Actus Primus. Scena Prima.
scene                                        act 
Enter Barnardo, and Francisco, two Centinels.

          Bar. Whose there?

          Fran. Nay answere me. Stand and vnfolde your selfe.

          Bar. Long liue the King,

          Fran. Barnardo.

5        Bar. Hee.                          

          Fran. You come most carefully vpon your houre,

          Bar. Tis now strooke twelfe, get thee to bed Francisco,

          Fran. For this reliefe much thanks, tis bitter cold,
          And I am sick at hart.

10      Bar. Haue you had quiet guard?

          Fran. Not a mouse stirring.

          Bar. Well, good night:
          If you doe meete Horatio and Marcellus
          The riualls of my watch, bid them make hast.


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Actus Primus. Scena Prima.
scene                                        act

Enter Horatio, and Marcellus.

15      Fran. I thinke I heare them, stand ho, who is there?

         Hora. Friends to this ground.

         Mar.
And Leedgemen to the Dane,

         Fran.
Giue you good night.

         Mar.
O, farwell honest souldiers, who hath relieu'd you?

20      Fran.
Barnardo hath my place; giue you good night.

Exit Fran.

         Mar. Holla, Barnardo.

         Bar.
Say, what is Horatio there?

         Hora
. A peece of him.

         Bar.
Welcome Horatio, welcome good Marcellus,

25      Hora. What, ha's this thing appeard againe to night?

         Bar.
I haue seene nothing.


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Actus Primus. Scena Prima.
scene                                        act
          Mar. Horatio saies tis but our fantasie,
          And will not let beliefe take holde of him,

          Touching this dreaded sight twice seene of vs,
30       Therefore I haue intreated him along,
          With vs to watch the minuts of this night,
          That if againe this apparision come,
          He may approoue our eyes and speake to it.

          Hora. Tush, tush, twill not appeare.

35      Bar. Sit downe a while,
          And let vs once againe assaile your eares,
          That are so fortified against our story,
          What we haue two nights seene.

40      Hora.
Well, sit we downe,
          And let vs heare Barnardo speake of this.

          Bar.
Last night of all,
          When yond same starre thats weastward from the pole,
          Had made his course t'illume that part of heauen
45       Where now it burnes, Marcellus and my selfe
          The bell then beating one.

Enter Ghost.

          Mar. Peace, breake thee of, looke where it comes againe.


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Actus Primus. Scena Prima.
scene                                        act
          Bar. In the same figure like the King thats dead.

          Mar. Thou art a scholler, speake to it Horatio.

50       Bar. Lookes a not like the King? marke it Horatio.

          Hora.
Most like, it horrowes me with feare and wonder.

          Bar.
It would be spoke to.

          Mar.
Speake to it Horatio.

          Hora.
What art thou that vsurpst this time of night,
55       Together with that faire and warlike forme,
          In which the Maiestie of buried Denmarke
          Did sometimes march, by heauen I charge thee speake.

          Mar. It is offended.

          Bar.
See it staukes away.

60      Hora.
Stay, speake, speake, I charge thee speake.
Exit Ghost.

          Mar. Tis gone and will not answere.

          Bar.
How now Horatio, you tremble and looke pale,
          Is not this somthing more then phantasie?

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Actus Primus. Scena Prima.
scene                                        act
          What thinke you-ont?

65      Hora. Before my God I might not this belieue,
          Without the sencible and true auouch
          Of mine owne eies.

          Mar. Is it not like the King?

          Hora. As thou art to thy selfe.
70       Such was the very Armor he had on,
          When he the ambitious Norway combated,
          So frownd he once, when in an angry parle
          He smot the sleaded pollax on the ice.
          Tis strange.

75      Mar. Thus twice before, and iump at this dead houre,
          With martiall stauke hath he gone by our watch.

         Hora.
In what perticular thought, to worke I know not,
         But in the grosse and scope of mine opinion,
         This bodes some strange eruption to our state.

80      Mar.
Good now sit downe, and tell me he that knowes,
          Why this same strikt and most obseruant watch
          So nightly toiles the subiect of the land,
          And with such dayly cost of brazon Cannon
          And forraine marte, for implements of warre,
85      Why such impresse of ship-writes, whose sore taske

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Actus Primus. Scena Prima.
scene                                        act
          Does not deuide the Sunday from the weeke,
          What might be toward that this sweaty hast

          Doth make the night ioynt labourer with the day,
          Who ist that can informe mee?

90      Hora.
That can I.
          At least the whisper goes so; our last King,
          Whose image euen but now appear'd to vs,
          Was as you knowe by Fortinbrasse of Norway,
          Thereto prickt on by a most emulate pride
95       Dar'd to the combat; in which our valiant Hamlet,
          (For so this side of our knowne world esteemd him)
          Did slay this Fortinbrasse, who by a seald compact
          Well ratified by lawe and heraldy
          Did forfait (with his life) all these his lands
100     Which he stood seaz'd of, to the conquerour.
           Against the which a moitie competent
          Was gaged by our King, which had returne
          To the inheritance of Fortinbrasse,
          Had he bin vanquisher; as by the same comart,
105     And carriage of the article desseigne,
          His fell to Hamlet; now Sir, young Fortinbrasse
          Of vnimprooued mettle, hot and full,
          Hath in the skirts of Norway heere and there
          Sharkt vp a list of lawelesse resolutes
110     For foode and diet to some enterprise
          That hath a stomacke in't, which is no other
          As it doth well appeare vnto our state

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Actus Primus. Scena Prima.
scene                                        act
          But to recouer of vs by strong hand
          And tearmes compulsatory, those foresaid lands

115      So by his father lost; and this I take it,
          Is the maine motiue of our preparations
          The source of this our watch, and the chiefe head
          Of this post hast and Romeage in the land.

          Bar.
I thinke it be no other, but enso;
120     Well may it sort that this portentous figure
          Comes armed through our watch so like the King
          That was and is the question of these warres.

          Hora. A moth it is to trouble the mindes eye:
          In the most high and palmy state of Rome,
125     A little ere the mightiest Iulius fell
          The graues stood tennatlesse, and the sheeted dead
          Did squeake and gibber in the Roman streets
          As starres with traines of fier, and dewes of blood
          Disasters in the sunne; and the moist starre,
130     Vpon whose influence Neptunes Empier stands,
          Was sicke almost to doomesday with eclipse.
          And euen the like precurse of feare euents
          As harbindgers preceading still the fates
          And prologue to the Omen comming on
135     Haue heauen and earth together demonstrated
          Vnto our Climatures and countrymen.

Enter Ghost.

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Actus Primus. Scena Prima.
scene                                        act
           But soft, behold, loe where it comes againe
           Ile crosse it though it blast mee: stay illusion,

It spreads his armes.

           If thou hast any sound or vse of voyce,              

140  
    Speake to me, if there be any good thing to be done
           That may to thee doe ease, and grace to mee,
           Speake to me.
           If thou art priuie to thy countries fate
           Which happily foreknowing may auoyd
145      O speake:
           Or if thou hast vphoorded in thy life
           Extorted treasure in the wombe of earth
           For which they say your spirits oft walke in death.

The cocke crowes.

           Speake of it, stay and speake, stop it Marcellus.

150      Mar. Shall I strike it with my partizan?

           Hor.
Doe if it will not stand.

           Bar.
Tis heere.

           Hor. Tis heere.


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Actus Primus. Scena Prima.
scene                                        act
           Mar. Tis gone.
155      We doe it wrong being so Maiesticall
           To offer it the showe of violence,
           For it is as the ayre, invulnerable,
           And our vaine blowes malicious mockery.

           Bar.
It was about to speake when the cock crewe.

160      Hor.
And then it started like a guilty thing,
            Vpon a fearefull summons; I haue heard,
            The Cock that is the trumpet to the morne,
            Doth with his lofty and shrill sounding throat
            Awake the God of day, and at his warning
165      Whether in sea or fire, in earth or ayre
            Th'extrauagant and erring spirit hies
            To his confine, and of the truth heerein
            This present obiect made probation.

           Mar.
It faded on the crowing of the Cock.
170      Some say that euer gainst that season comes
           Wherein our Sauiours birth is celebrated
           This bird of dawning singeth all night long,
           And then they say no spirit dare sturre abraode
           The nights are wholsome, then no plannets strike,
175      No fairy takes, nor witch hath power to charme
           So hallowed, and so gratious is that time.

           Hora. So haue I heard and doe in part belieue it,

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Actus Primus. Scena Prima.
scene                                        act

           But looke the morne in russet mantle clad

           Walkes ore the dewe of yon high Eastward hill
180      Breake we our watch vp and by my aduise
           Let vs impart what we haue seene to night
           Vnto young Hamlet, for vppon my life
           This spirit dumb to vs, will speake to him:
           Doe you consent we shall acquaint him with it

185      As needfull in our loues, fitting our duty.

           Mar.
Lets doo't I pray, and I this morning knowe
           Where we shall find him most conuenient.
Exeunt.
















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Actus Primus. Scena Secunda.
scene                                         act

Florish. Enter Claudius, King of Denmarke, Gertrad the Queene,
Counsaile: as Polonius, and his Sonne Laertes,
Hamlet, Cum Alijs.

            Claud.
Though yet of Hamlet our deare brothers death
            The memorie be greene, and that it vs befitted
            To beare our harts in griefe, and our whole Kingdome,
            To be contracted in one browe of woe
5          Yet so farre hath discretion fought with nature,
            That we with wisest sorrowe thinke on him
            Together with remembrance of our selues:
            Therefore our sometime Sister, now our Queene
            Th'imperiall ioyntresse to this warlike state
10         Haue we as twere with a defeated ioy
            With an auspitious, and a dropping eye,
            With mirth in funerall, and with dirdge in marriage,
            In equall scale waighing delight and dole
            Taken to wife: nor haue we heerein bard
15         Your better wisdomes, which haue freely gone
            With this affaire along (for all our thankes)
            Now followes that you knowe young Fortinbrasse,
            Holding a weake supposall of our worth
            Or thinking by our late deare brothers death
20         Our state to be disioynt, and out of frame
            Coleagued with this dreame of his aduantage
            He hath not faild to pestur vs with message
            Importing the surrender of those lands
            Lost by his father, with all bands of lawe

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Actus Primus. Scena Secunda.
scene                                         act

25         To our most valiant brother, so much for him:
            Now for our selfe, and for this time of meeting,
            Thus much the busines is, we haue heere writ
            To Norway Vncle of young Fortenbrasse
            Who impotent and bedred scarcely 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 Valtemand,
35         For bearers of this greeting to old Norway,
            Giuing to you no further personall power
            To busines with the King, more then the scope
            Of these delated articles allowe:
            Farwell, and let your hast commend your dutie.

40        Cor.
  Vo. In that, and all things will we showe our dutie.

            King. We doubt it nothing, hartely farwell.
           
And now Laertes whats the newes with you?
            You told vs of some sute, what ist Laertes
            You cannot speake of reason to the Dane
45         And lose your voyce; what wold'st thou begge Laertes,?
            That shall not be my offer, not thy asking,
            The head is not more natiue to the hart
            The hand more instrumentall to the mouth
            Then is the throne of Denmarke to thy father,
50        What would'st thou haue Laertes?

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Actus Primus. Scena Secunda.
scene                                         act

            Laer. My dread Lord,
            Your leaue and fauour to returne to Fraunce,
            From whence, though willingly I came to Denmarke,
            To showe my dutie in your Coronation;
55         Yet now I must confesse, that duty done
            My thoughts and wishes bend againe toward Fraunce
            And bowe them to your gracious leaue and pardon.

            King.
Haue you your fathers leaue, what saies Polonius?

            Polo. Hath my Lord wroung from me my slowe leaue
60         By laboursome petition, and at last
            Vpon his will I seald my hard consent,
            I doe beseech you giue him leaue to goe.

            King.
Take thy faire houre Laertes, time be thine
            And thy best graces spend it at thy will:
65         But now my Cosin Hamlet, and my sonne.

            Ham. A little more then kin, and lesse then kind.

            King.
How is it that the clowdes still hang on you.

            Ham.
Not so much my Lord, I am too much in the sonne.

            Queene.
Good Hamlet cast thy nighted colour off
70         And let thine eye looke like a friend on Denmarke,
            Doe not for euer with thy vailed lids

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Actus Primus. Scena Secunda.
scene                                         act

            Seeke for thy noble Father in the dust,
            Thou know'st tis common all that liues must die,
            Passing through nature to eternitie.

75        Ham.
I Maddam, it is common.

            Quee.
If it be
            Why seemes it so perticuler with thee.

            Ham.
Seemes Maddam, nay it is, I know not seemes,
            Tis not alone my incky cloake coold mother
80         Nor customary suites of solembe blacke
            Nor windie suspiration of forst breath
            No, nor the fruitfull riuer in the eye,
            Nor the deiected hauior of the visage
            Together with all formes, moodes, chapes of griefe
85         That can deuote me truely, these indeede seeme,
            For they are actions that a man might play
            But I haue that within which passes showe
            These but the trappings and the suites of woe.

            King.
Tis sweete and commendable in your nature Hamlet,
90         To giue these mourning duties to your father
            But you must knowe your father lost a father,
            That father lost, lost his, and the suruiuer bound
            In filliall obligation for some tearme
            To doe obsequious sorrowe, but to perseuer
95         In obstinate condolement, is a course

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Actus Primus. Scena Secunda.
scene                                         act

            Of impious stubbornes, tis vnmanly griefe,
            It showes a will most incorrect to heauen
            A hart vnfortified, or minde impatient
            An vnderstanding simple and vnschoold
100       For what we knowe must be, and is as common
            As any the most vulgar thing to sence,
            Why should we in our peuish opposition
            Take it to hart, fie, 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 cryed
            From the first course, till he that died to day
            This must be so: we pray you throw to earth
            This vnpreuailing woe, and thinke of vs
110       As of a father, for let the world take note
            You are the most imediate to our throne,
            And with no lesse nobilitie of loue
            Then that which dearest father beares his sonne,
            Doe I impart toward you for your intent
115       In going back to schoole in Wittenberg,
            It is most retrogard to our desire,
            And we beseech you bend you to remaine
            Heere in the cheare and comfort of our eye,
            Our chiefest courtier, cosin, and our sonne.

120       Quee. Let not thy mother loose her prayers Hamlet,
            I pray thee stay with vs, goe not to Wittenberg.


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Actus Primus. Scena Secunda.

scene                                         act

            Ham. I shall in all my best obay you Madam.

            King. Why tis a louing and a faire reply,
            Be as our selfe in Denmarke, Madam come,
125       This gentle and vnforc'd accord of Hamlet
            Sits smiling to my hart, in grace whereof,
            No iocond health that Denmarke drinkes to day,
            But the great Cannon to the cloudes shall tell.
            And the Kings rowse the heauen shall brute againe,
130       Respeaking earthly thunder; come away.
Florish.
Exeunt all, but Hamlet.

            Ham. O that this too too sallied flesh would melt, 
            Thaw and resolue it selfe into a dewe,
            Or that the euerlasting had not fixt
            His cannon gainst seale slaughter, ô God, God,
135       How wary, stale, flat, and vnprofitable
            Seeme to me all the vses of this world?
            Fie on't, ah fie, tis an vnweeded garden
            That growes to seede, things rancke and grose in nature,
            Possesse it meerely that it should come thus
140       But two months dead, nay not so much, not two,
            So excellent a King, that was to this
            Hiperion to a satire, so louing to my mother,
            That he might not beteeme the winds of heauen
            Visite her face too roughly, heauen and earth
145       Must I remember, why she should hang on him


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Actus Primus. Scena Secunda.
scene                                         act

            As if increase 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
            A little month or ere those shooes were old
150       With which she followed my poore fathers bodie
            Like Niobe all teares, why she
            O God, a beast that wants discourse of reason
            Would haue mourn'd longer, married with my Vncle,
            My fathers brother, but no more like my father
155       Then I to Hercules, within a month,
            Ere yet the salt of most vnrighteous teares,
            Had left the flushing in her gauled eyes
            She married, ô most wicked speede; to post
            With such dexteritie to incestious sheets,
160       It is not, nor it cannot come to good,
            But breake my hart, for I must hold my tongue.

Enter Horatio,Marcellus, and Bernardo.

            Hora. Haile to your Lordship.

            Ham.
I am glad to see you well; Horatio, or I do forget my selfe.

            Hora.
The same my Lord, and your poore seruant euer.

165       Ham. Sir my good friend, Ile change that name with you,
            And what make you from Wittenberg Horatio?
            Marcellus.


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Actus Primus. Scena Secunda.
scene                                         act
            Mar. My good Lord.

            Ham. I am very glad to see you, (good euen sir)
170       But what in faith make you from Wittenberg?

            Hora.
A truant disposition good my Lord.

            Ham.
I would not heare your enimie say so,
            Nor shall you doe my eare that violence
            To make it truster of your owne report
175       Against your selfe, I knowe you are no truant,
            But what is your affaire in Elsonoure?
            Weele teach you for to drinke ere you depart.

            Hora. My Lord, I came to see your fathers funerall.

            Ham. I pre thee doe not mocke me fellowe studient,
180       I thinke it was to my mothers wedding.

            Hora.
Indeede my Lord it followed hard vppon.

            Ham.
Thrift, thrift, Horatio, the funerall bak't meates
            Did coldly furnish forth the marriage tables,
            Would I had met my dearest foe in heauen
185       Or euer I had seene that day Horatio,
            My father, me thinkes I see my father.

            Hora.
Where my Lord?


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Actus Primus. Scena Secunda.
scene                                         act
            Ham. In my mindes eye Horatio.

            Hora. I saw him once, a was a goodly King.

190       Ham.
A was a man take him for all in all
            I shall not looke vppon his like againe.

            Hora.
My Lord I thinke I saw him yesternight.

            Ham.
saw, who?

            Hora. My Lord the King your father.

195       Ham.
The King my father?

            Hora.
Season your admiration for a while
            With an attent eare till I may deliuer
            Vppon the witnes of these gentlemen
            This maruile to you.

200       Ham.
For Gods loue let me heare?

            Hora.
Two nights together had these gentlemen
            Marcellus, and Barnardo, on their watch
            In the dead wast and middle of the night
            Beene thus incountred, a figure like your father
205       Armed at poynt, exactly Capapea
            Appeares before them, and with solemne march,


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Actus Primus. Scena Secunda.
scene                                         act
            Goes slowe and stately by them; thrice he walkt
            By their opprest and feare surprised eyes
            Within his tronchions length, whil'st they distil'd
210       Almost to gelly, with the act of feare
            Stand dumbe and speake not to him; this to me
            In dreadfull secresie impart they did,
            And I with them the third night kept the watch,
            Whereas they had deliuered both in time
215       Forme of the thing, each word made true and good,
            The Apparision comes: I knewe your father,
            These hands are not more like.

            Ham.
But where was this?

            Mar. My Lord vppon the platforme where we watch,

220       Ham.
Did you not speake to it?

            Hora.
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:
225       But euen then the morning Cock crewe loude,
            And at the sound it shrunk in hast away
            And vanisht from our sight.

            Ham.
Tis very strange.


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Actus Primus. Scena Secunda.
scene                                         act
            Hora. As I doe liue my honor'd Lord tis true
230       And we did thinke it writ downe in our dutie
            To let you knowe of it.

            Ham.
Indeede Sirs but this troubles me,
            Hold you the watch to night?

            All. We doe my Lord.

235      Ham.
Arm'd say you?

            All.
Arm'd my Lord.

            Ham.
From top to toe?

            All.
My Lord from head to foote.

            Ham. Then sawe you not his face.

240       Hora. O yes my Lord, he wore his beauer vp.

            Ham. What look't he frowningly?

            Hora.
A countenance more in sorrow then in anger.

            Ham.
Pale, or red?

            Hora. Nay very pale.


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Actus Primus. Scena Secunda.
scene                                         act
245       Ham. And fixt his eyes vpon you?

            Hora.
Most constantly.

            Ham.
I would I had beene there.

            Hora.
It would haue much a maz'd you.

            Ham. Very like, stayd it long?

250       Hora.
While one with moderate hast might tell a hundreth.

            Both.
Longer, longer.

            Hora.
Not when I saw't.

            Ham. His beard was grissl'd, no.

            Hora. It was as I haue seene it in his life
255       A sable siluer'd.

            Ham.
I will watch to nigh
            Perchaunce twill walke againe.

            Hora.
I warn't it will.

            Ham. If it assume my noble fathers person,
260       Ile speake to it though hell it selfe should gape


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Actus Primus. Scena Secunda.
scene                                         act
            And bid me hold my peace; I pray you all
            If you haue hetherto conceald this sight
            Let it be tenable in your silence still,
            And what someuer els shall hap to night,
265       Giue it an vnderstanding but no tongue,
            I will requite your loues, so farre you well:
            Vppon the platforme twixt a leauen and twelfe
            Ile visite you.

            All.
Our dutie to your honor.

Exeunt.

270       Ham. Your loues, as mine to you, farwell.
            My fathers spirit (in armes) all is not well,
            I doubt some foule play, would the night were come,
            Till then sit still my soule, fonde deedes will rise
            Though all the earth ore-whelme them to mens eyes.

Exit.









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Actus Primus. Scena Tertia.
scene                                         act

Enter Laertes, and Ophelia his Sister.

            Laer. My necessaries are inbarckt, farwell,
            And sister, as the winds giue benefit
            And conuay, in assistant doe not sleepe
            But let me heere from you.
        
5          Ophe.
Doe you doubt that?

            Laer.
For Hamlet, and the trifling of his fauour,
            Hold it a fashion, and a toy in blood
            A Violet in the youth of primy nature,
            Forward, not permanent, sweete, not lasting,
10         The perfume and suppliance of a minute
            No more.

            Ophe.
No more but so.

            Laer.
Thinke it no more.
            For nature cressant does not growe alone
15         In thewes and bulkes, but as this temple waxes
            The inward seruice of the minde and soule
            Growes wide withall, perhapes he loues you now,
            And now no soyle nor cautell doth besmirch
            The vertue of his will, but you must feare,
20         His greatnes wayd, his will is not his owne,
            He may not as vnualewed persons doe,
            Carue for himselfe, for on his choise depends

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Actus Primus. Scena Tertia.

scene                                         act

            The safty and health of this whole state,
            And therefore must his choise be circumscribd
25         Vnto the voyce and yeelding of that body
            Whereof he is the head, then if he saies he loues you,
            It fits your wisdome so farre to belieue it
            As he in his particuler act and place
            May giue his saying deede, which is no further
30         Then the maine voyce of Denmarke goes withall.
            Then way what losse your honor may sustaine
            If with too credent eare you list his songs
            Or loose your hart, or your chast treasure open
            To his vnmastred importunity.
35         Feare it Ophelia, feare it my deare sister,
            And keepe you in the reare of your affection
            Out of the shot and danger of desire,
            "The chariest maide is prodigall inough
            If she vnmaske her butie to the Moone
40        "Vertue it selfe scapes not calumnious strokes
            "The canker gaules the infants of the spring
            Too oft before their buttons be disclos'd,
            And in the morne and liquid dewe of youth
45         Contagious blastments are most iminent,
            Be wary then, best safety lies in feare,
            Youth to it selfe rebels, though non els neare.

            Ophe.
I shall the effect of this good lesson keepe
            As watchman to my hart, but good my brother
50         Doe not as some vngracious pastors doe,

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Actus Primus. Scena Tertia.
scene                                         act

            Showe me the steepe and thorny way to heauen
            Whiles a puft, and reckles libertine
            Himselfe the primrose path of dalience treads.
            And reakes not his owne reed.

Enter Polonius.

55         Laer. O feare me not,
            I stay too long, but heere my father comes
            A double blessing, is a double grace,
            Occasion smiles vpon a second leaue.

            Pol.
Yet heere Laertes? a bord, a bord for shame,
60         The wind sits in the shoulder of your saile,
            And you are stayed for, there my blessing with thee,
            And these fewe precepts in thy memory
            Looke thou character, giue thy thoughts no tongue,
            Nor any vnproportion'd thought his act,
65         Be thou familier, but by no meanes vulgar,
            Those friends thou hast, and their a doption tried,
            Grapple them vnto thy soule with hoopes of steele,
            But doe not dull thy palme with entertainment
            Of each new hatcht vnfledgd courage, beware
70         Of entrance to a quarrell, but being in,
            Bear't that th'opposed may beware of thee,
            Giue euery man thy eare, but fewe thy voyce,
            Take each mans censure, but reserue thy iudgement,
            Costly thy habite as thy purse can buy,

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Actus Primus. Scena Tertia.
scene                                         act

75         But not exprest in fancy; rich not gaudy,
            For the apparrell oft proclaimes the man
            And they in Fraunce of the best ranck and station,
            Or of a most select and generous, chiefe in that:
            Neither a borrower nor a lender boy,
80         For loue oft looses both it selfe, and friend,
            And borrowing dulleth edge of husbandry;
            This aboue all, to thine owne selfe be true
            And it must followe as the night the day
            Thou canst not then be false to any man:
85         Farwell, my blessing season this in thee.

            Laer.
Most humbly doe I take my leaue my Lord.

            Pol.
The time inuests you goe, your seruants tend.

            Laer.
Farwell Ophelia, and remember well
            What I haue sayd to you.

90
        Ophe.
Tis in my memory lockt
            And you your selfe shall keepe the key of it.

            Laer.
Farwell.
Exit Laertes.

            Pol.
What ist Ophelia he hath sayd to you?

            Ophe. So please you, something touching the Lord Hamlet.

