; /lush, lusty; full of life ; " Hush youth," Ant. and Cleop.
i.

"make

assay"

may

iv.

52.

136
But
'Tis
in

HAMLET
heavy with him
he
;

[actih.

our circumstance and course of thought

and am

then revenged,

To
No.

take him in the purging of his soul,

is fit

85
?

When

and season'd

for his

passage

Up, sword, and know thou a more horrid hent When he is drunk asleep, or in his rage,

Or in the incestuous pleasure of his bed, At gaming, swearing, or about some act
That has no
relish of salvation in
't

90

Then

trip

him, that his heels

may

kick at heaven

And
As

that his soul

may

be as damn'd and black

hell,

whereto

it

goes.

My

mother

stays.

95

This physic but prolongs thy sickly days.

King. [Risingi\

[Exit.

My words fly up, my thoughts remain below;

to heaven go.
\Exit.

Words without thoughts never

SCENE
Enter
Pol.
89.

IV.

The Queens

Closet.

QUEEN and POLONIUS.

Look you
lay

He

will

come
F

straight.
drnnkc,
;

home

to

him

drunk

asleep] F,

game a sivearing Q,
97.

a sleepc Q. 91. gaming, swearing] , game swearing Q i, game, a-sweanng Cambridge.

Rises Capell.

Rising] omitted Q,

83.

our

condition thought.

and

thought] our mortal the course of our

and adduced instances of the use of

the hunting-sword in breaking-up the quarry? 89-95.] Parallels for Hamlet's "infernal sentiment " can be adduced from other dramas. Thus in Beaumont and Fletcher, Four Plays in One The Triumph of Death, sc. v. (with an evident reminiscence from Hamlet) " 'Tis nothing No take him dead - drunk now, without repentance, His lechery inseam'd upon him."
:

Or "circumstance" may

be connected with "thought," our thought in its indirect indications

and
is

its

general tendency.

88. hent] seizure, grip. The verb found in Measure for Measure, iv.
14,

vi.

and IVintet's Tale, IV. iii. meaning seize, take. F 4 has hent, followed by several editors. Warburton conjectured hest, comWhy has no "ingenious mand.
133,

gentleman " suggested hunt, pursuit,

sc. IV.]

PRINCE OF DENMARK
him
that
his

137

Tell

pranks have been too broad to bear

with,

And
Much
Ham.
Queen.
[

your

grace

hath

screen'd

and

stood

between
heat and him.
I '11

silence

me

e'en here.

Pray you, be round with him.

WitJiin^
I '11

Mother, mother, mother

;

warrant you
not.

Fear

me

Withdraw,

hear him coming.

\_Polonius hides behind the arras.

Enter HAMLET.
Hain. Now, mother, what
's

the matter

Queen. Hamlet, thou hast thy father

Ham. Mother, you have my

father

much offended. much offended.

10

Queen. Come, come, you answer with an idle tongue.

Ham.
Queen.

Go, go, you question with a wicked tongue.

Ham.
Queen.

Why, how now, Hamlet? What 's

Have you
are
forgot

the matter

now ?

me ?
No, by the rood, not so
your
husband's
brother's
I

Ham. You

the

queen,

wife
4.
,

siletiii: iik: e'en'\ Y silence me even Q, 'sconce mc e'en Waibiirton, sconce even Ilanmcr. Jitoiher] F, omitted Q. 6. warrant'^ 5. wi/h F, wait Q. Polonius hides .] omitted Q, F; so with stage directions, line 23, line 24. 12. a wicked] Q, an idle V.

Die

4.

silence]

Several
Cf.

editors

adopt

Hanmer's
III.

sconce.

Merry Wives,

iii. 96: "I will ensconce me behind the arras." Clar. Press reads sconce because it is supported by Q I "He shrowde my scUc behinde the
:

Polonius can he " most still" only in death; his resolve "to silence himself" may have an ironical relation to the occasion of his death, his loud

" What, ho
5.

!"
li.
ii.

round] see

139.

arras."

The "

foolish prating

knave"

; !

138

HAMLET

[actiii.

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

'11

budge

You go not till I set you up a glass Where you may see the inmost part of you. 20 Queen. What wilt thou do ? thou wilt not murder me ?
Help, help, ho
Pol. [Behind.']
!

What, ho

help, help, help

!

Ham.

\_Drawmg.'\

How now
I

a rat?

Dead,

for a ducat,

dead
Queen.

[Makes a pass
Oh,

tJu-ough the arras.

Pol. [Behind.]

am slain Oh me, what

!

[Falls

and
?

dies.

hast thou done

?

25

Ham. Nay,

know

not

is it

the king

Queen. Oh, 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? Ham. Ay, lady, 'twas my word.

30

[Lifts up the arras

and

discovers Polotiius.

Thou
I

wretched, rash, intruding

;

fool, farewell

took thee for thy better

find'st to

take thy fortune

is

Thou

be too busy

some danger.
Peace
!

Leave wringing of your hands.

down.

sit

you

And
If
16. it

let

me wring your
made

heart; for so

shall

35

be
. .

of penetrable stuff;
most Q.
/]

And

_;'<??/]

Q (no parenthesis, comma

ininosti F,

not
. .

so.

You F.

20.

after jo) ; But zvould yoic were 22. Help, help, ho /] F, Heipe

how. Q.
.

23. What, ho! . . . help arras] Capell, omitted Q, F. dies] Killes Polonius F, omitted Q.

F,

What how

helpe Q.

24. Make's

omitted Q,

''ttvas'\

F,

it

was Q.

25. Behind] omitted Q, F ; Falls and stage direction 30. king?"] F, king. ; 32. better] Q, betters F.

sc.iv]
If

PRINCE OF DENMARK
damned custom have not
it is

139

braz'd

it

so

That
Queen.

proof and buhvark against sense.

I

What have

done that thou darest wag thy tongue

In noise so rude against

me?
Such an
act

Ham.

40

That blurs the grace and blush of modesty,

Calls virtue hypocrite, takes off the rose

From

the

fair

forehead of an innocent love,

;

And

sets a blister there

makes marriage vows

;
'

As false as dicers' oaths oh, such a deed As from the body of contraction plucks The very soul, and sweet religion makes

45

rhapsody of words
this solidity

heaven's face doth glow.

Yea,

With
Queen.

tristful visage, as

and compound mass. against the doom,

50
act,
?

Is thought-sick at the act.

Ay

me, what

That roars so loud and thunders in the index

44. sets] Q, 38 is\ F, be Q. 37. hrazd\ F, bmsd Q, brass'd Globe. makes F. 48. doi}i\ F, dooes Q. 48, 49. glow, Yea] F, glozve Ore Q. mc/(?x] given to the Queen F; 50. tristful] F, heated Q. 51, 52. ^_j/ That roars, &c., to Hamlet Q. Ay act? given to Queen
. . . . .

37. (^ras'^

hardened

like brass.
i()0?>:

So
3.n\

Axmm, Nest of Ni>2nies,

"I

brazed by your favours, made bold in your ostended curtesies." 38. proof and bulwark] armour of proof and rampart against sense, that is, feeling. For proof compare Macbeth,\.'\\. 54: " Bellona's bridegroom
lapp'd in proof." Clar. Press takes ' proof " and bulwark " as adjectives, a blister] Clar. Press: 44. sets "brands as a harlot." Compare iv. V. 1 17, and Comedy of Errors, 11. ii.
'
'

"The Voyages, Hakluyt, 1598: mutual contraction of a perpetuall Cotton Mather, Magnalia league." "After his 'conChristi, 1702: unto tlie daughter of traction Mr. Wilson."
'

49. this solidity] the earth. 50. tristful] sorrowful, as

Henry IV. u.
day.
51.

iv.

in 1 433: doom, dooms-

'

/'/w//^///-.f/V/!']

see

III.

i.

85.

138. 46. contraction] act of contracting, specially of the marriage-contract,

52 index] prelude; the index or "table" was usually placed at the beginning of books. So Othello, 11. i. 263: "An index and obscure prologue."

;;

140

HAMLET
here,

[acthi.

Ham. Look
The

upon

this picture,

and on
this

this

counterfeit presentment of

two brothers.

See what a grace was seated on

Hyperion's
curls, the front

brow

5 5

of Jove himself,

An

eye

like

Mars, to threaten and

command

A
A

station like the herald

Mercury
hill

New-lighted on a heaven-kissing

combination and a form indeed,

60

Where every god did seem to set his seal To give the world assurance of a man This was your husband. Look you now, what
:

follows

Here

is

your husband

like a

mildew'd

ear,

Blasting his wholesome brother.

Have you eyes ? 65

feed.
?

Could you on

this fair

mountain leave to
?

And You

batten on this

moor
blood

Ha
is

have you eyes

humble.

cannot

call

it

love, for at

your age
it 's

The hey-day

in the

tame,
;

And

waits

upon the judgment

and what judg-

ment
55. this\ Q, his F.
53.

70
57.

and'] Q, or F.

65.

brother] Q, breath F.

Look here,] Restoration actors

;

made Hamlet produce two miniatures

Hamlet's father

but miniatures could hardly represent

at full-length, as he described. print, prefixed to Rowe's ed. of ZTaw/e/, 1709, exhibits half-lengths hanging on the wall. The actor Holman had a picture of Claudius on the wall, and a miniature of the dead
is

Sir H. Irving used two miniatures. and Salvini have represented the portraits as seen only by the mind's eye. por54. counterfeit present niettt]

trayed representation. " Fair Portia's counterfeit,"

Compare
yl/i?;r/^ff/'

of Venice,

III.

ii.

116.

58. station] attitude in standing, as Ant. and Cleop. ill. iii. 22.

king produced from Hamlet's bosom. P'echter had two miniatures, one worn round Gertrude's neck, the other by Hamlet he tore the miniature from Gertrude and flung it away; so Rossi,
;

59.]

Malone conjectured

that this

image was caught from Phaer's-<^(?zV/, IV. 246, Mercury arriving on Atlas,
67.

batten]

feed
v.

gluttonously.

who stamped upon

it.

Edwin Booth

Coriolanus, IV. cold bits."

35: "batten on

"

sc.iv]

PRINCE OF DENMARK
step

141
sure

Would
have,

from

this

to

this

Sense

you

Else could you

sense
Is

not have motion

but sure, that

apoplex'd

for

madness would not

was ne'er so

err.

Nor sense
But
it

to ecstasy

thrall'd

reserved

some quantity of
at

choice,
devil

To

serve in such a difference.

What

was
?

't

That thus hath cozen'd you

Eyes without
feeling, feeling

hoodman-blind

without sight.
all,

Ears without hands or eyes, smelling sans

Or but

a sickly part of one true sense

80
hell,

Could not so mope.

O
If

shame

where

is

thy blush
in

Rebellious

thou canst mutine

a matron's bones,

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
will.

85

doth burn,

And
Queen.

reason panders

O
turn'st

Hamlet, speak no more

Thou

mine eyes

into

my

very soul,

71. step] Q, F; stoop Collier MS., and MS. in Ingleby's copy of Q 1637. mope] Q, 78-81. Eyes 71-76. .Sense difference'] Q, omilled F. pandars] F, pardons Q. omitted F. 88. And] Q, As F 89. eyes . very] F, very eyes into my Q.
.
.

71, 72. Sense feeling ; motion,

motion'] sense,
desire, as
in
11.

77.
buff.

hoodman-blind]

blind

man's
:

impulse,

Singer quotes Baret's Alvearie

play, or

frequently in Shakespeare. 74. ecstasy] madness, as

102.
;

"The Iloodwinke
i.

hoodman-

blind, in

some places

called the blind-

used some75. quantity] portion times by Shakespeare contemptuously for a small portion or anything diminutive, as in

manbuff. 81. mope] be stupid, as in Tempest,

V.
i.

239.

KingJohn,

V.

iv.

23.

83. mutine] mutiny. " Mutiner, to mutine."

Cotgrave

! !

142

HAMLET
And
As
there
I

[act

m. 90

see such black

and grained spots

Nay, but
to live

will

not leave their

tinct.

Ham.

In the rank sweat of an enseamed bed,

Stew'd in corruption, honeying and making love

Over the nasty

Queen.

sty,

O, speak to
like

me no more
95

These words

daggers enter

in

mine ears;

No Ham.

more, sweet Hamlet

A
is

murderer and a

villain

A A

slave that

not twentieth part the tithe

lord
;

Of your precedent
That from a

a vice of kings

cut-purse of the empire and the rule.

shelf the precious

diadem

stole,

00

And
Queen.

put

it

in his

pocket

No more
king of shreds and patches

Ham. A

Enter Ghost.

Save me, and hover

figure

o'er
!

You heavenly guards

?

What would your

me

with your wings.

gracious

Queen. Alas, he's

mad!
my

105
91. not Ieave'\Y, leave there Cl. 94 sty,^ 102. patches ] Rowe, patches, Q. Q,
;

sty.

90. grai7ied]Y, greened Cl. 95. mine'] F, Q, F.

patches. F. 103. Enter Ghost.] before line 102 Q, his night gowne i. 104. yoztr'] Q, you F.

Enter the Ghost

in

90. grained] dyed in grain. 92. enseamed] loaded with grease,

98. vice] moralities

the

vice

of

was
;

commonly

the old a rnvi-

French, enseimer{no'w ensime?-). New English Dictionary: "The French word is now used only in sense 'to grease cloth,' whence perhaps the fig. use in Shaks." See note on iii.
iii.

chievous buffoon
the

parti-coloured dress whence, Dyce supposes, shreds and patches."

he wore sometimes of a fool, "a king -of

89-95.

: ;;

sc.iv.]

PRINCE OF DENMARK
not

143

Ham. Do you

come your tardy son

to chide,

That, lapsed in time and passion,

lets

go by

The important
Oh, say
Ghost.
Is
!

acting of your dread

command ?
1 1

Do

not forget

this visitation

but to whet thy almost blunted purpose.

look,

But

amazement on thy mother

sits

Oh, step between her and her fighting soul

Conceit in weakest bodies strongest works

Speak

to her,

Hamlet.

Ham.
Queen. Alas,

How
how
is 't

is it

with you, lady

with you,

That you do bend your eye on vacancy

And
And,

with the incorporal

air

do hold discourse?
wildly peep

Forth at your eyes your

spirits

as the sleeping soldiers in the alarm,

hair, like life in

120

Your bedded
Starts

excrements.

up and stands an end.

gentle son,

Upon

the heat and flame of thy distemper

Sprinkle cool patience.

Ham. On

him,

on

him

Whereon do you Look you, how

look

pale

he

glares
iiS. the iiicorpoyal] 117. you do\ Q, yoti F. 22. Starts . . . stands'] stand Q, F. 4, Start . .

125
Q, ihcir corporaU F.

" having

/aj'5z"(?] Johnson : 107. lapsed . . suffered time to slip and pas.

12.

amazenient] bewilderment, as
IV.
ii.

in

Measure for Measure,

1

220.
II.

siontocool." Rolfe :" having let time slip by while indulging in mere passion." Schmidt (guided by the use of lapsed \n Twelfth Night, in. iii. 36) "surprised by you in a time and passion fit for the execution of your command." Collier MS. has "fume" for " time."
108.

14.

Ci?crfzV]

imagination, as in
;

ii.

m/cr/aw/] urgent,
vii.

as in

AlPs

593. used 121. (?.xrrew<';?A] outgrowths especially of hair, nails, feathers ; used of the beard in Merchant of Venice. III. ii. 87. Rowe read hairs, and is followed by several editors. 122. a <?(/] see I. v. 19.

Well, HI.

21.

144

HAMLET
Would make them
me,
Lest with this piteous action you convert
capable.

[acthi.

His form and cause conjoin'd, preaching to stones,

Do
tears

not look upon

My
Will

stern effects

then what
colour
;

have to do
perchance
for

want

true

blood.

130
speak
this
?

Queen.

To whom do you
all
;

Ham.
Queen. Nothing at

Do
yet
all

you see nothing there

is
I

that
?

see.

Ham. Nor
Queen.

did you nothing hear

No, nothing but ourselves.

look you there
!

Ham. Why,

look,

how

it
!

steals

away

My father, in his habit as he lived 135 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.

Ham.

Ecstasy

?
1

My

pulse, as yours,

doth temperately keep time,

;

40

And makes
That
I

as healthful music
utter'd
;

it

is

not madness

have

bring

me

to the test,

And

the matter will re-word, which madness

from.
Singer.

Would gambol
129. effects]

Mother,
131.

for love of grace,

Q,

F;

affects y

whomi Q, who

F.

139.

Ecstasy

.^]

Y, omitted Q.
135.

127. capable] susceptible, as in in.

ii.

his habit]
shall

directs that the

14.

Ghost
z.c'ixoxi, dJixxi

appear in his night-gown,

11.
i.

129. effect s]

Ve7ius

and

that

is,

dressing-gown.
102.

Adonis, 605, and Lear, II. iv. 182. Singer's proposal affects, affections of the mind, is perhaps right.

138. ecstasy^ see

sc. IV.]

PRINCE OF DENMARK
not that flattering unction to your soul,

145
145

Lay

That not your trespass but my madness speaks It will but skin and film the ulcerous place,
Whilst rank corruption, mining
Infects unseen.
all

within,
;

Confess yourself to heaven

past, avoid

Repent what's

what

is

to

come;

150

And do not spread the compost on the weeds, To make them ranker. Forgive me this my virtue.
For
in the fatness of these
itself

pursy times

Virtue

of vice

must pardon beg.

for leave to
cleft

Yea, curb and woo

Queen.

do him good.
heart in twain.

5 5

Hamlet, thou hast

my

Ham. O, throw away the worser part of it, And live the purer with the other half.
Good night but go not to mine uncle's bed Assume a virtue, if you have it not. That monster, custom, who all sense doth eat. Of habits devil, is angel yet in this.
:

160

That

to the use of actions fair

and good

He

likewise gives a frock or livery.

is

That aptly

put on.

Refrain to-night,

165

148. Whilst^ F, Whiles Q. 145. that\ Q, a F. 151. ?] Q, or F, der Caldecott. 152. ran/cer] Q, ranke F. 153. these] Q, this F, 158. live] F, leatie Q. 155. nirb](^, courbY. 159. mine'] F, f>iy Q. 161-165. That /M/o]Q, omitted F. 161, 162, eat, Of habits devil,]
. . .

deuill Q. 165. on. colon after on), on to rcfraine night Q.

6, eate

Of habits

Refrain to-night]

6 (with semi-

152.

Forgive]

Staunton

regards

these words to the close of the speech as addressed to virtue," and

"my

marks them "aside"; but how does this agree with virtue begging pardon of vice ? Evidently the words are spoken to his mother. 155. fM;-/;] The modern spelling of F courb, French courber, to bow or

bend. Drummond of Ilawtliornden, Cypress Grove: "bodies languishing and curbing." 161-165.] With the pointing above, no emendation is required Custom,
:

who

destroys all sensibility, the evil spirit of our habits, is yet an angel in
this, etc.

by Thirlby

The emendation suggested to Theobald "of habits

'

146

HAMLET
And that shall lend a kind of easiness To the next abstinence the next more
;

[actiii.

easy

For use almost can change the stamp of nature,

And either master the devil, or throw him out With wondrous potency. Once more, good night And when you are desirous to be bless'd, i 7 '11 blessing beg of you. For this same lord, I

{^Pointing to Polonius.
I

do repent
punish
I

but heaven hath pleased

with
this,

it

so,

To
I

me

and

this

with me,

That
will

must be

their scourge
will

and minister.

175

bestow him, and

I

answer well

The death
I

gave him.

So, again, good night.

;

must be

cruel,

only to be kind

Thus bad begins, and worse remains behind. One word more, good lady.
Queen.

What
this,

shall

do

180

Ham. Not

by no means, that

bid you do
;

Let the bloat king tempt you again to bed

Pinch wanton on your cheek
.

call

you

his

mouse
.

///e]

167-170. the next more poteiicyl Q, omitted I". 169. And Jennens, Steevens (1785), Dyce (ed. 2), Furness ; And eit/ier t/ie Qq 180. One 179. Thus\ F, This Q. 3; And Maister the Q 4. lady"] Q, omitted F. 182. hloat'\ Warburton, blowt Q, bhint F.
. . .

2,
. .

evil" is plausible ; but it effaces the opposition of "angel" to "devil." Staunton reads "eat, Oft habits' devil "; Grant White, " eat of habit's evil"; Johnson, "eat Of habits, devil." Clar. Press notes: "The double meaning of the word habits suggested the frock or livery." 169. And either master\ (^ omits the verb Q 4 omits ?V//f rand inserts master. Several editors follow Q 4.
' ;

curb." Quell, lay, shame, and other "Master" verbs have been proposed. may be derived from the early stage, and has somewhat more authority than any other word, 178, 179.] Delius supposes that the
lines are

spoken

aside,

Pope and Capell, "And master even " (or ev'n) ; Malone, " And either

name, as in Love's Laboni's Lost,v .\\. \(i;'Q\yxX.ox\, A7iatomy of Melancholy " pleasant names may be invented, bird, mouse, lamb, pus, pigeon, &c."
1S3. moused a pet
:

sen]
And
Or

PRINCE OF DENMARK
let

147

him, for a pair of reechy kisses,

in

paddling
fingers,

your

neck

with

his

damn'd
i

85

Make you
That
But
I

to ravel all this matter out,

essentially
in

am

not

in

madness.

mad
;

craft.

'Twere

good you

let

him

know For who that 's but a queen, fair, sober, wise. 90 Would from a paddock, from a bat, a gib, Such dear concernings hide? who would do' so?
1

No,

in despite of sense

and secrecy,

Unpeg

the basket on the house's top,

fly,

Let the birds

and, like the famous ape,

To try conclusions, in the basket creep, 195 And break your own neck down. Queen. Be thou assured, 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?
Queen.
I

Alack, 200

had forgot
in

'tis

so concluded on.

188. craft.
3,

no pointing
1

k^k,. cotuliisioiis,inthehasket'\Y ^Ttvere^Y, craft, 'f were (^. 200. that?'\ F, that. Q. Q, comma only after basket F.

84.
;

7-cechy'] ^T\oi\\tr

smoky

hence

used to mean malodorous,

hrm o{ reeky, but reek is also vapour, commonly emit and perhaps the word
foul
;

secrets." blindness,

Perhaps the ideas of venom,

and

lust are suggested,

193-196]

unknown.
Suckling
storj' in

The famous ape is now Warner suggests that

to

may mean stinking.

We have

"reeky
"

alludes

the

forgotten

shanks and yellow chapless skulls in Ko>nco and Juliet, iv. i. 83. 190. paddock] toad, as in Macbeth,
I.
i.

9.
i^ih'\
I.

a letter, where he speaks of the jackanapes and the partridges but Suckling's jackanapes, though he lets out the partridges, does not break
;

190.

tom-cat; so "gib-cat," 1
ii.

his neck,

//tv/yj/r.

toad, posed to be familiars of witches and mistresses' acquainted with their

" The

83. Clar. Press notes : bat, and cat were sup-

195.

try

conclusions]

trj'

experi-

ments, as in Ztvwt', 1160.

200.

En^and] How Hamlet had

this is left untold.

leamt

148

HAMLET
letters

[actiii.

Ham. There 's

fellows,

seal'd

and

my

two

school-

Whom
way,

will trust as

will

adders fang'd,

They bear

the

mandate; they must sweep

to knavery.

my
205

And
For

marshal
'tis

me

Let

it

work

the sport to have the enginer

Hoist with his

own

petar; and

't

shall

go hard

But

will delve

one yard below

at

their mines,
;

And blow them

sweet

the

moon

oh,

'tis

most

When in one line two crafts directly This man shall set me packing
I
'11

meet.

210

lug the guts into the neighbour room.

Mother, good night.

Is

Indeed
secret,

this counsellor

now most
was
sir,

still,

most

and most grave,

2
i

Who
Good

in life a foolish

prating knave.

Come,

to

draw toward an end with you.

night, mother.
sevei'ally ;

\Exeunt
202-210.
There'' s
212,.
.

Hamlet dragging

in Polonius.

an'iQ.

goodnight. Q I, F; most foolish Q. Hamlet tugging in Polonius

206.

meet^ Q, omitted F. 207. aiid't'] Theobald, Ifideed], good night indeed, Q^. 21^. foolish'] Steevens ; Exit Q; Exit 217. Exeunt ] i. F Exit Hamlet with the dead body
. . . ;

^;?//(f;-]

constructor of military
^, as in
i.

works; accent on
i.

(9//f//<7, II.

65.

Compare /?'c7cr,

v.

163.

