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next
Actus
Primus. Scena Prima.
act
scene
Fran. I thinke I heare
them. Stand: who's there?
15
Hor. Friends to
this
ground.
Mar. And
Leige-men
to
the Dane.
Fran.
Giue you good
night.
Mar. O
farwel honest
Soldier, who
hath relieu'd you?
Fra.
Barnardo ha's my
place: giue you goodnight.
Exit
Fran.
20 Mar. Holla Barnardo.
Bar.
Say, what is
Horatio there?
Hor. A
peece of him.
Bar.
Welcome Horatio, welcome good
Marcellus.
Mar. What,
ha's this
thing
appear'd againe to night.
25 Bar. I haue seene
nothing.
Mar.
Horatio saies, 'tis but
our Fantasie,
And
will not let beleefe
take hold of him
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next
Actus
Primus. Scena Prima.
act
scene
Touching
this dreaded
sight, twice seene of vs,
Therefore
I haue
intreated him along
30
With
vs, to watch the
minutes of this Night,
That
if againe this Apparition
come,
He
may approue
our eyes,
and speake to it.
Hor.
Tush, tush, 'twill not
appeare.
Bar.
Sit downe a-while,
35
And
let vs once againe
assaile your eares,
That
are so fortified
against our Story,
What
we two Nights haue
seene.
Hor.
Well, sit we downe,
And
let vs heare
Barnardo speake of this.
40
Barn. Last
night
of all,
When
yond
same Starre that's
Westward from the
Pole
Had
made his course
t'illume that part of Heauen
Where
now it burnes,
Marcellus and my selfe,
The
Bell then beating
one.
45
Mar. Peace,
breake thee
of:
Looke where it
comes againe.
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next
Actus Primus. Scena Prima.
act
scene
Barn.
In the same figure,
like the
King
that's dead.
Mar.
Thou art a Scholler;
speake to it Horatio.
Barn.
Lookes it not like
the King?
Marke
it Horatio.
50 Hora.
Most like: It harrowes
me with fear &
wonder
Barn.
It would be spoke too.
Mar.
Question it
Horatio.
Hor.
What art thou
that
vsurp'st
this time of
night,
Together
with that Faire
and Warlike forme
55
In
which the Maiesty of
buried
Denmarke
Did
sometimes march: By
Heauen I
charge thee
speake.
Mar. It
is
offended.
Barn.
See, it stalkes
away.
Hor.
Stay: speake; speake:
I
Charge thee, speake.
60
Mar. 'Tis gone, and will
not
answer.
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next
Actus Primus. Scena Prima.
act
scene
Barn. How now Horatio? You
tremble & look pale:
Is
not this something
more then Fantasie?
What
thinke you
on't?
Hor.
Before my God, I
might
not this beleeue
65
Without
the sensible and
true auouch
Of
mine owne eyes.
Mar. Is
it not like the
King?
Hor. As
thou art to thy
selfe,
Such
was the very Armour
he had on,
70 When
th'Ambitious Norwey
combatted:
So
frown’d he once, when, in an angry parle,
He
smote
the sledded
Polacks
on the Ice.
’Tis
strange.
Mar.
Thus twice
before, and iust at this dead hour,
75
With
Martial
stalk hath he
gone by our Watch.
Hor.
In what
particular thought to work I know not;
But
in the gross
and scope
of
my Opinion,
This
bodes some strange
eruption
to our State.
Mar.
Good now, sit
down, and tell me, he that knows,
80
Why
this same strict and most
observant watch
So
nightly
toils the subject
of the land;
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Actus Primus. Scena Prima.
act
scene
And
why such daily cast of
Brazen
Cannon,
And
Foreign Mart
for
Implements of war;
Why
such impress
of
Shipwrights, whose sore Task
85 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
is ’t that can inform
me?
Hor.
That can
I,
90
At
least, the whisper goes so.
Our
last King,
Whose
Image even but now
appear’d to us,
Was
(as you know) by
Fortinbras
of Norway,
(Thereto
prick’d on by a most
emulate
pride,)
Dar’d
to the Combat; in which
our Valiant Hamlet,
95
(For
so this side of our known
world esteem’d him)
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 seiz’d
of, to
the Conqueror;
100 Against
the which, a Moiety
competent
Was
gaged
by our King; which
had return’d
To
the Inheritance of
Fortinbras,
Had
he been Vanquisher; as, by
the same
Cov’nant,
And
carriage of the Article
design,
105 His
fell to Hamlet. Now, sir,
young Fortinbras,
Of
unimproved
Mettle hot and
full,
Hath
in the skirts
of Norway
here and there
Shark’d
up a List of Landlesse
Resolutes,
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next
Actus Primus. Scena Prima.
act
scene
For
Food and Diet, to some
Enterprise
110 That
hath a stomach
in ’t;
which is no other
(And
it doth well appear unto
our State)
But
to recover of us, by
strong hand
And
terms Compulsative, those
foresaid Lands
So
by his Father lost. And
this (I take it)
115 Is
the main Motive of our
Preparations,
The
Source of this our Watch
and the chief head
Of
this post-haste and Romage
in the Land.
Enter
Ghost again.
But,
soft! behold! lo! where it comes again.
Ile
crosse
it, though it blast
me. Stay Illusion:
120
If
thou hast any sound, or vse of Voyce,
Speake
to me. If there be any good thing to be done,
That
may to thee do
ease,
and
grace to me; speak to me.
If
thou art priuy
to thy
Countries Fate
(Which
happily foreknowing may auoyd) Oh speake.
125
Or,
if thou hast vp-hoorded
in thy
life
Extorted
Treasure in the wombe
of Earth,
(For
which, they say, you Spirits oft walke in death)
Speake
of it. Stay, and speake. Stop it Marcellus.
Mar.
Shall I strike at it
with
my Partizan?
130 Hor.
Do,
if it will not
stand.
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next
Actus Primus. Scena Prima.
act
scene
Barn. 'Tis
heere.
Hor.
'Tis
heere.
Mar.
'Tis
gone.
Exit
Ghost.
We do it
wrong, being so Maiesticall
135 To
offer
it the shew of
Violence,
For it is as
the Ayre, invulnerable,
And our vaine
blowes, malicious
Mockery.
Barn. It
was about to speake,
when
the Cocke crew.
Hor.
And then it started, like
a guilty thing
140 Vpon
a fearfull
Summons. I haue
heard,
The Cocke that
is the Trumpet
to
the day,
Doth with his
lofty and shrill-sounding Throate
Awake the God
of Day:
and at
his warning,
Whether in
Sea, or Fire, in Earth, or Ayre,
145
Th'extrauagant,
and erring Spirit, hyes
To his
Confine. And of the truth heerein,
This present
Obiect made probation.
Mar.
It faded
on
the crowing of the
Cocke.
Some
sayes, that euer 'gainst that Season comes
150
Wherein
our Sauiours Birth is celebrated,
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Actus Primus. Scena Prima.
act
scene
The Bird
of
Dawning singeth all night long:
And then (they
say) no Spirit can walke abroad,
Hor. So
haue I heard, and do
in part beleeue it.
But looke, the
Morne in Russet
mantle clad,
155
Walkes o're
the dew of yon high Easterne Hill,
Breake we our
Watch vp, and
by
my aduice
Let vs impart what we haue seene to night
Vnto yong
Hamlet. For vpon my life,
This Spirit
dumbe to vs, will speake to him:
160
Do you consent
we shall acquaint him with it,
As needfull in our
Loues,
fitting our Duty?
Mar. Let
do't I pray, and I
this morning know
Where we shall
finde him most conueniently.
Exeunt
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next
Actus
Primus.
Scena Secunda.
act
scene
Enter
Claudius King of Denmarke, Gertrude the
Queene,
Hamlet,
Polonius, Laertes, and his Sister O-
phelia,
Lords Attendant.
King.
Though yet of
Hamlet
our deere Brothers death
The
memory be greene: and that
it
vs befitted
To
beare our hearts in greefe,
and
our whole Kingdome
To
be contracted in one
brow
of
woe:
5
Yet
so farre hath Discretion
fought with Nature,
That
we with wisest sorrow
thinke
on him,
Together
with remembrance
of
our
selues.
Therefore
our sometimes
Sister,
now our Queen,
Th'Imperiall
Ioyntresse
of
this
warlike State,
10
Haue
we, as 'twere, with a
defeated ioy,
With
one Auspicious,
and one
Dropping eye,
With
mirth in Funerall, and
with
Dirge in
Marriage,
In
equall Scale weighing
Delight
and Dole
Taken
to Wife;
nor haue
we
heerein
barr'd
15 Your
better Wisedomes,
which
haue
freely gone
With
this affaire along, for
all
our Thankes.
Now
followes, that you know
young
Fortinbras,
Holding
a weake supposall of
our
worth;
Or
thinking by our late deere
Brothers death,
20
Our
State to be disioynt,
and
out
of Frame,
Colleagued
with the dreame of
his
Aduantage;
He
hath not fayl'd to pester vs
with Message,
Importing
the surrender of
those
Lands
Lost
by his Father:
with all Bonds
of Law
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next
Actus
Primus.
Scena Secunda.
act
scene
25
To
our most valiant Brother.
So
much for him.
Enter Voltemand and Cornelius.
Now for our selfe, and for this time of meeting
Thus
much the businesse is. We haue heere writ
To Norway, Vncle of young Fortinbras,
Who Impotent and Bedrid, scarsely heares
30
Of this his Nephewes purpose, to suppresse
His further gate
heerein. In
that the Leuies,
The Lists,
and full proportions are all made
Out
of his subiect: and we heere dispatch
You
good Cornelius, and you Voltemand,
35
For bearing of this greeting to old Norway,
Giuing to you no
further personall power
To
businesse with the King, more then the scope
Of
these dilated
Articles
allow:
Farewell, and let your hast
commend your duty.
40
Volt. In that,
and all things, will we shew our duty.
King.
We doubt
it
nothing,
heartily farewell.
Exit Voltemand and Cornelius.
And now Laertes,
what's the newes with you?
You
told vs of some suite. What is't Laertes?
You cannot
speake
of Reason to the Dane,
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next
Actus
Primus.
Scena Secunda.
act
scene
45
And
loose your voyce. What would'st thou beg Laertes,
That shall not be my Offer, not thy Asking?
The
Head is not more Natiue
to the Heart,
The
Hand more instrumentall to the Mouth,
Then
is the Throne of Denmarke to
thy Father.
50
What would'st thou haue
Laertes?
Laer.
Dread my Lord,
Your
leaue and fauour to returne to France,
From
whence, though willingly I came to Denmarke
To
shew my duty in your
Coronation,
55
Yet now I must confesse, that duty
done,
My
thoughts and wishes bend againe towards France,
And
bow them to your gracious leaue and pardon.
King. Haue you
your Fathers leaue?
What
sayes Pollonius?
60 Pol. He hath
my
Lord:
I do
beseech you giue him leaue to go.
King. Take thy
faire houre Laertes, time be thine,
And
thy best graces spend it at thy will:
But
now my Cosin
Hamlet, and
my Sonne?
65
Ham. A little
more
then kin, and lesse then kinde.
King.
How is it
that the Clouds still hang
on you?
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Actus
Primus.
Scena Secunda.
act
scene
Ham. Not so my
Lord, I am too much i'th' Sun.
Queen. Good
Hamlet cast thy nightly
colour off,
And
let thine eye looke like a Friend on Denmarke.
70
Do not for euer
with thy veyled
lids
Seeke for thy Noble Father in the dust;
Thou
know'st 'tis common, all that liues must dye,
Passing through Nature, to Eternity.
Ham.
I Madam, it
is common.
75
Queen.
If it be;
Why
seemes it so particular with thee.
Ham. Seemes
Madam? Nay, it is: I know not Seemes:
'Tis
not alone my Inky Cloake (good
Mother)
Nor Customary
suites
of solemne Blacke,
80
Nor windy
suspiration
of forc'd breath,
No,
nor the fruitfull Riuer in the Eye,
Nor
the deiected hauiour of the Visage,
Together with all Formes, Moods, shewes of Griefe,
That
can denote me truly. These indeed Seeme,
85
For they are actions that a man might play:
But
I haue that Within, which passeth show;
These, but the Trappings, and the Suites of woe.
King. 'Tis sweet
and commendable
In your Nature Hamlet,
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next
Actus
Primus.
Scena Secunda.
act
scene
90
To
giue these mourning duties to your Father:
But
you must know, your Father lost a Father,
That
Father lost, lost his, and the Suruiuer bound
In filiall
Obligation, for
some terme
To
do obsequious
Sorrow. But to perseuer
95
In obstinate Condolement,
is a course
Of impious
stubbornnesse.
'Tis vnmanly greefe,
It
shewes a will most
incorrect to
Heauen,
A
Heart vnfortified, a Minde impatient,
An
Vnderstanding simple, and vnschool'd:
100
For, what we know must be, and is as common
As
any the most vulgar thing to sence,
Why
should we in our peeuish Opposition
Take
it to heart? Fye, 'tis a fault to Heauen,
A
fault against the
Dead, a
fault to Nature,
105
To Reason most absurd, whose common Theame
Is
death of Fathers, and who still
hath
cried,
From
the first
Coarse,
till he that dyed to day,
This
must be so. We pray you throw to earth
This
vnpreuayling
woe,
and thinke of vs
110
As of a Father; For let the world take note,
You
are the most
immediate to our Throne,
And
with no lesse Nobility of Loue,
Then
that which deerest Father beares his Sonne,
Do
I impart towards you. For your intent
115
In
going backe to Schoole
in Wittenberg,
It
is most retrograde
to our
desire:
And
we beseech you, bend
you to
remaine
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next
Actus
Primus.
Scena Secunda.
act
scene
Heere
in the cheere and comfort of our eye,
Our cheefest Courtier Cosin, and our Sonne.
120 Qu. Let not thy
Mother lose her Prayers Hamlet:
I
prythee stay with vs, go not to Wittenberg.
Ham.
I shall in
all my best
Obey
you Madam.
King.
Why 'tis a
louing, and a faire
Reply,
125
Be as
our selfe in
Denmarke.
Madam come,
This gentle and vnforc'd accord of Hamlet
Sits smiling to my heart; in grace whereof,
No iocond
health that
Denmarke drinkes to day,
But the great Cannon to the Clowds shall tell,
130
And the Kings Rouce, the
Heauens shall bruite
againe,
Respeaking earthly Thunder. Come away.
Exeunt
Ham. Oh that
this too too solid
Flesh,
would melt,
Thaw, and resolue it selfe into a Dew:
Or
that the Euerlasting had not fixt
135
His Cannon
'gainst Selfe-slaughter. O God, O
God!
How weary, stale, flat, and vnprofitable
Seemes
to me all the vses of this world?
Fie
on't? Oh fie, fie, 'tis an vnweeded Garden
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next
Actus
Primus.
Scena Secunda.
act
scene
That
growes to Seed: Things rank, and grosse in Nature
140
Possesse it meerely. That it should come to this:
But two months
dead: Nay,
not so much; not two,
So excellent a King, that was to this
Hiperion to
a Satyre: so louing to my
Mother,
That he might not beteene
the
windes of heauen
145
Visit her face too roughly. Heauen and Earth
Must I remember: why she
would hang on
him,
As if encrease
of
Appetite had growne
By what
it fed on;
and yet within a month?
Let me not thinke on't: Frailty, thy name is woman.
150
A little Month, or ere those shooes were old,
With
which she followed my poore Fathers body
Like Niobe, all teares. Why
she, euen she.
(O Heauen! A beast that wants discourse of Reason
Would haue mourn'd longer) married with mine Vnkle,
155
My Fathers Brother: but no more like my Father,
Then
I to Hercules. Within a
Moneth?
Ere yet the salt of most vnrighteous Teares
Had left the flushing
of
her gauled
eyes,
She
married. O most wicked speed, to post
160
With
such dexterity
to Incestuous
sheets:
It is not, nor it cannot come to good.
But breake my heart, for I must hold my tongue.
Enter Horatio,
Barnard, and
Marcellus.
Hor. Haile to
your Lordship.
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next
Actus
Primus.
Scena Secunda.
act
scene
Ham.
I am glad to
see you well:
165
Horatio, or I do forget my selfe.
Hor. The same my Lord,
And your poore Seruant euer.
Ham. Sir my good friend,
Ile change that name with you:
170
And what make you from Wittenberg Horatio?
Marcellus.
Mar. My good Lord.
Ham. I am very
glad to see you: good euen Sir.
But what in faith make you from Wittemberge?
175
Hor. A truant
disposition, good my Lord.
Ham. I would not
haue your Enemy say so;
Nor
shall you doe mine eare that violence,
To make it truster of your owne report
Against your selfe. I know you are no Truant:
180
But what is your affaire in Elsenour?
Wee'l teach you to drinke deepe, ere you depart.
Hor. My Lord, I
came to see your Fathers Funerall.
Ham.
I pray thee
doe not mock me (fellow Student)
back
next
Actus
Primus.
Scena Secunda.
act
scene
I
thinke it was to see
my Mothers Wedding.
185 Hor.
Indeed my
Lord, it followed hard vpon.
Ham.
Thrift,
thrift Horatio: the Funerall
Bakt-meats
Did
coldly furnish
forth the Marriage Tables.
Would
I had met my dearest foe
in heauen,
Ere
I had euer seene that day Horatio
190
My father, me thinkes I see my father.
Hor. Oh where
my Lord?
Ham. In my minds
eye (Horatio)
Hor. I saw him
once; he was a goodly King.
Ham. He was a
man, take him for all in all:
195
I shall not look vpon his like againe.
Hor. My Lord, I
thinke I saw him yesternight.
Ham. Saw? Who?
Hor. My Lord, the
King your Father.
Ham. The King my
Father?
back
next
Actus
Primus.
Scena Secunda.
act
scene
200
Hor.
Season your
admiration
for a while
With
an attent
eare; till I may deliuer
Vpon
the witnesse of these Gentlemen,
This maruell
to you.
Ham. For Heauens
loue let me heare.
205 Hor. Two nights
together, had these Gentlemen
(Marcellus and Barnardo) on their Watch
In the dead wast
and middle of
the night
Beene thus encountred. A figure like your Father,
Arm'd at all points exactly, Cap
a Pe,
210
Appeares before them, and with sollemne march
Goes slow and stately: By them thrice he walkt,
By their opprest and feare-surprized eyes,
Within his Truncheons
length; whilst they bestil'd
Almost to Ielly with the Act of feare,
215 Stand
dumbe and speake not to him. This to me
In dreadfull secrecie
impart they did,
And
I with them the third Night kept the Watch,
Whereas they had deliuer'd both in time,
Forme of the thing; each word made true and good,
220
The Apparition comes. I knew your Father:
These hands are not more like.
Ham.
But where
was this?
back
next
Actus
Primus.
Scena Secunda.
act
scene
Mar. My Lord,
vpon the platforme where we watcht.
Ham. Did you not
speake to it?
225 Hor. My Lord, I
did;
But answere made it none: yet once me thought
It
lifted vp it head, and did addresse
It selfe to motion, like as it would speake:
But euen then, the Morning Cocke crew lowd;
230
And at the sound it shrunke in hast away,
And vanisht from our sight.
Ham. Tis very
strange.
Hor. As I doe
liue my honourd Lord 'tis true;
And
we did thinke it writ downe in our duty
235
To let you know of it.
Ham. Indeed,
indeed Sirs; but this troubles me.
Hold
you the watch to Night?
Both.
We doe my
Lord.
Ham.
Arm'd, say
you?
240
Both. Arm'd, my
Lord.
Ham. From top to
toe?
back
next
Actus
Primus.
Scena Secunda.
act
scene
Both. My Lord,
from head to foote.
Ham. Then saw you
not his face?
Hor. O yes, my
Lord, he wore his Beauer
vp.
245
Ham. What, lookt
he frowningly?
Hor. A
countenance
more in
sorrow then in anger.
Ham. Pale, or red?
Hor. Nay very
pale.
Ham. And fixt his
eyes vpon you?
250
Hor. Most
constantly.
Ham.
I would I
had beene there.
Hor. It would
haue much amaz'd you.
Ham. Very like,
very like: staid it long?
Hor. While one
with moderate hast might tell a hundred.
255
All. Longer,
longer.
back
next
Actus
Primus.
Scena Secunda.
act
scene
Hor. Not when I
saw't.
Ham. His Beard
was grisly? no.
Hor. It was, as I
haue seene it in his life,
A Sable Siluer'd.
260
Ham. Ile watch to
Night; perchance
'twill
wake againe.
Hor. I warrant
you it will.
Ham. If it
assume my noble Fathers person,
Ile speake to it, though Hell it selfe should gape
And bid me hold my peace. I pray you all,
265
If you haue hitherto conceald this sight;
Let it bee treble in
your silence still:
And whatsoeuer els shall hap to night,
Giue
it an vnderstanding but no tongue;
I will requite your loues; so, fare ye well:
270
Vpon the Platforme twixt eleuen and twelue,
Ile visit you.
All. Our duty to
your Honour.
Exeunt.
Ham. Your
loue, as mine to you: farewell.
275
My Fathers Spirit in Armes? All is not well:
I
doubt some foule
play:
would the
Night were come;
back
next
Actus
Primus.
Scena Secunda.
act
scene
Till
then sit still my soule; foule deeds
will rise,
Though all
the
earth orewhelm them to mens eies.
Exit.
back
next
Actus
Primus. Scena Tertia.
act
scene
Laer.
My necessaries are
imbark't; Farewell:
And
Sister, as the Winds giue
Benefit,
And
Conuoy is
assistant; doe
not sleepe,
But
let me heare from you.
5 Ophel. Doe
you doubt
that?
Laer.
For
Hamlet, and
the trifling
of his fauours,
Hold
it a fashion and a toy in
Bloud;
A
Violet in the
youth of Primy
Nature;
Froward,
not permanent; sweet
not lasting
10
The
suppliance
of a minute? No
more.
Ophel.
No more but so.
Laer.
Thinke
it no more:
For
nature cressant
does not
grow alone,
In
thewes and
Bulke: but as
his Temple waxes,
15
The
inward
seruice of the
Minde and
Soule
Growes
wide withall. Perhaps
he loues you now,
And
now no soyle
nor cautell
doth besmerch
The
vertue of his feare:
but
you must feare
His
greatnesse
weigh'd, his
will is not his owne;
20
For
hee himselfe is subiect to
his
Birth:
Hee
may not, as vnuallued
persons doe,
Carue
for himselfe; for, on
his choyce depends
back
next
Actus
Primus. Scena Tertia.
act
scene
The
sanctity and health of the
weole State.
And
therefore must his choyce
be circumscrib'd
25
Vnto
the voyce and yeelding of
that
Body,
Whereof
he is the Head. Then
if he sayes he loues you,
It
fits your wisedome so farre
to beleeue it;
As
he in his peculiar Sect
and
force
May
giue his saying deed:
which is no further,
30
Then
the maine voyce of
Denmarke goes
withall.
Then
weigh what losse your
Honour may sustaine,
If
with too credent eare you
list his Songs;
Or
lose your Heart; or your
chast Treasure open
To
his vnmastred
importunity.
35
Feare
it Ophelia, feare it my
deare
Sister,
And
keepe within the reare
of
your Affection;
Out
of the shot and danger of
Desire.
The
chariest
Maid is Prodigall
enough,
If
she vnmaske her beauty to
the Moone:
40
Vertue
it selfe scapes not
calumnious
stroakes,
The
Canker Galls, the Infants
of the Spring
Too
oft before the buttons
be
disclos'd,
And
in the Morne and liquid
dew of Youth,
Contagious
blastments
are most
imminent.
45
Be
wary then, best safety lies
in
feare;
Youth to it selfe
rebels, though none else neere.
Ophe.
I shall th'effect
of this good Lesson keepe,
As
watchmen to my heart: but
good my Brother
Doe
not as some vngracious
Pastors doe,
back
next
Actus
Primus. Scena Tertia.
act
scene
50
Shew
me the steepe
and thorny
way to
Heauen;
Whilst
like a puft
and
recklesse Libertine
Himselfe,
the Primrose path of
dalliance treads,
And
reaks
not his owne
reade.
Laer.
Oh,
feare me not.
Enter
Polonius.
55
I stay too long; but here my Father
comes:
A
double blessing is a double
grace;
Occasion
smiles vpon a second
leaue.
Polon.
Yet heere
Laertes? Aboord, aboord for shame,
The
winde sits in the shoulder
of your saile,
60
And
you are staid for there:
my blessing with
you;
And
these few
Precepts in
thy
memory,
See
thou Character. Giue thy
thoughts no tongue,
Nor
any vnproportion'd thought
his Act:
Be
thou familiar; but by no
meanes vulgar:
65
The
friends thou hast, and
their adoption
tride,
Grapple
them to thy Soule,
with hoopes of Steele:
But
doe not dull
thy palme,
with entertainment
Of
each vnhatch't, vnfledg'd
Comrade. Beware
Of
entrance to a quarrell: but
being in
70
Bear't
that th'opposed may
beware of
thee.
Giue
euery man thine eare; but few
thy voyce:
Take
each mans censure; but
reserue thy iudgement:
back
next
Actus
Primus. Scena Tertia.
act
scene
Costly
thy habit as thy purse
can buy;
But
not exprest in fancie;
rich, not gawdie:
75
For
the Apparell oft
proclaimes the
man.
And
they in France of the best
ranck and station,
Are
of a most select and
generous cheff in that.
Neither
a borrower, nor a
lender be;
For
lone oft loses both it
selfe and friend:
80
And
borrowing duls the edge of
Husbandry.
This
aboue all; to thine owne
selfe be true:
And
it must follow, as the
Night the Day,
Thou
canst not then be false
to any man.
Farewell:
my Blessing
season
this in thee.
85 Laer.
Most
humbly doe I
take my leaue, my
Lord.
Polon.
The time inuites
you, goe, your seruants tend.
Laer.
Farewell
Ophelia,
and remember well
What
I haue said to you.
Ophe.
Tis in my memory
lockt,
90
And
you your selfe shall keepe
the key of
it.
Laer.
Farewell.
Exit
Laer.
Polon.
What ist Ophelia
he hath said to you?
back
next
Actus
Primus. Scena Tertia.
act
scene
Ophe.
So please you,
somthing touching
the L. Hamlet.
Polon.
Marry, well
bethought:
95
Tis
told me he hath very oft
of
late
Giuen
priuate time to you; and
you your selfe
Haue
of your audience beene
most free and bounteous.
If
it be so, as so tis put on me;
And
that in way of caution: I
must tell you,
100 You
doe not vnderstand your
selfe so
cleerely,
As
it behoues
my Daughter, and
your Honour.
What
is betweene you, giue me
vp the truth?
Ophe.
He hath my Lord of
late, made many tenders
Of
his affection
to me.
105 Polon.
Affection, puh.
You speake like a greene
Girle,
Vnsifted
in such perillous
Circumstance.
Doe
you beleeue his tenders,
as you call them?
Ophe.
I do not know, my
Lord, what I should thinke.
Polon.
Marry Ile teach
you; thinke your selfe a Baby,
110 That
you haue tane his tenders
for true
pay,
Which
are not starling. Tender
your selfe more dearly;
Or
not to crack
the winde
of
the poore Phrase,
Roaming
it thus, you'l tender
me a foole.
Ophe.
My Lord, he hath
importun'd
me with loue,
back
next
Actus
Primus. Scena Tertia.
act
scene
115 In
honourable
fashion.
Polon.
I, fashion
you
may call it, go too, go too.
Ophe.
And hath giuen
countenance
to his speech,
My
Lord, with all the vowes of
Heauen.
Polon.
I, Springes to
catch Woodcocks. I doe
know
120 When
the Bloud
burnes,
how
Prodigall
the
Soule
Giues
the tongue vowes: these
blazes, Daughter,
Giuing
more
light then heate;
extinct in both,
Euen
in their promise, as it
is a making;
You
must not take for fire.
For this time Daughter,
125 Be
somewhat scanter of your
Maiden
presence;
Set
your entreatments at a
higher rate,
Then
a command
to parley.
For
Lord Hamlet,
Beleeue
so much in him, that he is
young,
And with a larger
tether may he walke,
130
Then
may be giuen you. In few,
Ophelia,
Doe
not beleeue his vowes; for
they are Broakers,
Not
of the eye, which their
Inuestments show:
But
meere implorators of
vnholy Sutes,
Breathing
like sanctified and
pious bonds,
135
The
better
to beguile.
This is
for
all:
I
would not, in plaine
tearmes, from this time forth,
Haue
you so slander
any moment
leisure,
As
to giue words or talke with
the Lord Hamlet:
Looke
too't, I charge
you;
come your
wayes.
back
next
Actus
Primus. Scena Tertia.
act
scene
140
Ophe.
I
shall obey my
Lord.
Exeunt
back
next
Actus
Primus. Scena Quarta.
act
scene
Enter
Hamlet, Horatio, Marcellus.
Ham.
The Ayre bites
shrewdly: is it very
cold?
Hor.
It
is a nipping
and an eager
ayre.
Ham.
What hower now?
Hor.
I
thinke it lacks
of twelue.
5 Mar.
No,
it is
strooke.
Hor.
Indeed
I heard it
not: then it drawes neere the season,
Wherein
the Spirit held his
wont to walke.
What
does this meane my Lord?
Ham.
The King doth wake
to night, and takes his
rouse,
10
Keepes
wassels and the
swaggering
vpspring
reeles,
And
as he dreines his draughts
of Renish
downe,
The
kettle
Drum and
Trumpet
thus bray
out
The
triumph
of his
Pledge.
Horat.
Is it a custome?
15 Ham.
I marry
ist;
And
to my mind, though I am
natiue heere,
And
to the
manner borne:
It is
a Custome
More
honour'd in the breach,
then the obseruance.
back
next
Actus
Primus. Scena Quarta.
act
scene
Enter
Ghost.
Hor.
Looke my Lord, it
comes.
20
Ham.
Angels
and
Ministers of Grace defend
vs:
Be
thou a Spirit of health, or
Goblin damn'd,
Bring
with thee ayres from
Heauen, or blasts from Hell,
Be
thy euents wicked or
charitable,
Thou
com'st in such a
questionable
shape
25
That
I will speake to thee.
Ile call thee
Hamlet,
King,
Father, Royall Dane: Oh,
oh, answer me,
Let
me not burst in Ignorance;
but tell
Why
thy Canoniz'd
bones
Hearsed in death,
Haue
burst their cerments, why
the Sepulcher
30
Wherein
we saw thee quietly
enurn'd,
Hath
op'd his ponderous and
Marble
iawes,
To
cast thee vp againe? What
may this meane?
That
thou dead
Coarse againe
in compleat
steele,
Reuisits
thus the glimpses of
the Moone,
35
Making
Night hidious? And we
fooles of
Nature,
So
horridly to shake our
disposition,
With
thoughts beyond thee;
reaches of our Soules,
Say,
why is this? wherefore?
what should we doe?
Ghost
beckens Hamlet.
Hor.
It beckons you to
goe away with it,
40
As
if it some impartment
did
desire
back
next
Actus
Primus. Scena Quarta.
act
scene
To
you alone.
Mar.
Looke with what
courteous
action
It
wafts you to a
more remoued
ground:
But
doe not goe with it.
45 Hor.No,
by no
meanes.
Ham.
It will not speake:
then will I follow it.
Hor.
Doe
not my Lord.
Ham.
Why, what should be
the feare?
I
doe not set my life at
a
pins fee;
50
And
for my Soule, what can it
doe to
that?
Being
a thing immortall as it
selfe:
It
waues me forth againe; Ile
follow it.
Hor.
What
if it tempt
you toward the Floud
my Lord?
Or
to the dreadfull Sonnet of
the Cliffe,
55
That
beetles
o're his base
into the
Sea,
And
there assumes some other
horrible forme,
Which
might depriue your
Soueraignty of Reason,
And
draw you into madnesse
thinke of it?
Ham.
It wafts me still:
goe on, Ile follow thee.
60 Mar.You
shall not goe
my
Lord.
back
next
Actus
Primus. Scena Quarta.
act
scene
Ham.
Hold off your hand.
Hor.
Be
rul'd, you shall not goe.
Ham.
My fate cries out,
And
makes each petty Artire
in
this body,
65
As
hardy as the Nemian
Lions
nerue:
Still
am I cal'd? Vnhand me
Gentlemen:
By
Heau'n, Ile make a Ghost of
him that lets me:
I
say away, goe on, Ile
follow
thee.
Exeunt
Ghost & Hamlet.
Hor.
He waxes
desperate
with imagination.
70
Mar.
Let's follow; 'tis
not fit thus to obey
him.
Hor.
Haue after, to what
issue will this come?
Mar.
Something is rotten
in the State of Denmarke.
Hor.
Heauen will direct
it.
Mar.
Nay, let's follow
him.
Exeunt.
back
next
Actus
Primus. Scena Quinta.
act
scene
Enter
Ghost and Hamlet.
Ham.
Where wilt thou
lead me? speak; Ile go no further.
Gho.
Marke
me.
Ham.
I will.
Gho.
My
hower is almost
come,
5
When
I to sulphurous
and
tormenting
Flames
Must
render vp my selfe.
Ham.
Alas poore Ghost.
Gho.
Pitty
me not, but
lend thy serious hearing
To
what I shall vnfold.
10 Ham.
Speake, I am bound
to
heare.
Gho.
So
art thou to
reuenge, when thou shalt heare.
Ham.
What?
Gho.
I
am thy Fathers
Spirit,
Doom'd
for a certaine terme to
walke the night;
15
And
for the day confin'd to
fast in
Fiers,
Till
the foule crimes done in
my dayes of Nature
Are
burnt
and purg'd away?
But
that I am forbid
back
next
Actus
Primus. Scena Quinta.
act
scene
To
tell the secrets of my
Prison-House;
I
could a Tale vnfold, whose
lightest word
20
Would
harrow vp thy soule,
freeze thy young
blood,
Make
thy two eyes like
Starres, start from their Spheres,
Thy
knotty and combined lockes
to part,
And
each
particular
haire to
stand an end,
Like
Quilles vpon the fretfull
Porpentine:
25
But
this eternall blason
must
not
be
To
eares of flesh and bloud;
list Hamlet, oh
list,
If
thou didst euer thy deare
Father loue.
Ham.
Oh Heauen!
Gho.
Reuenge
his foule
and most vnnaturall Murther.
30 Ham.
Murther?
Ghost.
Murther most
foule, as in the
best it is;
But
this most foule, strange,
and vnnaturall.
Ham.
Hast,
hast me to
know it,
That
with wings as
swift
35
As
meditation, or the thoughts
of
Loue,
May
sweepe to my Reuenge.
Ghost.
I finde thee apt,
And
duller should'st thou be
then the fat weede
That
rots it selfe in
ease, on
Lethe Wharfe,
back
next
Actus
Primus. Scena Quinta.
act
scene
40
Would'st
thou not stirre in
this. Now Hamlet heare:
It's
giuen out, that sleeping
in mine Orchard,
A
Serpent stung me: so the
whole
eare of
Denmarke,
Is
by a forged
processe
of my
death
Rankly
abus'd: But know thou
Noble youth,
45
The
Serpent that did sting thy
Fathers
life,
Now
weares his Crowne.
Ham.
O
my Propheticke
soule: mine Vncle?
Ghost.
I that
incestuous, that
adulterate
Beast
With
witchcraft of his wits,
hath Traitorous guifts.
50
Oh
wicked Wit, and Gifts, that
haue the
power
So
to seduce? Won to to this
shamefull Lust
The
will of my most seeming
vertuous Queene:
Oh
Hamlet, what a falling off was
there,
From
me, whose loue was of
that dignity,
55
That
it went hand in hand,
euen with the
Vow
I
made to her in Marriage; and
to decline
Vpon
a wretch, whose Naturall
gifts were poore
To
those of mine. But Vertue,
as it neuer wil be moued,
Though
Lewdnesse court it in a
shape of Heauen:
60
So
Lust, though to a radiant
Angell
link'd,
Will
sate it selfe in
a
Celestiall bed, & prey
on Garbage.
But
soft, me thinkes I
sent
the Mornings
Ayre;
Briefe
let me be: Sleeping
within mine Orchard,
My
custome alwayes in the
afternoone;
65
Vpon
my secure hower thy Vncle
stole
back
next
Actus
Primus. Scena Quinta.
act
scene
With
iuyce of cursed Hebenon
in a Violl,
And
in the Porches
of mine
eares did poure
The
leaperous
Distilment;
whose effect
Holds
such an enmity with
bloud of Man,
70
That
swift as Quick-siluer,
it
courses
through
The
naturall Gates and Allies
of the body;
And
with a sodaine
vigour it
doth posset
And
curd, like Aygre
droppings
into Milke,
The
thin and wholsome blood:
so did it mine;
75
And
a most instant Tetter
bak'd
about,
Most
Lazar-like,
with vile and
loathsome crust,
All
my smooth Body.
Thus
was I, sleeping, by a
Brothers hand,
Of
Life, of Crowne, and Queene
at once dispatcht;
80
Cut
off euen in the Blossomes
of my
Sinne,
Vnhouzzled,
disappointed,
vnnaneld,
No
reckoning made, but sent to
my account
With
all my imperfections on
my head;
Oh
horrible, Oh horrible, most
horrible:
85
If
thou hast nature in thee
beare it
not;
Let
not the Royall Bed of
Denmarke be
A
Couch for Luxury and damned
Incest.
But
howsoeuer thou pursuest
this Act,
Taint
not thy mind;
nor let
thy Soule contriue
90
Against
thy Mother ought;
leaue her to heauen,
And
to those Thornes that in
her bosome lodge,
To
pricke
and sting her. Fare
thee well at once;
The
Glow-worme showes the
Matine to be
neere,
back
next
Actus
Primus. Scena Quinta.
act
scene
And
gins to pale his
vneffectuall Fire:
95
Adue,
adue,Hamlet:
remember
me.
Exit.
Ham.
Oh all you host of
Heauen! Oh Earth; what els?
And
shall I couple
Hell? Oh
fie: hold my heart;
And
you my sinnewes, grow not
instant Old;
But
beare me stiffely vp:
Remember thee?
100
I,
thou poore Ghost, while
memory holds a
seate
In
this distracted Globe:
Remember thee?
Yea,
from the Table of my
Memory,
Ile
wipe away all triuiall
fond Records,
All
sawes of Bookes,
all
formes, all presures past,
105
That
youth and obseruation
coppied
there;
And
thy Commandment all alone
shall liue
Within
the Booke and Volume of
my Braine,
Vnmixt
with baser matter; yes
yes, by Heauen:
Oh
most pernicious woman!
110
Oh
Villaine, Villaine, smiling
damned Villaine!
My
Tables, my Tables; meet
it
is I set it downe,
That
one may smile, and smile
and be a Villaine;
At
least I'm sure it may be so
in Denmarke;
So
Vnckle there you are: now
to my word;
It
is; Adue, Adue, Remember
me: I
haue sworn't.
115
Hor.
&
Mar. within. My
Lord,
my Lord.
back
next
Actus
Primus. Scena Quinta.
act
scene
Enter
Horatio and Marcellus
Mar.
Lord Hamlet.
Hor.
Heauen secure him.
Mar.
So be it.
120 Hor.Illo,
ho, ho, my
Lord.
Ham.
Hillo, ho, ho, boy;
come bird,
come.
Mar.
How
ist't my Noble Lord?
Hor.
What
newes, my
Lord?
Ham.
Oh wonderfull!
125 Hor.
Good
my Lord tell
it.
Ham.
No you'l reueale it.
Hor.
Not
I, my Lord, by
Heauen.
Mar.
Nor
I, my Lord.
Ham.
How say you then,
would heart of man once think it?
back
next
Actus
Primus. Scena Quinta.
act
scene
130
But
you'l be
secret?
Both.
I, by Heau'n, my
Lord.
Ham.
There's nere a
villaine dwelling in all Denmarke
But
hee's an arrant
knaue.
Hor.
There needs no
Ghost my Lord, come from the
135
Graue,
to tell vs
this.
Ham.
Why right, you are
i'th' right;
And
so, without more
circumstance at all,
I
hold it fit that we shake
hands, and part:
You,
as your busines and
desires shall point you:
140
For
euery man ha's businesse
and
desire,
Such
as it is: and for mine
owne poore part,
Looke
you, Ile goe pray.
Hor.
These
are but wild
and hurling
words, my Lord.
Ham.
I'm sorry they
offend you heartily:
145
Yes
faith,
heartily.
Hor.
There's
no offence
my Lord.
Ham.
Yes, by Saint
Patricke,
but there is my
Lord,
And
much offence too, touching
this Vision heere:
It
is an honest Ghost, that
let me tell you:
back
next
Actus
Primus. Scena Quinta.
act
scene
150
For
your desire to know what
is betweene
vs,
O'remaster't
as you may. And
now good friends,
As
you are Friends, Schollers
and Soldiers,
Giue
me one poore request.
Hor.
What
is't my Lord?
we will.
155
Ham.
Neuer make known
what you haue seen to night.
Both.
My Lord, we will
not.
Ham.
Nay, but swear't.
Hor.
Infaith my Lord,
not I.
Mar.
Nor I my Lord: in
faith.
160
Ham.
Vpon my
sword.
Marcell.
We haue sworne
my Lord already.
Ham.
Indeed, vpon my
sword, Indeed.
