Hor. I, good my Lord.

Ham. An earnest Coniuration from the King, As England was his faithfull Tributary, As loue betweene them, as the Palme should flourish, [Sidenote: them like the might florish,] As Peace should still her wheaten Garland weare, And stand a Comma 'tweene their amities,[7] And many such like Assis[8] of great charge, [Sidenote: like, as sir of] That on the view and know of these Contents, [Sidenote: knowing] Without debatement further, more or lesse, He should the bearers put to sodaine death, [Sidenote: those bearers] Not shriuing time allowed.

Hor. How was this seal'd?

Ham. Why, euen in that was Heauen ordinate; [Sidenote: ordinant,] I had my fathers Signet in my Purse, Which was the Modell of that Danish Seale: Folded the Writ vp in forme of the other, [Sidenote: in the forme of th'] Subscrib'd it, gau't th'impression, plac't it safely, [Sidenote: Subscribe it,] The changeling neuer knowne: Now, the next day Was our Sea Fight, and what to this was sement, [Sidenote: was sequent] Thou know'st already.[9]

Hor. So Guildensterne and Rosincrance, go too't.

[Footnote 1: —the nearest, Rosincrance and Guildensterne: Hamlet was quite satisfied of their villainy.]

[Footnote 2: 'I had no need to think: the thing came to me at once.']

[Footnote 3: Note Hamlet's rapid practicality—not merely in devising, but in carrying out.]

[Footnote 4: statesmen.]

[Footnote 5: 'Yeomen of the guard of the king's body were anciently two hundred and fifty men, of the best rank under gentry, and of larger stature than ordinary; every one being required to be six feet high.'—E. Chambers' Cyclopaedia. Hence 'yeoman's service' must mean the very best of service.]

[Footnote 6: Note our common phrase: 'I wrote to this effect.']

[Footnote 7: 'as he would have Peace stand between their friendships like a comma between two words.' Every point has in it a conjunctive, as well as a disjunctive element: the former seems the one regarded here—only that some amities require more than a comma to separate them. The comma does not make much of a figure—is good enough for its position, however; if indeed the fact be not, that, instead of standing for Peace, it does not even stand for itself, but for some other word. I do not for my part think so.]

[Footnote 8: Dr. Johnson says there is a quibble here with asses as beasts of charge or burden. It is probable enough, seeing, as Malone tells us, that in Warwickshire, as did Dr. Johnson himself, they pronounce as hard. In Aberdeenshire the sound of the s varies with the intent of the word: 'az he said'; 'ass strong az a horse.']

[Footnote 9: To what purpose is this half-voyage to England made part of the play? The action—except, as not a few would have it, the very action be delay—is nowise furthered by it; Hamlet merely goes and returns.

To answer this question, let us find the real ground for Hamlet's reflection, 'There's a Divinity that shapes our ends.' Observe, he is set at liberty without being in the least indebted to the finding of the commission—by the attack, namely, of the pirate; and this was not the shaping of his ends of which he was thinking when he made the reflection, for it had reference to the finding of the commission. What then was the ground of the reflection? And what justifies the whole passage in relation to the Poet's object, the character of Hamlet?

This, it seems to me:—

Although Hamlet could not have had much doubt left with regard to his uncle's guilt, yet a man with a fine, delicate—what most men would think, because so much more exacting than theirs—fastidious conscience, might well desire some proof more positive yet, before he did a deed so repugnant to his nature, and carrying in it such a loud condemnation of his mother. And more: he might well wish to have something to show: a man's conviction is no proof, though it may work in others inclination to receive proof. Hamlet is sent to sea just to get such proof as will not only thoroughly satisfy himself, but be capable of being shown to others. He holds now in his hand—to lay before the people—the two contradictory commissions. By his voyage then he has gained both assurance of his duty, and provision against the consequence he mainly dreaded, that of leaving a wounded name behind him. 272. This is the shaping of his ends—so exactly to his needs, so different from his rough-hewn plans—which is the work of the Divinity. The man who desires to know his duty that he may do it, who will not shirk it when he does know it, will have time allowed him and the thing made plain to him; his perplexity will even strengthen and purify his will. The weak man is he who, certain of what is required of him, fails to meet it: so never once fails Hamlet. Note, in all that follows, that a load seems taken off him: after a gracious tardiness to believe up to the point of action, he is at length satisfied. Hesitation belongs to the noble nature, to Hamlet; precipitation to the poor nature, to Laertes, the son of Polonius. Compare Brutus in Julius Caesar—a Hamlet in favourable circumstances, with Hamlet—a Brutus in the most unfavourable circumstances conceivable.]

[Page 250]

Ham. Why man, they did make loue to this imployment[1] They are not neere my Conscience; their debate [Sidenote: their defeat[2]] Doth by their owne insinuation[3] grow:[4] [Sidenote: Dooes] 'Tis dangerous, when the baser nature comes Betweene the passe, and fell incensed points Of mighty opposites.[5]

Hor. Why, what a King is this?[6]

Ham. Does it not, thinkst thee,[7] stand me now vpon[8] [Sidenote: not thinke thee[7] stand] [Sidenote: 120] He that hath kil'd my King,[9] and whor'd my Mother, [Sidenote: 62] Popt in betweene th'election and my hopes,

[Footnote 1: This verse not in Q.]

[Footnote 2: destruction.]

[Footnote 3: 'Their destruction they have enticed on themselves by their own behaviour;' or, 'they have crept into their fate by their underhand dealings.' The Sh. Lex. explains insinuation as meddling.]

[Footnote 4: With the concern of Horatio for the fate of Rosincrance and Guildensterne, Hamlet shows no sympathy. It has been objected to his character that there is nothing in the play to show them privy to the contents of their commission; to this it would be answer enough, that Hamlet is satisfied of their worthlessness, and that their whole behaviour in the play shows them merest parasites; but, at the same time, we must note that, in changing the commission, he had no intention, could have had no thought, of letting them go to England without him: that was a pure shaping of their ends by the Divinity. Possibly his own 'dear plots' had in them the notion of getting help against his uncle from the king of England, in which case he would willingly of course have continued his journey; but whatever they may be supposed to have been, they were laid in connection with the voyage, not founded on the chance of its interruption. It is easy to imagine a man like him, averse to the shedding of blood, intending interference for their lives: as heir apparent, he would certainly have been listened to. The tone of his reply to Horatio is that of one who has been made the unintending cause of a deserved fate: the thing having fallen out so, the Divinity having so shaped their ends, there was nothing in their character, any more than in that of Polonius, to make him regret their death, or the part he had had in it.]

[Footnote 5: The 'mighty opposites' here are the king and Hamlet.]

[Footnote 6: Perhaps, as Hamlet talked, he has been parenthetically glancing at the real commission. Anyhow conviction is growing stronger in Horatio, whom, for the occasion, we may regard as a type of the public.]

[Footnote 7: 'thinkst thee,' in the fashion of the Friends, or 'thinke thee' in the sense of 'bethink thee.']

[Footnote 8: 'Does it not rest now on me?—is it not now my duty?—is it not incumbent on me (with lie for stand)—"is't not perfect conscience"?']

[Footnote 9: Note 'my king' not my father: he had to avenge a crime against the state, the country, himself as a subject—not merely a private wrong.]