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Actus Primus. Scena Tertia.
scene                                         act
95         Pol. Marry well bethought
            Tis tolde me he hath very oft of late
            Giuen priuate time to you, and you your selfe
            Haue of your audience beene most free and bountious,
            If it be so, as so tis put on me,
100       And that in way of caution, I must tell you,
            You doe not vnderstand your selfe so cleerely
            As it behooues my daughter, and your honor,
            What is betweene you giue me vp the truth,

            Ophe.
He hath my Lord of late made many tenders
105       Of his affection to me.

            Pol.
Affection, puh, you speake like a greene girle
            Vnsifted in such perrilous circumstance,
            Doe you belieue his tenders as you call them?

            Ophe.
I doe not knowe my Lord what I should thinke.

110       Pol.
Marry I will teach you, thinke your selfe a babie
            That you haue tane these tenders for true pay
            Which are not sterling, tender your selfe more dearely
            Or (not to crack the winde of the poore phrase
            Wrong it thus) you'l tender me a foole.

115       Ophe.
My Lord he hath importun'd me with loue
            In honorable fashion.


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Actus Primus. Scena Tertia.
scene                                        act
            Pol. I, fashion you may call it, go to, go to.

            Ophe.
And hath giuen countenance to his speech
            My Lord, with almost all the holy vowes of heauen.

120       Pol.
I, springs to catch wood-cockes, I doe knowe
            When the blood burnes, how prodigall the soule
            Lends the tongue vowes, these blazes daughter
            Giuing more light then heate, extinct in both
            Euen in their promise, as it is a making
125       You must not take for fire, from this time
            Be something scanter of your maiden presence
            Set your intreatments at a higher rate
            Then a commaund to parle; for Lord Hamlet,
            Belieue so much in him that he is young,
130       And with a larger tider may he walke
            Then may be giuen you: in fewe Ophelia,
            Doe not belieue his vowes, for they are brokers
            Not of that die which their inuestments showe
            But meere imploratotors of vnholy suites
135       Breathing like sanctified and pious bonds
            The better to beguide: this is for all,
            I would not in plaine tearmes from this time foorth
            Haue you so slaunder any moment leasure
            As to giue words or talke with the Lord Hamlet,
140       Looke too't I charge you, come your wayes.

            Ophe.
I shall obey my Lord.                                                      Exeunt.

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Actus Primus. Scena Quarta.

scene                                         act

Enter Hamlet, Horatio and Marcellus.

            Ham. The ayre bites shroudly, it is very colde.

            Hora.
It is nipping, and an eager ayre.

            Ham.
What houre now?

            Hora.
I thinke it lackes of twelfe.

5           Mar.
No, it is strooke.

            Hora.
Indeede; I heard it not, it then drawes neere the season,
            Wherein the spirit held his wont to walke

A florish of trumpets and 2. peeces goes of.

            What does this meane my Lord?

            Ham.
The King doth wake to night and takes his rowse.
10         Keepes wassell and the swaggring vp-spring reeles:
            And as he draines his drafts of Rennish downe,
            The kettle drumme, and trumpet, thus bray out
            The triumph of his pledge.

            Hora.
Is it a custome?

15         Ham.
I marry ist,


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Actus Primus. Scena Quarta.
scene                                         act

            But to my minde, though I am natiue heere
            And to the manner borne, it is a custome
            More honourd in the breach, then the obseruance.
            This heauy headed reueale east and west
20         Makes vs tradust, and taxed of other nations,
            They clip vs drunkards, and with Swinish phrase
            Soyle our addition, and indeede it takes
            From our atchieuements, though perform'd at height
            The pith and marrow of our attribute,
25         So oft it chaunces in particuler men,
            That for some vicious mole of nature in them
            As in their birth wherein they are not guilty,
            (Since nature cannot choose his origin)
            By their ore-grow'th of some complextion
30         Oft breaking downe the pales and forts of reason,
            Or by some habit, that too much ore-leauens
            The forme of plausiue manners, that these men
            Carrying I say the stamp of one defect
            Being Natures liuery, or Fortunes starre,
35         His vertues els be they as pure as grace,
            As infinite as man may vndergoe,
            Shall in the generall censure take corruption
            From that particuler fault: the dram of eale
            Doth all the noble substance of a doubt
40         To his owne scandle.

Enter Ghost.


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Actus Primus. Scena Quarta.
scene                                         act

            Hora. Looke my Lord it comes.

            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,
45         Be thy intents wicked, or charitable,
            Thou com'st in such a questionable shape,
            That I will speake to thee, Ile call thee Hamlet,
            King, father, royall Dane, o answere mee,
            Let me not burst in ignorance, but tell
50         Why thy canoniz'd bones hearsed in death
            Haue burst their cerements? why the Sepulcher,
            Wherein we saw thee quietly interr'd
            Hath op't his ponderous and marble iawes,
            To cast thee vp againe? what may this meane
55         That thou dead corse, againe in compleat steele
            Reuisites thus the glimses of the Moone,
            Making night hideous, and we fooles of nature
            So horridly to shake our disposition
            With thoughts beyond the reaches of our soules,
60         Say why is this, wherefore, what should we doe?

Beckins.

            Hora.
It beckins you to goe away with it
            As if it some impartment did desire
            To you alone.


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Actus Primus. Scena Quarta.
scene                                         act

            Mar. Looke with what curteous action
65         It waues you to a more remooued ground,
            But doe not goe with it.

            Hora.
No, by no meanes.

            Ham.
It will not speake, then I will followe it.

            Hora.
Doe not my Lord.

70         Ham.
Why what should be the feare,
            I doe not set my life at a pinnes fee,
            And for my soule, what can it doe to that
            Being a thing immortall as it selfe;
            It waues me forth againe, Ile followe it.

75        Hora.
What if it tempt you toward the flood my Lord,
            Or to the dreadfull somnet of the cleefe
            That bettles ore his base into the sea,
            And there assume some other horrable forme
            Which might depriue your soueraigntie of reason,
80         And draw you into madnes, thinke of it,
            The very place puts toyes of desperation
            Without more motiue, into euery braine
            That lookes so many fadoms to the sea
            And heares it rore beneath.

85         Ham.
It waues me still,


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Actus Primus. Scena Quarta.
scene                                        act

            Goe on, Ile followe thee.

            Mar.
You shall not goe my Lord.

            Ham.
Hold of your hands.

            Hora.
Be rul'd, you shall not goe.

90         Ham.
My fate cries out
            And makes each petty arture in this body
            As hardy as the Nemeon Lyons nerue;
            Still am I cald, vnhand me Gentlemen
            By heauen Ile make a ghost of him that lets me,
95         I say away, goe on, Ile followe thee.
Exit Ghost and Hamlet.

            Hora. He waxes desperate with imagion.

            Mar.
Lets followe, tis not fit thus to obey him.

            Hora.
Haue after, to what issue will this come?

            Mar.
Something is rotten in the state of Denmarke.

100       Hora.
Heauen will direct it.

            Mar.
Nay lets follow him.
Exeunt.

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Actus Primus. Scena Quinta.
scene                                         act

Enter Ghost, and Hamlet.

            Ham. Whether wilt thou leade me, speake, Ile goe no further.

            Ghost.
Marke me.

            Ham.
I will.

            Ghost.
My houre is almost come
5           When I to sulphrus and tormenting flames
            Must render vp my selfe.

            Ham.
Alas poore Ghost.

            Ghost.
Pitty me not, but lend thy serious hearing
            To what I shall vnfold.

10         Ham.
Speake, I am bound to heare.

            Ghost.
So art thou to reuenge, when thou shalt heare.

            Ham.
What?

            Ghost.
I am thy fathers spirit,
            Doomd for a certaine tearme to walke the night,
15         And for the day confind to fast in fires,
            Till the foule crimes done in my dayes of nature
            Are burnt and purg'd away : but that I am forbid


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Actus Primus. Scena Quinta.
scene                                         act

            To tell the secrets of my prison house,
            I could a tale vnfolde whose lightest word
20         Would harrow vp thy soule, freeze thy young blood,
            Make thy two eyes like stars start from their spheres,
            Thy knotted and combined locks to part,
            And each particuler haire to stand an end,
            Like quils vpon the fearefull Porpentine,
25         But this eternall blazon must not be
            To eares of flesh and blood, list, list, ô list:
            If thou did'st euer thy deare father loue.

            Ham.
O God.

            Ghost.
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 me to know't, that I with wings as swift
            As meditation, or the thoughts of loue
35         May sweepe to my reuenge.

            Ghost.
I find thee apt,
            And duller shouldst thou be then the fat weede
            That rootes it selfe in ease on Lethe wharffe,
            Would'st thou not sturre in this; now Hamlet heare,


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Actus Primus. Scena Quinta.
scene                                        act

40         Tis giuen out, that sleeping in my Orchard,
            A Serpent stung me, so the whole eare of Denmarke
            Is by a forged processe of my death
            Ranckely abusde: but knowe thou noble Youth,
            The Serpent that did sting thy fathers life
45         Now weares his Crowne.

            Ham.
O my propheticke soule! my Vncle?

            Ghost.
I that incestuous, that adulterate beast,
            With witchcraft of his wits, with trayterous gifts,
            O wicked wit, and giftes that haue the power
50         So to seduce; wonne to his shamefull lust
            The will of my most seeming vertuous Queene;
            O Hamlet, what falling off was there
            From me whose loue was of that dignitie
            That it went hand in hand, euen with the vowe
55         I made to her in marriage, and to decline
            Vppon a wretch whose naturall gifts were poore,
            To those of mine; but vertue as it neuer will be mooued,
            Though lewdnesse court it in a shape of heauen
            So but though to a radiant Angle linckt,
60         Will sort it selfe in a celestiall bed
            And pray on garbage.
            But soft, me thinkes I sent the morning ayre,
            Briefe let me be; sleeping within my Orchard,
            My custome alwayes of the afternoone,
65         Vpon my secure houre, thy Vncle stole


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Actus Primus. Scena Quinta.
scene                                         act

            With iuyce of cursed Hebona in a viall,
            And in the porches of my eares did poure
            The leaprous distilment, whose effect
            Holds such an enmitie with blood of man,
70         That swift as quicksiluer it courses through
            The naturall gates and allies of the body,
            And with a sodaine vigour it doth possesse
            And curde like eager droppings into milke,
            The thin and wholsome blood; so did it mine,
75         And a most instant tetter barckt about
            Most Lazerlike with vile and lothsome crust
            All my smooth body.
            Thus was I sleeping by a brothers hand,
            Of life, of Crowne, of Queene at once dispatcht,
80         Cut off euen in the blossomes of my sinne,
            Vnhuzled, disappointed, vnanueld,
            No reckning made, but sent to my account
            Withall my imperfections on my head,
            O horrible, ô 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 howsomeuer thou pursues this act,
            Tain't not thy minde, nor let thy soule contriue
90         Against thy mother ought, leaue her to heauen,
            And to those thornes that in her bosome lodge
            To prick and sting her, fare thee well at once,
            The Gloworme shewes the matine to be neere


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Actus Primus. Scena Quinta.
scene                                         act

            And gins to pale his vneffectuall fire,
95         Adiew, adiew, adiew, remember me.

            Ham.
O all you host of heauen, ô earth, what els,
            And shall I coupple hell, ô fie, hold, hold my hart,
            And you my sinnowes, growe not instant old,
            But beare me swiftly vp; remember thee,
100       I thou poore Ghost whiles 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 pressures past
105       That youth and obseruation coppied there,
            And thy commandement all alone shall liue,
            Within the booke and volume of my braine
            Vnmixt with baser matter, yes by heauen,
            O most pernicious woman.
110       O villaine, villaine, smiling damned villaine,
            My tables, meet it is I set it downe
            That one may smile, and smile, and be a villaine,
            At least I am sure it may be so in Denmarke.
            So Vncle, there you are, now to my word,
115       It is adew, adew, remember me.
            I haue sworn't.

Enter Horatio, and Marcellus.

            Hora. My Lord, my Lord.

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Actus Primus. Scena Quinta.
scene                                        act

            Mar. Lord Hamlet.

            Hora.
Heauens secure him.

120       Ham.
So be it.

            Mar.
Illo, ho, ho, my Lord.

            Ham.
Hillo, ho, ho, boy come, and come.

            Mar.
How i'st my noble Lord?

            Hora.
What newes my Lord?

125       Ham.
O, wonderfull.

            Hora.
Good my Lord tell it.

            Ham.
No, you will reueale it.

            Hora.
Not I my Lord by heauen.

            Mar.
Nor I my Lord.

130       Ham.
How say you then, would hart of man once thinke it,
            But you'le be secret.

            Booth.
I by heauen.


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Actus Primus. Scena Quinta.
scene                                         act

            Ham. There's neuer a villaine,
            Dwelling in all Denmarke
135       But hee's an arrant knaue.

            Hora.
There needes no Ghost my Lord, come from the graue
            To tell vs this.

            Ham.
Why right, you are in the right,
            And so without more circumstance at all
140       I hold it fit that we shake hands and part,
            You, as your busines and desire shall poynt you,
            For euery man hath busines and desire
            Such as it is, and for my owne poore part
            I will goe pray.

145       Hora.
These are but wilde and whurling words my Lord.

            Ham.
I am sorry they offend you hartily,
            Yes faith hartily.

            Hora.
There's no offence my Lord.

            Ham.
Yes by Saint Patrick but there is Horatio,
150       And much offence to, touching this vision heere,
            It is an honest Ghost that let me tell you,
            For your desire to knowe what is betweene vs
            Oremastret as you may, and now good friends,
            As you are friends, schollers, and souldiers,


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Actus Primus. Scena Quinta.
scene                                         act

155       Giue me one poore request.

            Hora.
What i'st my Lord, we will.

            Ham.
Neuer make knowne what you haue seene to night.

            Booth.
My Lord we will not.

            Ham.
Nay but swear't.

160       Hora.
In faith my Lord not I.

            Mar.
Nor I my Lord in faith.

            Ham.
Vppon my sword.

            Mar.
We haue sworne my Lord already.

            Ham.
Indeede vppon my sword, indeed.

Ghost cries vnder the Stage.

165       Ghost. Sweare.

            Ham.
Ha, ha, boy, say'st thou so, art thou there trupenny ?
            Come on, you heare this fellowe in the Sellerige,
            Consent to sweare.


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Actus Primus. Scena Quinta.
scene                                         act

            Hora. Propose the oath my Lord.

170       Ham.
Neuer to speake of this that you haue seene
            Sweare by my sword.

            Ghost.
Sweare.

            Ham.
Hic, & vbique, then weele shift our ground:
            Come hether Gentlemen
175       And lay your hands againe vpon my sword,
            Sweare by my sword
            Neuer to speake of this that you haue heard.

            Ghost.
Sweare by his sword.

            Ham.
Well sayd olde Mole, can'st worke it'h earth so fast,
180       A worthy Pioner, once more remooue good friends.

            Hora.
O day and night, but this is wondrous strange.

            Ham.
And therefore as a stranger giue it welcome,
            There are more things in heauen and earth Horatio
            Then are dream't of in your philosophie, but come
185       Heere as before, neuer so helpe you mercy,
            (How strange or odde so mere I beare my selfe,
            As I perchance heereafter shall thinke meet,
            To put an Anticke disposition on
            That you at such times seeing me, neuer shall


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Actus Primus. Scena Quinta.
scene                                         act

190       With armes incombred thus, or this head shake,
            Or by pronouncing of some doubtfull phrase,
            As well, well, we knowe, or we could and if we would,
            Or if we list to speake, or there be and if they might,
            Or such ambiguous giuing out, to note)
195       That you knowe ought of me, this doe sweare,
            So grace and mercy at your most neede helpe you.

            Ghost.
Sweare.

            Ham.
Rest, rest, perturbed spirit: so Gentlemen,
            Withall my loue I doe commend me to you,
200       And what so poore a man as Hamlet is,
            May doe t'expresse his loue and frending to you
            God willing shall not lack, let vs goe in together,
            And still your fingers on your lips I pray,
            The time is out of ioynt, ô cursed spight
205       That euer I was borne to set it right.
            Nay come, lets goe together.

Exeunt.






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Actus Secundus. Scena Prima.
scene                                         act

Enter old Polonius, with his man or two.

            Pol. Giue him this money, and these notes Reynaldo.

            Rey. I will my Lord.

            Pol.
You shall doe meruiles wisely good Reynaldo,
            Before you visite him, to make inquire
5           Of his behauiour.

            Rey.
My Lord, I did intend it.

            Pol.
Mary well said, very well said; looke you sir,
            Enquire me first what Danskers are in Parris,
            And how, and who, what meanes, and where they keepe,
10         What companie, at what expence, and finding
            By this encompasment, and drift of question
            That they doe know my sonne, come you more neerer
            Then your perticuler demaunds will tuch it,
            Take you as t'were some distant knowledge of him,
15         As thus, I know his father, and his friends,
            And in part him, doe you marke this Reynaldo?

            Rey.
I, very well my Lord.

            Pol.
And in part him, but you may say, not well,
            But y'ft be he I meane, hee's very wilde,
20         Adicted so and so, and there put on him


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Actus Secundus. Scena Prima.
scene                                         act

            What forgeries you please, marry none so ranck
            As may dishonour him, take heede of that,
            But sir, such wanton, wild, and vsuall slips,
            As are companions noted and most knowne
25         To youth and libertie.

            Rey.
As gaming my Lord.

            Pol.
I, or drinking, fencing, swearing,
            Quarrelling, drabbing, you may goe so far.

            Rey.
My Lord, that would dishonour him.

30
         Pol. Fayth as you may season it in the charge.
            You must not put another scandell on him,
            That he is open to incontinencie,
            That's not my meaning, but breath his faults so quently
            That they may seeme the taints of libertie,
35         The flash and out-breake of a fierie mind,
            A sauagenes in vnreclamed blood,
            Of generall assault.

            Rey.
But my good Lord.

            Pol.
Wherefore should you doe this?

40
        Rey.
I my Lord, I would know that.


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Actus Secundus. Scena Prima.
scene                                         act

            Pol. Marry sir, heer's my drift,
            And I belieue it is a fetch of wit,
            You laying these slight sallies on my sonne
            As t'were a thing a little soyld with working,
45         Marke you, your partie in conuerse, him you would sound
            Hauing euer seene in the prenominat crimes
            The youth you breath of guiltie, be assur'd
            He closes with you in this consequence,
            Good sir, (or so,) or friend, or gentleman,
50         According to the phrase, or the addistion
            Of man and country.

            Rey.
Very good my Lord.

            Pol.
And then sir doos a this, a doos, what was I about to say?
            By the masse I was about to say something,
55         Where did I leaue?

   
         Rey. At closes in the consequence.

            Pol.
At closes in the consequence, I marry,
            He closes thus, I know the gentleman,
            I saw him yesterday, or th'other day,
60        Or then, or then, with such or such, and as you say,
            There was a gaming there, or tooke in's rowse,
            There falling out at Tennis, or perchance
            I saw him enter such a house of sale,
            Videlizet, a brothell, or so foorth, see you now,


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Actus Secundus. Scena Prima.
scene                                         act

65         Your bait of falshood take this carpe of truth,
            And thus doe we of wisedome, and of reach,
            With windlesses, and with assaies of bias,
            By indirections find directions out,
            So by my former lecture and aduise
70         Shall you my sonne; you haue me, haue you not?

            Rey.
My Lord, I haue.

            Pol.
God buy ye, far ye well.

            Rey.
Good my Lord.

            Pol.
Obserue his inclination in your selfe.

75        Rey.
I shall my Lord.

            Pol.
And let him ply his musique.

            Rey.
Well my Lord.                                                  
Exit Rey.

Enter Ophelia.

            Pol. Farewell. How now Ophelia, whats the matter?

            Oph.
O my Lord, my Lord, I haue beene so affrighted,

80         Pol.
With what i'th name of God ?


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Actus Secundus. Scena Prima.
scene                                         act

            Ophe. My Lord, as I was sowing in my closset,
            Lotd Hamlet with his doublet all vnbrac'd,
            No hat vpon his head, his stockins fouled,
            Vngartred, and downe gyued to his ancle,
85         Pale as his shirt, his knees knocking each other,
            And with a looke so pittious in purport
            As if he had been loosed out of hell
            To speake of horrors, he comes before me.

            Pol.
Mad for thy loue?

90         Oph.
My lord I doe not know,
            But truly I doe feare it.

            Pol.
What said he?

            Oph.
He tooke me by the wrist, and held me hard,
            Then goes he to the length of all his arme,
95         And with his other hand thus ore his brow,
            He falls to such perusall of my face
            As a would draw it, long stayd he so,
            At last, a little shaking of mine arme,
            And thrice his head thus wauing vp and downe,
100       He raisd a sigh so pittious and profound
            As it did seeme to shatter all his bulke,
            And end his beeing; that done, he lets me goe,
            And with his head ouer his shoulder turn'd
            Hee seem'd to find his way without his eyes,


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Actus Secundus. Scena Prima.
scene                                         act

105       For out adoores he went without theyr helps,
            And to the last bended their light on me.

            Pol.
Come, goe with mee, I will goe seeke the King,
            This is the very extacie of loue,
            Whose violent propertie fordoos it selfe,
110       And leades the will to desperat vndertakings
            As oft as any passions vnder heauen
            That dooes afflict our natures: I am sorry,
            What, haue you giuen him any hard words of late?

            Oph.
No my good Lord, but as you did commaund
115       I did repell his letters, and denied
            His accesse to me.

            Pol.
That hath made him mad.
            I am sorry, that with better heede and iudgement
            I had not coted him, I fear'd he did but trifle
120       And meant to wrack thee, but beshrow my Ielousie:
            By heauen it is as proper to our age
            To cast beyond our selues in our opinions,
            As it is common for the younger sort
            To lack discretion; come, goe we to the King,
125       This must be knowne, which beeing kept close, might moue
            More griefe to hide, then hate to vtter loue,
            Come.

Exeunt.

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Actus Secundus. Scena Secunda.
scene                                         act

Florish. Enter King and Queene, Rosencraus and
Guyldensterne.

            King. Welcome deere Rosencraus, and Guyldensterne,
            Moreouer, that we much did long to see you,
            The need we haue to vse you did prouoke
            Our hastie sending, something haue you heard
5           Of Hamlets transformation, so call it,
            Sith nor th'exterior, nor the inward man
            Resembles that it was, what it should be,
            More then his fathers death, that thus hath put him
            So much from th'vnderstanding of himselfe
10         I cannot dreame of: I entreate you both
            That beeing of so young dayes brought vp with him,
            And sith so nabored to his youth and hauior,
            That you voutsafe 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 occasion you may gleane,
            Whether ought to vs vnknowne afflicts him thus,
            That opend lyes within our remedie.

            Quee.
Good gentlemen, he hath much talkt of you,
20         And sure I am, two men there is not liuing
            To whom he more adheres, if it will please you
            To shew vs so much gentry and good will,
            As to expend your time with vs a while,
            For the supply and profit of our hope,


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Actus Secundus. Scena Secunda.
scene                                         act

25         Your visitation shall receiue such thanks
            As fits a Kings remembrance.

            Ros.
Both your Maiesties
            Might by the soueraigne power you haue of vs,
            Put your dread pleasures more into commaund
30         Then to entreatie.

            Guyl.
But we both obey.
            And heere giue vp our selues in the full bent,
            To lay our seruice freely at your feete
            To be commaunded.

35         King.
Thanks Rosencraus, and gentle Guyldensterne.

            Quee.
Thanks Guyldensterne, and gentle Rosencraus.
            And I beseech you instantly to visite
            My too much changed sonne, goe some of you
            And bring these gentlemen where Hamlet is.

40        Guyl.
Heauens make our presence and our practices
            Pleasant and helpfull to him.

            Quee. I Amen.

Exeunt Ros. and Guyld.
Enter Polonius.


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Actus Secundus. Scena Secunda.
scene                                         act

            Pol. Th'embassadors from Norway my good Lord,
            Are ioyfully returnd.

45         King.
Thou still hast been the father of good newes.

            Pol.
Haue I my Lord? I assure my good Liege
            I hold my dutie as I hold my soule,
            Both to my God, and to my gracious King;
            And I doe thinke, or els this braine of mine
50         Hunts not the trayle of policie so sure
            As it hath vsd to doe, that I haue found
            The very cause of Hamlets lunacie.

            King.
O speake of that, that doe I long to heare.

            Pol.
Giue first admittance to th'embassadors,
55         My newes shall be the fruite to that great feast.

            King.
Thy selfe doe grace to them, and bring them in.
            He tells me my deere Gertrard he hath found
            The head and source of all your sonnes distemper.

            Quee.
I doubt it is no other but the maine
60         His fathers death, and our hastie marriage.

Enter Embassadors.


            King. Well, we shall sift him, welcome my good friends,


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Actus Secundus. Scena Secunda.
scene                                         act

            Say Voltemand, what from our brother Norway?

            Vol.
Most faire returne of greetings and desires;
            Vpon our first, he sent out to suppresse
65         His Nephews leuies, which to him appeard
            To be a preparation gainst the Pollacke,
            But better lookt into, he truly found
            It was against your highnes, whereat greeu'd
            That so his sicknes, age, and impotence
70         Was falsly borne in hand, sends out arrests
            On Fortenbrasse, which he in breefe obeyes,
            Receiues rebuke from Norway, and in fine,
            Makes vow before his Vncle neuer more
            To giue th'assay of Armes against your Maiestie:
75         Whereon old Norway ouercome with ioy,
            Giues him threescore thousand crownes in anuall fee,
            And his commission to imploy those souldiers
            So leuied (as before) against the Pollacke,
            With an entreatie heerein further shone,
80         That it might please you to giue quiet passe
            Through your dominions for this enterprise
            On such regards of safety and allowance
            As therein are set downe.