Gho.
Sweare.
Ghost
cries vnder the Stage.
back
next
Actus
Primus. Scena Quinta.
act
scene
Ham.
Ah ha boy, sayest
thou so. Art thou there true-
165
penny?
Come one you here this
fellow in the
selleredge
Consent
to sweare.
Hor.
Propose
the Oath
my Lord.
Ham.
Neuer to speake of
this that you haue seene.
Sweare
by my sword.
170
Gho.
Sweare.
Ham.
Hic & vbique?
Then wee'l shift for grownd,
Come
hither Gentlemen,
And
lay your hands againe vpon
my sword,
Neuer
to speake of this that
you haue heard:
175
Sweare
by my
Sword.
Gho.
Sweare.
Ham.
Well said old Mole,
can'st worke i'th' ground so fast?
A
worthy Pioner, once more remoue good friends.
Hor.
Oh
day and night:
but this is wondrous strange.
180
Ham.
And therefore as a
stranger giue it
welcome.
There
are more things in
Heauen and Earth, Horatio,
Then
are dream't of in our
Philosophy. But come,
Here
as before, neuer so helpe
you mercy,
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next
Actus
Primus. Scena Quinta.
act
scene
How
strange or odde so ere I
beare my selfe;
185
(As
I perchance heereafter
shall thinke
meet
To
put an Anticke
disposition
on:)
That
you at such time seeing
me, neuer shall
With
Armes encombred
thus, or
thus, head shake;
Or
by pronouncing of some
doubtfull Phrase;
190
As
well, we know, or we could
and if we would,
Or
if we list to speake; or
there be and if there might,
Or
such ambiguous giuing out
to note,
That
you know ought of me;
this not to doe:
So
grace and mercy at your
most neede helpe you:
195
Sweare.
Ghost.
Sweare.
Ham.
Rest,
rest
perturbed Spirit: so Gentlemen,
With
all my loue I doe commend
me to you;
And
what so poore a man as
Hamlet is,
200
May
doe t' expresse his loue
and friending
to
you,
God
willing shall not lacke:
let vs goe in together,
And
still your fingers on your
lippes I pray,
The
time is out
of ioynt:
Oh
cursed spight,
That
euer I was borne to set
it right.
205
Nay,
come let's goe
together.
Exeunt.
back
next
Actus
Secundus.
Scena Prima.
act
scene
Enter
Polonius, and Reynoldo.
Polon.
Giue him his
money, and these notes
Reynoldo.
Reynol.
I will my Lord.
Polon. You
shall doe
maruels
wisely: good Reynoldo,
Before
you visite him you make
inquiry
5
Of
his
behauiour.
Reynol.
My Lord, I did
intend it.
Polon. Marry,
well
said;
Very
well said. Looke you Sir,
Enquire
me first what Danskers
are in Paris;
10
And
how, and who; what meanes;
and where they
keepe:
What
company, at what expence:
and finding
By
this encompassement and
drift of question,
That
they doe know my sonne:
Come you more neerer
Then
your particular
demands
will touch it,
15
Take
you as 'twere some
distant knowledge of
him,
And
thus I know his father and
his friends,
And
in part him. Doe you marke
this Reynoldo?
Reynol.
I, very well my
Lord.
Polon.
And
in part
him,
but you
may say not
well;
20
But
if't be hee I meane, hees
very
wilde;
back
next
Actus
Secundus.
Scena Prima.
act
scene
Addicted
so and so; and there
put on him
What
forgeries
you please;
marry, none so ranke,
As
may dishonour him; take
heed of that:
But
Sir, such wanton, wild,
and vsuall
slips,
25
As
are Companions noted and
most
knowne
To
youth
and liberty.
Reynol.
As gaming my
Lord.
Polon. I,
or drinking,
fencing, swearing,
Quarelling,
drabbiug. You may
goe so farre.
30
Reynol.
My Lord that
would dishonour
him.
Polon. Faith
no, as
you
may season it
in the charge;
You
must not put another
scandall on him,
That
hee is open to
Incontinencie;
That's
not my meaning: but
breath his faults so quaintly,
35
That
they may seeme the taints
of
liberty;
The
flash and out-breake of a
fiery minde,
A
sauagenes in vnreclaim'd
bloud of generall assault.
Reynol.
But my good
Lord.
Polon. Wherefore
should
you doe this?
40
Reynol.
I my Lord, I
would know
that.
back
next
Actus
Secundus.
Scena Prima.
act
scene
Polon.
Marry
Sir,
heere's my drift,
And
I belieue it is a fetch
of
warrant:
You
laying these slight
sulleyes on
my Sonne,
As
'twere a thing a little
soil'd
i'th' working:
45
Marke
you your party
in
conuerse; him you would
sound,
Hauing
euer seene. In the
prenominate
crimes,
The
youth you breath
of
guilty, be assur'd
He
closes
with you in this
consequence:
Good
sir, or so, or friend, or
Gentleman.
50
According
to the Phrase and
the
Addition,
Of
man and Country.
Reynol.
Very good my
Lord.
Polon. And
then Sir
does he this?
He
does: what was I about to
say?
55
I
was about say somthing:
where did I
leaue?
Reynol.
At closes in
the
consequence:
At
friend, or so, and
Gentleman.
Polon. At
closes in
the
consequence, I marry,
He
closes with you thus. I
know the Gentleman,
60
I
saw him yesterday, or tother
day;
Or
then or then, with such and
such; and as you say,
There
was he gaming, there
o'retooke
in's Rouse,
There
falling out at Tennis;
or perchance,
I
saw him enter such a house
of saile;
back
next
Actus
Secundus.
Scena Prima.
act
scene
65 Videlicet,
a Brothell, or so
forth. See you
now;
Your
bait of falshood, takes
this Cape
of truth;
And
thus doe we of wisedome
and of reach
With
windlesses,
and with
assaies of Bias,
By
indirections finde
directions out:
70
So
by my former Lecture and
aduice
Shall
you my Sonne;
you haue
me, haue you not?
Reynol.
My Lord I haue.
Polon. God
buy you;
fare you well.
Reynol.
Good my Lord.
75
Polon.
Obserue
his
inclination in your
selfe.
Reynol.
I shall my Lord.
Polon. And
let him
plye
his Musicke.
Reynol.
Well, my Lord.
Exit.
Enter
Ophelia.
Polon.
Farewell:
80
How
now Ophelia, what's the
matter?
back
next
Actus
Secundus.
Scena Prima.
act
scene
Ophe.
Alas
my Lord, I
haue beene so affrighted.
Polon.
With what, in
the
name of Heauen?
Ophe. My
Lord, as I
was sowing in
my Chamber,
Lord
Hamlet with his doublet
all vnbrac'd,
85
No
hat vpon his head,his
stockings
foul'd,
Vngartred,
and downe giued
to
his Anckle,
Pale
as his shirt, his knees
knocking each other,
And
with a looke so pitious in
purport,
As
if he had been loosed
out
of hell,
90
To
speake of horrors: he
comes
before
me.
Polon.
Mad for thy Loue?
Ophe. My
Lord, I doe
not know: but truly I do feare it.
Polon.
What said he?
Ophe. He
tooke me by
the wrist,
and held me hard;
95
Then
goes he to the length of
all his
arme;
And
with his other hand thus
o're his brow,
He
fals to such perusall of my
face,
As
he would draw it. Long
staid he so,
At
last, a little shaking of
mine Arme:
100
And
thrice his head thus
wauing vp and
downe;
He
rais'd a sigh, so pittious
and profound,
That
it did seeme to shatter
all his bulke,
back
next
Actus
Secundus.
Scena Prima.
act
scene
And
end his being. That done,
he lets me goe,
And
with his head ouer his
shoulders turn'd,
105
He
seem'd to finde his way
without his
eyes,
For
out adores he
went without
their helpe;
And
to the last, bended
their
light on me
Polon.
Goe with me, I
will goe seeke the King,
This
is the very extasie
of
Loue,
110 Whose
violent property
foredoes it
selfe,
And
leads the will to
desperate Vndertakings,
As
oft as any passion vnder
Heauen,
That
does afflict our Natures.
I am sorrie,
What
haue you giuen him any
hard words of late?
115 Ophe.
No
my good Lord:
but as you did
command,
I
did repell his Letters, and
deny'de
His
accesse to me.
Pol.
That
hath made
him
mad.
I
am sorrie that with better
speed and iudgement
120
I
had not quoted
him. I feare
he did but
trifle,
And
meant to wracke
thee: but
beshrew my
iealousie:
It
seemes it is as
proper to
our Age,
To
cast beyond our selues in
our Opinions,
As
it is common for the yonger
sort
125
To
lacke discretion. Come, go
we to the
King,
This
must be knowne, ~w
being
kept close might moue
More
greefe to hide,
then hate
to vtter loue.
Exeunt.
back
next
Actus
Secundus. Scena Secunda.
act
scene
Enter
King, Queene, Rosincrane, and Guilden-
sterne Cumaliys
King. Welcome deere Rosincrance and
Guildensterne.
Moreouer, that
we much did long to see you,
The neede we
haue to vse you, did prouoke
Our hastie
sending. Something haue you heard
5
Of
Hamlets transformation: so I call it,
Since not
th'exterior, nor the inward man
Resembles that
it was. What it should bee
More then his
Fathers death, that thus hath put him
So much from
th'vnderstanding of himselfe,
10
I
cannot deeme
of. I intreat
you both,
That being of
so young dayes brought vp with him:
And since so Neighbour'd to
his youth, and humour,
That you vouchsafe
your rest heere in our Court
Some little
time: so by your Companies
15
To draw him on
to pleasures, and to gather
So
much as from
Occasions you may gleane,
That
open'd lies
within our remedie.
Qu.
Good Gentlemen, he hath
much talk'd of you,
And sure I am,
two men there are not liuing,
20
To whom he more adheres. If it will please you
To shew vs so
much Gentrie,
and good will,
As to expend
your time with vs a-while,
For the supply
and profit of our Hope,
back
next
Actus
Secundus. Scena Secunda.
act
scene
Your
Visitation shall receiue such thankes
25 As
fits a Kings remembrance.
Rosin.
Both your Maiesties
Might by the Soueraigne
power you haue of vs,
Put your dread
pleasures, more into Command
Then to
Entreatie.
30
Guil. We both
obey,
And here giue
vp our selues, in
the full bent,
To lay our
Seruices freely at your feete,
To be
commanded.
King.
Thankes Rosincrance, and
gentle Guildensterne.
35
Qu. Thankes
Guildensterne
and
gentle Rosincrance.
And I beseech
you instantly to visit
My too much
changed Sonne.
Go some of ye,
And bring the
Gentlemen where Hamlet is.
40
Guil. Heauens make our
presence and our practices
Pleasant and
helpfull to him.
Exit.
Queene. Amen.
back
next
Actus
Secundus. Scena Secunda.
act
scene
Enter Polonius.
Pol. Th'Ambassadors from Norwey,
my good Lord,
Are ioyfully
return'd.
45
King. Thou still hast bin the
Father of good Newes.
Pol.
Haue I, my Lord? Assure
you, my good Liege,
I hold my
dutie, as I hold my Soule,
Both to my
God, one to my gracious King:
And I do
thinke, or else this braine of mine
50
Hunts not the traile of Policie, so sure
As I haue vs'd
to do: that I haue found
The very cause
of Hamlets Lunacie.
King.
Oh speake of that, that
I do long to heare.
Pol.
Giue first admittance to
th'Ambassadors,
55
My Newes shall be the Newes to
that great Feast.
King.
Thy selfe do grace to
them, and bring them in.
He tels me my
sweet Queene, that he hath found
The head and
sourse of all your Sonnes distemper.
Qu. I
doubt it is no other,
but the maine,
60
His Fathers death, and our o're-hasty Marriage.
Enter Polonius, Voltumand, and Cornelius.
back
next
Actus
Secundus. Scena Secunda.
act
scene
King. Well, we shall sift him.
Welcome good Frends:
Say
Voltumand, what from our Brother
Norwey?
Volt. Most
faire returne of
Greetings, and Desires.
Vpon our
first,
he
sent out to suppresse
65
His Nephewes Leuies, which to
him appear'd
To be a
preparation 'gainst
the Poleak:
But better
look'd into, he truly found
It was against
your Highnesse, whereat greeued,
That so his
Sicknesse, Age, and Impotence
70
Was falsely borne in hand, sends out Arrests
On Fortinbras,
which he (in breefe) obeyes,
Receiues
rebuke from Norwey: and in fine,
Makes Vow
before his Vnkle, neuer more
To giue
th'assay of Armes against your Maiestie.
75
Whereon old Norwey, ouercome with ioy,
Giues him
three thousand Crownes in Annuall Fee,
And his
Commission to imploy those Soldiers
So leuied as
before, against the Poleak:
With an
intreaty heerein further shewne,
80
That it might please you to giue quiet passé
Through
your
Dominions,
for his Enterprize,
On such
regards of safety and allowance,
As therein are
set downe.
King. It likes vs well:
85
And at our more consider'd time wee'l read,
Answer, and
thinke vpon this Businesse.
back
next
Actus
Secundus. Scena Secunda.
act
scene
Meane time we
thanke you, for your well-tooke Labour.
Go
to your rest, at night wee'l Feast together.
Most
welcome home.
Exit Ambass.
90
Pol. This businesse is very
well ended.
My Liege, and
Madam, to expostulate
What Maiestie
should be, what Dutie is,
Why day is
day; night, night; and time is time,
Were nothing
but to waste Night, Day, and Time.
95
Therefore, since Breuitie is the Soule of Wit,
And
tediousnesse, the limbes and outward flourishes,
I will be
breefe. Your
Noble Sonne is mad:
Mad call I it;
for to define true Madnesse,
What is't, but
to be nothing else but mad.
100
But let that go.
Qu. More
matter, with lesse
Art.
Pol.
Madam, I sweare I vse no
Art at all:
That he is
mad, 'tis true: 'Tis true 'tis pittie,
And pittie it
is true: A
foolish
figure,
105
But farewell it: for I will vse no Art.
Mad
let vs grant him then: and now remaines
That we finde
out the cause of this effect,
Or rather say,
the cause of this defect;
For this
effect defectiue, comes by cause,
back
next
Actus
Secundus. Scena Secunda.
act
scene
110 Thus
it remaines, and the remainder thus. Perpend,
I
haue a daughter: haue, whil'st
she is mine,
Who
in her Dutie and Obedience, marke,
Hath
giuen me this: now gather, and surmise.
The Letter.
To the Celestiall, and my Soules
Idoll, the most beautifed
O-
115
phelia.
That's an ill
Phrase, a vilde
Phrase,
beautified
is a vilde
Phrase: but
you shall heare these in her excellent white
bosome,
these.
Qu. Came this from Hamlet to
her.
120
Pol. Good Madam stay awhile,
I will be faithfull.
Doubt thou, the Starres are fire,
Doubt, that the Sunne doth moue:
Doubt Truth to be a Lier,
But neuer Doubt, I loue.
125 O deere
Ophelia, I am ill at these
Numbers:
I haue not
Art to
reckon
my grones;
but that I loue
thee best, oh most Best be-
leeue it. Adieu.
Thine euermore most deere Lady,
whilst
this
Machine
is to him, Hamlet.
130
This
in Obedience hath my daughter shew'd me:
And more aboue
hath his soliciting,
As they fell
out by Time,
by Meanes, and Place,
All giuen to
mine eare.
back
next
Actus
Secundus. Scena Secunda.
act
scene
King. But how hath she
receiu'd his Loue?
135
Pol. What
do you thinke of
me?
King.
As of a man, faithfull
and Honourable.
Pol. I
wold faine proue so.
But what might you think?
When I had
seene this hot loue on the wing,
As I perceiued
it, I must tell you that
140
Before my Daughter told me what might you
Or my deere
Maiestie your Queene heere, think,
If I had playd
the Deske or Table-booke,
Or giuen my
heart a winking,
mute and
dumbe,
Or look'd vpon
this Loue, with idle sight,
145
What might you thinke? No, I went round to worke,
And (my yong
Mistris) thus I did bespeake
Lord Hamlet is
a Prince out
of thy Starre,
This must not
be: and then, I Precepts
gaue her,
That she
should locke her selfe from his Resort,
150
Admit no Messengers, receiue no Tokens:
Which done,
she tooke the Fruites of my Aduice,
And he
repulsed A short Tale to make,
Fell
into a Sadnesse, then into a Fast,
Thence to a Watch, thence into
a Weaknesse,
155
Thence to a Lightnesse, and by this declension
Into the
Madnesse whereon now he raues,
And all we
waile for.
back
next
Actus
Secundus. Scena Secunda.
act
scene
King. Do you thinke 'tis this?
Qu. It
may be very likely.
160
Pol. Hath there bene such a
time, I'de fain know that,
That I haue
possitiuely said, 'tis so,
When it prou'd
otherwise?
King.
Not that I know.
Pol. Take
this
from this; if
this be otherwise,
165
If Circumstances
leade
me, I will finde
Where truth is
hid, though it were hid indeede
Within the
Center.
King.
How may we try it
further?
Pol.
You know sometimes
170
He walkes foure houres together, here
In the Lobby.
Qu. So he ha's indeed.
Pol. At
such a time Ile loose
my Daughter to him,
Be you and I
behinde an Arras
then,
175
Marke the encounter: If he loue her not,
And be not
from his reason falne thereon;
back
next
Actus
Secundus. Scena Secunda.
act
scene
Let
me be no Assistant for a State,
And keepe a Farme and Carters.
King.
We will try it.
Enter
Hamlet reading on a Booke.
180 Qu.
But looke where sadly the
poore wretch
Comes reading.
Pol. Away I do beseech you,
both away,
Ile boord him
presently.
Exit King
& Queen.
Oh giue
me leaue. How does my good Lord Hamlet?
185
Ham. Well,
God-a-mercy.
Pol. Do
you know me, my Lord?
Ham.
Excellent, excellent
well: y'are a Fishmonger.
Pol. Not I my Lord.
Ham.
Then I would you were so
honest a man.
190
Pol. Honest, my
Lord?
back
next
Actus
Secundus. Scena Secunda.
act
scene
Ham. I
sir, to be honest as
this world goes, is to bee
one man pick'd
out of two thousand.
Pol.
That's very true, my Lord.
Ham.
For if the Sun
breed
Magots in a dead dogge,
195
being a good kissing Carrion---
Haue you a
daughter?
Pol. I
haue my Lord.
Ham.
Let her not walke
i'th'Sunne: Conception
is a
blessing,
but not as
your daughter may conceiue. Friend
200
looke too't.
Pol.
How say you by that?
Still harping on my daugh-
ter: yet he
knew me not at first; he said I was a Fishmon-
ger: he is
farre gone, farre gone: and truly in my youth,
I suffred much
extreamity for loue: very neere this. Ile
205
speake to him againe. What do you read my Lord?
Ham. Words, words, words.
Pol. What
is the matter, my
Lord?
Ham.
Betweene who?
Pol. I meane the matter you
meane, my Lord.
back
next
Actus
Secundus. Scena Secunda.
act
scene
210
Ham.
Slanders Sir: for the
Satyricall
slaue
saies here,
that old men
haue gray Beards; that their faces are wrin-
kled; their
eyes purging thicke Amber, or Plum-Tree
Gumme: and that they
haue a
plentifull locke
of Wit,
together with
weake Hammes. All which Sir, though I
215
most
powerfully, and potently beleeue; yet I holde it
not Honestie to
haue it thus
set downe: For you your
selfe Sir,
should be old as I am, if like a Crab you could
go backward.
Pol.
Though this be madnesse,
220
Yet
there is Method in't: will you walke
Out of the
ayre my
Lord?
Ham.
Into my Graue?
Pol. Indeed
that is out o'th'
Ayre:
How pregnant
(sometimes)
his Replies are?
225
A happinesse,
That
often Madnesse hits on,
Which Reason
and Sanitie could not
So
prosperously be deliuer'd
of.
I will leaue
him,
230
And sodainely contriue the meanes of meeting
Betweene him,
and my daughter.
My
Honourable Lord, I will most humbly
Take my leaue
of you.
back
next
Actus
Secundus. Scena Secunda.
act
scene
Ham.
You cannot Sir take from
me any thing, that I
235
will more willingly part withall, except my life, my
life.
Polon.
Fare you well my Lord.
Ham. These
tedious old fooles.
Polon.
You goe to seeke my
Lord Hamlet; there
240
hee is.
Rosin.
God saue you Sir.
Guild.
Mine honour'd Lord?
Rosin.
My most deare Lord?
Ham. My excellent good
friends? How do'st thou
245
Guildensterne? Oh, Rosincrane; good Lads: How doe ye
both?
Rosin.
As the indifferent
Children of the earth.
Guild. Happy, in that we are
not ouer-happy: on For-
tunes Cap,
we are not the very Button.
back
next
Actus
Secundus. Scena Secunda.
act
scene
250
Ham. Nor
the Soales of her
Shoo?
Rosin.
Neither my Lord.
Ham. Then
you liue about her
waste, or in the mid-
dle of her
fauour?
Guil. Faith,
her priuates, we.
255
Ham. In the secret parts of
Fortune? Oh, most true:
she is a Strumpet. What's
the newes?
Rosin.
None my Lord; but that
the World's growne
honest.
Ham. Then
is Doomesday
neere:
But your newes is
260
not true. Let me question more in particular: what
haue
you
my good friends, deserued at the hands of Fortune,
that
she sends you to Prison
hither?
Guil.
Prison, my Lord?
Ham.
Denmark's a Prison.
265
Rosin. Then is the World
one.
Ham.
A
goodly
one,
in which
there are many Con-
fines, Wards,
and
Dungeons; Denmarke being one o'th'
back
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Actus
Secundus. Scena Secunda.
act
scene
worst.
Rosin.
We thinke not so my
Lord.
270
Ham. Why then 'tis none to
you; for there is nothing
either good or
bad, but thinking makes it so: to me it is
a prison.
Rosin.
Why then your Ambition
makes it one: 'tis
too narrow for
your minde.
275
Ham. O God, I could be
bounded in a nutshell, and
count my selfe
a King of infinite space; were it not that
I haue bad dreames.
Guil.
Which dreames indeed are
Ambition: for the
very
substance of the Ambitious, is meerely the shadow
280
of
a Dreame.
A dreame it
selfe is but a shadow.
Rosin.
Truely, and I hold
Ambition of so ayry and
light a
quality, that it is but a shadowes shadow.
Ham. Then are our Beggers
bodies; and our Mo-
285
narchs and out-stretcht Heroes the Beggers Shadowes:
shall wee to th' Court: for, by
my fey
I cannot rea-
son?
back
next
Actus
Secundus. Scena Secunda.
act
scene
Both.
Wee'l wait vpon you.
Ham. No
such matter. I will
not sort you
with the
290
rest of my seruants: for to speake to you
like an
honest
man: I am most
dreadfully attended; but in the beaten
way of
friendship, What
make
you at Elsonower?
Rosin.
To visit you my Lord,
no other occasion.
Ham. Begger
that I am, I am
euen poore in thankes;
295
but I thanke you: and sure deare friends my thanks
are too
deare a
halfepeny;
were you not sent for? Is it
your owne
inclining? Is it a free visitation? Come,
deale iustly
with me: come, come; nay speake.
Guil. What should we say my
Lord?
300
Ham. Why any thing. But to the
purpose; you were
sent for; and
there is a kinde confession in your lookes;
which your
modesties haue not craft enough to co-
lor, I know
the good King & Queene haue sent for you.
Rosin.
To what end my Lord?
305
Ham. That you must teach me:
but let mee coniure
you
by the rights of our fellowship, by the consonancy of
our youth, by
the Obligation of our euer-preserued loue,
and by what more deare,
a better proposer could charge
back
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Actus
Secundus. Scena Secunda.
act
scene
you withall;
be euen and direct with me, whether you
310
were sent for or no.
Rosin.
What say you?
Ham.
Nay then I haue an eye of
you: if you loue me
hold not off.
Guil.
My Lord, we were sent
for.
315
Ham. I will tell you why; so
shall my anticipation
preuent your
discouery of your secricie to the King and
Queene: moult no
feather,
I haue of late, but wherefore
I know not,
lost all my mirth, forgone all custome of ex-
ercise;
and indeed, it goes so heauenly
with my dispositi-
320
on; that this goodly frame the Earth, seemes to me a
ster-
rill
Promontory;
this most
excellent Canopy the Ayre,
look you, this
braue ore-hanging, this Maiesticall Roofe,
fretted with
golden fire:
why, it appeares no other thing
to mee, then a
foule and pestilent congregation of va-
325
pours.
What a piece
of worke is a man! how Noble
in
Reason? how
infinite in faculty?
in forme and mouing
how
expresse and
admirable?
in Action, how like an An-
gel? in apprehension,
how like a God? the beauty of the
world,
the Parragon
of
Animals; and yet to me, what is
330
this
Quintessence
of
Dust? Man delights not me; no,
nor
Woman neither; though by your smiling you seeme
to say so.
back
next
Actus
Secundus. Scena Secunda.
act
scene
Rosin.
My Lord, there was no
such stuffe in my
thoughts.
335
Ham. Why did you laugh, when
I said, Man delights
not me?
Rosin.
To thinke, my Lord, if
you delight not in Man,
what Lenton
entertainment the
Players shall receiue
from you: wee coated them on
the way, and hither are
340
they comming to offer you Seruice.
Ham. He that playes
the King
shall be welcome; his
Maiesty
shall haue Tribute of mee: the aduenturous
Knight shal
vse his Foyle
and Target: the
Louer shall
not sigh gratis,
the humorous
man shall end his
part in
345
peace: the Clowne shall make those laugh whose lungs
are tickled
a'th' sere: and the Lady shall say her minde
freely; or the
blanke Verse shall halt
for't:
what Players
are they?
Rosin. Euen those you were
wont to take delight in
350
the Tragedians
of the City.
Ham.
How chances
it they
trauaile?
their
resi-
dence both in
reputation and profit was better both
wayes.
Rosin.
I thinke their
Inhibition comes by the meanes
back
next
Actus
Secundus. Scena Secunda.
act
scene
355
of the late
Innouation?
Ham. Doe
they hold the same
estimation they did
when I was in
the City? Are they so follow'd?
Rosin.
No indeed, they are not.
Ham. How
comes it? doe they
grow rusty?
360
Rosin. Nay, their indeauour
keepes in the wonted
pace; But
there is Sir an ayrie
of Children, little
Yases,
that crye out on the top of question; and
are most tyrannically
clap't for't: these are now the
fashion, and
so be-ratled
the common Stages (so they
365
call them) that many wearing
Rapiers,
are affraide of
Goose-quils,
and dare scarse come thither.
Ham. What
are they Children?
Who maintains
'em?
How are they escoted?
Will
they pursue the Quality no
longer then
they can sing? Will they not say afterwards
370
if they should grow themselues to common
Players (as
it
is like most if their meanes are not better) their Wri-
ters
do them wrong, to make them exclaim against their
owne Succession.
Rosin.
Faith there ha's bene
much to do on both sides:
375
and the Nation holds it no sinne, to tarre them to
Con-
trouersie.
There was for a while, no mony bid for argu-
ment, vnlesse
the Poet and the Player went to Cuffes in
back
next
Actus
Secundus. Scena Secunda.
act
scene
the
Question.
Ham.
Is't possible?
380
Guild. Oh there ha's beene
much throwing about of
Braines.
Ham. Do
the Boyes carry
it
away?
Rosin. I that they do my Lord.
Hercules
& his
load too.
Ham. It
is not strange: for
mine Vnckle is King of
385
Denmarke, and those that would make mowes
at him
while my
Father liued; giue twenty, forty, an hundred
Ducates a
peece, for his
picture in Little. There is
some-
thing in this
more then Naturall, if Philosophie could
finde it
out.
Flourish for the Players.
390
Guil. There are the Players.
Ham. Gentlemen, you are welcom
to Elsonower: your
hands,
come: The appurtenance
of Welcome, is Fashion
and Ceremony.
Let me comply with you in
the Garbe,
lest my extent
to the Players (which I tell you must shew
395
fairely outward) should more appeare like
entertainment
then
yours. You are welcome: but my Vnckle Father,
back
next
Actus
Secundus. Scena Secunda.
act
scene
and
Aunt Mother
are deceiu'd.
Guil. In
what my deere Lord?
Ham. I
am but mad North,
North-West: when the
400 Winde is Southerly, I know
a Hawke from a Handsaw.
Enter Polonius.
Pol. Well be with you
Gentlemen.
Ham.
Hearke you Guildensterne,
and you too: at each
eare a hearer:
that great Baby you see there, is not yet
out of his swathing
clouts.
405
Rosin. Happily
he's
the second
time come to them: for
they say, an old
man is twice a childe.
Ham. I will Prophesie. Hee
comes to tell me of the
Players. Mark
it, you say right Sir: for a Monday mor-
ning 'twas so
indeed.
410
Pol. My Lord, I haue
Newes to
tell you.
Ham. My
Lord, I haue Newes to
tell you.
When
Rossius an
Actor in
Rome---
Pol. The
Actors are come
hither my Lord.
back
next
Actus
Secundus. Scena Secunda.
act
scene
Ham.
Buzze, buzze.
415
Pol. Vpon mine
Honor.
Ham.
Then can each Actor on
his Asse---
Polon.
The best Actors in the
world, either for Trage-
die,
Comedie, Historie, Pastorall: Pastoricall-Comicall-
Historicall-Pastorall: Tragicall-Historicall: Tragicall-
420
Comicall-Historicall-Pastorall: Scene indiuidible: or
Po-
em vnlimited.
Seneca
cannot be too heauy, nor Plautus
too light, for
the law
of Writ, and
the Liberty. These are
the onely men.
Ham. O
Iephta Iudge of
Israel,
what a Treasure had'st
425
thou?
Pol. What a Treasure had he,
my Lord?
Ham. Why
one faire
Daughter,
and no more,
The which he
loued passing well.
Pol.
Still on my Daughter.
430
Ham. Am I not i'th'right old
Iephta?
Polon.
If you call me Iephta
my Lord, I haue a daugh-
ter that I
loue passing well.
back
next
Actus
Secundus. Scena Secunda.
act
scene
Ham. Nay
that followes not.
Polon.
What followes then, my
Lord?
435
Ha. Why, As by lot, God wot:
and then you know, It
came to passe,
as most like it was: The first rowe
of the
Pons Chanson will shew you
more. For looke where my
Abridgements
come.
Enter foure or fiue Players.
Y'are welcome
Masters, welcome all. I am glad to see
440
thee well: Welcome good Friends. Oh my olde Friend?
Thy face is valiant
since I
saw thee last: Com'st thou to
beard me in
Denmarke? What, my yong Lady and Mi-
stris? Byrlady
your Ladiship is neerer
Heauen then when
I saw you
last, by the altitude of a Choppine. Pray God
445
your voice like a peece of vncurrant Gold be not
crack'd
within the
ring.
Masters, you are all welcome: wee'l e'ne
to't like French
Faulconers, flie
at any thing we see:
wee'l
haue a Speech
straight. Come giue vs a tast of your qua-
lity:
come, a passionate speech.
450
1. Play. What speech, my
Lord?
Ham. I
heard thee speak me a
speech once, but it was
neuer Acted:
or if it was, not aboue once, for the Play I
remember
pleas'd not the Million, 'twas Cauiarie to the
back
next
Actus
Secundus. Scena Secunda.
act
scene
Generall:
but it was (as I receiu'd it, and others, whose
455
iudgement in such matters, cried in the top of mine)
an
excellent
Play: well digested
in the Scoenes, set downe
with
as much modestie, as cunning. I remember one said,
there was no Sallets in
the lines, to make the matter sa-
uouty;
nor no matter in the phrase, that might indite the
460
Author
of affectation, but cal'd it an honest method.
One
cheefe Speech
in it, I cheefely lou'd, 'twas Aeneas
Tale
to Dido, and thereabout
of it
especially, where he speaks
of Priams
slaughter. If it liue in your memory, begin at
this Line, let
me see, let me see: The rugged Pyrrhus
like
465
th' Hyrcanian
Beast.
It is not so: it begins with
Pyrrhus
The rugged
Pyrrhus, he whose Sable
Armes
Blacke as his
purpose, did the night resemble
When he lay
couched in the Ominous
Horse,
Hath now this
dread and blacke Complexion smear'd
470
With
Heraldry
more dismall:
Head to foote
Now is he to
take Geulles,
horridly Trick'd
With blood of Fathers,
Mothers, Daughters, Sonnes,
Bak'd
and impasted
with the parching
streets,
That lend a
tyrannous, and damned light
475
To
their vilde Murthers, roasted in wrath and fire,
And thus
o're-sized with coagulate
gore,
VVith eyes
like Carbuncles,
the hellish Pyrrhus
Olde Grandsire
Priam seekes.
Pol.
Fore God, my Lord, well
spoken, with good ac-
480
cent, and good discretion.
back
next
Striking
too short at Greekes. His anticke
Sword,
Rebellious to
his Arme, lyes where it falles
Repugnant
to command:
vnequall match,
485
Pyrrhus at Priam driues, in Rage strikes wide:
But with the whiffe
and winde
of his fell Sword,
Th'vnnerued
Father fals.
Then senselesse Illium,
Seeming to
feele his blow, with flaming
top
Stoopes
to his Bace,
and with a
hideous crash
490
Takes Prisoner Pyrrhus eare. For loe, his Sword
Which was
declining on the Milkie
head
Of Reuerend
Priam, seem'd i'th' Ayre to sticke:
So as a
painted Tyrant Pyrrhus stood,
And like a
Newtrall to his will and matter, did nothing.
495
But
as we often see against some storme,
A silence in
the Heauens, the Racke
stand still,
The bold
windes speechlesse, and the Orbe
below
As hush as
death: Anon the dreadfull Thunder
Doth rend the
Region. So after Pyrrhus pause,
500
A
rowsed Vengeance sets him new a-worke,
And
neuer did the Cyclops
hammers fall
On Mars his
Armours, forg'd for proofe
Eterne,
With lesse
remorse then Pyrrhus bleeding sword
Now
falles on Priam.
505
Out, out, thou Strumpet-Fortune, all you Gods,
In generall Synod take away
her power:
And
boule the round Naue
downe the hill of Heauen,
back
next
Actus
Secundus. Scena Secunda.
act
scene
As low as to
the Fiends.
510
Pol. This is too
long.
Ham. It
shall to'th Barbars,
with your beard. Pry-
thee say on:
He's for a Iigge,
or a tale of Baudry, or hee
sleepes. Say
on; come to Hecuba.
1. Play.
But who, O who, had
seen the inobled
Queen.
515
Ham. The inobled
Queene?
Pol.
That's good: Inobled
Queene is good.
1. Play.
Run bare-foot vp and
downe,
Threatning
the
flame
With Bisson
Rheume:
A clout about
that head,
520
Where
late the Diadem
stood,
and for a Robe
About her lanke
and
all ore-teamed Loines,
A blanket in
th' Alarum of feare caught vp.
Who
this had seene, with tongue in Venome steep'd,
'Gainst
Fortunes State, would Treason haue
pronounc'd?
525
But
if the Gods themselues did see her then,
When she saw
Pyrrhus make malicious sport
In mincing with his Sword
her Husbands limbes,
The instant
Burst of Clamour that she made
(Vnlesse
things mortall moue them not at all)
530
Would haue made milche
the Burning eyes
of Heauen,
back
next
Actus
Secundus. Scena Secunda.
act
scene
And passion in
the Gods.
Pol.
Looke where he ha's not
turn'd his colour, and
ha's teares
in's eyes. Pray you no more.
Ham.
'Tis well, Ile haue thee
speake out the rest,
535
soone. Good my Lord, will you see the Players wel be-
stow'd. Do ye
heare, let them be well vs'd: for they are
the Abstracts
and breefe Chronicles of the time. After
your death,
you were better haue a bad Epitaph,
then
their ill
report while you liued.
540
Pol. My Lord, I will vse them
according to their de-
sart.
Ham.
Gods bodykins
man,
better. Vse euerie man
after his
desart, and who should scape whipping: vse
them after
your own Honor and Dignity. The lesse they
545
deserue, the more merit is in your bountie. Take them
in.
Pol. Come sirs.
Exit Polon.
Ham.
Follow him Friends: wee'l
heare a play to mor-
row. Dost thou
heare me old Friend, can you play the
550
murther
of Gonzago?
back
next
Actus
Secundus. Scena Secunda.
act
scene
Play. I
my Lord.
Ham.
Wee'l ha't to morrow
night. You could for a
need study a
speech of some dosen or sixteene lines, which
I would set
downe, and insert in't? Could ye not?
555
Play. I my
Lord.
Ham.
Very well. Follow that
Lord, and looke you
mock him not.
My good Friends, Ile leaue you til night
you are
welcome to Elsonower?
Rosin.
Good my Lord.
Exeunt.
Manet Hamlet.
560
Ham. I so, God buy'ye: Now I am
alone.
Oh what a Rogue
and Pesant slaue am I?
Is
it not monstrous that this Player heere,
But in a Fixion, in a dreame
of Passion,
Could
force his soule so to his whole
conceit,
565
That from her
working, all his visage
warm'd;
Teares
in his eyes, distraction in's Aspect,
A broken
voyce, and his whole Function suiting
With Formes,
to his Conceit? And all for nothing?
For Hecuba?
back
next
Actus
Secundus. Scena Secunda.
act
scene
570
What's Hecuba to him, or he to Hecuba,
That he should
weepe for her? What would he doe,
Had he the
Motiue and the Cue for passion
That I haue?
He would drowne the Stage with teares,
And cleaue the
generall eare with horrid speech:
575
Make mad the guilty, and apale the free,
Confound the
ignorant, and amaze indeed,
The very
faculty of
Eyes and Eares. Yet I,
A dull and muddy-metled
Rascall, peake
Like Iohn
a-dreames,
vnpregnant
of my cause,
580
And can say nothing: No, not for a King,
Vpon whose
property, and most deere life,
A damn'd
defeate was made. Am I a
Coward?
Who
calles me Villaine? breakes my pate
a-crosse?
Pluckes off my
Beard, and blowes it in my face?
585
Tweakes me by'th'Nose? giues me the Lye i'th'Throate,
As
deepe as to the Lungs? Who does me this?
Ha? Why I
should take it: for it cannot be,
But
I am Pigeon-Liuer'd, and
lacke Gall
To make
Oppression bitter, or ere this,
590
I
should haue fatted all the Region Kites
With
this Slaues Offall,
bloudy: a Bawdy
villaine,
Remorselesse,
Treacherous, Letcherous, kindles villaine!
Oh
Vengeance!
Who? What an
Asse am I? I sure, this is most braue,
595
That I, the Sonne of the Deere murthered,
Prompted to my
Reuenge by Heauen, and Hell,
Must (like a
Whore) vnpacke
my
heart with words,
back
next
Actus
Secundus. Scena Secunda.
act
scene
And fall a
Cursing like a very Drab.
A Scullion?
Fye vpon't:
Foh. About
my Braine.
600
I haue heard, that guilty Creatures sitting at a
Play,
Haue by the
very cunning of the Scoene,
Bene strooke
so to the soule, that presently
They haue proclaim'd
their Malefactions.
For Murther,
though it haue no tongue, will speake
605
With most myraculous Organ. Ile haue these Players,
Play something
like the murder of my Father,
Before mine
Vnkle. Ile obserue his lookes,
Ile tent
him to
the quicke:
If he but blench
I know my
course. The Spirit that I haue seene
610
May be the Diuell, and the Diuel hath power
T'assume a
pleasing shape, yea and perhaps
Out of my
Weaknesse, and my Melancholly,
As he is very
potent with such Spirits,
Abuses me to
damne me.
Ile
haue grounds
615
More
Relatiue then
this: The Play's the thing,
Wherein Ile
catch the Conscience of the King.
Exit.
back
next
Actus
Tertius. Scena Prima.
act
scene
Enter
King, Queene, Polonius, Ophelia, Ro-
sincrance, Guildenstern, and
Lords.
King.
And can you by no drift
of circumstance
Get from him why
he puts on
this Confusion:
Grating so
harshly all his dayes of quiet
With turbulent
and dangerous Lunacy.
5
Rosin. He
does confesse he
feeles himselfe distracted,
But from what
cause he will by no meanes speake.
Guil. Nor
do we finde him
forward to be
sounded,
But with a
crafty
Madnesse keepes
aloofe:
When we would
bring him on to some Confession
10
Of his true
state.
Qu. Did
he receiue you well?
Rosin.
Most like a Gentleman.
Guild.
But with much forcing
of his disposition.
Rosin.
Niggard of
question,
but of our demands
15
Most free in his
reply.
Qu. Did
you assay him
to any
pastime?
Rosin. Madam, it so fell
out,
that certaine Players
back
next
Actus
Tertius. Scena Prima.
act
scene
We ore-wrought
on the way: of these we told him,
And there did
seeme in him a kinde of ioy
20
To heare of it:
They are about the Court,
And (as I
thinke) they haue already order
This night to
play before him.
Pol. 'Tis
most true:
And he beseech'd
me to intreate your Maiesties
25
To heare, and
see the matter.
King.
With all my heart, and
it doth much content me
To heare him so
inclin'd. Good Gentlemen,
Giue him a
further edge, and
driue
his purpose on
To these
delights.
30
Rosin. We
shall my
Lord.