[Page 252]

Throwne out his Angle for my proper life,[1] And with such coozenage;[2] is't not perfect conscience,[3] [Sidenote: conscience?] [Sidenote: 120] To quit him with this arme?[4] And is't not to be damn'd[5] To let this Canker of our nature come In further euill.[6]

Hor. It must be shortly knowne to him from England What is the issue of the businesse there.[7]

Ham. It will be short, [Sidenote: 262] The interim's mine,[8] and a mans life's no more[9] Then to say one:[10] but I am very sorry good Horatio, [Sidenote: 245] That to Laertes I forgot my selfe; For by the image of my Cause, I see [Sidenote: 262] The Portraiture of his;[11] Ile count his fauours:[12]

[Footnote 1: Here is the charge at length in full against the king—of quality and proof sufficient now, not merely to justify, but to compel action against him.]

[Footnote 2: He was such a fine hypocrite that Hamlet, although he hated and distrusted him, was perplexed as to the possibility of his guilt. His good acting was almost too much for Hamlet himself. This is his 'coozenage.'

After 'coozenage' should come a dash, bringing '—is't not perfect conscience' (is it not absolutely righteous) into closest sequence, almost apposition, with 'Does it not stand me now upon—'.]

[Footnote 3: Here comes in the Quarto, 'Enter a Courtier.' All from this point to 'Peace, who comes heere?' included, is in addition to the Quarto text—not in the Q., that is.]

[Footnote 4: I would here refer my student to the soliloquy—with its sea of troubles, and the taking of arms against it. 123, n. 4.]

[Footnote 5: These three questions: 'Does it not stand me now upon?'—'Is't not perfect conscience?'—'Is't not to be damned?' reveal the whole relation between the inner and outer, the unseen and the seen, the thinking and the acting Hamlet. 'Is not the thing right?—Is it not my duty?—Would not the neglect of it deserve damnation?' He is satisfied.]

[Footnote 6: 'is it not a thing to be damned—to let &c.?' or, 'would it not be to be damned, (to be in a state of damnation, or, to bring damnation on oneself) to let this human cancer, the king, go on to further evil?']

[Footnote 7: '—so you have not much time.']

[Footnote 8: 'True, it will be short, but till then is mine, and will be long enough for me.' He is resolved.]

[Footnote 9: Now that he is assured of what is right, the Shadow that waits him on the path to it, has no terror for him. He ceases to be anxious as to 'what dreams may come,' as to the 'something after death,' as to 'the undiscovered country,' the moment his conscience is satisfied. 120. It cannot now make a coward of him. It was never in regard to the past that Hamlet dreaded death, but in regard to the righteousness of the action which was about to occasion his death. Note that he expects death; at least he has long made up his mind to the great risk of it—the death referred to in the soliloquy—which, after all, was not that which did overtake him. There is nothing about suicide here, nor was there there.]

[Footnote 10: 'a man's life must soon be over anyhow.']

[Footnote 11: The approach of death causes him to think of and regret even the small wrongs he has done; he laments his late behaviour to Laertes, and makes excuse for him: the similarity of their condition, each having lost a father by violence, ought, he says, to have taught him gentleness with him. The 1st Quarto is worth comparing here:—

Enter Hamlet and Horatio

Ham. Beleeue mee, it greeues mee much Horatio, That to Leartes I forgot my selfe: For by my selfe me thinkes I feele his griefe, Though there's a difference in each others wrong.]

[Footnote 12: 'I will not forget,' or, 'I will call to mind, what merits he has,' or 'what favours he has shown me.' But I suspect the word 'count' ought to be court.—He does court his favour when next they meet—in lovely fashion. He has no suspicion of his enmity.]

[Page 254]

[Sidenote: 242, 262] But sure the brauery[1] of his griefe did put me Into a Towring passion.[2]

Hor. Peace, who comes heere?

Enter young Osricke.[3] [Sidenote: Enter a Courtier.]

Osr. Your Lordship is right welcome back to [Sidenote: Cour.] Denmarke.

Ham. I humbly thank you Sir, dost know this [Sidenote: humble thank] waterflie?[4]

Hor. No my good Lord.

Ham. Thy state is the more gracious; for 'tis a vice to know him[5]: he hath much Land, and fertile; let a Beast be Lord of Beasts, and his Crib shall stand at the Kings Messe;[6] 'tis a Chowgh[7]; but as I saw spacious in the possession of dirt.[8] [Sidenote: as I say,]

Osr. Sweet Lord, if your friendship[9] were at [Sidenote: Cour. Lordshippe[?]] leysure, I should impart a thing to you from his Maiesty.

Ham. I will receiue it with all diligence of [Sidenote: it sir with] spirit; put your Bonet to his right vse, 'tis for the [Sidenote: spirit, your] head.

Osr. I thanke your Lordship, 'tis very hot[10] [Sidenote: Cour. it is]

Ham. No, beleeue mee 'tis very cold, the winde is Northerly.

Osr. It is indifferent cold[11] my Lord indeed. [Sidenote: Cour.]

Ham. Mee thinkes it is very soultry, and hot [Sidenote: But yet me sully and hot, or my] for my Complexion.[12]

Osr. Exceedingly, my Lord, it is very soultry, [Sidenote: Cour.] as 'twere I cannot tell how: but my Lord,[13] his [Sidenote: how: my Lord] Maiesty bad me signifie to you, that he ha's laid a [Sidenote: that a had] [Sidenote: 244] great wager on your head: Sir, this is the matter.[14]

Ham. I beseech you remember.[15]

Osr. Nay, in good faith, for mine ease in good [Sidenote: Cour. Nay good my Lord for my ease]

[Footnote 1: the great show; bravado.]

[Footnote 2: —with which fell in well the forms of his pretended madness. But that the passion was real, this reaction of repentance shows. It was not the first time his pretence had given him liberty to ease his heart with wild words. Jealous of the boastfulness of Laertes' affection, he began at once—in keeping with his assumed character of madman, but not the less in harmony with his feelings—to outrave him.]

[Footnote 3: One of the sort that would gather to such a king—of the same kind as Rosincrance and Guildensterne.

In the 1st Q. 'Enter a Bragart Gentleman.']

[Footnote 4: —to Horatio.]

[Footnote 5: 'Thou art the more in a state of grace, for it is a vice to know him.']

[Footnote 6: 'his manger shall stand where the king is served.' Wealth is always received by Rank—Mammon nowhere better worshipped than in kings' courts.]

[Footnote 7: 'a bird of the crow-family'—as a figure, 'always applied to rich and avaricious people.' A chuff is a surly clown. In Scotch a coof is 'a silly, dastardly fellow.']

[Footnote 8: land.]

[Footnote 9: 'friendship' is better than 'Lordshippe,' as euphuistic.]

[Footnote 10: 'I thanke your Lordship; (puts on his hat) 'tis very hot.']

[Footnote 11: 'rather cold.']

[Footnote 12: 'and hot—for my temperament.']

[Footnote 13: Not able to go on, he plunges into his message.]

[Footnote 14: —takes off his hat.]

[Footnote 15: —making a sign to him again to put on his hat.]

[Page 256]

faith[1]: Sir, [A] you are not ignorant of what excellence Laertes [B] is at his weapon.[2] [Sidenote: Laertes is.[2]]

Ham. What's his weapon?[3]

Osr. Rapier and dagger. [Sidenote: Cour.]

Ham. That's two of his weapons: but well.