            King.
It likes vs well,
85         And at our more considered time, wee'le read,
            Answer, and thinke vpon this busines:
            Meane time, we thanke you for your well tooke labour,


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Actus Secundus. Scena Secunda.
scene                                         act

            Goe to your rest, at night weele feast together,
            Most welcome home.

Exeunt Embassadors.

90         Pol. This busines is well ended.
            My Liege and Maddam, to expostulate
            What maiestie should be, what dutie is,
            Why day is day, night, night, and time is time,
            Were nothing but to wast night, day, and time,
95         Therefore breuitie is the soule of wit,
            And tediousnes the lymmes and outward florishes,
            I will be briefe, your noble sonne is mad:
            Mad call I it, for to define true madnes,
            What ist but to be nothing els but mad,
100       But let that goe.

            Quee.
More matter with lesse art.

            Pol. Maddam, I sweare I vse no art at all,
            That hee's mad tis true, tis true, tis pitty,
            And pitty tis tis true, a foolish figure,
105       But farewell it, for I will vse no art.
            Mad let vs graunt him then, and now remaines
            That we find out the cause of this effect,
            Or rather say, the cause of this defect,
            For this effect defectiue comes by cause:
110       Thus it remaines, and the remainder thus


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Actus Secundus. Scena Secunda.
scene                                         act

            Perpend,
            I haue a daughter, haue while she is mine,
            Who in her dutie and obedience, marke,
            Hath giuen me this, now gather and surmise,
115               To the Celestiall and my soules Idoll, the most beau-

                    tified Ophelia ,that's an ill phrase, a vilephrase,
                    beautified is a vilephrase, but you shall heare: thusin
                    her excellent white bosome, these &c.

            Quee.
Came this from Hamlet to her?

120       Pol.
Good Maddam stay awhile, I will be faithfull,
            Doubt thou the starres are fire,            
Letter.
            Doubt that the Sunne doth moue,
            Doubt truth to be a lyer,
            But neuer doubt I loue.
125       O deere Ophelia, I am ill at these numbers, I haue not art to recken
            my grones, but that I loue thee best, o most best belieue it, adew.
            Thine euermore most deere Lady, whilst this machine is to him.

            Pol.
This in obedience hath my daughter showne me,        
(Hamlet.
            And more about hath his solicitings
130       As they fell out by time, by meanes, and place,
            All giuen to mine eare.

            King.
But how hath she receiu'd his loue?

            Pol.
What doe you thinke of me?


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Actus Secundus. Scena Secunda.
scene                                         act

            King. As of a man faithfull and honorable.

135      
Pol. I would faine proue so, but what might you thinke
            When I had seene this hote loue on the wing,
            As I perceiu'd it (I must tell you that)
            Before my daughter told me, what might you,
            Or my deere Maiestie your Queene heere thinke,
140       If I had playd the Deske, or Table booke,
            Or giuen my hart a working mute and dumbe,
            Or lookt vppon this loue with idle sight,
            What might you thinke? no, I went round to worke,
            And my young Mistris thus I did bespeake,
145       Lord Hamlet is a Prince out of thy star,
            This must not be: and then I prescripts gaue her
            That she should locke her selfe from her resort,
            Admit no messengers, receiue no tokens,
            Which done, she tooke the fruites of my aduise:
150       And he repell'd, a short tale to make,
            Fell into a sadnes, then into a fast,
            Thence to a wath, thence into a weakenes,
            Thence to lightnes, and by this declension,
            Into the madnes wherein now he raues,
155       And all we mourne for.

            King.
Doe you thinke this?

            Quee.
It may be very like.


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Actus Secundus. Scena Secunda.
scene                                         act

            Pol. Hath there been such a time, I would faine know that,
            That I haue positiuely said, tis so,
160       When it proou'd otherwise?

            King.
Not that I know.

            Pol.
Take this, from this, if this be otherwise;
            If circumstances leade me, I will finde
            Where truth is hid, though it were hid indeede
165       Within the Center.

            King. How may we try it further?

            Pol.
You know sometimes he walkes foure houres together
            Heere in the Lobby.

            Quee.
So he dooes indeede.

170      
Pol. At such a time, Ile loose my daughter to him,
            Be you and I behind an Arras then,
            Marke the encounter, if he loue her not,
            And be not from his reason falne thereon
            Let me be no assistant for a state
175       But keepe a farme and carters.

            King.
We will try it.

Enter Hamlet.


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Actus Secundus. Scena Secunda.
scene                                         act

            Quee. But looke where sadly the poore wretch comes reading.

            Pol.
Away, I doe beseech you both away,

Exit King and Queene.

           
Ile bord him presently, oh giue me leaue,
180       How dooes my good Lord Hamlet?

            Ham.
Well, God a mercy.

            Pol.
Doe you knowe me my Lord?

            Ham.
Excellent well, you are a Fishmonger.

            Pol.
Not I my Lord.

185      
Ham. Then I would you were so honest a man.

            Pol.
Honest my Lord.

            Ham.
I sir to be honest as this world goes,
            Is to be one man pickt out of tenne thousand.

            Pol.
That's very true my Lord.

190      
Ham. For if the sunne breede maggots in a dead dogge, being a
            good kissing carrion. Haue you a daughter?


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Actus Secundus. Scena Secunda.
scene                                         act

            Pol. I haue my Lord.

            Ham.
Let her not walke i'th Sunne, conception is a blessing,
            But as your daughter may conceaue, friend looke to't.

195      
Pol. How say you by that, still harping on my daughter, yet hee
            knewe me not at first, a sayd I was a Fishmonger, a is farre gone,
            and truly in my youth, I suffred much extremity for loue, very
            neere this. Ile speake to him againe. What doe you reade my
            Lord.

200   
  
Ham. Words, words, words.

            Pol.
What is the matter my Lord.

            Ham.
Betweene who.

            Pol.
I meane the matter that you reade my Lord.

            Ham.
Slaunders sir; for the satericall rogue sayes heere, that old
205       men haue gray beards, that their faces are wrinckled, their eyes
            purging thick Amber, & plumtree gum, & that they haue a plen-
            tifull lacke of wit, together with most weake hams, all which sir
            though I most powerfully and potentlie belieue, yet I hold it not
            honesty to haue it thus set downe, for your selfe sir shall growe old
210       as I am: if like a Crab you could goe backward.

            Pol.
Though this be madnesse, yet there is method in't, will you


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Actus Secundus. Scena Secunda.
scene                                         act

            walke out of the ayre my Lord?

            Ham.
Into my graue.

            Pol.
Indeede that's out of the ayre; how pregnant sometimes
215       his replies are, a happines that often madnesse hits on, which reason
            and sanctity could not so prosperously be deliuered of. I will leaue
            him and my daughter. My Lord, I will take my leaue of you.

            Ham.
You cannot take from mee any thing that I will not more
            willingly part withall: except my life, except my life, except my
220       life.

Enter Guyldersterne, and Rosencraus.

            Pol. Fare you well my Lord.

            Ham.
These tedious old fooles.

            Pol.
You goe to seeke the Lord Hamlet, there he is.

            Ros.
God saue you sir.

225       Guyl.
My honor'd Lord.

            Ros.
My most deere Lord.

            Ham. My extent good friends, how doost thou Guyldersterne?


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Actus Secundus. Scena Secunda.
scene                                         act

            A Rosencraus, good lads how doe you both?

            Ros.
As the indifferent children of the earth.

230       Guyl.
Happy, in that we are not euer happy on Fortunes lap,
            We are not the very button.

            Ham.
Nor the soles of her shooe.

            Ros.
Neither my Lord.

            Ham.
Then you liue about her wast, or in the middle of her fa-

235       Guyl.
Faith her priuates we.              
                                    (uors.

            Ham.
In the secret parts of Fortune, oh most true, she is a strumpet,
            What newes?

            Ros.
None my Lord, but the worlds growne honest.

            Ham.
Then is Doomes day neere, but your newes is not true;
240       But in the beaten way of friendship, what make you at Elsonoure?

            Ros.
To visit you my Lord, no other occasion.

            Ham.
Begger that I am, I am euer poore in thankes, but I thanke
            you, and sure deare friends, my thankes are too deare a halfpeny:
            were you not sent for? is it your owne inclining? is it a free visitati-


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Actus Secundus. Scena Secunda.
scene                                         act

245       on? come, come, deale iustly with me, come, come, nay speake.

            Guy.
What should we say my Lord?

            Ham.
Any thing but to'th purpose: you were sent for, and there is
            a kind of confession in your lookes, which your modesties haue not
            craft enough to cullour, I know the good King and Queene haue
250       sent for you.

            Ros.
To what end my Lord?

            Ham.
That you must teach me: but let me coniure you, by the
            rights of our fellowship, by the consonancie of our youth, by the
            obligation of our euer preserued loue; and by what more deare a
255       better proposer can charge you withall, bee euen and direct with
            me whether you were sent for or no.

            Ros.
What say you.

            Ham.
Nay then I haue an eye of you? if you loue me hold not of.

            Guyl.
My Lord we were sent for.

260       Ham.
I will tell you why, so shall my anticipation preuent your
            discouery, and your secrecie to the King & Queene moult no fea-
            ther, I haue of late, but wherefore I knowe not, lost all my mirth,
            forgon all custome of exercises: and indeede it goes so heauily with
            my disposition, that this goodly frame the earth, seemes to mee a


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Actus Secundus. Scena Secunda.
scene                                         act

265       sterill promontorie, this most excellent Canopie the ayre, looke
            you, this braue orehanging firmament, this maiesticall roofe fret-
            ted with golden fire, why it appeareth nothing to me but a foule
            and pestilent congregation of vapoures. What peece of worke is a
            man, how noble in reason, how infinit in faculties, in forme and
270       moouing, how expresse and admirable in action, how like an An-
            gell in apprehension, how like a God: the beautie of the world; the
            paragon of Annimales; and yet to me, what is this Quintessence of
            dust: man delights not me, nor women neither, though by your
            smilling, you seeme to say so.

275       Ros.
My Lord, there was no such stuffe in my thoughts.

            Ham.
Why did yee laugh then, when I sayd man delights not me.

            Ros.
To thinke my Lord if you delight not in man, what Lenton
            entertainment the players shall receaue from you, we coted them
            on the way, and hether are they comming to offer you seruice.

280       Ham.
He that playes the King shal be welcome, his Maiestie shal
            haue tribute on me, the aduenterous Knight shall vse his foyle and
            target, the Louer shall not sigh gratis, the humorus Man shall end
            his part in peace, and the Lady shall say her minde freely: or the
            black verse shall hault for't. What players are they?

285       Ros.
Euen those you were wont to take such delight in, the Trage-
            dians of the Citty.


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Actus Secundus. Scena Secunda.
scene                                         act

            Ham. How chances it they trauaile? their residence both in repu-
            tation, and profit was better both wayes.

            Ros.
I thinke their inhibition, comes by the meanes of the late
290       innouasion.

            Ham.
Doe they hold the same estimation they did when I was in
            the Citty; are they so followed.

            Ros.
No indeede are they not.

            Ham.
It is not very strange, for my Vncle is King of Denmarke, and
295       those that would make mouths at him while my father liued, giue
            twenty, fortie, fifty, a hundred duckets a peece, for his Picture
            in little, s'bloud there is somthing in this more then naturall, if
            Philosophie could find it out.
           
A Florish.
            Guyl. There are the players.

300       Ham.
Gentlemen you are welcome to Elsonoure, your hands come
            then, th'appurtenance of welcome is fashion and ceremonie; let
            mee comply with you in this garb: let me extent to the players,
            which I tell you must showe fairely outwards, should more ap-
            peare like entertainment then yours? you are welcome: but my
305       Vncle-father, and Aunt-mother, are deceaued.

            Guyl.
In what my deare Lord.


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Actus Secundus. Scena Secunda.
scene                                         act

            Ham. I am but mad North North west; when the wind is Sou-
            therly, I knowe a Hauke, from a hand saw.

Enter Polonius.

            Pol. Well be with you Gentlemen.

310       Ham.
Harke you Guyldensterne, and you to, at each eare a hearer,
            that great baby you see there is not yet out of his swadling clouts.

            Ros.
Happily he is the second time come to them, for they say an
            old man is twice a child.

            Ham.
I will prophecy, he comes to tell me of the players, mark it,
315       You say right sir, a Monday morning, t'was then indeede.

            Pol.
My Lord I haue newes to tell you.

            Ham.
My Lord I haue newes to tel you: when Rossius was an Actor
            in Rome.

            Pol.
The Actors are come hether my Lord.

320       Ham.
Buz, buz.

            Pol.
Vppon my honor.

            Ham.
Then came each Actor on his Asse.


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Actus Secundus. Scena Secunda.
scene                                         act

            Pol. The best actors in the world, either for Tragedie, Comedy,
            History, Pastorall, Pastorall Comicall, Historicall Pastorall, scene
325       indeuidible, or Poem vnlimited, Sceneca cannot be too heauy, nor
            Plautus too light for the lawe of writ, and the liberty: these are the
            only men.

            Ham.
O Ieptha Iudge of Israell, what a treasure had'st thou?

            Pol.
What a treasure had he my Lord?

330       Ham.
Why one faire daughter and no more, the which he loued
            passing well.

            Pol.
Still on my daughter.

            Ham.
Am I not i'th right old Ieptha?

            Pol.
If you call me Ieptha my Lord, I haue a daughter that I loue
                                                                                    
(passing well.
335       Ham. Nay that followes not.                                     

            Pol. What followes then my Lord?

            Ham.
Why as by lot God wot, and then you knowe it came to
            passe, as most like it was; the first rowe of the pious chanson will
340       showe you more, for looke where my abridgment comes.

Enter the Players.

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Actus Secundus. Scena Secunda.
scene                                         act

            Ham. You are welcome maisters, welcome all, I am glad to see thee
            well, welcome good friends, oh old friend, why thy face is va-
            lanct since I saw thee last, com'st thou to beard me in Denmark?
            what my young Lady and mistris, by lady your Ladishippe is
345       nerer to heauen, then when I saw you last by the altitude of a
            chopine, pray God your voyce like a peece of vncurrant gold,
            bee not crackt within the ring: maisters you are all welcome,
            weele ento't like friendly Fankners, fly at any thing we see,
            weele haue a speech straite, come giue vs a tast of your quality,
350       come a passionate speech.

            Player.
What speech my good Lord?

            Ham.
I heard thee speake me a speech once, but it was neuer acted,
            or if it was, not aboue once, for the play I remember pleasd not
            the million, t'was cauiary to the generall, but it was as I receaued
355       it & others, whose iudgements in such matters cried in the top
            of mine, an excellent play, well digested in the scenes, set downe
            with as much modestie as cunning. I remember one sayd there
            were no sallets in the lines, to make the matter sauory, nor no
            matter in the phrase that might indite the author of affection,
360       but cald it an honest method, as wholesome as sweete, & by very
            much, more handsome then fine: one speech in't I chiefely loued,
            t'was Aeneas talke to Dido, & there about of it especially when he
            speakes of Priams slaughter, if it liue in your memory begin at
            this line, let me see, let me see, the rugged Pirbus like Th'ircanian
365       beast, tis not so, it beginnes with Pirrhus, the rugged Pirrhus, he whose
            sable Armes,


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Actus Secundus. Scena Secunda.
scene                                         act

            Black as his purpose did the night resemble,
            When he lay couched in th'omynous horse,
            Hath now this dread and black complection smeard,
370       With heraldy more dismall head to foote,
            Now is he totall Gules horridly trickt
            With blood of fathers, mothers, daughters, sonnes,
            Bak'd and empasted with the parching streetes
            That lend a tirranus and a damned light
375       To their Lords murther, rosted in wrath and fire,
            And thus ore-cised with coagulate gore,
            With eyes like Carbunkles, the hellish Phirrhus
            Old grandsire Priam seekes; so proceede you.

            Pol.
Foregod my Lord well spoken, with good accent and good
(discretion.

380       Play. Anon he finds him,
            Striking too short at Greekes, his anticke sword
            Rebellious to his arme, lies where it fals,
            Repugnant to commaund; vnequall matcht,
            Pirrhus at Priam driues, in rage strikes wide,
385       But with the whiffe and winde of his fell sword,
            Th'vnnerued father fals:
            Seeming to feele this blowe, with flaming top
            Stoopes to his base; and with a hiddious crash
            Takes prisoner Pirrhus eare, for loe his sword
390       Which was declining on the milkie head
            Of reuerent Priam, seem'd i'th ayre to stick,


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scene                                         act

            So as a painted tirant Pirrhus stood
            Like a newtrall to his will and matter,
            Did nothing:
395       But as we often see against some storme,
            A silence in the heauens, the racke stand still,
            The bold winds speechlesse, and the orbe belowe
            As hush as death, anon the dreadfull thunder
            Doth rend the region, so after Pirrhus pause,
400       A rowsed vengeance sets him new a worke,
            And neuer did the Cyclops hammers fall,
            On Marses Armor forg'd for proofe eterne,
            With lesse remorse then Pirrhus bleeding sword
            Now falls on Priam.
405       Out, out, thou strumpet Fortune, all you gods,
            In generall sinod take away her power,
            Breake all the spokes, and follies from her wheele,
            And boule the round naue downe the hill of heauen
            As lowe as to the fiends.

410      
Pol.
This is too long.

            Ham.
It shall to the barbers with your beard; prethee say on, he's
            for a Iigge, or a tale of bawdry, or he sleepes, say on, come to Hecuba.

            Play.
But who, a woe, had seene the mobled Queene,

            Ham.
The mobled Queene.


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Actus Secundus. Scena Secunda.
scene                                         act

415       Pol. That's good.

            Play.
Runne barefoote vp and downe, threatning the flames
            With Bison rehume, a clout vppon that head
            Where late the Diadem stood, and for a robe,
            About her lanck and all ore-teamed loynes,
420       A blancket in the alarme of feare caught vp,
            Who this had seene, with tongue in venom steept,
            Gainst fortunes state would treason haue pronounst;
            But if the gods themselues did see her then,
            When she saw Pirrhus make malicious sport
425       In mincing with his sword her husband limmes,
            The instant burst of clamor that she made,
            Vnlesse things mortall mooue them not at all,
            Would haue made milch the burning eyes of heauen
            And passion in the gods.

430       Pol.
Looke where he has not turnd his cullour, and has teares in's
            eyes, prethee no more.

            Ham.
Tis well, Ile haue thee speake out the rest of this soone,
            Good my Lord will you see the players well bestowed; doe you
            heare, let them be well vsed, for they are the abstract and breefe
435       Chronicles of the time; after your death you were better haue a
            bad Epitaph then their ill report while you liue.

            Pol.
My Lord, I will vse them according to their desert.


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Actus Secundus. Scena Secunda.
scene                                         act

            Ham. Gods bodkin man, much better, vse euery man after his de-
            sert, & who shall scape whipping, vse them after your owne honor
440       and dignity, the lesse they deserue the more merrit is in your boun-
            ty. Take them in.

            Pol.
Come sirs.

            Ham.
Follow him friends, weele heare a play to morrowe; dost thou
            heare me old friend, can you play the murther of Gonzago?

445       Play.
I my Lord.

            Ham.
Weele hate to morrowe night, you could for neede study
            a speech of some dosen lines, or sixteene lines, which I would set
            downe and insert in't, could you not?

            Play.
I my Lord.

450       Ham.
Very well, followe that Lord, & looke you mock him not.
            My good friends, Ile leaue you tell night, you are welcome to Elson-
            oure.

Exeunt Pol. and Players.

            Ros. Good my Lord.

Exeunt.


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Actus Secundus. Scena Secunda.
scene                                         act

            Ham. I so God buy to you, now I am alone,
455       O 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 owne conceit
            That from her working all the visage wand,
460       Teares in his eyes, distraction in his aspect,
            A broken voyce, an his whole function suting
            With formes to his conceit; and all for nothing,
            For Hecuba.
            What's Hecuba to him, or he to her,
465       That he should weepe for her? what would he doe
            Had he the motiue, and that for passion
            That I haue? he would drowne the stage with teares,
            And cleaue the generall eare with horrid speech,
            Make mad the guilty, and appale the free,
470       Confound the ignorant, and amaze indeede
            The very faculties of eyes and eares; yet I,
            A dull and muddy metteld raskall peake,
            Like Iohn-a-dreames, vnpregnant of my cause,
            And can say nothing; no not for a King,
475       Vpon whose property and most deare life,
            A damn'd defeate was made: am I a coward,
            Who cals me villaine, breakes my pate a crosse,
            Pluckes off my beard, and blowes it in my face,
            Twekes me by the nose, giues me the lie i'th thraote
480       As deepe as to the lunges, who does me this,
            Hah, s'wounds I should take it : for it cannot be


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Actus Secundus. Scena Secunda.

scene                                         act

            But I am pidgion liuerd, and lack gall
            To make oppression bitter, or ere this
            I should a fatted all the region kytes
485       With this slaues offall, bloody, baudy villaine,
            Remorslesse, trecherous, lecherous, kindlesse villaine.
            Why what an Asse am I, this is most braue,
            That I the sonne of a deere murthered,
            Prompted to my reuenge by heauen and hell,
490       Must like a whore vnpacke my hart with words,
            And fall a cursing like a very drabbe; a stallyon, fie vppont, foh.
            About my braines; hum, I haue heard,
            That guilty creatures sitting at a play,
            Haue by the very cunning of the scene,
495       Beene strooke so to the soule, that presently
            They haue proclaim'd their malefactions:
            For murther, though it haue no tongue will speake
            With most miraculous organ: Ile haue these Players
            Play something like the murther of my father
500       Before mine Vncle, Ile obserue his lookes,
            Ile tent him to the quicke, if a doe blench
            I know my course. The spirit that I haue seene
            May be a deale, and the deale hath power
            T'assume a pleasing shape, yea, and perhaps,
505       Out of my weakenes, and my melancholy,
            As he is very potent with such spirits,
            Abuses me to damne me; Ile haue grounds
            More relatiue then this, the play's the thing
            Wherein Ile catch the conscience of the King.                                  
Exit.
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Actus Tertius. Scena Prima.
scene                                         act

Enter King, Queene, Polonius, Ophelia, Rosencraus, Guyl-
densterne, Lords.

            King. An can you by no drift of conference
            Get from him why he puts on this confusion,
            Grating so harshly all his dayes of quiet
            With turbulent and dangerous lunacie?

5          Ros.
He dooes confesse he feeles himselfe distracted,
            But from what cause, a will by no meanes speake.

            Guyl.
Nor doe we find him forward to be sounded,
            But with a craftie madnes keepes aloofe
            When we would bring him on to some confession
10         Of his true state.

            Quee.
Did he receiue you well?

            Ros.
Most like a gentleman.

            Guyl.
But with much forcing of his disposition.

            Ros.
Niggard of question, but of our demaunds
15         Most free in his reply.

            Quee.
Did you assay him to any pastime?

            Ros.
Maddam, it so fell out that certaine Players

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Actus Tertius. Scena Prima.
scene                                         act

            We ore-raught on the way, of these we told him,
            And there did seeme in him a kind of ioy
20         To heare of it: they are heere about the Court,
            And as I thinke, they haue already order
            This night to play before him.

            Pol.
Tis most true,
            And he beseecht me to intreat your Maiesties
25         To heare and see the matter.

            King.
With all my hart,
            And it doth much content me
            To heare him so inclin'd.
            Good gentlemen giue him a further edge,
30         And driue his purpose into these delights.

            Ros.
We shall my Lord.

Exeunt. Ros. & Guyl.

            King.
Sweet Gertrard, leaue vs two,
            For we haue closely sent for Hamlet hether,
            That he as t'were by accedent, may heere
35         Affront Ophelia; her father and my selfe,
            Wee'le so bestow our selues, that seeing vnseene,
            We may of their encounter franckly iudge,
            And gather by him as he is behau'd,
            Ift be th'affliction of his loue or no

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Actus Tertius. Scena Prima.
scene                                         act

40         That thus he suffers for.

            Quee.
I shall obey you.
            And for your part Ophelia, I doe wish
            That your good beauties be the happy cause
            Of Hamlets wildnes, so shall I hope your vertues,
45         Will bring him to his wonted way againe,
            To both your honours.

            Oph.
Maddam, I wish it may.

            Pol.
Ophelia walke you heere, gracious so please you,
            We will bestow our selues; reade on this booke,
50         That show of such an exercise may cullour
            Your lowlines; we are oft too blame in this,
            Tis too much proou'd, that with deuotions visage
            And pious action, we doe sugar ore
            The deuill himselfe.

55         King.
O tis too true,
            How smart a lash that speech doth giue my conscience.
            The harlots cheeke beautied with plastring art,
            Is not more ougly to the thing that helps it,
            Then is my deede to my most painted word:
60         O heauy burthen.

Enter Hamlet.


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Actus Tertius. Scena Prima.
scene                                         act

            Pol. I heare him comming, with-draw my Lord.