Exeunt.
King.
Sweet Gertrude leaue vs too,
For we haue
closely sent
for Hamlet
hither,
That he, as
'twere by accident, may there
Affront Ophelia.
Her Father, and my selfe (lawful
espials)
35
Will so bestow
our selues, that seeing vnseene
We may of their
encounter frankely iudge,
And gather by
him, as he is behaued,
If't be th'affliction
of his loue, or no.
That thus he
suffers for.
back
next
Actus
Tertius. Scena Prima.
act
scene
40
Qu.
I
shall obey
you,
And for your
part Ophelia, I do wish
That your good
Beauties be the happy cause
Of Hamlets
wildenesse: so shall I hope your Vertues
Will bring him
to his wonted
way againe,
45
To both
your
Honors.
Ophe.
Madam, I wish it may.
Pol. Ophelia,
walke you
heere. Gracious
so please ye
We will bestow
our selues: Reade on this booke,
That shew of
such an exercise may
colour
50
Your
lonelinesse.
We are oft too blame in this,
'Tis too much
prou'd, that with Deuotions
visage,
And pious
Action, we do surge o're
The diuell
himselfe.
King. Oh
'tis true:
55
How smart a lash
that speech doth giue my Conscience?
The Harlots
Cheeke beautied with plaist'ring
Art
Is not more vgly
to the thing that helpes it,
Then is my
deede, to my most painted
word.
Oh heauie
burthen!
60
Pol. I heare him comming, let's
withdraw my Lord.
Exeunt.
Ham. To
be, or not to be, that is the Question:
Whether 'tis
Nobler in the minde to suffer
The Slings and
Arrowes of outragious Fortune,
Or to take Armes
against a Sea of troubles,
65
And by opposing
end
them: to
dye, to sleepe
No more;
and by
a sleepe, to say we end
The Heart-ake,
and the thousand Naturall shockes
That Flesh is
heyre too? 'Tis
a consummation
Deuoutly to be
wish'd. To dye to sleepe,
70
To sleepe,
perchance to Dreame; I, there's the rub,
For in that
sleepe of death, what dreames may come,
When we haue
shufflel'd
off this mortall coile,
Must giue vs
pawse. There's the respect
That makes
Calamity of
so long life:
75
For who would
beare the Whips and Scornes of time,
The Oppressors
wrong, the poore mans Contumely,
The pangs of
dispriz'd
Loue, the Lawes
delay,
The insolence of
Office, and the Spurnes
That patient
merit of the vnworthy takes,
80
When he himselfe
might his Quietus make
With a bare
Bodkin?
Who would
these Fardles
beare
To grunt and
sweat vnder a weary life,
But that the dread of
something
after
death,
The vndiscouered
Countrey, from whose Borne
85
No Traueller
returnes, Puzels the will,
And makes vs
rather beare those illes we haue,
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next
Actus
Tertius. Scena Prima.
act
scene
Then flye to
others that we know not of.
Thus Conscience
does make Cowards of vs all,
And thus the
Natiue hew
of Resolution
90
Is sicklied
o're, with the pale cast of Thought,
And enterprizes
of great pith
and moment,
With this regard
their Currants
turne away,
And loose the
name of Action. Soft you now,
The faire
Ophelia? Nimph, in thy Orizons
95
Be all my sinnes
remembred.
Ophe.
Good my Lord,
How does your
Honor for this many a day?
Ham. I
humbly thanke you:
well, well,
well.
Ophe. My
Lord, I haue
Remembrances
of yours,
100
That I haue
longed long to
re-deliuer.
I pray you now,
receiue them.
Ham. No,
no, I neuer gaue you
ought.
Ophe. My
honor'd Lord, I know
right well you did,
And with them
words of so sweet breath compos'd,
105
As made the things
more rich, then perfume left:
Take these
againe, for to the Noble
minde
Rich
gifts wax
poore, when giuers proue vnkinde.
There my Lord.
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next
Actus
Tertius. Scena Prima.
act
scene
Ham.
Ha,
ha: Are you honest?
110
Ophe. My
Lord.
Ham. Are
you faire?
Ophe.
What meanes your
Lordship?
Ham. That
if you be honest
and faire, your Honesty
should admit no
discourse to your Beautie.
115
Ophe.
Could Beautie my Lord,
haue better Comerce
then your
Honestie?
Ham. I
trulie: for the power
of Beautie, will sooner
transforme
Honestie from what is, to a Bawd, then the
force of
Honestie can translate Beautie into his likenesse.
120
This was
sometime a Paradox, but now the
time giues
it
proofe. I did
loue you once.
Ophe.
Indeed my Lord, you made
me beleeue so.
Ham. You should not haue
beleeued me. For vertue
cannot so
innocculate
our old
stocke, but we shall rellish
125
of it. I loued
you not.
Ophe. I
was the more deceiued.
back
next
Actus
Tertius. Scena Prima.
act
scene
Ham. Get
thee to a Nunnerie.
Why would'st thou
be a breeder of
Sinners? I am my selfe indifferent
honest,
but yet I could
accuse me of such things, that it were bet-
130
ter my Mother
had not borne me. I am very prowd, re-
uengefull,
Ambitious, with more offences at my becke,
then I haue
thoughts to put them in imagination, to giue
them shape, or
time to acte them in. What should such
Fellowes as I
do, crawling betweene Heauen and Earth.
135
We are arrant
Knaues all, beleeue none of vs. Goe thy
wayes to a
Nunnery. Where's your
Father?
Ophe. At
home, my Lord.
Ham. Let the doores be shut
vpon him, that he may
play the Foole
no way, but in's
owne
house. Farewell.
140
Ophe. O
helpe him, you sweet
Heauens.
Ham. If
thou doest Marry, Ile
giue thee this Plague
for thy Dowrie.
Be thou as chast
as Ice, as
pure as Snow,
thou shalt not
escape Calumny. Get thee to
a Nunnery.
Go, Farewell. Or
if thou wilt needs Marry, marry a fool:
145
for Wise men know
well enough, what monsters you
make of them. To
a Nunnery go, and quickly too. Far-
well.
Ophe. O
heauenly Powers,
restore him.
back
next
Actus
Tertius. Scena Prima.
act
scene
Ham. I
haue heard of your
pratlings too wel enough.
150
God has
giuen
you one pace, and you make
your
selfe
an-
other: you
gidge, you amble, and you lispe, and
nickname
Gods creatures,
and make your Wantonnesse,
your Ig-
norance.
Go too,
Ile no more on't, it
hath made me mad.
I say, we will
haue no more Marriages. Those that are
155
married already,
all but one shall liue, the rest shall
keep
as they are. To
a Nunnery, go.
Ophe. O
what a Noble minde is heere o're-throwne?
The Courtiers,
Soldiers, Schollers: Eye, tongue, sword,
Th'expectansie
and Rose of the faire State,
160 The glasse of
Fashion, and the mould of Forme,
Th'obseru'd
of
all Obseruers, quite, quite downe.
Haue I of Ladies
most deiect and wretched,
That suck'd the
Honie of his Musicke Vowes:
Now see that
Noble, and most Soueraigne Reason,
165
Like sweet Bels
iangled out of tune, and harsh,
That vnmatch'd
Forme and Feature of blowne
youth,
Blasted with extasie.
Oh woe is me,
T'haue seene
what I haue seene: see what I see.
Enter King, and Polonius.
King.
Loue? His affections do
not that way tend,
170
Nor what he
spake, though it lack'd
Forme a
little,
Was not
like
Madnesse. There's something in his soule?
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Actus
Tertius. Scena Prima.
act
scene
O're which his
Melancholly sits
on brood,
And I do doubt
the hatch, and the disclose
Will be some
danger, which to preuent
175
I haue in quicke
determination
Thus set it
downe. He shall with speed to England
For the demand
of our neglected
Tribute:
Haply the Seas
and Countries different
With variable
Obiects, shall expell
180
This something
setled
matter in
his heart:
Whereon his
Braines still
beating,
puts him thus
From fashion of
himselfe. What thinke you on't?
Pol. It
shall do well. But yet
do I beleeue
The Origin and
Commencement of this greefe
185
Sprung from
neglected loue. How now Ophelia?
You neede not
tell vs, what Lord Hamlet saide,
We heard it all.
My Lord, do as you please,
But if you hold
it fit after the Play,
Let his Queene
Mother all alone intreat him
190
To shew his Greefes:
let her be round
with
him,
And Ile be
plac'd so, please you in the eare
Of all their
Conference. If she finde him not,
To England send
him: Or confine him where
Your wisedome
best shall thinke.
195
King.
It
shall be
so:
Madnesse in
great Ones, must not vnwatch'd go.
Exeunt.
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next
Actus
Tertius. Scena Secunda.
act
scene
Enter Hamlet, and two or three of the
Players.
Ham. Speake the Speech I pray
you, as I pronounc'd
it to you trippingly
on
the Tongue: But if you mouth
it,
as many of
your Players do, I had as liue
the Town-Cryer
had spoke my
Lines: Nor do not saw the Ayre too much
5
your hand thus, but vse all gently; for in the verie
Tor-
rent, Tempest,
and (as I may say) the Whirle-winde of
Passion, you
must acquire and beget
a Temperance that
may giue it
Smoothnesse. O it offends mee to the Soule,
to see a
robustious Pery-wig-pated
Fellow,
teare a Passi-
10
on to tatters, to verie ragges, to split the eares of
the
Groundlings: who (for
the
most part) are capeable of
nothing, but inexplicable
dumbe shewes, & noise: I could
haue such a
Fellow whipt for o're-doing Termagant: it
out- Herod's Herod. Pray you
auoid it.
15
Player. I warrant your
Honor.
Ham. Be
not too tame
neyther: but let your owne
Discretion be
your Tutor. Sute the Action to the Word,
the Word to
the Action, with this speciall obseruance:
That you
ore-stop not the modestie of Nature; for any
20
thing so ouer-done, is fr~o the purpose of Playing,
whose
end both at
the first and now, was and is, to hold as 'twer
the Mirrour vp
to Nature; to shew Vertue her owne
Feature,
Scorne her owne Image, and the verie Age and
Bodie
of the Time, his forme
and pressure.
Now, this
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next
Actus Tertius. Scena Secunda.
act
scene
25
ouer-done,
or come tardie
off,
though it make the
vnskil-
full laugh,
cannot but make
the Iudicious greeue; The
censure of the
which One, must in your allowance o're-
way a whole
Theater of Others. Oh, there bee Players
that I haue
seene Play, and heard others praise, and that
30
highly (not to speake it prophanely) that neyther
hauing
the accent of
Christians, nor the gate of Christian, Pagan,
or Norman,
haue so
strutted and bellowed, that I haue
thought some
of Natures Iouerney-men
had made men,
and not made
them well, they imitated Humanity so ab-
35
hominably.
Play. I hope we haue reform'd
that indifferently
with
vs, Sir.
Ham. O reforme it altogether.
And let those
that
play your
Clownes, speake no
more then is set downe for
40
them. For there be of
them, that will themselues
laugh,
to set on some
quantitie of barren Spectators to laugh
too, though in
the meane time, some necessary Question
of the Play be
then to be considered: that's Villanous, &
shewes a most
pittifull Ambition in the Foole that vses
45
it. Go make you readie.
Exit Players.
Enter Polonius,
Rosincrance, and Guildensterne.
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next
Actus Tertius. Scena Secunda.
act
scene
How now my Lord,
Will
the King heare this peece of Worke?
Pol.
And the Queene too, and that presently.
Ham.
Bid the Players make hast.
Exit Polonius.
50
Will you two helpe to hasten them?
Both. We will my Lord.
Exeunt.
Enter Horatio.
Ham. What hoa, Horatio?
Hora.
Heere sweet Lord, at your Seruice.
Ham. Horatio, thou art eene as
iust a man
55
As ere my Conuersation
coap'd withall.
Hora. O
my deere Lord.
Ham. Nay, do not thinke I flatter:
For what
aduancement may I hope from thee,
That no Reuennew hast,
but
thy good spirits
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next
Actus Tertius. Scena Secunda.
act
scene
60
To
feed & cloath thee. Why
shold the poor be
flatter'd?
No, let the Candied tongue,
like absurd pompe,
And crooke the pregnant
Hindges of the knee,
Where thrift may
follow
faining?
Dost thou
heare,
Since my deere
Soule was Mistris of my choyse,
65
And could of men distinguish, her election
Hath seal'd thee for
her
selfe. For thou hast bene
As one in
suffering all, that suffers
nothing.
A man that
Fortunes buffets, and Rewards
Hath 'tane
with equall Thankes. And blest are those,
70
Whose Blood and Iudgement are so well co-mingled,
That they are
not a Pipe for
Fortunes finger,
To sound what
stop she please. Giue me that man,
That is not Passions
Slaue, and I will weare him
In my hearts
Core: I, in my Heart of heart,
75
As I do thee. Something too much of this.
There is a
Play to night to before the King,
One Scoene of
it comes neere the Circumstance
Which I haue
told thee, of my Fathers death.
I prythee,
when thou see'st that Acte a-foot,
80
Euen with the verie Comment of my Soule
Obserue mine
Vnkle: If his occulted
guilt,
Do not it
selfe vnkennell
in one speech,
It is a damned
Ghost that we haue seene:
And
my Imaginations
are as
foule
85
As Vulcans
Stythe.
Giue him needfull note,
For I mine
eyes will riuet to his Face:
And
after we will both our iudgements
ioyne,
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next
Actus Tertius. Scena Secunda.
act
scene
To
censure
of his seeming.
Hora. Well my Lord.
90
If he steale ought the whil'st this Play is Playing,
And scape
detecting, I will pay
the Theft.
Enter
King,
Queene, Polonius, Ophelia, Rosincranoe,
Guildensterne, and other Lords attendant
with
his Guard carrying Torches. Danish
March.
Sound a
Flourish.
Ham. They are comming to the
Play: I must be idle.
Get you a
place.
King. How fares our Cosin
Hamlet?
95
Ham. Excellent Ifaith, of the
Camelions
dish: I
eate
the Ayre
promise-cramm'd, you cannot feed Capons
so.
King. I haue nothing with this
answer Hamlet, these
words are not
mine.
Ham. No, nor mine. Now my
Lord, you plaid once
100
i'th'Vniuersity, you
say?
Polon. That I did my Lord, and
was accounted a good
Actor.
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next
Actus Tertius. Scena Secunda.
act
scene
Ham. And what did you enact?
Pol. I did enact Iulius
Caesar,
I was kill'd i'th'Capitol:
105
Brutus kill'd me.
Ham. It was a bruite part of
him, to kill so Capitall a
Calfe there. Be
the Players
ready?
Rosin.
I my Lord, they stay
vpon your patience.
Qu.
Come hither my good Hamlet, sit by me.
110
Ha. No good Mother, here's Mettle more
attractiue.
Pol. Oh
ho, do you marke that?
Ham.
Ladie, shall I lye in your Lap?
Ophe.
No my Lord.
Ham. I meane, my Head vpon
your Lap?
115 Ophe. I my
Lord.
Ham. Do you thinke I meant Country
matters?
Ophe. I
thinke nothing, my Lord.
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next
Actus Tertius. Scena Secunda.
act
scene
Ham. That's a faire
thought to
ly betweene Maids legs
Ophe.
What is my Lord?
120
Ham.
Nothing.
Ophe. You are merrie, my Lord?
Ham. Who I?
Ophe. I my Lord.
Ham. Oh
God, your onely Iigge-maker:
what should
125
a man do, but be merrie. For looke you how cheereful-
ly my Mother
lookes, and my Father dyed within's two
Houres.
Ophe.
Nay, 'tis twice
two moneths,
my Lord.
Ham. So
long? Nay then let the Diuel weare
blacke,
130
for Ile haue a suite of
Sables.
Oh
Heauens! dye two
mo-
neths ago, and
not forgotten yet? Then there's hope, a
great mans
Memorie, may out-liue his life halfe a yeare:
But
byrlady he
must builde
Churches then: or
else shall
he suffer not
thinking on, with the Hoby-horsse, whose
135
Epitaph is, For
o, For o,
the Hoby-horse is forgot.
back
next
Actus Tertius. Scena Secunda.
act
scene
Enter a King and
Queene, very louingly ; the Queene embra-
cing him. She
kneeles,and makes shew of Protestation vnto
him. He takes her
vp, and dcclines his head vpon her neck
Layes him downe
vpon a Banke of Flowers. She seeing him
a-sleepe, leaues
him. Anon comes in a Fellow, takes off his
Crowne,kisses it,and powres
poyson in the Kings eares, and
Exits.
The Queene returnes , findes the King dead, and
makes passionate
Action. The Poysoner, with some two or
three Mutes
comes in againe, seeming to lament with her.
The dead body is
carried away : The Poysoner Wooes the
Queene with Gifts,
she seemes loath and vnwilling awhile,
but in the end,accepts his loue.
Exeunt
Ophe.
What meanes this, my Lord?
Ham. Marry this is Miching
Malicho, that
meanes
Mischeefe.
Ophe. Belike this shew imports
the Argument
of the
140
Play?
Ham. We shall know by these
Fellowes: the Players
cannot keepe
counsell, they'l tell all.
Ophe. Will they tell vs what
this shew meant?
back
next
Actus Tertius. Scena Secunda.
act
scene
Ham. I, or any shew that you'l
shew him. Bee not
145
you asham'd to
shew,
hee'l
not shame to tell you what
it
meanes.
Ophe.
You are naught, you are
naught, Ile marke the
Play.
Enter Prologue.
For vs,
and for our Tragedie,
150
Heere stooping to your Clemencie:
We begge your
hearing Patientlie.
Ham. Is this a Prologue, or
the Poesie of
a Ring?
Ophe. 'Tis briefe my Lord.
Ham. As Womans loue.
Enter King and
his Queene.
155
King. Full thirtie times hath
Phoebus Cart
gon
round,
Neptunes
salt Wash,
and Tellus
Orbed ground:
And
thirtie dozen Moones with borrowed
sheene,
About the
World haue times twelue thirties beene,
Since loue our
hearts, and Hymen
did our hands
160
Vnite comutuall, in most sacred Bands.
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next
Actus Tertius. Scena Secunda.
act
scene
Bap. So many iournies may the
Sunne and Moone
Make vs againe
count o're, ere loue be done.
But
woe is me, you are so
sicke of late,
So
farre from cheere, and from your forme state,
165
That I distrust
you: yet
though I distrust,
Discomfort
you (my Lord)
it nothing must:
For womens
Feare and Loue, holds quantitie,
In
neither ought,
or in extremity:
Now what my
loue is, proofe hath made you know,
170
And as my Loue is siz'd, my Feare is so.
King. Faith I must leaue thee
Loue, and shortly too:
My operant
Powers my
Functions leaue
to do:
And thou shalt
liue in this faire world behinde,
Honour'd,
belou'd, and haply, one as kinde.
175
For Husband shalt thou---
Bap. Oh
confound the rest:
Such Loue,
must needs be Treason in my brest:
In second
Husband, let me be accurst,
None wed the
second, but who kill'd
the first.
180
Ham. Wormwood,
Wormwood.
Bapt. The instances that
second Marriage moue,
Are base
respects of Thrift, but none of Loue.
A second time,
I kill my Husband dead,
When second
Husband kisses me in Bed.
back
next
Actus Tertius. Scena Secunda.
act
scene
185
King. I do beleeue you. Think
what now you speak:
But
what we do determine, oft we breake:
Purpose is but the slaue
to Memorie,
Of violent
Birth, but poore
validitie:
Which now like
Fruite vnripe stickes on the Tree,
190
But fall vnshaken, when they mellow
bee.
Most necessary
'tis, that we forget
To pay our
selues, what to our selues is debt:
What to our
selues in passion we propose,
The passion
ending, doth the purpose lose.
195
The violence of other Greefe or Ioy,
Their owne
ennactors with themselues destroy:
Where Ioy most
Reuels, Greefe doth most lament;
Greefe ioyes,
Ioy greeues on slender
accident.
This world is
not for aye,
nor 'tis not strange
200
That euen our Loues should with our Fortunes change.
For 'tis a
question left vs yet to proue,
Whether Loue
lead Fortune, or else Fortune Loue.
The great man
downe, you marke his fauourites flies,
The poore
aduanc'd, makes Friends of Enemies:
205
And
hitherto doth Loue on Fortune tend,
For who not
needs, shall neuer lacke a Frend:
And who in
want a hollow
Friend doth try,
Directly
seasons him his Enemie.
But orderly to
end, where I begun,
210
Our Willes and Fates do so contrary run,
That our
Deuices still are ouerthrowne,
Our thoughts
are ours, their ends none of our owne.
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next
Actus Tertius. Scena Secunda.
act
scene
So
thinke thou wilt no second Husband wed.
But die thy
thoughts, when thy first Lord is dead.
215
Bap. Nor Earth to giue me food, nor Heauen
light,
Sport and
repose locke from me day and night:
Each
opposite
that blankes the face of ioy,
Meet
what I
would haue well, and it destroy:
Both heere,
and hence, pursue me lasting strife,
220
If once a Widdow, euer I be Wife.
Ham. If
she should breake it now.
King. 'Tis
deepely sworne:
Sweet, leaue
me heere a while,
My spirits
grow dull, and faine I would beguile
225
The tedious day with sleepe.
Qu.
Sleepe rocke thy Braine,
Sleepes
And
neuer come mischance betweene vs twaine.
Exit
Ham.
Madam, how like you this Play?
Qu. The
Lady protests to much me thinkes.
back
next
Actus Tertius. Scena Secunda.
act
scene
230
Ham. Oh but shee'l keepe her
word.
King.
Haue you heard the Argument, is there no Of-
fence in't?
Ham.
No, no, they do but iest, poyson in iest, no Of-
fence
i'th'world.
235
King. What do you call the Play?
Ham. The Mouse-trap:
Marry how? Tropically:
This Play is
the Image of a murder
done in Vienna: Gon-
zago is the
Dukes name, his wife Baptista: you shall see
anon: 'tis a
knauish peece of worke: But what o'that?
240
Your Maiestie, and wee that haue free soules, it
touches
vs not: let
the gall d
iade
winch: our withers are vnrung.
Enter Lucianus.
This
is one Lucianus nephew to the King.
Ophe. You are a good Chorus,
my Lord.
Ham. I could interpret
betweene you and your loue:
245
if I could see the Puppets
dallying.
Ophe. You are keene my
Lord, you are keene.
back
next
Actus Tertius. Scena Secunda.
act
scene
Ham.
It would cost you a groaning, to take off my
edge.
Ophe.
Still better and worse.
250
Ham. So you mistake Husbands.
Begin
Murderer. Pox, leaue thy damnable Faces, and
begin. Come,
the croaking
Rauen doth bellow for Re-
uenge.
Lucian. Thoughts blacke, hands
apt,
255
Drugges fit, and Time agreeing:
Confederate
season, else,
no Creature seeing:
Thou mixture
ranke, of Midnight
Weeds collected,
With Hecats Ban,
thrice blasted, thrice
infected,
Thy naturall
Magicke, and dire propertie,
260
On wholsome life, vsurpe
immediately.
Ham. He poysons him
i'th'Garden for's estate: His
name's
Gonzago: the Story is extant and writ in choyce
Italian. You
shall see anon how the Murtherer gets the
loue of
Gonzago's wife.
265
Ophe. The King
rises.
back
next
Actus Tertius. Scena Secunda.
act
scene
Ham. What, frighted with false fire.
Qu. How fares my Lord?
Pol.
Giue o're the Play.
King.
Giue me some
Light. Away.
270 All.
Lights, Lights, Lights.
Exeunt
Manet Hamlet
& Horatio.
Ham. Why let the strucken
Deere go weepe,
The Hart vngalled play:
For some must watch, while
some must sleepe;
So runnes the
world away.
275
Would not this Sir, and a Forrest of Feathers, if
the rest
of
my
Fortunes tutne
Turke with
me; with two Prouinciall
Roses on my rac'd
Shooes, get
me a Fellowship in a crie
of Players sir.
Hor. Halfe a share.
280
Ham. A whole one
I,
For thou dost
know: Oh Damon
deere,
This Realme
dismantled was of Ioue
himselfe,
back
next
Actus Tertius. Scena Secunda.
act
scene
And
now reignes heere.
A
verie verie Paiocke.
285
Hora.
You might haue Rim'd.
Ham. Oh good Horatio, Ile take
the Ghosts word for
a thousand
pound. Did'st perceiue?
Hora. Verie well my Lord.
Ham. Vpon the talke of the
poysoning?
290
Hora. I did verie well note
him.
Enter Rosincrance and
Guildensterne.
Ham. Oh, ha? Come some Musick.
Come y Recorders:
For if the
King like not the Comedie,
Why
then belike he likes it not perdie.
Come some
Musicke.
295
Guild. Good my Lord, vouchsafe
me a word with you.
Ham. Sir, a whole History.
Guild.
The King, sir.
Ham. I sir, what of him?
back
next
Actus Tertius. Scena Secunda.
act
scene
Guild.
Is in his retyrement,
maruellous distemper'd.
300
Ham. With drinke
Sir?
Guild. No my Lord, rather with
choller.
Ham. Your wisedome should shew
it selfe more ri-
cher, to
signifie this to his Doctor: for for me to put him
to his
Purgation, would perhaps plundge him into farre
305
more Choller.
Guild. Good my Lord put your
discourse into some
frame, and start not so
wildely from my affayre.
Ham. I am tame Sir, pronounce.
Guild. The Queene your Mother,
in most great affli-
310
ction of spirit, hath sent me to you.
Ham. You are welcome.
Guild. Nay, good my Lord, this
courtesie is not of
the right
breed.
If it
shall please you to make me a whol-
some answer, I
will doe your Mothers command'ment:
315
if not, your pardon, and my returne shall bee the end
of
my Businesse.
Ham. Sir, I cannot.
back
next
Actus Tertius. Scena Secunda.
act
scene
Guild. What, my Lord?
Ham.
Make you a wholsome
answere: my wits dis-
320
eas'd. But sir, such answers as I can make, you shal
com-
mand: or
rather you say, my Mother: therfore no more
but to the
matter. My Mother you say.
Rosin. Then thus she sayes:
your behauior hath stroke
her into
amazement, and admiration.
325
Ham. Oh wonderfull Sonne, that
can so astonish a
Mother. But is
there no sequell
at the heeles of this Mo-
thers
admiration?
Rosin. She desires to speake with
you in her Closset,
ere you go to
bed.
330
Ham. We shall obey, were she
ten times our Mother.
Haue you any
further Trade with vs?
Rosin. My Lord, you once did
loue me.
Ham. So I do still, by these
pickers
and stealers.
Rosin. Good my Lord, what is
your cause of distem-
335
per? You do freely
barre the
doore of your owne
Liber-
tie, if you
deny your greefes to your Friend.
back
next
Actus Tertius. Scena Secunda.
act
scene
Ham.
Sir I lacke
Aduancement.
Rosin.
How can that be, when you haue the voyce of
the King
himselfe, for your Succession in Denmarke?
340 Ham. I,
but while the grasse growes, the Prouerbe
is
something
musty.
Enter one with a Recorder.
O the
Recorder. Let me see, to withdraw with you, why
do you go
about to recouer the winde of mee, as if you
would driue me
into
a toyle?
345
Guild. O my Lord, if my Dutie
be too bold, my loue
is too
vnmannerly.
Ham. I do not well vnderstand
that. Will you play
vpon this Pipe?
Guild.
My Lord, I cannot.
350
Ham. I pray
you.
Guild. Beleeue me, I cannot.
Ham. I do beseech you.
back
next
Actus Tertius. Scena Secunda.
act
scene
Guild. I know no touch of it,
my Lord.
Ham. 'Tis as easie as lying:
gouerne these Ventiges
355
with your finger and thumbe, giue it breath with your
mouth, and it
will discourse most excellent Musicke.
Looke you,
these are the stoppes.
Guild. But these cannot I
command to any vtterance
of hermony, I
haue not the skill.
360
Ham. Why looke you now, how
vnworthy a thing
you make of
me: you would play vpon mee; you would
seeme to know
my stops: you would pluck out the heart
of
my Mysterie; you would
sound
mee from my lowest
Note, to the
top of my Compasse:
and there is much Mu-
365
sicke, excellent Voice, in this little Organe, yet
cannot
you make it.
Why do you thinke, that I am easier to bee
plaid on, then
a Pipe? Call me what Instrument you will,
though you can
fret
me, you
cannot play
vpon me.
God
blesse you Sir.
Enter Polonius.
370
Polon. My Lord; the Queene
would speak with you,
and presently.
Ham. Do you see that Clowd?
that's almost in shape
like a Camell.
back
next
Actus Tertius. Scena Secunda.
act
scene
Polon. By'th'Misse, and it's
like a Camell indeed.
375
Ham.
Me thinkes it is like a
Weazell.
Polon.
It is back'd like a Weazell.
Ham. Or like a Whale?
Polon. Verie like a Whale.
Ham. Then
will I come to my Mother, by and by:
380
They
foole me to the top of my
bent.
I will come by
and by.
Polon. I will say so.
Exit.
Ham. By and by, is easily
said. Leaue me Friends:
'Tis now the
verie witching
time of night,
385
When Churchyards
yawne,
and Hell it selfe breaths out
Contagion
to this world.
Now could I drink hot blood,
And do such
bitter businesse as the day
Would
quake to looke on. Soft now,
to my Mother:
Oh Heart,
loose not thy Nature; let not euer
390
The Soule of Nero, enter this
firme bosome:
Let me be
cruell, not vnnaturall,
I will speake
Daggers to her, but vse none:
back
next
Actus Tertius. Scena Secunda.
act
scene
My
Tongue and
Soule in this be Hypocrites.
How
in my
words someuer she be shent,
395
To giue
them Seales, neuer
my Soule consent.
back
next
Actus
Tertius. Scena Tertia.
act
scene
Enter King,
Rosincrance, and Guildensterne.
King. I
like him not, nor stands it
safe with vs,
To let his
madnesse range.
Therefore prepare you,
I your
Commission will forthwith dispatch,
And he to
England shall along with you:
5
The termes
of our
estate, may
not endure
Hazard so
dangerous as doth hourely grow
Out of his
Lunacies.
Guild.
We will our selues prouide:
Most holie
and
Religious feare it is
10
To keepe those many many bodies safe
That liue and
feede vpon your Maiestie.
Rosin. The single
And
peculiar life
is bound
With all the
strength and Armour of the minde,
15
To keepe it selfe from noyance:
but much more,
That Spirit,
vpon whose spirit depends and rests
The liues of
many, the cease
of Maiestie
Dies not
alone; but like a Gulfe
doth draw
What's neere
it, with it. It is a massie
wheele
20
Fixt on the Somnet
of the
highest Mount,
To whose huge
Spoakes, ten thousand lesser things
Are mortiz'd and
adioyn'd:
which when it falles,
Each small annexment,
pettie consequence
Attends
the boystrous
Ruine.
Neuer alone
back
next
Actus Tertius. Scena Tertia.
act
scene
25
Did
the King sighe, but with a generall
grone.
King. Arme you, I pray
you to this speedie Voyage;
For we will
Fetters put vpon
this feare,
Which now goes
too free-footed.
Both.
We will haste vs.
Exeunt Gent.
Enter Polonius.
30
Pol. My Lord, he's going to his Mothers
Closset:
Behinde the Arras Ile conuey my selfe
To heare the Processe. Ile warrant
shee'l
tax him home,
And as you
said, and wisely was it said,
'Tis meete
that some more audience then a Mother,
35
Since Nature makes them partiall, should o're-heare
The speech of
vantage. Fare you well my Liege,
Ile call vpon
you ere you go to bed,
And tell you
what I know.
King. Thankes deere my
Lord.
40
Oh my offence is ranke, it smels to heauen,
It hath the primall
eldest curse vpon't,
A Brothers
murther. Pray
can I not,
Though
inclination be as sharpe as will:
My
stronger guilt, defeats my strong intent,
45
And
like a man to double
businesse bound,
back
next
Actus Tertius. Scena Tertia.
act
scene
I stand
in pause where I shall first begin,
And both
neglect; what if this cursed hand
Were thicker
then it selfe with Brothers blood,
Is there not
Raine enough in the sweet Heauens
50
To wash it white as Snow?
Whereto
serues
mercy,
But to
confront the visage of Offence?
And what's in Prayer, but
this two-fold
force,
To be
fore-stalled ere we come to fall,
Or pardon'd
being downe? Then Ile looke vp,
My fault is
past. But oh, what forme of Prayer
55
Can serue my turne? Forgiue me my foule Murther:
That cannot
be, since I am still possest
Of those
effects for which I did the Murther.
My Crowne,
mine owne Ambition, and my Queene:
May one be
pardon'd, and retaine
th'offence?
60
In the corrupted currants
of this world,
Offences
gilded hand may
shoue by Iustice,
And oft 'tis
seene, the wicked prize it selfe
Buyes out the
Law; but 'tis not so aboue,
There is no shuffling,
there the Action lyes
65
In his true Nature, and we our selues compell'd
Euen to the teeth
and
forehead of our faults,
To giue in
euidence. What then? What rests?
Try what
Repentance can. What can it not?
Yet what can
it, when one cannot repent?
70
Oh
wretched state! Oh bosome, blacke as death!
Oh limed
soule, that
strugling to be free,
Art
more ingag'd: Helpe
Angels, make assay:
back
next
Actus Tertius. Scena Tertia.
act
scene
Bow stubborne
knees, and heart with strings of Steele,
Be soft as
sinewes of the new-borne Babe,
75
All may be well.
Enter Hamlet.
Ham.
Now might I do it pat,
now he is praying,
And now Ile
doo't, and so he goes to Heauen,
And so am I
reueng'd: that would be scann'd,
A Villaine
killes my Father, and for that
80
I his foule
Sonne, do this same
Villaine send
To heauen. Oh
this is hyre
and Sallery, not
Reuenge.
He tooke my
Father grossely, full of bread,
With all his
Crimes broad blowne, as fresh
as May,
And how his Audit stands, who
knowes, saue Heauen:
85
But in our circumstance and course of thought
'Tis heauie
with him: and am I then reueng'd,
To take him in
the purging of his Soule,
When he is fit
and season'd for his passage? No.
Vp Sword, and
know thou a more horrid hent
90
When he is drunke asleepe: or in his Rage,
Or in
th'incestuous pleasure of his bed,
At gaming,
swearing, or about some acte
That ha's no rellish of
Saluation in't,
Then
trip him, that his heeles may kicke at Heauen,
95
And that his Soule may be as damn'd aud blacke
As
Hell, whereto it goes. My Mother stayes,
This
Physicke
but
prolongs thy sickly
dayes.
back
next
Actus Tertius. Scena Tertia.
act
scene
Exit.
King. My words flye vp,
my thoughts remain below,
Words without
thoughts, neuer to Heauen go.
Exit.
back
next
Actus
Tertius.
Scena Quarta.
act
scene
Enter
Queene and Polonius.
Pol.
He will come
straight:
Looke
you lay home
to him,
Tell
him his prankes
haue been
too broad to beare with,
And
that your Grace hath
scree'nd, and stoode betweene
5
Much
heate, and
him. Ile
silence me e'ene
heere:
Pray
you be round with him.
Ham. within.
Mother,
mother, mother.
Qu.
Ile warrant you,
feare me not.
Withdraw,
I heare him comming.
Enter
Hamlet.
10
Ham.Now
Mother, what's
the
matter?
Qu.
Hamlet, thou hast
thy Father much offended.
Ham.
Mother, you haue
my
Father much offended.
Qu.
Come, come, you
answer with an idle
tongue.
Ham.
Go, go, you
question with an idle tongue.
15
Qu.
Why how now
Hamlet?
back
next
Actus
Tertius.
Scena Quarta.
act
scene
Ham.
Whats the matter
now?
Qu.
Haue you forgot me?
Ham.
No by the
Rood,
not
so:
You
are the Queene, your
Husbands Brothers wife,
20
But
would you were not so. You
are my
Mother.
Qu.
Nay, then Ile set
those to you that can speake.
Ham.
Come, come, and
sit
you downe, you shall not
boudge:
You
go not till I set you vp a
glasse,
25
Where
you may see the inmost
part of
you?
Qu.
What wilt thou do?
thou wilt not murther me?
Helpe,
helpe, hoa.
Pol.
What hoa, helpe,
helpe, helpe.
Ham.
How now, a Rat?
dead for
a Ducate, dead.
30
Pol.
Oh I am
slaine.
Killes
Polonius.
Qu.
Oh me, what hast
thou done?
back
next
Actus
Tertius.
Scena Quarta.
act
scene
Ham.
Nay I know not, is
it the King?
Qu.
Oh what a rash, and
bloody deed is this?
Ham.
A bloody deed,
almost as bad good Mother,
35
As
kill a King, and marrie
with his
Brother.
Qu.
As kill a
King?
Ham.
I Lady, 'twas my
word.
Thou
wretched, rash, intruding
foole farewell,
I
tooke thee for thy Betters,
take thy Fortune,
40
Thou
find'st to be too
busie,
is some
danger.
Leaue
wringing of
your hands,
peace, sit you downe,
And
let me wring your heart,
for so I shall
If
it be made of penetrable
stuffe;
If
damned Custome haue not
braz'd it so,
45
That
it is proofe and bulwarke
against
Sense.
Qu.
What haue I done,
that thou dar'st wag thy tong,
In
noise so rude against me?
Ham.
Such an Act
That
blurres the grace and
blush of Modestie,
50
Cals
Vertue Hypocrite, takes
off the
Rose
From
the faire
forehead of an
innocent loue,
And
makes a blister there.
Makes marriage vowes
As
false as Dicers
Oathes. Oh
such a deed,
back
next
Actus
Tertius.
Scena Quarta.
act
scene
As
from the body of
Contraction
pluckes
55
The
very soule, and sweete
Religion
makes
A
rapsidie of words. Heauens
face doth glow,
Yea
this solidity
and compound
masse,
With
tristfull visage as
against the
doome,
Is
thought-sicke
at the act.
60
Qu.
Aye me; what act,
that roares so lowd, &
thun-
ders
in the Index.
Ham.
Looke heere vpon
this Picture, and on this,
The
counterfet
presentment of
two Brothers:
See
what a grace was seated on
his Brow,
65
Hyperions
curles,
the front
of
Ioue
himselfe,
An
eye like Mars, to threaten
or command
A
Station, like the Herald
Mercurie
New
lighted on a
heauen-kissing
hill:
A
Combination, and a forme
indeed,
70
Where
euery God did seeme to
set his
Seale,
To
giue the world assurance of
a man.
This
was your Husband. Looke
you now what followes.
Heere
is your Husband, like a
Mildew'd eare
Blasting
his wholsom breath.
Haue you eyes?
75
Could
you on this faire
Mountaine leaue to
feed,
And
batten on this
Moore? Ha?
Haue you eyes?
You
cannot call it Loue: For
at your age,
The
hey-day
in the blood
is
tame, it's humble,
And
waites vpon the Iudgement:
and what Iudgement
back
next
Actus
Tertius.
Scena Quarta.
act
scene
80
Would
step from this, to this?
What diuell
was't,
That
thus hath cousend
you at
hoodman-blinde?
O
Shame! where is thy Blush?
Rebellious Hell,
If
thou canst mutine in a
Matrons
bones,
To
flaming youth, let Vertue
be as waxe,
85
And
melt in her owne fire.
Proclaime no
shame,
When
the compulsiue Ardure
giues the
charge,
Since
Frost it selfe, as
actiuely doth burne,
As
Reason panders Will.
Qu.
O Hamlet, speake no
more.
90
Thou
turn'st mine eyes into my
very
soule,
And
there I see such blacke
and grained
spots,
As
will not leaue their Tinct.
Ham.
Nay, but to liue
In
the ranke sweat
of an
enseamed bed,
95
Stew'd
in Corruption; honying
and making
loue
Ouer
the nasty Stye.
Qu.
Oh speake to me, no
more,
These
words like Daggers enter
in mine eares.
No
more sweet Hamlet.
100
Ham.
A Murderer, and a
Villaine:
A
Slaue, that is not twentieth
patt the tythe
Of
your precedent Lord. A vice
of Kings,
A
Cutpurse of
the Empire and
the Rule.
back
next
Actus
Tertius.
Scena Quarta.
act
scene
That
from a shelfe, the
precious Diadem
stole,
105
And
put it in his
Pocket.
Qu.
No more.
Enter Ghost.
Ham.
A King of shreds
and patches.
Saue
me; and houer o're me
with your wings
You
heauenly Guards. What
would you gracious figure?
110
Qu.
Alas he's
mad.
Ham.
Do you not come
your tardy Sonne to chide,
That
laps't in Time and
Passion, lets go by
Th'important
acting of your
dread command? Oh say.
Ghost.
Do not forget:
this Visitation
115
Is
but to whet thy
almost
blunted
purpose.
But
looke, Amazement on thy
Mother sits;
O
step betweene her, and her
fighting Soule,
Conceit
in weakest bodies,
strongest workes.
Speake
to her Hamlet.
120
Ham.
How is it with you
Lady?
Qu.
Alas, how is't with
you?
That
you bend your eye on
vacancie,
back
next
Actus
Tertius.
Scena Quarta.
act
scene
And
with their
corporall ayre
do hold
discourse.