Osr. The sir King ha's wag'd with him six [Sidenote: Cour. The King sir hath wagerd] Barbary Horses, against the which he impon'd[4] as I [Sidenote: hee has impaund] take it, sixe French Rapiers and Poniards, with

[Footnote A: Here in the Quarto:—

[5] here is newly com to Court Laertes, belieue me an absolute gentlemen, ful of most excellent differences,[6] of very soft society,[7] and great [Sidenote: 234] showing[8]: indeede to speake sellingly[9] of him, hee is the card or kalender[10] of gentry: for you shall find in him the continent of what part a Gentleman would see.[11]

[Sidenote: 245] Ham.[12] Sir, his definement suffers no perdition[13] in you, though I know to deuide him inuentorially,[14] would dosie[15] th'arithmaticke of memory, and yet but yaw[16] neither in respect of his quick saile, but in the veritie of extolment, I take him to be a soule of great article,[17] & his infusion[18] of such dearth[19] and rarenesse, as to make true dixion of him, his semblable is his mirrour,[20] & who els would trace him, his vmbrage, nothing more.[21]

Cour. Your Lordship speakes most infallibly of him.[22]

Ham. The concernancy[23] sir, why doe we wrap the gentleman in our more rawer breath?[24]

Cour. Sir.[25]

Hora. Ist not possible to vnderstand in another tongue,[26] you will too't sir really.[27]

Ham. What imports the nomination of this gentleman.

Cour. Of Laertes.[28]

Hora. His purse is empty already, all's golden words are spent.

Ham. Of him sir.[29]

Cour. I know you are not ignorant.[30]

Ham. I would you did sir, yet in faith if you did, it would not much approoue me,[31] well sir.

Cour.]

[Footnote B: Here in the Quarto:—

Ham. I dare not confesse that, least I should compare with him in excellence, but to know a man wel, were to knowe himselfe.[32]

Cour. I meane sir for this weapon, but in the imputation laide on him,[33] by them in his meed, hee's vnfellowed.[34]]

[Footnote 1: 'in good faith, it is not for manners, but for my comfort I take it off.' Perhaps the hat was intended only to be carried, and would not really go on his head.]

[Footnote 2: The Quarto has not 'at his weapon,' which is inserted to take the place of the passage omitted, and connect the edges of the gap.]

[Footnote 3: So far from having envied Laertes' reputation for fencing, as the king asserts, Hamlet seems not even to have known which was Laertes' weapon.]

[Footnote 4: laid down—staked.]

[Footnote 5: This and the following passages seem omitted for curtailment, and perhaps in part because they were less amusing when the fashion of euphuism had passed. The good of holding up the mirror to folly was gone when it was no more the 'form and pressure' of 'the very age and body of the time.']

[Footnote 6: of great variety of excellence.]

[Footnote 7: gentle manners.]

[Footnote 8: fine presence.]

[Footnote 9: Is this a stupid attempt at wit on the part of Osricke—'to praise him as if you wanted to sell him'—stupid because it acknowledges exaggeration?]

[Footnote 10: 'the chart or book of reference.' 234.]

[Footnote 11: I think part here should be plural; then the passage would paraphrase thus:—'you shall find in him the sum of what parts (endowments) a gentleman would wish to see.']

[Footnote 12: Hamlet answers the fool according to his folly, but outdoes him, to his discomfiture.]

[Footnote 13: 'his description suffers no loss in your mouth.']

[Footnote 14: 'to analyze him into all and each of his qualities.']

[Footnote 15: dizzy.]

[Footnote 16: 'and yet would but yaw neither' Yaw, 'the movement by which a ship deviates from the line of her course towards the right or left in steering.' Falconer's Marine Dictionary. The meaning seems to be that the inventorial description could not overtake his merits, because it would yaw—keep turning out of the direct line of their quick sail. But Hamlet is set on using far-fetched and absurd forms and phrases to the non-plussing of Osricke, nor cares much to be correct.]

[Footnote 17: I take this use of the word article to be merely for the occasion; it uas never surely in use for substance.]

[Footnote 18: '—the infusion of his soul into his body,' 'his soul's embodiment.' The Sh. Lex. explains infusion as 'endowments, qualities,' and it may be right.]

[Footnote 19: scarcity.]

[Footnote 20: '—it alone can show his likeness.']

[Footnote 21: 'whoever would follow in his footsteps—copy him—is only his shadow.']

[Footnote 22: Here a pause, I think.]

[Footnote 23: 'To the matter in hand!'—recalling the attention of Osricke to the purport of his visit.]

[Footnote 24: 'why do we presume to talk about him with our less refined breath?']

[Footnote 25: The Courtier is now thoroughly bewildered.]

[Footnote 26: 'Can you only speak in another tongue? Is it not possible to understand in it as well?']

[Footnote 27: 'It is your own fault; you will court your fate! you will go and be made a fool of!']

[Footnote 28: He catches at the word he understands. The actor must here supply the meaning, with the baffled, disconcerted look of a fool who has failed in the attempt to seem knowing.]

[Footnote 29:—answering the Courtier.]

[Footnote 30: He pauses, looking for some out-of-the-way mode wherein to continue. Hamlet takes him up.]

[Footnote 31: 'your witness to my knowledge would not be of much avail.']

[Footnote 32: Paraphrase: 'for merely to know a man well, implies that you yourself know.' To know a man well, you must know his knowledge: a man, to judge his neighbour, must be at least his equal.]

[Footnote 33: faculty attributed to him.]

[Footnote 34: Point thus: 'laide on him by them, in his meed hee's unfellowed.' 'in his merit he is peerless.']

[Page 258]

their assignes,[1] as Girdle, Hangers or so[2]: three of [Sidenote: hanger and so.] the Carriages infaith are very deare to fancy,[3] very responsiue[4] to the hilts, most delicate carriages and of very liberall conceit.[5]

Ham. What call you the Carriages?[6]

[A]

Osr. The Carriages Sir, are the hangers. [Sidenote: Cour. The carriage]

Ham. The phrase would bee more Germaine[7] to the matter: If we could carry Cannon by our sides; [Sidenote: carry a cannon] I would it might be Hangers till then; but on sixe [Sidenote: it be then, but on, six] Barbary Horses against sixe French Swords: their Assignes, and three liberall conceited Carriages,[8] that's the French but against the Danish; why is [Sidenote: French bet] this impon'd as you call it[9]? [Sidenote: this all you[9]]

Osr. The King Sir, hath laid that in a dozen [Sidenote: Cour. layd sir, that] passes betweene you and him, hee shall not exceed [Sidenote: your selfe and him,] you three hits;[10] He hath one twelue for mine,[11] [Sidenote: hath layd on twelue for nine,] and that would come to imediate tryall, if your [Sidenote: and it would] Lordship would vouchsafe the Answere.[12]

Ham. How if I answere no?[13]

Osr. I meane my Lord,[14] the opposition of your [Sidenote: Cour.] person in tryall.

Ham. Sir, I will walke heere in the Hall; if it please his Maiestie, 'tis the breathing time of day [Sidenote: it is] with me[15]; let the Foyles bee brought, the Gentleman willing, and the King hold his purpose; I will win for him if I can: if not, Ile gaine nothing but [Sidenote: him and I I will] my shame, and the odde hits.[16]

Osr. Shall I redeliuer you ee'n so?[17] [Sidenote: Cour. Shall I deliuer you so?]

Ham. To this effect Sir, after what flourish your nature will.

Osr. I commend my duty to your Lordship. [Sidenote: Cour.]

Ham. Yours, yours [18]: hee does well to commend [Sidenote: Ham. Yours doo's well[18]] it himselfe, there are no tongues else for's tongue, [Sidenote: turne.]

[Footnote A: Here in the Quarto:—

Hora. I knew you must be edified by the margent[19] ere you had done.]

[Footnote 1: accompaniments or belongings; things assigned to them.]