            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,
65         Or to take Armes against a sea of troubles,
            And by opposing, end them, to die to sleepe
            No more, and by a sleepe, to say we end
            The hart-ake, and the thousand naturall shocks
            That flesh is heire to; tis a consumation
70         Deuoutly to be wisht to die to sleepe,
            To sleepe, perchance to dreame, I there's the rub,
            For in that sleepe of death what dreames may come
            When we haue shuffled off this mortall coyle
            Must giue vs pause, there's the respect
75         That makes calamitie of so long life:
            For who would beare the whips and scornes of time,
            Th'oppressors wrong, the proude mans contumely,
            The pangs of despiz'd loue, the lawes delay,
            The insolence of office, and the spurnes
80         That patient merrit of th'vnworthy takes,
            When he himselfe might his quietas make
            With a bare bodkin; who would fardels beare,
            To grunt and sweat vnder a wearie life,
            But that the dread of something after death,
85         The vndiscouer'd country, from whose borne
            No trauiler returnes, puzzels the will,
            And makes vs rather beare those ills we haue,


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Actus Tertius. Scena Prima.
scene                                         act

            Then flie to others that we know not of.
            Thus conscience dooes make cowards,
90         And thus the natiue hiew of resolution
            Is sickled ore with the pale cast of thought,
            And enterprises of great pitch and moment,
            With this regard theyr currents turne awry,
            And loose the name of action. Soft you now,
95         The faire Ophelia, Nimph in thy orizons
            Be all my sinnes remembred.

            Oph. Good my Lord,
            How dooes your honour for this many a day?
 
            Ham.
I humbly thanke you well.

100       Oph.
My Lord, I haue remembrances of yours
            That I haue longed long to redeliuer,
            I pray you now receiue them.

            Ham.
No, not I, I neuer gaue you ought.

            Oph.
My honor'd Lord, you know right well you did,
105       And with them words of so sweet breath composd
            As made these things more rich, their perfume lost,
            Take these againe, for to the noble mind
            Rich gifts wax poore when giuers prooue vnkind,
            There my Lord.


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Actus Tertius. Scena Prima.
scene                                         act

110       Ham. Ha, ha, are you honest.

            Oph.
My Lord.

            Ham.
Are you faire?

            Oph.
What meanes your Lordship?

            Ham.
That if you be honest & faire, you should admit
115       no discourse to your beautie.

            Oph.
Could beauty my Lord haue better comerse
            Then with honestie?

            Ham.
I truly, for the power of beautie will sooner transforme ho-
            nestie from what it is to a bawde, then the force of honestie can trans-
120       late beautie into his likenes, this was sometime a paradox, but now the
            time giues it proofe, I did loue you once.

            Oph.
Indeed my Lord you made me belieue so.

            Ham.
You should not haue beleeu'd me, for vertue cannot so
            euocutat our old stock, but we shall relish of it, I loued you not.

125       Oph.
I was the more deceiued.

            Ham.
Get thee a Nunry, why would'st thou be a breeder of sin-
            ners, I am my selfe indifferent honest, but yet I could accuse mee of

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Actus Tertius. Scena Prima.
scene                                         act

            such things, that it were better my Mother had not borne mee: I am
            very proude, reuengefull, ambitious, with more offences at my beck,
130       then I haue thoughts to put them in, imagination to giue them shape,
            or time to act them in: what should such fellowes as I do crauling be-
            tweene earth and heauen, wee are arrant knaues, beleeue none of vs,
            goe thy waies to a Nunry. Where's your father?

            Oph.
At home my Lord.

135       Ham.
Let the doores be shut vpon him,
            That he may play the foole no where but in's owne house,
            Farewell.

            Oph.
O helpe him you sweet heauens.

            Ham.
If thou doost marry, Ile giue thee this plague for thy dow-
140       rie, be thou as chast as yce, as pure as snow, thou shalt not escape ca-
            lumny; get thee to a Nunry, farewell. Or if thou wilt needes marry,
            marry a foole, for wise men knowe well enough what monsters you
            make of them: to a Nunry goe, and quickly to, farewell.

            Oph.
Heauenly powers restore him.

145       Ham.
I haue heard of your paintings well enough, God hath gi-
            uen you one face, and you make your selfes another, you gig & am-
            ble, and you list you nickname Gods creatures, and make your wan-
            tonnes ignorance; goe to, Ile no more on't, it hath made me madde,
            I say we will haue no mo marriage, those that are married alreadie, all

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Actus Tertius. Scena Prima.
scene                                         act

150       but one shall liue, the rest shall keep as they are: to a Nunry go.      
Exit.

            Oph. O what a noble mind is heere orethrowne!
            The Courtiers, souldiers, schollers, eye, tongue, sword,
            Th'expectation, and Rose of the faire state,
            The glasse of fashion, and the mould of forme,
155       Th'obseru'd of all obseruers, quite quite downe,
            And I of Ladies most deiect and wretched,
            That suckt the honny of his musickt vowes;
            Now see what noble and most soueraigne reason
            Like sweet bells iangled out of time, and harsh,
160       That vnmatcht forme, and stature of blowne youth
            Blasted with extacie, ô woe is mee
            T'haue seene what I haue seene, see what I see.

Enter King and Polonius.

            King.
Loue, his affections doe not that way tend,
            Nor what he spake, though it lackt forme a little,
165       Was not like madnes, there's something in his soule
            Ore which his melancholy sits on brood,
            And I doe doubt, the hatch and the disclose
            VVill be some danger; which for to preuent,
            I haue in quick determination
170       Thus set it downe : he shall with speede to England,
            For the demaund of our neglected tribute,

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Actus Tertius. Scena Prima.
scene                                         act

            Haply the seas, and countries different,
            With variable obiects, shall expell
            This something setled matter in his hart,
175       Whereon his braines still beating

            Puts him thus from fashion of himselfe.
            What thinke you on't?

            Pol.
It shall doe well.
            But yet doe I belieue the origin and comencement of his greefe,
180       Sprung from neglected loue: How now Ophelia?
            You neede not tell vs what Lord Hamlet said,
            We heard it all: my Lord, doe as you please,
            But if you hold it fit, after the play,
            Let his Queene-mother all alone intreate him
185       To show his griefe, let her be round with him,
            And Ile be plac'd (so please you) in the eare
            Of all their conference, if she find him not,
            To England send him: or confine him where
            Your wisedome best shall thinke.

190       King.
It shall be so,
            Madnes in great ones must not vnmatcht goe.

Exeunt.





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Actus Tertius. Scena Secunda.
scene                                         act

Enter Hamlet, and three of the Players.

            Ham. Speake the speech I pray you as I pronoun'd it to you, trip-
            pingly on the tongue, but if you mouth it as many of our Players do,
            I had as liue the towne cryer spoke my lines, nor doe not saw the ayre
            too much with your hand thus, but vse all gently, for in the very tor-
5          rent tempest, and as I may say, whirlwind of your passion, you must
            acquire and beget a temperance, that may giue it smoothnesse, ô it
            offends mee to the soule, to heare a robustious perwig-pated fellowe
            tere a passion to totters, to very rags, to spleet the eares of the ground-
            lings, vvho for the most part are capable of nothing but inexplica-
10         ble dumbe showes, and noyse: I would haue such a fellow whipt for
            ore-dooing Termagant, it out Herods Herod, pray you auoyde it.

            Player.
I warrant your honour.

            Hamlet.
Be not too tame neither, but let your owne discretion be
            your tutor, sute the action to the word, the word to the action, with
15         this speciall obseruance, that you ore-steppe not the modestie of na-
            ture: For any thing so ore-doone, is from the purpose of playing,
            whose end both at the first, and novve, was and is, to holde as twere
            the Mirrour vp to nature, to shew vertue her feature; scorne her own
            Image, and the very age and body of the time his forme and pressure:
20         Now this ouer-done, or come tardie off, though it makes the vnskil-
            full laugh, cannot but make the iudicious greeue, the censure of
            which one, must in your allowance ore-weigh a whole Theater of o-
            thers. O there be Players that I haue seene play, and heard others
            praysd, and that highly, not to speake it prophanely, that neither ha-

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Actus Tertius. Scena Secunda.
scene                                         act

25         uing th'accent of Christians, nor the gate of Christian, Pagan, nor
            man, haue so strutted & bellowed, that I haue thought some of Na-
            tures Iornimen had made men, and not made them well, they imita-
            ted humanitie so abhominably.

            Player.
I hope we haue reform'd that indifferently with vs.

30         Ham.
O reforme it altogether, and let those that play your clownes
            speake no more then is set downe for them, for there be of them that
            wil themselues laugh, to set on some quantitie of barraine spectators
            to laugh to, though in the meane time, some necessary question of
            the play be then to be considered, that's villanous, and shewes a most
35         pittifull ambition in the foole that vses it : goe make you readie. How
            now my Lord, will the King heare this peece of worke?

Enter Polonius, Guyldensterne, & Rosencraus.

            Pol.
And the Queene to, and that presently.

            Ham.
Bid the Players make hast. Will you two help to hasten thẽ.

            Ros.
I my Lord.

Exeunt they two.
40         Ham. What howe, Horatio.

Enter Horatio.


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Actus Tertius. Scena Secunda.
scene                                         act

            Hora. Heere sweet Lord, at your seruice.

            Ham.
Horatio, thou art een as iust a man
            As ere my conuersation copt withall.

            Hor.
O my deere Lord.

45         Ham.
Nay, doe not thinke I flatter,
            For what aduancement may I hope from thee
            That no reuenew hast but thy good spirits
            To feede and clothe thee, why should the poore be flatterd?
            No, let the candied tongue licke absurd pompe,
50         And crooke the pregnant hindges of the knee
            Where thrift may follow fauning; doost thou heare,
            Since my deare soule was mistris of her choice,
            And could of men distinguish her election,
            S'hath seald thee for herselfe, for thou hast been
55         As one in suffring all that suffers nothing,
            A man that Fortunes buffets and rewards
            Hast tane with equall thanks; and blest are those
            Whose blood and iudgement are so well comedled,
            That they are not a pype for Fortunes finger
60         To sound what stop she please: giue me that man
            That is not passions slaue, and I will weare him
            In my harts core, I in my hart of hart
            As I doe thee. Something too much of this,
            There is a play to night before the King,
65         One scene of it comes neere the circumstance

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Actus Tertius. Scena Secunda.
scene                                         act

            Which I haue told thee of my fathers death,
            I prethee when thou seest that act a foote,
            Euen with the very comment of thy soule
            Obserue my Vncle, if his occulted guilt
70         Doe not it selfe vnkennill in one speech,
            It is a damned ghost that we haue seene,
            And my imaginations are as foule
            As Vulcans stithy; giue him heedfull note,
            For I mine eyes will riuet to his face,
75         And after we will both our iudgements ioyne
            In censure of his seeming.

            Hor.
Well my lord,
            If a steale ought the whilst this play is playing
            And scape detected, I will pay the theft.

Enter Trumpets and Kettle Drummes,King, Queene,
Polonius, Ophelia

80         Ham.
They are comming to the play. I must be idle,
            Get you a place.

            King.
How fares our cosin Hamlet?

            Ham.
Excellent yfaith,
            Of the Camelions dish, I eate the ayre,
85         Promiscram'd, you cannot feede Capons so.


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Actus Tertius. Scena Secunda.
scene                                         act

            King. I haue nothing with this aunswer Hamlet,
            These words are not mine.

            Ham.
No, nor mine now my Lord.
            You playd once i'th Vniuersitie you say,

90         Pol.
That did I my Lord, and was accounted a good Actor,

            Ham.
What did you enact?

            Pol.
I did enact Iulius Caesar, I was kild i'th Capitall,
            Brutus kild mee.

            Ham.
It was a brute part of him to kill so capitall a calfe there,
95         Be the Players readie?

            Ros.
I my Lord, they stay vpon your patience.

            Ger.
Come hether my deere Hamlet, sit by me.

            Ham
. No good mother, heere's mettle more attractiue.

            Pol.
O ho, doe you marke that.

100       Ham.
Lady shall I lie in your lap?

            Ophe.
No my Lord.


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            Ham. Doe you thinke I meant country matters?

            Oph.
I thinke nothing my Lord.

            Ham.
That's a fayre thought to lye betweene maydes legs.

105       Oph.
What is my Lord?

            Ham.
Nothing.

            Oph.
You are merry my Lord.

            Ham.
Who I?

            Oph.
I my Lord.

110       Ham.
O God your onely Iigge-maker, what should a man do but
            be merry, for looke you how cheerefully my mother lookes, and my
            father died within's two howres.

            Oph.
Nay, tis twice two months my Lord.

            Ham.
So long, nay then let the deule weare blacke, for Ile haue a
115       sute of sables; ô heauens, die two months agoe, and not forgotten yet,
            then there's hope a great mans memorie may out-liue his life halfe a
            yeere, but ber Lady a must build Churches then, or els shall a suffer
            not thinking on, with the Hobby-horse, whose Epitaph is, for ô, for
           
ô, the hobby-horse is forgot.

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Actus Tertius. Scena Secunda.
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The Trumpets sounds.     Dumbe show followes.
Enter a King and a Queene, the Queene embracing him,and he her, he
takes her vp, and declines his head vpon her necke,he lyes him downe vp-
pon a bancke of flowers, she seeing him asleepe, leaues him: anon come in an
other man, takes off his crowne, kisses it, pours poyson in the sleepers eares,
and leaues him: the Queene returnes, finds the King dead, makes passionate
action, the poysner with some three or foure come in againe, seeme to con-
dole with her, the dead body is carried away, the poysner wooes the Queene
with gifts, shee seemes harsh awhile, but in the end accepts loue.

120       Oph. VVhat meanes this my Lord?

            Ham.
Marry this munching Mallico, it meanes mischiefe.

            Oph.
Belike this show imports the argument of the play.

            Ham.
We shall know by this fellow,

Enter Prologue.

            The Players cannot keepe, they'le tell all.

125       Oph.
Will a tell vs what this show meant?

            Ham.
I, or any show that you will show him, be not you asham'd
            to show, heele not shame to tell you what it meanes.

            Oph.
You are naught, you are naught, Ile mark the play.

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Actus Tertius. Scena Secunda.
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            Prologue. For vs and for our Tragedie,
130       Heere stooping to your clemencie,
            We begge your hearing patiently.

            Ham.
Is this a Prologue, or the posie of a ring?

            Oph.
Tis breefe my Lord.

            Ham.
As womans loue.

Enter King and Queene.

135       King. Full thirtie times hath Phebus cart gone round
            Neptunes salt wash, and Tellus orb'd the ground,
            And thirtie dosen Moones with borrowed sheene
            About the world haue times twelue thirties beene
            Since loue our harts, and Hymen did our hands
140       Vnite comutuall in most sacred bands.

            Quee.
So many iourneyes may the Sunne and Moone
            Make vs againe count ore ere loue be doone,
            But woe is me, you are so sicke of late,
            So farre from cheere, and from our former state,
145       That I distrust you, yet though I distrust,
            Discomfort you my Lord it nothing must.
            For women feare too much, euen as they loue,
            And womens feare and loue hold quantitie,
            Eyther none, in neither ought, or in extremitie,

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150       Now what my Lord is proofe hath made you know,
            And as my loue is ciz'd, my feare is so,
            Where loue is great, the litlest doubts are feare,
            Where little feares grow great, great loue growes there.

            King.
Faith I must leaue thee loue, and shortly to,
155       My operant powers their functions leaue to do,
            And thou shalt liue in this faire world behind,
            Honord, belou'd, and haply one as kind,
            For husband shalt thou.

            Quee.
O confound the rest,
160       Such loue must needes be treason in my brest,
            In second husband let me be accurst,
            None wed the second, but who kild the first.

            Ham. That's
            wormwood
165      
            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.

            King.
I doe belieue you thinke what now you speake,
170       But what we doe determine, oft we breake,
            Purpose is but the slaue to memorie,
            Of violent birth, but poore validitie,

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            Which now the fruite vnripe sticks on the tree,
            But fall vnshaken when they mellow bee.
175       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,
            The violence of eyther, griefe, or ioy,
180       Their owne ennactures with themselues destroy,
            Where ioy most reuels, griefe doth most lament,
            Greefe ioy, ioy griefes, on slender accedent,
            This world is not for aye, nor tis not strange,
            That euen our loues should with our fortunes change:
185       For tis a question left vs yet to proue,
            Whether loue lead fortune, or els fortune loue.
            The great man downe, you marke his fauourite flyes,
            The poore aduaunc'd, makes friends of enemies,
            And hetherto doth loue on fortune tend,
190       For who not needes, shall neuer lacke a friend,
            And who in want a hollow friend doth try,
            Directly seasons him his enemy.
            But orderly to end where I begunne,
            Our wills and fates doe so contrary runne,
195       That our deuises still are ouerthrowne,
            Our thoughts are ours, their ends none of our owne,
            So thinke thou wilt no second husband wed,
            But die thy thoughts when thy first Lord is dead.

            Quee.
Nor earth to me giue foode, nor heauen light,

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200       Sport and repose lock from me day and night,
            To desperation turne my trust and hope,
            And Anchors cheere in prison be my scope,
            Each opposite that blancks the face of ioy,
            Meete what I would haue well, and it destroy,
205       Both heere and hence pursue me lasting strife,

            Ham. If she should
            breake it now.
            If once I be a widdow, euer I be a wife.

            King. Tis deeply sworne, sweet leaue me heere a while,
210       My spirits grow dull, and faine I would beguile
            The tedious day with sleepe.
           
            Quee.
Sleepe rock thy braine,
            And neuer come mischance betweene vs twaine.

Exeunt.

             Ham. Madam, how like you this play?

215       Quee. The Lady doth protest too much mee thinks.

            Ham.
O but shee'le keepe her word.

            King.
Haue you heard the argument? is there no offence in't?


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Actus Tertius. Scena Secunda.
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            Ham. No, no, they do but iest, poyson in iest, no offence i'th world.

            King.
What doe you call the play?

220       Ham. The Mousetrap, mary how tropically, this play is the Image
            of a murther doone in Vienna, Gonzago is the Dukes name, his wife
            Baptista, you shall see anon, tis a knauish peece of worke, but what of
            that ? your Maiestie, and wee that haue free soules, it touches vs not,
            let the gauled Iade winch, our withers are vnwrong. This is one Lu-
225       cianus, Nephew to the King.

Enter Lucianus.

            Oph.
You are as good as a Chorus my Lord.

            Ham.
I could interpret betweene you and your loue
            If I could see the puppets dallying.

            Oph.
You are keene my lord, you are keene.

230      Ham.
It would cost you a groning to take off mine edge.

            Oph.
Still better and worse.

            Ham.
So you mistake your husbands. Beginne murtherer, leaue
            thy damnable faces and begin, come, the croking Rauen doth bellow
            for reuenge.


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Actus Tertius. Scena Secunda.
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235       Luc. Thoughts black, hands apt, drugges fit, and time agreeing,
            Considerat season els no creature seeing,
            Thou mixture ranck, of midnight weedes collected,
            VVith Hecats ban thrice blasted, thrice inuected,
            Thy naturall magicke, and dire property,
240       On wholsome life vsurps immediatly.

            Ham.
A poysons him i'th Garden for his estate, his names Gonza-
            go, the story is extant, and written in very choice Italian, you shall see
            anon how the murtherer gets the loue of Gonzagoes wife.

            Oph.
The King rises.

245       Quee. How fares my Lord?

            Pol.
Giue ore the play.

            King.
Giue me some light, away.

            Pol.
Lights, lights, lights.

Exeunt all but Ham. & Horatio.

            Ham. Why let the strooken Deere goe weepe,
250       The Hart vngauled play,
            For some must watch while some must sleepe,
            Thus runnes the world away. Would not this sir & a forrest of fea-
            thers, if the rest of my fortunes turne Turk with me, with prouinciall

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Actus Tertius. Scena Secunda.
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            Roses on my raz'd shooes, get me a fellowship in a cry of players?

255       Hora. Halfe a share.

            Ham.
A whole one I.
            For thou doost know oh Damon deere
            This Realme dismantled was
            Of Ioue himselfe, and now raignes heere
260       A very very paiock.

            Hora. You might haue rym'd.

            Ham.
O good Horatio, Ile take the Ghosts word for a thousand
            pound. Did'st perceiue?

            Hora.
Very well my Lord.

265       Ham. Vpon the talke of the poysning.

            Hor.
I did very well note him.

            Ham.
Ah ha, come some musique, come the Recorders,
            For if the King like not the Comedie,
            Why then belike he likes it not perdy.
270       Come, some musique.

Enter Rosencraus and Guyldensterne.


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Actus Tertius. Scena Secunda.
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            Guyl. Good my Lord, voutsafe me a word with you.

            Ham.
Sir a whole historie.

            Guyl.
The King sir.

            Ham.
I sir, what of him?

275       Guyl. Is in his retirement meruilous distempred.

            Ham.
With drinke sir?

            Guyl.
No my Lord, with choller,

            Ham.
Your wisedome should shewe it selfe more richer to signifie
            this to the Doctor, for, for mee to put him to his purgation, would
280       perhaps plunge him into more choller.

            Guyl.
Good my Lord put your discourse into some frame,
            And stare not so wildly from my affaire.

            Ham.
I am tame sir, pronounce.

            Guyl.
The Queene your mother in most great affliction of spirit,
285       hath sent me to you.

            Ham.
You are welcome.


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Actus Tertius. Scena Secunda.
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            Guyl. Nay good my Lord, this curtesie is not of the right breede, if
            it shall please you to make me a wholsome aunswere, I will doe your
            mothers commaundement, if not, your pardon and my returne, shall
290       be the end of busines.

            Ham.
Sir I cannot.

            Ros.
What my Lord.

            Ham.
Make you a wholsome answer, my wits diseasd, but sir, such
            answere as I can make, you shall commaund, or rather as you say, my
295       mother, therefore no more, but to the matter, my mother you say.

            Ros.
Then thus she sayes, your behauiour hath strooke her into a-
            mazement and admiration.

            Ham.
O wonderful sonne that can so stonish a mother, but is there
            no sequell at the heeles of this mothers admiration, impart.

300       Ros. She desires to speak with you in her closet ere you go to bed.

            Ham.
We shall obey, were she ten times our mother, haue you any
            further trade with vs?

            Ros.
My Lord, you once did loue me.

            Ham.
And doe still by these pickers and stealers.


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305       Ros. Good my Lord, what is your cause of distemper, you do sure-
            ly barre the doore vpon your owne liberty if you deny your griefes to
            your friend.

            Ham.
Sir I lacke aduauncement.

            Ros.
How can that be, when you haue the voyce of the King him-
310       selfe for your succession in Denmarke.

Enter the Players with Recorders.

            Ham.
I sir, but while the grasse growes, the prouerbe is something
            musty, ô the Recorders, let mee see one, to withdraw with you, why
            doe you goe about to recouer the wind of mee, as if you would driue
            me into a toyle?

315       Guyl. O my lord, if my duty be too bold, my loue is too vnmanerly.

            Ham.
I do not wel vnderstand that, wil you play vpon this pipe?

            Guyl.
My lord I cannot.

            Ham.
I pray you.

            Guyl.
Beleeue me I cannot.

320       Ham. I doe beseech you.


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            Guyl. I know no touch of it my Lord.

            Ham.
It is as easie as lying; gouerne these ventages with your fin-
            gers, & the vmber, giue it breath with your mouth, & it wil discourse
            most eloquent musique, looke you, these are the stops.

325       Guil. But these cannot I commaund to any vttrance of harmonie, I
            haue not the skill.

            Ham.
Why looke you now how vnwoorthy a thing you make of
            me, you would play vpon mee, you would seeme to know my stops,
            you would plucke out the hart of my mistery, you would sound mee
330       from my lowest note to my compasse, and there is much musique ex-
            cellent voyce in this little organ, yet cannot you make it speak, s'bloud
            do you think I am easier to be plaid on then a pipe, call mee what in-
            strument you wil, though you fret me not, you cannot play vpon me.
            God blesse you sir.

Enter Polonius.

335       Pol. My Lord, the Queene would speake with you, & presently.

            Ham.
Do you see yonder clowd that's almost in shape of a Camel?

            Pol.
By'th masse and tis, like a Camell indeed.

            Ham.
Mee thinks it is like a Wezell.


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            Pol. It is backt like a Wezell.

340       Ham. Or like a Whale.

            Pol.
Very like a Whale.

            Ham.
Then I will come to my mother by and by,
            They foole me to the top of my bent, I will come by & by,
            Leaue me friends.
345       I will, say so. By and by is easily said,
            Tis now the very witching time of night,
            When Churchyards yawne, and hell it selfe breakes out
            Contagion to this world: now could I drinke hote blood,
            And doe such busines as the bitter day
350       Would quake to looke on: soft, now to my mother,
            O hart loose not thy nature, let not euer
            The soule of Nero enter this firme bosome,
            Let me be cruell, not vnnaturall,
            I will speake dagger to her, but vse none,
355       My tongue and soule in this be hypocrites,
            How in my words someuer she be shent,
            To giue them seales neuer my soule consent.

Exit.





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Actus Tertius. Scena Tertia.
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Enter King, Rosencraus, and Guyldensterne.

            King. I like him not, nor stands it safe with vs
            To let his madnes range, therefore prepare you,
            I your commission will forth-with dispatch,
            And he to England shall along with you,
5          The termes of our estate may not endure
            Hazerd so neer's as doth hourely grow
            Out of his browes.

            Guyl.
We will our selues prouide,
            Most holy and religious feare it is
10         To keepe those many many bodies safe
            That liue and feede vpon your Maiestie.

            Ros.
The single and peculier life is bound
            With all the strength and armour of the mind
            To keepe it selfe from noyance, but much more
15         That spirit, vpon whose weale depends and rests
            The liues of many, the cesse of Maiestie
            Dies not alone; but like a gulfe doth draw
            What's neere it, with it, or it is a massie wheele
            Fixt on the somnet of the highest mount,
20         To whose hough spokes, tenne thousand lesser things
            Are morteist and adioynd, which when it falls,
            Each small annexment petty consequence
            Attends the boystrous raine, neuer alone
            Did the King sigh, but a generall grone.

