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No fairy takes 9, nor witch hath power to charm, So hallow'd and so gracious 30 is the time.
Hor. So have I heard, and do in part believe it.
Hamlet: for, upon my life,
Mar. Let's do't, I pray; and I this morning know Where we shall find him most convenient. [Exeunt.
The same. A Room of State in the same. Enter the King, Queen, HAMLET, POLONIUS,
LAERTES, VOLTIMAND, CORNELIUS, Lords, and Attendants. King. Though yet of Hamlet our dear brother's
death The memory
green: and that it us befitted To bear our hearts in grief, and our whole kingdom To be contracted in one brow of woe; Yet so far hath discretion fought with nature, That we with wisest sorrow think on him, Together with remembrance of ourselves. Therefore our sometime sister, now our queen,
29 i. e. No fairy blasts, or strikes. Thus in the Merry Wives of Windsor, Act iv. Sc. 4:
And there he blasts the tree and takes the cattle.' See note on that passage.
30 It has already been observed that gracious is sometimes used by Shakspeare for graced, favoured. Vide note on As You Like It, Aot i. Sc. 2.
31 First quarto, sun.'
The imperial jointress of this warlike state,
• With an auspicious and a dropping eye.' The same thought occurs in The Winter's Tale :- She had one eye declined for the loss of her husband, another elevated that the oracle was fulfilled. There is an old proverbial phrase, To laugh with one eye, and cry with the other.'
2 i. e. grief.
4 The folio reads, bonds; but bands and bonds signified the same thing in the poet's time.
5 Gait here signifies course, progress. Gait for road, way, path, is still in use in the north. We have this word again in A Midsummer Night's Dream, Act v. Sc. 2 :
Every fairy takes his guit.'
Out of his subject:--and we here despatch
our duty. King. We doubt it nothing; heartily farewell.
[Exeunt VoLTIMAND and CORNELIUS.
6 The folio reads, “More than the scope of these dilated articles allow.' I have not scrupled to read related, upon the authority of the first quarto, as more intelligible. Malone says, “ the poet should have written allows ;' but the grammar and practice of Shakspeare's age was not strict in the concordance of plural and singular in noun and verb; and numerous examples might be adduced from his cotemporaries to prove this. The question is, Are the writers of that time to be tried by modern rules of grammar, with which they were not acquainted ? Steevens, with a sweeping assertion, which no one conversant with MSS, of the time will allow, would atttribute all such inaccuracies to illiterate transcribers or printers. We have Malone's assertion, that such errors are to be met with in almost every page of the first folio. The first quarto reads :
no further personal power To business with the king
Than those related articles do shew.' ? The various parts of the body enumerated are not more allied, more necessary to each other, than the throne of Denmark (i. e. the king) is bound to your father to do him service.
My dread lord, Your leave and favour to return to France; From whence though willingly I came to Denmark, To show my duty in your coronation; Yet now, I must confess, that duty done, My thoughts and wishes bend again toward France, And bow them to your gracious leave and pardon. King. Have you your father's leave? What says
King. Take thy fair hour, Laertes; time be thine,
[Aside. 8 In the first quarto this passage stands thus:
· King. With all our heart, Laertes, fare thee well.
Laert. I in all love and dutie take my leave. [Exit. The king's speech may be thus explained :
1:- Take an auspicious hour, Laertes; be your time your own, and thy best virtues guide thee in spending of it at thy will.' Johnson thought thạt we should read, • And my best graces. The editors had rendered this passage doubly obscure by erroneously placing a colon at graces.
9 • A little more than kin, and less than kind. This passage has baffled the commentators, who are at issue about its meaning; but have none of them rightly explained it. A cotemporary of the poet will lead us to its true meaning. A little more than kin has been rightly said to allude to the double relationship of the king to Hamlet, as uncle and step-father, his kindred by blood and kindred by marriage. By less than kind Hamlet means degenerate and base. . Going out of kinde (says Baret), which goeth out of kinde, which dothe or worketh dishonour to his kinred. Degener; forlignant.'-ALVEARIE, K, 59. Forligner (says Cotgrave), to degenerate, to grow out of kind, to differ in conditions with his ancestors. That less than kind and out of kind have the same meaning who can doubt?
King. How is it that the clouds still hang on you? Ham. Not so, my lord, I am too much i’the sun
Queen. Good Hamlet, cast thy nighted colour off,
Ham. Ay, madam, it is common.
If it be,
seems. "Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forc'd breath, No, nor the fruitful river in the
eye, Nor the dejected haviour of the visage, Together with all forms, modes, shows of grief, That can denote me truly: These, indeed, seem, For they are actions that a man might play; But I have that within, which passeth show; These, but the trappings and the suits of woe 12. King. 'Tis sweet and commendable in your na
ture, Hamlet, To give these mourning duties to your father:
10 It is probable that a quibble is intended between sun and
The old spelling is sonne. 11 i. e. with eyes cast down.
Measure for Measure, vol. i.
King Richard II.