With tristful visage, as against the doom, 2 Queen. This was your husband.-Look you now, what follows. To serve in such a difference.] What devil was't, 1 The quarto of 1604 gives this passage thus: 66 Heaven's face does glow O'er this solidity and compound mass With heated visage, as against the doom, Is thought-sick at the act." 2 Index is here used in one of its least common senses, as a preparatory sketch in dumb show, prefixed to the act of a play. 3 It is evident, from this passage, that whole-length pictures of the two kings were formerly introduced. Station does not mean the spot where any one is placed, but the act of standing, the attitude. 4 Here the allusion is to Pharaoh's dream, Genesis, xli. 5 Sense here is not used for reason; but for sensation, feeling, or percoplion. That thus hath cozened you at hoodman blind?1 3 O shame! where is thy blush? Rebellious hell, 4 And melt in her own fire; proclaim no shame, And reason panders will. Queen. O Hamlet, speak no more. Thou turn'st mine eyes into my very soul; And there I see such black and grained spots As will not leave their tinct. Ham. 6 5 Nay, but to live Over the nasty sty; Queen. O, speak to me no more; These words, like daggers, enter in mine ears. Ham. A murderer, and a villain; A slave, that is not twentieth part the tithe 1 "The hoodwinke play, or hoodman blind, in some place, called blindmanbuf."-Baret. It is hob-man-blind in the quarto of 1603. 2 i. e. could not be so dull and stupid. 3 Mutine for mutiny. This is the old form of the verb. 4 Thus in the quarto of 1603: "Why, appetite with you is in the wane, Your blood runs backward now from whence it came; When lust shall dwell within a matron's breast?" 5 "Grained spots;" that is, dyed in grain, deeply imbued. 6 i. e. greasy, rank, gross. It is a term borrowed from falconry. The seam of any animal was the fat or tallow; and a hawk was said to be enseamed when she was too fat or gross for flight. It should be remarked, that the quarto of 1603 reads incestuous, as does that of 1611. 7 i. e. "the low mimic, the counterfeit, a dizard, or common vice and jester, counterfeiting the gestures of any man."-Fleming. Shakspeare afterwards calls him a king of shreds and patches, alluding to the parti colored habit of the vice or fool in a play. A cutpurse of the empire and the rule; And put Queen. No more. Enter Ghost.1 A king Ham. Of shreds and patches. Save me, and hover o'er me with your wings, You heavenly guards!-What would your gracious figure? Queen. Alas, he's mad. Ham. Do you not come your tardy son to chide, Ghost. Do not forget. This visitation Ham. 3 How is it with you, lady? Queen. Alas, how is't with you? That you do bend your eyes on vacancy, And with the incorporal air do hold discourse? 1 The first quarto adds, "in his night-gown." look? 2 "Lapsed in time and passion." Johnson explains this-"That having suffered time to slip, and passion to cool, lets go by," &c. This explana tion is confirmed by the quarto of 1603:— "Do you not come your tardy son to chide, That I thus long have let revenge slip by?" 3 Conceit, for conception, imagination. 4 The hair is excrementitious; that is, without life or sensation. Ham. On him! on him!-Look you, how pale he glares! His form and cause conjoined, preaching to stones, Would make them capable.'-Do not look upon me ; Lest, with this piteous action, you convert My stern affects: 2 then what I have to do Will want true color; tears, perchance, for blood. Ham. Do you see nothing there? Queen. Nothing at all; yet all, that is, I see. Ham, Nor did you nothing hear? Queen. No, nothing, but ourselves. Ham. Why, look you, there! look, how it steals away! My father, in his habit as he lived! Look, where he goes, even now, out at the portal! [Exit Ghost. Queen. This is the very coinage of your brain. This bodiless creation, ecstasy Is very cunning in, Ham. Ecstasy! My pulse, as yours, doth temperately keep time, 1 Capable for susceptible, intelligent. 2 "My stern affects." All former editions read-"My stern effects." We should certainly read affects, i. e. dispositions, affections of the mind; as in that disputed passage of Othello:-"the young affects in me defunct." 3 This speech of the queen has the following remarkable variation in the quarto of 1603: "Alas, it is the weakness of thy brain Which makes thy tongue to blazon thy heart's grief; I never knew of this most horrid murder: But, Hamlet, this is only fantasy, Infects unseen. Confess yourself to Heaven; And do not spread the compost on the weeds, Yea, curb' and woo, for leave to do him good. Queen. O Hamlet! thou hast cleft my heart in twain. And live the purer with the other half. 2 [That monster, custom, who all sense doth eat. 3 To the next abstinence; [the next more easy; [Pointing to POLONIUS. I do repent. But Heaven hath pleased it so,— To punish me with this, and this with me; 5 1 i. e. bow. "Courber (Fr.), to bow." 2 Dr. Thirlby proposed to read, " Of habits evil." Steevens would read, "Or habits' devil." It is evident that there is an intended opposition between angel and devil; but the passage will, perhaps, bear explaining as it stands:"That monster custom, who devours all sense (feeling, or perception) of devilish habits, is angel yet in this," &c. This passage might, perhaps, have been as well omitted, after the example of the editors of the folio. 3 Here the quarto of 1603 has two remarkable lines : 66 And, mother, but assist me in revenge, 4 "The next more easy," &c. This passage, as far as potency, is also omitted in the folio. In the line "And either quell the devil, or throw him out," the word quell is wanting in the old copy. 5" To punish me by making me the instrument of this man's death, and to punish this man by my hand." |