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25        King. Arme you I pray you to this speedy viage,
            For we will fetters put about this feare
            Which now goes too free-footed.

            Ros.
We will hast vs.

Exeunt Gent.
Enter Polonius.

            Pol.
My Lord, hee's going to his mothers closet,
30         Behind the Arras I'le conuay my selfe
            To heare the processe, I'le warrant shee'letax him home,
            And as you sayd, and wisely was it sayd,
            Tis meete that some more audience then a mother,
            Since nature makes them parciall, should ore-heare
35         The speech of vantage; farre you well my Leige,
            I'le call vpon you ere you goe to bed.
            And tell you what I knowe.

Exit.

            King.
Thankes deere my Lord.
            O my offence is ranck, it smels to heauen,
40         It hath the primall eldest curse vppont,
            A brothers murther, pray can I not,
            Though inclination be as sharp as will,
            My stronger guilt defeats my strong entent,
            And like a man to double bussines bound,


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scene                                         act
45         I stand in pause where I shall first beginne,
            And both neglect, what if this cursed hand
            Were thicker then it selfe with brothers blood,
            Is there not raine enough in the sweete Heauens
            To wash it white as snowe, whereto serues mercy
50         But to confront the visage of offence?
            And what's in prayer but this two fold force,
            To be forestalled ere we come to fall,
            Or pardon being downe, then I'le 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 pardond and retaine th'offence?
60         In the corrupted currents of this world,
            Offences guilded hand may showe by iustice,
            And oft tis seene the wicked prize it selfe
            Buyes out the lawe, but tis not so aboue,
            There is no shufling, there the action lies
65         In his true nature, and we our selues compeld
            Euen to the teeth and forhead 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         O wretched state, ô bosome blacke as death,
            O limed soule, that struggling to be free,
            Art more ingaged; helpe Angels make assay,


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Actus Tertius. Scena Tertia.
scene                                         act
            Bowe stubborne knees, and hart with strings of steale,
            Be soft as sinnewes of the new borne babe,
75         All may be well.

Enter Hamlet.

            Ham. Now might I doe it, but now a is a praying,
            And now Ile doo't, and so a goes to heauen,
            And so am I reuendge, that would be scand
            A villaine kills my father, and for that,
80         I his sole sonne, doe this same villaine send
            To heauen.
            Why, this is base and silly, not reuendge,
            A tooke my father grosly full of bread,
            Withall his crimes braod blowne, as flush as May,
85         And how his audit stands who knowes saue heauen,
            But in our circumstance and course of thought,
            Tis heauy with him: and am I then reuendged
            To take him in the purging of his soule,
            When he is fit and seasond for his passage?
90         No.
            Vp sword, and knowe thou a more horrid hent,
            When he is drunke, a sleepe, or in his rage,
            Or in th'incestious pleasure of his bed,
            At game a swearing, or about some act
95         That has no relish of saluation in't,
            Then trip him that his heels may kick at heauen,
            And that his soule may be as damnd and black


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Actus Tertius. Scena Tertia.
scene                                         act
            As hell whereto it goes; my mother staies,
            This phisick but prolongs thy sickly daies.

Exit.

100       King.
My words fly vp, my thoughts remaine belowe
            Words without thoughts neuer to heauen goe.

Exit.




















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Actus Tertius. Scena Quarta.
scene                                         act
Enter Gertrard and Polonius.

            Pol. A will come strait, looke you lay home to him,
            Tell him his prancks haue beene too braod to beare with,
            And that your grace hath screend and stood betweene
            Much heate and him, Ile silence me euen heere,
5           Pray you be round.

Enter Hamlet.

            Ger.
Ile wait you, feare me not,
            With-drawe, I heare him comming.
           
            Ham.
Now mother, what's the matter?

            Ger.
Hamlet, thou hast thy father much offended.

10         Ham
. Mother, you haue my father much offended.

            Ger.
Come, come, you answere with an idle tongue.

            Ham.
Goe, goe, you question with a wicked tongue.

            Ger.
Why how now Hamlet?

            Ham
. What's the matter now?

15         Ger.
Haue you forgot me?


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Actus Tertius. Scena Quarta.
scene                                         act

            Ham. No by the rood not so,
            You are the Queene, your husbands brothers wife,
            And would it were not so, you are my mother.

            Ger.
Nay, then Ile set those to you that can speake.

20        Ham.
Come, come, and sit you downe, you shall not boudge,
            You goe not till I set you vp a glasse
            Where you may see the most part of you.

            Ger.
What wilt thou doe, thou wilt not murther me,
            Helpe how.

25         Pol.
What how helpe.

            Ham.
How now, a Rat, dead for a Duckat, dead.

            Pol.
O I am slaine.

            Ger.
O me, what hast thou done?

            Ham,
Nay I knowe not, is it the King?

30        Ger.
O what a rash and bloody deede is this.

            Ham.
A bloody deede, almost as bad, good mother
            As kill a King, and marry with his brother.


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Actus Tertius. Scena Quarta.
scene                                         act
            Ger. As kill a King.

            Ham.
I Lady, it was my word.
35        Thou wretched, rash, intruding foole farwell,
            I tooke thee for thy better, take thy fortune,
            Thou find'st to be too busie is some danger,
            Leaue wringing of your hands, peace sit you downe,
            And let me wring your hart, for so I shall
40         If it be made of penitrable stuffe,
            If damned custome haue not brasd it so,
            That it be proofe and bulwark against sence.

            Ger.
What haue I done, that thou dar'st wagge thy tongue
            In noise so rude against me?

45        Ham.
Such an act
            That blurres the grace and blush of modesty,
            Cals vertue hippocrit, takes of the Rose
            From the faire forhead of an innocent loue,
            And sets a blister there, makes marriage vowes
50         As false as dicers oathes, ô such a deede,
            As from the body of contraction plucks
            The very soule, and sweet religion makes
            A rapsedy of words; heauens face dooes glowe
            Ore this solidity and compound masse
55         With heated visage, as against the doome
            Is thought sick at the act


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Actus Tertius. Scena Quarta.
scene                                         act
            Quee. Ay me, what act?

            Ham.
That roares so low'd, and thunders in the Index,
            Looke heere vpon this Picture, and on this,
60         The counterfeit presentment of two brothers,
            See what a grace was seated on this browe,
            Hiperions curles, the front of Ioue himselfe,
            An eye like Mars, to threaten and command,
            A station like the herald Mercury,
65         New lighted on a heaue, a kissing hill,
            A combination, and a forme indeede,
            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,
70         Heere is your husband like a mildewed eare,
            Blasting his wholsome brother, haue you eyes,
            Could you on this faire mountaine leaue to feede,
            And batten on this Moore; ha, haue you eyes?
            You cannot call it loue, for at your age
75         The heyday in the blood is tame, it's humble,
            And waits vppon the iudgement, and what iudgement
            Would step from this to this, sence sure youe haue
            Els could you not haue motion, but sure that sence
            Is appoplext, for madnesse would not erre
80         Nor sence to extacie was nere so thral'd
            But it reseru'd some quantity of choise
            To serue in such a difference, what deuill wast
            That thus hath cosund you at hodman blind;

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Actus Tertius. Scena Quarta.
scene                                         act
            Eyes without feeling, feeling without sight,
85         Eares without hands, or eyes, smelling sance all,
            Or but a sickly part of one true sence
            Could not so mope: ô shame where is thy blush?
            Rebellious hell,
            If thou canst mutine in a Matrons bones,
90         To flaming youth let vertue be as wax
            And melt in her owne fire, proclaime no shame
            When the compulsiue ardure giues the charge,
            Since frost it selfe as actiuely doth burne,
            And reason pardons will.

95        Ger.
O Hamlet speake no more,
            Thou turnst my very eyes into my soule,
            And there I see such blacke and greeued spots
            As will leaue there their tin'ct.

            Ham.
Nay but to liue
100       In the ranck sweat of an inseemed bed
            Stewed in corruption, honying, and making loue
            Ouer the nasty stie.

            Ger.
O speake to me no more,
            These words like daggers enter in my eares,
105       No more sweete Hamlet.

            Ham.
A murtherer and a villaine,
            A slaue that is not twentith part the kyth


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Actus Tertius. Scena Quarta.
scene                                         act
            Of your precedent Lord, a vice of Kings,
            A cut-purse of the Empire and the rule,
110       That from a shelfe the precious Diadem stole
            And put it in his pocket.

            Ger.
No more.

Enter Ghost.

            Ham.
A King of shreds and patches,
            Saue me and houer ore me with your wings
115       You heauenly gards: what would your gracious figure?

            Ger.
Alas hee's mad.

            Ham.
Doe you not come your tardy sonne to chide,
            That lap'st in time and passion lets goe by
            Th'important acting of your dread command, ô say.

120      
Ghost.
Doe not forget, this visitation
            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,
125       Speake to her Hamlet.

            Ham
. How is it with you Lady?


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Actus Tertius. Scena Quarta.
scene                                         act
            Ger. Alas how i'st with you?
            That you doe bend your eye on vacancie,
            And with th'incorporall ayre doe hold discourse,
130       Foorth at your eyes your spirits wildly peep,
            And as the sleeping souldiers in th'alarme,
            Your bedded haire like life in excrements
            Start vp and stand an end, ô gentle sonne
            Vpon the heat and flame of thy distemper
135       Sprinckle coole patience, whereon doe you looke?

            Ham.
On him, on him, looke you how pale he glares,
            His forme and cause conioynd, preaching to stones
            Would make them capable, doe not looke vpon me,
            Least with this pittious action you conuert
140       My stearne effects, then what I haue to doe
            Will want true cullour, teares perchance for blood.

            Ger.
To whom doe you speake this?

            Ham.
Doe you see nothing there?

            Ger.
Nothing at all, yet all that is I see.

145       Ham.
Nor did you nothing heare?

            Ger.
No nothing but our selues.

            Ham.
Why looke you there, looke how it steales away,


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Actus Tertius. Scena Quarta.
scene                                         act
            My father in his habit as he liued,
            Looke where he goes, euen now out at the portall.

Exit Ghost.

150       Ger.
This is the very coynage of your braine,
            This bodilesse creation extacie is very cunning in.

            Ham.
My pulse as yours doth temperatly keepe time,
            And makes as healthfull musicke, it is not madnesse
            That I haue vttred, bring me to the test,
155       And the matter will reword, which madnesse
            Would gambole from, mother for loue of grace,
            Lay not that flattering vnction to your soule
            That not your trespasse but my madnesse speakes,
            It will but skin and filme the vlcerous place
160       Whiles ranck corruption mining all within
            Infects vnseene, confesse your selfe to heauen,
            Repent what's past, auoyd what is to come,
            And doe not spread the compost on the weedes
            To make them rancker, forgiue me this my vertue,
165       For in the fatnesse of these pursie times
            Vertue it selfe of vice must pardon beg,
            Yea curbe and wooe for leaue to doe him good.

            Ger.
O Hamlet thou hast cleft my hart in twaine.

            Ham.
O throwe away the worser part of it,


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Actus Tertius. Scena Quarta.
scene                                         act
170       And leaue the purer with the other halfe,
            Good night, but goe not to my Vncles bed,
            Assune a vertue if you haue it not,
            That monster custome, who all sence doth eate
            Of habits deuill, is angell yet in this
175       That to the vse of actions faire and good,
            He likewise giues a frock or Liuery
            That aptly is put on to refraine night,
            And that shall lend a kind of easines
            To the next abstinence, the next more easie:
180       For vse almost can change the stamp of nature,
            And either the deuill, or throwe him out
            With wonderous potency: once more good night,
            And when you are desirous to be blest,
            Ile blessing beg of you, for this same Lord
185       I doe repent; but heauen hath pleasd it so
            To punish me with this, and this with me,
            That I must be their scourge and minister,
            I will bestowe him and will answere well
            The death I gaue him; so againe good night
190       I must be cruell only to be kinde,
            This bad beginnes, and worse remaines behind.
            One word more good Lady.

            Ger. What shall I doe?

            Ham.
Not this by no meanes that I bid you doe,
195       Let the blowt King temp't you againe to bed,


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Actus Tertius. Scena Quarta.
scene                                         act

            Pinch wanton on your cheeke, call you his Mouse,
            And let him for a paire of reechie kisses,
            Or padling in your necke with his damn'd fingers.
            Make you to rouell all this matter out
200       That I essentially am not in madnesse,
            But mad in craft, t'were good you let him knowe,
            For who that's but a Queene, faire, sober, wise,
            Would from a paddack, from a bat, a gib,
            Such deare concernings hide, who would doe so,
205       No, in dispight of sence and secrecy,
            Vnpeg the basket on the houses top,
            Let the birds fly, and like the famous Ape,
            To try conclusions in the basket creepe,
            And breake your owne necke downe.

210       Ger.
Be thou assur'd, if words be made of breath
            And breath of life, I haue no life to breath
            What thou hast sayd to me.

            Ham.
I must to England, you knowe that.

            Ger.
Alack I had forgot.
215      
Tis so concluded on.

            Ham.
Ther's letters seald, and my two Schoolefellowes,
            Whom I will trust as I will Adders fang'd,
            They beare the mandat, they must sweep my way
            And marshall me to knauery: let it worke,


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Actus Tertius. Scena Quarta.

scene                                         act
220       For tis the sport to haue the enginer
            Hoist with his owne petar, an't shall goe hard
            But I will delue one yard belowe their mines,
            And blowe them at the Moone: ô tis most sweete
            When in one line two crafts directly meete,
225       This man shall set me packing,
            Ile lugge the guts into the neighbour roome;
            Mother good night indeed, this Counsayler
            Is now most still, most secret, and most graue,
            Who was in life a most foolish prating knaue.
230       Come sir, to draw toward an end with you.
            Good night mother.

Exit.















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Actus Quartus. Scena Prima.
scene                                         act
Eenter King,and Queene, with Rosencraus
and Guyldensterne.

            King. There's matter in these sighes, these profound heaues,
            You must translate, tis fit we vnderstand them,
            Where is your sonne?

            Ger.
Bestow this place on vs a little while.
5           Ah mine owne Lord, what haue I seene to night?

            King.
What Gertrard, how dooes Hamlet?

            Ger.
Mad as the sea and wind when both contend
            Which is the mightier, in his lawlesse fit,
            Behind the Arras hearing some thing stirre,
10         Whyps out his Rapier, cryes a Rat, a Rat,
            And in this brainish apprehension kills
            The vnseene good old man.

            King.
O heauy deede!
            It had beene so with vs had wee been there,
15         His libertie is full of threates to all,
            To you your selfe, to vs, to euery one,
            Alas, how shall this bloody deede be answer'd?
            It will be layd to vs, whose prouidence
            Should haue kept short, restraind, and out of haunt
20         This mad young man; but so much was our loue,
            We would not vnderstand what was most fit,


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Actus Quartus. Scena Prima.
scene                                         act

            But like the owner of a foule disease
            To keepe it from divulging, let it feede
            Euen on the pith of life: where is he gone?

25         Ger.
To draw apart the body he hath kild,
            Ore whom, his very madnes like some ore
            Among a minerall of mettals base,
            Showes it selfe pure, a weepes for what is done.

            King.
O Gertrard, come away,
30         The sunne no sooner shall the mountaines touch,
            But we will ship him hence, and this vile deede
            We must with all our Maiestie and skill

Enter Ros. & Guild.

            Both countenaunce and excuse. Ho Guyldensterne,
            Friends both, goe ioyne you with some further ayde,
35         Hamlet in madnes hath Polonius slaine,
            And from his mothers closet hath he dreg'd him,
            Goe seeke him out, speake fayre, and bring the body
            Into the Chappell; I pray you hast in this,
            Come Gertrard, wee'le call vp our wisest friends,
40         And let them know both what we meane to doe
            And whats vntimely doone,
            Whose whisper ore the worlds dyameter,
            As leuell as the Cannon to his blanck,
            Transports his poysned shot, may misse our Name,


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Actus Quartus. Scena Prima.
scene                                         act

45         And hit the woundlesse ayre, ô come away,
            My soule is full of discord and dismay.



























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Actus Quartus. Scena Secunda.
scene                                         act


            Ham.
Safely stowd, but soft, what noyse, who calls on Hamlet?
            O heere they come.

            Ros.
What haue you doone my Lord with the dead body?

            Ham.
Compound it with dust whereto tis kin.

5          Ros.
Tell vs where tis that we may take it thence,
            And beare it to the Chappell.

            Ham.
Doe not beleeue it.

            Ros.
Beleeue what.

            Ham.
That I can keepe your counsaile & not mine owne, besides
10         to be demaunded of a spunge, what replycation should be made by
            the sonne of a King.

            Ros.
Take you me for a spunge my Lord?

            Ham.
I sir, that sokes vp the Kings countenaunce, his rewards, his
            authorities, but such Officers doe the King best seruice in the end, he
15         keepes them like an apple in the corner of his iaw, first mouth'd to be
            last swallowed, when hee needs what you haue gleand, it is but squee-
            sing you, and spunge you shall be dry againe.


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Actus Quartus. Scena Secunda.
scene                                         act

            Ros. I vnderstand you not my Lord.

            Ham.
I am glad of it, a knauish speech sleepes in a foolish eare.

20         Ros.
My Lord, you must tell vs where the body is, and goe 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.

            Guyl.
A thing my Lord.

25         Ham.
Of nothing, bring me to him.













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Actus Quartus. Scena Tertia.
scene                                         act

Enter King, and two or three.

            King. I haue sent to seeke him, and to find the body,
            How dangerous is it that this man goes loose,
            Yet must not we put the strong Law on him,
            Hee's lou'd of the distracted multitude,
5           VVho like not in their iudgement, but theyr eyes,
            And where tis so, th'offenders scourge is wayed
            But neuer the offence: to beare all smooth and euen,
            This suddaine sending him away must seeme
            Deliberate pause, diseases desperat growne,
10         By desperat applyance are relieu'd
            Or not at all.

Enter Rosencraus and all the rest.


            King.
How now, what hath befalne?

            Ros.
Where the dead body is bestowd my Lord
            VVe cannot get from him.

15         King.
But where is hee?

            Ros.
Without my lord, guarded to know your pleasure.

            King.
Bring him before vs.

            Ros.
How, bring in the Lord.


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Actus Quartus. Scena Tertia.
scene                                         act

They enter.

            King.
Now Hamlet, where's Polonius?

20         Ham.
At supper.

            King.
At supper, where.

            Ham.
Not where he eates, but where a is eaten, a certaine conua-
            cation of politique wormes are een at him: your worme is your onely
            Emperour for dyet, we fat all creatures els to fat vs, and wee fat our
25         selues for maggots, your fat King and your leane begger is but varia-
            ble seruice, two dishes but to one table, that's the end.

            King.
Alas, alas.

            Ham.
A man may fish with the worme that hath eate of a King, &
            eate of the fish that hath fedde of that worme.

30         King.
VVhat doost thou meane by this?

            Ham.
Nothing but to shew you how a King may goe a progresse
            through the guts of a begger.

            King.
Where is Polonius?

            Ham.
In heauen, send thether to see, if your messenger finde him
35         not thrre, seeke him i'th other place your selfe, but if indeed you find


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Actus Quartus. Scena Tertia.
scene                                         act

            him not within this month, you shall nose him as you goe vp the
            stayres into the Lobby.

            King.
Goe seeke him there.

            Ham.
A will stay till you come.

40         King.
Hamlet this deede for thine especiall safety
            Which we do tender, as we deerely grieue
            For that which thou hast done, must send thee hence.
            Therefore prepare thy selfe,
            The Barck is ready, and the wind at helpe,
45         Th'associats tend, and euery thing is bent
            For England.

            Ham.
For England.

            King.
I Hamlet.

            Ham.
Good.

50         King.
So is it if thou knew'st our purposes.

            Ham.
I see a Cherub that sees th~e, but come for England,
            Farewell deere Mother.

            King.
Thy louing Father Hamlet.


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Actus Quartus. Scena Tertia.
scene                                         act

            Ham. My mother, Father and Mother is man and wife,
55         Man and wife is one flesh, so my mother:
            Come for England.

Exit.

            King.
Follow him at foote,
            Tempt him with speede abord,
            Delay it not, Ile haue him hence to night.
60         Away, for euery thing is seald and done
            That els leanes on th'affayre, pray you make hast,
            And England, if my loue thou hold'st at ought,
            As my great power thereof may giue thee sence,
            Since yet thy Cicatrice lookes raw and red,
65         After the Danish sword, and thy free awe
            Payes homage to vs, thou mayst not coldly set
            Our soueraigne processe, which imports at full
            By Letters congruing to that effect
            The present death of Hamlet, doe it England,
70         For like the Hectique in my blood he rages,
            And thou must cure me; till I know tis done,
            How ere my haps, my ioyes will nere begin.

Exit.





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Actus Quartus. Scena Quarta.
scene                                         act

Enter Fortinbrasse with his Army ouer the stage.

            Fortin.
Goe Captaine, from me greet the Danish King,
            Tell him, that by his lycence Fortinbrasse
            Craues the conueyance of a promisd march
            Ouer his kingdome, you know the randeuous,
5          If that his Maiestie 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.
Goe softly on.


10         Ham.
Good sir whose powers are these?

            Cap.
They are of Norway sir.

            Ham.
How purposd sir I pray you?

            Cap.
Against some part of Poland.

            Ham.
Who commaunds them sir?

15         Cap.
The Nephew to old Norway, Fortenbrasse.


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Actus Quartus. Scena Quarta.
scene                                         act

            Ham. Goes it against the maine of Poland sir,
            Or for some frontire?

            Cap.
Truly to speake, and with no addition,
            We goe to gaine a little patch of ground
20         That hath in it no profit but the name
            To pay fiue duckets, fiue I would not farme it;
            Nor will it yeeld to Norway or the Pole
            A rancker rate, should it be sold in fee.

            Ham.
Why then the Pollacke neuer will defend it.

25         Cap.
Yes, it is already garisond.

            Ham.
Two thousand soules, & twenty thousand duckets
            VVill not debate the question of this straw,
            This is th'Imposthume of much wealth and peace,
            That inward breakes, and showes no cause without
30         Why the man dies. I humbly thanke you sir.

            Cap.
God buy you sir.

            Ros.
Wil't please you goe my Lord?

            Ham.
Ile be with you straight, goe a little before.
            How all occasions doe informe against me,
35         And spur my dull reuenge. What is a man
            If his chiefe good and market of his time


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Actus Quartus. Scena Quarta.
scene                                         act

            Be but to sleepe and feede, a beast, no more:
            Sure he that made vs with such large discourse
            Looking before and after, gaue vs not
40         That capabilitie and god-like reason
            To fust in vs vnvsd, now whether it be
            Bestiall obliuion, or some crauen scruple
            Of thinking too precisely on th'euent,
            A thought which quarterd hath but one part wisedom,
45         And euer three parts coward, I doe not know
            Why yet I liue to say this thing's to doe,
            Sith I haue cause, and will, and strength, and meanes
            To doo't; examples grosse as earth exhort me,
            Witnes this Army of such masse and charge,
50         Led by a delicate and tender Prince,
            Whose spirit with diuine ambition puft,
            Makes mouthes at the invisible euent,
            Exposing what is mortall, and vnsure,
            To all that fortune, death, and danger dare,
55         Euen for an Egge-shell. Rightly to be great,
            Is not to stirre without great argument,
            But greatly to find quarrell in a straw
            When honour's at the stake, how stand I then
            That haue a father kild, a mother staind,
60         Excytements of my reason, and my blood,
            And let all sleepe, while to my shame I see
            The iminent death of twenty thousand men,
            That for a fantasie and tricke of fame
            Goe to their graues like beds, fight for a plot


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Actus Quartus. Scena Quarta.
scene                                         act

65         Whereon the numbers cannot try the cause,
            Which is not tombe enough and continent
            To hide the slaine, ô from this time forth,
            My thoughts be bloody, or be nothing worth.

























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Actus Quartus. Scena Quinta.
scene                                         act

Enter Horatio, Gertrard,and a Gentleman.

            Quee. I will not speake with her.
           
            Gent.
Shee is importunat,
            Indeede distract, her moode will needes be pittied.

            Quee.
What would she haue?

5          Gent.
She speakes much of her father, sayes she heares
            There's tricks i'th world, and hems, and beates her hart,
            Spurnes enuiously at strawes, speakes things in doubt
            That carry but halfe sence, her speech is nothing,
            Yet the vnshaped vse of it doth moue
10         The hearers to collection, they yawne at it,
            And botch the words vp fit to theyr owne thoughts,
            Which as her wincks, and nods, and gestures yeeld them,
            Indeede would make one thinke there might be thought
            Though nothing sure, yet much vnhappily.

15         Hora.
Twere good she were spoken with, for shee may strew
            Dangerous coniectures in ill breeding mindes,
            Let her come in.

            Quee.
`To my sicke soule, as sinnes true nature is,
            `Each toy seemes prologue to some great amisse,


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Actus Quartus. Scena Quinta.
scene                                         act

20         `So full of artlesse iealousie is guilt,
            `It spills it selfe, in fearing to be spylt.

            Oph.
Where is the beautious Maiestie of Denmarke?

            Quee.
How now Ophelia?

shee sings.

            Oph. How should I your true loue know from another one,
25         By his cockle hat and staffe, and his Sendall shoone.

            Quee.
Alas sweet Lady, what imports this song?

            Oph.
Say you, nay pray you marke,
            He is dead & gone Lady, he is dead and gone,              
Song.
            At his head a grasgreene turph, at his heeles a stone.
30         O ho.