207. Hoist] Shakespeare has both the forms hoise and hoist, to either of

which

forms of the verb this

Clar.

may

belong. 207. petar]

"Petart: a Petard or wherewith Petarre an Engine strong gates are burst open." 211. packing] Schmidt: departing contriving, in a hurry. Clar, Press plotting, with a play on the other " Pack" occurs in both senses sense.
Cotgrave
;
: . . .

Press

quotes

in

Shakespeare.


SCI.]

PRINCE OF DENMARK
ACT
SCENE
Ejiter
I.

149

IV
i7i

A Room

the Castle.

King, Queen, Rosencrantz, and

GUILDENSTERN.
King. There
's

matter in these

sighs

these

profound

heaves

You must translate Where is your son ?

'tis fit

we understand them.
little

Queen. Bestow this place on us a

while.

\Exeunt Rosencrantz a^id Guildenstern.

Ah,
Queen.

my

good

lord,
?

what have

seen to-night
?

King: What, Gertrude

How
:

does Hamlet

Mad

as the sea and wind,

is

when both contend

fit.

Which

the mightier

in his lawless

Behind the arras hearing something

stir.

Whips out

his rapier, cries, "

rat,

a rat

"
!

10

And
King.
It

in this brainish

apprehension

kills

The unseen good

old man.

O
is full

heavy deed

had been so with us had we been there;

of threats to
all,
i

His liberty

To you
. , .

yourself, to us, to every one.

Enter Guldenstern] substantially Q, Enter King F. i. matter^ Q, matters F. i, 2. There^s translate\ F has full stop after sighs, . . white'] 4. Bestow Q has comma after sighs, heaves, and translate. .] omitted Q, F. Q, omitted F. Exeunt 5. my good] F, mine own Q to-night!] Hanmer ; to-night? Q, F. 10. Whips 7. sea] Q, seas F. cries] Q, He wliips his Rapier out, and cries F. this] Q, his F. 1 1,
. . . .
.

II.

ate.

(^ra/?j-/^] headstrong, passionPalsgrave, /^ac/a/rm/f/, 1 530:

" Braynisshc, wylled."

hedy,

folisshe,

selfe

150
Alas,

HAMLET
how
be
shall this
laid to us,
It will

[act

iv.

bloody deed be answer'd

whose providence
and out of haunt,
our love,
fit,

Should have kept

This

short, restrain'd
;

mad young man

but so

much was

We

would not understand what was most

from divulging,
feed

20

But, like the owner of a foul disease,

To keep
Queen.

it

let it

Even on the pith of life. Where is he gone ? To draw apart the body he hath kill'd O'er whom his very madness, like some ore

25

Among
Shows
King:

a mineral of metals base,

itself

pure

he weeps for what

!

is

done.

O Gertrude, come away The sun no sooner shall the mountains touch But we will ship him hence and this vile deed
;

30

We

must, with

all

our majesty and

skill.
!

Both countenance and excuse.

Re-enter

Ho

Guildenstern

ROSENCRANTZ

atid

GUILDENSTERN.
;

Friends both, go join you with some further aid

Hamlet

in

madness hath Polonius

his

slain.

And

from

mother's

closet

hath

he

dragg'd

him:
22.
/c/]

35
V.
31. must] F,
fiiost

Q,

lei's

Q.

18. kepi shori\ So in Florio's ]\Iontaigne: "When his soldiers were nearest unto their enemies he re" strained and kept them very short
(ll.

English-French Dictionary appended Cotgrave ore is confined to gold." Walker proposed and Furness reads "like fine ore."
to

34). 18. haimt'X

It, II.
i.

26.
resort,
15.

viineral'\

Malone

" Minsheu

as

in

As You

Like

25. ore'\ Schmidt gives no meaning for ore in Shakespeare except " a vein of gold." Clar. Press "in the
:

defines 'mineral' to be 'anything that grows in mines and contains metals.'" It is used in Hall's .S'ai!'i'?'t'j',
b. vi. for

mine,

sen]
Go

PRINCE OF DENMARK
seek him out
;

151

speak
I

fair,

and bring the body

in this.

Into the chapel.

pray you, haste

\Exeunt Rosencrants and Guildenstern.

Come, Gertrude, we '11 call up our wisest And let them know both what we mean

friends
to do,

And what 's

untimely done

[so,

haply, slander,]

40

Whose whisper o'er the world's diameter, As level as the cannon to his blank Transports his poison'd shot, may miss our name

And

hit the

woundless

air.

O, come away

My

soul

is full

of discord and dismay.

45
\_Exeunt.

SCENE
Ham.

II.

Another

Room

in the Castle.

Enter HAMLET.
Safely stowed.
[

Ros.^ Gull.

Within.']

Hamlet

Lord Hamlet
calls

Ham. But

soft,

what noise? who

on Hamlet?

O, here they come.

Etiter

RosENCRANTz
done,

a)id

Guildenstern.
with the dead
5

Ros.

What have you

body?
And let]
Q, To
let

my

lord,

39.

V.

40-44.] see note below.

Scene

II.

Enter Hamlet] F
^oftA Q. omitted F.

luiter
4.

Hamlet, Rosencraus, and others

Enter
. .

(^.

2.

Ros.,
3.

Guil. [Within.] IJaiiiletl

Lord Hamlet!']
.]

substantially F, omitted Q. F, omitted Q.

But

40. so haply 5lander]Y o\x\\\^^\h&Iween done and (3, line 44 Q reads " And whats vntimely doone,
; :

above,
editors.

and is followed by many Malone 1790: "So viperStaunton

suggested

ous

slander."

whisper." Theobald suggested " Happily, slander," or rmnour, and read "For, haply, slander." Capell read as

Whose

" thus calumny."

42. blank] the white spot in the Compare centre of a target; mark. Othello^ in. iv. 128.

152
Hatn. Compounded
Ros. Tell us where

HAMLET
it

[act
'tis
it

iv.

with dust, whereto

that

kin,

'tis,

we may

take

thence

and bear

it

to the chapel.
it,

Ham. Do

not believe

lo

Ros. Believe what?

Ham. That
own.

can keep your counsel and not mine

Besides, to be
replication

what
Ros.

should be

demanded of a sponge, made by the son

i

of a king?

Take you me
sir
;

for a sponge,

my

lord

Ham. Ay,

that soaks up the king's countenance,

his rewards, his authorities.

But such
the end
;

officers

do the king best service

them,
first

in

he keeps

like

an ape,

in

the corner of his jaw;

20

mouthed, to be

last

swallowed
it is

when he
be

needs what you have gleaned,

ing

but squeez-

you,

and,

sponge,

you
lord.

shall

dry

again,

Ros.

understand you not,

I

my

25

Ham.

am

glad of

it

a knavish speech sleeps in

a foolish ear,
7. Coinpo7inded\ F, Compound Q, 13, sponge^'\ Q, F; sptinge! Steevens ; spmtge ! Caldecott, 20. like ait ape] F, like an apple Q, as

an Ape doth nuttes

i, like

an

ape,

an apple Farmer
i. ii.

conject,

7, Compounded] The Q cotiipoiind may be right, as an imperative. So 2 Henry IV. iv, v, 116,

(opening) " Counsaile

as Polo-

nius."

keep yottr counsel] Hamlet knows of the commission to England, perhaps Or the reference is to his not betraying their confession that they had been sent for by the King, See II. ii, 305. Possibly there is a play on the word counsel meaning councillor, as elsewhere in Shakespeare. See stage direction in i,
12,

sponge] The same image was in nearly the same way, by Vespasian, as recorded by Suetonius.
13.

used,

Caldecott quotes from R. C's Henr. Steph. Apology for Herodotus, 1608,

and Barnabe Riche, Faultes,

1606,
in

illustration

of

faults, the image,

Steevens quotes Marston, Satires, vii. 17. countenance] ^2iK.xo'CiZ.<ge.,iz.\o\xx,

as in 2

Henry IV,

iv,

ii.

13.

sc. Ill]

PRINCE OF DENMARK
lord,

153
is,

Ros.

My

you must
is

tell

us where the

body

and go with us to the king.

Ham. The body

Guil.
"

with the king, but the king

is

30

not with the body.

The king
?

is

a thing

thing,"

my

lord

Ham. Of nothing:
and
all after.

bring

me

to

him.

Hide

fox,

[Exeunt.

SCENE
King.

III.

Another Room

in the Castle.

Enter King, attended.

I

have sent to seek him, and to

dangerous
is it

find the body.

How
He 's

that this

man

goes loose
:

Yet must not we put the strong law on him

loved of the distracted multitude.

Who like

not in their judgment, but their eyes

'tis

And where

so, the offender's scourge

is

weigh'd,

But never the

offence.

To

bear

all

smooth and even,

This sudden sending him away must seem

31. a

thing \

F, a thing. Q.

33, 34.

Hide

after']

F, omitted Q.

Scene
7.

ill.

never\ Q, neerer F.
. . .

30, 31. The body Clar. Press: "Hamlet

thing]
talking

is

a part of his mind ; " the Iving as you mean King is for me
express

wishes to baffle the courtiers, and have a private lie has meaning, as often before. just called himself "the son of a king"; he has seen his father in his

nonsense designedly."

He

a negligable quantity, a thing of Hamlet In v. i. 292. nothing." speaks of his father as my "king."

own

castle.

To

the
;

courtiers

his

words are nonsense for himself they mean " the body lies in death with the King my father, but my father walks disembodied." He might have added something, but he is interrupted, and adopting Rosencrantz's meaning
of "King," completes his sentence otherwise than intended, yet so as to

Hide fox, and a// after] llansays that there is a play among Dekker, Satirochildren so named. iiiastix has: "does play at bo-peep with your grace, and cries All hid, Whether the reference as boys do." is to a children's game or to a fox^j, ^^.

mer

"The hunt, the meaning seems to be old fox, Polonius, is hidden ; come, let us all follow the sport and hunt him out."
:

154

HAMLET
Deliberate pause; diseases desperate grown

[act

iv.

By

desperate appliance are relieved,

at
all.

lo

Or not

Enter ROSENCRANTZ.

How now
Ros.

what hath

befall'n

Where

the dead

body

is

bestow'd,

my

lord,

We
King.

cannot get from him.

But where

is

he

Ros. Without,
pleasure.

my

lord

guarded,

to

know

your

King. Bring him before

Ros. Ho, Guildenstern
E7tter
!

us.

bring in

my

lord.

Hamlet and Guildenstern.

's

King. Now, Hamlet, where

Polonius

Ham. At

supper.
?

King. At supper

where
eats,

Hani. Not where he

but where he

is

eaten

20

certain convocation of politic

at him.

worms

are e'en
for

Your worm
fat
all

is

your only emperor

diet

we

creatures else to fat us, and

:

we
two
end.
II.

fat

ourselves for maggots

is

your

fat

king
25

and your lean beggar

dishes,

but variable service,

;

but

to

one table

that

's

the

Enter Rosencrantz] F, Enter Rosencraus and

F,
F, the 24. ourselves] Q, our sel/e] F.

Guildenstei~it\

How, Q;

tny lord]

all the rest Q. i6. Ho, lord Q. 21. politic] Q,

omitted F.
21. politic

worms] such worms as

in a politician's corpse,

Diet of Worms.
adds,

W.

Hall Griffin

might breed

"the mention of 'emperor'

it

Singer suggests an allusion to

the

makes

very probable."

sc. III.]

PRINCE OF DENMARK
A man may
fish

155

King. Alas, alas

Ham.

with the

worm

that hath

and eat of the fish that hath fed of that worm. King. What dost thou mean by this ? Ham. Nothing but to show you how a king may
eat of a king,

30

go a progress through the guts of a beggar.

King. Where
is

Polonius
;

35
thither

Ham.

In heaven

send

to

see

if

your
i'

messenger

find

him not
this

there, seek

him
if

the
find

other place yourself

But indeed,
month, you

you

him him

not
as

within

shall

nose

you go up the

stairs into the lobby.

40

King. [To some Attendants.']

Go

seek him there.

Ham. He

will stay

till

you come.
[Exeunt Attendants.

King. Hamlet,

this deed, for thine especial safety.

Which we do

tender, as

we

dearly grieve

Forthat which thouhastdone,mustsendtheehence 45 With fiery quickness therefore prepare thyself;

;

The bark is ready, and the wind at help, The associates tend, and every thing is bent
For England.

Ham.
King.

For England

Ay, Hamlet.
Good.
. .
.

Ham.

2S-31. King. Alas ivorm] Q, omitted F. 38. indeed, if] F, 7/ indeed <^. 41,42. stage directions inserted 39. withiit] Q, omitted F. by Capell. 42. yoic] Q, ye F. 43. deed, for thine\ Q, deed of thine, for thine F. 46. With fiery ijuickness\ F, omitted Q. 48. is bent] Q,
at bent F.
49.

Englmid

{]

F,

England. Q.

34. progress] a royal journey of slate, as in

2 Henry VI.

i.

iv.

76.


HAMLET
is it, if

156
King. So

[act

iv.

thou knew'st our purposes.

Ham.
King.

see a cherub that sees them.

for

England

50

But,

come

Farewell, dear mother.

Thy
;

loving father, Hamlet.

Ham. My mother father and mother is man and man and wife is one flesh, and so, my wife
mother.

Come,
not,
for

5 5

for

England
;

\Exit.
;

King. Follow him at foot

tempt him with speed aboard

Delay

it
!

I '11

have him hence to-night

is

Away
That

every thing
leans

seal'd
affair
:

and done
pray
you,

else

on the

make
60

haste.

\Exeunt Rosencrantz and Guildeiistern.

And, England, if my love thou hold'st at aught, As my great power thereof may give thee sense,
Since yet thy cicatrice looks raw and red
After the Danish sword, and thy free awe

Pays homage

to us,

thou may'st not

;

coldly set
at
full.

65

Our

sovereign process

which imports

By letters conjuring to that effect. The present death of Hamlet. Do

For
51. thetnl

it,

England

like the hectic in

Q, him F.
55.

my

blood he rages,

and sd\ F,

j-o

Q.

60.

Exeunt

.]

Theobald

omitted Q, F.

67. co7ijttring\ F, congruing Q.

51. a chcrub\ The cherubim are angels of knowledge, and so they see the King's purposes. 57- a^ /^i?/'] close, at heel. 65. set] Pope (ed. 2) read
let,

66. process] procedure, 67. conjitring\ This word, rather than Qi-^j^r2/z^,corresponds with the "earnest conjuration" of the do-

i.e.

hinder; Hanmer set by. "Coldly set " is explained by Schmidt " regard with indifference." "Set me light," esteem me lightly, occurs in Sonnets, Ixxxviii., and " sets it light" in A7;?^

Richard

II.

i.

iii.

293.

cument, described by Hamlet in v. ii. The accent on the first 38. syllable is found in Measure fo)Measure, v. i. 48. Ectique 69. hectic] Cotgrave has ... a fever called Hecticke," and "sick of an Heckticke fever."
'

'


sc. IV.]

PRINCE OF DENMARK
thou must cure me.
Till
I

157
done, 70
\^Exit.

And

know

'tis

Howe'er

my

haps,

my joys

were ne'er begun.

SCENE

IV.

A
me

Plain in Doiinark.

Enter FoRTINBRAS, a Captain and Soldiers, marching.

For. Go, captain, from
Tell

greet the Danish king

him
his

that,

by

his license, Fortinbras

Claims the conveyance of a promised march

Over

kingdom.

You know

the rendezvous.
us,
5

If that his

majesty would aught with

our duty
so.
I

We
And
Cap. For.

shall express
let

in his

eye

him know

will

do

't,

my

lord.

Go

softly on.

\Exeunt Fortinbras and Soldiers.

Enter Hamlet, Rosencrantz, Guildenstern, and

otJiers.

Hani. Good
Cap.
"Ji.

sir,

whose powers are these?

sir.
I

They
joys
.

are of Norway,
.

begunlY, Joys will nere begin

Scene iv.

Q^.

Plain Camp Rowe. Enter Enter .] Capcll ; .] Globe ed. Fortinbrasse with his Army over the stage Q. Enter Fortinbras with an F. 6. eye ;] Collier ; eye, Q, F. 8. 3. Claims^ F, Craves Q. softly'] Q, safely F. Exeunt Enter .] omitted Q, Exit F. .] Dyce ; Enter Hamlet, Rosencraus, etc. Q, omitted F. 9-66. Good sir, worth] Q, omitted F.
.

Armie

71, haps] Johnson suggested Collier's MS. has " hopes."

and

patra,
after

il.

ii.

212.

Collier's semicolon

meant to make it clear that the words which follow are a

eye
is

^^"^^
6.

'^'

in kis eye] in his presence ; Sleevens compares Antony and Cleo-

direction to the Captain. 8. softly] leisurely, slowly, Julius Cccsar, v. i. 16.

as

in

158

HAMLET
purposed,
sir, I

[activ.
?

Ham. How

pray you

Cap. Against

some

part of Poland.

Ham. Who commands

Cap.

them, sir?

The nephew
it

to old

Norway, Fortinbras.
sir,
i

Ham. Goes
Or
for

against the main of Poland,

frontier?

some

Cap. Truly to speak, and with no addition,

We

go to gain a
in
it

little

patch of ground

That hath

no

profit

but the name.

To pay
Nor
will

five ducats, five, I

it

would not farm

or the Pole
in fee.

it

20

yield to

Norway
it

ranker

rate,

should

be sold

Ham. Why,
Cap. Yes,

then the Polack never will defend

already garrison'd.
souls

it.

'tis

Ham. Two thousand

This
is

and twenty thousand ducats 25

;

Will not debate the question of this straw

the imposthume of

much wealth and

peace.

That inward breaks, and shows no cause without

Why
Cap.

the

man

dies.

't

humbly thank you,

sir.

God be
I '11

wi'

you,

sir.

[Exit.

Ros.

Will

please you go,

my

lord?

30

Ham.

be with you straight.

Go

little

before.

\Exeiint all except Hamlet.

How
1

all

occasions do inform against me,

it

7.

30.

speak'] Q, speak Exit] omitted Q.

Pope, speak, sir Capell. 24. V/j] Pope, 31. Exeunt .] omitted Q.
.
.

ii is

Q.

15.

mai/:] Cls.r. Press:

.

"the

chief

power"'; Schmidt: "the whole."

Theobald sugii] 20. Jive gested "five ducats fine," but did not
. .

it in his edition ; farm it, " rent contrasted with sold in fee, line 22, i.e. in absolute possession.

adopt
it,"

25, 26.] It has been suggested (Ge/iL Magazine, \x. 403) that these lines belong to the Captain, 27. imposthume] Mmsheu defines the word " a course of evill humours gathered to some part of the bodie " ; "an inward swelling full Cotgrave
:

22.

ra;/>^er]

more abundant.

of corrupt matter."


sc.

iv]

PRINCE OF DENMARK
spur

159

And

my

dull revenge

What
his

is

a man,

If his

chief good and market of

to sleep

time
3 5

Be but

and feed

a beast, no more.

Sure he that made us with such large discourse,

Looking before and

after,

gave us not

That capability and god-like reason

To

fust in us unused.

Bestial oblivion, or

Now, whether it be some craven scruple

40

Of thinking

too precisely on the event,

A thought which, quarter'd, hath but one part wisdom

And
ever three parts coward,
yet
I I

do not know

Why
Sith

live to

say

"

This thing 's to do,"

will,

have cause, and

and strength, and

45
earth, exhort

means,

To do

't.

Examples, gross as
this

me

Witness

army, of such mass and charge.

Led by a

delicate

and tender

prince.

Whose

spirit

with divine ambition puff'd

at the invisible event;
is

Makes mouths
Exposing what

50
dare,

mortal and unsure

To
Is
39. fust^
34.

all

that fortune, death

for

and danger

Even

an egg-shell.
stir

Rightly to be great

not to
Q,
riist

without great argument,

Rowe.
whicli

viar/cei']

that

he

pur-

of "
see

chases with his time.

summer
11.

mows," grimaces, found in MidNight's Dream, \\\. ii. 238;

ii.

power of thought 36. discourse] and reasoning see I. ii. 150. Cotgrave 39. fust] grow mouldy explains fustt', " fustie, tasting of the
; ;

386.

argument (matter

cask."

Fr. fuste, a cask. 41. evenf] issue, consequences,

line 50.

as

47. charge] cost. 50.

great not rightly to be great, but to find quarrel in a straw when honour 's at the stake is an attribute of true greatness. The " not," as Furness argues, belongs to the copula, not to the predicate.

53-56.]

To

stir

without

in dispute)

is

mouths] a

common

corruption

160
But greatly

HAMLET
to find quarrel in a straw

[activ.

5 5
I

When

honour's at the stake.

father
kill'd,

How
my

stand

then,

That have a

a mother stain'd,
blood,
I

Excitements of

my

reason and

And

let all sleep, while, to

my

shame,

see

The imminent death

of twenty thousand men,

60

That, for a fantasy and trick of fame,

Go

to their graves like beds, fight for a plot

Whereon the numbers cannot try the cause. Which is not tomb enough and continent

To

hide the slain?

Oh, from

this

time

forth,
!

65
\Exit.

My

thoughts be bloody, or be nothing worth

SCENE
Queen.
Gent.

V.

Ehinore.

A Room

in the Castle.

Enter Queen, HoRATiO, and a Gentleman,

I

will

not speak with her.

She is importunate, indeed distract Her mood will needs be pitied.

Queen.
Gent.

What would
She speaks much of her
father
; ;

she have

says she hears

There 's

tricks

i'

the world

and hems, and beats

5

her heart
Scejie V.
. .

Enter ] Pope; Enter Horatio, Gertrard, and a Gentleman Q; Enter 2, 4. Gent.] Q, Hor. F. Queene and Horatio F.
61.

trick of
;

fame] toy or

trifle

of

Scene

V.

of the Slirew, IV. iii. "a knack, a toy, a trick, a Perhaps "fantasy" baby's cap." also should be connected with "of fame."
64. f(?//5/] receptacle, that which contains, as in Midsummer Nighfs

fame 67:

Taming

1-16. The only variation here from is the distribution of speeches in the assigmnent of the words "Let her come in" (line 16) to the Queen instead of to Horatio. Collier suggests that the omission in F of the Gentleman was to avoid the employment of

Dream,

II.

i.

92.

another actor.

sc. v.]

PRINCE OF DENMARK
at straws
:

161
in

Spurns enviously

speaks things
is

doubt,

That carry but half sense her speech Yet the unshaped use of it doth move

nothing,

The

hearers to collection

they aim at

it,

And

botch

the

words

up

fit

to

their

own

thoughts; lo Which, as her winks and nods and gestures yield them,

Indeed

would

make one
sure, yet

think

there

might be

thought.

Though nothing

much

unhappily.
for she

Hor. 'Twere good she were spoken with,

may

strew
i 5

Dangerous conjectures
Queen. Let her
[Aside.]

in ill-breeding

minds.

come

in.

{Exit Gentleman.
is.

To my

sick soul, as sin's true nature to

Each toy seems prologue So full of artless jealousy

some great amiss

spilt.

is guilt,

It spills itself in fearing to

be

20

Re-enter Gentleman, with Ophelia.

Oph.
9.

Where

is

the beauteous majesty of

Denmark
.

aiTTilY {ayme), yawne <^. 12. tnight] Q^, would 14-16.] given Q, given to Queen F. Arranged here as conjectured by Blackstone ; lines 14, 15 are continued to Gentleman by Hanmer and several editors. 16. Exit Gentleman] Hanmer and several editors; Exit Hor. Johnson and others; omitted Q, E. 17. Aside] Capell ; omitted Q, F.
to Horatio 21.

Re-enter.

.]Cambridge; Enter Ophelia

19.

Q (after line

16); Enter Ophelia,

distracted F.

Spurns enviously] kicks spiteCompare Antony and Cleopatra, ill. v. where Antony 17, " spurns the rush that lies before him."
6.
fully.

jealousy] suspicion, as in

11.

i.

inference, but here 9. collection] with the idea of a preliminary gathering together of Ophelia's distracted thoughts. Compare Cymbeline, v. v.

Oph.] The stage direction of "Enter Ofelia playing on a Lute, and her haire downe singing." For the traditional music of Ophelia's songs, see Furness, Hamlet, or E.

113. 21.
i

is

W.

Naylor, Shakespeare

and Music,

432.

1896.

II


HAMLET
How
now, Ophelia
?

162
Queen.

[activ.

Oph.

[Sings.]

Hoiv should I your true

love

know
25

From

another one ?

By

his cockle hat

and

staff

And his
Oph. Say you
[Sings.]
?

sandal shoon.
?

Queen. Alas, sweet lady, what imports this song

nay, pray you, mark.