[Footnote 2: the thongs or chains attaching the sheath of a weapon to the girdle; what the weapon hangs by. The 'or so' seems to indicate that Osricke regrets having used the old-fashioned word, which he immediately changes for carriages.]

[Footnote 3: imagination, taste, the artistic faculty.]

[Footnote 4: 'corresponding to—going well with the hilts,'—in shape, ornament, and colour.]

[Footnote 5: bold invention.]

[Footnote 6: a new word, unknown to Hamlet;—court-slang, to which he prefers the old-fashioned, homely word.]

[Footnote 7: related; 'akin to the matter.']

[Footnote 8: He uses Osricke's words—with a touch of derision, I should say.]

[Footnote 9: I do not take the Quarto reading for incorrect. Hamlet says: 'why is this all——you call it —? —?' as if he wanted to use the word (imponed) which Osricke had used, but did not remember it: he asks for it, saying 'you call it' interrogatively.]

[Footnote 10: 1st Q

that yong Leartes in twelue venies 223 At Rapier and Dagger do not get three oddes of you,]

[Footnote 11: In all printer's work errors are apt to come in clusters.]

[Footnote 12: the response, or acceptance of the challenge.]

[Footnote 13: Hamlet plays with the word, pretending to take it in its common meaning.]

[Footnote 14: 'By answer, I mean, my lord, the opposition &c.']

[Footnote 15: 'my time for exercise:' he treats the proposal as the trifle it seems—a casual affair to be settled at once—hoping perhaps that the king will come with like carelessness.]

[Footnote 16: the three.]

[Footnote 17: To Osricke the answer seems too direct and unadorned for ears royal.]

[Footnote 18: I cannot help here preferring the Q. If we take the Folio reading, we must take it thus: 'Yours! yours!' spoken with contempt;—'as if you knew anything of duty!'—for we see from what follows that he is playing with the word duty. Or we might read it, 'Yours commends yours,' with the same sense as the reading of the Q., which is, 'Yours,' that is, 'Your lordship—does well to commend his duty himself—there is no one else to do it.' This former shape is simpler; that of the Folio is burdened with ellipsis—loaded with lack. And surely turne is the true reading!—though we may take the other to mean, 'there are no tongues else on the side of his tongue.']

[Footnote 19: —as of the Bible, for a second interpretative word or phrase.]

[Page 260]

Hor. This Lapwing runs away with the shell on his head.[1]

[Sidenote: 98] Ham. He did Compile[2] with his Dugge before [Sidenote: Ham. A did sir[2] with] hee suck't it: thus had he and mine more of the [Sidenote: a suckt has he many more] same Beauy[3] that I know the drossie age dotes [Sidenote: same breede] on; only got the tune[4] of the time, and outward [Sidenote: and out of an habit of[5]] habite of encounter,[5] a kinde of yesty collection, [Sidenote: histy] which carries them through and through the most fond and winnowed opinions; and doe but blow [Sidenote: prophane and trennowed opinions] them to their tryalls: the Bubbles are out.[6] [Sidenote: their triall, the]

[A]

Hor. You will lose this wager, my Lord. [Sidenote: loose my Lord.]

Ham. I doe not thinke so, since he went into France, I haue beene in continuall practice; I shall [Sidenote: 265] winne at the oddes:[7] but thou wouldest not thinke [Sidenote: ods; thou] how all heere about my heart:[8] but it is no matter[9] [Sidenote: how ill all's heere]

Hor. Nay, good my Lord.

Ham. It is but foolery; but it is such a kinde of gain-giuing[10] as would perhaps trouble a woman, [Sidenote: gamgiuing.]

Hor. If your minde dislike any thing, obey.[11] [Sidenote: obay it.] I will forestall[12] their repaire hither, and say you are not fit.

Ham. Not a whit, we defie Augury[13]; there's a [Sidenote: there is speciall] [Sidenote: 24, 125, 247] speciall Prouidence in the fall of a sparrow.[14] If

[Footnote A: Here in the Quarto:—

Enter a Lord.[15]

Lord. My Lord, his Maiestie commended him to you by young Ostricke,[16] who brings backe to him that you attend him in the hall, he sends to know if your pleasure hold to play with Laertes, or that you will take longer time?[17]

Ham. I am constant to my purposes, they followe the Kings pleasure, if his fitnes speakes, mine is ready[18]: now or whensoeuer, prouided I be so able as now.

Lord. The King, and Queene, and all are comming downe.

Ham. In happy time.[19]

Lord. The Queene desires you to vse some gentle entertainment[20] Laertes, before you fall to play.

Ham. Shee well instructs me.]

[Footnote 1: 'Well, he is a young one!']

[Footnote 2: 'Com'ply,' with accent on first syllable: comply with means pay compliments to, compliment. See Q. reading: 'A did sir with':—sir here is a verb—sir with means say sir to: 'he sirred, complied with his nurse's breast before &c.' Hamlet speaks in mockery of the affected court-modes of speech and address, the fashion of euphuism—a mechanical attempt at the poetic.]

[Footnote 3: a flock of birds—suggested by 'This Lapwing.']

[Footnote 4: 'the mere mode.']

[Footnote 5: 'and external custom of intercourse.' But here too I rather take the Q. to be right: 'They have only got the fashion of the time; and, out of a habit of wordy conflict, (they have got) a collection of tricks of speech,—a yesty, frothy mass, with nothing in it, which carries them in triumph through the most foolish and fastidious (nice, choice, punctilious, whimsical) judgments.' Yesty I take to be right, and prophane (vulgar) to have been altered by the Poet to fond (foolish); of trennowed I can make nothing beyond a misprint.]

[Footnote 6: Hamlet had just blown Osricke to his trial in his chosen kind, and the bubble had burst. The braggart gentleman had no faculty to generate after the dominant fashion, no invention to support his ambition—had but a yesty collection, which failing him the moment something unconventional was wanted, the fool had to look a discovered fool.]

[Footnote 7: 'I shall win by the odds allowed me; he will not exceed me three hits.']

[Footnote 8: He has a presentiment of what is coming.]

[Footnote 9: Nothing in this world is of much consequence to him now. Also, he believes in 'a special Providence.']

[Footnote 10: 'a yielding, a sinking' at the heart? The Sh. Lex. says misgiving.]

[Footnote 11: 'obey the warning.']

[Footnote 12: 'go to them before they come here'—'prevent their coming.']

[Footnote 13: The knowledge, even, of what is to come could never, any more than ordinary expediency, be the law of a man's conduct. St. Paul, informed by the prophet Agabus of the troubles that awaited him at Jerusalem, and entreated by his friends not to go thither, believed the prophet, and went on to Jerusalem to be delivered into the hands of the Gentiles.]

[Footnote 14: One of Shakspere's many allusions to sayings of the Lord.]

[Footnote 15: Osricke does not come back: he has begged off but ventures later, under the wing of the king.]

[Footnote 16: May not this form of the name suggest that in it is intended the 'foolish' ostrich?]

[Footnote 17: The king is making delay: he has to have his 'union' ready.]

[Footnote 18: 'if he feels ready, I am.']

[Footnote 19: 'They are well-come.']

[Footnote 20: 'to be polite to Laertes.' The print shows where to has slipped out.

The queen is anxious; she distrusts Laertes, and the king's influence over him.]