            Quee.
Nay but Ophelia.

            Oph.
Pray you marke. White his shrowd as the mountaine snow.

Enter King.


            Quee.
Alas looke heere my Lord.

            Oph.
Larded all with sweet flowers,


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Actus Quartus. Scena Quinta.
scene                                         act

35         Which beweept to the ground did not go                        Song.
            With true loue showers.

            King.
How doe you pretty Lady?

            Oph.
Well good dild you, they say the Owle was a Bakers daugh-
            ter, Lord we know what we are, but know not what we may be.
40         God be at your table.

            King.
Conceit vpon her Father.

            Oph.
Pray lets haue no words of this, but when they aske you
            what it meanes, say you this.
            To morrow is S. Valentines day,                Song.
45         All in the morning betime,
            And I a mayde at your window
            To be your Valentine.
            Then vp he rose, and dond his close, and dupt the chamber doore,
            Let in the maide, that out a maide, neuer departed more.

50         King.
Pretty Ophelia.

            Oph.
Indeede without an oath Ile make an end on't,
            By gis and by Saint Charitie,
            alack and fie for shame,
            Young men will doo't if they come too't,
55         by Cock they are too blame.
            Quoth she, Before you tumbled me, you promisd me to wed,


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Actus Quartus. Scena Quinta.
scene                                         act

            (He answers.) So would I a done by yonder sunne
            And thou hadst not come to my bed.

            King.
How long hath she beene thus ?

60         Oph.
I hope all will be well, we must be patient, but I cannot chuse
            but weepe to thinke they would lay him i'th cold ground, my brother
            shall know of it, and so I thanke you for your good counsaile. Come
            my Coach, God night Ladies, god night.
            Sweet Ladyes god night, god night.

65         King.
Follow her close, giue her good watch I pray you.
            O this is the poyson of deepe griefe, it springs all from her Fathers
            death, and now behold, ô Gertrard, Gertrard,
            When sorrowes come, they come not single spyes,
            But in battalians : first her Father slaine,
70         Next, your sonne gone, and he most violent Author
            Of his owne iust remoue, the people muddied
            Thick and vnwholsome in thoughts, and whispers
            For good Polonius death : and we haue done but greenly
            In hugger mugger to inter him: poore Ophelia
75         Deuided from herselfe, and her faire iudgement,
            VVithout the which we are pictures, or meere beasts,
            Last, and as much contayning as all these,
            Her brother is in secret come from Fraunce,
            Feeds on this wonder, keepes himselfe in clowdes,
80         And wants not buzzers to infect his eare
            With pestilent speeches of his fathers death,


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Actus Quartus. Scena Quinta.
scene                                         act

            Wherein necessity of matter beggerd,
            Will nothing stick our person to arraigne
            In eare and eare: ô my deare Gertrard, this
85         Like to a murdring peece in many places
            Giues me superfluous death.

            A noise within.
Enter a Messenger.

            King. Attend, where is my Swissers, let them guard the doore,
            What is the matter?

            Messen.
Saue your selfe my Lord.
90         The Ocean ouer-peering of his list
            Eates not the flats with more impitious hast
            Then young Laertes in a riotous head
            Ore-beares your Officers: the rabble call him Lord,
            And as the world were now but to beginne,
95         Antiquity forgot, custome not knowne,
            The ratifiers and props of euery word,
            The cry choose we, Laertes shall be King,
            Caps, hands, and tongues applau'd it to the clouds,
            Laertes shall be King, Laertes King.

100       Quee.
How cheerefully on the false traile they cry.(
    A noise within.
            O this is counter you false Danish dogges.

Enter Laertes with others.


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Actus Quartus. Scena Quinta.
scene                                         act

            King. The doores are broke.

            Laer.
Where is this King? sirs stand you all without.

            All.
No lets come in.

105       Laer.
I pray you giue me leaue.

            All.
VVe will, we will.

            Laer.
I thanke you, keepe the doore, ô thou vile King,
            Giue me my father.

            Quee.
Calmely good Laertes.

110       Laer.
That drop of blood thats calme proclames me Bastard,
            Cries cuckold to my father, brands the Harlot
            Euen heere betweene the chast vnsmirched browe
            Of my true mother.

            King.
VVhat is the cause Laertes
115       That thy rebellion lookes so gyant like?
            Let him goe Gertrard, doe not feare our person,
            There's such diuinitie doth hedge a King,
            That treason can but peepe to what it would,
            Act's little of his will, tell me Laertes
120       Why thou art thus incenst, let him goe Gertrard.
            Speake man.


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Actus Quartus. Scena Quinta.
scene                                         act

            Laer. Where is my father?

            King.
Dead.

            Quee.
But not by him.

125       King.
Let him demaund his fill.

            Laer.
How came he dead, I'le not be iugled with,
            To hell allegiance, vowes to the blackest deuill,
            Conscience and grace, to the profoundest pit
            I dare damnation, to this poynt I stand,
130       That both the worlds I giue to negligence,
            Let come what comes, onely I'le be reueng'd
            Most throughly for my father.

            King.
Who shall stay you?

            Laer.
My will, not all the worlds:
135       And for my meanes I'le husband them so well,
            They shall goe farre with little.

            King.
Good Laertes, if you desire to know the certainty
            Of your deere Father, i'st writ in your reuenge,
            That soopstake, you will draw both friend and foe
140       Winner and looser.

            Laer.
None but his enemies,


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Actus Quartus. Scena Quinta.
scene                                         act

            King. Will you know them then?

            Laer.
To his good friends thus wide I'le ope my armes,
            And like the kind life-rendring Pelican,
145       Repast them with my blood.

            King.
Why now you speake
            Like a good child, and a true Gentleman.
            That I am guiltlesse of your fathers death,
            And am most sencibly in griefe for it,
150       It shall as leuell to your iudgement peare
            As day dooes to your eye.

            A noyse within.
Enter Ophelia

            Laer. Let her come in.
            How now, what noyse is that?
            O heate, dry vp my braines, teares seauen times salt
155       Burne out the sence and vertue of mine eye,
            By heauen thy madnes shall be payd with weight
            Tell our scale turne the beame. O Rose of May,
            Deere mayd, kind sister, sweet Ophelia,
            O heauens, ist possible a young maids wits
160       Should be as mortall as a poore mans life.

            Oph.
They bore him bare-faste on the Beere,                Song.
            And in his graue rain'd many a teare,


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Actus Quartus. Scena Quinta.
scene                                         act

            Fare you well my Doue.

            Laer.
Hadst thou thy wits, and did'st perswade reuenge
165       It could not mooue thus.

            Oph.
You must sing a downe a downe,
            And you call him a downe a. O how the wheele becomes it,
            It is the false Steward that stole his Maisters daughter.

            Laer.
This nothing's more then matter.

170       Oph.
There's Rosemary, thats for remembrance, pray you loue re-
            member, and there is Pancies, thats for thoughts.

            Laer.
A document in madnes, thoughts and remembrance fitted.

            Ophe.
There's Fennill for you, and Colembines, there's Rewe for
            you, & heere's some for me, we may call it herbe of Grace a Sondaies,
175       you may weare your Rewe with a difference, there's a Dasie, I would
            giue you some Violets, but they witherd all when my Father dyed,
            they say a made a good end.
            For bonny sweet Robin is all my ioy.

            Laer.
Thought and afflictions, passion, hell it selfe
180       She turnes to fauour and to prettines.

            Oph.
And wil a not come againe,            
Song.
            And wil a not come againe,

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Actus Quartus. Scena Quinta.
scene                                         act

            No, no, he is dead, goe to thy death bed,
            He neuer will come againe.
185       His beard was as white as snow,
            Flaxen was his pole,
            He is gone, he is gone, and we cast away mone,
            God a mercy on his soule,
            and of all Christians soules,
190       God buy you.

            Laer.
Doe you this ô God.

            King.
Laertes, I must commune with your griefe,
            Or you deny me right, goe but apart,
            Make choice of whom your wisest friends you will,
195       And they shall heare and iudge twixt you and me,
            If by direct, or by colaturall hand
            They find vs toucht, we will our kingdome giue,
            Our crowne, our life, and all that we call ours
            To you in satisfaction; but if not,
200       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.
            His meanes of death, his obscure funerall,
205       No trophe sword, nor hatchment ore his bones,
            No noble right, nor formall ostentation,
            Cry to be heard as twere from heauen to earth,


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Actus Quartus. Scena Quinta.
scene                                         act

            That I must call't in question.

            King.
So you shall,
210       And where th'offence is, let the great axe fall.
            I pray you goe with me.
























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Actus Quartus. Scena Sexta.
scene                                         act

Enter Horatio and others.

            Hora.
VVhat are they that would speake with me?

            Gent.
Sea-faring men sir, they say they haue Letters for you.

            Hor.
Let them come in.
            I doe not know from what part of the world
5          I should be greeted. If not from Lord Hamlet.

Enter Saylers.

            Say.
God blesse you sir.

            Hora.
Let him blesse thee to.

            Say.
A shall sir and please him, there's a Letter for you sir, it came
            fr~o th'Embassador that was bound for England, if your name be Ho-
10        
ratio, as I am let to know it is.

            Hor. Horatio, when thou shalt haue ouer-lookt this, giue these fel-
            lowes some meanes to the King, they haue Letters for him: Ere wee
            were two daies old at Sea, a Pyrat of very warlike appointment gaue
            vs chase, finding our selues too slow of saile, wee put on a compelled
15         valour, and in the grapple I boorded them, on the instant they got
            cleere of our shyp, so I alone became theyr prisoner, they haue dealt
            with me like thieues of mercie, but they knew what they did, I am to
            doe a turne for them, let the King haue the Letters I haue sent, and


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Actus Quartus. Scena Sexta.
scene                                         act

            repayre thou to me with as much speede as thou wouldest flie death,
20         I haue wordes to speake in thine eare will make thee dumbe, yet are
            they much too light for the bord of the matter, these good fellowes
            will bring thee where I am, Rosencraus and Guyldensterne hold theyr
            course for England, of them I haue much to tell thee, farewell.
So that thou knowest thine Hamlet.

            Hor. Come I will you way for these your letters,
25         And doo't the speedier that you may direct me
            To him from whom you brought them.



















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Actus Quartus. Scena Septima.
scene                                         act

Enter King and Laertes.

            King. Now must your conscience my acquittance seale,
            And you must put me in your hart 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 mee
            Why you proceede not against these feates
            So criminall and so capitall in nature,
            As by your safetie, greatnes, wisdome, all things els
10         You mainely were stirr'd vp.

            King.
O for two speciall reasons
            Which may to you perhaps seeme much vnsinnow'd,
            But yet to mee tha'r strong, the Queene his mother
            Liues almost by his lookes, and for my selfe,
15         My vertue or my plague, be it eyther which,
            She is so concliue to my life and soule,
            That as the starre mooues not but in his sphere
            I could not but by her, the other motiue,
            Why to a publique count I might not goe,
20         Is the great loue the generall gender beare him,
            Who dipping all his faults in theyr affection,
            Worke like the spring that turneth wood to stone,
            Conuert his Giues to graces, so that my arrowes
            Too slightly tymberd for so loued Arm'd,

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Actus Quartus. Scena Septima.
scene                                         act

25         Would haue reuerted to my bowe againe,
            But not where I haue aym'd them.

            Laer.
And so haue I a noble father lost,
            A sister driuen into desprat termes,
            Whose worth, if prayses may goe 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,
            That we can let our beard be shooke with danger,
35         And thinke it pastime, you shortly shall heare more,
            I loued your father, and we loue our selfe,
            And that I hope will teach you to imagine.

Enter a Messenger with Letters.

            Messen. These to your Maiestie, this to the Queene.

            King.
From Hamlet, who brought them?

40        
Mess.
Saylers my Lord they say, I saw them not,
            They were giuen me by Claudio, he receiued them
            Of him that brought them.

            King.
Laertes you shall heare them: leaue vs.
            High and mighty, you shall know I am set naked on your kingdom,


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Actus Quartus. Scena Septima.
scene                                         act

45         to morrow shall I begge leaue to see your kingly eyes, when I shal first
            asking you pardon, there-vnto recount the occasion of my suddaine
            returne.

            King.
What should this meane, are all the rest come backe,
            Or is it some abuse, and no such thing?

50         Laer.
Know you the hand?

            King.
Tis Hamlets caracter. Naked,
            And in a postscript heere he sayes alone,
            Can you deuise me?

            Laer.
I am lost in it my Lord, but let him come,
55         It warmes the very sicknes in my hart
            That I liue and tell him to his teeth
            Thus didst thou.

            King.
If it be so Laertes,
            As how should it be so, how otherwise,
60         Will you be rul'd by me?

            Laer.
I my Lord, so you will not ore-rule me to a peace.

            King.
To thine owne peace, if he be now returned
            As the King at his voyage, and that he meanes
            No more to vndertake it, I will worke him
65         To an exployt, now ripe in my deuise,


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Actus Quartus. Scena Septima.
scene                                         act

            Vnder the which he shall not choose but fall:
            And for his death no wind of blame shall breathe,
            But euen his Mother shall vncharge the practise,
            And call it accedent.

70         Laer.
My Lord I will be rul'd,
            The rather if you could deuise it so
            That I might be the organ.

            King.
It falls right,
            You haue beene talkt of since your trauaile much,
75         And that in Hamlets hearing, for a qualitie
            Wherein they say you shine, your summe of parts
            Did not together plucke such enuie from him
            As did that one, and that in my regard
            Of the vnworthiest siedge.

80         Laer.
What part is that my Lord?

            King.
A very ribaud in the cap of youth,
            Yet needfull to, for youth no lesse becomes
            The light and carelesse liuery that it weares
            Then setled age, his sables, and his weedes
85         Importing health and grauenes; two months since
            Heere was a gentleman of Normandy,
            I haue seene my selfe, and seru'd against the French,
            And they can well on horsebacke, but this gallant
            Had witch-craft in't, he grew vnto his seate,


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Actus Quartus. Scena Septima.
scene                                         act

90         And to such wondrous dooing brought his horse,
            As had he beene incorp'st, and demy natur'd
            With the braue beast, so farre he topt me thought,
            That I in forgerie of shapes and tricks
            Come short of what he did.

95         Laer.
A Norman wast?

            King.
A Norman.

            Laer.
Vppon my life Lamord.

            King.
The very same.

            Laer.
I know him well, he is the brooch indeed
100       And Iem of all the Nation.

            King.
He made confession of you,
            And gaue you such a masterly report
            For art and exercise in your defence,
            And for your Rapier most especiall,
105       That he cride out t'would be a sight indeed
            If one could match you; the Scrimures of their nation
            He swore had neither motion, guard, nor eye,
            If you opposd them; sir this report of his
            Did Hamlet so enuenom with his enuy,
110       That he could nothing doe but wish and beg
            Your sodaine comming ore to play with you.


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Actus Quartus. Scena Septima.
scene                                         act

            Now out of this.

            Laer.
What out of this my Lord?

            King.
Laertes was your father deare to you?
115       Or are you like the painting of a sorrowe,
            A face without a hart?

            Laer.
Why aske you this?

            King.
Not that I thinke you did not loue your father,
            But that I knowe, loue is begunne by time,
120       And that I see in passages of proofe,
            Time qualifies the sparke and fire of it,
            There liues within the very flame of loue
            A kind of weeke or snufe that will abate it,
            And nothing is at a like goodnes still,
125       For goodnes growing to a plurisie,
            Dies in his owne too much, that we would doe
            We should doe when we would: for this would changes,
            And hath abatements and delayes as many,
            As there are tongues, are hands, are accedents,
130       And then this should is like a spend thirfts sigh,
            That hurts by easing; but to the quick of th'vlcer,
            Hamlet comes back, what would you vndertake
            To showe your selfe indeede your fathers sonne
            More then in words?


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Actus Quartus. Scena Septima.
scene                                         act

135       Laer. To cut his thraot i'th Church.

            King. No place indeede should murther sanctuarise,
            Reuendge should haue no bounds: but good Laertes
            Will you doe this, keepe close within your chamber,
            Hamlet return'd, shall knowe you are come home,
140       Weele put on those shall praise your excellence,
            And set a double varnish on the fame
            The french man gaue you, bring you in fine together
            And wager ore your heads; he being remisse,
            Most generous, and free from all contriuing,
145       Will not peruse the foyles, so that with ease,
            Or with a little shuffling, you may choose
            A sword vnbated, and in a pace of practise
            Requite him for your Father.

            Laer.
I will doo't,
150       And for purpose, Ile annoynt my sword.
            I bought an vnction of a Mountibanck
            So mortall, that but dippe a knife in it,
            Where it drawes blood, no Cataplasme so rare,
            Collected from all simples that haue vertue
155       Vnder the Moone, can saue the thing from death
            That is but scratcht withall, Ile tutch my point
            With this contagion, that if I gall him slightly, it may be death.

            King.
Lets further thinke of this.
            Wey what conuenience both of time and meanes


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Actus Quartus. Scena Septima.
scene                                         act

160       May fit vs to our shape if this should fayle,
            And that our drift looke through our bad performance,

            Twere better not assayd, therefore this proiect,
            Should haue a back or second that might hold
            If this did blast in proofe; soft let me see,
165       Wee'le make a solemne wager on your cunnings,
            I hate, when in your motion you are hote and dry,
            As make your bouts more violent to that end,
            And that he calls for drinke, Ile haue prefard him
            A Challice for the nonce, whereon but sipping,
170       If he by chaunce escape your venom'd stuck,
            Our purpose may hold there; but stay, what noyse?

Enter Queene.

            Quee
. One woe doth tread vpon anothers heele,
            So fast they follow; your Sisters drownd Laertes.

            Laer.
Drown'd, ô where?

175       Quee.
There is a Willow growes ascaunt the Brooke
            That showes his horry leaues in the glassy streame,
            Therewith fantastique garlands did she make
            Of Crowflowers, Nettles, Daises, and long Purples
            That liberall Shepheards giue a grosser name,
180       But our cull-cold maydes doe dead mens fingers call them.
            There on the pendant boughes her cronet weedes
            Clambring to hang, an enuious sliuer broke,


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Actus Quartus. Scena Septima.
scene                                         act

            When downe her weedy trophies and her selfe
            Fell in the weeping Brooke, her clothes spred wide,

185       And Marmaide like awhile they bore her vp,
            Which time she chaunted snatches of old laudes,
            As one incapable of her owne distresse,
            Or like a creature natiue and indewed
            Vnto that elament, but long it could not be
190       Till that her garments heauy with theyr drinke,
            Puld the poore wretch from her melodious lay
            To muddy death.

            Laer.
Alas, then she is drownd.

            Quee
. Drownd, drownd.

195       Laer.
Too much of water hast thou poore Ophelia,
            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. Adiew my Lord,
200       I haue a speech a fire that faine would blase,
            But that this folly drownes it.
Exit.
            King. Let's follow Gertrard,
            How much I had to doe to calme his rage,
            Now feare I this will giue it start againe,
205       Therefore lets follow.
Exeunt.

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Actus Quintus. Scena Prima.
scene                                        act

Enter two Clownes.

            Clowne. Is shee to be buried in Christian buriall, when she wilfully
            seekes her owne saluation?

            Other.
I tell thee she is, therfore make her graue straight, the crow-
            ner hath sate on her, and finds it Christian buriall.

5          Clowne.
How can that be, vnlesse she drown'd herselfe in her owne
            defence.

            Other.
Why tis found so.

            Clowne.
  It must be so offended, it cannot be els, for heere lyes the
            poynt, if I drowne my selfe wittingly, it argues an act, & an act hath
10         three branches, it is to act, to doe, to performe, or all; she drownd her
            selfe wittingly.

            Other.
Nay, but heare you good man deluer.

            Clowne.
Giue mee leaue, here lyes the water, good, here stands the
            man, good, if the man goe to this water & drowne himselfe, it is will
15         he, nill he, he goes, marke you that, but if the water come to him, &
            drowne him, he drownes not himselfe, argall, he that is not guilty of
            his owne death, shortens not his owne life.

            Other.
But is this law?


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Actus Quintus. Scena Prima.
scene                                         act

            Clowne. I marry i'st, Crowners quest law.

20         Other.
Will you ha the truth an't, if this had not beene a gentlewo-
            man, she should haue been buried out a christian buriall.

            Clowne. Why there thou sayst, and the more pitty that great folke
            should haue countnaunce in this world to drowne or hang the
~selues,
            more then theyr euen Christen: Come my spade, there is no aunci-
25         ent gentlemen but Gardners, Ditchers, and Grauemakers, they hold
            vp Adams profession.

            Other.
Was he a gentleman?

            Clowne.
A was the first that euer bore Armes.
            Ile put another question to thee, if thou answerest me not to the pur-
30         pose, confesse thy selfe.

            Other.
Goe to.

            Clow.
What is he that builds stronger then eyther the Mason, the
            Shypwright, or the Carpenter.

            Other.
The gallowes maker, for that out-liues a thousand tenants.

35         Clowne. I like thy wit well in good fayth, the gallowes dooes well,
            but howe dooes it well? It dooes well to those that do ill, nowe thou
            doost ill to say the gallowes is built stronger then the Church, argall,
            the gallowes may doo well to thee. Too't againe, come.


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Actus Quintus. Scena Prima.
scene                                         act

            Other. VVho buildes stronger then a Mason, a Shipwright, or a
40         Carpenter.

            Clowne.
I, tell me that and vnyoke.

            Other.
Marry now I can tell.

            Clowne.
Too't.

            Other.
Masse I cannot tell.

45         Clow.
Cudgell thy braines no more about it, for your dull asse wil
            not mend his pace with beating, and when you are askt this question
            next, say a graue-maker, the houses hee makes lasts till Doomesday.
            Goe get thee in, and fetch mee a soope of liquer.
            In youth when I did loue did loue,                      Song.
50         Me thought it was very sweet
            To contract o the time for a my behoue,
            O me thought there a was nothing a meet.

            Ham. Has this fellowe no feeling of his busines? a sings in graue-
            making.

55         Hora.
Custome hath made it in him a propertie of easines.

            Ham.
Tis een so, the hand of little imploiment hath the dintier sence


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Actus Quintus. Scena Prima.
scene                                         act

            Clow. But age with his stealing steppes             Song.
            hath clawed me in his clutch,
            And hath shipped me into the land,
60         as if I had neuer been such.

            Ham.
That skull had a tongue in it, and could sing once, how the
            knaue iowles it to the ground, as if twere Caines iawbone, that did the
            first murder, this might be the pate of a pollitician, which this asse now
            ore-reaches; one that would circumuent God, might it not?

65         Hora.
It might my Lord.

            Ham.
Or of a Courtier, which could say good morrow sweet lord,
            how doost thou sweet lord? This might be my Lord such a one, that
            praised my lord such a ones horse when a went to beg it, might it not?

            Hor.
I my Lord.

70        Ham.
Why een so, & now my Lady wormes Choples, & knockt
            about the massene with a Sextens spade; heere's fine reuolution and
            we had the tricke to see't, did these bones cost no more the breeding,
            but to play at loggits with them: mine ake to thinke on't.

            Clow.
A pickax and a spade a spade,                        Song.
75         for and a shrowding sheet,
            O a pit of Clay for to be made
            for such a guest is meet.


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Actus Quintus. Scena Prima.
scene                                         act

            Ham. There's another, why may not that be the skull of a Lawyer,
            where be his quiddities now, his quillites, his cases, his tenurs, and his
80         tricks? why dooes he suffer this madde knaue now to knocke him a-
            bout the sconce with a durtie shouell, and will not tell him of his acti-
            on of battery, hum, this fellowe might be in's time a great buyer of
            Land, with his Statuts, his recognisances, his fines, his double vou-
            chers, his recoueries, to haue his fine pate full of fine durt, will vou-
85         chers vouch him no more of his purchases & doubles then the length
            and breadth of a payre of Indentures? The very conueyances of his
            Lands will scarcely lye in this box, & must th'inheritor himselfe haue
            no more, ha.

            Hora.
Not a iot more my Lord.

90         Ham
. Is not Parchment made of sheepe-skinnes?

            Hora.
I my Lord, and of Calues-skinnes to.

            Ham.
They are Sheepe and Calues which seeke out assurance in
            that, I wil speak to this fellow. Whose graue's this sirra ?

            Clow.
Mine sir, or a pit of clay for to be made.

95         Ham.
I thinke it be thine indeede, for thou lyest in't.

            Clow.
You lie out ont sir, and therefore tis not yours; for my part I
            doe not lie in't, yet it is mine.


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Actus Quintus. Scena Prima.
scene                                         act

            Ham. Thou doost lie in't to be in't & say it is thine, tis for the dead,
            not for the quicke, therefore thou lyest.

100       Clow.
Tis a quicke lye sir, twill away againe from me to you.

            Ham.
What man doost thou digge it for?

            Clow.
For no man sir.

            Ham.
What woman then?

            Clow.
For none neither.

105       Ham.
Who is to be buried in't?

            Clow.
One that was a woman sir, but rest her soule shee's dead.

            Ham.
How absolute the knaue is, we must speake by the card, or
            equiuocation will vndoo vs. By the Lord Horatio, this three yeeres I
            haue tooke note of it, the age is growne so picked, that the toe of the
110       pesant coms so neere the heele of the Courtier he galls his kybe. How
            long hast thou been Graue-maker?

            Clow.
Of the dayes i'th yere I came too't that day that our last king
            Hamlet ouercame Fortenbrasse.

            Ham.
How long is that since?