Forth
at your eyes, your
spirits wildely peepe,
125
And
as the sleeping Soldiours
in th'Alarme,
Your
bedded haire, like life
in excrements,
Start
vp, and stand an end. Oh
gentle Sonne,
Vpon
the heate and flame of
thy distemper
Sprinkle
coole patience.
Whereon do you looke?
130
Ham.
On him, on him:
look you how pale he glares,
His
forme and cause conioyn'd,
preaching to stones,
Would
make them capeable. Do
not looke vpon me,
Least
with this pitteous
action you conuert
My
sterne effects: then what I
haue to do,
135
Will
want true colour; teares
perchance for blood.
Qu.
To who do you speake
this?
Ham.
Do you see nothing
there?
Qu.
Nothing at all, yet
all that is I see.
Ham.
Nor did you
nothing
heare?
140
Qu.
No, nothing but our
selues.
Ham.
Why look you there:
looke how it steals away:
My
Father in his habite, as he
liued,
Looke
where he goes euen now
out at the Portall.
back
next
Actus
Tertius.
Scena Quarta.
act
scene
Exit.
Qu.
This is the very
coynage of
your Braine,
145
This
bodilesse
Creation
extasie is very cunning
in.
Ham.
Extasie?
My
Pulse as yours doth
temperately keepe time,
And
makes as healthfull
Musicke. It is not madnesse
That
I haue vttered; bring me
to the Test
150
And
I the matter will re-word:
which
madnesse
Would
gamboll from.
Mother,
for loue
of Grace,
Lay
not a flattering Vnction
to your soule,
That
not your trespasse, but
my madnesse speakes:
It
will but skin and
filme the
Vlcerous place,
155
Whil'st
ranke Corruption
mining all
within,
Infects
vnseene. Confesse your
selfe to Heauen,
Repent
what's past, auoyd what
is to come,
And
do not spred the Compost
or the Weedes,
To
make them ranke. Forgiue me
this my Vertue,
160
For
in the fatnesse of
this
pursie
times,
Vertue
it selfe, of Vice must
pardon begge,
Yea
courb, and woe, for
leaue
to do him good.
Qu.
Oh Hamlet,
Thou
hast cleft my
heart in
twaine.
165
Ham.
O throw away the
worser part of
it,
And
liue the purer with the
other halfe.
back
next
Actus
Tertius.
Scena Quarta.
act
scene
Good
night, but go not to mine
Vnkles bed,
Assume
a Vertue, if you haue
it not, refraine to night,
And
that shall lend a kinde of
easinesse
170
To
the next abstinence. Once
more goodnight,
And
when
you are
desirous to
be blest,
Ile
blessing begge of you. For
this same Lord,
I
do repent: but heauen hath
pleas'd it so,
To
punish me with this, and
this with me,
175
That
I must be their Scourge
and Minister.
I
will bestow him, and will
answer well
The
death I gaue him: so
againe, good night.
I
must be cruell, onely to be
kinde;
Thus
bad begins, and worse
remaines behinde.
180
Qu.
What shall I
do?
Ham.
Not
this by no
meanes that I bid you do:
Let
the blunt King tempt you
againe to bed,
Pinch
Wanton on your cheeke,
call you his Mouse,
And
let him for a paire of
reechie kisses,
185
Or
padling in your necke with
his damn'd
Fingers,
Make
you to rauell all
this
matter out,
That
I essentially am not in
madnesse,
But
made in craft. 'Twere good
you let him know,
For
who that's but a Queene,
faire, sober, wise,
190
Would
from a Paddocke,
from a
Bat, a
Gibbe,
Such
deere concernings hide,
Who would do so,
No
in despight of Sense and
Secrecie,
back
next
Actus
Tertius.
Scena Quarta.
act
scene
Vnpegge
the Basket on the
houses top:
Let
the Birds flye, and like
the famous Ape
195
To
try Conclusions in the
Basket,
creepe
And
breake
your owne
necke
downe.
Qu.
Be thou assur'd, if
words be made of breath,
And
breath of life: I haue no
life to breath
What
thou hast saide to me.
200
Ham.
I must to England,
you know
that?
Qu.
Alacke I had
forgot:
'Tis so concluded on.
Ham.
This man shall set
me packing:
Ile
lugge the Guts into the
Neighbor roome,
Mother
goodnight. Indeede this
Counsellor
205
Is
now most still, most
secret, and most
graue,
Who
was in life, a foolish
prating Knaue.
Come
sir, to draw toward an
end with you.
Good
night Mother.
Exit
Hamlet tugging in Polonius.
back
next
Actus Quartus. Scena Prima.
act
scene
Enter
King.
King. There's matters in these
sighes.
These profound
heaues
You must translate; Tis
fit we vnderstand them.
Where is your
Sonne?
King.
What Gertrude? How do's Hamlet?
Qu. Mad as the Seas, and
winde, when both contend
Which is the
Mightier, in his lawlesse fit
Behinde the
Arras, hearing something stirre,
10
He whips his Rapier out, and
cries
a Rat, a Rat,
And
in his brainish
apprehension killes
The vnseene
good old man.
King.
On heauy deed:
It had bin so
with vs had we beene there:
15
His Liberty is full of threats
to
all,
To
you your selfe, to vs, to
euery one.
Alas, how
shall this bloody deede be answered?
It will be laide to vs,
whose prouidence
Should haue
kept short, restrain'd, and out
of haunt,
20
This mad yong man. But so much was
out loue,
back
next
Actus Quartus. Scena Prima.
act
scene
But like the
Owner of a foule disease,
To
keepe it from divulging,
let's it feede
Euen on the pith of life.
Where
is he gone?
25
Qu.
To draw apart
the body he
hath
kild,
O're
whom his very madnesse
like some Oare
Shewes it
selfe pure.
He weepes for what is done.
King.
Oh Gertrude, come away:
30
The Sun no sooner shall the
Mountaines touch,
But
we will ship him hence,
and this vilde deed,
We must with
all our Maiesty and Skill
Both countenance,
and excuse.
Enter
Ros. & Guild.
Ho
Guildenstern:
Hamlet
in madnesse hath
Polonius slaine,
And from his
Mother Clossets hath he drag'd him.
Go seeke him
out, speake faire, and bring the body
Into the
Chappell. I pray you hast in this.
Exit
Gent.
40
Come Gertrude, wee'l
call vp
our
wisest
friends,
To
let them know both what we
meane to do,
back
next
Actus Quartus. Scena Prima.
act
scene
And
what's vntimely done. Oh come away,
My
soule is full of discord and dismay.
Exeunt.
back
next
Actus Quartus. Scena Secunda.
act
scene
15
Ham. I sir, that sokes vp the
Kings Countenance, his
Rewards,
his Authorities (but such Officers do the King
best
seruice in the end. He keepes them like an Ape in
the corner of his iaw, first
mouth'd to be last swallowed,
when he needes what you haue
glean'd, it is but squee-
20
zing you, and Spundge you shall be dry againe.
Rosin.
I vnderstand you not my Lord.
Ham. I
am glad of it: a knauish speech sleepes
in a
foolish eare.
Rosin.
My Lord, you must tell vs where the body is,
25
and go with vs to the King.
Ham. The
body is with the King, but the King is not
with the body.
The
King, is a thing---
Guild.
A thing my Lord?
Ham. Of
nothing: bring me to him, hide
Fox,
and all
30
after.
Exeunt
back
next
Actus Quartus. Scena
Tertia.
act
scene
King. I haue sent to seeke
him, and to find the bodie:
How dangerous
is it that this man goes loose:
Yet must not
we put the strong Law on him:
Hee's loued of
the distracted
multitude,
5
Who like not in their iudgement, but their eyes:
And where 'tis
so, th'Offenders scourge
is weigh'd
But neerer the
offence: to
beare all smooth, and euen,
This sodaine
sending him away, must seeme
Deliberate
pause, diseases desperate growne,
10
By desperate appliance
are
releeued,
Or not at all.
Enter
Rosincrane.
How now? What
hath befalne?
Rosin. Where
the dead body is bestow'd my Lord,
We cannot get
from him.
15
King. But where is
he?
Rosin.
Without my Lord, guarded to know your
pleasure.
King. Bring him before vs.
back
next
Actus Quartus. Scena
Tertia.
act
scene
Rosin. Hoa, Guildensterne? Bring in
my Lord.
Enter
Hamlet and Guildensterne.
20
King. Now Hamlet, where's
Polonius?
Ham. At Supper.
King.
At Supper? Where?
Ham.
Not where he eats, but where he is eaten, a cer-
taine conuocation
of
wormes are e'ne at him. Your worm
25
is your onely Emperor
for
diet. We fat all
creatures
else
to fat vs, and
we fat our selfe for Magots. Your fat King,
and your leane
Begger is but variable seruice to dishes,
but to one
Table that's the end.
King. What dost thou meane by
this?
30
Ham. Nothing but to shew you how a King may
go
a Progresse
through the
guts of a Begger.
King.
Where is Polonius.
Ham. In
heauen, send thither to see. If your Messen-
ger finde him
not there, seeke him i'th other place your
35
selfe: but indeed, if you finde him not this moneth,
you
shall
nose him as you
go vp the
staires into the Lobby.
back
next
Actus Quartus. Scena
Tertia.
act
scene
King. Go seeke him there.
Ham. He
will stay till ye come.
K.
Hamlet, this deed of thine, for thine especial safety
40
Which we do tender, as we deerely greeue
For that which
thou hast done, must send thee hence
With fierie
Quicknesse. Therefore prepare thy selfe,
The Barke is readie,
and the
winde at helpe,
Th'Associates
tend, and euery thing at bent
45
For England.
Ham.
For England?
King. I
Hamlet.
Ham.
Good.
King.
So is it, if thou knew'st our purposes.
50
Ham. I see a Cherube
that see's him: but come,
for
England.
Farewell
deere
Mother.
King.
Thy louing Father Hamlet.
Hamlet. My Mother: Father and
Mother is man and
wife: man
& wife is one flesh, and so my mother. Come,
55
for England.
Exit
back
next
Actus Quartus. Scena
Tertia.
act
scene
Tempt
him with speed aboord:
Delay it not,
Ile haue him hence to night.
Away, for
euery thing is Seal'd and done
60
That else leanes on th'Affaire, pray
you make hast.
And England,
if my loue
thou holdst at ought,
As my great
power thereof
may giue thee sense,
Since yet thy Cicatrice
lookes raw and red
After the Danish Sword,
and thy free awe
65
Payes homage to vs; thou maist not
coldly set
Our Soueraigne
Processe,
which imports at full
By Letters coniuring to
that effect
The present
death of Hamlet. Do it England,
For like the Hecticke in my
blood he rages,
70
And thou must cure me: Till I know 'tis done,
How ere my happes, my ioyes
were ne're begun.
Exit
back
next
Enter Fortinbras with an Armie.
For. Go
Captaine, from me greet
the Danish King,
Tell him that
by his license, Fortinbras
Claimes the
conueyance of a promis'd
March
Ouer his
Kingdome. You know the Rendeuous:
5
If that his Maiesty would ought with vs,
We shall
expresse our dutie in his eye,
And let him
know so.
Cap. I
will doo't, my Lord.
For. Go
safely on.
Exit.
back
next
Actus
Quartus. Scena Quinta.
act
scene
Enter
Queene and Horatio.
Qu. I will not speake with her.
Hor. She is importunate,
indeed distract, her moode
will needs be
pittied.
Qu. What would she haue?
5
Hor. She speakes much of her
Father; saies she heares
There's trickes
i'th'world,
and hems, and beats her
heart,
Spurnes enuiously
at Strawes,
speakes things in doubt,
That carry but
halfe sense: Her speech is nothing,
Yet the vnshaped
vse of it
doth moue
10
The
hearers to
Collection;
they ayme at it,
And botch the
words vp fit to their owne thoughts,
Which as her
winkes, and nods, and gestures yeeld
them,
Indeed would
make one thinke there would be thought,
Though
nothing
sure, yet much vnhappily.
15 Qu. 'Twere good she were
spoken with,
For she may strew dangerous
coniectures
In ill breeding minds.
Let her
come in.
To my sicke
soule (as sinnes true Nature is)
Each toy seemes
Prologue, to
some great amisse,
20
So full of Artlesse
iealousie is guilt,
It spill's it
selfe, in fearing to be spilt.
back
next
Actus
Quartus. Scena Quinta.
act
scene
King. How do ye, pretty
Lady?
Ophe. Well, God dil'd you.
They say the Owle was
a Bakers daughter.
Lord, wee know what we are, but
40
know not what we may be. God be at your Table.
King. Conceit
vpon her Father.
Ophe. Pray you let's haue no
words of this: but when
they aske you
what it meanes, say you this:
To
morrow
is S. Valentines day, all
in the morning betime,
45
And I a Maid at your Window, to be your
Valentine.
Then vp he rose, & don'd his clothes, & dupt the chamber
dore,
Let in the Maid, that out a Maid,
neuer departed more.
King. Pretty Ophelia.
Ophe. Indeed la? without an
oath
Ile make an end
ont.
50
By gis,
and by S.
Charity
Alacke, and fie for shame:
Yong men wil doo't, if they come
too't,
By Cocke they are too blame.
Quoth she before you tumbled me,
55
You promis'd me to
Wed:
So would I ha done by yonder Sunne,
And
thou hadst not come to my bed.
King. How long hath she bin
this?
back
next
Actus
Quartus. Scena Quinta.
act
scene
Ophe.
I hope all will be well. We must bee patient,
60
but I cannot choose but weepe, to thinke they should
lay him
i'th'cold ground: My brother shall knowe of it,
and so I
thanke you for your good counsell. Come, my
Coach:
Goodnight Ladies: Goodnight sweet Ladies:
Goodnight,
goodnight.
Exit.
65
King. Follow her
close,
Giue her good
watch I pray you:
Oh this is the
poyson of deepe greefe, it springs
All from her
Fathers death. Oh Gertrude, Gertrude,
When sorrowes
comes, they come not single
spies,
70
But in Battaliaes. First,
her Father slaine,
Next your
Sonne gone, and he most violent Author
Of his owne iust remoue:
the people muddied,
Thicke
and
vnwholsome in their thoughts, and whispers
For good
Polonius death; and we haue done but greenly
75
In
hugger
mugger to
interre him. Poore Ophelia
Diuided from
her selfe, and her faire Iudgement,
Without the
which we are Pictures,
or meere Beasts.
Last, and as
much containing as all these,
Her Brother is
in secret come from France,
80
Keepes
on his wonder, keepes himselfe in clouds,
And
wants not Buzzers to infect his eare
With
pestilent Speeches of his Fathers death,
Where
in necessitie of matter Beggard,
Will
nothing sticke our
persons to
Arraigne
back
next
Actus
Quartus. Scena Quinta.
act
scene
85
In eare and eare. O my deere Gertrude, this,
Like to a murdering
Peece
in many places,
Giues me
superfluous death.
A Noise within.
Enter
a Messenger.
Qu. Alacke, what noyse is this?
King.
Where are my Switzers?
90
Let them guard the doore. What is the matter?
Mes.
Saue your selfe, my Lord.
The Ocean
(ouer-peering
of his List)
Eates
not the Flats
with more impittious haste
Then young
Laertes, in a Riotous head,
95
Ore-beares your Officers, the rabble
call him Lord,
And as the
world were now but to begin,
Antiquity
forgot,
Custome not knowne,
The Ratifiers
and
props of euery word,
They cry choose we?
Laertes shall be King,
100
Caps, hands, and tongues, applaud it to the clouds,
Laertes
shall be King, Laertes King.
Qu. How cheerefully on the
false Traile they cry,
Oh this
is Counter you false Danish Dogges.
Noise within.
Enter Laertes.
back
next
Actus
Quartus. Scena Quinta.
act
scene
King. The doores are broke.
105 Laer. Where is the King, sirs?
Stand you all without.
All. No, let's come in.
Laer. I
pray you giue me leaue.
Al. We
will, we will.
Laer. I
thanke you: Keepe the doore.
110
Oh thou vilde King, giue me my Father.
Qu.
Calmely good Laertes.
Laer.
That drop of blood, that calmes
Proclaimes me
Bastard:
Cries Cuckold
to my Father, brands the Harlot
115
Euen heere betweene the chaste vnsmirched brow
Of my true
Mother.
King.
What is the cause
Laertes,
That thy
Rebellion lookes so Gyant-like?
Let
him go Gertrude: Do not feare
our person:
120
There's such Diuinity
doth hedge a King,
That
Treason can but peepe to what it would,
Acts
little of his will. Tell me Laertes,
Why thou art
thus Incenst? Let
him
go Gertrude.
back
next
Actus
Quartus. Scena Quinta.
act
scene
Speake man.
125 Laer. Where's my
Father?
King. Dead.
Qu. But
not by him.
King.
Let him demand his fill.
Laer. How came he dead? Ile
not be Iuggel'd
with.
130
To hell Allegeance: Vowes, to the blackest diuell.
Conscience and
Grace, to the profoundest
Pit.
I dare
Damnation: to this point I stand,
That both
the
worlds I giue
to negligence,
Let come what
comes: onely Ile be reueng'd
135
Most throughly for my Father.
King. Who shall stay you?
Laer. My Will,
not all the
world,
And for my
meanes, Ile husband
them so well,
They
shall go farre with little.
140 King. Good
Laertes:
If you desire
to know the certaintie
Of your deere
Fathers death, if writ in your reuenge,
That
Soop-stake
you will
draw both Friend and Foe,
back
next
Actus
Quartus. Scena Quinta.
act
scene
Winner
and Looser.
145 Laer. None but his
Enemies.
King.
Will you know them then.
La. To
his good Friends, thus wide Ile ope my Armes:
And like the
kinde Life-rend'ring
Politician,
Repast them with
my blood.
150
King. Why now you speake
Like a good
Childe, and a true Gentleman.
That I am
guiltlesse of your Fathers death,
And am most sensible in
greefe for it,
It shall as leuell to your
Iudgement pierce
155
As day do's to your eye.
A
noise within.
Let her come
in.
Enter
Ophelia.
Laer. How now? what noise is that?
Oh heate drie
vp my Braines, teares seuen times salt,
Burne out the
Sence and Vertue of mine eye.
160
By Heauen, thy madnesse shall be payed by
waight,
Till
our Scale turnes the beame. Oh
Rose of May,
Deere
Maid, kinde Sister, sweet Ophelia:
Oh Heauens,
is't possible, a yong Maids wits,
back
next
Actus
Quartus. Scena Quinta.
act
scene
Should be as
mortall as an old mans life?
165
Nature is fine in Loue, and where 'tis fine,
It sends some
precious instance of it selfe
After the
thing it loues.
Ophe. They bore him bare
fac'd on the Beer,
Hey non nony, nony, hey nony:
170 And on his graue raines many a teare,
Fare you well my Doue.
Laer.
Had'st thou thy wits, and did'st perswade
Re-
uenge, it
could not moue thus.
Ophe.
You must sing downe a-downe, and you call
175
him a-downe-a. Oh, how the wheele
becomes it? It is
the false
Steward that stole his masters
daughter.
Laer. This nothings more
then
matter.
Ophe. There's Rosemary, that's
for Remembraunce.
Pray loue
remember: and there is Paconcies, that's for
180
Thoughts.
Laer. A document in madnesse,
thoughts & remem-
brance fitted.
Ophe. There's Fennell
for you, and Columbines:
ther's
Rew
for you, and
heere's some for
me. Wee may call it
back
next
Actus
Quartus. Scena Quinta.
act
scene
185
Herbe-Grace a Sundaies: Oh you must weare
your Rew
with a
difference. There's a Daysie,
I would giue you
some Violets, but they
wither'd all when my Father dy-
ed: They say,
he made a good end;
For bonny sweet Robin is all my ioy.
190 Laer. Thought, and Affliction,
Passion, Hell it selfe:
She turnes to
Fauour, and to prettinesse.
Ophe. And will he not come
againe,
And will he not come againe:
No, no, he is dead, go to thy
Death-bed,
195 He neuer wil come
againe.
His Beard as white as Snow,
All Flaxen
was his Pole:
He is gone, he is gone, and we cast
away mone,
Gramercy on
his Soule.
200
And of all Christian Soules, I pray God.
God
buy ye.
Exeunt
Ophelia
Laer. Do you see this, you
Gods?
King. Laertes, I must common
with your greefe,
Or you deny me
right: go but apart,
205
Make choice of whom your wisest Friends you will,
And they shall
heare and iudge 'twixt you and me;
back
next
Actus
Quartus. Scena Quinta.
act
scene
If
by direct or by Colaterall
hand
They finde vs touch'd, we
will our Kingdome giue,
Our Crowne,
our Life, and all that we call Ours
210
To you in satisfaction. But if not,
Be you content
to lend your patience to vs,
And we shall ioyntly labour
with your soule
To giue it due
content.
Laer. Let this be so:
215
His meanes of death, his obscure
buriall;
No Trophee,
Sword, nor Hatchment o're his bones,
No Noble rite,
nor formall ostentation,
Cry to be
heard, as 'twere from Heauen to Earth,
That I must
call in question.
220
King. So you shall:
And where
th'offence is, let the great Axe
fall.
I pray you go
with me.
Exeunt
back
next
Actus Quartus.
Scena Sexta.
act
scene
Enter
Horatio, with an Attendant.
Hora. What are they that would
speake with me?
Ser.
Saylors sir, they say they haue Letters for you.
Hor. Let them come in,
I do not know
from what part of the world
5
I should be greeted, if not from Lord Hamlet.
Enter
Saylor.
Say. God blesse you Sir.
Hor. Let him blesse thee too.
Say.
Hee shall Sir, and't please him. There's a Letter
for you Sir:
It comes from th' Ambassadours that was
10
bound for England, if your name be Horatio, as I am
let
to know it is.
Reads
the Letter.
HOratio,
When thou shalt haue
ouerlook'd this, giue these
Fellowes some meanes
to the King:
They haue Letters
for him. Ere we were two dayes old at
Sea, a Pyrate of very
15
Warlicke appointment gaue vs Chace.
Finding our selues
too
slow of Saile, we put on a compelled
Valour. In the Grapple, I
back
next
Actus Quartus.
Scena Sexta.
act
scene
boorded
them: On the instant they got
cleare of our Shippe, so
I alone became their Prisoner. They
haue dealt with mee, like
Theeues of Mercy, but they knew what
they did. I am to doe
20
a good turne for them. Let the King
haue the Letters I
haue
sent, and repaire
thou to me with as
much hast as thou wouldest
flye death. I haue words to speake in
your eare, will make thee
dumbe, yet are they much too light
for the bore of the Matter.
These good Fellowes will bring
thee
where I am. Rosincrance
25
and Guildensterne, hold their course
for England. Of
them
I haue much to tell thee, Farewell.
He that thou knowest
thine,
Hamlet.
Come, I will
giue you way for these your Letters,
30
And do't the speedier, that you may direct me
To him from
whom you brought them.
Exit.
back
next
Actus
Quartus.
Scena Septima.
act
scene
Enter
King and Laertes.
King. Now must your conscience my
acquittance seal,
And you must
put me in your heart for Friend,
Sith you haue
heard, and with a
knowing eare,
That he which
hath your Noble Father slaine,
5
Pursued my
life.
Laer.
It well appeares. But tell me,
Why you proceeded not
against these feates,
So crimefull,
and so Capitall
in Nature,
As by your
Safety, Wisedome, all things else,
10
You mainly were stirr'd vp?
King. O for two speciall
Reasons,
Which may to
you (perhaps) seeme much vnsinnowed,
And yet to me
they are strong. The Queen his Mother,
Liues almost
by his lookes: and for my selfe,
15
My Vertue or my Plague, be it either which,
She's so coniunctiue
to
my life, and soule;
That as the
Starre moues not but in his Sphere,
I could
not but by
her. The
other Motiue,
Why to a
publike count
I might
not go,
20
Is the great loue the generall
gender
beare him,
Who dipping
all his Faults in their affection,
Would like the
Spring that turneth Wood
to Stone,
Conuert his Gyues to Graces.
So that my Arrowes
Too
slightly
timbred
for so loud a Winde,
back
next
Actus
Quartus.
Scena Septima.
act
scene
25
Would
haue reuerted to my Bow
againe,
And not where
I had arm'd
them.
Laer. And so haue I a Noble
Father lost,
A Sister
driuen into desperate tearmes,
Who was (if
praises may go
backe againe)
30
Stood Challenger on
mount of
all the Age
For her
perfections. But my reuenge will come.
King. Breake not your
sleepes for that,
You must not
thinke
That we are
made of stuffe, so flat,
and dull,
35
That we can let our Beard
be shooke with danger,
And thinke it pastime. You
shortly shall heare more,
I lou'd your
Father, and we loue our Selfe,
And that I
hope will teach you to imagine---
Enter
a Messenger.
How now? What
Newes?
40
Mes. Letters my Lord from Hamlet. This to your
Maiesty: this
to the Queene.
King. From Hamlet? Who brought
them?
Mes. Saylors my Lord they say, I
saw them not:
They were
giuen me by Claudio, he receiu'd them.
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Actus
Quartus.
Scena Septima.
act
scene
Laer. If so you'l not o'rerule me
to a peace.
Kin. To
thine owne peace: if he be now return'd,
As checking at
his Voyage,
and that he meanes
65
No more to vndertake it; I will worke him
To an exployt
now ripe
in my Deuice,
Vnder the
which he shall not choose but fall;
And for his
death no winde of blame shall breath,
But euen his
Mother shall vncharge
the practice,
70
And call it accident: Some two Monthes hence
Here was a
Gentleman of Normandy.
I'ue seene my
selfe, and seru'd against the French,
And they ran well on
Horsebacke;
but this Gallant
Had witchcraft
in't; he
grew into his Seat,
75
And to such wondrous doing brought his Horse,
As had he
beene encorps't
and demy-Natur'd
With the braue
Beast, so farre he past my thought,
That I in forgery
of shapes and trickes,
Come short of
what he did.
80
Laer. A Norman
was't?
Kin. A
Norman.
Laer.
Vpon my life Lamound.
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Actus
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Scena Septima.
act
scene
Kin.
The very same.
Laer. I know him well, he is the
Brooch indeed,
85
And Iemme of all our
Nation
Kin. Hee mad confession of you,
And gaue you
such a Masterly report,
For Art and exercise in
your
defence;
And for your
Rapier most especially,
90
That he cryed out, t'would be a sight indeed,
If one could
match you Sir. This report of his
Did Hamlet so envenom
with his Enuy,
That he could
nothing doe but wish and begge,
Your sodaine
comming ore to play with him;
95
Now out of this.
Laer. Why out of this, my Lord?
Kin. Laertes was
your
Father deare to you?
Or are you
like the painting of a sorrow,
A face without
a heart?
100 Laer. Why aske you
this?
Kin.
Not that I thinke you did not loue your Father,
But that I
know Loue is begun by Time:
And that I see
in passages of proofe,
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Actus
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Scena Septima.
act
scene
Time qualifies the
sparke
and fire of it:
105
Hamlet comes backe: what would you vndertake,
To show your
selfe your Fathers sonne indeed,
More
then in words?
Laer. To cut his throat i'th'
Church.
Kin. No
place indeed should murder Sancturize;
110
Reuenge should haue no bounds: but good Laertes
Will you
doe this,
keepe close
within your
Chamber,
Hamlet
return'd, shall know you are come home:
Wee'l put on
those shall praise your excellence,
And set a
double varnish on the fame
115
The Frenchman gaue you, bring you in fine together,
And wager on
your heads, he being remisse,
Most generous,
and free from all contriuing,
Will not
peruse the Foiles? So
that with ease,
Or with a
little shuffling,
you may choose
120
A Sword vnbaited, and in a passe of
practice,
Requit him for
your Father.
Laer. I will doo't,
And for that
purpose Ile annoint my Sword:
I bought an Vnction of a Mountebanke
125
So mortall, I but dipt a
knife in it,
Where it
drawes blood, no Cataplasme
so rare,
Collected from
all
Simples
that
haue Vertue
Vnder the
Moone, can saue the thing from death,
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Actus
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Scena Septima.
act
scene
That is but
scratcht withall: Ile touch
my point,
130
With this contagion, that
if I gall him
slightly,
It
may be death.
Kin. Let's further thinke of this,
Weigh what conuenience both of
time
and meanes
May fit vs to
our shape, if this should faile;
135 And
that our drift looke
through our bad performance,
'Twere better
not assaid;
therefore this Proiect
Should haue a
backe or second, that might hold,
If this should
blast in
proofe: Soft, let me see
Wee'l make a
solemne wager on your commings,
140
I
ha't: when in your motion you are hot and dry,
As make your
bowts more violent to the end,
And that he
cals for drinke; Ile haue prepar'd him
A Challice for
the nonce; whereon but
sipping,
If he by
chance escape your venom'd stuck,
145
Our purpose may hold there; how sweet Queene.
Enter
Queene.
Queen. One woe doth tread vpon
anothers heele,
So fast they'l
follow: your
Sister's drown'd Laertes.
Laer. Drown'd!
O where?
Queen.
There is a Willow
growes aslant
a Brooke,
150
That shewes his hore leaues
in the glassie streame:
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Actus
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Scena Septima.
act
scene
There with fantasticke
Garlands did she come,
Of
Crow-flowers, Nettles,
Daysies, and long
Purples,
That liberall
Shepheards
giue a grosser
name;
But our cold
Maids doe Dead Mens
Fingers
call them:
155 There
on the pendant
boughes, her Coronet weeds
Clambring
to hang; an enuious
sliuer broke,
When downe the
weedy Trophies,
and her selfe,
Fell in the
weeping Brooke, her
cloathes spred wide,
And Mermaid-like, a
while
they bore her vp,
160
Which time she chaunted snatches of old tunes,
As one incapable
of
her owne distresse,
Or like a
creature Natiue, and indued
Vnto that
Element: but long it could not be,
Till that her
garments, heauy with her drinke,
165
Pul'd the poore wretch from her melodious buy,
To muddy death.
Laer.
Alas then, is she drown'd?
Queen.
Drown'd, drown'd.
Laer.
Too much of water hast thou poore Ophelia,
170
And therefore I forbid my teares: but yet
It is our tricke, Nature
her custome
holds,
Let shame say
what it will; when these are gone
The woman will be
out: Adue my
Lord,
I haue a
speech of fire, that faine
would blaze,
175
But that this folly doubts it.
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Actus
Quartus.
Scena Septima.
act
scene
Exit.
Kin. Let's follow, Gertrude:
How much I had
to doe to calme his rage?
Now
feare I this will giue it start againe;
Therefore
let's follow.
Exeunt
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next
Actus
Quintus. Scena Prima.
act
scene
Clown. Is she to bee buried in
Christian
buriall,
that
wilfully
seekes
her owne saluation?
Other.
I tell thee she is, and therefore make her Graue
straight, the Crowner
hath sate on
her, and finds it
Chri-
5
stian buriall.
Clo. How can that be, vnlesse
she drowned her selfe in
her owne
defence?
Other. Why 'tis found so.
Clo. It must be Se
offendendo,
it cannot bee else: for
10
heere lies the point; If I drowne my selfe wittingly, it
ar-
gues an Act:
and an Act hath three
branches.
It is an
Act to doe and
to performe; argall she drown'd her selfe
wittingly.
Other.
Nay but heare you Goodman
Deluer.
15
Clown. Giue me leaue; heere lies
the water; good:
heere stands
the man; good: If the man goe to this wa-
ter and drowne
himsele; it is will he
nill he,
he goes;
marke you
that? But if the water come to him & drowne
him; hee
drownes not himselfe. Argall,
hee that is not
20
guilty of his owne
death, shortens not his owne life.
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Actus
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act
scene
Other. But is this law?
Clo. I marry is't,
Crowners
Quest Law.
Other. Will you ha the
truth
on't: if this had not
beene a
Gentlewoman, shee should haue beene buried
25
out of Christian
Buriall.
Clo. Why there
thou
say'st.
And the more pitty that
great folke
should haue countenance
in this world to
drowne or hang
themselues, more then their euen
Christi-
an. Come, my
Spade; there is no ancient
Gentlemen,
30
but Gardiners,
Ditchers and
Graue-makers;
they hold vp
Adams Profession.
Other.
Was he a Gentleman?
Clo. He
was the first that euer bore
Armes.
Other.
Why he had none.
35
Clo.
What, ar't a Heathen? how doth thou vnder-
stand the
Scripture? the Scripture sayes Adam dig'd;
could hee digge
without Armes? Ile put another que-
stion to thee;
if thou answerest me not to the purpose, con-
fesse thy
selfe---
40
Other. Go too.
back
next
Actus
Quintus. Scena Prima.
act
scene
Clo. What is he that builds
stronger then either the
Mason, the Shipwright,
or the
Carpenter?
Other.
The Gallowes
maker; for that Frame outliues a
thousand Tenants.
45
Clo. I like thy wit well in good faith, the
Gallowes
does well; but
how does it well? it does well
to those
that doe ill:
now, thou dost ill to say the Gallowes is
built stronger
then the
Church: Argall, the Gallowes
may doe well to thee. Too't
againe,
Come.
50 Other. Who builds stronger
then a Mason, a Ship-
wright, or a
Carpenter?
Clo. I,
tell me that, and vnyoake.
Other. Marry, now I can
tell.
Clo.
Too't.
55
Other. Masse, I
cannot
tell.
Clo. Cudgell thy braines no
more about it; for your
dull Asse will
not mend
his
pace with beating; and when
you are ask't
this question next, say a Graue-maker: the
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Actus
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act
scene
Houses that he makes,
lasts till Doomesday: go, get thee
60
to Yaughan, fetch me a stoupe of Liquor.
Sings.
In youth when I did loue, did loue,
me thought it was very sweete:
To contract O the time for a my
behoue,
O me thought there was nothing meete.
65
Ham. Ha's this fellow no feeling of his businesse,
that
he sings at
Graue-making?
Hor.
Custome hath made it in him a property of ea-
sinesse.
Ham. 'Tis ee'n so; the hand of
little Imployment hath
70
the daintier
sense.
Clowne sings.
But Age with his stealing steps
hath caught me in his clutch:
And hath shipped me intill the Land,
as if I had neuer beene such.
75
Ham. That Scull had a
tongue
in it, and could sing
once: how the
knaue iowles
it to th' grownd,
as if it
were Caines
Iaw-bone,
that did the
first murther: It
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next
Actus
Quintus. Scena Prima.
act
scene
might be the
Pate of a
Polititian which this
Asse o're Of-
fices: one that
could circumuent God, might it not?
80
Hor. It might, my
Lord.
Ham. Or of a Courtier,
which
could say, Good Mor-
row sweet Lord:
how dost thou, good Lord? this
might be my Lord
such a one, that prais'd my Lord such
a ones Horse,
when he meant to begge
it;
might it not?
85
Hor. I, my
Lord.
Ham. Why ee'n so: and now
my
Lady Wormes,
Chaplesse, and
knockt about the Mazard
with
a Sextons
Spade; heere's
fine Reuolution, if wee
had the tricke
to
see't. Did these
bones cost no more
the breeding,
but
90
to play at
Loggets with
'em? mine ake to
thinke
on't.
Clowne
sings.
A
Pickhaxe and a Spade, a Spade,
for
and a shrowding-Sheete:
O
a Pit of Clay for to be made,
95
for such a Guest is meete.
Ham. There's another: why
might not that bee the
Scull of a
Lawyer? where be his Quiddits
now? his
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Actus
Quintus. Scena Prima.
act
scene
Quillets?
his
Cases? his Tenures, and his Tricks? why
doe's he suffer
this rude knaue now to knocke him about
100 the Sconce with
a dirty Shouell, and will not tell him of
his Action of
Battery? hum.
This fellow might be in's
time a great
buyer of Land, with his Statutes, his Recog-
nizances, his
Fines, his double Vouchers, his Recoueries:
Is this the fine
of his Fines, and the recouery of his Reco-
105
ueries, to haue
his fine Pate full of fine Dirt? will his
Vouchers vouch
him no more of his Purchases, and dou-
ble ones too,
then the length and breadth of a paire of
Indentures? the
very Conueyances of his Lands will
hardly lye in
this Boxe; and must the
Inheritor himselfe
110 haue no more?
ha?
Hor. Not a iot more, my
Lord.
Ham. Is
not Parchment made of
Sheep-skinnes?
Hor. I my
Lord, and of Calue-skinnes too.
Ham. They
are Sheepe
and Calues
that seek out assu-
115 rance in that. I
will speake to this fellow: whose Graue's
this Sir?
Clo. Mine Sir:
O
a Pit of Clay for
to be made,
for
such a Guest
is meete.
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Actus
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act
scene
120
Ham. I
thinke it be thine indeed: for thou liest
in't.
Clo. You
lye out on't
Sir, and therefore
it is not yours:
for my part, I
doe not lye in't; and yet it is mine.
Ham. Thou
dost lye in't, to be in't and say 'tis thine:
'tis for the
dead, not for the quicke,
therefore thou
125 lyest.
Clo. 'Tis a quicke lye
Sir,
'twill away againe from me
to you.
Ham. What man dost thou
digge
it for?
Clo. For
no man Sir.
130
Ham. What
woman then?
Clo. For
none neither.
Ham. Who
is to be buried in't?
Clo. One
that was a woman Sir; but rest her Soule,
shee's dead.
135 Ham. How absolute the
knaue is? wee must speake
by the Carde, or
equiuocation
will vndoe
vs: by the
Lord Horatio,
these three yeares I haue taken note of it,
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next
Actus
Quintus. Scena Prima.
act
scene
the Age is
growne so picked, that the
toe of the Pesant
comes so neere
the heeles of our Courtier, hee galls his
140
Kibe. How long
hast thou been a Graue-maker?
Clo. Of all the dayes
i'th'
yeare, I came too't that day
that our last
King Hamlet o'recame Fortinbras.
Ham. How long is that
since?
Clo. Cannot you tell
that?
euery foole can tell that:
145 It was the very
day, that young Hamlet was borne, hee
that was mad,
and sent into England.
Ham. I marry, why was he
sent
into England?
Clo. Why, because he was
mad;
hee shall recouer his
wits there; or
if he do not, it's no great matter there.
150 Ham. Why?
Clo.
'Twill not be seene in him, there the men are as
mad as he.
Ham. How came he mad?
Clo.
Very
strangely they say.
155
Ham. How
strangely?
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Actus
Quintus. Scena Prima.
act
scene
Clo.
Faith e'ene with loosing his wits.
Ham. Vpon
what ground?
Clo. Why
heere in Denmarke: I
haue bin sixeteene
heere, man and
Boy thirty yeares.
160
Ham. How
long will a man lie i'th' earth ere he rot?
Clo.
Ifaith, if he be not rotten before he die (as we haue
many pocky
Coarses now
adaies, that
will
scarce hold
the laying in)
he will last you some eight yeare, or nine
yeare. A Tanner
will last you nine yeare.
165 Ham. Why he, more then
another?
Clo. Why sir, his hide is
so
tan'd with his
Trade, that
he will keepe
out water a great while. And your water,
is a sore
Decayer of your horson
dead
body. Heres a Scull
now: this Scul,
has laine in the earth three & twenty
years.
170
Ham.
Whose was it?
Clo. A whoreson mad Fellowes it was;
Whose doe you
thinke it was?
Ham.
Nay, I know not.
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Actus
Quintus. Scena Prima.
act
scene
Clo. A pestilence
on him for a mad Rogue, a pou'rd al
175
Flaggon of Renish
on my head
once. This same Scul
Sir,
this same Scull sir, was Yoricks Scull, the Kings Iester.
Ham. This?
Clo.
E'ene that.
Ham.
Let me see. Alas poore Yorick, I knew him Ho-
180
ratio, a fellow of infinite Iest; of most excellent fancy,
he
hath borne me
on his backe a thousand times: And how
abhorred my
Imagination is, my gorge
rises at it.
Heere
hung those
lipps, that I haue kist I know not how oft.
VVhere be your
Iibes now? Your
Gambals? Your
185
Songs? Your flashes of Merriment that were wont to
set the Table
on a Rore? No one now to mock your own
Ieering? Quite
chopfalne?
Now get you to my Ladies
Chamber, and
tell her, let her paint
an inch thicke,
to this
fauour she
must come. Make her
laugh at that: pry-
190
thee Horatio tell me one thing.
Hor. What's that my Lord?
Ham. Dost
thou thinke Alexander
lookt o'this fa-
shion i'th'
earth?
Hor.
E'ene so.
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Actus
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act
scene
195
Ham. And
smelt so? Puh.
Hor.
E'ene so, my Lord.
Ham. To
what base vses we may returne Horatio.
Why may not
Imagination trace
the Noble dust of A-
lexander, till
he find it stopping a bunghole.
200
Hor.
'Twere to consider: to curiously to consider
so.
Ham. No
faith, not a iot. But to follow him thether
with modestie
enough, & likeliehood to lead it; as thus.
Alexander died:
Alexander was buried: Alexander re-
turneth into
dust; the dust is earth; of earth we make
205 Lome, and
why of
that Lome (whereto he was conuer-
ted) might they
not stopp a Beere-barrell?
Imperiall
Caesar, dead and turn'd to clay,
Might stop a
hole to keepe the winde away.
Oh, that that
earth,
which kept the
world in awe,
210 Should patch a
Wall, t'expell the winters flaw.
But soft,
but soft,
aside; heere comes the King.
The
Queene,
the
Courtiers. Who is that they follow,
And with such
maimed rites?