He is He
At
his

dead and gone,

is

lady,
; ttirf,

dead and gone

30

head a grass-green

At
O, ho!
Queen.

his heels a stone.

Nay,

but, Ophelia,

Oph.
[Sings.]

Pray you, mark.

White his shroud as the mountain snow,

35

Enter King.
Queen. Alas, look here,

my

lord.

Oph.

[Sings.]

Larded with siveet flowers ; Which beivept to the grave did With true-love shoxvers.
?

not go

King.

How

do you, pretty lady

2S. Say you .'] F, Say you, Q. 23. Sings'\ shee sings Q, omitted F. 33. O, ho /] Q, omitted F, Oh, oh ! Cam29. Sings\ Song Q, omitted F. bridge. Enter King] after stone, line 32, F. 34. Sings^ omitted Q, F. ; i, F ; Larded all Q. 36. Singsl Song Q, opposite line 37 ; Larded]

37. grave] editors.

i,

F; ground

did not] Q, F,

Q Q Q

i ;

did Pope and

many

39.

you] Q, ye F.
did not go] It seems rash Q, and F agreeing to adopt Pope's emendation "did go," lest Shakespeare may have meant a distracted allusion to the " obscure
37.
!>

25. cockle hat] a hat with a scallopshell stuck in it, the sign of a pilgrim

having been at the shrine of St. James of Compostella. For the disguise of a
lover as pilgrim Juliet, I. V.
ii.

compare Romeo and

garnished,
as
in v.

'

burial" (line 212) of Polonius.

36. 20.

Larded]

sc.v.]

PRINCE OF DENMARK
God
'ild

163

Oph. Well,

They say the owl was a Lord, we know what we baker's daughter. are, but know not what we may be. God be
you
!

40

at

your table
have no words of this
it

King, Conceit upon her father.

Oph. Pray you,
let
's
;

but when
this

45

they ask you what

[Sings.]

means, say you

To-morrozv

is

Saint Valentine's day.

betifne,

All

in the

morning

And I a maid at your

To
be

wifidow,

your

Valetitine.

50
his clothes,

Theyi up he rose,

and donned

A nd dupp'd the
Let

chamber door ;
a maid

in the maid, that out

Never departed more.

King. Pretty Ophelia!
Oph. Indeed,
la,

55
I '11

without an oath,

make an end on

't:

40, God ^ild'\ Capell, good dild Q, God diVd F. 44] marked Aside Furness. 47. Sitrgs'] SottgQ, omitted F. 45. Pray you'] F, Pray Q, 56. Indeed, la,] Johnson, Indeede Q, Indeed la ? F.

40. ^tld]

yield,

reward,
iii.

as in

As

To To
The

You Lite

It, III.

76.

shall

records a story vulgar in Gloucestershire": Jesus asked for bread at a baker's shop ; the mistress put dough in the oven, was reprimanded by her daughter, who reduced its size the dough miraculously grew huge the daughter cried out " Heugh, heugh, heugh," like an owl, whereupon Jesus transformed her to an owl. In Fletcher, The Nice Valour,
40. owl]

Douce

he be sure there hear the bird sometimes after

!

brown baker's chimney

"among

the

twilight."

idea of Ophelia's own transformation, suggested by that of the baker's daughter, is touched on in the

words " Lord, etc."

44.
50.
girl

Cottceii]

imagination,
Halliwell
:

as

fre-

quently.
\'alentine]

"This

m.

iii.

we

find

song alludes to the custom of the first seen by a man on the morning of this day being considered his Valentine, or true-love."

" Give and take 'em

:

me
I,

a nest of owls,

52.

dupp'd]

dup,

do

up,

Happy

is

he, say

whose window

Edwards,
day ?
"

Damon and Pitheas,

open. 1564

opens

" Will they not dup the

gate

to-

164
[Sings,]

HAMLET
By
Gis atid by Saint Charity
Alack, and fie for shame ! Young men ivilL do V, if they come
to

[activ.

7;
60

By
Quoth

Cock, they are to blame.

she, before

you tumbled me.

to

You protnised me

wed
yonder sun.
to

He

answers

So would I

ha' done, by

An
King.
Oj)h.
I

thou hadst not come

?

my

bed.

65

How
hope
I

long hath she been thus

all will

be

well.

We

must be patient
ground.
I

but

cannot choose but weep, to think they

lay

should

him

i'

the
it
:

cold

My
70
!

brother shall
for

know

of

and so

thank you

your good counsel.

night, ladies
;

Come, my coach

Good
good

good

night, sweet ladies

[Exit.
I

night,

good

night.
;

King. Follow her close

you.

give her good watch,

pray

[Exit Horatio.
is

Oh,

this

the poison of deep grief;

it

springs

75

All from her father's death.

Gertrude, Gertrude,
single spies,
;

When
But

sorrows come, they

!

come not

in battalions

First,

her father slain

d},. He answers\{He answers) Ql,orn\\X&^Y. 57. .SVz/c'j] omitted Q, F. 66. ihus'l Q, this F. 69. shotdd] F, 65. An] Hanmer ; And Q, F. would Q^. 72,73. C^^rf ... w/^i;'"/^/] F substantially ; God night. Ladies, god flight. Sweet Ladyes god night, god night. (^. 74. Exit Hor.] Theobald ; ']']. sorrows omitted Q,F. "jb. death. 0], death, and now behold, SQ.

come] Q, sorrowes comes F.

78.

battalions']

Q, Battaliaes F.

57. Gis] an abbreviation or pious disguise of "Jesus"; spelt also yzj2LT\d. jysse ; for examples see Nares' Glossary. 57. Saint Charity] the grace personified. E. K. glosses "Saint

Charitie," in Spenser, Shepherd's Calendar. May: " the Catholiques cpmen olhe." 60. Cock] a perversion of " God." In the Canterbury Tales, Manciple's

Prologue,

we have " Cockes bones."


PRINCE OF DENMARK
;

"

sc. v.]

165

Next, your son gone

and he most violent author

Of

his

own
and

just

remove: the people muddied,

in

80
and

Thick

unwholesome

their

thoughts

whispers,

For good Polonius' death

greenly,

and we have done but

poor Ophelia

In hugger-mugger to inter him

Divided from herself and her

fair

judgment,

Without the which we are

Last, and as

pictures, or
all

mere

beas'ts

much
is

containing as

these,

86

Her brother
Feeds on
his

in secret

come from France,

in clouds.

wonder, keeps himself

And wants
With
Wherein

not buzzers to infect his ear

;

pestilent speeches of his father's death

90

necessity, of matter beggar'd.

Will nothing stick our person to arraign

In ear and ear,

O my

dear Gertrude,
in

this,

Like to a murdering-piece,
Gives
Queen.

many

places

me

superfluous death.

[A

noise within.
is

Alack, what noise

this?

95

King. Where are

door.

my

Switzers

Let them guard the

81. their^ F, omitted Q. Ihis wonder Q, Kecpes on

95.

Alack where is Q.
83.

ihis]

88. Feeds on his wonder] Johnson, Feeds on his wonder F. 92. person] Q, persons F. F, omitted Q. 96. fVhere are] V, Attend,

in

hugger - mugger]
quotes

secretly.

Beaumont and
Marriage,
.

Fletclier,
ii.
:

North's Phttarch (Brutus): "Antonius thinking good that his bodie should be honourably buried, and not in hugger-

Steevens
.

v.

The Double "Afother's curses

cannon a loaded with case-shot (small projectiles put up in cases). Steevens quotes

mugger." 94. murdering-piece]

like a murdering-piece aim not at one, But all that stand within the dangerous level." 96. Szvitzers] Malone quotes Nash, Christ's Tears over Jerusalem, 1594:
.
.

" Law,

logicke,

be hired to

fight for

and the Switzers may any body.

166

HAMLET
Enter another Gentleman.

[act

iv.

What
Gent.

is

the matter?

Save

yourself,
list.

my

lord

The

ocean, overpeering of his

flats

Eats not the

with more impetuous haste

Than young
And,

Laertes, in a riotous head,

officers.

lOO
lord;

O'erbears your

as the world were

The rabble call him now but to begin.

of every word,

Antiquity forgot, custom not known.

The ratifiers and props They cry " Choose we

;

Laertes shall be king

it

"

105

Caps, hands, and tongues applaud

"

to the clouds,
"
!

Laertes shall be king, Laertes king

Queen.

How

cheerfully on the false trail they cry

Oh,

this is counter,

you

false

Danish dogs

King. The doors are broke.

\^Noise within,

iio

Enter Laertes, armed ; Danes following.

Laer.

Where

is

this

king?

Sirs,

stand you

all

without.

Enter . . . ] Staunton, Enter a Messenger Q, F after death, line 95. impetuous] impitious Q, unpittious F. They] F, The Q. 1 05. 99. IIO. Noise within] F (after line 109), (opposite line 108). noise within Enter Laertes . . (after line 109), Enter ] Enter Laertes with others

Laertes

(after line 109).

in.

this

king? Sirs] Q,

the King, sirs? F.

98. list] boundary, as in Othello, i\.

i.

76-

props of every word (perhaps in the sense of title) ; or less probably the

100. head] a force raised, or body of people gathered, especially in insurrection

167.
;

rabble, ready to

make good and

to

as in
talk

Henry IV.

Pepys,

Diary.
to-day
that

"Some

Hi. 8 Jan. 1661 of a head of

ii.
:

support every word they utter, cry, etc. 109. r^ww/^r] Clar. Press quotes the
definition of

"counter"

in

Holme's

Fanatiques, Barnett."

do

appear

about

Academy of Armory, U. \x.: "When a hound hunteth backwards, the same way that the chase is come."

104. word] Ward, weal, and work have been proposed instead of "word"; no emendation is required antiquity and custom are the true ratifiers and
;

"The huntsmen,"
(Venerie), ".
. .

writes Turbervile

must take heede that their houndes take not the counter by cause the harte is fledde backwards."

sc. v.]

PRINCE OF DENMARK
let 's

167

Danes. No,
Laer.

come

in.
I

pray you, give

me

leave.

Danes.

We
I

will,

we

will.
[

They

I'etire

without the door.

vile king,

Laer.

thank you

keep the door.

!

O thou
calm

Give
Queen.

me my
drop

father

Calmly, good Laertes.

of blood
that
's

Laer. That

proclaims

me

bastard,

Cries cuckold to

my

father,

brands the harlot

Even here, between Of my true mother.

King.

the chaste unsmirched brows

What
;

is

the cause, Laertes,

That thy
There
Acts

rebellion looks so giant-like?

120
;

Let him go, Gertrude

's

do not
to

fear our person

such divinity doth hedge a king.

That treason can but peep

little

what

it

would,

of his
art

will.

Tell me, Laertes,

incensed.

Why

thou

thus

Let

him
i

go,
25

Gertrude.

Speak, man.
Laer.

Where 's my

father

King.
Queen.

Dead.

But not by him.

fill.

King. Let him demand his

Laer.
113.

How came
They
is

he dead
]

I '11

not be juggled with.

retire

Capell

calmes F.

Ii8. brotvs]

omitted Q, Y. 1 16. that V cahii\ Q, that Grant White; biow Q, F. 127. Where's] F,
;

Where

Q.
121. fear] fear for.

118. brows'] Grant White (followed by Cambridge and Furness), as re-

quired by between.

168

HAMLET
To
I

[activ.

hell,

allegiance

vows, to the blackest devil

130

Conscience and grace, to the profoundest pit

dare damnation.

To
I
;

this point

stand,

That both the worlds

Let come what comes

give to negligence,

only

I '11

be revenged

Most throughly
King:
Laer.

for

my

father.

Who

shall stay

you

135

My
And
They

will,

not

all

the world
I '11

for

my

means,

husband them so

well,

shall

go

far with little.

King.
If

Good
you desire
revenge,
to

Laertes.

know

the certainty
death,
is 't

Of your dear

father's

WTit

in

your
1

40

That, swoopstake, you

will

draw both

friend

and

foe,

Winner and
Laer.

loser?

None but

his enemies.

King.
Laer.

Will you

know them
ope

then
;

To
And,

his

good friends thus wide

I '11

my

arms

like the

kind life-rendering pelican,

145

Repast them with

King.

my

blood.

Why, now you speak

worlds Q, rvorlcTs Pope, 142. loser Q 6 ; looser.
.'']

Like a good child and a true gentleman.

136. -ivorld] F, 131. ////] pit Q, pif. F. /> fathoms death] F, father ; '/] Q, ;/ F. 145. pelican] Q, politician F. Q, F.
140.

141. swoopstake] stake ; l has

Q,
you

print soopin

145. pelican] Sir

Thomas Browne

" Therefore

will

like

a most

desperate gamster, Swoop-stake-like, draw at friend, and foe, and all?" Sweepstakes is a game of cards in which a player may win all the stakes or take all the tricks.

Vulgar Errors, v. chap. i. discusses "the picture of the Pelican opening her breast with her bill, and feeding her young ones with the blood Allusions occur distilled from her." in Richard II. n. i. 126, and lear,
in.
iv,

77.

; ;

sc.v]

PRINCE OF DENMARK

169

That I am guiltless of your father's death, And am most sensibly in grief for it,
It shall as level to

your judgment pierce

Let her come

50

As day does
Banes.
Laer.
[

to

your eye.
in.

Within?^
!

How now

what noise

is

that

Re-enter OPHELIA.

heat,
salt,

dry up

my

brains

tears

seven

times

Burn out the sense and virtue of mine eye By heaven, thy madness shall be paid by weight,
!

5 5

Till

our scale turn the beam.

sister,

rose of
!

May
wits

Dear maid, kind

sweet Ophelia

heavens

is 't

possible a

young maid's
'tis

Should be as mortal as an old man's

Nature
It
is

life ?

fine in love,

and where

fine

60

sends some precious instance of

it

itself

After the thing

loves.

Oph. [Sings.] They bore him barefaced on the bier ; Hey non nonny, nonny, hey nonny
Fare

A nd in his grave rabid many a tear you well, my dove

, . .

65

150. pir.rcel Y pcaix Q, '/C(z;- Johnson. Q, satsibli- F. Danes ?] Capell ; Q has stage direction A noyse within, opposite Let her eye, and gives Let her come in to Laertes; F has "A noise within. come in," as if a stage direction, after eye. 155. hy\ F, with Q. 156. Till\ F, Tell Q; tuni\ Q, iurnes F. 159. an old] F, a poore Q. 160-162. Nature Iot'Cs] V, omitted Q. 163. Siti^] Song Q, omitted F. 166. Fare rain'd] Q, raines F. 165. in] Q, on F 164] F, omitted Q. 149. seiisi/?/f]
.

151.

dove] Capell

in italics (as if last line

of song)

using

Roman

for

the whole speech,

leaves

it

doubtful.

160-162] Nature is delicate (or accomplished) in love, and sends

Ophelia's sanity after Polonius as a precious token (or sample) of itself.

170
Laey.

HAMLET
Hadst thou thy
It

[act

IV.

wits,

and didst persuade revenge,

a-down, and you call
it
!

could not

move
sing,

thus.

Oph. You must

Down

him a-down-a.
It
is

Oh, how the wheel becomes

170

the false steward that stole his master's

daughter.
Laer. This nothing
's

more than
's
;

matter.
for

Oph. There

's

rosemary, that
love,

remembrance
is

pray you,
that
's

remember
in

and there

pansies,

for thoughts.

Laer.

document

madness

thoughts and

re-

membrance
169, 170.] see note
175-

fitted.

pray

yoiiX

below; Q, Pray F.
. .

for

Down a-down

has a downe a downe.

169, 170. You print the whole

type.

a-down-a] Q, F . speech in Roman Johnson used italics for You .

.
.

tion
IV. vi.

of

ballads

"sung

to

the

wheel," from Hall,

Virgidemiarum,

a-down-a ; (Capell had printed Down 174. rostmaiy'\ Used as a symbol with a capital). Staunton, Globe, of remembrance, both at weddings Cambridge print the same words as and funerals. Compare Romeo and verse. The above follows Steevens. Juliet, IV. V, 79, and Winters Tale, It has been suggested that You and IV. iv, See EUacombe's 74-76. And you should be in Roman, Plant Lore of Shakespeare for this and as instructions to two supposed the other flowers. Perhaps the rosesingers. mary is given to Laertes, mistaken by English Ophelia for her lover. Delius sup170. ivheel^ Guest, Rhythms, bk. IV. chap, iv., uses poses the flowers to exist only in wheel for a kind of refrain, the return Ophelia's distracted imagination. In of some peculiar rhythm at the end of Q I her first words, after re-entrance, bin each stanza. quoted from are Wei God a mercy, I a Steevens memory an example of this use of the gathering of floures." Fr. word from a book of which he had thoughts, for 175. pansies] forgotten the title and date. No pensees. Ellacombe states that still early example appears to have been in Warwickshire the pansy is named found. Cotgrave explains French love-in-idleness, signifying love in Chapman in All Fools, II. i., refrain as "the Refret, burthen, or vain. downe of a ballade." Y 2 has refers to the pansy as " for lover's " wheeles become." Perhaps Malone thoughts." was right in thinking that the refer177. document] a piece of instrucence is to a song sung at the spinning- tion, lesson. So Spenser, Faerie wheel he refers aptly to Twelfth Queejie, I. x. 19: "And heavenly Night, 11. iv. 45, and quotes a men- documents thereout did preach."
' '


PRINCE OF DENMARK
's

sc. v.]

171

Oph. There
there
's

fennel

for
;

you,

and
's

columbines

rue for you

call
it

and here

we may
you
There
died
[Sings.]
's

herb of grace

o'

some for me Sundays oh,

;
;

80

must wear your rue with a

a
daisy
;

difference.

would
all

give you

some
father
i

violets,
;

but they withered

when
is all

my

they say he

made

a good end,

85

For bonny sweet Robin

my joy.
itself,

Laer.

Thought and affliction, She turns to favour and

passion, hell
to prettiness.

Oph. [Sings.]

And will he A nd tvill he

not come again ? not co7ne again ?

1

90

you

i8i, 182. oh, i. 181. herb of grace\<^, Herbe- Grace Y, hearb a' grace n:ust'\ F, you may Q, you must 186. Sings'] Capell ; omitted i.

Q, F.

I,

Q.

F Thoughts 187. 189. Sings] SongQ, omitted F.

Though?] Q,
;

affliction]

afflictions

Handfull of

lyg. fennef] Malone quotes Pleasafit Delites, 1584:

that of " rue " and " ruth " (referring to the passage in Richard /I.).
183. '?>_>'] Henley quotes Greene, Quip for an Upstart Courtier: "Next them grew the dissembling daisie, to warne such light-of-love wenches not
to trust every faire

"Fennel
has

"Dare

give the King. 179. coIumbines]?)iee.\ens S2.ys: "It should seem as if this flower was the emblem of cuckoldom." Quotations

for flatterers"; Florio finocchio, to flatter, or Fennell." Given probably to

is

amorous batchelors make them."

promise that such But

;

from Chapman's All Fools, 11. i. (misunderstood through abbreviation), and Caltha Poetarum, 1599, verify the statement. Given probably to the King. 180. r;/fi] the emblem of sorrow and repentance. See Richard II. ill. iv. The name herb-grace or herb 105. of grace is found in the herbals and dictionaries. Given to the Queen. C)phelia wears her rue as the emblem of sorrow and of grace. "With a
difference" had a heraldic meaning (slight distinctions in coats of arms borne by members of the same family), but that meaning is not required here, Skeat suggests that the difference is

perhaps Chaucer's flower of the loyal Alcestis has here no such significance perhaps it is not given away. Malone quotes A 184. violets] Pleasant Delites Handfull of "Violet is for faithfulness." Per:

haps, as Clar. Press suggests, these words are spoken to Horatio.

186.
iv.
i
:

Robin]

Two

Noble A'ins/iien,

"I can

sing the Broom,

And

Bonny Robin." Chappell {Popular Music of the Olden Times) identifies

the song with one given in Holborne's

Cittharn Schoole, 1597, and elsewhere. thought] careful or melancholy 1 87. thought, as in III. i. 85.

172
No,

HAMLET
no,
to

[activ.

he

is

dead,

Go

thy death-bed.

He

never will come again.

snoiv.

His beard was as white as All flaxen was his poll

195

He is gone, he is gone, And we cast aivay moan

God ha' mercy
on his
so7il I
I

And
wi'

of

all
!

Christian souls,

pray God.

God be
{Exit.

you

Laer.

Do you

see this,
I

O God

200

King. Laertes,

must commune with your grief, Or you deny me right. Go but apart,

Make choice of whom your wisest friends you will, And they shall hear and judge 'twixt you and me.
If

by

direct or

by

collateral

hand

205

They find us touch'd, we will our kingdom give, Our crown, our life, and all that we call ours.

To you

in satisfaction

but

if

not.

Be you content to lend your patience to us, And we shall jointly labour with your soul

To
Laer.

give

it

due content. Let

this

be so

194. was as] Q, as F, was Johnson. ha' mercy] Collier, God a mercy Q,
;
.

195. All] F, omitted Q. 198. God Gramercy F. 199. Christian^ Y, Christians Q I pray God] F, 'omitted Q ; yott] Q, ye F. Exit] Exeunt Ophelia F, omitted Q. 200. Do God!] Capell, Doe you this 6 God. Q, Do you see this, you gods ? F.
. .

198, 199.

God
_

sou/s]

A
:

comto

mon

conclusion,

says

Steevens,
Sir

monumental

inscriptions.

Thomas

More's fi^or^es, 1557, p. 337 " We see there [in purgatory] our chyldren too, whom we loved so well, pipe,

and daunce, and no more thinke on their old shone, saving that sometime cometh out God have mercy on all
sing,

on

their fathers soules than

christen soules."


sc. VI.]

PRINCE OF DENMARK
burial,

173

His means of death, his obscure

No No
Cry
King.

trophy, sword, nor hatchment o'er his bones,

noble

rite,

nor formal ostentation,

to be heard, as 'twere
I

from heaven to earth,

That

must

call

't

in question.

So you
the offence
is let

shall
fall.

And where
I

the great axe

pray you, go with me.

\Exeunt.

SCENE
Hor,
Serv.

VI.

Another Room

in the Castle.

Enter HORATIO and a Servant.

What

are they that would speak with

;

me?

Sailors, sir

they say they have

in.

letters for you.

Hor. Let them come

I I

\Exit Servant.

do not know from what part of the world

should be greeted,
if

not from Lord Hamlet.

Enter Sailors.
First Sail.

God

bless you,

sir.

Hor. Let him bless thee

First Sail.

too.

He

shall, sir,

an

't

please him.
it

There

's

a
212.

letter

for

you,

sir,

comes from

the

buriar\ F, funerall Q. 213. trophy, sword,'\ F, trophe sword, Q, trophy sword. Pope. 2 1 6. call V] Q, call F. 214. rite\ F, right Q.

Scene
. .
;

vi.

Enter Enter Horatio and others Q ; Enter Horatio, ] Capell with an Attendant F. 2. Serv.] F, Gent. Q; Sailors'] F, Seafaring men Q. Enter Sailor F. 6, 8. First Sail.] 5. Enter Sailors] Q; Capell ; Say Q, F. 8. an V] Q 6, and Q, a7id V F. 9. comes] F, came Q.
212. obshire] accented in different places by Shakespeare on the first or on the second syllable. 216.
14S.

That] so that, as in

IV.

vii.

174

HAMLET
ambassador that was bound
your name be Horatio, as
it is.
I

[act

iv.

for

England,
let

if

lo

am

to

know

Hor. [Reads.] Horatio^ when thou shall have overlooked

this,

give these fellows some means

to the

king;
i

they have letters for him.

Ere we were two days

too

old at sea, a pirate of very warlike appointment

gave us
sail,

chase.

Finding ourselves

slow of

we put on a compelled valour, and in the grapple I boarded them ; on the instant they
got clear of our ship, so I alone became their
prisoner.

20

They have dealt

ivith

me

like thieves

of mercy ; but they knew zvhat they did ; I am Let the king have to do a good turn for them.
the letters

I have sent ; and repair thou

to

me
25

with as much haste as thou wouldst fly death. / have words to speak in thine ear will make
thee

dumb ;
thee

yet are they much too light for the

bore of the matter.

These good fellows will

bring

where

I am.
to tell thee.

