publish this report, seemingly so hurtful to his reputation, he would act in direct opposition to his former conduct, and inconsistently with the genuine sentiments and affections of his soul. He would seem frivolous, when the occasion required him to be sedate: and, celebrated for the wisdom and propriety of his conduct, he would assume appearances of impropriety. Full of honour and affection, he would seem inconsistent: of elegant and agreeable manners, and possessing a complacent temper, he would put on the semblance of rudeness. To Ophelia he would shew dislike and indifference; because a change of this nature would be, of all others, the most remarkable, and because his affection for her was passionate and sincere." He adds, "let Hamlet be represented as delivering himself in a light, airy, unconcerned and thoughtless manner, and the rudeness, so much complained of, will disappear." NOTES TO HAMLET. ACT I. (1) 'Tis now struck twelve-'tis bitter cold] Although, as confounding time past and present, this use of 'tis for 'thas is anomalous, yet, as familiar language, it is common and allowed. We also say, "It is gone twelve." The instance in the text recurs in the opening of Sc. 4. "It is struck twelve." And in M. ado &c. we have-" Don Pedro is approached." I. 1. Mes senger. As to "bitter cold," see " bitter business," at the end of Act III. Hamlet's soliloquy. (2) The rivals of my watch] Associates, partners. "An idol up with praise! make him his mate! "His rivall in the empire!" Sejanus, Act I. 4to. 1605. Mr. Steevens instances Heywood's Rape of Lucrece, 1636: "Tullia. Aruns, associate him! "Aruns. A rival with my brother. Our author uses rivality in the same sense, in Anth. and Cleop. III. 5. Eros; corrival in H. IV. Hotsp. I. 3, and IV. 3, Archb. and competitor throughout his works. Mr. Todd, whose useful labours increase the stock, as well as facilitate and open the avenues to our literature, shews the primary sense of this word from rivus, in Morin's Dict. Etym. Fr. and Gr. "Rivalis designe proprement ceux qui ont droit d'usage dans une même ruisseau; et comme cet usage est souvent pour eux un sujet de contestations, on a transporté cette signification de rivalis à ceux qui ont les mêmes prétentions à une chose." (3) liegemen to the Dane] Lige, Fr. bound, owing allegiance. Minshieu says, 66 Liege or liefe man, is he that oweth legeancie (from liga, Ital, a band or obligation) to his liege lord; B and that liege lord signifies he who acknowledges no superior," In the sense of " sovereign," it occurs in L. L. L.: 66 Liege of all loiterers and malecontents." III. 1, Bir. And, equivocally rather, in Puttenham's Arte of Engl. Poesie, 4to. 1589, p. 182. "He lost, besides his children and his wife, "His realme, renowne, liege, libertie and life.”" (4) Give you good night] May it be given! May he, who has the power of giving, so dispense: or, I give you good night, in a sense similar to the Latin, dare salutem. "Qua, nisi tu dederis caritura est ipsa, salutem Ov. Phædra Hippolyto, 1. In the M. W. of W. Mrs. Quickly says to Falstaff, "Give your worship good morrow." In the Avare of Moliere, Harpagon is ridiculously described, as having so much dislike to the word give, as never to say, 'I give you good day,' but I lend you,' 'Je vous prête,' &c. &c. passage. Mr. Steevens cites Tedious, slowly counted "I promise ere the minutes of the night." Ford's Fancies chaste and noble, Act V. The modern editors place the comma after along instead of us. It is in conformity with the quarto. (6) Thou art a scholar, speak to it, Horatio] It has always been a vulgar notion that spirits and supernatural beings can only be spoken to with propriety or effect by persons of learning. Toby, in the Night-walker, by Beaumont and Fletcher, says: It grows still longer, 66 "'Tis steeple-high now; and it sails away, nurse. In like manner the Butler, in Addison's Drummer, recomends the Steward to speak Latin to the Ghost. REED. It was so conceived, says Mr. Douce, because exorcisms were usually performed in Latin. Illustr. 8vo. 1807. II. 220. After this speech, in the quarto of 1611 (enlarged to almost as much again as the original copy) followed that of Horatio: "Most like: it horrowes me with feare and wonder." And this appears to us to be the true and better reading. It is natural, that the surprise and terror of the speaker should bear some proportion to the degree of his former confidence and incredulity and the art and address of our poet is shewn by making Horatio's answer (a reply not to the last speech and request made, but an observation upon an observation of a |