This doth
betoken,
The Coarse they
follow, did with disperate hand,
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Actus
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act
scene
215 Fore do it owne
life; 'twas some Estate.
Couch we a
while, and mark.
Laer.
What Cerimony else?
Ham. That
is Laertes, a very Noble youth: Marke.
Laer.
What Cerimony else?
220
Priest.
Her Obsequies
haue bin as
farre inlarg'd.
As we haue
warrantis, her death was doubtfull,
And but that
great
Command,
o're-swaies the order,
She should in
ground vnsanctified
haue lodg'd,
Till the last
Trumpet.
For
charitable praier,
225 Shardes, Flints,
and Peebles, should be throwne on her:
Yet heere she is
allowed her Virgin
Rites,
Her Maiden
strewments, and the
bringing home
Of Bell and
Buriall.
Laer. Must there no more
be
done ?
230 Priest. No more be
done:
We should
prophane the seruice of the dead,
To sing sage
Requiem,
and such rest to her
As to
peace-parted Soules.
Laer. Lay her i'th' earth,
235 And from her
faire and vnpolluted flesh,
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Actus
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act
scene
May Violets
spring. I tell thee (churlish
Priest)
A Ministring
Angell shall my Sister be,
When thou liest
howling?
Ham.
What, the faire Ophelia?
240
Queene.
Sweets, to the sweet
farewell.
I hop'd thou
should'st haue bin my Hamlets wife:
I thought thy
Bride-bed to haue deckt
(sweet Maid)
And not t'haue
strew'd thy Graue.
Laer. Oh terrible woer,
245 Fall ten times
trebble, on that
cursed head
Whose wicked
deed, thy most
Ingenious
sence
Depriu'd thee
of. Hold off the earth a while,
Till I haue
caught her once more in mine armes:
Leaps
in the graue.
Now pile your dust,
vpon the quicke, and dead,
250
Till of this
flat a Mountaine
you haue
made,
To o're top old
Pelion, or the skyish
head
Of blew Olympus.
Ham. What is he, whose
griefes
Beares such an
Emphasis? whose phrase of Sorrow
255 Coniure the
wandring
Starres,
and
makes them stand
Like
wonder-wounded
hearers? This is I,
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Actus
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act
scene
Hamlet the Dane.
Laer. The deuill take thy
soule.
Ham. Thou
prai'st not well,
260
I prythee take
thy fingers from my throat;
Sir though I am
not Spleenatiue, and
rash,
Yet haue I
something in me dangerous,
Which let thy
wisenesse feare. Away thy hand.
King. Pluck them asunder.
265
Qu. Hamlet,
Hamlet.
Gen. Good
my Lord be quiet.
Ham. Why
I will fight with him vppon this Theme.
Vntill my
eielids will no longer wag.
Qu. Oh my Sonne, what
Theame?
270
Ham. I
lou'd Ophelia; fortie thousand Brothers
Could not (with
all there quantitie of Loue)
Make vp my
summe. What wilt thou do for her?
King. Oh
he is mad Laertes,
Qu. For
loue of God forbeare
him.
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Actus
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scene
275 Ham. Come
show me what thou'lt doe.
Woo't weepe?
Woo't fight? Woo't teare thy selfe?
Woo't drinke vp
Esile, eate a
Crocodile?
Ile doo't. Dost
thou come heere to whine;
To outface me
with leaping in her Graue?
280 Be buried quicke
with her, and so will I.
And if thou
prate of
Mountaines; let them
throw
Millions of
Akers on vs; till our ground
Sindging his
pate against the burning
Zone,
Make Ossa like a
wart. Nay, and thoul't
mouth,
285 Ile rant as well
as thou.
Kin. This is meere
Madnesse:
And thus awhile
the fit will worke on him:
Anon as patient
as the
female Doue,
When that her
Golden
Cuplet are
disclos'd;
290 His silence will
sit drooping.
Ham. Heare you Sir:
What is the
reason that you vse me thus?
I loud' you
euer; but it is no matter:
Let Hercules
himselfe doe what he may,
295 The Cat will
Mew, and Dogge
will haue his day.
Exit.
Kin. I pray you good Horatio wait
vpon him,
Strengthen
you
patience in our last nights speech,
back
next
Actus
Quintus. Scena Prima.
act
scene
Wee'l put the
matter to the present push:
Good Gertrude set some
watch ouer your Sonne,
300 This
Graue shall haue a
liuing Monument:
An houre of
quiet shortly shall we see;
Till then, in
patience our proceeding be.
Exeunt.
back
next
Actus Quintus. Scena Secunda.
act
scene
Enter
Hamlet and Horatio.
Ham. So much for this Sir; now let
me see the other,
You doe
remember all the Circumstance.
Hor. Remember it my Lord?
Ham. Sir, in my heart there
was a kinde of fighting,
5
That would not let me sleepe; me thought I lay
Worse then the
mutines in
the Bilboes,
rashly,
(And praise be
rashnesse for it) let vs know,
Our indiscretion
sometimes serues vs well,
When our deare
plots do paule,
and that should teach vs,
10
There's a
Diuinity that
shapes our ends,
Rough-hew
them how we
will.
Hor. That
is most certaine.
Ham. Vp
from my Cabin
My sea-gowne scarft about me
in the darke,
15
Grop'd I
to finde out
them; had my desire,
Finger'd
their
Packet, and
in fine, withdrew
To mine owne
roome againe, making so bold,
(My feares
forgetting manners) to vnseale
Their grand Commission,
where I found Horatio,
20
Oh royall
knauery: An
exact command,
Larded with
many seuerall sorts of reason;
Importing
Denmarks
health, and Englands too,
back
next
Actus Quintus. Scena Secunda.
act
scene
With hoo, such Bugges
and Goblins in my life,
That on the superuize no leasure bated,
25
No not to stay the grinding of the Axe,
My head shoud
be struck off.
Hor. Ist possible?
Ham. Here's the Commission,
read it at more leysure:
But wilt thou
heare me how I did proceed?
30
Hor. I beseech you.
Ham.
Being thus benetted
round with Villaines,
Ere I could make a
Prologue to my braines,
They had begun
the Play. I
sate me downe,
Deuis'd a new
Commission, wrote it faire,
35
I once did hold it as our Statists
doe,
A basenesse to
write faire;
and laboured much
How to forget
that learning: but Sir now,
It did me Yeomans
seruice:
wilt thou know
The effects of
what I wrote?
40 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,
As Peace should
still her wheaten
Garland
weare,
back
next
Actus Quintus. Scena Secunda.
act
scene
45
And stand a
Comma 'tweene
their
amities,
And many such
like Assis of
great charge,
That on the view
and know of these Contents,
Without
debatement further, more or lesse,
He should the
bearers put to sodaine death,
50
Not shriuing
time allowed.
Hor. How was this seal'd?
Ham. Why,
euen in that was Heauen ordinate;
I had my fathers
Signet in my
Purse,
Which was the
Modell of that
Danish Seale:
55
Folded the Writ
vp in forme of the other,
Subscrib'd it,
gau't th' impression,
plac't it safely,
The changeling
neuer knowne: Now, the next day
Was our Sea
Fight, and what to this was sement,
Thou know'st
already.
60
Hor. So Guildensterne and
Rosincrance, go too't.
Ham. Why
man, they did make loue to this imployment
They are not
neere my Conscience; their debate
Doth by
their
owne insinuation grow:
'Tis dangerous,
when the baser nature comes
65
Betweene the
passe, and
fell incensed
points
Of mighty opposites.
Hor. Why,
what a King is this?
back
next
Actus Quintus. Scena Secunda.
act
scene
Ham. Does
it not, thinkst thee, stand
me now vpon
He that bath
kil'd my King, and whor'd my Mother,
70
Popt in betweene
th'election and my hopes,
Throwne out his
Angle for my
proper life,
And with such
coozenage; is't not perfect
conscience,
To quit him with
this arme? And is't not to be damn'd
To let this
Canker of our
nature come
75
In further
euill.
Hor. It
must be shortly knowne to him from England
What is the
issue of the businesse there.
Ham. It
will be short,
The interim's
mine, and a mans life's no more
80
Then to say one:
but I am very sorry good Horatio,
That to Laertes
I forgot my selfe;
For by the image
of my Cause, I see
The Portraiture
of his; Ile count
his fauours:
But sure the
brauery of
his griefe did put
me
85
Into a Towring
passion.
Hor.
Peace, who comes heere?
Osr. Your Lordship is
right
welcome back to Denmarke.
Ham. I
humbly thank you Sir, dost know this waterflie?
back
next
Actus Quintus. Scena Secunda.
act
scene
Hor.
No
my good Lord.
90
Ham. Thy
state is the more gracious; for 'tis a vice
to
know him: he
hath much Land, and fertile; let a Beast
be Lord of
Beasts,
and his Crib
shall
stand at the Kings
Messe;
'tis a
Chowgh; but as I saw
spacious
in the pos-
session of dirt.
95 Osr. Sweet Lord, if your
friendship were at leysure,
I should impart
a thing to you from his Maiesty.
Ham. I
will receiue it with all diligence of spirit; put
your Bonet to
his right vse, 'tis for the head.
Osr. I thanke your
Lordship,
'tis very hot.
100
Ham. No,
beleeue mee 'tis very cold, the winde is
Northerly.
Osr. It
is indifferent
cold my
Lord indeed.
Ham. Mee thinkes it is
very soultry, and hot for my
Complexion.
105
Osr.
Exceedingly, my Lord, it is very soultry, as
'twere
I cannot tell
how: but my Lord, his Maiesty bad me sig-
nifie to you,
that he ha's laid a great wager on your head:
Sir, this is the
matter.
back
next
Actus Quintus. Scena Secunda.
act
scene
Ham. I beseech you
remember.
110
Osr. Nay, in good faith,
for
mine ease in good faith:
Sir, you are not
ignorant of what excellence Laertes is at
his weapon.
Ham. What's his weapon?
Osr.
Rapier and dagger.
115
Ham.
That's two of his weapons; but well.
Osr. The sir King ha's
wag'd
with him six Barbary
Hor-
ses,
against the
which he impon'd
as I take
it, sixe French
Rapiers and
Poniards, with their assignes,
as Girdle,
Hangers or so:
three of the Carriages
infaith are very
120 deare to fancy,
very responsiue to the hilts, most delicate
carriages, and
of very liberall
conceit.
Ham. What call you the Carriages?
Osr.
The Carriages Sir, are the hangers.
Ham.
The phrase would bee more Germaine
to the
125
matter: If we could carry Cannon by our sides; I would
it might be
Hangers till then; but on sixe Barbary Hor-
ses against
sixe French Swords: their Assignes, and three
back
next
Actus Quintus. Scena Secunda.
act
scene
liberall
conceited Carriages, that's the French but a-
gainst the Danish; why
is
this impon'd as you call it?
130
Osr. The King Sir, hath laid
that in a dozen passes
be-
tweene you and
him, hee shall not exceed you three hits;
He hath one
twelue for mine, and that would come to
imediate tryall, if your
Lordship would vouchsafe
the
Answere.
135 Ham. How if I answere
no?
Osr. I
meane my Lord, the opposition of your person
in tryall.
Ham. Sir, I will walke heere
in the Hall; if it please
his Maiestie,
'tis the breathing
time of day with me; let
140
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 my shame, and the odde hits.
Osr.
Shall I
redeliuer you ee'n so?
Ham. To
this effect Sir, after what flourish your na-
145 ture
will.
Osr. I
commend my duty to your Lordship.
Ham.
Yours, yours; hee does well to commend it
back
next
Actus Quintus. Scena Secunda.
act
scene
himselfe, there
are no tongues else for's tongue.
Hor. This
Lapwing runs away with the shell on his
150 head.
Ham. He did Complie with
his
Dugge before hee
suck't it: thus
had he and mine more of the same Beauy
that I know the
drossie
age dotes on;
only got the tune of
the time, and
outward habite of encounter, a kinde of
155 yesty
collection, which carries them through & through
the most fond
and winnowed
opinions; and
doe but blow
them to their
tryalls: the Bubbles are out.
Hor. You
will lose this wager, my Lord.
Ham. I
doe not thinke so, since he went into France,
160 I haue beene in
continuall practice; I shall winne at the
oddes: but thou
wouldest not thinke how all heere a-
bout my heart:
but it is no matter.
Hor. Nay, good my Lord.
Ham. It
is but foolery; but it is such a kinde of
165 gain-giuing
as would
perhaps trouble a woman.
Hor. If
your minde dislike any thing, obey. I will fore-
stall
their repaire hither, and say you are not fit.
back
next
Actus Quintus. Scena Secunda.
act
scene
Ham.
Not a whit, we defie Augury;
there's a speciall
Prouidence
in the fall
of a
sparrow.
If it be now, 'tis not
170 to come:
if it bee not
to come, it
will bee now: if it
be not now;
yet it will come; the readinesse
is all, since no
man ha's ought
of what he leaues. What is't to leaue be-
times?
Enter King, Queene, Laertes and Lords,
with other Atten-
dants with Foyles, and
Gauntlets, a Table
and
Flagons of Wine on it.
Kin. Come Hamlet, come,
and take
this hand from me.
175
Ham. Giue
me your pardon Sir, I'ue done you wrong,
But pardon't as
you are a Gentleman.
This presence
knowes,
And you must
needs haue heard how I am punisht
With sore
distraction? What I haue done
180 That might your
nature honour, and exception
Roughly awake, I
heere proclaime was madnesse:
Was't Hamlet
wrong'd Laertes? Neuer Hamlet.
If Hamlet from
himselfe be tane away:
And when he's
not himselfe, do's wrong Laertes,
185 Then Hamlet does
it not, Hamlet denies it:
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.
Sir, in this
Audience,
back
next
Actus Quintus. Scena Secunda.
act
scene
190 Let my
disclaiming from a purpos'd euill,
Free me so farre
in your most generous thoughts,
That I haue shot
mine Arrow o're the house,
And hurt my
Mother.
Laer. I
am satisfied in Nature,
195 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
200 To keepe my name
vngorg'd. But till
that
time,
I do receiue
your offer'd loue like loue,
And wil not
wrong it.
Ham. I do
embrace it freely,
And will this
Brothers wager frankely play.
205 Giue vs the
Foyles: Come on.
Laer.
Come one for me.
Ham.
Ile be your foile
Laertes, in mine ignorance,
Your Skill
shall like a Starre i'th'darkest night,
Sticke fiery
off indeede.
210
Laer. You mocke me Sir.
Ham. No
by this hand.
back
next
Actus Quintus. Scena Secunda.
act
scene
King. Giue them the Foyles yong
Osricke,
Cousen
Hamlet, you know the wager.
Ham.
Verie well my Lord,
215
Your Grace hath laide the oddes a'th'weaker side.
King. I
do not feare it,
I haue seene
you both:
But since he
is better'd, we haue therefore oddes.
Laer.
This is too heauy,
220
Let me see another.
Ham.
This likes me well,
These Foyles haue all
a length.
Osricke. I my good Lord.
King.
Set me the Stopes of wine vpon that Table:
225
If
Hamlet giue the first, or second hit,
Or quit in answer
of the third exchange,
Let all the
Battlements their Ordinance
fire,
The King shal
drinke to Hamlets better breath,
And in the Cup
an vnion
shal
he throw
230
Richer then that, which foure successiue Kings
In Denmarkes
Crowne haue worne.
back
next
Actus Quintus. Scena Secunda.
act
scene
Giue me the Cups,
And let the Kettle to
the Trumpets speake,
The Trumpet to
the Cannoneer without,
235
The Cannons to the Heauens, the Heauen to Earth,
Now the King
drinkes to Hamlet. Come, begin,
And you the
Iudges beare a wary eye.
Ham.
Come on sir.
Laer.
Come on sir.
They
play.
240
Ham. One.
Laer. No.
Ham.
Iudgement.
Osr. A hit, a very palpable hit.
Laer.
Well: againe.
245
King. Stay, giue me drinke.
Hamlet, this
Pearle is thine,
Here's to thy
health. Giue him the cup,
back
next
Actus Quintus. Scena Secunda.
act
scene
Trumpets sound, and shot goes off.
Ham. Ile play this bout
first, set
by a-while.
Come: Another
hit; what say you?
250
Laer. A
touch, a touch, I do confesse.
King. Our
Sonne shall win.
Qu. He's
fat, and scant of
breath.
Heere's a
Napkin, rub thy browes,
The Queene
Carowses to
thy fortune,
Hamlet.
255
Ham. Good
Madam.
King.
Gertrude, do not drinke.
Qu. I
will my Lord;
I pray you
pardon me.
King. It is the poyson'd Cup, it is
too late.
260
Ham. I dare not drinke yet Madam,
By and by.
Qu.
Come, let me wipe thy face.
Laer.
My Lord, Ile hit him
now.
back
next
Actus Quintus. Scena Secunda.
act
scene
King. I
do not thinke't.
To mine
Sprindge,
Osricke,
280
I am iustly kill'd with mine owne Treacherie.
Ham.
How does the Queene?
King.
She sounds to
see them bleede.
Qu. No,
no, the drinke, the drinke.
Oh my deere
Hamlet, the drinke, the drinke,
285
I am poyson'd.
Ham. Oh
Villany! How? Let the doore be lock'd.
Treacherie,
seeke it out.
Laer.
It is heere Hamlet.
Hamlet, thou
art slaine,
290
No Medicine in the world can do thee good.
In thee,
there is not
halfe an houre of life;
The
Treacherous Instrument is in thy hand,
Vnbated and
envenom'd: the foule practise
Hath turn'd it
selfe on me. Loe, heere I lye,
295
Neuer to rise againe: Thy Mothers poyson'd:
I can no more,
the King, the King's too blame.
Ham. The point envenom'd too,
back
next
Actus Quintus. Scena Secunda.
act
scene
Then venome to
thy worke.
All. Treason, Treason.
300
King. O yet defend me Friends, I am but hurt.
Ham.
Heere thou incestuous, murdrous,
Damned Dane,
Drinke
off
this Potion: Is thy Vnion heere?
Follow my
Mother.
305 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.
Dyes.
310 Ham. Heauen make thee
free of
it, I follow thee.
I am dead
Horatio, wretched Queene adiew,
You that looke
pale, and tremble at this chance,
That are but
Mutes or audience to this acte:
Had I but time
(as this fell
Sergeant death
315 Is strick'd in
his Arrest) oh I could tell you.
back
next
Actus Quintus. Scena Secunda.
act
scene
But let it be:
Horatio, I am dead,
Thou liu'st,
report me and my causes right
To the
vnsatisfied.
Hor.
Neuer beleeue it.
320 I am more an
Antike Roman
then a
Dane:
Heere's yet some
Liquor left.
Ham. As
th'art a man, giue me the Cup.
Let go, by
Heauen Ile haue't.
Oh good Horatio,
what a wounded
name,
325 (Things standing
thus vnknowne) shall liue 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,
To tell my
Storie.
March afarre off, and
shout within.
330
What
warlike noyse is
this?
Enter Osricke.
Osr. Yong Fortinbras, with
conquest come fr~o Poland
To th'
Ambassadors of England giues rhis warlike volly.
Ham.
O I dye Horatio:
back
next
Actus Quintus. Scena Secunda.
act
scene
The potent
poyson quite ore-crowes
my spirit,
335
I cannot liue to heare the Newes from England,
But I do
prophesie th'election
lights
On Fortinbras,
he ha's my dying voyce,
So tell him
with the occurrents
more
and lesse,
Which haue
solicited. The rest is silence. O, o, o,
o.
340 Hora. Now cracke a Noble
heart:
Goodnight
sweet Prince,
And
flights of Angels sing thee to thy rest,
Why do's
the Drumme come hither?
Enter Fortinbras and English Ambassador,
with Drumme,
Colours, and Attendants.
Fortin. Where is this
sight?
345 Hor. What is it ye would
see;
If ought
of woe, or
wonder, cease your search.
For. His quarry cries
on hauocke.
Oh proud death,
What
feast is toward in
thine eternall Cell.
That thou
so many
Princes, at a shoote,
350
So
bloodily hast
strooke.
back
next
Actus Quintus. Scena Secunda.
act
scene
Amb. The sight is dismall,
And our
affaires from
England come too late,
The eares
are
senselesse that should giue vs hearing,
To tell
him his
command'ment is fulfill'd,
355 That
Rosincrance and
Guildensterne are dead:
Where
should we haue
our thankes?
Hor. Not from his
mouth,
Had it
th'abilitie of life to thanke you:
He neuer gaue
command'ment for their death.
360 But since so iumpe vpon this
bloodie question,
You from the
Polake warres, and you from England
Are heere
arriued. Giue order that these bodies
High on a
stage be placed to the view,
And let me
speake to th'yet vnknowing world,
365
How these things came about. So shall you heare
Of carnall,
bloudie, and vnnaturall acts,
Of accidentall
iudgements, casuall slaughters
Of
death's put on by
cunning, and forc'd cause,
And in this vpshot,
purposes mistooke,
370 Falne on the
Inuentors heads. All this can I
Truly deliuer.
For. Let
vs hast to heare it,
And call the
Noblest to the Audience.
For me, with
sorrow, I embrace my Fortune,
375 I haue some
Rites of
memory in
this Kingdome,
back
next
Actus Quintus. Scena Secunda.
act
scene
Which are ro
claime, my vantage
doth
Inuite me,
Hor. Of
that I shall haue alwayes cause to speake,
And from his
mouth
380 Whose voyce will
draw on more:
But let this
same be presently perform'd,
Euen whiles mens
mindes are wilde,
Lest more
mischance
On plots, and
errors happen.
385 For. Let
foure Captaines
Beare Hamlet
like a Soldier to the Stage,
For he was
likely, had he beene put on
To haue prou'd
most royally:
And for his
passage,
The Souldiours
Musicke, and the rites
of Warre
390 Speake lowdly
for him.
Take vp the
body; Such a sight as this
Becomes
the Field,
but
heere shewes much amis.
Go, bid the
Souldiers shoote.
Exeunt Marching:
after the which, a Peale
of
Ordenance are shot
off.
back
next
In some versions of the play,
directors have chosen to cut this scene and to allow Horatio's
explanation to fill in the gap in the story. (Hapgood)
Peter
Brook's 2000
production is one notable example. (Brook)
In
the 2007 MFA production at Mary Baldwin College, Horatio’s last speech
was presented at both the beginning and end of play: “While the
cyclical quality was effective…doubling the speech became a particular
challenge.” (Collier 16) The actor eventually came to focus on telling
the story out to the audience the first time, then focusing all her
attention on Fortinbras for the second. In doing this, she found that
the first rendition became quite edgy and challenging, whereas the
speech at the end was more restrained and simple. (Collier)
Although Barnardo and
Francisco are referred to by name in all three
versions of Hamlet, only the
Q2 and Folio texts use their names in stage directions and speech
prefixes. While Barnardo is listed first in the entrance stage
direction, the
fact that he is coming to take over the watch may indicate he enters
after Francisco, not before.
An
armed soldier or marine posted at a specified
point to keep guard and to prevent the passing of an unauthorized
person; each of the men of a military guard posted at regular
intervals round an army in garrison or in the field to watch the enemy,
prevent a surprise attack and challenge all comers. (OED)
Later in the scene, Horatio explains that Fortinbras' growing army
threatens to invade Denmark, which increases the sense of danger and
anxiety for the guards.
Barnardo's
initial line, along with other
hints throughout the scene,
indicates that Hamlet's
opening scene
takes place in extreme darkness. Performances taking place at
Shakespeare's Globe in London in full daylight or in
universal lighting conditions, such as at the Blackfriars, requires
actors
to "play the darkness" on stage.
In Julius Caesar, written and
performed around the same time as Hamlet,
Cassius questions Casca with the same line in a similarly dark scene
(1.3.41), as David Daniell points out in The Language of Hamlet.
In
most modern staging, the lights are very dim in the scene; in order to
overcome the obstacle this creates in seeing the actors' facial
expressions, Harcourt Williams (directing the 1930 production starring
John Gielgud) placed a brazier onstage to light Horatio and the guards.
(Hapgood)
Francisco, as the actual sentry on duty,
has the right to challenge
anyone who approaches.
Reveal,
identify.
Barnardo's
designated time to take over the
watch.
Because Barnardo and
Marcellus have seen the
ghost twice at the same time of night, Barnardo may be asking if
Francisco has seen
the Ghost.
Q1: "partners;" Horatio, we later learn, is only
present
by Marcellus'
invitation.
Liegemen: from "allegiance" (OED);
those
sworn to serve
the King of Denmark ("the Dane"), reiterating
Horatio's expression of loyalty in the previous line.
Another
reference to darkness.
In Q2,
this is Horatio's line.
Throughout
the scene, Marcellus and Barnardo
refrain from using the
word "ghost" to define what they have seen. Tyrone Guthrie in
1963 asked his actors to
pause slightly before saying "thing," "apparition," etc. to indicate
their struggle not to say the word "ghost." (Hapgood)
A
figment of the guards' imagination; also playing
on the idea of the
Ghost Horatio does not believe in.
Regarding
Fearful
The
visible appearance of a supernatural,
invisible being (OED).
Confirm
Resistant to, continuing the
militaristic language begun with "assail."
The previous night.
NASA
image of the
still-visible remnants of the Cassiopeia supernova of 1572, referred to
as "Cassiopeia A."
Some scholars suggest this could be a reference to the 1572 Cassiopeia
supernova, which was first observed both at Wittenberg and by a famous
Danish astronomer, Tycho Brahe. (see Olson)
Stationary
northern
stars surrounding by star trails.
Courtesy of Chris Harvey, www.flitemedia.com.
The North Pole or North Star (sometimes called the "pole star").
Because of its extreme northern position in the sky, the North Star
appears to remain stationary while other stars move around it. For this
reason, it has long been used as a navigational aid.
Striking, tolling. If the ghost appears at the
same time as on the
previous night, an hour has past since Barnardo first entered the
scene. This kind of time compression is visible in both ghost scenes,
when references are made to the bell striking midnight and in short
order the dawn drives the Ghost away.
James Keegan as the Ghost in ASC's
2005 production of Hamlet.
Photo by Tommy Thompson,
courtesy of the American Shakespeare Center.
The ghost appears in full armor; for a
full description, see 1.2. An actor appearing onstage in armor
during a
daylight performance at the Globe would flash and seem to "glow" in the
sunlight. The Ghost probably also used the trap door in the stage for
his entrances and exits, a stage tradition used throughout the 18th
century. Felt
soles were used when Barton Booth played the ghost in early 18th
century to muffle his footsteps.
More modern productions of Hamlet diverge
widely in their handling of the ghost. more
Lighting effects and smoke are
common: sometimes the ghost appears as a bright light, sometimes as a
shadow. In a 1965 Royal Shakespeare Company production, Peter Hall had
a ten-foot high figure built and wrapped in cloth and placed on a
wheeled platform so it seemed to float as it moved. (Hapgood)
Barnardo’s statement confirms that,
while the Ghost is indeed similar to the old King, none of the men
believe the Ghost actually is Hamlet. The motivation and identity of
the Ghost is in question from its first appearance.
There are several possible reasons for this: one
is that Horatio, as a scholar, speaks Latin, and may therefore be able
to exorcise the Ghost. Additionally, there were beliefs that a ghost
could not speak until spoken to, and that speaking to the ghost was
necessary to ascertain its business and identity, eventually and
ideally
leading to the ghost’s permanent departure. (Ard. Q2)
Based
on this line, the actor in the MBC 2007 MFA production wrote: “My
initial impression of Horatio’s character was limited and somewhat
stereotypical; I thought of him as a bookworm, drawing from Marcellus’
statement, ‘Thou art a scholar…’ [but] Hamlet [values] Horatio for his
ability and willingness to stand up to him and speak his mind.”
(Collier 6)
Note
it
A wooden harrow.
Distresses, wounds. A “harrow” was a farming
implement for breaking up ground, built of a wooden frame and metal
teeth.
Up
until about the beginning of the 17th century, "thou/thee/thy" were
considered familiar terms of address, to be used with family, close
friends, and social inferiors. The more formal "you" address was used
toward social superiors or equals who were unrelated to/unfamiliar with
the speaker. However, the exact meanings of these modes of address were
quite flexible and (therefore) confusing. (see Freedman for a more
complete survey)
Horatio uses the familiar, intimate “thou” to address the
Ghost, which would be incorrect if he believed the apparition to be the
King (lower status characters generally use the "you" address to those
of higher status); however, "thou" is a common form of address when
speaking to an absent or abstract character, and this may have
something to do with his language here.
By the time Shakespeare wrote Hamlet,
the "thee/you" distinction was becoming less strict and was
obsolete by the 1630s, so it is difficult to say whether Horatio is
being disrespectful.
To take or hold possession of (something
belonging to another or others) by sleight or force; to appropriate by
ruse or violence; to steal. (OED)
Horatio means that the Ghost usurps both the night and the
figure of the dead King.
Horatio uses the rhetorical figure synecdoche to draw a
parallel between the dead King and his endangered country.
Throughout the play, "Denmark" is used to reference both the
physical nation and its ruler.
Synecdoche: a figure in which
a whole is represented by one of its parts, or vice-versa. In this
case, the King stands for the entire country and/or the name of the
country stands for its ruler. (Silva Rhetoricae)
Horatio speaks this exact line twice.
Tiffany Stern points out that "I charge thee speak" is the Ghost's exit
cue, but that the actor would not necessarily know Horatio repeats the
line. When working with cue scripts, then, the actor playing the Ghost
would be
cued to exit at this moment, making Barnardo and Marcellus’ lines about
the Ghost’s retreating form make sense. Horatio repeats the cue just as
the Ghost disappears. (Shakespeare in
Parts)
Possibly
because of the way Horatio addresses
it, possibly because of the belief that Ghosts spoke only to whom they
bore
messages. (Grose, in Ard. Q2)
Productions have used many creative
devices to make the Ghost disappear at his various exit points: many
companies dress extra actors as duplicate Ghosts so it can seem that he
appears in more than one place (this is especially true of the Ghosts'
next exit).
In Charles Fetcher's 1864 Lyceum Theater production in
London, "the ghost stood behind a large concealed wheel which, when
started, caught up, at each revolution, a fresh piece of some almost
transparent stuff, artfully tinted to match the background, until the
requisite thickness was obtained. The ghost apparently melted into thin
air." (New York Evening Post Magazine,
20 December 1919; quoted in Hapgood).
Guarantee, assurance. (OED- first usage)
The King of Norway.
Parley or meeting; here, apparently a
hostile
encounter.
Defeated the Polish army, who
rode to battle on sleds.
A striding gait; a stately or
pompous mode of walking (OED). In the Ghost’s case, a military gait.
Horatio has no specific theory, but gives
his general assumption.
In many obvious applications of the sense
‘outbreak’: An outbreak of disease, war, calamity, or evil of any kind.
(OED)
Denmark
An indication that the nightly watch the
men are a part of is unusual.
Denmark is producing cannons for war.
Trade
Forced
service; drafting, conscription. (OED)
Christian IV, Pieter
Isaacs (1611-1616)
Fredericksborg
Castle, Denmark
The shipwrights are
working without relief. The entire passage may well refer to Christian
IV of Denmark and Norway, who from 1596-1610 took great pains to
increase his military forces, particularly the navy. (Ard. Jenkins)
Horatio’s intermittent use of “our,” as
well as his extensive knowledge of Danish history, could be seen in
conflict with his decided position as a foreigner to the court. It is
clear in other places that his sole connection to Denmark is
Hamlet.
Father to young Fortinbras, who
marches against Denmark.
Ambitious, emulous. (OED)
A covenant or contract made between two or more
persons or parties (OED).
Heraldic
Law
governed the
bestowing of arms
and combat,
such as that between the two kings. (Brooke-Little)
In possession of; some editors believe this refers
only to the King's personal estates, not to their entire kingdoms.
(Ard. Q2)
Equal amount.
Staked, bet.
Horatio makes clear that, while Fortinbras
initiated the challenge, both Kings risked the same forfeiture.
Untried
Outskirts
Fortinbras does not have his
uncle, the regent’s, support, so he gathers mercenary soldiers or
younger sons (who do not inherit land) instead
of Norway’s legitimate fighting force.
The men are fed, as well as their presence
“feeds” Fortinbras’ cause.
Old Hamlet and Old Fortinbras fought in
single combat for possession of a portion of each other’s lands.
Fortinbras, losing,
also lost his son’s inheritance. Young Fortinbras, now grown, raises an
army against Denmark in an effort to reclaim his inheritance.
Cause, reason.
Modern
editors sometimes print "rummage," which implies a sort of searching or
ransacking behavior. (see Ard. Q2)
To
cross its path, or make the sign of the cross
toward it. The fear the Ghost may "blast" Horatio may
suggest a confrontation rather than the sign of the cross, which
theoretically would protect him. The ghost in Fetcher's Lyceum
production (London, 1864), stopped at the sign of the cross before
continuing his exit. (Hapgood)
To wither, shrivel,
blight; to curse. (OED)
An
unreal visual appearance, an apparition,
phantom. (OED)
Help the Ghost escape purgatory and enter
heaven.
Have
knowledge of.
Here Horatio speaks to the Ghost as
though he is the King he appears to be, perhaps more in an attempt to
entice it to speak than actual belief.
Perhaps;
fortunately (OED)
Gathered
To obtain from a reluctant person by violence,
torture, intimidation, or abuse of legal or official authority. (OED)
Horatio seems to assume this is the reason the Ghost is not at peace.
Underground
A type of
spear used in the 16th and 17th
centuries, with a long, triangular, double-edged blade, with two (more
rarely one) upturned flukes at its base. (OED)
Majestic
Threaten it with.
Because the Ghost is
insubstantial, they cannot actually fight it and Marcellus
suggests it is insulting to pretend otherwise.
In Q2, there is a stage direction
for "the cock crows" after Horatio's "oft walk in death" (1.1.127).
Dreadful,
terrible, awful (OED).
Herald
Phoebus Apollo
In Greek and
Roman mythology, Apollo is a god variously associated with the sun,
light, music, poetry, the arts, medicine, archery, truth, and
prophecy. He is depicted as the ideal of masculine youth and beauty and
is the patron of Delphi. In the above image,
he is shown with two of his symbols: the lute (music and the arts), and
the python (medicine). The snake as a symbol of medicine is still
familiar as the Caduceus, the image of a staff and two snakes used by
the American Medical Association. (Hamilton)
A spirit who has wandered
past their normal boundaries (i.e., their graves, purgatory, etc).
Proof
The cock or rooster.
Traditionally, nights were “unwholesome,” such
as in Julius Caesar: "What,
is Brutus sick? / And will he steal out of his wholesome bed, / To dare
the vile contagion of the night / And tempt the rheumy and unpurged air
/ To add unto his sickness?" (2.1.262-6).
To deprive a person suddenly of life, or
of one of the faculties (OED).
Charms
Holy
Filled
with Heavenly Grace.
Golden;
the color associated with this name has
changed over time and now refers to a brownish-red. (OED)
End their watch, disperse.
Necessary
because of the love they bear Hamlet,
and appropriate to their offices as servants of the royal family.
The setting of this
scene has varied widely across production history. It is most often
staged as a full, public court meeting of some kind, at least until the
conversation between Claudius, Hamlet, and Gertrude begins. Other
productions keep the entire scene public, with groups of courtiers
witnessing both the political and domestic portions of the scene.
(Hapgood)
Some productions (such as Kenneth Branagh's 1996 film version) stage
the scene as immediately following Claudius and Gertrude's wedding,
with the queen still in her wedding dress. In others, this scene is
private, such as the 1930 Harcourt Williams production,
where the scene took place with the King entering the Queen's chamber
where she is sewing as though just returned from hunting. (Hapgood)
In
the 2007 Mary Baldwin MFA production, Laertes and Hamlet shared a few
moments at the beginning of the scene, setting up a sympathetic
relationship between them that inspired Anna JL Christiansen, as
Laertes, to try and offer sympathetic support to Hamlet throughout the
rest of the scene. (Christiansen 8)
A
word with many implications: Claudius
probably intends the hearers to believe he means “fresh,” meaning his
brother is not forgotten; the word was also used to indicate
putrification, jealously, or fear (from the OED).
"Was appropriate or fitting for us"- the
inverted word
order is an example of anastrophe,
a rhetorical figure that changes
word order for the sake of emphasis, in this case on “befitted.”
The King likens Denmark to the face
of a crying person. This, along with continual usage of
second person pronouns (our, us, we), unites the hearers and the
speaker.
Ability to discern or distinguish what is
right, befitting, or advisable, esp. as regards one's own conduct or
action; the quality of being discreet; discernment; prudence, sagacity,
circumspection, sound judgment. (OED)
Claudius balances his
grief with assurance that it does not affect his ability to rule in a
time of crisis.
Former
sister-in-law.
Queen of Denmark, Claudius places himself
with the people of Denmark as her subject, and foreshadows the
announcement he is about to make: that Gertrude is his wife.
A widow who holds jointure; a dowager
(OED). Jointure was the lifetime right to property held by the deceased
husband. Like the wager between Hamlet and Fortinbras, Gertrude's
jointure comes from actual property held by her former husband, not
from the Kingdom as a whole.
A
reference to the danger from young
Fortinbras.
An example of the antithesis: juxtaposition of
contrasting words or ideas, such as joy and grief. (Silva
Rhetoricae) Claudius uses this figure throughout the speech.
Prosperous, fortunate.
Grieving
A
song of mourning. The word derives from the
first word of the first choral response of the Office of the Dead, used
as a name for that service. (OED)
Grief,
sorrow, mental distress. (OED)
Sarah Fallon (Ophelia), John Paul
Scheidler (Laertes), John Harrell (Polonius), Tracy Hostmyer
(Gertrude), and Rene Thornton, Jr. (Claudius) in ASC's 2005 Hamlet
Photo by Tommy Thompson,
courtesy of the American Shakespeare Center.
Claudius verbally separates the
subject and predicate of his sentence (Have we...taken to wife),
possibly treading delicately with an
announcement that could be offensive.
Implying the councilors’
complicity in the marriage.
Meaning disconnected; the
metaphor comes from carpentry.
Claudius is confident in Norway’s
ability to deal with his upstart nephew.
March
or progress.
Fortinbras, working
without his uncle's awareness, gathers soldiers, money and other
resources.
Voltemand and Cornelius are
not to discuss or deal with anything other than the issue at hand.
Expanded;
continuing from "scope."
For
“haste.”
Do not doubt it.
Francis
RTM Boyle, as Claudius in the 2007 Mary Baldwin MFA show, used this
line to deliberately insult Hamlet in front of the rest of the court by
addressing Laertes before the Prince. (Boyle)
Speak of or request something
reasonable that will be denied. Claudius' behavior to Laertes is
frequently used as a sharp contrast to his relationship with Hamlet.
Naturally
related to and dependent on.
In Q1, Laertes mentions Old
Hamlet’s funeral as the reason for his return, not the coronation.
Used
to generally indicate any relationship
that was specifically not father, child, or sibling. (OED)
The character of
Claudius has a complex history, some (Patrick Stewart, for example)
have played him as a sincere, affectionate, relatively benign ruler
until he is in danger of having his crimes revealed. Others have played
him solely as Hamlet views him: lecherous and uncouth. Still more have
found a middle ground. (Hapgood)
A number of Hamlets
have used this line as an aside, rather than out loud to the King.
Charles Kemble, playing Hamlet in 1803, did not allow any open sarcasm
into the character's lines, considering it unseemly for a noble person.
(Hapgood)
Morris Palmer Tilley
lists "The nearer in kin, the less in kindness" as a proverb in his book of
collected 16th and
17th century proverbs. (in Ard. Q2)
With a pun on “son.”
Anna
Northam, playing Hamlet in the 2007 Mary Baldwin MFA production, used
personal pronouns as a guide to character relationships throughout the
play. For example, Claudius has just used the familiar address "thy" to
Laertes, but uses the formal "you" to Hamlet. While the exact nature of
the address can vary, it is a clear indication that things are not at
ease between the King and his nephew. In contrast, Gertrude uses the
familiar address to her son throughout the scene. (Northam)
Indicates Hamlet’s
black mourning
dress. In production Gertrude, like Claudius, ranges from a sincere and
loving mother
and wife, to a self-absorbed woman who refuses to acknowledge anything
which upsets her (such as Francesca Annis in a 1995 production). (Hapgood)
Katherine
Mayberry, who played Gertrude in the 2007 Mary Baldwin MFA production
wrote, “I
chose to imagine Gertrude’s relative silence in [Act One, scene two] as
not merely a function of the script, but a choice to defer to her new
husband as a way of showing her trust in his ability to rule.” (13)
Both the King and country.
Downcast gaze.
Mayberry noted that, “In her speech,
Gertrude makes frequent use of rhetorical figures which manipulate
syntax, and which can make her sound indirect if the actor does not
make specific decisions about why she speaks in this way.” (3)
In this line ("Do not for ever with thy veiled lids / Seek for thy
noble father in the dust"), Mayberry used the inverted word order to
put more emphasis on the phrase "for ever."
“Good-mother” was a term of address for a
mother-in-law or step mother. (OED)
In Q2 the line
reads “cold mother,” referencing her lack of grief or perhaps a loss of
affection toward her previous husband and son.