Rosencrantz

and
30

Guildenstern hold their course for

England ; of

them I have much

Farewell.
thitte,

He
Come,
I

that thou knowest

HAMLET.
your
letters

will give

you way

for these

i8. and in] Q, in F. 10. ambassador] Q, Amhassadours F. 23. good] 26. thine] Q, your F. 28. F, omitted Q. 25. haste] F, speede Q. (with no point before Hamlet). bore] F, bord Q. 32. He] F, So 4 and several editors. 33. g-ive\ F, omitted Q, make

Southern

they did] Miles, April and July 1870, suggests that the pursuit was prearranged by Hamlet, and that when he spoke to his mother of hoist22.

knew what

ing the enginer with his

this

own

petar,

Review,

was

in his

mind.
figurative from'

28.

bore]

calibre,

bore of gun.


sc.vii]

175

PRINCE OF DENMARK
't

And do To him

the speedier, that

you may

direct

me
[Exeunt.

from

whom you

brought them.

SCENE

VII.

Another

Room

in the Castle,

Enter
King.

King and Laertes.

Now

must your conscience

put

my

acquittance

seal,

And you must

me

in

your heart

for friend,
ear.

Sith you have heard, and with a

knowing

That he which hath your noble father

Pursued
Laer.

slain

my

life.

It

well appears

but

tell

me

Why

you proceeded not against these

feats,

So crimeful and so capital in nature, As by your safety, wisdom, all things

else.

You mainly were

King.

stirr'd up.

Oh,
to

for

two

special reasons,
i

Which may

you perhaps seem much unsinew'd,

and
it

And yet to me they are strong. The queen his mother

Lives almost by his looks
;

for myself,

My
She

virtue or
's

my

plague, be

either which,

so conjunctive to

my

life

and

soul,
i

That, as the star moves not but in his sphere,

I

could not but by

her.
I

The

other motive.

Why

to a public count

might not go.

gender bear him
;

Is the great love the general

Who, dipping
6.

all his faults in their affection,

8.

F,

proceeded] F, proceede Q. 7. crimefut] F, critiiinall Q. great nes Q. 11. A7id\ F, But Q; they are] 14. She^s so conjunctive] F, She is so conclive Q.
sa/ette,

sa/e/y]

F,

thdr Q.

14. conjunctive] The idea of planetary conjunction seems to have suggested the line that follows.

17.

count] account, reckoning,

18. ,^(;tv-a/^<r^/fr]

common

species,

community of men.

176
Would,

HAMLET
like the spring that turneth
;

[act

iv.

wood

to stone,

20

Convert his gyves to graces

so that

my

arrows,

Too slightly Would have

Laey.

timber'd for so loud a wind,

reverted to

my bow

again,

And not where I had aim'd them. And so have I a noble father lost

25
again.

sister driven into desperate terms.

Whose
For her
think

worth,

if

praises

may go back
all

Stood challenger on mount of

perfections.

the age
will

But

my

revenge
;

come.

King. Break not your sleeps for that

you must not

30
dull

That we are made of That we can

let

stuff so flat

and

our beard be shook with danger

And
I

think

it

pastime.

loved your father,

that,
I

You shortly shall and we love ourself

hear more

And

hope, will teach you to imagine,

35

Enter a Messenger.

How now
Mess.

what news

Letters,

my

lord,

from Hamlet

This to your majesty

20.

this to the

queen.

Would'\Y, Worke(^.
;

F,

Bui Q Aad] F, /lave IVho was Y. 36. How

.

Q
.

loud a wiKd'\Y, loved A rrndC^. 24. And] ainid] Q, arnCd F. 27. Whose wortli] Q, Hamlet^ F, omitted Q. 37. Tins'] Y, These Q.
22.

20. spring] In Harrison's DescripHon of England (ed. Furnivall, p. 349) it is stated that the baths of King's Newnham, in Shakespeare's

county, Warwickshire, have the property of turning wood to stone, The reference was supposed by Reed to be to the dropping well at Knares-

would read g>-eaves (? he prints it graves). 22. loud a ivind] Jennens would maintain the misprint "loved arm'd," explaining it "one so loved and armed with the affections ... of the people." Elze suggests "solid

borough.
21. gyves] Daniel

arms," which he connects with his reading greaves in line 21.

27. praises] if I may return in praise to Ophelia's better days.

would read gyres,

actions.

wild

and

whirling

Elze


sc.

177

Ml]

PRINCE OF DENMARK
?

King. From Hamlet

Mess. Sailors,

who brought them

they say
;

my

lord,

saw them not

;

They were given me by Claudio them Of him that brought them.

King.
Laertes,
us.

he

received

40
hear them.
Messenger.

you

shall

Leave
[Reads.]
set

[^Exit

High and
to see

might}',

you shall knoiv I

am
45

naked on your kingdom.

To-i;:onvw shall I
eyes ;

beg leave

your kingly

when I

shall,

first asking

your pardon

thereunto, recount the

occasion of

my

sudden and more strange return.

What should this mean ? Are all the

Or
Laer.
is it

rest

Hamlet. come back ?

50

some

abuse, and no such thing?

Know you
And
in

the

hand

King. 'Tis Hamlet's character.

"

Naked

"
!

a postscript here, he says

?

" alone."

Can you advise me

Laer.
I

'm

lost in

it,

my

lord.

But

let

him come
heart.

5 5

warms the very sickness in That I shall live and tell him " Thus didest thou."
It

my

to his teeth,

King.

If

it

be

so,

Laertes,
?

As how should
. .

it

be so

how

otherwise

Oj . them'] Q, omitted F. 46. asking your] F, asking you Q. if\. 47. occasion] Q, occasions F ; and more strange] F, omitted Q. 48. Hamlet] V, omitted Q. 50. abuse, and] Q, abuse ? or V. 54. advise] F, deuise Q. 58. didest] F, dtdst Q. 57. shal!] F, omitted Q. 55. I'm] F, I am Q.
otherwise] If the King . . 59. As refers to Laertes' feehngs " should it
.

speaks how can he have returned

Yet how can
letter
it

be otherwise with his

not^' (or /6/)

seems required.

But

it

in

my hand?
in line 62.

The doubt

is

may

be Hamlet's return of which he

continued

178

HAMLET
Will you be ruled by

[act

iv.

me ?
Ay,

Laer.

my
now

lord

60

So you
King.

will

not o'errule
peace.

me
If

to a peace.
return'd,

To thine own As checking at

he be

his voyage,
it,

and that he means

will

No more
To an

to undertake

work him
65
fall

exploit now ripe in my device, Under the which he shall not choose but

And
And
Lacr.

for his

death no wind of blame shall breathe

But even

his

mother

shall

uncharge the practice,

call it accident.

My
The
That
rather,
I

lord,

will

be ruled

if

you could devise

it

so

70

might be the organ.

It falls right.

King.

You have been

talk'd of since

your

travel

much,

And

that in Hamlet's hearing, for a quality

;

Wherein, they say, you shine

your sum of parts

75

Did not together pluck such envy from him As did that one, and that, in my regard.

Of
Laer.

the unworthiest siege.

What

part

is

that,

my

lord

King.

very riband
;

in the

cap of youth,
less
it

Yet needful too

for

youth no

becomes
wears
Q, If
so

The
60.

light
lord]

and careless

livery that

80
yon 7
. .

6l. So yoii Q, omiUed F. 63. checking a/] F, t/ie King at Q, liking nol Q 4. graveness] Q, omitted F.

Ay,

my

ivill]

V.
.

69-82. J\Jy lord

hawk "checks" 63. checking] it forsakes its proper quarry and follows some inferior game. See
when
Twelfth Night, iii. i. 71. 68. uncharge the practice] acquit, free from accusation (charge), the

artifice

see v.

ii.

or stratagem. 328.
I.
:

For

practice,

77. siege]
in Othello,

rank (literally, seat), as ii. 22 "men of royal

siege."


sc. VII.]

PRINCE OF DENMARK
settled

179

Than

age

his sables

and

his weeds,

Importing health and graveness.

Two months
;

since

Here was a gentleman of Normandy

I

have seen myself, and served against, the French,

they can well on horseback; but this gallant 85
witchcraft in
to such
't
;

And Had And

he grew unto his

seat.

wondrous doing brought

his horse

As he had been incorpsed and demi-natured With the brave beast so far he topp'd my thought. That I, in forgery of shapes and tricks, 90
; "

Come
Laer.

short of

what he

did.

A
A
Norman.
life,

Norman was

't ?

King.
Lacr.

Upon my
I

Lamord.

The very same. know him well he is the brooch indeed And gem of all the nation. King. He made confession of you,
King.
Laei\
;

95

82. T7vo\ Q, Some Iwo F; hence'] Q, since F. 84. I've 86. unlo] Q, into F. 88. he haif] 85. can] Q, ran F. 6; 89. iopfd] Q, past F ; my] F, me Q. 93. Lamord] Q,

F",

/ have Q.
F. F.

had he Q, Lamoiind

95. the]

Q, our F.
of Shakespeare's names for minor characters are significant the word mords is mascuHne, but the printer of may be responsible for La. Pope hasLamond; Malone conjectured Lamode Grant White has Lamont. C. E. Browne notes that Pietro Monte was the instructor of Louis vil.'s Master of the Horse. 94. brooch] ornament, as in Jonson's " Wiio is the Staple of News, iii. ii. very Brooch o' the Bench, Gem o' the
;

denoting an attention health. Schmidt understands health as prosperity. Warburton read

82. health]
to

Furness takes "health" the livery of youth, and to that of settled age. are skilled. Compare 85. can] Pha-nix and Turtle, 14: "the priest That defunctive music can." 89. topp'd] exceeded, as in Macbeth,
to refer to

"wealth."

"graveness"

IV.

iii. 57. 90. forgery] invention, as in

i.

Mid-

summer Night's Dream, 11. 93. Lamord] I retain the

the

81.

city."

name, having noticed in " Mords, a bitt of a horse."

form of Cotgrave,
Several

96. confession]

the

unwilling

ac-

knowledgment by a Frenchman of a
Dane's superiority.


HAMLET
And
For
gave you such a masterly report
art
for

180

[activ.

and exercise

in

your defence,

And
If

your rapier most especially,

cried out, 'twould be a sight indeed

That he

lOO

one could match you; the scrimers of their nation,

swore, had neither motion, guard, nor eye.
Sir, this report

He
If

you opposed them.

of his

Did Hamlet so envenom with his envy That he could nothing do but wish and beg Your sudden coming o'er, to play with him.

105

Now, out
Laer.

of this,

What
Or
are

out of

this,
?

my

lord

King. Laertes, was your father dear to you

you

like the painting of a sorrow,

?

A
Laer.

face without a heart

Why
I

ask you this?

10

King. Not that

think you did not love your father.

love
is

But that

I
I

know

begun by time. and

of

And
Time

that

see, in

passages of proof,
fire
it.
i
i

qualifies the spark

lives

There

within the very flame of love

will

kind of wick or snuff that

abate
still,

it

And

nothing

is

at a like goodness

For goodness, growing

99. tspecially'] F, especial Q. Tkis F {om'Ming ^Ae scrimers .
.

to a plurisy,
.

and

several editors.

101-103. you opposed them.) 107. IVhat] Q, IVhyY.

.

t/iis]

Q, you Sir.

106. him'\,
1

you
. .

(^
.

15-124.

7 here

ulcer']

Q, omitted F.
scrimers] fencers.

loi. 102.

French,

escrimettrs.

motion] a fencing term; used

in his Practise

by Vincentio Saviolo
scene.

(1595); see line 158 of the present

113. passages oj proof] well-established instances. 117. i^////] constantly, as in 11. ii. 42. as if derived 1 18, //r/j;'] plethora irom plus, pluris. So The Two Noble " the plurisy of Kinsttien^ \. \
; :

people."

sc. VII.]

PRINCE OF DENMARK
in his
;

181

Dies

We
And
As

should do when

own too-much that we would do we would for this " would

;

"

changes,

120

hath abatements and delays as

"
"

many
;

there are tongues, are hands, are accidents

And

then this

should
easing.

is

like a spendthrift sigh.

o'

That hurts by
ulcer

But to the quick

the

Hamlet comes back; what would you undertake To show yourself your father's son in deed More than in words ?
Laer.

25

To

cut his throat

i'

the church.

King.

No

place, indeed, should

murder sanctuarize
no
bounds.
But,

Revenge
Laertes,

should

have

good
your
1

Will

you

do

this,

keep

close

within

chamber.

30

Hamlet

return'd shall

know you

are

come home

We

'11

put on those shall praise your excellence.

And

set a

double varnish on the fame

;

The Frenchman gave you

together

bring

you,

in

fine,

And wager on

your heads
free

he, being remiss,

all

3 5

Most generous and

Will not peruse the

from

contriving.

foils,

so that with ease

Or with

little shuffling,

you may choose

126.

\2T,. spendthyift'\(^(i, spend-thirftsCl. indeed), indecde your fathers somic i)^.

s.{teT

your

! /i

deecf]
;

130.

chamber.]

Stccvens

F (wilh comma

char/ider Q, F.

135.

on]F,o^er Q.
128. sanctuarize^^ protect from punishment as a sanctuary does,
137. peruse] see
II.
i.

123. spendthrift sigh] Alluding to the notion that sighs shorten life by

drawing blood from the heart. SceA/id-

90.

summer Night's Dream,

III.

ii.

97.

182

HAMLET
A
sword unbated, and
for
in a

[act

iv.

pass of practice

Requite him
Laer.

your

father,
I

will

do

't

40

And
I

for that

purpose

I '11

anoint

my

sword.

bought an unction of a mountebank,

So mortal that but dip a knife in it, Where it draws blood no cataplasm so
Collected from
all

rare,

simples that have virtue

the thing from death
;

145
point

Under the moon, can save

That
is

but scratch'd withal

I '11 I

touch

my

With
It

this contagion, that, if

gall

him

slightly,

may

be death.

King.

Let

's

further think of this

Weigh
means

what

convenience

both

of

time

and 150

May fit us to our shape. If this should fail. And that our drift look through our bad performance,
'Twere better not assay'd
should
;

therefore this project

Should have a back or second, that might hold.

If
this

blast

in

proof.

Soft

let
I

me
5 5

see

We
I

'11

make

a solemn wager on your cunnings

ha't:
dipt

141, thati F, omitted Q. 143. that but dip\ Q, I but 150. conve7iience\Y , conueiance ^. 1 51. shape. If. . , has no point except comma zittr fay Ie ; F has comma after after/a;7f, 155. should] F , did Q. 156, cu/inin^s] Q,
139.
I.
i.

[I

= Ay).
;

_/a//,]

Rowe

shape, semicolon comniin^s F.

unbated] not bhmted, as

Love's Labour
his
s

foils

155.

b/ast in proof] suffer blight in

are by a button.

Lost,

the

trial.

"bate

scythe's

keen

156. cutitiitigs]

edge,"
139. pass of practice] thrust; see line 68. 142.
in Ot hello,
I.

and Knight explain

treacherous

bouts at fence.

"Acomming;
fencing."

Caldecott conwiings as Cotgrave has Venue, . also a vennie in

skill.

mountebank] quack-doctor, as
iii.

61.


PRINCE OF DENMARK
in

sc.vii.]

183

When
And

your motion you are hot and dry,

violent to that end,
I '11

As make your bouts more

that

he

calls

for

drink,

have prepared
1

him

60

A
If

chalice for the nonce

whereon but sipping,

he by chance escape your venom'd stuck,

there.

Our purpose may hold

noise
?

But stay

what

Enter QUEEN.

How
Queen.

now, sweet queen

tread
follow.

One woe doth

fast

upon another's

heel,
's

So

they

Your

165
drown'd,

sister

Laertes.

Laer. Drown'd!

Oh, where?
a willow grows aslant a brook,
;

Queen. There

is

That shows his hoar leaves in the glassy stream 170 There with fantastic garlands did she come, Of crow-flowers, nettles, daisies, and long purples.
That
159. that']
tttcke

liberal

shepherds give a grosser name,

162. stuck] Q, F ; i6o. prepared] Y,prefardQ^. . . 164. I/oiv noise i"] Q, omitted F. . . 166. they] Q, theyU F. (jtteen] 2, how sweet Queene F, omitted Q. 170. 168. aslant a] F, ascaimt the Q. 169. hoar] hore F, harry Q.

Q, the F.
163.

6.

But

There with
162.

come] F,
:

'1

herewith
pro-

make Q.

stuck]

Dyce

"more

perly stock, an abbreviation of stoccado" or stoccata, a thrust. So Twelith Aight, III. iv. 303. The /Mi-X'tf of 6 means rapier. 168. w;7/c;w] significant of forsaken

of the woods and meadows, of Dead Men's Fingers was given to them from the pale palmate roots of some of the species." 172. liberal] free-spoken, as in Richard II. 11. i. 229, or licentious,
chises

The name

love.

as in

Much

Ado,

IV.

i.

93.

Grosser

171. crow-Jlowers]

used Gerarde's Herbal identified wilii " Wilde Williams, Marsh Gillofluurs,

butter-cup, but In formerly of ragged-robin.

names are found in old Ilerbais. " One," says Malone, " Gertrude had a particular reason to avoid the rampant zvidow." To find a significance
each plant is perhaps to consider too curiously ; but see notes in Furin

and Cockow Gellofloures." 171. long purples] According

to

EUacombe "the common

purple or-

ness.

184

HAMLET
But our cold maids
do
dead men's

[act

iv.

fingers call

them

There, on the pendent boughs her coronet weeds

Clambering

to hang,

an envious

sliver

broke;

175
spread

When down
Fell
in

her weedy trophies and herself

the weeping brook.

Her

clothes

wide.

And, mermaid-like, awhile they bore her up Which time she chanted snatches of old tunes, As one incapable of her own distress, Or like a creature native and indued Unto that element but long it could not be
;

80

Till that

her garments, heavy with their drink,

Pull'd the poor wretch from her melodious lay

To muddy
Laer.

death.

Alas, then, she

is

drown'd

185

Queen. Drown'd, drown'd.

Laer.

Too much

of water hast thou, poor Ophelia,

I

And
It is

therefore

forbid

my
it

tears

but yet

our trick

nature her custom holds,

will
;

Let

shame say what

when

these
1

are

gone

90

laudesQ. Q, buy F.
175.

I, F ; 176. her'] Q, the F. 173. cold] F, cull-cola Q. 179. times] 181. i7idued]Y, ittdewedQ^. 183. their](^, herY. 184. lay] 1S5. she is drozvn'd!] (note of exclamation, Pope) ; is she drowtCd. Qq 4, 5 ; is she drown'' d ? F, 6.

Q Q

sliver]

branch

branch

slivered
in

(split)

properly from a
i. 28: moon's

to
ii.

apprehend
14.

see

capable

in

III.

tree.

So

Macbeth,

iv.

"Slips of yew
eclipse."

sliver'd in the

condition in

181. indued] brought to a state or harmony with that ele-

179. tunes]

The agreement

of

and F argues strongly against the Q lauds, which some editors prefer,
probably as heightening the pathos. 180. incapable] without capacity

ment. So in Othello, in. iv. 146, an aching finger "endues" our healthful members to a " sense of pain." 189. trick] way, as in ;] Henry IV. ii. i. 240: "it was always yet the trick of our English nation.'


PRINCE OF DENMARK
The woman
I

SCI.]

185
;

will

be out.
fire,

Adieu, my
it.

lord

have a speech of
this folly

that fain

would

blaze.

But that
King.

douts

\Exit.

Let 's follow, Gertrude

I

How much Now fear I

Therefore

had

to

do

to
it

calm

his rage
;

this will give

's

start again

195
\Exeimt.

let

follow.

ACT V
SCENE
I.

Churchyard.

Enter two Clowns, with spades and mattocks.

First Clo. Is she to be buried in Christian burial
that wilfully seeks her

own
is
;

salvation

Second

Clo.

tell

thee she
;

and therefore make

her grave straight

her,

the crowner hath sat on

5

and

finds

it

Christian burial.

First Clo.

How

can that be, unless she drowned

herself in her. own defence?

Second

Clo.

Why,

'tis

found

so.
;

First Clo. It must be se offendendo

192. offirc\ F, afire

it

cannot be
doubts
;

else.

Q.

193. douts\

Knight
I.

F Jrownes
F,

Q, F2.

Aci

V. Scene

A
3.

Churchyard] Capell, and] F, omitted Q.

A
9.

Church Rowe.
of the

2.

that~\

zvhen she Q.

se offendendo F, so offended

Q.

193. douts] does out, extinguish, Henry V. iv. ii. 11, where dout seems to be the verb, F has doubt.

church, where suicides were

In

buried. 4. croivner]

Act
straight] ately, as in
4.

... y.
II.

A form of " coroner" found in Ilolinshed, Harrison, Pepys,

^^^^^^_
9.

.^cene

i.

^^^
immediJohnson

straightway,
ii.

459.

supposed that it meant from east to west Douce, that it meant not north
;

offendendo] The Clown's mistake for defcndendo, as perhaps sahation in line 2 for its opposite,

18G
For here
wittingly
lies
it

HAMT.ET
the
point
:

[act v.
I

if
;

drown myself
to do,

argues an act
;

and an act hath and

to

three branches

it

is,

to act,

perform

argal, she

drowned
Here

herself wittingly.
delver,

Second

Clo.

Nay, but hear you, goodman

Give

First Clo.

me

leave.

lies
:

the water
if

good
go to

here stands the

this water,

man

good

the

man

and drown himself, it is, will he nill he, he goes mark you that but if the water come to him, and drown him, he
; :

drowns

not

himself:

argal,

he

that

is

not

20

guilty of his
life.

own death
this

shortens not his

own

Second
Second

Clo.

But

is

law?
;

Fv'sf Clo. Ay, marry,

is 't

crowner's quest law.

25

If this Clo. Will you ha' the truth on 't ? had not been a gentlewoman, she should have

been buried out

First Clo.

o'

Christian burial.

Why,

there

thou say'st

and the more

pity that great folk should have countenance

in

this

world to drown or hang themselves

their

30

more than
12. io act]

even Christian.
13.

Come, my

Q, an Acte V. thati\ that, Q, that? F. tian] F, Christen Q.

18.

27. 0'] Jennens, a

perform: argal] Y, performe, or all ; Q. 31. ChrisQ, ofY.

Plowden's tion, and the execution. Commentaries were not translated from the French until the eighteenth
century. 13. argal] of ergo.
24.

branches] Shakespeare 12. three seems to have read or heard of Plowden's report of Hales v. Petit, Sir James Hales had drowned himthe coroner's jury returned a verdict of y^/i? de se. Dame Plales's counsel argued that the act of suicide cannot be completed in a man's lifetime. Walsh, .Serjeant, contra replied that " the act consists of three parts" the imagination, the resoluself;

the Clown's perversion

ijuest] inquest,

31. even Christian] fellow Christian ; found in Chaucer's Parson's

Tale, in Latimer,

and elsewhere,


PRINCE OF DENMARK
There
is

SCI.]

187

spade.

no ancient gentlemen but

grave- makers
;

gardeners, ditchers, and

they

hold up Adam's profession.

Second
Second

Cio.

Was

he a gentleman
first

35

First Clo. A' was the

Clo.

that ever bore arms.

Why, he had
art a

none.
?

First Clo.

What,

heathen

How
The
to

dost thou

understand the Scripture?

Scripture says
?

Adam
I '11

digged

could he dig without arms

thee
;

40

put another question

if

thou

answerest
thyself

me

not

to

the

purpose,

confess

Second

Clo.

First Clo.

Go to. What is
?

he that builds stronger than

45

either the

mason, the shipwright, or the carthat

penter

Second

Clo.

The gallows-maker
like

for

frame

outlives a thousand tenants.

First Clo.

thy wit
;

well,

in

good
does
;

faith; the
it

50

gallows does well

but

how
ill

well

it

does well to those that do

ill

now, thou dost

stronger than

to say the gallows

:

is

built

the church
thee.

argal, the gallows

may do

well to
5 5

To

't

again

come.

The same difference occurs frequently in this scene, 36. A''\ Q, He F. and elsewhere. arwj.^] F, omitted Q. 37-40. Why 43. thyself
.

F, ihy

selfe.

(.}.

48.

frame

F, omitted Q.
42, 43. coiijess lhyseIf'\ Malone " 'And be hanged,' the Clown would have said ... a common proverbial
:

34. /^u/i^ /] maintain, continue, as in Aferry IVives, V. v. no. 35. geiitleman'\

Adam's spade,

says

Douce, is set down in some of the books of heraldry as the most ancient form of escutcheon.

sentence."

188
Second
Clo.
"

HAMLET
Who
tell

[act v.

builds stronger than a mason, a

"
?

shipwright, or a carpenter

First Clo. Ay,

me

that,
I

and unyoke.
tell.

Second

Clo.

Marry,

now

can

First Clo.

To 't.
Mass,
I

60
cannot
tell.

Second

Clo.