[Page 262]

it[1] be now, 'tis not to come: if it bee not to come, [Sidenote: be, tis] it will bee now: if it be not now; yet it will come; [Sidenote: it well come,] [Sidenote: 54, 164] the readinesse is all,[2] since no man ha's ought of [Sidenote: man of ought he leaues, knowes what ist to leaue betimes, let be.] [Sidenote: 252] what he leaues. What is't to leaue betimes?[3]

Enter King, Queene, Laertes and Lords, with other Attendants with Foyles, and Gauntlets, a Table and Flagons of Wine on it. [Sidenote: A table prepard, Trumpets, Drums and officers with cushion, King, Queene, and all the state, Foiles, Daggers, and Laertes.]

Kin. Come Hamlet come, and take this hand from me.

[Sidenote: 245] Ham.[4] Giue me your pardon Sir, I'ue done you wrong,[5] [Sidenote: I haue] But pardon't as you are a Gentleman. This presence[6] knowes, And you must needs haue heard how I am punisht With sore distraction?[7] What I haue done [Sidenote: With a sore] That might your nature honour, and exception [Sidenote: 242, 252] Roughly awake,[8] heere proclaime was madnesse:[9] Was't Hamlet wrong'd Laertes? Neuer Hamlet. If Hamlet from himselfe be tane away: [Sidenote: fane away,] And when he's not himselfe, do's wrong Laertes, Then Hamlet does it not, Hamlet denies it:[10] Who does it then? His Madnesse? If't be so, Hamlet is of the Faction that is wrong'd, His madnesse is poore Hamlets Enemy.[11] Sir, in this Audience,[12] Let my disclaiming from a purpos'd euill,[13] Free me so farre[14] in your most generous thoughts, That I haue shot mine Arrow o're the house, [Sidenote: my] And hurt my Mother.[15] [Sidenote: brother.[15]]

[Footnote 1: 'it'—death, the end.]

[Footnote 2: His father had been taken unready. 54.]

[Footnote 3: Point: 'all. Since'; 'leaves, what'—'Since no man has anything of what he has left, those who left it late are in the same position as those who left it early.' Compare the common saying, 'It will be all the same in a hundred years.' The Q. reading comes much to the same thing—'knows of ought he leaves'—'has any knowledge of it, anything to do with it, in any sense possesses it.'

We may find a deeper meaning in the passage, however—surely not too deep for Shakspere:—'Since nothing can be truly said to be possessed as his own which a man must at one time or another yield; since that which is own can never be taken from the owner, but solely that which is lent him; since the nature of a thing that has to be left is not such that it could be possessed, why should a man mind parting with it early?'—There is far more in this than merely that at the end of the day it will be all the same. The thing that ever was really a man's own, God has given, and God will not, and man cannot, take away. Note the unity of religion and philosophy in Hamlet: he takes the one true position. Note also his courage: he has a strong presentiment of death, but will not turn a step from his way. If Death be coming, he will confront him. He does not believe in chance. He is ready—that is willing. All that is needful is, that he should not go as one who cannot help it, but as one who is for God's will, who chooses that will as his own.

There is so much behind in Shakspere's characters—so much that can only be hinted at! The dramatist has not the word-scope of the novelist; his art gives him little room; he must effect in a phrase what the other may take pages to. He needs good seconding by his actors as sorely as the composer needs good rendering of his music by the orchestra. It is a lesson in unity that the greatest art can least work alone; that the greatest finder most needs the help of others to show his findings. The dramatist has live men and women for the very instruments of his art—who must not be mere instruments, but fellow-workers; and upon them he is greatly dependent for final outcome.

Here the actor should show a marked calmness and elevation in Hamlet. He should have around him as it were a luminous cloud, the cloud of his coming end. A smile not all of this world should close the speech. He has given himself up, and is at peace.]

[Footnote 4: Note in this apology the sweetness of Hamlet's nature. How few are alive enough, that is unselfish and true enough, to be capable of genuine apology! The low nature always feels, not the wrong, but the confession of it, degrading.]

[Footnote 5: —the wrong of his rudeness at the funeral.]

[Footnote 6: all present.]

[Footnote 7: —true in a deeper sense than they would understand.]

[Footnote 8: 'that might roughly awake your nature, honour, and exception,':—consider the phrase—to take exception at a thing.]

[Footnote 9: It was by cause of madness, not by cause of evil intent. For all purpose of excuse it was madness, if only pretended madness; it was there of another necessity, and excused offence like real madness. What he said was true, not merely expedient, to the end he meant it to serve. But all passion may be called madness, because therein the mind is absorbed with one idea; 'anger is a brief madness,' and he was in a 'towering passion': he proclaims it madness and so abjures it.]

[Footnote 10: 'refuses the wrong altogether—will in his true self have nothing to do with it.' No evil thing comes of our true selves, and confession is the casting of it from us, the only true denial. He who will not confess a wrong, holds to the wrong.]

[Footnote 11: All here depends on the expression in the utterance.]

[Footnote 12: This line not in Q.]

[Footnote 13: This is Hamlet's summing up of the whole—his explanation of the speech.]

[Footnote 14: 'so far as this in your generous judgment—that you regard me as having shot &c.']

[Footnote 15: Brother is much easier to accept, though Mother might be in the simile.

To do justice to the speech we must remember that Hamlet has no quarrel whatever with Laertes, that he has expressed admiration of him, and that he is inclined to love him for Ophelia's sake. His apology has no reference to the fate of his father or his sister; Hamlet is not aware that Laertes associates him with either, and plainly the public did not know Hamlet killed Polonius; while Laertes could have no intention of alluding to the fact, seeing it would frustrate his scheme of treachery.]

[Page 264]

Laer. I am satisfied in Nature,[1] Whose motiue in this case should stirre me most To my Reuenge. But in my termes of Honor I stand aloofe, and will no reconcilement, Till by some elder Masters of knowne Honor, I haue a voyce, and president of peace To keepe my name vngorg'd.[2] But till that time, [Sidenote: To my name vngord: but all that] I do receiue your offer'd loue like loue, And wil not wrong it.

Ham. I do embrace it freely, [Sidenote: I embrace] And will this Brothers wager frankely play. Giue vs the Foyles: Come on.[3]

Laer. Come one for me.[4]

Ham. Ile be your foile[5] Laertes, in mine ignorance, [Sidenote: 218] Your Skill shall like a Starre i'th'darkest night,[6] Sticke fiery off indeede.

Laer. You mocke me Sir.

Ham. No by this hand.[7]

King. Giue them the Foyles yong Osricke,[8] [Sidenote: Ostricke,[8]] Cousen Hamlet, you know the wager.

Ham. Verie well my Lord, Your Grace hath laide the oddes a'th'weaker side, [Sidenote: has]

King. I do not feare it, I haue seene you both:[9] But since he is better'd, we haue therefore oddes.[10] [Sidenote: better, we]

[Footnote 1: 'in my own feelings and person.' Laertes does not refer to his father or sister. He professes to be satisfied in his heart with Hamlet's apology for his behaviour at the funeral, but not to be sure whether in the opinion of others, and by the laws of honour, he can accept it as amends, and forbear to challenge him. But the words 'Whose motiue in this case should stirre me most to my Reuenge' may refer to his father and sister, and, if so taken, should be spoken aside. To accept apology for them and not for his honour would surely be too barefaced! The point concerning them has not been started.

