Tears in his eyes, distraction in's aspéct, A broken voice, and his whole function suiting For Hecuba! What's Hecuba to him, or he to Hecuba, That he should weep for her? What would he do, That I have? He would drown the stage with tears, And cleave the general ear with horrid speech; Yet I, A dull and muddy-mettled rascal, peak, A damned defeat was made. Am I a coward? throat, As deep as to the lungs? Who does me this? Why, I should take it; for it cannot be, 1 i. e. the hint or prompt word; the word or sign given by the prompter for a player to enter on his part. 2 John-a-dreams, or John-a-droynes, was a common term for any dreaming or droning simpleton. Unpregnant is not quickened or properly impressed with. 3 Defeat here signifies destruction. It was frequently used in the sense of undo or take away by our old writers. 4 Kindless is unnatural. That I, the son of a dear father murdered,1 Prompted to my revenge by heaven and hell, A scullion! Fie upon't! foh! About my brains! 2 Humph! I have heard, That guilty creatures, sitting at a play,3 For murder, though it have no tongue, will speak Before mine uncle; I'll observe his looks; 4 I'll tent him to the quick; if he do blench,5 1 The first folio reads thus: 66 "Oh vengeance! Who? What an ass am I! I sure this is most brave, That I the sonne of the Deere murthered." The quarto of 1604 omits "Oh vengeance," and reads, "a deere murthered;" the quarto of 1603, "that I the son of my dear father." 2 "About my brains" is nothing more than "to work, my brains." Steevens quotes the following from Heywood's Iron Age: "My brain about again! for thou hast found New projects now to work on." 3 A number of instances of the kind are collected by Thomas Heywood in his Apology for Actors. 4 To tent was to probe, to search a wound. 5 To blench is to shrink or start. Vide Winter's Tale, Act i. Sc. 2. 6 i. e. more near, more immediately connected. The first quarto reads, "I will have sounder proofs." ACT III. SCENE I. A Room in the Castle. Enter King, Queen, POLONIUS, OPHELIA, ROSEN- King. And can you, by no drift of conference,1 . Ros. He does confess, he feels himself distracted; But from what cause he will by no means speak. Guil. Nor do we find him forward to be sounded; But, with a crafty madness, keeps aloof, When we would bring him on to some confession Queen. Did he receive you well? Ros. Most like a gentleman. Guil. But with much forcing of his disposition. Ros. Niggard of question; but, of our demands, Most free in his reply. Queen. To any pastime? Did you assay him Ros. Madam, it so fell out, that certain players We o'er-raught on the way. Of these we told him; And there did seem in him a kind of joy To hear of it. They are about the court; And, as I think, they have already order Pol. 'Tis most true; And he beseeched me to entreat your majesties, To hear and see the matter. King. With all my heart; and it doth much content me 1 Folio-circumstance. 2 Slow to begin conversation, but free enough in answering our demands." 3 i. e. reached, overtook. To hear him so inclined. Good gentlemen, give him a further edge, King. [Exeunt ROSENCRANTZ and GUILDENSTERN. For we have closely sent for Hamlet hither; Her father and myself (lawful espials 2) Will so bestow ourselves, that, seeing, unseen, Queen. I shall obey you; And for your part, Ophelia, I do wish, That your good beauties be the happy cause Of Hamlet's wildness. So shall I hope, your virtues Will bring him to his wonted way again, To both your honors. Oph. Madam, I wish it may. [Exit Queen. Pol. Ophelia, walk you here.-Gracious, so please you, We will bestow 3 ourselves.-Read on this book; That show of such an exercise may color [To OPHELIA. Your loneliness.1-We are oft to blame in this,'Tis too much proved,—that with devotion's visage, And pious action, we do sugar o'er The devil himself. King. O'tis too true! how smart A lash that speech doth give my conscience! 1 i. e. meet, encounter her. 2 "Lawful espials;" that is, lawful spies. 3"Bestow ourselves " is here used for hide or place ourselves. 4 Quarto lowliness. Than is my deed to my most painted word. O heavy burden! [Aside. Pol. I hear him coming; let's withdraw, my lord. [Exeunt King and POLONIUS. Enter HAMLET. Ham. (To be, or not to be, that is the question):- The slings and arrows of outrageous fortune, And, by opposing, end them?-To die,-to sleep,- Must give us pause. There's the respect," That makes calamity of so long life e; For who would bear the whips and scorns of time,3 That patient merit of the unworthy takes, With a bare bodkin? Who would fardels bear, But that the dread of something after death,— 1 "This mortal coil;" that is, "The tumult and bustle of this life." 2 i. e. the consideration. This is Shakspeare's most usual sense of the word. 3 Time, for the time, is a very usual expression with our old writers. 4 Folio-" the poor man's contumely." 5 The allusion is to the term quietus est, used in settling accounts at exchequer audits. 6" Bodkin was the ancient term for a small dagger." 7 Packs, burdens. 8 To grunt appears to have conveyed no vulgar or low image to the ear of our ancestors, as many quotations from the old translations of the classics would show. |