Requisite mourning
garb; for a time,
there were laws dictating what a corpse was buried in and what mourners
wore. Black
cloth was very expensive, so not every mourner would be able to afford
it. Some families would provide black for relatives to wear to identify
them as mourners. (Cressy)
Throughout its production history, Hamlets have dressed in whatever
mourning garb is most appropriate to their time and place.
Occasionally, this has necessitated a slight change in the lines (such
as replacing "inky cloak" with a more accurate description). (Hapgood)
Sighing
Face
This is the first speech in
which we see Hamlet’s preoccupation with the disjunct between internal
feelings and external displays; it is also one of the
play’s many meta-theatrical moments, commenting on what the actor is
doing.
Pertaining
to a son or daughter. (OED)
Dutiful in performing obsequies (funeral
rites or commemorative ceremonies), or in showing
respect for the dead. (OED)
Sorrowing, bewailing, lamentation. (OED)
Presumptuously
irreligious, wicked or
profane.
(OED)
Each of these points implies that Hamlet’s
grief goes against religious precepts. Cressy
explains that, in the Elizabethan era, there was considerable debate
amongst
religious leaders about how long a mourning period should last. Some
thought two days to a week was sufficient, because "extended
mourning...might seem to mimic the old catholic practice." (438) By the
end of the 17th century, it was acceptable to mourn for up to a year.
On the other hand, there were also printed criticisms of those who
moved on too quickly, especially into new marriages. (Cressy)
"First corpse;" in the Bible, the first
corpse was Abel, who was killed by his brother Cain. (KJV, Gen. 4:8-12)
Ineffective; vain. (OED)
Although this may suggest
Hamlet is the heir, because Denmark elects its kings, the succession
actually relies on a vote. In Danish history, however, it was
frequently the case that a King named a son successor and advocated for
them during their lifetime to control the succession. (Royal Danish Ministry of Foreign Affairs)
University
A city in Germany. This is the University
Martin Luther attended and taught at; it is mentioned several times in
Marlowe’s Dr Faustus. (Brecht)
In 1.1,
the possible reference to the Casseopoeia
supernova is also connected to Wittenberg, where it was first
observed.
Contrary; also, Of the planets: Apparently
moving in a direction contrary to the order of the signs, or from east
to west (OED). Claudius likens his desire to a force of nature.
Submit
Do not make her prayers in vain.
Act as King.
Northam
used, “I shall in all my best obey you, madam” to “kill two birds with
one stone: both show my disregard for Claudius’ position as king and
stepfather, and humiliate and discomfort Gertrude.” She gave “I shall
in all my best obey you” to Claudius, and “madam” in G’s face; “you” is
polite to the King, “you” is insulting to his mother, who used the
informal in public throughout the scene and should expect the same
address in return. (5)
Jocund:
joyful.
Toast
Echo
French:
“he or she remains.” Stanislavsky
dropped in a light, black curtain as the others exited, emphasizing
Hamlet's solitude and allowing him to drop whatever face he had put on
for the other characters. (Hapgood)
Peter Brook’s 2000 production of Hamlet
began with this speech. (Brook)
Q1
reads “sallied,” assaulted or besieged.
Editors frequently amend this to “sullied,” tainted. “Solid flesh” and
“melting” continues Hamlet’s preoccupation with the inability of the
outside to convey inside feeling.
Derek Jacobi and other actors point
to the opposing forces within the speech: a sense of not being able to
stand the situation any longer fighting with the necessity of keeping
silent. In 1886, Jean Mounet Sully sat for a long time after the others
had left the stage before finally bringing himself to speak. (Hapgood)
“Dew”
can refer to tears; if so, Hamlet may find
himself unable to cry, though he references tears earlier in the scene.
“A dew” also sounds like “adieu.”
Or that suicide were not
against religious edict. Cannon=canon, or law. Both Catholics and
Protestants at the time believed suicide, or self-murder, was a crime
against God. (Catholic Encyclopedia,
MacDonald and Murphy)
Here
he says two months, later “a little
month;” Ophelia claims it is “twice two months.” Ophelia’s time line
seems most likely to be accurate, whereas Hamlet’s is exaggeration.
Another possibility is a great lapse in time between this scene and the
play-within-a-play.
Detail
from The Rising of the Sun (1753) by Francis
Boucher,
The Greek
titan god of the sun. (Hamilton)
Struggle Between
a Woman and a Satyr, Augustine
Hirshvogel (1545)
Mythological half-human, half-goat creature
associated with lust and drunkenness. (Hamilton)
Beteem:
allow, permit.
See Antony
and Cleopatra:
“Other women cloy / The appetites they feed, but she makes hungry /
Where most she satisfies…” (2.2.235-7).
Ard. Q2 suggests that, since she is a
Queen, Gertrude’s shoes
are perhaps made of something less substantial than an average person’s
shoes, such as cloth or very fine leather.
Jacques-Louis David, Apollo and Diana
Attacking the Children of Niobe (1772),
The Dallas Museum of Art
Niobe was the mother of fourteen children in
Greek mythology. She boasted of her fruitfulness to Leto, mother of
Apollo and Artemis. In retaliation, the goddess had her children kill
Niobe’s children. Niobe wept until she turned into a weeping statue or
waterfall. (Hamilton)
Lacks
Hamlet’s sentence structure echoes
Claudius' opening speech, again separating the subject and object of
the sentence with a lengthy parenthesis.
Giovanni da Bologna, Hercules
and the Centaur (1600)
Displayed in the Loggia dei Lanzi,
Florence
Mythical Greek hero, son of Zeus and
Alcmena, who performed twelve impossible labors. (Hamilton)
In 1988, Mark Rylance
used his small stature to comic effect when comparing himself to
Hercules. (Hapgood)
False
Redness
or flowing.
Irritated or sore.
Move
quickly; also with the sexual imagery of
the action of posting on a horse, which involves raising and lowering
the pelvis.
Manual or manipulative skill; adroitness.
(OED)
In Deuteronomy, an edict declares that if
a man's brother dies while married but before producing a male heir,
the widow should be married to one of his brothers, who will "raise up
seed to
his brother." In Leviticus, however, this same relationship is
considered incest. The belief set forth in Leviticus became the
Judeo-Christian doctrine followed by all major religions; tables of
kinship based on the relationships in Leviticus made it clear what was
and was not considered incestuous.
On a historical note, Henry VIII received special dispensation to marry
Katherine of Aragon after her first husband (his brother) died. He
later dismissed her by declaring the marriage incestuous by canon law
when he wanted to marry Anne Boleyn. (Oxford DNB:
Katherine of Aragon)
Afternoon/evening.
Presumably to Barnardo, a
decision of John Philip Kemble's which has survived well into many
modern productions. (Hapgood)
Characterized
or marked by truancy or
idleness; lazy. (OED)
Kronberg Castle, photo courtesy of
Madelyn von Baeyer.
Modern day Helsingor; the castle is Kronberg.
The leftovers from the funeral
were still unspoiled and could be served by the time of the wedding.
Many productions use this as an almost
comic moment, having Horatio and the others react as though the ghost
had appeared again on stage (for example, William Charles Macready,
Edwin Booth, and the 1930 Harcourt Williams production with John
Gielgud). (Hapgood)
Moderate,
alleviate, temper. (OED)
Wonder, amazement. (OED)
Attentive
Waste
French:
from head to foot.
A military staff; the shaft of a spear
(OED).
Bestilled:
still; also, in the sense of
congealed to motionlessness. (OED)
In
her work on early modern actors'
parts, Tiffany Stern uses Hamlet's questioning of the guards as an
example of repeated cues- cues which contain words or phrases that are
repeated in the following line. This kind of writing which would make
memorization easier and, in combination with the shortness of the
lines,
encourage the dialogue to move rapidly. (Shakespeare in Parts)
The
movable visor on his helmet. (OED)
Expression
Until the average person could
count to 100.
Grey
Sable refers to the fur of a small
animal, which was used as a trim on expensive garments. The fur was
black or dark brown. "Sable silvered" means this color mixed with grey.
Perhaps
Be three times as secretive as
you were before.
Hamlet immediately guesses that the Ghost
will tell him his death was a murder.
Essentially, the truth
will out, no matter who tries to bury it. Most editors prefer Folio's
"foul" deeds and assume that "fonde" is a mistake.
In
1904, Julia Marlowe made Ophelia a figure of loneliness from her first
appearance. Others, such as Helena Modjeska (1891), did not foreshadow
her
tragic end and instead appeared playful with her brother.
(Hapgood)
Lesley
Larsen Nesbit, as Ophelia in the Mary Baldwin MFA production in
2007, wrote “In Act 1, scene 3…I chose to show how Ophelia does not get
the chance to speak by trying to interrupt whenever Laertes…and
Polonius…started to lecture me.” (3)
On board; travel to
France would be faster by sea than overland,
particularly if Laertes is going to Paris.
When;
as soon as.
Means
of conveyance.
Of
little significance or value; petty.
Exceptional
kindness; gracious or friendly
action due to special goodwill, and in excess of what may be ordinarily
looked for. (OED)
Consider
Merely sexual in
nature.
A plant or flower of the genus Viola, esp. V.
odorata, the sweet-smelling violet, growing wild, and cultivated in
gardens; the flowers are usually purplish blue, mauve, or white.
Violets contain a compound called ionone, which actually numbs
receptors in the nose, meaning the scent seems to fade very quickly.
(Ackerman)
One
of Shakespeare’s creations, possibly
meaning “at the height” or continuing to imply lasciviousness (as in
Othello 3.3.406 “as prime as goats”); the whole phrase suggests that
Hamlet’s affections seem to Laertes no more than a product of his
(apparently youthful) age. Both Laertes and Polonius suggest Hamlet’s
extreme youth, while the Gravedigger scene may contradict it.
Adverse,
unfavorable, untoward; difficult to
deal with. (OED)
Succor, support, relief; the filling of a
deficiency. (OED)
Laertes’ speech begins by reflecting
poorly on Hamlet, then changes tactics to imply the wider futility of a
relationship between them, despite any feelings Ophelia and Hamlet may
have for
each other.
In his 1964 production, director John Gielgud told John
Cullem (Laertes) to think of this speech as having the easy swagger of
an overconfident college student. (Hapgood)
Growing,
increasing. (OED)
Only
Bodily
proportions, lineaments, or parts, as
indicating physical strength (OED); also used in Julius Caesar.
Body
Increases
Laertes essentially means
that a
person's "mind and soul" grows and matures in the same way a body does.
Pollution,
defilement, esp. with sin.
Trick,
sleight, deceit.
Dirty;
sully. (OED first usage)
Q2
reads “will.”
Social status.
Whole
Denmark, being an electorate, has the right
to choose its next ruler, and by extension that ruler's spouse since it
could influence the vote; Claudius referred to the councilors'
complicity to his and Gertrude's marriage in the previous scene. (Royal Danish Ministry of Foreign Affairs)
Nesbit noticed Laertes reference to
Hamlet's songs, and felt that “…Shakespeare foreshadows Ophelia’s
madness when he refers to the music that she and Hamlet share…Laertes
warns Ophelia of the dangers of partaking of Hamlet’s music…[I
imagined] music, for us, was a means of flirting…I chose to react as if
Laertes had found out about our secret flirtations or, on the darker
side of the spectrum, perhaps Hamlet told him about them.” (5)
The
musical imagery continues with her description (in 3.1) of Hamlet's
madness as "sweet bells, jangled out of tune and harsh."
Class;
kind. (OED)
Inexperienced or unthinking
entreaty. (OED)
A military metaphor referring
to the generals who stayed at the back of the army to oversee a battle
and who were out of the danger of ranged weapons.
Wariest, most careful. (OED)
Excessively wasteful. (OED)
Diana Turns Actaeon into a Stag, Hendrick
van Balen (1605)
The painting depicts the punishment of Actaeon, a hunter who saw
Diana's
nakedness. After being turned into a stag, Actaeon was eaten by his own
hunting dogs.
The moon was an emblem
of Artemis/Diana, one of the three virgin goddesses in Greek and Roman
mythology (Hamilton); he implies that even the moon cannot be trusted
with
nakedness.
False,
malicious misrepresentation; slanders. (OED)
Flower buds open.
Blights
Referring to a passage in
Matthew 7.13-14: “Enter ye in at the strait gate: for wide is the gate,
and broad is the way, that leadeth to destruction, and many there be
which go in thereat: Because strait is the gate, and narrow is the way,
which leadeth unto life, and few there be that find it.” (KJV)
Swollen
literally or with pride. (from OED)
Dissolute or wanton young man; the name
technically applied to any person who held loose religious beliefs. (from OED)
Ophelia tells Laertes to practice
what he is preaching to her.
In Q1, the following lines appear in
quotation marks, implying they are all proverbial phrases that
Polonius/Corambis recites.
In performance,
Laertes and Ophelia
have mouthed the lines along with Polonius or giggled at his
excessive use of proverbs. (Hapgood)'
Eve
Speer, who played Polonius in the 2007 Mary Baldwin MFA production
notes that, “While Polonius is teaching Laertes how to conduct himself
in the world…he uses a trochee at the top of almost every new
precept…he uses meter to highlight important words in the speech.” (7)
Inscribe (to memory).
Fasten firmly.
Do not wear out your hand making
unworthy acquaintances.
Domestic economy (OED).
Ripen, bring to fruition.
Regarding.
In both his 1965 and 1980 roles
as Polonius, Tony Church pretended not to overhear Laertes and
Ophelia, and whistled along with her humming of "How should I your true
love know?" for a few moments before suddenly asking her about Hamlet. (Hapgood)
Nesbit
wrote, “The first thing
the audience hears is Polonius’ use of
the formal ‘you’ with Ophelia, after just having used the more
familiar, more tender ‘thy’ with Laertes…I tried to find a balance
between wanting to please [Polonius] and being slightly afraid of him.”
(10)
Lord;
probably abbreviated for printing only.
To
belong to, befit, or suit.
Offers;
the word sometimes had the
connotation of formality, sometimes not.
This usage has a stronger implication of
passionate feeling
then today’s usage would suggest.
Young
and inexperienced.
Untested
Hamlet
calls Polonius a “great baby” in 2.2.
Assumed or believed his feelings
to be genuine love.
Sterling;
the metal true English coinage was
made out of (i.e., five pounds sterling).
Polonius tells Ophelia to
respect herself more
than to give Hamlet’s attention credence; "tender" in this instance
also continues the monetary language begun with "sterling" (as in legal
tender).
Lose the wind; as in an exhausted
person or animal.
Acting unwarily makes a fool of both
Polonius and Ophelia.
Solicited
Ophelia denies the implication that
either she or Hamlet has behaved inappropriately. Helena Modjeska
became very indignant during this scene; other Ophelias react more
hesitantly or apologetically. (Hapgood)
Fancy
Support
A diagram for a springe, from Gervase
Markham's Hungers Prevention, or, The Whole Art of
Fowling (1655).
Traps for woodcocks, a type of long-billed bird with brown and black
plumage thought
to be particularly stupid and easy to catch.
Lust is aroused.
Essentially, “what lavish
vows are possible.”
More show than substance.
Polonius tells Ophelia not to see
Hamlet whenever he wants to speak with her.
Negotiators,
mediators, or go-betweens.
Polonius claims that
innocence and holiness are the best disguise for temptation and
lasciviousness.
Abuse
Command
Come away; let’s go.
Severely,
harshly. (OED)
Q2: it is; the fact that it appears
as a question in F suggests perhaps Hamlet does not enter fully yet.
Biting
Sharp;
bitter. (OED)
Habit
In Q1 and Q2, a stage direction
indicates “Sound trumpets” and “A flourish of trumpets, two pieces go
off” respectively, prompting Horatio’s question.
Stays
awake.
Carouses; takes a bout of drinking.
(OED)
Dances riotously; the
“upspring” was a German dance.
Common
name for Rhine wine, a traditionally
upper-class drink.
Traditionally Danish
instruments.
Make
loud, harsh noises; as a donkey.
His drinking the draught in one
gulp.
Meaning the Danish custom should
seem normal and correct.
It would be more
honorable to forgo the custom than to follow it.
David Garrick as
Hamlet
Hamlet's first encounter with
the Ghost is a moment greatly affected by theatrical tradition. In the
early eighteenth century there was a tradition of Hamlet making some
sort of attack on the Ghost. Later in the century, David Garrick's
reaction became and remained the most famous: he would stagger back two
to three steps, being caught by his friends and ending on his knees;
during the stagger, his hat (specially designed) would fly off
gracefully, he would spread his arms wide, and the mechanical wig he
wore made each hair raise on his scalp. (Hapgood)
Charles Kean (1838) reacted more calmly, slowly sinking to his knees.
Alec Guiness in 1951 received praise for his lack of movement,
especially in light of the well-known tradition. Michael Redgrave then
followed Guiness' tradition a few years later. (Hapgood)
Shape that begs questions.
Consecrated; having received all formal
burial rights. (OED)
Death-clothes.
(OED)
Interred
Armored corpse.
Bestowal, communication.
Courtly; noble. (OED)
Waves
Hamlet feels his life is
worthless.
Sea
Summit
The cliff juts out; likely from
the expression “beetle-browed.”
Artery
Khris Lewin as Hamlet, Eric Shoen as
Horatio, and James Beneduce as Marcellus
Photo by Tommy Thompson,
courtesy of the American Shakespeare Center.
The Nemean Lion was an invincible beast
with an impenetrable skin; the first of Hercules’ impossible labors
was to kill the Nemean Lion, and he is often depicted wearing the
lion's pelt. (Hamilton)
Before John Philip Kemble (1783-1817)
Hamlet followed the Ghost out with the point of his sword aimed toward
the Ghost. Kemble, and later Charles Kean, allowed the sword to trail
behind him. Edwin Booth and Charles Fetcher in the 1860s carried the
sword as a cross before them. (Hapgood)
Grows
Hear; throughout Hamlet's production
history, actors playing the Ghost have used vocal effects to indicate
that they are speaking from another world. Some descriptions include
William Charles Macready's ability to speak "without resonance,"
Nicol Williamson's use of his own voice for the Ghost, and Jonathan
Pryce's interpretation of the Ghost as a presence possessing Hamlet
(inspired by The
Exorcist). (Hapgood)
The
Mary Baldwin MFA
production in 2007 placed members of the cast
backstage to add breathing effects and repeat certain words of the
Ghost's speech, creating an otherworldly effect without technology.
(Vincent 10)
The
flames of purgatory; this reference
implies the Ghost (and presumably Hamlet, at least) is Catholic.
Souls being rescued
from the various torments of Purgatory (land, water, and fire). From Les Tres Riches Heurus du Duc de Berry.
In Catholic tradition, souls in
Purgatory remained there until their sins were repaid; it was possible
for those still living to pray for those in purgatory to shorten the
duration of their punishment. (Catholic
Encyclopedia)
In Protestant belief, their was no
Purgatory or intercession.
Eye
sockets
Of
hair. Some suggest this means elaborately
styled, others that Hamlet's appearance is unkempt because he is in
mourning.
In Peter Brooks' 2000 production, Hamlet wore his hair in
dreadlocks. (Brooks)
According to
tradition, David
Garrick wore a mechanical wig when playing Hamlet so that, when the
Ghost appeared, his hair could literally stand on end. (Hapgood)
Porcupine
Public
show or announcement. (OED)
Listen
Murder
The best it can be is the
foulest murder.
From the proverb, “As swift
as thought.” (Dent, in Ard. Q2)
Roots
Wharf on the banks of the Lethe, one of
the rivers through Hades, whose water made those who touched it forget.
(Hamilton)
All the subjects of Denmark.
Falsified
Hamlet and his father are the only two
characters in the play who seems to consider the relationship
incestuous, despite the biblical precedent for their belief.
Though some commentators argue this could
indicate an affair between Gertrude and Claudius prior to Hamlet’s
death, it would be Biblically consistent to consider the relationship
incest and adultery.
Descend
Satiate;
satisfy. (OED)
Virtue and Lust are equally strong in
their own inclining.
Wait
As in 1.1, the time between midnight and
sunrise passes extremely quickly.
Poison;
in Marlowe’s The Jew of Malta,
“Hebon” is a
poison. Both these names may be variations on “henbane," a poisonous
plant.
Into his ears; both the
historical murder of the Duke of Urbino, and a character in Marlowe’s Edward II refer to this as a
successful means of poison. Modern understandings of anatomy and
medicine suggest this would not actually work. (Bullough, v.7)
Apparently the poison caused
scales and discoloration similar to leprosy on the King’s skin.
Shakespeare's is the first usage of "distillment" listed in the OED.
Liquid mercury.
Sudden
Referring
to the drink, made from hot milk
curdled with ale, wine or other liquor and flavored; frequently
medicinal (OED).
Eager:
probably something sour, which would
curdle milk.
Blistering similar to leprosy.
“Housel”
was an old name for the "host," a
piece of bread or a wafer taken
during communion. (OED)
Unannointed,
a part of the Catholic rite of
extreme unction, the final confession and blessing for a dying person.
(OED)
Because Old Hamlet had no
confession, he is now in purgatory for his unforgiven sins. This makes
his murder worse, as his suffering is prolonged.
Some editors assign this
line to Hamlet, as in productions by David
Garrick, Sir John Gielgud, Laurence Olivier and Kevin Kline. (Hapgood)
The Ghost warns against the lunacy
others see in Hamlet later in the play; this may inspire Hamlet's plan
to put on an "antic disposition."
The Ghost has a consistently
lenient and protective attitude toward Gertrude.
Either her conscience, or a
reference to the legendary nightingale, who leaned her breast against
a thorn and sang herself to death.
Morning;
more specifically, a Catholic church
ceremony taking place early in the morning. (Catholic Encyclopedia)
Begins
Adieu:
farewell; literally translated ‘[I
commend you] to God.’
Join
with.
Muscles,
tendons.
Both
the world, and a meta-theatrical reference
to the Globe theater, where the play was first performed.
As though his mind were a wax
tablet.
Commonplaces
or maxims. (OED)
The forms and impressions
which would appear on the tablet.
Fit
In 1964, Richard Burton knelt to
pray; Mark Rylance slit his palm and touched his forehead. (Hapgood)
Perhaps mocking his friends’ call as
though they were falconers.
Truly base and deceitful man.
Q2,
Q1 “whirling;” undisciplined, violent.
Shakespeare’s only reference to
this
Saint. He is the saint of Purgatory, and his most famous miracle was
banishing snakes from Ireland (Catholic
Encyclopedia) ,linking to the Ghost’s designation of
his brother as a “serpent.”
Both John Henderson and John Philip
Kemble
(collectively 1777-1817), tried throughout these speeches to find a
chance to confide in Horatio, but were stopped by the presence of
Marcellus. (Hapgood)
A stand-in for a crucifix or cross.
A traditional name for an honest man. (from
OED)
Reaffirming the staging idea that the
Ghost used the trap at the Globe; allowing the actor to be underneath
the stage. In Q1, the stage direction reads, "Ghost cries under the
stage."
Latin: “Here and everywhere.”
Antic: clown like,
wild, or fantastical. Hamlet explicitly
warns
the men of his plan, possibly prompted by the Ghost’s warning against
madness.
Folded
or crossed.
Friendship
Either from the medical practice of
setting bones or from carpentry; similar to Claudius’ description of
Fortinbras’ impression of Denmark's weakness.
Several events in the second
act suggest a significant time lapse: Laertes has successfully returned
to Paris, the Ambassadors sent to Norway have completed their mission
and return in the second scene, and later in the play Ophelia comments
that it has been “twice two months” since Hamlet’s father died,
effectively suggesting that two months have passed since Hamlet
encountered the Ghost, at which time he claimed it was two months since
his father’s death.
Letters
Marvelously
Danes. This is the only example of the word
cited by the OED.
Financial means or resources.
Polonius encourages Reynaldo to be
circumspect when checking up on Laertes. In some
productions, Reynaldo takes notes during Polonius' lecture. In others,
such as the Kenneth Branagh 1996 film version, Reynaldo is a more
confident or even threatening figure. Tony Church as Polonius (1965)
hinted at a voyeuristic pleasure in Polonius' interest in Laertes'
life. (Hapgood)
Because Reynaldo is to
discover how Laertes deports himself in France, Polonius suggests that
by not claiming a deep personal knowledge of Laertes, Reynaldo will be
more apt to hear Laertes’ friends’ honest reactions to Reynaldo’s mild
slanders. (Branagh)
Not necessarily in a negative sense; more
along the lines of “interested in.”
Fictitious invention. (OED)
Large, serious, offensive. (OED)
Common
Young people on their own.
Gambling
An
acceptable spelling of “aye.”
Visiting
prostitutes. Polonius' accepting attitude toward Laertes' sexual habits
is in striking contrast to his concern for Ophelia's virtue.
In Kenneth Branagh's 1996 film, Polonius has a prostitute with him
during the beginning of the scene. (Branagh)
Temper,
qualify. (OED)
Want of continence or self-restraint;
inability to contain or retain. With reference to the bodily
appetites, esp. the sexual passion: Unchastity. (OED)
Wisely; cleverly. (OED)
That any wildness can be dismissed
by his youth and immaturity. Polonius speaks of his son in a similar
way that he does Hamlet's youth.
An acceptable trick or stratagem
designed to ultimately protect his son, not to harm him.
Faults
or blemishes. (OED)
No more damage then
would come through the normal handling of an object.
The person you are interviewing.
Aforementioned (OED)
Speak
Responds to you
with the following.
Drunk
“That is to say.”
(Latin)
What you say appears to be truthful.
Indirect questioning. A windlass is
a hunting term for a roundabout course; the bias is the curved path a
ball travels in the game of bowls. (from OED)
Shall you find out about my son.
Be
with.
Practice
Sewing
Ophelia
does not necessarily refer to a
bedchamber; Q2 reads
“closet,” which was frequently an antechamber used for praying,
reading, sewing, etc. Q1 reads “gallery” which implies a more public
space.
Jacket;
worn over an undershirt. The doublet
could have sleeves attached to it or not.
Unfastened,
open (OED).
Typically, an Elizabethan male
would wear a hat indoors and out, except when showing respect to their
sovereign, their God, or a lady (especially during a dance). (Gurr, Playgoing)
“Gyves”
were fetters; Hamlet’s stockings
make him look like a prisoner in Ophelia’s mind.
Unwashed, lacking the
bands (garters) which hold them up, and hanging around his ankles.
Purpose;
implication.
To the audience, this might
suggest that Hamlet resembles his father’s spirit, who by his own
admission has been "loosed out of hell."
The disheveled manner of Hamlet’s
dress and his distracted manner is consistent with what were considered
symptoms and signs of madness. (Gellert-Lyons)
Body
“Of
doors.”
J. Henry Fuseli, Hamlet and Ophelia,
c. 1770
Ophelia’s description has
prompted many productions to stage this moment in dumb show, as Tom
Stoppard does in Rosencrantz and
Guildenstern are Dead. Some Ophelias, such as Julia Marlowe in
1904 and Kate Winslet in 1996 (film), reenact the encounter with
herself
as Hamlet and Polonius as herself. (Hapgood)
Frenzy
(OED), madness.
Destroys
Polonius, now at least, appears to believe
that Hamlet's feelings were genuine.
Observed
Play
Ruin (by seduction).
Shame on.
Basically, old men are just as
likely to read too much into things and be too cautious as young men
are
to be reckless.
In Q2 and F, Ophelia does not
actually appear with Polonius in the following scene.
Which;
common words such as "what," "which," and
"with" were frequently given abbreviations in printing to allow the
typesetters to flexibility with the length of typeset lines.
Polonius now believes it is better
to accept whatever fallout will come from revealing the affair than to
continue to hide it when Hamlet suffers.
Latin: “with others;” no “others” are
indicated in Q1 or Q2, but Gertrude’s line to “some of ye”
(2.2.38) indicates others may be present. William Charles Macready
(1823-51) set this scene, like 1.2, in front of a full court. (Hapgood)
Q2
“dream.”
Commensurate with his age and
disposition.
Promise to stay.
Divert him and discover what
may be done for his affliction.
Courtesy,
generosity. More generally, in
reference to acceptable gentlemanly behavior. (OED)
Rosencrantz and Guildenstern, unlike
Horatio, seem to be Danish and this may explain why Gertrude and
Claudius do not appear to know Horatio.
An archery metaphor; “to our uttermost.”
Although
in some productions the Queen
reverses the order of Rosencrantz and Guildenstern's names for
politeness' sake (such as in the 1975 Buzz Goodbody production starring
Ben Kingsley as Hamlet), many make a comic moment out of the line by
implying that Claudius cannot tell the men apart. Garrick and others
have felt the characters are basically interchangeable, an idea Tom
Stoppard plays with in Rosencrantz
and Guildenstern are Dead. (Hapgood)
This indicates a lapse of time
between the first act and the second as it would take at least several
weeks to make the journey.
Q2:
fruit.
Scrutinize,
examine closely.
In
that they are both kings.
As soon as they presented the problem.
Raising
an army.
In the larger political world of
the play, Norway and Poland are at war, as Denmark and Poland were
during Old Hamlet’s reign.
Map of Europe in 1600.
After receiving Fortinbras’
promise not to march on Denmark, Norway supports and encourages the
action against Poland. As shown on the map above, Denmark controlled
any direct sea or land passage between Norway and Poland.
Polonius speaks more bluntly
about Hamlet’s affliction than the other characters.
More substance, less rhetoric.
Actors in the Polonius part have dealt with the characters' roundabout
speaking style and copious musings in different ways: some speak
slowly, finding humor in the tediousness of the character; in contrast,
Tony Church found success in speaking very rapidly, forcing the other
characters' interjections to speed up as well. (OED)
Artifice;
artfulness.
The rhetorical figure Polonius uses is
antimetabole: repetition with a reversal of order: 'tis true 'tis pittie, and pittie it is true. (Silva Rhetoricae)
Either Polonius
calls antimetabole a foolish rhetorical figure, or calls himself
foolish for using the rhetoric.
Hamlet’s
defect is his madness.
Consider
(OED)
Unmarried and therefore living in
Polonius' home.
Beautiful
Polonius comments on Hamlet’s poor
poetry; this moment connects to Polonius’ declaration that “innobled
queen is good” (2.2.516).
In Q2, this entire
line of Polonius’ from “The Letter” through “bosome, these” is printed
in italics, as though it is all in Hamlet’s letter. In Q1, this passage
is missing and the letter begins at “Doubt thou,
the Starres are fire.”
Suspect
Ill at writing metrical poetry.
Count
Body;
this is the OED’s first recorded use of
“machine” as a metaphor and Shakespeare’s only usage of the word.
The particulars of their encounters.
Polonius' response reiterates
his paranoia that the King and Queen will grow angry at Hamlet and
Ophelia's relationship.
A book composed of tablets for memoranda;
a pocket note-book or memorandum-book. (OED)
Deliberately
closing the eyes; Polonius is absolving himself of any active
encouragement or participation in Hamlet and Ophelia's relationship and
emphasizing the actions he took to keep them apart.
Polonius explains that he
anticipated and acted against the displeasure the royal couple would
feel about a relationship between Hamlet and Ophelia. Neither Claudius
nor Gertrude validate this fear.
This entire speech implies to the
King and Queen that Polonius does not believe Ophelia is good enough to
be Hamlet's wife.
Instructions
Access
Sleepless state.
Deterioration; falling away. (OED)
The actor presumably clarifies “this”
and “this” with gesture; possibly head from body, or some symbol of his
office from him.
The investigation.
Of
the earth.
Tapestry
or hanging.
Cart drivers.
Ophelia’s description of his appearance
in 2.1 is frequently used to influence Hamlet's costuming here, though
it is rare that he appears exactly as she describes.
Olivier wore his doublet unbraced; Branagh wore a straitjacket;
Macready used none of Ophelia's description and caused a scandal by
appearing impeccably dressed; the "down-gyved" stockings were popular
in the eighteenth century. (Hapgood)
A contemporary account of Burbadge refers to
how 'mad Hamlet put off his cloathes, his shirt he only weares.'
(Anthony Skoloker, qtd. in Hapgood 157).
Confront,
encounter, accost.
“God have mercy on you.” This was a
common greeting for an inferior person, which may prompt Polonius’ next
line.
One who deals in fish (OED); a
whoremaster, from the slang "fish" for prostitute. Monger: one
who promotes undesirable things.
Henry Condell, an
actor in Shakespeare's company and one of the
compilers of the first Folio, was the son of a fishmonger. (DNB)
The Annunciation
by Fra Angelico c. 1430.
Museo di San Marco, Florence.
This line is
interpreted in a
number of ways: some believe “Carrion” carries a sexual connotation.
Another theory suggests the Sun/Son pun refers to medieval
depictions of
the Annunciation, when a beam of light shines on Mary to impregnate
her. The spontaneous generation of maggots would be a corrupted
reference to Christ’s immaculate conception. (Jenkins, Ard. Q2)
A
dead body; a corpse or carcass. Dead
putrefying flesh of man or beast; flesh unfit for food, from
putrefaction or inherently. (OED)
Pregnancy is a blessing, but not
for Ophelia, as she is unmarried.
The author.
Tree
resins.
Lack
Honorable
Indoors; presumably this scene takes
place inside (see Polonius’ reference to “the lobby” at line
171), which may be why Hamlet takes the comment to a more extreme
sense. Of course, the performance itself, originally at the
Globe, would be outdoors.
Cogent
(OED); also, laden with meaning or
wisdom. Hume Cronyn (1964) was amused by Hamlet's behavior; Tony Church
(1965) played dumb.
Aptness
This phrase follows the stream of
imagery from “breed” (194) and “conceive” (199), to “pregnant” (224)
and “delivered” (228).
The
manner of Rosencrantz and Guildenstern's
entrance correlates strongly to the moment at which Hamlet discovers
that they are in the King's employ. Gordon Craig advocates a later
revelation of this, and therefore a more natural camaraderie when they
enter; Konstantin Stanislavsky believed Hamlet should be suspicious of
them from the first. (Hapgood)
Neutral, average.
It was common to personify Fortune,
though she was usually depicted naked. The woodcut below is from a
Dutch emblem book published in 1616.
Some editors, such as Thompson and Taylor in Ard. Q2, suggest it may be
a reference to the Fortune Theater. If
so, it is the first of many references to contemporary playhouses.
Waist
A debauched or unchaste woman, a harlot,
prostitute. (OED)
The
day on which the dead shall be raised to
be ‘judged of the deeds done in the body’. (OED)
The reference to Denmark
as a prison is not extent in either Quarto; this would appear to be a
politic omission as Anne of Denmark, wife of James I, was the new Queen
of
England. Shakespeare’s company had become the King’s Men in 1603, the
same year Q1 was published.
Feeling imprisoned was a symptom of
melancholy and madness; note Feste’s dialogue with Malvolio in Twelfth Night 4.2.30-4:
Clown:
...sayest thou that house is dark?
Malvolio:
As hell, Sir Topas.
Clown: Why
it hath bay windows transparent as barricadoes,
and the
clearstores toward the south north are as
lustrous as ebony; and yet complainest thou of
obstruction?
A place of confinement, confining or
enclosing place; enclosure. (OED)
Each of the different divisions or separate
departments of a prison. (OED)
Rosencrantz suggests that Hamlet wishes to
be King.
A symptom of melancholic people.
Faith
Count, include.
Familiar
Do
Either too dear at a halfpenny
or by a halfpenny; either way, Hamlet seems aware that they have been
sent for and possibly suggests that they do not, then, deserve his
thanks.
Entreat,
beseech. (OED)
Agreement, harmony (OED); both their
similar ages and their long friendship.
"Whatever else one
could make you
swear by."
Perhaps “on;” in Peter Brook’s
2000 production, Hamlet literally threatened to remove Rosencrantz’s
eye with his thumbs. (Brook)
In contrast, John Gielgud advised Richard Burton to not be too harsh
with his friends in this scene so that the recorder scene comes as more
of a shock. (Hapgood)
By freely telling them, Hamlet can
control what they tell the King and Queen.
Experience no loss (of trust with
the King). Stress can cause a bird to moult.
Habit
Q2
reads “heavily.”
During this speech,
Richard Burton in 1964 would climb on a chair or sometimes walk on a
table to counteract his desire to get lost in (and lose the audience
in) the beauty of the language. John Barrymore (1922) would also
sometimes do something physical (laugh, balance on a chair) during the
speech. (Hapgood)
Sterile: barren. A promontory or
headland is attached to the mainland but surrounded on three sides by
water. (OED) Kronberg Castle in Helsingor, Denmark is built on a
promontory.
Adorned
Metatheatrically, this
probably refers to the painted “heavens” in the Globe theater, and some
suggest the “foul and pestilent congregation of vapours” refers
to pipe smoking theater patrons. (Adams, Jr.)
Ability
Well-formed
Understanding
Supreme
or outstanding version.
Concentration; literally it translates
to the “fifth essense,” a substance believed to comprise heavenly
bodies. (OED)
Spare; during the season of Lent, Christians
were expected to fast and pray and the playhouses were
closed. (Gurr)
Met and overtook.
Hamlet names several stock characters.
A foil is a light sword used in
fencing; a target is a round shield. Both are good for stage combat
because of their light weight.
Freely;
without pay.
Because the next character he names is
the clown, the “humorous man” probably means a character who
portrays a specific psychological type (such as melancholic, choleric,
etc.).
The verse will become uneven or
irregular, as in a limping or "halting" gait.
Despite the definition of the word as "a
tragic actor" (OED), Polonius refers to their repertory as including
many genres, so they do not exclusively perform tragedies though this
may imply tragedy is what they are best known for.
Either
somewhere in Denmark, or possibly in
Wittenberg.
For
some time, it was thought that a playing company would
only travel outside of the city if the theaters were closed for plague
or other reasons. Recent scholarship has suggested this may be
otherwise since playing in private homes and other touring locations
was quite profitable. (see Cox and Kastan)
The reason they are forced to travel
is recent and unusual. Jenkins and others suggest this may refer
to
events in contemporary England, such as: the Essex revolt in 1601,
which
prompted Shakespeare’s company to be questioned for a commissioned
performance of Richard II, or
more simply the revitalized interest in boy acting companies.
Within the world of the play, it could be attributed to impending war,
or the death of the former King.
Reputation
A nest, and also the young of, a bird of prey.
(OED) Probably a reference to the Children of the Chapel, who began
performing in the Blackfriars in 1600. (Gurr)
Young
hawks, notably loud.
Vehemently applauded.
Assail the public playhouses
(outdoor theaters) while they performed in indoor (private)
theaters, such as the Blackfriars.
Gallant young men are afraid of being
mocked in the plays they go to see the boys perform.
Supported, patronized. Theatrical
companies worked in a patronage system, hence names like “The Lord
Chamberlain’s Men” or “Lord Strange’s Men.”
Provided
for.
Hamlet questions the
intelligence of mocking adult acting companies when the children will
eventually grow up and perhaps seek jobs in such companies. In
actuality, there were several instances of men staying in a boy company
until they were in their thirties.
The theater war between adult
and child
companies was popular with the public, who desired to see plays in
which they attacked each other.
Win the war.
Hercules’ load was the world,
which he bore for Atlas as one of his twelve labors; there is evidence
suggesting that the flag flying over the Globe theater was the image of
Hercules with the world on his back.
Faces
While technically an Italian currency, the
"ducat" was used to refer to gold coins from many European countries.
In
miniature; possibly also suggesting the
possibility of satire from the boy actors, who were literally
little.
Hamlet compares fickle theater
audiences with no sense of loyalty to the people of Denmark, who accept
his Uncle's sovereignty.
Thing that appropriately follows. (OED)
In outward appearance.
Hamlet greets Rosencrantz and
Guildenstern with the appropriate ceremony so they do not feel slighted
by the way he greets the Players.
By marrying his mother,
Claudius is both Uncle and (step)Father to Hamlet and Gertrude is both
Mother and (step)Aunt.
In the Early Modern period a common belief
held that madness was affected by the weather; Hamlet plays to that
belief. (Ard. Q2)
Swaddling clothes.
Perchance, perhaps. (OED)
In As You Like It, Jacques’ Seven
Ages of Man speech ends with "Last scene of all, / That ends this
strange eventful history, / Is second childishness and mere oblivion, /
Sans teeth, sans eyes, sans taste, sans everything" (2.7.163-166).
A
famous actor in Ancient Rome, d. 62 B.C. (OED)
Sarah
Bernhardt as Hamlet made a long
business out of "buzz, buzz," chasing an imaginary fly around the stage
while Polonius tried to deliver his speech. (Hapgood)
A play which observes the
Aristotelean unities of place, time, and action. Of Shakespeare's
plays, only The Comedy of Errors and
The Tempest come close to
observing the unities. Ben Jonson's plays rigidly adhered to the
unities, and the fact that Shakespeare's rarely, if ever, did was
Jonson's biggest criticism of Shakespeare.
A play which is not constrained by
observing the unities. Most of Shakespeare’s plays fall into this
category.
Accounted the best ancient writer for tragedy,
he lived from 4BC-65AD. (OED)
Most
famous ancient writer of comedy, he
lived from 254-184 BC (OED); he wrote the Menaechmi,
on which Shakespeare’s
The Comedy of Errors is based.
"Law of Writ" probably correlates
to "scene indiviable" as a "writ" is a written judicial command.
"Liberty" would then
correlate to "poem unlimited."