But why not receive the apology as quite satisfactory? That he would not seems to show a lingering regard to real honour. A downright villain, like the king, would have pretended its thorough acceptance—especially as they were just going to fence like friends; but he, as regards his honour, will not accept it until justified in doing so by the opinion of 'some elder masters,' receiving from them 'a voice and precedent of peace'—counsel to, and justification, or example of peace. He keeps the door of quarrel open—will not profess to be altogether friends with him, though he does not hint at his real ground of offence: that mooted, the match of skill, with its immense advantages for villainy, would have been impossible. He means treachery all the time; careful of his honour, he can, like most apes of fashion, let his honesty go; still, so complex is human nature, he holds his speech declining thorough reconciliation as a shield to shelter his treachery from his own contempt: he has taken care not to profess absolute friendship, and so left room for absolute villainy! He has had regard to his word! Relieved perhaps by the demoniacal quibble, he follows it immediately with an utterance of full-blown perfidy.]

[Footnote 2: Perhaps ungorg'd might mean unthrottled.]

[Footnote 3: 'Come on' is not in the Q.—I suspect this Come on but a misplaced shadow from the 'Come one' immediately below, and better omitted. Hamlet could not say 'Come on' before Laertes was ready, and 'Come one' after 'Give us the foils,' would be very awkward. But it may be said to the attendant courtiers.]

[Footnote 4: He says this while Hamlet is still choosing, in order that a second bundle of foils, in which is the unbated and poisoned one, may be brought him. So 'generous and free from all contriving' is Hamlet, (220) that, even with the presentiment in his heart, he has no fear of treachery.]

[Footnote 5: As persons of the drama, the Poet means Laertes to be foil to Hamlet.—With the play upon the word before us, we can hardly help thinking of the third signification of the word foil.]

[Footnote 6: 'My ignorance will be the foil of darkest night to the burning star of your skill.' This is no flattery; Hamlet believes Laertes, to whose praises he has listened (218)—though not with the envy his uncle attributes to him—the better fencer: he expects to win only 'at the odds.' 260.]

[Footnote 7: —not 'by these pickers and stealers,' his oath to his false friends. 154.]

[Footnote 8: Plainly a favourite with the king.—He is Ostricke always in the Q.]

[Footnote 9: 'seen you both play'—though not together.]

[Footnote 10: Point thus:

I do not fear it—I have seen you both! But since, he is bettered: we have therefore odds.

'Since'—'since the time I saw him.']

[Page 266]

Laer. This is too heauy, Let me see another.[1]

Ham. This likes me well, These Foyles haue all a length.[2] Prepare to play.[3]

Osricke. I my good Lord. [Sidenote: Ostr.]

King. Set me the Stopes of wine vpon that Table: If Hamlet giue the first, or second hit, Or quit in answer of the third exchange,[4] Let all the Battlements their Ordinance fire, [Sidenote: 268] The King shal drinke to Hamlets better breath, And in the Cup an vnion[5] shal he throw [Sidenote: an Vince] Richer then that,[6] which foure successiue Kings In Denmarkes Crowne haue worne. Giue me the Cups, And let the Kettle to the Trumpets speake, [Sidenote: trumpet] The Trumpet to the Cannoneer without, The Cannons to the Heauens, the Heauen to Earth, Now the King drinkes to Hamlet. Come, begin, [Sidenote: Trumpets the while.] And you the Iudges[7] beare a wary eye.

Ham. Come on sir.

Laer. Come on sir. They play.[8] [Sidenote: Come my Lord.]

Ham. One.

Laer. No.

Ham. Iudgement.[9]

Osr. A hit, a very palpable hit. [Sidenote: Ostrick.]

Laer. Well: againe. [Sidenote: Drum, trumpets and a shot. Florish, a peece goes off.]

King. Stay, giue me drinke. Hamlet, this Pearle is thine, Here's to thy health. Giue him the cup,[10]

Trumpets sound, and shot goes off.[11]

Ham. Ile play this bout first, set by a-while.[12] [Sidenote: set it by] Come: Another hit; what say you?

Laer. A touch, a touch, I do confesse.[13] [Sidenote: Laer. doe confest.]

King. Our Sonne shall win.

[Footnote 1: —to make it look as if he were choosing.]

[Footnote 2: —asked in an offhand way. The fencers must not measure weapons, because how then could the unbated point escape discovery? It is quite like Hamlet to take even Osricke's word for their equal length.]

[Footnote 3: Not in Q.]

[Footnote 4: 'or be quits with Laertes the third bout':—in any case, whatever the probabilities, even if Hamlet be wounded, the king, who has not perfect confidence in the 'unction,' will fall back on his second line of ambush—in which he has more trust: he will drink to Hamlet, when Hamlet will be bound to drink also.]

[Footnote 5: The Latin unio was a large pearl. The king's union I take to be poison made up like a pearl.]

[Footnote 6: —a well-known one in the crown.]

[Footnote 7: —of whom Osricke was one.]

[Footnote 8: Not in Q.]

[Footnote 9: —appealing to the judges.]

[Footnote 10: He throws in the pearl, and drinks—for it will take some moments to dissolve and make the wine poisonous—then sends the cup to Hamlet.]

[Footnote 11: Not in Q.]

[Footnote 12: He does not refuse to drink, but puts it by, neither showing nor entertaining suspicion, fearing only the effect of the draught on his play. He is bent on winning the wager—perhaps with further intent.]

[Footnote 13: Laertes has little interest in the match, but much in his own play.]

[Page 268]

[Sidenote: 266] Qu. He's fat, and scant of breath.[1] Heere's a Napkin, rub thy browes, [Sidenote: Heere Hamlet take my napkin] The Queene Carowses to thy fortune, Hamlet.

Ham. Good Madam.[2]

King. Gertrude, do not drinke.

Qu. I will my Lord; I pray you pardon me.[3]

[Sidenote: 222]King. It is the poyson'd Cup, it is too late.[4]

Ham. I dare not drinke yet Madam, By and by.[5]

Qu. Come, let me wipe thy face.[6]

Laer. My Lord, Ile hit him now.

King. I do not thinke't.

Laer. And yet 'tis almost 'gainst my conscience.[7] [Sidenote: it is against]

Ham. Come for the third. Laertes, you but dally, [Sidenote: you doe but] I pray you passe with your best violence, I am affear'd you make a wanton of me.[8] [Sidenote: I am sure you]

Laer. Say you so? Come on. Play.

Osr. Nothing neither way. [Sidenote: Ostr.]

Laer. Haue at you now.[9]

In scuffling they change Rapiers.[10]

King. Part them, they are incens'd.[11]

Ham. Nay come, againe.[12]

Osr. Looke to the Queene there hoa. [Sidenote: Ostr. there howe.]

Hor. They bleed on both sides. How is't my [Sidenote: is it] Lord?

Osr. How is't Laertes? [Sidenote: Ostr.]

Laer. Why as a Woodcocke[13] To mine Sprindge, Osricke, [Sidenote: mine owne sprindge Ostrick,] I am iustly kill'd with mine owne Treacherie.[14]

Ham. How does the Queene?

King. She sounds[15] to see them bleede.

Qu. No, no, the drinke, the drinke[16]

[Footnote 1: She is anxious about him. It may be that this speech, and that of the king before (266), were fitted to the person of the actor who first represented Hamlet.]

[Footnote 2: —a simple acknowledgment of her politeness: he can no more be familiarly loving with his mother.]

[Footnote 3: She drinks, and offers the cup to Hamlet.]

[Footnote 4: He is too much afraid of exposing his villainy to be prompt enough to prevent her.]

[Footnote 5: This is not meant by the Poet to show suspicion: he does not mean Hamlet to die so.]

[Footnote 6: The actor should not allow her: she approaches Hamlet; he recoils a little.]

[Footnote 7: He has compunctions, but it needs failure to make them potent.]

[Footnote 8: 'treat me as an effeminate creature.']

[Footnote 9: He makes a sudden attack, without warning of the fourth bout.]