Enter

HAMLET and HORATIO,

will

at a distance.
it,

First Clo. Cudgel thy brains no more about

for

your dull ass

beating
tion
;

not

mend

his

pace with
this ques-

and when you are asked

next, say

"a grave-maker";

the houses

65

that he

thee to

makes last till doomsday. Go, get Yaughan fetch me a stoup of liquor.
;

\Exit Second Clown.

61.

F.
58.

66. that] F, omitted Q Enter] F, after line 71 Q. 67. to Yazighani F ( Yaughan italicised), in, and Q

last]

Q4

lasts

Q,

stoup] F, soope Q.

may

unyoke] after this great effort you unharness the team of your wit.

67. Yaughan] Unexplained; perhaps the name of a London tavern-

keeper.
is

The alehouse

of

"deaf lohn"
;

mentioned in Jonson's Alchemist in Every Man out of his Humour, V. vi., he mentions "a Jew, one Yohan,"
but not as a tavern-keeper. Yaughan said to be a common Welsh name. Of several emendations recorded in the Cambridge Shakespeare, the most plausible is that of Mr. Tovey "Goto, y 'are gone; get thee gone, Y^are gone occurs, but in fetch." another connection, in Q l, meaning "you are out of it, you have failed to solve the question"; get thee gone occurs in the same Q after "the gallowes dooes well to them that do Or we might read with Q " Go, ill." get thee in," and add, "y'are gone," If as an emendation of "Yaughan." " Yaughan " was a printer's error of

is

F, the reader for the press, taking i proper name, might have subsubstituted "to" for "in," and so produced the F reading. Why has no ingenious gentleman suggested a shake and jumble of the letters, with an error of a for (the boxes for these letters being next each other in the compositor's case) ? The first Clown's " confess thyself" was to be followed by "and be hanged," but he was interrupted ; he proceeds, however, to say that the gallows may do well for
for a

Yaughan easily his comrade. yields us You {mi?,Y>x\n\.ed Yau) ; gha?i is hang^'iih the last letter misplaced Read therefore, the ingenias first.
ous

Now

gentleman might say, with Q,

get thee in,"
fetch, etc."

"Go,
you;

and add, "hang The F "to" may

be accounted
67. stoup]

soope sup.

is

for as mentioned above, Jennens supposes that Q the Clown's pronunciation of

SCI.]

PRINCE OF DENMARK
First Cloivn digs,

189

and

sings.

In youth, when I did

love,

did

love,

Methought

it

was very
!

siueet,

To

contract,

Oh

the

time, for,

Ah

viy

behove,

70
fellow

Oh Ham. Has

methought there zvas nothing meet.

this

no

feeling of his business,

that he sings at grave-making?

Hor. Custom hath

easiness.

made

it

in

him a property
little

of-

75
;

Ham.

'Tis e'en so

the hand of

employment

hath the daintier sense.

First Clo. [Sings.]

But age, with his stealing steps, Hath clazud me in his clutch. And hath sliipp'd me intil the land, As if I had never been such.
skull
;

80

\Throzvs up a skull.

Ham. That
sing
70.

had a tongue

in

it,

and
it

could
to

once
<z

how

the knave

jowls

the

for All] for

a Q. Q.

Tl. a/] F, in 81. Throws .

Q, F. Q.
. .

there was nothing] F, there a was nothing claw'd] Q, caught F. 80. intil] F, into Capell omitted Q, F.
71.
79.
;

68-71.] This and the two following stanzas are with variations here from a poem attributed to Lord Vaux, and printed in Tottel's .!/?>////;' (p. The O/^ and .-W are 173, cd. Arber). perhaps grunts of the digger at work Clar. Tress, however, take them to represent drawling notes, like the slile-a and inile-a of Autolycus in Winter's Tale, iv. iii., which may be right, and finds support from a similar example in the Tragedy of Hoffman. "To contract the lime" seems to be

caught up from a later stanza of the

poem "And
shipped

tract of time," as
intil

"And

the land " certainly is; the resulting nonsense being designed by Shakespeare. I>'or the traditional music the tune of The Children in the Wood see Furness

me

(from Chappell), p. 385. 74, 75. property 0/ easiness] a peculiarity that

now comes

easily,

80. intil] into, as in Chaucer, 83. Jowls] knocks (used specially of

tlic

head), as in

.-///V

Well,

i.

iii.

58.

"

190
ground,
did the
as
first
if

HAMLET
it

[act v.
that

were Cain's jaw-bone,

It

murder!

might be the pate

85

of a poHtician, which this ass

now

o'er-reaches,

one that would

not?
Hor.
It

circumvent

God,

might

it

might,
of a

my

lord.

Ham. Or
lord

courtier,

which could say

!

"

Good

90

morrow, sweet lord

? "

This might be

that praised

my

dost thou, good Lord Such-a-one, Lord Such-a-one's horse, when

it,

How my
it

he meant to beg

might

not?

Hor. Ay,

my

lord.

95
so
;

Ham. Why,

e'en

and now

my Lady Worm's
fine

chapless,

and knocked about the mazzard with

a sexton's spade.

Here

's
't.

revolution, an

we had
cost no

the trick to see

Did these bones

to

more the breeding, but

?

play
't,

at

00

loggats with 'em

S4,
it

mine ache

to think on

o're

86. now o'eirear/ies] Q, were] F, twere Q. 85. I/] F, T/iis Q. F. 91. good] F, sweet Q. 87. would] Q, cotild F. 98. an] Capell, 97- mazzard] Y, niassene Q. 94. 7iieant] F, went Q. and Q^ i/Y. 101. Vw] F, them Q.
Offices

Cain's jaw-bone] Prof. Skeat and Queries, Aug. 21, 1880) showed that Cain, according to the legend, slew Abel with an ass's jawbone. This is mentioned in Cursor Mundi, I. p. 71, lines 1071-74 (Early
84.

office."

O'er-reaches

is

used in the

(Notes

literal sense,

and

for circumvent,

Eng. Text Soc).

?,6.

90.] Steevens compares Timon of Athens, i. ii. 216-218. a form of 97. mazzard] the head mazar, a bowl the later Qq alter the misprint of Q massene to mazer,
; ;

politician] Clar.

Press: "con-

spirator, schemer, plotter.

is

The word
sense by

always used in a bad Shakespeare."

may be
Well,

86. o'e7'-reaches] The F der-officcs right ; office, as a verb, occurs in Coriolanus, v. ii. 68, and in All's
III.
' '

loi. loggat s] Th& g2.mQo{\ogg2.is\s described by Clar. Press ; the players throw the loggats (little logs), truncated cones of apple-wood, as near the Jack, a wooden wheel, as possible; the floor is strewn with ashes: " per-

mean

129. O'er-offices may treats as one holding a superior

ii.

haps Hamlet meant to compare the skull to the Jack at which the bones were thrown.

SCI]

PRINCE OF DENMARK
A
pick-axe,

191

First Clo, [Sings.]

and a

spade, a spade.

For and a shrouding

Oil,

sheet

a pit of clay for to be made For such a guest is meet.

[

O5

Throzvs up another skull.

not that be the

IIam. There
skull

's

another

of a

why may lawyer ? Where

;

be his

quiddits

now,
tricks

his quillets, his cases, his tenures,

?

and

his

why does he
and
will
!

suffer

this

rude knave

now

to

knock him about the sconce with a -iio

not
tell

dirty shovel,

him of

his action
in
's

of battery?

Hum

This fellow might be

time a great buyer of land, with his statutes,

his recognizances, his fines, his
his recoveries
;

double vouchers,

is

this the fine of his fines,

and

the recovery of his recoveries, to have his fine

pate

full

of fine dirt? will his vouchers vouch

his purchases,

him no more of
too,

and double ones

than the length and breadth of a pair of

.

. . omitted Q, Y. 105. Throws io6. viay'\ Q, might F. ] Capcll ; 107. quiddits\ F, <juiddities QloS. qHillets\ F, quillites Q. 109. rudc\ F, maddc Q. recoveries] F, omitted Q. . 115, 116. is this 117. /lis
. .

vouchers'] F, vouchers

Q.

118, 119. double ones too] F, doubles Q.

For and] and moreover; so Against Garnescke, "Syr Gawen, Syr Cayus, for and Syr Olyvere" (ed. Dyce, i. 119); found also in Middleton and Beaumont and
103.

Skelton,

Fletcher.
107.
</?</rt'(?'/A]

quiddities, subtleties,

from the Schoolmen's quidditas, the

what-ness,
thing.
108. ^///tVji] frivolous distinctions;
distinctive

Law Dictionary. "Recognizances," another form of bond. "Fines "and " recoveries," modes of converting an estate tail into a fee-simple. In a recovery with double voucher, two persons are vouched, or called on, to warrant the tenant's title. li^. Jine of his fines] end of his
fines.

nature

of

wj. fine
speare,
libet.

dirt] Rushton {Shakea Lawyer) thinks that this

last

from quod

means the

dirt

that

will

ever

113. statutes] bonds, statutes-merchant or statutes-staple, the nature of which is explained in Thomas Blount's

occupy his pate, 119. 120. pair of indentures] conveyances or contracts, in duplicate,


192
indentures
?

HAMLET
The very conveyances
lie

[act v.

of his

120

lands will hardly

in

this

box

and must
?

the inheritor himself have no more, ha

Hor. Not a jot more,

my

lord.

Ham.

Is

not parchment

made

of sheep-skins

?
i

Hor. Ay,

my

lord,

and of

calf-skins too.

25

Hani. They are sheep and calves which seek out

assurance in that.
I

will

speak to

this fellow.

Whose grave
First Clo. Mine,
sir.

's

this, sirrah ?

Oh, a pit of clay for

to

be

made
liest in
't.

30

For such a guest

is

meet.

Ham.

think

it

be thine, indeed,
lie

for

thou

First Clo.

You
;

out on

't,

sir,
I

and therefore
lie in
't,

'tis

not yours
yet
it is

for

my
in

part,

do not

and
135

mine.
dost
lie
't,

Ham. Thou
thine
;

to be in

't,

and say
the

it

is

'tis

for the
liest.

dead,

not for

quick

therefore thou

First Clo. 'Tis a quick

lie,

sir

'twill

away

again,

me to you. Ham. What man dost

from
First Clo. For no man,

140
thou dig
sir.
? it

for?

Ham. What woman,

then

126. 121. hardly'] F, scarcely C^. 125. calf-skins] F, Calves skinnes Q^. 1 29-13 1. A/ine meet] 12?>. sirrah] Q,SirF. which^Ql, thatY. made (omitting For meet). (as prose), A/ine sir, or a , 136. it is] Q, 'tis . 133. 'tis] Q, it is F. 134, 135. and yet] F,yet Q.
. .

the paper or parchment indented, so as to be divided into two, which two must fit together in proof of genuineness.

122. inheritor] possessor, as in Love' s Lahoii>' s Lost, 11. i. 5. 127. a^jwr^wa'] used in the ordinary and the legal sense (conveyance of land or tenements by deed).

"

SCI]
First Clo.

PRINCE OF DENMARK
For none, neither.

193

Ham. Who is to be buried in't? First Clo. One that was a woman,
soul, she
's

145
sir
;

but, rest her

dead.
is
!

Ham. How
by the

absolute the knave

we must speak
undo
us.
I

card, or equivocation will

By
have 150

the Lord, Horatio, these three years

taken note of

it

the age

is

grown so picked

that the toe of the peasant

comes so near the

heel of the courtier, he galls his kibe.

How'

long hast thou been a grave-maker?

First Clo.
that

Of

all

the days
last

i'

day that our

long

came to 't 155 King Hamlet o'ercame

the year,
I
?

Fortinbras.

Ham. How
that
;

is

that since
tell

First Clo. Cannot you

it

that

every fool can

tell
1

was the very day that young Hamlet

60

151. takeni F, tooke Q. 150. these\ F, this Q. 153. heel] Q, heeles F ; the courtier] Q, our Courtier V. 154. a] F (and later Qq), omitted Q. 156. dercame] F, overcame Q. 160. the very] 155. all] F, omitted Q.

F, that very Q.
148.
ii.

/;j'(?////g]

positive, decided, free

from conditions.

Sqq Cymbeline, w.
;

or perhaps the card on which the points of the mariner's compass were marked, as The sense in Macbeth, i. iii. 17.

106. 149. carcT] chart

" map " or " sea-chart " seems to be In any case "to speak the earlier. by the card" means to speak with exactness to a point. {ha 149. e(juivocatio)t] iimh\g\\\\.\ use of terms, not necessarily with a view to mislead. i has "this 150. three years] seaven yearcs." It is, perhaps, worth asking whether any allusion can be intended here to the great Poor Law legislation of 1601, when the principle

of taxation for the relief of the poor was fully and finally established. The date is exactly three years before the words appeared in 1604. The purses, if not the kibes, of needy courtiers were galled l)y the assessments of the overseers. The Act is that of 43 Eliz.; the earlier Act of 39 Eliz. preceded the second by seven years, the first

by

six.
le^i.

picked] spruce, smart, as in Love's Labou)' s Lost, \. \. 14. Johnson and Stcevens supposed that there was an allusion to picked shoes, shoes with long projecting points, "beaks or pykes.
153.
11.
i.
/<//)<?]

chilblain, as in Tempest,

276.

13

194
was born
England.
;

HAMLET
he
that
is

[act v.
sent
into

mad, and

Ham. Ay, marry why was he sent into England ? First Clo. Why, because a' was mad a' shall re;
:

cover his wits there;

great matter there.

or,

if

a'

do

not,

'tis

no 165

Ham. Why ?
First Clo. 'Twill not be seen in

him there

there

mad as Ham. How came he mad ?

the

men

are as

he.

170

First Clo.

Very
"

strangely, they say.

" ?

Ha7n.

How

strangely

First Clo. Faith, e'en with losing his wits.

Ham. Upon what ground ? I have been First Clo. Why, here in Denmark sexton here, man and boy, thirty years.
;

161. is\ Q, 176, sexton]

was F.
4,

165. V?V] Q, it 's F. 168. ktui Sexten Q, sixeteene F, Sexesione F 2.

Clar.

there']

Q, him F.

169. as

mad

as he]

Press
ill.
,

quotes Marston, Malcontent,

i.
. ,

lordship shall ever find amongst a hundred Englishmen fourscore and ten madmen." So also Very Woman, ill, i. Massinger, " The fellow [an Englishman] is mad, stark mad. Believe they are all so." 176. thirty years] Hamlet's age thirty is here fixed in a twofold way by the date of the grave-digger's service and by the number of years Gonzago and since Yorlck's death. his wife, who represent the elder

"Your

Prof. Hales has foreign university. quoted a passage from Nash, Pierce Penniless' s Supplication, on the late age at which the Danes commenced

education:

"You

shall

see

boy

weeping under the

a great rod

is thirty years old." In Hamlet's age is not fixed, and he seems younger throughout. Perhaps in recasting the play Shakespeare felt that Hamlet's weight of thought implied an age beyond that

when he

of very
to
is

early

harmonise the

manhood, and failed earlier and later pre;

Hamlet and Gertrude, have been It is true, howmarried thirty years. ever, that passages in earlier scenes in particular the scene of Laertes parting from Ophelia lead us to conceive Hamlet as younger. He is but it is a a student of Wittenberg

His Troilus under twenty-three Florizel looks about twenty-one ; Cymbeline's sons twenty-two are twenty-three and Hamlet is surely older than these youths. The heyday of Gertrude's blood is tame she may be forty-five
sentations of his hero.
; ;

SCI]

PRINCE OF DENMARK
long will a

195

Ham. How
rot?

man He

i'

the earth ere he

First Clo.

as

V faith, if a' be not rotten before a' die, we have many pocky corpses now-a-days,
will

80

that
last

scarce hold the laying

in,

a'

will
;

you some eight year or nine year tanner will last you nine year.

Ham. Why he more than another ? First Clo. Why, sir, his hide is so tanned
trade
that
;

with his
a great

a'

will

keep
is

out water

while

and your water

a sore decayer of

your whoreson dead body.

Here

's

a skull

now

this skull has lain in the earth three

and

twenty years.

190
fellow's
it

Ham. Whose was it ? First Clo. A whoreson mad

do you think
it

was

whose

was
not.

Ham. Nay,
First Clo.
a'

know

pestilence on

him

for a

mad

rogue!

195

poured a flagon of Rhenish on

This same
skull,
sir,

my

head
skull,

once.

was Yorick's

the king's jester.

Ham.
Here^s
.

This

Fayth Q. i8o. ftow-a-days] F, omitted Q. i88, 189. the\Y,heer''s a skull now hath lycn you -C th '<l. 189,190. three and twenty'] F, 23 Q, this dozen yeare Q i (but in a different connection, and perhaps not Yoricic's skull). 197. This same skull, sir] Q, words repeated F ; Yorick's'l F, sir Yoricks Q.
179. J'faiih] F,
.

iti

or forty-six yet, like Gonzago's wife, who is of that age, she may have However we the power to charm. account for the inconsistency, we must accept dates so carefully de:

perhaps the Danish Jorg (George)

Magni'isson
(in

Clar.

Press)

per-

haps a corruption of Rorick, Saxo's Roricus, Hamlet's maternal grandfather. Furness notes that Jerick is

termined.
197.
Yorick^s'\

Ainger

Yorick

is

name of a "Dutch Bowr Chapman's Alphonsus.

the

"

in

196
First Clo. E'en that.

HAMLET
me
see.
!

[act v.

200

Ha7n. Let

Alas, poor Yorick

{Takes the
I

skull.

knew him, Horatio

his

fellow of infinite jest, of

most excellent fancy

back a
in
it.

he hath borne
times
tion
;

me on
gorge
I

thousand
imagina- 205

and now, how abhorred

!

my

it is

my

rises

at

Here hung
not

those lips that

oft.

have kissed
gibes

Where be your
? ?

know

how

now? your gambols?

?

your songs

your flashes of merriment, that

set the

were wont to
chop-fallen

table on a roar

Not
lady's

one now, to mock your own grinning? quite

Now
tell

get

you

to

my
;

chamber, and
laugh at that.
thing.

her, let her paint

an inch
her
2
i

thick, to this favour she

must come

make

Prithee, Horatio,

tell

me one

Hor. What 's that, my lord ? Ham. Dost thou think Alexander
fashion
Ho)'.
i'

looked

o'

this

the earth

E'en

so.

220
?

Ham. And

smelt so

puh

{Puts doivn the

skull.

201. Let me see\ F, omitted Q. Takes the skull] Capell (after This? line 20a,. bor}ie\Y, boreal. 205. w^7;]Q, omitted F. 205, 199); omitted Q, F. 206. in my . . . it is\ Q, my imagination is. F. 210, 21 1. JVot one] Q, Al? one F. 211. grinning] Q, leering F. i, F; taSte Q. 213. c/iamier] 221. j-^ ? puh] F, so pah Q, so ? pah 6. Puts down . . .] Collier ; omitted Q, F.

214. favotir] commonly used for appearance, aspect ; also for beauty, comeliness ; also for the countenance,
the face. 218. Alexatider] Perhaps Shakespeare thought of Alexander's beauty and sweet smell as well as of his conquests. North's Plutarch : "Alexander had a very faire white colour

mingled also with red

his
.

skin
.

had a marvellous good favour his bodie had so sweet a smell " that his apparel "took thereof a passing His corpse redelightful savour." mained "many days naked wirhout
.

buriall,

in a hote drie countrie," yet

and faire corps as could be" {Life of Alexander).

was

"still a cleane

SCI]

PRINCE or DENMARK
so,

197

Hor. E'en

my

lord.

Ham. To what Why may

dust

base uses we
not

may

return, Horatio

imagination trace the noble

till

of Alexander,

he find

it

stopping 225

a bung-hole?

Hor. 'Twere to consider too curiously, to consider

so.

Ham. No,
to lead

faith,

not

jot;

but

to

follow

him

thither with
it
;

modesty enough, and likelihood

:

as thus

Alexander
of earth

died,

Alexander 230
dust";
;

was
the

buried,

Alexander returneth into

earth
;

dust

is

we make loam
?

and why of that loam, whereto he was converted,

might they not stop a beer-barrel

to

Imperious Caesar, dead and turn'd to clay,

235
in

Might stop a hole

keep the wind away

awe.

Oh, that that earth, which kept the world

Should patch a wall

t'

expel the winter's flaw

:

But

soft

but soft

aside

here comes the king.

Enter Priests^

etc.

in procession ;

the Corpse

of OPHELIA,

Laertes and Mourners foUozving ; KING, QuEEN,

their Trains,
etc.

The queen,

the courtiers;

who
rites

is
?

this

they follow? 240

And
The

with such

maimed

This doth betoken

corse they follow did with desperate

hand
.
.

230. rt.f///?/.r]Q I, F; omitted Q. 231. into\Y, /oQ. 235. Imperious\ 23S. winters] F, waters Q. Q, Iniperiall F. .] ^falone. 239. Enter Enter K. Q. Laertes and the corse Q. Enter King, Queene, Laertes, and a coffin, witli Lords attendant F. 240. t/iis] Q, t/iaf F.
229. w/<7(/<;j-/|'] moderation, freedom from exaggeration, as in III. ii. 22.

235. Imperious'] Imperial, as in Troilus and Cressida, IV. v. 172

Dyce quotes Cot238. y7rt7y] gust. flaw or gust of wind grave: Tourbillon dc vent."

"A

"most imperious Agamemnon."

198
Fordo
it

HAMLET
own
life
;

[act v.
estate.

'twas of

some

Couch we

awhile,

and mark.
{^Retiring with Horatio.

Laer. What ceremony else ? Ham. That is Laertes, a very Laer. What ceremony else ?
Priest.

245
noble youth
:

mark.

Her obsequies have been as far enlarged As we have warrantise her death was doubtful And, but that great command o'ersways the order,
;

She should
Till the last

in

ground unsanctified have lodged 25

;

trumpet

for charitable prayers,

Shards,

flints,

and pebbles should be thrown on her

is

Yet here she

allow'd her virgin crants,

the bringing

Her maiden strewments, and Of bell and burial.

home 255

244. Retiring .] 243. it\ Q, F ; ?V5 Q 6 ; it's Ff 3, 4 ; of] Q, omitted F. Capell ; omitted Q, F. 248. Priest] F, Doct Q, First Priest Capell. 249. warrantise] Dyce, warrantis F, warrantie Q, warranties Caldecott (ed. 2). 251. have] F, been Q. 252. prayers] Q, prayer F. 253. Shards] F, omitted Q. Rites F, 6 and many editors. 254. crants] ;
. .

it,

and for 243. Fordo] see il. i. 103 see I. ii. 216. Bar244. Couch] conceal, lurk. rough, Meth. Physick, 1610: "If the quantity of humour be great, it
;

Hardiman,
says
'
:

Our Prayer-Book,

138,

sometime
principall

coucheth

itself

in

some

crants were garlands which it was usual to make of white paper, and to hang up in the church on the occasion of a young girl's funeral. Some of these were hanging
'

The

member."

up

in

Flamborough Church, York-

249. warrantise] The word occurs Sonnets, cl., and in 1 Henry VI. I. iii. 13. Clar. Press: " The rubric before the Burial Office forbids it to

be used for persons who have laid violent hands on themselves." 253. Shards] Potsherds.
254. crants] wreaths, garlands, or

Many editors give F rites. See Brand's Popular Antiquities, II. 302. 255. strewntents] Several passages of Shakespeare refer to strewing the corpse or the grave with flowers in
shire, as late as 1850."
;

perhaps singular, garland (German, Krantz). New Eng. Diet, quotes Greene in Harl. Misc. il. 246 " The filthy queane weares a craunce," and Nichol, Progr. Q. Eliz., 1596.

Cymbeline, IV. ii. 285, we have " strewings fitt'st for graves." 255. bringing home] Clar. Press

compares Romeo and Juliet, iv. v, 85-90, adding: "the marriage-rites in the case of maidens are sadly
parodied in the funeral rites."

SCI]
Laer.
Priest.

PRINCE OF DENMARK
Must
there no

199

more be done

No more
should profane the service of the dead
sing a requiem and such rest to her
to peace-parted souls.

be done

We
To As
Laer.

Lay

her

i'

the earth
flesh

260

And May

from her

fair

and unpolluted
!

violets spring

-I

tell

thee, churlish priest,

sister be,

A
Ham.

ministering angel shall

my

When

thou

liest

howling.

What, the
;

fair

Ophelia

Queen. Sweets to the sweet

farewell
[

265
Scattering floivers.

hoped thou shouldst have been

wife

my

Hamlet's

thought thy bride-bed to have deck'd, sweet maid,

not have strew'd thy grave.