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Actus Quintus. Scena Prima.
scene                                        act

115       Clow. Cannot you tell that? euery foole can tell that, it was that
            very day that young Hamlet was borne: hee that is mad and sent into
            England.

            Ham. I marry, why was he sent into England?

            Clow.
Why because a was mad: a shall recouer his wits there, or if
120       a doo not, tis no great matter there.

            Ham.
Why?

            Clow.
Twill not be seene in him there, there the men are as mad
                                                                                                        (as hee.

            Ham.
How came he mad?

            Clow.
Very strangely they say.

125       Ham.
How strangely?

            Clow.
Fayth eene with loosing his wits.

            Ham.
Vpon what ground?

            Clow.
Why heere in Denmarke: I haue been Sexten heere man
            and boy thirty yeeres.

130       Ham.
How long will a man lie i'th earth ere he rot?


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Actus Quintus. Scena Prima.
scene                                         act

            Clow. Fayth if a be not rotten before a die, as we haue many poc-
            kie corses, that will scarce hold the laying in, a will last you som eyght
            yeere, or nine yeere. A Tanner will last you nine yeere.

            Ham.
Why he more then another?

135       Clow.
Why sir, his hide is so tand with his trade, that a will keepe
            out water a great while; & your water is a sore decayer of your whor-
            son dead body, heer's a scull now hath lyen you i'th earth 23. yeeres.

            Ham.
Whose was it?

            Clow.
A whorson mad fellowes it was, whose do you think it was?

140       Ham.
Nay I know not.

            Clow.
A pestilence on him for a madde rogue, a pourd a flagon of
            Renish on my head once; this same skull sir, was sir Yoricks skull, the
            Kings Iester.

            Ham.
This?

145       Clow.
Een that.

            Ham.
Alas poore Yoricke, I knew him Horatio, a fellow of infinite
            iest, of most excellent fancie, hee hath bore me on his backe a thou-
            sand times, and now how abhorred in my imagination it is: my gorge
            rises at it. Heere hung those lyppes that I haue kist I know not howe


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Actus Quintus. Scena Prima.
scene                                         act

150       oft, where be your gibes now? your gamboles, your songs, your fla-
            shes of merriment, that were wont to set the table on a roare, not one
            now to mocke your owne grinning, quite chopfalne. Now get you
            to my Ladies table, & tell her, let her paint an inch thicke, to this fa-
            uour she must come, make her laugh at that.
155       Prethee Horatio tell me one thing.

            Hora.
What's that my Lord?

            Ham.
Doost thou thinke Alexander lookt a this fashion i'th earth?

            Hora.
Een so.

            Ham.
And smelt so pah.

160       Hora.
Een so my Lord.

            Ham.
To what base vses wee may returne Horatio? Why may not
            imagination trace the noble dust of Alexander, till a find it stopping
            a bunghole?

            Hor.
Twere to consider too curiously to consider so.

165       Ham.
No faith, not a iot, but to follow him thether with modesty
            enough, and likelyhood to leade it. Alexander dyed, Alexander was
            buried, Alexander returneth to dust, the dust is earth, of earth vvee
            make Lome, & why of that Lome whereto he was conuerted, might
            they not stoppe a Beare-barrell?


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Actus Quintus. Scena Prima.
scene                                         act

170       Imperious Caesar dead, and turn'd to Clay,
            Might stoppe a hole, to keepe the wind away.
            O that that earth which kept the world in awe,
            Should patch a wall t'expell the waters flaw.
            But soft, but soft awhile, here comes the King,


175      
The Queene, the Courtiers, who is this they follow?  

            And with such maimed rites? this doth betoken,       
            The corse they follow, did with desprat hand
            Foredoo it owne life, twas of some estate,
            Couch we a while and marke.

180       Laer.
What Ceremonie els?

            Ham.
That is Laertes a very noble youth, marke.

            Laer.
What Ceremonie els?

            Doct.
Her obsequies haue been as farre inlarg'd
            As we haue warrantie, her death was doubtfull,
185       And but that great commaund ore-swayes the order,
            She should in ground vnsanctified been lodg'd
            Till the last trumpet: for charitable prayers,
            Flints and peebles should be throwne on her:
            Yet heere she is allow'd her virgin Crants,
190       Her mayden strewments, and the bringing home


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Actus Quintus. Scena Prima.
scene                                        act

            Of bell and buriall.

            Laer. Must there no more be doone?

            Doct.
No more be doone.
            We should prophane the seruice of the dead;
195       To sing a Requiem and such rest to her
            As to peace-parted soules.

            Laer.
Lay her i'th earth,
            And from her faire and vnpolluted flesh
            May Violets spring: I tell thee churlish Priest,
200       A ministring Angell shall my sister be
            When thou lyest howling.

            Ham.
What, the faire Ophelia.

            Quee
. Sweets to the sweet, farewell,
            I hop't thou should'st haue been my Hamlets wife,
205       I thought thy bride-bed to haue deckt sweet maide,
            And not haue strew'd thy graue.

            Laer.
O treble woe
            Fall tenne times double on that cursed head,
            Whose wicked deede thy most ingenious sence
210       Depriued thee of, hold off the earth a while,
            Till I haue caught her once more in mine armes;
            Now pile your dust vpon the quicke and dead,


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Actus Quintus. Scena Prima.
scene                                         act

            Till of this flat a mountaine you haue made
            To'retop old Pelion, or the skyesh head

215       Of blew Olympus.

            Ham.
What is he whose griefe
            Beares such an emphesis, whose phrase of sorrow
            Coniures the wandring starres, and makes them stand
            Like wonder wounded hearers: this is I
220       Hamlet the Dane.

            Laer.
The deuill take thy soule.

            Ham.
Thou pray'st not well, I prethee take thy fingers
                                                                    (from my throat,
            For though I am not spleenatiue rash,
            Yet haue I in me something dangerous,
225       Which let thy wisedome feare; hold off thy hand,

            King.
Pluck them a sunder.

            Quee.
Hamlet, Hamlet.

            All.
Gentlemen.

            Hora.
Good my Lord be quiet.

230       Ham.
Why, I will fight with him vpon this theame
            Vntill my eye-lids will no longer wagge.


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Actus Quintus. Scena Prima.
scene                                         act

            Quee. O my sonne, what theame?

            Ham. I loued Ophelia, forty thousand brothers
            Could not with all theyr quantitie of loue
225       Make vp my summe. What wilt thou doo for her.

            King.
O he is mad Laertes.

            Quee.
For loue of God forbeare him.

            Ham.
S'wounds shew me what th'owt doe:
            Woo't weepe, woo't fight, woo't fast, woo't teare thy selfe,
230       Woo't drinke vp Esill, eate a Crocadile?
            Ile doo't, doost come heere to whine?
            To out-face me with leaping in her graue,
            Be buried quicke with her, and so will I.
            And if thou prate of mountaines, let them throw
235       Millions of Acres on vs, till our ground
            Sindging his pate against the burning Zone
            Make Ossa like a wart, nay and thou'lt mouthe,
            Ile rant as well as thou.

            Quee.
This is meere madnesse,
240       And this a while the fit will worke on him,
            Anon as patient as the female Doue
            When that her golden cuplets are disclosed
            His silence will sit drooping.


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Actus Quintus. Scena Prima.
scene                                        act

            Ham. Heare you sir,
245       What is the reason that you vse me thus?

            I lou'd you euer, but it is no matter,
            Let Hercules himselfe doe what he may
            The Cat will mew, and Dogge will haue his day.

Exit Hamlet and Horatio.

            King.
I pray thee good Horatio waite vpon him.            
250       Strengthen your patience in our last nights speech,
            Weele put the matter to the present push:
            Good Gertrard set some watch ouer your sonne,
            This graue shall haue a liuing monument,
            An houre of quiet thereby shall we see
255       Tell then in patience our proceeding be.

Exeunt.












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Actus Quintus. Scena Secunda.
scene                                         act

Enter Hamlet and Horatio.

            Ham.
So much for this sir, now shall you see the other,
            You doe remember all the circumstance.

            Hora.
Remember it my Lord.

            Ham.
Sir in my hart there was a kind of fighting
5           That would not let me sleepe, my thought I lay
            Worse then the mutines in the bilbo, rashly,
            And praysd be rashnes for it: let vs knowe,
            Our indiscretion sometime serues vs well
            When our deepe plots doe fall, & that should learne vs
10         Ther's a diuinity that shapes our ends,
            Rough hew them how we will.

            Hora.
That is most certaine.

            Ham.
Vp from my Cabin,
            My sea-gowne scarft about me in the darke
15         Gropt I to find out them, had my desire,
            Fingard their packet, and in fine with-drew
            To mine owne roome againe, making so bold
            My feares forgetting manners to vnfold
            Their graund commission; where I found Horatio
20         A royall knauery, an exact command
            Larded with many seuerall sorts of reasons,
            Importing Denmarkes health, and Englands to,


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Actus Quintus. Scena Secunda.
scene                                         act

            With hoe such bugges and goblines in my life,
            That on the superuise no leasure bated,
25         No not to stay the grinding of the Axe,
            My head should be strooke off.

            Hora.
I'st possible?

            Ham.
Heeres the commission, read it at more leasure,
            But wilt thou heare now how I did proceed.

30        
Hora.
I beseech you.

            Ham.
Being thus benetted round with villaines,
            Or I could make a prologue to my braines,
            They had begunne the play, I sat me downe,
            Deuisd a new commission, wrote it faire,
35         I once did hold it as our statists doe,
            A basenesse to write faire, and labourd much
            How to forget that learning, but sir now
            It did me yemans seruice, wilt thou know
            Th'effect of what I wrote?

40         Hora.
I good my Lord.

            Ham.
An earnest coniuration from the King,
            As England was his faithfull tributary,
            As loue betweene them like the palme might florish,
            As peace should still her wheaten garland weare


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Actus Quintus. Scena Secunda.
scene                                         act

45         And stand a Comma tweene their amities,
            And many such like, as sir of great charge,
            That on the view, and knowing of these contents,
            Without debatement further more or lesse,
            He should those bearers put to suddaine death,
50         Not shriuing time alow'd.

            Hora.
How was this seald?

            Ham.
Why euen in that was heauen ordinant,
            I had my fathers signet in my purse
            Which was the modill of that Danish seale,
55         Folded the writ vp in the forme of th'other,
            Subcribe it, gau't th'impression, plac'd it safely,
            The changling neuer knowne: now the next day
            Was our Sea fight, and what to this was sequent
            Thou knowest already.

60         Hora.
So Guyldensterne and Rosencraus goe too't.

            Ham.
They are not neere my conscience, their defeat
            Dooes by their owne insinnuation growe,
            Tis dangerous when the baser nature comes
            Betweene the passe and fell incenced points
65         Of mighty opposits.

            Hora.
Why what a King is this!


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Actus Quintus. Scena Secunda.
scene                                         act

            Ham. Dooes it not thinke thee stand me now vppon?
            He that hath kild my King, and whor'd my mother,
            Pop't in betweene th'election and my hopes,
70         Throwne out his Angle for my proper life,
            And with such cusnage, i'st not perfect conscience?


            Cour. Your Lordship is right welcome backe to Denmarke.

            Ham.
I humble thanke you sir.
            Doost know this water fly?

75         Hora.
No my good Lord.

            Ham.
Thy state is the more gracious, for tis a vice to know him,
            He hath much land and fertill: let a beast be Lord of beasts, and his
            crib shall stand at the Kings messe, tis a chough, but as I say, spaci-
            ous in the possession of durt.

80         Cour.
Sweete Lord, if your Lordshippe were at leasure, I should
            impart a thing to you from his Maiestie.

            Ham.
I will receaue it sir withall dilligence of spirit, your bonnet
            to his right vse, tis for the head.

            Cour.
I thanke your Lordship, it is very hot.


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Actus Quintus. Scena Secunda.
scene                                         act

85         Ham. No belieue me, tis very cold, the wind is Northerly.

            Cour.
It is indefferent cold my Lord indeed.
           
            Ham.
But yet me thinkes it is very sully and hot, or my complec-
            tion.

            Cour.
Exceedingly my Lord, it is very soultery, as t'were I can-
90         not tell how: my Lord his Maiestie bad me signifie to you, that a
            has layed a great wager on your head, sir this is the matter.

            Ham.
I beseech you remember.

            Cour.
Nay good my Lord for my ease in good faith, sir here is newly
            com to Court Laertes, belieue me an absolute gentlemen, ful of most
95         excellent differences, of very soft society, and great showing : in-
            deede to speake sellingly of him, hee is the card or kalender of gen-
            try: for you shall find in him the continent of what part a Gentle-
            man would see.

            Ham.
Sir, his definement suffers no perdition in you, though I
100       know to deuide him inuentorially, would dazzie th'arithmaticke of
            memory, and yet but raw neither, in respect of his quick saile, but
            in the veritie of extolment, I take him to be a soule of great article,
            & his infusion of such dearth and rarenesse, as to make true dixion
            of him, his semblable is his mirrour, & who els would trace him, his
105       vmbrage, nothing more.


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Actus Quintus. Scena Secunda.
scene                                         act

            Cour. Your Lordship speakes most infallibly of him.

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

            Cour.
Sir.

110       Hora.
Ist not possible to vnderstand in another tongue, you will
            doo't sir really.

            Ham.
What imports the nomination of this gentleman.

            Cour.
Of Laertes.

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

115       Ham.
Of him sir.

            Cour.
I know you are not ignorant.

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

            Cour.
You are not ignorant of what excellence Laertes is.

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


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Actus Quintus. Scena Secunda.
scene                                         act

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

            Ham.
What's his weapon?

125       Cour.
Rapier and Dagger.

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

            Cour.
The King sir hath wagerd with him six Barbary horses,
            againgst the which hee has impaund as I take it six French Rapiers
            and Poynards, with their assignes, as girdle, hanger and so. Three
130       of the carriages in faith, are very deare to fancy, very responsiue to
            the hilts, most delicate carriages, and of very liberall conceit.

            Ham.
What call you the carriages?

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

135       Cour.
The carriage sir are the hangers.

            Ham.
The phrase would bee more Ierman to the matter if wee
            could carry a cannon by our sides, I would it be might hangers till
            then, but on, six Barbry horses against six French swords their as-
            signes, and three liberall conceited carriages, that's the French
140       bet against the Danish, why is this all you call it?


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Actus Quintus. Scena Secunda.
scene                                         act

            Cour. The King sir, hath layd sir, that in a dozen passes betweene
            your selfe and him, hee shall not exceede you three hits, hee hath
            layd on twelue for nine, and it would come to immediate triall, if
            your Lordshippe would vouchsafe the answere.

145       Ham.
How if I answere no?

            Cour.
I meane my Lord the opposition of your person in triall.

            Ham.
Sir I will walke heere in the hall, if it please his Maiestie, it
            is the breathing time of day with me, let the foiles be brought, the
            Gentleman willing, and the King hold his purpose; I will winne
150       for him and I can, if not, I will gaine nothing but my shame, and
            the odde hits.

            Cour.
Shall I deliuer you so?

            Ham.
To this effect sir, after what florish your nature will.

            Cour.
I commend my duty to your Lordshippe.

155       Ham.
Yours doo's well to commend it himselfe, there are no
            tongues els for's turne.

            Hora.
This Lapwing runnes away with the shell on his head.

            Ham.
A did so sir with his dugge before a suckt it, thus has he and
            many more of the same breede that I know the drossy age dotes on,


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Actus Quintus. Scena Secunda.
scene                                         act

160       only got the tune of the time, and out of an habit of incounter, a
            kind of histy colection, which carries them through and through
            the most prophane and trennowed opinions, and doe but blowe
            them to their triall, the bubbles are out.

Enter a Lord.

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

            Ham.
I am constant to my purposes, they followe the Kings plea-
            sure, if his fitnes speakes, mine is ready: now or whensoeuer, pro-
170       uided I be so able as now.

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

            Ham.
In happy time.

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

175       Ham.
Shee well instructs me.

            Hora.
You will loose my Lord.

            Ham.
I doe not thinke so, since he went into France, I haue bene


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Actus Quintus. Scena Secunda.
scene                                         act

            in continuall practise, I shall winne at the ods; thou would'st not
            thinke how ill all's heere about my hart, but it is no matter.

180       Hora.
Nay good my Lord.

            Ham.
It is but foolery, but it is such a kinde of gamgiuing, as
            would perhapes trouble a woman.

            Hora.
If your minde dislike any thing, obay it. I will forstal their
            repaire hether, and say you are not fit.

185       Ham.
Not a whit, we defie augury, there is speciall prouidence,in
            the fall of a Sparrowe, if it be, tis not to come, if it be not to come,
            it will be now, if it be not now, yet it well come, the readines is all,
            since no man of ought he leaues, knowes what ist to leaue betimes,
            let be.

A table prepard, Trumpets, Drums and officers with Cushions,

King, Queene, and all the state, Foiles, daggers,
and Laertes.

190       King. Come Hamlet, come and take this hand from me.

            Ham.
Giue me your pardon sir, I haue done you wrong,
            But pardon't as you are a gentleman, this presence knowes,
            And you must needs haue heard, how I am punnisht
            With a sore distraction, what I haue done
195       That might your nature, honor, and exception


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Actus Quintus. Scena Secunda.
scene                                         act

            Roughly awake, I heare proclame was madnesse,
            Wast Hamlet wronged Laertes? neuer Hamlet.
            If Hamlet from himselfe be tane away,
            And when hee's not himselfe, dooes wrong Laertes,
200       Then Hamlet dooes it not, Hamlet denies it,
            Who dooes it then? his madnesse. Ift be so,
            Hamlet is of the faction that is wronged,
            His madnesse is poore Hamlets enimie,
            Let my disclaiming from a purpos'd euill,
205       Free me so farre in your most generous thoughts
            That I haue shot my arrowe ore the house
            And hurt my brother.

            Laer.
I am satisfied in nature,
            Whose motiue in this case should stirre me most
210       To my reuendge, but in my tearmes of honor
            I stand a loofe, and will no reconcilement,
            Till by some elder Maisters of knowne honor
            I haue a voyce and president of peace
            To my name vngord: but all that time
215       I doe receaue your offerd loue, like loue,
            And will not wrong it.

            Ham.
I embrace it freely, and will this brothers wager
            franckly play.
            Giue vs the foiles.

220       Laer.
Come, one for me.


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Actus Quintus. Scena Secunda.
scene                                         act

            Ham. Ile be your foile Laertes, in mine ignorance
            Your skill shall like a starre i'th darkest night
            Stick fiery of indeed.

            Laer.
You mocke me sir.

225       Ham.
No by this hand.

            King.
Giue them the foiles young Ostricke, cosin Hamlet,
            You knowe the wager.

            Ham.
Very well my Lord.
            Your grace has layed the ods a'th weeker side.

230       King.
I doe not feare it, I haue seene you both,
            But since he is better, we haue therefore ods.

            Laer.
This is to heauy: let me see another.

            Ham.
This likes me well, these foiles haue all a length.

            Ostr.
I my good Lord.

235       King.
Set me the stoopes of wine vpon that table,
            If Hamlet giue the first or second hit,
            Or quit in answere of the third exchange,
            Let all the battlements their ordnance fire.
            The King shall drinke to Hamlets better breath,


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Actus Quintus. Scena Secunda.
scene                                         act

240       And in the cup an Onixe shall he throwe,
            Richer then that which foure successiue Kings
            In Denmarkes Crowne haue worne: giue me the cups,
            And let the kettle to the trumpet speake,
            The trumpet to the Cannoneere without,
245       The Cannons to the heauens, the heauen to earth,
            Now the King drinkes to Hamlet, come beginne.

Trumpets the while.

            And you the Iudges beare a wary eye.

            Ham.
Come on sir.

            Laer.
Come my Lord.

250       Ham.
One.

            Laer.
No.

            Ham.
Iudgement.

            Ostrick.
A hit, a very palpable hit.

Drum, trumpets and shot.

            Laer. Well, againe.


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Actus Quintus. Scena Secunda.
scene                                         act

Florish, a peece goes off.

255       King. Stay, giue me drinke, Hamlet this pearle is thine.
            Heeres to thy health: giue him the cup.

            Ham.
Ile play this bout first, set it by a while
            Come, another hit.
            What say you?

260       Laer.
I doe confest.

            King.
Our sonne shall winne.

            Quee.
Hee's fat and scant of breath.
            Heere Hamlet take my napkin rub thy browes,
            The Queene carowses to thy fortune Hamlet.

265       Ham.
Good Madam.

            King.
Gertrard doe not drinke.

            Quee.
I will my Lord, I pray you pardon me.

            King.
It is the poysned cup, it is too late.

            Ham.
I dare not drinke yet Madam, by and by.

270       Quee.
Come, let me wipe thy face.


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Actus Quintus. Scena Secunda.
scene                                         act

            Laer. My Lord, Ile hit him now.

            King.
I doe not think't.

            Laer.
And yet it is almost against my conscience.

            Ham.
Come for the third Laertes, you doe but dally.
275       I pray you passe with your best violence
            I am sure you make a wanton of me.

            Laer.
Say you so, come on.

            Ostr.
Nothing neither way.

            Laer.
Haue at you now.

280       King.
Part them, they are incenst.

            Ham.
Nay come againe.

            Ostr.
Looke to the Queene there howe.

            Hora.
They bleed on both sides, how is it my Lord?

            Ostr.
How ist Laertes?

285       Laer.
Why as a woodcock to mine owne sprindge Ostrick,
            I am iustly kild with mine owne treachery.


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Actus Quintus. Scena Secunda.
scene                                         act

            Ham. How dooes the Queene?

            King.
Shee sounds to see them bleed.

            Quee.
No, no, the drinke, the drinke, o my deare Hamlet,
290       The drinke the drinke, I am poysned.

            Ham.
O villanie, how let the doore be lock't,
            Treachery, seeke it out.

            Laer.
It is heere Hamlet, thou art slaine,
            No medcin in the world can doe thee good,
295       In thee there is not halfe an houres life,
            The treacherous instrument is in my hand
            Vnbated and enuenom'd, the foule practise
            Hath turn'd it selfe on me, loe heere I lie
            Neuer to rise againe, thy mother's poysned,
300       I can no more, the King, the Kings too blame.

            Ham.
The point inuenom'd to, then venome to thy worke.

            All.
Treason, treason.

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

            Ham.
Heare thou incestious damned Dane,
305       Drinke of this potion, is the Onixe heere?
            Follow my mother.


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Actus Quintus. Scena Secunda.
scene                                         act

            Laer. He is iustly serued, it is a poyson temperd by himselfe,
            Exchange forgiuenesse with me noble Hamlet,
            Mine and my fathers death come not vppon thee,
310       Nor thine on me.

            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 act,
315       Had I but time, as this fell sergeant Death
            Is strict in his arrest, o I could tell you,
            But let it be; Horatio I am dead,
            Thou liuest, report me and my cause a right
            To the vnsatisfied.

320       Hora.
Neuer belieue it;
            I am more an anticke Romaine then a Dane,
            Heere's yet some liquer left.

            Ham.
As th'art a man
            Giue me the cup, let goe, by heauen Ile hate,
325       O god Horatio, what a wounded name
            Things standing thus vnknowne, shall I leaue behind me?
            If thou did'st euer hold me in thy hart,
            Absent thee from felicity a while,
            And in this harsh world drawe thy breath in paine

A march a farre off.

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Actus Quintus. Scena Secunda.
scene                                         act

330       To tell my story: what warlike noise is this?

Enter Osrick.

            Osr. Young Fortenbrasse with conquest come from Poland,
            To th'embassadors of England giues this warlike volly.

            Ham.
O I die Horatio,
            The potent poyson quite ore-crowes my spirit,
335       I cannot liue to heare the newes from England,
            But I doe prophecie th'ellection lights
            On Fortinbrasse, he has my dying voyce,
            So tell him, with th'occurrants more and lesse
            Which haue solicited, the rest is silence.

340       Hora. Now cracks a noble hart, good night sweete Prince,
            And flights of Angels sing thee to thy rest.
            Why dooes the drum come hether?
   

            For. Where is this sight?

            Hora.
What is it you would see?
345       If ought of woe, or wonder, cease your search.

            For.
This quarry cries on hauock, o prou'd death
            What feast is toward in thine eternall cell,


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Actus Quintus. Scena Secunda.
scene                                         act

            That thou so many Princes at a shot
            So bloudily hast strook?

350       Embas.
The sight is dismall
            And our affaires from England come too late,
            The eares are sencelesse that should giue vs hearing,
            To tell him his commandment is fulfild,
            That Rosencraus and Guyldensterne are dead,
355       Where should we haue our thankes?

            Hora.
Not from his mouth
            Had it th'ability of life to thanke you;
            He neuer gaue commandement for their death;
            But since so iump vpon this bloody question
360       You from the Pollack 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 yet vnknowing world
            How these things came about; so shall you heare
365       Of carnall, bloody and vnnaturall acts,
            Of accidentall iudgements, casuall slaughters,
            Of deaths put on by cunning, and for no cause
            And in this vpshot, purposes mistooke,
            Falne on th'inuenters heads all this can I
370       Truly deliuer.

            For.
Let vs hast to heare it,
            And call the noblest to the audience,


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Actus Quintus. Scena Secunda.
scene                                         act

            For me, with sorrowe I embrace my fortune,
            I haue some rights, of memory in this kingdome,
375       Which now to clame my vantage doth inuite me.

            Hora.
Of that I shall haue also cause to speake,
            And from his mouth, whose voyce will drawe no more,
            But let this same be presently perform'd
            Euen while mens mindes are wilde, least more mischance
380       On plots and errores happen.