A
quotation from a popular ballad. John
Barrymore sang the lines. (Hapgood)
The Return of Jephthah by Giovanni
Antonio Pellegrini (dated
1700-1725)
The story of Jephthah appears in the Book of Judges. In order to secure
victory over the Ammonites, Jephthah pledged to sacrifice the first
thing
that approached him on his return home. When he returned, his
only daughter ran to greet him, and Jephthah was forced to sacrifice
her.
(KJV)
Hamlet continues to quote from the
ballad.
Further quotation from the ballad.
Know(s)
Verse or line.
French colloquial term for a ditty or
simple song.
The players’ prompt Hamlet to break off
his conversation.
Corey Vincent
described the players in the MFA production as, "a mix
between a modern performance art troupe and an Indian ritualistic dance
company.” (15)
Q1/Q2:
valanced, suggested he has grown a
beard.
Taller, higher. Charles Fetcher (1861,
etc.) had a boy play this part. (Hapgood)
Venetian Chopine, c. 1600.
A high, platform-heeled shoe in fashion throughout Europe, but
particularly in Venice. (OED)
Gold coins from the reign of
Elizabeth I
On a coin, a ring surrounded the image of the sovereign stamped into
the middle of the coin. If the was coin cracked "inside the ring" it
was no longer legal tender. There
is also a sexual implication about both the boy’s voice and his female
characters' virginity.
Suggesting
enthusiasm, and also possibly a lack of discretion in choosing a target.
Did not please the masses;
caviar was reportedly an acquired taste.
Organized
There was not enough variety in the
lines to make them palatable; "sallats" are sometimes glossed as bits
of spice, (OED) and the implication may be that the content of the play
was
not bawdy enough.
Nothing in the phrasing that would
accuse the author of affectation (excessive rhetoric, etc).
Aeneas' Flight from Troy, Federico
Fiori Barocci (1598)
Galleria Borghese, Rome
The Death of Dido, by John Reynolds
(1781)
Royal Collection, UK
The legendary founder and queen of Carthage,
daughter of Belus and sister of Pygmalion. In Virgil, she fell in love
with Aeneas. When he left her to continue his search for the new home
in
Italy, she killed herself on a funeral pyre. (Encyclopedia Mythica)
King of Troy. He
became king after his father Laomedon and all his
brothers were killed by Hercules in the first sack of Troy. Priam
himself was the father, by his wife Hecuba and other women, of fifty
sons and many daughters, including Hector, Paris, and Cassandra. (Encyclopedia Mythica)
A relief depicting Priam (center)
begging for the body of his son, Hector, from Achilles.
During the Trojan War, Priam's son Hector was killed by the Greek hero
Achilles. In the Iliad, Priam entered the Greek camp and pleaded with
Achilles
to return Hector's body for burial. Priam himself was finally killed by
Achilles' son, Pyhrrus, upon an altar of Zeus in the center of
Troy. (Encyclopedia Mythica)
The Rape of Polyxena by Pio Fedi,
1866.
Loggia dei Lanzi, Florence.
Pyrrhus was the
only son of Achilles, killed by King Priam's son Paris during the
Trojan war. He was the youngest of the
Greek warriors, noted for his savageness.
Among those he killed were the Priam, Priam's youngest daughter
Polyxena, and Hector's son Astyanax. Polyxena was
killed as a sacrifice demanded by the ghost of
Achilles after the war ended. (Encyclopedia Mythica)
Tiger; In Shakespeare's Henry VI, part III, York refers to
Margaret as worse than the "tigers of Hyrcania." (1.4.156)
Black; "arms" is variously interpreted to mean
"armor," or coat of arms, or that the Greeks inside the Trojan Horse
blackened their skin as a form of camouflage, or merely that Pyrrhus'
arms appear black, perhaps because of his hair.
Trojan horse; a hollow horse statue the
Greeks built as a trick to enter the city of Troy. They left the horse
on the beaches of Troy and sailed away, having hid soldiers inside.
Once the horse was taken into the city, the soldiers waited until
night, then emerged and sacked Troy, destroying the last of Priam's
army. (Encyclopedia Mythica)
Sable
was a Heraldry color, linking
Shakespeare's
usage of these two words. In heraldry, the color sable or black, could
symbolize grief, wisdom, simplicity, honesty, and prudence. (Dictionary of Heraldry)
Red,
the Heraldic symbol of military
fortitude and magnanimity. (Dictionary of Heraldry)
Priam's son Paris (whose abduction of
Helen began the Trojan War) killed Pyrrhus' father, Achilles. Pyrrhus,
because Paris was
already dead, in revenge killed his entire family instead. (Encyclopedia Mythica)
Suggesting the blood has dried on
his skin into a crust.
Das Brennende Troja (The Burning Troy), J. G. Trautmann (mid-18th century)
Scorching; from the fire's heat.
Clotted, congealed.
A name variously applied to precious
stones of a red or fiery color; the term was esp. applied to a
mythical gem said to emit a light in the dark. (OED)
Priam supposedly fathered fifty
sons, and hence innumerable grandchildren.
(Encyclopedia Mythica)
David Garrick and Charles Fletcher
both mouthed the words along with the Players' speech. Other Hamlets
have followed this tradition. (Hapgood)
To hear
Solomon Stone Romney (Mary Baldwin MFA '09) perform this speech, click
here.
Priam is either too old or too weak to
fight.
Antique
Contrary or contradictory to. (OED)
A
slight puff or gust of wind, (OED)
emphasizing
Priam’s weakness.
Rendered nerveless or weak; unmanned. (OED)
Poetical name for Troy.
The towers of Troy begin to
collapse, and momentarily distract Pyrrhus from his murder.
White
Neutral:
a person or state who does
not take sides in a conflict.
Pyrrhus pauses, despite his desire and
intention for revenge.
Cloud
bank.
Earth
One-eyed giants used by
Vulcan, the blacksmith-god. In literature, they are attributed with
creating Achilles’ and Aeneas’ armor,
and here the armor for Mars, the god of war. (Encyclopedia Mythica)
Eternally able to withstand trial;
impenetrable.
The Death of Priam, Jules-Joseph
Lefebvre (1861)
Assembly
Medieval depiction of Dame Fortune
and her wheel.
The wood comprising the rim of Fortune's wheel.
Roll the rest of the wheel down
Mount Olympus.
A
dance performed as an after piece to a play.
Hecuba Blinding Polymestor, Guiseppe
Maria Crespi (1665-1747)
Musées Royaux des Beaux-Arts, Brussels.
Priam’s wife; she came to epitomize tragic
grief. Beyond this, Hecuba is also a revenge figure in Euripides' play,
Hecuba: she blinded the King
Polymestor for not keeping a bargain
to protect her youngest son during the Trojan War. (Encyclopedia Mythica)
Q1/2:
mobled- possibly muffled or wrapped
around the head (related to mabble- pro. Mobble- OED’s earliest entry
is G. Sandys 1615)
Folio’s “innobled” perhaps suggests the opposite, “ignobled.”
Weeping so much that her tears
threaten to douse the flames; "bisson:" blinding. (OED)
Piece of cloth. (OED)
A crown or adorned cloth worn as a symbol of
honor, esp. of royal dignity. (OED)
Her old loins, weakened by their
plentiful nature (Hecuba gave birth to as many as 20
of Priam's sons). (Encyclopedia Mythica)
Whoever had seen her would
have risked Fortune's anger to exclaim against Fortune's actions.
Finely chopping.
Hecuba’s cries of
grief would have made the sun and stars weep.
The actors draw from
life for their work, and therefore what they represent is the most true
and distilled history of their age.
An inscription upon a tomb. Hence, occasionally,
a brief composition characterizing a deceased person. (OED)
Dear body.
Hamlet tells Polonius to honor himself
and the players with honorable usage.
There is no evidence that this
actually refers to an extent play, despite Hamlet’s later claims that
it
comes from an Italian source.
Ironic, considering the audience.
Hamlet accuses himself of
behavior unworthy of his social rank.
To hear Christine Schmidle (Mary Baldwin MFA '10) perform this speech, click
here. To hear Christine perform a similar passage in German from Fratricide Punished (a German
version of the Hamlet story),
click
here. To hear the German passage in translation, click
here.
Fiction
The Player is capable of fully
expressing his emotion, inside and out.
The
conceit's.
His face flushed.
Peter O'Toole's Hamlet burst into
hysterical laughter here. (Hapgood)
The basic functioning.
Wishy-washy, unresolved.
One occupied in idle meditation.
Not sensible of, not sufficiently feeling.
During a 1965 performance, a heckler
began responding to the questions in David Warner's soliloquy. At "Am
I a coward?" he shouted "yes;" to the question "Who does me this?"
(586), audience members called out the heckler's name. Warner later
called it one of the best nights of his career. (Hapgood)
Head
Proverbial (Tilley, in Ard. Q2);
from the
tradition of
the "bread and cheese" ordeal. If a person was accused of lying, they
could clear themselves by eating a plate of bread and cheese- if they
were able to swallow, they were telling the truth because a lie would
block the throat and make them choke. (Thatcher) Here it carries the
implication that the lie is about something important, and that it
is deliberate.
Gall, or bile, was thought to
prompt anger. (Arika) Pigeons, because they lacked this, were
considered
particularly mild.
Before this point been able to
feed all the birds (kites) of the sky with the King's entrails (offall).
Herbert Beerbohm-Tree thrust his sword at
the throne on stage; Macready burst into tears at "kindless." (Hapgood)
Women were thought
to be more inclined to words than action; Hamlet accuses himself
of being womanish. (Charney)
Another
word for prostitute.
Kitchen or other low-level domestic servant.
“About it;” start working.
Shakespeare's company
performed the anonymous play A
Warning to Fair Women in 1599. In it,
a widow confesses to her husband’s murder after seeing a play that
contains a
similar scene.
Probe. (OED)
Any part of a wound, etc. that is
particularly sensitive or painful. (OED)
1.) To flinch or turn away. 2) Blanch, turn
pale. (OED)
Misleads Hamlet in order to capture his
soul for hell. Edwin Booth was known for his Hamlet's delicate and
religious nature, which inherently shied away from violent acts: here,
he seemed eager to find the accusations untrue so that he would be
excused from having to commit murder. (Hapgood)
Pertinent, relevant, conclusive. (OED)
In 1963, Tyrone Guthrie had the scene begin
with Claudius shouting abuse at Rosencrantz and Guildenstern offstage
before his entrance. (Hapgood)
Method of questioning.
Claudius, unlike Polonius, does not
seem to believe Hamlet’s madness is real.
Willing
Examined
or questioned in an indirect matter.
(OED)
Cunning; also implying that
Guildenstern holds the King’s opinion of Hamlet’s madness.
Remains at a distance.
Hamlet made certain his
friends were in no doubt of his feelings about them. William Redfield,
playing Guildensterne under John Gielgud's direction, thought
Guidlenstern the more honest of the pair in this scene, whereas
Rosencrantz appears to be putting a better face on a bad situation. (Hapgood)
Barren
Challenge
Keep him interested, encourage him.
Secretly, privately. (OED)
Confront, more in the sense of “encounter”
and not necessarily in an aggressive way. (OED’s first usage)
Claudius claims that it is not a
breech of privacy for the two men to eavesdrop.
Usual
To the increasing of.
Your
grace.
Hide, place. Henry
Irving staged much of this conversation in such a way as to leave
Ophelia potentially ignorant of the plot, as Polonius shifts from
speaking to her to speaking in asides to the King. (Hapgood)
Excuse your solitary presence.
Outward shows of devotion.
Q2 “sugar;” implying that shows of devotion are
often disguises for evil.
Harsh,
painful.
Make-up.
A prostitute’s make-up hides the
same kind of corruption that Claudius’ behavior and language disguise.
The stage direction for Hamlet's
entrance in the Quartos are placed so that Hamlet has the potential to
observe Polonius and Claudius' plot against him. Irving felt that this
observation did not strike Hamlet until later in the scene; other
Hamlet's have performed the entire scene as though it is a show for the
observers. Others have compromised: Derek Jacobi, Jonathan Pryce, and
Kenneth Branagh all speak the "to be or not to be" speech directly to
Ophelia. (Hapgood)
Garrick opened the speech slowly, with great contemplation. Pavel
Mochalov, in part to keep the audience from speaking the speech along
with him, ran on and delivered the line before the audience could
anticipate him. (Hapgood)
Click here to hear
Bob Jones (Mary Baldwin MFA '09) perform this speech.
"Slings"
can be both a device to propel a
missile, and stand for the missile itself. (OED)
Excessively injurious or cruel. (OED)
“Sea of troubles” was
proverbial. Taking “arms” against the sea would be futile.
By taking a stand against the
“sea of troubles;” if the “arms” are futile, then Hamlet would be
ending his trouble by willingly fighting a battle he cannot win, and
thereby committing suicide. When Herbert Beerbohm-Tree played Hamlet,
his Ophelia began praying for him during the speech. (Hapgood)
The idea of fighting a losing battle was an important staple in Norse
mythology. Only one who knowingly fought on in a fight he could not win
was considered a hero. (Hamilton)
Dying
is nothing more frightening than sleep.
The difficulties inherent to the
human condition.
Ending
In the game of bowls: an obstacle or
impediment by which a bowl is hindered in, or diverted from, its proper
course. (OED)
After death, the soul
casts off the body. Shuffled means "shed" in this context.
Consideration
(OED)
Distress
or misery.
Meaning the time spent in the world.
Insolent abuse. (OED)
Disparaged. (OED)
Settle his account (with God).
A small (or unsheathed) dagger; "bodkin"
could also refer to a small pointed object worn in women's hair. (OED)
In
several early modern dramas, characters commit suicide or murder with
such an object. Hamlet's point is that death is easy to come by.
Kenneth Branagh drew a dagger at this point. (Hapgood)
Bundles,
packs.
Limits
Hamlet reasons that no one
would logically endure life if they did not fear death or what might
come with it.
Awareness, thought.
Original color.
Obscured (OED first usage)
Height and significance.
Like a river, when diverted intents may
slack and become dry.
Any of a class of semi-divine spirits, imagined
as taking the form of a maiden inhabiting the sea, rivers, mountains,
woods, trees, etc., and often portrayed in poetry as attendants on a
particular god. (OED)
Diana and her Nymphs, Domenichino
(1616)
Galleria Borghese, Rome
Prayers
There is
a performance history here of Hamlet's realizing in this moment that
Claudius and Polonius are spying on them. This history seems to being
with J.B. Booth, Edwin's father, in 1820. His son followed in his
footsteps, noticing Claudius and Polonius as they peer out at him. (Hapgood)
Northam
points out that Hamlet begins his interaction with Ophelia with the
informal "thy" and that- to Northam- this validates what Ophelia has
said about their relationship because of how comfortable Hamlet is with
Ophelia. When Ophelia responds with “you” Northam sees it as a warning
that using the familiar is inappropriate- after all, Ophelia knows they
are being watched. (10)
On a general note, it is also perfectly correct for Hamlet to use the
familiar "thy" with anyone of a lower status then himself, as it is
correct for Ophelia to address a Prince with the formal "you." Pronouns
provide opportunities for play since they can be correctly interpreted
in a variety of ways. (Freedman)
Momentos
Pronounced
with two syllables.
Anything (aught).
Ophelia creates a rhyming couplet,
something which some actors and scholars believe suggests an attempt to
leave a scene or end
a conversation. (Tucker)
Ellen Terry and Kate Terry both lingered over the love
tokens, forced to give them up only because she is being watched. (Hapgood)
Truthful
and/or chaste.
Allow no conversation with.
Traffic
Previously; several Hamlets have referred
to the letters at this point, essentially saying that now Ophelia has
betrayed him anything is possible. (Hapgood)
A
statement or tenet contrary to received
opinion or belief. (OED)
Graft; virtue cannot overcome inbred vice
merely by grafting.
Convent,
but also slang term for “brothel.”
Northam
saw Hamlet’s shift back to informal as “a tactic meant to shield her
from harm.” In this speech, Ophelia looked at the curtain on Hamlet’s
last “nunnery”- which prompted Northam to realize they are being
watched, and switch back to the formal to ask “Where’s your father?”
(11)
Between this point and his exit, Hamlet changes back to the informal,
then again back to the formal- by the time of the last shift, Northam
felt that he was envisioning his mother and not Ophelia anymore.
(Northam)
Tolerably
Command
Entire,
complete.
Here is another popular moment for
Hamlet to realize they are being spied upon. With Julia Marlowe, it was
the look on her face that told E.H. Sothern; with Barrymore, he caught
a glimpse of Polonius' face. (Hapgood)
Wilson Barrett in 1884 yelled these
lines at the arras. (Hapgood)
Ice
and snow lack heat, which was thought to
provoke lust. (Arika)
Libel,
slander. (OED)
Woodcut of a man with cuckold's horns.
Men whose wives were unfaithful were
depicted with “cuckold’s horns.” Both Richard Burton and Edwin Booth
made a gesture to indicate horns.
Hamlet begins to generalize about
women.
Q1/2:
"face."
Jig
(dance).
Move slowly, stroll.
Speak in an assumed or affected manner.
Claim your lascivious or foolish
behavior is merely ignorance. Jonathan Pryce pushed Harriet Walter to
the wall and then the floor, grabbing her breast and crotch and kissing
her, then rolling away and recoiling. (Hapgood)
Hamlet may suspect Polonius’
theory about the reason for his lunatic behavior.
Charles Kean in 1838 performed a very
famous bit of stage business
which is still being used in variation in some productions. After
pretending to exit, Kean returned to kiss her hand silently and
tenderly. Charles Fetcher opened his arms to her, then waved her off.
Beerbohm-Tree (later imitated by Olivier) returned to the sobbing,
prone figure, and lifted a lock of her hair to his lips. The tragedy in
Tree's mind was that Ophelia dies never realizing that Hamlet still
loves her. (Hapgood)
Ophelia praises
Hamlet as a
paragon of Renaissance nobility; she uses the figure “anaphora” by
beginning each of the four lines with the same word. Glenda Jackson
(1965) directed "th'observ'd of all Observers" to her father and King
behind the arras. (Hapgood)
Patrick
Tucker pointed out to Lesley Larsen Nesbit the repetition of “O” sounds
in Noble Mind speech- and in Ophelia’s name. These sounds give the
speech an inherent "crooning" quality if the are fully voiced. (Nesbit)
Youth
in full bloom (linking to her description
of his as “Rose” at line 159).
Withered with madness. Hamlet's
"ecstasy" is choleric, the humor associated with dry heat, which would
literally dry out and wither his nature.
Although Hamlet did not deport
himself correctly, Claudius is not willing to accept that it means he
is mad.
Such as a hen on a nest of eggs.
Canute's kingdom
England, like Norway, is a vassal
state of Denmark. King Canute of Great Britain, Norway, and
Denmark was the last Danish king to hold such an empire. He ruled in
Britain from 1016, Denmark in 1018, and Norway from 1028 until his
death in 1035. (DNB: Cnut, or Canute)
New sights.
Ingrained preoccupation, obsession.
Relentless, obsessive thought.
Will allow it, consider it appropriate.
Blunt
The speech Hamlet has
written to be inserted into the play. Henry Irving gave this speech as
a royal edict, and at line 4-5 mimicked a gesture the First Player used
in 2.2. (Hapgood)
Tiffany Stern, who has done
extensive work on Early Modern rehearsal processes, suggests that
Hamlet may be referencing a common theatrical practice with this line.
"When instructing a more minor actor, 'instruction' might have meant
simply showing the actor what to do by example [and] could be largely
based on imitation." (Shakespeare in
Parts, 68)
Quickly and lightly; nimbly. (OED)
Recite
it in an exaggerated style; Hamlet
prefers a naturalistic acting style. Richard Burbadge, who
originally played Hamlet, was noted for his naturalistic acting; while
his rival Edward Alleyn’s style was more bombastic. (Armstrong)
Just
as soon.
An official who shouted newsworthy
announcements in public streets.
Cultivate
Periwig: Any highly stylized wig
of a kind formerly worn by men and women. More generally: a wig of any
kind. (OED) The former definition seems to fit more with Hamlet's
diatribe against overdone falsity.
A frequenter of the ‘ground’ or pit of a
theater, which had the lowest admission prices.
Inscrutable, unintelligible.
Medieval Christians believed this was a
Muslim deity; the name and existence of such a deity are fictional.
The Massacre of the
Innocents, Matteo di Giovanni (1482)
Sant'Agostino, Siena
Herod
was the legendary King of Judea who
ordered the massacre of the innocents in an attempt to kill Christ.
Although the story appears only in the Book of Matthew and is
unsubstantiated in other historical sources, it was believed true in
the Early Modern period and consequently Herod
was portrayed in the theater as a ranting, violent man. (Mueller)
Promise
(not to do so).
Submissive,
meek. (OED)
Hamlet again stresses
Naturalism.
Slowly
Audience members without more sense.
Burbadge’s rival, Edward
Alleyn, was known for his forceful, majestic parts in which he “stalked
and roared” about the stage. (Armstrong)
A journeyman was someone between his
apprenticeship and becoming a master in his trade; often a hired
worker. (from OED)
Somewhat, moderately.
Kemp's Nine Days' Wonder
This is possibly a jibe at Will Kemp,
the clown who had left Shakespeare's company in 1599 (despite becoming
a sharer in the Globe) to jig from London to Norwich in nine days,
later known as Kemp's "Nine Days Wonder." The company may have been
without a clown when Hamlet was written. Their new clown, Robert Armin,
probably first appeared as Feste in Twelfth
Night. (DNB: The King's Men)
Honorable, fair.
Social experience.
Revenue;
pro. Re-ven-ue, a common stress
in
Shakespeare.
Hamlet implies he cannot flatter
Horatio because he cannot expect advancement or money in return for
complimenting him.
Sugared, flattering.
Bend
Ready
Where financial gain may result from
flattery.
As a sign of
ownership.
Hamlet praises Horatio’s stoic
nature. Edwin Booth, John Barrymore, and Richard Burton's Hamlets were
praised for their tender relationships with Horatio. (Hapgood)
Horatio is not easily
influenced, but uses management and reason; Hamlet returns to the
pipe-playing metaphor after the play when he speaks to Rosencrantz and
Guildenstern.
Subject to his emotions.
Hidden
To drive out, reveal. (OED)
Expectations
Anvil. Vulcan was the blacksmith-god.
(Hamilton)
They will compare their observations.
If he shows signs of guilt and Horatio
does not notice, it will be on Horatio’s account.
The most popular arrangement of this scene
(at least in proscenium theaters) is to have the play take place
upstage center with two groups (Queen, King, Rosencrantz, Guildenstern,
and Polonius; then Horatio, Hamlet and Ophelia) on either side of the
stage. In the twentieth century, placing the groups along a diagonal
across the stage became a popular variation. In 1912 in Moscow, the
staging placed the King and Queen on a high dais, the players on the
apron (with their backs to the theater audience), and a trap that ran
the width of center stage. Hamlet ran from one point on stage to
another during the play, leaping in and out of the trap.
Perhaps the most famous staging business in the performance history of
this scene is Charles Kean's "crawl," which he did from one side of the
stage to the other to end up in front of Claudius by the time the King
calls for light. (Hapgood)
The kettledrum and trumpet
which played offstage in 1.4 were Danish instruments, presumably used
in this march. Q2 specifically names the instruments in this stage
direction. A contemporary observer recorded that the Danish March was
played during King James and Queen
Anne's coronation in 1603.
During the entrance of the full court,
Macready paced in front of the footlights antickly flipping his
handkerchief over his shoulders. Ian McKellen (1972) used similar
handkerchief business at this point. (Hapgood)
Chameleons supposedly subsisted
entirely on air; Hamlet puns on air/heir, referencing Claudius’ support
for his succession.
Male
chickens castrated and raised for eating.
(OED)
The king may play along with
Hamlet, implying he gets nothing from Hamlet’s “eating air” or he may
merely mean he does not understand how Hamlet's answer related to his
original question.
Universities had student playing
companies (Stern, Making Shakespeare);
the title page for Q1 claims that Hamlet had played
“in the two Universities Cambridge and Oxford.”
Julius
Cesar was probably written and performed shortly before Hamlet and this may be a
metatheatrical reference to the likelihood that the Polonius actor
played Cesar to Burbadge’s Brutus. A German tourist,
Thomas Platter,
recorded seeing a production on September 21st, 1599. Hamlet is traditionally dated
1600-01. (Chambers, v.2)
Historically Cesar was killed in the
Senate House, but this line is consistent with the murder in
Shakespeare’s play. (Plutarch Life
of Cesar)
Implying
a religious sacrifice, which is what Brutus terms Cesar’s murder in
Shakespeare’s play, "Let's be sacrificers, but not butchers,
Caius...Let's carve him as a dish fit for the gods" (Julius Caesar 2.1.166, 173).
Wait
Referring literally to
magnetic power, but also a person’s character, making it a slight
insult to his mother’s honor.
Aye
Something vulgar, as worthy of rustic
("country") people. With a pun on the first syllable.
Nothing=
no thing, i.e., no penis, so vagina.
Clown, possibly another reference to Will
Kemp.
Hamlet exaggerates the time line; Ophelia,
theoretically, speaks the truth of the matter: that it has been four
months since Old Hamlet’s death and two months since Hamlet
encountered his ghost.
Have Hamlet’s mourning garb.
Fur
of dark brown or black associated
with royalty. (OED) While black (sometimes called "sable") was
associated
with mourning, the richness of sable fur- what Hamlet is
referring to
in this case- was more specifically associated with wealth and status.
Hamlet ignores Ophelia’s time line.
By
Our Lady.
Memory is so fickle that a man must
build his own monuments to ensure others remember him after death.
A horse character in a morris dance,
played by one of the dancers. (OED)
Apparently a line from a ballad or
a general catchphrase. It also appears in Love’s Labour’s Lost and The Witch of Edmonton by Dekker.
Oboes; the current name was adopted into
English c. 1770 from the Italian. (OED)
The dumb show is a popular thing to cut
in performance, solving the
problem of why Claudius does not react to it. Other solutions are to
adapt the dumb show into an abstract version of the story. Some
productions, such as the 1930 Gielgud, simply make Claudius
inattentive, drinking and carousing with Gertrude and other courtiers. (Hapgood)
A wicked and secretive act.
Plot
Hamlet
suggests Ophelia might show herself.
Naughty
Lenience, grace. (OED)
A short poetic motto engraved on the inside of
a ring.
Phaeton on the Chariot of Apollo, Nicolas
Bertin (1720)
Musee du Louvre, Paris
Phoebus (or Apollo) was the sun-god who drove his
chariot (the sun) across the sky. (Hamilton)
Detail from The Triumph of
Neptune, Nicolas Poussin (1634)
The sea; Neptune was the god of
the sea. (Hamilton)
Tellus Relief, Ara Pacis
The earth goddess. (Hamilton)
Reflected light.
God of marriage who appears on stage in As You Like It. (Hamilton)
The Player Queen here echoes Ophelia’s line
from the previous scene (3.1.167).
To fear for the safety of something or
someone. (OED)
Upset, make you concerned.
Women either have no fear and
no love, or they have both.
Vitality
Cease
Only a woman who killed her first
husband would wed again; this is not necessarily meant to suggest that
Gertrude knew about the murder, but more to make her later betrayal
more grievous.
A
bitter substance derived from plants.
(OED) In
Romeo and Juliet, the Nurse
remembers applying it to her breasts to
wean Juliet.
Second marriages have more to do
with economics than love.
When memory fades, so does the
strength of a vow.
Ripe
The slightest occasion.
Eternal
Shallow,
untrue.
Examine,
test. (OED)
Essentially, "let everything good
that could come to me be foiled."
James Keegan (Player King), John Paul
Scheidler (Player Queen), and Matthew Sincell (The Poisoner)
Photo by Tommy Thompson,
courtesy of the American Shakespeare Center.
Hamlet appears to have made up this title
since he specifically asked the players for The Murder of Gonzago in 2.2.
As in "trope," figurative language
or wordplay, not as in warm beaches.
In 1538, the Duke of Urbino was
allegedly murdered by Luigi Gonzaga. (Bullough, v. 7)
A horse who is rubbed sore on the
withers, where a saddle would sit.
Hamlet names Gonzago the King here, when he
called him the Duke earlier.
During a puppet show, someone would
provide verbal commentary to the puppets’ actions.
Sharp, harsh. Also, wise. (OED)
Keen like the edge of a knife, or edge as in
sexual desire. The “groaning” would be sexual.
Ravens were associated with death and
therefore in some cultures considered an ill omen. Richard Simpson
pointed a similar line in the anonymous play, True Tragedy of Richard III: “The
screeking Raven sits croking for revenge. / Whole heads of beasts comes
bellowing for revenge.” (qtd. in Ard. Q2)
The Raven was also associated with Danish sovereignty, as it appeared
on
the Viking war standard, (OED) and so the line might reference the
Ghost’s
need for revenge. The raven on the Danish standard referenced Odin, the
Danish god of war had two ravens named
Huggin (Thought) and Munin (Memory) who flew around the world each day
and reported what they saw to Odin. (Hamilton)
Agreeable
Midnight, being the “witching hour”
would make the poison more potent if collected then.
Goddess
of magical arts and the crossroads;
she appears as a
character in Macbeth and The Witch.
Withered
Possess,
overthrow.
In 1992/3, Branagh got so excited at
this point that he grabbed the poison from Lucianus and poured it into
the Players' ear himself. (Hapgood)
In
the 2007 Mary Baldwin MFA production, Corey Vincent played the Ghost,
Player King and First Gravedigger. She found many ways that these parts
could reference each other. The following is one example: "As a cast we
made a choice to have a stylized way of moving until the actual death
of Gonzago…I used a line of the Ghost’s text as my inspiration: ‘with a
sudden vigour it doth curd the thin and wholesome blood, so did it
mine.’" (Vincent 17)
In
the 2007 Mary Baldwin MFA production, Corey Vincent played the Ghost,
Player King and First Gravedigger. She found many ways that these parts
could reference each other. The following is one example: "As a cast we
made a choice to have a stylized way of moving until the actual death
of Gonzago…I used a line of the Ghost’s text as my inspiration: ‘with a
sudden vigour it doth curd the thin and wholesome blood, so did it
mine.’" (Vincent 17)
A
note from Boyle's MFA thesis: “In the middle of the rehearsal process,
I became aware of Hamlet looking me dead in the eye during parts of
‘The Mousetrap…’ the reaction in the end of the scene proceeded in this
manner…shift focus to the vial…react as though you are seeing King
Hamlet convulse from the pain of the mortal distillment…shift my focus
back to Hamlet’s observant face. From this, the line, ‘Give me some
lights, away’ becomes as much a whimper as a command.” (14)
Mere play, fiction.
Stricken,
wounded; deer were said to weep
when injured. (Gellert-Lyons)
Mature
male deer.
Unhurt
Remain
alert.
Feathers on a hat.
"Turn Turke:" betray, as in a Christian
becoming Muslim.
Razed:
slashed to show color underneath the
first layer. (OED)
Pack
(OED)
Share holders owned a portion of the
company.
A stock name for a shepherd; in Roman
mythology Damon and Pythias exemplified ideal male friendship.
(Hamilton)
Hamlet compares his father to Jove in
3.4.65.
Peacock,
emblematic of pride. Or related to
"patchock," a savage person. For a time, Ophelia traditionally carried
a fan. With Irving, Ellen Terry's fan was made of peacock feathers and
he referred to it at this moment. (Hapgood)
Q2
prints a line ending after “was,” which
would make Horatio's line suggest that Hamlet could have rhymed "ass"
with "was."
Corruption
of “pardieu:” by God.
These lines are presumably directed
offstage at the players.
Grant, allow. In 1964, Gielgud encouraged
William Redfield to "bully" Hamlet here. (Hapgood)
Out of sorts, upset; it could also imply
drunk, which is Hamlet's meaning.
Anger
Hamlet responds as though Guildenstern
meant the humour Choler, which was bile, and suggests that Hamlet’s
presence will only make him more ill.
Stop
avoiding; to “start” prey on a hunt was to
scare them out of hiding.
Hamlet either continues to deliberately
misinterpret the message or to behave inappropriately in some other way.
Mentally sane, healthy. (OED)
Wonder, astonishment. (OED)
Some
other news.
Often
presented as a bedroom, it was not
necessarily where someone slept, but could instead be an antechamber.
Hands; from the book of Common
Prayer.
Willingly,
intentionally.
Hamlet claims to be upset that he is not
King.
“While the grass grows, the horse
starves.” (Tilley, qtd, in Ard Q2)
Labor so hard to entrap Hamlet.
Guildenstern claims to question Hamlet
out of love.
Vents, holes for air.
Holes that must be stopped to create notes.
Secret, also craft.
The full range of notes an instrument can
produce. (OED)
Irving broke the recorder across his
knee. (Hapgood)
Fret: ridges on
stringed instruments that guide fingering; also, to anger. (OED)
Manipulate
The scene is usually staged indoors and at
night (considering Hamlet’s reference to the “witching time of night”
at line 384). However, the original performance would have been
outdoors at the Globe in the afternoon. (Hapgood)
To my uttermost.
Midnight. Michael Pennington spoke the
speech while wearing the Player's cloak, Stephen Dillane the Player's
crown, and Ralph Fiennes a player's mask. (Hapgood)
When the dead walk, such as his
father’s ghost.
Evil
Witches’ rites supposedly included drinking
blood. (Ard. Q2)
Macbeth also contains a number of
references to night concealing evil deeds which cannot be done during
the day.
The Remorse of the Emperor Nero after the Murder of his Mother,
John William Waterhouse (1878)
Nero executed his mother, who had poisoned her
husband, emperor Claudius. (Schmidt)
As to harm his mother, which would go
against the natural rules of filial affection.
Based on the rest of
the passage, it seems Hamlet plans to threaten his mother with action
that he will not carry through, meaning his tongue will speak lies his
soul does not support.
Censured
Hamlet will not act on any threats, as
his soul would reject such violence.
The King realizes that Hamlet knows of his
crime, and therefore finds his life in danger. Although he has
previously said he intends to send Hamlet to England, it now becomes
more urgent.
Move
freely; in this case, mingle with the rest
of the court (where he can spread his suspicions)
Responsibilities as King;
Claudius does not comment on his personal desires, implying that he
only sends Hamlet away out of duty to his country.
Prepare
If Hamlet were to act
violently against Claudius, Denmark would be left without a fit leader,
which would cause turmoil. During a production at the Guthrie in
Minneapolis, Rosencrantz and Guildenstern helped the king undress and
change into a dressing gown. (Hapgood)
A person’s private life.
Danger
Death
A whirlpool.
Massive; the king was often pictured at
the top of Fortune’s wheel, where lower persons clung.
Summit
A mortise and tenon joint.
Mortised: fastened.
Adjunct, supplement.
Loud, spectacular.
Claudius maintains a constant emphasis on
his actions as actions which benefit all and which do not comment
on his own individual desires.
Prepare
Wall
hanging; the same kind of hiding place he
and the King used in the nunnery scene.
To
take oneself away; steal or slip. (OED)
Proceedings
Guarantee she will scold him
thoroughly.
Patrick Stewart as Claudius
held his composure until Rosencrantz and Guildenstern's exit. His
distraction grew until Polonius' exit, which came before his "Thanks."
Stewart then betrayed himself, almost vomiting before continuing his
speech. (Hapgood)
Cain, the son of Adam and Eve, was
the first murderer. He killed his brother Abel and God cursed him to
wander the world in punishment. (KJV,
Gen. 4:8-12)
After murdering Duncan, Macbeth
expresses the same sentiment: "One cried 'God bless us' and 'Amen' the
other, / As they had seen me with these hangman's hands. / List'ning to
their fear I could not say 'Amen' / When they did say 'God bless us.'" (Macbeth 2.2.24-27).
Conflicting obligations.
Rene Thornton, Jr. as Claudius
Photo by Tommy Thompson,
courtesy of the American Shakespeare Center.
Claudius' line references a passage
from Isaiah 1:18: "Though your sins be as scarlet, they shall be as
white as snow." (KJV)
Why
What
good is prayer.
Prayer has two uses: to prevent sin, or
to pardon a sin already committed.
“I
eventually saw that this scene is not merely for the audience but
dependent upon it. My Claudius genuinely wants to hear answers from the
audience, answers that will absolve him without the need for admissions
of guilt.” (Boyle 16)
Ways
The (illegally) gilded hand evades
justice.
Evasion; wiggle-room.
Continuing the idea of confronting
an offense’s visage (face).
As a bird trapped in birdlime, a
glutinous substance spread upon twigs, by which birds may be caught and
held fast. (OED)
Trapped
To put to the proof, try (a person or thing);
to test the nature, excellence, fitness, etc. (OED)
Neatly, efficiently; as in a swift blow. David
Garrick cut this soliloquy, as have others who followed.
In Laurence Olivier's film,
the soliloquy was a voice over. (Hapgood)
Considered,
scrutinized.
Q2:
sole.
Because he is confessing and repenting
and would be forgiven. In 1.2, Hamlet tells Horatio he would rather
meet his "dearest foe in heaven" than have his mother married to
Claudius.
Reward and payment.
Full of his sins; probably a reference
to purification by fasting, not taking bread as in communion.
Fully in bloom as May flowers.
Official
examination.
Design
(OED)
Taste
Purgative; Claudius’ prayers.
This
is one of the two times that Hamlet uses the familiar address to
Claudius. In this instance, the King clearly does not hear it; the next
time Hamlet uses "thy" is as he kills Claudius in 5.2. (Northam)
This scene is known at the
"closet scene," though since the Barrymore production in 1922, which
alluded to Freud's Oedipus complex, it has been increasingly staged in
a bedroom. (Hapgood)
Be
direct, forceful.
This
term had a stronger connotation of evil or
wickedness than the present.
Anger; the metaphor comes from
screens used to protect people from a fire’s heat.
“In
early rehearsals of this scene, Anna Northam, the actor playing Hamlet,
and I discussed with director Jaq Bessell the fact that Hamlet and
Gertrude find themselves having two different conversations at the top
of this scene. Gertrude’s perception of The Mousetrap
is that Hamlet has directed it at her, with the Player Queen’s lines an
attack on Gertrude for having remarried…it must seem that the play’s
implication of Claudius in the elder Hamlet’s death is merely born out
of Hamlet’s spite towards his mother and his desire to interfere in her
new marriage.” (Mayberry 7)
Gertrude means Claudius, Hamlet
his biological father.
Meaningless; again, the meaning was stronger than
the
present meaning.
Christ’s cross; a closet was frequently a
room used for prayer.
The price Hamlet would ask for killing
the man;
an emphasis on low value of the life.
Although Hamlet and Gertrude do not
discuss his meaning, Claire Bloom (with Derek Jacobi) and others have
taken Gertrude's line to mean that she understands now that Claudius
murdered her first husband. Others have merely taken it as confusion,
since Gertrude repeatedly asks Hamlet what she has done wrong. (Hapgood)
Claudius
A
proverbial phrase was, “to be too busy is
dangerous.” (Dent, in Ard. Q2)
Press, squeeze, or twist. (OED)
Bronzed
A
substantial defensive work of earth, or other
material; a rampart, a fortification.
Reprove
The forehead was considered revealing of a
person's character; (Schmidt) the rose symbolized honored love, and a
blister
refers to a threat Henry VIII made, but never
acted upon, to brand convicted prostitutes on their foreheads. (Ard.
Q2
quotes this; see also Burford and Shulman for the punishments for
prostitution)
Gamblers’
Marriage contract.
Makes religion a medley or
confused mass (of sound).
The sky
The earth
Doomsday
Sickened by the thought of.
Click
here
to hear Jeremiah Davis (Mary Baldwin MFA '11) perform an excerpt from
the Q2 version of this speech in Original Pronunciation. The script
comes from thesis work done by Mary Coy (Mary Baldwin MFA '06).
Artificial images; paintings.
Some productions have Hamlet compare a miniature of his father to
Gertrude's miniature of Claudius; others place full portraits of both
men on the walls of the room. Macready used full-length portraits
and had the Ghost enter through his portrait. (Hapgood)
Fresco of Helios with chariot and
horses.
Titan sun-god, who would presumably have
golden hair. (Hamilton) Hamlet also likens his father to Hyperion at
1.2.143.
Face
Mars Vanquishing Ignorance, Antoon
Claeissens (1605)
Roman god of war. (Hamilton)
Stance, position.
Mercury, Hendrick Glotzius (1611)
Winged messenger god. (Hamilton)
Landed
Tall
Approval, ownership.
A blight or plague on his ear, like
mildew. This recalls the Ghost's description of his death at 1.5.67-77.
Feed, glut. (OED)
A
double antithesis, both high mountain to
low-lying moor, and fair (as in white) to moor, one of African descent.
Sexual heat.
Khris Lewin and Tracy Hostmyer
Photo by Tommy Thompson,
courtesy of the American Shakespeare Center.
Tricked you into a game
of blind man’s bluff, where you chose your current husband.
If a mature woman cannot resist sexual
licentiousness, then youth have no hope.
When lust prompts action.
Frost submits to fire just as
reason will prostitute itself to desire.
Ingrained
Hue;
stain.
Offensive
or excessive.
Covered
with sexual fluids, continuing the
accusation of animal lust. Derek Jacobi, Mel
Gibson, and Ralph Fiennes, among others, mime love-making here. (Hapgood)
Speaking sweetly.
Pigsty
(OED)
Tenth
Pickpocket
Crown
or other headpiece signifying royalty.