And
Laer.

Oh,
Fall ten times treble

treble

woe
270

on that cursed head

ingenious sense
off the earth awhile.
in

Whose wicked deed thy most

Deprived thee
Till
I

of.

Hold

have caught her once more

mine arms,

\Leaps into the grave.

fareivcll'\ 265. Sweets 259. sing a ieijuie>ii'\0, sing sage 'Rci\mem. to the siveet, fai-ewell, Q, Sweets, to the sweet farewell. Ff I, 2, Sweets, to thee sweet farewell. Ff 3, 4. Scattering flowers] Johnson omitted 268. have'\ (1, /' have F ; treble woe] Q, terrible woer F, terrible Q, F. wooer Yi 2-4, treble woes. P\irness (S. Walker conject.). 269. treble] F, double Q. 272. Leaps . ] F (with iti for into), omitted Q.
.
.

Sweets

"sage re259. a reqtiiem] The " of F has been emended " sad requiem,'' Collier MS. "such requiem," Dyce conject., Grant White. 264. howling] Used also in Romeo andJuliet, III. iii. 48, of the outcries
quiem

in

hell:
it."

"The damned
in
hell,

word
attend

[banished]

use that llowlings

270. ingenious] quick in apprehension. Compare Lear, iv. vi. 287, 288. 6 reads " ingenuous."


HAMLET
Now
pile
Till of this flat a

200

[act v.

your dust upon the quick and dead,

mountain you have made

To o'er-top old Pelion or the skyish head Of blue Olympus. Ham. [Advancing:] What is he whose grief
Bears such an emphasis
Conjures
stand
the
?

275

whose phrase of sorrow

stars,

wandering

and
This

makes them
is I,

Like wonder-wounded hearers?

Hamlet the Dane.

Laer.

[Leaps into the grave.

The
pray'st not well.

devil take thy soul

280
him.

[Grappling

ivith

Ham. Thou
I

prithee, take thy fingers

I

from

my

throat

For, though

am

not splenitive and rash,

in

Yet have

something

me

dangerous,
off thy

Which let thy wisdom

Queen.
All.

fear.

Hold

hand

285

King. Pluck them asunder.

Hamlet, Hamlet

Gentlemen,

Hor.

Good my
\TJie Attendants

lord,

be quiet.

part them, and they come out of the grave.

276. Advancing] Capell Conjures'] Q, Conjure F. leaps in after Laertes i

;

Q, Sir F wisenesse F; Hold off] Q, Away F. 285. wisdom'] Q I, Q 287. Q. All. Gentlemen, ] Malone, All. Hor.] Q, Gen. Gentlemeti. Q, omitted F. F. The Attendants omitted Q, F. .] Malone

278. Q, gn'efcs F. omitted Q, F; Hamlet 283. Foi-] Q ; Grappling] Rowe omitted Q, F. atid] F, omitted Q. 284. something in me] F, in vie sojuethifig
; ;

omitted Q,
280.

grief]
.

Leaps

.]

278. -ivandering stars]

Clar.

Press

quotes

"they

Cotgrave (under Pianette): be also called Wandering

283. splenitive] The spleen was the Compare i A';j /F. seat of anger.
V.
ii.

19.

starres."

SC.

I.

PRINCE OF DENMARK
I

201

Ham. Why,
Until
Queen.

will fight

with him upon this theme

my eyelids will no longer O my son, what theme?

loved Ophelia
;

wag.

290

Ham.

forty thousand brothers

Could

not, with all their quantity of love,

Make up my sum.
King. Oh, he
is

What

wilt thou

do

for her

mad, Laertes.
295
'It

Queen. For love of God, forbear him.

Ham.

'Swounds, show

me what
fight?

thou

do

Woo't weep? woo't

thyself?

woo't fast? woo't tear

Woo't drink up

eisel
;

eat a crocodile

297. wooU fast'] Q, thou 7/] F, ih 'owt Q. 296. 'Swounds] Q, Covte F omitted F. 298. eisef] Theobald, Esill Q, Esile (italicised) F.

(according to Sharon Turner, the 289. wag] move ; free from its preDown of the Yssel). On the other sent trivial or ludicrous associations. So " the empress never wags," Titus hand, it has been shown that "drink up " does not necessarily mean exAndronicus, V. ii. 87 ; and Spenser, may mean drink eagerly, it haust Faerie Qtteene, iv. iv. 167. In Sonnets, cxi., Shakespeare 292. (]ua7ttity] see III. iv. 75 ; used quaff. names "potions of eisel " as a bitter in depredator}' sense. strong 297. Woo't] Perhaps used to express and disagreeable remedy for Hamlet's hurried utterance ; but it infection." The word was used (see Ne'w Eng. Did.) for the vinegar reoccurs. Ant. and Cleop. iv. ii. 7, and IV. XV. 59, with no such signi- jected by Christ upon the cross. The Yox Thou 'It, chief objection to eisel, vinegar, seems ficance. I has Wilt. line 296, has th 'owt, possibly with to be, as Theobald puts it, that " the proposition was not very grand." the same intention. This objection would be met if we 298. eiser\ Criticism has not advanced much beyond Theobald's sug- could find any special propriety in the Now vinegar, even in proposition. Esill and gestions of 1733, that the F Esile mean eitlier eisel, vinegar, small quantities, as we learn from or some river ; and of the names of William Vaughan's Directions for Health (ed. 7, 1633, p. 47, first pubrivers none is more plausible than Theobald's " Yssel, in the German lished about 1607), while it allays heat and choler, " hurtelh them that Flanders." Parallels for the hyperbole of drinking a river can be pointed be sorrowfull." L. Joubert, Physician to the French King, in his Seconde out in several Flizabethan writers, in Partie dcs Errcitrs Populaires (Rouen, CJreene's Orlando Furioso, in Eastward Hoe, and elsewhere. The pro- 1600, p. 135), notes the vulgar error: " Que le vinaigre est la mort de la posal Nilus has only the crocodile to favour it. An English Esill has not colere et la vie de la melancholic." been found, though there is an Iseldun There may be irony in Hamlet's choice
;

'

'

Q Q

202
I '11

HAMLET
do
't.

[act v.

Dost thou come here to whine

To

outface

me

with leaping in her grave?

:

300
let

Be buried quick with her, and so will I And, if thou prate of mountains,
throw
Millions of acres on us,
till

them

our ground.

Singeing his pate against the burning zone,

Make Ossa
I
'11

like a

wart

Nay, an thou
This

'It

mouth, 305

rant as well as thou.

is

Queen.

mere madness

And

thus awhile the

fit

will

work on him

Anon,

as patient as the female dove,

When
Ham.

that her golden couplets are disclosed,

will sit

His silence

drooping.

Hear you,

sir

310

What
I

is

the reason that you use

me

thus

loved you ever.

But

it is

no matter
have
his day. {Exit.

Let Hercules himself do what he may,

The

cat will

mew, and dog

will

306. Queen] Q, 299. thou^ F, omitted Q. 305. a] Pope; and (^, F. Kin. . 309. couplets] Q, cuplct F. 307. thus'] F, this Q.

of extravagant performances suggested by Laertes' extravagance of grief:

243,
tion.

spoken

at

Gertrude's

sugges-

Would you

artificially heighten your sorrow by a bitter potion of eisel ? "Would you allay your anger ? 298. eat a crocodile] Hamlet's dial-

309. golden couplets] The pigeon lays two eggs, and the young, when disclosed ox hatched (see ill. i. 174),

lenge to revolting feats

ate, half-ironical
if

receives more point

in current natural

half-passion-

we remember that

are covered with yellow down, day] "Bay" has . 314. dog . been proposed for day, but the saying was proverbial; examples are found
.

history the crocodile of the serpent tribe.

was a monster
See Topsell's

Historie of Serpents. T. Bright regards the crocodile's bite as poisonous,

like

an

asp's.

both earlier and later than Hamlet. The meaning is, " Laertes must have Hamlet had his whine and his bark." previously (i. ii. 153) contrasted himself with Hercules if Hercules cannot
:

306. madness]

Compare

this

with
ii.

silence dogs,
little like

much

less

I,

who am

Hamlet's apology to Laertes, v.

that hero.

sen.]
King.
I

PRINCE OF DENMARK
pray you, good Horatio, wait upon him.

203

\Exit Horatio.

[To Laertes?[ Strengthen your patience

night's speech

in

our last

We

'11

put the matter to the present push.

Gertrude, set some watch over your son.

Good

This grave shall have a living monument

An

hour of quiet shortly shall we see;

patience our proceeding be.

320
[Exeunt.

Till then, in

SCENE
Enter

II.

Hall

in the Castle.

the other Ham. So much for You do remember all the circumstance ? Hor. Remember it, my lord ? Ham. Sir, in my heart there was a kind of fighting That would not let me sleep methought I lay
;
;

HAMLET and HORATIO. now let me see this, sir

Worse than

the mutines in the bilboes.

it,

Rashly,

And

praised be rashness for

let

us know,

315. you\ F, thee Q.

320. shortly'] F, thirtie Q, thereby

Qq

3-6.

Scene
I.

li.

let

me] Y, shall you

3.

(^.

2..

circumstanced] Theobald; circuinsiance.

.

lord?] F, Lord. Q. 6. bilboes] F, bilbo Q. 6, 7. Rashly,^ know,] Furness, rashly. And pray sd it: let us know, Q, rashly, {And it) let us know, Y.

Q, F.
. . .

3i7./>'c;j'(;//?<j/^]instantforwarding.

Moberly 319. living] enduring. statue like life itself. " Clar. Press suggests a double meaning, enduring (meant for Gertrude), the life of Hamlet (for Laertes).

"a

li. i. 378) in the Bilbo (of uncertain derivation, perhaps named from Bilboa in Spain) was a long iron bar, with

(as in

King John,

fetters.

^'^"'-

"
bilboes]

sliding shackles, to confine the ankles, a loclc fixing one end to the floor. The earliest example of the word in

New
mutineers

4.yff/i/z^] So Ardenof Feversham, ni. vi. : " This fighting at my harte."

6.

mutines in the

Eng. Did. is of 1557 from Hakluyt's Voyages. 6,7. Rashly] Pope read A'j.t//^5J-. Tyrwhitt, retaining Rashly, and read-


HAMLET
Our
indiscretion sometimes serves us well

204

[act v.

When our deep plots do pall; and that should teach us

There's a divinity that shapes our ends,

lo

Rough-hew them how we

Hor.

will.

That
cabin,
in

is

most

certain.

Ham. Up from my

My

sea-gown scarf'd about me,

I

the dark
desire,
i

Groped

to find out

them; had

my

Finger'd their packet, and in fine withdrew

To mine own room

again

making so
I

bold,

My
O

fears forgetting

manners, to unseal
found, Horatio,

Their grand commission; where

royal knavery
!

an exact command.
sorts of reasons
too.

Larded with many several

With, ho

20

Importing Denmark's health, and England's

!

such bugs and goblins

in

my
;

life,

pair\ Q, 'P,fall Qq 8. sonietimes\ F, sometime Q. 9. dee/>'\ Q, dcare F 3-6; /each'] F, /earn Q. 13. me, in the dark] <2 6, no point in Q, comma 20. only after ^ar/!'^ F. i"]. 7msear\,7info!d(^. 19. fJF, ^Q. 1-easotts'] Q, reason F.

\ngfor it lets^yiowXd-p^^ce Andpraised to certain, line ii, in a parenthesis,

thusconnectingi'v'aj///)' with

ill-favouredly."

We

"up from

assistance who told

of the

Farmer

do not need the dealer in skewers that his nephew

my

cabin."

9. pall] Pope read fail, and is followed by Capell, Dyce (ed. 2), Furness, Hudson. Ingleby, citing several examples, maintains that fall was used by Elizabethan writers where we should use y^//, and ya// is the reading here of Qq 3-6. Fall, however, to grow vapid and so worthless, occurs m Ant. and Cleop. U. vii. 88, " pall'd fortunes," and has here the authority of both Q and F. 10. II. ends, Rough-hew] To ivughhew, perhaps originally a carpenter's word, extended its meaning. Thus

could rough-hew them, but that he had himself to shape their ends, 13. sea-gown] Singer quotes Cota sea-gowne, grave: " ^j-f/az'/wi? or a coarse, high-collered, and shortsleeved gowne, reaching down to the mid-leg, and used most by sea-men
. . .

and saylors."
20. Larded] see iv. v. 36. 21. Importing] concerning. pare Lovers Labour's Lost, iv.

Comi.

57.

22. bugs] bugbears, as in

Taming

of the Shrezv, I. ii. 211. In Chapman's Gentleman Usher, enter "Sylvan, with a Nymph, a man Bugge and a

Florio
cast

^''

any

first

Abbozzare, \.o xo\x^-\\zv] ox draught, to bungle up

woman."

"

sc.

II.]

PRINCE OF DENMARK

205

That, on the supervise, no leisure bated,

No, not to stay the grinding of the axe,

My
Hor.

head should be struck

off,

Is

't

possible

25

Ham.
Hor.
I

Here's the commission: read

it

at

more

leisure.
?

But wilt thou hear

beseech you.

me how

did proceed

Ha7n. Being thus be-netted round with

villanies,

Ere

could

make

a prologue to

They had begun the play, I sat me down, Devised a new commission, wrote it fair
I

my

brains,
,

30

once did hold

it,

as our statists do,

fair,

A
It

baseness to write

and labour'd much

How
The
Hor,
27.

to forget that learning; but,

did

me yeoman's
what
I

service.

now Wilt thou know

sir,

35

effect of

wrote

Ay, good
me\ F, now Q. /] Dvce,
. , .

my

lord.
29-31.

28. /]

Ay

villanies

villairies.

Or

Capell and several editors. play, I Q, villaines,

,

Ere

Play.

I Y.

37.

'effect']

Q,

effects

F.

is

23. bated] deducted ; no leisure time to be taken out of the interval

"(Ere

could

make

a prologue, to
:).

my

between the supervisal of the commissionand Hamlet's execution. Promptorii^mParvuloru/n, '^Baten or of weyle or mesuxe, suStra/io."
29.
villayiies]
a.ha.ten

Bane They had begun the Play

33. statists] statesmen, as in Cynibeline, li. iv. 16. Ritson quotes

instances of the confusion of villaine and villanie in Y, see Sidney Walker, Criticism on Shakespeare, ii. 44. 30, 31.] Hamlet's brains operate without any scheme assigned \.o them by his conscious self. They proceed as players without an argument to the play. See the prologue to Romeo and Juliet, where the action of the play is
set forth.

For

Montaigne, 1603, p. 125: in my time seene some who by writing did earnestly get both their titles and living, to disavow their apprentise age, marre their pen, and affect the ignorance of so vulgar a
Florio's

"I

have

qualilie."
"X^^.

yeoman^ sservice'\'$sX.t\QX\'^: "The

'

Theobald, taking They as

enemies, read

referring to Hamlet's (in parenthesis):

ancient yeomen were famous for their These were the military valour. good archers in times past,' say Sir Thomas Smith, and the stable troop of footmen that affraidc all
'

France.'"

206

HAMLET

[act v.

Ham. An earnest conjuration from the king, As England was his faithful tributary, As love between them like the palm should flourish, 40 As peace should still her wheaten garland wear, And stand a comma 'tween their amities, And many such-like As&s of great charge,
That, on the view and knowing of these contents,

Without debatement

further,

more

or less,

45

He
Not
Hor.
Ha7n.
I

should the bearers put to sudden death.

shriving-time allow'd.

How
Why, even
had
in that

was

this seal'd

was heaven ordinant.

my

father's signet in

my

purse.

Which was
Subscribed

the model of that Danish seal

in the
't

50
it

Folded the writ up

it,

form of the other,

safely,

gave

the impression, placed

43. As^j-] Furness, as sir Q, 40. like\ Q, as F ; should'] F, might Q. 46. the\ F, those (^. 48. ordi44. kfiowingof] Q, ktiow ofY. nant'] Q, ordinate F. 51. the form] Q, for/n F. 52. Subscribed] F,

Assis F.

Subscribe Q.
42.

comma] Theobald
jlis.nvatr,
;

substitutes

commere

cement other suggestions are co-mate, column, coutiter. No emendation is required the obscurity has arisen through forgetting an earlier meaning of comma, a phrase or group of words forming a short member of a sentence or period,
;

stop, and in this view a mark of connection, not division"; but there is no suggestion of a full stop here, and

a comma in this sense always marks a division nor is the idea that peace connects amities, but that it derives its force through dependence on mutual
;

love.

The New Eng.

Diet., which gives several examples, so explains comma in the only other instance in which it
is

quibble, 43. As>t%] notices, between " as "

ass
in

as Johnson (pronounced

Warwickshire)

and

ass

the

Timon of used by Shakespeare Athens, I. i. 48 "No levelled malice

:

beast

Infects

one

comma

in the

course

Here amity begins and amity ends the period, and peace stands
hold."
like a dependent clause, Clar. Press, following Johnson, explains otherwise: "comma is used here as opposed to 'period' or full

between

of burden or charge ; charge being used in the double sense of material burden and moral weight, See Ttvelfth Night, II. iii. 184, 185. The quibble of as, ass is amusingly introduced in Chapman's Ge?itlema7t f/s7^r, near close of Act III. counterpart. ^o. model] Malone refers io /Cichard //. ill. ii. 153.


sen]
Was

PRINCE OF DENMARK

207

The changeling never known.

Now, the next day

our sea-fight, and what to this was sequent

already.
't,

Thou know'st
Hivn.

5 5

Hor. So Guildenstern and Rosencrantz go to

Why, man, they

ment
;

did

make

love

to this

employ-

They
'Tis

are not near

their

my

conscience

their defeat

Does by

own insinuation grow. dangerous when the baser nature comes

fell

60

Between the pass and

incensed points

Of mighty
Hor.

opposites.

Why, what
it

a king

is

this

Ham. Does

not, thinks

't

thee, stand

me now upon
and

He

that

hath

kill'd

my

king

whored
hopes,

my
65

mother,

Popp'd

in

between the election and

his angle for

my

Thrown out

And with such cozenage is 't not perfect To quit him with this arm ? and is
't

my

proper

life.

conscience

not to be

damn'd

To

let this

canker of our nature come

?

In further evil
54.
,^(0.

70
56. i'o
.
. .

sequent\ Q, scment F.
57.

/i;

Why

in

F comma

before

employmeni] , omitted Q.
62. this
!\

59. Does] Q, DoihY. conject., Y)yce, thinke

Q, thinkst
here
z']

68-80.
59. their

To quit

Q, this? F. upon ] Boswell, uppon? Q, vpon F, omitted Q.

58. defeat\ Q, debate F. 63. ihitiks't] S. Walker

F.

" By insinuation] Malone having insinuated or thrust themselves into the employment."
:

61. pass]

thrust,

as

in

line

170.
fell-

Dyce and other

incensed.

editors

hyphen
as

63. thinks V thee] Walker's correction of F ; seems it to thee, 63. stand me 7iow upon] is it not incumbent on me, as in Richard /I. 11. iii. 138. 70. In] Into, as in V. i. 300.

62. opposites] opponents, Twelfth Night, ni. iv. 253.

in


HAMLET
It

208
Hor.

[act v.

must be shortly known

is

to

him from England

is

What
Hain.

the issue of the business there.

It will

be short

the interim

mine

And
But
For,

a man's
I

life 's

no more than to say

forgot myself;

"

One."

am

very sorry, good Horatio,

I

75

That

to Laertes

by the image of
portraiture of his

my
;

cause,

see
;

The

I '11

court his favours

But, sure, the bravery of his grief did put

me
here
?

Into a towering passion.

Hor.

Peace

who comes

80

Enter OSRIC.

Your lordship is right welcome back to Denmark. Ham. I humbly thank you, sir. \_Aside to Hor^ Dost
Osr.

know

this water-fly?
to

Hor. [Aside

Ham.'] No,
to

my
Thy
;

good

lord.
is

Ham.

[Aside

Hor^
'tis

state

the

more
hath

85

gracious, for

a vice to
fertile

know

him.

He

much
mess
:

land,

and

let

a beast be lord of

beasts,

and
'tis

his crib

shall stand at the king's

I

a chough, but, as
dirt.

say, spacious in

the possession of
is]

90
;

F. 73. 74. life's] F, life Reed and many editors. 80. Enter Osric] F, 2 Enter a Courtier 78. cottri ] Theobald, couni F. 81. (and later) Osr.] F, Cour. Q. 89. Q ; Enter young Osricke F. say] Q, saw F.

Hanmer,

's

79.
tion.

bravery] bravado, or ostentaExamples of each meaning

zvater-fly]

are
fly

common.
is

Because the waterskipping, burnished creature, seeming busily idle. See Troilus and Cressida, V. i. 38. 89. chough] If the Cornish chough (which Ritson says is "pronounced
83.

little,

by the natives chow") or red-legged crow, be meant, the following, from Carew's Siii~vey of Cornwall, 1602 (p. no, ed. 1811), maybe quoted: His state, when he is kept tame, ungracious, in filching and hiding of money, and such short ends, and somewhat dangerous in carrying
'
'

sticks of fire."

Camden

also notices


sen]
Osr.

209
I

PRINCE OF DENMARK
lord, if

Sweet

your lordship were at

with

leisure,

should impart a thing to you from his majesty.

Ham.
Osr.
I

will receive

it, sir,

all

diligence of
;

spirit.

Putyour bonnet to

his right use

'tis

'tis

for the head.

thank your lordship,

very hot.
;

95
is

Hani. No,believe me,'tis verycold the wind

Osr.
It is indifferent cold,

northerly.

my
it is

lord, indeed.

Ham. But
for

yet methinks

very sultry and hot

my

complexion.

Osr.

Exceedingly,
'twere,

my
me

lord
tell

it

is

very sultry,
But,

as

00

cannot

how.

my

lord, his

majesty bade
laid a great

signify to

you that he has

Sir, this is

wager on your head.

the matter

Ham.
Osr.

beseech you, remember

{^Hamlet moves him
to

105

put on

his hat.

Nay, good

my

lord

for

mine
j/r]

ease, in

good

91. lordship']

sully

omitted Q. Q. complexion 104. matter ] omitted Q, F.

94. 7'^^/] F, 93. Q, omitted F. 98. AV^/jtV] Q, omitted F ; j-//';j] F, 95. 'iis], ii is Q. 99. for my complexion] P\ or my completion Q, or my lOi. But] F, omitted Q. Warburton and many editors.
Q^, friendship .

Rowe

matter. Q, F.

105.

Hamlet moves

.]

Johnson

106.

good

my

lord]

Q, in goodfaith
Lost, v.
i.

F
:

mine] F,
I

my

Q.

his

practices.

money-loving and his incendiary Chough's "chat" and "gabble" are spoken of in Tempest, II. i. 266, and AlFs Well, iv. i. 22. But Caldecott may be right in thinking that here chujf may be meant, Furness quotes Cotgrave '''Franc:

103

"

do beseech thee,

goutier,

substanciall yonker, weal thie chuffe," and " Maschefouyn, a chuffe, boore . one that is fitter to feed with catlell than to conuersc
. .

with men." 95-103. JTheobaldnoted the parallel in Juvenal, Sat. "igniculum iii. brumie si tempore poscas, Accipit endromidem si dixeris, xstuo, sudat."
: ;

105.

remember] So Love's Labour''

I beseech head." The meaning of the phrase (found also in Jonson and elsewhere) is Remember that you have already complied with the requirement of courtesy; so cover your head. 106. for )iiinecase]\hQ coxwewiionaX form of reply, when remaining unExamples are cited from covered. Malcontent (Induction), Marston's that and Florio's Second Frulcs from IVIarston (given to Shakespeare's William is Sly) one of fellow-player of Hamlet. several reminiscences Malone inferred that Sly had played

remember thy courtesy;

thee, apparel thy

14

"

210
faith.

HAMLET
Sir,
;

[act v.

here

is

newly

come

to

court

Laertes
full

believe me, an absolute gentleman,

of most excellent differences, of very soft

society

and great showing

is

indeed, to speak

feelingly of him, he

the card or calendar

of gentry, for you shall find in him the continent of

what part a gentleman would

see.

Ham.

Sir,
;

his

definement suffers no perdition

I

in
i 1

you

though,

know, to divide him invendizzy the arithmetic of

neither, in respect

torially

would

memory, and yet but yaw

.

107-147. Sir, hen iinfellowed] Q, omitted F, which abbreviates by reading Sir, yon are ftof ignorant of what excellence Laertes is at his weapon.
. .