[Footnote 10: Not in Q.

The 1st Q. directs:—They catch one anothers Rapiers, find both are wounded, &c.

The thing, as I understand it, goes thus: With the words 'Have at you now!' Laertes stabs Hamlet; Hamlet, apprised thus of his treachery, lays hold of his rapier, wrenches it from him, and stabs him with it in return.]

[Footnote 11: 'they have lost their temper.']

[Footnote 12: —said with indignation and scorn, but without suspicion of the worst.]

[Footnote 13: —the proverbially foolish bird. The speech must be spoken with breaks. Its construction is broken.]

[Footnote 14: His conscience starts up, awake and strong, at the approach of Death. As the show of the world withdraws, the realities assert themselves. He repents, and makes confession of his sin, seeing it now in its true nature, and calling it by its own name. It is a compensation of the weakness of some that they cannot be strong in wickedness. The king did not so repent, and with his strength was the more to blame.]

[Footnote 15: swounds, swoons.]

[Footnote 16: She is true to her son. The maternal outlasts the adulterous.]

[Page 270]

Oh my deere Hamlet, the drinke, the drinke, I am poyson'd.

Ham. Oh Villany! How? Let the doore be lock'd. Treacherie, seeke it out.[1]

Laer. It is heere Hamlet.[2] Hamlet,[3] thou art slaine, No Medicine in the world can do thee good. In thee, there is not halfe an houre of life; [Sidenote: houres life,] The Treacherous Instrument is in thy hand, [Sidenote: in my] Vnbated and envenom'd: the foule practise[4] Hath turn'd it selfe on me. Loe, heere I lye, Neuer to rise againe: Thy Mothers poyson'd: I can no more, the King, the King's too blame.[5]

Ham. The point envenom'd too, Then venome to thy worke.[6] Hurts the King.[7]

All. Treason, Treason.

King. O yet defend me Friends, I am but hurt.

Ham. Heere thou incestuous, murdrous, [Sidenote: Heare thou incestious damned Dane,] Damned Dane, Drinke off this Potion: Is thy Vnion heere? [Sidenote: of this is the Onixe heere?] Follow my Mother.[8] King Dyes.[9]

Laer. He is iustly seru'd. It is a poyson temp'red by himselfe: Exchange forgiuenesse with me, Noble Hamlet; Mine and my Fathers death come not vpon thee, Nor thine on me.[10] Dyes.[11]

Ham. Heauen make thee free of it,[12] I follow thee. I am dead Horatio, wretched Queene adiew. You that looke pale, and tremble at this chance, That are but Mutes[13] or audience to this acte: Had I but time (as this fell Sergeant death Is strick'd in his Arrest) oh I could tell you. [Sidenote: strict]

[Footnote 1: The thing must be ended now. The door must be locked, to keep all in that are in, and all out that are out. Then he can do as he will.]

[Footnote 2: —laying his hand on his heart, I think.]

[Footnote 3: In Q. Hamlet only once.]

[Footnote 4: scheme, artifice, deceitful contrivance; in modern slang, dodge.]

[Footnote 5: He turns on the prompter of his sin—crowning the justice of the king's capital punishment.]

[Footnote 6: Point: 'too!'

1st Q. Then venome to thy venome, die damn'd villaine.]

[Footnote 7: Not in Quarto.

The true moment, now only, has at last come. Hamlet has lived to do his duty with a clear conscience, and is thereupon permitted to go. The man who asks whether this be poetic justice or no, is unworthy of an answer. 'The Tragedie of Hamlet' is The Drama of Moral Perplexity.]

[Footnote 8: A grim play on the word Union: 'follow my mother'. It suggests a terrible meeting below.]

[Footnote 9: Not in Quarto.]

[Footnote 10: His better nature triumphs. The moment he was wounded, knowing he must die, he began to change. Defeat is a mighty aid to repentance; and processes grow rapid in the presence of Death: he forgives and desires forgiveness.]

[Footnote 11: Not in Quarto.]

[Footnote 12: Note how heartily Hamlet pardons the wrong done to himself—the only wrong of course which a man has to pardon.]

[Footnote 13: supernumeraries. Note the other figures too—audience, act—all of the theatre.]

[Page 272]

But let it be: Horatio, I am dead, Thou liu'st, report me and my causes right [Sidenote: cause a right] To the vnsatisfied.[1]

Hor. Neuer beleeue it. [Sidenote: 134] I am more an Antike Roman then a Dane: [Sidenote: 135] Heere's yet some Liquor left.[2]

Ham. As th'art a man, giue me the Cup. Let go, by Heauen Ile haue't. [Sidenote: hate,] [Sidenote: 114, 251] Oh good Horatio, what a wounded name,[3] [Sidenote: O god Horatio,] (Things standing thus vnknowne) shall liue behind me. [Sidenote: shall I leaue behind me?] If thou did'st euer hold me in thy heart, Absent thee from felicitie awhile, And in this harsh world draw thy breath in paine,[1] [Sidenote: A march a farre off.] To tell my Storie.[4] March afarre off, and shout within.[5] What warlike noyse is this?

Enter Osricke.

Osr. Yong Fortinbras, with conquest come from Poland To th'Ambassadors of England giues this warlike volly.[6]

Ham. O I dye Horatio: The potent poyson quite ore-crowes my spirit, I cannot liue to heare the Newes from England, [Sidenote: 62] But I do prophesie[7] th'election lights [Sidenote: 276] On Fortinbras, he ha's my dying voyce,[8] So tell him with the occurrents more and lesse,[9] [Sidenote: th'] Which haue solicited.[10] The rest is silence. O, o, o, o.[11] Dyes[12]

Hora. Now cracke a Noble heart: [Sidenote: cracks a] Goodnight sweet Prince, And flights of Angels sing thee to thy rest, Why do's the Drumme come hither?

[Footnote 1: His care over his reputation with the people is princely, and casts a true light on his delay. No good man can be willing to seem bad, except the being good necessitates it. A man must be willing to appear a villain if that is the consequence of being a true man, but he cannot be indifferent to that appearance. He cannot be indifferent to wearing the look of the thing he hates. Hamlet, that he may be understood by the nation, makes, with noble confidence in his friendship, the large demand on Horatio, to live and suffer for his sake.]

[Footnote 2: Here first we see plainly the love of Horatio for Hamlet: here first is Hamlet's judgment of Horatio (134) justified.]

[Footnote 3: —for having killed his uncle:—what, then, if he had slain him at once?]

[Footnote 4: Horatio must be represented as here giving sign of assent.

1st Q.

Ham. Vpon my loue I charge thee let it goe, O fie Horatio, and if thou shouldst die, What a scandale wouldst thou leaue behinde? What tongue should tell the story of our deaths, If not from thee?]

[Footnote 5: Not in Q.]

[Footnote 6: The frame is closing round the picture. 9.]

[Footnote 7: Shakspere more than once or twice makes the dying prophesy.]

[Footnote 8: His last thought is for his country; his last effort at utterance goes to prevent a disputed succession.]

[Footnote 9: 'greater and less'—as in the psalm,

'The Lord preserves all, more and less, That bear to him a loving heart.']

[Footnote 10: led to the necessity.]

[Footnote 11: These interjections are not in the Quarto.]

[Footnote 12: Not in Q.

All Shakspere's tragedies suggest that no action ever ends, only goes off the stage of the world on to another.]

[Page 274]

[Sidenote: 190] Enter Fortinbras and English Ambassador, with [Sidenote: Enter Fortenbrasse, with the Embassadors.] Drumme, Colours, and Attendants.