            For.
Let foure Captaines
            Beare Hamlet like a souldier to the stage,
            For he was likely, had he beene put on,
            To haue prooued most royall; and for his passage,
385       The souldiers musicke and the right of warre
            Speake loudly for him:
            Take vp the bodies, such a sight as this,
            Becomes the field, but heere showes much amisse.
            Goe bid the souldiers shoote.

Exeunt.








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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)







































Barnardo is referred to by name in all three versions of Hamlet, and Francisco by name in Q2 and Folio. 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, indicate 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 on stage 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.









































Cassiopeia supernova
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 on stage 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








































Harrow
A wooden harrow.

Distresses, wounds. A “harrow” was a farming implement for breaking up ground, built of a wooden frame and metal teeth.







































F: Question







































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)







































Productions have used many creative devices to make the Ghost disappear at his various exit points: some 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.







































Exactly, precisely (OED). F: just.







































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.








































Christian IV, Pieter Isaacs
Christian IV, Pieter Isaacs (1611-1616)
Fredericksborg Castle, Denmark


The shipwrights are working without relief. The entire passage may 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








































F: "landless." 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)








































Lines 119-136 appear only in Q2. Some editors suggest they would originally function as an advertisement for Shakespeare's Julius Cesar, probably written just before Hamlet in 1599.








































To turn out or suit (OED)- in this case probably meaning Barnardo is agreeing with Horatio's assessment. 








































Ominous, threatening. (OED)









































Reason for, cause of.








































Probably pronounced "mote," as in a particle of dust which irritates the eye. (OED)








































Horatio's usage of this phrase in Q2 creates another connection between he and Hamlet, who also refers to this idea of consciousness. Horatio's line makes it clear that the Ghost is a distressing sight, capable of disturbing his consciousness.







































Triumphant, flourishing, successful. (OED) Palm branches were given to victorious athletes and military figures in ancient Rome.

Horatio refers to events just before Caesar's death (at least according to the chronology of Shakespeare's play): Caesar makes a triumphant entry into Rome after defeating Pompey Magnus (Pompey the Great).  In reality, four years passed between Pompey's death and Caesar's assassination.

The supernatural events Horatio names in this passage coincide with the events mentioned in Julius Caesar.







































Empty; in Julius Caesar, Caesar's wife Calpurnia tells him, "graves have yawned and yielded up their dead" (2.2.18). Shakespeare found this and other accounts of strange events the night before Caesar's death from Thomas North's translation of Plutarch's Life of Julius Caesar.







































Shrouded, as in the winding sheets corpses were buried in.







































To speak rapidly and inarticulately.







































Comets appeared in the sky, and blood rained (dew was thought to fall from the sky like rain) on the city.

Modern editors sometimes print this line "At starres" instead of "As starres," a change which makes the sentence more grammatically correct. (see Ard. Q2)







































An unfavorable aspect of a star or planet. (OED)







































The moon, which controls the tide. Neptune's empire is the sea. Doomsday, or the biblical day of Judgment when the world will be destroyed, is said in Revelations to be foreshadowed by eclipses of the sun and moon.







































A heralding or foreshadowing. (OED)







































One that goes before and announces the approach of someone; a forerunner. (OED)







































In the case of Julius Caesar, "the Omen" is Caesar's assassination; Horatio may also mean the impending war with young Fortinbras.






































Regions (OED)







































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)







































This stage direction does not appear in the other texts. Productions which have used this stage direction sometimes take "him" to be Horatio, meaning that the Ghost is either touching him or exerting some sort of paranormal control over Horatio; others take "him" to refer to the Ghost. (Hapgood)







































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







































Again, this stage direction does not appear in the other texts, but makes sense as Barnardo refers to the cock's crow ten lines later. The stage direction may intricate the point at which a sound effect was provided in the original productions.










































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.









































Dreadful, terrible, awful (OED).








































Herald








































F: day








































Apollo
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).








































F: talks. "Talks" would imply saying charms, whereas "takes" may reference the belief that fairies stole human children and replaced them with fairy babies ("changlings"), or more generally that fairies would steal objects.








































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)









































This stage direction is the only time in Q2 in which Claudius is named. In the dialogue and speech prefixes he is "King."

In the Folio, Ophelia is included in this scene; in Q2 and Q1, she does not appear until the next scene.









































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 subjects, and foreshadows the announcement he is about to make: that Gertrude is his wife.









































A widow who holds jointure; a dowager. Jointure was the lifetime right to property held by the deceased husband.
(OED)

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), perhaps treading delicately with an announcement that could be offensive.








































Implying the councilors’ complicity in the marriage.







































Meaning disconnected; the metaphor comes from carpentry.







































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.







































"Dilated:" 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.








































"Laborious"









































Polonius' word choice suggests a legal agreement.









































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 “sun.”








































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."








































Referencing her lack of grief or perhaps a loss of affection toward her previous husband and son.

Folio reads “good-mother,” a term of address for a mother-in-law or step mother.
(OED)








































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).








































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 the fact that the actor is playing a part.








































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 elected its kings at this point in history, 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. 








































"Retrograde:" 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








































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 also reads “sallied,” assaulted or besieged. Editors frequently amend this to “sullied,” tainted. “Solid flesh” and “melting” continue 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.”








































F: "self." Hamlet wishes 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 Boucher's Rising
Detail from The Rising of the Sun (1753) by Francis Boucher,

The Greek titan god of the sun. (Hamilton)








































Satyr woodcut
Struggle Between a Woman and a Satyr, Augustine Hirshvogel (1545)

"Satyr." Mythological half-human, half-goat creature associated with lust and drunkenness. (Hamilton)








































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).









































David_Niobe

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.








































Hercules and the Centaur
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
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.








































Truncheon; a military staff; the shaft of a spear. (OED)








































Distilled: melted or dissolved, reduced. (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








































Capable of being held in, back, or controlled. (OED)








































Eleven








































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.








































In 1904, Julia Marlowe gave Ophelia an air 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)









































Onboard; 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.








































Succor, support, relief; the filling of a deficiency.








































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).








































Social status.









































Denmark, being an electorate, has the right to choose its next ruler, and by extension (indirectly) that ruler's spouse since that choice 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 (at 3.1.165) of Hamlet's madness as "sweet bells, jangled out of tune and harsh."









































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) The quotation marks probably indicate proverbial sayings.








































Excessively wasteful. (OED)








































Beauty









































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); Laertes says even the moon, a symbol of virginity, 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.








































Dissolute or wanton young man; the name technically applied to any person who held loose religious beliefs.








































Ophelia tells Laertes to practice what he is preaching to her.








































In Q1, the following lines appear in quotation marks, maybe because they are all proverbial phrases that Polonius/Corambis recites. Although these lines are not in quotations in Q2, some of Laertes' are (see lines 38-41).

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.








































F: be.








































Domestic economy (OED).








































Ripen, bring to fruition.








































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)








































Regarding.








































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)








































Polonius puns on an alternate definition of fashion: fancy.








































Support








































Springe 1655
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. (OED)










































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.








































F: tether.









































Negotiators, mediators, or go-betweens.








































F: beguile. Polonius claims that innocence and holiness are the best disguise for temptation and lasciviousness.








































Abuse








































Command








































Come away; let’s go.









































Shrewdly: severely, harshly. (OED)








































Biting








































Sharp; bitter. (OED)








































Habit








































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.








































Meaning "world wide."








































Traduced: to speak evil of, defame. (OED)








































Censured, reproved, blamed. (OED)








































"Clepe:" call. (OED)








































Hamlet is saying that other nations assault Denmark's reputation by calling the Danes pigs for their drunken behavior.

This speech (lines 19-40) appears only in Q2 and is considered notoriously difficult to decipher because of its complex sentence structure. (Ard. Q2) The fact that it does not appear in the Folio may mean that it was at some point dropped from performance.








































The detractions of others take away even from Denmark's greatest achievements because the country's reputation is its essence ("pith and marrow").








































Blemish








































Renaissance medicine operated on a theory of humours: fluids in the body that affected a person's mood and personality. The spectrum of humours in a person was often called their "complexion." When the humours were out of balance, it was thought they could induce madness, depression, or other problems. (Gellert-Lyons)

Pales and forts: defenses, fortifications.








































Leaven promotes fermentation in bread, causing it to rise.








































Commendable, laudable behavior.








































Hamlet means that no matter how blessed, lucky or fortunate a man is, one character flaw (or perceived character flaw) can corrupt his entire person and life.








































Hamlet seems to be rewording the statement he just made: a "dram" is a small amount, "eale" is usually amended to "evil," "of a doubt" may mean "without a doubt."

Although the passage is printed as though it is an entire sentence, Hamlet does not actually seem to complete the thought before the Ghost enters, so it may be an interruption.








































David Garrick as Hamlet
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)








































Armored corpse.








































Bestowal, communication.








































Courtly; noble. (OED)








































Hamlet feels his life is worthless.








































Sea








































Summit








































The cliff juts out; likely from the expression “beetle-browed.”








































Apparently, when people look down to the sea from the point Horatio is referring to, they are compelled to jump off. 








































A fathom is a nautical unit of measure equal to a little less than six feet. (from OED)
 








































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 rescued from Purgatory
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 Brook's 2000 production, Hamlet wore his hair in dreadlocks. (Brook)









































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)








































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








































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








































Posset: referring to the drink, made from hot milk curdled with ale, wine or other liquor and flavored; frequently medicinal. (OED)








































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.








































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.








































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)








































Quaintly: 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.








































F: "warrant."

A clever trick or stratagem designed to ultimately protect his son, not to harm him.








































A sudden rush upon an enemy, an attack. F: "sullies," 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








































Videlicet: “That is to say.” (Latin)








































What you say appears to be truthful. Most editors prefer F's "cape of truth," though "carp" (a kind of freshwater fish) continues the fishing metaphor begun with "bait" earlier in the line.








































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








































A “closet” was frequently an antechamber used for praying, reading, sewing, etc. Q1 reads “gallery” which implies a more public space, while F reads "chamber," similar to a closet. 








































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.”











































Fuseli Hamlet and Ophelia 1770-8
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).








































Beshrew: 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.









































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.








































William Charles Macready (1823-51) set this scene, like 1.2, in front of a full court. (Hapgood)








































Since








































Commensurate with his age and disposition.








































F: "Vouchsafe." Promise to stay.








































Divert him and discover what may be done for his affliction.








































Courtesy, generosity. More generally, in reference to  acceptably 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.








































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 seem to be at war, as Denmark and Poland were during Old Hamlet’s reign.








































60,000; a score is twenty. F: 3,000. A crown is a coin equivalent of 5 shillings (a shilling is now worth 10-12 cents, but would be worth considerably more in the period).









































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.








































Limbs








































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 F, this entire line of Polonius’ from “The Letter” through “bosome, these” is printed in regular type, as though Polonius is commenting on 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)








































Polonius is absolving himself of any active encouragement or participation in Hamlet and Ophelia's relationship.








































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








































F: his








































Access








































F: watch. 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; Charles Kean in 1838 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)









































Annunciation- Fra Angelico
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. (see 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.








































He, a common substitution.








































The author.








































Tree resins.








































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, who was usually depicted naked. The woodcut below is from a Dutch emblem book published in 1616. F reads "cap" instead of "lap," making Q2 considerably more suggestive.

Fortune

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)








































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.

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








































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.








































The arch or vault of heaven overhead, in which the clouds and the stars appear; the sky or heavens.








































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.








































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








































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.








































Lest








































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; he wrote the Menaechmi, on which Shakespeare’s The Comedy of Errors is based. (OED)








































"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 Jephtha, Pellegrini
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’ entrance prompts 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)








































Curtained; the player has perhaps grown a beard.








































Taller, higher. Charles Fetcher (1861, etc.) had a boy play this part. (Hapgood)








































Venetian Chopine
Venetian Chopine, c. 1600.


A high, platform-heeled shoe in fashion throughout Europe, but particularly in Venice. (OED)








































Elizabethan gold coins
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.
(Ard Q2 and Riverside both print)








































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.








































F: affectation. Nothing in the phrasing that would accuse the author of affectation (excessive rhetoric, etc).










































Aeneas' Flight from Troy, Barocci
Aeneas' Flight from Troy, Federico Fiori Barocci (1598)
Galleria Borghese, Rome

Son of Venus and cousin to Priam, King of Troy. Aeneas led survivors of the Trojan War to Italy and became the founder of Roman culture. On his travels, he met and had an affair with Dido, Queen of Carthage, which led to her suicide when he left her. (Encyclopedia Mythica)












































The Death of Dido
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.




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.

A misspelling of "Pyrrhus." 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 charity 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)








































The sentence is clearer in F, where the city is mentioned as the subject of the sentence. In both texts, the meaning is that the towers of Troy (Ilium is an alternate, poetic name) 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.

F: fallies. 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)








































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).








































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)








































F: bodykins, "dear body."  A "bodkin" is a small dagger.








































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 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.








































F: warm'd. His face flushed. "Wand" means his face has paled (wan=pale).








































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; 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 (at F's "O vengeance"); 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.








































Male prostitute. F's "scullion" means a 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)








































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)








































F: "color your loneliness." Excuse your solitary presence; "lowliness" could be a reference to piety, as the book Ophelia is reading is frequently the Bible, though this seems to make less sense in the sentence.








































Outward shows of devotion.








































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.

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: long-ed.








































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. This comes from Shakespeare's tendency to use rhyming couplets announce the ends of scenes. (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)








































F: "innoculate." 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.” (OED) Both Richard Burton and Edwin Booth made a gesture to indicate horns. (Hapgood)








































Hamlet begins to generalize about women.








































"Face" is consistent with "paintings" in the previous line and tends to be preferred in performance. F reads "pace," which goes with "jig" and "amble."








































Jig (dance).








































Move slowly, stroll.








































Either meaning "list" as a verb, or "listen." F's "lisp" (speak in an assumed or affected manner) is generally preferred.








































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.








































More, an abbreviation.








































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 "ecstacy" is choleric, the humor associated with dry heat, which would literally dry out and wither his nature.








































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)








































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








































Unopposed or unchallenged, perhaps. F: "unwatched" is usually preferred.









































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, is generally thought to have a more 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. (OED)









































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 Kempe'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)








































Mixed or mingled together. (OED)








































Horatio is not easily influenced, but uses jugement 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 kettledrum and trumpet were raditional Danish instruments. According to a contomporary account, the Danish March was played on kettledrums and trumpets during King James and Queen Anne's coronation in 1603.

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 dias, the players on the apron (with their backs to the theatre 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)









































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. (OED)








































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 Univiersites 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.









































Something vulgar, as worthy of rustic ("country") people. With a pun on the first syllable.








































Nothing= no thing, i.e., no penis, so vagina.








































Aye








































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.









































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)








































"Munching" does not have useful definition. F's "miching malicho" is glossed as 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








































Carrying into act, fulfillment.








































The slightest occasion.








































Eternal








































Shallow, untrue.








































Examine, test. (OED)








































Anchor is short for "anchorite," a religious recluse or hermit who fasts and abstains from sex. (OED) An anchorite's cheer would be their meager diet.








































Room for exercise or liberty. (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.”



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. 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 vigor it doth curd the thin and wholesome blood, so did it mine.’" (Vincent 17)








































Mayberry wrote of the issue of distinguishing Gertrude's discomfort in this scene from Claudius' (so as to not unconsciously implicate her in any knowledge of her former husband's murder): “By physically focusing on my relationship with Hamlet in this scene, I found that I was able to take my attention from Claudius long enough that when I turned to find him transfixed by the depiction of Gonzago’s murder in The Mousetrap, I as Gertrude could be surprised by his reaction, and thus avoid giving the audience the impression that Gertrude and Claudius were reacting to the same aspect of the play.” (16)








































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 distilment…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)









































Stricken, wounded; deer were said to weep when injured, and were an emblem of melancholy. (Gellert-Lyons)








































Mature male deer. (OED)








































Unhurt








































Remain alert.








































Feathers on a hat.








































Betray; as in a Christian becoming Muslim.








































Slashed to show color underneath the first layer. (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)








































Horatio's probably means 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. (OED)








































Anger (OED)








































Hamlet responds as though Guildenstern meant the humour Choler, which was bile, and suggests that Hamlet’s presence will only make him more ill.








































Perhaps a description of what Hamlet is doing. F: "start," avoid; 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.








































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.








































Most editors print F's "thumb;" "umber" can be an abbreviation for number, though there is nothing to specifically tie it to something musical.








































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 346). 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








































Superstition held that witches’ rites sometimes 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 his of 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








































Huge









































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)









































David Garrick cut this soliloquy, as have others who followed. In Laurence Olivier's film, the soliloquy was a voice over. (Hapgood)








































Considered, scrutinized.








































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.








































An inferior and weak-willed action.








































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








































“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 with 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, 1605
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.








































A malady, very sudden in its attack, which arrests more or less completely the powers of sense and motion. (OED)








































Even someone who was insane would not have married Claudius.








































Frenzy, overwhelming passion. (OED)








































Enthralled: spellbound, enslaved. (OED)








































I.e. the difference between Claudius and Hamlet's father.








































An example of the rhetorical figure hypallage: shifting the application of words. Mixing the order of which words should correspond with which others. (Silva Rhetoricae)

These lines are an example of the apoplex Hamlet mentions in line 79.









































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.








































Grievous








































Hue; stain.








































Offensive or excessive.








































Covered with sexual fluids,
continuing the accusation of animal lust. Derek Jacobi, Mel Gibson, and Ralph Fiennes, among others, mimed love-making here. (Hapgood)








































Speaking sweetly.








































Pigsty (OED)








































Synonymous with "kin," in this case more a metaphorical measure of the brothers' dissimilarity, not a literal statement.








































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.








































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








































Hamlet tells his mother that if she pretends to be virtuous for long enough, eventually it will become habitual and therefore real. A "livery" is a uniform designating who a person works for.








































It seems that a word is missing from this line. The most recent Arden edition reads "either shame the devil." (3.4.167)








































Power








































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.








































Hamlet already assumes Rosencrantz and Guildenstern will be involved in a plot against him.








































"To have a person bring about their own downfall."

Engineer: one who makes war machines.  Petard: A small bomb made of a metal or wooden box filled with powder. (OED) 








































Seige tunnels.








































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 Higgins 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








































An example of an embedded stage direction; the others who enter with the King probably exited at this point, despite the lack of a printed stage direction to indicate it. This is supported by the direction for Rosencrantz and Guildenstern to enter after line 32.








































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.








































Claudius hopes that by sending Hamlet to England, the inevitable rumors of and outcry against Polonius' murder will not damage his own reputation.

The "blank" is the white spot at the center of a target (OED); "woundless" means invulnerable and the OED credits this as the first usage of the word.









































Stephen Dillane (1994) removed his bloodstained clothes until he was sitting, naked, on stage, before Rosencrantz and Guildenstern's entrance. 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.









































Agitated, disturbed. (OED)








































Punishment, chastisement. (OED)








































Action








































Gathering; many editors see this as 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








































Favorable








































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








































F: conjuring. 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.








































This encounter does not appear in the other two texts.








































Mainland; heart of the country.








































Border or extremity of a country. (OED)








































An extension; frequently glossed as "exaggeration."








































The renown that will come from conquering it; the Captain essentially means that this small battle will make Fortinbras'' name and intentions known.








































In rent








































The value of the land would be less than five ducats to either country even if they sold it.








































Hamlet marvels at the cost in money and men that may come over a worthless piece of land (a "straw" is an insignificant thing).

Some editors have assigned the line to the Captain, as though he is continuing to expound on the ridiculousness of the war. Otherwise, Hamlet must be making up the numbers since he technically has no way of knowing the size of the army or its cost.








































An abscess or cyst.








































Hamlet expresses the belief that too much money and idleness prompt unnecessary wars because those in power become bored and greedy.








































Report, accuse.








































Able to consider past and future experiences.








































Fester, spoil.








































Cowardly (OED)








































Revenging his father's murder.








































Massive, perceptible. (OED)








































By "delicate and tender" Hamlet may refer to his sense of honor; Hamlet, despite his horror at the cost of the war a few lines earlier, now seems to begin idolizing Fortinbras and his ambitions, in contrast to his own inaction.








































Laughs in the face of death.








































Thing of no value.








































The line may be read in two ways: 1) Great men should not fight over nothing, or 2) while it is honorable to fight only for a good reason, it is also honorable to find an excuse to fight when honor is at stake.

The result of this speech is Hamlet's resolution to take action against his enemies because he is ashamed that Fortinbras takes such great action with no motivation, while Hamlet takes no action with great motivation.








































Fight for a piece of land not big enough for the two armies to stand on, or in which to bury the dead.









































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. Despite this, the act break is usually still placed after 3.4 for consistency.








































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."
Wearing the hair down was a symbol of virginity, innocence, and grief.

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. (Hapgood)

In the 1964 Kozintsev film, Ophelia was shown being dressed in black, then attempting and finally succeeding in removing the mourning garb, which left her in the traditional white. In the 1996 Branagh film, Kate Winslet was in a straitjacket. (Hapgood)
more



Nesbit wanted to emulate Gertrude in some way on this entrance, “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. A song from Twelfth Night reads,

"O Mistress mine, where are you roaming?
O, stay and hear; your true love's coming,
That can sing both high and low:
Trip no further, pretty sweeting;
Journeys end in lovers meeting,
Every wise man's son doth know.
" (2.3)








































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. (Schmidt) 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)

Otto Bach, Coronation of Christian IV
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.
James I made a speech about this belief to Parliament after his coronation.








































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.)

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).








































"Bare-faced;" 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, and there is a stage tradition from Drury Lane which uses this tune.











































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, it is Horatio's distraction when reading Hamlet's letter that allows 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)








































F: "conjunctive;" essential to, 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








































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)








































F: advise








































Force








































Fully formed into a plan.








































Not suspect the plot, not suspect foul play.








































Instrument or agent (that brings about Hamlet's death).








































Siege: A seat, esp. one used by a person of rank or distinction. (OED)

In this case, Claudius uses the word's implication of high rank to compliment Laertes, saying that the thing that made Hamlet jealous of Laertes is only the least of Laertes' qualities and talents.








































Usually edited to "ribbon," since ribbons were used as decoration on headwear. Claudius probably means to say that Laertes' skill in fencing is the perfect compliment to his youth.








































Clothing








































Normandy
Map of Normandy in 1600










































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, though it may suggest “La Mort” (French: death); F: “Lamound.”








































Disclosure, testimony. (OED)








































Your skill with a sword.








































From the French "escrimeurs:" fencers.








































Infuse with jealousy.








































Echoing the Ghost’s line to Hamlet “if ever thou didst thy dear father love” (1.5.27).








































Diminishes








































Weeke: wick; the "snuff" is the tip of the wick which must be trimmed as the candle burns. (OED) The general meaning of the line is that love can be destroyed from within.








































Excess; also, a chest infection leading to inflammation.








































One who spends money wastefully.








































A sigh would be a sign of ease, but to someone afflicted with pleurisy a sigh is painful.








































Heart of the matter.








































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








































Abbreviation of "have it."








































Parched








































Prepared








































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)

Clare 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."








































Sideways, probably "across." F reads "aslant:" 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.








































Songs, specifically hymns.








































Unable to understand the danger she was in.








































A poem set to music.








































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.








































"That kind of offense." F reads "se offendendo," 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 effected the distribution of property. (DNB)









































Standard address; “neighbor.”








































Digger








































Whether he wants to (be thought a suicide) or not.








































Q1 "ergo:" Latin, "therefore."








































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."








































Beat








































Quicken








































"Stoop:" 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.








































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)








































Familiar thing.








































Daintier: delicate, more feeling.








































A conflation of further verses from “The Aged Lover Renounceth Love.”








































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)








































Beg to have it.








































Either a proper name, or a reference to worms eating flesh from the skull.








































Lacking cheeks.








































F: "mazard," 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.









































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. (OED)








































Coffin








































Fools, simple people.








































A repetition of a line sung in the Gravedigger's previous line.








































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.








































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. (Hapgood)

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 fighting 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 218. (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.








































A garland, chaplet, or wreath. (OED)

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)








































Strewed flowers.








































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.








































Twenty 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 considered 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. Since the "crants" mentioned earlier in the scene were made with flowers and plants, Claudius is perhaps confirming that that visual symbol of her innocence and purity will remain on her grave. (The Catholic Encyclopedia)








































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)








































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).








































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)








































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.








































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








































Sultry








































Constitution (OED)








































Unique qualities.








































Appearance








































Praisingly; in a way to promote him.








































Example, model.








































Sum and substance. (OED) The word choice comes from his usage of "maps" earlier in the line.








































Hamlet mocks the Courtier (Osric)'s speaking style, using heightened rhetoric and hyperbolic language.








































Make an inventory of his qualities.








































The Arden glosses this as "yaw:" to deviate from a direct course (OED), which relates to "sail."








































Truth of praise.








































Glory, splendor. (OED)








































Speak truthfully.








































Affair, concern. (OED)








































Rude, unworthy.








































Merit, worth. (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.








































"Margin:" Horatio is saying he knew Hamlet would quibble about Osric's language.








































Straps which carry a sword.








































Appropriate








































I.e., "what is the bet."








































Germane: akin, related to.








































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









































Worthless, impure (usually in reference to metals). (OED)








































F "yeasty:" foamy, frothy, insubstantial. (OED)








































F "winnowed:" 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.








































F "gain-giving:" 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








































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.








































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








































Onyx is a form of quartz used in jewelry. (OED)

Because Claudius later refers to the object as a pearl,
F/Q1's "union" is preferred. A "union" is 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.









































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.