116. dizzy'\

4, dosie

Q.
data) was used figuratively as example, model.
112, 113. Ci;///;/^;//] summary, sum and substance of the qualities a gentleman would desire to contemplate, with a play on the geographical meanings of continent and part, suggested by card. Nicholson pro-

Osric ; but Sly also asks Sinklo to "sit between my legs" (a reminiscence of Hamlet and Ophelia), to which Sinklo replies, " the audience will then take me for a viol-de-gambo, and think that you play upon me (a reminiscence of liamlet and the

two

courtiers).
at>so/nte]

108.

Merry Wives, absolute courtier."

as in
109. differences^

consummate, perfect, ill. iii. 66: "an

characteristics

(which difference one others). In heraldry

(alteration of or

person from
[a

difference

addition to a coat of arms) distinguishes a junior member or branch of a family from the chief
line.

III. feeling!y'\ with just perception.

Compare Twelfth Night,

11.

iii.

172.

misprints sellingly.
. . .

Ill, 112. card gentry] card, chart or map (as in V. i. 149) "by which a gentleman should direct his course the calendar by which he is to choose his time " (Johnson). Gentr}', courtesy, as in li. ii. 22. Perhaps card here means the card of the mariner's compass calendar [useful in navigation with its astronomical
;
;

poses /rtr/j-, as in IV. vii. 74. Ham1 14. definewent] definition. uses an affected preciosity ; no other example of the word in this sense earlier than 1867 is recorded in JVew Eng. Diet. ; no other example in any sense before 1643. 116. arithmetic] "The two metaphors (arithmetic and quick sail)," says Clar. Press, "are a little difficult Perhaps they should to separate." rather be united. The card and continent suggest a voyage to discover Laertes' parts. The arithmetic of memory may be the computations made in a navigator's head ; in 1625 T. Addison published his Arithmetical Navigation. Q dosie is only an obsolete form of dizzy (see New
let

Eng.

Diet., dozy).

3-6 have raw, 117. yaw] Qq " the best which Johnson explains
:

sen.]

PRINCE OF DENMARK
sail.

211

of his quick

But, in the verity of extolarticle,

i

ment,

take him to be a soul of great

and

his infusion of such dearth

and rareness,

20

as, to
is

make

true diction of him, his semblable

his mirror,

and who

else

would trace him,

his

umbrage, nothing more.

Your lordship speaks most infallibly of him. Ham. The concernancy, sir? why do we wrap the 125 gentleman in our more rawer breath ?
Osr.
Osj:

Sir?
Is
't

Hor.

not possible
?

to

understand
't,

in

another

tongue
tougue

You

will

do
Q.

sir,

really.
Sir?} Capell, Sir. Q. 129. Qq 3-6 ; Yoti will too U
quick

125. sir? w/^j'] Capell, sir, 7v/iy

127.
,

Theobald, tongue. sir really Q.

?]

You

really']

account of him would be imperfect" ; Heath explains Laertes was but young {raw) in proportion to his progress in accomplishments. To yaw, used of a ship, means to move imsteadily, to diverge from her course

sibly, considering its

sail,

which

ought to steady the

ship).

business, concern; 119. article^ "of great article," of great moment or importance. See New Eng: Diet.,
article, 10.

"hue

illuc

vacillare,"

Dictionary.
all that "

But

says Coles's neither means ' for

'

120.

infusion

rareness"]
;

the

qualities infused into

(examples in Schmidt's .SV^ Lexicon, under neither). In respect

higher

than

something acquisition. T. Sir

II.

him

ofhz.s
(i)

two meanings
to,

in

with regard

(2)

Shakespeare in comparison

"///j quick sail " may possibly, with, as Deighton holds, mean its. Tiiese are the data for an explanation of

Hamlet's jargon to which it should be added that for yet Dyce and others read it ; yt, it, being easily mistaken for yet and that Staunton conjectures wiV [or yet. The explanation of the text as it stands may be
; ; :

books, thinking the pursuit of knowledge a vanity, when, wait a little and we shall enjoy knowledge by "instinct and infusion." Dearth, dcarness. Bishop Barlow, Three Sermons (1596): "Dearth is that, when all things are rated at a high price." 122. trace] follow, as in 1 Henry
his
. . .

Browne {A'elig'io Aledici, would sometimes shut

viii.)

IV.

III.

i.

47.

125.

concernancy]
;

concernment

To enumerate

in detail the perfections

of Laertes would bewilder the computations of memory, yet for all that in spite of the calculations the enumeration would stagger to and

another affected word no other example given in New Eng. Diet. Theobald took 125. why ] these words as spoken of Osric to Horatio; no doubt, erroneously.
. ,

fro (and so fall behind) in comparison with Laertes' cjuick sailing (or, pos-

128, 129.

A'/
a

conjectured

tongue]]o\iw?,ow " mother tongue."

.

212

HAMLET

[act v.

Ham. What imports man ? Osr. Of Laertes ?

Hor. [Aside
all 's

the nomination of this gentle-

130

to

Ham.l His purse

is

empty already
135

golden words are spent.

Ham. Of him, sir. Osr. I know you are Ham. I would you
you
Osr.
did,
it

not ignorant
did,
sir
;

yet,

in

faith,

if

would

not

much approve

me.

Well, sir?

You
is
I

are not ignorant of

what excellence Laertes

lest
;

40

Ham.

dare not confess that,

in

should compare

with him
well,

excellence

but, to

know

man

were to know himself

sir,

Osr.

mean,

for his

putation laid on
unfellowed.

weapon; but in the im- 145 him by them, in his meed he 's
?

Ham. What 's

Osr.

his

weapon

Rapier and dagger.

Q^.

Globe Sh., we, well sir Q, Theobald. 141. is ] Malone, is. Q. 145. for his] 146. them, in his meed] Steevens, them in his meed, Q.
138,

132. Laertes? (^6, Laertes Well, sir?] 139. me.

136.

ignorant

Theobald, ignorant Q.
tne.

Well, sir.

6,

for this Q.

Jennens "understand? In another tongue you " (addressed to Osric).

:

rarely."
rational

The words

are an ironical

encouragement

to Osric to talk like

Malone conjectured: "Is't possible not to understand in a mother tongue?" (addressed to Hamlet). The words are surely addressed to Osric, and mean " Might you not understand
you used a less affected dialect?" Moberly explains " Can't you understand your own absurd language on
if
:

human being

Believe

me

you

will succeed. 138. approve] commend. 143. but to know] to know another implies self-knowledge, the height of

human wisdom.
145, 146.

imputation]

re'pwX.Q, 2iS in

Troilus

another tongue."
129.

Cressida, i. iii. 339.146. vieed] merit, as \xvS Henry VL.

and

You

x^zA rarely.

really] Theobald Heath: " Vou do 't, sir,

. .

IV. viii. 38.

;:

sen]

PRINCE OF DENMARK
of his

213
150

Ham. That 's two

Osr.

weapons

but, well.

The
as
I

king,

sir,
;

hath wagered with him six Bar-

bary horses
take
it,

against the which he has imponed,

six

French rapiers and poniards,

with their assigns, as girdle, hangers, and so

three of the carriages, in faith, are very dear to
fancy, very responsive to the hilts, most delicate
carriages,

155

and of very

liberal conceit.

you the carriages ? Hor. [Aside to Ham!\ I knew you must be by the margent ere you had done.
call

Ham. What

edified

160
to the

Osr. The carriages, sir, are the hangers. Ham. The phrase would be more germane

matter
I

if

we could
it

carry cannon by our sides

till

would
six

might be hangers

then.

But,

Barbary horses against six French 165 swords, their assigns, and three liberal-conceited
on:
carriages
;

that

's

the French bet against the

"

Danish.

Why is this

imponed," as you

call

it ?

151. hath wagered^ Q, hds wag'd F. 152. he has imponed] Theobald, hee has impaund Q, he impond F. 154. hangers] F, hanger and so] Q, or so F. /i?if] Q, omitted F. 161. car 159, 160. Hor. riages] V, carriage Q. 162. germane] F 3, lerman Q, Cermaitie F 163. catmon] F, a cannon Q. 164. might be] , be Q. 165. on:] Pope on, Q, on F. 168. this " imponed''' as] F, this all 167. bet] Q, but F.

staked. Perhaps 152. imponed] Osric's affected pronunciation of impawned. Johnson suggested deponed.

both for fashion and workmanship most peremptory beautiful."

156. very ?-esponsive] responding.
157. sign,

closely

cor

Minsheu gives deponerc

stake.
154.

as Latin for

liberal conceit] elaborate

de

appurtenances. other example of this sense in

assigns]

No yWw

ng. Diet.
154. hatigers] straps by which the rapier hung from the girdle often ornamented, as that described

160. margent] Explanatory notes often in old books printed in the

margin,
163. cannon] Knolles, History of " He commanded the Tiirks, 1603 the great ordnance to be laid upon carriages."
:

richly

by Jonson's

Matthew {Every
I.

Man
.

/^/j//;<M<;i<r,

iv.),

"a hanger

214
Osr.

HAMLET
The
king,
sir,

[act v.
that in a dozen
i

hath

laid,

sir,

passes between yourself and him, he shall not

70

exceed you three

for nine
if
;

hits

he hath
to

laid

on twelve
trial

and

it

would come

immediate

your lordship would vouchsafe the answer.

if I

Ham. How
Osr.
I

answer

No ?
your person 175
please

mean,

my

lord, the opposition of

in trial.

Ham.

Sir, I will

walk here
'tis

in

the hall

if it

his majesty,

the breathing time of day with

me
win

let

the

foils

be brought, the gentleman

his purpose,
I

willing,
for

and the king hold

will

80

him

if

can

if

not,

will

gain no-

thing but
Ors. Shall
I

my shame
;

and the odd

e'en so
after
?

hits,

re-deliver

you

Ham. To
sir,

this effect, sir

will.

what

flourish

your
i

nature

171, 172. laid 169. <^, iy2. il]Q,ikatY. . . nine]Ql, one twelve formineY. 177, 178, ^a//; 180. purpose,] Theopiajes/y, 'lis] Y, hall, . . . majestie, it is Q. 181. :/ /] F, arid / Q; / will] Q, He Y. bald ; purpose; Q, F. 183. re-deliver . . . so] F, deliver you so Q.
ihat'](^,

thatY.

170. yourself^

you

Y.

171, 172. twelve fornine] The word passes seems to mean passes which coiutt, the same as hits ; the encounter one party has is to continue until made a dozen hits. The King wagers famous as a fencer, and that Laertes therefore able to afford his rival odds will not have made his twelve hits until Hamlet's hits are nine; if Hamlet falls short of nine, Laertes Other explanations will be wins. In i Hamlet found in Furness. " asks And howe 's the wager ? " The " Bragart Gentleman " replies "Mary sir, that yong Leartes in twelve venies At Rapier and Dagger do not get three oddes of you."

Venue
for

or venny
;

a hit

was sometimes used more commonly, a bout

or a thrust. 173. anszver] Osric uses the word for encounter. So in the Paston Letters, " My Lord the Bastard took upon him to answer xxiv knyts and gentylmen at jostys of pese." 178. breathing time] Clar. Press: " the time of relaxation and rest." Breathing time was so used but this time of relaxation was also the time for
.

recreative

exercise.

"To

breathe"

came

exercise briskly (from the quickening of the respiratory oigans) so breathing time means a
to to
;

mean

time of intermission from compelled toil and a time of voluntary exercise.


sen]
Os7:
I

PRINCE OF DENMATIK
commend my duty
Your, yours.
does well to
to

215

your lordship.
\^Exit Osric.

Ham.

He

commend
's

it

himself; there

are no tongues else for

turn.
shell

Hor. This lapwing runs away with the

head.

on

his

190

Ham. He
it.

did

comply with
he,

Thus has
I

dug before he sucked and many more of the same

his

bevy that

know

the drossy age dotes on,

only got the tune of the time and outward

habit of encounter
;

195

a kind of yesty collection

which carries them through and through the

most fond and winnowed opinions

but blow them to their
out.
1 87, 1 88. 192. I/e . .

and do

trial,

the bubbles are

200
Yours
.
.

(/oes]F, Yours dad's Q. 1S9. /urn] Q, ^o^t^^ueF. did sir with Q, F, did so sir tvith Qq 3-6. 194. bcvy'\ F {beany), 193. has'\ Q, had F ; wa;?j] Q, rnine Y, nine F 2. breede (^. ig6. yesty] F, histy 195. and outivard]Y, and out of an (^. 4-6. 198. fotid and winnowed] F, p7Vphane and tren(^, misty Qq noivedCl. 199. trial] (^), try alls F.
. .

tvit}i\

Meres, IVifs 190. lapwing] So Treasury: "As the lapwing runneth away with the shell on her head as soon as sihe is hatched '' hence a forward,
;

7iowned
in

in later Quartos,

and renowned
: '

1676.

Fleay proposes fond un-

conceited

youngster.

Clar.

Press

adds insincere, the lapwing cr)'ing far from its nest to mislead intruders. See Measure for Measure, I. iv. 32. 192. comply with] see II. ii. 394.
encounter] . ^95) 196- outward exterior manner of address.
. .

winnozved. Moberly explains 'frothy expressions suited to express the absurdest and most over-refined notions"; Clar. Press: "The metaphor is a mixed one Osric, and others like him, are compared to the chaff which mounts higher than the sifted wheat, and to the bubbles which rise to the surface through the deeper water."
. . .

196. yesty

collection] frothy aggre-

The metaphor

in

"winnowed" seems
;

gation (of empty knowledge, like a to me incidental and latent the mass of bubbles). meaning is " Their frothy acquisitions carry them successfully through the 198. fond and %vi)inowed opinions] VVarburton's emendation /rtww'rt'is apt, slight judgments of the most exquisite and has found many supporters. arbiters elegant iai uin." If wo read Tschischwitz proposes profound for same the remains fanned, llie

prophane.

Q Q trennowed becomes //-tvi-

meaning.

216

HAMLET
Enter a Lord.

[act v.

Lord.

My lord, his majesty commended him to you by young Osric, who brings back to him he sends to that you attend him in the hall
;

know

if

your pleasure hold to play with Laertes,

or that

you

will

take longer time.

205
;

Ham.
is

am

constant to
;

my
if

purposes

they follow
speaks, mine
I

the king's pleasure

his fitness

ready

now

or whensoever, provided

be

so able as now.

Lord.

The
down.

king,

and queen, and

all

are

coming 210

Ham.
Lord.

In happy time. The queen desires you

to use

some gentle
fall

entertainment to
play.

Laertes before you

to

215
{Exit Lord.

Ham. She well instructs me. Hor. You will lose this wager, my lord. Ham. I do not think so since he went
;

into France,
I

have been

in continual practice

shall

win

at the odds.
ill

But thou wouldst not think how 220

all 's

here about

my

heart

but

it

is

no

matter.
Llor.

Nay, good
.

my
.

lord,
me] Q, omitted F. 220,221. how
214. /a//] Q, goe
ill

201-216. Enter

itisU-ncts

Qq

4-6. 220. But]F, omitted Q. 223. lord, ] Capell ; lord. Q, F.

aWs] Q, how

all .

206.

//};^^5fj-]

Walker
is

"note the
:

double meaning." " Hamlet's /////^.cfi

kill the
fit

Tschischwitz

heure

King
it

when

unchanged the King

to
is

212. Tn happy (inie]VikQ a la boti?ie Othello, ni. i. 32. ; as in 220. odds\ Malone "With the
:

advantage that

am

allowed."

for

in the

hour of his unholy

pleasure.'"

sen]
Ham.
Hor.
It

PRINCE OF DENMARK
is

217

but foolery

but

it

is

such a kind of

gain-giving as would perhaps trouble a

If

woman. 225

your mind dislike any thing, obey

their repair hither,

it; I will

forestall

and say you are

there
a special
If
it

not

fit.

Hani. Not a whit

providence

we defy augury
the
fall
;

's

in

of a sparrow.
if it

be 230
it

now,
will

'tis

not to
;

come
all

be not to come,
it

be now

if it
is

be not now, yet

;

will

come
?

the readiness

since no
is
't

man

has aught

of what he leaves, what

to leave betimes

Let
Etiter

be.

235

King, Queen, Laertes, Lords, Osric, and Attendants zvith foils and gaimtlets : a table and
it.

flagons of ivine on

King. Come, Hamlet, come, and take this hand from me.
[

The King puts

the

hand of Laertes

into that

of Hamlet.
Q, omitted F.
226. //] 225. gain-giving\ F, gamgiving Q, game-giving Qq 4-6. 229. there'' s a\ F, there is Q. 231. noiv\Yy omitted Q. Let he^ Caldecott ; The readines is all, since ?to 233-235. the 7-eadiness The man of ought he leaves, knowes what ist to leave betimes, let be. Mhat is't to readinesse is all, since no matt ha^s ought of zvhat he leaves. F (substantially); table leave betimes? F. .] 235. Enter King . prepared, Trumpets, Drums, and Officers with Cushions, King, Queene, and T'oiles, and Laertes. King state, daggers, The all the 236. .] Q. Johnson (substantially) omitted Q, F.
.
.

225. gain-gi7'ing]

misgiving
.
. .

man
to

can solve

its

mysteries.

But the

formed
233,

like gainsay.

idea of

Many

betimes'] 234. since editors follow Warburton, who

F is vulgarised by reducing it " If a man cannot carry away with

:

punctuates Q thus: "since no man, of ought he leaves, knows, what." Johnson read "knows aught of." The Q certainly gives a fine and
characteristic

meaning
life

knows what

may

since no man bring, since no

:

life's goods" ; it is rather If we possess nothing except our personality, what matters it to leave the adventitious things of life soon or late. Hanmer read "since no man owes aught of what he leaves."

him

218

HAMLET
pardon,
sir
;

[act v.

Ham. Give me your

But pardon
't,

as

I 've done you wrong you are a gentleman.

This presence knows,

And you must

punish'd

needs

have

heard,

how

am
240

With sore distraction. What I have done, That might your nature, honour and exception Roughly awake, I here proclaim was madness. Was 't Hamlet wrong'd Laertes ? Never Hamlet If Hamlet from himself be ta'en away, 245 And when he 's not himself does wrong Laertes,

Then Hamlet does

it

not

Hamlet denies
if't

it.

Who

does
is

it

then?

His madness;
is

be
;

so,

Hamlet

of the faction that

is

wrong'd

His madness
Sir, in this

poor Hamlet's enemy.

250

audience,

Let
Free

my
me
I

disclaiming from a purposed evil

so far in your most generous thoughts.
o'er the house.

That

have shot mine arrow

And
237.

hurt

my
C).

brother.
241. sore"] , a sore Q. 248. madness^ F. midience] V, omitted Q. 251. Sir I, Q ; Mo/her F. 255. brother]
.

/'j'ifJF,

I have
Q.

madnesse. Q, Madnessel
254. Mhte'\ F,
T?iy

239. pi-esence]

assembly

royal and courtly frequent in Shakespeare.

242. exception] disapproval.

Com-

i. ii. 40. 255. brother] The F mother is almost certainly a mere printer's error ; yet it is worth considering that Hamlet

pare AlPs Well

irony of adopting another's point of view ; that Hamlet twice before has pointed his indifference to the King by expressed deference to his
istic

mother

and that he might

ironically

has been requested by his mother to " use some gentle entertainment to Laertes"; that the speech, in complying with her request, merely develops her words in the last scene, "This is mere madness, etc."; that it is spoken not without the character-

apologise for his apology (which |ohnson thought unworthy of him as lacking sincerity) by hinting at the close why it was made and made in the desired form "And hurt my mother" (with a slight salutation towards Gertrude J. Can it be that this reading of F was an afterthought of Shakespeare ?

219
255

sen]
Laer.

PRINCE OF DENMARK
I

am

satisfied in nature,

Whose motive, in this case, should stir me most To my revenge but in my terms of honour
;

stand aloof, and will no reconcilement.

Till

by some elder masters of known honour 260 I have a voice and precedent of peace, To keep my name ungored. But till that time
I

do receive your
will

offer'd love like love.

it.

And
Ham.

not wrong

embrace

it

freely.

And
Laer.

will this brother's wager frankly play.

foils.

Give us the

Come

on.

Ha7n.

I '11

be your

foil,

Laertes

Come, one for me. 265 in mine ignorance

i'

Your
Laer.

skill shall, like

a star

the darkest night,

Stick fiery off indeed.

You mock me,

this hand.
foils,

sir.

Ham. No, by

King. Give them the

young
?

Osric.

Cousin Hamlet,
my
lord
;

269

You know Ham.

the wager

Very
laid the

well,
o'

Your grace hath

261. keepi
!",
;

odds

the weaker side.

Q, I do Y. Ff2-4.

263. /] ungored^ Q, inigorifdV ; ////] F, all Q. omiltc-d Q bni^ltlest 267. darirsl] Q, F 265. Come on] F, omitted Q. hath] F, has 272. 271. ivager';] Capell ; ivagcr. Q, F. (l.
;

255. nature] Hamlet has referred to " nature" and "honour" ; Laertes replies as to each point. 260. voice aiid precedent] aulhori-

268. Stick
brilUantly. in F 2 to
Cleop.
I.

fiery

off]

stand

out

For "darkest," changed " brightest," st*: Ant. and

13.

iv.

pronouncement, justified by precedent, on the question whether an insult by one distracted should be Laertes' words formally resented. spoken by an assassin are wholly
talive

272. odds]

three
is

points given

to

Hamlet, who
less skilled.

assumed to be the Supposed, erroneously,

by some

to refer to the greater value

of the King's stake,

insincere.


HAMLET
I

220
King.

[act v.

do not

fear
is

it

have seen you both

But since he
Laer. This
is

better'd,
let

we have

therefore odds.

too heavy;

Ham. This hkes

length
Osr.
?

me
lord.

well.

These
[

me

see another.
foils

275
have
all

They prepare

to play.

Ay,

my
me

good

King. Set
If

the stoups of wine upon that table.

first

Hamlet give the

all

or second

hit,

Or
Let

quit in answer of the third exchange,

280

the battlements their ordnance

shall drink to

fire

The king

Hamlet's better breath

shall

And
In

in the

cup an union

he throw,

Richer than that which four successive kings

Denmark's crown
cups;
let

have worn.

Give

me

the

285
the kettle to the trumpet speak. the cannoneer without,
to

And

The trumpet to The cannons

earth,

the

heavens,

the

heaven

to

"Now
begin

the
;

king

drinks

to

Hamlet!"

Come,
290

And
Laer.

you, the judges, bear a wary eye.

on,
sir.

Ham. Come

Come, Q

my

lord.
;

\They play.

276. Ie7tgth .?] Rowe length. Q, F. 274. better'd] F, better Q. 2S6. trumpet] Q, trufnpets F. 283. unio}i~\ F, V)iice Q, Onixe 3-6. Trumpets the while (stage direction) Q, omitted F. 289.] 291. Come, my lord] Q, Co?ne on sir F. 274. better'd] not naturally superior, trained by Parisian fencers. 280. i/tiit] pay off scores. 283. union] Malone quotes Florio " Vnione Also a faire, great, orient pearle, called an vnion."
. . .

Steevens quotes " Vnions, as a

Holland's

Pliny

Singular, and by Pliny tells of Cleopatra's dissolving a pearl in vinegar, and drinkin\; it. 286. Settle] see i. iv. 11.

say, themselves alonfe."

man would

221

sen]
Hatn.
Laer.

PRINCE OF DENMARK
One.

No.

Ham.
Osr.
Lae7'.

Judgment.

hit,

a very palpable

hit.

Well
give

again.
this

King. Stay;
thine

me

drink.

Hamlet,

pearl

is

Here

's

to thy health.
[

Trumpets sound, and cannons shot

off ivithin.
-

Give him the cup.

Ham.

'11

play this bout

first;

set

it

by awhile.
[

295

Come.
Another
Laer.
hit
I
;

They play.

what say you

do
confess.

touch, a touch,

King. Our son shall win.

Queen.

Here, Hamlet, take

He 's fat, and scant of breath. my napkin, rub thy brows

;

The
King.
Queen.
I

queen carouses to thy fortune, Hamlet.

!

300

Ham. Good madam

will,

Gertrude, do not drink

my

lord

pray you, pardon me.

!

King.

[Aside.'] It is
I

the poison'd cup

it is

too late
by.

Ham.
294.

dare not drink yet,

. .

madam

by and

Trumpets
off.

.]

Malone.

pcece goes
(after cup).

(after kit, line 292), 295. set /V] Q, set V.

Drum, trumpets and shot. Florish, a Trumpets sound, and shot goes off. F Coine.'] Come: 296. , Come, Q.
;

297.
.
.

touch, a touch,] F, omitted Q confess'] V, coitfest Q. napkin] Q, Heere''s a napkin V. 301. madam!] Dyce Madam Rowe. 303, 307. Aside] Rowe.