(OED)
Rags; Charles Fetcher worked
himself to such a frenzy by this point that the Ghost's entrance seemed
timed to prevent him from killing his mother. (Hapgood)
Late
Sharpen
Concept;
notion. (OED)
The Ghost refers to the belief that
women were weak vessels, prone to hysteria.
Q2: th’incorporeal: empty, uninhabited.
Speak
David Garrick famously had a
mechanical wig made to enable his hair to stand on end during the Ghost
scenes. (Hapgood)
Of following commands.
Hamlet perhaps implies that
he will be so overcome with grief that he will be unable to act.
Door;
when Sarah Bernhardt played Hamlet in
1899, the Ghost appeared and disappeared through a portrait; at his
exit, she went to the portrait and tried to bring her father back. (Hapgood)
Fabrication; forgery (literally, of money).
Madness creates convincing
hallucinations. Some Gertrudes have played seeing the Ghost, then used
this line to try and dismiss the experience. (Hapgood)
Avoid;
from the steps of the "gambol," a dance
involving leaping steps.
Nicol Williamson began weeping at this
point, later joined by Gertrude. (Hapgood)
Soothing balm.
Sin
Thinly cover a wound.
Over-full money bag, from depictions of vice.
Bend, bow or curve. (OED)
Proverbial
When Gertrude repents, Hamlet
will ask forgiveness for this behavior. John Philip Kemble and Edwin
Booth both used the line to remind the Queen that she still has to
prove her repentance (i.e., not continue as Claudius' wife). (Hapgood)
Polonius
Heaven’s punisher.
Be willingly punished.
In Minneapolis in 1963, George
Grizzard and Jessica Tandy fell into hysterical laughter together
during this speech. (Hapgood)
Foul-smelling (i.e., "reeking"); "reek" can
also refer to the temporal nature of smoke, so Hamlet may additionally
imply that the fleeting nature of Gertrude's relationship with Claudius
is not worth eternal damnation.
Reveal Hamlet’s conversation
with his mother, or allow Claudius to dissuade her from the conviction
you hold now.
Animals associated with witches.
(Schmidt)
The metaphor of the ape is
that he foolishly tries to fly because he sees birds doing it. Hamlet
suggests it would be
suicide for the queen to reveal that Hamlet is only acting mad, or to
try and act on the knowledge of his father's murder.
Throughout this scene, and
particularly at the end, Hamlet and his mother have exchanged
passionate kisses. Glenn Close and Mel Gibson (line 106) in the Zeffirelli
film; Clare Higgens and Mark Rylance at line 199; Olivier and his
mother at 204 after "goodnight;" Judi Dench and Daniel Day Lewis at
178. (Hapgood)
Deep
sobs.
Explain
In the Q1 text, Gertrude is
more explicitly working for Hamlet and against Claudius in the last
half of the play. The room for ambiguity in her character in the Q2 and
Folio texts have led to various interpretations of her character in
this scene.
Claire Bloom in the BBC-TV version with Derek Jacobi played Gertrude as
torn between her husband and her son. Throughout the scene she remained
seated, refusing to respond to Claudius' invitations to "come." Other
actresses have shown outright disgust or affection for the King. In the
Branagh film (1996), Julie Christie and Derek Jacobi ending the scene
in each others' arms. (Hapgood)
Madness
Mistaken belief.
Blamed on Claudius for not locking up
Hamlet.
Away from others.
I.e.,
giving him freedom.
Claudius may refer to his reluctance
to believe Hamlet was actually mad.
Becoming publicly known.
Essence
Hide
Hamlet’s nobility still comes
through his madness like precious metal through baser materials.
Reveal and justify.
Get more help.
Probably political councilors.
Stephen Dillane (1994) removed his
bloodstained clothes until he was sitting, naked, on stage. At the end,
he streaked off wearing the Player King's crown. (Hapgood)
One
of Tyrone Guthrie's early ideas for the
scene in his 1963 production was to have Rosencrantz and Guildenstern
enter with drawn pistols. One of them would take a shot at Hamlet as he
ran off at the end of the scene. (Hapgood)
Mingled; Hamlet implies that he
has buried the body and references “Dust thou art and unto dust shalt
thou return” (Genesis, 3.19).
Secrets
Which
indiscriminately soaks up what it is
given.
Response
Q1: “as an Ape doth nuttes.” Keeping the
nuts in its mouth softens them; Hamlet implies that they will lose
everything they have gained and be discarded once the King has what he
needs.
Does
no harm, it not understood by.
Hamlet gives them a
riddle which can be interpreted in a number of ways. He may literally
mean the King and the body, who are both in the castle but not in the
same room, or that the King is alive and Polonius dead.
Also, a King was
considered to have two bodies: politic and natural, and Hamlet may be
playing this this idea to insult the King.
Possibly
to the body, who would be the
quarry on this particular hunt.
Q2 stage direction: “Enter King and two or
three.”
Agitated, disturbed. (OED)
Punishment,
chastisement. (OED)
Q2: “never”
Action
Gathering; editors usually suggest
this is
a joke regarding the “Diet” (council) of the German city, Worms, where
Martin Luther appeared in 1521. (Brecht)
In death, worms are superior
to Emperors since they consume dead bodies.
Feed
Burton,
as Gielgud before him, indicated
Claudius at "fat king" and Guildenstern at "lean begger." (Hapgood)
The
term for an official royal tour, such as
one
to a coronation, or of a country.
Smell
Ship
Directed toward, prepared for.
Cherubim supposedly
observed humans from
heaven. (Ard. Q2)
Rene Thornton, Jr. and Khris Lewin
(2005)
Photo by Tommy Thompson,
courtesy of the American Shakespeare Center.
Edwin Booth wrote in
his prompt book that he believed he was the first to refer to Claudius
directly with this line; he felt the actors before him had directed the
line to his absent mother and it was only Claudius' correction that
prompted Hamlet's explanation.
Burton ran up
and kissed Claudius enthusiastically just before this line. (Hapgood)
Closely
Presumably everyone else exits at this
point.
Claudius relies on love and fear to
ensure England meets his demands.
Scar
England has recently been defeated by
Denmark and pays homage to remain at peace.
Command
Aiming at, adjuring. (OED)
Fever associated with wasting diseases. (OED)
Fortune,
luck.
From Betterton's time into
the twentieth century, the Fortinbras storyline was frequently cut from
the play. It was also cut in Franco Zeffirelli's film. (Hapgood)
Claudius has agreed to the proposition
in 2.2 that Fortinbras be allowed to march through Denmark on the way
to Poland.
As with the beginning of Act
Two, there seems to be a
passage of time here as Laertes has returned from France. Many editors
consider this to be the beginning of Act Four for this reason.
Insistent
Deranged, mad, irrational. (OED)
Frauds, cheats, deceptions. (OED)
Perhaps says “hem,” croons or makes indistinct
noises.
Reacts strongly to trifles.
Not being able to understand
her full meaning, listeners begin to make their own assumptions.
Aide
in her meaning.
Ophelia’s behavior is
awakening suspicions, though not of anything conclusive yet.
Scatter, promulgate.
Evil
Small
thing, trifle. (OED)
Disaster
Uncontrolled, undirected.
Q1 stage direction: "Enter
Ofelia playing on a Lute, and her haire downe singing." Q2: "Enter
Ophelia"
Ophelia had traditionally worn white for her madness scenes. Ellen
Terry suggested black to signify mourning for her father and was told
that the only character who could wear black in the play was Hamlet.
Terry eventually wore white, with her hair down and holding a lute in
one hand and a lily in the other. Since then, Ophelia's manner of
dress has varied considerably. Several actresses have worn black
(Gertrude Elliot with Forbes- Robertson); Mrs. Patrick Campbell (also
with Forbes-Robertson) wore a black veil over a white garment; others
have worn variously colored gowns; others have worn pieces of Polonius'
costume: Tony Church's "daughters" Glenda Jackson in 1964 and Carol
Royle in 1980 wore his robes. Joanne Pearce in 1993 wore the
bloodstained evening wear in which Polonius was stabbed. In the 1996 Branagh
film, Kate Winslet was in a straitjacket. (Hapgood)
Nesbit
wanted to emulate Gertrude in some way, “I used a
large piece of red fabric to wear as my dress. I used a distressed fur
wrap to emulate all of the fur that [Gertrude] wore. I wore children’s
costume jewelry and a mini tiara…I did not want to look at all
polished, nor did I want to look like a young girl who happened to get
into her mother’s clothes and makeup…I did not want to create a
childish Ophelia, but a distressed woman.” (19)
This can, of course
refer to Gertrude, but can also be a lament that Denmark’s (the
nation’s) majesty is lost or corrupted.
A popular ballad. Both Kozintsev and
Stella Gonet (1989) saw Ophelia's madness as a source of happiness and
freedom and not as grief. Julia Marlowe (1904)
and Ellen Terry each gave the three stanzas of this song a different
emotion, sliding from happiness to wild grief. (Hapgood)
To hear Shannon
Schultz perform, "How Should I Your True Love Know," click here.
(Duffin)
Clothing associated with
pilgrims, who were in turn seen as a metaphor for lovers.
Listen
Literally, "larded" means stuffed with lard,
or fat to increase the tenderness and flavor of meat. In this case,
Ophelia probably means to indicate a over-abundance of flowers,
heavy-laden.
Thank you; literally, ‘God yield you.’
Sarah Fallon as Ophelia (2005)
Photo by Tommy Thompson,
courtesy of the American Shakespeare Center.
A folk-tale in which a baker’s
daughter refuses to give a beggar bread. The beggar is really Christ,
who turns her into an owl in punishment. Various editors suggest their
might be a sexual implication in "baker's daughter." This tale of
transformation echoes many of the stories from Ovid's Metamorphoses.
Thought or conception.
Another ballad. During this song,
Helena Modjeska would sing the first verse, then break into wild
dancing while singing the tune. During this, she would take a flower
from her breast and throw it. As it fell, she laughed, then began
weeping hysterically when it landed. From the Restoration to the early
twentieth century, the song was traditionally cut after the first
stanza because of the sexual nature of the other verses. (Hapgood)
To hear Shannon
Schultz perform "Tomorrow is St. Valentine's Day," click
here. (Duffin)
Early
in the day.
References a belief that the first
person
you saw on Valentine’s Day would become your lover. (Ard. Q2)
Put
on. (OED)
Opened (“did up”). (OED)
Without using oaths with the words
“God” or “ Jesus.”
An
exclamation (gis=Jesus).
"Holy" charity, as it is a virtue;
there is no actual Saint with this name.
Have sex if they have the chance. In
the later twentieth century, the sexuality of these songs has been more
widely accepted, and various Ophelias have physicalized the lyrics
either alone or with the unwilling participation of her scene partners.
(Hapgood)
Slang
for "had intercourse with." (OED)
If
Lone scouts who travel ahead of an army.
Full armies.
Lawful banishment.
Confused and suspicious.
Secret haste; clandestine. The term
appears in
Plutarch’s Life of Brutus in
reference to Cesar’s murder.
Unwisely
Both things that lack the ability for
reason.
Stands amazed in
the midst of suspicious and uncertain people who spread rumor and doubt
about his father's death.
Bereft
of truth.
Will not be afraid to
publicly make accusations.
A small cannon used for clearing a
ship's decks of boarders.
Swiss
guards, frequently used by European
royalty as mercenary soldiers; today, this continues in the Vatican.
(Sjorgen)
Coronation of Christian IV in 1596, Otto
Bach (1887)
At Christian IV
of Denmark’s coronation (brother to Anne of Denmark who married James I
and VI), he and his guards dressed as the Pope and his Swiss
Guard. (Sjorgen)
Border (the shore).
Move across the land.
Unruly
group of people.
Tradition and custom whereby Danish
rulers are elected by nobility.
Condoners and supporters. (OED
first usage of “ratifiers”)
“If we could choose.”
From hunting: they follow the
wrong scent, one that will not benefit them.
Branding on the face
was a punishment for
women repeatedly convicted of prostitution. (Burford and Shulman)
Large; or a reference to the savage giants
and titans of Norse and Greco-Roman mythology. (Hamilton)
Fear for the safety of. Stanislavsky
saw Claudius as a Napoleonic leader, capable of quickly shifting from
the private grief he feels for Ophelia to a strong military presence
for Laertes. (Hapgood)
From the belief in the
“Divine Right” of Kings; hedge: surround protectively.
Tricked,
beguiled. (OED)
Deepest
Despite the dangers of this
world (death) and the next (damnation), Laertes will have revenge.
Prevent
"If I have my will."
Use them efficiently, thriftily.
As a gambler takes money from whoever is
at his table.
Giving
A Pelican Piercing its Breast to Feed its Young, from a illustrated edition of Manuel
Philes' epic poem on the characteristics of animals (written 14th c.)
Q2: Pelican; the pelican was thought to
feeds its young with blood from its breast. (Schmidt)
Feed
Obviously,
visibly. (OED) At this point, Derek Jacobi as Claudius removed Laertes'
sword from his throat.
Clearly
Until their revenge outweighs the sins
against their family.
Ellen Terry "almost" recognized Laertes
when he approached her. Lalla Ward (BBC-TV, 1980) kissed Laertes
passionately, then became coquettish. In 1889-90, Otis Skinner,
playing opposite Helena Modjeska, wrote, 'Her madness was so real that
it sent a shudder through me when I looked into her eyes' (qtd. in
Hapgood 238).
In an open coffin, or without one
altogether.
Stretcher
for a corpse.
Sue
for.
Variously
glossed as a song’s refrain,
Fortune’s wheel, or a reference to the coach she imagined earlier in
the scene.
Typically glossed as
a reference popular plot
devices used in plays, or a confused reference to herself and Hamlet.
Ellen and Kate Terry, however, both indicated Claudius with "false
steward." (Hapgood)
Ophelia’s seemingly mad
talk holds significance for Laertes.
Rosemary in flower
Throughout staging
history, Ophelia's have sometimes used flower alternatives: twigs,
pills, or even nothing at all.
Rosemary was
associated with remembrance because it was included in funeral
wreaths; it was also a folk belief that touching your lover with
rosemary made them faithful.
Helena Modjeska gave Rosemary and Pansies
to Laertes. (Hapgood) So did
Nesbit, though all
of Nesbit's flowers were imaginary. (Nesbit)
Pansies
Suitably
matched; "Thought" and "Memory,"
aside from their importance as themes in the play, are also the names
of Odin's ravens, whose imagery Hamlet may reference during 3.2.
Helena Modjeska gave
Rosemary and Pansies to Laertes. (Hapgood) Nesbit gave her
imaginary Pansies to a member of the audience. (Nesbit)
Fennel
An emblem of flattery.
Ellen Terry,
Julia Marlowe, and Helena Modjeska all followed the tradition of giving
fennel to the King. (Hapgood) Nesbit
also began with this, but ended with offering the imaginary fennel to
Gertrude. When she would try to take it, however, Nesbit would change
it to Columbine, which was a symbol of adultery. (23)
Columbine
Signifying
infidelity and gentleness. David Cressy lists Columbines among the
herbs in a midwife's garden, believed to "ease the pain of childbirth
or to hasten delivery" (21). Nesbit gave this flower to Gertrude.
The word also means
of or
pertaining to a
dove, which was considered a very mild animal; In 5.1, Gertrude
compares Hamlet to a dove.
Flowering Rue
Rue
or
Herb-a-Grace has a punning relationship with the verb "rue," (regret)
and so symbolizes repentance. During Early Modern outbreaks of the
plague, rue was thought to help prevent infection (McDonald); it was
also used as
an abortifacient (Cressy), and was supposed to cool lust (Nesbit).
Because of the last, Nesbit gave rue to the King.
Ellen
Terry, Julia
Marlowe, and Helena Modjeska all followed the tradition of giving rue
to the Queen.
Others
have given the flowers out differently or given some or all to
imaginary people; some have not had flowers at all- the 1997 RSC
production used pills, for a time it was popular to use twigs.
(Hapgood)
Symbol of unrequited love in the Victorian era. More typically, they
symbolize innocence, gentleness, and loyal love.
Nesbit
found an
imaginary daisy
on stage in front of her while attempting to pray with Claudius: “I
chose to make Ophelia afraid of the daisy…and dispose of [it] by
violently digging it up.” She interpreted the daisy in this case as a
warning to
women about lascivious men. (Nesbit 23)
Viola Oderata, one of many species of
Violets
Violets in religious art often symbolize humility; they have since
Roman times been associated with early or untimely death because they
bloom early in spring and do not last until summer. Romans placed
wreaths of violets on tombs to honor the dead.
Ophelia, Henrietta Rae (1890)
Distributing flowers and herbs was
traditional at a funeral; Ophelia is perhaps trying to rectify her
father’s “hugger-mugger” burial.
From a popular song; although it
does not survive, a number of other plays reference this or similar
lines.
To hear Shannon Schultz
perform "And Will He Not Come Again," click
here. (Duffin)
White or blond.
Head
Moan
"God have mercy."
Share
Indirect, collaborative. (OED)
With guilt in his father’s death.
Work together.
Polonius did not receive the public
funeral he was entitled to because of his high position (i.e., no
memorial or display of family
arms at his grave site perhaps).
Beheading
was the traditional form of execution.
In Grigori Kozintsev's 1964
Russian
film version, Ophelia appeared in this scene as a silent figure under
Horatio's guard. It was Horatio's distraction when reading Hamlet's
letter
that allowed Ophelia to leave the castle unobserved. (Kozintsev)
Ophelia
was a question for the cast of the 2007 Mary Baldwin MFA production as
well, “Bessell [the director] and I discussed why Horatio does not stay
with Ophelia, ultimately deciding that she slipped away from him only
for a moment, and Horatio is still searching for her elsewhere in the
castle through the duration of the mad scene. With my exit from 4.5 in
mind, I decided on a running entrance for 4.6, one of Ophelia’s costume
pieces in hand.” (Collier 11)
Access
Necessary
Come
From the bore or caliber of a gun
(OED);
he implies his description of the events and his discoveries pale in
comparison to the reality.
The 1953 Richard Burton
production, as well as the Kozintsev and Zeffirelli films, placed this
scene after Ophelia's funeral in 5.1, heightening Laertes' motivation
for revenge. (Hapgood)
Affirm my innocence.
Since
Threatened
Legally
Actions, deeds. (OED)
Punishable by death. (OED)
Weakened, enfeebled. (OED)
Essential, inseparable from.
Ptolemaic Spheres
Claudius’ place is with
Gertrude, just as the stars’ is in its sphere. From the Ptolemaic
belief that stars and planets move around the earth in fixed concentric
spheres. (Dictionary of the History
of Ideas, "Cosmic Images")
Reckoning
Common sort (of people). (OED)
Water with a heavy limestone content
slowly deposits a layer of lime
on submerged objects.
Fetters, in this case meaning Hamlet's guilty
acts (which, like fetters, are an impediment).
Not of sufficient weight; timbered
refers to the wood used for the shaft of an arrow.
Turned back.
Aimed
Q2: "whose worth."
Recall former times.
At the peak.
Disrupt
Slow, listless, inert. (OED)
An insult.
A game, not serious.
“I
think that one of the most interesting moments in the scene is the one
immediately preceding the entrance of the Messenger. I believe that
Claudius is about to tell Laertes of his sending Hamlet to his death
overseas…so that Claudius is caught in the act first by the Messenger,
not Gertrude.” (Boyle 21)
Without means, unarmed. (OED)
Force
Turning from, stopping. In hawking,
“checking” is
calling the hawk of its course.
Fully formed into a plan.
Not suspect the plot, not
suspect foul play.
Map of Normandy in 1600
Rode
A man of fashion and pleasure, showy,
spirited. (OED)
Unnatural skill.
Pallas and the Centaur, Botticelli
(1482)
As though he and the horse were one being, like a centaur. (Hamilton)
Demi: half.
Expectation
Imagining his possible skill.
There is no specific person this seems to
reference; Q2: “Lamord,” maybe suggesting “La Mort” (French: death).
Laertes speaks as though he is French
instead of Danish, as it is clear that Lamound is French.
Disclosure, testimony. (OED)
Your skill with a sword.
Infuse with jealousy.
Echoing the Ghost’s line to Hamlet “if
ever thou didst thy dear father love” (1.5.27).
Diminishes
To
afford sanctuary to; to shelter by
means of a sanctuary or sacred privileges. (OED) Claudius affirms the
strength
of Laertes’ oath, saying that Hamlet should find no sanctuary after
Polonius' murder.
If you will.
Hidden
Fencing swords, which had a “button” on the
tip to prevent injury during contests of skill.
Shifting, rearrangement. (OED)
Unblunted, not covered by a button. (OED)
Pass: single thrust or bout.
Ointment (OED)
An itinerant charlatan who sold supposed
medicines and remedies, freq. using various entertainments to attract a
crowd of potential customers. (OED)
Deadly, fatal. (OED)
A poultice or plaster. (OED)
Natural substances such as
plants or herbs. (OED)
Strengthening or healing
qualities. (OED)
Cover, smear. (OED)
A poison which infects the blood. (OED)
Break the surface. (OED)
If their intent becomes
obvious because they fail. Gielgud saw Claudius as a "professional
poisoner" who takes great delight in using it. (Hapgood)
Considered
Go awry.
Skills
Parched
Goblet (OED); along with “anoint” and
“unction”
these words hold religious connotations.
Purpose (OED)
Thrust or lunge. (OED)
Gertrude's retelling of
Ophelia's death raises several issues: she seems to have seen Ophelia
die, or heard an eye witness account, yet there was no attempt at
saving her. One actress, during a long run of the play, used the idea
that Gertrude was directly responsible for Ophelia's death as a way to
keep the speech fresh. (Lord)
Claire Higgins in 1988 held Laertes' head to her bosom during this
speech; Judi Dench used the detail in the speech as a way of explaining
and apologizing for the news she brought. Kenneth Branagh saw this- not
the closet scene- as the decisive breaking point between Gertrude and
Claudius. (Hapgood)
Taken as a symbol of grief for unrequited love or the loss of a mate
(OED); its long, flexible branches are frequently described as
"weeping;" Desdemona sings a love song about a willow in Othello (4.3.49-50,
53-55):
"Sing all a green willow must be my garland.
Let nobody blame him, his scorn I approve-
...
I called my love false love, but what said he then?
Sing willow, willow, willow
If I court more women, you'll couch with more men."
Over
Grey or greyish white; related to
“hoar-frost” which covers objects and makes them appear white.
Extravagant, fantastical.
Buttercup,
Ragged Robin.
Popular name for buttercups, also applied to
ragged robins. (OED)
A plant with purple flowers, most frequently glossed as the orchus
mascula.
Licentious, unrestrained. (OED)
Cruder; sexually suggestive.
Pure, chaste. Lust was associated with heat.
Referencing the long, slender
blooms.
Hanging
Crowns made of wild flowers.
Malicious twig or thin bough.
Garlands have long been given as a symbol of
victory.
Implying accident and not suicide.
Ophelia,
Alexandre Cabenal (1883)
An imaginary, partly human sea creature with the head and trunk of a
woman and the tail of a fish.
Unable to understand the
danger she was in.
Q2: “lay,“ song.
Natural impulse.
Usual behavior (weeping).
Tears were considered feminine, and several of
Shakespeare's male characters accuse themselves of becoming womanly
when they cry (For example, King Lear and Romeo). (Charney)
Longs to.
Rustics;
lower-class characters
played by comic actors.
In 1772, David Garrick cut the Gravediggers
altogether, despite their popularity. The cut was supposedly inspired
by Voltaire's criticism of the characters. From about 1780 to 1830, it
was popular for the First Gravedigger to wear several waistcoats which
he carefully removed and folded, thereby postponing any actual work
until the second Gravedigger's exit. Other productions have had the
Gravediggers enter through the trap as though the grave is nearly
finished. (Hapgood)
Graduate
actors Corey Vincent (Ghost and Player KIng) and Lesley Larsen Nesbit
(Ophelia) doubled as the First and Second Gravediggers. While touring
with their 2007 production, they used a masking tape outline to
delineate the placement of the grave, playing up the dark humor of the
scene by having Nesbit serve as the "body" while Vincent taped the
"grave" around her. (Vincent 25)
In the consecrated ground belonging
to the church and with Christian
burial rights.
Commits suicide.
Immediately
Coroner
Sat (in judgment).
Therefore not a mortal sin.
For se
defendendo: a killing in self-defense.
Knowingly
Three branches: the imagination, the
resolution and the perfection. From the verdict in a legal battle over
Sir James Hales’ property; Hales had committed suicide and this
affected
the distribution of property. (DNB)
Q1 "ergo:"
Latin, "therefore."
Standard address; “neighbor.”
Digger
Whether he wants to (be thought a
suicide) or not.
Inquest: an official inquiry into a public or
private legal matter. (OED)
Outside; without.
"You say true."
Sanction, permission.
Equal
Venerable
Ditch-makers.
Agriculture; Adam was tasked to care
for the Garden of Eden, and afterwards to till the earth.
A coat of arms (the mark of a gentleman);
the Clown means literal arms here.
A worker who shapes and lays stones for a
building. (OED)
The wooden frames or “gallows” used in
hangings.
Inhabitants, i.e.
criminals.
Performs its duties for.
Which should be eternal.
Hang him.
Take the yoke from the oxen’s shoulders;
unburden yourself.
"By the Virgin Mary."
"By the Mass."
Albert Finney, in the time between 4.4
and 5.1, would 'shower vigorously, thinking of Hamlet's fight with the
pirates' to maintain his momentum (Hapgood 252). Peter Hall, who
directed Finney, also suggested that Hamlet include the audience in
much of his conversation with the Gravedigger to continue the rapport
the earlier soliloquies created. (Hapgood)
Beat
Quicken
Johann
Flagon
One
verse of a
popular song, “The Aged
Lover Renounceth Love.” Click
here to hear Paul Rycik (Mary Baldwin MFA '11) perform selected
verses from this song,
the tune of which appears as "I Loathe that I Did Love" in Ross W.
Duffin's Shakespeare's Songbook.
In the 1964 Richard Burton production, John Gielgud placed the
Hamlet/Horatio entrance in the middle of this stanza of the song. He
also had the Gravedigger and Hamlet acknowledge each other immediately:
the Gravedigger is then singing for Hamlet, and reacting to Hamlet's
comments on the skulls he is unearthing. Both actors were fond of this
change as it avoided awkward pauses while one sang and the other spoke.
(Hapgood)
To pass time pleasurably.
Familiar thing.
Delicate, more feeling.
A conflation of further verses from “The Aged
Lover Renounceth Love.”
Into
One of the skulls the Gravedigger has
unearthed.
Throws
Cain Killing Abel, Tintoretto
(1551-2)
Cain
used a jawbone to kill his brother. This belief seems to come from
the Medieval mystery plays in England. In the Bible, it is Samson, not
Cain, who is associated with the jawbone of an ass. (Kuhl and Bonnell)
Head (OED)
Q2: "O'erreaches."
Beg to have it.
Either a proper name, or a reference to
worms eating flesh from the skull.
Lacking cheeks.
Head, skull. (OED)
An
officer responsible for a church and its property, and for tasks
relating to its maintenance or management; (in early use); (in later
use chiefly) an officer of a parish church whose responsibilities have
traditionally included bell-ringing and grave-digging. (OED)
A social revolution; because death
negates social status.
Ability
Have no more value.
A old game where pieces of wood were aimed at
a post
or tree (the logget).
More of the same song.
Quips or subtle witticisms in an argument.
Evasive or frivolous arguments, quibbles.
(OED)
Allow
Head (OED)
Charge of physical assault.
All legal terms referring to the
ownership of land.
Final
Two copies of a legal document; the
copies were placed on one sheet of paper and then torn apart. The
veracity of the copies was proved by fitting them together.
Coffin
Fools, simple people.
Of it.
Living (OED)
Adherent to exact standards. (OED)
Sailor's Card
The circular piece of stiff paper on which the
32 points are marked in the mariner's compass. (OED)
Evasion
Elaborate
Rubs his heel.
For what reason.
This is one of the passages
which causes confusion about Hamlet’s age. He is traditionally thought
to be about 30, because
the
Gravedigger then claims Yorick has been dead 23 years, and Hamlet knew
Yorick before he died.
Burbadge would have
been close to 30 when he first played Hamlet.
Laertes and Polonius, however, seem to
think Hamlet very young, and this printing could read that he is
sixteen (if
the Gravedigger means he has been digging graves for sixteen of his
thirty years). That, however, does not account for the claim about
Yorick's death.
The age issue is much less complex in Q1, where the only indicator of
Hamlet's age is this line of the Gravedigger's, which reads, "this
dozen year." Wilson Barrett used this line when playing Hamlet as an
eighteen year old.
Corpses plagued by pox; syphilitic.
Last through the funeral and burial.
One who treats and softens leather.
To
convert (skin or hide) into leather by steeping in an infusion of an
astringent bark, as that of the oak, or by a similarly effective
process. (OED)
Literally “son of a whore.”
This implies that Hamlet is
closer to thirty (the age the Gravedigger claims to be) since he
remembers Yorick and Yorick has been dead for twenty-three years.
Sickness
Rhine wine, from Germany.
Imagination
At the idea that he was so close to a man
now a skull; gorge: throat, stomach or stomach contents.
Actors have done a variety of things with the skull: Ralph Fiennes
kissed it; Charles Fetcher (1861) nearly kissed it, then pushed it
away; Olivier whispered in the skull's ear. (Hapgood)
Jeers
Capers
With the lower jaw hanging down; a
euphemism for death.
With makeup; in The Revenger’s Tragedy, the hero
Vindici
uses make-up to paint his dead wife’s skull so he may enact revenge on
her murderer by tricking him into kissing her lips, which are poisoned.
Detail of a mosaic found at Pompeii
depicting Alexander the Great fightin Darius III, King of Persia
The Great, who conquered most of the known world during the 4th century
B.C. He is believed to have been undefeated in battle. (Campbell)
This way.
Eventually, a piece of Alexander
the Great may find its way to a cork plugging the hole in a barrel or
cask.
Excessively, closely.
Trace his dust through the following logical
steps.
Moderation
Clay moistened with water so as to form a paste
capable of being molded into any shape. (OED)
Meaning Cesar.
Henry Irving placed Ophelia's
burial at night both because this was traditional for a suicide, and
because of Hamlet's reference to the "wandring stars" at line 255. (Hapgood)
Shortened, disfigured; it must be visually
obvious that the funeral is not of the usual quality. In the Olivier
film lines 212-3 were Horatio's, who seemed to realize it was Ophelia's
funeral. (Hapgood)
Hide and listen.
Funeral rites. (OED)
Augmented
From the Church.
Suspicious; the Church believes she
committed suicide.
The King’s insistence.
Beyond the boundaries of the church.
Which,
according to the Bible,
will signal Doomsday.
Instead of.
To be buried as a Virgin in consecrated
ground.
Strewed flowers.
In
Catholic tradition, a garland was carried before the body of a virgin
to symbolize victory over sin and death. After burial, the wreath was
hung on or near the grave. As the tradition developed over time, the
wreath became a wooden "crown" decorated with ribbons and flowers. (The
Catholic Encyclopedia)
Brought to her grave with ringing
bells,
a burial rite for parishioners.
(The
Catholic Encyclopedia)
A special mass sung for the dead; more
generally, a dirge. (The
Catholic Encyclopedia)
Villainous, base, or lowborn. (OED)
Suffering after death.
Flowers with sweet scent.
Bridal beds were decorated with flowers.
Q2: “woe.”
Thirty times.
Intelligent, gifted.
Flat earth.
A mountain in Greece; the Titans tried to bury
Olympus by placing Pelion on top of another mountain (to enable them to
reach the high peak of Olympus). (Hamilton)
Planets
Awestruck
By calling himself "the Dane," Hamlet is
calling himself King of Denmark; remember Marcellus' line from the
first scene, "Liegemen to the Dane" (1.1.16).
In Q1, a stage direction here reads, "Hamlet leapes in after Laertes."
In stage tradition, the leap into Ophelia's grave became an iconic
moment. When John Barrymore (1922) refused to jump in, there was quite
a stir. Barrymore claimed the action seemed unbefitting of Hamlet's
character and instead played the scene in a deep and dazed grief.
(Ard. Q2)
Khris Lewin and John Paul Scheidler
(2005)
Photo by Tommy Thompson,
courtesy of the American Shakespeare Center.
An embedded stage direction for the
actors’ fight. Henry Irving did not fight with the ferocity others have
used, the climax was instead his confession that he "loved Ophelia," at
which he ran to his mother's arms. (Hapgood)
Testy, easily angered. In Renaissance
physiology
the spleen was responsible for strong emotions such as anger,
melancholy,
and mirth. (Arika)
"You should let."
Move (blink).
Match
Bear with, endure. (OED)
"Would thou."
Vinegar
Outdo
Buried alive.
Brag
Hell
A high peak near Olympus.
Small, a mere bump.
Shortly
Doves were generally thought to lack
aggression. Female doves would be even less aggressive.
New-hatched twins.
Quietly
“Every dog has his day” was proverbial;
the fight is not over. Wilson Knight as Hamlet addressed "cat" to
Laertes as an insult, making himself the dog. (Hapgood)
To Laertes
Guard
Memorial of some kind.
Perhaps
one of the letters he sent to Horatio earlier.
Mutineers: sailors who went against their
captain on a ship. (OED)
A long iron bar, furnished with sliding
shackles to confine the ankles of prisoners, and a lock by which to fix
one end of the bar to the floor or ground. (OED)
Lack of forethought, rashness (in
action). (OED)
Fail, fall away. (OED)
People are subject to fate, despite
attempts to control their own lives.
Wrapped (OED)
Pick-pocketed the letter pouch.
Instructions from the King.
Terrible things.
Looking over, reading. (OED)
Time elapsed.
Ensnared
Begin to make a plan.
Gotten to the heart of the matter.
Politician, statesman. (OED)
Vice; inferior or unworthy action.
A servant or attendant in a royal household
ranking between a squire and a page; (OED) in this case, "worthy."
Command
Symbol of peace.
Crown of wheat.
The briefest space.
"As"es (sentences like those that have
preceded).
Sight and knowledge.
Confession and forgiveness, echoing the
Ghost’s lament.
Controlled, governed, directed. (OED)
Ring with a patterned seal that leaves an
impression
when pressed into hot wax. (OED)
Replica; not necessarily smaller or
illegitimate.
Letter
With the signet ring.
Exchange; from the belief that fairies
would steal human children and leave a substitution. (Briggs)
Next; Q2: "sequent."
They reap their own destruction.
Thrust of deadly weapons.
Adversaries; Hamlet and the King.
Horatio in the 2007 MFA
production at Mary Baldwin found an interesting variety of readings for
this particular line: “By placing stress on ‘this’ the focus became
Hamlet, due to his physical presence. Given the context of the
scene…such a reading made it seem Horatio was questioning Hamlet’s
ability to become a good and just king. Moving the stress to ‘king’
redirected focus to Claudius, the actual king, and showed Horatio’s
outrage at Claudius’ actions in attempting to kill Hamlet.” (Collier
13-4)
Stand upon me; obligate me to.
Hath
Lure
Deception, cheating, fraud. (OED)
Completely justified.
Kill
Corrosive force.
Laertes and Hamlet have both lost a
father and seek revenge for the murder.
Consider his merits.
Depth, passion.
Osric has been variously played as
incredibly obsequious (see Robin Williams in the Branagh film), as a
spy of Claudius' who only plays at stupidity (1964 Burton), and an
effeminate fop (see Peter Cushing in the Olivier film). (Hapgood)
Pest
Hamlet suggests that his uncle
welcomes Osric to court because of Osric's personal wealth, not because
of any legitimate social status.
Receptacle for hay to feed barnyard animals.
(OED)
Table
A bird of the crow family; formerly applied
somewhat widely to all the smaller chattering species, but especially
to the common Jackdaw. (OED)
Men in Early Modern England wore
hats indoors except when acknowledging God, a sovereign, or women.
(Gurr, Playgoing) Hamlet may
be pointing out that he is not the king; Osric's response is
sometimes played as embarrassed, sometimes as though he does not
understand the etiquette of the situation.
Moderately
Constitution (OED)
Arabian horses; emphasizing the exotic
(therefore, expensive) nature of the wager.
"Impawned:" bet.
Small, slim daggers. (OED)
Appurtenances, accessories. (OED)
Belt and sheath.
He explains later that he means the belt
and sheath designed for the
sword
Pleasing, prettily decorated. (OED)
Intricate workmanship.
Straps which carry a sword.
Appropriate
I.e., "what is the bet."
Bouts
Test
Agree (to the wager).
Time for exercise.
"If the gentlemen is."
A Lapwing
A bird belonging to the plover family. Allusions are frequent to its
crested head, to its wily method of drawing away a visitor from its
nest, and to the notion that the newly hatched lapwing runs about with
its head in the shell. (OED)
Breast
Company
Worthless, impure (usually in reference
to metals). (OED)
Foamy, frothy, insubstantial. (OED)
Devoid of a useless material. (OED) To
"winnow" grain is to separate with air the light and worthless material
from that of more substance.
I.e, not lose by more than two.
Misgiving (OED)
Delay their coming.
Well, ready.
The science of reading bird flight to predict
the future. (OED)
Divine will in small
things.
Death
Anticipation, preparation (for death).
John Gielgud in 1930 gave this passage with resolution, Michael
Redgrave (1949) with pleasure, Paul Scofield (1948) and David Warner
(1965) with bitterness. Olivier cut the passage, instead using the
lines "There's a Divinity that shapes our ends, / Rough-hew them how we
will" at 5.2.10-11. (Hapgood)
Early, prematurely.
Displeasure
Q2: brother
The inherent dominating power or impulse in a
person by which character or action is determined. (OED)
Urging, understanding, and
example. Laertes intends to seek advise in the matter of family honor
which exists between him and Hamlet.
Q2: "ungored," meaning literally unpierced.
Laertes means he will do nothing to tarnish his reputation.
Weapon, also a setting to display a jewel. (OED
The same.
Wins the third bout.
Cannons
A pearl of large size, good quality, and great
value, esp. one which is supposed to occur singly. (OED)
Tangible, perceptible. (OED)
Either overweight or merely out of shape for
such exercise.
Drinks a health. (OED)
In the 1992/3 RSC production, Jane Lapotaire as Gertrude had a drinking
problem at this point in the play. (Hapgood)
Fight
Possibly implying that Laertes seems to be
toying with Hamlet, or related to the following definition: "Of person:
Insolent in triumph or prosperity; reckless of justice and humanity;
merciless." (OED)
David Warner, after
receiving a wound to his hand in the fight, seemed to finally realize
that he might die. Thomassano Salvini in 1875, seems to be the first to
introduce the idea of Hamlet deliberately taking Laertes' rapier and
giving Laertes his. (Hapgood)
Bird in (its own) trap. Polonius
uses this metaphor when admonishing Ophelia at 1.3.119.
Eric
Schoen (Horatio), Tracy Hostmyer (Gertrude), Rene Thornton, Jr.
(Claudius), Khris Lewin (Hamlet), John Paul Scheidler (Laertes), and
John Harrell (Osric), 2005
Photo by Tommy Thompson,
courtesy of the American Shakespeare Center.
Q2: "swoons."
According to the Macready prompt books,
the King would draw his sword and, while descending the steps up to the
throne, attempts to defend himself. Edwin Booth fought through a crowd
on stage to stab the King in the neck with Laertes' sword. Henry Irving
threw the King down to the ground. (Hapgood)
Only
John Shrapnel (Claudius) accepted
his fate at the end, voluntarily drinking the last of the poisoned
wine. David Warner poured the wine over the King's already dead body. (Hapgood)
Hamlet
uses the familiar address as he kills Claudius. For Northam, this was
"the first time Hamlet sees Claudius as a man he can bring down to his
level and kill." (7)
Laertes attempts to exchange
forgiveness in the hope of avoiding
judgment for Hamlet's death.
These events.
Cruel, savage. (OED)
Exacting, precise. (OED)
Who would consider suicide honorable
(see Julius Cesar and Antony and Cleopatra for examples
of
companionable suicide).
Dishonored and misunderstood perception
of Hamlet's character.
Content, happiness. J.B. Booth indicated
heaven, anticipating Horatio's offer to die with Hamlet. (Hapgood)
Triumphs over. (OED)
Of the next king.
Vote; as
a member of the nobility, Hamlet has a right to cast a vote in the
election of the new King. (Royal Danish Ministry of Foreign Affairs)
Hamlet
makes no mention of this in Q1.
Later in the scene, Horatio seems confident that Hamlet's support will
guarantee Fortinbras' success.
Everything that has happened.
Some productions place Hamlet on the throne
to die, others in Horatio's arms; Martin-Harvey died on the body of his
dead mother. (Hapgood)
Fortinbras, in Georges Pitoeff's
1926 version, entered with his army all dressed in white; Wilson Knight
agreed, claiming Fortinbras should be the attractive young promise of
life triumphing over death. In contrast, Charles Dance's Fortinbras
(1975, with Ben Kingsley) was a menacing, power-hungry figure. (Hapgood)
The animals killed during a hunt. (OED)
A war-cry.
Claudius’
To the throne, or at least his
father’s lands which were forfeit to Old
Hamlet.
Advantage
Fortinbras intends to give
Hamlet full royal funeral rites.
Drum
Most likely some sort of gun or cannon
salute.
Is more appropriate to a
battlefield than the court.