Fortin. Where is this sight?

Hor. What is it ye would see; [Sidenote: you] If ought of woe, or wonder, cease your search.[1]

For. His quarry[2] cries on hauocke.[3] Oh proud death, [Sidenote: This quarry] What feast is toward[4] in thine eternall Cell. That thou so many Princes, at a shoote, [Sidenote: shot] So bloodily hast strooke.[5]

Amb. The sight is dismall, And our affaires from England come too late, The eares are senselesse that should giue vs hearing,[6] To tell him his command'ment is fulfill'd, That Rosincrance and Guildensterne are dead: Where should we haue our thankes?[7]

Hor. Not from his mouth,[8] Had it[9] th'abilitie of life to thanke you: He neuer gaue command'ment for their death. [Sidenote: 6] But since so iumpe[10] vpon this bloodie question,[11] You from the Polake warres, and you from England Are heere arriued. Giue order[12] that these bodies High on a stage be placed to the view, And let me speake to th'yet vnknowing world, [Sidenote: , to yet] How these things came about. So shall you heare Of carnall, bloudie, and vnnaturall acts,[13] Of accidentall Judgements,[14] casuall slaughters[15] Of death's put on by cunning[16] and forc'd cause,[17] [Sidenote: deaths and for no cause] And in this vpshot, purposes mistooke,[18] Falne on the Inuentors heads. All this can I [Sidenote: th'] Truly deliuer.

For. Let vs hast to heare it, And call the Noblest to the Audience. For me, with sorrow, I embrace my Fortune, I haue some Rites of memory[19] in this Kingdome, [Sidenote: rights of[19]]

[Footnote 1: —for here it is.]

[Footnote 2: the heap of game after a hunt.]

[Footnote 3: 'Havoc's victims cry out against him.']

[Footnote 4: in preparation.]

[Footnote 5: All the real actors in the tragedy, except Horatio, are dead.]

[Footnote 6: This line may be taken as a parenthesis; then—'come too late' joins itself with 'to tell him.' Or we may connect 'hearing' with 'to tell him':—'the ears that should give us hearing in order that we might tell him' etc.]

[Footnote 7: They thus inquire after the successor of Claudius.]

[Footnote 8: —the mouth of Claudius.]

[Footnote 9: —even if it had.]

[Footnote 10: 'so exactly,' or 'immediately'—perhaps opportunely—fittingly.]

[Footnote 11: dispute, strife.]

[Footnote 12: —addressed to Fortinbras, I should say. The state is disrupt, the household in disorder; there is no head; Horatio turns therefore to Fortinbras, who, besides having a claim to the crown, and being favoured by Hamlet, alone has power at the moment—for his army is with him.]

[Footnote 13: —those of Claudius.]

[Footnote 14: 'just judgments brought about by accident'—as in the case of all slain except the king, whose judgment was not accidental, and Hamlet, whose death was not a judgment.]

[Footnote 15: —those of the queen, Polonius, and Ophelia.]

[Footnote 16: 'put on,' indued, 'brought on themselves'—those of Rosincrance, Guildensterne, and Laertes.]

[Footnote 17: —those of the king and Polonius.]

[Footnote 18: 'and in this result'—pointing to the bodies—'purposes which have mistaken their way, and fallen on the inventors' heads.' I am mistaken or mistook, means I have mistaken; 'purposes mistooke'—purposes in themselves mistaken:—that of Laertes, which came back on himself; and that of the king in the matter of the poison, which, by falling on the queen, also came back on the inventor.]

[Footnote 19: The Quarto is correct here, I think: 'rights of the past'—'claims of descent.' Or 'rights of memory' might mean—'rights yet remembered.'

Fortinbras is not one to miss a chance: even in this shadowy 'person,' character is recognizably maintained.]

[Page 276]

Which are to claime,[1] my vantage doth [Sidenote: Which now to clame] Inuite me,

Hor. Of that I shall haue alwayes[2] cause to speake, [Sidenote: haue also cause[3]] And from his mouth [Sidenote: 272] Whose voyce will draw on more:[3] [Sidenote: drawe no more,] But let this same be presently perform'd, Euen whiles mens mindes are wilde, [Sidenote: while] Lest more mischance On plots, and errors happen.[4]

For. Let foure Captaines Beare Hamlet like a Soldier to the Stage, For he was likely, had he beene put on[5] To haue prou'd most royally:[6] [Sidenote: royall;] And for his passage,[7] The Souldiours Musicke, and the rites of Warre[8] [Sidenote: right of] Speake[9] lowdly for him. Take vp the body; Such a sight as this [Sidenote: bodies,] Becomes the Field, but heere shewes much amis. Go, bid the Souldiers shoote.[10]

Exeunt Marching: after the which, a Peale [Sidenote: Exeunt.] of Ordenance are shot off.

FINIS.

[Footnote 1: 'which must now be claimed'—except the Quarto be right here also.]

[Footnote 2: The Quarto surely is right here.]

[Footnote 3: —Hamlet's mouth. The message he entrusted to Horatio for Fortinbras, giving his voice, or vote, for him, was sure to 'draw on more' voices.]

[Footnote 4: 'lest more mischance happen in like manner, through plots and mistakes.']

[Footnote 5: 'had he been put forward'—had occasion sent him out.]

[Footnote 6: 'to have proved a most royal soldier:'—A soldier gives here his testimony to Hamlet's likelihood in the soldier's calling. Note the kind of regard in which the Poet would show him held.]

[Footnote 7: —the passage of his spirit to its place.]

[Footnote 8: —military mourning or funeral rites.]

[Footnote 9: imperative mood: 'let the soldier's music and the rites of war speak loudly for him.' 'Go, bid the souldiers shoote,' with which the drama closes, is a more definite initiatory order to the same effect.]

[Footnote 10: The end is a half-line after a riming couplet—as if there were more to come—as there must be after every tragedy. Mere poetic justice will not satisfy Shakspere in a tragedy, for tragedy is life; in a comedy it may do well enough, for that deals but with life-surfaces—and who then more careful of it! but in tragedy something far higher ought to be aimed at. The end of this drama is reached when Hamlet, having attained the possibility of doing so, performs his work in righteousness. The common critical mind would have him left the fatherless, motherless, loverless, almost friendless king of a justifiably distrusting nation—with an eternal grief for his father weighing him down to the abyss; with his mother's sin blackening for him all womankind, and blasting the face of both heaven and earth; and with the knowledge in his heart that he had sent the woman he loved, with her father and her brother, out of the world—maniac, spy, and traitor. Instead of according him such 'poetic justice,' the Poet gives Hamlet the only true success of doing his duty to the end—for it was as much his duty not to act before, as it was his duty to act at last—then sends him after his Ophelia—into a world where true heart will find true way of setting right what is wrong, and of atoning for every ill, wittingly or unwittingly done or occasioned in this.

It seems to me most admirable that Hamlet, being so great, is yet outwardly so like other people: the Poet never obtrudes his greatness. And just because he is modest, confessing weakness and perplexity, small people take him for yet smaller than themselves who never confess anything, and seldom feel anything amiss with them. Such will adduce even Hamlet's disparagement of himself to Ophelia when overwhelmed with a sense of human worthlessness (126), as proof that he was no hero! They call it weakness that he would not, foolishly and selfishly, make good his succession against the king, regardless of the law of election, and careless of the weal of the kingdom for which he shows himself so anxious even in the throes of death! To my mind he is the grandest hero in fiction—absolutely human—so troubled, yet so true!]

THE END