299.
;

Here

Madam. Q,

293.

/i<r(7;-/]

In fact the poison.

:

See

line 337.

"There is 298. /rz/] Clar. Pres. a tradition that this line was appropriate to Richard Burbage, who first

acted the character of Hamlet." H. Wyeth proposes faint Plehwe, referring to iv. vii. 158, conjectures A^?/. 299. napkin] handkerchief, as in
;

Othello, in.

iii.

290.

222
Queen. Come,
Laer.
Kifig.
let

HAMLET
me
wipe thy
face.

[act v.

305
I

My

lord,

I '11

hit

him now.
do not think
't.

Laer. [Aside.]

And

yet

'tis

almost 'gainst
:

my

conscience.

Ham. Come,
I
I

for the third, Laertes

you but dally

pray you, pass with your best violence

Laer.
Osr.

am afeard you make a wanton of me. 3 o Say you so? come on. \They play.
i

Nothing, neither way.

Laer.

Have

at

[Laertes

you now wounds Hamlet ;

!

then, in scuffling,

they change rapiers,

and Hamlet wounds

Laertes.

King.

Part them
again.

they are incensed.

[

Ham. Nay, come,

Osr.

The Queen falls.

Look
bleed
?

to the

Hor. They
lord
.
.

on

both

sides.

How

queen there, ho
is
it,

my
315
.

'gainst] F, it is 307. 'lis against Q. 308. third you] Stesvens, /Aird Laertes, }'oii doe Q, third. Laertes, you . 310. afeard]F, sure Q. Rowe, omitted Q. 313. Laertes wounds . In scuffling .] they change Rapiers F ; They catch one anothers Rapiers, and both are wounded, Leartes falles downe, the Queene falles downe and dies i. 314. come, again] F ; come againe Q, Yi 2-4. The Queen falls] Capell ; omitted Q, F. 315. is it] Q, is't] F.
. . . .
. .

310. wanton] treat me like an indulged^ boy. 313. Stage direction] Of several methods of exchanging rapiers adopted by actors, or described by commenlators, that suggested by H. von F"riesen (Sh. Jahrbiich, 1869) seems to accord best with the stage direction of I. The writer derives it from his recollections of the fencingschool. " As soon as your opponent has made a pass, and is about to return to his guard, you strike the most powerful battute possible {i.e. a
_

3-our

blow descending along the blade of opponent) advance the left

. .

foot close to the outer side of the right foot of your opponent, seize with the
left

hand the guard of your opponent's

. . .

rapier.

The opponent meets the attack with the same manceuvre, and gets his assailant's weapon in his hand in the same way." The combatants change places, and continue to fight. (Furness's translation ^bbreviated.)
to

314. ho!] Supposed by Staunton be a signal to stop the combat.

"

sen]
Osr.

PRINCE OF DENMARK
is 't,

223

How

Laertes a

Laer.

Why,
Osric
I

as

woodcock

to

mine own

springe,

am

justly kill'd with

mine own treachery.

?

Ham. How does

King.
Queen. No,
no,

the queen

She swounds
the
drink,

to see

them

bleed.

the

drink,

O
:

my

dear

Hamlet,

The drink, Ham. O villany

Treachery
Laer. It
is
!

the drink
!

Ho
seek
is

320
I

am

poison'd.
'

[^Dies.

let

the door be lock'd

it

out

\^Laertes falls. slain

; ;

here,

Hamlet.
in the

Hamlet, thou art

No

medicine

world can do thee good

life

325

In thee there

not half an hour of

The treacherous instrument is in thy hand, Unbated and envenom'd the foul practice Hath turn'd itself on me lo, here I lie,
;

Never to
I

rise

again more.

thy mother's poison'd

king,

can
blame.

no

The
!

330
's

the

king

to

Ham. The
All.

point envenom'd too

!

Then, venom, to thy work

\Stabs the King:

Treason

treason

King. Oh, yet defend me, friends

317.

am
;

but hurt.

335

wvie ozun] Q, inincY. omitted Q, F. 321. Dies] Rowc 322. Theobald, hoiv (^, hoe (^ 4, How? F. 323. Laertes falls] Capell omitted (), F. Hamlet] F, heere Hamlet, Q. 324. here, Hamlet. 326. hour of] V, houres Q. 327. thy] F, 7ny Q. 333, Stabs the King] Rowe, Hurts the King F, omitted Q.

Ho !^

317. woodcock] %iiQ. I. iii. 115. 328. Utibated^^iiQ \\\ vii. 139. 328. practice] artifice, stratagem,

See

IV. vii. 68.

332.

The point] Staunton supposes

first to note that the button gone, and reads, "The point envenom'd too 333. to thy work] Theobald (ed. 2) read " do thy work."
is
!

Hamlet


HAMLET
Here, thou incestuous, murderous,

224

[act v.

Ham.

damned Dane,
?

Drink off
Follow
Laer.
It is

this potion

Is

thy union here

my

mother

\^King

dies.

He

is

justly served

a poison temper'd by himself.

;

Exchange forgiveness with me, noble Hamlet 340 Mine and my father's death come not upon thee, \pies. Nor thine on me I follow thee. Ham. Heaven make thee free of it Wretched queen, adieu I am dead, Horatio.
! !

You
That

that look pale and tremble

are but
I

at this chance,

345

mutes or audience
fell
I

to this act,

Had
But

but time (as this

sergeant, death,

Is strict in his arrest) oh,

let it be.

could

tell
;

you
aright

Horatio,

am

dead

Thou livest; report me and my cause To the unsatisfied.

Hor.
I

350

Never believe

it

am more
's

an antique

Roman
left.

than a Dane

Here

yet some liquor

Ham.
Give

As thou 'rt

man,
have
't.

me

the cup

let
;

go

by heaven,

I '11

(= here?) murderous] F, omitted Q. 337. 0^] 336. Hert\ F, Hmre F, 0/ Q (== off?); union'] i, ; the Onixe Q. 338. King dies] F, you, ] Pope, omitted Q. 348. you 342. Dies] F, omitted Q. Q, you. F. 351. Never believe] Q, F ; 350. cause aright] Q, causes right F.

Never

believe

Hanmer.
347. sergeant]
Silvester's

Calde337. union] see line 283. the cott suggests a play on the word potion effects the union of the King
;

Malone
:

Du

Bartas

"And

compares Death,
ludge,"
:

drad Serjant of

th' eternall

and Queen.
346. viutes] performers in

who have no

words.

The

a play word occurs

and Shakespeare's Sonnets, Ixxiv. "When that fell arrest Without all "Serbail shall carrj' me away."
geants" is of frequent occurrence in Elizabethan literature as the name for
officers

in the stage direction for the

dumbIII.
ii.

show preceding
147.

the play, Act

who

arrest debtors.


sen.]

PRINCE OF DENMARK

225

good Horatio, what a wounded name, 355 Things standing thus unknown, shall live behind

me!
If

thou didst ever hold

me

in

thy heart,

Absent thee from

felicity awhile.

And
To

in

this

harsh

world

draw

thy

breath

in

pain,
tell

my

story.

\^March afar

off,

and
is

shot within.

What
Osr.

war-like noise

this?

360
from

Young

Fortinbras,

with

conquest

come

Poland,

To
Ham.

the ambassadors of England gives

This war-like volley.

Oh,

die,

Horatio

The potent poison

1

quite o'er-crows

my

spirit

cannot live to hear the news from England;

365

But

On

do prophesy the election lights he has my dying voice Fortinbras

I
;

So tell him, with the Which have solicited

occurrents,

more and
is

less,

the
Q,

rest

silence.

[Dies.

Horatio 355. good Hoyatio\Y, god Horatio i^, God Horatio Q(\/^-6, God! 360. March Capell. 356. live\ F, I leave (^ ; nie !'\ Jennens, 7ne? Q, ine. F. march a farre offQ, March afarre off, and shout within F. .] Steevens,
. .

369.

solicited

O,

0,

o,o.

Jennens, solicited, Dies] F, omitted (^.

]

solicited.

siknce.'\

Q,

silence.

356.

of

"

F No

support 1 10: glory lives behind the back of

j-z^fl//

//w] Staunton

in

him."

Qq

4-6,

Pope, and

other

cites

Much Ado,

ill.

i.

Q6.\\.or?, rez.6.

ore-grozves.

such."
364. oV;--rr<?w.f] triumphs over (as a victorious cock). To several examples cited by Steevens and Malone, add The .Spanish Mandevile, 1618, p.

368. occurre/tts] occurrences, inciBeaumont and Fletcher, dents.

Beggar's Bush, to stranger. my country."

.
.

i.

i.

"kept me

all

the occurrents of

135

" Being
suffering

and

somewhat haughtie, no man to overcrow

369. solicited] invited, as in Richard II. I. ii. 2.

prompted,

15

226
Hor.

HAMLET
Now
And
cracks

[act v.
night,

noble heart.

Good

sweet

prince,
flights of angels sing thee to thy rest
!

370
\March
within.

Why

does the drum come hither?

tJie

Enter Fortinbras,

EnglisJi Ambassadors, luith

drum,

colours,

and
?

attendattts.

For.

Where
If

is

this sight

Hor.

What

is it

ye would see

aught of woe or wonder, cease your search.

For. This quarry cries on havoc.

O proud Death!
at a shot

375

What

feast

is

toward

in thine eternal cell,

That thou so many princes

So bloodily hast struck

First Avib.

And

our affairs from England

The sight is dismal; come too late

The ears are senseless that should give us hearing, 3 80 To tell him his commandment is fulfill'd,
That Rosencrantz and Guildenstern are dead. Where should we have our thanks ? Not from his mouth, Hor. Had it the ability of life to thank you
;

He

never gave

commandment

for their death.

;

385

omitted Q, F. 372. March within] Capell 370. cracks'] Q, c7-acke F. Enter Fortenbrassee, with the Enter Fortinbras ] F (substantially). F. 378. First] Embassadors. Q. 375- ^'^"^] Q> 373- J'^l F> Jw/QCapell ; omitted Q, F.
.

^"

370. cracks]

So

Co7'iolamis, v.

iii.

9: " with a crack'd heart." 371. sing] Warburton reads wz^. havoc] His 375. This quarry White's of F may refer to Death. explanation seems right "This heap of dead proclaims an indiscriminate
.
.

slaughter."

For "cry on" compare

Othello, v. i. 48, Richai-d III. v. iii. "This pile of Clar. Press: 231. corpses urges to merciless slaughter." 376. towarcT] see i. i. 77. 376. eternal] Perhaps used in the sense which expresses abhorrehce ; see note on i. v. 21. 383. /iw ;<??<M] The King's mouth.

sen.]

PRINCE OF DENMARK
since, so

227

But

jump upon

this

bloody question,

You from

the Polack wars, and

you from England,

Are here arrived, give order that these bodies High on a stage be placed to the view
;

And

let

How

speak to the yet unknowing world 390 these things came about; so shall you hear

me

Of carnal, bloody, and unnatural acts, Of accidental judgments, casual slaughters, Of deaths put on by cunning and forced cause,
And,
Fall'n
in this upshot,

purposes mistook
:

395
can
I

on the inventors' heads

deliver.

all this

Truly
For.

Let us haste to hear

it,

And
I

call the

noblest to the audience.

I

For me, with sorrow

embrace

my

fortune

kingdom, 400 Which now to claim my vantage doth invite me, Hor. Of that I shall have also cause to speak, And from his mouth whose voice will draw on
in this

have some rights of memory

more
But

let this

same be presently perform'd.

men's

Even

while

minds

are

wild

lest

more

mischance,
390. to the yet']Y
4(X).
fi'g/its] (),

405
F, for no cause Q. now to] Q, are to F. 402. shall have 403. on more] F, no more Q. 405.
cause']

yet Q. Rites F. 401.

,

to

394. forced

also]

Q, shall have alwayes F.

while] Q, whiles F.
386. jump] see i. i. 65. 392. carnal] changed to cittcll in Qq 4, 5. This line refers to the King's incestuous marriage and the murder of his brother the next, to the death of Ophelia (accidental judgments) and of Polonius (casual slaughter) that which follows, to the
; ;

deaths of Rosencrantz and Guildenstern.

394.

put on]

instigated.

Compare

Coriola7ius, 11. i. 272 ; for other examples see Schmidt, 400. 0/ memory] traditional and remembered,


HAMLET
On
For.
plots

228
and

[act v.

sen.

errors,

happen.

Let four captains

Bear Hamlet,
like

a soldier, to the stage

For he was likely, had he been put on, To have proved most royally and for
:

his passage,

The

soldiers'

music and the

for him.

rites of

war

410

Speak loudly

Take up Becomes
\^A

the bodies. the

field,

Such

a sight as this

but here shows

much

amiss.

Go, bid the soldiers shoot.

dead vmrck.

Exeunt, bearing' off the bodies

is

after which a peal of ordnance

shot

off.

body F.

412. bodies'] Q, 410. )-ites\ F, right Q. 409. 7-oyaUy\ F, royall Q. Exeunt ; 414. Stage direction] Capell (substantially) ; Exeunt Marching after the which, a Peale of Ordenance are shot off. F.

406. 0)t] Perhaps

quence of "
of."

perhaps

"as the conse"on the top

408. put on] set to

work

(as King),

brought to
iii.

trial,

409. passage) departure, as in ni.

86.

APPENDIX
Q
Gil.

The "Travelling" of the Players

I

(n.

ii.

347).

(1603) reads as follows:

it

Ham. How comes

restie
?

that they travell

Do

they grow

Ham. How

Lord, their reputation holds as it was wont. then ? Gil. Yfaith my Lord, noveltie carries it away, For the principall publike audience that Came to them, are turned to private playes, And to the humour of children.

No my

Q(i6o4):

Ham. How chances

in reputation,

it

they trauaile
profit

their residence both

and

Ros.

thinke their

was better both wayes. inhibition, comes by the meanes of the

late innouasion.

Ham. Doe
I

was

Ros.

No

they hold the same estimation they did when the Citty are they so followed, indeed are they not.
in
;

F (1623) repeats (1604) so far, and adds all that follows as given in the text (pp. 99-101) to and including the words " Hercules and his load too."

discussion of this matter by Prof W. Hall Griffin The Athenaum, April 25, 1896, seems to me highly satisfactory. At Michaelmas 1600 Henry Evans took
in

The

possession of the Blackfriars Theatre, a private theatre, which he leased from Richard Burbage, and there he set up " a companie of boyes," who became exceedingly popular. This is referred to in Q. r,
220

230

APPENDIX

(1604) refers to an inhibition and an innovation. this is a veiled allusion to the popularity of the children, an innovation, which had almost the effect of If we must find an express inhibition, an inhibition. that due to the visitation of the Plague, 1603, may answer In January 1604 the children became "the the purpose. Children of her Majesty's Revels " in 1603 Shakespeare's company became the King's servants. It was inexpedient that the King's servants should censure the Queen's chilHence the omission of any reference to boy dren. actors in Q 1604.

Probably

The passage in F refers not only to boy actors, but probably also to the " war of the theatres," in which Jonson, Marston, Dekker took prominent parts. The children performed Cynthia's Revels, 1600, and The Poetaster, 1601. Jonson admits that he had " tax'd " the " players, but only some of them, and that " sparingly (see Apologeticall Dialogue appended to The Poetaster). A far less probable suggestion as to the " inhibition " is, that it refers to the disgrace of Shakespeare's company at court in 1601, owing to the share they had taken, by a performance of Richard II., in the conspiracy of Essex. See S. Lee's Life of Shakespeare, pp. 213-217.

APPENDIX

II

Some Passages from the Quarto of

1603

It may be of interest to give a few passages from the Quarto of 1603, which differ considerably from the received For II. 77-100 the text, or are wholly absent from it.
i.

1603 gives:

Of.

yong Prince Hamlet, the only

is

floure of

Demnark,

Hee The

bereft of all the wealth he had, lewell that ador'nd his feature most Is filcht and stolne away, his wit 's bereft him, Hee found mee walking in the gallery all alone,

There comes hee to mee with a distracted looke, His garters lagging downe, his shooes untide. And fixt his eyes so stedfast on my face, As if they had vow'd, this is their latest obiect. Small while he stoode, but gripes me by the wrist,

And there he holdes my pulse till with a sigh He doth unclaspe his holde, and parts away
Silent, as
is

the mid time of the night

And

as he went, his eie was still on mee, For thus his head over his shoulder looked. He seemed to finde the way without his eies For out of doores he went without their helpe.

And
III.
ii.

so did leave me.

53.

The Quarto 1603 adds

:

to

Hamlet's criticism

of the Stage

Clown the following And then you have some agen, that keepes one sute Of ieasts, as a man is knowne by one sute of Apparell, and Gentlemen quotes his ieasts downe In their tables, before they come to the play, as thus
231

232
owe me

APPENDIX
Cannot you stay
till
I

II
porrige? and, you
:

eate

my

And
And

quarters wages and, my coate wants a culHson your beere is sowre: and, blabbering with his
:

lips,

When, God knows,

iest,

thus keeping in his cinkapase of ieasts, the warme Clowne cannot

make

Vnlesse by chance, as the blinde hare: Maisters tell him of it.

man

catcheth a

Dr. B. Nicholson has argued that Kemp is the clown specially hit at he had left Shakespeare's company. When he returned, these specialised jests were omitted. Dr. Nicholson further argues that the praise of Yorick is the praise of Tarlton, who died in 1588, and that on Kemp's return to the company the praise of Tarlton was made less pointed by altering the period during which Yorick's skull had lain in the earth from twelve to twentythree years.
;

III. iii.

36-72.

Q. 1603 reads:

King.

that this wet that falles upon my face Would wash the crime cleere from my conscience When I looke up to heaven, I see my trespasse, The earth doth still crie out upon my fact, Pay me the murder of a brother and a king, And the adulterous fault I have committed: these are sinnes that are unpardonable say thy sinnes were blacker then is ieat, Yet may contrition make them as white as snowe 1 but still to persever in a sinne, It is an act gainst the universall power, Most wretched man, stoope, bend thee to thy prayer, Aske grace of heaven to keepe thee from despaire.
!
:

Why

III. iv. 136. From Exit Ghost to the close of the scene 1603 gives the following:
it is

Queene. Alas,

Which makes thy tongue to blazon thy

the weaknesse of thy braine, hearts griefes

: :

APPENDIX
But as
I
I

II

233

have a

never

knew

soulc, I sweare by heaven, of this most horride murder

is

But Hamlet,

this

onely fantasie,

And for my love forget these idle fits. Ham. Idle, no mother, my pulse doth beate
It is

like yours. not madnesse that possesseth Hamlet. mother, if ever you did my deare father love, Forbeare the adulterous bed to night,

And win your selfe by little as you may, In time it may be you wil lothe him quite And mother, but assist mee in revenge, And in his death your infamy shall die.
Queene. Hamlet,
I vow by that majesty, That knowes our thoughts, and lookes into our 1 will conceale, consent, and doe my best.

hearts,

What stratagem soe're thou shalt devise. Ham. It is enough, mother, good night: Come sir, I 'le provide you a grave,

Who

was

in life, a foolish

prating knave.

The following is absent from the later texts, but the information here given by Horatio to the Queen is given by Hamlet to Horatio in the received text in V. ii. This scene follows iv. v.
Enter HORATio and
the

QUEENE.

Hor. Madame, your sonne is safe arriv'de in Denmarke, This letter I even now receiv'd of him, Whereas he writes how he escap't the danger. And subtle treason that the king had plotted. Being crossed by the contention of the windes. He found the Packet sent to the king of Jinglatid, Wherein he saw himselfe betray 'd to death. As at his next conversion with your grace, He will relate the circumstance at full,
Queene.

Then

perceive there

's

treason in his lookes

That seem'd to sugar o're his villanic But I will soothe and please him for a time, For murderous mindes are alwayes jealous. But know not you Horatio where he is ?

234

APPENDIX

II

Hor. Yes Madame, and he hath appoynted me To meete him on the east side of the Cittie To morrow morning,
Queene.

faile

not,

good

Horatio,

and

withall,

com-

mend me
mothers care to him, bid him a while presence, lest that he Faile in that he goes about. Hor. Madam, never make doubt of that I thinke by this the news be come to court He is arriv'de, observe the king, and you shall Ouickely finde Hamlet being here. Things fell not to his minde. Queene. But what became of Gildersione and Rossencraft ? Hor. He being set ashore, they went for England, And in the Packet there writ down that doome To be perform'd on them that poynted for him And by great chance he had his fathers seale, So all was done without discoverie. Queene. Thankes be to heaven for blessing of the prince, Horatio once againe I take my leave, With thowsand mothers blessings to my sonne. Hor. Madam adue.

Be wary of his

APPENDIX
Addenda

III

Mr. W. J. Craig, who in knowledge of the language of Shakespeare is, I believe, unsurpassed by any living
proof-sheets of this edition (not agreeing with my interpretations), has noted omissions, and has sent me a mass of valuable illustrations and additions, from which I make a scanty selection.
student, has read the

always

I.

i.

io6

head, source, as in

AWs

Well,

I. iii.

178,

"your
ii.

salt tears' head."

I.
i.

Hence

origin, cause.

Compare

II.

55.

red.

166: russet, probably gray turning to gold or to Latham's JoJinsotis Dictionary notices that Sir I.
uses russet for gray.

Newton
I.
ii.

one brow of woe.

Brow, aspect, look.

See

Schmidt's Lexicon.
I.

ii.

100: peevish, foolish,

silly,

as in

Comedy of Errors,

IV.

i.

93.
iii.

I.

56: shoulder of your

sail.

Shoulder, the back.

See Schmidt's Lexicon.

I.

v.

48

dignity, worth, excellence.

See Lovers Labour's

Lost, IV.

iii.

236.
:

Schmidt thinks this may mean the I. v. 97 globe. world Mr. Craig suggests this little world of man. Compare Lear, III. i. 10.
;

I. I. ii.

V.

116.

Compare Marston, The Dutch

ho
!

Courtezan,

"

Wha,

ho,

come,

bird,
236

come."

236

APPENDIX

III

I. V. 133: tvhirling words. Schmidt defines whirling "giddy." Mr. Craig prefers F hurling. But compare 1 Henry VI. I. v. 19, "My thoughts are whirl'd Hke a potter's wheel."

old true-penny. Mr. Craig notes these words The Retiirne from Per?iasstis, II. iv., and Beaumont and Fletcher, The Loyal Subject, i. iii. he adds that Truepenny is the name of a character in Ralph Roister Doister, and is defined in Bailey's Dictionary (1721), "a name given by way of taunt to some sorry
I.

V.

50

as occurring in

fellow."

for

preparation, used specially ii. 63 combat, as in Coriolanus, I. ii. 15.

II.
:

for a force

ready

mention

339: the humorous f)ian. Mr. Sidney Lee notes a in Henslowe's Diary, p. 183, of "The honorable lyfe of the humorous Earle of Gloster with his conquest of
II.
ii.

Portugalle."

Mr. Craig compares Romeo aivay. and notices an example earlier than any in Neiv English Dictionary, Nash, The Unfortunate Traveller (1594), Grosart's Nash, v. 42.
II. ii.

381

carry
i.

it

and

Juliet,

III.

77,

II. ii.

402,403.

Mr. Craig quotes from Apollo Shroving

(1627), " It lifts a man up till a hawk after a hernshaw."

II. ii.

he grow lesse and

lesse like

605
ii.

John-a-dreams.
in

dreaming" as an epithet
1581,
b.

Mr. Craig notices " JohnHall's translation of Homer,

III.

iv.

135.

Compare Jonson, The Fortunate

in

IsleSy

"

Enter Skogan and Skelton,

IV.
:

Hke habits as they

lived."

play,"

ii. 33 Hide fox, defined as "hide and seek, a by Pegge, Alphabet of Kenticisms, 1735.

child's

in

unbated. IV. vii. 1 39 Compare " unrebated swords North's Plutarch, "Coriolanus," p. 241, ed. 1603.
:

"

APPENDIX
i.
:

III

237

V. loi loggats. Steevens notes " It is one of the unlawful [new and crafty] games enumerated in the statute of 33 Henry viii."

V.

ii.

6: bilboes.
in

than

any

Mr. Craig notes an Neiv English Dictionary

^^

earlier
:

example
Latin

Elyot,

Dictionary (1538),
V.
ii.

area, the pillory, stocks, or bilboes,"

298

stands /^z/ to

fat and scant of breath. Mr. Craig undermean not reduced to athletic condition by a

fencer's training.

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